[~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~m r~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~.... CA (n~ U j;4~ co I a I 0 0ll t a fiLd. 0.Q z rC - 11 \JERITASs USIVEMS(OFI.At,:X;:a,:a I-; f^l^fop f B t{/ '*^^ TIlE -1 '111i,I l "!Ir'rlF i'.II I CYCLOPEDIA OF PAINTERS AND PAINTINGS VOLUME I AAGAARD-DYER CYCLOPEDIA OF PAINTERS AND PAINTINGS EDITED BY JOHN DENISON CHAMPLIN, JR. CRITICAL EDITOR CHARLES C. PERKINS Corres,6onding Member of the French Institute WITH MORE THAN TWO THOUSAND ILLUSTRATIONS VOLUME I NEW YORK EMPIRE STATE BOOK CO. 1927 COPYRIGHT, 1885, 1886, 1887, 1913, sB CHARLES SCRIBNER'S SONS Printed in the United States of America PREFACE. HE years of laborious preparation devoted to this work show that its projectors have not only believed it to be needed, but have expected for it a novel as well as standard place among authorities upon its subject. The Cyclopedia of Painters and Paintings founds its claim to this position especially upon three things: the character and comprehensiveness of the information which, through its text and illustrations, it for the first time makes accessible; the new simplicity of its arrangement; and the bibliography, of a kind hitherto unattempted, through which it furnishes a key and guide to the whole literature of its art. It is not only a fuller biographical dictionary than now exists of the painters of all times and schools, including prominent contemporaries, but it is as well a dictionary of works; and in a form in which the one branch of information is as immediately accessible as the other. The important paintings of all periods are treated under their own names, in separate articles, in which are given an accurate description of each work, its date, its place of preservation, its history from the time of leaving the painter's easel, notices of its replicas and copies, the names of its engravers, and such other facts as make the account as nearly as possible exhaustive. Both biographical and descriptive articles are based, not upon statements accepted in any sense at second v PREFA CE hand, but upon close research, conducted with the hope of making this work virtually an original authority-their facts being derived from the latest monographs in all languages on the several painters and schools, from the art periodicals of many countries, and from autobiographical memoranda and other original material. The latest catalogues of all the great art museums of the world, and of many private collections, have also been carefully collated, so that the information given is the best and fullest accessible up to the date of publication. The method of arrangement of the Cyclopedia is believed to be especially practical, intelligible, and convenient. The biographical and descriptive articles are combined under a single alphabet; a novel plan enabling any reader, with no knowledge of a well-known painting other than the name, to turn to it directly, and trace its history back to its author. A simple crossreference system also enables the reader of the biographical articles to tell at a glance what works of each artist are treated at length, the italicizing of a single word in the name of a picture showing that under that word a separate article upon it will be found. The bibliography appended to each article is such as will guide the reader to further and more minute investigation than would be possible in any book of reference; even, it may be said, to an exhaustive study of the whole literature of the topic. It embraces, besides English works and periodicals, those in French, German, Italian, Spanish, Dutch, and Danish. In the illustration of the work, nothing has been spared that could make it valuable and really representative. The articles contain portraits of prominent artists, living and dead, fac-similes of their monograms and signatures, and outline sketches of the important pictures of the older masters, intended as aids VTI PREFA CE to the verbal description, and as memoranda of the compositions. The Cyclopedia being intended primarily for English readers, each painter is treated under his best-known English appellation, whether surname, assumed name, or sobriquet. Thus, Correggio will be found under that title, and not under his less-known family name of Allegri; and, in like manner, Domenichino will be used instead of Zampieri, Giorgione instead of Barbarelli, Pinturicchio instead of Biagi, Raphael instead of Sanzio, Tintoretto instead of Robusti, Titian instead of Vecelli, etc. The work is under obligations to Mr. Louis von Eltz for his efficient labors during its entire progress, and especially for his valuable aid in researches connected with the German, Flemish, Dutch, and Scandinavian schools of painters. Thanks are due, also, to the superintendent and other officials of the Astor Library for numerous privileges and courtesies, without which the work on the Cyclopedia would have been attended with great difficulties, if not rendered impossible. I I I I i i I I I i Ii i i I I I I I I I LIST OF ILLUSTRATIONS OUTLINES OF PAINTINGS. PAGB 1. ABRAHAM AND ANGELS.....iurillo.................. Stafford House, London. 4 2. ABRAHAM, SACRIFICE OF....ebrandt............. Hermitage, St. Petersburg. 5 3. ABRAHAM, SACRIFICE OF....Andrea del Sarto................Dresden Gallery. 5 4. ACHILLES, EDUCATION OF...Jean Regnault.....................Louvre, Paris. 7 5. ADAM, CREATION OF....... Michelangelo......................Vatican, Rome. 10 6. ADAM AND EVE.......... Filippino Lippi............... Carmine, Florence. 11 7. ADAM AND EVE...........iqhelangelo......................Vatican, Rome. 11 8. ADONIS, DEATH OF.......I J oretto.......................Uffizi, Florence. 13 9. AGATHA, ST., MARTYRDOM Sebastian del Piombo....... Palazzo Pitti, Florence. 15 OF................! 10. AGNES, ST., MARTYRDOM OF.. Domenichino................... Bologna Gallery. 17 11. AMAZONS, BATTLE OF THE..Rubens.........................Munich Gallery. 35 12. AMBROSE AND EMPEROR 1 THEo s. Rubens...V....................Vienna Museum. 36 THEODO8IubS...................) 13. ANATOMY, LESSON IN......Rembrandt........... National Gallery, Amsterdam. 38 14. ANNUNCIATION........... Fra Bartolommeo.................. Louvre, Paris. 46 15. ANNUNCIATION............Lodovico Carracci................. Louvre, Paris. 47 16. ANTHONY, ST., TEMPTATION ) 16 ANTHONY, ST., TEMPTATIO Pieter Brueghel, the younger.......Dresden Gallery. 51 OF............... 17 ANTHOY OF PADUA, ST Mullo..................... Berlin Museum. 52 AND INFANT JESUS.. 18. ANTHOY OF PADUA, ST., Elisabetta Sirani................ Bologna Gallery. 53 AND INFANT JESUS.. 19. ANTIOPE................. Correggio..................... Louvre, Paris. 54 20. APOLLO AND DAPHNE......Francesco Albani................. Louvre, Paris. 59 21. APOLLO AND MARSYAS..... Guercino............ Palazzo Pitti, Florence. 60 22. APOLLO AND MARSYAS......Raphael.........................Louvre, Paris. 61 23. ARCADIA, SHEPHERDS OF....Nicolas Poussin..................Louvre, Paris. 64 OUTLINES OF PAINTINGS PAGE 24. ARIADNE.................Luca iordano................. Dresden Gallery. 66 25. ASCENSION............. Perugino........................Lyons Museum. 71 26. ASSUMPTION..............Rubens......................Antwerp Cathedral. 75 27. ASSUMPTION............. Andrea del Sarto...........Palazzo Pitti, Florence. 76 28. ASSUMPION.............. Titian..........................Venice Academy. 77 29. ATALA, BURIAL OF........ Girodet de Roussy..................Louvre, Paris. 78 30. ATTILA, MARCH OF........Raphael.........................Vatican, Rome. 79 31. AURORA.............. Guercino................ Palazzo Ludovisi, Rome. 82 32. AURORA................. Guido Reni............Palazzo Rospigliosi, Rome. 82 33. AVALOALFONSO D A Titian............................Louvre, Paris. 83 LEGORY OF........ 34. BACCHANAL.............. Giovanni Bellini and Titian.Alnwick Castle, England. 87 35. BACCHUS AND ARIADNE.....Titian............... National Gallery, London. 88 36. BANQUET OF THE Civic I B. van der IHelst. National Museum, Amsterdam. 99 GUARD........... 37. BELISARIUS...............Jaques Louis David............. Louvre, Paris. 126 38. BELLA DI TIZIANO......... Titian................ Palazzo Pitti, Florence. 127 39. BELLE FfRONNItRE........Leonardo da Vinci.............Louvre, Paris. 129 40. BLIND-MAN'S-BUFF........Sir David Wilkie.....Buckingham Palace, London. 167 41. BLUE BOY............... Thomas Gainsborough...Grosvenor House, London. 169 42. BORRACHOS, Los.......... Velasquez.......................Madrid Museum. 183 43. BROKEN PITCHER........ Jean Baptiste Greuze...............Louvre, Paris. 208 44. BRUNO, ST., DREAM OF..... Eustache Lesueur.............Louvre, Paris. 215 45. BRUNO, ST., VISION OF....Guercino...................Bologna Gallery. 216 46. BRUTUS.................Louis David................. Louvre, Paris. 217 47. CAESAR, DEATH OF........ Vincenzo Camuccini.........Palazzo Reale, Naples. 227 48. CALAIS GATE............. William Hogarth............Marton Hall, England. 229 49. CALUMNY................Alessandro Botticelli...........Uffizi, Florence. 231 50. CALVARY, PROCESSION TO... Pierre Mignard............... Louvre, Paris. 233 51. CASTOR AND POLLUX.......Rubens.........................Munich Gallery. 254 52. CATHERINE, ST., MARRIAGE Fra Bartolommeo.................. Louvre, Paris. 255 OF............... 53. CATHERINE, ST., MARRIAGE ) 53. CATHERIE, ST., MARRIAE Correggio.........................Louvre, Paris. 256 OF............... 54. CATILINE, CONSPIRACY OF.... Salvator Rosa............. Palazzo Pitti, Florence. 258 55. CATO, DEATH OF.......... Charles Lebrun.................Louvre, Paris. 258 56. CECILIA, ST..............Domenichino............... Louvre, Paris. 261 57. CECILIA, ST..............Raphael...................... Bologna Gallery. 262 58. CENCI, BEATRICE..........attributed to Guido......Palazzo Barberini, Rome. 263 59. CHALDEAN SAGES..........Giorgione.......................Vienna Museum. 267 60. CHAPEAU DE PAILLE.......Rubens.................National Gallery, London. 268 61. CHARITY.................Andrea del Sarto..................Louvre, Paris. 270 62. CHARLES I.............. Anton van Dyck.................... Louvre, Paris. 272 63. CHARLES I., CHLDREN OF... Anton van Dyck..................Windsor Castle. 273 O UTLINES OF PAINTINGS PAGO 64. CHARLES V.............. itian..........................Munich Gallery. 274 65. CHARLES V. AT MUHLBERG. Titian......................... Madrid Museum. 275 66. CHATHAM, DEATH OF......John Singleton Copley....National Gallery, London. 277 67. CHRIST, BAPTISM OF...... _Francesco Albani.................Bolo gna Gallery. 281 68. CHRIST, BAPTISM OF......Andrea del Verrocchio.........Florence Academy. 282 69. CHRIST AMONG THE DOC-) 69. CHRIS.T AMONG THE Do- School ofLeonardo da Vinci. National Gallery, London. 285 TORS............. 70. CHRIST AND EVANGELISTS.. Fra Bartolonmmeo..........Palazzo Pitti, Florence. 286 71. CHRIST IN HOUSE OF JAIRUS. Paolo Veronese..................Vienna Museum. 289 72. CRIST HEALING THE PAR- Murillo.................... Orwell Park, Suffolk. 290 ALYTIC.......... 73. CHRIST HEALING THE SICK. Benjamin West..........National Gallery, London. 292 74. CHRIST CROWNED WITH fi Anton van Dyck................. Berlin Museum. 293 THORNS.......... 75. CHRIST CROWNED WITH } Titian..................... Louvre, Paris. 294 THORNS........... 76. CIRCE................. Guercino.........................Louvre, Paris. 299 77. COLUMBINE, LA.......... Bernardino Luini.......Hermitage, St. Petersburg. 316 78. CONCEPTION, IMMACULATE.. urillo...........................Louvre, Paris. 319 79. CONCEPTION, IMMACULATE.. Murillo........................Madrid Museum. 320 80. CONCERT...............Michelangelo da Caravaggio..........Louvre, Paris. 322 81. CONCERT................Giorgione.................Palazzo Pitti, Florence. 322 82. CONCERT, RUSTIC......... Giorgione........................Louvre, Paris. 323 83. CRUCIFIXION.............Lucas Cranach...............Stadtkirche, Weimar. 354 84. CRUCIFIXION............Andrea Mantegna...................Louvre, Paris. 355 85. CUPID, EDUCATION OF.....Correggio...............National Gallery, London. 358 86. CYMON AND IPHIGENIA.....Sir Joshua Reynolds.. Buckingham Palace, London. 361 87. DANAE................. Correggio...............Palazzo Borghese, Rome. 367 88. DANAE............... Titian..........................Vienna Museum. 367 89. DANTE................. Giotto.......................Bargello, Florence. 371 90. DARIUS, TENT OF......... Charles Lebrun....................Louvre, Paris. 373 91. DAVID AND GOLIATH...... Guido Reni............Hermitage, St. Petersburg. 376 92. DEATH ON THE PALE HORSE. Benjamin West.Pennsylvania Academy, Philadelphia. 378 93. DEATH, TRIUMPH OF......Sienese School.................Campo Santo, Pisa. 379 94. DELUGE............... Nicolas Poussin................... Louvre, Paris. 390 95. DESCENT FROM THE CROSS.Rubens.......................Antwerp Cathedral. 394 96. DESCENT FROM THE CROSS.Daniele da Volterra.....S. Trinita de' Monti, Rome. 395 97. DEVONSHIRE, DUCHESS OF.. Thomas Gainesborough.....Althorp Park, England. 400 98. DEVONSHIRE, DUCHESS OF.. Sir Joshua Reynolds........Althorp Park, England. 401 99. DIANA AND ACTEON......Titian...............Bridgewater House, London. 402 100. DIANA AND CALLISTO...... Titian...............Bridgewater House, London. 403 101. DIANTI, LAURA, AT HER itian............................ Louvre, Paris. 404 TOILETTE......... 102. DIEGO, ST., OF ALCALA....Murillo.............Du de Pozzo di Borgo, Paris. 407 103. DONNA GRAVIDA..........Attributed to Raphael.......Palazzo Pitti, Florence. 418 104. DONNA VELATA...........Attributed to Raphael.......Palazzo Pitti, Florence. 419 105. DROPSICAL WOMAN.......Gerard Dou............. *....... Louvre, Paris. 426 xi PORTRAITS OF PAINTERS. (DRAWN BY JACQUES REICH.) 1. Achenbach, Andreas............ 2. Adam, Franz................... 3. Albani, Francesco............... 4. Albertinelli, Mariotto............ 5. Aldegrever, Heinrich............ 6. Aliense....................... 7. Allan, Sir William.............. 8. Allori, Alessandro............... 9. Allori, Cristofano............... 10. Allston, Washington............ 11. Alma-Tadema, Laurenz.......... 12. Amerling, Friedrich............ 13. Anguisciola, Sofonisba........... 14. Asselyn, Jan................... 15. Bacciccio, I.................... 16. Bachelier, Jean Jacques.......... 17. Backhuysen, Ludolf............. 18. Bagnacavallo, Bartolommeo da.... 19. Balen, Hendrik van............. 20. Barocci, Federigo............... 21. Barrias, Felix Joseph............ 22. Barry, James................... 23. Barth, Ferdinand............... 24. Bartolommeo, Fra............... 25. Bassano, Francesco.............. 26. Bassano, Jacopo................ 27. Bassano, Leandro............... 28. Bastien-Lepage, Jules............ 29. Battoni, Pompeo Girolamo....... 30. Baudry, Paul Jacques Aimee..... 31. Beard, William H............... 32. Beccafumi, Domenico............ 33. Becker, Karl Ludwig Friedrich... 34. Bega, Cornelis Pietersz.......... 35. Begas, Karl.................... PAGE 6 36. Bellini, Gentile................. 9 37. Bellini, Giovanni............... 20 38. Benczur, Gyula................. 21 39. Bendemann, Eduard Julius Fried22 rich....................... 25 40. Benjamin-Constant, Jean Joseph.. 26 41. Berchem, Claas Pietersz......... 28 42. Bernier, Camille................ 28 43. Bierstadt, Albert................ 29 44. Bigio, Francia.................. 29 45. Blake, William................. 36 46. Blanchard, Jacques.............. 44 i 47. Bloemaert, Abraham............ 73 48. Bokelmann, Ludwig Christian Louis...................... 88 49. Bol, Ferdinand................. 89 50. Bonheur, Marie Rosa............ 90 51. Bonington, Richard Parkes....... 92 52. Bonnat, L6on Joseph Florentin... 95 53. Bordone, Paris................. 102 54. Both, Jan...................... 103 55. Botticelli, Alessandro............ 103 56. Boucher, Fran;ois.............. 104 57. Boughton, George Henry........ 105 58. Bouguereau, William Adolphe.... 107 59. Boulanger, Gustave Rodolphe Clar107 ence........................ 108 60. Boullongue, Bon................ 109 61. Boullongue, Louis de............ 110 62. Bourdon, Sebastien............. 111 63. Bramer, Leonard............... 115 64. Brandt, Jozef................... 117 65. Brbe, Mattheus Ignatius van...... 119 66. Breenbergh, Bartholomeus....... 122 67. Br6ton, Emile Adelard........... 123 68. Br6ton, Jules Adolphe........... xii PAGX 131 131 137 137 139 143 148 157 157 162 164 167 174 175 177 178 179 181 185 186 186 188 189 190 191 191 192 196 197 200 200 202 203 PORTRA ITS OF PA INTERS 69. 70. 71. 72. 73. 74. 75. 76. 77. 78. 79. 80. 81. 82. 83. 84. 85. 86. 87. 88. 89. 90. 91. 92. 93. 94. 95. 96. 97. 98. 99. 100. 101. 102. 103. 104. 105. 106. 107. 108. 109. 110. 111. 112. 113. 114. Bridgman, Frederick Arthur.... Bril, Pauwel.................. Brion, Gustave................ Bronzino, Agnolo.............. Brouwer, Adriaen.............. Brueghel, Jan................. Brueghel, Peeter, the elder...... Burckmair, Hans.............. Burgess, John Bagnold......... Burne-Jones, Edward.......... Busson, Charles............... Butin, Ulysse.................. Butler, Elizabeth Thompson..... Cabanel, Alexandre............. Calabrese, II Cavaliere.......... Calame, Alexandre............ Calderon, Philip Hermogenes.... Callcott, Sir Augustus Wall...... Cambiaso, Luca................ Camphausen, Wilhelm.......... Canaletto, Il................... Cano, Alonso.................. Canon, Hans.................. Caravaggio, Michelangelo da..... Caravaggio, Polidoro da......... Carolus-Duran................ Carpaccio, Vittore.............. Carracci, Agostino.............. Carracci, Annibale............. Carracci, Lodovico............ Carrefio de Miranda, Don Juan.. Carriera, Rosalba.............. Carstens, Asmus Jacob.......... Castello, Bernardo.............. Castiglione, Giovanni Benedetto. Cerezo, Matteo................ Cesari, Giuseppe............... Cespedes, Pablo de............. Champaigne, Philippe de........ Chardin, Jean Baptiste Simeon.. Charlet, Nicolas Toussaint...... Chase, William Merritt......... Chodoviecki, Daniel Nicolaus.... Church, Frederic Edwin........ Cignani, Carlo................. Cima da Conegliano............ PAGE 205 115. 205 116. 206 117. 208 118. 209 119. 212 120. 213 121. 220 122. 222 123. 222 124. 223 125. 224 126. 224 127. 128. 225 129. 228 130. 229 131. 230 132. 230 133. 234 134. 235 135. 238 136. 239 137. 239 138. 241 139. 242 140. 244 141. 245 142. 246 143. 246 144. 247 145. 248 146. 248 147. 249 148. 252 149. 253 150. 264 151. 264 265 152. 267 153. 269 154. 275 155. 276 156. 280 157. 295 158. 296 297 159. xiii PAOl Cimabue, Giovanni............. 298 Claude Lorrain................ 302 Clouet, Jean................... 307 Coello, Claudio................ 309 Cogniet, L(on............... 311 Cole, George................. 312 Cole, Thoimas............ 312 Cole, Vicat............. 313 Collins, W illiam............... 314 Compte-Calix, Fran ois Claudius. 317 Constable, John.............. 325 Cooper, Thomas Sidney......... 328 Copley, John Singleton......... 329 Coques, Gonzales.............. 330 Cormon, Fernand............... 331 Corneliszen, Cornelis........... 333 Cornelius, Peter von............ 333 Corot, Jean Baptiste Camille..... 335 Correggio.................... 336 Costa, Lorenzo............... 338 Courbet, Gustave.............. 341 Courtois, Jacques.............. 342 Cousin, Jean.................. 343 Couture, Thomas.............. 343 Coxcyen, Michiel van.......... 344 Coypel, Antoine............... 345 Coypel, Charles Antoine......... 345 Coypel, Noel.................. 345 Craesbecke, Joost van.......... 345 Craeyer, Caspar de............ 346 Cranach, Lucas................ 346 Crane, Walter................. 348 Credi, Lorenzo................ 349 Crespi, Daniele................ 349 Crofts, Ernest................ 352 Crowe, Eyre................ 354 Cuyp, Aelbert................. 360 Danhauser, Josef.............. 369 Daubigny, Charles Frangois..... 374 David, Jacques Louis.......... 376 Davis, Henry William Banks..... 377 Decamps, Alexander Gabriel.... 381 Defregger, Franz von.......... 383 Delacroix, Ferdinand Victor Eugene....................... 386 Delaroche, Paul............... 387 PORTRAITS OF PAINTERS 160. 161. 162. 163. 164. 165. 166. 167. 168. 169. 170. PAOG Desportes, Alexander Francois.. 397 Detaille, Jean Baptiste ]douard. 398 Diaz de la Pefia, Narciso Virgilio 404 Dicksee, Frank............ 405 Diepenbeeck, Abraham van...... 408 Dietrich, Christian William Ernest....................... 409 Dietz, Feodor............ 410 Dobson, William Charles Thomas 414 Does, Jacob van der............ 415 Dolci, Carlo............... 415 Domenichino................ 416 171. 172. 173. 174. 175. 176. 177. 178. 179. 180. 181. 182. Dore, Gustave Paul............ Dossi, Giovanni................ Dou, Gerard.................. Doyen, Gabriel Frangois........ Drouais, Germain Jean......... Dubufe, 1douard.............. Duchatel, Frans............... Duez, Ernest Ange............. Dupr6, Jules................. Durand, Asher Brown........... DUrer, Albrecht............... Dyck, Anton van............... PAOG 419 422 422 424 427 430 431 433 435 436 437 441 MONOGRAMS AND SIGNATURES. 1. Abbate, Niccol( dell'........... 2. Achen, Johann................ 3. Achenbach, Andreas............. 4. Achenbach, Oswald............. 5. Adam, Albrecht................. 6. Adam, Heinrich................ 7. Adam, Jean Victor.............. 8. Adan, Louis ftmile.............. 9. Aelst, Willem van............... 10. Aertszen, Pieter................ 11. Ainmiller, Max Emanuel......... 12. Albani, Francesco............... 13. Aldegrever, Heinrich............ 14. Alfani, Domenico................ 15. Aliense........................ 16. Allori, Alessandro............... 17. Altdorfer, Albrecht.............. 18. Alunno, Niccol............... 19. Amalteo, Pomponio............. 20. Anselmi, Michelangelo........... 21. Ansiaux, Jean Joseph Eleonore Antoine.................... 22. Appiani, Andrea................ 23. Arellano, Juan de............... 24. Arthois, Jacques d'.............. 25. Asher, Louis................... 26. Asper, Hans.................... 27. Aspertini, Amico................ 28. Asselyn, Jan................... 29. Aubert, Ernest Jean............. 30. Aubry, Etienne................. 31. Avercamp, Hendrik............. 32. Baade, Knud................... 33. Bach, Alois..................... 34. Bachelier, Jean Jacques......... 35. Backhuysen, Ludolf............ PAGE 2 6 7 7 9 9 10 12 14 14 19 21 22 24 25 28 32 33 34 49 50 62 65 70 72 72 72 73 80 80 85 86 88 89 90 36. Bacler d'Albe, Louis Albert Guillain........................ 37. Baldung, Hans................. 38. Balen, Hendrick van........... 39. Balestra, Antonio............... 40. Barbari, Jacopo de'.............. 41. Basaiti, Marco.................. 42. Bassen, Bartholomeus van........ 43. Battoni, Pompeo Girolamo...... 44. Becker, Georges................ 45. Beerstraaten, Jan............... 46. Bega, Cornelis Pietersz.......... 47. Begas, Karl.................... 48. Begeijn, Abraham Cornelisz...... 49. Beham, Hans Sebald............ 50. Bellini, Giovanni............. 51. Bellotto, Bernardo.............. 52. Bellucci, Antonio............... 53. Benner, Jean................... 54. Berchem, Claas Pietersz......... 55. Berck-Heyde, Job.............. 56. Berruguete, Alonso............ 57. Bertrand, James................ 58. Beschey, Balthasar............. 59. Bigio, Francia.................. 60. Billet, Pierre................... 61. Biset, Karel Emanuel........... 62. Bissolo, Pietro Francesco........ 63. Bles, Herri de.................. 64. Bloemaert, Abraham........... 65. Bloemen, Pieter van............ 66. Blondeel, Lancelot.............. 67. Bockhorst, Jan van............. 68. Boenisch, Gustav Adolf.......... 69. Boeyermans, Theodor............ 70. Boilly, Louis L6opold........... 71. Bol, Ferdinand................. PAGE 90 95 95 96 99 106 108 110 119 122 123 123 124 125 132 133 134 139 143 144 149 152 152 158 158 160 161 166 168 168 169 170 172 172 173 175 MONOGRAMS5 AND SIGNATURES 72. Bol, Hans.................... 73. Bonnat, Ld'on Joseph Florentin.. 74. Boonen, Arnold van............ 75. Bordone, Paris................ 76. Borgognone, Ambrogio......... 77. Borras, Fray Nicholas.......... 78. Bosch, Hieronymus............ 79. Bossche, Balthasar van den..... 80. Both, Andries................. 81. Both, Jan..................... 82. Botticelli, Alessandro........... 83. Boucher, Francois............. 84. Bouguereau, William Adolphe... 85. Boulanger, Gustave Rodolphe Clarence.................... 86. Bourdon, Sebastien............ 87. Bourgeois, L(on Pierre Urbain.. 88. Braekeleer, Ferdinandus de..... 89. Bramantino.................. 90. Bramler, Leonard.............. 91. Bredael, Jan Frans van......... 92. Bree, Mattheus Ignatius van.... 93. Breenbergh, Bartholomeus...... 94. Brekelenkam, Quiryn........... 95. Breton, Jules Adolphe.......... 96. Breu, Jrg.................... 97. Bril, Pauwel................... 98. Brion, Gustave................ 99. Bronzino, Agnolo.............. 100. Brouwer, Adriaen.............. 101. Brueghel, Peeter, younger...... 102. Bugiardini, Giuliano........... 103. Burckmair, Hans.............. 104. Butin, Ulysse.................. 105. Cabanel, Alexandre............ 106. Cagliari, Carlo................. 107. Cagnacci, Guido............... 108. Callcott, Sir Augustus Wall..... 109. Cambiaso, Luca............... 110. Camphuysen, Govert........... 111. Campi, Antonio................ 112. Cano, Alonso.................. 113. Capelle, Jan van der........... 114. Caravaggio, Polidoro da........ 115. Carducho, Vincenzo............ 116. Carloni, Giambattista........... PAGE 175 179 181 181 182 183 184 184 185 185 186 187 189 190 192 192 195 196 196 199 200 200 201 203 203 206 206 209 209 214 219 220 224 225 228 228 231 234 236 236 239 240 242 243 243 117. 118. 119. 120. 121. 122. 123. 124. 125. 126. 127. 128. 129. 130. 131. 132. 133. 134. 135. 136. 137. 138. 139. 140. 141. 142. 143. 144. 145. 146. 147. 148. 149. 150. 151. 152. 153. 154. 155. 156. 157. 158. 159. 160. 161. 162. 163. Carolus-Duran................. Carpaccio, Vittore.............. Carracci, Agostino............. Carracci, Annibale............. Carracci, Lodovico............. Carrefio de Miranda, Don Juan.. Carriera, Rosalba.............. Casanova, Francesco............ Castello, Bernardo............. Castiglione, Giovanni Benedetto. Catena, Vincenzo.............. Caulitz, Peter................. Cavedone, Giacomo........... Cazes, Pierre Jacques.......... Cerezo, Matteo................ Cesari, Giuseppe............... Cespedes, Pablo de............ Champaigne, Philippe de....... Chaplin, Charles Joshua........ Chardin, Jean Baptiste Simeon.. Chodoviecki, Daniel Nicolaus.... Cignani, Carlo................. Cima da Conegliano........... Clairin, Georges Jules Victor.... Codde, Pieter................. Coello, Claudio................ Cogels, Joseph................ Collantes, Francisco............ Comerre, Leon Fran9ois........ Compte-Calix, Frangois Claudius. Conca, Sebastiano.............. Congnet, Gillis................ Coninck, David de............. Contarini, Giovanni............ Cooper, Abraham.............. Cormon, Fernand.............. Corneille, Michel............... Corneliszen, Cornelis........... Correggio..................... Cossiers, Jan.................. Costa, Lorenzo................ Cosway, Richard............... Cot, Pierre Auguste............ Courtat, Louis................. Courtois, Gustave.............. Cousin, Jean.................. Coxcyen, Michiel van........... PAGO 244 245 246 247 248 248 248 250 252 253 254 259 260 260 264 265 265 267 269 269 280 297 298 301 309 310 310 313 317 318 318 324 324 327 328 331 332 333 336 338 339 339 339 342 342 343 344 MIONOGRAMS AND SIGNA TURES 164. 165. 166. 167. 168. 169. 170. 171. 172. 173. 174. 175. 176. Coypel, Charles Antoine....... Coypel, Noel................. Craesbecke, Joost vanl......... Craeyer, Caspar de............. Cranach, Lucas............... Credi, Lorenzo di.............. Crespi, Daniele................ Crespi, Giovauni Battista....... Crivelli, Carlo................ Cuylenborch, Abraham van...... Cuyp, Aelbert................ Cuyp, Jacob Gerritsz........... Czermak, Jaroslav............. PAGE 345 345 346 346 347 349 349 350 351 360 360 361 362 1188. 1189. 190.;191. 192. 193. 194. 195. 196. 197. 198. 199. 200. 201. 202. 203. 204. 205. 206. 207. 208. 209. 210. 211. 212. PAGO Deshays, Jean Baptiste......... 397 Desportes, Alexandre Francois... 398 Detaille, Jean Baptiste Edouard.. 398 Dev6ria, Eugbne Francois Marie Josep l..................... 399 Diepenbeeck, Abraham van..... 408 Dietterlein, Wendel............ 410 Does, Simon van der........... 415 Dolci, Carlo.................. 416 Dossi, Giovanni................ 422 Dou, Gerard................... 423 Douven, Jan Frans van......... 424 Doyen, Gabriel Francois......... 424 Drolling, Martin............... 425 Drooch-Sloot, Joost Cornelisz... 426 Dubbels, Hendrik.............. 428 Dubois, Ambroise.............. 428 Duchatel, Frans............... 431 Ducreux, Joseph............... 432 Dughet, Gaspard.............. 433 Dupr6, Julien................. 435 Dupressoir, Joseph Franqois..... 435 Dilrer, Albrecht............... 438 Dusart, Cornelis............... 438 Dyck, Anton van............... 443 Dyck, Philip van............... 443 177. Daege, Eduard................. 363 178. 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Eduard Steinle, ein Madonnen Maler unserer Zeit. Vienna, 1879. yOUNG, JOHN. Catalogue of the Celebrated Collection of Pictures of the late John Julius Angerstein, Esq. London, 1823. Yriarte, Charles. Goya, sa biographie, les fresques, etc. Paris, 1867. ZAHN. See Jahrbiicher. Zanelli, Ippolito. Vita del gran pittore Carlo Cignani. Bologna, 1722. Zanetti, Girolamo. Elogio di Rosalba Carriera. Venice, 1818. Zani, D. Pietro. Enciclopedia metodica delle belle arti. Parma, 1819. Zanotto, Francesco. II Fiore della scuola pittorica veneziana. Trieste. Zanotto, Francesco. Pinacoteca della accademia veneta. Venice, 1830. Zeitschrift fur bildende Kunst, herausgegeben von Dr. Carl von Lutzow. Leipsic, 1866 -85. Zimmermann, Robert. Studien und Kritiken. Vienna, 1870. zxxvi TABLE OF ABBREVIATIONS. Acad., Academy. A.N.A., Associate of the National Academy. A.R.A., Associate of the Royal Academy. A.RH.A, Associate of the Royal Hibernian Academy. A.R.S.A., Associate of the Royal Scottish Academy. C. & C., Crowe and Cavalcaselle. Cat., Catalogue. Ch., Church. Col., Collection. Gal., Gallery. H.. Height. ib., ibidem. id., idem. Inst., Institute. L. of Honour, Legion of Honour. Mus., Museum. N.A., National Academy or Academician Nat. Gal., National Gallery. Pal., Palace, Palais. Palazzo. R., Royal. R.A, Royal Academy or Academician. R.H.A., Royal Hibernian Academy or Academician. R.S.A., Royal Scottish Academy or Acad. emician. S., San, Santa. SS., Santi, Sante. S. M., Santa Maria. St., Saint. W. & W., Woltmann and Woermann. * * Words in italics indicate the alphabetical place of articles on the subjects spece CYCLOPEDIA OF PAINTERS AND PAINTINGS. A AGAARD, CARL FREDERIK, born at Odense, Denmark, Jan. 29, 1833. Landscape painter, first instructed in his native place, then pupil of Copenhagen Academy, and in 1853 of P. C. Skovgaard. Visited Italy before 1871, and in 1875-76. Member of Copenhagen Academy in 1874. Works: Wild Flowers (1857); View in Jaegersburg Deer-park (1865), Copenhagen Gallery; Views on Island of Moen.-Sigurd Muller, 3; Weilbach, 7. AALST. See Aelst. AARESTRUP, MARIE HELENE, born at Flekkefjord, Norway, in 1829. Genre and portrait painter; pupil in Bergen of Reusch, landscape painter, in Paris (1856) of Tissier, and in Diisseldorf of Vautier. Works: Playing Child and Shepherd's Boy, Art Union, Christiania; Interior of Hotel Cluny in Paris, Flower Girl, Gothenburg Museum.-Meyer, Kiinst. Lex., i. 2. ABATE CICCIO, L'. See Solinmena. ABBATE (Abate, Abati), ERCOLE DELL', died Jan. 20, 1613. Lombardo-Modenese school; eldest son of Giulio Camillo, and grandson of Niccolo Abbate; worked mostly in Modena. Painted several Madonnas for the Modenese churches, also a Hercules and the Nemean lion; but principal work is a fresco of Labours of Hercules, executed in connection with Bartolommeo Schidone in the Palazzo Communale, Modena, parts of which still exist. In the Modena Gallery are four pictures of this master, namely, the Marriage (?), Annunciation, and Presentation of the Virgin, and the Birth of St. John Baptist.-Meyer, Kiinst. Lex., i. 9; Vedriani, Pittori... Modenesi, 102. ABBATE, NICCOLO DELL', born in Modena about 1512, died in Paris in 1570. Lombard school; son of a painter named Giovanni (died at Modena, 1559), but whether Abbate is the family name, or a patronymic derived from Abba or Abate, a village in the territory of Reggio, or was adopted by Niccolb in recognition of his master the Abate Primaticcio, is still uncertain, although it has been much discussed. He went with Primaticcio to France about 1531, and after several years returned to Italy and executed many works in Bologna and Modena; in 1551 or 1552, he again crossed the Alps to assist Primaticcio in decorating the Chateau de Fontainebleau, where, in 1570, Catherine de Medicis commissioned him to paint frescos of the Labours of Hercules, the Loves of Vertumnus, and incidents in the life of Alexander the Great. Niccolb also painted frescos after the designs of Primaticcio in the Hotel de Guise, the H6tel de Montmorency, and the Chateau de Beauregard near Blois. 1 ABBATI Essentially an imitator, and an eclectic whose style was a mixture of the Corregesque and Roman schools, Niccolb had a great reputation, and is mentioned by Agostino Caracci in a famous sonnet, as combining in his style all the qualities most desirable for a painter to possess. Of his Italian frescos, several from the Palazzo Scandiano transferred to canvas are in the gallery at Modena, the best of which represent singers and players on musical instruments. Twelve subjects are taken from the AEneid. In the University, also, there is a frieze of men and maidens. Of the joint works of Primaticcio and Niccolo at Fontainebleau little is distinguishable, and of that of Niccolo, nothing, as the Great Gallery where he painted the Gods of Olympus and the story of Ulysses was destroyed in 1738. Whether the life-size Diana in the chateau is by the master or the pupil is uncertain. Among Niccolo's few authentic paintings are the Rape of Proserpine, Stafford House, London; and a Holy Family in his Corregesque manner, at Kedleston Hall, near Derby, the XA DiA, 'f,JY. dp seat of Lord Scarsdale.Vasari, ed Le Mon., xi. 241; xiii. 5; Meyer, Kunst. Lex., i. 4; Burckhardt, 682; Mundler, Essai (Paris, 1850). ABBATI, GIUSEPPE, born in Naples in 1836, died in Florence, Feb. 20, 1868. Genre and landscape painter; son and pupil of Vincenzo A., of Naples; studied also at Venice Academy until 1852. In 1860 and 1866 he joined the volunteers under Garibaldi, and then retired to the Tuscan coast to paint nature and peasant life, in the treatment of which he resembles Jules Breton. Scarcely had he reached a prominent place among modern Italian painters, when he died of a bite from his dog.-Meyer, Kiinst. Lex., i. 10. ABBEY, EDWIN AUSTIN, born in Philadelphia, United States, in 1852. Genre painter, pupil of Pennsylvania Academy of Fine Arts. Best known as an illustrator of periodicals, but has done good work in water colours. Studio in New York until 1883, when he removed to London. Member of New York Water Colour Society and of London Institute of Water Colours. Works: Stage Office (1876), R. G. Dun, New York; Evil Eye (1877), Lady in a Garden (1878), J. W. Harper, ib.; Rose in October (1879), J. P. Townsend, ib.; the Widower (1883); Reading the Bible (1884), Andrew Carnegie, ib. ABBOTT, FRANCIS LEMUEL, born in Leicestershire, England, in 1760, died in London in 1803. Pupil of Frank Hayman; went to London in 1780, and occasionally exhibited portraits at the Academy from 1788 to 1800. Among his best works are Viscount Bridport, Earl Macartney, Sir George Staunton, Nelson, Nollekens, and Vancouver in the National Portrait Gallery; Admiral Sir Peter Parker, Nelson, Greenwich Hospital.-Redgrave; Catalogue National Portrait Gallery, 408. ABD-EL-KADER, CAPTURE OF THE SMALA OF, Horace Vernet, Versailles Museum; canvas, H. 16 ft. x 71 ft. The smala, consisting of his camp, court, harem, and treasury, was taken by surprise, May 16, 1843, by Duc d'Aumale at the head of two cavalry regiments. Booty of immense value and 5,000 prisoners were captured. Abd-el-Kader was absent at the time. ABEL, DEATH OF (Genesis iv. 8), Andrea Schiavone, Palazzo Pitti, Florence; canvas, H. 7 ft. x 6 ft. 2 in. Cain in the act of striking Abel, who, prostrate, tries to ward off the blow; background, a wooded landscape, with a dead goat. Baldinucci calls it Samson killing a Philistine.-Catalogue Palazzo Pitti. By Ttntoretto, Venice Academy; canvas. Ruskin says this picture and its companion piece, Adam and Eve, are the "best possible examples of what, in absolute power of painting, is supremest work, so far as I know, in all the world." One of four subjects from Genesis, painted for the former Scuola della Trinita.-Lavice, 462. 2 ABEL ABEL, JOSEF, born at Aschach, Upper Austria, in 1768, died in Vienna, Oct. 4, 1818. History and portrait painter; pupil of Vienna Academy; obtained in 1794 the gold medal for his DTedalus and Icarus. In 1795 he accompanied Prince Czartoryski to Poland, whence, notwithstanding brilliant offers from Russia, he returned to Vienna, and remained there until 1801, when he went to Rome, where lie sketched and partly finished several of his most important works. After 1807 he resided at Vienna and became member of the Academy in 1815. Abel is better known by his engravings than by his pictures. Works: Hector and Andromache, Andromache with Hector's Body, Antigone, Prometheus, Socrates saving Theramenes, Klopstock and Homer entering Elysium (1807), Vienna Museum; Cato of Utica, DTedalus and Icarus, Vienna Academy; Socrates as Sculptor, Amor, Tibullus in Ecstasy, Horace at Tibur, Scene from Olympian Games, Oath over Corpse of Lucretia, Darmstadt Gallery; Socrates dictating his Will, Seizure of Antigone, Liechtenstein Gallery, Vienna.-Andresen, iii. 70; Meyer, Kiinst. Lex., i. 20. ABEL DE PUJOL, ALEXANDRE DENIS, born in Valenciennes, France, Jan. 30, 1785, died in Paris, Sept. 28, 1861. History painter, pupil of the Academy of Valenciennes, of the fcole des Beaux Arts, Paris, and of David, whose manner he followed; won in 1811 the grand prix de Rome, and resided in that city five years. Legion of Honour, 1822; Officer, 1835; Member of Academy, 1835. Earlier works are the best, especially the allegorical ones. He painted a number of pictures, now in the Louvre, for the government, and executed works in several churches of Paris and in the provincial museums. Works: Renaissance des Arts, a fresco (1819, destroyed in 1856), copy in the Louvre; Lycurgus presenting the Heir Apparent to the Lacedaemonians (1810), Ecole des Beaux Arts; Isaac Blessing the Children of Jacob (1810); Death of Britannicus (1814), Dijon Museum; St. Stephen preaching the Gospel (1817), St. Ttienne du Mont; Baptism of Clovis (1824), Cathedral of Reims; St. Peter reviving Tabitha (1827), St. Peter, Douai; Burial of the Madonna, Notre Dame, Paris. -Ch. Blanc, icole fran(aise; Siret, 729; Meyer, Kiinst. Lex., i. 22. ABELS, JACOBUS THEODORUS, born in Amsterdam, Netherlands, Sept. 1, 1803, died in Abcoude, June 18, 1866. Landscape painter; pupil of Jan van Ravenswaay. Went to Germany in 1826, and after his return settled at the Hague, where he married a daughter of the painter P. G. van Os. His moonlight landscapes are especially noteworthy. Works: Fir Grove with Cattle, Wood Landscape, View of the Downs, National Museum, Amsterdam.Meyer, Kiinst. Lex., ii. 23. ABILDGAARD, NICOLAI ABRAHAM, born in Copenhagen, Denmark, Sept. 11, 1742, died at Fredriksdal, June 4, 1809. Son of Soren A., the Norwegian draughtsman, and pupil of Copenhagen Academy, where he won the great medal in 1767. Studied in Italy in 1772-77; became, after his return in the latter year, a member of the Academy, professor in 1786, and its director from 1789 to 1792, and from 1802 to his death. His principal work, a series of Allegories (1791) in the castle of Christiansborg, was burned with the building in 1794. He was held in high esteem, and the Crown Prince, afterwards Christian VIII., delivered his funeral oration. Works: Philoctetes, Danish Ladies sacrificing their Jewelry to ransom King Svend, Cupid, Socrates in Ecstacy, Jupiter; scenes from Hamlet, Richard III., Macbeth, Henry VIII.; illustrations to Terence, Apuleius, and Baggesen.-Meyer, Kiinst. Lex., i. 26; Weilbach, 9. ABOUKIR, BATTLE OF, Baron Gros, Versailles Museum. Battle fought July 25, 1799. Scene: the final cavalry charge under Murat, when the Turks were driven into the sea. Fort of Aboukir, enemy's camp, and ships in background. Painted in ABRAHAM 1806. Engraved by A. Lefebre.-Lan- Soult, who sold it (1835), with the Prodigal don, Musee, xiii. Plates 1-3; Galerie de Son by Murillo and St. Francis Borgia by Versailles, No. 660; Bertlier, Relation Velasquez, to Duke of Sutherland for 500,de l'Expedition d'1]gypte, 185. 000 fr. Engraved in outline, Reveil, iv. ABRAHAM AND ANGELS (Genesis 271.-Palomino, iii. 422; Cean Bermudez; xviii. 2), Murillo, Duke of Norfolk, London; Stirling, ii. 852; Ponz, Viage, ix. 147; Curcanvas, H. 6 ft. 4 in. x 8 ft. 1 in. Three tis, 115; Waagen, Treasures, ii. 68. angels, habited as pilgrims and bearing ABRAHAM AND HAGAR. See HIagar. ABRAHAM, HISTORY OF. See Raph-, ael's Bible.!- 'H ~ \ABRAHAM, SACRI- -i X 1 ort^- FICE OF (Genesis xxii.), NSt( tlfl e vjh N IHCris. Allori, Palazzo Pitti, I /' l-l /)XFlorence; canvas, H. 5 ft. 1....-, ~. By ~ I~s '7 in. x4 ft. 3 in. Abra{'A:... j w urban ham, about to sacrifice 2',i~ *'-' W/./%^ F^ j-: " Isaac in a rocky place, ii,47d*~!, /has his arm arrested by Abraham_5 an angel who points to the ram in the thicket;.. te -o the "s ib, fo Spain' in back-ground, two ser~~//jl\~~~~ i / 7 ' vants and a pack-horse.;?\'r%:^ an s. Engrave b. fm o tnEngraved by Rossi.-Gal. — r^ice; mezzo:t!i tdu PalS. Pitti, i. P1. 2. Abraha a d Ao gels.By Mlnurillo, W in. C. c~ ~c Cartwright, Aynhoe, dish -"~~~ of smocanvas, H. 2 ft. 9 in. x3 w,ithe door ofhe house ehnd ib.nv..ft. 7 in. Abraham, in a Murill -white turban, blue coat, Abraham and Angels Murillo, Stafford House. and red mantle, has a staves, two seated at a table and one stand- brazier of coals in his right hand while his ing; Abraham approaching, bearing a left rests on his sword; Isaac, in red and dish of smoking meat; behind him, Sarah blue, walks before, carrying wood. Brought at the door of the house; in background, from Spain in 1760 by John Blackwood, Hagar and Ishmael. Engraved by G. E. from whom obtained by inlieritance.-CurPrice; mezzotint by G. S. and J. G. Facius. tis, 117. -Curtis, 117. By Raphael, Stanza d'Eliodoro, Vatican; By Murillo, Stafford House, London; can- fresco on ceiling. Abraham holding Isaac on vas, H. 7 ft. 9 in. x 8 ft. 6 in. On left, the altar and about to complete the sacrifice three angels, habited as pilgrims and bear- when an angel arrests his arm; another aning staves; Abraham, kneeling, pointing gel descending from heaven with the ram. with both hands to his house behind, invites Painted in 1513-14. —Vasari, ed. Mil., iv. them to enter. Companion to St. Peter in 346; Passavant, i. 159; Miintz, 370; Gruyer, Prison, Hermitage; one of eight large pic- Fresques, 241. tures painted in 1670-1674 for Hospital of By Rembrandt, Hermitage, St. Petersburg; La Caridad, Seville; carried off by Marshal canvas, H. 6 ft. 3 in. x 4 ft. 3 in Abraham, A BSOU)N with one hand on Isaac's face, who lies bound on a pile of wood, is al)out to execute the command with the other, when an angel carried from Holland by Frencl and presented by Napoleon il 1811. Slnaller copy in Madrid Museull. Engrave(d by Surulrue pere.-Gal. Roy. de Dresde, i. 1. 8; Vasari, ed. Ml., v. 51; C. & C., Italy, iii. 577. By Sodoma, Duomo, Plisa; wood, figures life size. Painted in 1542. (arried to Paris in 1811; returned in 1814.-Vasari, ed. Mil., vi. 397. By D. '7nlicrs, Vienna Museum; canvas, H. 4 ft. 1 in. x 3 ft. 3 in.; signed, dated 1653. Abraham and Isaac kneeling in prayer before an altar, on wlich is a fire and a ram ready for sacrifice; in distance, a landscape, with two servants and an ass. Engraved by Berkowez.-Gal. de Vienne, iii. PI. 157. ABSOLON, JOHN, born at Lambeth, England, May 6, 1815. Genre painter, chiefly in water colours; pupil of Ferrigi; supported himself when young by painting portraits in oil; in 1838 became a member Sacrifice of Abraham, Rembrandt, Hermitage. seizes his arm and the knife falls from his grasp. Houghton Gallery, whence passed in 1779, for ~300, to Hermitage. Engraved by Murphy; Haide.-Ch. Blanc, Rembrandt, 401. By Andrea del Sarto, Dresden Gallery; wood, H. 7 ft. 7 in. x 5 ft. 8 in.; signed. Abraham, about to slay Isaac on an altar, is arrested by a boy angel from above; at one side, the ram caught in the thicket; at the other, in background, a naked man watching an ass. Painted in 1529, for Francis I., but in Andrea's possession at his death in 1531; presented by Filippo Strozzi to Alfonso d'Avalos; after many wanderings, returned to Florence and placed in Tribune of the Uffizi; exchanged for a Correggio with the Duke of Modena, and finally sold to Augustus II. of Saxony. Copy in Lyons Museum, Sacrifice of Abraham, Andrea del Sarto, Dresden Gallery. of the New Water Colour Society, from which he withdrew in 1858, and exhibited in Academy an oil picture, Boulogne, 1857; A.( '( ) E returned to Water Colour Society in 18X1. (1589), Bonn Cathedral; Piet", Martyrdom In 1859, he visited Switzerland and Italy. of St. Sebastian, do. of Magdalen, Jesuit Works: Savoyard Boy, First Sup (1839); church, Munich; Altarpiece with Christ Singing for a Wife (1840); Vicar of Wake- crucified, Kreuzkapelle, ib.; nine biblical, field in Prison (1842); Paul and Virginia mythological, and genre scenes, Vienna (1843); Judgment of Midas, Captain Mac- Museum; Raising of Lazarus, Nativity, St. heath Betrayed (1844); Threading the Mary and Carthusian Monk, Portrait of Needle (1846); Plenty (1849); First Night Burgomaster Broelnan (1588), all in Coin a Convent (1853); The Baptism (1856); logne Museum; Ave Maria, Christ raising Boulogne (1858); Ttte-a-Tete(1860); Mdlle. the Widow's Son, Truth victorious under de Sombreuil (1861); Courtship of Gains- Protection of Justice, twelve borough (1863); The Beacon (1876); portraits of Bavarian princes Returning from Churcll, Bringing in the and princesses, all at SchleissMaypole (1883).-Art Journal (1862), 201; heim Gallery. - Allgem. d. Ottley; Meyer, Kiinst. Lex., i. 34. Biogr., i. 29; Campori, Artisti italiani e ACCORDRE DE VILLAGE. See V'llage stranieri, 245; Kugler (Crowe), i. 271; Bride. Meyer, Kiinst. Lex., i. 39; Organ f. christl. ACHARD, JEAN ALEXIS, born at Vo- K., xv. 155. reppe, Isere, France, June 8, 1807, died in ACHENBACH, ANDREAS, born in CasGrenoble, Oct., 1884. Landscape painter, s e 1, Sept. 29 self-taught; went to Paris in 1835, and 1815. Landexhibited first at the Salon in 1839; has scape and martravelled in Egypt. Medals: 3d class, 1844; ine painter, u2d class, 1845, 1848; 3d class, 1855. -J pil of IDusseldorf Works: Valley of the Isbre (1844); Grande Academy (1827 Chartreuse (1845); Mill of Cremieux (1848); -1835) u n d e r Autumn Landscape (1853); Sea Coast near Schirmer, an Honfleur (1861); Waterfall (1863); Cas- one of the most cade of Cernay-la-Ville (1866), Luxembourg;.d i s tinguished View near Cernay (1870). Others in Muse- painters of the urnms at Grenoble and Avignon.-Meyer, s c h oo 1. His Kiinst. Lex., i. 38. early views of the Rhine country are fresh ACHELOUS. See Hercules and Achelous. and individual. Later, e widened his ACHEN, JOHANN or HANS VON, born range by visiting Holland (1832-33), Norin Cologne in 1562, died ill Prague, Jan. 6, way (1835), the Bavarian Tyrol (1836), and 1615. History and portrait painter, Ger- Italy (1843). After his return to Diisselman school; pupil of C. Jerrighl in Cologne dorf in 1846, he painted a great number of and of Kaspar Reins in Venice; studied German and Norwegian landscapes, treating Michelangelo and Tintoretto in Italy, and mountain, forest, and sea with like ability returned home in 1588. In 1590 he was and power. Achenbach is a member of the called to Munich by Duke William V., be- Berlin, Amsterdam, and Antwerp Academies, came painter to the Emperor Rudolph II., and has received many orders and medals. resided at Prague after 1601, and in 1612 Paris Salon: medal 3d class, 1839; 1st class, was appointed court painter to Matthias I. 1855; 3d class, 1867; L. of Honour, 1864. He was a mannerist like Goltzius and Works in galleries of Berlin, Munich, FrankSpranger, and very much overrated by his fort, Darmstadt, Carlsruhe, Duisseldorf, and contemporaries. Works: Crucifixion (1588), in many private collections in Europe; in Protestant church, Cologne; Entombment the United States, in collections of Miss C. 6 ACIIENBACh1I L. Wolfe, T. A. Havemeyer, Aug. Belmont, R. Hoe, J. W. Drexel, E. D. Morgan, and R. L. Cutting, New York; H. C. Gibson, John D. Lankenau, and Mrs. W. P. Wilstach, Philadelphia; H. P. Kidder, Boston; W. T. Walters, J. W. Garrett, Baltimore; J. Longworth, Cincinnati.-Brockhaus, i. 103; Meyer, Kinst. Lex., i. 43; Miiller, 2; Nord u. Slid, xv. 381; Pecht, iii. 328. ACHENBACH, OSWALD, born in Diisseldorf, Feb. 2, 1827. Landscape painter, brother and pupil of Andreas, but his conception of nature is more ideal. Visited the Bavarian Alps at an early period, and went to Switzerland and Italy in 1845, 1850, and 1851. His representations of southern scenery and of peculiar atmospheric effects are of rare excellence. Medals: Paris, 3d class, 1859; 2d class, 1861, 1863; L. of Honour, 1863. Works: Park Landscape, Villa Chigi, Entry of a Cardinal into Ariccia (1851); Castel Gandolfo (1853); Nocturnal Funeral in Palestrina, Pilgrims from the Abruzzi (1861); Reapers in the Campagna (1863); Torre del Greco (1868); Street in Torre dell' Annunziata, Olive Harvest at Sorrento, Campo Santo at Naples; Festival in Araceli, Strand of Naples at a Church Festival, Naples and Vesuvius, Evening between Ceprano and Sora (1874); Palace of Queen Joanna, Breslau Museum; Villa Torlonia at Frascati, Market of Analfi, National Gallery, Berlin; Vesuvius after Storm, Bay of Naples, Inauguration at Castellamare, Castle of Ischia. The following are in the United States: Home of Garibaldi in Caprera, D. W. Powers, Rochester; Naples at Midnight, F. C. Sales, Pawtucket, R. I; Fish Market, Naples, H. Probasco, Cincinnati; Night at Capri, Judge G. Hoadley, Cincinnati; Storm in Roman Campagna, View near Romne, C. H. Wolff, Philadelphia; Staircase Street, Mrs. W. P. Wilstach, Philadelphia; Ball-Players at Villa Torlonia, Mrs. J. G. Fell, Philadel phian; Street in Naples, Josepll W. Drexel, N. Y.; Coliseum at Rome, Sta. Lucia, Temple of Vesta and St. Peter's, Convent of Vico, John D. Lankenau, Philadelphia; Bay of Naples, Summer a Night's Festival at Naples, Win. Astor, N. Y.-Meyer, Kiinst. Lex., i. 46; Brockhaus, i. 104; MUiller, 3. ACHILLES, ancient picture. Sec Athernion. ACHILLES, EDUCATION OF, Jean Beynault, Louvre; canvas, H. 8 ft. 6 in. x 6 ft. 11 in. The young Achilles, nude, about to shoot an arrow, turns his head toward the Centaur Chiron, who, behind him, left, Education of Achilles, Regnault, Louvre. appears to give instruction; in background, a dead lion, and, on the rocks above, a serpent. Salon, 1783. Engraved by Bervic.Reveil, v. 305; Landon, Mus6e, i. 23. ACHTSCHELLINCK (Achtschellinckx), LUCAS, born in Brussels, baptised Jan. 16, 1626, died there, buried May 12, 1699. Landscape painter, Flemish school, pupil of Pieter Van der Borcht; master of Brussels guild in 1657. Was of considerable 7 AC KER merit; worked for churches and monasteries. Works: Landscapes (2 with figures by Pieter Bout), Dresden Gallery; three, formerly in Pommersfelden Gallery; three, Museum, Bruges; two, City Hall, ib.; others in churches at Brussels.-Meyer, Kiinst. Lex., i. 50; Weale, Bruges et ses environs (1846), 21. ACKER, JACOB, flourished in Ulm, second half 15th century. German school. He is the only one of a family of painters of whom a well-authenticated work exists, viz., the pictures on the side wings and the predella of an altarpiece painted in 1483, which is preserved in the chapel of St. Leonard at the Cemetery of Risstipen, Ehingen. They represent Christ and the Disciples, and male and female saints.-Meyer, Kiinst. Lex., i. 51. ACKERMANN, JOHANN ADAM, born in Mentz in 1780, died in Frankfort in 1853. Landscape painter; studied in Mentz and in Paris under David, then in Aschaffenburg, and from 1804 in Frankfort. Most successful in his winter landscapes taken in the Taunus, Spessart, and Odenwald. Works: View of Auerbach, View near Borghetto, Darmstadt Gallery. His brother, Georg Friedrich (1787-1843), was also a landscape painter.-Meyer, Kiinst. Lex., i. 51. ACQUA, CESARE DELL', born in Pirano, Istria, July 22, 1821. History, genre, and portrait painter; pupil from 1842 of the Venice, and from 1847 of the Paris Academy, then in Brussels of Gallait, whose influence is, next to that of the Venetian school, most observable in his pictures. From 1857 to 1868, after a previous journey to Italy, he won his greatest success with historical paintings, among which are a series executed in 1858-66 in the Villa of Miramar for the Arch-duke Maximilian. Works: Last Moments of Niccolo Macchiavelli; Provenzano Silvani begging for Ransom of a Friend; Cromwell on the Battlefield; John preaching in the Desert (1851); Jesus calling Little Children (1854); The Brothers Degli Uberti in the Battle of Monte Aperto (1851); Mary Stuart derided by the People of Edinburgh (1854); Ferruccio at the Defence of Volterra (1854); Trieste proclaimed a free Port; Ugon da Duino entrusted with the Government of Trieste (1855); Reception of the Milanese in Brescia in 1162 (1857); Confession of Louis XI. (1858); Cornelia, Mother of the Gracchi; Tintoretto and his Daughter; Last Moments of Marino Faliero; Anna Erizzo rejecting Mohammed's Love; Erasmus and Bolognese Students; Youth of Spinoza; Dante received in Verona by Cane della Scala; Sally of the Milanese against Barbarossa (1863); The Kelts as first Inhabitants of the Rocks at Miramar; Roman Festival; Emperor Leopold I. visiting Grignano Monastery; Archduke Maximilian receiving the Delegation from Mexico; Departure of the Imperial Couple from Miramar; Arrival of Empress Elizabeth at Miramar; Allegory representing Maximilian planning the building of Miramar.-Meyer, Kiinst. Lex., i. 54. ACTAgON. See Diana and Actaeon. ADAM, ALBRECHT, born at N6rdlingen, April 16, 1786, died in Munich, Aug. 28, 1862. Painter of military genre and of horses; at Nuremberg in 1803 painted portraits and snall hunting scenes, but afterwards, under the influence of Rugendas in Augsburg, took up military subjects, for which he found ample material (luring the Austrian campaign of 1809. Went with Eugene Beauharnais as court painter to Italy, and in 1812 to Russia; returned in 1815 to Munich, and found employment at court. In 1829 he worked in Stuttgart for the king of Wiirtemberg, and in 1850 painted in Vienna the battles of the Austrian army under Radetzky. Works: Battle of Leoben (1811); Battles of Moschaisk and Malojaroslawetz, besides 85 other scenes from campaign of 1812; sixteen battle pieces from Life of Eugene Beauharnais (1841, St. Petersburg); Battle of Abendsberg (1826); Painter's studio (1835), Berlin Museum; Battle on the Moskwa (1835); Battles of Custozza, Novara, and Sta. Lucia (1850); Battle of 8 ADA ),\ Temesvar (1853); Battle of Zorndorf (1861); paigns in 1849 and 1850. Settled at Munllic numerous horse-pieces and small genre il 1850. Member of Munich alnd Vienna scenes and portraits. - Allgem. d. Biogr., i. 44; A Brockhaus, i. 128; Meyer, r Kiinst. Lex., i. 65; Regnet, i. 1. ADAM, BENNO, born in Municlh, July 15, 1812. Son and pupil of Albrecht, and one of the best animall painters of the Munich school. Has been called the German Landseer on account of his skill in treating domestic animals, combined with human figures. Works; Fox Clase, Prince Karl of Fiirstenberg, Donaueschingen; Wounded Stag, Prince Max of Furstenberg, Prague -Meyer, Kiinst. Lex., i. 69. ADAM, EMIL, born in Municlh, May 20, 1843. Painter of horses, equestrian p'ortraits, and hunting scenes; pupil of his father Benno, and his uncle F'ranz, and in figure painting of Portaels at Brussels (1865). Works: Meet at Pardubitz (60 hunters on horseback, 1868, Princess Maria Kinsky); Hunt at Lippspring (40 persons, 1871, Duke of Nassau); Hungarian Stud Horses during an Inundation; Stud of Horses (R. G. Dun, N. Y.)-Meyer, Kunst. Lex., i. 72; Mailer, 5. ADAM, EUGEN, born in Munich, Jan. 22, 1817, died there, June 4, 1880. Genre painter, thiird son and pupil of Albrecht, whom he accompanied (1848) to the seat of war in Italy, where lie remained until 1856. Able painter of soldier life in peace and war, as also of picturesque customs and manners in Hungary, Croatia, and Dalmatia, which he visited in 1844-47. Manoeuvre under command of the Emperor of Austria (1851); two scenes from Conquest of Malghuera (1852), Collection of Emperor of Austria; Wounded Soldier (1859), Munich Gallery; Cavalry Skirmish (1868).-Meyer, Kiinst. Lex., i. 71; Kunst. Chronik, xv. 646; Illustr. Zeitg. (1880), i. 513. ADAM, FRANZ, born in Milan, May 4, 1815. Painter of military subjects and Hungarian scenes, like his father and master Albrecht, and his brother Eugen, with whom he followed the Italian and Hungarian cam Acadlemies; Order of St. Michael; great gold Iledal at Berlin, 1875. Works: Equestrian Portrait of Francis Jo-. seph (1857); do. of Field Marshal Bad- SON etzky; Episode from battle of Solf e ri n o (1867); Skirmislh between Austrian Ulilans and Piedmontese Dragoons (1868); Retreat from Russia (1869), National Gallery, Berlin; Battle of Sedan (1874), Duke of Saxe-Meiningen, replica (1879), National Gallery, Berlin; Bavarian Corps before Orleans (1879), Municl Gallery; Transportation of Prisoners after Sedan (1880); Hungarian Horses on the Danube (1881).-Brockhaus, i. 129; Meyer, Kiinst. Lex., i. 70; Miiller, 4. ADAM, HEINRICH, born at Nirdlingen in 1787, died in Munich, Feb. 15, 1862. Landscape painter, brother of Albrecht, studied at Augsburg and Munich in 1808. Visited Italy in 1811, 1813, and 1819, after which time he gave up etching and devoted hlimself to landscape painting. His views of the Bavarian Alps, Switzerland, and Upper Italy are true to nature, though somewhat sober and dry in execution. Works: View '1 AA of Como (1822); Max-Ag, ^ Joseph Square, and 11 /132 views of monumental buildings; Marienplatz with 14 frame pictures, Munich Gallery. —Meyer, Kiinst. Lex., i. 68. ADAM, JEAN VICTOR, born in Paris, Jan. 28, 1801, died in Viroflay, Jan. 1, 1867. Military and genre painter, pupil of Meynier and Regnault. After 1840 chiefly occupied himself with designs for lithographic albums. Works: Entry of the French into Mentz, Battles of Castiglione, Neuwied, Montebello, 9 ADAM Surrender of Nirdlingen, do. of Meiningen, allatVersailles; The PosOIr CZ Ice tillion, R e turn from the Chase.-Meyer, Kiinst. Lex., i. 73. ADAM, CREATION OF (Genesis i. 27), Michelangelo, Sistine Chapel, Rome; fresco on ceiling. Adam, fully formed, lies on the verge of the earth in the act of rising, as if he felt for the first time the spark of life; above, at right, the Eternal, represented as an aged man with white hair and beard, By A. Diirer, Palazzo Pitti, Florence; wood, diptych; each panel, H. 6 ft. 10 in. X 2 ft. 8 in. Figures full length, life size, nude. I Adam standing under a tree, his hair flowing over his shoulders, holding in left hand the branch with the apple offered by Eve, while the right hangs down, the fingers making a deprecatory gesture; by his side a wild boar and a stag's head; in foreground, a cockpheasant. II. Eve, standing under a tree, receives in her left hand the forbidden fruit from the serpent, twined around a limb, and with the other offers the branch to Adam; behind her a lioness asleep; two parrots are Creation of Adam, Michelangelo, Sistine Chapel. upborne by genii, and enveloped in violetgrey drapery which is swelled out by the wind, stretches out his hand as if to bid Adam arise. Engraved by D. Cunego.Grimm (Bunnett), i. 333; Wey, Rome, 326; Kugler, 301; Klas. der Malerei, P1. xxii., Text, 98. ADAM AND EVE, Carlo Cignani, Hague Museum; canvas, H. 7 ft. x 4 ft. 10 in. Nude, seated, Eve presenting the apple; at left, the tree of life, around which is wound the serpent, holding an apple in its mouth; at right, below, a lioness and her cub. Painted in 1703. Engraved by Pierron; Devillier.Reveil, xiii. 902; Filhol, ii. 98. perched upon the tree, and in foreground are two partridges. Painted in 1507. In 16th century in Rathhaus, Nuremberg, whence passed into collection of Emperor Rudolph IL Old copies in Madrid and Mentz Museums. The latter, probably by Juvenel, replaced original at Nuremberg; was carried off by the French in 1796, and returned to Mentz. Original engraved by Calzi and Ferretti in Bardi.-Thausing, ii. 2. 277; Ephrussi, 141; Passavant, Christliche Kunst in Spanien, 142. By Filippino Lippi, Brancacci Chapel, Carmine, Florence; fresco on right wall. Adam and Eve, the latter with the apple in 10 ADAM her hand, standing under the Tree of Life, Painted in 1511; a fine composition, ex. around which is coiled the serpent with ai trelmely pure in style and feeling. Engraved woman's llead(. Thle Eve is F;;.- ^ b. Solis; F. Muller; '. one of the first really beautti- -..., Wil)rt, and otlers.-Passaful nude figures in modern )! 'f,:;.;'i- nt, i. 117; Mlintz, 34(; Cl. art. -Kugler (Eastlake), i. > - i 13Blanc, Icole ombriene; 222. 1 ' j ' C'Grluyer, Fresques, 73; PerBy Michelangelo, Sistine.. kins, Essay, 119. Chapel, Rome; fresco on By Jtibens, Hague Museceiling, H. 10 ft. 7 in. x 31: 'u; woo, H. 2 ft. G in. x 3 ft. 10 in. In centre, the Tree - - ^ft. Figures by Rubens, landof Life, coiled around which s [a | st\ct K pe by Brueghel. Sold in the serpent, having the body!-' \: ' /' collection of Madam Backer, of a woman, is handing the. Leyden, 1766, for 7350 florfruit to Eve, who reclines on,'! is.-L Sitllnit ii. 113. rocks at left; beside hler, Subject treated also by Adam, standing, is reaching Llucas Cranach, Uffizi, Florup for the fruit; at right, \ ence; Franls Floris, Uffizi, Adam and Eve, bound with. \\./ Florence; Domenichino, Rosvine leaves, are fleeing be- i' 1 piliosi Palace, Rome; fore the Angel, who pursues * v E Francesco Albani, Brussels from above with a drawn ^i ' /Museum; Hendrik Goltzius, sword. Painted in 1512-13.;HerIitage, St. Petersburg -Pistolesi, viii. P1. 107; Re- =. Pallma Vecchio, Brunswick veil, xiv. P1. 497. Adam and Eve, Filippino Lippi Gallery; and many others. By Raphael, Camera della Carmine, Florence See also Elden, Expulsion Segnatura, Vatican; fresco, on ceiling. Eve, ' fom, and Raphael's Bible. nude, standing, with one hand on a branch ADAM OF FRANKFORT. See Elsheimer. Adam and Eve, Miche!angelo, Sistine Chapel. of the tree, around which is twined the ser — ADAMO, MAX, born in Munich in 1837. pent with a woman's head, offers the forbid- History and genre painter, pupil of the den fruit to Adam, seated under a fig-tree. Munich Academy under Phil. Foltz, and 11 ADAN of Piloty. Works: Alva condemning Peers In his earlier time he treated genuine of the Netherlands (1868); Fall of Robes- landscape, but later gave the preference to pierre; Last Meeting between Egmont and Dutch harbour, shore, canal, and street views. Orange; Meeting between Charles I. and His subjects are well selected,though dry and Cromwell; Adept in Laboratory; Cromwell somewhat feeble in colour. Works: Dutch dissolving Parliament.-Meyer, Kiunst. Lex., Canal (1841); Harbour at Amsterdam (1846); i. 77; Miller. Dutch Winter Landscapes; Landing-place ADAN, LOUIS IMILE, born in Paris, at Dordrecht (1851); View of EhrenbreitMarch 26, 1839. Genre painter, pupil of stein and Coblentz (1854); Sea Harbour in Picot and of Cabanel. Medals: 3d class, Sunlight (1857). —Meyer, Kiinst. Lex., i. 84. 1875; 2d class, 1882. Works: Last Day of ADOLFI, CIRO, born at Bergamo, Italy, Sale (1875); Arrival at Chateau (1876); St. in 1683, died in 1758. History painter, son Martin's Summer; Room at Fontainebleau, and pupil of Benedetto Adolfi (1640-1720), H. B. Hurlbut, Cleveland; Marguerite at a painter of little reputation. Executed the Shrine, D. W. Powers, Rochester, N. Y.; frescos in public buildings in Bergamo. Dancing Lesson (1877), 0. D. Munn, N. Y.; Works: Four Evangelists, S. Alessandro Little Prodigy, Summer at St. Martin (1879); della Croce, Bergamo; Deposition from Gulliver at Brob- Cross, S. Maria delle Grazie, ib.; Decolla~t(m//^ GeC5 m d i gnag (1880); tion of St. John, Church at Colognola. Sining L e s son ADOLFI, GIACOMO, born at Bergamo (1881); Autumn in 1682, died in 1741. History painter, Evening (1882); The Ferryman's Daughter son and pupil of Benedetto Adolfi and (1883); L'abandonnee; Old Chateau (1884); brother of the preceding. Among his best Anniversary, End of the Journey (1885). works are: the Coronation of the Virgin in ADEMOLLO, CARLO, born in Florence, the church of the Monastero del Paradiso, Italy, in 1825. Landscape and military and the Adoration of the Magi in S. Alesgenre painter, nephew of Luigi A., pupil of sandro della Croce, Bergamo. Other pictures Bezzuoli; became first known through land- in other churches in Bergamo and elsewhere. scapes and animal pieces; painted in 1856, ADONE. See Doni. by order of government, the Battle of S. Mar- ADONIS. See Venus and Adonis. tino (Gallery of modern paintings, Florence), ADONIS, DEATH OF, Moretto, Uffizi, and since then chiefly military episodes in Florence; canvas, figures life size. Venus, recent Italian history: Death of Cairoli at nude, wearing a diadem, is seated in a glade, Varese; Condemnation of Frate Ugo Bassi; attended by three nymphs and Pan playing Stanislas Bechi going to Execution (1865). his pipes; beside her a Cupid, pointing to -Meyer, Kuinst. Lex., i. 84. right, where Adonis lies dead, with the boar ADEMOLLO, LUIGI, born in Milan, in background. A capital picture, possibly Italy, April 30, 1764, died in Florence, Feb. by Sebastian del Piombo instead of Moretto. 11,1849. History painter, pupil of the Flor- -C. & C., N. Italy, ii. 416; Rosini, v. 241; ence Academy; studied afterwards in Rome; Molini, Galleria di Firenze, i. 145; Lavice, was much employed in decorating interiors 34; Lasinio, i. PI. 40. in fresco, especially in Milan, Florence, and By Paolo Veronese (?), Bridgewater House, Lucca. His works show superficial skill and London; canvas, H. 4 ft. 91 in. x 5 ft. 7 in. weak drawing of the nude and of drapery. Venus bewailing the death of Adonis, whose -Meyer, Kiinst. Lex., i. 81. head is supported by a Cupid; in backADLOFF, KARL, born in Duiisseldorf in ground, a Cupid and two dogs worry the 1819. Landscape and architecture painter; boar. Perhaps by Carlo Caliari. From pupil of Duiisseldorf Academy in 1833-41. collection of Queen Christina of Sweden 12 ADORATION to Orleans Gallery; bought by Duke of and dead bird on a table, in Antwerp MuBridgewater for 150 guineas.-Waagen, seum.-Meyer, Kiinst. Lex., i. 86; Rooses Treasures, ii. 498; Stafford Gallery, ii. P1. 29. (Reber), 422. ADORATION OF JESUS. See Madonna ADULTERESS. See Woman taken in in Adoration. Adultery. ADORATION OF KINGS. See Magi. AEKEN, HIERONYMUS VAN. See ADORATION OF THE LAMB. See Bosch. Eyck, Hubert van. AELST, EVERT VAN, born at Delft ADORATION OF MAGI. See Magi. in 1602, died there in 1658. Dutch school; Death of Adonis, Moretto, Uffizi. ADORATION OF SHEPHERDS. See Shepherds. ADORATION OF TRINITY. See Trinity. ADRIAENSSEN, ALEXANDER, born in Antwerp, Jan. 17, 1587, died there, Oct. 30, 1661. Fish and still life painter, Flemish school; pupil of Artus Van Laeck; travelled and came under influence of Rubens, and was intimate with Van Dyck, who painted his portrait, engraved by Van der Does. Works: Three pictures in Berlin Museum, one dated 1647. Among his best are four pictures in the Madrid Museum, and one representing fish, lobsters, a cat, painted dead game and weapons of the chase. Works: Two in Berlin Museum; Game, Dresden Gallery; others in Augsburg, Schwerin, and Potsdam Galleries.Kugler (Crowe), ii. 520; Meyer, Kiinst. Lex., i. 100. AELST, WILLEM VAN, born at Delft in 1620, died in Amsterdam in 1679. Dutch school; like his uncle and master, Evert van Aelst, whom he far excelled, he painted dead birds and weapons of the chase, but his favourite subjects were fruit and other eatables with drinking glasses, etc. In 1643 he became a member of the Guild of St. Luke at Delft He visited France and Italy, 13 .A,; N E i\ S worked at Florence for the Grandl Duke, who presented him with a gol(len chain and medal, and oI his return home in 1656 settlel at Amsterd(am. Someties signedl his name in Italian " Gugli(elno." Works: Delad partridges, etc., Munich Gallery; marble table with deald birds (1653), do. witl costly vessels and fruit (1659), Berlin Museum; three similar subjects, Dresden Gallery; four in the W). V e eIIence; Flowers (/ ~ ~ (1663), and Still / 3 r 3? ~Life (1671, formerly at Compiigne), Hague Museum.-Kugler (Crowe), ii. 520; Meyer, Kiinst. Lex., i. 100; De Stuers, 3; Ch. Blanc, Ecole liollandaise. AINEAS AND ANCHISES, Lionello Spada, Louvre; canvas, H. 6 ft. 3 in. x 4 ft. 3 in. AEneas, accompanied by young Ascanius, bears on his shoulders his father Anchises, who received from Creusa, AEneas's wife, the penates saved from Troy. Taken to France in 1634 by tile Marechal de Crcqui; bought after his death (1638) by Cardiinal Richelieu, who bequeathed it to Louis XIII., as a work of Lodovico Carracci. Afterward ascribed to Domenichino. Engraved by Outline; G. Audran.-Villot, Catalogue Louvre; Musre franqais; Filhol, ii. PI. 85. iENEAS AND DIDO, Pierre Gucrin, Louvre; canvas, H. 9 ft. 8 in. x 12 ft. 9 in.; signed, dated 1813. Dido, reclining upon a coach, listens with interest to AEneas, who, seated at the left, recounts the story of the war of Troy; Cupid, under the form of Ascanius, holding one of the armns of the Queen, draws off her wedding ring; at right, Anna, sister of Dido, standing, looks at the false Ascanius. Salon, 1817; acquired in 1818 for 24,000 fr. Engraved by Forster.-R6veil, vii. 461. ENEAS, LANDING OF, Claude Lorrain, formerly at Leigh Court; canvas, H. 5 ft. 4 in. x 7 ft. 4 in.; signed, dated 1675. AEneas and his companions landing in La----- -- -- --— r --- —- ---— o tium. Companion piece to Temple of Apol. lo; formed with it at time of French Revolution, chief ornament of the Palazzo Altieri, whence bought by Fagan for 9,000 scudli; sold to Mr. Beckford, with four Italian cabinet pictures for.~10,000; the two Claudles passed to R. H. Davies and thence to Sir Plhilip Miles, Leiglh Court, for ~12,000; Leigh Court sale (1884), to Agnew for 5,800 and 3,800 guineas respectively. — Waagen, Treasures, iii. 181; Pattison, Claude Lorrain. AERTSZEN, PIETER, called Lange-Pier, born in Amsterdam in 1507, died there, buried Sept. 21, 1573. History and genre painter, Dutch school, pupil of Alaert Claessen; joined the Antwerp Guild in 1535. Most of his large altarpieces were destroyed by the Iconoclasts in 1566. Works: Crucifixion, Antwerp Museum; do. (1546), Antwerp Hospital; Egg Dance (1557), Amsterdam Museuml; Christ bearing the Cross, Berlin Museum; Market Scene, Vienna Mu6 sentLen IR seum; Cook with Vegetables and Fruits, Cassel Museum.-Kugler (Crowe), i. 248; Meyer, Kunst. Lex., i. 104. AERTTINGER, KARL AUGUST, born in Munich, April 17, 1803. Military genre, portrait, and landscape painter. First studied in Augsburg under Clemens Zimmermann, then from his 20th to his 25th year in the Munich Academy, and in Paris in 1830-31. At Vienna (1846-48), he painted equestrian portraits of the Imperial family, and of Archduke Charles with the Austrian generals of 1809. In 1849 he joined the Russian army in Hungary, and after the campaign worked five years in Poland for Prince Paskievich. Since his return to Germany in 1854 he has painted chiefly genre and landscape. -Meyer, Kiinst. Lex., i. 107. IESCULAPIUS, ancient picture. See Aristarete; Nicophanes. 14 _iE SC(LA PI FS IESCULAPIUS, OFFERING TO, Pierre French school; a famous portrait painter Guirili, Louvre; canvas, H. 9) ft. 10 il. x 8 of hlis day, pupil of Vouet. After the revoft. 8 ill. An oldl an, convalescent, sutp- cation of the Edict of Nantes (1682), being ported by his two sons, offers thanks before.a Protestant lie was forced to leave France; the altar of AEsculapius for his restoration to went to Denllark and became court painter health; his daulghter, on her knees, shows joy to Chlristian V., whose portrait lie painted, at seeing the serl)ent eat of tile fruit pllaced as well as that of tlhe (queen, and of hilmself upon the altar. Salon, 1795.-Rlveil, iii. (1693), now in thle Utizi, Florence. After 155. 1('99, lie went to Elnglanld land painted AETION (Eition), 1)inter and sculptor, manly por'traits.-Meycr, Kiinst. lex., i. time of Alexander the Great (?), classed by 114. Pliny among greatest Greek artists. Most AGASSE, JACQUES LAURENT, born in famous works, Marriage of Ninus and Senl- (eneva, Switzerland, died il London in iramis and Marriage of Alexander and Rox- 1846(. Anilal and landscape painter,; studana. Tile latter excited such admiration, ied for some tinie in Paris, went to London when exhibited at the Olympic games, that Pro - enidas, one of the judAges, gave himn his daughter in i, marriae. Raphael repro-io, P. duced it in a drawinva (Louvre) from Lucian's minute description (Herod. 4; Imag. 7), which Razzi (Ii h /( Sodoma) also followed in his fresco in the Farnesina. Miuller places Action in the age of Hadrian and the Antonines. -Mifller (Welcker), 211, N. 1; Pliny, xxxv. 32. 36; Cicero, Brut., 18. AFRA, ST., MARTYRDO-Il OF, Paolo Veronese, Martyrdom of St Agatha S del Piombo Pal Pitti. S. Afra, Brescia; canvas, signed. The saint about to suffer martyrdom, with angels flying down with palms and garlands; at foot of scaffold lie the severed heads of SS. Faustinus and Jovitus, that in front being a portrait of Veronese. Damaged by restoring. -Ridolfi, Marav., ii.39. AGACHE, ALFRED PIERRE, born at Lille, contemporary. Figure and portrait painter, pupil of Pluchart and Colas. Medal: 3d class, 1885. Works: Fillette (1881); The Fates (1882); Study (1883); Decorative Figure (1884); Fortuna (1885). AGAR, JACQUES D', born in Paris in 1642, died in Copenhagen, Nov. 164, 1715. about 1800 and exhibited pictures for several years at the Royal Academy. Some of them, including six landscapes, were engraved. Works: Portrait of a Horse (1801); Rustic Repast; Race Ground; Market Day; Fishmonger's Shop (1842). AGATHA, ST., MARTYRDOM OF, Sebastian del Piombo, Pitti, Florence; wood, H. 4 ft. 3 in. x 5 ft. 6 in.; signed, dated 1520. The saint, stripped to the waist, with two executioners about to apply their pincers to her breasts. at the order of Quinziano, Prefect of Sicily, who tortured her because she would' not give up her faith; be 15 AGATHARCHUS hind him are several soldiers; to right, as father and master of Polygnotus and smoke of a fire seen through an arch and Aristophon, though Quintilian (xii. 10, 3) men carrying wood. Painted for Cardinal says his pictures were worthy of admiration Rangoni. Belonged afterwards to Duke of on other grounds than antiquity. Said to Urbino and came to the Medici through have been first to represent Victory (Nike) marriage of Ferdinand II. with Vittoria with wings, and to have pailted a horse of della Rovere. Carried to Paris in 1799;| remarkable excellence. The two pictures returned in 1814. A masterpiece. Shows commemorative of victories of Alcibiades in marks of Michelangelo's cooperation.-Va- the Olympic games (about 416 Bi. c.), atsari, ed. Mil., v. 581; C. & C., N. Italy, tributed both to Aglaophlon and to a supii. 332; Rosini, v. 9; Lavice, 66; Landon, posed grandson of same name, were probMusee, vi. P1. 57. ably the work of his son Aristopholn.-Pliny, AGATHARCHUS, painter, born in Sa- xxxv. 35, 36 [601; Brunn, ii. 13. mos. Won renown in Athens, 5th cent. B. c., AGNENI, EUGENIO, born at Sutri, as a scenic and decorative painter; aimed at near Rome, Italy, in 1819. Plupil of F. Cooptical illusion by means of perspective and, ghetti in Rome, where he went in 1832. like Apollodorus, is classed among the ske- When 18, lie executed large paintings for nographers or skiographers, i. e., shadow churches, and in 1847 was employed by painters, showing (Mahaffy, Hist. Clas. Gr.; Pius IX. to decorate the throne-room in the Lit., i. 244) that the painting of shadows was Quirinal. He took part in the defence of first attempted to produce effects of perspec- Rome in 1848, and fled to Savona, where he tive in scene painting. Agatharchus wrote a aided Coghetti in frescoing the cathedral in treatise on perspective and prepared the 1849. He then decorated the palaces of way for the development of painting in a Rocca, Solari, and Piuma, in Genoa, and inmodern sense. He decorated the house of vited bv the architect of the Louvre to conAlcibiades at Athens (Plut. Alcib. 16), and tribute to its decoration, went to Paris in painted a scene for 2Eschylus.-Vitruv. 11852, but only a few months later proceeded Proef., vii.; R. R., Schorn, 168; Brunn, ii. 51.! to London, where he was employed to decAGE OF INNOCENCE, Sir Joshua Rey- orate the Queen's room in Covent Garnolds, National Gallery, London; canvas, den, and to paint a large picture of the H. 2 ft. 6 in. x 2 ft. 1 in. A little girl, royal family. After the liberation of Italy seated on the grass under trees, with her he settled in Florence; in 1866 again served hands crossed. Vernon Collection, 1847; as a volunteer under Garibaldi, and has, bought at Harman sale (1844) for 1520 since then, been occupied with decorative guineas. Engraved by J. Grozer (1788), paintings in Florence. Besides his great Ch. Turner, F. Joubert, S. Cousins; etched wall paintings, he has painted many genre by A. Mongin.-Catalogue National Gal- pictures, and biblical and allegorical scenes. lery; Pulling, 84; Portfolio (1877), 149; Work: Departed Spirits of Great FlorenArt Journal (1850), 44; Stephens, English tines protesting against the Foreign InvaChildren, by Sir J. R. sion, Museo Civico, Turin. —Meyer, Kiinst. AGES, THREE. See Three Ages. Lex., i. 124. AGGAS, ROBERT, born about 1619, died AGNES, ST., MARTYRDOM OF, Domein London in 1679. Landscape and scene nichino, Bologna Gallery; canvas, H. 15 ft. painter, much employed by Charles II. A 10 in. x 10 ft. 4 in. St. Agnes, on a pile of landscape by him is preserved in the Painter- wood in an open court, is stabbed by an Stainers' Hall, London. executioner with a poniard; at right, three AGLAOPHON, Greek painter, of Thasos, women and a child look on with horror; at Ionic school, about 490 B. c. Chiefly noted left, the Prefect Sempronius, surrounded by 16 AGNES his guards; above, tle Trinity, with a choir lery; Thunder Storm, Rainbow, Sunset, of angels, to one of whom Christ gives the Ponlllersfelden Gallery; Landscapes with palm of martyrdom and a wreath for St. Ag- large Rock, Millstone on Sled, Dresden Galnes. Painted for S. Agnese, Bologna; car- lery; Ruins of Monument, Vienna Museum; ried to Paris in 1796; returned in 1815. Engraved by G. Aud- "7 ran; F. Rosaspina. - Landon,... Musee, vi. P. 25; Pinac. di Bo- / - \ logna, P1. 52; Lavice, 17. //. AGNES, ST., MARTYRDOM, OF, Tintoretto, S. M n. dell' Orto,: Venice; canvas. Much injured by restoration. - pRidolfi, Ma328. AGNOLO, ANDREA D'. See Sarto. See Oderi.ii. r'/-,... 'AGRASOT, JOAQUIN, born.. Prestidigitator; La Feria e de 1 i | Orihlue la; Before the Bull Fi gthr in Stebbins, N. Y.; Monk and Children, M. Goraham, N. Y. f La Ilustracion (1880), i 291; ( 2), of ii. 3; (1883), i. l259er AGRICOLA, CHRISTOPH LUDWIG, born in Ratisbon, Nov. 5, 1667, died there, in painter; German school. He was a constant traveller in Ger-. K many, England, Holland, and France, but preferred to live in Nale1r88gbrg0H)ret Martyrdom of St. Agnes, Domenichino, Bologna Gallery ed landscape in the classical style under Morning Dawn, Night, Rainbow, LandPoussin's influence, and in his glowing at- scapes in Rain, Uffizi, Florence; others in mospheric effectsresembles Claude. Works: Naples, Bologna, Turin, Gotha, Frankfort, two Oriental Landscapes, Mountain View, Schverin, and Breslau Galleries.- ugler Portrait of Himself, Brunswick Museum; (Crowe), ii. 567; Meyer, Kuinst. Lex., i. two Landscapes with Figures, Cassel Gal- 137. A( TR r('LA AGRICOLA, EDUARD, lorn in Sluttgart, in 18()(). Landscape painter, pupil of Berlin Academy; studied afterwards in Italy, where, at different times he spent eighteen years. Finally settled in Carlsruhe. Works: Waterfalls of Tivoli, Sicilian Landscapes, Anialfi, Castel di Portici.-Meyer, Kiinst. Lex., i. 141. AGRICOLA, FILIPPO, born at Urbino in 1776, dlicd in Rome in 1857. Subject painter, pupil of Academy S. Luca, Rore, of which he was director in 1843. His Marius contemplating Ruiins of Carthage, for whicl he was awarded the first prize in 1812, is in the Academy S. Luca, where is also his last work, Assumption, a commission from Gregory XVI. Other works: Holy Family (1819), Dante and Beatrice, Petrarch and Laura, Tasso and Eleonora, Herodias, Pygmalion, Madonna, Venus and Cupid, portraits of Crown Princess of Denmark (1822), of Countess Perticari, of the Poet Monti and his Daughter.-MAeyer, Kiinst. Lex., i. 139; Kunstblatt (1823), 87; (1843) 140. AGRICOLA, KARL (Joseph Aloys), born at Seckingen, Baden, Oct. 18, 1779, died in Vienna in 1852. Miniature painter, made his first studies in Carlsruhe, then from about 1798 at the Vienna Academy under Fiuger, in whose mannered style he painted to the last. His water colour miniatures, which are more generally known than his oil paintings, found great favour in Vienna. Works: Madonna, Vienna Museum; Cupid and Psyche, The Hours, Vienna Academy; St. Catharine, Cupid Hunting Butterflies, Cupid Asleep.-Meyer, Kiinst. Lex., i. 139; Andresen, iv. 1. AGRIPPINA, LANDING OF, Joseph M. \W. Turner, National Gallery, London; canvas, H. 2 ft. 11 in. x 3 ft. 11 in. Agrippina, mother of Caligula and widow of Germanicus, brought home in an urn the ashes of her husband, who had died of poison at Antioch. She landed at Brundusium (Tac. An. iii. 1), but the picture represents Rome, with the Triumphal Bridge and Palace of the C:(.sars in the background. Royal Academy, 1839; Turner Collection. lEngraved by A. Willmore. Etched by A. Brunet-Debaines in Portfolio, 1878.-Hamerton, Life; Catalogue National Gallery. AGUADOR DE SEVILLA. See Wtater Carrier. AHLBORN, AUGUST WILHELM JULIUS, born in Hanover, Oct. 11, 1796, died in Rome, Aug. 24, 1857. Landscape painter, pupil of Berlin Academy, and of Wach; after 1827 resided in Italy and painted Italian views in the classic style, though lie occasionally treated scenery in tile Tyrol and Northern Germany, as well as religious subjects and portraits. Works: View of Tiber, St. Peter's seen fiom the Vatican, Grotta Ferrata on the Alban Hill, portraits of Prince Leopold of Dessau and of Blticher, Castle at Potsdam; Villa Mondragone, Bellevue Castle, near Berlin; others in the Castle of Charlottenburg; View of Amalfi, Royal Palace, Berlin. - Meyer, Kiinst. Lex., i. 148; Rosenberg, Berlin Malersch., 56. AIGEN, KARL, born in Olmiitz, Moravia, in 1684, died in Vienna, Oct. 22, 1762. Painter of altarpieces, genre, and landscapes; studied probably in Vienna under P. von Strudl; member of Academy in 1754, and superintended school of painting in 1750 -59. Works: Fair outside a City Gate, Kirmiess, Vienna Museum; two winter landscapes, Harrach Gallery, Vienna.-MAeyer, Kiinst. Lex., i. 150. AIGNER, JOSEF MATTHAUS, born in Vienna, Jan. 18, 1818. Portrait painter, pupil of Amerling, and early acquired reputation. Being concerned in the revolutionary movement of 1848, and sentenced to death, lie was pardoned at the intercession of influential persons. His portraits of Lenau. Grillparzer, F. Halm, Feuchtersleben, Betty Paoli, Rubinstein, Emperor Francis Joseph, and Empress Elizabeth, are characteristic, broadly treated and good in colour. -Brockhaus, i. 274; Meyer, Kunst. Lex., i. 151; Muller, 7. J8 ,AI(I N' I ER AIGNIER, LOUTIS AUGUSTE LAUR-' AIVASOVSKI, IVAN CONSTANTINOENT, born in Toulon, Feb. 21, 1819}, died VICH, lbo1rn at 1Fe(ldosia, ('rimlca, July 7, there, June 8, 18(5. Landscapeand marine 1817. Marine painter, )upil of tlhe St. painter, pupil of E. Helbert; sketched iln Petersbulrg Acadeny, flrom 1833, andl of France and Spain. Works in museums of llhilippe Tanneur after thle latter's arrival Toulon and Marseilles.-Meyer, Kiinst. there in 1835. FIrom 1837 lie studied id(leLex., i. 152. pendently from nlature, and in the same AIKMAN, WILLIAM, born at Cairney, year exllibited six pictures which attracted Forfarshlire, Scotland, Oct. 24, 1682, died the attention of the Emperor, who enabled in London, June 7, 1731. Pupil of Sir John him to travel in tlhe Crimea anld Miingrelia. Medina; studied in Rome ill 1707-10, He went il 1840 to Italy, where lie painted, travelled in the East, returned to Edinburgh especially in Naples, his first successful pictin 1712, and practised portrait painting ures, and after having visited Holland, with success. In 1723 settled in Londonl, England, and Spain, returnled to Russia in where he imitated manner of Kneller. His 1844, was 1made nmember of tile St. Peterslarge, unfinished picture of the royal family burg Academy, andl executed for the Ermis in collection of Duke of Devonshire; por- peror several views onl the Gulf of Finland. trait of himself in National Gallery, Edin- In 1845 lie made a tour through Southern burghl; portrait of poet Tholnson, Lyttelton Russia and Turkey, and then settled in his Gallery, Worcester; portrait of Duncan native town. In 1847-56 lie exhilited a Forbes (?), National Portrait Gallery, Lon- great number of pictures in Russia; went don. Many of his works are engraved.- to Paris in 1856 and painted there 25 pictRedgrave; Meyer, Kuinst. Lex., i. 152. ures during the following winter. Medals: AINEMOLO. See Aliw,,molo. Paris, 3d class, 1843; L. of Honour, 1857. AINMILLER, MAX EMANUEL, born Works: View of Kertsch (1846\, Sunrise in Munich, Feb. 14, 1807, died there, Dec. on the Black Sea (1850), Creation, Deluge 9, 1870. Painter of architecture and re- (1865), and others, Hermitage, St. Petersviver of glass painting; pupil of the bturg; Sea Fights at Revel, Wiborg, and Munich Academy, afterwards concerned Tchesmne, Wreck of the Frigate Ingermanin, and since 1844, director of the royal land, Peter the Great at Krassnaja Gorka, manufactory of stained glass, which under Winter Palace, ib.; View of Constantinople, his supervision has produced important Calhn Sea, Naples by Moonlight, Academy, works for the cathedrals of Ratisbon, Co- ib.; Solar Eclipse, Geographical Society, ib.; logne, and Speier, St. Paul's in London, Venice, Storm, two Moonlight Views, Exand the university church at Cambridge. change, ib.; Liglited Castle on the Sea, His Gothic church interiors, which show a Peterhof; Calm Sea by Moonlight, three thorough knowledge of architecture, are Storms at Sea, Monastery of St. George, somewhat hard and cold in colour, though Moscow Museum.-Meyer, Kiinst. Lex., i. well mnianaged as to light and shade. Works: 156; Miiller, 8. two interior views of Westminster Abbey, AJAX, ancient picture. See Apollodorus, Munich Gallery; do., and others, National Pamrn uts, Parrhasius, Timaiinthes, TimomachGallery, Berlin; interiors of Church of our us. Lady in Munich, St. Lawrence Church in AKIMOFF, IVAN AKIMOVICH, born Nuremberg, St. Stephlen's in Vien- in St. Petersburg, May 22, 1754, died May na, and Ratisbon and Ulmn cathe- 15, 1814. History painter, pupil of the drals.-Allgem. d. Biogr., i. 166; St. Petersburg Academy; studied afterMeyer, Kiinst. Lex., i. 154; Kunst-Chronik, wards in Bologna and Rome, where lie vi. 41; Brockhaus, i. 277. - copied chiefly Domenichino and the Carrac19 ALAMANN() ci. In Rome he was under the influence of under Henry IV., Meeting of the States GenP. Batoni, but later took Guercino for his eal in 1328, do. in 1614, Reading of the Will model. After his return to Russia he was of Louis XIV. (1850), Presentation of Poussin made member of the Academy, where the to Louis XIII., etc., altogether 29, Versailles entire instruction in painting was soon en- Museum.-Meyer, Kiinst. Lex., i. 166; Art trusted to his guidance. His talent has Journal (1864), 215; Kunstblatt (1833), been greatly overrated by his contempo- 224; (1837), 187; (1838), 115; (1841), 203. raries. Works: Prometheus making a ALBA. See 1Macrino d'Alba. Statue, Hercules on the Pyre, St. Petersburg ALBANI (All)ano), FRANCESCO, born Academy; Resurrection, Assumption, The in Bologna, Archangel, Alexander-Nevski Monastery.- ^ i March 17, Meyer, Kiinst. Lex., i. 163. " 1578, died ALAMANNO or ALEMANNO, GIOVAN-, A ( there, Oct. 4, NI or ZUANE. See Antonio da Murano., ( p 1660. BologALAMANNO, PIETRO, 2d half of 15th i C nese school. century. Venetian school; a mannered imi- S on of Agostator of his master, Carlo Crivelli, alike de-!;/\ tino Albani, a void of power as a draughtsman and as a silklnerchant; colourist. His style is a mixture of that of / pupil of Denis Crivelli and of Girolamno da Camerino, or in / ' u / Calvaert at other words of the Lombardo-Venetian and s a n e t i m e the Umbro-Paduan schools. Examples in ] ~ with Guido churches at Ascoli: Madonna and Saints Reni, whom lie followed to the school of the (1489), S. M. della Carita; do., Library of Carracci. After painting in Bologna lie acthe Seminary; do., S. Giacomo Apostolo.- cornpanied Guido to Rome (1607-8), where C. & C., N. Italy, i. 98; Meyer, KTinst. he was engaged to finish the frescos in S. Lex., i. 264; Burckhardt, 592. Giacomo degli Spagnuoli, begun by AnniALAUX, JEAN, called le Romain, born bale Carracci. This made his reputation, and in Bordeaux, Jan. 15, 1786, died in Paris, brought him many commissions. He loved March 2, 1864. History painter, pupil of to paint mythological subjects, in which he Vincent and Guerin; won in 1815 the could introduce goddesses, nymphs, and grand prix de Rome, and resided in that loves in smiling landscapes; and as he repcity five years. After the restoration of the resented them generally on small canvases Bourbons, executed many pictures for he was called the Anacreon of painting. He churches, and decorated the new rooms in had a villa delightfully situated, and a beauthe Louvre; and under Louis Philippe tiful wife and twelve children, who are said painted much for the new Museum at Ver- to have served as his models. At Rome and sailles. He was director of the French in Bologna, as teacher and painter, lie beAcademy in Rome in 1846-53; became came the rival of Guido, whose disciples member of the Institute in 1851; Legion of affected to despise his style as effeminate. Honour in 1841. Works: Pandora brought Albani's large works from sacred history from Heaven by Mercury (1824), ceiling of show that he was capable of a nobler style palace of St. Cloud (destroyed in 1870); than le generally attained. Four of these Burial of our Lord, Notre Dame de Loretto, are in the Bologna Gallery. Albani executed Paris; Poussin and allegorical figures, ceil- frescos in the Palazzo Verospi (Torlonia), and ing, Louvre; Battle of Villaviciasa (1836), in the church of S. M. della Pace, Rome; and do. of Denain, Conquest of Valenciennes in the Giustiniani Villa, Bassano. Other (1837), Assembly of Notables in Rouen works are: Expulsion from Paradise, Lord o20 ALBERTI Wensleydale, London; Repose in Egypt, Dresden Gallery; do., Uffizi, Florence; Holy Family, Palazzo Pitti, Florence; The Four Elements, Turin Gallery; do., Palazzo Borghese, Rome; Annunciation (2), Venus and Adonis, Venus and Vulcan, Toilette of Vetius, Cupids Disarmed, Mars and Nymlphs, Salllcis and Hermaphroditus, Lot and his Daughters, Hersilia separating Romu- lus and Re mus, Holy Family, Louvre, Paris.-Malvasia, ii. 149; Lanzi, iii. 89; Meyer, Kiinst. Lex., i. 171; Amorini, Vita, etc. (1837); Burckhardt, 764, 770, 785, 791, 801; Cli. Blamc, lcole bolonaise; Dohme, 2iii. ALBERTI, ALESSANDRO, born at Borgo S. Sepolcro, Italy, March 9, 1551, died in Rome, July 10, 1596. Son of the architect and sculptor Alberto A.; pupil of one Gaspero di Silvestro of Perugia; went to Rome in 1556. He was employed by several Italian princes, and painted for churches and palaces in Naples and in Rome. Highly esteemed as a fresco-painter.-Meyer, Kiinst. Lex., i. 204. ALBERTI, ANTONIO. See Antonio da Ferrara. ALBERTI, GIUSEPPE, born at Cavalese, Tyrol, in 1664, died there in 1730. Studied medicine at Padua, but gave it up for architecture and painting, which latter he studied in Venice under Liberi, and then in Rome. On his return in 1682, he settled in Trent, built there the Crucifix Chapel in the Cathedral, and became a priest. Afterwards he painted a number of religious pictures, visited Rome a second time, and is said to have stayed there nearly twenty years.-Meyer, Kiinst. Lex., i. 217. ALBERTI, MICHELE, flourished at Florence 2d half of 16th century. Florentine school, pupil of Daniele da Volterra. Did not belong to the Alberti family of Borgo S. Sepolero. He painted in Rome frescos after drawings by his master, with whom lie seems to have been closely allied. — Meyer, Kiinst. Lex., i. 216; Vasari, ed. Mil., vii. 61. ALBERTINELLI (Bertinelli), MARLIOTTO, born in Florence, Oct., 13, 1474, died there, Nov. 5, i - 1515. Florentine school, son of Biaio diBin(1o and sclolar of Cosinio Roselli, in wlose studio lie contracted an intimate friendslip with Fra Bartolommeo, of whom lie became tle associate and most successful imitator. They worked together from before 1490 (when both left Roselli's studio), until 1499. Albertinelli's Christ appearing to the Magdalen, Louvre, shows his first manner, under influence of Cosimo Roselli. After 1500 he completed the fresco of the Last Judgment in S. M. Nuova, Florence, left unfinished (Oct., 1499) by Fra Bartolommeo, whose continued influence after their separation is manifest in the famous Visitation, in the Uffizi. Other works by Albertinelli of high merit are a Ioly Family (1503 -6), Palazzo Pitti, Florence; a fresco of the Crucifixion (1506), Florentine Certosa; and a Mladonna with Saints (1506), Louvre. These pictures belong to the best period of the painter, who afterwards wasted much time in experimenting on vehicles for oil painting, and took many pupils, among whom were Bugiardini, Francia Bigio, Innocenzo da Imola, and Pontormo. In 1509, after a separation of nine years, Albertinelli again became the associate of Fra Bartolommeo, and traces of his hand are perceptible in the Frate's altarpiece in S. Romano, Lucca, the lower part of his Assumption, Berlin, and in his Nativity, Saltocchio, near Lucca. Among his works of this period are: Madonna (1509), Fitzwilliam Museum, Camnbridge; Annunciation (1510), Trinity (1510?), 21 ALBRECIIT and Maldonla7 with Saints (1510?), Florence ALCIMACHUS, Greek painter, probably Academlly. In 1512, the two painters again labout time of Alexander the Great. Painted separated and divided thle profits of thleir portrait of Dioxyppus the athlete, after he had common workshop. The Adam and Eve and1 received a prize at Olympia.-Pliny, xxxv. 40 the Sacrifice of Abrahaml at Castle How- [139]. ard were painted by Albertinelli, after this ALCOTT, MAY (Mine. Ernest Nierker), year, during which lie for a slhort time gave b)orln in Concord, Mass., in 1840, died in Up p)ainlting and kept a tavern near tlhe Porta 1879. Genre painter, studied in School of San Gallo, Florence. Other works of his late Design, Boston, in Krug's studio, Paris, and p)eriod are thle Allnuocialion (1513?), Munlich inder Miillel. Professional life spent in Gallery, and a triptych1, Poldi Collection, B 1oston, London, and Paris. Her copies in Milan, which has been attributed botll to oil and water-colour of Turner's pictures are Raphael and to Fra Bartolomnlieo. Alberti- given to the pupils of tlhe South Kensington nelli's last vwork was thle Marriage of St. C:ltl- school, to work froml. Slie also painted stillarine at Viterbo, begun by the Frate for life slubjects, and flower panells. the church of S. Silvestro.-C. & C., Italy, ALDEGREVER, HEINRICH, born at iii. 484; Meyer, Kilnst. Lex., 218; Vasari, Soest or Paed. Mil., iv. 217; Lermolieff, 87, 227; Mar- derborn in chesi, ii. 12; Liibke, Geschb. ital. Mal., ii. 4 < 1502, died 171. probably in ALBRECHT, BALTHASAR AUGUSTIN, Y 1558. Gerborn in Berg on Lake Starnberg, Bavaria, in l -' man school; 1687, died in Munich, Aug. 1, 1765. History,, chiefly known and allegory painter, German school; pupil 4 as an enbgavof N. G. Stuber, studied in Venice and Rome, / / / er, and one returned to Munich in 1719, and became of the most court painter. His groups of children in \ \ accomplished the Schleissheim Gallery are very attractive. of the soMany of his religious pictures are to be found. \ called "Little in Bavarian churches. Works: Children Masters." His playing, Vintage, Allegory of Painting, do. rare oil paintings are hard and dry, the flesh of Sculpture, portrait of Sculptor Straub, of a leathery brown hue. Works: Christ portrait of himself painting the Muses on crowned with Thorns (1529), Prague Gallery; Parnassus, Schleissheim Gallery.- Meyer, Philip von Waldeck (1535), Breslau Gallery; Kulnst. Lex., i. 234. Magdalen Wittig (1541), Brunswick Museum; ALBRIER, JOSEPH, born in Paris, Oct. Male portrait (1551), Berlin Museum; do. 4, 1791, died there in March, 1863. His- (1544), Liechtenstein Galtory painter, pupil and follower of Reg- lery, Vienna; Anabaptist nault. Imitated Greuze's pictures so closely! David Joris, Basle Museas to deceive many amateurs. Works: Nar- um.-Scott, Little Masters, cissus, Cyparissus changed into a Cypress, 88; Meyer, Kiinst. Lex., i. 239; Brockhaus, Amyntas delivering Sylvia (1822), Daphnis i. 363; Keane, Early Masters, 181; Allgem. and Chloc, Louis XIV. and De la Vallicre d. Biog., i. 325. (1828), Two Scenes from Life of Frederic ALDENRATH, HEINRICH JACOB, born the Great, Meeting of the Clhapter of the in Liibeck, Feb. 17, 1775, died in HamGolden Fleece, Versailles Gallery. -Meyer, burg, Fel). 25, 1844. Portrait and miniature Kuinst. Lex., i. 236; Lejeune, i. 286, painter, German schlool; pupil of Job. Jak. iii. 5. Tischbein, and at Lubeck of Friedrich Karl 22 AL, ENL Groger, his friend and associate, with whom he frequented the Berlin Aca(lemvy; studied in Dresden and Paris, and lived il Liubeck, Kiel, Copenhagen, and Haniburg, where the two settled il 1814, after the conclusion of peace.-Meyer, KUinst. Lex., i. 254. ALENI, TOMMA1SO, flourished in 1500 -1515. Lombardo-Crernonese school. Soi etimes called Il Fadino. Several of his pictures exist: Madonna, Bignami Collection, Casal Maggiore; Nativity (1515), Municipio, Cremona, a manifest though weak imitation of Perugino; and St. Peter and St. Anthony, Calvalcabo Collection, Cremona.-C. & C., N. Italy, ii. 449; Meyer, Kiinst. Lex., i. 26(6. ALESIO (Allecio), MATTEO PEREZ DE, born in Rome about 1547, died about 1600 (?). Italo-Spanish school, called also Matteo da Leccio. Said to have formed himself in the school of Michelangelo and after Salviati. Went to Malta, returned to Rome before 1582, and settled in Seville, Spain, in 1583. He at once gained reputation, and was extensively employed in painting for churches frescos of colossal size, the fondness for which was a peculiar feature of this artist. According to Baglione he afterwards went to the West Indies and, after having accumulated wealth, died there in poverty. The report of his return to Rome lacks foundation.-Meyer, Kinst. Lex., i. 271; Ponz, Viage, ix. 25; Cean Bernmudez, iv. 75. ALESSANDRO VERONESE. See Turchi, Alessandro. ALEXANDER OF ATHENS. Name inscribed on one of four marble slabs, in Royal Museum at Naples, found at Resina on slope of Vesuvius. All decorated with outline drawings in red; the one bearing name of Alexander represents a group of five women whose names also are given.-Corp. Inscr. Gr., 5863. ALEXANDER ENTERING BABYLON, Charles Lebrun, Louvre, Paris; canvas, H. 14 ft. 9 in. x 23 ft. Alexander, a sceptre in one hand, and a sword in tile other, is stand unlphal procession; in front, an officer gives orders to slaves bearilng a goolden vase 1on a litter; in background, the walls and buildings of Babylon, crowd(ed witl people. Series of History of Alexa'.n'der. Ellgraved by (G. Audran (16;75).-Landon(, Muse, x. PI1. 69; Fillhol, ii. P1. 91; Villot, Cat. Louvre. ALEXANDER AND DIO()(ENES, Sir E. Laldse;cr, National Gallery, London; canvas, H. 3 ft. 7 in. x 4 ft. 8 in. Eiglht dogs grouped to illustrate the interview at Corinth between Alexander land tile Greek cynic, when the latter requested the conqueror to stand out of his sunshine. Royal Academy, 1848; bequeatled by Jacob Bell in 1859. Engraved by Tlhos. Landsecr.-Catalogue National Gallery; Stephens, 91. ALEXANDEl R AND FAMILY OF DARIUS. See Dariuts, Family of. ALEXANDER THE GREAT, ancient picture. See Antiplhilt.s, Ap)(clcs, Nicias, P'lhiloxenaus, Protogenes. ALEXANDER, HENRY, born in San Francisco, California, in 1860. Genre painter; studied seven years in Munich under Loeffts and Lindensclhmidt. Exhibited first in Munich in 1879. Studio in New York. Works: Sunday Morning (T. B. Clarke, N. Y.). ALEXANDER, HISTORY OF, Charles Lebrun, Louvre, Paris; five pictures, viz.: Passage of the Granicuts, Battle of Arbela, Tent of Darius, Alexander and Porus, Alexander entering Babylon. Ordered by Louis XIV. in 1660 for reproduction in Gobelin tapestry; painted in 1661-68. They were engraved by G. Audran, who also engraved, after Le Brun's design, a sixtl subject, Porus in Battle, which was never painted.-Villot, Catalogue Louvre. ALEXANDER AND PORUS, Charles Lebrun, Louvre, Paris; canvas, H. 15 ft. 5 in. x 41 ft. 4 in. King Porus having been de. feated on the banks of tile Hydaspes, India, was carried a prisoner before Alexander, who asked him how he wished to be treated. ing in a chariot drawn by two richly ca- "Like a king," replied Porus (Plutarch, parisoned elephants, forming part of a tri- Alex.,lx.). Alexander on horseback, attended 23 ALEXANDER by his principal officers, extends his hand to Porus, who, wounded, is sustained by three soldiers; in background, the battlefield. Series of History of Alexander. Engraved by G. Audran (1678), D. Bertaux.Landon, Musee, ix. P1. 21-23; Filhol, iv. P1. 265; Villot, Catalogue Louvre. ALEXANDER AND ROXANA, MARRIAGE OF. See Actiol. ALEXANDER IN TENT OF DARIUS. See Darius, Tent of. ALEXANDER AT TOMB OF ACHILLES, Raphael, Camera della Segnatura, Vatican; picture in grisaille, under the Parnassus, at left. Alexander the Great, at right, orders a bearded man to place the poems of Homer in the sarcophagus, the lid of which is raised by a youth; at each side, six soldiers. Painted in 1511. Engraved by Marc Antonio, and others.-Passavant, i. 119. ALEXEJEFF, FEODOR JAKOVLEVICH, born in St. Petersburg in 1753, died there in 1824. Architecture and perspective painter; pupil of St. Petersburg Academy, by which he was sent to Italy. At first painted flowers and fruits, but in Venice, where he arrived in 1774, devoted himself to perspective painting under Gaspari and Giuseppe Moretti. After his return he was official painter of decorations in 1779-87. In 1795 he went to Southern Russia to paint scenes visited by Catharine II. on her tour in 1787. Under Paul I. he was employed on decorative works. In 1803 he became professor at the Academy. Works in Moscow Museum.-Meyer, Kinst. Lex., i. 287. ALEXEJEFF, NIKOLAI MICHAILOVICH, born in 1815. History, genre, and portrait painter, pupil of Stupin. In 1836 -40 he was at the head of the school at Arsames, Government of Nizhni-Novgorod, founded there by his relative Stupin in the beginning of the century. Works: Egyptians in Red Sea, Healing the Blind, Healing the Leper, Marriage at Cana, Christ rescuing Peter, Isaac Cathedral, St. Petersburg.Meyer, Kiinst. Lex., i. 288. ALFANI, DOMENICO, born in Perugia in 1483 (?), died after 1553. Umbrian school, son of Paris Pandari Alfani, goldsmith and architect; pupil of Perugino at same time with Rapl)lel, who became his intimate friend. Raphael invited him to Rome, but Domenico preferred to remain in Perugia, where lie acted as Raphael's agent, and was repaid by an occasional sketch. He became a registered master in Perugia in 1510. In 1520 he legitimized his natural son Ortazio and took him into partnership, after which they worked together. Domenico's earliest production is a Holy Family (1510), Perugia Gallery, painted after a drawing by Raphael. His Madonna and Saints, dated 1518, in the Collegio Gregoriano, Perugia, is thoroughly Raphaelesque. The Madonna with two Angels (1521), in the Cathedral of Citta della Pieve, is painted in the same style, but the Madonna and Saints of 1524, in the Perugia Gallery, shows a change from the Umbrian manner of his earlier works to the bold treatment of the later Florentines. This change is more marked in a Madonna and Saints of 1532 in S. Giuliano, Perugia. In 1553 he L L FAL painted, w it h Orazio, a Crucifixion, in S. Francesco, Perugia.-C. & C. Italy, iii. 364; Vasari, ed. Mil., iii. 622; Meyer, Kiinst. Lex., i. 291; Burckhardt, 575; Ch. Blanc, ficole ombrienne. ALFANI, ORAZIO, born in Perugia about 1510, died in Rome in 1583. Umbrian school, son and pupil of Domenico Alfani, whom he frequently assisted. He was the first president of the Academy of Perugia, and many pictures there are attributed to him, such as a Nativity and a Holy Family. The one certain work by this artist is the Crucifixion with SS. Jerome and Apollonia which he assisted his father in painting (1553), or finished after his death.-C. & C., Italy, iii. 365; Vasari, ed. Le Mon., iii. 624; Ch. Blanc, Ecole ombrienne; Meyer, Kunst. Lex., i. 293; Burckhardt, 575, 652. 24 ALFARO ALFARO Y GAM7EZ, Don JUAN, bornl ALIENSE, born in Greek island of Milo in 1G40 in Cordova, died inl adrid ill 16;8(). in 1556 (?), died ill Venice ill 1(29. Real Spanish school; pupil of Antonio del Cas- I.name Antonio tillo and of Velasquez, whose portraits lie Vassilacchi. learned to imitate. Also an engraver and V e n e t i a n writer, both of poetry and prose. Works: school; pupil Assumption (1668), Museo Nacional; An- of Paolo Ver- tonio da Solis, portrait, D. Valentin Car- onese, whvo A derera, Madrid.-Curtis, 328; Stirling, 809; d i sml i s s e d Meyer, Kiinst. Lex., i. 295. hiln, Ridolfi ALGERIAN FALCONER, Eugene Fro- says, on acmentin, Albert Spencer, New York. In the count of jealforeground, an Arab horseman, riding at full ousy at his gallop, holds a falcon perched upon his wonderful progress. Aliense then applied wrist, as high above his head as his arm will himself to the study of the works of Tinstretch. His whole action is full of intense toretto, and soon acquired a style which, energy, and the speed of his horse is shown by the sand whirling around him. In the background are indications of other mounted figures. Salon, 1863. Etched by Flameng; Lionel. Several replicas. ALIBERTI, GIANCARLO, born at Asti, Piedmont, in 1680, died about 1740. One of the many skilful masters of tle 18th century, who excelled in the execution of those extensive, quickly-painted frescoes, termed macchinose by the Italians. His style was a mixture of Roman and Bolognese art, showing the influences of Maratta and the school of the Carracci, with a leaning towards Correggio. He frescoed churches in Asti, Pavia, and other Italian cities.-Meyer, Kiinst. Lex., i. 312. ALIBRANDI, GIROLAMO, of Messina, born about 1470, died in 1524; but De Marzo thinks him the painter of an Epiplhany in the church of Venetico, Sicily, dated 1532. Neapolitan school; studied several years in Venice and afterward in Milan with Leonardo da Vinci. Returned to Sicily in 1514, and painted in Messina; called sometimes the Raphael of Messina. Most important of his works is a Presentation in the Temple, dated 1519, in San Niccolo, Messina. Style a mixture of the Leonardesque and Ferrarese.-Meyer, Kiinst. Lex., i. 312; C. & C., N. Italy, ii. 116. for strength and boldness of design, and vigor of colouring approached the best productions of that master. He won a great reputation, was patronized by the doge and nobility of Venice, and was invited to their respective courts by Philip II. of Spain, and by Sigismund III. of Poland. But he preferred to remain in Venice, where he lived in great state, and executed many works for public buildings and churches. In the Palazzo Ducale are his Adoration of the Magi, Coronation of Baldwin Emperor of Constantinople, the Doge Ordelasso Faliero at the Capture of Zara, and other large pictures; and in S. Apostoli are his Sacrifices of Abraham and Cain and Abel. Examples of his work are also in S. Giovanni del Rialto, S. Giovanni del Tempio, S. Leonardo, S. Giovanni Evangelista, S. Zaccheria, S. Domenico a Castello, S. Paterniano, S. Chiara S. Procolo, S. ViL'AlieWnsis f. tale, and the Frari, Venice, and in S. Pietro de' Casinensi, Perugia. -Ch. Blanc, Icole venitienne; Burckhardt, 745, 750, 753, 754; Sansovino, Venetia illustrata, 271. ALIGNY, CLAUDE FRANCOIS THIODORE CARUELLE D', born at Chaumes, Niivre, Feb. 6, 1798, died in Lyons, Feb. 25, 1871. Landscape painter, pupil of Regnault and Watelet; treated landscapes in the historical style, and attained great distinction 25 ALIMPI as a follower of the so-called classical scllool settled at Edinburgh in 1792. His illustraunder tle influence of Ilgres. He ladelle tioiis to solme of Burns' lpoemns, and to Alhis studies chiefly after Italian scenery, vis- lIan Ratisay's Gentle Slhepherd, which lie ited Greece and painted severa l views of the (Leng1'raved inl alquatint, anl his pictures of Acropolis and around Atlhes. His color the Highlland Dance, the Scotch Wedding, wants truth and life, anld his handling is and the Repentance Stool, met with deserved hard and unsympathetic. Works: Daplhnis success, and show him to be the worthy and Chloi (1822); Murder of the Druids forerunner of Wilkie. His portraits, one of (1831); Prometheus (1837), Luxembourg which, that of Sir William Hamilton (1775), Museum; Hay Harvest (1839)); Landscape now in the National Portrait Gallery, are with praying Monk (1839), Reinnes Museuml; chiefly remarkable for a strong, homely reView near Naples, and two other Landscapes, semblance. He was Master of the Academy Nantes Museum; Defeat of Dlu Guesclin of Arts, Edinburgh, (luring the last ten (1840), Versailles Museum; Hercules fight- years of his life. -Cunningham; Redgrave; ing the Hydra (1842), Carcassone Museum; Seguier. Bacchus with Nymphs (1852), Bordeaux Mu- ALLAN, Sir WILLIAM, born in Edinseum; Christ at Enmmaus (1837), Besanqon burgh in 1782, Museum; Good Samaritan, Amiens Museum. died there, Feb. -Meyer, Kiinst. Lex., i. 313; Kunstblatt, - 23, 1850. Ap(1835), 172; (1837), 190; (1839), 218; Cle- prenticed to a mnent, h]tudes, 383; Athen.um (1871), i...~1., 9' coach painter; 342. student at TrusALIMPI (Olimpi), 11th century, born tee's Academy, probably in Kiev, said to have died in 1114. //3 \ \ Edinburgh, and The earliest Russian painter of altarpieces / \ at Royal Acadwhose name has been handed down to us. emy, Lo n d o n, He learned his art from the Byzantine \Y here he exhibpainters, who about 1084 decorated the ited his Gipsy great church in the cave-monastery at Kiev. Boy in 1803. Failing to meet with success In 1087 he entered that monastery as a in London, he went, in 1805, to Russia, and monk, and is revered as a saint in Russia; spent ten years, much of the time in travel, supernatural power is attributed to his pic- visiting Circassia, Tartary, and Turkey. In tures, with whose origin is connected many 1814 he returned home with many costume pious legends. Madonna, Uspenski Church, and landscape studies which lie utilized in Moscow.-Meyer, Kiunst. Lex., i. 314. his pictures of Circassian Slaves, Prisoners ALLADIO. See MAacrino d'Alba. on the Road to Siberia, and Tartar Robbers, ALLAN, DAVID, born at Alloa, near the last now in the National Gallery, works Edinburgh, Feb. 13, 1744, died near Edin- in a measure attractive through local colour; burgh, Aug. 6, 1796. After studying at but in historical subjects, which lie next Glasgow in Foulis' Academy, and in Rome attempted, lie was totally wanting. The (1764-79), where he gained a gold medal Murder of Archbishop Sharp, the Death of from the Academy of St. Luke for his Origin the Regent Murray, and the Abdication of of Painting (1773), he returned to London Mary Queen of Scots, all prove that lie was with four humorous sketches of the Roman a poor draughtsman and a weak colourist. Carnival, which won for him the surname of Nevertheless, the last named of these piec the Scottish Hogarth. His fame depends, tures brought hirii 800 guineas (1825), and however, rather upon the genre pieces of he received many honours. He became Scottish life which lie painted after he had A. R. A. in 1825, R. A. in 1835, President 2C ALLEGRAIN of the Royal Scottish Academy in 1838-50, ALLEGRI, POMPONIO, born in Corlimner to the Queen in Scotland in 1841, and reggio, Sept. 3, 1521, died in Parma about in 1842 lie was knighted. In the following 1593. Lombard school; son of Antonio year Sir William exhibited the Battle of Allegri, calleld Correggio, who died when Waterloo, now at Apsley House. In 1844 Pomlponio was twelve years old; education he again went to St. Petersburg, to paint completed by his grandfather; but sonle Peter the Great at Saardam, now in the think lie was taughlt later by Rondani. EsWinter Palace. He was engaged at the tablislied himself in Parma and won a fair time of his death upon a picture of the bat- reputation. Decorated the Cappella del tie of Bannockburn. His best portrait is Popolo in the Duonlo, Parma, in 1560-G2, that of Sir Walter Scott (1832), now in tile with frescos, some of which still exist. National Portrait Gallerv.-Sandby, ii. 152; Several pictures by him in the Parnma AcadCatalogue National Gallery; Art Journal emny.-Vasari, ed. Mil., iv. 122; Lanzi, ii. (1849), 109; (1850), 100. 396; Meyer, Kiinst. Lex., i. 481; BurckALLEGRAIN, 1TIENNE, born in Paris liardt, 701. in March, 1644, died there, April 1, 1736. ALLEMAND, LOUIS HECTOR FRANFrench school; was a good landscape paint- 1(OIS, born in Lyons, Aug. 5, 1809. Lander in the style of Poussin and Francisque scape painter; brought up a merchant, Millet; became court painter to Louis XIV., he first turned his attention to art when and associate of the Academy in 1677. Also thirty years old; studied nature around an engraver. Works: two landscapes in Lyons and in Dauphine, and afterwards the Louvre; seven landscapes at Versailles; Ruisdael, Hobbema, and Claude Lorrain in Moses in the Bulrushes, Hermitage; pict- the galleries of France, England, and Holures in the museums of Dijon, Alen;on, land. Belongs to the new realistic school Tours, and Versailles.-Villot, Catalogue of landscape painting in France. Works: Louvre; Lejeune, i. 354; iii. 291; Meyer, Wood-Border, Road near Pond, Sunset, Kiinst. Lex., i. 332. Morning on the Rhone, Waterfall of the ALLEGRETTO NUCCI, or DI NUZIO, Gier, two landscapes, Lyons Museum; do., born in Fabriano in 1306, died in 1385. Nimes Museum.-Meyer, Kiinst. Lex., i. Umbro-Florentine school; appears on regis- 484. ter of guild of St. Luke, Florence, in 1346. ALLEMAND, FRITZ and SIGMUND L'. Earliest picture bearing his name is the See L'Allemnand. Madonna with Saints, dated 1365, in the ALLEN, THOMAS, born in St. Louis, Museo Cristiano of the Vatican. In 1368 Missouri, in 1849. Pupil of Prof. Ducker he finished the Madonna with Saints in the in Diisseldorf, later studied three years in Sacristy of Macerata Cathedral, and in 1372 France. Exhibited first at National Acadthe Madonna enthroned, collection of Signor emy in 1876; also exhibits in Paris. Elected Fornari, Fabriano. Other works: Madonna, A. N. A. in 1884. Studio in Boston. Works: and Crucifixion, Berlin Museum. His draw- Maplehurst at Noon (T. B. Clarke, N. Y.). ing is precise, his colouring clear and rosy, ALLINGHAM, HELEN PATERSON, his figures slender, with pretty faces; in- born near Burton-on-Trent, England, in deed, his style lacks the simplicity and dig- 1848. Genre painter, water colours; pupil nity characteristic of Giotto and his follow- of School of Design, Birmingham, and of ers.-C. & C., Italy, ii. 193; Meyer, Kiinst. Royal Academy, London, in 1867. In 1868 Lex., i. 334; Vasari, ed. Le Mon., iv. 161; sketched in Italy two months, and on return ed. Mil., iii. 16, 22; Burckhardt, 555; Cibo, to England drew on wood for illustrated Scuola Umbra (Rome, 1872), 50. periodicals. Exhibited at Royal Academy ALLEGRI, ANTONIO. See Correggio. in 1874, under name of Helen Paterson,.27 ALLONGE The Milkmaid and Wait for Me. In August, of a young man, Hermitage, St. Petersburg; 1874, married Wim. Allingham, the poet. Bonaventura Family, Bianca Capello, Berlin Associate of Society of Painters in Water Colours in 1875. Works: Young Custom-A ers (1875); Spring Days (1876); The Old i Men's Gardens, Chelsea Hospital. She painted many water colour portraits of Carlyle in his last years.-Portfolio (1878), 33; Museum. -Ch. Blanc, ]Icole florentine; Art Journal (1882), 7. Meyer, Kiinst. Lex., i. 503; Vasari, ed. Le ALLONG1I, AUGUSTE, born in Paris, Mon., viii. 34, ix. 100, xii. 302. March 19, 1833. Landscape painter, pupil ALLORI, CRISTOFANO, born in Florof Ecole des Beaux Arts in 1852, and of ence, Oct. 17, L. Cogniet. First distinguished himself 1577, d i e d in 1855 by charcoal drawings of French there in 1621. scenes. His oils are rare, and less remark- 1 Florentine able than his charcoals. Works: Solitude, -A / school; son Fountain of Sta. Barbara, Path to the Foun-, \ and pupil of tain, Brook near Creux, Marsh near Moulin _, Alessandro Frou (1876); View in the Park of Plombi6res - Allori, and af(1875); Autumn Morning (1873); The Sea terward pupil (1874), Havre Museum; Valley of Hyeres.,-\ ' of Santo di TiHis treatise on charcoal drawing, Le paysage/,, " to, both scholau fusain, 54 plates, Goupil & Co., trans- t ars of Angelo lated by S. D. W. (N. Y., 1876), is justly ^ Bronzino, celebrated.-Meyer, Kunst. Lex., i. 494. whose style ALLORI, AGNOLO, or ANGIOLO. See Cristofano at Bronzino. first followed, but abandoned for the new ALLORI, ALESSANDRO di Cristofano Florentine eclectic manner based on that of diLorenzo, born Correggio. He became one of the best arin Florence, fists in Florence of his time, but his habits /'is, MA a y 3, 1535, were irregular and he left but few pictures. died there, Sept. He excelled in portrait painting. By far 22, 1607. Flor- his best work is Judith, Palazzo Pitti, Flor*\~ Ad ^ ~ entine school; ence. Other examples: Hospitality of St. J/. A dnephew, pupil, Julian, St. John in the Desert, Pitti; Ador-,^ ^ / a n d mediocre ation of the Magi, Infant Christ, Magdalen, imitator of An- Uffizi, Florence; Isabella of Aragon implorgelo Bronzino, ing Charles VIII. for her Father.-Ch. Blanc,,,~ / / ^with wliose sur- fcole florentine; Meyer, Kiinst. Lex., i. 508; name he some- Baldinucci, x. 259. times signed his pictures. He published ALLOU, GILLES, born in Paris in 1670, (1590) " Dialogo sopra l'arte del designare died there, Feb. 2, 1751. French school; le Figure," with anatomical plates. Among portrait painter; became member of Acadhis works are: Baptism of Christ (1560), emy in 1711. His portraits, which rival Marriage at Cana, Joseph and Potiphar's those of Rigaud and Largilliere, found much Wife, Martyrdom of St. Lawrence, St. Pe- and well-deserved favour. He was emter Walking on the Waters, St. Francis, ployed in the Royal Carpet Factory at Uffizi; Bathsheba in the Bath, Portrait Beauvais. Works: portraits of Coypel and 28 ALL SAINTS Coysevox, Versailles Museum; portrait of Boullogne, Ecole des Beaux Arts.-Meyer, Kilnst. Lex., i. 513; Jal, 29. ALL SAINTS. See Trinity, Adoration of. ALLSTON, WASHINGTON, born at Waccamaw, South Carolina, Nov. 5, 1779, died at Cam- bridgeport, Mas- sachusetts, July 9, 1843. History and portrait painter, pupil in miniature L painting of Ed- /, - a ward Malbone; was graduated at W Harvard College in t 1800, and in 1801 entered the schools of the Royal Academy, London, of which his countryman Benjamin West was then president. In 1804 he went, with Vanderlyn and C. R. Leslie, to Paris, to study in the Louvre, and thence to Rome, where he spent four years. After a visit to America, during which lie married a sister of Dr. Channing, he settled in London in 1811, and in the following year won a prize of 200 guineas from the British Institution for his Dead Man revived by Touch of Elisha's Bones, now in the Pennsylvania Academy of Fine Arts, Philadelphia. This was followed by the Liberation of St. Peter by the Angel, which was taken to America in 1859 and presented by Dr. Hooper in 1877 to the Worcester (Mass.) Lunatic Asylum; Jacob's Dream, Petworth Gallery; and Uriel in the Sun, Stafford House, for which the British Institution awarded him a prize of 150 guineas. The first sketch of Belshazzar's Feast was painted about the same time. He visited Paris again in 1817, was elected an A. R. A. in 1818, and in the same year returned to America, and taking a studio in Boston began to work on his Elijah and Belshazzar's Feast. But, afflicted by the death of his wife and by ill-health from! overwork, and removed from the art atmosphere to which he had been accustomed, he tpainted irregularly and produced but few other pictures comparable to his early performances. In 1830 he married again and removed to Cambridgeport, where he resided the remainder of his life. Among his other works are: Jerem)iah (Yale College); Witcl of Endor (W. H. Gardiner), Miriam (F. Sears), Beatrice (Pres. Charles Eliot), Rosalie (N. Appleton), Amy Robsart (I. A. Lowell), The Valentine (Mrs. Geo. Ticknor), Boston; Spalatro, Bride, Spanish Girl, Tuscan Girl, Evening Hymn, Lorenzo and Jessica, Flight of Florimel, Roman Lady, The Sisters. Allston also painted landscapes and portraits, among the latter being Benj. West (Boston Atheneum), and Coleridge (National Portrait Gallery, London), and published volumes of poems and prose.-Memorial Hist. Boston, iv. 392; Sandby, i. 399; Tuckerman, 136; Knickerbocker Mag., xiv. 163, xxiv. 205; N. Amer. Rev., 1. 358; Dem. Rev., xiii. 431; Atlantic Mag., xv. 129; Meyer, Ktinst. Lex., i. 513; Ware, Lectures on (Boston, 1852). ALMA PARENS, William Adolphe Bouguereau, Geo. R. Blanchard, New York; canvas, H. 8 ft. 8 in. x 5 ft. 9 in. A female figure seated, draped, with nine children, nude, grouped around her; the one at left is the infant St. John. Paris Salon, 1883; sold for $20,000.-Art Journal (1883), 331. ALMA-TADEMA, LAURENZ, born at Dronryp, F r i e sland, Jan. 8, 1836. Educated at the gymnasium of Leeuwarden, where he conceived a passion i / for Egyptian and, Greco-Roman ar- / chieology, which has had a great in- fluence on his art life; student of art in Antwerp Academy in 1852; subsequently pupil of Baron Henry Leys. Exhibited in Antwerp, 1861, Education of the 29 A LMA,,\-TA.-\ ) EMA Children of Clotilda; and in Amsterdam, 1862, Venantius Fortunatus at Radagonde, which was awarded a gold medal. In 1865 he sent to London his Egyptian Games, which was followed by several others, among them Roman Dance (1866), and Phidias and the Elgin Marbles (1868). In 1869 he exhibited at the Royal Academy, A Roman Amateur (1868), and Pyrrhic Dance (1869), and in 1870 The Convalescent, Un Jongleur, and a second Roman Amateur. In this latter year lie married Miss Laura Epps, an Englisl lady, and removed from Brussels to London, which he has since mnade his homne. He has won many honours, is a knight of many orders, and is a member of the Roval Academies of Amsterdam (1862), Munich (1871), Berlin (1874), London (A. R. A., 1876; R. A., 1879), Stockholm (1878), Vienna (1878), and Madrid (1879). Medals: Paris, 1864; 2d class, 1867; 1st class, 1878; L. of Honour, 1873; officer, 1878. Other works: How they Amused Themselves in Egypt 3000 Years ago (1863); Fredegonda and Pretextatus (1864); Egyptian Game, Catullus at Lesbia's, Soldier of Marathon (1865); Entrance to a Roman Theatre, Agrippina visiting the Ashes of Germanicus, Roman Dance (1866); The Mummy, Tarquinius Superbus (1867); The Siesta, Flowers, Flower Market (1868); A Negro, Wine Shop (1869); Vintage Festival (1870); A Ronman Emperor, Une Fete Intime, Greek Pottery (1871); Reproaches, Mummy in Roman Period, Improvisatore, A Halt, Death of the First Born, Greek Wine (1872); The Dinner, The Siesta, The Cherries, Fishing (1873); Joseph Overseer of Pharaoh's Granaries, Sculpture Gallery, Picture Gallery, Autumn, Good Friends, On the Steps of the Capitol, Water Pets (1874); After the Dance, Hide and Seek, Audience at Agrippa's, Cleopatra (1876); Four Seasons, Between Hope and Fear, The Sculptor (1877); Sculptor's Model, Love Missile, Bacchante, Architecture, Sculpture, Painting (1877); Cherries (1878); Hearty Welcome, Down to the River, Pomona Festival, On the Way to the Temple (1879); Fredegonda, Spring Festival, Question, Garden God, Pastoral (1880); Sabppho, In the Tepidarium, Ave Caesar, Io Saturnalia (1881); Torch Dance, An Audience, Early Affections, Barnay as Marc Antony (1882); Venus and Mars, An Oleander, An4iwoy and Cleopatra, Xanthe and Phaon, 'Twixt Venus and Bacchus (1883). —Portfolio (1874), 109; (1878), 145; Art Journal (1875), 9; (1883), 33, 65; Univ. Magl. (1879), 706; Blackwood (March, 1883), 401; nlustr. Zeitg. (1878), ii. 113. ALMA-TADEMA, Mrs. LAURA, wife of Laurenz Alma-Tadema. Figure painter; exhibits at Royal Academy, and at Grosvenor Gallery, London. Works: Blue Stocking (1877); Daffodowndilly (1878); Hunt the Slipper, A Good Book (1880); Winter, Sisters (1881); Asleep, Granny's Needle (1882); May I come In (1881).-Art Journal (1883), 345. ALMEH, DANCE OF THE, Jean L6on Greome, John Hoey, New York. The dancer, her garments slipping off from her body, is posturing before a group of soldiers, seated at left in a Cairo tavern at right, three musicians. Photogravure in Art Treasures of America, ii. 80. ALOISI, BALDASSARE, called I Galanino, born at Bologna in 1578, died at Rome in 1638. Bolognese school; history and portrait painter; pupil of the Carracci. Went to Rome in time of Urban VIII. and painted many portraits of illustrious persons. Works: Visitation, La Carita, Bologna; Madonna with SS. John Baptist and Francis, S. Paolo in Monte, ib.; Coronation of Virgin, Gesh e Maria, Rome. ALOPHE, ALEXANDRE, born in Paris, June 6, 1812, died there in August, 1883. Genre and portrait painter, pupil of Roqueplan and of Delaroche. Medals: 3d class, 1844; 2d class, 1847. Works: A Page, Evening Lull (1869); In the Woods (1870); In the Open Fields (1877); Reading of Faublas, Discouragement (1879).Meyer, Kiinst. Lex., i. 521. ALOVIGI, ANDREA. See Ingegno. 30 ALSLOOT ALSLOOT, DENIS VAN, born before 1628. Excellent landscape painter, Fleniish school; pictures very rare. Court painter to Archduke Albert, Governor of the Netherlands, about 1599. Works: Landscape (with figures by H. de Clerck), Vienna Museum; Masquerade on the Ice, two pictures of Processions of Guilds in Brussels, Madrid Museum; Castle and Park of Mariemont (1620), Brussels Museum; Abbey of La Cambre (1609), Nantes Museum. —Meyer, Kiinst.Lex., i. 527; Viardot, 107; Michiels, Rubens, 347. ALT, JAKOB, born in Frankfort-on-theMain, Sept. 17, 1789, died in Vienna, Sept. 30, 1872. Landscape painter, studied at Frankfort and, after 1811, in Vienna. Painted scenes in the Austrian Alps, on the Danube, in Upper Italy, which he visited in 1828 and 1833, and Rome. Works: Isle of S. Giorgio Maggiore (1834), Vienna Museum; Grave Yard at Hallstadt; Gargnano on Lake Garda.-Meyer, Kunst. Lex., i. 532; Kunst-Chronik, viii. 26, xi. 345; Allgem. d. Biogr., i. 355. ALT, RUDOLF, born in Vienna, Aug. 28, 1812. Landscape and architecture painter, chiefly in water colours; son and pupil of Jakob Alt and student at Vienna Academy. Has travelled extensively in Austria, Germany, Italy, Switzerland, and the Crimea. Is a member of the Vienna Academy. His few oil paintings are inferior to his water colours, which command high prices in Vienna. Works in oil: St. Stephen's Church (1832), Giardini pubblici in Venice (1834), Vienna Museum; Gate of Prague, Venice, Well in Nuremberg. Water colours: Cloister Yard of Monreale, Harbour of Palermo, Arch of Titus in Rome, Castle Hollenegg, Well in Nuremberg, Bird's-Eye View of Danube, Old and New Vienna, Orvieto Cathedral, Milan Cathedral, Campo Vaccino, S. Marco in Venice, Coast near Naples, Ddirrenstein, Temple of Vesta. His brother Franz (born 1821) went through same course of study and paints similar subjects.-Meyer, Kinst. Lex., i. 533; Mtlller, 11; Wurzbach, i. 15. ALT, THEODOR, born at Dohlau, Bavaria, June 23, 1846. Genre painter, pupil of Kreling in Nuremberg, and of the Munich Academy. His pictures of subjects froin modern life show grea.t talent for composition, feeling for lature, and tarml'onious colour. —,Meer, Kiinst. Lex., i. 535. ALTAIMURA, SAVEIO, 1)bornl at Foggia, Italy, in 1824. History p)aint(er, pulpil of the Naples Academy, and one of the mlost distinguished Italian masters of modern times; has painted since 1850 mostly in Florence; in 1862 visited France andl England. Favourite subjects, historical genre. Studio in Naples. Works: Origin of tlle Guelphs and Ghibellines in Florence; MIarius Conqueror of the Cimbri (1861), Senate Chamber, Florence; Old Hatred and New Love; Madonna Enthroned; Tasso in Sorrento; Salvator Rosa among the Robbers; Doubt and Faith. - Meyer, Kuinst. Lex., i. 535. ALTARPIECE OF BRESCIA. See Brescia. ALTDORFER, ALBRECHT, born before 1480, died at Ratisbon, Feb. 12 or 14, 1538. History and landscape painter, strongly influenced by Dtirer, possibly his pupil; came from Amberg to Ratisbon, was admitted to burgher rights in 1505, and afterwards elected alderman and city architect. One of the most remarkable masters of the Old German sclool. Works: Birth of Mary, Altarpiece with Christ on the Cross (1517), Augsburg Gallery; Pieta, Madonna in Glory, Susanna at the Bath (1526), Landscape with St. George (1510), Battle of Arbela (1529), Pinakothek, Munich; Altarpiece with SS. Narcissus and Matthew, University, ib.; Christ on the Cross (1506), Burg, Nuremberg; St. Stephen before the Judge, Martyrdom of St. Stephen, St Quirinus lifted out of the Water, St. Jerome in Prayer, Maurice Chapel, ib.; SS. Francis and Jerome (1507), Landscape with Satyr Family (1507), Repose in Egypt (1510), Landscape with Illustration of Proverb (1531), Berlin Museum; Madonna (1515), 34 ALTICIIIERO Vienna Museum; do. (1511), Liechtenstein Gallery, ib.; Christ with Mary and St. John, Abbey of r Molk, Nether-Austria. -Allgem.d. Biog.,i. 356; Keane, Early Masters, 164; Meyer, Kainst. Lex., i. 536; Scott, Little Masters, 24. ALTICHIERO DA ZEVIO, born at Zevio, near Verona, about middle of 14th century. Worked alternately in Verona and Padua. Vasari says lie painted the siege of Jerusalem by Titus, after Josephus, in the hall of the palace at Verona, and other great works. He also executed a series of frescos in the Cappella S. Felice, S. Antonio, Padua, which shows a strong Giottesque influence, and after Giotto's frescos in the Arena Chapel are the most important works of their kind painted in N. Italy during the 14th century (C. & C.). In this work he is said to have had an assistant, one Jacopo Avanzi, with whom his name is always coupled by Vasari. This painter was a Paduan, a Veronese, or a Bolognese; but if the latter, he is not to be confounded with Jacobus Paoli of Bologna, whose crucifixions, Crowe and Cavalcaselle say, are evidently not by the painter of the S. Giorgio frescos. Other frescos in the Capella di S. Giorgio are ascribed by Forster to the same Jacopo Avanzi, but C. & C. say they are identical in execution with those of S. Felice.-C. & C., Italy, ii. 232; Meyer, Kuinst. Lex., i. 555; Vasari, ed. Le Mon., vi. 86; Burckhardt, 519; Forster, Die Wandgemalde der St. Georgenkapelle zu Padua (Berlin, 1841); W. & W., i. 480; L'Anonimo Morelli (Bassano, 1800), 5. ALTISSIMO, CRISTOFANO DELL', flourished at Florence about and after 1550. Family name Papi; pupil of Pontormo and of Angiolo Bronzino. Is known principally through the collection of portraits (more than 280) which he painted for Cosimo I. of Tuscany; was of ordinary ability.-Vasari, ed. Mil., vii. 608; Meyer, Kiinst. Lex., i. 557. ALTMANN, ANTON, the younger, born in Vienna, June 4, 1808. Landscape painter; son of Anton, landscape painter (1777 -1818); pupil of the Vienna Academy, under Mossner. His pictures are good in choice of subject, carefully executed, and show a fine feeling for nature. Works: Cloister in Bohemia (1838), View in Styria, (1840), Wood Landscape (1840), Landscape with large ferns (1846), Swamp (1846), Evening Landscape (1847), Well near Woodland, Mountain Mill (1851), Wood Landscape (1851), After the Rain (1852), Vienna Museumn.-Andresen, iii. 187; Meyer, Kiinst. Lex., i. 558; Wurzbach, i. 19. ALTOBELLO MELONE. See Alelone. ALTOMANTE, MARTIN, born in Naples, May 8, 1657, died at Stift Heiligenkreuz, Lower Austria, Sept. 14, 1745. Real name Hohenberg, of German parentage. History painter, pupil in Rome of Bacciccio, then of Carlo Maratta and of Academy; went in 1684 to Warsaw and became courtpainter to King John Sobieski, after whose death in 1698 he left Poland for Germany, and in 1703 went to Vienna, was made member of the Academy in 1707, and settled at Linz, Upper Austria, in 1720; his last years he spent as a lay brother at Stift Heiligenkreuz. Works: Raising of Siege of Vienna, Principal Assault of the Turks on the Lowel Bastion, The Polish Diet (these three probably in Warsaw Museum); St. Martin, and others, Chodkjewicz Gallery, Lemberg; Susanna at the Bath (1709), Vienna Museum; St. John's Altar and Ceiling in Sacristy, St. Stephen's, ib.; Holy Family, St. Michael, St. Peter's, ib.; Raising of Youth at Nain, St. Charles Borromeo's, ib. — Meyer, Kiunst. Lex., i. 562; Wurzbach, i. 19. ALTOVITI, BINDO, portrait, Raphael, Munich Gallery; wood, H. 1 ft. 10 in. x 1 ft. 4 in. Half length of a youth about twenty years old, with long fair hair and a black cap, looking over his shoulder at the spectator; his hand on his breast. Erroneously considered by Rumohr, Bottari, and others, a portrait of Raphael himself. ALTNNO Painted about 1512-13; formerly in Casa Pittori di Foligno (Pnergia, 1872); Meyer, Altoviti, Florence, and later in Palazzo Al- Kiinst. Lex., i. 565; Rosini, ii. 34, 1(2; C. toviti, Rome, whence obtained in 1808 for (& C., Italy, iii. 125; Burckhardt, 55(t,,557; Crown Prince Louis of Bavaria for 3,500 se- Mtiller, 19; Cli. Blanc, Ecole ombrienne; quins. Engraved by R. Morghen as Ra- Liibke, Gescl. ital. Mal., i. 242. phael.-Vasari, ed. Mil., iv. 351; Rumohr, ALVAREZ, Don LUIS, born in Spain, Ital. Forsch., iii. 109; Passavant, ii. 117; contemporary. Genre painter; pupil of Miintz, 290, 387; Gruyer, Raphael, Peintre Maldrazo, the elder. Studio in Rome. de Portraits, i. 5, 17. Works: Spanish Birthday Festival, Mrs. E. ALUNNO, NICCOLO, born at Foligno D. Morgan, New York; Flirtation in a Gonin 1430? died Aug. 1502; Urnbrian school; dola, Dressing for Ball, Selling Tickets for son of a painter at Foligno, and pupil of Charity Bull-Fight, J. P. Morgan, ib.; AnBartolommeo di Tommaso, through whose cient Coquette, Modern Coquette, R. C. assistant, Benozzo Gozzoli, the scholar of Fra Hawkins, ib.; Cardinal's Reception, Toilette Angelico, his early style was affected by that of Duchess de Berri, H. Hilton, ib.; JealFlorentine influence whicl they brought to ousy, Mrs. A. T. Stewart, ib.; Hide and bear upon Umbria. Later his pictures give Seek, J. H. Stebbins, ib.; Flower-Shop, evidence of a North Italian influence, shown Samuel Hawk Collection, ib.; Halberdier, in the increased action of his figures, and Obliging Suitor, R. L. Stuart Collection, their somewhat exaggerated facial expres- ib.; Inopportune Visitor, R. G. Dun, ib.; sion. In the Madonna de' Consoli (1458), Our Forefathers'Diversions, M. Graham, ib.; S. Francesco, Deruta, his drawing is stiff Distribution of Prizes in Palazzo Borghese and defective, the colour a prevailing reddish (1885), M. Munn, ib.; Spinners, A. J. Anbrown; but the sentiment is deep, and the telo, Philadelphia; Concert, J. D. Lankenau, naive Umbrian feeling marked. Other works Philadelphia; Amateurs, C. H. Wolff, Philain Alunno's first manner are: Banner in S. delphia; Preparing for Masquerade, W. B. Antonio Abate, Deruta, in which the St. An- Bement, Philadelphia; Rousseau and Ladies thony on one side recalls Gozzoli, and the picking Cherries, S. A. Coale, Jr., St. Louis; crucifixion on the other Bartolommeo di Marriage of Pauline Bonaparte and Prince Tommaso; Madonna and Angels, Duomo, Borghese, H. L. Dousman, St. Louis; IntroAssisi, painted before 1465, to which year duction of the Betrothed, Ch. Parsons, St. belong parts of an altarpiece, Brera, Milan; Louis; Flirtation, D. Catlin, St. Louis; New Annunciation (1466), Perugia Gallery, show- Baby, J. A. Scudder, St. Louis; Carnival in ing traces of Gozzoli's influence which con- the Prado in 18th Century (1884);-La Iltinued up to about 1468. After 1471 that lustracion (1884), i. 131; (1885), i. 6. of Crivelli predominates, as in the altarpiece, AMADEI, STEFANO, born in Perugia, Duomo, Gualdo; Annunciation, Bologna Italy, Jan. 20, 1589, died there, Jan. 20, Gallery; Birth and Coronation of the Vir- 1644. First devoted to science, he conceived gin (1483), Duomo, Nocera. The altarpiece a passion for painting while studying perin S. Niccolo, Foligno (1492), of which the spective with Giulio C. Angeli. He foundPredella is in the Louvre, Paris, may be con- ed an art school in Perugia, and painted sidered as Alunno's masterpiece in his sec- many altarpieces; acquired a certain reputaond, eclectic style. jnPUS NICOLA Ition as a portrait painter, which procured One of his latest hLA I lhiim numerous orders in Rome. —Meyer, works is the Ma- FULGINATIS 1499. Kiinst. Lex., i. 575; Passavant, Raphael, donna with Angels and Saints (1499) in a ii. 61. Church at La Bastia, between Assisi and AMALTEO, POMPONIO, born in SanVito, Perugia. - Vasari, ed. Mil., iii. 508; Rossi, Friuli, in 1505, died there in 1584. Venetian 83 AMA T() school; pupil and son-in-law of I'ordenone, of Ingres. Studied the antique, the Florwhose style lie imitated and to whom some entine quattrocentists, and Raphael. After of his productions have been ascribed. Most a visit to the Morea in 1829, lie exhibited, successful in fresco; painted few easel pieces. Among the most important of his works is a series of frescos representing the history of the Virgin, in the choir of the church of the hospital at San Vito, for which lie received a patent of nobility in 1535. On the same large scale are the frescos in S. M. delle Grazie at Prodolone (1542), the Duomo of Valvasone (1544), the church of Baseglia (1544-50), the church of Lestans Porponi (1548), and others.-C. & C., N. Fi Italy, ii. 304; Meyer, Kiinst. fecit 1578, Lex., i. 587; Vasari, ed. Mil., v. 119; Joppi, Doc. ined. sulla Vita... Pomp. Amalteo (Udine, 1869). AMATO, GIOVANNI ANTONIO D', the elder, born in Naples in 1475, died there in 1555. Neapolitan school; pupil of Silvestro de' Buoni; studied later works of Perugino, and painted both in oil and in fresco. Works: St. Michael and other Archangels, SS. Severino e Sosia, Naples; Madonna with Angels, Naples Museum.- Meyer, Kiinst. Lex., i. 595. AMATO, GIOVANNI ANTONIO D', the younger, born in Naples in 1535, died there in 1598. Neapolitan school; nephew and pupil of the preceding, and husband of Mariagnola Criscuolo, who painted some Madonnas in the Neapolitan churches. After his uncle's death he studied under Giov. B. Lama, and besides him, took Francesco Curia and Ippolito Borghese for models. Works: S. Maria Visitapoveri (1571), Madonna Enthroned, Naples Museum; Coronation of the Virgin, Church of Monte de' Poeri; others in S. Patricio, S. Pietro ad Aram, 3. Giuseppe, S. Domenico Maggiore, Sta. MIargarita, S. Niccolo alla Dogana, and ~2hiesa nuova, Naples.-Meyer, Kiinst. Lex., i. 596. AMAURY-DUVAL, EUGI NE EMMANUEL, born in Montrouge (Seine), April 16, 1808. History and portrait painter; son of the diplomat archaeologist Amaury; pupil from 1833, a series of portraits, which established his reputation, and in 1839-40 and 1848-53 executed several large wall paintings at St. Merry, St. Germain 1'Auxerrois, and St. Germain en Laye (1848-1853), in the traditional style of the older Italian masters. Medals: 2d class, 1838; 1st class, 1839; L. of Honour, 1845; officer, 1865. Works: Portraits of Alex. Duval (1848), the actor Geoffroy, Rachel (1855); Infant Christ asleep (1857), Head of Young Girl (1859), Birth of Venus (1863), Lille Museum; Young Girl with Doll (1864); Daphnis and Chloe (1865); Psyche (1867); Study of a Child (1864), Luxembourg Museum, Paris. -Meyer, Kiinst. Lex., i. 597; Kunstblatt (1841), 146; (1846), 138; Meyer, Gesch., 353, 380; MUller, 11. AMAZONS, BATTLE OF (Amazonenschlacht), Rubens, Munich Gallery; wood, H. 3 ft. 8 in. x 4 ft. 11 in. Victory of Theseus over Thalestris, Queen of the Amazons, on the bridge over the Thermodon. Theseus, mounted upon a rearing horse, closely attended by his followers, is about to cast his javelin at the Amazons, who are turning in flight at the other end of the bridge; many of them are falling from the bridge, or struggling in the stream below. Subject supposed to have been borrowed from Titian's Battle of Cadore. Painted about 1619 for M. van der Gheest.-Kugler (Crowe), ii. 285 (P1.); Cat. Munich Gallery. AMBERG, WILHELM, born in Berlin, Feb. 25, 1822. Genre painter, pupil of Herbig, the Berlin Academy, and of Karl Begas. In 1844-45 he studied under Leon Cogniet in Paris, after which he visited Italy. After his return in 1847 he at first painted mythological subjects and portraits, then genre, both serious and humorous, and, more recently, landscapes with figures. Subjects attractive, treatment ingenious, and colour always effective. Since 1869, member of the Berlin Academy. Works: Consolation in 34 AM 31 1E 1. I' ER. Music (1860); Servant Maid Smoking, Scer- lMa(dolll:L Jntllronedl, St.Rocli in aLandscape, vant Malid Drinking (1863); Ophelia, Thlie Pi1akotliek, Munich; Hieroi vlius Sulezer Widow's Comfolrt (l ); eadi rt (18); leain e (542), G(oth; (Gallerv; Portrait of Old Manll, (1870), National Gallery, Berlin; replica, Wtirlitz G:allery lPortrait of Charles V. Raczynsli Gallelry, il.-MIeyer, Killst. Lex., (1532), Selbastian MIiinster, Georg voll i. 599; Miiller, 12; Rosenberg, Berlin Ma- 'Freundsberg, St. Aug'ustine, Berlinl MIuseum; lersch., 71. Duke Louis of Bavaria (1510), M:artin Weiss AMBERGER, CHRISTOPH, born in (1544), Male and Fem:ale portrait (erroneAinberg, UlnI or Nuremberg, about 1490 or ouslv called Thomas A[Momus anlld Wife), Male 1500, died in Augsburg in 1561 or 1 562. Bust-polrtra;it, Vielnnaf MusCeuml; (do. (attribGerman school; portrait painter, perhaps uted to Holbein), Uffizi, Florence; Portrait W. I';'* ~~ Battle of the Amazons, Rubens, Munich Gallery. Battle of the Amazons, Rubens, Munich Gallery. pupil of Hans Burgkmair, and one of the best of Charles V. (1532, attributed to Holbein), masters of the sixteenth century. Received Siena Academy; Matthaus Schwartz and into Alugsburg guild in 1530, and appears WXife (1542), formerly in Baron von Friesen's there until 1560; was in Italy about 1535. Collection, Dres(len.-Allgem. d. Biog., i. Works: Portraits of Win. M1Trz and Afr:l 390; Kunst-Chronik, ix. 190; Meyer, Kiinst. Rehm (1533), of Konrad Peutinger and Wife Lex., i 600; W. & W., ii. 452. (1543), Miximilians AMuseum, Augsburgl; IAMBROGIO DA FOSSANO. See BorAltar witl Mladonna (1554), C:tthedral, ib.; qgor/owr. Chlrist wit the Wise and Foolish Virgins AMBROGIO DI LORENZO. See Lo(1560), Transfiguration of Christ, St. Ann's, re nzetti. ib.; Afra Relll and Male Portrait (1533), AMBROGIO DA SIENNA. See Loren Archeological Museum, Stuttgart; Trinity, zetti. 35 AMlBROSE AMBROSE, ST., APOTHEOSIS OF, Ambrose, il canonicals, with mitre and cro Luigi V'ivarw i, S.. (. id' Frari, Venice; wood. zier, withl six attendants, meets the Emperor, who is followed by three offiSjlJ / ^ cers, at the entrance, and ff/ih; te pilapresses him back with his hand. Eleven figures, nearly _:: o t o r all full length. —Kett, 49; Gal. de Vienne. AMERIGHI, M I C H E LANGELO. See Caravaggio. Aji~ ~t~pAMERLING, F R I E DtRICH, born in Vienna, April 'A,) _14, 1803. Portrait and fig/ ( Cf~~~~k~~ ure painter, son of a poor arAmbo' of Em Vign eror n10 fnse: tisan, pupil of Vienna AcadSt. mas ona a telr be~ig'ei GeorgeIand placedlore|n emy une erK Redl. By illuminalr Gating maps and engravings on Itagained enouh gh to enable him to stud in London under Sir H.JQ Thomas Lawrence for nine saitmonths, and in Paris under k th ih pn HsHorace Vernet. A first prize given him at Vienna for two historical paintings enabled him, in 1831, to go to Venice ___;~ ~ /and Rome. After his re_ - l turn lie entered on a successful career as a portrait painter, under the patronage of H. — 7 ft. 9 the Imperial family. In Ambrose and Emperor Theodosius, Rubens, Vienna Musum. 1841-44 lie resided at Rome St. Ambrose on a throne between SS. George, and Florence. Works: Archduke Rudolph, Vitale, Gregory, Augustine and a monk on Emperor Francis (1832), Laxenburg Palace; one side; SS. John Baptist, Gervase, and Prince SchwarProtase on the other; SS. Sebastian and B zenberg, Count Jerome in foreground; in lunette, Corona- Zichy, Count tion of the Virgin. Begun in 1503; finished Nugent, Princess by Basaiti after Luigi's deatlh and placed on: Kheven h iiller, altar in the Cappella Milanesi. Has been I. Thorw a 1 d se n, wrongly assigned to Bart. Vivarini.- C. & I ' Gr illp a r z e r, C., N. Italy, i. 68, 259. PrinceWindischAMBROSE AND EMPEROR THEO- ',gr/tz on horseDOSIUS, ]luben,z, Vienna Museum; canvas, back; Lute PlayH. 7 ft. 9 in. x 11 ft. 5 in. The Emlperor er, Artist'sBrothTheodosius, whose hands were stained bvy er as Fisher-boy, the blood of the inhabitants of Thessalonica, St. Paul (1833), is refused admission into the Cathedral lby Artist's portrait, Museum, Vienna; Moses Archbishop Ambrose of Milan (A. D. 390). and Brazen Serpent, Baron Pereira, ib.; 36 AMES Italian Girl, Oriental Woman, Felner Collection, ib.; Sleeping Children, Count Beroldingen, ib.; Greek Woman, Muse of Tragedy (1863); Girl with Doves (1868). -Brockhaus, i. 551; Meyer, Kiinst. Lex., i. 627; Miiller, 12; Kunstblatt (1834), 294, 308; (1842), 122; Wurzbach, i. 29. AMES, JOSEPH, born in New Ham)shire in 1816, died in New York il 1872. Portrait painter; studied il Rome. Passed his professional life in Boston and New York. Elected an A. N. A. in 1869, and N. A. in 1870. Ideal works: Miranda; Nilght; Morning; Death of Webster (1871); Ideal heads and a few landscapes. Portraits: Pius IX., Portrait of himself (1872, N. Academy); Ristori; Prescott; Daughlter of Benjamin F. Butler; Clarence H. Seward; R. W. Emerson; Rachel; Webster; Clloate. AMIDANO, GIULIO CESARE, flourished at Parma, 1560-1628. Pupil of Parmigianino, or at least a close imitator of that nmaster; painted afterwards also in the style of other masters, and shows on the whole little individuality or independence. - Meyer, Kinst. Lex., i. 629. AMIGONI (Amiconi), JACOPO, born in Venice in 1675, died in Madrid in 1752. Venetian school. After having attained a certain reputation in Italy, he went to Munich, and in the service of the Elector frescoed several ceilings in the castle at Schleissheim; also painted oil paintings for churcles and the court. In 1729 he went to London, where he found many patrons, and, besides painting frescos, was soon in great demand as a portrait painter; through the Russian ambassador he also received orders for the court of St. Petersburg. In 1736 he was, for a short time, in Paris, and in 1739 returned to Venice a wealthy man. In 1747 he repaired to Madrid as court painter to Ferdinand VI. In his time this master stood in high repute, but later was severely criticised; he is in fact a weak follower of Sebastiano Ricci and Solirena, though a certain ease and mastery of treatment cannot be denied to him, which, wherever his art is confined to a decorative character, produces graceful effects. Works: Children playiing witl a Goat, Boys,playing with a Lamb, Hampton Court; Josep)l inl Plaraoh's Palace, Benljamin, St. Ferdinand receiving the Surrender of Seville, Portrait of an Infanta, MadMrid MItuseuln. —Meyer, Kiinst. Lex., i. (31; Cean Bermud(lez. AMSTERDAM MI1USKETElERS. See So('ti'. AMIULIUS. See Fal)bu1Us. ANASTASI, AUGUSTE 1PAUL CHARLES, bo(rn in P1aris, Nov. 15, 1820. Ladlscaple )painter, lpupil of Delaroche and Corot, entered the Ecole des Beaux Arts in 1849. Style classical, incliling to the realistic. Though his plictures are attractive, their treatment is decorative and often superficial, and their colouring mannlered. Medal, 2d class, 1848; medal, 1865; L. of Honour, 1868. In 1869 he became blind. Works: The Last Rays (1850); HarvestTime (1852); Huts in Normandy; The Seine near Chatou; View near Bougival; Banks of the Spree (1855); Banks of tlle Maas (1857); Lake in Tyrol, Return of the Herd (1861); Villa Pamfili (1864), Luxembourg Museum, Paris; Sunset near Dordrecht; Forum Romnanum, Banks of the Tiber (1865). Others in museums of Marseilles, Lille, and Rennes.- Meyer, Kiinst. Lex., i. 671; Milller, 13; Gaz. des B. Arts (1864), xvii. 13, 14. ANATOMIST, Gabriel Max, Private Gallery, Munich; canvas. Thle anatomist, an elderly man with a thoughtful face, is seated in an arm-chair, gravely contemplating tile features of a fair young girl, whose dead body, lying upon the dissecting table beside him, is draped with a sheet, excepting the face and neck which he has uncovered; in tile background a table, with books, papers, and several skulls upon it. Munich Exhibition, 1869. -Art Journal (1881), 177. ANATOMY, LESSON IN, Rembrandt, National Gallery, Amsterdam; canvas, H. 5 ft. 4 in. x 7 ft. 1 in.; signed, dated 1632. 37 ANAXANDER Lecture by Nicolaas Tulp, of the Anatomical able mistake, in the inscription on his por. Institute, Amsterdam, to pupils gathered trait of a singer. —Eustath. ad Ol., p. 1622 -round a table, on which lies tlhe (lead body 38. of a man which lie hlas partly dissected. ANCHER, ANNA (n(e Brond(lul), born Eight figures, those in foreground seen lalf- at Skagell, Denlark, Aug. 18, 1859. Figure length, all portraits. Renlbrandt's fame painter, puplil in Copenhagen of Kyin, dates fromn this picture, which is remlarklable mlarried in 1880 to genre painter Michael in composition, expression, executiol, and A. Works: Old Man cutting Pegs, Old beauty of colouring. Painted for (Guild of; Womanll from Skagen (before 1880); Mother -- and Child, Coffee is ready '"-/-. \ I I (1881).-Sig'urd Miiller, 8. vLa:, / r1 _ r \ /, A 1N CANCHER, MICHAEL >t\ \ / ~ l S-5- \ /^ I I -PETER, born al t Rutllsker ~0-' '~~::- Sogn, near Borlllholmn, Denm.ark, June 9, 1849. ClGenre painter, pupil of CopenLhagen Academy. WRoreks A Lyng-i n-Room in JutSurgeos, Amstrl and (1874) Tavern Scene 18, w n sd to (1875); Fishermen launclilng Lifeboat (1876); Lay Etched by L. Famen. Egrave y J. e j spe Preacher conductingl Di-:;~Frev/. ~i.vine Service on Skagen Beach (1877); Fisherboy a~~~by Aert Pieturnin (1fr0oma Seadgull /'(1619);i Hun Sunday Evening ool the Beach (1878); Two 3esso in Anatomy, Rembrandt, National Galery, Amsterdam. unde Girls, Bonnat t ePa 23; Smith, vii. 61; Fromentin, Les M~aitres KStudlio in New Yoys. IdMeal Works: Street Surgeons, Amsterdam; in their all until (1879); Mother's Read7ing Lesson, Will He 1828, when sold to mins for 36,000 florins. Pclear the Point? (1880); Figures in a LandEtched by L. Flamenrg. Engraved by J. de scape, Old Man laughing, Infant Class at Frey. Simila subject previously p iiainted MSkaen (1881).-Sigurd Miiller, 1; Illustr. by Aert Pietersen (1603), Thomas de Keyser Zeit (1882), ii. C163. (1619); Nicolaas Elias (1625), and Pieter ANDERSON, A. A., born in New York, van Mirevelt (16).-Kugler (Crowe), i i. Aug. 11, i 1847. Portrait and figure painter; 368; Ch. Blanc, Rembrandt, 379; Mollett, studied in 1873 under Bonnat in Paris. 23; Smith, vii. 61; Fromentin, Les Matres Studio in New York. Ideal Works: Street d'autrefois, 291; Vosmaer, 23, 425. Scene in Cairo (1875); Young Oriental ANAXANDER, painter, date unknown. (1876); Palm Sunday (1878); De la Richesse Mentioned as by no means without reputa- " la Pauvret6, Caf6 Lion d'Or, Paris (1883). tion.-Pliny, xxxv. 40 [146]; Brunn, ii. Portraits: Mrs. A. A. A. (Salon, 1877); E. D. 300. Morgan; Nathaniel Hawk; H. B. Claflin. ANAXANDRA, painter, daughter of NAeal ANDERSSON, NILS, born in East Gothces, lived about 200 n. c. Worked in Cicyon land in 1817, died in Vaxholm, near Stockand in Egypt.-Clem. Alexandr. Strom., iv. hiolm, June 19, 1865. Landscape and genre 124; Brunn, ii. 291. painter, pupil of the Stockholni Academy; ANAXENOR, painter, of Magnesia, date made an art tour through Europe in 1851, unknown. Name recorded, through a laugh- and studied in Paris in 1854-56. After his i tl sulw n~~n8 11I~YSi fe i ANDES return he became a member of the Academy bought by the State; View in the Valley of in 1857, and a professor in 1858. Works: the Streture (1863); Panels with Landl Landscapes with anilmals, Stockholm Mu- scapes, Pavilion Mollien, Louvre. seuln; Fowler Art Union, Christiania. — ANDRE1, MICHEL FRANCOIS, born in Meyer, Ktinst. Lex., i. 681. Aix, Provence, baptized May 22, 1700, died ANDES, HEART OF THE, Frederic E. in Paris, April 13, 1783. Family name BarC/lrch, David Dows, New York; canvas, H. don. History painter, pupil of J. F. (le Troy. 6 ft. 8 in. X 10 ft. Composition froml studies In 1725 carried off second Academy prize for made in the central mountainous regiolns of painting, then spent six years in Italy, where Ecuador. Painted in 1858 for Win. T. Blod- lie painted a colossal picture for the City gett, N. Y., at the sale of whose collection it Hall (1729), now in the Aix Museum, and was sold for $10,000.-Oni its first exhibition a llegorical figures of the Virtues. In 1737 an enthusiastic description of it was writtenl Ima(de Associate of the Academy. Returned by Theodore Winthrop: see his volume en- to Paris in 1752 and elected professor in titled "Life in the (O)en Air." Art Journal, the Royal Academy of Painting. Founded Oct., 1859; Harper's Weekly, May 7, 1859. the Academy of Art at Marseilles about 1750, ANDRADAE, Don ANDRES DE, por- and was its director. Was also a poet and trait, iMurillo, Earl of Northbrook, London; musician. Works: Christ Crucified, St. Jecanvas, H. 6 ft. 6 in. x 3 ft. 10 in. Full rome, Aix; Tullia, Montpellier Museum.length, standing; about fifty years old, with Meyer, Kfinst. Lex., i. 685. dark doublet with slashed sleeves, knee ANDREA DEL CASTAGNO. See Casbreeches, white stockings, right hand on tagno. head of a (log seated by his side, left holding ANDREA DI CIONE. See Orcagna. liat. Bought from D. Antonio Bravo by Sir ANDREA DA FIRENZE or DA FLOJ. M. Brackenbury, British Consul at Cadiz; RENTIA, of Florence, 14th century. He sold to Louis Philippe for ~1000; at his sale began in 1377 the series of frescos in the (1853), to Thos. Baring for ~1020. Copy by Campo Santo, Pisa, illustrating scenes from Gutierrez in Academia S. Fernando, Madrid. the life of S. Ranieri, assigned by Vasari to -Curtis, 292; Athenaumnl(1853), 623. Simone of Siena, which was finished in 1386 ANDRE (Andray), JEAN, born in Paris, by Antonio Veneziano.-C. & C., Italy, i. in 1662, died there in 1753. Studied at Rome 395, ii. 84; Meyer, Kiinst. Lex., ii. 2; Valllder Carlo Maratti, in whose house he lived. sari, ed. Le Mon., ii. 93. Became a Dominican monk, and devoted him- ANDREA DEL GOBBO. See Solario. self to painting religious subjects. Works: ANDREA DEGLI IMPICCATI. See Jesus in Simon's House, Lyons; Marriage at (Jastagno. Cana and Multiplication of Loaves, Bor- ANDREA MICHIELI, called Vicentino leaux; two pictures from life of St. Vincent (from. Vicenza), born about 1539, died in de Paul, St. Lazare, Paris. - Larousse; 1614. Venetian school; supposed pupil of Meyer, Kiinst. Lex., i. 684. Jacopo Palma the younger; nothing known ANDRI, JULES, born in Paris, April 19, of his life. Executed important works in 1807, died there, Aug. 17, 1869. Landscape the Palazzo Ducale, Venice; among them are painter, pupil of Jolivard and Watelet. He the Doge Ziani presenting the Son of Barbaworked for ten years (1845-1856) in the rossa to the Pope, the Assault of Zara in manufactory at Sevres, but painted pictures 1202, Otho presented to the Pope, Baldwin for the Salon at the same time. Medal, 2d elected Emperor of the East by the Cruclass, 1835; L. of Honour, 1853. In 1848 saders, the Siege of Venice by Pepin, the was conservateur of the drawings at the Defeat of Pepin, the Victory of the VeneLouvre. Works: Bridge of Tauron (1855), tians over the Turks, the taking of Cattaro, 39 ANDREA and the Entry of Henry III. into Venice. In the Venice Academy are his Deposition from the Cross and his Madonna in Glory with Saints; and others of his works are at Vicenza, Padua, Treviso, Rovigo, etc., and in the Venetian churches of S. Zanipolo, S. Fantino, S. M. della Celestia, and the Frari. His compositions, though rapidly conceived and hastily executed, are well worthy of attention. In the latter part of his life Andrea went to Munich and decorated the Imperial Hall of the Palace with fourteen large paintings of sacred and classical subjects.-Ch. Blanc, Ecole venitienne; Meyer, Kiinst. Lex., i. 709. ANDREA MILANESE. See Solario, An drea. ANDREA DA IMURANO, end of 15th and beginning of 16th century. Venetian school; pupil of Bartolommeo Vivarini, and thoroughly impressed with his style, though far inferior to him in the treatment of colour. Earliest authenticated work an altarpiece painted for S. Pietro Martire in Murano, parts of which are in the Brera, Milan, and the Academy at Venice. He painted in 1501 an altarpiece for the church of Trebaseleghe near Treviso, and in 1502 a Madonna with Saints in the church of Mussolone near Asolo.-C. & C., N. Italy, i. 77; Meyer, Kiinst. Lex., i. 707. ANDREA DA SALERNO, born at Salerno about 1480, died in Naples (?) about 1545. Neapolitan school; real name Andrea Sabbatini. Started for Perugia to study the works of Perugino, but attracted by the fame of Raphael became his assistant; and finally settled in Naples, where he painted many pictures. His best picture is the Adoration of the Magi in the Museum at Naples. Other works in various churches at Naples and Salerno. May be classed with Jacopo Siculo and Pacchia of Siena.C. & C., N. Italy, ii. 106; Vasari, ed. Le Mon., vi. 40, ix. 115; Burckhardt, 683; Seguier, 184; Ch. Blanc, Rcole napolitaine; Lubke, Gesch. ital. Mal., ii. 373. ANDREA DEL SARTO. See Sarto. ANDREA DI VANNI or ANDREA VANNI, born in Siena in 1332, died in 1414. Sienese school; in 1353 he was painting in partnership with Bartolommeo di Manfredi. In 1368 he took part with those who expelled the nobles from Siena, and as a reward for his services was elected in 1370 one of the great council. He was a gonfaloniere in 1371, envoy to the Pope at Avignon in 1372, went on a mission to Florence in 1373, and was envoy to the Pope at Naples in 1384. Although Lanzi calls him "the Rubens of his time," painting appears to have been with him a business rather than a passion. Damaged remains of some of his frescos are in the Minutoli Chapel, Duomo, Naples, and in a chapel of S. Domenico, Naples, and a portrait of St. Catherine of Siena in S. Domenico, Siena. There is also a Virgin Enthroned by him in the sacristy of S. Stefano, Siena, a picture of a common class, combining most of the defects of Bartolommeo di Manfredi.-C. & C., Italy, ii. 152; Meyer, Kiinst. Lex., i. 692; Milanesi, Siena e il suo Territorio, 168; Kugler (Eastlake), i. 173. ANDREA VICENTINO. See Andrea Michieli. ANDREAE, KARL, born at Muhlheim, near Cologne, Feb. 3, 1823. History painter, pupil of the Diisseldorf Academy in 1839-44, under Karl Sohn and Schadow. From 1845 to 1849 he studied in Rome; was especially drawn towards Cornelius, whom he followed to Berlin, where he remained until 1865 and then settled in Dresden. In 1859 he founded in Dresden the Saxon Christian Art Union, of which he has been president since 1864. -Meyer, Kiinst. Lex., i. 713; Miller, 13; Christl. Kunstblatt (1869), 164. ANDREW AND JEROME, SAINTS, Tintoretto, Palazzo Ducale, Venice; canvas, H. 6 ft. x 8 ft. St. Andrew standing, holding a cross; St. Jerome reclining at his feet. Companion picture to St. George and the Dragon.-Ruskin, Stones of Venice, iii. 296. ANDREW, ST., MARTYRDOM OF, Carlo Dolci, Palazzo Pitti, Florence; canvas, 40 AN I)10(.)1 'S H. 4 ft. x 3 ft. 3 in.; signed, dated 1646. St. Andrew kneeling, while an executioner removes his clothes; at left, three others prepare the cross; behind the saint, a centurion and soldiers; in background, down the hill, the rabble. Painted for Marquis Carlo Gerini; bought of his heirs by Grand Duke Ferdinand III. Engraved by G. Guadagnini.-Gal. du Pal. Pitti, ii. P1. 41. By lurillo, Madrid Museum; canvas, H. 4 ft. x 5 ft. 3 in. The Saint, nearly nude, his white hair and beard streaming in the air, is fastened with cords to a saltier cross formed of the trunks of trees; above, cherubs with the crown and palm of martyrdom; beneath, executioners, two of whom tighten the cords on his feet; at left, in front, a group of spectators; at right, two soldiers on horseback, and others on foot. Latest manner. Repetition:Sir Philip Miles, Bart., Leigh Court, Somerset (not nentioned by Waagen).-Curtis, 209; Madrazo, 482. ANDROBIUS, painter, place and date unknown. Painted picture of Scyllis, the diver, cutting away the anchors of the Persian fleet. —Pliny, xxxv. 40 [138];Brunn, ii. 299. ANDROCYDES, Greek painter of Cyzicus, contemporary and rival of Zeuxis, about 400-377 B. c. Plutarch mentions (Pelop. 25), a picture by him representing a cavalry skirmish near Platsea shortly before the battle of Leuctra, and another of Scylla surrounded by fishes.-Athen. viii.; Plut. Sympos., iv. 2, 3, 8; Brunn, ii. 124; Pliny, xxxv. 36 [64]. ANDROMACHE AND PYRRHUS, P. N. Guerin, Louvre; canvas, H. 10 ft. 7 in. x 14 ft. 2 in.; signed, dated 1810. Subject from Racine's Andromaque. At right, Orestes, standing, demands Astyanax in the name of the Greeks; in centre, Pyrrhus, seated, stretches his sceptre over the child which Andromache, kneeling and in tears, puts under his protection; at left, Hermione, jealous of her rival, goes out in anger. Acquired in 1822 for 10,000 fr. Engraved by Richomme.-Reveil, ii. 95. ANDROMEDA, ancient picture. See Evanthus, Nicias. By J. J. Ihnnlr, Mme. Raffalovich, Paris; canvas. Nude, standing, her head bent dlown, hair dishevelled, chained to two iron rings fixed in tile rock on the borders of the sea. --— LArtiste (1882), i. 58. By ulben's, Blenheinl Palace; wood, H. 6 ft. G in. x 3 ft. 1 in. Chained to the rock, in terror at the approach of the monster; over her lhead Cupid with his torch; in distance, Perseus, mounted on Pegasus, descending from skies. Probably painted in Italy.-Waagen, Art Treasures, iii. 129. ANDROMEDA, RESCUE OF. See Persecs and Andromeda. ANESI, PAOLO, flourished at Rome first half of the 18th century, born about 1700. Landscape painter; frescoed in 1761, with Ant. Bicchierai and Nic. Lapiccola, three rooms in the Villa Allani, Rome, in the style of Locatelli. His pictures, which are rare, are often mistaken for those of Giov. Pannini. Four Landscapes, Hohenzollern Gallery, Lernberg; three others (1766), at Schloss, Sagan.-Meyer, Kiinst. Lex., ii. 80; Nagler, Mon., i. 497. ANGE, FRANOOIS DE L', born in Savoy in 1675, died April 17, 1756. History painter, pupil of Crespi, at Bologna, 1706. He painted small, well-drawn, and brilliantly-coloured pictures. Worked long for the Marchese Lucatelli. Entered Order of S. Filippo Neri in 1735.-Meyer, Kunst. Lex., ii. 31; Felsina Pittrice, iii. 271. ANGELI, BATTISTA. See JMoro. ANGELI, FILIPPO D', called Filippo Napoletano, born in Rome near end of 16th century, died in Naples about 1640. Neapolitan school; pupil of his father, who painted in Rome for Pope Sixtus V., and afterwards was employed in Naples by Cardinal Pallotta. After his father's death Filippo returned to Rome to continue his studies, devoting himself chiefly to landscape painting, but also painted architectural views with well-executed figures. His pictures are commended for good aerial perspective and well-grouped accessories. Works: Satyr and Peasant, Louvre; 41 ANGELI Cavalry Skirmish, Schleissheim Gallery; Portrait of himself, Uffizi, Florence.-Meyer, Kiunst. Lex., ii. 43; Mundler, Essai, 26. ANGELI, GIULIO CESARE, born in Perugia about 1570, died there in 1630. Bolognese school; pupil of Lodovico Carracci, whose influence is not very apparent in his paintings; his drawing, especially of the nude, is negligent, while composition and colouring show talent. Works: Madonna with Saints, Perugia Cathedral.Meyer, Kiinst. Lex., ii. 44. ANGELI, GIUSEPPE, born in Venice about 1710, died in 1798. Venetian school; pupil of Gio. Batt. Piazetta, from whom he derived his blackish shadows and disagreeable yellowish tint. His drawing is skilful, composition vivid, and in his later period the colouring becomes more light and pleasing, but is lacking in strength. He painted a great deal in oil and fresco for the churches in Venice and neighbouring cities. Works: Little Drummer, Louvre; Lot and Daughters, Mentz Museum.-Meyer, Kiinst. Lex., ii. 44; Zanotto, Storia, 102; Zanetti, Pittura Ven., 614. ANGELI, HEINRICH VON, born in tenoble (1873), Queen Victoria (1875), Emperor of Austria, Emperor William, Crown Prince and Princess of Germany, Prince Frederic Charles, Baron Manteuffel, Princess of Montenegro.-Brockhaus, i. 641; Meyer, Kiinst. Lex., ii. 45; Miiller, 14; Illustr. Zeitg. (1872), i. 251; (1875), ii. 255; Kunst-Chronik, v. 143; Zeitsch. f. b. K., vi. iii. 147. ANGELICA AND ROGER, Jean Ingres, Louvre, Paris; canvas, H. 4 ft. 8 in. x 6 ft. 3 in.; signed, dated Rome, 1819. Roger, mounted upon a hippogriffe, plunges his lance into the monster, about to devour Angelica chained to a rock. Subject from Ariosto. Painted in 1819, sketches in Montauban Museum; first sketch for figure of Angelica, retouched in 1867, Ph. Burty.-Cat. Louvre. ANGELICO, Fra GIOVANNI, born in Vicchio in 1387, died in Rome in 1455. Florentine school; real name Guido or Guidolino di Pietro; called also Fra Gio. da Fiesole and II Beato (the Blessed); may have studied under Starnina, but was probably bred with his younger brother, Benedetto, in the monkish school of miniature. Together they took the vows in 1407-8, either Oedenburg, Hungary, Feb. 8, 1840. His- at Cortona or at the Dominican Convent, tory, genre, and portrait painter, pupil in Fiesole, where they remained until 1409, 1854 of the Vienna Academy, then of Gus- when with the brethren who adhered to tav Miller, and with Leutze went to Diissel- Gregory XII. they retired to the Dominican dorf in 1856. In 1859-62 he was in Mu- Convent at Foligno, and lived there and at nich, and in 1862 settled in Vienna, where he Cortona until 1418. The next eighteen soon became the favourite portrait painter years were passed by Fra Angelico in Fieof the aristocracy. His portraits are dis- sole, after which he spent nine years (1436 -tinguished for truth, an air of high breeding, 1445) in the Convent of S. Marco, Florence. and elegance of arrangement, and his genre From 1445 until his death, with the exceppictures are full of dramatic life. Medal, tion of three months' (1447) employment in Paris, 3d class, 1878. Professor in Vienna Orvieto, lie resided in Rome, where he Academy since 1876. Works: Mary Stuart painted frescos in two chapels of the VatiSentenced (1857); Louis XI. and Francis can for Eugenius IV., and his successor, de Paula (1859); Antony and Cleopatra NicholasV. The residence of Fra Angelico (1860); Caesar and Antony; Jane Gray be- at Foligno during an early period of his fore Execution; Avenger of his Honour life favoured his peculiar development. At (1869); Youthful Love (1871), Vienna Mu- Assisi, which lies at no great distance from seum; Italian Lovers (1872); Denied Abso- Foligno, he saw and studied the works of lution (1873); Portraits of Grillparzer, Giotto, of whose school he may be called a Alex. Dumas, Lady in Black (1872), Cos- follower, inasmuch as he exclusively devel42 ANG E LII oped one of its chief elements; while at, 5ag:i, St. Peter Martyr, S. M5Iarco, Florence; Foligno lie lerfected himself in the art of Frescos, Lives of SS. Laurenee and Stephen. illuminating choir books and missals. Evi- Clapel of St. Nicllolas, Vatican, Rome (1450.dence of Angelico's training as a miniaturist 55); TGod tlhe Father and lProphets (1447), is to be found in the dryness, precision, ceiling, Duoono, Orvieto; Coronation of the and extreme simplicity of his style, and in lir:l/i,, Miriacles of St. Dominic, Louvre, the thinness and meagreness of his execu- Paris; Last Judg( ent, Berlin Museum; tion. Masolino may have taught hilm how Adoration of the Magi, Christ with Angels to make his draperies more transparent by and the Blessed, National Gallery, Lonnew methods of glazing, and how to use don.-Vasari, ed. Mil., ii. 505, 527; C. other freshlydiscovered technical processes, & C., Italy, i. 559; Marchesi, i. 185; but nevertheless he remained a mystic in an Burckhlardt, 530; Rio, ii. cap. xi.; Life of age of growing naturalism; a nmediewalist F. A., ArUndel Soc. Pub. (London, 1850); in the first period of the Renaissance, work- Cartier, Vie de F. A. (Eng. trans., London, ing in the fifteenth century in the spirit of 1865); F(orster, Leben und Werke (Ratisthe fourteenth. Angelico with all his tech- bon, 1859); Dohlle, 2 i. nical incompleteness has never been ex- ANGELINI, ANNIBALE, Cavaliere, born celled in depicting the seraphic. His angels atPerugia, Italy, in 1812. Landscape painter, are birds of Paradise, whose faces glow with pupil of Perugia and Florence Academies. beatitude, whose forms are just enough Professor at Academy of S. Luca, Rome; like those of human beings to make them member of most of the Italian Academies. comprehensible, but not so much so as to Several orders. Works: Six Landscapes veil their divine nature. Another point in with Architecture, Vatican, Rome; Landwhich Angelico stands alone is in his power scapes, Quirinal, ib.; Ceiling Fresco, Palazzo of depicting in the faces of his saints and Doria, ib.-Miiller, 14. devotees the deep emotions which stir na- ANGELO, MICHAEL. See Michelantures like his when absorbed in the contem- gelo. plation of divine mysteries. The counte- ANGELS, FALL OF, Luca Giordano,Vinances of some of the great teachers and enna Museum; canvas, H. 13 ft. 4 in. x 8 ft. founders of religious orders in his fresco of 10 in.; signed, dated 1666. The Archangel the Crucifixion (after 1436), in the Chapter Michael, sword in hand, in a glory of angels, House, S. Marco, Florence, are instances in overcomes the rebellious angels and casts point. Some of the most remarkable of An- them down. Engraved by Eissner.-Gal. de gelico's works are: Altarpiece, Lunette over Vienne, ii. P1. 89. portal, S. Domenico, Cortona (before 1418); ANGELUS, J. F. Millet, M. Secretain, Predella of same, Annunciation, Gesh, Cor- Paris; canvas. Evening; two peasants, a tona; parts of an altarpiece, Perugia Gal- man and a woman, at work in a field, hear lery; Predella of same, Vatican, Rome; the bells of the Angelus from a chapel seen altarpiece (after 1418, repainted by Lorenzo in the distance. They rise, stop work, and di Credi), S. Domenico, Fiesole; Corona- standing bareheaded, recite with downcast tion of the Virgin (1433), Coronation of the eyes the words of the prayer, "Angelus doVirgin, and many small panels (1436), Uffizi, mini nuntiavit Marioe." Painted in 1859; Florence; Last Judgment, Paradise, and sold to J.W. Wilson, Paris; at his sale (1881), Deposition from the Cross, 35 subjects from 160,000 fr. Original design, W. T. Walters, Life of Christ, two altarpieces, Florence Baltimore. Etched by C. Waltner; by A. Academy; Angels kneeling on Clouds, Turin P. Martial in Art Journal (1884), 348. Gallery; Crucifixion, Madonna della Stella, ANGIOLETTO DA GUBBIO, of Gubbio, Coronation of the Virgin, Adoration of the fourteeth century. Worked as a mosaist at 43 ANGIOLILLO Orvieto (1321-1329), and afterward at Assisi. A series of small panels in tempera, originally parts of one picture, in the Ranghiasci Brancaleone collection, Gubbio, have been assigned to him. These have all the character of the Urbinese school at the close of the fourteenth century. The figures are long and slender, but the heads are oblong and the features small. The colour of the flesh is rosy, and the general tone gay and pleasing.- C. & C., Italy, ii. 192; Meyer, Kiinst. Lex., ii. 59; Cibo, 41. ANGIOLILLO DA ROCCADIRAME, flourished about 1450, died about 1460 (?). Neapolitan school; pupil of Antonio Solario, and his assistant in many of his works. Painted altarpieces for churches in Naples. -Lanzi, ii. 12; Ch. Blanc, lcole napolitaine. ANGUISCIOLA, SOFONISBA, born in C r e m o n a about 1535, died in Gen11 2 ^oa in 1622 (?). ~/;i -\ Lombard school; scholYj^". \\!/ar of Bernard* I < \ I m \ ino Campi and '^n ^ \,. 'r V\I of Bernardino, Gatti; attract\\\ 1 I Rome about 1554 by her portraits, one of the earliest of which is perhaps her own likeness of that year in the Vienna Museum. She frequently represented herself in different situations,-with brush and palette, Uffizi, Florence; seated at the clavichord, Althorp, England; at her easel, Keir, Scotland; playing chess with two of her sisters, Raczynski Gallery, Berlin. In Spain, where she resided for several years and was raised to the rank of first lady in waiting to the Infanta Clara Eugenia, she painted portraits no longer extant of mernbers of the royal family, and stood high in favor with Philip II., who made her splendid presents and assigned her a considerable pension on the occasion of her marriage and return to Italy. Until the death of her husband she lived at Palerino, where she painted some religious pictures of merit inferior to her portraits, and later, having remarried, she settled at Genoa, where she was admired and followed for her talents and accomplishments. Her five sisters, Elena, Lucia, MiSofonhsba Gentisdona Cremonese. nerva, Europa, and Anna Maria were all painters.-Meyer, Kiinst. Lex., ii. 64; Vasari, ed. Mil., vi. 498; Ch. Blanc, fcole lombarde; Wessely. ANIEMOLO (Ainemolo), VINCENZO, born in Palermo, towards end of fifteenth century, died there in 1540. Neapolitan school; the most noted artist in Sicily in the sixteenth century, holding some rank as Andrea da Salerno on the mainland. Probably visited Naples and studied Perugino and later went to Rome, where lie studied Raphael's masterpieces and learned to imitate them in arrangement and expression. His works are chiefly in Palermo; the best, a Madonna between four saints, in S. Pietro Martire.C. & C., N. Italy, ii. 117; Meyer, Kunst. Lex., ii.71; De Marzo, Belle Arti in Sicilia, iii. 207. ANKER, ALBERT, born at Anet, near NeufchAtel, Switzerland, April 1, 1831. Genre painter; pupil in Paris of Charles Gleyre and of the Ecole des Beaux Arts. His historic and domestic genre pictures are spirited and excellent in drawing, but somewhat dull in colouring. Medal, Paris, 1866; L. of Honour, 1878. Works: Evening Prayer (1861), Neufchatel, City Museum; Village School in the Black Forest, (1859); Luther at Erfurt (1861); Burial of a Child (1864); Children Bathing (1865); Writing Lesson (1866); Marionettes (1869); Soldiers nursed by Peasants (1872); The Snow-Bear (1873); Little Musician; Engineer, Good Little Girl (1885). Other pictures at Berne, Bayonne, Auran, and Lille.-Meyer, Kiinst. Lex., ii. 72; Miiller, 14. ANNA, BALDASSARE D', end of sixteenth and beginning of seventeenth century; of Flemish descent, but probably 44 ANNE born in Venice about 1560, died after 1639. 'wood, H. 5 ft. 4 in. x 6 ft. 3 in. The Virginl, Venetian school; pupil of Leonardo Corona, standing in an arched lhall, receives the Ilesseveral of whose pictures he finished after sage from the angel who kneels; above, the lis master's death in 1605. His original Holy Gliost descending; in niches at sides, works surpass those of Corona in softness of SS. Sebastian and Ottilia. lainted in execution, but are inferior in design. His 1513 (?). Bought in Florence in 1832 by Annunciation of the Virgin over the high IKing Ludwig I. A fine picture, but much altar of S. M. Maddalena in tlie islanl of repainted.-Meyer, Kiinst. Lex., i. 222; C. Zucca, and a large picture in S. M. Formosa & C., Italy, iii. 490. at Venice are two of his best works. —Meyer, By Fra Augelico, Mus. di S. Marco, Kinst. Lex., ii. 75; Vasari, ed. Le Mon., ix. Florence; fresco; others in Gesu, Cortona; 36, xiii. 20, 43. S. Alessandro, Brescia; Madrid Museum. ANNE PAGE AND SLENDER, Sir A. W. By Fra Ba(trtoloi)mneo, Louvre; wood, H. Callcott, S. Kensington Museum; canvas, H. 1 3 ft. 2 in. x 2 ft. 6 in.; signed, dated 1515. ft. 8 in. x 2 ft. 4 in. Anne inviting Slender Tle Virgin, with a book in her hand, ento enter the house; in background, Simple. throned in a niche, looking at Angel Ga(Merry Wives of Windsor, Act i., Scene i.) briel whlo appears in the air bearing a lily in -Painters of Georgian Era, 74. his hand; at sides, stand SS. John Baptist, ANNUNCIACAO, THOMAZ JOSE D', Paul, Jerome, and Francis, while SS. Marborn at Ajuda, near Lisbon, in 1821, died garet and Mary Magdalen kneel. Painted in Lisbon, April 3, 1879. Animal painter of for the Dominicans of Florence; belonged great repute in Portugal and Spain; di- to collection of Francis I.-Landon, Musee, rector of Lisbon Academy, in whose gallery xii. P1I. 37; Mariette, Abecedario, ii. 76; as well as in those of thle palaces D'Ajuda Villot, Cat. Louvre. and Das Necessidades, his principal works By Lodovico Carracci, Louvre; canvas, are to be seen. Others are in England, H. 1 ft. 8 in. X 1 ft. 1 in. The Virgin, Brazil, and the United States. Works: kneeling, receives the announcement from Oxen Treading out Corn, View on the Tagus, Gabriel, who, kneeling upon clouds, points View of the Penha de Fran'a, View of upward where the opening heavens disclose Amora, Shepherd's Rest (1852), Galeria Na- a choir of angels and cherubim. Collection cional, Lisbon.-Cihronique des Arts (1879), of Louis XIV.-Villot, Cat. Louvre; Landon, 120. Mus6e, xiv. P1. 63. ANNUNCIATION (Fr. Annonciation, Ital. By Carlo Crivelli, National Gallery, LonAnnunziazione, Sp. Anunciacion, Ger. Ver- don; wood, tempera, H. 6 ft. 10 in. x 4 ft. 10 k:indigung), the announcement by the in.; signed, dated 1486. An elegant house Angel Gabriel to the Virgin of the Concep- and interior court; the Virgin below in her tion of Christ (Luke i. 26-31). Sometimes chamber, kneeling, the Dove hovering over called the Salutation (Fr. Salutation ange- her head, which is illumined by a golden lique). ray from a glory above; opposite, in the By Marietto Albertinelli, Florence Academy; open court, the angel kneeling, with St. canvas, signed, dated 1510. Below, Gabriel Emidius, patron of Ascoli, at his side, premaking the announcement to the Virgin; senting a model of the city. Presented, 1864, above, God the Father in a glory of angels. by Mr. Labouchere; acquired by him from Painted for the Compagnia di S. Zanobi, Lolly Collection; previously in Convent of Florence, whence passed to Academy. Much SS. Annunziata, Ascoli. -Richter, Ital. Art repainted.-Vasari, ed. Mil., iv. 223; C. & in Nat. Gal., 83; Cat. Nat. Gal. C., Italy, iii. 487. By Guido Reni, Louvre; canvas, H. 10 By Mariotto Albertinelli, Munich Gallery; ft. 6 in. x 7 ft. 3 in. The Virgin kneeling ANN UN, CIATI)ON with hands claspedl; at left, Archangel Ga- kneeling on right knee, pointing with left briel, borne on a cloud; above, the Holy hand to the Dove; above, cherubs and heads. Spirit descending, surrounded by a choir of Bought by Philip V. in Seville in 1729; Isabel angels.-Landon, Musee, v. P1. 53; Filhol, Farnese Collection. Lithographed by M. xi. P1. 32. Lavigne; F. Decraene. Repetition of smaller By Murillo, Hospital of La Caridad, Se- dimensions in Hermitage, St. Petersburg; ville; canvas, H. 5 ft. 6 in. x 4 ft. 2 in. lithographed by Huot.-Curtis, 145; MadThe Virgin, on left, kneeling beside a desk, razo, 474. in front of which is a basket containing linen By MJniillo, Madrid Museum; canvas, H. 6. t....." -==~ A 7' Xft. x 7 ft. 4 in. The Virgin _S__L___-. _ X / ^=i= okneeling at right beside a desk; angel at left kneeling on left knee, pointing 1 S 9 \,! | - - to Dove with right hand and holding lilies in left; between them a basket of "' A ^ ^ -_/~~~~-F —"^^^ S linen and a chair; on each ^/p t /itside, a column; above, 'J^Jt 1^1~ lV /^ = \' I'~ lection of Charles III.; for5i!|;/! c\ merly in Academy of S. FeriR^^^/ 7 ^ ~fo eB Afourll, Seville Museum; canvas, arched, H. 10 ft. 6 in. x 7 ft. 2 in. The Vircgin, on left, kneelfi^^l/^^ --- —- '^^^^^^ I 1Ning before a desk, looking \/(~/ ^^^y','^^-::^AL^^^ /I up at angel who kneels on clouds, holding lilies in left?K.A^^^ i vll~l — \i) \T \\^hand and pointing with right ^J/ ^ ----—, kne right to the Dove; above, cherubs and hleads; centre foreground, a basket of linandhads.aintdforHosptalaoutByi____________________ en. Painted about 1676 Annunciation, by Fra Bartolommeo, Louvre. for the Capuchin Church, and scissors; on riglt, the angel, in red Seville; placed in Museum in 1840. Reperobes, holding lilies in left hand, kneels on tition: Philip W. S. Miles, King's Weston, right knee, pointinng to Dove; above, cherubs Gloucestershire, England.-Curtis, 144. and heads. Painted for Hospital about 1674. By Murillo, Sir Richard Wallace, Bart., Repetition in Amsterdam Museum, formerly London; canvas, H. 5 ft. 10 in. x 4 ft. 3 attributed to Rubens.-Curtis, 144. i in. The Virgin kneeling on left, her left right, her left arm resting on desk, on which a and pointing with right to Dove; above, five is a book and vase of lilies, and in front of cherubs. Sle of M. Rayneval, formerly which is a basket of linen; at left, the angel, French Ambassador to Madrid, in 1838 for 46 ANNUN ICIATION 15,000 fr.; Agnado sale (1843), to Marquis brother, supposed to be Filippo Benizi, of Hertford, 27,000 fr. Engraved by A. founder of the order; in background, a Lefevre, J. Rogers, W. Hulland (varied); building. Painted ablout 1512 for the ablithographed by Andri, Lafosse, Bliinmer. bey of San Godenzo l)ought by Carlo de' -Curtis, 145; Waagen, ii. 153. 1 Medici, who put in its place a copy, now in By Andrea Previtali, S. M. del MIesco, the Casa Visani at San Godenzo. Much reCeneda; wood, H. 8 ft. 6 in. x 5 ft. 5 in.; painted. Engraved by Rosini.-Vasari, ed. signed. The Virgin, at a _ desk in a room, bends hum-... - '., -. - bly towards the angel kneel- -> k.e -_' ing with a lily in his hand;. ( ~ through window is seen a j... cock attacked by a wolf. Ri-. \ dolfi savs that Titian ad- 1 mired this picture, and fre- ) < quently stopped on his way /.5s: _ ): -.' to Cadore to see it.-C. & - ^ C., N. Italy, i.; Ridolfi, Mara- viglie, i. 184. By Andrea del Sarto, Pa- ^ lazzo Pitti, Florence; wood, H. 5 ft. 11 in. x5 ft. 6 in. //\ The Virgin, standing before / \ \ a reading desk, receives the announcement from Gabriel <- holding a lily and kneeling '1 ' on a cloud; in back-ground ___r a building with an open por- tico, under which are three figures; at the base, steps, on one of which sits a nude youth; in the distance ruins\ / \ \\I and mountains, and in the \( air the Holy Ghost in form ( A < of a dove. Painted in 1512 for Convent of the Osser-) vanti outside the Porta San s Gallo; transferred on its de- Ti molition in 1529 to S. Jacopo j -/ tra' Fossi; placed in Pitti in '" 1626. Engraved by Rossi. Annunciation, Lodovico Carracci, Louvre. -C. & C., Italy, iii. 553; Vasari, ed. Mil., Mil., v. 17; C. & C., Italy, iii. 578; Gal. du v. 17; Gal. du Pal. Pitti, i. P1. 113. Pal. Pitti, iv. P1. 113. By Andrea del Sarto, Palazzo Pitti, Flor- By Tintoretto, S. Rocco, Venice. "A disence; canvas, H. 5 ft. 11 in. x 5 ft. 6 in. The agreeable and dead picture, having all the Virgin receives the announcement from faults of the age, and none of the merits of Gabriel in presence of the Archangel Mi- the painter."-Ruskin, Stones of Venice, iii chael, with sword and scales, and a Servite 322. 47 ANSALDO By Tintoretto, Scuola di S. Rocco, Venice; canvas. "The most remarkable feature is the troop of cherubim flying through the roof."-Ruskin, Stones of Venice, iii. 326. By Titian, S. Niccoli, Treviso; wood, figures of life size. The Virgin, half-stooping, half-kneeling, listens tremulously to the announcement of Gabriel, who, with outstretched wings and carrying the lily of purity, points upwards witl his forefinger; scene, the portico of a palace, with a mountainous landscape beyond; in the background the donor, Canon Malchiostro, kneeling. Painted in 1519 for S. Niccolo. Injured by splits, cleaning, and repainting. -C. & C., Titian, i. 222; Burckhardt, 719. By Titian, S. Salvatore, Venice; canvas, figures life size; signed. The Virgin, kneeling, looks around at winged angel; above, four angels and many cherubs flutter above the Dove, rays from which are darting towards Mary's head. Painted about 1565. Engraved by C. Cort.-Vasari, ed. Mil., vii. 449; C. & C., Titian, ii. 353; Burckhardt, 722. By Titian, Scuola di San Rocco, Venice; canvas, figures life size. The Virgin kneels at her desk near a pillar; angel to the left, with the lily in one hand, points with the other to the Dove descending. Painted about 1525; bequeathed in 1555 by Amelio Cortona to brotherhood of S. Rocco.-C. & C., Italy, i. 304; Burckhardt, 717. Subject treated also by Niccolo Alunno, Perugia Gallery, Bologna Gallery; Francesco Albani (2), Louvre; Annibale Carracci, Bologna Gallery; Francesco Francia, Bologna Gallery, Galleria Estense, Modeena, Brera, Milan; Dosso Dossi, Ferrara Gallery; Lorenzo di Credi, Louvre, Uffizi; Simone di Martino, Uffizi; Timoteo Viti, Brera, Milan; Federigo Barocci, Vatican; Ambrogio Lorenzetti, Siena Academy; Filippo Lippi, Palazzo Doria, Rome, Naples Museum; Munich Gallery, National Gallery, London; Petrus Cristus, Madrid Museum, Berlin Museum; Agnolo Gaddi, Louvre, Uffizi; Taddeo Bartoli, Siena Academy; Carlo Crivelli, Stadel Gallery, Frankfort; Antonio and Pietro Pollajuolo, Berlin Museum; Rogier van der Weyden, Antwerp Museum; Garofalo, Uffizi; Pinturicchio, S. M. Maggiore, Spello; Correggio, Annunziata, Parma (fresco, lately removed); Giorgio Vasari, Louvre; Le Sueur, Louvre; Charles Jalabert (1852). ANSALDO, ANDREA or GIOVANNI ANDREA, born at Voltri in 1584, died in Genoa, Aug. 20, 1638. Genoese school; pupil of Orazio di Luca Cambiaso and student of Paolo Veronese, among whose followers he is generally classed; painted numerous frescos in churches in Genoa, Voltri, Tortona, and Sarzano, and in palaces in Genoa. Chief work, the cupola of l'Annunziata del Guastato. His best picture in oil is a Deposition from the Cross, Academy, Genoa.-Lanzi, iii. 269; Ch. Blanc, fIcole gCnoise; Soprani, 141; Baldinucci, xi. 479; Meyer, Kiinst. Lex., ii. 80. ANSANO or SANO DI PIETRO DI MENCIO or DOMENICO, born in Siena, Nov. (?), 1405, died in 1481. Sienese school; pupil of Stefano di Giovanni (I1 Sassetta), who, dying in 1460, while painting a fresco of the Coronation of the Virgin over the Roman Gate of the city, left it to be finished by Sano. Sano has been called the Sienese Angelico from the sweetness and depth of his religious feeling, but his types are altogether different, his forms rounder, and his feeling less spiritual. The faces of his Madonnas and Saints are lit up by roundshaped, placid eyes of a gentle and almost pathetic expression. Tender in colour, and most careful in execution, Sano had little feeling for light and shade. He is most agreeable in his miniatures where the figures are small and their defects in drawing less observable than in his panels, of which the Siena Academy contains many examples. Among these are a Virgin and Saints (1444), and an Ascension of the Virgin (1479). His fresco of the Coronation of the Virgin (1445), in the Municipal Palace, Siena, and Madonns and Saints in a chapel of the Osservanza 48 ANSC11Ii 'TZ are the most important of his larger works Deatll (1843); Mary Queen of Scots returnin his native city. Many other pictures in ing from the Chase (18-14); Fight for tle European galleries. His skill as a miniatur- Standard (1848); Mules Drinking-Seville, ist is shown in an Antiphonary, a Breviary, Ploughing - Seville, The Watel Carrier and a Psaltery in the so-called Library of (1857); Spanish Shepherd (1858); Sheepthe Cathedral at Siena. -Vasari, ed. Le Washing in Glen Lyon (1859); Lost ShepMon., vi. 183; Rio, i. 114; Milanesi, Siena, lherd, Buy a Dog Ma'am (18(0); Hunted Slave 170. (1861); Going to the Festa at Granada ANSCHUTZ, HERMANN, born in Cob- (1863); Highland Spate (1864); Poacher at lentz, Oct. 12, 1802, died in Munich, Aug. Bay, Treading out the Corn (1865); Feeding 30, 1880. History painter; pupil of tlhe the Goats in the Alhambra (1871); West Dresden Academy, in 1820, under Hart- Highlands (1872); Gathering the Herd, The mann and Mathli, and from 1822 in Dilssel- Tethered Yowe (1873); Anxious Mother dorf of Cornelius, who called him to Munich (1875); Wandering Minstrel (1876); Home in 1826, with Eberle and Kaulbach, to pailnt of the Red Deer (1877); Stray Lamb, On the ceiling-frescos in tile Odeon. In 1830- Guard (1879); Farm of the Alhambra, Lucky 31 he studied antique wall-painting in Pom- Dogs, Morning Rehearsal (1881); Returnpeii, executed decorative works in Munich, n ing from Fair at Seville, Vega of Granada and then devoted himself to painting relig- o (1882); Water Carriers of the Alhambra, ious subjects in oil. In 1874 he was ap- Hunting the Boar (1883). —Meynell, 218; pointed professor at the Munich Academy. Art Journal (1860), 233; Sandby, ii. 346; Works: Fresco paintings in the Odeon, Mu- Meyer, Kiinst. Lex., ii. 82. nich (1827); Large altarpiece (1857), Cob- ANSELMI, MICHELANGELO, born in lentz; Resurrection, Assumption (1861).- Lucca in 1491, died in Parma after 1554. Meyer, Kunst. Lex., ii. 82; Kunst-Chronik, Lombard school; called sometimes Michelxvi. 8. angelo "da Lucca," and oftener "da Siena." ANSCHUTZ, THOMAS P., born in Ken- Pupil in Lucca of II Sodoma, and afterwards tucky, in 1851. Subject painter; pupil of at Parma a disciple and imitator of CorThomas Eakins and of Pennsylvania Acad- reggio. In 1522, when Correggio was enemy. At present assistant professor of gaged to paint the cupola and the tribune painting and drawing at the Pennsylvania of the Cathedral of Parma, Anselmi was seAcademy in Philadelphia. Works: Iron- lected, with Rondani and Parmigianino, to worker's Noon-time (T. B. Clarke, New decorate the chapels, but the work was not York); The Way they Live, Farmer's Wife begun until 1548. He painted at Parma fres(1880). cos still extant, in the church and cloister of ANSDELL, RICHARD, born in Liver- S. Gio. Evangelista, before 1522. Also two pool in 1815, died in April, 1885. Genre altarpieces in the Duomo, Parma, one dated and animal painter; self-taught, exhibited 1526; March to Calvary and Holy Family first at Royal Academy in 1840; removed in Academy, to London in 1847; visited Spain in 1856 Parma; Maand 1857; elected an A. R. A. in 1861 and donna and R. A. in 1870. Pictures of animals painted Saints, Lou- between 1843 and 1850 show Landseer's in- vre; Coronafluence; in 1850-60 painted chiefly domestic tion of the Virgin (fresco), in Madonna della animals in association with Creswick, whlio Steccata, Parma.-Lanzi, ii. 399; Ch. Blanc, added the landscape backgrounds. Medal, Elcole lombarde; Meyer, Kuinst. Lex., ii. 86. Paris, 3d class, 1855. Works: Death of Sir ANSIAUX, JEAN JOSEPH ELh'ONORE W. Lambton at Marston Moor (1842); The ANTOINE, born in Liege, in 1764, died 4 49 ANS II NO in Paris, Oct. 20, 1840. History painter; landscape painter (died 1859); studied in studied at Antwerp and in Paris with F. A. | Paris from 1834 to 1840, when his first Vincent; he attained distinction through his picture was exhibited at the British Instipleasing talent and a certain skill of treat- tute. Influenced by the Pre-Raphaelite ment, received several medals and the L. of school. Works: Lake of Killarney (1845), Honour. Works: Kleber in the Battle of bought by Prince Albert; Sunday MornHeliopolis (1799); Sappho and Leda (1801); ing (1846), Harvest Home (1847), Elm at Angelica and Medor (1810); Assumption Eve (1850), Village Bridal (1851), Monarch (1812); Resurrection (1812); Conversion of Oak (1852), Stratford on Avon (1853), StoneSt. Paul (1814), Liege Cathedral; Richelieu henge (1859), Hesperus (1860), Relic of Feuintroducing Poussin to Louis XIII. (1817), dal Time (1863), Rest for the Weary (1865), Bordeaux Museum; Rinaldo and Armida Lerida-Spain (1869), Night and Storm (1817); Education of Cupid, Judgment of (1871), Hazlewick Mill-Sussex(1872), EvenParis, Diana's Nymph (1819), Return of the song (1873), Incident by the Wayside (1878), Prodigal Son (1819), Town Hall, Liege; St. Trawlers-Morning (1883). —Meyer, Kinst. Paul at Athens, St. fitienne, Paris; Scourg- Lex., ii. 101. ing of Christ, Metz Cathedral; Resurrection, ANTHONY, ST., TEMPTATION OF, Arras Cathedral; Pieter Brueghel, the younger, Dresden Ct41-. l.l/ Adoration of the Gallery; copper, H. 11 in. X 1 ft. 3 in.; /b 4 -- of the Cross, Angers Cal censuring Herodes, Findi: Museum.-Meyer, Kiinst. ANSUINO or ANSOV: Paduan school (1443-146( cione, co-labourer with MI oration of the Eremitani and Fra Filippo in the cltl in the Santo. The Adorat pher in the Eremitani is Paduan art begins to pre afterwards known as Mani showing much progress i light and shade, or feeling of tone.-C. & C., N. Ital Kiunst. Lex., ii. 91. ANTENORIDES or AN er, mentioned as pupil of xxxv. [111]. ANTHONISSEN, II. flourished middle of 17tl school; marine painter i Goyen and Jan Parcellis mitage, St. Petersburg an( ANTHONY, MARK, 1 ter, England, in 1817. I pupil of his uncle, Gee Magi, Mans Ca- signed, dated 1604. The Saint praying in thedral; Erection his cell at left, is tempted by a beautiful thedral; St. John young woman, richly habited, who is acng of Moses, Lille companied by numerous demons; at right, Lex., ii. 90. a rocky country, with buildings in backINO DA FORLI, ground. —Reveil, xii. 837. )). Pupil of Squar- By Lucas van Leyden, Dresden Gallery; mntegna in the dec- wood, round, diam. 9 in. St. Anthony retired,and with Pizzolo apart to pray, is tempted by the Demon in ipel of the Podesta the form of a young and pretty woman,,ion of St. Christo- richly dressed, holding in her hands a scep3 his work. In it tre and a casket, indicative of power and,sent the character wealth. —R6veil, xii. 844. tegnesque, without By David Teniers, younger, Berlin Musen the blending of urn; canvas, H. 2 ft. 8 in. x 3 ft. 10 in.; signed, in the production dated 1647. The Saint kneels in anxiety bey, i. 312; Meyer, fore a stone altar, the corners of which are shooting out into heads of monstrous beasts; UTORIDES, paint- beside him stands an old hag who is placing Aristides.-Pliny, before him a Brabant beauty, offering a goblet of wine; around him are imps in (Hendrik?) VAN, many forms, twitching at his garments and century. Dutch performing all manner of mad tricks, singin style of J. van ing, shouting, and screaming; and the air Works in Her- is filled with flying demons and reptiles.I Prague Gallery. Kugler (Crowe), 326; Smith, ix. 408. born at Manches- By David Teniers, younger, Louvre, Paris; Landscape painter; wood, H. 2 ft. x 1 ft. 8 in. The Saint kneelirge W. Anthony, ing in a grotto before a book placed against 50 ANTTIION Y a skull on a rock, beside a crucifix and an ft. 2 in. St. Anthony enthroned on a pedestal hour-glass; around him, demons in many with alabaster panels; at sides, SS. Conreforms. Collection of Louis XVIII.-Villiot, lius and Cypriian; in front, a page kneeling Cat. Louvre. holding a large volume. From S. Antonio, By David Teniers, younger. Examples in island of Torcello, near Venice.-Eastlake, Amsterdam, Dresden, Vienna, and Madrid I Brera, 82; Ridolfi, Marav., ii. 52. Galleries, and in private collections. ANTHONY THE ABBOT AND PAUL By Titoretto, S. Trovaso (SS. Gervasio e THE HERMIT, Ielasqlez, Madrid Museum; Protasio), Venice; canvas. The Saint sur- canvas, H. 8 ft. 4 in. x 6 ft. St. Anthony in rounded by a demon, trying to pull off his white and St. Paul in brown robe, seated mantle, and three female figures; the one before a grotto, thanking Heaven for food On the left, representing avarice, a " b" y a raven'; at left, two ions 'N pears to have been baffled for thony Pieter Brueghel, the Kin Loungeris Philippe sale.-Madrazo, 595 lence. A picture of careful finish and noble ANTHONY OF PADUA, ST., GLORY workmanship. Engraved by Agos. Carraci OF, or aettot left, S.. dell Grazie, Brescia; can(158eyed V).Ruskin, Stones of Venice, iii. 360; vas, life size. St. Anthony of Padua wiyBartsc, xvwithiii. 69. other; the palm, seated high up i a large niche, ANTHONY THE ABBOT, ST., Paolo beneath hichginal stand SS. Nicholas of TolenVeronese, Brera, Milan; canvas, H. 9 ft. x 6 tino and Anthony the Abbot, the latter with 51 ANTHONY the staff and bell.-Ridolfi, Maraviglie, i. 345; C. & C., N. Italy, ii. 405; Burckhardt, 736. ANTHONY OF PADUA, ST., AND INFANT JESUS, Murillo, Baptistery of the Cathedral, Seville; canvas, H. 18 ft. x 10 ft. 11 in. The Saviour, attended by cherubs and angels, descends in a glory to visit the Saint, who, kneeling in his cell, welcomes him with outstretched arms; on a table, an open book and vase of lilies; at left, cloisters seen through an open door. Murillo's largest painting and the first noticed in any printed book. Painted in 1656; in November, 1873, the picture was mutilated by thieves, who cut out the figure of St. Anthony; the stolen part, much damaged, was offered in New York, Jan. 2, 1875, to William Schaus, the picture-dealer, who bought it for $250 and returned it to the Spanish consul, and it was reinstated in its old place with much ceremony, October 30, 1875, after skilful restoration by Seiior Cubells. Lithographed by Aug. Lemoine. -Curtis, 210; C. Boutelont, Estudio de S. Antonio de Murillo (Seville, 1875); A. de Latour, Comment un tableau de Murillo fut vole (Sceaux, 1878); Gaz. des B. Arts, Feb., 1875; Graphic (London), June 30, 1875; Harper's Weekly, Feb. 20, 1875. By Murillo, Berlin Museum; canvas, H. 5 ft. 5 in. x 6 ft. 6 in. The Saint, kneel cherubs in a glory, and two others on ground at left; background, hilly landscape. Probably picture taken by Soult in 1810, with aid of a troop of infantry, from Convent of S. Pedro de Alcantara, Seville; bought in Paris in 1835. Engraved by A. H. Payne; lithographed by Locillot de Mars; centre only engraved by Caspar, Schultz, and L. de Mars. Study in bistre, J. C. Robinson, London. Repetitions, with changes: Dudley House, London; Henry Hucks Gibbs, London; Munro sale (1878), ~2,362 (Earl of Rosebery?).-Curtis, 212; Cean Bermudez, ii. 58; G. de Leon, ii. 198. By MAtrillo, Hermitage, St. Petersburg; canvas, H. 8 ft. 2 in. x 5 ft. 6 in. The Saint, full length, kneeling, encloses in his arms, without touching, the Infant Jesus, who stands on the open book of the Gospels placed on a rock, his right hand in benediction, his left in St. Anthony's right; above, five cherubs. Belonged to M. Laneuville; purchased in 1852 for 30,000 fr.Curtis, 214; Cat. Hermitage, 130. By JMItrillo, Seville Museum; canvas, H. 6 ft. 3 in. x 4 ft. The Saint, three-quarters length, with lilies in right hand, kneeling and embracing the Infant Saviour, who stands on an open book, with his right hand on the Saint's head. Painted about 1676 for Capuchin Convent, Seville; placed in Museum in 1840. Repetition: Condesa de la Mejorada, Seville.-Curtis, 212. By Murillo, Seville Museum; canvas, H. 9 ft. 5 in. x 6 ft. 3 in. The Saint, full length, kneeling, with lilies in right hand, embraces with left the Infant Saviour, who, seated on an open book, places his right hand on the Saint's head; above, four cherubs. Painted about 1676 for Capuchin Convent, Seville; placed in Museum in 1840. Probably finest of Murillo's pictures of the subject.-Curtis, 211; Robinson, Great Painters (London, 1877) wrongly called St. Francis. By Elisabetta Sirani, Bologna Gallery; canvas, H. 6 ft. 4 in. x 5 ft. 4 in. The In St. Anthony of Padua, and Infant Jesus, Murillo, Berlin Museum. ing, presses his cheek to that of Infant Jesus, whom he holds in his arms; five 52 ANTIDOTITS fant Jesus standing, nude, upon a richly ANTIGNA, JEAN PIERRE ALEXANdraped altar, on which are burning candles, DRE, born in Orlhans, France, March 7, lilies, and an open book, is embraced by St. 1818, died March 8, 1878. Religious and Anthony, who kneels on a stool before it; genre painter; pupil of Paul Delaroche. above, cherubs' heads ill clouds, and, at Miedals in 1847-48-51-55; Legion of Honright, an anlgel, with wings extended and our, 1861. Works: Birth of Christ (1841); hands raised. Formerly in S. Leonardo, Vision of Jacob (1842); Temptation of St. Anthony (1843); Women Bathing (1845); 1'.) _.l^ ---'*. ^.^, Yy Storm (1846), Avignon Museum; Conflagra2-i gwSQ:'~ /'\ ^ y/< tion (1850); Inundation of the Loire (1852), I{...-. ' '7/~/. Luxembourg Museul; Chllildren Dancing - (1853); The Emperor visiting the SlateS*__-/~ f... o~- Workers of Angers during the Inundation of 1856 (1857), Angers Museum; Scene of ^ /^ y <( i|the Civil War, Steep Decline, Noon-day Sleep (1859); The Mirror in the Woods, -C44^ /jl Episode of War in La Vend6e (1864), Bordeaux Museum; Rising Sea, After the Tem<2< / ( /.^ ',. pest (1874); Yvonne and Marc, Two Voices (1875); Women and tile Secret (1876); ^^Z^^X Vt J Game of Strength, Fire of the Fete of St. -- John (1877); L'Enfer (1878).-Larousse; Meyer, KUinst. Lex., ii. 103. -,^ i 11. H M \ I ANTIOCHUS, GABINIUS, pupil of Sopo^ I \! I m&\k \ lis, who is referred to by Cicero (Ad. Att., iv. i i" " ij |T ' l16) in connection with a lawsuit of 53 B.C. K\ ~ — Brunn, ii. 305. \ \i/ i^ ANTIOPE, Correggio, Louvre; wood, transferred to canvas, H. 6 ft. 1 in. x 4 ft. | -]_./ f- _ S^ IA nymph, nude, asleep on blue drapery spread on the ground in a thicket, with Cupid sleeping'on a lion's skin at her feet; St. Anthony of Padua, and Infant Jesus, Elisabetta Sirani, Bologna near her head a satyr (Jupiter?) holding up Gall ery. the garment he has lifted from her form. Bologna. Engraved by G. Mitelli; G. Ros- Formerly called "Venus, a sleeping Cupid, aspina.-Pinac. di Bologna, P1. 37. and a Satyr." A masterpiece. Painted ANTIDOTUS, pupil of Euphranor and about 1521 (?); in Gonzaga Collection, master of Nicias, about 350-330 B.c. Be- Mantua, in 1627; Collection of Charles I. longed to the Theban-Attic school, so called of England in 1630, when valued at ~1,000; because it originated in Thebes and was sold to Jabach, and passed to Cardinal transferred, after the decadence of that city, Mazarin and Louis XIV. Engraved by first to Corinth and then to Athens, always Godefroy, Basan, Queverdo, Chataigner, preserving its original traditions. His works, Massard, Blanchard. — Meyer, Correggio, among which were a Warrior, a Wrcstler,and 337, 491; Kiinst. Lex., i. 437; Mus6e frana Trumpeter, were severe in style and elabo- 9ais, i.; Landon, (Euvres, viii. P1. 61; rate in treatment. Pliny is the only an- Musee, iv. P1. 1; Filhol, vi. P1. 415. cient writer who mentions him.-Pliny, ANTIPHIILUS, pupil of Ctesidemus, latter xxxv. 40 [130]; Brunn, ii. 193. half of fourth century n.c. Born in Egypt, 53 ANTOLINEZ but went early to the court of PIhilip of the most eminent painters of his age.Macedon. The latter part of his life was 1Pliny, xxxv. 37 [114], 40 [1381; Brunn, ii. spent at the court of Ptolenmy Soter, who 247. is said to lhave had hlil soll into slavery ANTOLINEZ, Don JOS], born in Seville for falsely accusing ilpcll,. Alnong his in 16:39, died in Madrid in 1676. Spanish works were a portrait of the young Alexan- school; pupil of Francisco Rizi; became a der; a group of Athena, Philip, and Alexan- good colourist, his best works beingr landder; a Dionysus; an Hippolytus alarmed at scapes with small figures. Works: Magdathe~yj~ baetion, Madiaonna in Glory, Muinf'il 8 \1- -Stirling o,. 16; Via rot, and-, Dj - boy blwn the roANTOLINEZ Y SARAIAen Don FRoANCI SCOI, born in ande -, - ) D t o Seville in 1644, died in ltladri in 7i00. 1Spanish school nephew of Jos6 Antolinez; studied law at first, but eni 0 Te lm, 4tered school of Murillo and in the Curiabecame an amateur of conside alble sliill, painting especialof coig aF ly small religious suljects, in 167'2 to Madrid, obtained a a-nd " -~ a boy b i thfrwth ea. AN provincial judgeship, but did not olAN it long, a born ined to Seville and painted secretly while practising as an advocate. Works: Nativity, Seville Pliny-' p s hmiCatnshe edrial; St. Joseph and In':".~; bu uniiallaon ui fant Jesus, St. Joseph Dream~~~~ /?~~ing, Duc de Montpensier, San Telmo; Purification of Virgin, Antiope, Correggio, Louvre. Adoration, Flight into Egypt, the bull; a Cadmus and Europa, p eserved Annuncintion, Marriage of Virgin, Museo in the Curia of Pompey, Rome; a Satyr vith Nacional, Madrid.-Stirling, iii. 1108; Viara panther's skin, shielding his eyes from dot, 212; Cli. Blanc, Ecole espagnole; Meybeams of light coming fiom a fixed point; er, Kifnist. Lex, ii. 115; Curtis, 342. and a boy blowing the fire with his breath ANTON VON WORMS. See Woensam, Though he had great fertility of invention ANTONELLO DA MESSINA, born in and skill in managing thie effect of lights Messina about 1444, died in Venice about Pliny places him in the second rank of ar- 1493. Neapolitan school; said to have been tists; but Quintilian mentions him amongl a pupil of Colantonio del Fiore, but this 54 ANT ONE LL,O is doubtful. Probably first instructed in first in which the flesh tints are clear Sicily, where he worked for several years; | like those of Gio. Bellini, instead of be went to Naples and saw an oil picture painted by Jan Van Eyck in the possession of King Alplhonso of Aragon. Struck with the superiority of the new method lie went to Bruges to study it, and in 1465 returned to introduce it into Italy. After rlemainingl at Messina for about seven years, lie went to Venice (1473) where he remained the rest of his life. That lie there met Domnenico Veneziano and taught him how to paint with an oil medium is doubtful, if not iin- possible, as that artist died in 1461 at Florence, and as neither he nor any other Ve- netian artist until long after 1465 painted otherwise than in tempera. It is also well to say that while we have no positive evidence that Antonello went to Flanders, it was not necessary for hini to do so in order to learn the Van Eyck method, for not only were Flemish pictures brought into Italy, but several distinguislled scholars and followers of Van Eyck, such as Roger van der Weyden, Menling, Hugo van der Goes, and Justus of Ghent worked in Italy about the middle of the fourteenth century. That Antonello was acquainted with the oil method, and influenced by the Flemish school, is evident in his earliest extant work (1465), The Saviour, National Gallery, London, as in a bust picture of the same subject (1470), in the Gaetano Zir Collection, Naples. A progress in technic is visible over these pictures in an altarpiece (1472) at S. Gregorio, Messina, which shows the same Flemish influence in drapery and use of gold. After 1473, when Antonello went to Venice, he painted three small portraits, one of which is lost, one was lately disposed of at the Hamilton sale, and one (1475) is in the Louvre, Paris, where it shines as a masterpiece of truth to life, intensity of expression, and exquisite finish. The small Crucifixion, Antwerp Museum, belongs to the same year. The portrait of a young man in the Berlin Museum (1478) is one of the finest of Antonello's pictures, and the incg of the reddish hue cormmon to the Flemish school. The much restored St. Sebastian, Stiidel Institute, Frankfort, belongs to the same late Venetian period of Antonello's career, as do the Madonna ('?) and the St. Sebastian, Berlin Gallery. There seems to be no doubt that this remarkable painter adopted and taught the Flemish system of painting, which gradually spread over Italy and raised oil to a level witl fresco painting, and tlat through his manner and niode of representation lie had great influence upon tile technical development of Italian Art. As a portraitpainter lie was tacitly admitted by his contemporaries to be the originator of the models inlproved in subsequent years by the higher genius of Bellini, Giorgione, and Ti* ANTONELLVSMESSAN-IS. Ptian.-Mever, Kinst. Lex., ii. 118; Eastlake, Materials, 192; Lerlnolieff, 416; C. & C., N. Italy, ii. 77; Vasari, ed. Mil., ii. 563, 575; Gaz. des Beaux Arts (1862), 12; Ch. Blanc, Ecole napolitaine; Laibke, Gesch. ital. Mal., i. 558. ANTONELLO DA PALERMO, of Palermo, beginning of sixteenth century. Neapolitan school; son of the painter Antonio Crescenzio. In 1527 lie was assistant to the sculptor Gazino, and in 1537 and 1538 he made copies of Raphael's Spasimo, now preserved in the Monastery of Fazello near Sciacca and in the Church of the Carmelites in Palermo. The only composition by which we can judge him is a Madonna dated 1528 in La Gangia of Palermo. It is of an attractive design and carefully finished, but faulty in execution.-C. & C., N. Italy, ii. 116; Di Marzo, Belle Arti in Sicilia, iii. 157; Meyer, Kiinst. Lex., ii. 128. ANTONELLO DE SALIBA, of Messina, end of fifteenth and beginning of sixteenth century; either born in Messina or early settled there. Neapolitan school; formerly held to be identical with Antonello da Mes 55 ANTONIN US sina, but now recognized as an independent artist. The earliest work bearing his signature is a Madonna in S. M. del Gesui, near Catania, dated 1497. His drawing is careful and accurate but hard, his style is marked by timidity of chiaroscuro and monotony of flesh-tint, and his use of gold superabundant. -C. & C., N. Italy, ii. 111; Meyer, Kiinst. Lex., ii. 127. ANTONINUS, ST., GLORY OF, Lorenzo Lotto, S. Giovanni e Paolo, Venice; canvas, arched, figures life size; signed. The beatified bishop of the Florentines enthroned, ministered to by angels; in the sky behind, a glory of cherubs; beneath the throne, the agents of his charity stoop from a gallery to give the maidens in waiting their marriage portions. Painted about 1530. —Vasari, ed. Mil, v. 250; C. & C., N. Italy, ii. 521; Rio, iii. 291. ANTONIO DI CATALANO, the elder, born at Messina, lived 1560-1630. Roman school; pupil of Guinaccia; studied and copied, in his native town, works of Polidoro da Caravaggio; afterwards taken by a Jesuit artist to Rome, where he studied chiefly Raphael and Baroccio; later became acquainted with the works of Correggio in Parma. Went thence to Bologna, where he kept close alliance with Francesco Albani and Girolamo Bonini, and, owing to his relation to the Roman school, 'was called I1 Romano. He laboured in Bologna for a number of years, and is said to have been called to Malta, whence he returned to Messina. His pictures please through their graceful figures and harmony of colour, but are open to criticism for the great sameness in the angels' faces. Works in the Museum and churches of Messina.-Meyer, Kiinst. Lex., ii. 157; Malvasia, ii. 189, 196. ANTONIO DI CATALANO, the younger, born at Messina, lived 1585-1666. Neapolitan school; son and pupil of the above, but influenced by Giovanni Simone de' Comande. He painted a great deal and rapidly, which was then considered as indicative of genius. Few of his works are noteworthy. -Meyer, Ktlnst. Lex., ii. 158; Kunstblatt (Stuttgart, 1825), 230. ANTONIO DALLA CORNA, of Cremona, latter half of fifteenth century. Lombard school. The only picture which bears his name is dated 1478, and is in the Bignami collection at Casal Maggiore. In this he claims to be a pupil of Mantegna, though he really caricatures the disagreeable features of that master. Crowe and Cavalcaselle think him identical with Antonio da Pavia. -C. & C., N. Italy, ii. 73, 440; Meyer, Kiinst. Lex., ii. 144. ANTONIO DA CREVALCORE, flourished about 1480. Bolognese school; fruit and flower painter. A half-length Madonna, Berlin Museum, is signed by him and dated 14 [9] 3 (?). His style in it is not unlike that of Bernardino of Perugia.-C. & C., N. Italy, i. 556; Meyer, KTinst. Lex., ii. 143. ANTONIO DA FERRARA, born about 1370-80, died after 1439. Lombard school; real name Antonio Alberti; pupil of Agnolo Gaddi; married in Bologna Calliope, sister of Timoteo Viti. Only one signed picture by him exists, a Madonna Enthroned (1439), in the sacristy of S. Bernardino, outside Urbino. It is a rudely executed tempera, by an artist of second or third rate talent. -C. & C., Italy, ii. 225; Meyer, Kanst Lex., ii. 136. ANTONIO EL INGLES, portrait, Velasquez, Madrid Museum; canvas, H. 4 ft. 7 in. x 3 ft. 4 in. A dwarf with long hair, in brown dress and wide lace collar, standing beside a black and white mastiff; in right hand, his plumed hat. Latest manner. Etched by B. Maura; Laguillermie.-Curtis, 33; Gal. Esp.; Madrazo, 631. ANTONIO DA MURANO, flourished 1444-1451. Venetian school. Sansovino says he lived till 1470, in which year he decorated parts of S. Apollinare, Venice, but this is doubtful. He worked at first in partnership with one Giovanni Alamanno (the German), otherwise called Giovanni da Murano. Ridolfi calls him a brother of Antonio, thus making him a member of the 56 ANTONIO family known later as the Vivarini; but San Francesco della Vigna, Venice, almost Brandolesi has proved( that no Giovanni his only example, is lavishlly decorated with Vivarini existed; and Antonio, though a, low embossments and plastic ornaments. brother of Bartolommeo Vivarini, is not known to have used the name Vivarini, which is first given to him by Sansovino. An Adoration of the Magi at Berlin, painted by Antonio between 1435 and 1440, shows that he was an accomplished painter before he entered into partnership with Giovanni Alamanno. In 1440 they founded a workshop at Murano, where during the next seven years they executed many altarpieces, chiefly for churches in Venice. They cleverly absorbed the principles taught by Gentile da Fabriano and Vittor Pisano (Pisanello), and though they did not add much to previous experience as regards contrast by light and shade, they imbued their works with a more tender spirit and gave greater softness to their figures. The earliest work attributed to them is a Coronation of the Virgin, dated 1440, in the Academy of Venice, a repetition of which, dated 1444, is in S. Pantaleone, Venice. In S. Zaccaria, Venice, is a large picture in three compartments, signed and dated 1445. Two other altarpieces in the same church are similarly signed and dated. A Madonna with Saints in the Academy, Venice, is dated 1446. Antonio afterward worked with his brother Bartolommeo, who took the name of Vivarini in his later years. In 1450 they painted the Madonna of the Carthusians, Bologna Gallery. Other examples by them are the Glorification of St. Peter in the Public Gallery of Padua (1451?), and two pictures of Saints in the Sacristy of S. M. della Salute, Venice. Antonio's later works, executed alone after 1464, are comparatively feeble. -C. & C., N. Italy, i. 19; Meyer, Kiinst. Lex., ii. 140; Ch. Blanc, feole venitienne; Sansovino, Ven. Desc., 185, 269; Lermolieff, 395, 396. ANTONIO DA NEGROPONTE, first half of fifteenth century. Venetian school; imitated the eccentric style of Jacobello del Fiore. His colossal Virgin in Adoration, in C. & C., N. Italy, i. 11; Meyer, Kfinst. Lex., ii. 143. ANTONIO DA PAVIA, of Pavia, beginning of sixteenth century. A superficial follower and imitator of Mantegna, who is registered among the workmen in the Palazzo del Te in 1528. A signed Madonna, tempera on canvas, is in the Museo Virgiliano, Mantua. Crowe and Cavalcaselle think him identical with A tonio dalla Corna. C. & C., N. Italy, i. 419, ii. 73, 440; Meyer, Kiinst. Lex., ii. 155. ANTONIO VENEZIANO, born in Venice, latter half of fourteenth century. Florentine school. Vasari says he died in 1384, aged seventy-four, but documents prove that he was living two years later. Family name probably Longhi, baptismal name Antonio Francisci de Venetiis. According to Vasari, he was a pupil of Agnolo Gaddi, but his style is rather that of Taddeo Gaddi. Earliest record of him is in the archives of Siena, where he worked in 1370 with Andrea Vanni on the ceilings of the cathedral. In 1386-7 he painted frescos in the Campo Santo, Pisa, representing scenes in the legend of S. Raineri. Vasari calls it the finest and best work in the building. The parts not obliterated appear to justify the assertion and to prove that Antonio was no common artist. The frescos of the ceiling in the Cappellone dei Spagnuoli, Sta. Croce, may possibly be his work. Naturalism was the moving principle of his art, and as he pursued the imitation of nature in many moods, he forms an important link in the chain which unites Orcagna to Masolino, Angelico, and Masaccio. -C. & C., Italy, i. 480; Vasari, ed. Le Mon., ii. 171; Siret, 956; Meyer, Kiinst. Lex., ii. 132. ANTONY AND CLEOPATRA, MEETING OF, Alma-Tadema, Samuel Hawk Collection, New York. Cleopatra rowed in her barge across the harbour at Alexandria to meet Marc Antony, whose barge swings 57 ANTROPOFF alongside, his rowers tossing their oars il salutation as the Queen app)roa(ches. Sie is reclining on an ivory throne under an awning of cloth of gold wreathed with roses; on her left crouches a negress -a sistrum player, on her right a white flute player; on a lower stage three priests of Isis burn incense. Antony rises from his seat with an expression of mingled surprise and anger as Cleopatra affects not to see him. Grosvenor Gallery, 1883.-Portfolio (1883), 42; Athenreum, Jan. 13, 1883, 60. ANTROPOFF, ALEXEI PETROVICH, born in 1716, died in 1795. Russian his any one else to paint his likeness. Apelles p'obably accompanied Alexander into Asia, for lie palinted at Ep)hesus several pictures of him, one of which, for the rebuilt Temple of Diana, represented him with thunderbolts in his outstretched hand. Tlis, which Plutarch says was the best portrait of the king, gave rise to the remark that Philip's Alexander was invincible and Apelles's inimitable (Alex. 4; Fort. Alex. 2). In another picture Alexander was represented in a triumphal chariot followed by a chained figure of War; and in a third, walking with Castor and Pollux and the Goddess of Victory. Pliny says tory and portrait painter. Decorated a '(xxxv. 36) the last two pictures were placed church in Kiev in 1752, painted the ceilings by the Emperor Augustus in the Forum, in the Palace Golowin, Moscow, in 1756. As and that Claudius had the head of Augustus a portrait painter imitated Rotari, and was substituted in each for that of Alexander. popular in St. Petersburg. He founded Apelles painted portraits also of Clitus, Anthere the first school for the painting of tigonus, Neoptolemus, and other followers altar pictures, and was among the painters of Alexander, and a nude picture of Camsent to Moscow to represent the festivities paspe or Pfancaste, Alexander's favourite conat the coronation of Catherine II., whose cubine. Pliny says that the artist fell in portrait he painted. Also painted portraits love with her and that the king gave her to of Peter III. (1761) and of Peter the Great him; also that she was his model in his (1769). Among his religious pictures are painting of Venus Anadyomene; but AthenThe Trinity (1784), and Paul and Mary Mag- aeus (xiii.) avers that the courtesan Phryne, dalen (1788).-Meyer, Kiinst. Lex., ii. 161; whom the artist had seen at Eleusis going Brunn, ii. 286. naked into the sea at the Festival of Posei ANTUM, AART VAN, flourished about 1604-8. Dutch school; marine painter in the manner of Hendrik Vroom. Works: Naval Battle (1604), Berlin Museum; Marine (1608), National Gallery, Amsterdam; do., Madrid Museum.-Meyer, Konigl. Mus., 15. APATURIUS, from Alabanda, Caria, fourth century B. c. Scene painter, said to have shown great skill in decorating the small theatre at Tralles.-Vitruv., vii. 5, 4. APELLES, most famous of Greek painters, pupil of Ephorus, of Pamiphilts, and of Melanthius; born probably in Colophon, Ionia, though Pliny and Ovid call him of Cos, and Strabo and Lucian of Ephesus; flourished 352-308 B. c. The best part of his life was spent at the court of Philip and Alexander the Great, of both of whom lie painted many portraits. Alexander forbade don, served him in this capacity. This, the masterpiece of Apelles, represented the goddess rising from the sea. In it the painter reached the acme of that grace and sensuous charm for which his art was especially distinguislled. The picture was painted for the temple of 2Esculapius at Cos. Augustus paid 100 talents for it and took it to Rome, where he dedicated it in the Temple of Julius Caesar, who claimed descent from the goddess. There it decayed in time, as no one dared to repair it, though Dorotheits made a copy of it. Pliny says that Apelles was painting another Venus for the people of Cos, at the time of his death, which would have excelled the first. Among his other works were a King Archelaus on horseback, a Diana and her Nymphs sacrificing, an AncmLus, and a Hercules. After the death of A1 )10LL' ) Alexander Apelles went to Egypt, where lie and( the next day the col)bler proceeded to was favourably receive(l by King Ptolemy, criticise the leg, whereupon tile artist bade notwithstanding tle jealousy of the court himii stick to his last. Fromn this arose tlhe painter Antiphilus, who accused him of tak- saying "Ne sutor ultra crepidamn " (Let not ing part in a conspiracy. Tlle charge being the shoemaker go beyond his last). Once, disproved, Antiphilus was sold into slavery too, when Alexander the Great attempted to and Apelles took a painter's revenge inl an criticise one of his pictures, Apelles advised allegorical picture of Calumny, from Lu- him to be silent, as the colour-boys were laughcian's minute description of which IBotticelli ing at him. Apelles was unsurpassed in dilipainted a well-known picture now in the gence, and never allowed a day to pass withUffizi. It was perlaps when on his way to out its accomplished task. He carried his art Alexandria that Apelles visited Rhodes to to tlle highest degree of excellence, surpasssee Protogenes. Finding him absent from ing all who had preceded him. Ionic elegance his studio the visitor, says Pliny (xxxv. 36) and charm were blended in his style with —.-m-_..___ (r....7^ Apollo and Daphne, Fr. Albani, Louvre. drew with a brush upon a panel a line so Doric severity and correctness, and it is the fine that Protogenes, when he saw it, knew universal testimony of ancient writers that that only Apelles could have done it. Draw- his best work exhibited an indefinable grace ing a still finer line, he went away again, and of conception and refinement of taste and feelApelles on his return divided the two with ing such as that of no other painter ever had. one even more subtile. Seeing this, Proto- APOLLO AND DAPHNE, Fr. Albani, genes owned himself conquered and went Louvre; copper, H. 6- in. x 1 ft. 2 in. to seek his guest. Apelles shamed the Daphne closely pursued by Apollo, flies Rhodians into recognizing tlhe merits of his toward her father, the river Peneus; above, great rival by offering an immense sum for Cupid, in a cloud. Daphne was changed Iis pictures, and said that he himself ex- into a laurel as Apollo was about to seize celled him in one thing, viz., that he knew her.-Villot, Louvre; Filhol, v. P1. 338; when to stay his hand. Among other anec- Landon, Mus e, x. P1. 66. dotes of him told by Pliny (1. c.) is that of I By Ant. Pollajitolo, National Gallery, Lonthe cobbler who detected a fault in a shoe don; wood, H. 11 in. x 71 in. Daphne in of one of his figures. Apelles corrected it, the embrace of the god, who has just caught 59 APOLLO her as she flies toward the Peneus; her arms have already sprouted into laurels. —Cat. Nat. Gal. APOLLO AND MARSYAS, Claude Lorrain, Earl of Leconfield; canvas, H. 3 ft. 9 in. x 5 ft. Liber Veritatis, No. 95. Engraved by Muller. Collections Passart, Haye, Sir T. Coke. Another Apollo and Marsyas (Liber Veritatis, No. 45), formerly in Crozat Gallery, now in Hermitage, St. Petersburg.-Pattison, Claude Lorrain, 231, 246. ican; fresco, on ceiling, Apollo seated, ti his lyre in his hand, is ordering a pherd to flay Marsyas, who is bound to ree; another shepherd holds a laurel wn over Apollo's head. Painted in 1511. victory of Apollo is that of true over e art which merits punishment. Enved by R. Wibert.-Passavant, ii. 89; ntz, 347. 3y Rlaphael, Louvre, Paris; wood, H. 154 x 11- in. Apollo standing with a staff, listens disdainfully to the strains of a pipe played by Marsyas, who is sitting on a -~-JA bank; background a land<^Jn t scape with river, hills, and a town. Painted in Perugia in 1504-5 (?). Collection of H-iss< John Barnard; sold in 1787 to M. Duroveray, at Ad' '~ whose death, bought in 1850, by Mr. Morris Moore, of Rome, who sold it to the Louvre in 1883 for re. 4 8 ~8000. Authenticity denied by Waagen, Passavant, and Mundler, but their opinion not generally acW k. / cepted. Has been attribua ted to Mantegna, and with more reason to Timoteo Viti.-C. & C., Raphael, i. 209; Passavant, ii. 354; Muntz, 224; Gruyer, Raphet l'Antiquitt, ii. 421; Eitelberger, fael's Apollo und Marsyas, Vienna (1860); tte, Le Raphael de M. Morris Moore, Paris 359); Graphic, London, May 26, 1883. APOLLO AND THE MUSES. See Mu-, Dance of. APOLLODORUS, of Athens; old Attic tool; about 408 B.c. Dr. H. Brunn rerds him as the first real painter, inasich as he no longer marked contours by Mual lines, but represented objects as they pear to the eye. He changed the rigid 1hitectural character of painting, distinished before him by a formal and rhyth. Apollo and Marsyas, Guercino, Palazzo Pitti, Florence. By Guercino, Palazzo Pitti, Florence; a canvas, H. 5 ft. 11 in. x 6 ft. 7 in. Apollo I nude, is flaying Marsyas, who lies upon his I back with his hands bound to a tree upon ( which are suspended a violin and bow; behind Apollo, two figures, partially concealed,.s are looking on. Engraved by Massard; L. Martelli.-Wicar, ii. Part 17; Gal. du Pal. s Pitti, i. PI. 6. By Guido Reni, Munich Gallery; canvas, r H. 6 ft. 10 in. x 5 ft. 3 in. Apollo flaying a Marsyas; the lyre of the god hangs upon a a tree. Figures life size. a By Raphael, Camera della Segnatura, g 60 AI'()II-,ON IO mical arrangement of figures, by treating his backgrounds in perspective, by connecting instead of juxtaposing tones, and by relieving the flat appearance of p)ainted surfaces by a skilful use of light and shade. He is classed with AIatharchus as a skiographer or shadow painter. Pliny (xxxv. 36) says that he opened the doors of art through which Zeuxis entered, meaning that he discarded the flat tints and shadowless outlines in use by Polygnotus for e Apollo and Marsyas, Raphael, Louvre, Paris. blended and harmonious tints, chiaroscuro effects, and other modern pictorial artifices. Among his works were an Ajax of Locris on a ship struck by lightning, and a Priest Praying.-Brunn, ii. 51. APOLLONIO, GIACOMO, born at Bassano in 1582-4, died there, Dec. 1, 1654. Venetian school; history and landscape painter, pupil of Girolamo and Giambattista Bassano, and a very happy imitator of their style. Works in Italian churches.-Meyer, Kunst. Lex., ii. 178. APOLLO, TEMPLE OF, Claude Lorrain, formerly at Leigh Court; canvas, H. 5 ft. 9:I 0 formerly at Leig~h Court; canvas, H. 5 ft. 9 in. x 8 ft. 3 in.; signed, dated 166(3. A mountainous, richly-wooded landscape, witl sea in distance; in foreground, the Temple of Apollo, in which an ox is being sacrificed. ()e of the master's finest pictures. Liber Veritatis, No. 157. Formerly il Palazzo Altieri, Rome, with its companion, Landing of 7zEneas, whicl see, for history. Engraved in Miles Gallery, and by W. Woollet (1760). Sketches in British Museuml and at Windsor. —Pattison, Claude Lorrain, 220, 232; Waagen, Treasures, iii. 180. APPERT, EUGENE, born in Angers, France, Dec. 28, 1814, died at Cannes, March 8, 1867. History and genre painter, pupil of Ingres. Medal of the third class, 1844; honourable mention, 1855; Legion of Honour, 1859. Works: Sarah and the Poachers (1841); Nero gazing at the Corpse of Agrippina (1842); Vision of St. Ovens (1844), bought by State; Assumption (1845); Descent from Cross (1846); Death of St. Joseph (1847); An Amour (1850); An Informer (1852); Adoration of Magi (1853), belongs to State; Sisters of Charity in the Crimea (1855); Woman Spinning (1857); Sedaire cutting Stones, The False Scent (1861); Venice (1863); Pope Alexander III., Peonies (1864). - Meyer, Kiinst. Lex., ii. 187. APPIAN, ADOLPHE, born in Lyons, France, in 1819. Landscape painter, pupil of Corot and Daubigny; belongs to the most recent school of French realists, who care more for play of light and shade and general effect than for the working out of details. Celebrated for his charcoal drawings. Works: Cattle Market (1865); Bois des Roches (1870); Environs of Monaco (1873), Luxembourg Museum; Luxembourg Souvenir (1873); Panton at Beaulieu (1874); Environs of Carqucranne (1883).-Meyer, Kiinst. Lex., ii. 187; lMuller, 16. APPIAN WAY IN THE TIME OF AUGUSTUS, G. R. C. Boulanger, Mrs. A. T. Stewart, New York; canvas. The Appian Way, with tombs and trees in background, and passing in front horsemen, chariots, 61 APPIANI and ladies in Sedan-cha(lirs bornle by slaves cesco Mancini. Grief over his wife's death and preceded by naked Africans in silver induced him to leave his native town for collars and badges, who beat off tile Perugia, of which city he received the freebeggar boys; ill foreground, right, flower dom, Dec. 2, 1773, and where his principal girls seated. Plhotogravure in Art Treasures works may be seen in different churches. of America. He was one of the most remarkable fresco APPIANI, ANDREA, born in Milan, palinters of that time.-Meyer, Kiinst. Lex., March 23, 1754, died there, Nov. 8, 1817. II. 188. Pupil of De Giorgi, and of Giudici; then APSHOVEN, THOMAS VAN, born in studied in Bologna, Parma, Modena, and lAntwerp, laptized Nov. 30, 1622, died in Florence. Afterward went repeatedly to 1664 or 1665. Flemish school; genre and Rome, studied Raphael's frescos, and be- still-life painter, pupil of Teniers, the came the first fresco painter of his time. younger, whom hle imitated, and many of After a brilliant career, during which lie whose works he copied successfully; master produced many meritorious decorative works for churches and palaces in Milan, he painted remarkable portraits of prominent men, repeatedly that of Napoleon, who greatly favoured him. He was struck by paralysis in 1813, and losing his pension afterward, through the Emperor's deposition, fell into penury, and died of a second paralytic stroke. The paintings he executed in 1808-12 in the Royal Palace, Milan, the best specimens of his art, show good composition, correct forms and grace of motion, bright colouring and a masterly freedom of treatment. Works; Napoleon on the Danube, Versailles Gallery; Napoleon siurA A rounded by allegorical figures, Leuchtenberg Gallery, St. Petersbur; Parnassus, in fres~O8, co, Royal Palace, Milan.-Meyer, Ktinst. Lex., ii. 100; G. Beretta, Opere di A. Appiani (Milan, 1848). of the guild in 1645-46. Works: Rustic Scene (1656), Darmstadt Museum; Stilllife, Dresden Gallery; Guard-room, Prague Gallery. His brother, Ferdinand, the younger (baptized March 1, 1630, buried April 3, 1694), was also a pupil and even more successful imitator of Teniers, to whom several of his pictures are probably attributed. Works: Rustic Interior, Rotterdamn Museuml; Interior with two Figures, Dunkirk Museum.-Meyer, Kiinst. Lex., ii. 197. ARAGO, ALFRED, born in Paris, died in 1883. Historical genre painter, pupil of Delaroche. Medals: 3d class, 1846; L. of Honour, 1854; Officer, 1869. Works: Clarles V. at San Yuste (1841); Recreation of Louis XI. (1846); Petrarch at Virgil's Tomb (1847); Abraham viewing Sodom and Gomorrah (1852).-Vapereau (1880), 64. APPIANI, ANDREA, born in Milan ARALDI, ALESSANDRO, born in Parma about 1812, died there, Dec. 18, 1867. His- about 1465, died there in 1528-30. Lomtorical genre painter; pupil of Francois bard school; pupil of Cristoforo Caselli; Hayez, obtained several medals from the first public work an altar-piece painted Accad. S. Luca in Rome, and in 1838 thle in 1500 for S. Quirino, Parma. Among great prize of the Milan Academy. Works: his existing works are a Madonna (fresco), Petrarch at Avignon, Italian Emigrant Girl Duomo, Parma, ldated 1509; Annunciation Caressing the Ntional Colours (1855).- (1514), Parma Gallery, and frescos in S. Vapereau (1865), 53. Paolo and S. Sepolcro, Parma. He had no APPIANI, FRANCESCO, born at Ancona F originality, and shows a decided leaning in 1704, died at Perugia, March 2, 1792. to the Umbrian models of Francia.-C. & C., Pupil of Domenico Magatta, then influenced N. Italy, i. 589; Meyer, Kinst. Lex., ii by Francesco Trevisani, and later by Fran- 209. 62 A I:RBASI A ARBASIA, CESARE, born at Saluzzo Scenes from the Thirty Years' War, do. from about middle of 16th century, (lied in 1614. Italo-Spanisll school; employed in Spain, where he executed frescos for churches and palaces, in 1579-81-86; must have returned to Italy about 1595, as he was one of the originators and first members of tle Accad. S. Luca in Rome, founded in that year. Later painted frescos in Saluzzo and neighbourhood, which, according to Miindler, suggest the manner of Federigo Zuccaro, and of B. Lanini. -Meyer, K;inst. Lex., ii. 213; F. Quilliet, Arti Italiane in Ispagna (Rome, 1825), 33. ARBELA, BATTLE OF, Albrecht Alltdo7fer, Munich Gallery; wood, H. 4 ft. 11 in. x 3 ft. 8 in.; signed, dated 1529. A spirited battle scene, with thousands of small figures on foot and mounted; in centre Alexander and Darius; background, a landscape with mountains and sea. Painted by order of Duke Wilhelml of Bavaria. Carried to France in 1800; at St. Cloud a favourite picture of Napoleon I.; returned in 1815. By Charles Lebrun, Louvre, Paris; canvas, H. 15 ft. 5 in. x 41 ft. 4 in. According to Q. Curtius (IV.), the soldiers of Alexander saw, in the height of the battle, an eagle hovering over the head of Alexander, which Aristander, the chief soothsayer of the king, pointed out as an infallible omen of victory. The Macedonians pressed on with renewed vigor, and Darius, who was mounted upon a lofty chariot, seeing all hope lost, sought safety in flight. Series of History of Alexander. Eng'raved by G. Audran (1674), D. Bertaux.-Filhol, iii. P1. 151; Villot, Cat. Louvre. ARBO, PETER NIKOLAI, born in Drammen, Norway, in 1831. History painter; pupil, in Copenhagen, of Helsted, then from 1852 at the Dtisseldorf Academy under Karl Sohn; studied in Paris in 1861-70. He is a knight of the order of Vasa and director of the drawing school at Christiania. Works: The Walkyries, The Wild Chase, Asgard's Reigen, Christiania Gallery; Ingeborg, Bjarke's and Hjalte's Death, The Day, Time of Louis XIV., Battle of Waterloo.MIfiller, 16. ARBORELIUS, OLOF PER, born il Orsa, Dalecarlia, Nov. 4, 1842. Landscape I painter, pupil of the Stockholm Academy, where lie won in 1869 a prize and went il 1870 to D;isseldorf and later to Rome. Paints chiefly Swedish and Italian scenes. Works: Cliffs on Swedish Coast in a Storm (1874), Stockholm Museum; Scene from a Bear-Hunt. —Muiller, 16. ARCADIA, SHEPHERDS OF (Bergers d'Arcadie), Nicolas I'oussi,, Louvre, Paris; canvas, H. 2 ft. 9 in. x 4 ft. Allegory illustrative of the brevity of life. In the middle of a desert plain, with mountains in background, three shepherds and a young girl, in antique costume, have paused before a tomb shaded by trees; at left, the oldest, kneeling, points with his finger to the words cut in the stone: ET IN ARCADIA EGO. Collection of Louis XIV. Engraved by Picart le Romain; M. and A. Reindel. Repetition il Devonshire House, London, has tomb at one side. This engraved by Ravenet. -Filhol, ii. P1. 109; Landon, Musee, vi. P1. 37; Mus6e royal; Villot, Cat. Louvre. ARCANGELO, ANDREA DI CIONE. See Orcagna. ARCESILAUS, Greek painter, son of the sculptor Tisicrates, of Sicyon, about 286 B.c. Painted a picture of the Athenian general Leosthenes, which Pausanias (i. 1, 3) saw in the Piroeus.-Pliny, xxxv. 40, 42 [146]. ARCESILAUS, Greek painter, of Paros, probably fifth century B.C. Said by Pliny (xxxv. 39 [122]), to have been, with Polyg)7lotts, one of the earliest painters in encaustic. Perhaps identical with the sculptor, son of Aristodicus, on whom Simonides wrote an epigram (Diog. Laer. Arces. xxi.). A painter of the same name is mentioned by Athenaeus (x. p. 420), as a tutor of Apelles. -Brunn, ii. 55. ARCHER, JAMES, born in Edinburgh in 1824. Genre and portrait painter; 63 ARCHERS pupil of Thomas Duncan in the Trustees' of the company of cross-bow men, on some Academy, Edinburgh; exhibited in 1849 public occasion; capital picture, many figfirst picture, Last Supper, at Royal Scottish ures. Formerly in Hesse-Cassel Collection; Academy; elected an A.R.S.A. in 1850, then at Malmaison, whence passed to Herand R.S.A. in 1858. Removed in 1862 to Initage.-Smith, iii. 265. London, where he still resides. Visited the ARCHERY PRIZES, AWARD OF. See United States in 1884. Works: Time of Syndics of the Arquebusiers. War (1857); Hidden Sorrow (1858); Fair ARCHIGALLUS, picture. See ParrhaRosamond and Queen Eleanor (1859); sills. Playing at Queen (1861); Puritan Suitor ARCO, ALONSO DEL, born in Madrid (1865); Times of Charles I. (1867); Against in 1624, died there in 1700. Spanish school; Cromwell (1869); Sir Patrick Spens (1870); born deaf and dumb; pupil of Pereda, Shepherds of Arcadia, Nicolas Poussin, Louvre, Paris. Henry Irving as Mathias in "Tlle Bells" (1872); Irving as Charles I. (1873); Springtide (1875); Little Bo-Peep (1876); Rose (1877); Trysting Tree (1878); Sacrifice to Dionysus (1879); Betrothal of Burns and Highland Mary (1881); Peter the Hermit preaching the First Crusade (1883); St. Agnes, in the Second Century (1884); portraits of James G. Blaine, Andrew Carnegie (1884).-Meyer, Kinst. Lex., ii. 248. ARCHERS OF ANTWERP, David Teniers, Hermitage, St. Petersburg; canvas, H. 4 ft 5 in. x 7 ft. 9 in. Represents a meeting whence commonly called el Sordillo (the dumb) de Pereda. Was a good portrait painter. Works in churches of S. Juan de Dios, S. Andres, S. Felipe, S. Bernardo, and S. Sebastiano, Madrid; Child Jesus sleeping under the Cross, Academia S. Fernando; several pictures in Museo Nacional, AMadrid.-Stirling, iii. 1006; Meyer, Kunst. Lex., ii. 221. ARDICES, painter, Corinth, early period. Mentioned by Pliny (xxxv. 5 [15]), in connection with Telephanes of Sicyon, as first to use shading lines within outline drawings. 64 A IIE(; I() AREGIO, PABLO DE, beginning of is lost, but a canvas il Palazzo Giustiniani, 16th century. Spanish school; painted in Padua, attributed to Tintoretto, may pos1506, with Francisco Neapoli, scenes from sibly be the original study. Aretino is tile the life of the Virgin on twelve panels of Pilate in the Ecce Jlomo of Titian, Vienna the wings of the high altar of Cathedral at Museum.-C. & C., Titian, ii. 108, i. 319; Valencia, for which the two were paid 3000 Gal. du Pal. Pitti, i. PI. 111; Burckhardt, ducats. Their manner resembled so much 720; Lavice, 77. that of Leonardo da Vinci that they were ARETUSI. See Pellegrino da Modena. called his pupils. They also painted part ARETUSI, CESARE, born in Modena, of the walls in fresco. St. Catherine, col- second half of 16th century, died there in lection of Don Pedro Pelegner, Madrid.- 1612. Bolognese school; master unknown, Stirling, i. 97; Meyer, Kinst. Lex., ii. 232; but style formed after that of Bagnacavallo. Tabinger Kunstblatt (1823), 33. Highly successful portrait painter in the AREGON, Greek painter, of Corinth, manner of Correggio, whose pictures he early period. Strabo says (viii. 3, 12) that copied better than any other painter of the his picture of Diana riding upon a griffin time. Worked much in collaboration with was preserved in the Temple of Artemis Giambattista Fiorini, pupil of Bagnacavallo Alphaeonia, near Olympia.-Brunn, ii. 597. and assistant of Zucchero, who was a better ARELLANO, JUAN DE, born at Santor- designer than Aretusi, but inferior as a colcaz in 1614, died in Madrid, Oct. 12, 1676. ourist. They painted together a chapel in Spanish school; scholar of Juan de Solis, S. Petronio, Bologna; Deposition from the but unsuccessful until thirty-six years old, Cross, Saints Benedict and Francis de Paul, when he began to copy the flower pieces of in S. Benedetto; Nativity of the Virgin, in Mario del Fiori (Nuzzi), and finally won S. Giovanni in Monte.-Malvasia, i. 249; wealth and fame as a painter of flowers, Lanzi, ii. 410, iii. 50; Ch. Blanc, lRcole bofruits, and birds. Six flower pieces in Mad- lognese; Meyer, Ktnst. Lex., ii. 239; do., rid Museum. Decorated the sacristy of the Correggio, 167, 301, 310. church of St. Jerome at Madrid with genii, ARGONAUTS, EXPEDITION OF, pictflowers, etc. Works in Academia S. Fer- ures. See Cydias, Micon. ARGUNOFF, IVAN, flourished about -..'/ x'ii/c middle of 18th century. Russian portrait ~.UJO- J.. M(wel no lepainter, instructed by foreign masters,! enjoyed considerable reputation in St. nando and Museo Nacional, Madrid.- | Petersburg. His Cleopatra is in the MosStirling, ii. 718; Ch. Blanc, ~icole espag- cow Museum.-Meyer, Kiinst. Lex., ii. 247. nole; Meyer, Kunst. Lex., ii. 232; Madrazo, ARIADNE, Luca Giordano, Dresden Gal348. lery; canvas, H. 6 ft. x 8 ft. 6 in., signed. ARELLIUS, Roman painter, first century Ariadne, abandoned by Theseus, whose ship B.C. Profaned his art, Pliny says (xxxv. 37 is seen in the distance, sleeping (nude) on [119]), by painting goddesses in the like- the shore of Naxos; at left, a crowd of Bacness of his mistresses.-Brunn, ii. 305. chantes and satyrs announce the coming of ARETINO, or D'AREZZO, SPINELLO. Bacchus. Engraved by F. Basan. - Gal. See Spinelli, Spinello. Roy. de Dresde, i. PI. 39. ARETINO, PIETRO, portrait, Titian, Pa- ARIADNE AND BACCHUS. See Baclazzo Pitti, Florence; canvas, H. 3 ft. 2 chus. in. x 2 ft. 6 in. Painted in 1545. En- ARIAS FERNANDEZ, ANTONIO, born graved, reversed, by F. Petrucci and T. Ver in Madrid early part of 17th century, Cruys. An earlier portrait by Titian (1527) died there in 1684. Spanish school; pupil 65 ARIENTI of Pedro de las Cuevas; painted when fourteen years old pictures for high altar of the Carmelites in Toledo, and at twenty-five reckoned one of the best painters in Madrid. Employed with Camilo, Alonzo Cano, and other distinguished artists to paint the portraits of the kings of Spain, when the ancient hall of the kings in the Royal Palace was renovated. Executed many pictures for churches and convents. Works: Tribute Money, Charles V. and Philip II., Madrid Museum. Died in want at the general ward director of the Bologna Academy. Works: Beatrice di Tenda, Jeremiah, Orestes, Phaedra and Hippolytus, Francesca da Rimini, Origin of the Lombard League (Quirinal, Rome); Portrait of Bellini (Naples Conservatory of Music); Barbarossa (Royal Palace, Turin).-Kunst-Chronik, viii. 466. ARIOSTO, portrait, Titian, Cobham Hall, England; canvas, H. 2 ft. 9 in. x 2 ft. 1 in.; signed. The poet is walking, the upper part of his body seen in profile behind a parapet, the face turned toward the specta Ariadne, Luca Giordano, Dresden Gallery. hospital of Madrid.-Stirling, ii. 715; Viar- tor. History unknown; not certainly a dot, 284; Meyer, Kunst. Lex., ii. 248; Ma- portrait of Ariosto, but may be the picture drazo, 350. of the Lopez collection, sold in London in ARIENTI, CARLO, born in Milan in time of Charles I.; and this in turn may 1800, died in Bologna, April 3, 1873. have been the portrait which Baruffaldi says History painter, pupil of the schools of the was sent to Padua in 1554 by Ariosto's son Brera, Milan; was professor at the Milan Virginio. The copy formerly in the Palazzo Academy when called to Turin by King Manfrinipassed to Barker collection in 1857, Charles Albert, who ordered him to paint and was afterward sold. Other copies in for the staircase of the palace a victory of |the Vicenza Gallery, in the Tosi collection the Italians over the Austrians. This exiled at Brescia, and in the Butler-Johnstone colhim from Milan, but he was made president lection, London.-C. & C., Titian, i. 197; of the Academia Albertini, Turin, and after- Baruffaldi's Ariosto, 251. 66 ARIOSTO ARIOSTO, portrait, Titian (?), National Gallery, London; wood, transferred to canvas, H. 2 ft. 8. in. x 2 ft. Half length, in a crimson and purple dress; an open but sensual face, the hair falling in masses on the neck, one hand playing with a rose, the other holding a pair of gloves. Answers the description given by Ridolfi in 1646 of a picture in the Renier collection, Venice. Might have been painted by Pellegrino da San Daniele or Dosso Dossi (C. & C.). Acquired by National Gallery in 1860.-C. & C., Titian, i. 197; Ridolfi, Maraviglie, i. 210; Campori, Raccolta di Cataloghi, 442. ARISTARETE, painter, daughter and pupil of Nearchus. Pliny (xxxv. 40, 43 [14 7]) says she was noted for her picture of iEsculapius.-Brunn, ii. 300. ARISTI2EUS, painter, Thebes, Theban Attic school, father and master of Nicomnachus, lived probably in the first part of the fourth century B. c.-Pliny xxxv. 36 [108]; Brunn, ii. 159. ARISTIDES, Greek painter, of Thebes, Theban Attic school, brother and pupil of Nichomachus; pupil also of Euxenidas and master of Euphranor; probably about 376 -336 B. c. Though hard as a colourist, he was an admirable draughtsman and master of the most subtile shades of expression. He rendered these with surpassing power in his Captured City, in which a mother was represented lying mortally wounded in a street, with her infant vainly striving to draw nourishment from her breast. Alexander the Great carried off this picture from Thebes to Pella. King Attalus of Pergamus offered 400 talents for his Dionysius, which Mummius carried from Corinth to Rome, and dedicated in the Temple of Ceres, where it was finally burned (31 B. c.). Mnason, tyrant of Elatea, paid Aristides 1000 minee for his picture of a Persian battle, which contained a hundred figures. Other pictures by him are mentioned by Pliny (xxxv. 36). —Brunn, ii. 171. ARISTOBULUS, second-rate painter, of Syria. —Pliny, xxxv. 40 [146]; Brunn, ii. 286. ARISTOCLEIDES, Greek painter, date unknown. Decorated Temple of Apollo at Delphi. - Pliny, xxxv. 40 [138]; R. R., Schorn, 225; Brunn, ii. 298. ARISTODEMUS, painter, of Caria, about 200 B. c. Philostratus refers to hiln more especially as a writer on painting (Prooen. Icon. p. 3, Didot), but says lie painted after the manner of Eumlelus.-Brunn, ii. 309. ARISTOLAUS, Greek painter, son and pupil of Pausias, about 308 B. c. Pliny says (xxxv. 40 [137]) his style was severe, and mentions among his works an Epaminondas, a Pericles, a Medea, a Theseus, an emblematical picture of the Athenian People, and a Sacrifice of Oxen.-Brunn, ii. 154. ARISTOMACHUS or ARISTOMENES, painter, of Thasos. Vitruvius (iii. Prooem. 2) says through adverse circumstances he did not obtain renown equal to his merit. Among his works was a votive picture of three women, dedicated by them in the Temple of Aphrodite as a thank-offering for wedded happiness. He is called also Arimnes and Arimenes.-Varro de Ling. Lat., ix. 6,12; Brunn, ii. 301. ARISTOMENES. See Aristomachus. ARISTON, Greek painter, of Thebes, son and pupil of Aristides. Only recorded work is a Satyr crowned with vine leaves, holding a goblet in his hand.-Pliny, xxxv. 36 [122]; Brunn, ii. 181. ARISTONIDAS. See lfnasitimus. ARISTOPHON, Greek painter, son of Aglaophon of Thasos and brother of Polyg7otus, about 456 B. c. He was of the old Attic school, which knew nothing of perspective, foreshortening, or oppositions of light and shade, and painted in broad, flat tones, with only four colours, white, red, yellow, and black. His works were distinguished for their expressive qualities. He painted Philoctetes (Plut. De And. Poet. 3), and Ancoeus wounded by the boar, subjects which gave opportunity for the display of his capacity for rendering what the Greeks call pathos, an all-pervading emotion of pain, 67 ARMAND whether physical or mental.-Pliny, xxxv. 40 late as the last century, was valued in Ttaly [138]; Brunn, ii. 53. and Germany.-Meyer, Kiinst. Lex., ii. 261; ARMAND - DUMARESQ, CHARLES Gualandi, Mem., ii. 78, 192. RfDOUARD, born in Paris, Jan. 1, 1826. ARMIDA. See Rinaldo. Genre painter, especially of military scenes; ARMITAGE, EDWARD, born in Lonpupil of T. Couture. In 1854 he accom- don, May 20, 1817. History painter; pupil panied the French troops to Algiers and in Paris (1836) of Paul Delaroche, whom Italy, to paint battle scenes and camp life. he assisted in painting the Hemicycle in Medal: 3d class, 1861, 1863; Order of St. the Paris licole des Beaux Arts. In 1840 Maurice, 1859; L. of Ionour, 1867; Offi-lie sent Prometheus Bound to the Paris cer, 1881. Works: Christ (1850), Church Salon, and in 1843 he was awarded a prize of Dole; St. Bernard preaching a Crusade of ~300 at the Westminster Hall Exhibition, (1852); Martyrdom of St. Peter (1853), for his cartoon of the Landing of Caesar in Cathedral of Caen; Attributes of the Arts Britain. His cartoon, The Spirit of Religion, and Sciences, Death of General Kirgener, gained a prize of ~200 in 1845, and his Battle Second Zouaves in Ambush (1855); Capture of Meanee (Sindh), a prize of ~500 in 1847. of the Great Redoubt in the Battle of Mos- The latter was purchased by the Queen. In kowa (1857); Death of General Bizot (1859), 1852 lie painted the fresco of the Thames, VersaillesMuseum; Battle of Solferino (1859); and in 1854 that of the Death of Marmion Charge of Devaux's Division (1862); Prince in the Parliament House. Having studied Imperial taking a Walk, Vive l'Empereur two years, 1849-51, in Rome, he visited the (1864); Colour Guard, Chaplain of the Regi- Crimea during the Russian war, and made ment, Battle of Solferino, Passage of the important studies from which he painted Adda (1865); Charge of Cuirassiers at Eylau, Balaklava and the Guards at Inkerman. Chasseurs on Foot, Carrying off the Wounded Elected A. R. A. in 1867, R. A. in 1872; ap(1866); Charge of Cuirassiers (1867); Return pointed professor and lecturer on painting from Elba (1868); Day before Austerlitz, at Royal Academy at 1875. His lectures Day before Solferino (1869); Defence of St. were published in the United States in Quentin (1872); Signing the Declaration of 1883. Works: Death of Nelson, Henry American Independence (1873); Council of VIII. and Catherine Parr (1848); Vision of War, The Spy (1874); Surrender of York- Ezekiel (1850); Samson (1851); City of town, a Prussian Uhlan (1875); Battle of Refuge (1853); Lotus Eater (1854); Ravine Saratoga (1879); Prince of Wales reviewing at Inkerman (1856); Souvenir of Scutari the Grenadiers in 1777 (1880); Battle of (1857); Retribution (1858); St. Francis beBapaume, Each in his Turn (1883); Lecture fore Innocent III. (1859), Christ and the de l'Annuaire de la Cavalerie (1884).-La- Twelve Apostles (1860), Catholic Church rousse; Meyer, Kfinst. Lex., ii. 260; Bel- at Islington; Pharaoh's Daughter (1861); lier. Burial of a Martyr in Time of Nero (1863); ARMENINI, GIOVANNI BATTISTA, Ahab and Jezebel (1864); Esther's Banquet born at Faenza in 1540, died there, May 13, (1865); Remorse of Judas (1866); Feast of 1609. Roman school; went when fifteen Herod (1868); Gethsemane (1870), National years old to Rome, where he was allied with Gallery; Simplex Muniditiis (1873); Julian Taddeo Zuccaro, and copied Michelangelo's the Apostate (1875); Phryne, the Hymn of Last Judgment. From 1557 he wandered the Last Supper (1876); Serf Emancipation for nine years through Italian cities, mostly (1877); Pygmalion and Galatea (1878); working for, or co6perating with other ar- Charity, Samson and the Lion (1881); St. tists, and finally became a priest. He wrote Francis and St. Dominic at Rome, One of a book on the theory of painting, which, as Raphael's Models, Sea Urchins (1882).-Art 68 ARMSTRONG Journal (1863), 177; Portfolio (1870), 49; Meyer, Kiinst. Lex., ii. 263. ARMSTRONG, THOMAS, born in Manchester, England, in 1835. Figure painter; pupil in Paris of Ary Scheffer. In later years he has sought to combine modern French style with Pre-Raphaelite simplicity and agreeable colour. Works: Josephine, Morning, Peach Gathering, The Lesson, exhibited at Royal Academy since 1865. -Portfolio (1871), 65. ARNDT, FRANZ, born. at Lobsenz, near Posen, Aug. 20, 1842. Landscape and genre painter; pupil at Weimar Art School under Alex. Michaelis, and Theod. Hagen; visited Italy in 1872 and 1877, was appointed professor at the Art School in 1876, and secretary in 1879. His landscapes show close study of tree forms; his genre pieces are generally humorous in design. Works: Elegy, Scherzo (1872), Children's Jokes (1873), Summer Morning, North German Church.-Meyer, Kiinst. Lex., ii. 270; Muller, 18. ARNOLD, HERMANN, born in Munich, May 7, 1846. History and genre painter; pupil at Munich Academy under Hiltensperger, Anschitz, Alex. Wagner, Schraudolph, and Piloty. Works: Altarpiece, Inundation Scene, Schitzenkonig, Neighbour's Children, Christ; Dream of Roses (1883).Muller, 18. ARNOLD, KARL JOHANN, born in Berlin, Aug. 30, 1829. Portrait, animal, and genre painter; pupil of the Cassel Academy, of the Antwerp Academy, and after his return to Berlin of Adolf Menzel, who led him through a thorough study of nature in all her aspects. Works: Siesta, Fanny and her Admirers, Where is Fanny? Welcome in the Green, Hessian Peasant Girl, Wicliff Persecuted, the North German Parliament, the Great Headquarters at Paris, Boar Hunt, Altarpiece; portraits of Louis Spohr, Bettina von Arnim, two of King William, German Imperial Family; Dinner in honour of the Congress.-Meyer, Kuinst. Lex., ii. 277; Muller, 18. ARNZ, ALBERT, born in Diisseldorf, |Jan. 24, 1832. Landscape painter, pupil of the Dilsseldorf Academy, under his Ibrother-in-law, Oswald Achenbach, with whomn he visited Italy and Switzerland. i Most of his subjects are taken from Rome andl Naples, though he hass also painted views in Westphalia and the Nether Rhine countries. Works: Tlle Regenstein in the Hartz Mountains, Swiss Landscape, Wood Landscape with Sheep, Sumller Landscape, On the Ruins of Rome (1869); The Colosseum, Coast near Naples (1871).-Meyer, K/inst. Lex., ii. 297; Miller, 19. ARPINO, CAVALIERE D'. See Cesari, Giuseppe. ARRIVABENE, GIULIO CESARE, born in Mantua in 1806. History and figure painter; pupil of the Milan Academy, from which he received a prize in 1833. Afterwards spent several years in Rome, where he painted historical pictures, some allegories in fresco for a palace, and in Mantua and its neighbourhood madonnas and saints for churches. Since 1853 he has been settled in Florence, and has painted mostly scenes from sacred history. Works: Ruth, Duke of Sutherland's Collection; Macbeth, Mr. Waring's Collection, London. -Meyer, Kfinst. Lex., ii. 303. ARSENIUS, JOHANN GEORG, born at Klemmestorp, Westergothland, Feb. 4, 1818. Painter of horses; pupil of Wahlbom in 1849-50, and of the portrait painter Staaf in 1843. In 1852 he went to Dusseldorf and thence to Paris, where he studied under Horace Vernet; in 1865 became a member of the Stockholm Academy. He is a Lieutenant-Colonel in the Swedish cavalry. Works: Race (1864); Halt, Fire in a Stable (1866); Horses Frightened by Locomotive, Quarry near Lugnaas, Norwegian Sledge-Trotter, Grey Span, Discarded Cavalry Horse, Rigolboche, Jane, LisaBlenda, Stallion Aurico.-Meyer, Kunst. Lex., ii. 305. ARSENNE, LOUIS CHARLES, born in Paris, Dec. 23, 1780, died there, Aug. 3, I 69 ART 1855. Religious painter, pupil of David. He illustrated the works of Chateaubriand I and Lamartine, and wrote a valuable book on the fine arts, entitled Painter's and Sculptor's Manual (Paris, 1833). Works: St. Louis Disembarking at Hyeres (1841); The Pious Women at the Tomb of Christ, Jesus in the Garden of Olives. ART AND LITERATURE, Adolphe William Bouguereau, E. Walter, New York. Two female figures, full length. Painted for the late J. S. Jenkins, Baltimore; sold (1881) to Mr. Walter. Photogravure in Art Treasures of America, iii. 76. ARTARIA, MATTHIAS, born in Mannheim, June 19, 1814. Genre painter, pupil of the Diasseldorf Academy, where he profited by intercourse with Andreas Achenbach. He has painted peasant life in Tyrol and Spain, as well as medieval subjects. Works: Heroic Struggle of the Tyrolese in 1809; Defence of the Iselberg; Wedding in the Ziller Valley, Going to Church Christmas Night, Munich Gallery; Postillion, Castle Elche, Improviser at a Well, Market Scene in Valencia, Guerillas Fleeing, Captive Huguenots, Arrest of Ravaillac, Guard Room in Thirty Years' War, Maid of Saragossa.Meyer, Kunst. Lex., ii. 307; MUller, 19. ARTEMIDORUS, painter, 1st century A. D. Among his works was a Venus on which Martial wrote an epigram (V. 40). He was perhaps an historian and amateur painter of a bad picture of Minerva.Brunn, ii. 310. ARTEMON, painter, place and date unknown. His pictures, Apotheosis of Hercules and Laomedon, King of Troy, were preserved in the Portico of Octavia, Rome. Other works were Danat with Robbers in Admiration; Queen Stratonice; and Hercules and Dejanira.-Pliny, xxxv. 40 [139]; Brunn, ii. 284. ARTHOIS, JACQUES D', born in Brussels, baptized, Oct. 12, 1613, died after 1684. Flemish school; eminent landscape painter; pupil of one Jan Mertens. His compositions, often grandly poetic, with Scriptural subjects in foreground, were frequently placed in Belgian churches. The figures in his pictures are chiefly by Gaspard de Craeyer, Gerard Zegers, David Teniers the younger, and Van Herp. Jacques had a brother Nicholas (born 1617) and a son Jean Baptiste (born 1638), both of whom were painters. Best works in Brussels, Vienna, Dresden, Madrid, and English private galleries.-Biog. nat. de Belgique, i. 437; Ch. Blanc, &Icole flamande; Meyer, Kunst. Lex., ii. 310. ARTISTS, MEETING OF, Velasquez, Louvre; canvas, H. 1 ft. 6 in. x 2 ft. 6 in. Thirteen persons, in three groups, standing, in conversation; among them, at left, Velasquez and Murillo. Sometimes called Conversation of Velasquez. Presented to Duchess of Alba by Don Gabriel, son of Charles III.; sold, at her death, and finally bought from M. Laneuville in 1851, for 6,500 fr.Ch. Blanc, Ecole espagnole; Art Journal (1852), 364; Gaz. des B. Arts (1879), xx. 237; Curtis, 16. ARTVELT, ANDRIES VAN, born in Antwerp, baptized March 25, 1590, died there in 1652. Flemish school; marine painter; master of the guild in 1609-10, went to Italy probably after Sept., 1627, but had returned to Antwerp in 1630. His portrait of Van Dyck, painted in 1632, is in the Augsburg Gallery. Works: Shipwreck of Turkish Vessel (1623), Ghent Museum; Naval Battle, Th. van Lerius, Antwerp; Marine, Suermondt Museum, Aix-la-Chapelle; do. with Men-of-War, Vienna Museum. -Meyer, Kiinst. Lex., ii. 316. ASAM, COSMAS, born at Benedictbeuern, Bavaria, Sept. 18, 1686, died in 1742. Italian school; history painter, pupil of Ghezzi in Rome, where he won the first prize at the Academy. One of the most skilful and characteristic imitators of the Italian Rococo style, painted chiefly in 70 ASCENSION fresco, and decorated innumerable churches little valley; and in foreground a reclining and monasteries in and out of Bavaria, figure (St. Peter?).-Ruskin, Stones of Venworking conjointly with his brother Aegi- ice, iii. 340. dius, sculptor, notably the Cathedral of Subject treated also by Sebastiano Ricci, Freising, 1723-24. He was court painter SS. Apostoli, Rome,Dresden Gallery; Giotto, to the Elector of Bavaria. Works: Vulcan S. M. dell' Arena, Padua; Correggio, S. forging Arnns for 2Eneas, Ceiling in the Giovanni Evangelisti, Parma; Andrea OrChapel, Schleissheim Castle; Decorations I cagna, National Gallery, London; Tintoretto, in Chapel and Staircase, Grand-ducal Palace, Mann- - he im; do. in St. Jo:ln's, Lex., it. 321. ASCENSION (Fr. As- F w eand Apostles i.looking u 9-11). cepart sion, great al arpsecensione, y S. Ascension, LLyons Mseum. m elfahrt, erungca; twake transferred to canvas; fig-Jesui ure s nearly life size. Christ,h, p (burned, draped below the waist, and attended by angels, two on each side, is supported by two other angels in a glory b of cherubs' heads. He points upward with bothe tele hands, where two seraphs attend the Eternal, in a cir- cular glory of same kind, I: in benediction; below, the Virgin, SS. Peter and Paul, and Apostles looking up- ' ward. Formerly central part of great altarpiece of ~S. Pietro, Perugia ~; taken Ascension, by Perugino, Lyons Museum. to Paris and cleaned in 1815, and given to I1 Redentore, Venice; Rubens, Jesuits' Lyons by Pius VII.-C. & C., Italy, ii. Church, Antwerp (burned, 1718). 205. ASCLEPIODORUS, painter, sculptor, and By Tintoretto, Scuola di S. Rocco, Venice; writer on art, Athens, second half of 4th canvas. Christ ascending, sustained by century n.c. Praised by Apelles for skill in angels. Beneath, a sort of epitome of rendering the relative proportions of objects, events preceding the ascension; in dis- and regarded by him as his superior in corntance, two apostles going to Emmaus; position. His picture of the twelve great nearer, a group round a table set in a gods was purchased by Mnason, tyrant of 71 ASIIER( Elatea, for 360 talents.-Pliny, xxxv. 36, 59 [107]; Brunn, ii. 256. ASHER, LOUIS, born in Hamburg, June 28, 1804, died there, March 7, 1878. History and genre painter; pupil in Hamburg of Gerdt Hardorf and of Leo Lehmnann, then from 1821 at the Dresden Academy, and in Diisseldorf under Cornelius, whom, in 1825, he followed to Munich. In 1827 he returned to Hamburg; settled in Berlin in 1830; visited Italy in 1832 and 1839. Works: Roman Woman at the Well, Maria l'Ortolana, King Lear and Cordelia (1854), Hamburg Gallery; St. Cecilia, Resurrection (1851); Albanian Shepherd Family (1835); Roman Shepherd Boy, Ave Maria, Portrait of Jenny Lind.-Meyer, Kunst. Lex., ii. 306. ASKEVOLD, ANDERS MONSSEN, born in Parish of Askevold, Bergen, Norway, Dec. 25, 1834. Landscape and animal painter, pupil of Reusch in Bergen, and in 1855, of Gude in Diisseldorf. Spent four years in Paris after 1860. Studio at Bergen. His favourite subjects are the Norwegian mountain pastures; the figures in them are less successful than the cattle, which he represents with rare truthfulness.-Meyer, Kunst. Lex., ii. 329. ASPER, HANS, born in Zurich in 1499, died March 21, 1571. German school; history and portrait painter, held in much repute by his fellow citizens, and elected member of the great council, in 1545. Of his numerous facade decorations but one, a lion with shield on the Kyborg Castle door, has been preserved. His portraits are earnest and careful, though dry and uninteresting. Works: Portraits of Zwingli and Daughter, City Library, Ziirich; three portraits (1538), Artists' Association, Ztrfich; three do. in a private collection at Solothurn.-Meyer, Ktinst. Lex., i. 331; W. & W., ii. 484. ASPERTINI, AMICO, born in Bologna about 1475, died in 1552. Bolognese school; probably pupil of Ercole Roberti Grandi and Lorenzo Costa. Was a very rapid painter, who filled the porticoes and covered the fagades of many churches in his native city; travelled in Italy and left many works, the earliest in St. Cecilia, Bologna. Between 1506 and 1510 he painted frescos in S. Frediano, Lucca, and in 1514 the front of the library of S. Michele in Bosco. His compositions are poor in arrangement, his figures strained in action, and his flesh tones red and fiery. As a sculptor his only known work, produced in 1526, is the Dead Christ in the Arms of Nicodeb mus in the lunette of the great portal of S. Petronius, Bologna. He CJ / showed signs of insan~ * ''e ] his life. Among his 11 works are: Adoration 110 of Shepherds, Berlin Museum; Rape of Sabines, Madrid Museum; GI ~Lucca Gallery. His brother, Guido Aspertini, painted an Adoration of the Magi, Bologna Gallery.-C. & C., N. Italy, i. 575; Vasari, ed. Le Mon., ix. 4, 84; ed. Mil., v. 179; Meyer, Kfnst. Lex., ii. 337; Ch. Blanc, Ecole bolonaise; Gualandi, Mem., 1st Series, 33; 2d do., 9, 11; 3d do., 178. ASSCHE, HENRI VAN, born in Brussels, Aug. 30, 1774, died there, April 10, 1841. Landscape painter, first instructed by his father, an amateur artist, then pupil of J. B. de Roy; visited Italy, Holland, Germany, and Switzerland; painted especially waterfalls with great skill. Member of Ghent, Brussels, Antwerp, and Amsterdam Academies. Several medals. Order of Leopold, 1836. Works: Storm (1805), Antwerp Museum; Falls at Toccai, Switzerland, View of a Mill, Brussels Museum; View near Brussels during Storm, Bruges Museum; Rhine View, Falls near Rochefort, Haarlem Museum. His niece and pupil, Isabella v. A. (born in Brussels, Nov. 72 ASSELT 23, 1794) was also a good landscape painter, Genoa, and in 1639 went to Rome; after his won first prize by Ghent Academy in 1829. return painted chiefly frescos; was in his Work: View of Boitsfort near Brussels, time the best painter in Genoa. —Meyer, National Gallery, Amsterdam.-Biog. nat. Kiinst. Lex., ii. 351; Lavice, Musees d'Italie, de Belgique, i. 500; Messager des Sciences, 114. etc. (1841), 293; Meyer, Ktinst. Lex., ii. 344. ASSISI, ANDREA D'. See Ingegno. ASSELT, JOHANNES VAN DER, flour- ASSMUS, ROBERT, born at Stuhm, ished 1364-1386, at Ghent. Flemish school; West Prussia, Dec. 25, 1842. Landscape the earliest Flemish painter whose name is painter; studied from nature and after known to us. Employed by-Louis de Male, Calame; went to Berlin in 1859, and was Count of Flanders; afterward by Philip the much impressed by the works of Trogon Hardy, of Burgundy. Probably painted the and Lessing. Supported himself by workfrescos in the chapel of Notre Dame, Cour- ing for illustrated papers, until after the trai, full lengths of the Counts of Flanders war of 1870-71, when he took up landscape since Philip d'Alsace, now greatly injured.- painting, settled in Munich, visited Upper Meyer, Kinst. Lex., ii. 347; C. & C., Flem- Italy, Hungary, the Baltic Sea, Switzerland, ish Painters, 12. etc., and published an illustrated work, ASSELYN (Asselin), JAN, called Kra)- Alsace-Lorraine, which was most favourably betje, born at received. Works: Tle Gemmi Pass, Wood Die p en in Lake, View near Stuttgart, Village in the 1610, died in! \ Carpathian Mountains, Aussee, Landscape Amsterdam in in Lorraine, On the Banks of the Weichsel, 1660. Dutch/ Evening, Windmills in a Storm.-Meyer, school; land- j Ktinst. Lex., ii. 354; Miiller, 19. scape painter, M' ASSUMPTION (Fr. Assomption, Ital. pupil of Esaias A'.A Assunzione, Sp. Asuncion, Ger. Maria Himvan de Velde; mf t ], nelfahrt), the ascension to Heaven of the r e s i d e d in ^ Virgin after death, according to the legend Rome from of the Latin and Greek churches. 1630 to 1645, o j '.<L\ \By Fra Bartolommeo, Besan;on Cathedral, where he was France. The Virgin and Child on a throne influenced by ' carried by Angels in clouds; below, left, Jan Miel and Pieter van Laar. Works: SS. John Baptist, Sebastian, and Stephen; View of the Tiber, Landscape with Travel- right, the patron Jean Carondelet, kneeling, lers, and two other pictures, Louvre; Swan and behind him St. Bernard and another Defending her Nest, Landscape, National saint. Of the master's best time. Placed Gallery, Amsterdam; Italian Landscape, first by Jean Carondelet, archbishop of Pa7^y\ Brussels Museum; Ruined Cas- lermo, in his family chapel in S. Etienne, tle, Muiinich Gallery; Woman and Besan(on; after his death (1544) came into F Cattle, Sir Th. Baring, England. cathedral.-C. & C., Italy, iii. 477. - Kugler (Crowe), ii. 445; By Fra Bartolommeo, Naples Museum; Meyer, Kuinst. Lex., ii. 348; Ch. wood, arched, figures life size. The Virgin, Blanc, I&cole hollandaise. rising to heaven, rests one foot on the head ASSERETO (Axareto), GIOVACCI-INO, of a little angel whose hands are crossed born in Genoa, about 1600, died there, July under his chin; below, SS. John and Cath28, 1649. Pupil of Luziano Borzone and of erine of Alexandria, the latter holding a Ansaldo. From his sixteenth year he painted palm, kneel at her tomb, which is filled with altarpieces for churches and monasteries in flowers. Painted in 1516 for S. 1I. in Cas 73 ASSUMPTION tello, Prato; on suppression of church sold for six scudi to Giulio Porini, chancellor of Florence; sold by him to an Englishman in Florence, who transferred it to Mr. Milton for 150 zecchini; the latter disposed of it to Pius VI. for 3000 Roman crowns; disappeared from Rome at time of invasion, and long supposed to be lost.-Vasari, ed. Mil., iv. 193; Marchese, ii. 117; C. & C., Italy, iii. 470; Lavice, 200. By Sandro Botticelli, National Gallery, London; canvas, H. 12 ft. 3 in. x 7 ft. 5 in. Below, the Apostles round the tomb of the Virgin, with the donor and his wife, and views of Florence and Pistoja in background; above, the Coronation of the Virgin, and below that three circles in the sky, each formed of three rows of figures-the Patriarchs, Prophets, Apostles, Evangelists, Martyrs, Confessors, Doctors, Virgins, and Hierarchs. Painted for S. Pietro Maggiore, Florence, on commission of Matteo Palmieri, who gave the whole scheme for the work. Vasari says the painter and his patron were charged with heresy, and the work was interdicted and covered from view. Hamilton Palace sale (1882), ~4777 10s.Waagen, Art Treasures, iii. 296; Vasari, ed. Mil., 314. By Agostino Carracci, Bologna Gallery; canvas, H. 10 ft. 2 in. x 6 ft. 1 in. The Virgin in glory, upheld by angels; below, the Apostles around the tomb. Formerly in S. Salvatore, Bologna; carried to Paris in 1796; returned to Bologna in 1815. Engraved by Mitelli; G. Wagner; G. Asioli. -Pinac. di Bologna, P1. 64; Landon, Mus6e, ii. P1. 40. By Annibale Carracci, Bologna Gallery; canvas, H. 7 ft. 10 in. x 4 ft. The Virgin in the clouds, borne up and surrounded by angels; below, the disciples around the empty tomb gazing upward in wonder and awe. From the suppressed church of S. Francesco, Bologna. Engraved by Mitelli; Rosaspina.-Pinac. di Bologna, P1. 9. By Annibale Carracci, Dresden Gallery; canvas, H. 13 ft. 6 in. x 8 ft. 8 in. The Virgin in glory above, with an angel choir, below, the Apostles around the tomb-a Roman sarcophagus near a ruined temple. Painted for the chapel of S. Rocco, Reggio; removed to Este Gallery, and thence to Dresden. Engraved by J. Camerata.-Gal. Roy. de Dresde, i. P1. 19. By Correggio, Cathedral of Parma; fresco. on ceiling of cupola. The Virgin, borne aloft on luminous clouds by numberless angels, is received in the heavens by the Archangel Gabriel and by joyous groups of angels and saints; below, within a parapet, which appears to form an encircling socle to the dome, are the Apostles, standing between the windows, mostly in groups of two; behind them are genii holding candelabra, swinging censers, and pouring perfumes; in the four divisions of the dome, borne on clouds by genii, stand the four patron saints of Parma, John Baptist, Thomas, Hilary, and Bernard.-Vasari, ed. Mil., iv. 111; Heaton, Correggio, 166. By Guercino, Hermitage, St. Petersburg. The Madonna surrounded by angels rises on a cloud to heaven, with her eyes raised. Below her the Apostles stand round an empty tomb adorned with a bas relief. Painted in 1623 at Bologna for Alessandro Tanari. Considered one of the painter's masterpieces.-Amorinici, Vita di Franc. Barbieri, 44. By Guido Reni, Munich Gallery; silk cloth, H. 9 ft. x 6 ft. 4 in. The Virgin, with outstretched arms, standing upon clouds, upborne and surrounded by angels, is rising heavenward in a glory of light. The best example of Guido's manner of treating the theme.-Jameson. By Andrea Mlantegna, Trivulzi Gallery, Milan; canvas, figures life size; signed, dated 1497. The Virgin and Child in an elliptical glory in the sky, above a landscape; at the sides, SS. John Baptist, Romualdo, and a bishop; three boy angels in front. Dimmed by repeated varnishings.-C. & C., N. Italy, i. 409. By iMurillo, Alfred Fletcher, Allerton 74 ASSUMI'PTI N Hall, Liverpool, Eng.; canvas, H. 8 ft. x 5 works.-Vasari, ed. Mlil., iii. 5)(; C. & C., ft. 4 in. The Virgin soars upward, with her N. Italy, iii. 207. left hand raised; six cherubs at her feet By 'Pietro P'crtin,,, Florence Academy; and many heads above; seven Apostles woo(l, arched, H. 13 ft. 4 in. x 7 ft. 9 in.; around sarcophagus, which contains a whit e, dt e sid, ate 1500. The Virgin seated in rose. Formerly in Capuchin Convent, clouds, surrounded by seraphs and a choir Genoa; bought at Walsh Porter sale (1810), ~730. Curtis, 1 140 I.' By Mturillo, EMarl ouf Northbrook, London; canupborne on clouds; be- / low, the twelve Apostles and two Marys around U9cl cn e/ _:/~''s the open tomlb-Stirling, iii. 1419; Waagen, Treas- ',__ ' J ures ii. 181cherus; Curtis, 139. ( By Miurillo, Sir Richard Wallace, Bart., London; - / canvas, oabout 2 ft. 6 in. x 2 - ft. The Virgin seated on ' clouds, surrounded o by herubs; below, the arcophagus, with the three 1 Mares of R a. ys abend a.gels; it;bo, five Apostles on left, and seven on 7right. From C. rin n, Stowe, 13. Gualberto, S, acolle n.-d 140SS. Annunziata de' Servi, Florence, painteWaagen, removed to Academy in 1810 on ii. 153. Not one of the master's best suppression of monaster by the Frenc By Murillo, Hermnitade. ),'. St. Petersburg; canvas,'.' H. 6 ft. 6 in. x 4 ft. 9 in. The Virgin, standing on /:!7,. clouds, with right hand - y: /\ j.. outstretched; below, thir, - _, teen cherubs; above, ten heads. From Houghlton Gallery; appraised at ~700 Assumption, Rubens, Antwerp Cathedral. when Lord Orford's pictures were sold to of angels playing instruments; above, the Empress of Russia. Engraved by Val. Eternal, with seraphs and angels; below, Greene in 1766.-Curtis, 140; Cat. Hermi- Cardinal S. Bernardo degli Uberti, S. Gio. tafge, 130. Gualberto, St. Benedict, and Archangel By Pietro Pergino, Cappella Rabatta, Michael. Painted for church at VallomSS. Annunziata de' Servi, Florence, painted brosa; removed to Academy in 1810 on about 1502. Not one of the masters best suppression of monastery by the French.t ASSUMPTION government. One of Perugino's best works. Engraved by F. Livy.-Vasari, ed. Mil., iii. 677; C. & C., Italy, iii. 215; Gall. dell' Accad. di Firenze, P1. 51. By Nicholas Poussin, Louvre; canvas, H. 1 ft. 8 in. x 1 ft. 4 in. The Virgin standing, her eyes upraised and arms extended, is sustained on clouds by four angels; below, a vast plain with a city's towers in distance. Painted in 1650 for M. de Mauroy, Ambassador of France at Rome; passed thence to crown. Engraved by J. Pesne; G. Duquey; Laugier (1815); P. Bettelini in Mus6e Fran;ais; Annedouche.-Reveil, i. 15; Filhol, viii. 561; Landon, iii. 60. By Girolamo Romanino, S. Alessandro, Bergamo; canvas, arched, life size. The Virgin ascending amidst angels; above, the Eternal; below, the Apostles around the tomb. Painted about 1525-30.-C. & C., N. Italy, ii. 389. By Rubens, Antwerp Cathedral; wood, arched, H. 13 ft. 6 in. x 8 ft. 6 in. The Virgin, ascending seated on clouds, surrounded by a host of angels, some of whom bear the skirt of her robe and mantle, while others have wreaths and palms in their hands, and two are soaring to place a chaplet on her head; below, the Apostles and three women, assembled at the deserted tomb, which stands in front of the open sepulchre. Carried off by the French and placed in the Louvre, whence returned in 1815. Engraved by Bolswert.-Smith, ii. 6. By Rubens, Brussels Museum; canvas, H. 17 ft. 2 in. x 10 ft. 11 in. The Virgin ascending, with twelve angels floating among the clouds beneath her and many cherubim above; below, the Apostles and holy women visiting the deserted tomb. Painted for Cathedral of Notre Dame, Brussels, but, being found too small, bought by Jesuits for their church. Carried to France; returned in 1815 and placed in Museum. Engraved by Bolswert, Loemans.-Smith, ii. 20. By Rubens, Munich Gallery; canvas, H. 13 ft. 1 in. x 8 ft. 9 in. The Virgin ascending, attended by numerous angels; above, the Saviour welcoming her with open arms; below, the Apostles and holy women around the tomb. Formerly in Notre Dame (le la Chapelle, Brussels. Engraved by P. Pontius, Masson.-Smith, ii. 61. By Rubens, Vienna Museum; wood, H. 14 ft. 6 in. x 9 ft. 8 in. The Virgin ascending, accompanied by a vast company of angels; below, the Apostles surrounding the tomb, Assumption, Andrea del Sarto, Palazzo Pitti, Florence. at the side of which are three women, two of whom are showing flowers taken off the winding sheet, while Mary Magdalen leans on the shoulder of one of them. Bought at Antwerp in 1774, with another picture, for 18,000 florins.-Smith, ii. 88. By Andrea del Sarto, Madrid Museum; wood, H. 5 ft. 9 in. x 4 ft. 5 in. Bought for ~230 from collection of Charles I. of England, and sent by Philip IV. to Escorial, whence brought to Museum.-Cat. Museo del Prado. 76 ASSUMIPTION By Andrea del 'Sarto, Pal. Pitti, Florence;; from the tomb, half leaning on an angel; wood, arched, H. 12 ft. 1 in. x 6 ft. 11 in. above, a circle of cherubs and angels. The Virgin seated in clcuds surrounded by Once a noble picture, but now ruined by angels; below, tile Apostles grouped around the sepulchre in front, kneel- - ing, a female saint and. Saint Nicholas of Bari. Painted about 1526 for S. Antonio del Poggio, Cor- = tona, whence taken to Flor- / ence in 1639 by Ferdinand II.-Vasari, ed. Mil., v. 34; C. & C., Italy, iii. 578.., By Andrea del Sarto, ' Palazzo Pitti, Florence; wood, arched, H. 11 ft. 10 " in. x 6 ft. 7in. TheVirgin ~ ' seated in clouds surrounded by angels; below, the Apostles around the open tomb. The Apostle in front, looking at the spectator. is Anodrea himself. " Ordered by Ba rtolommeo Panciatichi, but left unfinished by Andrea at his of Vi:l. death (1531). Acquired. for the Pitti by Grand Duke Pietro Leopoldo. "A masterpiece for lig-htness, aerial perspective, and finish" (C. & C.). Engraved;-. A by Paradisi. —Vasari, ed. J\ Mil., v. 33; C. & C., Italy, iii. 577; Gal. du Pal. Pitti, L iii. P1. 115. By Sassoferrato, Louvre; canvas, H. 4 ft. 7 in. x 2 7 )! ft. 10 in. The Virgin, in a glory, standing upon clouds, her hands joined, A,' and eyes raised; below, - three cherubs' heads, and, Assumption, Titian, Venice Academy. on each side, three others placed symmetri- restoration. —Ruskin, Stones of Venice, iii. cally.-Villot, Cat. Louvre. 332. By Tintoretto, Scuola di S. Rocco, Yen- By Titian, Cathedral of Verona; canvas, ice; canvas. The Madonna ascending arched on top, figures in foreground life size. 77 ASSJUNZIONE The Virgin sitting in light on the clouds C. & C., Titian, i. 211; Kugler (Eastlake), above the tomb, around which the Apostles ii. 534; Klas. der Malerei, i. P1. 58; Burckare grouped gazing upward; St. Thomas: hardt, 716; Lavice, 464; Viardot, 331. catches her girdle as it falls. Painted in Subject treated also by Moretto, Brera, 1543; carriel to France close of last cen- Milan; Pinturicchio, Naples Museum; Rutury and returned in 1815.-C. & C., Titian, bens, Palazzo Coionna, Rome, Liechtenstein ii. 69; Ridolfi, Maraviglie, i. 229; Vasari, ed. Gallery, Vienna; Palma Vecchio,Venice AcadMil., vii. 445; Burckhardt, 720; Landon, emyl; Taddeo Bartoli, Berlin Museum; Fra Musee, viii. Pl. 11. Bartolommeo (attributed), Berlin Museum, By Titian, Venice Academy; wood, arched Earl of Warwick; Francisco de Ribalta, at top, 22 ft. 8 in. x 11 ft. 9 in.; signed. The Valencia Museum; Ambrogio Borgognone, Virgin, witlh hands upraised and eyes turned Brera, Milan; Paolo Veronese, Venice Acadtowards heaven, from which the Eternal wel- emy; Giovanni Moroni, Brera, Milan; Tincomes her with outstretched arms, is ascend- toretto, Gesuiti, Venice; Giorgio Vasari, Badia, Florence; Domenico "P4' 9".,,i,' \ >ji, \,,x Ghirlandajo, S. M. Novella, // 7/ "//," I ' Florence; Bernardo Po/l cetti, S. Felicit;', ib. ASSUNZIONE. See AsAT, ' BALTHAZAR VAN::a o_- A e. in AT;...B.?,DER, first half of 17th cen'.7., )h'1..,S ^^^. -^ tury, died at Delft after 1650. Dutch school; still-.l?._ / ''^' Alife painter, master of St. Luke's guild at Utrecht in 1619 and still living there v~. / ~ in 1629. Works: Apple Blossoms with Insects, Fruit-pieces (2), Berlin Museum; Fruit-piece, -, DIresden Gallery; Others Burial of Atala, Girodet de Roussy, Louvre. in Amalienstift, Dessau ing attended ly a swarm of cherubs and and Gotha Gallery. —Meyer, Ktinst. Lex., angels arranged in a circle of clouds around ii. 355. her; below, the Apostles, in shadow, are grouped around the tomb, gazing upward with awe-stricken faces. Painted in 1516-18 for the high altar of S. M. (lei Frari, Venice, where it was first exposed to public view, March 20, 1518. So dimmed even in the 16th century by candle-smoke and other causes that Vasari says it could scarcely be seen. The French did not think it worth carrying to Paris. Since removal to Academy, somewhat injured by cleaning and extensive repainting in lower part; upper part fairly preserved.-Vasari, ed. Mil., vii. 436; ASTRONOMERS, Giorgione. See Chaldean, Sages. ASTRONOMY, Raphael, Camera della Segnatura, Vatican; fresco, on ceiling. Female figure, leaning over a celestial globe, gazing at the planets; on each side a little genius holding a tablet. Painted in 1511. -Passavant, ii. 90; Muntz, 349. ATALA, BURIAL OF, Girodet de Roussy, Louvre; canvas, H. 6 ft. 10 in. x 8 ft. 9 in. Scene from Chateaubriand's Atala (Genie du christianisme). At the entrance to a grotto, Chactas and Father Aubry are about to lay 78 ATALANTA in a grave, which they have dug, the body of Atala, whose hands, joined upon her breast, hold a cross. Salon, 1808; acquired in 1818, with Endymion and the Deluge, for 50,000 fr. Engraved by Roger; R. U. Massard.-Re veil, i. 5. ATALANTA AND MIELEAG(ER, lubens, Madrid Museum; canvas, H. 5 ft. 1 in. x 8 ft. 6 in. Atalanta and Meleager participating in the chase of the Calydonian boar; background a woody landscape. Collection of Philip IV. —Madrazo, Cat. Madrid Mus. ATALANTA'S RACE, Edward J. ]oyn Said by Pliny (xxxv. 40 [134]) to have been compared to Nicias and even preferred to hii by some. He was more sombre in his colouring than Nicias, yet more pleasing. Among his works were, at Eleusis ta P11ylarclhus, and at Athens 'a Slynzenicon (family gr1oup1); Ulysses Detecting Aclilles in Femalel Costume; and G(room Leading a Horse, which coltributed more to his falle than any other of his pictures. Plinmy adds tlat if Athenion hadl not died youing, no one would have been coill)arable to him.Brunn, ii. 294.,,c off -i _ a, Sz od Vatic a..__ - March of Attila, Raphael, Stanza d'Eliodoro, Vatican. ter. Atalanta, when her father desired her to marry, made it a condition that each of her suitors should contend with her in a footrace, to be put to death in case she conquered him. Milanion, who had received three golden apples from Venus, dropped them one after the other, and as Atalanta stopped to pick them up, won the race. Academy, 1876. Engraved by F. Joubert. ATHENA (Minerva), pictures. See Antiphilus, Cleanthes, Fabullus. ATHENION, Greek painter, of Maronea in Thrace, pupil of Glaucion of Corinth. ATHENS, SCHOOL OF. See School of Athens. ATTILA, MARCH OF, Raphael, Stanza d'Eliodoro, Vatican; fresco. Attila, King of the Huns, marching with his savage hordes towards Rome, is met by SS. Peter and Paul, patrons of the holy city, who appear in the clouds, sword in hand; this so terrifies Attila (on the black horse in the middle) that he submits to the terms of Leo I. (portrait of Leo X.), who is on a white horse at the left, surrounded by his retinue. Painted in 1540; in allusion to the expulsion of the AUBERT French from Italy. Studies in Louvre and at Oxford. Engraved by Volpato; S. Bernard; P. Anderloni; F. Colignon. -Vasari, ed. Mil., iv., 347; MUntz, 366; Passavant, i. 146; Springer, 204; Kugler (Eastlake), ii. 435; Gruyer, Fresques, 215; Perkins, 135. AUBERT, AUGUSTIN RAYMOND, born in Marseilles, Jan. 23, 1781, died there, Nov. 5, 1857. History, portrait, and landscape painter; pupil of Guenin at Marseilles, and of Peyron in Paris. In 1804 returned to Marseilles, and in 1810, was made director of the school of drawing and of the Museum; in 1845 he retired to his country seat near Marseilles, where he died. Exercised much influence upon art in his native city and educated a number of able pupils. Works: Noah's Sacrifice (1817), Marseilles Museum Visit of the Virgin to S. Elizabeth (1822), Glorification of Christ (1838), Annunciation (1827), Martyrdom of St. Paul (1836), Church of St. Paul, Beauvais.-Meyer, Kunst. Lex., ii. 371. AUBERT, ERNEST JEAN, born in Paris, in 1824. Genre painter, pupil of Paul Delaroche and in engraving of Martinet. Won the prix de Rome for engraving in 1844, and lived five years in Italy. Devoted himself chiefly to engraving until 1853, when he turned his attention to lithography and afterward to painting. Medals for painting: 3d class, 1861; 2d class, 1878. Works: Confidence (1861); Martyrs under Diocletian (1863); Youth (1865); Early Breakfast (1867); Broken Thread (1872); At the Fountain (1875); Coming Love (1877); Le JEAN LBEI T. barde Hyvarnion et Ravanone (1883); Menu de l'Amour (1884); Aurora Cools the Wings of Love (1885). AUBLET, ALBERT, born in Paris; contemporary. History and portrait painter; pupil of Jacquand and of Gerome. Medals: 3d class, 1880; 2d class, Munich, 1883. Works: The Siesta, Interior of a Stable, Interior of a Courtyard, Farm at Trdport (1874); Men of the Reserve in a Barrack at Cherbourg (1879); Selene (1879); Meeting of Henri III. and the Duc de Guise (1880); Inhaling Room at Mont-Dore (1881); Dancing Dervishes at Scutari (1882); On the Beach, Treport (1883); Nero Poisoning Slaves (1876), St. l;tienne Museum; Esqui-Djamlidja-Broussa (1884); Bathing Time at Tr6port (1885). AUBRY, ITIENNE, born in Versailles, Jan. 10, 1745, died in Paris, July 21, 1781. Portrait and genre painter, pupil of J. G. Silvestre and Josepll Vien. Member of the Academy in 1775. His genre paintings of 6 LA, A U nation to imitate Greuze. Bore the title of painter to the king. Portrait of the Artist, Louvre.-Meyer, Kiinst. Lex., ii. 378; Wurzbach, Fr. Maler d. xviii. J., 40. AUDEN-AERD (Audenaerde, Oudenaerde), ROBERT VAN, born in Ghent, Sept. 20, 1663, died there, June 3, 1743. Flemish school; history and portrait painter, pupil of Frans van Mierop and of Jan van Cleef, then of Carlo Maratti in Rome, where for many years he was employed by his patron, Cardinal Barbarigo; returned to Ghent in 1723, after an absence of thirtyeight years. Works: Abbot and his Canons in Chapter, Assumption (1725), Museum, Ghent; Assumption, St. Nicholas', ib.; Martyrdom of St. Catherine, St. James', ib.; Christ among the Doctors, Petit-B6guinage, ib. —Biog. nat. Belgique, i. 535; Meyer, Kiinst. Lex., ii. 383. AUDUBON, JOHN JAMES, born in Louisiana, May 4, 1780, died in New York, Jan. 27, 1851. Animal painter; studied under David in Paris in 1795 or '96. Made many expeditions down the Ohio and in Florida to sketch birds; visited Europe again in 1826 and 1832; published, in 1828-44 his "Birds of America" and his "Ornithological Biography," the former il 80 AUERBACHI lustrated and coloured from his own drawings. He projected also a work on the "Quadrupeds of America," which was finished by his sons after his death. The New York Historical Society owns many of Audubon's original drawings; his Covey of Blackcock and Canada Otter were in Philadelphia Exhibition, in 1876.-Mr-s. Audubon, Memoir (New York, 1869). AUERBACH, JOHANN GOTTFRIED, born at Milhausen, Thuringia, Oct. 28, 1697, died in Vienna, Aug. 3, 1753. German school; portrait painter, from about 1716 in Vienna, where he became court painter in 1735 and member of the Academy in 1750. Works: Portrait of Charles VI.; Portrait of Prince Eugene, Vienna Museum; do. Salzdalum Gallery.-Meyer, Ktinst. Lex., ii. 436. AUGUIN, LOUIS AUGUSTIN, born in Rochefort, in 1824. Landscape painter, pupil of Jules Coignet and Corot; settled in Bordeaux and has exhibited, since 1846, many landscapes of poetic character. Medals at Vienna (1873); Paris, 3d class (1880); 2d class (1884). Works: Fields around Saintonge, June Day (1872); Evening in the Valley (1873); Height of Alen(;on, Banks of the Bramerie (1876); Dunes of Montalivet (1883); Summer Day at Grande Cote (1884).-Meyer, Ktinst. Lex., ii. 438. AUGUSTIN, JEAN BAPTISTE JACQUES, born in Saint-Die, Lorraine, Aug. 15, 1759, died in Paris, April 13, 1832. As a painter of portraits, in miniature, of the most eminent persons of his time, he attained a European reputation, and educated a great number of meritorious artists. In 1819 was appointed first painter to the king. Exhibited at Paris from 1791 to 1831. Works: Two portraits of Napoleon, Portrait of Louis XVIII., two female portraits (1815 and 1824), Sir Richard Wallace, London.Meyer, Kunst. Lex., ii. 440. AUGUSTINE, ST., Murillo, Joseph T. Mills, Rugby, Warwickshire; canvas, H. 5 ft. 10 in. x 4 ft. 5 in. The Saint, in bishop's robes, with mitre and crook, stands on seashore conversing with a child who is trying to fill a hole in sand with water taken from sea in a shell. According to the legend, the child said lie was going to empty the sea into the hole. "Impossible," said the Bishop. "No more impossible," replied the child, "than for you to explain the Trinity, on whicl you are meditating." Louis Plilippe sale, ~680. Same subject by Sanchez Coello in Escorial, Guercino in Madrid Museum, and Garofalo in National Gallery of London; fresco attributed to Raphael in Vatican.-Curtis, 219; Cat. Nat. Gal.; Stirling. By Mu rillo, George Tomline, Orwell Park, Suffolk, England; full-length, life size. The Saint, in a robe lined with red, kneels in ecstasy before a flaming heart which appears in clouds, with an inscription; on the floor, three books, a mitre, and a crozier. Painted about 1678 for Convent of S. Augustine, Seville; taken to Paris by Marshal Soult, who sold it about 1846 to Mr. Tomline. Dr. Waagen calls it the finest single figure he knew by the master. Copy in Cadiz Museum.-Waagen, Treasures, iii. 441; Curtis, 218. By Murillo, Seville Museum; wood, H. 8 ft. 3 in. x 4 ft. 4 in. The Saint, seated behind a table, holding a pen over an open book, beholds a vision of the Trinity, above on his right, in a glory of cherubs and heads. Painted about 1678 for Convent of S. Augustine, Seville; companion to above. -Curtis, 217. By Murillo, Seville Museum; wood. H. 8 ft. 3 in. x 4 ft. 4 in. The Saint, in the habit of the Order of St. Benedict, kneeling, presents to Infant Jesus, seated on lap of Virgin, a flaming heart which the Child transfixes with a dart; above, cherubs and heads. Painted about 1678 for Convent of S. Augustine, near the Carmona Gate, Seville, which was suppressed at the beginning of this century.-C. Bermudez, ii. 60; Carta, 96; Ponz, Viage, ix. 135; Curtis, 217. AUGUSTUS AND THE FRIENDS OF VIRGIL, Raphael, Camera della Segnatura, 81 AURORA Vatican; picture in grisaille, under the Par- and effect. Engraved by F. Pozzi (1880).nassus, at right. Emperor Augustus pre- Burckhardt, 773. venting the friends of Virgil, Tucca and AURORA, Guido Reni, Palazzo RospigliVarius, from burning the MS. of the A3neid, osi, Rome; fresco, on the ceiling of the gar, Aurora, uercio, Palazzo doisi, Rome. Aurora, Guercino, Palazzo Ludovisi, Rome. as the poet had directed; on right, eight other figures. Painted in 1511.-Passavant, ii. 91. AURORA, Guercino, Palazzo Ludovisi, Rome. Painted on the ceiling of a casino in the gardens of the villa. Apollo seated in a car dragged above tile clouds by heavy mottled hlorses, is surrounded by the Hours. den pavilion. Aurora precedes Phoebus, who, sitting in a chariot drawn by horses, is attended by the Hours, graceful figures varied in action. Best work of the master for composition and color. Engraved by J. Frey; Pasqualini; R. Morghen; C. Preisel.-Ch. Blanc, Ecole bolonaise; Kugler (Eastlake), ii. 489; Lavice, 383. Aurora, Guido Reni, Palazzo Rospigliosi, Rome. The fresco resembles that of the same sub- AUSTERLITZ, BATTLE OF, Gerard, ject by Guido at the Palazzo Rospigliosi, Versailles Museum; fought, Dec. 2, 1805. but is inferior to it in composition, color, Scene: Gen. Rapp, wounded, gallops to an 82 AIUTE ROC IE nounce to the Emperor, who is seated on his horse surrounded by his staff and by officers of the enemy mnade prisoners, the defeat of the Russian Imperial Guard. Painted in 1808: Salon, 1810. Engraved by Blanchard. —Landon, Musee, Salon de 1810, P1. 37-40; Gal. de Versailles, iv. No. 797. AUTEROCHE, ALFRED, born in Paris in 1831. Landscape and animal painter; pupil of Brascassat and of L. Cogniet. Works: Cattle (Win. Astor, N. Y.), Large Oak, Pasture on Coast of Normandy (1868); Pasture near Trouville, Little Shepherdess (1874); Ravine of Mandailles, The Prairie (1879); Brood Mares (1880); Dogs and Sheep in South Jersey (1882). AUTISSIER, LOUIS MARIE, born in Vannes, Brittany, Feb. 8, 1772, died in Brussels, Sept. 4, 1830. Studied with Vautrin, and at fourteen by himself from nature. Served two years in the army, then went to Paris and afterwards to Brussels, where he painted miniatures, and to Holland. In 1817 he painted William I., King of the Netherlands; exhibited at Paris in 1820-22.-Meyer, Ktinst. Lex., ii. 449. AUTOBOLUS, painter. See Olympias. AUTOMIEDON, Henri Regnault, S. A. Coale, Jr., St. Louis, Mo.; canvas, H. 10 ft. 4in. x 10 ft. 9 in. Automedon, charioteer of Achilles, nude, struggling with the horses of Achilles, Xanthus (chestnut) and Balius (piebald), when about to yoke them to the chariot for the use of Patroclus (II. xvi.). Painted in Rome, 1867; bought by L. P. Morton, N. Y.; sold in 1882 to Mr. Coale for $5,900. Placed in 1884 on exhibition in Boston Museum of Fine Arts, and will probably remain there. Photogravure in Art Treasures of America, iii. 121. AUTUMN, N. Poussin. See Spies, Return of the. AUVRAY, JOSEPH FELIX HENRI, born at Cambrai, March 31, 1800, died there, Sept. 11, 1833. History painter; pupil of Valenciennes Academy and, in Paris, of Gros (1820); went to Rome in 1824, to Florence in 1826, bult returned to klllme, and thence to Paris. Was associate of tile Institute, officer of the Legion of Honour, and knight of the Order of St. Michael. Works: Jealousy of (Elone, St. Louis Captive, Banquet of Damocles, St. Paul in Athens (1827); Sacrifice of Gautier de Ch:itillon (1827), Calmbrai Museum; Spartan Fugitive, Raising of Pepin tile Short to the Throne, Meleager 's Deatl, Valenciennes Museulm.-Meyer, K inst. Lex., ii. 452; Lejeune, iii. 14. AUZOU, PAULINE, born in Paris, March 24, 1775, died there, May 15, 1835. History and portrait painter; pupil of Regnault, excelled especially in female portraits; first exhibited at Salon in 1793. Early subjects taken from Greek history. Works: Arrival of Marie Louise in Comnpiigne (1810), Marie Louise Taking Leave of her Family, Versailles Gallery; Agnes de eMranie (1808); Diana of France and Montmorency (1814); Portraits of Vollley (1795), Regnault (1800), Picard the Elder (1806).-Meyer, Kiinst. Lex., ii. 454. AVALOS, ALFONSO D', ALLEGORY Allegory of Alfonso D'Avalos, Titian, Louvre. OF, Titian, Louvre; canvas, H. 4 ft. x 3 ft. 6 in. The Marquis del Vasto, standing in 83 AVALOS armour, about to go against the Turks, parting from his wife, Mary of Aragon, but consoled by Victory, Love, and Hymen. Painted about 1533; from collection of Louis XIV. Engraved by Natalis and Oortman. Variations of the subject in Vienna Museum.-Vasari, ed. Mil., vii. 442; C. & C., Titian, i. 373; Filhol., x. P1. 711; Villot, Cat. Louvre; Mtindler, 210; Ch. Blanc, Ecole venitienne. AVALOS, ALFONSO D', ALLOCUTION OF, Titian, Madrid Museum; canvas, H. 7 ft. 4 in. x 5 ft. 5 in. The Marquis del Vasto, in armour and a red mantle, with a baton in one hand, gesticulates with the other to a company of halberdiers on right; his son Francesco holds his helmet. Painted in 1541; was in 1621 in the Alcazar of Madrid, where it was injured by fire and repainted, so that little remains of Titian's handling. A similar picture in the Mantuan collection passed to Charles I. of England.-C. & C., Titian, ii. 51; Vasari, ed. Mil., vii. 448. AVALOS, ALFONSO D', Marquis del Vasto, portrait, Titian, Cassel Gallery; canvas, H. 7 ft. 2 in. x 5 ft. 5 in.; signed. Full length, in red doublet and hose and plumed cap of a duke, with a spear in right hand; at his feet on the right is a white dog, and on the left Cupid raising aloft a plumed helmet; background, a landscape. The title d'Avalos, Marquis del Vasto, needs confirmation. Painted about 1550?-C. & C., Titian, ii. 427; Cassel Cat. AVALOS, D', AND HIS PAGE? Titian, Hampton Court; canvas, H. 4 ft. 4 in. x 3 ft. 1 in. Seen to the knees, in armour, his right hand on a table on which is his helmet; a page to the right ties the laces of his breast-plate. Called Marquis del Guasto and Page in catalogue, but on slight grounds. Features are not unlike those of Duke of Alva in picture by Antonio Moro in Windsor Castle.-C. & C., Titian, ii. 428; Law, Hist. Cat. Hampton Court, 39; Waagen, Treasures, ii. 414. AVANZI (Davanzi) JACOPO, born in Verona, second half of the 14th century. Not to be confounded with his contemporary Jacopo degli Avanzii of Bologna. Worked at Verona and Padua, where he assisted Altichiero da Zevio in painting the frescos of the Chapel of S. Giorgio, and himself painted the frescos of S. Michele, Padua, which correspond in technic, though inferior in composition. To the same painter, who, with Altichiero, propagated the Giottesque style in the north of Italy, may be attributed the fresco fragments of the Triumph of Marius in the Hall of the Emperor, now Library, Padua.-Meyer, Kiinst. Lex., ii. 454; Schnaase (2d ed. 1876), vii. 494; Luibke, Gesch. d. ital. Mal., i. 20. AVANZII, JACOPO DEGLI, latter half of the 14th century. Bolognese school; imitated the second-hand followers of Giotto, and combined ugly types, exaggeration of movement, and feeble execution. There are a Crucifixion by him in the Palazzo Colonna, Rome, and a Crucifixion and three damaged panel pieces in the Bologna Gallery; also frescos at Mezzarata. He is not to be confounded with the above nor with Jacopo di Paolo Avanzi Bolognese, beginning of the 15th century, Padua.-C. & C., Italy, ii. 212, 233; Bernasconi, Studj, v. 29; Vasari, ed. Le Mon., iii. 40, iv. 90; Meyer, Kuinst. Lex., ii. 455. AVED, JACQUES ANDRI~ JOSEPH, born inlDouai, Jan. 12, 1702, died in Paris, March 4, 1766. Portrait painter, pupil in Paris (1721) of Alexis Simon La Belle, and in Amsterdam of Picard, member of the Academy in 1734. He was intimate with Boucher, Chardin, C. Van Loo, and the foremost artists of his time, and painted many prominent men and women. Exhibited in Salons in 1737-1759. Works: Portrait of William IV., Amsterdam Museum; of Mirabeau, Louvre; of the painters Cazes and de Troy, Ecole des B. Arts, Paris; Madame de Tencin, Valenciennes Museum; Said Pasha, Versailles Gallery; Louis XV., J. B. Rousseau.-Meyer, Ktinst. Lex., ii. 458; Dussieux, 254. 84 AYELLIOT AVELLINO, GIULIO, or GIACINTO, to visit and return from Hades (XEneid, VI.), called II Messinese, born in Messina, about Royal Academy, 1834; Vernon Collection, the middle of 17th century, died in Ferrara, 1847. Engraved by T. A. Prior, J. T. WillAug. 3, 1700. Neapolitan school; pupil' more.-Cat. Nat. Gal.; Hamerton, Life. of Salvator Rosa in Naples; returned to AVONT, PEETER VAN DEN, born at Messina and married the daughter of Maffei, MIechlill, baptized Jan. 14, 1()00, died at his first teacher in perspective and arcllitect- Deurne, near Antwerp, Nov. 1, 1652. Fleiure. Having wounded a priest in a quarrel, ish school; history and landscape painter, he fled to Naples, but pursued by the love master of Antwerp guild in 1622-23, beand jealousy of a woman, who attempted to came a citizen of Antwerp in 1(31. Often poison his wife, went to Rome, and after- supplied the landscapcs of Viclk-Boons, wards to Venice. After visiting other cities Jan Brueghel the elder and the younger, he settled in Ferrara and there successfully Lucas van Uden, Jan WVildens, J. l'Arthois, revived the art of landscape painting, wlich Luc. Achtschellinck, and Lod. de Vadder with had been extinct since tle deatl of Dossi. delicately painted small figures. Works: -Meyer, Kiinst. Lex., ii. 467. Holy Family, St. James', Antwerp; MadonAVERCAMP, HENDRIK, surnamed de na, St. Nicholas' Chapel, ib.; do. and Angels Stommne (Mute) van Kampen, born prob- iln a Landscape, Ghent Museum; Wooded ably at Kampen on the Yssel about 1585 (?), Landscape witl Holy Family, do. with Madied about 1635 (?). Dutch school; land- donna and St. John, Flora witli Genii, Muscape painter, closely approaching the style seum, Vienna; Landscape with Diana Aimof W. Buytenvrech and E. van de Velde; ing at Mother with two Children, Madonna painted chiefly winter landscapes. His and Angels, Silenus and Bacchus, Liechtenhighly esteemed water-colour sketches and stein Gallery, ib.; Holy Family and Angels, drawings are in the Taylor Museum, Haar- Munich Gallery.-Kramm, i. 36; Meyer, lem (8), Hamburg Gallery (4), Stadel Gal- Kiinst. Lex., ii. 479. lery, Frankfort (10), Berlin Museum (3), AXARETO. See Assereto. Albertina, Vienna (4). Works: Landscape, AZE, ADOLPHE, born in Paris, March Antwerp Museum; River Landscape, Rot- 6, 1822, died there, March 25, 1884. Histerdam Museum; Landscape (1620), Amali- tory painter, pupil of Robert-Fleury; visenstift, Dessau; Dutch Kirmess on the Ice ited Italy and the East and first exhibited in (2), Dresden Gallery; Frozen River with the Salon in 1845. Medals: 3d class, 1851, Skaters (2), Berlin Museum; Winter Land- 1863. Works: Diana Surprised by Endymnion; Council of Cardinals (1851), Rodez T^ \fT [ A j Museum; Jean Goujon Decorated by Duke of Anjou (1855), Bagnires-de-Bigorre Musescape, Schwerin Gallery.-Meyer, Kunst. umn; Cosimo de Medicis Assassinating his Lex., ii. 469. Son in the Streets of Venice; Interview beAVERNUS, LAKE, the Fates, and the tween Philip II. and Don Carlos.-ChronGolden Bough, J. M. W. Turner, National ique des Arts (1884), 105. Gallery, London; canvas, H. 3 ft. 5 in. x 5 AZEGLIO (Massimo Taparelli), MARft. 4 in. Lake Avernus, near Cumme, Italy, CHESE D', born in Turin, Oct. 24, 1798, with Baire and Vesuvius in distance. Sup- died there, Jan. 15, 1866. Landscape and posed to be fed by the Acheron, the river of genre painter, pupil of M. Verstappen in the infernal regions-hence the entrance to Rome; excelled especially in landscapes, Hades. The golden bough was a branch of which he enlivened with figures. In 1833 the tree of Proserpine which, when plucked he exhibited in Milan seventeen pictures by the favour of the Fates, enabled mortals which were most favourably received. Prime 85 BAADE minister of Sardinia under Victor Emmanuel and distinguished also as a scholar. Works: Fight of Italian and French Knights at Barletta, Origin of the Sforza Family, Ulysses Received by Nausicaa, My Wood, Battle of Legnano.-Meyer, Kfinst. Lex., ii. 494. B AADE, KNUD, born near Stavenger, Norway, March 28, 1808, died in Munich, Nov. 24, 1879. Landscape and marine painter, pupil of Copenlhagen Academy in 1827-30. After painting portraits in Christiania, went to Dresden, where he studied under Dahl in 183( —39; went again to Dresden in 1843 andl settled in Munich in 1846. He was Swedish court painter and member of the Stockholmn Academy. Works: Moonligllt Nilght on Nor[ wegian Coast, Christiania Gallery; do., Munich Gallery; Steamboat on the Cliffs.-Am. Art Rev. (1880), 179; KIlinstChronik, xv. 194; Meyer, Kunst. Lex., ii. 499; Regnet, i. 11. BAADER, LOUIS MARIE, born at Lannion, June 20, 1828. History and genre painter; pupil of Yvon and of the Ecole des Beaux Arts. After treating antique subjects, exhibited in Salons in 1866-68, his humorous picture of a man shaving a poodle dog (The Toilette) had great success in the Salon of 1873. Medal 1866; 3d class, 1874. WVorks: Destruction of Camulodunum; Hero and Leander; Ulysses and Nausicaa; Salmacis and Hermaphroditus; Posthumous Fame (1874); Savoyard's Lyre, Remorse, Tinker, Episode in Sparta (1877); Mistake, Faience Mender (1878).-Meyer, Kiinst. Lex., ii. 500; Muller, 20; KunstChronik, viii. 86. BAAGE, CARL EMIL, born in Copenhagen, Aug. 22, 1829. Marine painter, pupil of Copenhagen Academy; visited Iceland and Norway and made several cruises on royal men-of-war. Works: Vessels in the Sund (1855); Frigate Facing Storm in the Atlantic (1872).-Sigurd Muller, 17; Weilbach, 38. BABUREN, THEODOR VAN, born probably at Utrecht in 1570 (?), died there in 1624 (?). Dutch school; history and genre painter, closely resembling G. Honthorst in choice of subjects and realistic treatment. Works: Entombment (1617), S. Pietro in Montorio, Rome; Portrait of Young Singer (1623), Castle Langenstein near Halberstadt; Clarinet Player, Conversation, Prometheus Bound (1623); Adam and Eve; Bacchanal. -Meyer, Kiinst. Lex., ii. 503. BABYLONIAN MARRIAGE MARKET, Edwin Long, Holloway Institute, Egham, near London. The sale of a tall, fair damsel, standing on a platform before a crowd of Babylonians, vwhom her uncommon charms have evidently stirred to the heart. At the salesman's bidding she raises her white veil, while a negress slhifts the long light robe from her torso, of which we see only the back; in front, a row of dusky beauties. Royal Academy, 1875; C. Hermon sale (1882), ~6,615.-Art Journal (1875), 250; Athen., May, 1875, 490. BACCHANAL, Giovanni Bellini and Titian, Alnwick Castle, England; canvas, 6 ft. square; signed, dated 1514. The gods, feasting and drinking in a woody glade; background, a rocky hill, with a castle-view of Cadore, seen from tlie point of Previs. Begun in 1514 for Duke Alfonso of Ferrara byBellini, who sketched and dated it, but was prevented from finishing on account of his great age, says Vasari; finished by Titian. WaVs in the Ludovisi and Aldobrandini collections, Rome, before going to England. Much retouched.-C. & C., N. Italy, i. 191; Vasari, ed. Mil., vii. 433; Campori, Tiziano e gli Estense, Nuova Antologia, Nov. 1874; Meyer, K;ilst. Lex., iii. 412, 418. By Dosso Dossi, Palazzo Pitti, Florence; canvas, 4 ft. 9 in. square. A motley group of ladies and gentlemen, some of them half nude, pressing round a table on which lie masks, musical instruments, etc.-Kugler (Eastlake), ii. 488. By Titian, Madrid Museum; canvas, H. 5 ft. 9 in. x 6 ft. 4 in.; signed. Bacchantes 86 BACCIIANTE and their companions celebrating an orgy; bears a large vase. Engraved by E. BeisAriadne in foreground at right, insensible son; V. della Bruna.-Wicar, ii. Part 13; from wine; in the distance the galley of Gal. du Pal. Pitti, i. P1. 67; Lavice, 68. Theseus sailing away. Painted in 1519-20 By Velasquez. See l)orrtch(.os. for Duke Alfonso of Ferrara; same subse- By Leonardo da 1li'ci (?), Louvre; canvas, quenthlistory as the 1'n us Worship. Copy by H. 5 ft. 10 in. x 3 ft. 9) in. Seated on a stone, Rubens in Royal Palace, Stockholm.-C. crowned with vinle leaves and( leaning on a C., Titian, i. 231, 265; Sainsbury Papers, 823. tllyrsus. From collection of Louis XIV. BACCHANTE, Annibale Carracci, Uffizi, Ascribed, in inventory of the Restoration, Florence; canvas, life size. A bacchante, to a scholar of Leonardo. Passavant thinks seen from behind, nearly nude, half reclining it was originally a John Baptist in the Des under a tree, with a flying Cupid crowning her with a wreath; at left, the god Pan offers her a dish of grapes, while r^ a little satyr embraces f ',one of her legs. Paint-.^ ed for the Bolognetti t: ' family, who sold it to ~ _. } the Medici. Copy, for- merly in Farnese collec- y' tion, now in Naples Mu- ^ seurn.-Malvasia, i. 378; Molini, i. 53; Soc. Ed. & Paris, Gall. de Firenze, - P1. 97; Museo Borbon- --- 1 ico, viii. P1. 47; Lasinio, i. P1. 16. By George Rononey, National Gallery, London; canvas, H. 1 ft. 7 in. x 1 ft. 3 in. Bust portrait of Emma Lyon, af- Bacchanal, G terwards Lady Hamilton, wife of Sir Wnm. Hamilton and mistress of Lord Nelson. Painted about 1786; Vernon Collection. Engraved by C. Hall.-Art Journal (1854), 88. BACCHIACCHA. See Ubertini. BACCHUS or Dionysus, ancient pictures. See Aristides, Ctesilochus; Liber, see Echion, Nicias. By Guido Reni, Palazzo Pitti, Florence; canvas, H. 2 ft. 8 in. x 2 ft. 2 in. Bacchus, half length, crowned with grapes and leaves, bearing a salver and cup; a wicker flask hangs from his finger; in front, a nude boy.~~~MU IAE iovanni Bellini and Titian, Alnwick Castle, England. ert, as there is a picture like it, save the crown of leaves, representing the Saint, in S. Eustorgo, Milan; the vine leaves and the thyrsus are evidently additions.-Vasari, ed. Mil., iv. 60; Villot, Louvre; Rigollot, Hist. des Arts, &c., i. 288; Heaton, 255; Gaz. des Beaux Arts (1866), xx. 47. BACCHUS AND ARIADNE, Claude Lorrain. See Ulysses and Nausicaa. By Tintoretto, Palazzo Ducale, Venice; canvas. Figures nude. Bacchus, crowned with vine leaves, and with leaves and grapes about his loins, stands in the water at the edge of the sea, offering a ring to Ariadne, BACCHUS who sits on the shore; above, Venus, floating in the air, crowns Ariadne with stars. Once one of the noblest pictures in the world, but now miserably faded by the sun, which falls on it all day long.-Ruskin, Stones of Venice, iii. 297; Klas. der Malerei, P1. 64; Burckhardt, 752; Ridolfi, Marav., ii. 217. By Titian, National Gallery, London; canvas, H. 5 ft. 9 in. x 6 ft. 3 in.; signed. Subject from Catullus (Peleus and Thetis, lxiv. 252). Ariadne, on the shore of Naxos, turns as if to flee from Bacchus, who is eagerly leaping from his leopard-drawn car; a boisterous procession of Satyrs and Menads issue from a wood on right. Painted in Ferrara / 'r ~L~' ~:~ )r. E~~-~ ~~~~~~~~~~~~~~~~~~~~~' i; '' i(-. crru~~~~~ps: ~i~~~??-~J p J 4 fir I~~~r~~~ ~'i Bacchus and Ariadne Titian National Gallery, London. Bacchu~~~~~s adAide iin ainlGley odn JCHUS, YOUTH OF, Adolphe Bouu, Paris; canvas. The boy-god, mounton the shoulders of a shepherd and nded by dancing nymphs and satyrs, centre of a procession passing through!e; centaurs lead the throng on the and Silenus on his ass brings up the Salon, 1884.-Art Journal (1884), 180. JCICCIO, IL, born in Genoa May 8, died in Rome >, 1709. Gen- school; real - Gio. Battista;pupil of LuBorzone, went r to Rome and ^^^rs~,i+ by studying works of great.'~-;~ ~masters formed a style ^i< twhich brought him into ^: '. repute. He distinguished himself especially as a mab'' chinist; lis most conspicuous work is the dome of the Gesh, Rome, where he represented St. Francis Xavier taken up into heaven. Also celebrated for his portraits; painted seven popes and many other persons of rank. — Lanzi, i. 515, iii. 275; Ch. Blanc, Ecole genoise. "H, ALOIS, born at Eschelkamm, BaDec. 12, 1809. Painter of horses, subjects, and landscapes. In 1828 entered the Munich Academy under Heinrich Hess, then studied works of Albrecht Adam and Peter Hess, and later was strongly influenced by his friend Ed. Schleich. i: Mail Coach in the Snow, Storm aching, Bavarian Village in Harvest in 1523; removed in 1598 to Rome, where it was in the Barberini and Aldobrandini collections; purchased from latter in 1806 for Mr. Buchanan; sold in 1826 to National Gallery. Copies by Varotari in Bergamo Gallery; copies by Poussin at Alnwick Castle and in Accademia di S. Luca, Rome. Engraved by G. A. Podesta (1636), and J. Juster (1691).-C. & C., Titian, i. 259; Ridolfi, Maraviglie, i. 257; Vasari, ed. Mil., vii. 434; Richter, 86. 68 BACIIE Time.-Meyer, Kiinst. Lex., ii. 509; Miiller, 1 chxologists. His Cimon in Prison is in the 20. Louvre.-Cli. Blanc, Ecole francaise, ii.; BACHE, OTTO, born at Roeskilde, Den- Meyer, Kiinst. Lex., ii. 512. mark, Aug. 21, 1839. Genre painter, pupil BACHELIN, AUGUSTE, born in Neufof Copenhagen Academy, under Marstrand, chattel, Switzerland, Sept. 27, 1830. Hiswhere he obtained prizes in 1856-57-66; tory, genre, and landscape painter, pupil in completed his studies in Paris. Excels also Neufchlttel of Moritz and in Paris (1852) in portraits and animals, and is noted for of Gleyre and Couture. Confined hinself brilliant colouring. Medal, Copenhagen, at first to genre and landscape, but after 1872. Works: Drive to a Kirlness (1863); 1859, when lie accompanied Garibaldi's volWagons by Brickyard (1864), Copenhagen unteers, painted chiefly military scenes. Gallery; Badger with her Young (18(6); Afterwards travelled through France; spent Centaur Playing witl his Son (1869); Do- the winter of 18614-65 in Italy, where he mestic Animals at Peasant's, Cart-Horses, painted popular life. Works: March of Feeding the Dogs (1870); Father and Son a Swiss Battalion (1860); Bourbaki's Army (1871); Daniel in the Lion's Den, Visit to Entering Swiss Territory; Scene from DeYoung Mother (1874); After the Boar-Hunt fence of Switzerland (1866); Death of Ell(1875); Admiral Tordenskjold at Carlsten sign Montmollin (1866), Neufchhtel Mu(1876); Team of Horses by Tavern (1878); seum; Haymakers of the Alps (1863); In the Mill (1879); Staghunt (1881); Winter Poachers of Uri (1863); Wrestlers of Hasli Morning at the Exchange (1882).-Sigurd (1867); Two Fancy Scenes from Prehistoric Muller, 18; Weilbach, 39. Times.-Meyer, Kiinst. Lex., ii. 513; MtilBACHELIER, JEAN JACQUES, born in ler, 21; Kunst-Chronik, v. 189; vii. 108. Paris, 1724, BACKER, ADRIAEN, born in Amsterdied there, 9 dam in 1636, died there in 1686. Dutch April 13, 1806. i school; history and portrait painter, nephew Flower, ani- of Jacob B.; followed at first the traditions mal, and his-, ^of the school of Utrecht, afterwards formed tory painter,: himself entirely after Italian models. Works: pupil of Pierre. Allegory, Antwerp Museum; Semiramis Received into __ s (1669), Last Judgment, National Museum, the Academy in Amsterdam; Anatomical Lecture (1670), 1751 as flower J Athenmeum, ib.; Managers of Medical Colpainter, and in lege, ib.; male portrait, Rotterdam Mu1763 as history painter. In 1766 he estab- seum; do. and female portrait, Endymion lished a free school of design for artisans, and Diana, Sleeping Girl and Shepherd, which, in 1767, passed into the hands of the Rape of Sabine Women (1671), BrunsGovernment. As instructor in the factory wick Gallery. —Meyer, Kfinst. Lex., ii. 519; at Sevres he exercised a marked influence Riegel, Beitrage, ii. 300. upon French porcelain painting. He made BACKER (Bakker), JACOB, born at Haerlingen in 1608 or 1609, died at Amsterdam, Aug. 27, 1651. Dutch school; portrait ' ^ ^ painter, pupil at Leeuwarden of Lambert ~jL~ OJC _r 1t^, ) Jacobsz, then at Amsterdam (1635-38) of Rembrandt, but later yielded to the influthe first researches in the use of wax for en- ence of Van der Helst and others. Works: caustic painting, and thus became intimate Syndics, Two Archery Pieces (one of 1642), with Count Caylus and other French ar- National Museum, Amsterdam; Venus, 89 ;A( 'IKEREEL Adonis, and Cupid. Cassel Gallery; Portrait of F. de Vroude (1643), Berlin Museuml; male and female portrait, 01l Man in Prayer, Dresden Gallery. —Meyer, Kunst. Lex., ii. 517; Riegel, Beitriige, ii. 300. BACKEREEL, GILLES, born in Antwerp, master of the guild in 1629, died after 1652. Flemish school; history painter, studied in Rome and then lived mostly at Antwerp. Works: Vision of St. Felix, Adoration of the Shepherds, Brussels Museum; Hero bewailing Leander, Vienna Museum. - Rooses (Reber), 156. BACKHUYSEN (Bakhuizen), LUDOLF, born at Em1 -den, Dec. 18, /^ ^ ^1631, (lied at "r~f~? 3Amsterdam, ^^;|^^ ~ Nov. 17, 1708. \ l;>i>\ ''^ l G R Dutcli scliool; marine painter, -'Jt~~ '-m-~.z pupil of Aldert van Everdin/ J^^>1gen and of Hen/'// /)y/ (ldrick Dubbels, /^' ^ y /butchieflystudied from nature, often exposing himself to great danger to observe the sea in its various aspects. Also painted portraits on a small scale. Peter the Great visited his studio in Amsterdam. Works: Dutch Shipping (1683), four others, National Gallery, London; Boats in a Storm (1696), Dulwich Gallery; Dutch Squadron (1675), four others, Louvre; Man-of-War, Antwerp Museum; Port of Amsterdam (1673), Embarkation of Jan de Witt (1690), Agitated Sea (1692), The Zuider Zee (1694), two Marines, Disembarkation of William III. (1692), Entrance of Dutch Port (1693), Building Yard of East India Company at Amsterdam (1696), National Museum, Amsterdam; Ice Landscape, Marine (1689), two others, Copenhagen Gallery; Sea Harbour, Stockholm Museum; Storm at Sea, Portrait of Himself, several others, Ludwigslust Gal lery; Shiipwreck, Portrait of Old Man, Hernmitage, St. Petersburg; Stormy Sea, Slightly Agitated Sea (1664), Berlin Museum; Coast View, Bamberg Gallery; View on the Y (1700), Stadel Gallery, Frankfort; /a / Approaching Storm 't.;if^ at Sea, River Landscape, Vienna Museum; Agitated Sea (1669), Palazzo Pitti, 15Q o. Florence.-Ch. Blanc, Ecole hollandaise; Kugler (Crowe), ii. 502; Meyer, Ktinst. Lex., ii. 521. BACLER D'ALBE, LOUIS ALBERT GUILLAIN, Baron de, born at St. Pol (Pas de Calais), Oct. 21, 1762, died in Sevres, Sept. 12, 1824. Landscape painter, studied from nature in the Alps of Savoy; entered the army at the outbreak of the revolution and took part in the sieges of Lyons and Toulon; was afterwards director of the topographic corps and brigadier-general under Napoleon. Left the service in 1813. Works: Battle of Lodi; Crossing the Po; Battle of /Io4 Rivoli; Battle of Arcola; After the Battle of Austerlitz, Versailles Gallery.-Meyer, Kiinst. Lex., ii. 525. BACON, HENRY, born at Haverhill, Massachusetts, in 1839. Subject painter; in 1864 visited Paris, where he became a pupil of the Ecole des Beaux Arts and of Cabanel; and in 1866-67 studied under Idouard Frere at ]Scouen. Studio in Paris. Works: Paying the Scot (1870), W. B. Bement, Philadelphia; Boston Boys and General Gage (1875,) C. R. Rogers, Philadelphia; Franklin at Home (1876), J. B. 90 A I )A ( ) I I I () Thomas, Charlestown, Mass.; Land! Land! Les Adieux (1878); Luck of Roaring Camp (1881); Lovers' Quarrel (1882); Le Pleinairiste, In Normandy (Paris Salon, 1883.) BADALOCCHIO, SISTO, born in Parma in 1581, died in Bologna in 1647. Bolognese school. By Malvasia called Sisto Rosa; pupil of Annibale Carracci, who took him to Rome and employed him in the Palazzo Farnese. With Lanfranco, who had been his co-disciple in Bologna, he made drawings from Raphael's frescos in the Loggie of the Vatican. After Carracci's death, in 1609, he returned to Bologna, and was later employed in Parma by the family of Este. A good draughtsman, but execution rather sketchy. Work: St. Francis Receiving the Stigmata, Parma Academy.-Meyer, Kilnst. Lex., ii. 527; Malvasia, iii. 517; Burckhardt, 871. BADIN, JULES JEAN, born in Paris, contemporary. Figure and portrait painter, pupil of Cabanel and Baudry. Employed at national manufactory at Beauvais. Medal, 3d class, 1877. His Queen of Sheba is owned by T. A. Havemeyer, New York. BADIN, PIERRE ADOLPHE, born at Auxerre, France, in 1805. Genre painter: exhibited nothing after 1848. Medal, 3d class, 1839; Legion of Honour 1849, officer 1855; 1848 to 1850 director of the Gobelins; 1850 to 1860 director of the Beauvais manufactory; 1860 to 1870 again director of the Gobelins. Works: Beggar Seeking Shelter from a Storm (1833); Country Doctor (1839); St. Germain of Auxerre, Eoarix King of the Alans (1844), ordered by State; Defence of St. Jean de Losne against the Spaniards in 1636 (1847); St. Dominic Preaching (1848). -Larousse. BAEHR, JOHANN KARL, born at Riga, Aug. 18, 1801, died in Dresden, Sept. 29, 1869. Portrait and history painter, pupil of Friedrich Matthai in Dresden; visited Italy in 1827-29, and returned to Riga, but finding no artistic or intellectual incentive there, settled in Dresden in 1832, and became professor at the Academy in 1840. His Death of Ivan the Cruel is in the Dresden Gallery. -Allgem. d. Biogr., i. 769; Meyer, Kilnst. Lex., ii. 536; Kunst-Chronik, v. 53. BAEN, JACOBUS DE, born at The Hague, March, 1672, died in Vienna in 1700. Dutch school; son and pupil of Jan de Baen. In 1688 went to England in suite of William III. and there painted a much admired portrait of the Duke of Colchester. Afterwards went to Florence and painted for the Grand Duke, and later to Rome, where he executed historical and genre pictures. On account of his gigantic proportions he was called the Gladiator by his colleagues in Rome. He afterwards worked in Vienna.-Siret, 58; Meyer, Klnst. Lex., ii. 537. BAEN, JAN DE, born in Haarlem, Feb. 20, 1633, died at The Hague, buried March 8, 1702. Dutch school; portrait painter, pupil of his uncle Pieinans at Emden, and of Jacob Backer at Amsterdam; greatly esteemed in his time and employed by the courts of England (where he painted Charles I. and the queen), France, Brandenburg, and Tuscany. Established at The Hague about 1660. Returned from England in 1676, when he is mentioned in the registers of tlle guild of painters at The Hague. Works: Portraits in most of the public galleries of Holland; one of the best is that of Prince John Maurice of Nassau, National Museum, Amsterdam; Portrait of Himself, Dresden Gallery; portraits in the Schloss, Berlin.-Meyer, Kunst. Lex., ii. 536; De Stuers, 5. BAER, MAXIMILIAN, born at St. Johannis near Nuremberg, Aug. 24, 1853. Still life, history, and genre painter, pupil of Nuremberg Art School under Raupp, with whom he travelled in the Bavarian Alps, and of Munich Academy, under Alex. Wagner and Lindenschmit, where he won several prizes. —Mtller, 25. BAGER, JOHANN DANIEL, born at Wiesbaden, in 1734, died Aug. 17, 1815. Portrait, genre, landscape, and fruit painter, pupil of Fiedler in Darmstadt and of Justus 91 BAGGE Junker in Frankfort. Best works in Stiidel had a considerable reputation, and was em Gallery, Frankfort, and Darmstadt Gallery. ployed in decorating many public buildings. -Meyer, Kiinst. Lex., ii. 545. Several churches in Bologna possess pictures BAGGE, MAGNUS THULSTRUP VON, by him. Among his works are: Circumborn at Christiansund, Norway, Aug. 9, 1825. cision, Louvre; Holy Family and Saints, Landscape painter; studied first in Copen- Bologna Gallery; Madonna in Glory and hagen under Thorwaldsen, then in Chris- Saints, Dresden Museum, quite in the style tiania, and in Dfisseldorf under Andreas of Dosso Dossi, as are his three Saints in Achenbach, Gude, and Leu; travelled then in Norway, Sweden, Bavaria, and Switzerland, and settled in Berlin. Works: Norwegian Landscapes; Sunset on Bygdin Lake, Norway; Moonrise.-M ailler, 22. BAGLIONE, CESARE, born in Bologna in middle of 16th century, died at Parma in 1612. Bolognese school; decorative painter, rival of Cremonini; excelled in landscape, but painted also history, animals, fruits, and flowers. Frescos in many palaces in Bologna and Parma.-Malvasia, i. 253; Ch. Blanc, ]cole.bolonaise; Meyer, Kinst. Lex., ii. 546. BAGLIONE, GIOVANNI, Cavaliere, born in Rome about 1572, died about 1645. Roman school; pupil of Francesco Morelli; employed in many considerable works in Rome under Sextus V., Clement VIII., and Paul V., especially in the Vatican, in S. Giovanni Laterano, and in St. Peter's. But he is best known as the author of Lives of the Painters, Sculptors, and Architects in Rome from 1572 to 1642.-Lanzi, i.470; Ch. Blanc, ]cole ombrienne. BAGNACAVALLO, BARTOLOMMEO the Berlin Gallery. Bagnacavallo's son, Giovanni Battista, worked at Rome with Vasari and assisted Primaticcio at Fontainebleau.-Ch. Blanc, Rcole ombrienne; Vasari, ed. Mil., v. 175; Burckhardt, 684; Libke, Gesch. ital. Mal., ii. 375. BAISE, BAY OF, J. M. W. Turner, National Gallery, London; canvas, H. 4 ft. 9 in. X 7 ft. 9 in. A beautiful expanse of land and water, almost purely imaginative, with Apollo and the Cumsean Sibyl seated under tall pine trees. Castle of Baike seen on right, and Pozzuoli (anc. Puteoli), opposite. Royal Academy, 1823; Turner Collection. Engraved by R. Brandard.-Hamerton, Life; Cat. Nat. Gal. BAILLET, ERNEST, born at Brest, contemporary. French school; landscape painter, pupil of Saunier and of Pelouse. Medal: 3d class, 1883. Works: Pont-Scorff, Brittany (1883); Market of Lannion, Le Yaudet, Brittany (1884); Old Wash-houses at Vitro (1885). BAILLU (Bailly), ERNEST JOSEPH, born at Lille, Oct. 17, 1753, died in Ghent, Jan. 21, 1823. Flemish school; history and landscape painter, pupil of Ghent and Antwerp Academies, and in 1775-77 of the Ecole des Beaux Arts in Paris. Gold medal, Ghent, 1811. Works: Contempt (1792), Ghent Museum; (Edipus at Colonus (1796), Allegory on Birth of King of Rome (1811), Soci6et royale des Beaux Arts, ib.-Biog. nat. de Belgique, i. 651. BAILLY, DAVID, born at Leyden in 1584, died after 1661. Dutch school; portrait painter, first instructed by his father, Pieter B., then pupil of Adriaan Verburg, and in Amsterdam, 1602-8, of Cornelis van der Voort; went to Italy, spent some time in DA, born at Bagnacavallo (Romagna) in 1484, died in Bologna in August, 1542. Real name Bartolommeo Ramenghi. Bolognese school; his tory painter, ~ A' / pupil of Francesco Francia, but also studied in Rome with Raphael, after whose death he returned to Bologna. He 92 BAISCH Germany, and returned to Leyden in 1613. Europe. Noted for his portraits of women Works: Female Portrait (1624), Amsterdam and children. Elected N. A. in 1851. Museum; Male Portrait, Gittingen Uni- Among his ideal works are: Love at First versity; Young Man at Table (1561), A. Du- Sight, Children of the Wood and Wild mont, Cambrai. —Ch. Blanc, Icole hollan- Flowers (IMrs. M. O. Roberts, New York); daise; Gaz. des B. Arts (1860), viii. 306; Faith; School Girls (W. T. Walters. BaltiMeyer, Kinst. Lex., ii. 563. more). BAISCH, HERMANN, born in Dresden, BAKER, WILLIAM BLISS, born il New July 12, 1846. Landscape painter; after York, in 1859- Landscape painter, pupil of studying in the Stuttgart art school, went Bierstadt, M. F. H. de Haas, and of Nato Paris in 1868, and was much influenced tional Academy. Studio in New York. by the landscapes of Rousseau and Dupre. Works: Green Pasture-Sultry July Day, In 1869 he entered the studio of Lier at April Sunshine and the First Green (T. B. Munich, and soon attracted attention by his Clarke); Hiding in the Hay-Cocks (1881); simply-treated though effective views of the Brook at Evening (1882); Pleasant Day at neighbouring country. Professor of Carls- Lake George (1883). ruhe Art School since 1880. Medals: Vi- BAKER, WILLIAM H., born in 1825, enna, 1873; Munich, 1883. Works: Brook died in 1875. Portrait and genre painter; with Willows, Spring Morning, Pasture studied and painted in New Orleans several with Cattle, Morning Landscape, Herd by a years, came to New York in 1865, and in Canal in the Rain, Mill by Moonlight (1878), 1871 took charge of the Brooklyn Art AsStuttgart Gallery; Wood Interior in Au- sociation schools. Works: May Flowers tumn (1879); At the Watering Trough (1870); Red Riding-Hood (1871); Morning(1883), Hanover Museum.-Meyer, Kiinst. Glories, Cherry-Time, Home Regatta (1872); Lex., ii. 565; Muller, 23. Lilies of the Field (1873); Truants from BAKALOWICZ, LADISLAUS, born in School (1875). Cracow, Poland. Genre and portrait paint- BAKHUYZEN, HENDRIK VAN DE er, pupil of Academy of Warsaw. Works: SANDE, born at The Hague, Jan. 2, 1795, Portrait of the Empress (1865); Falcon died there, Dec. 12, 1860. Dutch school; Chase, Secret Reading (1867); Amusement landscape painter, pupil of J. Heymans, at Court (1870); Lady with Parrot (1870); but formed himself chiefly through diligent They Follow Us (1872); Girls Drinking Wine study of nature; member of Amsterdam (1873); Louis XIII. Inviting Richelieu to a Academy, and Director of School of Design Game of Chess (1876); Henry V.; The at The Hague in 1822. Medals: Brussels, Visit; Richelieu's Cats; Necklace; Secret; 1821; Antwerp, 1822; The Hague, 1839; Response (J. Hoey, New York); Casket (F. Order of Lion, 1847. Works: LandRogers, Philadelphia); Morning Call (W. scapes (3) with Animals and Ruins, National B. Bement, Philadelphia); Mirror, Love- Museum, Amsterdam. His daughter and Bird (T. Dolan, Philadelphia); In the Li- pupil, Gerardina Jacobus, (born at The brary (A. Adams, Watertown, Mass.); Peti- Hague, July 27, 1826), is a flower and fruit tion to the King, Lady and Bouquet, Ladies painter; medals: Amsterdam, 1860; The and Mandolin (Mrs. Paran Stevens, New Hague, 1863; pictures in Haarlem and York).-Kunst-Chronik, v. 129, 149; viii. Rotterdam Museum. His son and pupil, 86; 370. Julius Jacobus (born at The Hague, June BAKER, GEORGE A., born in New 18, 1835), is also a landscape painter; York in 1821, died there, April 2, 1880. several prizes, great medal, Amsterdam, Portrait painter, pupil of National Acad- 1871.- Immerzeel, i. 24; Meyer, Kinstk emy, and studied two years (1844-46) in Lex., ii., 524. 93 BAKKER. BAKKER. See Backer. BAKKER-KORFF, ALEXANDER HUGO, born at The Hague, Aug. 31, 1824, died in Leyden, Jan. 28, 1882. Genre painter, pupil at The Hague Academy of Kruseman and J. E. J. van den Berg; painted humorous, often satirical, genre and family scenes. Was one of the best modern Dutch artists. Works: Calumny; Sick Woman; The Toast (186(4); Reading the Newspaper; Lady at Toilet (1867); Daughter of the Hero; Scrubbing Maid; Bric-a-brac Shop; Seamstress; Clothes Basket (J. Hoey, New York); Old Lady Knitting.-Gaz. des B. Arts (1867), xxiii. 19; Meyer, Kinst. Lex., ii. 567. BALAKLAVA, Mrs. E. Butler, Fine Art Society, London. After the return from the "Valley of Death." Central figure, a bloodbesmeared dismounted trooper, who advances with clutched sabre and resolute face, as if still in battle; behind him a sergeant of the 17th on a chestnut charger, bearing on his saddle-bow a dead young trumpeter; at left, riderless horses and various touching episodes, with the smoke of the Russian guns behind. Engraved by F. Stacpoole. BALDASSARE DA REGGIO. See Estense. BALDOVINETTI, ALESSO, born in Florence, Oct. 14, 1427, died there, Aug. 29, 1499. Florentine school. Baldinucci considers him a pupil of Paolo Uccelli. Registered in the Florentine Guild of St. Luke in 1448, and appears to have had some reputation. He was an experimentalist in oil medium, and the ablest mosaist of his age. Vasari says he was the master of Ghirlandajo. The works which may safely be assigned to him are a fresco, with fine landscape background, Adoration of the Shepherds (1460), Portico of the Annunziata, Florence; a Madonna and Saints, and an Annunciation, Uffizi, Florence; Trinity with Saints, Florence Academy, and Frescos of Evangelists, Prophets, and Angels, Chapel of S. Miniato, Florence.-C. & C., Italy, ii. 372; Meyer, Kunst. Lex., ii. 613; Vasari, ed. Mil., ii. 591, ed. Le Mon., iv. 74, 101: Eastlake, Materials, etc., i. 223; Pierotti, Ricordi di A. Baldovinetti (Lucca, 1868); Ch. Blanc, IEcole florentine; Burckhardt, 541; Lubke, Gesch. ital. Mal., i. 312. BALDUNG, HANS, surnamed Grien (Grtin), born at Gmfind, Suabia, about 1476, died at Strassburg, in 1545. German school; history and portrait painter, formed under influence of Martin Schongauer, judging from the altar wings in the monastery of Lichtenthal, near Baden-Baden, painted in 1496, and afterwards under that of Ddrer, whose pupil he may possibly have been in 1507-09; settled at Strassburg in 1509, is classed as the most remarkable painter of his time there, and was elected senator in 1545. Temporarily (1511-18) employed at Freiburg, Brisgau. He obtained his surname from the peculiar green used in his draperies, perhaps also from his predilection for dressing in green stuffs. Works: Two altar wings (1496), Kloster Lichtenthal, Baden; Martyrdom of St. Sebastian (1507); Christ on the Cross, Nativity (1512), Aschaffenburg Gallery; Deluge (1516), Bamberg Gallery; Death Kissing a Woman, Death Showing to Woman an Open Grave (1517), Christ on the Cross (1512), Basle Museum; Christ on the Cross, Crucifixion (1512), Adoration of the Magi, Martyrdom of St. Stephen (1522), Head of Old Man, Berlin Museum; Death of Lucretia (1530), Raczynski Gallery, ib.; Noli me Tangerc (1539), Darmstadt Museum; Triptych with Baptism of Christ, Frankfort Museum; Great Altar in 11 Panels (1511 -16), Baptism of Christ, Annunciation, Freiburg Cathedral; Margrave Christoph of Baden, Margrave's Family Adoring Madonna, four panels with Martyrdom of the Ten Thousand, Constantine and Helen Testing the Cross, Four Saints, Kunsthalle, Carlsruhe; Palatine Philipp (1517), Old Pinakothek, Munich; Margrave Christoph of Baden (1515), Allegorical Figure, Schleissheim Gallery; Wisdom at the Abyss (1525?), formerly in Landauer Briiderhaus, Nuremberg; Martyrdom of St. Dorothea, Prague Gallery; 94 1VIEN Bust Portrait of Young Man (1515), Vienna Museum; Holy Family, Academy, ib.; The Ages of Man in Six Female Figures, Madonna (1530), Liechtenstein Gallery, ib.; Adam and Eve (attributed to Cranach), Sch6nborn Gallery, ib.; Adam and Eve (1507, copies after DLirer's in Madrid Museull), Palazzo Pitti, Florence; Male Portrait (1539?), Hampton Court Gallery; Age and Youth (?, attributed to Antonello da Messina), Royal Institution, Liverpool.-Allgem. d. Biog., ii. 17; Ch. Blanc, Ecole allemande; Keane, Early Masters, 192; Meyer, Kiinst. Lex., ii. 617; Woltmann, D. Kunst im Elsass, 278; W. & W., ii. 440; Zeitschr. f. b. K., i. 257, 283; viii. 321. BALEN, HENDRIK VAN, born in Antwerp in 1575, ^^^ ^ ~ died there, July 17, 1632. Flemish school; history painter, pupil of Adam van Noort; studied -so ^for some years in '7 ^,^ URI' Italy; afterwards ^// / ^ ~ influenced by Rubens, and even by,\ /4/'/ Van Dyck, his pupil, who painted his portrait. Member of St. Luke's Guild in 1593, and dean of it in 1609-10. His ecclesiastical subjects are less satisfactory than his mythological, to which Jan Brueghel supplied landscape backgrounds. Cold in feeling, mannered in attitudes, glassy in colouring; in nude figures pleasing, and in melting style of execution very finished. Works: Banquet of the Gods, Louvre; Concert of Angels, St. John Preaching, Holy Trinity, Antwerp Museum; Holy Family, Cathedral, ib.; Trinity, Christ on the Cross, Adoration of the Shepherds, Flight into Egypt, Resurrection, portraits of himself and wife, St. James's, ib.; Fecundity, Brussels Museum; The Seasons' Offering to Cybele, Naiads filling Horn of Plenty, Gods of Olympus, National Museum, Amsterdam; Diana and Actaeon (landscape by Brueghel), Cassel Gallery; Gathering of Manna, Moses Striking the Rock, Brunswick Gallery; Smithy of Vulcan (landscape by Brueghel), Berlin Museum; St. Jerome, Banquet of the Gods, Bacchanal, Diana Resting after the Chase, Four Seasons (landscapes in last seven by Brueghel), Nympl s loading Mules with Game (animals by Snyder), Pinakothek, Munich; Diana and Nymphs (landscape by Brueghel), Wedding Feast of Bacchus and Ariadne, do. of Peleus and Thetis, Diana and Actoeon, Dresden Gallery; Assumption, Rape of Europa, Vienna Museumn; Holy Family, Madonna, Hermitage, St. Petersburg; Marriage of the Virgin, Uffizi, Florence. His son and pupil, Jan (1611-54), painted history and landscapes; went early to Italy, where he studied the works of Albani, returned to Antwerp in 1642, and was influenced by Rubens. Works: Trinity, St. James's, Antwerp; Garden of Love (copy after Rubens's in Madrid Mu I62 4 ora seum), Holy Family, Vienna Museum.Biog. nat. de Belgique, i. 665, 668; Ch. Blanc, Icole flamande; Branden, 478; Meyer, Kiinst. Lex., ii. 642; Michiels, vii. 253; Revue d'hist. et d'archeol., i. 108; Riegel, Beitrage, ii. 55; Rooses (Reber), 152. BALESTRA, ANTONIO, born at Verona, in 1666, died there, April 21,1740. Venetian school; pupil of Giovanni Zeffio, then of Antonio Bellucci, and afterward, at Rome, of Carlo Maratti. Lived long at Venice and at Verona, where he executed many works. He was a clever engraver and a reputable painter, and his pictures are held in considerable estimation. Examples of his work are found in Verona in the Duomo, S. Zeno Maggiore, S. Bernardino, S. Niccolo, S. Sebastiano, S. M. in Organo, S. M. del Paradiso, and S. Tommaso Cantuariense; and in Venice in 95 BALFOURIER S. Zaccaria, S. Geminiano, S. Cassiano, S. Eustachio, S. Pantaleone, S. Marziale, and -X a, e S. M. Mater V. 1B*~ysp1w Domini. -Ch. B FL i.? I.R Blanc, Ecole venitienne; Seguier, 9; Meyer, Kiinst. Lex., ii. 644. BALFOURIER, ADOLPHE PAUL SIMILE, born at Montmorency, Aug. 11, 1816. Landscape painter, pupil of RI6mond. Medals: 3d class, 1844; 2d class, 1846. Has often engraved for l'Artiste. Works: Lake Lugano, near Tivoli, Valley of the Cevara (1846); Mazeppa, Study of Majorca; Lake Nemi; St. Peter's Wells at Hye;res (1863); Pine Woods near Sea (1864); Pond of Cotaria (1865); Ruins of a Convent (1866); Mouth of the Gapeau (1867); Fountain in Majorca (1869); Environs of Valencia (1874); Oil Press (1875). BALLAVOINE, JULES FREDERRIC, born in Paris, contemporary. History and genre painter, pupil of Pils. Medal: 3d class, 1880. Works: Interrupted Seance (1880); Surprise, Water-colour Painters (1882); Flower Market, Little Bohemienne (1883); Paris Bargeman, Before the Rehearsal (1884); Among the Rocks (1885). BALLENBERGER, KARL, born at Anspach, Germany, July 24, 1801, died in Frankfort, Sept. 21, 1860. History painter, pupil of the Munich Academy under Friedr. Hoffstadt, with whom he went to Frankfort in 1833, and of the Stadel Institute under Philipp Veit. A medievalist in spirit, he painted according to the traditions of the early German masters. Works: Portraits of Conrad L, Louis of Bavaria, Ganther of Schwarzburg, and Ruprecht of the Palatinate, Kaiser Saal, Frankfort; Scenes from Niebelungen, Scenes from Life of St. Elizabeth, Scenes from Life of the Virgin, Nuremberg Merchants before Emperor Maximilian in Augsburg, Henry the Lion at Erfurt in 1181; Gotz von Berlichingen among Gipsies, Scenes from Goethe's Faust, Spindler's Jew, Fouque's Magic Ring, Fu neral of Frauenlob.-Allgem. d. Biogr., ii. 21; Meyer, Kiinst. Lex., ii. 651. BALLING, OLE PETER HANSEN, born at Christiania, Norway, April 23, 1823. History and portrait painter pupil of one Jacob Wunderlich, and of the Berlin Acaderny; visited Copenlhagen in 1846, Paris in 1854, and New York in 1856. At the outbreak of the Civil War, he joined the 1st N. Y. Volunteer Regiment as captain of a Scandinavian company, and afterwards commanded the 145th Regiment as lieutenantcolonel. In 1863 he resigned and devoted himself again to art. In America he painted mostly portraits. Works: Portrait of Gen. John Sedgwick, West Point Academy; do. of Admiral Farragut, Annapolis Academy; do. of Gen. Geo. H. Thomas, and Gen. Reynolds, Union League, Philadelphia; Group of 27 Generals on horseback, Agricultural Building, Washington. - Meyer, Kiinst. Lex., ii. 653. BALMER, JOSEF A., born at Abtwyl, Switzerland, Nov. 27, 1828. History painter, pupil in Lucerne of Anton Butler, then, from 1852, of the Diisseldorf Academy, under Macke and Schadow, and later in Carlsruhe under Des Coudres and Canon. Has painted many cheap altarpieces for Catholic churches in Baden and Switzerland. Works: Death of St. Joseph, Cycle for Tell's chapel, Fluellen; wall paintings and altarpieces, at Kiisnacht, Miihlau, Oos, Baldegg, Nottwill, Appenzell, and Meierskappel -Meyer, Kiinst. Lex., ii. 654; Miiler, 24. BALSGAARD, CARL VILHELM, born in Copenhagen, Denmark, Dec. 29, 1812. Flower painter, pupil of Copenhagen Academy, where he at first studied history and portrait painting; visited Berlin, Dresden, Dasseldorf, and Paris in 1855, and Italy in 1872-73. Member of Copenhagen Academy in 1858; title of professor in 1867. Works: Two pictures (1858), Copenhagen Gallery, two in Moltke Collection, ib.; Fruitpiece (1856), Kunsthalle, Hamburg.-Weilbach, 42. BALTASAR, CARLOS, Don, eldest son of Philip IV., Velasquez, Grosvenor House, 96 BALTHAZAR London; canvas, H. 4 ft. 9 in. x 6 ft. 11 in. About twelve years old, costume enriched with silver and gold, crimson scarf and plumed black hat, mounted on a prancing pony, in court of the palace, attended by several officers, among whom is Olivares; King and Queen Isabel seen at a balcony. Probably painted about 1641; from Welbore Ellis Agar Collection.-Palomino, iii. 332; Stirling, ii. 630; Curtis, 56. By Velasquez, Henry G. Marquand, New York; canvas, H. 1 ft. 8 in. x 1 ft. 3 in. Bust, about ten years old, black velvet dress embroidered; repetition of same picture in Vienna Museum. H. Baillie sale (1868), ~194 5s., to Bale; Charles Sackville Bale sale (1881), ~871; sold to Mr. Marquand for ~2000.-Curtis, 59, 384. By Velasquez, Madrid Museum; canvas, H1. 6 ft. 3 in. x 3 ft. 7 in. Six years old, full length, in hunting dress, standing beside a tree, holding in right hand a gun; on each side, a dog; background, landscape and mountains. Painted in 1635. Etched by E. Lemus; C. Alabern; lithographed by A. Blanco; E. C. Cos.-Curtis, 57; Gaz. des B. Arts (1881); Madrazo, 616. By Velasquez, Madrid Museum; canvas, H. 6 ft. 11 in. x 5 ft. 8 in. About six years old, galloping on a chestnut horse; he wears a plumed hat, armour, and a crimson scarf which floats behind, and holds a baton in his right hand; landscape background. Painted about 1635, second manner. Old copy in Dulwich Gallery; another in Hermitage, St. Petersburg. Etched by F. Goya; Milius; J. Burnet. - Ch. Blanc, &cole espagnole; Art Journal (1852), 563; Curtis, 55; Madrazo, 610. By Velasquez, Vienna Museum; canvas, H. 4 ft. x 3 ft. 2 in. Full length, standing, about ten years old, in black velvet dress and scarf across breast, with left hand on sword, right on a chair. Painted about 1639. Engraved by B. Moncornet; P. de Jode. Henry G. Marquand's picture is a repetition (bust only) of this.-Curtis, 58. By Velasquez, Sir Richard Wallace, Bart., ILondon; canvas, H. 3 ft. x 2 ft. 3 in. Full length, standing; dress, black velvet slashed, adorned with lace; behind, a chest covered with crimson velvet adorned with gold. From sale of Win. Wells, of Redleaf (1848), to Marquis of Hertford for ~672 10s.-Stirling, ii. 633; Curtis, 57. By Velasquez, Sir Richard Wallace, Bart., London; canvas, H. 3 ft. 10 in. x 3 ft. 1 in. About three years old, in a grey silk frock, standing, his left hand on his sword, attached to a violet scarf, and in his right a general's baton, which he uses as a walkingstick; plumed hat on a cushion; dark curtain in background. From Standish sale (1853), at ~1680; one of the most important pictures in Standish Collection.Athenaeum (1853), 710; Art Journal (1852); Curtis, 56. By Velasq uez, Sir Richard Wallace, Bart., London; canvas, H. 4 ft. 3 in. x 3 ft. 4 in. About four years old, black and white dress with crimson scarf, on a black horse, attended by a cavalier and other persons, among whom is a dwarf. Purchased in Spain about 1827 for Samuel Rogers; sold at his sale (1856) for ~1270 10s.-Stirling, ii. 630; Cunningham, Life of Wilkie, ii. 469; Curtis, 56. BALTHAZAR, CASIMIR VICTOR ALEXANDRE DE, born at Hayange (Moselle) in 1809, died in Paris, April 4, 1875. Genre and portrait painter, pupil of Paul Delaroche. Medals: 3d class, 1837; 2d class, 1838; 1st class, 1840. Works: Lara and Kaled (1837); Gotz von Berlichingen (1837); Philip VI. after Battle of Crecy (1838); Joan of Arc's Vision, Joan of Arc in Prison (1840); Death of Lara (1842); Clovis's Baptism (1845); Trumpeter Escoffier's Devotion (1846); Christ and the Samaritan Woman (1855); Beside the Fountain (1859). Many portraits.-Larousse. BALZE, (JEAN ANTOINE) RAYMOND, born in Rome, May 4, 1818. History painter, pupil of Ingres; brother of J. E. P. Balze, and co-worker, in copying pictures of the Italian masters. Since 1849 has exhib 97 BALZE ited pictures of his own in the Salon. Legion of Honour, 1873. Works: Saint Cecilia, Christ Calming the Tempest (1849), bought by State; Apotheosis of St. Louis (1855), bought by State.-Meyer, Kiinst. Lex., ii. 661. BALZE, (JEAN fITIENNE) PAUL, born in Rome, Aug. 25, 1815, died in Paris, March 26, 1884. History painter, pupil of Ingres, for whom he and his brother Raymond copied in Italy the most important works of Raphael. In 1861 he invented a new process of painting on glazed tiles. Medal, 1863; Legion of Honour, 1873. A copyist, with little originality. Among his own works are: Stoning of St. Stephen (1861); Coronation of the Virgin, St. Symphorien, Versailles; Vision of Ezekiel (1864); fresco paintings in court of Rfcole des Beaux Arts, Paris; Combat between Fitz-James and Roderick Dhu; paintings in the churches of St. Roch and La Trinite3.-Meyer, Kiinst. Lex., ii. 660. BAMBERGER, FRITZ, born in Wiirzburg, Oct. 17, 1814, died in Neuenhain, near Frankfort, Aug. 13, 1873. Landscape painter, pupil in 1828 of Berlin Academy, then of the marine painter Krause, and in Cassel under Primavesi. Went to Munich in 1831; visited Normandy in 1845, England, France, and Spain in 1851, and Spain in 1858 and 1868. Works: Battlefield of Hastings, Views of Gibraltar, Algesiras, and Granada. A series of his paintings in Schack Gallery, Munich.-Allgem. d. Biogr., ii. 38; Meyer, Ktinst. Lex., ii. 665; KunstChronik, ix. 41. BAMBINI, NICOLO, Cavaliere, born in Venice in 1651, died there in 1736. Venetian school; pupil of Mazzoni, and in Rome of Maratti. After his return to Venice principally imitated Liberi, who was then the fashion. Works: Fulvia's Revenge, Cassel Gallery; Achilles, Royal Palace, Potsdam.Meyer, Klinst. Lex., ii. 666; Zanetti, Pitt. Venez., 431. BAMBOCCIATE. See Cerquozzi. BAMBOCCIO. See Laar. BANNISTER, E. M., born at St. Andrews, New Brunswick, in 1833. Landscape painter; studied at the Lowell Institute and under Dr. Rimmer in Boston, painting many years in that city. His Under the Oaks received a medal at Philadelphia, 1876. Studio in Providence. Works: Storm (1879). BANQUET OF THE CIVIC GUARD, B. van der Helst, National Museum, Amsterdam; represents a company of trained bands, twenty-five figures, life-size, full-length. The Spanish Ambassador is shaking hands with one of the principal figures. Sir J. Reynolds says: "This is, perhaps, the first picture of portraits in the world."-Beechey, Reynolds' Works, ii. 197. BARABAS, NICOLAUS, born at Markosfalva, Transylvania, Feb. 22, 1810. Portrait painter, pupil of Vienna Academy, and of Marko; travelled then in Moldau and Wallachia and visited Rome. In 1837 he became member of the Pesth Academy, and since 1842 has travelled all over Europe. Is noted for his ideal female figures; has painted more recently several historical and genre scenes. Works: Portraits of Palatines Joseph and Stephen, Baron Vesselc'nyi, Bishop Pyrker, Gen. Gbrgei, Gen. Klapka. -Brockhaus, ii. 464; Wurzbach, i. 147. BARABINO, NICCOLO, born at Pier d'Arena, near Genoa, Italy, in 1833. History painter; studied in Florence, where he won reputation with his first picture, Consolatrix Afflictorum, painted, 1859, for the hospital at Savona. His principal work is the Death of Pope Boniface VIII.-Miller, 25. BARBALONGA, JUAN DE. See Vermeeyen. BARBARA, ST., Palma Vecchio, S. M. Formosa, Venice; altarpiece in six panels. St. Barbara standing with her palm and crown on a pedestal flanked by two pieces of cannon, on central panel; SS. Anthony, Sebastian, Dominic, and John Baptist on sides; the Virgin bending over the dead body of Christ, on the pinnacle. Painted for altar 98 IlA-\ IK 1, B A I,ALLI of the Bombardieri, St. Barbara being the is oni a panel of 1504 in the Augsbnrg GaL patroness of the Venetian artillerists. --- lery, and on a head of Christ il the Weimtar C. & C., N. Italy, ii. 465; Rio, iv. 169. Museuml. Other worlks: Christ Blessing, BARBARELLI, GIORGIO. See Giorgi- St. Catherine, St. Barbara, Galatea (attribone. uted to Botticelli), Dresden Gallery; MaBARBARI (Barbaris), JACOPO DE', born (lonna and Saints, Berlin Museum; Portrait in Venice between 1440 and 1450, (lied be- of Young Man, Vienna Museum; do., Bergafore 1516. Venetian school. Probably idenl- o Gallery. —C. & C., N. Italy, i.229; Meyer, tical with Jacomo Barberino Veneziano, who K(inst. Lex., ii. 706; Tlhausing, Dilrer, 216; is said to have gone to Germany and to Gaz. des B. Arts (1861), xi. 311, 445; (1873), Burgundy and there adopted the art of viii. 223; (1876), viii. 363; Notizia d'opere those countries. Ephrussi thinks that Ja- di Disegno, pub. de D. I. Morelli (Bassano, Banquet of the Civic Guard, B. van der Heist, National Museum, Amsterdam. copo went to Nuremberg before 1494, and learned the technics of engraving there from Wohlgernuth. He was formerly known only as an engraver, and called the Master of the Caduceus from the mark which he used upon his plates. He was the colleague of Mabuse in the service of John of Burgundy, Bishop of Utrecht, and excelled as a painter and engraver. Supposed also by some to have been identical with Jacoretto of Venice and with Jacob Walch, alluded to in Diiler's correspondence as an artist who had given him valuable hints in his youth. His signature 1800), 77, 221; Lermolieff, 57, 168; Zeitschr. f. b, K., xii. 339. IA DB. BARBARI (Barbaris), NICCOLO) DE', beginning of 16th century. Venetian school; of northern education, and probably a co 99 BARBAROJA labourer in Venice with Marziale. His name appears on a picture of the Woman taken in Adultery, in the Palazzo Alvise Mocenigo, Venice, which for hardness of colour, repulsiveness of faces, and stiffness of drapery, has hardly its equal. It shows a painter of the school of Gio. Bellini under strong northern influence.-C. & C., N. Italy, i. 228; Meyer, Kinst. Lex., ii. 716; Gaz. des B. Arts, 1st Series, xi. 312, 445; Burckhardt, 602. BARBAROJA See Pernia. BARBAROSSA. See Frederick Barbarossa. BARBATELLI, BERNARDINO. See Poccetti. BARBERIGO, MARCO, portrait of Doge, Titian, Palazzo Giustiniani, Padua; canvas, H. 3 ft. 2 in. x 4 ft. 6 in. Painted about 1508; sold in 1581 by Pomponio Vecelli to Cristoforo Barberigo.-C. & C., Titian, i. 114; Selvatico, Di Alcuni Abbozzi di Tiziano (Padua, 1875); Burckhardt, 715. BARBIER, NICOLAS ALEXANDRE, born in Paris, Oct. 18, 1789, died at Sceaux, Feb. 4, 1864. Genre and landscape painter, pupil of Xavier Leprince. Medals: 3d class, 1839; 2d class, 1842; L. of Honour, 1842. Works: Castle of Muette (1824); Environs of Meulan, Village Sacristy (1832); Refectory of Convent (1833); Rural Household in a Ruin of the 11th Century (1839); Banks of Seine, View in Bourbonnais (1842); Chateau de Chantilly (1846); Te Deum in St. 1ftienne du Mont in 1721 (1848); Valley of Fontenay, Environs of Bagneux (1850); Hamlet of Brezolles (1851); Meeting of Dominican Monks, Fontenay-aux-Roses (1857); Burgundy Canal (1859); Road to Sceaux (1861). BARBIERI, GIOVANNI FRANCESCO. See Guercino. BARCLAY, EDGAR, contemporary. British landscape and figure painter; pictures relate to Moorish, Italian, and English popular life. Exhibits at Royal Academy and Grosvenor Gallery. Works: Annunciation to the Shepherds (1877); Moorish Villa, Olive Harvest in Algeria, Bay of Algiers, Vesuvius from above Pompeii (1878); Olive Gathering, By the Severn, Mosque at Al giers (1879); Almond Blossoms, Grounds of Moorish Villa, Kabyle Woodcutter, Fortune-Telling at Algiers (1880); ThililitAlgeria, Sunset in the Jurjura-Algeria, Evening Prayers-Algeria (1881); Going to the Fountain, Passing Glances, Squirrels' Playground, Autumn Berries (1882); Somersetshire Flood, On Sedgmoor, Needless Alarm, Among the Bluebells. Bird Nesting (1883); Sporting with Leaves (1884); Hush ' (1885).-Meyer, Kiinst. Lex., iii. 12. BARDON, M. F. See Dandre-Bardon. BAREND VAN BRUSSEL. See Orley, Bernard. BARENTSZ (Barent, Barendsen, Bernart), DIRK, born in Amsterdam in 1534, died there in 1592. Dutch school; history and portrait painter,son and pupil of Dooven Barentsz, (flourished first half of 16th century), then studied several years in Venice under Titian, who evinced especial fondness for him; visited France and returned to Amsterdam about 1562. Of his mythological and biblical paintings, much commended by K.van Mander, none have been handed down to us. Works: Two Archery Pieces (one dated 1562), Doelenstuk with numerous portraits, Portrait of Duke of Alva, National Museum, Amsterdam; Male Bust-portrait, Vienna Museum; do., Liechtenstein Gallery, ib.-Meyer, Kuinst. Lex., iii. 15. BARGUE, CHARLES, born in Paris, died there in 1883. Genre painter, pupil of Gerome; did not send any pictures to the Salon. Began as a lithographer, and was awarded medals for lithography in 1867 and 1868. His few pictures are noted for excellence of colour and technical execution. Works: Playing on the Flute (Pillet sale, 1881, 30,000 fr.); Bashi-Bazouk (Miss C. L. Wolfe, New York); Algerian Guard, Artist and his Model, The Alm6e, Playing Chess on the Terrace, his last work (W. II. Vanderbilt, New York). BARILLOT, LION,born at Mon tigny-lezMetz, Lorraine; contemporary. Landscape and animal painter; pupil of Cathelineaux and of Bonnat. Medals: 3d class, 1880; 2d 100 BARKER class, 1884. Works: Lakes of St. Paul-de- (1858), 126; (1860), 183; (1861), 253 Varax (1880); Gust of Wind on Borders of La Manche, Noirand and his Mother (1883); La barriere, The Favourite (1884); Autumn, At the Top of the Heath of St. Sauveur-leVicomte (1885). BARKER, THOMAS (called Barker of Bath), born near Pontepool, Monimouthshire, England, in 1769, died at Bath, Dec. 11, 1847. Son and pupil of Benjamin Barker (died 1793), animal painter; studied, 1790-93, il Rome, and exhibited three Italian landscapes in 1796. Painted chiefly rustic subjects, but his best work is a large fresco in his house at Bath, Inroad of the Turks upon Scio in 1822. His Woodman, Old Tom, The Gypsy, and other rustic groups, were very popular. Woodman and Dog in a Storm, National Gallery, London. His brother Benjamin (1776-1838) was an animal painter of some merit.-Redgrave; Art Union, 1848; Cat. Nat. Gal. BARKER, THOMAS JONES, born at Bath, England, in 1815, died March 28, 1882. Battle and portrait painter, son and pupil of Thomas Barker, landscape painter, and student in 1834 in Paris of Horace Vernet; was a frequent exhibitor at the Salon from 1835 to 1845, and painted several pictures for Louis Philippe, notably The Death of Louis XIV., destroyed at Palais Royal in 1848. Returned about 1845 to England, where he exhibited many pictures at the Royal Academy. Works: The Troubadour (1849); News of Flodden (1850); Incident in Life of William Rufus, Meeting of Wellington and Blucher (1851); Allied Generals before Sebastopol, Relief of Lucknow, Napoleon after the Battle of Bassano, Wellington Crossing the Pyrenees, Dawn of Victory-Lord Clyde (1862); Horse Race at Rome (1865); Studio of Salvator Rosa (1865); A Moss-Trooper, Dean Swift and Stella (1869); The Melee-Charge of Cuirassiers and Chasseurs (1872); Riderless War Horses after Sedan (1873); Balaklava (1874); Return through the Valley of Death (1876).Meyer, Kunst. Lex., iii. 22; Art Journal (1867), 158. BARLOW, FRANCIS, born in Lincolnshire, England, in 1626, died in London in 1702. Animal painter, pupil of Win. Sheppard, lortralit painter. Began by painting portraits, Iut afterwards won reputation as,an animlal painter, engraver, n11d etcher.-Redgrave; Meyer, Kiinst. Lex., iii. 23. BARNA (Berna), of Siena, latter half of 14th century, died in 1381 (?). No traces remain of the frescos which, according to Vasari, lie painted in S. Margarita of Cortona and S. Aogostino of Siena. In 1369 he went to Arezzo and executed manny frescos, one of which still exists in the Vescovado, though much injured. The cathedral at S. Gimnignano contains the injured relies, remains of a long series of frescos representing scenes from the New Testament, begun by Barna and finished after his death by Giovanni d'Asciano. In composition Barna appears to be a continuator of Duccio, while in type he follows the lead of Ugolino and Simone di Martino. His colour is an exaggeration of that of Simone, his drawing is minute, ornamentation copious, and treatment flat. Vasari says he was killed by a fall from a scaffolding at S. Gimignano.-C. & C., Italy, ii. 107; Meyer, Kunst. Lex., iii. 24; Vasari, ed. Mil., i. 647; Gaz. des B. Arts (1859), ii. 170; Milanesi, Siena, 168. BARNABA DA MODENA (Barnabas de Mutina), latter half of 14th century. Bolognese school. Contemporary of Tommaso da Modena, but superior to him; he also surpassed the Bolognese and Pisans of his time, and approached the better Sienese painters. His Madonnas, a favourite subject, have an affectation of grace, regular forms and proportions, pouting lips, and long-fingered and coarse-jointed hands. The earliest extant work by him, a Madonna in the Stadel Gallery, Frankfort, dated 1367, well illustrates his style. Another Madonna, dated 1369, is in the Berlin Museum, and a 101 BAROCCI Coronation of the Virgin, dated 1374, is in I trait of a Man, Hermitage, St. Petersburg. the possession of Lord Wensleydale, Eng- -Meyer, Kiinst. Lex., iii. 27; Vasari, ed. land. Other examples are in S. Francesco, Mil., vii. 91; Burckhlardt, 759; Ch. Blanc, Pisa, and in the Modena Gallery.-C. & C., Elcole ombrienne. Italy, ii. 220; Meyer, Kiinst. Lex., iii. 25; BARON, HENRI (CHARLES ANTOINE), Vasari, ed. LIe Mon., ii. 93. born at Besamn;on, ill June, 181(. Genre BAROCCI (Baroccio), FE I)IERTI,() called painter, )pupil of (igoux, mnade his debut in also Fiori (da Ur- the Salon ill 1840, then visited Italy. Medals: bino, bornalt Ur- l3d class, 1847, 1855, 18(7; 2d class, 1848; bino ill 1528, L. of Honour, 1859. Works: Sculptor's, -',S died there, Sept. Studio (1840); Giorgione Painting Gasr-XtO^ ~31, 1612. Ro- ton de Foix (1844); Andrea del Sarto Paintman school; son ing MIadolnna del Sacco, Summer Evening and pup)il of Arn- (1847); Child Sold by Pirates, Spring in brogio Barocci; Tuscany (1848); Touch and Hearing, Viny // ^ y afterward stud- tage in the Romagna (1855), Luxembourg _ 1\\ ie(1 under Fral- Museum; Harlequinade (1857); Painters' cesco Menzocchi Festival at Italian Tavern (1859); Archery and Battista in Tuscany (1864); St. Luke's Festival Franco at Urbi- in Venice (1867); The Skaters (1870); no. In 1548 went to Rome and both stud- His Erinence at his Nephews', Bowlers ied and copied works of Raphael four years. (1874); Street Corner at Catania (1876); On return to Urbino painted a St. Margaret B6be (1878); Fair Naturalist (Mrs. Paran and other works which gave him a great rep- Stevens, New York); Archer's Rest (C. H. utation. In 1560 lie was invited to Rome by Wolff, Philadelphia); Wine and Mirth (C. P. Pius IV., and painted in the Vatican with Huntington, New York); Wild Flowers (J. Federigo Zucchero. While thus engaged lie Hoey, New York).-Larousse, ii. 249; Meyer, was poisoned by his rivals, and so injured Kfinst. Lex., iii. 32; Muiller, 26. that he was never after able to work more BARRET, GEORGE, born in Dublin, Irethan two hours a day. The remainder of land, in 1732 (1728?), died at Westbourne his life was chiefly spent at Urbino. Ba- Green, near London, May 29, 1784. Landrocci's style resembles that of Correggio, scape painter, son of a draper and apprenwhose works lie studied. He was a de- ticed to a stay-maker, but learned to colour cided mannerist, able in design, but in- prinits and became drawing master at the ferior as a colourist. Among his easel pict- West drawing school in Dublin. Went in ures are: Crucifixion, Duomo, Genoat; De- 1761 to London, where lie became a suescent from Cross (1569), Duomo, Perugia; cessful landscape painter, earning, it is said, Madonna del Popolo, Christ and Magdalen, ~2000 yearly. Became master painter to Portrait of Duke of Urbino, Uffizi, Flor- Chelsea Hospital, but died bankrupt and ence; Madonna di S. Girolamo (copy of left his family dependent on the Royal Correggio), Pitti, Florence; Martyrdom of Academy, of which lie was one of the founS. Vitale (1583), Brera, Milan; Annuncia- j ation members. His best works are in the tion, Ecstacy of St. Michelina, Vatican; Portland and Buccleugh Collections. His Noli me tangere, Palazzo Corsini, Rome; son George (1774-1842) was a water-colour Circumcision (1580), Madonna in Glory, painter, and one of the foundation members Louvre; Madonna and Saints, Dresden of the Water-Colour Society.-F. de ConGallery; Madonna della Gatta, National Gal- chdies, 183; Redgrave; Meyer, Kiinst. Lex., lery, London; two Holy Families and Por-, iii. 40; Sandby, i. 100. 102 IA I kI I\S BARRIAS, FIKLIX JOSEPH, born in (1840); Leaving the Harbour of Marseilles, Paris, Sept. 13, 1822. History painter, Tunny-Fisling (1843); Arrival of the Queen pupil of Leon Co- i at Tr6port (1845); After tlle Storm, Ships gniet il 1836, ob- ~ ' Becalmed (1849)); New 'Parliament House tained the grand - in London, Entrance to Marseilles (1855); prix de Rome in R & 1teception of C(lardinal Latrizzi inl Marseilles 1844, for his pict-. (1857); Napoleon III. recei\ving Queen Viciire of Cincinnatus toria at Cherbourg (1859), Marseilles Musereceiving tlhe Dep- um; Arrival of thle Waters of tlhe Mediteruties of the Senate. 7?\ rnlean at Lake Tilsah (1863), Suez CornFirst exhibited at a/ny- 1);lnv; View at Birket-el-Sab (1863), Prince the Salon in 1847. / Halim; Ruin s of Karnak, First Cataract of Painted frescos in tlhe Nile (1864); Tombs of the Calipls at S. Eustache, L: Trinite, in the Grand Hotel Cairo (1867); Moon-Rise at Sea, View at du Louvrle, and other lpublic buildings. Birket-el-Essab6 (1868); Constantinople, Medals: 3d class, 1847; 1st class, 1851; Entrance to Marseilles (1869); Ajaccio, 2d class, 1855; L. of Honour, 1859. Tarmouch (1870); Alexandria (1874); PiWorks: Roman Spinning Girl, Sapphlo rate fleeing from a Cruiser, Entrance to tile (1847); The Ertilf's of Tiberius (1858), Lux- Bosphorus, Inside tile Harbour of Constanembourg Museum; Dante Alilghieri (1853), tinople (1875); Ironclads at Toulon (1876); Tarbes Museun; Michelangelo in the Sis- Bark in Distress, St. Petersburg in Evening tine Chapel, Pilgrims to the Jubilee in 1300, (1880); Review of Fleet at Cherbourg Laval Museum; Landing of French Troops1 (1881); Capture of Sfax (1882).-Larousse, in the Crimea, Versailles Museum; Gauls ii. 272. Insulted by Romans, Autun Museum; BARRY, JAMES, born in Cork, Ireland, Death of Socrates, Electra at her Father's Oct. 11, 1741, Tomb (1873); Conspiracy in Venice in ('died in London, / 1 t-9O r. __: ' T.. T 7A,,,,,.1. T., T) P..;,,, ', - 1 o R /// ', /" JL00V JLILUi/M 1 J l_ LtllIl' It ~ ~11U.;, l_ LUill..llt (allegorical composition), Amniens Museurn; Olympian Gods, Allegory of Music, New Opera, Paris; Sea Bath en famille at Dinard (1883); Charity at Venice, She was an Andalusian and a Countess (1884); Death of Chopin (1885).-Meyer, Kiinst. Lex., iii. 41; Muiller, 27. BARROSO, MIGUEL, born at Consuegra in 1538, died at the Escorial, Sept. 29, 1590. Spanish school; pupil of Becerra, became painter to the king in 1589, and executed frescos in the chief cloister of the Escorial. -Stirling, i. 250; Meyer, Kinst. Lex., iii. 45. BARRY, FRAN(IOIS BERNARD, born in Marseilles, May 3, 1813. Landscape and marine painter, pupil of Aubert and Th. Gudin. His marine paintings are partic 1' U l). 'IQ, (IO U. /77, ((,/if \ Studied in Dublin under Rob- t(~ ". ert West; went in 1765, b)y the,aid of Edmund ~- Burke, to Rome, where lie re- mained five years. Though tlle pictures exhibited on his return met with but moderate success, he became an A. R. A. in 1772 and R. A. in 1773, and received in 1782 the appointment of professor of painting; but his lectures gave offence and he was removed and expelled. After this he lived in quasi retirement until his death. Tle defects of his education, his violent temper, lack of judg ularly good. Medals: 3d class, 1840; 2d ment, and the blind devotion to high art class, 1843. Works: A Fog, Fishing Boats which led him to handle a class of subjects 103 BARTH whose adequate treatment demanded higher powers and much greater technical skill than he possessed, prevented Barry from attaining that measure of success to which his talents fairly entitled hini. His picture of Venus (Society of Arts), Jupiter and Juno, and the Wounded Philoctetes, illustrate his ambnitious weakness; his Death of General Wolfe, who, together with all the dramatis personae, is represented nude, proves the absurd extent of his faith in the academic style; while his six pictures of the Civilization and Regeneration of Man, two of which are 42 feet in length, painted for the Society of Arts between 1777 and 1783, though remarkable for the inventive qualities displayed, attest his feebleness as a draughtsman and colourist. Among his other works are his own portrait in the National Portrait Gallery, and his Adam and Eve at S. Kensington.-Fryer, Works of J. Barry (London, 1809); F. de Conches, 283; Ch. Blanc, ]cole anglaise; Meyer, Kiinst. Lex., iii. 45; Sandby, ii. 182; Portfolio (1873), 150. BARTH, FERDINAND, born at Partenkirchen, Bavaria, History and genre painter, pupil in Nurenmberg' of Kreling, then of the Munich Academy under Piloty and Caspar Braun. He took part in the campaigns of 1866 and 1870, travelled through Germany, France, Italy, and Switzerland, and became professor at the Academy and at the Art School of Industry in Munich. Medals in Vienna and Munich. Works: Quarrelling Landsknechts, Dance of Death, Merchant of Venice, Torquato Tasso, Paganini in Prison (1883), Parsifal, Cupid at the Door.-Miiller, 27. BARTHEL, GUSTAV ADOLF, born in Brunswick, in 1819. Portrait painter, son and pupil of the engraver Friedrich Barthel (1785-1846), and pupil of Stieler and Kaulbach at Munich, and of Lessing at Dusseldorf. In 1852 he was appointed painter to the Duke, and in 1857 inspector of the Gallery in Brunswick. Works: Portraits of Dukes Ferdinand, Frederic William, Charles William, and William of Brunswick, Portrait of Princess Alexandrine of Hohenlohe. -Miiller, 28. BARTLETT, WILLIAM HENRY, born in London; contemporary. Landscape painter, pupil in Paris of Bouguereau and of Tony Robert-Fleury. Exhibits at Royal Academy, Grosvenor Gallery, and Paris Salon. Works: Return from Seal-HuntIreland (1881); On the Alert, Loading Corn -West Ireland, Ellestrin Bay-West Ireland (1882); Summer-Time-Lagoon of Chioggia near Venice, Netting GranchiosChioggia (1883); Bad Wind for Fish (1884). BARTOLI (di Bartolo), TADDEO, Sienese school, born in Siena in 1363, died there in 1422. Son of Bartolo di Mino, a barber; early began a successful practice; in 1389 was a member of the council on the works in the cathedral of Siena. In 1390 he painted for S. Paolo of Pisa the Virgin and Saints now in the Louvre, and in 1393 for Cattaneo Spinola and for S. Luca, Genoa, two altarpieces. An altarpiece of the Madonna and Saints was executed in 1395 for S. Francesco, Pisa, and this was followed by a series of frescos in the same church, among the best of which is the Apostle's Visit to the Virgin, a work of great spirit. The breadth and motion of drapery, the firm decision in the drawing, and the bold freedom of action in difficult positions are worthy of the 16th century. After completing his labours at Pisa, Taddeo returned to Siena, and painted several years in the cathedral. A few panels by him yet remain, but most of his frescos there are obliterated. Ile next painted some pictures for the Duomo of S. Gimignano, two of which are preserved in the Palazzo Communale. In 1403 he was at work in Perugia, 104 BA RITOLO where he painted for S. Agostino a Desceent Florence, Oct. 31, 1517. Real name Barof the Holy Spirit; for S. Francesco a Vir- tololllnmo di Paolo di Jacopo del Fattorillno gin and Child, now in the Perutgia Acad- commollll ly calledl emy; and for S. Domenico frescos of the della Porta from life of S. Catherine, now obliterated. The the vicinity of:. next year he was again in Siena, where he his house to the r ' "i laboured for several years in the Duonlo gate of S. Pier.:\, and the Palazzo Pubblico. Taddeo stood Gattolino. Apat the head of the Sienese school, yet lie did prenticed when not cause it to progress nor exercise any nine years old to improving influence upon his successors.! Cosimo Roselli, Siena really gained less from him than from with whom lie the Lorenzetti.-C. & C., Italy, ii. 156; remained until 1490, meanwhile studying Ltibke, Gesch. ital. Mal., i. 178; Meyer, tle frescos of Masaccio and Filippino at Kiinst. Lex., iii. 58; Vasari, ed. Mil., ii. 33; the Carmine and the works of Perugino W. & W., i. 472. and Leonardo da Vinci. On leaving the BARTOLO DI FREDI, born about 1330, studio of Rosselli, where Bartolommeo had buried Jan. 26, 1409. Sienese school; some- formed what proved to be a life-long friendtimes called Bartolommeo di Manfredi. ship with Mariotto Albertinelli, the two enHe was associated with Andrea Vanni in tered into a partnership which ceased in 1353, was registered in 1355 in the guild of October, 1499, when Bartolommeo, under Siena, and employed in 1361 in the Sala del the influence of Savonarola, gave up paintConsiglio, Siena. From 1362 to 1366 lie in ig. In obedience to Savonarola's comwas at S. Gimignano, where he had pre- mand he had in 1497 burned his drawviously (1356) decorated part of the parish ings from the nude, and in the following church with scenes from the Old Testament. year, when the Convent of S. Marco was On his return to Siena he was employed besieged, had vowed that if lie survived with Jacomo di Mino in decorating the lie would join the Dominicans. This he cathedral, and in 1372 he became a member did July 26, 1500, leaving his commenced of the government. Of his extant pictures fresco of the Last Judgment in the cemea Descent from the Cross (dated 1382), in tery of S. M. Nuova to be finished by Althe Sacristy of S. Francesco of Montalcino, bertinelli. Retiring into the convent of S. and an altarpiece, part in the sacristy and Marco, Fra Bartolommeo, as he was thencepart in the Sienese Academy, show a mixt- forward called, renounced painting altoure of the styles of Simone and Lorenzetti. gether until 1506, after which, with the Adoration of the Magi by him in the Acad- assistance of Fra Paolino and Albertinelli emy; St. Peter, in the Louvre, Paris. Both (1508-1512), he painted a noble series of drawing and colour are hard, and the latter altarpieces and devotional pictures. In 1508 is flat and red in the shadows. Gold is lav- he went to Venice, in 1510 to Rome, and in ished on the accessories and ornaments.- 1512 and 1517 to Pian di Mugnone. With C. & C., Italy, ii. 148; Meyer, Ktinst. Lex., these exceptions he lived in Florence until iii. 61; Vasari, ed. Le Mon., ii. 218, N. 1; his death. After Leonardo, to whom he 219, N. 4; Baldinucci, i. 297; Gaz. des was greatly indebted, Fra Bartolommeo may B. Arts (1870), ii. 29. be considered the greatest painter of the BARTOLOMMEO BOLGHARINI, or Florentine school. None excelled him in BOLOGHINI. See Bulgarini. dignity of style, none equalled him in the BARTOLOMMEO, Fra, born probably at management of drapery, the harmonious Suffignano, near Florence, in 1475, died in use of colour, or in stateliness of composit 105 I, A IkT (I I 11 '( IM tion. His altarpieces have that nobility of character which springs from the symnietry of their arrangement and the perfect balance of their parts. Their beauty is the beauty of repose, of self-contained though earnest expression, of harmony between attitude and action. Works before 1501: Portrait of Savonarola (149(6), Sig. Rubieri, Florence; Last Judgment (1498-9), fresco in the little Museum of S. M. Nuova; Triptych (1500), Poldi Collection, Milan. Works after 1505: Assumption of the Virgin, Besanron Cathedral, France; Ecce Homo, Descent from Cross, St. Mark, Chlrist and Evangelists (1516), Madonna with Saints (1512), Holy Family, Palazzo Pitti, Florence; Isaiah, Job, Madonna and Patron Saints of Florence, Uffizi, Florence; Meeting of Christ and Apostles at Emmaus, Lunette (1507-8), S. Marco; altarpiece, Madonna with Saints (1509), S. Martino, Lucca; God the Father with Saints (1509), Mladonna della Misericordia (1515), Lucca Gallery; Mladonna, Hermitage, St. Petersburg; Marriage of St. Catherine (1511), Annunciation (1515), Louvre; The Virgin Mary Appearing to St. Bernard, Portrait of Savonarola as St. Peter Martyr, Christ Bearing his Cross, St. Vincent, Florence Academy; Paul and Peter, Quirinal, Rome; Holy Family, Palazzo Corsini; Assumption (1516), Museum, Naples; do., Museum, Berlin; Holy Family, Panshanger, England; Madonna del Cappuccino, Gallerie Abel, Paris; Presentation in Temple (1516), Vienna Museum.-C. & C., Italy, iii. 427; Vasari, ed. Mil., iv. 175, 212; Meyer, Ktinst. Lex., iii. 63; Rio, 479; Dohme, 2iii.; Burckhardt, 630; Marchesi, ii. 1. BARTOLOMMEO DELLA GATTA. See Gatta. BARTOLOMMEO DI MANFREDI. See Bartolo di Fredi. BARTOLOMMEO DA MURANO. See Vivarini, Bartolommeo. BARZAGHI- CATTANEO, ANTONIO, born at Lugano, Ticino, in 1835. History, genre, and portrait painter; pupil of the Milan Academy, but took chiefly the Venetian masters for his models; painted at first portraits and genre scenes with small figures, and was gradually led to monumental and fresco painting, in which he has achieved his greatest success. Works: Beatrice Cenci (1861); Tasso, Basle Museum; Republicans in Florence Overthrowing Statues of the Medici, Diana of Poitiers (1870); Page (1873); Musing Girl (1873); Old and New Correspondence (1873); in fresco: Moses as Lawgiver, Sermon on the Mount (1874, Church at Horgen, Lake of Zirich).-Meyer, Kiinst. Lex. iii. 87; Miiller, 29. BASAITI, MARCO, born about 1450, died after 1520. Venetian school. Born in Venice of Greek parents, according to Vasari, but according to others a native of Friuli. He laboured in Venice between 1490 and 1520, and was probably a scholar and assistant of Luigi Vivarini, though he differed much from him. After the death of Luigi (1503), he finished his Apotheosis of St. Ambrose in the Frari, Venice, without improving it essentially. Later he was an assistant of Giovanni Bellini, whose peculiarities he adopted after 1510. Still later he imitated Palma, but without his richness of colour, and in 1520 Carpaccio. Charles Blanc calls him a worthy rival of Giovanni Bellini and of Carpaccio; but Crowe and Cavalcaselle think his work only a superficial imitation, without "the pure ring of the choicest metal." His pictures are in many galleries. Among his best are the Calling of the Apostles James and John (1510), Christ in the Garden (1510), Venice Academy; St. George and the Dragon (1520), in San Pietro di Castello, Venice; Assumption, S. Pietro Martire, Murano; Madonna Adoring the Child, Museo Civico, Padua; Christ Crowned with Thorns, Rovigo Gallery; Calling of Apostles James and John 106 BAST LETT1 (1515), Vienna Museum; PietA, Altar ill Four BASSANO, JAC(OPO, called tle ehler, Panels, St. Sebastian, Berlin Museum; St. borll at;Bassano, 1510, died there, Feb. 13, Jerome Reading, National Gallery, London. 1592. Venetianl -C. & C., N. Italy, i. 259; Meyer, Ktinst. sc'hool; real name / Lex., iii. 88; Ch. Blanc, Ecole v6nitienne; Jacopo da lPollte; Vasari, ed. Mil., iii. 646; Lermlolieff, 1, 399; son and pupil of Liibke, Gesch. ital. Mal., i. 550. Franccsco da i \t BASILETTI, LUIGI,born at Brescia, Italy, Polte the elder; y* -,, in 1780, died in1860. History and landscape afterward pupil 7" -,'S painter, pupil of Santo Cattaneo, then of Bonifazio Ve- - studied in Bologna and in Rome, where he neziano, and lat- painted Canova's portrait. Works: Guard- er, it is said, of Jj ) ian Angel with Boy, Duomo nuovo, Brescia; Titian. Bassano,~ Death of the Niobeds, Temple of Sibyl at was perhaps the earliest of Italian genre Tivoli, Isle of Ischia, and others, Tosi Gal- painters. He excelled in painting landscape lery, ib.; Falls of Tivoli, Brera, Milan.- and animals, and chose his subjects from Fenaroli, Artisti Bresciani; Meyer, Kiinst. Scripture scenes in which they could suitLex., iii. 98. ably be introduced. He also painted marBASSANO, FRANCESCO, born at Bas- ket scenes, farmyards, and other agriculsano in 1550,. tural subjects, as well as historical pictdied in Venice, ures, altarpieces, and portraits. He had July 4, 1591. Ve- four sons and many scholars who worked netian school; with him in his studio, and enabled him real name Fran- to multiply his pictures. Among his best cesco da Ponte; / _ works are: Entombment of Christ (1574), eldest son and S. Maria in Vanzo, Padua; Adoration of the pupil of Jacopo Shepherds, Louvre; Nativity, S. Giuseppe, Bassano. Estab- / and Baptism of St. Lucilla, S. Valentino, lished himself at / \ \ Bassano; Return of Jacob to Canaan, PaVenice; e m- lazzo Ducale, Venice; St. Roch Interceding ployed in decor-! for the Plague-Stricken, S. Rocco, Piacenza; ating the Palazzo Raising of Lazarus, Naples Museum; Moses Ducale, where he painted the Siege of Padua and the Burning Bush, and Bassano's Famand five other pictures. He also executed for ily, Uffizi, Florence; Christ Clearing the churches large works which were deserved- Temple (replica in National Gallery, Lonly admired. Became melancholy and killed don), Animals Entering Ark, Noall Leaving himself by jumping from a window. Works: Ark, Madrid Museum; Good Samaritan, Ascension, S. Luigi de' Francesi, Rome; Nationfal Gallery, London.-Ch. Blanc, Ecole Fish Market, Louvre; Flight into Egypt vdnitienne; Vasari, ed. Le Mon., xiii. 42; and Adoration of Magi, Duomo, Padua; Seguier, 153, 713; Burckhardt, 750. Martyrdom of St. Catherine, Palazzo Pitti, BASSANO, LEANDRO, Cavaliere, born Florence; Rape of Sabines, Turin Gallery; at Bassano in 1558, died in Venice in 1623. Adoration of Shepherds and Christ Clearing Venetian school; real name Leandro da Temple, Dresden Museum; Christ at Beth- Ponte, third son and pupil of Jacopo Basany, Cassel Gallery; Adoration of Magi, Last sano. Painted for some time in his father's Supper, Madrid Museum.-Ch. Blanc, Icole style, but some of his portraits having brought venitienne; Burckhardt, 750; Wornum, him fame at Venice, lie confined himself Epochs, 259. afterward almost entirely to portraiture. 107 BASSEN Of his historical works the Resurrection of Lazarus, Adoration of the Shepherds, Prayer of Jesus in the Garden, and the IncreIr f dulity of St. Thomas, are in the Venice Academy, and the Birth of the Virgin, VI '^? ^ <iln S. Sophia, Venice. In the Madrid Mu~~~~/ \ \ ~ seum are the Prodi~/ ^S^ 6gal Son, Assuinp-, / tion of the Virgin, and the Forge of Vulcan. He was knighted by the Doge Grimani, whose portrait he painted.-Ch. Blanc, Ecole v6nitienne. BASSEN, BARTHOLOMEUS VAN, died at The Hague, buried Nov. 28, 1652. Dutch school; architecture painter. Entered Guild of St. Luke at Delft, Oct. 21, 1613, and that at The Hague in 1622. The figures in his pictures were often painted by Frans Franken, the younger, whence it is probable that he temporarily lived and perhaps also studied at Antwerp. Visited England, then returned to Hague, and from 1639 to 1650 held post of city architect. Works: Church Interior (1624), Berlin Museum; do. (1626), Hague Museum; St. Peter's Square in Rome (1623), Copenhagen Gallery; others in Hanover (1624), G6ttingen (1625), Stuttgart, Prague, and Pesth Galleries.-Meyer, Kiinst. Lex., iii. 105; De Stuers, 9. BASSETTI, MARCANTONIO, born in Verona in 1588, died there in 1630. Venetian school; pupil of Felice Brusasorci; then studied in Venice, chiefly copying Tintoretto, and later in Rome. After his return to Verona, he was counted among the best artists of his time and much employed in painting altarpieces for churches. Works: Martyrdom of St. Vitus, Munich Gallery. Meyer, Kiinst. Lex., iii. 107; Ridolfi, Marav., ii. 477. BASSIN, PETER VASSILIEVICH, born in St. Petersburg, June 25 (July 7), 1793, died there, July 4 (16), 1877. History and portrait painter, pupil of St. Petersburg Academy; went in 1819 to Rome, where he lived five years, and remained abroad six years longer. After his return he became member of the Academy, and shortly afterwards professor. Works: Christ Driving the Money Changers from the Temple, Marsyas Teaching Olympus to play the Flute, Academy, St. Petersburg; Elopement, La Lavandara di Frascati, Bacchanal, Susanna at the Bath, Earthquake on Monte Cavo, Socrates Saving Alcibiades in Battle of Potidaca, Scene from Life of a Robber, Hermitage, ib.; Coming of the Holy Ghost, four scenes from Life of Mary and Jesus, Resurrection, Winter Palace, ib.; Virgin and Saints, Twelve Apostles, Four Evangelists, Betrayal of Judas, Christ before Pilate, Flagellation, Bearing the Cross, Ascension of Mary, Four Saints, Martyrdom of St. Catherine, Martyrdom of St. Demetrius, St. George before Diocletian, Christ Appearing to Barbara, Isaac Church, ib.; God of Sabaoth and Angels, Fight of Alexander Nevski against the Swedes, Prayer of Alexander Nevski, Death of Alexander Nevski, Transportation of his Relics, Sermon on the Mount, Chapel of Alexander Nevski, ib.; Mary Entering the Temple, Annunciation, Peter and Paul, Archangel Michael, Simeon, Rest in Egypt, Moscow Museum.-Meyer, Kiinst. Lex., iii. 10. BASTARUOLO, IL. See lMfazzoli, Giuseppe. BASTIANI (Sebastiani), LAZZARO, born about 1450, died after 1508. Venetian school; commonly called a pupil of Carpaccio, but dates contradict it. He was bred, probably, in the Paduan school, where lie acquired the disagreeable features without the redeeming qualities of Mantegna; but in Venice lie learned to imitate Luigi Vivarini, without wholly losing the impress of 108 BASTIAN INO his early education. He failed to rise to 1883. Works: Little Jannetje, Dutch Conmthe level of Carpaccio, and never attained fort (1875). superior distinction, yet he hleld an honour- BATH, AFTER THE, Jean L'on Ger6,me, able position in his guild in Venice. Among i Win. Astor, New York; canvas, H. 3 ft. x 2 his works are: Madonna with Saints and ft. A female figure, nude, sitting, back to the Donor in the lunette of a side door of tile spectator, at the edge of the bath, in the S. M. e Donato, Murano, signed and dated water of which her form is reflected, with a 1484; Coronation of the Virgin, Lochis narghileh beside her; another figure, partly Carrara Gallery, Bergamno; Entomlbment, draped, sitting at left, and two others in S. Antonio, Venice; the Gift of the Relic background. Photogravure in Art Treasand the Miracle of the Holy Cross, Venice ures of America, ii. 71. Academy; Annunciation, Correr Museum, BATH, YOUNG ROMAN'S, Charles Venice; Glorification of St. Veneranda, Gleyre, Charles S. Smith, New York; canvas, Vienna Academy.-C. & C., N. Italy, i. 215; H. 3 ft. x 2 ft. A beautiful female slave, Ch. Blanc, Ecole vcinitienne; Vasari, ed. Le partly draped, lifts a babe into an alabaster Mon., vi. 86, 97, 98; Meyer, Kiinst. Lex., iii. font, in a Roman iinpluvium, on the opposite 113. side of which, nearly in profile, stands a nude BASTIANINO, IL. See Filippi, Sebasti- maiden, resting her hands on the rim of the ano. basin, and contemplating the young Roman BASTIEN-LEPAGE, JULES, born at with admiration. Photogravure in Art Damvillers, Meuse, Treasures of America, ii. 88. Nov. 1, 1848, died in j/ '^- BATHSHEBA AT THE BATH, Francia Paris, Dec. 10, 1884. fXB; igio, Dresden Gallery; wood, H. 2 ft. 8 in. History and portrait ( y,(1 x 5 ft. 7 in.; signed, dated 1523. David sees painter, pupil of Caba- ti~. ( Bathsheba in the bath, while Uriah sleeps nel. Medals: 3d class, - on the balcony of his house; on the other 1874; 2(1 class, 1875; side, the sending of Uriah with the letter.3d class, 1878; L. Cat. Dresden Gal. of Honour, 1879. Subject treated also by Rembrandt, Works: Song of / Steengracht Collection, Hague; Cornelis Spring, Portrait of van Haarlem, Berlin Museum; Jan Frans my Grandfather t i van Douven, Cassel Gallery; Bernardo (1874); Communicant Strozzi, Dresden Gallery; Carlo Maratti, (1875); Adoration of Shepherds, Portrait of Leichtenstein Gallery, Vienna. M. Wallon (1876); Portrait of my Parents, BATTAGLIA, DIONISIO, flourished in do. of Andre Theuriet (1877); Hay Harvest Verona about 1547. Probably pupil of (1878); Portrait of Sarah Bernhardt (1879); Francesco Torbido, to whose style his pictPotato Harvest (1879); Joan of Arc, Erwin ures bear so close a resemblance that they Davis, New York; Village Love, Ripe Grain, have often been mistaken for them. -Meyer, October (1883); The Forge (1884), Albert Kunst. Lex., iii. 123; Bernasconi, Studj., Wolff.-Montrosier, Artistes modernes, iii.; 301. Meyer, Ktinst. Lex., iii. 116; Miuller, 29; BATTEM, GERARD VAN, second half Kunst-Chronik, xx. 235. of 17th century. Dutch school; landscape BATES, DEWEY, born in Philadelphia, painter; apparently took Ph. Wouwerman Pa., in 1851. Genre and portrait painter; for his model; said to have lived at Rotterstudied at Royal Academy, Antwerp, and at dam. Works: Hilly Landscape with Fig~fcole des Beaux Arts, Paris, under Ger6me. ures, Meiningen Gallery; do., Schleissheim Studio in Philadelphia; was in London in Gallery.-Meyer, Kiinst. Lex., iii. 125. 109 BATTISTA BATTISTA DA SAN DANIELE. See Pelleyrin o. BATTLE, Salvator Rosa, Louvre; canvas, H. 7 ft. 2 in. x 11 ft. 6 in.; signed. A handto-hand conflict of horse and foot, near a ruined temple on right; on left, massive rocks and burning vessels. Painted in 1652, in forty days, by order of Monsignor Corsini, Papal Nuncio, who presented it to Louis XIV.-Villot, Cat. Louvre. BATTONI (Batoni), POMPEO GIROLAMO, Cavaliere, born at Lucca, Feb. 5, 1708, died in Rome, Feb. 4, 1787. Roman school; pupil at Lucca K of Domenico Brugieri and of Gio. Domenico -Lombardi; went early to Rome, where he studied under Conca, Masucci, and Imperiali; soon won reputation and divided with Raphael Nunzo the honour of being called the first painter of his time; but his conceptions were superior to his power of realization, and his works are mannered and shallow. Painted historical pieces and miniatures; but most noted for his portraits, numbering among his sitters Popes Benedict IV., Clement XIII., and Pius VI., the Emperors Joseph II. and Leopold II., and many other celebrated personages. Among his works are: Marriage of St. Catherine, Quirinal, Rome; Birth of Christ, Palazzo Corsini, Rome; Achilles, Uffizi, Florence; Madonna Enthroned, Brera, Milan; Choice of Hercules, XEneas with Anchises, Return of Prodigal Son, Turin Gallery; Madonna, Louvre, Paris; St. John the Baptist, Magdalen. The Fine Arts, DresPOnPeo -Ba ton i -X nA^ 7 S ^* maden Gallery; Portrait of Elector Karl Theodor (1775), Pinakothek, Munich; Marriage of Cupid and Psyche (1756), Berlin Museum; Return of Prodigal Son (1773), Vienna Museum.-Lanzi, i. 529; Ch. Blanc, Ecole romaine; Meyer, Kiinst. Lex., iii. 119. BAUCK, JEANNA, born in Stockholm, Sweden, Aug. 18, 1840. Landscape painter, pupil in Dresden (1863) in figure painting of Professor Ehrhardt; then in Disseldorf in landscape painting of Albert Flamm. In 1866 she settled in Munich, where she studied under Karl Ludwig, Langko, and Jos. Brandt. Visited Tyrol, Switzerland, and Venice almost yearly; lived in Paris in 1879-80, and then in Munich, where she has a school of painting for young ladies. Paints chiefly gloomy forests with dark waters, ruins, and trees, with great breadth and boldness. Medal, 1878. Works: Village Street with Gipsy Band (1878); St. John's Eve (1880).Meyer, Kiinst. Lex., iii. 128; Muller, 29. BAUDIT, AMRDiSE, born in Geneva, Switzerland, in 1829. Landscape painter, pupil of Fran(cois Diday; studio in Bordeaux. Medals: Paris, 1859, 1861; Geneva, 1861; Toulouse, 1866; Rochelle, 1866. Works: Shores of Lake of Geneva, Dent du Midi (1861); Coast near Terre-Nbgre (1866); View near Cannes (1867); Souvenir of Dieppe, Les Landes (1867); Storm (1868); Heath of Begaar, Rainy Day at Biscarosse, Pasture in the Landes (1875); Before the Storm (1883). -Meyer, Kutnst. Lex., iii, 132. BAUDOIN, PAUL ALBERT, born at Rouen; contemporary. Genre painter, pupil of Gleyre, Delaunay, and Puvis de Chavannes. Medal, 3d class, 1882. Works: History of Wheat (1882), frieze for Ecole Dombasle, Paris; View of St. Pons-Herault, Mulberries of Port Junbnal-H6rault (1883); AprilMorning in Normandy (1884); Betrothal (1885). BAUDOIN, PIERRE ANTOINE, born in Paris, Oct. 17, 1723, died Dec. 15, 1769. Genre painter, pupil of Boucher, whose daughter he married; Member of Academy in 1763. Fond of painting erotic subjects. Works: Confessional, Fille econduite, Cueilleur de Cerises, Petite Idylle galante, Le Lever, Fille querellee, Force du Sang (1765, 110 BAUTDRY Salon of 1767); Le Coucher (le Ih MaIrihe, Sentiment (de L'Amour, Chatuniblre, Eight Miniatures with Life of the Virgin (1767); Modele honncte, Diana and Actheon; Elpouse indiscrete, Sentinelle en d(faut, Enlhvelment, Jardiniere gallant, Cheinin de la Fortune, Rose and Colas (1769). —Cl. Bllanc, Ecole franqaise; Goncourt, ii. 520; Meyer, Kiinst. Lex., iii. 132; Wurzbach, Mal. d. xviii. J., 34. BAUDRY, PAUL (JACQUES AIMEE), born at La Rochesur-Yon, Vendee, Nov. 7, 1828. His- tory and portrait painter, pupil at La Roche of Sar- / toris and in Paris \ of Drolling. Won the grand prix de Rome in 1850 " by his Zenobia Discovered on the Banks of the Araxes. Exhibited first in Salon in 1857. Medals: 1st class, 1857,1861,1881; L. of Honour, 1861; Officer, 1869; Commander, 1875; Member of Institute, 1870. He has executed important decorative works, the most celebrated being those in the foyer of the New Opera House in Paris (1866-74). Has also painted many portraits. Works: St. John, Fortune and the Child (1857), Luxembourg Museum; Execution of a Vestal (1857), Lille Museum; Leda (1857); Penitent Magdalen, Toilet of Venus, Guillemette (1859); Charlotte Corday (1861), Nantes Museum; Amphitrite (1861); Pearl and Wave (1863); Diana (1865); Glorification of Law (1881); Truth (1882). Among his portraits are: Guizot (1861); Charles Garnier (1869); Ednond About (1872); Gen. de Montauban (1877).-Larousse; Meyer, Gesch., 595; do., i Ktinst. Lex., iii. 137. BAUERLE, KARL (WILHELM FRIEDRICH), born at Endersbach, Wiirtemberg, June 5, 1831. Genre and portrait painter; came to America in 1836, returned to Ger Ilany in 1859, and became pupil of the art school in Stuttgart utnder Rustige. In 1863 lie studied in Munich under I'iloty, and in 1864 went to Italy. After his return he acquired great reputation at Stuttgart by his portraits; went in 1869 to England, where lie painted several mlnemlers of the royal family and of the aristocracy. Works: Portraits of Prince and Princess of Holhenlohe-Langenburg, Group of their Clildren, Prince Arthur, Children of Prince of Wales; The Orphans (1867), Stuttgart Gallery; Female Letter Carrier, Little Barefoot, Spring, The Nursery, Attempts at Art.-Meyer, Kiinst. Lex., iii. 143; MIiller, 30. BAUGIN, LUBIN, born at Pithiviers, Loiret, France, about 1610, died in Paris, July 11, 16(63. History painter, imitator of Guido Reni, whence called Little Guido. Works: Holy Family, Louvre; Madonna, Nancy Museum; Holy Family, Dijon Museum; Martyrdom of St. Bartholomew, Rouen Museum; Magdalen Consoled by Angels, Gregory the Great, Orleans Museum; St. Sebastian, S. Sepulchre; Adoration of Angels, St. Lazare; six pictures in Notre Dame, Paris. -Meyer, Kiinst. Lex., iii. 145. BAUGNIET, CHARLES, born in Brussels in 1814. Genre and portrait painter, pupil of J. Paelinck and M. F. Willems. Lives at Sevres. First became known by a collection of three hundred lithographed portraits of distinguished persons. After spending several years in England, settled in Paris and devoted himself to painting. Member of Ghent Academy in 1836. Appointed designer to the King of Belgium, 1841; Order of Leopold, 1843, Officer 1872; Order of Isabel Catholic of Spain; of Branche-Ernstein of Saxony; of Christ of Portugal. Works: Sister of Charity, Repentance, FirstBorn, Sailor's Return, Beau Telling a Story, The Eldest Daughter (1863); Elder Sister's Return (1864); Visiting the Widow, Troubled Conscience (1865), Godmother's Visit (1866); Departure of the Bride (1869); Embarrassing Answer, Godmother, Good Adventure (1870); Burning of Chicago (1871); 111 BAITMANN Old Arm-Chair, My Little Nephew (1876); Blind Man's Buff, Mrs. A. T. Stewart, New York; First Heart Trouble (1878); Fourth of July, 1876; Autumn (1879); Washington's Birthday (1881); Cottage Hospitality (1882). Other works owned in United States: Curiosity, James H. Stebbins, New York; Embarrassing Answer, Dead Canary, Dressing the Bride, T. R. Butler, New York; Lady's Niglht Toilet, Mrs. Paran Stevens, New York; His Picture, W. Mason, Taunton, Mass.; After the Ball, Hurlbut Collection, Cleveland; Autumn, S.A. Coale, St. Louis; Art Studies, C. Crocker, San Francisco; Interesting the Convalescent, W. B. Bement, Philadelphia; Toilet of the Bride, Departure of the Bride, E. D. Morgan Collection, New York; Letter of Recommendation, Lost Illusions, R. L. Stuart Collection, New York; Autumn, C. P. Huntington, New York; Feeding the Snow Birds, C. S. Smith, New York; Toilet of the Bride, J. Hoey, New York; Good Fortune, W. H. Vanderbilt, New York; Spring Time, Win. Astor, New York.-Vapereau (1880), 150. BAUMANN, (ADOLF) CHRISTIAN, born in Munich in 1829, died there in 1865. History painter, pupil of Munich Academy in 1844-48, under Schraudolph, whom he also assisted in his works at the Speyer BAUMEISTER, FRANZ KARL, born at Zwiefalten, Wurtemberg, Jan. 24, 1840. History painter, pupil of the Munich Academy from 1855 under Hiltensperger and AnschUtz, and in 1859-65 under Philipp Foltz. Works: Christ with Virgin and Saints (1863); Holy Women at the Grave (1866); Eleven Cartoons of Life of St. Walbert (1869-70); Baptism of Christ (1872); St. Andrew, Immaculata (1872); St. Ann (1873); St. Theobald, St. Maurice, Assumption, St. Bartholomew; Foundation of Society of Jesus, St. Catherine.-Meyer, Kanst. Lex., iii. 149; Miiller, 31. BAUMGARTNER, PETER, born in Munich, May 24, 1834. Genre painter, pupil from 1850 of the Munich Academy, then in 1857-61 of Piloty. His pictures of Bavarian life are humorous and characteristic. Works: Seven Suabians, Don Quixote's Declaration of Love, Interrupted Dinner (1861); Invalid Asylum, Auction at a Painter's, On the Way to School (1864); The Answered Prayer for Rain (1866); At the Stand, Scene in Photographer's Studio, Examination at the Parson's, Forenoon in the Parson's Kitchen, The Arrival. - Meyer, Kiinst. Lex., iii. 151; Mailler, 31. BAUR, ALBERT, born at Aachen, July I cathedral. After three years spent in Italy 13, 1835. History painter, pupil of Dusselhe returned home and executed a series of dorf Academy under Karl Sohn, then of Jos. works in fresco, in the style of H. Hess and Schraudolph. Two Madonnas, New Pinakothek, Munich; four fresco paintings, National Museum, Munich; two in Arcades of S. Cemetery, ib.; Crucifixion, I. Sarthor, ib. -Allgem. d. Biogr., ii. 152; Meyer, Kiinst. Lex., iii. 148. BAUMANN, JOHANN HEINRICH, born at Mitau, Feb. 10, 1753, died at Neu-Jungfernhof, near Riga, July 7, 1832. Animal painter, pupil at Erfurt of J. S. Beck; after his return home lived mostly in Curland and Livland, and in 1790 became member of St. Petersburg Academy; painted 1,713 pictures, chiefly hunting scenes, highly esteemed by sportsmen.-Meyer, Kiinst. Lex., iii 147. Kehren, and later of Schwind in Munich. Settled in Dusseldorf in 1861. After visiting Paris, Holland, and Italy, was professor at the Weimar Art School in 1871-76; then returned to Ddsseldorf. Works: The Body of Otto III. Conveyed over the Alps (1866); Christian Martyrs (1870), Diisseldorf Gallery; Otto I. and the Body of his Brother Thankmar [1874]; Paul Preaching in Rome (1876); Amazons Bear-Hunting (1876); Young Poet and Girl (1876); Sealing Christ's Sepulchre after Entombment (1879), J. D. Lankenau, Philadelphia.Meyer, Kiinst. Lex., iii. 156; Mfiller, 31; Illustr. Zeitg. (1872), i. 231; Kiinst-Chronik, i. 133, ii. 37, iv. 190, vii. 438, xii. 83; Zeitschr. f. b. K., vi. 144. 112 IA,AU R BAUR, NICOLAAS, born at Harlingen, Sept. 23, 1767, died there, March 28, 1820. Dutch school; marine painter, son and pupil of J. A. Baur, a portrait painter; at first painted landscapes and city views.Meyer, KiUnst. Lex., iii. 156. BAVON, ST., CONVERSION OF, Rube ls, National Gallery, London; wood, H.- 3 ft. 5 in. X 5 ft. 5 in. The Saint, about to enter the monastic life, is met on the steps of the church of his convent by St. Arnaud, Bishop of Maestricht. Formerly in Palazzo Carezza, Genoa; bequeathed in 1831 to National Gallery by Rev. W. H. Carr.-Cat. Nat. Gal.; Smith, ii. 256. BAVON, ST., DISTRIBUTING ALMS, Rubens, Ghent Cathedral; canvas, H. 16 ft. x 9 ft. The Saint, standing beside a flight of steps, is attended by two servants with bowls of money; before him are two women, one with two infants, kneeling, and behind them a mendicant; on opposite side, three ladies looking on; in second distance, the Saint, followed by a page and another person, is ascending a flight of steps to a church, at the door of which two bishops and several monks await his arrival. One of Rubens's best works, but greatly injured by restoration. Engraved by F. Pilsen.Smith, ii. 36; Beechey, Reynolds's Works, ii. 142. BAXTER, CHARLES, born in London, March, 1809. Genre and portrait painter, pupil of G. Clint in painting portraits and miniatures, in which he was quite successful; later, devoted hinself to rustic and ideal subjects; first exhibited at Royal Academy in 1834. Elected in 1842 member of Society of British Artists. Works: Olivia and Soplia (1852); Lucy Locket, Bacclante (1853); La Pensee (1854); The Lily (1856); Heartsease, Dream of Love (1857); Little Red Riding Hood (1859); Little Galway Girl (1861); Colleen Bawn, Olivia (1862); The Ballad (186(3); Love me, Love my Dog; Peasants at Chioggia (1869).-Art Journal (1864), 145; Meyer, Ktinst. Lex., iii. 168. BAYARD, ft;ILE ANTOINE, born at La 1Fertc-sous-Jouarre (Seine-et-Marne,) Nov. 2, 1837. Genre painter, pulil of L. Cogniet. At first exhibited only charcoal drawings, for which lie is distinguished, but since 1870 has painted some very characteristic military scenes. L. of Honour, 1870. Works: Narrow Pass, During the Siege (1874); Day after Waterloo (1875); Country Concert-House, Market in the 18th Century, Women Bathing, Skating (1877); Morning of a Debut (1879); two decorative panels (1882); Affair of Honour, Qui trop embrasse (1884); Bande joyeuse (1885).Gaz. des B. Arts (1872), i. 328; Meyer, Kiinst. Lex., iii. 168. BAYER, AUGUST VON, born at Rorschach, on Lake Constance, May 3, 1803, died in Carlsruhe, Feb. 2, 1875. Architecture painter; studied architecture in Carlsruhe under Weinbrenner, and in Paris before 1828, when he took up painting, first in Munich, then in Carlsruhe. His subjects were the great monumental buildings of the Middle Ages, interiors of churches, halls, etc. Baden court painter. Works: Interior of Franciscan Church at Salzburg, Cloister of Stiftskirche at Berchtesgaden, Convent-hall with Monk, New Pinakothek, Munich; Interior of Church of our Lady in Munich, Cathedral in Chur, Maulbronn Monastery, Death of St. Bruno, Organ Player, Strasburg Cathedral.-Allgem. d. Biogr., ii. 186; Meyer, Kiinst. Lex., iii. 169; Brockhaus, ii. 616. BAYEU Y SUBIAS, Don FRANCISCO, born at Saragossa, March 9, 1734, died in Madrid, Aug. 4, 1795. History painter, pupil at Saragossa of Jose Luzan Martinez, then in Madrid of S. Fernando Academy under Antonio Gonzalez Velasquez; returned to Saragossa, but on the suggestion of Mengs, court painter to Charles III., was called to Madrid to assist in the decoration of the new Palacio Real, and so decidedly adhered to the style of Mengs that he may be reckoned as of his school. By contemporaries considered the foremost Spanish paint 113 BAY KO FF er during the second half of the 18th century. Court painter; honorary member of S. Fernando Academy in 1765, director in 1788. Works: Twenty-five religious, mythological, and allegorical paintings in Museo del Prado, Madrid. Frescos: Fall of the Giants, Apotheosis of Hercules, Conquest of Granada, etc., Palacio Real, ib.; Religious Subjects, Chapel-Royal, Aranjuez; Life of St. Eugenius, Toledo Cathedral; many in the cathedral and other churches at Saragossa. His brother and pupil, Don Ramon, born at Saragossa in 1746, died at Aranjuez, March 1, 1793, assisted him in many of his works, especially the frescos at Saragossa Cathedral.-Bermudez; Madrazo, 353; Stirling, iii. 1257. BAYKOFF, FEODOR, died at Tiflis, Russian Transcaucasia, in 1877. Landscape and genre painter, pupil of St. Petersburg Academy; travelled in the Caucasus in 1846 and afterwards in southern Russia. Works: Circassian Caravan (1873); paintings in cathedral and theatre at Tiflis.-Meyer, Kiinst. Lex., iii. 171. BAZIN, CHARLES LOUIS, born in Paris, April 3, 1802, died there, Jan., 1859. History, genre, and portrait painter, pupil of Girodet-Trioson, and of Gerard. Medals: 3d cass, 1844; 2d class, 1846. Works: Peter the Great in France (1842); Christ on Cross (1843); Louis XIV. and Mme. de Maintenon (1844); Tribute Money (1845); Girl with a Lizard (1846); Ecce Homo (1849); Dissolution of Parliament by Louis XIV. (1853).-Gaz. des 13. Arts (1859), iv. 308. BAZZACCO (Bozzacco, Bozzato), born about 1500, died about 1570. Venetian school. Proper name Giovan Battista Ponchino. A native of Castelfranco, whence sometimes called Bazacco da Castelfranco. Vasari, who calls him Brazacco, says he had charge of the decorations of the grand hall of the Council of Ten in the Palazzo Ducale, Venice (after 1552), and that his associates were Battista Zelotti and Paolo Veronese. The Neptune on his Chariot, the Mercury, and the Venice, with broken chains in her hands, looking to Heaven, are among the frescos there attributed to him. Blanc says that his work does not pale beside that of his brilliant coadjutors. His picture of Christ in Limbo (1552), S. Liberale, Castelfranco, is superior to any other work of art in that city, save the pictures of Giorgione. Bazacco, after the death of his wife, became an ecclesiastic with the title of Monsignore.-Ch. Blanc, Ecole venitienne; Vasari, ed. Mil., vi. 594, 595; Meyer, Kinst. Lex., iii. 176. BAZZANI, GIUSEPPE, born in Mantua, about 1690, died there, Aug. 17, 1769. Pupil of Giovanni Canti, of Parma, but formed himself by studies after Mantegna, Paolo Veronese, and especially Rubens, whom he took for his model, and soon surpassed his early master. Painted many altarpieces and frescos for churches in Mantua; one of the best is the Dream of St. Romualdo, in S. BarnabA.-Meyer, Kiinst. Lex., iii. 177. BAZZI, GIOVANNANTONIO. See Sodoma. BEALE, MARY, born in Suffolk in 1632, died in London, Dec. 28, 1697. Daughter of Rev. Mr. Cradock, of Walton-on-Thames; married Mr. Beale, a painter and colour maker. Pupil of Sir Peter Lely, who obtained for her permission to copy many of Van Dyck's finest works. Painted portraits in oil, water-colour, and crayon; was also reputed as a poet. Her portraits of Cowley, Tillotson, Duke of Norfolk and Charles II. are in the National Portrait Gallery, and of Archbishop Tillotson in Lambeth Palace.-Redgrave; Meyer, Kiinst. Lex., iii. 231. BEARD, JAMES H., born in Buffalo, N. Y., in 1814. Animal painter. He painted portraits for many years in the West, Henry Clay and President John Quincy Adams being among his sitters. Exhibited Carolina Emigrants at the National Academy in 1846. Elected N. A. in 1871. Studio in New York. Works: A Peep at Growing Danger (1871); The Widow (1872); Mutual 114 BEARD Friend (1875); Attorney and his Clients, I lhin Louis (1663),MIlad(ridMluseum. — Mever, Out all Night, Morning Gossip, Tlere's Kunst. Lex., iii. 239; Ch. Bhmlc, lEcole franmany a Slip (1876); Consultation, Blood I aise. will Tell (1877); Don Quixote and Sancho BEAUBRUN, HENRI, born at Armboise, Panza (1878); Don't You Know Me? (1879); Feb., 1603, died in Paris, May 17, 1677. PorHeirs at Law (1880); Which has Preimp- trait painter; he entered the service of Louis tion? (1881); You Can't have this Pup XII., who took an interest in his education, (1882); My Easter's all Spoilt, I don't Be- caused him to study architecture and perlieve One Word of It (1883); Detected spective, and ultimately became his pupil. Poacher (1884). Harry Beard, son of James He was one of the first twelve members of H. Beard, also paints animals. He exhib- the Academy, founded in 1648. -Ch. Blanc, ited in 1877, Group of Portraits; in 1878, Ecole franIaise; Meyer, Kilnst. Lex., iii, Young Knight, Who Boke Dat, now? and 239. Charles, drive me to Stewart's! and in 1881, BEAUCE, JEAN ADOLPHE, born in Newsboy. Paris, Aug. 2, 1818, died at Boulogne-surBEARD, WILLIAM H., born in Paines- Seine, July 13, 1875. Military, genre, and ville, Ohio, April battle painter, pupil of C. Bazin. He accom13, 1825. Animal panied the army on several campaigns, and painter; visited so painted correctly, but with little imaginaEurope in 1857, tion or life. Medal: 3d class, 1861; L. of studied one sum-.,; Honour, 1864. Works: Capture of Abd-elmer in Diissel- (, If Kader's Smnala (1844); Charge of Colonel dorf,and sketched Morris at Isly (1845); Death of Col. Berin Italy, Switzer- /3 tlhier in the Battle of Cerisoles (1846); After land, and France. Waterloo (1847); Capture of the Bridge of Elected N. A. in /x ' St. Prix (1848); Bravery of the Priest of 1862. Studio in Pers (1852); Storming of Laghouat (1853); NewYork. Works: The Sharpshooters, Assault of Zaatscha Dancing Bear (1867); Naughty Cub (1869); (1857); Battle of Solferino (1861); Entry Pets on a Spree (1871); The Wreckers of the French into Mexico (1868); Defeat (1874); Horse Market in Brittany (1875); of the 16th Uhlans (1874); Battle of Pa-liWorn Out, Lo the Poor Indian, March of Kiao (1875).-Meyer, Kainst. Lex., iii. 240; Silenus (1876); Runaway Match (1878); Kunst-Chronik, ix. 645, 672; x. 561. Justice must be Done (1879); Voices of the BEAULIEU, ANATOLE HENRI DE, Night (1880); Spreading the Alarm (1881); In the Glen (1882); Cattle upon a Thousand Hills; Eavesdropper (1884); Bulls and Bears (1885).-Sheldon, 56. BEATO, IL. See Angelico, Fra. BEAUBRUN, CHARLES, born at Amboise, France, baptized Feb. 11, 1604, died in Paris, Jan. 16, 1692. Portrait painter, pupil of his uncle Louis, cousin of Henri, whose associate he was until the latter's death. He became member of the Academy in 1651. Works: Portrait of Anne Marie of Burgundy (1655); Portrait of Marie de Medicis (1655); Portrait of Dau born in Paris in 1819, died there, June 6, 1884. Genre painter, one of the most brilliant pupils of Delacroix. Medal, 1868. Works: Scene from Spanish Inquisition (1844); La Romance des Abencerages; Serenade in Venice; Bohemian Tavern in Venice, 1560; Turkish Battery after Bombardment of Sinope, 1853; The Ostrich-egg (1868); The Duel (1870); Volunteers of the Loire Army, Woman in the Pillory in Ancient Stamboul, Well in Pillaged House (1874); The Adder (1875); The Douma (ancient Slavic ballad, 1877); Jessica (1880); Queen of Clubs, Pig Festival at Fest-en-Hoch (1882); 115 I3EAUME Alcohol (1883); La Femme 3 l'Ibis, La Fille aux Rats (1884).-Chronique des Arts (1884), 191; Kunst-Chronik, vi. 40; ix. 671; x. 646. BEAUME, JOSEPH, born in Marseilles, Sept. 24, 1796, died, Sept., 1885. History and genre painter, pupil in Paris of Gros, whose classical style he at first followed; later painted military and historical pictures, and since 1870 genre subjects. Also painted portraits and marine views. Medals: 2d class, 1824; 1st class, 1827; L. of Honour, 1836. In 1836-43 he executed for the Versailles Museum his principal historical works: Passage of Rhine at Dusseldorf; Battles of Diernstein, of Albreto, of Liitzen, of Bautzen, of Oporto, and of Toulouse; Taking of Halle; Napoleon Leaving Elba. Other works: Eliezer and Naphtali (1819, Fontainebleau); Death of Henri III. (1822); The King Drinks (1828); Death of Grand-Dauphiness in 1690 (1834); Death of Anne of Austria at Val-deGrace (1835); Death of Charles V. (1838); Childhood of Sixtus V. (1839); Hagar in the Desert (1844); Going out of Church (1846); Van Dyck (1850); Marguerite (1852); Galileo in Prison (1853); Fligllt into Egypt; Mother of the Family (1872); Hunter's Breakfast (1877); Sancho Panza (1878).Meyer, Kunst. Lex., iii. 243; Muiller, 32; Ottley. BEAUMETZ, fTIENNE, born in Paris; contemporary. History and genre painter, pupil of Cabanel and L. Roux. Medal: 3d class, 1880. Works: There they are! (1880); Battalion Leaving for the Frontier (1881); Brigade Lapasset Burning its Flags (1882); The Liberators!-1794 (1883); At Chainpigny-Nov. 30, 1870, The Garrison Leaves Belfort-1871 (1884); The Bayonet-Champigny, Dec. 2, 1870, Last Duty (1885). BEAUMONT, CHARLES EDOUARD DE, born at Lannion, France, in 1821. Genre painter, pupil of Boisselier; first pictures, landscapes from neighbourhood of Cernay and Senlis, in Salons of 1838, 1839, and 1840. Has illustrated several books. Medals: 1870, 2d class, 1873; L. of Honour, 1877. Works: Bohemians (1853); Dangers of Life (1855); Andromeda (1866); Circe (1867); Leda (1868); Perils of Life (1855); Women Chasing Truth (1868); The Captain's Share (1868), Luxembourg; Seeking Whom He Shall Devour, Women are Dear (1870); End of a Song; Where is Cupid Hiding? (1873); As Stupid as a Goose, Mad Caps (1874); Nest of Sirens (1877); Torturers of Cupid, H. Probasco, Cincinnati.-Meyer, Kiinst. Lex., iii. 246; Muller, 33; Larousse. BEAUMONT, CLAUDIO FRANCESCO, Cavaliere, born in Turin, June 4,1694, died there, July 21,1766. History painter, studied in Turin, then in Rome, after the works of Raphael, the Caracci and Guido, and under Trevisani; became honorary member of Academy of S. Luca in 1727, returned to Turin in 1731, and was made court painter and (1736) knighted. Works in fresco: Princely Virtues, Four Ages of Man, Judgment of Paris, Rape of Helen, Royal Palace, Turin; Altarpieces in different churches, ib., and in Rome.-Meyer, Kiinst. Lex., iii. 243. BEAUMONT, Sir GEORGE HOWLAND, Bart., born at DuImow, Essex, Nov. 6, 1753, died at his seat at Coleorton, Leicestershire, England, Feb. 7, 1827. Pupil of Richard Wilson; became a respectable amateur landscape painter. His two landscapes in the National Gallery are pleasing examples of the classic school, but cannot lay claim to striking originality. He was a supreme authority in matters of taste and of paramount influence in founding the National Gallery, to which he bequeathed many valuable pictures collected in Italy and England. -Cunningham, vi. 147; Cat. Nat. Gal.; Meyer, K(inst. Lex., iii. 245; Redgrave. BEAURY-SAUREL, Mlle. AMELIE, born at Barcelona, Spain, of French parents; contemporary. Portrait painter, pupil of Tony Robert-Fleury, Bouguereau, and Giacomotti. Medal: 3d class, 1885. Works: Portrait of Leon Say (1880); do. of My Mother (1883). BEAUVAIS, ARMAND, born at Bar-surAube, Nov. 30, 1840. Landscape and genre painter, pupil of Desjobert and of Gerome. 116 BEAUVERIE Medal: 3d class, 1882. Works: Gleaners Threshing Floor at Gilgal, In the Forest at Surprised by Rain, Banks of the Aven (1876); I Fontainebleau (1877); Halt of Prince EdApril, La Saint-Fiacre (1877); On the Cliffs ward (1878); Pilgrims to Mecca (1879); at Carteret, End of October (1878); Novem- Bedouin Encampment in Sria (1880); Re ber, Return from the Fields (1879); Sowing treat to Corunna (1883); Buckhurst Park, Season (1881); On the Heights of Omonville Hatfield Park (1885). - Art Journal (1877), (1882); Walnut Trees of Augis in November, 65; Meyer, Kfinst. Lex., iii. 253. Goslings in April (1883); Return -of the BECCADELLI, Legate, portrait, Titian, Flock, Windy Day (1884); In the Fields in Uffizi, Florence; canvas, life size. The October, Untilled Land-Winter Evening prelate, seated in an arm-chair, holds in his (1885). hands an unfolded paper. Painted in 1552. BEAUVERIE, CHARLES JOSEPH, born Engraved by J. C. Ullner.-C. & C., Titian, at Lyons, France; contemporary. Genre and ii. 216. landscape painter, pupil of Lyons school of BECCAFUMI, DOMENICO, born near Siart, and of Gleyre. Paints well coloured, ena il 1486, died carefully finished pictures. Medals: 3d class, in Siena, May 18, /, 1877; 2d class, 1881. Works: Morning on 1551. Sienese the Oise, Avignon Museum; Butcher's Shop school; son of Giin Suburbs of Paris, Afternoon in Spring acomo di Pace, ~ -" (1874); June, October Morning, Beggar a labourer in the Woman from Brittany, View near Cernay, service of Loren- ~ p Coming out of School (1879); The Forey zo Beccafumi, by Canal, St. Just-sur-Loire (1880); Girl Picking whom he was apPeas, Autumn Evening (1881); Gathering prenticed to the \> Potatoes, Foggy Morning in Autumn (1882); painter G. B. Resting in the Fields, Ruins at Auvers Tozzo, called Ca(1883); Before the Rain, Morning at Auvers p a n n a, a n d (1884); Valley of Amby, The Harrow (1885). whose surname -Meyer, Ktunst. Lex., iii. 253. he adopted; also called Mecuccio or MeBEAVIS, RICHARD, born at Exmouth, cherino, on account of his insignificant England, in 1824. Landscape painter; in appearance. Domenico may have met Pe1846 entered School of Design, Somerset rugino in Siena in 1508, and have felt House, London, and in 1850-63 was designer his influence. In Rome, where he spent in a London carpet factory. Exhibited at about two years (1510-1512), he became Royal Academy in 1862, Mountain Rill, and enamoured of the works of Michelangelo, Fishermen Picking up Wreck, and in 1863, whom he afterwards weakly imitated. On In North Wales. Has visited France,Holland, his return to Siena (1512) he competed Italy, Egypt, and the Holy Land. Member with Sodoma with credit to himself, of the Institute of Painters in Water Colours. though he cannot be justly compared with Works: Escape (1864); Military Train-Jer- that great artist. His style became more sey, Drawing Timber in Picardy (1865); and more mannered as lie advanced in life. Loading Sand-Pas de Calais (1867); High The earliest and perhaps the best of his Tide-Mouth of the Maas (1868); Hauling works is the St. Catherine Receiving the upaFishing-Boat-Holland (1870);Autumn Stigmata (1512) and Saints, Siena Gallery; Ploughing (1871); Collecting Wreck -Am- other works are the Marriage and Death of bleteuse (1872); Shore at Scheveningen the Virgin, frescos (1518), S. Bernardino, (1873); Ferry-Boat in Old Holland (1874); Siena; Visitation, Hospital, Siena; Nativity Bedouin Caravan,Ploughing in Egypt (1876); (1523), S. Martino, Siena; Marriage of St. 117 BECCARUZZI Catherine, Palazzo Doria, Rome; Holy Family, Pitti, Florence. Beccafulni designed the best compositions which decorate the pavement of the Duomlo, Siena. Seven of his cartoons for this work are preserved in the Academy.-Meyer, Kiinst. Lex., iii. 254; Vasari, ed. Mil. v. 633; Gaye, Carteggio, ii. 244, 355; Jansen, Leben un(l Werke des Malers Gio. Ant. Bazzi, Stuttgart (1870), 117; Cli. Blanc, lcole florentine; Meyer, Ktlnst. Lex., iii. 254; Libke, Gesch. ital. Mal., ii. 408. BECCARUZZI, FRANCESCO, born at Conegliano, flourished in 1527-1544. Venetian school; probably pupil of Pordenone, but in his pictures a successful imitator of Titian, though lie shows in some respects, especially in his sketchy treatment, the decline of the Venetian school. Painted mostly altarpieces for churches in Conegliano and Treviso. Works: St. Francis with six other Saints, Venice Academy. —Meyer, Kiinst. Lex., iii. 259; Ridolfi, Marav., i. 207; C. & C., Italy, ii. 166. BECERRA, GASPAR, born at Baeza about 1520, died in Madrid in 1570. Spanish school. Passed many years at Rome, studying painting, sculpture, and architecture; aided Daniele da Volterra in the embellishment of the Rovere Chapel in Trinittc de' Monti, where he painted a Nativity of the Virgin, and Giorgio Vasari, who calls him Bizzera, in the frescos of the Cancellaria in the palace of Cardinal Farnese. Returned to Spain in 1556, became sculptor to Philip II. in 1562 and one of his painters in ordinary in 1563. He executed frescos in the Alcazar of Madrid and many altarpieces, few of which have survived, but devoted most of his time to sculpture. A Sybil attributed to him is in the Hermitage, St. Petersburg, and a Magdalen in the Museo de Fomento, Madrid.-Vasari, ed. Mil., vi. 229, vii. 60, 681; Stirling, i. 241; Ch. Blanc, I cole espagnole; Cean Bermudez; Meyer, Kunst. Lex., iii. 260. BECKENKAMP, KASPAR BENEDIKT, born at Ehrenbreitstein, near Coblentz, Fel. 5, 1747, died at Cologne, April 1, 1828. German school; history, landscape, and portrait painter, pupil of his father and of Januarius Zick, at Coblentz, where lie found a patron in Clemens Wenceslaus, Elector of Treves, and painted many princely personages; settled at Cologne in 1795 and devoted himself chiefly to the reproduction of paintings by the Old German masters. —Merlo, Nachriclten, 28. BECKER, ADOLF VON, born in Finland, Aug. 14, 1831. Genre painter; pupil of Copenlhagen Academy in 1856-58; studied then in Disseldorf, and from 1860 at the lEcole des Beaux Arts in Paris, and under Couture, Cogniet, Hebert, Barrias, and Courbet. Went to Spain, in 1863, and to Italy, in 1866. In 1869 he was appointed professor of drawing at Helsingfors University. Works: Boy with Kite, French Judge (1863); Painter and Model (1867); Motherly Pride (1868); Gamblers (1869); After Dinner, A Game of Piquet, Sick Woman (1878).-Meyer, Kiinst. Lex., iii. 270. BECKER, ALBERT, born in Berlin, Oct. 22, 1830. Genre and animal painter, pupil of Berlin Academy from 1848 under Kl6ber, and long his assistant in fresco painting. After a year in Paris (1860), he devoted himself to the representation of domestic animals, from his skill as a cattle painter was surnamed Cow-Becker. Works: Blind Man's Buff, Village Scene, By the Roadside in Spring, At the Brook, Unbidden Guests, Before the Parsonage, Halt at Forester's House, Before and After the Christening. -Meyer, Kiinst. Lex., iii. 270; MI aller, 35. BECKER, AUGUST, born in Darmstadt in 1822. Landscape painter, pupil in Darmstadt of Schilbach, then at Dtisseldorf Academy. In 1844 lie visited Norway, Switzerland, and Tyrol, afterwards the Scotch Highlands, and was repeatedly called to Balmoral to instruct the English princesses in drawing and landscape painting. Works: Alpengluhen (1846); the Hu 118 BECKER rongen in the Midnight Sun (1846); Norwe- Surprised by a Storm, New Pinakothek, IMu gian Table-land (1861); Evening in Berner nicll; Returning Harvesters.-Meyer, Kilnst. Oberland (1860 and 1867); Evening in Ba- Lex., iii. 267; Wolfgang Mlifler, Dilsselvarian Highland (1862); The Eiger in Switz- dorf K., 236. erland, Kaisergebirge in Tyrol (1864); Ki- BECKER, KARL (LUDWIG FRIEDnigssee (1874); Wallensee il Switzerland, RICH), born il BerInundation on the Nether Rhine, The Dach- lii, Dec. 18, 1820. stein (1876).-Brockhlaus, ii. 669; M-iiller, 34. BECKER, FERDINAND, born in Mentz; contemporary. Painter of fairy tales, pupil in Frankfort of Steinle. First exhibited at Frankfort in 1874. Works: Story of the Little Brother and Sister (1874); The Poor Servant (1875); Story of the Three Esquires of Roland (1877), Royal Cabinet of Engravings, Dresden.-Meyer, Kiinst. Lex., iii. 271; Kunst-Chronik, ix. 398, x. 601, xii. 548. BECKER, GEORGES, born in Paris about 1845. Genre painter, pupil of Grome. Medals: Paris, 1870; 2d class, 1872; Philadelphia, 1876. Works: In the Catacombs (1868); Orestes and the Furies (1870); Martyr's Widow (1872); itizpah protecting the Bodies of her Children (1873); Christian Martyr (1879); ImageSeller of Pompeii, G GES C H. P. Kid- G fGES.BECI der, Boston.-Kunst-Chronik, viii. 71, x. 532; Am. Art Rev. (1880), 489; Meyer, Kiinst. Lex., iii. 271; Miiller, 34. BECKER, JAKOB, born at Dittelsheim, near Worms, in 1810, died in Frankfort, Dec. 22, 1872. Genre and landscape painter, pupil of Disseldorf Academy under Schirmer; after painting landscapes and romantic scenes, he took up genre, choosing his subjects chiefly from peasant life. In 1840 he became professor at the Stidel Institute in Frankfort. Works: Knight and his Sweetheart, Praying Peasant Family, Evening at the Well, Departure of the Recruit, Returning Soldier; Wounded Poacher, Raczynski Gallery, Berlin; Shepherd struck by Lightning, Stadel Gallery, Frankfort; Peasant Family on Pilgrimage, Husbandmen I History and genre painter, pupil of Aug. von Klober in the Berlin Academy; studied fresco under / A. Hess at Munich '^ // (1843), and after a /f / year in Paris and two / years in Rome (1845 -47) returned to Berlin to paint historical and mythological pictures. Visited Venice several times and collected materials for painting Venetian Renaissance subjects, in representing which his improved colour showed the influence of the masters of that school. Professor and senator of Berlin Academy. Works: Belisarius as a Beggar (1850); Cecrops as Founder of Athens, Hyllus, Mercury and Argus, Hypsipyle and Archemorus, Cadmus as Dragon Slayer (frescos), National Museum, Berlin; Christ on Lake Genesareth, Fiddler in the Courtyard, Capuchin Sermon, Jeweller at Venetian Senator's (1855); Visit at Venetian Nobleman's (1857); Visit of Sebastian del Piombo to Titian (1861); Doge in Council (1864); The Bravo, Carnival in Venice, Return from Carnival, Venetian Balcony Scene, Charles V. at Titian's, Scene from Gdtz von Berlichingen (1869), Charles V. and Fugger (1870), National Gallery, Berlin; Diirer in Venice (1873); Bianca Capello (1874); Coronation of Ulrich von Hutten as Poet Laureate (1876), Cologne Museum; In the Picture Gallery, Scene from Marriage of Figaro (1874); Emperor Maximilian receiving Venetian Embassy (1877); Othello (1880); Carnival Festival in Doge's Palace (1881). Works in the United States: Italian Mother's Prayer, D. W. Powers, Rochester, N. Y.; Cup of Tea, W. Richmond, Provi 119 BECKER lence; Farewell, W. H. Fosdick, Louisville; Petition to the Doge (1860), W. T. Walters, Baltimore; Good Morning, Venetian Lady, C. H. Wolff, Philadelphia; Grandfather's Birthday, Mrs. W. P. Wilstach, Philadelphia; Welcome Guests, J. T. Martin, Brooklyn: Petitioning the Doge, C. P. Huntington, New York.-Brockhaus, ii. 670; Meyer, K:lnst. Lex., iii. 268; Iiiller, 34; Rosenberg, Berliner Malerschule, 91, 125; Land und Meer (1883), ii. 909. BECKER, LUDWIG HUGO, born at Wesel, July 19, 1833, died in D;isseldorf, Dec. 25, 1868. Landscape painter, pupil at Disseldorf Academy of Schirmer and Gude, travelled afterwards in Westphalia, Switzerland, Normandy, and to the Baltic. Works: Sacrifice of the Ancient Germans (1856); Shepherd in the Pasture, Sunday Morning, Passing Storm, Washerwomen at the Brook, Village in the Snow, Christmas Eve, Boys Bathing, Shepherd Boy, On the Heights (1867); Vintage on the Moselle.Blanckaris, 32; Meyer, Ktinst. Lex., iii. 270; Zeitsch. f. b. K., viii. 275. BECKER, PETER, born in Frankfort, Nov. 10, 1828. Landscape and architecture painter; pupil at Stadel Institute, under Jakob Becker and Hessemer. The banks of the Rhine have furnished him with subjects for many landscapes. Member of Societ6 belge des Aquarellistes. Thirty large views of old Frankfort (cartoons), Rhine landscapes in oil and water colours.-Meyer, Kiinst. Lex., iii. 269. BECKERATH, MORITZ VON, born at Crefeld in 1838. History painter, pupil at Dusseldorf Academy of Kehren, then from 1859, in Munich, of Schwind. Works: Death of Duke Ulrich of W;irtemberg (1869), Burial of Aaric, Schack Gallery, Munich; The Dream, Tragedy by Heine, Lear and the Fool, Napoleon's Retreat from Moscow (1866); Gotz of Berlichingen with the Gipsies, Scenes from Crusades, Offering of the German Crown by Louis II. of Bavaria (1874).-Meyer, K";nst. Lex., iii. 272; Illustr. Zeitg. (1871), ii. 348. BECKMANN, KARL, born in Berlin, March 23, 1799, died there, Oct. 2, 1859. Landscape and architecture painter, pupil of Wach, visited Paris in 1824 an(t was in Italy in 1828-33. Was professor at the Berlin Academy. Works: Monastery of S. Benedetto near Subiaco, National Gallery, Berlin.-Jordan, 43. BECKMANN, KONRAD, born in Hanover, in 1846. Genre painter, pupil, in 1866-68, of Munich Academy, then of Piloty; paints humorous subjects. Works: Tailor reading Newspaper (1868); Best Shot (1870); Sacrifice of a Village Poet.-KunstChronik, v. 108, xiv. 142. BECKMANN, LUDWIG, born in Hanover, Feb. 21, 1822. Animal painter; studio in Dusseldorf. His spirited and truthful boar and bear hunts have been bought mostly in England. —Brockhaus, ii. 675. BECKMANN, WILHELM (HERMANN ROBERT AUGUST), born in Daisseldorf, Oct. 3, 1852. History painter, pupil of Diisseldorf Academy (1869-72), then until 1874 of E. Bendeman, after whose compositions he executed some decorations in the Cornelius room of the National Gallery in Berlin. Works: Communion of the Hussites before Battle (1874); Gudrun (1877); Surrender of Fortress Rosenberg in 1427 (1880).-KunstChronik, ix. 682, xii. 665. BECKWITH, JAMES CARROLL, born in Hannibal, Mo., Sept. 23, 1852. Figure and portrait painter, pupil, in 1873, of Carolus Duran and of the Ecole des Beaux Arts in Paris. Sketched in Spain and Normandy in 1880-81. Member of Society of American Artists. Studio in New York. Works: Christian Martyr, Head of a Child (1881); Azalea, Model's Breakfast (1882); Cordelia, Summer (1883); Vivian (1884). Portraits: Wm. M. Chase, Ethel (1882); Miss Jordan (1883). BECQUET, HENRI JEAN, born at Bruges in 1812, died there, Oct. 19, 1855. History painter, pupil at Bruges Academy of Dumery, then at Antwerp Academy of N. de Keyzer; after his return became pro 120 BEDAFF fessor at Bruges Academy. Works: Last Moments of Mozart; Holy Family, Academy, Bruges; Martyrdom of St. Philemon, St. John's Hospital, ib. —Biog. nat. de Belgique, ii. 76. BEDAFF, ANTONIS VAN, born at Antwerp, Dec. 25, 1787, died at Brussels in 1829. History and portrait painter, pupil of the Central Sclool at Antwerp, but formed himself principally by study of the Dutch masters of the 17th century; for a long time professor and director of the school of design at Bois-le-Duc; settled afterwards at Brussels. Works: First Meeting of the Estates General at Dordrecht in 1572, Last Interview of William of Orange with Egmont, Confederation of the Nobles, National Museum, Amsterdam.-Biog. nat. de Belgique, ii. 76. BEDOLO, GIROLAMO. See lfazzola, Girolamo. BEECHEY, Sir WILLIAM, born at Burford, Oxfordshire, Dec. 12, 1753, died at Hampstead, Jan. 28, 1839. Admitted a student of the Royal Academy, London, in 1772, and after painting portraits and pictures in Hogarth's manner several years in Norwich returned to London, where he long enjoyed uninterrupted favour with the fashionable world. In 1793 he painted a portrait of Queen Charlotte and was appointed by her royal portrait painter, and became an A.R.A. In 1798 he painted the large equestrian picture, now at Hampton Court, of George III. at a Review in Hyde Park, and in the same year became R.A. and was knighted. He is said to have exhibited 362 portraits at the Academy. As examples of his style may be cited his own portrait, and those of Sir F. Bourgeris, George Rose, and Mrs. Siddons, in the National Portrait Gallery, the portrait of Joseph Nollekens in the National Academy, that of George III. in the Waterloo Chapel, Windsor, and that of Mr. Coffin in the possession of his descendant, Miss Robbins, in Boston, Mass. He was successful in likenesses, but his women are wanting in grace and his men in char acter.-Cat. Nat. Port. Gal.; Redgrave; F. (le Conches, 327; Cli. Blanc, flcole anglaise; Art Union Journal (1839); Meyer, iii. 277; Sandby, i. 311. BEELT, CORNELIS, second half of 17th century. Dutch school; landscape and genre painter in the manner of Claes Molenaer, and Helmont, the elder. Works: Interior of Weaver's Room, Ferdinandeum, Innsbruck; do., and Coast View, Mannheim Gallery; Strand of Schevoningen, P. von Semenoff, St. Petersburg.-Meyer, Kuinst. Lex., iii. 281. BEER, WILHELMI (AMANDUS), born in Frankfort, Aug. 9, 1837. Genre painter, pupil of his great-uncle, the landscape painter Radl, then studied history painting in Stadel Institute under Steinle. Having visited the Bavarian Alps, he took up genre painting, especially peasant life. After repeated sojourns in Russia he returned to Frankfort in 1870. Works: Thomas of Bologna visiting Albrecht Dtrer; St. Cecilia; The Meistersingers; Banquet at a Nuremberg Patrician's; Arrival of Church Bell in Bavarian Village; Return of the Best Shot; Turkish Prisoners in Russian Town; Peasants' Festival on St. Nicholas Day; Russian Gipsy Camp; On the River-Banks of a Russian Town; First Turkish Prisoners in Dorogobush. Exhibited at Munich (1883): Fair in Slednova, Horse Market in Russian Village, Gipsies in a Ravine.-Miiller, 36. BEERNAERT, EUPHROSINE, born at Ostend, Belgium, April 11, 1831. Landscape painter; pupil, in Brussels, of P. L. Kuhnen; travelled in Germany, France, and Italy. Medals in Vienna (1873), Brussels (1875), Philadelphia (1876), Sidney (1879), Melbourne (1880); Order of Leopold (1881). Paints chiefly Dutch views. Works: The Brook (1867); Old Oaks, Lisiere de bois dans les dunes (1878); Village of Domburg (1878); Wood at Oost-Kapel (1878).Meyer, Kiunst. Lex., iii. 286. BEERS, JAN VAN, born in Belgium; contemporary. Genre and portrait painter; studio in Antwerp. Works: Long Live the 121 BEERSTRAATEN Gucux! (1874); Jacob van Maerlandt (1875); Trial for Witchcraft (1876); Faust and Mephistopheles, Black in Black, Evening Fancy, Page of 17th century (1877); People's Gratitude (1877); L'Enfant au Tarin (1878); Triptych with Death of Jacob Van Maerlandt (1879); Summer Evening (1880); Entombment (1883), Church of Krolingen. -Meyer, Kinst. Lex., iii. 287; KunstChronik, xiii. 274, 707; xiv. 721. BEERSTRAATEN, A., second half of 17th century. Dutch school; landscape painter; flourished probably at Amsterdam; identified, by Havard, with Jan B., but wrongly so, as the following works are all signed and well authenticated as his: Great Winter Landscape, Amsterdam Museum; Frozen River with Skaters, Berlin Museum; Winter Landscape (1664), Copenhagen Gallery. Several in private galleries.Havard, A. & A., iii. 1; Meyer, Gemildle kongl. Mus., 30; Repertorium, iii. 442; iv. 300. BEERSTRAATEN, JAN, born in Amsterdam, baptized May 31, 1622, died there in 1687. Dutch school; landscape and marine painter. His favourite subjects were winter scenes, with groups of small figures, painted with great harmony of colour, and fine contrasts of light and shade. Lingelbach usually supplied the figures in his marine pieces. Works: Ancient Port of Genoa, Louvre; Ruins of old Town Hall (1652), City Interior in Winter, Sea Battle (1666), Two Winter Views of Amsterdam, Winter Landscape, Museum, Amsterdam; St. Olof's Chapel, Six Collection, ib.; Winter View of old Town Hall at Amsterdam, An Italian Seaport, Rotterdam Museum; View of Dutch Church, Haarlem Gate at AmsterI BEER-STIAATEN dam, Copenhagen Museum; Winter View of Dutch Town, Berlin Museum; Rocky Coast with Vessels, Storm near Coast, Dresden (Gallery.-Havard, A. & A., holl., iii. 1; Meyer, Kiinst. Lex., iii. 287. BEEST, ALBERT VAN, born at Rotterdam, June 11, 1820, died in New York, Oct. 8, 1860. Marine painter, self-taught; accompanied, when quite young, Prince Henry of the Netherlands on a three years' journey to the East, went in 1845 to America, where he lived mostly in Boston and New York and acquired considerable reputation. William Bradford and R. Swain Gifford were his pupils.-Meyer, Ktinst. Lex., iii. 289. BEEST, SYBRAND VAN, flourished at The Hague in 1635-71. Dutch school; landscape and genre painter, apparently influenced by Jan van Goyen. Works: Parade on Coast of Scheveningen (1643), Municipal Miuseum, Hague; Market Scene, Rotterdam Museum; Vegetable Market (attributed to S. Bles), Stuttgart Gallery; do., (1635), Liechtenstein Gallery,Vienna; Pig Market (1668), Peasant's Room (attributed to I. van Ostade), Stockholm Museumn.-Archief v. Nederl. K., iv. 117, 129; Meyer, Kinst. Lex., iii. 289. BEGA, CORNELIS PIETERSZ, born in Haarlem, baptized Nov. 15, 1620,diedthere, Aug. 27, 1664. Dutch school; genre painter, \ Ij~_~ ( ~l one of the best V '\' ) p } pupils of Adrian van Ostade, -. _ though by no / meanshis equal. ' \.~ / Works: Peasants' Concert, Scholar in his Study, Amsterdam Museum; Saying Grace, Van der Hoop Museum, ib.; Company of Smokers, Lille Museum; Rustic Interior (1662), Louvre, Paris; Two Ballad Singers, Alchymist in his Laboratory, Cassel Gallery; Three (two dated 1663), Stadel Gallery, Frankfort; Dentist, Moltke Gallery, Copenhagen; Musical Couple, Stockholm Museum; Tippling Scene, 122 BEGAS Schwerin Gallery; Peasants in Tavern (1663), Nazarenes (German Pre-TRphaelites); Iut Peasant Family, Weaver's Rooml, Hermnitage, afterwards treated history and genre in the St. Petersburg; Weaver's Roo, Peterhllof; romantic style of the Diisseldorf school. He Lute Player (1662), Peasant Family, Peas- painted portraits ants in a Tavern, Berlin Museum; Peasants of many celebratDancing, Dresden Gallery; (o., Ol Pina- ed persons, such kothek, Munich; Room with Peasants, Roomn as Humboldt, with two Women (attributed to S.van Hoog- Schelling, Cornestraeten), Vienna Museum; Satyr Blowing lius, Mlendels- -,X Warm and Cold, Pesth Museuml; Lute Play- sohn, etc., and! ers, Card 0 was long court Players, p lainlter and lroU ffi z i, fessor at the Ber- / Florence; One (1662), Dublin Gallery.-Ch. l i n A c adem. y.\ Blanc, Ecole hollandaise; Meyer, K;inst. Works: Christ on Lex., iii. 290; Van der Willigen, 75. Mount of Olives (1818), Garnisonskirche, BEGAS, ADALBERT FRANZ EUGEN, Berlin; Coming of tle Holy Ghost (1821), born in Berlin, March 5, 1836. History, Cathedral, ib.; Resurrection (1827), Werder genre, and portrait painter, third son of Church, ib.; Tobias and the Angel (1835), Karl Begas. Studied engraving for five Portrait of Thorwaldsen, National Gallery, years under Ltidnitz, in 1860 went to Paris ib.; Baptism of Christ, Garnisonskirche, and copied in the Louvre, and in 1862 to Potsdam; Portrait of his Parents (1821), Weimar, where he became the pupil of Bock- Cologne Museum; Sermon on the Mount lin. Visited Italy in 1863-69, and made (1831); Exposing of Moses (1832); Lurley copies of Titian and Raphael. Painted (1834); Henry IV. at Canossa (1836); Maidoriginally idyllic and mythological pictures en from Afar, Mediaeval King listening to and a great many very good portraits. Page playing the Harp (1838); GlorificaWorks: Portrait of himself (1860), Mother tion of Christ (1839); Christ prophesying and Child (1863), National Gallery, Berlin; the Fall of Jerusalem (1840); Three Girls Portrait of a Lady (1866), Cupid and Psyche resting in the Shade of an Oak (1842); (1867); Resurrection (1868); St. Cecilia Mohrenwaische (1842); replica, National Gal(1869); Cupid finding Psyche (1870); Das lery, Berlin; do., Ravene Gallery, ib.; Christ Volkslied, Othello and Desdemona, Genii on Mount of Olives (1842); Christ Calling of Spring (1881); In Midsummer (1881); the Heavy Laden (1844); Christ Crucified The Last Friend, Little Beginnings, Por- (1846); Adam and traits.-Brockhaus, ii. 690; Meyer, Ktunst. I 83M Eve besidethe Body Lex., iii. 305; MUller, 38; Illustr. Zeitg. * B of Abel (1848); Be(1871), ii. 211; Rosenberg, Berl. Malersch., trayal of Our Lord (1852).-Allgem. d. 76. Biogr., ii. 269; Ch. Blanc, fRcole allemande; BEGAS, KARL, born at Heinsberg, Sept. Merlo, 33; Meyer, Kiinst. Lex., iii. 300; 30, 1794; died in Berlin, Nov. 24, 1854. Raczynski, iii. 27; Rosenberg, Berl. MalerHistory and portrait painter. Studied at sch., 61. Bonn in 1801, under Philippart, and at Paris BEGAS, OSKAR, born in Berlin, July 31, in 1812, under Gros. Passed successively 1828, died there, Nov. 10, 1883. History under the influence of the old German and and portrait painter, son and pupil at Berlin early Italian masters. Went to Italy in 1822, Academy of Karl Begas; went in 1852 to and in 1834 returned to Berlin, where he Rome, and after his return, in 1854, devoted at first painted in the style of the so-called himself chiefly to portrait painting. Works: 123 BEGAS Fall of Pompeii (1852); Conversation (1853), Gittingen, Schwerin Galleries, Hermitage, National Gallery, Berlin; Descent from St. Petersburg (2), Liechtenstein Gallery, Cross (1853), St. Michael's Church, Berlin; Portraits of Sculptor Sussmann (1856), of Johannes von Miller (1858), of Count ge Schwerin Putzar (1858), of Cornelius (1861), J Antwerp Museum; of Paulina Lucca, Crown Prince of Prussia, Princess Victoria (1866), Vienna.-Meyer, Kunst. Lex.,iii. 307; Riegel, Count von Moltke (1868), King William Beitriige, ii. 389. (1869), Reception of-the Salzburg Protestants BEGGROFF, ALEXANDER CARLOin Potsdam (1864), Frederic the Great in the VICH, born in St. Petersburg, Dec. 17, 1841. Chapel at Charlottenburg (1868), Diana and Marine painter, son of the water colour Acteon, Six Scenes from Cupid and Psyche, painter and lithographer Carl Petrovich B.; Thirteen Allegories, Berlin City Hall; Snipe pupil of St. Petersburg Academy, then in Hunting on Riigen (1872); Chase in the Paris (1871-74) of Bogoljuboff. Works: Woods (1876); Venus Resting, Judgment of Views of Canea, Plymouth, Havre, Rouen, Paris, Mother's Joy, Gretchen, Eva, Editha Etretat, F6camp, Dordrecht; Views in Liv(1881).-Brockhaus, ii. 689; Meyer, Kuinst. land; Mouth of the Neva, Baird's Factory, Lex., iii. 302; Miller, 37; Rosenberg, Berl. and Exchange at St. Petersburg; Harbor Malersch., 75. at Peterhof; The Steamships Dershava, BEGAS, PARMENTIER LUISE, born Grand Duke Constantine, Svietlana (1872 -in Vienna; contemporary. Architecture 81); Winter View of St. Petersburg (1878). and landscape painter; pupil in Vienna of -Meyer, Kiunst. Lex., iii. 309. Schindler; visited Constantinople, then sev- BEHAM (Behaim, Behem), BARTHEL, eral times Italy, especially Venice, Rome, born in Nuremberg in 1502, died in Venice and Taormina in Sicily; studio in Berlin in 1540. German school; history and porsince 1877, when she was married to Adal- trait painter, pupil of Drirer. In 1524 he bert Begas. Works: Venetian Vistas,Kitchen was accused of heresy, and exiled, together Interior in Sicily, Burial-Ground in Scutari. with his brother, Hans Sebald, and George -Meyer, Kiinst. Lex., iii. 306; Miiller, 38; Pencz. In 1527 was at Munich, in service of Zeitschr. f. b. K., xiii. 378; Kunst-Chronik, Duke William of Bavaria, who sent him xv. 549. afterwards to Italy. Was also an engraver, BEGEIJN (Bega), ABRAHAMI CORNE- and one of the so-called Little Masters. LISZ, born at Leyden(?) in 1621 or 1622, Works: Palatine Otto Heinrich (1535), Augsdied in Berlin, June 11, 1697. Dutch school; burg Gallery; five panels with Saints, Christ landscape, animal, marine, and still-life on Mount of Olives, Berlin Museum; three painter; settled at The Hague since 1653, pictures with Saints and Donors, altarpiece went to Berlin as court painter to the Elector with Coronation of the Virgin (1536), do., of Brandenburg in 1688. In his earlier with SS. Ann, Andrew, Erasmus, etc., Christ works he approaches the manner of Asselyn, on the Cross, four panels with Saints, F;:rin his later ones that of Berchem. Works: stenberg Gallery, Donaueschingen; three Coast near Naples, Brussels Museum; Still panels with portraits of King Ferdinand's Life in Italian Landscape (1653), Bordeaux Children (?), Amsterdam Museum; altarMuseum; Wood Landscape, Landscape with piece witlh Flagellation and Saints, KunstThistles, Butterflies, and Birds, Brunswick halle, Carlsruhe; Miracle of the Cross Gallery; Landscapes with Cattle, in the (1530), Death of Curtius (1540), King Louis Louvre, Paris, the Amsterdam (1660) and of Hungary,Old Pinakothek, Munich; Christ Berlin Museums, Copenhagen (3), Oldenburg, bearing the Cross, Maurice Chapel, Nurem1V4 BEII AM berg; two portraits of Bavarian Princes, Nostitz Gallery, Prague; fifteen do., Schleissheim Gallery; Two altar wings with Saints, Sigmaringen Museumn; St. Bruno in the Desert, Stuttgart Gallery. -Allgem. d.Biogr., ii. 277; Keane, Early Masters, 151; Meyer, Kiunst. Lex., iii. 311; Scott, Little Masters, 49; W. & W., ii. 410; Rosenberg, S. & B. Beham, Leipsic, 1875. BEHAM (Behaim, Behem), HANS SEBALD, born at Nuremberg in 1500, died in Frankfort, Nov. 22, 1550. German school; banished, with his brother Barthel, in 1524, but seems to have returned to Nuremberg, and afterwards led a wandering life, appearing in Munich, 1530, and settled in Franlkfort in 1534. Was most prominent as one of the Little Masters, excelling as a painter only in miniatures. Works: Table-Top, with Scenes from Life of David, Louvre; do. with Bathers, etc., Wiesbaden Museum; Scenes of Bathing, T C Shippingand Hunting, J j i U Berlin Museum.-Allger. d. Biogr., ii. 279; Keane, Early Masters, 144; Kugler (Crowe), i. 179; Meyer, Kinst. Lex., iii. 318; Scott, Little Masters, 49; W. & W., ii. 407; Rosenberg, S. & B. Beham. BEHMER, HERMANN, born at Merzien, Anhalt, in 1831. Genre and portrait painter, pupil from 1853 in Berlin of Steffeck, and at the Academy, then (1856) in Paris, at the Ecole des Beaux Arts, and of Flandrin and Couture. After a two years' journey through Italy, Egypt, and Palestine in 1866-68, he settled in Berlin, whence in 1873 he removed to Weimar. Medal, in Philadelphia, 1876. Works: Girl with Wild Roses, Interior of House at Bethlehem (1868).Meyer, Ktinst. Lex., iii. 335. BEHR, CAREL JACOBUS, born at The Hague, July 9, 1812. Architecture painter, pupil of B. J. van Hove; member of Amsterdam Academy, 1837. Works: View of City Hall at The Hague (1836); Binnenhof, ib. (1839); Winter Landscape (1840); Het lange Voorhout, Hague (1842); Ruins of old Castle, Pavilion, Haarlem.-Imnnerzeel, i. 39. BEHRENDSEN, AUGUST, born in Mag. deburg, in 1810. Landscape painter, pupil at Berlin Academy of Schirmer, to whose style lie adhered in most of his landscapes; settled in Konigsberg, where, in 1855, he became professor at the Academy; obtained the gold medal in 1862, and was made member of the Berlin Academy in 1869. Studio at Meran, Tyrol. Works: View near Conegliano, Landscape in the style of Claude Lorrain, Mill on Mountain Brook, Morning in the Alps (Konigsberg Museum); Evening in the Salzburg Mountains, View on the Traun Hills, On Lake Como, On the Coast of Genoa, Coast near Nice, Evening on the Haff, Clearing in Pinewood, Lake in the High Alps, From Northern Tyrol. -Dioskuren (1860), 3841; (1861), 245; (1864), 431; (1866), 58, 369; (1867), 156; Kugler, K1. Schriften, iii. 574, 677; Kunstblatt (1855), 395; (1856), 432; (1857), 122; Meyer, Kiinst. Lex., iii. 336. BEICH, JOACHIM FRANZ, born at Ravensburg, Oct. 15, 1665, died in Munich in 1748. Landscape and battle painter, pupil and of son Daniel Beich (flourished at Ravensburg and Munich second half of 17th century); completed his studies in Italy after Poussin, and became court painter to the Elector of Bavaria. His pictures are artificial, but often grand in composition. Works: Prophet Elijah, John Baptist, and others, Old Pinakothek, Munich; eleven great Episodes from the Turkish War (1683-88), Schleissheim Gallery; others in Vienna Museum; Brunswick, Manheim, and Stuttgart Galleries. —Kugler (Crowe), ii. 567; Meyer, Kiinst. Lex., iii. 337. BEIDEMANN, ALEXANDER JEGOROVICH, born in St. Petersburg, Aug. 17, 1826, died there, Feb. 27, 1869. History and portrait painter, pupil of the St. Petersburg Academy; visited Germany, Italy, and France in 1857-60; after his return became member of the Academy, and in 125 IBEN KE 1861 professor. In 1863 and 1865 he travelled in the Crimea, and in 1868 went to Paris to paint altarpieces for the Russian churches there. Works: St. John Baptist in the Desert (1852); Flight into Egypt (1853); Come unto Me (1854); Christ in House of Mary and Martha (1855); Views and Costumes from Italy and Bavaria, Procession of the Host inl Italy, Savoyard Girl at her Mother's Grave, Ruth and Boaz, Girl Drinking from a Spring, Lovers on a Terrace, Inn in Bavaria (1860), Appari BELGIOJOSO, CARLO BARBIANODI, Count, born in Milan, Aug. 17, 1815, died there, June 22, 1881. Pupil of Milan Academy, under Hayez; in 1840 went to Rome, and studied works of Raphael for two years. On his return to Milan devoted himself to painting until 1854, when he abandoned art for a literary career. In 1860-1880 lie was President of the Academy. His paintings show little talent, but are carefully executed.-Meyer, Ktinst. Lex., iii. 347. BELIN, JEAN, born at Caen, baptized Nov. 9, 1653, died in Commonly called Jean W7' ill^ Baptiste Blin, or Blain 1 MiJU,. de Fontenay. Painter I dI!, ~of still life, pupil of i 1..... Monnoyer, whose daughter he married. Member of the Academy in 1687. Employed by Monnoyer in all his works in the royal castles and public buildings, he soon won the favor of Louis XIV., and 3\Z H i received numerous orders for works at Versailles, Marly, Compi-\1^ ) igne, and Fontainebleau. JT R^ Works: Collection of his ris. ppaintings in Grand Trianon; two in the Louvre, others in the Museum of Caen, Bayeux, Rennes, Orleans, Avignon, Tours, and Marseilles.-Meyer, Kiinst. Lex., iii. 348; D'Argenville, Abr6ge, iv. 280; Clemont de Ris, Les Musees de Province, 115; Larousse. BELISARIUS, Jacques Louis David, Louvre, Paris; canvas, H. 3 ft. 4 in. x 3 ft. 8 in.; signed, dated Paris, 1784. The blind Roman general, reduced to beggary, seated at entrance of a temple at right, is recognized by one of his old soldiers as a woman drops an obolus into the helmet, held by his young companion. Salon, 1785. Engraved by Morel; Sisco. This picture is a reduction of 126 Belisarius, Jacques Louis David, Louvre, Pa tion of the Virgin (1860); Assumption (1863).-Meyer, Kiinst. Lex., iii. 338. BEINKE, FRITZ, born in Diisseldorf, April 23, 1842. Genre painter, pupil of the Disseldorf Academy under Mtiller, Sohn, and Bendemann, then studied, travelling on repeated journeys through Germany, and northern Italy. Works: Visit of Condolence (1866); Rag-Picker in Black Forest (1868); Prayer (1871); Return from Excursion (1873); Forester at Breakfast (1873); The Juggler (1874); Meeting in the Field (1875); Long Live the Emperor! (1876); Flower Girl (1877).-Meyer, Kunst. Lex., iii. 342. BELLA the original, by Fabre and Girodet, retouched lbraided ornaments and slashed sleeves, her and signed by David. The original (about auburn hair plaited and twisted around her 10 feet square), painted in 1780, was bought by the Elector of Treves, and passed to Lucien Bonaparte.-Landon, Mus6e, i. PI. 13; Filhol, xi. PL. 20; Villot, Cat. Louvre. By F. Gt(rard, private gallery, Munich; canvas, H. 7 ft. 8 in. x 5 ft. 7 in. Belisarius, full length, standing, bearing in his arms a youth who appears to be dying from the bite of a serpent, which still clings to his leg; the blind general, seeking the road with his staff, is walking along the edge of a precipice. Painted in 1800. Engraved by Desnoyers. —Landon, Musce, ii. P1. 56. BELLA DI TIZIANO, Titian, Hermitage, St. Petersburg; canvas, H. 3 ft. x 2 ft. 5] in. A slender girl, half-length, in a brownish Bella di Tiziano, Titian, Palazzo Pitti, Florence. red hat decorated with ostrich feathers and pearls; bracelet of precious stones on arm, pearl ear-rings, and necklace. Belonged to Crozat Collection. Engraved by Sanders.C. & C., Titian, i. 393; Cat. Hermitage, 44. By Titian, Palazzo Pitti, Florence; canvas, H. 3 ft. 3 in. x 2 ft. 6 in. A young woman, half-length, in a low dress, with head, and a gold chain on her neck; one hand holds a chain of gold. Painted about 1534. Called by some a portrait of the Duchess of Urbino, by others of Violante, daughter of Palmla Vecchio. Engraved by Guadagnili.-C. c& C., Titian, i. 391; Gal. du Pal. Pitti, i. P1. 112; Burckhardt, 719. Attributed to Titianl, Palazzo Sciarra, Rome. "A fine portrait by Palma Vecchio." -C. & C., Titian, i. 66; ii. 442. By Titian, Vienna Museum; canvas, H. 3 ft. 2 in. x 2 ft. Same portrait as Bella of tlie Hermitage, loosely dressed in a black satin pelisse lined with ermine, with hair twisted and adorned with pearls. Bought in Spain by Charles V. Engraved by Bartsch. -C. & C., Titian, i. 393. BELLANGE, EUGENE, born in Rouen, Feb. 16, 1837. Military genre painter, son and pupil of J. L. H. Bellange; pupil also of Picot. In 1861 he painted scenes from the Italian campaign of 1859; has recently devoted himself to illustrating French soldier types in water colours (Salon, 1877-78). Works: A Morning in Dieppe (1880); The Cobbler's House (1883). —Meyer, Kunst. Lex., iii. 362. BELLANGFi, (JOSEPH LOUIS) HIPPOLYTE, born in Paris, Feb. 16, 1800, died there, April 10, 1866. History and genre painter, pupil of Gros and of the Ecole des Beaux Arts. First attracted attention by his lithographs. Exhibited in nearly every salon from 1822 to 1866. Medals: 2d class, 1824, 1855; L. of Honour, 1834; Officer, 1861; Director of the Rouen Museum, 1837-54. Many of his works have been engraved. Works: Battle of Moscowa (1822), Plaster-Cast Peddler (1833), Return from Elba (1834), Battle of Fleurus, Blow with the Stirrup (1836), Battle of Wagram (1837), Battle of Loano (1838), Battle of Altenkirchen, Soldier's Family, Custom House in Lower Normandy (1839), Battle of Hondschoote (1840), Assault of Teniah de Mouzaia, Soldier in the Hospital 127 BELLANGER (1841), Conscript Departing, Soldier Re- member of Academy in 1703; held in great turning (1842), Battle of Corogne (1843), honour by the French and Polish courts Battle of Ocafia (1845), Versailles Museum; and the Pretender James III. Works: PorTrumpeter's Farewell, Kellermann's Charge traits of Maria Leczinska and Son, of Dauat Marengo (1847), Rouen Museum; The phin Louis, of the Sculptor Lerambert, of Gallant Hussar (1849); Good Priest, Mayor's himself, Versailles Museum; Portraits of Harangue (1850); Passage of the Guad- Louis XIV., his Queen, his Sisters, Ducharrama, Retreat from Russia, Review after ess of Orleanls, Stanislaus Leczinska, Carthe Battle (1852), Emperor of Russia; dinal Polignac.-Dussieux, Memoirs in(dits, Charge of Cuiracsiers (1853); Battle of ii. 233; Jal, 187; Larousse; Meyer, Kiinst. Alma, Night-Watch (1855); Capturing a Lex., 369. Russian Ambush (1857), Farewell Salute, BELLE, AUGUSTIN LOUIS, born in Battle in Streets of Magenta, Assault on Paris in 1757, died there, Jan. 12, 1841. Malakoff (1859), Marseilles Museum; Two History painter, son and pupil of Clement Friends (1861); Incident of Battle of Louis B. Succeeded his father in 1806 as Magenta (1863); Cuirassiers at Waterloo, inspector of the Gobelins manufactory. Marching Past after Victory (1865); Beaten Works: Tobias Blessed by his Father Squadron of Cavalry, The Guard Dies, his (1788); Ruth and Boaz (1791); Mars crownlast work (1866). —Larousse; Meyer, Kinst. ed by Venus (1801); Allegory of Peace Lex., iii. 361; Meyer, Gesch., 473; Revue (1817), Rouen Museum; Hagar in the Desert des d. Mondes, 1866, June 1; Kunst-Chro- (1819), Tours Museum.- Meyer, Kuinst. nik, i. 62. Lex., iii. 369; Bellier. BELLANGER, CAMILLE FELIX, born BELLE, CLEMENT LOUIS MARIE in Paris; contemporary. History painter, ANNE, born in Paris, Nov. 16, 1722, died pupil of A. Cabanel, and of Bouguereau. there, Sept. 29, 1806. History painter, son Medal, 2d class, 1875. Works: Death of of Alexis Simon, pupil of his mother Marie Abel (1875), Luxembourg Museum; Cleom- Nicole Horthemels and of FrancoisLemoine; brotus II., King of Sparta (1876); Bacchante member of Academy in 1761; professor in (1877); Angel at the Tomb (1877); Scene 1765 and rector in 1790. After 1755 Infrom Hell, after Dante (1878); Scene from spector of the Gobelins manufactory, Paris. Dante (1879); Idyl, Young Faun (1880); Works: Purification of the Churches after Twilight and Morning (1881); Coucou! the Desecration of 1722 (1759), St. Merry, (1882); Cupid Asleep, A Florist (1883); Au Paris; Archangel Michael as Victor (1767), Luxembourg (1885).-Meyer, Kiinst. Lex., Soissons Cathedral; Christ, Parliamentiii. 363; Kunst-Chronik, xii. 618. Building, Dijon; Return of the Prodigal BELLAY, PAUL ALPHONSE, born in Son, Lille Museum.-Larousse; Meyer, Paris, March 22, 1826. Portrait and genre Kinst. Lex., iii. 369. painter, pupil of Picot and of Henriquel BELLE F lRONNIIfRE, Leonardo da Dupont; entered in 1851 the Ecole des Vinci, Louvre; wood, H. 2 ft. x l ft. 5~ Beaux Arts, and received in 1852 the Roman in. Bust, head three quarters, turned to prize for engraving. Since 1861 exhibited left, dressed in a red robe, ornamented with first Italian genre subjects; then mostly embroidery and gold bands; hair confined water colour copies after Raphael. Medals with a f6ronni're or frontlet. Long supin 1866, 1867, 1869; L. of Honour, 1873.- posed to be a portrait of the noted mistress Meyer, Kuinst. Lex., iii. 368. of Francis I., La F6ronniere, so called either BETLLE, ALEXIS SIMON, born in Paris, because she was the wife of a rich feronnier Jan. 12, 1674, died there, Nov. 21, 1734. (iron-monger) or of a bourgeois named Jean Portrait painter, pupil of Fran(:ois de Troy; Fhron, whose jealousy is said to have been 128 BELLE the primal cause of the king's death. Be- Washing at Low Title, Clearing in the lieved by some to be the portrait of Lucrezia Woods, Charcoal-Burners' Hut (1874); Crivelli, mistress of Ludovico Sforza, Duke Fleet of Sardine Fishermen (1875); Cutting of Milan, painted by Leonardo about 1497; in the Woods, In the Woods with Hoarand by M. Delecluze a likeness of Ginevra Frost (1879); Fish-Pond in Forest of Aigne Benci. But the picture is called by Pere (1880); Before a Storm, Autumn (1881); Dan in his Tresor des Merveilles de Fon- 1 Fishing in Arctic Regions at Hammerfest, tainebleau (1642), portrait of a Duchess of Town of Karasjok in Lapland (1882); IPierced Rock in Calvados, Pond in May (1883): Life in the Forest, Swamp in Isle of France (1884); Hoar Frost (1885).-L'Art A^__ I~~ ~(1875), i. 281. ~/'f \f " I ~ BELLEGAMBE, JEAN (Jehan), born at Douai, about 1475 (?), died there after 1533. Flemish school; history painter, and one \ -\\ ~of the best masters in Flanders of that period; enjoyed great fame, especially in his _\0^ 41 \ Inative city, and was styled le maitre des couleurs. Works: Polyptych with Trinity and eight other pictures (about 1511), Notre Dame, Douai; two altarwings with Glorification of the Virgin (1526), Museum, ib.; Adoration of Infant Christ (1528), Preparing for Crucifixion, Cathedral, Arras; Altar / / f with Last Judgment, Berlin Museum; ~/ p8 I iAdoration of the Magi (?), Madrid Museum. — Biog. nat. de Belgique, ii. 126; Forster, Denkmale, x. iii. 7; Meyer, Kunst. Lex., iii. 371; Michiels, iv. 150; W. & W., ii. 525. Belle Feronnibre, Leonardo da Vinci, Louvre. BELLEL, JEAN JOSEPH, born in Mantua, and it has lately been shown that Paris, Jan. 26, 1810. Landscape painter; Leonardo really painted (1500) a portrait of pupil of Ouvrie; sent his first picture to the Isabella d'Este Gonzaga, Marchioness of Salon of 1836. In 1856 he visited AlgeMantua. As the features are wholly unlike ria, and has drawn many of his subjects those of Isabella in Titian's picture in the from there. He is noted for his charcoal Vienna Museum, La Belle Feronniere may drawings. Medal, 1st class, 1848; L. of be considered still unidentified. -Vasari, Honour, 1860. Works: View of the Close ed. Mil., iv. 61; Cl6ment, 214; Rigollot, of St. Mark in Rouen (1836); Christ and the Hist. des Arts, i. 297; Heaton, Leonardo, Samaritan Woman, Environs of Clermont, 15, 268; Acad. (1870), i. 123; Villot, Cat. Gorge of Atrans, View of Massa (1846), Louvre; Mindler, Essai, 123; Ch. Blanc, Duchess of Orleans; Daphnis and Chloe Ecole florentine. (1853); Flight into Egypt (1855); Street in BELLE JARDINIERE. See Madonna Constantine (1857); Landscape with Ruins, Belle Jardiniere. The Halt, Oasis in the Sahara (1859); BELL1E, LEON (Le Goaesbe) DE, born Oasis of Tolga, Road from El-Kantara at Ploermel (Morbihan); contemporary. to Bathna (1861), Ch. Evrard, Paris; Landscape painter, pupil of Montfort. Solitude or Road from Medeah to Boghar Paints sometimes marine views. Works: (1863), Luxembourg Museum; Environs of 129 BELLER Naples, Chartres Museum; Joseph led into scape, Bellevue Castle, Berlin; Guachero Captivity, Daphnis and Chloe, Crow Lake Cave in Venezuela, Replica, with Humboldt (1864); Gypsies Travelling (1865); Road and Missionaries, National Gallery, Berlin; from Chateldon to Montpeyroux, Banks of Plateau of Merida, Coast of Laguayra, Lake the Th6rain (1866); Arabs running from a Urno, three Tropical Wood Landscapes, Fire, Saw-mill on the River Sillet (1868); Sierra Nevada, Abrida in the Andes, Valley The Last Fine Days, Environs of Medeah of Caracas, Falls of Terni, Castel Gandolfo, (1869); Mountains of Lachant (1870); Road Palace of Queen Joanna, Giant's Grave and from Boghar to Boussaada, Environs of Sacrificial Stone, New Museum, Berlin.Cassis (1873); Environs of Allevard (1874); Meyer, Kiinst. Lex., iii. 376; Rosenberg, From Constantine to Batna (1875); Arabs Berl. Malersch., 328; Zeitschr. f. b. K., iv. Looking for Camping Ground (1876); Viva- 118. rais, Road from Medeall to Boghar (1879); BELLET DU POISAT, PIERRE ALEnvirons of Toulon, Across Algeria (1880); FRED, born at Bourgoin, Isere, Oct. 5, Ravine of Constantine, Arabian Improviser, 1823, died in Paris in Sept., 1883. History, Lachaux Road (1881); View in Trani, Saw- landscape, and marine painter, pupil of mill in Valley of Therain (1882); Kabylia, Drolling and of Flandrin; entered lcole Environs of Puy-Guillaume (1883); Castle of des Beaux Arts in 1845, followed at first the Chateldon, Approach to Biskra (1885).-La- style of Delacroix, later that of the Venerousse; Meyer, Gesch., 768, 777; Miiller, tians, and has more recently, in landscape 39; Vapereau, 175.. and marine painting, imitated the Dutch. BELLER, ALEXANDER IVANOVICH, Works: Marguerite in Church (1857); Enborn in St. Petersburg, Aug. 5, 1804, died try of the Hussites into the Council of Basle there, Feb. 25, 1870. Pupil of Venezianoff (1859); Jews in Captivity (1868); Christ and of the St. Petersburg Academy. Was served by Angels, Christ walking on the a deaf mute, and devoted his whole life to Waters (1875); La Nuit dans le Port (1879); the art education of deaf mutes. Works: Mill of Dordrecht, Canal near Scheveningen, Room in a Palace, Peasant's Room (1833), Rural Wedding, Fight of the Centaurs with Twelve Pictures of Saints for Deaf-Mute the Lapiths (1880); Canal in the Dunes Asylum, and Obuchow Hospital, St. Peters- (1881); Banks of the Meuse, Marine (1882); burg.-Meyer, Ktinst. Lex., iii. 375. Entrance to the Harbour of Marseilles BELLERMANN, FERDINAND, born at (1883).-Meyer, Gesch., 288; Larousse. Erfurt, March 14, 1814. Landscape painter; BELLEVOIS, J., second half of 17th cenpupil, under Blechen, of the Berlin Acad- tury, died in Hamburg in 1684 (?). Dutch emy and of Schirmer, visited with Friedrich school; marine painter; mentioned as setPreller in 1839 Rugen, in 1840 the Nether- tfled in Hamburg about 1673-80. Works: lands and Norway, and in 1842, on Hum- Calm Sea with Vessels, Madrid Museum; boldt's suggestion, was sent to South Slightly Agitated Sea (1659), Dr. A. BreAmerica by King Frederick William IV. dius, Amsterdam; Storm on Rocky Coast He returned in 1845, with three hundred (1664), Brunswick Gallery; Similar subject, sketches in oil and drawings, now in the Consul Weber, Hamburg.-Meyer, Kunst. National Gallery, Berlin, devoted himself to Lex., iii. 378; Riegel, Beitrage, ii. 410. teaching in 1849, visited Italy in 1853-54, BELLINI, GENTILE, born probably at and became professor at the Berlin Acad- Padua in 1426-7, died in Venice, Feb. 23, emy in 1866. Since his second journey to 1507. Venetian school; eldest son and pupil Italy in 1877, he has alternately treatedl of Jacopo Bellini, in whose studio he and Italian and Tropical subjects. Works: Stu- his brother Giovanni laboured until Jacobenkammer on Rugen, Norwegian Land- po's death. Gentile probably settled in 130 BELLINI Venice about 1460, but no picture of his is Blanc,;cole v6nitienne; Vasari, ed. Mil., iii. known earlier than 1464, when lie painted 149, 175; Meyer, Kiinst. Lex., iii. 391; the doors of the great organ of San Marco. PV GENTILIS BELLINVS 0o PV S G EN TI LI S' BELLINVS $ In 1465 he finished the apotheosis of Ltbke, Gesch. ital. Mal., i. 534; Zeitschr. Lorenzo Giustini- f. b. K., xiii. 341. ani, now in the lum-. i BELLINI, GIOVANNI, born in Padua, ber room of the A or Venice, about Venice Academy. 1428, died there, From this time his i Nov. 29, 1516. career is obscure VenetiIan school; until 1474, when he younger brother A,, was appointed to re- of Gentile Bellistore the pictures ni, and with himl / ' in the Sala del Gran Consiglio, Venice. His pupil and assistworks were highly praised by his conten- ant of his father, poraries, and accepted as masterpieces by Jacopo, in Pad- / / the government. In 1479 he was sent with ua. While there two assistants, at the expense of the state, lie was brought to Constantinople, where he painted the por- i n t o c o n t a c t trait of M'ehemnet II., now owned by Sir H. with Mantegna, his future brother-in-law, A. Layard. He also brought back a picture, then a pupil of Squarcione, and adopted now in the Louvre, representing the recep- many of his peculiarities, combining them tion of a Venetian Embassy by the Grand with those of his father. This is shown in Vizier. On his return to Venice he resumed the Paduan character of his Christ's Agony his labours in the Council Hall, in conjunc- in the Garden, National Gallery, London, a tion with his brother Giovanni, and painted picture long ascribed to Mantegna. The four great canvases in oil illustrative of the same mingling of the Venetian and Paduan legend of Barbarossa, and other pictures of styles appears in his Pieta in the Lochisevents connected with Venetian history, Carrara Gallery, Bergamo, which is full of which were for the most part destroyed in Mantegnesque grimness. His Pietd in the the fire of 1577. But it was not until the Brera, Milan, is less rigid. A third Pieta close of the century that Gentile rose to a (1472) is in the Palazzo Ducale, Venice. lofty position. His Miracle of the Cure was About this time he produced his vast tempainted about 1494. He appears at his pera of the Madonna with Saints, burned in best in the Procession and Miracle of the S. Giovanni e Paolo, Venice, a noble work Cross (1496 and 1500), Venice Academy, which proved that he was capable of grand and in the Sermon of St. Mark, at Alexan- composition and loftiness of style. In 1473 dria, Brera, Milan. The last picture, which Antonello da Messina introduced at Venice was finished by Giovanni Bellini after his the use of oil, and Giovanni, recognizing its brother's death, is fine in composition and advantages, laboured earnestly to enlarge full of power, showing that he had consider- the practice of the new medium. Constant ably advanced beyond his father. Other improvement rewarded his efforts, until he works: Glorification of first Patriarch of at last painted his grand altarpiece, the MaVenice (1465), Academy, Venice; Portrait donna with Saints, Venice Academy, which of a Doge, Museo Civico, ib.; do. of Caterina established his fame. After this he was Cornaro, Pesth Museum; Madonna, Berlin chiefly employed until his death in painting Museum.-C. & C., N. Italy, i. 117; Ch. in the Sala del Gran Consiglio in the Pa 131 BELLINI lazzo Ducale, reserving, however, a right to accept private commissions. When at the height of his fame he had among his pupils Giorgione and Titian, who were to perfect the rich system of colouring of which lie must be regarded as the true founder. Ruskin says of Bellini that he is the only artist who united, in equal and magnificent measure, justness of drawing, nobleness of colouring, and perfect manliness of treatment, with the purest religious feeling. Among Giovanni's best works are: Transfiguration, Naples Museum; Circumcision, Castle Howard, England; Madonna (1487), Madonna between SS. Paul and George, and the Madonna of the Admiralty Court, Venice Academy; Madonna with Saints and Angels (1488), Sacristy of the Frari, Venice; Mladonna and Doge Barberigo (1488), S. Pietro Martire, Murano; Baptism of Christ (1501), S. Corona, Vicenza; MJadonna with Saints (1505), S. Zaccaria, Venice; Madonna with Saints, Louvre. Early in the century Albert Durer visited Venice, and a question afterward arose whether he was influenced by Bellini or Bellini by him; but it is doubtful if even Diirer could teach the Venetians any secrets of colour. Botli he and Dufrer had great respect for each other's talents, and were firm friends. Giovanni's pictures in the Sala del Gran Consiglio were burned in the fire of 1577. While engaged upon them he painted but few other pictures; but there are a Madonna (1510) by him in the Brera, and a SS. Christopher, Augustin, and Jerome (1513), in S. Giovanni Crisostomo, Venice, the latter of which bears the impress of his assistant, Basaiti. In 1514 he began the Bacchanal, Alnwick Castle, England; and in 1515 he painted the Venus, Vienna Museum. His Portrait of the Doge Loredano, St. Peter Martyr, Christ's AgIOANNES BELLINVS ony in the Garden, Landscape with Martyrdom of St. Peter, Madonna and Adoration of the Magi, are in the National Gallery, London.-C. & C., N. Italy, i. 139; Ch. Blanc, ]Icole venitienne; Seguier, 15; Dohme, 2iii.; Vasari, ed. Mil., iii. 149, 175; Ruskin, Stones of Venice; Meyer, Kiinst. Lex., iii. 400; Liibke, Geschi. ital. Mal., i. 523. BELLINI, JACOPO, born in Venice about 1400, died about 1464. Venetian school; pupil of Gentile da Fabriano, whom lie accompanied in 1422 to Florence, where he was known as Jacopo di Venetia. On account of a personal encounter with a young Florentine he took service on the galleys of the state. Criminal charges were preferred against him in his absence, and on his return from sea he was imprisoned for contempt of court shown in non-appearance at the trial. He was released in 1425 after doing penance and paying a fine, and five years after was in Venice, as is proved by an autograph note in his sketch-book, now in the British Museum. He is afterward found in Verona, and later at Padua, where he established a studio, in which his sons Gentile and Giovanni worked, and where his daughter Nicolosia married Andrea Mantegna. Jacopo was a draughtsman of quick hand and clear perception, and though his knowledge of anatomy was not profound, he gave fair proportions to his heads. He held a middle course between the conventionalism of his predecessors and the naturalism or classicism of the rising schools; indeed, he worthily began what his son Giovanni and Titian perfected. He can scarcely be judged as a colourist, for only two greatly injured panel pictures of his early time remain: a half length of the Virgin and Child in the collection of the Counts Tadini at Lovere, and another of the same subject in the Venice Academy. A Crucified Saviour on canvas in the Museo Civico, Verona, is a good illustration of his style. His Crucifixion on the wall in the Cathedral of Verona, painted in 1436, was destroyed in 1759, but is preserved in a copy in the Casa Albrizzi, Venice.-C. & C., N. Italy, i. 100; Vasari, ed. Mil, iii. 149, 175; Meyer, Kunst. Lex., iii. 336. 132 BELLOC BELLOC, JEAN HILAIRE, born at Florence; Old Woman, Madrid Museum; Nantes, Nov. 27, 1786, died in Paris, Dec. do., Stuttgart Museum. -Meyer, Kiinst. 9, 1866. Genre and portrait painter; pupil Lex., iii. 430; Zanetti, Pitt. Venez., of Regnault and of Gros. Medal of 1st 513. class in 1810, after which exhibited pictures BELLOTTO, BERNARDO, born in Venin nearly every salon till 1850. Was di- ice, Jan. 30, 1720, died ill Warsaw, Oct. 17, rector of the free school of design in Paris 1780. Venetian school; landscape and more than forty years. L. of Honour, architecture painter; nephew and pupil of 1846, Officer, 1864. Works: Death of Gaul Canaletto, by whose name lie is sometimes (1810); Traveller in Egypt who has lost his knownl; went to Rome, probably about Way (1812); Rest of Holy Family (1831); 1740, afterwards to Germany; worked in Death of St. Louis, (1838, ordered by State); Munich, and afterwards in Dresden, where Portraits of the Duchess de Berri (1824), he was employed by Count Brtiil and beCount Boissy d'Anglas (1830), of Michelet came court painter to Augustus III. In (1845), and many others.-Meyer, Kiust. 1758 lie went to Vienna, and painted views Lex., iii. 427; Larousse. of the city and the imperial palaces until BELLOSIO, CARLO, born in Milan in 1762, when he executed paintings for Au1805, died at Bellaggia, Sept., 1859. History gustus IH. in Warsaw, before returning to painter; pupil of Pelagio Palagi. He ad- Dresden, where lie became a member of the hered to the classical style, but showed Academy in 1764. About 1766 lie is said early a certain power of invention, and after to lhave visited St. Petersburg, and in 1767 1829, without deserting his school, strong Warsaw, where he was court painter to individual talent. He excelled in fresco, King Stanislaus II. in 1770. At first an imbut executed also many drawings and oil itator of Canaletto, he developed later an paintings. He was overtaken by death independent style, marked by cool light when about to execute a colossal painting effects and great clearness in architectural for King Charles Albert, the Crossing of details. Works: Two Views of Turin, Tuthe Beresina, to prepare studies for which rin Gallery; Views of Varese, Brera, Milan; he had made a journey to Russia in 1845. Views in Vienna and of Schinbrunn and Works: Scene from the Flood (1839-41), Schlosshof, Ruins of Thebes, Hungary, ViInstitution of the Order of Annunciata enna Museum; Views of Konigstein and (1842), Royal Palace, Turin; Beheading of Pirna, Liechtenstein Gallery, Vienna; View St. John, fresco (1830), S. Protaso, Milan; of Munich (probably also four Views in Allegory, Casino della nobile Societa, Milan. Venice, ascribed to Antonio Canaletto), -Meyer, Kiinst. Lex., iii. 429. Munich Gallery; Views in Dresden and BELLOTTI, PIETRO, born at Volzano Pirna, Venice, Verona, etc. (38), Dresden in 1627, died at Gangnano in 1700. Vene- Gallery; two landscapes, Berlin Museum; tian school; pupil of Michele Ferrabosco, Views in Venice (3), Cassel Gallery; Views in Venice, where he went at twenty. He of Ducal Palace and Piazzeta in Venice, faithfully imitated nature with great minute- Darmstadt Gallery; Ducal Palace in Venice ness of detail, then very unusual. This, (ascribed to which made him a favourite portrait painter, C analetto), is observable in his characteristic figures Stadel Gal- / from low life, but in historical scenes he is lery, Franknot free from the mannerism of his time. fort; View of the Brenta, Brussels Museum; He was much employed by foreign courts. two Views of Rome, Amsterdam Museum; Works: Half figure of Old Woman, Museo Rialto, Hermitage, St. Petersburg.-Meyer, Civico, Venice; Portrait of himself, Uffizi, Kunst. Lex., iii. 437. 133 BELLOWS BELLOWS, ALBERT F., born at Mil- Augsburg Gallery; Lot and Daughters, ford, Mass.; contemporary. Genre painter; Solomon sacrificing to the Gods, Schleissstudied in Paris and at the Royal Academy heim Gallery; Rebecca at the Well, Isaac, of Antwerp, and painted in England and Finding of Moses, Pommersfelden Gallery; Wales. Elected an A. N. A. in 1859, and Mary and Elizabeth, St. John, Nuremberg N. A. in 1861. In 1865 he visited England, Museum; Cupid and Psyche, Cupid and where he turned his attention entirely to Venus, Munich Gallery; Venus feeding a water colours. In 1868 was elected honorary Dove, Madonna, Dresden Gallery; Rape of member of the Royal Belgian Society of Helen, Rape of the Sabine Women, Cassel Water-Colourists. Studio in New York. Gall e r y; Works in oil: Sorrows of Boyhood, First 4 B. e A A 4c 4 Groups of Pair of Boots, City Cousins, Lost Child, Ap- Children, proaching Footsteps, Sunday in Devonshire Venus and Cupid, Liechtenstein Gallery, (1876); New England Village School (1878); Vienna.-Meyer, Kinst. Lex., iii. 433; NagParsonage (1879); Building Air Castles ler, Mon., i. 1785. (1880); Bird Song (1881); Near the Head BELLUCCI, GIUSEPPE, Cavaliere, born of Tide Water, Country Byway (1882); in Florence in 1827, died there, Feb. 8, Godalming-Surrey, England, Hillside 1882. History painter; pupil of Bezzuoli (1883). Works in water colour: Notch at and of Pollastrini; professor in Florence Lancaster (1867); Afternoon in Surrey Academy; Knight of Order of SS. Maurice (1868); Borders of the New Forest, Surrey and Lazarus. Works: Hagar, Paul before Byway, Dark Entry-Canterbury, Reaper's Poppaea, Death of Alessandro de' Medici Child, Study of a Head, New England (1865), Genoa Museum; Emanuel Philibert Homestead, Devonshire Cottage, Autumn arranging an Alliance between Savoy and Woods, Village School (1878).-Tuckerman, France against Austria (1870), Royal Collec486; Art Journal (1877), 47. tion; Finding of Manfred's Body (1880).BELLUCCI, ANTONIO, born at Pieve di Kunst-Chronik, v. 145. Soligo in 1654, died there in 1726. Vene- BELLUNELLO, ANDREA, born at S. tian school; pupil of the amateur Domenico Vito, Friuli, flourished 1460-1490 in Udine Definico, a nobleman of Sebenico, and and Friuli. Venetian school. A provincial formed himself afterwards after Sebastiano master, with whom art in Friuli may be Bombelli and Antonio Zanchi. He worked said to have begun. His altarpieces show in Treviso, Venice, Vicenza, and Verona, and hard outlines, bony figures, and heavy colin 1709 was called to Vienna by Joseph I., ouring. Works: Crucifixion (1476), Town who made him court painter. He painted Hall, Udine; Madonna (1488 and 1490).the Emperor's portrait, and was employed Meyer, Kuinst. Lex., iii. 435; C. & C., North also under Charles VI., but especially by Italy, ii. 176. Prince Liechtenstein, whose palace he deco- BELLY, LEON ADOLPHE AUGUSTE, rated. From Vienna he was summoned to I born at Saint-Omer, March 10, 1827, died Dusseldorf, by the elector John William, in Paris, March 25, 1877. Landscape and after whose death, in 1716, he went to Eng- portrait painter; pupil of Troyon and of land, and painted for the court and several I T. Rousseau. Travelled in the East, and nobles. He seems to have returned to Italy was one of the best French painters of Orisoon after 1722, and in 1724 was also active ental life and scenery. Medals: 3d class, again in Venice. He was one of the most 1857, 1867; 2d class, 1859; 1st class, 1861; prominent masters of the Venetian school L. of Honour, 1862. Works: Forest of before Tiepolo. Works: Marriage Cere- Fontainebleau, Shell Fishers of Normandy mony of the Elector John William, Danae, (1855); Village of Ghiseh, Desert of Nas134 BELMONTE soub, Inundation of the Nile (1857); Plain of Ghiseh, Dyke on the Nile (1857); Evening in the Desert of Tyh, The Nile, Pilgrims to Mecca (1861), Luxembourg Museum; View of a Harbour (1861), Strassburg Museum; Sacki6s of Lower Egypt, Street in Cairo (1863); Fellahs drawing a Dahabieh (1864); Dead Sea (1866); Sirens (1867); Evening, Mahmoudieh Canal (1868); Religious Festival in Cairo, Dorad Fishing (1869); Fairies' Pond, The River Sauldre, Ruins of Baalbec (1874); A Pond, A Meadow, The Sauldre (1875); Montboulan Ford, Dahabieh Aground (1877).-Bellier; Larousse; Meyer, Kiinst. Lex., iii. 436. BELMONTE Y VACOS, MARIANO, born at Cordova, Spain, died at Valencia in 1864. Landscape painter; was professor in the art-schools of Cadiz and Valencia. Medals, 1858, 1860, 1862. Works: Casa de Campo at Madrid (1859), Grotto of Palomas near Valencia (1865), Museo Nacional, Madrid.-Meyer, Kiinst. Lex., iii. 437. BELOVED, THE, Dante Gabriel Rossetti, George Rae, Birkenhead, England; canvas. Illustration of Song of Solomon. Five life size, three-quarters length female figures and a negro girl, the last in front of the group, bearing roses in a golden vase. The marriage procession has halted, and the bride, clad in apple-green silk, has removed the veil from her face and throat, while her companions press closely around her, forming a mass of glowing colour.-Athenaeum, Oct., 1875, 444; Jan., 1883, 93. BELSHAZZAR'S FEAST, Washington Allston, Museum Fine Arts, Boston, Mass.; canvas, H. 12 ft. 6 in. x 18 ft. 6 in. Daniel interpreting the handwriting on the wall to Belshazzar at his feast (Dan., v.). In foreground, the king, queen, Daniel, and four magicians; behind them a group of Jewish men and women, and beyond the banquet tables with many guests; in distance on an elevated platform a golden statue of a god, with worshippers. Begun in England and brought, in 1818, to Boston, where it was purchased by several citizens for $10,000, part of which was advanced. Allston hoped to finish it in six months, but, on account of criticisms of Gilbert Stuart, determined to make a radical change in the perspective. It remained in his studio until his death, when it was left unfinished, his last week's work having been spent on it.-Memorial Hist. Boston, iv. 395; Knickerbocker Mag., xxiv. 205; Tuckerman. BELTRAFFIO (Boltraffio), GIOVANNI ANTONIO, born in Milan in 1467, died there, June 15, 1516. Lombard school. Taught in the old Milanese school of Foppa and Civerchio, he came under the influence of the new founded by Leonardo da Vinci. His colouring is, however, brighter, and his contrasts of light and shade more vigorous. His best works are: Mladonna of the Casio Family (1500), Louvre; Madonna, Casa Poldi, Milan; Madonna, Bergamo Gallery; male portrait, Ambrosian Library, Milan, and two portraits at the Isola Bella. The portrait of the Marechal de Chaumont, Charles d'Amboise, in the Louvre, by Beltraffio, or Andrea Solario, has been attributed to Leonardo da Vinci.-Vasari, ed. Mil., iv. 51; Burckhardt, 703; Miiller, Essai, 122; Rio, iii. 205; Ch. Blanc, ]icole milanaise; Liibke, Gesch. ital. Mal., ii. 446. BELTRANO, AGOSTINO, born at Naples, died there in 1665. Neapolitan school; history painter; pupil of Massimo Stanzioni, married his fellow-scholar Aniella di Rosa, whom he stabbed in a fit of jealousy in 1649, fled to France and returned to Naples in 1659. Was a good fresco painter, and a colourist in oil of considerable merit. Works: Legend of St. Biagio, S. Maria della SanitA, Naples; Cupola, S. Maria della Donna Regina, ib.; Ceiling in a Chapel, S. Maria la Nuova, ib.; three panels in oil, ib.-Meyer, Kiinst. Lex., iii. 447. BEMBO, BONIFAZIO or FAZIO, of Cremona, died about 1500. Lombard school. In 1455 was in the service of Duke Francesco Sforza, and in 1461-7 was among decorators of the palaces at Milan and Pavia. In 1467-8, painted in fresco portraits of 135 BE M1 O Duke Francesco, then deceased, and his widow in S. Agostino, Cremona. His style was formed after that of Vittore Pisano, and Gentile da Fabriano.-C. & C., N. Italy, ii. 438; Vasari, ed. Mil., vi. 492; Calvi, Professori in Milano, 84, 95; Ch. Blanc, Icole lombarde. BEMBO, GIAN FRANCESCO, called I1 Vetrajo (the Glazier), died about 1526. Lombard school; younger brother and pupil of Bonifazio Bembo; probably studied later in Venice and in Rome. His Epiphany and Presentation in the Temple, painted about 1516, il the Cremona Cathedral, were long ascribed to Bonifazio. Lanzi praises his Madonna and Saints, dated 1524, in S. Pietro, Cremona.-Lanzi, ii. 427; Vasari, ed. Mil., v. 147; Ch. Blanc, ]cole lombardte; C. & C., N. Italy, ii. 454. BEMBO, PIETRO, portrait, Titian, Palazzo Barberini, Rome; canvas, life-size, seen to elbows. In the red hat and dress of a cardinal. Painted in 1540.-Vasari, ed. Mil., vii. 455; C. & C., Titian, ii. 28; Burckhardt, 718. BEMBO, PIETRO, portrait, Titian, Nardi Collection, Venice; canvas, half length. Profile, bearded. Painted about 1537; replica of an earlier one, now missing?-Vasari, ed. Mil., vii. 455; C. & C., Titian, i. 418. BEMMEL, PETER VON, born in Nuremberg, Aug. 18, 1685, died there in 1754. Landscape painter; German school; son and pupil, though not an imitator, of Wilhelm von Bemmel (1630-1708). He travelled much, and was held in repute, especially at Viirzburg and Bamberg. Works: Sunrise, Sunset (Bamberg); three battle pieces, seventeen landscapes (Nuremberg); twenty landscapes (Wiirzburg). His brother Johann Georg (1669-1723), also his sons, grandsons, and nephews, were all artists of more or less distinction.-Meyer, Kunst. Lex., iii. 493; Fiorillo, iii. 369. BiNARD, AUGUSTE SEBASTIEN, born in Paris in 1810. Horse painter; pupil of Granger and of Lafond. Works: In terior of Stable, Road in Normandy (1859); Stable Interior (1863); Military Funeral, Team Laden with Square Stones (1864); The Carrabas, Wagon of Fishmongers (1865); Military Funeral under Louis XII. (1867). BI;NARD, HUBERT EUGENE, born at Bologne-sur-Mer, April 29, 1834. Genre and marine painter; pupil of Claudius Jacquand. Bronze medal, Rouen 1860. Works: Return from Fishing, Around Boulogne-sur-Mer (1857), Close of Oyster Fishing, Environs of Ambleteuse, Morning (Boulogne Museum); After Shipwreck, EbbTide, Unloading of Fishermen's Boats (1859); View of Houses of Parliament, London (1863); Return from Fishing on Coast of Normandy (1864); Burial of Shipwrecked (1865); Saving on the Sea, Mouth of Thames (1866); Steamship arriving at Boulogne During a Storm (1868); Before the Departure, In the Harbour of Boulogne (1867).Meyer, Kiinst. Lex., iii. 497. BENASCHI (Beinaschi), GIOVANNI BATTISTA, Cavaliere, born in Turin in 1636, died there, Sept. 28, 1688. Pupil of the portrait painter Spirito, in Turin, and of Pietro del P, in Rome, where he made drawings after the frescos of the Carracci. He is said to have visited Modena to study the works of Correggio. His best pictures show graceful action, but the colouring is dull and heavy. The fresco style of Lanfranco had the most lasting influence upon his manner.-Meyer, Klnst. Lex., iii. 497. BENASSAI, GIUSEPPE, born at Reggio, Calabria, July 29, 1835, died in Florence, Dec. 5, 1878. Landscape painter; pupil, in Reggio, of Cavaliere Lavagna, then in Naples of Fergola, but soon returned to Reggio, and in 1857 went to Rome, where he continued his studies independently. After his return home he executed many works, and in 1863 settled in Florence. Visited Egypt in 1869. Works: Torrente di Melito, Souvenir of Lago Maggiore, Feudal Boundaries, Arrogance and Virtue, The Friendless (1859-63); Among Flowers, 136 BENCI Among Thorns (1863-64); Hay Harvest (1865); Marshes of Ostia (1867); Repose (1868); Aspromonte (1868); Suez Canal, Lion of the Desert, Arrival of Arab Merchants at Ghizeh, Bedouin Tents at Ismailia, View of the Pyramids, The Nile near Elephantine, Sunset in the Desert (1869); Camel Buyers at Cairo, Rest in a Palm Grove, Rest in the Plain of Sivert, Caravan in the Desert, Sycamores of Upper Egypt. -Meyer, Kiinst. Lex., iii. 498. BENCI, GINEVRA. See JMonaca, La. BENCZUR, GYULA (Julius), born at Nyiregyhaza, Hullgary, Jan. 28, 1844. History painter; pupil, from 1861, of Munich Academy under; Hiltensperger a n d Anschiitz, then in 1869, of Piloty; travelled in Austria-Hungary, a % //Southern Germany, / ' France, and Upper It- / aly; though invited to Weimar and Prague, preferred to settle at Munich, where he became instructor in 1875 and professor in 1880 in the Academy; now director of Pesth Academy. Works: Farewell of Ladislaus Hunyady (1867), Pesth Museum; Arrest of Rakoczy in 1701 (Johnston sale, New York, 1876, $3,750); Scene from Hamlet (1869); Louis XV. in the Boudoir of Dubarry; Family of Louis XVI. during the Assault on Versailles (1872), D. O. Mills, New York; Baptism of St. Stephen (1875), Pesth Museum; Ladies resting in the Woods, The Almsgiver (1877); Bacchante (1881); Deserted, Hungarian Insurance Convention in 1857 (1883). -Meyer, Kiinst. Lex., iii. 502; Muller, 40; Kunst-Chronik, iv. 86, vi. 113, ix. 437, 492, xi. 370, 531, 563, xii. 709; Illustr. Zeitg. (1878), 211; (1881), i. 8. BENDEL, HANS SIGMUND, born at Schaffhausen, Oct. 18, 1814, died there, Nov. 28, 1853. History and genre painter; pupil in Munich of Kaulbach and Schlotthauer; visited the Tyrol in 1837 and Italy in 1838, and took part in the Swiss campaign of 1847. Best known by his designs for illustrated works. Works: Four Scenes from Swiss History (1852-53); Illustrations to Goethe and Schiller Gallery, to Hebel's Poems and to Pestalozzi's Lienhard and Gertrud.-Meyer, Kiinst. Lex., iii. 503. BENDEMANN, EDUARD (JULIUS FRIEDRICH), born inBerlin, Dec. 3,1811. Add History and portrait painter; pupil of 'X ^ Schadow, whom he tw\ followed to Diisseldorf in 1827 and to < Italy in 1830. After his return hle at once established his fame, by his Jews in Exile \\ (1832, Reichartz Gallery, Cologne); obtained the great gold medal in Paris, in 1836, and after living for two years in Berlin was appointed professor at the Dresden Academy. Between 1840 and 1855, he decorated the throne and ballrooms at the royal palace in Dresden with frescos. In 1859-67 he was director of the DUsseldorf Academy, where (1861-66), as well as at Naumburg and Berlin, he painted several monumental works. He is member of many German Academies, and of the Institut de France, has had the degree of Doctor conferred upon him by the philosophical faculty of the Berlin University, and is decorated with many medals and orders. Works: Boaz and Ruth (1830); Girls at Well (1833); Servian Princesses (1834); Jeremiah among the Ruins of Jerusalem (1836), Royal Palace, Hanover; Harvest (1836); Shepherd and Shepherdess (1845); Jeremiah at the Fall of Jerusalem (1872), National Gallery, Berlin; Penelope (1877), Antwerp Academy; Three Caravan Scenes (1880); Sacrifice of Iphigenia (1882); Emperor Lothair, R6mer, Frankfurt; Portrait of Artist's Wife (1847), Portraits of Heinrich Brockhaus (1851), W. Schadow (1861), Antwerp Academy; Prince Anton 137 BENDEMANN von Hohenzollern (1864), Sigmaringen Castle; Jos. Joachim (1868, Berlin, and 1870, London), Rob. Reinick (1873), Gen. von Obernitz and Wife (1877), portrait of himself (1879), Antwerp Academy.-Illustr. Zeitg. (1874), i. 66; (1882), i. 91; Meyer, Kanst. Lex., iii. 504; Wolfg. Muller, Dusseldf. K., 29; Kugler, Kl. Schriften; KunstChronik, i. 132; Pecht, iii. 261. BENDEMANN, RUDOLF, born in Dresden, Nov. 11, 1851, died at Pegli, near Genoa, in May, 1884. History and genre painter; pupil of the DUsseldorf Academy under his father, Eduard; was in Munich in 1877-79, then visited Egypt. Works: Frithiof and Ingeborg (1874); frieze paintings (1876), National Gallery, Berlin; Nymph (1877); Beer-Sale (1878); Burial of Frauenlob, Festival in 16th Century, Luteplayer (1879); Tavern Scene in Bavaria (1880); Procession in Cairo, Well in Egypt (1881).-Meyer, Kiunst. Lex., iii. 511; Kunst-Chronik, xix. 516. BENDZ, VILHELM FERDINAND, born at Odense, Denmark, March 20, 1804, died at Vicenza, Nov. 14, 1832. Genre and portrait painter; pupil of Copenhagen Academy under C. V. Eckersberg, where he won several prizes; studied in Munich 1831-32, visited Tyrol, died on his way to Rome. Works: Model School at the Academy, Artist looking at Sketch in Mirror (1826), Sculptor working from Life Model (1827), Copenhagen Gallery; Beggar Woman and Child, Portraits of Frederic VII., Christian IV. in Battle of Femern (1828).-Weilbach, 52. BENEDETTO, IL. See Castiglione, Gio. Benedetto. BENEDICT, ST., Paolo Veronese, Pitti, Florence; canvas, H. 6 ft. 6 in. x 4 ft. 6 in. St. Benedict, in episcopal robes, standing between Placidus and Maurus, his disciples; in front kneel five nuns, one of whom bears a tiara; another, St. Scolastica, has a dove at her feet; above, like a glory, the marriage of St. Catherine. Engraved by G. Bonatti. -Gal. du Pal. Pitti, iv. P1. 20. BENEDICTER, JOSEF, born at Fischin. gen, Wiirtemberg, June 4, 1843. Architecture painter; pupil, from 1863, of Munich Academy, lastly under Alex. Wagner, until lie joined in the campaign against France, in 1870. After the war he went to Holland, and in 1876 visited Florence, Rome, and Naples. His paintings and his cabinet pictures are masterly in technic and effect. Works: Portal of Town Hall in Rothenburg (1869); View in Heidelberg Castle (1872); Young Green-Grocer, Roman Portal, Gothic Cloister (1873); Peasant's Room in Sunlight (1879); Kitchen in Castle Neuenstein, Tinker (1881); Alone at Home (Wm. Astor, New York); Cradle (J. T. Martin, Brooklyn); Rural Interior (D. O. Mills, New York).-Meyer, Ktinst. Lex., iii. 526. BENEFIAL, MARCO, Cavaliere, born in Rome in 1684, died there, April 2, 1764. Roman school; pupil of B. Lambert; began to exhibit in 1703. After his marriage in 1707 met with a series of privations, and was obliged to associate himself with one Germisoni, a mediocre but busy painter, and, for a share of the profits, do the greater part of the work. In 1718 he received an order from Pope Clement XI., followed by others from different churches, which bettered his situation. In competition with Domenico Muratori he painted, in 1731, his most important work, the Flagellation of Christ. For a short time he was professor at the Accademia di S. Luca. Having become blind, he depended, during his last years, on the charity of his patron, Count Soderini.Meyer, Kiinst. Lex., iii. 531; Lanzi (Roscoe), i. 511. BENFATTO, LUIGI (Alvise), called Dal Friso, born at Verona in 1559, died at Venice in 1611. Venetian school; history painter; nephew, and for many years in the studio of Paolo Veronese, whom, in the outset, he copied even to servility; afterwards gave himself up to an easy and rapid style of composition. Works: Ccnstantine's Dream before the Battle with Maxentius, God the Father with Angels and Evangelists, 138 PENIJAMIN Six Scenes in Life of Christ, S. Niccol, dle' News. Is at present (1885) United States Mendicanti, Venice; Christ lbefore Pilate,;Miinister to Persia. Works: Porta da Cruz Last Supper, S. Luca, ib. Several in other -Madeira (1876(), Philadelphia; Gibraltar, churches, ib.-Meyer, Kiinst. Lex., iii. 533. P ico Azores, White Island, Marine Gallery, BENJAMIN-CONSTANT, JEAN JO- London; Daybreak off tile Corbieu, After SEPH, born in Par- the Storm, On the Breakers, Twilight on is, June 10, 1845., the Grand Banks (1879); Shark's NoseGenre painter; pu-. Maine (1880); Among the Breakers (1881); pil of Cabanel and 8 y Stormy Sunrise-Manchester by the Sea of icole des Beaux (1882). Arts; usually paints BENKERT, EMERICH MARIA, born in Oriental subjects. Vienna, March 27, 1825, (lied there, Jan. 21, Medals: 3d class, / i' / 1855. Genre, landscape, and( portrait 1875; 2d class, p/ ainter; pupil of Academy of Design, 1876; 3d class, Pestll, then in Vienna of Schrdll and Wald1878; L. of lion- miiller. Works: Poachers on the Track our, 1878; Officer, (1850); Temptation, Alpine Herdswomen 1884. Works: Hamlet and the King (1869); find a Dead Huntsman, Sermon (1851); Too Late (1870); Samson and Delilah Chamois Hunt, Rest, Mother's Love, Love's (1872); Women of Riff, Moorish Butchers Sacrifice (1852); Adventure in the Mounat Tangiers (1873); Street Corner in Tan- tains, Mist, View in Styria, Expectation, giers, Square in Tangiers (1874); Morocco Ideal Landscape (1853); A Puszta (1854); Prisoners (Fletcher Harper, New York; numerous portraits; Artist's Portrait, Nasold in 1884 for $1,400); Women of Harem tional Gallery, Pestli.-Meyer, Ktinst. Lex., in Morocco (1875); Entrance of Mohammed iii. 538; Wurzbach, i. 276. H. into Constantinople, May 29, 1453 BENNER, EMMANUEL, born at Mul(1876); Thirsty Prisoners in Morocco, house, Alsace, in March, 1836. Genre, Harem in Morocco (1878); Terraces at portrait, and still-life painter; pupil of Eck. Evening, Emir's Favourites (1879); Last Medal, 3d class, 1881. Works: Game and Rebels (1880), Luxembourg Museum; Ca- Fruits (1868); Guitar Player (1873); Revliph's Recreations, Herodias (1881); Christ erie, Rubinello (1874); Abandoned (1875); in the Tomb, Day after Victory at the Al- Madeline, The Captives (1876); Venus and hambra (1882); Tahamy the Caid (1883); Adonis, Family of the Stone Age (1877); Les Che'rifas (1884); Justice of the Cherif Lacustral Family (1878); Bathers, Swans -Moorish Spain in 15th century (1885). (1880); Repose (1881); Three Graces (1883); Portraits of Emmanuel Arago and others. Innocence (1884); Nymphs (1885). BEN JAM IN, SAM U EL GREEN BENNER, JEAN, born at Mulhouse, AlWHEELER, born at Argos, Greece, in sace, in March, 1836. Genre, portrait, and 1837, son of an American missionary to the still-life painter; twin brother of Emmanuel Levant. Landscape and marine painter; B.; pupil of Eck and of Pils. Medal, 2d studied drawing and water-colour painting class, 1872. Works: Petite Falle de Capri, with Carlo Brindisi of the Spanish and Ital- Flowers and Fruits (1868); Margherita, ian school; came to America and became a Luisella (1870); After a Storm at Capri pupil of S. L. Gerry and W. E. Norton. (1872); After Professional life spent in Boston and New Baptism, New JEAN BFNNNER York. Mr. Benjamin has illustrated many Year's Serenade works of which he is author, and at one (1874); Trappist in Prayer (1875); Athetime contributed to the Illustrated London nian Women surprised by the Pelasgi of 139 BENNET Lemnos (1876); Briseis and Patroclus (1878); mentana (1884); Ford of Malavaux, Cascade Street at Capri (1880); Carmela, House at of l'Ardoisi6re (1885).-Gaz. des B. Arts, xvi. Capri (1881); Girls going to the Fountain 285; xvii. 13. (1882); Peonies, Alsacian Girl (1883); Belle BENOUVILLE, (FRANCOIS) L1iON, of Scio, Poppies (1884); Poppies (1885). born in Paris, March 30, 1821, died Feb. BENNET, KARL STEFAN, born in 19, 1859. History and portrait painter; Sweden, May 26, 1800, died in Stockholm, brother of Achille B.; pupil of Picot; won March 27, 1878. Landscape and genre in 1845 the grand prix de Rome (history) painter; studied in Italy, and became mem- for his Jesus in the Judgment Hall. His ber of Stockholm Academy in 1840. Works: portraits are remarkable for truth and simHomage to Charles XIV.; Military Review at plicity of action. Medals: 2d class in 1852 Ladugardsgardet; Unveiling of Equestrian and 1855, 1st class in 1853; L. of Honour, Statue of Charles John (1854); several 1855. Works: Mercury and Argus (1839); of his best works in National Museum, Hermit and Slothful Knights (1841); Judith Drottningholm.-Meyer, Kiinst. Lex., iii. (1844); Esther (1845); Christian Martyrs 539. (1852); Francis of Assisi Dying (1853), BENNEWITZ VON LOFEN, KARL, Louvre; two Pigeons, Raphael meeting the born at Thorn, Nov. 15, 1826. Landscape Fornarina, Poussin on the Tiber (1857); St. painter; pupil of Schirmer in Berlin and of Clara receiving the Body of St. Francis, Albert Zimmermann in Munich. After Joan of Arc (1859); Portraits of Queen travelling in the Tyrol, Upper Italy, South- Hortense, Napoleon, Artist's Wife and two ern France, and Scotland, he settled in Daughters.-Ch. Blanc, Ecole francaise; Berlin (1856), and painted many pictures Meyer, Gesch., 399. now in private collections. Works: Fish BENOZZO. See Gozzoli. Pond before Sunrise, Wood Path, Beech BENSA, ALEXANDER VON, Ritter, Wood on Rugen, Village in Brandenburg, born in Vienna, July 15, 1820. Genre and Wood Interior, Spring in Brandenburg, battle painter, self-taught, imitates, to a cerAutumn Fog, On the Heath, Outlook tain degree, A. von Pettenkofen; painted on Baltic Sea.-Meyer, Ktinst. Lex., iii. the figures in Ad. Obermiillner's North Pole 540. cycle. Many of his works were bought by BENOUVILLE, ACHILLE (JEAN), born the Emperor of Austria; several are in the in Paris, July 15, 1815. Landscape painter; Duke of Coburg's collection in Vienna. pupil of Picot; won in 1845 the grand prix Works: Retreat from K6niggratz, Skirde Rome (landscape) for his Ulysses and mish at Schweinschedl, Battle near TannenNausicaa. Long resident at Rome, where berg, Hungarian Market, On the Puszta, he painted many pictures of the Campagna Hungarian Election Scene.-Meyer, Kiinst. in oil and water-colour, remarkable for their Lex., iii. 553. local truth and elegance in design. Medals: BENSO, GIULIO, born in Pieve del Tecco, 3d class, 1844; 1st class, 1863; L. of Honour, about 1601, died in Genoa in 1668. Geno1863. Since 1867 he has resided in Paris. ese school; pupil of Gio. Battista Paggi; Works: Etruscan Tombs at Sutri in neigh- excelled in architecture painting and in bourhood of Velletri; St. Peter's; Tivoli; perspective. Several works in fresco in Torre de' Schiavi; The Via Nomentana, C. l'Annunziata del Gustato, Genoa, and in C. Perkins, Boston; Castel Fusano; Colise- S. Antonio, Pieve del Tecco. Was also an um seen from the Palatine (1870); Pic du architect and an engraver.-Lanzi, iii. 262; Midi (1872), Mrs. A. T. Stewart, New York; Ch. Blanc, Rcole genoise. Chateau de Lugagnan (1873); After the BENSON, EUGENE, born at Hyde Park, Bath (1883); Border of l'Aumance, Via No- New York, in 1839. Figure and genre 140 BENT painter; pupil of National Academy and of J. BENTELE, MAX, born at Lindenberg, H. Wright, later studied in Paris and Venice. Bavaria, July 20, 1825. History painter; Has lived and painted in New York, Paris, pupil of Munich Academy, under ZimmerVenice, and Rome; and sketched in Egypt mann, Schlotthauer and H. von Hess, then and Syria. Elected an A. N. A. in 1862. Stu- under Schnorr and Schwind; in 1850-52 dio in Florence since 1871; in Rome in painted under Schraudolph seven frescos 1883. Works: Cloud Towers, Strayed in the cathedral at Speyer, and in 1861-63 Maskers, (1873); Interior of St. Mark's-under Steinle in the staircase of the CoVenice; Reverential Anatomist (1876), St. logne Museum. Works: Ascension (1864); Luke's Hospital, New York; Bazaar at Twelve Apostles (1865); Coronation of the Cairo, IHay Boats, Peasants of Cadore at Virgin (1868-69); Peter tending the Flock, Religious Worship, Market-Place- Egypt Delivery of the Keys, and three other pic(1877); Study of Girl in Blue, Suydam Col- tures (1872-73); Ascension (1874); Altarlection, National Academy; Hashish Smok- piece (1878); two Ceiling-Paintings (1881); ers-Jerusalem, Slave's Tower (1878); Glorification of Christ (1882).- Meyer, Thoughts in Exile, Mrs. M. 0. Roberts, IiKnst. Lex., iii. 557. New York; Reverie; Making the Best of BENTIVOGLIO, GUIDO, Cardinal, porIt, Artists' Fund Society; Dead Calm on the trait, Anton Van Dyck, Palazzo Pitti, FlorHill; Fire Worshippers (1879); Mountain ence; canvas, H. 6 ft. x 4 ft. 3 in.; signed, Torrent (1881); Distinguished Company in dated 1623. Full length, in cardinal's robes, Titian's Garden, State Secret in Venice seated in an arm-chair before a table, holding (1882); Spring, Art and Love, Afternoon a paper with both hands. One of the painter's on the Lagoon, Ariadne (1883). masterpieces. Carried to Paris; restored BENT, JOHANNES VAN DER, born in 1816. Engraved by Piccianti; Meysin Amsterdam about 1650 (?), died in 1690. sens; and in bust by J. Morin; Masquelier Dutch school; landscape painter; pupil of fils. Etched by Gaujean (1882).-Smith, Philips Wouwerman and of Adriaan van iii. 46; Guiffrey, 54; Filhol, iv. P]. 245. de Velde, but appears rather as a follower BENVENUTI, GIO. BATTISTA. See of Berchem. Works: Italian Landscape Ortolano. with Shepherds, Rotterdam Museum; Lnd- BENVENUTI, PIETRO, born at Arezzo, scape with Span of Oxen, Stockholim Mu- Jan. 8, 1769, died in Florence, Feb. 3, 1844. seum; two Landscapes with Figures and History painter; studied in Florence after Cattle, Hermitage, St. Petersburg. By P. Andrea del Sarto and in Rome after Raphael; Bent, otherwise unknown, an Annuncia- adhered in his early works to manner of tion to the Shepherds, in the Brunswick David, but developed an independent style, Gallery.-Meyer, Kunst. Lex., iii. 556; Rie- and, with Camuccini, was looked upon as one gel, Beitrage, ii. 283. of the first of moderni Italian painters. Lived, BENTELE, FIDELIS, born at Tettnang, after 1805, in Florence, where he became Wtirtemberg, April 8, 1830. History paint- director of the Academy. Works: Judith er; pupil of Munich Academy, and, under with Head of Holofernes, Arezzo Cathedral; BernhardNeher, of Stuttgart Art-school, then Ugolino (1822); Death of Priam, Oath of studied in Italy, 1856-59. Since 1865 profes- the Saxons after the Battle of Jena, Delphic sor of drawing at the school of architecture Sibyl, Death of St. Chrysogonus, Ravenna in Stuttgart. Works: The Good Samari- Cathedral. Works in fresco: Myth of Hertan, Allegory on Poetry and Music, Stuttgart cules, Palazzo Pitti, Florence; Scenes from Gallery; others in churches at Stuttgart, Old and New Testament, Chapel of S. LoCannstatt, Ravensburg, Tettnang, etc.- renzo, Florence. -Meyer, Con. Lex., iii. Meyer, Kunst. Lex., iii. 557. 182. 141 BENZ BENZ, SEVERIN, born at Marbach, to a Young Girl (1836); Music Lesson St. Gall, Switzerland, March 14, 1834. His- (1837); Return to the Country (1838); tory, portrait, genre and landscape painter; Christ Asleep (1839); Consequences of Sepupil of Munich Academy, under Anschiitz duction (1840); Guardian Angel (1846); and Piloty, then made a study trip to Ven- Peasant Family (1849); The Rich and Poor ice and North Italy. His religious paintings Children (1852); Children Surprised by are elevated in conception and brilliant in Rain (1853); Sleep, The Professor (1857); colour. Works: Christ Appearing to Mag- Repentant Fisherman, Fruit-Seller (1859). dalen (1857); Bandits in Ambush, Mother's His daughter Susanne Estelle (Mme. Apoil), Happiness (1862); St. Joseph, Madonna, distinguished herself as a flower and fruit Resurrection (1863); Come, ye that are painter. Medal, 2d class, 1858.-Meyer, heavy-laden! Descent from tile Cross Ktinst. Lex., iii. 570; Larousse, ii. 563. (1866); Crucifixion, Christ and the Woman BEIRANGER, CHARLES, born at Sevres, of Samaria (1869); Landscape at Wallensee; Nov. 21, 1816, died in Paris, May 15, 1853. Flight into Egypt (1879); Christ on the Still-life, animal, genre, and portrait paintCross(1883). In fresco: Siege of Carmagn-| er; son of preceding; pupil of Ecole des ola by the Elector Max Emanuel in 169)1 Beaux Arts and of Delaroche. Medals: 3d (1865), National Museum, Munich. —Meyer, class, 1839; 2d class, 1840. Works: KitchKtinst. Lex., iii. 565. en Interior (1837); Scene in Life of HenBENZON, CHRISTIAN ALBRECHT riette of France (1839); Peasant Woman at VON, born in Copenhagen, June 11, 1816, the Well, Maid watering Horse, Laundress died in Paris, Sept. 30, 1849. Historical and (1840); Fruit-seller's Booth (1842); View of genre painter; pupil of Copenhagen Acad- March6 des Jacobins, Dog Portraits (1846); emy; went to Dusseldorf in 1840 or 1841, Dog and Game (1848); Dogs Running, to Paris in 1845, where lie received a gold Working Horses, Child with Chickens medal from Louis Philippe. Works: Last (1851); Two Roosters (1853).-Meyer, Kiinst. Confession (1842); Sinner on his Deathbed, Lex., iii. 571. Death of Don Juan; Death of St. Canut BERANGER, tfIMILE (JEAN BAPTISTE (1844); Norman Chief taking Italian City ANTOINE), born at Sevres, Aug. 30, 1814. (1846); Louis IV. of France recognizing at Genre painter; brother of preceding; first Rouen Richard I. and Descendants as Dukes employed in decorating porcelain at Se vres of Normandy, Town Hall, Rouen.-Weil- with his father, Antoine B. His favourite bach, 56. subjects are young women of the working BEIRANGER, ANTOINE, born in Paris, class in pretty costumes, fresh and clear in May 19, 1785, died at Sevres, April 21, colour. Medals: 3d class, 1846; 2d class, 1867. History, genre, and portrait painter; 1848. Works: Simon Memmi painting studied under several masters, and was one Laura (1840); Seamstress, Young Girl of the best artists of the older school. For boiling Milk (1846); Day after the Ball, years employed at the porcelain factory at Reading Lesson, Hiding a Letter (1848); Sevres, and contributed largely to its ce- Order and Disorder (1863); First Joys lebritv. Medals: 3d class, 1839; 2d class, (1864); The New Maid (1866); Hopeful 1840; L. of Honour, 1841. Works: Wo-!Lad (1868); Young Mother, Winm. H. Vanman and Children at Husband's Grave derbilt, New York; Bouquet, C. Parsons, (1814); Autumn (1819); Wandering Musi- St. Louis; Voice of the Shell, T. Dolan, cians; Rural Wedding (1822); Seduction Philadelphia; Fair Oyster-Opener, Glass of (1824); Susanna (1827); Young Shepherd Lemonade, Where has it Gone? Mrs. R. L. Asleep, Wounded Traveller (1833); Prisoner Stuart, New York; Consoling the Widow, (1835); Old Man interpreting a Holy Book C. P. Huntington, New York; Madam's 142 1E3 IZRAtu Robes, Madam's Chocolate, J. Hoey, New York. BERAUD, JEAN, born in St. Petersburg, of French parents; contemporary. Genre and portrait painter; pupil of Bonnat. Medals: 3d class, 1882; 2d class, 1883. Works: Leda (1877); Soiree (1878); Condolences (1879); Public Ball (1880); Montmartre (1881); The Intermediary, The Vertigo (1882); The Brewery, The Prayer (1883); Les fous (1884); portrait of Coquelin (1885). BERCHEM (Berghenm), CLAAS (Nicolaas) PIETERSZ, born in Haarlem, baptized Oct. 16, 1620, died in Am- sterdam, Feb. 18,. 1683. Dutch school; land- scape, animal, his-? / tory, and portrait painter; son and pupil of Pieter Claasz; pupil of J. van Goyen, N. Moyaert, P. de Grebber, Jan Wils, whose daughter he married, and J. B. Weenix. In June, 1642, he entered the guild in Haarlem, where he worked until 1670, having probably visited Italy in 1648-55, and finally settled in Amsterdam. His early pictures resemble the works of Weenix, but his later ones, representing landscapes enriched with architectural ruins and charming groups of figures and cattle, are original and interesting. His historical and mythological pictures are not so successful. He was a good etcher. Works: Landscape with Ruin, and three others, National Gallery, London; Winter Landscape, and six others, Amsterdam Museum; Pastoral (1648), WildBoar Hunt, Italian Ford, Convoy Attacked, Hague Museum; Rocky Landscape, and ten others, Louvre; several in Munich Gallery; do, Dresden Gallery; Shepherds and Cattle, Woman on Donkey, Vienna Museum; Winter Landscape with figures, three others, Berlin Museum; Halt of Hunters, Rape of Europa (1656), thirteen others, Hermitage, St. Petersburg.-Allgem. d. Biogr., ii. 350; Clh. Blanc, ELcole hollandaise; Brockhaus, ii. 820; Dohme, 1. ii.; Kugler (Crowe), ii. 446; j. S, ay 1, Meyer, Klinst. Lex., iii. 573; Riegel, Beitriige, ii. 375; Van der Willigen, 76. BERCH ERE, NARCISSE, born at Etamlpes (Seiie et Oise), in 1822. Landscape painter; pupil of Renoux and of R6 -mond. Paints Oriental scenes with great truth to nature; good in composition, drawing, and colour. Medals: 3d class, 1859, 1861, 1864, 1878; L. of Honour, 1870. Works: a Caravan caught in a Simoom, Colossus of Meinnon (1859); Caravan crossing the Desert, Temple of Hernlontis (1861); Twilight in Lower Nubia (1864), Luxembourg Museum; Mouth of the Nile at Lesbeh (1870); three Views on the Nile (1875); Mahalet-el-Kebir (1876); The Nile between Cairo and Isle of Rodah, View at Thebes (1878).-Larousse; Meyer, Kunst. Lex., iii. 582. BERCK-HEYDE (Berk Heyde), GERRIT, born at Haarlem, baptized June 6, 1638, died there, June 10, 1698. Dutch school; landscape and architecture painter; pupil probably of Frans Hals, and of his elder brother, Job B., whom he accompanied to Cologne and Heidelberg, where they were employed for some time at the court of the Elector Palatine. Master of Haarlem guild in 1660. Works: View of Amsterdam (1668), Antwerp Museum; Old City Hall (1677), View of the Spaarne at Haarlem, three Views of Old City Hall (one dated 1604), Landscape with Castle Egmond, Amsterdam Museum; View of Cologne, Rotterdam Museum; two Views in Amsterdam, Stadel Gallery, Frankfort; Flock of Sheep driven through Gate, Cassel Gallery; View of the Dam (1689), Kunsthalle, Carlsruhe; I i I 143 BERCK View of Heidelberg Castle, Copenhagen Gal- I lery; View at The Hague, Berlin Museum; two Views in Amsterdam (one dated 1665), do. in Cologne and Bonn, Schwerin Gallery; Square before Ancient Buildings, Hunting Party, Dresden Gallery; View in Haarlem (1673, attributed to Job), View in Amsterdam, Hermitage, St. Petersburg; View of Haarlem Cathedral, View in Cologne, Uffizi, Florence.-Meyer, Kinst. Lex., iii. 586; Van der Willigen, 79. BERCK-HEYDE (Berk Heyde), JOB, born at Haarlem, baptized Jan. 27, 1630, died there, Nov. 23, 1693. Dutch school; landscape, architecture, and genre painter; pupil of Jacob de Wet, and of Frans Hals; Master of Haarlem guild in 1654. Went with his brother Gerrit up the Rhine as far as Heidelberg, where they were patronized by the Elector Palatine; after their return to Haarlem they lived together, both remaining unmarried. Works: Interior of Old Exchange at Amsterdam (1678), Arenberg Gallery, Brussels; Studio of Frans Hals, Joseph's Brethren in Egypt (1669), Interior of Old Exchange, Church Interior (1664), Amsterdam Museum; Courtesan's Room, Rotterdam Museum; Interior, Stidel Gallery, Frankfort; Family Assembled before House, Meiningen Gallery; Church Interior, Gottingen Gallery; Soldiers on Guard, Amalienstift, Dessau; Winter Landscape, Berlin Museum; Christ and the Children (1662), Man at Breakfast, Schwerin Gallery; Interior of Haarlem Cathedral (1665), Dresden Gallery; two Landscapes, two Animal Pieces (?), Liechtenstein Gallery, Vi- -C k fC enna; Artist's Portrait (1675), Uffizi, Florence. - Meyer, Ktinst. Lex., iii. 585; Quellenschriften, xiv. 362; Van der Willigen, 78. BERCKMAN, HENDRIK, born at Klundert, near Willemstad, in 1629, died at Middelburg (?) in 1690. Dutch school; portrait painter; pupil at Haarlem of Philips Wouwerman, and in Antwerp of Willeboorts and *Jordaens; entered the guild at Leyden in 1654, probably only for a short time. Court painter to Count Henry of Nassau, after whose death he settled at Middelburg. De Bie speaks highly of his archery pieces and the portraits of Admirals de Ruyter and Evertsen. Works: Portrait of Vice-Admiral Bankert (1648), Amsterdam Museum; do. of Joost van Trappen, Rotterdam Museum.-Meyer, Kiinst. Lex., iii. 587. BERDELLIP, JOHANN BAPTIST, born in Mentz, May 15, 1813, died in Munich, July 19, 1876. History and portrait painter; pupil of Diisseldorf Academy, under Scha(low, visited (1841-45) Paris, and North Italy, especially Venice, then settled in Municli, where he was greatly influenced by Genelli and by Rahl. Undeserved opposition and disparagement on the part of the reigning clique drove hiin to suicide; he drowned himself in the Isar. Works: Blind Nirnrod (1847); two Religious Pictures with Saints (1854); Female Portrait (1856); Maria Hilf! The Four Seasons (1861); Myth of Arion, Hagen with the Mermaids (1867); fourteen Groups from Greek Mythology (1871), Staircase, Polytechnic Institute, Munich; Scene from Life of Psyche (1876). -Meyer, Kiinst. Lex., iii. 589; KunstChronik, xi. 801. BERG, ALBERT, born in Berlin in 1825, died at Hallstadt, Austria, Aug. 19, 1884. Landscape painter, pupil at Geneva of Guigon; studied from nature in southern France, north Italy, and Switzerland; in 1844 went from Naples with the Grand Duke of Mecklenburg to Malta, Smiyrna, and Constantinople. Studied, 1846-1848, in Paris and Italy and, on Humboldt's suggestion, went in 1849 to Central and South America, and returned to Berlin in 1850, bringing with him a rich collection of sketches, now, with others from Rhodes and Lycia, in the National Gallery. In 1853-54 he lived in Rhodes, visited Lycia, and in 1860 joined the Prussian expedition to Eastern Asia. After journeys through the Alpine countries, Scotland and Greece, he spent the winter of 1873-74 in Athens, and in 1878 became S44 BERG director of the Breslau Museum. Works: two Views in Primeval Forests of New Granada (1852); Views in the Tropical Woods; do. in Rhodes and in Lycia; Cairo from Road to Boulak, Kata-men Gate at Peking (1873).-Meyer, Kiinst. Lex., iii. 595; Kunst-Chronik, viii. 806. BERG, ALBERT (JOSEF ALBERT SOULT), born in Stockholm, Sept. 19, 1832. Marine painter; pupil of Stockholm Academy, then of Diisseldorf Academy, under Andreas Achenbach; visited Holland and Belgium, studied in Paris under Ary Scheffer, then visited Italy and Sicily, and in 1865 settled in Stockholm. He is a deaf-mute, and one of the most ardent promoters of the education of deaf-mutes in Sweden. Works: Fight between Swedish Ship and English Men-of-War in 1704 (1870), and two others, Stockholm Museum.-Meyer, Kiinst. Lex., iii. 596. BERG, JACOBUS EVERARDUS JOSEPHUS VAN DEN, born at Rotterdam, Nov. 8, 1802, died at The Hague, July 20, 1861. History painter; son and pupil, at Rotterdam Academy, of Gysbertus Johannes van den Berg (1769-1817), then pupil of Antwerp Academy, and of Herreyns. After eight years in Italy attained great success in Paris, then became professor, and in 1844 director, of The Hague Academy. Works: Self-Sacrifice of Admiral de Ruyter; Scene from Maid of Perth (1839); Scenes in Lives of Jacoba van Bergeren, Jan van Schaffelaar, and Claudius Civilis; Fall of the Angels; St. Lawrence; Supper at Emmaus.-Immerzeel, i. 44; Kramm, viii. 11. BERG, SIMON VAN DEN, born at Overschie, near Rotterdam, Nov. 4, 1812. Animal and landscape painter; pupil at Rotterdam Academy of Gillis de Meyer, and at The Hague of Pieter G. van Os, then settled in Amsterdam, in 1841 at Heemstede, near Haarlem, and in 1875 became conservator, and in 1880 director, of the Royal Gallery at The Hague. Gold medal, Amsterdam, 1838; member of Amsterdam (1839) and Ghent (1841) Academies. His pictures represent mostly cows or sheep at pasture.-Immerzeel, i. 45. BERGAMASCO. See Lotto, Lorenzo. BERGAMASCO, IL, born at Bergamo about 1500, died in Madrid in 1579. Genoese school. Real name Giambattista Castello, but called Bergamasco to distinguish him from the noted miniature painter of the same name, who died at an advanced age in 1637. Came early with the painter Aurelio Busso to Genoa, where he won reputation as a painter; studied painting, architecture, and sculpture in Rome. In 1567 went to Spain, at invitation of Philip II., and executed works in the Escorial, the Pardo, and other palaces.-Lanzi, iii. 246; Ch. Blanc, ifcole G6noise. BERGEN (Berghen), DIRK VAN, flourished in Haarlem in 1661-90. Dutch school; landscape and animal painter; pupil of Adriaan van de Velde, whom he imitated successfully. About 1673 he opened a studio in London; afterwards returned home (about 1680?). Sometimes painted figures in the landscapes of Philips de Koninck. Works: Two Landscapes (one dated 1688), Louvre; do., Amsterdam, Berlin, and Vienna Museums; four, Schwerin Gallery; four (one dated 1682), Dresden Gallery.Meyer, Kiinst. Lex., iii, 599. BERGER, JULIUS VICTOR, born at Neutitschein, Moravia, July 10, 1850. History, genre, and portrait painter; pupil of Vienna Academy and of Ed. Engerth; won the grand prize for Rome in 1874, and spent three years in Italy. Professor at Industrial Art-School in Vienna since 1881. Works: Baptism of Borivoi; Emperor Rudolph II. and Keppler (1871); Spring's Entry (1878); Portrait of Botanist Fenzl (1879), Vienna Academy; All Soul's Day (1881); Decorative Paintings (1882), Palazzo Zierer, Vienna.-Meyer, Kiinst. Lex., iii. 605; Neue illustr. Zeitg. (1878), ii. 663; (1881), i. 85. BERGERET, DENIS PIERRE, born at Villeparisis (Seine-et-Marne); contemporary. Still-life painter; pupil of Karl Dau I I I I i i II II I I I i i 1::k 'i 145 BIERGCERIET bigny. Medals: 3( class, 1875; 2(1 class, 1877. Works: Dessert, Lobster (1875); Prawns, Preparations for Dessert (1877); Flies' Feast, War-Art-Religion (1880); Lucky Day, Present from Pomona (1881); The Tide (1882); For the Fete-Days, Salt and Fresh Water Crustaceans (1883); Thrushes, Raisins (1884). BERGERET, PIERRE NOLASQUE, born in Bordeaux, Feb. 2, 1782, died in Paris, Feb. 21, 1863. History, genre, and portrait painter; pupil of Lacour, the elder (1745-1814), of Vincent and of David; exhibited first in the Salon of 1806, when lie won the grand prix. Medal: 1st class, 1808. Works: Raphael's Obsequies (1806); Francis I. and Henry VIII. on the Field of the Cloth of Gold (1808); Charles V. picking up Titian's Brush (1808), Portrait of Louis Philippe, Museum, Bordeaux; Christ Crowned with Thorns, Cathedral, ib.; St. Louis in Prayer, Notre Dame, ib.; Czar Alexander presenting to Napoleon the Calmucks, Cossacks, and Bashkirs of the Russian Army (1810), Versailles Gallery; Henry IV. on his Bier, Meeting at Tilsit of Alexander and Napoleon (1810); Anne Boleyn listening to her Sentence (1814); Francis I. writing Verses inspired by Agnes Sorel (1817), Rembrandt in his Studio (1836), Fontainebleau; Homer Reciting, Michelangelo, grown blind, touching an Antique Torso (1817); St. Louis at Damietta, Lippo Lippi delivered from Captivity, Poussin's Obsequies (1819); Court of Marguerite of Navarre, Charles V. in Prison, Tintoretto and Aretino (1822); Shipwreck of Charles V. (1824); Claude Lorrain and Innocent X. (1831); Death of Titian (1833); Excavation of the Laoco6n, Soliman II. buying Roxelana, Henry II. and Diana of Poitiers (1835); Education of Jupiter, Republic Triumphant (1849); Charity, Death of Columbus (1851).-Larousse, ii. 582; Meyer, Kunst. Lex., iii. 606. BERGH, JOHAN EDVARD, born in Stockholm, March 29, 1828, died there, Sept. 23, 1880. Landscape painter; pupil of the Stockholm Academy; won first prize in 1853, and studied then in Disseldorf under Gude and in Geneva under Calame. Travelled in 1856-57 in Italy; became, after his return, member of, and in 1861 professor in, the Stockholm Academy. Medals in Stockholm (1866) and Paris (1867). Works: Wood-Interior, Stockholm Museumn; Beech-Wood, Magnus, Gothenburg; Veblungsniis in Romsdal, Astrup, Stockholm; View of Stockholm, Prince of Wales; View in Dalecarlia, Becker, Amsterdam.Brockhaus, ii. 819. BERGHE, AUGUSTINUS VAN DEN, born at Bruges in 1756, died at Beauvais, France, in 1836. History, landscape, and portrait painter; pupil in Bruges Academy of J. A. Geremyn, then from 1780 in Paris Academy of Suv6e; won prize in 1782, returned to Flanders in 1791, won prize in Ghent Academy in 1796, and became professor at the Ecole centrale at Beauvais. Works: Coriolanus with his Family (1786); (Edipus at Colonus; Death of Adonis; St. Anthony of Padua in Ecstasy, Notre Dame, Bruges; (Edipus cursing his Son Polynices (1796), Ghent Museum.-Immerzeel, i. 46. BERGHE, CHARLES AUGUSTE VAN DEN, born at Beauvais (Oise), in 1798, (lied in Paris, Dec. 17 (Nov. 19?), 1853. History and portrait painter; son of preceding, pupil of Girodet and Gros. Medal, 2d class, 1833; L. of Honour, 1839. Works: Quentin Durward and Louis XI., Portrait of Bertini (1833); Descent from the Cross, Temptation of St. Anthony, Magdalen Penitent (1836); Alice and Cora; portraits of Generals Vaubois and Greard, of the composer Koutski, and others.-Meyer, Kfinst. Lex., iii. 612. BERGHEM. See Berchem. BERGLER, JOSEF, born in Salzburg, May 1, 1753, died in Prague, June 25, 1829. IHistory painter; pupil of his father, the sculptor J. B., the elder (1708-88), in Passau, then from 1776-79 of Martin Knoller in Milan, and in 1786 of Maron in Rome. I After winning the great prize of the Acad 146 BElrJION emy at Parma, he became cabinet painter to Cardinal Auersperg, prince bishop of Pas-: sau, and in 1800 director of tile newly founded Academy at Prague. He painted a considerable number of altarpieces for churches in Bavaria and Austria, and several episodes from German and Bohemian history, notably Hermann and Thusnelda, in the Prague Gallery; Libussa as Mediator, Sentence of Duke Spitignev II., Rescue by Bohemian Knights of Charles IV. at Pisa. -Allgern. d. Biogr. ii. 390; Wiarzbach, i. 309. BERJON, ANTOINE, born in Lyons, May 17, 1753, died there in Nov., 1843. Flower and still-life painter, exhibited first in 1791. Medal, 2d class, 1819. Works: Wedding Present (1797); Shells and Corals, A Hare, A Rooster (1810); Flowers and Fruit in Baskets, Grapes, Peonies, Bouquet (1813); Fruitpiece, Dessert (1836); Poppies (1823); Artist's Miniature Portrait (1818), all in Lyons Museum.-Meyer, Kiinst. Lex., iii. 622. BERK HEYDE. See Berck-Ileyde. BERNA. See Barna. BERNAERTS (Bernaerd), NICASIUS, born at Antwerp in 1620, died in Paris, Sept. 16, 1678. Flemish school; animal and still-life painter; pupil of Frans Snyders, 1633-34, then went to Italy and settled in Paris, where he was among the most esteemed Flemish painters; after a few years he went to Antwerp, was received master of St. Luke's Guild in 1654, but soon returned to Paris, where he became member of the Academy in 1663. His piece of reception was an historical pictureChastity of Joseph. In France known almost exclusively under the name of Nicasius. Works: Birds, Birds and Quadrupeds, Louvre, Paris; Animals in a Landscape, Rouen Museum; Fight between Cat and Dog, Dijon Museum.-Biog. nat. de Belgique, ii. 270; Meyer, Kiinst. Lex., iii. 631; Michiels, ix. 76, 288; Rooses (Reber), 425. BERNARD, ST., VISION OF, Murillo, Madrid Museum; canvas, H. 10 ft. 3 in. X 8 ft. 2 in. The Saint in habit of Cistercian Order, kneeling in his cell, belolds the Virgin, on clouds in a glory of cherubs and heads, bearing Jesus on her arml; with her ri(ght hand she presses from her breast a stream of milk, which falls on the Saint's lips; at left, before a case of books, is a table with books, writing materials, and lilies; on floor, in foreground, other books and tile pastoral staff. Second manner; from Palace of S. Ildefonso. Engraved by F. Muntaner, J. Bromley; etched by A. Jameson, C. Alabern.-Curtis, 220; Madrazo, 475. BERNARDINO DI BETTI. See Pinturicch io. BERNARDINO DA COTIGNOLA. See Zaganelli, Francesco. BERNARDO DE FLORENTIA. See Daddi, Bernardo. BERNATZ, JOHANN MARTIN, born at Speyer, March 22, 1802, died in Munich, Dec. 19, 1878. Landscape and architecture painter; pupil at Vienna Academy in 1821, and again in 1827-29, meanwhile of Kellerhofen at Speyer; went to Munich in 1829, visited Constantinople, Asia Minor, and Egypt in 1836-37, Calcutta and Abyssinia in 1840-43, and published, in 1852, an extensive work under the title: Scenes in Ethiopia. Works: Kloster Maulbronn, Speyer Cathedral, Cycle of Water Colours (1858); Rori River in Highlands of Schoa, Nubian Salt Lakes (1871); Church in Monastery on Mount Sinai (1871 and 1877); Court of Suleiman Mosque at Constantinople (1874); View of Suleiman Mosque (1878). — Meyer, Kuinst. Lex., iii. 650; KunstChronik, xiv. 227. BERNAZZANO, CESARE, of Milan, flourished beginning of 16th century. Lombard school; probably pupil of Leonardo da Vinci. Painted landscapes, fruits, flowers, and birds, sometimes in collaboration with Cesare da Sesto, who added the figures in his landscapes. Bernazzano painted the fine landscape background to Cesare's Baptism of Christ, Casa Scotti Galb 1 17 BERNE lerati, Milan.-Vasari, ed. Mil., v. 101; Heath of Kerbagadie, Fountain in Brittany Lanzi, ii. 487; Chi. Blanc, Ifcole milanaise. (18(9); Road near Bannalec (1870); January BERNE - BELLECOUR, RiTI EN NE in Brittany (1872), Luxembourg Museum; PROSPER, born at Boulogne, June 29, D'Anndour at Bannalec (1873); Summer, 1838. Genre, landscape, and portrait Autumn (1875); Wooden Shoe-Makers in painter; pupil of Picot and of F. Barrias. the Woods of Quimerch (1877); Abandoned Medals: 1869; 1st class, 1872; 3d class, Path (1879); Pool (1882); Mist and Sun1878; L. of Honour, 1878. Works: Sou-1 shine (1884); Little Wood, La Lande (1885). venir of Normandy (1861); Road on the -Larousse. Borders of Normandy (1864); Great Heat, BERNINGER, EDMUND, born at ArnView on Norman Coast (1868); Dismounted, stadt,Thuringia, in 1843. Landscape painter; A Sonnet, Amorous Man, Pea Shooter pupil of the Weimar Art School under Theo(1869); After the Procession, Shearing dore Hagen; visited Holland, Italy, Corsica, Sheep in Normandy (1870); Cannon-Shot, and Northern Africa, and settled in Munich. Nest of Cupids (1872); Rent-Day (1873); Works: London Bridge, Venetian Night Intended Husband, Summer Morning Festival (1873); Street in Tunis (1876); Isle (1874); Guerillas of the Seine in Battle of of Capri; Ruins of Carthage; View on the Malmaison (1875); The Desert (1876); In Thames (1880); Street in Cairo; Several the Trenches (1877); On the Ground Views in Egypt. Exhibited at Munich (1879); Attack on Chaiteau of Montb6liard (1883): Evening near Sorrento, Bay of Al(1881); Manoeuvre of Embarking (1882); giers.-Miiller, 45. Prisoner, Strategic Point (1883); Disem- BEROUD, LOUIS, born at Lyons; conbarkation (1885), G. Petit. Works in temporary. History painter; pupil of GourUnited States: Intended Husband, Miss C. det, Bonnat, and Lavastre. Medal, 2d class, L. Wolfe, New York; In the Trenches, F. 1883. Works: Place Saint-Sulpice (1880); Harper, New York; In the Woods, R. L. Place de la Republique (1881); Salon Carre Cutting, New York; Trumpet Practice, B. at the Louvre, (1882); At the Louvre (1883); Wall, Providence.-Larousse. My Studies at Venice (1884); Henri III. at BERNIER, CAMILLE, born at Colmar Venice (1885). in 1823. Land- BERRES, JOSEF VON, born at Lemscape painter; berg, Austria, May 30, 1821. Genre painter; p u p il o f L. pupil of Munich Academy under Piloty (1866 F 1 e u r y. In -69), having until then served in the Austrian 1873 was mem- army where he attained the rank of colonel; ber of the jury commanded a regiment during the camof the Salon. paign of 1866, and was decorated with the Medals: 1868, Order of the Iron Crown. Travelled ex1869; 2d class, tensively in the East, as far as the Cauca( / // 1J 1878; L. of sus and Astrakan. Many of his pictures Honour, 1872. bought for America. Works: Wallenstein / WTWorks: Farm burning Documents; Calmuck Wedding; of Kerluce (1857); Rocks near Plous- Recruiting in Lower Hungary; Dismisgastel (1859); The Gapeau (1861); Village sal of Husz.Ars; Romance on the Heath; of Ploun6sur, Bay of Penhir (1863); Beach Evening Sermon in St. Stephen's, Vienna; of Guisseny, Mouth of the Elorn (1864); Hungarian Horse Fair (1873), Vienna MuseBurning Sea-Weed near Kersaint (1865); urn; Cattle Dealers in the Campagna (1877); Heath near Bannalec (1867); Pond of Qui- Starting of a Picket (1882).-Meyer, Ktinst merch, Path through the Broom (1868); Lex., iii. 679. 148 BERRETTINI BERRETTINI, PIETRO. See Pietro da Cortona. BERRETTONI, NICCOL6, born at Macerata, Dec. 14, 1637, died in Rome in Feb. 1682. Bolognese and Roman school; history painter; pupil at Bologna of Cantarini, then at Rome of Carlo Maratti, who became jealous of his pupil's brilliant success. He formed for himself a mixed style, imitating Guido and Correggio. Works: Marriage of the Virgin, S. Lorenzo in Borgo, Rome; Birth and Baptism of Christ, Dresden Gallery; St. Magdalen, Augsburg Gallery; Visitation, Hermitage, St. Petersburg; frescoes in S. Maria de Montescanto al Popolo, Rome, S. Maria del Suffragio, ib., Palazzo Altieri al Gesh, ib., Palazzo della Ruffina, Frascati.Meyer, Kiinst. Lex., iii. 692. BERRUGUETE, ALONSO, born at Paredes de Nava about 1480, died at AlcalA in 1561. Spanish school; pupil of his father, Pedro Berruguete; went to Florence about 1503 and studied with Michelangelo, whom he also assisted in the Vatican. He practised painting, sculpture, and architecture, and was among the sculptors chosen by Bramante to model the Laocoon, to be cast in bronze. In Florence he was employed to finish an altarpiece left incomplete by Filippo Lippi at his death. In 1520 lie returned to Spain and executed many works, especially monumental altarpieces and church screens, at Saragossa,Valladolid, Madrid, Toledo, and other cities. He was greatly honoured by Charles V., who made him a cavalier and appointed him his painter and sculptor. He became wealthy enough to purchase the lordship of Ventosa, near Valladolid. Berruguete did more for Spanish art than any who had preceded him, but he was more excellent J\eAerrufl in sculpture than in painting, two specimens of which, a Holy Family and Flight into Egypt, are in the Museum at Valladolid. Stirling, i. 140; Cli. Blanc, 1Ecole espagnole; Bermnudez, i. 130; Vasari, ed. Mil., vii. 161; W. &. W., iii. 40. BERRUGUETE, PEDRO, born at Paredes d(e Nava, died in Madrid after 1504. Spanish school; painter to Philip I., by whom lie was ennobled. Employed with Rincon in cathedral of Toledo in 1483, 1495, and 1497; also painted in cathedral of Avila. Bermudez ranks liml with Pietro Perugino.-Bermudez, i. 144; Stirlinlg, i. 93; W. & W., ii. 359. BERTAUD, Mme. CHERADAME, died about 182 4. History and portrait painter; pupil of David. Medall, 2( class, 1819. Works: Hagar in the Desert (1814); Daughters of Minos (1817); Female Gardener, Portraits (1819); Portrait of the Poet Pizerecaurt (1822), Nancy Museum; The Fairy Urgel; Portrait of Gen. Devraux de Sainte Maurice, Versailles Gallery. —Meyer, Ktlnst. Lex., iii. 699. BERTEAUX, HIPPOLYTE DOMINIQUE, born at Saint-Quentin (Aisne); contemporary. History and portrait painter; pupil of Hip. Flandrin, Galland, and P. Baudry. Medal, 3d class, 1883; 2d class, 1885. Works: Studies for ceiling of the Theatre Graslin at Nantes (1881); First Lesson in History (1882); Ce fut la! souvenir of the great war (1883); Young Shepherdess (1884); Attempt upon Life of Hoclie (1885). BERTH EILEMY, JEAN SIMON, born at Laon (Aisne), March 5, 1743, died in Paris, March 1, 1811. History painter; pupil of No5l Halll, won in 1764 the second and in 1767 the first prize for Rome, became member of the Academy in 1781, and professor in 1792. Works: Cleobis and Biton drawing their Mother to Temple of Juno (1764); Alexander cutting the Gordian Knot (1767); Conquest of Calais (1771); Eustache de St. Pierre at the Conquest of Calais (1779); Martyrdom of St. Peter (1779), Douai Museum; Apollo causing the Body of King Sarpedon to be taken to Lycia (1781), icole des Beaux Arts, Paris; Eleazar preferring Death to eating of Forbidden Meat (1789), Angers Museum; Bonaparte visiting the 149 13BEITI LEEMY Wells of Moses (1808), Entry of Frenchll defelnding Redoubt of Monte Legino (1812), Army into Paris in 1436, Versailles Gallery. Order of St. John taking Possession of Malta -Meyer, Klinst. Lex., iii. 707. (1839), Versailles Gallery; David obtaining BERTHELEMY, 1PIERRE IMILE, born Saul's Permission to contend with Goliath at Rouen, April 3, 1818. Marine painter; (1822), Passage through Caen of Duc de pupil of Rouen Art School, then in Paris of Berri in 1814 (1824), Caen Museum; NaCogniet and of I1cole des Beaux Arts. Works: poleon handing to Delegation of Senate the Naval Battle Between Frenlch Fleet under( Captured Prussian Standards, Compiegne.Duquesne and Dutchl-Spanish Fleet ulder Meyer, Kiinst. Lex., iii. 710. Ruyter, 1676 (1846); Scene frolm Walter BERTHOUD, AUGUSTE HENRI, born Scott's Pirate, Harbour of Feca1mp (1847); in Paris of Swiss parents, April, 1829. LandShip in Distress (1848); Flight of Jean Bart scIape and genre painter; pupil of Prottevin, (1849); Shipwreck of Van Tromp in B:a of and of the lcole des Beaux Arts, then of Trepass6s (1851); do. of Corsair Slip (1853); Ary Schefter and influenced by Corot, with Return of Fishing Boats (1857); After the whom lie was allied in friendship; settled at Storm (1859); Burning Vessel (1861); Ship Interlaken in 18(2, and at Neuclihtel, the Le Vaubant in a Storm (1864); Moutl of, home of his family, 1874. President of the the Seine at Sunset (1865); Shipwreck of Society of Swiss Painters and Sculptors since Borythenes (18(6)(; do. of Evening Star 1882. Medal, Vienna, 1873. Works: Re(1867); Harfleur Harbour (1868); Return of pose sur la Montagne (1857); Unspunnen Fislling Boat"E (1877); Various marines near Interlaken (1868); Summit of the (1879-85).-Meyer, Kiinst. Lex., iii. 707. Jungfrau; The Wetterhorn; Kandersteg BERTHON, NICOLAS, born in Paris, Valley; Glacier of Altelo; Women of Arles Aug. 4, 1831. Genre painter; pupil of Ecole in Prayer; Procession of Arlesiennes; Plus des Beaux Arts and of Cogniet. Medal, heureux qu'un Roi; Ruth; Judith; Mes 1866. Works: Mowers' Luncheon (1857); eleves peignant d'apres nature (1879); View do. (1863); Mowers, Soldier's Return (1864); near Rosenlani Glacier, Evening Breeze Bowling at Beauce, Peasant front the Moun- (1882); Death of the Chamois Hunter (1872), tains (1865); During Mass (1866); Souvenir IThe Jungfrau and the Vagueren, Neuchattel of the Auvergne (1866), Arras Museum; The Museum. - Meyer, Kiunst. Lex., iii. 711; Baurr6e (a dance, 1867); Prayer, Spinning Kunst-Chronik, xiv. 605. Woman (1868); Pastime (1873); The Walk BERTHOUD, LION, born at Neuchatel, (1875); Procession at St. Bonnet (1877); In- Switzerland, in 1827. Landscape painter; terior in Auvergne (1878, 1880, 1882); Pro- pupil of Maximilien de Meuron, then in cession of Penitents (1883).-Meyer, Klinst. I Paris of Leon Cogniet, spent several years Lex., iii. 711. in Italy, returned to Paris, then settled at BERTHON, REN]i THEODORE, born St. Blaise, near Neuclhatel. Works: Crossing at Tours in 1776 or 1778, died in Paris, an Arm of the Tiber at Borghetto, Fortified April 9, 1859. History and portrait painter; Tower of Cha'teau d'Estavayer, The Frohn pupil of David; lived in Venice and Vienna i Alp on Lake of Lucerne, Neuchfitel Museat the beginning of this century, an(l re- um; Aqueducts in Roman Campagna; Bay turned to Paris in 1806. One of the most of Naples; View of Sorrento; Temples of talented artists of the modern school. L. of Pestumn; Monte St. Angelo; Baths of CaraHonour. Works: Chloe bathing in a Grotto calla; Chalteau de Chillon; Lake of Neu(1796); Portrait of Bonaparte as Consul chtitel.-Meyer, Kiinst. Lex., iii. 711. (1801); Surrender of Ulm (1806), Napoleon BERTIN, EDOUARD FRANICOIS, born receiving at Berlin Delegation of Senate in Paris, in 1797, died there, Sept. 14, 1871. after Battle of Jena (1808), Albert Rampon!.Landscape painter; pupil of Girodet and 150 BE ITIN Bidault. Turning from the classic and tra- BERTO DI GIOVANNI, flourished in ditional style to nature, lie successfully 1497-1523. Roman school of Perugia; endeavoured to unite truth in detail witlh called also Bertus Joannis Marci. Pupil of breadth of general effect. Works: Meeting 1Perugino at same time with Raphael, who of Cimabue and Giotto (1827), Christ onl engaged him in 1516) as his assistant to paint Mount of Olives (1837); Sources of the Al- ia picture of the Coronation of the Virgin pheus (1853), View of Olevano, Old Tombs for the convent of S. M. di Monteluce, near on the Nile, Forest of Fontainebleau.-Ch. Perugial, which was finished after Raphael's Blanc, Artistes de mon Temps, 249; La- deatl by Giulio Romano and Ii Fattore rousse, ii. 621; Meyer, Gesch., 766. (1525) and is now in the Gallery of the VatiBERTIN, JEAN VICTOR, born in Paris, can. Berto painted for the predella three March 20, 1775, died there, June 11, 1842. subjects-the Birth (dated 1525), Marriage, Landscape painter; pupil of Valenciennes. and Death of the Virgiln, and a fourth repMedal, 1st class, in 1808; L. of Honour, resenting tlle Iresentation in the Telmple. 1817. He was the master of Cogniet, Bosse- The predella of the principal altarpiece in lier, Corot, Enfantin, and Roqueplan. Works: S. Giuliana, Perugia, is perhaps also by lhim. Festival of Pan, Offering to Venus, Cicero -Lanzi, i. 348; Chl. Blanc, lcole ombrienne; on his Return from Exile, Flight of Angelica, C. & C., Italy, iii. 346(; AMintz, Raphael, 622. Festival of Bacchus, Arrival of Napoleon at BERTON, ARMAND, born in Paris; conEttlingen. His Temple of Minerva at Pheneus temporary. History and portrait painter; is in the Louvre. — Villot, Cat. Louvre; Ottley. pupil of A. Millet and Cabanel. Medal, 3d BERTIN, NICOLAS, born in Paris in class, 1882. Works: Evening (1880); Por1667, died there, April 11, 1736. Pupil of traits (1881); Eve, Woman withl the Rose Vernansalle, of Jouvenet, and of Bon Bou- (1882); A Grasshopper (1883); Modern Fable logne. When eighteen years old lie took Seated upon Antique Ruins (1884); Portrait the first prize for painting for his Building (1885). of the Ark, and he was sent as a pensioner BERTRAND, GEORGES, born in Paris of the king to Rome, where he resided four in 1849. Genre and portrait painter; pupil years. He became a member of the Acad- of Yvon, Barrias, and Bonnat. Medal, 2d emy in 1705, professor in 1715, and adjunct class, 1881. Works: The Miser (1876); Fallrector in 1733. Works: St. Philip baptiz- ing Leaves (1877); The Leap from the Leuing the Eunuch, Hercules delivering Prome- cadian Rock (1878); Slave's Leisure (1879); theus (1703), Louvre; Chastity of Joseph, Patrie! (1881); Spring Passing (1883).Susanna at the Bath, Amsterdam Museum; Meyer, Conv. Lex., xxi. 101. Man with the Gourd, Gardener and the BERTRAND, JAMES, born at Lyons in Bear (2 illustrations of La Fontaine's fables), 1825. History painter; pupil of Perin and Dresden Gallery.-Villot, Cat. Louvre. of Orsel, then studied in Rome; a skilful, BERTINELLI. See Albertinelli. careful painter, with a graceful, harmonious BERTLING, KARL, born at Meppen, style and much religious sentiment. Medals: Hanover; contemporary. History and por- 3d class, 1861, 1863, 1869, 1878; L. of Hontrait painter; pupil of the Dusseldorf Acad- our, 1876. Works: Idyl (1857); St. Benedict emy under Schadow and Bendemann; be- taking Communion (1859), Lyons Society of came first known through his Death of Abel, Art; Conversion of St. Thais (1861), Lyons and is now chiefly reputed for his masterly Museum; Brothers of Death taking away a portraits. Works: Death of Abel; (Edipus Murdered Man in the Campagna (1863), led by Antigone; Resurrection (1869); Lore- Lyons Museum; Women of Alvito on a Pilley; Night and Morning (1875), Villa B6ker, grimage, Diogenes at Lais's House (1863); Bonn.-Illustr. Zeitg. (1876), i. 294. Mary the Egyptian Repentant (1864); Emi151 BESCHEY grants of the Roman Campagna (1865), Orleans Museum; Phryne at the Festival of Eleusis, Pilgrimage in the Abruzzi Mountains (1866); Death of Sappho, Idyl (1867); Serenade, The Curious (1868); Inquisitive Little One, Death of Virginia (1869), Luxembourg Museum; Marguerite, Death of Manon Lescaut (1870); Ophelia's Madness, Ophelia's Death (1872); Cinderella, Caen Museum; Idyl (1873); Romeo and Juliet Dying, Montpellier Society of Art; Anuccia (1874); Magdalen, Know Thyself, Lesbia (1875); Aurora, Marguerite (1876); Echo, Education of the Virgin (1877); Cloister (1878); Galatea and Acis surprised by Polyphemus, Coming out of School (1879); The Bird Charmer, Marguerite in Church (1880); Love drawing Night over the Earth (1881); Cigale singing to the Moon, Waiting in Ambush (1882); The Sirens, Clharlotte Corday's JAM ESETTAN. 1875' Last Day (1883); Calvary, Ophelia (1884); Youth, Study of a Head (1885).-Montrosier, Artistes modernes; L:rousse. BESCHEY, BALTHASAR, born at Antwerp, baptized Nov. 20, 1708, died there, April 15, 1776. Flemish school; history and portrait painter; pupil of Peeter Strick, an obscure artist; master of the guild in 1733; dean in 1756. With himn the school of Antwerp, abandoning the traditions of Rubens, entered on the road to decline. Works: Flemish Family (1721?), Louvre, Paris; Joseph Sold by his Brethren, Joseph Viceroy of Egypt (1744), portrait of himself, do. of Martin Joseph Geeraerts, Antwerp Museum; Scene before Peasant's Cottage, Liechtenstein Gallery, Vienna.-Cat. de Musee d'Anvers (1874), 46; Michiels, x. 484; Rooses (Reber), 441. BESNARD, PAUL ALBERT, born in Paris; contemporary. History and portrait painter; pupil of A. Cabanel and J. Br6. mond. Won the prix de Rome in 1874. Medals: 3(1 class, 1874; 2d class, 1880. Works: Autumn (1874); A Fountain (1877); After a Defeat in the 5th Century (1880); Plenty encourages Labour, Remorse (1882); Souvenir of England (1883); Sickness and Convalescence (diptych, 1884); Paris (1885). BESSON, FAUSTIN, born at Dole, Jura, March 15, 1821, died in Paris, March, 1882. Genre and portrait painter; pupil of Brune, Decamps, and Gigoux, and of the Ecole des Beaux Arts; had especial success with his ideal allegorical genre scenes. L. of Honour, 1865. Works: The Prelude (1844); A Summer Day (1846); The Women and the Secret (1848); Courtesans and Venetian Nobles (1849); Return of the Barber of Olmedo and of Gil Bias (1850); Youth of Lantara (1852), Dole Museum; The Dauphine's Promenade (1855); Childhood of Gretry (1857), Toulouse Museum; Couston's Studio (1861); Callot and the Mountebank, An Adventure of Quentin de la Tour (1866); A Smile (1867).-Larousse, ii. 638; Chronique des B. Arts (1882), 68. BETHESDA, POOL OF, Tintoretto, S. Rocco, Venice. A noble work, but eminently disagreeable. A crowd of figures, with a background of corrupt Renaissance architecture.-Ruskin, Stones of Venice, iii. 322. By Tintoretto, Scuola di S. Rocco, Venice. A disgusting picture, representing people afflicted with all kinds of diseases.-Ruskin, Stones of Venice, iii. 341. BETHKE, HERMANN, born at Brunswick, in 1825. Genre painter; pupil in Brunswick of Heinrich Brandes, and studied in Munich after the old masters. Works: Family Scene; Broken Pitcher; Siesta; Card Players (1865); Grandmother's Convalescence, Summer Morning (1866); Red Riding Hood, Saying Grace, WinterGuests, Love-Letter.-Miiller, 47. BETTANIER, ALBERT, born at Metz; contemporary. History painter; pupil of Pils, Lehmann, and Maillart. Medal: 3d 152 BIETT() class, 1885. Works: In Lorraine (1881); 1881. Works: A Bohemian Girl (1867): Study, In Lorraine (1882); In Lorraine (1883); At Gravelotte (1S84); 1870-1880 (1885). BETTO, BERNARDINO DI. See Pintturicchio. BEVILACQUA. See Salimbeni, Ventura. BEWER, CLEMENS, born at Aachen, May 30, 1820, died at Bonn, Sept. 2, 1884. History and portrait painter; pupil of the Diisseldorf Academy under Karl Sohnl; went in 1841 to Paris, where he studied with Delaroche and Ary Scheffer. Under the latter's guidance he painted for French churches copies after Raphael. Andrea del Sarto, Titian, Rubens, and Murillo; returned in 1847 to Dasseldorf thoroughly imbued with French art; afterwards became professor at the Academy. Latterly painted portraits almost exclusively. Works: Romeo and Juliet (1844); Mary Stuart's Flight from Lochleven (1846), Cologne Museum; The Elves (1847), Tasso reading at the Court of Ferrara (1850), Contest of Minstrels at the Wartburg (1851); Education of Mary by Anna and Joachim (1852), Finding of Moses (1862), Loreley (1867), Judith (1872), Cologne Museum; Portraits of Minister Stein, Gen. Blumenthal, Archbishop von Droste-Vischering. -Muller, 47; Wolfg. Milller, Diisseldorf K., 158. BEYEREN, ABRAHAM VAN, born at The Hague in 1620 or 1621, died after 1674. Dutch school; still-life painter; master of the guild at The Hague in 1640, at Delft in 1657; mentioned again as member of The Hague guild in 1663, and of that of Alknaar in 1674. Works in Amsterdam, Rotterdam, Lille, Frankfort, Berlin, Vienna, Pesth Museums, Vienna Academy (1666), Dresden, Hanover, Schwerin Galleries, Hermitage, St. Petersburg.-Meyer, Kiinst. Lex., iii. 340. BEYLE, PIERRE MARIE, born at Lyons in 1838. Genre painter; was a housepainter, but with help from the designer Philippon was able to send his first picture to the Salon in 1867. Medal of 3d class, Permission Refused (1868); Toilet of a SavIatge VWoanll (1869); Tour of the City (1870); Monkey's Toilet (1872); Dressing in a Studio, Merchant of Knick-Knacks (1873); Chevalier Bayard and Maidens of Brescia (1875); Gossips of Briquebec (1876); Bazaar at Casbah of Algiers (1877); From the Mayor's Office to the Church, Party of Ladies (1879); On the Cliff, Fleurs de Pechl(r (1880); Mussel Fishers at Dieppe (1881); Fishing at Dieppe (1882); Farewell Kiss (1883); Seaweed Burners (1884); Bad News (1885). BEYSCHLAG, JULIUS ROBERT, born at Nordlingen, July 1, 1838. Genre painter; pupil, at the Munich Academy, of Philipp Foltz, studied afterwards in Paris and Italy. His pictures are attractive in subject, and he is noted for his graceful treatment of the female formn. Works: Iphigenia, Mowing Woman (1860); Love Scene from Faust, Sunday Morning (1862); Birthday (1864); Girl crowning Youth with Flowers (1870); Psyche (1872); Soap Bubbles (1873); SpringDay in the Middle Ages (1874); Happy Mother, Wedding Procession, Orpheus and Eurydice (1879); Sunday Afternoon in Middle Ages, Samuel Hawk Collection, New York; Before the Wedding, H. B. Hurlbut Collection, Cleveland; Good Sister, T. Dolan, Philadelphia.-Illustr. Zeitg. (1877), ii. 136. BEZARD, JEAN LOUIS, born at Toulouse, Nov. 15, 1799. Pupil of Pierre Gu6 -rin, of Picot, and of:&cole des Beaux Arts. Won the prix de Rome in 1829. Medals: 1st class, 1836, 1857, 1859; L. of Honour, 1860. Works: Magdalen in Desert, Magdalen Resting, Interior of Church of Arcis, Incident of Revolution of 1830, In the Louvre, Martyrdom of St. Saturninus (1836); Reign of Evil upon Earth (1837); Martyrdom of St. Eutrope (ordered by State), Mephistopheles, Angel and Child, Neapolitan Sleeper, Seven Works of Pity, Assumption, St. Roch praying for the PlagueStricken, St. Michael snatching Souls from I 153 BEZZUOLI the Devil, Seven Sacraments (ordered by State). Frescos in St. Elizabeth (1849), St. Eustache, and St. Clotilde, Paris.Vapereau (1880), 212. BEZZUOLI, GIUSEPPE, born in Florence, in 1784, died there, Sept. 1855. History painter; pupil at the Florence Academy under Piattoli, Petroni, and Desmarais; obtained the gold medal in 1811, studied then in Rome after Raphael, Domenichino, and Guido, became adjunct professor at the Florence Academy in 1814, and professor in 1816. Works: Ajax defending the Body of Patroclus (1811); Francesca da Rimini (1812); Paul surprised by Lancelot (1813); Entry of Charles VIII. into Florence; Baptism of Clovis; Manfred found on Battlefield of Beneventum; Death of Filippo Strozzi; Assassination of Lorenzino di Medici; Folly guiding Chariot of Love; Death of Abel; Episode from Deluge; St. Francis bringing to Life a Drowned Man (1832), Cathedral; Eve the Sinner, Medea planning Leghorn the Death of her Children, Young Girl at Prayer. Frescos: Alexander with Apelles, Temperance, Justice, Prudence and Strength, Exploits of Caesar in eleven scenes (Palazzo Pitti); Galileo's Experiments on Gravitation, Loves of Angelica and Medoro, Triumph of Bacchus (Borghese Palace, Florence); Scene from Boccaccio, Entombment (Pistoja Cathedral); Ceres Searching for Proserpine, Venus's Toilet, Venus carrying off Ascanius (Palazzo Borghese, Rome).-Larousse, ii. 668; Meyer, Conv. Lex., iii. 380. BIAGI, BERNARDINO. See Pinturicchio. BIAGIO, VINCENZO DI See Catena, Vincenzo. BIANCHI, FRANCESCO, called Il Frari, born at Ferrara in 1447, died at Modena, Feb. 1510. Lombard school. Vidriani says he was the first instructor of Correggio, but if so it can have been but for a short time, as that painter was only sixteen years old when Bianchi died. Of his many works but few remain, such as a fine Madonna with Saints, in the Louvre, and an Annun. ciation in the Gallery at Modena. -Ch. Blanc, Ecole lombarde; Burckhardt, 587; Morelli (Richter), 238. BIARD, (AUGUSTE) FRAN(OIS, born in Lyons, June 27, 1801, died near Fontaine. bleau, July 8, 1882. Landscape and genre painter; pupil of R6voil in Lyons; travelled in Europe, the East, and Africa, settled in Paris in 1835, and painted scenes from many countries; visited Greenland and Spitzbergen in 1839, Brazil in 1855. His works are distinguished for humour, sentiment, and variety. Many of them have been engraved. Medals: 2d class, 1827 and 1848; 1st class, 1836; L. of Honour, 1838. Works: French Travellers in a Spanish Tavern (1831); Arabs Caught in a Simoom, Nimes Museum; Santon preaching to Bedouins, Fellah Concert, Wandering Comedians, Fools' Paradise (1833); Baptism in the Tropics (1834); Barber's Apprentice, Sale of Slaves, Good Gendarme (1835); Divided Honours, Bathing at Home, Duquesne Rescuing Captives from Algerians (1837); Sacrifice of Brahmin Woman, Scene in Custom House (1838); County Militia, Family Concert, Consequences of a Masked Ball (1839); Marriageable Young Ladies, The Great Sin, Louis Philippe in a Lapland Hut, Walrus Fishing, Reindeer Hunting, Pastor Lmestadius teaching Laplanders, (1840); Du Couedic's Farewell to his Crew (1841), formerly in Luxembourg Museum; Wreck in Polar Seas, Norwegian Hunters at Spitzbergen, Jane Shore condemned to Death by Hunger (1842); Magdalen Bay, Apartment to Let (1844); Shipwrecked Men attacked by Shark, Classical Painter, Dessert at the Parsonage (1846); Four Hours in the Salon, Henry IV. and Fleurette (1847); Walk to Rock of Hertman doe, Council of Revision (1848); Tenor's Triumph (1853); Water Drinkers, Bombardment of Bomarsund, Seizure of Furniture (1857); Slave Quarters on a Slave Ship, Selling Slaves, Hunting Fugitive Slaves, Travelling in North America, Travelling in South Amer 164 BIBBIENA ica, The Virgin Forest, Savages preparing Curare Poison (1861); Festival of the Supreme Being (1864); The Mammoth, Quarrelsome Boatwomen (1867); Fishwives of Seguasson (1868): Death of DupetitThouars, Travellers Annoyed by Mosquitoes (1869); Capture of an English Vessel, Death of Bisson (1870); Beginning of the Hunt (1873); Tardy Guests, Captain Pleville, A Spanish Palace (1874); The Avenger, Alsatian Exiles (1875); House to Let in Country (1876); Wrecked Passengers of the LucieMarguerite, Railway Compartment for Ladies only (1877); Captain Lacrosse's Oath, Vigil in Samois (1879); Savage Women Fishing (1881); Caricature Painter in Court, Classical Painter before his Model (1882).-Larousse, ii. 673; Meyer, Gesch., 690; Chronique des Arts (1882), 186. BIBBIENA, BERNARDO DOVIZIO DA, Cardinal, portrait, Raphael, Madrid Museum; wood, H. 2 ft. 6 in. x 2 ft. A middleaged person, half-length, nearly full face, which is beardless; red cap, red collar, white sleeve resting on a stone balustrade. Long called Cardinal Granville, and by some Giulio de' Medici (Clement VII.). Painted in Rome about 1513. Cardinal Bibbiena was the intimate friend of Raphael, whose engagement to marry his niece Maria was ended by her premature death. Raphael's frescos of the history of Venus and Cupid in an apartment in the Vatican were executed for him. Replica in Palazzo Pitti; carried to Paris in 1799; returned in 1815. Engraved (Pitti) by Bedetti; Gruner.-Madrazo, Cat. descrip. 6 histor., 189, 341; Gal. du Pal. Pitti, iii. P1. 97; Mtntz, 283; Passavant, ii. 146; Springer, 253. BIBBIENA, FERDINANDO, born in Bologna in 1657, died in 1743. Bolognese school; son of Gio. Maria Galli, called Bibbiena; pupil of Carlo Cignani. Devoted himself to architectural and perspective painting, and became the most celebrated decorative painter of his time. Honoured by all the princes of Europe; worked in Germany and in Spain, and decorated churches, palaces, and theatres in many Italian cities He was the inventor of improvements in theatrical scenery and machinery. He painted also some excellent easel pictures, chiefly architectural and perspective views In these the figures were usually painted by his brother Francesco (1659-1739), who was almost as noted and honoured throughout Europe as Ferdinand. Ferdinand left three sons, Alessandro (died about 1760), Antonio (1700-1774), who painted the chapel frescos in monochrome, in S. Giacomo Maggiore, and built the great theatre at Bologna (1756), and Giuseppe (1696-1756), all of whom followed his manner.-Lanzi, i 177; Ch. Blanc, ]cole bolonaise; Gualandi, Guida di Bologna, 94. BIBBIENA, GIOVANNI MARIA, born at Bibbiena in 1625, died in 1665. Bolognese school. Real name Gio. Maria Galli, but commonly called Bibbiena, and same surname used by his descendants Pupil of Francesco Albani; painted historical pictures, some of which are in churches in Bologna: e. g., St. Andrew adoring the Cross, S. M. dei Servi; Ascension, Campo Santo.-Lanzi, iii. 177; Ch. Blanc, ]Vcole bolonaise; Gualandi, Guida, 88. BICCI, LORENZO DI, born at Arezzo in 1350 (?), died in 1427. Florentine school; eldest of the three Biccis, being father of Bicci, and grandfather of Neri. No existing pictures; but in 1386 he was paid for paintings in the Duomo, Florence. The ceiling of the choir in S. Francesco, Assisi, assigned to Lorenzo by Vasari, is more probably by his son Bicci, with whom he is constantly confounded by that master. The frescos in the Cathedral at Prato representing scenes from the lives of SS. James and Margaret, and others from the life of S. Cecilia in the Carmine, Florence, are in an earlier style, and possibly by Lorenzo.C. & C., Italy, ii. 28; Vasari, ed. Le Mon., ii. 225; ed. Mil., ii. 49; Libke, Gesch. itaL Mal., i. 166. BICCI, BICCI DI LORENZO DI, born in 1373, died at Arezzo, May 6, 1452 (?). 155 BICCI Florentine school; son of Lorenzo; painted many works between 1420 and 1450, some of which are extant, as for example the SS. Cosmo and Damian, Uffizi, rather sombre in colour, but careful in drawing; and some saints under the windows of a chapel in the Duomo, Florence, much repainted. Bicci is the author of a group in terra cotta, representing the Coronation of the Virgin, over the door of the hospital of S. Egidio, Florence, which Vasari wrongly attributes to Dello Delli.-Milanesi, Archivio Storico Italiano, 183; Vasari, ed. Le Mon., ii. 232; ed. Mil., ii. 49, 63; C. & C., Italy, ii. 30. BICCI, NERI DI BICCI DI LORENZO DI, born in 1419, died in 1491. Florentine school; son of Bicci di Lorenzo, and grandson of Lorenzo. He reduced his art to the level of a trade, and filled half Tuscany with altarpieces and pictures. His masterpiece, San Giovanni Gualberto enthroned between ten seated Saints, in the Regio Lotto of old S. Pancrazio, Florence, is ill drawn, flat, and inharmonious in colour, but not without character. There are four Annunciations by this painter in the Florence Academy. Many of his scholars were so dissatisfied with the traffic carried on by Neri in his studio, that they left him before their apprenticeship was ended, to find other masters of higher tone.-Vasari, ed. Le Mon., ii. 232; ed. Mil., ii. 49, 69, 261; C. & C., Italy, ii. 32. BICKER. See Miel. BIEFVE, ISDOUARD DE, born in Brussels, Dec. 4, 1809, died there, Feb. 7, 1882. History painter; pupil of Brussels Academy, then in 1828-30 of Paelinck; went in 1831 to Paris, where he remained ten years, sending his works to the exhibitions in Antwerp, Ghent, and Brussels. His masterpiece, Compromise of the Nobles at Brussels in 1666 (Brussels Museum and National Gallery, Berlin), exhibited in Ghent in 1841, and which won him the gold medal, was exhibited throughout Germany. Member of the Berlin, Dresden, Munich, and Vienna Academies, and a knight of the Belgian Order of Leopold, the Bavarian of St. Michael, and the Prussian of the Red Eagle. Works: Ugolino and his Sons, Masaniello (1830), Execution of Anne Boleyn, Rubens presented to Charles V., Flagellation of Christ, Raphael and the Fornarina, Eucharis and Telemachus, Paix des Dames in 1529, Charles I. decorating Rubens, Alva witnessing the Decapitation of Egmont and Horn (1852), Raczynski Gallery, Berlin; Countess Egmont after her Husband's Seizure, and in the Prison after his Execution (1860); Council of War of the Duke of Parma (1862); Banquet of the Gueux, The Teutonic Order electing the Great Elector of Brandenburg their Grand Master.-Jordan, 51; Mfiller, 51. BIENNOURRY, VICTOR FRAN(OIS ELOI, born at Bar-sur-Aube, Jan. 10, 1823. History painter; pupil of Martin Drolling and of the fcole des Beaux Arts, where he won the grand prix de Rome in 1842. Medal, 1864. Works: Rich Man and Lazarus (1849); Death of St. Joseph (1855), St. Roch's, Paris; Man chasing Fortune, Man awaiting Fortune on his Couch (1857); Baptism of Christ (1859); The Arts (1863); Christ on Mount of Olives (1864); Parthenope (1865); Socrates exercising Patience (1868); AEsop composing a Fable (1869). In fresco: The Works of Mercy, The Cardinal Virtues, St. Eustache, Paris; Scenes in Lives of SS. Paul and Peter, St. Severin's, ib.; Institution des Quinze-Vingts (1880), St. Louis Lyceum, ib. —Larousse, ii. 720. BIERMANN, GOTTLIEB, born in Berlin, Oct. 13, 1824. History and portrait painter; pupil of the Berlin Academy and of Wilhelm Wach; went in 1849 to Paris, where he studied under Cogniet, and thence to Italy. Studio in Berlin since 1853; painted at first historical subjects, but now paints chiefly portraits, excelling in children's groups and female figures. Member of and professor in the Berlin Academy. Works: Death of Gustavus Adolphus, Episode from Battle of Kunners 156 BIERMANN dorf; genre scenes from Italian Life; Valeska, the Gipsy-Queen (1877); Esther (1880). -Maller, K., 50; Illustr. Zeitg. (1882), i 252; Rosenberg, Berl. Malersch., 323. BIERIANN, KARL EDUARD, born in Berlin, July 26, 1803. Landscape painter, studied from nature in Tyrol, Switzerland, and Italy, and became one of the founders of the Berlin school of landscape painting. He executed some of the wall paintings in the new Museum. Is member of and professor in the Berlin Academy. Works: Three Views from Switzerland and Tyrol (1830-32), National Gallery, Berlin; View in Florence (1834); Milan Cathedral, Tasso's Oak (1836); Evening in the High Alps; Isle of Philee, Temple of Edfu, Temple Courtyard at Karnak, Ruins of Amphitheatre at Syracuse, Berlin Museum; sixteen views from Dalmatia in water colours.-Brockhaus, iii. 36; Meyer, Conv. Lex., iii. 451; Mtller, 50; Rosenberg, Berl. Malersch., 332. BIERSTADT, ALBERT, born in.Dlisseldorf, Germany, Jan. 7, 1830. Landscape painter; brought by his parents in 1831 to New Bedford, Mass., where his youth was spent; began to paint in oils in 1851, went to Diis- seldorf in 1853, studied four years there and in Rome. On his return to the United States in 1857 he made a sketching tour in the Rocky Mountains, and from this and other visits to the West gathered materials for his most important pictures. Again visited Europe in 1867, 1878, and 1883. Elected N.A. in 1860; medals in Austria, Germany, Bavaria, and Belgium; L. of Honour, 1867; Order of St. Stanislaus, 1869, second class, 1872. The Emperor of Germany recently sent his photograph with autograph to Mr. Bierstadt. Studio in New York. His studio at Irvington, N. Y., was destroyed by fire in 1882 with many valuable pictures. Works: Laramie Peak (1861), Academy of Fine Arts, Buffalo; Rocky MountainsLander's Peak (1863), James McHenry; North Fork of the Platte (1864), Henry Hilton, New York; Looking down the Yosemite (1865), W. H. Crosby; El CapitanMerced River (1866), L. Tuckerman, New York; Storm in R6cky Mountains-Mt. Rosalie (1866), T. W. Kennard; Valley of the Yosemite (1866), James Lenox Collection, New York; Burning Ship, August Belmont, New York; Settlement of California, Capitol at Washington; Emerald Pool, Mt. Whitney (1870), Mrs. A. T. Stewart, New York; In the Rocky Mountains (1871); Great Trees of California (1874); Valley of Kern's River-California (1875); Hermitage, St. Petersburg; Mt. Whitney-Sierra Nevada (1877), Lewis Roberts; Estes ParkColorado, Earl of Dunraven; Mountain Lake, Mt. Corcoran-Sierra Nevada (1878), Corcoran Gallery, Washington; Geysers (1883); Storm on the Matterhorn, View on Kern River (1884); Discovery of Hudson River, Capitol at Washington. He is now (1885) engaged on a series of paintings representing the wild animals of America. BIGG, WILLIAM RADMORE, born in Jan., 1755, died in London, Feb. 6, 1828. Genre painter; student of Royal Academy in 1778; elected an A.R.A. in 1787, and R.A. in 1814. His Shipwrecked Sailor Boy, Boys relieving a Blind Man, Black Monday, and others, are engraved, and were popular.-Sandby, i. 349. BIGIO, FRANCIA, born in Florence, in 1482, died there, Jan. 14, 1525. Florentine school; real name Francesco di Cristofano, but commonly called Francia Bigio, which Baldinucci erroneouslymakes into Marcantonio Fran- - - ciabigi. Vasari generally calls him I Francia. Pupil of Mariotto Albertinelli, whose style he followed, though 157 BIGORDI later he modified it by study of Andrea del Sarto, who became his intimate friend, imitator, and associate. Among his earlier works are the Annunciation (like Albertinelli), Turin Museum. and a Madonna with Job and John the Baptist, Uffizi, Florence. In 1513 he painted the Marriage of the Virgin in the Court of the Servi, Florence. The monks having removed the screens which concealed it before it was quite finished, Bigio was so angry that he struck out the head of the Virgin and some other heads with a hammer. The fresco, which has never been repaired, is his masterpiece in this kind of painting. His portraits are his best works, some of them so fine that they have passed under the names of Raphael and of Francia. Good examples are in the Louvre, Pitti (his own portrait), and Berlin Museum. Pictures of his later period are: Bathsheba in the Bath (1523), Dresden Gallery; and the Temple of Hercules, Uffizi, Florence.-C. & C., Italy, iii. 500; Vasari, ed. Le Mon., ix. 96; Ch. Blanc, licole florentine; Baldinucci, ii. 129; Burckhardt, 637; Ltlbke, Gesch. ital. Mal., ii. 174. BIGORDI, DOMENICO. See Ghirlandajo. BILDERS, JOHANNES WARNARDUS, born at Utrecht, Aug. 8, 1811. Landscape painter, self-taught; his conception and tone are suggestive of Corot. Went to Wiesbaden in 1859, invited by the King of Holland, to paint the panorama of the ruins of Kloster Klarenthal, now in the Hague Museum. Other works in Amsterdam and Haarlem Museums, and Carlsruhe Gallery. -Meyer, Conv. Lex., xvii. 143. BILEVELT, JOHAN, born at Maestricht, in 1576, died at Florence, April 25, 1644. Florentine school; history painter, pupil of Cigoli in Florence, whither he went with his father, a picture-dealer, very early in life, and where his name was transformed into Bilivelti, Biliverti or Bilivetti. Accompanied Cigoli to Rome to assist in the decoration of St. Peter's, and completed several of the pictures after that master's death. With the qualities of Cigoli he endeavoured to unite the expression of Titi and the ornamentation of Paolo Veronese; formed several distinguished pupils. Works: Elevation of the Cross (masterpiece), Santa Croce, Florence; Holy Family, Chastity of Joseph, Judith, Uffizi, ib.; others in S. Gaetano, S. Marco, and other churches, ib.; Christ and the Woman of Samaria,Vienna Museum.-Biog. nat. de Belgique, ii. 420; Baldinucci, Notizie, xiv. 34; Lanzi (Roscoe), i. 213. BILLET, PIERRE, born at Cantin (Nord), France; contemporary. Genre painter; pupil of Jules Breton. Medals: 3d class, 1873; 2d class, 1874. Works: Young Peasant Woman (1867); Consequences of a Game of Cards, Waiting (1868); Mayor's Party, Fisher at Ambleteuse (1869), Bordeaux Museum; Fishers in Environs of Boulogne (1870), Lille Museum; Waiting, High TideCoast of Normandy (1872), Luxembourg Museum; Return from Market, Women cutting Grass (1873); Tobacco Smugglers, Women gathering Wood (1874); In Winter, Souvenir of Ambleteuse (1875); Fountain at Yport, Young Kitchen Gardener (1876); Shrimp Fishers (1883); Marsh of Arleux (1884); Return from Seashore (1885). In the United States: Brittany Peasant Girl, August Belmont, New York; On the Seashore, C. Parsons, St. Louis; Noonday Rest, E. Davis, New York. -Menard; Portfolio (1875), 19. BILLING, LARS TEODOR, born at Asbo, Sweden, Oct. 6, 1817. Landscape painter; pupil of Stockholm Academy, but studied chiefly from nature. Travelled in Sweden, and in 1856-59 in Denmark, Germany, Switzerland, Belgium, and France. Works: Swiss Landscape, Convent on the Rhine, View in Norrland, Stockholm Museum; Deserted Mill; Summer Evening on Milar Lake.-MUller, 25. 158 BIN BIN, (JEAN BAPTISTE PHILIPPE) DMILhE, born in Paris, Feb. 10, 1825. History painter; pupil of Gosse, L. Cogniet, and Ecole des Beaux Arts, where he won the 2d prix de Rome in 1850. His principal work has been the decoration of public and private buildings. Medals in 1865, 1869; L of Honour, 1878. Works: "Peace, do not Grieve" (1861); Orpheus put to Death by Bacchantes (1863); Atalanta and Hippomenes (1864); Perseus and Andromeda (1865), Tours Museum; Hercules killing his Wife and Children while Insane (1866), Nantes Museum; Prometheus Chained (1869), Marseilles Museum; Venus Astarte (1874); Hail Caesar (1875). He decorated the Polytechnicon in Zurich (1865-70), many of the ceilings of the H6tel du Louvre and of the Grand Hotel, Paris.-Vapereau, (1880), 219. BINCK, JACOB, born in Cologne between 1490 and 1504, died in Kinigsberg, 1568 or 1569. German school; portrait painter; supposed to have been at Nuremberg and taught by Durer before he visited Italy at an early age. Included among the Little Masters, though portrait painting was his chief occupation, and engraving but an episode in his career. Appointed court painter to Christian mI. king of Denmark in 1531, he several times absented himself from Copenhagen in the service of Albert of Brandenburg,which he finally entered in July, 1551, and thenceforward resided at Konigsberg. He employed himself in planning fortresses and redoubts, designing monuments, and in painting the portraits of his friends. Works: Portraits of Christian III. and Queen Dorothea, Copenhagen Museum. - Fine Arts Quarterly (1864), 372; Scott, 115; Kugler (Crowe), i. 184; W. & W., ii. 491; Allg. d. Biog., ii. 642; Merlo, 35. BINDER, JOSEF, born in Vienna, Feb. 15, 1805, died there, April 16, 1863. History painter; studied in Vienna and in 1827-34 in Munich. Painted at first portraits, then historical subjects, in which he excelled. In 1836 he became professor at the Stidel Institute in Frankfort, but returned to Vienna in 1847; became member of the Academy in 1848, and professor in 1851. Works: Elopement of Psyche (1832); Angels' Watch (1836); Three Magi (1846); Emperor Albrecht II., Kaisersaal, Frankfort; Madonna; Conversion of Julian; Door-Keeper of Heaven; St. Florian; St. Catherine of Siena visiting poor Family; St. Eustachius Hunting, Romulus and Remus, Vienna Museum. -Meyer, Con. Lex., iii. 488; Wiirzbach, i. 400. BINET, ADOLPHE GUSTAVE, born at La Riviere-Saint-Sauveur (Calvados); contemporary. Genre and portrait painter; pupil of Gerome. Medal, 3d class,1885. Works: The Omnibus (1881); Avenue des Champselysees, The Villagers (1882); Idleness, Corner of the Meadow (1883); Cab-Stand at Quai de l'Hotel de Ville, Sand-Loaders at Quai d'Austerlitz (1884); Timber Wagon at Montrouge, Les Anes de Robinson (1885). BINET, VICTOR JEAN BAPTISTE BARTHELEMY, born at Rouen; contemporary. Landscape painter. Medal, 3d class, 1882. Works: Seine at St. Aubin (1880); Cote-Pelee (1881); Passing Wave, Old Road of Arcueil (1882); Corner of Orchard at St. Aubin-sur-Quillebeuf (1883); On the Heights of Heurteauville, Morning at St. Aubin (1884); Old Road near Bicetre, September Morning (1885). BING, VALENTIN, born at Amsterdam, April 22, 1812. History and genre painter; pupil of Kruseman; since 1838 his pictures have met with great success at exhibitions in Holland. Works: Mark the Evangelist; Isaac and Rebecca; John the Evangelist; Woman from Isle of Schockland.-Mfiller, 52. BIRCH, THOMAS, born in London, England, in 1779, died in Philadelphia in 1851. Portrait and marine painter; came to America in 1793. Painted portraits in Philadelphia until 1807, when a visit to the Capes of Delaware turned his attention to marine painting. He was also successful in snow-scenes. Works: Engagement between United States and Macedonian; Engage 159 BIRD ment between Constitution and Guerriere; Engagement between Wasp and Frolic, Harrison Collection, Philadelphia; three Marine Views, Claghorn Collection, Philadelphia. BIRD, EDWARD, born at Wolverhampton, England, April 12, 1772, died at Bristol, Nov. 2, 1819. History and genre painter; after learning to paint landscapes, fruits, and flowers on Japan ware became a drawing master, and in 1807 exhibited some pictures at Bath which brought him into notice. His first works were genre subjects, such as The Blacksmith's Shop, The Young Recruit, and The Country Auction, but he soon began to paint religious and historical subjects with such success that he was appointed painter to the Princess Charlotte, and became in 1812 an A.R.A., and in 1815 R.A. Still, his earlier works are the best, his more ambitious conceptions being beyond his ability to complete. Works: Raffle for the Watch, National Gallery; Day after Chevy Chase, Death of Eli, Stafford House, London; Queen Philippa supplicating for the Lives of the Burghers of Calais (1814); Crucifixion (1817); Death of Sapphira (1818).-Nat. Gal. Cat.; Cunningham; Art Union, 1843, 92; F. de Conches, 329; Ch. Blanc, ~cole anglaise; Redgrave; Sandby, i. 352. BISET, KAREL EMANUEL, born at Mechlin, baptized Dec. 26, 1633, died at Breda in 1680. Flemish school; genre and portrait painter; went early to Paris, where his pictures, representing festal assemblies, balls, etc., were much in vogue; returned to Flanders and entered the service of Comte de Monterey, Governor of the Netherlands; settled soon after at Antwerp, where he was received into the guild in 1661; became a citizen in 1663, and dean of the guild, and director of the Academy in 1675. Works: Tell shooting at the Apple on his Son's Head, Brussels Museum; Flemish Interior, Rotterdam Museum.Biogr. nat. de Belgique, ii. 440; Fetis, Cat. du Mus6e Royal, 253. BISI, LUIGI, Cavaliere, born in Milan, May 10, 1814. Architecture and landscape painter; pupil of Fr. Durelli at Milan Academy, of which he became professor of perspective, and later, president. Paints chiefly interiors. Works: Interior of Milan Cathedral (1840), Vienna Museum; Orsanmichele in Florence, National Gallery, Berlin; S. Marco, Milan Cathedral, in Milan Academy; View of Bellagio; Choir in St. Ambrosius, Milan; Interior of S. Michele, ib.; Church of St. Francis of Assisi, Amsterdam Exposition, 1883. —Wlrzbach, i. 411. BISPHAM, HENRY COLLINS, born in Philadelphia, June 9, 1841, died in Rome, Dec. 22,1882. Animal painter; pupil in Philadelphia of Edmund D. Lewis and William T. Richards, and studied in Paris under Otto Weber and E. van Marcke. Professional life passed in Philadelphia, New York, Paris, and Rome; served in army in 1862, in the Cumberland Valley, in Pennsylvania, and in Maryland. Was successful in the delineation of wild animals and cattle. Works: Cavalry Raid (1863); Dead in the Desert, Roman Bull (1867); Roman Wine-Cart (1868); On the Campagna, To the Front, Noonday Rest (1869); Hunting Dogs, Fourin-Hand, Polo (1870); Hunted Down (1871); The Stampede (1872); Misty Day (1873); Ross Castle (1874); Study of Figures (1875); The Lion "Sultan" (1879); Pennsylvania Academy; Valee du Var (1880); Roman Oxen Ploughing (1881); Friendly Overtures, Roman Horses (1882). BISSCHOP, CHRISTOPH, born at Leeuwarden; contemporary. Genre painter; pupil in Paris of Comte and Gleyre. Lives at The Hague. Works: Rembrandt going to Lecture on Anatomy (1867); Burgomaster's Daughter, Cradle-Painter (1872); Curiosity-Shop; The Victim; Christening Day in Friesland; Wedding Day; Winter in Friesland; The Prisoner's Song; The Lord has given, the Lord has taken away (1880); BISSOLO The Critical Moment, CrownJewels, Visit to Grandmamma (1883).-Mtlller, 52. BISSOLO, PIETRO FRANCESCO, born in Treviso. Venetian school; painted from about 1490 to 1530; pupil of the Bellini; fellow-labourer of Catena and Marco Marziale in the Sala del Gran Consiglio.in 1492. He ranked among the better followers of Giovanni Bellini, and probably helped him in many of his pictures. His earliest known work, the Annunciation, Manfrini gallery, Venice, shows careful and conscientious work, but a lack of strength. The Resurrection in the Berlin Museum is one of his most agreeable works, and his best example out of Italy. One of his largest altarpieces is Coronation of St. Catherine of Siena, Venice Academy. Thought by C. & PETRVS DE-INGANATIS. PC. to be identical with Pietro de' Ingannati, author of a Madonna in Berlin Museum.C. & C., N. Italy, i. 286; Burckhardt, 602; Lermolieff, 179, 412; Ltibke, Gesch. ital. Mal., i. 554. BITTERLICH, EDUARD, born at Stupnicka, Galicia, in 1840, died at Pressbaum, near Vienna, May 20, 1872. History painter; pupil in Vienna of Waldmtfller; became afterwards the most prominent assistant of Rahl, after whose death he executed, with Griepenkerl, that master's compositions for the new Opera House. Works: Pompeian Scenes, Palazzo Ypsilanti; Twenty Lunettes, Dining Room, Grand H6tel; The Arts, Tietz Mansion; Paintings in Palace Epstein, all in Vienna.-Kunst-Chronik, vii. 37. BIZZERA. See Becerra. BLAAS, EUGEN, born at Albano, near Rome, July 24, 1843. History painter; son and pupil of Karl Blaas; studied at Venice Academy, and at the Vienna Academy, whence he went to Rome and Paris as Austrian pensionary. Visited afterwards Belgium and England, and settled in Venice, whence he draws most of his subjects. Works: Conversion of the Rsetians by St. Valentine, Introduction of Decameron Gi. otto and Cimabue, Faust and Marguerite, Dogaressa going to Church, Bridal Proces. sion in S. Marco, Venetian Masquerade, The Page, Scene from Decameron, Venetian Balcony Scene, Serious Story, Excursion to Murano, Vienna Museum.-Kunst-Chronik, xiii. 376; Muller, 53; Illustr. Zeitg. (1871), ii. 238; (1883), i. 525; ii. 403. BLAAS, JULIUS, born at Albano in 1843. Animal painter, especially of horses; son and pupil of Karl B., went to Rome, where he painted genre scenes from the Campagna; afterwards made a trip around the world. Works: Race of Intoxicated Slavonic Peasants (1860), Vienna Museum; Fox and Stag Hunts, Horse-herds, etc. BLAAS, KARL VON, born at Nauders, Tyrol, May 28, 1815. History painter; pupil of Venice Academy under Lipparini, then in Florence and Rome, where, influenced by Overbeck and Koch, he devoted himself to ecclesiastical art, and genre scenes of a ritual character. In 1850 he was appointed professor at the Vienna Academy, painted several frescos in the Alt-Lerchenfeld church, and accepted in 1855 the nomination as professor at the Venice Academy. Some years later he began to execute for the Vienna Arsenal forty-two fresco paintings, from Austrian history, which occupied him eleven years. Recently he has, besides portraits, painted genre and mythological scenes. Works: Tullia driving over her Father's Body (1832); Miracle of Roses, Return of Jacob from Laban (1841), Vienna Museum; Madonna in Glory, St. Catherine borne by Angels, Christ at Emmaus, Christ on Mount of Olives, Mass for Reapers in the Campagna, thirty-three frescos for church at F6th, near Pesth, Charlemagne visiting Boys' School, Vienna Museum; Portrait of Cardinal Primate of Hungary (1854); Rape of Venetian Brides in 6th century (1858), Innsbruck Museum; forty-two scenes in fresco, Vienna Arsenal; Rape of a Nymph, Danae, Nymph and Satyr; Sunday Morning at Albano (1879); Adam and Eve, C. C. Per-. 161 BLACHE kins, Boston. Portraits of Francis Joseph I. and of Queen of Spain.-Mtiller, 53; Illustr. Zeitg. (1880), ii. 258. BLACHE, CHRISTIAN VIGILIUS, born at Aarhus, Denmark, Feb. 1, 1838. Marine painter and illustrator; pupil of Copenhagen Academy; visited Holland, France, Italy, and Germany in 1872-73, Paris in 1878. Works: Seaport (1863); View at Begtrupvigen (1864), Copenhagen Gallery; Danish Men-of-War (1865); High Tide near Kronborg (1869); On the Coast of Scheveningen; Life-Boat; Steamboat in Heavy Sea (1879); Soren Kannel (1877); Squadron (1880); Schooner passing Skagen (1881); Calm Sea with Lighthouse on Scotch Coast (1882).-Sigurd Mttller, 26; Weilbach, 71. BLACK BRUNSWICKERS, John Everett Millais, private gallery, England. The parting between a young officer of the Brunswick Hussars and his wife or fiancee, perhaps in 1815, when the Brunswick troops marched to join the British army. The black uniform, faced with light blue, was a mourning habit which the corps bound themselves to wear until they had avenged the death of their late Duke. On the wall is hung the engraving of Napoleon crossing the Alps. Companion to the Huguenot Lover. Royal Academy, 1860.-Art Journal (1860), 162. BLACKBURN, JONATHAN B., born in Connecticut about 1700, died after 1760. Portrait painter; worked from 1750 to 1765 in Boston, which he left, it is conjectured, because he felt himself outdone by Copley, who is said to have been his pupil Portraits: Joseph and Mrs. Allan (Miss Andrews, Boston); Mr. Amory (Ed. Sohier, Longwood); Ch. and Miss Apthorp (Mrs. T. Swett, Boston); Col. and Mrs. Th. Atkinson (Mrs. M. W. Tredick, Nokesville, Va.); Th. Atkinson, Jr. (F. A. Freeman, Hanover, N. H.); Mrs. R. Ball (W. H. Edes, Charlestown); Mrs Barrell (Miss Barrell, York, Me.); Mrs. Th. Bulfinch (Mrs. T. Swett, Boston); Mrs. Cabot (Geo. G. Lowell); Members of Cunningham family (Mr. A. S. Parker, Boston); two half-length portraits (Dr. Dearing, Utica, N. Y.); Mr. and Mrs. J. Ewing (Mrs S. Ewing, Boston); James and Mary Flag (Rev. Geo. E. Ellis); Ellis Gray (W. F. Cary, Boston); Mr. and Mrs. W. and Mrs. J. Greenleaf (R. C. Greenleaf, Boston); Mr. and Mrs. B. Hall (Dr. Hall Curtis, Boston); Rev. J. and Mrs. Hancock (Public Library, Lexington); Mr. and Mrs. D. Henchman (D. Henchman, Boston): Mr. and Mrs. R. Inman (W. Amory, Boston); Judge Lowell (A. Lowell, Boston); Wm. A. and Mrs. Oliver, Jr. (Dr. F. E Oliver); James Otis (1755), Mr. G. Phillips (Mrs. W. E. Fette); Mrs. Phillips (Mrs. M. A. Jones, Boston); Mr. and Mrs. B. Pollard (Miss M. V. Winslow, ib.); Saltonstall family (R W. Hubbard, Brooklyn, N. Y.); Margaret Temple (Hon. R. C. Winthrop, Boston); P. Tracy (P. T. Jackson, Boston); Edward Winslow, Gen. J. Winslow (Mass. Hist. Soc.); Joshua Winslow (Miss M. V. Winslow); Winslow family picture (1757, S. W. Winslow, Boston); Mr. E. S. Winslow (Arthur Pickering, Roxbury).-A. T. Perkins, Sketches of Blackburn and Smibert, Proceedings Mass. Hist. Soc. (1878), viii. 385. BLACKSTADIUS, JOHAN, born at Falkenberg, Sweden, March 14, 1816. History painter; pupil of Stockholm Academy; painted portraits and altarpieces in Finland, in 1845-50, visited Paris and Italy, and returned to Sweden in 1854 via Switzerland and Germany. Fellow of Stockholm Academy. His principal work is St. Siegfried baptising in Gothland.-Mtller, 54. BLAKE, WILLIAM, born in London, Nov. 28, 1757, died there, Aug. 12, lS~V - 1827. Designer in water-colours; stu9 (1 dent in drawing at Pars' school; when \ fourteen years old apprenticed for seven years to James Basire, engraver; afterward studied in An 162 BLAKELOCK tique School of Royal Academy. Began by making designs for book illustrations, of which he published a great number, many of them in colours. He exhibited a few works at the Royal Academy, among them Death of Earl Godwin (1780); Breach in a City the Morning after Battle, War unchained by an Angel (1784); History of Joseph (1785); Last Supper (1799); Jacob's Dream, Christ in Sepulchre guarded by Angels (1808). In the National Gallery is his Spiritual Form of Pitt guiding Behemoth. He also published many works engraved by himself, and poems illustrated by himself.-Gilchrist, Life (London, 1863); Swinburne, Life (London, 1868); Cat. Nat. Gal.; C. Carr, Essays, 35; Rossetti, Memoir in his edition of Blake's Poems; Portfolio (1876), 67. BLAKELOCK, RALPH ALBERT, born in New York, in 1847. Self-taught. Studio in New York. Works: Indian GirlUinta Tribe, T. B. Jlarke, New York; Story of Buffalo Hunt, Shooting the Arrow (1880); Cloverdale-California, Moonlight, Indian Fisherman (1882); "Cool wooded shades, abode of stately deer," Bannock Wigwam in Peaceful Vale (1883). BLANC, LOUIS AMMY, born in Berlin, Aug. 9, 1810, died in Dusseldorf, April 7, 1885. Genre and portrait painter; pupil, from 1829, of the Berlin Academy, and from 1833, under Hftbner, of the Duisseldorf Academy; painted at first subjects from medikeval romance, then portraits in Hanover in 1840-42, and in Darmstadt in 1846-47; visited England and France in 1857. Works: Praying Woman, The Church-Goer (1835); Goldsmith's Daughter (1836); Marguerite in Church (1838); Girls fishing (1838), National Gallery, Berlin; Susanna at the Bath, Otto the Shot, Marguerite at Martha's, Italian Shepherd-Boy, Girl fallen Asleep, Expectation, Red RidingHood.-Meyer, Conv. Lex., iii. 539; Mdller, 54. BLANC, PAUL JOSEPH, born at Montmartre (Paris), Jan. 25, 1846. Genre painter; pupil of Bin and Cabanel. Won the prix de Rome in 1867. Medals: 1870; 1st class, 1872; 2d class, 1878; L. of Honour, 1878. Works: Thetis taking to Achil. les the Arms forged by Vulcan, Murder of Laius by (Edipus (1867); The First Sin (1869); Perseus (1870), Luxembourg; Removal of the Palladium (1872); The Invasion (1873); The Rescue, Clovis's Vow in the Battle of Tolbia and his Baptism (1876), sketch of paintings for the Pantheon; Brigand's Wife (1878), M. Pasteur; Judith and Holofernes, My Lieutenant (1879); Clovis's Triumph (1881); The Tiber (1885). BLANCHARD, ]RDOUARD THiOPHILE, born in Paris, April 18, 1844, died there, Oct. 24, 1879. Genre, history, and portrait painter; pupil of Picot and of Cabanel; was third in 1866 for the grand prix de Rome, second in 1867, and won it in 1868. Medals: 2d class, 1872; 1st class, 1874. Works: Panel for a Dining-Room (1867); Death of Astyanax (1868), painted with Regnault and Clairin; The Courtesan (1872); Hylas entrapped by the Nymphs (1874); Cortegiana (1875); LeLutrin (1876); Francesca da Rimini (1880). - KunstChronik, xv. 107. BLANCHARD, (HENRI P1ETROS L1ION) PHARAMOND, born at La Guillotiere (Rhone), Feb. 27, 1805, died in Paris, Dec. 19,1873. History and landscape painter; pupil in Paris of Chasselat and Gros; travelled in Spain (1833), Africa, Mexico (1838), Germany, France, and Russia (1856), and exhibited at the Salon almost every year after 1833. Medal, 3d class, 1836; L. of Honour, 1840. Works: Disarmament of Vera Cruz (1840), Versailles Museum; Balboa discovering South Sea (1855), bought by State; Valley of Jehoshaphat; March of Division of French Army on Mexico (1865), bought by Ministry of Fine Arts.-Ottley; Vapereau (1865), 202. BLANCHARD, JACQUES, born in Paris, Oct. 1, 1600, died there in 1638. Pupil of his uncle J6rome Bolley; went to Lyons in 1620, and spent four years in studying with 163 BLANCHET and assisting Horace Le Blanc; then spent two years at Rome, and some time at Venice, where bystudy of the old mastershe so much improved as a colourist that lon his return home he was called the iHoy French Titian. He painted now destroyed works in the HOtel Perault and Hotel Bullion, Paris, and in Turin the loves of Venus and Adonis for the Duke of Savoy. Works: Holy Family, The Virgin and St. Anne, Charity, St. Paul, Louvre.-Ch. Blanc, Icole frangaise. BLANCHET, THOMAS, born in Paris, in 1617, died in Lyons, in 1689. French school; studied in Italy under Albani, Andrea Sacchi, and Poussin. After his return painted a St. Paul for Notre Dame (1663), and then settled in Lyons, where he decorated the Hotel de Ville, and founded an Academy (1681), from which proceeded many able artists. Nearly all his works were destroyed in 1793.-Ch. Blanc, lRcole franqaise; Gaz. des B. Arts (1874), x. 278. BLANCKARTS, MORITZ, born in Diisseldorf, April 16, 1839, died in Stuttgart, April 12, 1883. Battle painter; pupil of Plaschke and of Vautier, then at DUsseldorf Academy under Christian Kohler, in 1857 of Leutze, and in 1858-59 of Hanten; and completed his studies by travels through Germany and Belgium. Works: Death of Korner (1859); Death of Major Schill (1860); York at Mockern (1863); King William at Koniggratz (1867); Death of Col. Auerswald (1872); Bazaine at Mars la Tour(1873); Death of CoL Count Finkenstein (1874); Prince Leopold of Coburg at Kulm (1875); Departure; Hussars at the Inn; Crown Prince of Prussia greeting the Bavarians after the Victory of Wbrth.-Illustr. Zeitg. (1876), ii. 117; Maller, 55; Kunst-Chronik, xviii 466. BLASHFIELD, EDWIN HOWLAND, born in New York, Dec. 25, 1848. Subject painter; pupil of Bonnat in Paris. Visited Europe in 1867, remaining abroad eleven years. Member of Society of American Artists. Elected an A.N.A. in 1882. Studio in New York. Works: Emperor Commodus leaving the Amphitheatre at the head of the Gladiators (1878); Roman Woman (1879); The Besieged (1880); Souvenir of Mentone; Toreador (1881); Music, Suspense, Autumn (1882); Allegretto, Andante, Minute Men (1883); Decorative Panels, Morning, etc. (1884), H. McK. Twombly, New York. BLAU, TINA, born in Vienna, Nov. 15, 1847. Landscape painter; pupil in Vienna of August Schaffer, and in Munich of Lindenschmit. Has travelled in Bohemia, Hungary, Holland, and repeatedly visited Italy. Works: Regulation of the Danube near Vienna; Autumn in the Prater; Canal near Amsterdam; Autumn Day in Holland; Arch of Titus in Rome; Street in Venice; View near Szolnok; Bavarian Landscape; Outside the City; Rain and Sunshine; Field-Flowers, April-Day, Spring in the Prater (1883).MUller, 55. BLAUVELT, CHARLES F., born in New York, in 1824. Genre painter; pupil of the National Academy, and of Charles L. Elliot. Professional life passed in New York and Philadelphia. Elected N.A. in 1859, member of Pennsylvania Academy in 1864, made assistant professor of drawing at the United States Naval Academy, Annapolis, in 1878. Works: Warming Up; Lost Child; Night Signal; Waiting for the Train; Inquiring the Way; Preparing for School; Snowed In; Burned Out; Entrance to Old Fort Severn -Annapolis (1880). BLECHEN, KARL EDUARD, born at Kottbus, July 29, 1798, died in Berlin, July 23, 1840. Landscape painter; studied at the Berlin Academy. In 1827 went to Italy and thenceforth painted chiefly Italian landscapes. From 1830 he taught at the Berlin Academy, of which he was made member and professor in 1835. Works: Camp near 164 BLEIBTREU Miiggel Lake, Villa Este, View near Narni, Bathing Nymphs,Villa Borghese, Swiss Winter Landscape, View of Naples, Bay of Spezzia; View at Tivoli, National Gallery, Berlin. -Allgem. d. Biogr., ii. 700; Rosenberg, Berl. Malersch., 329. BLEIBTREU, GEORG, born at-Xanten, March 27, 1828. Battle painter; pupil of Dilsseldorf Academy in 1843-48, and again, shortly after, under Theodore Hildebrandt; first won success with scenes from the Danish war. Later painted battles from the wars of Frederick the Great and the German war of deliverance. In 1858 he moved to Berlin, accompanied in 1866 the Prussian army in the suite of Prince Frederick Charles, and in 1870 in that of the Crown Prince. Member of Berlin Academy in 1869. Works: Battle of Kolding, Destruction of the Kiel Turner-Corps at Flensburg (1852); Battles of Grossbeeren, on the Katzbach (1857); Battle of Aspern, Storming the Grimma Gate in Leipsic, Duke Ferdinand of Brunswick in Battle of Crefeld (1858); Episode from Battle of Waterloo (1858); Skirmishes on Konigshiigel at Oeversee; Crossing to Alsen, Battle of Koniggrdtz, National Gallery, Berlin; The Bavarians before Paris, Surrender of Napoleon after Sedan, Meeting of Moltke and Wimpffen, King William near a Battery before Paris, King William after Battle of Gravelotte, Napoleon's Flight after Battle of Waterloo (1878); Attack of Saxon Corps at St. Privat (1880); Storming of Froschweiler by the Wilrtemberg Troops (1880); The Summons in 1813 (1881), Arsenal, Berlin.-Brockhaus, iii. 156; Mtller, 56; Rosenberg, Berl. Malersch., 157. BLEKER, DIRCK, born at Haarlem, flourished about 1650. Dutch school; history and portrait painter, strongly suggesting the school of Rembrandt; became a citizen of Amsterdam in 1652,and, to judge from the prices paid for his pictures, was among the most esteemed artists of his time. Works: Mary Magdalen (1652); Venus; Danae; Male portrait (1657), Brunswick Gallery.-Kramm, vii. 14; Riegel, Beitr&ge, ii. 282; Willigen, 82. BLEKER, GERRIT CLAESZ, flourished at Haarlem, died there, buried Feb. 8, 1656. Dutch school; history and landscape painter; formed probably under the influence of Cornelis van Haarlem and of Lastmann, later under that of Rembrandt. Works: Conversion of Saul, Rotterdam Museum; Paul and Barnabas at Lystra (1634), Brunswick Gallery; Tobias and the Angel, Pesth Museum.-Bode, Studien, 348; Riegel, Beitrage, ii. 223; Willigen, 81. BLES, DAVID, born at The Hague, Sept. 19, 1821. Genre painter; pupil of Kruseman; studied in 1841-43 in Paris, and visited afterwards Belgium and England. Paints chiefly humourous subjects. Order of Iron Crown (1850), Leopold (1855), L. of Honour (1870). Works: Young Household, Imagined Sickness of the Pastor (1848); Three Mothers, Flower Girl (1855); Diana in Painting, Diana in Life, Amateur Concert (1860); German Dining Room in 1795 (1862); Forbidden Novel (1863); Children's Duet, Precocious Lover, Siesta, Clandestine Correspondence (1864); Empty Place at Hearth (1868); Friends of the Family (1877); Dutch Booth in 1765 (1879). -Larousse; Mtiller, 57. BLES, HERRI DE (Hendrik met de Blesse, Henricus Blesius), called also Civetta, born at Bouvignes, near Namur, about 1480, died probably at Liege, about 1550 (? after 1521). Flemish school; landscape and history painter, in the manner of Joachim Patenier, representing one of the last branches of the Van Eyck school, and in other respects the transition to the Italianized Flemish style of the following period. Lived also in Italy, painted at Venice and Brescia, and was of Mechlin in 1521 (?). His pictures (marked by the owl, whence the nickname Civetta), show an earlier and a later period; the former characterized by great carefulness, the latter by exaggeration of naturalistic tendency. The colouring is usually grey, in his late examples cold and 106 BLESSING unpleasant in tone. Works: Christ on the Cross, The Magdalen, St. Christopher carrying Infant Christ (attributed to Patenier), National Gallery, London; Temptation of St. Anthony, Brussels Museum; Repose in Egypt, Antwerp Museum; Holy Family, Basle Museum; St. Hubert Hunting, Maurice Chapel, Nuremberg; Adoration of the Magi (signed: Henricus Blessius F.), Angelic Salutation, Old Pinakothek, Munich; Male portrait with landscape, Berlin Museum; Pedler robbed by Monkeys, Dresden Gallery; Flight into Egypt (?), St. John Preaching, Good Samaritan, Walk to Emmaus, Repose in Egypt (called style of Patenier), Museum, Vienna; Christ bearing the Cross, St. John preaching, Academy, ib.; St. Jerome in the Desert (attributed to Patenier), Liechtenstein Gallery, ib.; Dante's Inferno, Doge's Palace, Venice; Temptation of St. Anthony, Museo Civico, ib.; Tower of Babel, Academy, ib.; Madonna, Working a Mine, Uffizi, Florence; Christ bearing the Cross, Palazzo Doria, Rome; Landscapes (5), Naples Museum; Adoration of the Magi (?), Milan Academy; do. and Landscape (attributed to Patenier), Madrid Museum.-Biogr. nat. de Belgique, ii. 471; Michiels, iv. 368, 391; ix. 115; Riegel, Beitrage, ii. 44; Rooses (Reber), 114; W. & W., ii. 522; Zeitschr. f. b. K., xv. 128. BLESSING THE HARVEST, (Benediction des bles), Jules Breton, Luxembourg Museum; canvas, H. 4 ft. 3 in. x 10 ft. 5 in. Ceremony of blessing the harvest in Artois. A procession, headed by young girls in white, followed by the priest under a canopy attended by choir boys, the village officials, and peasants in their old-fashioned holiday clothes, pass through the fields; in foreground, women and children kneeling. Salon, 1857.-Meyer, Gesch., 642. BLIND FIDDLER, Sir David Wilkie, National Gallery, London; wood, H. 1 ft 11 in. x 2 ft. 7 in. An itinerant musician, seated at left, entertaining a cottager and his family by playing on his fiddle. Twelve figures; accessories very elaborate. Painted in 1807 for Sir George Beaumont, who presented it in 1826. Engraved by J. Burnet, T. Nicholson.-Cat. Nat. Gal.; Heaton, Works of Sir D. W.; Mollett, 26; Waagen, Art Treasures, i. 376. BLIND-MAN'S-BUFF, Sir David Wilkie, Buckingham Palace; canvas. Cottagers playing blind-man's-buff in a kitchen. Painted in 1812 for George IV. when Prince Regent, who paid for it 300 guineas. Loan Exhibition, Edinburgh, 1883. Original sketch (1811) in National Gallery. Engraved by A. Raimbach, W. Greatbach.Heaton, Works of Sir D. W.; Mollett, 42, 46; Waagen, Art Treasures, ii. 25; Art Journal (1860), 108. BLOCH, ALEXANDRE, born in Paris; contemporary. Landscape and genre painter; pupil of Grolme and Bastien-Lepage. Medal, 3d class, 1885. Works: At the Antiquary's (1880); Banks of Seine at Vaux (1881), M. Deloriere; Crab Fisherman, Mill of Jarcy (1882); Willows of Bonneuil, Chemin du Chapitre at Cretail (1883); Place de la Chapelle-Paris, Brook of Moc-SourisMorbihan (1884); Defence of Rochefort-enTerre-April 29, 1793 (1885). BLOCH, KARL HEINRICH, born in Copenhagen, May 23, 1834. Genre and history painter; pupil of Copenhagen Academy; studied from nature among peasantry of Zealand and on coast of Jutland, and soon acquired reputation for humourous pictures. Studio in Rome from 1859 to 1865. Since then has painted mostly historical subjects. He is a member of and professor at the Copenhagen Academy. Medals in 1852, 1853, 1864; Order of Danebrog, 1867. Works: Peasant's Cottage (1854); Fisherman's Family on Shore (1858); Repast (1859); Fisherman from Sorrento (1861), Copenhagen Gallery; 166 BLOCK Old Bachelor, Two Monks (1862); Samson partly serious, partly humourous Medal, at the Mill (1863), Daughter of Jairus Paris, 1842; L. of Honour, 1846. Works: (1864), Copenhagen Gallery; Roman Street Flemish Inn (1833); Musical Party, GrandBarber (1864); Prometheus (1864); Twenty- father's Visit, Tavern-Interior, Rural Feast two Scenes from Life of Christ (1866-84), near Antwerp (1836); Politicians, Going Chapel of Castle Fredericksborg; Christ Home from School (1855); Poacher's Wife, and the Children, Christ the Consoler, Hunter's Boy (1859); Flower Girl, Indiscreet Christ at Emmaus, Christ at Gethsem- Belles (1860); Reading the Bible, Sunday, ane, Resurrection, St. Jacob's Church, Cold and Hunger (1862); The Smith, He is Copenhagen; Samson and Delilah (1874); coming!-Art Journal (1866), 73; ImmerFishseller Woman (1875), Copenhagen Gal- zeel, i. 59; Kramm, i. 100. Blind-Man's-Buff, Sir David Wilkie, Buckingham Palace. lery; Hans Tavson protecting Bishop Ronnow, James of Scotland visiting Tycho de Brahe, Chancellor Niels Kaas and his Ward, Prince Christian, King Christian as Prisoner in Sonderburg, Interior in Time of Christian IV. (1881). - Sigurd Miuller, 33; Weilbach, 72; Zeitschr. f. b. K., xviii. 37. BLOCK, EUGENIIS FRANS DE, born at Grammont, East Flanders, May 14,1812. Genre painter; pupil at Ghent of Van Huffel, and in Antwerp of Braekeleer; since 1833 has exhibited genre scenes from low life, BLOEMAERT, ABRAHAM, born at Gor. cum, Dec. 25, 1564, died at Utrecht about 1658. Dutch school; I history, portrait, and landscape painter; pupil of Joost de Beer at Utrecht, and, af- / ter having stud- / iedin Parisunder different masters in 1581-84, of Hierony 167 BLOEMEN mus Francken at' Herenthals; returned to Utrecht, where, having for some time lived at Amsterdam (citizen there in 1591), he settled again before. 1600, and is mentioned as. member and dean of the guild in 1611-28. Treated all branches of painting from religious subjects down to still-life. Works: Ave Maria, Nativity (1612), Male portrait, Louvre, Paris; Magdalen Repentant, Nantes Museum; Hipponenes crowned in the Arena (1626); Marriage of Peleus (1638), Hague Museum; Diogenes and the Rooster, Raising of Lazarus (1607), Old Pinakothek, Munich; St. John preaching, Schleissheim Gallery; Argus and Mercury (1645), Liechtenstein Gallery, Vienna; Martyrdom of St. Andrew (copy after Caravaggio), Old Man's Head (1635), Dresden Gallery; Joseph's Second Dream, Berlin Museum; Nativity, St. John preaching in the Desert, SS. Peter and Paul, Brunswick Gallery; Niobe, Venus and Adonis, Hercules and Omphale, Copenhagen Gallery. His son and pupil, Hendrik, master of the guild at Utrecht about 1630-32, repeatedly its dean, and last mentioned in 1664, imitated at first Italian masters, afterwards Rubens. Works: Paul before Agrippa (1634), Maria van Pallaes (1657), two others, Utrecht M useum; Male por3R L Off~ trait (1641), ~1 DBrunswick Gallery; do. (1648?), Dresden Gallery.Ch. Blanc, ]cole hollandaise; Immerzeel, i. 60; Kramm, i 101; Riegel, Beitrage, ii. 166, 181; De Stuers, 14. BLOEMEN, JAN FRANS VAN, called Orizonte, baptized in Antwerp, May 12, 1662, died in Rome about 1740 (?). Flemish school; landscape painter, brother of Pieter van Bloemen, pupil of Antonius Goubau. Went early to Rome, where he painted Italian views, showing influence of Claude Lorrain and Gaspar Poussin. Inferior to this master in grandeur of conception, he excelled him in the delicate gradation of distance, whence called l'Orizonte. Among his numerous works are: Six land. scapes, Louvre; Flight into Egypt, Lille Museum; Myth of LatoAa, Berlin Museum; Landscape, Dresden Museum; Landscape, Brera, Milan; three landscapes, Vienna Museum; Armida, two others, Hermitage, St. Petersburg; several in Academy of St. Luke and other galleries, Rome.-Biog. nat. de Belgique, ii. 488; Ch. Blanc, Icole flamande; Michiels, x. 334; Rooses (Reber), 415. BLOEMEN, NORBERT VAN, called Cephalus, born at Antwerp, in Feb., 1670, died at Amsterdam, in 1746. Flemish school; younger brother of Jan; studied in Antwerp and in Rome; painted scenes in private life and portraits.-Biog. nat. de Belgique, ii. 491. BLOEMEN, PIETER VAN, called Standaart, born in Antwerp, baptized Jan. 17, 1657, died there, buried March 6, 1720. Flemish school; genre, battle, and landscape painter; pupil of Simon van Douw, an imitator of Wouwerman; master of the guild in 1674. Spent some years in Rome, where he was a member of the Academy of St. Luke; returned to Antwerp and was made director of the Academy there in 1699. Works: Farrier, Copenhagen Gallery; Landscapes, Stockholm Museum; Ruin with Cattle (1710), Halt before Inn (1718), three Y B r^\ others, Dresden Gallery; two Italian Landscapes, Vienna Museum; Training School for Horses (1712), Hermitage, St. Petersburg.Biog. nat. de Belgique, ii. 492; Michiels, x. 331; Rooses (Reber), 408. BLOKLAND. See Montfoort. BLOMBERG, HUGO VON, Baron, born in Berlin, Sept. 26, 1820, died in Weimar, June 17, 1871. History and genre painter; pupil of Berlin Academy under Wach until 1845, then of Leon Cogniet in Paris, in 1847. After performing military duty in 1849, he resumed his studies in Berlin and moved to Weimar in 1867. Works: Dornroschen (1844); Neptune and Amymone (1847); Mediaeval Town, Merchant of Venice (1866); 168 BLONDEEL Benvenuto Cellini, King William at Koniggratz (1867).-Allgem. d. Biogr., ii. 719; Rosenberg, Berl. Malersch., 56. BLONDEEL, LANCELOT, born at Bruges, in 1495, died there, March 4, 1561. Flemish school; was a journeyman mason before becoming a painter, and - adopted the trowel as his mark; received into guild of St. Luke in 1530. He was an accomplished architect, and his pictures are noted for their rich architectural backgrounds, often in Renaissance style, executed on gold ground. His figures, chiefly in the Italian style, are often well set in action and finished, but mannered and of cold flesh tones. Among his works are: Martyrdom of SS. Cosmo and Damian (1523), S. Jacques, Bruges; Madonna with SS., Luke and Eligius (1545), Cathedral, ib.; St. Luke painting the Virgin (1545), Academy, ib.; St. Peter, Brussels Museum.-Biog. nat. de Belgique, ii. 525; Michiels, v. 48. BLOOMER, H. REYNOLDS, born in New York; contemporary. Landscape painter; pupil in Paris of Pelouse. Works: El Dorado (1876); After the Shower, Landscape (1877); Old Bridge at Grez, Waterfall near Cernay-la-Ville (1878). BLUE BOY, Thomas Gainsborough, Grosvenor House, London; canvas, H. 5 ft. 9 in. x4 ft. Portrait of a youth, full length, standing in a landscape, clad in a blue satin Van Dyck dress. Painted, it is said, in 1779, as a practical refutation of Reynolds's theory that the cold colours, of which blue is the chief, cannot be used effectively in portrait painting. Engraved by R. Graves (1868); etched by C. WaJtner (1880), P. Rajon (1881). History obscure. Another Blue Boy, owned in 1873 by J. Sewell, London, seems to have some claims to being the original picture, though some think it a copy by Gainsborough Dupont. A third, smaller, is owned by Mrs. Freake.-Fulcher, 113, 202; Redgrave, Century, i. 165; Waa gen, Art Treasures, ii. 173; Brock-Arnold, 42, 60; Notes and Queries, 4th S., xi. 485, 505; Eng. Painters of Georgian Era, 14. Blue Boy, Gainsborough, Grosvenor House, London. BLUM, ROBERT, born in Cincinnati, Ohio, in 1857. First exhibited in New York in 1879; studied and painted in Italy, and Spain in 1880. Member of Society of American Artists. Studio in New York. Works: Toledo Water-Carriers, T. B. Clarke, New York; Going and Coming (1881); Bright Day at Venice (1882). BOAR HUNT, Velasquez, National Gallery, London; canvas, H. 6 ft. 2 in. x 10 ft. 3 in. Philip V. and his courtiers hunting wild boars in an arena enclosed by canvas walls, in the Pardo, a royal hunting seat two leagues from Madrid; the King, with Olivares near him on a bay horse; the Cardinal Infant, Don Fernando, on a white horse; Juan Mateos, royal huntsman, an old man on a white horse with long mane; spectators on foot and in carriages. Queen Isabel among the spectators in second carriage. 169 BOBO Painted about 1628; formerly in Royal Palace, Madrid; presented by Ferdinand VIL (about 1820) to Sir Henry Wellesley, who sold it (1846) to National Gallery for ~2,200. Sketches in possession of Sir Richard Wallace, Bart., and Countess Cowper, London.-C. Bermudez; Curtis, 23; Athenseum (1855), 407 (1856), 1165; Stirling, 1840. BOBO DE CORIA, Velasquez, Madrid Museum; canvas, H. 3 ft. 4 in. x 2 ft. 9 in. A jester, in green dress, seated on the floor of a chamber; beside him, two gourds and an earthen cup. Second manner, probably painted between 1631 and 1649. Engraved by L. Croutelle; etched by Laguillermie in Portfolio (1873). - Curtis, 30; Madrazo, 633. BOCCACCINO, BOCCACCIO, of Cremona, born 1460, died 1518 (?). Lombard school; educated probably by followers of Mantegna at Ferrara, he was already an independent master at Cremona in 1497, and had painted a series of frescos in Sant' Agostino. In 1499 Garofalo, his apprentice, deserted him and went to Rome, and at a later period Boccaccino followed him. Vasari says he painted there a Coronation of the Virgin in Santa Maria in Trastevere, but the public, who had expected great things from one who had criticised Michael Angelo, so ridiculed his work that he returned to Cremona. Between 1506 and 1518 he executed numerous frescos in the Cathedral, Cremona, and also painted important works in Venice, of which the Madonna with Saints in S. Giuliano, and the do. with landscape and Marriage of St. Catherine in the Academy (1511) are good specimens. His compositions are scattered and his perspective sometimes bad, but some of his single figures are good, and his colouring is often rich. Ch. Blanc, who puts little faith in the story of Vasari, says that Boccaccino was one of the best Cremonese painters, and that he played the same role there that Mantegna did in Padua and Francia in Bologna.-C. & C., N. Italy, ii. 441; Vasari, ed. Mil., iv. 581;Ch. Blanc, ecole lombarde; Burckhardt, 611; Rio, iii. 370; Liibke, Gesch. ital. Mal., ii. 478. BOCCACCINO, CAMILLO, of Cremona, born 1515, died Jan. 2, 1546. Lombard school; son of Boccaccio Boccaccino, but excelled him, as he took pains to avoid the faults into which his father's vanity had betrayed him. Lanzi calls him the greatest genius of the Cremonese school. The Raising of Lazarus and the Adulteress before Christ, in Cremona, and the Four Evangelists in S. Sigismondo, near Cremona, are examples of his works.-Vasari, ed. Mil., iv. 583; vi. 493; C. Blanc, lcole lombarde; Lanzi, ii. 429. BOCHMANN, GREGOR VON, born at Nehat, Esthland, June 1, 1850. Landscape painter; pupil, from 1868, of the DUsseldorf Academy. Studio since 1871 in Dlsseldorf, whence he makes annual study trips to his native country, and to Holland and Belgium. Medals in Berlin, Brusse's, and Munich; Order of Leopold. Works: Church in Esthland (1874); Sluice in Holland (1875); Potato Harvest in Esthland (1876); Wharf in Holland (1878), National Gallery, Berlin. -Brockhaus, iii. 220; Miller, 58. BOCK, HANS, middle of 16th century. German school; fresco painter. His colossal frescos, inside and outside the City Hall of Basle, despite their mannerism, are vigorously treated and have fine landscape backgrounds.-Kugler (Crowe), 271. BOCKHORST, JAN VAN, surnamed Langen Jan, born at Mlnster, Westphalia, about 1610, died in Antwerp, April 21, 1668. Flemish school; history and portrait painter; pupil of Jordaens; master in 1633 of the guild in Antwerp, where he had come early in life. His portraits have been compared to those of Van Dyck. Works: David's Repentance, St. Michael's, Ghent; Martyrdom of St. James, St. James's, ib.; Martyrdom of Legion of Thebes, Lille Museum; Coronation of the Virgin, Museum, Antwerp; Triptych with Resurrection, Beguinage, ib.; Finding of the Cross, Augustine ch, ib.; 170 BOCKLIN Mercury and Hersa, Ulysses and Achilles, Old Pinakothek, Munich; Nymphs and Satyrs, Vienna Museum.-Biog. nat. de Belgique, ii. 556; Gaz. des B. Arts (1872), vi. 491; Michiels, ix. 67, 255. BOCKLIN, ARNOLD, born in Basle, Oct. 16, 1827. Landscape and history painter; pupil in landscape painting of Dusseldorf Academy under Schirmer; then studied figure painting in Brussels. Visited Paris, Rome, and in 1853 Basle, whence he went to Munich. Became professor at the art school in Weimar in 1858, but resigned two years later and went again to Rome; lived in Munich in 1871-76, and finally settled in Florence. Works: Venus Reposing, Pan in the Rushes (1857), Munich Gallery; AmazonHunt; Sleeping Satyr-Family; Castle on the Sea surprised by Corsairs; Chase of Diana, Basle Museum; The Gods of Greece; Anacreontic Shepherd-Boy; Robbery on Italian Coast; Faun Family; Pieta, Portrait of himself (1871); Fight of Centaurs; Ceres and Bacchus; Panic Terror, Anchorite, Portrait of his Wife (1863), Villa by Sea (1869), Old Roman Tavern, Shepherd's Love Lament, Murderer and Furies, Walk to Emmaus, Dragon's Den, Ride of Death, Wood Landscape with Nymph, Ideal Landscape, Shepherdess, Sea-Idyl, Schack Gallery, Munich; Descent from Cross (1876); Isle of the Blessed (1878), National Gallery, Berlin; Triton (1880).-Brockhaus, iii. 224; Miller, 58; Pecht, ii. 180; Graph. K., ii. 77; Grenzboten (1879), 397. BOCKSBERGER (Boxberger), HANS, born in Salzburg, in 154(0. German school; son and pupil of Hans Bocksberger; painted chiefly battles, hunts, allegories, mythological and historical subjects, in oil and water colours, but especially in fresco, decorating exteriors and interiors of houses in Munich, Augsburg, Ingolstadt, Ratisbon, Passau, Landshut, and Salzburg. Among his works are: Wall paintings at Castle Trausnitz, near Landshut, Bavaria (1579). -Allgem. d. Biogr., ii. 788; Brockhaus, iii 224; Nagler, Mon., iii. 189. BODE, LEOPOLD, born at Offenbach, March 11, 1831. History painter; pupil of his father, then of the Stadel Institute under Jakob Becker, Passavant, Eugen Schaffer, and from 1850 of Ed. Steinle, who influenced him most. In 1858 he travelled in Bavaria and Tyrol, and in 1860-65 assisted Steinle in his frescos in the Cologne Museum. In 1865 and 1875 he visited Switzerland. Works: Scene from Ruth's History (1856); Visitation; Workshop with the Cross, Chronicle of Travelling Scholar, Rudolf von Hapsburg (1868); Edelweiss and Alpine Rose; The Alpine Bride; Scenes from Legend of Charlemagne's Birth, Schack Gallery, Munich.-Miiller, 60. BODE, WILHELM, born in Hamburg, in 1830. Landscape painter; pupil of the Vienna Academy; lived for eight years in Munich; studio in Dusseldorf. Works: Autumn Evening in the Mountains, Sunday Morning in Salzburg, Isar-Valley, Morning on the Konigsee, View on Kochelsee, On the Haidlinger Heights, From the Eifel, Valley of Lauterbrunn, Morning on the Hintersee, The Rampenwand near Rosenheim, The Hundstod, Perspective in the Bavarian Mountains, Mill on the Brook.-Miiller, 60. BODENMULLER, ALFONS, born in Munich, Aug. 5, 1847. Genre painter; pupil of Munich Academy under Ramberg and Lindenschmit.-Milller, 60. BODENMULLER, FRIEDRICH, born in Munich, Aug. 11, 1845. Battle painter; pupil of Munich Academy, but mostly selftaught. First painted genre and altar pieces, but, having served in the German war of 1870-71 as an officer in the Bavarian army, was led to cultivate his present specialty. Works: Camping in the Rain, Patrol (1871); Fight in the Streets of Bazeilles; Camp near Ingolsheim; Battle of Sedan (1873), Munich Gallery; Battle of Worth; After the Battle of Worth; Camp of the French on the Isle of Iges; Storming of Froschweiler; Elegy (1883).-Miller, 60. BODENSTEIN, JULIUS, born in Berlin, Aug. 4, 1847. Landscape painter; pupil of 1.1 BODMER Berlin Academy under SchUtze and Hermann Schnee; went in 1873 to Munich, where he studied under Ad. Lier. Works: View near Trafoi with Glaciers; Approaching Storm in Jura Mountains; Twenty-five Views in the High Alps (1879); Isle of Sylt. Exhibited at Munich (1883) Oyster-Fishing on North Sea, Twilight on Isle of Sylt.-Miller, 60. BODMER, KARL, born in Zuirich, Switzerland, in 1805. Landscape painter, chiefly woods and wooded landscapes; pupil of Cornu. Has travelled in America and other countries with the Prince von Neuwied. Medals: 2d class, 1851; 3d class, 1855 and 1863; L. of Honour, 1876. Works: Indian Costumes and Chiefs (1836), water colours; Forest in Winter (1850), Luxembourg Museum; Dry Leaves (1853); A Pond (1855); After the Rain, March Sunlight, In the Woods(1857); At Bas-Breau, Morning, Evening (1859); Chickens under Shelter, Terriers in the Broom Fields, Forest of Fontainebleau, Deer Fighting (1861); Family of Bears in the Alleghany Mountains; Wild Turkeys in the Woods, View on the Missouri-water-colours (1863); Last Days of Autumn, Under the Trees (1865); Wild Boars among the Trees (1866); Shelter from the Snow (1867); Fox Terrier (1870); Borders of a Swampy Forest (1872); Quarry of Game (1874); High Woods, Eaux-Fortes (1875); Preliminaries of the Fight (1877); Group of Hack Horses, Nest of Wrens (1878); Boar breaking loose (1879); Volley of Curses (1881). His son and pupil, Henri (born at Barbizon), is also a landscape painter.-Larousse. BO1, FRANZ (DIETRICH), born at Bergen, Norway, May 28, 1820. Still-life painter; pupil of Copenhagen Academy, and of M. Groenland; settled in 1849 in Paris. Works: Grapes (1850), Louvre; Camellias (1855); Pheasant and Partridge; Eagle devouring Fox; Fishes; Shells; Jewelry; Fruits; Sea-Plants; View of Mountains in Westenaalen (1878). —Mlller, 61. BOEL, PIETER, born in Antwerp, Oct. 22, 1622, died there, Sept. 3, 1674. Flem ish school; animal and still-life painter, pupil of Snyders, and of his uncle, Cornelis de Wael. Visited Italy and France, settled in Paris, and became court painter, and very popular, equalling Snyders in composition, and in the drawing and truth to nature of his animals. His pictures are rare: Sporting Dog guarding Game, Old Pinakothek, Munich; Eagle's Repast, Antwerp Museum; Game Piece, Ghent Museum; Dead Game, and others, Madrid Museum; Eagle devouring Roe, Frankfort Museum; Boar Hunt, landscape, Hague Museum. His son, Jan Baptiste Boel (1650-89), was also a painter in the same line.-Biog. nat. de Belgique, ii. 581; Cat. du Mus. d'Anvers (1874), 52; Michiels, vii. 426; Rooses (Reber), 425. BOENISCH, GUSTAV ADOLF, born at Soppau, Silesia, Aug. 22, 1802. Landscape painter; pupil of Wach and of Berlin Academy; travelled through the mountains of Middle Germany and in Scandinavia. Works: Mill on a Pond; 1 8 3' Thuringian Village; Bay between Rocks; House in the Mountains; Rocky Landscape in Norway.Rosenberg, Berl. Malersch., 59. BOESEN, JOHANNES, born in Copenhagen, Aug. 5, 1847. Landscape painter; pupil of Copenhagen Academy; visited Italy, Switzerland, and France in 1879. Works: Apple-tree in Blossom (1873); Wild Rose-bush (1875); Sunrise; Showers in September (1881).-Sigurd Mfiller, 44. BOEYERMANS, THEODOR, born in Antwerp, baptized Nov. 10, 1620, died there, in 1677 or 1678. Flemish school; history and portrait painter; studied Van Dyck's pictures. His colouring is warm and harmonious in tone. Received in guild of St. oeyennr7an4 / Luke, May 17, 1654. Best works: An Ambassador, Pool of Bethesda (1675), The Visit, Antwerp the Nurse of Painters, Fe 172 BOGGS male Head, Museum, Antwerp; Assumption, S. Jacques, ib.; Vow of St. Louis of Gonzaga, Nantes Museum; St. Francis Xavier converting an Indian Prince, Jesuit Church, Ypres; Judgment of Paris, Hague Museum.-Ch. Blanc, Ecole flamande; Biog. nat. de Belgique, ii. 605; Michiels, ix. 3; Rooses (Reber), 331. BOGGS, FRANK MYERS, born in New York, in 1855. Marine painter; pupil of Ger6me and of the Ecole des Beaux Arts, Paris. Two of his pictures purchased by French Government. Studio in Dieppe. Works: Marine-French Coast; Return from Crab-Fishing (1882); Coast SceneHonfleur (1883); Old Canal at Dordrecht, On the Thames (1884); Port of Honfleur (1885). BOGH, CARL HENRIK, born in Copenhagen, Sept. 3, 1827. Genre and portrait painter; pupil of Copenhagen Academy, then studied in Paris, 1860-61; travelled in Sweden and Norway. Title of professor in 1873. Works: Country Scene (1854); Horse Dealer (1857); Reunion (1862); Milking Place (1870); Reindeer at the Milking Place (1875), Copenhagen Gallery.-Sigurd Miller, 55; Weilbach, 91. BOGLE, JAMES, born in South Carolina in 1817, died in 1873. Portrait painter; pupil of Professor Morse in New York, where his professional life was chiefly spent. He painted portraits of Calhoun, Clay, Webster, John A. Dix, Henry J. Raymond, and other distinguished men. Elected an A.N.A. in 1850, and N.A. in 1861. BOGOLJUBOFF, ALEXIS, born in Government of Moscow in 1824. Marine painter; pupil of St. Petersburg Academy; won, in 1853, the first prize, and went to Diisseldorf, where he studied under Andreas Achenbach. After his return exhibited more than one hundred paintings; became in 1858 member of, and in 1861 professor in, the Academy. Accompanied the Cesarevich on his travels, and in 1866 revisited Germany, where he painted several large historical marines, city-views, and sea-bat ties. Decorated with Russian, Austrian, Danish, and Belgian orders. Works: Battle of Sinope (1853); Battles of Grenhane and Petropavlovsk; First Sea-Battle of Peter the Great; Morning after the Storm; Disembarkment; Battle near Hangut in 1714; Peter the Great with his Galleys; Crossing near Rilaco in Finland, Battle near Isle of Oesel in 1819; Views of Naples, Venice, and Amsterdam; Christ walking on the Sea; Christ on Lake of Gennesareth, Ice afloat on the Neva (1873); Roadstead of Cronstadt (1878).-Brockhaus, iii. 241; Miller, 61. BOHN, GERMANN VON, born at Heilbronn, Wtirtemberg, Feb. 25, 1812. History painter; studied in Stuttgart, then in Paris under Henri Lehmann and Ary Scheffer, and for two years in Rome; then lived in Paris until 1876, when he was appointed court-painter at Stuttgart. Medals: Paris, 1844, 1849; L. of Honour, 1852; Wurtemberg Crown Order. Works: Death of Cleopatra (1840), Nantes Museum; Hagar and Ishmael (1843), St. Martin de Tours (1844), Tours Cathedral; Romeo and Juliet, Nancy Museum; All Souls' Day, Villa Rosenhain, near Stuttgart; Serenade (after Uhland), Stuttgart Gallery; Hamlet and Ophelia (1849); St. Elizabeth (1866); St. Agnes; The Valkyrie; The Vow, Gelsomina (1868); My Mother's Umbrella (1870). - Meyer, Con. Lex., xviii. 142. BOILLY, LOUIS LEOPOLD, born at La Bassee, near Lille, July 5, 1761, died in Paris, Jan. 5, 1845. Genre and portrait painter. Began to paint portraits when thirteen, went to Paris about 1787, and it is said painted the incredible number of 5000 pictures, many of them being scenes of the Revolution treated rather from the grotesque than the tragic side. Arrival of the Dili- g l gence (1803), Lou- vre, Paris; Isabey's Atelier with twentyfour portraits of artists, Triumph of Marat, Lille Museum. - Ch. Blanc, tcole fran9aise. 178 BOIS BOIS, CORNELIS DTU, flourished about as well as humourous scenes, and secured a 1660. Dutch school; landscape painter, in place among the foremost genre painters of the style of Jacob Ruisdael, possibly his Germany. Medals: pupiL Works: Wood Landscape (1649), London, Vienna Brunswick Gallery; do., Cassel Gallery; (1873), Ghent, Berdo. (attributed to Guillam du B.), Schwerin 4 t lin, and Brussels. Gallery.-Riegel, Beitrage, ii. 395. Works: House of BOISSELIER, FRILIX, the elder, born at So r row (1873); Damphal (Haute-Marne), in 1776, died in ' Shoemaker's ApRome, Jan. 12, 1811. History painter; / /i1 prentice (1873); Expupil of Sieti, or Cieti, an Italian decorative treme U nct ion painter, and later of Regnault. Won the (1873); Dawn of grand prize for painting twice successively / Day (1874); Moun(1805-06), the two subjects being the Death tebank (1875); Pawnbroker's Shop (1876), of Demosthenes and the Return of the Stuttgart Gallery; Failure of a Bank (1878); Prodigal Son. Went to Rome in 1806, and Camp in Winter-Time; Opening of the Will sent from there his Death of Adonis, now (1879), National Gallery, Berlin; Last Stage in the Louvre, which was exhibited in 1812, of Election Contest (1880). —Miller, 63; after his death. His younger brother, An- Illustr. Zeitg. (1879), i. 10; (1881), ii. 469; toine Felix, called the younger, was a Land und Meer (1884), i. 426; Zeitschr. f. painter of history and historical landscapes. b. K., xv. 48, xvi. 149. His Death of Bayard is at Fontainebleau.- BOKER, KARL, born at Barmen, in 1836. Villot, Cat. Louvre. Genre painter; pupil of the Diisseldorf AcadBOISSIEU, JEAN JACQUES DE, born emy under Karl Sohn and Schadow; painted at Lyons, Nov. 30, 1736, died there, March at first biblical pictures, but turned to 1, 1810. Landscape and genre painter; pupil genre subjects; excels especially in humourof Lombard, and of Jean Charles Frontier, ous scenes. Works: Chastity of Joseph; and formed himself after the Dutch masters; St. John; Flight into Egypt; Magdalen; studied also in Paris and Italy. Works: Revision of Passport; After School (1866); Landscape with Washerwomen, Louvre, Crab-Fishing and Repast (1867); The Paris; Hilly River Landscape, Valley with Good Testimonial (1868); Little Recruits River (1773), Berlin Museum.-Larousse, (1868); Spectacle-Dealer (1869); Walk ii. 886; Notice de Tableaux du Louvre to Kirmess (1870); Cupid in the Sculpture (1882), iii. 14. Gallery (1871); Canary Bird Seller (1872); BOIT, EDWARD DARLEY, born in Bos- Large Hotel-Bill (1873); Children Swington; contemporary. Marine painter; studied ing, Mother's Joy (1875); At the Fair (1876); first in Boston, later in Paris under Fran- Great Misery; Christmas-Box; Bird-Thieves 9ais; has also lived and painted in Rome. arraigned; Your Health!-Muller, 63; IlStudio in Paris. Works: La Plage de Vil- lustr. Zeitg. (1873), i. 255. lers-Calvados (1876); Beach of Villers- BOKLUND, JOHAN KRISTOFER, born Normandy (1878); Terrace at Grove Farm at Kulla-Gunnarstorp, Sweden, July 15, at Leatherhead - England (1884); Tun- 1817, died in Stockholm, Dec. 10, 1880. bridge Wells-England (1885). History and genre painter; studied from BOKELMANN, LUDWIG (CHRISTIAN 1832 in Lund under Korner, then at the LOUIS), born at St. Jilrgen, near Bremen, Copenhagen Academy, in 1837 in StockFeb. 4, 1844. Genre painter; pupil of holm, 1846 in Munich, and 1854 in Paris Dusseldorf Academy under W. Sohn; has under Couture; returned to Sweden in 1856, attained considerable reputation with serious became member of and professor in the 174 BOKS Stockholm Academy, and in 1867 inspector of the Gallery and director of the Academy. Painted, at first, scenes from the Thirty Years' War; then turned to historical genre. Much credit is due to him for the organization of the Museums in Stockholm and Lund. Works: Gustavus Adolphus and Axel Oxenstierna; Charles X. and Erik Dahlberg; Faust in his Study; ConventYard in Tyrol; Meran Riflemen, Stockholm Museum; Portrait of Queen Louise.-Miiller, 63. BOKS, EVERT JAN, born at Beekbergen, Belgium, April 18, 1838. Genre painter; pupil of Antwerp Academy under De Keyser; studied then in Paris and settled in Antwerp. His specialty is servant's life, which he depicts in the most amusing manner. Corpus Delicti (1878) is one of his best works.-Muller, 63. BOL, FERDINAND, born at Dordrecht, in 1611, died in Amster-; dam; buried, July 24, 1680. < t Dutch school; - pupil of Rembrandt, whose studio he en- ( tered about T u 1630, and one / of his most successful imitators. Lived chiefly at Amsterdam, where in 1653 he married Elizabeth Dell. Painted many historical pictures, excelled in portraits, and was an excellent etcher. Among his numerous works in European galleries the best are: Female portrait (1642), Berlin Museum; Saskia, wife of Rembrandt, Brussels Gallery; David's Charge to Solomon (1643), Dublin National Gallery; Repose in Egypt (1644); Jacob's Dream, Joseph presenting Jacob to Pharaoh, and his own portrait, Dresden Gallery; Pastor Fido, and half-length figures of a man and his wife, Baring Collection, London; Portrait of a Boy, Castle Howard, England; Allegory of Peace (1644), Town Hall, Leyden; The Regents (1649), Lepro. senhuys, Amsterdam; do., Huysittenhuys; The Astronomer (1652), National Gallery, London; Philosopher, Dutch Prince in a Car drawn by Goats (1654), Male portrait (1659), Louvre, Paris; two portraits (1669), fJI/'af Hague Museum.-C. Vosmaer, Rembrandt (Hague, 1877), 138; Kugler (Crowe), ii. 376; De Stuers, 16; Ch. Blanc, Ifcole hollandaise; Riegel, Beitrage, ii. 257. BOL, HANS, born at Mechlin, Dec. 16, 1534, died in Amsterdam, Nov. 20, 1593. Flemish school; painted landscapes and miniatures, also genre and biblical subjects. Worked for two years for the Elector of the Palatinate in Heidelberg, then until 1572 in Mechlin, next until 1584 in Antwerp, and, after short stays in Bergen, Dordrecht, and Delft, settled in Amsterdam. He excelled in representing subjects reflected in the water, and rocks overgrown with moss and shrubbery; his figures, animals, fruits, and flowers are notable for their truth, good drawing, and finished execution. Works: Prayer-Book, illuminated MS., National Library, Paris; small landscapes, Cabinet of Miniatures, Munich Gallery; do., Berlin Museum.-Biog. nat. de Belgique, ii. 626. BOLANACHI, CONSTANTINOS, born at Heraclium in Candia, March 17, 1837. Marine painter; pupil of Munich Academy, under Piloty; paints effective sea-battles BOLDINI and coast-scenes, most of which are bought in England and America. Works: Battle of Lissa (1866); Neapolitan Fishermen; Company on Shipboard; Ship on Fire in Mid-Ocean.-Miller, 64. BOLDINI, G., born at Ferrara, Italy. Genre and portrait painter; studio in Paris. His style somewhat resembles Fortuny's. Works: A Summer Stroll; The Connoisseur; The Despatch (1879); At the Piano, Wm. Astor, New York; Ladies of First Empire, Les Parisiennes, W. H. Vanderbilt, New York; Spring Flowers, After the Orgie, A. E. Borie Collection, Philadelphia; Gossips, Miss C. L. Wolfe, New York; Cafe Pigalle, J. A. Scudder, St. Louis; Morning Visit, C. Crocker, San Francisco; Song of the Bird, W. B. Bement, Philadelphia; Delivering the Despatch, J. M. Fiske, New York; Dolce far niente, J. C. Runkle, New York; Day Dreams, A. J. Drexel, Philadelphia; Kitchen Garden, D. 0. Mills, New York; Rocking-Chair, F. Harper, New York; Expected Visitor, C. S. Smith, New York; Parrot, Fishing on the Seine, R. L. Cutting, New York.-Am. Art Rev. (1880), 296. BOLGHARINL See Bulgarini. BOLOGHINI. See Bulgarini. BOLOGNESE, IL. See Grimaldi. BOLSENA, MIRACLE OF. See Mass of Bolsena. BOLTON ABBEY IN OLDEN TIME, Sir Edwin Landseer, Duke of Devonshire, Chatsworth. The Abbot of Bolton, standing at the entrance of the monastery, is intently reading a letter, which a monk, who stands behind him with a tray of bottles and glasses, is also trying to read over his shoulder; in foreground, a man sitting on the steps with a dead stag and wild fowl and two dogs beside him, a girl with a tray of fish, and a boy with herons on his back, perhaps a tenant's tribute or a present from some neighbouring lord. Royal Academy, 1834. Engraved by Samuel Cousins; W. T. Davey.-Landseer Gallery. BOLTRAFFIO. See Beltraffwo. BOMMEL, ELIAS VAN, born in Amsterdam, in 1824. Marine and architecture painter; pupil of the Amsterdam Academy; visited Paris, Belgium, Germany, Hungary, [and North Italy, and settled in Vienna. Works: Harbour of Dordrecht, Street in Amsterdam (1866); View on the Rhine, Harbour of Vlissingen (1867); Still Water at Amsterdam (1868); Rotterdam (1869); Storm near Coast, Montalbaan's Tower in Amsterdam (1872).-Mttller, 64. BONAPARTE. See Napoleon. BONAVENTURE, ST., Murillo, Francis Cook, Richmond Hill, Surrey; canvas, H. 6 ft. 2 in. x 3 ft. 8 in. The Saint, in grey robe and doctor's cap, sitting in a red chair beside a table, on which are writing materials and a crucifix, holds in his left hand a book in which he is writing. One of Murillo's earliest works. Formerly in convent of S. Francisco, Seville; Louis Philippe sale (1853), ~135; Lord Dalling and Bulwer sale (1873), ~257. Old copy: Duc de Montpensier, Seville.-Curtis, 220, 225; Ponz, Viage, ix. 99; G. de Leon, i. 60. BONDONE. See Giotto. BONFIGLI (Buonfiglio), BENEDETTO, born about 1425 (?), died in or after 1496. Umbrian school. Lived in Perugia, where he painted in the Palazzo Communale, in 1454-61, a series of frescos illustrating the legends of St. Louis of Toulouse and St. Ercolano. These, which are a mixture of Umbrian and Florentine character, show the influence of Domenico Veneziano and of Piero della Francesca. It is possible that he may have been Domenico's assistant, and have worked in company with Piero. The frescos were approved by Fra Filippo Lippi, and Bonfigli was engaged to continue his work, but the series was still unfinished in 1496. Though much damaged, these frescos prove him superior to any of the Umbrians of his time except Piero della Francesca. According to Vasari, Bonfigli followed his friend and assistant Pinturicchio to Rome and helped him in the decorations of the Vatican, but there is no positive evidence of it. Other BONHEUR examples by him are a Madonna and Saints, and parts of an altarpiece, in the Perugia Academy. —C. & C., Italy, iii. 138; Vasari, ed. Mil., iii. 505; ed. Le Mon., iv. 149, v. 275, vi. 30; Ch. Blanc, ecole ombrienne. BONHEUR, (FRANCOIS) AUGUSTE, born in Bordeaux, Nov. 4, 1824, died Feb. 22, 1884, Landscape and animal painter; son and pupil of Raymond B. (died 1853), a meritorious artist. Auguste had little success as a genre painter, but as a landscape and animal painter he attained a considerable reputation. Medals: 3d class, 1852, 1857; 2d class, 1859; 1st class, 1861, 1863; L. of Honour, 1867. Works: Children in Fields (1845); Bath, Happy Mother (1846); Interior of Forest (1852); Gorges of the Gordanne and of the Puy-Griou (1853); Col de Cabre (1855); Souvenir of Brittany (1857); Herd of Cattle in the Pyrenees, Crossing the Ford, Drinking Place (1859); Arrival at Fair, Meeting of Two Herds, Leaving the Pasturage (1861); Return from Fair (1865); Sleeping Place (1866); Souvenir of Pyrenees (1867); Environs of Jalleyrac, Shepherd and Sea (1868), R. L. Cutting, New York; Souvenir of Auvergne (1874); Before the Rain (1875). Other works in the United States: Normandy Cattle, James H. Stebbins, New York; Sheep and Shepherdess, R. G. Dun, New York; Cattle at Fontainebleau, H. Probasco, Cincinnati; Le Berger et la Mer, R. L. Cutting, New York; Cattle, H. C. Gibson, Philadelphia; Environs of Fontainebleau, Mrs. A. T. Stewart, New York.-Larousse. BONHEUR, JULIETTE (Mme. Peyrol), born in Paris, July 19, 1830. Animal painter; daughter and pupil of Raymond B.; assistant of her sister Rosa in the free School of Design in Paris. Medal at the Exhibition of 1855. Works: Flock of Geese; Sheep Lying Down (1875); The Pool, Mother's Kiss (1878); Corner of the Meadow, Waste Lands of Beauregard (1879); Pond with Willows, Meadow (1880); Stray Cow, Road at Magny les Hameaux (1881); Cattle in a Meadow (1882); Two Good Neighbours, Sheep on a Plain (1883); Inn Stable (1884); Sheep and Heather, J. H. Warren, Hoosae Falls, New York; Sheep-Farm, J. CareyCoale, Baltimore. BONHEUR, (MARIE) ROSA, born in Bordeaux, March 22, 1822. Animal - painter; daughter and pupil of Ray-; "N mond B.; began by copying in the Louvre, afterwards ^. made studies and sketches near Par- ' is. Her first two I pictures, exhibited at Bordeaux in 1841, attracted much attention and were followed by others which established her world-wide fame. During the Franco-Prussian war her studio and residence were respected by special order of the Crown Prince of Prussia. Since 1849 she has been director of the Paris free School of Design for Young Girls, which she founded. Elected member of Antwerp Institute in 1868. Medals: 3d class, 1845; 1st class, 1848, 1855; 2d class, 1867; L. of Honour, 1865; Leopold Cross, 1880; Commander's Cross of Royal Order of Isabella the Catholic, 1880. Works: Two Rabbits, Goats and Ram (1841); Horse for Sale, Grazing Cow, Cattle at Pasture, Twelve Cattle pieces (1845); Herd (1848); Ploughing in the Nivernais (1849), Luxembourg Museum; Horse Fair (1853); Hay Harvest in Auvergne (1855); Mare, Rain on the Seashore, Shepherd in Bearn, Ponies from the Isle of Skye, Scotch Shepherd (1867); Painter (1868); Sheep at Pasture (1871); Forest of Fontainebleau (1873); Meadow near Fontainebleau, Monarch of the Glen, Pack of Wild Boars (1879); Foraging Party, On the Alert (1881); Lion at Home (1882). Works in United States: Study of Hound, Weaning the Calves, Miss C. L. Wolfe, New York; Rendezvous de Chasse, Shepherd and Flock, August Belmont, New York; Ready for Market, James H. Stebbins, New York; The Old Monarch, Noonday Repose, Ready 171 BONIFAZIO for the Hunt, Flock of Sheep, W.. VH.anderbilt, New York; Sheep-Scotch Landscape, Pyrenees-Landscape and Sheep, W. Rockefeller, New York; Landscape with Sheep, T. R. Butler, New York; Scotch Sheep, Mrs. Paran Stevens, New York; Horse Fair, Mrs. A. T. Stewart, New York; Cattle and Dog, H. Probasco, Cincinnati; Sheep, A. E. Head, San Francisco; Scotch Cattle, J. T. Martin, Brooklyn; Maternal Solicitude (1845), L. Tuckerman, NewYork; Deer in Fontainebleau, Mrs. R. L. Stuart, New York; Sheep, D. O. Mills, New York; Highland Sheep, H. C. Gibson, Philadelphia; The Conversation (1858), Andalusian Bulls (1867), W. T. Walters, Baltimore; Cavaliers caught in a Shower, Samuel Hawk Collection, NewYork. -Meyer,Gesch., 761; Miller, 64; Larousse; Portfolio (1875), 98; Hamerton, French Painters; Montrosier, Artistes modernes.-Century (1884), xxviii. 833. BONIFAZIO BEMBO. See Bembo. BONIFAZIO VENEZIANO, born in Venice, flourished 1555-1579. Venetian school; probably son of Bonifazio the elder or younger. Works: SS. Jerome and Margaret, SS. Bruno and Catherine, SS. Barnabas and Sylvester, Sl. Anthony and Mark (1562), Madonna in Glory with Saints, Venice Academy. - Lermolieff, 215; Morelli (Richter), 178, 184. BONIFAZIO VERONESE, the elder, born in Verona about 1490, died in 1540. Venetian school; pupil of Palma Vecchio, but closely imitated Titian. Forms clear and rounded; lights and shadows distinct; for colour one of the first Venetian masters. Works: Madonna with Saints (attributed to Palma), Casa Andreossi, Milan; St. John, St. Joseph, etc., Ambrogian Library, Milan (attributed to Giorgione); Holy Family and Saints, Palazzo Colonna, Rome; do. (1533), Palazzo Ducale, Venice; do., Palazzo Pitti, Florence (attributed by C. & C. to a Trevisan); Finding of Moses, Dresden Gallery.Kugler (Eastlake), ii. 543; Lermolieff, 215; Morelli (Richter), 184; Ridolfi, i 369; Lubke, Gesch. itaL. Mal., ii. 565. BONIFAZIO VERONESE, the younger, born in Verona about 1490, died in Venice, Oct. 19, 1533. Venetian school; near relative, perhaps brother, of the above. Pupil of Palma Vecchio, but close imitator of Bonifazio the elder, with whom he painted many pictures. Works: Supper at Emmaus, Brera, Milan; Christ and the Apostles, Christ enthroned with David and SS. Mark, Louis, Dominic and Anna (1530), Venice Academy; Christ in the Temple, Palazzo Pitti, Florence; Supper at Emmaus, Uffizi (attributed to Palma); Prodigal Son, Borghese Gallery, Rome; Adoration of Shepherds (attributed to Palma), Virgin and Child with Saints, Dresden Gallery.-Lermolieff, 215, 221; Morelli (Richter), 184; Kugler (Eastlake), ii. 543. BONINGTON, RICHARD PARKES, born at Arnold, near Nottingham, Oct. 25,1801, died iS ^S7 min London, Sept. 23, 1828. His father, a poor portrait painter, took him, when only fifteen years old, / / l to Paris, where the boy procured permission to copy in the Louvre. He became a student in the icole des Beaux Arts, and in 1819 entered the studio of Baron Gros. After obtaining a considerable reputation in Paris and winning the gold medal (1824) for a marine subject, he went to Venice and painted there some elaborate pictures both in oil and water colours, which won him fame and many commissions in England, but his promising career was cut short by death, the result of a sunstroke. Though he painted chiefly landscape and marine views, he also executed figure subjects with much skill, and his influence on the French school of genre and dramatic art was great. Works: Column of St. Mark in Venice, National Gallery, London; Henri IV. and the Spanish Ambassador, Collection 178 BONNAT of Sir Richard Wallace; Francis I. and the Duchesse d'Etampes, Park of Versailles, Louvre.-Ch. Blanc, icole anglaise; Cat. Nat. Gal.; Cunningham; Art Journal (1858), 137. BONNAT, LiON (JOSEPH FLORENTIN), born at Bayonne, in 1833. Genre and portrait painter; pupil in Madrid of F. de Madrazo and in Paris of Leon Cogniet; also studied / four years in Italy, where he painted \ many small pictures I of Italian life, for which he is best known. Has painted several religious pictures for the Government. Second grand prix, 1858; medals: 2d class, 1861, 1863, and 1869; of honour, 1869; L. of Honour, 1867; Officer, 1874; Commander, 1882; Member of Institute. Works: Good Samaritan (1859); Adam and Eve finding the Body of Abel (1860), Lille Museum; Mariuccia (1861); Pasqua Maria, Martyrdom of St. Andrew (1863); Pilgrims at Foot of Statue of St. Peter (1864); Italian Boy Begging (1864); Antigone leading her Blind Father (1865); Neapolitan Peasants at the Farnese Palace (1866); St. Vincent de Paul taking the Place of a Galley-Slave (1866); First Steps of Childhood, Tenderness, Fellah Woman, Street in Jerusalem (1870), Assumption (1869); Sheikhs of Akabah, Woman of Ustaritz (1872); Turkish Barber, Sherzo (1873); Christ on the Cross (1874); Negro Barber, Wrestling of Jacob (1876); Job (1880); Martyrdom of St. Denis (1885). Works in United States: Girl of Albano at Fountain, Miss C. L. Wolfe, New York; Italian Girl, August Belmont, New York; Roman Girl, W. Rockefeller, New York; Don't Cry, J. J. Astor, New York; Little Contadina, J. A. Brown, Providence; Elder Sister, H. P. Kidder, Boston; Italian Mother and Child, H. C. Gibson, Philadel phia; Arab plucking Thorn from his Foot, W. H. Vanderbilt, New York. Among his portraits are: M. Thiers (1877), Victor Hugo (1879), Presi-., dent Grevy g Qo nn e. (1880), Leon Cogniet (1881, Luxembourg), Hon. L. P. Morton (1883).-Gaz. des B. Arts (1881), xxiv. 32; Menard; Portfolio, 1875. BONNEFOND, JEAN CLAUDE, born in Lyons, about 1790, died there, June 27, 1860. Genre painter; pupil of Revoil; won the first prize in Lyons school of art in 1813; then went to Paris and afterward to Italy. Succeeded Revoil in 1831 as director of the Lyons school of art. Medals: 2d class, 1817; 1st class, 1827; L. of Honour, 1834; Corresponding Member of Institute, 1854. Works: Bed-Chamber, Little Savoyards (1817); Poultry Merchant, Blind Man (1819); Blacksmith (1822), B. Delessert; Return of Little Savoyards, Country Scene in Spain, Room to Let (1824), Lyons Museum; Tired Pilgrim Woman helped by Monks, Shepherds and Shepherdesses in Roman Campagna (1827); Ceremony of Holy Water in a Greek Church (1831), Lyons Museum; Wounded Pilgrim Woman, Greek Officer wounded in Ruins of Missolonghi, Christ on the Cross, Court-House, Lyons; Roman Gleaner, Vow to the Madonna. -Larousse. BONNEFOY, HENRY, born at Boulogne-sur-Mer (Pas-de-Calais); contemporary. Landscape painter; pupil of Leon Cogniet. Medals: 3d class, 1880; 2d class, 1884. Works: June in Denmark, Monsieur, Madame et Beb6 (1880); Delinquents, October Evening (1881); Playing Truant, The Ox and the Frog (1882); In the Woods (1883); September Morning, June in the Wood (1884); Derriere l'Oreille, On the Border of the Pool (1885). BONNEGRACE, CHARLES ADOLPHE, born at Toulon, April 2, 1812, died in 1882. History and portrait painter; pupil of Baron Gros. Medals: 3d class, 1839; 2d class, 1842; L. of Honour, 1867. Works; St. Peter in 179 BONONE Prison (1839); Christ in the Tomb (1840); St. Laurence the Martyr (1853), ordered by State; Christ among the Doctors (1855), Toulon Museum; Manna in the Desert (1861), St. Louis en Ile; Daphnis and Chloe (1857); Cupid and Psyche (1859); Modesty conquered by Love (1861), ordered by Emperor; Birth of Venus (1875). Portraits of Anatole de la Forge, Theophile Gautier, George Feydeau, Count Flahault, lMme. Grisi, of himself (1873).-Larousse. BONONE, CARLO, born in Ferrara, in 1569, died there, Sept. 3, 1632. Lombard school; pupil of Giuseppe Mazzuoli, and at first followed his manner; but after visiting Bologna and Rome adopted the style of the Caracci so successfully that he was called the Caracci of Ferrara. In his larger works he resembles Paolo Veronese, whose pictures he studied in Venice. He was a rival, all his life, of Ippolito Scarsella. Many of his works are in the churches of Ferrara, e.g., Patriarchs and Prophets in the Choir of S. M. in Vado; Marriage at Cana, Ateneo; Arisen Christ and Saints, S. Benedetto.-Burckhardt, 786, 797; Lanzi, iii 214; Ch. Blanc, ]cole ferraraise. BONSIGNORI, FRANCESCO DI ALBERTO, born in Verona, in 1455, died at Caldiera, near Verona, July 2, 1519. Lombard school; brought up in the Veronese school, he came under the influence of Mantegna at Mantua after he had formed a manner of his own, and acquired such proficiency that the Marquis Francesco Gonzaga gave him in 1487 a house and a salary, and retained him in his service until his death. He painted history, portraits, architecture, and animals; was called the modern Zeuxis. His earlier style is more like that of Montagna, or of Buonconsiglio, than that of Mantegna, but at the close of the 15th century he had become an imitator of Mantegna. Still later he shows the influence of Lorenzo Costa. His second manner is well illustrated in St. Louis and St. Bernardino, Brera, Milan; St. Sebastian, S. M. delle Grazie, Mantua; March to Calvary, Academy, Mantua; Portrait of a Venetian Senator, National Gallery (1487), London; Madonna and Saints, Sir A. H. Layard, London; and Christ carrying his Cross, Doria Gallery, Rome. In his last style are: Vision of Christ to the Nun Ozanna, Mantua Museum; and Madonna between Saints, chapel of S. Biagio, church of SS. Nazaroe Celso, Verona, painted in 1514-19.-C. & C., N. Italy, i. 474; Ch. Blanc, Scole lombarde; Bernasconi, 250; Ltlbke, Gesch. ital. Mal., i. 480. BONVICINO, ALESSANDRO. See Moretto. BONVIN, FRANCOIS SAINT, born at Vaugirard, near Paris, Sept. 22, 1817. Genre painter; self taught; studied Dutch painters in the Louvre, then painted subjects from the life of the working classes of Paris. Medals: 3d class, 1849; 2d class, 1851; L. of Honour, 1870. Works: Ave Maria, The Cook, The Piano, Men Drinking (1849); Orphans' School (1850), Langres Museum; Woman Knitting (1851); Charity (1852), Niort Museum; Class of Little Ones (1852); Regimental School (1853), ordered by State; Woman Reading (1853); Nuns Knitting, Low Mass, belongs to State; A Cook (1855); The Blacksmith (1857), bought by State; Letter of Recommendation, ordered by State; The Gossip, The Reader (1859); Interior of Wine-Shop (1861), bought by State; Nuns returning from Church, bought by State; Copper Fountain, Apprentice's Breakfast (1863); Attributes of Painting and Music, Poor Bench (1865); Grandmother's Coffee (1866); Clergy distributing Food, Old Woman Reading (1867); Letter of Introduction, Frying Herring (1868); Nun Knitting, Young Designer (1869); Ave Maria, Morning in the Pasture (1870); The Refectory, The Laboratory (1873); The Alembic, The Pig, School-Boy kept in (1875); Gravesend, Abandoned Boat (1876); A Thatcher who has fallen (1877); Shoemaker's Apprentice, Autumn Evening at Port Marlyt (1878); During Vacation (1879); Corner in a Church (1880). 180 BOONEN BOONEN, ARNOLD VAN, born at Dordrecht, in 1669, died in 1729. Dutch school; portrait and genre painter; pupil of Gottfried Schalken, imitating the latter in his subjects taken by candle-light. He painted life-size portraits at some of the German courts. His younger brother, Jasper Boonen (1677-1729), and his son Kasper Boonen, were portrait paint- -/ ers. Works: J J onOU Young Woman with Lantern (1695), six others, Dresden Gallery; Anchorite Reading (1695), Brunswick Gallery.-Gool, i. 294. BOOTHBY, PENELOPE, Sir Joshua Reynolds, Earl of Dudley; canvas. A little girl in a large mob cap, seated out-of-doors. Sometimes called the Mob Cap. Painted in 1788; sold in 1851 to B. G. Windus for 290 guineas; bought at his sale (1859) by Lord Ward for 1100 guineas. Engraved by Thomas Park (1789); T. Kirk; S. Cousins; lithographed in Portfolio.-Portfolio (1873), 136; (1876), 145; Athenaeum, Aug., 1874, 185; Dec., 1874, 758. BOOTT, ELIZABETH, born in Cambridge, Mass.; contemporary. Figure painter; pupil of W. M. Hunt, of Duveneck, and in Paris of Couture. Studio in Boston. Works: Head of a Tuscan Ox (1876); Old Man Reading (1878); Old Roman Peasant, Girl with Cat (1879); Almond Blossoms, Still-Life (1882); Pyrus Japonica (1883). BORDES, ERNEST DOMINIQUE, born at Pau, France; contemporary. History and genre painter; pupil of Bonnat and Cormon. Medal: 3d class, 1884. Works: The Concierge is a Tailor (1881); Malaguena de Seville (1882); Jour des Cuivres, Breton Woman Spinning (1883); Legend of St. Julian the Hospitaller (1884); Tide at Cayeux (1885). BORDONE, PARIS, born in Treviso, in 1500, died in Venice, Jan. 19, 1570. Venetian school; of a noble family; pupil of Titian, under whom he gave promise early of great ability. Afterward studied the works of Giorgione, whom he imitated rather than Titian. He excelled especially in portraits, his heads being inferior only to those of Titian. His flesh tints, are wonderfully brilliant, but in taste and quality of touch he was inferior to either Titian or Paolo Veronese. His landscape backgrounds are generally classical and elegant. In 1538 he went to Paris, at the invitation of Francis I., or, as some say, in 1559, at that of Francis II., and painted the principal personages of the court. The most important of his works are: The Fisherman presenting the Ring of St. Mark to the Doge, and the Tiburtine Sibyl, Venice Academy; Baptism of Christ, Brera, Milan; Altarpiece and Madonna and Saints, Berlin Museum; Diana, Apollo, and Marsyas, Dresden Gallery; Madonna and Saints, Hermitage, St. Petersburg; Daphnis and Chloe, National Gallery, London. There O. PARIS.. are portraits by Bordone in the Uffizi and Pitti, 1-9~ Florence; and in the Lou- vre, Munich, Vienna, and othergalleries.-Ch. Blanc, Ecole v6nitienne; Seguier, 23; Siret, 119; Vasari, ed. Le Mon., vii. 82, ix. 143, xiii. 47; Burckhardt, 741; Morelli (Richter), 195; Liibke, Gesch. ital. Mal., ii. 568. BORESUM (Borssem, Borssum), ABRAHAM VAN, flourished about 1600. Dutch school; landscape and animal painter, in the manner of A. Cuyp and A. van der Neer. Clever painter and able colourist, with a firm touch. Works: Village by Moonlight, Rotterdam Museum; Pictures in Van Loon Collection, Amsterdam, and 181 BORGOGNONE Arenberg Gallery, Brussels.-De Stuers, 115; Burger, Musees, ii. 215. BORGOGNONE, AMBROGIO, born in Milan, about 1440-50, flourished from 1485 to 1523, some say until 1535; but probably died at Milan, in 1523. Lombardo-Milanese school; real name Ambrogio Stefani da Fossano; perhaps pupil of Vincenzo Foppa and of Bernardino Zenale. First manner timid and stiff, and never gained much freedom; painted in tempera and then in oil in the method of tempera; flat surface in flesh and drapery, and petty detail in landscape distances. His best work is in the Certosa, Pavia. Used much gilding in his early pictures, as in Madonna and Saints, Ambrosian Library, Milan; do., collection of Count Borromeo, Milan; and a triptych in the National Gallery, London, where are also his Marriage of St. Catherine and two family portrait pieces. The second style of Borgognone shows the influence of Leonardo da Vinci. Examples of it are the remains of frescos at S. Satiro, Milan (1494-95); a series of small panels at Lodi; Coronation of the Virgin, in choir, and scenes from the legend of S. Sisinius, in portico, of S. Simpliciano, Milan (1524); Christ after his Resurrection and Christ disputing with a Doctor, S. Ambrogio; a ceiling in the sacristy of S. M. della Passione; Madonna with Saints (1485), S. Eustorgio, Milan. In the Certosa, Pavia, are the frescos of the apses, and a Crucifixion (1490); St. Ambrose and Martyrs; St. Sirus in Majesty with Saints; St. Augustin, and many other works completed before 1494. Other works are: An altarpiece (1508), S. Spirito, Bergamo; Assumption birgoafonl d (1522), Brera, Milan; Madonna in Adoration, Munich Gallery; do., Dresden Gallery.-Calvi, Dei Professori, etc., 245; Rio, Art Chr6tien, iii. 184; C. & C., N. Italy, ii. 41; Ch. Blanc, lIcole milanaise; Morelli (Richter), 419; Ltbke, Gesch. ital. Mal., i. 495. BORGONA, JUAN DE, died in Toledo, about 1533. Spanish school; enjoyed the patronage of Archbishop Ximenes; painted in 1495-99 in the cloisters of the Cathedral of Toledo works now destroyed, and in 1508-11 frescos in the winter chapter room at Toledo, among which were a Nativity of the Virgin and a Last Judgment. In 1514 he painted the Conquest of Oran on the walls of the Muzarabic Chapel, and in 1519 adorned with frescos the Cathedral Library. He also painted portraits of all the Spanish Primates down to Cardinal de Fonseca.-Stirling, i. 93. BORJESSON, AGNES, born in Sweden, May 1, 1827. Genre painter; pupil of Boklund; studied then in Paris, and from 1860 in Dusseldorf under W. Sohn; travelled afterwards in Italy. Since 1872 member of the Stockholm Academy. Works: Old Reminiscences, Stockholm Museum; Departure of the Bridal Pair. BORRACHOS, LOS (The Topers), or Bacchus, Velasquez, Madrid Museum; canvas, H. 5 ft. 5 in. x 7 ft. 3 in. Bacchus, half nude, crowned with vine leaves, sits on a cask and smiles as he places a crown of leaves on head of a soldier kneeling before him; on left, a peasant seated, and another reclining on bank with a cup in hand; on right, five jovial peasants looking on; background, landscape. Painted about 1629 for Philip IV. Old copy in Naples Museum. Sketches: Lord Heytesbury, Wilts; Robert S. Holford, London. Several etchings and lithographs.-Ch. Blanc, icole espagnole; Art Journal (1852); Gaz. des B. Arts (1879), 421: Klass. der Malerei; Curtis, 17; Madrazo, 596. BORRAS, Fray NICHOLAS, born at Cocentayna, in 1530, died at Gandia, in 1610. Spanish school; pupil of Vicente Joanes; became, in 1575, a monk in the Jeronymite convent at Gandia, where he gave most of 182 BORRXS his life to its embellishment, covering the invitation of Louis XIV. and painted freswalls of its chapels, chapter-house, cloisters, cos in the Louvre and at Vincennes Reand refectories with pictures. Many of his turned to Genoa the year of his death.works in the Museum at Valencia, among Lanzi, iii. 271; Ch. Blanc, ]cole gbnoise; them a Last Supper, Christ bearing his Soprani, 179. Cross, Dead Sa- BOSBOOM, JAN, born at The Hague, viour in Arms of Feb. 18, 1817. Architecture painter; pupil the Father, and ) of Van Bree; Knight of the Order of the Archangel Mi- Lion, of the Crown of Oak, and of Leopold; chael driving Souls to Purgatory. Bermu- medals in Paris (1855) and Philadelphia dez gives a list of his works.-Stirling, i. (1876). Works: Franciscan Monks singing 379; Cean Bermudez. Te Deum (1855); Holy Communion in BORRAS Y MOMP6, Don VICENTE, Protestant Church; Hall of the Consistory born in Spain; contemporary. Historical at Nymwegen; Interior of Church at Alkgenre painter. Medal, 2d class, Madrid, 1878. Works: Seizure of Riego (1878); Dofia Maria Pacheco de Padilla (1881);. Antonio Perez after Torture receiving his Family ) (1884). -La Ilustracion i( (1881), ii. 299; (1884), ii. / 41. 'i.~ BORSOS, JOSEF, born i'/ ' at Veszprim, Hungary, Dec. 20, 1821. Genre and still-life painter; pupil of Vienna Academy. Works: Still-life (1850), Vienna Museum; Morning after Masked Ball (1850), Portrait of Prince Eszterhazy, National Museum, Pesth; Surprise (1 Wounded Soldier (1853), After the 1 (1853), Austrian Art Union.-Wiirzba4 78. BORZONE, LUCIANO, born in Ger 1590, died there in 1645. Genoese sc pupil of his uncle Filippo Bertolotto al Cesare Corte. Painted some historical ures, but excelled in portraits. Killed fall from a scaffolding in l'Annur Genoa, where he was occupied in pai a Nativity. His three sons, Gio. BE (died 1657), Carlo (died 1657), and cesco Maria (born 1626, died 1679), we painters. Francesco M. went to Frar Los Borrachos (The Topers), Velasquez, Madrid Museum. maar; Interior of Rotterdam Cathedral; Protestant Church at Amsterdam, Munich Gallery; Tomb of Engelbert II., Le Buffet d'Orgues (1873). BOSCH, ERNST, born at Crefeld, Germany, in 1834. Genre painter; pupil in Wesel, of Schex, then in 1851-56 at the Dusseldorf Academy, under Sohn, Hildebrandt, and Schadow. Works: The Smuggler (1854), Ferry in the Ice, Flying Dutchman, Defence of Log-House against Indians, Soldier's Serenade, Gipsy Gang, Faithful Watchman, Grandfather and Grandson, The Sick Cow, Rogues' School, Autumn Evening (1867), Far-Sighted and Near. 188 BOSCH Sighted, Sleeping Savoyard Boy, Tinker, Old Shepherd (1873), The Poachers, Red Riding-Hood, Cinderella, the Favourites, Old Shepherd and Granddaughter, Idyl.MUller, 67. BOSCH (Bos), HIERONYMUS (Hieronymus van Aeken), born at Bois-le-Duc, between 1460 and 1464, died there in 1516. Flemish school; history and genre painter; treated scriptural subjects in a fantastic and grotesque spirit; great brilliancy of colour and delicacy of execution. His fame spread rapidly over the Netherlands, Italy, and Spain. Works: Adoration of Magi, Temptation of St. Anthony (3), Fall of Angels, Creation (?), Moral Fantasy, Madrid Museum; Christ crowned with Thorns, Valencia Museum; Temptation of St. Anthony, Antwerp Museum; Fall of Angels, Brussels Museum; Temptation of St. Anthony (2,?j, Museum, Vienna; Last Judgment, Academy, ib.; Holy Family, Naples Museum.Allgem. d. Biog. iii. 184; Biog. nat. de Bel(7nmimuo boC^ gique, i. 149; Meyer, Kilnst. Lex., i. 90; Michiels, iv. 204; Rooses (Reber), 75; W. & W., ii. 528. BOSER, FRIEDRICH, born at Halbau, Silesia, in 1811, died in Duisseldorf, Jan. 28, 1881. Genre and portrait painter; pupil in 1831-34 of Dresden, then, till 1836, of the Berlin Academy, and, till 1841, of the Dtisseldorf Academy. Works: Egmont and Clara, Faust and Gretchen, Present to the Bride, Brother Sleeps, Wendish Girls at Church, Little Flower-Girl, Girl Knitting, The Widow, Poor's Box, The Redeemer (1870); Shooting at the Shawfowl, Looking at the Pictures, Mr. Bicker, New York.Kunst-Chronik, xvi. 343; Meyer, Conv. Lex. (1874), iii. 550; Wolfgang Muiller, Dusseldorf K., 291. BOSSCHAERT (Bossaert), THOMAS WILLETBRORD, called Willeborts, born at Bergen-op-Zoom, in 1613, died in Antwerp, Jan. 23,1654. Flemish school; history and portrait painter; pupil in Antwerp of Gerard Zegers, but became afterwards a successful imitator of Van Dyck, to whom some of his works are attributed; master of Antwerp guild in 1636, dean in 1650-51; director of Academy at Antwerp, 1649. Works: The Angels announcing to Abraham the Birth of Isaac, Brussels Museum; St. Sebastian and the Angel, Munich Gallery; Marriage of St. Catherine, Berlin Museum (?); Mary and St. Francis, Nuremberg Museum; Elijah in the Desert, Vienna Museum.Biog. nat. de Belgique, ii. 750; Kramm, i. 134, vi. 1865; Michiels, ix. 71; Rooses (Reber), 328. BOSSCHE, BALTHASAR VAN DEN, born at Antwerp, baptised Jan. 6, 1681, died there, Sept. 8, 1715. Flemish school; genre and portrait painter; pupil of Gerard Thomas. Work: Reception of Burgomaster in the Guild of Cross-Bowmen (1711), Antwerp Museum.-Cat. du Musee d'Anvers (1874), 426. BOSSHARDT, KASPAR, born at Pfaffikon, Switzerland, in 1823. History painter; pupil of DtUsseldorf Academy under Schadow and Schirmer; paints chiefly subjects from local history. Studio in Munich. Works: Halwyl of Bern before Battle of Murten (1868), Basle Museum; Death of Sickingen,Wengi of Solothurn placing himself before a Cannon, Confederate Woman in Suabian War, The Favourite, Politicians in the Monastery (1879).-Kunst-Chronik, iii. 66; Mlller, 68. BOSSUET, FRANCOIS, born at Ypres, East Flanders, Aug. 20, 1800. Architecture painter; pupil of Brussels Academy; travelled in the Netherlands, Germany, France, I 184 BOTH Spain, and North Africa. Professor at Brussels Academy. Member of Rotterdam and Philadelphia Academies. Officer of Order of Leopold; Portuguese Order of Isabella the Catholic. Works: Seville Cathedral (1855), St. Amand Abbey at Rouen, Brussels Museum; Ruins of Moorish Bridge, Liege Museum; Gate of Justice at the Alhambra, Mons Museum; Market Halls at Ypres, Ypres Museum; Lions' Court of the Alhambra, Court of Honour of the Alcazar at Seville, Stuttgart Gallery; Andalusian Landscape (1847), Giralda Procession at Seville (1853), National Gallery, Berlin; Roman Aqueduct at Seville, Philadelphia Museum. - Larousse, ii. 1027. BOTH, JAN, called the Italian, born at hagen Gallery; Baptism of the Eunuch, Buckingham Palace, London; Landscape with Muleteers; do. with figures (by Poelenburg) representing Judgment of O/V Q Paris, and others, National Gallery, London; Landscape, New York C7[\ ( Museum. -Ch.;/. J I 0f^.ro Blanc, gcole hollandaise; Cat. du Musee d'Anvers (1874), 62; Havard, A. & A., iv.171; Riegel, Beitrage, ii. 366. BOTTALLA, GIOVANNI MARIA, called Raffaellino, born at Savona, in 1613, died in Milan, in 1644. Genoese school; patro Utrecht, in nized by Cardinal Giulio Sacchetti, who 1610, died | placed him at Rome in the studio of Pietro there after da Cortona. Sacchetti called him Raffael1650. Dutch ^ ^lino from his happy imitation of Raphael; school. Jan M A but his style is rather that of Pietro, who is and his broth-:i~'- / ~ said to have dismissed him and Francesco er Andries,o; Romanelli, for endeavouring to supplant having learned him. Afterwards painted in Naples and in the elements A t y,:\ Genoa. His Meeting of Jacob and Esau is of painting t 7/ in the Capitol Gallery, Rome.-Lanzi, iii. from their fa- 276; Ch. Blanc, ]~cole genoise; Soprani, 161. ther, Dirck, glass painter, were apprenticed BOTTCHER, CHRISTIAN (EDUARD), by him to Abraham Bloemart. The broth- born at Imgenbroich, Rhine province, Dec. ers travelled in France and Italy. At Rome, 9, 1818. Genre and landscape painter; Jan imitated the style of Claude Lorrain and pupil of Dusseldorf Academy under Hildepainted some excellent landscapes, in which brandt and Schadow. Since 1872 professor Andries, who followed the manner of Van in Academy. Works: Release of Prisoner Laar, introduced figures and animals. It is (1848); Schoolmaster and Village Youths said that Jan, after his brother was drowned (1852); Rhenish Village Youths (1856); at Venice, returned to Utrecht and died Evening on the Rhine (1860); Rhenish of grief soon after. But doubt is thrown Harvest (1861); Summer-Night on the upon this story by the signature of Jan, Rhine (1872), Cologne Museum; Evening when dean of the guild in 1649; he had re- in Black Forest (1863), Leipsic Museum; turned to Utrecht in 1644. Works: Eight Starting for the Vintage (1867); Hay-Har. landscapes, Madrid Museum; two, Louvre; vest on the Lahn, Villa on the Rhine, Mardo., Hague Museum; four, National Mu- ket-Well in Rhenish City (1870); Return seum, Amsterdam; two, Rotterdam Muse- from the Fields (1872); Sunday on the um; one, Antwerp Museum; do., Brussels Rhine (1875). - Wolfg. Mtlller, 69; Diis Museum; do., Brunswick Museum; five, seldorf K., 257; Wiegmann, 326. Dresden Museum; one (1650), Berlin Mu- BOTTICELLI, ALESSANDRO (Sandro), seum; do., Munich Gallery; two, Copen- born in Florence, in 1446, died there, 186 BOUCHER May 17, 1510. Florentine school; real name Alessandro di Mariano Filipepi, but took nameofBotticelli from his master, a goldsmith, to whom he was apprenr ( ~ ticed. Studied painting with Fra Filippo Lippi, at whose death (1469) he was, says Vasari, the best master in Florence. He is the only contemporary whom Leonardo da Vinci mentions by name in his treatise on painting. The grace, sympathetic feeling, and imaginative quality of Sandro's work give it a greater hold upon the mind than that of many painters who surpassed him in technical knowledge and in feeling for beauty. Student and illustrator of Dante, a reader of Boccaccio, with a taste for classical mythology, and of a serious turn of mind which brought him under the influence of Savonarola, in the latter part of his life, this painter poet worked with genuine freshness of feeling. His art is always refined and elevated, though not altogether free from a naive mannerism whose quaintness gives it a peculiar charm. As an example of his Lippesque manner see the Madonna with Angels, Uffizi, painted about 1480, to which year belongs the fresco of St. Jerome, Ognissanti, Florence. The Adoration of the Magi, and the Fortitude, Uffizi, show the influence of Pollajuolo, who painted the series of Virtues to which the latter belongs, an influence which is also perceptible in the Calumny of Apelles, and the Birth of Venus, Uffizi. The Allegory of Spring, Florence Academy, illustrates the poetic side of Botticelli's art. Before 1484 he was called to Rome by Sixtus IV., and painted the frescos of the destruction of Korah, Dathan, and Abiram; Moses smiting the Egyptian at the Well; and the Temptation of Christ, Sistine Chapel. Other works are four small pictures attrib uted to Mantegna, Palazzo Adorno, Genoa; Triumph of Chastity, Turin Gallery; Judith, Holofernes found by his Soldiers, Adoration of Magi, Uffizi, Florence; Coronation of the Virgin, S. Jacopo di Ripoli, Florence; Coronation of the Virgin, Florence Academy (1481-84); Madonnas, Pitti and Corsini Galleries, Florence, National Gallery, London, and Louvre, Paris; Portraits, the Bella Simonetta, Pitti, portrait of a man, attributed to Masaccio, Palazzo Corsini, Florence, and of Lucrezia Tornabuoni, Berlin; Pietl, Munich; Nude Venus, Berlin; Nativity, Mars and Venus, Venus Reclining, Assumption, National Gallery, London; Adoration of the Magi, Hermitage, St. Petersburg. Whether Botticelli engraved any of the so-called playing cards which he designed is uncertain, but probably they, as well as his illustrations to the edition of ) Dante with Lan3otw0 GA, dini's Commentary (1481), were engraved by Baldini.-Vasari, ed. Mil., iii. 309; C. & C., Italy, ii. 413; Pater, Studies in the History of the Renaissance, 38; Burckhardt, 544; Dohme, 2i; Lilbke, Gesch. ital. Mal., i. 350. BOUCHER, FRAN(,OIS, born in Paris, Sept. 29, 1703, died there, May 30, 1770. French school; history 2 and genre paint- ( - er, mostly selftaught; attended three months the school of Le Moine, then em- \ N ployed in drawing for engravers from his own compositions or Wattelet's. In 1723 he obtained the first prize at the Academy and later went to Rome with Carle van Loo. Returning to Paris in 1731, was received into the Academy in 1734, became professor in 1737, director in 1765, and after the death of Carle van Loo was appointed first painter to the 186 BOITCHOT king. He painted many mythological and religious subjects, landscapes, animals, theatrical decorations, wall and ceiling decorations,besides making about 10,000 drawings. Works: Venus demanding Arms of Vulcan (1732), Rinaldo and Armida (1734), Diana leaving the Bath (1742), Vulcan giviiig Arms to Venus (1757), Vertumnus and Pomona (1763), Cephalus and Aurora (1768), Jupiter and Callisto, Rape of Europa, Venus asking Vulcan for Arms, Neptune and Amymone, Amynthus freeing Sylvia, The Goal and four landscapes, Louvre; Reunion of the Arts, Angers Museum; Aurora and Cephalus, Nancy Museum; Painting, Sileljus Drunk, Lille Museum; Mercury entrusting the Infant Bacchus to the Nymphs of Mt. Nisa, Caen Museum; Amorous Gardener, Education of a Dog, Nimes Museum; Cupids and Flowers, Nude Women Reclining, Toulon Museum; Shepherd and Shepherdess, Bordeaux Museum; Pan and Syrinx, National Gallery, London; Venus and Adonis, Barker Collection; Young Mother Resting, Due d'Aumale; Leda, Douglas Collection; Portrait of Mme. de Pompadour, M. Henri Didier; do., National Gallery, Edinburgh; Madonna, M. Hollond; three mythological subjects, Stevens Collection; Woman Reclining, several mythological subjects, Narvaez Collection; Woman with Straw Hat, Chevalier Collection, Paris; Sunrise, Sunset, Lord Hertford; The Kiss, Egmont-Masse Collection; Toilet of Venus (1746), The Toilet (1746), Are they thinking of Grapes? (1747), Leda and Swan, Venus and Graces Bathing, Triumph of Galatea or Birth of Venus (1740), Stockholm Museum; Venus and Cupid, Berlin Museum; Peace and J C/3JoQCeLt War, Boston Museum of Fine Arts; Rescue of Arion, New York Museum; Voluptuary, Winter Scene, Historical Society, New York.-Villot, Cat. Louvre; Dohme, 3; Gon court, i. 177, ii. 516; Mantz, Fr. Boucher (Paris, 1880); Ch. Blanc, ~cole frangaise; Houssaye Gal., iii. 129; Portfolio (1872), 34; Gaz. des B. Arts (1874), x. 496. BOUCHOT, FRANCOIS, born in Paris, Nov. 29, 1800, died there, Feb. 7, 1842. French school; history painter, pupil of Regnault and Lethiere; won the grand prix de Rome in 1824; and then studied for seven years in Rome and Naples, during which period he sent several noteworthy compositions to Paris. Works: Battle of Zurich in 1799, Versailles Museum; Funeral of Gen. Marceau, Mairie, Chartres; Intoxication of Silenus, Lille Museum; Magdalen under the Cross, Madeleine Church, Paris; Portraits of Gen. Jaubert, of Lablache, of Grisi, etc.-Ch. Blanc, ]cole frangaise. BOUDEWYNS (Bauduins), ADRIAEN FRANS, baptised in Brussels, Oct. 3, 1644, died there about 1700. Flemish school; landscape painter, pupil of Ignatius van der Stock; admitted to guild, Brussels, in 1665. About 1670 he went to France; in 1677, had returned to Brussels. Painted many small landscapes with figures and animals by Pieter Bout. Works: Landscapes (9), Madrid Museum; Fish Market at Antwerp, Louvre, Paris; Village Market (1686), Antwerp Museum; Landscape with Figures and Cattle, Rotterdam Museum; Fish Market, Fruit Market, Stockholm Museum; Southern Strand View, Brunswick Museum; Convent Gate with Beggars, nine others, Dresden Gallery; Landscapes (2), Museum, Vienna; do. (8), Liechtenstein Gallery, ib.; do. (3), Uffizi, Florence; others in Stuttgart, Dessau, and Worlitz Galleries.-Biog. nat. de Belgique, ii. 788; Cat. du Musee d'Anvers (1874), 63; Jal, 127; Journal des B. Arts (1869), 35; Meyer, Ktinst. Lex., iii. 139; Michiels, ix. 335. BOUDIN, EUGENE, born at Honfleur (Calvados); contemporary. Marine painter. Medals: 3d class, 1881;2d class, 1883. Works: Fishing (1880); The Meuse at Rotterdam (1881); On the Meuse (1882); L'Entree, La Sortie (1883); Low Tide, High Tide (1884); 187 BOUGH Getting under Sail, The Meuse before Dordrecht (1885). BOUGH, SAMUEL, born at Carlisle, Scotland, in 1822, died in Edinburgh, Nov. 1878. Landscape painter, self-taught; removed to Edinburgh in 1855; A.R.S.A. in 1857, R.S.A. in 1875. Works: Shipbuilding on the Clyde; Kirkwall; London from Shooter's Hill; St. Monaw's; Winton Castle; Ben Nevis. BOUGHTON, GEORGE HENRY, born near Norwich, England, in 1834. Genre painter; it fe W taken when three years old to America by his parents, who settled / in Albany, N. Y. Self-taught; in 1853 made a \ \> 2 / ysketching tour through the English Lake country, Scotland, and Ireland. In 1858 he removed from Albany to New York, two years later went to Paris, and in 1861 fixed his residence in London, where he has since remained. His Passing into the Shade, exhibited at British Institution, and his Through the Fields and Hop-Pickers Returning, Royal Academy, 1863, attracted considerable attention. Elected N.A. in 1871 and A.R.A. in 1879. His works are popular, and many of them have been engraved. Works: Last of the Mayflower, Breton Pastoral (1868); Age of Gallantry (1870); Colder than Snow, Chapter from Pamela (1871); Heir Presumptive (1873); Canterbury Pilgrims (1874); Grey Days, Bearers of the Burden (1875); Homeward, Snow in Spring (1877); Priscilla, Widow's Acre, Resting-Place (1879); Evangeline, Omnia Vincit Amor (1880); Rose Standish, Dutch Seaside Resort, Island of Murken-Zuyder Zee (1881); Burgomaster's Daughter, Weeders of the Pavement, Autumnal Ramble by the Spey (1882); Peace-maker, Sacred Mistletoe (1883); Milton visited by Andrew Marvell, On the Spey, Salmon-Fishing (1885). Works in United States: Dismal Swamp, August Belmont, New York; Idyl, Samuel Hawk Collection, New York; Pride and Humility, Break, Break, Break, Peasant Interior - Brittany, J. H. Warren, Hoosac Falls, N. Y.; Widow's Garden, Th. B. Clark, New York; Gipsy Children, R. G. Dun, New York; Indian Summer, R C. Taft, Providence; Girl's Head, J. A. Brown, Providence; Duel from "Twelfth Night," J. Carey Coale, Baltimore; Winter, C. H. Wolff, Philadelphia; March of Miles Standish (1869), Going to Seek his Fortune, G. Whitney, ib.; Puritan Soldier, J. G. Fell, ib.; Skipper's Watch, W. B. Bement, ib.; Fisher Girl, H. G. Marquand, New York; Flower Girl, J. P. Morgan, New York; Spring-Return of the Swallows, Autumn-Departure of the Swallows, Winter-Dead Swallows, M. K. Jessup, New York; Puritans going to Church (1867), Winter Scene near Albany, Normandy Girl, Mrs. R. L. Stuart, New York; Queen Mary, Wife of the Conqueror, Going to Church, C. P. Huntington, New York; Rosamond's Poisoner, F. Harper, New York; Enoch Arden and Annie Lee, End of Maying, Leaving Home, Down by the River, The Waif, Puritan Maiden going to Church, Edict of William the Testy (original study), C. S. Smith, New York; Return of the Mayflower, F. Rogers, Philadelphia; Waning Honeymoon,Venus and Adonis,W.T.Walters, Baltimore; Comin' through the Rye, L. Tuckerman, New York; Edict of William the Testy (1877), Corcoran Gallery, Washington.-Art Journal (1873), 41; Meynell, 21; Portfolio (1871), 67. BOUGUEREAU, (WILLIAM) ADOLPHE, born at La Rochelle, Nov. 30, 1825. French school; history and genre painter; pupil of Picot, and from 1843 of ]Rcole des Beaux Arts. Won the grand prix de Rome in 1850, and while a pensioner in that city sent several pictures to Paris which were much admired. On his return to Paris he was entrusted with important decorative works in public buildings, and in 1866 painted Apollo 188 BOUILLON and the Muses in the foyer of the theatre at Family, T. Wigglesworth, Boston; Tambou Bordeaux. Medals: 2d class, 1855; 1st class, rine Girl, H. P. Kidder, Boston; La Rosiere, 1857; 3d class, J. Carey Coale, Baltimore; Oranges, D. T. 1867; of honour, H Buzby, Baltimore; Italian Mother and Chil1878, 1885; L. of dren, Hurlbut Collection, Cleveland; Little Honour, 1859; i i Reader, H. V. Newcombe, New York; GuarOfficer, 1 8 7 6; dian Angel, Young Bohemians, H. L. DousMember of Insti-,Es1Y man, St. Louis; Elder Sister, J. J. O'Fallon, t u t e, 1 8 7 6. St. Louis; Purloining the Grapes, L. StanWorks: Martyr's /ford, San Francisco; Pensive, I. M. Scott, Triumph (1854), San Francisco; Two Portraits, A. E. Head, Philomela and San Francisco; Persuasion of Marguerite, Procne (1861), \ M Irs. D. D. Colton, San Francisco; Little Madonna of Con- Marauders, E. B. Warren, Philadelphia; solation (1874), Birth of Venus (1879), Lux- Pastorale, Mrs. T. A. Scott, Philadelphia; embourg Museum; Venus caressing Love Nymphs Bathing, Alsatian Peasant, C. H. (1859); Faun and Bacchante, First Quarrel Clark, Philadelphia; Picking Cherries, W. and Peace (1861); Poor Family, Shepherd- B. Bement, Philadelphia; Tambourine Girl ess, Spanish Beauty, Bacchante (1863), Bor- (1873), Frank Work, New York; Charity deaux Museum; Mower, Harvest Time (1874), F. W. Drexel, New York; Violet, A. (1872); Bather, Flora and Zephyrus (1875); J. Drexel, Philadelphia; Happy Wife, BoMadonna and St. John (1875), Mr. Bouci- hemian Girl, Elder Sister, E. D. Morgan cault; Pieta (1876), Prince Demidoff; Tri- Collection, New York; Agnus Dei, M K. umph of Martyrdom, Triumph of Venus, Jessup, New York; Harvest, Alex. Brown, First Caresses, Covetousness, Child with Philadelphia; Twins, John T. Martin, BrookBird, Spinning Maiden, Neighbour's Love, lyn; Secret, Mother's Prayer, Mrs. R. L. Mowing Woman, Betrothal of St. Ann, Stuart, New York; Listening to Sea-Shell, Nymphs (1879); Aurora, Madonna with D. 0. Mills, New York; Shepherdess, Boy Angels (1881); Night (1883); Youth of Bac- and Flageolet, C. P. Huntington, New York; chus (1884); Adoration of Magi, Adoration Spring, Fletcher Harper, New York; Young of Shepherds, diptych for St. Vincent de Scholar, Charles Stewart Smith, New York; Paul, Paris (1885). Among his works owned Italian Boy, Going to the Bath,W. H.Vanderin United States are: Mother's Treasure, bilt, New York; The Departure, A. E. Borie Miss C. L. Wolfe, New York; Mother and Collection, Philadelphia; Bunch of Grapes, Child, Twins, A. Belmont, New York; Hesi- R. L. Cutting, New York; Charity, Young tating between Love and Riches, James H. Reader, Samuel Hawk Collection, New York; Stebbins, New York; Virgin and Angels, G. Alma Parens (1883), G. R. Blanchard, New I. Seney, Brooklyn; Far from Home, Robert York; Flagellation, W. T. Walters, BaltiHoe, New York; Little Rogue, M. Graham, more; Early Morning, L. Tuckerman, New New York; Prayer, W. Rockefeller, New York; La Tricoteuse, J. J. Astor, New York; W\ BOV/GVE E[AV- 1875 Maternal Solicitude, T. R. Butler, New York; Little Marauders (1873), D.W. Powers, Rochester; Nymphs and Satyr (1873), Hoffman York.-Claretie, Peintres, etc. (1874), 49; La. House, New York; Beggar-Girl, J. A. Brown, rousse; Hamerton, French Painters; Meyer, Providence; Meditation, Bad Scholar, W. Gesch., 400; Mlller, 70; Perrier, ]itudes, Mason, Taunton, Mass.; Homer and his Guide 134; Portfolio (1875), 42. (1874), Mrs. A. T. Stewart, New York; Holy BOUILLON CLAUDE. See Sheba. 189 BOULANGER BOTILANGER, GUSTAVE (RODOLPHE CLARENCE), born in Paris, April 25, 1824. History painter, pupil of Jollivet and of Delaroche; d a1 t won the prix de Rome in 1849; returned from Italy in 1856; has travelled in Africa. ' 5 Medals: 2d class, 1857, 1859, 1863, and 1878; L. of Honour, 1865; Member of Institute, 1882. Works: Ulysses recognized by Eurycleia (1849); Caesar at the Rubicon; The Choassa, House of the Tragic Poet in Pompeii, Maestro Palestrina (1857); Arabian Herdsmen, Lucretia, Lesbia (1859); Hercules at Feet of Omphale, Copy of the Flute Player and the Wife of Diorned (Prince Napoleon); An Arab (1861); Csesar at the Head of the Tenth Legion, Kabyles, The Defeat (1863); Horsemen of the Sahara (1864); Djeid and Rahia, Portrait of Hamdy-Bey (1865); Catharine I. with Mehemet Baltadji, Woman selling Crowns in Pompeii (1866); The Mamillare (1867); El Hiasseub, Arabian Story-Teller, Street of the Tombs in Pompeii (1869); 'Tis an Emir, The Chaouches of the Hakem, Souvenir of Old Blidah (1870); Waiting for their Lord and Master (1872); The Search of the Aid Srir at Biskra (1873); Appian Way in Time of Augustus (1874); The Gyneceum (1875); Summer Bath at Pompeii, Roman Comedians rehearsing their parts (1876); St. Sebastian and the Emperor (1877); Repast in House of Lucullus (1878); Slave with a Fan (1882); Source of the Tiber (1883); Captive, Woman of the Ouleid-Nahir (1884); Jewish Water Carrier in Algiers, Mother of the C.BOVLANCERI. 875. BOULANGER, LOUIS, born at Vercelli, Piedmont, March 11, 1806, died at Dijon, March 5, 1867. Genre painter, pupil of Lethiere and of Achille Deveria; one of the leading artists of the romantic school. Medals: 2d class, 1827; 1st class, 1835; L. of Honour, 1840; director of the School of Art in Dijon after 1860. He exhibited in most of the Salons from 1827 to 1866; has illustrated works of Victor Hugo and others. Works: Mazeppa (1827), Rouen Museum; Assassination of Louis of Orleans by the Duke of Burgundy (1833), Ministry of Public Works; Hymn of Judith (1833), Ministry of the Interior; Renard the Fox in the Gardens of Armida, Death and the Woodcutter, Spanish Mule Drivers (1833); a series of brilliant water-colours representing scenes from Notre Dame de Paris, Beatrice Cenci, Lucretia Borgia, Othello, and King Lear (Salons of 1833 and 1834); Camacho's Wedding (1835); Triumph of Petrarch (1837); Three Women beloved by Poets (1840, Dante's Beatrice, Petrarch's Laura, Ariosto's Orsolina); Virgil's Shepherds, Women Bathing (1845); Hecuba's Grief (1858), Ministry of the Interior; Ugolino and his Sons (1858); King Lear and his Fool (1853); St. Jerome and the Roman Fugitives (1855); Gentlemen of the Sierra, Guitar-Player, Festival in the Castle of Lirias, Romeo buying the Poison (1857); Don Quixote and the Goatherd, Othello, Macbeth, The Message (1859); The Revery of Vell6da, The Sunday Patrol (1861); Virgil's Georgics (1863); Holy Family (1865), bought by State; Fear Nothing, thou bearest Caesar (1865); Concert in Picardy (1866).-Larousse; Kunst-Chronik, ii. 113; L'Art, i. 224; Portfolio (1875), 178. BOULANGER, Mme. MARIE ELIZABETH (niee Blavot), born in Paris in 1810. Genre painter; pupil in water-colour of C. Roqueplan, and in oil of Louis Boulanger, whom she married; after his death she married F. Cave, director of the Beaux Arts. Medals: 3d class, 1836; 2d class, 1839. Works: Child crying over its Goat, Jean M. _. _ a_. Gracchi (1885); Turkish Justice, Samuel Hawk Collection, New York.-Larousse; Mailer, 70. 190 BOULLONGNE Jacques and the Little Savoyards, The Poor Woman, Bernard de St. Pierre at the Village (all water-colours), Paul Veronese's Childhood, Battle of Ivry, The First Ennuis, Louis XIII., Convalescence, Kings, Triumph of Bacchus (1835-1849); Virgin in Tears, Rouen Museum; Children's Tournament (water-colour), triptych (belongs to State). BOULLONGNE, BON, born in Paris in 1649, died there, May 16, 1717. French school; history painter; eldest son and pupil of Louis B.; studied in Rome five years 4 under the pen- sion of the king, \ became a mem- ber of the Academy in 1677, adjunct professor in 1684, and professor in 1692. He received the favour of Louis XIV., who employed him to paint the staircase at Versailles, under the direction of Le Brun. He also executed frescos in the Church of the Invalides, in St. Ambroise, and in the Trianon and the chapel at Versailles. Works: Annunciation, St. Benedict restoring a Child, Marriage of St. Catherine, Hercules fighting the Centaurs (1677), Juno and Flora, Venus and Loves, Louvre; Calling of Sons of Zebedee, Dublin Gallery.-Villot, Cat. Louvre. BOULLONGNE, LOUIS, the elder, born in Paris in 1609, died there, June 13, 1674. French school; history painter, pupil of Blanchard; studied afterwards in Rome. On his return to Paris he executed several votive pictures for Notre Dame and decorative paintings for public buildings. In 1656 he was nominated professor at the Academy. His daughters, Genevieve (1645-1708) and Madeleine (1646-1710), were also painters and members of the Academy. BOULLONGNE, LOUIS DE, the younger, born in Paris in 1654, died there, Nov. 20, 1733. French school; history painter; brother of Bon de B. Obtained the academical prize when eighteen, and went in 1675 to Rome, ( where he made copies, full-size, of Raphael's Vat-, t ican frescos for the Gobelin tap- 7 estry manufactory. In 1680, /-~., after visiting Lombardy and Venice, he returned to France, and executed many votive and decorative paintings for Notre Dame and other public buildings in Paris. In 1681 he became Academician, 1693 professor, 1717 rector, and 1722 director of the Academy; the same year he was decorated with the order of St. Michael, ennobled in 1724, and appointed painter to the king in 1725.-Ch. Blanc, Ecole fran9aise. BOUQUET, MICHEL, born at Lorient, (Morbihan), Oct. 17, 1807. Landscape and marine painter; pupil of Gudin. Famous as a painter on porcelain. Medals: 3d class, 1839; 2d class, 1847, 1848; L. of Honour, 1881. Works: Sunset; View on the Blavet (1839); Shoemaker's House in Valley of Chevreuse; Halt of Hunters at Fontainebleau; View near Palermo; Danube in Hungary (water-colour, 1847); Evening in Walachia; Landscape near the Chevreuse; Last Leaves of Autumn, Souvenir of Normandy (water-colour, 1848); Cow-Pond in Brittany (on porcelain, 1863); Spring and Autumn (porcelain, 1866); Old Mill by Moonlight (porcelain, 1877); View on the Seine (1879); Isle of Capri (1882).-Larousse. BOURCE, HENRI (JACQUES), born in Antwerp in 1826. Genre painter; pupil of the Antwerp Academy, under Wappers; travelled in Holland, France, Italy, Germany, Norway, England, and Scotland. Medals: Hague (1857), Brussels and Rotterdam (1863), Amsterdam (1868 and 1876), 191 BOURDON London (1872 and 1873), Vienna (1873). Order of Leopold (1869), Officer (1881); Studio in Antwerp. Works: Return from Vintage (1853); Marie Antoinette taken from the Temple, Summer Evening by the Sea (1863), Hague Museum; Empty Cradle (1867), Liege Museum; Sorrowful Tidings (1868), Brussels Museum; Ripe Cherries (1874), Ghent Museum; Day after Storm (1875); Return from Baptism.-Milller, 71. BOURDON, SEBASTIEN, born at Montpellier, Feb. 2, 1616, died in 1671. French school; history painter; pupil of Barthelemy -$,_at Paris until t his fifteenth year, when he went to Bordeaux, where he painted in fresco; and to Toulouse where, finding no employment, he enlisted. In 1634, having obtained his dismissal, he proceeded to Rome, made copies from the old masters for a dealer for three years, and then returned to Paris to escape the Inquisition. There during the next sixteen years he painted battle pieces, hunts, landscapes, and portraits, and the Crucifixion of St. Peter for Notre Dame, now in the Louvre. In 1648 he assisted in founding the Academy, and in 1652 went to Sweden, where he became court painter. Tel years later he returned to Paris, and in 1665 was ap- C. C) pointed director of the Academy. Works: Sacrifice -^~ ~ of Noah, Solomon sacrificing d J H t ^ to Idols, Adoration of Shepherds, Repose of Holy Family, Madonna with St. John, Christ and the Children, Descent from Cross, Decollation of St. Protais, Martyrdom of St. Peter, Julius Caesar before Tomb of Alexander, Halt of Bohemians (2), Laban seeking his Idols, Presentation in the Temple, Portrait of Descartes, his own portrait, and others, Louvre; Group of Merchants, Hague Museum; Bacchanal, Liverpool Institute; Death of Dido, Hermitage, St. Petersburg; Return of the Ark from Captivity, National Gallery, London.-Ch. Blanc, Ecole fran;aise. BOURGEOIS, EUGfNE (VICTOR), born in Paris; contemporary. Landscape painter. Medal, 3d class, 1885. Works: Corner of the Forest, Orchard of Flowers (1880); Les Graves at Villerville (1881); Little Bridge of Gravoteaux (1882); Pointe du Grand-Bec, Tuilerie de Maurevert (1883); Meadow in Environs of Villerville (1884); Le Val at Villerville, La Fontaine-Virginie at Pennedepie (1885). BOURGEOIS, (LION PIERRE) URBAIN, born at Nevers, France; contemporary. History'and portrait painter; pupil of Sebastin Cornu, H. Flandrin, and Cabanel. Medals: 3d class, 1877; 2d class, 1880. Works: St. Sebastian (1877); Justinian Emperor of the East (1878), Court of Cassation, Paris; Body of St. Vincent guarded from Birds of Prey by Angels (1879); Portrait of My Little Daughter (1881); Innocence (1883); Diana after the Chase (1884), M. J. Darcel. BOURGEOIS, Sir PETER FRANCIS, born in London in 1756, died there, Jan. 8, 1811. Of Swiss descent; pupil of Loutherbourg; travelled in France, Holland, and Italy in 1776, and on his return attained reputation for his landscapes with cattle and figures. In 1791 he was appointed painter to the King of Poland and knighted; became an A.R.A. in 1787, RA. in 1793, and landscape painter to George III. in 1793. He left his fine collection of 350 paintings, bequeathed 192 BOURGET to him by his friend Noel Desenfans, to Dul- I from Wedding of Camacho; Jacob and Ra. wich College, and ~12,000 to build a gallery for them. Works: Landscapes, etc. (22), Dulwich Gallery. - Redgrave; Ch. Blanc, 1icole anglaise; Richter, Dulwich Gal. Cat.; Sandby, i. 300. BOURGET, LE, DEFENCE- OF, Alphonse de Neuville, W. H. Vanderbilt, New York; canvas, H. 5 ft. x 8 ft. Episode of the Franco-German war of 1870-71. A handful of French-eight officers and twenty menbarricaded themselves in the village church, swearing to die together rather than surrender. "It was necessary," wrote Gen. Duroc, "to shoot them through the windows and to bring up cannon to force a capitulation." The dying Lieut. Grison is being carried out of the church by two of his men. Painted in 1878.-Art Treasures of Amer., iii. 103; Kiinst-Chronik, xv. 387. BOURGUIGNON, LE. See Courtois. BOUT, PEETER, baptized in Brussels, Dec. 5, 1658, died about 1700. Flemish school; executed with Boudewyns a number of pictures, which, like those of Velvet Brueghel, occupy a place midway between landscape and genre, and in which he painted the figures. Works: Palace (by Dupont) with figures, Ghent Museum n; Figures in Winter Landscape by d'Arthois, Brussels Museum; Figures in Landscape by Boudewyns in Madrid, Antwerp, Rotterdam, Brunswick, Dresden, and Vienna Museums, Uffizi, Florence, and Louvre, Paris.-Biog. nat. de Belgique, ii. 873; Cat. du Musee d'Anvers (1874), 68; Michiels, ix. 342. BOUTERWEK, FRIEDRICH AUGUST, born at Tarnowitz, Silesia, Feb. 9, 1806, died in Paris, Nov. 11, 1867. History painter; pupil of Berlin Academy under Kolbe, and in 1831 of Delaroche in Paris, where he settled after visiting Italy in 1834. He received 23 medals and many orders. His works are I chael (1844); Baptism of the Chamberlain (1848); Charlemagne in Argenteuil.-Allgem. d. Biogr., iii. 216; Revue artistique (1870); Rosenberg, Berl. Malersch., 186. BOUTIBONNE, CHARLES IDOUARD, born at Buda-Pesth, Hungary, of French parents; contemporary. Genre painter; pupil of Winterhalter. Medal, 3d class, 1847. Works: Phryne (1868); Susannah (1881); Sirens (1883). Works in United States: Inquisitive Maid, T. R. Butler, New York; Skating, D. W. Powers, Rochester, N. Y.; Broken Heart, W. Mason, Taunton, Mass.; Readers, "Be quiet, Sir! " A. Adams, Watertown, Mass.; Skating, J. T. Martin, Brooklyn; What shall I say to Him? E. B. Warren, Philadelphia; Travelling in Switzerland, Mrs. R. L. Stuart, New York; On the Ice, F. Harper, New York. BOUTIGNY, (PAUL) EMILE, born in Paris; contemporary. History painter, pupil of Cabanel. Medal, 3d class, 1884. Works: A Cantonment (1880); Episode of the Affair of Quiberon-June 26, 1795 (1881); Episode of Combat of Bapaume in 1870 (1882); Pousse-caf6 (1883); Boule-deSuif (1884); Attack on the Mill (1885). BOUTS, DIERICK, born in Haarlem about 1410-20, died at Louvain, May 6, 1475. Flemish school. Called sometimes Dirk van Haarlem and Dierick de Louvain. Settled in Louvain after 1450. History painter of great merit, of the Van Eyck school, in which he is almost unequalled in glowing depth and transparent clearness of colouring; his delicacy of personification and tenderness of execution are only marred by the exaggerated stiffness and slimness of his figures. Best works: Martyrdom of St. Erasmus and Last Supper, St. Peter, Louvain. Two wings of this altarpiece, Shower of Manna and Abraham before Melchisedec, are pleasing in arrangement, clear in colouring, in the Old Pinakothek at Munich, two others, and finished in execution. Works: Orestes Feast of the Passover and Feeding of Elijah, (1833); Arabian Sentry, Romeo and Juliet in Berlin Museum. Judas taking our Lord, (1836); Patriarchal Repast (1839); Isaac and Old Pinakothek, Munich; Martyrdom of St. Rebecca (1840); Neapolitan Scene, Episode Hippolitus, Bruges Cathedral; Funeral of a 198 BOWLES Bishop, Eastlake Collection, London; Legend of Emperor Otto III., Last Supper, Brussels Museum; Coronation of the Virgin, Vienna Museum.-C. & C., Flemish Painters, 321; Ch. Blanc, ecole flamande; Dohme, li.; Biog. nat. de Belgique, ii. 877; Michiels, iii. 234; iv. 455; W. & W., ii. 40. BOWLES, MISS, Sir Joshua Reynolds, Sir Richard Wallace, Bart., Hertford House, London; canvas. A young girl seated on the ground, caressing a spaniel; background, landscape, with lowering sky. Called also Miss Bowles and her Dog, Girl with Dog, and Juvenile Amusement. Painted in 1775 for 50 guineas; bought by Marquis of Hertford for 1,000 guineas. Engraved by W. Ward (1798), W. Fry, C. Turner, J. Grozer, S. Cousins.-Athen., March, 1875, 365. BOXALL, Sir WILLIAM, born at Oxford, June 26, 1800, died in London, Dec. 6, 1879. Student of the Royal Academy in 1819; visited Italy in 1827 and 1833, and repeatedly after he became director of the National Gallery. When young he executed a few subject pictures, among them Jupiter and Latona (1823), Contention of Michael and Satan for the Body of Moses (1824), Milton's Reconciliation with his Wife (1829), and Lear and Cordelia (1831), but finally devoted himself to portraiture, among his sitters being Wordsworth, Landor, Lord Coleridge, Gibson, Copley Fielding (National Portrait Gallery), Allan Cunningham, the Prince Consort, and other eminentmen. Became an A.R.A. in 1851 and RA. in 1863; succeeded Sir Charles Eastlake as director of the National Gallery in 1865, retired on account of ill-health in 1874, and in 1871 was knighted.-Cat. Nat. Gal.; Athenaeum, Dec. 13, 1879; Sandby, ii. 326. BOYLE, FERDINAND T. L., born in the United States, contemporary. Genre painter. Is an associate of the National Academy. Studio in New York. Work: Gran'ther's Pet (1884). BOZACCO or BOZZATO. See Bazacco. BRACCHETONE, IL See Volterra. BRACHT, FELIX PROSPER EUGEN, born at Morges on Lake Geneva, June 3, 1842. Landscape painter; pupil of the Carlsruhe Art School, and from 1861 in Dusseldorf, under Gude; gave up painting in 1864 and was for ten years a cotton broker; returned in 1875 to Carlsruhe, and has since then exhibited some excellent pictures. Medal, Carlsruhe, 1877. Works: Idyl from Heath of Ltineburg; Giant's Grave on Ltlneburg Heath; Stormy Evening on Rtigen; Shepherd on the Heath; Sandy Road in the Heath; Landscape on Riigen(1879). Exhibited at Munich (1883), Moonlight Night in the Desert, On the Dead Sea.-Miiller, 72. BRACKETT, WALTER M., born at Unity, Me., in 1823. Self-taught; first painted portraits and ideal heads, later very successful in painting fish. President of the Boston Art Club many years. Studio in Boston. Works: After the Battle, Earl of Dufferin; A Series of pictures: Rise, Leap, Last Struggle, Landed, Sir Richard Potter, London; Trout Picture, Grisle (1881). BRADAMANTE AND FIORDASPINA, Guido Reni, Uffizi, Florence; canvas. Bradamante, near a fountain, listens to Fiordaspina, who relates the sad adventure of Roger (Orlando Furioso, Canto I.). Procured in 1667 from the Casino Mediceo, near S. Marco, Florence.-Soc. Ed. et Paris, P1. 117. BRADFORD, WILLIAM, born at New Bedford, Mass., about 1830. Marine painter; self-taught, but influenced by Van Beest, whose studio at Fairhaven he shared for two years. Began by painting ships in the harbour at Lynn, Mass., and on the coasts of Labrador and Nova Scotia; afterwards made several Arctic expeditions with Dr. Hayes, the explorer, and others, to study icebergs and ice-floes, and from the sketches painted pictures which were exhibited in London and bought by the Queen, Baroness Burdett-Coutts, and the Marchioness of Lorne. Elected A.N.A. in 1874. Studio in New York. Works: Steamer Panther among Icebergs in Melville Bay under Light of Midnight Sun.' 194 BRAEKELEER (Royal Academy, 1875), the Queen; FishingBoats in the Bay of Fundy; Shipwreck off Nantucket; Light-house in St. John Harbour; Fishing-Boats getting under Way; July Afternoon off Round Hill Light, Fishing Craft among the Bergs (1882); Fishing Craft at Sunset-Coast of Labrador (1883); Quiet Afternoon in Straits of Belle Isle, Return of Labrador Fishing Boats (1884). -Art Journal (1873), 225. BRAEKELEER, FERDINANDUS DE, born in Antwerp, Feb. 19, 1792, died there, May 16, 1883. History and genre painter; pupil of the Antwerp Academy, and of M. I. van Bree; obtained the great prize in 1819, and studied three years in Rome, where he painted historical subjects in the style of David; after his return devoted himself to genre subjects, especially family scenes. He has educated many pupils who have attained fame. Order of Leopold; Member of Antwerp Academy, and director of Antwerp Museum. Works: Healing of Tobias, Esau and Isaac, Citadel of Antwerp, Day after Surrender, Countess of Lalaing at Defence of Dornick, Happy Domestics, Golden Wedding (Brussels Museunl), Domestic Quarrel, Matrimonial Peace, Jan Steen on the Ice, Love Declaration, St. Thomas' Day, Village School; Defence of Antwerp in 1576 (1837), Death of Count Frederic de Merode, Antwerp Museum; Defence of Antwerp against Due d'Alengon in 1583; Quarrel after Dinner, The Husband's Toilet (1852), National Gallery, Berlin; Happy Family, Unhappy Family (1852), Corcoran Gallery, Washington.Larousse, ii. 1186; Muller, 73. BRAEKELEER, HENRI DE, born in Antwerp, contemporary. Genre painter; son and pupil of Ferdinandus de B. Medals at Brussels (1872), Vienna (1873); honour able mention, Paris (1880); Order of Leopold. Studio in Antwerp. Works: Interior of Chapel in St. James' Church, Antwerp; Interior of St. Hubert's Chapel in same church; The Tailor; Manufacturer of Matches.-Larousse. BRAEMAR, Sir Edwin Landseer, C. F. H. Bolckow, Marton Hall, Middlesborough, England. Scene in Braemar, Highlands, Aberdeenshire, Scotland. A magnificent stag, with a group of does around him, stands in the mist on the brow of a hill, bellowing defiance to the hunter, or to other males of his own kind; a rabbit appears in the grass. Royal Academy, 1857. Bought for ~5000. BRAITH, ANTON, born at Biberach, Wtirtemberg, in 1836. Animal painter; pupil of Art School, Stuttgart, and from 1860 of Munich Academy. Gold medal, Munich, 1869. Works: Cows in the Woods (1865); Cows in Cabbage-Field (1868); Yoke of Oxen (1870), Kunsthalle, Hamburg; Cattle returning Home (1871); Sheep Resting (1871); Flock of Sheep in the Woods (1872); Herd at the Brook (1873); Herd overtaken by Storm (1874); Flock of Sheep by a Dead Hare (1875); Goatherd on Mountain Lake (1879); Cattle, W. Mason, Taunton, Mass.; Cattle, E. D. Morgan, N. Y.-Miiller, 73; Illustr. Zeitg. (1870), ii. 50; (1877), i. 201. BRAKENBURGH, RICHARD, born in Haarlem, baptized May 22, 1650, died there, Dec. 28, 1702. Dutch school; genre painter; pupil of Hendrik Mommers; joined the guild of Haarlem in 1687. Influence of Adrian van Ostade apparent in his pictures. Works: Tavern Interior (1692), Bordeaux Museum; Children's Festival (1698), Brussels Museum; Interior with Peasants drinking and smoking, Amsterdam Museum; Sick-room, Rotterdam Museum; Company in Peasant's Room (1689), Brunswick Museum; two pictures (1698), Hanover Gallery; Young Peasant with Bottle, Dresden Gallery; Party of Jovial Peasants, Festival of the Beans (1690), Vienna Museum; Two Artist's Studios, Windsor Castle, Eng 195 BRAMAN TINO land. - Ch. Blanc, ]cole hollandaise; Kramm, i. 148; Van der Willigen, 89. BRAMANTINO (Bramantino da Milano), born in Milan(?), died there about 1535. Lombard school; real name Bartolommeo Suardi; probably taught in local schools of Milan, afterward journeyman to Bramante. Among the earliest pictures assigned to him are Crucifixion, Municipio, Milan; Circumcision (dated 1491), Louvre; and Dead Christ, S. Sepolcro, Milan. He followed Bramante to Rome in the beginning of the 16th century, and was employed by Julius II in the Camera dell' Eliodoro, but returned to Milan after the expulsion of the French from Lombardy, and painted there probably until near 1536, in which year his heirs are mentioned. All his later works show the influence of Leonardo da Vinci. Among his best are: Madonna and Angels, Brera, Milan; Head of St. John the Baptist, St. Jerome, Madonna and Saints, Ambrosiana, Milan; Flight into Egypt, Church of the Madonna del Sasso, Locarno; Pieta over portal of S. Sepolcro; St. Sebastian, /3 rnanntrin S. Sebastiano, Milan.-C. & C., N. Italy, ii. 14; Vasari, ed. Le Mon., iv. 17, viii. 14; Ch. Blanc, ]Mcole milanaise; Burckhardt, 609; Liibke, Gesch. ital. Mal., i. 494. BRAMER, LEONARD, born at Delft in 1596, died after 1667. Dutch school; history and allegory - /^ ~ painter. Went to France and Italy in 1614, returnedtoDelft in 1625, and en( ^ ^\^ / tered the guild of St. Luke in / QV /` ~ 1629. Fond of candlelight effects, in the manner of Honthorst, and of Oriental or Jewish costumes, like Lastman and Rembrandt, of whom he became an imitator in his later years. Works: Descent from the Cross, Rotterdam Museum; Christ among the Doctors, Simon in the Temple, Brunswick Gallery; Christ and the Scoffers, Solomon in the Temple, Queen of Sheba before Solomon, Dresden Gallery; Two Allegories, Vienna Museum; Resurrection of Lazarus, Turin Gallery; Hecuba's Grief,,7<" ~Abraham visited by OC9/t A1 04, Angels, Madrid Museum.-Ch. Blanc, Igcole hollandaise; Bode, Studien, 351; Riegel, Beitrige, ii. 217. BRAMTOT, ALFRED HENRI, born in Paris; contemporary. History painter, pupil of Bouguereau. Won the grand prix de Rome in 1879. Medals: 3d class, 1879; 2d class, 1885. Works: Bashful Love (1879); Punishment of Ixion (1882); Compassion (1883); Departure of Tobias (1885). BRAND, JOHANN CHRISTIAN, born in Vienna, Nov. 15, 1723, died there, June 12, 1795. German school; landscape painter; son and pupil of Christian Hilfgott (born in Frankfort on the Oder, in 1695, died in Vienna, about 1750). He was court painter and, from 1771, professor at the Vienna Academy, and was considered one of the best artists in his line. Works: Landscape with Ruin (1741), do. with Peasants and Herd (1746), Battle of Hochkirch (1766), four landscapes (1768, 1771), Vienna Museum; ten in Prague Gallery; others in galleries of Germany, France, England, and Russia. By his father are three Wood Landscapes in the Vienna Museum, ten others in the Prague Gallery.Allgem. d. Biog. iii. 236; Wurzbach, ii. 110. BRANDEL, PETER JOHANN, born in Prague in 1660, died at Kuttenberg, Bohemia, in 1739. German school; history painter, pupil of the court painter Schr6ter, whom he soon surpassed; studied then after great masters in the galleries of Prague. Works: Baptism of Christ, Prague 196 BRANDELIUS Cathedral; Christ and the Woman taken in Adultery, Museum, Vienna; Joseph receiving his Brothers in Egypt, Czernin Gallery, ib.; St. Jerome, Schonborn Gallery, ib.; Mary Magdalen, Mentz Cathedral.-Wurzbach, ii. 113. BRANDELIUS, (BENGT JOHAN) GUSTAF, Swedish; born at Fredsberg, WestGothland, Oct. 22, 1833. Animal painter, pupil of Stockholm Academy; studied then in 1852 at Upsala; painted in 1856, when lieutenant in the army, at Gothenberg, many excellent portraits, and studied from 1857 at the Diisseldorf Academy under d'Unker; then in Paris, where he copied in the Luxembourg and after Troyon. Since 1874, member of the Stockholm Academy. Works: Norman Horses; Soldier's Child at the Gate; Spring in the Woods (1868); First Riding Lesson; Besieged Favourite; The Future Hussar; Return from the Woods; Adventure on the Promenade (1875).-Mtiller, 74. BRANDES, HEINRICH, born at Bortfeld, Brunswick, in 1803, died at Brunswick, Oct. 6, 1868. Landscape painter; pupil in Brunswick of Barthel, then in 1823-25 at Parisian Studio (1868); Exhibition of the Pentateuch, Talmud Lesson (1869); The Sabbath, Examination (1870); Improvisatore in the Campagna, Lille Museum. BRANDT, ELIZABETH, portrait, Rubens, T. M. Whitehead, England; canvas, LH 4 ft. x3 ft.; dated 1622. The artist's first wife, in black dress, with ruff and white cuffs, and gold brocade corset, seated in an arm-chair, with altar in background. Hamilton Palace sale (1882), ~1837 10s.-Academy, xxi. 246, 456. BRANDT, JOZEF, born at Szczebrzeszyn, Poland, Feb. 11, 1841. History and genre painter; pu- pil in Paris of the icole Centrale, and in Munich of Franz Adam and Piloty. Studio in Munich. Medals: Munich, 1869; Vienna, 1873; Berlin, 1876. Member of Berlin and Munich Academies; Order of Franz Josef; mention honourable, Paris. Works: Attack of Polish Cav the Munich Academy, under Cornelius; re- alry (about 1865); Polish Peasants before mained in Munich five years longer, making an Inn (1870); Episode from Relief of sketching trips into the Tyrolese Alps. In Vienna (1870); Episode from Campaign in 1830-31 he visited Italy, especially Rome, Jutland in 1658 (1870); Cossack Camp in and after his return settled in Brunswick, 17th century (1872); Polish Fair (1872); where, in 1835, he became professor at the Battle of Vienna in 1683 (1872); Polish Carolinum College and inspector of the Cavalry on Patrol, Rollicking Quartering Ducal Gallery. In 1845 he restored, with (1873); Cossacks from Ukraine (1874), Neumann, the old paintings in the Bruns- K6nigsberg Museum; Uhlans in a Village, wick Cathedral. Works: View near Marino; Crossing the Carpathian Mountains, Camp ViewnearRome; Subiaco; Inundation; View Scene at the Fire, Cossacks on Outpost in Oker Valley; Landscape in the Hartz; (1876), Tartar Battle (1878), National Galseveral Mountain and Winter Landscapes; lery, Berlin; Wallachians fording a Stream, Views in Tyrol and in the Hartz Mountains; J. D. Lankenau, Philadelphia; Tartars in View near Salzburg, New Pinakothek, Mu- Flight, D. H. McAlpin, New York; Critical nich.-Kunst-Chronik, iv. 21. Moment (1884); Czabans caught in the BRANDON, JACOB iMILE ]DOU- Snow in the Ukraine (1885).-Miller, 74; ARD, born in Paris, July 3, 1831. Flemish N. illustr. Zeitg. (1879), ii. 539; (1880), ii. school; genre and history painter, pupil of 714. Picot, Montfort, and Corot. Medals, 1865, BRASCASSAT, JACQUES RAYMOND, 1867. Works: Kiss of Moses'Mother (1867); born at Bordeaux, Aug. 30, 1805, died in 197 BRASEN Paris, Feb. 27, 1867. French school; landscape and animal painter, pupil of Richard and of Hersent. Won the second grand prize for historic landscape in 1825, and went to Rome, where he resided six years. He was the first to revive the painting of animals, which had fallen into discredit. Medals: 2d class in 1827; 1st class in 1831 and 1837; L. of Honour, 1837. Member of Institute, 1846. Works: Meleager Hunting (1825); Mercury and Argus, Italian Views (1827); View of Cassano, Temple of Venus at Baire, Castel Rouge, Landscape with Animals, Study of a Dog (1831); Cow attacked by Wolves and defended by Bulls, Bulls Fighting, Nantes Museum; Animals Resting (1837); The Bull (1842); Landscape with Animals (1845), Louvre; Death of the Boar of Calydon, two landscapes with animals, Bordeaux Museum; A Pasture, Montpellier Museum; A Sorceress, Toulouse Museum; Study of Horse, B. Wall, Providence.-Larousse; Kunst-Chronik, ii. 202. BRASEN, HANS OLE, born at Hillerd, Denmark, Jan. 16, 1849. Genre painter, pupil of Copenhagen Academy; visited North Italy in 1874, Tyrol and Paris in 1879. Works: Geese driven Home (1875); Washing Place at Srup (1875); On Way to Market, Scenes near Lago di Garda (1877); Hussars watering Horses, Mare with Colt (1879); Domestic Happiness (1880); Courting (1881).-Sigurd Muller, 47. BRAUN, ADAM, born in Vienna in 1750, died there in 1827. German school; genre and portrait painter, pupil of Vienna Academy at the age of twelve; member in 1789. Highly esteemed as a restorer of old paintings. Works: Gentleman threading Needle for Lady (1785), Museum, Vienna; Lady resting on Sofa, Liechtenstein Gallery, ib.-Wurzbach, ii. 118. BRAUN, AUGUSTIN, born in Cologne, about 1570, died there after 1627. German school; history and portrait painter. Works: Martyrdom of St. Febronia, Wallraf Museum; Seven Scenes from the Passion, St. George's Church, Seven Scenes from Life of St. Martin, St. Mary's Church, Cologne.Allgem. d. Biog. iii. 264; Merlo, Nachrichten, 58. BRAUN, LUDWIG, born at Schwabisch Hall, Wtirtemberg, Sept. 23, 1836. Battle painter; brother of Reinhold B., pupil of Stuttgart Art School; studied then in Munich and Paris. Painted in Nuremberg a cycle from the family history of the Counts of Hunoldstein; visited in 1866 and 1870-71 the battle-fields of those years, and executed for the Grand Duke of Mecklenburg several pictures. Studio in Munich. Works: Series of water-colour scenes from war in Schleswig-Holstein, Tournament at Nuremberg in 1496, Scenes from Campaign of 1866, Suabian Kirmess (1869), Episode from Battle of Worth, Capitulation of Sedan, Entry of the Mecklenburgers into Orleans, The Germans at Versailles, Entry into Paris, Panorama of Battle of Sedan (1880). -Muller, 74; Illustr. Zeitg. (1870), i. 343. BRAUN, REINHOLD, born at Hall, Wiirtemberg, April 25, 1821, died in Munich, Jan. 22, 1884. Military genre painter; pupil of Stuttgart Art School from 1836, then of Munich Academy in 1843-50; took part in the campaign of 1849 in Baden, at the headquarters of the Prince of Prussia. Works: Pasture and Market Scenes, Rural Festivals, Horses, Manoeuvre Scenes, Suabian Costumes, etc.-Mtiller, 75. BRAUSEWETTER, OTTO, born at Saalfeld, Prussia, in 1835. History and genre painter; pupil of Konigsberg Academy; travelled in Germany, North Italy, and Russia. Works: Richard III. (1860), Dantzic Museum; Charon's Bark (1867); Ladies at a Sculptor's (1868), Konigsberg Museum; Marauders, Bluebeard (1871); After a Long Separation (1872); Autumn Morning (1874); Gustavus Adolphus before Battle of Ltltzen (1876); Lansquenets Travelling (1877); Home Again (1878).-Mller, 75. BRAUWER. See Brouwer. BRAY, JAN DE, born at Haarlem, died there, buried Dec. 4, 1697. Dutch school; 198 BRAZACCO history and portrait painter; showed influence of Frans Hals, and later of Rembrandt. Works: Four portraits in a Group of Syndics of St. Luke's Guild (1675), National Gallery, Amsterdam; Initiation of Orphans (1663), Regents of Orphanage (1663, 1664), Regents of Leper-house (2, 1667), Christ blessing the Children, Seleucus (1676), Glorification of Frederic Henry (1681), Vulcan (1683), Dutch Family, Haarlem Museum; David with the Harp (1674), Brunswick Museum; David with Head of Goliath, Copenhagen Gallery; Portrait of Himself and Family, Hampton Court Palace.-Bode, Studien, 109; Riegel, Beitrage, ii. 305; Van der Willigen, 96. BRAZACCO. See Bazacco. BRAZEN SERPENT, Michelangelo, Sistine Chapel, Rome; fresco in corner soffit of ceiling. Illustration of Numbers xxi. 6-8. By Rubens, National Gallery, London; canvas, H. 6 ft. 2 in. x 8 ft. 9 in. Moses and Aaron standing to right, the latter pointing to an elevated serpent, towards which many of the Israelites, suffering from the stings of venomous reptiles, are turning for relief. Engraved by Bolswert and Galle. Formerly in Palazzo Marano, Italy; Collection of A. Wilson (1807), ~1200; Collection of Wm. Champion (1810), ~1000; belonged to T. B. Owen, who sold it to National Gallery (1837) for ~3000. Duplicates, partly by pupils, in Madrid Museum and Potsdam Gallery. Sketch in black and white, Louvre.Smith, ii. 216; Cat. Nat. Gal. BREA, LODOVICO, born at Nice about 1450 (?), died after 1513. Neapolitan school. Works, chiefly in churches in Genoa, signed and dated from 1483 to 1513. An Annunciation, etc., attributed to Justus of Ghent, in three compartments, in the Louvre, may be by him. Brea shows Flemish influences, and was perhaps taught by Corrado d'Alemania, or by Justus of Ghent, who painted at Genoa at 1451. Soprani mentions an Ascension of Christ in S.M. della Consolazione at Genoa, painted for Petrus de' Fazi in 1483.-C. & C., Flemish Painters, 176; Ch. Blanc, lcole g6noise; Lanzi, iii. 235; So. prani, 12. BREDA, CARL FREDRIK VON, born in Stockholm in 1759, died in 1818. Portrait painter, pupil in London of Reynolds. Became painter to the Swedish court and was called the Van Dyck of Sweden. His son, Johan Fredrik (born in London in 1788, died in Stockholm in 1835), was also a painter. BREDA, SURRENDER OF. See Lanzas. BREDAEL (Breda), JAN FRANS VAN, born in Antwerp, March 19, 1683, died there, Feb. 19, 1750. Landscape painter; grandson of Peeter van B., son and pupil of Alexander van B., landscape and genre painter (died 1720). He copied successfully paintings of Jan Brueghel and Philip Wouverman,and later executed original pictures in their style. Entered guild of St. Luke at Antwerp in 1680; master, 1689. Went to London with Rysbraek, the sculptor, and after his return (1725) became director of the Academy of Antwerp. Works: Military Camp, Louvre; Horse-Shoeing, Falcon Hunt, Dresden Gallery; Village View, 61 3&Jcc ae Amsterdam Museum.-Biog. nat. de Belgique, ii. 918; Ch. Blanc, Rcole flamande. BREDAEL, JAN PEETER VAN, born at Antwerp about 1654, died in Vienna about 1733. Flemish school; landscape and battle painter, son and pupil of Peeter van. B.; master of the guild in 1680. Employed by Prince Eugene of Savoy, and by the Emperor Leopold I., who called him to his court. Works: Battle of Peterwardein in 1716, Battle of Belgrade in 1717, Falcon Chase, Boar Hunt (1717), Vienna Museum.-Biog. nat. de Belgique, ii. 917. BREDAEL, PEETER VAN, born in Antwerp in 1630, died in 1719. Flemish school; painter of landscapes with figures, in the manner of Jan Brueghel. Entered the Ant 199 BREDAL werp guild in 1650, lived some years at the Spanish court. Works: Two Italian Landscapes, Bruges Academy; Landscape, Hague Museum.- Biog. nat. de Belgique, ii. 914; De Stuers, 211. BREDAL, NIELS ANDREAS, born in Copenhagen, June 22, 1841. Architecture and landscape painter; pupil of Copenhagen Academy; visited Norway in 1868, Germany and Rome in 1869, then lived in Italy 1871 -77. Works: Portal of St. Frederic, Copenhagen (1865); Street in Christianshavn (1867); Street in Bergen, Gate of Frederikberg Fortress (1869); Mountain Lake in Norway, Autumn Landscape (1869); Ascent to Ruins of Imperial Palace in Rome (1875); Court-Yard of the Lateran (1876); S.Giorgio in Velabro, Rome (1880); View of Villa d'Este (1881) -Sigurd Mailler, 51. BRIE, MATTHEUS IGNATIUS VAN, bornin Antwerp, Feb. 22, 1773, died there, Dec. '^^i ^Ji 15, 1839. Flemish school; his'~r g "^ tory painter, pupil at the Ant0 i \ \\^'\\ ^ werp Academy ~ '\ \~\ x\ ~of Regemorter, then in Paris of Vincent; obtained in 1797 the prix de Rome, and studied there until 1804. After his return he became professor at the Antwerp Academy, and in 1827 its director. Member of the Academies of Amsterdam, Rome, Munich, and New York. Works: Patriotism of Burgomaster van der Werfft, City Hall, Leyden; Prince of Orange and the League, Ghent Museum; t tL2nty Atee Entry of Bonaparte into Antwerp,Versailles Museum; Death of Rubens (1827), Antwerp Museum; Pest Scene in Louvain, Ugolino and his Sons; Death of Egmont, Prince of Orange visiting the Inundated in 1825, National Museum, Amsterdam; Portrait of William I., Brussels Museum; Portrait of Pius VII., Vatican, Rome. - Biog. nat. de Belgique, ii. 929; Cat. du Musee d'Anvers (1874), 416; Rooses (Reber), 458. BRRE, PHILIPPUS JACOBUS VAN, born in Antwerp, Jan. 6, 1786, died in Brussels, Feb. 16, 1871. History painter; brother and pupil of Mattheus van. B.; studied in Paris under Girodet, and in Pavia; visited Germany and England. Was conservator of the museum at Brussels. Works: Queen Blanca, Study of the Flower Painter Dael, Barentz on Nova Zembla, Discovery of New Holland, Godfrey de Bouillon at Jerusalem, Mary Stuart, Abdication of Charles V., Antwerp Museum; Procession in Rome, Sixtus V. as Swineherd, Brussels Museum. BREENBERGH (Breenborch), BARTHOLOMEUS, born at Deventer, in 1599 or 1600, 1 ' e /(^^ died in Rome in 1663. Dutch school; painted historical and mythological subjects, but is especially distinguished by his small landscapes. Supposed pupil of Poelenburg; went early to Italy, where and in France he is known as Bartolome. He had two styles: the first sombre, in which he sought to imitate Titian and the Carracci, the second more clear and transparent. Works: Repose in Egypt, Martyrdom of St. Stephen, four views in Rome, Louvre; Monk praying in a Cave, Old Pinakothek, Munich; Landscape with Ruins, Vienna Museum; Joseph selling Bread during the Famine in Egypt (1644), Dres'' r*A, BE, den Gallery; Elijah's Offering (1645), Ital. ian Landscape, Copenhagen Gallery; Land. 200 BREITBACH scape with Figures (by Poelenburg), Schwerin Gallery; do. and Landscape with Ruins (1636), View of Tivoli, Hermitage, St. Petersburg.-Bode, Studien, 335; Havard, A. & A. holl., iv. 69. BREITBACH, KARL, born in Berlin in 1833. Landscape and genre painter; pupil of the Berlin Academy, and in Paris of Couture; travelled in Germany, France, and England. Painted at first only landscapes; later, genre scenes and successful portraits. Works: Mill of St. Ouen, near Paris; Park of Trianon; Huntsman on Stand; Rest at the Chase; Whestphalian Church; Noonday Prayers; Kirmess-Joy; Kirmess-Woe; Village Parade; Portrait of the Painter Th. Weber; do. of Intendant General von Hulsen, At the Fortune-Teller's, Female Head, Male Head, Man's Portrait (1883).-Muller, 75. BREKELENKAM (Breklinkam), QUIRYN, born at Swammerdam, near Leyden, died at Leyden in 1668. Dutch school; genre painter, probably pupil of Gerard Dou, though his works recall both Metsu and Adrian van Ostade. Master of the guild at Leyden in 1648. Painted solid, strong, and naive figures in warm and harmonious colour. Works: Woman feeding her Child, Tailor's Shop (1661); Interior, The Fireside (1664), A Mouse-Trap (1668), National Gallery, Amsterdam; Monk writing, Consultation, Louvre; Interior (1662), Lille Museum; Old Couple, The Sandwich, Interior, Leyden Museum; Saying Grace, Cassel Gallery; Old Man with Fish, Old Woman with Vegetables, Woman feeding little Girl, Game of Cards (1662), Brunswick Museum; A Brazier (1654), Augsburg Gallery; A Baptism, Dresden Gallery; Vegetable Vender (1661), Berlin Museum; Hermit (1660), Disappointed Drinker, Hermitage, St. Petersburg.-Chronique des Arts (1878), 69, 75; Havard, A. & A. holl., iv. 91; Wedmore, Masters of Genre Painting, 146. BREMOND, JEAN FRAN9OIS, born in Paris in 1807, died March 2, 1868. Genre and portrait painter; pupil of A. Couder and of Ingres. Medal of the second class in 1833 and in 1863. Principal works: Christ (1827); Scene of July Revolution (1830); Miseries of War (1833); Francis L visiting Benvenuto Cellini (1834), Narbonne Museum; Death of the Virgin (1837); Charity (1838); Church of St. Peter in Carcassonne; St. Francis of Assisi (1839); Architecture, Painting, and Sculpture (1842), a fresco; Leda (1845); Susanna at the Bath (1847); Presentiment of the Passion (1848); Death of Bailly, Muse of Andre Chenier (1849); Cartoons for frieze in church of Villetta, Raising of Lazarus, Christ healing the Blind Man in Jericho, Sermon on Mount (1850); Descent from Cross (1852); Victorious Love (1853); Bohemian, Flight into Egypt (1859); Revery (1861); Slavery and Liberty, Caen Museum; The Butterfly (1864); Theological Virtues, Cardinal Virtues (1866), St. Lambert, Vaugirard.-Larousse. BRENDEL, (HEINRICH) ALBERT, born in Berlin, June 7, 1827, died in 1878. Animal painter; pupil of Berlin Academy, under W. Krause, then in Paris of Couture and Palizzi; visited Italy in 1852, and studied in Berlin under Steffeck. Lived in Paris in 1854-64, and at Barbison in the forest of Fontainebleau in summers of 1864-69. Became member of the Berlin Academy in 1868, and professor at the Weimar Art School in 1875. Medals: Paris, 1857-59-61; Berlin, 1861; Nantes, 1861; Munich, 1869; Vienna, 1873. Works: Interior of Sheep Stable, Hamburg Gallery; Horse Stable at Barbison, Normandy Horses, Peasant's Farm, Sheep leaving Stable, Return of Sheep to the Village, National Gallery, Berlin; Don Quixote's Sheep, Pasture in Holland.-MUller, 76. BRENDSTRUP, THORALD, born at Fjenneslev, Jutland, May 25, 1812. Land 201 BRENNER scape painter; pupil of Copenhagen Academy; visited Portugal in 1839, Rome in 1847-50 and 1857-61. Member of Copenhagen Academy, and Order of Danebrog in 1874. Works: View on Ise Fjord (1835); Views near Frederiksvaerk and Roskilde, do. on Coast of Oresund; Landscapes on Duero River; do. on the Rhine; Views in Switzerland; Temple of Vesta at Tivoli (1851); Villa Poniatowsky outside Porta del Popolo; Italian Landscapes; Views in Denmark.-Sigurd Mtiller, 53; Weilbach, 81. BRENNER, ADAM, born in Vienna, Dec. 21, 1800. German school; history painter; pupil of Vienna Academy; painted at first still-life and genre; studied in Munich about 1844, after the great modern masters of Germany. Works: Tinker frightening Child, Dead Game (1833), Burial of St. Stephen (1835), Vienna Museum; Rescue of Ferdinand II. by the Dampierre Cuirassiers; Raising of Siege of Belgrade.Wurzbach, ii. 132. BRESCIA, ALTARPIECE OF, Titian, SS. Nazaro e Celso, Brescia; wood, five panels, figures life-size; signed and dated 1522. Middle panel, the Resurrection; at sides, St. Sebastian, Averoldo with patron saints, and the Annunciation in two panels. The St. Sebastian is best preserved; other panels injured by repainting. Painted for the Papal Legate Altobello Averoldo, and placed on the high altar of SS. Nazaro e Celso, but now between two windows of the choir.-C. & C., Titian, i. 236, 247; Burckhardt, 717; Ch. Blanc, icole venitienne. BRESSANO, VINCENZO. See Civerchio, Vincenzo. BREST, GERMAIN FABIUS, born in Marseilles, July 31, 1823. Landscape and architecture painter; pupil of Loubon and of Troyon; has travelled extensively in Turkey and Asia. Works: Turkish Coffee-House in Constantinople (1857); Walls of Constantinople (1857); Banks of the Bosporus (1861), Luxembourg Museum; Caravansary in Trapezunt (1864); Ceremony of Kissing the Hand in Constantinople, Grand Canal in Venice (1866); Ponte Rialto in Venice, Interior of Pastry-Bakery (1867); Fisheries on the Bosporus (1868); Mosque in Trapezunt (1870); Khan of the Sultana Valide at Constantinople (1872); Bridge of Sighs (1874); St. John's Church at Beauvais (1877); Entrance to the Bosporus, The Platane of Godfrey de Bouillon (1878).-Muller, 76; Vapereau (1880), 299. BRfTON, IMILE ADELARD, born at Courrieres; contemporary. Landscape painter; f \4f l~ rE brother and pupil of Jules Bre. ton. Medals: 1866, 1867, 1868; 1st class (1878); < ^^P ^ ~Philadelphia (1876); Vienna (1873); L. of Honour (1878); Order of Leopold. Studio at CourriEres. Works: Morning Light, Sunset, Autumn (1861); Twilight in Autumn, Gust of Wind (1863); Summer Evening, Twilight (1865); A Pond (1866); Spring, Snow (1868); Sunset, Entrance of a Village (1869); Night, Brook of Orchiman (1870); Winter Morning, Winter Evening (1872); Sunset after Storm, Sunday Morning in Winter (1873); Autumn, Twilight, Winter's Night (1874); Courrieres Canal, Artois Village in Winter, Shepherd's Star (1875); Winter, Marine View (1876); Summer Morning (1877); Winter, A Church (1879); Sunset at Sea before Storm, Snow in Artois (1880); The old Willows, Frost in Artois (1881); Summer Evening, Winter Evening (1882); Moonlight in Winter, Sunset in Autumn (1883); Mill-Artois (1884); Fall of the Leaves, Evening after the Tempest (1885). Works in the United States: Village of Artois in Winter, Snow Scene in Holland, C. Crocker, San Francisco; Moonlight after Rain, J. G. Fell, Philadelphia; Stream between the Hills, H. R Bishop, New York.Vapereau (1880), 300. 902 BRITON BRfiTON, JULES ADOLPHE, born at Cincinnati; Tired Gleaner, Hurlbut ColleeCourricres (Pas-de-Calais), May 1, 1827. tion, Cleveland; Sea Bird, D. Catlin, St. Genre painter; pu- Louis; Burning Brushwood, Little Gleanpil of Drolling and er's Rest, Mrs. W. P. Wilstach, PhiladelDevigne, whose phia; Departure for the Fields, G. Whitney, daughter he mar- ~ Philadelphia; Evening, A. Spencer, New ried; one of the ^ York; Breton Washerwomen at the Seabest French paint- shore, E. D. Morgan Collection, New York; ers of village and Gathering Water-Lilies, Peasant Woman, country life. Med- J. T. Martin, Brooklyn; Tired Gleaner, C. als: 3d class, 1855; 5 \ S. Smith, New York; Overdrawn Score, J. 2d class, 1857; 1st Hoey, New York; Close of the Day, Sunny class, 1859, 1861, Day, Repose, W. T. Walters, Baltimore; 1867; medal of honour, 1872;L. of Honour, Potato Harvest, H. C. Gibson, Philadelphia; 1861; Officer, 1867. Works: Misery and Brittany Woman, Rainbow, W. H. VanderDespair (1849); Harvesters' Return (1853); The Gleaners, I. Pereire; The Day after St. Sebastian, Little Peasant Girls telling Fort- J AB f UOv AA unes (1855); Planting a Cemetery, Lille / % 5 Museum; Blessing the Harvest (1857), Recall of the Gleaners (1859), Evening (1861), bilt, New York; Reaper's Rest, Wm. Astor, The Gleaner (1877), Luxembourg Museum; New York.-Larousse; Meyer, Gesch., 642; The Fire, Weed Gatherers (1861), Comte Portfolio (1875), 2. Duchatel; Consecration of the Church of BRETT, JOHN, born in England; conOignies, M. de Clerq; Haymaker, Return- temporary. Landscape and marine painter; ing from Fields (1863); Vintage at Chateau studio at Putney. Elected an A.R.A. in Lagrange, Comte Duchatel; Reading, Tur- 1881. Works: Spires of Channel Islands key Keeper (1864); End of the Day, Blue (1875); Sir Thomas's Tower (1876); Cornish Monday, Recall of the Gleaners (1865); Lions (1877); Carnarvon Bay (1878); Spring of Water near the Sea, Harvest-Time Stronghold of the Seison (1879); Britan(1867); Women gathering Potatoes, Helio- nia's Realm, Sandy Shallows of Seashore trope (1868); Plenary Indulgence in Brit- (1880); St. Ives Bay, Golden Prospectstany, Bad Grass (1869); Breton Washer- St. Catherine's Well (1881); Falling Baromwomen, Woman Spinning (1870); Girl eter, Grey of the Morning (1882); Yellow tending Cows, The Fountain (1872); The Sands, Welsh Dragons (1883); Norman Cliff, When the Cat's away the Mice will Archipelago (1885).-Art Journal (1882), 57. play (1874); St. John (1875); Village Girl BREU (Brew, Prew), JORG (Georg), died (1879); Evening (1880); Artois Woman in Augsburg, 1536. German school; prob(1881); Evening at Finistere (1882); The ably pupil of Hans Burgkmair, whose Rainbow, Morning (1883); Communicants style his pictures recall, as well as that of (1884); Last Ray, Song of the Lark (1885). Altdorfer. The anatomiWorks in the United States: Peasant Girl cal treatment of his figures i Knitting, Grand Pardon- in Brittany, Miss is defective, but his landC. L. Wolfe, New York; Gleaner, Samuel scape backgrounds are reHawk Collection, New York; Harvest, W. markable. Works: MaRockefeller, New York; Lookout, R. C. donna, Berlin Museum Taft, Providence; Fleur de Sable, J. Carey (1512); Battle of Zama, Old Pinakothek, Coale, Baltimore; Gleaners, H. Probasco, Munich; Madonna (1523), Ambras Colleo 0o8 BREUGHEL tion, Vienna; Adoration of the Magi, Hospital church, Coblentz.-Kunst-Chronik, x. 388; W. & W., ii. 452. BREUGHEL See Brueghel. BREVOORT, JAMES RENWICK, born in Westchester County, N. Y., July 20, 1832. Landscape painter; pupil of Thomas Cummings. Visited Europe in 1873, spending seven years abroad, chiefly in Florence; has sketched at different times in Switzerland, Holland, England, the Abruzzi mountains, and about the Italian lakes. Elected an A.N.A. in 1861, and N.A. in 1863; professor of perspective at National Academy, 1872. Studio in New York. Works: Scene in Holland-near Arnheim, Lake of Comonear Varenna (1878); Storm on English Moor (1882); May Morning-Lake of Como (1883); New England Scene, Morning in Early Winter (1884). BREYDEL, KAREL, called the Chevalier, born in Antwerp in 1677, died in Ghent, Nov. 4, 1744. Flemish school; painter of scenes from military life, in imitation of Van der Meulen, and views of the Rhine in the manner of Jan Griffier; pupil of Peeter Ykens, but really formed himself in Holland and Germany. He led a very erratic life, leaving his wife in Antwerp vainly expecting his return. Works: Combat of Horsemen, Aremberg Gallery, Brussels; Two Cavalry Skirmishes, Brussels Museum; Landscape (2), Cassel Gallery. His brother, Frans (1679-1750), was court painter at Cassel, and lived for some time in London.-Biog. nat. de Belgique, iii. 37; Michiels, x. 518. BRICHER, ALFRED THOMPSON, born in Portsmouth, New Hampshire, April 10, 1839. Landscape and marine (1881); At Curzon's Mills-Newburyport (1882); In my Neighbour's Garden (1883). Works in water-colour: Indian Summer's Sunset (1869); Maiden's Rock-Lake Pepin (1870); Mt. Adams (1871); On the Winding Esopus, Time and Tide (1874); Spring Morning (1875); Foggy Morning-Grand Menan (1876); St. Michael's Mount (1877); In a Tide Harbour (1878).-Art Journal (1877), 174; Sheldon, 144. BRIDE OF LAMMERMOOR, John Everett Millais, Wm. H. Vanderbilt, New York. Lucy Aslton, recovered from her swoon, but not yet from her bewilderment and terror, clings helplessly, yet trustingly, to the arm of the Master of Ravenswood, whose dark and piercing glance indicates the approach of Sir William Ashton, who is not seen; background a rocky recess, relieved by the sparkle of a tiny burn and by a growth of ferns and wild-flowers. Painted in 1878. Engraved by J. O. Barlow.-Builder (1878), 449; Art Journal (1878), 143. BRIDGES, FIDELIA, born in Salem, Mass.; contemporary. Landscape and flower painter; pupil of W. T. Richards, in Philadelphia; also studied a year abroad. Elected an A.N.A. in 1874. Works in oil: Wild Flowers in Wheat (1869); Views on the Ausable (1870); Thistles and YellowBirds (1873); Salt Marshes (1874); Edge of Rye Field (1875); Old Grave (1876); Robin's Bath (1877); Daisies; Banks of an English Stream, Old Boat's Last Mooring (1881). Water-colours: Pickerel Weed (1871); Lily Pond (1874); Mouth of River (1875); By the Sea, Flock of Snow Birds, Kingfisher and Catkins (1876); Kingbird on the Lookout (1878). BRIDGMAN, FREDERICK ARTHUR, I painter; self-taught. Began to paint in born at Tuskegee, Ala., in 1847. Genre paint1858; sent first picture to National Acad- er; pupil of Brooklyn Art Association, and emy in 1868. Elected A.N.A. in 1879. in 1866 of L. Gerome, in Paris. In 1870-72 Studio in New York. Works in oil: Mill he sketched in the Pyrenees, and in 1873-4 Stream at Newburyport (1868); Ironbound in Algiers, Egypt, and Nubia. Medals: Island-Coast of Maine; Baby is King, Day Paris, 3d class, 1877; 2d class and L. of Dreams, Last of Flying Cloud (1880); En- Honour, 1878. Elected N.A. in 1881. Stugagement Ring, Castle Rock-Marblehead dio in Paris. Works: Apollo bearing off BRIELMAN Cyrene, Interior of a Harem (1875); Moorish Interior, Donkey Boy of Cairo, Chapel in BrittanyNoon, Nubian Story-Teller (1876); Funeral - of a Mummy ru a (1877), J. G. f Bennett, New /.,. York; Market Scene in Nubia, Kybelian Wo- \ man (1878); Almeh, R. G. Dun, N. Y.; Waiting for Orders -Souvenir of Constantine, Algeria (1881); Interior of Biskra House-Algeria, R H. Keene, New York; Eastern Lady (1882), La 22.-^1 > Cigale, AfF! " Drt/ man- tern oon /8803 Hours, At the Window-Cairo (1883); Caid's Escort at Rest (1884), Thos. B. Clarke, New York; Family Bath at Cairo, My Last Price (1884); Summer on the Bosporus (1885).-Sheldon, 150. BRIELMAN, JACQUES ALFRED, born in Paris; contemporary. Landscape painter; pupil of Lavieille. Medal, 3d class, 1882. Works: Old Trees of Drevant (1881); Evening in the Cevennes (1882); Oaks in Forest of Troncuis, Chateau de la Mothe at Marsais (1883), Th. Regnault; Falling Rain (1884); Le Champ-Rouge at Meaulne (1885). BRIGGS, HENRY PERRONET, born at Walworth in 1792, died in London, Jan. 18, 1844. Began his art studies in 1811 at the Royal Academy, where he exhibited a portrait in 1814; was for nearly twenty years an exhibitor of historical works, but during the latter part of his life his pictures were chiefly portraits. He became an A.R.A. in 1825, and R A. in 1832. His First Conference between the Spaniards and the Peruvians in 1531, and his Juliet and the Nurse, are in the National Gallery, London.-Redgrave; F. de Conches, 417; Art Union, March, 1844; Sandby, ii. 146. BRIL (Brill), MATTHEUS, born in Ant. werp in 1550, died in Rome in 1584. Flemish school. Went when young to Rome, and was employed by Gregory XII to execute works in the Vatican, chiefly landscapes in oil and in fresco. Works: Stag Hunt (2), Louvre; Tobias and his Wife, Boar Hunt, Dresden Gallery; Italian Landscape, Brunswick Museum; Landscape with Shepherds, Ambras Collection, Vienna; Hunting Scene, Naples Museum.-Biog. nat. de Belgique, iii 55; Fetis, Les Artistes belges a l'6tranger, i. 143. BRIL, PAUWEL, born in Antwerp in 1554, died in Rome, Oct. 7, 1626. Flemish school; brother of Mat- theus Bril, whose success in Rome attracted him thither, and whom he sue- g ceeded in the Vatican. Pupil of Damien Oortelman, then in Rome of his brother; painted principally landscapes, but also executed figures well. He left many works in oil and fresco, and exercised great influence upon Rubens, Annibale Carracci, and Claude Lorrain, becoming thereby most important for the development of landscape art. Works: Landscapes with Figures (4), Madrid Museum; Duck Hunt, Diana and Nymphs, Fishermen (1624), Pan and Syrinx, St. Jerome in Prayer (1609), three other Landscapes (1617, 1620), Louvre, Paris; Prodigal Son, Antwerp Museum; Ruins with Figures, National Museum, Amsterdam; Landscapes with Roman Ruins (2), Brunswick Museum; Hilly Landscape with Castle, Darmstadt Museum; Christ healing the Possessed (1601), Landscape by Seashore, Old Pinakothek, Munich; Landscapes (9, four dated 1600, 1608, 1624, 1626), Dresden Gallery; do. (4), Berlin Museum; do. (2), Hermitage, St. Petersburg; 205 BRILLOUIN do. (1), Peterhof; St. Paul in the Desert, Boar Hunt, Triumph of Psyche, and others, Uffizi, Florence; Christ on Calvary, Diana and Callisto, three others, Palazzo Doria, Rome; Baptism of Christ, St. Cecilia, NaP BR I t pies Museum. Others in Milan, Mentz, and p yAQt\ I 0 Stockholm.-Biog. nat. 1de Belgique, iii. 56; Ch. B RI LL Blanc, Reole flamande; Fetis, Les Artistes beiges a 1'6tranger, i. 143; Michiels, vi. 156; Rooses (Reber), 117. BRILLOUIN, LOUIS GEORGES, born at St. Jean d'Angely, April 22, 1817. Figure painter; pupil of Drilling, and of Cabat. Medals in 1865, 1869, and 1874. Works: Rubens' Studio, Characters from Victor Hugo's Poems (1847); Sermon in Provence, Visit of the Amateurs, Profession of Arms (1857); Rembrandt in his Studio, Messire Josue's Pew in Church, Amateurs visiting, Page amusing Himself (1859); Artist in Camp, W. H. Vanderbilt, New York; Musical Party (1861); Medicine, Meditation, Backgammon (1863); Playing Games, The Huntsman (1865); The Outpost, Officers making a Reconnoissance, The Gazette, The Host's Portrait, The Patrol (1867); Lantara's Quota, Callot in his Youth (1868); Letter of Recommendation, Book Peddler, Bibliomaniac, Man-at-Arms (1869); The Prince's Education, The Equipment (1870); Rural Scene, A Captain (1872); Gossip (1873); George Dandin's Wedding, Lindor Moor and the Marsh (1874); Old Papers, Old Pipe, Mandolinata (1875); Profession of the Younger Son, Antechamber (1876); Hunting for Recruits, Bouquet to Chloe (1877); Morning on the Meadows, Storm and Rain in the Marshes (1879); Peasants Resting, Singing Songs (1880); Family of a Condemned Man waiting for last Farewell (1881); Woods of Bourboule, Evening on the Plain of Saintonge (1882); His Highness in the Trenches, The Commune of Piepouzin (1883). —Vapereau (1880), 305. BRION, GUSTAVE, born at Rothau, Al. sace, Oct. 24, 1824, died in Paris, Nov. 4, 1877. Genre x ^ v painter, pupil of Gabriel Gu6rin in Strasburg. Painted Alsatian life with much success. Medp als: 2d class, 1853-59-61-67; 1st class, 1863; medal of honour, 1868; L. of Honour, 1863; Order of Leopold of Belgium. Works: Alsatian Interior (1847); Tow-Path (1852); Wood Cutters of the Black Forest, Potato Crop in Alsace; Alsatians Threshing (1853); Bretons at the Door of a Church during Mass, Funeral on the Rhine (1859); Siege of a Town by the Romans, Alsatian Wedding, Wedding Feast, Battery of Military Machines (1861), bought by Emperor; Jesus walking on the Sea; Pilgrims of St. Odile (1863), Luxembourg Museum; End of the Deluge,Wolf-Hunting in Spain (1864); The King's Day (1865); Reading the Bible (1867); Funeral in Venice (1868); Dance of the Cock (1872); Alsatian Wedding (1874); Day of Baptism (1875); First Steps (1876); Awakening the Pilgrims to Saint Odile (1877). Works in United States: Alsatian Christening, Leaving Church, Miss C. L.Wolfe, New York; Bouquet, R. C. Taft, Providence; Brittany Peasants at Prayer, J.W. Garrett, Baltimore; Alsatian Peasant Girl, J. Carey Coale, Baltimore; Invasion, C. Parson, St. Louis; Marriage in Alsace, Alex. Brown, Philadelphia; Char- 0 coal Furnace, R. L. Stuart, IJ New York; Decking the Vil- 1 lage Crucifix, J. Hoey, New York; do., Israel Corse, New York.-Meyer, Gesch., 702; Montrosier, Artistes modernes. BRISPOT, HENRI, born at Beauvais; contemporary. Genre and portrait painter, 206 BRISSET pupil of Bonnat. Medal, 3d class, 1885. Works: In the Country (1881); La Greve des Forgerons (1882); Churchwarden's Pew (1883); Baptismal Feast, Portrait of Cormon (1884); Burial of a Farmer in Picardy (1885). BRISSET, PIERRE NICOLAS, born in Paris, Aug. 18, 1810. History and genre painter; pupil of Picot, and of the ecole des Beaux Arts. Won the grand prix de Rome in 1840. Medals, 2d class, 1847, 1855; L. of Honour, 1868. Works: Death of Priam (1840); St. Laurence showing the Treasures of the Church (1846); St. Sebastian (1855), ordered by State; Fishermen entering a Church (1865); Such is the Way to Heaven (1868); Two Sisters of Charity (1876). Has executed works in St. Vincent de Paul, Paris, and other churches.-Vapereau (1880), 306. BRISSOT DE WARVILLE, F1eLIX SATURNIN, born at Sens (Yonne); contemporary. Animal painter, pupil of L. Cogniet. Medal, 2d class, 1882. Works: In the Plain, The Thicket (1881); Sheep in Meadow (1882); Flock of Sheep, Leaving the Park (1883); Sheep at Rest, The Return (1884); Interior of Sheepfold, Return of the Flock (1885). BRISTOL, JOHN BUNYAN, born at Hillsdale, New York, March 14, 1826. Landscape painter; pupil at Hudson of Henry Ary. In 1859 visited Florida and painted from his sketches tropical pictures which brought him into notice. Elected an A.N. A. in 1861, and N.A. in 1874. Studio in New York. Works: View of Mt. Oxford (1876, medal of honour, Philadelphia); On the St. John's River-Florida; Monument Mountains; Mt. Equinox; View of Lake Champlain from Ferrisburg (1878), purchased by Directors of Paris Exposition; Ascutney Mountains; Valley of the Housatonic; Delaware River near Port Jervis (1880); Lake Placid-Adirondacks (1881); Near Stockbridge, Mass. (1882); Valley of the Connecticut, Vermont (1883). BRITTEN, W. E. F., born in England; contemporary. Exhibits chiefly at Grosvenor Gallery. Works: Music (1879); Dancing (1880); Flight of Helen (1881), one of a series painted for Wyfold Court, seat of late Edward Hermon, M.P.; Che sara sari, Anglers, An Idyl, Baby Ida (1882); Boys and Dolphins, decorative frieze executed for Earl of Leconfield (1883); Idyl, Genii of Sport (1885). BROECK, CRISPIN VAN DEN, born at Mechlin in 1530 (?), died in Holland about 1601. Flemish school; pupil of FransFloris; entered the Antwerp guild in 1555, became a citizen in 1559. Was also an architect and engraver on both metal and wood. Works: Adoration of the Magi, Vienna Museum; Last Judgment (1571), Antwerp Museum; do., Brussels Museum; Holy Family, Madrid Museum.-Cat. du Musee d'Anvers (1874), 428; Nagler, Mon., ii. 297. BROECK (Brock), ELIAS VAN DEN, born in Antwerp (?) about 1657, died in Amsterdam in 1711. Dutch school; flower painter, pupil of Cornelis de Heem; his pictures are true to nature and fine in colouring. Works: Three pictures of still life, Museum,Vienna; two in Liechtenstein Gallery, ib.; Flowers,Rotterdam Museum.-Michiels, x. 444. BROEDERLAM (Brooderlam), MELCHIOR, born at Ypres. Flemish school; flourished latter part of 14th century, when he became painter and valet-de-chambre to Philip the Bold, Duke of Burgundy. In 1398 he painted Scripture subjects on the wings of two shrines sculptured by Jacques de la Baerse of Dendermonde, for the Carthusian Convent at Dijon, and now in the museum of that city. His style has the faults of the Westphalian school, tempered by the more graceful and tender feeling of the school of Cologne.-C. & C., Flemish Painters, 19; Biog. nat. de Belgique, iii. 78; Michiels, ii. 33. BROKEN PITCHER (Cruche cass6e), J. B. Greuze, Louvre; canvas, H. 3 ft. 7 in. x 2 ft. 9 in. A young girl, in a white dress, with a violet ribbon and white flowers in her hair, and a gauze fichu which half conceals a crushed rose upon her breast, stands holding 207 BROMEIS flowers in her robe, and bearing on her arm a cracked pitcher. Bought at sale of Marquis de Verri (1785) for 3000 fr. Engraved by Massard; A. Leroy. Study in National Gallery, Edinburgh. I Broken Pitcher, Jean Baptiste Greuze, Louvre. BROMEIS, AUGUST, born at Wilhelmshohe, near Cassel, Nov. 28, 1813, died in Cassel, Jan. 12, 1881. Landscape painter, pupil of the Cassel Academy; studied in 1831-33 in Munich, then until 1848 in Rome, under Jos. Ant. Koch. After his return lived in Cassel and Frankfort, and in 1857 moved to Dfsseldorf, principally for the sake of being near A. Achenbach. In 1867 he became professor at the Cassel Academy. Member of Berlin Academy. Works: Twilight (1861), View near Olevano, Two Landscapes from the Habichtswald, View in the Campagna (1862), Cassel Gallery; Grave of Archimedes, View in Sabine Mountains, Moorish Laundry near Palermo, Wood near Dtisseldorf, Italian Landscape with Calabrian Shepherd (1869), National Gallery, Berlin; Civitella by Moonlight (1866); Capri (1874); From the Campagna (1879).-Miiller, 79; Kunst-Chronik, xvi. 296. BRONCHORST (Bronckhorst), JAN VAN, born at Utrecht in 1603, died at Amsterdam in April, 1678 (?). Dutch school; genre and landscape painter; first studied glass painting under Jan Verburgh, then at Arras under Peter Mathys, and in Paris under Chamu; after his return was induced by his friendship with Poelenburg to take up oil painting, which he studied by himself. Works: Assembly with Young Man playing Guitar (1644), do. with Young Girl; Arcadian Concert, Brunswick Museum; Grotto with bathing Nymphs, Liechtenstein Gallery, Vienna; Landscape, Rotterdam Museum.-Immerzeel, i. 104; Kramm, i. 165; Riegel, Beitrage, ii. 185. BRONIKOFF, THEODOR, born at Schadrinsk, Siberia, in 1826. History and genre painter; pupil of St. Petersburg Academy, where in 1853 he received the great gold medal; then studied for five years in Germany, France, Italy, and the East. Studio in Rome. Works: Psetus and Arria, Pythagoreans greeting Sunrise, Horace reading his Satires to Augustus, Alcibiades and Aspasia before the Archon, The Outcast, Names' Day, Meeting of the Council of Ten in Venice, Christian Doctrine, Peasant Girl of Nemi, A Master in Mosaics before the Tribunal of Three in Venice (1867).-Miiller, 79. BRONZING, AGNOLO (Angiolo), born at Monticelli, near Florence, in 1502-3, died in Florence, Nov. 23, 1572. Florentine school; real name Agnolo 7 C Vi~la?. A"or Angiolo di Cosimo Allori, o uof g 'f ^ ^but commonly called II Bronzino. Pupil of Raffaelino del Garbo and later of Jacopo da Pontormo, whom he assisted in some of his most considerable works. He was a great admirer of Michel 208 BROOK angelo, and some of his works show his influence, though he was not one of his imitators. He painted both in fresco and in oil, and was a decided mannerist in his historical pictures. His portraits of members of the Medici family, his patrons, and of many distinguished men of his time, are by far his best works and among the finest of the 16th century. His largest work is Descent of Christ into Limbo (1552), Uffizi, Florence. Among his best pictures are: The Engineer, Pitti, Florence; Lady, Boy with a Letter, Young Sculptor, Uffizi, Florence; Venus, Cupid, Folly and Time, Knight of St. Stephen, Portraits of a Lady and of Duke Cosimo I., National Gallery, London; Venus and Cupid, BudaPesth Gallery; Dead Christ, Florence Academy; Christ appearing to Magdalen, BRONZO FIOKENTINO Louvre.-Vasari, ed. Le Mon., xiii. 159, 170; Ch. Blanc, Ecole florentine; Burckhardt, 640, 647, 756, 758; Meyer, Kiinst. Lex., i. 494. BROOK, Thomas Gainsborough, National Gallery, London; canvas, H. 4 ft. 3 in. x 4 ft. 11 in. A wagoner, standing at left on a rustic foot-bridge, is endeavouring to start up his team of four horses tandem, which have stopped to drink at a brook. Sometimes called the Watering Place. Vernon Gallery; purchased in 1838 for ~220 10s. Engraved by J. C. Bentley in Art Journal. -Brock-Arnold, 25; Art Journal (1849), 72. BROSAMER, HANS, born probably at Fulda between 1480 and 1490, died at Erfurt about 1554. German school; portrait painter. One of the Little Masters, and more notable as an engraver than as a painter. Works: Male Portrait (1520), Vienna Museum; others in private galleries in Cologne and Vienna.-Scott, Little Masters, 121; Allgem. d. Biog., iii. 363; W. & W., ii. 433; Kunst-Chronik, xiii. 494. BROUILLET, (PIERRE) ANDRiT, born at Charroux (Vienne); contemporary. History and portrait painter, pupil of Gerome and J. P. Laurens. Medal: 3d class, 1884. Works: Violation of the Tomb of Urgel (1881); Women of Paris going to Versailles in 1789 to demand Bread (1882); At the Dockyard (1883); Exorcism (1884); Jewish Wedding at Constantine (1885), M. Chateau. BROUWER (Brauwer), ADRIAEN, born at Oudenarde in 1605 or 1606, died in Ant- werp, buried Feb. 1, 1638. Flemish school; genre painter,.j' and one of the great masters _ t^ in this line; influenced by r s. H e Pieter Brueghel be\ Sept the elder, and by Rubens. Houbraken's assertion that he was a pupil of Frans Hals cannot be substantiated. If he went to Holland at all, it was not until about 1630, when he was a finished artist. He was registered in the Antwerp guild between Sept. 18, 1631, and Sept. 18, 1632. Works: Tavern Interior (2), Smoker, two others, Louvre; Drinkers at Table, Brawl in a Tavern, Brussels Museum; two Peasant Scenes, Cassel Gallery; Surgical Operation and two others, Stidel Gallery, Frankfort; Peasants at Cards, Spanish Soldiers at Dice, two Surgical Scenes, Fiddler in Tavern, Card Players fighting, and three others, Old Pinakothek, Munich; Fight of Three Peasants over Dice, Obedient HusJ,,at band, Peasants' Brawl, ~ J'm three others, Dresden Gallery; Peasant asleep in a Tavern, Old Woman at Toilet, Smoker, Fray at Dice, and two others, Berlin Museum; Interior with Peas. BROWN ants, and four others, Hermitage, St. Petersburg; others in Liechtenstein, Czernin, Artaria, and Schonborn Galleries, Vienna, in Schleissheim Gallery in Cologne, Stockholm and Madrid Museums, and in private collections, England.-Allgem. d. Biog., iii. 366; Biog. nat. de Belgique, iv. 826; Ch. Blanc, ltcole hollandaise; Bode, Studien, 208; Dohme, li; Kugler (Crowe), ii. 417; P. Mantz, Adrien Brauwer; Michiels, ix. 156; Schmidt, Das Leben des Malers A. Brouwer (Leipsic, 1873). BROWN, FORD MADOX, born at Calais, France, of English parents, April 16, 1821. Studied in Bruges Academy, at Ghent, under Van Hanselaer, and in 1837-39 in Antwerp Academy; was in Paris in 1841 -44, and in Rome in 1845, in which year he settled in London. Belongs to the realistic school, with a tendency toward Pre-Raphaelitism, though he refused to join the Brotherhood in 1849. Has exhibited but little at the Royal Academy. Works in oil, watercolours, and in fresco. Since 1850 he has been painting a series of frescos (each H. 4 ft. 10 in. x 10 ft. 5 in.) in the Town Hall of Manchester, illustrative of the history of the city. Subjects: The Romans building a Fort at Mancinion (A.D. 60); Baptism at York of Edwin, King of Northumbria (627); Expulsion of the Danes from Manchester (about 910); Establishment of Flemish Weavers in Manchester (1330); William Crabtree observing the Transit of Venus (1639); Defence of Manchester by Bradshaw (1642). Works: Wicklif reading his Translation of the Bible to John of Gaunt (1848); Lear and Cordelia (1849); Pretty Baa-Lambs (1851); Last of England (1852); Chaucer reading at Court of Edward III.; Our Ladye of Good Children; Cordelia's Portion; Ehud and Eglon; Work (1865); Coat of Many Colours (1865); Elijah raising the Widow's Son; Jacopo Foscari; The Entombment; Haydn and Don Juan; Sardanapalus and Myrrha; Romeo and Juliet (1870).-His son, Oliver Madox Brown (1855-1874) was a painter and author of much promise; his daughters, Mrs. W. M. Rossetti and Mrs. F. Hueffer, are also painters.-Portfolio (1870), 81, 119; Scribner's Mag. (1872), iv. 157; Art Journal (1873), 105; (1881), 262; Fraser's Mag., May, 1865, 598; L'Art (1882), iv. 81, 101, 161; Ingram, Biog. of Oliver M. Brown (London, 1883). BROWN, GEORGE LORING, born in Boston, Mass., Feb. 2, 1814. Landscape painter; pupil of Washington Allston, and in Paris of Eugene Isabey. Visited Europe in 1840 and painted in Antwerp, Florence, Rome, Paris, and London; returned to America in 1860. Studio in Malden. Works: Bay of New York (1860), Crown of New England (1861), Prince of Wales; Venice, Sunset-Genoa, Niagara by Moonlight (1876); Moonlight Scene in Venice (1877); Capri (1878); Doge's Palace at Sunset (1881); Sunrise-Venice (1882); Doge's PalaceVenice (1884); do. at Sunrise (1885).-Art Journal (1880), 370; Zeitsch. f. b. K., vi. 61. BROWNE, Mme. HENRIETTE, born in Paris, 1829. Maiden name Sophie de Bouteiller; married in 1853 M. Jules Desaux, secretary to Comte Walewski, but adopted the name of Browne from a maternal ancestor. Genre painter; pupil of Chaplin. Medals: 3d class in 1855, 1857, and 1859; 2d class in 1861; 3d class for engraving in 1863. Has sketched in the East and in North Africa. Works: A Brother of the Christian School, Poor School at Aix, Mutual Educa. tion, The Rabbits (1855); Puritans, Catechism, Grandmother, The Lesson (1857); Sisters of Charity, The Toilette, A Sister, An Apothecary's (1859); Woman of Eleusis, A Visit, Harem in Constantinople, Woman playing Flute, Consolation (1861); Turkish Child (1864); Celina and her Sister, The Awakening (1868); A Court at Damas, Nubian Dancing Women (1869); The Oranges (1870); Alsace (1872); No Matter, The Medallion (1873); Portraits, Coptic Poet (1874); The Parroquet (1875); The Ducat, A Bibliophile (1876).-Larousse; Stephens, 271. 210 BROWN BROWN, J. APPLETON, born at Newburyport, Mass., July 24, 1844. Landscape painter; pupil of B. C. Porter, in Boston, and of Imile Lambinet in Paris. He painted his first notable studies in Switzerland during a trip through Europe. Studio in Boston. Works: Summer, View at Dives Calvados-France (1875); Old Road near Paris; November; On the Merrimac; Autumn; Storm at the Isles of Shoals; Glen Mill Brook-Byfield, Mass. (1881); Springtime (1884).-Art Journal (1879), 74; Sheldon, 117. BROWN, JOHN, born in England, 16th century. Was sergeant-painter to Henry VIII., with a salary of ~10 a year. In 1553 he built Painters' Hall for the company, and his portrait is preserved there.-Redgrave. BROWN, JOHN G., born at Durham, England, Nov. 11, 1831. Genre painter; studied first at Newcastle-on-Tyne, then at Edinburgh Academy, and in 1853 in National Academy Schools, New York. Professional life passed in Brooklyn and New York. Elected an A.N.A. in 1862, and N.A. in 1863. Studio in New York. Works: Longshoreman's Noon; Tough Customers; Country Gallants; Thrilling Moment; Dress Parade; Three (Scape) Graces; Left his Money on the Piano; Curling in Central Park (1876); Passing Show (1878); Sunny Day (1879); Thrilling Moment (1880); Hiding, Long, Long Ago (1881); Old Shaver (1883); Merry Air and a Sad Heart, Amused (1884); Under the Weather, Wounded Playfellow (1884): A Jolly Lot, The Monopolist (1885)-Sheldon, 141. BROWN, JOHN LEWIS, born at Bordeaux, Aug. 16, 1829. Genre painter, chiefly military and hunting scenes; pupil of C. Roqueplan and of Belloc. Medals in 1865, 1866, and 1867; L. of Honour,1870. Works: A Drum, Nidjeb (a horse), Colledano Letrado (a horse), Henriot on the 10th of August, Custine at Spire (1848); An Outpost, Retreat before Wolves, Steeple-Chase, Interior of a Stable, Horses on the Turf (1861); Dogs pausing, One of the Cent-Gardes, In the Crimea (1863); Hunting Incident, In the Woods of Vincennes in 1863, Encampment of Spahis at St. Maur (1864); Imperial Military Stud (bought by the Emperor), Pensioners' Day, At the Outposts (1865); Riding School (1866, bought by Emperor); Morning in the Camp of Chalons, The Day after (1867); two incidents in the War of Independence and in Seven Years' War (1868); Battle of Ligny in 1815, Count de Saxe (1869); Hallali (1870); Reichshofen, Dogs Running (1872); News of the Defeat of Weissenburg brought to Hagenau, Outposts of the First Corps in 1870 (1873); Landscape with Animals, Zoological Garden, Incident in Battle of Froschwiller (1874); Norman Jockeys, Interrupted Journey, Officer arresting Salt-Smugglers (1875); Rising Tide, Sentimental Journey (1876); Frenchmen beating in Game, Visit to the Salt Marshes of Croisic, Dutch Horses (1877); Incident in the military life of Marshal Conflans, Hunting Scene (1878); Officer attacked by Plunderers, Souvenir of the Isle of Wight (1880); Across Country (1881); Relay of Omnibus Horses (1884); Hallali,Return from the Chase (1885). BROWNING, ROBERT BARRETT, born in England about 1848. Genre painter; son of Robert and Elizabeth Barrett Browning. Studied at Antwerp and Paris. Works: Worker in Brass-Antwerp (1878); Stall in Fish Market at Antwerp, Dinant on the Meuse (1879); Still Life, Disturbed Life, Tan Garden-Dinant (1881); Vespers (1882); Valley of the Meuse (1884); portrait of Robert Browning (1885), Baliol College; Landscape, Boston Museum of Fine Arts; Meuse from Bouvigne, New York Museum. Exhibited at Grosvenor Gallery (1884) a bronze statue and two busts. BROZIK, VACZLAV, born at Tzemoschna, near Pilsen, Bohemia, in 1852. History painter; pupil of the Prague Academy, in Munich of Piloty, and in Paris of Munkacsy; studio in Paris since 1876. Medal, 2d class, 1878. Works: Farewell of Ottokar II (1874), The Kiss, St. Iria, Dagmar, 211 BRUANDET Daughter of Premysl, Ottokar I. taken from Convent by Waldemar of Denmark (1876); The Good Friend (1876); Embassy of Ladislaus of Bohemia to Charles VII. of France (1878), National Gallery, Berlin; Game of Chess (1879); Meeting of Charles IV. with Petrarch and Laura at Avignon (1879); Reading the Bible, M. K. Jessup, New York; Condemnation of John Huss by Council of Constance in 1415 (1883); My Children (1884); First Presentation (1885).-Mtiller, 82. BRUANDET, LAZARE, born in Paris in 1755, died there in 1803. Landscape painter, in style of Ruisdael. Painted forest views with success. Work: View in Forest of Fontainebleau (1785), Louvre.Siret, 142; Ch. Blanc, Ecole fran~aise. BRUCK, LAJOS (Louis), born at Papa, Hungary, Nov. 3, 1846. Genre painter; pupil of Vienna Academy; studied in 1869 -72 in Italy, especially in Venice, where he was for a short time a pupil of the Academy; also pupil in Paris of Munkacsy. Works: Unwilling Scholar, D. W. Powers, Rochester, N. Y.; Love Letter, M. K. Jessup, New York; Departure for the City (1877); The Letter (1878); Forsaken (1879); Suitable Outfit (1880); Fruit Girl, H. V. Newcomb, New York; Children at Play, J. W. Drexel, New York; Noonday Rest (1883); Foundery (1884); L'avare (1885).-Miller, 82. BRUCKMANN, FERDINAND ALEXANDER, born at Ellwangen, Feb. 21, 1806, died in Stuttgart, Feb. 9, 1852. History and portrait painter; pupil of Wachter in Stuttgart, in 1826, and of H. von Hess in Munich, in 1827-29. In 1829 he went to Rome, and returned to Munich in 1833, when he painted in the king's bedchamber fourteen subjects from Theocritus, partly after sketches by Hess, partly after his own. From 1840 he painted almost exclusively portraits, in Stuttgart, temporarily also in Ulm, Augsburg, and Zurich. Became insane in consequence of an accident in 1835, and eventually committed suicide. Works: Barbarossa's Body taken out of the Calycadnus, Women of Weinsberg, Thus. nelda in Captivity, Stuttgart Gallery; The Maiden from Afar, Royal Castle, Friedrichshafen; The Sirens, Romeo and Juliet, Birth of Venus, St. Lucas, Allegories of the Fine Arts.-Allgem. d. Biogr., iii. 397; Raczynski, ii. 205. BRUEGHEL (Breughel), JAN, called ~ ~\ B.Fu weelenr (Velveet) Bruegel, painted chiefly landscapes, but also genre and mythological subjects, animals and still life; pupil at Antwerp of Peeer Goetkin Brusbut mostly self-taught; highly gifted and versatile. After a sojourn in Italy (1593-96), settleatAtepwsdied in Anster of the guild iJan 13,in 1602; a citizen in 1601. as in Nuremberg in 1616. Hslemish school; works are characPeeterealism, finish to the finest details, brilliancy of colour, and correct perspective. Though a conscientious and industrious artist, he was a rapid worker; greatly landscapestee but also genre and mythological suraries, he hadnimals and sting influence and trained several pupil and follower of Peeter Goetkint, but mostly self-taught; highly gifted and nownversatile. Aften worked sojournintaly with Van(1593-96), sBalen, aottenhammer, and Rubens, with whom he was allied in 1602close fritizendship. in 1601. Was in Nuremberg in 1616. His works are characterized by realism, finish to the finest details, brilliancy of colour, and corks: The Fperspeive Senses (7), Though a conElements (4), Sciences and ustrious artist, Earthly Pradise (3worker of Brussels, tbhirty-seven others, Madrid Museumad a; Landscape (1600), trained several pupils and followers of renownBridge of Talavera (1610), Earthly Paradiseth Van Balen, Rottenhammer, and Rubens, with whom he was allied in close friendship. ork(1611), The Air (1621Sense), three others, Louvre, Elements (4), Sciences and Arts, Earthly Paradise (3), Park of Brussels, thirty-seven others, Madrid Museum; Landscape (1600), Bridge of Talavera (1610), Earthly Paradise (1611), The Air (1621), three others, Louvre, Paris; Sermon of St. Norbert at Antwerp, Autumn, Brussels Museum; PietA (figures by Rubens), Antwerp Museum; Earthly Paradise (figures by Rubens), Flight into Egypt (figures by Rottenhammer), City on 212 BRUEGHEL a River (1624), four others, National Museum, Amsterdam; Christ and the Magdalen, Rotterdam Museum; The Flood, six others, Cassel Gallery; four in Brunswick Museum; Forge of Vulcan (figures by Van Balen), Feast of Bacchus (figures by Rottenhammer), St. Hubert (figures by Rubens), The Paradise, Still life, Berlin Museum; Landscapes (dated 1604, 1605 (3), 1608 (3), 1611 (2), 1612, 1613), twenty-two others, Dresden Gallery; Flora (figures by Rubens), Landscapes (1598, 1599, 1609, 1610, 1612, 1615, 1616, 1620), eighteen others, Old Pinakothek, Munich; Adoration of the Magi (1598), The Four Elements (1604, figures by Rottenhammer), Bouquet (1625), four others, Vienna Museum; Landscapes (7), Hermitage, St. Petersburg; Christ on Lake Genesareth (1595), Landscapes with Hermits (1595, 1596, 1597), Abundance (1605), Bouquet (1608), Daniel in Lion's Den (1608), Fire and Water (1610, 1611), Ambrosiana, Milan. His son Ambrosius (born Aug. 10, 1617, died Feb. 9, 1675), was a distinguished flower painter; pupil of his brother Jan, the younger. —Allgem. d. Biog., iii. 403; Biog. nat. de Belgique, iii. 26; Ch. Blanc, Ecole flamande; Cat. du Musee d'Anvers (1874), 304; Dohme, li.; J. van der Kellen, i. 220; Michiel, v. 351; Riegel, Beitrage, ii. 40; Rooses (Reber), 127. BRUEGHEL, JAN, the younger, born in Antwerp, baptized Sept. 13, 1601, died after 1677. Flemish school; son and pupil of Velvet Brueghel; went to Italy in 1622, returned in 1625, little influenced by Italian art. Like his father, he remained essentially Flemish. He was for a long time unjustly ignored, as many of his pictures were attributed to his father. Rubens, Van Diepenbeeck, Van Tulden, and Van Balen often supplied the figures in his landscapes. Works: Halt in front of an Inn (1641), Landscape, Tower on Seashore (1642), Dresden Gallery.-Biog. nat. de Belgique, iii. 34; Ch. Blanc, ]cole flamande; Dohme, li.; Michiels, v. 370. BRUEGHEL, PEETER, the elder, called Boeren (Peasant) Brueghel, born at Brueghel, near Breda, about 1525-1530, died in Brussels about 1570. Flem-. ish school; pupil of Pieter - Koeck van -- Aalst, and of Hieronymus Cock, and greatly influenced by the works of Hieronymus Bosch, whose subjects he im. itated; became master of the guild in Antwerp in 1551, and shortly after went to Italy; after his return lived at Antwerp until 1563, then settled at Brussels. Painted chiefly scenes from peasant life, which he treated from a realistic and humorous point of view, not always avoiding coarseness; also some scriptural subjects and ghost and incantation scenes, in the manner of Bosch. Left a great number of masterly drawings, and some etchings made on his travels. Works: Triumph of Death, Madrid Museum; Landscape, Village Dance, Louvre, Paris; Job on his Dunghill, Douai Museum; Village Feast, Nancy Museum; Massacre of the Innocents, Brussels Museum; Christ on Lake Genesareth, Seaport, two Landscapes, Cassel Gallery; St. John preaching, Basle Museum; do., and Peasants' Frolic, Old Pinakothek, Munich; do., and Peasants' Brawl, Dresden Gallery; Contest between Carnival and Lent (1559), Children's Frolic (1560), Massacre of the Innocents, Christ bearing the Cross (1563), Tower of Babel (1563), four others, Museum, Vienna; St. John preaching, Dance of Death, The Blind leading the Blind, and others, Liechtenstein Gallery, ib.; The Blind leading the Blind (1568), Naples Museum; Christ bearing his Cross, Uffizi, Florence.-Allgem. d. Biog., iii. 400; Biog. nat. de Belgique, iii. 19; Ch. Blanc, Ifcole flamande; Dohme, li.; Michiels, v. 321; Rooses (Reber), 75. 213 BRUEGHEL BRUEGHEL, PEETER, the younger, called Hollen (Hell) Brueghel, born in Brussels in 1564, died in Antwerp about 1637. Flemish school; son of Peeter B. the elder; pupil of Gilles van Conincxloo; registered as a master in Antwerp in 1585. He was much influenced by the works of his father, whose predilection for ghostly and diaboliical subjects he inherited, but he was his inferior in invention, colouring, and technical merit. Works: Christ delivering Souls from Purgatory, National Museum, Amsterdam; Christ bearing the Cross (1607), Antwerp Museum; do. (1606) and Peasants' Brawl, Berlin Museum; Hell (1596), Temptation of St. Anthony (1604), Destruction of Sodom and Gomorrah, Dresden Gallery; Rape of Proserpine, Tower of Babel, Conflagrations (2), Landscapes (2), Madrid Museum; Fall of Rebel Angels, Brussels?P&BRYYBKLb LCo6 Museum.-Allgem. d. Biog., iii. 402; Biog. nat. de Belgique, iii. 24; Ch. Blanc, Ecole flamande; Dohme, li.; Michiels, v. 343; Rooses (Reber), 80. BRUYLLOW (Brylow), KARL PAVLOVICH, born in St. Petersburg in 1799, died at Marciano, near Rome, June 23, 1852. History painter, pupil of St. Petersburg Academy under Ivanoff; went in 1823 to Rome, and after his return became court painter and professor at the Academy. In 1835 he visited Greece, Turkey, and Palestine, and later went again to Italy. He was member of the St. Petersburg, Milan, and Bologna Academies. Works: Narcissus (1819); Last Day of Pompeii (1833), Hermitage, St. Petersburg; Murder of Inez de Castro; Ascension, Kasan Church, St. Petersburg; fresco paintings in Isaac Church, many portrait and genre scenes in Hermitage.-Brockhaus, iii. 619; Meyer, Con. Lex., iv. 10. BRUMIDI, CONSTANTINO, born in Rome, June 20, 1805, died in Washington, Feb. 19, 1880. History painter; studied in Rome and became member of the Academy when thirteen years old; painted frescos in several palaces of his native city and under Gregory XVI. for three years in the Vatican. After the occupation of Rome by the French in 1849, he went to America, where he was naturalized in 1852; went to Mexico in 1854; after his return to Washington was made captain of cavalry, and afterwards entrusted with the decoration of the Capitol. His Apotheosis of Washington and scenes from American history and allegories in the Capitol, Washington, were the first frescos painted in America.-Meyer, Conv. Lex., xviii. 158. BRUN. See Lebrun. BRUNE, Mme. AIMME PAGtS, born in Paris, Aug. 24, 1803, died there, Aug. 11, 1866. Genre and history painter; pupil of Charles Meynier. Medals: 2d class, 1831; 1st class, 1841. Works: Sleep, Awakening, Elopement, Undine (1831); Condemnation of Anne Boleyn, The Bravo, The Prophecy (1833); Sad News (1834); Silvio Pellico (1835); Birth in a Fisherman's Family (1837); Moses Saved (1841); Jairus's Daughter (1842); Raphael introduced to Leonardo da Vinci by Bramante (1845); Jephthah's Daughter (1846); The Virgin offering Flowers in the Temple (1853). BRUNI, FEODOR ANTONOVICH, born in Milan in 1801, died in St. Petersburg, Nov. 1875. History painter; studied in 1834 in Rome, became, in 1849, director of the painting department at the St. Petersburg Academy, then rector, and in 1866 also director of the School of Mosaics. Works: Apparition of Virgin (Kasan Church, St. Petersburg), Death of Cleopatra, Brazen Serpent, Christ on Mount of Olives, Bacchante giving a Child to drink.-KtinstChronik, xi. 73. BRUNNER, HANS, born in Munich, March 2, 1813. Genre and portrait painter; pupil of Munich Academy, under Cornelius; visited in 1833 the Bavarian Alps and Tyrol; lived then for some time in Venice. In 1840 he left Munich and lived until 1865 in 214 BRUNNER Salzburg and Southern Tyrol, then went to Stuttgart, and in 1869 returned to Munich. Works: Legend of the Untersberg near Salzburg, Return from the Chase, Gondola Sail (1876), Tasting Wine (1877), Fisher Maiden, Poachers, Meran, Portraits of Austrian Noblemen. —Miller, 83. BRUNNER, JOSEF, born in Vienna, March 14, 1826. Landscape painter; son of the court painter, Leopold B. the elder (1788-1866); pupil of Zaharadniczek, and of Jos. Feid; travelled in Germany, Italy, Switzerland, and Wallachia. Studio in Vienna. Works: Black Tower near Modling, View in Silesia, Fir-Trees in Twilight, View in the Klause near Modling, View near Lundenburg, View on the Traun, Mountain Lake in Carinthia.-Wurzbach, ii. 175. BRUNNER, LEOPOLD, the younger, born in Vienna, Sept. 14, 1822, died there, Dec. 24, 1849. German school; animal painter, brother of preceding, pupil of Vienna Academy. Works: Feeding the Goat (1849), Vienna Museum; others in National Museum, Pesth; Dog Company (1852); Domestic Animals on a Hill (1855).-Wurzbach, ii. 176. BRUNO, ST., HISTORY OF, Eustace Lesueur, Louvre, Paris; canvas, 22 pictures, each, H. 6 ft. 4 in. x 4 ft. 3 in. The principal events in the life of St. Bruno, founder of the Chartreuse, Paris, were painted in 1645-48 for the spaces between the pilasters in the little cloister of that monastery, to replace similar pictures upon canvas painted in 1508, which were almost destroyed by time, and which had been preceded by frescos painted in 1350. The designs (146) are also in the Louvre. In 1776 they were offered to Louis XVI. for 132,000 livres, the convent to receive copies; but the Order was suppressed soon after, and the pictures passed to the crown. After restorations they were placed in the Louvre in 1818. 1. St. Bruno listening to Raymond Diocr6s preaching. Filhol, x. P1. 686; Landon, Mus6e, vii. pi. 70. 2. Death of Raymond Diocres. Filhol, vi. PI. 482; Landon, Musee, vii. P1. 25. 3. Raymond Diocr6s responds after Death. Filhol, vi. P1. 379; Landon, Musee, vii. P1. 27. 4. St. Bruno in Prayer. Filhol, vii. P1. 440; Landon, Mus6e, vii. P1. 30. 5. St. Bruno teaching Theology at Rheims. Filhol, iii. P1. 145. 6. St. Bruno exhorting his Friends to give up the World. Filhol, ix. P1. 705; Landon, Mus6e, xvii. P1. 70. 7. St. Bruno's Dream. Filhol, ix. P1. 693; Landon, Musee, xvii. P1. 68. St. Bruno's Dream, Lesueur, Louvre, Paris. 8. St. Bruno and his Companions giving their Property to the Poor. Filhol, ix. P1. 680; Landon, Musee, viii. P1. 49. 9. St. Bruno arrives at Grenoble. Filhol, viii. P1. 529; Landon, Musee, viii. P1. 54. 10. St. Bruno travelling to the Chartreux. Filhol, viii. P1. 548; Landon, Mus6e, xv. P1 33. 11. St. Bruno building the Monastery. 215 BRUNO Filhol, viii. P1. 562; Landon, Musee, vii. P1. 39. 12. St. Bruno taking the Monastic Habit. Filhol, v. P1. 343; Landon, Musee, viii. P1. 5. 13. Pope Victor III. confirming the Chartreuse. Filhol, ix. P1. 717; Landon, Musee, vii. P1. 63. 14. St. Bruno bestowing the Monastic Habit. Filhol, ix. P1. 710; Landon, Musee, vii. PI. 65. 15. St.Bruno receiving a Letter from Pope Urban II. Filhol, ii. P1. 139; Landon, Musee, vii. P1. 34. 16. St. Bruno before Pope Urban II. Landon, Musee, viii. P1. 37. 17. St. Bruno refusing the Archbishopric of Reggio. Filhol, vi. P1. 421; Landon, Musee, viii. P1. 41. 18. St. Bruno in the Deserts of Calabria. Filhol, ix. P1. 699; Landon, Musee, viii. P1. 26. 19. Meeting of St. Bruno and Count Roger. Filhol, v. P1. 301; Landon, Musee, viii. P1. 28. 20. Apparition of St. Bruno to Count Roger. Filhol, iii. Pi. 205; Landon, Musee, viii. P1. 30. 21. Death of St. Bruno, Oct. 6, 1101. Filhol, iv. P1. 253; Landon, Mus6e, vii. PI. 41. 22. St. Bruno borne to Heaven. Filhol, viii. P1. 574; Landon, Musee, viii. P1. 35. Series engraved, in reverse, by Chauveau; Nos. 15 and 22 by S. le Clerc; No. 22 by F. Poilly.-Villot, Cat. Louvre; Landon, i. 18-39. BRUNO, ST., VISION OF, Guercino, Bologna Gallery; canvas, H. 11 ft. 10 in. x 7 ft. The Virgin and Child in a glory of Angels; below, St. Bruno in Prayer; at right a monk with a crucifix in his hand, reading. One of Guercino's best works. Painted in 1646 for the Church of the Certosa, Bologna; carried to Paris in 1796; returned in 1815. Engraved by G. Rosaspina.-Pinac. di Bologna, P1. 21; Meyer, Kiinst. Lex., iii. 4; Landon, Musee, xii. P1. 6; Burckhardt, 793. BRUSASORCI, the elder, born in Verona, in 1494, died in 1567. Venetian school. Real name Domenico Riccio; pupil of Carotto, according to Ridolfi, or of Niccol6 Giolfino, according to Lanzi. Studied later in Venice the works of Titian and of Giorgione, and learned to imitate their styles, though not without some originality. His mural and panel works are to be seen chiefly in Verona. His excellence as a fresco painter Vision of St. Bruno, Guercino, Bologna Gallery. is shown in the Entry of Clement VII. and Charles V. into Bologna, which he painted in a hall of the Casa Ridolfi, Verona.-Ch. Blanc, Ecole venitienne; Seguier, 216; Burckhardt, 167, 191, 607, 746; Bernasconi, 302. BRUSASORCI, the younger, born in 1540, died in 1605. Venetian school. Real name Felice Riccio, son and pupil of Domenico Riccio; after his father's death, finished studies under Jacopo Ligozzi, Florence, and 216 BRUSH returned to Verona master of a refined and Rest, Peasant Delegation, The Prince on the elegant style. Many of his works are in the Promenade, Pilgrims Returning,Visit at the churches of Verona, among the best of which Studio, Power of Music, The Petitioner.is St. Helena in S. Elena. There is a Holy Illustr. Zeitg. (1877), ii. 327; (1878), i. 67. Family by him in the Louvre, and a Victory BRUTUS, Jean Louis David, Louvre, of the Veronese at Desenzano in the Verona Paris; canvas, H. 10 ft. 8 in. x 13 ft. 10 in.; Gallery. His sister Cecilia, who studied signed, dated Paris, 1789. Brutus, returned under her father, was an excellent portrait home after the punishment of his sons, is painter. -Ch. Blanc, Icole venitienne; Ber- seated at left in the shadow of the statue of nasconi, 349. Roma, holding in his hands the written evi Brutus, Louis David, Louvre, Paris. BRUSH, GEORGE DE FOREST, born dence of their guilt; at right, his wife and in Shelbyville, Tenn., in 1855. Figure daughters are overcome with grief at the painter, pupil of the National Academy; sight of the lictors in the background bearmember of Society of American Artists; ing the bodies of the young men. Painted professor of antique class, Art Student's for Louis XVI. Salon, 1789.- Landon, League. Studio in New York. Works: Musee, x. P1. 37; Villot, Cat. Louvre. Mourning her Brave, T. B. Clarke, New By G. G. Lethidre, Louvre; canvas, H. 14 York; Portrait of A. C. Brush (1882). ft. 4 in. x 25 ft. Brutus, with Collatinus, his BRUTT, FERDINAND, born in Ham- colleague, on his right, sits on a platformoverburg, July 13, 1849. Genre painter, pupil looking the place of execution, with the senat Weimar art school of Pauwels; settled in ators behind him; in the centre, two lictors 1876 in Dusseldorf. Works: Disturbed raise the body of one of the sons, already 217 BRUYCKE1i executed, while the other prepares to meet his fate; in background, architecture. Collection of Louis XIIL; Salon, 1812; acquired in 1819 for 15,000 fr. —Rveil, x. 659. BRUYCKER, FRANCOIS ANTOINE DE, born in Ghent, Belgium, in 1816. Genre painter; pupil of Ghent Academy, and in Antwerp of Ferd. de Braekeleer. Gold medal in 1860; member of Amsterdam Academy. Works: Suspicion (1842), Wooing, Dost Remember? Hot Shells, Spring Day, Old Gardener (1857), The Widow (1860), Reminiscence of Olden Times, Funny Idea, Motherly Caresses, Child and Kitten (Leipsic Museum), Envy and Distrust.-Art Journal (1866), 75; Miiller, 84. BRUYN (Brun), BARTHEL, born in Cologne in 1494, died there between 1556 and 1557. German school; history and portrait painter; formed himself after Jan Schoreel, the painter of the Death of the Virgin, and in his portraits resembled Holbein. Later he became a weak imitator of the Italian masters, especially of Michelangelo. Works: Martyrdom of St. Ursula, Adoration of the Magi, Burgomaster Browiller, do. and Wife, Two Male Portraits, Old Lady of the Questenberg Family, Cologne Museum; Corpus Christi, Cologne Cathedral; St. Catherine and 18 others, Munich Gallery; Madonna, Burgomaster Ryth, Berlin Museum; Portraits in Stadel Gallery, Frankfort, in Gotha, Brunswick, and Brussels Galleries; Altarpiece in St. Victor's Church, Xanten (masterpiece).-Allgem. d. Biog., iii. 456; Merlo, Nachrichten, 69; W. & W., ii. 497. BRYES, Greek painter, of Sicyon, father and master of Pausias, 4th century, B.C. BUCHSER, FRANZ, born at Feldbrunnen, near Solothurn, Switzerland, about 1829(?). Genre and portrait painter; studied in Rome, Paris, and Antwerp; went to Spain at the age of twenty-two, and thence to England, where for three years he painted genre pictures, but more especially horsesr and portraits; in 1857 he returned to Spain, visited Morocco soon after, and again, during the Spanish campaign of 1860, in the suite of Gen. O'Donnell. Having re turned to Switzerland he went in 1866 to America, where he spent five years. Works: Three Friends; Return from Market, Jews of Mekiness (1862); Mowers (1867); Mary Blanc (1869); Negro Picture (1870); Resignation (1867), Negro Soldiers in Streets of Washington, Rapids of St. Mary on Lake Superior, Basle Museum; Caught by the Tide (1879); Singer of Sudan (1881). Portraits of Generals Lee and Sherman, Secretary Sherman, etc.-Illustr. Zeitg. (1873), ii. 140; Kunst-Chronik, xiv. 605; xvi. 657. BUCKWHEAT HARVEST (La R6colte du Sarrasin), Jean Francois Millet, Martin Brimmer, Boston. In foreground, a woman binding sheaves, which another is packing in a pannier; behind them, several women carrying panniers to background, where men are threshing. This picture is the original pastel, made in 1868, which passed from the Garet Collection, Paris, to Mr. Brimmer. The oil picture, painted from it in 1874 and one of the last pictures on which Millet worked, was sold at the Frederic Hartmann sale, Paris (1881), for 47,000 francs. Etched by Charles Courtry.-Gaz. des. B. Arts (1875), XI. 438. BUECKLAER (Beukelaar), JOACHIM, born in Antwerp in 1530, died after 1575. Flemish school; genre painter, pupil of Pieter Aertszen. Registered in the Antwerp guild in 1560. His subjects are chiefly market and kitchen scenes, also biblical events admitting of combination with genre. Works: Purveyor, Lille Museum; Christ before Pilate (1561), Fish-Market (1568), Old Pinakothek, Munich; Christ healing the Lame (1575), Hermitage, St. Petersburg. -Biog. nat. de Belgique, ii. 382; Michiels, vi. 304; Rooses (Reber), 73. BUFFALMACCO, BUONAMICO, 14th century, died after 1351. Florentine school; real name Cristofani Buonamico. According to Vasari, he died in 1340 at the age of seventy-eight, but his name appears in the list of the Florentine Company of Painters of 1351, and Baldinucci says that he lived later 218 BUGIARDINI than 1358. Rumohr doubts, and Kugler denies, his existence. Vasari says he was the pupil of Andrea Tafi and represents him as a practical joker, who lived a merry life and died a beggar; but that he was an excellent painter and able to outdo all others when he could be persuaded to work. He assigns many works to him, but it is doubtful if any examples remain.-C. & C., Italy, i. 387; Vasari, ed. Mil., i. 499; Rumohr, Italienische Forschungen, 14. BUGIARDINI, GIULIANO, born in Florence, Jan. 29, 1475, died there, Feb. 16, 1554. Florentine school; studied the antique in the garden of the Medici, where he became the friend of Michelangelo and followed him into the workshop of Ghirlandajo. Afterward was scholar of and assistant to Mariotto Albertinelli with Francia Bigio in Florence, and later was employed by Michelangelo on the ceiling of the Sistine Chapel. His usual theme is the Madonna, sometimes with the youthful St. John, and sometimes with Saints. Among his works, which are usually signed Jul. Flor. (Florentinus), are: Birth of Christ, sacristy of Sta. Croce; Weeping Madonna, Uffizi, Florence; Martyrdom of St. Catherine, S. M. Novella, ib.; Madonna and Baptist, Leipsic Museum; Nativity, Berlin Museum; Marriage of St. IVLo FLo FCAC * Catherine, Bologna Gallery.-C. & C., Italy, iii. 494; Vasari, ed. MiL, vi. 201; Ch. Blanc, Icole florentine; Burckhardt, 638; Lttbke, Gesch. ital. Mal., i. 176. BUHLMEYER, KONRAD, born in Vienna, Aug. 18, 1835, died there in Nov., 1883. Landscape and animal painter, pupil of Vienna Academy; studied then several years in DtUsseldorf, and later in Zulrich under Koller. Works: Wood-Path; View near Lundenburg; View in Salzburg; View in the Ramsau; On Gmunden Lake; Driving the Cattle to the Alp, Vienna Museum; Animals Resting; Driving Sheep Home; The Ploughman; Cows on the Water; Pasture (1883).-Mtller, 85. BULAND, JEAN EUGtINE, born in Paris; contemporary. Genre painter; pupil of Cabanel and Yvon. Medal, 3d class, 1885. Works: Offering to God, Lycenion and Daphnis (1880); Annunciation, After Two Years' Absence (1881); Jesus with Martha and Mary, Singing Lesson (1882); Penniless (1883); Marriage innocent, Visit on the Day after Marriage (1884); Restitution to the Virgin the Day after Marriage, Decorative Panel (1885). BULARCHUS, painter, early period. Pliny says (vii. 39 [126], xxxv. 34 [55]) that King Candaules of Lydia paid its weight in gold for a large picture by him representing his battle with the Magnetes. BULGARINI, BARTOLOMMEO, died in Siena in 1378. Sienese school; called also Bolgharini, and by Vasari Bologhini. Pupil of Pietro Lorenzetti; member of the supreme council in 1362, and finally laybrother in the hospital at Siena. Vasari says he painted many pictures in Siena, and in other parts of Italy, but none exist. Vasari's portrait of Pietro was copied from Bulgarini's.-C. & C., Italy, ii. 172; Meyer, Ktinst. Lex., iii. 60; Vasari, ed. Mil., i 477. BUNCE, WILLIAM GEDNEY, born in Hartford, Conn., in 1842. Landscape painter; pupil of William Hart in New York, Andreas Achenbach in Dtisseldorf, and Clays in Brussels. Lived twelve years in Europe. Studio in New York. Works: Venice-Night (1876); Venice-Morning, La Luna Veneziana (1878); Approach to Venice, Paris Exposition; Twilight in Holland, T. B. Clarke, New York; Watch Hill-Rhode Island (1880); Venetian Boats (1881); Satucket HillsideNew England, Among the Sails-Venice, Bit of Harbour-Venice (1882); Sun, Sails and Sea-Venice, Day in May-Venice (1883); On the Lagoon, San Giorgio (1884); Venetian Day, Venetian Night (1885). BUNEL, JACQUES, born at Blois, 1558, died in 1614. French school, pupil in Rome of Federigo Zucchero; was court painter to Henry IV.; with Dubreuil decorated the small Louvre Gallery, which was burnt in 219 BUNKER 1661. Works: Descent of Holy Ghost, Assumption, Bordeaux Museum.-Ch. Blanc,:cole fran9aise. BUNKER HILL, BATTLE OF, John Trumbull, Yale College Gallery, New Haven, Conn.; Fought on Breed's Hill, near Boston, June 17, 1775. The British troops have just become masters of the field, the Americans sullenly falling back; in centre, General Warren, dying, supported by a soldier on his knees who wards off with one hand the bayonet of a British grenadier; Colonel Small, of the British army, is also seizing the soldier's musket; behind him is Colonel Pitcairn, mortally wounded; Generals Howe and Clinton are behind the principal group, and General Putnam is ordering a retreat. BUNNER, ANDREW FISHER, born in New York, in 1841. Landscape painter; studied five years in Germany, France, and Italy. First exhibited at National Academy, New York, in 1867. Elected an A. N. A., in 1880. Went to Venice in 1882 and is still (1885) living there. Works: Fishing Boats on the Maas (1880); San Giorgio Maggiore -Venice (1881); off the Campo Santo, Canal dei Mati, I1 Campiello (1882); San Giorgio della Salute, La Guidecca, Rio della Verona (1883); San Andrea, Venetian Garden (1884); Canale San Severo, San Marsilian, Casa dei Pescatori, Rio del Aqua (1885). BUONACCORSI. See Vaga. BUONAMICI. See Tasi. BUONAMICO. See Buffalmacco. BUONARROTI See Michelangelo. BUONCONSIGLIO, GIOVANNI, of Vicenza, flourished 1497-1530. Commonly called I1 Marescalco. Probably assistant to Speranza, where he felt the influence of the Paduan school; subsequently took Antonello da Messina for his model. Painted alternately in Vicenza, in Venice, and in the neighbouring provinces. Style much like that of Benedetto Montagna, but while he improved by study of Carpaccio, Buonconsiglio formed his style under the influence of Antonello and Gio. Bellini. Among his best works are the Virgin and Child in San Rocco, Vicenza, painted in 1502; Christ be. tween two Saints, in the Gesuiti, Venice; and the Virgin, Child, and Saints, three pictures, 1511-1513, much restored, in the Duomo of Montagnana (near Vicenza); Lamentation over dead body of Christ, Gallery, Vicenza; Altarpieces at S. Giacomo dell Orto, and S. Spirito, Venice; Madonna with Saints (1497), Venice Academy.-C. & C., N. Italy, i. 436; Burckhardt, 604. BUONFIGLIO. See Bonfigli. BUONINSEGNA. See Duccio di Buoninsegna. BURCHETT, RICHARD, born at Brighton, England, in 1817, died in Dublin, in 1875. History painter, pupil of School of Design at Somerset House, London, of which he was assistant master in 1845, and head master in 1851. He was the master of Elizabeth Thompson Butler, of Luke Fildes, and of W. W. Ouless. Works: Edward IV. withheld by Ecclesiastics from pursuing Lancastrians into a Church, Expulsion of Peasants from New Forest by William the Conqueror, portraits of Tudors in Houses of Parliament. BURCK, HEINRICH, born in Dresden, Nov. 27, 1850. History and genre painter; pupil of Dresden Academy under Theod. Grosse, in Antwerp under Pauwels, and in Berlin under Karl Gussow; was in Italy in 1875-78. Works: Helgi and Sigur (1873); In the Abruzzi, In the Woods (1877); Perseus and Andromeda (1880).-Mtiller, 85. BURCKMAIR (Burgkmair), HANS, the elder, born ~f, j 3 in Augsburg in 1473, died there, 1531. German S i ) school; history /^^t r and portrait painter; son and pupil of Thoman B., and pupil of -.~\ \\ Schongauer, though influenced in some respects by Dtarer. Master of the Augsburg guild in 1498. Probably 220 BURCKMAIR visited Italy about 1507. He aimed at strong characterization rather than ideal form, and ranked among the best masters of his time. Works: Basilica Pictures (1501, 1502, 1504), Christ and Mary (1507), Crucifixion (1519), Battle at Cannse (1529), all in Augsburg Gallery; Ursula Altar (before 1505), Dresden Gallery; Saints (1505), Madonna (1510), both in Maurice Chapel, Nuremberg; Madonna (1509), Museum, ib.; Pieta, Carlsruhe Gallery; Holy Family (1511), St. Ulric, St. Barbara, Berlin Museum; John Evangelist (after 1520), do., and St. John Baptist (1518), Duke William IV. of Bavaria (1526), and Wife, Esther before Ahasuerus (1528), Old Pinakothek, Munich; Portrait of himself and Wife (1526), Vienna Museum. -Allgem. d. Biog., iii. 576; Ch. Blanc, Icole allemande; Dohme, li.; la.BvRcKMAA~R P INGBtAT. IN' AVGV STA' R EGIA *1i ' Nagler, Mon., iii. 237; Kugler (Crowe), i. 195; Liibke, Geschichte der Renaissance in Deutschland, i. 55; Woltmann (Bennett), Holbein and his Time, 87; W. & W., ii. 446; iii. 237. BURCKMAIR, HANS, the younger, flourished in Augsburg until 1559. German school; son and pupil of Hans the elder. Many of the pictures and wood-cuts ascribed to his father, bearing a later date than 1531, may be works of his hand.-W. & W., ii. 450. BURCKMAIR (Burgkmair), THOMAN, born about the middle of 15th century, died in Augsburg, 1523. German school. The founder of a family of painters that flourished through several generations. According to his own statement in the Augsburg record of painters, he became an apprentice in 1460. Figures short, flesh tones of a heavy brown, and outlines hard. Works: Christ conversing with St. Ulric, Virgin with St. Elizabeth (1480), Cathedral, Augsburg; Martyrdom of St. Stephen, St. Lawrence, and Scenes from the Passion, Augsburg Gallery.-Kugler (Crowe), i. 144; Schnaase, viii. 455; W. & W., ii. 116. BURG, ADRIAAN VAN DER, born at Dordrecht about 1697, died in 1737. Dutch school; portrait painter; pupil of Arnold Houbraken, whom he accompanied to Amsterdam. Works: Portraits of the seventeen directors of the mint, Dordrecht. BURGER, ANTON, born in Frankfort in 1825. Landscape and genre painter; pupil at the Stadel Institute under Jakob Becker and Jakob Dielmann; then for two years in Munich, and in 1856 in Diisseldorf; visited Paris, the Netherlands, and Italy. Since 1857 settled at Cronberg in the Taunus. Great gold medal, Munich, 1869. Works: Old City, Village Street, Farmhouse, Beer Garden, Bowling Alley, Village Kitchen, Two Winter-Hunts (1879).-Miiller, 85; Zeitschr. f. b. K., xi. 113. BURGER, LUDWIG, born in Cracow, Galicia, Sept. 19, 1825, died in Berlin, Oct. 22, 1884. History painter and illustrator; pupil of Berlin Academy, in 1852 of Antwerp Academy, and in Paris under Couture. As illustrator for the Leipsic Illustrirte Zeitung he visited Hungary in 1857, and joined the campaigns in Schleswig in 1864, and in Bohemia in 1866. From 1869 he turned to decorative painting, became member of the Berlin Academy, and visited Italy in 1872-73. Medal in Vienna, 1873; Munich, 1876. Works: Wall and Ceiling Paintings (1870), City Hall, Berlin; Colossal Figures representing Military Virtues (1878), School of Cadets, Lichterfelde, near Berlin.-Illust. Zeitg., 1876, ii. 145; Mi1ller, 86. BURGESS, JOHN BAGNOLD, born in London in 1830. Genre painter; son of H. W. Burgess, landscape painter to King William IV.; pupil in London of Mr. Leigh, and of the Royal Academy. Draws his subjects largely from Spain and Morocco, which he has visited. Elected an A.R.A. in 1877. Works: Castilian Almsgiving (1859); 21 BURGKMAIR Benighted (1860); Bravo! Toro! (1865); Spanish Monk (1867); Students of Salamanca (1869); Gitano Rico (1872); Lt/ t j,,Barber's Prodigy (1875); Licensing Beggars in Spain (1877); Student in Q8,' Disgrace (1878;) i Convent Garden /7 ) te (1879); Genius of / the Family (1881); i/ i "Spanish LetterWriter (1882); The Meal at the Fountain (1883); Una Limosnita (1885).-Art Journal (1880), 297; (1882), 136, 207. BURGKMAIR. See Burckmair. BURGOYNE, SURRENDER OF, John Trumbull, rotunda of Capitol, Washington; canvas, H. 12 ft. x 18 ft. General Gates, standing, surrounded by his officers, near the entrance to his marquee, declines to receive the sword of General Burgoyne, who surrendered to him at Saratoga, Oct. 17, 1777; in distance, troops marching. Painted in 1817-24 for $8,000. Original study in Yale College Gallery. BURKEL, HEINRICH, born at Pirmasenz, Rhenish Palatinate, May 29, 1802, died in Munich, June 10, 1869. Genre and landscape painter; pupil of Munich Academy, but mostly formed himself, studying and copying the Dutch masters in the Munich and Schleissheim Galleries. In 1829 he went to Rome, and after his return in 1832 became popular for his humorous genre scenes. Was honorary member of the Munich,Dresden,and Vienna Academies. Works: Peasant with upset Hay Wagon, Return from Bear-Hunt, Pontine Swamps, The Campagna, Morning in Tyrol, Entry of the Best Shot, Muleteer's Rest.- Kunst-Chronik, iv. 162; Zeitschr. f. b. K., v. 161. BURNE - JONES, EDWARD, born in Birmingham, England, Aug. 28, 1833. Student at Exeter College, Oxford,with William Morris and Swinburne, the latter of whom dedicated to him his first volume of poems; went to London in 1856 and became a pupil of D. G. Rossetti, whose manner he imitated for several years, but he soon formed a l;,BL style of his own, inclining moretoideal3^'^ ism and abstract beauty than to reali i ism, and he is now X ( " one of the chief exponents in England, of the romantic school. In 1857-58 he was associated with Rossetti, Morris, Prinsep, and others, in painting the Arthurean frescos on the walls of the Oxford Union Debating Room. In 1861 he was one of the originators of the now well-known house of Morris & Co., and he has made many designs for stained glass windows and other decorative work. His studio is at the Grange, Hammersmith Road, in the house of Richardson the novelist. Elected an AR.A. in 1885. Works: Green Summer (1863); Story of Dorothea (1866); Day, Night, Spring, Summer, Autumn, Winter (1867-68); Wine of Circe (1869); Phyllis and Demophoon (1870); Chant d'Amour, Love among the Ruins, (1873); Beguiling of Alerlin, Days of Creation, Mirror of Venus (1877); Temperantia, Fides, St. George, Spes, A Sibyl (1877); Luna, Pan and Psyche (1878); Story of Pygmalion (4), Annunciation (1879); The Golden Stairs (1880); Danie at the Brazen Tower, Tree of Forgiveness, Earth, Perseus and the Graise, Feast of Peleus, The Mill, Cupid's Hunting Fields (1882); An Angel, Wheel of Fortune, The Hours (1883); King Cophetua and the Beggar Maid, Wood Nymph (1884); Laus Veneris. —Univ. Mag. (1879), iv. 40; Portfolio (1870), 17; Scribner's Mag. (1872), iv. 748. BURNIER, RICHARD,born at The Hague in 1826, died at Diisseldorf, March 17, 1884. Landscape and animal painter; studied from nature and after the Dutch masters, then from 1850 in Diisseldorf under A. Achenbach and Schirmer, and from 1855 in Paris I 222 BURNITZ after Troyon and the French idyl-painters. history painter; pupil of George Clint. He then continued his studies in Belgium Painted theatrical scenes, and executed many in 1858-61, and in Holland in 1863-67, and illustrations for books. His genre pictures, settled in Dusseldorf. Member of the Am- many of which were engraved, were chiefly sterdam Academy. Works: After the Storm humorous. Works: Christmas in Time of (1857), Liege Museum; Afternoon on the Queen Elizabeth; Wooden Walls of Old EngHeath (1859), Interrupted Milking (1871), land; Bitter Morning; Stingy Traveller; Cows on the Strand (1872), Passing Storm Musical Bore; Master's Out; Old Commo(1873), Afternoon in the Meadow (1874), dore; Watt's first Experiment with Steam; Autumn Morning, Evening (1874), The two Introduction of Tobacco; Soliciting a Vote; Friends (1875), Wood Path (1876), Kunst- Biter Bit; Time and Tide wait for no Man. halle, Hamburg; Wild Bull, Brussels Muse- BUSSE, GEORG HEINRICH, born at um.-M(lller, 87. Bennemlhlen, near Hanover, July 17, 1810, BURNITZ, KARL PETER,born in Frank- died at Hanover, Feb. 26, 1868. Landscape fort in 1824. Landscape painter, self-taught; painter; first instructed in drawing by Giesewas a lawyer; went in 1850 to Paris, where well in Hanover, studied engraving in Dreshe painted for ten years; since 1860 in Frank- den, and spent nine years in Italy (1835 -fort. Works: Wood Landscape (1860), Stadel 1844). After his return in 1844 he began Gallery, Frankfort; Starnberg Lake (1871); to paint in oil, and from 1849 exhibited Three Landscapes (1879).-Miuller, 87. almost every year at Hanover with distinBUSCH, FRIEDRICH, born in Dussel- guished success. Works: Grove of Diana dorf in 1808, died there, Jan. 6,1875. Genre (1849); Ruins of Imperial Palace in Rome painter; pupil of the Dusseldorf Academy. (1850); Monte Aventino (1852); Wood in Works: Spinning Maiden, Huntsman and Albanese Mountains (1853); Ruins at Albano his Sweetheart, Girl at the Well.-Kunst- (1855); Lago d'Agnano (1857); Ruins of Chronik, x. 236. Lambessa (1861); Hermit's Rock and Ear BUSH, NORTON, born at Rochester, N. of Dionysius near Syracuse (1862); Monks Y., in 1834. Landscape painter; pupil of disputing (1862); Lago Trasimene (1863); James Harris in Rochester, and of Cropsey Constantine (1865); Cefalti (1866); View in New York. Lives in San Francisco. In near Athens (1867).-Allgem. d. Biogr., iii. 1853, 1868, and 1875, sketched in South and 650; Andresen, iii. 230. Central America. Works: Lake Nicaragua; BUSSON, CHARLES, born at Montoire Bay of Panama; Summit of the Sierras, (Loir - e t - C h e r), River San Juan-Nicaragua,Crocker Gallery, July 1 5, 1 8 2 2. Sacramento; Mt. Chimborazo; Volcano of Landscapepainter; Elmisti-Peru; Mt. Meiggs-Andes of Peru; pupil of R6mond Western Slope of Cordilleras; Cordilleras of and Fr a n g a i s. Ecuador. Medals: 3d class, BUSI, LUIGI, born at Bologna in 1838, 1855-57-59-63-67; died there, June 2, 1884. Genre painter, pu- 1st class, 1878; L. pil of b3ologna Academy, studied afterwards of Honour, 1866. / in Rome, and visited Germany and France. Works: View near Professor in Bologna Academy from 1871. Sassenage (1846); A/ Order of Italian Crown. Works: Tasso and The Loire, View in Auvergne (1852); Woods Cardinal Aldobrandini; Visit of Condolence; in Touraine, Hay (1853); Environs of MonIllegal Marriage; Visit to Young Mother. toire (1855); Ford near Montoire (1857), BUSS, ROBERT WILLIAM, born in Lon- Tours Museum; The Heath, Before the don in 1804, died there in 1875. Genre and Storm (1859); Evening on the Loire, SunW28 I I I I I BUTIN set, Storm on the Heaths (1863); Sunrise at Sea, Evening (1864); Autumn Day, Hunting in the Marshes (1865), Compiegne; GameKeeper Returning (1866), Luxembourg; Underbrush (1867); Sunset (1868); Ruins of Castle of Lavardin (1869); Road near Red Sea (1870); Morning in Venice, Evening in Venice (1872); Park of Sainte-Claire (1873); Ancient Ditch of Castle of Lavardin (1874); After the Rain (1875); Before the Storm (1876); Village of Lavardin (1877); Old Weir near Montoire (1879); Old Bridge of Lavardin (1880); Woods of Saint-Martin near Montoire, A Stream (1881); Fisherman's Hut at Prazay, Ruins of Lavardin Ch. (1882); Before the Rain (1883).-Larousse. BUTIN, ULYSSE (LOUIS AUGUSTE), born at St. Quentin, Aisne, in 1838, died in Paris, Dec. 9, EP' ~1883. French school; Genre painter; pupil of Picot and of Pils. Medals: 3d class, 1875; 2d class, 1878; L. of Honour, 1881. Works: Mussel-Beds at Villerville (1874); Saturday at Villerville (1875); Women at the Capstan (1876); Departure (1877); Burial of a Sailor at Villerville (1878), Luxembourg Museum; The Mariner's Wife (1879); Votive Offering (1880) Le Depart (1881, Amsterdam Exposition, 1883); Launching the Boat (1883).-Montrosier, Artistes modernes. BUTLER, ELIZABETH SOUTHERDEN THOMPSON, born at Lausanne, Switzerland, about 1844. Her early life was divided between Italy and England; pupil of S. Kensington Art School, and of Mr. Standish; studied when twenty-two years old in Florence, under Bellucci, afterward painted in Rome. Returned to England in 1870; ex hibited in 1873 at Royal Academy a picture entitled Missing; the next year her Roll Call won for her a popu-,^^^ ~larity almost without IC% precedent in English art history. It was - ^ <! purchased by the. A: Queen, and is now at ~;'.,.iJ.~ Windsor. In 1875 she,; 'V -','- \ exhibited The 28th ' ~ \ k-"i Regiment at Quatre Bras, in 1876 Balaklava, and in 1877 Return from Inkerman. In 1877 Miss Thompson married Major Win. Francis Butler, C.B., aid-de-camp to the Queen. Later works: 'Listed for the Connaught Rangers, Remnants of an Army (1879); Scotland for Ever, Defence of Rorke's Drift (1881); Floreat Etona, Charge of the Scots Greys at Waterloo (1882).-Meynell, 68. BUTTI, LORENZO, born in Austria; contemporary. Marine painter of considerable merit, made court painter in 1847. Works: Stormy Sea near Malamocco (1846), Marine with Sirocco Effect, Vienna Museum; Agitated Sea with Vessels, Sunset at Sea, Venetians trying to set on Fire an Imperial Frigate (1851).-Wurzbach, ii. 219. BUTTINONE, BERNARDINO, of Trevig. lio, born probably before 1436, living in 1507. Lombard school. Proper name, Bernardino Jacobi; disciple of Vincenzo Foppa the elder, and partner of Zenale, whose work so resembles his that it is hard to distinguish between them. Buttinone ranked first in the partnership, and so was probably the elder. Their best common example is an altarpiece in San Martino, Treviglio, ordered in 1485. Pictures by Buttinone are a Madonna and Saints, in the sacristy of S. Ambrogio, Milan, do. in the Palazzo Borromeo, at Isola Bella, and a Virgin and Child (1454), in the Casa Castelbarco, Milan, very early work.-C. & C., N. Italy, ii. 33, 67; Calvi, Notizie, P. ii. 103-114; Ch. Blanc, ecole milanaise; Lubke, Gesch. ital. Mal., i 491, 224 BYLERT BYLERT, JAN VAN, born at Utrecht, died there after 1669. Dutch school; genre painter, pupil of Abraham Bloemaert; went via France to Rome, where he worked for a number of years; returned to Utrecht about 1630 and became master of the guild; in 1632 and repeatedly afterward mentioned as its dean. His pictures are rare. Works: Family Pictures (3), Utrecht Museum; Laban and Rachel, Young Women with Ring, Rotterdam Museum; Young Woman, Cassel Gallery; Pancake Eater,Girl counting Money (1626), Girl with Zither, Brunswick Gallery; Family Scene, Liechtenstein Gallery, Vienna; St. Sebastian, Harrach Gallery, ib.-Bode, Studien, 170; Kramm, i. 198; Riegel, Beitrage, ii. 183. BYSS, JOHANN RUDOLF, born at Solothurn, Switzerland, in 1660, died in Wiirzburg in 1738. German school; history, landscape, and animal painter; went to Italy about 1700, and was called to Vienna in 1704, by Leopold I., to paint the ceiling of the great audience room. Lothar Franz von Schonborn, Elector of Mayence, and Prince Bishop of Bamberg, employed him about 1712 to paint at Castle Gaibach, and after the building of Castle Pommersfelden, made him supervisor of its picture gallery. After his patron's death he lived at Wurzburg. Works: Allegory, Paradise (2) with many Birds and Animals, Pommersfelden Gallery. Others in Bamberg, Wirzburg, Schleissheim, and Vienna.-Allgem. d. Biog., iii. 679. Works: Agony of Christ (1844); Death ot Moses (1852), Corcoran Gallery, Washington; Chapel-Master's Window (1859); Expulsion from Paradise (1863), Maximili- aneum, Munich; Giacomina (1872); \. John the Baptist (1874); Apotheo- 1 J sis of St. Louis (1855), Death of Francesca da Ri- mini and Paolo Malatesta (1870), Rape of the Nymph, Birth of Venus (1863), Thamar (1875), Luxembourg; Portia in Merchant of Venice (1881); Venetian Lady of 6th century (1882); portraits of Rouher (1861), Napoleon III. (1864), Mr. Mackay (1879), and others Works in United States: Lucretia and Tarquinius Sextus (1877), Ruth and Boaz, Samuel Hawk Collection, New York; Shulamite (1876), Portrait of a Lady, Miss C. L.Wolfe, New York; Florentine Poet, Desdemona, J. H. Warren, Hoosac Falls, N. Y.; Florentine Poet, St. Aglaia and St. Boniface, Israel Corse, New York; Angel of the Ave Maria, D. T. Buzby, Baltimore; Ginevra Amieri, Hurlbut Collection, Cleveland; Pandora (1873), Portrait of Mlle. Nilsson, W. T. Walters, Baltimore; Eve after the Fall, H. L. Dousman, St. Louis; Eve after the Expulsion, S. A. Coale, St. Louis; Penelope, Mrs. C. Crocker, San Francisco; Italian Maiden, Mrs. W. P. Wilstach, Philadelphia; Evening Star, W. P. Bement, Philadelphia; Phcedra, Mr. Leiter, Chicago; Phaedra (1880), J. T. Martin, Brooklyn; Magdalen at the Tomb, C. P. Huntington, New York; Echo, C. S. Smith, New York; Samson and Delilah, Wm. Astor, New York; Pia de Tolomei, CABANEL, ALEXANDRE, born at Montpellier, Sept. 28, 1823. History, genre and portrait painter; pupil of Picot; won the grand prix de Rome in 1845; medal, 2d class, 1852; 1st class, 1855; of honour, 1865, 1867, 1878; L. of Honour, 1855; Officer, 1864; Commander, 1884; A EX C A NEL 187 Member of Institute, 1863. Professor in ILL 1 the 1Rcole des Beaux Arts. He painted pre- W. H.Vanderbilt, New York; Birth of Venus, vious to 1861 in the classical style of David, H. C. Gibson, Philadelphia; do., J. Wolfe, of which no trace is visible in his later work. New York; Marguerite, J. T. Raynor, New 225 CABANEL York; Ophelia (1883), Calvin S. Brice, New York.-Larousse; Claretie, Peintres (1874), 170; Du Camp, Les B.-Arts, 32; Bruno Meyer, Stud. u. Krit., 75; Meyer, Gesch., 598. CABANEL, PIERRE, born at Montpellier; contemporary. History and portrait painter; son and pupil of Alexander Cabanel. Medal, 3d class, 1873. Works: Flight of Nero (1873); Death of Abel (1874); Nymph surprised by Satyr (1875); Shipwreck on Coast of Brittany (1877); Mowers (1878); Italians in Paris (1879); Prodigal Son (1880); Young Neapolitan Girl (1881); Bettina (1882); Chiffonniers (1884). CABAT, LOUIS, born in Paris, Dec. 24, 1812. Landscape painter, pupil of Camille Flers; first exhibited in 1833. Medals: 2d class, 1834; 3d class, 1867; L. of Honour, 1843; Officer, 1855; Member of Institute, 1867; Director French Academy at Rome, 1879. Works: View of the Bouzanne, Mill of Dompierre, Tavern of Montsouris (1833); Garden of Beaujon, Pond at Ville d'Avray, Woods of Fontenay-aux-Roses, Village of Sarasin, Farmhouse in Calvados (1834); Wolf's Gorge, Tavern on the Bouzanne, Festival of Virgin on the Water, Bird Catcher (1835); Plain of Arques (1836); Forest of Fontainebleau (1837); Road in Valley of Narni, View of Lake Nemi, Good Samaritan, Young Tobias (1840); Lake Bolsena, Pond of Pecquigny (1848); Autumn Evening (1852); The Arques, Hunting Boars, Sunset (1853); Ravine of Villeroy (1855); The Seine, Ile de Croissy (1856); Pond in the Woods (1859); Lake Nemi, Spring in the Woods (1864); Solitude (1865); Huntresses, Woods of Chanteloube (1867); After the Shower (1869); Stormy Weather (1872); Pond, Sunset (1873); Morning after Shower, Morning in Park of Magnet (1877).-Larousse; Claretie, Peintres (1874), 294; Meyer, Gesch., 743. CADORE, BATTLE OF, aitian, formerly in Hall of Great Council, Palazzo Ducale, Venice; canvas. Battle at a bridge span ning a stream; in sight of the Castle of Cadore, where the troops of the Emperor Maximilian were defeated by the Venetians. Painted in 1537; burned in the fire of 1577, and known only through a contemporary print by Fontana, a sketch on canvas attributed to Titian, in the Uffizi, and a drawing of the principal group by Rubens. -Vasari, ed. Mil., vii. 439; C. & C., Titian, ii. 5; Gilbert, Cadore, 154. CiESAR, DEATH OF, Vincenzo Camuccini, Palazzo Reale, Naples; canvas. Attacked by the conspirators in the Senate House, Caesar, stretching his left hand toward Brutus, is falling at the base of Pompey's statue; at right, affrighted senators starting from their seats.-Reveil, xiv. 942. By J. D. Court, Louvre, Paris; canvas, H. 14 ft. x 17 ft. Mark Antony haranguing the populace over the dead body of Caesar; in foreground Brutus and Cassius. Salon, 1827. Formerly in Luxembourg. - Cat. Louvre. By Jean Leon Gerome, J. J. Astor, New York; canvas, H. 3 ft. x 5 ft. The dead body of Caesar lying at the foot of Pompey's statue in the Senate Chamber, the seats of which have just been vacated by the flying Senators, one only remaining in his place as if in silent protest; in the background, the conspirators brandishing their daggers as they repeat the oath which binds them. Painted in 1867, bought by John Taylor Johnston; at his sale (1876), $8000. Lifesize study of dead Caesar (H. 7 ft. 2 in. x 10 ft. 5 in.), in Corcoran Gallery, Washington. Engraved by J. C. Armytage in Art Journal (1874), 68; Art Treasures of America, ii. 3. By Karl von Piloty, Munich Gallery. Brutus kneels and presents the petition, while the other conspirators crowd around Caesar, who is seated in the Senate Chamber at the base of Pompey's statue; one, standing behind, is about to strike with his dagger. Engraved by Alex. Becker. Small study in colour, D. H. McAlpine, New York. 226 CIESAR CAESAR, TRIUMPH OF, Mantegna, Hampton Court; tempera on twilled linen; 9 pictures, each 9 ft. sq.; not properly cartoons, but intended to be stretched on frames and affixed to the wall as a frieze, in a continuous procession 81 ft. long, as now arranged. Represent a grand triumphal procession of Roman soldiers, captives, and spoils; lastly Caesar in a splendid car, with a sceptre in his right hand and a palm branch in his left. Painted in 1485-92 for Francesco Gonzaga, Marquis of Mantua, to decorate the palace of St. Sebastian. Bought 352, 355; Passavant, Kunstreise durch Eng, land (London, 1883), 189. CAESARS, TWELVE, Titian, originals lost(?). Twelve canvases, eleven by Titian and one by Giulio Romano, painted in 1537 -38 for Federico Gonzaga, Duke of Mantua. In Sala di Troja in Castle of Mantua till 1628, when sold by Vincenzo Gonzaga to Daniel Nys, who shipped them to England; in collection of Charles I. till 1636, when presented to the Spanish ambassador in London; further history lost. Bernardino Campi made five copies in 1562, one of Death of Caesar, Camuccini, Palazzo Reale, Naples. in 1628 by Charles I., together with statues and other pictures, for ~10,500, and placed in Hampton Court. Valued at ~1000 in 1651, but reserved by Cromwell and not sold, as often stated. They are now greatly dilapidated. Tapestries were wrought from these designs. Three of the series are at Boughton, Duke of Buccleuch. Other sets mentioned in the catalogue of effects of James II.-C. & C., N. Italy, i. 404; Waagen, Art Treasures, ii. 410; Sainsbury, Orig. Papers, 321; Law, Hist. Cat. Hampton Court, 256; Evelyn, Diary, June 9, 1662; Geo. Scharf, Hist. of Old London, which, formerly in Palazzo del Vasto d'Avalos, is now in the Naples Museum. Copies by Agostini Carracci were in Palace of Parma till 1734. Engraved by Sadeler.-Vasari, ed. Mil., vii. 442; Gaye, Carteggio, ii. 264; Waagen, Treasures, ii. 313, iii. 443; C. & C., Titian, i. 420. CAGLIARI (Caliari), BENEDETTO, born in Verona in 1538 (?), died in 1598. Venetian school; brother of Paolo Veronese, and his assistant in many of his works. After his brother's death he continued to paint, showing himself a faithful imitator of Paolo's manner, but he did not rise above 227 CAGLIARI mediocrity. His Last Supper and his Christ before Pilate are in the Venice Academy. Benedetto, whose specialty was architecture, was the principal painter of the architectural backgrounds in many of Paolo's pictures.-Ch. Blanc, Rcole v6nitienne; Bernasconi, Studii, 336; Wornum, Epochs, 264. CAGLIARI, CARLO (Carletto), born in 1570, died in 1596. Venetian school; elder son and pupil of Paolo Veronese, who, for fear that he would be but an imitator of his manner, sent him to study with Jacopo Bassano. After his father's death (1588), Carletto finished several works left incomplete by him, and he had begun to give promise of a great career when he died at the age of twenty-four. He worked generally in collaboration with his younger Brother Gabriele (born 1568, died 1631), and his uncle Benedetto. Several examples by him are in the Venice Academy; works executed in collaboration are in the Palazzo Ducale and in several churches in Venice, Vie ro, rec, e Vicenza, Murano, Brescia, and Treviso.Ch. Blanc, Ecole venitienne; Baldinucci, ii. 321; Burckhardt, 750; Seguier, 34; Bernasconi, Studii, 337. CAGLIARI, PAOLO. See Veronese. CAGNACCI, GUIDO CANLASSI called, born at Castel S. Arcangelo in 1601, died in Vienna in 1681. Bolognese school, pupil of Guido; painted historical subjects in his master's style, exaggerating a little his softness and affectation. His later pictures are inferior in colour to his earlier ones. He died in the service of the Emperor Leopold I. Examples: Tarquin and Lucretia, Accad. di S. Luca, Rome; Assumption of the Magdalen, Pitti; Jupiter and Ganymede, Uffizi; Sibyl, Borghese, Rome; St. John the Baptist, Louvre; Jacob and Laban, Liechten stein Gallery, Vienna; Magdalen, St. Jerome, Death of Cleopatra, Vienna Museum; Assumption of the Magdalen, Hermitage, St. (vi'o )a o Petersburg.-Malvasia, ii. 58; Lanzi, iii. 102; Ch. Blanc, Icole bolonaise. CAIN, Fernand Cormon, Luxembourg Museum; canvas, H. 12 ft. 7 in. x 23 ft. The first murderer, pale and haggard, followed by his children covered with the skins of beasts, and bearing their mother on a litter, flees, in the midst of storms, from before Jehovah (Victor Hugo). —Salon, 1880. CAIN AND ABEL, SACRIFICE OF, Raphael (?), Signor Enrico Basseggio, Rome; wood, H. 8j in. x 131 in. Abel kneeling on left beside an altar with hands raised in prayer as he sees a flame descending from heaven and firing the wood; Cain, on the opposite side, vainly trying to blow his wood into a blaze; a club in foreground prefigures the fratricide. Painted in Perugia in 1504 -05 (?). Said to have been in Aldobrandini collection, Rome; later, in this century, in possession of Mr. Emerson, London. Panel injured.-C. & C., Raphael, i. 202; Passavant, ii. 315. CAJESI. See Caxes. CALABRESE, IL CAVALIERE, born al Taverna, Calabria, Feb. 24, 1613, died in Malta, Jan. 13, l ii tf^S^VV 1699. Neapolitan.- * '^\\ school; real name Mattia Preti; pupil,;.R 0of Lanfranco in S, ~ ~x Rome, according to Baldinucci, and of Guercino in Cento, according to Domenici. He studied the great masters in most of the cities of Italy, and visited France, Spain, and Flanders, and finally Malta, where he executed many works. Generally chose 228 CALABRESE gloomy subjects, such as martyrdoms and graved by T. Lupton, J. Cousen; Etched by death scenes. He had a fertile invention, S. Haden.-Hamerton, Life; Cat. Nat. Gal. and his compositions are effective, but his CALAME, ALEXANDRE, born at Vevay, design is not always correct, and his chiaro- May 28,1810, died scuro is marked by the strong contrasts at Mentone, March seen in the works of Guercino and Caravag- 19, 1864. Landgio. Among his works are: Frescostin choir scape painter; pu- and cupola of the Carmine, Modena; His- pil in Geneva of tory of Pope Celestine V., and St. Catherine, Diday, whom he Transept of S. Pietro a Majella, Naples; Re- succeeded as head turn of the Prodigal Son, Naples Museum; master of the art A Concert, Palazzo Doria, Rome.-Lanzi, school. Ie was / ii. 47; Ch. Blanc, Ecole napolitaine; Se- one of the best guier, 158; Burckhardt, 790, 798, 800, 803. landscape painters CALABRESE RINGENTILITO. See of his day, and the best depicter of Alpine Solimena, Francesco. scenery. Visited Germany and the NetherCALAIS GATE, Wim. Hogarth, C. F. H. lands in 1839, England in 1840, France in Bolckow, Marton Hall, Middlesborough, 1842, and Italy in 1845. Medals: 2d class, England. Original title, The Roast Beef of 1839; 1st class, 1840; L. of Honour, 1842, Old England. Painted by Hogarth as a satire on the - \ l French in retaliation for his arrest and deportation to> England. A French soldier j 1 - is arresting the artist while [ -- /-I sketching Calais gate; in - centre a French cook stag- i gers under an immense piece of beef, just landed from a British packet, and I l directed to Madame Grand- sire, the hotel-keeper in Calais affected by the English of the day; a well- - fed monk (portrait of Pine, the engraver) blesses it, while several half-starved soldiers look wistfully Calais Gate Hogarth. Calais Gate, Hogarth. on. Painted in 1748, engraved in 1749. Bought by Earl of Charle- Member of St. Petersburg and Brussels mont.-Athen., Jan., 1875, 55; Cunning- Academies. Works: Mont Blanc, Jungfrau, ham; Dobson, 68. Lake of Brienz, Pass of Monte Rosa, Pass of CALAIS PIER, Joseph M. W. Turner, Monte Cerino, Handeck Falls, Bernese OberNational Gallery, London; canvas, H. 5 ft. 7 land (1838-44); Ruins of Psestum, Storm in. x 7 ft. 10 in. The eastern jetty of the in Woods, Leipsic Museum; Noonday in harbour; French fishermen preparing for Summer, Autumn Evening, Night in Winsea; the English packet arriving. Royal ter; The Four Seasons, Geneva Museum; Academy, 1803; bequeathed by Turner. En- The Four Divisions of the Day, Lake of the 229 CALAME Four Cantons (1842), Schreckhorn and Wetterhorn, Basle Museum; Waterfall near Meyringen, Berne Gallery; Lake of Lucerne (1853), Mountain Valley (1865), Berlin Museum.-Ch. Blanc, ]Icole allemande; Brockhaus, iii. 826; Meyer, Conv. Lex. (1875), iv. 78; Larousse. CALAME, (JEAN BAPTISTE) ARTHUR, born in Geneva in 1843. Landscape painter; son and pupil of Alexandre, and in 1864-66 at the DUsseldorf Academy under Oswald Achenbach; travelled in Italy, and paints chiefly Italian landscapes and marine subjects. Works: Harbour on Mediterranean, Coast after Storm, Bay of Naples, Lake Lucerne, Coast of Bordighera.-Mtller, 91. CALATES, painter of comic subjects in little, lived soon after time of Alexander.Pliny, xxxv. 37 [114]; R-R., Schorn, 240. CALCAR, JAN VAN. See Kalkar, Hans von. CALDARA, POLIDORO. See Caravaggio, Polidoro da. CALDERON, PHILIP HERMOGENES, born at Poitiers, France, May 3, 1833. f* i _, Subject and portrait painter, of Spanish descent; pupil of J. M.,^P ' Leigh, London, in 1850, of Picot, Paris, in 1851-52, and of Leigh again in 1853 -54. Exhibited first picture, By the Waters of Babylon, at Royal Academy in 1853. Elected an A.R.A. in 1864, and RA. in 1867. Other works: Broken Vows (1857); Gaoler's Daughter (1858); Nevermore (1860); Demande en Mariage, Releasing Prisoners on the Young Heir's Birthday (1861); After the Battle (1862); British Embassy in Paris on Night of St. Bartholomew (1863); Her Most High, Noble, and Puissant Grace (1866); Home after Victory (1867); Young Lord Hamlet, (Enone (1868); Sighing his Soul into his Lady's Face (1869); Spring petting Winter, Catherine de Lorraine and Jacques Clement (1870); The New Picture (1871); Good Night, Moonlight Serenade (1873); Queen of the Tournament (1874); Toujours Fidele (1875); His Reverence (1876); Joan of Arc, Constance (1877); La Gloire de Dijon (1878); Summer Breezes, Twilight (1879); The Olive, The Vine, Captives of his Bow and Spear (1880); Flowers of the Earth (1881); Dymphna, Faithful Heart, Joyous Summer (1883); Morning (1885).-Meynell, 235; Portfolio (1870), 97. CALIARI. See Cagliari. CALIGULA'S PALACE AND BRIDGE, Joseph M. W. Turner, National Gallery, London; canvas, H. 4 ft. 8 in. x 8 ft. 2 in. Caligula, to confute a prophecy of Thrasyllus-that he would no more be emperor than he could drive his chariot over the Bay of Baiae - built a bridge of boats from the mole at Puteoli across the bay, about three Roman miles, and rode and drove over it. Turner has assumed that the bridge was constructed on arches. On the left are magnificent ruins of Caligula's palace, with the bridge across the bay in the middleground; on the right, in distance, Baiae. Royal Academy, 1831. Engraved by E. Goodall in Turner Gallery. CALISTO DA LODI. See Piazza. CALLCOTT, Sir AUGUSTUS WALL, born at Kensington, Feb. 20, 1779, died there, Nov. 25, 1844. Chorister boy for several years in Westminster Abbey; pupil r~~i,of John Hoppner; became a portrait painter, and executed many figure pieces, such as Raphael and the Fornarina (1837), and Milton with his Daughters (1840). But it is as a landscape painter that he will be chiefly remembered. As such, he ranks among the best contemporaries of Turner and Constable, though he stands at a respectful distance from either in point of originality and 230 CALLET genius. The surname of the English Claude which has been given to him, and the large prices obtained for his landscapes since his death, as, for instance, ~3,097 and ~514 paid in 1863 at public sales, prove the esteem felt for his works, in which English scenery is treated with unaffected truth to nature. Callcott became an A.R.A. in 1806, and R.A. in 1810; he was knighted in 1837, and in 1844 he was appointed conservator of the school; history and portrait painter; obtained the first prize in 1764 for his Cleobis and Biton, now in the ecole des Beaux Arts, and became member of the Academy in 1780. Painted many allegorical and mythological as well as modern historical subjects. Works: Winter or Saturnalia (1783), Spring or Worship of Juno Lucina (1791), Summer or Fete of Ceres (1789), Autumn or Fete of Bacchus (1787), all in Calumny, Botticelli, Uffizi, Florence. royal pictures. The following pictures by Louvre.-Wuirzbach, Mal. d. xviii. J., 10; him are in the National Gallery: Returning Villot, Cat. Louvre. from Market (1834), Coast Scene, Landscape CALLICLES, Greek painter, mentioned with Cattle, Wooden Bridge, Benighted by Pliny (xxxv. 37 [114]) as having exeTraveller, Old Pier at Littlehampton (1812), cuted some small pictures. Perhaps same Entrance to Pisa i painter spoken of by Varro (Fragm., p. 236 from Leghorn r Bip.).-Brunn, ii. 260. (1833), Dutch Fer- / CALLIPHON, painter, of Samos, date ry (1834), View on uncertain. Painted episodes of Trojan war Coast of Holland.-Cat. Nat. Gal.; Art Un- on walls of Temple of Diana, Ephesus.ion Journal, 1845; Art Journal (1856), 9; Pausan. v. 19, 1; x. 26, 127; Brunn, ii. 56. Ch. Blanc, 1Rcole anglaise; Sandby, i. 334. CALLISTO. See Diana and Callisto. CALLET, ANTOINE FRANQOIS, born CALLOT, GEORGES, born in Paris; in Paris, 1741, died there in 1823. French contemporary. History and portrait painter, 231 CALUMNY pupil of Eugene Adan. Medal, 3d class, 1882. Works: The Chase (1879); Twilight (1882); The Doves, Portrait (1883); Infancy of Orpheus (1884); Diana (1885). CALUMNY, picture. See Apelles. CALUMNY, Sandro Botticelli, Uffizi, Florence; wood, figures full length, small. A magisterial person, seated at right, attended byImnorance and Suspicion, stretches out his hand to Calumny, who holds in one hand the torch of discord, and with the other drags Innocence by the hair; she is preceded by Envy and attended by Intrigue and Treachery; behind her, Repentance, clothed in black, is covered with confusion at the sight of Truth. Painted about 1485 from Lucian's description of Apelles' picture. Given by Sandro to his friend, Fabio Segni. -Vasari, ed. Mil., iii. 324; C. & C., Italy, ii. 422; Molini, Gal. de Firenze, i. 159; Lasinio, i. P1. 41. By Federigo Zucchero, Hampton Court; tempera on canvas, H. 4 ft. 8 in. x 7 ft. 8 in. Probably a rendering of Lucian's description of the celebrated picture by Apelles. While employed in the Vatican, Zucchero bad a difference with the Pope's officers, and in revenge painted this picture, in which he represented those who had offended him decorated with asses' ears. The Pope's displeasure was the cause of Zucchero's departure from Rome. Originally in possession of Duke Orsini di Bracciano; perhaps found its way to England in Duke of Mantua's collection, bought by Charles I. in 1628.-Law, Hist. Cat. Hampton Court, 140. CALVAERT (Caluwaert), DENIS, born in Antwerp about 1540, died in Bologna, April 16, 1619. Flemish-Bolognese school; called by the Italians Dionisio Fiammingo (the Fleming). Pupil of Christiaan Queckborne; was a good landscape painter when he removed to Bologna, where he studied figure-painting under Prospero Fontana and Lorenzo Sabbatini. He accompanied the latter to Rome, and aided him in the Vatican. On his return to Bologna he established a school, and had among his pupils Guido, Domenichino, and Albani. He was a good designer, but mannered in style. His pictures are chiefly in Bologna, in S. M. de' Servi, S. Petronio, S. Gregorio, S. Giacomo Maggiore, and other churches. Works: Assumption, Uffizi, Florence; Transfiguration, Parma Academy; Mary Magdalen borne to Heaven by Angels, Turin Gallery; male portrait, Vienna Museum.-Biog. nat. de Belgique, iii. 258; Ch. Blanc, Icole bolonaise; Fetis, Les Artistes belges i l'etranger, ii. 151; Michiels, vi. 3; Rooses (Reber), 104. CALVARY. See Christ on Calvary. CALVARY, PROCESSION TO, Pierre Mignard, Louvre; canvas, H. 5 ft. x 6 ft. 6 in.; signed, dated 1684. Christ, in centre, has fallen under the weight of the cross, which Simon of Cyrene and others are carrying, preceded and followed by soldiers and rabble, up the mountain; in foreground, left, the Virgin, Magdalen, and St. John; right, women and children. Painted for M. de Seignelay, and passed to Louis XIV. Engraved by G. Audran; Landon.-Re'veil, ix. 629. By Rubens, Brussels Museum; canvas, H. 15 ft. 8 in. x 11 ft. 3 in. The Saviour, in grey vest and scarlet mantle, in centre, bending under weight of the cross, which a man, assisted by Simon of Cyrene, is removing from his back; the Magdalen, kneeling, is wiping his brows with a napkin; behind her, the wife of Cleophas, with two children, and the Virgin, supported by St. John; at left, another woman with an infant in her arms; below, the two thieves, with hands bound, guarded by soldiers; in front, three horsemen and others indicated by spears and banners. One of Rubens's grandest compositions, but now much deteriorated. Painted for the abbey church of Affleghem, for 1,600 florins, the work occupying sixteen days. Engraved by P. Pontius; Ragot; and with variations by Monaco. Sketch in Amsterdam Museum.-Smith, ii. 56. By Tintoretto, Scuola di S. Rocco, Venice; canvas. Troops and attendants climbing 232 CALVI Calvary by a winding path; Christ in centre bearing the cross, the two malefactors being on the nearer path. A strong and effective picture.-Ruskin, Stones of Venice, iii. 353. By Tintoretto, Vienna Museum; canvas, H. 2 ft. 4 in. x 2 ft. 7 in. Christ falling under the weight of the cross, with Simon of Cyrene aiding him; behind, the Virgin, Mary Magdalen, and St. John; in front the two thieves, bound; soldiers, mounted and on foot, and rabble.-GaL de Vienne, i. P1. 48. Ruskin, Mod. Painters, v. 230; Ridolfi, Ma. rav., ii. 57. Subject also treated by Pieter Brueghel, the younger, Berlin Museum. CALVI, LAZZARO, born in Genoa in 1502, died there in 1587. Genoese school; son of Agostino Calvi, a respectable painter of Lombard origin; pupil of Perino del Vaga at same time with his elder brother, Pantaleo Calvi (died 1595). The brothers painted much in collaboration in Genoa, Procession to Calvary, Mignard, Louvre. By Paolo Veronese, Dresden Gallery; canvas, H. 5 ft. 8 in. x 14 ft. 6 in. Christ falling under the weight of the cross, which he is carrying amid a troop of mounted men and rabble; St. Veronica, with her handkerchief, thrust back by one attendant and struck at with a knotted cord by another, is trying to reach him; behind, the Virgin, fainting, is sustained by St. John, a portrait of Veronese. From the Modena collection. Restored by Schirmer in 1857. Engraved by Mitelli; Preisler.-Gal. royale de Dresde, i. P1. 16; Naples, and other places, Lazzaro painting the principal parts and Pantaleo the ornamental portions. Lazzaro, vain and envious, depreciated the works of others, and even resorted to poison to rid himself of rivals. Defeated in competition with Andrea Semini and Luca Cambiaso, he gave up painting and led a seafaring life for twenty years, but finally returned to his profession. Among his best examples are: Phaeton, Apollo, etc., ceiling of hall, Palazzo Grimaldi, Genoa; Glory of Saints, choir S. Catterina, Genoa. 233 CALVI -Soprani, 71; Baldinucci, ii. 148; Lanzi, iii. 242; Burckhardt, 759; Ch. Blanc, ecole genoise. CALVI, POMPEO, born at Milan in 1806. Landscape and architecture painter; pupil of Migliara Works: Old Fish Market in Rome (1834), Interior of Monza Cathedral (1838), Vienna Museum.-Wurzbach, ii. 243. CALYPSO, pictures. See Irene, Nicias. CAMBIASO, GIOVANNI, born in the valley of Polcevera, near Genoa, in 1495. Genoese school; pupil of Antonio Semini, but imitated Perino del Vaga and Pordenone. Painted chiefly in fresco. Was the master of his son Luca.-Soprani, 17; Baldinucci, ii. 174; Ch. Blanc, Ecole genoise, Luca Cambiaso. CAMBIASO, LUCA, born at Moneglia, Oct. 18, 1527, died at the Escorial, Spain, 1585. Genoese school. Sometimes called Luchetto da Genova. Son and pupil of Giovanni Cambiaso; became his father's assistant when fifteen years old, and was selected when seventeen to paint the ceiling of the great hall in the Palazzo Doria. His early works border on the gigantesque and suggest study of Michelangelo, but he modified his style at a later period. He painted both in oil and in fresco, and such was his fruitfulness of invention and facility of execution that he seldom made sketches for his works. His reputation reached foreign countries, and in 1583 he was invited to Spain by Philip IL, who made him court painter and gave him a pension of 500 ducats. Cambiaso executed many works in the Escorial, the most celebrated being the Paradise or Assemblage of the Blessed, on the ceiling of the church of the Escorial, for which he was paid 12,000 ducats. Of his oil pictures the best are: Madonna and Saints, Duomo, Genoa; St. Gottardo with Apostles and Do. nors, ib.; Madonna and Saints, Palazzo Adorno, Genoa; Madonna and Child, Uffizi; Entombment, S. M. di Casignano, Genoa; two mythological pictures, Palazzo Borghese, Rome; double portrait of the painter and his father, Palazzo Spinola, Genoa; Martyrdom of St. George, S. Giorgio, ib.; Rape of Sabines, Palazzo Imperiale, Terralba, near Genoa. Luca had a son, Orazio, who aided him in the EscoriaL Philip IL continued J^,_ ~f to employ L~ 6 7- A/ 1AJ. him after -- ^- /7W2m4AJE his father's death, but he returned to Genoa in the following year.-Soprani, 35, 51; Lanzi, iii. 244; Seguier, 35; Burckhardt, 760; Ch. Blanc, I~cole genoise. CAMBON, ARMAND, born at Montauban (Drome); contemporary. French school; genre and portrait painter, pupil of Paul Delaroche and of Ingres. Medals: 2d class, 1863; 3d class, 1873. Works: Morning and Evening of Life (1874); Echo and Narcissus (1875); Roland fighting the Ork in Defence of Olympia (1876); Alcinia and Roger (1880); Spring Time of Life (1882). CAMBYSES AT PELUSIUM, Paul Lenoir, Charles Crocker, San Francisco. Illustration of the story narrated by Polysenus (vii. 9), that the Persian monarch captured Pelusium almost without resistance from the Egyptians, whose religious fears were aroused by their being assailed with sacred cats. Painted in 1867. Photogravure in Art Treasures of America.-Art Treas. of Amer. iii. 43. CAMERLINGHI. See Madonna with the Camerlinghi. CAMILO, FRANCISCO, born in Madrid in 1635, died there in 1671. Spanish school; son of Domingo Camilo, a Florentine settled in Madrid, whose Spanish widow married Pedro de las Cuevas; pupil of his stepfather; painted frescos in the palace of Buen Retiro and religious subjects for the convents of Madrid, Toledo, AlcalA, and other places. Best work,Communion of St. Mary of Egypt, 284 CAMINADE church of the Capuchins, Alcal& de Henares. -Stirling, ii. 714; Viardot, 275. CAMINADE,ALEXANDRE FRANCOIS, born in Paris, Dec. 14,1783,died there in May, 1862. History and genre painter, pupil of David and Merim6e. Medals: 2d class, 1812; 1st class, 1831; L. of Honour, 1833. Principal works: Flight into Egypt,Marriage of the Virgin, Adoration of the Magi, St. 1tienne du Mont; The Levite of Ephraim, Entry of French into Antwerp, Versailles; St. Theresa receiving the Last Sacrament, Notre Dame de Lorette.-Larousse. CAMINO, GIUSEPPE, born in Turin, Oct. 29, 1819. Italian school; landscape painter, self-taught, studying nature and after old masters; lived for several years in Rome and other cities of Italy, visited Paris and London, and settled at Turin, where he became professor at the Academy in 1854. Works: Primeval Forest; Storm in the Campagna; Glacier of the Mont-Blanc; Pictures in Museo Civico, Turin.-Miiller, 93. CAMPAGNOLA, DOMENICO, born in Padua about 1490 (?) died after 1564. Venetian school; related to Giulio Campagnola, but not his son, as is generally said. First taught by Giulio, afterward pupil of Titian, and his assistant (1511), at Padua and Vicenza. Probably accompanied Titian to Venice, and lived there awhile. Most of his works, both in oil and fresco, are in Paduan churches. His frescos in the Scuola del Santo almost rival those of Titian in the same place. Four pictures of Prophets in Venice Academy; David, Palazzo Manfrini; St. Michael and Lucifer, S. Cristoforo e Michele, Venice. Had a brother, Francesco, also a painter. Domenico was also a fine engraver.-Vasari, ed. Mil., iii. 385, 639; Ch. Blanc, fcole venitienne; C. & C., Titian, i. 127, 132, 140; Gaz. des B. Arts (1864), xvii. 456, 536; Lanzi, ii. 94; Bartsch, xiii. 377. CAMPAGNOLA, GIULIO, born in Padua about 1480 (?), died after 1513. Lombard school; son and pupil of Girolamo Campa gnola, a noted scholar who had studied painting under Squarcione; painted miniatures and several altar-pieces, but best known as an engraver. Invited in 1498 to court of Hercules I., Duke of Ferrara.-Vasari, ed. Mil., iii. 385, 639; Lanzi, ii. 177; Ch. Blanc, Ecole venitienne; Gaz. des B. Arts (1862), xiii. 332; Bartsch, xiii. 368. CAMPANA, PEDRO, born in Brussels in 1503, died there in 1580. Spanish school; real name said to have been Pieter Van de Velde. After spending many years in study in Bologna and Rome, went about 1547 to Seville, where with Louis de Vargas and Torregiano he opened an academy, and painted for the church of Santa Cruz his famous Descent from the Cross (1548), now in the Cathedral, which was a favourite study of Murillo. Other works in Seville churches.-Stirling, i. 123; Ch. Blanc, Acole espagnole; Cean Bermudez. CAMPHAUSEN, WILHELM, born in Dtisseldorf, Feb. 8, 1818, died there, June 18, -A B 1885. History: f _'W and genre paint- -,'/ er, pupil of Disunder Rethel, -f ' Sohn, and Schad- '( ow; one of the foremost painters of battles and military life. In 1843-45 he visited Holland, Belgium, Switzerland, and North Italy, made a long tour through Germany, and then painted in Diisseldorf mostly subjects from the Thirty Years' War and the time of Cromwell. In 1864, 1866, and 1870-71 he accompanied the German armies to the field. Since 1859 professor at DUlsseldorf Academy; member of the Berlin and Vienna Academies; Prussian gold medal for Art; medals in Berlin and Vienna (1873). Works: Tilly's Flight from Breitenfeld (1841); Morgenroth (1842); Wounded carried from Battlefield (1838), Prince 235 CAMPHUYSEN Eugene at Belgrade (1843), Cologne Mu- in 1626. Dutch school; painted landscapes seum; Godfrey de Bouillon at Ascalon with figures and animals, and interiors of (1845); Puritans watching the Enemy peasant houses. In sunsets and snow effects (1846), National Gallery, Berlin; Storming he was particularly successful. In 1604 he of English Castle by Cromwellians; Flight gave up art to study theology. Works: of Charles II. after Battle of Worcester Two moonlight landscapes, Dresden Gallery. (1849); Charles I. at Naseby (1851); Puritans -L'Art (1877), i. 37 on Morning Watch(1852), Kunsthalle, Ham- CAMPHUYSEN, GOVERT, born at Gorburg; Captive English Family escorted by kum in 1624, died in Amsterdam in 1674. Puritans, New Pinakothek, Munich; Eques- Dutch school; son of Dirk; animal painter trian Portraits of Frederic the Great, of of vivid conception and great truthfulness Seydlitz at Rossbach, of Ziethen, of Keith at in his boldly drawn pieces, remarkable for Hochkirch, of Schwerin at Prague, of Des- details. Made citizen of Amsterdam, March sauer; Frederic II. and Regiment Ansbach- 16, 1650. His pictures are scarce and some Bayreuth at Hohenfriedberg; Frederic at of them are probably attributed to Paul the Parade in Potsdam, Royal Palace, Ber- Potter. Works: Farm Interior (1650), lin; Bllicher taken Prisoner as Swedish En- Brussels Museum; Halt of Peasants at an sign, Prussian Grenadiers after Battle of Inn, Rotterdam Museum; Inn with ShepLeuthen, Blficher crossing the Rhine at herds and Peasants, Rocky Landscape with Kaub, Breslau Museum; Bliicher meeting Wellington at Belle-Alliance, Konigsberg '; '/l ((IS e~n.,tj o Museum; Equestrian Portraits of BlUcher d t and Gneisenau, Magdeburg Museum; Duppel after the Storming (1857), National Gal- do., Cassel Gallery; Rustic Interior, Copenlery, Berlin; Fight inside Diippel Earthwork hagen Gallery; Farm Interiors (2), HermitIL, Crossing to Alsen (1866), Bremen Gal- age, St. Petersburg.-L'Art (1877), i. 37, lery; Ordnance Ride (1866); Capture of 63. Austrian Standard at Nachod (1868); Meet- CAMPHUYSEN, RAFAEL, born about ing of Prince Fred. Charles and Crown 1598, died in 1691. Dutch school; brother Prince at Chlum (1868); King William deco- of Dirk; painted moonlight landscapes and rating the Crown Prince with an Order shepherd pieces. May have been a pupil (1868); Napoleon at Sedan; Meeting between of Paul Potter, but his moonlights are in Bismarck and Napoleon; Entry of Emperor the manner of Van der Neer. - Kugler William into Berlin; Great Elector before (Crowe), ii. 440. Battle of Fehrbellin; Storming of Konigin- CAMPI, ANTONIO, Cavaliere, born in hof; Cavalry Skirmish at Waterloo; Em- Cremona early part of 16th century, died peror William on Horseback with Roon, about 1591. Lombard school; son of GaBismarck and Moltke (1872), Cologne Muse- leazzo, and brother and pupil of Giulio um; Emperor William with Moltke (1873); Campi. Painted in the Duomo and in S. Frederic William I. with Dessauer (1879); Sigismondo, Cremona, and in S. Paolo, S. Homage of the Silesian Estates at Breslau Celso, S. Barnaba, and S. Maurizio Mag(1882), Arsenal, Berlin.-Brockhaus, iii. 883; Illustr. Zeitg. (1880), ii. 389; Kunst-Chronik, 4 V. C O I /d 3 xx. 649; N. llustr. Zeitg. (1881), II. 671; Bruno Meyer, Studien u. Kritiken, 1; Rie- giore, Milan. He sought to imitate Correggel, Kunststudien, 397. gio. Was also architect, sculptor, engraver, CAMPHUYSEN, DIRK RAFAELSZ, and author of Cronaca di Cremona (Cremoborn at Gorkum in 1586, died at Dokkum, na, 1585).-Vasari, ed. Mil., vi. 496; Lanzi, 236 CAMPI ii. 435; Ch. Blanc, Ecole lombarde; Burckhardt, 738; Rio, iii. 359. CAMPI, BERNARDINO, born in Cremona in 1522, died there about 1590. Lombard school; son of Pietro Campi, a goldsmith, of the same family as Galeazzo; pupil of Giulio Campi, and of Ippolito Costa at Mantua, where he studied the works of Giulio Romano, as also afterwards those of Correggio in Parma, Modena, and Reggio. After successfully imitating the manner of these painters, he formed a vigorous and brilliant style of his own. He painted many excellent portraits. Became among the Campi what Annibale Carracci was in his family, and received commissions from all the neighbouring cities. His most important works are in S. Sigismondo, Cremona, where he painted (1570-71) in the great cupola many figures from the Bible, representing the concourse of the blessed. His many works are described by his biographer Alessandro Lamo.-Lanzi, ii. 437; Ch. Blanc, Vcole lombarde; Burckhardt, 738; Kugler (Eastlake), 495. CAMPI, GALEAZZO, of Cremona, born in 1477, died in 1536. Lombard school; style formed on that of Boccaccino. His Raising of Lazarus (1515), now in Casal Maggiore, is quaintly treated with sentimental realism. Other pictures of his are the St. Christopher (1516), in S. Sigismondo and the Madonna in S. Sebastiano, Cremona; Portrait of the Artist, Uffizi, Florence. Galeazzo was the father of Giulio, Antonio, and Vincenzo Campi.-C. & C., N. Italy, ii. 447; Vasari, ed. Mil., vi. 496; Ch. Blanc, Ecole lombarde; Burckhardt, 738; Rio, iii. 377. CAMPI, GIULIO, born in Crerona about 1500, died there in 1572. Lombard school; son and pupil of Galeazzo Campi, afterwards pupil of Giulio Romano at Mantua, and later studied Raphael and the antique at Rome. Became the founder of the eclectic school of painting at Cremona. Distinguished both as a painter and an architect. S. Margherita, Cremona, is almost wholly decorated with his pictures He painted also St. Jerome in the Cathedral, Mantua; Pentecost (1546), S. Sigismondo, Cremona; Christ before Pilate, Cathedral of Cremona; Crucifixion, S. M. della Passione, Milan; and Conversion, Baptism, Miracles, and Death of St. Paul, S. Paolo, Milan; Madonna with Saints (1527), high altar, S. Abbondio, Cremona; (Frescos 1547), S. Margherita, Cremona, Castelbarco Gallery, Milan, picture dated 1530.-Lanzi, ii. 432; Vasari, ed. Mil., vi. 496; Ch. Blanc, klcole lombarde; Burckhardt, 738; Rio, iii. 380. CAMPI, VINCENZO, born in Cremona before 1532, died Oct. 3, 1591. Lombard school; youngest son of Galeazzo, and brother and pupil of Giulio Campi. Good painter of portraits and of still life. Aided his brothers, in S. Paolo, Milan, and in other churches. Pictures in the Brera, Milan; Descent from Cross, Cathedral of Cremona.-Vasari, ed. Mil., vi. 496; Lanzi, ii. 436; Ch. Blanc, Icole lombarde. CAMPUZANO, Don TOMAS; contemporary. Landscape painter; Medal, Madrid, 1883. Works: In the Bay (1881); Beach of Vivero (1883); The Tajo at Lisbon; The Tajo at Belem (1884). —La Ilustracion (1881), i. 419; ii. 65; (1883), i. 123; (1884), ii. 219. CAMUCCINI, VINCENZO, Cavaliere, born in Rome in 1773-75, died there, Sept. 2. 1844. Italian school; history and portrait painter; pupil of his brother Pietro, a picture restorer, and of Bombelli the engraver, but formed himself chiefly by copying the old masters. Stimulated by the arrival of David at Rome, he painted, in the classic manner, a series of pictures illustrative of Roman history, as well as many religious subjects, which won him reputation. He was also eminent as a portrait painter, among his sitters being Pius VIL, the King and Queen of Naples, Countess Schouvaloff, Countess de Diedrichstein, Duc de Blacas, and other notable persons. He was inspector-general of the pontifical museums, and of the factory of mosaics, and of the Neapoli CANALE tan Academy of Rome, member of the French Institute, and president of the Academy of St. Luke. Pius VII. gave him the title of baron, and Francis I the Order of the Iron Crown. Works: Horatio Codes, Romulus and Remus, Count de Sch nborn; Death of Ccesar, Death of Virginia, Continence of Scipio, Palazzo Reale, Naples; Departure of Regulus for Carthage; Incredulity of St. Thomas (mosaic in St. Peter's); Presentation in Temple, S. Giovanni, Piacenza; Death of the Magdalen, Entombment (painted for Charles IV. of Spain); Mission of Benedictine Monks to England (1833); Conversion of St. Paul (1834), SS. Apostoli, Rome.-Ottley. CANALE, ANTONIO. See Canaletto. CANALETTO, IL, born in Venice, Oct. 18, 1697, died there, April 20, 1768. Venetian / '/ school. Real 3 r /j name Antonio Canal or Canale; in Italy also >^ ^s ^ called Il Tonino. / ( __kQ\[ 9 Son of Rinaldo -^'.-;1'\' Canale, painter of theatrical scenery; followed same business for several years, and thus acquired great readiness of hand and fertility of invention. About 1719 he went to Rome, where he occupied himself in studying the antique, and painted many views of its architectural remains. On his return to Venice he devoted himself to painting picturesque views of that city in all its aspects-its canals, bridges, public places, palaces, and churches, and carnival and festival scenes full of figures. He visited England twice, and painted many successful pictures there, examples of which are to be seen at Windsor Castle. The gallery contains some of his finest pictures, views in Rome and Venice. He executed a great number of works, and there are few large collections without examples by him; but many pictures which pass under his name are by his pupils, Bellotto and Guard di. Ch. Blanc says Canaletto is unexcelled in painting architecture, in aerial perspec. tive, and in rendering slightly ruffled water. His drawing is always precise and accurate and his colouring is wonderfully beautiful. But Ruskin avers that he is "less to be trusted for renderings of details than the rudest and most ignorant painter of the thirteenth century." His figures are not always good, and in some of his pictures they were put in by Tiepolo. Among his most noted works are the Church of S. M. della Salute in Venice, Louvre; and the Reception of Count Gergi, and the Marriage of the Doge with the Adriatic, Hermitage, St. Petersburg. Other excellent examples are: View of Ducal Palace, and View in Venice, Uffizi, Florence; View of Venice, Turin Gallery; do., Academia Carrara, Bergamo; Views in Venice (4), Berlin Museum; do. (4), Munich Gallery; View in Venice, View on Grand Canal, Piazzetta of S. Mark, Scuola di S. Rocco, Ducal Palace, View of Eton College, Landscape with Ruins, Regatta on Grand Canal, Grimani Palace, and others, National Gallery, Lon, don; and Seaport, Galleria Estense, Modena-Ch. Blanc, I&cole venitienne; Dohme, 2iii.; Seguier, 36; Burckhardt, 805. CANDAULES, KING, Jean L6on Gerome, Paris. Candaules, King of Lydia, proud of his wife's beauty, exhibited her unveiled charms to Gyges, a favourite officer. The Queen, having caught sight of Gyges as he was stealing from his place of concealment in her chamber, gave him the alternative of murdering Candaules and receiving her and the kingdom, or of suffering death himself. He chose the former alternative, and became the founder of the dynasty of the Mermnadae. (Herod., i. 7; Just., i. 7). Engraved by A Franqois. CANELLA, GIUSEPPE, born in Verona in 1788, died in Florence in 1847. Architecture and landscape painter; sketched in France, Germany, and Switzerland. Among his best works are: Views of Paris and the 288 CANLASSI Boulevards; Cathedral of Milan; Sta. Croce in Florence; Haven of Honfleur. —Wurzbach, ii. 249. CANLASSI. See Cagnacci. CANO, ALONSO, born in Granada, March 19, 1601, died there, Oct. 3, 1667. Spanish school. After his father, Miguel, O removed to Seville, Alonso, by the ad-,. vice of Juan del Castillo, studied sculpture under / t, Montanes and painting under Pacheco; was painter, sculptor, and architect, whence sometimes called the Spanish Michelangelo. Noted for the manufacture of retablos or monumental altarpieces, of which all parts-the wood-carvings and statues as well as the paintingswere executed by himself. In 1637 he fled from Seville, in consequence of a duel with the painter Llano y Valdes, and went to Madrid, where, through the favour of Velasquez, his fellow-pupil under Pacheco, he obtained the protection of the Duke de Olivares and became painter to the king. In 1644 he was suspected of the murder of his wife, but on being put to the torture was declared innocent, though the suspicions against him were strong. In 1652 PhilipIV. appointed him a canon in the cathedral at Granada, where he passed his last days in practising his art and in charitable deeds. Works: St. John Evangelist writing the Apocalypse, St. Benedict the Abbot, St. Jerome, Madonna in Adoration, Flagellation of Christ, Dead Christ and Angel,Gothic King on his Throne, and Two Gothic Kings, Madrid Museum; Crucifixion, Academy S. Fernando, Madrid; y~ yMadonna, Seville Cathedral (replica in Hermitage); Souls in Purgatory, Seville Museum; St. Agnes, Berlin Museum; St. Paul, Dresden Gallery; Madonna and St. Anthony, Munich Gallery; Dominican painting Portrait of St. Dominic; Madonna and Child; Child Jesus and little St. John; Portrait of himself and of a Knight of the Order of the Golden Spur, Hermitage, St. Petersburg.-Cean Bermudez; Stirling, ii. 779; Viardot, 65; Ch. Blanc, JAcole espagnole; Madrazo, 359. CANON, HANS (Johann von Straschiripka), born in Vienna, March 13, 1829, died j |fa there, Sept. 12, 1885. Genre, history and por- trait painter; pu- Y \ pil of Waldmul- /, d ler, then in 1848- /7W' 55 cavalry officer / in the Austrian J. (i / army; after that devoted himself entirely to art; greatly influenced by Rahl. Travelled extensively in the East, France, and England, lived in 1860-69 in Carlsruhe, then in Stuttgart, and finally settled in Vienna, where he became professor at the Academy. Imitated the Venetian masters, especially Tintoretto and Titian; one of the best portrait painters of his time. Works: Fishermaiden (1858); Modern Judith (1860); Cromwell beside the Body of Charles I., Lodge of St. John (1873), Vienna Museum; Circuit of Life, Museum of Natural History, Vienna; Hans Sachs; Modern Diogenes; The Page; Fruit Girl; Treasure Digger; Lute Player; Bacchus Intoxicated; Bayadere; Butcher's Shop; Girl with Stereoscope; Flamingo Chase; Dealer in Arms; St. Benedict, Pope Leo the Great, Cassiodorus, Boethius, Male and Female Portrait (1883).-Brockhaus, iii. 912; Wurzbach, xxxix. 253; KunstChronik, xx. 734. CANTARINI, SIMONE, born at Oropezza near Pesaro in 1612, died at Verona, Oct. 15, 1648. Bolognese school; called also II Pesarese and Simone da Pesaro. Pupil of Giacomo Pandolfi, with whom he went to Venice; studied next with Claudio Ridolfi, and afterwards with Guido; exhibited great talent, but grew so vain and arrogant that 289 CANTERBURY he was forced to leave Bologna. After studying the works of the great masters in Rome he returned to Bologna and opened a school in opposition to Guido. Humiliated at his want of success in painting a portrait of the Duke of Mantua, he went to Verona, and died there, some say of poison. Baldinucci calls him another Guido, but though he copied Guido with great success, he had little originality. He was an able engraver. Works: Repose in Egypt (2), Louvre; Miracle of St. Peter, S. Pietro, Fano; Assumption, Bologna Gallery; Holy Family, Transfiguration, Brera, Milan; Holy Family, Madrid Museum; Joseph and Potiphar's Wife, Dresden Gallery; Holy Family, Repose in Egypt, Hermitage, St. Petersburg. -Malvasia, ii. 373; Lanzi, iii. 103; Ch. Blanc, icole bolonaise; Seguier, 37. CANTERBURY PILGRIMS, Thomas Stothard, National Gallery, London; wood, H. 1 ft. j in. x 3 ft. in. A cavalcade of numerous figures, all on horseback and riding from right to left, illustrating the persons described in the prologue to Chaucer's "Canterbury Tales." Purchased at Leigh Court sale (1884). Engraved by the brothers Schiavonetti and James Heath, 1817. CAPANNA, PUCCIO, middle of 14th century. Florentine school; disciple of Giotto, according to Vasari, who says he was a good painter; but the works assigned to him differ much in style, and are all inferior. Puccio was admitted to the Florentine painters' guild in 1350. Among the works ascribed to him are frescos in S. Francisco, Assisi, S. Maria Novella and S. Trinita, Florence, and in the Hall of the Capitolo, S. Francesco al Prato, Pistoja, and pictures in S. M. Novella and S. Trinita, Florence.-C. & C., Italy, i. 376; Vasari, ed. Mil., i. 394; Baldinucci, i. 234. CAPDEVIELLE, LOUIS, born at Lourdes (Hautes-Pyrenees); contemporary. History and portrait painter, pupil of A. Millet, Bonnat, and Cabanel. Medal, 3d class, 1882. Works: Knife Grinder, First Prize (1876); Pork Scalder (1877); Portraits (1878, 1879); Workshop of Seamstresses (1880); Wedding at Laruns, End of Nana (1882); Land-slip in a Quarry, Study of Nude Woman (1884); Gratuitous and obligatory Instruction, A Model (1885). CAPELLE, JAN VAN DER, born in Amsterdam, the freedom of which city he received in 1653. Dutch school; marine painter, pupil of Albert Cuyp. Painted quiet seas under warm and bright skies. Works: River with Ships, Amsterdam Mluseum; Fishing Boats, Rotterdam Museum; Mouth of the Scheldt with numerous vessels, Aremberg Gallery, Brussels; Marine, Berlin Museum; Strand with Ships, Vienna Muse* ~,j um; Calm at Low Water, / Y CffPtL National Gallery, London; pictures in the collections of Messrs. Munro, Baring, and of the Duke of Bedford and Lord Overstone. Kugler (Crowe), ii. 501; Ch. Blanc, lIcole hollandaise. CAPORALI, GIOVANNI BATTISTA, born in Perugia about 1476, died there about 1560. Umbrian school; son of Bartolommeo Caporali, an inferior painter of Perugia (1472-1521); commonly called Bitte or Bitti, an abbreviation of Battista; erroneously called Benedetto by Vasari. Brought up by his father, but went about 1507-8 to Rome, where he became acquainted with Perugino, Pinturicchio, Bramante, and Signorelli, and learned to imitate them. On his return to Perugia in 1519 he was made a decemvir. He was also an architect, and built and decorated with frescos the Villa Passerini near Cortona. A fresco in S. Croce in Gerusalemme, Rome; Virgin and Saints (1492), S. Girolamo, Citta di Castello; Nativity, Duomo, Panicale, and at S. Salvatore, in neighbourhood, are attributed to this painter.-C. & C., Italy, iii. 360; Ch. Blanc, ]cole ombrienne; Vasari, ed. Mil., iii. 597. CAPPONI, RAFFAELLINO. See Garbo. CAPPUCCINO, IL. See Strozzi, Bernardo. CARACCIOLO, GIAMBATTISTA, born in Naples about 1580, died there in 1641. 240 CARAUD Neapolitan school; of good family and edu- I Ercole in 1609. Roman school. Real nam: cation; pupil of Francesco Imparato, and Michelangelo Amerighi or Merighi; son of a later of Caravaggio when that painter was m a s o n; e m - in Naples, about 1606. Roused bythe fame ployed in Milan of Annibale Carracci, he went to Rome, and to mix plaster - by diligent study of his works in the Pa- for fresco paintlazzo Farnese, became a correct designer in ers, and learned/ r that painter's style, still preserving the to p aint by ( strong contrasts of light and shade that he watching them. had learned from Caravaggio. Some of his Went to Venice pictures are in churches in Naples. He be- and s t u d i e d longed to the infamous Neapolitan Cabal of works of Gior-,/ which Spagnoletto was the head.-Lanzi, ii. gione; thence to 34; Ch. Blanc, ficole napolitaine. Rome, where he aided Cesare d'Arpino in CARAUD, JOSEPH, born at Cluny, painting ornamental parts of his pictures. (Saone-et-Loire), Jan. 5, 1821. Genre paint- The novelty of his style, an energetic but er, pupil of Abel de Pujol and Charles Louis coarse rendering of nature, without selecMiiller. Some of his pictures have been tion and without taste, soon attracted engraved. Medals: 3d class, 1859; 2d notice, and his works won such public adclass, 1861 and 1863; L. of Honour, 1867. miration that other artists were led to imiWorks: Oracle of the Fields (1847); The tate his powerful though corrupt manner Awakening, Dark and Fair (1849); Dancing After painting many important pictures in Lesson, Interrupted Breakfast, A Kitchen Rome, he fled to Naples to escape justice for (1855); Marie Antoinette in the Little Tri- the homicide of a companion, committed in anon, Abbe Provost reading Manon Lescaut a moment of anger. After various wanderat an Actress's (1857); Atbalie played at ings he received the Pope's pardon for this Saint-Cyr before Louis XIV., Louis XV. crime, and was on his way from Naples to and Mme. Dubarry (1859); Mlle. de la Val- Rome by sea when he died at Porto Ercole. liere taking the Veil, The Sedan Chair Among his best works are: Entombment,Vat(1861); The Great Conde's Return after the ican; Gamesters, Palazzo Sciarra, Rome; JuBattle of Senef, Signing the Contract, The dith and Holofernes, Naples Museum; Chess First-Born (1863); Louis XVI. making Players, Venice Academy; Cupid Asleep, PaLocks (1865); Blessing the Bread, The Alert lazzo Pitti, Florence; Christ among the Doc(1867); Scenes from Marriage of Figaro tors, Christ and the Tribute Money, Head of (1868); Marie Antoinette and Madame Medusa, Uffizi, Florence; Fortune Teller, Royale at Versailles (1870); Soubrette Walk- Capitol Gallery, Rome; Lute Player, Lieching, Girl holding a Cat (1872); Breakfast tenstein Gallery, Vienna; Fortune Teller, A (1873); Parroquet (1874); Pointed Finger Concert, Death of the Virgin, Portrait of (1875); Little Farmer (1876); Spring-Time, Grand Master of Malta, Louvre; Two Men Pleased Abbe (1877); Louis XV. and Mme. Drinking, Modena Gallery; St. Sebastian, Dubarry at the Little Trianon, Coffee Mill Brera, Milan; St. Matthew and Angel, Ber(1878); Pouting, Flower-Girl (1879); Sou- lin Museum; Fortune Teller, Gamesters, brette Asleep, Two Friends (1880); Magpie, Dresden Gallery; Lute Player, Christ Gardener (1882); Parroquet, A Letter (1883); crowned with Thorns, Martyrdom of St. Fisher-maiden (1884); Spinner, Petit D&- Peter, Martyrdom of St. Sebastian, Hermitjeuner (1885). age, St. Petersburg; Supper at Emmaus, CARAVAGGIO, MICHELANGELO DA, National Gallery, London.-Ch. Blanc, born at Caravaggio in 1569, died at Porto icole ombrienne; Seguier, 3; Wornum, 241 CARAVAGGIO Epochs, etc., 332; Burckhardt, 767; Dohme, 2iii. CARAVAGGIO, POLIDORO DA, born at Caravaggio about 1490 (?), died in x. ri-^ Messina in 1543. Umbrian school. Real name Polidoro -<rCT^ w Caldara; while em' Sf Dployed as a mason % in the Vatican when ~. ' 'X Raphael and his pu~ tL; /^ j pils were painting, he acquired a taste for art, and induced Maturino, a Florentine artist, to instruct him. He soon exhibited such aptitude that Maturino took him into partnership, and they executed conjointly many works in black and white, now known only by engravings. When Rome was sacked (1527), Caravaggio went to Naples,and afterward to Messina, where he acquired fame and wealth. When about to return to Rome, he was murdered for his money. In his earlier works Polidoro shows his training in the school of Raphael: e. g. Frieze of the History of Niobe on fagade of a house in the Via della Maschera d'Oro, No. 7, at Rome. Later he became an out and out naturalist, as in the Christ bearing the Cross, Naples Museum. Among his works are: Psyche received into Olympus, Louvre; Passage of the Red Sea, Brera, Milan, St. Luke, Berlin Museum; Pieta, Turin Gallery; Meleager, Capitol Museum, Rome; Cephalus and Procris, Vienna Museum.-Vasari, ed. Mil., v. 141; Tassi, Pittura Bergamaschi (Bergamo, 1708), 76; Burckhardt, 186; Wornum, Epochs, etc., 235; Ch. Blanc, ]cole ombrienne; Dohme, 2iii.; Lttbke, Gesch. ital. Mal., ii. 375. CARBAJAL, LUIS DE, born in Toledo in 1534, died after 1613. Spanish school; pupil of Juan de Villoldo, removed early to Madrid, and became, in 1556, painter to Philip I. Painted in 1570-82 seven altarpieces for the Escorial, and a Magdalen (1570), now in the Madrid Museum. In 1591 he painted, with Bias del Prado, some pictures for the Church of the Minorites, Toledo; Portrait of the Archbishop D. Bartolome Carranza in the capitular hall of the Cathedral at Toledo; Circumcision, Hermitage, St. Petersburg.-Stirling, i. 261; Madrazo, 365. CARBONE, GIOVANNI BERNARDO, born in Albaro, near Genoa, in 1614, died in 1683. Genoese school; pupil of Gio. Andrea de' Ferrari; studied composition in Venice. Painted historical subjects, but chiefly noted for his portraits, in which he imitated Van Dyck. Works: St. Louis adoring the Cross, l'Annunziata, Genoa; Madonna and Saints, Palazzo Pallavicini, Genoa.-Lanzi, iii. 267; Ch. Blanc, icole genoise; Burckhardt, 779. CARCASSONNE, DELIVERANCE AT, Jean Paul Laurens, Luxembourg Museum; canvas, H. 14 ft. 2 in. x 11 ft. In August, 1303, the inhabitants of Carcassone and of Albi, under the lead of the reformer of Languedoc, Jean de Picquigny, released many prisoners from the dungeons of the Inquisition. Men are engaged in removing the stones from the entrance, over which is seen the Papal arms, while the reformer is preaching to people at left. Salon, 1879. CARDENAS, BARTOLOME DE, born in Portugal in 1547, died in Madrid in 1606. Spanish school; pupil in Madrid of Alonso Sanchez Coello; painted frescos in the cloisters of Convent of Atocha, Madrid; in 1601 went to Valladolid, at invitation of Duke of Lerma, for whom he painted altarpieces in the church and several religious works in the cloisters and chapels of the convent of S. Pablo. Some of his pictures are in the Museum at Valladolid. His son Juan (flourished 1620), was a painter of fruits and flowers.-Stirling, i. 432. CARDI, LUDOVICO. See Cigoli. CARDUCCI (Carducho), BARTOLOMMEO,born inFlorence in 1560, died in Madrid in 1608. Florentine school; pupil of Federigo Zucchero, with whom he went, in 1585, to Spain, and was engaged as painter, sculptor, 242 CARDUCIHO and architect under Philip II. and Philip Il. Painted frescos in the library of the Escorial, and several altarpieces, as well as a Descent from the Cross, in S. Felipe el Real; also began, in the Pardo, frescos which were finished by his brother Vincenzio. Works: Descent from the Cross, St Sebastian, Last Supper, Madrid Museum.-Stirling, i. 212; Ch. Blanc, 1cole espagnole; Viardot, 256. CARDUCHO, VINCENZO, born in Florence in 1578(?), died in Madrid in 1638. Spanish school; went to Spain in 1585, with his elder brother, Bartolommeo, who instructed him in painting. Succeeded his brother as painter to Philip III., and finished the frescos begun by him in the Pardo. Was also painter to Philip IV. In 1626-32 he painted fifty-four pictures for the Carthusians of El Paular; twenty-seven representing the life of St. Bruno, and twentyseven representing the Martyrdoms and miracles of the Monks of the Order. These are all in the Madrid Museum. He painted also historical pictures and portraits, 120 of which are mentioned by Cean Bermudez as in public edifices in Spain, and wrote the Dialogos de las Excelencias de la Pintura, the best work on painting in the Castilian tongue (Madrid, 1633). Works: Battle of Fleurus, Relief of Constance, Capture of Rleinfeld (three scenes in Thirty Years' War), Birth of the Virgin, Visitation, Presentation of Jesus, As- VNC E NT s u xaption, VNCENT Christ, a- CA DV drid Muse- C30 urn; Infant Christ and Christ and Angels, with SS. Gonzalo, Francis, and Bernardino (1630), Dresden Gallery.-Stirling, i. 417; Ch. Blanc, 1cole espagnole; Viardot, 258; Madrazo, 366. CARIANI, GIOVANNI BUSI, of Bergamo, born at Fuipiano about 1480 (?), living in 1541. Venetian school. The earliest record in regard to him is a contract of 1508. He imitated the great Venetian mas. ters so closely that his works are often confounded with theirs, and appear under the names of Giorgione, Palma, and Pordenone. There are but two dated canvases among the many works ascribed to him, a group in the Roncalli collection (1519), and a Madonna in the Casa Baglioni, Bergamo (1520). Other examples are in the Lochis-Carrara Gallery, Bergamo; the Brera, Milan; and the Dresden Museum.-C. & C., N. Italy, ii. 546; Tassi, Pittori Bergamaschi, i. 33; Burckhardt, 737; Lubke, Gesch. ital. Mal., ii. 625. CARLONI, GIAMBATTISTA, born in Genoa about 1594, died there in 1680. Genoese school; son and pupil of Taddeo Carloni, painter, sculptor, and architect (died 1613); studied in Florence under Passignano and in Rome; associate of his brother Giovanni, and aided him in most of his works, especially in the Gesa and in the Annunziata del Guastato, Genoa; also finished his frescos in S. Antonio Abate, Milan. Painted frescos at S. Siro, Genoa, and painted much in private palaces. Had by his wife Niccoletta Scorza twenty-four 1670 children, of whom Andrea or Giovanandrea (born 1639, died 1697) and Niccolb were painters.-Lanzi, iii. 263, 278; Ch. Blanc, iScole genoise; Burckhardt, 799. CARLONI, GIOVANNI, born in Genoa in 1591, died in Milan in 1630. Genoese school; son and pupil of Taddeo Carloni, and scholar of Pietro Sorri; finally studied in Rome and Florence, where he learned fresco under Passignano. Became an able fresco painter; works in del Gesit, l'Annunziata del Guastato, and S. Domenico, Genoa. Was painting the ceilings of S. Antonio Abate, Milan, when he died.-Lanzi, iii. 263; Ch. Blanc, ]cole genoise. 243 CARLOS CARLOS, DON, brother of Philip IV., portrait, Velasquez, Madrid Museum; canvas, H. 6 ft. 7 in. x 4 ft. 1 in. About twenty years old, full-length, standing, black dress. Painted about 1627, first manner. Etched by J. J. Martinez de Espinosa; Guerard.Curtis, 60; Madrazo, 614. CARLSEN, EMIL, born in Denmark in 1848. Went to America in 1872, and studied in Boston, where he has since lived. Works: Still Life (T. B. Clarke, New York.) CARLUCCIO DELLE MADONNE. See Maratti, Carlo. CARMANIDES. See Charmantides. CARMIENCKE, HERMANN, born in Hamburg, Sept. 2, 1810, died in Brooklyn, N. Y., June 15, 1867. Landscape painter and engraver; pupil of Dahl in Dresden, and from 1834 at the Copenhagen Academy. In 1837 was again in Dresden and Leipsic; returned to Copenhagen in 1838, visited Sweden in 1841, MIunich and Tyrol in 1842, and Italy in 1845-1846. Was court painter to Christian VIII., until after the GermanDanish war of 1848. Emigrated to New York in 1851 and became one of the founders of the Brooklyn Academy. Works: Lake among High Mountains, Ziller Valley in Tyrol.-Andresen, iv. 46. CARNOVALE, FRA, flourished about 1456. Umbrian school; real name Bartolommeo di Giovanni di Bartolo Corradini; entered the Dominican Order, and in 1461 -88 was curate of S. Cassiano of Cavallino, near Urbino. A Madonna with Saints and Angels, in the Brera, Milan, is attributed to him. It is in the style of Piero della Francesca, and if it be the work of Fra Carnovale, he was probably a pupil of that master. Vasari makes Fra Carnovale the master of Bramante. Other works: St. Michael and the Dragon, National Gallery, London; Madonna and Angels, S. M. delle Grazie, Sinigaglia.-C. & C., Italy, ii. 553; Vasari, ed. Mil., iv. 147. CAROLUS, LUDOVICUS ANTONIUS, born in Antwerp, Dec. 25, 1814. Genre painter; pupil of Eeckhout and of F. de Braekeleer, and in Paris (1831-34), under E. le Poitevin; settled in 1836 in Antwerp, where he acquired reputation. Works: Presentation, Music, Visit at the Studio.Nagler, Mon., iv. 325. CAROLUS- DURAN (CHARLES AUGUSTE EMILE DU RAND), called, born at ~3; 'Lille, July 4, 1837. French school; genre and portrait painter; pupil of Souchon; went to Paris, where he won a prize and a pen~\ / ' sion founded by Wicar for his fellow-citizens of Lille, and went to Italy, afterwards to Spain. His work shows traces of the influence of both countries. Lately he has painted portraits, especially female, with great success. Is also a sculptor. Medals in 1866, 1869, and 1870; 2d class in 1878; medal of honour, 1879; L. of Honour, 1872; Officer, 1878. Works: Evening Prayer (1865); The Murdered Man (1866), Lille Museum; St. Francis of Assisi (1868); Dame au Gant (1869), Luxembourg Museum; portraits only during the next ten years, of which one of the most P noted is Mlle.) urd Croizette; Glo- \ ria Mariae M6dicis (1878, ceiling in the Luxembourg); Child on the Banks of the Tagus (1868); portraits in 1879, 1880, 1881; A Future Doge (1881); A Burial (1882); A Vision (1883).-Larousse; Montrosier. CAROTO (Carotto), GIOVAN FRANCESCO, born in Verona in 1470, died there in 1546. Lombard school; pupil in Verona of Liberale, and in Mantua of Mantegna, of whom he is said to have been so perfect an imitator that his works passed as those of his master. On his return to 244 CARPACCIO Verona, previous to 1508, his pictures took a local tinge reminiscent of Liberale and Giolfino. He executed important works for Ant. Maria Visconti, in Milan, and for the Marquis of Montferrat, in Casale. Called by Maffei the Proteus of Veronese painters, so varied are his works in style. Among them are: Altarpiece, S. Tommaso, Verona; Christ and Saints, S. Caterina, Resurrection of Lazarus, Virgin and Saints, Verona Gallery; SS. Roch and Sebastian, S. Giorgio, Verona; Madonna and St. Anne, S. Termo Maggiore, ib.; St. Martin on Horseback, S. Anastasia, ib.; St. Ursula and the 11,000 Virgins, S. Giorgio, ib. (1545). Madonna, Stadel Institute, Frankfort; do., Collection of Baron Sternburg, Lutschena. Vasari says he was the first Veronese who painted landscapes well. Giovan Francesco had a brother Giovanni Caroto, probably his assistant, but much inferior to him. He is noteworthy only as the first master of Paolo Veronese. —C. & C., N. Italy, i. 481; Vasari, ed. Mil., v. 288; Baldinucci, ii. 44; Burckhardt, 158, 167, 190; Ch. Blanc, Ecole lombarde; Bernasconi, 292; Lermolieff, 167; Liibke, Gesch. ital. Mal., ii. 574. CARPACCIO (Scarpaccia, Scarpaza), VIT turesqueness to her squares and water-ways. He had not Bellini's gentleness and sweetness, but was more energetic in action, harder and drier in tone. The picture of the bleeding Christ adored by Angels (1496), Vienna Museum, is painful in subject, and stiff in figure action. Between 1502 and 1508 Carpaccio painted nine small easel pictures and an altarpiece for the school or refuge of distressed Dalmatian seamen, which had been rebuilt under the name of San Giorgio de' Schiavoni. These pictures represent scenes from the lives of Christ and the patron Saints of Dalmatia and Albania, Jerome, George, and Trifon. Eastern costumes and landscapes of an Eastern character abound in them, as in the Baptism of the Gentiles, and the Combat of St. George. The altarpiece represents the Virgin and Child between two angels. The Annunciation (1504), Vienna Academy, the Glory of St. Thomas Aquinas (1507), Stuttgart Museum, and the Burial of the Virgin (1508), Ferrara Gallery, show that Carpaccio's forte lay rather in treating incidents of legendary history than religious episodes. Still, we think that his Presentation in the Temple (1510), Venice Academy, is his masterpiece. Another fine and characteristic work is the Supper at Emmaus, in S. Salvatore, Venice. Other pictures painted before Carpaccio began to fail are the Vocation of St. Stephen (1511), Berlin Museum; his Sermon at the Louvre, and his Dispute with the Doctors (1514), Brera, Milan; and his Martyrdom (1515), Stuttgart. The altarpiece at S. Vitale of this year shows manifest decline "attributable to age, weariness, or much use of assistants." Many later works scattered about in Istrian, VICTOR CARPATHIVS FINXIT M.DXI - Lombard, and Friulian churches show still further decay. The last, of 1519, are two '1')UKE, born m Istria about 1450, died after 1522. Venetian school. It is conjectured that Carpaccio went to Constantinople with Gentile Bellini in 1479, and it is clear that the I great painter's influence developed his style and affected his colour and drawing, but the first certain date connected with Carpaccio is 1490, when he began to paint the series of nine pictures illustrative of the life of St. Ursula, Venice Academy. Like Gentile Bellini's large works, those of Carpaccio preserve the features of old Venice, and show the variety of costume which gave so much pic 245 CARPENTER altarpieces at S. Francesco of Pirano in Is- I in Venice, and on his return to Bologna tria, and of Pczzale near Cadore.-Vasari, ed. Mil., iii. 627, 661; C. & C., N. Italy, i. 195; Ch. Blanc, Icole venitienne; Ltibke, Gesch. ita]. Mal., i. 539. CARPENTER, FRANCIS BICKNELL, born at Homer, New York, in 1830. Portrait painter, pupil of Sanford Thayer in Syracuse. Professional life passed in New York; elected an A.N.A. in 1852. Works: David Leavitt (1852), American Exchange Bank, New York; Asa Packer, Lehigh University, Pennsylvania; Lieut-Gov.Woodford, Senate Chamber, Albany; Goldwin Smith, Cornell University; Prof. Gibbs, Yale College, New Haven; Horace Greeley, Tribune Association, New York; Gov. M. H. Clarke, President Fillmore, City Hall, New York; Abraham Lincoln (1874), Capitol at Albany; President Tyler, President Pierce, WVm. H. Seward, Chas. Sumner, and many others. His Emancipation Proclamation (1864,) is in the Capitol, Washington. CARPI, GIROLAMO DA. See Girolamo da Carpi. CARR, DAVID, born in England; contemporary. Landscape and genre painter. Exhibits at Royal Academy and Grosvenor Gallery. Works: Weed Burners (1879); Watercress Gatherers (1880); A la Fontaine - Yport (1881); Cliff Ploughing, Violets (1882); Waiting, An Old-Fashioned Spring, At the Doors of La-Force -Paris, 1792 (1883). CARRACCI, AGOSTINO, born inBologna, Aug. 16, 1557, died in Parma, March 22, 1602. Bolognese school; son of a tailor, Antonio Carracci, who was cousin to Vincenzo, the father of Lodovico Carracci. Pupil of Fontana, of DomenicoTibaldi, and of Cornelius Cort, with whom he studied engraving, to which he devoted more time than to painting; afterward studied in Parma and I (1589), opened the famous Eclectic school of the Carracci with Lodovico and Annibale Carracci. He aided his brother Annibale (1600), in the Palazzo Farnese, Rome, where he painted the Triumph of Galatea and Cephalus and Aurora, of which his cartoons exist in the National Gallery, London; afterward went into service of Duke Ranuccio Farnese in Parma, where he died. Among his best works are the Communion of St. Jerome, Assumption, Bologna Gallery; Landscape with *Aj ^ Em^ J g 3Bathers,Palazzo Pitti, Florence; Infant Hercules, Louvre, Paris; Rinaldo and Armida, Naples Museum.-Malvasia, i. 263; Amorini, Vite, etc. (Bologna, 1840); Baldinucci, iii. 323; Wornum, Epochs, 320; Burckhardt, 699, 784, 794, 796, 808; Ch. Blanc, iScole bolonaise; Dohme, 2iii.; Seguier, 39; Bartsch, xviii. 31. CARRACCI, ANNIBALE, born in Bologna, Nov. 3, 1560, died in Rome, July 15, 1609. Bolognese school; brother of Agostino and pupil of Lodovico Carracci. In 1580 he went to Parma to study the works of Correggio and of Parmigiano; also visited Venice, and after seven years' absence returned to Bologna. He aided his cousin and brother in the academy which they founded there until 1600, when he accepted the invitation of Cardinal Odoardo Farnese to decorate the vaulted ceiling of a gallery in his palace in Rome. In this work, which occupied him eight years, he was assisted by his brother Agostino, and by Domenichino and Lanfranco. It represents various mythological subjects illustrative of celestial and 246 CARRACCI terrestrial love, and is varied with many ornamental figures, some in stucco and some in chiaroscuro. It excited the greatest admiration in Rome,and was declared by Poussin to excel all other works except those of Raphael. Annibale's pictures are more diversified in style than those of Lodovico and Agostino, comprising paintings in the manner of several of the great masters. Among his works are: Annunciation, Assumption, Madonna in Glory and Saints, Madonna with Saints, Bologna Gallery; Bacchante, Madonna, Uffizi, Florence; Last Supper, Ferrara Gallery; Rinaldo and Armida, Pietai, Holy Family, Bacchante, Naples Museum; Pieta, Palazzo Borghese, Rome; St. Roch giving Alms, Assumption, Ecce Homo, Madonna of St. Matthew, Dresden Gallery; Holy Family, Berlin Museum; St. Sebastian, Magdalen, Diana and Callisto, Resurrection, Entombment, Dead Christ, Apparition of the Madonna, Sleep of Infant Jesus, Madonna of the Cherries, Nativity, Birth of the Virgin, Louvre; Three Marys, Castle Howard, England; Christ appearing to Peter, St. John, Herminia, and the A< ^ Shep- PA A herds, Si1 e n u s, Pan and Apollo, Temptation of St. Anthony, National Gallery, London.-Malvasia, i. 263; Wornum, Epochs, 321; Kugler (Eastlake), ii. 571; Burckhardt, 769, 783; Gualandi, Guida, 36, 44; Dohme, 2iii.; Ch. Blanc, Ecole bolonaise. CARRACCI, FRANCESCO, born in Bologna in 1595, died in Rome, June 3, 1622. Bolognese school. Nephew of Agostino and Annibale, and pupil of Lodovico Carracci. Set up a rival academy in Bologna, putting over his door, "'This is the true School of the Carracci," but not succeeding, went to Rome. There are a few pictures by him in Bologna, such as St. Roch comforted by an Angel, Oratory of S. Rocco; Madonna and Saints, S. M. Maggiore.-Malvasia, Felsina Pittrice, i. 373; Dohme, 2iii. CARRACCI, LODOVICO, born in Bologna, April 21, 1555, died there, Nov. 13, 1619. Bolognese school son of Vincenzo Carracci, a butch- / i i er; pupil at Bo- logna of Prospero Fontana, who ad- /' // vised him to give. ' up painting, while his brother pupils nicknamed him from his stupidity the Ox. Studied chiefly at Venice under Tintoretto, who gave him but little more encouragement than Fontana. Afterward painted under Pasignano in Florence, and studied the works of the great masters in Venice, Mantua, Parma, and Padua. By persevering labour he acquired a correctness and simplicity of style which brought him into repute and enabled him to found in Bologna in 1589 an academy of painting which soon became the most important school of the time in Italy. He called it the Incamminati (Right Road), but it is usually known as the Eclectic school of Bologna, because the Carracci sought to unite in this system the excellences of each of the great masters. His cousins Agostino and Annibale soon joined him, and the three conducted it until 1600, after which Lodovico was its head until his death. The best pupils of this school were Doinenichino and Guido. Lodovico excelled rather as a teacher than as a painter, but left some excellent works, both in fresco and in oil, such as, Madonna in Glory and Saints, Birth of St. John Baptist, Preaching of St. John Baptist, Christ crowned with Thorns, Madonna with Saints, Calling of St. Matthew, Conversion of St. Paul, Transfiguration, Bologna Gallery; Scenes from lives of SS. Benedict and Cecilia, S. Michele in Bosco, Bologna; Miracle of the Loaves and Fishes, Berlin Museum; Pieti, Palazzo Corsini, Rome; Ecce Homo, Palazzo Doria, 247 CARREE Rome; Annunciation, Nativity, Madonna, he aided in the Alcazar and other royal Pieta, Vision of St. Hyacinth, Louvre, Paris; palaces; painted in Madrid and other Susannah and the Elders, National Gallery, cities many pictures London.; for churches and / / -Malva- convents, and, with sia,i. 263;,! > Francisco Rizi, the ~U, lLt o A nAm orini, | 4 cupola of S. Antonio Vite, etc. tr&h de los Portugueses. (Bolog- Became one of the (lL1 ll!c^6 ^h, J na,1840);-, court painters of Baldinuc- Philip IV. (1660), ci, iii. 302; Wornum, Epochs, 319; Burck- and was honoured hardt, 772; Ch. Blanc, Ecole bolonaise; in the same way by Charles II. (1671). His Dohme, 2iii.; Seguier, 38; Kugler (East- works show correct design and harmonious lake), ii. 572. colouring. Painted chiefly portraits and CARREE, HENDRIK, the elder, born at religious compositions. Works: Portrait Amsterdam, Oct. 2, 1656, (1658?), died in Charles II. (2), Queen Mariana, mother of 1721. Dutch school; animal and landscape Charles II., three others, Madrid Museum; painter, pupil of Juriaan Jacobsz and of id., Count Harrach, Vienna; Don Juan of Jacob Jordaens. One of his sons, born at The Austria, Sir Wm. Stirling Maxwell, London; Hague, Sept. 27, 1696, died there in 1775, id., heirs of Infant Sebastian, Pau; Magdaand two of his nephews, bore the same name len, Academy S. Fernando, Madrid; Marand were also painters, either of whom may tyrdom of St. Sebastian, St. Anthony feedas well be the author of the following works, ing the Fishes, Our Lady of Atocha, Musepainted about 1710 or later: Cattle among um Nacional, Madrid; Baptism of Christ, Ruins, Cattle and Peasant Woman with and St. Damian, Hermitage, St. Petersburg. Basket, Brunswick Museum.-Immerzeel, ^ ^ A^ADDTN i. 129; Kramm, i. 221; Riegel, Beitrage, ii.J OANN~S ACR NNO 418.Pi ECT I CARREE, MICHIEL, born at Amsterdam P CTOR REG, ET B 1 in 1666, died at Alkmaar. Dutch school; FAC, ANNO. 1673 animal and landscape painter; pupil of his -Stirling, iii. 995; Viardot, 220; Ch. Blanc, brother Hendrik C., then of Berchem, but Ecole espagnole; Curtis, 321; Madrazo, followed the style of Gabriel van der Leeuw; 374. resided some time in England, and about CARRIERA, ROSALBA (Rosa Alba), 1698 was invited to Berlin and made painter born in Venice,,, to King Frederick I., after whose death he Oct. 7, 1675, died c% " returned to Holland and lived mostly at there, April 15, Alkmaar. Works: Mad Bull, Cattle and 1757. Venetian Shepherdess playing Flute, Cattle among school; daughter Ruins, do. by Cottage, Brunswick Museum. of Andrea Carri-Gool, i. 125; Hoet, Aanmerkingen, 13. era de CostantiCARRENO DE MIRANDA, Don JUAN, no, chancellor of born at Avilez, Asturias, March 25, 1614, the village of died in Madrid in September, 1685. Of Gambarare. e. noble family. Spanish school; pupil of Worked with her Pedro de las Cuevas, and of Bartolome Ro- mother at making Point de Venise lace unman; became assistant to Velasquez, whom til it went out of fashion, when she learned 248 CARRIERE to paint for a livelihood. Studied under Antonio Lazzari, Diamantini, Balestra, and others, and at the age of twenty-four became famous for her miniatures and crayon portraits. In 1703 she became a member of the Accadernia Clementina, Bologna, and in 1705 of San Luca, Rome. In company with her brother-in-law, Antonio Pellegrini, she visited Paris in 1720, painted the royal family and many other distinguished persons, and was received into the Academy. All the courts of Europe vied in doing her honour and in giving her commissions. She excelled in painting pretty women, and one of her most lovely works is a portrait of herself in crayons in the Dresden Gallery, where are also many other of her pictures. Her heads are especially good, but her arms, hands, and busts are often weak in drawing. Many of her pictures are in the Dresden Museum. She became blind from overwork in 1746. -Ch. Blanc, lcole venitienne; Sensier, Journal de Rosalba Carriera (Paris, 1865); Seguier, 176; Wessely, 29. CARRIfRE, EUGfNE, born at Gournaysur-Marne (Seine-et-Oise); contemporary. Genre painter; pupil of Cabanel. Medal, 3d class, 1885. Works: Young Mother (1879); The Nymph Echo (1880); Kiss of Innocence (1882); Two Friends, Marguerite (1884); Sick Infant, The Favourite (1885). CARSTENS, ASMUS JACOB, born at St. Jurgen, near Schleswig, May 10, 1754, died in Rome, W May 26,1798. Ger- ' > i man school; history painter. Im-. pressed by the pie- -..,~ tures of Juriaen a/ A Ovens, pupil of Rembrandt, in the Cathedral of Schleswig, determined to become an artist, and tried in vain to study under Tischbein at Cassel. After five years' apprenticeship to a wine-dealer at Eckernforde, during which he drew and painted in his leisure hours, went to Copenhagen (1776) and took a partial course at the Academy, studied in the Museum, and supported himself by painting portraits. In 1783 went to Mantua, but was obliged to return to Libcke for want of funds. For five years lived by portrait painting, then went to Berlin (1787), and in 1790 became professor at the Academy of Arts. Having a pension from the King, he went to Rome in 1790, exhibited his works there in 1795, and won great applause. Had many distinguished pupils, such as Koch, Schick, Cornelius, etc., and took the position of founder of the new German school. Works: Death of,Eschylus;.Eolus and Ulysses; Fall of the Rebel Angels; Banquet of Plato; Battle of Rossbach; Homer; Return of the Megapenthes; Socrates saving the life of Alcibiades; Ganymede and the Eagle; Battle of Centaurs and Lapiths; (Edipus in Colonus; (Edipus Tyrannus.-Allgem. d. Biogr., iv. 29; F. von Alten, Der Maler A. J. C. (Schleswig, 1865); Ch. Blanc, ]cole allemande; Brockhaus, iv. 21; Fernow-Riegel, Carsten's Leben und Werke (Hanover, 1867); Grimm, Zehn Essays, 218; Mtiller- Schuchardt, Carstens' Werke (Leipsic, 1869); Pecht, iii. 31; Sach, Carstens' Jugend und Lehrjahre (Halle, 1881); Sch6ne, Beitrage z. Lebensgeschichte (Leipsic, 1866); Woltmann, Aus vier Jahrhdt., 169; Zahn's Jahrbilcher, vi. 99, 208; Zeitschr. f. b. K., x. 54; Zimmermann, Studien und Kritiken, ii. 273. CARTERIUS, painter, about the middle of 3d century B.c. His portrait of the philosopher Porphyrius has preserved his name from oblivion.-Porphyr., Vita Plotini, i. CARTERON, EUGENE, born in Paris; contemporary. History, genre, and portrait painter; pupil of B. Glaize and Leon Glaize. Medal, 3d class, 1878. Works: Lazarus (1877); Prodigal Son (1878); St. Jerome (1879); Creation of Eve (1881); Bone-Setter (1882); Journeys of St. Sulpice (1848); The Two Processions (1885). 249 CARTHAGE CARTHAGE, Joseph M. W. Turner, National Gallery, London; canvas, H. 4 ft. 11 in. X 7 ft. 5 in. A river scene, with piles of rich architecture on each side. Royal Academy, 1828. Painted for Mr. Broadhurst. CARTHAGE, DECLINE OF, Joseph M. W. Turner, National Gallery; canvas, H. 5 ft. 7 in. X 7 ft. 11 in. A scene of architectural magnificence on each side with an outlook upon the sea in centre and the sun setting in a sombre red gloom; at left, the hostages departing for the Roman camp. Royal Academy, 1817. Engraved by J. B. Allen in Turner Gallery. CARTHAGE, RISE OF, See Dido building Carthage. CARUCCI, JACOPO. See Pontormo. CASADO DEL ALISAL, Don JOSR; born in Valencia, contemporary. History and genre painter; pupil of Academy of Madrid, where he won the prize of Rome in 1860, and three 1st class medals. He is court painter and director of the Spanish Academy in Rome. Order of Isabella the Catholic. Works: Death of Ferdinand IV.; Bernardo del Carpio; Semiramis; Goya's Studio, J. T. Martin, Brooklyn; Zaida, S. A. Coale, St. Louis; Beheaded Arabs; Odalisque in Harem; Flora (1881); Legend of King Ramiro, the Monk (1881), National Museum, Madrid; In the Boudoir (1882); Temptation (1884); Laura (1885). —La Ilustracion (1879), i. 366; (1881), ii. 387; (1882), i. 83, 347; (1884), ii. 315; (1885), i. 131. CASANOVA, FRANCESCO, born in London in 1727, died at Brihl, near Vienna, July 8, 1805. Landscape and battle painter; taken to Venice at the age of six and taught by Guardi and Simonini. Visited Paris in 1751, and returned there after passing four years at Dresden. Became member of the Academy in 1763, and was employed by Catherine II. of Russia to paint her victories over the Turks. Finally settled at Vienna. Works: Battle of Fribourg, Aug. 3, 1644 (1771), Battle of Lens, Aug. 20, 1648 (1771); two Landscapes with Animals, Louvre; Battle, Vienna Museum; Turkish Cavalry Marching, Battle, Nantes Museum; Military Halt, Skirmish, Rouen Museum; Starting for the Hunt, The Walk, TheHunt, Halt durJcit u t ing the 7@ H u n t, n vaz Nancy Museum; Battle of Lens, Battle of Fribourg, Lyons Museum.Villot, Cat. Louvre; Ch. Blanc, Ecole franqaise; Larousse, iii. 485; Lejeune, Guide, i. 424; Wurzbach, ii. 301. CASELLI (Casoli, Castelli), CRISTOFORO, of Parma (1489-1507). Lombard school. Sometimes called also Cristoforo da Parma and I1 Temperello. Journeyman at Venice in 1489-92, with the Bellini; painted there in 1495 the Madonna and Saints, in the sacristy of S. M. della Salute. In 1496 he was a master in Parma, where he painted (1499) the Madonna and Saints now in the Sala del Consorzio, which exhibits much of the grace of Cima. Other works of his are: Madonna and Saints, Parma Gallery; God the Father, in the Duomo, Parma, and Adoration of the Magi, in S. Giovanni, Parma.-C. & C., N. Italy, i. 587; Burckhardt, 588, 603; Vasari, ed. Mil., vi. 485. CASENTINO. See Jacopo da Casentino. CASILE, ALFRED, born in Marseilles; contemporary. Landscape painter. Medal, 3d class, 1885. Works: Cliff in Normandy (1879); By the Cliffs (1880); Quarantine Grounds at Marseilles (1881); Field of Mars after the Exposition (1882); Quay on the Rhone (1883); After the Rain (1884); View of Paris (1885). CASILEAR, JOHN W., born in New York, June 25, 1811. Landscape painter; studied in Europe in 1840 and in 1857. Elected an A.N.A. in 1835, and N.A. in 1851. Studio in New York. Works: Swiss Lake (1868); Genesee Meadows (1871); 250 CASSANDRA September Afternoon (1874); Trout Brook represented them. Andrea was employed in (1875); Autumn (1876); Scene in New 1444, 1446, and 1455 in the Cathedral, Hampshire (1877); View on Shemung Florence, and in 1451 in the hospital of River (1878); View of the Rocky Mount- S. M. Nuova, where he painted various ains (1881); Scene on Long Island (1883); works, a St. Andrew, a Last Supper, and a Catskill Twilight. series of frescos in the church choir illusCASSANDRA, ancient picture. See Polyg- trating the life and death of the Madonna, notus, Theodorus. all now destroyed. Vasari accuses Andrea CASSIOLI, AMOS, born in Siena, Italy, of having murdered Domenico Veneziano, in 1838. History painter, pupil of L. Mus- out of jealousy of the superior talent shown sini; won at Florence, in 1868, first prize in by the latter when they worked together at historical painting, for his picture of Lorenzo S. M. Nuova; but his innocence is fully esde' Medici showing his Art Collection to tablished by the certainty that Domenico Galeazzo Sforza. Professor at Florence survived him four years. Among the works Academy. Works: Battle of Legnano, of Andrea are the picture of Niccolb da Florence Gallery; Bianca Capello; Studio of Tolentino on horseback (1456), Duomo, Leonardo da Vinci, Provenzano Solvani re- Florence; Crucifixion (fresco), Loggia of ceiving Gifts for Ransom of a Prisoner, Pa- Hospital adjoining S. M. Nuova; St. John lazzo pubblico, Siena.-Mfiller, 97. and St. Francis, S. Croce, Florence; PorCASTAGNO, ANDREA DEL, born at trait, Pitti; Altarpiece, also SS. Jerome and Mugello, near Florence, in 1390, died in John and the Magdalen, Academy, Florence; Florence, Aug. 19, 1457. Florentine sclool; Last Supper, Refectory of S. Apollonia, son of a labourer, Bartolommeo di Simone; Florence; Frescos for the Villa Carducci, was observed drawing cattle on flat stones Uffizi, Florence.-Vasari, ed. Mil., ii. 667; by Bernardetto de' Medici, who, struck with C. & C., Italy, ii. 302; Burckhardt, 635; his talent, took him to Florence and gave Meyer, Ktlnst. Lex., i. 693; Ltibke, Gesch. him opportunity for study. Baldinucci con- ital. Mal., i. 279. jectures that he was apprenticed to Masac- CASTAN, GUSTAVE, born in Geneva cio, but he was more probably taught in the in 1823. Landscape painter, pupil of school which produced Uccello and Pesel- Alex. Calame; paints attractive landscapes lino. He was an intense realist, full of of brilliant execution. Works: Souvenir energy and truth to common nature, but a of Franche-Comte, Storm in Winter, Lille hard and inharmonious colourist. The two Museum; Forest in Winter, Langres MuCrucifixions in the monastery of the Angeli, seum; View near Lancy; Banks of the Florence, which were pointed out as among Creuse; Entrance to Forest in Autumn; his earlier works, are vulgar in type, Easter in Winter; Torrent in the Alps; hard in line and drapery, and without feel- Lake Lucerne; Wood-Interior in Autumn ing. Better are the colossal portraits of (1879).-Mtiller, 97; Larousse. Heroes and Sibyls which he painted for a CASTELLANO, Don MANUEL, born in hall in the Villa Pandolfini at Legnaja, now Spain; contemporary. History and genre transferred to canvas and in the Uffizi. In painter. His Death of Villamediana (1871), 1435, Andrea was commissioned by the Museum Fine Arts, Madrid, was awarded a Florentine government to paint upon the medal at Philadelphia Exposition, 1876. walls of the Palace of the Podesth the Peruz- CASTELLO (Castelli), BERNARDO, born zi and the Albizzi, who were declared rebels at Albaro, near Genoa, 1557, died in Genoa, after the return of Cosino de' Medici. From Oct., 1629. Genoese school; pupil of this he derived his surname of Andrea degli Andrea Semini and of Luca Cambiaso; Impiccati (of the Hanged), he having so travelled through Italy, and formed a grace. 251 CASTELLO ful and correct style. Was the friend of a Dutch Fortress by Spaniards, and DisemTasso, for whose Gerusalemme he made the barkation of Don Fadrique de Toledo at S. ^,W.? s designs engraved Salvador, Madrid Museum. —Cean Bermu-.^^^^ y in part by Agos- dez; Quilliet; Madrazo, 378. A., ^tino Carracci, and CASTELLO, GIAMBATTISTA. See wf E ~i| iwas eulogized by Bergamasco. J }57 % him. In 1604 he CASTELLO, NICOLAS GRANELO,:.~ t,~_ ---/ was called to died in Madrid in 1593. Spanish school; t'\^^ ": Rome and paint- son and pupil of Giambattista Castello (I1 ed for St. Peter's Bergamasco). Named painter to Philip II. t74lf — the Calling of St. in 1571; executed in 1584, with Taboron /- ~ ~* Peter, for which and Cambiaso, in the Escorial, a fresco of a picture by Lanfranco was afterward sub- the Battle of St. Quentin, and in 1587, with stituted. His works are mostly in the Taboron, the Battle of Higuernela; also churches of Genoa and its neighbourhood. painted other frescos in ducal palace at Had three Alba de Tornus.-Stirling, i. 192; Cean sons, Giovan- C Bermudez. ni Maria, Ber- CASTELLO, VALERIO, born in Genoa nardino, and,ri, in 1625, died there in 1659. Genoese Valerio, all school; son of Bernardo Castello; pupil of painters.-Soprani, 115; Lanzi, iii. 250; Ch. Gio. Andrea de' Ferrari and of Il Sarzana; Blanc, Ecole genoise. studied works of masters in Milan and CASTELLO, CASTELLINO, born in Parma. Formed an excellent style of his Genoa in 1579, died in Turin in 1649. own; painted in both oil and fresco, but Genoese school; pupil of Gio. Battista excelled in latter. Subjects chiefly religPaggi. Painted many pictures for churches ious, but painted also battles. Works in in Genoa and elsewhere, but most noted for churches and palaces in Genoa. His Rape his portraits. When Van Dyck visited of the Sabines is in the Palazzo BrignoleGenoa, he and Castello reciprocally painted Sale, Genoa; a smaller example, somewhat each other's portraits. In 1647 he was ap- varied, in the Uffizi.-Lanzi, iii. 259; Ch. pointed portrait painter to the court of Sa- Blanc, Ecole genoise. voy, and removed to Turin. His son Nic- CASTIGLIONE, BALDASSARE, Count, colb, who was living in 1668, inherited his portrait, Raphael, Louvre; wood transferred ability.-Lanzi, iii. 262; Ch. Blanc, Icole to canvas, II. 2 ft. 8 in. x 2 ft. 2 in. Halfgenoise; Soprani, 125. length, three-quarters, turned to left, with CASTELLO, FABRICIO, died in Madrid beard and moustaches; in black vest and in 1617. Spanish school; son of Giambat- cap and gray doublet. Painted in Rome tista Castello (I1 Bergamasco) and pupil of about 1516; passed from Collection of Duke his elder brother, Nicolas Granelo Castello. of Mantua to Charles I. of England, after Painted frescos in the Escorial and the whose death bought by Lopez of AmsterPardo, and became painter to Philip IL in dam. Copied at this time by Rubens; 1584, and also to Philip IIL-Stirling, Rembrandt also made a sketch of it, now in i. 192; Cean Bermudez. Albertine Collection, Vienna, and R. Persyn CASTELLO, FELIX, born in Madrid in engraved it. Passed to Cardinal Mazarin, 1602, died there in 1656. Spanish school; from whose heirs bought for Louis XIV. pupil of his father Fabricio Castello and of Another portrait by Raphael, bust, painted Vincenzo Carducho; painted historical com- in 1519, probably that in Torlonia Gallery, positions and portraits. Works: Capture of Rome. Louvre picture engraved by J. 252 CASTIGLIONE Godefroy; Nic. Larmessin; Bautrois; Senter; Nic. Edelinck.-Villot, Louvre; Filhol, v. P1. 359; Miintz, 534; Springer, 253, 509; Cab. Crozat, i. P1. 13. CASTIGLIONE, GIOVANNI BENE DETTO, born in Genoa in 1616, died in Mantua in1670. Genoese school. Called, on account of the beauty of his colouring, II Grechetto (Little Greek); and in France I1._`1 ( -.... '?. -,. I. Benedetto. Pupil of Gio. Battista Paggi and of Gio. Andrea de' Ferrari. Soprani says he also had lessons of Van Dyck, but as he was only nine years old when that painter left Genoa it is probable that he merely studied his works. Castiglione painted in Florence, Rome, Venice, Naples, Bologna, and Mantua, in which city he entered the service of Duke Charles I. about 1654. He soon won a great reputation, and received orders even from France, England, and Germany. Though he painted large historical works, he is best known by his cabinet pictures, especially landscapes and pastoral pieces, in which he frequently introduced animals. He left about seventy etchings. His brother Salvatore and his son Francesco were his pupils and imitators. Among his best examples are: Nativity, S. Luca, Genoa; Madonna with Saints showing true effigy of St. Domenic to a monk of his order, S. M. di Castello; Christ on the Cross and St. Bernard, S. Martino, Genoa; Abraham and Melchisedec, Adoration, Expulsion from the Temple, Caravan, Bacchantes and Satyrs, Birds and Animals, Louvre, Paris; Noah entering the Ark, Dresden Gallery, Munich Gallery, and Uffizi, Florence.-Baldinucci, v. 206; Soprani, 223; Lanzi, iii. 273; Seguier, 41; Ch. Blanc, icole g6noise. CASTIGLIONE, GIUSEPPE, born in Naples; contemporary. Genre and portrait painter. Lives in Paris. Works: Visiting the Cardinal Uncle, The Warrants, Philadelphia Exposition, 1876; Terrace of Palazzo Reale at Naples, Duel without Witnesses (1877); Paroquet's Lesson (1878); Plucking the Rose, W. H. Fosdick, Louisville; Prospect, W. B. Bement, Philadelphia; Soldiers of Cromwell in Haddon Hall, Visiting the Cardinal Uncle, Paris Exposition, 1878. CASTILLO, AUGUSTIN DEL, born in Seville in 1565, died in Cordova in 1626. Spanish school; pupil of Luis Fernandez; painted in fresco and oil, chiefly in Cordova. Works: Adoration of the Magi, Cathedral, Cadiz; Conception, Cathedral, Cordova.Stirling, i. 460; Viardot, 185; Ch. Blanc, Ecole espagnole. CASTILLO, JUAN DEL, born in Seville in 1584, died in Cadiz in 1640. Spanish school; younger brother of Augustin del Castillo; pupil of Luis Fernandez. Chiefly noted as the master of Moya, of Alonso Cano, and of Murillo. Works: Marriage of the Virgin, Nativity, Assumption, Visitation, Annunciation, Seville Museum. - Stirling, i. 460; Ch. Blanc, Ecole espagnole; Viardot, 186. CASTILLO Y SAAVEDRA, ANTONIO DEL, born in Cordova in 1603, died there in 1667. Spanish school; son and pupil of Augustin del Castillo, after whose death he studied in Seville under Zurbaran. Became a popular portrait painter in Cordova; also executed some religious compositions, good in design but faulty in colouring. Vigorous style, with effects worthy of Caravaggio. Said to have died of despair on seeing Murillo's pictures in Seville. Works: Adoration of Shepherds, Madrid Museum; others in churches and convents of Cordova, the best at the Cathedral and in convents of St. Francis and St. Paul; Visitation, Hermitage, St. Petersburg.-Stirling, ii. 807; Viardot, 187; Ch. Blanc, ]cole espagnole; Curtis, 345; Madrazo, 381. 258 CASTOR CASTOR AND POLLUX, Rubens, Munich Gallery; canvas, H. 7 ft. 4 in. x 6 ft. 10 in. Castor and Pollux carrying off Hilseira and Phoebe, daughters of Leucippus. One of them, mounted on a noble horse, the reins of which are held by Cupid, is lifting [ — j-> Alpine scenery, and to Rome in 1812, where his talent developed through intercourse with Koch, Overbeck, Schadow, and Cornelius. With the exception of occasional home visits, he remained in Italy, and from 1830 lived at his country seat near Macerata. His landscapes with architectural accessories are broadly treated, and effective in chiaroscuro. Works: Colonnade of St. Peter's by Moonlight; Storm on Etna; Monastery near Salerno; Interior of Pantheon; The Via Appia; View from Cloister at Amalfi; Gondolas on the Lagoon; View of Rome; Crater of Vesuvius; Ruins of Psestum; Villa of Miecenas at Tivoli. Other pictures in Berlin, Munich, and Copenhagen Galleries.Allgem. d. Biogr., iv. 70; Riegel, 533. CATENA, VINCENZO, born at Treviso about 1465, died in Venice, 1531. Venetian school; real name, Vincenzo di Biagio; known in 1495, when a journeyman in the Sala del Gran Consiglio, Venice, as Vincenzo da Treviso. A pupil of the Bellini, he copied Giovanni Bellini, without approaching him in drawing, boldness of treatment, or richness of colouring; but he was a painter of great industry and considerable reputation, and made friends among the wealthy. Among his earlier pictures are a Presentation of Christ to Simeon, Communal Gallery, Padua; a Madonna and Saints, Liverpool Institution; and a Trinity, S. Simeone, Venice. His skill increased with the opening of the 16th century, as is shown in his Madonna and Doge Loredano, Palazzo Ducale, Venice. His portrait of Loredano, Lochis-Carrara Gallery, Bergamo, is assigned to Gentile Bellini, and the copy at Dresden to Giov. Bellini. In 1520 Catena finished the Glorification of St. Christina, in S. M. Mater Domini, Venice. Other pictures by him are: Madonna and Saints, Dresden Gallery; Circumcision, Leuchten and Pollux, Rubens, Munich Gallery. up one of the women, aided by his brother, who is holding the other one upon his knee. Engraved by Val. Green.-Smith, ii. 63. CASUAL WARD, Luke Fildes, Holloway Institute, Egham, near London. A group of wretched and deformed creatures waiting for admission to a resting place for the night. Wonderfully realistic. Royal Academy, 1874; Philadelphia Exposition, 1876; Paris Exposition, 1878; sold to Thos. Taylor, of Wigan; Taylor sale (1883), ~2,205.Art Journal (1874), 201; Portfolio, May, 1878. CATEL, FRANZ LUDWIG, born in Berlin, Feb. 22, 1778, died in Rome, Dec. 19, 1856. German school; landscape painter. Beginning as wood-carver and illustrator of books, he practised water-colour, and in 1806 painted the assassination of Nicholas von Bernau, for which he was elected member of the Berlin Academy. Went to Paris in 1807, where he commenced oil painting, to Switzerland in 1811, where he studied 354 CATHERINE berg Collection, St. Petersburg; Glory of St. Francis, S. Giovanni e Paolo, Venice; and several in the Venice Academy. C. & C., N. Italy, i. 247; Ch. Blanc, ]lcole venitienne; Vasari, ed. Mil., iii. 628; Burckhardt, 601; Lilbke, Gesch. ital. Mal., i. 549. CATHERINE, ST., Raphael, National Gallery, London; wood, H. 2 ft. 4 in. x 1 ft. 9. in. St. Catherine of Alexandria, standing, leaning upon the wheel, one hand on her heart, her eyes raised heavenward, whence rays of light proceed; background, a landscape with hills and a lake. Painted in Florence in 1507. In the Aldobrandini and Borghese collections; bought from latter, end of last century, by Mr. Day, who sold it to Lord Northwick for ~2,000; bought from Beckford for National Gallery in 1839. Surface injured by cleaning. Copy in Trubetzkoy Collection, St. Petersburg. Studies in the Louvre and at Chatsworth. Engraved by Marc Antonio; A. B. Desnoyers; Leroux.-C. & C., Raphael, i. 340; Gruyer, Vierges de Raphael, iii. 579; Passavant, ii. 56; Mtintz, 229; Richter, 55. By Guido Reni, Turin Gallery; canvas, H. 3 ft. x 2 ft. 6 in. St. Catherine, seated, seen to knees, with a lamb in her lap and a palm in her hand. Engraved by D. Testi. -Gal. di Torino, iii. P1. 86. CATHERINE, ST., IN ECSTACY, Ales. Tiarini, Bologna Gallery; canvas, H. 7 ft. x 4 ft. 7 in. St. Catherine of Siena, supported by two angels, about to kneel before a crucifix. Formerly in church of the convent of S. M. Maddalena. Engraved by N. Mellini; A. Marchi.-Pinac. di Bologna, P1. 27. CATHERINE, ST., MARRIAGE OF, Fra Bartolommeo, Louvre; wood, H. 8 ft. 5 in. x 7 ft. 6 in.; signed, dated 1511. The Virgin, enthroned, attended by SS. Peter, Bartholomew, Vincent, and others, holding palms, presides at the mystic marriage of Jesus with St. Catherine, who kneels before her; behind her, to right, SS. Francis and Dominic embracing; above, angels sustain the curtains of the canopy. Painted for S. Marco, Florence; presented in 1512 to Jacques Hurault, Bishop of Autun, ambassador of Louis XII. to Florentine Republic; long in sacristy of Cathedral of Autun; removed in 1801 to Musee Napoleon; belonged to collection of Francis I. —Landon, Marriage of St. Catherine, Fra Bartolommeo, Louvre. Musee, 2d Col., iii. PI. 56; Villot, Louvre; C. & C., Italy, iii. 451; Vasari, ed. Mil., iv. 184. By Boccaccio Boccaccino, Venice Academy; wood, H. 2 ft. 10 in. x 4 ft. 7 in.; signed. The Virgin sitting, holding Jesus, who gives the ring to kneeling St. Catherine; St. Rose, standing; SS. Peter and John Baptist kneeling.-C. & C., N. Italy, ii. 445. By Correggio, Capitol Museum, Rome. The Virgin, with Jesus on her knees, seated under a tree in a landscape; at right, St. Catherine, kneeling, with a palm in her hand, is receiving the ring from the child; at her feet is part of the wheel and a sword. Replica in Naples.-Righetti, Campidoglio, ii. P1. 273. By Correggio, Louvre; wood, H. 3 ft. 5 in. x 3 ft. 4 in. St. Catherine receives a 255 CATHERINE ring from Jesus, who is seated on knees of right hand to receive the ring, while hex Virgin; behind her is St. Sebastian with left, holding a palm branch, rests on a arrows; in background the martyrdom of broken wheel. The beauty of the Virgin the two saints. Painted, it is said, on the gave this picture the title of La plus belle occasion of the marriage of the painter's des Vierges. Formerly in Collection of sister, Caterina Allegri, in 1519. In posses- Chevalier de Burtin, at Brussels, at whose sion of Dr. F. Grillenzoni, Modena, in 1530- decease taken to England in 1820 and sold 35; passed thence to Cardinal Luiji d'Este to king for 2,500 guineas. Engraved by and later to Countess Santa Fiora, and to Lommelin.-Smith, iii. 69. Cardinal Fr. Sforza di S. Fiora, Rome; in By Lorenzo Lotto, Lochis-Carrara Gallery, 1650 belonged to Cardinal Barberini, who Bergamo; canvas, figures under life size; took it to France and gave it to Cardinal signed, dated 1523. St. Catherine kneels before the Virgin, and Jesus presses forward _~'~92cyyj^ [ I to give her the ring; an angel stands with J[ ^^^^rlt^^, | folded arms; at left Nicolo de Bonghi sits 1 Ivy l OT attentive. Landscape seen through an openI Y1i g^WSS-? K^ ling on right cut out and stolen; its place now filled by a piece of dark canvas. Prob. ably painted for Zanin Casotto of Bergamo. - -C. & C., N. Italy, ii. 513; Ridolfi, Mara-.igAlie, i. 186; Rio, iii. 289. By Bernardino Luini, Poldo-Pezzoli Museum, Milan. The Virgin, standing, sup/b?^-^^^^^^^Vi:a \^^^.* -. ports the infant Jesus, who, sitting upon a? /W; l ~cushion placed upon a table, places the j- J f ring upon the finger of St. Catherine; standing at left.-Art Journal (1884), 23. By Hans Memling, Hospital of St. John, v} 'lijBruges; triptych. The Virgin, enthroned under a portico, with angels above about to Marriage of St. Catherine, Correggio, Louvre, crown her, holds the infant Jesus, who bends to give a ring to St. Catherine kneelMazarin; valued in his inventory at 15,000 ing; at right and left, the Baptist, Evangelivres; and sold by his heirs to Louis XIV. list, and St. Barbara, standing; an angel Replicas, with variations, in Louvre, Naples plays an organ, another holds a missal; beMuseum, and Hermitage. Engraved by hind St. Catherine, a monk of St. Augustine, Picart; Massard; Capitelli; Duthe; Folo; and further back another monk with a H. Dupont (1867).-Meyer, Correggio, 322, gauge for wine and spirits; in background, 484; Kunst. Lex., i. 432; Mus6e Royal, i. episodes in life of St. John. On right wing, Pt. 1; Landon, viii. P1. 20; Villot, Louvre; Salome receives the Baptist's head and Vasari, ed. Mil., iv. 116, vi. 471; Filhol, vii. dances before Herod; on left, Vision of St. PL 439; Kugler (Eastlake), ii. 502. John Evangelist. Copy, owned by Mrs. By Anton van Dyck, Buckingham Pal- Davenport, exhibited at Royal Academy, ace; canvas, H. 3 ft. 8 in x 3 ft. 10 in. The London, 1884.-C. & C., Flemish Painters, Virgin seated at right, with infant Saviour 251; Art Journal (1884), 60. on her knee, holds in her right hand a By Murillo, Capuchin Church, Cadiz; wreath of flowers to crown St. Catherine, canvas, H. 13 ft. 9 in. x 10 ft. 8 in. The who, bowing in adoration, extends her Virgin, seated on a platform in front of two 256 CATHERINE columns on right, holds on her lap the Infant Jesus, who is about to place a ring on the finger of St. Catherine kneeling; behind the Virgin, three angels; behind St. Catherine, two angels; in front, three cherubs, and a sword and broken wheel; above, angels and cherubs in a glory. Painted in 1682, the last work of Murillo; while working upon it he stumbled on the scaffold and died from the effects of the fall. This picture, one of the richest and most graceful of Murillo's compositions, is the centre of an immense altarpiece (20 x 24 ft.) which fills the arch at the end of the convent church. After Murillo's death, part of the glory was finished by Meneses Osorio, who also painted the four lateral pictures, probably after Murillo's designs. Etched by E. St. Raymond -Curtis, 221; Palomino, iii. 421; Ponz, Viage, xviii. 20. By Murillo, Vatican, Rome; canvas, H. 3 ft. 6 in. x 4 ft. 4 in. The Virgin, seated on right, holds Jesus on her lap; he places the ring on the finger of St. Catherine, who bends reverently forward to receive it. Presented in 1855 by ex-Queen Christina of Spain to Pius IX.-Curtis, 222. By Andrea Previtali, sacristy of S. Giobbe, Venice; wood, figures half length, a little more than half life-size. The Virgin seated; Jesus, on her lap, holds out the ring to St. Catherine; on other side the Baptist. Commonly attributed to Giov. Bellini. Replica, signed and dated 1504, in Collection of Sir Charles Eastlake, London.-Zanotto, Pinac. Ven., P1. 25; C. & C., N. Italy, i. 275; Waagen, Treasures, ii. 265. By Rubens, Ch. of Augustins, Antwerp; canvas, H. 15 ft. x 11 ft. The Virgin enthroned, holding infant Saviour, who is bending forward to place the ring on the finger of St. Catherine; behind the Virgin, St. Joseph; on her right, SS. Peter and Paul; on her left, St. John with two angels and the lamb; below, SS. Sebastian, Augustine, Lawrence, Paul the Hermit, and George, the last in armour. Sir J. Reynolds calls it one of the most considerable of the works of Rubens. Engraved by Snyers; Eynhouedts.-Smith, ii. 24; Beechey, Reynolds, ii. 173. By Rubens, Duke of Rutland, Belvoir Castle; canvas, H. 8 ft. 6 in. x 7 ft. The Virgin seated, holding Jesus, who bends forward to place a crown on the head of St. Catherine, who is kneeling; behind her stands St. Agnes, and opposite are St. Christina and St. Margaret; four angels, one with a thunderbolt, the others with crowns and palms. Sold in 1766 by the Order of St. Augustines, Mechlin, to Chevalier Verhulst, for 9500 florins; at his sale, 12,705 florins. Engraved by P. de Jode; Alex. Voet.-Smith, ii. 47; ix. 256. By Pellegrino Tibaldi, Bologna Gallery; wood, H. 6 ft. 8 in. x 4 ft. 5. in. The Virgin seated, holding the Child, who gives the ring to St. Catherine; at right, St. Joseph; background of architecture. Formerly in church of the Misericordia, Bologna. Engraved by Ant. Marchi.-Pinac. di Bologna, P1. 22. By Paolo Veronese, S. Caterina, Venice. The Virgin enthroned at left, with Jesus on her knees, surrounded by many angels singing and playing musical instruments; St. Catherine kneeling to receive the ring; about, at right, a glory of angels and of cherubim. Painted in 1572. Engraved by Agos. Carracci (1582).-Zanotto, 313; Bartsch, xviii. 90. Subject treated also by Giuliano Bugiardini, Bologna Gallery; Alessandro Tiarini, Bologna Gallery; Ludovico Cigoli, Hermitage, St. Petersburg; Domenico Feti, Vienna Museum; Giulio Cesare Procaccini, Hermitage, St. Petersburg; Titian, Palazzo Pitti, Florence; Guercino, Galleria Estense, Modena; Andrea del Sarto, Dresden Gallery; Lorenzo Lotto, Munich Gallery; Parmigianino, Parma Gallery; Michael Wohlgemuth, Munich Gallery; Jakob Jordaens, Madrid Museum; Ambrogio Borgognone, National Gallery, London. CATHERINE, ST., MARTYRDOM OF, Guercino, Hermitage, St. Petersburg. The I 257 CATHERINE Saint, dressed in a yellow tunic and a rich Martelli, Florence.-Gal. du Pal. Pitti, i. P1. red mantle lined with blue, kneels before 73; Rosini, vi. 168. the executioner, who wears a red cap and CATLIN, GEORGE, born at Wilkesbarre, holds a drawn sword; to left, the wheel; in Pa., July 26, 1796, died in Jersey City, N. J., the sky, an angel with palm and crown; in Dec. 23, 1872. Portrait painter, self-taught; began his professional life in Philadelphia. In 1832-38 he visited the Indians of the Yellowstone River, Indian Cospiracy~ o Sl oR a Pt. o cTerritory, A rkansas, and Florida; and in 1852-57 ~to w ' 0.er itravelled in South and Central America, after which he her hea:l lived in Europe until 1871. Mr. Catlin painted 470 fulllength portraits of Indians and many pictures illustrative of their life and customs lI~ olwhich were exhibited in the 7',jo.United States and in Europe. They are now in the National Museum, Washington. R CATO, DEATH OF, Charles Lebrun, Louvre, Conspiracy of Cataline, Salvator Rosa, Palazzo Pitti, Florence. Paris; canvas, H. 3 ft. 2 in. background, a landscape with bridge and x 4 ft. 4 in. Cato dying on his bed, holding tower. in his right hand the Phaedo of Plato, which CATHERINE OF SIENA, ST, CORO- he had read before stabbing himself with NATION OF, Pietro Francesco Bissolo, Ven- the sword lying beside him; in background, ice Academy; wood (?), H. 12 ft. x 8 ft. 3 in.; signed. St. Catherine kneels before Christ, who places the crown of thorns on her head; in attendance are angel Raphael and Tobit, Mary Magdalen, and SS. Peter, James, and Paul; above, the Eternal and cherubs. Originally in S. Pietro Martire, Murano. Bissolo's masterpiece as a composition, but repainted. -Zanotto, Pinac. Ven., P1. 10; C. & C., N. Italy, i. 289. CATILINE, CONSPIRACY OF, Salvator Rosa, Palazzo Pitti, Florence; canvas, H. 5 ft. x 5 ft. 11 in. A group of armed men standing around an altar; Lentulus and - Cethegus, with hands clasped, are mingling Death of Cato, Charles Lebrun, Louvre, Paris. their blood in a chalice, to strengthen their oaths; the figure in shadow, with a band the heads of a man weeping and of a solaround his hair, is Catiline, near whom dier. (Plutarch.) Painted at Lyons about stands Quintus Curtius. Duplicate in Casa 1645.-Landon, Musee, xi. P1. 22. 68 CAT'S CAT'S PAW, Sir Edwin Landseer, Earl of Essex, Cassiobury; wood. A monkey has grasped a cat, and notwithstanding her struggles is using her paw to remove some roasting chestnuts from the top of a hot stove; in background, a table with a kitten upon it beside a basket, out of which another frightened kitten is peeping. British Institution, 1824; sold for ~100 and bought a few days afterward by Earl of Essex for ~120. Engraved by C. G. Lewis.-Stephens, 52; Landseer Gallery. CATTANIO, COSTANZO, born in Ferrara in 1602, died in Rome in 1665. Lombard school; pupil of Guido; was a bravo, bften in exile or in defiance of the authorities, and his pictures frequently bear marks of his character. He painted soldiers and ruffians, but some of his works are more in keeping with the style of his master. Among the latter are a St. Anthony in the church of Corlo, and a Last Supper in the refectory of S. Silvestro, Ferrara. - Lanzi, iii. 220; Ch. Blanc, Ecole ferraraise. CATTERMOLE, GEORGE, born at Dickleburgh, near Diss, England, Aug. 8, 1800, died at Clapham Common, July 24, 1868. History painter, water-colours; studied architecture and became early a book illustrator, in which he exhibited much archaeological and architectural skill. About 1830 he began to paint in water-colours, became a member of the Society of Painters in Water Colours, and contributed to their exhibitions until 1850, when he withdrew. He was awarded one of the two first class medals (the other, Landseer) at Paris in 1855, and was a member of the Royal Academy of Amsterdam and of the Belgian Society of Water Colour Painters. Works: Sir Walter Raleigh witnessing the Execution of Essex, Old English Hospitality (1839); The Castle Chapel (1840); Hamilton of Bothwel Haugh preparing to shoot the Regent Murray, After the Battle of Newbury (1843); Visit to the Monastery, Benvenuto Cellini defending the Castle of St. Angelo (1845); The Unwelcome Return (1846). In 1862 he exhibited an oil picture, A Terrible Secret, at the Royal Academy. Charles Cattermole, his nephew, paints'in both oil and watercolours. - Redgrave; Art Journal (1857), 209; (1868), 180; (1870), 92. CAUCIG, FRANZ, born in Goritz, Dec. 3, 1762, died inVienna, Nov. 18, 1828. German school; history painter. First taught in Vienna, then spent seven years in Italy, where he studied the Carracci in Bologna and in Rome. Revisited Italy in 1791, and remained six years, studying especially Titian in Venice. In 1799 he was appointed professor and in 1820 director at the Vienna Academy. His subjects, taken principally from Greek mythology and the Old Testament, are academic in treatment, and though good in drawing are weak in colour. Works: Solomon's Judgment, Museum, Vienna; others at the Academy and in Liechtenstein, Schonborn, and Czernin Galleries, ib.; Sappho, Prague Gallery; Death of Portia, Orpheus at Eurydice's Tomb, Joanneum, Gratz.Allgem. d. Biogr., iv. 75; Wurzbach, ii. 312. CAULITZ, PETER, born in Berlin about 1650, died there in 1719. German school; landscape and animal painter; studied in Rome; painted chiefly Italian landscapes and animal pieces, in the Dutch style. Works: Chicken Yard, Berlin Museum; Two A cG lk.fedt. Landscapes with Temple Ruins, and Bridge, Brunswick Museum; others at the Royal Castles in Berlin and Potsdam.-Allgem. d. Biogr., iv. 76. CAUSIERS. See Cossiers. CAVAZZOLA, or CAVAZZUOLA. See Morando, Paolo. CAVEDONE, GIACOMO, born at Sassuolo in April, 1577, died in Bologna in 1660. Bolognese school; son of a poor apothecary, became page to an art amateur, who placed him in the school of the Carracci, and afterward in that of Passarotti. Studied in 29 CAXIS Venice the works of Titian, and acquired a Paris in 1676, died there, June 25, 1754. style of colouring in advance of most of his French school; history painter, pupil of school Painted in Bologna, for churches, Rene Antoine Houasse and of Bon Boulworks considered almost equal to those of logne; became member of the Academy in Annibale Carracci. In 1610 went to Rome 1703, professor 1718, rector 1743, director and became assistant to Guido, but home- 1744, chancellor 1746. Painted many altarsickness soon took him back to Bologna. pieces for churches in Paris and the provHe bade fair to become famous, when family inces, also historical and mythological scenes, afflictions affected his mind, and he died in the then prevailing style of convena beggar. Among his works are: Madonna tional elegance. Works: St. Peter reviving in Glory and Saints Alo and Petronius, Bo- Tabit h a, logna Gallery; Adoration of Shepherds and t Louvre; Kings, S. Paolo, Bologna; Apotheosis of S. ( 4 7 Pharaoh's Benedict, S. Michele in Bosco; Madonna Cup found and Saints, S. M. delle Laudi; Nativity, SS. i n BenjaFilippo and Giacomo; St. Anthony and min's Sack (1698); Vision of Jacob in Egypt Prophets, S. Benedetto; Pieta, Angel and (1699); Triumph of Hercules over Achelotis r/ J _oJu~ if ~ (1703).-Ch. Blanc, ecole fran9aise; Villot, I^lT o Cat. Louvre. 6 (_ *7 y ) GCAZES, ROMAIN, born at St. Beat, (Haute6 647. Garonne), in 1810, died in 1881. French Dead Christ, Munich Gallery.-Malvasia, ii. school; history painter, pupil of Ingres. 143; Lanzi, iii. 122; Burckhardt, 764, 785, Medals: 3d class, 1839, 1863; L. of Honour, 794, 796; Gualandi, Guida, 124, 150; Ch. 1870. Works: Rebecca at the Well (1840); Blanc, Reole bolonaise. Infant Christ asleep (1845); Ascension (1846); CAXt1S, EUGENIO, born in Madrid in Three Ages of Man (1859); Departure of 1577, died there in 1642. Spanish school; the Apostles (1870); Three Theological Virson and pupil of Patricio Caxes; employed tues (1877); Sappho (1878); Well at Fontawith his father by Philip III. in the Pardo, rabia, Spain (1879); Frescos in St. Francis and in 1612 appointed one of the king's Xavier's, Paris, and in the Church at Bagnpainters. Painted many works in churches eres-de-Luchon.-Mtiller, 98. and convents in Madrid and Toledo. Works: CAZIN, JEAN CHARLES, born at Samer Disembarkation of English under Lord (Pas-de-Calais); contemporary. History and Wimbledon at Cadiz, Virgin and Child, Mad- genre painter; pupil of Lecoq de Boisbaurid Museum; Fall of Rebel Angels (1605), dran. Medal, 1st class, 1880; L. of Honour, Copenhagen Museum.-Stirling, i. 428; Ch. 1882. Works: Dock-Yard (1876); Flight Blanc, ]cole espagnole; Madrazo, 383. into Egypt (1877); Art (1879); Ishmael, CAXIIS, PATRICIO, born at Arezzo, Italy, Tobias (1880); Souvenir de Fete (1881); died in Madrid in 1612. Spanish school; Judith (1883). real name Cajesi; went to Spain with Cinci- CECILIA, ST., John Singleton Copley, W. nato, Spanish ambassador, in 1567, at invita- S. Appleton, Boston; signed, dated 1806. tion of Philip II., and painted frescos in the Portrait of Mrs. R. S. Derby; dressed in Alcazar and in the Pardo, Madrid. Trans- white picked out with gold, playing on the lated into Spanish Vignola's book on the harp, with angels in the air above.-A. T. Five Orders. Also employed by Philip III., Perkins, 50. in whose service he died.-Stirling, i. 195; By Carlo Dolci, Dresden Gallery; canvas, Ch. Blanc, ]~cole espagnole. H. 3 ft. 3 in. x 2 ft. 8 in. St. Cecilia, halfCAZES, PIERRE JACQUES, born in length, playing the organ. Painted for 260 CECILIA Grand Duke Cosmo III., who presented it to the Grand-Treasurer of Poland; bought in 1742 for 1,600 livres from collection of Prince Carignan, Paris. Engraved by P. A. Kilian.-Gal. Roy. de Dresde, i. P1. 43. By Domenichino, Louvre; canvas, H. 5 ft. 3 in. x 3 ft. 10 in. St. Cecilia, a little more than half-length, standing, singing to the accompaniment of a bass viol; an angel before her holds upon his head a book of music. Painted for Cardinal Ludovisi; taken between SS. Paul and John, and SS. Augustine and Mary Magdalen, with musical instruments at her feet; she holds in her hands an organ, the instrument of religious music, and listens with rapture to a choir of six angels singing in the heavens above. Ordered by Lorenzo Pucci, Cardinal of Santi Quattro, in 1513, but not finished until 1516-17, when it was placed in the chapel of St. Cecilia, in S. Giovanni in Monte, Bologna, which had been built by Cecilia Duglioli dell' Oglio, a kinswoman of the Cardinal's. Vasari says the musical instruments in the picture were painted by Giovanni da Udine. Carried to Paris in 1796; transferred to canvas by Hacquin in 1803; returned to Italy in 1815, recleaned, and placed in the Gallery. Much damaged by repainting. Many copies: one, by Dio. Calvaert, in Dresden Gallery; another, by Guido Reni, in S. Luigi de' Francesi, Rome. Engraved with variations by Marc Antonio. Engraved also by Bonasone (1531), Galli (1761), Strange (1771), David, Massard, Rosaspina, Beisson, Bovinet, Gandolfi (1835), Pelee (1852), Lefebvre (1857), Landon.Vasari, ed. Mil., v. 349; Gruyer, Vierges de Raphael, iii. 583; Pinac. di Bologna, P. 1; Passavant, ii. 148; Landon, Musee, v. P1. 33; Musee fran;ais, i.; Filhol, iii. PI. 193; Perkins, 174. By Sir Joshua Reynolds, Marquis of Lansdowne, Bowood. Mrs. Sheridan as St. Cecilia. Sir Joshua called this the best picture he ever painted. Exhibited at Royal Academy in 1884.-Waagen, Treasures, iii. 160. By Rubens, Berlin Gallery; canvas, H. 5 ft. 7 in x 4 ft. 3 in. Helena Forman, the painter's second wife, as St. Cecilia, singing and playing on the harpsichord; attended by four angels, one of whom is seated upon the back of a sphinx. Collection of Prince Carignan; sold by Duc de Tallard (1756) for 20,050 florins. Engraved by Witdouc; and, with only two angels, by Panneels; Lommelin.-Smith, ii. 106. By Ary Scheffer. Portrait of Mme. Viar St. Cecilia, Domenichino, Louvre. to France by Sieur de Nogent, who sold it to Jabach, from whom it was bought by Louis XIV. Engraved by E. Picart; J. Gottard; Muller.-Musee fran9ais, i. Part 4: Filhol, v. 332; Landon, Vies, P1. 3; Villot, Cat. Louvre. By Guercino, Louvre; canvas, H. 4 ft. x 3 ft. 3 in. Three quarters length, seated, playing an organ. Another St. Cecilia by Guercino, Dulwich Gallery, England.-Villot, Cat. Louvre. By Raphael, Bologna Gallery; canvas, H. 7 ft. 3 in. x 4 ft. 7 in. St. Cecilia, standing 261 CEDERSTROM dot Garcia; standing before an organ, with Poachers; Recruiting under Charles XI. one hand resting on the keyboard. (1879). - MUller, 98; N. illustr. Zeitg. CEDERSTROM, GUSTAV OLAF, Baron, (1879), ii. 742. born in Stockholm, April 12, 1845. Genre CEDERSTROM, THURE, Baron, born painter; pupil in Stockholm of Malmstrom, on the estate of Aryd, SmAland, Sweden, and Winge, then (1876) in Diisseldorf of IJune 25, 1843. Genre painter; cousin of Fagerlin; went in 1869 to Paris, where preceding; pupil of Disseldorf Academy under Albert Baur, and of A Weimar Art-School; travelled extensively in Europe. Medal, London, 1879. Works: Dealer in Old _~ x Clothes; Spirit of the Times (1879). -Maller, 99. S. CELS, CORNELIS,.S ----i a 9fewC7\ born at Lierre, Brabant, June 10, 1778, died in f S m dBrussels in1859. History ~~_cr~Bed ~and portrait painter; pupil in Brussels of A. Lens, portatoand in Par is of Suve; went to Rome in 1801, and having spent seven years in various cities in Italy, settled in Antwerp, and in 1815 at The Hague; went to Tournay in 1820 as director of the Academy, and settled at Brussels in 1827; visited England in 1836. Member of Academy S. Luca, Rome, 1807. Gold medal, Ghent. Works: Descent from Cross (1807), Dominican Church, Antwerp; Visitation (1808), Augustine Church, ib.; Martyrdom of St. Barbara, Bruges St. Cecilia, Raphael, Bologna Gallery. C a t h e d ral Chr i st on he studied under Bonnat and Meissonier. Mount, 1glise des Riches-Claires, BrusSpent a few years in Florence and Rome, sels.- Biog. nat. de Belgique, iii. 403; but settled in Paris. Since 1878, member Immerzeel, i. 133; Journal des B. Arts, of Stockholm Academy. Works: Early to v. 38. Bed and Early to Rise (1871); Mignon CENCI, BEATRICE, portrait, Guercino, (1873); Sickbed (1874); Epilogue, Stock- Bridgewater House, London; canvas. Unholm Museum; Dark Hours (1875); Trans- usually bright and warm in tone for this portation of Charles XII. (1878); The master. Differs from Guido's picture, es. 262 CENNINI pecially in the expression of sorrow.-Waa- death (1396). His Virgin and Saints, a gen, Treasures, ii. 36. fresco in the Hospital of S. Giovanni BatAttributed to Guido Reni, Palazzo Bar- tista, Florence, has disappeared, but the berini, Rome. Three-quarters face of touch- frescos of scenes in the life of Christ, in the ing beauty. Head enveloped in drapery, church of tie Compagnia della Croce di calm but sad expression, lips tremulous Giorno, Volterra, dated 1410 and signed with suppressed emotion. If, as is probable, Cienni da Firenze, are generally assigned to painted by Guido, it cannot be the portrait Cennini. He is best known, however, as of Beatrice Cenci, as she was executed in the author of Trattato della pittura, the oldest modern work on the technical processes of painting. - C. & C., Italy, i. 477; Vasari, ed. Mil., i. 643; Eastlake, Materials, etc., 71; Baldinucci, i. 308; Milanesi, n libro dell' arte o trattato della pittura (Florence, 1859); Quellenschriften, i. 1; Preface to Mrs. Merrifield's translation of /I\^ ) } Cennini's Treatise (London, 1844); Lftbke, Gesch. ital. Mal., i. 150. V % J| 2 CENTAUR FAMILY, ancient picture. See Zeuxis. CENTAURS AND LAPITHS, BATTLE BETWEEN, ancient picture. See Micon. CEPHALUS. See Bloemen, Norbert van. CEPHALUS AND PROCRIS, Claude Lorrain, National Gallery, London; canvas, H. 3 ft. 4 in. x 4 ft. 5 in.; signed, dated Rome, 1645. Cephalus receiving from Procris the presents of Diana-the hound Lelaps and the fatal dart with which she was __________ ______ _ \ subsequently killed. Liber Veritatis, No. Beatrice Cenci, attributed to Guido, Palazzo Barberini, Rome. 91 Engraved by Browne, by Pye, and in Jones's National Gallery. Waagen doubts September, 1599, and Guido did not paint the genuineness of this picture.-Cat. Nat. at Rome until 1608. Furthermore, the Gal.; Waagen, Treasures, i. 341; Pattison, picture is not mentioned in the Barberini Claude Lorrain, 227. Catalogues of 1604 or 1623, so that it was By Guercino, Dresden Gallery; canvas, not in the Gallery until after the latter date. H. 6 ft. 7 in. x 8 ft. 3 in. Cephalus weeping Engraved by Perfetti.-A. Bertolotti, Fran- over the dead body of Procris, whom he has cesco Cenci e la sua famiglia; Edinburgh accidentally slain with an arrow; above, a Review, Jan., 1879; Academy, March 18, Cupid weeping; at right, two dogs. Painted 1878; Giornale di erudizione artistica (Peru- in 1644 for Anne of Austria,Queen of France, gia, 1876), v. 276. who presented it to Cardinal Mazarin; passed CENNINI, CENNINO DI DREA, born on his death to the Prince de Carignan, at Colle di Val d'Elsa. Florentine school; from whose collection bought in 1744 for end of 14th and beginning of 15th century; 4,000 livres. Engraved by L. S. Lempereur; disciple for twelve years of Agnolo Gaddi. Keyl.-Gal. Roy. de Dresde, ii. P1. 22. As he was in Padua in 1398, it is not im- Subject treated also by Polidoro da Caraprobable that he left Florence after Agnolo's vaggio, Vienna Museum. 263 CEPHISODORUS CEPHISODORUS, painter, about 420 B.C. Mentioned by Pliny (xxxv. 36 [60]) as an able artist.-Brunn, ii. 57. CEREZO (Zerezo), MATEO, born at ~-^ ~Burgos in 1635, died in Madrid in 1675. Spanish school; son 'id., and pupil of Mateo Cerezo, a mediocre A//' y painter; afterward -.~~T_~- scholar of Carreno r in Madrid, where he painted with considerable success during his short life. Painted chiefly religious compositions, choosing tender and agreeable subjects, such as Madonnas and Magdalens, rather than the ordinary sombre ones of the Spanish school. His best picture, the Supper at Emmaus, is mentioned by Palomino as equal to works of Titian and Veronese. Works: The Assumption, and the Marriage of St. Catherine, Madrid Mu/zAl rzo seum.-Cean Bermudez; Stirling, iii. 1032; Ch. Blanc, Rlcole espagnole; Madrazo, 386. CERMAK. See Czermak. CERQUOZZI, MICHELANGELO, born in Rome, Feb. 2, 1602, died there, April 6, 1660. Roman school; son of a jeweller, and for three years pupil of a Flemish painter in Rome; then of Pietro Paolo Bonzi, called I Gobbo de Frutti, from whom he learned to paint fruit and flowers; but he soon applied himself to painting battle-scenes with so much skill that he was called Michelangelo delle Battaglie. Afterward he was surnamed "delle Bambocciate," because he imitated the Dutch painter Pieter van Laar, who was called in Rome Il Bamboccio. Cerquozzi painted with extreme facility, and generally without preliminary drawings. Among his best works are the Four Seasons, painted for the Palazzo Salviati, Rome; Italian Masquerade, Louvre; Battle Field, Dresden Gallery.-Ch. Blanc, Ecole ombrienne; Burkhardt, 768, 804; Seguier, 41; Lanzi, i. 486. CERVA,GIOVANNI BATTISTA DELLA, Lombard school; flourished about 1550; pupil of Gaudenzio Ferrari, and master of Gio. Paolo Lomazzo. Lanzi speaks of his Incredulity of St. Thomas, in S. Lorenzo, Milan, as entitling him to high rank in his school.-Lanzi, ii. 499; Ch. Blanc, Ecole milanaise; Lomazzo, Trattato, vi. cap. 37. CERVARO, GIRLS OF (Les Cervarolles), Ernest HIbert,Luxembourg Museum; canvas, H. 9 ft. 5 in. x 5 ft. 9 in. Group of Women of theRomanCampagna, life-size.-Salon, 1859. Colour study, H. P. Kidder, Boston, Mass. CESARE DA SESTO, born at Sesto about 1485, died in Milan after 1523. Lombard school; one of the best scholars of Leonardo da Vinci; afterwards became intimate in Rome with Raphael, a double influence under which he painted the mannered Adoration of the Magi, Naples Museum; and a large circular picture in the Vatican Gallery, Rome (1523). These pictures are inferior to his best and earlier works, the Baptism of Christ, Scotti Gallery, Milan; and the Madonna with St. John, Melzi Collection, Milan. In this gallery there is also his large altarpiece of a later period, the Assumption of the Madonna, and in the Brera a charming Madonna sitting under a laurel tree.Baldinucci, ii. 291; Lanzi, ii. 485; Burckhardt, 708; Rio, iii. 209; Ch. Blanc, Ecole milanaise; Lubke, Gesch. ital. Mal., ii. 447. _' ~~ CESARI, GIUSEPPE, Cavaliere ('Iz ' ' d'Arpino, born at,r,:(~ Arpino in 1568 (or (. 'y 4 1560?), died in -% x,, '/ Rome, July 3,1640. Neapolitan school; Am ~ ~~called sometimes \ \~Y Giuseppino (Fr. A, \ \ l Josepin, Little Joseph), and also I1 Marino de' Pittori, because he was a corruptor in painting as 264 CESBRON Marino was in poetry. Pupil of his father, an obscure painter; went, when about thirteen years old, to Rome, where he was employed by several painters engaged in decoratingthe Vatican. His ability in sketching attracted the attention of Pope Gregory XIII., who took him under his protection. Clement VIII. continued his patronage, made him superintendent of the decorations in S. Giovanni in Laterano, and knighted him. He enjoyed a great reputation in his time, and was enriched and honoured by the ten popes under whom he lived; but posterity has failed to accord him the rank in art which he enjoyed when living. The taste of the time was for glitter and ostentation, and Cesari, who had great facility of execution, satisfied the popular expectation without troubling himself with much study. He had a well-attended school at Rome, and was at enmity with Caravaggio and Annibale Carracci. Among his pupils was his brother Bernardino, who assisted him in many of his works. Works: Expulsion from Eden, Diana and Actseon, Louvre; Roman Battle, Dresden Gallery; Betrayal of Christ,Nymphs and Tritons, Cassel Gallery; Perseus and Andromeda, Vienna Museum; Rape of Sabines, Horatii and Curiatii, Capitol Palace, Rome; Diana, Capitol Museum, ib.; Annunciation, Lateran Museum, ib.; St. Clara, Hermitage, St. Petersburg. The ceiling fres- cos in the choir of S. Silvestro * Monte Cavallo, Rome, are among his better works.-Ch. Blanc, iScole napolitaine; Lanzi, i. 422; Burckhardt, 652, 757. CESBRON, ACHILLE, born at Oran, Algeria; contemporary. Flower and fruit painter; pupil of Bonnat and Cormon. Medal, 3d class, 1884. Works: Fruits and Flowers, Vegetables (1879); In the Shade, In the Sun (1880); Roses, Poppies (1881); Gardener's Daughter, Street Altar (1882); In the Packing Room, Blackberry Road (1883); Metempsychosis, Peonies (1884); Le puits aux roses, Kitchen Garden (1885). CESI, BARTOLOMMEO, born in Bologna in 1556, died there, July 11, 1629. Bolognese school; pupil of Gio. Francesco Brizzi, but afterward studied the works of Pellegrino Tibaldi. He became a good painter, with a manner of his own, marked by suavity and elegance, which served Guido as a model. He succeeded best in fresco, his most noted works being a series of ten pictures illustrating the life of 2Eneas, in the Palazzo Favi, Bologna. His paintings in oil were only inferior to those of Tibaldi and of Annibale Carracci. Among the best are the Adoration of the Magi, in S. Domenico, Crucifixion of SS. Paul and Andrew, in S. Martino Maggiore, Crucifixion in S. Giovanni in Mento, Bologna.-Malvasia, i. 239; Lanzi, iii. 49; Ch. Blanc, Icole bolonaise; Gualandi, Guida, 28, 50, 70. CESPEDES, PABLO DE, born at Cordova in 1538, died there, July 26, 1608. Spanish school; of a noble family, educated at University of Alcala, studied art in Rome and be- \- came distin- / guished there, where he was called Paolo de Cordova, not only as a painter, sculptor, and architect, but also as a poet and scholar. The Pope conferred on him a canonry in the Cathedral of Cordova, and in 1577 he returned to Spain to attend to the duties of his office, finding time, however, for the pursuit of art and literature. His most famous work, the Last e Supper, is in the Cathedral of Cordova, but much faded and injured.-Viardot, Peintres de l'Espagne, 119; Stirling, i. 321; Ch. Blanc, Acole espagnole. CEULEN (Keulen) CORNELIS JANSON VAN, born in Amsterdam (?), about 1590, 265 CHABAL died between 1662 and 1664. Dutch school; French school; landscape painter, pupil of probably of German origin, judging from Ingres, Hersent, and Marilhat. Has never his name, Ceulen (i.e., Cologne). First style been a popular painter, and has not exhibthoroughly Dutch, afterwards mingled with ited in the Salon since 1857. Has travelled Flemish influence, through Van Dyck, with in Italy, the East, and Spain, taking his whom he painted for eight years at court of subjects from those countries. Medals: 3d Charles I. Went to England in 1618, reign class, 1838; 2d class, 1844 and 1848. Works: of James I., and remained until 1648, when Prisoner of Chillon (1835); Porta Nuova in he settled at Utrecht. Works: Magistrates Palermo; St. Rosalie's Day, Gorges of (1647), Hague Museum; two portraits (1651), Amalfi (1838); Turkish Bazaar in Cairo, Dresden Museum; three (1640, 1655), Arab Camp at Suez, Irregular Cavalry of Brunswick Museum; four portraits, Rotter- Ibrahim Pasha, Valley of Jehoshaphat (1841); dam Museum; one (1660), Lille Museum; Factory in the Island of Procida (1842); Charles I., Chatsworth; Prince Henry, Hourbarych Street in Cairo, Arabian FounKedleston Hall; Duke of Buckinghar, tain, Souvenir of the Villa Borghese (1844); Duke of Portland, De Witt and Wife, Luton Departure of a Caravan, Plane-Trees of HipHall; Milton, Passmore Edwards, M.P., pocrates, Syrian Town (1846); Turkish London.-Burger, Musees, ii. 225; Kramm, Family Travelling, Caravan Halting, Arab iii. 798; Riegel, Beitrage, ii. 229. Camp in the Desert, Courtyard in Granada CHABAL-DUSSURGEY, PIERRE (1848); Mosque in Jerusalem (1849); MuezADRIEN, born at Charlieu (Loire), in 1815. zin's House in Gaza, Shepherds of the Flower painter, chiefly in water-colour. Roman Campagna returning from the Fields Painted fourteen panels of flowers and fruit (1852); Arabs at a Cistern (1855); Carthufor the lobby of the Th6atre Frangais; sian Convent in Syracuse, Souvenir of the and decorated a room for the Empress Eu- Tiber, Bull-Fight in Valencia (1857).-Lagenie. Medals: 3d class, 1845; 2d class, rousse. 1847; L. of Honour, 1857; professor at CHALDEAN SAGES, Giorgione, Vienna the Gobelins in 1850. Works: Flowers Museum; canvas, H. 3 ft. 10 in. x 4 ft. 5j in. (1842 to 1845); Crown of Flowers around Three astronomers, in Eastern costume, in the portrait of the Duke of Orleans, Bou- the shadow of a glade. Two of them, an quet of Camellias (1846); Springtime (1849); old man and one of middle age, stand enStudies of Flowers (1843 to 1852); Virgin gaged in conversation in foreground; the surrounded by Flowers, Corner of a Vine- third, seated, examines the heavens and yard in Autumn (1855); Crown of Flowers, places a compass on an angle, as if to measVase of Flowers (1861); Concordia (1878); ure it. Said to have been finished after A Rose from my Garden (1879). Giorgione's death (1511) by Sebastian del CHABRY, MARTIN L]UONCE, born Piombo, but there are no signs of it. In at Bordeaux, died before April 1, 1883. collection of Taddeo Contarini in 1535.-C. Landscape painter. Medal, 3d class, 1879. & C., N. Italy, ii. 135. Works: Pic de Clarabide, Heights of La Val- CHALON, ALFRED EDWARD, born in li/re (1878); In the Landes of Gascogne, Geneva, Switzerland, Feb. 15, 1781, died in Coast of Saintonge (1879); Isolated Rock at London, Oct. 3, 1860. Reverses of French Valli/re, In the Month of August (1880); In Revolution drove family to England in 1789; the old Forest of Buch (1881); Ruins of Alfred entered, in 1797, schools of Royal Thebes (1882); The Nile at Erment, Plains Academy, became an A.R.A. in 1812, and of Thebes (1883). R.A. in 1816. Was for many years the CHACATON, JEAN NICOLAS HENRI fashionable portrait painter in water-colours, DE, born at Chezy (Allier), July 13, 1813. was the first to paint Queen Victoria, and 266 CHALON was appointed portrait painter in water-col- Chesne (1628), whose daughter he married. ours to her Majesty. He also painted fine Painted many pictures for churches and subject-pieces in oil, and had such imitative palaces. He was received in 1648 into first ability that some of his works have been Academy of Painting as professor, and afterattributed to Watteau and Rubens. Works: wards made director. Works: Christ in Hunt the Slipper (1831); Morning Walk, House of Simon, Last Supper, two scenes Samson and Delilah (1837); Serena (1847); from legend of SS. Gervasius and Protasius, John Knox reproving Ladies of Queen portraits of Louis XIII., of Robert Arnaud Mary's Court (1844); Seasons (1851); So- d'Andilly, of CardinalRichelieu, of the archiphia Western (1857).-Redgrave; Art Jour- tects Mansard and Perrault, of himself, and nal (1862), 9; Ch. Blanc, Icole anglaise; Sandby, i. | ':.-v t IA / JHALON, JOHN H JAMES, born in Geneva, |. ~ - \//\\r; l March 27, 1778, died in London, Nov. 14, 1854. El- \ '' ' - der brother of Alfred Ed- Az ward; student at Royal r" ^ I LF \ Academy in 1796; became A.R.A. in 1827, and R.A. in -,, -I. 1841. First exhibited works t in oil, chiefly landscapes [ \ * '", and genre subjects, but af- \ \^ i lr terward took also a distinguished position as a water- -' X-~ \ colour painter. Works: - i ' 1 " Napoleon on Board the Bel- - ' ' f lerophon, Greenwich Hos- - pital; View of Hastings, S. Chaldean Sages, Giorgione, Vienna Museum. Kensington Museum. - Redgrave; Ch. others, Louvre; Finding of Relics of St. GerBlanc, icole anglaise; Sandby, ii. 167. vasius, Lyons Museum; ten scenes from leCHAMPAIGNE, (Champagne), PHI- gend of St. Benedict, and others, Brussels LIPPE DE, born Museum; portrait, Hague Museum; do., in Brussels, May. Rotterdam Museum; Adam and Eve lament26, 1602, died in ing Abel, Vienna Museum; Moses with TaParis, Aug. 12,1674. bles of the Law, Hermitage, St. Petersburg; Flemish school; his- three portraits of Richelieu on one canvas, i~ldJjh}^^^ ^ tory and portrait iTIIr AN fA i I P painter, pupil of PHPCHAMPAIGNEP. Bouillon, Michel A/./d ~ —~, ~ Bordeaux, two ob-. to Pari in,, ad scure artists, and of * At C /tCQ FouquiBres. Went to Paris in 1621, and worked under Du farc(JCt A4 65 Chesne on the decorations for the Luxembourg. Returned to Brussels in 1627, but National Gallery, London. His nephew, was recalled to Paris after death of Du Jean Baptiste Champaigne (1645-1693), who 867 CHAMPIGNY followed his manner, was also a professor in the Paris Academy.-Biog. nat. de Belgique, iii. 413; Ch. Blanc, tcole francaise; Immerzeel, i. 134; Kramm, i. 228; Michiels, ix. 279, 330. CHAMPIGNY, fidouard Detaille, Henry Hilton, New York. Scene, the kitchen garden of a suburban mansion near Paris. Gen. Faron, having retaken Champigny, a village above the Marne, fortified the hamlet and defended, foot by foot, the houses and enclosed gardens, Dec. 2, 1870, against the return attack of the Saxony and Wiirtemburg Divisions. Photogravure in Art Treasures of America, ii. 51. CHAMPIN, JEAN JACQUES, born at Sceaux (Seine), Sept. 8, 1796, died in Paris, March 10, 1860. Landscape painter, pupil of Storelli and Regnier; an excellent watercolour painter, and a skilful engraver. Medals: 2d class, 1824; 1st class, 1831. Works: Coast of Provence from above Nice (1831); Souvenirs of the Lignon (1869).-Larousse. CHAMPNEY, JAMES WELLS, born in Boston, Mass., July 16,1843. Genre painter; pupil of Edouard Frere at Icouen, France, and of the Antwerp Academy in 1867-68. Sketched at different times in England and on the Continent, Africa, Nova Scotia, South America, and in the Southern United States. Lecturer on anatomy in the schools of the National Academy, New York. Elected an A.N.A. in 1882. Studios in New York and Deerfield. Works: Which is Umpire? (1871); Sere Leaf (1874); Not so Ugly as he Looks (1875); Your Good Health, Speak, Sir (1876); Where the Two Paths Meet (1880); Indian Summer (1881); Bonny Kilmeny, Boardingschool Green-Room (1882); Pamela, Hide and Seek, Autumn Reverie, Eunice (1884); He loves Me (1885); Water-colours: On the Heights, Measuring the Great Elm (1884). CHAPEAU DE PAILLE (i. e. Poil-The Beaver Hat), Rubens, National Gallery, Lon- | don; wood, H. 2 ft. 6 in. x 1 ft. 9 in. Por- trait of a young lady (Mdlle. Lunden?), half-length, life-size, dressed in a black velvet bodice with crimson sleeves, and wearing a black Spanish beaver hat with black and white feathers, holding her hands crossed before her. The hat casts a shadow over the upper part of the face, giving the painter an opportunity of showing his skill in treating transparent shadow. From this it was formerly called in Belgium Het Spaansch Hoedje (The Spanish Hat). It was in RuChapeau de Paille, Rubens, National Gallery, London. bens's possession until his death (1640); at death of his widow passed to family of Lunden, from whom bought (1817) by Baron Stiers d'Aertselaer for 50,000 florins; sold at his death (1822) for 32,700 florins, and taken to England, where it was purchased for ~3,500 by Sir Robert Peel, from whose Collection it passed in 1871 to National Gallery. Engraved by Tayler; Reynolds.Smith, ii. 32, 228; Kett, 110; Waagen, Treasures, i. 398. CHAPLIN, CHARLES JOSHUA, born at Les Andelys (Eure), June 6, 1825. Figure and portrait painter; pupil of the ~cole des Beaux Arts, and employed in 1860 in decorating the Tuileries, afterwards the rooms of the Empress in the ~~lysee, the Hotel Musard, and other public and private 268 CHAPMAN buildings. He is successful as a teacher,and has many pupils. Medals: 3d class, 1851; 2d class, 1852 and 1865; L. of Honour, 1865; Officer, 1877. Studio in Paris. Works: St. Sebastian (1847); Street in Village of Lower Auvergne, Woman of Auvergne (1848); Evening on the Moors, Bordeaux Museum; Mountaineers of Puy de Dome (1849); Muleteer of Lozere (1851); Morning (1855); First Roses (1857); Aurora, Astronomy, Poetry, Diana (1859); Soap-Bubbles, Luxembourg Museum; Turtles (1864); A Dream (panel in Prince Demidoff's Palace); Parroquets, Poetry (1867); First Ties (1869); Child, Girl holding a Tray (1870); Haydee (1873), Miss C. L. Wolfe, New York; May Rose, Broken Lyre (1875); Happy Hours (1876); Sweetheart's Portrait, Love's Messenger, portrait of Duc d'Audiffret-Pasquier (1877); Devotion, W. T. Walters, Baltimore; A. 6~~y& /~7 /86'4~ admitted to Academy in 1728; treasurer in 1755. Long painted still-life, in which he has never been excelled. In 1737 began to,> paint pictures with figures of children. Similar domestic - scenes exhibited in 1739-40 and 41 established his reputation as the painter of middle-class life. / But one of his oil portraits (1773) is known. In the latter part of his life Chardin painted in pastel, of which the portraits of himself and his wife in the Louvre are examples. Works: Kitchen Interior (1728), La Raie, Fruits and Animals (1728), Kitchen Utensils, 1731, do. (1731), The Industrious Mother (1740), The Blessing (1740), Dead Rabbit (1757), The Monkey Antiquarian, Art Attributes (1765), Louvre; The Blessing, The Washerwoman, Boy's Portrait, Hermitage, St. Petersburg; two Pictures of still-life, Mukchardauj '/718. JCHA RDI seum of Fine Arts, Boston.-Ch. Blanc, Ecole franqaise; Dohme, 3; Goncourt, i. 75; Wedmore, Masters of Genre Painting, 196; Wurzbach, Maler des XVIII. Jahrhund., 33; Villot, Cat. Louvre; Portfolio (1872), 50. CHARGE OF ARTILLERY OF IMPERIAL GUARD, Adolphe Schreyer, formerly in Luxembourg Museum; canvas, H. 6 ft. 9 in. x 14 ft. 3 in. Battle of Traktir in the Crimea, Aug. 16, 1855. Artillery going to the Front.-Salon, 1865. CHAREPHANES, painter. See Nicophanes. CHARIOT A FOIN (Hay Cart), Philips Wouverman, Hague Museum; wood, H. 1 ft. 3 in. x 1 ft. 6 in. A landscape with water and Prayer, Samuel Hawk Collection, New York; Souvenirs (1882).-Larousse, iii. 967; Vapereau (1880), 399. CHAPMAN, JOHN GADSBY, born at Alexandria, Va., in 1808. Subject and landscape painter; studied in Italy. Is a successful etcher and wood-engraver, and has illustrated many books. Elected N.A. in 1836. Studio in Rome since 1848. Works: Etruscan Girl; Last Arrow; Baptism of Pocahantas (Capitol at Washington); Sunset on the Campagna; Vintage Scene; Stone Pines in the Barberini Valley; Valley of Mexico. CHARDIN, JEAN BAPTISTE SIM1ON, born in Paris, Nov. 2, 1699, died there, Dec. 6, 1779. French school; Genre, interiors, and still-life painter; pupil of Cazes, and of Noel Nicolas Coypel, who employed him to paint accessories and led him to adopt the style in which he was destined to excel. First attracted attention by a barber's sign, then in 1728 by La Raie (Louvre); i69 CHARIOT boats which men are loading with hay; on the bank, a loaded hay-cart drawn by two horses, another by one horse, a man on horseback with a peasant woman behind, and other figures. Engraved by Dupreel, Bovinet. Taken to Paris, but restored in 1815.-Musee francais; Filhol, ii. P1. 99; Smith, i. 323. CHARIOT RACE, J. L. Gerome. See Circus Maximus. CHARIOT RACE, Alexander Wagner, George Kirchner & Co., New York; canvas, H. 5 ft. 6 in. x 12 ft. 6 in. Race of fourhorse chariots, driven by Christian slaves, in the Circus Maximus, Rome, in time of Domitian, A.D. 81, the prize being life and freedom. Scene-the end of the race; the winner, the driver of the grays, is about to pass the line when he hears the bays coming up behind at his left, and is for a moment startled lest the victory be snatched from his grasp. Painted in 1876, by order of Messrs. Kirchner & Co., for Philadelphia Exposition, where it was awarded a medal. Original sketch (1873), medal at Vienna, now owned in London. CHARITY, William Adolphe Bouguereau, J. W. Drexel, New York; canvas, H. 9 ft. x 5 ft. Female figure, draped, seated on a marble bench, with architectural background, with left foot resting upon an overturned jar, from which coins are escaping; she holds three infants in her arms, and two others nestle at her feet. Salon, 1874; Replica, landscape background, Samuel Hawk Collection, New York; Study, Henry Hilton, New York. Photogravure in Art Treas. of Amer. ii. 30; iii 17. By Domenichino, Dresden Gallery; canvas, H. 4 ft. x 6 ft. 5 in. Female figure, with children. Purchased in 1845 for 600 thalers from heirs of Inspector Matthei. By Guido Reni, Palazzo Pitti, Florence; canvas, oval, H. 3 ft. 5 in. x 4 ft. 8 in. A woman, half-length, and three children, one of which she supports with her right arm while nursing a second; the third takes hold of her robe. In Guido's first manner. Engraved by I. S. Klauber; A. Dalco.Wicar, i. Part 9; Gal. du Pal. Pitti, ii. P1. 82. By Wilhelm von Kaulbach, Henry Probasco, Cincinnati. Originally called Mutterliebe (mother-love). Female figure, seated, with several children. Replica, in small, Henry C. Gibson, Philadelphia; crayon study, J. P. Morgan, New York; do., E. D. Morgan Collection, New York. Photogravure in Art Treasures of America, i. 68; iii. 7. By Rubens, Potsdam Gallery (?); copper, H. 2 ft. 3 in. x 1 ft. 8 in. A beautiful woman bending down to caress three infants. Engraved by Galle; Surugue.-Smith, ii. 110. By Andrea del Sarto, Louvre; wood, trans Charity, Andrea del Sarto, Louvre. ferred to canvas, H. 5 ft. 11 in. x 4 ft. 6 in.; signed, dated 1518. A woman with three children, one at her feet asleep and two in her lap, to one of which she is giving the breast. Painted in France for Francis I. Copy in Nantes Museum. Engraved by P. Audouin; Massard; Salmon.-Vasari, ed. Mil., v. 30; 270 CHARLATAN C. & C., Italy, iii. 563; Villot, Louvre; Ch. Blanc, lecole florentine; Filhol, viii. P1. 505; Klass. der Malerei, i. P1. 30; Landon, Musee, x. P1. 42; Dohme, 2iii. 2; Mindler, Essai, 25; Musee royal, i. By Anton Van Dyck, Earl of Lonsdale, Lowther Castle; canvas, H. 4 ft. 9 in. x 3 ft. 9 in. A beautiful woman, in a white robe and blue scarf, with a scarlet mantle over her knees, sitting with a naked infant in her lap; a second child standing at her right, and a third behind her. Copies: Dulwich Gallery; Hope Collection; P. Methuen. Engraved by C. Caukercken; W. Ryland. Lithographed by Lafosse.-Smith, iii. 118; Guiffrey; Waagen, Treasures, iii. 261. CHARLATAN, Gerard Dou, Munich Gallery; wood, H. 3 ft. 6 in. x 2 ft. 7 in.; signed, dated 1652. A quack doctor, on a stage covered with a Turkish carpet and roofed with a large umbrella, holding forth on the virtues of his drugs to a numerous assemblage of people. One of his most famous pictures. Formerly in Diisseldorf Gallery. Injured by injudicious cleaning and restoring. Engraved by Wille; C. Hess.-Smith, i. 37; Ch. Blanc, Icole hollandaise. CHARLAY-POMPON, CHARLES, born in Paris; contemporary. Landscape painter, pupil of Rapin. Medal, 3d class, 1885. Works: L'Uveaune near Marseilles (1883); November (1884); The Last Leaves, Road of La Souris (1885). CHARLEMAGNE, CORONATION OF, Raphael, Stanza dell' Incendio del Borgo, Vatican; fresco. H 15 ft. 11 in. x 21 ft. 4 in. Leo mI. (portrait of Leo X.), seated in foreground, about to place the crown on the head of the kneeling emperor (portrait of Francis I.), beside whom stands a page (Ippolito de' Medici); on each side, cardinals with their trainbearers; in background, the warrior wearing a helmet encircled by a crown is supposed to be Pepin, who was anointed at same time as his father. Typical of the dogma that the temporal power is subject to the spiritual. Painted in 1517, probably by pupils from designs of Raphael. Engraved by Fr. Aquila, Aloysio Fabri, and Landon.-Vasari, ed. Mil., iv. 361; Passavant, ii. 157; Mdntz, 427. CHARLEMAGNE AND WITTIKIND, Ary Scheffer, Versailles Museum; canvas. Wittikind, the heathen King of the Saxons, after his defeat in two great battles, surrendered to Charlemagne at Attigny-sur-Seine in A.D. 785 and was baptized. Charlemagne, mounted, at right, accompanied by soldiers and ecclesiastics, receives the submission of Wittikind, who, with his family and other followers, kneels before him. Subject treated also by Wilhelm Kaulbach, Maximilianeum, Munich. CHARLEMONT, IDUARD, born at Znaim, Moravia, in 1848. Genre and portrait painter; pupil of the Vienna Academy under Engerth, then of Makart, who enabled him to visit Italy; remained some time in Venice, and travelled in Germany and France; has recently settled in Paris. Works: The Antiquaries (1872); Two Boys in Rubens's Costume, Two Scenes from Snowdrop, Four Divisions of the Day, Four Seasons, Five Continents, Lansquenet (1878). -Muller, 101; N. illustr. Zeitg., (1878), ii. 602; Zeitschr. f. b. K., xiii. 352. CHARLEMONT, HUGO, born at Znaim, Moravia, in 1850. Landscape painter; brother of lduard, pupil of the Vienna Academy under Lichtenfels, then under his brother and Makart; travelled in 1874 in Holland. Works: Interior of Makart's Studio, Still-life with Peacocks.-Mfiler, 101; Zeitschr. f. b. K., x. 384; xiii. 353. CHARLES I., portrait, Anton van Dyck, National Gallery, London; canvas, H. 12 ft. 6 in. x 9 ft. 6 in. Charles I., of England, in armour, on a roan charger, attended by his equerry, Sir Thomas Morton, on foot, bearing helmet; in background, a cavalry combat. Formerly in Collection of Charles I.; purchased in Munich by John, Duke of Marlborough, and long in Blenheim Palace. Sold to National Gallery in 1884 for ~17,500. Copies: Duke of Portland, Earl of Clarendon; study at Buckingham Palace. En 271 CHARLES graved by Lombart, whose plate was afterward altered, the head of Cromwell being substituted for that of the king.-Waagen, Treasures, ii. 3; iii. 129; Smith, iii. 77; Guiffrey. By Anton van Dyck, Louvre, Paris; canvas, H. 9 ft.x 6 ft. 11 in.; signed. Full length, standing under a tree, head turned Charles 1., Anton van Dyck, Louvre, Paris, three quarters to left, dressed in white satin jacket, scarlet hose, buff boots, broad lace frill, and hat with feathers, and wearing sword and spurs, with cane in right hand and left hand on hip; appears to have just dismounted from a noble charger behind him, held by his equerry, the Marquis of Hamilton; in background, a page carrying his cloak. Painted about 1635. Purchased at Marquis de Lassay sale (1770) for 24,000 fr. for Mme. du Barri, who presented it to Louis XV. Valued at 100,000 fr. in 1816. Engraved by R. Strange; Bonnefoy; Duparc; Panquet; D. J. Desvachez (1880). Etched by Boulard.-Smith, iii. 39; Ch. Blanc, Scole famande; Filhol, i. PL 5; Klas der Malerei, P1. xvii; Guiffrey, 180; Villot, Cat. Louvre; Head, 62. By Anton van Dyck, Windsor Castle; canvas, H. about 10 ft. 6 in. x 8 ft. In armour, his head uncovered, mounted on a gray charger advancing from under a lofty archway; by his side, on foot, his equerry, M. St. Antoine, bearing his helmet. Collection of Charles I.; at sale of his effects (1651) bought for ~200 by Van Leemput, a Dutch artist, from whom recovered at Restoration. Copies: Hampton Court; Apsley House; Warwick Castle; Lamport Hall, Northamp tonshire; Lady Warren. Engraved by Bar on (1741); C. Ferreri; Ch. Pye.-Smith, iii. 57; Waagen, Treasures, ii. 429; Guiffrey; Law, Hist. Cat. Hampton Court, 28. CHARLES I., CHILDREN OF, Anton van Dyck, Turin Gallery; canvas, H. 5 ft. 1 in. x 6 ft. 7 in. Prince Charles, about five years old, standing at right, in a scarlet frock embroidered with silver lace, his right hand on head of a brown spaniel; on his left, Princess Mary, in a white satin dress; and on her left, James, Duke of York, in a blue silk frock, with an apple in his hand; background, a green curtain and part of a landscape. Engraved by G. Thevenin (1863); etched by Gaujean. Duplicate: Earl of Pembroke, Wilton.- Gal. di Torino, iv. P1. 160; Smith, iii. 53; Guiffrey, 60; Head, 55. By Anton van Dyck, Windsor Castle; canvas, H. 5 ft. 9 in. x 7 ft. 3 in.; signed, dated 1637. Prince Charles, aged seven years, standing, with his left hand on the head of a large dog; on his right, the Princess Elizabeth and Mary; and on his left, the Princess Anne holding James, Duke of York, on a chair, at the foot of which lies a spaniel. Engraved by Baron; Strange; R. Cooper (1762); H. Bourne; H. Coussin. Etched by Gaujean. Copy in Berlin Museum, lithographed by Fr. Jentzen.-Guiffrey, 172; Smith, iii. 60; Waagen, Treasures, ii. 428. By Anton van Dyck, Windsor Castle; canvas, H. 4 ft. 4 in. x 5 ft.; dated 1638. Prince Charles, about nine years old, stand, 272 CHARLES ing at left, leans left arm on base of a umn and holds in right the hand of brother James, Duke of York, the latter petticoats; at right, Princess Mary, a her hands crossed at waist; in f ground, left and right, two spaniels. graved by R Strange; J. Burnet; Blonde; Purcell. Etched by N. Mu: Copy in Dresden Gallery, lithographed Hanfstaengl (1840); another, Earl of C endon. Sketch, with but one dog, Lou -Smith, iii. 61; Klas. der Malerei, xviii.; Gal. roy. de Dresde; Guiffrey; Waagen, Treas- I ures, ii. 429, 457; Villot, Ii Cat. Louvre. / CHARLES I. AND j FAMILY, Anton van Dyck, Windsor Castle; canvas, H. 8 ft. x 11 ft. The king, in royal robes, seated in an arm-chair, with his right hand on a table on which R are the regalia of England; beside him, Prince Charles, f/ standing, with both his I hands on his knee; on his left, Queen Henrietta Ma- ria, seated, with infant i / - James in her arms; in dis- tance, the Tower of Lon- J --- don. Engraved by Baron (1741); R. Strange; Massard; F. A. David; Dennel. Copies: D of Richmond; Duke of Devonshire.-Sm iii. 66; Guiffrey; Waagen, Treasures, ii.. CHARLES I. AND CROMWEL SOLDIERS, Paul Delaroche, Bridgewi House, London. Charles I. after his ( lemnation insulted by the soldiers of guard. The resignation of the fallen rr arch contrasts strongly with the rudenes his persecutors, and moves one old sole to tears. Salon, 1836. Engraved by ME net.-Waagen, Treasures, ii. 54; Larou III. 1014. CHARLES V., portrait, Anton Van D: Uffizi, Florence; canvas, H. 6 ft. 1 in. x 9 The Emperor in armour, with a red scarf over the left shoulder, mounted on a white charger; his right hand holds a baton, the left curbs his spirited steed, whose career is arrested by the waves of the sea; the wreck of a vessel is tossed on the billows; above, an eagle, with a wreath of laurel. Likeness borrowed from Titian's picture. One of his best works Engraved by Guttenberg (1790); C. Mogalli; Earlom; Chiossone.-Smith, iii. 47; Guiffrey. By Titian, Madrid Museum; canvas, H. Children of Charles I., Anton van Dyck, Windsor Castle. 6 ft. 4 in. x 3 ft. 8 in. Full length, in gala dress; the right hand playing with a dagger, the left on a fawn-coloured Spanish hound. Painted in 1533. Titian received for it 1,000 scudi in gold, and was created by the Emperor a Count Palatine and Knight of the Golden Spur. Replica in 1536 for Duke of Mantua; another belonged to Charles I. of England, and was sold in 1650 to Sir Balthasar Gerbier for ~150. Titian's first sketch of Charles, a bust in armour, was preserved in Bologna until 1856, when it was sold to an Englishman. A full-length, painted from this, was in the Royal Palace at Brussels, and another in that of Madrid, m73 CHARLES where it was burned in 1608. A full-length of the Emperor, with an Irish Dog, engraved in Madrazo's Gallery of Madrid, and now at Hampton Court Palace, once hung in the socalled Bear Gallery at Whitehall.-Vasari, ed. Mil., vii. 449; C. & C., Titian, i. 366. By Titian, Munich Gallery; canvas, H. 6 ft. 4 in. x 3 ft. 9 in.; signed. The Emperor, full length, in black and a fur pelisse, seated tries, and flowers, and with balconies and windows filled with ladies; in the foreground, near the Emperor, several ladies, nearly nude or thinly draped, march on foot, bearing imperial symbols; at left, groups of spectators, men, women, and children, with Albrecht Diirer standing behind them. Painted in 1875-78; Universal Exposition, Paris, 1878.-Pictorial World (1880), 198; Gaz. des B. Arts (1878), xviii. 406. CHARLES V. AT FUGGER'S, Karl Becker, National Gallery, Berlin; canvas, H. 3 ft. 11 in. x 5 ft.; signed, dated 1866. Charles V., just returned from Africa (1532), where he had overcome Barbarossa and restored to liberty many captive Christians, visited at Augsburg the banker Fugger, who entertained him by burning his bonds in a fire of cinnamon and other spices, as a thank-offering for destroying pirates and making business safer. Engraved by Zimmermann. Replica (5 ft. x 7 ft.), John Wolfe, New York.-Art Treasures of America, i. 62. CHARLES V. AT MUHLBERG, Titian, Madrid Museum; canvas, H. 10 ft. 11 in. x 9 ft. 1 in. The Emperor, in full armour, with spear in hand, is cantering on a brown charger towards the Elbe, which runs to the right; tall forest trees to left. Painted at Augsburg in 1548; once a masterpiece, but much damaged by fire in Palace of Pardo, Madrid, in 1608.-C. & C., Titian, ii. 178; Revue Universelle des Arts, iii. 139; Vasari, ed. Mil., vii. 440. CHARLES XV., King of Sweden, born in Stockholm, May 3, 1826, died there, Sept. 18, 1872. Landscape painter; pupil of Boklund, and later influenced by Ed. Bergh and Alf. Wahlberg; painted Scandinavian views, in which Malmstr6m and Winge sometimes supplied the figures. He promoted the development of art in Sweden, and founded the Stockholm Museum. Works: Wood Interior (1869); On the Brook; Ulriksdal Castle; Stone of Freya on Sognefjord; St. Sigfrid and the Smalanders; View in Hardanger. Charles V., Titian, Munich Gallery. in an arm-chair in an open gallery. Painted atAugsburg in 1548; much re-painted.-C. & C., Titian, ii. 179. CHARLES V., ENTRY OF, Hans Makart, Hamburg Gallery; canvas. Entry of Charles V. into Antwerp, in 1520, after his coronation, as described by Albrecht Dtirer in his diary. The Emperor, in armour, with the collar of the Golden Fleece across his breastplate, and riding an armour-clad horse, is the central figure of a magnificent procession of nobles, knights, and prelates, preceded by a body of lansquenets, which is passing through a narrow street of picturesque houses, adorned with banners, tapes 274 CHARLET CHARLET, FRANZ, born at Brussels; contemporary. Genre painter, pupil of Gerome, J. Lefebvre, and Portaela Medal, Charles V. at Muhlberg, Titian, Madrid Museum. -Ch. Blanc, A1cole frangaise; L'Art (1875), i. 193, 217; M. de la Combe, Charlet, sa vie, etc. (Paris, 1856); Meyer, Gesch., 469; Larousse, iii. 1021. CHARMADAS, Greek painter, date unknown; one of earliest workers in monochrome. Pliny, xxxv. 34 [55]; Brunn, ii. 4. CHARMANTIDES (Carmanides), painter, third class; pupil of Euphranor, ThebanAttic school, 370-336 a c. Pliny, xxxv. 40 [146]; Brunn, ii. 164. CHARNAY, ARMAND, born at Charlieu, Paris; contemporary. Landscape painter, pupil of Feyen-Perrin and Pils. Studio at Marlotte (Seine-et-Marne). Medal, 3d class, 1876. Works: Abandoned Lime Kiln (1868); All Souls' Day, Beach at Yport, Arrival of Fishing Boats at Yport, Hour for Riding, Back Yard of Castle of Gastellier near Charlieu (1874); Casting the Net (1876); Butcher's Shop, October (1879); At the End of the Park (1880); Autumn Rain (1881); Street in Carcenague, Market (1882); Fishing Party (1883); Evening (1885). CHARPENTIER, LOUIS EUGENE, born in Paris, June 1, 1811. Military and genre painter, pupil of Gerard and Cogniet; was for twenty-six years professor of designing at Versailles. Medals: 3d class, 1841 and 1857. Works: Bivouac of Cuirassiers (1831); Hunters asking the Way (1837); Break of a Dutch Dyke (1839); Defence of Aubervilliers-les-Vertus (1841); Robert le Diable (1842); Capture of the Great Redoubt at Moskowa and Death of Caulaincourt (1843); Halt of French Army on Great St. Bernard (1844); Duke of Orleans in the Trenches (1845), Versailles Gallery; Sedaine composing an Opera, Beaumarchais teaching the Daughters of Louis XV. (1848); Field Guns (1851); Pupils of the lcole Polytechnique in the Battle of Paris, March 30, 1814 (Boulogne-sur-Mer); Battle of Tchernaia (1857), Versailles Museum; Camp of Chalons (St. Cloud); Imperial Guard at Magenta (1861); Capture of Bomarsund (1863); Death of the Vend6ean General Bonchamps (1834); Siege of Toulon, A Soldier's Alms (1866); The 3d class, 1885. Works: Winter Morning (1882); Mowers (1883); Passing Funeral, Preparations for Market (1884); The Spinners-Morocco (1885). CHARLET, NICOLAS TOUSSAINT, born in Paris, Oct. 20, 1792, died there, Oct. 29, 1845. French: school; genre and battle painter, pupil of, Gros. Supported him- / self, while with Gros, by giving lessons in ~f7X/ drawing. Was inti- mate with Gericault, with whom he visited England in 1836. His lithographs number nearly 2,000. Works: The Cure's Visit; The Antiquary; Grandpapa's Feast; Burlesque Concert; The Improvisatore; Episode in Russian Campaign (1836), Lyons Museum; Crossing the Rhine at Kehl (1837), Versailles Museum; Convoy of Wounded Soldiers,Valenciennes Museum. 275 CHARTRAN Ford, Sharpshooters (1868); On the Road to Munich Academy under Wagner and Piloty, Valmy, Target of Saint-Chaumont (1869); A and painted one year in Venice. HonourCourier, Light Artillery(1874); Forge (1875); able mention Convoy, Autumn Manceuvres (1876); A Bat- in Salon, 1882. tery (1877); Retreat from Inkermann,Winter Studio in New Campaign (1878); Draught Horses, The York. Works: Wounded-(1880); The General Staff (1881); ' Portraits of Forward! The Forge (1882); Washington's i' Piloty's ChilTent, French Cavalry in 1670 (1883); Wel- dren; Venelington in Spain (1884); Hollow Way, Lime/ tian Fish MarKiln (1885). ket; Dowager CHARTRAN, THeOBALD, born at Be- (1875); Boy sangon; contemporary. Genre and por- Fe e d i n g a trait painter, pupil of Cabanel. Won the C Cockatoo, grand prix de Rome in 1877. Medals: 3d Broken Jug (1877); Ready for a Ride, The class, 1877; 2d class, 1881. Works: Angel- Apprentice (1878); Interior of St. Mark'sica and Roger (1875); Girl of Argos at Venice, Court Jester, Portrait of Duveneck Tomb of Agamemnon, Gentleman of Court (1879); do. of Gen. Webb (1880); do. of of Henry II. (1876); St. Saturnin (Church Peter Cooper (Paris Salon, 1882); Interior of Champignysur-Marne); Martyr in Cata- of Artist's Studio (1883); The Coquette combs at Rome (1877); Woman Playing (1884).-Am. Art Rev. (1881), 91, 135. Lute (1880); The Taper (1881); Vision of CHASS1~RIAU, TH]iODORE, born in St. Francis of Assisi (1883); The Betrothal Panama, Sept. 20, 1819, died in Paris, Oct. (1885). 8, 1856. History and portrait painter, puCHASE, HARRY, born in Woodstock,Vt., pil of Ingres, but later an imitator of Delain 1853. Landscape and marine painter, roche. Medals: 3d class, 1836; 2d class, studied in Munich, at The Hague, and in 1844 and 1855; L. of Honour, 1849. Works: Paris under Soyer. Elected an A.N.A. in Return of Prodigal Son (1836); Ruth and 1883. Studio in New York. Works: Breezy Boaz (1837); Susanna, Venus Anadyomene Afternoon off the Battery-New York, T. (1839); Christ in Garden of Olives (1840); B. Clarke, New York; P^cheurs Anglais, Andromeda (1841); Descent from Cross, Kullen Point-Sweden, Low Tide-Welsh Esther preparing to meet Ahasuerus, CapCoast (1878); Herring Fishers of Scheven- tive Trojan Women (1842); Caliph of Coningen-Holland (1880); Outward Bound stantine (1845); Sabbath in Jewish Quarter Whaler, Dutch Boats at Anchor, Dutch of Constantine (1848); Arab Horsemen Trawlers (1881); Bringing the Fish Ashore, carrying off their Dead, Desdemona, MoorDeparture of a French Brig (1882); Coast ish Women playing with a Gazelle (1850); of Holland, Dredging for Scallops near New Baptism of the Eunuch, St. Francis Xavier Bedford, Summer Morning-French Coast baptizing the Indians and the Japanese, mu(1883); Near Dordrecht, Battery Park-New ral paintings in a chapel of SLt. Roch, Paris York (1884); Rising Tide on Dutch Coast, (1850); Christ with Martha and Mary (1852); New York Harbour (1885). Woman of Mola (1850); The Tepidarium, CHASE, WILLIAM MERRITT,. born at Defense of the Gauls (1855).-Ch. Blanc, Franklin, Indiana, Nov. 1, 1849. Still-life feole fran9aise; Larousse. and portrait painter; pupil of B. F. Hayes, CHASTITY, TRIUMPH OF, Luca Sigportrait painter in Indianapolis, of the Na- norelli, National Gallery, London; fresco, tional Academy, and of J. 0. Eaton, New transferred to canvas, H. 4 ft. x 4 ft. 4 in.; York. Studied six years from 1872 at the signed. In foreground, Cupid on his knees 276 CHATIAM bound by maidens, who have taken his darts and broken his bow; three male figures looking on; in background, two other groups of maidens, in one of which Cupid is being captured and in the other led away with his arms pinioned. -Nat. GaL Cat.; Richter, 49. CHATHAM, DEATH OF, John Singleton Copley, National Gallery, London; canvas, H. 7 ft. 6 in. x 10 ft. 1 in. Scene in old House of Lords, April 7, 1778. Earl of Chatham fainting in making an effort to re CHAUVIN, AUGUST, born at Liege in 1810. History painter, pupilof DUsseldorf Academy under Schadow; was for several years drawing-master to the Prince of Neuwied, returned to Dusseldorf in 1841, afterward went to Li6ge as professor at the academy of which he is now director. Works: Departure of Tobias; Prayer of Moses;' Flight into Egypt (1850); Hagar in the Desert; Adoration of the Magi; Conversion of Saul; Banquet of Pepin of Heristal, Liege. Museum. -Muller, 102. I_ / —._ 4..... _ -. _. _ Death of Chatham, John Singleton Copley, National Gallery, London. ply to Duke of Richmond's speech on a motion respecting an address to the king, intimating the necessity of acknowledging the independence of the United States. The Earl was carried home, and died May 11. The fifty-five heads are all portraits-peers in state robes. Duke of Richmond prominent figure to right. Painted in 1777-80; presented in 1828 by Earl of Liverpool. Two studies in monochrome in National Gallery. Engraved by F. Bartolozzi; and in small in Jones's National Gallery.-Cat. Nat. Gal. CHAVET, VICTOR, born at Aix (Bouches-du-Rhone), July 21, 1822. Genre painter, pupil of P. Revoil and C. Roqueplan. Medals: 3d class, 1853; 2d class, 1855 and 1857; L. of Honour, 1859. Works: Singing Lesson (1847); Charles VII. and Agnes Sorel at the Astrologer's, Coming out of Bath, Pleasant Idleness (1848); Van Dyck and his Mistress (1851); Young Ladies looking at a Jewel (1852); Concert (1853); Honeymoon (1855); Playing Dominoes (1857); The Amateur (1859), W. T. 277 CHELMINSKI Walters, Baltimore; Bag-Piper of the 72d Works: Sentence of Louis XVI., Mirabeau Highlanders, Woman Asleep (1859), Luxem- replying to Marquis of Dreux-Breze (1829), bourg Museum; Jewish Goldsmith at Mous- Deluge, Death of Zoroaster, Trojan War. taganem (1859); Rest in the Island (1866); Death of Socrates, Caesar crossing the RubiDifficult Answer (1870); Corner of Hearth con, Italian Poetry, Age of Louis XIV., Au(1872); Young Nobles of Court of Henri gustus closing Doors of Temple of Janus, HI (1873); The Model Resting (1874); Con- Attila stopped before Rome, The Beginning fidence, Imprudent, Illusion (1875); Wash- of the Reformation (all exhibited in 1853); erwomen (1877); Reading the Paper (1878); Death of Cato and of Brutus, Birth of Woman Reading (1879). Christ, National Convention (1855); Divina CHELMINSKI, JAN, born at Brzostov, Tragedia (1869), Luxembourg Museum.Poland, Jan. 27, 1851. Genre and land- Ch. Blanc, Artistes de mon Temps, 191; Lascape painter, pupil of the Munich Acad- rousse. emy and of Franz Adam. Studio in Mu- CHeIRON, LOUIS, born in Paris in 1655, nich. Works: Stag-Hunt in time of Louis died in London in 1713. French school; XV.; Starting for the Chase; Morning history painter and engraver; studied works in the Ukraine; By a Tavern; Polish In- of Raphael and G. Romano in Italy; resurgents; Going to Church; Huntsman turned to Paris in 1688, but being a Calvinon Horseback; Thawing in the Ukraine; ist was obliged to leave in 1695, and went Outposts; Ordnance and Dragoon; Stag- to England, where he was employed in the Hunt in 18th Century (1879), New Pinako- decoration of Boughton, Burley, and Chatsthek, Munich; Corso in 18th Century (1883); worth. Works: Diana and Nymphs BathCarnival in Poland (1884).-Mtlller, 103; ing (engraved by Baron); Marriage of N. illustr. Zeitg. (1880); i. 55; (1881), i. 58. Charles I. (engraved by Dupuis). He made CHELSEA PENSIONERS, Sir David designs for an edition of Paradise Lost, Wilkie, Apsley House, London; canvas. published in 1720.-Bryan (Graves); RedReading the Gazette of the battle of Water- grave. loo. Chelsea pensioners seated around a CHARY, PHILIPPE, born in Paris in deal table, in front of the Duke of York Inn, 1759, died there in 1838. French school; with Chelsea Hospital in the background. history and portrait painter, pupil of Vien; A hussar orderly has just ridden up with a left France during Revolution; returned in copy of the Gazette, which one of the old 1802, and received prize of 12,000 francs heroes is reading aloud; many other fig- in the competition of the year XI. (1803) for ures grouped around. Painted in 1821 for his Treaty of Amiens. Works: Annunciathe Duke of Wellington, who paid 1200 tion, Church ofGenerville; St. Cecilia, Beneguineas for it. Sketch in Baring Collection. dictine Convent, Boulogne-sur-Mer; Death Engraved by J. Burnet.-Redgrave, Cen- of Father of Louis XVI. (1817); Thrasybutury, ii. 270; Heaton, Works of Sir D. W.; lus reestablishing Democratic Government Mollett, 61; Waagen, Art Treasures, ii. 189, at Athens; Death of Alcibiades; Birth of 273. Venus: Toilet of Venus.-Brvan (Graves). CHENAVARD, PAUL JOSEPH, born in Lyons, Dec. 9, 1808. History painter, pupil of Hersent and Ingres; spent several years in Italy. The leaders of the February Revolution ordered of him a series of large paintings for the Pantheon, which were not all finished when the Revolution ended. Medal, 1st class, 1855; L. of Honour, 1853. CHEVALIER, NICHOLAS, born in St. Petersburg about 1830. Son of a Swiss father and a Russian mother; became, when eighteen years old, a student in the Munich Academy, whence he went in 1851 to London, and in 1852 exhibited two water-colours at Royal Academy. After studying two years in Italy, went to Mel 278 CHEVY bourne, Australia, where he resided from 1859 to 1867. In 1865, 1866, and 1868, he explored a large part of New Zealand, making many sketches, and in 1869 and 1870 he accompanied the Duke of Edinburgh in his visit to the South Sea Islands, Japan, China, India, etc. Since then he has resided chiefly in England and has executed many works, several of them by royal commission. Works: Pilgrims at Tivoli, Buffalo Ranges (1865); Atiamano-Island of Tahiti (1871); Palace of Deeg-Bhurtpore (1872); Thanksgiving Procession to St. Paul's (1873); Blind Musicians of Japan (1874); Review in St. Petersburg (1875); Opening of Exhibition of Vienna in 1873 (1877); Eastern Shepherd, Eastern Puzzle (1878); Hinemoa (1879); The Convalescent (1882). -Art Journal (1879), 121. CHEVY-CHACE, Sir Edwin Landseer, Duke of Bedford, Woburn Abbey; canvas. Scene from ballad of Chevy-Chace: Earl Percy of Northumberland hunting on the property of the Scottish Earl of Douglas. Royal Academy, 1826. Engraved by C. G. Lewis.-Art Journal (London, 1876), 116. CHIALLI, VINCENZO, born at Citta di Castello, Umbria, July 27, 1787, died at Cortona, Sept. 4, 1840. History painter, pupil in Rome of Camuccini; painted there and in Borgo San Sepolcro, Urbino, Pesaro, and Venice, many religious pictures and portraits in the style of his master; lived in Rome in 1815-22; afterwards in his native city, Florence, and other Tuscan and Umbrian cities, until 1825, when he settled at San Sepolcro, whence in 1835 he moved to Cortona as director of the school of painting. Works: Cemetery (1823), Mass (1824), Palazzo Pitti; Dante in the Abbey of Fonte Avellana; Raphael and Fra Bartolommeo in Convent of San Marco; Young Raphael with his Parents (Cartoon).-Fr. Gh. Dragomanni, Vita e Opere di V. Ch. (Florence, 1841). CHIARI, GIUSEPPE, born in Rome in 1654, died there in 1727. Umbrian school; history painter, pupil of Carlo Maratti; exe cuted many excellent easel pictures and wall paintings, also frescos in several churches and palaces in Rome. Works: Nativity, Adoration of the Magi, San Maria del Suffragio, Rome; four subjects from Ovid, Palazzo Spada, Rome; portrait of himself, Uffizi, Florence; Adoration of the Magi, Dresden Gallery; Holy Trinity, Lord Scarsdale, Kedleston Hall; three pictures at Hampton Court; frescos in Colonna and Barberini Palaces and in S. Maria di Montesanto, Rome. CHIERICI, GAETANO, born at Reggio, Italy, in 1838. Genre painter; noted for humourous interior scenes, with children. Works: The Bath, Mother is Ill (1872); Fun and Fright (1874), Corcoran Gallery; Charity; New Mayor of the Village; Girl and Kitten; Saturday Frolic; Sheriff's Arrest; First Love; Old Music Teacher (1873); Child's Grief; Bathing the Baby; Mother is Ill (1876); Widow's Dinner (1877). CHILDE HAROLD'S PILGRIMAGE, Joseph M. W. Turner, National Gallery, London; canvas, H. 4 ft. 8 in. x 8 ft. 2 in. Italy-ancient and modern. A mountainous landscape at evening, with a winding river; to the right, a broken bridge; to the left, a pile of ruins; in foreground, a solitary stone-pine, and a party of pleasure seated on the river bank. Royal Academy, 1832. Engraved by J. T. Willmore, in Turner Gallery. CHILDREN OF THE SHELL. See Christ and St. John. CHILDREN'S FESTIVAL, Ludwig Knaus, National Gallery, Berlin; Canvas, H. 3 ft. 6 in. x 4 ft. 9 in. Children, in the costume of the 18th century, feasting at long tables spread under the trees of an orchard; in background, parents with grown children and a band of music; in middle-ground, younger ones, the boys imitating the gallantry of their elders; in foreground, the little ones, attended by an older girl. Painted in 1869. Engraved by Habellmann. CHILL OCTOBER, John Everett Millais, Sir William Armstrong, London.-A bank CHIMENTI of willows on the water's brink strikes in dark shade against the light of a gray October sky; in foreground, thickly-set waterreeds. Mr. Millais's first exhibited landscape. Royal Academy, 1871. Etched by Brunet Debaines. —Art Journal (1871), 149; Builder (1871), 380. CHIMENTI, JACOPO. See Empoli. CHINTREUIL, ANTOINE, born at Pontde-Vaux, Ain, May 5, 1814, died at Septeuil, Seine-et-Oise, Aug. 10, 1873. Landscape painter, pupil of Corot; industrious and original, especially skilful in treatment of foreground and of sunlight. His pictures have increased in value since his death. Medal, 1867; L. of Honour, 1870. Works: Valley of Igny (1852); The Moors, Autumn Evening (1853); The Country in the Morning (1855); After the Rain, Reims Museum; Evening, Angers Museum; Paths bordered with Apple-Trees, Coming out of the Woods (1857), Bourg Museum; The Deer Pond, Mende Museum; Rain (1859); The Aube after a Stormy Night, Potato Field, BroomPlant in Flower (1861); Fields in the Early Dawn, Field of Sainfoin, November (1863, rejected by the Salon, but admired by the critics); Sunset with Ruins, Macon Museum; Meadow (1864); Scotch Mist, St. Malo Museum; Vapors of Evening (1865); Twilight, Pont-de-Vaux Museum; Country during a Hailstorm (1866), Rodez Museum; Meadows with Oats, Country in Autumn (1867); Aurora, Flood (1868); Space, Woods in Sunlight (1869); The Moon, A Beam of Sunlight on a field of Sainfoin (1870); AppleTrees and Broom-Plants in Blossom, Close of Day (1872); Rain and Sunlight, Low Tide, The White Road (1873); Thicket with Deer (1873), Luxembourg Museum.Larousse; Gaz. des B. Arts (1869), i. 508. CHIODAROLO, GIOVANNI MARIA, flourished about 1520. Bolognese school; pupil of Francesco Francia and rival of Aspertini, Girolamo da Cotignola, and Innocenzo da Imola. An Adoration of the Child by him is in the Bologna Gallery.-Ch. Blanc, ecole bolonaise; Burckhardt, 585,586. CHODOVIECKI, DANIEL NICOLAUS, born in Dantzic, Oct. 16, 1726, died in Berlin, Feb. 7, 1801. German school; /,!<^fportrait painter, 'S;' S ' taught drawing by his father, an amateur; later.....+J~-/~'l*C- ^:' 'studied in Berlin under Haid, a pupil of Rugen~~ 4~~.~.~_~~ das, until 1745, / when he devoted himself to portrait painting in little. Elected rector of the Academy in 1764, vice-director in 1788, and director in 1797. Works: Calas taking Farewell of his Family (1766); Blind Man's Buff, Cock-Throwing (1768), Berlin Museum; Resting Place in the Thier- ). ~OaO4I garten, Leipsic Muse- 68 -um.-Allgem. d. Biog., iv. 132; Brockhaus, iv., 330; Dohme, lii.; Woltmann, Aus vier Jahr hunderten, 147; Pecht, iii. 51; Riegel, 49. CHOULANT, THEODOR, born in Dresden, July 18, 1827. Architecture painter, pupil of Dresden Academy under Semper; visited Italy and Sicily in 1850-51, lived in Rome in 1858-61 and studied again inVenice and Florence in 1864 and 1873-74. Saxon court-painter in 1868. Works: Castle S. Angelo, Rome, Dresden Museum; The Eight Ancestral Castles of the House of Saxony (fresco), Royal Palace, ib.; Vestibule, Courttheatre, ib.-Meyer, Conv. Lex., xviii. 202. CHRIST AND THE ADULTERESS. See Woman taken in Adultery. CHRIST WITH ANGELS (Crucifix aux Anges), Charles Lebrun, Louvre, Paris; canvas, H. 5 ft. 9 in. x 4 ft. 2 in. Angels in the air and others kneeling on the ground are in adoration before Christ expiring on the cross. At foot of cross, the crown of France on a blue velvet cushion. Painted in 1686 to illustrate a dream of the queen-mother, Anne of Austria. Engraved by G. Edelinck, P. Drevet.-Villot, Cat. Louvre. 280 CHRIST CHRIST, ASCENSION OF. See Ascension. CHRIST, BAPTISM OF, Francesco Albani, Bologna Gallery; canvas, H. 13 ft. 5 in. x6 ft. 10 in. St. John pouring water on the head of Christ, who stands in the stream John pouring water from the hollow of his hand upon his head; to right, an angel, in a cope of gold brocade, carrying the robe; above, God the Father in benediction. On right wing of triptych, Jean des Trompes kneels with his son Philip under the protection of St. John Evangelist; on the left, his wife, Elizabeth Van der Meersch, is attended by her four daughters and St. Elizabeth of Hungary. Painted in 1607 for Jan des Trompes, after whose death placed in S. Basile, Bruges, whence taken to Paris in 1794; restored in 1815.-Kugler (Crowe), i. 112; C. & C., Flemish Painters, 303; Beffroi, i. 966; ii. 294. By Francesco Francia, Dresden Gallery; wood, H. 6 ft. 6 in. x 5 ft. 7 in.; signed, dated 1509. Christ, with hands joined, standing in the water; St. John, kneeling on bank to left, with a dish in his right hand and a staff in his left; behind, disciples and angels. Formerly at Modena; damaged in bombardment of Dresden in 1760. Replica at Hampton Court, probably acquired by Charles L with Mantuan collection.-C. & C., N. Italy, i. 573; Law, Hist. Cat. Hampton Court, 97. By Guido Reni, Vienna Museum; canvas, H. 8 ft. 2 in. x 5 ft. 9 in. Christ, standing in the water, is baptised by John in the Jordan. Three angels hold his vestment; from above, the Holy Ghost descending in form of a dove. Engraved by J. Pichler; Steinmiiller.-Gal. de Vienne, ii. PI. 66. By Murillo, Duc de Montpensier, Chateau de Randau, Puy de Dome, France; canvas, H. 8 ft. 9 in. x 5 ft. 11 in. The Saviour on left, standing with hands crossed; on opposite side of rivulet, St. John standing holding a reed cross in left and pointing with right hand to Christ; above the Saviour an eagle and an inscription; above St. John a winged bull and ian inscription. Purchased from nuns of S. Leandro by Don A. Bravo, who sold it to Louis Philippe; Louis Philippe sale (1853), ~660. Lithographed by Sevestre. -Curtis, 190; Univers. Illustre, Jan. 14, 1861. By Murillo, Seville Cathedral; canvas, Baptism of Christ, Francesco Albani, Bologna Gallery. supported by two angels, while the dove is descending; above, in the heavens, the Eternal, surrounded by angels and cherubs. Formerly in S. Giorgio, Bologna, whence removed to gallery in 1823. Engraved by G. Mitelli; F. Rosaspina.-Pinac. di Bologna, P1. 35. By Gheerardt David, Bruges Academy; wood, triptych, centre, H. 4 ft. 4 in. x 3 ft. 3 in. In centre, Christ, in a hip cloth, standing up to his knees in Jordan; to left, St. 281 CHRIST arched, figures life-size. The Saviour, with only a white drapery about his loins, kneeling on banks of the river, with hands crossed on breast; St. John, partly clothed in raiment of camel's hair, standing on right, holding a reed cross and pouring water from a shell on head of Christ; above, on left, two cherubs with garments of Jesus; above, centre, the Dove; background, landscape and river Jordan. Restored in 1875.-Curtis, 189. By Rubens, M. Schamp, Ghent; canvas. Christ nude, except loins, standing in Jordan, with the Dove descending on his head; St. John, standing on bank, pours water on his head from a shell; to right, three angels in air, holding his raiment; above, three more angels; to left, four men, preparing for baptism, and two women, one of whom holds a child. Painted in Italy in 1604-6 for S. Trinita, Mantua. By Tintoretto, S. Silvestro, Venice; canvas, arched at top, H. about 15 ft. x 10 ft. Christ in the water and St. John on the shore, without disciples or witnesses; the Jordan represented as a mountain brook, receiving a tributary stream in a cascade from the rocks. In the arch above is the Father supported by angels, not by Tintoretto, the upper part of the picture being an addition.Ruskin, Stones of Venice, iii. 358. By Tintoretto, Scuola di S. Rocco, Venice; canvas. Figures thin and meagre in form, and slightly painted; of the nineteen figures in the distance about a dozen are little more than sketches.-Ruskin, Stones of Venice, iii. 336. By Tintoretto, Vienna Museum; canvas, H. 3 ft. x 3 ft. 11 in. Landscape with Baptism of Christ in the Jordan.-Cat. Vienna Mus. By Paolo Veronese, Pitti, Florence; canvas, H. 6 ft. 4 in. X 4 ft. 4 in. John Baptist baptising Christ, who kneels on a rock in the Jordan; three angels near by; above, the Dove, with light emanating from it. Engraved by Rosaspina.-Gal. du Pitti, i. P1. 14. By Andrea del Verrocchio, Florence Academy; wood, H. 5 ft. 9 in. x 4 ft. 8 in. Christ standing in the stream with clasped hands, while St. John pours water on his head; at left, two angels kneel on the bank, near a palm tree. Painted for the brethren of Vallombrosa at S. Salvi. Verrocchio was aided by his pupil Leonardo da Vinci, who Baptism of Christ, Andrea del Verrocchio, Florence Academy, probably painted the charming angel showing his full face. Vasari says that the master, seeing himself outdone by the pupil, resolved never again to take pencil in hand.Vasari, ed. Mil., iii. 366; C. & C., Italy, ii. 407; Gall. Accad. di Firenze, P1. 44; Jameson, Hist. Our Lord, i. 296. Subject treated also by Paris Bordone, Brera, Milan; Pietro Perugino, Perugia Gallery; Pietro Perugino, Vatican, Rome; Joachim de Patinir, Vienna Museum; Alessandro Tiarini, Vienna Museum; Tintoretto, Madrid Museum; Taddeo Gaddi, National Gallery, London; Piero della Francesca, National Gallery, London; Francesco Albani, Hermitage, St. Petersburg; Cornelis Corneliszen, Hermitage, St. Petersburg; Hendrik Goltzius, Hermitage, St. Petersburg; Rogier van der Weyden, Berlin Mu 282 CHRIST seum; Pietro Perugino, Vienna Museum; Juan Fernandez Navarrete, Madrid Museum; Lorenzo di Credi, Uffizi, Florence; Vincenzo Civerchio, Louvre; Vincenzo Carducho, Madrid Museum. CHRIST. BETRAYAL OF. See Judas, Kiss of. CHRIST, BIRTH OF. See Nativity. CHRIST AND THE BLIND. See Jericho, Blind men of. CHRIST ON CALVARY, Mihail Munkacsy, Paris; canvas, H. 19 ft. x 25 ft. The three crosses in foreground, at right, against a sky black with clouds and illuminated with lightnings, the city being just discernible on the horizon; Christ, pale and leaning forward, has just expired; the Virgin, Mary Magdalen, and John are kneeling at the foot of the cross, beside which the Centurion has dropped in terror; all the remainder of the canvas filled with the terrorstricken-crowd-Jewish men and women, the executioners with their implements, rabbis discussing the event, Roman cavalry, and in front Judas-all hastening down the hill. Painted in 1883-84. CHRIST ON WAY TO CALVARY. See Calvary, Procession to. CHRIST AND THE CENTURION (Matthew, viii. 5), Paolo Veronese, Madrid Museum; canvas, H. 6 ft. 3 in. x 9 ft. 6 in. The centurion kneeling between two soldiers on the marble pavement of a spacious edifice, before Christ, who is accompanied by two apostles and others; background, a splendid building of Renaissance architecture. Placed by Philip IV. in the Escorial, whence brought to the Museum. A smaller canvas, same subject, in the Museum, from Collection of Charles II.-Cat. Museo del Prado. CHRIST AND THE CHILDREN, Lucas Cranach, the elder, Baring Collection, London. The mothers and the children are in quaint, old German costumes. Other treatments of the subject, which Cranach painted several times, are in the Stadtkirche, Naumburg, and the Paulinerkirche, Leipsic. By Johann Friedrich Overbeck, Meyer Collection, Hamburg. Christ standing in a landscape, with both hands raised, is blessing the children who are gathered, some kneeling, some standing, around him; at sides, the mothers, and in background, disciples Subject treated also by Rembrandt (attributed), National Gallery, London; Jan de Bray, Haarlem Museum; Sebastien Bourdon, Louvre. CHRIST, CIRCUMCISION OF. See Circumcision. CHRIST AT THE COLUMN. See Flagellation. CHRIST BEARING THE CROSS, Paolo Morando, Verona Gallery. Christ, with a rope around his body and led by an executioner, is bearing the cross on his right shoulder, aided by Simon of Cyrene, who is holding up the lower end; background, a rocky landscape.-Jameson, Hist. Our Lord, ii. 114. By Raphael. See Spasimo di Sicilia By Titian, Scuola di S. Rocco, Venice; canvas. Four figures: Christ, bending under the cross, is dragged by an executioner with a cord, while two persons, one at each side, look on. Painted before 1517; worshipped for the miracles it was supposed to perform, and attracted such offerings that the brethren of S. Rocco were enabled to rebuild their house from the fortune it brought them. Vasari ascribes it both to Titian and to Giorgione.-Vasari, ed. Mil, iv. 97; vii. 437; Sansovino, Ven. desc., 288; C. & C., Titian, i. 60. Subject treated also by Albrecht Dtirer, Bergamo Gallery, Dresden Gallery; Pieter Brueghel, the elder, Uffizi, Florence; Polidoro.da Caravaggio, Naples Museum; Garofolo, Palazzo Corsini, Rome, Hermitage, St. Petersburg; Pieter Brueghel, the younger, Antwerp Museum; Titian, Madrid Museum; Paolo Veronese, Louvre, Paris; Luis Morales, Louvre; Eustache Le Sueur, Louvre; Lodovico Carracci, Hermitage, St. Petersburg; Andrea da Solario, Palazzo Borg. 283 CHRIST hese, Rome; Sebastian del Piombo, Dresden Gallery, Hermitage, St. Petersburg; Titian, Madrid Museum; Gaudenzio Ferrari, Canobbio. CHRIST ON THE CROSS, Leon Bonnat, Palais de Justice, Paris; Canvas. A triumph of naturalistic art. Painted, it is said, from a dead body fastened upon an actual cross in an inner court of the ]cole de medecine. The sufferer, in the midst of the most horrible pain, seems to strain in a last effort; his muscles contract, his veins swell, and the light which brings all into pitiless relief, clearly defines each swollen limb. It is not the Son of God, suffering but resigned; it is a vulgar man, who has lived a common life, and whose body undergoes tortures in which the soul does not share. Salon, 1874.-Claretie (1884), 140. By Albrecht Direr, Dresden Museum; wood, H. 8j x 6j in.; dated, 1506. Christ, with eyes upraised and mouth open, about to give up the ghost; the crown of thorns is upon his head, and about the loins is a cloth with flowing ends; background, a landscape with a black sky. "Rivals the creations of L. da Vinci." Formerly in Collection of Rudolph II.; bought from Boehm Collection, Vienna, in 1865. Engraved by Theo. Langer (1868).-Gal. Roy. de Dresde, iii. P1. 47; C. & C., N. Italy, i. 177; Titian, i. 117; Thausing, i. 356. Anton van Dyck, Antwerp Museum; canvas, H. 9 ft. 10 in. x 7 ft. 8 in. Christ expiring on the cross; on the left St. Dominick, on the right, St. Catherine of Siena; above, two angels, and a third seated at foot of cross. Painted in 1629 and presented by Van Dyck to Ch. of Dominicans, Antwerp, in memory of his father, who died in that city, Dec. 1, 1622; sold on suppression of convents (1785) for 6,000 florins; carried to Paris, and restored in 1815. Engraved by Bolswert.-Head, 17. By Anton van Dyck, Antwerp Museum; wood, H. 3 ft. 6 in. x 2 ft. The Saviour expiring on the cross; in distance, Jerusalem seen faintly. Engraved by Lourie; Burdet (1864); Vermeiren (1875); E. Corr (1875); E. Pfeiffer; L. Lelli. Copy in S. Jacques, Antwerp. -Smith, iii. 8. By Anton van Dyck, Munich Gallery; canvas, H. 3 ft. 4 in. x 2 ft. 1 in. The Saviour on the cross, alone; the heavens marked by the effects of a preternatural eclipse.-Smith, iii. 21. By Anton van Dyck, Vienna Museum; canvas, H. 4 ft. 2 in. x 3 ft. 2 in. The Saviour expiring on the cross. A solemn and impressive work.-Smith, iii. 27. By Guido Reni, Bologna Gallery; canvas, H. 11 ft. 4 in. x 7 ft. 4 in. Christ expiring on the cross, the foot of which Mary Magdalen, kneeling, embraces; at left, the Virgin in a blue mantle stands looking upward; at right, St. John Evangelist; same position. Painted for the church of the Capuchins, near Bologna. One of Guido's best pictures. Engraved by Giovannini. Pinac. di Bologna, P1. 60; Ch. Blanc, ]cole bolonaise.-Lavice, 13; Felsina Pittrice, ii. 22. By Guido Reni, Modena Gallery; Christ on the cross alone, with drapery agitated by the storm, indicated by the dark sky.-Kugler (Eastlake), ii. 580. By Pietro Perugino, Convent of S. M. Magdalena de' Pazzi, Florence; fresco. Near the cross, the Madonna and the Magdalen; at sides, SS. Bernard, John, and Benedict, under three round arches. One of the master's very finest works and in excellent preservation.-Burckhardt, 570; Rio, ii. 247. By Rubens, Antwerp Museum; canvas, H. 6 ft. 11 in. x 4 ft. 1 in. Christ just expiring; Jerusalem faintly seen through the gloom. Presented by Cornelius de Winter to Ch. of the Recollects, Antwerp. Several repetitions. Engraved by Snyers; Bolswert.Similar subject in Munich Gallery; engraved by Bolswert.-Smith, ii. 25, 69. By Tintoretto, Turin Gallery; canvas, H. 4 ft. x 5 ft. 10 in. Christ, seen to hips, on the cross, with the Dove and the Father above his head, and many angels around. Engraved by Ferreri-GalL di Torino, iii P1. 117. CHRIST By Velasquez, Madrid Museum; canvas, H. 8 ft. x 5 ft. 6 in. The Saviour fastened to the cross, his head falling towards his right shoulder, and the hair falling so as to cover half the face; trilingual inscription above; dark background. Painted in 1638 for Convent of S. Placido; came into possession of Countess of Chinchon, who sent it to Paris for sale in 1826; on her death fell to Duke of S. Fernando, who presented it in 1829 to Ferdinand VII. Old copy in Capuchin church, Madrid; modern one by Pairon in Ecole des Beaux Arts, Paris. Engraved by Murgnia; J. A. S. Carmona; J. Ballester; Allegre y Gorriz, and others.Madrazo, 593; Quilliet; Curtis, 7; Jameson, Hist. Our Lord, ii. 205. CHRIST, DEAD, Annibale Carracci, Louvre; canvas, H. 8 ft. 10 in. x 5 ft. 11 in. The body of Christ on a winding-sheet, the head on the Virgin's knees; near her is the Magdalen, leaning against sepulchre; at left, St. Francis, kneeling, with hands crossed, looking upon the body, over which two boy angels are weeping. Painted for S. Francesco a Ripa, Rome; one of Annibale's last works. Extremely well composed. Engraved by Godefroi; Aquila.-Villot, Louvre; Musee frangais, i.; Filhol, iii. P1. 181; Landon, Mus6e, xi. P1. 28. CHRIST AND DISCIPLES' FEET, Giotto, S. M. dell' Arena, Padua; fresco on wall. Christ, on one knee, with a vase of water before him, is about to lave one of Peter's feet, which he holds in his left hand; behind him, St. John and another disciple, standing, the former carrying a water pitcher; the other disciples sitting, Judas, at left, tying his sandal.-Jameson, Hist. Our Lord, ii. 15. By Tintoretto, S. Moise, Venice. Christ washing the feet of Peter, at the top of a circle of steps, on which the other apostles kneel. Much faded and injured.-Ruskin, Stones of Venice, iii. 315; Zanotto, 167. CHRIST AMONG THE DOCTORS, Michelangelo da Caravaggio, Uffizi, Florence. Half-length figures. Engraved by Dennel; T. Verkruys.-Wicar. By Albrecht Direr, Palazzo Barberini Rome; dated 1506. Seven figures, life size, half length. Christ, surrounded by six doctors, engaged in discussion. Especially noticeable for the contrast in the faces and the varied play of the hands, which seem almost to speak. Study for head of Christ in Albertina Collection, Vienna; and for hands in Hausmann Collection, Brunswick. This picture was painted in five days. Thausing, i. 349; Ephrussi, 118. By Holman Hunt. See Saviour in the Temple. By Spagnoletto, Vienna Museum; canvas, H. 4 ft. 1 in. x 5 ft. 6 in. Half-length figures. Christ, with left hand on the arm of a seat, from which he has just risen, is raising his right hand as if speaking; the doctors, puzzled at his words, are consulting their books.- Jameson, Hist. Our Lord, i. 279; Rosini, vi. 158. By Paolo Veronese, Madrid Museum; canvas, H. 7 ft. 9 in. x 14 ft. Christ disputing with the doctors in a sumptuous temple of Renaissance architecture; in background, the Virgin and Joseph, with many spectators. Collection of Charles II.-Cat. Museo del Prado. By school of Leonardo da Vinci, National Gallery, London; wood, H. 2 ft. 4 in. x 2 ft. Christ among the Doctors, School of Leonardo da Vinci, National Gallery, London. 10 in. Christ surrounded by four doctors, half lengths. From collection of Mr. Holwell Carr; previously in Aldobrandini Gal 285 CHRIST lery, Rome, where it was attributed to Leo- 11 in. x 2 ft. 5 in. Christ, half length, bless nardo da Vinci. Probably by Bernardino ing the bread and wine. From Casa Rumieri, Luini.-Waagen, Treasures, i. 319. Venice. Copy in Louvre by Agnese Dolci. Subject treated also by Giovacchino As- Engraved by F. Basan. -Gal. Roy. de sereto, Liverpool Gallery; Bernardino Luini, Dresde, i. P1. 41. National Gallery, London, Church at Saron- CHRIST AT EMMAUS. See Supper at no (fresco); Lodovico Mazzolino, Palazzo Emmaus. CHRIST, ENTOMBIMENT OF. See Entombf' -'- r '111'~ 1111{ '11111 1111 1 l 11111( 1~ "inment. CHRIST, ENTRY INTO JERUSALEM OF, Johann Friedrich Overbek, Marien Kirche, Lubeck; canvas, H. 6 ft. x 8 ft.; signed, B r n G CI dated 1824. Christ, riding del> <ier l GariMan ass, with his right hand raised in benediction, is passing through the gates bearing palms and sing/ Drle ing; in foreground a man spreads his garment before the ass. Begun in Vienna in 1809, finished in Rome in 1824. —Atkinson 16. Subject treated also by Giotto, Arena, Padua; Vassilacchi, Church of Benedictines, Perugia; Giov. Ant. Fassolo, Dresden Gallery; Pasignano, Pal. Cappont, Florence; Sebastian del Piomnbo; Nicolas Poussin; Charles Lebrun, Louvre; Charles Muller Christ and Evangelists, Fra Bartolommeo, Palazzo Pitti, Florence.; ou r (Salon, 1844); Edouard Borghese, Rome, Berlin Museum; Leonard Dubufe, (Salon, 1845); J. F. Brbmond, Bramer, Brunswick Gallery; CharlesAdolphe Church of La Villette, Paris; Hippolyte Bonnegrace, Toulon Museum; Pinturicchio, Flandrin, St. Germain des Prds, Paris. S. M. Maggiore (fresco), Spello; Rembrandt, CHRIST AND EVANGELISTS, Fra Bar. Munich Gallery; Gaudenzio Ferrari, S. M. tolormneo, Palazzo Pitti, Florence; wood, delle Grazie, Milan; Ernest Zimmerman, tranferred to canvas, H. 9 ft. 2 in. x 6 ft. 6 (1879). lin.; signed, dated 1516. The Saviour, partly CHRIST AND THE ELEMENTS, Carlo draped, standing on a pedestal in front of a Dolci, Dresden Gallery; canvas, H. 2 ft. niche, holds the sceptre in his left hand 286 CHRIST while his right is raised in benediction; on sides, SS. Mark and John, SS. Matthew and Luke. Below, two little angels seated on step holding symbol of the earth. The Prophets Jacob and Isaiah, now in the Tribune of the Uffizi, were painted on the wings of this altarpiece. Painted for Salvadore Billi, who placed it in SS. Annunziata de' Servi; bought by Carlo de' Medici in 1618 for his private chapel, a copy by Jacopo da Empoli being placed in the church in its stead; on the death of the Cardinal (1663) removed to Palazzo Pitti; carried to Paris in 1799; returned in 1814. Engraved by G. B. Gatti.-Vasari, ed. Mil., iv. 190; C. & C., Italy, iii. 466; Marchese, ii. 123, 145; Landon, Mus6e, 2d Col., i. P1. 1; Gal. du Pal. Pitti, i. P1. 31; Ch. Blanc, ficole florentine. CHRIST, FLAGELLATION OF. See Flagellation. CHRIST AFTER FLAGELLATION, Velasquez, Sir John Savile Lumley, H. B. M. Minister at Brussels; three figures, full length, life size. Christ seated on ground with wrists attached by a long cord to a column on left; a ray of light proceeds from his head to the heart of a child who, attended by an angel kneels behind him; instruments of the Passion on the ground. Purchased in Madrid, carried to England about 1860.-Curtis, 7. CHRIST IN THE GARDEN, Marco Basaiti, Venice Academy; wood, H. 7 ft. 3 in. x 2 ft.; signed, dated 1510. Christ, kneeling on a hillock, at the foot of which the apostles are sleeping, receives the chalice from an angel; foreground, a portico, at the sides of which stand SS. Louis, Francis, Mark, and Dominic. Painted for S. Giobbe, Venice. A very noble picture.-C. & C., N. Italy, i. 263. Palace, Madrid; taken from carriage of Jo. seph Bonaparte at battle of Vittoria; restored by Duke of Wellington to Ferdinand VII., who sent it back to him as a present. Copies in National Gallery, London; Uffizi, Florence; Madrid Museum; and in Hermitage, St. Petersburg. Engraved by Volpato, Curtius and others. Waagen considers this the most beautiful known representation of the subject.-Meyer,Correggio, 333,486; KUnst. Lex., i. 436; Waagen, Treasures, ii. 275;, Landon, CEuvres, viii. PI. 12; Kugler (Eastlake), ii. 505. By Carlo Dolci, Palazzo Pitti, Florence; wood, H. 2 ft. 3 in. x 1 ft. 8 in. Christ kneeling, with arms folded and head inclined; above, an angel, with cross and chalice. Painted for Francesco Quaratesi, Florence, from whose heirs passed to Pitti; carried to Paris in 1799; returned in 1815. Engraved by I. Bonajuti, J. Felsing. - Gal. du Pal. Pitti, i. P1. 33; Landon, Mus6e, x. P1. 11. By Garofalo, Ferrara Gallery; wood, H. 5 ft. 11 in. x 4 ft. 2 in. Christ praying on a hillock in the garden of Gethsemane, with the three apostles sleeping at the foot; in background, Judas coming with soldiers. Painted for the church of the suppressed convent of S. Silvestro, Ferrara.-Vasari, ed. Mil., vi. 465; Cat. Ferrara Gal. By Guido Reni, Louvre; copper, H. 1 ft. 10 in. x 1 ft. 5 in. Christ kneeling in prayer on a rock, while an angel, holding a cross and borne on a cloud, presents him the chalice; above, other angels with instruments of the Passion; in background, to right, the apostles asleep; in distance, Judas guiding. the soldiers. Belonged to Cardinal Mazarin; after his death given by Duc de Mazarin to the Duchesse de Chevreuse, from whom bought by Louis XIV. in 1668. Engraved by Falck.-Landon, Mus6e, xii. P1. 22. By Andrea Mantegna, Baring Collection, London; signed. Christ kneeling before five angels bringing him the symbols of the Passion; apostles asleep in foreground; in middleground, Judas and Roman soldiers I By Correggio, Apsley House, England; wood, H. 1 ft. 2 in. x 1 ft. 4 in. Jesus kneeling in the foreground, with an angel hovering over him; the sleeping disciples and Judas with soldiers in background. Painted probably about 1525; formerly in Royal 28' following him; background, a rocky landT CHRIST scape with a city. Painted about 1549. Formerly in Fesch and Coningham galleries. -C. & C., N. Italy, i. 382; Waagen, Treasures, ii. 178. By Johann Friedrich Overbeck, Hamburg Hospital; canvas, H. 11 ft. x 7 ft. The Saviour kneeling, his head bowed in anguish, his hands raised in ecstasy; below, the three disciples lying asleep; above, in a glory amid clouds, an angel bearing the cross.-Atkinson, 63. By Pietro Perugino, Florence Academy; wood, H. 4 ft. x 4 ft. 3 in. Christ kneeling in prayer while an angel brings the cup; the three apostles asleep in foreground, and Judas bringing the soldiers in background. Painted in 1495 for the convent of the Gesuiti, Florence, as a companion to the Pietd of Florence Academy. Engraved by Chiossone.-Vasari, ed. Mil., iii. 573; C. & C., Italy, iii. 199; Gall. dell' Accad. di Firenze, P1. 52. By Raphael, Stanstead House, Sussex, Eng.; wood, H. 2 ft. x 2 ft. 3 in. Christ kneels upon a hillock, against which lean the three sleeping disciples; above, at left, an angel descending with the cup; in distance, at right, Judas with six soldiers; background, a landscape with hills and a town. Painted for Duke Guidobaldo of Urbino about 1504. Formerly in Palazzo Gabrielli, Rome, whence stolen in 1820, and sold for 40 scudi; but recovered and sold to the Woodburns for 4000 scudi; bought from Coningham Collection by Mr. Maitland of Stanstead House for ~787. Engraved by L. Grfiner for German edition of Passavant, P1. x.-Vasari, ed. Mil., iv. 323; Passavant, ii. 20; Waagen, Treasures, iii. 4. By Tintoretto, Scuola di S. Rocco, Venice; canvas. The most hastily painted of all the S. Rocco pictures. Christ represented sleeping, the angel with the cup appearing to him as a dream; James and John also asleep, and Peter wakening and turning his head toward Judas approaching with the troop.-Ruskin, Stones of Venice, iii. 337. By Titian, Escorial, Spain; canvas, fig ures half life-size. Christ, kneeling, looks to the left, where an angel is descending, while Peter and the sons of Zebedee sleep on the grass. Painted in 1562 for Philip II. of Spain; placed in the Sala Prioral of the Escorial, where it became nearly ruined from neglect. Imitation of similar picture by Correggio, now at Apsley House, England.-C. & C., Titian, ii. 320. Subject treated also by Giotto, Uffizi, Florence; Gentile da Fabriano, Cluny Museum; Garofalo, National Gallery, London; Brusasorci, Louvre; Schidone, Lyons Museum; Daniele Crespi, Berlin Museum; Annibale Carracci, Madrid Museum; Anton van Dyck, ib.; Chimenti da Empoli, ib.; Juan de Juanes, ib.; Fr. Trevisani, Dresden Gallery; Lanfranco, Munich Gallery; Leandro Bassano, Venice Academy; Jacopo Bassano, ib.; Murillo, Louvre; Memling, Lubeck Cathedral; Wohlgemuth, Munich Gallery; Lucas Cranach, Berlin Museum,Vienna Museum; Adrian van der Werf, Munich Gallery; Hans Burgkmair, Augsburg Gallery; Rugbne Delacroix (Salon, 1827); Ary Scheffer (Salon, 1839); Th6odore Chasseriau (Salon, 1844); M. de Rudder (Salon, 1863). CHRIST IN GLORY, AND SAINTS, Domenico Ghirlandajo, Palazzo Pubblico, Volterra. Christ, in a glory of angels, gives a blessing from the heavens; below, SS. Romualdo and Benedict stand looking upward, and SS. Attinia and Greciniana kneel in ecstasy; in right corner, a Camaldolensian monk at prayer. Painted about 1486 by order of Lorenzo de' Medici for the Badia or Abbey of S. Giusto, Volterra. Injured by restoring in oil. Engraved (1583) by Diana Ghisi.-Vasari, ed. Mil., iii. 273; C. & C., Italy, ii. 487. CHRIST THE GOOD SHEPHERD, Murillo, Baron Rothschild, Gunnersbury, near London; canvas, H. 5 ft. 5 in. x 3 ft. 6 in. The Saviour, about six years old, wearing a sheepskin garment, standing, with a crook in his hand, looking up; on his right, a sheep lying down; on his left, two sheep standing, his hand on the head of 288 CHRIST one; background, landscape. Painted 1665-70; sold, with its companion St. and the Lamb (National Gallery, Lot at Comte de la Guiche sale (1771), 1 livres; Marquis de Presle sale (1779) bit sale (1801), to Sir Simon Clarke, ~4 Sir Simon Clarke sale (1840), the St. was bought for ~2,100 by Lord Ashbi who gave it to the National GallerJ Good Shepherd for ~3,045 by Baron I child. Engraved by Cooper, Mlle. D J. Heath, J. C. Armytage, C. Virte: Graves, and others. Repetition:' E Wemyss, Gosford Hall, East Lothian, Perthshire. Copy by Grimoux, Duch- ess of Bridgewater (?).Curtis, 185. By Murillo, Comte Hen- i __ ri de Greffuhle, Paris; canvas, H. 1 ft. 11 in. x 1 ft. 4 in. The Saviour, a crook,-,_in his left hand, walking - front, resting his hand on the head of one of two. i sheep on his right; on his left, another sheep run- ning; background, landscape. Presented by — t-' Queen Isabella to M. Gui- _ zot for bringing about the marriage of her sister to the Duc de Montpensier; sold in 185 120,000 fr.-Curtis, 186. By Murillo, Madrid Museum; canvs 4 ft. x 3 ft. 3 in. The Saviour, about years old, wearing a red tunic and a s skin garment, with crook in hand, se his left hand on the back of a lamb hind him, a rock, a broken cornice, a fluted column. From Isabel Farnese lection. Repetition: Don Manuel I Cepero, Seville. Etched by Waltner; graphed by J. Abrial, A. Lemoine, Lai -Curtis, 186; Gaz. des B. Arts, 1875. Madrazo, 473. CHRIST IN HOUSE OF JAI Paolo Veronese, Vienna Museum; ca H. 3 ft. 2 in. x4 ft 3 in. Christ, on the steps of the house of Jairus, has his robe touched by a woman, who, when he turns toward her, falls on her knees; she is supported by two women; behind them are several sick and lame persons, and behind Christ are several disciples.-Gal. de Vienne, i. P1. 44. CHRIST IN HOUSE OF HIS PARENTS, John Everett Millais, Frederick Arthur Beer, London; canvas. Sometimes called the Carpenter's Shop; represents Joseph in his shop working with another Christ in House of Jairus, Paolo Veronese, Vienna Museum, half-clad carpenter; in foreground, Jesus shows to his mother, who kneels to kiss him, a wound in his hand, made by a nail which Elizabeth, who stands in background, reaches forward to pull out with a pair of pincers; at right, the infant John, with water in a bowl; in background, left, sheep look in at open door. Painted in 1849; exhibited at Royal Academy, 1850, under following title: "And one shall say unto him, What are these wounds in thine hands? Then he shall answer, Those with which I was wounded in the house of my friends." (Zech. xiii. 6.) Engraved by Thos. Brown, in Art Journal.-Art Journal (1850), 175; (1883), 92. 289 CHRIST CHRIST, INFANT, Murillo, Matthias H. Arnot, Elmira, N. Y.; canvas, H. 2 ft 1 in. x 1 ft. 8 in. Infant Christ, sleeping, holding a crook, with a skull and a scroll; in background, angels guarding sheep. Duke of Hamilton sale (1882), ~2,415. Incorrectly called St. John Baptist by Waagen. -Waagen, Treasures, iii. 301; Curtis, 248. CHRIST GIVING KEYS TO PETER, Guido Reni, Louvre; canvas, H. 11 ft. 3 in. x 10 ft. 2 in. At left, surrounded by Apostles, Christ gives keys of Church to the kneeling Peter. In Guido's second manner. From Mus6e Napoleon. —Landon, Vies, xxii. PI. 10. CHRIST AND THE MAGDALEN. See Noli me tangere. CHRIST AND THE MAGDALEN, Rembrandt, Buckingham Palace; wood, H. 2 ft. X 1 ft. 8 in.; signed, dated 1638. Christ, as a gardener, in a white robe and straw hat, with a spade in his hand, is worshipped by Mary Magdalen, at dawn of morning; in background, the entrance to the sepulchre, in which two angels are seen; in distance, two disciples approaching. Purchased (1736) by Elector of Hesse Cassel of Mad. de Reuver; taken in 1806 to Malmaison; at M. sale (1816) taken to England, where bought by George IV.-Waagen, Art Treasures, ii. 5; Smith, vii. 44. Subject treated also by Lorenzo di Credi, Uffizi, Florence; Agnolo Bronzino, Louvre; Fr. Albani, ib.; Simone Cantarini, Munich Gallery; Onorio Marinari, S. M. Maggiore, Florence; Lavinia Fontana, Uffizi, ib.; Ciro Ferri, Vienna Museum; Fr. Bassano, Dresden Gallery; Aug. Braun, ib.; Jan van Mabuse, Brussels Museum; Mariotto Albertinelli, Louvre; Eustace Lesueur, ib. CHRIST AND THE MARYS, Andrea Mantegna, Brera, Milan; wood, tempera, H. 2 ft. 2 in. x 2 ft. 8 in. The dead Christ bewailed by the Marys. Painted before 1474. Long in Palazzo Gonzaga, Mantua, whence carried off in 1630 by Bishop of Mantua; in Cardinal Mazarin's palace in Rome in 1696; bought, beginning of this century, by Giu seppe Bossi and taken to Milan. It is in Mantegna's grandest style.-C. & C., N. Italy, i. 394. CHRIST AND THE MONEY CHANGERS, Jakob Jordaens, Louvre, Paris; canvas, H. 9 ft. 6 in. x 14 ft. 4 in. At right, Christ armed with a scourge; in centre, a confused group, among which are an ass, a dog barking, a sheep, a young man with his bench overturned, and a woman suckling her child; at left, a negro holding an ass and an old woman putting birds into a cage; in background, publicans and other figures. -Villot, Cat. Louvre. Subject treated also by Francesco Bassano, Dresden Museum; Jacopo Bassano, National Gallery, London, Madrid Museum; Peter Bassin, St. Petersburg Academy. CHRIST HEALING THE PARALYTIC, or Christ at Pool of Bethesda, Anton van Christ Healing the Paralytic, Murillo, Orwell Park. Dyck, Buckingham Palace; canvas, H. 3 ft. 10 in. x 4 ft. 9 in. Five figures, life-size, seen to knees. The paralytic, restored, is bending in adoration before Christ, in centre of the group; on his left, John; on his right, two other disciples. Long attributed to Rubens, and sold as his work for 3,700 florins at Brussels in 1758; Verhulst sale (1779), under Van Dyck's name, 4,777 fl.: Panvels sale (1803), 11,666 fl.; Van Alpen sale (1810), 19,200 fl.; La Fontaine sale 290 CHRIST (1811), ~3,300. Copy in Munich Gallery. Engraved by P. de Jode; C. de Mechel.Smith, iii. 21, 70; Guiffrey; Gal. de Dulsseldorf. By Murillo, Geo. Tomline, Orwell Park, Suffolk; canvas, H. 7 ft. 8 in. 8 ft. 5 in. Christ, standing in centre, with three disciples on his right, puts forth his hand to raise the paralytic, who, stretched on the ground, with a crutch, a jar, and a dish beside him, implores his aid; on right, a dog approaches the pool; in middle distance, many figures grouped in porch of a temple; above, the angel ascending. Companion to Prodigal Son's Return, Stafford House. Painted in 1670-74 for Hospital of La Caridad; carried off by Marshal Soult; sold to Mr. Tomline (1846), 160,000fr. Engraved by T. Vernon. Considered by Waagen to be the "finest Murillo in England."-Curtis, 192; C. Bermudez, Carta, 74; Stirling, ii. 852; Waagen, iii. 440. CHRIST SHOWN TO THE PEOPLE. See Ecce Homo. CHRIST AND THE PHARISEES. See Tribute Money. CHRIST BEFORE PILATE, Gerard Honthorst, Stafford House, London. Christ with hands bound, standing at right in an interior, is interrogated by Pilate, who is seated behind a table, on which are books, an inkstand, and a candle, the light of which illumines the faces of both; in background, right, several soldiers; left, two attendants. Painted at Rome for Prince Giustiniani.Ch. Blanc, icole hollandaise. By Mihail Munkacsy, Paris. Christ standing before Pilate, who is seated at right upon a dais, in a vaulted chamber, into which the rabble are pressing with threatening cries and gestures; a Roman soldier is keeping them back from the Saviour with his spear; near Pilate, who appears much perplexed, are several Rabbis. Engraved by A. Mongin. Etched (1883) by C. Waltner.-Acad., May 6, 1882, 328; Gaz. des B. Arts (1881), xxiv. 139. By Tintoretto, Scuola di S. Rocco, Venice; canvas. A very interesting picture, best seen on a dark day, when the white figure of Christ looks almost like a spirit; the Pilate is very mean, perhaps intentionally, and the passionate action of the scribe in lifting his hand to dip the pen into the ink-horn is affected and overstrained.-Ruskin, Stones of Venice, iii. 352. Subject treated also by Michael Wohlgemuth, Liverpool Gallery; Benedetto Cagliari, Venice Academy; Luigi Benfatto, S. Luca, Venice. CHRIST AT POOL OF BETHESDA.See Christ Healing the Paralytic. CHRIST, RESURRECTION OF. See Resurrection. CHRIST AND ST. JOHN, Murillo, Madrid Museum; canvas, H. 3 ft. 5 in. x 4 ft. The Infant Jesus, standing on left, gives water in a shell to St. John, who kneels, holding a cross in his left hand; on left, a lamb lying; above, three cherubs; background, landscape. From Isabel Farnese Collection. Engraved by Ledoux; lithographed by V. Camaron, Lafosse, Mile. Asselinau. Sometimes called Los Mifos de la Concha (Children of the Shell).-Dohme; Curtis, 188; Madrazo, 473. CHRIST WITH SAINTS, Tintoretto, S. M. Zobenigo, Venice; canvas, H. about 10 ft. x 8 ft. Christ descending from clouds between SS. Justina and Augustine, who are kneeling on the sea-shore. Displays little power except in general harmony of colours.-Ruskin, Stones of Venice, iii. 362; Zanotto, 174. CHRIST AND SAMARITAN WOMAN, Guido Reni, Louvre; canvas, H. 1 ft. 11 in. x 2 ft. 8 in. The woman of Samaria, standing at right, with a vase or pitcher in her hand, listens to Christ, who sits leaning on the curbstone of the well; in distance, city of Saarnia. Collection of Louis XIV. Engraved by L. Fabri.-Mus6e Royal, i.; Filhol, i. P1. 3; Landon, Mus6e, iii. P1. 16; Ch. Blanc, Scole bolonaise. Subject treated also by Annibale Carracci, Brera, Milan; Guido Reni, Louvre; Lorenzo 291 CHRIST Lippi, Vienna Museum; Biliverti, ib.; Paolo Veronese, ib.; Annibale Carracci, ib.; Philippe de Champagne, Caen Museum; also by Bonifazio, Noel Coypel, Gaspard de Grayer, Garofalo, G. Gimignani, Ulrich Mayer, Nicolas Poussin, Bernardo Strozzi, Federigo Zucchero, Alphonse Perin (Salon, 1827), Charles Chasselat (Salon, 1838), Jules Jollivet (Salon, 1839), J. Bellel (Salon, 1841), Auguste Leloir (Salon, 1844), C. de Balthasar (Exposition Universelle, 1855),W. Cooper (Exposition Universelle, 1855), Theodore Maillot (Salon, 1863). he healed them." (Matt. xxi. 14.) Christ standing, with his disciples and many Jews behind him; in foreground, the sick being brought in to be cured. Painted for the Friends' Hospital in Philadelphia, but sold for 3,000 guineas to the Directors of the British Institute, who presented it (1826) to the National Gallery. West sent a copy to Philadelphia. Engraved by C. Heath; in small by T. Phillibrown for Jones's National Gallery.-Cat. Nat. Gal. CHRIST IN THE TEMPLE. See Christ among the Doctors. Christ Healing the Sick, Benjamin West, National Gallery, London. CHRIST, SEPARATION OF, Paolo Veronese, Pitti, Florence; canvas, H. 3 ft. x 2 ft. 2 in. Christ taking leave of his mother before the Passion, in the presence of the Magdalene and Martha. The wife of Zebedee stands at top of the steps leading into the palace, in front of which the Virgin sits. Engraved by Lasinio.-Gal. du Pal. Pitti, ii. P1. 26. CHRIST HEALING THE SICK, Benjamin West, National Gallery, London; canvas, H. 9 ft. x14 ft. "And the blind and the lame came to him in the temple, and CHRIST CLEARING THE TEMPLE. See Christ and the Money Changers. CHRIST, TEMPTATION OF, Tintoretto, Scuola di S. Rocco, Venice; canvas. Christ and Satan on the mountain. The picture owes great part of its effect to the lustre of the jewels in the armlet of the latter, and to the beautiful colours of his wings.-Ruskin, Stones of Venice, iii. 341. Subject treated also by Sandro Botticelli, Sistine Chapel; Perugino, Sala del Incendio, Vatican; J. Konig, Pommersfelden Gal 292 CHRIST lery; Jan Brueghel; Gerard de Lairesse; M. T. Schmidt (1760); Martin de Vos; Ary Scheffer; Edouard Bertin (Salon, 1841); Felix de Boischevalier (Salon, 1844); C. T. Lecomte (Salon, 1861). CHRIST CROWNED WITH THORNS, Michelangelo da Caravaggio, Hermitage, St. Petersburg. Two figures half-length. Christ seated, crowned with thorns, and holding a reed in his bound hands; behind him an executioner, who opens his mouth as if crying out. Lithographed by H. Robillard. — Gal. Imp. de l'Hermitage, 1845. By Lodovico Carracci, Bologna Gallery; canvas, H. 8 ft. 7 in. x 4 ft. 2 in. Christ seated in a dungeon, his hands bound be rounded by seven men, one of whom is presenting him a reed, while another fixes a crown of thorns upon his head. Carried to Paris, and restored in 1815. Engraved by Bolswert; J. Falck; C1. Drevet; Campion; lithographed by Regnier (1840). Copy in Madrid Museum.-Smith, iii. 36; Guiffrey. By Guercino, Munich Gallery; canvas, H. 3 ft. 7 in. x 4 ft. 9 in. Figures half-length; Christ, with hands bound, holding the reed; at right, a soldier in armour, pressing the crown upon his head; at left, a priest. Lithographed by F. Piloty.-Pinac. Manchen. By Andrea Solario, Litschena, near Leipsic; canvas on panel, H. 2 ft. 4k in. x 1 ft. 8 in.; signed. Christ, with fettered hands, a rope around the neck, and the crown of thorns. Bought from the Friesische Sammlung, Vienna.-C. & C., N. Italy, ii. 57. By Titian, Louvre; wood, H. 10 ft. x 5 ft. 11 in.; signed. Christ struggling on steps of the prison, over gateway of which is a bust of Tiberius; his arms, bound at the wrists, held by kneeling soldier, while two men with long reeds press the crown of thorns on his head. Painted about 1553; probably taken in 1559 by Orazio Vecelli to Milan, where it adorned S. M. delle Grazie until removed to France beginning of this century. Duplicate in Venice Academy. Engraved by L. Scaramuccia; V. Lefebre; Rebault. —C. & C., Titian, ii. 264; Filhol, vii. P1. 457; Landon, Musee, iv. P1. 71; Musee frangais, i. By Titian, Munich Gallery; canvas, H. 8 ft. 7k in. x 5 ft. 7 in. Differs in some respects from the picture in the Louvre, the scene being laid in the gloom of a passage, lighted by a hanging lamp. Supposed to be the picture given about 1571 byTitian to Tintoretto, who preserved it in his studio, and sold by Domenico Tintoretto to a foreigner. Adaptation of it by Rubens, in Berlin Museum, and one by Van Dyck in Madrid Museum.-Ridolfi, Maraviglie, i. 270; C. & C., Titian, ii 399. Christ Crowned with Thorns, Anton van Dyck, Berlin Museum. fore him, with three executioners pressing the crown of thorns upon his head; in background, two soldiers and a priest. Painted for Church of the Certosa, Bologna. Engraved by I. Trabalesi; G. Tomba. —Pinac. di Bologna, P1. 66. By Anton van Dyck, Berlin Museum; canvas, H. 8 ft. 6 in. x 6 ft. 7 in. The Saviour, with hands bound, seated in a prison, sur 293 CHRIST Subject treated also by Michelangelo da Caravaggio, Munich Gallery; Marten van Heemskirck, Nuremberg Gallery. CHRIST AT THE TOMB, Henri Levy, Paris. The body of Christ lies upon a flat stone covered with a black pall, the right rl~~~':" i Christ Crowned with Thorns, Titian, Louvre. CHRIST, TRANSFIGURATION OF. See Transfiguration. CHRIST OF THE TRIBUTE MONEY. See Tribute Money. CHRIST APPEARING TO VIRGIN, Guido Reni, Dresden Gallery; canvas, H. 11 ft. 6 in. x 8 ft. 1 in. Christ, standing, attended by an angel, bearing the banner of Redemption, and followed by two disciples with clasped hands, appears to the Virgin, who kneels at left; behind her, in background, is St. Charles Borromeo, an angel, Adam, and Eve; above, angels with palms. From Modena Gallery. Engraved by N. Tardieu.-Gal. Roy. de Dresde, i. PL 22. By Titian, S. Maria, Medole; canvas, H. 9 ft. x 6 ft. 6 in. Meeting of Mary and Christ after the Ascension; the Virgin, kneeling on the clouds, raises her hands in surprise as Christ, in grave-clothes, shows her the stigmata; behind him are Adam, Eve, and two patriarchs. Painted in 1554, and presented by Titian to the church when his nephew became canon; damaged by its concealment in a tomb during French Revolution; unsuccessfully restored in 1862.-C. & C., Titian, ii. 240. CHRISTENSEN, GODFRED, born in Copenhagen, July 23, 1845. Landscape painter; pupil of Copenhagen Academy under Kiaerschou, where he won prizes in 1865 and 1871, went in 1873 to Paris, where he was much influenced by the colouris. Member of Copenhagen Academy in 1881. Works: Beech Tree (1865); Zealand Landscape (1870); Fenn in North Zealand (1871); Highway with Willows (1873); Himmelbjerget (1880), Copenhagen Gallery.Sigurd Muller, 61; Weilbach, 111. CHRISTIAN MARTYR. See Martyr. CHRISTIAN PARNASSUS. See Triumph of Religion in Arts. CHRISTINA, ST., GLORIFICATION OF, Vincenzo Catena, S. M. Mater Domini, Venice; wood, arched at top. Christ, on high, gives a blessing to the Saint kneeling on a cloud at his feet; below, in a landscape, arm hanging down, the hand touching a copper dish in which are the nails and a cloth stained with blood, and beside which is the crown of thorns; at the head sits an angel, partly covered with violet drapery, who holds a trumpet in his right and raises with his left hand the pall; at the foot, a second angel, in a purple tunic, is bent in grief over the Saviour's feet. Salon, 1873. Etched by Charles Waltner.-Gazette des B. Arts (1873), viii. 42; Larousse, xvi. (Sup.), 535. 294 CHRISTOPHSEN St. Christina looking up to heaven, surrounded by angels bearing the instruments of her martyrdom. A very lovely example of the Venetian religious school, but marked by want of originality. Painted in 1520 for the church where it still hangs.-Ruskin, Stones of Venice, iii. 312; C. & C., N. Italy, i. 251; Burckhardt, 601. CHRISTOPHSEN, PETER. See Cristus, Petrus. CHRISTUS CONSOLATOR, Ary Scheffer, Fodor Collection, Amsterdanm; canvas, H. 6 ft. x 8 ft. Illustration of Luke iv. 18. Christ seated upon clouds, with his arms extended, offers consolation to the poor, the blind, the broken-hearted, and those in captivity. Salon, 1837; purchased by Due d'Orleans; his sale (1853), 52,500 fr. to M. Fodor. Engraved by Henriquel Dupont.Ch. Blanc, fcole francaise; Gaz. des B. Arts (1874), x. 565; Larousse, iv. 214. CHRISTUS REMUNERATOR, Ary Scheffer. Christ, standing, turned a little toward the right, his feet bare, extends his arms toward the good and the repentant sinners. Painted in 1847. Engraved by A. Blanchard.-Larousse, iv. 214. CHRYSEIS, RETURN OF, Claude Lorrain, Louvre, Paris; canvas, H. 3 ft. 11 in. x 5 ft. Chryseis, or more properly Astynome, daughter of Chryses, priest of Apollo, had been taken prisoner by Achilles and adjudged to Agamemnon, who was obliged by the anger of Apollo to restore her to her father. (Homer, II., i. 10, 378). The ship in which Ulysses has brought her lies in the port; in foreground, sailors land goods, and at left, animals for sacrifice; in second plane, left, an Ionic temple, on the peristyle of which Chryses, surrounded by attendants, is receiving his daughter. Liber Veritatis, No. 80. Painted for Prince de Liancourt, from whom acquired by Louis XIV. Engraved by D. Barriere (1654). —Pattison, Claude Lorrain, 59, 241; Villot, Cat. Louvre. CHRYSOSTOM, ST. JOHN, MAJESTY OF, Sebastian del Piombo, S. Giovanni Crisostomo, Venice; canvas, figures life. size. The Saint, attended by one of the fathers, is seated in front of a palace, correcting a book of homilies on his knee; on one side SS. Mary Magdalen, Catherine and Agnes; on the other, SS. John Baptist and Liberale; background, rich landscape. Painted in Venice in 1513; ascribed to Gio. Bellini by Burckhardt.-C. & C., N. Italy, ii. 312; Rosini, v. 224; Vasari, ed. Mil., v. 566; Burckhardt, 597; Kugler (Eastlake), ii. 512. CHURCH, FREDERIC EDWIN, born at Hartford, Conn., May 4, 1826. Land- scape painter; pupil J l of Thomas Cole at Catskill, N. Y., where - his first pictures were painted. Elected N.A. in 1849. Made sketch- ing tours in South America in 1853 and, 1857; later, on coast of Labrador and in Jamaica, and in 1868 visited Europe and the Holy Land. Medal, 2d class, Paris, 1867. Studios in New York and in Hudson. Visited Mexico in 1883. Works: Andes of Ecuador (1855), William H. Osborn, New York; The Great Fall-Niagara (1857), Corcoran Gallery, Washington; Heart of the Andes (1859), David Dows, New York; Icebergs (1861), Sir Edward Watkins, London; Cotopaxi (1862), Lenox Library, New York; Chimborazo (1864), William H. Osborn, ib.; St. Thomas in the Vale-Jamaica (1866), Mrs. Samuel Colt, Hartford, Conn.; Niagara (1866), Mrs. A. T. Stewart, New York; Damascus (1869), William Walter Phelps, ib.; Rainy Season in the Tropics (1870), Mrs. M. O. Roberts, ib.; Jerusalem (1870), T. M. Allyn, Hartford; The Parthenon (1871), M. K. Jesup, New York; El Khasna Petra (1872), Mrs. F. E. Church, ib.; Tropical moonlight (1874), William H. Osborn, ib.; 2Egean Sea (1875), William H. Osborn, ib.; Valley of Santa Ysabel (1875), John Buckingham, Chicago; 295 CHURCH El Ayn (The Fountain, 1876); Syria by the of Sceaux (1857); The Angel can Sleep, The Sea (1876), James F. Joy, Detroit; Morning Angel Watches, Environs of Sceaux, First in the Tropics (1877), William E. Dodge, Days of May (1859); Landscape at Aulnay, Jr., New York; The Monastery (1878), Hurl- Chartreux Convent at Sceaux (1861); Valbut Collection, Cleveland, O.; Valley of Santa ley of the Brbvre, Cliffs at Treport, The Marta (1879), Charles Parsons, St. Louis. Sarthe (1863); Whirlpool near Seineport CHURCH, F. S., born at Grand Rapids, (1864), Luxembourg Museum; Soisy-on-theMich., in 1842. Animal painter; pupil of Ecole (1865), Valley of Sceaux, View near the National Academy and of the Chicago Beaulieu (1866); View at Rochefort (1867); Academy. Paints in oil and water-colour, Gravel-Pit, Environs of Paris (1868); Woods and draws in black and white. Elected an of Meudon, Chestnut-trees (1869); Vision of A.N.A. in 1885. Member of Society of Ezekiel, Environs of Sevres (1874).-LaAmerican Artists. Studio in New York. rousse; L'Art (1877), viii. 24. Works in oil: Mad as March Hares; CIENNI DA FIRENZE. See Cennini. Weirdness; Solo; Sea Princess; Back from CIGALE, LA (The Grasshopper), Jules the Beach (1879); Muskrat's Nest (1880); Joseph Lefebure, D. Catlin, St. Louis; canFoggy Day (1881); Willing Captive (1883). vas, H. 8 ft. x 3 ft. Illustration of La FonWater-Colours: Hard Times; Chilly Day taine's fable. Female figure, full length, (T. B. Clarke, New York); Foraging Party; nude, standing, biting her fingers and poutElfin Tandem; Phantom; Ostrich Dance; ing as the first breeze of autumn whistles. Awkward Squad; Pandora, King's Flamin- -Art Treasures of America, iii. 55. goes (1884); Peacocks in the Snow (1885). CIGNANI, CARLO, Count, born in BoCIBOT, (FRAN(OIS) BARTHEtLEMY logna, May 15, 1628, (MICHEL AiDOUARD), born in Paris, died at Forli, Sept. Feb. 11, 1799, died there, Jan. 10, 1877. _ 6, 1719. Bolognese French school; genre painter, pupil of ~ ' school; of an ancient Gu6rin, of Picot, and of Ifcole des Beaux /^.. Bolognese family; Arts. Painted also historical subjects, - i -/ most noted pupil of landscapes, and portraits, and executed fres- - Albani; afterward cos in the Church of St. Leu. Medals: 2d / studied works of Corclass, 1836; 1st class, 1843, 1857, and 1863; reggio and of AnniL. of Honour, 1863. Works: Judith, Cam- / bale Carracci. About bray Museum; Wounded Mother nurs- 1658 he painted for ing Child, The Sybarites (1827); Christ Cardinal Farnese, in the Palazzo Publitempted by Satan, Incident in Life of Frede- co, Bologna, the two frescos representing gonda, Louis XV. and Mlle. de Humieres, the Entry of Paul III. into Bologna, and Amours of the Angels, Chain Gang (1836); Francis I. of France healing Lepers. His Indiscreet Visit, Diana painted by Jean most important work was the painting of Goujon before Henri II., Little Conscripts, the cupola of the Cathedral at Forli, Galileo at Notre Dame, Raphael and Peru- which occupied him nearly twenty years, gino, Young Married Woman, Regina Cceli the subject being the Assumption of the (1846); Nativity, Charity, Valley of Fonte- Virgin. Works: Infant Christ and St. nay-aux-Roses, Chestnut-Trees of Aulnay, A John, Mater Dolorosa, Palazzo Corsini, Thicket (1855); Origin of the Sacred Heart, Rome; Charity, Hermitage, St. PetersSt. Luke, Paris; Funeral of Godfrey de burg; do., Turin Gallery; Bacchus and Bouillon, Victory of Raymond Dupuy, De- Erigone, Nero and the Body of his Mother, fence of Beauvais, Versailles Museum; Park Achilles and Ulysses, Magdalen, Madonna, at Orsay, Spring-Time, Summer, Environs Cassel Gallery; Chastity of Joseph, Dresden 296 CIGNAROLI Gallery; Assumption, Infancy of Jupiter, Munich Gallery; Roman Charity, Madonna, Vienna Museum; Death of Cleopatra, Glasgow Gallery; Venus and Anchises, Berlin Museum; Adam and Eve, Hague Museum; Joseph and Potiphar's Wife, Tarquin and Lucretia, Holy Family, Copenhagen Gallery; Magdalen, Dulwich Gallery. Cignani was made a Count by the Duke of Parma, for whom he decorated a pavilion. He was the found- er of the Clementine Academy of Bologna. Among his pupils were his son, Count Felice Cignani (1660 -s, ^. 1724), and his nephew, Paolo I Cignani (1709-1764).-Mal/ vasia, ii. 198; Lanzi, iii. 143; Ch. Blanc, Scole bolonaise; Burckhardt, 764, 772, 786. CIGNAROLI, GIAMBETTINO, born at Salo, near Verona, in 1706, died in Verona, Dec. 1, 1770. Venetian school; history painter, pupil in Venice of Santo Prunato, and of Balestra, and studied works of P. Veronese and Correggio. Lived long in Venice; was one of founders and in 1769 director of Verona Academy. Was one of the best of modern Venetian painters. Works: Death of Rachel, Venice Gallery; replica, Lille Museum; Flight into Egypt, S. Antonio Abbate, Parma; St. Francis receiving Stigmata, Church at Pontremoli; Triumph of Pomponius, Verona Museum; Transfiguration, Verona Cathedral; Madonna with Saints, Vienna Museum; Assumption, Madrid Museum.-Bevilagna, Memorie della Vita di G. C. CIGOLI, LUDOVICO CARDI DA, born at Cigoli, near Florence, Sept. 21, 1559, died in Rome, June 8, 1613. Florentine school. Real name Cardi, but commonly called after his native village; pupil of Alessandro Allori and of Santi di Tito, but formed his style chiefly from study of the works of Correggio and Barocci. Sometimes called the Correggio of Tuscany; but, though some of his works are Correggesque in feeling, he is in no wise to be compared with that great painter. After executing many important works in Florence he went to Rome, where he painted (1606) for St. Peter's the Lame Man healed by Peter, no longer extant, which Sacchi called the best work painted in Rome after Raphael's Transfiguration and Domenichino's Communion of St. Jerome. Cigoli, who was a good draughtsman and a pleasing colourist, delighted in powerful effects of light and shade. Some of his best works are: Martyrdom of St. Stephen, Uffizi; St. Francis, Ecce Homo, Pitti, Florence; Flight into Egypt, St. Francis in Contemplation, and a portrait, Louvre; David with Head of Goliath, Tobias, Marriage of St. Catherine, Circumcision, Hermitage, St. Petersburg.Ch. Blanc, ]cole florentine; Seguier, 40; Burckhardt, 235, 766, 789, 793; Baldinucci, iii. 230. CIMA DA CONEGLIANO, born in Friuli about 1460; according to Ri- L dolfi, lived till 1517, but the latest genuine, date on his pict- " ures is 1508. Venetian school. -. y i Real name Gio- 7 vanni Battista da Conegliano; known in his time as Il Conegliano, but in and since the 17th century as Cima da C. Settled in Venice, where he earned a welldeserved celebrity as a composer of sacred subjects. His early pictures are in tempera, but he soon acquired the use of oils, and became one of the best of the Bellinesque painters. While taking a place by Giovanni Bellini's side, he shows some peculiarities which recall Antonello da Messina; and he has been called the Masaccio of the Venetian school His favourite theme is the 297 CIMABUE Madonna with or without saints, to whom as it is incredible. Also the chapel in S. M. he gives an air of calm contentment. Novella, where they are said to have painted, Among his best works are: Madonna and is contemporary with the church which was Saints (1492), Conegliano Duomo; Madonna erected in 1279, when Cimabue was thirtywith Saints, in the Louvre; Baptism of nine years old. Cimabue's fame is due first Christ, S, Giovanni, Bragora (1494); In- to his superior gifts, which enabled him to credulity of St. Thomas, Madonna with begin to cast off the fetters of Byzantinism; Saints, Venice Academy; Madonna with second, to the fact that he was the master Saints (2), Parma Gallery; St. Mark curing of Giotto; and third, because his name is Anianus, Berlin Museum; St. Peter Martyr, mentioned by Dante. His most certain work Brera, Milan. Other examples in the gal- is his famous Madonna de' Rucellai in the H~is Capella Rucellai, S. M. Novella, which Charles IOVANNESBAPTISTA~CONIEP of Anjou is said to have been taken to see (1267), and for which the quarter of the city where it was painted is said by Vasari \ oar0nni /^( C( Q oto have been named the Borgo Allegri, a l \ '~ aP a6~ \ name given before 1301, but whether in honour of the picture or not is uncertain. The personage in a white and gold costume painted by Simone di Martino in the Cappella dei Spagnuoli, whose head we have leries of Modena, Munich, etc.-C. & C., N. engraved, though designated by Vasari as Italy, i. 232; Ch. Blanc, Ecole venitienne; Cimabue, is probably a French cavalier, Vasari, ed. Mil, iii 645, 663; Burckhardt, perhaps the so-called Duke of Athens, Wal82, 500; Ltlbke, Gesch. ital. Mal., i. 545. ter de Brienne, whilom tyrant of FlorCIMABUE, GIOVANNI, born in Flor- ence. Among the supposed works of Cimaence in 1240, bue are: Madonna with angels, Florence died there Academy; Crucifix and a Madonna, sacrisabout 1302. ty, S. Croce; Madonna with Angels, National: ~/ 1 o/r r \e Florentine Gallery, London; Madonna with Angels, A// school; of a Louvre; mosaic, Saviour enthroned benoble Floren- tween the Virgin and St. John, properly M^,^ - tine family, the called the Majesty, Duomo, Pisa; frescos, S. Cimabui; pu- Francesco, Assisi, on three walls, left tran/ >t '"-" ~\, \ pil, according sept, and in choir, Upper Church; Evant/////, $-. 4;';:to Vasari, of gelists, central ceiling of transept; Four "-j'__ \' h o certain Greek Doctors of the Church, ceiling near portal, painters, called do.; colossal Madonna with Angels, west to Florence by the government to revive side over altar of Crucifixion, south transept painting, who worked in'the Cappella de' wall, Lower Church.-Vasari, ed. Mil., i. Gondi of S. M. Novella, where Cimabue at- 247; C. & C., Italy, i. 201; Seguier, 43; tended school. But Florence had painters Burckhardt, 488, 494; Baldinucci, i. 21; and miniaturists, such as Rustici (1166), Ltlbke, Gesch. ital. Mal., i. 90. Marchisello (1191), Fidanza (1224), and CIMABUE'S MADONNA, PROCESSION Bartolommeo (1236), long before Cimabue's OF, Sir Frederick Leighton, Buckingham birth, and a street called the Via de' Pittori, Palace, London. Cimabue's famous picture which proves that the calling of Greek of the Madonna de' Rucellai carried in propainters to restore art was as unnecessary cession through the streets of Florence to S. 298 CIMON M. Novella In front of the Madonna walks the other a golden vase; near her, upon a Cimabue, crowned with laurels, with his table, are a vase and an open book with pupil Giotto; behind it, Arnolfo di Lapo, cabalistic characters. In Guercino's third Gaddo Gaddi, Andrea Tafi, Nicolo Pisano, manner. Collection of Louis XIV. EnBuffalmacco, and Simone Memmi; in the corner, Dante. Painted in Rome; R Acad- - emy, 1855; purchased by the Queen.-Univ.. --- Mag. (1879), iii. 51. CIMON, Greek painter, of Cleonse, middle-. of 5th century B.C. He developed the inventions of Eumarus, and was the first to _ give variety to attitude, to indicate the form _. under drapery, and to draw the eyes cor- _.. rectly instead of following the old method, as the Egyptians did.-Pliny, xxxv. 34 [55]; Aelian, viii. 8. CINCINNATO, ROMOLO, born in Florence in 1502, died about 1600. Florentine school; history painter, pupil in Rome of / Francesco Salviati; invited to Spain by Philip - II. in 1567; painted there many pictures in I oil and fresco for the Escorial and the Pa- TL lazzo del Pardo. Works: Two pictures with St. Jerome reading, St. Jerome preaching, two \ scenes from life of St. Lawrence, Escorial; Circe, Guercino, Louvre. Circumcision (1572-73), Academy of S. Fer- graved by M. Gandolfi.-Musee royal; Filnando, Madrid; Transfiguration, St. Peter, hol, ii. 80; Landon, Musee, vi. P1. 56. St. Paul, St. Lawrence (fresco), Madrid CIRCE AND THE COMPANIONS OF Academy; Mythological subjects at Infan- ULYSSES, Briton Riviere, London; canvas, tado Palazzo, Guadalajara. His sons, Diego H. 2 ft. x 4 ft. The sorceress, having Romolo (died in Rome, 1625), and Francis- changed the companions of Ulysses into co Romolo (died in Rome, 1635), were por- swine, sits at left on a raised floor under a trait painters.-Cean Bermudez. vine-clad wall, with her wand lying beside CIONE. See Orcagna. her, calmly contemplating the pigs wallowCIRCE, Dosso Dossi, Palazzo Borghese, ing before her or seeking in vain to reach Rome. The enchantress, in a purple and her platform. Painted in 1871. Engraved gold robe, and with a rich turban, seated in by Stacpoole. a forest landscape; in her right hand she CIRCUMCISION, Federigo Barocci, holds a tablet with necromantic signs; at Louvre; canvas, H. 12 ft. 2 in. X 8 ft. 3 in.; her feet are a magic circle, a coat of mail, a signed, dated 1580. The Child seated on dog, and two birds; near her, several swine the knees of one of the officers of the temple, bound to a tree; in distance, three knights with priests and assistants standing near; bivouacking on the grass.-Kugler (East- behind, the Virgin and St. Joseph, kneeling; lake), ii. 488. above, two angels in adoration. Painted for By Guercino, Louvre; canvas, H. 4 ft. x oratory of the brotherhood of the Nome di 3 ft. 2 in. Wearing a turban ornamented Dio, Pesaro; carried to Paris in 1799; given with an aigrette and a diamond clasp on her in 1811 to church of Notre Dame, Paris; head, she holds in one hand a wand, and in placed in Louvre in 1862.-Villot, Louvre. 299 CIRCUS By Giovanni Bellini, Castle Howard, England; wood, figures one-third life-size; signed. Simeon stoops over the Child in the arms of St. Joseph; the Virgin and a male and female saint look on. Painted probably before 1486; formerly in Orleans Gallery. Copy, probably by Catena, in Leuchtenberg Gallery, St. Petersburg; another by Marco Belli in Museum of Rovigo; a third at Grosvenor House, London; a fourth in Palazzo Doria, Rome, and others in Pavia, Vienna, and Venice.-C. & C., N. Italy, i. 148; Meyer, Kiinst. Lex., iii. 416. By Luca Signorelli, National Gallery, London; canvas, H. 8 ft. 6 in. x 6 ft.; signed. Altarpiece with ten figures, life-size; in centre, before altar apse, the priest, looking upward. In the angles of the semicircular picture are two circles with two prophets. "One of the most important pictures by this great master." Hamilton Palace sale (1882), ~3,150.-Waagen, Art Treasures, iii. 299; Cat. Ham. Pal. sale, 101; Richter, 48; Art Journal (1883), 43, 177. By Tintoretto, S. M. del Carmine, Venice. Ruskin calls it a glorious Tintoret. Canotto says here Tintoretto imitated Andrea Schiavone. - Ruskin, Stones of Venice, iii. 289; Zanotto, 435. By Tintoretto, Scuola di S. Rocco, Venice. The High Priest kneeling with Christ in his arms. " Next to the Adoration of the Magi, this picture is the most laboriously finished of the 56 colossal pictures by Tintoretto in the Scuola, and it is unquestionably the highest existing type of the sublimity which may be thrown into the treatment of accessories of dress and decoration. "-Ruskin, Stones of Venice, iii. 331. Subject treated also by Luca Signorelli, Vatican, Rome; School of Rembrandt, Berlin Museum; Willem de Poorter, Cassel Gallery; Marco Marziale, National Gallery, London; Lodovico Cigoli, Hermitage, St. Petersburg; Luis de Carbajal, ib. CIRCUS MAXIMUS, Jean L6on Ger6me, Mrs. A. T. Stewart, New York. A chariot race in the Circus Maximus, Rome, in the later days of the empire. Six or seven fourhorse chariotsare about toturnoneof the metse or goals, behind which, on the spina, is seen the obelisk now in the Piazza del Popolo; in background, left, the Palace of the Caesars. Photogravure in Art Treasures of America. -Art. Treas. of Amer., i. 24. CIVERCHIO, VLNCENZO, called Il Fornaso, born at Crema before 1470, died after 1540. Lombard school; pupil of Foppa, or of Bramantino the elder; appears in 1493 as successor of Foppa, at Brescia, whence sometimes called Vincenzo Bresciano. Spent four years there in adorning the choir of the old cathedral, with now destroyed frescos, and was honoured with citizenship. About 1507 he returned to Crema, where he painted the SS. Sebastian Rocco and Christoforo (1515), in the Duomo, and (1526), fresco portraits of great citizens in the town-hall. His latest authentic picture is the Baptism of Christ, dated 1539, in the Tadini collection, Louvre. -C. & C., N. Italy, ii. 68; Waagen, Treasures, iii. 200; Ch. Blanc, Icole milanaise; Burckhardt, 608, 610; Calin, Notizie, ii. 205. CIVETTA. See Bles, Herri de. CLAASZ, PIETER (Claesz van Haarlem), Dutch school, born at Steinfurt,Westphalia, about 1595 (?), died at Haarlem, buried Jan. 1, 1661. Still-life painter, father of Claas Berchem; first mentioned as settled at Haarlem in 1617, when married. Works: Stilllife (1644), National Museum, Amsterdam; do. (3), Berlin Museum; Others in Dresden (1624), Munich, Schleissheim, Schwerin, Cassel, and Bamberg Galleries, Wiirzburg University, Amalienstift, Dessau; nine (1627 -53, attributed to Pietro Candido), Palazzo Mansi, Lucca; one (1630), Fitzwilliam Museum, Cambridge.-Academy (1882), xxii. 302, 353; Bode, Studien, 224; Gaz. des B. Arts (1883), xxvii. 183; Zeitschr. f. b. K., xviii. 167. CLAEISSEN (Claessens), ANTONY, born in Bruges about 1550, died there in 1613. Flemish school; history painter; son of Pieter the elder, said to be pupil of Quen 800 CLAEISSEN tin Matsys, and one of the most excellent artists of that period; entered Bruges guild in 1575, and was its dean in 1586,1590, and 1601. Works: Two Scenes in Judgment of Cambyses (Bruges Academy, ascribed by some to Gherardt David); Banquet of Magistrates (1574), Mars surrounded by Fine Arts (1605), both in Town Hall, Bruges; Triptych with Adoration of Shepherds, Triptych with Descent from Cross (1609), Legends from life of St. Bernard (all in Bruges Cathedral); Consecration of Church in Rome, Procession of Corpus Christi (1599), Triptych with Madonna, all in Notre Dame, Bruges; Members of Brotherhood of Holy Sacrament, St. Jacob's, Bruges; Last Supper (1595), St. Egidius, Bruges.-Allgem. d. Biogr., iv. 269; Biog. nat. de Belgique, iv. 124; Michiels, v. 398; Nagler, Mon., i. 105, 119; Schnaase, Niederland. Briefe, 331. CLAEISSEN, PIETER, the elder, born in Bruges in 1500, died there in 1576. Flemish school; history and portrait painter; pupil of Adriaan Bekaert; admitted to guild of St. Luke in 1516, master in 1529, dean in 1572. Works: Knight kneeling with Four Sons, Collection Prince of Orange, Brussels; male portrait, Copenhagen Gallery. -Allgem. d. Biogr., iv. 269. CLAEISSEN, PIETER, the younger, born in Bruges about 1545, died there, March 17, 1612. Flemish school; history painter; brother of Anthony; entered guild in 1570, and was its dean in 1600 and 1606. Works: Resurrection (1585), Triptych with Ecce Homo (1609), both in Bruges Cathedral; Triptych with Madonna, Moses and Gideon (1606-1608), St. Egidius, Bruges; Pacification of Ghent, Bruges Academy; Portraits of Charles V. (1609), and Philip II. (1610), Madonna and Almighty with Angels (1608), Pottery Hospital, Bruges.-Allgem. d.Biogr., iv. 270; Biog. nat. de Belgique, iii. 126; Michiels, v. 402. CLAIRIN, GEORGES (JULES VICTOR), born in Paris, Sept. 11, 1843. History painter; pupil of Picot and Pils, and of the Rcole des Beaux Arts. Studio in Paris. Medal in 1882. Works: Incident of the Conscription of 1813 (1866); Burning Varech in Brittany, Robbers of Bay of Trepasses in Brittany (1868); Volunteers of Liberty in Spain in 1868 (1869); Massacre of the Abencerrages in Grenada, Arab Story-Teller in Tangiers (1874); Moses the Sheik's Son (1878); Entera W..r1876 ing the Harem, W. T. Walters, Baltimore; Froufrou, Women burning Varech (1882); Moors in Spain after the Victory (1885); portraits of Sarah Bernhard, Mme. Kraus. CLARA, ST., Velasquez, Dudley House, London; H. 2 ft. 6 in. x 2 ft. 1 in. Halflength, life-size, with a jewelled crown on her head, standing with a palm in her right hand and a cup and saucer in her left. Thought to be a portrait of Francisca, daughter of Velasquez, who married J. B. del Mazo. Probably picture sold at Salamanca sale (1867) for 38,000 francs-Ch. Blanc, Scole espagnole; Gaz. des B. Arts (1879); Curtis, 10. CLARA, ST., DEATH OF, Miurillo, Dudley House, London; canvas, H. 5 ft. 3 in. x 14 ft. 4 in. The dying Saint lying on a pallet on left, surrounded by monks and nuns; the Saviour and the Virgin approach, attended by female saints and martyrs in white robes, wearing crowns and bearing palms. Painted in 1645-7, one of eleven pictures for Convent of S. Francisco, Seville; carried to Paris by Gen. M. de Faviers and sold to M. Aguado; Aguado sale (1865), 75,000 fr.; in Marquis de Salamanca sale (1867), 95,000 fr. Copy by Bocanegra in Hermitage; another, varied, D. Roberto Kith, Seville.-Curtis, 223; G. de Leon, i. 59; C. Bermudez, Carta, 46; Stirling, ii. 834; Gaz. des B. Arts, Jan. 1875; L'Illustration, March 18, 1855; Hermitage Cat, 138. 301 CLASEN CLASEN, KARL, born in Dtisseldorf in before a Hunt (1863); Huntsman with 1812. History painter; pupil at Dissel- Hound going to Woods (1864); Morning of dorf Academy under W. Schadow. Painted Beginning and Day of Closing the Hunt history, sacred and profane, with a pure (1866); Corner of the Kennel (1868); Huntfeeling for nature, and careful execution. er's Story (1869); Return from Hunt (1870); Works: Flight into Egypt (1839); Rudolph Antechamber, Souvenir of Rotten Row of Hapsburg giving his Horse to a Sick (1872); Returning from Rotten Row (1874); Priest (1840); Pope Sixtus and Deacon Lau- Hyde Park (1876); These Gentlemen are rentius (1842); Daughter of Jairus (1845); Served, Conversation in Hyde Park (1877); Discovery of the Springs at Aix-la-Chapelle; Sketch on the Cliff, Albert Gate of Hyde Reconciliation of Queen Catharine with Park (1878); Confidence (1879); Sit UpCardinal Wolsey (1850); Allegory of Borus- right (1881); Sunset, Spring-Time (1882); sia (1867).-Brockhaus, iv. 437; Muller, At the Rendezvous in Fontainebleau (1883). 106; Wiegmann, 178. CLAUDE LORRAIN, born in ChamCLASEN, LORENZ, born in Dusseldorf, pagne on the MoDec. 14, 1812. History painter; cousin of " selle in 1600, died Karl; pupil of Dilsseldorf Academy under in Rome, Nov. 23, Th. Hildebrandt; painted at first biblical.. 1682. Frenchschool; scenes, then chiefly subjects from'romantic 'e landscape painter history. In 1850 removed to Berlin, 1854,w real name Gell6e; to Leipsic. Was also a distinguished writer pupil in drawing of on art. Works: Early Christians; Annun-(4 his elder brother ciation to the Shepherds (1837); David.t Jean, wood engraver playing before Saul, Conversion of Clovis by \ at Freiburg in Breishis Wife Clotilda (1839); Minstrels' Contest g a u. T a k e n to at the Wartburg; Conrad I. (Kaisersaal, Rome in 1613 by a relative, he went Frankfort); Expulsion of St. Elizabeth thence to Naples, where he spent two years (1840); Madonna (1841); Blessings of Peace as pupil of Godfrey Wals, a painter from and Industry, Entry of Happy Rulers (1844); Cologne. From 1619 to April, 1625, he Germania on Guard on the Rhine (City lived at Rome, working as apprentice Hall, Crefeld); Germania on the Sea, Bish- and valet to Agostino Tassi, who was emops of Cologne and Mentz before Conrad II. ployed by the Cardinal di Montalto to (1847); Cycle from History of Families von decorate his palace, after which he returned Brandt and von Watzdorf (1865-66).- to Lorraine by Venice and the Tyrol. At Brockhaus, iv. 437; Illustr. Zeitg. (1871), Nancy he found employment in decorating ii. 175; Muller, 106; Wiegmann, 204. the Chapelle des Carmes, for Duke Charles CLAUDE, GEORGES, born in Paris; III., with figures and architectural ornacontemporary. Son and pupil of J. M. Claude ments, until the middle of the year 1627, and pupil of P. Galland. Medal, 3d class, when he returned to Rome to remain for 1884. Portraits (1879, 1882); Adoration of the rest of his life. Here he became intithe Cross at Mont Cassin (1884). mate with Sandarrt, Peter de Laar, and CLAUDE, JEAN MAXIME, born in Poussin, and spent his time in making studParis, June 24, 1824. Landscape painter, ies in the Campagna, at Tivoli, Frascati, and and painter of sporting and hunting scenes; Subiaco. By 1634, Claude had become a pupil of Galland. Medals: 1866 and 1869; celebrity at Rome and had painted many 2d class, 1872. Works: Rendezvous, Re- pictures, although none are known of a date treat (1861); Halloing at the Ponds of Comi- earlier than the Village Fete and the Sea elles. Bloodhounds in their Kennel the Day Port at the Louvre of the year 1639. The CLAUSEN "Liber Veritatis," a collection of 200 drawings, owned by the Duke of Devonshire, was begun about 1634, and finished March 25, 1675, as a record of work projected as well as accomplished, and not probably, as is generally supposed, to guarantee the authenticity of all the pictures which left Claude's studio. In the height of his fame, the painter was patronised at Rome by the King of Spain and the Elector of Bavaria, Prince Doria, the Dukes de Bethune and de Crequy, and many other distinguished persons. From the church of the Trinity di Monte, where he was buried, and where his monument was destroyed by the French in 1798, his remains were removed in 1840 to the church of S. Luigi in Francesi at the suggestion of M. Thiers. Works: Marriage of Isaac and Rebecca, Temple of Delos, and 2 other landscapes, Palazzo Doria, Rome; The Setting Sun, Palazzo Sciarra, Rome; 2 landscapes, Palazzo Borghese, Rome; Landscapes, Naples Museum; do., Palazzo, Madama, Turin; Hagar expelled by Abraham, Hagar in the Desert (1668), The Herdsman (1656), Morning (1674), Old Pinakothek, Munich; Flight into Egypt, Polyphemus (1650), Dresden Gallery; Italian Coast View (1642), Berlin Museum; Morning, and 11 other landscapes, Hermitage, St. Petersburg; Magdalen Praying, and 9 landscapes, Madrid Museum; Return of Chryseis, Cleopatra landing at Tarsus (1647), and 15 other landscapes, Louvre, Paris; Marriage of Isaac and Rebecca, Cephalus and Procris, Embarkation of Queen of Sheba (1648), do. of St. Ursula, Narcissus and Echo, and 7 other pictures, National Gallery, London; 6 in Dulwich Gallery; Rape of Europa, Buckingham Palace; 5 landscapes, Windsor Castle; Enchanted Castle, Lord Overstone; Mount Tabor, Golden Calf, Grosvenor House; 2 landscapes, Bridgewater House; Temple of Apollo, Landing of Eneas, Agnew, London; Apollo and Marsyas, Earl of Leconfield; Birth of Roman Empire, Decline of Roman Empire, Longford Castle; Ulysses and Nau sicai, M. H Arnot, Elmira, N. Y.-Pattison, Claude Lorrain; Rev. des Deux Mondes, Jan. 15, 1884, 365; Sandrart, Academy Nob. artis picturse (Nuremberg, 1683). CLAUSEN, GEORGE, born in England; contemporary. Landscape and genre painter. Exhibits at Royal Academy and Grosvenor Gallery. Works: Night brings Rest, A Study, WomenWashing-Zuyder-Zee (1879); La Pensee (1880); Haverstock Hill (1881); Gleaners (1882); Marie, Hay-Time, Winter Work (1883); Labourers after Dinner (1884); End of a Winter's Day, Crow Starving (1885). CLAXTON, MARSHALL, born at Bolton, Lancashire, in 1811, died in London in 1881. History painter, pupil of John Jackson, and of the Royal Academy; won the first medal in painting school in 1834, and gold medal of Society of Arts in 1835. He visited Italy in 1837; won prize of ~100 at Westminster Hall Exhibition in 1843 for his Alfred the Great in Camp of the Danes; went to Australia in 1850, to India and Egypt in 1855, returning with many sketches. Works: Christ blessing Little Children, school-room at St. Stephens, Westminster; Spenser reading the Faerie Queene, Mother of Moses, Grandmother, Free Seat, Baroness BurdettCoutts; Christ at Tomb of Lazarus, View of Sydney, Last Queen of the Aborigines, Collection of the Queen; Sir Joshua Reynolds and his Friends; Hagar and Ishmael; Deathbed of John Wesley.-Bryan (Graves). CLAYS, PAUL JEAN, born in Bruges in 1819. Marine painter, pupil in Paris of Gudin; lives in Brussels. Medals: Brussels, 1851; 2d class, Paris, 1867, 1878; L. of Honour, 1875; Officer, 1881; Order of Leopold. Works: After Shipwreck (1852), Ghent Museum; Windy Weather, Portuguese Xebec in Sight of French Squadron, Entrance of Queen Victoria into Port of Ostend, Coast Scene in Flanders (1855); Environs of Treport (1855); Duke of Ostend (1857); The Scheldt at Antwerp (1859); Entrance to Southampton Water, Calm on the Scheldt (1868); Morning Light, Dead Calm, Squall 303 CLEANTHES on the Scheldt (1874); Thames near London, View on the Scheldt (1875); Bruges, North Sea (1876); Zuyder-Zee near Texel, Canal in Zelande (1877); Canal in the NieuweMaas, Saardam (1878); Dutch Vessels in a Calm (1863), Dutch Boats in Roads of Flushing (1870), National Gallery, London; Becalmed near Amsterdam, Rough Sea on Coast of Flanders (1884); In Roadstead of Dunkirk, Fog at Dawn (1885).-Gaz. des B. Arts (1867), xxiii. 16; L'Art, 1876. CLEANTHES, Greek painter, of Corinth, early period. According to Pliny (xxxv. 5 [15]) the invention of line-drawing was assigned both to him and to Philocles the Egyptian. The Temple of Artemis Alphteonia, near Olympia, contained his paintings of the Iliupersis (taking of Troy) and the birth of Athena.-Strabo, viii. 3, 12. Athenagoras Leg. pro Christ., 14 (p. 59, ed. Dechair). CLEEF, JAN VAN, born at Venloo, Guelderland, in 1646, died in Ghent in 1716. Flemish school; history painter, pupil of Luigi Primo (Gentile), then in Brussels of Gaspard de Craeyer, whom he assisted with his numerous works for churches in the Low Countries, and on the death of his master completed those left unfinished. One of the ablest artists of his country. His most esteemed works are in the churches and in the Museum of Ghent, whither he removed in 1681. Works: Assumption, St. James's; Immaculate Conception, St. Michael's; Magdalen at Feet of Christ, St. Nicholas; Sisters of Charity during the Plague, Convent of the Black Nuns, all in Ghent.-Biog. nat. de Belgique, iv. 141; Michiels, ix. 91. CLEEF (Cleve), JOOST VAN, called de Zotte (crazy) Cleef, born in Antwerp; flourished 1530-1550. Flemish school Painted in France and England. One of the best portrait painters of 16th century, approaching style of Hans Holbein, and foreshadowing Antonio Moro; great colourist. The preference which Henry VIII. gave to Titian's paintings destroyed Van Cleef's rea son; he died insane. Some of his best pictures are: Portraits of himself and wife, Windsor Castle; portrait of himself, Earl Spencer, Althorp; two male portraits, Oxford; SS. Cosmo and Damian, Antwerp Cathedral; Last Judgment, Ghent Cathedral.-Biog. nat. de Belgique, iv. 135; Ch. Blanc, iScole flamande; Rooses (Reber), 70. CLEEF, MARTEN VAN, born in Antwerp, died there about 1570. Flemish school; history painter, pupil of Frans Floris; entered Antwerp guild in 1551; is called the Master of the Ape, because he sometimes introduced that animal as his mark. His brother Hendrik (died in Antwerp, 1589) supplied the landscapes and backgrounds in his and in Frans Floris's pictures, while he often painted the figures in the landscapes of his brother, of Gilles van Conincxloo, and others. His four sons, Gilles, Marten, Georges, and Nicholas, were also painters. Works: Room in Peasant's Cottage with Company at Table, Vienna Museum.-Biog. nat. de Belgique, iv. 139. CLEISTHENES, scene painter and architect, of Eretria, about 384 B.c. He was the father of Menedemus, the pupil of Plato. -Diog. Laer., ii. 125. CLEMENT, FILIX AUGUSTE, born at Donzere (Drome), May 20, 1826. Genre painter; pupil of Drolling and Picot. Won the grand prix de Rome, 1856. Paints chiefly Oriental scenes. Medals: 3d class, 1861; medal, 1867. Works: Feast of Bairam in Cairo, Death of Caesar, Destruction of Babylon, March of Recruits, Arab Woman weeping over her Husband's Tomb (1868); Before the Bath (1874); Sick Child (1879); Circassian Woman in the Harem (1880); Morning (1881); Nymphs Surprised, Behold the Great Turk (1883). CLEOBIS AND BITON, Antoine Fran9ois Callet, I~cole des Beaux Arts, Paris. Sons of Cydippe, priestess of Hera at Argos. Once, during the festival of Hera, when the oxen which were to draw the chariot of the priestess did not arrive in time, Cleobis and Biton dragged it with their mother 304 CLEON forty-five stadia to the temple. The priest- tarch. Royal Academy, 1821; sold for 200 ess, moved by their filial love, prayed to guineas to Sir Francis Freeling, at whose the goddess to grant them what was best sale bought by Mr. Farrer the dealer, who for mortals. The brothers went to sleep disposed of it to Mr. Labouchere for 1,000 in the temple and never rose again. Herod- guineas.-Gilchrist, Life, 93; Art Union otus, who tells the story (i. 31), makes So- (1849), 116. lon relate it to Crcesus, as a proof that it is By Henri Pierre Picou, private gallery, better for mortals to die than to live. Cal- San Francisco; canvas. Antony and Cleolet won the grand prix de Rome in 1764 patra, surrounded by attendants, in a suwith his picture, which represents the broth- perb galley, sailing down the Cydnus. Saers dragging the chariot to the temple. lon, 1848; exhibited in New York in 1875. By Carl von Stetten, William Schaus, New Engraved by Gautier. York; canvas, H. 5 ft. x 6 ft. 6 in. Repre- CLEOPATRA, DEATH OF, Jean Fransents the brothers lying in the sleep of?ois Gigoux, Luxembourg Museum, Paris; death in the temple at the foot of the statue canvas, H. 3 ft. 9 in. x 6 ft. 5 in. Salon, of Hera; near them is the altar of the god- 1850. dess, covered with flowers; in background, By Guido Reni, Palazzo Pitti, Florence; people entering the temple, exhibit aston- canvas, H. 3 ft. 10 in. x 3 ft. 1 in. Cleopatra, ishment at the sight. Salon, 1884. Sub- three-fourths length, putting the asp to her ject treated also by Primaticcio in the Cha- bosom. Painted about 1640. In Guido's teau de Fontainebleau. third manner. Engraved by N. Le Mire; CLEON, Greek painter, about 300 B.C.; L. M. Faentino. Repetitions in Madrid, noted for his picture of Cadmus. Pliny, Barcelona, and Nancy Museums, in the xxxv. 40. Balbi and Durazzo Galleries, Genoa, and in CLEOPATRA BEFORE CIESAR, Jean Windsor Castle and private collections in Leon Gerome, D. 0. Mills, New York; can- England.-Wicar, i. Part 5; Gal. du Pal. vas, figures half life-size. Scene: Palace of Pitti, i. PI. 66; Lavice, 68. the Ptolemies in Alexandria. Cleopatra, By Alex. Turchi, Louvre; canvas, H. 8 ft. determined to gain the favour of Caesar, 3 in. x 8 ft. 9 in. In foreground, at left, caused herself to be carried into his apart- Mark Antony, whom two soldiers hawv carment concealed in a bale of cloth, which ried into the tomb where Cleopatra has Apollodorus, her attendant, bore as a pres- taken refuge, is expiring upon a couch; in ent to him (Dion Cas., xlii. 35; Plut., Coesar, the background the queen, sustained by xlix.). She is represented standing, amid two women, puts the asp to her breast, the folds of cloth from which she has just three other attendants grieving.-Villot, emerged, glancing at Caesar, who is writing Cat. Louvre; Filhol, i. PI. 31. at a table. Apollodorus kneels behind her, By Paolo Veronese, Munich Gallery; canand several secretaries, writing in back- vas, H. 3 ft. 7 in. x 2 ft. 10 in. Natural size, ground, look around curiously. Photo- seen to knees. gravure in Art Treasures of America. En- By Guercino, Palazzo Brignole Sale, graved by J. C. Armytage in Art Journal Genoa. Lying on a couch, nude to waist, (1877), 12.-Larousse, iv. 431. and the rest of the body covered with a CLEOPATRA ON THE CYDNUS, Wil- white drapery, except the feet. One hand liam Etty, Lord Taunton, London. Cleo- looses its hold of the asp which it had patra, as Venus, attended by maids habited placed on her bosom, the other falls helpas Nereids and Graces, and by boys as lessly at her side. -Burckhardt, 770; Lavice, Cupids, sailing along the River Cydnus in a 91. magnificent galley, as described by Plu- By Hans Makart, Stuttgart Gallery; can305 CLEOPATRA va. Cleopatra, as Aphrodite, reclines on a couch covered with cushions and rich robes, with her head raised awaiting the sting of the adder coiled around her arm. One of her women is kneeling at her feet, covering her face in despair; another is asleep on the floor. The apartment, which is adorned with costly vessels and tropical plants, is lighted by a tall candelabrum. Painted in 1875. Subject treated also by Guido Cagnacci, Vienna Museum; Germann van Bohn, Nantes Museum; Regnault, and others. CLEOPATRA LANDING AT TARSUS, Claude Lorrain, Louvre, Paris; canvas, H. 3 ft. 11 in. x 5 ft. 6 in. At right, Cleopatra, accompanied by six women, and aided by Dellius, an officer of Antony, is landing before a palace, the steps of which are washed by the sea; Antony, followed by officers, advancing to meet her; at left, several vessels, from one of which sailors are unlading vases of gold and silver. Painted in Rome about 1647, for Cardinal Angelo Giorio, from whom passed to Louis XIV. Liber Veritatis, No. 63. Similar picture in Collection of Sir J. Reynolds, sold (1795) for 250 guineas.-Villot, Cat. Louvre; Pattison, Claude Lorrain, 212, 241. CLERCK, HENDRIK DE, born in Brussels in 1570, died in 1629. Flemish school; pupil of Marten de Vos, to whose style he adhered; distinguished for the poetic treatment of his pictures. Works: Holy Family, Christ and the Children, Brussels Museum; Figures in a landscape by Alsloot, Vienna Museum.-Michiels, v. 433. CLEVE. See Cleef. CLICHY, BARRItRE DE, Horace Vernet, Louvre, Paris; canvas, H. 3 ft. 2 in. x 4 ft. 3 in.; signed, dated 1820. Defence of Paris in 1814. Marshal Moncey gives orders to Chief of Battalion Odiot to prevent the Russians from taking possession of the hill of Montmartre. Among the figures are: Moncey, Odiot, M. de Marguery-Dupaty, and Charles and Horace Vernet. Formerly 80 in Luxembourg. Engraved by Jazet.-Ct. Louvre. CLINT, ALFRED, born in London in 1807. Landscape and marine painter; son and pupil of Geo. Clint, and studied in British Institute. Began as a portrait painter; became member of Society of British Artists in 1850, was its secretary for several years, and elected its president in 1869. Paints chiefly coast scenery and sunset effects. Works: Lake Scene at Sunset, Sunset at Hastings, Philadelphia Exposition, 1876; Twilight, Paris Exposition, 1878; St. Michael's Mount-Cornwall, Entrance to Harbour of Little Hampton (1877).-Ottley. CLINT, GEORGE, born in London, April 12, 1770, died there, May 10, 1854. Portrait painter; was a house-painter, from which he advanced to miniatures, and finally became successful both in water-colours and in oils. He painted a valuable series of dramatic pictures, comprising portraits of the favourite actors of the time in their most successful scenes, many of which are preserved in the Garrick Club. Was elected an A.R.A. in 1821, but resigned in 1836 and became an opponent of the Academy, to the exhibitions of which he had contributed 94 pictures. Works: Falstaff and Mistress Ford, National Gallery, London; Hamlet and Ophelia (1831), Paul Pry (1831), Honeymoon, S. Kensington Museum; Spoilt Child, Lord Liverpool, and many portraits in private collections. Was also a good mezzotint engraver.-Redgrave; Bryan (Graves). CLODT, MICHAEL CONSTANTINOVICH, Baron, born in St. Petersburg in 1836. Landscape painter; pupil of the St. Petersburg Academy, where he won the first prize in 1858; professor there since 1864, Works: Road in Autumn Rain; View in Government of Orel; Return from the Field; Plain with Cattle.-Miiller, 108. CLODT, MICHAEL PETROVICH, Baron, born in St. Petersburg in 1839. Genre painter; pupil of the St. Petersburg Academy, where he won the first prize in 1861. CLOET Works: Sewing-Room in a Franciscan Monastery; Prayer before Baptism; The Jews; Birthday Celebration in Russia.-Mtuller, 108. CLOET, JEHAN. See Clouet, Jean. CLOSS, GUSTAV, born in Stuttgart, Nov. 14, 1840, died at Prien, on Lake Chiem, Aug. 14, 1870. Landscape painter, pupil of Funk in Stuttgart Art School. Visited Italy in 1863, Munich in 1864, Brussels, Antwerp, and Paris in 1866, and settled in Munich. His Italian landscapes are picturesquely conceived and executed with great technical skill. His illustrations of German poets show the influence of Dore. Works: Villa of Hadrian, Road near Sorrento, Group of Cypresses near Tivoli, Campagna near Rome, Piazza della Fontana in Olevano, Evening at Villa Pamfili, The Lonely Inn, Christmas Eve, Autumn Night in the Park. -Allgem. d. Biogr., iv. 342; Kunst-Chronik, vi. 124. CLOTILDA, QUEEN, EDUCATION OF CHILDREN OF, Alma-Tadema, King of the Belgians. Clotilda, widowed queen of Clovis, first Christian monarch of France (6th century), seated upon a throne in background, is watching her sons, who are throwing the battle-axe at a wooden target under the superintendence of an old captain-at-arms. She is attended by priests and women; at left, soldiers watching the play. Painted in 1861. Replica, J. H. Stebbins, New York.-Art Treasures of America, i. 95. CLOUET, FRAN(OIS, born in Tours about 1500, died between 1570 and 1572. French school; son and probably pupil of Jean Clouet; also called, like his father, Janet or Maitre Jehannet. Received letters of naturalization from Francis I. in 1541,when he succeeded his father as painter and valet de chambre to the king; held same offices under Henry II. and Charles IX. Works: Portrait of Francis I. (1534), Lord Dudley, London; Portrait of the Dauphin Frangois II. (1524), Antwerp Museum; do. of Henri II. (1553), Louvre; do. as a youth, Hampton Court; Portrait of Henri II., do. of Duke of Anjou, Berlin Museum; Equestrian portrait of Henri IL (copy?), Uffizi, Florence; do. of Azay le Rideau; Portrait of Charles IX. (1563), Vienna Museum; copy by Clouet in little, Louvre; Elizabeth of Austria (1570), Louvre; Henri III., Due d'Alenqon (1577 -78), Stafford House, London. There are many other doubtful pictures attributed to Clouet, as well as hundreds of crayon drawings. Among the latter are collections in the Bibliotheque d'Estampes and the Louvre, Paris, in the British Museum and Stafford House, London, at Castle Howard, Yorkshire, and in the Collection of Archduke Albert, Vienna. - Pattison, Renaissance of Art in France, i. 327; Ch. Blanc, ]icole fran9aise; Schnasse, viii. 333; W. & W., ii. 527; Villot, Cat. Louvre; Siret, 205; Gower, Three Hundred Portraits by Clouet at Castle Howard (London, 1875); W. & W., ii. 527. CLOUET, JEAN, born about 1485, died in Paris (?) about 1541. 1 ' French school; son of Jehan Cloet, a if painter of, Brussels, who was in J the service, / // of the Duke of Burgundy about 1475; commonly called Maitre Jehannet or Janet (diminutive of Jehan); settled in France, first at Tours and afterward in Paris. Became painter and valet de chambre to Francis I. in 1518; probably painted portraits, but no authentic work extant, unless the Portrait of Francis I.? (1535-40), Louvre, be one.-Laborde, Renaissance, etc., i. 1, 79; Freville, Archives de l'Art francais, i. 1, 97, 287, iv. 44; Ch. Blanc, Ecole frangaise; Villot, Cat. Louvre; Pattison, Renaissance of Art in France, i. 307. CLOVIO, Don GIORGIO GIULIO, born at Grizane in Illyria in 1498, died in Rome, 307 CLOVIS Jan. 5, 1578. Lombard school. Real name Glovicic; sometimes called II Macedone, because his family was said to have originated in Macedonia. Pupil of Giulio Romano, at Mantua,and of Girolamo dai Libri,fromwhom he learned the art of illuminating. Went to Hungary in the service of Louis II., on whose death in 1526 he returned to Italy. During the sack of Rome (1527) he was so ill-treated by the Spanish soldiers that he vowed to take holy orders if he escaped. Afterward entered the monastery of San Rufino, Mantua, but left in a few years on a dispensation from the Pope, and entered the service of Cardinal Grimani, and on his death, that of Cardinal Alessandro Farnese; became the best Italian miniature painter of his time; executed a great number of works, some of which are described by Vasari. His Office of the Virgin, with twenty-six miniatures now in the library of the Naples Museum, cost him nine years' labour. Other works: Crucifixion, Uffizi; Pieta, Palazzo Pitti, Florence. —Vasari, ed. Mil., v. 330, vii. 557; Lanzi, ii. 337; Ch. Blanc, iIcole lombarde; Waagen, i. 208, ii. 63, 334, iii. 431; Burckhardt, 682. CLOVIS, ENTRY OF, Joseph Nicolas Robert-Fleury, Versailles Museum; canvas, H. 2 ft. 7 in. x 3 ft. Triumphal entry into Tours. Clovis, to whom the Emperor Anastasius had decreed consular honours, put on the purple tunic and the chlamys and placed the crown on his head in the cathedral; then, having mounted his horse, he rode through the streets scattering with his own hand gold and silver among the people. CLUYSENAAR, ALFRED, born in Brussels, Sept. 24, 1837. History and genre painter; pupil of Brussels Academy, and in Paris of the ]cole des Beaux Arts and of Cogniet; visited Italy, Holland, and Germany. Medal, Paris, 1878; L. of Honour, 1878. Order of Leopold. Works: Henry IV. at Canossa (1878); in fresco: The Age of the Roman Empire, Foundation of the Christian Dogma, Contest of Papacy against Secular Rule, Reformation and Renaissance, The French Revolution, University of Ghent. -Miller, 108. CLYTEMNESTRA, ancient picture. See Tauriscus, Theon. By P. N. Guerin, Louvre; canvas, H. 11 ft. 3 in. X 10 ft. 8 in.; signed, dated 1817. Clytemnestra, dagger in hand, hesitating on the threshold of the apartment in which Agamemnon is seen asleep, is urged forward by.Egisthus, who pushes her by the shoulders. Salon, 1817; acquired in 1819 for 12,000 fr. Engraved by A. Johannot; Sis, co.-Reveil, x. 677. COBERGHER, (Coeberger,) WENCES& LAS, born in Antwerp about 1560, died in Brussels in 1635. Flemish school; history painter; pupil of Martin de Vos, 1573, from whose studio he went to Italy in 1579; lived in Rome and Naples; returned to Antwerp in 1603, where he then entered the guild. Called to Brussels by Archduke Albert, who entrusted him with all manner of work, Cobergher being also an architect and engineer. Works: Constantine adoring the Cross, St. Jacob's, Antwerp; Entombment, Brussels Museum; Pieta, St. Andrew's, Antwerp.-Biog. nat. de Belgique, iv. 214; Michiels, viii. 326; Rooses (Reber), 154; Ch. Blanc, Ecole flamande. COCCHI, POMPEO, of Perugia; Roman school (1523-1549); contemporary of Domenico Alfani, and almost his equal. On register of guild in 1523. A Madonna with Saints in Cathedral of Perugia is signed and dated 1525. A Crucified Saviour in the Perugia Gallery, part of a fresco transferred to canvas, recalls the Florentine manner of the followers of Fra Bartolommeo, still with a prevailing Umbrian feeling. Cocchi made his will in 1544, and was still alive in 1549. C. & C., Italy, iii. 371; Ch. Blanc, Icole ombrienne. COCK, CtSAR DE, born in Ghent in 1823. Landscape painter. Medals, Paris, 1867, 1869. Works: Old Mill (1857); Hedge Corner (1859); Farm-yard (1865); Old Mill at Veules, Herring Box (1866); Poplars (1867); Upon the Heath, In the Woods 308 COCK (1868); Morning in the Woods (1869); Storm in Normandy, Path at S/vres (1870); Spring-Time in Woods, Stream in Woods (1872); River in Woods (1873); Road to Washing Place, Courtyard of Farmhouse in Gasny, Brook in the Woods (1874); In Spring-Time, Old Mill, Banks of the Ebro (1875); Banks of the Ept, Woods on Banks of the Ept (1880); Sluice, Old Willow (1881); Flock of Sheep (1882); Charbonel Manufactory at Gasny (1883).-Larousse; Gaz. des B. Arts (1869), i. 511. COCK, XAVIER DE, born in Ghent; contemporary. Landscape painter. Medal, Paris, 3d class, 1857. Works: Autumn, Cows and Goats (1872); Herd of Cows, Sheep in an Autumn Landscape (1873); Cows, A Forest, Harvesters (1874); A Forest, Cows (1876); Sheep in Autumn (1878); Yoke of Oxen (1879); Oxen in a Meadow, A Cascade (1880); Cow at a Drinking-Place (1881); Flock of Sheep (1882); Woods in Autumn, Oxen on the Lowland (1883).-L'Art (1876). COCK FIGHT (Combat de Coqs), Jean Leon Gerome, Luxembourg Museum, Paris; canvas, H. 4 ft. 7 in. x 6 ft. 6 in. A young Greek, nude, kneeling at right on one knee, setting two cocks to fighting; behind, a young woman, nearly nude, is seated watching the combat. Figures, life-size.-Salon, 1847; medal, 3d class. COCX. See Coques. COCXIE. See Coxcyen. CODDE, PIETER, born in Amsterdam before 1610, died about 1660 (?). Dutch school; genre painter, principally of social reunions and military scenes in the style of Palamedes; probably formed himself at Haarlem under the influence of Frans and Dirk Hals; spirited conception and fine colouring. Painted figures in pictures of Dirk van Deelen. Works: Flute Player, Haarlem Museum; The Ball (1636), Game of Trictrac, Mauritshuis, Hague; Peasants at Meal surprised by Catchpolls (attributed to A. Duck), Copenhagen Gallery; Company of Six (attributed to J. le Ducq), Stockholm Museum; Guard-room, Carlaruhe Gallery; do. Gottingen Gallery; Robber Scene (attributed to C. Bega), Brunswick Gallery; Musical Company (attributed to Cocx), Speyer Gallery; Company at Table (1634), Emden Gallery; do., Schleissheim Gallery; Preparation for Carnival, Berlin Museum; Stable with Soldiers, Musical Company, Schwerin Gallery; Dancing Lesson (1627), E. von Sievers, Dorpat; Soldiers with a Girl (1628), Soldiers pilfering Peasant's Cottage (attributed to A. Duck), Dresden Gallery; Musical Company, Liechtenstein Gal- ZO 4.JC lery, Vienna; Guard-room (166-), Borghese Gallery, Rome; Seamstress, Assembly, Fitzwilliam Museum, Cambridge. -Bode, Studien, 141; Havard, A. & A. holl., iii. 139. COELLO, ALONSO SANCHEZ. See Sanchez-Coello. COELLO, CLAUDIO, born in Madrid about 1635, died there, April 20, \. 1693. Spanish school; son of Faustino Coello, a Portuguese. "s\ culptor; pupil in ' drawing of FranC< KIf^ cisco Rizi; won the (7 / ( f".' friendship of Carrefio, who obtain/'. '' ed for him admission to the royal galleries, where he studied Titian, Rubens, and other great masters. After executing important works in Toledo and Saragossa, he returned to Madrid, was made painter to the king in 1684, and on the death of Carrefio succeeded to all his honours at court. Coello's masterpiece, the Collocation of the Host, in the Escorial, cost him two years' labor. In 1691 he was appointed painter to the Cathedral of Toledo, but his satisfaction in this and other advantages which he enjoyed was counterbalanced in the following year by the arrival of Luca Giordano, called by the King of Spain 309 COENE to decorate the Escorial, and disappointment and jealousy finally led to his death. Works: Assumption of the Virgin (1669); do., Portrait of Charles II., Madrid Museum; Portraits of Jeanne and Maria of Austria, and Marguerite of Parma, daughters of Charles V., Brussels Museum; Portraits of Philip IL, Berlin Museum; St. Peter of Alcantara walking on the Water, Munich Gallery; Portrait of Coello, The Magdalen, Hermitage, St. Petersburg.-Cean Bermudez; Stirling, iii. 1010; Ch. Blanc, Icole espagnole; Viardot, 296; Madrazo, 387. COENE, CONSTANTINUS, born at Vilvoorden, in 1780, died in Brussels in 1841. Flemish school; history, genre, and landscape painter; pupil of Hendrik van Assche, and in 1809 of Barbiers at Amsterdam; settled afterward in Brussels, where, in 1820, he became professor at the Academy. Great prize in Ghent in 1808. Works: Rubens receiving from Charles I. the Sword with which he had been Knighted (1808), Ghent Museum; Soldier returning from Waterloo (1815), Brussels Museum; Group of Peasants, Haarlem Museum; View in Brussels, Amsterdam Museum. COENE, JEAN HENRI DE, born at Veder-Brekel, East Flanders, in 1798, died in Brussels, April 6, 1866. Genre painter, pupil of David and J. Paelinck; lived many years in Paris, afterward professor in Brussels Academy. Exhibited a number of pictures in the Salon, several of which have become well known in France by lithographs. Medal, 2d class, 1837. Works: Misery and Honesty (1835); Pastoral Tournament, Friday the Fasting Day (1837).-Larousse. COENUS, painter of genealogical tablets, about 300 B.C. —Piny, xxxv. 40 [140]. COFFIN, W. A., born in Allegheny City, Pa., 1855. Subject painter, pupil of Bonnat in Paris. Exhibited first in the Paris Salon in 1879. Studio in New York. Works: After Breakfast, T. B. Clarke, New York; Idyl, Toneur de Mandoline (1881); Brittany Inn (1882); Examination, Close of Day. August Day (1883); Lady in Black (1885). COGELS, JOSEPH (sometimes called Cogels Mabilde), born at Brussels in 1786, died at. Castle Leitheim, near Donauworth, in 1831. Landscape and marine painter; pupil of Dusseldorf Academy; visited France, returned to Belgium in 1806 and became a member of Royal Society of Fine Arts at Ghent; went in 1810 to Munich, where he painted for the King and Queen, and the Duke of Leuchtenberg, pictures for their private collections and the Schleissheim Gallery. Member of Antwerp Academy in 1817, honorary member of the Munich Academy in 1824. His paintings, principally landscapes, waterfalls, and old monuments of his native country, are highly esteemed. Works: View of St. Salvator Platz in Munich (1819), Cassel Gal lery.-Bryan (Graves). COGEN, F.LIX, born at St. Nicolas, Belgium. Genre and animal painter, pupil of F. Devigne. Medal, Paris, 3d class, 1875; L. of Honour, 1883. Works: Calves and Heifers, Cows returning from Pasture (1870); Departure for Fishing, Return from Fishing (1874); Shrimp-Fishers on Coast of Flanders (1875); Varech (Sea-weed) Harvest in Holland (1876); Fisherman'sWife on ZuyderZee (1878); Inundation Scene (1881); Fisherwomen at Scheveningen (1883). COGHETTI, FRANCESCO, born at Bergamo, Oct. 4, 1804, died in Rome, April 23, 1875. History painter, pupil in Bergamo of Diotti, and in Rome of Camuccini; President of Accademia di S. Luca, Rome. Order of St. Gregory the Great. Executed a series of decorative compositions in fresco in the Palazzo Torlonia, Rome, in the Cathedral, and in the Bishop's Palace at Bergamo, in the Basilica at Savona, and in the church at Porto Maurizio. Works: Presentation, Assumption, Ascension, Condemnation of St. 310 COGNIET Stephen; Exploits of Alexander, Villa Torlonia; Battle of Amazons, Triumph of Bacchus, Four Elements, Villa Castel-Gandolfo; Fable of Psyche and Cupid, Parnassus, Torlonia Palazzo, Rome; Fable of Prometheus, Apollo followed by the Hours, Basilica of Savona.-Brockhaus, iv. 486; Larousse; L'Illustrazione italiana, 1875. COGNIET, LeON, born in Paris, Aug. 29, 1794, died there, Nov. 20, 1880. His-?, tory and portrait painter, pupilof Gue-; S rin; won the prix de Rome in 1817.;:,,'. Medals: 2d class,. y ^;' 1824; 1st class, 1855; L. of Honour, 1828; \ Officer, 1846; Prussian Order pour le merite, 1865; member of Institute, 1849. His first pictures, though classical in style, show a realistic tendency. Founder of one of the best art schools in Paris. Works: Metabus, King of the Volscians (1822); Marius at Carthage, Massacre of the Innocents (1824); Numa in the Grotto of Egeria; Rape of Rebecca; Napoleon in Egypt, Paris National Guard in 1792 (1836); Battle of Rivoli, Episodes in Egyptian Campaign, Versailles Museum; Tintoretto painting his Dead Daughter (1843), Bordeaux Museum; St. Stephen, St. Nicolas-des-Champs; Magdalen, Madeleine, Paris.-Claretie, Peintres, etc. (1882), 361; Larousse; Meyer, Gesch., 439; Gaz. des B. Arts (1881), xxiii. 33. COGNIET, Mme. LRON, (nee Catherine Caroline Thevenin), born in Lyons, Oct. 23, 1813. History and genre painter; wife and pupil of L6on Cogniet. Medals: 3d class, 1840; 2d class, 1843. Works: A Studio (1836); Bad Fellow (1837); Red Fish (1838); Prix de Rome (1840); Sick Girl (1843); Virginia (1848); St. Cecilia (1852); St. Genevieve as a Child (1853). COIGNARD, LOUIS, born in Mayenne in 1812, died in 1883. Animal and landscape painter; pupil of Picot. Medals: 3d class, 1846; 1st class, 1848. Works: Mary in Desert (1838); Little Fisherman by Sea, Christ and Disciples at Emmaus, Sleep, Evening, Cattle in Woods (1842-1845); Cows on Borders of a Wood (1846); Bulls Fighting (1847); Drinking Place, Morning (1848); Woman watching Cows, The Bull, Cares of a Farmer's Wife, Morning Rest, Henri IV.'s Oak (1849-53), bought by State; Morning Repose (1852), Luxembourg Museum; Pasture in Holland, Valley of the Main (1855); During the Storm, Landscape with Animals (1857); Grass and Drinking Place in Valley of the Auge, Bulls Fighting, The Cow Pond (1859); Herd in Pasture (1861); Landscape in Normandy (1863); Herd at Edge of Forest, Cows in a Marsh (1873); Cows in a Belgian Forest (1874); Flock of Sheep, Morning in Pasture ( 1875);CattleResting, DrinkingPlace (1876); Cattle Resting in a Prairie (1877). COIGNET, JULES (LOUIS PHILIPPE), born in Paris, Dec. 2, 1798, died there April 1, 1860. Landscape painter, pupil of Bertin; travelled in Italy and the East, and painted many pictures marked by poetical feeling and delicacyof light andshade effects. Also produced many water-colours and chalk drawings, and wrote a work on landscape painting. Medals: 2d class, 1842, 1848; L. of Honour, 1836. His Ruins of Temple of Paestum, one of his best works, is in the Munich Gallery.-Bryan (Graves). COL, DAVID, born in Antwerp, April 6, 1822. Genre painter, pupil of Antwerp Academy. His pictures, mostly on a small scale, are to be found in nearly all the museums and private collections of Belgium. Order of Leopold, 1875. Works: Shaving Day; Out with You! Throwing Snowballs; Canary Fancier; Interrupted Meal; The Blusterers (1875).-Mfiller, 109. COLANTONIO DEL FIORE, born in 1352 (?) died in 1444 (?) Neapolitan school. The question of the existence of this painter rests on a letter written in 1524 by Summonzio the architect, who says that Colantonio abandoned tempera for oils, which he learned from Rene of Anjou, but that he 311 COLAS failed to attain the skill of his disciple Antonello da Messina. Domenici, who is little to be trusted, gives the above dates of his birth and death, and attributes to him a triptych, dated 1375, in S. Antonio Abate, Naples; a second picture in two parts, supposed to have formerly been dated 1436, one part in S. Lorenzo, Naples, the other in the Naples Museum; and a fresco in S. Angelo a Nilo, Naples. C. & C., however, doubt if there ever was a Colantonio, and think it possible that Summonzio may have confounded him with Antonello da Messina.-C. & C., Italy, i. 322, 334; do., N. Italy, ii. 82; Vasari, ed. Mil., ii. 585; ed. Le Mon., i. 163, iv. 95; Lanzi, ii. 4; Burckhardt, 523; Domenici, Vite de' Pittori, etc., Napoletani; Ch. Blanc, Ecole napolitaine. COLAS, ALPHONSE, born at Lille, Sept. 24, 1818. French school; history and portrait painter, pupil of Souchon. Medals, 3d class, 1849, 1863. Director of School of Painting at Lille. Works: Calling of St. James (1869), St. James's, Douai; France in 1870-71 (1872); Portraits (1877, 1879, 1880, 1883). COLE, GEORGE, born at Portsmouth in 1810, died in London, Sept. 7, 1883.. _. Landscape paintB- -^; ~ er, self-taught; began as a portrait and animal A-i'^ ^ ~ painter in Ports_ '.,i mouth; exhibited first in London in / 1840; member in 1850 of the Society of British Artists, of which he became vice-president. Works: Surrey Harvest (1864); Pride and Humility; Loch Lubnaig; Gunnard's Head -Cornwall (1870); River Scene -Sussex (1874); Wheat Harvest-Hampshire (1877); Morning on the Thames-Windsor, Windsor Castle-Morning, Thirlmere (1878); Timber Drag (1880).-Art Journal (1883), 343; Kunst-Chronik, xviii. 743. COLE, THOMAS, born at Bolton le Moor, England, Feb. 1, 1801, died near Catskill, N. Y., Feb. /f^^\ 11, 1848. Landscape painter; in 1819 his father emigrated to America and settled in Ohio, where Thomas first -I lslearned the rudi<"I 5_~ '"'-' ments of art from a portrait painter named Stein. After studying nature under great difficulties, he went in 1825 to New York, and was first brought into notice by his views on the Hudson. He made several visits to England, France, and Italy, but passed the greater part of his professional life in New York. Exhibited at Royal Academy, London, View in New Hampshire, Tomb of General Brock (1830), and View in United States (1831). Two of his allegorical series, the Course of Empire and Voyage of Life, were very popular. Works: Dream of Arcadia; Departure; Return; Garden of Eden (1828); Expulsion from Paradise (1828), Lenox Library, New York; Titian's Goblet (1833), J. M. Falconer, New York; Mount Etna, White Mountains, Wadsworth Collection, Hartford; Angel appearing to the Shepherds, Boston Athenaeum; Primitive State of Man, E. L. Rogers, Baltimore; View on the Thames, Jonathan Sturges, New York; Cross in the Wilderness; L'Allegro; II Penseroso; Mountain Ford, M. K. Jesup; Cross and the World (unfinished), Vincent Colyer; Course of Empire, Vale of Segesta, Italian Landscape, Moonlight, Conway Peak, Catskill Creek, Summer Sunset, Historical Society, New York.-Noble, Life and Works (1850); Tuckerman, 223. COLE, VICAT, born at Portsmouth, England, in 1833. Landscape painter, son and pupil of George Cole; exhibited first picture at British Institution in 1851, and at Royal Academy in 1854; elected an A.R.A. in 1870, and R.A. in 1880. Works: Under 312 COLEMAN the Greenwood Tree (1860); Summer's Golden Crown (1866); Floating down to Camelot (1869); Evening Rest; Sunshine Showers (1870); Autumn Gold (1871); Summer Rain (1873); Misty Morning, Heart ' of Surrey (1874); Rich- \ mond, Loch Scavaig (1875); ' \l., Day's Decline (1876); Arundel, Summer Showers (1877); Surrey Pastoral (1878); Autumn Leaves, Ripening Sunbeams (1879); August Days, Streatley on Thames, Wargrave (1881); Sources of the Thames (1882); Windsor, Autumn Morning (1883); Sinodun Hill (1885).-Meynell, 33. COLEMAN, CHARLES CARYLL, born at Buffalo, N. Y., in 1840. Figure and still-life painter; went to Europe in 1859 and again in 1866, since which has not returned to America. Exhibits in New York, London, Paris, and Rome. An A.N.A. of New York and member of the London Art Club. Studio in London in 1883. Works: Troubadour, Young Monk, Nuremberg Towers (1876); Bronze Horses of St. Mark'sVenice (1877), Lady Ashburton; Decorative Panel (1878); Interior of Chapel adjoining Sala del Cambia-Perugia; Venice —Ancient and Modern (1880); Remote Quarter of Paris in 1878 (1881). COLIN, ALEXANDRE (MARIE), born in Paris, Dec. 31, 1798, died there, Nov. 23, 1875. Genre painter, pupil of GirodetTrioson; director several years of School of Design in Nimes. Medals: 2d class, 1824 and 1831; 1st class, 1840; L. of Honour, 1873. Works: French Fish-market (1832), National Gallery, Berlin; Scene in Otaheite, Street of Calcutta (1841); Flanders Fisher women (1842); Christopher Columbus (1846), Masaniello (1848); Christ on the Cross (1850), bought by State; Michelangelo watching at his Servant's Bedside (1855); Scene in the Roman Campagna, Columbus's first Arrival in Spain (1857); Nymphs Bathing, Breton Peasant (1859); Reception of Columbus by Ferdinand and Isabella at Barcelona, Lorenzo de' Medici and Michelangelo, Public Reader on Mole of Naples, Encounter in the Desert, Moorish Interior (1861); Mater Dolorosa, Death of Gessler, Suburb of Isel at St. Omer (1863); Flanders Fishermen, Fisherman at Foot of a Cliff (1864); Christ in Garden of Olives, Gypsies Halting (1865); King Candaules, Satyr and Bacchante (1866); Joy of the Hearth, Who giveth to the Poor lendeth to the Lord (1868); Little Sister (1869); Hurricane on Borders of Sea (1870); Drama of the Sea (1873); Before Marriage (1874).Montrosier, Artistes modernes. COLIN, PAUL, born at Nimes in 1838. Landscape painter; son and pupil of Alexandre Colin and pupil of J. P. Laurens. Medal, 3d class, 1875-; L. of Honour, 1883, Works: Farm of Groult, Little Marauders (1875); Moat of Hogue, Plateau of Criquebceuf (1876); Road of Yport (1877); Two Views at Valmont (1879); Valley of Yport (1880); Street in Toledo (1881); Pool of Criqueboeuf (1882); Pool of Gueville, Appleyard at Loysel (1883); Farm Stable, Ducks (1884); Mare aux Pigeons (1885). COLLANTES, FRANCISCO, born in Madrid in 1599, died there in 1656. Spanish school; pupil of Vincenzo Carducci; best known as a landscape painter, though he painted also figures, animals, and fruit and flowers. Works: Vision of Ezekiel, Burning of Troy, St. William of Aquitaine, two landscapes, Madrid Mu- seum; Burning Bush, Louvre; Landscape, Munich Gallery; St. John Baptist, Hermitage, St. Petersburg.-Viardot, 267; Ch. Blanc, ltcole espagnole; Madrazo, 392. 813 COLLART COLLART, Mme. MARIE, born in Brussels; contemporary. Landscape painter. Medals: Paris, 1870, 3d class, 1878. Works: Winter, Autumn (1868); The Source, Bakeroom (1869); Sunday Morning, Orchard (1870); Old Orchard, Winter Evening (1872); Farm Yard at Dunkirk (1873); Peasant's Garden at Beersel-Belgium, Old Beersel Road in Winter (1874); View at Calvoet near Brussels (1875); Evening, April (1879); Mill of Calvoet, Canal of Rusbraeck (1881); Valley de la Senne (1882). COLLIER, JOHN, born in England; contemporary. Figure and portrait painter. Works: The Aiguille verte-from Argentiere (1877); Last Voyage of Henry Hudson (1881); Clytemnestra, portraits of the Lord Chancellor, Chas. Darwin, and Sir George Campbell (1882); portrait of Huxley (1883); Sir George Biddell Airy (1884); Lady Loraine (1885). His wife, Marion Collier, daughter of Prof. Huxley, is also a painter of promise. Her Coming Tragedian was exhibited at Royal Academy in 1882. COLLIN, (LOUIS JOSEPH) RAPHAEL, born in Paris; contemporary. Figure and portrait painter, pupil of Cabanel. Medal, 2d class, 1873; L. of Honour, 1884. Works: Slumber (1873); Venetian Girl; Young Girl of Basle (1874); Idyl (1875); Daphnis and Chloe (1877); The Dance (1881); Idyl (1882); Portraits (1883); Summer (1884). COLLIN DE VERMONT, HYACINTHE, born at Versailles, January 19, 1693, died in Paris, February 16, 1761. French school. History painter, pupil of Jouvenet; received into the Academy in 1725, professor in 1733, adjunct rector in 1754. Works: Birth of Bacchus (1725), Tours Museum; Scenes in History of Cyrus, Descent from the Cross, The Gods cutting the Wings of Cupid, Judgment of Solomon (1737); Marriage of Alexander and Roxana (1745); History of Cyrus (33 pictures, 1751); Presentation of the Virgin (1755), St. Louis', Versailles; Marriage of St. Catherine, Lyons Museum. -Bellier de la Chavignerie, I. 279. COLLINGWOOD, WILLIAM, born at Greenwich, England, in 1819. Landscape painter, water-colours; pupil of J. D. Harding; first exhibited in 1839; elected associate of Society of Painters in Water-Colours in 1855. Paints chiefly mountain scenery and interiors. Works: Cloud-Caps from Summit of Snowdon, Sunset from the Rigi, Sunday at Haddon Hall, Lake of Como, Mauvais Pas, Mont Blanc, Ludlow Castle. COLLINS, WILLIAM, born in London, Sept. 18, 1788, X-*^ ^ died there, Feb. 17, 1847. Son ij, 12^ ^ of a picture deal@i ~I er; student at Royal Academy /11 ^^7 Y min 1807-14; became an A.R.A. in 1814, and R.A. in 1820. Painted chiefly landscapes with rustic groups. After visiting France, Holland, and Belgium, spent two years in Italy in 1836-38, and gathered material for pictures of Italian life. Though his art was feeble, his pictures were popular on account of the character of his subjects, and many of them have been engraved. Works: Blowing Bubbles (1810); Weary Trumpeter, Young Fifer (1811); May Day (1812); Sale of Pet Lamb (1813); Bird Catchers (1814); Shrimp Boys (1816); Sunrise, Fishermen coming Ashore (1817); Scene on Coast of Norfolk, Bird's Nest (1818); Watching for a Bite (1820); Bird Trap (1821); Woodcutters, Clovelly-N. Devon (1822); Fish Auction (1823); Stirling Castle, Cherry Seller (1824); Buying Fish on the Beach, Prawn Fishers (1825); Fisherman's Departure (1826); Frost Scene, Buying Fish (1827); Doubtful Weather, Freshwater Bay (1828); Morning after Storm, Summer Moonlight, Prawn Fishing (1829); Mussel Gatherers (1830); Shrimpers, Morning Bath, Nutting Party (1831); Skittle Players, Rustic Civility (1832); Stray Kitten (1833); Rustic Hospitality, Morning Lesson (1834); Mari 314 COLLINSON ner's Widow (1835); Sunday Morning, Happy as a King, Leaving Home (1836); Scene near Subiaco, Young Lazzaroni playing Game of Arravoglio (1839); Christ in the Temple, Ave Maria, Passing Welcome (1840); Disciples at Emmaus, Caves of Ulysses, Woodcutter's Repast (1841); Prayer, Welsh Guides (1842); Madonna, Windy Day, Sultry Day (1843); Catechist, Morning-Boulogne (1814); Fetching the Doctor, Sunrise at Sea (1845); Early Morning, Mead-foot Bay (1846). His son, Charles Allston Collins (1828-1873), who married Charles Dickens's daughter, was also a genre painter, but turned to literature. —Memoir by his son, Wilkie Collins (London, 1848); Sandby, i. 365; Art Union Monthly Journal, April, 1847; Art Journal (1855), 141; Redgrave, Century, ii. 410; Ch. Blanc, ecole anglaise. COLLINSON, ROBERT, born in Cheshire, July, 1832. Landscape and genre painter, student of Government Schools of Design, Manchester; removed about 1854 to London, where he was for many years professor of painting in the S. Kensington schools. Works: Hopes and Fears (1862); Ordered on Foreign Service (1864); Money Changer, Leisure Hour (1865); Close of Day (1868); Sacred Spot (1869); Dawn of Hope (1870); Absorbed in Robinson Crusoe (1871); To Win or Die (1872); The Escape (1873); Leaves from Nature (1874); Sunday Afternoon (1875); Home, Mill Pool (1878); Light in the Cottage (1879); English Home (1883); The Last Mile (1884). COLMAN, SAMUEL, born in Portland, Me., in 1832. Landscape painter, pupil of A. B. Durand in New York. Visited France and Spain in 1860-62; went abroad a second time in 1871, and travelled in Switzerland, Germany, North Africa, Italy, France, and Spain. Elected N. A. in 1862. Studio in New York. Works: Bay of Gibraltar; Andernach on the Rhine; Street Scene in Caen -Normandy; Market Day in Brittany - Le Mans; Arab Caravansary (1879); Arab Burying-Ground, Genesee River at Avon, Dutch Boats off Coast of Holland (1880); Evening at Amalfi-Italy, Misty Afternoon in Venice (1881); Zandam -Holland, Ruins of Moorish Mosque-Al' geria (1882); Tower of Giralda (1884).Sheldon, 72. COLONNA, ANGELO MICHELE, born in Corno in 1600, died in Bologna in 1681 or 1687. Bolognese school; pupil of Ferrantini and of Dentone, with the latter of whom he painted many frescos in Bologna, Colonna painting the figures in his master's landscapes and architectural pictures. He acquired a great reputation as a decorative fresco painter. After the death of Dentone (1632) he associated with himself Agostino Metelli, and the two executed numerous works in Bologna, Ravenna, Parma, Modena, Rome, and other cities. In 1659 they went, at the invitation of Philip IV., to Madrid, and decorated several halls in the palace of Buen Retiro. After Metelli's death Colonna returned to Italy, and with Giacomino Alboresi as his collaborator executed many important works in Bologna, Florence, and elsewhere.-Malvasia, ii. 345; Lanzi, iii. 136; Ch. Blanc, Icole bolonaise; Gualandi, Guida. COLOTES, painter, of Teos, about 396 B.C. He was defeated in a painting contest by Timanthes, whose famous picture of the Sacrifice of Iphigenia carried off the prize. -Quin. ii. 13, 12. COLUMBARIUM, Hector Leroux, Luxembourg, Paris; canvas, H. 4 ft. 7 in. x 3 ft. 4 in. A funeral in the Columbarium of the Palace of the Cesars, Rome. The procession is coming down a steep stairway, the upper part of which is illuminated by sunlight through an archway; below, at right, two musicians. —Salon, 1864. COLUMBINE, LA, Bernardino Luini, formerly attributed to Leonardo da Vinci, Hermitage, St. Petersburg; wood, transferred to canvas, H. 1 ft. 51 in. x 1 ft. 2 in. A beautiful girl, "en deshabille," sits under a rock overgrown with ivy, looking at a columbine held in her left hand; her white dress, with yellow ornaments, is held by a jewelled brooch, leaving one breast uncover 315 COLUMBUS ed; a blue tunic falls from the left shoulder. Believed to be a portrait of one of the mistresses of Francis I. Called also Flora and Vanity. In cabinet of Marie de Medicis in 1649; afterward in Orleans Gallery, whence sold (1829) to Mr. Udney for $105, passed thence" to Banker Walckiers, Brussels, and then to gallery of The Hague; sold at sale of William II. (1850) to Hermitage for La Columbine, Bernardino Luini, Hermitage, St. Petersburg. 40,000 florins. Copy in Stafford House, London, and another at Stratton (Sir Thos. Baring). Attributed by C. & C. to A. Solario. -C. & C., N. Italy, ii. 58; Heaton, 258, 296; Waagen, Ermitage, 35; Vasari, ed. Mil., iv. 63; Rigollot, Hist. des Arts, etc., i. 292. COLUMBUS DISCOVERING LAND, Hermann Freihold Pladdeman, National Gallery, Berlin; canvas, H. 4 ft. x 4 ft. 7 in.; signed, dated 1836. Columbus leans against the mast with folded hands and upraised eyes, while his officers prostrate themselves before him in shame and contrition; near the bow, sailors greet the land with passionate gestures; others embrace each other. COLUMBUS, LANDING OF, John Van. derlyn, rotunda of Capitol,Washington; canvas, H. 12 ft. x 18 ft. The first landing of Columbus and his followers in the New World-at San Salvador. Painted in 18 -for $10,000. Engraved on back of $5 United States national bank notes. COLUMBUS, DEATH OF, Gustaav Wappers, private gallery. Columbus, lying upon his bed, places his hand on the head of a young man kneeling beside him; by the bedside is a large chest, from which the chains Columbus had worn are partly hanging out. Engraved by D. Devachez.-Art Journal (1865), 268. COLYER, VINCENT, born at Bloomingdale, N. Y., in 1825. Landscape painter; pupil of John R. Smith and of the National Academy. Practised his profession in New York many years, exhibiting at the National Academy. Elected an A.N.A. in 1849. Studio in Rowayton, Conn. Works: Johnson Straits-British Columbia, J. N. Stearns, New York; Columbia River (1875); Portrait of Geo. H. Story, National Academy, New York; Pueblo -Indian Village, Passing Shower (1876); Home of the YackamasOregon, H. Bigelow, NewYork; Contraband, T. Kensett, Baltimore; Darien Shore-Connecticut, Rainy Day on Connecticut Shore, Sunrise (1881); Winter on Connecticut Shore, Winter Bit (1884); Spring Flowers (1885). COMAN, CHARLOTTE B., born at Waterville, N. Y.; contemporary. Landscape painter, pupil of James Brevoort, of H. Thompson, and in Paris of ]mile Vernier. Painted six years in France and Holland. Studio in New York. Works: French Village (1876); Sunset at the Seaside —France (1877); Near Fontainebleau, Borders of the Marne, Peasant Home in Normandy (1878); Cottage in Picardy (1881); Old Windmills in Holland, Spring Time in Picardy-France (1882); View near Schiedanm-Holland (1883); Street in Cernoy La Ville-France, Farmer's Cottage in Picardy (1884); Poppy Field in Normandy (1885). 316 COMBA COMBA Y GARCIA, Don JUAN; contemporary. Historical genre painter. Medal, Madrid, 1885. Works: Doiia Leonor la Bella asking Justice of Don Pedro I. of Castile (1878); At the Ringing of the Angelus (1881); Idealism and Reality (1885). —La Ilustracion (1878), i. 402; (1879), i. 76; (1881), ii. 331; (1885), i. 235. COMBAT, Wm. Etty, National Gallery, Edinburgh; canvas, H. 10 ft. 4 in. x 13 ft. 3 in. Two men fighting; the younger,whose sword lies broken at his feet, is wounded and forced upon his knees, while his adversary, grasping him by the hair, is about to deal a deadly blow, but is restrained by a woman who throws herself at the conqueror's feet and appeals for mercy. Royal Academy, 1825; sold to John Martin, ~300. Engraved by G. T. Doo.-Painters of Georgian Era, 67; Gilchrist, Life, 227. COMERRE, LION FRANCOIS, born at Trelon (Nord); contemporary. Genre painter, pupil of Cabanel. Won the grand prix de Rome in 1875. Medals: 3d class, 1875; 2d class, 1881; Philadelphia Exhibition, 1876. 188t Works: Cassandra (1875); Juno, Jezebel devoured by Dogs (1878); Amorous Lion (1879); Samson and Delilah (1881); A Star (1882); Silenus and Bacchantes (1883); Pierrot, Madeleine (1884). COMMITTEE ON MORAL BOOKS, Georges Jean Vibert, Wm. H. Vanderbilt, New York; canvas, H. 1 ft. 7 in. x 2 ft. 2 in. Two holy fathers, who are examining the books and committing the indecorous ones to the flames, are having a good laugh over some racy passage which one of them is reading aloud.-Latham sale, New York, 1878, $4100. COMONTES, FRANCISCO, died in Toledo, Feb. 10, 1565. Spanish school; history and portrait painter, son and pupil of Iligo Comontes, scholar of Rincon. Painter to the Cathedral of Toledo from 1547 until his death. Painted many ecclesiastical dignitaries. -Stirling, i. 149. COMPROMISE OF NOBLES AT BRUSSELS, edouard de Biefve, Brussels Museum; canvas. Signing of the protest against the arbitrary acts of Philip IL by the nobles of the Netherlands, in the H6tel Cuylenburg, Brussels, Feb. 16, 1566. In the foreground is Count Philip van Marnix, author of the document, and facing him, Count Horn, about to sign it; on the steps behind, Count Brederode talks to the assembly; Egmont is seated in an arm-chair in right foreground, with William of Orange standing near him. Painted in 1841. Replica in small, National Gallery, Berlin. COMPTE-CALIX, FRAN9OIS CLAUDIUS, born at Lyons, Aug. 28, 1813, died at Chazay-d'Azergues, July 29, 1880. Gen- ( re painter, pupil of /S. 2, Jean C1. Bonnefond. Many of his works / have been engraved and lithographed. Medals: 3d class, 1844, 1857, 1859, 1863. Works: Mother and Stepmother (1845); Love in the Castle and Love in the Cottage (1846); Alone in the World (1848); Fortune and Happiness (1852); Encouragement and Forgiveness (1855); The Four Corners, Poor Mother (1857); Frightened Deer (1858); The Heart's Victory (1859); No Smoke without some Fire, Learning to Sin (1861); Departure of the Swallows, Old Friend (1863); Boarding-House Friends, Swallow's Nest (1864); Viper's Nest, Rose is Dead (1865); Evening (1866); Woman Reading, Country Agent (1867); Orphan Girl (1869); Poor Love (1870); Geography Lesson (1872); Simple Story (1873); Don't waken Him, Adam and Eve, Souvenir of Cannes (1874); Path that leads very Far, Where are they Going? Good-Night, Neighbour (1875); Venice in 16th Century, Not the Smallest I 817 COMTE Brother (1876); Wedding in La Bresse, He told Me (1877); Search for the Truth, Tell me about That (1878); Attacking the First Lines, Dead Leaves (1879); Susannah Bath5- Co \ Ct -CGV ing, The Hospital Nurse (1880).-Larousse; Hamerton, Painting in France; Kunst-Chronik, xv. 688; Montrosier. COMTE, PIERRE CHARLES, born in Lyons, April 23, 1823. Genre and history painter; pupil of Delaroche, H. Vernet, and Robert Fleury. Medals: 3d class, 1852; 2d class, 1853, 1855, and 1857, and 3d class, 1867; L. of Honour, 1857. Works: Last Throw of Dice, Coronation of Inez de Castro, Charles IX. visiting Coligny, Jeanne d'Albret with Rene (1848 to 1853); Henri IIL and Duke of Guise (1855), Luxembourg Museum; Arrest of Cardinal de Guise and of d'Espaignac, Bass Viol Player (1855); Lady Jane Grey, Henri III. visiting his Menagerie (1857); Alain Chartier and Margaret of Scotland, Cardinal Richelieu (1859); Joan of Arc at the Coronation of Charles VIL (1861); Charles V. and the Duchesse d'Etampes, Recreation of Louis XI. when Sick, Rabelais's Seigni Joan (1863); Eleanor of Este making her Son, Henry of Guise, swear to avenge his Father (1864); Charles V. in Castle of Ghent after Abdication, Young Dutch Lady embroidering (1866); Henri HI. at Time of Murder of Duke of Guise, Body-Guard of 17th Century (1867); Gypsies exhibiting Dancing Pigs to Louis XI., The Mirror (1869); Marie Touchet (1870); Carp at Fontainebleau in 16th Century (1874); Winter (1876); Cards, Don Quixote's Niece (1877); Dante (1878); Love chasing Time, Time chasing Love (1879); Francis I. putting Rings upon Carp at Fontainebleau (1880); Corps de Garde under Louis XIII, The Pigeons (1884). Works in United States: Scene at Fontainebleau (1874), Corcoran Gallery, Washington; The Young Prince, W. H. Vanderbilt, N. Y. CONCA, SEBASTIANO, born at Gaeta in 1679, died in Naples in 1764. Neapolitan school; history painter, pupil of Fr. Solimena; visited Rome in 1706 and drew from the antique for five years. Employed in decorating S. Clemente with frescos, he executed his task so successfully that Clement XI. knighted him and gave him many public commissions. He painted also for the kings of Spain, Portugal, Sardinia, and Poland, for the Elector of Cologne, and for the cities of Siena, Pisa, Loretto, Palermo, and Gaeta; but he was indebted rather to the decadence of art in his time than to any original merit. Works: Abraham sending away Hagar, Berlin Museum; Herod and the Magi, Dresden Gallery; Joseph in Prison, Darmstadt Museum; Christ in the Wilderness, Death of Seneca, Madrid Museum; Assumption, S. Martino and S. > Luca, Rome; St. Francis Xavier, Ancona Museum. His brother, Giovanni Conca, painted in his style and made good copies.-Lanzi (Roscoe), i. 517. CONCEPTION, IMMACULATE (Fr., Conception; Ital., Concepcion; Sp., Concepcion; Ger., Empfangniss Maria). The pictorial representation of the doctrine that the Virgin came into the world free from the stain of original sin. By Murillo, Mrs. Wm. H. Aspinwall, New York; canvas, H. 6 ft. 6 in. x 4 ft. 5 in. The Virgin, looking up to left, standing in hollow of crescent moon, with hands on breast; beneath each side, four cherubs, with paln, lily, and olive branches; above, each side, five heads. Taken from Royal Palace, Madrid, by General Desolle, whose daughter sold it to Mr. Woodburn, from whom bought by King of Holland for about ~4,000; sold in 1857 to Mr. Aspinwall. Repetitions: Lord Overstone, London; with changes, Louis Philippe sale (1853).-Stirling, iii. 1418; Harper's Weekly, June 30, 1858; Curtis, 132. Murillo, Capuchin Church, Cadiz; canvas, H. 6 ft. 10 in. x 5 ft. 4 in. The Virgin, 818 CONCEPTION standing in hollow of crescent moon, look- heads, and opposite, two cherubs with a ing upward, with hands on breast; above scarf. Carried to Venice by Marqu6s de her head, a circle of stars; around her, Esquilache, Spanish Ambassador; became cherubs and heads.-Ponz, Viage, xvii. 340; property of Cardinal Gregorio, who gave it Curtis, 127. to Pius VI., who gave it to his nephew, the By Murillo, Wm. C. Cartwright, Aynhoe, Duke Braschi; bought from Duke Braschi Northamptonshire, England; canvas, H. 5 in 1842 for Hermitage. Repetition: Mrs. ft. 6 in. x 3 ft. 6 in. The Virgin, looking up front,:-7 1.:. ll//4 A-\, / standing in hollow of cres- (,.... ' cent, with hands crossed ) -.: on breast; at her feet, five \ ) t^, two others hold roses and ^ F lilies; above, in each cor- K.' ner, four heads. Brought ( - from Spain about 1760 by. y ( John Blackwood, from ': whom, by inheritance. ( <C Mezzo. by McArdelL. — ' Curtis, 131. z~- / By Murillo, Earl of,,.' / <} ii: " C.. Northbrook, London; can- (( vas, H. 6 ft. 3 in. x 4 ft. 9.-. in. The Virgin, standing - $l_, i t.f in hollow of crescent, tips ( // '/-' > i A of fingers touching before |.. f... ' - -'2 -left shoulder; beneath, / l ' ten cherubs with a palm, '/// I\1 /W flowers and square mirror;t $i/: ' above, each side, six heads. = Formerly in Convent of Carmelitas Descalzos, Madrid; brought from __ A:_ Spain by Lebrun. Engraved by M. S. Carmona; R. Graves.-C.Bermudez, —: ". ii. 63; Ponz, Viage, v. 248;?:-==___'.' — -. —: Buchanan, Memoirs, ii. Immaculate Conception, Murillo, Louvre. 255; Curtis, 131. Culling-Hanbury, Hertfordshire; in family By Murillo, Hermitage, St. Petersburg; since 1766; bought in at Culling-Eardley canvas, H. 7 ft. 9 in. x 6 ft. 5 in. The Vir- sale (1860) at ~9,000; engraved by Knolle. gin, standing on outside of a crescent, look- Curtis, 134-5; Hermitage Cat., 128. ing up nearly front; tips of fingers touch By MIurillo, Louvre; canvas, H. 1 ft. 2 in. before left shoulder; beneath her feet four x 10 in. Called in Louvre Cat. Vierge gloheads; on right of these a cherub, and on rieuse. The Virgin, about twelve years old, left four others, three of whom hold flowers, standing on a globe, looking down and palm, and olive; in left upper corner, five front, tips of her fingers touching before left 819 CONCEPTION shoulder; on left, three cherubs and three heads; on right, two cherubs and five heads; below, on right, buildings faintly seen. Bought in 1855 from Jose de Mazarredo. Lithographed by Llanta.-Curtis, 131; Villot, Cat. Louvre. By Murillo, Louvre; canvas, H. 5 ft. 8 in. x 9 ft. 4 in. The Virgin, looking down and front, standing in hollow of crescent moon, the tips of her fingers touching before left breast; beneath, on left, six half-length worshippers, one pointing to Virgin; on right two cherubs bearing a scroll; above, each side, three heads. Painted about 1665 for S. M. de las Nieves (la Blanca), Seville; originally semicircular, but enlarged; carried off by Marshal Soult; purchased for Louvre of M. Lom (1817) for 6,000 fr. Engraved by Migneret.-C. Bermudez, ii. 52; Carta, 62; Filhol, Musee, xi. 43; Villot, Cat. Louvre; Curtis, 130. By Murillo, Louvre; canvas, H. 9 ft. x 6 ft. 3 in. The Virgin, standing in hollow of crescent moon, looking upward to left, her hands on her breast; surrounded by many cherubs and heads. Painted in 1678 for the Hospital de los Venerables Sacerdotes; carried off by Marshal Soult, who offered it for sale in 1823 at 250,000 fr.; sold at Soult sale (1852) to French Government for 615,300 fr. (including government tax of 5 per cent.), the highest price ever paid for any picture up to that time. Copy, with changes, by Clemente de Torres, in Cathedral,Cadiz. Study, signed and dated 1664, in possession of Countess of Rosebery. Engraved by A. Lefevre; Burdet; L. Massard; Cousin; W. French; Regnault (bust only); Mezzo. by H. Eichens; Cornillet (2); lithographed by Llanta; Geoffroy; Pingot; Graille; Jacott, and others.-Ch. Blanc, lcole espagnole; Cean Bermudez, Carta, 93; Ponz, Viage, ix. 123; Gaz. des B. Arts (1875); Curtis, 129; Villot, Louvre. By Murillo, Madrid Museum; canvas, H. 3 ft. 2 in. x 2 ft. The Virgin, standing on a crescent with joined hands and eyes raised; at her feet, three cherubs, one of whom holds her flowing mantle, others with palms and roses; two cherubs on left hold a mirror; above, many heads. Collection of Isabel Farnese.-Curtis, 129; Madrazo, 481. By Murillo, Madrid Museum; canvas, H. 6 ft. 9 in. x 4 ft. 9 in. The Virgin, looking front, standing in hollow of crescent moon, palms of hands touching before left shoulder; beneath, four cherubs, with flowers and palms; above, four heads in each corner.,, _ - - ill Ii_..'N Immaculate Conception, Murillo, Madrid Museum. From Palace of S. Ildefonso. One of the best representations of the subject. Lithographed by F. de Craene; A. Lemoine; H. Raunheim; E. Lasalle; mezzo. by D. Martinez.-Dohme; Becker; Curtis, 128; Madrazo, 481. By Murillo, Madrid Museum; canvas, H. 7 ft. 3 in. x 3 ft. 11 in. The Virgin, looking 320 CONCEPTION upward, standing in hollow of crescent five heads; on right, beneath, a cherub with moon, with hands crossed on her breast; five roses; above, three cherubs with a scarf. cherubs grouped at her feet, one with lilies Painted about 1676 for Capuchin Convent, and roses, another with palm and olive Seville; placed in Museum in 1840. Repe. branches. Brought to Madrid in 1816 from tition, with slight changes: Samuel Sandars, Palace of Aranjuez. Engraved by B.Vasquez; Tunbridge Wells, Kent.-Cean Bermudez, mezzo., J. Ballin. - Curtis, 128; Madrazo, Carta, 93; Curtis, 126. 482. ByMurillo, Seville Museum; canvas, arched By Murillo, S. Felipe Neri, Cadiz; figures top, H. 9 ft. 2 in. x 6 ft. 3 in. The Virgin, full-length, life-size. The Virgin, standing looking upward, standing in hollow of a creson clouds, looking up to right, the palms of cent; on each side, three cherubs and some her hands touching before her left breast; heads; above, the Father Eternal with arms about her, heads and cherubs, two of whom outstretched; beneath, the dragon on a secextend their hands as if to crown her.-Pa- tion of the globe. Painted about 1676 for lomino, iii. 422; Curtis, 127. Capuchin Convent, near the Cordova Gate, By Murillo, Seville Cathedral, Chapter Seville; removed on its suppression in 1835 Room; wood, figures life-size. The Virgin, to Cathedral; thence in 1840 to Museum.looking down to right, standing in hollow of Cean Bermudez, Carta, 88; Ponz, Viage, ix. crescent moon, the palms of her hands 138; Curtis, 124. touching before her left breast; beneath, By Gio. Andrea Sirani, Bologna Gallery; three heads and three cherubs with roses canvas, H. 7 ft. 7 in. x 4 ft. 10 in. The and palm; above these, on each side, two Virgin, surrounded by a glory of angels, cherubs, and above them, eight heads. standing upon the crescent moon, which Painted about 1668; never engraved.-Cur- rests upon the head of the serpent coiled tis, 127. round the globe of the earth; above, the By Murillo, Seville Museum; canvas, H. Eternal, with his hands upon her shoulders. 2 ft. x 1 ft. 6 in. The Virgin, looking up to Formerly in Ch. dell' Osservanza. Engraved right, standing in hollow of crescent moon, by F. Rosaspina.-Pinac. di Bologna, P1. the palms of her hands touching before her 28. left shoulder; above her head, a circle of By Spagnoletto, Madrid Museum; canvas, stars; beneath her feet, three heads, and H. 7 ft. 3 in. X 5 ft. 3 in. The Virgin standthree in each corner above. From Colegio ing above the moon, trampling upon the de Maese Rodrigo, Seville.-Curtis, 127. dragon, in a glory of light and clouds with By Murillo, Seville Museum; canvas, H. cherubim and seraphim; below, a land12 ft. 10 in. x 9 ft. The Virgin, looking scape with the sea in distance, and atdownward, standing on a globe, her hands tributes of the Virgin. Bought by Ferdi-the palms touching-raised above left nand VII. in 1833.-Madrazo. shoulder; one cherub on right, three on left. By Velasquez, Sir Bartle Frere Collection, Painted in 1645-48 for church of convent of London; H. 4 ft. 6 in. X 3 ft. 4 in. The VirS. Francisco, Seville. Engraved by J. M. gin, her head surrounded by a glory of stars, Martin; lithographed by G. Weinhold.-C. with her hands joined and long hair falling Bermudez; Carta, 97; Quilliet; Curtis, 126. on her shoulders, stands on a transparent By Murillo, Seville Museum; canvas, H. globe, around and through which are seen a 7 ft. 4 in. x 5 ft. 10 in. The Virgin, looking temple, ship, trees, etc. Formerly in Conupward to right, standing in hollow of a vent of Carmelitas Calzados, Seville; bought, crescent; on left, beneath, three heads and with St. John Evangelist, in 1809, from Don four cherubs, two of whom hold a round Manuel Lopez Cepero, President of Acad. mirror, a third with a palm branch; above, emy of Fine Arts, Seville. First manner.321 CONCERT Stirling, iii. 1450; Jameson, Madonna, 49; with his bow to a bar of music, concerning Curtis, 3. which another is questioning him; x third is Subject treated also by Giorgio Vasari, tuning a lute, and the fourth, a child, holds Lucca Gallery; Benozzo Gozzoli, Pisa Gal- a violin. Painted at Rome for Cardinal Lulery; Piero di Cosimo, Uffizi, Florence; dovisi; sold by his nephew, Prince Ludovisi, to M. de Noguet, who took it to France; passed, with Domenichino's St. Cecilia, [t((( ll(/ tl7 /*v through hands of Jabach, to Louis XIV. Burned with Chai^^^^^^^S^t ~ (teau in 1870?-Mus6e fran~ I p9ais, i. ~=IE~~~~~~~~t~~~ ~By Giorgione, Pitti, Florence; canvas, H. 3 ft. 6 in. x 4 ft. Figures half-length. An Augustinian monk sits at a harpsichord, with his fingers on the keys; he has just struck a chord, and turns to his companions, a clerk, bald, dressed in white and black, with a lute, and a young man in Spanish costume, Concert, Michaelangelo da Caravaggio, Louvre, Paris. l, c with long hair, and cap with Girolamo Mazzuola, Parma Gallery; Dosso white feathers. No simpler yet more effecDossi, Dresden Gallery; Carlo Maratti, tive picture than this is to be found among the Vienna Museum; Sassoferrato, Brera, Mi- masterpieces of the 16th century. Figures lan; Juan de Juanes, Granada Museum; long thought to be portraits of Calvin, Antonio Palomino, ib.; Agostino del Cas- Luther, and Melancthon. Bought in 17th tillo, Cordova Cathedral; Valdes Leal (2), Convent of La Merced, Seville; Vincenzo Carducci, Fomento Museum, Madrid; G. B. Tiepolo, ib.; Tintoretto, Church of La Madonnetta, Genoa; G. B. Paggi, Capuchin Church, ib.; Rubens, Madrid Museum; Pichon (Salon, 1868). CONCERT, Michelangelo da Caravaggio, Louvre, Paris; canvas, H. 4 ft. X 5 ft. 7 in. Eight musicians, half-length, standing before a desk, playing different instruments; an organist, seated upon a stool, accompanies them.-Filhol, iv. P1. 248; Landon, Musee, xii. P1. 70. By Domenichino, formerly at St. Cloud; canvas, H. 4 ft. 10 in. x 5 ft. 5 in. Four young men standing around a table, on which lie a guitar and music books; one, richly dressed, holds a violin and points Concert, Giorgione, Pitti, Florence. century by Leopold of Tuscany from Paolo del Sera. Copy in Palazzo Doria, Rome. Engraved by Rossi.-C. & C., N. Italy, ii 144; Gal. du Pal. Pitti, i. P1. 5. 8M CONCERT By Gerard Terburg, Louvre, Paris; wood, H. 1 ft. 6 in. x 1 ft. 5 in.; signed. A young woman, seated near a table, is singing, holding a sheet of music in one hand and beating time with the other; at left, behind the table, a woman standing accompanies her with a sistrum; at right, a page brings a glass upon a silver tray.-Villot, Cat. Louvre. CONCERT, RUSTIC, Giorgione (?), Louvre; canvas, H. 3 ft. 7 in. x 4 ft. 3 in. A nude woman, with back to spectator, sits under a tree with two young men, one holding a lute; at the left, a scantily clad woman pours _ ' water into a stone tank fromln, f a glass vase; in glade beyond, i/,.I._ a shepherd. Probably by an imitator of Sebastian del Piombo. In collection of Charles '' / I. of England; acquired by Jabach, who sold it to Louis - XIV. Engraved by N. Dupuy; Hoelzel; J. Falck.-C. & C., N. Italy, ii. 146; Cab. Crozat, ii.; Musee frangais, ii.; Filhol, Ei iii. 213: Landon, Musee, vii. P1. 59. CONCERT OF WOMEN, ^ Tintoretto, Dresden Gallery; canvas, H. 4 ft. 8 in.x6 ft. 11 in. Several young women, nude, playing musical instruments. From Prague Gallery. Restored by Palmeroli. CONDEMNED MAN, LAST DAY OF, Michael 7unkldcsy, Mrs. W. P. Wilstach, Philadelphia. Scene: interior of a Hungarian prison. A condemned man receiving, on the day before execution, according to local custom, visits from his townsmen, who bring offerings of money to pay for masses for his soul. Etched by A Mathey (1883). Photogravure in Art Treasures of America. -Art Treas. of Amer., iii. 30. CONEGLIANO, BATTISTA DA. See Cizna da Conegliano. CONFERENCE AT POISSY, Joseph Nicolas Robert-Fleury, Luxembourg Muse um; canvas, H. 3 ft. X 4 ft. 4 in. To settle the differences between the Protestants and the Catholics a conference was held at Poissy, in 1561, in the presence of Catherine de Medicis and the young King Charles IX. Theodore Beza appeared for the Protestants. Salon, 1840. CONFERENCE, RETURN FROM, Gustave Courbet, Louvre; canvas. A party of jolly monks, returning from the conference, are evidently under the influence of wine. One, mounted upon a donkey, is held in his seat by two of his comrades, while others fol Rustic Concert, Giorgione, Louvre. low in a straggling procession. In foreground, left, are a peasant and his wife, the latter kneeling devoutly, the former standing in a defiant and contemptuous attitude. Painted in 1863. Purchased at Lepel-Cointet sale for 15,600 francs. CONFESSORS, RIVAL, Eduardo Zamacois, J. J. Astor, New York; canvas, H. 1 ft. 6 in. x 2 ft. The interior of a church, with altar at left, the candles on which are being lighted by a Benedictine monk; at right, two confessionals, a monk of same order in each box; one, austere and grim, has no penitents before him, while the other, with a round, benevolent face, is thronged. Salon, 1869; sold to John Taylor Johnston; at 828 CONGNET his sale (1876), $6,500. Photogravure in Art Treasures of America.-Art. Treas. of Amer., ii. 6. CONGNET, GILLIS, called Gillis met de Vlek, born at Antwerp in 1535, died at Hamburg, Dec. 27, 1599. Flemish school; history and portrait painter, pupil of Antonius Palermo and of Lambert Wenslyns, then spent several years in Italy. Master of Antwerp guild in 1561, dean in 1584-85. The siege of Antwerp caused him to remove to Amsterdam, whence lie afterwards went to Hamburg. W o r k s: C ~ n a )e eJ Portrait of CrO ^^ Pierson la Hues, St. George (1581), Antwerp Museum.-Allgem. d. Biog., iv. 437; Biog. nat. de Belgique, iv. 269; Cat. du Musee d'Anvers (1874), 90; Van den Branden, 271. CONINCK, DAVID DE, born in Antwerp in 1636, died in Rome in 1687. Flemish school. Animal and still-life painter, pupil of Peeter Boel; master of the guild in 1663. After travelling through Germany and France, settled in Rome, where he was received into the guild under the name of Ramelaar (rabbit), owing to the frequent occurrence of that animal in his pictures. Works: Bear Hunt, Stag Hunt, Amsterdam whence he moved to Amsterdam. At first he painted landscapes of extraordinary size, in which Marten van Cleef supplied the figures; afterwards smaller ones in the manner of Vinckebooms. Works: Jonah preaching to the Ninevites (1585), Copenhagen Gallery; Landscapes with Fignres and Birds (1598, 1604), Liechtenstein Gallery, Vienna. -Allgem. d. Biogr., iv. 438; Biog. nat. de Belgique, iv. 359; Journal des B. Arts (1870), 50; Van den Branden, 306. CONINXLO (Conixlo), JAN VAN, born at Brussels about 1489, died in Antwerp (?). Flemish school, history painter; son of a painter of the same name; removed to Antwerp, where he was received into the guild in 1552, and became a citizen in 1555. His works were formerly attributed to Gillis van C. Works: Triptych with Scenes in Life of St. Ann (1546), Birth of St. Nicholas, Death of St. Nicholas, Christ among the Doctors, Marriage at Cana, Brussels Museum. By Cornelis van Conixlo, otherwise unknown, is a picture in the same museum: Parentage of the Virgin (signed and dated 1526).-Biog. nat. de Belgique, iv. 357; Fetis, Cat. du Mus. royal, 103. CONRAD, ALBERT, born at Torgau, Feb., 1837. Genre and architecture painter, mostly self-taught. Travelled in Tyrol, Westphalia, and on the Rhine. Studio in Berlin. Museum; Garden with Domestic Animals, His genre scenes are mostly humorous. Works: Well in Castle-Yard at Merseburg;.DA VID..D E CoA v ( c Yard of Castle Hartenfels near Torgau, Barred, Pay Toll I Hiding Place; Goose Ghent Museum; Dead Ducks on a Tree, Market in Berlin.-Miiller, 111. Museum,Vienna; Dead Game, Liechtenstein CONRAD, KARL EMANUEL, born in Gallery, ib.-Michiels, x. 327. Berlin, March 30, 1810, died in Cologne, CONINCXLO (Coninxloo, Conincxloy), July 12, 1873. Architecture painter; pupil GILLIS VAN, born in Antwerp, Jan. 24, of Berlin Academy, then in 1835-39 of 1544, died in Amsterdam after 1604. Flem- Diisseldorf Academy. Taught perspective ish school; landscape painter, pupil of there, and was professor at the Realschule. Pieter Coecke the younger, then of one Works: St. Quirin's Church in Neuss, InterLeenaert Kroes, and of Mostaert; received ior St. Severin's in Cologne (1837); View of into the guild in 1570. After travelling in I Wetzlar (1840); Mentz Cathedral (1841); France, he returned to Antwerp, but during Cologne Cathedral (1842); Replica in Ravenb the siege left for Zeeland, and then lived Gallery, Berlin; Custom House in London for ten years in Frankenthal, Palatinate, (1852); Interior of Cologne Cathedral (1871). 824 CONRADER -Allgem. d. Biogr., iv. 441; Kunst-Chronik, viii 675; Brockhaus, iv. 564. CONRADER, GEORG, born in Munich in 1838. History painter, pupil of Munich Academy and of Piloty; was in 1860 professor at the Art School, Weimar, and in 1862 professor at the Munich Academy. Works: Tilly in Gravedigger's House in Leipsic (1860); Destruction of Carthage (1861), Maximilianeum, Munich; Tasso in Prison, Charlotte Corday (1869); Mary Stuart and Rizzio (1876); Death of Joseph II. (1874); Meeting of Joseph II. and Pius VI. in 1782. 'In fresco: Foundation of Academy of Sciences, Natural Museum, Munich.-Brockhaus, iv. 565; Miiller, 111. CONSONI, NICCOLA, born at Rieti, Perugia, in 1814. History painter, pupil of Perugia Academy under Giovanni Sanguinetti and in Rome of Tommaso Mainardi. Works in fresco: Scenes from New Testament (1840),Vatican, Rome; Minerva's Contest with the Pierides (1845), Library, Palazzo Corsini, ib.; Raphael's Hours, Buckingham Palace, London; Crucifixion, Ascension, The Patriarchs (1861), Prince Albert's Mausoleum, Osborne.-Miiller, 112. CONSTABLE, JOHN, born at East Bergholt, Suffolk, June 11, 1776, died in ^ London, March 30, 1837. Landscape " ' painter, pupil of Royal Academy in / 1799, and later of Joseph Farrington and R. R. Reinagle. After painting portraits and history, - he turned to landscape art as his real vocation, exhibiting his first picture in 1802. He did not, however, become a member of the Royal Academy until 1829 (A.R.A., 1819), and never during his lifetime enjoyed any great popularity in his native country. In France, on the contrary, he found early recognition, and is of all British painters the most highly esteemed, especially since he has become more widely known through the two landscapes, the Rainbow and Weymouth Bay, presented to the Louvre by Mr. Wilson, in 1873. The influence he exerted upon the modern school of French landscape painting,which is incontestable, fully entitled him to a place in the great national French collection. While there are many landscape painters who can paint nature in her tranquil moods, when she sits motionless as a model, there are but few who, like Constable, can fix upon canvas the coming storm, the rising wind, and the rapidly changing sunset. In treating masses of cloud driving across the sky or brooding over the treetops he has no rival. His pictures are sometimes heavily loaded, his foregrounds not free from spottiness, but their brilliancy vigour of tone, and truth in representing accidental effects is such as to condone all shortcomings. Works: Cornfield (1826); Valley Farm (1835), Cornfield with figures (sketch), Barnes Common, National Gallery, London; Weymouth Bay (1827), Cottage (1818), Rainbow (sketch of Salisbury Cathedral), Landscape (sketch of Hampstead Heath), Louvre; Salisbury Cathedral (1823), Dedham Mill (1820), Hampstead Heath (2, 1827 and 1830), Boat Building,Water Meadows, S. Kensington Museum; Salisbury Cathedral, Yarmouth Pier (1831). —Leslie, Memoir (London, 1842); Ch. Blanc, fcole anglaise; F. de Conches; Lucas, English Landscape Scenery from Constable's pictures (London, 1855); Art Journal (1855), 9; Sandby, ii. 54; Portfolio (1873), 93, 108, 117. CONSTANCE DE BEVERLEY, TRIAL OF, Toby Rosenthal, Irving M. Scott, San Francisco; canvas, H. 5 ft. X 8 ft. Scene from Marmion, Canto I. Constance, who ran away from her convent to follow Marmion, is tried for her crime before the holy fathers in the subterranean dungeons of the monastery and condemned to be immured alive in the wall-Painted in 1883. CONSTANT. See Benjamin-Constant. CONSTANTINE, BAPTISM OF, Raphael (?) and I1 Fattore, Sala di Costantino, Vati 825 CONSTANTINE can; fresco. Constantine, kneeling at the Monte Mario; above, three angels, with font in the Baptistry of the Lateran, is bap- swords. Designed by Raphael; painted tised by Pope Sylvester (portrait of Clement after his death by G. Romano. Engraved VII.) in presence of Church officials, pages, by G. B. Cavalleriis, C. Cort, Bonasone, and a Roman family of converts; Crispus, Scalberge, and Aquila.-Vasari, ed. Mil., iv. his son, awaits his turn to receive baptism. 369; v. 529; Kugler (Eastlake), ii. 438; Designed by Raphael.; painted in 1524 by D'Anvers, 94; Passavant, ii. 300. I Fattore, who made unjustifiable devia- CONSTANTINE, VISION OF, Raphael tions from the original drawing. The fig- and Giulio Romano, Sala di Costantino, ure in black dress and velvet cap is his own Vatican; fresco. Constantine, standing on portrait; one in black, leaning against a a platform at left, with a Roman captain column, is Baldassare Castiglione. Passavant beside him, relates his vision to four says the composition is not by Raphael. It standard-bearers; above, the apparition of is the weakest of the frescos in the hall. the shining cross, and below, soldiers in Engraved by Fr. Aquila, Salandri, etc.- surprise and terror hurrying among tents; Passavant, ii. 302; Vasari, ed. Mil., v. 530. in background, the mausoleum of Hadrian, CONSTANTINE, DONATION OF, Raph- pyramid of Caius Cestius, and other ancient ael (?), Sala di Costantino, Vatican; fresco. monuments. Designed by Raphael; paintConstantine's gift of Rome to Pope Sylvester. ed by G. Romano, who introduced (in the The Pope, seated on a throne in the old corner) the dwarf Gradasso da Norcia, menBasilica of St. Peter, blesses the kneeling tioned in poetry of Berni. Engraved by Emperor, who presents him with a golden Aquila, Salandri, and Landon.-Passavant, figure representing Rome; among the many ii. 299; Vasari, ed. Mil., v. 529. represented as attendants are Giulio Roma- CONSTANTINOPLE, ENTRY OF CRUno, Baldassare Castiglione, and the poets SADERS INTO, Eugene Delacroix, VerPontano and Murello. Designed by Raph- sailles Museum; canvas. Capture of the ael; painted about 1524 by R. del Colle; city by the Crusaders in 1204. In centre, some additions by G. Romano. Engraved Baldwin, Count of Flanders, mounted and by B. Franco; by Fr. Aquila, Alogedo followed by knights and equerries bearing Fabri, Landon.-D'Anvers, 95; Passavant, pennons, is riding in front of a palace beii. 303; Vasari, ed. Mil., v. 530. tween kneeling women and old men who CONSTANTINE AND HELENA, GLORY implore his pity; in background, the BosOF, Palma Vecchio, Brera, Milan; wood, porus and the houses and walls of the city; three panels, life-size. SS. Constantine and in middleground, right, a melee in the Helena supporting the cross, in middle; streets. Salon, 1841; Exposition UniverSS. Roch and Sebastian in landscapes, at selle, 1855. Engraved by Frilley.-Gal. de sides. Presented to Brera by Duke Melzi.- Versailles, i. Pl. 41; Larousse, iv. 1032. C. & C., N. Italy, ii. 467. CONSULTATION, Pieter de Hooch, forCONSTANTINE, VICTORY OF, Raphael merly in Narischkine Gallery, St. Petersand Giulio Romano, Sala di Costantino, burg; wood, H. 2 ft. 3 in. x 1 ft. 10 in. InVatican; fresco. The battle between Con- terior of a room; four figures. A gentlestantine and Maxentius at the Milvian man, in a black velvet coat, is leaning upon Bridge (Ponte Molle), near Rome (A.D. 312). a table with his hand on the wrist of a One of the largest historical subjects ever lady sitting beside him; a woman, in a red painted. Represents the crisis of victory, jacket bordered with ermine and a blue when Constantine, on horseback, is aiming a skirt, stands by the window, filling a glass, spear at Maxentius, who struggles with his and a second gentleman stands on the furhorse in the Tiber; in background, the ther side of the table, with a pipe in his 826 CONTAR'II hand. Delessert sale, Paris (1869), 150,000 francs; Narischkine sale, Paris (1883), 160,000 francs-Smith, iv. 229; Gaz. des B. Arts (1869), i. 202; L'Art (1883), i. 113. CONTARINI, GIOVANNI, Cavaliere, born in Venice in 1549, died in 1605. Venetian school; history and portrait painter; contemporary of Palma, studied works of Titian and Tintoretto. Went to Germany and painted much at court of Rudolph II, by whom he was knighted. /11, 4AAA Works: Resurrection, S. Francesco di Paola, Venice; Crucifixion, Chiesa della Croce, Venice; St. Jerome, Brera, Milan; St. Sebastian, Berlin Museum; Baptism of Christ, Vienna Museum; his own portrait, Uffizi, Florence. CONTI, TITO, born in Italy; contemporary. History and genre painter; lives in Florence. Works: Wine Taster, Samuel Hawk Collection, New York; Meeting of Dante and Beatrice; Meeting of Petrarch and Laura; Dante and his Friends; Lute Player (1883). CONVENT, RETURN TO, Eduardo Zamacois, R. L. Cutting, New York; canvas. Scene: entrance to a Spanish Franciscan monastery, with mendicant monks returning from a begging expedition to the village, the roofs of which, covered with snow, are seen in the background; several donkeys are tied up to rings in the wall, but one balking animal is pulling an exasperated monk backwards, his track making a slide in the snow. Photogravure in Art Treasures of America.-Art Treas. of Amer., ii. 33. CONVOCATION OF CLERGY, Sir John Gilbert, Royal Academy, London; canvas. A meeting of dignitaries of the Roman Church, listening to a monk who stands defending some point of doctrine from a volume held in his hand; background, tapestry hangings representing a triumphal church procession. Painted in 1870-71; presented to Academy as his diploma picture. Etched by L. Flameng in Portfolio.-Portfolio (1878), 113. CONZ, GUSTAV, born at Tubingen in 1832. Landscape painter, pupil of Stuttgart Art School under Funk; studied in Munich in 1856-58, and in Disseldorf, in 1862, under Oswald Achenbach; then for one year in Rome, and in 1865 became professor at the Katharinen Stift in Stuttgart. Works: View in Upper Bavaria (1862); Coast of Terracina; View of Aricia; View near Olevano; View of S. M. della Vittoria in Rome. -Mlller, 112. COOK, H., born in England; contemporary. Landscape painter. Exhibits chiefly at Grosvenor Gallery. Works: Lago Maggiore (1880); View in Venice (1881); Church and Bridge of St. Polo, San Giorgio-Venice (1882); Sunset-Venice (1883). COOKE, EDWARD WILLIAM, born in London in 1811, died near Groombridge, Jan. 4, 1880. Son and pupil of George Cooke, engraver (1781-1834); studied architecture and perspective under the elder Pugin; first exhibited at Royal Academy in 1835, Honfleur Fishing Boats, and HayBarge off Greenwich. Two years later he went to Holland, which he re-visited many times; travelled also in Spain, France, Italy, and Egypt, painting many architectural subjects, landscapes, and marine views. Became A.R.A. in 1851, and R.A. in 1864. His Dutch Boats in a Calm and The Boat House are in the National Gallery; others in S. Kensington Museum.-Cats. Nat. Gal. and R. Acad.; Sandby, ii. 327; Graves, 52. COOMANS, JOSEPH, born at Brussels in 1816. History and genre painter; first instructed in Ghent by Hasselaere, a mediocre artist, then pupil of Antwerp Academy under N. de Keyser and Wappers;went with the French army to Algiers, where he spent several years, then visited Italy, Turkey, Greece, and the Crimea; in Italy again in 1857, since when, attracted by the Pompeian paintings, he has painted almost exclusively subjects from antiquity. Works: Conquest of Jerusalem by the Crusaders (1841); Battle of Ascalon (1842); The Deluge; Landscape in Province of Constantine; Emigration of 827 COOPER Arab Tribes; Dancing Arab Women; Defeat of Attila (1848), City Hall, Brussels; Battle of the Alma (1855); Feast of the Philistines (1856); Lesbia; The Source; Last Days of Pompeii (1863); Poet's House in last Hour of Pompeii (1869); The Delinquent; Phryne; Glycera; Live Love Letter (1873); Interested Kiss (1876); Dangerous Passage; The First Step (1877); An Arrest (1880); Dance at Three (1881); The Dream (1882); Love as Pilot (1883).-MIiller, 113; N. illustr. Zeitg. (1880), i. 343. COOPER, ABRAHAM, born in London, Sept. 8, 1787, died at Greenwich, Dec. 24, 1868. Animal and battle painter, selftaught. Began as an assistant at Astley's theatre,and when twenty-two years old painted a favourite horse of Sir H. Ieux with such success that he continued and became the best horse and battle painter of his day. His works, though flat and leaden in colour and of small size, were popular; many have been engraved. Elected an A.R.A. in 1817, and R.A. in 1820. Works: Tam O'Shanter (1814); Marston Moor (1817); Cromwell at Marston Moor (1821); Rupert's Standard (1822); Bosworth Field (1825); Richard I. and Saladin at Ascalon (1828); Bothwell seizing Mary Queen of Scots (1831); Retreat at Naseby (1833); Hawking in the Olden Time (1834); Death of Harold (1836); Battle ture painter. He lived much in France and Holland, and painted many eminent persons, among whom were Charles II., his Queen, the Duke of York, and most of the Court; also several portraits of Oliver Cromwell, two of which are in possession of the Duke of Buccleugh, and one in the National Portrait Gallery. Alexander Cooper (flourished 1650-60), brother of Samuel, was limner to Queen Christina of Sweden. - Redgrave; F. de Conches, 46. COOPER, THOMAS SIDNEY, born at Canterbury, England, Sept. 26, 1803. A( ws ~ Landscape and catr, As tle painter; pupil of Royal Academy, London. Went to France in 1827, and / \ iS settled in Brussels, \ where he was a pupil of Verboeckhoven a few months. In 1830 he visited Holland, and in 1831 returned home and exhibited at the Royal Academy in 1833. Elected an A.R.A. in 1845, and R.A. in 1867. The landscapes in several of his pictures were painted by Fred. R. Lee. Works: Mountains in Cumberland (1841); Ettrick Shepherds (1842); Cattle at Pasture (1843); Summer Evening (1846); Charge of Household Brigade-Waterloo (1847); Fordwich Meadows-Sunset (1850); Crossing Newbiggin Moor in a Snow-Drift (1860); Snowed Up (1867); Milking Time in the Meadows (1869); Passing Shower (1870); Children of the Mist (1872); Monarch of the Meadows (1873); God's Acre (1875); A Cool Retreat (1877); Victor's Shout (1879); Isaac's Substitute, Summer Evening in the Marshes, On Deal Common (1880); Scape Goat (1881); Summer Afternoon (1882); Brook in the Meadows, In the Rob-Roy Country (1883). -Art Journal (1849), 336; (1861), 133; Sandby, ii. 215. COPE, CHARLES WEST, born at Leeds, England, in 1811. History and portrait Rout at Marston Moor of Waterloo (1838); Cavalier (1842); Prince Rupert at Newark, Returning * fromDeerStalking (1844); (1852); Battle of Assye (1853); Battle of Naseby (1862); Pride of the Desert.-Sandby, i. 369; Art Journal (1863), 89; Wilmot-Buxton, 166; Redgrave; Graves, 52. COOPER, SAMUEL, born in London in 1609, died there, May 5, 1672. Pupil of his elder brother, Alexander Cooper, and of his uncle, John Hoskins; also studied the works of Van Dyck and became famous as a minia 8a8 COPHETUA painter; son and pupil of Charles Cope, landscape painter, and student in Royal Academy schools. After making studies in Paris, Venice, Florence, Rome, and Naples, he returned in 1836 to England. Received in 1843 prize of ~300 for his cartoon First Trial by Jury; elected an A.R.A. in 1843, and R.A. in 1848. He has painted eight frescos in the Houses of Parliament. Is a fine etcher. Works: Nereids (1836); He ever Liveth to make Intercession (1840); Whoever shall Give to Drink (1844); Last Days of Wolsey (1848); King Lear (1850); Royal Prisoners at Carisbrook (1855); Pilgrim Fathers (1857); Shylock and Jessica (1867); Disciples at Emmaus (1868); Yes or No? (1873); Taming the Shrew (1874); Anne Page and Slender (1875); Selecting Pictures for the Royal Academy Exhibition (1876); Bianca's Lovers (1878); A Country Club (1879); Far Away Thoughts (1881).-Art Journal (1869), 177; Sandby, ii. 181; Graves, 53. COPHETUA AND THE BEGGARMAID, Burne-Jones, London; canvas, H. 12 ft. x 9 ft. Illustration of the legend of the African King Cophetua, who wedded the beggar-maid, as told in the old ballad in Percy's Reliques (I. ii. 6), and more lately by Tennyson in "The Beggar-Maid." The beggar-maid, Penelophon, clad in a simple robe of gray stuff, with her bare feet timourously drawn under her, is sitting, half dismayed and half content, on the purple cushions of the throne, while the king, radiant in steel armour and jewelled robes, sits on the step at her feet, holding the crown in his hands and looking up into her face with adoring love and wonder; above, in a gallery, two chorister boys are making music. Grosvenor Gallery, 1884.-London Times, May 6, 1884, 6. COPLEY, JOHN SINGLETON, born in Boston, Mass., July 3, 1737, died in London, Sept. 9, 1815. Although Copley is spoken of as self-taught, there can be no doubt that his talent, which showed itself at an early age, was fostered and trained by his stepfather, Peter Pelham, the well-known painter and engraver, who died in 1751, about which time Copley began to paint portraits. One of these, of General Brattle (W. Appleton, Boston), has -L' more historical than artistic value. Improving through steady practice and observation, he soon /i / rose above the stand- ard of Smybert and Blackburn, and painted a series of portraits of members of the leading Boston families, in a hard, dry style, which is redeemed by the undeniably well-bred air given to his sitters, and his very clever manner of treating dress accessories, such as silks, satins, etc. The portrait of his half-brother, Henry Pelham, known as the Boy and the Squirrel (James Amory, Boston), was sent to England and exhibited (1760) at Somerset House, and was much commended by West and other good judges. In 1774 he went to Rome, and in 1775-76 settled in London and began a career of uninterrupted success. In 1777 he was elected an A.R.A., and in 1779 R.A. Patronized by the royal family and the nobility, he executed many portraits and historical pictures, such as the Death of Chatham (1779-80), Death of Major Pierson (1783), Siege of Gibraltar (1789-90), National Gallery; the Daughters of George III. (Buckingham Palace), the so-called Family Picture (Charles Amory), the painter's masterpiece, the Red-Cross Knight (1788, S. G. Dexter), Mrs. Derby as St. Cecilia (W. Appleton), and Mrs. D. D. Rogers (1789, H. B. Rogers), which may be regarded as one of his best, if not his very best portrait. Copley's best works were collected by his son, Lord Chancellor Lyndhurst, and many of them have been engraved.-A. T. Perkins, Life, etc., of J. S. Copley (1873); Memorial History of Boston (1881), iv.; Mrs. M. B. Amory, Life of J. S. Copley (1882); Cunningham (1832); Tuck 829 COPPO erman, Book of the Artists (1867); Sandby, i. 189. COPPO DI MARCOVALDO, of Florence, 13th century. His Madonna enthroned, called "del Bordone," in S. M. dei Servi, Siena, said to have been painted in 1261, is in the defective manner of the period. The colours are darkened by age and restoration.-C. & C., Italy, i. 200; Vasari, ed. Mil., i. 265, 266. COQUES (Cocx), GONZALES (Gonsalve), born in (I^'~ -~s Antwerp in 1618, died there, April X /1 18, 1684. Flemish school; portrait painter, pupil of Peeter Brueghel (the 3d) in 1626-27, later of David Ryckaert, the elder, whose daughter he married, in 1643; was free of the guild in 1640, and its president in 1665-66 and 1680-81. His portraits, which are chiefly small, are in the manner of Van Dyck, whence he is sometimes called the Little Van Dyck. Clear and harmonious in his warm, brownish flesh-tones, his touch is broad and spirited; the backgrounds are generally the work of other painters. Works: Family Group, Portrait of a Lady, National Gallery, London; Verhelst Family, Buckingham Palace; Music Lesson, Family Group, Family Portraits, Sir R. Wallace; Family Group around Piano, Lord Taunton, London; Elector Frederic of the Palatinate and Wife, David Teniers, Lord Ellesmore; Family in Dutch Garden, Mr. John Walter, Bearwood; Picture Gallery with forty-four Artists' Portraits, Amsterdam Museum; Female Portrait, Antwerp Museum; Christ with Mary and Martha, Arenberg Gallery, Brussels; Young Scholar and Wife, Cassel Gallery; Portrait of Cornelis de Bie, Berlin Museum; Family Group of ten, Nantes Museum; Portrait of Maria de Haen, Lille Museum; Group of Artists, Old Pinakothek, Munich; Family Group, Dresden Gallery; Musical Assembly, National Gallery, Pesth.-Allgenm. d. Biogr., iv. 471; Biog. nat. de Belgique, iv. 381; Ch. Blanc, ]~cole flamande; Cat. de Musee d'Anvers (1874), 78; Michiels, ix. 30, 246; Rooses (Reber), 379; Zeitschr. f. b. K. vii. 9. CORBOULD, EDWARD HENRY, born in London, Dec. 5, 1815. History painter, son and pupil of Henry C., painter and designer (1787-1844); twice won gold medal of Society of Arts; member of Institute of Painters in Water Colours. From 1851 to 1872 was teacher of drawing and painting to children of Queen Victoria. Works: Fall of Phaethon (1834); St. George and Dragon (1835); Greek Chariot-Race (1836); Race between Atrides and Antilochus (1837); Woman taken in Adultery (1842); Marriage of Nigel Bruce and Agnes of Buchan (1870), Queen Victoria; Lady Godiva (1871); Enid's Dream (1872); Heloise (1873); Canterbury Pilgrims (1874); Iris (1878).-Maller, 114. CORDAY, CHARLOTTE, IN PRISON, Charles Louis Muller, Corcoran Gallery, Washington; canvas, H. 3 ft. 5 in. x 2 ft. 8 in. Charlotte Corday, to rid her country of Marat, obtained an audience and stabbed him while in his bath. She was guillotined, July 17, 1793, aged 25 years. Represented to knees, seen through the iron bars of a prison window, one of which she grasps with her left hand, and supports her head with the right, in which she holds a pen. Engraved by A. Lamotte. Photogravure in Art Treasures of America. -Corcoran Gal. Cat. CORDELIA AND KING LEAR, Theodor Hildebrandt, Mrs. A. T. Stewart, New York; canvas. King Lear, Act IV., Scene 7. Cordelia, though disowned, still clings to her father,whomGoneril and Regan,who have his blessing, have driven to despair and madness.-Art Treas. of Amer., i. 48. CORDELIAGHI or CORDELLA, ANDREA. See Previtali, Andrea. CORENZIO, BELISARIO, born in Greece about 1558, died in Naples in 1643. Nea 830 CORINNE politan school; studied five years in Venice under Tintoretto; settled in Naples in 1590, and painted many good works, principally frescos, in the churches and public buildings. He won reputation and wealth, and lived in luxury; but his character was infamous, and he was one of the principal members of the shameful Cabal of Naples, of which Spagnoletto was the head. He left but few easel pictures.-Lanzi, ii. 30; Ch. Blanc, Acole napolitaine; Burckhardt, 757, 768. CORINNE AT CAPE MISENUM, Frangois Gerard, Lyons Museum; canvas. Illustration of the scene in Mme. de Stael's "Corinne," where, at a fete given by her at Cape Misenum, she improvises verses intended to reveal her love to Oswald. Corinne, with her lyre beside her and eyes upraised, is seated at right upon a rock; near her, contemplating her in silence, stands Oswald, enveloped in a mantle; on his right, a young Greek and the Prince of Castel-Forte; on his left, two young English girls; in background, the sea and Vesuvius with the setting sun. Painted in 1819; acquired in 1821 by the Prince Royal of Prussia, who presented it to Mme. Recamier; bequeathed by her in 1849 to Lyons, her native city. Gerard made several repetitions, one of which belonged to Talleyrand, one to M. Pozzo di Borgo, and a third to Mme. Duchayla. The last has been engraved by Zachee Prevost, Bein, Landon, and C. Normand.-Larousse, v. 138. CORINTH, LAST DAY OF, Tony RobertFleury, Luxembourg Museum; canvas, H. 13 ft. 2 in. x 19 ft. 8 in. The third day after the battle of Leucopetra the Consul Mummius entered Corinth. The women and children were sold as slaves. Many of the inhabitants perished in the flames, while the city, after having been submitted to a horrible pillage, was destroyed at the sound of the trumpet. (Livy, ii. 15). In the foreground, the women and children, many of them nude, are grouped around the statues of the gods, whom they implore in vain; 8s in the background, left, Mummius and his victorious legions are marching, while clouds of smoke at right indicate that the work of destruction has begun. Salon, 1870. -Gaz. des B. Arts (1870), iii. 492. CORMON, FERNAND, called Piestre, born in Paris, Dec. 22, 1845. History and portrait painter; pupil of Cabanel, Fromentin, and Portaels. Medals: 1870; 2d class, 1873; prix du Salon, 1875; 3d class, 1878; L. of Honour, 1880. Works: N. A Weddings of the Nieb- | elungen (1870); Sita (1873); Venetian Blind in Morning (1874); Woman of Java, Death of Ravana (1875), bought by Ministry of Fine Arts; Raising of Jairus's Daughter (1877); Cain (1880), use FCows (; S one Ae Museum; Flowers (1881); Stone Age (1884); Portraits (1885). CORNARO, CATARINA, Queen of Cyprus, portrait, Titian, Uffizi, Florence; canvas, half-length, life-size; signed. The Queen, as St. Catherine, with a crown of gold studded with pearls on her head, around which is the nimbus; at her elbow, the wheel. Painted in 1542. Replicas, with alterations, in Holford collection, and in collection of Duke of Wellington, London. —C. & C., Titian, ii. 57. By Paolo Veronese, Vienna Museum; canvas, H. 3 ft. 10 in. x 2 ft. 5 in. The Queen of Cyprus in a rich costume, seen to knees, takes a bow from a table covered with velvet, and holds two arrows in her left hand. CORNARO, CATARINA, AT VENICE, Hans Makart, National Gallery, Berlin. The Queen of Cyprus, having landed at Venice, is receiving the homage of the nobles of that city. Painted in Vienna; exhibited in London, 1875. Philadelphia Exposition, 1876. Sold to National Gallery for 50,000 marks.-Portfolio, Feb., 1875. CORNARO CORNARO FAIILY, Titian, Alnwick Castle, England; canvas, H. 6 ft. 8 in. x 8 ft. 5 in. An Altar, with the Holy Sacrament displayed, at top of a flight of marble steps to right; around it grouped nine members of the Cornaro family. Painted about 1560; purchased by tenth earl of Northumberland at Sir Anthony Van Dyck's sale in 1656. Small copy at Hampton Court.-C. & C., Titian, ii. 303; Waagen, Treasures, i. 393. CORNARO, GIORGIO, portrait, Titian, Castle Howard, England; canvas, half-length, life-size; signed. Cornaro stands at a window, with a falcon in his gloved left hand. Painted in 1522. Titian never produced a finer picture (C. & C.). Engraved by Skelton in 1811.-C. & C., Titian, ii. 17. CORNARO, LUIGI, portrait, Titian (?), Palazzo Pitti, Florence; canvas, H. 3 ft. 8 in. x 2 ft. 9 in. Figure to knees, dressed in black, sitting in an arm-chair. Fine portrait, but by Tintoretto. Engraved by Trasmundi. -GaL du Pal. Pitti, i. P1. 110; C. & C., Titian, ii. 441. CORNEILLE DES GOBELINS. See Corneille, Michel, the elder. CORNEILLE, JEAN BAPTISTE, the younger, born in Paris in 1646, died there, April 12, 1695. French school; history painter, son and pupil of Michel C., of Orleans; won in 1664 the 2d prize, and in 1668 the 1st prize in the Academy, of which he became a member in 1675. After living several years in Rome he became professor in the Paris Academy in 1692. Works: Hercules punishing Busiris (1675), Louvre; Deliverance of St. Peter from Prison (painted for Notre Dame, 1679). Engraved after his own designs.-Villot, Cat. Louvre. CORNEILLE, MICHEL, born at Orleans in 1603, died in Paris in 1664. French school; history painter, pupil of Simon Vouet, in whose style he executed works for churches; was in 1648 one of the twelve founders of the Academy, and in 1656 its rector. His best work, SS. Paul and Barnabas at Lystra (engraved by Poilly), painted for the Cathedral of Notre Dame. He left several etchings after Raphael and the Car. racci.-Villot, Cat. Louvre. CORNFEILLE, MICHEL, the elder, born in Paris in 1642, died there at the Gobelins, Aug. 16, 1708. French school; history painter, son and pupil of Michel C., of Orleans; won the prize at the Academy and went to Rome, where he studied especially the Carracci. On his return, in 1663, he became a member of the Academy, of which he became adjunct professor in 1673, and professor in 1690. He was employed by the King at Versailles, Meudon, and Fontainebleau, decorated several churches in Paris, and painted in fresco the chapel of St. Gregory in the Invalides. Sometimes called Corneille des Gobelins, because during his later years he had apartments at the manufactory. Many of his works have been engraved, and he himself etched and enA)'.f graved many plates. Works. Repose in tot.. - 1 2O/ Egypt, Louvre; Baptism of Constantine, Bordeaux Museum.-Villot, Cat. Louvre. CORNELIS VAN HAARLEM. See Corneliszen. CORNFETSZ, JACOB, born at Oostsanen about 1475-1480 (?), died at Amsterdam about 1555-1560 (?). Dutch school; called also Jacob van Amsterdam, and Jan Walter van Assen; history, portrait, and landscape painter; earliest picture known dated 506, and latest 1530. No particulars of his life. Among his pupils were his son Dirk (died 1567), a good portrait painter, and Jan Schoreel. Works: Madonna and SS. Anna, Joseph, and Joachim, Prince Btickeburg's Gallery; Ahrensburg near Hameln; Saul and the Witch of Endor; Salome (1524), National Museum, Amsterdam; Madonna and Angels, with SS. Sebastian, Magdalen, Donor and Donatrix, also male portrait, Antwerp Museum; Incidents in Life of a Saint, Triptych with Madonna, Angels, and Saints, Berlin Museum; Repose in Egypt, 832 CORNELISZEN Dr. Weber, Berlin; Little Altarpiece with Brunswick Museum; Erection of Brazen Madonna, Saints, Donor and Donatrix, Serpent (1597), Darmstadt Museum; FePrince Frederick's Collection, Hague; Noli male Portrait, Provinzial Museum, Hanover; Me Tangere (1507), Altarpiece (1523), Cas- Golden Age (1616), Toulouse Museum; Alsel Gallery; Altarpiece with Crucifixion (?), legory on Brevity of Life (1617), CopenCologne Museum; Birth of Christ, with An- hagen Gallery; Bathsheba (1617), Berlin gels, Shepherds, etc. (1512), Naples Muse- Museum; Venus, Apollo, and Ceres (1614), um; Lucretia, Pesth Museum; Adoration Dresden Museum; Dragon devouring the of the Magi, Archbishop Museum, Utrecht; Portrait (1533), Museum Kunstliefde, Utrecht; Adoration of Magi, Verona Museum; Altarpiece, Ambras Collection, Vi- enna; Altarpiece (1511), Male Portrait, Museum, ib.; Departure of Christ from Mary, PeopleofCadmus.-Allgem. d.Biogr.,. 260; Gothic House, Worlitz; Portraits of a Dutch Ch. Blanc, 1cole hollandaise; Immerzeel, Gentleman and Lady, with SS. Peter and ii. 4; Kramm, ii. 621; Riegel, Beitrage, i. Paul, National Gallery, London.-Allgem. d. 119; ii. 157; Van der Willigen, 114. Biogr., iv. 482; Forster, Denkmale, XI. iii. CORNELIUS, PETER VON, born in 15; Jahrbuch der kongl. preuss. Kunst-Diisseldorf, Sept. 23, sammlg., iii. 13; Kunst-Chronik, xv. 579; 1783, died in Berlin,,( Repertorium f. K., i. 186; Zahn's Jahr- March 6, 1867. Gerbucher, v. 48; Zeitschr. f. b. K., ii. 41. man school; history CORNELISZEN, CORNELIS, called Cor- painter, pupil of his 4 nelis van Haarlem, father, Aloisius, and born in Haarlem in from 1796 at the 1562, died there, Nov. / iisseldorf Academy 11, 1638. Dutch ~ under Langer. After school; history and his father's death in portrait painter, pupil ~ 1799 he contributed of PieterAertszen, the I to the support of his family by painting younger, and in Ant- portraits, making designs for calendars, etc., werp of Gillis Cong- until about 1806-1808, when he was emnet; one of the best /, 'i'^"^ ployed to decorate the cupola and choir of artists of that period; / h i St. Quirin's at Neuss. In 1809 he went to founded with Karel Frankfort, executed historical paintings for van Mander, about 1583, the Haarlem Acad- the Prince Primate von Dalberg, and illusemy. Works: Massacre of the Innocents trations to Faust, which were highly praised (1590), do. (1591), Adam and Eve(1592),Wed- by Goethe. At Rome (1811-1819), he stood ding of Peleus, Portrait of Dirk Volkersz between the pre-Raphaelites led by OverKoornhert, National Museum, Amsterdam; beck and the classic Germans under CarYoung Bacchus (1607), Rotterdam Museum; stens. His compositions from the NiebelunArchers'Banquet (1583), do. (1599), The Haar- gen Lied were so successful that he gladly lem Miracle (1591), An Auto-da-fe (1595), accepted the invitation of the Consul-GenBaptism of Christ, Adam and Eve (1620), eral Bartholdy to decorate the Casa Zuccaro Christ blessing the Children (1633), Haarlem with frescos from the history of Joseph, Museum; The Deluge (1592), Venus and Cu- conjointly with Overbeck, Schadow, and pid (1610), Venus and Adonis, Democritus Veit. In 1819 King Louis I. of Bavaria and Heraclitus(1613),TheGolden Age(1615), called him to Munich, and as he was at the 333 CORNFIELD same time appointed director of the Dtissel- a dog, and a shepherd drinking at stream at dorf Academy, he was allowed to divide the left. Painted in 1826; presented to Nayear between the two cities, in both of tional Gallery in 1837. Engraved by D. which he exercised an important influence. Lucas; C. Cousen.-Cat. Nat. Gal.; BrockIn 1822-1830 he executed the Iliad fres- Arnold, 109; Art Journal (1869), 10. cos in the Glyptothek, and then returned in CORNICELIUS, GEORG, born at Ha1830 to Rome, where he was again in 1834, nau, Hesse-Nassau, in 1825. History and 1843, 1845, and 1853-61. In 1841 he ac- genre painter; pupil in Hanau of Peliscepted a call to Berlin, and undertook a sier and in 1848 of the Antwerp Academy; series of frescos for the Cemetery, whose after visiting Paris, Munich, and North Italy, preparation and partial execution occupied settled in Hanau. Works: Marguerite behim for the next twenty years. The Car- fore the Madonna; Holy Family; Luther toon of the Breaking of the Seventh Seal, posting the Thesis; Christ and Samaritan one of the series, and the great altarpiece of Woman; Daughter of Jairus; St. Elizabeth the Last Judgment in the Ludwigs Kirche in Penitence; Mary Stuart before Execution; at Munich are perhaps his most remarkable Gypsy Children; Serenade; Circus Riders; works. Works: Evangelists and Apostles German Landsknechts in Rome; Monks at (1806), St. Quirinus, Neuss; Joseph's Meet- Prayer (1863); Hans and Grete; Cinderella; ing with his Brethren (1815), Casa Bar- Red Riding Hood. —Brockhaus, iv. 605; tholdy, Rome; Dante frescos, Villa Massimi, Mtiller, 115. Rome; Frescos for the Iliad, ceiling of the CORNU, S]iBASTIEN MELCHIOR, Trojan Hall (1826-1830), Munich; The Last born in Lyons in 1804, died at Longpont, Judgment (1839), Ludwigs Kirche, Mu- Aisne, in October, 1870. History and nich; Hagen sinking the Niebelungen Hoard genre painter, pupil in Lyons of Richard (1859), National Gallery, Berlin; Christ's and Bonnefond, and in Paris of Ingres. Visit to Limbo, Raczynski Gallery, Berlin; Painted pictures which display careful drawThe Fall, The Birth of Christ, The Entomb- ing, but poor colouring and little originality. ment, Resurrection, Poetry of the Apostles, Received many orders from the Government. Descent of the Holy Ghost, The Apocalypse, Medals: 3d class, 1838; 2d class, 1841; 1st Royal Cemetery, Berlin.-Allgem. d. Biogr., class, 1845; L. of Honour, 1859; Officer, iv. 484; Ch. Blanc, Ecole allemande; Brock- 1862; Manager of the Campana Museum haus, iv. 603; Forster, P. von C. (Berlin, in the Louvre, 1862. Works: Harvester 1874); Gautier, L'Art moderne, 237; Grimm, Resting (1833); Pifferaro Sick, Louis IX. Ten Essays, 245, 279; Der neue Plutarch, bidding his Mother Farewell (1838); Christ vii.; Pecht, i. 1; Perrier, 1Ttudes, 222; Kai- among the Doctors (1848); Interviews beser, Cornelius u. Kaulbach (Basle, 1877); tween Faust and Marguerite, Finding of a Riegel, C. der Meister, etc. (Hanover, 1870); Statue of the Virgin (1857); Christ on the Reber-Pecht, ii. 3, 174; Rosenberg, Berl. Cross (Poitiers); Bacchanals (Grenoble); A Malersch., 103, 110; Woltmann, aus vier Turk's Dream (Valenciennes); Surrender of Jahrhdt., 208, 230; Wolzogen, P. von C. Ascalon to Baldwin III., Battle of Oued(Berlin, 1867); Kunst - Chronik, ii. 73; Halleg (Versailles); St. Anne teaching the Zeitschr. f. b. K., ii. 101; v. 331, 368; xix. Virgin (St. Laurent in Puy); Christ, St. Luke i. 38. and St. Egidius, The Virgin as Mother of CORNFIELD, John Constable, National the Afflicted (1855).-Larousse. Gallery, London; canvas, H. 4 ft. 8 in. x 4 CORNWALLIS, SURRENDER OF, John ft. A country lane leading between two Trumbull, rotunda of Capitol, Washington; groups of trees to a cornfield in the middle- canvas, H. 12 ft. x 18 ft. The surrender of ground; in foreground, sheep guarded by the British army to the allied American and 334 COROT French forces at Yorktown, Va., October 19, Star, W. T. Walters, Baltimore; Morning, 1781. Cornwallis and his officers are pass- Evening (1855); Burning of Sodom, Nymph ing before the victorious generals, between playing with a Cupid, The Concert, Sunset the two lines of victorious troops; in middle (1857); Dante and Virgil, Boston Museum; distance, the town with troops marching Macbeth (1850); Idyl, Italian Tyrol, Studies out. Painted in 1817-24 for $8,000. Orig- at Ville d'Avray (1859); Sunrise, Orpheus, A inal study in Yale College Gallery. Lake, Souvenir of Italy,Rest (1861); Study at COROT, (JEAN BAPTISTE) CAMILLE, Mery (1863); Souvenir of Morte-Fontaine, born in Paris, Gust of Wind (1864); Morning, Environs of July 20, 1796, Lake Nemi (1865); Evening, Solitude (1866); d i e d there, Ruins of Castle of Pierrefonds, Morning, Feb. 23, 1875. Evening (1867); Morning at Ville d'Avray Landscape paint- (1868); Woman Reading, Morning at Ville er, pupil of Mi- d'Avray (1869); Landscape with Figures challon and after (1870); Near Arras (1872); Pastoral Scene, his death of Vic- The Parson (1873); Arlern, Evening, Moontor Bertin. Went 7n light (1874); Woodsmen, Pleasures of Evento Italy in 1826, /g /,, ing, Biblis (1875); Nymphs Dancing, Corand in studying / / nelius Vanderbilt, New York; Danse des nature as he con- Amours, Chas. A. Dana, New York. —Ch. tinued to do on returning to France, in Pro- Blanc, Artistes, d. m. I., 365; Claretie, Peinvence, Normandy, andFontainebleau, learned tres, etc. (1882), 97; Du Camp, Beaux Arts, to couple breadth of treatment with careful 80; Leclercq,Caracteres,184; Meyer,Gesch., though not obtrusive detail. An eminently Kunst-Chronik, x. 437; C. Carr, Essays, 174; suggestive and refined painter, gifted with a L'Art, i. 216, 240, 269, M6nard; Hamerton, highly poetical and tender feeling, he has, French Painters; Portfolio (1870), 60 (1875), from his peculiar excellence in treating still 146; Gaz. des B. Arts (1875), xi. 330; water, the sleeping woods, the broad, pale 1881; Contemp. Rev., xxvi. 157; Overland horizon and the veiled sky, been called the Monthly, xv. 468. Theocritus of landscape painting. He is CORREA, DIEGO, died in 1550. Spanwell characterized in a sonnet by an Ameri- ish school. Painted a series of pictures of can poet, as- scenes from life of Christ, now in Madrid "Thou painter of the essences of things." Museum, for Bernardine Convent of ValdAt the height of his career, Corot is said to eiglesias. Style resembles that of Perugino, have made 200,000 francs a year by the sale whence some think he studied at Florence. of his pictures. Medals: 2d class, 1833; 1st According to Siret, there is a picture in conclass, 1848 and 1855; 2d class, 1867; L. of vent of Valdeiglesias signed D. Correa fecit, Honour, 1846; Officer, 1867. Works: View 1550. Christ Crucified, Dresden Museum. at Narni, Roman Campagna (1827); two Ital- -Stirling, i. 150. ian Views, Duke of Orleans; another Italian CORREGGIO,bornatCorreggioin1494(?), View (1834), Douai Museum; Souvenir of died there, March 5, 1534. Lombard school. the Suburbs of Florence (1839), Metz Mu- Real name Antonio Allegri, son of Pelleseum; Danse des Nymphs (1851), Roman grino Allegri; probably pupil of his father's Forum, Coliseum, Luxembourg Museum; brother, Lorenzo, and of Antonio Bartolotti, Christ in the Garden (1849), Langres Muse- both second-rate painters of his native town. um; Sunset in the Tyrol (1850), Marseilles; At Modena he is said to have found a better Souvenir of Marcoussis, bought by Emperor; master in Francesco Bianchi, called Ferrari, Martyrdom of St. Sebastian (1853); Evening who belongs to the school of Francia; but 335 CORRODI as Bianchi died in 1510, this, like all that concerns Correggio's training, is uncertain. The attempt to account for his peculiar development has led /^,^i A to many conjectures, 2^^ p J none of which give any clue to the formation of his totally new method of paint-. ~~~ y^ iing, or to the distinguishing characteristics of his style. These characteristics are sweetness of expression and ineffable grace of pose; light in colour, or in other words a certain luminous quality which irradiates and transfigures. In facility of handling, in absolute mastery over the difficulties of foreshortening, in the management of light and shade as distributed over vast spaces and affecting multitudes of figures, this great master has no rival. At the same time, with all the beauty of his Madonnas and Angels, the charm and grace of his children, the noble dignity of his Saints and Apostles, and the harmony of his colouring, Correggio's sweetness sometimes cloys, and his grace occasionally degenerates into affectation. His masterpieces in oils are in Dresden, Paris, and Parma. Works: Madonna of St. Francis (1514), Madonna of St. George, Madonna of St. Sebastian, La Notte (1522 or 1528), and Magdalen, Correggio's Physician, Dresden Gallery; Rape of Ganymede, Jupiter and Io, Vienna Museum; Madonna adoring Jesus, Uffizi, Florence; Madonna hushing Jesus, Prince Torlonia, Rome; Madonna del Latte (1519), Assumption of the Virgin (sketch for the fresco in the Duomo, Parma), Apollo and Marsyas, Hermitage, St. Petersburg; La Zingarella, Marriage of St. Catherine, Naples Museum; Antiope, Marriage of St. Catherine, Louvre, Paris; Ecce Homo, Madonna della Cesta, Education of Cupid, National Gallery, London; I1 Giorno, Madonna della Scodella (1530), Madonna della Scala, Martyrdom of SS. Placidus and Flavia, Pietd, Parma Gallery; Danae, Palazzo Borghese, Rome; Leda, Jupiter and Io, Berlin Museum. Correggio's frescos are in Parma: Camera di S. Paolo (1518), Ascension of Christ, cupola, and St. John the Evangelist over Sacristy door, S. Giovanni (1520-25); Assumption of the Virgin and patron Saints of Parma, Duomo (1526-35); Christ in the Garden, Apsley House, England; Noli Me Tangere, Madrid Museum. The life of Correggio was passed within the confines of Lombardy, between Correggio, Modena, and Parma. It is more than doubtful whether he ever visited Rome. Vasari's story of his death caused by fatigue of carrying a large sum of money in copper coin, with which he had been paid for his work at Parma, to Correggio, has no founAnToN /vs5 ALLEGI.S CrE rvo dation.-Vasari, ed. Mil., iv. 109; Meyer, Kinst. Lex., i. 335; Meyer, Correggio (Leipsic, 1871); Seguier, 203; Burckhardt, 175, 634, 694, 700; Pungileoni, Mem., etc. (1817 -21); Coxe, Lives of Correggio and Parmegianino (London, 1823); Dollme, 2iii.; Kugler (Eastlake), ii. 497; Lfibke, Gesch. ital. Mal., ii. 414. CORRODI, HERMAN, born in Rome, July 23, 1844. Italian school; landscape and genre painter, son of the Swiss landscape painter, Salomon C. (born at Zurich in 1810), who settled in Rome in 1828, twin brother of the history painter, Arnold C. (died 1874), together with whom he studied in Rome and Paris, and after whose death he made study-trips to the East. He has three studios: in Rome, Baden-Baden, and London, and divides his time between them, according to the season. Medal, Vienna, 1874. 33886 CORSET Works: Pine Woods (1874); Storm on Isle and to have painted Queen Elizabeth. He of St. Honore; Procession at Sorrento (1878); adopted the opinions of Luther, and died in Congregation of Monks in the Campagna; the prison of the Inquisition. His son Gondola Sail in Venice; Villa on Lake Como; David, noted as a copyist, died of the plague Serenade at Amalfi; Monastery of Marsala in 1657.-Lanzi, iii. 249; Baldinucci, iii on the Dead Sea; Baptism of Pilgrims in 595; Ch. Blanc, Itcole genoise. the Jordan.-Meyer, Conv. Lex., xviii. 206. CORTE, JUAN DE LA, born in Madrid in CORSET BLEU, Gabriel Metstu, Baron 1597, died there in 1660. Spanish school; Alfred de Rothschild, London; wood, 1 ft. pupil of Velasquez; painted in palace of 4 in. x 1 ft. A lady in a blue corset bor- Buen Retiro pictures of Judgment of Paris, dered with ermine, and a white satin skirt Rape of Helen, Burning of Troy, the Relief trimmed with gold lace, seated, with a mu- in 1635 of Valenza on the Po, and other sic book on her lap; on the further side of works, especially landscapes, in which he a table sits a gentleman tuning a guitar; a was most successful. His son Gabriel (1648 -glass of wine is on the table, and a little 1694) was a good flower-painter.-Stirling, spaniel is in front. Tonneman Collection, ii. 692; Curtis, 329. Amsterdam (1754), 1,405 fl.; Destouche Col- CORTICELLI. See Pordenone. lection (1794), 8,161 fr.; Robit Collection, CORTONA, PIETRO DA. See Pietro da Paris (1801), 8,120 fr.; Hibbert Collection, Cortona. London (1829), ~560. Replica, inferior, COSIMO, PIERO DI, born in Florence Buckingham Palace.-Smith, iv. 77. in 1462, died in 1521 (?). Florentine school; CORSET ROUGE, Gabriel Metsu, W. real name Piero di Lorenzo (a goldsmith), Long Collection, London; wood, H. 1 ft. but called Cosimo from his master, Cosimo 1 in. x 11 in. A lady in a scarlet velvet Rosselli, in whose studio he was the comcorset and a taffeta petticoat, seated, caress- panion of Fra Bartolommeo and of Mariotto ing a dog; some blue paper, on which she Albertinelli. He accompanied Rosselli to has been drawing, lies in her lap, and the Rome (1480-85), and probably remained figure of an infant in plaster stands on a with him until his death (1506), after which table before her. Destouches Collection he continued to paint in his style. Among (1794), 6,101 fr.; Robit Collection (1801), his works may be noted the Wedding of 3,120 fr., to Sir Simon Clarke.-Smith, iv. Perseus, Perseus delivering Andromeda, An77. dromeda delivered, and the Sacrifice to Jove CORTAZZO, ORESTE, born in Italy; for her safety, Virgin upon a Pedestal surcontemporary. Genre painter. Works: In- rounded by Saints, Uffizi, Florence; Death terrupted Sitting (F. Rogers, Philadelphia); of Procris, National Gallery, London; Venus Geographical Student, A. E. Borie Col., and Mars, Meeting of Christ and the Baptist, Philadelphia; Teasing the Poet; Taking Berlin Museum; Coronation of the Virgin, Leave; Crowning the Bride, W. B. Bement, Louvre. Cosimo was the master of Andrea Philadelphia; Judgment of Paris, Amateurs del Sarto. Vasari describes him as a strange of Bric-a-brac, Mrs. Paran Stevens, New and cynical man.-C. & C., Italy, iii. 420; York. Burckhardt, 551; Ch. Blanc, I~cole florenCORTE, CESARE DA, born in Genoa in tine; Vasari, ed. Mil., iv. 131; Ltibke, 1550, died there in 1613. Genoese school; Gesch. ital. Mal., i. 374. son of Valerio Corte, an excellent portrait COSSA, FRANCESCO, painted in 1456 -painter from Venice (1530-80); one of the 1474. Lombardo-Ferrarese school. First best pupils of Luca Cambiaso. Painted appears in a record of 1456, as assistant to his history and portraits with success, and is father, Cristofano del Cossa, then engaged said to have visited France and England, in illuminating the carving and statues 887 COSSIAU about the high altar of the bishop's palace, Ferrara. In later years removed to Bologna, where he is justly celebrated for his Madonna with Saints (1474), Bologna Gallery, and his Madonna del Barracano (1472). Cossa was of the same school as Tura, but he was a better draughtsman and more correct in feeling. His rich detail is worked out in a grayish tone with great charm. His somewhat morose faces, too, are less grotesque than those of Tura. He was not free from northern peculiarities, and something in his air or technical treatment recalls Roger van der Weyden.-C. & C., N. Italy, i. 522; Burckhardt, 579; Ch. Blanc, Icole ferraraise; Lermolieff, 124, 128, 130, 243. COSSIAU, JAN JOST D., born at Breda in 1654 or 1664-66, died in 1732 or 1734. Dutch school; landscape painter; imitated Gaspard Poussin, lived for some time in Paris, became court painter at Mentz and Bamberg, and was the first organizer of the picture galleries at Pommersfelden, Gaibach, and Wiesenthaid. Works: Italian Landscape with Castle (1704), do. with Pyramid (1704), Brunswick Museum; Egyptian Landscape, Cassel Gallery; large Landscape (1716), Old Pinakothek, Munich; others in Versailles and Diisseldorf Galleries.-Kramm, i. 275. COSSIERS (Cotsiers, Causiers), JAN, born in Antwerp, July 15, 1600, died there, buried July 7, 1671. Flemish school; history, genre, and portrait painter, pupil of his father, Anton, and of Cornelis de Vos; entered guild in 1628, dean in 1639-1641. Painted much for the King of Spain, the Cardinal Infant Ferdinand, Archduke Leopold William, and many other princes. Works: Adoration of Shepherds (2), Gen uge, Brussels Museum; Jupiter and Lycaon, Prometheus, Narcissus, Madrid Museum; Christ at Simon's, Temptation of St. Anthony, Holy Family, Crucifixion, Pieta, Eglise du Beguinage, Mechlin.-Biog. nat. de Belgique, iv. 412; Cat. du Musee d'Anvers (1874), 92; Michiels, ix. 78; Rooses (Reber), 372. COSTA, GIOVANNI, born in Italy; contemporary. Landscape and portrait painter. Resides at Rome. Exhibits chiefly at Grosvenor Gallery, London. Works: On the Sands near Ardea-Rome (1877); Campagna, Capri, On the Shore (1877); Dawn near Bocca d'Arno (1879); Gulf of Spezzia from Lerici (1880); Naughty Girl-Capri, Approach to Venetian Lagoon (1881); Sunrise-Porto d'Anzio, Sunrise on Carrara Hills (1882); Morning on Hills of Branzi-Lerici, Kensington Palace (1883.) COSTA, LORENZO, born in Ferrara in 1460, died in a (nt u Mantua, March 5, v^% -^ j i 1535. Bolognese school; after several years' work in Ferrara he went to Florence, according to Vasari, and studIt A i ied the works of Lippi and Benozzo Gozzoli. About 1480-83, he was employed by the Bentivoglio family, Bologna, in the decoration of their palace (destroyed in 1507), and probably alternated between that city and Ferrara until the expulsion of the Bentivoglio family (1509), when he entered the service of the Gonzagas of Mantua, where he painted during the rest of his days. In Bologna he was a co-worker of Francia's, and was probably of much use to the latter between 1480 and 1490; but between 1490 and 1500 Francia rivalled and excelled his friend, and Costa followed where he had before been a leader. Among Lis better Bolognese examples are: Madonna (1488), Cappella Bentivoglio in S. Jacopo eo"% C o1ER tleman lighting his Pipe, Portrait of a Surgeon, Flagellation, Antwerp Museum; Del 338 COSWAY Maggiore, Triumphs of Life and Death maphroditus, Poverty (1868); Portrait of (1490), same chapel; Annunciation (1490- Mme. Cot (1869); Prometheus, Meditation 95), Cappella Marescotti in S. Petronio; and (1870); All Souls Day at the Campo Santo Madonna with Saints (1492), Cappella Baci- of Pisa, Dionysa (1872); Magdalen (1875); occhi in S. Petronio. There are also frescos^ by him in S. Jacopo Maggiore and in S. Ce- + T U 1 1s0 cilia. Among his Mantuan pictures are: Court of Spring-Time (1876); Mireille (1882), LuxIsabella, embourg Museum.-Gaz. des B. Arts Louvre; v (1883), Chronique. D e a d LAVR ~qhJVS COTRA F' COTES, FRANCIS, born in London in C h r i s t 1726, died there, July 20, 1770. Pupil of ( 1 5 0 4), George Knapton; became eminent as a porPresenta- trait painter, was a member of the Society tion (1502), Berlin Museum; Madonna and of Artists, and one of the original members Saints (1525), Ferrara Gallery.-C. & C., N. of the Royal Academy, where he exhibited Italy, i. 538; Vasari, ed. Mil., iii. 131; from 1760 to 1770. Works: Portrait of Burckhardt, 581; Rio, iii. 121; Ch. Blanc, his father, Royal Academy; Admiral Lord Ecole ombrienne. Hawke, Greenwich Hospital; Portrait group COSWAY, RICHARD, born at Tiverton of Mr. and Mrs. Joab Bates, Sacred Harmonin 1740, died in London, July 4, 1821. Son ic Society. His younger brother, Samuel of a schoolmaster; pupil in London of (1734-1818), was noted as a miniature Thomas Hudson, and student in 1769 at painter.-Redgrave; F. de Conches, 86; Royal Academy; became A. E. A. in 1770, Sandby, i. 95; Graves, 54. and R.A. in 1771. Was the fashionable COTIGNOLA, BERNARDINO DA. See miniature painter of his time, and equally Zaganelli, Francesco. famous for vanity, extravagance, and eccen- COTIGNOLA, FRANCESCO DA. See tricity. He painted many of the beauties of Zaganelli, Francesco. the day, among them Mrs. Fitzherbert, and COTIGNOLA, GIROLAMO DA. See gained the favour of the Prince Regent. He Girolamo da Cotignola. also originally painted in oiL His wife, COTMAN, JOHN SELL, born at NorMaria Cecilia Louisa (Hadfield) Cosway wich, June 11, 1782, died in London, July C_^ (1745-1822?), was a subject 28, 1842. Studied design in London in painter of considerable ability. 1800-6, during which time exhibited views Portrait of the painter by him- of Welsh scenery at the Academy. In 1807 self, Nat. Port. Gal.; of Gen. P. became a member and secretary of the NorPaoli, Uffizi, Florence.-Red- wich Society of Artists. In 1811 began to grave; Ch. Blanc, ecole anglaise; Art Jour- publish "Architectural Etchings, "and in 1816 nal (1858), 268; Sandby, i. 179. " Specimens of Norman and Gothic ArchiCOT, PIERRE AUGUSTE, born at Be- tecture in Norfolk," followed by other antidarieux (H6rault), Feb. 17, 1837, died Aug. quarian works. He made several visits to 18, 1883. Genre and portrait painter, pupil Normandy, the result of which appears in in Paris of Cabanel, Leon Cogniet, and Bou- Dawson Turner's " Architectural Antiquities guereau. His style is very graceful and at- of Normandy" (1822). In 1834 he became tractive. Medal: 1870; 2d class, 1872; L. drawing-master to King's College School, of Honour, 1874. He exhibited many por- and removed to London. During these traits and a few ideal pictures. Works: labours he painted many landscapes and Woman Bathing (1867); Salmacis and Her- sea views, but he was more successful in 339 COTSIERS water-colours than in oils. With Crowe ket, Grapes, Wild Flowers (1878).-M{iller, and others of the Norwich school he exer- 116. cised a considerable influence on British art. His son, Miles Edmund Cotman (1811-1858), painted river and sea views, but was chiefly a teacher, and succeeded him at King's Col]ege.-Redgrave; F. de Conches, 188. COTSIERS. See Cossiers. COTTAGE DOOR, Thomas Gainesborough, Grosvenor House, London; canvas, H. 3 ft. 10 in. x 4 ft. 8 in. A cottage matron, with an infant in her arms, and several older children around her, enjoying themselves in front of a rustic cabin in a woody nook. Sold in 1786 to T. Harvey, of Catton, Norfolk; in 1807 to Mr. Coppin, of Norwich, from whom bought by Sir John Leicester, Bart., at whose sale (1827) bought by Earl Grosvenor for ~525. Engraved by Scott, in Britton. Etched (1832), by Ch. Koepping.- Brock-Arnold, 74; Fulcher, 196; Waagen, Treasures, ii. 173. COUBERTIN, CHARLES DE, born in Paris, April 23, 1822. Genre painter, pupil of Picot; subjects mostly from Italian life and history. L. of Honour, 1865. Works: Discovery of the Laocoon in Rome in 1506 (1846); Incident of the Plague in Milan (1851), Laval Museum; Pontifical Mass in Rome, Roman Cardinal Walking (1857); Ball Players in Coliseum (1859); Good Friday in Palermo; View of the Forum, View of the Coliseum, Luxembourg Museum; Pigeons on Square of San Marco (1861); Death of St. Stanislaus Kotska (1865); Miraculous Death of St. Jean de Dieu, Group at the Grandfather's (1879); Poet and Muse (1881); The First Partridge, Legend of the Via Appia (1882); Serenade at Vicenzo (1883). COUDER, ALEXANDRE, born in Paris, April 16, 1808, died there in 1878. Stilllife painter, pupil of Gros, in whose studio he first painted a few genre pictures. Medal, 3d class, 1836. L. of Honour, 1853. Works: Return from the Fields, Bouquet of Wild Flowers (1874); do. and Interior (1876); Roses and Fruits (1877); Return from Mar COUP DE PISTOLET (Pistol Shot), Philips Wouwerman, Buckingham Palace, London; wood, H. 1 ft. 4 in. X 1 ft. 6 in. Before a sutler's tent is a group of cavalry, accompanied by women, children, and dogs; a trooper, on a white horse, is pledging a woman in a glass of liquor, while a trumpeter blows his trumpet, and another trooper discharges his pistol. Engraved by W. Greatbach. COUR, JANUS LA, born at Ringkjobing, Jutland, Sept. 5, 1837. Landscape painter, pupil of Kiaerschon and of Copenhagen Academy under Marstrand; won a prize in 1861; went to Italy and Paris in 1865-67, to Switzerland and Italy in 1868-70. Medal, Copenhagen, 1871. Member of Copenhagen Academy in 1872. Works: Coast View at Helgenaers (1855); Views in the North Sea (1856); Early Summer Morning (1861); Evening on Lake of Nemi (1871); Oakwood Border, two others, Copenhagen Gallery. - Sigurd Milller, 66; Weilbach, 121. COURANT, MAURICE, born at Havre, Nov. 8, 1847. Landscape and marine painter; pupil of Meissonier, and studied nature on the south coast of France. Medal, 1870. Works: Fontaine du Pin near Antibes, Shore of Jouan Bay (1868); Entrance to Harbour of Antibes (1869); The great Plains around Poissy(1870); Pond in Winter (1872), Summer Morning (1874); Stormy Weather, Rising Tide (1875); Getting under Sail, Roche-aux-Mouettes (1878); Bark of Goddebi (1881); Fishing Bark (1882).-Meyer, Conv. Lex., xix. 177. COURBET, GUSTAVE, born at Ornans, (Doubs), June 10, 1819, died at Tour de Peil, near Vevay, Jan. 1, 1878. Genre, landscape, and portrait painter. Sent to school at Besangon and then to study law at Paris in 1839. Attended several studios, but chiefly that of David d'Angers. Began at an early age to paint caricatures, especially of priests; but did not treat landscape until 1841 at 840 COURDOUAN Fontainebleau. He exhibited in 1844, though it was not until 1849 that he first attracted attention by his After Dinner at Ornans. ^ - His Burial Scene at Ornans (1850) and the Stone- -- Breakers were _ much talked < about, and the ex- - / = hibition of his /4 - \ works at Besan- J 9on, Dijon, Munich, and Frankfort in 1854 extended his reputation. After 1870 he ceased to exhibit his pictures. Medals in 1849, 1857, and 1861. As chief instigator of the overthrow of the Vendome Column, May 16, 1871, he was sentenced to six months' imprisonment, and to bear the cost of restoration. After his release he retired to Switzerland. He was an intense, but narrow and unemotional realist. Works: The Wounded Man (1844); Violoncellist, three Landscapes (1848); After Dinner at Ornnas, Landscape near Honfleur, Lille Museum; Valley of the Loue, The Parishes of Chassagne (1849); River Loue, Ruins of Castle of Scey, Peasants returning from a Fair, StoneBreakers, Burial at Ornans (1850), Louvre, Salle des Colonnades; Conflagration (1851); Village Ladies (1852); Women Bathing, Woman Spinning, Wrestlers (1853); Sifting Wheat (1855); Young Women of the Seine, Hunting a Roebuck, Doe run down in the Snow (1857), Boston Museum Fine Arts; Deer Fighting, Deer in the Water, Huntsman, Fox in the Snow, Rock of Oragnon (1861); Fox-Hunting, Little Fishermen in Franche-Comte, Return from Conference (1863); Valley of Puits Noir (1865), Luxembourg Museum; Woman with a Parrot, The Quarry (1866), Boston Museum of Fine Arts; A Beggar's Alms, Buck at Bay (1868), Louvre; Deer Calling, The Siesta (1869), The Stormy Sea (Luxembourg Museum), Cliffs of ttretat (1870). The following were bought by the State at the Lepel-Cointet sale (1881): Deer in Cover (35,000 fr.), Mar. with a Leather Belt (26,100 fr.), Courbet's Studio (21,000 fr.), Stag Fight (49,100 fr.). Deer Calling (33,900 fr.), Wounded Man (11,000 fr.), Siesta (29,100 fr.)-Gaz. des B. Arts (1878), xvii. 514; xviii. 17, 371,: (1882), xxv. 572; Lippincott's Mag., xxi. 631; Champier, l'Annee artistique (1878), 486; Claretie, Peintres, etc. (1882), 241, Du Camp, Beaux Arts, 219; Bruno Meyer, Studien, 94; Perrier, etudes, 146; Rosetti, F. A., 112; Zeitschrift f. b. K., ii. 119; xi. 183, 209; The Century, Feb., 1884; L'Art (1878), xii. 72; (1881), xxvii. 232; Temple Bar, xlii. 535. COURDOUAN, VINCENT (JOSEPH FRANCOIS), born in Toulon, March 6, 1810. Landscape and marine painter, pupil of Paulin Guerin. Medals: 3d class, 1838 and 1844; 2d class, 1847; L. of Honour, 1852. Appointed professor of design at the Naval School in Toulon in 1848. Works: Castle of Napoule, View of Bagnols, Gorges of Ollioules, Coast of Provence, Arrival of Bey of Tunis at Toulon, Port of Algiers, Battle of the Romulus, Vessels driven close to Shore by a Storm, Evening among the Pines, Valley of Ardennet, Embarcation of Zouaves for the Crimea (1855); Harbour of Toulon, View of Bordighiera, Coast of Balagnier (1857); Pirates Chased (1859); French Troop Ship in Harbour of Hyeres (1861); Valley of Broussan, Environs of Nersi (1864); Birckadem (1867); Desert in Egypt at Evening (1868); Coast of Provence, Morning (1869); Harbour of Brusc (1873); Environs of Hyeres (1874); Sunset after Heavy Weather on Coast of Provence (1875); Gorge of Malvoisin (1876); Gulf of Ciotat (1877); Beach at Hy-res, Evening near Hylres (1878); Fountain at Notre-Dame-Du-Muy, Camogli in Gulf of Genoa (1879); Evening by Sea at Toulon, Shore of Argentieres (1880); Harbour of Toulon, Entrance to Harbour of Toulon (1882); Point of La Croisette at Cannes, Villa Cloquet near Toulon (1883). COURSE OF EMPIRE, Thomas Cole, New York Historical Society; canvas. A 341 COURT series of five pictures, representing a nation's rise, progress, decline, fall, and desolation. Painted in 1832-4 for Luman Reed, New York. 1. (IH 3 ft. 3 in. x5 ft. 1 in.) Savage State or Commencement of Empire; 2. (H. 3 ft. 3 in. x 5 ft. 2 in.) Arcadian or Pastoral State; 3. (H. 4 ft. 2 in. x 6 ft. 3 in.) Consummation of Empire; 4. (H. 3 ft. 2 in. x5 ft. 2 in.) Destruction'; 5. (H. 3 ft. 3 in. x 5 ft. 1 in.) Desolation. Of this picture Frederic E. Church writes: "If I were permitted to select three from among all the landscapes I have ever seen, I should certainly choose for one of them 'Desolation,' the last of the five pictures of the ' Course of Empire."' COURT-JESTERS IN ANTECHAMBER, Eduardo Zamacois, Mrs. A. T. Stewart, New York; canvas. A group of hunchbacked jesters amusing themselves in the antechamber of a prince. The painter's sarcastic humour finds vent in making these unfortunates portraits of himself and of his artist friends. The one watching the stand of paroquets is Jules Worms, and the one throwing dice is Berne-Bellecour; he himself is represented with ass's ears, and his brother is the page. -Art Treas. of Amer., i. 37. COURT, JOSEPH D1SIR1, born at Rouen, Sept. 11, 1798, died there, Jan. 23, 1865. Genre painter, pupil of Gros; won the grand prix de Rome in 1821. Medals: 1st class, 1831; 2d class, 1855; L. of Honour, 1838. Works: Samson delivered to the Philistines (1821); Deluge, Faun in a Bath dragging in a Girl, Death of Cwsar (1827), Louvre; St. Peter sent by the Romans to Jerusalem (1836); Duc d' Orleans as Lieut. General (1836),Versailles; Return of St. Louis (1841); King giving Colours to the National Guard, Aug. 29, 1830, Versailles; Flight of Governor of Constantine (1839); Duc d' Orleans laying the first Stone of the Agen Canal (1844). Among his many portraits are those of Mme. Adelaide and the Prince de Joinville, the King and Queen of Denmark, Due Decazes, Monsignor Sibour, and Pope Pius IX. (1855).-Larousse. COURTAT, LOUIS, born in Paris; contemporary. History painter, pupil of Cabanel. Medals: 3d class, 1873 and 1874; 1st class, 1875. - L.LCou-rtaL Works: Siesta - (1873); St. Sebastian (1874); Leda (1875), Luxembourg Museum; Hagar and Ishmael (1877); Spring-Time (1878); Eve and her Children (1879); Nymph (1880); Little Orange Girl (1881); Odalisque (1882); Venus Awakened (1884); Bathers (1885). COURTENS, FRANZ, born at Termonde, Belgium; contemporary. Landscape and genre painter. Medal: 3d class, 1884. Works: Morning in the Campine (1881); Departure for Fishing Dutch Village (1882); In the Cabbage Fields, Salt Meadows (1883). COURTOIS, GUSTAVE, born at Pusey (Haute-Saone) in 1852. History and portrait painter, pupil of G6rame. Medals: 3d class, 1878; 2d class, 1880; Munich, 1883. Works: Orpheus, Death of Archimedes (1876); Narcissus (1877), Luxembourg Museum; Lais in Hell (1878); Dante and Virgil in Hell (1880); Portraits (1881); BayaSUSTAVE COU TOis 1883 dere (1882); Fantasy (1883); Burial of Atala (1884).-Meyer, Conv. Lex., xxi. 157. COURTOIS, JACQUES, named Le Bourguignon (I1 Borgognone); in Ifaly called also Jacopo "'J.I ^*y^( Cortese; born at St. Hippolyte,, ' ''^ L Franche - Comte, -,.~ ~ -K min 1621, died in Rome, Nov. 14, 1676. French school; battle painter, pupil of his father, Jean, and of Cerquozzi. Entered the Spanish military service, then went to Italy to resume his artistic studies at Rome. Inspired by Raphael's fresco of the victory of Constantine 342 COUSIN over Maxentius, became a battle painter. In Nicolas Coutourier and Picot. Paints es 1655 became a lay brother in the order of pecially poultry with great skill. Medals: the Jesuits, and for some time painted only 3d class, 1855, 1861. Works: Peasant, sacred subjects. Pictures in Berlin, Cassel, Drinkers (1873); Conscripts of Revenge, Dresden, Florence, Munich, Paris, St. Peters- Rhapsodist reciting to Sailors, Lard Soup burg, Rome, and Stockholm galleries. His (1874); Dado, Little Mother (1875); Young brother Guillaume C. (1628-1679) Girl and Poultry, Rat Council (1876); Grandwas a pupil of Pietro da Cortona, but mother (1878); A Corner in the. Yard followed the style of Carlo Maratti.-Ch. (1880); Waiting for the Paste (1881); Two Blanc, Scole frangaise; Villot, Cat. Louvre. Friends (1884); Rat retired from the COUSIN, JEAN, born at Soucy near Sens World, Rat Council (1885). (Yonne) about COUTURE, THOMAS, born at Senlis i ~I, ~1500, died 1589. (Oise), Dec. 21, 1815, French school; died in Villiers le Ei - | i glass painter, Bel (Seine-et-Oise), e F 7 p history and min-March 31, 1879. iature painter, History and genre - a engraver, and painter, pupil of sculptor. Stud- Gros, and of Paul iedglasspainting Delaroche. Although ~5\% \ X with Hympe and he won the 2d grand '-s - ~ ~., Grassot. Much prix in 1837, and l r e n o w n e d attracted attention i x, among his countrymen for his historical by several able pictures in the course of the paintings. Works: Last Judgment, Louvre; next decade, it was not until 1847 that Woman giving Alms, Brunswick Gallery; Couture became celebrated by his Romans Miniatures in of the Decadence (Luxembourg Museum), a Prayer Book of 7/,.,u - ^ picture which in the united qualities of cornHenry II., Biblio- f 23 position, conception, drawing, and colour, theque nationale, ( has few if any rivals in modern art. His Paris; Descent technical skill and great reputation brought from Cross (1521, Mentz), attributed to him many pupils, among whom was the him.-Ch. Blanc, Ecole franqaise; Villot, American artist William M. Hunt. He was Cat. Louvre. selected by Napoleon III. to paint a ceiling COUTOURIER, LeON LUCIEN, born for the Louvre representing the birth of the at Macon, France; contemporary. History Prince Imperial, but having quarrelled with painter, pupil of Danguin and Cabanel. the Empress about the drapery of the Works: Attack of Navy Riflemen (1875); child, he became hostile to the Government Vanguard Engagement (1876); Extra Duty and seldom sent any pictures to the Salon. on Water (1877); Alarm of the Chouans in In 1867 he published an essay on art en1793, Tailor of Boqueneven (1878); Drum- titled "Entretiens d'Atelier." Medals: 3d mer School, Peasant of Guerchy (1879); An class, 1844; 1st class, 1847 and 1855; L. of Alert (1880); The Recital (1881); Forced Honour, 1848. Works: Young Venetian March (1883); The Baggage Master (1884); after an Orgy (1840); Prodigal Son, WidThe Remount Depot (1885). ow, Return from the Fields (1841); TroubaCOUTOURIER, PHILIBERT L1~ON, dour (1843); Jocunda, Love of Gold (1844), born at Chalon-sur-Sa6ne (Sa6ne-et-Loire), Toulouse Museum; Gypsy Girl (1852); The May 26, 1823. Animal painter, pupil of Falconer (1855); Volunteers of 1793 (1856); 343 COX Baptism of the Prince Imperial (1857, unfinished); Return of the Troops from the Crimea; Pierrot's Dull; The Bacchante; Damocles (1872); Study for the Volunteers of 1793, Boston Museum of Fine Arts.Claretie, Peintres, etc. (1882), 337; Larousse; Zeitschr. f. b. K., xvi. 101. COX, DAVID, born near Birmingham, April 29, 1783, died at Harborne Heath, near Birmingham, June 7, 1859. Landscape painter in water-colours; began as a scene painter in Birmingham Theatre; went in 1803 to London, where he became a teacher of drawing, sketching with his pupils in Wales during the summer months. He removed to Hereford in 1815, returned to London in 1827, and settled at Harborne Heath in 1844. He was an excellent landscape painter, and his works command high prices. Among them are: Weald of Kent, Hop Gatherers, Welsh Funeral, Chat Moss, Besom Makers, Deer Stalking, Windsor Castle, Vale of Clwyd.-Solly, Memoir (London, 1873); Hall, Life (London, 1881); Portfolio (1873), 89. COX, DAVID, born at Dulwich, near London, in 1809, died at Streatham Hill, Dec. 4, 1885. Landscape painter, water-colours; son and pupil of the preceding. Associate of Society of Painters in Water Colours. Works: View on the Menai (1872); Loch Katrine, Ben Lomond (1873); Rain on the Berwyn, Sunday Morning in Wales (1875); Path up the Valley, Lyndale, On the Dee (1877); Penshurst Park, Hayfield (1878); On the Beach at Hastings (1882). COX, KENYON, born at Warren, O., Oct. 27, 1856. Figure painter; studied first in Cincinnati and Philadelphia, later, pupil in Paris of Carolus Duran and Gerome. Visited Europe in 1877, and remained in France with short intermissions until 1882. Member of Society of American Artists. Studio in New York. Works: Head of Venetian Girl (1879); Lady in Black (1880); Pink and White (1881); Two Portraits (1882); Afternoon, Thistledown (1883); A Corner Window (1884). COXCYEN (Cocxie, Coxis), MICHIEL VAN, born in Mechlin in 1499, died there March 5, 1592. Flemish school; pupil -— ^ of his father, and of Bernhard van Or-..J, lev, whom he succeeded as court painter to Mary of Hungary; afterward I/ L\3> studied several t/ )i/ ' A years in Rome,. ( / where he was called the Flemish Raphael. Also painted much in Brussels. He left numerous works of unequal merit. His compositions, frequently closely imitated from Raphael, show much taste and beauty in the heads, but the attitudes are artificial and exaggerated. Works: Martyrdom of St. Sebastian (1575), do. of St. Blasius and St. George (3), St. Margaret, Triumph of Christ, Antwerp Museum; Death of Virgin, Christ crowned with Thorns, Last Supper, Brussels Museum; Birth of Virgin, Presentation of do., Death of do., St. Cecilia, Madrid Museum. His copy of the great altarpiece of the Van Eycks, the Adoration of the Lamb, made A vC8 for Philip II. in 1559, is partly in the Berlin Mu- IGH' 1LA seum, partly in the Munich EINGO VE~T7t Gallery, and partly in Ghent Cathedral. His son and pupil, Raphael van Coxcyen, guild of St. Luke 1585, had less talent than his father.-Allgem. d. Biogr., iv. 537; Biog. nat. de Belgique, iv. 456; Ch. Blanc, 1cole flamande; Brockhaus, iv. 653; C. & C., Flemish Painters, 66, 196; Michiels, v. 217; Nagler, Mon., iv. 526. COYPEL, ANTOINE, born in Paris, April 11, 1661, died there, Jan. 1, 1722. French school; history painter, pupil of his father Noel, with whom he went to Rome in 1672, and received a prize from the Academy of St. Luke. After three years he re 344 COYPEL turned to Paris, and there obtained a second academical prize in 1676. In his twentieth year he became a member of the '/t,, \ Academy, in 1684 professor, and in 1714 director. "' In 1716 he was nominated court ^'-', painter, and in i'd^k 1717 ennobled. v Works: Athaliah driven from the Temple (1704); Susanna accused by the Elders, Esther before Ahasuerus (1704); Rebecca and Eleazer, Flora and Zephyrus, Young Girl caressing a Dog, Louvre.-Ch. Blanc, ]cole franqaise; Wurzbach, Die franz. Maler des xviii. Jahrh., 14; Villot, Cat. Louvre. COYPEL, CHARLES ANTOINE, born in Paris, July (Ir 11, 1694, died there, June 14,. ~;,~,~ 1752. French school; history c^H ^/M^ and portrait;',: '" ' J - painter, son and pupil of / \\\ ^Tr \'^\ A n t o i n e. ~,\ ' X\ Member of! 2 ' Io the Academy in 1715, professor 1730, rector 1746, and court painter, 1747. Works: Perseus and Andromeda, Angelica and Medor (1733), Louvre; Medea pursued by Jason (1715); Sacrifice of Abraham; series of pictures from Don Quixote, Comhp gne. B, c. t Ch. Blanc, 1icole '94 French school; history painter, pupil in Orleans of one Poncet, and in Paris of Quillerier; employed in 1646 by Charles Errard as his as- y i ' sistant in decorating the Louvre, where A t after 1655 he painted i n d e - \ "\\ pendently for \ \I \ 2 the king as well as at the Tuileries and at Fontainebleau. In 1664 he became professor and in 1672 director of Academy in Rome; after a three years' residence there, during which he was received into the Academy of St. Luke, he returned to Paris, where he became rector of the Academy in 1690, and director in 1695. Works: Solon maintaining the Justice of his Laws (about 1675), Ptolemy Philadelphus emancipating the Jews (about 1675), Trajan giving public Audiences (about 1675), Alexander Severus distributing Wheat in Time of Famine (about 1675), Malediction of Cain (1663), Hercules and Achelous (1704), Hercules, Dejanira, and Nessus (1704), Apollo crowned by Victory, and others, Louvre. His son, A. ^Noel Nicolas (1692-1734), tiI y/t / I r PI was a painter and engraver. His Venus, Bacchus, and Cupid (1727) is in the Louvre.-Ch. Blanc, ~cole franqaise; Villot, Cat. Louvre. C R A E S - CRAESBECKE, JOOST 9z VAN, born at Neerlinter, Bra- s bant,in 1606, died in Brussels be- fore 1662. Flemish school; genre franqaise; Wurzbach, Die franz. Maler des painter, pupil of '/~. A d, ' 7 xviii. Jahrh., 9. Adrian Brouwer;- ( COYPEL, NOEL (Natatis), born in Paris, admitted to Ant- / Dec. 25, 1628, died there, Dec. 24, 1707. werp guild in 1633 as "baker and painter," 845 CRAEYER and to Brussels guild in 1651. Works: Flemish Tavern, Brussels Museum; Interior, Antwerp Museum; Matrimonial Contract, Madrid Museum; Peasant with Felt Cap, Berlin Museum; Soldiers conversing with Women, Vienna Museum; Craesbecke's Studio, Aremberg 7 Gallery, Brussels; do., Louvre; Woman baking Pancakes, Mr. Henderson's Collection. — Allgem. d. Biogr., iv. 544; Biog. nat. de Belgique, iv. 474; Ch. Blanc, ]cole flamande; Burger, Gallerie d'Aremberg (1859), 88; Journal des B. Arts (1869), 50; (1872), 153, 162; Michiels, ix. 168, 450; Rooses (Reber), 404. CRAEYER, CASPAR DE, born in Antwerp, baptised in Ghent, Jan. 27, C/~,. Nov. 18,1584, died 1669. Flemish school; history painter, pupil of Raphael van Coxcyen, in Brussels, where he was registered master of the guild, Nov. 3, 1607, and its president in 1614-15. He was director from 1612 of the King of Spain's art collections, was highly esteemed by Albert and Isabella, governors of the Netherlands, and was court painter to their successor, Cardinal Infant Ferdinand, in 1635-41; removed to Ghent in 1664. In friendly relations with Rubens and Van Dyck, the former of whom painted his portrait. He was by far the foremost among the contemporaries of Rubens in the Spanish Netherlands. Works: Portrait of Cardinal Infant Ferdinand, Madonna adored by Saints, St. Augustin in Ecstacy, Louvre; Elias in the Desert, Antwerp Museum; Miraculous Draught of Fishes, Assumption of St. Catherine, Martyrdom of St. Blasius, PietA, Adoration of the Shepherds, eight others, Brussels Museum; Judgment of Solomon, Coronation of St. Rosalia, Martyrdom of St. Blasius, Triumphal Arch, Ghent Museum; Adoration of Shepherds, Amsterdam Museum; Descent from Cross, Rotterdam Museum; Martyr buried Alive, Lille Museum; Portrait of Cardinal Infant Ferdinand, Madrid Museum; Madonna and Saints (1646); Munich Gallery; Madonna and Saints, St. Theresa and Virgin, Angelic Salutation, Vienna IX Museum; Altarpieces in Cathedral of Aix, Provence, and of Amberg, Upper Palatinate.Allgem. d. Biogr., iv. 571; Biog. nat. de Belgique, v. 27; Ch. Blanc, iScole flamande; Cat. du Musee d'Anvers (1874), 102; Michiels, viii. 390; Rooses (Reber), 337. CRAMER, ALFONS VON, born at Smyrna in 1834. Genre and portrait painter; studied in Florence, and in 1862-76 in Diisseldorf under Wilhelm Sohn, meanwhile travelling in Turkey, Greece, Asia Minor, and Egypt. Works: St. John (1866), Smyrna Cathedral; Rendezvous, Eavesdropper, Portrait of Sultan Abdul Aziz.-Miller, 118. CRANACH, LUCAS, the elder, born at Kronach, Bavaria, in Oct. (4?), 1472, died in Weimar, Oct. 16, ^W -. 1553. Geri. portrait \ '? apainter. His \' \:'^.'r family name was Mtiller, and he was his father's pupil. In 1493, he went for two years to the Holy Land with the Elector Frederic the Wise, who, on their return, gave him an apartment in his palace at Wittenberg, where Cranach established a workshop for all kinds of pictorial and decorative work, a printing press, and a pharmacy (burned in 1871). He was held in high esteem there, and was twice elected burgomaster. In 1509, when Frederic sent him to the Netherlands, he painted the portrait of Charles V., aged eight, for 346 CRANACH the Emperor Maximilian. Cranach was Stadtkirche, Wittenberg; Raising of Lazacourt painter to three successive Electors, rus, Venus and Cupid, Apollo and Diana, Frederic the Wise, John the Constant, and Berlin Museum; Cupid stung by Bees, WeiFrederic the Magnanimous, whose captivity mar Gallery; Venus and Cupid, Liechtenhe shared after the Battle of Mflhlberg, at stein Gallery, Vienna; Judgment of Paris, Augsburg, where he met and painted Titian Carlsruhe Gallery; Faun Family, Hercules in October, 1552. The latter part of his life Spinning, Death of Lucretia (1524), Munich was spent at Weimar, where he commenced Gallery; same subject (1532),Vienna Acadeto paint one of his finest pictures, but died my; Fountain of Youth, Berlin Museum; before its completion. The pictures in his Dying Scene (1518), Leipzig Museum; Old first manner were painted before 1520, then Rich Man and Poor Young Girl, Vienna followed a period of transition to his second Academy and Prague Gallery; Stag Hunt manner, which dates from 1530. Works: (1529); Crucifixion, Stadtkirche, Weimar; Repose in Egypt (1504), Palazzo Sciarra Great Hunt at Moritzburg (2, 1543, 1544), Colonna, Rome; The Fourteen Helpers in Madrid Museum; Portraits: Christian ScheuNeed (1505), St. Mary's, Torgau; Last erl (1509), Nuremberg Museum; Duke AlJudgment (1511-12); Madonna with Grapes brecht the Bold and Duchess Sidonie (1519), (1512), Munich Gallery; Descent from the Historical Museum, Dresden; Luther, LuCross, St. Mary's, Libeck; Rosary, Bamberg ther's Wife, Melanchthon, Elector Frederic Cathedral; SS. Willibald and Walpurga the Wise, John Frederic the Magnanimous, (1520), Bamberg Gallery; Adoration of Magi, Cardinal Albrecht von Brandenburg (1525), St. Wenceslaus, Naumburg; Madonna with Darmstadt Gallery (1527), Berlin Museum; Marriage of St. Catherine (1516); Madonna, several other Portraits of Luther and Wife St. Jacob's, Tunsbruck; White Madonna, and of the Saxon Electors named, Portrait Konigsberg Cathedral; Madonna under the of Cranach (1550), Uffizi, Florence, and Apple Tree, Hermitage, St. Petersburg; Madonna unter Tannen, St. John's, Breslau; I.j Madonna, Carlsruhe Gallery; Madonna, Er- ( A furt Cathedral; Magdalen (1525), Cologne Museum; Altarpiece (1529), Marienkirche,^ Halle; Adam and Eve (2), Berlin Museum; replicas, Brunswick Gallery and Vienna Mu- Z; seum; Adam and Eve (1528), Uffizi, Florence; Judith and Holofernes at Table (1531), Judith after the Deed (1531), Gotha Gallery; Judith with Head of Holofernes, Vienna, many others. - Allgem. d. Biogr., iv. 559; Dresden, Stuttgart, and Cassel Galleries; Ch. Blanc, ]Icole allemande; Brockhaus, iv. Samson and Delilah, City Hall, Augsburg; 657; Dohme, li.; Kugler (Crowe), i. 188; Christ (1534), Meissen Cathedral; Christ Kugler, Kl. Schriften, ii. 32; Kunst-Chronik, and the Adulteress, Munich Gallery; replica, xv. 634; xix. 607; Schuchardt, Lucas C.'s Maurice Chapel, Nuremberg; do., National Leben und Werke (Leipsic, 1851-71); WarGallery, Pesth; Christ and the Children, necke, Lucas C. d. Altere (Gorlitz, 1879); Stadtkirche, Naumburg; do., Pauliner- W. & W., ii. 419; Zahn's Jahrbflcher, vi. 124; kirche, Leipsic; Nine Passion Scenes, three Zeitschr. f. b. K., viii. 322. in Museum, six in Royal Palace, Berlin; CRANACH, LUCAS, the younger, born Fall and Redemption (1529), Gotha Gallery; at Wittenberg, Oct. 4, 1515, died at Weisame subject (1529), Prague Gallery; Altar- mar, Jan. 25, 1586. German school; pupil piece, Stadtkirche, Weimar; Last Supper, of his father, Lucas the elder, whom he suc347 CRANCH ceeded in his studio at Wittenberg and as burgomaster. Many works attributed to the elder were doubtless painted by the younger Cranach, whose only certain pictures are those dated after his father's death (1553). Works: Christ taken Captive (1538), Vienna Museum; Hunt (1544), Vienna and Madrid Museum; John Baptist preaching (1549), Brunswick Gallery; Adoration of Shepherds, Crucifixion, Conversion of Paul (after 1553), Stadtkirche, Wittenberg; The Lord's Vineyard (1569); Resurrection (1554); Crucifixion (1557), Leipsic Museum; Raising of Lazarus (1558); Married Couple (1564), Vienna Museum; Conversion of Paul, Maurice Chapel, Nuremberg; several in Dresden Gallery and Historical Museum.-Allgem. Biogr., iv. 562; Dohme li.; Kugler (Crowe), i. 195; W. & W., ii. 432. CRANCH, CHRISTOPHER PEARSE, born at Alexandria, Va., March 8, 1813. Landscape painter; studied in Italy in 1846-48, lived and painted in Paris and Italy in 1853-63. Professional life in America passed in New York and Boston. Elected N.A. in 1864, but has not exhibited since 1871. Mr. Cranch has also illustrated books; he is at present living in Cambridge, Mass. Works: Afternoon in October (1867); Washington Oak, opposite Newburg, N. Y. (1868); Val de MolineAmalfi, Italy (1869); Roman Citizen, Forest of Fontainebleau-Study, Neapolitan Fisherman, Venice (1870); Venetian FishingBoats (1871). CRANE, BRUCE, born in New York in 1857. Landscape painter, pupil of A. H. Wyant. First exhibited at the National Academy in 1879. Studio in New York. Works: Landscape-Autumn, T. B. Clarke, New York; Hillside, Old Mill Pond-Long Island (1879); On the Shrewsbury River, After the Rain (1880); Moor-Nantucket, Inlet on the Jersey Shore, Morning in Spring-Long Island (1881); In Blossom Time, Suburban Road-East Hampton, Study from Nature-East Hampton (1882); Winter (1883); The Waning Year (1884); Indian Summer, A Moor-Dartmouth, Mass. (1885). CRANE, WALTER, born at Liverpool in 1845. Genre painter; son and pupil of iftc^ AThomas Crane, portrait painter, and student of W. J. Linton. -^,~X IIn 1871 went to Italy and remained two _ 9\ years. Although he paints in oil and water-colours, he is best known by his admirable illustrations for children's books, such as "Beauty and the Beast," "Baby's Opera," "Cinderella," "Goody Two Shoes," etc. Works: Herald of Spring (1873); Plato's Garden (1875); Renaissance of Venus (1877); Proserpine (1878); Haworth Castle, The Sirens (1879); La Cucumela-Sorrento, Truth and the Traveller (1880); Europa, The Laidley Worm of Spindleton Heugh (1881); Dunstanborough Castle, Fate, Tiber, Pisa (1882); Diana and the Shepherd, Sea-Blooms (1883); Bridge of Life (1884); Pandora, Freedom, Loch Bar, Aros Bridge-Isle of Mull, Aros Moor, ib., Cliff at Swanage Bay-Dorset (1885); Skeleton in Armour, frieze of dining-room, Miss C. L. Wolfe, Newport, R. I. CRATINUS, painter, of Athens. Pliny says (xxxv. 40 [139]), that he painted in the Pompeion. He was the father and master of Irene. Clein. Alexandr. Strom., iv. 124. CRATO, monochromatic painter, of Sicyon, early period.-Athenag. Leg. pro Christ., 14 (59, ed. Dechair). CRANK, CHARLES ALEXANDRE, born at Douchy (Nords), Jan. 27, 1819. L. of Honour, 1881. Works: Annunciation, Assumption, Visitation (1877); St. Vincent de Paula led to Heaven by Faith, Hope, and Charity (1878); Two Scenes in Life of St. Vincent de Paula (1879); Portrait of Artist's Father (1880); St. Francis de Sales presenting Vincent de Paula to his Order (1882); Infancy of the Holy Virgin (1883); Vincent 348 CREATION de Paul (1884); Marie (1885).-Bellier, i. and imaginary. His Christ on the way to 319. Calvary and Christ meeting St. Veronica, a CREATION, Michelangelo. See Adam; single picture dated 1598, is in the Bologna Eve; Sun and Moon; Trees and Plants. Gallery. Other examples in churches of BoCREDI, LORENZO DI, born in Florence logna, as, e.g., fresco,-theAnnunciation, ceilin 1459,died there, ing of Sacristy in S. Martino Maggiore, Jan. 12, 1537. and Coronation of the Madonna, lunette, Florentine school; staircase, S. Maria del Bosco.-Malvasia, i. son of Andrea di 225; Lanzi, iii. 53; Ch. Blanc, lcole boloCredi, goldsmith; -, naise; Gualandi, 50, 126. pupil and assist- / CRESCENZIO, ANTONIO, of Palermo, ant of Verrocchio 15th century. Neapolitan school. No recat same time with! \ ords of him. His fresco, Triumph of Death, Leonardo da Vinci i\ n the court of the hospital at Palermo, is a and Perugino. fanciful production which may have been Under Verroc- suggested by that of the Campo Santo, chio's care he long laboured in copying either Pisa. The figures are thrown together withhis master's or Leonardo's sketches, with such out much regard for appropriate distribuaccuracy that Vasari says it was difficult to tion, but are drawn with great minuteness distinguish his work from the originals. of outline. It recalls the Sanseverini, to Lorenzo followed Leonardo, and was but whom, however, Crescenzio was superior.slightly affected by Perugino. His works C. & C., N. Italy, ii. 110. are all easel pictures, remarkable for careful CRESPI, DANIELE, born in Milan in execution and minute finish. His favour- 1590, died there ite subject was the Holy Family. The best in 1630. Lom- - and oldest of his altarpieces is the Madonna bardo- Milanese and St. John the Baptist in the Duomo of Pis- school; son and toja, which is strongly reminiscent of Leo- pupil of Gio. Y nardo. His Madonna, Mentz Museum, is Battista Crespi almost equally successful, as is the Holy (I Cerano); later -- Family, Palazzo Borghese, Rome. The Ma- studied under donna with Saints, Louvre; Baptism of Giulio Cesare \ Christ, Uffizi, Florence; Nativity, Florence P r o c a c c i n i; Academy; and Madonna and Virgin adoring practised the Infant Christ, National Gallery, London, maxims of the school of the Carracci and are also among became famous, but was cut off, with all his G~~y A T. the best ex- family, by the plague. Several of his pictamples of his ures, March to Calvary, Last Supper, Holy ^ G/ C XC work.-C. & C., Family, Baptism of Christ, are in the Brera; Italy, iii. 403; Vasari, ed. Mil., iv. 563, 575; others in churches in Milan, and in the CerBurckhardt, 581, 622, 855; Ch. Blanc, tfcole florentine; Liibke, Gesch. ital. Mal., i. 368; / /, ii. 37. /'/ CREMONINI, GIOVANNI BATTISTA, born at Cento (?), died in Bologna in 1610. tosa of Pavia. - Lanzi, ii. 520; Ch. Blanc, Bolgnese school. Chiefly a decorative paint- Ecole milanaise; Burckhardt, 765; Lavice, er. Painted some good historical subjects, Revue des Musees d'Italie (Paris, 1862). but is noted for his pictures of animals, real CRESPI, GIOVANNI BATTISTA, called 349 CRESPI I Cerano, born at Cerano, near Novara, in 1557, died at Milan in 1633. LombardoMilanese school; history painter,; pupil of Procaccini, then studied in Rome and Venice and settled in Milan, where he was patronised by the Duke and by Cardinal Federigo, and made member of the Academy, and em1 9VC @ 4(* JA ployed as archi~ tc4B tect, sculptor, and painter. Apart from occasional mannerism, his style is free and spirited. Works: Assembly of Franciscans; Christ crowned with Thorns (ascribed to Correggio), Berlin Museum; Christ appearing to SS. Peter and Paul, Vienna Museum; Madonna del Rosario, Brera, Milan; Baptism of St. Augustine, S. Marco, Venice. CRESPI, GIUSEPPE MARIA, called Lo Spagnuolo, born in Bologna in 1665, died there in 1747. Bolognese school; history and portrait painter; pupil of A. M Toni, D. M. Canuti, C. Cignani, and G. A. Burrini. Painted in Venice, Parma, and Modena, and executed works in Palazzo Pitti, Florence, for Grand Duke Ferdinand. Works: Holy Family, Portrait of Old Man, Palazzo Pitti; his own portrait, Uffizi, Florence; St. Stanislaus, Gesil, Ferrara; St. Anthony the Abbot, S. Niccolo, Bologna; Madonna with Saints, Bologna Gallery; Madonna, Ecce Homo, and 11 others, Dresden Museum; Weeping Nun, Munich Gallery; School, Louvre; Holy Family, Death of St. Joseph, his own portrait, Hermitage, St. Petersburg; Chiron teaching Achilles to Shoot, AEneas and Cumean Sibyl, Vienna Museum. CRESTI, DOMENICO. See Passignano. CRESWICK, THOMAS, born in Sheffield, England, Feb. 5, 1811, died at Bayswater, Dec. 28, 1869. Pupil in Birmingham of J. V. Barber; went in 1828 to London and began to exhibit Welsh and Irish scenes, and after 1840 views from North of England; became A.RA. in 1842 and RA. in 1851. His Pathway to the Village Church (1839) is in the National Gallery. Other works: Pleasant Way Home (1846), Passing Showers (1849), Wind on Shore (1850), Old Trees (1850), Mountain Lake-Moonrise (1852), Across the Beck (1864), Changeable Weather (1865).-Redgrave; Cat. Nat. Gal.; Athenaeum, 1870; Art Journal (1856), 141; Sandby, ii. 289. CRETIUS, KONSTANTIN, born at Brieg, Silesia, Jan. 6, 1814. Genre, history, and portrait painter, pupil of Berlin Academy under Wach; went in 1839 to Brussels, Paris, and Italy; in Rome until 1842, and after his return to Berlin painted a number of historical genre pictures. In 1846 Frederick William IV. sent him to Constantinople to paint a portrait of Sultan Abdul Medjid. In 1860 he became a member of the Berlin Academy, and afterwards professor. Works: Contest with the Syrinx (1836); Greek Emigrants (1836); Jacob Mourning for Joseph (1838); Ave Maria, Vintage at Ischia, Italian Beggar, Notary Public, Pettifogger (1839-42); The Savoyards, Odalisque, Siesta, Flower Festival in Genzano, Carnival in Rome, Adorning the Bride, A la bella vista, Tourists in Switzerland (1842-59); Resurrection (1859); Louis XIV. and Maria Mancini playing Chess (1859); Cromwell and the Independents; Salzburg Protestants in Berlin in 1732; Knighting of Prince Albrecht of Prussia; Order of St. John in the Schleswig-Holstein Campaign; Aiding Christians in Syria; Louis XIV. in Parliament (1870); Cromwell prevented from Embarking for America (1874); On Wedding Trip to Italy, Tourists in Switzerland (1876); Refreshing Draught (1839), Captured Cavaliers before Cromwell (1867), National Gallery, Berlin.-Brockhaus, iv. 673; Mailler, 119; Rosenberg, Berl. Malersch., 39. CREVALCORE. See Antonio da Crevalcore. CRISCUOLO, GIOVANNI FILIPPO, born at Gaeta about 1510, died in Naples in 1584. Neapolitan school; pupil of Andrea da Salerno; afterward studied with Perino 850 CRISTO del Vaga in Rome, and diligently copied the works of RaphaeL Took high rank among the Neapolitan artists, and executed many works for churches. An Adoration of the Magi and a Madonna with Saints (triptych), and a Martyrdom of St. Stephen, are in the Naples Museum. His younger brother, Giovanni Angelo (died about 1573), pupil of Marco da Siena, was also a painter of considerable talent, and left some good pictures in Naples churches.-Lanzi, ii. 23, 26; Ch. Blanc, ecole napolitaine. CRISTO DEI CAPPUCCINI See Crucifixion, Guido. CRISTO DELLA MONETA. See Tribute Money. CRISTOFORO DA PARMA. See Caselli, Cristoforo. CRISTUS, PETRUS, (Pieter Christophsen), born at Baerle near Deynze, Belgium, about 1400, died in Bruges, after 1472. Flemish school; probably pupil of Jan van Eyck, whose style he imitated. Bought freedom of Bruges, July 6, 1444, registered in guild of St. Luke in 1450, and in 1469 was one of the notables. In March, 1472, he officiated as umpire for the guild in a dispute with Pierre Constain, the ducal painter. Works: Portrait of Edward Grimston (1446), Earl of Verulam, England; Madonna and Saints (1447), Stadel Institute, Frankfort; St. Eloi and the Bridal Pair (1449), Oppenheim Gallery, Cologne; Altar wings (1452)-Annunciation, Birth of Christ, and Last Judgment (1452)-and Portrait of a Lady, Berlin Museum; Altar wingsCrucifixion, Last Judgment-Hermitage, St. Petersburg; Madonna, Turin Gallery; picture in four compartments-Annunciation, Visitation, Nativity, and Adoration of Magi -Madrid Museum; Kneeling Figure and Saint, Copenhagen Gallery; portrait of Marco Barberigo, National Gallery, London, attributed to G. van der Meire (?). -Allgem. d. Biogr., iv. 598; Biog. nat. de Belgique, iv. 505; C. & C., Flemish Painters, 135; Dohme, li.; Michiels, ii. 243, 364, 395; iii. 420; W. & W., ii. 25. CRIVELL, CARLO, born in Venice about 1430-40, died after 1493. Venetian school; pupil of Antonio and Bartolommeo da Murano, whose studio he entered probably about 1450. Settled in Ascoli; as early as 1468 began to paint exclusively in the cities of the Marches, and laboured there to the end of his days. In 1490 he was knighted by Prince Ferdinand of Capua, but this did not affect the steady exercise of his profession. He was a painter of remarkable talent, fond of elaborate detail, never careless in work, and as conscientious as he was skilful. At times he painted with the mystic feeling of Angelico, but his figures are often exaggerated in action and mannered in style. Crivelli never abandoned the system of tempera in which he had been taught, and while other artists were trying oils, worked on in the old method with great energy and success. No pictures of the period have better resisted the ravages of time than his, as numerous examples in the Brera at Milan, the Berlin Museum, the Vatican, the. Kensington Museum, the National Gallery, and Dudley House, London, testify. Among his best works are: Madonna della Rondine, Madonna with Saints (1476), Madonna and Saints (1482), Brera, Milan; Annunciation (1486), National Gallery, London; Madonna with Saints, Dud OPVS2KAROLI-CRIVELLIVNEET J ley House; and Piety, Vatican.-C. & C., N. Italy, i. 82; Burckhardt, 591; Seguier, 51; Ch. Blanc, ]&cole venitienne; Lubke, Gesch. ital. Mal., i. 519. CRIVELLI, LUCREZIA. See Belle Feronni~re. CRIVELLI, VITTORIO, Venetian school, end of 15th century. A kinsman and mediocre imitator of Carlo Crivelli; earliest effort a rudely executed picture (1481) at Fermo, latest works (1489-90) at Monte San Martino. Other paintings executed in the interval may be seen at Bologna, Palermo, Massa, Milan in the Brera, and London in 351 CROFTS the Kensington Museum.-C. & C., N. Italy, i. 96; Burckhardt, 592. CROFTS, ERNEST, born at Leeds, England, Sept. 15, 1847. Genre painter; pupil in '~~. Pi ondon of A. B. -.,, Clay, and in Dis0/y ' seldorf of E. J. Hunten. Paints chiefly military NJ /at, l subjects. Electi/ ^ \by ^ ^ ed an A.R.A. in 1878. Works: A Retreat (1874); Ligny (1875); Morning of Waterloo (1876); Ironsides returning from Sacking a Cavalier's House, Cromwell at Marston Moor (1877); Wellington's March from Quatre Bras to Waterloo (1878); Evening of Waterloo (1879); George II. at Dettingen (1881); At the Farm of Mont St. Jean-Waterloo (1882); At the Sign of the Blue Boar-Holborn, Charles I. going to Execution (1883); Wallenstein (1884).-Art Journal (1882), 22, 31; Athen., May 18, 1878. CROIZETTE MLLE., Portrait, CarolusDuran. Equestrian portrait of Mlle. Sophie Croizette, the actress. She is mounted on a black horse, head to left, and is looking full face.-Philadelphia Exhibition, 1876. CROLA, GEORG HEINRICH, born in Dresden, June 6, 1804, died at Ilsenburg in the Hartz, May 6, 1879. Landscape painter, pupil in Dresden of Klengel and studied from nature and after the Dutch masters in Dresden Gallery. Was in service of the Duke of Coburg-Gotha, in 1828-30, and then in Munich until 1840, when he settled in the Ilse Valley. Works: Great Oak Landscape; Storm on Lake Chiem; Afterglow in the Alps; The Traun Falls; On Lake Starenberg; Ammer Lake; Teutoburg Forest; Outlook from the Brocken.Kunst-Chronik, xv. 530. CROLA, HUGO, born at Ilsenburg in the Hartz, in 1841. Portrait painter, son of Heinrich, pupil of Berlin Academy; then of Disseldorf Academy under Bendemann, Karl, and Wilhelm Sohn. His portraits found great favour at the Vienna Exhibition, 1873, and Munich Exhibition, 1879. In 1877 he became professor at the Dfisseldorf Academy. Painted also genre scenes, and in 1871 an altarpiece for a church in Courland.-Miiller, 327. CROME, JOHN, called Old Crome, born in Norwich, England, Dec. 21, 1769, died there, April 22, 1821. Brought up a coach painter, formed himself by studying nature and pictures of the Dutch school. With one exception, the Blacksmith's Shop (1809), all his pictures are landscapes painted with sweetness of colour, richness of tone, and truth. He was a genuine student of nature who delighted in painting lanes, heaths, and river banks, with effects of sunlight and moonlight. Mousehold Heath, in the National Gallery, is perhaps his masterpiece. He founded the Norwich School of Arts in 1805, and may be regarded as the father of the Norwich school of landscape painting, of which Vincent, Stark, and Cotman were the leading artists. His son, John Bernay Crome (1793-1842), was an indifferent landscape painter. -Ch. Blanc, ]cole anglaise; Portfolio (1879), 33, 48. CROMWELL AND CHARLES I., Paul Delaroche, Nimes Museum; canvas. Subject from "Quatre Stuarts," of Chateaubriand. Cromwell, standing beside the coffin in which repose the remains of Charles I., has lifted the lid, and is gazing intently on the face of the dead. Salon, 1831. Engraved by Henriquel Dupont.-Clement de Ris, ii. 210; Larousse, v. 583. CROPSEY, JASPER FRANCIS, born at Rossville, N. Y., Feb. 18, 1823. Landscape painter, pupil of Edward Maury. Visited England, France, Switzerland, and Italy in 1847; went abroad again in 1855, and spent seven years in London. Elected N.A. in 1851. Studio in New York. Works in oil: Jedburgh Abbey, Pontine Marshes (1847); Backwoods of America (1857); Richmond Hill (1862); Anne Hathaway's Cottage (Edwin Booth, New York); Greenwood Lake 352 CROQUEMITAINE (1870); Lake Nemi-Italy (1879); Twilight, Old Church at Arreton-Isle of Wight (1880); Sketching in the Glen, Ramapo Valley (1881); Autumn on the Hudson River (1882); Wawayanda Valley (1883); Springtime in England (1884); Misty Morning on Greenwood Lake, Lake Thrasymene-Italy (1884); October in Ramapo Valley (1885). Water-colours: On the St. Lawrence, Wickham Pond -Florida (1884).-Manhattan Mag., April, 1884. CROQUEMITAINE, BAGAGE DE, Timol6on Lobrichon, canvas. Croquiemitaine is one of the legendary monsters with whose name nurses frighten children. The picture represents a basket with four children packed ready for departure, and a fifth sitting beside it.-Engraved by L. Massard. CROSS, DEPOSITION FROM. See Descent from Cross. CROSS, DESCENT FROM. See Descent from Cross. CROSS, DISCOVERY OF, Garofalo, Ferrara Gallery; wood, H. 10 ft. 5 in. x 5 ft. 11 in. The finding of the cross by St. Helena, mother of Constantine the Great. A rich composition of figures with a landscape background; above, a glory of angels. Painted in 1536 for S. Domenico, Ferrara. -Vasari, ed. Mil., vi. 465. By Tintoretto, S. M. Mater Domini, Venice. A carefully-painted and attractive picture, but by no means a good specimen of the master, as far as regards power of conception. Ruskin, Stones of Venice, iii. 312; Ridolfi, Marav., ii. 212. CROSS, ELEVATION OF. See Elevation of Cross. CROSS, JOHN, born in Tiverton, England, in 1819, died in London, Feb. 26, 1861. History painter, pupil of Picot in Paris. His Clemency of Richard Coeur de Lion gained the first premium of ~300 in the Westminster Hall competition in 1847, and was bought by the royal commissioners for ~1,000; and his Assassination of Thomas 'i Becket (1843) is in Canterbury Cathedral. CROSS, MIRACLE OF, Gentile Bellini, Venice Academy; canvas, H. 10 ft. 6 in. x 13 ft. 9 in.; signed, dated 1500. A relic of the true cross, borne in procession, is lost in the water while crossing a bridge; many seek it in vain, but it is at last found by Doge Andrea Vendramin; Catherine Cornaro, exQueen of Cyprus, and her suite, are among the kneeling spectators on the left; the foremost one of the kneeling group in front, to right, is said to be the painter himself. From Scuola di S. Giovanni Evangelista.C. & C., N. Italy, i. 132; Zanotto, Pinac. Accad., P1. 40; Burckhardt, 594. By Giovanni Mansueti, Venice Academy; canvas, H. 10 ft. 6 in. x 15 ft. The relic of the cross, carried in procession (1474) at the burial of one who had doubted its miraculous powers, is arrested by an invisible force, and its bearers have to procure another one from a neighbouring chapel. Scene, a canal fringed by buildings and crossed by a drawbridge; the spectator at left, with a scroll in his hand, is supposed to be the painter himself. Painted in 1493 for Scuola di S. Giov. Evangelista.-C. & C., N. Italy, i. 220; Zanotto, Pinac. dell Accad. Venez., P1. 28; Burckhardt, 599. CROSS, PROCESSION OF, Gentile Bellini, Venice Academy; canvas, H. 11 ft. 10 in. x 24 ft. 4 in.; signed, dated 1496. The procession of the brethren of S. Giovanni Evangelista, bearing the relic of the cross, has issued from the portal between S. Marco and the Pal. Ducale, and is proceeding up the Piazza di S. Marco; Giovanni Salis, a merchant of Brescia, kneels near the shrine of the relic, and by making a vow to the cross causes the healing of his son in Brescia. Painted for the Scuola di S. Giovanni Evangelista. The most important extant work of the Venetian school previous to the advent of Titian.-C. & C., N. Italy, i 129. CROSS, VISION OF. See Constantine. CROWE, EYRE, born at Chelsea, Oct., 1824. Genre painter, pupil in Paris of Paul Delaroche, whom he accompanied to Rome in 1843; entered schools of Royal Academy, London, in 1844, and exhibited 353 CROWNINSHIELD his first picture, Prynne searching the Pock- ham Beaches (1878); Marat, Execution of ets of Laud in the Tower, in 1846; elected the Duc d'Enghien-1804 (1879); Forfeits an A.RA. in 1876. Works: Milton visiting (1880); Explosion of the Cashmere Gate at Galileo in Prison Delhi, Sandwiches, Sir Roger de Coverley at (1859); Swift read- Westminster Abbey (1881); Defence of Loning a Letter from don-1643, How Happy could I be with Stella, Boswell's Either (1882); Market Place-Evesham, Introduction to Old Porch at Evesham (1883); School at the the Club (1860); Aitre St. Maclou-Rouen, Fish MarketVirginia Slave Sale, Rouen (1884).-Art Journal (1864), 205. Bar b er's S h op CROWNINSHIELD, FREDERIC, born (1861); De Foe in in Boston, Mass.; contemporary. Figure I/ the Pillory (1862); painter; pupil of Rowbotham in London, Burial of Goldsmith (1863); Luther post- Benouville in Rome, and of Cabanel, Couing his Theses (1864); Charles IL knighting ture, and the Rcole des Beaux Arts in Paris. Exhibited his first picture,, s- __:.=-E~ X; 3y ^: f - -- a portrait group, in the...ld-f.M.....ality"-:_ ~~]* Paris Salon of 1878. StuBed ~ MadsSho 17)acuayik h aansedio in Boston. wor_ ms A, Pr-aZ) ):-yerr (87 S'_hoo. e a CRUCHE CASSPE. See ~., Broken Pitcher. ~S ': " -., - CRUCIFIXION, (Fr. ' i -'\, Cruciflement; Ital. Crocifissione; Sp. Crucifixion; >~4~4~ Omrnar~ Ger. Die Kreuzigung); N~ ~ ~~~I,~ the scene i*nmediately succeeding the Elevation of the Cross. By Antonello da Messina, Antwerp Museum; wood, H. 1 ft. 11 in. x l ft. 4 in. Christ on the cross be\ tween the two thieves; at left, the Virgin, seated; at w or right, St. John, kneeling. - -Kugler (Eastlake), ii. 320; C. & C., Flemish;Ii1 - Painters, 235. By Lucas Cranach, Stadtkirche, Weimar; H. 11 ft. 6 in. x 9 ft. 11 in. Christ on cross, with St. Crucifixion, Lucas Cranach, Stadtkirche, Weimar. John Baptist (portrait of the Loin of Beef (1867); The Vestal (1870); the artist) on right, calling to it the attention Old Mortality (1871); Out of School (1872); of Luther and Melancthon, who stand beside Sheep-Shearing Match (1875); Darning Day, him; on left, Christ triumphant over Satan, Red Maid's School (1876); Sanctuary, Silk- who is again seen in middle distance driving worms, Prayer (1877); School Treat at Burn- sinners into the fire. Upon the wings are 854 CRUCIFIXION. the Elector John Frederick and his family. Painted in 1555. Considered Cranach's finest work.-Kugler (Crowe), i. 192; Schuchart, ii. 240; Firster, x. By Gheerardt David, Berlin Museum; wood, arched, H. 4 ft. 7 in. x 3 ft. 3 in. Christ on the cross, bewailed by the Marys, the Magdalen, and John Evangelist. The figure of Christ is a facsimile of that in the baptism of Christ, painted for Jean des tioner, and on the further side of the cross, two spectators. Painted about 1627 for Ch. of the Recollets, at the suppression of which transferred to the Cathedral; carried to Paris and returned in 1815. Engraved by Van den Wyngaerde; Bolswert; J. J. Van den Berghe; C. Normand.-Smith, iii. 1; Guiffrey. By Cornelis Engelbrechtsen, Leyden Museum. Large altarpiece with many figures, Crucifixion, Andrea Mantegna, Louvre, Paris. Trompes. Formerly in Solly Collection.- and wings representing Abraham's Sacrifice C. & C., Flemish Painters, 307. and the miracle of the Brazen Serpent; in By Anton van Dyck, Mechlin Cathedral; the predella, Restoration of Mankind by the canvas, H. 13 ft. x 9 ft. The Saviour upon Atonement of Christ. the cross, between the two thieves, has just By Guido Reni, Bologna Gallery; canvas. expired; the sun is veiled and gloom obscures The Virgin and St. John beside the cross. the heavens; on the right, theVirgin; behind One of Guido's finest creations. Formerly her John and Mary the mother of James, on high altar of the Cappuccini, whence and at the foot of the cross the Magdalen; called Cristo dei Cappuccini.-Kugler (Easton the opposite side, a mounted soldier lean- lake), ii. 580. ing on the pommel of his saddle, and look- By Andrea Mantegna, Louvre, Paris; wood, ing fixedly at Christ; on his left an execu- H. 2 ft. 2 in. x 3 ft. Christ on the cross be355 CRUCIFIXION. tween the two thieves; at left, St. John and the holy women; at right, soldiers playing dice and two others mounted; in background, Jerusalem and rocks. Fragment of predella of altarpiece of S. Zeno, Verona; two other parts in Tours Museum. Engraved'by G. Maina.-Villot, Cat. Louvre. By Gerard Van der Meire, S. Bavon, Ghent; triptych. Centre panel, the Crucifixion; wings, Moses striking the Rock, and the Brazen Serpent. Remarkable for number of figures introduced, but not for skilful distribution. -C. & C., Flemish Painters, 147; Kugler (Eastlake), i. 88. By Murillo, Hermitage, St. Petersburg; canvas, H. 3 ft. 3 in. x2 ft. Christ suspended on the cross, at the foot of which, at left, stand St. John and the Virgin; at right, St. Mary Magdalen, kneeling, looking front, embracing the Saviour's feet; in background, the towers of Jerusalem. From Houghton Gallery; appraised at ~150. Repetition, with changes: Mr. Spannocchia, New York. -Curtis, 201; Houghton Gal., i. 46. By Raphael, Earl Dudley, London; wood, H. 8 ft. 6 in. x 5 ft. 7 in.; signed. Christ on a high cross, with an angel in the air on each side, collecting in a vase the blood from his wounds; above the cross, both the sun and the moon; below, on right the Virgin standing and St. Jerome kneeling, on left Mary Magdalen kneeling and St. John standing. Not distinguishable from Perugino's work, but certainly by Raphael; painted about 1500 for Cappella Gavri or Gavari in Dominican church at Citta di Castello, whence sold, about 1800, for 4,000 scudi; passed to Fesch Collection, whence bought, in 1845, for 10,000 scudi by Prince Canino, who sold it in 1847 to Lord Ward, now Earl Dudley. Engraved by L. Gruner for German edition of Passavant.-Vasari, ed. Mil., iv. 318; Passavant, ii. 9; Waagen, Treasures, ii. 232; C. & C., Raphael, i. 119, 135; Rossini, P1. ccxii. By Rubens, Antwerp Museum; canvas, H. 14 ft. x 10 ft. 2 in. The three crosses on Calvary at evening; the Saviour, who has yielded up the ghost, has bowed his head upon his breast; on his right, the believing malefactor; on his left, the other having his legs broken by the executioner; on the right, two soldiers on horseback, one of whom is piercing the Saviour's side with a spear, while Mary Magdalen, at the foot of the cross, looks at him with horror; in front, the Virgin, Mary wife of Cleophas, and St. John. Sir Joshua Reynolds calls this the most carefully finished of all Rubens' works, and one of the first pictures in the world. Presented to Church of the Recollets, Antwerp, in 1620, by Nicolaas Rockox, burgomaster. Carried to Paris; returned in 1815. Engraved by Bolswert; Aubert; Val. Green. -Smith, ii. 13; Beechey, Reynolds, ii. 177. By Tintoretto, S. Cassiano,Venice; canvas. The three crosses on right; centre occupied by executioners, one of whom, standing on a ladder, receives from the other the sponge and the tablet; the Virgin and St. John at left; in background, a group of Roman soldiers. An excellent picture, not often surpassed by the master.-Ruskin, Stones of Venice, iii. 289. By Tintoretto, SS. Giovanni e Paolo, Venice; canvas, H. about 12 ft. x 15 ft. "A picture of about fifty figures, not one of which injures or contends with another. As a piece of colour, and light and shade, it is altogether marvellous."-Ruskin, Stones of Venice, iii. 305. By Tintoretto, Scuola di S. Rocco, Venice; canvas, signed and dated 1565. Covering the whole of one wall of the Sala dell' Albergo. Ruskin says it is beyond all analysis and above all praise. Tintoretto was paid 280 ducats for this work, and was made member of the confraternity, with commission to adorn the Church and the Scuola with pictures. Engraved by Agos. Carracci (1589).-Ruskin, Stones of Venice, iii. 353; Ch. Blanc, &cole venitienne; Zanotto, 449; Bartsch, xviii. 51. By Titian, S. Domenico, Ancona; canvas, arched on top, figures life-size. Christ on the cross, at foot of which are St. Dominic, 356 CRUIKSHANK St. John Evangelist, and the Magdalen. Painted in 1562-3. Much injured and repainted.-C. & C., Titian, ii. 328. Subject treated also by Vincenzo Foppa the elder, Bergamo Gallery; Jacopo degli Avanzii, Palazzo Colonna, Rome, Bologna Gallery; Albrecht Altdorfer, Augsburg Gallery, Nuremberg Gallery; Hans Holbein, the elder, Augsburg Gallery; Pietro Perugino, Villa Albani, Rome; Albrecht Durer, Dresden Gallery; Francesco Francia, Bologna Gallery, Louvre; Francesco Bonsignori, Verona Gallery; Luca Signorelli, Florence Academy; Alesso Baldovinetti, Florence Academy; Filippo Lippi, Stadel Institute, Frankfort; Alonso Cano, Academy of S. Fernando, Madrid; Giacomo Cavedone, Galleria Estense, Modena; Pierre Subleyras, Brera, Milan; Bernardo Gatti, Naples Museumn; Rubens, Munich Gallery; Cornelis Engelbrechtsen, Munich Gallery; Master of Lyversburg Passion, Museum Wallraf-Richartz, Cologne; Lucas Cranach, Munich Gallery; Leandro Bassano, Berlin Museum; Sacchi di Pavia, Berlin Museum; Michael Wohlgemuth, Munich Gallery, Nuremberg Gallery; Goya y Lucientes, Madrid Museum; Andrea da Solario, Louvre; Martin van Heemskerck, Hermitage, St. Petersburg; Marten de Vos, Uffizi, Florence, Antwerp Museum; Garofolo, Brera, Milan; Gabriel Max, Mr. Lehmann, Prague; and many others. CRUIKSHANK, GEORGE, born in London, Sept. 27, 1792, died there, Feb. 1, 1878. Genre painter and illustrator, son and pupil of Isaac C., caricaturist (1756-1811); began as a book illustrator and etcher, designing many illustrations for Egan's Life in London, Grimm's Fairy Tales, Dickens's earlier works, and numerous periodicals. Also published several series of prints, such as Points of Humour, Morning in Bow Street, The Bottle, Sunday in London, etc. In his later years he exhibited works in oil at the British Institute and the Royal Academy, among them being Tam O'Shanter, Titania and Bottom, Cinderella, and the Worship of Bacchus (H. 7 ft. 8 in. x 13 ft. 3 in.), the last a com position of several hundred small figures, now in the National Gallery. Robert Isaac C. (died 1856), designer in water colours, was his brother.-Cat. Nat. Gal; Redgrave; C. Carr, Essays, 223; Portfolio (1872), 77. CRUSADERS BEFORE JERUSALEM, Wilheln von Kaulbach, New Museum, Berlin; mural painting, staircase. On a hill before Jerusalem, which is seen in background, a group of soldiers, bishops and priests; on second hill, to right, Godfrey de Bouillon holding up a crown before army of Crusaders, among whom are seen Bohemond and Tancred; above, in clouds, Christ and the Virgin, with martyrs; in foreground, Peter of Amiens praying; behind him, penitents, minstrels, etc. CTESICLES, painter, of Asia Minor, about 300 B.c. Failing to gain the favour of Queen Stratonice, he revenged himself by painting her with a fisherman, her reputed lover, put the picture on exhibition in Ephesus and made his escape by sea. But the Queen considered the likenesses so excellent that she forbade the removal of the painting.-Pliny, xxxv. 40 [140]. CTESIDEMUS, Greek painter, master of Antiphilus, about 376 B.C. Pliny mentions among his works the Capture of CEchalia and Laodamia.-Pliny, xxxv. 40 [138]. CTESILOCHUS, Greek painter, pupil of Apelles, famous for a burlesque picture of the birth of Dionysus from the thigh of Zeus.-Pliny, xxxv. 40. Perhaps identical with Ctesiochus, brother of Apelles, mentioned by Suidas (Apelles, V.). CUEVAS, PEDRO DE LAS, born in Madrid in 1568, died there in 1635. Spanish sclool; a mediocre painter, best known through the fame of his scholars, among whom were Juan Carrefio, Antonio Pareda, Jose Leonardo, and Francisco Camilo. His son Eugenio, another pupil, was a painter of no great merit. Pedro is said to have died of grief because he was not appointed painter to the King on the death of Gonzales.-Stirling, i. 435. 357 CUISINE CUISINE DES ANGES. See Diego, St., of Alcala. CUMMINGS, THOMAS SEIR, prominent in the early part of the century as a miniature painter. He was one of the founders of the National Academy, New York, an early vice-president, and its treasurer in 1840-45. He painted the portraits of some of the most distinguished men of his time. CUPID, Donlenichino, Hermitage, St. Petersburg; canvas. Standing on a pedestal, inscribed "Amor," leaning on a bow, and holding in right hand an arrow with point directed toward his heart. Old copy, attributed to Elizabetta Sirani, Vienna Museum. Engraved by Joubert (Collection Coesvelt, 23). CUPID ASLEEP, Michelangelo da Caravaggio, Palazzo Pitti, Florence; canvas, H. 2 ft. 3 in. x 3 ft. 3 in. Sleeps, with head on quiver; holds bow and arrow in hand; landscape background. Engraved by Marucci; T. Verkruys.-Gal. du Pal. Pitti. CUPID, EDUCATION OF, Correggio, _.. Education of Cupid, Correggio, National Gallery, London. National Gallery, London; canvas, H. 5 ft. 1 in. x 3 ft. Mercury, seated in a landscape, teaches Cupid to read; a winged nude Venus stands beside him. Painted about 1522-25; came from Gonzaga Collection, Mantua, to Charles I. of England, and sold, after his death, for ~800; later possessed by Duke of Alva, and by Don Manuel Godoy, from whose collection taken by Murat in French invasion and carried to Naples; sold by ex-queen of Naples to Marquis of Londonderry, and by him (1834) to Natibnal Gallery, together with the Ecce Homo of Correggio, for ~11,500. Damaged by repainting. Several copies, one at Sans Souci, another in Paris. Engraved by Le Villain; Arnold de Gode.-Meyer, Correggio, 340,492; Kilnst. Lex., i. 438; Landon, viii. P1. 58; Waagen, Treasures, i. 327; Kugler (Eastlake), ii. 505; Richter, 63. See also Venus equipping Cupid. CUPID AND PSYCHE, Wilhelm von Kaulbach, Mrs. A. T. Stewart, New York; canvas. Psyche, nude, reclining on a bank of flowers and ferns, lifts one foot and stretches the drapery across her lap as she awakes under the kiss of Cupid. A band of musical genii hover in the air, left; background, right, a woody glade. Photogravure in Art Treasures of America, i. 40. See also Psyche. CUPIDS DISARMED, Francesco Albani, Louvre; canvas, H. 6 ft. 6 in. x 7 ft. 10 in. The nymphs of Diana surprise and disarm Cupids asleep in a forest; in background, to left, Callisto and a companion; above, Diana in clouds. Collection of Louis XIV. Engraved by Baudet; B. Audran.-Landon, Musee, 2d Col., iii. P1. 63. CURIA, FRANCESCO, Cavaliere, born in Naples about 1538, died there about 1610. Neapolitan school; pupil of Gio. Fillippo Criscuolo and of Leonardo da Pistoja; afterwards studied works of Raphael in Rome. Acquired a great reputation in Naples for his noble style of composition and natural colouring. Executed works for many churches in Naples, where most of his pictures are. See also Death of St. Francis, sustained by an angel, Turin Gallery.Lanzi, ii. 23; Ch. Blanc, Icole napolitaine. 358 CURRADO CURRADO, FRANCESCO, born near Florence in 1570, died in Florence in 1661. Florentine school; history painter, pupil of B. Naldini; after working for churches in Florence, went to Rome, where he painted several pictures for the King of Portugal, who sent him the Order of Christ. Settled in Florence, where he brought up many pupils. Works: St. Francis Xavier preaching in India, S. Giovannino, Florence; Narcissus, St. Catherine, Palazzo Pitti, ib.; Magdalen, Martyrdom of St. Thecla, his own portrait, Uffizi, ib.; Abraham receiving the Angels, Vienna Museum. His brothers Pietro and Cosimo were his pupils and followers. CURTI, GIROLAMO. See Dentone. CURZON, PAUL ALFRED DE, born at Moulinat, near Poitiers, Sept. 7, 1820. Landscape and genre painter, pupil of Drolling and Cabat. Won second prize for historical landscape at the ecole des Beaux Arts in 1849. Is highly esteemed, especially for his genre pictures. Has also tried water-colour and lithography. Medals: 2d class, 1857, 1859, 1861, and 1863; 3d class, 1867; 2d class, 1878; L. of Honour, 1865. Works: Hops (1845); The River Clain, Auvergne, The Loire (1846); Water Spirits, Beranger's Fates (1848); Beside the Water (1849); Democritus Meditating, Ruins of Paestum, View of Terracina, Acropolis of Athens (1852); The Cephisus (1855); Dante and Virgil on Shores of Purgatory, Blind Greeks, Women of Piscinisco, An Albanian Woman (1857); Psyche (1859), Luxembourg Museum; Tasso at Sorrento, Near Foligno, Near Civita-Castellana (1859); Neapolitan FlowerGirls, In the Woods, Pilgrims halting at Subiaco, Family of Fishermen in Capri, The Illissus and Ruins of Temple of Jupiter at Athens (1861); Ave Maria, Galinaro's Granddaughter, Vesuvius (1863); Vintage at Procida, Ruins of Roman Bridge near the Walls of Nami (1864); Consoling Angel, Torrent in the Apennines (1865); Dream in the Ruins of Pompeii (1866); Dominicans decorating their Chapel (1867), Ostia (1868), Luxembourg Museum; The Prophetess, Coast of Sorrento, The River Clain at Poi. tiers (1869); Birth of Homer, The Ocean (1870); Harbour of Toulon, Moulibres River near Toulon (1872); A River (1873); First Portrait; Serenade in the Abruzzi (1874); Triptych, or 3 Scenes from the Life of Ruth (1875); Ruins of Temple of Jupiter near Athens, View from Summit of the Acropolis (1876); Graziella, Ruins of Aqueducts on the Roman Campagna (1877); Near Public Well at Amalfi, Ruins of the Acropolis of Athens in 1852 (1878); Stairs of Atrani at Ravello, Lake Avezzano (1879); Girl and her Guardian Angel, Garden near Nimes (1880); Erechtheum at Athens (1881); View of the Sea and Capri, Coast of Provence near Toulon (1882); Acropolis and Campagna of Athens, Foot of Mount Taygetus (1883); Banks of the Teverone-Roman Campagna, Environs and Bay of Athens (1884); View in Black Forest (1885).-Larousse; Gaz. des B. Arts (1869), 510. CUTHBERT, ST., Ernest Duez, Luxembourg Museum; canvas, triptych, H. 10 ft. 8 in. x 23 ft. Cuthbert, a shepherd in the Valley of the Tweed, was educated in a monastery, and became a noted preacher. He lived on Lindisfarne, or Holy Island, off the coast of Northumberland, where he supported himself by his own labour and was miraculously fed. Finally became Bishop of Lindisfarne and built there a monastery, destroyed by the Danes in 900. The middle part of the picture represents him in his bishop's robes. Salon, 1879. CUYLENBORCH (Cuylenburg, Kuylenburg), ABRAHAM VAN, died after 1664. Dutch school; landscape painter in the manner of Poelenburg; master of Utrecht guild in 1639. Works: Grotto with Diana and her Nymphs, Hague Museum; Landscapes with similar Subject (1646, 1647), Brunswick Gallery; do. (1660), Cologne Museum; three (1643, attributed to Breenbergh), Mannheim Gallery; two (1640, 1647), Schleissheim Gallery; two (1644, 1646), Schwerin Gallery; one (1664), Copenhagen Gallery; two, Borghese Gallery, Rome; CUYP others in Aschaffenburg, Prague, Innsbruck, Portrait, National Gallery; 4 Landscapes, and Pesth Galleries, Fitzwilliam Museum, Bridgewater Gallery; 5 do., Grosvenor GalCambridge.-Archief v. Nederl. K., ii. 75; lery; 5 do., Duke of Bedford; 9 do., Buckingham Palace, London; 18 do., Dulwich ~ r / Gallery, Dulwich; Landscape, Starting for ~^_r cO~t^ a Ride, The Ride, Marine View, Male portraits, Group of Children, Louvre; Shep/^. & 6 ^ herds with Flocks, Cavalry Fight, Cock I * /6~140 6 Fight, View of Dordrecht, do. near Dordrecht, Rustic Amusement, Cattle, MounBode, Studien, 327; Riegel, Beitrage, ii. tainous Landscape, male portrait, National 192. Museum, Amsterdam; Two Children with CUYP (Kuyp), AELBERT, born at Dor- a Lamb, Cologne Museum; Landscapes with drecht in Oct. Cattle (5), Berlin Museum; Horseman hold//A-x > 16 2 0, d i e d ing Horse, Cock and Hen, Old Pinakothek, ] L *I A \ there, buried Munich; Hunting Scene, portrait, Dresden Uck. ~ Nov. 6, 1691. Gallery; Cows (2), Vienna Museum; LandDutch school; scape, portraits wAS})a landscape, ani- of himself and ~ As ramal, and ma- family, Buda- <\ '7 i/./ > rine painter; Pesth Gallery; u p ^/.):, A son and pupil Moonlight at t I A/x' of Jacob Ger- S e a,... ~/) z sritsz C u y p. S e a A C W4 A Cory Lived many years at Dordwijk, near Dor- w i t h drecht, where, as vassal of the countship of Boats, Holland, h hhad the right to sit in the Su- Cows and Water (4), Horses and Cows (3), preme Court of Justice. His name was pre- Hermitage, St. Petersburg. - Allgem. d. sented to the Stadtholder William III., in Biogr., iv. 666; Kugler (Crowe), ii. 459; 1672, as a nominee for membership in the Dohme, lii.; Ch. Blanc, Ecole hollandaise. regency of Dordrecht. In his early years CUYP, JACOB GERRITSZ (Jan Gerrithe painted still life, birds, stables, some- sen), born in Dordrecht in 1575, died after times portraits, signed A. C.; later, figures, 1649. Dutch school; portrait and animal cattle, views of meadows, and winter scenes, painter, pupil of Abraham Bloemart. signed with his whole name. Out of the 336 Founded, in 1642, with Izak van Hasselt, pictures by this celebrated painter, at least Cornelis Tegelberg, and Jacques Grief, a 200 are in England, where he is deservedly guild of St. Luke in Dordrecht. He beheld in very high esteem for his peculiar longs to that prominent group of masters qualities. In the treatment of atmospheric like Ravesteyn, Hals, Bramer, who as true effects, whether of morning, noontide, or interpreters of nature led Dutch art to the sunset, Cuyp has no rival save Claude, whom high development culminating in the genius he even surpasses in his power of diffusing of Rembrandt. Works: Family Picture, a glow of light throughout the limits of a Amsterdam Museum; Three Children (1635), canvas. This remark applies only to the An Officer (1644), Female Portrait (1644), landscapes of his later time, for in those of Rotterdam Museum; Male and Female Poran earlier period a hardness of outline, heavi- trait (1649), Metz Museum; Landscape with ness of tone, and deficiency of aerial perspec- Cattle, Old Pinakothek, Munich; Portrait tive are perceptible. Works: 7 Landscapes, of an Old Woman (1624), Berlin Museum; 360 CYCLOPS Portrait, Stadel Gallery, Frankfort. His 'thing. One day, in passing through a wood, nephew, Benjamin Cuyp (1608-about 1690), he discovered a most beautiful damsel painted t e asleep, with two maids and a man-servant historical t also sleeping at her feet. At this sight love subjects pierced his heart, and led to such a change and genre. i ji i An his character that in four years he became -Kugler YV ~ V *0 the most accomplished gentleman in Cyprus, (Crowe), 354; A. * and, after various adventures, wooed and ii. 354; 7JX. Clah y 4 eC(T won Iphigenia for his wife. Royal AcadeDohme, I / my, 1884.-Art Journal (1884), 129. lii.; Vossmaer, 465. By Sir Joshua Reynolds, Buckingham PalCYCLOPS, MODERN, Adolf Menzel, Na- ace, London; canvas, H. 4 ft. 7 in. x 5 ft. tional Gallery, Berlin; canvas, H. 5 ft. x 8 7 in. Iphligenia, nearly nude, lies asleep on ft. 3 in.; signed, dated 1875. Scene in a drapery in the wood; in background, Cymon, rolling-mill at Laurahiitte, Silesia. Five led by Cupid, leans upon a staff gazing upon workmen are busy around a loop placed on her in wonder-stricken admiration. Painted the first roller; in middleground, machinery and cranes, with many work- - F \ men; in background, left, a blast furnace and more workmen; in foreground,. right, three workmen eat- / /I\: ' ing their meal, brought by ', I4 CI.. a young girl. CYDIAS, Greek painter 'y of Cythnus, about 364 B.c. C. 4 His picture of the Argo- -' ~ nauts was bought for 144,-\ l D A-'-, 000 sesterces by the orator Hortensius, who had a building erected for it on his estate at Tusculum. \ (Pliny, xxxv. 40 [130].) v,..= This painting is supposed __ -— _~___ to have been removed by g rippa to the Portico of Cymon and Iphigenia, Sir Joshua Reynolds, Buckingham Palace, London. Agrippa to the Portico of Neptune. (Di. Cass. L. iii. 27.) Cydias is in 1789. Presented to George IV. by the mentioned by Theophrastus (De Lap. 95) as painter's niece, the Marchioness of Thothe discoverer of minium (red lead, or ver- mond. Engraved by S. W. Reynolds.milion). Waagen, Treasures, ii. 24. CYMON AND IPHIGENIA, Sir Frederic Subject treated also by Cornelis ComeLeighton, Fine Arts Society, London. Scene liszen, Hermitage, St. Petersburg; Rubens, from Boccaccio's Decameron, Novel I, Fifth Vienna Museum. Day. Cymon, son of Aristippus, a gentleman CZACHORSKI, VLADISLAV VON, of wealth and rank in Cyprus, though excel- born at Lublin, Poland, Sept. 22, 1850. ling in stature and comeliness, was almost Genre painter; studied first in Lublin and a natural fool, and could not be taught any- Warsaw, then at Dresden Academy under 361 CZERMAK Anschtitz and Wagner, and finally in Munich under Karl von Piloty; settled in Warsaw. Works: The Reading (1872); Entrance into Convent (1873); Hamlet and the Actors (1879).-Mlller, 121; Illustr. Zeitg. (1874), i. 311. CZERMAK (cermak), JAROSLAV, born in Prague, Sept. 1, 1831, died in Paris, April 23, 1878. History and genre painter; pupil of Prague Academy under Ruben, of Antwerp Academy under Wappers,where he won the first prize, then in Brussels the only pupil of Gallait. Having formerly visited Munich and Dtlsseldorf, he travelled in 1850 through Holland, studied for some time in Normandy, then settled in Paris, where he completed his studies under Robert-Fleury, and won fame and wealth, passing his summers in the village of Roscoff, Brittany. Visited Moravia, Hungary, and the southern Slavic countries in 1858, Dalmatia and Montenegro again in 1862 and 1863. Medals: Paris, 2d class, 1861; medaille unique, 1868; L. of Honour, 1876; great gold medal, Brussels, 1855; Rouen, 1865; Order of Leopold, 1868. Works: Dalibor in Prison, Sentence of Conradin of Suabia and Frederic of Baden (1844); Marius on the Ruins of Carthage (1847); Slovak Emigrants (1849), King of the Belgians; Huss and Procop the Bald entering Council of Basle; Defence of a Pass by Taborites; 2iska and Procop reading the Bible; Poet Lomnicky as Beggar on the Bridge of Prague (1852), Czernin Gallery, Vienna; Frederic the Winterking receiving News of lost Battle at White Mountain (1852); Norman Fishermen reading the Gospel; Episode in Counter Reformation in Bohemia (great gold medal, Brussels); Workmen on Highroad to the Coast (1854); Old Jewish Cemetery at Prague, Scene in Thirty Years' War, Girls by a Church (1858); Abduction of Herzegovinian Women by Bashi-Bazouks (1868); Episode in Montenegrine War of 1862, Hunting and Fishing at Roscoff (1873); Herzegovinian Girl leading Horses to Watertrough, Meeting in the Mountains-Montenegro (1874); Episode in Siege of Naumburg (1876); Herzegovinians returning to their Village sacked by Bashi-Bazouks (1877); Dalmatian Chieftain mortally wounded; Episode in Massacre in Syria, T. A. Havemeyer, Jaroslav 'ermalc Iae New York.-Art Treas. of Amer., i. 135; N. illustr. Zeitg. (1878), ii. 702; Wurzbach, ii. 321; xi. 386. ABOUR, JOHN, born in Smyrna, Turkey in Asia, in 1837. Portrait painter, pupil in Paris of icole des Beaux Arts and of Jeanron. Studio in Baltimore, where he has resided many years. Among his portraits are those of Senators Cameron and Davis, Gov. Groome of Maryland, and Bishops Spaulding and Purcell. He exhibited in the National Academy, New York, in 1879, A Nymph. DADDI, BERNARDO, died in 1380. Florentine school; follower of Giotto. Vasari calls him a pupil of Spinello, but this is inconsistent with the only dates of his life. He was admitted into the Apothecaries' Guild in 1320, and was a member of the Company of St. Luke in 1349. If, as Milanesi suggests, Daddi painted (1346-47) the Madonna of Orcagna's tabernacle at Or San Michele, he has been greatly underrated. The only extant frescos by him are in the chapel of S. Stefano de Pulci in S. Croce, Florence. They show the weakness of an artist of a low order, but with some knowledge of the laws of composition as known to most of the inferior Giottesques. A small Madonna by him, signed Bernardus de Florentia, is in the Florence Academy.-C. & C., Italy, ii. 6; Ltlbke, Gesch. ital. Mal., i. 154; Vasari, ed. Mil., i. 463, 673, N. 2; W. & W., i. 454. DAEGE, EDUARD, born in Berlin, April 10, 1805, died there, June 6, 1883. History painter, pupil of the Berlin Academy under Niedlich, then of Wach; visited Italy in 1832-33, painted afterwards many altar 362 DAEL pieces for churches, and assisted in 1845-52 in the frescos in the royal chapel, Berlin. Member of Academy in 1838, professor in 1840, vice-director in 1861-75. Member also of Vienna Academy. Works: St. Paul (1825); Invention of Painting (1832), Sacristan with Host (1837), National Gallery, Berlin; The Parcae, Woman and Child, Raczynski Gallery, ib.; Initiation of Nun; Shelter at the Altar, Charitable Monk (1836); Holy Water, Roman Woman and Child./L2 3o. L0o Brockhaus, iv. 769; MUller, 122; Rosenberg, Berl. Ma]ersch., 28. DAEL, JAN FRANS VAN, born in Antwerp, May 27, 1764, died in Paris, March 20, 1840. Flemish school; flower and fruit painter, pupil of the Antwerp Academy; went, in 1786, to Paris and received many orders from the Empresses Josephine and Marie Louise, the Emperor Napoleon, and Louis XVIII. and Charles X. Two gold medals, and in 1825 Legion of Honour. Works: La Croisee; Three Flower Pieces (1816,1819,1823), Louvre; Bouquet of Roses (1811), Rothan Gallery, Paris; Tuberoses, Basket of Flowers, Lyons Museum; Flora's Offering (1807), Spring Flowers (1808), two others, Leuchtenberg Gallery.-Biog. nat. de Belgique, iv. 628; Michiel, x. 574. DAFFINGER, MORIZ MICHAEL, born in Vienna, Jan. 25, 1790, died there, Aug. 22, 1849. Portrait painter; first apprenticed in the imperial porcelain factory, he entered the Vienna Academy under Figer, and then gave himself up to the painting of miniature portraits, chiefly on ivory, which he carried to great perfection under the influence of Lawrence, who was in Vienna during the Congress of 1815. Works: Portraits of Due de Reichstadt, Archduchess Sophie and Chil dren,in possession of Imperial family; Prince Metternich and Family; Famous Contemporaries, in possession of Metternich family; Fauna Austriaca,Vienna Academy.-Allgem. d. Biogr., iv. 689; Andresen, iv. 91; Brockhaus, iv. 769; Wurzbach, iii. 127. DAGNAN, ISIDORE, born in Marseilles in 1794, died in Paris, Nov. 8, 1873. Landscape painter; painted chiefly views of Southern France, Italy, and Switzerland. Medals: 2d class, 1822; 1st class, 1831; L. of Honour, 1836. Works: Roman Girls listening to a Shepherd (1819); Lake of Geneva (1822), Grand Trianon; Lausanne (1822), Fontainebleau; View in Dauphin6 (1827), ib.; View of Paris (1831); Sea View at Marseilles (1833), formerly in Luxembourg; View of Dinan (1836); Valley of Lauterbrunnen (1841); Bridge of Nice (1843); View of Avignon (1845), Ministry of Interior; Lake of Geneva, Banks of Aar, Old Oak at Pharamond (1857); Forest and River, Ravine at Montreux, Road to Battigny (1859); Beech Woods on Banks of Stream, Road from Paris to Fontainebleau (1864); Forest, Petrarch's House (1865); Road from Pierrefonds to Battigny, Baden-Baden (1866); Queen Blanche's Oak at Fontainebleau, New Road in the Solle Valley (1869); Cross-Road from Battigny to Pierrefonds, Banks of the Sorgue at Vaucluse (1870).-Larousse. DAGNAN-BOUVERET, PASCAL ADOLPHE JEAN, born in Paris. Contemporary. Genre painter, pupil of J. L. Geerome. Medals: 3d class, 1878; 1st class, 1880. Works: Infant Bacchus, Orpheus and Bacchantes (1877); Burial of Manon Lescaut (1878; L. P. Morton sale, New York, 1881); Wedding Party at a Photographer's (1879); An Accident (1880), W. T. Walters, Baltimore; Blessing a Couple before Marriage (1882); Lover's Quarrel, F. B. Warren, Philadelphia; Hamlet and the Grave Diggers (1884); Horses at Watering-Trough, Madonna (1885). DAHL, HANS, born at Hardanger, Norway, Feb. 19, 1849. Landscape and genre painter, pupil of the Carlsruhe art-school, 363 I)AHL under Riefsthahl and Hans Gude, then in Ddsseldorf under Wilhelm Sohn and E. von Gebhardt; travelled in Norway, and visited Berlin, Paris, and London. Works: In the Norwegian Mountains; Too Late! On the Waves; Young Ladies' Boarding School on the Ice (1883); Lake in Norway, Maid-Servant (1884); Norwegian Fishermen, G. Hoadly, Cincinnati.-Mtiller, 122; Illustr. Zeitg. (1884), i. 173. DAHL, JOHANN CHRISTIAN (CLAUSEN), born at Bergen, Norway, Feb. 24, 1788, died in Dresden, Oct. 14, 1857. Landscape painter; first apprenticed to a decorative painter, then studied, from 1811, at the Copenhagen Academy. Went to Dresden in 1818, met with great success, and settled there in 1821, after visiting the Tyrol and Italy. Member of the Dresden, Berlin, and Copenhagen academies; Orders of the Danebrog, Wasa, and St. Olaf. Works: Eruption of Vesuvius (1820); View of Bergen, Storm at Sea (1823), Berlin National Gallery; Mountainous Landscape (1824), Prague Gallery; Danish Coast by Moonlight (1828); Mountain Pass near Nerodalen (1832); Sea Coast with Ship (1833); The Watzmann, View near Quisisana; Storm at Sea, Great Norwegian Landscape (1850), Dresden Gallery; Winter Landscape, New Pinakothek, Munich.-Allgem. d. Biogr., iv. 692; Andresen, i. 70; Brockhaus, iv. 772. DAHL, JOHANNES SIEGWALD, born in Dresden, Aug. 16, 1827. Animal painter; first instructed by his father, Johann Christian, then pupil of Wegener, and in 1843 -45 at the Dresden Academy. Went in 1851 to London, where he was especially attracted by Landseer, and thence to Paris, which he afterwards visited repeatedly. Subjects are generally chosen from his father's native country, Norway. Works: Dogs with Parrot and Rabbit, Castle Oscarshall near Christiania; Missed his Aim (1861), Norwegian Ferry (1863), Dresden Gallery; Organ Grinder with Dog (1862); Fox and Wild Ducks (1865); Sleighing on the Fjord (1865); Pug-Dog (1866), Monkey Party, Heron at a Lake (1871); Deer Started, Girls with Doves land Sparrows, Swallow Nest with Young.Brockhaus, iv. 773; Miiller, 122. DAHL, MICHAEL, born in Stockholm in 1656, died in London, Oct. 20, 1743. First taught by Klocke. Went to England when twenty-two years old; then visited France and spent several years in Italy, returning to London in 1688. He became the rival of Kneller as a portrait painter, and gained the favour of Queen Anne. His likenesses were good, but his art was destitute of refinement or grace. There are eight fulllength portraits of ladies by him at Petworth. Works: Queen Anne and her son the Duke of Gloucester, George II., James second Duke of Ormond, and Duke of Chandos, National Portrait Gallery.-Redgrave. DAHLEN, REINER, born in Cologne in 1836, died in Diisseldorf, April 25, 1874. Landscape and animal painter, pupil of the Dusseldorf Academy, but mostly self-taught; visited England, North America, and Paris. Painted chiefly horses and carriages, hunting scenes, and similar pictures. Works: By the Inn (1867); Shepherds and Herd (1868); Post-Wagon in Snow.-Blanckarts, 70; Kunst-Chronik, ix. 498. DAHLING, HEINRICH, born at Hanover, Jan. 19, 1773, died at Potsdam, Sept. 10, 1850. History and genre painter; went in 1794 to Berlin as a miniature painter; visited, in 1802, Paris, Cassel, Dusseldorf, The Hague, and Amsterdam, to study oil painting; made member of the Berlin Academy in 1811, and professor in 1814; visited Italy late in life. Works: Entry of a Prince (1822), National Gallery, Berlin; Huntsman and Sleeping Girl, Wreath-Winders, Singing Match, Romance Singer, Blind Pilgrim, Descent from the Cross, Come to me, ye that are heavy laden!-Brockhaus, iv. 774; Rosenberg, Berl. Malersch., 31. DAIWAILLE, ALEXANDER JOSEPH, born at Amsterdam in 1818. Landscape painter, son and pupil of the genre and portrait painter Jean Augustin D. (1786 -1850), then pupil of his brother-in-law, 364 DALBONO Barend C. Koekkoek. The animals in his Meytens; from 1771 inspector of the Liechlandscapes were supplied by Eug&ne Ver- tenstein Gallery. Many of his large altarboeckhoven. Works: Summer and Winter pieces and meritorious animal and battle (1841); Landscape on the Rhine; View in pieces are in Poland and Russia.-Allgem. the Ardennes.-Immerzeel, i. 164. d. Biogr., iv. 711; Brockhaus, iv. 785; DALBONO, EDOARDO, contemporary; Wurzbach, iii. 132, xxiv. 383. lives in Naples. Genre painter; represents DALLINGER VON DALLING, JONeapolitan life. Works: Neapolitan Water- HANN BAPTIST, the younger, born in ViCarrier; Unrequited, Punished, and Happy enna, May 7, 1782, died there, Dec. 19, 1868. Love, Cupid as Tyrant (Casa Miceli, Naples); Son and pupil of Johann the elder; painted Legend of the Sirens, Willer Gallery, Na- landscapes and animals, especially horses, ples; Beautiful Morning, It is going to Rain, in style of Dutch masters, as well as genre Orange-Walk, Adeline in the Park.-L'llus- pieces and portraits. Works: Horses graztrazione italiana, 1875-76. ing (1830), Horses in Stable (1832), Vienna DALCOLLE, RAFFAELLO. SeeRaffaello. Museum; others in Liechtenstein Gallery. DALENS, DIRK, of The Hague, born at -Bibliog. above. Dordrecht, flourished about 1623-65. Dutch DALMASIO, LIPPO DI. See Scannaschool. Landscape painter in the manner becchi. of Jan van Goyen; master of the guild at DALSGAARD, CHRISTEN, born at The Hague in 1632, went to Leyden in Krabbesholm, Jutland, Oct. 30, 1824. Genre 1636, but returned in 1637, and seems to painter, pupil of the Copenhagen Academy, have removed to Rotterdam about 1660-61. and Rorbye; paints scenes from Danish Works: Landscape with Shepherds (1635), peasant life. Member of Copenhagen AcadBrunswick Museum; Landscapes (2, 1646), emy since 1872. Works: Christmas MornHaarlem Museum.-Kramm, ii. 317; Rie- ing (1848), Aarhus Gallery; Girl at Wingel, Beitrage, ii. 368. dow, Boy at Luncheon, Country Parson; DALIPHARD, EDOUARD, born at Rou- Jutland Peasants going to Communion en, Sept. 24, 1833, died there in 1877. (1859); Seizure for Debt (1860); Meeting of Genre and landscape painter, pupil of G. Gudrun and Helge Harbenson (1861); VisMorin. Works: Spring in the Churchyard; itation (1862); The Good Shepherd (1864); Souvenir of the Forest of Eu (1873); Mel- Meeting with Olaf Paa; Steen Blicher conancholy (1875); Village Doorway, one of versing on the Heath (1867); Isn't he cornbest pictures in Salon of 1876.-J. Hedou, ing! Pious Assembly (1870); Corridor of Peintres rouennais (Rouen, 1883); L'Art Academy at Soro (1872); Dessert (1875); (1877), x. 216. One of the Wise Virgins (1877); Ansgar and DALLINGER VON DALLING, ALEX- Odbert baptizing Mother and Child (1878); ANDER JOHANN, born in Vienna, Aug. 1, Fisherman and Daughter (1854), Mormons 1783, died there in 1844. German school; visiting Country Joiner, Going to Church history and animal painter, son and pupil after Confinement (1861), Copenhagen Galof Johann the elder; was a skilful restorer lery.-Sigurd Miiller, 71; Weilbach, 129. of old pictures, and an engraver. Works: DAME AU GANT (Lady with the Glove), Cows driven through a Brook (1831), Vien- Carolus-Duran, Luxembourg Museum; canna Museum.-Bibliog. below. vas, H. 7 ft. 6 in. x 5 ft. 4 in. Portrait of a DALLINGER VON DALLING, JO- lady, three-fourths length, putting on her HANN, the elder, born in Vienna, Aug. 13, Glove. 1741, died there, Jan. 6, 1806. German DAMERON, CHARLES ISMILE, born in school; history and animal painter, pupil of Paris; contemporary. Landscape painter, Vienna Academy under Vincenz Vischer and pupil of Pelouse. Medals: 3d class, 1878;.965 DAMIANI 2d class, 1882; Philadelphia, 1876. Works: Women washing (1874); The Pyramids, Oaks of Grand Moulin, Street at Foucherolles (1875); In the Bay of Poult-Gouin, Farm of Brohonniere (1876); Souvenir of Cernay-la-Ville,. Winter (1877); The Aven in Finisterre (1878); The Beadle's Path (1879); Farm at Kerlaven in the Evening, A Quarry (1880); Woodman's Cabin in the Autumn (1881), Luxembourg Museum; Fagots (1882); Valley of the Mantega (1883); Lake of Vaux-de-Cernay (1884); Approaching Storm (1885). DAMIANI, FELICE, born at Gubbio; flourished 1584-1616. Lombardo-Venetian school; history painter, pupil of Ben. Nucci (?). Works: Circumcision, S. Domenico, Gubbio; Decollation of St. Paul (1584), Castel Nuovo, Recanati; Baptism of St. Augustine (1594), S. Agostino, Gubbio. He decorated, about 1596, two chapels in La Madonna de' Lumi, San Severino, with illustrations of life of the Virgin and Infancy of Christ. DAMINI, PIETRO, born at Castelfranco in 1592, died in Venice in 1631. Venetian school; history painter, pupil of Gio. Bat. Novelli; had won great reputation when he died of the plague. Executed many works at Castelfranco, Vincenza, Venice, Crema, and Padua. Works: Christ giving Keys to St. Peter, S. Clemente, Padua; Crucifixion, I1 Santo, Padua; Life of St. Philip, cloister of the Serviti, Vicenza. His brother Giorgio, a good portrait painter, died also of plague, in Venice, in 1631.-Baldinucci, iv. 689. DAMOPHILUS, painter and modeller in clay. One of the earliest Greek painters heard of in Italy. Decorated, with his companion Gorgasus, Temple of Ceres, Liber, and Libera at Rome (dedicated 494 B. c.).Pliny, xxxv. 45 [154]. DAMOYE, PIERRE EMMANUEL, born in Paris; contemporary. Landscape painter, pupil of Corot, Daubigny, and Bonnat. Medals: 3d class, 1879; 2d class, 1884. Works: The Old Road at Auvers, The Fields (1875); Prairies of Mortefontaine (1876, 1877); Pastures, The Downs at Cucq (1878); Mill of Merlimont (1879), Luxembourg Museum; Fields at Auvers (1879); Crossway in Forest of Fontainebleau, Inundated Prairies (1880); Mill of Gouillandeur, In the Landes of Carnac (1881); Isle of St. Denis (1882); After the Inundation (1883); Lake in Sologne, Plain of Gennevilliers (1884); Road of the Dunes-Normandy, Swamp of Arleux (1885). DANA, WILLIAM P. W., born in Boston, Mass., in 1833. Marine and figure painter; visited Paris in 1852 and became a pupil of Picot, Le Poitevin, and of the.cole des Beaux Arts. Returned to America in 1862, elected N.A. in 1863. Medal, Paris, 3d class, 1878. Studio in Paris (1885). Works: Cliffs at Sunset; Waiting for the FishingBoats; Marine (J. P. Morgan, New York), Chase of the Frigate Constitution (William Astor, ib.); Low Tide at Yport; Foggy Morning —Coast of Normandy; French Peasant Girl; Heart's-Ease; English Greyhound; Moonlight at Sea; On the Beach at Dinard-Brittany (1879); Breakers, Channel Islands (1881); Bleak Day, Coast of Brittany (1882); Sea-Weed Gatherers, Brittany (1883); Near St. Malo, Brittany (Mrs. Isaac Bell), Seaside Harvest, Halt and the Blind, French Boats off for the Fishing-Grounds, End of a Storm (1884); Rough Weather, A Calm Night (1885). DANAE, Correggio, Palazzo Borghese, Rome; canvas. Danae, nude, leaning against the cushions of a couch; on the lower end sits Hymen, with outstretched wings, lifting her drapery to catch the golden rain-drops; in front, two Cupids sharpening their arrows on a whetstone. Same history as the Leda of Correggio. Fetched 650 guineas at Orleans sale; in 1816 bought by Henry Hope for ~183; afterwards sold in Paris for ~285. One of the most beautiful of Correggio's mythological pictures. Engraved by Duchange; Desrochers; Tribre; Cunigo; Surrugue.-Meyer, Correggio, 352, 490; Kiinst. Lex., i. 441; Lermolieff, 195; Landon, (Euvres, viii. P1. 57; Mengs, Opere, ii. 148. 366 DANAi By Rembrandt, Hermitage, St. Peters- By Titian, Naples Museum; canvas, fig. burg. Danae, nude, reclining on a couch ure life-size. Danae, nude, lies on a couch, with green silk hangings; I/' //'/ i,- -'l- - ~" - behind, partly concealed by< ( curtains, an old woman with a bunch of keys; in front, ra n wht a table with red cover, and a rich girdle lying on the, it floor.-Smith. By Titian, Madrid Musex 5 ft. 10 in. Danai, nude, in same position as the V Danae of Naples, but the shape i less refined; a lither side, and,. instead of f the Cupid, an old woman at the foot of the couch n/ d greedily watches the gold 1 ILf1045I as it falls into her apron. II. of Spain. Injured by cleaning and re-the upper part of her form raised on white pairs. Repetitions, with changes, in er- cushions; above, a livid cloud, from which mitage, St. Petersburg, and in Vienna Mu- the golden rain is falling; Cupid, with outseum. Copy of Hermitage Danae, Duke of stretched wings and a gesture of surprise, /J^fiW~I~l'lI51E(6' \ ' -> glides away to the right. 4/14 A marvel in light and a.Xh~wz o ~> > ~shade, modelling, and -'-> i 2 A fI-' jo at';> i' < flesh painting. Painted a) $ t Pf-F JI d in 1545 for Ottavio Far* g,. -rL-.'J nese; in Farnese Collecas i tion till after 1680. Un-. of Spain. I njurevenly cleaned and retX~j7~~Z - touched in places. Many copies. Extant reproducpairs. fIfReY \pe tions: Nostitz Collection, Prague; Dudley House, London; Venice Acad-?. ~t\- ~.emy; Lord Northwick's. Engraved by Strange.-,~(,~7 ~C. & C., Titian, ii. 119; Ridolfi, Maraviglie, i. 231;, */;9t; \\\0\\5 \,7 il s/5 < 1 VYasari, ed. Mil., vii. 447; t>/rzu' \s a en Both 1 2 ~Klas. der Malerei, i. P1. 60. Danae, Titian, Vienna Museum. By Anton van DycE, Wellington, London; copy of Vienna, Lady Dresden Gallery; canvas, H. 4 ft. 3 in. x 5 Malmesbury.- C. & C., Titian, ii. 227. ft. 10 in. Dana', nude, lying upon a couch 367 DANBY covered with crimson drapery, extends her hands to catch the golden shower; behind, an old woman with her apron extended; at feet of Dana<, Cupid, kneeling. —Cat. Dresden Mus. DANBY, FRANCIS, born in County Wexford, Ireland, Nov. 16, 1793, died at Exmouth, Devonshire, Feb. 10, 1861. Landscape painter, pupil in Dublin of O'Connor; taught water-colour drawing in Bristol in 1813; went in 1825 to London, where the exhibition of his Delivery of Israel out of Egypt (Stafford House) procured him an election as A.R.A. From 1830 to 1842 he lived on the continent, principally in Switzerland. He is chiefly noted for his calm evening scenes at sea, combined with some poetic sentiment or incident. Works: Upas Tree of Java (1820), S. Kensington Museum; Disappointed Love (1821); Sunset at Sea (1824); Opening of Sixth Seal (1828); Golden Age (1831); Fisherman's Home (1846), National Gallery, London; Evening Gun (1848). His son James Francis (1816-1875) was a landscape and marine painter, who exhibited at the R. Academy and Society of British Artists. Thomas Danby, a younger son, is a contemporary landscape painter, residing in London. Member of Society of Water Colour Painters.- Art Journal, April, 1861; Cat. R. Acad.; Redgrave; Ch. Blanc, ]Ecole anglaise; Sandby, ii. 68. DANCE, NATHANIEL. See Holland. DANCKERTS DE RY, PIETER, born in Amsterdam in 1605, died in Stockholm in 1659. Dutch school; portrait and genre painter, supposed son of Cornelis Danckerts de Ry, engraver (born 1561, died after 1634); went to Stockholm, where he became court painter. Works: Portrait of Wladislas IV. of Poland; C. Danckerts de Ry (1634), and wife, Brussels Museum.Fetis, Cat. du Mus. royal, 302. DANDINI, PIETRO, born in Florence in 1646, died in 1712. Florentine school; history painter, nephew and pupil of Vin-enzo D.; travelled through Italy and stud ied the Venetian and Lombard masters. On his return to Florence painted in oil and fresco for Grand Duke Cosino III., and executed works in S. M. Maddalena and S. M. Maggiore. His son Ottaviano (died about 1750) painted in his style. Works in S. Spirito and S. Lorenzo, and in Church of Magdalen, Pescia.-Wornum, Epochs, 357; Lanzi. DANDINI, VINCENZO, born in Florence in 1607, died there in 1675. Florentine school; history painter, brother and pupil of Cesare D.; afterward studied in Rome under Pietro da Cortona, whose style he followed. Became principal of the Academy in Rome, returned to Florence, and executed public works in churches and palaces. His brother Cesare (1595-1658) was also a history painter of some repute.-. Wornur, Epochs, 357. DANDR~-BARDON, MICHEL FRANOIS, born at Aix (Provence), May 22, 1700, died in Paris, April 13, 1783. French school; history painter, pupil of J. B. van Loo and of J. F. de Troy; afterwards studied six years in Rome. Member of Academy in 1735, professor in 1752, rector in 1778; was one of founders of Marseilles Academy. He was an excellent designer and etcher, of considerable repute as a painter of the nude, and a poet and writer on history and taste. He left a biography of Van Loo. Works: Augustus ordering the Punishment of Defaulters (1729), Aix Museum; Tullia driving over her Father's Body (1735), Montpellier Museum; Christ on Cross, Marseilles Museum. Some of his drawings are in the Louvre, the Montpellier Museum, and the Copenhagen Museum.Bellier de la Chavignerie, i. 333; Lejeune, Guide, iii. 70; Gaz. des B. Arts (1860), v. 142; Larousse. DANEDI, GIUSEPPE, called Montalto, born at Treviglio in 1618, died at Milan in 1688. Bolognese school; history painter, pupil in Bologna of Guido Reni; settled in Turin, where he executed public works afterwards aided his brother in Milan. 368 DANEDI Works: St. Anthony of Padua caressing Infant Jesus, Dresden Gallery; Massacre of Innocents, S. Sebastiano, Milan. DANEDI, STEFANO, called Montalto, born at Treviglio in 1608, died at Milan in 1689. Bolognese school; brother of Giuseppe D.; history painter, pupil of Morazzone. Painted many works for churches in Milan. His Martyrdom of St. Justina, in S. Maria in Pedone, is one of his best. DANHAUSER, JOSEF, born in Vienna, Aug. 18, 1805, died there, May 4, 1845. History and genre &i painter, son of a cabinet-maker. After suc- cessfully devoting him- self to the violin, he studied in the Vienna Academy under Peter Krafft, and in 1826 \: Hagar and Ishmael, Glutton (1836); Oculist (1837); Klostersuppe, Chess, Opening of the Will, The Widow's Penny (1839); Liszt at the Piano, Comfort to the Oppressed, Woman, Wine, and Song, Release from Seizure (1840); Little Painter, Little Virtuoso, Child and its World, Village Politician (1844); Wine Taster, Old Mother Asleep (1845); Prayer of Carthusians at Table, Bagpiper, Archaeologist, Rest after Work (last picture).-Allgem. d. Biogr., iv. 726; Andresen, iv. 201; Wurzbach, iii 153. DANIEL, Michelangelo, Sistine Chapel, Rome; fresco on ceiling. DANIEL IN LIONS' DEN, Rubens, Duke of Hamilton; canvas, H. 7 ft. 6 in. x 10 ft. 10 in. Daniel, nearly nude, seated with clasped hands, looking beseechingly upward; around him nine lions and lionesses, life-size, in varied actions. One of the few went to Venice on in- \ great pictures by Rubens painted entirely vitation of the poet Ladislas Pyrker, from by his own hand. Presented by Sir Dudley whose Rudolph of Hapsburg he had painted Carleton to Charles I. Hamilton Palace sale several pictures with success. Discouraged (1882), ~5,145, to C. B. Denison; Denison by the works of Titian and Veronese, he sale (1884), ~2,000, to Duke of Hamilton. turned from history to genre for a time, but Engraved by Blooteling, Van der Leuw, returned to the former at a later period and Lamb; mezzo, J. Ward; etched by Street. gained the great prize for an historical pict- -Waagen, Art Treasures, iii. 296; Smith, ure in 1836. After the death of his father, xi. 162; Cat. Ham. Pal. sale, 21; Acad., in 1829, he for some years carried on the xxi. 456. cabinet business at Vienna, gaining repute DANIELE DA VOLTERRA. See Volas a designer of artistic furniture. He was terra. corrector at the Academy fron 1838, then DANIELL, THOMAS, born at Kingstonprofessor in 1840-42, when he resigned in on-Thames in 1749, died at Kensington, consequence of critical disputes. He then March 19, 1840. Son of an innkeeper and travelled in North Germany, Holland, and apprentice to a painter of heraldry; student Belgium, and might have surpassed his for- at Royal Academy in 1773, began to exhibit mer efforts had not the death of his younger in 1774, became A.R.A. in 1796, and R.A. brother brought on a fit of melancholia, in 1799. Went to the East in 1784 with his which hastened his death. Works: Abra- nephew William and travelled ten years in ham casting off Hagar, Scholar's Room in India, making many remarkable sketches. Painter's Studio (1828), Comic Scene in a After this his pictures were chiefly Oriental Studio (1829), Opening the Will (1839), views and scenes, such as tiger hunts and Vienna Museum; Pegasus in the Yoke other sports. He published several books (1830); New Year Congratulations (1831); of Eastern scenery. His View on the NulOttaker's Death (1832); Girl confessing her lah is in the National Gallery. His nephFall (1834); Martyrdom of St. John (1835); ews William (1769-1837, RA. 1822) and 369 DANLOUX Samuel (1775-1811) were landscape painters.-Redgrave; Sandby, i. 314. DANLOUX, HENRI PIERRE, born in Paris, Feb. 24, 1753, died there, Jan. 3, 1809. Portrait and history painter, pupil of J. B. LJpicie and of Vien; went early to Italy, and on return to Paris gained reputation by pictures in style of Greuze. In 1791 went to London, where he remained until 1802, and painted portraits of many eminent persons. His portrait of Charles X. is in Fitzwilliam Museum, Cambridge; that of Jacques Delille in the Versailles Museum. His Punishment of a Vestal (Salon, 1802) is referred to by his friend the poet Delille in his poem on Pity.-Ch. Blanc, tcole fran9aise; Bellier de la Chavignerie, i. 335. DANNAT, WILLIAM T., born in New York in 1853. Figure painter, pupil of the Royal Academy, Munich, and of Munkacsy in Paris. Has painted in Munich, Florence, Spain, and in Paris. Medal: W'T'DUNN T/A Paris, 3d class, 1883. Works: Bavarian Peasant (1878); Aragonese Contrabandist (1883); Castanet Dance, A Quartette (1884). DANSAERT, LON (MARIE CONSTANT), born in Brussels, Oct. 2, 1830. Genre painter, pupil in Paris of ]~douard Frere; travelled in France, Germany, and Italy; lives at tcouen. Paints especially 18th century scenes in rococo costume. Works: Auction in 18th Century, Les Porcherons (1868); Wedding Feast, Vive le Roi! (1869); Before the Sale (1870); Cafe at End of 18th Century (1872); Before Meeting (1873); Affray in Tavern, Flower Market (1874); Reading the Contract (1877); Game at Dominos (1878); Crumbling World (1879); At the Barrier (1883). DANSE DES AMOURS, Camille Corol, Charles A. Dana, New York; canvas. A valley, with lake in background; nymphs dancing in foreground; at right, a wooded hill, with a Greek temple and figures. DANSE DU BATON (Staff Dance)! Jean Leon Gerdme. A girl, loosely robed, holding a long staff in her hands, is dancing before a party of Arnauts, one of whom is playing a musical instrument. Painted in 1884. DANTAN, JOSEPH RDOUARD, born in Paris, Aug. 26, 1848. History painter, pupil of Pils and of H. Lehmann; son of Jean Pierre D., the sculptor. Studio in Paris. Medals: 3d class, 1874; 2d class, 1880. Works: Destruction of Pompeii (1869); The Trinity (1872), chapel of the Hospital in Brezen-on-the-Marne; Hercules at the Feet of Omphale, Monk carving a Crucifix (1874), NantesMuseum; The Quoit-Thrower (1875); The Nymph Salmacis and Hermaphroditus (1876); Christ calling Peter and Andrew (1877); Christ on the Cross, Church of Dombrowa, Poland; Corner of a Studio (1880), Luxembourg Museum; The Model's Breakfast (1881); Corpus Christi Day (1882); Le Paradou, Interior at Villerville (1883); Moulding Shop, Turner's Shop (1884); Burial of a Child (1885). DANTE, portrait, Giotto, Chapel of the Podesta or Bargello, Florence. The poet, then about twenty years of age, is represented with Corso Donati, Brunetto Latini, and a fourth personage, standing behind Charles of Valois, in the lower part of a fresco of Paradise painted on each side of a window. This fresco, mentioned by Vasari as visible in 1550, in which the painter had embodied the transient peace imposed on the Florentines in 1301, by Cardinal Acquasparta in the name of Pope Boniface VIII., was whitewashed when the palace was turned into a jail and the chapel into a storeroom. It thus remained degraded and forgotten until 1840, when, through the exertions of Messrs. Kirkup,Wilde, and Bezzi, it was brought to light in an injured condition. The eye of the DANTE poet was completely destroyed. Fortunately, Mr. Kirkup was able to make a tracing of the head, afterwards published by the Arundel Society, before Marini damaged its expression and character by painting in a too small and ill-drawn eye, and retouching the whole face, as well as the cap and clothes. Dante, Giotto, Florence. This likeness of the poet by Giotto, and the well-known death mask, believed to have been taken from Dante's face after death, are undoubtedly the most authentic records of his appearance at different periods of his life, and as such invaluable. "The one," says Prof. Norton, "is the young poet of Florence, the other the supreme poet of the world." In the Munich Gallery there is a profile likeness of Dante said to have been painted by Masaccio; and Mr. Morris Moore has in his possession at Rome another profile in oils, probably copied from Giotto's fresco, though with certain changes in costume details. Ideal heads of Dante, taken either from the fresco or the mask are, the three by Raphael in the Dispute, the School of Athens, and the Parnassus; and in modern art those of Scheffer, in his Dante and Beatrice and his Francesca da Rimini; of Delacroix in his Dante and Virgil crossing the Styx (Louvre); of Corot in his Dante and Virgil entering the Selva Oscura (Boston Museum of Fine Arts); and of Rossetti in his Vision of Dante. —Vasari, i.; C. E. Norton, Original Portraits of Dante (1865); M. Paur, Jahrbuch der Deutschen Dante Gesellschaft (1869); Spectator, May 11, 1850; The Century (1884), xxvii. 574, 956. DANTE AND BEATRICE, Henry Holiday, Liverpool Gallery; canvas, H. 4 ft. 7 in. x 6 ft. 7 in. Dante standing at right, with his right hand upon a stone parapet on the bank of the river, presses his heart with his left hand, as Beatrice, accompanied by two maidens, passes by; in background, the Arno and the Ponte Vecchio. Grosvenor Gallery, 1883. Etched by C. O. Murray.-Art Journal (1884), 7. By Ary Schefer, Mr. A. M. Hemming, near Utrecht, Netherlands; canvas, figures lifesize. Beatrice, full length, clad in a robe of pale rose-colour, stands on a cloud to right, with her eyes fixed on the sun (Paradiso, Canto i. 46). Her right hand rests on her breast, and her left hangs by her side. Dante, to left and on a lower plane, seen only to the knees, wears the red hooded cap and long red tunic of the Florentines, and, like Beatrice, gazes upward to the divine light, which, through her power, he is enabled to contemplate. Engraved by N. Lecomte. Scheffer painted this subject three times. The second picture, two-thirds lifesize, belongs to C. C. Perkins, Boston; the third, with figures considerably under lifesize, is in England, and was exhibited at Manchester in 1857. DANTE AT RAVENNA, Jean Leon G'rome, Morris K. Jesup, New York; canvas, H. 1 ft. 8 in. x 3 ft. Dante, walking at left in the meadows, beyond the walls of the city, which is seen in the background; groups of citizens gaze after him as he passes, and point him out to be avoided, according to the legend, as one who had seen hell. Engraved by J. Levasseur. -Art Treas. of Amer., ii. 139. DANTE AND VIRGIL, Camille Corot, Boston Art Museum; canvas, H. 8 ft. 6 in. 371 DANTE x 5 ft. 6 in. The two poets in a landscape, derived from laurel branches carried by at the entrance to Hades, and the three sym- those who took part. The procession, headbolic beasts: the panther, signifying Flor- ed by a priest called the Daphnephoros, ence and worldly pleasure; the lion, France moves through a wood; city of Thebes in and ambition; the female wolf, Rome distance, in a valley at left. A decorative and avarice. Presented by Q. A. Shaw, picture, painted for the country house of the 1875. present owner. Royal Academy, 1876. FacBy Eugene Delacroix, Louvre, Paris; can- simile of original sketch in Art Journal vas, H. 5 ft. 11 in. x 7 ft. 10 in.; signed, (1881), 152.-Art Journal (1881), 136. dated 1822. Scene from Dante's Inferno DAPHNIS AND CHLOE, Paris Bordone, (vii.). Dante and Virgil, conducted by National Gallery, London; canvas, H. 4 ft. Phlegeas, cross the lake which surrounds 5 in. x 3 ft. 11 in. The two seated on a the infernal city of Dis. Among the spirits bank among trees; Cupid crowns Chloe which clutch at the boat as it passes, Dante with a wreath of myrtle.-Cat. Nat. Gal.; recognizes some Florentines. Salon, 1822. Richter, 87. Formerly in Luxembourg. By Fraiinois Gerard, Louvre; canvas, H. DANTE, VISION OF, Dante Gabriel 6 ft. 6 in. x 7 ft. 6 in. At left, on the bank Rossetti, Liverpool Gallery; canvas. Scene of a stream which pours as a cascade out of from Vita Nuova: Dante's dream on the a grotto, Daphnis is seated upon the trunk day of Beatrice's death, June 9, 1290. Love of a tree, plaiting a crown of flowers; Chloe (the pilgrim of Love of the Vita Nuova) sleeps at his feet, her head resting against leads by the hand Dante, who walks con- his knees. Salon, 1824. Acquired in 1825 scious, but absorbed as in sleep, into a for 25,000 fr. Engraved by Richomme. chamber of dreams, strewn with poppies, DAPPER. See Tamnm. where Beatrice lies on a couch as if just DARDOIZE, EMILE, born in Paris; confallen back in death; Love bends over her temporary. Landscape painter. Medal: with a kiss, while two dream-ladies hold 3d class, 1882. Works: At Maintenon, Pond suspended for an instant the pall full of of Cernay, Valley of Cernay (1875); MoonMay blooms. Original sketch exhibited at rise, Sunset (1876); Washer-women at Pond Liverpool Academy, 1858; painted in 1870; of Cernay, Greenfinch Nest (1877); From acquired by Liverpool Gallery in 1881.- Royat to Fontanas, Road in Fontainebleau Athenaeum, Aug., 1881, 250; Jan., 1883, Forest (1878); At Maintenon, Autumn 94; Blackwood, March, 1883, 399. (1879); Sunset, Forest-brook (1880); EvenDANTE, GIROLAMO, called Girolamo ing, Morning on the Creuse (1881); Twidi Tiziano, flourished in Venice in 1547-80. light, A Corner of Cernay (1882); Notch Venetian school; history painter, pupil of near Falaise, Val du Sud (1883); The Titian, and his assistant in some of his Source, To the Moon (1884); Brittany minor works. The altarpiece, SS. Cosmo Road at Pont d'Ouilly, Seine at Coudray and Damian, in S. Giovanni Nuovo, is at- (1885). tributed to him.-Vasari, ed. Le Mon., xiii. DARGELAS, HENRI, born at Bordeaux, 194. October 11, 1828. Genre painter, pupil DAPHNE. See Apollo and Daphne. of Picot; lives at Icouen (Seine-et-Oise). DAPHNEPHORIA, Sir Frederick Leigh- Medal in 1864. Works: Challenge, T. A. ton, J. Stewart Hodgson; canvas, H. 7 ft. 8 Havemeyer, New York; Apple Stealers, A. in. x 17 ft. Triumphal procession held E. Borie Collection, Philadelphia; Kept In, every ninth year at Thebes, in honour of E. B. Warren, Philadelphia; In the Woods, Apollo, to commemorate a victory of the J. Hoey, New York; Fagot Gatherers, G. Thebans over the AEolians of Arne. Name Hoadly, Cincinnati; Gardener's Child; In. 372 DARGENT terior of a School (1868); The Butterfly; St. Primel (1875); Banks of the Scorf, CliM A Push, Return from School (1885). i at Morgat (1876). DARGENT, eDOUARD YAN, born at DARIO DA TREVISO, of Padua, latter St. Servais, Finisterre, in 1824. Landscape half of 15th century. Mentioned in accounts painter; has also decorated the Cathedral of the Basilica di S. Antonio in 1446 as a of Quimper, and furnished designs for news- pupil of Squarcione. His only existing pictpapers and books. Studio in Paris. L. of ure is a Virgin of Mercy in the gallery of Honour, 1877. Works: The Return, Wo- Bassano, a very poor production, false in men Bathing (1851); By the Sea (1852); drawing, dull and dirty in colour. He deThe Birdnesters, The Wagon (1853); The voted himself chiefly to the decoration of Last Rays (1855); Sea-Shore at Lokirech, house-fronts, and many examples of his in Ten- ^ t y - of____ -i C bi Tent of Darius, Charles Lebrun, Louvre, Paris. Salvage at Guisseny (1857); St. Houardon (1859); Washerwomen of the Night (1861); Vapour, Evening on the Moors (1863); Obstinate Cow (1864); Death of the last Breton Bard (1865); Souvenir of Childhood, Druidical Stone (1866); Maurice Rock, Kloarck in Vacation Time (1868); The Little Thumb (1869); Intemperance, Work (1870); Wheelwright of Laouic (1872); Wells of Santa, Path to the Ramiers at Br6zal (1873); St. Roch in Solitude, Korn-boud in Finisterre (1874); Path near Telgruc, Cliffs at dustry of this kind exist in Treviso, Serravalle, and Conegliano.-C. & C., N. Italy, i. 350. DARIUS, FAMILY OF, Paolo Veronese, National Gallery, London; canvas, H. 7 ft. 8 in. x 15 ft. 6 in. The captive family, taken after the battle of Issus, presented to Alexander by one of the ministers of Darius, kneeling in centre; to right, Alexander, in red armour, with Hephbestion and Parmenio; in background, a marble arcade, from the top of which many spectators are Goulliers near Cape Raz, St. Corentin and j looking down. One of Veronese's grandest 373 DARIUS and best preserved works. Painted for Pisani family, of whom the principal figures are portraits, and preserved in Palazzo Pisani, Venice, until purchased for National Gallery in 1857. Richter thinks the kneeling girls are the artist's daughters, and the man with the long gray beard his brother Benedetto.-Kugler (Eastlake), ii. 554; Ridolfi, Marav., ii. 60; Richter, Ital. Art in National Gallery, 74. DARIUS, TENT OF, Charles Lebrun, Louvre, Paris; canvas, H. 9 ft. 9 in. x 14 ft. 10 in. Alexander, accompanied by Hephsestion, visits in their tent the family of Darius, captured at the battle of Issus. Sisygambia, mother of Darius, prostrates herself before Hephsestion, mistaking him for Alexander. Recognizing her error, she attempted an apology, when the King interrupted her, saying, "You are not deceived. He is another Alexander." The royal captives are attended by women, priests, and eunuchs. Engraved by G. Edelinck, Devilliers, G. Audran. — Landon, Musee, ii. P1. 57; Filhol, i. P1. 55. DARLEY, FELIX O. C., born in Philadelphia, Pa., June 23, 1822. Genre painter, self-taught. Works almost exclusively in black and white; well known as an illustrator; has travelled and sketched in Europe. Elected an N.A. in 1852. Works: First Blow for Liberty; Foraging in Virginia; Emigrants attacked by Indians (painted for Prince Napoleon); Scene in the Streets of Rome; Cavalry Charge at FredericksburgVirginia (1867); March to the Sea; Sheepfold; Mount Desert; A Cold Snack; Puritans surprised by Indians.-Tuckerman, 471. DAUBAN, JULES JOSEPH, born in Paris, May 31, 1822. History painter, pupil of Auguste Debay; director of School of Fine Arts at Angers. Has also decorated churches and other buildings. Medal, 1864; L. of Honour, 1868. Works: Louis XI. making Guillaume de Cerizay Mayor of Anjou (1861); Trappists receiving a Stranger (1864), Luxembourg Museum; Trappists giving each other the Kiss of Peace before Communion (1865), Angers Museum; Death of a Trappist (1867); Mme. Roland going to the Revolutionary Tribunal (1869); Fra Angelico da Fiesole (1873); Resurrection of Lazarus, Church of St. Bernard, Paris. DAUBIGNY, CHARLES FRANCOIS, born in Paris, died there, Feb. ^^C^ /20, 1878. Landscape painter, VtXc ~ son and pupil of Edm6 Fran9ois, / 11 t^ DD. (1789-1843), landscape paint& / \\ \W/ ~ t} er; visited Italy, and returning in 1836, studied under Delaroche. Exhibited at nearly every Salon after 1838. Medals: 2d class, 1848; 1st class, 1853; 3d class, 1855; 1st class, 1857, 1859, and 1869; L. of Honour, 1859, Officer, 1874. An excellent landscape painter, especially of river scenes, which he painted from a floating studio. Left many etchings. Works: The Seine at Bezons, St. Jerome in the Desert (1840); Harvest (1852); Banks of the Seine (1852), Nantes Museum; Pool of Gylien (1853); Sluice in Valley of Optevoz (1855), Luxembourg Museum; Springtime (1857); Banks of the Oise (1861); The Vintage (1863), Luxembourg Museum; Windmills at Dordrecht (1872); Fields in June (1873); House of Mother Bazot atValmandois (1874); Fruit-Garden in Normandy (1875); Moonrise, View of Dieppe (1877). Works in United States: Morning, Miss C. L. Wolfe, New York; Morning-Landscape, A. Belmont, New York; Landscape, T. H. Stebbins, New York; Landscape, M. Graham, New York; Spring Lake, Shady Pool, Before the Storm, Coast of Normandy, Sunset, B. Wall, Providence; Landscape, T. Wig. glesworth, Boston; Landscape, H. P. Kidder, Boston; River Scene, G. Hoadly, Cincinnati; Landscape-Morning, S. A. Coale, St. Louis; Landscape, Charles Parson, ib.; Landscape, View on the Seine, C. IH Wolft 374 DAUBIGNY Philadelphia; Heath, Mrs. J. Fell, Phila- of Edm6 Frangois D. Medal: 3d class, delphia; Morning, Twilight, Evening, J. C. 1833, for portraits of Mme. de Marescalchi Runkle, New York; Landscape, M. K. Jes- Alfred de Vigny, and General Gourgeaud. up, New York; River Landscape, Land- His wife, Amelie Dautel (1796-1861), also a scape, J. D. Lankenau, Philadelphia; On the miniature painter, won a medal of the 3d Seine, C. S. Smith, New York; Twilight class in 1834. (1866), Sunset on Coast of France (1865), DAUPHIN, FRAN(OIS GUSTAVE, born Landscape (1872), Sunset (1874), W. T. at Belfort (Haut-Rhin), June 7, 1804, died in Walters, Baltimore; Landscape-Evening, Paris, May 23, 1859. History painter, puW. H. Vanderbilt, New York; River and pil of Hersent. Exhibited very few pictures, City, A. E. Borie Collection, Philadelphia; but those display a certain grandeur of style. View on the Seine, River Scene,; H. C. Gib- Medals: 3d class, 1842; 1st class, 1845. son, Philadelphia.-Henriet, C. D. et son Works: Christ bearing his Cross (1841); ceuvre gravee (Paris, 1875); L'Art (1881), Mater Dolorosa (1842); Judas' Kiss (1845); xxv. 73; L'Artiste (1857), i. 179, 195; Christ's Last Moments (1850); cartoons of Claretie, Peintres, etc. (1882), 265; Gaz. Christ on the Cross and of Christ going to des B. Arts (1874), ix. 255, 464. Calvary, Virgin and St. John, etc. DAUBIGNY, KARL PIERRE, born in DAUZATS, ADRIEN, born at Bordeaux, Paris, June 9, 1846. Landscape painter, July 16, 1804, died in Paris, Feb. 18, 1868. son and pupil of C. F. Daubigny. He imi- Landscape painter, pupil of Lacour in Bortated his father at first, but has gradually deaux and of Gu6 in Paris. Travelled in formed a style of his own. Medals: 1868; France, Spain, Scandinavia, Egypt, and 3d class, 1874. Works: Island of Vaux in Syria. Painted chiefly water-colour inteOise, A Path (1863); Meadow at Villerville, riors. Medals: 2d class, 1832; 1st class, The Oise at Auvers (1864); Autumn, Hollow 1855; L. of Honour, 1857. Works: Front Road (1865); View in Picardy, Gypsies of the Seminary of San-Telmo in Seville Halting (1866); two landscapes (1867); (Bordeaux Museum); Gitanos, Mosque on Winnowers at Kenty, Plateau of Bellecroix the Nile; Church of Belem in Lisbon; Gi(1868); Rocks at Pen'marck, Fishing-Boats ralda of Seville; Pass of Bibans; Convent at Tr6port (1869); Farm at Toutain, Fishing- of St. Catherine on Mt. Sinai; Cathedral of Boats (1870); Return of the Fishing Fleet Toledo; Chapel of the Escorial; Fountain to Trouville, Creuniers at Ingouville (1872); near a Mosque; View of Cairo; Environs of Return of the Fishermen to Cancale (1873); Blidah; Environs of Damascus; Pass of the Road to Paris, Farm of St. Simeon at Hon- Iron Gate.-Larousse; Kunst-Chronik, iii. fleur (1874); Valley of Porteville, Shipping 100; iv. 85; Vapereau. the Oysters, Snow (1875); St. Simeon Farm, DAVANZI, JACOPO. See Avanzi. Seine-Net Fishing (1876); Shipping Herring- DAVID AND ABIGAIL, Guercino, Nets (1877); Environs of St. Simeon Farm Bridgewater House, London; canvas, fig(1879); Falling Leaves, Seine at Rangiport ures life-size. Fine composition, but heads (1880); Overflowed Meadow in Normandy uniform and unmeaning, forms hard, and (1881); Old Road at Auvers, Return of the effect out of keeping. In collection of CardiFishermen to Berck (1882); TrEport (1883); nal Mazarin, afterwards in Orleans Gallery, Sunrise in Normandy (1884); Sables d'Ar- whence bought by Duke of Bridgewater for bonne-Fontainebleau, Bay of Staples- ~800. Injured by retouching.-Waagen, Picardy (1885).-Larousse. Treasures, ii. 36. DAUBIGNY, PIERRE, born in Paris, DAVID, GHEERARDT, born at OudeOct. 30, 1793, died there, July 15, 1858. water about 1450, died in Bruges, Aug. 13, Miniature painter, pupil of Aubry; brother 1523. Flemish school; took the freedom 875 DAVID o' the guild in Bruges in 1484, was its dean in 1501-2; appears also in the guild of Antwerp in 1515. Probably a pupil of Mernling. Works: Madonna with Saints (1509), Rouen Museumr; Baptism of Christ (1507), Two scenes from history of Cambyses (1498), Bruges Academy; Crucifixion, Berlin Museum; Madonna with Angels, Darmstadt Museum; Adoration of Magi, Madonna with Female Saints, Old Pinakothek, Munich; Marriage at Cana, Louvre, attributed to unknown; Triptych (Madonna and Saints), Municipal Palace, Genoa; Canon and Patron Saints, National Gallery, London.Biog. nat. de Belgique, iv. 711; C. & C., Flemish Painters, 300; Dohme, li.; Forster, Denkmale, XI. iii. 21; XII. iii. 7; Gaz. des B. Arts (1866), xx. 542; xxi. 489; Michiels, iv. 131; W. & W., ii. 55. DAVID AND GOLIATH, Guido Reni, right hand (which rests on the shaft of a column) and the head of Goliath in his left. The giant's sword lies at his feet. Formerly in the Zampieri Gallery, Bologna. Repetitions in the Louvre, Paris, and the Liechtenstein Gallery, Vienna. Louvre copy, engraved by Beisson, Rousselet, and others.Filhol, ii. P1. 110; Landon, Musee, vi. PL. 34. By Michelangelo, Sistine Chapel, Rome; fresco on ceiling. DAVID PLAYING THE HARP, Domenichino, Louvre; canvas, H. 7 ft. 10 in. x 5 ft. 7 in. David singing, his eyes raised to heaven, and accompanying himself on the harp; to left, an angel holds open before him a book; in background, to right, another angel transcribes the psalms which David sings, and holds the sword with which he cut off the head of Goliath. Sent from Italy to Cardinal Mazarin, from whose collection it passed to Louis XIV. Engraved by G. Rousselet.-Filhol, v. P1. 296; Landon, Musee, iii. P1. 33. 3^P^6 ~ DAVID, (JACQUES) LOUIS, born in Paris, Aug. 31, 1748, died in Brussels, Dec. 29, 1825. in 14 History paint\ \ o wher, pupil of Vien, and ^^^___^^^^:~'f!-'..-! ':^ emfounder of the classical French 4~: ~~~, I school. Won 1.,',.in 1771 2d prix A lit, ~~~~~~~ ~~de Rome, and in 1774 1st prix de Rome; went in 1775 to Rome, where he remained until 1780, when he returned to Paris, was elected associate member of the Academy, and regular mem- -^ 7 ber in 1783. Revisited Italy, and in 1787 went to Belgium. In the revolution he was David and Goliath. an adherent of Robespierre, after whose Hermitage, St. Petersburg. David, wear- downfall he narrowly escaped the guilloing a red cap with a yellow and white plume tine, and was sentenced to seven months' on his head, and dressed in blue drapery imprisonment. Appointed first painter to trimmed with fur, holds the sling in his Napoleon, he devoted his brush to the glo376 DAVIS rification of the empire, and when exiled after the restoration settled in Brussels. Officer and Commander of L. of Honour. Works: Combat of Minerva against Mars and Venus (1771), Academic Figure (1779), Oath of the Horatii (1784), Belisarils asking Alns (1784), Paris and Helen (1788), Brutus (1789), Sabine Women (1799), Leonidas at Thermopylve (1814), portrait of himself in youth, portraits of M. Pecoul (1783), Mme. P6coul (1783), Pius VII. (1805), Mme. R6 -camier, Bailly, Louvre, Paris, Napoleon crossing the Alps (1805), Coronation of Napoleon and Josephine (1808), distributing Eagles at the Champ de Mars (1810), portrait of Barere (1790, unfinished), do. of Pius VII. (replica of Louvre picture), Versailles Museum; Belisarius asking Alms (1780, original of Louvre picture), Lille Museum; Philoctetes in Island of Lemnos, Cherbourg Museum; Death of Joseph Barra, Avignon Museum; portrait of Comtesse Dillon, Amiens Museum; portrait of Alphonse Leroy, do. of M. de Joubert, and 3 studies, Montpellier Museum; Death of Cleonice (sketch), Nantes Museum; Ugolino, Valence Museum; portrait of Mme. Vigee Le Brun, Rouen Museum; portrait of Mlle. Joly, Comedie Fran9aise; Courtship of Antiochus and Stratonice (1774), Ecole des B. Arts; St. Roch interceding with the Virgin for the Plague-Stricken (1779), Marseilles Hospital; Grief of Andromache over Death of Hector (1783, presentation picture to Academy); Death of Socrates (1787), M. de Trudaine; Louis XVI. entering Hall of Constituent Assembly (1790); Death of Michel Lepelletier; portrait of Mlle. Lepelletier; Death of Marat, belongs to David's grandson; ^^a tu) Lucrece (last work).-J. L David, Le Pein. tre Louis David (Paris, 1880); Ch. Blanc, ]tcole fran;aise; Dohme, 3; Chesneau, Peinture frangaise (1883); Hamerton, French Painters; Gaz. des B. Arts (1859), i. 132; (1860), vii. 301; (1880), xxi. 572; Living Age, lv. 708; xc. 728; Meyer, Gesch., 53. DAVIS, HENRY WILLIAM BANKS, born at Finchley, Aug. 26, 1833. Landscape painter, pupil of Roy- t al Academy, where he exhibited his Rough...: ^, Pasturage in 1861. Has lived at Boulogne and made manysketch- / es on the French coast. ' Elected an A.R.A. in 1873, and R.A. in 1877. Several of his works have been engraved. Works: Strayed Herd (1865); Spring Ploughing (1866); Dewy Eve (1870); Moonrise, PrEetorium at Neufchatel (1871); A Panic (1872); Summer Afternoon (1874); In Picardy(1876); Rustling Leaves, After Sundown (1877); The Lowing Herd winds slowly o'er the Lea, Midday Shelter (1878); Midsummer Night, Wanderers, Picardy Sheep (1879); Family Affection, Returning to the Fold (1880); Mother and Son, Evening Star, Noon (1881); In Rossshire, Sea and Land Waves, Showers in June (1882); Ben Eay, Gathering the Flock, Kinlochewe (1883); Done Work (1885). DAWANT, ALBERT PIERRE, born in Paris; contemporary. History painter, pupil of J. P. Laurens. Medals: 3d class, 1880; 2d class, 1885. Works: St. Thomas a Becket (1879); Henry IV., of Germany, before Pope Gregory VII., Merwing at St. Martin's Tomb (1880); Last Moments of Charles II. of Spain (1881); Burial of an Invalide (1882); Salute to the Invalides (1883); Saint Vincent (1884); The Bark of St. Julian the Hospitaller (1885). DAWE, GEORGE, born in London, Feb. 8, 1781, died there, October 15, 1829. Son,OME Sappho and a Faun, in Russia; portrait Napoleon I., Warwick Castle; Death Milo, National Gallery, Dublin; Rape of of of 377 DAWSON and pupil of Philip Dawe, engraver (died about 1780), student in 1794 at Royal Academy, of which elected A.R.A. in 1809, and R.A. in 1814. Painted at first historical subjects, but most noted for his portraits. He painted for the Duke of Kent officers distinguished in the Battle of Waterloo. In 1819 went to Russia at invitation of the Emperor, to paint officers prominent in wars of Napoleon, and in nine years made 400 portraits, now in the Hermitage. Princess Charlotte, Dr. Samuel Parr, National Portrait Gallery.-Redgrave; Arnold, Library of Fine Arts (1831); Ch. Blanc, ltcole anglaise; Sandby, i. 345. Rainbow at Sea.-Art Journal (1879), 48: Portfolio (1883), 127. DEATH, BAY OF. See Starvation Cove. DEATH ON THE PALE HORSE, Benjamin West, Pennsylvania Academy, Philadelphia; canvas, H. 14 ft. 10 in. x 25 ft. 2 in. Scene from Revelation vi. In centre, Death, armed with irresistible darts, rides the pale horse which, unbridled, rushes onward, trampling down all ages and conditions, followed closely by the monstrous progeny of hell; on the right, the rider on the white horse armed with the bow, the rider on the red horse with the sword, and behind them the rider on the black horse with the bal. Death on the Pale Horse, Benjamin West, Pennsylvania Academy, Phiadelphia. Death on the Pale Horse, Benjamin West, Pennsylvania Academy, Philadelphia. DAWSON, HENRY, born at Hull in 1811, died at Chiswick, Dec. 13, 1878. His father removed during his infancy to Nottingham, where the lad worked in a lace factory until twenty-four years old, when he devoted himself to landscape painting. In 1849 he removed to London, but laboured many years before his genius won recognition. He earned as much during the last six years of his life as in all his previous career. In 1875 his Wooden Walls sold for nearly ~1,500, and in 1876 his Pool from London Bridge for ~1,400. Other works: Sherwood Oaks, Nottingham from Wilford Hill, Durham Cathedral (1876); London at Sunset, ances; on the left, the conflict of men with the beasts of the forest. Painted in 1817; bought, at the sale of the painter's pictures (1829), and taken to America. Engraved in outline by Normand.-Reveil (Hamilton), iv. 286. DEATH, TRIUMPH OF, fresco, Campo Santo, Pisa, formerly attributed to Andrea Orcagna, now assigned by C. & C. to a painter of the Sienese school, perhaps Pietro Lorenzetti; and by Milanesi to Bernardo Daddi. Foreground, in three groups. To left, the warning: Three kings on horseback, with attendants, check their horses before three open coffins containing the mouldering re 378 DEATH mains of dead kings; one of the riders (por- trait of Andrea Uguccione della Faggiuola) holds his nose, while his horse starts backwards. To right, the coming doom: Knights and ladies seated in a bower singing and playing upon musical instruments, while the Angel of Death with scythe descends upon them; one of the nobles is Castruccio Castracani, Lord of Lucca. In centre, Death and his victims: the great of the earth lie in heaps on one side, and on the other the poor and needy are calling for release from their sufferings. In the sky are angels with the souls of the blessed, and devils carrying off the damned. The upper corner of the fres on Death to relieve him from his troubles; but trembles with fright as Death, shrouded in white drapery like an apparition, with a winged hourglass in one hand and a scythe over his shoulder, seizes him with his bony hand. Painted in 1859; refused at Salon, but exhibited at Exposition Universelle, 1867.-Gaz. des B. Arts (1859), ii. 362; Sensier, Vie, 192. DEBACQ, ALEXANDRE, born in Paris, Aug. 12, 1804, died there, Oct. 2, 1850. History, genre, and portrait painter, pupil of Gros. Works: Joan of Arc in Prison (1831); Mary Stuart's Departure from France (1833); Death of Sculptor Jean Goujon; Triumph of Death, Campo Santo, Pisa. co to the left represents the Monks of the Bernard Palissy destroying his Furniture to Thebaid, one reading, another milking a fire Vases; Two paintings in Versailles Mugoat, and another, St. Macarius, holding a seum. scroll. A rocky country, hermit huts, and DEBAT-PONSAN, 1DOUARD BERa road leading up from that on which the NARD, born in Toulouse; contemporary. three kings are travelling. Painted about Genre and portrait painter, pupil of Caba1377.-Vasari, ed. Mil., i. 468, 597; C. & C., nel; won 2d grand prix in 1872. Medals: i. 445; Burckhardt, 496. 2d class, 1874; L. of Honour, 1881. Works: DEATH AND THE WOODCUTTER First Morning (1874); Respect of St. Louis (Mort et le Bfcheron), Jean Fran9ois Millet, for the Dead (1879); A Door of the Louvre Laurent Richard Collection, Paris. Illustra- on St. Bartholomew's Day (1880); A Massage tion of La Fontaine's fable. Scene - the in the Harem (1883); Portraits (1884); Poredge of a wood, with hill, trees, and rocks in trait of M. Gaillard (1885). background. The old woodcutter, falling DEBAY, AUGUSTE HYACINTHE, born under the weight of his load of fagots, calls at Nantes, April 2, 1804, died in Paris, 379 DEBELLE March 24, 1865. History and genre painter, pupil of Gros; won the second prize at the Ecole des Beaux Arts in 1822, and the grand prize in 1824; went to Italy, and returned from Rome in 1830. Medals: 3d class, 1819; 1st class, 1831; L. of Honour, 1861. Works: BEgisthus recognizing the Body of Clytemnestra (1824); Lucretia in the Forum of Collatia (1831); Enlistment of Volunteers in 1792, Palais Royal, Paris; The King meeting a Wounded Soldier (1835), Interview on Field of the Cloth of Gold in 1520 (1837), Entry of Knights of St. John into Viterbe in 1527 (1842), General Joubert regaining Plateau of Rivoli, Versailles Museum; Episode in 1793 at Nantes (1851), Nantes Museum; Philoctetes on Isle of Lemnos, Angers Museum.-Bellier de la Chavignerie, i. 366. DEBELLE, ALEXANDRE (JOSEPH MICHEL FRAN(OIS), born at Voreppe (Isere), Dec. 21, 1805. History painter, pupil of Gros. Appointed conservator of the Grenoble Museum in 1853. Has also made designs and lithographs for books. L. of Honour, 1868. Works: The Emperor at Grenoble, March 7, 1815 (1840), Grenoble; The Emperor entering the Tuileries, March 23, 1815 (1841), Princess Mathilde; Christ and Magdalen (1843), Church of Versoud; Abdication of Humbert I. (1847), bought by city of Grenoble; Moses and Elias (a fresco), St. Louis en Ile, Paris, 1845.-Larousse. DEBUCOURT, LOUIS PHILIBERT, born in Paris, baptized Feb. 13, 1755, died at Belleville, Sept. 22, 1832. French school; genre painter, pupil of Vien; especially attracted by the Flemish Petty Masters; painted scenes from life of middle and lower classes with a humorous touch and harmonious colouring. Works: Charitable Gentleman, Rural Instruction,Village Judge, Dreaded Consultation (1781); Scene in the Halle, Charlatan, Two Fetes, Interior of Flemish Household (1783); Feigned Caresses, Human Trait of Louis XVI. (1785); Consultation, The Travellers, Blind Man's Buff, Hermit distributing Chaplets among Young Girls (1810); Physician Consulted by Young Woman, Village Fete (1814); Day after Village Wedding (1824).-Gaz. des B. Arts (1866), xx. 193; Goncourt, L'Art du, xviii. Siecle, 235. DECAISNE, HENRI, born in Brussels, Jan. 27, 1799, died in Paris, Oct. 17, 1852. History, genre, and portrait painter, pupil in Brussels of P. J. C. Francois and of David; studied then in Paris under Girodet and Gros, obtained the great prize in 1827, and a medal in 1828; visited Holland in 1830, studying the old masters, and settled in Paris, where he won great reputation as an excellent portrait painter in the manner of Lawrence. Order of Leopold in 1839; L. of Honour, 1842. Works: Indian Family in Exile, Pariah and Brahmin, Margaret of Valois saving Life of a Protestant (1827); Blind Milton dictating Paradise Lost (1828); Sick Father, Sick Husband, Charles I. taking Farewell of his Children (1829); Cromwell and his Daughter (1830); Last Moments of Louis XIII., Louis XIV. and de La Valli~re (1831); Fenella dancing before Charles II. (1832); Anne Boleyn's Farewell of her Daughter, Mlle. de Montpensier writing her Memoirs, Queen Elizabeth and Amy Robsart (1833); Henri de Lorraine at Chateau d'Eu, Descent from Cross (1835); Hagar in the Desert (1836), Brussels Museum; Mater Dolorosa, Guardian Angel (1836); Francis I. in Madrid, Henrietta of England received at the Louvre by Louis XIV. (1837); Entry of Charles VII. into Rouen (1838), Versailles Museum; Belgium rewarding her Great Men (1839), St. Augustine's, Brussels; Charity (1839), Hamburg Gallery; Giotto Guarding Sheep (1839); Adoration of Shepherds (1841); Francesca da Rimini; Institution of Order of St. John (1842), Conquest of Marrah (1844), Versailles Gallery; Four Evangelists, Education of Christ (1844), St. Paul's, Paris; Maternal Happiness (1846); Fortune-Teller (1847); Boniface de Montferrat elected Leader of Fourth Crusade, Last Visit of Raphael to his Studio (1849); Chancellor of Hospital 380 DECAMPS during St. Bartholomew's Night (1850); Jane Shore, The Dauphin in Prison of the Temple (1852); Portraits of Duke of Orleans and Princess Clementine (1831), Palazzo Royal; King and Queen of Belgium (1834); Mile. de Montpensier (1834), Pa1 834 Tec /n e lazzo Royal; Lamartine (1839).-Biog. nat. de Belgique, iv. 860; Immerzeel, i. 169; Kramm, ii. 324; Larousse, vi. 209. DECAMPS, ALEXANDRE GABRIEL, born in Paris, March 3, 1803, died at Fontainebleau, Aug. 22, 1860. History, landscape, and genre painter; 7 pupil of Abel ' // /J\ dePujol,David, and Ingres. He / freed himself early from classical principles of style and imitation of the antique, and formed himself through the study of Nature, and his name was soon counted with those of Ingres, Delacroix, and Delaroche as a leader of the modern romantic French school. In 1827 he accompanied the marine painter Garneray to Greece, Constantinople, and Asia Minor, and conceived a lasting predilection for Oriental subjects, which he treated with consummate skill and power. Works: Soldier of the Vizier's Guard (1827); Turkish Patrol in Smyrna (1831), Turkish Execution (1839), Miraculous Draught of Fishes (1855), and others, Sir R. Wallace, London; Turkish Children near a Fountain (1833); Body Guard on Road from Smyrna to Magnesia (1834, Maison sale, 1868, 80,000 fr.), Rebecca at Well (1848), Bertrand and Raton, Duc d'Aumale, Chantilly; Defeat of the Cimbri by Marius (1834), Fowls and Ducks, Cottier Collection; Reading Firman at House of Village Agha, Women Bathing (1834), M. Forme; Samson, Joseph sold by his Brethren (1839), Child playing with Lizard, The Ford, Dr. L. V6ron; Finding of Moses (1837), Joseph Face; Punishment of the Hooks, Village Street in Papal States (1839); Turkish Children coming out of School (1841, Lehon sale, Paris, 1861, 34,000 fr.); Towing Horses (1842), The Caravan, Louvre, Paris; Siege of Clermont (1842); Life of Samson (9 designs, 1845); Turkish School, Shepherd's Return, Souvenir of Turkey in Asia (1846), Huntsman and Dogs at Fault, Fodor Museum, Amsterdam; Heron, The Desert (1849); Turkish Cavalry crossing Ford, Flight into Egypt, Greek Pirates (1850); Rebecca and Eliezer (1851), Baron Royer; Monkey Painter, Hunting with Falcon, Hunters at the Meet, late Duc de Morny; Don Quixote and Sancho Panza, Baron G. de Rothschild; Turkish Coffee-House, Comte Lariboissiere; Spaniards playing Cards, M. Jules Delon; Children playing with Turtle, Donkeys, M. Paturle; Interior of Farm-House, Comte T. du Chatel; Farmyard, Baron Corvisart; Turkish Children playing with Turtles, M. Cuvillier-Fleury; Tow-Horses, M. Ravenaz; Village in Italy, Tiger and Elephant, M. Gaillard pere; Donkey and Learned Dogs, Beggar counting Receipts, M. Albert; Turkish Butcher, Italian Peasant, The Grandmother, Ball Players, M. Gaillard fils; Kennel, Interior of a Yard, Baron Michel; Souvenir of Turkey in Asia, Albanians, Gypsies, Turkish Coffee-House, Improviser, M. Henri Didier-Goedon; Hunter in the Marsh, M. Bonnet; Halt of Arab Cavalry, Dogs, Marquis of Harcourt; Monkeys, Large Turkish Bazaar, Lord Henry Seymour; Monkey Bakers, Monkey Pork-Butchers, M. Joseph Fau; Interior of a Courtyard in Italy (Pillet sale, 1881, 36,800 fr.); Sunset at Fecamp (Everard sale, 1872,18,000 fr.); Village Street (Dagnan sale, 1881, 16,300 fr.); Suburbs of Smyrna (Narischkine sale, 1883, 36,100 fr.); Street of Italian Village (do., 48,000 fr.). Works in United States: Night. 381 DECKER Watch at Smyrna, Miss C. L. Wolfe, New York; Italian Washerwomen, A. Belmont, New York; Dog, J. H. Stebbins, New York; Good Samaritan, Fishermen's Huts, B. Wall, Providence; Calais Fisherman, Erwin Davis, New York; Playing with Pussy in Bed, Falconers, D. O. Mills, NewYork; Italian Family, Bashi-Bazouk, W. H. Vanderbilt, New York; The Suicide, W. T. Walters, Baltimore; Detachment of Cavalry, Landscape, Prayer in Desert, The Prodigal, Old Mill at Waterloo, A. E. Borie Collection, Philadelphia.-Burty, Life, etc.; Chesneau, Peinture frangaise (Paris, 1883); Ch. Blanc, Ilcole frangaise; Moreau, Decamps et son (Euvre (Paris, 1869); Gaz. des B. Arts (1862), vii. 97; Hamerton, French Painters; Perrier, I:tudes, 127; Meyer, Gesch., 255, 750. DECKER (Dekker), CORNELIS GERRITSZ, born about 1600, died in Haarlem, buried March 23, 1678. Dutch school; landscape painter, pupil of Solomon Ruysdael; registered in Haarlem guild in 1643. His pictures sometimes approach Ruysdael, but he was not skilful in atmospheric effects, and his tones are heavy. A. van de Velde and Adrian van Ostade sometimes supplied the figures in his pictures. Works: Two landscapes, Louvre; Rural Dwelling, with trees and a canal, Rotterdam Museum; Halt at the Inn (1642), Berlin Museum; Peasant Cottage, figures by Ostade, Old Pinakothek, Munich; two landscapes, Haussmann Collection, Hanover; wood landscape (1666), Copenhagen Gallery; Edge of a Wood, Metropolitan Museum, New York. By J. Decker (flourished 1640-60), otherwise unknown, A Smithy (signed and dated 1644),,^ t tecker in the Berlin Museum.-Kugler (Crowe), ii 479. DECLARATION OF INDEPENDENCE, John Trumbull, rotunda of Capitol, Washington; canvas, H. 12 ft. x 18 ft. The Second Continental Congress signing the Declara tion of Independence in Independence Hall, Philadelphia, in 1776. John Hancock sits at a table, on which rests the Declaration; near him, standing, are Jefferson, Adams, Franklin, Sherman, and Livingston, the committee who had reported the draft of the instrument; seated in chairs around the room are the other members of the Congress. Painted in 1817-24 for $8,000; original study in Yale College Gallery. Engraved on back of $100 United States national bank note. DE CONINCK, PIERRE (LOUIS JOSEPH), born at Meteren (Nord), Nov. 22, 1828. Genre painter, pupil of Leon Cogniet; won 2d prix de Rome in 1855. Medals in 1866 and 1868; 3d class, 1873. Works: Caesar on the Vessel (1855); Eva on Uncle Tom's Knees (1857); Baron, Cossack (1859, horses of Imperial stud); Woman Bathing at Capri (1863); Torture of Queen Brunehaut, Ballet Girl Resting (1864); Christ blessing Little Children (1865); Huntress, Two Friends (1866); Lavandara (1867); The Ordeal (1868); End of Carnival at Rome (1869); Little Charmer (1870); Confidence, The Ring (1873); Candy, Idling, Kittens (1874); Pastorella, Ave Maria, Friend of the Little Birds (1875); A Trappist Monk,Charming Little Girl (1876); Little Girl Studying (1877); Cornelia (1878); Mater Dolorosa (1879); Hops (1880); Hare caught in a Trap (1881); Fishing for Eels, Spoiled Girl (1882); A Good Hunt (1883); Small Fish will grow Large (1884); The Trappist, Primitive Hunting (1885). Works in the United States: At the Fountain, Miss C. L. Wolfe, New York; Little Bird-Charmer, D. T. Buzby, Baltimore; Violin Q(irl, A. J. Antelo, Philadelphia. DEDREUX. See Dreux. DEELEN, DIRK VAN, born at Heusden about 1607, died at Arnemuyden, Zeeland, May 16, 1673. Dutch school; architecture painter; said to be a pupil of Frans Hals, which is very doubtful; visited Italy about 1631, lived temporarily at Haarlem, Delft, 882 _ _ ___ __ ___ _ ___ _ _ _ _ _ _____11_ _ __ _ j:________ DEFAUX and Antwerp, and settled later in Arnemuy- (1874); Spring-Time in the Woods (1875); den, where he became burgomaster. His The Loing during a Snow-Storm (1876); pictures, in which Van Herp, Palamedes, From Honfleur to Pennedepic, Gravel-Pit at Stevens, and Wouwerman supplied the fig- Fontainebleau (1877); Spring Morning in ures, are distinguished for their fine lineal Cernay (1878); Forest of Fontainebleau and aerial perspective. Works: Colonnade (1879); Morning at Chateau-Landon, Harwith Christ and Adulteress (1627), Entrance bour of Pont-Aven (1880), Luxembourg Muto Palace (1667), Hall with Festive Assem- seum; The Loing, Island of Grande-Jatte bly, Hermitage, St. Petersburg; Court with (1881); Road at Montigny, View from MontBall Players (1628), Louvre; Interior, do. martre (1882); Old Birches at the Pigeon with Duke Alva judging the Netherlands, Pond in Fontainebleau, Montigny-sur-Loing Harrach Gallery, Vienna; Festive Assembly (1883); Cherry Trees in Blossom, Low Tide (1631), Stockholm Museum; St. Peter's in in Normandy (1884); Pastime of a Flock of Rome (1632), Augsburg Gallery; Courtyard Geese, After the Storm (1885). of Castle (1635), Interior of Gothic Church, DEFREGGER, FRANZ VON, born at Brunswick Museum; Concert-Room (1636), S t r o n a c h, Tyrol, -, Rotterdam Museum; Interior of Castle A p r i l 3 0, 183 5. (1638), two others, Lille Museum; Conver- Genre painter, pusation in the Street (1636), Copenhagen Gal- pil at the Munich lery; Garden-Palace (1640), Splendid Build- Academy under Aning with Colonnade, Vienna Museum; Portico schUtz, then studied J t of a Palace (1642), Brussels Museum; Court- for eighteen months! yard of Palace (1647), Berlin Museum; Hall in Paris, spent two,: \ in the Binnenhof (1647), National Museum, years in the Tyrol, Amsterdam; Interior of Italian Church and in 1867 entered (1648), Rothan Gallery, Paris; Allegory of Piloty's s c h o o 1 a t Poetry and Painting (1668), Antwerp Mu- Munich, where he has resided since 1871. seum; Interior (1625), Fitzwilliam Museum, Medal, Paris, 3d Class, 1878. Honorary Cambridge; Palatial Buildings in Renais- member of the Munich, Vienna, and Berlin sance Style, National Gallery, London.- Academies; ennobled in 1883. Works: Allgem. d. Biogr., v. 19; Bode, Studien, Forester's Last Return (1867), The Young 214; Riegel, Beitrage, ii. 432; Zeitschr. f. Poachers, Speckbacher and his Son (1869), b. K., ix. 95. Ferdinandeum, Innsbruck; Wrestling Match DEFAUX, ALEXANDRE, born at Bercy, (1870); Ball on the Alp (1871); Surprised Paris, Sept. 27, 1826. Landscape painter, Poachers (1871); The Two Brothers (1872); pupil of Corot. His works have been more The Prize-Horse (1873); The Beggar Singadmired by the critics than by the general ers (1873); Madonna (1873); The Arrierepublic. Medals: 3d class, 1874; 2d class, Ban (1874), Zither Player, Vienna Museum; 1875; L. of Honour, 1881. Works: View The Bitten Goose (1875); Return of the Vicat Caen, Abandoned Race-Course at Ivry tors (1876), National Gallery, Berlin; Say(1859); View at St. Maur, Coast of Gravelle ing Grace, Leipsic Museum; Farewell of the (1863); Plateau of Belle-Croix (1864); En- Alpine Herd-Keeper, Dresden Gallery; Anvirons of Mereville (1865); Dead Nature, dreas Hofer's last Walk, Konigsberg MuEnvirons of Caen (1867); Marsh of Donville seum; Andreas Hofer in the Palace at Inns(1868); Evening in Spring-Time (1869); bruck (1879); The Smith of Kochel (1881), The River Yerres (1870); Fine Winter Day New Pinakothek, Munich; The Love-Letter in Bas-Meudon (1872); The Loire after a (1882); On the Dancing Floor (1882); The Flood (1873); Birch-Trees at Fontainebleau Fashionable Tyrolese (1883), National Gal 383 DEGER lery, Berlin; On Furlough (1884). Works in United States: Head of Girl, S. A. Coale, St. Louis; Prize-Horse, E. D. Morgan, New York; Italian Singing Beggars, J. T. Martin, Brooklyn; Tourists in Tyrol, W. H. Vanderbilt, New York; The New Brother, Samuel Hawk Collection, New York. At Narischkine sale (1883) The Dance sold for 48,000 fr.Brockhaus, iv. 945; Miller, 12; Meyer, Con. Lex., xvii. 555; Graph. K., iv. 17; Illustr. Zeitg. (1873), ii. 361; (1875), ii. 255; (1882), ii. 497; N. illustr. Zeitg. (1880), i. 6; (1883), i. 74; Land und Meer (1874), i. 36, 274; Kunst-Chronik, vi. 6; xviii. 403; xix. 317, Pecht, ii. 27; Zeitschr. f. b. K., vii. 100, 116; 465; xvi. 50; xvii. 344; xviii. 403; xix. 130; viii. (Mittheilungen, i. 58); xii. (Mitth., v. 52). DEGER, ERNST, born at Bockenem, Hanover, April 15, 1809, died at Dusseldorf, Jan. 27, 1885. History painter, pupil in 1828 of the Berlin Academy under Wach, and in 1829 of the Dusseldorf Academy under Schadow. In Rome in 1837-41 he prepared himself to paint the frescos in the St. Apollinaris chapel at Remagen, which he executed conjointly with Ittenbach, and Andreas and Karl Muller, in 1843-51. He then decorated the chapel at Castle Stolzenfels, near Coblentz, for Frederick William IV. of Prussia, and in 1869 became professor at the Diisseldorf Academy, Member of Berlin and Munich Academies. Works: Pieta (1830); Bearing the Cross (1832); Madonna (1833); Annunciation (1834); Resurrection (1835); Virgin adoring Christ (1836); Madonna Enthroned (1837), St. Andrew's chapel, Disseldorf; Several other Madonnas, Redeemer with Mary and John Baptist, and Seven Scenes from Life of Christ (1841-51), St. Apollinaris chapel, Remagen; St. Catherine (1842); St. Magdalen (1843); St. Joseph with Infant Christ (1844); Holy Virgin, Resurrection, Maximilianeum, Munich; Twelve Scenes illustrating Redemption of Mankind, Castle Stolzenfels; Adam and Eve (1853), Raczynski Gallery, Berlin.-Brockhaus, iv. 948; Forster, v. 379; Wolfg. Muller, Dtisseldf. K., 46; Reber-Pecht, ii. 151; Wiegmann, 60, 131. DGIGUSTATION (Tasting), Gerard Terburg, formerly in Narischkine Gallery, St. Petersburg. A lady, in a yellow satin corset, black velvet pelerin, and gray skirt, seated beside a table, on which are an inkstand, pen, and paper, is tasting wine from a Venice glass held in her left hand; in her right she holds a white pot with a tin cover, which rests upon her knee; in back of the room, a bed with red curtains. Sale of Count Perregaux (1841), 8,000 fr.; Delessert sale, (1869); Narischkine sale, Paris (1883), 51,050 fr.-Smith, ix. 537. DEHODENCQ, (EDMEI ALEXIS) ALFRED, born in Paris, April 23, 1822. Genre and history painter, pupil of Leon Cogniet; has travelled much in Spain and North Africa, whence he takes many of his subjects. Medals: 3d class, 1846 and 1853; medal, 1865; L. of Honour, 1870. Works: Saint Cecilia (1844); In Doubt (1845); St. Stephen led to Torture (1846); Visitation (1847); Christ in the Tomb, Camoens (1848); Virginia found Dead upon the Shore (1849), ordered by State; Bull Fight in Spain (1850), formerly in Luxembourg Museum; Gypsy Men and Women returning from a Festival in Andalusia (1853); Jewish Concert at the House of a Morocco Cadi (1855); Execution of a Jewess in Morocco, Married Jewess of Tangiers (1861); Columbus at the Convent of Rabida (1864); The Good Venture, Jewish Festival in Morocco (1865); The Pasha's Justice (1866); Ruth and Naomi, Punishing Thieves in Morocco (1867); Arrest of Charlotte Corday (1868); King Boabdil's Farewell to Granada (1869); Jewish Festival in Tangiers (1870); October Morning in Luxembourg (1872); Othello (1873); Negro Dance in Tangiers, Arab Children playing with a Turtle (1874); The Reader (1875); Christ raising the Daughter of Jairus (1876); Morocco Story-Teller (1877); Bacchus (1878); The Married Jewess, Departure of Mobiles in July, 1870 (1879); The Pasha's Sons, Arrest of a Jew in Tangiers (1880);Morocco Prisoners, Morning Meal ona Farm, Going to Work (1881); Towing (1883). 384 _ _ _ 1_ ___ ___ __~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~___~~~~~~~~~~~~_ ____1_1 ____~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~*___ _ _____1_1____ ______ __11_1___1~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ DEIG DEIG (Taig), SEBASTIAN, German school, 16th century, 1516-1544. A crude imitator of Durer and Schaufelin, whose pictures may be seen in Nuremberg, Schleissheim, and the Town Hall of Nordlingen.Nagler, Mon., v. 69; W. & W., ii. 403. DEIKER, JOHANNES CHRISTIAN, born at Wetzlar, Rhenish Prussia, May 27, 1822. Painter of animals and hunts; pupil of his father Friedrich, a portrait painter, then of the Hanau Academy, and at the Stadel Institute in Frankfort under Jakob Becker; entered the service of Prince Salms, on whose estates he made the forest and its animal life his special study, and then went for a year to Antwerp. In 1868 he settled in Disseldorf. Works: Stags in Calving Time, Dog with Hares, Dog at the Chase, Pointer and Partridges. —Miller, 129. DEIKER, KARL FRIEDRICH, born at Wetzlar, April 3, 1836. Painter of animals and hunts, brother of Johannes; pupil of the Hanau Academy, and from 1858 in Carlsruhe of Schirmer; settled in 1864 in Diisseldorf. Works: Wounded Stag (1858); Two Boar-Hunts (1859); Fighting Stags (1861); Stag-Hunt, Boar-Hunt (1870), Cologne Museunm; Deer in the Mountains (1876); Contest for the Herd (1879).-Illustr. Zeitg. (1872), i. 67; (1873), i. 99; (1877), ii. 267; (1880), ii. 481; Muller, 129; Land und Meer (1873), ii. 751. DEITERS, HEINRICH, born at Minster, Westphalia, Sept. 5, 1840. Landscape painter, pupil of the Dusseldorf Academy under Alex. Michelis, and much influenced by Andreas Achenbach; studied from nature in Belgium, Holland, France, and Southern Germany, but especially in Westphalia. Works: After the Rain (1865); Westphalian Village, Dordrecht, Wood Interior, River Plain; View in Amsterdam, Gravelotte, April Weather, Before the Storm (1868); Mill, Evening Landscape.Miiller, 130. DEJANIRA, RAPE OF, Guido Reni, Louvre, Paris; canvas, H. 8 ft. 7 in. x 6 ft. 6 in. Hercules having entrusted Dejanira to the Centaur Nessus to be carried across the River Evenus, slays him with a poisoned arrow when he perceives that he is about to carry her off. Same history as Hercules and Achelous of Guido. Engraved by G. Rousselet; Bervic.-Landon, Musee, i. P1. 35; Villot, Cat. Louvre. DEJUINNE, FRAN(OIS LOUIS, born in Paris in 1786, died there in 1844. History painter, pupil of Girodet; won grand prix de Rome in 1817, and then studied at the French Academy in Rome. L. of Honour, 1824. Works: Death of Hector; Assumption, St. Genevieve, Notre Dame de Lorette; Christ healing the Blind, St. Vincent de Paul; St. Fiacre declining the Crown, St. Sulpice; Four Seasons, Trianon Palace; Baptism of Clovis, Versailles Museum; St. Aignan invoking Heaven for besieged Orleans; Michelangelo's House, Tasso's House, Girodet painting Galatea, Inez at the Feet of Childe Harold. DEKKER. See Decker. DELABORDE, HENRI, Vicomte, born at Rennes, May 2, 1811. History painter, pupil of Delaroche; in 1855 was made conservator of the Imperial Cabinet of Engravings, afterwards its vice-director; member of Academy, 1868, perpetual secretary since 1874; distinguished as a writer upon art. Medals: 2d class, 1837; 1st class, 1847; L. of Honour, 1860; Officer, 1870. Works: Hagar in the Desert (1836), Dijon Museum; Conversion of St. Augustine (1837); Death of St. Monica (1838); Conquest of Damietta (1841), Knights of St. John of Jerusalem (1845), Versailles Museum; Passion of Christ (1848), Amiens Cathedral.-Meyer, Con. Lex., xviii. 229; Mfiller, 130. DELACROIX, AUGUSTE, born at Boulogne-sur-Mer, Jan. 27,1809, died there, Nov., 1868. Genre and marine painter. Paralyzed during several years before his death, he painted his last works with his left hand. Medals: 3d class, 1839; 2d class, 1841; 1st class, 1846. Works: Coast of Boulogne, Interior of Boulogne Harbour (1835), De I 385 DELACROIX parture of Fishermen (1839), Negro Dancers at Tangiers (1859), Pilgrimage to NOtre Dame de Boulogne (1866), Boulogne Museum; Expectation, Smugglers (1841); Benediction of the Sea (1844, 1863); Women surprised by the Tide, Talk at the Fountain, Washerwomen (1846); Well of Casbah at Tangiers (1852); Departure for Fishing, Return (1855); Halt of Caravan (1864).-Bellier de la Chavignerie, i. 380. DELACROIX, (FERDINAND VICTOR) EUGE NE, born at Charanton St. Maurice, near Paris, April 26, 1799, died in Paris, Aug. 13, 1863. His-,/l,, tory painter, pupil of Guerin. Exhibited in - IN H 1822 his Dante and ~!S \ Virgil, which won him \ ~ \~ reputation, and he \ x- " ^ might have received high academic honours if he had not, with Gericault and others, diverged from the prevalent classicism of the school of David and joined the romantic school, of which he became one of the leaders. He travelled in Spain and North Africa in 1831, and between that and 1855 executed important public commissions, decorating the Chamber of Deputies, the Library of the Luxembourg, the Church of St. Sulpice, and galleries in the Louvre and the Hotel de Ville. L. of Honour, 1831; Officer, 1846; Commander, 1855; Member of Institute, 1857. Works: Dante and Virgil (1822), Massacre of Scio (1824), Twenty-eighth of July, 1830 (1830), Algerian Women (1834), Portrait of himself (1837), Jewish Wedding in Morocco (1841), Shipwreck of Don Juan, Louvre; Christ in Gethsemane, St. Paul, Paris; Portrait of Marshal de Tourville (1835), Battle of Taillebourg (1837), Entry of Crusaders into Constantinole (1841), Versailles Museum; Death of Sardanapalus; Death of Marino Faliero (1827), Faust and Mephistopheles, Sir Richard Wallace, London; Death of Charles the Bold (1834), Nancy Museum; Justice of Trajan (1840), Rouen Museum; Marcus Aurelius (1845), Lyons Museum; Medea (1838), Lille Museum; Head of Actaeon, Melun Museum; St. George, Grenoble Museum; Two Foscari (1855), Duc d'Aumale, Chantilly; Martyrdom of St. Stephen (1853), Arras Museum; The Halt (1837), Nantes Museum; Sultan of Morocco leaving his Palace (1845), Toulouse Museum; Arab Musicians (1848), Tours Museum; Portrait of Himself (1829), Charge of Arab Cavalry (1832), Algerian Women at Home, Daniel in Lions' Den (1853), Michelangelo in his Studio (1853), Mulatto Woman, Montpellier Museum; Prisoner of Chillon (1835); Martyrdom of St. Sebastian (1836); Convulsionnaires of Tangiers (1838); Hamlet with Skull of Yorick (1839); Romeo's Farewell (1846); Christ Crucified (1847); Death of Valentine (1848); Apollo killing the Python (1849). Works in United States: Marguerite and Mephistopheles, W. Rockefeller, New York; Iconoclasts, B. Wall, Providence; Clotilda delivering the Martyrs, H. Probasco, Cincinnati; Greek Soldier, A. J. Antelo, Philadelphia; Sultan of Morocco, W. H. Vanderbilt, New York; Meeting of Ruth's Kinsman and Boaz, Lion Hunt, Capture of Gotz von Berlichingen, Groom and Mare, A. E. Borie Collection, Philadelphia; The Combat, W. tV G. DELAC RO I T. Walters, Baltimore. - Moreau, Delacroix et son CEuvre (Paris, 1873); Burty, Maitres, 51; Leclercq, Caractlres, 83; Ch. Blanc, Artistes d. m. Temps, 23; Perrier, ftudes, 36; Chesneau, Peinture fran9aise (1883); Gaz. des B. Arts (1865), xix. 144; (1873), vii. 560; International Rev. (1880), viii. 357; Nation (1880), xxx. 388; L'Art (1882), xxviii. 61; (1883), xxxii. 76, 94; Meyer, Gesch., 201; Robaut (Chesneau), L'CEuvre complet de E. D. (Paris, 1885). DELACROIX, HENRI EUGfNE, born at Solesmes (Nord); contemporary. History painter, pupil of Cabanel. Medal, 3d 886 DELAHAYE class, 1876. Works: Dante and Virgil (1875), Cambrai Museum; Rebellious Angels (1876), bought by State; Prometheus (1877); Christ in the Tomb (1878); The Little Giggler (1879); The Angelus (1880); Orpheus torn by the Bacchantes (1881); Death of a Hog, Autumn Night (1883); The Laundress (1884). DELAHAYE, ERNEST JEAN, born in France; contemporary. Genre and portrait painter, pupil of Gerome. Medals: 3d class, 1882; 2d class, 1884. Works: Lavatory(1881); Shoeing, Farriery (1882); Jewish Easter (1883); Gas-Works at Courcelles (1884); Farriery, Portrait of Henri Maret (1885). DELANCE, PAUL LOUIS, born in Paris; contemporary. Genre and portrait painter, pupil of Gerome. Medal, 3d class, 1881. Works: Faith, Hope, and Charity (1878); The three Ages (1879); Louis XVI. and Parmentier (1880); Return of the Flag (1881); Revery (1882); Departure (1883); Upon the Stockade, Portrait (1884); Nurses' Bench at Orphanage of St. Valery (1885). DELANOY, HIPPOLYTE PIERRE, born in Glasgow, Scotland, of French parents; contemporary. Genre painter, pupil of Jobb&-Duval, F. Barrias, Bonnat, and Vollon. Medal, 3d class, 1879. Works: Pride and Impudence, Gilliflowers and Thoughts (1877); Booty, Breakfast on the the Turf (1878); At Don Quixote's, The Koran (1879); Preparation for Breakfast, Peaches and Flowers (1880); Breakfast (1881); A Corner in Willem Kalf's Studio, The Gospel (1882); To the Glory of a General of the Past or the Future, India and the East (1883); Luncheon in the Park, Things of the Past (1884); With Jacques d'Anville, In Time of Chivalry (1885). DELAROCHE, PAUL (Hippolyte), born in Paris, July 17, 1797, died there, Nov. 4, 1856. History and portrait painter. Began by painting landscapes under Watelet, which he gave up for history after entering the studio of Baron Gros. First attracted attention by his picture of Joash saved from death by Jehosheba (1822). Received the great gold medal in 1824, became Knight of the f\ Legion of Honour in 1828, Offi-, E, cer in 1834, Member of the Insti- '-. tute in 1832, and Professor at the,oO \ Academy in 1833. ' ~ In the following year he went to Italy, and on his return showed the idealizing effect upon his style of his study of the old masters in the famous Hemicycle which he painted at the tcole des Beaux Arts. At the time of his second visit to Italy in 1844 he was made a member of the Academy of St. Luke, as he had previously been of the academies of Amsterdam and St. Petersburg. Works: Naphtali in the Desert (1819); Joash saved from death by Jehosheba (1822), Death of Queen Elizabeth (1827), Children of Edward IV., or Princes in the Tower (1830), Louvre, Paris; Filippo Lippi (1822); St. Vincent de Paul preaching before Louis XIII. (1823); Joan of Arc in Prison, St. Sebastian (1824); Children caught in Storm (1825); Death of Agostino Carracci (1826); Massacre of St. Bartholomew (1826), Konigsberg Museum; Flora Macdonald (1826); Death of Duranti (1827), painted for Conseil d']tat; Capture of the Trocadero (1827); Richelieu on the Rhone (1829), Death of Mazarin (1830), Sir R. Wallace, London; Cromwell beside Coffin of Charles I. (1831), Nimes Museum; Execution of Lady Jane Grey (1834), H. W. Eaton, M.P.; Galileo (1834); Assassination of Duc de Guise (1835), Duc d'Aumale, Chantilly; Strafford going to Execution (1835), Duke of Sutherland; Charles I. insulted by Cromwell's Soldiers (1836), Bridgewater Gallery; Napoleon in his Study (1837), Countess of Sandwich; Portrait of Peter the Great (1838); Hemicycle (1838-41), ]tcole des 887 DELAUNAY Beaux Arts, Paris; Pico della Mirandola from the Temple (1853); Return of Tobias taught by his Mother (1842), Nantes Muse- (1856); The Salt-makers of Gu6rande (1853); um; Pilgrims at Rome (1842); Mother's The Flute Lesson (1859); Brutus's Oatk Joys, Herodias (1843); portrait of Gregory (Tours Museum); Death of the Nymph HesXVI. (1844), Charlemagne crossing the Alps y peria (1863; (1847), Versailles Museum; Napoleon at e Communion Fontainebleau (1845), Leipsic Museum; of the Aposttes The Swing (1845), Nantes Museum; Napo- (1865), Plague in Rome (1869), Death of leon crossing the Alps (1848); Marie An- Nessus (1870); Diana (1872), Luxembourg. toinette leaving the Tribunal (1851); Napo- He has painted only portraits since 1872 leon at St. Helena (1852), Queen Victoria; DELAVAL, PIERRE LOUIS, born in Last Prayer of Children of Edward IV. Paris, April 27, 1790, died in 1870. History (1852); Mater Dolorosa (1852), Liege Mu- painter, pupil of Girodet; and only a barren seum; Moses exposed on Nile, Entombment imitator of his master. Medal: 2d class, (1853); Last Communion of Mary Stuart 1817. Works: St. Clotilda urging Clovis (1854); Beatrice Cenci going to Execution, to embrace Christianity (1817), St. Louis, Christ in the Garden (Norzy sale, 1860, 8,000 Versailles; Minerva protecting the Arts fr.), Christian Martyr (1855); Girondists, Re- (1819), Grand Trianon; Psyche abandoned turn from Golgotha,Virgin inContemplation, by Cupid, Grenoble Museum; The Virgin Virgin with Holy Women (1856). Portraits: (1827), St. Cecilia, Cathedral of Meaux; St. Napoleon, Duke of Portland's Collection; Louis with the Oriflamme. Duc d'Angoul6me; Mlle. Sontag; Due de DELEN. See Deelen. Noailles; de Remusat; Prince Adam Czar- DELESTRE, JEAN BAPTISTE, born in toryski; de Salvandy; Thiers; Guizot; Lyons, Jan. 10, 1800, died in Paris in JanuChangarnier; Count Mole; Pourtales. Works ary, 1871. Genre painter, pupil of Gros; in United States: Study of Head, T. A. was also a writer on art, and excelled rather Havemeyer, New York; Christ the Con- as a teacher than a painter. He took an soler, A. Belmont, New York; Temptation active part in the Revolution of 1848. Works: of Christ, T. Corse, New York; Gethsemane, Carmelite; Murder of Clodimir's Children; H. V. Newcomb, New York; Nymph of the Jesus and the Heavy-Laden; Peter's ReFountain, D. 0. Mills, New York; The pentance; Justice; Sappho at Leucadia.Hemicycle (1853), W. T. Walters, Baltimore. Larousse. -Godde, (Euvre de P. D., 86 photos. (Paris, DELFT, WILLEM JACOBSZEN, born 1868); Hamerton, French Painters; Ch. in 1580 (1592), died in 1638. Dutch school; Blanc, 31cole frangaise; Runtz Rees, P. De- third son and pupil of Jacob Willemszen, laroche; Larousse, vi. 335; Meyer, Gesch., and pupil of Mierevelt, whose daughter he 475; Perrier, ]itudes, 50; Rossetti, 101; married. He devoted himself later entirely Gaz. des B. Arts (1860), v. 325; vi. 319; to engraving. There is an excellent female (1861), x. 57. portrait by him (1632) in the Stadel Gallery, DELAUNAY, JULES RILIE, born at Frankfort. His son, Jacob Willemszen (1619 -Nantes, June 12, 1828. Genre painter; pu- 1661), was a portrait painter.-Kugler pil of Hipp. Flandrin, L. Laroutte, and of (Crowe), i. 257. the ficole des Beaux Arts, where he won the DELFT (Delff), JACOB WILLEMSZEN, 2d grand prix in 1835, and the grand prix died in Delft in 1601. Dutch school; porde Rome in 1856. Has decorated several trait painter; among whose works are A churches. Medals: 3d class, 1859; 2d class, Reconciliation between Esau and Jacob 1863, 1865, and 1867; L. of Honour, 1867. (1584), in the Vienna Museum, an Archer's Works: Christ driving the Money Changers Repast in the City Hall, Delft (1592), and a 888 DELLI portrait of the artist with his wife and three sons. His eldest son, Cornelis Jacobzen, painted still life, and his second son, Rochus Jacobzen, portraits. - Kugler (Crowe), i. 257. DELLI, DELLO (Daniello), Cavaliere, born in Florence about 1404, died after 1464. Florentine school. In 1424, Niccolb Delli's father, having surrendered the fortress of Montecerro in the Tuscan Romagna to the Duke of Milan, was sentenced to death, and fled to Siena, where his son made himself known by casting a brazen figure to strike the hours for the clock-tower of the palace. About 1427 Dello went to Venice, and then to Seville, Spain, where he spent many years, became rich, and was made Cavaliere, a title which was recognized in Florence in 1447. Before returning to Spain in the following year he is said to have painted twenty-four frescos from the book of Genesis in the socalled "green" cloister of S. M. Novella, considerable vestiges of which still remain. These frescos, on the south and west walls, are like those by Paolo Uccello upon the other sides of the cloister, painted in shades of green hatched with white lines. Milanesi recognizes two different painters in the frescos attributed to Dello, and Crowe and Cavalcaselle doubt if they can have been painted by him after his return from Spain in 1446, as they appear to be the work of an unformed hand. He characterizes the conceptions as "petty," and the execution as rude and hasty. The Shem in the fresco of the Drunkenness of Noah by Paolo Uccello is said by Vasari to be the portrait of Dello. The same writer says that Dello painted furniture and marriage-chests like other artists of his time. The glazed terra-cotta bas-relief of the Coronation of the Virgin over the doorway of the church of S. Egidio, Florence, which Vasari attributes to Dello, is by Bicci di Lorenzo.-Vasari, Ed. Le Mon., iii. 46, 51; ed. Mil., ii. 147; C. & C., Italy, ii. 299; Burckhardt, 494; Milanesi, Archivio, Storico Italiano, xii. 183; Dispensa 33, A., 1860. DELMONT (Del Monte). See Mont, Deodaat van der. DELOBBE, (FRANI(OIS) ALFRED, born in Paris, Oct. 13, 1835. Genre painter, pupil of A. Lucas and of Bouguereau. Medals: 3d class, 1874; 2d class, 1875. Works: Country Music, Return from the Fields of St. Briac, Marie Jeannic (1874); Pyramus and Thisbe, A Daughter of the Fields (1875); Virgin and Child (1876); Springtime (1877); Lobster-Fishing, The Last Arrow (1878); The Big Sister (1879); The Bath, In the Prairie (1880); The Family in the Fields, Gypsy Girl (1881); Romance in a Village, The First Advances A (1883);By. LO the Sea, Fisherman (1884); Two Mermaids, Reverie (1885); Italian Girl, John Hoey, New York. DELORME, (PIERRE CLAUDE) FRANgOIS, born in Paris, July 28, 1783, died there, Nov. 8, 1859. Genre painter, pupil of Girodet, to whose style he confined himself. Medal, 2d class, 1840; honorary mention, 1845; L. of Honour, 1841. Works: Death of Abel (1810); Hero and Leander (1814); Raising of Jairus's Daughter (1817),St.Roch, Paris; Christ Reappearing (1819); N6tre Dame, Paris; Cephalus carried off by Aurora (1822), Luxembourg; Sappho reciting an Ode to Phaon (1833); Eve plucking the Forbidden Fruit (1834); Magdalen at the Sepulchre (1835); Adam and Eve after the Fall (1839); Holy Family in Egypt (1850). -Larousse; Gaz. des B. Arts (1859), iv. 254. DELORT, CHARLES IDOUARD, born at Nimes, Feb. 4, 1814. Genre painter, pupil of Gleyre and of G6r6me. Medals: 3d class, 1875; 2d class, 1882. Works: Confidence, Starting for the Chase (1873); Marauders (1874); Embarkment of Manon Lescant (1875); After Breakfast (1876); Hallali in a Market (1878); A Poacher, Admonition (1880); Capture of the Dutch Fleet in 1794 (1882); Return from the Review (1884), Mr. Knoedler, New York. 389 DELPY DELPY, CAMILLE HIPPOLYTE, born at Joigny (Youne); contemporary. Landscape painter, pupil of Corot and Daubigny. Medal, 3d class, 1884. Works: Solitude (1878); Snow Landscape, Banks of the Seine (1879); Autumn Harvest (1880); Entrance to Dordrecht, Moonrise (1881); Dawn of Day, Twilight (1882); Quay of Fish Market at Dieppe (1883); Bank of the Morin at Esbly (1884); Before the Storm, Poltaise (1885). DE LUCE, PERCIVAL, born in New York, Feb. 24, 1847. Portrait and genre painter, pupil of the Antwerp Academy under Van Lerius, of Portaels in Brussels, 1810; won grand prize for history over David's Sabines. Acquired in 1818, with Endymion and Burial of Attala, for 50,000 fr. -R6veil, i. 22. By Michelangelo, Sistine Chapel, Rome; fresco on ceiling. By Nicolas Poussin, Louvre, Paris; canvas, H. 3 ft. 10 in. x 5 ft. 3 in. Called also L'Hiver (Winter). The Deluge, with the Ark floating on the waters; in middle-ground, where the current forms a cascade, a half-submerged vessel with figures, one of them with raised hands, imploring for mercy; in second plane at left, the serpent tempter gliding toward the crevices of a rock; at: right, a mass of rock and persons trying to reach it in a boat; below, two..^..1 men, one on horseback, '," ~: struggling with thewaves. Painted, with Paradise, Ruth and Boaz, and Re-,^ et^ ^ ~turn of Spies, in 1660-64, ^. f~>.' for Duc de Richelieu; in?"B ~ ' Chateau Meudon in 1709 -10- Engraved by J. Audran, P. Laurent, Eichler, Devilliers, Bovinet.Filhol, x. P1. 610; Lan~__ ^ --- don, iii. P1. 28; Villot, Cat. Louvre. By Joseph M. W. Turner, National Gallery, London; canvas, H. 4 ft. 9 in. x 7 ft. 9 in. Illustration of Milton's Paradise Lost. Royal Academy, 1813; Turner Collection. Engraved by J. B. Quilley.-Cat. Nat. Gal. DEMARNE. See Marne. DEMAREST, GUILLAUME ALBERT, born in Rouen, France; contemporary. Pupil of J. P. Laurens and J. Lavee. Medal, 3d class, 1883. Works: Grandmother, Rape of Psyche (1879); Voyage in Extremis (1880); At the Cemetery (1883); Evening (1884); At the Studio (1885). DEMETRIUS, painter and lecturer, surnamed Graphicus, date unknown. (Diog. Laer. V. Dem. xi.) Perhaps identical with Deluge, Nicolas Poussin, Louvre, Paris. and of Bonnat in Paris. Exhibits at the National Academy. Studio in New York. Works: Portrait, C. H. Hudson; Children Gleaning (1879); Winter (1880); Thankful Blossoms (1881); Reverie (1882); Powder for the Besieged-Wheeling, Va., 1777 (1883); Knitting Lesson (1884); Buttercups and Daisies, The Forbidden Book (1885). DELUGE, Girodet de Roussy, Louvre; canvas, H. 14 ft. 1 in. x 11 ft. 2 in. A man, bearing his father upon his shoulders and holding by the right hand his wife, to whom two children are clinging, endeavours to gain the summit of a rock by means of a tree which breaks in his grasp. Painted in 390 DEMETRIUS one mentioned by Diodorus (Excerpt. Vat. xxxi. 534), who lived in Rome about 163 ac.; or with the Alexandrian painter of the name (Val. Max., v. 1. 1.) —R.-Rochette, Schorn, 271. DEMETRIUS, ST., Tintoretto, S. Felice, Venice; canvas. St. Demetrius armed and accompanied by a person of the Casa Ghigi. -Zanotto, 364. DEMONT, ADRIEN LOUIS, born at Douai (Nord), France; contemporary. Landscape painter, pupil of E. Breton.. Medals: 3d class, 1879; 2d class, 1882. Works: Canal, Village Square (1878); August (1879); Brickfield, La Scarpe near Douai (1880); The Landes of Finisterre (1881), A Mill (1882), Luxembourg Museum; Morning in March (1882); Brook, Hyacinths in Bloom (1883); Jardin du Vieux (1884); Kitchen Garden in Springtime, Approche du gros Temps (1885). DEMONT- BRETON, Mme. VIRGINIE tLODIE, born at Courrieres (Pas-de-Calais); contemporary. Landscape and genre painter, pupil of Jules Breton. Medals: 3d class, 1881; 2d class, 1883. Works: The Little Spring, April Flowers (1880); Woman bathing her Children (1881); The First Step, The Family (1882); Flat Shore (1883), Luxembourg Museum; The Calm, Little Birds'Nester (1884); Wolves of the Sea (1885). DEMOPHILUS, painter, of Himera, Sicily, about 424 B.c. Supposed to have been the master of Zeuxis.-Pliny, xxxv. 36 [61]. DENIS, SIMON, surnamed den Schelen (the squint-eyed), born at Antwerp, baptized April 14, 1755, died in Naples, Jan. 1, 1813. Flemish school; landscape painter, pupil of H. J. Antonissen, went to Italy in 1786, and afterwards settled in Naples, where he was made first painter to the king. Works: View of Arpino, Louvre, Paris; Cascade (1793), Landscape, Sunset, Antwerp Museum.Biog. nat. de Belgique, v. 595. DENNELLE, DOMINIQUE ALEXANDRE, born in Paris in 1818, died in Florence, Italy, Dec. 4, 1879. History painter in fresco; went to Germany when seventeen to study ceramics, then studied monumental painting under Delaroche and Duban, and decorative painting in Italy. L. of Honour, 1859; Officer, 1874. Works: Paintings in St. Germain des PrOs, St. Clotilde, St. Trinit6, St. Sulpice, St. Eustache, Paris; Church of the Abbey, St. Denis; St. Paul's, Nimes; others in Lyons, Beauvais, Carcassone, and Orleans.-M-tller, 132. DENNER, BALTHASAR, born at Altona, Nov. 15, 1685, died in Rostock, April 14, 1749. German school; portrait painter; studied under obscure masters in Altona and Dantzic, then, in 1707, at the Berlin Academy. In 1709 he began his career by painting the portraits of Duke Christian Augustus of Holstein and his sister. At the age of twenty-four his name was famous, and he received numberless orders from princes and nobles of Northern Germany, Denmark, Holland, and England, which he executed with microscopic accuracy and infinite elaboration of detail. Works: Portraits of Duke Christian August of Holstein and Sister (1709); Group of Holstein Princes and Courtiers (1712); Princess of Schleswig (1713); Prince Mentschikoff (1713); Several Portraits of King Frederic IV. of Denmark (1712 and 1717); Duchess of Brunswick (1720); Duke and Duchess of Blankenburg (1729); King Augustus II. of Poland (1729); Christian VI. of Denmark j (1734); Duke Christian Ludwig of MecklenburgandFamily 1735); Princess Sophie Charlotte of Denmark (1736): Peter of Russia as ): Peter IIL of Russia as,, Duke of Holstein K ' 0I et (1740); Adolphus c<-^ /' if Frederic of Hol'2>6 1CCe stein-Gottorp (1743); Elector of Cologne (1744); Duke of Holstein (1747); Duchess of Brunswick (1747); Artist's portrait, six others, Kunsthalle, Hamburg; Por. 891 DENNEULIN traits of Old and Middle-Aged Man, Berlin He is usually confounded with his mediocre Museum; Seven Portraits, Brunswick Mu- son Jacques (born 1644), who was master in seum; Six Portraits and St. Jerome, Dresden Gallery; Portraits of Old Man and Old Woman, Old Pinakothek, Munich; do. (1721 and 1726), Vienna Museum; Portrait of Old Woman (1724), Louvre; Others in Stuttgart, Copenhagen, Stockholm, Christiania, and Florence Galleries.-Allgem. d. Biogr., v. 54; Ch. Blanc, I&cole allemande; Kugler (Crowe), ii 563; Larousse, vi. 441. DENNEULIN, JULES, born at Lille (Nord) in 1835. Genre painter, pupil of Colas. Medal, 3d class, 1875. Works: Triste Recette (1875); Rest of Hunters (1876); Wedding Dinner (1877); Reading the Will, Difficult Passage (1878); Amateur Quartette, Mayor's Burial (1879); Benediction, Rural Postman (1880); Return from a Meeting, A Shower (1881); Worm Gatherers (1882); Return from Fishing (1883); Interrupted Wedding, A Reprobate (1884); False Arrest, Fisherman (1885). DENTONE, IL, born in Bologna in 1576, died there, Dec. 18, 1632. Bolognese school. Real name Girolamo Curti; called Dentone from the deformity of his teeth. Pupil of Lionello Spada and C. Baglioni. Worked as a common weaver until twentyfive years old, when he began to study design, and soon made himself one of the foremost decorative painters of his time. Executed works in many palaces and churches in Bologna, Parma, and Modena. He excelled in chiaroscuro, but could not paint figures, and was aided in this department by Massari, Guercino, and Guido.Malvasia, ii. 105; Ch. Blanc,,Icole bolonaise. DENYS, FRANS, born in Antwerp about 1610, died after 1655. Flemish school; excellent portrait painter, showing the influence of Van Dyck. Free of the guild of Antwerp in 1631.; left Flanders about 1655. Works: Portraits of Pieter van Horne and Wife (1637); do. of Andries van Langenberghe and Wife (1635); Portrait of F. P. van Broeckhoven (1652), Versailles Museum. 1664 and dean of the guild in 1693; two of his works in Antwerp Museum.-Biog. nat de Belgique, v. 602; Cat. du Musee d'Anvers (1874), 115. DEPOSITION FROM THE CROSS. See Descent from the Cross. DERBY DAY, William P. Frith, National Gallery, London; canvas, H. 3 ft. 3 in. x 7 ft. 3 in. Scene on the race-course at Epsom, 1856; many figures. Royal Academy, 1858. Bequeathed by Jacob Bell in 1859. Engraved by August Blanchard.-Art Journal (1865), 194. DESBROSSES, JEAN, born in Paris, May 28, 1835. Landscape painter, pupil of Ary Scheffer and Chintreuil. Medal, 3d class, 1882. Works: In the Mountains (1880); Lake of Chambon, The Gorges of Chaix (1881); Ascent of the little St. Bernard, Monistrol d'Allier (1882); Lac d'Annecy, Val de Pralognan (1883); Aiguilles de Warens at Sallanches, Mont Blanc-Valley of Sallanches (1884); Mont Cervin, Val d'I1 -lers (1885). DESCAMPS, JEAN BAPTISTE, born at Dunkirk, Aug. 28, 1706, died at Rouen, July 14, 1791. French school; history painter, pupil of his maternal uncle, Louis Coypel, and of Largilliere. Painted for Louis XV. several pictures illustrating his coronation and his visit to Havre; became member of the Academy in 1764; settled in Rouen, where he established a school of design, of which he was professor and director. Published "Vie des Peintres fiamands, allemands, et hollandais " (1755-63), and "Voyage pittoresque de la Flandre et du Brabant" (1769). His best known picture, A Mother in her Kitchen with Two Children (1764), is in the Louvre; Episodes (5) in History of Dunkirk, Europe, Asia, Africa, America, Museum, Dunkirk; France restoring City of Dunkirk, Hotel de Ville, ib.; Artist's portrait, Rouen Museum.-Bellier de la Chavignerie, i. 415; Michiels, x. 89; Vili lot, Cat. Louvre. I 392 DESCENT DESCENT FROM THE CROSS (Fr., Descente de la Croix; Ital., Cristo deposto della Croce, Descendimento de la Cruz; Ger., Kreuzabnahme), the taking down from the cross of the body of Christ. In the older pictures the Virgin is generally represented standing, but in some of the later ones she has sunk to the earth. The other persons represented are Joseph of Arimathmea, Nicodemus, Mary Magdalen, St. John Evangelist, and sometimes others (John xix. 38-39). The Deposition from the Cross, properly the moment when the body is deposed or laid on the ground, after the Descent from the Cross, is included under this title. The lamentation over the deposed body is treated under Pietd. By Fra Angelico, Florence Academy; wood, top in three pinnacles. Two disciples on the ladder lower Christ's body, while two others below aid in sustaining it and a fifth adores it; at left, six figures, one holding crown of thorns and nails; at right, the Virgin, Mary Magdalen, and other women. The pictures in the gables are by Lorenzo Monaco. Painted for S. Trinity, Florence. Restored in 1841 by Fr. Acciai.-Vasari, ed. Mil., ii. 513; C. & C., Italy, i. 584. By Fra Bartolommeo, Pal. Pitti, Florence; wood, H. 4 ft. 6 in. x 6 ft. 3 in. The dead Christ sustained by St. John Evangelist and the Virgin, at the foot of the cross, while the Magdalen embraces his knees. Removed from convent of Augustinians without the S. Gallo gate, at time of the siege, to S. Jacopo tra' fossi; thence to Pitti. Copy in S. Domenico, Prato; pen sketch in Uffizi. Engraved by M. Steinla.-Vasari, ed. Mil., iv. 197; C. & C., Italy, iii. 471; Gal. du Pal. Pitti, I. P1. 30. By Rembrandt, Munich Gallery; wood, H. 2 ft. 10 in. x2 ft. 2 in. The dead body of Christ taken down from cross by five men; Mary swooning in the arms of the Magdalen. Painted in 1633; sold to Prince Frederick of Holland; passed from Dtisseldorf to Munich Gallery; replica (dated 1634) in Hermitage, St. Petersburg. Etched by Rembrandt. Engraved by Hess —Mol. lett, Rembrandt, 25, 86; Cat. Munich Gal. By Rubens, Antwerp Cathedral; wood, H. 13 ft. x 9 ft. 6 in. Nine figures. The body of the Saviour is being lowered from the cross on a sheet, by two men mounted on ladders; they are aided by Nicodemus on one side, and Joseph of Arimathsea on the other, also on the ladders; below, St. John receiving the body in his arms; beside him are Mary Magdalen and Salome, kneeling, and extending their hands to assist him; beyond, the Virgin, standing. It is evening, and the multitude has departed. Engraved by L. Vosterman, Val. Green, R. Earlom, Claessens. On the interior of the doors are: The Visitation (engraved by P. de Jode), and The Presentation in the Temple (engraved by P. Pontius, Holhenmeus, Visscher, Val. Green). On the exterior of the doors are: St. Christopher (engraved by Eyndhouedts, Van Tiennen); and a Hermit. Painted in 1611-14 for chapel of Company of Arquebusiers, Antwerp; carried to Paris, returned in 1815 and placed in N6tre Dame.-Smith, ii. 3. By Andrea del Sarto, Pal. Pitti, Florence; wood, H. 7 ft. 10 in. x 6 ft. 6 in.; signed. The dead Christ supported by St. John Evangelist, his hand held by the Virgin; the Magdalen and St. Catherine kneeling; SS. Peter and Paul standing; mountainous background; in foreground a chalice with the Host. Painted in 1523 for S. Pietro a Luco in Mugello; bought in 1782 by Grand Duke Pietro Leopoldo, who placed it in the Tribune of the Uffizi; carried to Paris in 1799, and returned in 1815; Ferdinand I. took it to the Pitti, and put the Madonna delle Arpie in its place at the Uffizi. Engraved by Bettelini; Lasinio; Esslinger; Forster; Marri.-Vasari, ed. Mil., v. 38; Gal. du Pal. Pitti, iii. P1. 114; Filhol, iii. P1. 211; C. & C., Italy, iii. 570; Dohme, 2iii. 2. By Tintoretto, Pal. Pitti, Florence; canvas, H. 3 ft.x3 ft. 11. in. The body of Christ, supported by Joseph of Arimathsea, 893 DESCENT on the knees of the Virgin, who falls swoon- Magonio; Lerouge.-Gal. du Pal. Pitti, iv ing into arms of one of the Marys; at right, PL 77; Filhol, x. 681. Descent from the Cross, Rubens, Antwerp Cathedral. Nicodemus stands grieving; behind, another By Daniele da Volterra, S. Trinitat de' of the Marys at foot of the cross. Carried Monti, Rome. The Body of Christ, lowered to Paris; returned in 1815. Engraved by on a sheet held by three men, is received by 894 DESCENT Nicodemus; the Virgin, swooning, is sup- Schidone, ib.; Francesco Francia, ib.; ported by Mary Magdalen, while the two Sodoma, Siena Gallery; Barthel Bruyn, other Marys bend over her; beside them, Dresden Gallery; Alessandro Tiarini, BologSt. John, standing, with outstretched arms. na Gallery, Brera, Milan; Rubens, Lille MuPainted in fresco in 1541, by order of Prin- seum, Hermitage, St. Petersburg; Eustache cess Elena d' Orsini; transferred to canvas Lesueur, Louvre; Michael Wohlgemuth: in 1811 by Camuccini; restored by Palmaroli. En- - third picture in the world, / ranking it next after RaphChurch, ss i taren to the ael's Transfiguration and Domen ichino's Commun- — \' ion of St. Jerome. -Vasari, Ro ed. Mil. vii. 52; Grimm, ( Leben Michelangelos, ii. 394; Kugler (Eastlake), ii. 309; W. & W., ii. 600; L, c Nagler, xiii. 118; Larousse, vi. 537; Lanzi, Storia pittorica, i. 149. By Rogier van der WAney- den, Escorial, Spain; canvas, H. 6 ft. 6 in.8 ft. 7 in. The body of Christ lowered from the cross by Joseph of Arimathea and Nicodemus; St. John and one of the Marys sustain the swooning Virgin; the other Marys wailing. Painted for Chapel of OurIV Lady of Victory, St. Peter's Church, Louvain; taken to - Spain by Queen Mary of Hungary. Replicas or copDescent from the Cross, Daniele da Volterra, S. Trinitl de' Monti, Rome. ies' Madrid Museum (by M. Coxcyen); S. Trinidad, Madrid; Berlin Liverpool Gallery; Filippino Lippi, Florence Museum; St. Peter's, Louvain; Liverpool Academy; Cima da Conegliano, Galleria Institute. - Madrazo; Museo Espaiiol de Estense, Modena; Garofalo, Pal. Borghese, Antiguedades; Fdrster, xi. Rome, Naples Museum; Luca OGiordano, Subject treated also by Ludovico Cigoli, Venice Academy; Anton Van Dyck, AntPal. Pitti, Florence; Pietro Perugino, ib.; werp Museum; Peter Pourbus, Bruges Correggio, Parma Gallery; Bartolommeo Academy; Hans Memling, Hospital of St. 39 DESCHAMPS John, Bruges, Vienna Museum; Michael Wohlgemuth, Munich Gallery; Jean Jouvenet, Louvre; Sebastien Bourdon, ib.; Bernard van Orley, Hermitage, St. Petersburg; Sebastian del Piombo, ib.; Adrian van der Werff, ib.; Pedro Campana, Seville Cathedral; Cornelis Cels, Dominican Church, Antwerp; Garofalo, Brera, Milan, Palazzo Borghese, Rome, Naples Museum; Bartolommeo Barducci, Madrid Museum; Vincenzo Campi, Cremorne Cathedral; Cosimo Tura, National Gallery, London; and many others. DESCHAMPS, LOUIS, born at Montelimar (Dorme); contemporary. Genre and portrait painter, pupil of Cabanel. Medal, 1877. Works: Poor Little Girl (1877); Little Winnower defending his Grain (1878); Death of Mireille (1879); Woman Dreaming, Vincent Wounded (1881); Resignation, First Step (1882); Happiest of the Three, Girl Mother (1883); Spring Day, Research for Paternity (1884); The Twins, Alarm (1885). DESCHWANDEN, PAUL, born at Stanz, Unterwalden, Switzerland, 1811; died 1881. History painter, studied from 1840 in Italy after Raphael, and at once attained success. Works: Infant Christ; Jesus in Agony of Death; Resurrection; Last Judgment; Faith, Love, and Hope; Holy Family; Moses and John.-Kuhn, Paul von D.; Springer, Gesch., 312. DESCHWANDEN, THEODOR, born at Stanz, Switzerland, Feb. 20, 1826, died there, Dec. 19, 1861. History painter, pupil from 1840 of his cousin, Paul D., and from 1845 at the Munich Academy; then studied in Antwerp and Brussels, and later in Paris after Murillo. In 1858 he visited Upper Italy. Works: Struthan von Winkelried; Arnold von Winkelried taking Farewell of his Family (1860).-Allgem. d. Biogr., v. 70. DES COUDRES, LUDWIG, born in Cassel in 1820, died in Carlsruhe, Dec. 23, 1878. History and genre painter, pupil of the Munich Academy in 1840, under Schnorr; returned to Cassel, visited Italy in 1844-45, studied then in Diisseldorf under Karl Sohn, and was appointed, in 1854, professor at the art-school in Carlsruhe. Works: Francesca da Rimini (1850); Penitent Magdalen (1852); Entombment (1855), Carlsruhe Gallery; Adoration of Shepherds (1857), Grand Duke of Baden; Repose in Egypt (1858); Holy Women at the Cross (1863), St. Nicholas, Hamburg; Iphigenia (1865), Grand Duke of Baden; Christ Crucified and Magdalen (1869); Christ blessing the Penitent Sinners, Old Man Reading (1870); Domestic Life in 17th Century (1871); Under the Red Cross (1872); Psyche and Pan; Happy Existence. -Brockhaus, v. 80; Kunst-Chronik, xiv. 259. DESGOFFE, ALEXANDRE, born in Paris, March 2, 1805, died there, July 31, 1882. Landscape painter, pupil of Ingres; has also executed some religious subjects. Decorated for city of Paris the baptismal chapels of S. Nicolas du Chardonnet and of S. Pierre du Gros-Caillou. Medals: 3d class, 1842; 2d class, 1843, 1848; 1st class, 1845, 1857; L. of Honour, 1857. Works: View near Arbonne (1834), Argus guarding Io, Hercules and the Nemean Lion, several views of Naples, Roman Campagna,Valley of the Nymph Egeria (1837-1842, painted in Italy); Lake of Albano, Women Bathing, A Meadow, Meditation, Evening, The Cyclops, Lyons Museum; Narcissus at the Fountain, given to town of Lemur; Madness of Orestes (1857), Luxembourg Museum; Country at Hy-res, View of Proving, Resting, Playing Quoits (1849); Martyrdom of St. Maurice, Woods of Fleury, Environs of Naples (1859); Joseph sold by his Brethren, Fauns Dancing, Sources of the Durtin, Road at Montmorency (1861); Resurrection of Christ, Souvenir of Naples, Landscape (1863); Gulf of Naples (1867); View near Antibes (1868); Souvenir of Naples, Heath near Fontainebleau (1883).-Larousse; Kunst-Chronik, xvii. 671. DESGOFFE, BLAISE ALEXANDRE, born in Paris, Jan. 17, 1830. Still-life painter, pupil of Flandrin, nephew of Alexandre D., and a most skilful imitator of near ob. 396 DESHAYS jects, his subjects being finished with microscopic exactness. Medals: 3d class, 1861; 2d class, 1863. Works: Two Cups of Oriental Agate (1857); Amethyst Vase (1859), Luxembourg Museum; Agate Vase on an Enamelled Pedestal, Onyx Pitcher, Turkish Carpet (1859); Crystal Vase, etc., from Louvre (1863), Luxembourg Museum; Fruit and Jewels (1864); Fruit and Jewels, Flowers and Jewels (1868); Rock Crystal engraved, Agate and Enamels (1874); Saxon Porcelain, etc. (1874), Count Wells de la Valette; Carved Wood, Bronze Head, etc. (1874); Crystal Vase with Bust of a Roman Emperor, etc., View near Puy de Dome (1879); Cross with Crystals, etc., Cup attributed to Benvenuto, etc. (1880); Equestrian Statuette with Tapestry (1881); Royal Birthday Gift (1882); Enamels with Crystal and Grapes, Statuette representing Force, etc. (1883); Fruits and Jewels, Majolica and Flowers (1884); Objects of Ancient Art,Agate Vase and Fruits (1885). Works in United States: Objects of Art from Louvre, Miss C. L. Wolfe, New York; Objects of Art-Two Subjects,W. Rockefeller, New York; Objects of Art, T. R. Butler, New York; Crown of Louis XIV., B. Wall, Providence; Crystal Cup and Pansies, T. Wigglesworth, Boston; Flowers and Objects of Art, H. B. Hurlbut Collection, Cleveland; Vase of Flowers, C. Crocker, San Francisco; Art in the Louvre, W. B. Bement, Philadelphia; Articles of Vertu, A. J. Drexel, Philadelphia; Objects of Art, J. T. Martin, Brooklyn; Objects of Art, D. O. Mills, New York; Still-life, C. P. Huntington, New York; Still-life, C. S. Smith, New York; Objects of Art, W. H. Vanderbilt, New York; Flowers and Vase, L. Tuckerman, New York; Objects of Vertu, H. C. Gibson, Philadelphia. - Larousse; Hamerton, Painting in France. DESHAYS, JEAN BAPTISTE, born in Rouen in 1729, died in Paris in 1765. French school; history painter, first instructed by his father, and then in Paris by Boucher, whose daughter he married. In Italy he was led to imitate Benedetto Castiglione. On his return he became a member of the Academy in 1758, and painted many good altarpieces for churches Works: Prayer of St. Andrew, Flagellation of St. Andrew (painted for Cathedral of Rouen and engraved by Ph. Pariseau); Susanna (engraved by Nicollet under title of Resistance); Venus throwing Flowers on Body of Hector, Montpellier Museum; and several in Rouen Museum.-Ch. Blanc, l]cole frangaise; Gaz. des B. Arts (1868), xxiv. 258. DESPORTES, ALEXANDRE FRAN(OIS, born at Champigneul, Feb. 24, 1661, died in Paris, April 15, 1743. French school;; landscape, animal, and still-life painter; pupil of / ^ Nicasius Ber- y naert, a Flemish animal painter in Paris, whence, meeting with little success, he went to Poland, in 1695, acquired great reputation, and painted King Sobieski, the queen, and many nobles. On his return to France, after Sobieski's death, he painted chiefly hunting pieces. In 1699 he was received into the Academy, of which he was made chancellor in 1704 by Louis XIV., whom he accompanied on all his hunting expeditions. In 1712 spent six months in England, where his pictures sold at high prices. He continued to enjoy court patronage during the Regency and the reign of Louis XV. Works: Portrait of Himself (1699),Wolf Hunt (1702), Diana and Blonde (dogs of Louis XIV., 1702), portrait of a Huntsman (1704), Boar Hunt (1704), Game and Vegetables in Kitchen (1707), Game guarded by Dogs (1700), do. (1709), Game 397 DESTREM guarded by Poodle, Galme and Flowers (1712), do. (1712), Zette (dog of Louis XIV., 1714), Bonne, Nonne, and Ponne (do.), Folle and Mite (do.), Tane (do.), Pompey and Florissart (do., 1739), Dog and Partridges (1720), and 10 others, Louvre, Paris. Others in Grenoble Museum, Hermitage at St. Petersburg, and Stockholm, Brunswick, and Carlsruhe Galleries. His son, Claude Francois (1695-1774), was an animal painter; member of Academy, 1723. Nicolas, nephew and pupil (1718-1787), painted animals and eJprortu i,/ eor po rto portraits; member of Academy, 1757.-Ch. Blanc, ~cole frangaise; Villot, Cat. Louvre; Lejeune, Guide, iii. 300. DESTREM, CASIMIR, born at Toulouse; contemporary. Landscape painter, pupil of Bonnat. Medal: 3d class, 1879. Works: St. Roch (1878); Unstitching, Jean Calas (1879); Rustic Scene (1880); Midday Rest (1881); Pere la Brume (1882); Fishermen (1883); Wind Storm, Entry of Village at Evening (1884); Close of Day, Entree de Bullier (1885). DETAILLE, (JEAN BAPTISTE) RDOUARD, born in Paris, Oct. 5, 1848. Genre 4f - \ painter, pupil of Meissonier; exhibited at Salon in 1868 his Halt t _ t Vf^ ^1 of Infantry, which received much N (^ | praise, and in 1869 the Rest during Drill at Camp St. Maur, which established his reputation as one of the most popular military painters of the day. Medals: 1869, 1870; 2d class, 1872; L. of Honour, 1873; Officer, 1881. Works: Engagement between Imperial Guards and Cossacks in 1814(1870); The Conquerors (1872); Bonaparte in Egypt, Opening of the Grand Opera (1878); Chantpigny in December, 1870 (1879); Distributing Flags (1881); Evening of Rezonville (1884). Works in United States: Saluting the Wounded (1877), Samuel Hawk Collection, New York; Cossacks attacked by Royal Guard, Cuirassier, Miss C. L. Wolfe, New York; Rifle Practice, Souvenir des Grandes Manceuvres, A. Belmont, New York; Scene of Franco-German War, Les Incroyables, Forest of St. Germain, J. H. Stebbins, New York; French Infantry (monochrome), J. H. Warren, Hoosac Falls, New York; Cossack of the Don, G. I. Seney, Brooklyn; Sentry, M. Graham, New York; Vidette, W. Rockefeller, New York; Cavalry Officer, Incident in Franco-Prussian War, J. J. Astor, New York; Autumn Manoeuvres, R. C. Taft, Providence; Austrian Cavalryman, J. A. Brown, Providence; Prussian Soldiers, G. Whitney, Philadelphia; Scene in a Cabaret, C. H. Clark, Philadelphia; Shaving in Camp, Sapeur, H. R. Bishop, New York; Les Profonds Politiques, J. C. Runkle, New York; Hussar, M. K. Jesup, New York; Aide-deCamp, J. T. Martin, Brooklyn; Hungarian Hussar, Trumpeter, F. Harper, New York; Halt, Calling the Roll, Soldier off Duty, Mounted Hussar, C. S. Smith, New York; Study of Horses, F. Rogers, Philadelphia; Les Incroyables, R. L. Cutting, New York; Ready to March (1874), The Picket (1875), W. T. Walters, Baltimore; Ambulance Corps, Skirmishing near Paris, 1870, W. H. Vanderbilt, New York; Ambulance Corps at Longchamps, The Retreat (1873), William Astor, New York; Charge of 9th Regiment of Cuirassiers, Aug. 6, 1870 (1874), H. C. Gibson, Philadelphia; Prussian Sentinel, A. E. Borie Collection, Philadelphia; Passing Regiment (1875), French Cuirassiers bringing in Ba 898 .DATOUCHIE varian Prisoners, Corcoran Gallery, Washington.-Gaz. des B. Arts (1874), ix. 419; L'Art (1876), ii 49; (1878), xiv. 29; Claretie, Peintres, etc. (1884), ii 249; Montrosier, Artistes modernes (Paris, 1883); Zeitschr. f. b. K., xvi. 291. DETOUCHE, LAURENT DIDIER, born at Reims, July 29, 1815. History and genre painter, pupil of P. Delaroche and RobertFleury. Medal: 3d class, 1841. Works: Little Lover, Reims Museum; Mother's Last Wish, St. Paul, Reims Cathedral; Execution of Joan of Arc; Raising of Lazarus (1843), Church of Fismes; Colbert at Dunkirk; Catherine de Medicis with Ruggieri; Rabelais's Quarter of an Hour; Remorse of Charles IX. (1854); Death of Coligny; The Alchemist (1865); The Last Valois; Blaise Pascal; Jewish Jewel Merchant (1875).Vapereau. DRTOUCHE, PAUL IMMILE, called Destouches, born at Dampierre (Seine-Inferieure), Dec. 16, 1794, died in Paris in 1874. History, genre, and portrait painter, pupil of David, Guerin, Gros, and Girodet. Medals: 1st class, 1819, 1827. Chiefly noted for genre pictures, such as The Orphan Girl, Young Conscript, Wounded Student, Convalescing, Return to the Old House (1827). Other works: Joan of Arc at the Stake; St. Elizabeth among the Poor; Raising of Lazarus, Cathedral of Vannes; Christ on the Mount, St. Victor, Paris; Scheherazade, Cherbourg Museum; Expectation of Masked Ball, Departure for the City, Nantes Museum. -Meyer, Gesch., 175. DETTI, CESARE, born in Rome; contemporary. Genre painter, pupil of Academy of San Luca, Rome. Studio in Paris. Works: Sad Lover, R. G. Dun, New York; The Duet, William Astor, New York; Guard Room, R. C. Taft, Providence; L'Amour, A Adams, Watertown, Mass.; Gathering Flowers, W. B. Bement, Philadelphia; Rest, Farewell (1877), Naples Exposition; The Concert (1884); Arrival of the Newly Married (1885). DEUTSCH, NIKOLAUS. See Manuel. DEUTSCH, RUDOLF VON, born at Mos. cow, October 27, 1835. History and genre painter, pupil of Dresden Academy; visited Italy in 1863-66, afterwards Belgium and England, and settled in Berlin in 1866. Work: Rape of Helen, National Gallery, Berlin.-Illustr. Zeitg. (1881), i. 9. DEVENTER, JAN FREDERIK VAN, born in Brussels, November 27, 1822. Landscape painter, nephew and pupil in Ghent of H. van de Sande Bakhuyzen. Member of Amsterdam Academy, 1852. Medal, The Hague, 1857. Works: Evening Lmndscape (1841); Dutch Coast View; Woo leJl Iin lcape with Mill; Dutch Copse and Meadow; River Landscape (1857).-Immerzeel, i 179; Kramm, ii. 335. DEVIIRIA, EUGENE (FRANCOIS MARIE JOSEPH), born in Paris in 1805, died at Pau (Basses-Pyrenees), Feb. 15, 1865. History and portrait painter, brother of Achille D., pupil of Girodet; came at once into prominence through his Birth of Henry IV. In 1836 he became Protestant pastor at Pau; but in 1837 painted for the historical Museum in Versailles, and ceilings in the Louvre, the Palais Royal, and N6tre Dame de Lorette. Works: Nun defended by Grenadier; Grenadier nursed by Nun; Death of Joan of Arc, Angers Museum; Birth of Henry IV. (1827), Louvre; Battle of Marseilles, Conquest of Saverne (1837), Versailles Museum; Unveiling of Statue of Henry IV. at Pau (1846); Death of Joanna Seymour (1847); The Four Henrys (1857); Halt of Spanish Merchants (1859); Reception of Columbus by Ferdinand and Isabella (1861). Portraits of Marshals Brissac and Cravecoeur, Versailles Museum.-Ch. Blanc, Artistes de mon Temps, 88; Larousse, vi. 653; Lejeune, Guide, iii. 78; L'Art (1883), i., xxxii. 61, 121, 141, 161, 181; Meyer, Gesch., 282. DEVfRIA, (JACQUES JEAN MARIE) ACHILLE, born in Paris, Feb. 6, 1810, 399 DEVILLY died there, Dec. 23, 1857. History painter, pupil of Girodet. Made himself known by lithograph portraits of singers and actors; later painted religious pictures notable for their sweet mnd somewhat feeble character, though not without merit in composition. Works: Cx ucifixion; St. Sebastian; Assumption; Annunciation; Charity, Faith, Love, and Hope; Descent from the Cross; Torquato Tasso introduced to Elizabeth; Pericles and Aspasia.-Larousse, iv. 653; L'Art (1883), xxxii. 61, 121, 141, 161, 181. DEVILLY, THIODORE, born in Metz, Oct. 28, 1818. Mythology and military genre painter, pupil of Marechal and of Paul Delaroche; conservator of the Metz Museum, and later of the Nancy Museum. Medals: 3d class, 1852, 1857, 1859, 1861. Works: Battle of Ras-Satah in Algeria (1852); Cossack (1853); Bivouac in 1812 (1857); The Marabout of Sidi-Brahim (1859), Bordeaux Museum; Battle of Solferino (1861); The Assault, Trumpeter (1863); Cossacks Shouting (1867); Mazeppa (1870); The Wounded at Gravelotte, Farewell of Soldiers to their Officers at Metz (1874); Amphitrite, Bacchante Asleep, The Wounded Horse (1875); Captured Horses recovered by African Cavalry (1876); Triumph of Bacchus (1878). DEVIS, ARTHUR WILLIAM, born in London, Aug. 10, 1763, died there, Feb. 11, 1822. History and portrait painter, son and pupil of Arthur Devis (1711-1787), a respectable portrait painter; studied also in schools of Royal Academy. Went when twenty years old to East as draughtsman for E. India Co., returning to England in 1795. He was a good painter, but unfortunate. Works: Lord Cornwallis receiving Sons of Tippoo Sahib as Hostages; Detection of Babington's Conspiracy; Archbishop Langton showing Magna Charta to Barons; Death of Lord Nelson, Greenwich Hospital; Death of Princess Charlotte; Portrait of Miss O'Neil as Belvidera; do. of Lord Nelson; do. of Governor Herbert of Calcutta (1791), National Portrait Gallery, London. His broth er, Thomas Antony Devis, exhibited portraits in 1776-89. His uncle, Antony T. Devis (1729-1817), was a landscape painter.-Redgrave. DEVONSHIRE, COUNTESS OF, Anton Van Dyck, Duke of Northumberland; canvas. Christian, Countess of Devonshire, standing, seen to knees, with a rose in right hand; background, a curtain with a landscape seen through open door. Engraved by P. Lombard. Another portrait, fulllength, Marquis of Ailesbury.-Head, 44. DEVONSHIRE, DUCHESS OF, Thomas Gainsborough, Messrs. Agnew, London; Duchess of Devonshire, Gainsborough, Althorp Park. canvas, H. 4 ft. 11 in. x 3 ft. 9 in. Georgiana, Duchess of Devonshire (1757-1806), fulllength. Royal Academy, 1783; purchased by Wynn-Ellis for ~63 of Mr. Bently, who bought it for ~50 of a Mrs. Maginnis; Wynn-Ellis sale (1876), to Messrs. Agnew, 10,100 gs. Canvas cut from stretcher and stolen, night of May 26-27, 1876, from Gal100 DEVONSHIRE lery of New British Institution, 37 Old Bond Street, London, and not since heard of. Original sketch in grisaille (H. 1 ft. 11 in. x 1 ft. 3 in.), Viscount Clifden, Dover House; engraved by Graves. Replica of Wynn-Ellis picture, Earl Spencer, Althorp Park; engraved in mezzo. by unknown. There is also a mezzo. of the Wynn-Ellis picture, engraved about 1773. A similar pictture (H 5 ft 2 in. x 3 ft. 10 in.), claimed to be a Gainesborough, owned by Mr. John Foster, who brought it from Australia, was Duchess of Devonshire, Sir Joshua Reynolds, Althorp Park. exhibited at Byron Gallery, London, in 1877. -Brock-Arnold, 41, 55; Leslie & Taylor, ii. 215; Gower, Hist. Gals. of England; Notes and Queries (1876), 416; London Times, May 8, 27, 1876, July 30, 1877; London Illus. News, May 20, 1876. DEVONSHIRE, DUCHESS OF, Sir Joshua Reynolds, Earl Spencer, Althorp Park; canvas. Georgiana, Duchess of Dev onshire, full-length, descending a flight of steps. Exhibited in 1776. Another portrait (H. 3 ft. 8 in. x 4 ft. 8 in.), at Chatsworth, representing the Duchess with her infant daughter Georgiana inher lap, was exhibited 1786; a good copy, by Etty, painted for George IV., at Windsor Castle.-Leslie & Taylor, ii. 155, 485; Art Journal (1855), 6. DEW (La Ros6e), Jules Joseph Lefebvre, Wm. Astor, NewYork; canvas. Female figure, nude, reposing on a bank of clouds, floating over a lake covered with water-plants; one foot, hanging downward, touches the water; the head reclines upon one hand, the other points languidly to the sky.-Art. Treas. of Amer., ii. 69. DEWEY, CHARLES MELVILLE, born in Lowville, N. Y., in 1851. Landscape painter, self-taught. Exhibited first at the National Academy in 1875. Member Society of American Artists. Studio in New York. Works: Along the Shore-September, No. vember Day, After the Rain, Water Lily, T. B. Clarke, New York; Idyl (1879); Sunshine and Shadow (1880); Ebb Tide, Trees and Grasses (1881); Many Things-Study by the Sea, Summer Morning (1882); Lowery Weather (1883); Ebb of the Tide, Fall (1884). DEWING, THOMAS W., born in Boston, Mass., May 4, 1851. Figure painter; in 1876-79 pupil of Lefebvre and Boulanger in Paris. Studio in New York. Works: Young Sorcerer (1877); South Wind, A Musiciah (1878); Fortune-Teller (1879); Morning (1880); A Concert (1881); Portrait of Mrs. Dewing (1882); Prelude (1883); A Garden (1884); Slave, T. B. Clarke, New York. DEWING, MRS. THOMAS W. (Miss Oakey), born in New York. Figure and portrait painter; pupil of the National Academy, of John La Farge, and in Paris of Couture. Visited France and Italy in 1876, and again in 1883. Studio in New York. Ideal works: Woman Serving (1876); In a Balcony (1877); Violets (1878); Votive Panel to Paul Veronese (1879); Mother and Child 401 DE WINT (1882). Portraits: Miss 0. S. Ward (1874); Portrait of a Boy (1875); Sleeping Child (1878); Portrait of her Father (1879). DE WINT, PETER, born at Stone, Staffordshire, Jan. 21, 1784, died in London, June 30, 1849. Landscape painter, water colours; pupil of J. R Smith, and student in 1807 of Royal Academy, where he exhibited in same year three landscapes. Painted chiefly views in East and North England, and in Normandy and South France. His Cornfield, and Woody Landscape with Water ppo Lippi, and his assistant in painting frescos at Prato and Spoleto, the latter rhich were finished by him after his masdeath. Vasari says he attained great ection in imitating Fra Filippo's manner obtained great credit for it. It is not sible to distinguish his hand in any of his ter's work.-C. & C., Italy, ii. 352; Va-, ed. Le Mon., iv. 121, 127. IANA or Artemis, ancient pictures. See lies, Aregon, Tiniarete. )IANA, Guercino, Dresden Gallery; canvas, H. 4 ft. 2 in. x 3 ft. 4 in. Painted for Lorenzo Delfino, Venice; acquired in 1738. DIANA AND ACTAEON, Domenichino, Pal. Pitti, Florence; canvas, > j' H. 1 ft. x 1 ft. 6 in. Sub/ 4 4. ject from Ovid (Met., iii. 155). Nymphs bathe in a stream flowing through thick woods, with mounW, l^^ tains in background; other nymphs, half nude, recline upon the banks around /i^^^^^ Diana, near whom stand two dogs; Actaeon in the background. By Titian, Bridgewater House, London; canvas, figures two-thirds of lifesize; signed. Diana and nymphs surprised in the bath by Actsevhile hunting. Painted for Philip II. of in, and sent to him in 1559, together i the Diana and Callisto; given by Philip a 1704 to Marquis de Grammont, from m they passed into the Orleans Collec-; bought at its sale for Duke of Bridgeer for ~2,500. Small copy at Madrid, )ably by Del Mazo. Others, with varias, in Bridgewater House, London; apton Court, and in Nostitz Collection, gue.-C. & C., Titian, ii. 275; Law, Hist. Hampton Court, 29; Vasari, ed. Mil., 452; Waagen, Treasures, ii. 31. Diana and Actaeon, Titian, Bridgewater House, London. are in the South Kensington Museum.- her Redgrave; Art Journal (1849), 260. on - D'HEUR. See Heur. Spai DIADUMENI, Edward J. Poynter, Lon- witl don; canvas. A nude female figure, full V. ii length, standing, binding her hair; back- who ground, a marble bath with mosaic columns. tion The pose of the figure and the name are de- wat( rived from the famous statue by Polyclitus prol of the boy binding his hair, called from that atio] circumstance the Diadumenus. Royal Acad- Han emy, 1884. Pral DIAMANTE, FRA, born about 1430, died Cat. after 1492. Florentine school; pupil of Fra vii. DIANA DIANA AND CALLISTO, Annibale Car- prised by a satyr while sleeping under a racci, Louvre; canvas, H. 5 ft. 3 in. x 6 ft. 6 clump of trees. Collection of Charles IL in. At left, massive rocks, down which fall DIANA AND NYMPHS, Domenichino, severalcascades; on first plane, three nymphs Pal. Borghese, Rome. The goddess, standstrip Callisto of her garments; at right, Di- ing in the centre on a hillock, raises her bow ana seated, surrounded by her nymphs, in one hand, and her quiver in the other, in stretches her hand towards Callisto. Land- sign of victory, one of her nymphs having scape attributed to Paul Bril.-Villot, Lou- pierced with her arrow the head of a pigeon vre; Filhol, vi. P1. 400. attached to the top of a pole; two nymphs By Francesco Solimena, Uffizi, Florence; approach, bearing on their shoulders a dead canvas, small figures. Diana bathing with stag hung on a stick passed between his nymphs discovers Callisto's condition by her bound legs. This well-preserved picture is refusal to bathe. Soc. Ed., Gal. di. Firenze. remarkable for its landscape as well as for By Titian, Bridgewater H Lo. House, London; canvas, H. 5 ft. 81 in. x 6 ft. 4 in.; signed. Diana and her nymphs prepar- ing for a bath in a grove; the goddess sitting on the bank - points at Callisto, on the opposite side, who struggles on the ground with shame in her face -_ _ as nymphs raise the veil that, exposes her condition. Same history as Diana and Actaeon. Small copy, probably by Del r l Mazo, in Madrid Museum. Replica, same size as original, with variations, probably by Titian's disciples, in Vienna Museum. --- Small, late, much injured copy in Acclatdeia di S. Lucar cDiana and Callisto, Titian, Bridgewater House, London. n Rome.cca. & C., Titian, ii. 275 Accad. te natura and gracefu attitudes of te fia, Rome.- C. & C., Titian, ii. 275; Acad. the natural and graceful attitudes of the fig. (1874), 268; Waagen, Treasures, ii. 32. ures and the general in Subject treated also by Luca Giordano, By Rubens, Lord A Hermitage, St. Petersburg; Cornelis van canvas, H. 5 ft. 9 in. x Poelenburg, Hermitage, St. Petersburg. and three nymphs overt DIANA OR CHRIST, Edwin Long, Lon- scape by Wildens, anim don; canvas, H. 5 ft. x 8 ft. 9 in. The sta- chased of Joseph Bona] dium of Ephesus, with Roman rulers sitting gen, Treasures, ii. 102. in judgment, and soldiers and an executioner By Rubens, Baring at right; a Christian maiden, asked to sac- canvas, H. 7 ft. x 5 ft. rifice to Diana, whose image and altar are be- to the chase, caressing a fore her, refuses, although the alternative is her right hand and ca: death. Royal Academy, 1881. left; she is followed b: DIANA AND ENDYMION, Anton van satyrs, and two more Dyck, Madrid Museum; canvas, H. 4 ft. 9 1802 from Sir S. Clark in. x 5 ft. 4 in. Diana and Endymion sur- gen, Treasures, ii. 182. 403 lovement. Lshburton, London;:12 ft. 4 in. Diana taking a stag. Landals by Snyders. Purparte in 1838.-WaaCollection, London; 10 in. Diana going L dog at her side with rrying a spear in her y three nymphs, two logs. Purchased in for 1,850 gs.-Waa DIANA'S DIANA'S HUNTING PARTY, Hans Makart, James H. Banker, Irvington, N. Y.; canvas, H. 13 ft. 1 in. x 29 ft. 6 in. A sunny landscape, with lake in foreground, in which, with the waters rippling around him, and protected by seven nude water-nymphs who implore for mercy, is a noble stag, fleeing for his life before the goddess and her huntresses, who have followed him to the bank; Diana, standing on the summit of a precipice, with a group of maidens at her right, has her hunting spear poised in her hand; on the borders of the lake a figure holds two hounds in the leash, while near them a ice Academy. One of his most characteris. tic works is the Madonna between four Saints, once in S. Lucia, Padua, now in the Venice Academy. Diana holds a low place in the annals of Venetian art.-C. & C., N. Italy, i. 223; Burckhardt, 599. DIANTI, LAURA, AT HER TOILETTE, Titian, Louvre; canvas, H. 3 ft. 2 in. x 2 ft. 6 in. A girl dressing her hair, attended by a man in background holding two mirrors, one before and one behind her. Supposed to be Laura Dianti, mistress or wife of Alfonso d'Este, Duke of Ferrara, whose portrait at Madrid resembles the man holding the mirrors; but formerly called Titian and his Mistress. Painted about 1523; in collection of Charles I. of England; bought for ~100 by Jabach, who sold it to Louis XIV. Engraved by Forster; H. Dancken. -Vasari, ed. Mil., vii. 435; C. & C., Titian, i. 266; Filhol, vii. P1. 455; Landon, Musee, xii. P1. 19; Klas. der Malerei i. P1. 59; Ch. Blanc, Ecole venitienne. DIAZ DE LA PENA, NARCISO VIRGILIO, born at Bordeaux, of Spanish parents, Aug.21,1808,died 's j *0 aat Mentone, Nov. 18, 1876. Genre and landscape I '.Jsi /'L^^ 1 painter, no mas-. A dr \, ter; began as por~:'/ ' /,' celainpainter. Al"/ A' id though his subjects are often frivolous, and his drawing incorrect, his colouring is fine and his figures full of life. Won his chief fame through his landscapes. Medals: 3d class, 1844; 2d class, 1846; 1st class, 1848; L. of Honour,1851. He died from the bite of a viper. Works: Sketches from Nature (1831); Battle of Medina-Celi (1835); Adoration of Shepherds (1836); Old Ben Emeck (1838); Nymphs and Calypso (1840); The Dream (1840); Bas-Br6au, Eastern Woman, Gypsies going to a Festival, The Witchcraft (1844); Diana setting out for the Chase Laura Dianti at her Toilette, Titian, Louvre. swan is beating its wings. The figures, of which there are fourteen, larger than lifesize, are said to be portraits of Viennese beauties. Painted in 1880-82. Bought of the artist in 1880.-New York Tribune, July 24, 1883. DIANA, BENEDETTO, Venetian school, end of 15th and beginning of 16th centuries. Associated with Carpaccio and Mansueti in the decoration of the Scuola di San Giovanni Evangelista, where he painted Brethren dispensing Alms, now in the Ven 404 DICAOGENES (1848); Bather tormented by Cupids (1850), ib.; Dark Wood Interior, Bohemians, H. Grenoble Museum; Close of Fine Day, Last Probasco, Cincinnati; Forest Scene, H. B Tears, The Rival (1855); Pond with Vipers Hurlbut Collection, Cleveland; Landscape, (1857); Galatea (1859); The Smyrniotes S. A. Coale, St. Louis; Maiden and Cupid, (1871); The Pyrenees, Bohemians (1850), Woods of Fontainebleau, Mrs W. P. WilThe Fairy with the Pearls (1857), three stach, Philadelphia; In the Woods, Mrs. J. others, Luxembourg Museum. Works in G. Fell, ib.; La Mare aux Fees, Isle d'Amour, United States: Cupid Disarmed, Forest of J. D. Lankenau, ib. His son, emile Diaz, Fontainebleau (1871), The Storm (1872), Fon- also a painter, died in 1860, aged 25 years. tainebleau, Effect of Autumn, Edge of the -Claretie, Peintres, etc. (1882), 217; LaForest, T. W. Walters, Baltimore; Blind rousse; Gaz. des B. Arts (1874), x. 243; Man's Buff, Forest of Fontainebleau, Cupid's L'Art (1877), viii..49; Zeitschr. f. b. K., xiv. Whisper, Boy and Dogs, The Bather, East- 97; Meyer, Gesch., 272. ern Bazaar, W. H. Vanderbilt, New York; DICIEOGENES, painter, about 596 B.c.; Bohemian Girls, W. Astor, New York; Fon- country and works unknown.-Pliny, xxxv. tainebleau, Samuel Hawk Collection, New 40 [146]. York; Edge of Forest, A. Spencer, New York; DICKSEE, FRANK, born Nov. 27, 1853. Clairiere de la Reine Blanche, C.Vanderbilt, Figure painter, son New York; Landscape, Holy Family, Miss and pupil of Thos. C. L. Wolfe, New York; Landscape, A Bel- F. Dicksee. First mont, New York; Fontainebleau, M.Graham, exhibited in Royal "J; New York; Ladies of Seraglio, Venus and Academy in 1876,..., Cupids, W. Rockefeller, ib.; Oriental Mother Elijah confronting '^ < and Child, Mrs. P. Stevens, New York; La Ahab, for which he.~ J" Femme et L'Amour, Flowers, several land- obtained the gold./I' scapes, J. C. Runkle, New York; Forest of medal. In 1877 his \ / Fontainebleau, J. W. Drexel, New York; Harmony, purchased \ a -// Promenade 'a la Robe Bleu, J. P. Morgan, by the Academy, & 7 < V New York; Lizard, M. K. Jesup, New York; brought him into - ( Diana and Poictiers Hawking, R. L. Stuart, notice. Elected an A.R.A. in 1881. Works: New York; Elysian Fields, D. 0O. Mills, New Evangeline (1879); Benedicite, The House York; Nymphs and Cupids, Wood Gatherer, Builders (1880); The Symbol (1881); A Love Girl with Scythe, C. P. Huntington, New Story (1882); Too late, too late, ye cannot York; Evening, Under the Oaks, C. S. Smith, enter now (1883); Romeo and Juliet (1884); New York; Fagot Gatherer, R. L. Cutting, Chivalry (1885).-Art Journal (1881), 94. New York; Autumn Landscape, G. I. Seney, DICKSEE, THOMAS FRANCIS, born in Brooklyn; Dogs in Forest of Fontainebleau, London, Dec. 13, 1819. Portrait and figure J. T. Martin, Brooklyn; Coquette, J. H.War- painter, pupil of H. P. Briggs. Works: ren, Hoosac Falls, N.Y.; Forest of Fontaine- Othello and Desdemona (1875); Ahab and bleau, Gypsies, Dead Bird, R. C. Taft, Prov- Jezebel, Cordelia (1877); Madeline (1878); idence; Landscape, Turkish Women, Mar- Beatrice (1879); Heiress (1880); Patricia guerite and Martha, Flowers, W. Richmond, (1882); Cordelia, Lucretia, Antigone (1884). ib.; Favourite Sultana, Landscape-Study, J. DIDAY, FRAN(OIS, born in Geneva in A. Brown, ib.; Bathers, Study of Flowers, 1812, died there, Nov. 28, 1877. Landscape Fortune-Telling, B. Wall, ib.; Forest with painter; studied in Geneva, Paris, and Rome, Fagot-Gatherer, Blind Man's Buff, Land- but especially from nature. Medals in Paris scape, T. Wigglesworth, Boston; Fontaine- in 1840, 1841; L. of Honour, 1842; Russian bleau, H. P. Kidder, ib.; Pond, W. Brimmer, Order of Stanislaus, Belgian Order of Leo405 DIDIER pold. Member of St. Petersburg Academy. Works: Mill at Montreux (1832); Alpine Hut in Meyring Valley (1834); Chalet in High Alps, Evening in the Valley, Torrent in the Alps (1840); Glacier of Rosenheim (1841), Lausanne Museum; Oaks struck by Lightning (1847), Geneva Museum; View on Brienz Lake, Berne Museum; Mountain Landscape with Torrent, New Pinakothek, Munich; Storm on Lake of Geneva.-Brockhaus, v. 316; Faber, ii 612; Larousse, vi. 763; Vapereau (1880), 572; L'Art (1878), i. 24. DIDIER, JULES, born in Paris, May 26, 1831. Landscape and animal painter, pupil of Cogniet and of Laurens; won the grand prix de Rome in 1857. Medals in 1866 and 1869. Works: Farm in Roman Campagna (1866), Luxembourg Museum; Normandy Landscape (1868); Hunting a Hare, Count de Chabrillan; Morning on the Borders of a Wood, Sacrifice to Pan (1874); Lost Ox, Evening at Ostia (1879); Two Bulls and the Frog, Ford of the Arou (1880); Fable of the Women and the Secret (1881); Agriculture (1882); Souvenir of a Journey to the Mines of Taquah, Between Rome and Civita Vecchia (1883); Legend of St. Hubert, Portrait of Fox (1884); Ford near Autun, Relay (1885); Return of the Drove, William Astor, New York. DIDO AND.ENEAS, Joseph M. W. Turner, National Gallery, London; canvas, H. 4 ft. 10 in. x7 ft. 11 in. The Queen with AEneas and her Court in long procession, prepared for the chase; in background, Carthage. (Dryden's AEneid, iv.) Royal Academy, 1814. Engraved by W. R. Smith; J. T. Willmore in Turner Gallery. DIDO BUILDING CARTHAGE, Joseph M. W. Turner, National Gallery, London; canvas, H. 5 ft. x 7 ft. 5 in. River scene, with bridge in front, and piles of classic architecture, completed and in progress; Dido, surrounded by her people, on left; on right, monument to her murdered husband, Sychseus. Royal Academy, 1815. Bequeathed by Turner on condition that it and the Sun rising in a Mist should be hung between two Claudes, as they now are. Engraved by T. A. Prior; E. Goodall, in Turner Gallery. — Cat. Nat. Gal.; Hamerton, Life. DIDO, DEATH OF, Guercino, Palazzo Spada, Rome. The queen, richly dressed, lies on her funeral pile, with sword buried to the hilt in her bosom. Raising the upper part of her body with difficulty, she speaks to one of her attendants whose features express sympathy. To the right, men and women weeping; others to the left. In the background is seen the fleet of 2Eneas sailing away, and with it a flying Cupid. Fine colour and excellent effect. Painted about 1626. Engraved by G. Balestra; R Strange. -Meyer, Kiinst. Lex., iii. 3; Lavice, 387. By Sir Joshua Reynolds, Buckingham Palace; canvas, H. 4 ft. 9 in. x 7 ft. 9 in. Three figures. Dido, having mounted the funeral pyre, stabs herself, and dies in the arms of her sister Anna. Exhibited in 1781. Bought, after Sir Joshua's death, by his niece, the Marchioness of Thomond, for ~200; at her sale (1821), purchased for George IV. Engraved S. W. Reynolds.Waagen, Treasures, ii. 24. DIEFFENBACH, ANTON HEINRICH, born at Wiesbaden, Feb. 4, 1831. Genre painter, pupil in Diisseldorf of Jordan; returned in 1858 to Wiesbaden, lived in 1863 -70 in Paris, then for one year in Switzerland, and in 1871 settled in Berlin. His favourite sphere is children's and peasant life. Works: Day before Wedding (1862); Hunter's Cant (1863); Dangerous Meeting, Christmas Eve (1865); Visiting the Nurse (1869); First Walk, Tidbit, National Gallery, Berlin; Missed the Fox; Only Courage! Leave little Brother! (1877).-Brockhaus, v. 323; Muller, 135. DIEGO OF ALCALA, ST., Murillo, Due de Pozzo di Borgo, Paris; canvas, H. 5 ft. 10 in. x 6 ft. 3 in. The Saint kneeling, imploring aid for the victims of an epidemic, from an alcalde who recoils as if fearing contagion; background, architecture and people. The figure beside the alcalde said to 406 DIEGO be portrait of Murillo. Painted in 164547 for Convent of S. Francisco, Seville; taken to Paris by Soult: sold at his sale (1852), 20,000 fr. —Reveil, Musee de Peinture, iv. 255; Curtis, 227. St. Diego of Alcala, Murillo, Paris. DIEGO OF ALCALA, ST., AND THE GUARDIAN, Murillo, Charles B. Curtis, New York; canvas, H. 7 ft. 9 in. x 6 ft. 6 in. The Saint surprised, with bread in his robe changed to flowers, by the Guardian, who raises his hands in astonishment at the miracle; behind the Saint, a monk with a basket of bread; on left, four old beggars and two boys, asking alms; in front, Christ, marked with the stigmata, seated in guise of a beggar; above, five cherubs, three of whom shower flowers on the Saint. According to the legend, S. Diego, who had often been reproved by the prior for excessive charity, was saved from punishment on one occasion by the miracle depicted. Painted in 1645-47 for Convent of S. Francisco, Seville; after occupation of city by French, fell into hands of D. Antonio Bravo; thence through D. Aniceto Bravo, D. Jorge Diez Martinez, and D. Luis Portilla (1865), to W. J. Shaw (1873), who sold it in 1880 to Mr. Curtis. Etched by A. Lalanze. —Curtis, 227; G. de Leon, ii. 256; Tubino, Murillo (Seville, 1864), 185. DIEGO OF ALCALA, ST., MIRACLE OF, Murillo, Louvre; canvas, H. 5 ft. 11 in. x 14 ft. 9 in.; signed, dated 1646. The Saint in rapture, raised above the ground, while angels perform his duties as cook in the convent kitchen; on left, a monk introduces two visitors, the one on extreme left supposed to represent Murillo. Painted in 164547 for Convent of S. Francisco, Seville; taken by Marshal Soult, whose heirs sold it to Louvre in 1858 for 80,000 fr. Injudiciously restored and repainted for Soult. Sometimes called La Cuisine des Anges (Angels' Cookery).-Curtis, 225; Gaz. des B. Arts, Jan. 1875, Feb. 1877; L'Illustration, Jan. 8, 1859. DIEGO OF ALCALA, ST., AND THE SOUP, Murillo, Academia S. Fernando, Madrid; canvas, H. 5 ft. 8 in. x 5 ft. 10 in. The Saint, kneeling on left, blesses a pot of soup on the floor, around which are four kneeling urchins and their mother; surrounding them are a throng of other beggars awaiting their share. Painted in 1645-47 for Convent of S. Francisco, Seville. Etched by F. Navarrete, in Cuadros.... Academia de S. Fernando.-Curtis, 226. DIELITZ, KONRAD, born in Berlin, Jan. 20, 1845. Genre and portrait painter, pupil of Eschke and of Biermann; travelled in 1871-73 in the Bavarian Alps to study popular life. Works: Rest on the Height, Smoker (1874); Caught (1877); Portraits of Bismarck (1874); Emperor William (1875), and Crown Prince.-Miller, 136; Zeitschr. f. b. K., xvi. 5. DIELMAN, FREDERICK, born in Hanover, Germany, Dec. 25, 1848. Genre painter, pupil of the Munich Royal Academy under Dietz, at which time he gained a medal in the life class. Professional life spent principally in New York. One of the founders of the Society of American Attists. Elected N.A. in 1883. Mr. Dielman is also well known as an etcher. Studio in New York. Works in oil: Patrician Lady (1877); Newsboy (1879); My Own Puss! (T. B. Clarke, New York); Bad Weed, Gallantry (1880); Lunching (1881); Maryland Garden, In the Arbour (1882); Mora Players (1883); 07 DIELMAN Reclaimed, Tessa (1884); Young Gamblers (1885). Water colour: Old Time Favourites (1883). DIELMAN, PETRUS EMANUEL, born in Ghent, July 29, 1800. History, genre, and portrait painter, pupil of Ghent Academy; then studied in France and Italy the works of the old masters, visited Switzerland, returned in 1831 and became in 1841 director of the art school at Herzogenbusch. Works: Jupiter and Leda; Elopement of Psyche; Scenes from Life of St. Augustine (Church of Anglican Ladies, Bruges); FishMarket at Ghent; Return of Scheveningen Fishermen; Fisherman's Family; portrait of Pope Gregory XVI.-Immerzeel, i. 182. DIELMANN, JAKOB FRIEDRICH, born at Sachsenhausen, near Frankfort, in 1809, died at Kronberg, in the Taunus, May 30, 1885. Genre painter, pupil of the Stadel Institute under Prestel, and in 1835-42 of the Diisseldorf Academy; settled in Frankfort, afterwards at Kronberg, and painted chiefly idyllic scenes from country life, in which the landscape is always prominent. Works: Farm-House (1835), National Gallery, Berlin; Hessian Village Smithy; Grandmother and Grandchildren; Parson with Children; Village Barber; Kirmess; Procession; Children at Church-Door; Peasant Girl in Doorway; Smith with Wooden Leg; Farm-House on the Ahr; Vintage at Sachsenhausen.-Brockhaus, v. 325; KunstChronik, xx. 589; Wolfg. Miller, Disseldf. K, 248; Wiegmann, 296. DIEPENBEECK, ABRAHAM VAN, born.^*^^ aat Bois-le-Duc, '-:^Sl% abaptized May # gr^^ s ~ 9, 1596, died in ^BJ^/M 1 Antwerp in 1675. Flemish school;. '~^ history and por-,.9 / trait painter, pu^r^ | Ppil of Rubens; // / was at first a glass painter; travelled in Italy, and in reign of Charles I. was in England, where he was employed by Duke of Newcastle in making designs for his book on Horsemanship. Went to Antwerp about 1629, admitted to guild in 1638, director of Academy in 1641. Works: St. Norbert, Antwerp Cathedral; Virgin with St. Ely, Church of Carmelites, Antwerp; Ecstasy of St. Bonaventura, Antwerp Museum; St. Francis adoring Sacrament, Brussels Museum; Entombment, Children's Bacchanale, Brunswick Museum; Neptune and Amphitrite, Dresden Gallery; Marriage of St. Catherine, Flight of Cloelia, Berlin Museum; Allegory of Mortality, PietA, Vienna Museum; Abraham and Angels,Feeding the Poor (1629),Old Pinakothek, Munich; portrait of Young Man (1665), E^ ~ do. of Young Woman, Stadel Gallery, Frankfort; Flight of Cloelia, portraits of Man and Woman, Louvre, Paris; Rape of Ganymede, M l~ sBordeaux Museum. Others in Stockholm and Chatsworth Galleries. Biog. nat. de Belgique, vi. 48; Ch. Blanc, Icole flamande; Cat. du Musee d'Anvers (1874); Michiels, viii. 138; Rooses (Reber), 324; Van der Branden, 777. DIEPRAAM, ABRAHAM, flourished at Dordrecht, 1648-74, said to have died at Rotterdam. Dutch school; genre painter, pupil of the glass painter Willem Jansz van der Stoop, then in Rotterdam of H. M. Sorgh and, after having travelled in France, of Adriaen Brouwer, to whom his pictures are sometimes attributed. Was member of the guild at Dordrecht in 1648, and still living in 1674. Work: The Breakfast (1665), Berlin Museum.-Quellenschriften, xiv. 390. DIERICK DE LOUVAIN. See Bouts, Dierick. DIES, ALBERT CHRISTOPH, born in Hanover, in 1755, died in Vienna, Dec. 28, 1822. Landscape painter; instructed by an obscure painter, but mostly self-taught; went in 1775 to Mannheim, Basle, and Rome, where he studied and copied for three years, and remained until 1796, visiting Naples twice. In 1796 he settled in Salzburg, and 408 DIETEKEN went the following year to Vienna. Works: View near Salzburg (1796), Salzburg Landscape in Storm (1797), Vienna Museum; six Views around Eisenberg, Hungary, National Gallery, Pesth; Cascades of Tivoli and Valley of Ustica (1798), Prague Gallery; two from Coliseum, View of Vesuvius, View of Naples, View near Albano, Pyramid of Cestius.-Andresen, iii. 123; Larousse, vi. 784; Wurzbach, iii. 286. DIETEKEN, C. (D. Cieteken?), flourished about 1630. Dutch school; landscape painter in the manner of Gillis d'Hondecoeter. Work: Siege of Spanish Fortress in the Netherlands (1630), Berlin Museum. DIiTERLE, Mme. MARIE, born at Sevres, France; contemporary. Landscape painter, daughter and pupil of E. van Marcke. Medal, 3d class, 1884. Works: Pasture in Normandy (1881); Le Pre-Caudron (1882); Road of Rambures, Farm-Yard (1884); Meadow of Monthieres at Morning, Old Apple-Tree (1885). DIETERLEIN. See Dietterlein. DIETHE, ALFRED, born in Dresden, Feb. 13, 1836. History painter, pupil of the Dresden Academy, and of Julius Hubner. Works: Disciples at Emmaus (1860), Dresden Gallery; Mary at Elizabeth's; Landing of Columbus at San Salvador; Luther posting his Theses; Lorenzo de' Medici; Elector Augustus and Electress Anna of Saxony; Allegorical Figures of Mathematics, Natural Science, History, and Geography.-Milller, 136. DIETLER, JOHANN FRIEDRICH, born at Solothurn, Switzerland, in 1804, died in Berne, May 4, 1874. Portrait painter, pupil in Solothurn of Germann, studied for several years in Paris, then in Italy and Geneva, and settled in Berne; one of the best modern portrait painters. Works: Burgomaster Wengi before the Canon; Women of Brienz; In the Artists' Book of Zofing. -Kunst-Chronik, ix. 658. DIETRICH, ANTON, born at Meissen, Saxony, in 1833. History painter, pupil of the Dresden Academy, then of Schnorr; went in 1859 to Dusseldorf, and having vis, ited Italy in 1861, executed fresco paintings in the hall of the Kreuzschule in Dresden. Works: Faust with Gretchen in the Prison (1859). Frescos: Abraham's Sacrifice; Death of Marcus Curtius; Death of Socrates; Luther at Worms; Poets, Scholars, and Artists; Allegorical Figure of School (1868 -72), Hall of Kreuzschule, Dresden.-Muller, 136. DIETRICH (Dietrici, or Dietericy), CHRISTIAN. WILHELM " ' ERNST, born in Weimar, Oct. 30, 1712, died in Dresden, April 24, 1774. -, German school; / " history, genre, / \!./ and landscape painter, first instructed by his father, court painter in Weimar, then pupil in Dresden of Alex. Thiele, where by his great talent he won the life-long patronage of Count Brtthl, and attracted the attention of Augustus the Strong, who made him court painter. Seeing the Italian painters in Dresden preferred to him, he went, in 1734, to Weimar, and did not return until 1742. In 1743 the Elector sent him to Italy, where, in Venice and Rome, he studied the Dutch and Flemish masters, above all, Rembrandt, Ostade, and Poelenburg; is noted for his special talent for reproducing the individual style of other masters. In 1745 he was made inspector of the gallery, and in 1765 professor at the Academy. He was member of the Augsburg, Bologna, and Copenhagen Academies. Works: Wandering Musicians (1745), National Gallery, London; Nymphs Bathing, Woman taken in Adultery, Tribute Money, Hampton Court Palace; The Adulteress (1753), Louvre; Old Man's Head, Rocky Landscape with Hermit, Kunsthalle, Hamburg; Annunciation (1760), Adoration of the Shepherds (1760), Vienna Museum; Lazarus in Abraham's Bosom. q Landscapes, Old Pinakothek, DIETRICH Munich Gallery; 54 in Dresden Gallery; Repose in Egypt (1757), Entombment (1759), Squirrel, Camera Obscura, 2 Italian Views, Hermitage, St. Petersburg; others in Brussels, Brunswick, Cassel, Darmstadt, Bordeaux, and Milan Galleries. Left many etchings.-Allgem. d. Biogr., v. 192; Ch. Blanc, IRcole allemande; Brockhaus, v. 336; Kugler (Crowe), ii. 559; Larousse, vi. 794; Meyer, Conv. Lex., v. 705. DIETRICH, JOHANN FRIEDRICH, born at Biberach, Sept. 21, 1787, died in Stuttgart, Jan. 17, 1846. History painter; first instructed in Stuttgart by the court painters Heideloff and Seele, went in 1811 to Munich, then to Rome, whence he returned to Stuttgart in 1816. Two years after he went again to Italy and was allied in Rome to Cornelius, Overbeck, and Veit. After his return in 1822 he executed a number of decorative works for the court and was made professor at the art-school in 1833. He painted good portraits. Works: Christ at Emmaus (1816), Stuttgart Gallery; Abraham's Entry into the Promised Land (1823), Royal Palace, Stuttgart; St. Martin's Dream (1834); Resurrection (1840), Catholic church, Stuttgart; Nativity (1843); Christ on Mount of Olives (1845). Frescos: Scenes from Myth of Bacchus (1826-28), Villa Rosenstein, near Stuttgart; Visitation, Nativity, Adoration of Magi, Christ on Mount of Olives, Crucifixion, Entombment, Resurrection (1838-39).-Allgem. d. Biogr., v. 156; Larousse, vi. 795; Raczynski, ii. 478. DIETRICHSON, MATHILDE (nee Bonneir), born in Christiania, July 12, 1837. Genre painter; studied first in Christiania, then in Dtisseldorf (1857-61) under Mengelberg and Tidemand. In 1862 she married the art historian Dietrichson, and visited with him Germany, where she studied in Berlin under Julius Schrader; spent three years in Italy; settled in 1866 at Upsala, where she won several medals; visited, in 1869, Greece, Turkey, Italy, and France, and studied in Paris under Chaplin, then in Munich (1875 -77) under Defregger. Works: Old Man smoking (1868); Young Mother's Visit at Home (1869); Italian Family Scene (1870); Educated Maid (1872); Master's Daughter (1873).-Mtiller, 137. DIETTERLEIN, WENDEL, born in Strasburg in 1550, died there in 1599. German school; history painter, mostly in fresco; enjoyed great reputation in his time, and is said to have been the first to make use of pastel. The Dresden Academy has 176 original drawings by him. Works: Calling of St. Matthew, Vienna Museum; do., Amalien-Stift, Dessau; Christ with Martha and Mary, Prague Gallery.-Woltmann, Deutsche Kunst in Elsass, 314; M6 -nard, L'Art en Alsace, 80; Nagler, Mon., v. 322. DIETZ, FEODOR, born at Neunstetten, Baden, May 29, 1813, died at Gray, HauteSaone, France, Dec. 18, 1870. History and battle painter, pupil in Carlsruhe of Kuntz, then from 1833 at the Munich Academy under PhilJ; I, ipp Foltz; adopted, during a three years' sojourn in Paris, the style of Horace Vernet, under whom and Alaux he studied and returned in 1839 to Carlsruhe, whence he moved to Munich in 1843; took part in the campaign in Schleswig-Holstein, in 1848-49, and was made professor of the artschool in Carlsruhe in 1862. He accompanied the German army in 1870 to France, where he died suddenly of paralysis of the heart. Works: Death of Max Piccolomini (1835), Carlsruhe Gallery; Death of Pappenheim; Gustavus Adolphus at Ltitzen (1838); Margrave Ludwig of Baden's Victory over the Turks (1837); Baden Regiment at 10 DIEUDONNi Montmartre in 1814 (1840); Baden Cavalry landscapes, the latter very successfully.in Battle on the Beresina (1842); the Four Allgem. d. Biogr., v. 218. Hundred of Pforzheim in Battle of Wimpf- DIEZ, WILHELM, born at Baireuth, fen (1843); Before the Gates of Leipsic Jan. 17, 1839. Genre and battle painter, (1846), Carlsruhe Art-Union; Explosion of pupil of the Munich Academy for a short Danish Man-of-War Christian VII. (1849), time under Piloty; attracted attention first Night Review of Napoleon I. (1853), De- by his illustrations to Schiller's Thirty Years' struction of Heidelberg under Mela (1856), War. His genre pictures are on a small scale Carlsruhe Gallery; Eleanor of Sweden be- in the manner of Meissonier. In 1872 he side Coffin of Gustavus Adolphus (1857), became professor at the Munich Academy. Carlsruhe Gallery; Crown Prince Louis of Works: Marauders, Ambuscade (1873); Bavaria in Battle of Arcis-sur-Aube, Bava- Travellers in 17th Century (1874); At the rian Cavalry in Battle of Brienne, Attack of Sutler's (1876); Two Horsemen by an Inn, Bavarians on Turks at the Siege of Vienna Horse-Market (1878); His Excellency trav(1862), National Museum, Munich; Blicher elling (1879); From the 16th Century, Piccrossing Rhine near Caub (1863); March nic, National Gallery, Berlin.-Brockhaus, to Paris in 1814, National Gallery, Berlin; v. 341; Mtlller, 137; Zeitschr. f. b. K., xix. Flight of American Family over the Susque- 130. hanna (1867); Episode from Battle of Lang- DIGBY, Sir KENELM, portrait, Anton ensalza (1867); Parade of Baden Division van Dyck, Windsor Castle. Another, halfbefore King William; Afterpiece to Battle length, National Portrait Gallery, London. of Rossbach; Meeting of German Cavalry By Anton van Dyck, Wingfield Digby, after Battle of Hochstadt.-Allgem. d. Biogr., Esq., Sherborne. Sir K. D. and family, v. 209; Brockhaus, v. 339; Illustr. Zeitg. half-length, figures seated. (1871), i. 275; Kunst-Chronik, vi. 75; Reg- DIGBY, Lady VENETIA, portrait, Anton net, i. 64. van Dyck, Earl Spencer, Althorp House. DIEUDONNIf, EMMANUEL DE, born Death-bed picture; half-length, lying, as if in Geneva, Switzerland, naturalized in in sleep; by her side a withered rose. France; contemporary. Figure and por- Painted in 1633, after Lady Digby's death trait painter, pupil of Cabanel. Medal: (May 1, 1633). Replica, Dulwich Gallery.3d class, 1881. Works: Fatma (1879); Head, 46. Spectre of the Rose (1880); Tamerlane and DIGBY, Lady VENETIA, portrait, Anton Bajazet (1881); Bazaar at Cairo, Carmen van Dyck, Windsor Castle. (1882); Jupiter and Juno (1883); Madame DIGNITY AND IMPUDENCE, Sir EdAngot (1884); Guitar, Reve du Kief win Landseer, National Gallery, London; (1885). canvas, H. 2 ft. 11 in. x 2 ft. 3 in. An old DIEZ, SAMUEL FRIEDRICH, born at bloodhound, of the Duke of Grafton's breed, Neuhaus, Meiningen, Dec. 19, 1803, died at and a little Scotch terrier looking out of the Meiningen, March 11, 1873. Portrait, genre, same kennel. British Institute, 1839; beand landscape painter, pupil in 1822-25 of queathed by Jacob Bell in 1859.-Cat. Nat. the Munich Academy; made court painter Gal. in Meiningen in 1832. During his visits to DILLENS, ADOLF, born at Ghent, Jan. the German courts, St. Petersburg, (1839), 2, 1821, died there in January, 1877. HisStockholm (1842), London (1841 and 1845), tory and genre painter, brother and pupil Paris (1842), Brussels (1845), he collected of Hendrik D.; first works were historical, his album of European celebrities, compris- but later exhibited pictures illustrative of ing 300 portraits. During the last ten years Zealand peasant life. Medals: Brussels, of his life he painted also genre pictures and 1848, 1850, 1854; Paris, 3d class, 1855; 411 DILLENS Order of Leopold, 1862; member of Amsterdam Academy, 1866. Works: Five Senses, Sunday in Flanders (1848); Asking in Marriage (1849); Peruzzi painting Portrait of dead Constable de Bourbon (1850), Bruges Gallery; Courtship in Zealand, Taking Toll, Fair at West Capelle (1854); Gossip at the Window; Ball at Goes, Juggler, Ring Tournaments, Taking Toll (1855); Marchand de Complaintes, Farm Interior (1857); Summer in Zealand-Taking Toll at the Bridge, Winter in Zealand-Skaters, Defeat of the Duke d'Alen9on at Antwerp in 1593, To be Warm when it is Cold (1862); Jeu de Banes; A Zealand Wedding; An Abuse of Confidence; Ballad Seller; Grief and Disorder; Recruiting, Brussels Museum.-Art Journal (1867), 69; Kramm, ii. 344. DILLENS, HENDRIK, born at Ghent, Dec. 20, 1812, died in Brussels in 1872. Genre painter, pupil of Maes-Canini. Works: French Trooper caressing his Child; Capture of Joan of Arc; Old Man counselling Youths; Consecration of a Church; Charles V. and the Swine-herd; Charles V. at Antwerp; Baptismal Ceremonies in Russia (1828); Tavern Interior (1833); Laura and Petrarch (1834); Triumphal Entry of Philippe Auguste into Paris (1835).-Immerzeel, i. 183. DILLIS, JOHANN CANTIUS, born at Gringiebing, Bavaria, in 1779, died in Munich in 1856. Landscape painter, brother and pupil of Johann Georg von D., whom he accompanied in 1805 to Switzerland, Tyrol, and Italy; remained in Rome and returned to Munich alone in 1807, but again joined his brother on his journeys to Italy in 1808 and to Paris in 1815. Works: View near Grotta Ferrata (1809), Schleissheim Gallery; Outlook from high Alps near Neselau, Stone Bridge near Audorf, Wood with Hunters and Animals, Village on a Brook (1825); Cows and Goats by Peasant's Cottage, Winter Landscape (1825); Two Views in Bavarian Alps (1826-27); Mountain Landscape with Cattle.-Allgem. d. Biogr., v. 226; Larousse, vi. 854. DILLIS, JOHANN GEORG VON, born at Grilngiebing, Bavaria, Dec. 26,1759, died in Munich, Sept. 28, 1841. German school; landscape painter, pupil of the Munich Academy in 1783-90; visited Switzerland and the Rhine in 1788 and was made inspector of the Munich Gallery in 1790. Thence he accompanied Gilbert Elliot to Italy, then lived during the war-times in Ansbach, and in 1805 visited Italy once more. In 1806 he accompanied the Crown Prince Louis to Paris and on a journey through Switzerland, France, and Spain, and in 1817-18 to Sicily. As director of the Royal Gallery, after 1822, he earned much credit through his arrangement of the art treasures in Munich and Nuremberg. Works: View of Tegernsee, View near Grotta Ferrata, New Pinakothek, Munich Gallery; Waterfall of Kesselberg, View of Dietramszell; others in Schleissheim and Leuchtenberg Galleries, and Tegernsee Castle.-Allgem. d. Biogr., v. 229; Andresen, iv. 137; Brockhaus, v. 355. DINET, (ALPHONSE) lTIENNE, born in Paris; contemporary. History, portrait, and landscape painter; pupil of Galland, Bouguereau, and Tony Robert-Fleury. Medal, 3d class, 1884. Works: Mother Clotilde (1882); View from Rock of Samois, Phoebus (1883); St. Julian the Hospitaller (1884); View of the Oued-Msila after Rain (1885). DINIAS, Greek painter, date unknown; one of earliest workers in monochrome. Pliny, xxxv. 34 [53]. DIOGNETUS, painter, 2d century A.D. Gave lessons in painting to Emperor Marcus Aurelius.-Jul. Cap. Anton., 4, 9. DIONYSIUS, Greek painter, of Colophon, 5th century B.c. Equalled Polygnotus in technical skill, but inferior to him in higher qualities. Became a distinguished artist by study rather than through natural gifts. (Elian, V. H. iv. 3; Plut. Timol. 36). Aristotle says (Poet. 2) that he painted men just like the originals, meaning probably that he was deficient in the ideal. According to Pliny (xxxv. 37 [113]) he was called Anthropographus because he painted nothing but A12 DIONYSIUS men; but some think that this should be referred to the later Dionysius, the contemporary of Sopolis. DIONYSIUS, portrait painter, country unknown, lived in Rome 1st century B.C. Pliny says (xxxv. 40 [147]) that he and Sopolis were the most celebrated portrait painters of their time and that their works filled the galleries. See laia. DIONYSODORUS, painter, of Colophon (Pliny, xxxv. 40 [146]). Probably identical with Dionysius of Colophon. DIONYSUS or Bacchus, pictures. See Aristides, Ctesilochus; Liber, see Echion, Nicias. DIORES, painter, country unknown. Mentioned by Varro (de Ling. Lat., ix. 6, 12) in a way to lead one to suppose that he was contemporary with Micon. DIRK VAN HAARLEM. See Bouts, Dierick. DISCEPOLI, GIOVANNI BATTISTA, born at Lugnano in 1590, died in 1660. Milanese school; history painter, pupil of C. Procaccini. Works: Adoration of Magi, Brera, Milan; Purgatory, S. Carlo, Milan; St. Theresa, Sta. Teresa, Como.-Lanzi. DISCOVERER, THE, William M. Hunt, Capitol, Albany, N.Y.; mural painting, demilune, H. 15 ft. x 45 ft. The Discoverer, fulllength, draped, standing, gazing on the setting sun, in a boat which is rising to a sea against a sunset sky; behind him, Fortune, full-length, nude and winged, holding the tiller with her left hand and trimming the sail with her right; at the prow is Hope, with one hand on the boat, the other pointing forward; in front of her blind Faith, her face buried in her arms, floats with the tide,while Science unrolls a chart at the side. Painted in 1878.- Scribner's Mag., xix. 175. DISCUSSION OF IMMACULATE CONCEPTION, Guido Reni, Hermitage, St. Petersburg. To right, St. Jerome, with a book, looks at the Virgin, who, dressed in white, Marchese degli Angeli to Lord Walpole. Engraved by W. Sharp and L Sanders — Descr. of the Hermitage, 22. DISGUST, Paolo Veronese, Cobham Hall, England; canvas, 5 ft. 10 in. square. A man, nude, recumbent, is chastised by Cupid with his bow, while two women, one holding an ermine, are hastening away. From Collection of Queen Christina of Sweden to Orleans Collection; valued at sale in 1793 at ~150, sold for 44 guineas. Engraved by B. Audran. -Waagen, Treasures, ii. 499; iii. 20; Cab. Crozat, ii. P1. 27. DISPUTE OF THE SACRAMENT, Raphael, Camera della Segnatura, Vatican, Rome; fresco, arched top, H. 16 ft. x 26 ft. 8 in. The Triumph of Religion. God the Father, in a glory of angels and cherubim, holds the globe in one hand and raises the other in benediction; beneath, Christ seated between the Virgin and John Baptist, with six saints, patriarchs, and prophets on each side, seated upon clouds upheld by cherubim (left-Peter, Adam, John Evangelist, David, Stephen, Jeremiah (?); right-Judas Maccabaeus, George, Lawrence, Moses, James, Abraham, Paul); below Christ, the Holy Ghost and four angels bearing the Gospels; in lower part, the Eucharist on an altar, round which are grouped forty-three figures, popes, bishops, doctors of the church, and learned men, manyof them portraits-among others Dante, Savonarola, and Fra Angelico. Painted in 1508. Called also Theology. Original studies in Windsor Castle Collection; Stadel Museum, Frankfort; Collection Due d'Aumale, Chantilly; and Louvre. Engraved by G. Mocetto, Keller, Volpato, G. Ghisi, Aquila, Gantrel, and Mochetti.-Vasari, ed. Mil., iv. 330; Muntz, 320; Passavant, ii. 73; Springer, 159; Kugler (Eastlake), ii. 427; Gruyer; Perkins, 115. DISTRAINING FOR RENT, Sir David Wilkie, William Wells, Esq., Redleaf; canvas. The sheriff taking an inventory of the appears in glory with two angels; SS. Am- household goods of a cottager, to be seized brose, Chrysostom, Basil, Augustine, and for rent. Sixteen figures. Painted in 1814; Gregory are also represented. Sold by the bought by British Institution for 600 guin413 DITSCHEINER. eas. Engraved by Raimbach. -Heaton, Works of Sir D. W.; Mollett, 50, 62. DITSCHEINER, ADOLF, born in Vienna, June 29, 1846. Landscape painter, pupil of the Vienna Academy under Albert Zimmermann; went in 1876 to Munich, travelled in the Bavarian Alps and North Italy, and stayed for some time in Istria and on the Adriatic. Works: Wood Interior, Swamp in Sunset, View in the Ramsau; On Shore of Lake Chiem, Vienna Museum.Maller, 138. DITTENBERGER, JOHANN GUSTAV, born at Neuenweg, Baden, in 1799, died in Vienna. History and portrait painter, pupil in Heidelberg of Rottmann and Roux; then from 1821 at the Munich Academy; visited Paris, where he studied for some time under Gros, and Rome until 1831, when he settled in Vienna. He painted mostly altarpieces in the manner of the old German masters, also profane history and allegories. Works: Annunciation (1844); St. Andrew converting the Russians; Ave Maria; St. Severin blessing Austria; Germania and Schleswig-Holstein (1850); Christ on Mount of Olives; Knight Toggenburg; Venus going to the Bath. —Meyer, Con. Lex., v. 771; Wurzbach, iii. 315. DIVINA TRAGEDIA (Divine Tragedy), Paul Chenavard, Luxembourg Museum; canvas, H. 13 ft. 1 in. x 18. The overthrow by Christianity of the ancient religions. In centre, the new God expiring upon the Cross, which is upheld by the Father; above, in the heavens, the Blessed, with Cherubim; behind the principal group, on one side Adam and Eve, on the other the Virgin and Child, symbols of the Fall and the Redemption; below, Maia weeps over the bodies of Jupiter-Ammon and of IsisCybele, while on the right and left are the gods and mythical heroes of the ancient world, overthrown and flying before the new divinity. In the lower angle, at right, a segment of the world, on which is seen the city of Rome, indicates the place of the vision.-Salon, 1869. DIVINO, EL. See Morales, Luis de. DOBSON, WILLIAM, born in Holborn in 1610, died in London, Oct. 28, 1646. Pupil of Sir Robert Peake, an obscure painter and picture dealer; learned to copy Van Dyck so accurately that the great master was attracted by him and introduced him to Charles I. After Van Dyck's death he became sergeant-painter and groom of the privy chamber. He painted Charles I., Charles I., Prince Rupert, and many other notable personages. His Beheading of St. John Baptist is at Wilton House; portrait of Milton, Gatton House; portrait of Cleveland the poet, Bridgewater House; portrait group of himself and wife, Hampton Court; portraits of himself, and of Sir H. Vane, Quarles, and E. Porter, National Portrait Gallery.Redgrave; F. de Conches, 36. DOBSON, WILLIAM CHARLES THOMAS, born in Hamburg, Germany, in 1817. \ 4'B ~History painter, -A, ' Q it pupil in London of ( "" ~ Royal Academy, and of Charles Eastlake; head master in 1843-45 \>' X^ of Birmingham \ School of Design. In 1845 visited Italy and Germany for several years. Has painted chiefly scriptural subjects; many of his works have been engraved. Elected an A.R.A. in 1860, and R.A. in 1872. Works: Hermit (1842); Paul and Virginia (1843); Italian Goatherd (1846); Witch of Endor (1848); Madonna (1850); Christian Pilgrim (1852); Charity of Dorcas (1855); Christ going to Nazareth (1857); Der Rosenkranz (1859); The Child Jesus in the Temple (1866); A Crown to her Husband (1872); Paul at Philippi (1873); Rebecca (1876); Waiting (1877); At the Masquerade (1878); Venetian Girl (1879); Golden Age (1882); Morning, Bianca Capello (1883).-Art Journal (1860), 137; Sandby, ii. 344. 414 DOBYASCIOFSKI DOBYASCHOFSKI, FRANZ, born in Vienna in 1818, died there, Dec. 7, 1867. History painter; pupil of the Vienna Academy under Flahrich and Kupelwieser, and soon became the most distinguished among Fiihrich's followers; visited Italy and Paris, and afterwards was made professor at the Vienna Academy. Works: The Flood (1835); St. John (1843); St. Boniface preaching the Gospel to the Germans (1844); Joseph relating his Dream, St. Barbara (1845); Emperor Otto hunting with Leopold of Babenberg (1846); Duke Albrecht III. receiving his Firstborn, Cimabue discovering Giotto's Talent (1847); The Nun's Dream (1848); Faust and Margaret in the 19th Century (1849); Duke Ernest the Iron saving Cymburgis (1850), Vienna Museum; St. Ferdinand, St. Joseph with Infant Christ (1851); Roman Shepherd-Boy, St. Elizabeth giving Alms, St. Ulrich. Fresco: Glorification of Christ, Christ on Mount of Olives; Altlerchenfeld chapel, Vienna.-Allgem. d. Biogr., v. 277; Brockhaus, v. 277. Tn mprno Ace, /-VL^^^' r:,a^c^f, DOES, JACOB VAN DER, the younger, born in Amsterdam in 1654, died in Paris in 1699. History painter, son of Jacob van der Does, the elder; pupil of Karel du Jardin and of Gaspard Netscher, and finally studied in school of Gerard de Lairesse. DOES, SIMON VAN DER, born in Amsterdam in 1653, died at The Hague (?) in 1717. Dutch school; son and pupil of Jacob van der Does the elder, and scholar of Adrian van de Velde. When young settled at The Hague, and returned there after visiting Friesland and passing a year in England. Later he worked at Brussels and Antwerp. Painted landscapes with shepherds and cattle; also portraits. Works: Shepherds Reading (1706), Shepherdess (1708, 1711), Maternal Love (1714), AmsterS. V oes.Io t 26oeCG99. JL-^V^V.JJUbL' ai. cct: UICLttU1 —atC, %ntJ-lVULiUV. DOES, JACOB VAN DER, the elder,/ D ce I o8 born in Amsterdam in 1623, died at The /V -' ' dam Museum.-Ch. Blanc, lcole hollanHague, Nov. 17, 1673. daise; Immerzeel, i. 187; Kramm, ii. 351. Dutch school; land- DOLCI, CARLO (Carlino), born in Florscape and animal ence, May 25, 1616, painter, pupil of / died there, Jan. lrNicolas Moyaert, but //Y17, 1686. Floren-. strongly influenced. tine school; stud- when in Rome by Pie- \4\ led with Jacopo Vig- h., J tervanLaar. He was nali, a pupil of ' one of the founders of the guild of painters Matteo Rosselli. A at The Hague (1656). Works: The Little prolific, though very // Shepherds (1655), Brussels Museum; Land- careful, painter, who scapes with Sheep (3, two dated 1661, 1668), bestowed the great- /0 Copenhagen Gallery; do. (1), Cassel Gal- est labour and pains even upon the least imlery; Landscape with Cattle, Brunswick portant parts of his pictures. His subjects Museum; Italian Landscapes (2, Old Pin- are always sacred, but his work is marred akothek, Munich; do. (1657), Lit chtenstein by an insipid affectation of religious feeling. Gallery, Vienna; do., and Antique Fountain His sweetness is cloying and his devotion (1662), Vienna Museum; Replica of latter superficial. Charles Blanc calls him the in Leuchtenberg Gallery, St. Petersburg.- true representative of Jesuitical art. The Ch. Blanc, ~cole hollandaise; Kramm, ii. 351. tone of his colouring is generally adapted to 415 DOLPH the character of his subjects, being always soft and harmonious. Some of his female figures are better than any of his male subjects. He was the last of the Florentine school, as well in style and taste as in point of time. Among his best works are: Martyrdom of St. Andrew, Sleeping St. John, Madonna, Christ in the Garden, St. Peter Weeping, Pal. Pitti, Florence; Magdalen, and Madonna appearing to a Monk, Uffizi, Florence; St. Cecilia, Salome, Dresden Gallery; St. John writing his Gospel, Berlin Museum; St. Catherine, St. Cecilia, Magdard y9' len, HerSt Peters^*V -^ /, ~burg; Sincerity, Madonna, Vi(_ ol ' ^ ~ u r enna Museum; Madonna, Magdalen, Munich Pinakothek.-Ch. Blanc, ]cole florentine; Seguier, 58; Wornum, Epochs, 356. DOLPH, J. H., born at Fort Ann, N. Y., April 18, 1835. Genre and animal painter, pupil in 1870 of Louis van Kuyck in Antwerp; studied in Paris in 1880-82. He spent several years abroad studying in Rome and painting on the continent. Elected an A.N.A. in 1877. Studio in New York. Works: Knickerbocker Farm-Yard (1869); Parson's Visit, Beggars (1874); Landscape and Cattle, Antiquarian (1876, Philadelphia); Waiting for the Hunters (1879); Grace before Meat (1880); The Antechamber (1882); Choice of a Sword, Minstrel Songs, The Reprimand (1883); Cat and Kittens, Rat Retired from the World-La Fontaine's Fable (1884); A Princess, I can't Play with You (1885). DOMENICHINO (Domenico Zampieri), born in Bologna, Oct. 21, 1581, died in Naples, April 15, 1641. Bolognese school; son of a shoemaker; pupil of Denis Calvaert, afterward of the Carracci at the same time with Guido and Albani, who became his intimate friend. After studying works of Correggio and of Parmigiano at Parma and Modena, went to Rome and aided Annibale Carracci in the Farnese frescos. He soon became distinguished as an accurate designer w',!-'y ~ and a true colourist, and was em/j,2 ployed in painting frescos by -/U: S \Cardinals B o rghese, Farnese, and Aldobrandini. His increasing reputation excited the jealousy of Guido, Lanfranco, and other painters, who treated him with so much injustice that he returned to Bologna, April 18, 1612. A month later he went to Rome, but he did not settle there until 1620, when Gregory XV. appointed him painter and architect of the apostolic chamber. In 1630, after the death of the Pope, he went to Naples to decorate the chapel of S. Januarius in the Cathedral with frescos of events in the Saint's life, but before they were finished he was so persecuted by the notorious cabal - the painters Corenzio, Spagnoletto, and Caracciolo-that he worried himself to death, or, as is suspected, died of poison. Domenichino was rated in the last century as only second to Raphael, but, although a forcible and learned painter, he was commonplace in invention and wanting in ideality. His masterpiece is the Communion of St. Jerome, in the Vatican, where it has been ranked as a rival to Raphael's Transfiguration. Other examples: Martyrdom of St. Agnes, do. of St. Peter Martyr, Madonna del Rosario, Bologna Gallery; Diana and Actaeon, Magdalen, Venus, Cupid and Satyrs, Pal. Pitti, Florence; Portrait of Cardinal Aguccia, Uffizi; Samson, Lucca Gallery; Madonna with Saints, Brera, Milan; Guardian Angel, St. John the Evangelist, Naples Museum; Adam and Eve, Pal. Barberini, Rome; Diana and Nymphs, Cumaean Sibyl, Pal. Borghese, Rome; Cumsean Sibyl, Capitol Gallery, Rome; Adam and Eve in Paradise, Triumph 416 DOMENICO of David, Pal. Rospigliosi, Rome; Charity, Dresden Gallery; Susannah at the Bath, Munich Gallery; Hercules and Achelous, Hercules and Cacus, Herminia at the Shepherd's House, Holy Family, Adam and Eve, David playing the Harp, Ecstasy of St. Paul, St. Cecilia, Triumph of Love, Timoclea before Alexander, Rinaldo and Armida, Louvre; Adoration of the Shepherds, Dulwich Gallery; Tobias and the Angel, St. Jerome and the Angel, National Gallery, London; Cupid, Hermitage. Among his frescos in Rome are the Death of Adonis, Loggia of the Giardino Farnese; Martyrdom of St. Sebastian, S. M. degli Angeli; Four Evangelists, pendentives of the cupola S. Andrea della Valle; Two from life of St. Cecilia, S. Luigi; Assumption of the Virgin, S. M. in Trastevere. His finestfrescos are, however, those at Grotta Ferrata near Rome, from the life of St. Nilus, and scenes from the Life of the Virgin in the Duomo at Fano.-Malvasia, ii. 219; Lanzi, iii. 84; Ch. Blanc, lcole bolonaise; Dohme, 2iii.; Kugler (Eastlake), iv. 485; Richter, Cat. Dulwich Gal. (1880), 56. DOMENICO DI BARTOLO, born at Asciano early part 15th century, died after 1444. Sienese school. Vasari errs in calling him a nephew of Taddeo Bartoli, but he was probably taught in his school. His manner is Umbro-Sienese, deficient in order and balance, and marked by absence of perspective. His earliest picture, Madonna and Angels, dated 1433, is in the Siena Academy; his latest is of 1444. His best work is Madonna with Saints, in the convent of S. Giuliana, Perugia. There are five frescos by him in the Infirmary of the Hospital, Siena.-C. & C., Italy, iii. 52; Vasari, ii. 223; Milanesi, Siena, 171. DOMENICO VENEZIANO, born about 1390, died in Florence, May 15, 1461. Venetian school. Birth and education unknown. Painted early in Perugia, and from 1439 to 1445 in S. M. Nuova, Florence, where he executed a series of frescos with the aid of his apprentice, Piero della Francesca, and his assistant, Bicci di Lorenzo. He used oil as a medium, but it is certain that he did not learn its use from Antonello da Messina, as asserted by Vasari, since it was known before that time, and is mentioned by Cennini in his Treatise written in the 14th century, and that he was not assassinated by Andrea del Castagno, as is stated by the same author, since he survived him four years. His Madonna with Saints, formerly in S. Lucia de' Bardi, Florence, now in the Uffizi, is a lighttoned piece, of gay and well-fused colour, and fair impasto, held by some to be painted in tempera and by others with an oil vehicle. -C. & C., Italy, ii. 313; Vasari, ed. Mil., ii. 667, 683; Eastlake, Materials, 218; Lubke, Gesch. ital. Mal., i. 283. DOMINGO, J., born in Spain; contemporary. Genre painter, pupil in Paris of Meissonier, to whose works his bear strong resemblance. Works: Halt at Inn, Card Players, Stable Interior, Guard Room, W. H.Vanderbilt, New York; Cavalier and Dog, J. J. Astor, New York; During the Battle, Wmn. Astor, New York; In a Spanish Caf6, G. I. Seney, Brooklyn; Spanish Stable with Donkey, J. C. Runkle, New York; Return from Pasture, Palette Club, New York; Scene in Cabaret; Antiquary; Guitar Player. — Miiller, 139. DOMINGO Y MARQUES, Don FRANCISCO, born in Valencia, Spain; contemporary. History painter; began to exhibit in 1866, historical genre scenes and portraits. Medals: 3d class, 1866; 1st class, 1871. Works: An Event in the 17th Century; The Calabrese (1866); St. Clara; Last Day of Saguntum (1871). DOMINGUEZ Y SANCHEZ, Don MANUEL, born in Spain; contemporary. History and portrait painter. Medals in 1866 and 1871. Works: Faun (1866); Death of Seneca (1871); Maja, Venetian Study; Sancho Panza with the Duchess and her Ladies (1882); Agriculture (1884); Frescos in San I Francisco el Grande.-La Ilustracion (1882), i. 3; ii. 346; (1883), i. 91; ii. 163; (1884), i 336. 417 DOMINICK DOMINICK, ST., Titian, Palazzo Borghese, the other holding gloves. Passavant says Rome; canvas, half-length, life-size. Stand- painted about 1507. Engraved by G. Vitta. ing, pointing upward with right hand.-C. -Mtntz, 204; Springer, 499; Passavant ii. & C., Titian, ii. 419. 52. DONI (Dono, Adone), Umbrian school, (1540-1572). Of Assisi, where he painted in the lower Church of S. Francesco the Legend of St. Stephen and other works. In Perugia he painted about 1550 the Last Judgment in S. Francesco; Adoration of the Magi, in S. Pietro; and Julius II. restoring to Perugia its Municipal Government in the Hall of the Magistrates. An altarpiece by \ J/ him in the Duomo, Gubbio.-Lanzi, i. 349; Ch. Blanc, ]cole ombrienne; Burckhardt, /\ l 575. DONI, AGNOLO, portrait, Raphael, Palazzo Pitti, Florence; wood, H. 1 ft. 11 in.x T 1 ft. 2 in. Half-length, seated near a balustrade, on which rests his left arm; black coat, red waistcoat, black cap, long hair fall- ing on neck. Painted in Florence in 1506; sold, together with the portrait of Maddalena Doni, in 1826, by their descendants, to Leopold II., Grand Duke of Tuscany, for 5,000 scudi. Engraved by Cappelli, by G. Repi, Donna Gravida, Raphael (?), Palazzo Pitti, Florence. and in Rosini's History of Italian Painting. DONNA VELATA (Veiled Lady), Raph-Vasari, ed. Mil., iv. 325; C. & C., Raphael, ael (?), attributed to Unknown, Palazzo Pitti, i. 266; Gotti, Gal. di Firenze, 182; Gal. du Florence; canvas, H. 2 ft. 8 in. x 2 ft. A Pal. Pitti, iv. 92; Miintz, 201; Passavant, ii. beautiful woman, half-length, seated, seen 39; Springer, 85; Gruyer, Portraits, i. 97. three-quarters face, turned to left; hair partDONI, MADDALENA (Strozzi), portrait, ed and put back behind ears, and head Raphael, Palazzo Pitti, Florence; wood, H. partly covered with a veil, which falls grace1 ft. 11 in. x 1 ft. 2 in. Half-length, nearly fully on each side, enveloping right arm; full face, with hands crossed in lap; dress necklace of black stones; dress, a white red and blue, a gold collar and chain, and plaited chemise, a low bodice trimmed with pear-shaped pearl pendant. Same history gold, with white damask sleeve. Supposed as above. Study in Louvre. Engraved by portrait of Raphael's mistress, Margherita; Delfini.-Gal. du Pal. Pitti, iv. P1. 93; Mutntz, bears some resemblance to Madonna di San 141, 201; Springer, 60, 85; Gruyer, i. 105, Sisto and to Fornarina in Palazzo Barberini. and ref. above. Passavant, Mlnder, Springer, Ruland, and DONI, PAOLO. See Uccelli. others, consider this a genuine Raphael; DONNA GRAVIDA (Pregnant Woman), Gruyer, Burckhardt, and Bode think it a Raphael (?), Palazzo Pitti, Florence; wood, Bolognese picture, perhaps after an original H. 2 ft. 2 in. x 1 ft. 8 in. Half-length, in by Raphael. Brought to Pitti in 1824 from Florentine costume of 1500, wearing a cap, Villa of Poggio Reale. Engraved by L. and a golden chain about her neck; one Grtlner; D. Chiossone; W. Hollar, in reverse, hand, adorned with rings, resting in her lap, from a copy.-Vasari, ed. Mil.,iv. 355; Mlintz, 418 DONNER 536; Passavant, ii. 276; Springer (Dohme 2ii), 251; Art Journal (1882), 1. DONNER, OTTO, born in Frankfort, May 10, 1828. History painter, pupil of the Stiidel Institute until 1847, then in Paris of Delaroche, and in Munich of Schwind. Visited Italy in 1852, and in 1862 went again to Paris to study under Couture; practised for some years portrait painting there and in London; assisted in 1866 in the painting of Schwind's frescos in the Vienna Donna Velata, Raphael (?), Palazzo Pitti, Florence. Opera House, and was then for ten years in Rome, where he painted genre scenes from Italian life and the antique world; returned to Frankfort in 1876. Works: Ltttzow's Men beside Korner's Body; Satyr with Nymphs resting after the Chase (1863); Vintage at Ischia; Interior of Pompeiian Winter Garden; The Forsaken, Campanian Tavern; Evening Scene before Herculaneum Gate; Portraits of Prince and Princess Scherbatoff, Princess Bariatinsky, Emperor William (1877).-Miller, 139. DONZELLO, PIETRO DEL, born in Florence in 1451, died there, Feb. 24, 1509. Florentine school; son of Francesco d'Antonio di Jacopo, bailiff (donzello) of the Signoria of Florence. He and his brother Polito, or Ippolito (born in Florence in 1455, and apprenticed to Neri de' Bicci in 1469 -71) were companions in that-painter's studio, Florence, as late as 1480. Several panels of doubtful authenticity in the Naples Museum, as well as the wall paintings in the exrefectory of S. Maria Nuova (probably by an Umbrian master) are attributed to them. De' Domenici, who makes the Donzelli Neapolitans and pupils of Colantonio del Fiore and Andrea Solario, is unreliable.Vasari, ed. Mil., ii. 485; Burckhardt, 613; C. & C., N. Italy, i. 102; Ch. Blanc, lcole napolitaine. D PPLER, KARL EMIL, born at Schnepfenthal, Gotha, March 8, 1824. Genre painter; devoted himself at first, from 1844, to architectural painting, lived then for several years in New York, as illustrator, and returned in 1859 to study genre painting in Munich under Piloty. In 1860-70 he was in Weimar, as costume-draughtsman for the theatre and teacher at the art-school, and in 1870 settled in Berlin. Works: Ambuscade in time of Henry III.; The Widow of Sadowa; The Secret, Duchess Maria Anna and Duke Charles of Zweibrlicken, Nationral Museum, Munich; The Four Main Festivals of the Year.-Brockhaus, v. 477; Muller, 140; Illustr. Zeitg. (1870), i. 176. DOR1I, GUSTAVE PAUL, born in Strasburg, Jan. 6, 1833, died in Paris, Jan. /. 27,1883. History painter and de- signer; original name Dorer, changed by him to French form. ' 7 Went to Paris / // " when fifteen years / old and began by contributing sketches to illustrated periodicals. Exhibited in Salon in 1848 pen-andink landscape drawings, and in 1855 his first 419 DOREUR oil picture, Battle of the Alma, which was ton, Painting in France; Larousse; Jarves, followed in 1857 by Battle of Inkermann; Art Thoughts; Perrier, etudes, 153; Clabut he did not attract notice until 1863, retie, Peintres, etc. (1884), ii. 105; Bruno when his Paolo and Francesca da Rimini Meyer, Studien und Kritiken, 92; Zeitschr. drew the attention of the critics. Though f. b. K., i. 31. he executed other ambitious works he too DOREUR, LE (The Gilder), Rembrandt, often yielded to the temptation of multiply- William Schaus, New York; canvas, H. 2 ft. ing work at the expense of thought and fin- 5 in. x 1 ft. 11 in.; signed, dated 1646. Porish, and failed to win fame as an historical trait of a man about forty-five years old, face painter. None deny the wealth of his im- seen in a three-quarter view, with dark beard agination, or the astounding facility of his and moustaches; wears a large slouched hat hand, but those who best appreciate his and a brown jacket; right hand in the breast powers regret that they were not better di- of his vest. A masterpiece, of great brilrected. As a sculptor he possessed consid- liancy of colour. Painted in 1640. From De erable ability. L. of Honour, 1861; Officer, Morny Collection.-Gaz. des B. Arts (1863), 1879. Works: Tobit and the Angel (1865), xiv. 292; Smith, vii. 121. Luxembourg Museum; Evening in the DORIA, ANDREA, portrait, Sebastian de] Country of Granada, Savoy, Rebellious An- Piombo, Palazzo Doria, Rome; wood, a lit. gels Cast Down, Titans(1866); Mountebank's tle more than life-size. Standing by a winFamily, Neophyte, Siesta, Andromeda, Tri- dow, on the stone sill of which are two galumph of Christianity (1868); The Alps, A leys, symbols of his rank as admiral. Painted Valley (1869); Alms, Savoy (1870); Alsace, about 1528. One of the finest portraits in Massacre of Innocents (1872); Prayers, the world.-Vasari, ed. Mil., v. 576; C. & Darkness or Night of the Crucifixion, The C., N. Italy, ii. 346; Burckhardt, 724. Desert (1873); Christian Martyrs, Dream DORIGNY, LOUIS, born in Paris in June, of Pilate's Wife (1874); Dante and Virgil in 1654, died in Verona in 1742. French the Seventh Circle, House of Caiphas, Vaga- school; history painter, pupil of his father, bonds (1875); Jesus Condemned (1876); Michel D., and of Lebrun. Dissatisfied Christ's Entry into Jerusalem (1877); Ecce with the verdict of the Academy, which Homo, Moses before Pharaoh (1878); The As- awarded him the second prize in 1671, he cension, Death of Orpheus (1879); Twilight, went to Rome, where he studied four years; Souvenir of Loch Corron (1880); Day Dream, then painted at Gubbio and Foligno, and, for Vale of Tears, The Garry in Perthshire, Val- ten years, in Venice. Married there, and ley in the Alps (1882). Illustrations of settled in Verona; visited Paris in 1704, and books: Rabelais (1854); Wandering Jew Naples in 1706, on his return to Verona, (1855); Balzac's Contes drolatiques (1862); whence he was called to Vienna in 1711 by Dante's Inferno (1861); Attala, Don Quixote Prince Eugene to decorate his palace; (1862); Bible (2 vols., 1865-66); Paradise painted also in Prague. Excelled as a fresco Lost (1866); La Fontaine's Fables (1867); painter. Works: Susanna at the Bath, Tennyson's Idyls of the King (1867-68); Bordeaux Museum; Two Miracles of St. Hood's Poems (1870); Baron Davillier's Es- Zeno, Daniel justifying Susanna, Annunciapagne (1873); Coleridge's Ancient Mariner tion, College Church, Verona; Dream of (1876); Enault's London (1877); Ariosto's Maccabmeus, Scenes in Life of Louis de GonOrlando Furioso (1879); Poe's Raven (1883). zaga, S. Sebastino, ib.; St. Christopher car-Portfolio (1883), 64; L'Art (1883), i. 115; rying the Child Jesus, S. Eufemia, ib.; Rape Gaz. des B. Arts, Dec., 1883; Chronique of Sabines, Combat of Horatii and Curatii, des Arts, 1883; Illustr. Zeitg. (1878), ii. Palazzo Giusti, ib.; Theological and Cardi390; Kunst-Chronik, xviii. 320; Hamer- nal Virtues, Palazzo Pelegrini, ib.; Feast of 420 DORIGNY Bacchus, Four Quarters of the Globe, Ve- inspector of the Royal Gallery, in 1815 mem. nus and the Graces, several others, Palazzo ber of the Hanau, in 1820 of the Vienna and Allegri, ib.; Frescos in Palazzi Spolvarini, Berlin, and in 1824 of the Munich academies Murelli, and others, ib.; do. in S. Silvestre, Works: Views of Landshut and Munich; Venice; in Jesuits' Church, Palazzi Tron Environs of Paris; Rhine-Valley near Freiand Zenobio, ib.; do. representing Patron burg; Rocky Landscape near Kochel Lake; Saints of Trent and their Martyrdom, Trent The Staubbach near R1ttli; Waterfall over Cathedral.-Bellier-Auvray, i. 440; D'Argen- Steep Rocks, Storm in Lech Valley, Landville, Abr6g6, v. 271; Dussieux, Les Artistes scape with Mill near Pasing, View of Walchen frangais a l'etranger, 148, 521. Lake, New Pinakothek, Munich Gallery; DORIGNY, MICHEL, born at Saint- thirty-six Landscapes in Schleissheim GalQuentin (Aisne), in 1617, died in Paris, Feb. lery; Wood-Path (1817), National Gallery, 21, 1665. French school; history painter, Berlin.-Brockhaus, v. 493; Nagler, Mon., pupil of Simon Vouet, his father-in-law; re- iii. 869. ceived into the Academy in 1663, adjunct DORNER, JOHANN KONRAD, born at professor in 1662, professor in 1664. Works: Egg, near Bregenz, in 1810, died in Rome Flora and Zephyr, Louvre, Paris; Allegory, in 1866. History, genre, and portrait Madrid Museum.-Bellier-Auvray, i. 440. painter, pupil of the Munich Academy DORINDA WOUNDED, Guercino, Dres- under Cornelius; went in 1835 to St. Petersden Gallery; canvas, H. 7 ft. 3 in. X 9 ft. 10 burg, where he painted mostly portraits, bein. Dorinda in the arms of Linco, who shows sides altarpieces, and was made member of her wound to Silvio (Guarini's "PastorFido"). the Academy; returned to Munich and went Painted for Alfonso de Novellara; bought in in 1855 to Rome, where he acquired repu1744 in Madrid as a Correggio. Engraved tation through historical compositions and by L. S. Lempereur. genre scenes. Works: Madonna with St. DORNER, JOHANN JAKOB, the elder, John; another picture with Saints, Munich born at Ehrenstetten, Breisgau, in 1741, died Gallery.-Allgem. d. Biogr., v. 354; Brockin Munich, May 22, 1813. German school; haus, v. 494. history and genre painter, pupil in Freiburg DOROTHEA. See Fornarina. of REsch, and from 1759 in Augsburg, of DOROTHEUS, Roman painter, 1st cenIgnaz Bauer; visited North Italy and went tury A.D. Painted for the Emperor Nero a to Munich, where, in 1762, he became court copy of the Venus Anadyomene of Apelles painter, and, after a visit to the Netherlands after the original had become impaired by and Paris, in 1766-68, inspector, and in 1777 time.-Pliny, xxxv. 36 [9]. director of the Gallery. Works: Female DORPH, ANTON (LAURIDS JOHANStorekeeper (1775), Old Pinakothek, Mu- NES), born at Horsens, Jutland, Feb. 15, nich; Portrait of Artist, Augsburg Gallery; 1831. History, genre, and portrait painter, seven genre scenes, Schleissheim Gallery.- pupil of Copenhagen Academy under MarAllgem. d. Biogr., v. 354; Brockhaus, v. 493. strand; went to North Italy and Paris in DORNER, JOHANN JAKOB, the young- 1854, where he studied for a few months er, born in Munich, July 7, 1775, died there, under Couture; visited Holland, France, and Dec. 14, 1852. German school; landscape Italy in 1859. Member of Copenhagen painter, son and pupil of Johann Jakob the Academy in 1871. Works: Peasant Girl elder, but formed himself chiefly through knitting (1854), Copenhagen Gallery; Christ study from nature; took Claude Lorrain and on the Cross (1858); Fishermen at Sorrento Karel du Jardin for his models. He visited (1861); Street Scene at Sorrento (1862); Switzerland and France in 1801-3, and after Christ with Martha and Mary, St. Stehis return was made restorer, and in 1808 phen's, Copenhagen; Ascension, Trinity 421 DOSSI Church, ib.; Christ blessing the Children, HolmensChurch, ib.; Give unto Csesar! Christ and Disciples at Emmaus; Young Wife awaiting Husband's Return (1867); Little Girls playing in the Downs (1868), Catching Hornfish (1880), Copenhagen Gallery.Sigurd Muller, 79; Weilbach, 135. DOSSI, BATTISTA. See Dossi, Giovanni. DOSSI, GIOVANNI (Giovanni di Lutero, called Dosso Dossi), (~}/.'S born at Dosso, near ("' '~ 5i Ferrara, about 1749, die d at Ferrara in ) 1542. Lombardo-Ferrarese school; scholar of Lorenzo Costa; be\ /\ came a favourite of Duke Alfonso I. of Ferrara, for whom he painted a large picture, and an altarpiece, Cathedral of Ferrara, representing St. Bartholomew and St. John at Patmos (1527). Many of his works, in the Ducal Palace at Ferrara, were destroyed by fire in 1718. His brother Battista (died 1548), a noted landscape painter, assisted him in painting the Labours of Hercules, in the Cortile of this palace, a Madonna with Saints (1522), Cathedral at Modena, and frescos in the Castle at Trent, now destroyed. Ariosto, in the Orlando Furioso (xxxiii. 2), mentions the brothers together with Leonardo da Vinci, Mantegna, and Gian. Bologna. Dosso Dossi is said to have spent six years in Rome and five in Venice. Other works: Annunciation, Madonna with Saints, Ferrara Gallery; Bacchanal, Palazzo Pitti, Florence; Justice, Diana and Endymion, One of the Hours, Peace, the Four Doctors of the Church, a Dream, and Judith, Dresden Gallery; Circe, Palazzo Borghese, Rome; St. Sebastian, Brera, Milan.-Vasari, ed. Mil., v. 96; Baruffaldi, Vite degli Artifici Ferraresi (Taddei, 1844); Seguier, 59; Rio, Art. Chr6 -tien, iii. 445; Cittadella, Notizie relative a Ferrara (1864), 530, 605; Lubke, Gesch. ital. Mal., ii. 387; Lermolieff, 136; Zeitschr. f. b. K., x. 264, 269. DOU (Dov, Dow, Douw), GERARD, born at Leyden, April 7, 1613, died there, buried, Feb. 9, (/\ ^W ^^ 1675. Dutchschool; received first instruction in drawing in 1622 from the engraver Bar- * tholomeus Dolen5Jo - __/\! do, in 1624 appren-....-. -....... ticed to the glass painter Kouwenhoven, and in 1628 entered Rembrandt's studio, where he remained three years. To Rembrandt he owed his harmonious treatment of the chiaroscuro and depth of colour, but his careful and delicate touch, which, especially in his portraits, is incalculably minute, precluded the free and energetic treatment of his master. Choosing his subjects mainly from the narrow circle of the family life of the middle and lower classes, he frequently represented them at dusk or by candlelight, with masterly skill. Works: Poulterer's Shop, Artist's Portrait, Artist's Wife, National Gallery, London; Girl scouring Pan, Girl chopping Onions, Grocer's Shop, Old Woman watering Flowers, Portrait of Old Man, Buckingham Palace; Violin Player (1637), Artist's Portrait, Bridgewater Gallery; Village Lawyer, Old Couple with Hurdy-Gurdy, Earl of Lonsdale, Lowther Castle; Hermit Praying, Old Man in a Cellar, Ashburton Collection; Young Girl at Window conversing with Boy, Man teazing with a lighted Candle Old Woman asleep, Hope Collection; Painter in his Room writing, Baring Collection, London; Lady playing Virginal, Dulwich Gallery; Dropsical Woman, Reading the Bible, Cook-Maid, Greengrocer, Trumpeter and 7 others, Louvre; Le M6nage, Young Woman with a Lamp at Window (2), Hermit (2), one dated 1664, Portrait Figures in Landscape by Berchem, Old Woman 422 DOUCET fishing (1653), Evening School, National GERAERT, born at Li6ge, in 1694, died Museum, Amsterdam; Old Lady in Fur, there in 1660. Flemish school; history and Old Warrior, Cassel Gallery; Artist's Por- portrait painter, pupil of Rubens. W tnt trait, Astronomer (1657), Old Man reading, in 1614 to Italy, where he devoted himself Brunswick Museum; Penitent Magdalen so entirely to the study of the great Italian (1638), Old Woman, The Store Room, Ber- masters that the influence of Rubens is tracelin Museum; Artist drawing in a Book, Ar- able only in the warm flesh-tones of his welltist before Easel, Girl plucking Grapes, drawn portraits. He returned home in 1622. Artist playing Violin, Schoolmaster cutting Works: Pope Nicholas V. at Grave of St. Pen, Dentist, Hermit Praying, Young Girl Francis, Finding of Cross by Empress Hewatering Plant, Still Life, and 11 others, lena, Two Portraits (one dated 1624), Old Dresden Gallery; Painter before Easel Pinakothek, Munich; Christ appearing to (1649), Charlatan (1652), Maid with Lan- Apostles, Augsburg Gallery.-Biog. nat. de tern at Window (1658), Artist's Portrait Belgique, vi. 150; Michiels, x. 118. (1663), Herring Seller (1667), Hermit in DOUGHTY, THOMAS, born in PhiladelPrayer (1670), ten others, Old Pinakothek, phia, July 19, 1793, died in New York, July Munich; Physician (1653), Old Woman 24, 1856. Landscape painter, self-taught. watering Flowers, Vienna Museum; Man Began the practice of art in 1820, after which Reading, Woman examining Money, Physi- he painted successfully in London, Paris, cian and Old Woman, Herring Seller, Wo- and the United States. Works: Scene on man winding Yarn, Artist with Violin, Her- the Susquehanna; Old Mill; Delaware mit, Young Man Reading, Nude Girl beside Water-Gap; Peep at the Catskills; View Water, Young Woman about to Bathe, near Paris; View on the Hudson; LandYoung Man about to Bathe, Hermitage, St. scape (Boston Athenaeum); Landscapes Petersburg; Artist's Portrait, Evening (Academy of Fine Arts, Philadelphia); Wind Storm, Departure of Columbus from Palos, Y Cj -nG. D 0 V Mrs. J. Harrison, Philadelphia. ( Io / I ja DOUILLARD, ALEXIS MARIE LOUIS, v/r. born at Nantes, June 28, 1835. History School, Cake Seller, Uffizi, Florence. At Nar- and portrait painter; pupil in Paris of ischkine sale (1883), Fish Merchant, 50,000 Hippolyte Flandrin, Gleyre, and G6r6me. fr.; Frugal Re- Medal, 3d class, 1878. Works: Christ on past, 13,000 n l Q the Cross (1875), Palais de Justice, Paris; fr.- Ku g 1r e Death of St. Louis (1881); Death of the (Crowe), ii., f', First-born (1883); Education of the Virgin 205; Ch. Blanc, ()oV CO V (1884), Church of Paimbceuf; Portraits ]cole hollan- (1885). daise; Schnaase, Niederlandische Briefe; DOUVEN, JAN FRANS VAN, born at Allgem. d. Biogr., v. 336; Dohme, lii.; Im- Roermonde in 1655, died in Dtlsseldorf in merzeel, i. 190; Kramm, ii. 359; Art Jour- 1727. Flemish school; portrait painter, nal (1881), 102; Wedmore, 152. pupil of Gabriel Lambertin. Called to DasDOUCET, LUCIEN, born in Paris; con- seldorf by the Elector Johann Wilhelm, who temporary. Figure and portrait painter, pu- took him to Vienna and recommended him pil of J. Lefebvre and G. Boulanger. Medal, to the Emperor Leopold. Having success3d class, 1879. Works: Adam and Eve fully painted the portraits of the Emperor (1877); Atala, Portrait (1878); Portraits and Empress, he received many orders from (1879); do. (1880, 1882); Hagar (1883). royal personages and nobles. His portraits DOUFFET (Doufeet, Doofeet, Duffeit), of 3 emperors, 3 empresses, 5 kings, 7 queens, 423 DOUW and many princes are distinguished for colouring, conception, and likeness. Works: Susanna at the Bath, Bathsheba Bathing, portrait of Elector of Cologne, Cassel Gallery; Portraits in Augsburg and Munich Galleries, in the Uffizi (5), and in Pal. Pitti (5), Florence. His son Bartholomeus (born 1688) painted t/ Jue many portraits in his manner. Works: The Three Graces, female portrait, Cassel Gallery.-Immerzeel, i. 193. DOUTW. See Dou. DOUZETTE, LOUIS, born at Triebsees, Pommerania, in 1834. Landscape painter, pupil in Berlin of Eschke; was at first a house painter for five years, then painted flowers and small landscapes. In 1864 he visited Rilgen and the Baltic coast, and in 1865 Sweden. Works: Miller's Farm by Moonlight, Midnight Sun at Tornea, Moonlight Night in Winter (1865); Village Smithy in Winter, Landscape near Soderham, Swedish Coast by Moonlight (1866); Farm-House after Storm, Moonlight on Ruins, Landscape in the Mark, At Forester's House (1867-68); Winter Eveningin the Woods (1875); Moonlight on Mill-Pond, Dutch Canal by Moonlight, Wood-Hut at Moonrise. -Meyer, Con. Lex., xviii. 252; Miiller, 142. DOW (Douw), SIMON VAN, born in Antwerp about 1630, died there after 1677. Flemish school; landscape and animal painter; master of the guild in 1654. Works: Cavalry Skirmish in a Landscape, Liechtenstein Gallery, Vienna; Horse and Cattle Show, Schwerin Museum; Landscape with Figures and Cattle (1671), Lille Museum.-Van den Branden, 1036. DOYEN, GABRIEL FRAN9OIS, born in Paris in 1726, died in St. Petersburg, June 5, 1806. French school; history painter, pupil of Carle van Loo; obtained the grand prize in 1746, and in 1750 went to Rome, where he studied the works of Annibale Carracci, Lanfranco, and Pietro da Cortona, and thence to Naples, to study Solimena. Returned to France in 1755, became member of the Academy in 1759, and professor in 1776. In / 1791 Catha- t 4 rine I. called. him to St., P D where he was P Tu nominated - professor at k\th the Academy o i ' - andcontinued in favor under Paul I. Works: Le Miracle des Ardents, St. Roch, Paris; Death of St. Louis, St. Eustache, Paris; Triumph of Amphitrite, Louvre; Portrait of Crebillon, Rouen Museum; Study of a Head, Nantes Musem; Adoration of the Magi, Darmstadt Museum; Virginia killed by her Father in the presence of Appius Claudius, Parma Museum: Andromache and Astyanax, in Parma; Triumph of Metellus, Andromache, D iomed Fig h t in g ( J ' L OleA (Prince Yous12 ^ 8U /,soupof); and I? uC ') aothers in Russia.-Ch. Blanc, iRcole frangaise, ii.; Bellier de Chavignerie, i. 445; Lejeune, Guide, iii. 82. DOYEN, GUSTAVE, born at Festieux (Aisne), Dec. 29, 1837. Figure and portrait painter, pupil of Bouguereau and of Reverchon. Medal, 3d class, 1882. Works: Interrupted Reading (1875); Jealousy (1876); Contemplation (1878); The Lesson (1879); Musical Matinee, Portrait (1880); Joan of Arc, Bather (1881); The Old Woman (1882); On the Bank of a Brook (1883). DOYLE, RICHARD, born in London in 1826, died there in 1883. Water-colour painter and caricaturist; son and pupil of John Doyle (1797-1868), caricaturist. Is best known as a contributer of drawings to Punch and as a book-illustrator, but has also exhibited many water-colour drawings at the Grosvenor Gallery. Among those in 424 DRAEGER 1877 were: Dame Blanche, Ariel, Return of Dragon Slayer, Witch's Home, Enchanted Tree, Haunted Park, Fairy Rings, Kelpie Stone, and Haworth Rectory.' Other works: Rose-Red and Snow-White, Fish out of Water (1878); Pied Piper of Hamelin, Peace or War (1879); Battle of Elves and Frogs (1880); Sailor and Monkeys, Triumphal Entry of the Queen (1881); Welsh Legend (1882); Home of Charlotte Bront6, Schwein-General of Nassau (1883). DRAEGER, JOSEF ANTON, born at Treves in 1800, died in Rome in 1843. History painter, pupil in Dresden of Kiigelgen; went in 1821 to Italy and settled in Rome, where he painted religious and historical subjects with unusual glow and brilliancy of colour, in imitation of the Venetian masters. Works: St. Matthew (1820); St. Cecelia; The Shepherds; The two Roman Women; Moses at the Well, National Gallery, Berlin.-Brockhaus, v. 519. DREBER, FRANZ, born in Dresden, Jan. 9, 1822, died at Articoli di Campagna, Rome, Aug. 3, 1875. Landscape painter, pupil of the Dresden Academy and of Ludwig Richter; went in 1841 to Munich and later to Rome, where he settled, visiting Germany only temporarily in 1850-51 and 1866. His name was really Karl Heinrich, but he called himself Franz after his uncle and signed his pictures with that name. Works: Ravine with bathing Nymph; Wood-Landscape; Four Seasons, View in the Campagna; Sea-Shore with Nymphs; Psyche crowned by Eros; Ulysses by the Sea; Group from Saturnian Age; Landscape with Diana's Chase, Autumn in Sabine Mountains, National Gallery, Berlin; Good Samaritan (1848), Dresden Gallery; Sappho, Schack Gallery, Munich.-Allgem. d. Biogr., v. 385; Kunst-Chronik, xi. 681. DRESSLER, ADOLF, born at Breslau, March 14, 1833, died there, Aug. 7, 1881. Landscape painter, pupil in Breslau of Konig and of Resch, and in Frankfort of the StWdel Institute under Jacob Becker; after a trip to the Tyrol, settled in Breslau in 1862. Honorary member of the Societ6 beige des Aquarellistes in 1866. Professor in 1880, at the newly-created Art-school at Breslau. Works: Ideal Landscape; Sylvan Solitude; View of Capri; Rothwasser Valley in the Riesengebirge; View in the Eulengebirge; River Landscape in Silesia; Flat Country on the Oder with Landing; River Landscape in Midsummer.-Kunst-Chronik, xviii. 362. DREUX, ALFRED DE, born in Paris in 1812, died in March, 1860. Genre and portrait painter, pupil of L6on Cogniet. Became known chiefly through his huntingpieces and animated though exaggerated representations of horses. Medals: 3d class, 1834; 2d class, 1844,1848; L. of Honour, 1857. Works: Interior of a Stable, Colt jumping a Ditch (1831); Alone at the Rendezvous; Race for a Kiss; Lady of the Castle (1847); Rich and Poor, Breakfast too Hot, Dog and Cat, Intimacy, The Return, The Death, Mar. tyrdom of St. Hippolytus, Battle of Bauge, Hunting with a Falcon, Time of Charles VIL, Imperial Guard (1855); Portraits of the Duke of Nemours on horseback, of Napoleon III and others.-Ch. Blanc, 1cole frangaise; Lejeune, Guide, iii. 82; Gaz. des B. Arts (1860), v. 26. DROLLING, MARTIN, born at Oberbergheim, near Colmar, baptized Sept. 19, 1752, died in Paris, April 16, 1827. Genre painter; formed himself without a teacher by studying the pictures of Dutch masters, and painted a great number of family and conversation scenes in the style of Greuze, which were very popular. Works: Interior of a Kitchen (1815), Louvre; Broken Pitcher; Curious Treasure; Village Family hearing a Letter Read; Good Samaritan, Lyons Museum; Little Commissionaire, and others, M. Burat, Paris; Little Girl Drawing; Going to Market; The Farmer; The Good-Morning, Village Interior, Quilting 425 DROLLING (1795); Repentant Girl; Little Boy with seum; Ulysses carrying off Polyxena (1827); Violin (1800).-Ch. Blanc, 1cole frangaise; St. Surin (St. Andrew, Bordeaux); Death of Jal., 507; Lejeune, Guide, i. 386. Richelieu (1831); Marie-Antoinette taking DROLLING, MICHEL MARTIN, born Communion (Expiatory Chapel in the Conin Paris, March 7, 1786, died there, Jan. 9, ciergerie); A large ceiling in the Louvre 1851. History and portrait painter, son representing Law spreading its benefits over and pupil of Martin D.; then studied with the Earth; Christ among the Doctors, Notre Dame de Lorette.-Bel^^^^ -,V~, z ^lier de la Chavignerie, i. 447; Jal., 508; Larousse. DROOCH-SLOOT (DroechSloot, Droogsloot), JOOST CORNELISZ, born in Utrecht (?) end of 16th century, died after 1666. Dutch school. Admitted to St. Luke's guild, Utrecht, 1616, its dean in 1623. Painted historical and biblical subjects and landDr ---:scapes, but principally village festivals, which he enlivened with a great number of figures. Works: Troops passing through a Village (1645), Louk ns vre; Kirmess (1649), Rotterdam Museum; Duel between Lieutenant Gerhards and MI. Briautes (1630), Vienna Museum; Pool of Bethesda (1643), Brunswick Museum; Replicas in Antwerp and Berlin Museums; Kirmess (1652), Dutch Village (1652), National Museum, Amsterdam; Frozen Dropsical Woman, Gerard Dou, Louvre. Canal in Holland, Hermitage, David, and after obtaining the grand prize, St. Petersburg; others in Museums of Berstudied in Rome. Returned to Paris, he lin, Dresden, Cassel, and Madrid.-Archief. painted scenes from sacred and profane history, graceful in composition, and correct ( 4 in drawing. Member of the Institute in )f6 00o/ O 7JJe 1833. He formed many excellent pupils- o. such as Breton, Chaplin, and Henner. His later and larger pictures are inferior to his v. nederl. Kunstgesch., ii. 254; earlier ones. Medals: 2d class, 1817; 1st Burger, Musees, ii. 275; Imclass, 1819; L. of Honour, 1837. Works: merzeel, i. 197; Kramm, ii. Death of Abel (about 1810, one of his best); 371; De Stuers, 33. Orpheus and Eurydice (gold medal, Salon, DROPSICAL WOMAN (Femme hydro1819); Good Samaritan (1824), Lyons Mu- pique), Gerard Dou, Louvre; wood, H. 2 ft. 426 DROST 7 in. x 2 ft. 1 in. In a lofty, handsomely furnished apartment, with a piece of rich tapestry suspended from the ceiling and draped to one side, a group of four figures, in front of an arched window; a sick lady seated in a chair, her weeping daughter kneeling at her feet and holding one of her hands, a female attendant offering refreshment with a spoon, and a physician in purple silk robe, standing in foreground examining a urinal. Purchased for 30,000 florins by the Elector Palatine, who presented it to Prince Eugene; after his death passed to House of Savoy and placed in Turin Gallery, whence transferred by French to the Louvre; on restoration of pictures in 1815 the French government redeemed it by payment of 100,000 fr. Engraved by Fosseyeux; Claessens; Chataigner.-Mus6e frangais; Filhol, vi. P1. 367; Smith, i. 32; Ch. Blanc, Icole hollandaise. DROST, GERAERT, born about 1638, died about 1690. Dutch school; pupil of Rembrandt, and painted in his manner, although somewhat exaggeratedly. Studied also in Rome. Works: Decollation of John Baptist, Amsterdam Museum; Noli me Tangere, Cassel Gallery; Man in Brown Coat, Old Man instructing Boy (?), Argus and Mercury (?), Dresden Gallery; Argus and Mercury, Vienna Museum.-Kramm, ii. 372; Vosmaer, Rembrandt, (1868), 163. DROUAIS, FRAN9OIS HUBERT, born in Paris, Dec. 14, 1727, died there, Oct. 21, 1775. French school; portrait painter, son and pupil of Hubert D.; continued his studies under Nonnotte, Carle van Loo, Natoire and Boucher, was received into the Academy in 1758, and later became court painter. He painted the royal family and many of the famous men and women of his time. Works: Portraits of Comte d'Artois, afterwards Charles X., and of Marie-Adelaide Clotilde, afterwards Queen of Sardinia (1763), Louvre; portraits of Louis de Bourbon, Louis XVIII., Louis XV., Mme. Dubarry, Comte d'Artois, Mme. Clotilde, and the sculptor Edme Bouchardon, Versailles Museum; portrait of Couston, Acole des Beaux Arts; portrait of Prince Dimitri Galitzin (1762, engraved by J. Tardieu); portrait of Gen. Duhamel (engraved by Moitte); portrait of Beaudieu de Laval, dancing teacher of the royal family; Mme. de Pompadour, Orleans Museum.Ch. Blanc, ]cole frangaise; Bellier de la Chavignerie, i. 448; Gaz. des B. Arts (1881); Villot, Cat. Louvre. DROUAIS, HUBERT, born at La Roque (Eure), May 5, 1699, died in Paris, Feb. 9, 1767. French school; portrait painter; first instructed by an obscure artist in Rouen, then by De Troy in Paris, and after the latter's death was much employed by Jean B. van Loo, Alexis Simon La Belle, Oudry, and Nattier. He painted the Marquise de Pompadour several times, and benefited by her patronage. Works: Portrait of the painter Christophe, ]tcole des Beaux Arts; portrait of the sculptor Lorrain, Versailles. -Jal, 508; Lejeune, ii. 286. DROUAIS, GERMAIN JEAN, born in Paris, Nov. 25, 1763, died in Rome, Feb. 13, 1788. French school; history painter, son and pupil of Fran9ois Hubert D., A then studied 7\ withBrenet,and \ \ in the school of David, where in 1784 he obtained the first prize and aroused enthusiasm by his Christ and the Canaanite Woman. Went to Rome with David and studied the antique and Raphael, but died suddenly after a few years. Works: Christ and the Canaanite Woman, Marius in Prison at Minturnse, Louvre; Wounded Gladiator, Rouen Museum; Philoctetus in the Island of Lemnos, M. Goupil, Paris; Departure of Tiberius Gracchus to demand the Execution of the Agrarian Law; portrait of Buffon, Narischkine sale (1883), 14,300 fr.; portrait of the Countess de Buffon, do., 15,600 fr.-Ch. Blanc, ecole fran 427 DROUGHT 9aise; Villot; Lejeune, Guide, iii 82; Gaz. des B. Arts, Chronique, 1883. DROUGHT IN EGYPT, Jean Fran9ois Portaels, Corcoran Gallery,Washington; canvas, H. 9 ft. x 7 ft 3 in. Illustration of Psalms, lxxviii 44. Painted in 1873. Awarded the gold medal, Exhibition at Crystal Palace, Sydenham, for the best picture, without regard to school or subject.-Art Journal (1874), 30. DROVE AT THE FORD, William Hart, Corcoran Gallery, Washington; canvas, H. 4 ft. 6 in. x 3 ft. 2 in. A drove of cattle leaving a dusty road, at close of day, to cross a stream overarched by trees. Painted in 1874. DRUMMOND, JAMES, born in Edinburgh in 1816, died there, Aug. 12, 1877. History painter, pupil of Sir Wm. Allan; exhibited first at Scottish Academy in 1835; became an AS.A. in 1846, and S.A. in 1852; curator of National Gallery, Edinburgh, in 1868. Works: Return of Queen Mary to Edinburgh after Surrender at Carberry Hill, James I of Scotland seeing his Future Wife at Windsor, Porteous Mob, Montrose on Way to Execution, National Gallery, Edinburgh; Peace, War, Queen Victoria; Old Mortality, Cromwell in Edinburgh; Claverhouse and Duke of Gordon (1865).-Redgrave. DRUMMOND, SAMUEL, born in London, Dec. 15, 1763, died there in August, 1844. History painter, pupil of Royal Academy; became an A.R.A. in 1808; afterwards curator of painting school. Works: Woodman (1801); Drunken Seaman Ashore, Crazy Jane (1804); Battle of Trafalgar; Death of Nelson; Admiral Duncan receiving Sword of Admiral De Winter, Greenwich Hospital; Portrait of Sir Isambard Brunel, do. of Mrs. Fry, National Portrait Gallery; Portrait of Charles Mathews, elder. —edgrave. DUBBELS, HENDRIK, second half of 17th century. Dutch school; marine painter, of whose life so little is known that he alternately passes for the master and the scholar of L Backhuysen. Painted sea-coasts, calms, and storms with great truth, masterly aerial perspective, beauty of lighting, and breadth and softness of execution, His sea-pieces are frequently attributed to Backhuysen. Works: River Landscape, Coast Scene, National Museum, Amsterdam; do., Palazzo Pitti, Florence; Marine View, Duke of Bedford, London; Calm, Cassel Gallery; Dutch Men-of-War, Copenhagen Gallery; Shipwreck and S t o r m, 2i) a66eIJ Stockholm Museum; D/BB 13 ELS Marine Views (2), Dresden Gallery.-Kugler (Crowe), ii. 500; Kunst-Chronik, xix. 424. DUBOIS, AMBROISE, born in Antwerp in 1543, died at Avon, near Fontainebleau, Jan. 29, 1614. Flemish school; history painter; went to Paris in 1568, already an able artist, and was extensively employed by Henry IV. at Fontainebleau, in the Louvre, and the Luxembourg. Works: Charicles enduring the Test of Fire, Louvre; Theagenes and Charicles, Fontainebleau; 14 pictures in the Oval Room at Fontainebleau, in which Louis XIII. was born (dated 1600). A Dvbocs -Ch. Blanc, 1Rcole frangaise; Fetis, Les Artistes belges, i l'6tranger, i. 359; Jal, 509; Lejeune, i. 408. DUBOIS, CHARLES EDWARD, born in New York; contemporary. Landscape painter, pupil of Gleyre and Franqais in Paris. Sketched in Venice and Rome. Works: Cottages of Zeeland, Village of Auvernier (1873); Windmill near Dordrecht -Netherlands; Willows at East Hampton (1876); Morning on the Prairie, Autumn, Morning in Venice, Evening at East Hampton (1878); Under the Olives at Mentone (1884); At the Foot of Monte Pelegrino 428 DUBOIS Palermo, Ruins of Greek Theatre at Taormina-Sicily (1885). DUBOIS, FRAN9OIS, born in Paris, May 11, 1790, died there, Feb. 8, 1871. History painter, pupil of Regnault and of the 1icole des Beaux Arts; won the 2d grand prix in 1817, and the 1st grand prix in 1819. He was a careful painter in a style now out of fashion, but he received many orders for pictures from the Government in his day. Medal, 1st class, 1831. Works: Themistocles with Admetus (1819); Clovis when a Child found by a Fisherman (1822), St. Louis landing at Damietta (1827), Amiens Museum; Marguerite d'Anjou taken by Brigands (1833), Angers Museum; St. Luke releasing the Prisoners (1827), St. Leu, Paris; Death of Manlius, Young Woman of Albano (1831); Distribution of Colours to the National Guard (1831), Coronation of Pepin the Short (1838), two portraits of French Marshals, Versailles Museum; The Annunciation, Notre Dame de Lorette; Baptism of Clovis, The Ascension of Christ (1859), ordered by the State.-Bellier de la Chavignerie, i. 454; Larousse. DUBOIS, GUILLAM, died in Haarlem, buried July 7, 1680. Dutch school; landscape painter, whose manner is a mixture of that of Ruysdael and Everdingen. Master of the guild at Haarlem in 1646. His journey through the Rhine provinces with Vincent Laurensz van der Vienne, in 1652-53, gave him subjects for numerous pictures. Works: Mountain Landscape, Berlin Museum; another, Czernin Gallery, Vienna; another, Stidel Gallery, Frankfort; Village on Seashore, Baron Speck von Sternburg, Lttschena, near Leipsic; View on Rhine, Dulwich Gallery.-Kugler (Crowe), ii. 481. DUBOIS, LOUIS, born in Brussels in 1830, died there, April 28, 1880. Genre, landscape, and animal painter, among the most prominent followers of Courbet, though not his pupil, and the foremost representative of the realistic school in Belgium. Works strongly resemble those of Jacob Jordaens. Works: Trinitarian Monk, Priest preparing for Mass (1857); The Storks (1860), Brussels Museum; Roulette, Choir-Boy (1860); Solitude, Landscape with Dead Roe (1863); Rice-Eater (1872); Eva, Healthy Country (1875); Billiard Player, The Scheldt, Landscape (1878); Flemish Interior, The Mill, Autumn in the Ardennes, Cranes and Ducks, Sunset, Sunrise on a Swamp, The Meuse near Dordrecht.-Brockhaus, v. 606; Meyer, Con. Lex., xix. 243. DUBOULEAU, JEAN AUGUSTE, called Dubouloz, born in Paris, Feb. 20,1800, died there, Aug. 23, 1870. History painter, pupil of Gros, and of the ]cole des Beaux Arts, where he made eight unsuccessful attempts to win the grand prix. Medals: 3d class, 1838; 2d class, 1840. Works: Louis XI Hunting, Quentin Durward and Master Pierre, Louis XI.'s Breakfast, Crillon's Piety, the Preacher of Pontoise, The Courage of a Peasant of Pontoise during King John's Captivity, Christ on the Mount of Olives (1824 to 1840); The Temptation, May (1857); The Invasion (1861); The Tempters, The Call to Wake Up, Blind Man's Buff (1863); The Pirates (1864); Vive les Brunes I Vive les Blondes! License destroying Liberty (1865); The Swing, A Rural Offence (1866); Sick Child, Jugglers (1868); Group of Children (1869); Little Bathers (1870); and a number of portraits. —Bellier de la Chavignerie, i. 458; Larousse. DUBOURCQ, PIERRE LOUIS, born in Amsterdam, April 25, 1815, died there in 1873. Landscape painter, pupil at Hilversum of Jan van Ravenswaay, and at The Hague of Andreas Schelfhout; visited in 1836-37 Belgium, Germany, Switzerland, North Italy, and France, in 1844-45 Italy and Sicily, and in 1846 Holland, England, France, and Germany. Works: View near Orleans; Inundation; Lake Albano; Roman Campagna; View on Isle of Jersey; Cemetery at Baden, National Museum, Amsterdam; View near Rome, Museum Fodor, ib.-Mttller, 145. DUBREUIL, TOUSSAINT, born in Paris in 1561, died there, Nov. 22, 1602. French 429 DUBUFE school; history painter, pupil of Fr6minet; worked for many years in Paris, Fontainebleau, and St. Germain en Laye. Works: Jesus appearing to Mary Magdalen; Descent of the Holy Spirit; The Earth; Fire. The History of Ulysses, at Fontainebleau, begun by Primaticcio, was finished by Dubreuil.Ch. Blanc, Itcole franqaise; Larousse. DUBUFE, CLAUDE MARIE, born in Paris in 1790, died there, April 24, 1864. Genre and portrait painter, pupil of David. He was the last of David's school, having all its faults with few of its good qualities; but was as popular with the public as he was abused by the critics. Medal, 1st class, 1831; L. of Honour, 1837. Works: Achilles protecting Iphigenia; Roman Family dying of Hunger (1810); Christ allaying the Tempest (1819, St. Leu, Paris); Release of St. Peter (Chaillot); Apollo and Cyparissa (1822); Passage of the Bidassoa (1824); Birth of Duc de Bordeaux (1824), Orleans Museum; Regrets, Memorials (1837); The Surprise (1828), National Gallery, London; Nest of Tomtits (1831); Republic (1849); Bull and Cows (1852); Village Girls of Normandy, Girl Bathing, Birth of Venus (1859); portraits of Louis Philippe, Queen of the Belgians, General Montesquiou-Fesenzac, Versailles Museum.-Bellier de la Chavignerie, i. 461. DUBUFE, 1ADOUARD, born in Paris in 1818, died in Versailles, Aug. 11, 1883. History and portrait p a i n t e r, son and pupil of Claude Marie, studied afterwards under Paul Delaroche; (7 between 1841 and X!V/ - f 1846 he painted ret,iP ligious pictures, but later confined himself to portraits. Medals: 3d class, 1839; 2d class, 1840, 1855, 1878; 1st class, 1844; L. of Honour, 1853; Officer, 1869. Works: Annunciation (1839); Miracle of Roses (1840); Poetry and Music (1840); Tobias (1841), Lisieux Museum; The Three Cardinal Virtues (1842); Bathsheba (1844); Morning Prayer (1844), Tuileries, Paris; Prisoner of Chillon (1846), Aix Museum; Sleep (1866); Prodigal Son (1867); Death of Adonis (1877). Portraits of his Wife (1842); Jules Janin and Paul Gayrard (1846); Empress Eug6nie (1855); Rosa Bonheur (1857); Congress of Paris (1857), Versailles Museum; Princess Mathilde, Duchess de Medina Coeli, Marquise de Gallifet, Princess Ghika (1861); RobertFleury (1863); Gounod (1867); Gen. Fleury, Comte de Nieuwerkerke (1869); Medje (1872); Alexander Dumas, Jr. (1873); Philippe Rousseau (1876), ]imile Augier (1876), Luxembourg Museum.-Bellier de la Chavignerie, i. 461; Larousse, vi. 1,320; Miller, 145; Meyer, Gesch., 390; Kunst-Chronik, xviii. 696; Vapereau. DUBUFE, GUILLAUME, born in Paris; contemporary. Genre and portrait painter, son and pupil of Edouard Dubufe; student also of Mazerolle. Medals: 3d class, 1877; 2d class, 1878. Works: Study (1877); Saint Cecilia (April, 1878); Music, Sacred and Profane (1882); A Nest (1884).Zeitschr. f. b. K., xvii. 376. DUC. See Ducq. DUCCIO DI BUONINSEGNA, born in Siena about 1260, died after 1339. Sienese school; the earliest great painter of Siena, where he is first heard of in 1282. In 1285 he was in Florence, as records show that he then contracted to paint an altarpiece of the Madonna for S. M. Novella, probably never executed, and in the autumn of that year at Siena, where he was appointed to fill an office, which he held until 1291. In 1301 he began a Majesty for the chapel of the Public Palace of Siena, of which no record remains, and seven years later commenced for the Duomo the famous altarpiece by which he is best known. In 1310 it was carried by the rejoicing people in procession through the streets to be installed in its destined place. The panel, on one side of which was painted the Virgin enthroned 430 DUCHATEL with Saints, Bishops, and Angels, and on the other the Passion in twenty-eight subjects, was afterwards divided, and the parts hung one at each end of the transept. Preserving traditional types, Duccio gave the Madonna the hitherto unknown and afterwards characteristic grace of Sienese Madonnas, and treated attitudes, draperies, and proportions with a then novel approach to correctness. The scenes from the Passion show the same clinging to past forms, the same effort to follow nature, and convey a like impression of life and power imperfectly realized. The few other works of this remarkable painter are two pictures of the Madonna with Saints in the Siena Academy; a Crucifixion, Madonna, and other subjects, belonging to the Queen of England; a Madonna with Angels, Prophets, and Saints, National Gallery, London; and the Preaching of St. John Baptist, and SS. Peter and Paul, Rambona Collection, Cologne.-C. & C., Italy, i. 40; Vasari, ed. MIL, i. 653; Burckhardt, 491; Dohme, 2i.; Sienesische Malerschule; L'Art (1878), iii. 151; Lubke, Gesch. ital. Mal., i. 99. DUCHATEL (du Chastel), FRANS, born in Brussels in 1616 or 1625,, died there in.. 1694. Flemish i< school; genre and portrait painter, pupil f 7 i and imitator of '( Teniers the ( ' ' younger. A so- \ I journ in France I brought him un- der the influence of Van der Meulen. Good draughtsman and colourist. Works: Portraits of a Cavalier and two other Persons, Louvre; Charles II. of Spain receiving Homage (1668), Ghent Museum; Panorama of Valenciennes (1656), Antwerp Museum (attributed to Teniers); Portrait of Flemw ish Nobleman, Berlin Museum.-Biog. nat. de Belgique, vi. 224; Ch. Blanc, Acole flamande; Gaz. des B. Arts (1862), xii. 5, 247, DUCHET. See Dughet. DUCIS, LOUIS, born in Paris, Nov. 1, 1773, died March 2, 1847. French school; history and portrait painter, pupil of David; also studied in Italy. Medal, 1st class, 1808; L. of Honour, 1832. Works: Hero and Leander, Orpheus and Eurydice, Origin of Painting (1808); Pyramus and Thisbe (1810, 1812); Tasso reading his Jerusalem Delivered, Captivity of Tasso (1814); Death of Tasso (1817); The Arts influenced by Love (4), Mary Stuart, Sculpture (1822); Bianca Capello and her Lover in Flight (1824); Captivity of Jeanne d'Arc (1831); View of Paris from Pontneuf (1838); Mary Stuart and Rizzio, Portraits, Aix Museum; Van Dyck painting his First Picture, Lyons Museum.-Bellier de la Chavignerie, i. 465. DUCK (Due, Le Duc, Van Duck), A. J., flourished about 1630-50, probably at Haarlem. Dutch school; genre and portrait painter; formed himself under the influence of Dirk Hals; hitherto erroneously identified with Jan le Ducq, the animal painter. Works: Guard-room, Marauders, Louvre; Stable, Portrait of an Officer (attributed to A. Palamedes), National Museum, Amsterdam; five pictures, Gotha Museum; three, Old Pinakothek, Munich; Foraging Soldiers, Berlin Museum; two portraits, Dresden Gallery; do., Worlitz Gallery; Portrait of J. Asselyn, Stadel Gallery, Frankfort; Pictures in Carlsruhe, Cassel, Stuttgart, Weimar, Meiningen (2), Aschaffenburg, Schwerin (2), Copenhagen (2), Hamburg Galleries; do., Museum and Academy, Vienna; Trictrac Players, three others, Liechtenstein Gallery, ib.; one at each, Czernin and Schonborn Galleries, ib.; do., National Museum, Pesth; four, Hermitage, St. Petersburg.-Bode, Studien, 133; Burger, Musees, ii. 245; Kramm, ii. 377; Meyer, Gemalde kSngl Mus., 127, 481 DfICKER DUCKER, EUGEN (GUSTAV), born at at Ledeghem, West Flanders, Sept. 10, Arensberg, on the Isle of Oesel, Livonia, Feb. 1762, died in Bruges, April 9, 1829. Flem10, 1841. Landscape and marine painter, ish school; history and genre painter, pupupil of St. Petersburg Academy; obtained pil of Bruges Academy and of Suv6e in Paris, in 1862 the great gold medal, travelled where he obtained the first prize in 1792, through Germany, Holland, Belgium, France, and another later; went in 1807 to Rome, and Italy, and settled in Dtlsseldorf, where, six years later returned to Paris, and in in 1872, he was appointed professor at the 1815 became professor at Bruges Academy, Academy. Works: Wood near Diisseldorf, afterwards its director; court painter, memMill, Strand on Baltic Sea, View on Isle of ber of Antwerp and Ghent Academies; OrRilgen, Konigsberg Museum; After the der of Lion. Works: Night and Daybreak, Rain, Swamp, Dry River-Bed, Storm, St. Meleager entreated by his Allies to save Petersburg Academy; Evening Twilight in Calydon (1804); Devotion of a Scythian Rtlgen, National Gallery, Berlin.-Brock- (1810); Antonello da Messina in Jan van haus, v. 612; Muller, 146. Eyck's Studio (1820); Angelica and Medoro DUCORNET, LOUIS CtSAR JOSEPH, (1820); Scipio receiving Envoys of Antiborn at Lille, Jan. 10, 1806, died in Paris, ochus; Esther and Ahasuerus; SchoolApril 27, 1856. Born. without arms, like master after Bion's Idyl; Engraver MeuleFelu. History and portrait painter, pupil meester at the Vatican, Artist's Portrait; of Guillon-Lethi~re and Gerard. In spite Birth of Venus, Brussels Museum; William of his deformity he painted creditable pict- I. of Netherlands, Van Gierdergom, Bruges ures. Medals: 2d class, 1820; 1st class, Academy.-Biog. nat. de Belgique, vi. 238; 1822. Works: Slave-Merchant (1833), Ar- Immerzeel, i. 201. ras Museum; Marguerite consulting a Flow- DUCREUX, JOSEPH, born at Nancy, er (1834); Apparition of Christ to Magdalen 1737, died on the road from St. Denis to (1835); Death of Mary Magdalen (1840), St. Paris, July 24, 1802. French school; porAndre, Lille; Repose in Egypt (1841); trait painter, pupil of De Latour, and intiChrist in the Sepulchre (1843); St. Denis mate friend of Greuze; sent to Vienna in preaching to Gauls (1846), St. Louis de l'Ile, 1769 to paint Marie Antoinette, to whom he Paris; Vision of St. Philomela (1846); Nest became court painter. Member of Vienna of Tomtits (1848), Portrait of Gen. Regner, ~ / and Paris Acad(1849), Lille Museum; Gloria in Excelsis CTe/. emies. Excelled (1850), Church of Auxy-le-Chateau; Fair in pastel. Works: Edith finding Body of Harold (1855), Corn-/ in Portraits of Jopiegne; Parting of Hector and Andromache, seph II. and of Maria Theresa, copies of St. Louis administering Justice, Lille Mu- pictures by other artists, miniatures.-Ch. seum.-Bellier de la Chavignerie, i. 467; Blanc, iScole franqaise; Bellier de la ChavigLarousse. nerie, i. 468. DUCQ, JAN LE, born at The Hague in DUEL AFTER THE MASQUERADE 1636 or 1638, died there in 1695. Dutch (Duel au sortir d'un Bal masque), Ger6me, school; animal and landscape painter, sup- William T. Walters, Baltimore; canvas, H. posed pupil of Paul Potter; joined painters' 1 ft. 3 in. x 1 ft. 9 in. A quarrel has taken guild at Hague in 1658, and painted for it a place at a ball in Paris, and the masquers, Shepherdess and Cows; also (1662) a Land- without waiting to change their costumes, scape with Herd and Herdsmen is in the have adjourned at dawn to the Bois de BoCassel Gallery.-Westrheene, Life of Paul logne to fight under the trees. It is winter, Potter, 123. and the ground is covered with new-fallen PUCQ, JOSEPHUS FRANCISCUS, born snow. Pierrot has received a death-wound 432 DUEZ and has fallen into the arms of a friend pard Poussin, or le Guaspre. Landscape dressed as the Duc de Guise, whilst two painter, pupil and follower of his cousin others, a Doge of Venice and a Black Domi- and brother-in-law, Nicolas Poussin, whose no, are offering consolation and aid. At name he adopted. Later he became more the right, the Iroquois Brave, who has slain individual in style. He worked very rapPierrot, hurries with Harlequin toward the idly, sometimes painting a large picture in carriages in the background. Salon, 1857. a single day. Works: Subjects from Life of Replica, with changes in composition and Prophet Elias (frescos in S. Martino a Monte, costumes, Duc d'Aumale, Chantilly. -Art Rome); 6 Landscapes, Louvre; 2 others Treas. of Amer., i. 88. claimed for him by Ch. Blanc, but attributed DUEZ, ERNEST ANGE, born in Paris, to Van Bloemen by the authorities of the M a r c h 8, 1843. Louvre; Mercury, St. Mary in Egypt, ForGenre painter, pu- est, Flight into Egypt, Palazzo Doria, Rome; pil of Carolus Du- ~ Landscape with Fishermen, Uffizi, Florence; ran. Medals: 3d several landscapes, Palazzo Pitti, Florence; class, 1874; 1st Cascades of Tivoli, Turin Gallery; View of class, 1879; L. of Lake, Dresden Gallery; View of Tivoli, H o n o u r, 1880. Mountain Landscape, two others, Old PinWorks: Honeymoon akothek, Munich; Tomb of Cecilia Metella, (1873); Splendour ( /it Storm, Bathers, Wood Landscape, Vienna and Misery of Cour- / - Museum; 4 Landscapes, Cassel Gallery; tesans (1874); Whit- \ $Sacrifice of Abraham, Dido and AEneas, Nasuntide Roses (1876); St. Cuthbert (1879), tional Gallery, London; 5 landscapes in Luxembourg Museum; Evening (1881); Madrid Museum; 11 do. in Montpellier Around the Lamp (1882); Miracle of the Museum; two in Douai; one in Bordeaux Roses (1884). Museum. In the Palazzo Borghese, Rome, DUFRESNOY, CHARLES ALPHONSE, are walls entirely painted by Dughet, and in born in Paris in 1611, died at Villiers-le- the Palazzo Colonna, several friezes by him. Bel, Jan. 16, 1668. French school; history painter, pupil of Perrier and Vouet. Went to Rome in 1633 and copied the finest paint- T ings of the Farnese Gallery. His Latin didactic poem, De Arte Graphica, translated -Ch. Blanc, Picole franqaise; Burckhardt, into several languages, brought him more I celebri freschi di Gasp. Possino; Larousse; into repute than his pictures. Went to Ven- Villot, Cat. Louvre. ice in 1653, and returned to Paris in 1656 DUJARDIN. See Jardin. to paint many altarpieces, a Salon in the DUMARESQ. See Armand-Dumaresq. Chateau du Raincy, and 4 landscapes on the DUMAS, MICHEL, born in Lyons, June ceiling of the H6tel d'Hervart. Works: St. 18, 1812. History painter, pupil of Ingres; Margaret, The Naiads, Louvre; Armida de- a skilful and intelligent painter, but lacking serted by Rinaldo; Drunkenness of Noah, originality. Medals: 3d class, 1857 and Caen Museum; Nymph seated near a River, 1861; 1st class, 1863. Works: Parting of ISpinal Museum; Portrait of Himself, Co- St. Peter and St. Paul (1853), Luxembourg penhagen Gallery; Death of Socrates, Flor- Museum; Devotion of Abbe Bouloy, Holy ence Museum; Christ. Women at Tomb, Mater Dolorosa (1857); DUGHET (Duchet, Duche), GASPARD, Disciples at Emmaus (1859), Church of St. born in Rome in 1613, died there, May 25, Louis d'Antin; Our Saviour (1861); Glorifi1675. French school; generally called Gas- cation of St. Denis (1866), Notre Dame of 4W DUNCAN Clignancourt; Temptation of Christ (1872); Our Lady of the Seven Troubles (1878). DUNCAN GRAY, Sir David Wilkie, South Kensington Museum; canvas, H. 2 ft. 1 in. x 1 ft. 9 in. Called also The Refusal. Scene from Burns's "Duncan Gray." Meg, seated beside a table at left, refusing Duncan Gray, who is seated at right; behind her is her mother sitting, and her father standing. Exhibited at Royal Academy in 1814; bought by Lord Charles Townshend, who sold it to Mr. Sheepshanks. Mulready is said to have sat for Duncan Gray, and his father for the father of Meg. Meg herself is Wilkie's sister. Engraved by F. Engleheart.-Heaton, Works of Sir D. W. DUNCAN, THOMAS, born at Kinclaven, Perthshire, May 24,1807, died in Edinburgh, May 25, 1845. Student in 1827 in Royal Scottish Academy, of which became a member in 1830; exhibited in Royal Academy, London, his Prince Charles Edward entering Edinburgh after Preston Pans (1840); Auld Robin Gray (1841), and Deerstalkers (1842); and elected A.R.A. in 1843. The first-named picture and his Prince Charles Asleep after Culloden, which are well engraved, are his best works.-Redgrave; Ch. Blanc, Icole anglaise; Sandby, ii. 213. DUNTZE, JOHANNES (BARTHOLOMAUS), born at Rablinghausen, near Bremen, May 6, 1823. Landscape painter, pupil of Munich Academy, then in Berlin of Krause and in 1851-55 in Geneva of Calame; studied then in Paris. In 1845, and again later, he visited Norway, Switzerland, Tyrol, and the Netherlands, and in 1856 settled in Dilsseldorf. Works: Sogne Fjord (1860); Winter Landscapes with Architecture (1q60); Lake in Norwegian Mountains. Others in Galleries of Hanover, Stuttgart, Berne, and Sidney, Australia.-Dioskuren, 1860, 146; Muller, 147. DUNWEGGE, HEINRICH, and VICTOR, 16th century, in Dortmund about 1521. German school. Two able but second-rate painters of religious pictures. Works: Holy Kith and Kin, Antwerp Museum; Triptych, Dominican Church, Dortmund (1521); Crucifixion, Miinster Museum; Do not Bear False Witness, Town Hall, Wesel; Predella, Parish Church, Calkar; Crucifixion, Munich Gallery; Bewailing Christ, St. Maurice Chapel, Nuremberg; Madonna, Darmstadt Gallery.-Ltibke, Kunst in Westfalen, 360; W. & W., ii. 500; F6rster, ii. 164; Kunstblatt (1841), 102; (1843), 90. DUPAIN, EDMOND (LOUIS), born at Bordeaux, Jan. 13, 1847. Genre painter, pupil of Cabanel and Gu6. Medals: 3d class, 1875; 1st class, 1877. Works: Death of the Nymph Hesperis (1870); In the Arbor (1872); The Aged Hunter (1873); A Huntress (1874); Youth and Death (1875); Sleep (1876); Good Samaritan, St. Gervais and St. Protais led out to Martyrdom (1877); Export Duty at Bordeaux (1878); The Girondists Petion and Buzot (1880); Springtime driving away Winter (1881); The Choice of Weapons, Adrift (1882); The Hard Road, A Parisian Woman (1883).-Montrosier, ii. DUPPEL AFTER THE STORMING, Wilhelm Camphausen, National Gallery, Berlin; canvas, H. 6 ft. 2 in. x9 ft. 4 in. The German Crown Prince, with his staff, rides upon the field after the storming of Duppel in the Schleswig-Holstein war, April 18, 1864, and congratulates Prince Frederick Charles on his victory. DUPRAY, HENRI LOUIS, born at Sedan (Ardennes), Nov. 3, 1841. History painter, pupil of Pils and of Leon Cogniet; ranks with Detaille and De Neuville as a leader of the new school of military painters. Medals: 2d class, 1872; 3d class, 1874; L. of Honour, 1878. Works: Cuirassier (1865); Marshal Ney at Waterloo (1869); Battle of Waterloo (1870); Marines of the Pothuan Division (1872); Visiting the Advanced Posts (1874); Regiment of Hussars going to the Front of a Convoy, Troops in the Market-Place of St. Denis (1876); Great Autumn Manoeuvres, Light Artillery going into Position (1877); Arrival of the Staff (1878); A Capitalist (1879); A Horse Unshod (1880); Departing Incognito (1884). -Montrosier, ii. 434 DUPRP DUPRA, JULES, born at Nantes in 1812. Landscape painter, one of the most original and powerful of the mod- ern French school, and among the orig- inators of the * fu;? so-called Pay- sage intime. Medals: 2d class, 1833 and / 1867; L. of \ / I Honour, 1849; Officer, 1870. Works: 5 landscapes (1831); Interior of a Farm-Yard, Views near Abbeville, Creuze, Indre, Correze, and several English views (1835 to 1839); A Pasture, Entrance of a Village on the Moors, Sunset (1849 to 1852); Animals crossing a Bridge in Berry, Forest of Compibgne, The Gorge of Eaux-Chaudes, Sheepfold in Berry, Winding Road in the Forest of Compiegne, The Sluice, Souvenir of the Moors, A Marsh in Sologne, Road on the Moors, The WillowTrees, Return of the Herd, Water-course in Picardy (1867); Morning, Evening, Luxembourg Museum. Works in the United States: Landscape, Samuel Hawk Collection, New York; Hay Wagon, Old Oak, Miss C. L. Wolfe, New York; Evening, A. Belmont, New York; Cows in the Pool, Scene near Fontainebleau, J. H. Warren, Hoosac Falls, N. Y.; Meadows with Stream, R. Hoe, New York; Landscape,W. Rockefeller, NewYork; Landscape, D. W. Powers, Rochester; Landscape, J. A. Brown, Providence; Washerwomen, B. Wall, Providence; Landscape, H. P. Kidder, Boston; do., Mrs. H. E. Maynard, ib.; Meadow, Mrs. J. G. Fell, Philadelphia; Three Landscapes, Marine, J. C. Runkle, New York; Landscape, J. D. Lankenau, Philadelphia; Cows and Landscape, French Village, D. O. Mills, New York; Landscape on the Seine, C. S. Smith, New York; Pond, R. L. Cutting, New York; River Scene, Autumn Sunset, Midday, Shepherd Boy, W. H. Vanderbilt, New York; Shepherd by Roadside, Landscape, Marine, A. E. Borie Collection, Philadelphia; Landscape, H. C. Gibson, Philadelphia; At Sea, Old Oak, Bright Day, W. T. Walters, Baltimore.-Gaz. des B Arts (1873), vii. 190; L'Art (1879), ii. 311; iv. 241; Claretie, Peintres, etc. (1884), ii. 177; Larousse, vi. 1415; Meyer, Gesch., 745. DUPRt, JULIEN, born in Paris, March 17, 1851. Landscape and genre painter, pupil of Pils, Lehmann, and Laug6e. Medals: 3d class, 1880; 2d class, 1882. Works: Harvest (1876); Rye Mowers (1877); Sheaf Binders (1878); Aftermath, Gleaners (1879); Lucerne Grass Mowers, Gleaners (1880); Hay Harvest, In the Meadows (1881); In JULIEN DVPRE 138 the Pasture (1882), William Schaus, N. Y.; Shepherd (1883); Field in Normandy (1884); Escaped Cow, Mowing (1885). DUPRI~, L1ON VICTOR, born at Limoges (Haute-Vienne), June 18, 1816. Landscape painter, brother and pupil of Jules. Medal of 3d class, 1849; Philadelphia Exhibition, 1876. Works: View in Berry (1870); Fay River, View near Argenton, Animals Drinking (1874); Banks of the Marne, Swamp in Picardy, Willows (1875); Pool in the Landes, Banks of the Oise (1876); Pool in Berry, Landscape (1878); Environs of Nemours, Chartres Museum; View in the Marshes, Douai Museum. DUPRESSOIR, JOSEPH FRAN9OIS, born in Paris, April 3, 1800, died March 6, 1859. Landscape painter of moderate ability. Medal, 2d class, 1838. Works: View near Chateaudun; Tower of Maurepas: Views in Dauphin6; Montfort l'Amaury; ur aJ7 834 Battle of the Clan Quhele; View of Oisan in the IsEre; Battle of Rethel (1843), Versailles Museum. DUPUIS, PIERRE, born at Orleans, July 485 DURAN 9, 1833. History, figure, and portrait painter, pupil of H. Vernet and L. Cogniet. Medal, 3d class, 1884. Works: Last Moments of Francis II. (1865), City Hall, Orleans; Zenobia rescued by the Shepherds (1867), Young Girl bitten by Reptile and rescued by her Brother, Orleans Museum; Children surprised by Storm (1868); Disciples at Emmaus (1869); Joseph and Potiphar's Wife (1874); Christ on the Cross (1875); Entombment, Meditation (1876); Bashi-Bazouks abducting Woman (1877); The Wave (1879); The Cup is Empty (1880); Portraits (1880, 1881, 1882); Mother playing with her Child (1883); Bathing Woman, Repose (1884); Rape of Psyche, Portrait of Henri Mercier (1885). DURAN. See Carolus-Duran. DURAND, ASHER BROWN, born in South Orange, N. J., Aug. 21, 1796. Landscape paint-/~ ier; prominent as an engraver until 1835, when he ' turned his attention to painting; studied in Europe in 1840. One of 4.. " original members of National Academy, and its president from 1845 to 1861. His earliest works were portraits. Works: Wrath of Peter Stuyvesant; Capture of Andre; Harvey Birch and Washington; Forest Primeval; Franconia Mountains; Dance on the Battery; Alpine View, near Meyringen; In the Woods (1867), Jonathan Sturges, New York; Trysting Tree (1869), Benjamin H. Field, ib.; August Afternoon, L. Tuckerman, ib.; Sketcher (1870); Close of Day (1871); Harbour Island-Lake George (1873);Franconia Notch (1874)-Pemigewasset River, Scene in the Woods, R. L. Stuart, New York; Thanatopsis, J. P. Morgan, ib.; Landscape, M. K. Jesup, ib.; Berkshire Hills, Hurlbut Collection, Cleveland; II Pappagallo, Brook Study, Studies from Nature (1876); Recol lection of Adirondack Scenery (1880).-Shel. don, 128. DURAND, SIMON, born in Geneva; contemporary. Genre painter, pupil of Barth6lemy Menn; subjects original, and mostly humourous. Medal, Paris, 3d class, 1875. Works: Barber Shop, Permit to Stay (1873); Conjugal Dispute, Perplexed Brazier (1874); Marriage at the Mayor's Office, Band of Vagabonds (1875); Marriage at Church (1876); A Market, Between Fruit and Cheese (1877); Acrobat's Wounded Child (1878); An Alarm, Blacksmith's Leisure (1879); Bonhomme Noel (1880); Birds of Passage, An Apprentice (1882); A Scandal (1883); Sentimental Tinker (1885). DURAND-BRAGER, JEAN BAPTISTE HENRI, born at Dol (Ille-et-Vilaine), May 21, 1814, died in Paris, April 27, 1879. Marine painter, pupil of Gudin and Eugene Isabey; accompanied the fleet which carried Napoleon's remains from St. Helena (1840), the expeditions to Tangiers, Mogador, Madagascar, and the Crimea, making many studies and pictures. In 1865 he accompanied Napoleon II. to Algiers as artist, and in the same year painted the review of the united French and English fleets near Cherbourg, Brest, and Spithead. Medal, 3d class, 1844; L. of Honour, 1844; Officer, 1865. Works: Fight between French Frigate Niemen and English Frigates Arethusa and Amethyst (1844), Bordeaux Museum; Conquest of Mogador (1845), Views (21) of Sebastopol during the Siege, 1854-55, Versailles Museum; Entry into Harbour of Marseilles, Battle of Lissa.-Bellier de la Chavignerie, i. 497; Meyer, Gesch., 753. DUIJCK, FRIEDRICH, born in Leipsic, in 1809, died in Munich, Oct. 25, 1884. Portrait and genre painter, pupil in Munich of his uncle, Joseph Stieler, and of the Academy; travelled in 1836-37 in Italy, studying after the old masters in Florence and Rome. Since 1867 has been honorary member of the Munich Academy. Works: Portraits of Leuchtenberg Family, Louis I. of Bavaria, Oscar of Sweden (1849); His 486 DtTRER Family, Emperor of Austria (1852); Louis II. of Bavaria (1865); Count von Seinsheim, Baron von der Tann, New Pinakothek, Munich; Hebe with the Eagle, Aurora, Children in the Alps, South Kensington Museum; General Summons to Arms, Violin Solo (1855); Little Republican; Meran ShepherdBoy; Little School-Mistress; Songs without Words; Evening Devotion.-Brockhaus, iv. 668; Kunst-Chronik, xx. 106. DURER, ALBRECHT, born in Nuremberg, May' 21, 1471, died there, April 6, 1528. German school; history and portrait painter and en graver. Son of a goldsmith, who first in1 structed him in I his trade, and then apprenticed him to the painter Michael Wolgemuth for three years and a half, after which (1490) he visited Strasburg, Colar, Basle, and Venice, where he was much impressed by the works of Andrea Mantegna. Returning home about 1494, he married Agnes Frey, and probably worked in Wolgemuth's studio until 1497, when he removed to an atelier of his own, where during the succeeding eight years he produced a large number of pictures, wood-cuts, and engravings. From 1505 to 1507 he lived at Venice, where he was much esteemed as a painter, and though he lost none of his German spirit, felt the charm of the Italian Renaissance masters, Bellini and Mantegna, whose influence he showed in his subsequent works. Then followed his most active years at Nuremberg. From 1512 he worked for the Emperor Maximilian, who made him his court painter, and whom he waited on at Augsburg in 1518 as deputy for his native city to the assembled Diet. In 1515 Nuremberg assigned him a yearly pension of 100 gulden. His visit to the Netherlands in 1521-22, undertaken for the sale of his engravings, brought him into contact with Lucas van Leyden, Jacopo de' Barbari, and other artists, and introduced him to the Archduchess Margaret, for whom he worked, but whose favour he somewhat lost through his pronounced advocacy of Luther's doctrines. He attended the coronation of Charles V. at Aix-la-Chapelle, and obtained the appointment of court painter before his return to Nuremberg, where he continued to work until his death. Ditrer never dealt with fresco, though he furnished the designs for the mural decorations of the City Hall at Nuremberg-the Calumny of Apelles, and the Triumph of Maximilian -probably painted by George Pencz. The works in oil and distemper from his hand are religious subjects and portraits. Those in water-colour are Hercules and the Birds of Stymphalis (1500), in the German Museum at Nuremberg, an allegorical head (1507) in the Vienna Museum, and a Lucretia (1518) in the Munich Gallery. Works: Altarpiece with wings, except centre picture; Christ on the Cross (1506), Christ bearing his Cross (1521), Dresden Gallery; Dead Christ, 2 Baumgartner portraits (pendants belong. ing to an altarpiece), Christ bearing his Cross, SS. Paul and Mark, SS. Peter and John the Evangelist, Assumption of the Virgin, Munich Gallery; Job, Stadel Institute, Frankfort; Drummer and Fifer, Cologne Museum; Saint with Glass Globe, Eugen Felix, Leipsic; Saints, landscape background, Bremen Gallery; Virgin (1503), Vienna Museum; Adoration of Magi (1504), Madonna (1526), Uffizi; Feast of Rose-Garlands (1506), painted for the Church of St. Bartholomew, Venice, Norbertine Strahow Convent, Prague (copies in Ambras Collection, Vienna, and Lyons Museum); Christ among the Doctors, Pal. Barberini, Rome; Madonna (1506), Marquis of Lothian, Scotland; small Crucifixion (1506). Dresden Gallery; Adam and Eve, Florence (Pitti), Mentz, and Madrid Museums; Martyrdom of the 10,000 (1508), Vienna Museum; 487 DVtRR. Wings of the Heller altarpiece (1509), Frankfort Museum; The Trinity (1511), Madonna (1512), Vienna Museum; Madonna, Prague Gallery; Madonna Cappani (1518), Berlin Museum; portrait of Dtirer's father (1495?); do., Duke of Northumberland, England; portrait of Darer (1493), Eugen Felix Collection, Leipsic; do. (1498), Madrid Museum; do. (1500), do. of Hans Darer, of Wolgemuth, of Oswald Krell (1499), Old Pinakothek, Munich; do. of Hans Imhoff (1523), Madrid Museum; of Joh. Kleberger, Vienna Museum; copies of Durer's portrait of Jakob Fugger, Berlin and Munich Galleries; male portrait, Pal. Brignole Sala, Genoa; Bernard von Repen (1521), Dresden Gallery; Male portrait (1515), Czernin Gallery, Vienna; do. of Emperor Maximilian, Vienna Museum; Emperors Charlemagne and Sigismund, German Museum, Nuremberg; Praying Virgin (1497), Augsburg Gallery; bust portrait of a Senator (1514), National Gallery, London; portrait of Senator Muffel (Narischkine sale, 1883, 78,000 fr.).-W. & W., ii. 390; Dohme (Keane), 89; W. B. Scott, A. Durer (1869); Grimm, A. Dairer (1873); M. Thausing (Eaton), Darer (London, 1882); Ch. Ephrussi, A. Direr (Paris, 1882); Mrs. Heaton, Life (1869, 2d ed. 1881); Woltmann, Aus vier Jahrhund., 28; Portfolio (1877), 2 -182; Eastlake, Five Great Painters (London, 1883); L'Art (1878), xiv. 151; Gaz. des B. t. f3.A. o 0 A i(ertuA Dwrer IS o Arts, vi. 193; vii. 24, 74, 228; viii. 5; xi. 196; xiii. 49; (1876), xiv. 255, 519: Art Journal (1883), 50; F6rster, Gesch., ii. 275; do., Denkmale,VI. iii. 3, 13, 21; VIII. iii. 19; Zeitschr. f. b. K., iii. 81; viii. 284, 350; ix. 254, 321: xii. 283, 382; xiv. 41. D'lRR, WILHELM, born at Villingen, Baden, May 9, 1815. History painter, pu. pil of the Vienna Academy and of Kupelwieser; went in 1840 to Italy, where, after a short stay in Venice and Bologna, he remained in Rome until 1843. After his return he painted a series of large religious subjects, besides portraits and humourous genre scenes. Since 1852, Baden court painter; lives in Freiburg. Works: Sermon on the Mount; Christ blessing Little Children; Ascension; Four Evangelists; St. Lawrence on Way to Martyrdom; Baptism of Josiah; Sermon of St. Gallus on Lake Constance (1865), Carlsruhe Gallery and Cologne Museum; Christ and the Children; St. Boniface Baptizing; Children's Joys; The Almandin; Governor of Schopfheim.-Brockhaus, v. 674; Miller, 150. DURST, AUGUSTE, born in Paris in 1842. Genre, landscape, and still-life painter, pupil of E. H6bert and Bonnat. Medal, 2d class, 1884. Works: Table Service, Stilllife (1868); Kitchen Maid (1869); Rising of the Seine, Flowers (1874); The Seine at Pont de Neuilly (1880); Visit to the Farm (1881); Hens (1882); Turkeys (1883); The Siesta (1884); The Awakening, Spring Morning (1885). DUSART, CORNELIS, born in Haarlem, April 24, 1660, died there, Oct. 1, 1704. Dutch school; genre painter, excellent pupil and faithful imitator of Adrian van Ostade. His colouring is usually cooler in tone and also more varied than that of his master. Admitted to painter's guild, Haarlem, Jan. 10, 1679. Works: Wandering Musicians, Village Inn, Fish Market Scene (1683), Amsterdam Museum; Peasant Family, Antwerp Museum; Company of Peasants, Vienna Museum; do., Brunswick Museum; Peasant Family, Peasants by the Fireside, Mountebank, Kunsthalle, Hamburg; Woman and Child (1679), Nine-Pin Players (1688), Peasants Fighting (1697), Dresden Gallery; Peasants Carousing, Vi 4W8 DUTZCSCHHOLD enna Museum; Drinkers, Venice Academy; Peasant Family, Dulwich Gallery, and Mr. Baring, London; Donkey (1681); Grocer's Shop, Peasant Family, Hermitage, St. Petersburg.-Gool, ii. 457; Journal des B. Arts (1861), 107, 188; Kramm, ii. 383; Van der Willigen, 123. DUTZCSCHHOLD, HENRI, born in Paris, Jan. 4, 1841. Landscape painter, pupil of Gbrrnme and Veron. Medal, 3d class, 1882. Works: Inundation on Banks of the Loire (1872); Angling (1874); La Chartreuse and Fort Saint-Andr6 (1876); Return from the Spring (1877); In the Park of Arcueil (1878); Belle Rive, Fort Saint Andre (1879); Roman Ruins between Arles and Martignes, A Street at Villeneuve-lesAvignon (1880); At Meudon, At Villeneuveles-Avignon (1881); The Marne (1882); Old Tree (1883); The Marne near Champigny (1884); The Marne from the Heights of Chennevi~res, The Marne and the Heights of Chennevieres (1885). DUVAL-AMAURY. See 4Amaury-Duval. DUVAL LE CAMUS, JULES ALEXANDRE, born in Paris, Aug. 5, 1814, died there in 1878. History and genre painter, son of Pierre; pupil of Drolling and Delaroche. Medals: 3d class, 1843; 2d class, 1845; L. of Honour, 1859. Works: Tobias and the Angel (1842); Lost Hunter, Breakfast at Marly, One of Rousseau's Happy Days, Rousseau writing Hl6oise (1846); Happy Lovers, Bear and two Hunters (1853); Macbeth and the Witches, Entombment (1855); Flight into Egypt, Manon Lescaut (1857); Mail Forwarded (1859); Jacques Clement planning Murder of Henri III. (1861), Luxembourg Museum; Macbeth with the Witches, Alms of the Sea, Farewell, Three Pitchers at a Well (1861); St. Elizabeth of Hungary distributing Alms (1863); Martyrdom of St. Lawrence (1867).-Bellier de la Chavignerie, i. 506; Larousse, vi. 1452. DUVAL LE CAMUS, PIERRE, born at Lisieux (Calvados), Feb. 14, 1790, died at St. Cloud, July 29, 1854. Portrait and genre painter, pupil of David; imitated the old Flemish masters, especially Jan Steen; was for several years Mayor of St. Cloud and painter to the Duchesse de Berri. Medals: 2d class, 1819; 1st class, 1827; L. of Honour, 1837. Works: Game of Piquet (1819); Interrogatory, Signing the Contract (1822); Saying Grace, Little Peasants, The Little Sweeper (1824); Starting for the Chase, Blessed Bread (1827); Return from School, Lying in Wait for Ducks (1831); Return from the City (1835), Orleans Museum; Prayer during Storm, First Love (1836); Halt in the Chase, Love in the Vend6e (1837); Wolf-Hunt (1838); Little Marauders, Children Playing on Shore (1839); Wedding Presents, Departure of the Conscripts (1840); Benediction of Orphans (1842); Storm, First Step, the Hermit (1843); Firstlings of the Crop (1844); Pifferaro giving Lesson to his Son (1845); Improvisatore, Hermit of Mont Cassin (1846); Travelling Saleswoman (1848); Fishmonger (1852); Baths of Trouville (1853); Answering a Letter, Cherbourg Museum; Fishermen at Trouville, male portrait, Lisieux Museum; Interior, Bordeaux Museum.-Bellier de la Chavignerie, i. 505; Larousse, vi. 1452; Meyer, Gesch., 160. DUVAUX, JULES ANTOINE, born in Bordeaux in 1818, died in Paris in July, 1884. Military, genre, and battle painter, pupil of Charlet; he contributed many sketches and lithographs to illustrated papers. Medal, 2d class, 1848. Works: Charge of Cuirassiers at Valmy (1848); Battle of MonteLegino (1849); Assault of Plateau of HaieSainte (1850); Battle of Velisy (1852), Incident of Storming of Sebastopol (1857), Versailles Museum; Prince Jbr6me at Assault of Chateau of Hougoumont (1859); Souvenirs of Sicily, Little Stable Boy, Return from Market (1863); The Fan, Arquebusier of Time of Louis XIII. (1864); Muff, Lady (1865); Battle of Borrego (1866); Dogs Harnessed (1868); Dying Cuirassier (1869); Battle of Col de Maya in 1813, Death of Col. S. at Magenta (1870); Battle of Gravelotte (1874); Battle of Loigny, Passing the 439 DUVEAU Ford, Arquebusier (1875); Interior of Stable (1877); Citizen Chief of a Demi-Brigade (1878); Incident of Aug. 6, 1870, Souvenir of Italy in 1860 (1879); Incident of Battle of Rivoli (1882); Regiment passing through Forest (1883); An Information (1884). DUVEAU, LOUIS JEAN NOOL, born at St. Malo (Ille-et-Vilaine), Dec. 25, 1818, died in Paris, May 26, 1867. Genre painter, pupil of Cogniet. Medals: 3d class, 1846; 2d class, 1848; medal, 1864. Works: Day after Storm in Brittany'(1846); Breton Emigrants stopped by Republicans (1848); Abdication of Doge Foscari (1850); Wrecked Fishermen (1852); Death of Agrippina (1853); The Vacant Cradle (1855); Return of the Pardon of St. Anne (1859); Death of Claudius (1863), Mass at Sea (1864), Rennes Museum.-Bellier de la Chavignerie, i. 507. DUVENECK, FRANK, born at Covington, Ky., Oct. 9, 1848. Figure painter, pupil of Diez and of the Munich schools for ten years. Studio in Venice. Works: A Circassian (1875); portrait of Chas. Dudley Warner, Turkish Page (1877); Coming Man, Interior of St. Mark's-Venice, Italian Girl, The Professor (1878); Portrait (1879); Head of Young Man (M. Brimmer, Boston). -Am. Art Review (1881), 3. DUVERGER, THIOPHILE EMMANUEL, born at Bordeaux, Sept. 17, 1821. Genre painter. Medals: 3d class, 1861, 1863; medal, 1865. Works: Insanity of Charles VI. (1848); Said in Jest (1853); Tears at the Fireside (1855); The Visit, Party at Grandmother's (1857); Nurse's Visit, Washerwoman (1859); Grandfather's Platter, Waiting, Charitable Ladies (1861); Last Sacraments, Gypsies (1863); Hideand-Seek, Reticence (1864); Paralytic, Labourer and his Children (1865), Luxembourg Museum; Penitent Girl (1866); Confirmation in Church of Villiers-le-Bel (1867); Empty Cradle, First Frolic (1868); Maternal Solicitude, Filial Care (1869); Vice and Misery, Labour and Happiness (1870); The Whippersnappers (1872); Silence (1873); When the Cat is away the Mice will Play (1874); Returning from Market (1875); Too Much Gratitude (1876); Grandmother's Party, Orphans (1879); In Reserve, Clown (1880); Poacher, Before Mass (1881); Little Bears (1882); Whoever Seeks shall Find (1883); Market Scene, The Dolls (1884); The Nest, In Receipt (1885). DUYSTER (Duster), W. C. Dutch school; genre painter; in his best works approaching Pieter Codde. Works: Brawl between Soldiers, Dresden Gallery; Game of Trictrac, Hermitage, St. Petersburg; Brawl in a Barn, Stockholm Museum.-Bode, Studien, 161. DYCE, WILLIAM, born at Aberdeen in 1806, died at Streatham, Feb. 15, 1864. Son of a physician and graduate of Marischal College; in 1823 entered schools of Royal Scottish Academy, and afterwards studied in Rome and Florence. In 1827 exhibited at Royal Academy his Bacchus nursed by the Nymphs. After his second visit to Italy, settled in Edinburgh in 1830, and won success as a painter of portraits and historical subjects. In 1836 his Descent of Venus attracted much notice; he removed to London in 1844, and in the same year was elected an A.R.A., and in 1848 R.A. In 1848 he was chosen to decorate the Queen's Robing-Room in the Houses of Parliament, and began, but did not finish, a series of frescos illustrating the legend of King Arthur. He also executed a series of frescos in All Saints, Margaret Street, Cavendish Square. He was a well-trained musician and a scholarly writer on art and scientific subjects. Among his other easel pictures are: King Joash shooting the Arrow of Deliverance (1844); Jacob and Rachel (1853); St. John leading Home the Virgin (1860); and George Herbert of Bemerton (1861).- Redgrave; Art Journal (1860), 293; Frescos in Houses of Parliament (8vo, London), from Br. Quarterly, July, 1864; Sandby, ii. 183. DYCK, HERMANN, born in Wurzburg, Oct. 4,1812, died in Munich, March 25,1874. Architecture and genre painter; studied 440 DYCK from 1835 in Munich, was for years a renowned contributor to the Fliegende Blitter, and in 1854 was appointed director of the Art School of Industry. Works: Fortification of Kehlheim, Convent Kitchen, Destroyed Village, At the City Wall of Erding (1857); Cashier's Room (1858); Writing Room (1860); In the Granary (1860); In the Studio (1861); Church Interior (1863); Delegation (1864); Burgomaster's Return Home (1868).-Allgem. d. Biogr., v. 508; Brockhaus, v. 686; KunstChronik, ix. 464. DYCK, ANTON VAN (Sir Antony Vandyck), born in Antwerp, March 22, 1599, died in London, Dec... 9, 1641. At ten years of age he was appren- / ticed by his father, Francis Van Dyck, linen draper, to Hendrik Van Balen, and at sixteen he entered / the studio of Rubens as his pupil and assistant. Employed by this great master to prepare black and white drawings from his pictures for the use of the engravers who worked under his eye, and to make cartoons from his sketches, of which the history of Darius in the Liechtenstein Gallery at Vienna may be taken as an example, Van Dyck's talent developed with astonishing rapidity. The esteem in which Rubens held him showed itself in numerous acts of kindness, as in 1620, when he procured him a commission from the Jesuits to paint an altarpiece for their church; in 1621, when he presented him to the Countess of Arundel, through whom he obtained access to James I.,whose portrait he painted at Windsor; and in the autumn of the same year, when he sent the Chevalier Varni with him to Italy, and gave him a horse for the journey. Van Dyck reached Rome in February, 1622, but it was not until the following year, after he had visited Florence, Bologna, Venice, and Man tua, that he took up his residence there, and made himself known by painting the admirable portrait of Cardinal Bentivoglio, now one of the gems of the Pitti Gallery. Its success, and Van Dyck's love of display, excited the jealousy of his brother artists, who made Rome so intolerable to him that he left it for Genoa in June, 1624, and remained there until the next year, when he returned home. At Antwerp he found enemies who decried him, and waited for commissions, until Rubens bought several of his pictures and set the tide running in his favour. To this time belong the Crucifixion, in the Church of Notre Dame at Termonde, the St. Sebastian, at Munich, and the portrait of the Archduchess Clare Eugenie, in the Gallery at Turin. After an unsuccessful visit to England (1627), where he failed to obtain presentation at court for want of favour with the Duke of Buckingham, Van Dyck lived for three years at Antwerp and Brussels, painting many religio-historical pictures and portraits, and etching ten admirable portraits of painters, which are yet unsurpassed. Meanwhile, one of his friends had given his Rinaldo and Armida to Charles I., who was so delighted with it that in 1630 he invited the painter to England. In April, 1632,Van Dyck obeyed the summons, and after he had been presented to the King by Sir Kenelm Digby, painted his portrait, that of the Queen, and the great picture of the Royal Family, now at Windsor. In July he was knighted, and appointed court painter, and in October, 1633, had a pension of ~200 a year assigned to him. During the next nine years he painted 19 portraits of the King, 17 of the Queen, as well as many of their children, at a fixed price of ~50 for half, and ~100 for full-length figures. Living in a style of splendour far beyond his means,Van Dyck became more and more embarrassed as the troubles of Charles' reign thickened, until, in 1638, he presented his unpaid claims to the King, including his pension for the past five years, payment for many portraits, and for four cartoons prepared for tapestries 441 DYCK at Whitehall, which he valued at the enormous sum of ~80,000. These claims were but partially satisfied when he went to France in 1641, hoping to obtain the commission to paint the galleries at the Louvre, which was given to Poussin through the influence of the Cardinal de Richelieu. Disappointed, and in broken health, he returned to England via Antwerp. On the 1st of December, the birthday of his daughter, Giustiniana, he made his will, and on the 9th he expired. He was buried in St. Paul's Cathedral. For noble use of colour, high-bred elegance of style, and facility, Van Dyck ranks as one of the first of painters. In portraiture he was not surpassed by any great master north or south of the Alps, though in historical and sacred subjects by many; for in such, as a rule, his conceptions are superficial and scenic, rather than profound and natural. Works: portrait of Charles I., do. of Rubens, do., of C. van der Geest, do. of himself, Ambrose and Emperor Theodosius (copy of Rubens), Miraculous Draught of Fishes, National Gallery, London; portrait of Charles I., Children of Charles I. (2), Charles I. and Family, Henrietta Maria, Sir Kenelm Digby, Lady Venetia Digby, Charles IL, Countess of Carlisle, Duke of Buckingham, Thomas Carew and Sir William Killigrew, Duke of Gloucester, and others, Windsor Castle; Christ healing the Paralytic, Piet,, St. Sebastian, Charles I., Hampton Court; Earl of Pembroke, Madonna, Dulwich Gallery; St. Sebastian, Lomellini Family, Nobleman in Armour, Study, National Gallery, Edinburgh; Pembroke Family, Wilton House; Rinaldo and Armida, Duke of Newcastle; Daedalus and Icarus, portrait of Duke of Newcastle, do. of Lady Venetia Digby, do. of Earl of Bristol, do. of Countess of Bedford, Earl Spencer; Bolingbroke Family, Earl of Morley; Charity, Earl of Lonsdale; Madonna with St. Catherine, Grosvenor House, London; Sir Kenelm Digby, Wingfield Digby, Esq., Sherborne; Madonna, Madonna and Donors, Venus and Vulcan, Rinaldo and Armida, portrait of Charles I., Children of Charles I., Francisco de Moncada, Charles Louis of Bavaria, Isabel of Austria, Duke of Richmond, himself, and others, Louvre; St. Jerome, Christ crowned with Thorns, Virgin of Sorrows, Betrayal of Christ, Diana and Endymion, portraits of David Ryckaert, Don Fernando of Austria, Countess of Oxford, Prince of Orange, Princess of Orange, Charles I., and others, Madrid Museum; Christ on the Cross (2), Entombment, Antwerp Museum; Crucifixion, St. Jacques, Antwerp; St. Augustine in Ecstasy, St. Augustine, ib.; Crucifixion, Cathedral at Mechlin; Crucifixion of St. Peter, Satyr, portrait, Brussels Museum; Children of Charles I., portrait, Amsterdam Museum; portraits, Hague Museum; Christ crowned with Thorns, Pieta, Descent of Holy Ghost, Repentant Sinners, Two Saints, John, St. Peter, portrait of Prince Thomas of Carignan, Berlin Museum; Madonna, portrait, Brunswick Gallery; Family Group, six portraits, Cassel Gallery; St. Jerome, Danae, Silenus, portraits of Charles I., Henrietta Maria, Children of Charles I., Martin Ryckaert, Thomas Parr, and others, Dresden Gallery; Holy Family, Madonna with St. John, St. Sebastian, Pietd (2), Christ on the Cross, portraits of Maria de' Medici, Alessandro Scaglio, Count John of Nassau, Gustavus Adolphus, Wallenstein, and others, Munich Gallery; Christ on the Cross, Madonna with Saints, Venus and Vulcan, Samson and Delilah, Holy Family, Virgin and Donor, Magdalen, and many portraits,Vienna Museum; Pieta, portraits of Wallenstein, Duke Albrecht of Austria, and others, Liechtenstein Gallery, Vienna; Holy Family, Incredulity of Thomas, St. Sebastian, portraits of Charles I., Henrietta Maria, William of Orange, Archbishop Laud, Earl Danby, Inigo Jones, and others, Hermitage, St. Petersburg; Cardinal Bentivoglio, Charles I. and Henrietta Maria, Repose in Egypt, Palazzo Pitti, Florence; portrait of Charles V., do. of John Montfort, Uffizi, ib.; Brignoli Family, Palazzo Brignoli, Genoa; Madonna and St. Anthony of Padua, portraits, Brera, Mi 442 DYCK lan; Holy Family, Accademia di S. Luca, Rome; Christ on Cross, Entombment, Palazzo Borghese, ib.; Madonna, Palazzo Corsini, ib.; Children of Charles I., Princess Isabel of Spain, Prince Thomas of Savoy, Holy Family, Turin Gallery; Crucifixion, portrait of Charles I., do. of a Lady, Historical Society, New York. -Guiffrey,Van Dyke, A2~ A' VAND7yCK sa vie et son ceuvre (Paris, 1882);' Michiels, Van Dyck et ses eleves (Paris, 1882); Carpenter, Memoirs (London, 1844); Wibiral, Iconographie de Van Dyck (Leipsic, 1877); Dohme; Rendell, Van Dyck (London, 1881); Ch. Blanc, ]cole anglaise; Gaz. des B. Arts (1881), xxiv. 504; Graph. K., i. 69; iv. 89; Kunst-Chronik, xix. 712; Zeitschr. f. b. K., v. 304, 366; vi. 264; xi. (Mittheilungen, iv. 8); xii. 388; xvii. 193; xviii. 316. DYCK (Dijk), PHILIP VAN, called the Little Van Dyck, born in Amsterdam, Jan. 10, 1683, died at The Hague, July 2, 1753. Dutch school; portrait and genre painter, pupil of A. Van Boonen. He worked for some time at Amsterdam, The Hague, Middleburg, and as court painter to Landgraf of Hesse in Cassel, where he founded the gallery. Painted also mediocre biblical pictures. His genre pieces in the manner of Gerard Dou and Mieris are very pleasing. Works: Ju.- / dith (1726), (.a; L, /L:72 8 Lute-Player, The Toilet, Bookkeeper, National Museum, Amsterdam; Lady at Toilet, Brussels Muse um; Lute-Player (1727), Drawing Lesson (1728), Berlin Museum.-Kugler (Crowe), ii. 540; Ch. Blanc, lcole hollandaise; De Stuers, 27. DYCKMANS, JOSEPH LAURENS, born at Lier, Belgium, Aug. 9, 1811. Genre painter, pupil of Thielemans and Vervoort, then of Wappers; his pictures, mostly on a small scale, together with the similarity of subjects, won him the surname of the Belgian Gerard Dow. In 1841-54 he was professor at the Antwerp Academy, and in 1870 was made member. Works: Declaration of Love (1834); Paternal Lesson (1835); Playing at Chequers (1836); Piano Lesson (1837); Household Account (1838); Lace Maker (1839); Vegetable Market (1840); Grandmother's Fairy Tale (1841); Spinning Maiden (1842); Embroideress (1843); Old Woman Sewing (1843); Old Woman plucking a Hen (1844), Museum Fodor, Amsterdam; Reading the Bible (1845); Lady of Fashion (1846); Rigolette (1847); Old Lace-Maker (1848), Blind Beggar (1852), Antwerp Museum; The Marchioness (1854); Dressing the Bride, Sailor's Widow (1855); Motherly Love (1856); Expectation (1858); Occasion makes.Thieves (1860); Magdalen at the Cross (1862); Spring (1870); Grandmother's Birthday (1871), South Kensington Museum; Old Woman Praying (1872); Magdalen Penitent (1873); The Divided Breakfast, Child Lost in the Woods (1874); StreetSinger, Good News, Siesta, Young Shepherdess (1878); The First Born (1879).Brockhaus, v. 686; Mailler, 150. DYER, CHARLES GIFFORD, born in Chicago, Ill., in 1846. Landscape painter, pupil of Jacquesson de la Chevreuse in Paris, of the Royal Bavarian Academy in 1871, and of David Neal in Munich in 1876. Has sketched and painted in Rome, Venice, Egypt, and Syria. Studio in Munich. Works: St. Mark's, Venice (1874); On Linden when the Sun was Low; Venice at Birth of Day; Morning on the Riva at Venice; Historical Still-Life of the 17th cent. ury (1878). 443 I I 1~S~8g~l~l~11 kF UNIVERSITY OF N I Ii i lli1111111lB!11111i 39015 05056 *- -. D:it:, i l^^^i~s^^ -.. - wi- ( i : i?::: i l 'i I' ':.