"NIVFRsiry IIBHARV CULPTORS, 39002 04487"3i7'6" Architects and Engravers Mrs. Clement D 'I'gLveiJiefe'BaoAj I fcxWt. founding tf a.CclUgiMW^^(i&r^v\ 0 I °T^LE«»¥]MH¥IEI^SiIirYo Gift of Miss Helen S. Porter 1927 TRANSFIGURATION OF CIIKIST. BY RAPHAEL. Vatican. PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS, AND THEIR WORKS. BY CLARA ERSKINE CLEMENT, AUTHOR OF "A HANDBOOK OF LEGENDARY AND MYTHOLOGICAL ART." TOittj Illustrations antu iBHonoflrams. SEVENTH EDITION. BOSTON: JAMES R. OSGOOD AND COMPANY. 1882. Copyright, 1873 and 1881, By Clara Erskine Clement. All rights reserved. University Press: John Wilson and Son, Cambridge. TO J. MARION SIMS, MY FAITHFUL FRIEND AND PHYSICIAN, £ Sruicatc tins' JSoofc, AS A TOKEN OF RESPECT, GRATITUDE, AND AFFECTION. CLAKA ERSKINE CLEMENT. PREFACE TO ENLARGED EDITION. During the eight years which have passed since the publi cation of this book, I have made many additions to.its contents, — have revised the indexes and added an appendix giving inter esting facts concerning the prices paid for valuable works of art, and other matters connected with them. I have now added an introduction which gives an account of the Schools of Art in European countries, and includes chrono logical tables of the principal masters in those schools. This introduction is a very important improvement to the book, and adds much to its usefulness. The illustrations have been increased by the addition of eight full-page plates, and the present edition is far more valuable than the preceding ones have been. CLARA ERSKINE CLEMENT. Boston, January, 1881. PREFACE TO SECOND EDITION. For the convenience of my readers it seems best to explain more fully than has been done the plan of this book. In writing it I had two objects constantly in mind, namely, that it must be kept within a portable size and a moderate cost. In order to do this, all living artists were excluded, and those not living spoken of with as much conciseness as possible, while few were mentioned whose works do not come in the way of most travel lers. This last rule when applied to the artists of antiquity takes in a very small number. Of antique paintings we have almost nothing remaining, and of antique sculptures but a small number of well attested originals and some copies. My limits have been exceeded in this respect by adding a few artists of antiquity of whom much is written and said, but whose works are not extant. It is a pleasure to elaborate, to dwell with mi nuteness upon every known circumstance in the lives of those who have left us works of Art, and this has often been done. Our libraries are rich in such fascinating and valuable books ; but my aim was to give outlines ; to supply the want of a Hand book for travellers, and a convenient book of reference for all in which facts may be quickly ascertained, to make a suggestive rather than an exhaustive work, — in short, a book wherein " Th' unlearned their wants may view, The learned reflect on what before they knew." January, 1874. PEEFAOE. When I regard a favorite shelf in my library, and consider how exhaustively the subjects of this volume have been treated, I feel inclined to hide it away ; but when I think how many there are in our land who are as much interested in art and artists as I am, and have not the means to furnish such a shelf, I hope that this book may do something for them. I have also endeavored to make it a book of reference which can be easily consulted and used to advantage in connection with more exten sive works. Much time and study have been given to its prep aration, and I have aimed to be conscientiously correct as well as unprejudiced in my decisions between conflicting authorities. The books consulted are too numerous to be named except in part, which will be done at the end of this preface. The book is not necessarily connected with my work on " Legendary and Mythological Art," but the two are so related to each other as to be profitably used together. The arrangement of engraving lists is, so far as I know, unique, and will render it a useful handbook for connoisseurs and buyers. The illustrations are representations of standard works of art, most of which are seen in European galleries and churches. A good number of monograms of painters and engravers are also given. I have endeavored in a small space to speak not only of artists as such, but by various facts and anecdotes to convey an idea of what they were in character and life. Three comprehensive indexes are added, which will increase the convenience and usefulness of the book, and in short, in its entire plan I have adopted the motto of Jan van Eyck, " Als ich chan." Clara Erskine Clement. Boston, October 14, 1873. AUTHORITIES CONSULTED. D'Argenville. " Abre'g-e de la Vio de plus fameux Peintres." D'Agincourt. " Histoire de l'Art par les Monuments." " Anonimo di Morelli." Bermudez. " Diecionario Historico de los mas Illustres Profesores de las Bellas Artes en Espaiia." Blanc, Charles The "Works of. Carpenter. " Memoir of Sir Anthony Vandyck." Cunningham. " Lives of the most Eminent Biiiish Painters." Crowe and Cavalcaselle. " Early Flemish Painters," etc., etc. Carton, L'Abbe. " Les Trois Freres Van Eyck." Eastlake. " Materials for a History of Oil Painting." Didron. " Manuel dTconographie Chretienne." Davies. " Life of Murillo." Ford. " Handbook of Spain." Felibien. " Entreticns sur les Vies et sur les Ouvrages de plus excel- lens Peintres." Gaye. " Carteggio Inedits d'Artisti." Grimm. "Life of Michael Angelo." Heller. " Das Leben und die Werko Albrecht Diirers." Jameson, Mrs. " Italian Painters." Kugler. Handbooks of Italian, German, Dutch, and Flemish Paint ing. Lanzi. " Storia Pittorica dell' Italia." "Legenda. Aurea," The. Lubke. Histories of Painting and Sculpture. Michiel. " Rubens et l'Ecole d'Anvers." Michiel. " La Peintre Flamande." Maschini " Guida di Venezia." Milanesi. " Documenti per la Storia dell 'Arte Senese." Merrifield, Mrs. Translation of " Cennino Cennini's Treatise on Painting." Northcote. " Life of Sir Joshua Reynolds.1' Passavant. " Rafael von Urbino," etc. Raczynski. " Les Arts en Portugal." Rumohr. "Italienische Forschungen." Ramboux. " Umrisse zur veranschaulichung alt Christlichen Kunst in Italien." Schafer. Translation, "Das Handbuch der Malerei vom Berge Athos." x AUTHORITIES CONSULTED. Shaw. " Illuminated Ornaments sketched from MSS., etc." Stirling. " Annals of the Artists of Spain." Vosmaer. " Rembrandt Haimens van Rijn." Villot. " Notice des Tableaux du Louvre." Vasari. " Lives of Painters, Sculptors, Architects," etc. Vermiglioli. Memoir, etc., of Pinturicchio and Perugino. Walpole. " Anecdotes of Painting." Wornum. " Epochs of Painting." Dictionaries and Catalogues : Bartsch, Bryan, Elmes, Heineken, Nag ler, Pilkington, Rigollot, Seguier, Smith, etc. ABBREVIATIONS USED. Card. Cardinal. Cath. Cathedral. Ch. Church. Coll. Collection. S. Saint. Gall. Gallery. Gw. Giovanni. Mas. Museum. Pal. Palace. LIST OF ILLUSTRATIONS. Frontispiece Transfiguration of Christ. Raphael. Vatican Apollo Bklvedkke. Vatican ... Laocoon. A'atican The Vow. Titian ... . Cupids. Francisco Albani .... Magdalene. Correggio. Dresden Gall. Spalatro. Washington Allston . The False Players. Caravaggio . Dirce. Naples .... Mrs. Siddons. Gainshorough . Hkad of Roxana. Farnesina, Rome . S. Lorenzo Giustiniani. Venice . Christ. Gio. Bellini Relief. From Pulpit in Sta. Croce, Florence Milking a Goat. Nicolas Berchem Apollo and Daphne. Villa Borghese, Rome A Glorified Madonna. Berlin Mus. . S. Justina and Alphonso I. of Ferrara. Belvedere, Vienna Coronation of the Virgin. S. Simpliciano, Milan . The Boar Hunt. Snyders Isaiah. M. Angelo. Sistine Chapel, Rome . Moses. M. Angelo. S. Pietro in Vincoli, Rome Adoration of the Magi. Paul Veronese. Dresden Gall Cjhsar Borgia. Raphael . . . . Venus and Mars. A. Carracci. Farnese Pal , Rome . S. John. Cimabue. S. Maria Novella, Florence Death of S. Mary of Egypt. Pietro da Cortona Group. From a painting by Lucas Cranach S. Lucia. Crivelli Communion of S. Jerome. Domenichino. Vatican Picture by G. Dow. Vienna Gall The Women going to the Sepulchre. Duccio. Cath. of Siena S. Christopher. Albert Dilrer The Anchohites Hubert van Eyck. From the Ghent Painting . Annunciation. J. van Eyck .... ... A Wali^Painting. In the Catacombs of S. Calixtus, Rome . Coronation of the Virgin. Fra Angelico. Acad, of Florence Madonna. Fr. Francia. Dresden Relief. From Ghiberti's Gate to the Baptistery at Florence Zaciiarias writing the Name of John. Bomenico Ghirlandaio. Maria Novella, Florence Mrs. Caleb Losing. Stuart The Concert. Giorgione. Pitti Gall Figure ok S. John. Giotto. In S. Maria dell' Arena, Padua . Prom the History of Noah. Benozzo Gozzoli. Campo Santo, Pisa xii LIST OF ILLUSTRATIONS. PAGE S. Petronilla. Guercino. Capitol, Rome 319 Marriage A LA Mode. Hogarth. National Gall. . . . 332 The Burgomaster Meier Madonna. Holbein. Dresden Gall. . . 337 Cathf.dkal of S. Mark. Venice. Byzantine Architeciure . . 344 Still-Life. Kalf 353 One of the Seven Stages of the Passion of Christ. Adam Krafft 357 Madame Lk Brun. By herself 360 Temptation of Christ. Lucas van Leyden 366 SS. Peter and Paul before the Proconsul Felix. Filippino Lippi. Brancacci Chapel 372 S. Ursula. Cath. of Cologne. Stephan Lothener .... 379 Christ mourned by Angels. Mantegna. Berlin Mus. . . . 388 Peter baptizing. Masaccio. S. Maria del Carmine, Florence . . 395 The Misers. Q. Massys. Windsor Castle 397 S. Ursula landing at Cologne. Hans Memling. Shrine of S. Ursula 492 A Sportsman. Metsu. At the Hague 406 S. John. Murillo. Madrid Mus 418 Marble Copy of Myron's Bronze Disk-Thrower. Massimi Pal., Rome 423 Samson overcoming the Lion. Master Nicolaus. Kloster-Xeuberg 428 Beggars beseeching the Angel of Death to take them. Attrib uted to Orcagna. Campo Santo, Pisa 432 Coronation of the Virgin. Imhoff Altar-piece, Nuremberg . . 438 The three Graces. Palma Vecchio. Dresden Gall 441 Relief on a Baptismal Basin. Lambert Patras. S. Barthllemy, Liege 446 Madonna. Perugino. Pitti Gall., Florence ....". 4B0 Raising of Lazarus. Sebastian del Piombo. National Gall. . . 457 Adoration of the Kings. Niccolo Pisano. Pulpit in Baptistery at Pisa 459 Head of Juno. Ludovisi Villa, Rome 463 The Descent from the Cross. Fra Bartolommeo. Pitti Gall. . 465 Moses at the Spring. N. Poussin 467 A Satyr. After Praxiteles. Capitol, Rome 469 Rape of Ganymede. Rembrandt. Dresden Gall 489 The Aurora. Guido Reni. Rospigliosi Pal., Rome . . . 497 David and Head of Goliath. Guido Reni 500 Lear, a Study. Sir Joshua Reynolds . 502 Madonna in Terra-Cotta. Luca della Robbia 510 David's Triumph. Matteo Roselli 518 Children. Rubens. Berlin Gall. 524 Bronze Group of the Baptism of Christ. Andrea Sansavino . 536 The Entombment of Christ. Jacopo Sansavino. From the Bronze Gate of the Sacristy of S. Mark, Venice .... . 5.38 Madonna. Andrea del Sarto 540 From the Last Judgment. Signorelli. Cath. of Orvieto . . 550 Picture. By Teniers. Madrid Gall 563 Allegorical Picture. Tintoretto. Doge's Pal., Venice . . . 570 S. Sebastian. Titian. Vatican 573 The Children of Charles I. Vandyck. Dresden Gall. . . 587 Portrait. Velasquez . t. 593 ,1oiin, Putf.r. and Juoas. Da Vinci. Milan 608 Tomb of S. Sebald. P. Vischer. Nuremberg 613 Relief from the Tomb of S. Skbald. P. Vischer. Nuremberg . ' 614 Til" Siuyl and the Emperor Augustus. R. van der Weyden. ° Berlin Mus. g„n Sued with Horses. Philip Wouvermans . . . . 62j INTRODUCTION. SCHOOLS OF ART. Perhaps there is no art-term so generally used and so capable of being misunderstoood as " Schools of Art," for the reason that it is employed with such varied meanings. It sometimes de notes the schools of certain countries, — sometimes those of cer tain periods, and, again, the resemblances which exist in the works of masters of different countries and periods. When used in the latter sense, " school " means style or manner of painting. I shall use it here as denoting both the country and period of which I speak ; thus, I shall first apply it to the Italian school of the thirteenth century. I shall speak of time according to the English method of reckoning it. In this we differ from the Italians, for their " Quattrocentisti," or fourteenth-century mas ters belong to'the fifteenth century by our method, while their " Cinquecento," or fifteenth century, is our sixteenth, and so on. 1200- — The thirteenth century gave so few painters to Italy that one can scarcely speak of a school of that time, — but the few artists of whom we have a knowledge should be men tioned. They are Giunto da Pisano, who lived from 1202 to 1258, and painted in the church of St. Francis at Assisi ; Guido da Siena, of whose work one painting remains in the church of St. Domenico in Siena, dated 1221 ; Bonaventura Ber- linghieri, of Siena, 1235, whose remaining works are scenes from the life of St. Francis in the church of that saint at Pescia, and a " Crucifixion " in the Academy of Fine Arts at Florence ; Margaritone of Arezzo, who lived from 1236 to 1313; his remaining works are ugly and curious ; one is in the National Gallery, London ; Gaddo Gaddi, a Florentine, 1239 — 1312; xiv INTRODUCTION. probably his only remaining works are some mosaics in the cathedrals of Florence and Pisa, the Baptistery of Florence, and in the portico of Santa Maria Maggiore, in Rome ; Cim abue, the last record of whom is in 1302, and whose works are still known ; Pietro Cavallini, a Roman, who lived about 1259 — 1344, principally known by his mosaics in the church of Santa Maria in Trastevere, Rome; and Duccio di Buonin- segna or da Siena, who painted in 1282, and whose chef d'aeuvre is still in the Cathedral of Siena. Fourteenth Century. — It may be said that during this century the Tuscan school was the only one in Italy ; but, for clearness, this may be divided into those of Florence and Siena. In the beginning of the century Giotto was the most important master of the Florentine, and Simone Martini (also called Memmi) of the Sienese, school. Giotto, whose beautiful Campanile at Florence proves him to have been an architect and sculptor as well as a painter, had numerous followers, known as " Giotteschi," and many frescoes and other pictures still remain to show their manner, and the state of Italian art at that time. The painters of the Sienese school were especially fruitful in fresco painting, and much of their work still remains. The very important and extensive works executed -at the Campo Santo of Pisa afforded an opportunity for the artists of all Italy to exercise their highest talent, and the emulation which grew out of their thus placing their works side by side, no doubt in cited them to greater effort than they would otherwise have made. It is not possible to overestimate the influence which the Campo Santo had upon what we call " modern Italian Art." There were also in the fourteenth century a few painters in Bologna and Modena. Some of their works are now seen in Italian and German galleries. Fifteenth Century. — This is the time to which the term " Renaissance " is usually applied, and although it belongs in a purely technical sense to the art of architecture, it is used in relation to all the fine arts. The two preceding centuries had been the pre-natal period, — now the birth had come, and the best epoch of Italian art was that of its early, vigorous youth. INTRODUCTION. xv In the fifteenth century it gave to the world such men as Leonardo da Vinci, Michael Angelo Buonarotti, Raphael Sanzio and Tiziano Vecellio, and the hosts who followed these great standard-bearers. Since the tables at the end of this introduction give the names of the masters of each school and the time at which they lived, I shall here name the schools of the time without the addition of other particulars. They were the Florentine, Roman, Bo lognese, Paduan, Venetian, Umbrian, Ferrarese, Veronese, and Lombard schools. At the time of their existence, much impor tance was attached to the school to which an Italian master be longed, and for the student or writer of to-day, where space is at command, there are many interesting things connected with them, but for the amateur lover of art, it is difficult to hold these things in remembrance. Since the works of all these schools are placed together in galleries and collections all the world over, the whole matter is very nearly reduced to the con sideration of art by centuries, and it is only the more important masters who are associated in our minds with the school to which they belonged. For example, we do not forget that Raphael was of the Roman school, Titian of the Venetian, the Caracci of the Bolognese, and so on, — but of their innumerable followers, we rarely remember more than that they were of a certain century. For this reason, the tables here given will be most useful for reference in this regard. Sixteenth Century. — The " Ginquecento " of the Italians, or the sixteenth century of our reckoning, saw the culmination of modern Italian art. The great masters before named now attained their highest excellence, and to them were ^ added Giorgione, Sebastian del Piombo, Andrea del Sarto, Correggio, Paolo Veronese, and many others. Happily, so many works by these masters remain, that trav ellers become perfectly familiar with them, while engraving, photography, and other processes bring their design and spirit — all their characteristics save color — within the reach of all studeuts and art-lovers. Seventeenth Century. — The beginning of this century was a period of great interest and importance iu the history of XVI INTRODUCTION. Italian painting. The first effects of the Reformation had spent themselves ; on one hand there was a returning to the former intensely devotional feeling of the Romish Church, pure and simple. On another side, much study of Greek art, and a desire to be freed from the traditionary trammels which hung about all schools, occasioned the advent of a new party, calling themselves " Eclectics," or those who chose whatever they approved from all pre-existing schools, and, uniting these various parts, produced a new and more original manner than had heretofore existed. Still a third school appeared, which scorned all traditions, and undertook to represent things exactly as they appeared. Its disciples called themselves " Naturalisti," and they flourished chiefly at Naples, while the " Eclectics " were established at Bo logna. Between these schools there existed an intense hatred, which is said to have caused all sorts of atrocities to be com mitted, and it is even related that in some instances the masters of one school were murdered by the instrumentality of those of the opposing faction. The disciples of the " Eclectics " far out numbered those of the "Naturalisti," and the school of the Caracci exerted an immense influence upon the art of all Europe. A few of the " Naturalisti " were powerful men, of pronounced personal characteristics and marked originality ; but their works were often such as appealed to brutal natures. While their theory did not merit utter condemnation when applied to do mestic scenes, sacred subjects thus treated became absolutely repulsive, and could only exert a demoralizing influence upon all who regarded them. It is not difficult to believe that men who studied in detail some of the disgusting things which they reproduced with absolute realism, should have been lowered in all their natures, — should have grown cruel, and abandoned themselves to vices, and finally have become capable of commit ting the crimes of which they were accused. Eighteenth Century. — All the antagonistic elements of the schools of the preceding century bore fruit in this ; and as the feeling which had led up to the " Renaissance " rapidly died out, a sort of mechanical realism appeared, and the class of genre landscape and interior painters, of whom Canaletto may be INTRODUCTION. xvii called the leader, made themselves prominent. This art ap peared in Venice, and the canals.' bridges, palaces, churches, and other objects were all reproduced with photograph ic exactness of detail. Gradually it was carried to other countries, and pic tures exist of views in Germany and England, made by Cana letto and his followers. FLANDERS. The painters of Flanders were so few in comparison with those of Italy that they will be spoken of more as individuals than by schools. Fourteenth Century. — A little past the middle of this century Hubert van Eyck was born, and his name stands first in the historyof the painting of his country ; he did much for its elevation in style, and discovered a new medium for painting in oils, besides many improvements in colors. His brother Jan, twenty years younger than Hubert, beginning his work with the advantages of all Hubert's discoveries, as well as those of his instruction and advice, carried his manner to far greater per fection. These two meu were the founders of the Flemish school. Another painter. Rogier van der Weyden, about fifteen years younger than Jan van Eyck. was also an influential master ; in some regards, perhaps, his importance equals that of the Van Eycks. He was more realistic than they, and <_'ave close at tention to details; thus it followed that subjects which had ele ments of the disagreeable were rendered more unpleasant by Van der Weyden and his school, than by that of the Van Eycks. Hans Memling was the most importnut pupil of Van der Weyden, and excelled his master both in delicacy and power. After the death of Memling, in 1495, Flemish art declined until the Antwerp school was founded by Quentin Matsys, (1466 — 1529) and went steadily on to its highest excellence under Rubens, who belongs to the sixteenth and seventeenth centuries. There were many notable masters in the Antwerp school, and the remarkable characteristics of Rubens made it in his day the prominent school of all Europe, and such pupils as xviii INTRODUCTION. Vandyck and Jacob Jordaens added lustre to the renown of their. master, while they created their own fame. After the time of the immediate followers of Rubens, there is little of interest in the study of Flemish art. HOLLAND. There are reasons for believing that a very early school of art existed in Holland, but we have no trustworthy records regard ing such matters there, until the time when the influence of the Van Eycks was extended to that country, and the school of Ley den was founded by Cornelis Engelbrechtsen, Lucas van Leyden and others, who flourished from the beginning of the sixteenth century. In its earliest time devotional subjects were treated, but soon portraiture and scenes from domestic life occupied the painters of the Dutch school. A great number of . portrait painters existed here, and were largely occupied in painting portraits of the officers and mem bers of the numerous guilds which flourished all over Holland. The genre, or domestic, scenes of some of the Dutch artists have scarcely been equalled, and certainly never surpassed. Those which represent boorish or peasant life form a depart ment in art by themselves, and are often marvels of realistic genius. Another class is that which represents rich interiors, with ladies in gowns of marvellous satins, and rare laces and feathers ; the apartments have furnishings of rich stuffs, mirrors, ornaments in metals, and every object which could call out the contrasts of light aud shade. Kitchen interiors, pictures of game, both dead and alive, and all the subjects included under the term " still life " were treated with great effect. The flower painters of Holland also merit any amount of praise, but as in Flanders one is largely occupied with the thought of Rubens, so in Holland Rembrandt claims and merits the place of honor in the art annals of his couutry. Born in the beginning ofthe seventeenth century, this master distinguished himself in so many departments of painting that he can be allotted to no one of them, — for either his portraits, religious and mythological subjects, interiors, or etchings would have made him a lasting fame, while his peculiar mastery in INTRODUCTION. xix light and shade renders him unique, and assures him an indi vidual place for all time. The landscape and animal painters of Holland were also re markable, and such names as those of Albert Cuyp, the brothers Both, and Wynants among the first, and Wouvermans and Paul Potter among the second class, make it needless to say that their school was of the first importance. Ruysdael and Hobbema added new lustre to the end of the seventeenth century, and it only remains to say that some of the Dutch marine painters, such as Backhuysen, Willem van der Velde, and Van de Capelle equalled the artists iu other departments. After these earlier and principal painters of Holland, there arose an army of what are termed ¦' little Dutch masters," or followers and imitators of the more famous men. Their works are seen in ail the principal galleries and collections, aud are chiefly valuable as reproductions of the manner of the greater men. Among them were the genre painters Poelmburg, Bloem- art, David Ryckaert, Brekelenkamp, Hoogstraten, aud others ; in still-life, Willem van Aelst and Jan van Os are well con sidered ; in portraits, Cornells Janssen and Adrian van de Venne, and in views by land and sea, and architectural subjects, Van Deelen, Emanuel de Witte, the Berckheydens, Van Ever- digen, the Van Steenwyks, Pieter van Laer, and Simon de Vlieger are good examples. The whole number of Dutch paint ers of merit is very large. GERMANY. The earliest German art school was that of Cologne, and some accounts of it exist as far back as the middle of the fourteenth century. Although this early German painting may be termed uncouth and crude, it was also original, and quite untrammelled by the influences of other schools. Among its earliest painters were Wilhelm von Koln and Stephan Loethener or Lochner, who went from Constance to Cologne in 1442, At the time when the Van Eycks and their followers were making their great advances in Bruges and other Flemish cities, a new energy was also apparent in Cologne, and the end of the fifteenth and the beginning of the following century was a period of improve- xx INTRODUCTION. ment there; but the later schools of Colmar, Ulm and Augsburg, all known under the general name of Suabian school, and that of Niirnburg, became the centres of German art. There is little need to write of the Holbeins, who for three generations graced the Suabian school, or of Albert Durer, who made the chief figure iu that of Niirnburg. Their manner and works are known as an alphabet in art, and their pupils were among the best German painters of their day. In the sixteenth century, Lucas Cranach, a pupil of Durer, established the Saxon school, which produced some notable men in the two following centuries. The familiar names of Denner, Dietrich, Mengs and Angelica Kaufmann belong to its later period. The works remaining from the early school of Cologne are remarkable for their calm, spiritual feeling, their harmonious color, and tender, fused execution ; while the modelling of forms shows the greatest anatomical ignorance, the flesh-tints are deli cate and soft, and the modern observer of these pictures is strangely divided between criticism of their awkwardness in de sign and want of perspective effects on the one hand, and admira tion of their sentiment and tone on the other. The Suabian school was characterized by realistic tendencies, and attained its highest excellence under Hans Holbein, the younger, born at Augsburg at the close of the fifteenth century. While his pictures are the best, those of other masters of this school tend to the same effect in a degree according with the ability of the different men, few of whom could, like their leader, represent all sorts of subjects, passing - from grave to gay, from lively to severe," with an adaptiveness which is surprising if con trasted with the specialties in subjects of artists of later times. It is, however, generally considered that the chief excellence of his art was in his portraits, although we are accustomed to re gard the fantastic and bizarre in his works as his distinguishing feature, and that of the art of his country and period ; and indeed this is true, since good portrait-painting has never been entirely wanting in any school. Albert Durer was the central figure in the Niirnburg school, and was born about a quarter of a century earlier than the great INTRODUCTION. xxi Holbein ; but his school was of later origin than the Suabian, and thus, in considering schools, the elder artist is spoken of after the younger. There were many points of similarity be tween these two men, but there can be little doubt of Durer's superiority in depth and grandeur of thought, and in the concep tion and arrangement of his works, more especially in sacred subjects. Rich and varied as was the invention of Diirer, and multiple as were his gifts, — for he was somewhat occupied with archi tecture and sculpture, as well as with the arts of design, — the effect of his works, and those of his school, is now such as to ex cite wonder at their conceptions, and approbation of their industry, rather than admiration of the results of their labors. However, they exercised an immense influence upon the art of Germany, and that country is justly proud of such artists at such a stage in its art history. Of the Westphalian school, our knowledge is too defective to afford any certain speaking. Two painters, whose names are unknown, are the so-called " Master of the Ly versberg Passion," and the " Master of Liesborn." The first is thus named from the fact that his principal work, a representation of the Passion of Christ, in eight compartments, was once in the collection of M. Lyversberg, of Cologne ; the second is named from the Mon astery of Liesborn, not far from Munster, where his large altar- piece was found ; this is now in the National Gallery. The whole effect of these works is that of a lower style of art than belonged to the contemporary painters of some other German schools. The Saxon school may be called a branch of those of Suabia and Niirnburg, for Matthew Grunewald worked in Halle ; and more than that, as has been said, Lucas Cranach, or Sunder, one of the pupils of Albert Diirer, established himself in Saxony, and became court painter to Frederick the Wise, at Wittem berg. It is easily seen that a school founded in this wise could have no very original or distinctive features, neither did any special influence go out from it. Joachim Sandrart, one of its masters, was the author of a voluminous history of art. INTRODUCTION. SPAIN. The art of Spain was copied or borrowed from Italy. The great wealth of this nation in the fourteenth and fifteenth cen turies, and the fact that pictures were readily purchased by the king and the church, induced many Italian artists to leave their native land where there were such large numbers of painters, and go to a country which made them such golden returns, and moreover accorded them honorable treatment, and positions at court. It is true that different Spanish art schools are spoken of, but they were scarcely such important organizations as ex isted elsewhere. The chief of them were at Toledo, Castile, Seville and Valencia. A large proportion of the early Spanish artists were priests. The manner in which certain subjects should be represented was prescribed by a rule, of the Church, and in the days of the In quisition the painter whose imagination led him to indulge in fancies not in strict accordance with these rules would have suffered the penalty of his act with the same rigor as if he had painted an entirely different subject, and one likely to be im- . moral in its effect. This fact is one of the reasons why such a similarity existed in the arrangement of the compositions of different painters, and that oftentimes certain qualities in their works show an excellence which would lead us to wonder that the whole effect is not better. The Spanish artists were much in the habit of studying in Italy, and this, taken together with their association with Italian masters invited to Spain by its sovereigns, gave the best art of the two countries many characteristics in common ; yet one can scarcely fail to detect the indescribable something which marks the work of a Spanish painter of any individuality, and declares it to belong to the Peninsula. The stories of the lives of many of the Spanish artists are exceedingly interesting. There is a long list of names on record as belonging to artists of Spain, but among them all only a few are of major importance. Luis de Vargas is noted for having first introduced oil painting into Seville, and he lived nearly two centuries after Van Eyck had made his great discoveries in INTRODUCTION. xxiii Bruges. This fact gives some idea of the slowness with which Spain took its place in the world of art ; indeed, Del Rincon, whose name is the earliest of note, was not born until the middle of the fifteenth century, and it was not until 1699 that Velasquez was born, who, with his pupil Murillo, made the greatest glory of the art of Spain. Perhaps the greatest name in the school of Toledo is that of Luis Tristan ; Becerra, who was an architect and sculptor, as well as a fresco painter, gave lustre to the school of Castille ; Seville has the honor of being the city of De las Roelas, the Herreras, Velasquez and Murillo, besides other noted men, while the school of Valencia boasted the Ribaltas and Ribera, or " Lo Spagnoletto." Many Spanish artists can only be appreciated or understood after a visit to their country, as their best works are there, and, indeed, there are some of them whose pictures are scarcely to be seen outside of it. FRANCE. France, like Spain, had no very early school of art, and, in deed, it may be said never to have had but one — the French school. In the beginning, as was also the case in Spain, the im petus came from Italy into France, through the artists of that country who were employed to decorate the palaces of the French kings — Prench painting does not date earlier than the sixteenth century, and of the artists of that age so little is clearly known, that it is not until the seventeenth century that the his tory of French art becomes clear and satisfactory. The earlier French painters adopted the custom of studying in Italy, and this custom has always been maintained. The prix de Rome has ever been the great desideratum to the stu dents of the Academie des Beaux-Arts. Le Sueur is the first painter of repute who made all his studies in his own country. He was born in 1617, and was scarcely valued as he should have been while living and painting beside his rival, Le Brun. In later days Le Sueur has been called " the Raphael of France." Le Brun painted religious subjects chiefly, Mignard and Ri gaud made themselves famous by their portraits ; but it was not xxiv INTRODUCTION. until Watteau, inspired by the picturesque costumes and habits of the court, began to make his pictures of the life about Louis XIV, that the manner which we call that of the French school was recognized as an individual type of art. Before this, French painters had adhered to the traditions of the classical schools. After this, the departure having been made, individuality and the distinctive French element were allowed to fill their office. In animal painting, Despartes and Audry held high rank. Chardin raised still-life subjects to an important place ; Greuze contributed his attractive genre pictures ; Claude Joseph Vernet did much for French marine painting; Vien revived classic art, and David carried this to an extreme. Thus French art, in its various departments, was brought down to the present century. Of course there were men of note not mentioned here, and they all had their pupils and followers ; but the principal leaders have been named, and the rise and progress of this very important school are thus briefly outlined. ¦ENGLAND. English art can be said to have existed only since the reign of Charles I. Before his time, miniature painting alone was practised by his countrymen. Several English sovereigns had employed foreign artists to execute important commissions, but not until the beginning of the seventeemh century did Dobson and Stone, both portrait painters, begin to lay tbe foundation of the art of their own country. Sir Peter Lely and Sir Godfrey Kneller are accredited to England, yet they were of foreign birth, and no pupil of theirs claims any especial attention. Thus it is essentially true that William Hogarth, born in 1697, whose works belong to the eighteenth century, was the first notable man ofthe English school. His subjects were not of great interest, when considered from an exclusively artistic standpoint, but he was a master in the arrangement of his com positions, in expression and color. A few years after Hogarth, Sir Joshua Reynolds, who had profited by several years of travel on the continent, rose to the first place in the art of his country. He was feeble in desio-n but had a certain delicacy and elegance which made his works INTRODUCTION. xxv very popular in his day, and still render them attractive ; un fortunately, many of them are much deteriorated in color. As first president of the society of artists which eventually became the Royal Academy, Reynolds exercised much personal power, and was, moreover, made an authority through bis " Discourses." Few artists have ever excelled him in the ability to pose his sitters, or in the arrangement of all those details and accessories which are so effective in skilful hands. Although he painted various subjects, it is as a portrait painter that he is important. For many years, English painters almost confined themselves to portraits, though gradually landscapes began to receive a share of attention, until it resulted that the technical expression, "English school," was more applicable to a certain sort of land scape painting than to any other kind of pictures. Gainsborough was one of the most important English masters in this depart ment, and the variety in his treatment of his various subjects at times recalls the manner of Hobbema, and the masters of the Dutch school ; again, his use of glowing colors suggests the effects of the warm, southern pictures of the best painters of the Venetians. The little here said is sufficient to indicate the course of Eng lish art, which, with a few — and these not very important — ex ceptions, flowed on in the same channel to the end of the eighleenth century, beyond which point this present volume does not go. In the second half of the last-named period the English school of water-color painting was established. In this manner of painting, very especially as used in landscapes, English artists have led all others, and have an impetus in this direction which has been felt in other countries. A CHRONOLOGICAL TABLE OP THE PRINCIPAL PAINTERS OF THE ITALIAN SCHOOLS, WITH DATES OF BIRTH AND DEATH. Sienese School. Birth. Death. Guido da Siena dated a picture 1221 ........ — — Bonaventura Berlinghieri dated a picture 1235 .... — — Duccio di Buoninsegna painted in 1282 — — Segna di Buonaventura painted 1305-19 — — Simone di Martino (Memmi) 1283 1344 Pietro Lorenzetti 1317 1355 Lippo Memmi painted in 1317 — 1356 Taddeo di Bartolo 1362 1422 Bazzi, or Razzi (II Sodoma) 1477 1549 Florentine School. Gaddo Gaddi 1239 1312 Cimabue (Giovanni Gaultieri) 1240 1302? Giotto (di Bondone) 1276 1336 BufTalmacco (Buonanico di Cristofano) painted about 1302-1351 — — Taddeo Gaddi, last date 1366 1300 — Jacopo di Casentino 1310 1390 Giottino (Tommaso) 1324 — Agnolo Gaddi 1325 1396 Andrea di Cione (Orcagna) painted about 1340-75 ... — 1389 Masolino 1383 1440 Fra Angelico (Giovanni Guido) 1387 1455 Paolo Uccello 1396 1479 Masaccio 1402 1429 Fra Filippo Lippi 1412 1469 xxvnz TABLE OF PRINCIPAL PAINTERS. Birth. Death. Benozzo Gozznli 1424 1485 Antonio Pollajuolo 1433 1498 Andrea Verroceliio 1432 1488? Cosimo Rosselli 1439 1506 Piero di Cosimo 1441 1521 Luca Signorelli 1441 1521 Sandro Botticelli 1447 1515 Domenico Gliirlandajo .... 1449 1498 Lorenzo di Credi 1459 1537 Filippino Lippi 1460 1505 Raffaellino del Garbo 1466 1524 Fra Bartolommeo (Baccio della Porta) 14G9 1517 Guiliano Bugiardini 1471 1554 Mariotto Albertinelli 1474 1515 Michael Angelo (Buonarotti) . . 1475 1564 Francesco Granacci 1477 1343 Andrea del Sarto (Vannucchi) 1488 1530 Jacopo Pontormo 1494 1556 Bronzing. ...... . . .... 1502 1572 Daniele da Volterra 1509 1566 Giorgio Vasari ... ... ... . . 1512 1574 Alessandro Allori . . 1535 1607 Ludovico Cardi da Cigoli 1559 1613 Francesco Vanni 1563 1609 Cristofano Allori 1577 1621 Matteo Rosselli 1578 1650 Domenico Feti 1589 1624 Carlo Dolci 1616 1686 Roman School. Pietro Cavallini 1259* 1344 Raphael Sanzio U83 1520 Giovanni Francesco Penni i^gg jg.;g Francesco Primaticcio j^qq igyn Innocenzio da Imola 1490 T549 Giulio Romano (Pippi), about 1492 1555 Federigo Barocci, or Baroccio l59g igj2 Cesare d'Arpino '.'.'.'.'. 1567 1640 Bartolommeo Schedone .... lrQA ,„., „. . t ? JdSIJ lbl& Giovanni Lanfranco i-oi *».¦.* _. , _ lool 1647 Pietro da Cortona 1596 ^ Andrea Sacclu ]598 ^ Pietro Francesco Mola 1Pln ,„„„ ~. , ,- 101^ loots Carlo Maratta 1£,.lc ,_,„ Ib25 1^13 TABLE OF PRINCIPAL PAINTERS. xxix Bolognese School. Birth. Death. Vitale da Bologna, painted 1320-1345 — — Simone Crocefissi " 1370 — — Jacopo Avanzi " 1370-1380 — — Marco Zoppo " 1471-1498 — — Francesco Francia 1450 1517 Lorenzo Costa 1460 1535 Ludovico Caracci 1555 1619 Agostino Caracci 1558 1601 Annibale Caracci 1560 1609 Guido Reni 1575 1642 Lionello Spada 1576 1622 Alessandro Tiarini 1577 1668 Francesco Albani 1578 1660 Domenico Zampieri (Domenichino) . 1581 1641 Giovanni da San Giovanni . 1590 1636 Francisco Barbieri (Guercino) . 1590 1666 Guido Cagnacci 1601 1681 Giovanni Battista Salvi (Sassoferrato) 1605 1685 Simone Cantarini (II Pesarese) 1612 1648 Elisabetta Sirani 1638 1665 Paduan School. Justus of Padua — 1400 Francisco Squarcione . . '. 1394 1474 Andrea Mantegna 1430 1506 Venetian School. Gentile da Fabriano, about 1370 1450 Jaeobello del Fiore painted 1400-1439 — — Jacopo Bellini 1395 1470 Gentile Bellini 1421 1507 Giovanni Vivarini (da Murano) painted 1440-1447 . . — — Antonio Vivarini painted 1440-1470 — — Bartolommeo Vivarini painted 1450-1500 — — Giovanni Bellini 1426 1516 Luigi Vivarini, painted 1464-1503 — — Antonello da Messina, painted 1465-1495? — — Vittore Carpaccio, about 1450 1520 Cinia da Conegliano, painted 1489-1517 . . .... — — Carlo Crivelli, about 1468 1537 Jacopo Palma (II Vecchio) 1175 1528 Tiziano Vicellio (Titian) 1477 1576 xxx TABLE OF PRINCIPAL PAINTERS. Birth. Death. Giorgio Barberelli (Giorgione) 1-177 1511 Giovanni Antonio Licinio (Pordenone) 1483 1539 Sebastiano del Piombo 1485 1547 Bonifazio Veneziano 1494 1563 Paris Bordone 1500 1576 Jacopo da Ponte (II Bassano) 1510 1592 Marco Belli, painted 1511 — — Jacopo Robusti (II Tintoretto) 1512 1594 Bernardino da Pordenone 1520 1570 Andrea Schiavone 1522 1582 Paolo Cagliari, or Caliari (Veronese) 1528 1588 Jacopo Palma (II Gio vane) 1544 1628 Alessandro Varotari (II Padovanino) 1590 1650 Sebastiano Ricci 1662 1734 Giovanni Battista Tiepolo 1692 1769 Antonio Canale (Canaletto) 1697 1768 Francesco Zucclierelli ,. . 1702 1788 Francesco Guardi 1712 1793 Bernardo Bellotto 1720 1780 Modenese School. Tommaso of Modena, painted 1350-1360 Barnaba of Modena, " 1367-1380 _ _ Neapolitan School. Antonio Solario (II Zingaro) 13g2 1455 Michael Angelo Amerighi (Caravaggio) 1569 1609 Aniello Falcone 1594 1665 Salvator Rosa 1Q15 1673 Luca Giordano (Fa Presto) 1032 1705 Umbrian School. Piero della Francesca, about 14,5 jeno Benedetto Bonfigli, about ^q 140K Giovanni Santi ' uor ,™ „, , , ^ ,. , 1435 1495 Melozzo da Forh, about .... -noa iaim Niccolo Alunno (di Foligno) painted 1458-1499 ... _ _ Perugino (Pietro di Vannucci) ' " " 1446 ]524 Pinturricchio (Bernardino di Betto) .' 1454 15]3 LTngegno (Andrea Luigi) ...'.'. 1470 l556 Lo Spagna (Giovanni di Pietro), first record 1507- last record 1528 TABLE OF PRINCIPAL PAINTERS. xxxi Ferrarese School. Birth Death. Cosimo Tura 1430 1496 Dosso Dossi, about 1474 1558 Benvenuto Tisio (II Garofalo) 1481 1559 Veronese School. Domenico Morone of Verona, last record 1503 .... 1442 — Liberale da Verona 1451 1536 Giovanni Carotto 1470 1546 Francesco Morone 1473 1529 Girolamo dai Libri 1474 1556 Paolo Morandi (Cavazzola) 1486 1522 Lombard School. Leonardo da Vinci 1452 1519 Ambroglo Borgognone, about 1455 1525 Andrea da Salario, about 1458 1530 Bernardino Luini, about 1460 1530 Giovanni Antonio Beltraffio 1467 1516 Cesare da Sesto 1480 1521 Gaudenzio Ferrari 1484 1549 Bernardino Lanini 1508 1578 Ercole Procaccini 1520 1590 Camillo Procaccini 1546 1626 Giulio Cesare Procaccini • . . . 1548 1626 Giovanni Battista Crespi 1557 1633 TABLE OF THE PRINCIPAL PAINTERS OF THE FLEMISH SCHOOL. — • — Birth. Death. Jean van der Asselt painted 1364 — — Melchior Broederlain painted 1382-1401 — — Jean Malwel, or Melhuel painted 1392 . . ... — 1415 School of Bruges. Hubert van Eyck 1366 1426 Jan van Eyck, about 1386 1440 Petrus Cliristus painted 1444-1471 . — — Hans Memling 1430? 1495 Gherardt, David, painted 1487 — 1523 Jacques van Oost (elder) 1600 1671 Jacques van Oost (younger) 1639 1713 Tournai. Rogier van der Weyden, or Van Brigge 1400 1464 Louvain. Dierick Stuerbout, or Bouts, earliest date 1450 .... 1475 School of Ghent. Hugo van der Goes 146g 1432 Justus of Ghent I4gg Gerard van der Meire, dates 1447-1474 School of Antwerp. Quintin Metsys 146Q 1529 Jan Gossaert Mabuse ]470 1532 Frans Floria , 1520 1570 TABLE OF PRINCIPAL PAINTERS. xxxni Birth. Death. Martin de Vos . . . ¦ 1531 1603 Frans Pourbus (elder) 1540 1580 Paul Bril 1556 1626 Otho van Veen, or Vasnius 1558 1629 Frans Pourbus (younger) 1570 1622 Pieter Neefs (elder), about 1570 1651 Peter Paul Rubens 1577 1640 Frans Snyders 1579 1657 David Teniers (elder) 1582 1649 Gaspard de Crayer 1582 1669 Cornells de Vos 1585? 1661 Daniel Seghers 1590 1661 Jacob Jordaens . 1593 1678 Justus Sustermans 1597 1G81 Anton van Dyck 1599 1641 Pieter Neefs (younger) 1600 1675 Theodore van Shulden 1607 1676 Erasmus Quellinus 1607 1678 Abraham Diepenbeck 1607 1675 David Teniers (younger) 1610 1694 Gonzales Coques 1614 1684 Jan Fyt 1625 1671 Abraham Teniers 1629 1671 Cornells Huysmans 1648 1727 Alexander Adrianssen (younger) 1625 1685 Clara Peeters — — School of Brussels. Bernard van Orley . . . . 1470 1541 Pieter Breughel (elder) 1530 1569 Jan Breughel (called Velvet) 1568 1625 Philippe de Champaigne 1602 1674 Jan van Essen 1607 1662 Anton F. van der Meulen 1634 1690 Mechlin. Michiel van Coxcyen, or Coxie 1499 1592 Liege. Lambert Lombard (Susterraann) 1506 1566 J. G. de Lairesse 1640 1711 TABLE PRINCIPAL PAINTERS OF THE DUTCH SCHOOL. School of Haarlem. Gerhard, or Geerit van Haarlem (or of St. Jans), date Birth. Death. unknown — — Martin van Heemskerck 1498 1574 Cornelis van Haarlem 1562 1638 Hendrik Vroom 1566 1640 Frans Hals 1584 1666 Jan Wynants, about 1600 1677 Adrian Brouwer 1608 1640 Gerhard Terburg 1608 1681 Adrian van Ostade 1610 1685 Bartholomew van der Heist 1613 1670 Pieter van Laer 1613 1673 Isaac van Ostade 1617 1671 Philip Wouvermans I619 1668 Cornelis Bega 1620 1664 Nicholas Berchem 1624 1683 Jacob Ruysdael 1625 1681 Job Berkheiden I630 i698 Gerrit Berkheiden Ig3g iggg Meinder Hobbema iggg i7Qg Jan van Hugtenburg 1646 1733 Cornelis Dusart 2660 1704 School of Leyden. Cornelis Engelbertsz j4gg .j™ Lucas van Leyden .1494 1533 Jan van Goyen 15()G ^ Rembrandt van Ryn t \&tif\ u-aa Emanuel de Witte lgQ7 .„„« Gerhard Dow \ \\ lm lm TABLE OF PRINCIPAL PAINTERS. xxxv Birth. Death. Gabriel Metsu, about I615 iyg7 Jan Stee» 1626 1679 Frans van Mieris (elder) I635 iggl Pieter van Slingeland I640 iggi Adrian de Vois, about 1641 ig9g Willem van Mieris ]gg2 1747 Frans van Mieris (younger) 1689 1763 School of Utrecht. Jan Schoreel, or Schoorl 14g5 igg2 PaulMoreelse 1571 jggg Cornelis van Poelenburg 15gg jgg7 Gerard van Honthorst 1592 1660 Jan David de Heem IgOO 1674 Jan Both, about 1610 i656 Andries Both, about lg]Q iggg Cornelis de Heem 1623 Melchior Hondekoeter 1636 1695 Abraham Mignon I639 1679 School of Delft. Michael Janszoon ( Van Mierevelt) 1567 1641 Adrian van der Venne 1589 1662 Hendrik Vliet, about 1605 1661 Willem van Aelst 1620 1679 Adam Pynacker 1621 1673 Jan van der Meer 1632 1695 School of Amsterdam. Abraham Bloemart, about 1567 1647 Theodor de Keyser 1595? 1659 Cornelis Janssen 1595? 1665 Salomon Koning 1609 1668 Ferdinand Boe 1611 1681 Govert Flinck 1615 1060 Artus van der Neer 1619 1683 Philip de Koningh 1619 1689 Jan Battista Weenix 1621 1660 Gerbrandt van der Eckhout 1621 1674 Paul Potter 1625 1654 Jan Lingelbach 1625 1687 KarlDujardin 1630 1678 xxxvi TABLE OF PRINCIPAL PAINTERS. Birth. Death. Willem Kalf 1630 1693 Ludolf Backhuysen 1631 1709 Frederik Moucheron 1633 1686 Willem van de Velde 1633 1707 Jan van de Capelle 1635 — Jan Hackaert, about . 1636 1708 Jan van der Heyden 1637 1712 Adrian van der Velde 1639 1672 Jan Weenix 1644 1719 Rachel Ruysch 1664 1750 Jan van Huysum 1682 1749 School of the Hague. Johannis van Ravesteyn 1572 1657 Ilendrik van Steenwyk, about 1580 1648 Daniel Mytens, about 1590 1656 Gaspard Netscher 1639 1684 Jan van Os 1744 1808 School of Rotterdam. Simon de Vlieger, about 1604 — E. van der Poel, painted 1646-1654 — — Michael van Mussclier 1645 1705 Adrian van der Werff 1651 1722 School of Dordrecht. Albert Cuyp 1605 1691 Dirk Stoop, about 1610 1688 Samuel van Hoogstraten 1627 1678 Pieter de Hooghe 1628? 1671 School of Dort. Nicholas Maas, or Maes Ig32 1693 Godfried Schalken 1Q43 ^qq TABLE PRINCIPAL PAINTERS OF THE GERMAN SCHOOLS. School of Cologne. Birth. Death. Wilhelm von Koln, first date 1358 — _ Stephan Lochner, or Loethener, first date 1426 .... — Master of the " Death of the Virgin," 15th century . . — — Bartholomew de Bruyn 1492 1550 The Swabian School. Martin Schongauer, or Sclion 1420 1499 Matthew Grunewald 1460 1530 School of Ulm. Bartholomew Zeitblom, first date 1450 — 1517 Martin Schaffner 1508 1535 School of Augsburg. Hans Holbein (elder) 1460 1523 Hans Burgkmair 1472 1559 Christopher Amberger ... . 1490 1568 Hans Holbein (younger) 1495 1543 School of Niirnberg. Michael Wohlgemuth 1434 1519 Israel von Meckenen 1440 1503 Albreeht Durer 1471 1528 Albreeht Altdorfer 1485 1538 Bartholomew Beliam 1496 1540 Hans Sebald Beliam 1500 1550 Georg Pencz 1500 1550. xxxvm TABLE OF PRINCIPAL PAINTERS. School of Westphalia. Birth. Death. Master of Leisborn, date 1465 — — Master of Lyversberg, painted 1463-1490 — — The Saxon School. Lucas Cranach, or Sunder 1472 1553 Lucas Cranach (the younger) 1515 1586 Johann Rottenhainmer 1564 1623 Adam Elzheimer 1574 1620 Joachim Sandrart 1606 1688 Johann H. Roos 1631 1685 Balthasar Demur 1685 1749 Christian Nietricli 1712 1774 Anton Raphael Mengs 1728 1778 Angelica Kaufmann 1742 1808 TABLE PRINCIPAL PAINTERS IN THE SPANISH SCHOOLS. School of Toledo. Birth. Death. Antonio del Rincon 1446 1000 Luis de Morales (El Divino) 1510 1586 Domenico Theotocopuli, or Teoscopolo (called II Greco, or El Griego) 1548 1625 Luis Tristan 1586 1640 School of Castile. Alonso Berreguete . 1480 1561 Alonso Sanchez Coello, about 1515 1590 Gaspar Becerra 1520 1570 Juan F. Navarrete (El Mudo) 1526 1579 Vicente Carducho 1572 1639 J. B. Martinez del Mazo — 1667 Juan Pareja , . . . 1610 1670 Juan Carreno de Miranda 1614 1685 Diego Gonzales de la Vega 1622 1697 Claudio Coello 1635 1693 School of Seville. Luis de Vargas 1502 1568 Pablo de Cespedes 1538 1608 A. Vasquez, dates about 1580-1610 — — Juan de las Roelas 1558 1625 Francesco Pacheco 1571 1654 Francisco Herrera (El Viejo) 1576 — Francisco Zurbaran 1598 1662 Diego Velasquez de Silva 1599 1660 Antonio del Castillo 1603 1667 Pedro de Moya 1610 1666 xl TABLE OF PRINCIPAL PAINTERS. Birth. Death. Bartolome' Esteban Murillo lf>18 1682 Sebastian Gomez (servant of Murillo), about 1620 — Francisco de Herrara (El Mozo) 1622 1685 Juan de Valdes Leal 1630 1691 Alonso Miguel de Tobar 1678 1758 School of Valencia. Vicente Joanes, about 1506 1579 Francisco de Ribalta 1550 1628 Jose de Ribera (Lo Spagnoletto) 1588 1656 Juan de Ribalta 1597 1628 Alonso Cano was of Granada, and 1601 1667 Francisco Goya was of Madrid 1746 1825 TABLE PRINCIPAL PAINTERS OF THE FRENCH SCHOOL. Jan Foucquet and the two Jeban Clouet, father and son, flourished from 1460 to 1541 — no very exact dates Birth. Death. can be given — — Jean Cousin about 1500 1590 Francois Clouet, about 1510 1574 Martin Fre'minet 1567 1619 Louis Lenain, about . . . 1583 1648 Simon Vouet 1592? 1641 Nicolas Poussin 1594 1605 Mo'ise Valentin 1600 1632 Claude Gele'e (Lorraine) . , 1600 1082 L. de la Hire 1606 1656 Pierre Mignard 1612 1695 Gaspar Dughet (Poussin) 1613 1075 Sebastien Bourdon 1616 1671 Eustache Le Sueur 1617 1655 Charles Le Brun 1619 1690 J. Courtois Bourguignon 1621 1676 Noel Coypel 1628 1707 Jean Baptiste Monnoyer 1634 1699 J. B. Santerre 1°50 1717 Nicolas de Largilliere 1656 174fi Hyacinth Rigaud 1659 1743 Antoine Coypel 1661 1722 Francis Desportes 1661 l'43 JeanJouvenct 1664 1717 J. Francois de Troy 1680 1752 Antoine Watteau 1684 n21 J. B. Vanloo 1684 1745 Jean Baptiste Oudry 1686 X755 Francois Lemoine 1688 1737 Nicolas Lancret I690 1743 xlii TABLE OF PRINCIPAL PAINTERS. Birth. Death. L. Tocque" 1696 1772 J. B. Joseph Pater 1696 1736 Pierre Subleyras 1699 1749 Simeon Chardin 1699 1779 Francois Boucher 1704 1768 Charles Vanloo 1705 1765 Joseph Marie Vien 1710 1809 Claude Joseph Vernet 1714 1789 Jean Baptiste Greuze 1725 1805 Jean Honore' Fragonard 1732 1806 Jacques Louis David 1748 1825 TABLE PRINCIPAL PAINTERS OF THE ENGLISH SCHOOL. — ? — Birth. Death. Nicholas Hilliard 1547 1619 Isaac Oliver 1555- 1617 George Jamesone 1586 1644 Samuel Cooper 1609 1672 William Dobson 1610 1646 Henry Anderton — 1665 Sir Peter Lely 1618 1680 John Riley 1646 1691 Sir Godfrey Kneller 1646 1723 Charles Jervas 1675 1739 Sir James Thornhill 1676 1734 William Hogarth 1697 1764 Thomas Hudson 1701 1779 Francis Hayman 1708 1766 Richard Wilson 1713 1782 Allan Ramsay 1713 1784 Sir Joshua Reynolds 1723 1792 Francis Cotes 1725 1770 Thomas Gainsborough 1727 1788 Sir Nathaniel Dance 1734 1811 George Romney 1734 1802 P. J. de Loutherbourg 1740 1812 James Barry 1741 1806 Henry Fuseli 1741 1825 David Allan 1744 1796 John Cozens 1752 1799 John Hoppner 1753 1810 Sir Francis Bourgeois 1756 1811 Henry Raeburn 1756 1823 William Blake 1757 1828 John Opie 1761 1807 George Morland 1763 1804 Thomas Girtin 1773 1802 BJH * A^ g.Jtf f ^JTX. Tft.C-Jl *M "¦ Z j ¦njxJt" SS ^^^ r$E^ xXIjT^V ^l^iw S§§|| m &« fe SS^^s fjpS jffiil ^O^^^sS^^ jjSgii E ¦•Mf&i '*fa «•» anSa jfpSsjjSJT. ;4vSmr^ ^S KS3£ PAINTERS, SCULPTORS, ARCHITECTS, ENGRAVERS, AND THEIR WORKS. A. Aalst or Aelst, Evert or Everhard Van, born at Delft (1602- 1658). Painted dead birds, game, instruments of the chase, armor, vases, etc., with great exactness in detail. He sometimes used a clear or white ground, which is very effective. His characteristics were truthfulness and heaviness of tone. Dresden Gall., Nos. 1126, 1127; Berlin Mus., 921, 936. Aalst or Aelst, Wilhelm or 'William Van, born at Delft, 1620; died at Amsterdam, 1679. The nephew and pupil of Everhard, whom he much excelled. He also painted still life, dead birds, oys ters, herrings, etc. His favorite subjects were fruit and other eat ables, with accessories of glass and rich vessels of gold and silver. He spent some years in France and Italy. Was employed by the Grand Duke of Tuscany, who presented him with a gold medal and chain. He returned to Holland in 1656, where his works were in great demand. They are of exquisite polish and finish. Dresden Gall., Nos. 1128, 1129, 1130 ; Berlin Mus., 975. Abate, Andrea, called Belvedere. Said to have died in 1 732 ; but there are reasons for believing that he died several years earlier than that time. He was a Neapolitan, and excelled in painting flowers, fruit, etc. He was employed by Charles II. of Spain, and together with Luca Giordano, who painted figures, executed a part of the ornamentation of the Escurial. Abbate, or dell' Abate, Niccolo. Called also Niccolo da Modena. Born at Modena, 1509 ; died at Paris, 1571. He was a pupil of Bega- relli, and, it is supposed, of Correggio, which opinion is confirmed by his knowledge of foreshortening. Algarotti enumerated him " among the first that had adorned the world." His frescoes in Bo logna were models for the Caracci ; and Agostino Caracci said in a sonnet, that in Niccolo were united the symmetry of Raphael, the terror of Michael Angelo, the truth of Titian, the dignity of Cor reggio, the composition of Tibaldi, and the grace of Parmigianino. 1 2 ABB ATE — ABSHO VEN. At the Castle of Scandiano he executed twelve scenes from the iEneid, which are now in the Florence Gallery. He painted his fres coes so correctly that he seldom retouched them ; this was the secret of his beautiful coloring. At Bologna he painted a beautiful " Na tivity " in the portico of the Lions, and in a frieze in the hall ofthe Institute his celebrated " Conversazione," of ladies and youths. -In 1552 he accompanied Primaticcio to Fontainebleau, and painted thirty-eight scenes from the history of Ulysses, from the designs of that master. After Primaticcio died, Niccolo was employed by the French court during his life. His "Beheading of S. Paul" is at Dresden; and " The Rape of Proserpine," with a "rich, fantastically lighted landscape," is at Stafford House Gall. Abbiati, Filippo, born at Milan (1640-1715). Pupil of " il Pan- filo." A man of great talent and powers of invention ; well fitted for colossal labors. He competed with Federigo Bianchi, at Milan, in painting the ceiling of S. Alessandro Martire. One of his best works was the " Preaching of S. John the Baptist," at Sarono. Abbot, Lemuel, born at Leicestershire, England ; died 1803. Pupil of Francis Hayman. Truthfulness was his characteristic, and por traits of men his best works. Those of " Cowper " and "Lord Nelson " were especially fine. Abel de Pujol, Alexander Denis, horn at Valenciennes (1787- 1861). Succeeded Gros, and became a member of the Institute in 1835. He painted " The History of Joseph " on the ceiling of the Antique Museum of the Louvre. In Notre Dame an altar-piece, " The Burial of the Virgin," and " The Preaching of S. Stephen," in S. Etienne du Mont, are by this master. Abel, Joseph, died at Vienna (1768-1818). Pupil of Fuger. He was employed by the Czartorysky family. He passed six years ia Rome, and gained a reputation by his pictures illustrative of ancient history and Greek poetry. At Vienna he painted large historical subjects and decorated the theatre. Abildgaard, Nikolai, born at Copenhagen (1 744-1809). He has been called the best painter of Denmark. His principal pictures were subjects taken from the ancient poets. When the palace of Christianborg was burned in 1 794, some of his best works were de stroyed. Fiissli relates that this so affected his mind that he painted but little afterwards. Abshoven, or Apshoven (1648-1690). Kugler calls him Mi chael ; he is also called Theodore van Abshoven, and F. van Ap shoven. He was a favorite scholar and successful imitator of David Teniers the younger. His pictures, like those of his master, repre sent village festivals, scenes from peasant life, etc. They are fre quently seen in Flanders, where they are placed in the best collec tions. Dealers in rictures have been in the habit of taking his name from his works and substituting that of Teniers. ACEVEDO — ADRIANO. 3 Acevedo, Cristobal, born at Murcia. Pupil of Bartolome Cardu- cho at Madrid in 1585. He painted at Murcia for the chapel of the college of S. Fulgencio a picture of that saint adoring the Virgin, and some other works for convents, which prove him to have been a good artist. « . /i • . Achen or Ach, Hans Van, born at Cologne [VVI y\ 1552; died at Prague 1615. A pupil of Jer- ¦' righ, afterwards an imitator of Bartholomew Spranger. He passed some time in Italy, and after his return was employed by the courts of Cologne and Prague. Specimens of his ecclesiastical pictures are to be seen in the ch. of Our Lady, and in the Jesuit ch. at Munich, where he painted the "Resurrection of Christ," and the " Finding ofthe True Cross by S. Helena." Three of his pictures are in the Vienna Gall.: " Bathsheba Bathing," after the style of Tintoretto ; ' ' Bacchus with Venus ; " and ' ' Jupiter and Antiope." Achtschelling, Lucas, born at Brussels (about 1570-1631). Pupil of Louis de Vadder. Painted landscapes, which are highly esteemed in the Low Countries. Three large works of his are in the collegiate ch. of S. Gudula at Brussels. Acosta, Cayetano, born in Portugal (1 710-1 780). It is not known under what master he studied, if at all, but he settled in Seville, calling himself a- sculptor. He made a high altar for the collegi ate ch. of San Salvador, in which he disregarded all architectural rules. Here, as in other places, a more beautiful structure was re moved to make way for his. The barefooted friars of Mercy em ployed him to carve three figures to replace those of Montanes ; and Cean Bermudez asserts that even the inestimable works of Alonso Cano were put aside to be replaced by the deformities of Acosta. He left a son and nephew, also wood-carvers, and no better than himself. Adda, Conte Francesco d', born at Milan, died 1550. An ama teur painter of small pictures on panels and slate, for private cabinets. He imitated Leonardo da Vinci. An altar-piece in the ch. of S. Maria delle Grazie at Milan, is attributed to him. Adolfi, Giacomo, born at Bergamo (1682-1741). In the ch. of the monastery Del Paradiso, at Bergamo, is his picture of the " Crowning of the Virgin;" which is considered one of his best ; that of the " Adoration of the Magi " is in the ch. of S. Alessandro della Croce. Adolfi, Ciro, born at Bergamo (1683-1758). Brother of Giacomo. Distinguished himself in fresco painting in the edifices of Bergamo. The "Four Evangelists" in the ch. of S. Alessandro della Croce, and the "Deposition from the Cross " in S. Maria delle Grazie, are his principal works. The " Decollation of S. John," by this master, in the ehirch at Colognola ii a'so admired. Adriano. A barefooted Carmelite of Cordova. Pupil of Paul 4 ADRIANO — AETION. de Cespedes. His convent had for a long time a Magdelene by Adriano, which was considered a Titian. Pie was in the habit of destroying his works because they seemed to him so inferior. But his brethren have preserved a few by interceding in the names of souls in purgatory, a fraud easily forgiven by the lover of art. He left a great name ; " great in art, and still greater in piety." Adrianssen, Alexander, born at Antwerp (1625-1685). An ex cellent painter of still-life. He painted fish remarkably well. Berlin Mus., Nos. 922, 952, and 240. Aelst, Everhard Van. See Aalst. Aelst, Wilhelm Van. See Aalst. Aerts, Richard, born at Wyck 1482; died at Antwerp 1577. Son of a poor fisherman. When a boy his leg was so badly burned, as to necessitate amputation. During his confinement he manifested such a talent for sketching, that he was placed with an artist to study, — John Moestaert, the elder, of Haerlem. He became one of the ablest artists of his time. His first works after leaving school, were two scenes from the life of Joseph, painted on the folding panels of an altar-piece in the great ch. at Haerlem. He removed to Antwerp, and was admitted to the Academy there in 1520. Aertszen, Pieter, called Lange Peer, born at Amsterdam. Writers differ as to the year of his birth, 1507-17, and 19, are all given. Died at Amsterdam in 1573. He was a pupil of Allard Claessen. When quite young he painted genre pictures, which were spirited and well colored. He then applied himself to Scriptural subjects. He painted numerous large altar-pieces in Amsterdam, Delft, Louvain, etc. These were destroyed by the Iconoclasts in 1566. One of his most celebrated works was an altar-piece for the ch. of Our Lady at Amsterdam. It was a triptych, the centre compartment represented the " Death of the Virgin Mary," with the Nativity and the Adoration of the Magi upon the folding panels. For this he is said to have received two thousand crowns. Michael Coxie of Mechlin, a, great artist, was asked to paint an altar-piece for a new church in Amsterdam, but when he saw the works of Aertszen he refused, saying that they had no need of him while they had such an artist in their own city. He sometimes painted market scenes, one of which is in the Vienna Gall., Antwerp Mus., No. 159 ; Berlin Mus., No. 726. His three sons, Peter, Arnold, and Theodore, were all painters. Aetion. A Greek painter, sometimes said to have lived in the time of Alexander ; but Lucian, in his account of him, distinctly says that he did not live in ancient times, and it is generally believed that he was of the time of Hadrian and the Antonines. His great work described by Lucian, represented the " Nuptials of Alexander and Roxane," with Erotes busy about them, and the armor of the kino-. This picture excited so much admiration when exhibited at the AETION— AGASIAS. 5 Olympic games, that Proxenidas, one of tho judges, exclaimed, " I reserve crowns for the heads of the Athletaj, but I give my daughter in marriage to the painter Aetion, as a recompense for his inimitable picture." This painting was carried to Rome, where Lucian saw it. Aetion seems to have excelled in the art of mixino- and laying on his colors. Afesa, Pietro. Flourished about 1 650. Was called della Basili- cata, because a native of the province of that name, a part of the kingdom of Naples. His works are in many churches and convents of Naples. One much esteemed is in the chapel of the monastery at Marsico Nuovo, and represents the " Assumption of the Virgin Mary." Dominici mentions Afesa very favorably. Agabiti, Pietro Paolo, born at Sassoferrato. Some of his works are iu that place, in the ch. of S. Agostino, and are dated 1514. Agaptos. Spooner says that " According to Pausanias, Agaptos, a Grecian architect, invented.the porticoes around the square attached to the Greek stadii, or racecourses of the gymnasiums, which gained him so much reputation, that they were called the Porticoes of Agap tos, and were adopted in every stadium." Agar, Jacques d', born at Paris 1640; died at Copenhagen 1716. He was a scholar of Simon Vouet, but became a portrait painter. He went to England and painted many of the nobility of the reign of Queen Anne. He was afterwards invited to the Danish court, where he was much patronized. His portrait, painted by himself, is in the Florentine Gall, of Artists. Agasias. Sculptor of Ephesus. Three Ephesians of this name are mentioned. Agasias, son of Dositheus, whose name is on the Borghese " Gladiator ; " Agasias, son of Menophilus, a, sculptor in the island of Delos when it was under Roman sway, about 100 b. c. ; and Agasias, father of Heraclides, on a statue in the Louvre, 411. This was probably the name of an Ephesian family of artists, or had been made famous by one great master. The Borghese " Gladiator," Louvre, 304, and the " Apollo Belvedere" were discovered among the ruins of a palace of the Roman Emperors at Antium. From the attitude of the so-called ' ' Gladiator, " it is plain that it represents a warrior contend ing with a horseman. Miiller thinks it may have been taken from a large battle group, in order to finish it with greater refinement of art. Thiersch thinks it may be Achilles contending with Penthesilea. This Agasias probably lived about 400 b. c. The sculptor of the Apollo Belvedere is not known. Until recently it has been thought that the god held a bow ; but the discovery of a statuette, which agrees with it in all essential points, has afforded a much more satisfactory explanation of the action represented. It is that he held the iEgis with the Gorgoneia, which had a paralyzing effect, and was lent to Apollo by Jupiter, according to Homer (" Iliad," xv. 318, et seq.). Ludwig Preller believes that this statue represents Apollo in b AGASIAS — AGATHARCUS. the battles with the Gauls before Delphi. Liibke says : " Not till now have we understood the Apollo Belvedere Ardently ex cited, and filled with divine anger, with which is mingled a touch of triumphant scorn, the intellectual head is turned sidewards " (see figure), "while the figure with elastic step is hastening forwards. The eye seems to shoot forth lightning ; there is an expression of con tempt in the corners of the mouth ; and the distended nostrils seem to breathe forth divine anger." APOLLO BELVEDERE. Vatican. Agatharcus, an Athenian painter. Vitruvius says he was the in ventor of scene-painting, and painted a scene for a tragedy which JEschylu6 exhibited. This contradicts Aristotle, who says that Sophocles introduced this art. Dr. Smith thinks that probably scene-painting was introduced towards the close of the career of JEschylus, but was not in general use until the time of Sophocles. There was another Greek painter named Agatharcus, of the time of Alcibiades, who had no great merit, and prided himself chiefly on the rapidity with which he worked. AGELADAS — AGESANDER. Ageladas, native of Argos. Distinguished as a sculptor, and the instructor of the three great masters, Phidias, Myron, and Poly cletus. The contradictory statements of the writers who mention this name, have given rise to much discussion as to when he lived, all of which has resulted in the opinion that there were two sculptors of this name. The instructor of Phidias, the Argive, was most eminent, and was born about 540 b. c. The other a native of Sicyon, who flourished in the 87th 01. as mentioned by Pliny, or about 432 b. c. f^r^^lbp i^ZSm \h i "Wi m&J*WJj! ^^FhT^Vv 1 \ V^*% v%k ^^^^tmm^F'' V"'* 'Am mmKmf ,'1j liil v^Sfea nilllltntuL^lwIl - ¦XS'i'iiiilS.jjB'' |l«lnmm,i. ^Jr^S^* J^ iML HlllllllliC- LAOCOON. Vatican. Agesander, native of the island of Rhodes. Pliny is the only writer who speaks of him, and but one work of his is known, — the * ' Laocodn ' ' of the Vatican. In this he was assisted by Polydorus r.nd Athenodorus. Another statue, found at Antium, shows that Atheno- dorus was the son of Agesander. It is thought not unlikely that Polydorus was also his son, and that the figure of Laocobn was exe cuted by the father, and the remaining figures by the sons. This group was found near the baths of Titus, on the Esquiline Hill, in 1506. It is considered a most perfect work by all competent judges, and is very wonderful from the fact, that while it portrays the most intense suffering in every feature, limb, and muscle, it still has the sublime repose of true Grecian art. Laocoon was a priest of Apollo, 8 AGESANDER — AGNOLO. and had committed some crime against that god, who sent two im mense serpents from the island Tenedos to kill him just as he was offering a sacrifice, assisted by his two sons. Laocoon had opposed the reception into Troy of the horse left by the Greeks ; and his death was believed by the Trojans to be a divine punishment for this ; therefore a breach was made in the walls and the horse admit ted ; thus the death of the priest decided the ruin of Troy. Agi, Andrea Cardelle. The Berlin Museum has a marriage of S. Catherine which is attributed to this painter. The expression is good. A small " Madonna " by him which was in the Beckford Coll., was remarkable for its fused execution. Aglaophon. Greek artist, native of the island of Thasos. The father and teacher of Polygnotus. He had another son, Aristophon. He probably lived about 01. 70 (b. c. 500). Quintilian praised his coloring. Pliny speaks of a younger Aglaophon, contempora neous with Alcibiades. He was probably the son of Aristophon, as the Greeks bore the name of the grandfather rather than the father. In one picture this artist represented the presiding geniuses of the Olympic and Pythian games, Olympias and Pythia, as crowning Alcibiades, and. in another, the genius of the Nemean games held Alcibiades in her lap. Alcibiades could not have won any victories which merited these honors before 01. 91 (b. c. 416). It is said that this Aglaophon is the first artist who represented Victory with wings. Aglio, Andrea-Salvatore di Antonio di Arzo, born at Lugano (1736-1786). Said to have discovered the method of fixing colors on marble. Agnolo, Sienese sculptor. See Agostino and Agnolo. Agnolo, Baccio d' (1460-1543). In his youth he was an ex cellent artist in inlaid works. He executed some fine things in wood for the churches of S. Maria Novella, and the Nunziata at Flor ence. These last were removed when the Nunziata was re-adorned. After studying zealously at Rome, he returned to Florence, where he became a oreat architect. He erected several arches of triumph when Pope Leo visited that city. His work-shop, which he seldom left, became the rendezvous of artists and the young men of Florence, as well as strangers there, and in it many discussions were held. At leno-th after he had proved his ability, the most magnificent buildings were committed to his care. He assisted with other architects to construct the Great Hall of tho Palace, and carved with his own hand the frame-work for the large picture sketched by Fra Bartolomeo. He also took part in the erection of the steps leading to the Hall now called that of the Dugento, and also the marble doors to the same. On tho Piazza di Santa Trinita ho constructed a palace for Gio. Bartolini. This was ridiculed in sonnets, and every way, be cause of its unusual style, and festoons of foliage hung on it as on AGNOLO — AGORACRITUS. 9 a church during a festival. This drove Baccio almost insane, but he knew the work was good, and he had his revenge by carving this inscription above the door, Carpere prompting quam imilari. He then built many other beautiful palaces ; and for Giovan-Maria Benintcndi made a frame-work for certain pictures which was esteemed ex traordinarily beautiful. He made the model for the ch. of S. Giu seppe at S. Onofrio, and erected its portal. This was his last work. He directed the work of the Campanile of Santo Spirito of Florence, but he did not finish it. He also built the bell-tower of S. Miniato-in-Monte. He was at length appointed architect of S. Maria del Fiore, and made a model for the gallery encircling the cupola, but Michael Angelo so criticised it, that a discussion was held before competent judges, and in the end neither plan was adopted. Baccio then attended to the pavement of S. Maria del Fiore and to the care of many other buildings that were trusted to him. He was eighty-two years old when he died. He was buried in S. Lorenzo. His three sons, Giuliano, Filippo, and Domenico were all artists. Agnolo, Giuliano, son of the preceding, gave much of his atten tion to architecture, and by the favor of the Duke Cosimo he suc ceeded to his father's office at S. Maria del Fiore, and finished what he had there commenced, as well as in many other buildings which Baccio had left unfinished. He made at Pescia a beautiful tomb, which was surrounded by a chapel, for Messer Baldassare, and also restored his house and furnished it. He built a house at Montughi, a short distance from Florence, for Messer Francisco Campana, and at Colle another house for the same Campana, and a most magnifi cent palace al Tedesco for Messer Ugolino Grivoni, Signor of Alto- pascio. But space would not allow the enumeration of all his works. He was associated also with Baccio Bandinelli in various affairs, one of which was the reconstruction of the great hall in the ducal palace, which was a failure, according to Vasari ; another was the choir in S. Maria del Fiore, etc., etc. He also made couches, picture-frames, and various wood carvings Died 1555. Agnolo, Domenico. He excelled Giuliano in wood-carving, and was a reputable architect. He completed the terrace for the house of the Nasi family, which his father had commenced, and executed several good architectural works. Pie promised to excel both his father and brother, but died before he reached his prime. Agoracritus, born in the island of Paros. Scholar of Phidias. Brass-caster and sculptor. He was so much the favorite of Phidias, that the master is even said to have put the name of this disciple upon some of his own works. Four of the works of Agoracritus are mentioned by diff'erent authors : namely a statue of Zeus ; a statue of the Ionian Athene, in the temple dedicated to her at Athens ; a statue in the temple of the great goddess at Athens, probably a Cybele ; 10 AGORACRITUS — AGOSTINO. and the Rhamnusian Nemesis. It is said of this last that it. was originally a Venus, for Agoracritus and Alcamenes contended with each other in making a statue of that goddess, and when the Athe nians gave the preference to the statue of Alcamenes, Agoracritus changed his to a Nemesis, and sold it to the people of Uhamnus, making the condition that it should not be set up in Athens. Al though this story is often repeated, it is not known to be true, and Pausanias says that this same Nemesis was the work of Phidias ; but bo that as it may, there is no doubt that Agoracritus was a great sculptor from 440 to 4 28 n. c. and the other works attributed to him were undoubtedly his own. Agostino and Agnolo, Sienese sculptors, died 1348 and 1350. In 1284 Giovanni Pisano visited Siena to prepare designs for the Cathedral. Agostino, said to have been at this time about fifteen years old, became his pupil. So great was his talent, and his appli cation to study, that he coon surpassed his co-disciples. Meantime bis young brother, Agnolo, had made some secret attempts at sculp ture, and from constant intercourse with Agostino and other artists had acquired a love for their art. At length Agostino prevailed upon Giovanni to employ Agnolo, together with himself, in executing a marble altar for Arezzo. Agnolo so acquitted himself, that Gio vanni continued to employ the two at Pistoja, Pisa, etc. They also studied architecture, and in 1308 were employed by the Nine, whe ruled Siena, to make designs for a palace. When Giovanni died they were appointed architects to the State, and in 1317 directed the building of the north front of the Cathedral. After designing the Porta Romana and other gates, a church, convent, etc., they were invited to Orvieto by the Tolomei family, and there executed sculp tures for the ch. of S. Maria. In 1326 Giotto visited Orvieto, and pronouncing the Sienese brothers the best sculptors who had worked there, recommended them to Piero Saccone da Pietramala, as the best persons he could employ to construct the tomb of Guido, bishop and lord of Arezzo. This work they did after the plan of Giotto, which occupied them three years. The tomb was very beau tiful, and was adorned with sixteen relievi, representing the principal events in the life of Guido. They then executed an altar for the ch. of S. Francisco at Bologna, and when the Pope promised to remove to that city, these sculptors were employed to make designs for the castle fortress to be built for his reception. While they were at Bologna the Po burst its banks and caused great destruction of life and property. These brothers found means to reconduct it to its channel, and for this were honorably rewarded by the lords of Mantua, and the house of Este. In 1338 they returned to Siena, where a new church was erected after their designs, and they were employed to construct a fountain on the principal piazza of the city. This was successfully done, and the water let on June 1, 1 343, greatly AGOSTINO — AGUIRRE. 11 to the joy of the Sienese, and the glory of the artists. After several other works in Siena, Agnolo went to Assisi to build a tomb, while Agostino remained at Siena in the service of the state, where he soon after died. It is not known where Agnolo died. Agresti, Livio, called also Livio da Forli, from the place of his birth, the date of which is not known, died about 1585. He was a fellow-student with Luca da Ravenna under Pierino del Vaga at Rome. Vasari calls him the rival of Luca. There are works of Agresti in many churches and public buildings at Rome. In S. Caterina de Funari he painted an " Annunciation " and " SS. Peter and Paul." In a chapel of S. Spirito in Sassia, the " Assumption of the Virgin." Pope Gregory XIII. employed him to assist in the great works at the Vatican, where he painted a fresco in the grand stair case, representing the submission of Philip of Arragon to Pope Eugenius HI. But his best works arc in Forli. In a chapel of the Cathedral he painted the " Last Supper," and in the vault some fine figures of the prophets. He also painted seven pictures on cloth of silver, to be used as hangings for the Card, of Augusta, who sent them as a present to the King of Spain, in which country they were thought very beautiful. He also painted a picture on cloth of silver for the ch. of the Theatines in Forli. Agricola, Christopher Ludwig, born at Regensburg (1667-1719). Portrait and landscape painter. He studied principally from nature when travelling, and his pictures resemble those of Poussin. He lived some time at Naples, and some of the pictures he painted there were carried to England. In the Dresden Gall, there are two works of his, Nos. 1784 and 1785. The Vienna Gall, has one of his finest landscapes, representing the ruins of a monument and the pillars of a temple, seen between the trees. Agua, Bernardino del, a Venetian painter. He executed frescoes in the cloister of the court of the Evangelists at the Escurial. These he did under the direction of Tibaldi, and after the sketches of that master, who attributed the defects in them to the haste with which Philip II. would have them done, rather than to any fault of Agua. Agiiero, Benito Manuel de, born at Madrid (1626-1670), pupil of Martinez. When Philip IV. visited the studio of that master he was attracted by Aguero's wit as much as by his artistic powers. He painted a " S. Ildefonso" for the nuns of S. Isabel, which was like Titian in color. His usual subjects and those in which he ex celled were battle-scenes and views of cities. Aguiar, Tomas de, a gentleman of Madrid, — flourished about 1660. He acquired considerable reputation for small pictures in oil. He painted the portrait of Antonio de Solis, who in return wrote an extravagant sonnet in praise of Aguiar. Aguirre, Francisco de, a pupil of Caxes. He was a portrait- painter and restorer of pictures, to which last profession he espe- 12 AGUIRRE — AKERS. cially devoted himself. He commenced at Toledo in 1646, and was employed to restore the pictures in the Cathedral. Like many others who have done like work, he did not adhere to the original, but introduced his own ideas, thus destroying the true value of the paintings. Ainemolo, Vincenzo, born at Palermo, died 1540. The most important Sicilian artist of the sixteenth century. It is believed that he went to Naples, where he studied the style of Perugino. He went at length to Rome, and became famous as an imitator of Raphael. His works are mostly in Palermo, and the best one represents the 1 ' Virgin and Child " between four saints. It is in the ch. of S. Pietro Martire. At S. Domenico there is a " Descent from the Cross," which is, in some of its figures, almost a copy of Raphael's " Spasimo di Sicilia.'' In several other churches of Palermo, and in its gallery, there are works of this artist. Aikman, William, born in Aberdeenshire (1682-1731). He studied law, but in 1707 left Scotland, and travelled extensively on the Continent, and in the East. He next spent some years in Rome, and studied painting under Sir John Medina, and then established himself as a portrait-painter in Edinburgh. He had no success, and in 1723 removed to London, where he became the friend of Sir God frey Kneller, whom he imitated. His career was short. ' There is a head of Gay by Aikman, which is good. He had good literary parts, and was the friend of Allan Kamsay, and of Thomson, who wrote his elegy. He was taken to Scotland for burial. Aken, Joseph van, died in London 1 749. A Flemish artist, he passed most of his life in England, and painted on velvet and satin with great success. He was often employed hy other artists to paint figures in landscapes, in which he was very skilful. Akerboom. Dutch painter of interiors, who flourished about the middle of the seventeenth century. His pictures are very highly finished. Akers, Benjamin, called also Paul, born at Saecarappa, Maine, 1825, died at Philadelphia, 1861. His father owned a saw-mill, in which as a boy he spent much time. His most striking characteris tics were intense attachments to persons and places, and extreme love of adventure and travel. When at work in the saw-mill, by means of a turning lathe, lie made beautiful toys, and specimens of ornamental wood-work, from original designs. He invented a shin gle machine, which is now in use. He went to Portland and tried to be a printer. He also attempted to paint, but it was not until his attention was attracted to a plaster cast that his true vocation was revealed to him. Ho went in 1849 to Boston and was instructed in plaster-casting by Joseph Carew. He returned home, and after a few attempts at moulding, in a good degree successful, he opened a studio in Portland with Tilton, the landscape-painter. During the THE VOW. By Titian. (Belvedere, Vienna.) See p. 571 AKERS — ALBANI. 13 two following years he made several portrait busts, so excellent as to establish his reputation. In 1852 he went to Florence, where he passed a year in study and labor. Returning home he made his " Benjamin in Egypt," which was burned in the Portland Ex change. He passed a winter in Washington, where he made models for portrait busts of many eminent men. Some medallions also, which were much admired, especially that of Samuel Houston. He modelled a head of "Peace," and visited Providence, R. 1, to execute commissions in portrait busts. In 1854 he went to Rome, and finished in marble the heads modelled in America. He copied works in the Vatican to fill American commissions, and also executed several original designs; " Una and the Lion," "Diana and En- dymion," "Girl pressing Grapes," "Isaiah," " Schiller's Diver," and the " Reindeer," being those most admired. He then went to Venice, Switzerland, Paris, and England, and again to Rome, where he made a colossal head of Milton, the "Lost Pearl Diver," and " Saint Elizabeth of Hungary," which last was often repeated for his American admirers and patrons. He was never strong, and his health now failed. He came to America, but was obliged soon to seek a milder climate. He returned to Borne, and the last work he did there was a medallion likeness of his wife. In 1860 he came again to America, and went to pass the winter in Philadelphia. He devoted himself to his loved art as much as his failing strength would allow, and left the head of a cherub still unfinished when he died. His religious and sensitive character acquired for him from his young companions the nickname of S. Paul. By this name he " became endeared to his friends and known to fame." His love of Nature and of children was intense. " It makes no difference," he would say, " what happens to me, so long as I can hear sparrows sing and see children roll on the grass." His literary attainments were fine, as is proved by his paper on " Art-expression " and " The Artist Prisoner." Many of his writings have never been given to the public. Alba, Macrino d' or Giangiacomo Fava. Lived mostly at Turin, and flourished about 1500. In the Stadel Institute at Frank fort, there is a picture of the "Madonna," with the histories of Joachim and Anna on folding side panels, by this master. It is ' ' dignified and full of character." Albani, Francisco, born at Bologna (1578-1660). Son of a silk merchant. His father desired to bring him up to his own profession, but his decided art-genius so asserted itself that he was placed in the academy of Denys Calvert, where Guido Reni was a pupil. Albani and Guido became friends, and when the latter went to Rome and entered the school of the Caracci, Albani quickly followed. Here his talent soon brought him to notice, and there are many of his works in Rome. When Annibale Caracci was employed on the 14 ALBANI. frescoes of S. Giacomo degli Spagnuoli, he fell sick, and by his recommendation Albani was selected to finish them. He also painted the mythological frescoes in the Verospi (now Torlonia), palace. In the Borghese Gall., and at Turin, are his famous pictures of the "Four Elements." He also painted for the Duke of Mantua the stories of " Diana and Actajon," and " Venus and Cupid." Returning to Rome, he painted the large pictures in the Tribune of the Ma donna della Pace and the "Martyrdom of S. Sebastian" in the church of the same name. His best religious works at Bologna are the " Baptism of Christ " in S. Giorgio, the " Annunciation " in S. Barto lomeo, and the " Resurrection "in S. Maria de Galeria. But his best pictures are those of mythological and fanciful subjects, in which both figures and landscapes were well done. Beauty was his characteristic rather than power. Lanzi calls him the Anacreon of painting, and says, " Like that poet with his short odes, so Albani from his small pictures acquired great reputation, and as the one sings of Venus and the Loves, and maids and boys, so does the artist hold up to the eye the same delicate and graceful subjects." He had every advan tage in his own home for the perfection of such pictures. His villa was well situated, and afforded him lovely views of nature. His wife was beautiful, and bore him twelve children, so lovely that not only he, but the sculptors Algardi and Fiammingo are said to have used them as models. The works of Albani are in almost every large gal- ^ CUT-IDS. BY ALBANI. lery, for he either painted duplicates, or caused his scholars to paint those to which he put the finishing touches. The " Toilet of Venus," ALBANI. 15 at the Louvre, and the " Landing of Venus at Cytherea," in the Chigi Palace at Rome, are among his finest works. One of his oft- repeated and pleasing subjects is the " Infant Christ " asleep on the cross. ENGRAVINGS AFTER THE WORKS OF ALBANI. Engraver, Aguila, Francisco Faraone. The Last Supper. Engraver, Audran, John. Infant Saviour regarding the Cross presented by Angels. Engraver, Aveline, Peter. The Wrath of Neptune. Inscribed, Quos ego. Engraver, Avrix, Jean Jacques. Diana and Actaeon ; The Bath ers surprised. Engraver, Bartoli, Pietro Santi. The Birth of tlie Virgin. Engraver, Baudet, Stephen. The Virgin teaching the Infant Jesus to read ; The Woman of Samaria ; Four plates of the Loves of Venus and Adonis ; Four circular prints of the Four Elements. Engraver, Box a vera, Domenico Maria. The Baptism of our Saviour by S. John. Engraver, Canale, Giuseppe. Adam and Eve driven from Par adise. Engraver, Chateau or Chasteau, William. The Baptism of Christ by S. John. Engraver, Crepy or Chespy, John and Louis. The Nativity. Engraver, Daulle, John. A Charity with Three Children. Engraver, Duflos, Claude. The Annunciation. Engraver, Fariat or Farjat, Benoit. The Holy Family with S. John. Engraver, Frey, James. A Charity with Three Children ; The Rape of Europa. Engraver, Frezza, Giovanni Girolamo. The Gallery of the Verospi Palace. Seventeen plates. Engraver, Hainzelmann, Elias. Christ appearing to Magda lene. Engraver, Landry, Peter. Christ and the Woman of Samaria. Engraver, Lasne, Michael. The Virgin in the Clouds, with a crescent; oval. Engraver, Mola, Pietro Francisco. Ploly Family with Angels presenting Flowers to the Infant Jesus. Engraver, Mola, John Baptist. Cupid in a Car, drawn by Loves. Engraver, Picart, Stephen. The Ecce Homo, with Three Angels. Engraver, Valet or Vallet, William. The Holy Family, called La Laveuse. Engraver, Vouillemont, Sebastian. Marriage of S. Catherine. 16 ALBANI — ALBERTINELLI. Albani or Albano, Gio. Baptiste, died 1668. Brother of Fran cisco, whom he imitated so closely that his pictures were sometimes mistaken for his. Alberelli, Giacomo, born at Venice (1600-1650). Pupil of Ja copo Palma, the younger, with whom he painted thirty-four years. Several pictures by Alberelli are in his native city, the most esteemed being the "Baptism of Christ " in the ch. of the Ognissanti. AVberici, Enrico, born at Vilminore in Bergamo (1714-1775). Pupil of Ferdinando Cairo of Brescia. He had a good reputation, and painted his principal pictures for the ch. Dei Miracoli, at Brescia. Albertinelli, Mariotto, born at Florence (1474-1515). His father placed him with a goldsmith, but he determined to be a painter, and entered the school of Cosimo Rosselli, where he was the intimate friend of Baccio della Porta, called Fra Bartolommeo. Mariotto imitated Baccio so closely as to render it difficult to distin guish between the two, especially in some works which they did in company, and he was called a second Bartolommeo. After they left Rosselli they dwelt together. Mariotto became the protege of the wife of Pietro dei Medici, and painted for her several pictures, besides her own portrait. When Pietro was banished, Mariotto returned to the house of Baccio. When the latter became a monk, Mariotto was almost insane with grief, and could interest himself in nothing. Baccio had left unfinished the " Last Judgment " for the Cemetery of S. Maria Nuova, and as he had received part pay ment for it he desired Mariotto to complete it. He did this with great care. He could not equal Baccio, because not equally gifted by nature ; but the pictures of both had the same life in action, elegance in proportion, and sharpness and careful minuteness in finish. His earlier works were lost. One of the oldest known is No. 25 Louvre, " Christ appearing to the Magdalene." In 1503 he executed " The Salutation," now in the Uffizi, and generally consid ered his master-piece. He next painted the fine " Nativity," No 365 Pitti Gall. Soon after this Fra Bartolommeo resumed his brush and became the head of the work-shop of S. Marco. Mariotto painted "The Crucifixion," No. 24 Louvre, and received many pupils. He spent much time attempting to imDrove oil mediums, bein« espe cially dissatisfied with the white, but his experiments amounted to little. He could not endure criticism, and became so disgusted with it that he forsook painting and kept a tavern. He declared himself then "where there was no embarrassment with perspective, fore- shortenings, or muscles, and no criticism or censure to dread ; " and that his former calling " was to imitate flesh and blood, whereas that he had adopted made both flesh and blood." But he soon hated this more than painting, which he resumed. Late in life he went to Rome, where he became ill. He was taken to Florence on a litter, ALBERTINELLI — ALBERTI. 17 and died. The following are some of his works not yet mentioned : A " Trinity," No. 73, Florence Acad, of Arts ; an " Annunciation " at Munich, Pinacothek, Saal. No. 545 ; "Marriage of S. Catherine," on wood, Hermitage, St. Petersburg, No. 21; an " Assumption " in Berlin Mus., painted by Mariotto and Baccio; National Gall., London, No. 645, and many others in the Prince Gortschakoff Gall., St. Petersburg ; the Ex-Pourtales Gall., Paris, etc. Alberti, Leon Battista, born at Venice (1404-1472). The name of Alberti is distinguished in all branches of Art. Leon was an architect and of a noble family of Florence ; at the time of his birth his parents were in Venice, in order to escape persecution at home. He was a man of superior literary talents and cultivation, a fine mathematician and geometrician. He wrote ten books upon architecture in Latin, three books on painting, and other smaller works. Under Nicholas V. and in connection with Bernardo Ros- sellino, he superintended numerous public works at Rome. At Rimini, for Sigismondo Malatesta, he made a model for the ch. of S. Francisco. He was next employed by Gio. di Paolo Rucellai, who had determined to adorn the principal f acade of S. Maria Novel la at his own cost. This work was completed in 1477, and was much admired. For the Rucellai family he also designed palaces, and a chapel in the ch. of S. Pancrazio. For Ludovico Gonzaga, Mar quis of Mantua, he modelled the chapel which he built in the Nun ziata at Florence. He went afterwards to Mantua in the service of the same nobleman, and made designs for the ch. of S. An drea, and other works. Leon painted a few pictures, which have been destroyed ; they had no great merit, but served to show that he could express himself with brush or pencil. All writers who men tion him agree that as a refined, elegant, and scholarly gentleman he had few equals. Alberti, Michele, born at Borgo S. Sepolcro, 1527. Pupil of Daniello Ricciarelli, called da Volterra. His principal work was a picture of the " Murder of the Innocents " in the church of Trinita- di-Monti at Rome. C C Alberti, Cherubino, born at Borgo S. Sepolcro 7T) 'Til (1552-1615). Son of the preceding, by whom J. XJ / _/ 3D he was instructed in painting. His principal pictures were in the church of S. Maria in Via at Rome. He is chiefly distinguished as an engraver. It is not known with whom he studied this art, but his plates are remarkable for his time. They seem to have been executed entirely with the graver, the point not being used. His figures were better than his draperies. His prints have preserved some of the friezes of Polidoro da Caravaggio, which were upon the facades of public edifices, and have been destroyed. His plates number about 180, of which 75 are from his own designs. The following are some of the best designed by himself : — 2 18 ALBERTI — ALBINI. Portrait of Pope Gregory XIII; oval, with ornaments. Portrait of Pope Urban VII. ; oval, with ornaments. Portrait of Henry IV., of France; oval, 1595. Portrait of Pietro Angelo Bargeo. Judith, with the head of Holofernes. The Nativity ; inscribed, Deus omnipotens, etc. The Flight into Egypt, 1574. Another Holy Family ; S. Joseph seated, with a Book. The Body of Christ supported in the Clouds by an Angel, in scribed, Magnum pietatis opus, etc. The Virgin Mary and Infant in the Clouds ; inscribed, Regina colli. Mary Magdalene Penitent, 1582. S. Catherine receiving the Stigmata, 1574. S. Christian drawn out of the Sea. S. Francis receiving the Stigmata, 1599. S. Charles of Borromeo, kneeling before the Virgin and Infant, 1612. Six of Children, for ceilings ; dedicated to Card. Visconti, 1607. Alberti, Giovanni, horn at Borgo S. Sepolcro (1558-1601). Brother of Cherubino, and instructed by their father. He excelled in landscapes and perspective, and the figures in his pictures were often done by Cherubino. Pope Gregory XIH. employed him in the Vatican, and Clement VIH. in the Lateran. His portrait is in S. Luke's Acad. Alberti, Durante, born at Borgo S. Sepolcro 1538, died at Rome 1613. Went to Rome when very young. Gregory XIII. was then Pope. He soon distinguished himself, and his pictures are in several places in Rome. He was buried with great distinction in the Chiesa del Popolo, and his portrait is in the Acad, of S. Luke. In the ch. of S. Maria de Monti he painted " The Annunciation," and in S. Girolamo della Carita, an entire chapel in fresco, and the altar- piece in oil, which last represented the Virgin and infant Saviour with SS. Bartolomeo and Alessandro. Alberti. There were other artists of this name, whose works are not well defined. Antonio of Ferrara lived in 1450, and had a son of the same name. Pietro Francisco (1584-1638) was a son of Durante, and was a painter and engraver. Albertoni, Paolo, died about 1695. This artist was a follower of Carlo Maratti, and painted in his style. Some of his pictures are in the churches of S. Carlo, S. Maria, and other churches in Rome. Albertus, H. C, born in Saxony; died 1680. His portrait of John Seckendorff', rector and professor of Zwickau, is a fine work of art. Albini, Alessandro. Zani says he was born in 1586 and died in 1646. Malvasia calls him a Bolognese, and a disciple of the school ALBINI — ALDEGREVER. 19 of the Caracci. He made designs for the funeral ceremonies of Agostino Caracci, which greatly added to his reputation. At Bo logna there is a picture by this master in the ch. of S. Michele in Bosco, representing the " Sepulture of SS. Valerian and Tiburtius," and another in S. Pietro Martire, representing SS. Peter, Cather ine, and Cecilia. Alcamenes, born at Athens, scholar of Phidias, perhaps of Critias also. Brass-caster, sculptor, toreutes, and cleruchos in Lem- nos. He flourished from 444 to 400 b. c. His chief productions were images of the gods. Among these were two statues of Athene, one of which, after the expulsion of the thirty tyrants by Thrasybu- lus, was placed in the temple of Hercules at Thebes, together with a colossal statue of Hercules by the same sculptor (403 B. c.) ; a three-formed Fecate (the first of its kind), and a Procne in the Acropolis at Athens ; a statue of Mars in the temple of that god at Athens ; the Battle of the Centaurs and Lapithae upon the western pediment of the temple at Olympia ; an iEsculapius at Mantineia ; a bronze statue of the victor in the Pentathlon ; and a statue of Hephaestus which represented his lameness without makino- it a deformity. But the most renowned of all his works was his " Venus," called from where it was set up, 'niv k^tois AQpodlrn. The breasts, hands, and cheeks were particularly admired ; and it was said that Phidias put the finishing touches to this work. Some suppose that this was the statue which took the prize from that of Agoracritus. There is also a story that Alcamenes and Phidias contended in mak ing a statue of Athene, and that before they were set up that of the pupil was most admired for its beautiful finish, but when they were in place the strong lines of that of the master were so effective that the Athenians gave him the preference. / , ¦ / Aldegrever, Heinrich, born at Soest in Westphalia, hA (1502-1562). As a painter he is less important than as an *" engraver. His style so closely resembles that of Albert Durer that he has been called Albert of Westphalia. His works show untiring labor, but his figures are often deformed and even hideous. In the Berlin Gall., a picture by him of the "Last Judgment" is very peculiar, especially in the upper part where Christ, the Virgin, and John the Baptist, are represented ; the trumpet-angels and the demons among the damned are worthy of notice, and in fact the whole picture is very striking. In the National Gall., London, there is a " Crucifixion " by Aldegrever. In the Berlin Mus. there is a por trait of an old man, and in the Lichtenstein Gall, at Vienna one of a youth, which is clever. His prints are numerous. Among the por traits, those of Luther, Melanchthon, John of Leyden, and Bernard Knipperdolling, deserve notice. Of historical and religious subjects there are no less than one hundred and thirty-nine well-known plates. In one of Titus Manlius, ordering the execution of his son, 20 ALDEGREVER — ALDROVANDINI. the instrument of death resembles the French guillotine ; this is dated 1533. Thirteen plates of the " Labors of Hercules " arc fine and rare, and the etching of " Orpheus and Eurydice," the only one of this master, is very rare. Aldighiero, 01 Alticniero da Zevio, a native of Zevio, near Verona, was a painter of the early Paduan School. He decorated the chapel of S. Felice in S. Antonio at Padua with wall ¦paintino's, about 1370. Liibke says he displayed in his works a lively concep tion and richly finished coloring. The pictures in this chapel repre sent scenes from the legend of S. James Major. That of the land ing of the body of the saint on the coast of Spain, is especially fine. He was associated with D'Avanzo Veronese, who was one of the worthiest of the followers of Giotto, and their pictures were equal to any of the school of that master. Aldighiero was so much asso ciated with other artists that there have arisen never-ending disputes as to what he did or did not do, but the records show that he painted the chapel of S. Felice. In the work of Crowe and Caval- caselle, it is said to be no exaggeration to call this chapel the noblest monument of the pictorial art of the fourteenth century, and that none but the greatest Florentines had done better. " Aldobrandini Marriage." This is one of the most valuable relics of ancient painting. It was discovered on the Esquiline Hill, near the arch of Gallienus, in the early part of the seventeenth cen tury, during the time of Clement VIII. It was taken from the wall, and became the possession of Cardinal Aldobrandini, who after hav ing it restored by Domenico del Frate, placed it in his villa on the Quirinal ; hence its name. It is a composition of ten figures, and represents three scenes arranged like an ordinary bas-relief. In the centre the bride is seated on a bed, while another female speaks to her ; the bridegroom is crowned with ivy, and seated on a stool at the end of the bed with his face turned to the bride. On one side the attendants make ready a bath ; on the other musicians sing the " Epithalamium " or wedding song. In 1818 Pius VII. paid 10,000 scudi, or about 2,000 guineas for this fresco, and placed it in the col lection of the Vatican. Aldrovandini, Mauro, born at Bologna (1649-1680). An eminent architect. As a painter he belonged to the School of Cignani, with whom he painted in the Palazzo Publico at Forli. Aldrovandini, Tommaso, born at Bologna (1653-1736). Nephew of Mauro, by whom he was instructed. He excelled in perspective and architectural views, and worked much with Carlo Cignani and Antonio Franceschini, who executed figures. In conjunction with the latter, Tommaso painted the " Council Chamber of Genoa," his greatest work. Aldrovandini, Pompeo Agostino (1677-1739). Cousin and pupil of Tommaso. One of the most celebrated Italian painters of ALDROVANDINI — ALFANI. 21 his time. He worked in oil, fresco, and distemper, and was much employed on the public buildings of Vienna, Dresden, and Prague. Aleman, Cristobal, introduced the art of glass-painting in Se ville and painted a window for the Cath. in 1504. Alen or Olen, Jan van, born at Amsterdam (1651-1698). A painter of landscapes and still-life. A good imitator of Melchior Hondekoetor. Aleni, Tommaso, born at Cremona (1500-1560). Scholar of Galeazzo Campi. His works were so much like those of his master as to be distinguished with difficulty, as may be seen in the ch. of S. Domenico at Cremona. Alesio, Mateo Perez de, born at Rome. Flourished about 1585 ; died 1600. He went to Spain, attracted by the generous love of art of King Philip II. His chief works were fresco-paintings in the churches of Seville. Grandeur of design was his chief characteris tic. In the Cath. of Seville he painted a S. Christopher, which is still preserved. The figure of the saint is thirty-three feet high, and his leg is three feet across the calf. This was done in 1584. He also painted in the ch. of S. Miguel, and other public edifices. Ale sio was almost the first to acknowledge the superiority of Luis de Vargas, but it is said that he returned to Rome, because the pictures of Vargas were preferred to his own. Alexander, Francis, born in Windham County, Conn., in 1800. At eighteen he was a school-teacher. He commenced his painting by attempting to reproduce in water-colors the beauties of some fish ho had caught. His success was a surprise, both to himself and his mother, who encouraged his further use of the brush. In spite of scanty means he went to New York, and studied with the Scotchman, Alexander Robertson. He made friends, and received some com missions in Providence. From there he went to Boston, and soon made a good reputation as a portrait painter. In 1831 he went to Italy, where he resided for many years. In 1833, together with Harding, Fisher, and others, he exhibited a number of his pictures in Boston. Alfani, Domenico di Paris, born at Perugia 1483, living, 1553 ; time of death not known. Scholar of Perugino. He was an ardent admirer of Raphael, whose style he imitated ; had little originality. In middle life he caused his family of natural children to be legiti mized and made his son Orazio his partner. He was a registered master in Perugia in 1510. The earliest known picture of his is a " Madonna and Child with SS. Gregory and Nicholas " in the Collcgio Gregoriano at Perugia. It is on wood, in oil, figures life-size, dated 1518. A fine picture, -full of the beauties of Raphael. In the ch. of S. Francisco at liettona is ? fine fresco of the " Virgin and Child " with four saints, which reminds one of the " Madonna di Folio-no." At Diruta in the ch. of S. Antonio Abbate, there are 22 ALFANI — ALFARO. four pictures representing scenes in the life of S. Anthony ; much injured. In the Cath. of Citta della Pieve is an altar-piece by Domenico: wood, oil, figures life size, dated 1521. In the gallery at Perugia a " Virgin and Child " with saints and angels : wood, oil, figures life size. In 1527 Rosso was at Perugia with Alfani, and from that time his style seems changed, which may be seen in the pictures at S. Giuliana at Perugia. In 1553 the father and son together painted a '• Crucifixion " for S. Francesco at Perugia, and as they painted much in conjunction, there are various pictures which cannot be assigned to either one. One of these is a graceful " Holy Family " in the tribune of the Uffizi. In 1525 he painted frescoes at the villa of Prepo near Perugia. In 1527 he was commissioned to paint an altar-piece for Castel Rigone. In 1535 he painted the arms of Paul ni. on the Pal. of Perugia; in 1536 a " S. Louis " in S. Fran cesco, and in this same year married the mother of his children. His will was made in 1549, and as before said, he was living-in 1553. Alfani, Orazio di Paris, born at Perugia 1510, died at Rome 1583. Also a pupil of Perugino and an admiring imitator of Ra phael. His reputation moro than equalled that of his father. In the transept of S. Francesco at Perugia is a " Nativity ' ' by this artist, singular for tho introduction of " S. Anna " who has a basin of water ; said to have been dated 1536. Perugia Gall. , No. 59, formerly in the Carmine, is a work of Orazio's, as are also Nos. 140, 142, 159, 132, 163, 144, 145, and 14G, in tho same gallery. There are feveral of his works in S. Francesco and S. Pietro at Perugia. At the. Louvre " The Marriage of S. Catherine," No. 26, dated 1548, is by this master. Tliere arc many more of his pictures, in Peruoia men tioned in the Guides. Orazio was registered in the guild of Perugia in 1545; elected architect of the town in 1576, but retained the office a very short time. He was first president of the Acad, of Perugia, founded in 1573. Alfaro y Gamon, Don Juan de, born at Cordoba 1640, died at Madrid 1G80. He studied first with Antonio do Castile, and then with Velasquez. His pictures imitate the latter, and also remind one of Vandyck in color. He is said to have been very vain, and to have copied some prints, and put on each of them, Alfaro pinxit. To punish him, Castillo painted one, and subscribed it Non pinxit Alfaro, which passed into a proverb. He was also a poet, and had good literary attainments, but his memory is stained by in gratitude. The Admiral of Castille was his patron ; still when he was banished Alfaro forsook him, and yet did not hesitate to solicit his patronage when recalled. The rebuff ho received is said to have brought on melancholy and caused his death. In the ch. of the Carmelites is his " Incarnation," and at Madrid, in the ch. of the Imperial College his celebrated " Guardian Ana-el." ALFON — ALLAN. 23 Alfon, Juan, born at Toledo. In 1418 he painted several reliqua ries for the Cathedral which are still preserved. -~< Algardi, Alessandro, born at Bologna 1598. He was rfsi . an architect, sculptor, and engraver. A pupil of Giulio Cesare Conventi. His plates which remain are few ; they are executed with a graver, in the free bold manner of Agostino Caracci, and are as follows : — A large, upright plate of The Crucifixion. The Souls delivered from Purgatory ; oval. The Blind Beggar and his Dog ; after Caracci. Eighty plates of the Cries of Bologna ; after Caracci. These were executed in conjunction with Simon Guillain. He is best known as a sculptor by a large rilievo in marble, over an altar in S. Peter's at Rome. It represents the appearance of SS. Peter and Paul to Attila and his hosts. While this work has some merit, it has great faults, especially those of confusion and want of breadth. Aliamet, Jacques, born at Abbeville 1728, died in Paris 1788. An engraver who excelled in landscapes and sea-pieces. Aliamet, Francois Germain, younger brother of Jacques. Born at Abbeville 1 734. After studying engraving in Paris, he went to London, where he was under Sir Robert Strange. His works were inferior to his brother's, and consisted of portraits and historical subjects. Aliberti, Gio. Carlo, born at Asti (1680-1740). His prin cipal works were frescoes in his native city. He painted the cupola of S. Agostino, and other pictures for the same church. Bryan says, " His style consists of a mixture of Maratta, of Gio. da S. Giovanni, and of Correggio ; heads and feet that might be attrib uted to Guido or Domenichino ; forms peculiar to the Caracci ; dra pery of Paolo, and colors of Guercino." Alibrandi, Girolamo, born at Messina (1470-1524). Pupil of Gio. Bellini, and a friend of Giorgione at Venice, where he spent many years. Ho then entered the school of Leonardo at Milan. He has been called the Raphael of Messina. The chef-d' ozurre of Messinian pictures is his "Purification" in the ch. of Candelora. It has perspective, grace, and pleasing color. Polidoro admired it so much that he painted a " Deposition from the Cross " in distemper, to serve as a cover and protection to it. Aliense. See Vassilacchi. Allan, David, born at Alloa, Scotland (1744-1796). After studying in the Academy at Glasgow, he went to Italy, and took the prize medal at the Acad, of S. Luke, for the best historical com position. It is difficult to understand how he could have excelled, judging from his etchings, or the engravings from his pictures. Allan, Sir William, born at Edinburgh (1782-1850). Studied 24 ALLAN — ALLEGRI. at the same time as Wilkie in the Trustees' Acad, in his native city. He went to London, where he met with no success, and in 1805 went to St. Petersburg, where he made a good name, as a portrait painter. He visited the interior of Russia, Tartary, and Turkey. He afterwards painted pictures illustrative of the scenes of those countries, such as the " Circassian Captives," " Prisoners conveyed by Cossacks to Siberia," etc. He returned to England in 1814. In 1830 visited the continent; in 1834 went to Spain; in 1838 became president of the Royal Academy of Scotland, was the successor of Sir David Wilkie, as Limner to the Queen in Scotland, and was knighted in 1842. In 1843 he exhibited the " Battle of Waterloo," now in the Coll. of the Duke of Wellington. In 1844 he went again to Russia, and after his return, painted the picture now in the winter palace of the Emperor, representing " Peter the Great teach ing the Art of Ship-building to his Subjects." He died in his studio at Edinburgh, before an unfinished picture of the " Battle of Ban- nockburn." Allegri, Antonio da Correggio, or Antonio Lieto da Correggio. Allegri and Lieto are synonymous, and have the same meaning as the Latin Leatus (joyful). Born at Correggio (1494-1534). His father, Pellegrino Allegri, was a respectable merchant. Very little is known of the early life of Correggio, but it is thought that he was a pupil of Tonino Bartoletto of his native city. He probably studied the works of Leonardo da Vinci, and the painters of Mantua and Modena, for he fled to Mantua in 1511 on account of the plague at Correggio. He appears, however, to have been largely the founder of his own style. He is the greatest master of light and dark, or chiaro-scuro, whether effected by color or shades. His management of light was wonderful ; he gave the most brilliant effect without dazzling, and his deepest shades were not dull. In all his subjects there is life and motion. He loved to depict the joyousness of child hood, while his representation of earthly love was blissful, and that of heavenly love fervent. If sorrow was represented, it was deep ened by the contrast with his usual joyousness. His passion seems to have been foreshortening and violent perspective. For his cupola paintings, this was a necessity, but he used it often apparently for the mere love of it, as in one instance he painted a " Madonna" sit ting on her throne as if seen from below, and her knees appear almost to touch her breast. He was the first modern artist who excelled in chiaro-scuro, and is allowed to be still unequalled. When twenty-five years old, he was at Parma, and had an established reputation. In 1520 he contracted to paint fhe dome of S. Giovanni Evangelista, the payments for which extended through four years. He had pre viously painted in Parma, some mythological designs for the convent of S. Paolo. We are amazed that these designs were chosen for a cloister; but Lanzi says, " Our wonder will cease, when we reflect, ALLEGRI. 25 that the same place was once the residence of a lady abbess, at a time when the nuns of S. Paolo lived unguarded by grates, in which every abbess sought to enjoy herself, held jurisdiction over lands and castles, and independent of the bishop, lived altogether as a secular personage." At Correggio, before this time, Allegri had painted altar-pieces. The Madonna at Dresden, called " The Madonna del S. Francesco," is claimed to have been painted when he was but twenty-one, and the " S. George," also at Dresden, is another early work. At S. Giovanni he painted " The Ascension of Christ," who is represented as suspended in air, in the centre, while the Apos tles are seated on the clouds below. In the pendentives are the Evan gelists and four fathers of the church. This was the first instance of remarkably foreshortened figures, and was grand in arrangement and detail. But Correggio brought his style to perfection, in the cupola of the cathedral, at Parma. This was done between 1526 and 1530. Here he represented " The Assumption of the Virgin." In the centre, high up, is Christ, who sjems to precipitate Himself to meet his mother. The principal group, of the Virgin borne in triumph by angels, is much lower down, while between that and Christ are several saints, both male and female, which are wonderfully foreshortened. All the light, pro ceeds from the glory around Christ. This occupies but the upper half of the dome. Below are the Apostles between the oblono- win dows, which are in this part of the dome ; above the windows are genii ; the whole is a vast throng of angels, saints, etc., for in the four pendentives beneath the cupola, are the patron saints of Parma, seated on clouds, and surrounded by angels. A pious rapture seems to be diffused through all, and the richness and boundlessness of the effjet can scarcely be conveyed in language. Of course these figures are all much foreshortened, and the artist was told, " Ci avele fatto un guazzetlo di rane " (you have given us a hash of frogs). Besides these wonderful frescoes, there are many altar-pieces and -easel pictures by Correggio. One of the most beautiful is the S. Jerome, at Parma, called " 11 Giorno," the day, in contrast with " La Notte," or " The Adoration of the Shepherds," at Dresden. " The Marriage of S. Catherine " is one of the most beautiful and oftenest repeated of his small pictures, and the best example is in the Louvre. In Kugler's " Handbook," the editor remarks in a foot note (page 423), when speaking of this picture : " This subject was comparatively late; S. Catherine of Siena died in the fourteenth century, and was not canonized till 1461. The painters appear to have improved on the legend." Here is a mistake. The picture illustrates the legend of S. Catherine of Alexandria, who died in the fourth century, and has no reference to S. Catherine of Siena. " La Zingarella" (the Gypsy), so called from the turban worn by the Virgin, is a picture of " The Repose during the Flight to Egypt," 26 ALLEGRI. and is very beautiful. Other important pictures in the Gall, at Parma are " The Madonna della Scodella," so called from the cup in the hand of the Virgin ; " The Deposition from the Cross," and " The Martyrdom of SS. Placida and Flavia." At Dresden, besides those already mentioned, there are " The S. Sebastian," which lias sometimes been called the most beautiful of all the figures of Correg gio ; " The Reading Magdalene," and a portrait, said to be that of MAGDALENE. BY CORKEGGIO. Dresden Gall. the physician to this master. The National Gall., London, has the " Ecce Homo," " Venus and Mercury teaching Cupid his Letters,'' and the " Vierge au Panier." In the Coll. of the Duke of Wellington is " The Agony of Christ upon the Mount of Olives," a remarkable cabinet picture ; it was presented by Ferdinand VII. of Spain to the first duke. The " Christ in the Garden with the Magdalene," is in the Madrid Gall. There are other works of this master of an entirely different character. At the Stafford House Gall, is one with a horse and mule, both laden, with their drivers, in the midst of a glowing landscape. This is said to have been painted for a sign to an inn. In the Berlin Mus. are "Leda and the Swan," and " lo embraced by Jupiter." These show the triumph of earthly love, as intensely as the religious pictures present that of the heavenly. The latter picture was once in the Orleans Gall: and the son of the duke cut out the head of lo because it was too voluptuous in expression 1 ALLEGRI. 27 The present head was the work of Prud'hon. There is a copy of this picture in the Vienna GaU., wliich is universally believed to be also by Correggio. At the Borghese Gall, at Rome, is the pic ture of Danae. At the Paris Museum, " Jupiter and Antiope." It is said that when Correggio saw the pictures of Raphael, his eyes brightened, and he exclaimed, " I also am a painter." When Titian saw the works of Correggio at Parma, he said, " Were I not Titian, I should desire to be Correggio." Annibale Carracci wrote from Parma in 1580, " Tibaldi, Niccolini, Raphael himself, arc nothing to Correggio." The monks were verv fond of Correo-oio, and in 1520 he was made a member of the Congregation Cassinensi, in the monastery of S. John the Evangelist at Parma. Tassj was also a member of this fraternity. This membership conveyed a participation in the masses, prayers, and alms of the community, and was accompanied with a promise to perform the same offices for the repose of his soul, and those of his family, that they would per form for their own number. In 1520 he married Girolama Merlini, a lady of good family, very gentle and lovely. She was probably his model for " La Zingarella " after the birth of his first child. She bore him one son and three daughters, and died in 1529. He did not marry again, and died suddenly in 1534. The story of the great poverty of Correggio, set forth by Vasari, seems to have been unfounded ; it is certainly contradicted by the quantity and quality of the colors he lavished on his pictures. The prices which he received — such as 1,000 ducats, or 150/. sterling for the Cath. of Parma, 11. 10s. for " La Notte," etc., — seem to us very small, but we must consider the value of money in those days, and these sums are not inconsiderable. It is not known whether Correggio ever visited Rome or not, and various arguments are brought to bear on both sides of the question; but Ortensio Landi, in a work published in 1552, says, "he died young, without being able to see Rome.'' ENGRAVINGS AFTER CORREGGIO. Engraver, Anderi.oni, Pietro. Magdalene. Engraver, Addodix, Pierre. Jupiter and Antiope. Engraver, Bazin, Nicholas. The Virgin Mary suckling the Infant. Engraver, Beauvais, Nicholas Dauphin de. The Virgin with the Infant Jesus upon a pedestal, and several saints below. Engraver, Berger, Daniel. The Virgin and Child. Engraver, Bernard, Samuel. Mezzotinto, The Repose ; called La Zingarella. Engraver, Bertelli, Cristofano. The Virgin and Infant, with SS. Sebastian, Francis, and Roch. Engraver, Bonavkra, Domenico Maria. The Cupola at Parma ; the Assumption. Dominico Bor.avera, sc. 1697. 28 ALLEGRI. Engraver, Brizzio or Briccio, Francesco. The Holy Family. Engraver, Capitelli, Bernardo. The Marriage of S. Catherine. Engraver, Caracci, Agostino. The Virgin and Infant with Mag dalene; S. Jerome and an Angel ; 1586. Engraver, Chateau or Chasteau, William. The Repose in Egypt. Engraver, Cort, Cornelius. The Marriage of S. Catherine; S. Jerome. Engraver, Cdnego, Domenico. The Virgin and Infant. Engraver, Duciiange, Gaspar. Jupiter and lo; Jupiter and Danae' ; Jupiter and Leda. Engraver, Earlom, Richard. The Repose, called la Zingara. Engraver, Edelinck, Nicholas. The Virgin and Infant. Engraver, Fkssard, Stephen. S. John Baptist, with other saints. Engraver, Frezza, Gio. Girolamo. The Repose, called la Zin gara. Engraver, Jode, Arnold de; Mercury educating Cupid. Engraver, Lorenzini, Fra Antonio. S. John surrounded with angels. Engraver, Menageot, Robert. Friendship ; a circular print. Engraver, Mercati, Gio. Batista. The Marriage of S. Cath erine. Engraver, Mitellt, Giuseppe Maria. The Adoration of the Shep herds, called La Notte. Engraver, Mogalli, Como. The Holy Family. Engraver, Picart, Etienne. The Marriage of S. Catherine. Virtue triumphant over Vice ; The Sensualist. Engraver, Porporati. Jupiter and Leda ; The Madonna with the Rabbit ; Leda and the Swan, and Leda bathing ; La Zingarella. Engraver, Rossi, Girolamo. The Virgin and Infant Jesus. Engraver, Sanuto or Sanutus, Giulio. Apollo and Marsyas. Engraver, Smith, John. Venus standing in a Shell. Engraver, Sornique, Dominique. Diana and her Nymphs. Engraver, Spikkue, Francis. The Virgin suckling the infant Christ. Engraver, Steen, Francis Vander. Cupid shaping his Bow ; Ju piter and lo ; Ganymede. Engraver, Strange, Sir Robert. The Magdalene. Engraver, Surrugue, Peter Louis. The Adoration, called "La Notte." Engraver, Troyes, John Van. Magdalene Penitent. Engraver, Volpato, Gio. Christ praying on the Mount. Engraver, Watson, Thomas. The Virgin with the infant Jesus and S. John. Allegri, Pomponio Quirino, son of Antonio, born at Correggio 1521. He was but thirteen when his father died, therefore he could ALLEGRI — ALLORI. 29 derive but small benefit from him, except in the study of his works. He had fair abilities, and was established at Parma, where he was constantly employed until 1593. In the Cath. of Parma there is a fresco by him representing Moses just after he received the Tables of the Law, and is showing them to the Israelites. Allegrini, Francesco, born at Florence 1729. A designer and engraver. In 1762 he published one hundred portraits of the Medici family with a frontispiece, all engraved by himself. lie made a, print of S. Francesco d'Assisi, which is much esteemed in Florence. He also engraved other eminent poets, painters, and men of Florenoe. Allegrini, Francesco, called da Gubbio (1587-1663). A disciple of Giuseppe Cesari, called II Cavaliere d' Arpino. He painted in oil and fresco, but mostly in the latter. At Gubbio ho painted the cupola of the Sacrament in the Cath., and another at the Madonna de' Bianchi. He lived at Rome and worked in the Casa Panfili. Small pictures by this master are often seen in Rome and Gubbio, which merit praise. He also painted figures in the land scapes of Claude; two of these were in the Colonna Pal. He painted in the Cath. and Casa Gavotti at Savona, and in the Casa Durazzo at Genoa. His two sons, Flaminio and Angelo were histori cal painters. Allet, Jean Charles, born at Paris 1668; died at Rome 1732. Designer and engraver. Pie marked his plates sometimes Charles, and sometimes Jean Charles, which led to the opinion that there were two engravers of the name of Allet, but they are now believed to have been one person. His engravings are portraits and subjects from sacred history. Alloisi. See Galanino. Allori, Alessandro, born at Florence (1535-1607). A nephew of Bronzino, he was called by his name, which he sometimes affixed to his pictures. Vasari speaks of him as living most lovingly, even as a son, with his uncle. Before he was seventeen he had painted from his own design, an altar-piece representing the Crucifixion. At nineteen he went to Rome and remained two years. There he studied principally the works of Michael Angelo. Returning to Florence he was constantly occupied on public edifices, but painted some portraits. He wrote a book upon anatomy for the use of pain ters, and was so much devoted to this, that he neglected some other branches of art. He was a great mannerist, and his portraits were his best pictures, though some of the horses which he painted in Rome were fine ; but on the whole he was little if any above medi ocrity. Allori, Cristoforo, born at Florence (1577-1621). Son of Ales sandro, and called also Bronzino. Ho was a pupil of his father, whom he afterwards called "a heretic in painting," and followed Cigoli and Pagani, whose works he admired. By some his execution 30 ALLORI — ALLSTON. was considered better than that of any other artist of his time ; in deed, ho was so fastidious that he finished few pictures. He excelled in portraits, and in landscape painting surpassed the Florentines of his day. His best work is the " S. Julian," in the Pitti Gall., but his "Judith " is more generally known. It is said that the head of " Holofernes "is his own portrait, " Judith" that of his mistress, and " Abra," that of her mother. He made copies of the " Magdalen " of Correggio which passed for duplicates by the great master. Alls ton, Washington, born at Waccamaw, South Carolina, 1779 ; died at Cambridge, Mass., 1843. He graduated from Harvard Col lege in 1800, and went to London and studied in the Royal Acad. After three years of assiduous labor he went to Paris, and proceeded to Italy, where he remained four years, mostly in Rome. There he associated intimately with Coleridge and Thorwaldsen. In 1809 he came to America and married Miss Channing, and subsequently fixed his residence in London. He there exhibited "The Dead Man re vived," which took the prize of two hundred guineas at the British Institution. He next painted " S. Peter liberated by an Angel," now in the ch. of Ashby-de-la-Zouch ; " Uriel in the Sun," also a prize picture, now belonging to the Duke of Sutherland ; " Jacob's Dream," now at Pet worth ; and between these larger works, several smaller ones. He returned to America in 1818, and settled in Boston. He was elected to the Royal Acad, in England, where his works were much esteemed. The only one he brought to America, " Elijah in the Wilderness," was sold to the Hon. Mr. Labouchere, and taken to England. His next pictures were " The Prophet Jeremiah," now at Yale College ; " Saul and the Witch of Endor," which belonged to the late Colonel T. H. Perkins, of Boston; " Miriam singing the Son 1623" His paintings JJ AY./* Ai-i* *• are little known, but he was a very cel ebrated engraver. Early in life he established himself in Rome, and devoted himself to wood-cuts, which were printed in chiaro-scuro. He excelled all who had preceded him. It is said that he procured the blocks of other engravers, retouched them and called them his own. The number of prints attributed to him is very large, and they are prized by good judges. From the similarity of his monogram to that of Albert Altdorfer, their works are sometimes confounded. Andreasi, Ippolito, a native of Mantua. A pupil of Giulio Ro mano, whom he assisted in his cartoons. Andreasi painted pic tures of merit, in S. Barbara and other places. Andriessen, Jurriaan, born at Amsterdam (1742-1819). Pupil of A. Elliger and J. M. Quinkhart. He excelled in decorative paint ing, and the new theatre at Amsterdam was decorated by this artist and Numan. He had several pupils who are distinguished. Andriessen, Antony, born at Amsterdam (1746-1813). Painted landscapes and figures with his brother, Jurriaan. Andriessen or Adrienses, Hendricks, called Mankenhein, born at Antwerp, 1600 ; died at Zealand, 1655. A painter of still life. Andrioli, Girolamo. A Veronese painter. His name, with the date 1606, is found on an altar-piece and other pictures in the ch. of S. Caterina di Siena, at Verona. Andriot or Handeriot, Franz or Francois, born at Paris about 1655. An engraver who worked in Rome and Paris. He followed the style of Poilly, and although he did not equal that artist his plates are prized for their subjects and the masters after whom he engraved. Aneda, Juan de, born at Burgos, where he painted, in 1565, sev eral pictures, which are still in the Cath. He was associated in this work with Juan de Cea. Anesi, Paolo. A native of Florence. Several of his works are in the palaces and private galleries of that city and at Rome. He painted ruins in the manner of P. Panini, as well as landscapes. Francesco Zuccherelli was one of his pupils. Angeli or Angelis. There were many artists of this name, but the facts recorded of them scarcely serve to distinguish them from each other. 44 ANGELI — ANGUIER. Angeli, Giulio Cesare, born about 1570; died 1630. A pupil of the Caracci. There is a large picture by liim in the ch. of S. Agos tino at Perugia. Angeli, Giuseppe, born about 1615. Pupil of Piazzetta. He painted some altar-pieces, but principally cabinet pictures. Angeli, Niccolo. An engraver who flourished about 1635. Angelis, Peter, born at Dunkirk, 1685; died at Rennes, 1734. He went to Flanders, and passed some time there and at Dusseldorf. In 1712 he went to England, and met with such success that he re mained sixteen years. In 1 728 he went to Rome and remained three years. His pictures were much admired there, but his retiring dispo sition and his devotion to his art prevented his pushing his fortune. He left Italy with the intention of returning to England, but stopped at Rennes, in Bretagne, where he found so much employment that he spent the remainder of his life there. He painted landscapes with small figures and conversations. He was fond of introducing fruit and fish into his pictures. His designs are graceful and natural, but his colors sometimes faint and wanting character. Angelico, Fra Giovanni, da Fiesole. See Fiesole. Angelini, Scipione, born at Perugia or Ascoli (1661-1729). A very skilful painter of flowers. Many of his works were exported from Rome, where he worked, to France, Holland, and England. Angelo Pedro. Stirling calls him the first good engraver of Spain. He engraved several fine portraits for books, among which were those of Card. Ximenes de Cisneros and Pedro Gonzalez de Mendoza, the great cardinal of Spain. Angelo, called Angeluccio. Flourished about 1680. A promis ing pupil of Claude Lorraine who died young. Angelo, Michael. See Buonarotti. Angiers, Paul. An engraver of whom little is known. He re sided in London. He was employed mostly by booksellers, but his best print is a " View of Tivoli," after Moucheron, and there is one of a " View of Roman Ruins," after Panini, dated 1749. Angioletto, of Gubbio, was a mosaist who flourished about 1325. He worked at Orvieto and at Assisi, where he assisted in the win dows of the lower church. Anguier, Francois, born at Eu, in Normandy, 1604; died in Paris, 1669. A son of a carpenter who early taught him to carve in wood. He went afterwards to Paris to study sculpture, and later to Rome. He was one of the first artists of his time in France, and Louis XIII. made him keeper of the Gall, of Antiquities, and gave him apartments in the Louvre. At one time he was employed in England. One of his best works is a " Crucifix," in the ch. of the Sorbonne. His sculptures may also be seen in the ch. de L'Ora- toire ; the ch. S. Andre'-des-Arcs ; and at Moulins. He also exe cuted four figures for the tomb of the Duke of Rohan, in the ch. of tho Celestines, at Paris. His copies after the antique were fine. ANGUIER — ANGUISCIOLA. 45 Anguier, Michel, born at Eu (1612-1686). Brother of the preceding, with whom he studied until they went to Rome. Michel became the pupil of Algardi and worked with him at S. Peter's and in several palaces. He remained ten years in Rome and was the friend of Algardi-, Poussin, and Du Quesnoy. In 1651 he returned to Paris and assisted Francois in his greatest wort, the tomb of the Duke de Montmorenci at Moulins. He made a statue of Louis XIII. which was cast in bronze. For Queen Anne of Austria he executed the principal sculptures in the ch. of Val de Grace, and adorned her own apartments in the Louvre. His " Nativity " in the last named ch. is considered his master-piece. He also executed sculptures for the high altar of S. Denis de la Chartre ; bas-reliefs for the Porte S. Denis ; the monument of the Duchess de Longueville ; the brazen vase in the garden of Versailles ; and the statues of Pluto, Ceres, Neptune, and Amphitrite. This artist was professor in the Acad, of Arts at Paris, and wrote lectures on Sculpture. Anguisciola or Angosciola, Sophonisba, born at Cremona, 1530 or 1533 ; died about 1620. She was of a good family and one of six sisters. She was first taught by Bernardino Campi, then Bernardo Gatti, called Sojaro. She came to be considered one of the best por trait painters of her age. She instructed her sisters also, four of whom, besides herself, were artists. Vasari praises her picture of three of her sisters playing chess with an old woman, and another group of family portraits, in wliich her father is introduced. Her fame was so great that Philip II. invited her to Spain as court painter, whither she went in 1559. She was received with great honor and first painted the portrait of the king, with which he was so much pleased, that he gave her a diamond worth fifteen hundred ducats and a pension of two hundred ducats. She then painted the Queen Isabella, and a copy of this picture was sent by her to Pope Pius IV. with a letter written by her, wliich Vasari gives, together with the pope's reply. She painted various princes and persons of rank, and the whole court, in fact, desired to have her pictures. She at length married Don Fabrizzio di Moncada, a Sicilian nobleman, and resided at Palermo, while he lived. The king allowed her a handsome pension, and at her husband's death desired her to return to court, but she preferred to visit her native Italy and on her pas sage to Genoa she fell in love with, and it is said, offered herself to Orazio Lomellino, tho captain of the galley in which she sailed, and of a fine Genoese family. She continued to practice her art in Genoa, but late in life became blind. In 1620 Vandyck was often with her in Genoa, where her house was a favorite resort of all artists, and he was heard to say that he had been more enlightened in painting by a blind woman than by his own master. When we consider that this master was Rubens, and Vandyck his favorite pupil, this is great praise. She painted two portraits of herself wliich wore much ad- 46 ANGUISCIOLA — ANSELMI. mhed, and Lanzi says one of them was in the ducal Gall, of Florence, and the other in the possession of the Lomellini family at Genoa. At Althorpe, in Northamptonshire, is a portrait of herself playing on as harpsichord. The picture of her sisters playing chess was in the Coll. of Lucien Bonaparte, and is somewhere in England'; and the Earl of Pembroke, at Wilton, had the " Marriage of S. Catherine '? by her. Her sisters Lucia, Europa, and Anna Maria all painted, but none of them equalled Sophonisba. Angus, William. Flourished 1786-1820. An English designer and engraver of public buildings and landscapes. He made plates of many gentlemen's country seats, and was employed on various topo graphical works. He also made engravings from the designs of others. Anichini, Luigi, a Ferrarese engraver praised by Vasari. Anichini, Pietro. An engraver of whom little is known. Some of his plates are dated 1655. Anjou, Rene d', King of the Two Sicilies, Duke of Lorraine,' and Count of Provence, was a painter. His life belongs, however, to history rather than art. He painted his own portrait, which was in the chapel of the Carmelites at Aix. There is a print from it in Montfaucon. He painted missals and miniatures on glass, and it is said that he also did a portrait of Charles VII. of France. Anna, Baldassare d', Flemish by birth, but of the Venetian school, and a pupil of Corona of Murano. After his master's death in 1605, Anna completed several of his works. He also painted orig inal pictures for the Servi, which surpass those of Corona in softness and the power of chiaro-scuro, but are inferior in design. Ansaldo, Gio. Andrea, born at Voltre (1584-1638). Pupil of Orazio Cambiasi ; he also studied the works of Paul Veronese. He was an excellent colorist both in oil and fresco, especially in the lat ter. Plis works are numerous in the churches and palaces of Genoa ; his chef-d'oeuvre was the cupola ofthe Nunziata in that city. Ansaloni, Vincenzio, born at Bologna. Flourished about 1615, and died young. A scholar of Ludovico Caracci, he became a painter of some merit. He left two altar-pieces in Bologna. One at S. Stefano, representing the death of S. Sebastian ; "the other a Ma donna, in the ch. of the Celestine monks, which is much admired. Anselin, Jean Louis, born at Paris (1754-1823). An engraver. His chief works were from the pictures of French masters represent ing historical and poetical subjects. Anselmi, Giorgio, born at Verona (1722-1797). Pupil of Bales tra. Painted the cupola of S. Andrea at Mantua. Anselmi, Michael Angelo, called Michelangelo da Siena, born at Lucca and studied at Siena, but his family were of Parma (1491- 1554). Bazzi was his master. He became a follower and imitator of Correggio. When the, latter painted the Cath. of Parma, Anselmi ANSELMI — ANTONELLO. 47 was one of the artists to whom the chapels were given. He painted much in Parma. There is a "Madonna" by him in the Louvre. His designs were weak ; his heads studied, and his colors gay. He died at Parma. Ansiaux, Jean Joseph Eleonora Antoine, born at Liege (1764 -1840). Pupil of Vincent. He painted historical and poetical sub jects, and large numbers of portraits. He ranks among the first art ists of his time. There are three pictures by him in the ch. of S Paul at Liege. He painted portraits of many eminent statesmen ar.d generals. Antelami or Antelmi, Benedetto, born at Parma. Flourished about 1185. A basso-relievo of the " Crucifixion " by this sculptor is in the Cath. of Parma, and though rude when compared with an cient or more modern sculpture, it is excellent for its time. Anthemius, born at Tralles in Lydia. An eminent architect and mathematician. In 532 he was employed by Justinian in the build- " ing of the ch. of S. Sophia at Constantinople. In 1777 a fragment of one of his mathematical works was published at Paris. Antiquus, Jan, born at Groningen (1702-1750). He commenced his artistic career as a glass painter ; he next studied with Jan Abel Wassenberg, after which he went to France and painted portraits. At length he went to Florence, where he was six years in the service of the Grand Duke of Tuscany. After his return to Holland he painted various large pictures in the Pal. of Loo, one of wliich was "Mars disarmed by the Graces." His design and color were good. Antolinez, Don Josef, born at Seville (1639-1676). Pupil of Don Francesco Rizi. His historical pictures were admired for their fine landscape backgrounds. He was a man of haughty temper and sarcastic humor. In the Queen of Spain's Gall, is his " Magdalene in Ecstasy upborne by angels." The design and coloring are good, but the saint is too sad for her triumphant position. In the ch. of La Magdalena at Madrid are the " Miraculous Conception " and the " Good Shepherd," by Antolinez. Antolinez de Sarabia, Francisco, died 1 700. Nephew of Josef and pupil of Murillo. Although he made himself a good reputation as an historical painter, he gave up the profession to practice law, for which he had been educated at Seville. But not succeeding, lie was obliged again to paint as a means of living. At this time lie made a series of small pictures from the Bible and the life of the Virgin, which have been very greatly admired. After the death of his wife he determined to be a priest, but did not live long enough (o take orders. Palomino says, "in spite of his strange temper and unsettled habits, a man of large erudition and great powers of mem ory, and had an apposite quotation on his tongue for every incident that could occur." Antonello da Messina. See Messina. 48 ANTONIO — AFOLLODORUS. Antonio, Marc. See Raimondi. Antonio, Pedro, born at Cordova (1614-1675). Pupil of Antonio del Castillo. A good colorist. Antonisze, Cornelius, born at Amsterdam about 1500. He ex celled in painting views of streets and towns. In the treasury of Amsterdam is his picture of that city in 1536 ; he also painted twelve views of its public buildings and engraved them on as many blocks of wood. These prints are now rare. Apelles. The most celebrated Grecian painter. He studied und.-r Ephorus at Ephesus, under Pamphilus at Amphipolis, and later in the school of Melanthius at Sicyon. He combined the ele gance of the Ionic, with the accurate science of the Sicyonie school. The best part of his life was spent at the courts of Philip and Alex ander the Great, and he was the only master whom the latter would allow to paint his portrait. His most famous work was the " Venus Anadyomene.'' This was painted for the temple of Asclepius at Cos. It was taken to Rome by Augustus and placed in the temple of Caesar, and when it had been injured no artist would attempt its res toration. He painted Alexander with a thunderbolt in his hand, for the temple of Artemis at Ephesus, and the monarch is said to have declared that there were two Alexanders ; the son of Pliilip who wis unconquerable, and the work of Apelles, wliich was inimitable. There are many anecdotes of Apelles, and he is said to have seen and admitted the excellences of other artists, but he claimed that he excelled all in grace. In order to test the accuracy of his works he was accustomed to expose them in some public place and conceal himself where he could hear the remarks of those who passed by. On one occasion a cobbler criticised a shoe ; Apelles corrected the fault; but when the same man found fault with the leg, the master rushed out and commanded him to stick to the shoes. Apelles went to Rhodes, and to the studio of Protogenes when that master was absent. A panel was there ready for use. Apelles took a pencil and drew a thin colored line in such a way that when Protogenes saw it he knew who must have done it ; he then drew a thinner line of a different color upon that of Apelles. When the latter saw this he drew still another line which divided that of Protogenes as he had divided the first. This panel was carried to Rome, where it was con sidered the most wonderful work of art in the Pal. of the Caesars. It was burned with that building. No work of Apelles' remains. Apollodorus. 1. An Athenian painter who flourished about 408 n. c. He was the discoverer of chiaro-scuro. Pliny says he was the first artist whose pictures riveted the eyes. 2. A sculptor. He made bronze statues and then destroyed them, because they did not satisfy him. He was called the " mad-man," and was represented in that character by the sculptor Silanion. 3. An architect of Damas cus. Trajan employed him to build the Forum, Odeum, and Gym- APOLLODORUS — APPELMAN. 49 nasium at Rome. Hadrian, who took offence at some words of Apol lodorus', first banished him, and afterwards put him to death. Apollonio, Agostino, born at S. Angelo in Vado. Nephew of Luzio Dolci, whom he assisted in the latter part of his life. Apollo nio removed to Castel Durante and worked both in stucco and oils. He was the heir of Luzio. Apollonio, Jacopo, born at Bassano (1584-1654). Grandson of Jacopo da Ponte, called Bassano, by whom he was instructed. He was the best imitator of his master among all his disciples. His finest work is the " Martyrdom of S. Sebastian " in the ch. of that saint at Bassano. In the' dome of Bassano there is a " Magdalen," and at the Riformati a picture of " S. Francis," by Apollonio. Apollonius. 1. Born at Tralles and a brother of Tauriscus. These brothers were the sculptors of the group called the " Farnese Bull," which represents the punishment of Dirce. This group, now at Naples, was taken from Rhodes to Rome by Asinus Pollio ; it was found in the excavation of the Baths of Caracalla in the 16th century, and placed in the Far nese Pal. Battista Bianca, of Mi lan, undertook its restoration, but his work is very unlike the orig inal. It was originally made of a single block of marble. It is be lieved that these sculptors lived in the first century of the* Chris tian era. 2. An Athenian sculp tor, son of Nestor, and the author of the " Torso of Hercules " in the Belvedere, one ofthe most splendid remains of Grecian art. There is also a statue of JEsculapius at Rome by this master. 3. Another Athenian sculptor, son of Archias. He executed the bronze head of a young hero, found at Herculaneum. 4. A sculptor, whose name is on a beautiful statue of a young satyr in the Coll. of the Earl of Egre- mont at Petvvorth, Sussex, England. Appelius, Jean, born at Middlebourg. Flourished about 1778. Painted history, portraits, and landscapes. His pictures are mostly large. He had more than ordinary talent. Appelman, Bernard or Barent, born at the Hague (1640-1686). It is not known where he studied, but the fact that many of his pic tures are of Italian scenery indicates that he visited Italy. The Prince of Orange employed him a long time. The landscapes which he painted in the Pal. at Soesdyk are good in style and color. He 4 DIECE. (NAPLES.) 50 APPELMAN — ARALDL painted landscape backgrounds to the portraits of other artists, and also painted portraits himself. Appiani, Andrea (1754-1818). An Italian, who painted in oil and fresco, in an original and graceful style. His frescoes in the imperial pal. at Milan are simple and grand. The portrait which he made of Napoleon, who had appointed him his painter, is in Eng land. He was made a knight of the Iron Crown and a member of the Legion of Honor, but when the Bourbons were restored his pen sion was taken away. In 1813 he had a stroke of apoplexy, and be came so poor that he was forced to sell his drawings, and everything of value that he possessed. Appiani, Francesco, born at Ancona, 1 702. Pupil of Magatta. In S. Sisto Veechio at Rome, he painted in fresco, for Benedict XHL, a picture of the " Death of S. Benedict." The pope gave him a gold medal. He settled in Perugia, was presented with the freedom of the city, and labored until he was ninety years old with a vigor equalled only by that of Titian. Perugia is full of his pictures, and there are many of them in England. Aquila, Francesco Faraone, born at Palermo, 1676. A designer and engraver. A brother of the celebrated Pietro Aquila. In 1 700 he established himself in Rome. Some of his engravings are highly esteemed. Besides detached pieces, he made twenty-two plates, called ' ' Picturaj Raphaelis Urbinatis ex aula et conclavibus Palatii Vaticani, etc., Franc. Aquilo, del. et incid. 1722." Aquila, Giorgio, called Maestro Giorgio da Firenzi, flourished from 1314 to 1325. Said to have been the first Italian artist who used nut oil. Aquila, Pietro, born at Marzalia. The early part of his life was passed in a seminary preparing for the 'priesthood. He went to Rome in 1700 with his brother Francesco, and became a monk, but in his seclusion he was devoted to art. He painted only tolerably, but excelled as an engraver. His best prints are after the Caracci, and these are highly esteemed. The number of his works is very large, and some of them are after his own designs. His drawing is correct and his etching bold and free. The " Farnese Gallery " with the statues and ornaments, is one of his best works. Aquila, Pompeo dell'. Flourished in the last part of the 16th century. A painter of history in oil and fresco. Several of his frescoes are in his native city, Aquila. At Rome, in the ch. of S. Spirito in Sassia, there is a fine " Deposition from the Cross " by this master. Araldi, Alessandro, born at Parma (1465-1528). Painted his tory. Lanzi says, " was indisputably a good artist in the mixed manner, that is now called antico moderno." His pictures are con fined to Parma. He had little originality. The following is a list of his works: Duomo, fresco, on the wall to the ri°ht as you ARALDI — ARDELL. 51 enter; "Virgin and Child" with S. Joseph and a kneeling man; Parma Gall., an "Annunciation" on wood, painted in oil; ch. of S. Paolo, a room painted in various designs ; ch. of S Sepolcro, pic ture of " S. Ubaldus, between the archangels Michael and Ra phael ; " with an ' ' Annunciation " and " Pieta " in the pediment. Arbasia, Cesare, born at Saluzzo. Flourished 1583-1614. A pupil of Federigo Zucchero. Painted in oil and fresco, but excelled in the latter. He went to Spain and worked in Cordova and Ma laga. In 1583 he painted the " Martyrs " of the former city in the Cath. For a picture of the " Incarnation," in the Cath. of Malaga, he received three thousand ducats. About 1588 he went to Rome with his former master. He was one of the founders of the Acad. of S. Luke, of which Federigo was the first president. Arce, Josef de. A pupil of Martinez Montanes. He executed eight colossal stone statues, representing the four Evangelists and four doctors of the Church, which were placed on the balustrades of the Sagrario of the Cath. of Seville. He also carved in wood the saints which adorned the high altar of the Carthusians at Xeres. Archer, Wykeham, born at Newcastle-upon-Tyne (1806-1864). He studied engraving with John Scott of London. He made etch ings of places of interest at Newcastle and Hexham. At Edinburgh, he made drawings of the streets and edifices of the town, and re turned to London to perfect himself in etching upon steel. He was a member of the new society of painters in water-colors. Mr. Ar cher was author of " Vestiges of Old London," illustrated by etch ings ; and a contributor to different journals. Pie claimed to have revived the practice of engraving in monumental brass, and executed works of that description. He also painted a little in oil. Arcimboldi, Giuseppe, born at Milan, 1533; died at Prague, 1593. H3 was court painter to Maxijiilian II. and the Emperor Rodolph. He excelled in painting interiors, kitchens, fruits, vege tables, utensils, etc. He also painted capricci, or pictures which looked like figures in the distance, but fell into heaps of flowers and leaves as one approached them. Arco, Alonso del, born at Madrid (1625-1700). Called El Sor- dillo de Pereda, and a disciple of Antonio de Pereda. He was deaf aid dumb from his birth. Palomino praises him. Stirling says his pictures were mostly painted for public occasions, such as triumphal processions, etc. Many of his works were in the public buildings of Madrid and throughout Spain. Ardell, James Mc, born about 1710. A native of Ireland, or the son of Irish parents. One of the best mezzotinto engravers. The number of his plates is large. Many of them are portraits of dis tinguished men of his time. He left a few plates of historical sub jects after Vandyck, Murillo, Rembrandt, etc., some of which are extremely fine. 52 ARDEMANS — ARETUSI. Ardemans, Teodoro, born at Madrid, 1664. An eminent archi tect, sculptor, and painter. He studied in the school of Coello. His attention was so given to his other pursuits that his pictures were few. That in the vault of tho sacristy of S. Francis at Madrid is a chef-d' ozuvre. In 1689 he was master of works to the Cath. of Gra nada, where he distinguished himself as a civil engineer. In 1691 he went to Madrid, and filled the place of master of works to the muni cipality while that functionary was sick. In 1 694 he was appointed to the same post at Toledo, and in 1700 at Madrid. In 1702 Philip V. made him superintendent of works at the Alcazar. In 1 704 he was made painter-in-ordinary, and received a key as deputy- Aposen- tador. He made designs for various public occasions, funerals, etc.; the plans for the collegiate church and high altar ; for a large part of the Pal. and gardens of S. Ildefonso; and for the ch. of S. Millan at Madrid. It is said he also made some engravings. He wrote and published works on engineering and architecture, and a eulogy upon Palomino. Ardente, Alessandro. Flourished 1565-1595. He was a Pied montese, but the exact place of his birth is not known. Many of his works are at Lucca. At Turin, at the Monte della Pieta, there is a picture of the " Conversion of S. Paul," which indicates by its style that he studied at Rome. At the time of his death he was painter to the court of France. Aregio, Pablo de. Flourished 1506. He is classed among Span ish painters, but it is probable that he was an Italian, and of the school of Leonardo da Vinci. Ho painted, together with F. Neapoli, the doors of tho great altar in the Cath. of Valencia. Long afterwards Philip IV. said of them, " the altar was silver, but its doors were gold." Arellano, Juan de, born at Santorcaz (1614-1676). A pupil of Juan de Solis. He did not succeed at first, and began to copy the pictures of Mario dei Fiori. He studied nature closely, and at length excelled in flowers and fruits. His pictures are seen in most Spanish collections and are highly esteemed. Aretino, Spinello, born at Arezzo (1328-1400). He painted at Arezzo, Florence, Siena, and in the Campo Santo at Pisa. In S. Angelo at Arezzo he painted the " Fall of the Angels," in which Lucifer was so terrible that the remembrance of it affected the mind of Spinello, haunted his dreams, and, in truth, hastened his death. In general Spinello was sketchy and unequal in execution, but showed great talent in the vehemence of his conceptions. He painted the history of S. Benedict in the Sacristy of S.'Miniato at Florence. These pictures are well preserved, and some of them are among the most spirited conceptions of all the pictures of the school of Giotto. Aretusi, or Munari degli Aretusi, Cesare. Called by some Mo- denese, because born at Modena, by others Bolognese, since he lived ARETUSI — ARIAS. 53 and took up his citizenship at Bologna ; died at Parma about 1612. He formed his style after Bagnacavallo. He was the intimate friend of Gio. Batista Fiorini, and they painted much together. Aretusi excelled in color and Fiorini was full of fine conceptions. Lanzi be lieved that in every work attributed to Aretusi wc should look for assistance from some other artist. But he excelled in portraits with out the aid of any one, and surpassed in imitation. He could assume the style of almost any artist with wonderful exactness. He made a copy of the " Notte " of Correggio for the ch. of S. Gio. di Parma, which Mengs declared would be a good substitute for the original. The excellence of this performance obtained for Aretusi the honor of restoring the picture which Correggio had painted for the tribune of the same church, and this last work was so well done that many believed it to be the original of Allegri. Arevalo, Juan Cano de, born at Valdemoro (1656-1696). Scholar of Francisco Camilo. He excelled in designing small figures, and at length painted most exquisite fans. But the Spanish ladies thought the French fans exceeded all others, and would not buy those made at home. Arevalo shut himself up and finished a great many very beautiful ones, and then displayed them, pretending that they were French. Before his deceit was detected his fans were so much ad mired that he was appointed abaniquero or fan-painter to the queen. He did some pictures in distemper in the ch. of Valdemoro. When the queen, Maria Louisa, died, he designed a strange allegorical pic ture which represented her as a glorious spirit within a halo of rays, each ray containing a text which alluded to one of her many virtues. He went to Alcala to assist in painting some altar-pieces for the Jesuit college and the ch. of S. Maria. While there he died of a wound received in a duel. His fans were his best works, and so fine that they were preserved in cabinets after they were no longer used. Arfian, Antonio de. Flourished 1551. He studied with Murillo and L. de Vargas. He did several important works, and together with Antonio Ruiz painted the great altar-piece of the Cath. of Se ville. This artist first introduced at Seville the painting of landscape and perspective backgrounds for bas-reliefs. He added to them painted figures which appeared to be carved like the rest. He also introduced improvements in the coloring of draperies on statues. Arias, Fernandez Antonio, born at Madrid; died 1680 or 1684. Studied with Pedro de las Cuevas. When but fourteen he painted the large altar-piece of the Carmelites at Toledo. This was much admired, and he was incited to greater application to his studies by the praises he received. At twenty-five he was one of the best painters at Madrid. The Duke d'Olivarez employed him to paint the portraits of the kings of Spain. After all his success, and his favors at court, he died in a hospital, although his life had been be yond reproach. His daughter, who survived him, was a painter of 54 ARIAS — ARTEAGA. some merit. In the Queen of Spain's Gall, there is a picture by Arias of "The Pharisees asking Christ concerning the Tribute Money." Aristeides. 1. Lived about 360 b. c. One of the most celebrated Greek painters. A native of Thebes, son. of Aristodemus, and pupil of Euxenidas and Nicomachus. He excelled in depicting the passions and feelings which are observed in common life. It is said that the first foreign painting ever displayed in Rome was by this artist, and represented " Bacchus." It was brought to Rome by Mummius, and placed in the temple of Ceres. 2. A sculptor celebrated for his statues of two and four-horsed chariots. Arlaud, James Anthony, born at Geneva (1668-1743). He first painted small miniatures for the jewellers, but at length did some portraits, which were so successful as to induce him to go to Paris. Here he was patronized by the Duke of Orleans, who gave him apartments at St. Cloud, and took lessons in painting from him. He devoted himself to his profession, in order to merit his good fortune, and became a favorite of the Princess Palatine. She gave him her portrait set with diamonds, and when he would go to England, she gave him a letter recommending him to the Princess of Wales, afterwards Queen Catherine. Arlaud painted her portrait, and was patronized by many of the nobility. He returned to Paris, and a few years after, having acquired an ample fortune, he settled in his native city, in which he remained until his death. Armanno, Vincenzio (1598-1649). A Fleming by birth. He painted landscapes and lived at Rome. His pictures are praised for their truthfulness, color, and shading. His figures are good and his invention copious. It is said that he was imprisoned in Rome for eating meat on fast days, and that on his liberation he left the city in disgust and went to Venice, where he died. Arnolfo, erroneously called di Lapo, was the son of Cambio of Colle de Val d'Elsa (1232-1310). A disciple of Niccola, under whom he worked at Sienna. When he died he held the office of chief'architect and sculptor of S. Reparata at Florence. Many archi tectural monuments were assigned to him, but most of them have perished. The tomb of Card, de Braye, in S. Domenico at Orvieto, was executed by him in 1 280. This is a mixture of mosaic, sculp ture, and architecture, and affords but small opportunity for judging of his merits. Arpino, il Cavaliere d'. See Cesari. Arredondo, Don Isidoro, born at Colemar de Oreja (1653-1702). A pupil of Josef Garcia, and later of Francesco Rizi. He painted history with great success, and at the death of Rizi was appointed court painter by Charles II. Palomino mentions a laro-e and very grand picture of the " Incarnation " by Arredondo. ? Arteaga y Alfaro, Matias, born at Seville; died-, 1794. Pupil ARTEAGA — ASPERTINI. 55 of Juan de Valdes. An eminent painter and engraver. He painted many perspective views, into which he introduced the stories illustra tive of the legends of the Virgin. He was secretary of the Acad. of Seville, at the time of his death. Artois, Jacob van, born at Brussels (1613-1665). Probably studied with Lodewyck de Vadder. Many of his pictures are very large. He painted only landscapes, and the figures in his pictures were done by Teniers, Van Herp, Gerard Zegers, and Gaspard de Craeyer. They sometimes represented Scripture stories, and are seen in the churches of Belgium. The pictures of Artois faithfully rep resent the scenery of his native country. His pencil was light and free; some of his works are grandly poetic, and his foliage so per fect that it seems to be in motion. His coloring is not of the best. His pictures are numerous, and very unequal in merit and value. The Dresden Gall, has a fine small picture by this master, No. 956. The Gall, at Brussels has four; Nos. 37, 1, and 4 are the best. The figures in the first are by Van Herp. In No. 4, they are by Gaspard de Craeyer and Peter Snayers, and represent " S. Hubert adoring the Crucifix." In the Vienna Gall, are two large pictures with fig ures by Gerard Zegers. In private galleries in England there are good pictures by Artois. Asper, Hans, born at Zurich (1499-1571). He painted portraits in the style of Holbein, and gained a reputation which has been in jured by his pictures being sold for those of Holbein. The portraits of Zuinglius and his wife, in the library at Zurich, are by Asper. His drawings of game, flowers, and birds, were much esteemed. A medal was given him to record his merit, and yet he lived and died in poverty. Aspertini, Amico, born at Bologna (1475-1532). Scholar of Francis Francia. Very peculiar in character all his life, and insane before his death, according to Vasari, who says that he studied art by going through all Italy and making copies of all that pleased him. He could paint with both hands at the same time, and was called Amico da due Penelli. His earliest works are in S. Cecilia at Bo logna, and are much injured. At S. Frediano in Lucca, there are nine pictures by this master, in the chapel of S. Agostino. They are much injured. His other works are, Berlin Mus., No. 119, "Nativity;" Bologna Gall., No. 297, "Virgin and Child," with several saints and the portraits of two patrons ; Madrid Mus., No. 885, " Rape of the Sabines ;" Bologna, ch. of S. Martino Maggiore, " Virgin and Child " with saints, among which is S. Nicholas giv ing their dowry to three young girls. At Ferrara, in the Strozzi Pal., a " Predella " with four scenes from the life of Mary. Aspertini, Guido, born at Bologna, about 1460. Scholar of Er cole di Ferrara. Died young. His principal work was an " Adora tion of the Magi," now in the Gall, of Bologna (No. 9). It is some what fantastic, but a pleasing picture. #,#;& 56 ASSCHE — ATHANASTO. Assche, Henri van, born at Brussels (1775-1841). Studied first with his father, and then with De Roi of Brussels. His pictures, which are landscapes, may be seen at Ghent, Lille, Haerlem, and Brussels. In some there are figures and animals by Ommeganck. Asselyn, Jan, born at Diessen, near Amsterdam. Scholar of Esaias van de Velde, and Jan Miel. He went to Italy in 1630, and remained fifteen years. He painted landscapes which are remarkable for tender coloring, good drawing, and poetic concep tion. His works are highly esteemed. In the Louvre there are four. In the Van der Hoop Coll. at Amsterdam, a fine one, with a massive ruin in the foreground and blue mountains in the distance. In the Munich Gall. Cabinets, No. 445 has a fine effect of chiaro-scuro. It represents a ruined castle on a rock. In the Coll. of T. Barino-, Esq., England, a picture of a Woman and Cattle reflected in the water, at the entrance of a cave, is one of the best works of Asselyn. Assen, Jan Walther van. Said to have f r a ^Tt-^-1 been b°rn in Holland, about 1490. One of the j /i />Q\ Sv (5( earliest engravers on wood. His cuts are highly prized by collectors. A contemporary of Lu cas von Leyden, he seems to have had the same rank in wood en graving that Lucas held in engraving on copper. Little is known of his life. He was living in Amsterdam in 1517. His works are as follows : — A set of six prints, circular, representing the Passion of Christ, marked with his cipher, and dated 1513 and 1514. A set of six large prints of different subjects in architectural com partments. In the middle of each the words : 1 . Superbia ; 2. Lux- uria; 3. Invidia; 4. Ira; 5. Gula ; 6. Avaricia; and then opposite virtues. A small print of an armed Figure on Horseback ; inscribed St. HadrianusAmstelodamus in JEdibus Donardi Petri, etc. Asserreto, Giovacchino, born at Genoa (1600-1649) Studied under Borzone and Ansaldo. When but sixteen he painted a " Temptation of S. Anthony." There are altar-pieces painted by Asserreto in several convents and churches at Genoa. Asta, Andrea dell', born at Naples (1673-1721). Scholar of Francesco Solimene. He went to Rome, where he studied the works of Raphael. His best pictures are the " Nativity," and the " Ado ration of the Magi," painted, after his return to Naples, for the ch. of S. Agostino. Astley, John, born at Wemm, Shropshire, England. A portrait painter, who studied under Hudson. He visited Italy. His portraits were fine, and he was rapidly acquiring great reputation, when a wealthy lady, whose portrait he had painted, offered him her hand. After his marriage he relinquished his profession. Died 1787. Athanasio, Don Pedro. See Boccaneora. ATHENODORUS — AUBIN. 57 Athenodorus. See Agesander. Attavante or Vante. Living in 1487. This artist was a celebrated illuminator of MSS. Lanzi says, the excellence of this artist ought to confer on hiin " greater celebrity than he enjoys." He orna mented many books for Matthias Corvinus, king of Hungary. These afterwards remained in the Medicean and Esteusean libraries. A inao-nificent Missal which Attavante illuminated for Matthias is now in the Library at Brussels. It was probably brought to Brussels by Maria, sister of Charles V., and wife of Ludwig II. of Hungary. After the death of her husband she obtained the government of the Netherlands. The regents of Belgium formerly took their oaths upon this volume. The first to do so were Archduke Albert and Isabella, in 1599 ; the last was the Prince of Saxen-Teschen, in the name of Joseph IL, in 1781. Attiret, Jean Denis, called Frere Attiret, born at Dole, 1 702 ; died at Pekin, 1768. After studying at Rome, and distinguishing himself by his pictures at Lyons, he became a Jesuit at Avignon. About this time the Jesuit missionary at Pekin sent to France for a painter. Attiret was chosen to make this journey, and left France in 1737. A picture which he presented the emperor, soon after his arrival, so pleased his majesty, that he wished to employ Attiret con tinually. He wished him to work in water-colors, for he did not like the gloss of oil. His commissions were so numerous that he was obliged to employ Chinese assistants, who had at first been jealous of him, but at length became reconciled to his supremacy. He became a great favorite, even among the painters, and was able to establish a drawing-school. About 1 760 the emperor obtained victories over Tartar tribes with whom he was at war. Attiret was ordered to pro ceed to the northwest part of the empire, where he made accurate sketches of triumphal processions, festivals, etc. From these he painted pictures which so pleased the emperor that he desired to make him a mandarin, which honor Attiret declined. All the princi pal men of the empire sat to him for. their portraits — some of them travelling eight hundred leagues for the purpose. Sixteen of these portraits were sent to Paris to be engraved at the expense of the em peror. Very few impressions of these plates were reserved in France, and they are extremely rare. They were of immense size. When the artist died the emperor ordered two hundred ounces of silver to be given towards the expense of his funeral. Aubert, Augustine, born at Marseilles, 1781. Painted history and landscapes. The latter are principally from scenery about Marseilles, and the former represent sacred subjects, and are often very large. Aubert, Michel, born at Paris (1700-1757). An engraver of por traits and historical subjects. He seems to have imitated Gerard Audran, but with small success. Aubin, Augustine de St., born at Paris (1736-1807). A skilful 58 AUBIN — AUDRAN. engraver. He engraved the works of several French and Italian masters. Aubin, Augustine de St., born at Paris, 1720. An engraver of merit. Scholar of Laurent Cars. He engraved the coll. of nearly three thousand medals belonging to M. Pellerin, and the gems of the Duke of Orleans, besides an immense number of portraits, historical subjects, vignettes, ornaments for bocks, etc. Aubin, Charles Germain de St., born at Paris, 1721. Brother of the preceding, and an engraver. Aubin, Gabriel Jaques do St., born at Paris, 1 724. Brother of the preceding. He painted historical subjects, and also engraved a few plates from his own designs. Aubriet, Claude, born at Chalons-sur-Marne (1651-1743). A pupil of Joubert. He distinguished himself first as a miniature painter. He was appointed to make drawings of objects of natural history at the Jardin des Plantes. He accompanied Tournefort to the Levant, and the plates which afterwards illustrated the " Ele ments de Botanique " were after the designs of Aubriet. At the death of Joubert he was appointed painter to the king in the Jardin des Plantes, and many of his drawings are now in the library of the Jardin. There are also five folio volumes of Ms designs in the Royal Library at Paris. He was a botanist, and the plates in " Tourne- fort's Voyage to the Levant " were after his designs. - -«. _ — . Audenaerde or Oudenaerde, \A\ V/V r AA Robert van, born at Ghent .;Y1VJVJ.J^ * (1663_1743)- A good painter, and celebrated engraver. A scholar of Francis van Mierhop and John van Cleef. At twenty-two years of age he went to Rome, and there studied under Carlo Maratti. He became a reputable painter of historical pictures. In leisure moments he amused himself by making plates, and when these were seen by Maratti he advised his pupil to devote himself to engraving. The plates in which he used the point are much finer than those done entirely with the graver. The principal part of his prints were after the pictures of his Italian master. His drawing is very correct and shows perfect knowledge of the human figure. His paintings are quite in the style of Maratti. His chef-d'ozuvre is the altar-piece in the ch. of the Carthusians at Ghent. It represents the appearance of S. Peter to a number of monks. In the ch. of S. James is his picture of " S. Cath erine refusing to worship the False Gods." Other churches and convents of his native city possess works of this artist. Audouin, Pierre, born at Paris (1768-1822). An eminent en graver and a pupil of Beauvarlet. Ho engraved several of the finest paintings of the Italian and Dutch masters for the coll. of the Mus. published by Laurent. Audran, Benoit, born at Lyons (1661-1721). Son of Germain AUDRAN. 59 Audran, with whom he first studied, but later he became the pupil of the celebrated Gerard, his uncle. Although he did not equal the latter, he was an excellent artist. lie was a member of the Acad. and engraver to the king. He engraved many portraits and his torical subjects. His style was, like his uncle's, clear and bold, his drawing correct, and his heads full of expression. Audran, Charles, born at Paris (1594-1674). This name was eminent among French engravers for more than a century. Charles was the first to make it so. His disposition for the art was shown very early, and he was still quite young when his plates attracted atten tion in Rome, where he had gone to study. He imitated the style of Cornelius Bloemaert, and used only the graver. His works were finished with great care. His earlier plates were marked with a C, but when his brother Claude used the same letter, he changed to K., the initial of Karl. Audran, Claude, born at Lyons (1639-1684). After studying drawing at Paris under his uncle, he went to Rome. He drew well and had great facility in execution. He returned to Paris, and was engaged as an assistant by Le Brun. Under the direction of the latter he painted the grand staircase at Versailles, the Gall, of the Tuileries, and the Chapel of Colbert's Chateau de Sceaux, all in fresco. He became an imitator of Le Brun, whom he also assisted in his " Battles of Alexander," and many other works. Audran, Gerard, born at Lyons (1640-1703). Son of Claude and nephew of Charles. This artist may be said to have reached perfec tion in engraving. He studied first with his father, then with his uncle, and finally at Rome, it is believed under Maratti. He was in Rome three years, and made a portrait of Clement IX. and other plates, which gave him such a reputation that he was recalled to Paris by Colbert. He was soon appointed engraver to the king, with a generous pension and apartments at the Gobelins. He became in timate with Le Brun, and some of his finest plates are after the paintings of that master. The " Battles of Alexander" cannot be too highly praised. His plates were very numerous. Audran, Germain, born at Lyons (1631-1710). Nephew of Charles and Claude, and inferior to some members of his family in artistic merit. He engraved portraits, ceilings, ornaments, vases, etc. Audran, John, born at Lyons (1667-1756). Son of Germain, and brother of Benoit. After studying with his father, he too was placed under the famous Gerard, and became a celebrated artist. He was made engraver to the king, and had a pension and apartments at the Gobelins, in 1707. His prints are numerous, and he continued to labor after he was eighty years old. Audran, Louis, born at Lyons (1670-1712). Youngest son of Germain. He also studied under Gerard. He assisted his brothers in their plates, and did not execute many of his own. He also en graved copies of the large historical plates of his relatives. CO AUDUBON — AVELINE. Audubon, John James, born in Louisiana (1782-1851). As an artist, distinguished for his drawings of the "Birds of America." He studied painting in Paris under the celebrated David. His plates are very perfect, of the size and color of life, and the beaks, talons, and leo-s are of accurate dimensions. The book was thirteen years in preparation and was published in Edinburgh; this time does not include the making of a large portion of Audubon's pictures. It has 435 plates, containing 1,065 figures. Cuvier pronounced.it "the most o-io-antic and most magnificent monument that had ever been erected to Nature." Audubon was also the author of " Ornitholog ical Biography," and at the time of his death was at work upon the " Quadrupeds of America." Augur, Hezekiah, son of a carpenter, born in New Hampshire (1791-1858). He was first a shoemaker's apprentice, then a trades man in New Haven, where he failed. He partly paid his debts by carvino- ornamental furniture, and invented a machine for weaving worsted lace. Gradually he turned his attention to sculpture. He copied a "Head of Apollo," and in 1827 executed a "Washing ton " and a " Sappho," wliich established his local fame. His best work was the group of " Jephtha and his Daughter," still preserved in Yale College Gall. This obtained for him several commissions for busts and monuments. Austin, William, born in London about 1740. An engraver and a pupil of George Bickham. He engraved some landscapes after Ruysdael and other artists, but his principal work was a set of plates, of views of Palmyra and its Ruins, and of Ancient Rome. Auzon, Madame, born in Paris, 1775. She studied under Reg- nault. Painted portraits and familiar subjects. Several of her pic tures have been engraved. Avanzii or Avanzi, Jacopo degli. An ancient painter of Bo logna, of whom little is known. He flourished about the middle of the 14th century. In the Colonna Gall, at Rome, there is a " Cruci fixion " by this master, and Nos. 159, 160, 161, of the Bologna Acad, are also his. In the ch. of Mezzarata he painted pictures which Malvasia asserts were praised by Michael Angelo and the Ca racci. These have been whitewashed, and restored, and are very imperfect. Avanzi, Giuseppe, born at Ferrara (1655-1718). School of Co- stanzio Cattanio. He is noted for the numbers of his works, rather than for excellence. Most of them were for the convents and churches of his native city. Aved, Jacques Antoine Joseph, born at Douay (1702-1766). Pupil of Picard and a portrait painter of merit. Aveline, Anthony, born at Paris, 1662. Designer and engraver. His principal works were views of the palaces and chateaux of Eu rope. AVELINE — AZZOLINI. 61 Aveline, Pierre, born at Paris, 1710. Designer and engraver. Scholar of John Baptist Poilly. His subjects were often trifling and insignificant, his drawing stiff, though not incorrect. Aveline, Francis Anthony, born at Paris, 1718. Cousin of the preceding. An engraver of small reputation, and worked mostly for booksellers. Avellino, Giulio, called 11 Messinese, born at Messina (1645- 1700). A landscape painter, said to have studied with Salvator Rosa. He settled at Ferrara, and was much employed by the nobil ity of Ferrara and Cremona. He painted in the grand style of Rosa, and introduced ruins, architecture, and figures into his pictures. His pictures are valued, and are in many collections. Avellino, Onofrio, born at Naples (1674-1741). Said to have been a pupil of Francesco Solimene. In Rome he painted an altar- piece in the ch. of S. Maria di Montesanto, and the vault of the ch. of S. Francesco di Paola, which last is considered his best work. Avibus. Gaspar Ab or Patavinus, born at Padua, 1530. An engraver whose principal work was a large volume containing the portraits of the Royal House of Austria, full-lengths, signed Gaspar Patavinus, incisor. 1569. Avogadro, Pietro, called Bresciano, born at Brescia. Flourished about 1730. A scholar of Pompeo Ghiti. His coloring was Venetian, especially in the carnations, The whole style of his composition and painting is pleasing. By some he is said to rank as the fourth among the artists of Brescia, that is, after Bonvicino, Gambara, and Savoldo. His "Martyrdom of SS. Crispino and Crispiano," is his principal work, and is in the ch. of S. Joseph at Brescia. ^ Avont, Peter van der, born at Antwerp t Pc A/ ^-\ about 1619 A fine landscape painter, and an eminent engraver. He often painted figures in the landscapes of Vinckenboom. Avril, Jean Jacques, born at Paris (1744-1832). An engraver whose works are much admired. Scholar of J. G. Wille. He left about 540 plates, some of them large. Avril, Jean Jacques, born at Paris (1771-1831). Son of the pre ceding. One of the engravers employed by Laurent. His plates of many of the pictures and statues of the Louvre are excellent. Axtmann, Leopold, born at Fulneck ; died at Prague (1700- 1748). An animal painter. He rivalled his master, John George Hamilton, in reputation. His pictures are in Bohemia. He painted dogs and horses excellently. Ayala, Barnabi de. Painter of history at Seville. Scholar of Zurbaran. He so well imitated his master that it is believed that the pictures of Ayala are sold as those of Zurbaran. He was one of the founders of the Acad, of Seville. Azzolini or Mazzolini, Gio. Bernardino, born at Naples. 62 AZZOLINI — B A CHELIER. Flourished 1510. He resided chiefly at Genoa, and his pictures are in the churches and convents of that city. He excelled in wax-work, and formed heads with a wonderful expression of life. B. Baader, Amalie, born in Erding, Bavaria, 1763. An amateur en graver. She studied under J. Dorner. Her mark is an A and B interlaced, and is found on copies after Rembrandt, Schmidt, and some Italian masters. Baak, Hattigh Jan. An artist of Utrecht about the middle of the 17th century. In the hospital of S. Job of Utrecht there is a work of his dated 1642. It is a landscape, with figures, and from its style he was probably a pupil of Poelemburg. Baan, John de, born at Haerlem, 1633 ; died at the Hague, 1702. An eminent portrait painter. Instructed first by an uncle named Piemans, he then studied under Jacob de Backer. He succeeded so well in portrait painting, that he confined himself almost entirely to that branch of art. He was an admirer and worthy imitator of Van dyck. Charles H. of England was anxious to be painted by De Baan, and invited him to his court for that purpose, where he also painted many of the nobility. When Louis XIV. had conquered a part of Holland, he sent to Utrecht for this artist to come and paint his portrait. But he received a refusal, the excuse being, that when his country was in the midst of mourning, he could not trace the features of her conqueror. One of the best works of De Baan is his portrait of Prince Maurice of Nassau-Ziegen. Baccarini, Jacopo, born at Reggio (1630-1682). Painter of his tory and a pupil of Orazio Talami. Two of his best works are in the ch. of S. Filippo at Reggio, and represent the "Death of S. Alessio " and the " Repose in Egypt." Baccicio. See Gaulli. Baccio. See Delia Porta. Bacheley, Jacques, born at Pont 1'EvSque in Normandy (1712- 1781). An engraver and designer. Member of the Acad, of Rouen. We have prints of landscapes after Dutch masters by this artist. Bachelier, Jean Jacques, born at Paris (1724-1805). As an ar tist he is unimportant, but he gained a fortune of 60,000 francs, which he devoted to the establishment of a free school of drawing for artists. He was director of the porcelain manufactory at Sevres, and greatly improved its taste. Bachelier assisted Count de Caylus in his attempts to discover the ancient method of en caustic pointing, and invented a kind of encaustic varnish to pre serve marbles from the action of the weather. He also wrote two books entitled " Le Conseil de Famille," and a "Memoire sur 1' Education des Filles." PORTRAIT OF MRS. SIDDONS. Bv Gainsborough. See p. 290. BACHELIER — BAERSE. 63 Bachelier, Nicholas, born at Toulouse (1496-1554). An unim portant sculptor and architect. Bachiaca. See Ubertino. Backereel, Giles. An artist who adorned many of the churches of the Low Countries. A contemporary of Rubens, and like him in style. One of the best artists of his country, when art was at its best. An altar-piece of his in the Cath. of Bruges, represents " S. Charles Borromeo administering the Sacrament to those stricken with the Plague." A grand and striking composition, with fine coloring. In the ch. of the Augustines at Antwerp, there is a fine " Crucifixion " by Backereel, and at the Franciscan ch. at Brussels, a picture of the " Virgin and Child," with S. Beatrice and other saints. Backhuysen, Ludolf, born at Embden, 1631; died at Amsterdam, 1709. Until he was eighteen years old, he was employed in mercan tile pursuits; but constantly sought the company of painters, and at that age became the pupil of Aldert van Everdingen. He went con stantly amongst the shipping, and made sketches in Indian ink and bistre, which were purchased by collectors, at large prices. He at length began to paint with good success, and became, in time, the most noted painter of rough seas. He often exposed himself and his boatmen to great danger, by going out in storms, to study the waves and clouds, when in their wildest state. In coloring he cannot com pare with Willem van der Velde, but the pictures of the latter rep resent mostly smooth waters. The pictures of Backhuysen were in great demand, not only in his own country, but in others. Smith enumerates one hundred and eighty-four of his works, and many of them of considerable size. It is not possible to give a full list of them and the places they are in, but the following are some of the best. One in the Van der Hoop Coll. at Amsterdam, a coast scene, sea and sky agitated with coloring or lighting, of great beauty. No. 5, Amsterdam Mus., dated 1673, view of the River Y; clear and brilliant. No. 6, same place, stormy scene. Louvre, No. 7, rough sea at the mouth of the Maas; a fishing boat is trying to run in. No. 5 of the Louvre gives ten men-of-war at the mouth of the Texel. A view of the last river in the Bridgewater Gall., No. 1 22, with seven vessels, and dated 1670, is very fine. In the Mus. at the Plague, No. 6 is fine in the sunshine and shadow upon the water, but No. 7 is heavy and hard. Many of his pictures are in England, in the Na tional Gall., colls, of Lord Ashburton, Mr. Baring, and others. Peter the Great was a pupil of Backhuysen, who made for the Czar numerous drawings for the construction of vessels. Backhuysen, Ludolf, grandson of the preceding, born at Amster dam (1 71 7-1 782). Good painter of horses and battles. Baerse, Jacques de la. A sculptor of Dendermonde, who la bored in 1391. He did the carving of the remarkable shrines, de signed and painted by Melchior Broederlain, for the Cath. of Dijon, which are now preserved in the Mus. of that city. 64 BAGLIONI — BAIXLLE. Baglioni, Cesare, born at Bologna. A contemporary of the Ca racci, he profited by their style, though not of their school. He was an artist of considerable merit, and painted landscapes, history, ani mals, fruit, etc. Plis principal works are at Bologna and Parma, and are much esteemed. In the ch. of the Madonna del' Soccorso at Bo logna there is an " Ascension," and in the ch. of S. Giorgio, an altar- piece, representing " S. Anthony and S. Martha," by this master. He was living in 1610. Baglioni, Cavaliere Gio., born at Rome. A pupil of Francesco Morelli. He was much employed during the time of Clement VIII. and Paul V. In S. Niccolo in Carcere, there is a fine picture of his of tho " Last Supper." In S. Peter's there is a picture of that saint raising Tabitha from the dead, for which he was made a Knight of the Order of Christ, by Paul V. This artist was the author of the ' ' Lives of the Painters, Sculptors, and Architects who flourished at Rome from 1572 to 1642." Bagnacavallo, II. The real name of this artist was Bartolommeo Ramenghi. He was called II Bagnacavallo from his birthplace. Born 1484; died at Bologna, 1542. He studied under Francia at Bologna, before he went to Rome, where he was a pupil in the school of Raphael, and afterwards assisted that great master in some impor tant works. Bagnacavallo worshipped Raphael, and felt that to imi- itate him, was an aim worthy of his ambition. Upon his return to Bologna he brought tho Roman style of painting to that city. The works of this artist are not common in galleries. It is said that his pictures were admired by the Caracci. He distinguished himself at Bologna by a " Crucifixion " which he painted for the ch. of S. Pietro. It is dated 1522. In the Dresden Gall, there is a " Madonna and Child " in a glory, with four male saints, which is, by some, considered his masterpiece. It is " a picture of great and energetic expression." A " Holy Family " with saints, in the Gall. at Bologna is pleasing, but not powerful. In S. Maria della Pace at Rome, there are frescoes of a Saint and a Prophet in armor, colossal in size. There are also works of his in the Berlin Mus., the Colonna Pal., and in the Solly Coll. There are others in different churches of Bologna. Bagnacavallo, Gio. Batista. Son of Bartolommeo Ramenghi. He went to France as an assistant to Primaticcio, when he undertook his work at Fontainebleau. When he returned to Bologna, he was made chief of the Acad, of that city. Baillie, Captain 'William. An amateur engraver. Born in Ireland about 1736. His early life was passed in the army, from which he retired with the rank of captain of cavalry. He devoted the remainder of his life to art. He was one of the most intelligent connoisseurs of his time. Wo have about a hundred plates of his, engraved in different manners. BAILLIE — BALDOVINETTI. 65 His copies after Rembrandt, and his plates after the style of that master, are his choicest works. The following are a few of his plates . — Christ Healing the Sick, called the Hundred Guilder Print. Orig inal plate by Rembrandt, and admirably retouched by Baillie. Beggars at tho Door of a House; ofier Rembrandt's print. The Gold- weigher ; finely copied from Rembrandt's print. Three Trees; landscape; after same. Old Man, half-length, with a Cap and Beard; 1765; after Rem brandt. Landscape, with a Horse; after Rembrandt's print. The Pen-cutter; after Ger. Douw. Interior of an Ale-house, with figures regaling; after Teniers; fine. Another Interior with Peasants Smoking and Drinking ; after A. Ostade. 1765. Bailii, David, born at Leyden (1584-1638). Painter of portraits and perspective church interiors. The latter works of his are much admired. Baillu or Bailliu, born at Antwerp, 1614. An engraver, whose principal plates are after Rubens and Vandyck. Although not the best, his prints are well esteemed. Baillu or Bailliu or Baleau, Bernhard, born in the Netherlands about 1625. An engraver of portraits and a few historical subjects. He executed entirely with tho graver. Bajardo, Gio. Batista, born at Genoa (1620-1657). A painter of history whose pictures are esteemed in Genoa. The best are in the portico of S. Pietro and the cloister of S. Agostino. Bakker, Jacob, born at Harlingen (1608-1641). Lived chiefly at Amsterdam, and painted history and portraits with great rapidity. His works arc praised by the poet Vondel. Many of them are in Spain. An altar-piece in a chapel-of tho Antwerp Cath. represent ing the " Last Judgment " is by Bakker, and is a fine picture. Another of his works is a large archery piece, No. 34, in the new Hotel de Villc at Amsterdam. Bakker, Adrian, born at Amsterdam (1643-1686). Nephew of Jacob. Studied at Rome. Excelled most of his countrymen in cor rectness of design. His chef-d'oeuvre is a picture of the " Judgment of Solomon," in the Hotel de Ville at Amsterdam. Baldi, Lazzaro, born at Pistoja (1623-1703). A scholar of Pietro da Cortona, in Rome. He became an eminent painter of his time. In the Pontifical Pal. at Monte Cavallo, there is an esteemed work of his representing "David and Goliath." The "Martyrdom of S. Lazzaro " is in the ch. of S. Luke. Baldovinetti, Alessio, born at Florence (1422-1499). He is believed to have been a pupil of Paolo Uccelli. His works are few, 5 66 BALDOVINETTI — BALDUNG. and are distinguished for minuteness in detail. He is said to have painted straws so that their stems and joints could be seen. He ex ecuted portraits and historical subjects, both in oils and fresco. His remaining works are much injured by scaling or the abrasion of the colors. Those best known are a fresco in the cloister of the Annun- ziata at Florence; No. 24, Uffizi Gall.; and a " Trinity" with Saints, painted for a chapel in S. Trinita at Florence. He was interested in mosaic work, and studied much to learn the best manner in which it could be done. In 1481 he repaired the mosaic over the portal at S. Miniato al Monte. He was a chemist, as well as an artist. He claims to have been the teacher of Ghirlandaio. He was buried in S. Lorenzo at Florence. Baldrighi, Giuseppe, born at Pavia (1722-1802). A pupil of Vincenzio Meucci. He was invited to the court of Parma, and ap pointed painter to the Duke. He painted portraits of the ducal family, which were much admired. One of his finest pictures is in the saloon of the Acad, of Parma, and represents " Prometheus." Balducci, Gio., called Cosci, died 1600. Said to have been a native of Florence and a pupil of Batista Naldini. He was employed at Rome by Leo XL, when Card. De' Medici. His works may be seen at Rome, at Florence, and at Naples, which he visited towards the close of his life. Baldung, Hans, called Griln. Born at Gemund, 1470 ; died at Strasbourg, 1552. A contemporary, and perhaps a pupil of Albert Diirer, but inferior to him in beauty of design and color. A number of his pictures may be seen in the Cath. of Freiburg. An altar-piece dated 1516 is considered his chef-d'oeuvre. One of his best portraits is in the Vienna Gall. No. 148, Munich Gall. Cabinets, is a por trait of the Margrave of Baden. Berlin Mus., Nos. 603 and 623 are his works. He was an engraver, and worked chiefly on wood. Bartsch assigns to him two engravings on copper, and mentions fifty- nine wood-cuts. His drawing was sometimes incorrect ; but the expression of the heads was good. The following are some of his prints: — Adam and Eve plucking the apple. The Fall of Adam; inscribed on a tablet, "Lapsus humanis gen eris. 1511. Christ and the Apostles. 1514. Thirteen plates. The Crucifixion, with S. John, the Virgin, and Mary Magdalene; in chiaro-scuro; fine. Two landscapes; very scarce. Four small upright prints : Solomon's Idolatry, Samson and Deli lah, David and Bathsheba, and Aristotle and Phryne; very fine. An Incantation ; in chiaro-scuro. 1510. The Holy Family, with SS. Elizabeth and Catherine ; half-length. 1512. BALDUNG — BANDINELLI. 67 Two prints of Horses in a Forest; marked " Baldung. 1534." A Man with a Horse ; large upright ; no date. Balechou, Jean Jacques, born at Aries, 1715 ; died at Avignon, 1764. Very celebrated engraver. He excelled all French engravers who preceded him in the clearness of his strokes and brilliancy of color. In neatness of execution he has rarely been surpassed. There is, however, a deficiency in his drawing, especially in portraits, which detracts from the effect of his works. His three plates after Vernet, representing the " Storm," the " Calm," and the " Bathers," are among his finest plates. Balen, Heinrich van, born at Antwerp (1560-1632). Pupil of Adam van Oort. He went to Italy, and returned to Antwerp, where the demand for his pictures was greater than he could supply. In purity of color he excelled the older Flemish artists, but was cold in feeling, and mannered in design. The backgrounds of his pictures were often painted by Jan Breughel, and sometimes by Kierings. These works were found in the best collections. His nude figures were the most pleasing, and exquisite in finish. In the Antwerp Cath. are two altar-pieces, and in the ch. of S. Jacques an " Ascen sion " by Balen. He was the first instructor of Vandyck. Balestra, Antonio, born at Verona (1666-1745). Pupil of Carlo Maratti at Rome, where he was employed to paint in several churches and palaces. He gained the prize at the Acad, of S. Luke in 1694. He was not a great master, but his works are held in good estima tion. One of his finest pictures is in the ch. of S. Ignatius at Bo loo-na. He was also an engraver, and his plates from his own designs are etched in a free and masterly manner. Baltz, J. Georges, born at Strasbourg, 1 760. Painted miniature portraits and landscapes on porcelain, many of which are seen in the cabinets of Europe. Bambini, Giacomo, born at Ferrara ; died 1622. Pupil of Do menico Mona. There are many of his works in the churches and public edifices of Ferrara. Bambini, Niccolo, born at Venice (1651-1736). Pupil of Giulio Mazzoni and Carlo Maratti. He imitated Liberi, and like him was distinguished for his beautiful women. He was a reformer in Vene tian art. Many of his works are in the churches of Venice. Bam bini was the master of Zanetti. Bamboccio. See Peter de Laer. Banck, Peter van der, of Flemish extraction, but born at Paris (1649-1697). Pupil of Francis de Poilly, and an eminent engraver. In 1674 he went to England with Henry Gascar. He painted por traits of many eminent persons of his time, which are much esteemed for their historical value, as well as for their merit as engravings. Bandinelli, Baccio, born at Florence (1487-1559). Sculptor and painter. Scholar of Rustici, and friend of Leonardo da Vinci. 68 BANDINELLI — BARBARIS. His designs were powerful, and his treatment bold, but he had much mannerism. He hated Michael Angelo, whom he never could equal. He was envious, false, and calumnious, full of silly vanity, his only virtue being that of industry. But all that has passed away, and his works remain to claim for him his due distinction. The best of these are a bas-relief on the screen of the choir (or the high' altar) of the Florence Cath., which represents the Prophets, the Apostles, the Virtues, etc. ; a bas-relief on a pedestal in the Piazza of S. Lorenzo, at Florence ; and a group representing " Nicodemus supporting Christ," which he intended for his own monument. This last is in the ch. of the Annunziata, at Florence, and the Nicodemus is a portrait of Bandinelli himself. Banks, Thomas, born at Lambeth (1738-1805). He served his apprenticeship to a wood carver. He obtained several premiums from the Society for the Encouragement of the Arts, for models in sculpture. He then entered himself a student of the Royal Acad., and obtained their gold medal. This entitled him to study in Rome three years. He applied himself closely to the study of the antique, and there executed two of his best works in marble : " Cupid catch ing a Butterfly, ' ' purchased by Catherine n. of Russia ; and " Ca- ractacus brought Prisoner to Rome." He returned to England, and attempted to indulge his fancy in works of a lofty and heroic style, but he was compelled to adopt the more lucrative employment of monumental sculpture. He was invited to Russia by the Empress, and remained two years. Monuments executed by him are in several churches in England; and in the Hall of the British Institution is the model of " Achilles mourning the Loss of Brise'is," never executed in marble. His life was one of disappointment. His poetic groups were received with coldness, and he lacked that encouragement which stimulates to the highest attainment. Baptiste. See Monnoyer. Barabbino, Simone, born near Genoa about 1585. Pupil of Ber nardo Castello, who became jealous of his talent, and expelled him from his Acad. He then painted a picture for the Annunziata del Guastato, representing S. Diego, which has been much praised. He removed to Milan, where he received the honor due to his ability. One of his finest works is a " Madonna," with the dead Christ, and Saints, in the ch. of S. Girolamo. Lanzi says he became a mer chant, and died in jail. Barbalunga. See Ricci. Barbarelli. See Giorgione. Barbaris, Jacopo de (1504). Little can be told of this painter; indeed, it is doubtful by what name he should be called, for he is thought to bo identical with Jaconio Barberino Veneziano, and with Jacob Walch, an artist alluded to by Diirer in his correspondence. His signature and emblem (a wand of Mercury), are on a panel in BARBARIS— BARBIANI. 69 the Gall, of Augsburg, dated 1 504, and on a head of Christ in the Mus. of Weimar. There are also pictures of his in Paris, Ratisbon, and in Dresden Mus. If he be the same as Jaconio Barberino Vene ziano, he went, according to the Anonimo, to Burgundy and Ger many, and adopted the style of those countries. He was in the ser vice of John of Burgundy, Bishop of Utrecht, at the same time with Mabuse, and excelled in painting and engraving. fBarbary, Jacob da. An engraver, and the true "Master of the Caduceus," ij ti who has been called until recently Franci' ¦*-"' "'—^ " de Babylone. The reason of the name is found in the fact that he marked his plates with a caduceus. One of his plates mentioned by Brulliot is dated 1504. His nationality is a matter of doubt. Different authors enumerate, altogether, twenty-nine plates by this artist. They are highly esteemed for their rarity. The following are among those known to be his : — Apollo and Diana ; small upright plate. A Holy Family, with the Virgin resting on the stump of a tree, and S. Joseph leaning his head on his hand ; square plate ; half- length figures. A Holy Family, with S. Elizabeth, and an Angel playing a musical instrument. The Offering of the Wise Men ; small upright plate. S. Jerome writing, with a Crucifix before him. Two small upright plates; in one a woman carries a child in her arms, and in the other a man carries a boat. A Sacrifice to Priapus ; a free subject; after Marc Antonio. Barbatelli, Bernardino, better known as Poccetti, and also called Bernardino delle facceati, or delle grotesche. Born at Florence (1548-1612). Pupil of Michele di Ridolfo del Ghirlandaio. At first he painted only grotesques and the fronts of buildings, and was little known, but later he went to Rome, where he studied the works of Raphael, and also made a reputation as an architect. Few of his pictures on wood or canvas remain, but many of his frescoes are still in Florence, and compare well with those of many Italian masters. Mengs always studied him when in Florence, and Pietro da Cortona admired his works. He sometimes painted hastily, and again would prepare his drawings with the greatest care,, but his pencil was always firm, and his works displayed facility and freedom. He adorned his historical pictures with fine landscapes, sea-views, fruits and flowers, and his draperies were admirable. Barbello, Gio. Giacomo, born at Cremona (1590-1656). Best known by his pictures in the churches of Bergamo. Barbiani, Andrea, born at Ravenna (1680-1754). Believed to have studied under P. Cesare Pronti, whose style he imitated in his- 70 BARBIANI — BAROCCIO. torical paintings. The churches and public buildings of Ravenna and Rimini are adorned with his works, one of the best being in the vault of the Cath. of Ravenna, and representing the " Four Evange lists." He was an artist of considerable merit. Barbiani, Gio. Batista, born at Ravenna. Flourished about 1635. Probably studied under Bartolommeo Cesi. His best fresco is the " Assumption of the Virgin," in the dome of the chapel of N. Signora del Sudore, in the Cathedral. Some of his best pictures were at Bologna. Barbier-Walbonne, Jacques Luc, born at Nismes, 1769. Pupil of David. He painted historical pictures, and portraits of the dis tinguished generals of France. Barbiere, Domenico del, born at Florence about 1506. A pupil of II Rosso, whom he accompanied to France, when he came by in vitation of Francis I. to ornament the palaces of Fontainebleau and Meudon. After the death of Primaticcio, Barbiere executed some frescoes after the designs of that master. He was also an engraver, but his works possess little merit. They are valued, however, on account of their scarcity, and arc found in curious collections. Barbieri, Gio. Francesco. See Guercino. Barbieri, Paolo Antonio, brother of Gio. Francesco, called Guer cino, born at Cento (1596-1640). A painter of still-life. He es pecially excelled in pictures of fish. Barca, Don Vicente Calderon do la, born at Guadalaxara (1762-1794). Pupil of Don Francisco Goya. Painted history and portraits, and excelled in the latter. His finest historical work is in a college at Avila, and represents the " Birth of S. Norbert." Bardin, Jean, born at Montbar (1732-1809). Pupil of the elder Lagrenee. Studied also at Rome. He was a popular artist in France and was admitted to the Acad, in 1795, His subjects were religious, poetical, and historical. David and Regnault were instructed in the elements of painting by Bardin. Barker, Robert (1739-1806). Inventor of panoramic painting. His first picture of this kind was a view of Edinburgh, which was exhibited in that city in 1788, and in London a year later. At first this kind of exhibition attracted but little attention, but soon its use fulness was appreciated, and it became popular. Barnuevo, Don Sebastian de Herrera, born at Madrid (1611- 1671). Architect, sculptor, and painter. Studied first with his father who was a sculptor, then became a pupil in paintino- under Alonso Cano. He gained reputation in the three branches of art to which he gave his attention. Many of his works are in Madrid. The " Nativity," in the ch. of S. Geronimo, and the " Beatification of S. Augustine," in the great chapel of the Augustine Recollets, were his principal pictures. Baroccio, Federigo, born at Urbino (1528-1612). Studied de- BAROCCIO. 71 sign with his father, who was an engraver. Became the pupil of Battista Franco of Venice. Went to Pesaro, where he saw the art- treasures of the Dukes of Urbino, and when twenty years old, to Rome. He was hindered by his modesty, but Michael Angelo chanced to see some of his drawings, which he praised, and Gio. da Udine became his friend. He also became known to Card. Giulio della Rovere, who gave him his patronage. He returned, after four years, to Urbino, and executed some church paintings which gained him great reputation, and when, in 1560, he returned to Rome, Pius IV. employed him in the Vatican, with Federigo Zucchero. Hero he was poisoned by some rival, and although the potion was not fatal, it induced a stomachic disorder, which prevented him from working more than two hours a day during the fifty-two remaining years of his life, which years, with the exception of three at Perugia, and a visit to Florence, were passed at Urbino. Some of his best works were, the " Pardon of S. Francis of Assisi," for the Franciscans of Urbino, on which he spent six years; a "Deposition from the Cross," for the Cath. of Perugia, three years, now in the Vatican; the "Calling of S. Andrew;" the "Annunciation," now in the Vatican; " Santa Michelina," the " Presentation of the Madonna," and the "Visitation," in the Chiesa Nuova, at Rome; the " Insti tution of the Sacrament," according to the Romish rite, in the ch. of the Minerva, at Rome; the " Cenacolo," and a " S. Sebastian," in the Cath. of Urbino; a portrait of Duke Francesco Maria, in rich armor, in the Tribune at Florence; and a " Madonna del Gatto," in the National Gall. This is by no means a list of his pictures, for the amount of work which he accomplished was wonderful, when we consider his sufferings. Baroccio lived when the art of Italy was declining, and although he avoided, very considerably, the prevalent mannerism in form, his coloring was imperfect. Pie admired Michael Angelo, but he imitated Correggio in color. Mengs finds his pictures wanting in yellow; Reynolds criticises his flesh colors; and Bellori, his biographer, thought he used vermilion and ultramarine too freely. His design was correct. Bellori says he always made two cartoons, and two colored sketches; made all his drawings from life, and dressed models in the required costumes. In spite of his faults he acquired a great name in his day, and merits the reputation of intro ducing harmonious application of light and shade into Lower Italy — in which management of light, added to variety and novelty of conception, his merit consists. Excepting his health, his life was fortunate. For he was in good circumstances, happy in his temper, had many pupils, and more orders than he could execute. Duke Francesco Maria often visited him in his house in Urbino, and on the 1st of October, 1612, made this entry in his diary : " Federigo Ba roccio of Urbino died, aged 77; an excellent painter, whose eye and hand served him as well as in his youth." He was, in truth, eighty- 72 BAROCCIO — BARRET. four years old, and painted without spectacles, but not as well as earlier in life. He was buried in S. Francesco, where, in the corridor, the tablet to his memory remains. At his funeral a standard painted by himself, representing the Crucifixion, was placed at the foot of his bier. Baroccio was also an engraver, and left several plates, cor rect in design and good in expression, though not especially delicate in their execution. Baron, Bernard, born at Paris, 1700; died in London, 1762.. An eminent engraver, and a pupil of Nicholas Henry Tardieu. He en graved several plates for the Crozat Coll. He resided in England some years before his death. His works have considerable merit, although coarse in their execution. Baron, John, or Baronius, called Tolosano, born at Toulouse 1631. Passed most of his life at Rome. An engraver of portraits and historical subjects. Barozzo, Jacopo, called Vignola, from his birthplace, in the ter ritory of Modena (1507-1575). An illustrious architect. He com menced to study painting in the school of Passarotti at Bologna, but became so enamored of the study of perspective, that by that means (as he himself said) he wa's led to devote himself to architecture. He became a law-giver in that art in Italy. He was employed in Rome by a society of nobles and gentlemen to make accurate meas urements of the greater part of the Roman antiquities. These meas ures or moulds were sent to France to be cast in bronze. Vignola then accompanied Primaticcio to France, where he was employed in architectural works as well as in the casting of the above named statues. In 1 550 Julius III. was made Pope, and Vignola, by the recommendation of friends, was appointed architect to His Holiness. Soon he became known to Card. Farnese, who employed him to de sign his magnificent Pal. of Caprarola, and would have everything about it done according to his decision. In this palace some pictures by Vignola were seen. After the death of Michael Angelo Pius V. employed Vignola to superintend the work at S. Peter's. This mas ter also published valuable works on architecture, in one of which he gave definite rules for the increase or decrease of every part in all the five orders of architecture. This was illustrated by engravings and proved a very useful book. Milizia called it " L'Abbicci dell' Architettura. ' ' Barret, George, born at Dublin, 1728; died at Paddington, 1784. First studied in the drawing Acad, of his native city under Mr. West. The Earl of Powerscourt became his patron, and he painted many views around Powerscourt Park. In the Dublin Society he took the premium for the finest landscape. In 1762 he went to England, and there took prizes also. Pie greatly assisted in the establishment of the Royal Acad. He was a good painter of English landscape. His works are in the possession of the nobility, the principal ones belong- BARRET — BARTHOLOMEW. 73 ing to the Dukes of Portland and Buccleugh. Ho also left several spirited etchings. Barry, James, born at Cork (1741-1806). Son of a coasting trader. Commenced to paint as a boy. His picture of " S. Patrick baptizing the King of Cashel," obtained for him the notice of Burke, who gave him the means to go to London, and later, defrayed his expenses in Rome. He returned to London in 1771. In the great room of the Society of Arts, at the Adelphi, he painted six large pic tures, illustrating the " Civilization and Regeneration of Man." In 1782 he was made Professor of Painting to the Royal Acad. In 1799 he was expelled the Acad, on account of a letter which he had pub lished, and other disagreements with his academicians. He died poor and alone. He was laid in state in the Adelphi, in the midst of his works, and was buried in S. Paul's Cath. His other pictures were an " Adam and Eve; " " Venus Anadyomene; " " Pandora; " and " King Lear." His works are not great, and his unlovely char acter prevented his being treated with charity, although by many he is regarded as a martyr to his appreciation and love of high art. Grandeur seemed to mean vastness in his mind. The " Harvest Home," at the Adelphi, is the best of the six in composition and finish. He overesteemed his own pictures, and could see no beauty in those of other artists. Bartholomew, Edward Sheffield, born at Colchester, Conn., 1822. After trying various employments he abandoned ail in disgust, spent his time in drawing, and studying any pictures which were within his reach. After a time, he read the life of Cellini. This, to use his own words, ' ' put the devil into him. ' ' He abandoned all employment, and his friends regarded him as good for nothing, prac tically. By some means he studied a year at the life school of the Acad, in New York, and did some drawings which revealed his talents to a few friends. He was the intimate friend of Church. He obtained the appointment of Curator of the Wadsworth Gall, at Hartford. He made careful copies and studies, but when he attempted to paint in oil found that he was color-blind. He then determined to attempt sculpture. His " Flora " was his first work, and from its execution may be dated his artistic career. By his own exertions and the aid of friends he obtained the means to visit Italy. When in New York he was attacked with small-pox, which left him lame for life, with a weakened constitution. When, at length, he sailed, it was in an ill provided vessel, and he suffered much on the voyage. He requested to be landed on the coast of France, and made his way thence to Rome. So great was his energy that, in spite of all his hindrances, within three days after his arrival he was engaged in modelling the " Blind Homer led by his Daughter." From that time his life was prosperous. His chef-d'oeuvre, the " Re pentant Eve," belongs to Joseph Harrison of Philadelphia. His 74 BARTHOLOMEW — BARTOLO. " Shepherd Boy" to E. Pratt of the same city. In Hartford there is a large collection of figures, busts, and bas-reliefs by this artist. He also executed several monumental works, and visited America to superintend the erection of a monument to Charles Carrol. His home was always in Rome. On a second visit to America he renewed his friendship with Church, and the citizens of Hartford complimented him by a public dinner. He returned to Italy with fresh zeal and aspirations, but it was only to die. In a few months, on account of his health, he went from Rome to Naples, where he lived but a short time. Bartoli, Pietro Sante, sometimes called II Perugino, born at Pe rugia, 1635. He first practised painting, but gave it up for engrav- ino-, in which he became eminent. He left a great variety and num ber of plates, which are chiefly etched in a free and masterly manner. He sometimes marked his plates with his initials, and added an F. for fecit: thus, P. B. F., but more frequently he used the following: Petr. Ss. Bart. sc. Romos. Bartolin of Piacenza. Little is known of this old painter. In the Baptistery of Parma, and in the ch. of S. Antonio at Piacenza there are several pictures attributed to him. They are believed to belong to the close of the 14th, and rise of the 15th century, and are very rude. Bartolini, Gioseffo Maria, born at Imola, 1657. Pupil of Lorenzo Pasinelli, at Bologna. His pictures were historical, and some which still remain in the public edifices at Imola arc much esteemed, espe cially one in the ch. of S. Domenico, representing a miracle by S. Biagio. This artist was living in 1718. Bartolini, Lorenzo, born in Florence (1777-1850). He studied first in Paris ; visited Rome, and settled in Florence. He left many works — some of considerable merit, but others bear the impress of French affectation. He executed many statues and monuments, and was considered a leading master of his time. At the Esterhazy Mus. in Vienna are three " Genii " by this master, remarkable for theh elegance and truthfulness. Bartolo, Taddeo di. A Sienese painter of the early part of the 15th century. His earliest pictures are at Perugia. There is an altar-piece, dated 1403. It represents the " Virgin and Child," with two angels and S. Bernard. This is now in the Acad., where there are two other works of this master. In the ch. of S. Agostino, Pe rugia, a " Descent of the Holy Ghost," by Taddeo, is admirable. The Acad, of Siena has an " Annunciation," and the Louvre at Paris several pictures not important in considering Taddeo, but those of the " Life of the Virgin," on the walls of the chapel of the Palazzo della Signoria at Siena, are worthy of note. They were done in 1407, and arc peculiarly impressive from theh refinement and true feeling. In 1414 he painted a hall joining the chapel which is much inferior, and represents ancient orators, poets, and statesmen. BARTOLO — BASAITI. 75 Bartolo, Domenico di. Flourished 1440. The brother or nephew of Taddeo, but much inferior to hiin. An "Assumption" in the Berlin Mus. is somewhat effective in arrangement, but coarse in the manner of execution. In 1440 he represented the " Works of Mercy " in the Hospital della Scala at Siena, but they are pictures of no merit. Bartolommeo, Fra. See Porta, Baccio della. Bartolozzi, Francesco, born at Florence (1730-1813). This eminent designer and engraver studied drawing under Hugfort Fer- retti at Florence, and engraving with Joseph Wagner at Venice. He went to England in 1764 and became eminently distinguished. He practised every kind of engraving. The number of his plates is enormous and their finish exquisite. His etchings are remarkable for the truthfulness with which he reproduced the spirit and expression of the works he copied. Bartsch, Adam, born at Vienna (1757-1820). Engraver and author. He was principal keeper of the Imperial and Royal Gall, at Vienna, and published " Le Peintre Graveur," which is the best account of prints yet published. Besides this he published a " Cata logue of the Etchings of Rembrandt and his Pupils," which like the former book is wonderful for its accuracy. For the first he made fac similes of rare etchings, in which the spirit of the origipals is per fectly reproduced. In 1818, his son Frederic published a " Cata logue Raisonne " of the works of the father, which numbered 505. Bas, Jacques Philippe Le, born at Paris (1708-1782). Cele brated engraver. Studied with N. Tardieu. The number of plates wliich he left is very large. He had many pupils, was an ingenious artist, and Bryan says, " availed himself much of the freedom and facility of etching, wliich he harmonized in an admirable manner with the graver and dry point." He made more than one hundred prints after Teniers, and copied that master most successfully. Basaiti, Marco. It is not known whether this artist was born at Friuli or Venice. He was of Greek parentage. Flourished from 1470 to 1520. He is believed to have been the assistant of Luigi Vivarini, and Gio. Bellini. He acquired much of the manner of both these masters, and imitated besides, at diff'erent periods, Palma, Lotto, and Carpaccio. He probably survived Raphael, but a wider difference could scarcely be imagined than exists between the pic tures of the two. Basaiti' s colors are brilliant, and his pictures fin ished with the greatest care, even in the most minute details, which results in a dry realism. His figures have character, and a peculiar dignity, but his draperies are stiff and his heads have a tiresome sameness. His works are almost numberless, and there are few col lections without them. The following are some of the more impor tant: National Gall., S. Jerome reading, and the Virgin seated in a meadow with the Child asleep on her lap; Munich Gall., " De- 76 BASAITI — BASSANO. position from the Cross; " Venetian Acad., " Christ with the Disci ples in the Garden," and the " Calling of SS. Peter and Andrew," 1511 ; Vienna, Belvedere Gall., " Calling of James and John," with fine landscape, signed, 1515, Marcus Baxaitj, F. Basili, Pier Angiolo, born at Gubbio (1550-1604). Studied first under Felice Damiani, and then with Christofano Roncalli. His style resembled that of the latter master, but was more delicate. In the ch. of S. Mazziale is a picture of " Christ Preaching," with a great number of figures. His frescoes in the cloister of S. Ubaldo are much esteemed. Bassano, Francisco da Ponte, born at Vicenza, 1475 ; died at Bassano, 1530. This was the founder of the family of Bassano, six of whom were painters. Francisco, the elder, probably studied under Gio. Bellini, and imitated that master in his youth, but later in life he worked with more freedom and spirit. His " S. Bartholomew " in the Cath. of Bassano, shows his early manner ; and the " Descent of the Holy Spirit," at the village of Oliero, is grand in composition, good in color and expression, and displays his later excellence. Bassano, Jacopo da Ponte, born at Bassano (1510-1592). Son of the preceding. He studied with his father, and afterwards with Bonifazio Veneziano. But he gained much of his knowledge from studying the works of Titian, and copying the designs of Parmigiano. He excelled in painting landscape and animals, and introduced the latter into almost every picture, sometimes with marked impropriety. He was, perhaps, the earliest Italian genre painter. His coloring was good, and also his use of light and shade. He distinguished himself as a portrait painter, and painted many eminent persons, among them the Doge of Venice, Ariosto, and Tasso. He had four sons, who all painted with him, and many other scholars, so the amount of work completed in his atelier was very large. His latest pictures are by far the best. He had the habit of concealing the hands and feet, which injured his pictures very much. His works are to be seen almost everywhere. " The Entombing of Christ," in the ch. of S. Maria in Vanzo, at Padua ; " A Family Concert," in the Uffizi ; portrait of an old man, Berlin Mus. ; portrait of a richly dressed woman, in Studj Gall., at Naples ; "The Mourning Maries," at Chiswick, and a " Nativity," at the Louvre, are some of his larger works. His cabinet pictures are very numerous. Bassano, Francisco da Ponte, the younger, son of the preceding, born at Bassano (1548-1591). Trained in the school of his father. He established himself in Venice. Was employed to paint a series of pictures representing the history of the Republic, on the walls of the public palace, and one of his best works is on a ceiling there. He also painted for the churches of Venice. He became melancholy, and this trouble was increased by his over application. He at last jumped from a window, and killed himself. BASSANO— BASSI. 77 Bassano, Gio. Batista da Ponte, born at Bassano (1553-1613). Second son of Jacopo. Spent most of his time in copying the works of his father, which he did with surprising skill. Bassano, Leandro da Ponte, born at Bassano (1558-1623). Third son of Jacopo. Excelled in portrait painting, to which he confined himself during his later years. He painted, among other distinguished men, the Doge Grimani, who made him a knight. The " Raising of Lazarus," in the Louvre, and the " Birth of the Virgin," in the ch. of S. Sophia, at Venice, are his best historical works. Bassano, Girolamo da Ponte, fourth son of Jacopo, born at Bassano (1560-1622). He spent much of his life in copying the pictures of his father, which he did so well that the copies passed at the time, and since then, as the originals. In the ch. of S. Giovanni, at Bassano, there is an original picture by Girolamo, of "S. Barbara kneeling before the Virgin. ' ' Bassen, Bartholomew van. A Flemish artist who flourished from 1610 to 1630. He painted interiors of churches, and other pub lic buildings. The figures in his pictures were done by other artists, and he in turn painted the architectural portions of their works. When called by his name they attract little notice, but are sometimes attributed to the painter of the figures. He was exact in perspective, and good in coloring. There are pictures of his in the Berlin Mus. Basseporte, Frances Magdalene, died about 1 780. She painted subjects from natural history, in water colors. She did three books of flowers, which were engraved by Avril. She also engraved some plates for the Crozat Coll., and others, among which are, — The Martyrdom of S. Fidelio de Sigmaringa; after P. A. Robert. Diana and Endymion ; after a design by Sebastiano Conca. Bassetti, Marc Antonio, born at Verona (1588-1630). There were but few pictures left by this master, for he believed that much time should be given to each one. Those he finished were highly prized. He was a scholar of Felice Riccio, called Brusasorci. lie also studied the works of the masters in Venice and Rome. After his return to Verona he painted for the churches and public edifices of the city, but was cut off suddenly by the plague. Bassi, Antonio. The name .of this painter occurs in the history of art in Ferrara, and some of his works may still be seen in the churches of that city. Bassi, Francesco, the elder, born at Cremona (1642-1700). From his landscape painting he was called " II Cremonese da Paesi." Many of his works are in the private collections of Venice. Bassi, Francesco, the younger, born at Bologna (1664-1693). Scholar of Lorenzo Pasinelli. He left pictures of merit in the churches of Bologna. One of " S. Antonio taken to Heaven by An gels," in the ch. of that saint, is much admired. He was distin guished for his copies after Guercino. 78 BAST — BAUR. Bast, Dominic de, born at Ghent, 1782. An amateur painter of landscapes, cattle, and marine subjects, in the last of which he was said to excel. His works are mostly in the private collections of Ghent, but one was purchased in 1822 by the Commissioners for the Encouragement of Fine Arts, in that city. Bastaro, Giuseppe del, born at Rome. Flourished in the time of Urban VIII. His pictures may be seen in several Roman churches. In S. Maria Maggiore is his " Assumption of the Virgin," and in S. Girolamo, a " Descent from the Cross," and " The Death of S. Jerome." Bastaruolo, H. See Mazzuoli Filippo, or Giuseppe. Batoni, or Battoni, Pompeo, born at Lucca, 1702 ; died at Rome, 1787. Pupil of Francesco Fernandi. He was a contemporary of Raphael Mengs, who painted mostly in Spain. Batoni excelled most in portrait painting. He bestowed much labor upon the hands, and finished cravats, laces, etc., etc., with exquisite care. He lived after the decline of Italian art, and showed a desire for severer study than was usual with artists of his time. Of his historical pictures, the " Fall of Simon Magus," in the ch. of S. Maria degli Angeli, at Rome, deserves to be mentioned. In the ch. of S. Maria Maggiore there is an altar-piece representing the " Annunciation; " in the ch. of S. Girolamo, a " Madonna," with saints and angels ; in the pa vilion at Monte Cavallo there are five pictures by this artist, one of which represents " Christ giving Peter the Keys," and is sometimes called his best work. Being the best artist of his day in Rome, he was constantly employed, and his works were well esteemed all over Europe. At Hampton Court there is a portrait of Gregory XIV. by Batoni, and in the Dresden Gall, a "Magdalene," and a " S. John in the Wilderness." These last are good specimens of his works, and display pure academic art, as if they were painted but to show color and design. Baudet, Stephen, born at Blois, 1620; died at Paris, 1691. An eminent engraver. After studying in Paris he went to Rome. He used only the graver, at this time, and seems to have imitated Corne lius Bloemart. Upon his return to Paris he greatly improved his style by using the point also. He was a member of the Royal Acad. His choice of pictures from which to make plates was excellent, and were those of some of the best painters of Italy. Bauduins, Anthony Francis, born at Dixmude, in Flanders, 1640 ; died at Paris, 1700. He first studied painting under F. A. Vandermeulen, but afterwards became an engraver. Most of his plates were from the designs of Vandermeulen, and were etched in a bold and effective style. j-yy.—. Baur, John William, born at Strasbourg (1600-1640). I yv/j Pupil of Frederick Brentel, whom he soon surpassed. He went to Rome, where his views of the environs of the city were much admired. In 1637 he went to Venice, and then to BAUR — BAZZI. 79 Vienna, where he was employed by Ferdinand III. His color was superior to his design. He acquired some celebrity as an engraver. Baur, Nicholas, born at Harlingen (1767-1820). One of the best modern Dutch painters of marine views. He also painted landscapes and views of cities, and frequently represented winter and moonlight scenes. Many of his works are in private houses in Holland, and the Kino- of Holland purchased two of his marine views for the Mus. at the Hague. Bausa, Gregorio, born at Mallorca, near Valencia (1596-1656). Pupil of Francisco Ribalta. His pictures had considerable merit. At Valencia, in the ch. of S. Philippe of the Carmelites, there is an altar-piece representing the Martyrdom of the Saint, and in the monastery of Los Trinitarios Calzados there are several works of his. Bayeu y Subias, Don Francisco, born at Saragossa (1 734-1 795). He first studied and gained the prize at the Acad, in his native city. Then, a pension being granted him, he was able to go to Madrid, where he studied with Antonio Gonzales Velasquez. He painted for the churches, and was employed by Charles III. in the Prado, and the palaces at Aranjuez, and Madrid. He became a member of the Acad, in 1 765, and three years later was made painter to the kino-. Some pictures of the life of S. Bruno, at the Carthusians, are among his best works. Bayeu, Don Raymon, born at Saragossa (1746-1793). Brother and assistant of the preceding. Bazin, Nicholas, born at Troyes, 1636. Pupil of Claude Mellan. He executed plates of historical subjects and portraits in a stiff, dry manner. Bazzani, Giuseppe, born at Reggio (1701-1769). Pupil of Gio. Canti, whom he surpassed. Many works of his are in the churches and convents of Mantua and vicinity, and have considerable merit. At the time of his death he was director of the Acad, at Mantua. Bazziacaluve or Bezziacaluva, Brcole. An eminent engraver of Pisa or Florence, who flourished about 1640. Bazzi or Razzi, Gianantonio, called II Soddoma (1474-1549). Born at Vercelli, he seems rather to belong to Siena, for he settled there and became one of the best painters of the Sienese school. His mode of life was free and easy. He was fond of animals, and had a collection of them always about him. Queer birds, magpies, monkeys, etc. , were always in his house. A raven who imitated him perfectly in voice, and manner of speech, was his especial pet. His dress and whole appearance was such that he attracted all sorts of odd people about him, and was not over fastidious about their character. He was married to a young wife, who left him soon after the birth of a daughter. When we consider his peculiarities it is a surprise that he could have painted such women as he did, for they are often of a remarkably pure and noble type. His conception of beauty was ex traordinary, and his expression of deep enthusiastic feeling not less 80 BAZZI — BEATRICI. so. His women resemble those of Leonardo, under whose influence he probably came in youth; he was also familiar with the Florentine art, and studied the works of Raphael in Rome. He became vain and careless after attaining a good degree of fame, and painted only from the force of whims, or need; and yet, in spite of his careless life, and unequal temperament, his genius made him great. In 1505 he painted twenty-six frescoes in the convent of S. Uliveto Maggiore, near Siena, which are still well preserved. They represent scenes in the life of S. Benedict, and are full of able characterization and indi vidualism. Soon after this, Pope Julius II. called him to Rome to paint in the Vatican, where but little of his work remains. At the Villa Farnesina there are two fine frescoes which he did for the banker Chigi. They represent the " Marriage of Alexander and Roxana," and " Alexander in the Tent of Darius." The first is es pecially beautiful; warm in color, exquisite in softness, the head of Roxana compares well with some of Raphael's. After his return to Siena he put new life into its art, and produced some of his best pictures. Among them are the frescoes which he did in connection with Beccafumi and Girolamo del Pacchia in the Oratorium of S. Bernardino; figures of saints in a chapel of S. Spirito; and pictures of S. Caterina, both in the oratory of S. Caterina and in the chapel of S. Caterina in S. Domenico. There are also frescoes of his in the Palazzo Pubblico. In the Uffizi there is a panel painting of S. Sebastian which is one of the best works of this time. There are also a few other fine panel pictures. There is a " Resurrection " in the Studj Gall., at Naples; a " Scourging of Christ " in the Acad. of Siena, which has been transposed from the wall to canvas; the " Sacrifice of Abraham " in the Campo Santo at Pisa; a very beauti ful portrait of " Lucrezia " which belongs to M. Corothur v. Kestner; and lastly, a " Dead Christ " in the Berlin Mus., and a " Madonna" in the Borghese Pal., which are attributed to him. The " Ecstasy of S. Caterina " at S. Domenico is especially fine; the saint isrepre- sented in. a swoon, Liibke says, "with the deepest feeling and the noblest expression of pain." Razzi is sometimes called the pride of the Sienese school. Beale, Mary, born in Suffolk (1632-1697). A good portrait painter. Pupil of Sir Peter Lely. She studied the works of Van dyck, whom she resembled in color. Pier pictures were much sought by the distinguished persons of her time. Beale, Charles. Husband of the preceding, and a painter, but of no celebrity. a "Q \T) T Beatrici, Niccolo, born at Thionville about 1\3 J \jj_j 150u- Early in life he went to Rome, and his plates show that he was there from 1532 to 1562. He is supposed to have studied under Agostino Veneziano, called De Musis. The works of Beatrici are not equal to those of the master. HEAD OP ROXANA, FROM THE FRESCO OF "ALEXANDER'S MARRIAGE," BT IL SODDOMA, IN THE FARNESINA, ROME. BEATRICI — BECCAFUMI. 83 His subjects, however, were excellent, and his plates have been valued on that account. His prints are somewhat numerous. Beaumont, Claudio, born at Turin (1694-1766). After studying at Turin he went to Rome and spent some time in copying the works of Raphael, the Caracci and Guido. He admired Trevisani and imitated him in execution and color. Returning to Turin, he became distinguished, was employed by the King of Sardinia, and by him knighted. He decorated several apartments in the royal palace. A fine " Descent from the Cross," by Beaumont, is in the Chiesa della Croce. His pictures should be judged in comparison with others of his own time. Many other eminent foreign artists were employed by the court in competition with Beaumont. He re modelled the Turin Acad, and extended it te all branches of art, under the name of the Royal Acad. , and from that time the cultiva tion of the fine arts increased. The name of Beaumont is deservedly respected in his native city. Beaumont, George Howland (1 753-1827). An English baronet, an amateur painter and a pupil of Wilson. Pie painted landscapes respectably. He liked richly glazed foregrounds, but light and silvery skies. His wood scenes resemble those of Ruysdael. Beaumont was a liberal patron of artists, and was much associated with them. Beauvais, Nicholas Dauphin de, born at Paris about 1687. Pupil of John Audran. His engravings are held in good estimation. Beauvarlet, James Firmin, born at Abbeville, 1733. Cele brated engraver. Pupil of Charles Dupuis and Lawrence Cars at Paris. His earlier plates are bold and free, while the later ones are finished with great neatness and delicacy. Beccafumi, Domenico, called Meccherino, born at ¦ |) . Siena (1484-1549). He was a shepherd boy, and I .) accustomed to sketch upon stones while watching his flock. This attracted the attention of one Meccherino, who obtained his father's consent that he should study under a master in Siena. Capanna was his instructor. He copied the de signs of various masters, and, at first, adopted the manner of Perugino. He afterwards went to Rome, and studied antiques, as well as the works of Michael Angelo and Raphael. Returning to Siena, he competed with Razzi, next to whom he was ranked by the Sienese. His earlier works had more beauty and grace than those of his later years. His color was cheerful and pleasing, and of such a body that his pictures have endured the test of time better than many others. He used to say that he could not paint out of Siena, and his works are numerous there both in public and private collec tions. He painted better in distemper than in oils. His frescoes in the oratory of S. Bernardino were fine. In the Acad, of Siena there is a picture by him of " S. Catherine receiving the Stigmata," which is one of his best easel pictures. He also did some works in sculpture and ena-ravinor. and we have a number of prints by him. One of his 84 BECCAFUMI — BEECHEY. most interesting later works was the pavement of the Cath. of Siena executed in mosaic. This has been engraved by Andrea Andreani. One of his points of excellence was the power to suit his composi tions well to the style of the architecture by which they were sur rounded, and to ornament them with grotesque designs, so that they required no gilt stucco, etc., etc. He loved the reflections of fires, and other lights, and was more learned in the principles of art than most artists of his time. He also understood foreshortening, espe cially on ceilings. He sought strength and dignity in his figures, and even his small pictures appear larger than they are for this reason. He was an upright man of solitary habits. His memory was cher ished by the Sienese, and honored by their poets. Beccaruzzi, Francesco, born at Conigliano in the Frioul. Scholar of Pordenone. He painted reputably both in oil and fresco. Many of his pictures are in the churches and convents of Trevigi. One of his best works was a, " S. Francis receiving the Stigmata," painted for the Franciscans of Conigliano. Becerra, Gaspar, born at Baiza in Andalusia, 1520 ; died at Madrid, 1570. One of the great fresco painters of Spain; also an architect and sculptor. It is difficult to say whether he was most celebrated for his pictures or his figures. He was a close student of anatomy and made plates for a work on that subject, and also de signed anatomical figures for the use of artists He studied in Rome, and returning to Spain, was made sculptor and painter in ordinary to Philip II. Perhaps his most celebrated production was an image of the Virgin made for Queen Isabel de la Paz. He had already- made two which did not please the Queen, when, as he sat one night over his work, he fell asleep, and was awakened suddenly by a voice, saying, " Awake, and arise, and out of that log of wood blazing on the hearth, shape the thought within thee, and thou shalt obtain the desired image." He did so, and having quenched the burning stick, began at dawn to work. The statue grew rapidly, and became a miraculous image, and, draped in widow's weeds, was placed in a chapel devoted to her by the Minim Fathers at their convent in Madrid, to whom she brought much gain. This image is known as " Nuestra Senora de la Soledad." It disappeared during the war of independence. The most important work of this master was the high altar in the Cath. of Astorga, which was composed of many bas-reliefs and figures. It cost 30,000 ducats, 11,000 of which made the share of Becerra. Many works of this master are in the public edifices of Madrid, Astorga, and Zamora. Beechey, Sir 'William, born at Burford in Oxfordshire, 1772; died at Hampstead, 1839. Portrait painter to the Queen, appointed in 1793. Pie was made a knight by George III. for his picture, now at Hampton Court, which represents the king reviewing troops. In sixty-four years he exhibited 362 portraits at the exhibitions of the Royal Acad. BEECK — BEGA. 85 Beeck, Jan, born at Looz ; died, 1516. A monk who became abbot of the convent of S. Lawrence near Liege. He painted the largest part of the pictures of his convent, and is considered next to the brothers Van Eyck, among the old painters of Liege. Beek, David, born at Arnheim (1621-1656). One of the ablest pupils of Vandyck, whom he assisted until his death, painting an im portant part in some pictures, and the whole of others, after the designs of the master. He went to England, where he was patron ized by Charles I. , and instructed the Prince of Wales and Duke of York in drawino-. After some years in England he went to Sweden, and was appointed principal painter and chamberlain to Queen Christina. In spite of his honors he longed for Holland, and, at length obtained permission to go there under promise to return to Sweden ; but his love for his home prevented his keeping this prom ise, and he died at the Hague. Beeldemaker, John, born at the Hague, 1636. A painter of hunting scenes. Many of his pictures are in England. He handled his subjects with much spirit. Beeldemaker, Francis, born at the Hague (1669-1717). Son of the preceding, with whom he first studied. He next painted with William Doudyns, and at length went to Rome. After some years spent in Italy he returned to Holland, and painted portraits and his torical pieces which were much admired. He was a member of the Acad, at the Hague. Beerstraaten, Alexander. This artist lived in the 1 7th century, but there is nothing known of his life. One of his pictures is in the New York Metropolitan Mus. of Art, and represents " De Schreyer- storen " at Amsterdam. Bega, Cornelius, born at Haerlem (1620-1664). A pupil of Adrian Ostade. He painted the same class of pictures as his mas ter, though in a different manner. He excelled Ostade in drawing, but fell below him in feeling for color, and management of liolit. No. 17, Amsterdam Mus., is one of his best works, and represents a village fete, with music and drinking. No. 13, Louvre, representing a peasant and wife at table, is cooler in color than the former, and more in his usual manner. His pictures are found in the choicest collections. He also left more than thirty etchings, executed with much ingenuity and spirit, with a coarse, but firm, graver. His real name is said to have been Begeyn, but in youth he so displeased his father by his reckless mode of life, that he was disowned, and as sumed the name by which he is now known. At the time of his death he was about to marry a young girl to whom he was devotedly attached. She was seized with the plague which visited Holland in 1664. Every one abandoned her, fearing infection, but Bega would not leave her, and gave her the most devoted attention to the last, when, having taken the disease, he also died. 86 BEGARELLI — BEHAM. Begarelli, Antonio, called Antonio da Modena, born at Modena (1499-1565). A modeller in clay. A pupil of Gio. Abati. He was associated with Correggio in the decoration of the cupola at Parma, and made many models from which that artist painted his floating fio-ures. These artists were the best of friends, and resembled each other in their conceptions of the grand and beautiful. In 1529 Michael Angelo met Begarelli in Modena, and saw his works. It is said that he°exclaimed, " Alas for the statues of the ancients, if this clay were changed into marble!" Begarelli was an instructor in design and modelling, and greatly influenced the painting of the Lombard school. To him may be traced in a measure its excellence in design, especially its art of foreshortening, and its relief and grace, which often approaches that of Raphael. The works of Be garelli are in the Berlin Mus. Begas, Charles, born at Heinsberg (1794-1854). While at the University of Bonn he received some instruction in painting. He went to Paris and studied under Gros. He attracted the attention of the King of Prussia in 1815, and received an allowance with which to visit Italy. In 1825 he went to Berlin and became a professor in the Acad, of Arts. He painted portraits of Schelling, Humboldt, etc.; and various religious subjects, among which are the "Descent of the Holy Spirit ;" the "Transfiguration ; " " Christ bearing his Cross," etc. Begyn, Abraham, Dutch painter, born in 1650. Painted land scapes and cattle in the style of Nicholas Berghem. His pictures are justly admired. He painted in a light, free manner, and his coloring is agreeable. Beham, Bartel, born at Nuremberg, 1496 ; ,T~\ \/r~A °^e<^ m Italy, 1540. A painter, but more, cele- > I \ < [B™ brated as an engraver. Pupil of Albert Diirer. *~ He gave so much promise of excellence that Duke Wilhehn of Bavaria sent him to study in Italy. His early pictures were much in the style of Diirer, realistic, broad and crude in color. A " Christ bearing his Cross," in the chapel of S. Maurice, and " Christ on the Mt. of Olives " in the Berlin Gall, are of this time. When in Italy he attempted to change his manner, but without much success. No. 2, Munich Gall., representing ' ' A Woman raised from the Dead by the True Cross," is a remarkable picture. No. 98, same Gall., represents " Marcus Curtius leaping into the Gulf," and is injured by too much antique architecture. In the Gall, at Schleissheim, a number 6f portraits show his excellence in that department of painting. He studied engraving under Marc Antonio Raimondi, and was one of the most successful imitators of that artist. His drawing was that of a master, and his heads are fine in expression. Many of his plates have \\o mark, and this has occasioned some difficulty in designating them. Plis signature was BB, and the prints that have it are dated from 1520 BEHAM. 87 to 1533. His portraits of the Emperors Charles V. and Ferdinand I. are well known for their masterly conception and execution. The following are a part of his prints : — Portrait of William, Duke of Bavaria. Bust of Erasmus Balderman. 1535. Bust of Leonard Van Eck. Adam, Eve, and Death before a Tree. Judith sitting on the body of Holofernes. 1525. The Virgin suckling the Child; very fine. A Sibyl reading and a Boy holding a Torch. BB. Susanna before the Elders; after Giulio Romano. Lucretia. Cleopatra. 1520. The Judgment of Paris. The following prints are marked with a B. on a die, thus; and have sometimes been attributed to N. Beatrici, but are |B| now called those of Beham. Apollo causing Marsyas to be flayed; after Raphael. Christ giving his charge to S. Peter; after the same. A Naval Combat. A Landscape, with animals about a tree, at the top of which a Phoenix is burning her nest. Four Friezes, with Boys playing and Festoons of Flowers; Raph. V R B. IN. Ant. Laferii formis. The two following have the die without the letter B. Apollo and the Python. Apollo and Daphne. ]¦ _, y-» Beham, Hans Sebald, born at Nurem- l I I ]I§?M berg, 1500; died at Frankfort, 1550. Nephew . <-) ¦*-*) i n- ILi' of the preceding, from whom he received his earliest instruction- He afterwards studied with Albert Diirer. His bad habits compelled Mm to leave Nuremberg in 1540, when he settled in Frankfort. He often painted humorous subjects, and sometimes those that were vulgar and indecorous. He was a good draughtsman, had singular powers of invention, and was not wanting in feeling for beauty and grace. His only oil picture now known is in the Louvre. It represents scenes from the life of David, and was executed for Albreeht, Archbishop of Mayence, in the form of a table, in 1534. He also executed five miniatures in a prayer-book for the same ecclesiastic. These are in the royal library at Aschaff'en- burg, and prove his skill in this line of art. He was more important as an engraver than painter, and belonged to what are called " the little masters." We have no better examples of the manners and customs of his time than his " Triumphal Entry of Charles V. into Munich," and two processions of soldiers by him. His wood-cuts were free and sphited. His copper-plates are executed entirely 88 BEHAM — BE1CH. with the graver, and are neatly done. From 1519 to 1530 he marked his plates with the letters H. S. P. From 1531 to 1549 he used H. S. B. His copper-plates are very numerous. The follow ing are a few of them : — Plates with the first cipher which were engraved at Nuremberg from 1510 to 1530: — Portraits of Hans Sebald and his wife ; the cipher with a wreath of laurel in the middle ; engraved alio by Hollar. Adam and Eve in Paradise ; two small plates. 1519. S. Jerome with a cardinal's hat, and a Lion. 1519. The Virgin suckling the Child. 1520. The Virgin with a Glory, standing, holding the Child. 1520. The death of Dido; Reginos Didonis imago. 1520. S. Anthony, Hermit, writing. 1521. Plates with the second cipher which were engraved at Frankfort. 1531 to 1549: — Adam and Eve, a Stag behind them. 1536. Adam and Eve in Paradise ; the Serpent presenting the Apple ; very fine. The Emperor Trajan listening to the Mother's complaint against his Son. 1537. Melancholy ; inscribed, Melancolia ; 1539 ; after Albert Diirer. Fortuna ; a woman holding a Wheel. 1541. A Man trying to pull up a Tree ; inscribed, Impossible. 1 549. Twelve small plates of the labors of Hercules ; inscribed, JErumnoz Herculis. 1542 to 1548. The Judgment of Paris ; Judicium Paridis ; 1546 ; fine. Death seizing a young Woman; Omnem in homine, etc.; 1547; fine. Wood-cuts, marked sometimes with one, and again with the other of his two ciphers : — Portrait of Beham with a Cap. Eight prints of the Passion of .Christ. S. Jerome with a Book and Crucifix. A Village Fair, with a Steeple and Clock ; large frieze; very scarce. A March of Soldiers ; large frieze, in four sheets ; very scarce. Biblicse Historian, 348 prints ; most of them with figures on both sides. The Baptism of the Anabaptists ; circular, scarce. The same subject ; large, four sheets ; very scarce. Behnes, William (1801-1864). An English sculptor, distin guished particularly for his busts. In 1820 he gained the silver medal for the best model from life. Beich or. Beisch, Franz Joachim, bom at Munich (1663-1748). He was first a pupil of his father, Wilhelm Beich, then went to Italy, where lie became an imitator of Gaspar Poussin. But he is not BEICH — BELLINI. 89 an imitator merely, for he was himself inspired by nature. Kuo-ler says: "He takes the first place among the painters of ideal ten dency." He was court painter to the Elector of Bavaria, and his best works are in the electoral palaces. He excelled in landscapes and battle scenes. While some of his pictures have the darkness and heaviness of color, which was the fault of his time, others are transparent and warm in tone. Two landscapes in the Vienna Gall., which are excellent in many ways, fail in color ; but in the Munich Gall, the opposite is true of Nos. 138, 162, and 171. We have also four sets of plates, twenty-six in all, etched by Beich. They are of landscapes, with figures and buildings, and are executed with facility and spirit. Beinasclii. See Benaschi. Belcamp or Belkamp, Jan Van. A Dutch painter who was much employed in England in copying the pictures in the royal college. Bella, Stefano Delia, born at Florence, \e/&> (1610-1664). Son of a goldsmith, and in tended for his father's profession, he showed such a talent for drawing, that he was placed with Cesare Dandini to learn painting. But he had so great a preference for engraving that he was allowed to study with Canta Gallina, master of Callot. Per haps no one has handled the point with more facility than Bella. The number of his prints exceeded 1,400, so it is not strange that some of them are slightly etched ; but he designed with great taste, and his plates are brilliant in effect. In 1642 he went to Paris. Card. Richelieu employed him to make plates of the siege and taking of Arras. lie also made some plates for Henrich, the uncle of Israel Silvestre. When he returned to Florence he was appointed to in struct the son of the Grand Duke in drawing, and received a pension. Belle, Clement-Louis-Marie- Anne, born at Paris (1722-1806). Studied under Lemoyne, and later in Italy. His subjects were religious and poetical. He was an academician, and inspector of the royal manufactories at the Gobelins. Belle, Augustine-Louis, born at Paris (1 757-1831). Son of the preceding, and his assistant at the Gobelins. He painted many pictures of subjects from sacred and profane history, and the ancient poets. Belle, Nicholas-Simon-Alexis (1674-1734). Scholar of F. de Troy. An eminent portrait painter. Bellevois, died at Hamburg, 1684. A painter of marine subjects. His works are in many collections in Flanders, and have considerable merit. Bellini, Jacopo, born at Venice (about 1405-1470). A pupil of Gentile Fabriano, with whom he went to Florence in 1422. At that time all strangers who settled in Florence were observed jealously and regarded as intruders. One day a company surrounded the 90 BELLINI. shop of Fabriano and threw in stones. Jacopo was sent out to drive them off, and came to blows with one Bernardo di ser Silvestri, a son of a notary. This young man was determined on revenge, and Jacopo, fearing trouble, left Fabriano, and " took service on board of the galleys of the Florentine States." Bernardo went before a judge and preferred charges against Jacopo, and he was summoned to appear, which failing to do, he was sentenced to a fine. After a year he returned to Florence, ignorant of what had been done. In a few days he was seized for contempt of the court, and sent to the Stinche. While there he compromised with Bernardo, and promised to pay him twenty-five small florins, and to submit to an act of pen ance. This was performed on the 8th of April, 1425, when he marched bareheaded, surrounded by a guard, to the Baptistery of San Giovanni, where it was proclaimed by sound of trumpet, that Jacopo had come M) do penance, for having shown contempt of Florentine law. This ceremony ended , he was set at liberty. From this time there is much uncertainty respecting Jacopo. His master gave him no assistance in the time of his trial. We know that Jacopo painted the portrait of Fabriano, and that Fabriano held the first child of Jacopo at the font ; but the dates of these occurrences are not known. The only certain thing is, that Jacopo was in Venice in 1430, as is proved Ly his sketch-book. This book, after passing through many hands, is now in the British Mus. It has 99 pages, 1 7 by 13 inches. The drawings are done in pencil, tinted with green earth in water-colors, and sometimes retouched with pen and ink. Many of the sketches are very imperfect. In this book we are intro duced to the very innermost artistic life of Jacopo. It has sketches of almost everything. Still and animal life, nature, ancient sculp ture, buildings, and human figures are all there. Nothing seemed too small for his study. Some subjects are several times repainted, rear ranged, and brought to the perfection of his manner. The stories of Judith and Holofernes, of David and Goliath, many New Testament histories, the wonders of the hagiology and those of mythology all find a place. In contrast with these are studies of apes, eagles, dogs, cats, village scenes, hawking parties, etc., etc. The student of art delights in this book, and understands the feeling which led Gentile Bellini to leave it an heir-loom in his family, in order to perpetuate, as noth ing else could, the remembrance of his father. In his time artists were not masters of anatomy and motion, and for that reason the drawing of Bellini is the more admirable. He attained a middle place between the conventionalism of art which preceded him, and the naturalistic art which followed him. He worthily commenced what his son Giovanni, and Titian perfected. It is scarcely possible to judge of Jacopo Bellini as a colorist, for the two panel pictures which remain to us are greatly injured. One of these is a small half-length of the "Madonna and Child," at Lovere, in the Coll. BELLINI. 91 of the Counts Tadini. The other, No. 44 3, Acad, of Venice, repre sents the same subject. These are injured by scaling and blackened by time. Of his wall pictures, it is believed that some remain at Venice, but those of Verona are better known. That of the " Cru cifixion," in the Arch-episcopal Pal., fully illustrates the style of this master. A copy of another " Crucifixion," in the Cath. of Verona, is in the Casa Albrizzi at Venice. The arrangement is little changed from that in his sketch-book, and these works served as models to the artists who followed him, especially Antonello of Messina, Carpaccio, and Mantegna. Of his other works, there is a small 41 Christ in Limbus," in the Communal Gall, of Padua, much in jured ; at S. Zaccaria, Venice, some frescoes in the dome of the Chapel of S. Terasio, much abraded and blackened ; and a picture of a " Dominican Friar, preaching in a Square," in the Oxford Mus. This last was probably the work of some one in his atelier, and is a panel on gold ground. It is known that Jacopo dwelt for a time in Padua, and there had a work-shop in which his sons assisted hiin ; that his daughter Nicolosia married Andrea Mantegna, and that he painted pictures and frescoes in that city, one of wliich was done in 1459. It is believed that he induced Mantegna to study Donatello and Uccelli, and thus greatly influenced the style of the gifted Paduan, and that he himself was affected by contact with that of Donatello. Jacopo also painted portraits, one of which Ridolfi noticed especially, that of the King of Cyprus, who was beheaded at Venice. Althouo-h Jacopo was greatly surpassed by his sons, he was a re markable man for his time, and deserves to be remembered for pre paring the way, and making it easier to those who followed. Bellini, Gentile, eldest son of the preceding, born at Venice (1421 ?-1507). After laboring with his brother Giovanni in the atelier of their father, at his death they declared their perfect inde pendence of each other, but continued to labor together, and shared the respect of their countrymen and the laurels which they won. The study of Jacopo and of his master, Fabriano, was of great value to them, but they progressed far beyond both, and, together, laid the foundation for the perfect style of Titian and his followers. Giovanni was the most excellent, and Gentile was called " clumsy " by later Venetians. But he did a noble work in teaching them the value of a thoughtful imitation of nature. In 1464 Gentile painted the doors of the great organ of S. Marco. He represented four gigantic saints. These are now in a Gall, leading from S. Mark's to the Ducal Pal. Gentile was often employed as a portrait painter. Of his works of this kind I shall only mention No. 136, Gall, of the Capitol, Rome; one in the University Gall., Oxford, of two boys in profile; Correr Mus., Venice, No. 14, and one of Lorenzo Giustiniani, now in the lumber room of the Acad, of Venice. In 1474 he was appointed to restore the old, and paint new- pictures in the great council-chamber of 92 BELLINI. Venice. His works there gained him much reputation. In 1479 Sul tan Mehemet, the conqueror of Constantinople, sent to the Signo ria of Venice for a good painter. The Doge decided to send Gentile Bellini, and he was dispatched with two journeymen, in galleys belonging to the state. In Con stantinople Gentile was treated with great consideration, and made many portraits of notable person ages. At one time he presented the Sultan with a picture of the head of John the Baptist in a charger. The Sultan criticised the painting of the neck, and when he saw that Gentile did not under stand his mistake, he called in a slave, and had his head instantly struck off, to prove to the artist what was the true action of the muscles under such circumstances. Such an act did not tend to make Bellini enjoy his residence in the domains of Mehemet H. He re mained there a year, was made a knight, and received many pres ents at parting. The Sultan of- S. LORENZO GIUSTINIANI. (Venice. S. Maria dell Orta. Bellini.) Gentile fered him any gift he would name, but he only demanded a letter of praise to the Signoria of Venice. He carried to Venice many sketches, and a portrait of Mehemet. He also brought a picture, Louvre No. 68, which represents the reception of a Venetian embassy by the grand vizier and other officers. When Gentile left Venice, Giovanni was appointed to his place in the council- chamber, and when he returned, they continued the work in com pany. The pictures painted there were partly legendary, and partly historical, and represented events in the Venetian wars in 1177 ; the combats on the Adriatic ; and the reconciliation of the Emperor with Pope Alexander III. These were done in fourteen compartments. They were almost destroyed by fire in 1577, but enough remains to make their loss a subject of regret. The other great work in which this artist was engaged was the decoration of the school of S. Giovanni Evangelista, at Venice. Two of these pictures, one representing a miracle by means of a relic of the holy cross, the other a procession in which the same relic is borne, are in the Venetian Acad. Of his BELLINI. 93 other works I shall only mention No. 90, in the Brera, at Milan, representing " S. Mark preaching at Alexandria ; " and a portrait of Mehemet, said to be in England. In the former of these he intro duced the costumes he had seen in the East. The picture was not finished at his death, and in his will, he provided that his brother, Giovanni, should not receive the sketch-book of his father until he had finished the picture of S. Mark. This painting, in spite of the injuries it has received, has a brilliant effect, and is valuable as the last work of the elder, combined with the mature perfection of the younger brother. There are other pictures ascribed to Gentile which lack proof of having been painted by him. Such are No. 69, Louvre; No. 13, Correr Mus.; and No. 12, Berlin Mus. He was also a mosaist, and left a " Virgin and Child " to the company of S. Marco. It is believed that he had a school, and that Titian became his pupil in 1486, when but nine years of age. His time was constantly occu pied, and in 1506 he refused an order from the Marquis of Mantua, asserting that he was engaged for a long time in advance. Pic was married, but had no children, and worked until the day of his death, at which time he was more than eighty years old. Bellini, Giovanni, the younger brother of Gentile, was born at Venice (1422-1512). The most excellent of this celebrated family. His works maybe divided into two periods ; those wliich he executed before he learned to paint in oil, and those done afterwards. The first have sweetness and elegance, but are also dry and timid; the last are a rich foretaste of the Venetian coloring which was perfected later, while they lose nothing of the charms of the former. His chefs-d'otuvre, which can still be seen in the Acad., and churches of Venice, were painted after he was sixty-five years old. We cannot appreciate this man unless we take into account the state of Venetian art in his day. It had been greatly influenced by Mantegna, the Paduan, but Gio. Bellini must stand as the founder of true Venetian painting. Even earlier than this its coloring had been softer, and more richly blended than that of other schools. The very atmos phere resulting from its situation must have produced this, for it habituated the artist to wonderful effects of color. Then the spirit of the life there, the pomp, the cheerfulness, the oft-recurring fetes, engendered a love of the rich and deep tones of color which so enhance beauty. Then, too, about the time when Giovanni could be said to be an artist, Van Eyck was introducing oil colors into Flanders, and Antonello da Messina brought them to Italy. There is a story that Giovanni went to the studio of Antonello in disguise, and thus learned the secret of the new color mixing, but this is not verified, and does not accord with his character. But, however he may have learned, it is true that he employed oils with great success and judgment. His compositions are not especially varied or poetical. His powers were not versatile, but there is a moral beauty in his 94 BELLINI. figures, rather than a spiritual one, and he seems to stop just on the line which separates the highest earthly type from the heavenly. Kugler says: " His Madonnas are amiable beings, imbued with a lofty grace ; his saints are powerful and noble forms ; his angels cheerful boys in the full bloom of youth." His representations of Christ are full of moral power, such as has rarely been equalled. His draperies are peculiar in the crystal-like clearness of their deep, rich colors. His authentic works do not belong to his youth. We have seen how he labored with Gentile in the great council-chamber, in which place he continued to paint, at times, dur ing all his life. His earliest dated work is of 1487, and represents a " Madonna and Child " standing on a parapet. It is in the Acad, of Venice, and there is a similar one in the Berlin Mus. It is interesting to see previous works of this master, and study the changes through which his style has passed. In this way one can comprehend, in a measure, the struggles through wliich he reached his later style, and his grop ing after the proper handling of the new oil mediums, which was an art in itself. To 1488 belongs a large altar-piece in the Sacristy of S. Maria de' Frari ; two angels in this are especially beautiful. The whole picture is a fine piece of color, and nicely finished. There is also a large altar-piece in SS. Giovanni e Paolo, which is one of his earlier pictures ; and another, very similar, in the Acad. In the ch. of S. Zaccaria is a " Madonna " with saints and an angel, dated 1505, and at S. Salvatore, " Christ at Emmaus," belonging to the same period. This last is especially fine. A similar picture, but not as good, is in the Manfrini Gall. Perhaps his latest work of this kind is in S. Gio. Crisostomo, dated 1515. In this he painted SS. Jerome, Augustine, and Christopher. The shades of moral contrasts are finely and powerfully drawn. It is a picture that compels one to study it. Other works of his are in the ch. del Redentore, the Man frini Gall., and the Acad. Some of them are allegorical represen tations, full of naivete and cheerfulness. One of his latest works was a " Bacchanalian," with a landscape by Titian; He often painted the single figure of the Redeemer. Liibke says of these representations: " By grand nobleness of expression, solemn bearing, and the excellent aiTangement of the drapery, he reached a dignity which has been CHRIST. BY GIO. BELLINI. BELLINI - BELLOTTI. 95 rarely surpassed." The pictures of Giovanni are very numerous in Venice, and found in all large collections elsewhere Space will not allow description. The following are some of the more important ones : National Gall., Nos. 726 and 280 ; No. 27, Correr Gall. ; No. 4, Lochis Carrara Gall., Bergamo ; a " Pieta," No. 188, in the Brera ; " Pieta" in the Cath. of Toledo , Stuttgart Mus., No. 4-; Berlin Mus., Nos. 4, 6, and 36; Padua Gall., No. 48 ; Uffizi, No, 581 ; Castlo Howard, No. 125 ; Leuchtenberg Gall., No. 68; Mus. of Rovio-o, No. 80 ; Doria Gall., Rome, No. 5-; Belvedere, Room 2, Nos. 63 and 65; Naples Mus., No. 378; Sfadel Gall., Frankfort, No. 17; Madrid Mus., No. 665; Brera, No. 209; Louvre, No. 69 bis; and many, many others. His very last work was a " Madonna " in S. Giustina, Padua, dated 1516. It is a singular truth that some of his latest pictures are much more like those of a youthful artist than were his earlier ones. For in 1514, almost at the close of his life, he painted a feast of the gods, which represents the gay and sensual with the happiness of the bright days of Titian. This picture is now at Alnwick Castle. In 1515 he painted the " Venus of the Belvedere," Room 2, No. 43. His last works were thus in marked contrast with his first. He is believed to have instructed Giorgione and Titian. It is said that Albert Diirer visited him in the last year of his life, and pro nounced him the best artist of that time. His death occurred on the 29th of November, and he was buried in SS. Giovanni e Paolo, by the side of his brother Gentile. Bellini, Filippo, born at Urbino, 1594. A good painter, and an imitator of Federigo Baroccio. One of his most important works is a series of fourteen representations of the Works of Charity, in the Chiesa della Carita at Fabriano. In the Basilica of Loretto there is a " Circumcision," and in the dome at Ancona a " Marriao-c of the Virgin," by this master. Bellini, Giacinto, Cavaliere, born at Bologna, was living in 1660. Pupil of Francesco Albano. Later ho studied with Francesco Caracci in Rome. There he attracted the attention of Card. Tonti, who employed him a long time, and procured him the knighthood of the Order of Loretto. His pictures possess much of the gracefulness of Albano. Belliniano, Vittore, born at Venice. Flourished about 1526. A painter of history. Several of his works are in the Confraternity of S. Mark's, and the neighboring churches of Venice. Bellotti, Bernardo, born at Venice, 1724; died at Warsaw, 1780. A painter and engraver. Nephew and pupil of Antonio Canal, called Canaletto. Bellotti painted perspective and architectural views in a pleasing manner. He lived much in Germany, and etched, from his own designs, views of Vienna, Dresden, and Warsaw. He was a member of the Acad, of Dresden, and many of his pictures are in the Gall, of that city. They are called by the name of Canaletto, 96 BELLOTTI — BENASCHI. which he assumed. He signed some of his works Bernardo Belotto detto Canaletto. The tine views of Dresden were ordered by Count Briihl, at 200 thalers each. The figures were the work of Stefano Torelli of Bologna. Beltrafrio, Gio. Antonio (1467-1516). A Milanese gentleman, and a pupil of Leonardo da Vinci. His characteristic is gentleness. In the Louvre is an altar-piece painted for a ch. in Bologna. It represents the " Madonna and Child " with John the Baptist and S. Sebastian; the donors are kneeling. It was painted in 1500. In the Berlin Mus. there is a " S, Barbara" by Beltraffio. " A figure of peculiarly grand, statue-like dignity." In the National Gall. there is a " Madonna and Child " ascribed to him ; his works are scarce. Bellucci, Antonio, born at Pieve di Soligo (1654-1726). A painter who excelled in small figures. He painted these in many of the landscapes of Tempesta. In color he belonged to the Tenebrosi, but used shadow so judiciously as not to spoil his color. He is said to have painted altar-pieces in Venice and Verona. There are pictures of his in the Dusseldorf Gall., and a " Nativity " in the ch. of the Ascension at Venice. Beltrano, Agostino, and his wife, Amelia. Neapolitan painters who flourished about the middle of the 1 7th century. They were the pupils of Massimo, and Aniella was his niece. Beltrano was a good fresco painter, and more than ordinary in his coloring in oil. This is proved by numerous cabinet pictures, and a few large fres coes. Aniella painted in the same style, and worked with her husband. She had talent and beauty. The pictures which are called hers arc praised, especially that of the " Birth and Death of the Virgin," in the Chiesa della Pieta de' Turchini. But it is not unlikely that she was assisted by Massimo. In 1649, when thirty-six years old, she was murdered by her husband, in a fit of jealousy. She survived her wounds long enough to pardon Beltrano. He fled to France, and wandered, an outcast, till 1659, when he returned to Naples and resumed his work. He lived, tormented by remorse, till 1665. Bemmell, William van, born at Utrecht (1630-1703). Pupil of Herman Sachtleeven, and, like him, an excellent landscape painter. He went to Italy and made many studies of scenery about Rome. He settled, at length, in Nuremberg. His pictures were much admired, and are mostly in German collections. Bemmell, Peter Van, born at Nuremberg (1689-1723). Grand son of the preceding, and a landscape painter. His pictures are scarcely known outside his native city. Benaschi or Beinaschi, Gio. Batista, Cavaliere (1686-1688). An imitator, and probably a pupil of Lanfranco. Most of his works are in Naples, where he painted ceilings and other frescoes. BENASCHI — BENCOVICH. 97 Benaschi, Angela. Daughter of the preceding, and a good portrait painter. Benazech (Benasech, Benezech, Benezeck, Benazec), Charles. English engraver and painter. Studied at Paris under Greuze. Went to Rome in 1782. Returned to Paris, and, at the time of the French Revolution, revisited London, where he died. He especially devoted himself to historical painting, and his best works are a series of four pictures of the last days of Louis XVI. He also left a few engravings. Bencovich, Federigo, called also Federighetto di Dalmazia. Flourished about 1753. A native of Dalmatia, but educated in Bologna. He studied the style of Carlo Cignani. His works were good, and he painted pictures of merit in Milan, Venice, and MMJEF, BY BENEDETTO DA MAJANO, FROM THE MARBLE PULPIT IN STA. CROCE, FLORENCE. 7 98 BENCOVICH — BENEFIAL. Bologna. In the latter city, in the ch. of La Madonna del Piombo, is an altar-piece by this master, representing the " Crucifixion of S. Andrew." Many of his easel pictures are in Germany, where he resided for a time. Benedetto, da Majano, born at Florence (1442-1498). An eminent architect and sculptor. He commenced life as a worker in wooden mosaic or intarsiatore. His brother, Giuliano, was also a celebrated artist, and a younger one, Giovanni, was of less impor tance. Together they executed the " Madonna dell Ulivo," in terra cotta, and a " Pieta " in bas-relief. They stand at a wayside shrine, a mile outside the gate of Prato, towards Florence. We have only to compare the relief of the brothers with the "Madonna" of Benedetto, to perceive his excellence. His greatest work as an architect was the Palazzo Strozzi, which was commenced in 1489. After the death of Filippo Strozzi the work was suspended, and the building was finished under the direction of Cronaca. In 1490 he made busts of Giotto and Squarcilupo in the Duomo at Florence. In the same year he went to Naples, where he remained two years, and was constantly occupied by the Duke of Calabria. He also executed the bas-reliefs of the " Annunciation " in the ch. of Monte Oliveto, and, in 1491, the monument to Filippo Strozzi was erected in Santa Maria Novella, which he had commissioned Benedetto to make before his death. It is the chef-d'oeuvre of Majano, and one of the finest works of the 15th century. He also made the beautiful altar of S. Savino for the Cath. at Faenza ; a marble pulpit at Santa Croce, Florence ; and some works at S. Simignano. The pulpit at Santa Croce was very fine ; he supported it ao-ainst a column, through which he carried the staircase ; the reliefs repre sent scenes from the life of S. Francis. In the Uffizi there is a bust of Pietro Mellini, who commissioned Benedetto to execute the pulpit, and in the same Gall, a figure of S. John. Benedetto. See Castiglione. Benedicto, Roque, died at Valencia, 1735. His pictures are sometimes- taken for those of his master, Gaspar de la Huerta. His best work represents S. Francis de Paula feeding three thousand people with a little bread. Benfatto, Luigi, born at Verona (1551-1611). Nephew and pupil of Paul Veronese. He was distinguished for his works in the public places in Venice. In the Chiesa di S. Marta are several of his pictures illustrating the life of the saint, and in the ch. of S. Nicholas a grand composition representing the Ascension of that saint. Benefial, Cavaliere Marco, born at Rome (1684-1764). In the Palazzo Spada, Rome, there is a saloon painted entirely by this artist ; in the Acad, of S. Luke a picture of " Christ and the Samar itan Woman," and in the Stimmate a "Flagellation." His merits BENEFIAL — BERCHEM. 99 have been much discussed, and his admirers give him unqualified approbation, while others call him feeble in all points. His monu ment is in the Pantheon. Benso, Giulio, born at Genoa (1601-1668). Pupil of Gio. Batista Paggi. Soprani calls him an architect also. He painted history and perspective. He was a protege of the house of Doria, and some of his works were in their Palace. Several of his oil pic tures are in the churches of Genoa. That of " S. Domenico" is much admired, and the " Crowning of the Virgin," in the Nunziata, is a fine production. Bent, John van der, born at Amsterdam (1650-1690). Land scape painter. Scholar of Peter Wouvermans and Adrian van de Velde. While he is not equal to his masters, his works are deserv ing of esteem. Many of them are in England. They bear a strong resemblance to those of Nicholas Berghem. Benvenuto, Gio. Batista, called L' Ortolano, or market gardener, from the occupation of his father, born at Ferrara (about 1490- 1525). A contemporary of Garofalo, the prince of Ferrarese paint ers. L' Ortolano studied in Bologna under II Bagnacavallo. His style was severe, and his pictures curiously finished. His heads are weak, but his landscapes and backgrounds good, and his figures well brought out. His works are in S. Niccolo, S. Maria de Servi, and S. Lorenzo at Ferrara. Eerchem, Nicholas, born at Haerlem 1624-1683). Son of Pieter Klaasze. The If l\f°( reason for his being called Berehem, or '/'^w/ ' Berghem, is not known, but he usually signed his works with that name. He studied with his father, Van Goyen, J. B. Weenix, and Jan Wils, and married the daughter of the latter. It is evident from his works that he went to Italy, although no ac count of his having done so is given. He painted genre, battles, land scapes, cattle, and portraits. His best works are his small landscapes with figures and cattle. He painted with great facility, and his wife was so avaricious that she constantly excited him to work. She also saw to it that his money was saved, as he liked to spend it for Italian drawings. Berehem is the most celebrated of the group of painters to which he belongs. Smith describes 417 of his works, and he left besides more than 50 etchings, some of which show a better feeling for nature than is found in his oil pictures. By their dates it is seen that he handled the point when but ten years of age. The galleries of Munich, Dresden, Vienna, Berlin, St. Petersburgh, and the Louvre contain the largest number of his works. Some are also in England, in the National Gall, and at Dulwich ; and Lord Ashbur- ton has one of his best productions, called " Le Fagot," from a bundle of wood carried by a man in the foreground. He seldom made large pictures, but in 1648 he painted an Italian landscape, now 100 BERGHEM. at the Hague, in which the figures are life-size. It was sold in 1 827 for £500, but it is cold and unsatisfactory, though well drawn and lighted. In addition to his other work he often painted figures and animals in the landscapes of other artists, such as Ruysdael, Hobbema, Jan Wils, Abraham Verboom, and Isaac Moucheron. BERGHEM — BERCHET. 101 ENGRAVINGS AFTER THE WORKS OF BERCHEM. Engraver, Aliamet, Jacques. Landscape, with Figures and Cattle. The Port of Genoa. Landscape with a Stag Hunt. The Female Villagers. Village Pleasures. Engraver, Amstel, Cornelius Ploos Van. A Landscape with a Woman riding on an Ass, with Cattle by the side of a Canal ; N. Berghem, fecit, 1764; P. Van Amstel, fecit, 1769. Engraver, Aveline, Peter. A Landscape; fine. Engraver, Avril, Jean Jacques. The Passage of the Rhine. Engraver, Bas, James Philippe le. Four Plates of the Times of the Day. The Embarkation. Engraver, Canot, Peter Charles. Returning from Market. Engraver. Charpentier, Pierre Francois. The Shepherdess. The Shepherd reposing. Engraver, Coulet, Amne Philibert. The " Rendezvous a la Colonne." Engraver, Danckeht or Danckers, Dancker. Four plates of Landscapes and Figures, in one of which a man is passing a Bridge. The best prints of Danckert. Engraver, Daudet, John Baptist. Two Landscapes, with Figures and Cattle. Engraver, Deqitevauvillfr, Francois. Noon; a Landscape with Figures. Evening; the etching by AVeisbrod. Engraver, Groensvelt, John. A Set of Six Landscapes. A Set of Four Landscapes; Berghem, del. Groensvelt, fee. Cle. de Jonghe, exc; fine. Engraver, Kobell, William. Two Landscapes, with Figures and Cattle. Engraver, Laurent, Peter. The Passage of the. Ferry Boat. The Shepherdess. The Fortune Teller. Engraver, Major, Thomas. The Travellers. Two Landscapes; morning and evening. Engraver, Martknasie, Peter. The Watering Place. Engraver, Non, Richard Abbe de St. A Landscape with a Figure. Engraver, Pelletier, Jean. The Watering Place. Ruins and Figures. Engraver, Schlicht, Abel. A Landscape, with Figures and Animals. Engraver, Veau, Jean Le. The Village Blacksmith. Engraver, Visscher, Cornelius. Two Sets' of Landscapes; four plates each. Several Peasants dancing in a Cottage, called Berg- hem's Ball. His finest plate. A Set of four Landscapes, the four times of the Day. Several sets of Landscapes, with Figures and Animals. Berchet, Peter, French school (1659-1720). Pupil of Charles 102 BERCHET — BERGMULLER. de la Fosse. Went to England in 1681. His best work is the ceiling of the chapel at Trinity College, Oxford, representing the " Ascension."Berg, Mathias Van den, born at Ypres (1615-1647). It is said that his father had the care of the estates of Rubens, and that master took the son into his Academy. He is known only by his excellent copies of the works of his master. Bergen, Dirk Van, born at Haerlem (1645-1689). Pupil of Adrian Van de Velde, and one of his most successful imitators. His earliest works are the best, and are warm and sunny in color; in his later ones the cattle become crude in tone, and hard in execution. Nos. 15 and 16, Louvre, are among his best pictures, as are also Nos. 28 and 29, Amsterdam Mus. He established himself in Lon don in 1673. Berger, Daniel, born at Berlin, 1744. Pupil of his father. He became a good engraver, made a number of portraits of the royal family and many plates after different artists, principally those of his own country. In 1787 he was appointed Rector and Professor of Engraving at the Acad, of Berlin. Bergeret, Pierre-Nolasque, born at Bordeaux (1780-1828?). A pupil of David, and a distinguished painter of history and land scapes. He was happy in the choice of interesting subjects. Many of his works were placed in the Gall, of the Luxembourg, and other royal collections. He also painted four portraits for the Hall of the Chancellors. He designed bas-reliefs, among which may be men tioned those on the column of the Place Vendome. Many of his pictures have been engraved and some of them used as illustrations of splendid editions of " La Fontaine," " Boileau," etc., etc. Bergler, Joseph, born at Salzberg, 1753; died at Prague, 1829. When twenty, years old he had made himself so good a name that Prince Firmian of Passau sent him to Italy, with a pension. He went first to Milan, where he was the pupil of Martin Knoller. He remained five years in Milan, copying works of the masters, and executing frescoes with his teacher. From Milan he went to Rome, and in 1784 gained the prize of the Acad, in Parma. From this time he received as many commissions as he could execute. He remained in Rome until 1786, when he returned to Passau. In 1800 he went to Prague to assume the place of director of the Acad.; the number of his oil pictures is very large. They are almost without exception representations of religious subjects, and may be seen in the churches of his own country. Bergmuller, John George, born at Dirkheim in Bavaria (1688- 1762). Pupil of Andrew Wolff. Painter of history and portraits, but best known by his engravings, which were from his own designs. Some of his pictures are in the churches of Augsburg, where he resided. BERINGEROTH — BERNA. 103 Beringeroth, Martin, born at Ramelsbourg, 1670; died in Leipsic, 1733. An engraver who executed a great number of portraits. Beringeroth, John Martin, born at Leipsic (1713-1767). Son of the preceding, and an engraver of portraits. Berkheiden, Job, born at Haerlem (1628-1698). He is not known to have had any teacher, but when young, made sketches which were so much praised that he determined to become an artist. His pictures are landscapes with Small figures, and sometimes represent village fetes, etc., with some succers. He travelled with his younger brother Gerit, and, when he returned to Holland, was well patronized. He was employed by the Elector Palatine, when in Germany, and re ceived from him a gold medal and chain. Entire pictures by him are rare. He painted some portraits. No. 845, Berlin Mus., a landscape, has his signature. He was drowned in a, canal at Amsterdam. Berkheiden, Gerit, born at Haerlem (1645-1693). His pictures chiefly represent the exteriors of buildings in his own country, and Italy. They are good, but not equal to those of Van der Heyden. His works are rare in public galleries. There is a fine series in the Hope Coll. ; Amsterdam Mus., No. 26 is one of his best. The same is true of Dresden Gall., No. 1470. Louvre No. 28, is a view of Tra jan's Column. Mr. Baring has an excellent view of a Dntch town, with numerous figures. Berkmans, Henry, horn at Clunder, 1629; died at Middlebourg, 1690. His last instructor was J. Jordaens. At first he painted his tory, but his portraits were so good, and in such demand, that he could not fulfil his commissions. He painted many of the most distin guished men of his time. His best work is a large picture of the Company of Archers, in the Town Hall of Middlebourg. Berlinghieri, Marco, Barone, and Bonaventura. These are three artists of this name mentioned as signing a treaty of peace with Pisa, in 1228. The works of Bonaventura alone remain. They con sist of a series illustrative of the Life of S. Francis, in the ch. of that saint at Pescia; and No. 28, a " Crucifixion," in the Acad, of Fine Arts at Florence. These pictures are characterized by childish simplicity. The angels are merely motionless half-fignres, with embroidered dresses, and tho resoluteness with which the different occurrences in the life of the saint are crudely indicated, is ludicrous. in the extreme. The sparrows to which he talks are huge birds, perched on trees rising from a conical hill; and those persons whom he freed from evil spirits have little devils flying out of their mouths. Berlinghieri, Camillo, called II Ferraresino, born at Ferrara (about 1596-1635). Pupil of Carlo Bononi. Painter of history. His works are chiefly at Ferrara and Venice. A picture of the " Miracle of the Manna," in the ch. of S. Niccolo at Ferrara, is a fine work, also that ofthe " Annunciation "in S. Antonio Abate. Berna or Barna. True name thought to have been Barna Bertini. 1 04 BEEN A — BERNINI. Sienese painter (died 1381 ?). In the capitular ch. of S. Gimignano,in the Valdelsa, there still may be seen some remains of the frescoes of this old artist. They represent stories from the New Testament, and have been injured by retouching. As far as can be judged, Barna combined the peculiarities of Simone and Ugolino — minute drawing, abundant ornament, muscular limbs, stiffened action, close-fittino- draperies, and a general flatness in effect. Vasari claimed praise for Barna on account of his having been the first to depict animals well. In the Berlin Mus. are three pictures, Nos. 1067, 1072, and 1142, which may be the works of Barna; the latter especially has his char acteristics, and in the Chapel del Rosario at S. Dominico in Siena, there is a " Virgin and Child " attributed to him. He was killed by a fall from his scaffold. Bernabei, Pier Antonio, called della Casa, born at Parma. Flourished 1 550. An imitator of Correggio. The Cupola of La Ma donna del Quartiere proves him to have been a good fresco painter. Lanzi says, equal to any of that, time in Lombardy, and perhaps in Italy. There are also considerable works of his at the Carmelites, and in other places in Parma. Bernaerts, Nicaise, born at Antwerp (1608-1678). Pupil of Francis Snyders. His pictures so nearly resemble those of his master that they have been sold as genuine Snyders. Bernard, Jan (1765-1833). A copyist of Paul Potter and Berghem. A member of the Institute, and of the Acad, of Fine Arts at Amsterdam. Bernard of Brussels. See Van Orley. Bernard, Solomon, or Little Bernard. An engraver, born at Lyons, 1512. His best prints are those for a Bible published at Lyons from 1550 to 1580. Bernard, Samuel, born at Paris, 1615. A miniature painter and engraver. Pupil of Simon Vouet. He attempted frescoes, but failed. He succeeded better in miniatures, but at last became an engraver. Bernini, Gio. Lorenzo, born at Naples, 1598; died at Rome, 1680. As early as his tenth year he had become known as a prodigy in art. At this time his father took him to Rome. Pope Paul V. became interested in him, and also Card. Barberini, who assisted him in his studies. Good fortune ever attended his steps, and, although he lived during nine pontificates, the favor of the reigning Pope was always his. His fame extended to other countries, and he was invited to France, to which country he went when sixty-eight years old, accompanied by one of his sons and a numerous retinue. He was loaded with favors, and received large sums of money and valuable presents. He held several benefices at Rome, and his son was Canon of Santa Maria Maggiore. He was buried with great magnificence in the last named ch., and left the immense fortune of BERNINI. 105 400,000 Roman crowns. He had versatility of talent, remarkable imagination and perceptive power, and marvellous facility of execu tion. It has been said that marble was like clay, or wax, beneath his hand. He believed and constantly said that one must be above rules in order to excel. There is a fascination in the sound of this maxim, but Bernini's own works prove that its practical application is hurtful, and his extraordinary executive ability often failed to atone for the bad taste in which he treated his subjects. In short, his desire for picturesque and unusual effect made him an injury rather than a benefit to the art he practised. Westmacott says it would have been better for sculpture had Bernini never lived. His " Apollo and Daphne " was executed when he was but eighteen years old ; yet he himself declared, near the close of his life, that he had made little progress since it was produced. Some of his most important works were exe cuted in the time of Urban VIIL, among which are the great altar of S. Peter's, in bronze and gilt, beneath the centre of the dome ; the pulpit and canopy of S. Peter's ; colossal statues of the Four Doctors of the Church supporting the chair of S. Peter; the Campanile; the circular piazza before the Basilica, and the Pal. Barberini. The beautiful colonnade of S. Peter's was executed according to his plans, and under his direc tion. Pie also built the Chapel of S. Teresa, in the ch. of Santa Maria della Vittoria; the ch. and high altar of S. Bibiano; a large part of the ch. of S. Anas- tasia; the celebrated Chigi Pal. ; the Collegio Urbano di Propaganda Fide, besides portions of other churches , , -m r.-u i In the Villa Borghese, Rome. and palaces, i or Charles I. of England he executed a statue. For this purpose the king sent him three portraits by Vandyck, and the likeness was so satisfactory that, in addition to the 6,000 crowns paid for the statue, Charles sent him a ring worth as much more. The colossal equestrian statue of APOLLO AND DArHNE. BY BERNINI. 106 BERNINI - BERTHELEMY. Louis XIV., executed by Bernini, was afterwards converted into Marcus Curtius, and was sent to Versailles. Bernini also executed the monuments of Urban VIII. and Alexander VII. in S. Peter's, and the decorations of the Bridge of S. Angelo. Among his charac teristic and exaggerated works are the fountain in the Piazza Navona; the "Ecstasy of S. Teresa," and the "Apollo and Daphne " before mentioned. Berre, Jean Baptiste, born at Antwerp, 1777; died in Paris, about 1830. A painter of subjects in the manner of Weenix. His pictures were highly finished, are much sought for by amateurs, and bring large prices. He lived mostly in Paris. Plis works are in several rich collections. Berreguette, Alonso, born at Parades de Nava, in Castile, about 1480. The most eminent Spanish artist of his time. He is called the Michael Angelo of Spain, for he was painter, sculptor, and architect. He studied with his father Pedro, and was painter to Philip 1. He was in Florence in 1503, and went with Michael Angelo to Rome in 1505. He devoted many years to study in Italy, returning to Spain in 1520. He was appointed painter and sculptor to Charles V. He received 4400 ducats for the high altar of the ch. of S. Benito el Real, in Valladolid, where he settled. When almost eighty years old he went to Toledo, to construct a monument to Card. Tavera in the Hospital of S. John Baptist. He was lodged in the hospital, and there died in 1561. He left a large fortune, and was buried with magnificent ceremonies at the expense of the emperor. Berrestyn, C. V., flourished about 1650. A German engraver. There is one plate of a woody landscape, signed with his name and the above date, which is very scarce. Berretoni, Pietro. See Cortona. Berretoui, Niccolo, born at Montefeltro, 1627. He was the best scholar of Carlo Maratti. In the ch. of Montesanto, at Rome, there is an altar-piece representing a scene in the life of S. Francis, which is his best work. He became a, member of the Acad, at Rome in 1675, and died in 1682. Bertaud, Marie Rosalie, born at Paris, about 1700. An en graver, whose best works are after the pictures of Vernet. She was instructed by S. Aubin and Choffard. Bertelli, Cristofano, born at Rimini, 1525. We have a few plates by him, stiffly executed with the graver. Bertelli, Ferrando, born at Venice, 1525. He engraved mostly after the Venetian painters. Bertelli, Lucas. A relative of the preceding, who engraved after the Italian masters. Some of his prints are very scarce. Berthelemy, Jean Simon, born at Laon, 1743; died in Paris, 1811. Pupil of N. Halle. His subjects were historical and poetical. BERTHELEMY — BETTELINI. 107 He .painted ceilings in the Pal. of Fontainebleau, the Luxembourg, and at the Museum. He was a member of the Acad, and Director of the School of Design. Bertin, Nicholas, born at Paris (1667-1736). Son of a sculptor, who died while he was a boy. He studied with John Jouvenet, and later with the elder Boulogne. So much talent had he, that he gained the first prize at the Acad, when eighteen years old, and was sent to Rome with a pension from the king. He remained three years. Returning to Paris, he so distinguished himself, that he was made a Royal Academician in 1 703. He was employed by Louis XIV. at the Trianon. He painted in Normandy, and in the Abbey of S. Germain des Pres is a representation of the " Baptism of the Eunuch of Queen Candace," which is fine. Bertucci, Jacopo, called Jacoponc da Faenza, flourished about 1530. Was best known as a copyist of Raphael, and also executed some good pictures at Faenza. Bertucci or Bertusio, Gio. Batista, born at Faenza, died 1644. Studied under Denys Calvart, and afterwards in the school of the Caracci. He painted history and imitated Guido. His drawing was good, but his color chalky and cold. Many of his works are in tho churches of Bologna. Bervic, Charles Clement, born at Paris (1756-1822). A pupil of J. G. Wille. A fine engraver. A plate of the " Laocobn," made by him for the Musee Francais, Bryan calls the best representation of that group ever engraved. It has been sold as high as £30. Beschey, Balthasar, born at Antwerp (1708-1776). A weak painter of history and portraits. Antwerp Mus. Nos. 496 and 497 are his, and seem to imitate Gaspard de Craeyer. They represent scenes in the life of Joseph. His own portrait is No. 498 Antwerp Gall. Beschey, J. F., born at Antwerp (1739-1799). A copyist of Dutch and Flemish painters. Besenzi, Paolo Bmilio, born at Reggio (1624-1666). An imitator of Albano. His best pictures are in the ch. of S. Pietro, at Reggio, and are worthy of commendation. Bestard. A Spanish artist who lived at Palma at the end of the 17th century. He ornamented several public buildings there, and painted a picture for the convent of Monte Sion, which was 24 palms wide, and 15 palms high. It represents " Christ in the Desert attended by Angels," and is the wonder of Palma. He had good knowledge of drawing, color, and chiaro-scuro. Bettelini, Pietro, born at Lugano, 1763. A very eminent en graver. Thorwaldsen so esteemed him that he employed him to engrave his finest works. His plate of the " Entombment," after Andrea del Sarto, is called his chef-d'ozuvre, and is a magnificent work of art. 108 BETTI — BIGARI. Betti, Padro Biagio, born at Pistoja (1545-1615). Pupil of Daniele da Volterra. After the death of his master Betti became a monk of the Theatine order. His works are principally in the monastery of his order at Rome. Betti, Bernardino di. See Pinturicchio. Bewick, Thomas, born at Cherry Burn, 1753; died at Gateshead, 1828. This artist is distinguished as the reviver of wood-engraving. He was apprenticed to Ralph Beilby at Newcastle, an excellent and painstaking master, who pointed out to him in what he could excel. His first considerable work was the illustration of Dr. Hutton's book on mensuration. He at length became a partner of Beilby and, in 1790, published his " History of Quadrupeds." From this time his fame was established. He afterwards made the illustrations for many fine books, among which were "British Birds," "British Water Birds," Goldsmith's " Deserted Village " and " Traveller," etc. He had many distinguished pupils, such as Harvey, Nesbitt, Hole, Ransom, and Clennell. Bianchi, Cavaliere Isidoro, born at Milan. Flourished about 1626. Pupil of Morazzone, and one of his best followers. His fres coes were his best works, and may be seen in the churches of Como, and in S. Ambrogio, at Milan. Bianchi, Pietro, born at Rome, 1694. Pupil of Benedetto Luti. One of his best works is a picture of the " Conception " in the ch. of S. Maria degli Angeli. Biancucci, Paolo, born at Lucca (1583-1653). Pupil of Guido. His works resemble those of Sassoferrato. A representation of "Purgatory" in the ch. of the Suffragio, and an altar-piece in S. Francisco are among his best works. Bicci. There were three artists of this name, and there has been much confusion regarding their individuality. It now seems to be established that Lorenzo di Bicci married Madonna Lucia d'Angelo da Panzano. Theh son Bicci was born in 1373, married in 1418, and was father of Neri di Bicci. Thus we have Lorenzo di Bicci, Bicci di Lorenzo his son, and Neri di Bicci his grandson. No pictures now remaining are positively known to be those of Lorenzo. Of the works of Bicci, a few remain. No. 14, first corridor, Uflizi Gall., representing " SS. Cosmo and Damian," was formerly in the ch. of S. Maria del Fiore, executed about 1429. Some other works still remain in S. Maria del Fiore, and a terra cotta above the portal of S. Maria Nuova; the drawing of these was better than the color. Neri di Bicci was little more than a house-painter, but he filled half Tuscany with pictures. Many of these still remain in churches, and there are four " Annunciations " by him in the Acad, of Arts in Florence. These artists were among the last of tho weak imita tors of Giotto. Bigari, Vittorio, born at Bologna. His works may be seen in BIGARI — BISCAINO. 1 09 almost every church in Bologna, and are well spoken of. In the eh. of the Madonna del Soccorso, there is a " Madonna and Child," with S. Petronio and other saints, which is much admired. Biliverti, Gio., born at Florence (1576-1644). Pupil of Cigoli. He united, in a degree, certain elements of his master, of S. di Tito, and of P. Veronese. A picture of the "Chastity of Joseph" by him is in the Florence Gall. It is much admired, and has been so often copied, that amateurs should be on theh guard concerning it. Several of his works are in S. Gaetano and S. Marco. Biltius, Francis. An artist of the Netherlands, who flourished about 1650. He painted dead game, hunting-horns, pouches, nets, etc., in such a manner that they were often mistaken for the real articles. He used white backgrounds. I 1~v Binck, James, born at Cologne, about 1504. A dis- ^ | ) tinguished old engraver whose plates are highly prized. He is believed to have studied first with Albert Diirer, and some of his plates resemble those of that master. He went to Rome, and, it is said, studied with Marc Antonio, and engraved after the works of Raphael under his guidance. From the size of his plates he is called a little master. His drawing is correct, his style neat, and he had facility of execution. He usually marked his plates I. B., or with those letters with C. between, forming a cipher. Birch, Thomas. An Englishman who settled in Philadelphia, where he died in 1851. He painted marine views. His pictures of the engagements between the Uv- S. Frigate Constitution and the British Frigate Guerriere, and between the United States and the Macedonian, have much historical value, and are in the Gall, of Joseph Harrison in Philadelphia. Bird, Edward, born at Wolverhampton, 1762; died at Bristol, 1819. Son of a carpenter, he was apprenticed to a tin and japan- ware maker. When he became his own master he removed to Bristol, where he was first a drawing teacher and at length an artist. He succeeded in gaining a reputation rapidly, and his pictures had a ready sale. In 1814 he was appointed painter to the Princess Charlotte, and the next year was made a member of the Royal Acad. His genre pictures were the best, and he made a mistake in attempt ing historical representations. Although not equal to Wilkie, he painted in his style. His best works are, the " Results of the Battle of Chevy Chace," and the " Surrender of Calais." He was much respected, and was buried with honors in the Bristol Cath. Biscaino, Bartolommeo, born at Genoa (1632-1657). Studied first with his father, Gio. Andrea Biscaino, and later with Valerio Castelli. His early works showed great genius, and his future was full of promise. Although but twenty-five, he had painted several important pictures when the plague devastated Genoa, to which both Bartolommeo and his father were victims. There are three 1 1 0 BISCAINO — BLA CHERNITA. pictures by this artist in the Dresden Gall. He also etched some plates in a free, bold manner, with good drawing and high finish. Biset, Charles Emanuel, born at Antwerp, 1633. This artist went to Paris, where his pictures, which were conversations, or representations of gallant assemblies, were much in vogue. He met with good success, but his love of Antwerp caused him to return there, and he was made director of the Acad, in 1674. In the hall of the Society of Archers there is a picture of ' ' Tell compelled to shoot the Apple from his Son's Head," which is the work of this artist. Bisi, Michael. A celebrated engraver of Milan. He gained his first reputation by the ' ' Pinacoteca del Palazzo Reale, della Scienze delle Arti," etc., which he published. He commenced a set of engravings after the works of Andrea Appiani in 1819, in which he was assisted by the best pupils of Longhi. Later he made plates after various masters, all of which were good. He also painted land scapes with some success. . Bissolo, Pier Francesco. A Venetian artist, who painted from 1500 to 1528. He was brought up in the school of the Bellini. His heads arc beautiful and full of expression. His characteristics are gentleness, and delicacy of execution. In the Berlin Mus. there is a fine work of his, representing the " Resurrection of Christ ; " in the Manfrini Gall., an " Annunciation," and in the Venetian Acad. " S. Catherine of Siena, exchanging the crown of thorns for a crown of gold; " signed' Franeiseus Bisxolo. Bissuccio, Leonardo di. But one work of this artist is known to remain. It is the decoration of the monumental chapel to Sergiani Carracciolo, in the ch. of S. Giovanni a Carbonara, at Naples. It was built in 1433. The style of the pictures is Giottesque, but the heads are more like those of Fiesole. Carracciolo was the lover and seneschal of the younger Queen Johanna, and one of these pictures represents him naked, as he was found after his murder. There are also scenes from the " Life of the Virgin," and pictures of several members of the Carracciolo family. There is an inscription which clearly tells the name and origin of the painter. Blaceo, Bernardino. An artist of Udine, in the Frioul, who flourished about 1 550. His works are in several churches in Udine. Blachernita, Michael and Simeon. These artists were painters of miniature, or the illuminations of MSS. Their names are upon the miniatures in the celebrated Menologium or Calendar of the Emperor Basilius II. It was executed about 1000 a. d., and is now in the Vatican, No. 1613, Vaticana. It is supposed that Ludovico Sforza, Duke of Milan, procured it from Constantinoph. There remain at present but five months, but these contain 430 miniatures on gold grounds, representing scenes in the " Life of Christ," and in the lives of those saints whose days occur in these months. This BLACHERNITA — BLANSERI. 1 1 1 MS. was presented to Paul V. who placed it in the Vatican in 1615. Blackmore, John. An English mezzotinto engraver, who has left some well-scraped plates of portraits. Flourished 1770. Blake, William, born in London (1757-1828). Poet and painter, a man of wonderful, rather than practical genius. He was appren ticed to an engraver. He lived in a sort of dream-land, and took what he called portraits of Moses, Homer, Milton, etc. He said of himself, that his business was " not to gather gold, but to make glorious shapes, expressing godlike sentiments." He painted but little. He married Catherine Boutcher, who was a devoted wife. He also possessed the strong friendship of the sculptor Flaxman. He loved the antique, and the works of Raphael and Michael Angelo. His illustrations of the Book of Job, Young's " Night Thoughts," Blair's " Grave," etc., are astonishing conceptions, but his published works are too well known to need description or criticism. Blanchard, Jacques, born at Paris (1600-1638). When twenty- four he went to Italy, and lived two years in Rome and two in Venice. He perfected himself in the coloring of the Venetian masters, for which he was much admired after his return to Paris. He has been called the French Titian. His pictures are agreeable, and his flesh tints are very good. In the ch. of Notre Dame are two pictures by this master, representing the ' ' Descent of the Holy Ghost, ' ' and " S. Andrew kneeling before the Cross." Several of his works are in the Louvre. He also etched plates from his own designs and those of other masters. Blanchet, Thomas, born at Paris, 1617; died at Lyons, 1689. At first he studied sculpture under Sarrazin, but abandoned it on ac count of his delicate health. He went to Rome and studied under Andrea Sacchi. He was a friend of Algardi and Nicholas Poussin, both of whom advised and encouraged him. Returning to Paris, he painted the " Vision of S. Pliilip," and the "Baptism of the Eu nuch," for the Cath. of Notre Dame, and was then employed to execute various works for the Hotel de Ville at Lyons. These last earned him a reputation as an historical painter. When admitted to the Acad, at Paris, he painted for his picture of reception, " Cadmus killing the Dragon." Blankhof, John Teunisz, born at Alkmaer (1628-1670). Pupil of Cajsar van Everdingen. He spent some time in Italy. He ex celled in marine views, and some of his best pictures represent storms on the Mediterranean coast, in which he imitated the scenery of Italy with Dutch truthfulness. Blanseri, Vittorio, born in Venice (1735-1775). Educated in the school of Cavaliere Beaumont, he was his best scholar, and his successor in the office of painter at the court of Turin. His principal works are in that city, one of which, representing " S. Luigi faint ing," is in the ch. of S. Pelagio, and is much admired. 112 BLECK — BLOEMEN. Bleck or Bleeck, Peter Van. A Flemish engraver, who went to England about 1730. He engraved in mezzotinto, and his plates have considerable merit. Bles, Henri de, born at Bouvignes, 1480 ; died probably 1550 at Liege. A painter of landscapes who belonged to one of the last branches of the Van Eyck school. He adopted an owl for his monogram, and was called Civetla in Italy. His manner was stiff and dry, resembling that of Jacob Patinier in color. He often introduced a Scripture subject in a landscape. No. 624, Berlin Mus., is one of his earlier works, and is a male portrait with a landscape background. No. 91, Munich Gall. Cabinets, represents the "Adoration of the Kings." In the Coll. of the Prince Consort at Kensington there is a " Crucifixion" by this master. His works are rarely for sale, and are much esteemed. M Bloemaert, Abraham, born at Gorcum about 1564; died at Utrecht, 1647. Painter and en graver, a contemporary of Ru bens, and the son of Cornelius Bloemaert, an eminent architect. He painted history, landscape, and animals. His drawing was very bad. " The Wise Men's Offering," in the Jesuit ch. at Brussels; a " Nativity " at Leliendael; also Nos. 745 and 722, Berlin Gall.; No. 193, Munich Gall.; the " Feast of the Gods," in the Hague Gall;, and a " Madonna " in the Mechlin Cath. are by Bloemaert. He de serves the most attention as an engraver, for his etchings are good, his plates in chiaro-scuro are spirited and effective, and the outlines are not cut on blocks of wood, as is customary, but etched on copper. Bloemaert, Cornelius, son of the preceding. Born at Utrecht, 1603; died at Rome, 1680. A very distinguished engraver. He studied first under his father, then with Crispin de Passe. In 1 630 he went to Paris, where he distinguished himself . He went to Rome where he passed the remainder of his life. His engravings were, fine, but he effected a change in his art, which added to his fame more than his works. Before his time there was an inattention to har mony, and the lights were left indiscriminately clear, which had an incongruous and spotted effect. Bloemaert effected a gradual or insensible gradation from light to shade, and made a variety of tints in the distances. Thus he may be called the originator of the style followed by Poilly, Audran, Picart, and the great French engravers. His works are much prized, and several of them have become scarce. He marked his plates C. Bl. or Corn. Blo. or C. Blo. Bloemen, John Francis Van, called Orizonti, born at Antwerp, 1656; died at Rome, 1740. He painted like an Italian, for he went BLOEMEN — BLONDEEL. 113 to Italy when very young, and there passed his life. His works are in the Colonna, Doria, and Rospigliosi palaces in Rome, and also in the pontifical Pal. at Monte Cavallo. He painted landscapes and received his sobriquet from the Soc. of Flemings at Rome, on account of the delicate beauty with which he painted his distances. His pictures are very unequal. He made choice of good subjects, and some of his best are almost equal to those of Gaspar Poussin, and although inferior to the latter he merits a rank among the best land scape painters. His works are well known in England, and there are six in the Louvre, Nos. 33 to 38, also three landscapes in the Vienna Gall. Bloemen, Peter Van, called Standard, born at Antwerp (1649- 1719). Brother of the preceding. He went also to Rome, but re turned to Flanders, with numerous studies made in Italy. He painted attacks of cavalry, from which he received the name of Standard ; also battles, fairs, caravans, etc. His figures and animals were drawn with great freedom and spirit, and his landscapes were adorned with ruins of statues, and architectural ruins. In 1699 he was appointed director of the Acad, of Antwerp. In the Dresden Gall, there are six pictures by this artist. No. 993, " The Vagrant Family," is the best; next to it is one of Fishermen and an old gray Horse, and Travellers with Horses before an Inn. Blond or Blon, James Christopher Le, born at Frankfort, 1670; died at Paris, 1741. He went early to Italy, where he studied under Carlo Maratti. He next went to Amsterdam with B. van Overbeck. There he painted miniature portraits which were much esteemed. He went at length to England, and attempted the printing of mezzotinto plates in colors, so as to represent perfectly the pictures from which they were made. He disposed of the prints which he made by a kind of lottery, and published a book upon the Harmony of Coloring in Painting. He also conceived the idea of making tapestries from the cartoons of Raphael. Houses were purchased, drawings made, and much money expended, but the scheme failed, and Le Blon went to Paris, and, it is said, died in a hospital. His prints, aside from their novelty, have some merit. Blondeel, Lancelot. Flourished at Bruges about 1520 to 1574. His pictures have rich architectural backgrounds, often in Renais sance style; executed on a gold ground. The effect is brilliant. His figures are in the Italian style, His flesh tones are cold, and his whole execution mannered. In the ch. of S. Jacques, Bruges, is a picture representing SS. Cosmo and Damian, dated 1523; his earliest known work ; in the Cath. a " Madonna " with Saints, dated 1545 ; and the Berlin Mus. has two of his works, Nos. 641 and 656. The mantelpiece in the council-hall of Bruges was designed by Blondeel, and is adorned with statues of Charles V. and other princes. He was originally a mason, hence his monogram of a trowel. 114 BLOOT — BOCCACCINO. Bloot, Peter. A painter ot Holland. Flourished about 1650, died 1667. He represented scenes from low life; drunken frolics, quarrels, etc. His characters are uncomely, grotesque, and even disgusting. Unlike some other artists, such as Ostade and Teniers, he has not attempted to reconcile us to vulgarity by ingenious arrangement or beautiful colors. His works are very rare and highly prized in Holland. Blooteling or Bloteling, Abraham, born at Amsterdam, f\ A- 1634. His style indicates that he studied under the *-^ Visschers. He became a very eminent designer and en graver, and produced a large number of etchings; some plates in mezzotinto, and some executed with the graver. He went to Eng land in 1672, and remained two years. He etched plates of the Coll. of gems of Leonardo Augostini, and published them in 1685. Blot, Maurice, born at Paris (1754-1818). Pupil of Aug. S. Aubin. He engraved in a neat style, and has left some plates of portraits and fancy subjects. Bobadilla, Geronimo, born at Antequerra ; died, 1680. Pupil of Zurbaran at Seville. He thoroughly understood perspective, and arranged the figures in his pictures well, but his designs were not good. His color was better. Murillo compared the varnish he used to crystal. He was one of the founders of the Acad, at Seville. He made a large Coll. of drawings, models, sketches after celebrated artists, etc. Bocanegra, Don Pedro Atanasio, born at Granada (1638-1688). A pupil of Alonso Cano, he also studied color from the works of Pedro de Moya and Vandyck. He was a boaster, vain and arro gant, disliked by all who knew him, and when he was challenged to prove his skill he stole away from Madrid to avoid the test. But his works were much esteemed, and no Coll. was thought complete without them. At the college of the Jesuits, Granada, is the " Con version of S. Paul," one of his finest works ; and in the Cloister of Nuestra Senora de Gracia a " Conception." Boccaccino, Boccaccio, born at Cremona (1460-1518). Few facts are known in the life of this old painter. In 1497 he had painted a series of frescoes in S. Agostino, and had a school at Cremona, from which Garofalo ran away in 1499. His compositions are scattered ; his perspective bad ; but there is a certain grace and spirit in his figures. His remaining works are frescoes in the Cath. of Cremona ; at S. Quirico in Cremona, a panel much in the Vene tian style of painting ; an early tempera on canvas in the Bishop's Pal. at Cremona; No. 132, Venice Acad., and an altar-piece at S. Giuliano at Venice. There are others that are supposed to be his in various collections, which are attributed to Perugino, Pinturicchio, etc. Boccaccino, Camillo, born at Cremona (1511-1546). Son of BOCCACCINO — BOEYERMANNS. 115 the preceding. At the time of his early death he was the most promising artist of the Cremonese school. The " Raising of Laz arus," and the " Adulteress before Christ," at Cremona, arc well esteemed, and he painted the " Four Evangelists," in S. Sigismondi, in a style which showed great knowledge of perspective and fore shortening. Bocciardo, Clemente, called Clementone, born at Genoa (1620- 1658). His principal works are at Pisa, and a "Martyrdom of S. Sebastian," in the ch. of the Carthusians, is one of the best. Bocciardo, Domenico, born at Genoa, 1686. In the ch. of S. Paolo, Genoa, there is a picture by him of S. John baptizing several persons. Bockhorst, John Van, called Langen Jan, born at Munster, 1610. His family removed to Antwerp, and he became a pupil of Jacob Jordaens. He painted much in the style of Vandyck. His portraits were excellent, and his historical pictures rank among the best productions of the Flemish school. They are in many Flemish churches. In the ch. of S. James, at Ghendt, there is an altar-piece representing the Martyrdom of the Saint, and in the ch. of the Beguines, at Antwerp, a " Resurrection; " both fine works by this master. Boedas. Third son of Lysippus, the great sculptor of Sicyon. Nothing is known of Boedas but that he made a statue of a praying figure. Many believe the " Praying Boy " in bronze, in the Mus. of Berlin, to be his work. Of course there is no way of proving this, but the whole style points to the school of Lysippus. Boece, C. F. See Boetius. Boehm. See Beham. Boel, Pieter, born at Antwerp (1625-1680). He studied under Francis Snyders, but completed his education under his uncle, Cor nelius de Wael, at Genoa. He was very nearly allied to the manner and excellence of Snyders, and considered a fine painter. His pictures are rare. At Antwerp there is a series called the "Four Elements." Munich Gall., No. 327, represents two sporting does guarding dead game ; very fine. His etchings were also fine, and lake place among the rarest works of the kind. A series of six plates of Birds, and a " Wild Boar Hunt," merit special notice. Boethus of Chalcedon. We have an account of three statues of boys by this sculptor. The "Boy with a Goose," in the Louvre, is copied from one of them. Boetius or Boece, Christian Frederick, born at Leipsic, 1706. Lived chiefly in Dresden, and was made professor of the Electoral Acad, in 1 764. He engraved several plates from the pictures in the Dresden Gall., for the volumes published in 1753 and 1757. Pie also engraved some portraits, and other subjects. Boeyermanns, Theodor, born at Antwerp (1620-1678.) An 1 1 6 BOEYERMANNS — BOL. excellent painter, and imitator of Vandyck. Was made a member of the Antwerp Guild in 1 654. His pictures are scarce. Either he did not put his name on them, or it has been removed in order to pass them as Vandyck's. The Antwerp Mus. has two of his pictures : No. 403, called " L'Ambassadeur," and No. 404, "The Pool of Bethesda," a large composition dated 1675. His works are also in the ch. of S. James, and the Convent of the Jacobins at Antwerp, but his chef-d' ozuvre is a representation of " S. Francis Xavier con verting an Indian prince " in the Jesuit ch. at Ipres. s--(-*l Boissieu, Jean Jacques de (1736-1810). An C£jcS , jmQ eminent engraver, who has left about sixty charm- *"" '"' *¦ ing plates. They are of landscapes and other subjects, both from his own designs and those of other artists. He marked his plates D. B., with the date. He also painted some por traits, and a few pictures of subjects similar to those of Ostade. Boizot, Louis Simon (1743-1809). French sculptor. His father was a designer, and at the age of nineteen Louis had gained the grand prize of the Royal Acad. , and was sent to Rome by the king. The group of allegorical figures in the Place du Chatelet is his best work. There are two busts executed by him in the Gall, of Fontaine bleau. Boizot, Marie Louise Adelaide, born at Paris, 1 748. She was instructed by J. J. Flipart, and engraved with neatness both por traits and other subjects. Bol, Ferdinand, born at Dortrecht, 1609 ; died at Amsterdam, 1681. A pupil of Rembrandt, whose style he followed but for a time. His historical subjects are not skilful in composition, and his heads have a tiresome sameness, while his color was too yellow. The force of his pictures is astonishing, and yet they lack refine ment. His portraits were his best efforts ; they were painted in full lights, and his flesh tones were truthful, while the expression was animated and life-like. One of his fine early works is a portrait painted in 1632, Berlin Mus., No. 810. His best work is probably that in the "Leprosenhuys," at Amsterdam, in which a doctor i3 recommending an infected boy to the Regents. The heads are masterly, and the hands are finely painted. In the " Huyssitten- huys " there is a picture of the same kind. Mr. Baring has a scene from Guarini's " Pastor Fido," and a couple of fine portraits. No. 42, Louvre, is also a portrait. In the town-house at Leyden there is an allegory of " Peace," and in the Dresden Gall., No. 1203 repre sents " Joseph presenting Jacob to Pharaoh," and No. 1205, " David's Letter concerning Uriah." These last are of the best of his later works. Bol was also an engraver, and his etchings, though not equal to those of his master, are highly esteemed. His lights and shadows are good, and his style with the point is bold and free, rather than light and tasteful, like that of Rembrandt. BOL — BOLOGNINI. 117 , Bol, Hans, born at Mechlin, 1535; died at Amsterdam, li I •? 1593. An engraver and painter. At first he attempted A ¦*-* large pictures in size colors, but afterwards confined him self to miniatures. His execution was good, as was his drawing also, and his animals, flowers, etc., are truthfully represented, as well as his portraits. He used his pictures for the decoration of books, an example of which may be seen in the Imperial Library at Paris, No. 708. His pictures are also in the cabinet of engravings at Berlin, and the cabinet of miniatures at Munich. He etched some plates too, from his own designs, which have considerable merit. 1«k Boldrini, Joseph Nicolas. A wood engraver. »)[<<» There is much difference in the accounts of this artist, ¦*— " but his plates are mostly after Titian, and it is thought that he studied under that great master. His plates are rare. Bologna, Gio. or Gian, born at Douai (1530?-1608). Called 11 Fiammingo. His father wished him to be a notary, but his taste for sculpture was early so decided, that he placed him with an artist named Beuch, who had studied in Italy. From this master he went to Rome, and at length settled in Florence. He founded his style upon the study of Michael Angelo, and was undoubtedly the best sculptor of his time ; but his works show the decline of art, when compared with those of the fifteenth century. He most excelled in the representation of abstract ideas, which gave an opportunity for the display of his great technical skill. In the treatment of religious subjects, which he rarely attempted, he was less .successful. Among his best works may be mentioned the group of the " Rape of the Sabines;" the equestrian statue of Cosmo I., in the Piazza della Signoria; and a Mercury, in the Uffizi. A group of "Hercules and Nessus," which stands near that of the Sabines, in the Loo-o-ia de' Lanzi, is good, but not equal to the latter. A fountain in the Boboli gardens; a Venus, at the Villa of Petraca; a S. Luke, at Or S. Michele, and a representation of Victory in the Palazzo Vecchio, are all works of more than ordinary merit. These are but a small portion of the works of Bologna. The " Rape of the Sabines " is considered his chef-d'eeuvre, and copies of the Mercury are to be seen in many galleries and museums of art. Flaxman says that his " Venus coming from the Bath," both standing and kneeling, " are remarkable for delicacy and grace." Bolognese, TX. See Grimaldi. Bolognini, Gio. Batista, born at Bologna (1612-1689). One of the best pupils of Guido Reni. His works are in several churches of Bologna. He also etched some plates after the works of Guido, which are done in a slight and spirited manner. Bolognini, Giacomo, born at Bologna (1664-1734). A nephew and pupil of the preceding, he became a painter of history. His pictures are in some Bolognese churches, and have considerable merit. 118 BOLSWERT — BONCUORE. Bolswert or Bolsuerd, Boetius Adam, born at Bolswert in Friesland, 1580. Where he studied engraving is not known, but he became eminent in that branch of Art. He followed the manner of Cornelius Bloemaert. He settled with his brother Scheltius in Antwerp, as a print-seller and enoraver. He used the graver only. His finest plates are after Rubens, and have more color and finish than his others. Bolswert or Bolsuerd, Scheltius A, aX^-t born at Bolswert, 1586. A very eminent fcTji fity engraver; in truth, one of the most so of ' ^- his country. His plates embrace all classes of subjects, but he was especially happy in representing the finest works of Rubens and Vandyck. It is said that Rubens often re touched his proofs with chalk, and he made the corrections with the graver. He never used the point. Some of these proofs are in the portfolios of lovers of the curious. Bombelli, Sebastian, born at Udina (1635-1685). Pupil of Guer cino. Especially distinguished as a portrait painter and a copyist of Paul Veronese. Boschini says that in his imitation of Veronese, he could not be excelled. In early life he painted some historical pictures which gave promise of excellence, but portrait painting promised him greater rewards, and he confined himself largely to that branch o'f painting. He travelled through Germany and painted portraits of many eminent persons at different courts. Bonacina, Gio. Batista, born at Milan, 1620. An engraver who imitated Cornelius Bloemaert, without equalling him. His style is neat, but dry and stiff. Bonasoni, Giulio, born at Bologna about 1498. A 71 t-j painter and very emiment engraver. Some of his Yj pictures are in the churches of Bologna, but it is as an engraver that he demands attention. He was instructed by Marc Antonio, and although he did not equal him, he executed plates after the works of some of the best masters with great facility and elegance. He used the graver almost entirely. The distribution of lights and shadows, and breadth in the masses are especial points of excellence in his plates. He engraved after M. Angelo, Raphael, Giulio Romano, Parmegiano, etc., and also several plates from his own designs. Bonatti, Gio., born at Ferrara, 1635; died at Rome, 1681. Pupil of Guercino, and a protege of Card. Carlo Pio. Later, in Rome, he studied with P. Francesco Mola. In the Gall, at the Capitol there are works of his, and in the churches of Santa Croce in Gerusa- lemme, and Chiesa Nuova. Boncuore, Gio. Batista, born at Abruzzo (1643-1699). Pupil of Francesco Albano. His best characteristic is force and vigor of effect. One of his best works is in the Chiesa degli Orfanelli at Rome. BONE — BONIFAZIO. 119 Bone, Henry, born at Truro in Cornwall (1755-1834). He was a manufacturer of china, but became an eminent enameller. He was first distinguished by his copies of the " Sleeping Girl " by Sir Joshua Reynolds, but his greatest work was the " Portraits of the Illustrious Men and Women of England," which he reproduced in enamel. Since his death they have been bought by collectors of the beautiful. He was a member of the Royal Acad. Bonesi, Gio. Girolamo, born at Boiogna (1653-1725). Scholar of Gio. Viani. He imitated Carlo Cignani. * His works may be seen in the churches of S. Marino, S. Biagio, the Certosa, and other public edifices of Bologna. Bonfanti, Antonio. An artist of Ferrara, called II Torricella. His pictures are in the public edifices of that city. The most esteemed are the " Holy Family," in the ch. of La Santissima Trinita, and " Christ in the Temple," at S. Francesco. Bonfigli, or di Buonfiglio, Benedetto, born at Perugia (1420?- 1496?). He was superior to all the Umbrians of his time, except Piero della Francesca, and must have been acquainted with the classic art of Florence. His works were considered the greatest ornament of Perugia. His largest work was the Hall of the Palazzo Comunale, which he decorated with scenes from the lives of S. Louis of Toulouse and S. Ercolano. They were commenced in 1454, and were not finished in 1496. The progress of painting in his time is well illustrated in the works of Bonfigli, and they prepare the way for the excellence of Perugino. Besides the Hall aheady mentioned he undertook the chapel of the " Magistrate," and a Brutus in the refectory of the Priori in the Palazzo Comunale. For S. Domenico he painted an " Adoration of the Magi," now No. 18, Perugia Gall. ; for the company of S. Bernardino, a banner, 1465 ; a " Virgin of Mercy," 1478, and many works which testify to his great industry. Vasari says that Pinturicchio was the assistant and friend of Bonfigli, and Lanzi says that Perugino was his pupil. Whether these artists were associated with him or not, they undoubtedly profited by his example, and were indebted to him for giving a consideration to Perugian art, which had not before belonged to it. Boni, Giacomo, born at Bologna (1688-1766). Pupil and as sistant of Marc Antonio Franceschini. Said also to have studied under Carlo Cignani, whose style is imitated in some of his frescoes, such as the ceilings of S. Pietro Celestini at Bologna, and S. Maria della Costa at S. Remo. A picture of the " Infant Jupiter," and a saloon at the Palazzo Pallavicino, by this master, are much admired. Bonifaccio, Francesco, born at Viterbo, 1637. Pupil of Pietro da Cortona. His works were in the public edifices of Viterbo, and possessed considerable merit. In the Palazzo Braschi is his picture of the " Woman taken in Adultery." Bonifazio, Venezit.no (1491-1563). A pupil of the elder 1 20 BONIFAZIO — BON VICINO. Palma, and an imitator of Titian. In color he approaches the last- named master, and is altogether an eminent example of what patient application can do even when great talent is wanting. There are many works of his in Venice. His most pleasing pictures are those of simple arrangement, such as Saints and Holy Families. " The Rich Man's Supper," in the Acad, at Venice, is one of his best works. His latest pictures are weak and mannered. Bonington, Richard Parkes, born at Arnold, Nottingham (1801- 1828). A fine landscape and marine painter. He copied in the Louvre, was a student in the Ecole des Beaux Arts, and occasionally attended the studio of Baron Gros. He visited Italy, and painted some pictures in Venice. He exhibited a few pictures at the Royal Acad, before his death, but since the International Exhibition of 1862, he has been more appreciated in England. Bonone, Carlo, born at Ferrara (1569-1632). Pupil of Giuseppe Mazzuoli. He visited Bologna, and so admired the works of the Caracci, that he copied some of their principal pictures ; he went to Venice, and to Parma, where he studied the excellences of Paul Veronese and Correggio. His small pictures are in the style of the Caracci, but his larger works are more akin to those of Paul Veronese. Many of his works are in the .public edifices of Ferrara, and some of the best Ferrarese painters were bis pupils. Bonsignori, Francesco, born at Verona (1455-1519). Little is positively known of this old master, although many of his works remain in Verona and Mantua, and specimens are to be seen in many of the large galleries of Europe. Vasari calls him a pupil of Man tegna, but this seems improbable, upon a careful examination of his works, as a change in his manner about 1481 indicates that he came under the influence of Mantegna at that time. He was patronized by the Marquis Francesco Gonzaga, who gave him a salarv and a house in 1487. Bonvicino, Alessandro, called II Moretto di Brescia, born at Brescia (1500-1547). At first he imitated Titian, but afterwards studied the Roman school, and produced a manner full of grace, stateliness, and simple dignity. His oil pictures were better than his frescoes, and his best woi-ks were quiet altar-pieces, for he did not succeed in the action necessary to historical painting. He has left fine works in his native city, and his pictures are to be seen in Vienna, Frankfort, Berlin, the Louvre, etc. A large altar-piece, representing " The Virgin between SS. Anthony and Sebastian," in the Sta'del Institute, Frankfort, is worthy of notice. A colossal " Adoration of the Shepherds," Berlin Mus., is excellent. In the Imp. Gall., Vienna, there is a fine picture of S. Justina, with the Duke of Ferrara (called a Pordenone) kneeling beside her, which has been engraved by Rahl. His portraits have been likened to those of Titian, and he was the master of Moroni. The National BONVICINO — BOONEN. 121 A GLOKIFIED MADONNA. BY IL MOKETTO. Berli j Mus. Gall, has a portrait, and a picture of S. Bernardino and other saints, which is very fine. His works are numerous. Boonen, Arnold Van, born at Dortrecht (1669-1729). Pupil of Schalken. He painted portraits and genre pictures. He is not equal to his master, whom he closely imitated. His pictures are taken frequently by candle-light. In the Dresden Gall. No. 1579, two young men, one smoking, is truthful and full of feeling. Nos. 1570 to 1582 are also by Boonen. He executed some large pictures for the different companies of Dort and Amsterdam, and the portraits of manv distinguished nersonases. 122 BOEDONE. S. JUSTINA AND ALPHONSO I- OF FERRARA. BT IL MORETTO. Belvedere, Vienna. Bordone, Paris, born at Trevigi (1500-1570). His portraits were his best works, and for them he is distinguished. He was of noble family, and well educated before he entered the school of Titian. Many of his female portraits are in the Uffizi; the Manfrini Coll., Venice; the Belvedere and Esterhazy galleries, Vienna; and in other places. All his heads are fine, and some of them closely resemble Titian. Two of his larger works are in the Berlin Mus., but the best of this class is in the Acad, of Venice, and represents the fisherman presenting the ring of S. Mark to the Doge; it is BORDONE — BORGIANI. 123 splendidly executed. Bordone was invited to France by Francis I., and painted the portraits of the king and many of the nobility. Borgani, Francesco, born at Mantua. Flourished in the middle of the 17th century. Scholar of Domenico Feti. Lanzi says this artist merits more attention than he receives. His works are in the churches of Mantua. Borgiani, Orazio, born at Rome (1577-1615). Studied with his brother called Sfcalzo. Copied the works of the masters of Rome. A man of violent temper. Riding one day in a coach, at Rome, he saw some artists, among whom was Caravaj-o-io, laughing at him; he sprang from the carriage, seized a bottle of varnish from the shop of a druggist, and threw it at the heads of the offenders. He passed some years in Spain, where he was well received and patronized, and on his return to Rome was employed by the Spanish ambassador. CORONATION OF THE VIRGIN. BY BORGOGNONE. In S. Simpliciano, Milan. 124 BORGIANI - BORZONE. His works may be seen in some churches of his native city, and he also left a few plates etched in a free, bold manner. Borgognone, Ambrogio. Flourished about 1500, born at Milan. His pictures are by no means excellent, but his heads are gentle and meek in expression; and sometimes they have a peculiarly austere and mournful look. His works may be see in Milan, especially in the ch. of S. Ambrogio; in Pavia the frescoes in the Carthusian Convent, formerly ascribed to Bramante, are by Borgognone'. In the Berlin Mus. there are two works by this artist, one of which, an " Enthroned Madonna," has a high reputation. Borras, Nicholas, born at Cocentayna, 1530; died at Gandia, 1610. A priest, monk, and painter. He studied with Joanes at Aralencia, and was his most eminent disciple. He took orders and lived as a priest in his native town, continuing to paint meanwhile. At length he went to the convent of the Jeronymites at Gandia, to paint some pictures for their high-altar. When his work was ended he refused all payment, and desired that the habit of theh order should be given him. This was done and he remained in the convent three years, but hoping to find a stricter discipline, he went to a Franciscan monastery near Valencia. He did not remain long, and returning to Gandia, passed the rest of his life there. His industry was wonder ful, and the number of his works immense. He not only gave his time and skill to his convent, but also devoted goodly sums of money for the comfort and elegance of its appointments. He hired sculptors and decorators at his own expense, and came to be considered a benefactor to his community. While he lived fifty masses were said yearly for his soul. The Mus. of Valencia has more of the pictures of Borras than of any other artist. There are about fifty of them, mostly on panel. His style is similar to that of his master: his heads are often striking, and his accessories finished with great care and minuteness. His coloring is colder than that of Joanes. Borrekens, John Peter Francis, born at Antwerp (1747-1827). A painter of landscapes, which were often ornamented with figures and cattle by other masters. Borrekens, Matthew, born at Antwerp, 1615. An engraver, who was chiefly employed in copying the plates of eminent engravers for print-sellers. He worked entirely with the graver, and imitated Pontius without equalling him. Borsum, Abraham van. A painter of landscapes, birds, animals, etc. His pictures resemble Rembrandt's in color. His drawings are highly esteemed in Plolland, and sell for large sums. Borsum, Adam van. Flourished 1666. A painter of animals who imitated A. Vandermeer and Paul Potter. His color is good, and his drawing free and spirited. Borzone, Luciano, born at Genoa (1590-1645). Pupil of his uncle, Filippo Bertolotti. Painted history, but excelled most in por- BORZONE — BOSCH. 125 traits. In the ch. of S. Spirito, Genoa, there is a " Baptism of Christ," and in IS. Domenico a " Presentation in the Temple," by this master. He fell from his scaffolding in the Chiesa della Nunzi ata, and was killed. Soprani says his house was the resort of culti vated people, and he himself a man of great attainments. Ho left a few plates etched from his own designs. His three sons, Gio. Ba tista, Carlo and Francesco Maria, were all painters, and the latter excelled in landscapes. Bos or Bosche, Jerome, born 0*0 , c^g">3>r y. at Bois lc Due, 1470. A painter n O /7")'1 *^ ¦> b O S* an<^ engraver. He represented ^-A^—^L ' _ ' very singular and grotesque sub- (—^^x^->ZD jects, such as devils, spectres, etc. These are treated with wonderful ingenuity. He sometimes painted more serious subjects, such as the " Flight into Egypt," and " Christ bearing his Cross." A very singular picture of his represents " Christ delivering the ancient Patriarchs from Hell." Judas attempts to escape also, and is seized by devils, who suspend him in the air. There are so many works by this artist in Spain, that it has been thought he must have gone there. At the Royal Gall., Madrid, there are the " Fall of Lucifer and the Angels ; " " Adam and Eve driven from Eden; " and the " Triumphs of Death," which is a very singu lar picture. Death, scythe in.hand, gallops on his white horse, driv ing multitudes to the land of shades. The entrance is fortified by coffins, and guarded by skeletons. Behind Death follows a sort of dead-cart, to take up the slain. In the foreground there is a com pany of revellers, and a king falls dead. The plates of this artist represent the • same fantastic subjects. They are in the stiff Gothic style, and are much prized by collectors. His manner of represent- ino- his bizarre conceptions was almost demoniacal. He founded a style which other artists adopted. His execution was careful and sharp. Among his works are, Berlin Mus., No. 563, "The Last Judgment;" Antwerp Mus., No. 41, "Temptation of St. An thony." The family name of Bosch was Agnen; he was called Bosch from Herzogenbusch , the German name for his birthplace. Bos, Lewis Janssen or John, born at Bois le Due (1450-1507). A painter of small portraits, flowers, fruits, etc. He finished witK extreme nicety, and the insects on his plants were painted with surprising truth. Bos, Gaspar van den, born at Hoorn (1634-1666). A painter of marine subjects. His storms and calms, with ships, have consider able merit in color and finish. Bosch or Bossche, Balthasar van den, born at Antwerp (1681- 1715). Painted interiors with great success. His pictures were very popular. He also succeeded in small portraits. The Duke of Marlborouo-h was attracted by his fame, and sat to him for his 126 BOSCH — BOSIO. picture. He was represented on horseback, and the horse was done by Peter van Bloemen. His pictures were well arranged, his heads had life and expression, and his color was warm. Antwerp Mus., No. 448, " Reception of a Burgomaster of Antwerp in the younger Guild of Cross-bow Shooters. " Boschaert, Nicholas, born at Antwerp, 1696. A fine painter of flowers and fruits. Boschi, Fabrizio, born at Florence (1570-1642). A pupil of Domenico Passignani. At nineteen he surprised the artists of his day by his excellence. The " Martyrdom of SS. Peter and Paul," painted for the Certosa at Florence, and an " Assumption of the Virgin " in the ch. of the Convent of S. Lucia, are among his best works. Boschi, Francesco, born at Florence (1619-1675). An excellent portrait painter. Boschini, Marco, born at Florence, 1613. Pupil of Palma, and an imitator of II Tintoretto. His " Last Supper," in the Sacristy of S. Girolamo, at Venice, is one of his best works. He was a dis tinguished engraver, and wrote a book called ' ' La Carta del Navegar Pittoresco." He signed his plates Marcus Boschinius. Boscoli, Andrea, born in Florence (1550?-1606). Scholar of Santo de Titi. Painted history with some merit, also portraits with good success ; that of himself is in the Florentine Gall. Boselli, Antonio, flourished about 1500. Little is known of his life. He was a sculptor and painter. At Bergamo, believed to have been his native place, in the ch. of S. Cristoforo, there is a picture of " SS. Peter, Paul, and Luke," inscribed, Hoc opus Antonium scito pinxisse Bosellum, die 23 Februarii, 1509. In the ch. of the Auo-us- tines there are other works of his. Boselli, Felice, born at Piacenza (1650-1732). He copied the old masters to perfection, and his copies are numerous, but are seldom attributed to him, as they pass for originals. He attempted historical painting, but afterwards painted birds, animals, etc. These pictures are much esteemed in Piacenza, and are in the- best collections. Bosio, Francis Joseph, born at Monaco (1769-1845). Pupil of Pajou, but he formed his style by the study of the antique. He was chief sculptor of the King of France, and his most beautiful works are in Paris. He executed many busts of the royal family and men of note. The bas-reliefs of the column in the Place Veudome were from his designs.1 Hercules struggling with Achelous transformed into a serpent, in the Garden of the Tuileries (bronze) ; the eques trian statue in the Place, des Victoircs; the. statues of France and Truth, at the grave of Malesherbes; the figure of the King of Rome; and tho triumphal chariot of the arch in the Place du Can-ousel; the' nymph Salmacis, and a Hyacinth, in the Gall, of the Luxembourg, 1 A portion by Basio ; others by Bergeret. BOSIO — BOTTICELLI. 127 are some of his best works. In 1830 Bosio completed the monumeut of the Countess Domidoff. He was also engaged on the monument of Louis XVI. Bosio was a Knight of the Legion of Honor, and the Order of S. Michael; and a member of the French Institute and Royal Acad, of Fine Arts at Berlin. Bosschaert, Thomas Willeborts, born at Bergen-op-Zcom, 1613; died at Antwerp, 1656. Pupil of Gerard Segers. He went to Italy and remained four years. His pictures were fine and bear comparison with those of the first masters of his country. His picture of the " Martyrdom of S. Basil " is in the ch. of the Capu chins at Brussels; the " Martyrdom of S. James " in the ch. of that saint at Bruges : and in the House in the Wood at the Hague is his emblematical picture of "Peace and War." He was a member of the Antwerp Acad. Bosse, Abraham, born at Tours, 1610. He wrote a treatise callen " La Maniere de Graver a l'eau forte, et au Burin." He left a good number of plates, principally from his own designs. They are bold and masterly, etched with unusual spirit and freedom. Both, Jan and Andries. These brothers were so united in life that no separate story can be told of them. They were born at Utrecht about 1609-1610. Their father painted glass; they were pupils of Abraham Bloemaert, and went to Italy, where Jau, charmed by the scenery, gave himself to landscape painting, while Andries ornamented his pictures by figures, and painted some other subjects by himself. Of these last, No. 1214, Dresden Gall., is a good example. He also left etchings (ten), which are especially- good. Jan succeeded in both large and small pictures ; the most apparent fault in them is their sameness. So much in harmony did the brothers paint, that one would not imagine their works not done by one hand. The National Gall., No. 71; the Louvre, No. 43; Amsterdam Mus., Nos. 37 and 38; and Nos. 17 and 18 at the Hague, are all good examples of their style. The ten landscapes etched by Jan are equally as good as his pictures. He also well engraved the "Five Senses," designed by Andries. Andries was drowned in a canal in Venice in 1645 ; and Jan returned to Utrecht, but did not survive his brother more than five years. Bottala, Gio. Maria, born at Savona, 1613; died at Milan, 1644. Went to Rome and studied under Pietro da Cortona, whom he always imitated, although he was called Raffaellino, from his love for the works of the great master. His works are principally in the churches of Naples and Genoa. One of his best pictures, the " Meeting of Jacob and Esau," was placed in the capitol by Bene dict XIV. Card. Sachetti was the friend and patron of Bottala. Botticelli, Sandro. Real name Alessandro Filipepi, called Botticelli from his first master, a goldsmith. Born in Florence (1447-1515). Scholar of Fra Filippo Lippi, and twenty-two years 1 28 BOTTICELLI — BOUCHER. old at the death of that master. Vasari says that at that time Botticelli was the best artist in Florence. His religious pictures are wanting in deep feeling, but have a certain sweetness and warmth which appeal to the heart more than the colder works of other artists, and even those of Ghirlandaio may be included in the list. In historical works he displayed his fanciful conception of his sub ject, united with the impetuous energy of Filippo. He endeavored to raise his subjects above the ordinary mode, and also represented myths and allegories. About 1474 he was employed in the Sistine Chapel, and painted three large pictures, besides twenty-eight figures of Popes between the windows. The large works are full of action, the figures are expressive, and the landscapes beautiful. Of his allegories, that of " Calumny," at the Uffizi, is most remarkable. Tho " Birth of Venus," in same Gall., is naively sweet. These works prove him to have been a student of ancient architecture, and antique, classical statuary. His later works were finer than his earlier ones, and he received many honorable commissions. Lorenzo de' Medici was his employer ; he was of the number consulted re garding the placing of Michael Angelo's " David," and his name is frequently met in Florentine papers of his time. During the very last of his life he degenerated, and his pictures of that period are poor and weak. He died in comparative poverty. His works are very numerous. There are many in Florence, some in Rome and other Italian cities, and they are to be seen in the Louvre, the National Gall., the galleries of Berlin, Dresden, Vienna, Munich, etc., and in private collections. Botticelli also engraved a number of plates. Bouchardon, Edme, born at Chaumont, 1698; died at Paris, 1762. Studied first with his father, and then at Paris, under Cous- ton. He obtained the first prize of the Acad, and went to Rome, where he diligently copied from the antique and executed a bust of Pope Clement XII. He made a copy of the " Barberini Faun," now in the Gall, at Munich. His most celebrated works were the " Foun tain of Grenelle," and the equestrian statue of Louis XV. in the Garden of the Tuileries, upon which Bouchardon labored for twelve years, and which was destroyed in 1 792. Some of his works may be seen in the gardens of Versailles and Choisy, and in the choir of the ch. of S. Sulpice. We have also a few etchings by this artist. Boucher, Francois, born at Paris (1704-1770). One of the most mannered of French painters. Wornum says he appeared " to have discovered a new race of human beings." He went to Italy, was a member and director of the French Acad., and ap pointed principal painter to Louis XV. in 1765. Ho was also super intendent of the tapestry manufactory at Beauvais. His pictures are of a decorative type. He painted all subjects in one manner. In his own style he could scarcely be equalled, not to say surpassed, and BOUCHER — BOURDON. 129 his influence was bad, on account of tho numbers who became his imitators. His form and color were at fault, and yet, for decoration on tapestry, his works have much beauty. His pastoral subjects were his best, and he thoroughly mastered the mechanism of art. He left several slight etchings. Boucquet, Victor, born at Fumes (1619-1677). His works arc found in many Flemish towns. He painted history, and his pictures are well composed and well colored. The best altar-piece in the ch. at Ostend represents the " Descent from the Cross," and is by Boucquet; and in the great ch. and Town Hall of Newport are some of his best works. Boulanger, John, born at Troyes, 1613. An engraver who adopted and improved upon the manner of John Morin, in finishing flesh with dots, which gave a very soft appearance. The draperies and background were harsh in contrast with the other parts, but his plates are well esteemed and have a good degree of merit. Boullongne, Louis, the Elder, born at Paris (1609-1674). A painter of history, professor of the Acad. , and painter to the king. His best works are in the Cath. of Notre Dame, at Paris. He etched three plates: the "Miracle of S. Paul at Ephesus;" the " Martyrdom of S. Paul ;" and the " Rape of Helen," after Guido. Boullongne, Bon, born at Paris (1640?-1717). Son of the preceding. He gained a prize at the Paris Acad., and received a pension from the king with which to go to Rome, where he re mained five years, and then visited other parts of Italy. Louis XIV. employed hiin at Versailles, where he worked under Le Brun. He also painted in several churches in Paris. He excelled in Pastici, or the imitation of other artists, without being actually a copyist. He left several etchings. Boullongne, Louis, the Younger, born at Paris; died 1734. Son of Louis the Elder. Having taken a prize, was sent to Rome. On his return was made painter to Louis XIV., and was employed at Fontainebleau and in the Chateau of Meudon. Some of his best works are in Notre Dame. His pictures are correct in drawing, vigorous in color, and his heads have character and expression. He used the point also, and left eight etchings of religious subjects. Bouman, P., born at Dort, about 1 764. A painter of landscapes and similar subjects whose works are much esteemed. Bourdon, Sebastian, born at Montpelier (1616-1671). After studying in Italy, he established his reputation by a picture of the " Crucifixion of S. Peter," now in the Louvre; he was one of the original twelve anciens of the Acad.; he went to Sweden for several years, but returned to Paris, and was Rector of the Acad, of Painting when he died. His landscapes were his best works, and resembled those of Salvator Rosa. He also painted a few genre pictures, and two portraits of himself, which are in the Louvre, in one of which 9 130 BOURDON — BOYDELL. he was assisted by Rigaud. The National Gall, has a fine picture" by Bourdon. He was skilful in handling the point, and his plates are valued by collectors. Bourgeois, Sir Francis, born in London (1756-1811). His family were Swiss. Pupil of De Loutherbourg, whom he did not perfectly imitate. He was a close student of nature, and painted very exactly from his subjects. This is especially seen in his half- dead trees and gnarled roots. His cottages are very good, similar to those of Barker, and his pastoral scenes well arranged. His gypsies, cattle, etc., are grouped in the manner of Gainsborough. He was invited to Poland, and although he did not accept the invitation, was appointed painter to the king, and made a knight of the Order of Merit. He was a friend of Mr. Desenfans, who bequeathed him valuable paintings, which he gave at his death to Dulwich College. Bousseau, Jacques, born at Chavaignes-en-Poitou, 1671; died at Madrid, 1 740. Pupil of Nicolas Couston. He rapidly rose to the rank of professor of sculpture in the Royal Acad. There are several statues by him in the Cath. of Notre Dame; and he executed the grand altar of the Cath. at Rouen, and. the Tomb of Cardinal Dubois in S. Honore. He was invited to Spain and appointed principal sculptor to the king. He lived many years at Madrid, and executed several fine works. Bout, Pieter and Nicholas, or Anton Frans Boudewyns. Natives of Brussels who flourished about 1700. They executed to gether a great number of pictures which are midway between land scapes and genre subjects. Boudewyns painted the landscapes, and Bout the figures, which were generally about an inch and a half high, dressed in gay coiors, and full of character. Their compo sitions were small, the skies bright, and the colors, which were doubt less brilliant at first, are now dark and brown, especially in the landscapes. Bout also painted alone, and chose fairs, Flemish wakes, merry-makings on the ice, etc., for his subjects. In the Dresden Gall, there are six pictures by these artists, and at Vienna, two. Boydell, John, called Alderman Boydell, born at Darrington (1719-1804). An engraver, and pupil of Toms. He deserves especial praise for what he did for art. He not oniy so raised the works of British engravers that they were sought by all Europe, but he undertook the illustration of Shakespeare, by plates from pictures painted by English artists. In his efforts he spent £350,000, and in 1789 his Shakespeare Gall, was opened to the public. There were 170 pictures, all by English painters. In 1805 it was necessary to dispose of these, on account of the pecuniary embarrassment which had resulted from his endeavors to relieve the artists of his own country, from the rivalry of others. They were sold by lottery. By the plates which ho published, he also gave much employment to engravers. Boydell was, in addition to all this, a designer and painter BOYDELL — BRAMANTE. 131 in water-colors, and made a good sketch of the interior of his Gall., which is now known as the British Institution. In 1774 he was elected alderman, and in 1791 held the high oflice of lord mayor. In 1789 at the dinner of the Royal Acad., Sir Joshua Reynolds pro posed his health as " The commereial Maecenas of England." The company, including the Prince of Wales, joined heartily in the toast. Braccioli, Gio. Francesco, born at Ferrara (1698-1762). His works were done for the churches and convents of his native city. Brakenburg, Regnier, born at Haerlem (1650-1702). Pupil of Hendrik Mommers. He represented scenes from low life, usually in the open air. He resembles Adrian van Ostade in color. His greatest fault is his incorrect drawing of the figure. He had great facility in execution, and understood chiaro-scuro; his pictures appear to be highly finished. At Windsor Castle there are two pictures of the Studios of Artists, by Brakenburg. His works are in the galleries of Berlin and Vienna. Bramante d'TJrbino. The real name of this great architect was Donate Lomazzo. The place and time of his birth are disputed, but his family were of Castel Durante in the Duchy of Urbino, and he died in 1514, about seventy years old. He first studied painting, and executed portraits and other subjects in a style resembling that of Andrea Mantegna. A few of his frescoes remain in Milan and Pavia. But it is as an architect that he was important. He was employed on the following works in Rome : the cloister of the monks della Pace; the fountain of Trastevere; a large portion of the Palazzo della Cancellaria; the arrangement of the space between the Vatican and the Belvedere ; and the Basilica of S. Peter. He was appointed pontifical architect by Alexander VI. and Julius II. After his death the plan of S. Peter's was changed and the only remnants of his workmanship are the four great arches, supporting the tower of the dome. At first his style was cold and stiff, but it became majestic and elegant. He had great fertility of invention and undoubted genius. The work on S. Peter's advanced with wonderful rapidity under his superintendence. He had little regard for the works of antiquity, and his destruction of some such at Rome was notorious. He was a bitter opponent of Michael Angelo, both for himself and on account of Raphael, who was his nephew, and for whom he was jealous of Buonarotti as a painter, as he was for him self as an architect. The dislike of Michael Angelo for Bramante was also most cordial, and at one time they had a violent scene in the presence of the Pope. Julius appreciated them all, and retained all in his service. In a letter written long after Bramante's death, Michael Angelo used the following words, which are valuable when we know the feeling which existed between them: " Bramante was, if any one deserves the name, one of the most able architects since the 132 BRAMANTE — BRAUWER. days ofthe ancients. And, as it is evident now, whatever the stand ard of beauty, whoever departs from his idea, as San Gallo did, de parts from the very rules of art." Bramante was interred in S. Peter's with great honors. In 1756 his writings in prose and verse were discovered, and published in the coll. of Opusculi, at Milan. Bramantino. See Suardi. Brambilla, Gio. Batista. A Piedmontese painter who flourished about 1770. He acquired a good reputation. Some of his best works are in the churches of Turin. Bramer, Leonhard, born at Delft, it is said, in 1596. Kugler says he has reason to believe that he- was born much later. His works are poor imitations of those of Rembrandt, although, as they are very unequal in theh excellence, some are well esteemed. Nos. 1067, 1068, and 1069, Dresden Gall., are by Bramer. Bryan praises this artist, and says that his works were much esteemed at Florence and Venice. Brauwer or Brower, Adrian, born at Haerlem, 1608; died at Antwerp, 1 640. Pupil of Frank Hals, of whom we are reminded in his laughing or grinning pictures, such as those of " Avaritia" and "Invidia." Most of his pictures were small interiors, although he painted some landscapes. It is said that Rubens praised Brower, and his works are excellent enough to warrant the fact. He espe cially excelled in painting hideous faces. Like Hals he was dissi pated, and in consequence died young. His pictures are scarce and valuable. The Munich Gall, has nine, six of which are among his best. No. 1147, Dresden Gall., is by him. He also left a few etch ings, full of spirit and character. There are various anecdotes con nected with this artist. He was the son of a woman who sold bonnets and handkerchiefs to the peasants, and it was the designs he drew for these, which brought him to the notice of Hals, who offered to employ him. When the master knew the full power of the pupil, he locked him up by himself , made him work hard, and sold his paintings for good prices. Adrian van Ostade, another pupil of Plals, advised Brower to run away. He did so, but the large price he received in Amsterdam for his first picture was a mis fortune, for he immediately plunged into dissipation and only worked when necessity required it. When the States- General were at war with Spain he attempted to go to Antwerp without a passport. He was seized and imprisoned in the citadel where the Duke of Arem- berg was a captive. Through his interference Brower was furnished with colors, etc., and made a picture which was shown to Rubens. He recognized it as the work of Brower, whose fame had preceded him, and succeeded in getting him liberated. Rubens took him to his own house, but its order did not please Brower. He went away, fell into his disorderly habits, and died in a hospital and was ob scurely buried. Rubens had him removed to the ch. of the Carmelites,, and interred with respect and solemnity. H WbdO> G Z K> 154°- An engraver, / -4J> \JJ I A ^ \J) and one of the little masters. His portraits and small friezes of hunting and hawking are his best works, and are esteemed for their neatness. He worked with the graver only. _ Bruyn or Bruin, Nicholas, born at Ant- IXTl A"P~R) werP' 15T0- Son of the preceding, under 1 N^ 1 VV> 12/ # whom he studied. He is an imitator of Lucas von Leyden. His plates possess con siderable merit for the times in which he worked. Bruyn, Bartholomew de, flourished at Cologne from 1520 to 1560. He executed the wings of the large shrine on the high-altar of the ch. at Xanten in 1534. His portraits, No. 588, Berlin Mus., and one in the Cologne Mus., painted 1535, so much resemble those of Holbein as to be generally attributed to him. Nos. 112, 113, and 114, Munich Gall., representing the " Descent from the Cross," BRUYN — BUGIARDINI. 139 with wings, is a good work. Berlin Mus., No. 639, is a work of his later time, in which he deteriorated; it is a "Madonna and Child," adored by the Duke of Cleves. He attempted in his last works to adopt an Italian style, greatly to his disadvantage. Some of these pictures are in the Cologne and Munich galleries, and are often attributed to Martin Van Hemskerk. Bry or Brie, Theodore de, born at Liege, 1528 ; died at Frank fort, 1598. An eminent engraver. He imitated Sebald Beham. He worked almost entirely with the graver. His style was neat and free, and especially suited to subjects in which there are many figures, such as he frequently chose. He gave great spirit and ex pression to his heads. He engraved the plates for the first four volumes of Boissard's "Roman Antiquities;" the two others were finished by his sons, John Theodore and John Israel. In Frankfort Bry was a print and book seller. Bucklaer, Joachim, flourished 1550-1570. Pupil of Pieter Aerts zen, whom he imitated closely. His kitchen and market scenes were very popular. " Christ before Pilate," No. 78, Munich Gall., is by Bucklaer. Buffalmacco, real name Buonamico Christofani. Vasari says he was born in 1262 and died in 1340; that he was a pupil of Andrea Tafi : and Ghiberti bears out his statement that he was an excellent painter and able to outdo all others when he set his mind to it. Vasari' s account of him is very interesting. He seems to have been the wit and practical joker among the artists of his day. His fame has outlasted his works, for it is a matter of great doubt if any of these remain. Kugler says his existence is doubtful, and his life by Vasari a mere tissue of whimsical stories. Lord Lindsay, in his ' Sketches of the History of Christian Art," says: " A merry wag, a careless spendthrift, living for the day without a thought of the morrow, and (as the phrase is) 'nobody's enemy but his own,' he drained the cup of pleasure to the lees and found misery at the bot tom, dying, at the age of seventy-eight, a beggar, in the Misericordia, without a paul in his pocket to buy a coffin for his corpse or a mass for his soul, the type and mirror of a whole class of artists, whose follies and vagaries throw discredit on genius, while a certain kindliness of heart renders it impossible not to pity while we blame them." Bugiardini, Giuliano, born near Florence (1471-1554). Pupil of Mariotto Albertinelli. Michael Angelo formed a friendship for him in the gardens of S. Marco, and he is one of those whom the great master attempted to employ as assistants in the Sistine Chapel. Bugiardini worked so long in an humble capacity, copying the drawings of others on panels, that when he came to work indepen dently his powers of composition were dwarfed, and he could only master the simplest subjects. He sometimes seemed to imitate 1 40 BUGIARDINI — BUONAROTTI Leonardo. His portraits were as good as any of his works, and it is said Michael Angelo once sat to him. The Portrait is supposed to be in the Louvre, No. 526. Many of his works remain. The fol lowing are some of them : Uffizi, No. 220; Leipzig Mus., No. 143; Bologna Pinacoteca, No. 26; Berlin Mus., Nos. 248 and 285, etc. There are many of his panels in Bologna; in the Colonna Pal., Rome, there are some, and a few in England, besides many in Italy not mentioned. Buister, Philip, born at Brussels (1595-1688). After studying in his native city he went to Paris, where he was somewhat distin guished. He executed several sculptures for the park at Versailles, and the tomb of Cardinal De Rochefoucauld. This last was his principal work, and has been placed in the Musee des Monuments Francais. Bullinger, John Balthasar, born at Zurich (1713-1793). Pupil of John Simler, and later at Venice he studied with Tiepolo. He became an eminent landscape painter. He spent some time in Am sterdam, and studied the best works there. He also executed several plates of considerable merit. Bunel, Jacques, born at Blois, 1558. Studied under Federigo Zucchero at Rome. One of the best French painters of his time. Some of his best works were for the churches of Paris. Buonacoisi. See Vaga. Buonamici. See Tassi. Buonarotti, Michael Angelo, born in the castle of Caprese, March 6, 1475. His father was Ludovico Buonarotti, and his home was in Florence, but at the time of the birth of this son he held the office of podesta or governor of the towns of Caprese and Chiusi. His mother, also of good family, was called Francesca; and his grandmother, so well known as Madonna Alessandra, was still living at the time of his birth. When Ludovico Buonarotti returned to Florence, the child, Michael Angelo, was left at Settignano, upon an estate belonging to his family. His nurse was the wife of a stone mason, and, for many years, pictures were shown on the walls of the house in which he had grown up which he had drawn as soon as he could use his hands. At the proper age he was placed in a grammar-school at Florence, where he became acquainted with Francesco Granacci, a noble youth, five years older than himself, and a pupil of Ghhlandajo. Granacci became his most intimate friend. Ludovico had desired this son to be a scholar, and, to gether with his uncles, harshly opposed his inclination to become an artist. But Michael Angelo was so determined that he carried his point, and, in 1488, was engaged to the Ghirlandaji for three years. At this time Domenico Ghhlandajo, who was one of the best mas ters of Florence, was engaged in the restoration of the Choir of S. Maria Novella. Michael Angelo came, therefore, at the first, into BUONAROTTI. 141 the midst of great work. One day at the dinner hour Miehael Angelo drew a picture of the scaffolding and all that belonged to it, with the painters at work on it. When Domenico saw the paper he was so astonished that he exclaimed, " He understands more than I do myself." His rapid progress soon excited the jealousy, not only of his fellow-pupils, but of Ghhlandajo himself. Michael Angelo's first picture was an enlarged copy of Schongauer's plate of the " Temptation of S. Anthony." This plate is well known. In order to perfect himself in the representation of the fishy parts he constantly visited the fish-market, and made drawings there. He produced an excellent work, of which Ghirlandajo claimed the merit, as it was painted in his atelier. This picture is said to still exist in the Gall, of the Bianconi family at Bologna. Others believe that it is in the possession of M. de Triqueti, at Paris. The scholar soon proved that he knew more than his master, for it was the cus tom for the pupils to copy the drawings which Ghirlandajo had made. Michael Angelo, one day, took one of these from the hands of a fellow-pupil, and with thick strokes corrected the lines of the master, in a manner which could not be objected to; after this he was refused the plates when he asked for them. About this time Michael Angelo made the acquaintance of Lorenzo dei Medici, then at the head of the government in Florence, and admittance was soon obtained for himself and Granacci to the gardens of S. Marco. In these gardens the art-treasures of the Medici were placed. There works of sculpture were arranged, and cartoons and pictures were hung, in buildings erected for the purpose. Numbers of young people were instructed there, and the old sculptor Bertoldo was theh master. Michael Angelo's attention was now diverted from painting, and, making friends with the stone-masons, he obtained a piece of marble and some instruments. Pie first copied the mask of a Faun, but did not adhere closely to the original, for he opened its mouth so much, that the teeth could be seen. When Lorenzo visited the garden he praised Michael Angelo, but he also said, " You have made your Faun so old, and yet you have left him all his teeth ; you should have known that, at such an advanced age, there are generally some wanting." The next time he came, he found a gap in the teeth of the Faun, so well done that he was delighted with the work. (Now in the Uffizi Gall.) He sent immediately for the father of Michael Angelo. Ludovico, who had felt it a sufficient trial that his son would be a painter, was in despair at the thought that he might become a stone-mason. He refused to see the Duke. Granacci at length prevailed upon him to go to Lorenzo, but it was with the determination to aoree to nothing. The manner of Lorenzo soon overcame him, and he returned home declaring that not only his son, but he himself, and all that he had, was at the service of the Duke. Michael Angelo was at once taken into the palace ; he was 142 BUONAROTTI. properly clothed, and had an allowance of five ducats a month for pocket-money. It was the custom of the Duke to give each day. an entertainment. He himself took the head of the table. Whoever came first sat next him, and it often happened that Michael Angelo had this place. Pie was beloved by all the household, and Lorenzo often sent for him to show him stones, coins, and other valuable things, and to talk with him of his own studies. Poliziano also advised him, and gave him the marble for his bas-relief of the "Battle of Hercules with the Centaurs." This work surprised every one, and is still to be seen in the palace of the Buonarotti family. Bertoldo, for his part, instructed him in casting in bronze. He executed a "Madonna" in the style of Donatello, and made drawings in the Brancacci chapel after the works of Filippo Lippi. Life in Florence, at this time, was almost the perfection of life. " Whatever great things happened in the world were known, dis cussed, and estimated there. What was indifferent was crushed under the abundance of what was excellent. Excellence itself was not blindly accepted according to outward signs, but it was tested by understanding before it was admired. Stirring social life mingled uninterruptedly with the most serious tasks, and, as a wholesome contrast to the sweetness of this existence, came the keen, critical judgment of the Florentine public, who allowed themselves neither to be deceived nor bribed in matters of culture. This state of society was only to be met with in Florence, and chained the Florentines to their native city, where alone they found the true, healthful recog nition of theh own refined minds." Lorenzo was the head of Florence, and Florence the head of art, poetry, philosophy, and religious movements. Thus, in the house of the Medici, Michael Angelo, when his mind was pliant, and his character still to be formed, received an education than which, for an artist, none could have been better; and, at that time, among the Romanic nations, young people were free from the embarrassment which often attends that age, and were accustomed to conduct themselves with ease under all circumstances, knowing nothing of the awkward, silent manner of the youth of more northern nations. The morals of Florentine society were as low as its cultivation was high, and in the same year in which Michael Angelo was admitted to the palace, Savonarola came to preach his crusade against the crimes of this wonderful city, and in the Lent of 1492 Lorenzo became suddenly ill. It was at this time that the effect of the preaching of Savonarola had reached its height, and even the great Duke felt that he could not die until lie had seen this mighty preacher. It is probable that Michael Angelo was one of those who surrounded the bed of Lorenzo in his last hours. He was astounded by the death of his patron. He left the palace and arranged an atelier for himself in his father's house. At this time he executed a " Hercules " which is now lost. BUONAROTTI. ] 13 After a time ho was taken again by Piero Medici into the palace, his old rooms were assigned to him, and he was received at his table. But Florence was no longer what it had been, and before lono- Michael Angelo, in the midst of political troubles, made his escape to Venice. There he met Gianfrancesco Aldovrandi, the head of a noble house of Bologna, who, when he heard that Michael Angelo was a sculptor, invited him to that city. He remained there nearly a year, during which time he executed the figures on a sarcophao-us which contains the bones of S. Domenico in the ch. of S. Petronio. This commission, given to a foreign artist, but twenty years of ao-e, so aroused the hatred of the Bolognese artists, that they threatened vengeance on him. Michael Angelo returned to Florence. Dur ing his absence everything had been changed. The name of the Medici was only heard coupled with curses. The pictures and statues of the garden of S. Marco had been scattered over the world. Many artists had left, and those who remained were struggling to decide whether their exquisite works were the results of a God-given genius or of the power of the Devil. Michael Angelo was depressed by all this, but Florence was his home. He prepared to remain there, and again found a Medici, called Lorenzo also, who became his patron. He was one who, having been persecuted by Piero, had fled to France, and returned in the train of Charles VIII. Condivi says that at this time Michael Angelo worked upon some statues for Lorenzo, and also executed for himself a Cupid in marble. This statue led him in an unexpected manner to Rome, for, when it was finished, Lorenzo advised him to give it the appearance of an antique, and said he would himself send it to Rome, and obtain a large price for it. Michael Angelo did this and received thirty ducats. The secret of its origin, however, was not kept. The Cardinal who had purchased it sent a nobleman of his household to Florence, to investigate the matter. This man pretended to be in need of a sculptor, and invited Michael Angelo, among others, to visit him. He came, and when asked what work he had done, enumerated among others a "Sleeping Cupid." It was now ex plained to him that in place of the thirty ducats which he had received, the Cardinal had paid two hundred for the work. Finding himself deceived, as well as a deceiver, he went with the nobleman to Rome. The latter promised to receive him into his own house, and assured him that he would find a large field for his labor, and one in which much money could be obtained. The oldest writing in the hand of Michael Angelo is the letter which he wrote to inform Lorenzo dei Medici of his arrival in Rome. At this time he was twenty-one years old. In this letter he speaks of the beau tiful things he has seen, but what these were we can scarcely tell, for the Rome of that day was not the city which we know. The first important work which he executed in Rome was the statue of 144 buonarotti: the " Drunken Bacchus," now in the Uffizi Gall. It was executed for Jacopo Galli, for whom he also made the Cupid now in the Kensington Mus. But the work by which he passed from the standing of a good artist, to that of the most famous sculptor in Italy, was "La Pieta." It is almost impossible to judge of this where it now stands, in a chapel of S. Peter's. It is placed so high, and the light is so bad, that no satisfactory judgment of it can be formed. But Condivi says that from the time it was finished he was the first master in the world. This was done when he was twenty-four years old. In the same year, or the following one, he returned to Florence. During his absence other great changes had taken place. Florence had joined with Venice, and matters seemed to be prosperous. Michael Angelo's first work after his return was a " Madonna," now in the ch. of Notre Dame at Bruges. It is life size, and one of his finest works. Another work of this period is a painting now in the Tribune at Florence, representing the " Holy Family." There was in Florence, at this time, an immense block of marble, which had been intended for a statue of a Prophet, to be placed outside the dome of S. Maria del Fiore. It had lain many years in the court-yard of the work-shops of the Cathedral. It had been offered to Donatello, but neither he nor any other sculptor had wished to undertake to make anything of it. Now Sansovino, lately returned from Portugal to Florence, desired to have this' marble, and intended to join other pieces to it. The consuls would not consent until they had asked Michael Angelo if he would not make something good out of the block. He had just undertaken to execute fifteen marble statues for the funeral vault of the Piccolomini family in Siena. But when he saw the magnifi cent block at Florence he left the work for Siena, and declared him self ready to undertake it without any addition. Accordingly the order was issued on the 16th of August, 1501. He was allowed two years for his work, and was to receive six gold florins a month, while the additional sum to be paid was left to the decision of those who had ordered the statue when it should be finished. On Mon day the 13th of September, furnished with a little wax model which he had moulded, now in the Uffizi, very early in the morning, he commenced his work. From first to last he executed the entire work, and in February, 1503, it was half completed. In the mean time another important political movement had taken place, which had thrown another work in the hands of Michael Angelo,; for the Republic had received additional favors from France, on account of which they felt obliged to comply with the request of the Duke de Nemours, to have a bronze copy of the " David," by Donatello, wliich stood in the court of the Palace of the Government, and in tho summer of 1502, Michael Angelo undertook the work. One hindrance after another prevented its completion for years, and BUONAROTTI. 1 45 when it was finished it was presented to another French noble, and at the present day nothing is known of it. In the spring of 1503 he also contracted with the consuls of the wool-weavers guild for twelve Apostles, each eight and a half feet high. It had been found by this time that the master was not to be depended on, in regard to the time when his work should be finished. Therefore it was stipu lated that one Apostle should be finished every year; that he should go himself to Carrara and choose the blocks, at the expense of the consuls; and that the price to be paid for the statue should be settled by arbitration. They also completed an atelier especially for him; and on the completion of each statue he was to receive a twelfth part of this house; so that, when the whole were done, it should fall entirely into his possession. Although no contract could have been more promising, nothing was ever accomplished but the coarse sketch of Matthias, now in the court of the Acad, in Florence. With regard to the " David," he was enthusiastic, and so devoted to his work, that at the beginning of 1504 it was done. A meeting was called of the first artists of Florence, to consider where it should be placed. They met in the atelier before the statue, un veiled for the first time. After much discussion, it was decided that the statue should stand wherever Michael Angelo himself desired. He chose the place next the, gate of the palace, where tho " Judith " of Donatello then stood. The statue weighed 18,000 pounds. The scaffolding to remove it was devised by Cronaca, and consisted of a wooden frame-work within which the statue was suspended. The whole thing was laid upon oiled beams and drawn along by pulleys. On the 14th of May, at evening, the wall of the atelier was broken down, and the statue drawn into the open air. It took three days to move it, and during the night a watch was required, because stones were thrown at it, and there seemed to be a determination to destroy the work. Even the watch was attacked, and eight persons were arrested and thrown into prison. On the 18th of May it was successfully lodged in its place. The question of its removal has sometimes arisen because it has been thought that it should be pre served by having a roof over it. But the Florentines consider it a good genius of theh city, and would regard its removal as an evil omen. Grimm says, " The erection of this David was like an occur rence in nature from which people are accustomed to reckon. We find events dated so many years after the erection of the Giant. It was mentioned in records in which there was not a line besides respect ing art." At this time the rivalry between Michael Angelo and Leo nardo da Vinci commenced. Nothing could be more dissimilar than these two men. Michael Angelo was so temperate that he truly said of himself in his old age, " Rich as I am, I have always lived like a poor man." Leonardo loved to surround himself with lux ury. Michael Angelo was bitter, ironical, and inclined to solitude. 10 146 BUONAROTTI. Although unwilling to injure the feelings of others, and even gentle in some aspects of his character, he was determined to be acknowl edged as the first where he felt it to be due to him, and in matters of art would allow none to interfere with his rights. Leonardo loved admiration, and kept a retinue of flatterers about him. He was not less self-willed, but seemed to play with his talents, and to seek for something which would entice him to exert his powers. In personal appearance Leonardo was very handsome. His fine and expressive eyes and magnificent beard gave him an imposing presence. The head of Michael Angelo was broad, with projecting forehead, while the lower part of his face seemed too small for the upper portion. His eyes were small and light, and his nose, wliich had been crushed by Torrigiano in the gardens of the Medici, seriously disfigured him. It has been said concerning this occurrence that Michael Angelo provoked him, but others regarded it as the result of mere envy. Torrigiano fled from Florence, for Michael Angelo was carried home for dead. In February, 1504, Leonardo had received the order to paint one wall of the hall of the Consiglio Grande. In spite of the fact that he had painted almost nothing, Michael Angelo deter mined to compete with Leonardo, and secure the commission for the second wall. It was in this year that Raphael, attracted, it is said, by what he had heard of Leonardo and Michael Angelo, came to Florence. Thus the three greatest artists of modern times were met together. Rooms were assigned to Michael Angelo and Leo nardo in which to prepare their cartoons, but in the midst of his work, the former was summoned by Julius n. to Rome. This was probably at the beginning of 1505. The Pope's attention had been called to Michael Angelo by Giuliano di Sangallo. But although he had commanded him with haste, it was some time before Julius gave him his first commission. This was for a colossal mausoleum to be built for himself. Michael Angelo sketched a design. Julius ap proved it, and the Pope commanded him to select a place for its erection in the Basilica of S. Peter. A new Tribune had been com menced, and he advised that it should be finished and the monument placed within it. The order was given to Sangallo, and Michael Angelo sent to Carrara to secure the marble for his great work. After many difficulties the marble was brought to the square and the whole city was amazed at the blocks. The Pope was delighted, and had a passage made by which he could pass from the palace to the atelier of the sculptor without being seen. Just at this time, in 1506, the "Laocodn " was found and occupied the minds of all Rome. Michael Angelo was now considered the first sculptor in Rome, and other artists began to be jealous of him. During his second absence in Carrara, Bramante influenced the Pope against him, and declared it to be an evil omen for him to build his tomb while living. It had been the custom for Michael Angelo to be admitted, unannounced, BUONAROTTI. 147 to the Pope at any time. He. now found a change. His new marble had arrived, also the workmen whom he had hired in Florence The Pope urged him no longer, neither would he give him money which he greatly needed. The master determined to understand matters and to enter the palace. He was refused admission, and told by the servant that he had express commands that he should not come in. He went home, and wrote thus to the Pope: "Most Holy Father, I was this morning driven from the palace by the order of your Holi ness. If you require me in future, you can seek me elsewhere than in Rome." He gave this letter to the cup-bearer of the Pope. He commanded one of his workmen to find a Jew to sell all ho possessed, and to follow him with the money to Florence, while he mounted his horse, and rode without stopping until he was on Florentine ground. The Pope sent quickly for him, and commanded that lie should be brought back by force. But he was a Florentine citizen, and he threatened to have the messengers slaughtered if they touched him. They used every means to induce him to return, but he replied that he would neither return then, nor ever; that he had not deserved to be treated as a, criminal; that he considered himself released from his former engagements with his Holiness, and that he would make no others. When he reached Florence he returned to his work upon the cartoon. The Pope immediately wrote to the Signiory, uro-ino- the return of Michael Angelo, and promising that he should be received into full favor. But the master doubted the truth of the Pope, and waited until another letter c-ame. Then the gonfalonier sent for him and insisted that he should return to Rome, sayino-, " You have treated the Pope in a manner such as the Kino- of France would not have done," and declaring that they would not risk a war, and the safety of the state, on- his account. Michael Angelo, mean time, had received offers from the Sultan to go to Constantinople, and was inclined to accept. A third letter came from Julius, and at last it was arranged that he should go in the capacity of an am bassador, for then he would be protected by the Florentine Republic. Just at this time, however, Julius left Rome to begin a war, during which Michael Angelo completed his cartoon in Florence. It was the well-known representation of the "Bathing Soldiers," and fur nished studies for a generation of artists, although it was never painted. There is, at the present day, but a small copy; and an engraving, by Marc Anton, giving a group of the figures ; and another, by Agostino Veneziano, representing a still larger part of the whole. As for Leonardo's painting, it had perished before it was finished, for he had used oils, instead of painting alfresco. He had disagreed regarding the price that should be paid him, and had entered the service of the King of France. Michael Angelo remained victor in this conflict. In November, 1506, upon the taking of Bologna, there came a letter requesting that Michael Angelo should be sent at once 148 BUONAROTTI. to the Pope. Arriving at Bologna, he went first to the ch. of S. Petronio, to hear mass. A servant of the Pope recognized him and took him immediately to his Holiness. Julius was at table, but ordered that he should be admitted. When he saw him he could not entirely control his anger, and said, harshly, " You have waited thus long, it seems, till we should ourselves come to seek you." Michael Angelo kneeled down and begged his pardon, but added that he had remained away from no evil intention, but because he had been offended. Julius looked doubtful, and one of the ecclesiastics, fear ing the result, interposed. He said the Pope must not judge the artist too severely, for that he was, like all of his profession, a man of no education, and ignorant of everything excepting art. The Pope now turned furiously upon him, exclaiming, " Do you venture to say things to this man which I would not have said to him myself ? You are yourself a man of no education, a miserable fellow, and this he is not; out of my sight with your awkwardness." The poor man was so stunned that the servants were obliged to carry him from the hall, and the anger of the Pope being satisfied, he beckoned gra ciously to Michael Angelo, and commanded him not to leave Bologna without his instructions. He soon gave him an order for a colossal statue in bronze to be erected in Bologna. Some of the letters which he wrote at this time, now in the British Mus., give much informa tion regarding his life. He seems to be the centre of his family, to be depended upon for advice, and the upholder of all the others. He said his dwelling was mean, and had but a single bed in it, in which four people slept. In February, 1507, the Pope saw the model and approved it. It was at this time that he left Bologna for Rome. The first cast of the statue failed, and it was not ready to be placed in its position, before the portal of S. Petronio, until the 21st of February, 1508. The Pope was represented in a sitting attitude three times as large as life ; the right hand was raised, and in the left were the keys of S. Peter. The work being finished, Michael Angelo returned to Florence. In considering his more private life, he seems to have been especially alone. Other artists shunned him, not only from jealousy, but because they disliked his reproofs. He asked the son of Francia, a beautiful boy, to tell his father that his living figures succeeded better than those he put in his pictures. One reason for this severity was, that he so exalted the mission of an artist, and so faithfully adhered to his idea of duty, that he despised those who accepted an order for what they could not worthily fulfil. He assisted most cordially those who claimed his help, and it is possible that he wounded, without intending it, those whom he considered unfaithful in their art. At Florence he had much to do : the cartoon should be painted, the bronze " David," and the " Apostles " finished, and it was desired that he should make a colossal statue for the square before the Palace of the Government. BUONAROTTI. ] 49 But Julius summoned him to Rome in March, 1508, and insisted that he should paint the ceiling of the Sistine Chapel. The task did not please him. He said he had painted nothing in colors, and must have other work. But the Pope only became more obstinate, and the master undertook the work. The first difficulty to be overcome was the arrangement of a scaffolding. This was done by Michael Angelo himself, and then came another obstacle, in the choice of assistants. After some time he selected a hah dozen, and commenced his work. He soon found that he could not employ them. He had not the heart to tell them so, and so he went suddenly away, and when they came to work they found the chapel closed. They understood what he meant, and returned to Florence. He destroyed all they had done, and for the future arranged that no one but his color-grinder and the Pope should come upon the scaffolding. Julius soon became impatient, and tormented him with his haste. Between the sprina and autumn of 1509, half the ceiling was completed. The Pope insisted that the scaffolding should come down, and what was done should be shown to the Romans. In order to ascend the scaffoldino-, the Pope was obliged to climb on ladders, and to take the hand of the artist for the last step. He came one day and said, ' ' When will you come to an end?" "When I can," replied the master. "You seem indeed desirous," thundered the Pope," that I should have you thrown down from this scaffolding." The master took the hint, and consented that his work should be shown. Even in the dust which filled the chapel, when the beams were removed, the Pope remained, admiring the work; and on All Saint's Day the whole of Rome crowded there to gaze upon the painting which had grown like magic. The ceiling of this chapel may be called the beginning of modern painting. Before this, arched ceilino-s had been divided into different compartments, but Michael Ano-elo ig nored the dome; arranged his pictures as if the space were open above, and built an architecture out into the air, all by means of perspective delusion; and united the imaginary walls, to which he had given a magnificent cornice, by airy arches, extending from one marble breastwork to another. The spaces between the arches were filled with paintings drawn in perspective. The figures, which only serve to decorate the architectural part of the painting, are almost endless. Colossal slaves are seated by the arches at the edge of the cornice; bronze medallions appear inserted in the marble; figures like caryatides seem to support the edge of the cornice, etc. There is not a spot left unpainted. To describe the paintings, or even to enumerate their subjects, would require more space than we can allow ourselves. The Creation of the World, of Adam and Eve, the Expulsion from Paradise, the Sacrifices of Cain and Abel, the Deluge, Sibyls and Prophets, the Death of Haman, the Serpent in the Wilderness, the Death of Goliath, and Judith and Holofernes, 150 BUONAROTTI. are but a part of the subjects represented. At this time Michael Angelo stood alone in Rome. Raphael was also painting in the Vatican, and they appeared as the heads of parties. The Pope was on the side of Michael Angelo; the artists flocked around Raphael. The differ ence between these two masters was as great as that between Leonardo and Michael Angelo. We can only think of Raphael as young, beau tiful, and happy, with an inexhaustible power enabling him to work always; a power ap parently unaffected by change of time or cir cumstance. Michael An gelo, on the other hand, was animated or re tarded by the course of events. He could not forget the interests of his family or those of his country; and if his THE PKOPHET JEREMIAH. BT M. ANGELO. From the Sistine Chapel. life is considered in its whole, he seems involved in everything of importance that occurred about him; while the life of Raphael can be told as a separate tale, scarcely including any but himself, and the mistress whom he loved. Yet we know that the works which Raphael produced in Rome are wonderfully above his former ones. May not the fact that here he was opposed to Michael Angelo have developed his strength to the utmost ? Bramante, too, now appeared as an opponent of Miehael Angelo, and there were many attempts made to dislodge the great master from his favor with the Pope, and his employment in the Sistine Chapel. He now began the paintings of the second half, which were the most magnificent of his works. When the Pope had insisted upon removing the scaffolding, the pic tures lacked retouching and gold. Julius now wished these wants to be supplied, but Michael Angelo dissuaded him from this, from his anxiety to commence his new works at once. " But it looks so poor," objected Julius. " They are only poor people," replied Michael BUONAROTTI. 151 Angelo, " whom I have painted there, and did not wear gold on their garments." This satisfied the Pope, who urged him on as of old, and would not allow him to go to Florence, although his presence was necessary there. His bronze " David " was finished by another sculp tor, and many other affairs required his attention. At midsummer, 1510, he insisted upon leave of absence. The Pope demanded when he could be ready, in that case, with his chapel. " When I can," replied he. " When I can 1 When I can ! " repeated the Pope angrily, and struck the artist with his stick. Michael Angelo went home, and the Pope sent his favorite page after him with money. His stay in Florence was short, and after his return the painting went rapidly on ; and the second hah of the chapel was finished in the same time that the first had required, only twenty months being given to the whole work. Grimm says, " It needed the meet ing of these two men ; in the one such perseverance in requiring, and in the other such power of fulfilling, to produce this monument of human art." In 1512, another revolution took place by which Flor ence came again under the dominion of the Medici. Michael Angelo was in Rome, but his letters show how much he and his family suf fered ; and his father writes hiin that he is thought to be opposed to the Medici. Plis position in Rome was not a happy one. He could not obtain the money which the Pope owed him, and Raphael's influ ence was increased, while his own was lessened. A separation seemed to have come between himself and the Pope, and he went for a time to Florence. On the 21st of February, 1513, Julius died. Almost immediately Michael Angelo resumed his work upon the mau soleum. The Pope had mentioned this in his will, and his heirs were anxious that it should be completed. A new plan and contract were made. It was at this time that he worked upon the "Moses," and probably, also, upon the two chained youths now in the Mus. of the Louvre. For three years he worked continually at the mausoleum. He resided a part of this time in Florence, but he had been released from all his engagements there. The twelve Apostles had been dis tributed among younger sculptors, and his cartoon had been mali ciously destroyed in 1512. Leo X. had succeeded Julius, and the first matter in which he employed Michael Angelo was in the erection of a facade to the ch. of S. Lorenzo in Florence. This was a great work, and he raised many objections against undertaking it; the principal one being that he was bound by contract to work upon the mausoleum, and had already received money for it. But the Pope overcame all difficulties, promised to satisfy his employers, and also to allow him to go on with the mausoleum ; and, for this purpose, promised that the marble should be conveyed to Florence at his own expense, which promise was not fulfilled. During the winter of 151 7- 18, while Michael Angelo was breaking up his home in Rome, in order to remove to Florence, he executed a painting. It is not positively a u yj i-n tiixw x 11. known what this work was, but there is good reason for believing it to have been one from which Sebastian del Piombo painted the " Scourging of Christ," in a chapel of S. Pietro, in Montorio. On the 25th of February, 1518, Michael Angelo was again in Carrara for the purpose of obtaining marble, wliich he needed in Florence. Upon his arrival he found that the contracts which he had made had not been carried out. He had much trouble, and at length, in order to show the people of Carrara that he could do without them, he opened quarries at Seravezza and Pietrasanta, situated on the Flor entine territory. But these things involved him in great difficulty, and several months after, he writes that he is tempted to leave every thing and return to Carrara, for they had called him back with as many entreaties as if he were Christ himself. At length he went and ordered his blocks sent to Florence, and afterward divided his time between Carrara, the new quarries, and Florence, where they were laying the foundation for the facade. In August he bought the land on which to build a house. All this year he had nothing but trouble. In the new quarries there was much sickness, and the men were idle and unfaithful in every way. In October he was himself ill ; but at last, during the winter, he succeeded in conveying a num ber of pillars and blocks to the sea-shore, to be shipped to Florence, when, in the spring, a command came from Rome to leave every thing. The building was postponed, and no payment ! Although Michael Angelo complained to the Medici in this matter, the circum stances by which they were surrounded compelled them to this course of action. For a time Michael Angelo was much disheartened. At last he commenced again upon the mausoleum. Card. Medici now wished to erect a monument to his family in the form of a chapel, in the ch. of S. Lorenzo. This was commenced in 1520. In 1520 also, Raphael died ; Leonardo had died in France a year before; and soon after came the sudden death of the Pope. The Medici had little money, and then- work progressed slowly ; and Michael Angelo was left free for the mausoleum and some incidental labors. Adrian, who had succeeded Leo, did not live a year in the Vatican. His simplicity, and his mode of life, had not suited the people, and he died unlamented. Card. Medici now became Pope, and the building of the Sacristy was resumed, besides which it was resolved to erect a library of S. Lorenzo. Michael Angelo received fifty ducats monthly, and commenced his work upon the statues of the Dukes of Nemours and Urbino, two of the noblest monuments that sculpture has produced. In the spring of 1524, the Card, of Cortona made his entrance into Florence as regent, and two months later Ippolito and Alessandro, in whose name he reigned, followed him. In 1525, Clement VII. summoned Michael Angelo to Rome. The heirs of Julius II. complained of the delay in the completion of the mausoleum, but it was agreed that the matter BUONAROTTI. 153 should be left to the Pope, and he decided that, on account of his own need of Michael Angelo, the other work should be given up. Bandinelli was at this time the favorite of Clement VII. He hated Michael Angelo, and desired to obtain the commission for a statue to be placed at the gate of the Palace, opposite the " David." With the new Pope he succeeded, and the marble for the statue arrived at Florence in 1525. The citizens felt that Michael Angelo had been unjustly treated; and when the marble fell from the vessel into the Arno, a lampoon, written in rhyme, was circulated, in which it was said that the marble, sorry to have been taken from Michael Angelo, would have drowned itself in order to escape Bandinelli. The dis grace was all the greater when we consider that Bandinelli was nothing. Had he been a great master, the trial would have leen lessened, both for the citizens and their sculptor. The cupola of the new Sacristy was completed in 1525. This year and the two following ones were times of great political agitation, both in Florence and Rome; and, at length, on the 17th of May, 1527, the Medici had departed from Florence, and the Consiglio Grande was to assemble on the following day. Michael Angelo was in Florence. Little progress had been made in the Sacristy, which was now, of course, given up. There is no doubt but Michael Angelo sat in the Consig- lio. Capponi was elected gonfalonier. At this time Clement was imprisoned in the Castle of S. Angelo. In December he obtained his freedom, and went to Orvieto, where he opened negotiations with Capponi. Little is known of Michael Angelo at this time ; but in August, 1527, the new government transferred the block of marble to him. With the year 1529, a fierce strife of parties began in Flor ence. Capponi was forbidden by the state to communicate with the Medici. It was discovered that he did so, and his oflice was imme diately taken from him. Carducci was appointed in his place. In 1529, Michael Angelo was appointed superintendent of the fortifi cations of Florence and the Florentine territory, and the govern ment of Carducci demanded an activity that his power for labor could scarcely satisfy. He first turned his attention to the fortifica tion of S. Miniato, and the works went on with wonderful rapidity. Pisa, Livorno, Cortona, and Arezzo were to be made defensible, and in the early part of 1529 Michael Angelo was sometimes in Florence, and sometimes in these other cities. Ferrara was at this time the real military state in Italy, and its duke was regarded as the best soldier and politician of the time. Michael Angelo was sent by the government to confer with him, and to see the fortifications, and arrived at Ferrara the 2d of August. He remained more than a week, and was awaited at Florence with great anxiety. During his absence tidings arrived of the peace at Cambray, and it was plain that Florence must now depend upon herself alone. On the 8th of September Michael Angelo had been required to give his advice at 154 BUONAROTTL Arezzo. He soon after this became suspicious of Malatesta, to whom the height of S. Miniato had been assigned. He went to the palace to express his apprehensions. He was sure that Malatesta was a traitor. At the palace they listened with scorn, and were offended. Leaving it in great agitation he met a friend, Rinaldo Corsini, who assured him that the following day the Medici would be in the city. They decided to fly. They tried one gate after another which they found closed. At length they came to the Porta di Prato. Michael Angelo gave his name as superintendent of fortifica tions, and they were allowed to pass. Nothing can free him from reproach in this, matter; but justice requires that the motives by which he was influenced should be considered. He saw plainly what must occur. He was unable to arouse those in authority to the truth. He would not witness the destruction of Florence. His aged father and his family depended upon him, and he must preserve his life. After many adventures he arrived in Venice, Corsini having been separated from him. It was thirty years since he had seen that city, and during that time its art had been perfected. The nobles wished to take advantage of tjiis opportunity to retain Michael Angelo in Venice, but he declined. He contemplated going to France. While he remained, he lived quietly in a hired house. Tho 30th of September, 1529, a proclamation of proscription was pub lished in Florence against thirteen citizens, who were declared to be rebels unless they returned before the 6th of October. The name of Michael Angelo was the eighth upon the list. The great master had always admired Dante, and it was natural that at this time he should think of him. For he, too, had gone into exile, on account of politi cal views. Grimm thinks that his sonnets on Dante must have been written at this time. I give a single quotation : — " I speak of Dante, — him whose mighty mind Was ill-conceived by that ungrateful race "With whom the great no recognition find. Oh ! were I he, then the same fate were mine, His exile and his power alike to share; Happiest of all that earth could me assign." Soon letters began to come which showed him how much they wanted him in Florence. At length he was summoned to Ferrara, to meet the Florentine ambassador there, and after much negotiation, in the middle of November he returned once more to his native city. It was on this journey that, in Modena, he met Begarelli. This artist knew not how.to use marble ; but his statues in clay were won derful, and Michael Angelo is said to have exclaimed, " Alas for the statues of the ancients, if this clay were changed into marble ! " The winter which followed his return was one of fearful suffering in Florence. In January the supreme command was given to Malatesta Baglioni. The imperialists kept up a close siege, and between the BUONAROTTI. 155 15th of March and the 15th of April, 5,800 persons perished. Great scarcity prevailed. Meat almost disappeared, and sickness was in creasing. Hope and fear alternately swayed the city. The history of the city must be the history of Michael Angelo. He was much occupied upon the fortifications, especially those of S. Miniato. There were, however, days when the danger seemed less, which he spent in quiet among his marbles. He took up his brush, neglected for nearly twenty years, and commenced the " Leda with the Swan," for the Duke of Ferrara. This picture has disappeared, but engrav ings and copies remain. That in the Dresden Gall, gives a good idea of the design and painting. At length a gleam of hope passed over the city. Francesco Ferrucci appeared without the walls. Ho demanded reinforcements from Florence. They went to him, and from the 24th of March until the 3d of August he was engaged in bravo attempts to deliver the city. On that day he was killed. Hope and courage seemed dead, and on the 8th of August, 1530, the freedom of Florence was ended, and the followers of the Medici ruled. Many of the citizens fled, others were concealed. Michael Angelo was among the latter. But his name was too great for any harm to come to him; and at length, freedom, and the continuance of his old commissions were offered him, if he would come forward. He did so, and resumed his labors in the Sacristy. He seemed to endeavor to kill himself with work, and within a few months, the four colossal figures, which lie on the coffins at the foot of the stat ues of Lorenzo and Giuliano, were placed in niches. They repre sent Morning, Evening, Day, and Night ; and, although none are fin ished, they have excited wonder and admiration, and are considered by many as the greatest works of this great man. These statues and those of the two Dukes seem to have been carried on equally. The artist was treated with consideration, and money was paid when ever it was required. This expressed to him that his political past was to be forgotten. But he never denied his views. When the statue of Night was first exhibited, verses were affixed to it ac cording to the custom of the time. Among these was the following : " Night, whom you see slumbering here so charmingly, has been carved by an angel, in marble. She sleeps, she lives ; waken her, if you will not believe it, and she will speak. ' ' The word angel, here, referred to the Angelo of the sculptor's name. He made the statue reply thus : " Sleep is dear to me, and still more that I am stone, so long as dishonor and shame last among us ; the happiest fate is to see, to hear nothing ; for this reason waken me not — I pray you speak gently. ' ' The anger expressed in these lines is as great as the courage, which dared thus publicly to utter them. This was probably written in the spring of 1531. In September, 1531, the first notice of Michael Angelo after the conquest of the city occurs. It is a letter addressed to Baccio Valori, in Rome, written by an uncle 156 BUONAROTTI. of Antonio Mini, who was in Michael Angelo's service. His friends had become alarmed, and they desired that the Pope should know of his situation. He was now almost sixty, and the letter pictures him sick and sorrowful, unable to sleep, having no appetite, and wilfully working in a cold, damp place. And in the midst of all this wretchedness he had produced his wonderful " Aurora." His mind was tormented, too, about the mausoleum of Julius. He had received money, but had not completed the work. He feared that he should die, and that his heirs would be entangled in a lawsuit ; and he begged the Pope, as well as the Duke of Urbino, that a set tlement should be made. His friends and the Pope undertook to assist him, and he went to Rome where the matter was satisfactorily arranged. On the 30th of April, 1532, he returned to Florence to continue his work at the Sacristy ; and now, for the first time, he employed assistants. He worked steadily until September, when he went again to Rome, and made the drawing, according to which the mausoleum was at length finished. AVe have no information of him from this time until September, 1534, when Clement VII. died. Michael Angelo then left his work at S. Lorenzo, never to resume it. He had incurred the displeasure of Alessandro, who reigned in Florence ; but the protection of the Pope had sufficed to preserve him from insult. Now Clement was dead he would return to Florence upon no condition. Other things in Florence had pained him. A citadel had been built by Antonio di San Gallo, and Bandinelli's group had been placed opposite the "David." Just thirty years elapsed be tween the erection ofthe two statues, and those years may be said to have witnessed the rise, progress, and early decline of Italian art. The world had almost ceased to reckon Michael Angelo among its painters, when he again entered the Sistine Chapel, and commenced his " Last Judgment." When first this task was proposed to him he declined it. After this a discussion arose between himself and Se bastian del Piombo as to whether oil or fresco painting should be used. Michael Angelo declared oil painting was for women, and men should paint in fresco. Paul III., the new Pope, thoroughly appreciated Michael Angelo, and in his intercourse with that master his character appears in its best light. In 1513, when Card. Far nese, the master had made for him the designs for two candelabra which still remain in the Sacristy of S. Peter's. When he first sent for the sculptor, and requested him to enter his service, he was told that it was impossible, on account of his engagement with the Duke of Urbino. The Pope answered angrily, " It is now thirty years that I have had this desire ; and, now that I am Pope, shall I not be able to effect it ? Where is the contract, that I may tear it ! " But Michael Angelo remained firm, and even contemplated removing into the territory of Genoa, in order to escape the Pope. One day, Paul appeared in his atelier with eight cardinals, and desired to see BUONAROTTI. 157 his sketches of the " Last Judgment." The sculptor was at work on the " Moses," and they declared that that one statue was sufficient STATUE OF MOSES. BY M. ANGELO. S. Pietro in Vincoli, Rome. 158 BUONAROTTI. for a monument to Pope Julius. The end of all was, that the Pope satisfied the Duke of Urbino, and Michael Angelo began to paint the chapel. He worked at this six years without assistance. Of all the frescoes of the sixteenth century, perhaps none has suffered more from the ravages of time, and at the hands of men, than this paint ing. Copies and engravings make it possible to imagine what was once there. But the overpowering effect which its first sight should produce is lost. The sentiments of the world, too, are so changed that such a representation cannot appeal to us as it must have done to those to whom Michael Angelo preached with his brush. In this work he gave form, and presented to the sight what Dante had pictured to the imagination. Like everything else which is symbolic, it is meaningless if we cannot supply its meaning from our own souls. " As we look, however, at the ' Last Judgment,' on the wall of the Sistine Chapel, it is no longer a similitude to us, but a monument to the imaginative spirit of a past age, and a strange people, whose ideas are no longer ours" Much of importance to the world occurred during the painting of this picture. The Flor entines in Rome endeavored to regain their old liberty. The Refor mation was at work in Germany, and a circle of distinguished men surrounded the Pope, and conferred unusual lustre upon the society of the Vatican. Among these men was Michael Angelo; not that he mingled constantly with them, for he gave himself no rest, but he knew their thoughts and hopes, and sympathized with those who would have brought about a reconciliation between the Lutherans and the Church. In 1537 or 1538, the old Ludovic died, and Mi chael Angelo was shaken in his very soul by this sorrow. It was on this occasion that he wrote his beautiful sonnet commencing, — " Already had I wept and sighed so much I thought all grief forever at an end, Exhaled in sighs, shed forth in bitter tears." This poem gives us an insight into the religious belief of Michael Angelo. He makes no reference to purgatory, but urges the grace of God (/a grazia Divind) , and speaks of the certainty of the perfect happiness of his father. This involved the question which was agitating the Christian world, yet in his thought he seems not to recognize the possibility of a doubt. Before this, when his brother had died, he wrote, " Although all those sacraments which the Church enjoins were not administered to him, yet if he showed true repent ance and resignation to the will of God, that is sufficient for his eternal blessedness." At another time he wrote to his brother to inquire out some case where he could do good secretly; for he wished to do something for the welfare of his own soul, but desired that it should be known to no one. From all this the healthiness of his nature appears. There was no sentimentality or overstraining, but a trustful and obedient dependence upon God. The Sistine Chapel BUONAROTTI. 159 was opened and the " Last Judgment" exposed to the view of the people at the Christmas festival of 1541. During the summer before the Inquisition had been established in Rome, and a panic had spread throughout Italy. Michael Angelo had given the face of the master- of-ceremonies to the infernal judge, Minos. The Pope jestingly said that he could do nothing, as even Popes could not release others from eternal suffering. It had been proposed to represent the Fall of the Angels upon the opposite wall. This was now spoken of no more, and soon the " Last Judgment " was abused from the pulpits. During the time between 1536 and 1541, Michael Angelo had been especially happy in the friendship of Vittoria Colonna. All his life he had loved children, and his poems show that he had loved women. But he had kept himself so much alone that he had seemed as if he had wished for no friends. Pie was more than sixty years old when he met Vittoria. Descended from Fabrizio Colonna. and the widow of Pescara, she was equal to the first nobles in Europe. She was received by the Pope with great honors, and the Emperor visited her. Her most intimate friends were the Cardinals Pole and Contarina. It is not known how Michael Angelo made her acquaint ance. Francesco d'Ollanda, a miniature painter, sent by the King of Portugal to Italy, describes two Sundays which he passed with Vittoria and Michael Angelo. The meeting was in the little church of S. Silvestro, opposite the Quirinal, on Monte Cavallo. The description of these meetings is of extreme interest, and presents the friendship of the sculptor and the lady in a charming light. Vittoria, though no longer young, was beautiful, cheerful, and en dowed with the highest intelligence. She exercised over Michael Ano-elo a gentle authority. For the first time, he experienced the happiness of yielding to love and respect for a woman, and there is little doubt that these years were the happiest of his life. But even she fell under the suspicion of the Inquisition, and left Rome in 1541. To the two following years belong the letters and poems which passed between herself and Michael Angelo. It is said that he wrote her so often that she asked him to restrict himself a little. She feared that he could not go to his work at a proper time in the morning if lie wrote so much at night, and she was prevented by his letters from passing her evenings with the nuns in whose convent she lived. But one letter of hers is known, which was written to thank him for the design for a crucifix. He had sent it for her approbation, intending to execute it if it pleased her. This it did so perfectly that she de clined to return it, saying that nothing more perfect had ever pre sented itself to her, and with graceful tact declares " I would rather that he who did this drawing should execute something else for me." The poems written by Michael Angelo to Vittoria contain most beautiful testimony to her influence over him. The sonnets of Vit toria were at this time read by all Italy, and she was accustomed to 160 BUONAROTTI. send them, when written, to Michael Angelo. In the autumn of 1542 they again met. She had been ill, her family was ruined, and not one remained in Rome. She withdrew to a convent where she spent her few remaining years. To this time her portrait by Marcello Venusti probably belongs. Many believe this to have been sketched by Michael Angelo. In 1547, she died. He was with her to the last, and years afterward declared, that he repented nothing so much, as that he had only kissed her hand, and not her forehead and cheeks in that last hour. The loss which he sustained can scarcely be conceived. He was seventy years old, his own strength was failing, and he anticipated no joy but that of death. When the " Last Judg ment " was completed he had desired to return to the mausoleum. But Paul III. would not yield him. He had added a new chapel to the Vatican which was named for himself, and he was determined that Michael Angelo should adorn it with frescoes. The Duke of Urbino hated the Pope, and insisted upon his rights. But it was at length decided that the painting should be done. It consisted of two large pictures representing the ' ' Crucifixion of Peter ' ' and the ' ' Conver sion of Paul. ' ' They were finished within eight or nine years. In the cleaning and restoration they have undergone, most of the original work has disappeared, and their first appearance can be best imag ined from old engravings. These were his last paintings. The affair of the mausoleum caused him great suffering, for reports were circu lated against him, and Aretino, a powerful writer of that time, ac cused him of ingratitude to Pope Julius, and represented him as a. thief and a foe to Christianity. Great as Michael Angelo was, and insignificant as was Aretino in comparison, this had cast a stain upon him of which he could not rid himself. In the year which followed the death of Vittoria, the hope which he had always cherished for the freedom of Florence was crushed. Cosmo, secure in his power, endeavored to induce Michael Angelo to return to Florence, and even offered to make him one of the forty-eight, the highest honor for a Florentine. He declined this with courtesy, for he remembered his relatives in Florence, and did not wish to injure them with the Duke. His health continually failed, his sadness increased, and his poems show how the thought of Vittoria was ever with him. It would seem that he had done enough to render his fame above rivalry; but there were nearly twenty years, and much work before him, when at the end of 1546, he was made director of the building of S. Peter's, the only condition of his acceptance being, that he should receive no salary. S. Peter's had been commenced in 1506, by Bramante, who had been followed by Raphael, Fra Giocondo, Giuliano di San Gallo, Peruzzi, and Antonio di San Gallo; and yet when Michael Angelo undertook the work, he was able to construct it as he pleased, and his plans were so far carried out that he may be considered as the real architect of the church. San Gallo's model, and Michael Angelo's BUONAROTTI. 161 plan may now be compared, for they remain almost side by side. Although he. was its architect, ho saw nothing of the S. Peter's of our day, for the fa9ade, the colonnades, the obelisk and fountains have been added by subsequent architects. And yet he had before his mental eye a S. Peter's more mighty than we have seen, and one that was never completed. He also superintended the erection of die statue of Marcus Aurelius, and completed the Farnese Pal. He had in mind many improvements which he wished to make in Rome, but it would seem, as we review his life, that it had been decreed that he should finish nothing. lie acquired the name even among his con temporaries, of "II gran Michel Angelo," but when his unfinished works are compared with his original designs, how insignificant they appear in comparison with what he might have done. We have a single instance of the restoration of an antique statue by Michael Angelo, and it is not positively known that this was his work. It is credited to him only because no other could have done it. It is the right arm of the " Dying Gladiator." In his old age Michael Angelo came to be authority in Rome. He had rivals no longer. If any thing important was to be undertaken his advice was sought, and his decision respected. He sat. like a Pope, and to him the artists came as for a blessing. His household was small and simple. His servant Urbino, and a maid, served him. He dined alone, and at noon. Anatomy was his passion. He dissected animals of every kind, and was happy when a human subject could be obtained. He always had young men working in his house. Condivi was one of these. In his old age, like a child, he formed many friendships, and Tommaso dei Cavalieri was especially dear to him. To him he addressed a flattering sonnet. Although his great works had ceased he still amused himself with brush and chisel. He drew a life-sized portrait of his young friend, and had in his atelier a marble group of Christ lying dead on his mother's lap, and Joseph of Arimathea standing by, upon which he continued to work. But he wished no one to see this, and when Vasari once came to him in the evening he let fall his lantern so that he should not see the work, and said, "lam so old that death often pulls me by the coat to come to him, and some day I shall fall down like this lantern, and my last spark of life will be extin guished." When he could not sleep he would work on this statue, and had a pasteboard cap in which a candle was fixed, that he might have a good light. But he discovered a flaw in the marble, and intended to break it in pieces. He gave it, instead, to one of his young men, and it is now under the dome of S. Maria del Fiore in Florence. After his appointment to the control of S. Peter's his authority there was supreme. From his age his death was constantly expected, and there were, some who anticipated succeeding him in his office. While Paul III. lived, the rights of Michael Angelo were unquestioned. The Pope died in the autumn of 1549. In the spring 11 162 BUONAROTTI. of the same year Michael Angelo had been very ill, and after his re covery had devoted himself with eagerness to his office. Julius III. , the new Pope, projected many new works. Artists of every kind had full employment, Michael Angelo was wanted everywhere. He undertook no commission, but he drew designs, and was consulted on every plan. A new trouble arose in regard to S. Peter's. Under the other architects this building had been a source of wealth to many. Michael Angelo dismissed some and reduced the wages of others. He could do this the more easily because he received no pay himself. Paul III. once sent hiin a sum of money, which was imme diately returned. Complaints were made against him, and at length Julius IH. called a council and required the sculptor to defend him self. Many accusations were brought, and a special one was that in a certain part there would be too little light. Michael Angelo de manded that those who originated the reproof should come forward. Two Cardinals presented themselves, to whom he said, " I intend plac ing three other windows above those already there." " You never gave a hint of that," answered the Cardinals. " Nor was I bound to do so," replied the sculptor, " nor will I bind myself to give your lordships or any one else information of my intentions. Your office is to furnish money, and to take care that it is not stolen ; as regards the building plan, that concerns me alone." He then said to the Pope, " Holy Father, you know what I get for my money, and that if my work does not tend to the saving of my soul, I shall have expended time and trouble in vain upon it." Julius placed his hand on his shoulder and said, "Your eternal and temporal welfare shall not suffer from it; there is no fear of that." Thus the matter was ended, and while Julius lived the sculptor was not again disturbed. From time to time Michael Angelo was urged to return to Florence, and when Julius III. died, in 1555, the request was again repeated. One of the Cardinals whom he had so severely reproved now ascended the Papal chair. He at once deprived Michael Angelo of his pension, and sent him each month a salary, which he each month returned. There were plots against Mm, and it was reported that he had become childish, old, and weak. At this time the Florentine offers became more honorable and urgent, but he would not go. Paul IV. appears monstrous in history. He cared nothing for art, but he wished S. Peter's church to be finished. He therefore continued Michael Angelo in office. When the Spaniards approached Rome, his faith ful Urbino had just died. It would have seemed the time for him to go to Florence, but instead, he went to the mountains of Spoleto. It was almost the first time that he had thoroughly enjoyed nature, and he afterwards wrote, ' ' I have left more than half my soul there, for truly there is no peace but in the woods. ' ' From this time he answered the urgent requests from Florence by saying that it would be a sin for him to go, that he must persevere in the work wliich he had beo-un in BUONAROTTI. 163 God's name. At length they ceased to urge him, and in the last year of his life the Duke visited him in Rome and showed his reverence for him. In 1558 the Pope died, and Pius IV., his successor, was be sieged by new attacks upon Michael Angelo. But he listened to noth ing, and restored his pension to him. He knew he should not live to see the dome completed, and he made a model in clay, so accurate in its proportions, that when the dome was commenced many years later it was only necessary to copy it on a colossal scale. Pius IV. was a friend to the arts and to Michael Angelo. Paul IV. had wished to destroy the " Last Judgment," and had employed Daniele da Volterra to cover the figures with drapery. It seems that Michael Angelo was asked to do the work, and had answered ironically, " That is soon done. The Pope has to put the world in order ; it is but a small trouble as regards pictures, for they keep still." When in his eighty- sixth year he wrote a letter to Cardinal di Carpi which prpvc.s how little his mind had failed. Soon after, the committee appointed to inspect the building dismissed a young man whom he had employed. Upon this he declared that he would visit the building no more. That was just what his enemies desired. Nanni Bigio had long wanted his position, and it was given him. At first Michael Angelo took the matter easily, but when they began to change his plans, he roused himself. The Pope was on the square of the Capitol. Michael Angelo went to him and made so much noise that they were obliged to take him into the palace, and the end of all was that the Pope issued a brief decreeing that for the future they should not depart from the plans of Michael Angelo in the smallest particular. This does not seem like the act of a dying man. At this time, too, he made plans and was consulted respecting important works in Florence. His last work in Rome was to make a church from an immense hall in the baths of Diocletian. A year before his death Michael Angelo was appointed to the honorary directorship of the Acad, of Arts in Florence. In the beginning of 1564 it was apparent that his end was near, and on the 18th of February he died, in the ninetieth year of his age. He had desired that his body should be carried to Florence. Opposition from the Romans was feared. Funeral services were held in the ch. of S. Apostoli, and afterwards the coffin was con veyed as merchandise out of the gates. It arrived in Florence on the 11th of March, and was carried privately to S. Piero Maggiore. The following day was Sunday. The Duke seems to have desired that he should be buried silently. Towards evening the artists as sembled in the church, the body was covered with a black velvet pall, embroidered with gold, and a, gold crucifix placed upon it. A* pro cession was formed. The older artists carried torches, and the younger ones took the bier upon their shoulders, and proceeded to Santa Croce. A rumor had spread through Florence of what was occurring, and a great multitude quietly followed the procession. In 164 BUONAROTTI. the Sacristy the coffin was opened, and though he had been dead three weeks he appeared as if he had just died. The crowd became so great that it was impossible to close the tomb. But it was night and at length they were dispersed. The Duke evidently feared that a public funeral might create a political commotion; but it was thhty years since he had left Florence, and those who stood around him scarcely remembered his connection with their city. In July magnifi cent funeral ceremonies were held. The ch. of S. Lorenzo was splendidly decorated, and Varchi delivered the oration. His nephew Leonardo had a monument erected in Santa Croce, and the Duke gave the marble. In the same church are the monuments of Dante, Alfieri, and Macchiavelli. In the court of the Uffizi his statue stands with those of other great Florentines, with no especial prominence. His house in the Ghibelline Street still remains, but his paintings and other works are not there ; they are in the possession of his family. " All Italians feel that he occupies the third place by the side of Dante and Raphael, and forms with them a triumvirate of the greatest men produced by their country, — a poet, a painter, and one who was great in all arts. Who would place a general or a statesman by their side as equal to them ? It is art alone which marks the prime of nations." ENGRAVINGS AFTER THE WORKS OF MICHAEL ANGELO. Engraver, Alberti, Cherubino. The Crucifixion. S Jerome meditating on the Crucifix; 1575. S. Andrew bearing his Cross; 1580. Two Figures from the Last Judgment ; 1591. Charon, with two other Figures; 1575. Prometheus devoured by the Vulture; 1580. The famous Pieta. Engraver, Bartolozzi, Francesco. Prometheus devoured by the Vulture. Engraver, Beatrici, Niccolo. The Annunciation, with the names of Michael Angelo and Beatrici. The Good Samaritan ; Michele Angelo, inv. The Mater Dolorosa, N. B. ; Romas; 1547. The Conversion of S. Paul; M. Angelo, pinx., etc. ; N. B. The Prophet Jeremiah, with names of painter and engraver. The Last Judgment; 1562 ; in nine sheets. Ganymede, inscribed, Ganimedes juvenis, etc. The Fall of Phaethon. Titius devoured by a Vulture; Ant. Salamancha, ex. Silenus carried by Children ; N. Beatrice, fee. Engraver, Bonasoni, Giulio. The Creation of Eve. The Last Judgment; inscribed, Julius Bonasonius Bonone propria, Michaelis Angeli, etc. Solomon, David, and Jesse, from Sistine Chapel; Julio Bonasone imitanth, etc. The Fall of Phaethon. Three Female Figures with Veils. Engraver, Cackllani, Antonio. The Creation of Eve; from Sistine Chapel. Adam and Eve driven from Paradise. BUONAROTTI — BUONI. 1 65 Engraver, Caracci, Agostino. The Pieta, after the sculpture of M. Angelo. Engraver, Caraglio or Caralius, Gio. Giacomo. The Carry ing up of Ganymede. Engraver, Cavalleriis, Gio. Batista. The Virgin, called " The Silence." The Dead Christ in the Lap of the Virgin. Tho Con version of S. Paul. The Martyrdom of S. Peter. Engraver, Cort, Cornelius. The two Tombs of the Medici. Engraver, Conkgo, Domenico. Three Subjects from tbe Crea tion; Sistine Chapel, engraved for the Schola Italica of G. Ham ilton. Engraver, Fulcarus or Fdrck, Sebastian. The Last Judgment. Engraver, Ghisi, Giorgio. The Prophets and Sibyls of the Sis tine Chapel; six large plates. The Last Judgment; ten large plates. Engraver, Ghisi, Adamo. Dead Christ in the Lap of the Virgin; after celebrated sculpture of M. Angelo; 1566. Engraver, Jode, Gerard de. The Crucifixion; a large print in three sheets, marked, G. de Jode. Engraver, Kartarius, Marius. The Last Judgment. Engraver, Kilian, Lucas. The Pieta. Engraver, Musis, Agostino de, called Agostino Veneziano. Hercules strangling Antaeus. Engraver, Perac, Etienne du. The Last Judgment. The Capitol. Engraver, Potrelle, Jean Louis.' Portrait of Michael Angelo. Engraver, Raimondi, Marc Antonio. The Holy Family, in the Sistine Chapel. Adam and Eve driven from Paradise, from the Sistine Chapel. Hercules strangling Antaeus. Engraver, Schiavonktti, Luigi. The Cartoon representing the Surprise of Soldiers on the banks of the Arno. Engraver, Sericcus, Soye or Sytius, Philip. The Virgin with the infant Christ sleeping; 1566. Philippus Sericcus. The Cruci fixion. A Pieta. Engraver, Steen, Francis van der. Michael Angelo's Dream. Engraver, Vico, Vicus or Vighi, Enea. Jupiter and Leda. A Bacchanalian subject. Engraver, Zuccherelli or Zuccarelli, Francesco. Etching of the Statue of Victory, after the Sculpture. Buoni, Buono de, born at Naples; died 1465. One of the best painters of his time. Some of his works are still in the churches of Naples. Buoni, Silvestro de', born at Naples (1420-1480). Son and pupil of the preceding. He afterwards studied under Solario, called Zingaro. Buoni was an attractive painter. His pictures are in the Mus. and churches of Naples. The best, which is a very interesting work, is in the old basilica of S. Restituta. It represents that saint 166 BUONI— CABF.ZALERO. with the Virgin and the Archangel Michael. A warm, beautiful tone pervades the whole; the figures are dignified and not mannered; it seems to unite the style of the Umbrian with the animated cheer fulness of the Venetian school. ^j ipj Burghers, Michael. A Dutch engraver who settled at VL) 0xford after the taking of Utrecht by Louis XIV. Al though his plates were not especially good, he is esteemed for having preserved many remains of antiquity which would other wise have been lost. Burgkmair, Thoman. Kugler says the family of this name are next important to the Holbeins in the history of art in Augs burg, where some of Burgkmair's works still remain in the Cath. and Gall. The former were presented in 1480. He is inferior to the Holbeins. a Burgkmair, Hans, born at Augsburg (1473-1559). Hf JL^ Son of the preceding, and in his day the most im- T^ "" T t * portant artist of Augsburg. He was realistic, and ^r 'tt succeeded in actual representations of common life and portraits, and yet was not without feeling for beauty. He had great versatility of talent; he painted religious subjects, and knightly or courtly representations in addition to the subjects before men tioned. He also made many designs for wood-cuts, which are full of spirit. He imitated no one master, but rather formed a style of his own. Many of his works remain and are in Augsburg, Dresden Gall., Nuremburg, Munich, Vienna, etc. He had two distinct periods; the first extended to 1508, and in it he was German en tirely ; later, his tendency is to the Italian order, and is characterized by fuller forms, changed draperies, and more delicacy of treatment. That he painted landscapes well may be seen in No. 65, Munich Gall., a, " S. John at Patmos." Byzes of Naxos, invented the cutting of marble tiles about the 50th Olympiad, or 580 b. c. c. Cabel or Kabel, Adrian van der, born at Ryswick, 1631 ; died at Lyons, 1695. Pupil of Van Goyen, whom he left with the intention of visiting Italy. When he reached Lyons his works were so much admired, that it is said he remained there until his death. But we are also told that the associated painters at Rome called him Corydon and Geestigkeit, which would prove that he studied there. He painted landscapes with cattle and figures, and seaports. Some of these were fine, but his habits were irregular, and his pictures consequently very unequal. Cabezalero, Juan Martin de, born near Cordova (1633-1673). Pupil of Don Juan Carreno. He had great reputation as a painter of history. His principal works are in the churches of Madrid. CACCIA — CAGLIARI. 1 67 Caccia, Guglielmo, born at Montabone (1568-1625). Called II Moncalvo, from his long residence in that place. He painted in fresco and oil. His coloring was gay, his style of form taken from Raphael; he especially studied his landscape backgrounds. The Chiesa de' Conventuali, at Moncalvo, has a full coll. of his works. They were also known and prized in Milan, Pavia, Turin, Novara, and other cities. He had five daughters, two of whom were painters, Ursula and Francesca. The works of the latter were mistaken for those of her father. He or the daughter Ursula founded a convent, into which the sisters retired. In this convent there are many pictures by Ursula, who died in 1678. Francesca died when fifty- seven, but the year is not known. Caccinoli, G-io. Batista, born at Castle Budrio (1635 7-1675). Pupil of Domenico Maria Canuti. A painter of history of good reputation. Many of his works were for the churches of Bologna. Caffa, Melchiore, born at Malta, 1631; died at Rome, 1687. Studied under Bernini, and is said by some to have equalled his master. He executed various works for the Roman churches. The most esteemed is a marble group of " S. Thomas distributing Alms," in the Chapel of S. Agostino. Caffieri, Filippo, born at Rome (1634-1716). His family were from Naples, and were allied with many noble houses of Italy. Caffieri went to Paris, at the request of Card. Mazarin, in 1660. He was employed in works for the royal palaces, and Colbert gave him apartments at the Gobelins. He was afterwards made sculptor and naval-architect to the king, and inspector of the marine at Dun kirk. Caffieri, Jacques (1678-1755). Son of the preceding. His best works were busts in bronze. Caffieri, Jean Jacques (1723-1792). Son of the preceding, whom he much excelled. He executed many fine works. Among his larger ones may be mentioned a group of " Melpomene and Thalia," and a S. Silvia at the Invalides. His busts were better than his statues. Those of Corneille and Piron, at the Theatre Francais, are by him. Cagliari or Caliari, Paolo, called Paul Veronese, born at Verona (1528-1588). Son of a sculptor, and pupil of Antonio' Badile, his uncle, and a reputable painter. He lived mostly in Venice, and imitated Titian in color. He did not equal the latter in the perfection of his flesh tones, but that which particularly dis tinguished him was the vitality and poetic feeling which he infused into his works. His gorgeous draperies, grand architecture, splendid vases and ornaments, varied cpstumes, and the representation of imposing scenes rendered his works most effective and masterly. Eveii his religious pictures have all these features, and are admirable scenes of earthly pageantry. Some of his more serious subjects, 168 CAGLIARI. however, are thrilling in their deep feeling and expression. Magnifi cent effect seems to have been his chief aim, and this was attained by representing crowds of figures gorgeously attired, apparently in full enjoyment of happy prosperity. His pictures appeal to the senses more than the spirit, and his costumes are often indecent. Few of his early works are known. The ch. of S. Sebastiano, in Venice, where the master is buried, is rich in his works; there are almost innumerable pictures by him on its walls and altars; of these three arc very large and represent scenes connected with the Mar tyrdom of S. Sebastian. In the Louvre is the colossal " Marriage at Cana." This is 30x20 feet in size, and among its many faces are ite^^^^fjj «t iJPlb 5 o ¦< e S <5 the portraits of the artist and other prominent persons. Another large work in the Louvre is the " Magdalen washing the Feet of CAGLIARI. 1 69 Christ." The " Feast of the Levite,'' in the Acad, at Venice, is also large and rich in color, but less excellent than the others. In the Gall, at Dresden is the " Adoration of the Kings," which is extremely beautiful. The Holy Family are arranged on one side, while on the other, the kings, arrayed with purple and gold, adoringly worship the Divine Child. The harmonious coloring, the noble life, and dignity of the figures, and the whole arrangement of the compo sition, render it a masterpiece. Veronese decorated the Pal. of the Doge with many mythological and allegorical designs. He left a great number of works. Many of them are in the Louvre, Brera, Dresden, and other European galleries, and the National Gall, has four of his pictures. His portraits were of high merit. He left two etch ings ; they are slight, but masterly, and represent, — The Adoration of the Magi : Paolo Veronese, fee. Two Saints sleeping ; no mark. Liibke says, " He entered, indeed, upon Titian's heritage, and by his grand creative power and noble beauty upheld the banner of Ve netian art, until the end of the century." Wornum remarks, " Paolo Veronese was the real master of Rubens. His works, however, have their defects: he was, as Algarotti observes, careless in design, and in costume extremely licentious ; but these faults are completely con cealed by the absorbing magnificence of his coloring, which, added to his noble fancy and inexhaustible invention, render his defects as a grain of sand in the balance." His son Carlo was his pupil, and seemed to have inherited his talents, but died when twenty-six years old, in 1596. ENGRAVINGS AFTER PAOLO VERONESE. Engraver, Aubin, Augustin de St. Jupiter and Leda. Engraver, Audran, Benoit, the younger. Pilgrims of Emmaus. Engraver, Bartolozzi, Francesco. The Judgment of Solomon ; after a drawing. Engraver, Beauvarlet, Jacques Firmin. Venus lamenting Adonis. Engraver, Bloemaert, Cornelius. The Resurrection. Engraver, Brkbiette, Pierre. The Martyrdom of S. George. Engraver, Caracci, Agostino. Holy Family with SS. Anthony and Catherine. The Virgin taking two Monks under her protection. The Marriage of S. Catharine. The Crucifixion. Christ's Body, supported by the Virgin and an Angel. Martyrdom of S. Justina ; two sheets. Engraver, Colemans, Jacob. A Poet conjuring up Fortune. Portrait of P. Veronese. Engraver, Desplaces, Louis. La Sagesse Compagne d'Hercule. Engraver, Duchange, Gaspar. The Entombment ; fine. 170 CAGLIARI. Engraver, Dcflos, Claude. Christ and the Disciples at Emmaus. Engraver, Dupuis, Nicholas Gabriel. Adoration of the Magi. Engraver, Goltz or Goltzius, Heinrich. The Last Supper, 1585. Engraver, Groensvelt, John. Adoration of the Magi; J. Groens velt. fee. Engraver, Hansftangl, Franz. Susanna. Adoration of the Magi. Marriage at Cana. Christ bearing the Cross. The Concina Family before the Madonna. Engraver, Henriquez, Benoit Louis. Finding of Moses. Engraver, Honeck. The Presentation in the Temple. Engraver, Houbkaken, Jacob. Portrait of Daniello Barbaro. Engraver, Jackson, John Baptist. The Presentation in the Tem ple. Marriage of S. Catherine. Engraver, Jacob, Louis. Rebecca and Eliezer. Engraver, Jeaurat, Edme. Finding of Moses; fine. Engraver, Jouillon, Francois. Apollo and Marsyas. Mercury- turning Aglauros to stone. Engraver, Kilian, Lucas. The Resurrection. Engraver, Kilian, Wolfgang. Baptism of Christ. Engraver, Kilian, Philip Andrew. Adoration of the Magi. Engraver, Lasne, Michel. Christ in Glory, with SS. Peter and Paul. Engraver, Lorenzini, Fra Antonio. The Annunciation. Bap tism of Christ. Raising of Lazarus. Engraver, Mannl or Maennl, Jacob. Judith leaving the Tent of Holofernes. Child holding a Dog. Engraver, Matham, James. Visitation of the Virgin. Engraver, Matham, Theodorus. Marriage of S. Catherine, S. John presenting the Ring. Engraver, Mitelli, Giuseppe Maria. The Rich Man and Lazarus. Engraver, Moyreau, Jean. Rebecca and Eliezer. Engraver, Pizzi, Luigi. The Feast at the House of Simon. Engraver, Preisler, Johann Martin. Christ bearing his Cross. Engraver, Phevost, Zacharias. Marriage at Cana. The Feast in the House of Simon. Engraver, Rainaldi, Francesco. The Rape of Europa. Engraver, Ravenet, Simon Francois. Venus and Adonis. Engraver, Saenredam, Jan. The Feast at the House of Simon. Engraver, Saiter, Gottfried. Marriage at Cana. Engraver, Scotto, Girolamo. Feast at the House of Simon. Engraver, Terwesten, Augustin, the Elder. Finding of Moses. Engraver, Thomassin, Henry Simon. Christ and the Disciples at Emmaus. Engraver, Vanni, Gio. Battista. Marriage at Cana. Engraver, Vendramini, Gio. Vision of S. Catherine. CAGLIARI — CALDARA. 171 Engraver, Villamena, Francesco. Presentation in the Temple ; this plate was commenced by Agostino Carracci ; it is rare. Engraver, Visscher, Cornelius. The Ascension. Engraver, Volpato, Gio. The Feast in the House of Simon. Engraver, Vorstkrman, Lucas. S. Helena seeing the Cross. Engraver, Wagner, Joseph. Enthroned Madonna with infant S. John and other saints. Engraver, Zucchi, Andrea. S. John the Baptist. Cagnacci, Guido, born at Castel Durante (1600-1680). Pupil of Guido Reni. He merits honorable mention among Bolognese artists. He avoided all hardness, and so blended his tints as to soften and round the limbs of his figures. The Emperor Leopold I. was his patron, and he spent much time at Vienna. His works arc better known in Germany than in Italy. Cairo, Cavaliere Francesco (1598-1674). Pupil of Morazzone, he became enamored of Venetian coloring, and studied the works of Titian and Paul Veronese. The result was an admirable style. One of his best works is the S. Theresa in S. Carlo in Venice. His pic tures are also at Milan and Turin. Calabrese. See Preti. Calabrese. See Cardisco. Calandra, Gio. Batista. One of the first mosaists who wrought in the Vatican. On account of the injury to oil paintings in S. Peter's, resulting from dampness, it was determined during the reign of Urban VIII. to replace them by copies in mosaic. The first altar- piece was a S. Michael after Cesare d' Arpino, executed by Calandra. Calcar, Hans Von. Beal name, Hans Stephanus (1510-1546). Of the Italian School of painting. In 1536-37 he resided in Ven ice, and studied under Titian, whom he so imitated that it is sometimes difficult to distinguish theh respective works. No histori cal work known to be his remains. His portraits are fine and rare. Berlin Mus. No. 190; a man with a letter in his hand, at Vienna; and one in the Louvre, which has been ascribed to both Paris Bor- done and Tintoretto. Caldara, Polidoro, called Caravaggio from his birthplace (1495- 1543). This painter began life as a mason and was employed at the Vatican, where, in 1512, he became acquainted with Matturino, of Florence, who instructed him in drawing and made him his assistant in the decorative works in which he was employed. Together they executed fresco chiaro-scuri which were much praised, even by Ra phael. These are known now only by the engravings from them by Cherubino Alberti, Galestruzzi, and others. In 1527, the sack of Rome interrupted their work, and the two painters were separated. Polidoro went to Naples, and from there to Messina, where he es tablished a good reputation as an artist. In 1543, having made a comfortable fortune, he prepared to return to Rome, but was mur- 172 CALDARA — CALLET. dered by his servant for his money. His body was placed on the steps of the house of a lady he had often visited. The servant was suspected and made to confess by means of the torture. His princi pal work was done at Messina, and represented " Christ bearing his Cross." This with several small pictures of sacred subjects is now in the Studj Gall., at Naples. His works have power, life, and passion, and he may be said to have originated the style which in later time formed the basis of the Neapolitan school. Calendario, Filippo. Flourished at Venice about 1334. His prin cipal work was executed for the Republic, and consists of the Por ticos surrounding the Square of S. Mark. He was largely rewarded by the state, and the Doge gave him one of his daughters in marriage. He did other good works in Venice, but was at last executed as a conspirator. Calense, Cesare. Flourished about 1590. He attained a reputa ble rank as a painter. His knowledge of chiaro-scuro was good, and his style graceful. In the ch. of S. John Baptist, at Naples, is a " De scent from the Cross " by this artist, which is fine. Caletti, Giuseppe, called Cremonese, born at Ferrara (1600?- 1660). An imitator of Titian. He spoiled his pictures by inappro priate arrangements of design. Lanzi says, " He placed wild boars in the sea, and dolphins in the forests." Two of his best works are in the ch. of S. Benedetto at Ferrara: Call, John Van, born at Nimeguen (1655-1703). After copying the works of some of the best artists of his own country, he went to Rome, where he made a large collection of drawings of all the most picturesque views of the country surrounding that city. He settled at length at the Hague, where he died. His drawings are more prized than his pictures, and bring large prices in Holland, where they are placed in the best collections. Callcott, Sir Augustus Wall, born at Kensington (1779-1844). A pupil of Hoppner, he at first practised portrait painting, but later devoted himself to landscapes. He has been called the English Claude. In 1837 he exhibited a picture of " Raphael and the Forna- rina," which was quite out of his usual style. "Milton and his Daughters" followed in 1840. The Queen conferred knighthood upon him in 1837, and in 1844 he was appointed Conservator of the Royal Pictures. Calleja, Andres de la, born at Rioja (1705-1782). A Spanish painter of good reputation. His best works are in the churches of S. Philippe le Royal, S. Croix, the Treasury chapel, and the convent of S. Francis. Callet, Antoine Francois (1741-1823). One of the best French painters of his time. In the Louvre, there is a large repre sentation of the " Four Seasons " executed by him for Louis XVI., and intended to be worked in Gobelin tapestry. Part of the ceiling CALLET — CALVART. 173 of the Gall, of Apollo in the Louvre, and that of the Luxembourg, were by him. He also painted portraits of Louis XVI., Louis XVIII. and Count d' Artois. Callimachus. A Greek sculptor said to have invented the Corinthian capital. The story is that about 550 b. c. a virgin died at Corinth, and her nurse, according to custom, placed a basket on her grave, containing the viands that she loved best. It happened that the basket was placed upon an acanthus, the leaves of which grew up about it with so much grace as to attract the attention of Callimachus, and suggest to him that design which has been for cen turies a prominent beauty in architecture. Pausanias describes a golden lamp which he made for the service of Athens, which would burn exactly a year without going out. He is also called the inventor of the art of boring marble, but it is believed that he perfected it only, as it must have been known before his time. His fault was that he could never be satisfied with his works, and elaborated them until he spoiled them. On account of this he was called icaKt&Texvoc. 4 Callot, Jacques, born at Nancy (1593-1635). WUtOrVt-jfco. -^n eminent designer and engraver. He was of a u noble family from which he met great opposition in his pursuit of art. Twice he ran away in order to study. At length he was allowed to go to Rome in the suite of the envoy sent to the Pope by the Duke of Lorraine. He speedily arrived at eminence in his profession. He did not succeed with the graver, and confined himself to the use of the point. Louis XIII. employed Callot to engrave the principal battles and sieges of the French. Richelieu desired him to engrave the siege of Nancy, but Callot declared he would sooner cut off his right hand, than thus to record the calam ity and disgrace of his prince and country. His prints number more than 1500. His drawings are much prized. His plates with small figures are the best. He often made several drawings of the same subject before he satisfied himself. Wateleb' had seen four different sketches for his celebrated ' ' Temptation of S. Anthony. ' ' A com plete list of his works is given in M. Heineken's " Dictionnaire des Artistes." Calvart, Denis, born at Antwerp (1555-1619). From the as sociations of his life he may be considered as an Italian painter. He was one of those who, at Bologna, turned the attention of artists to landscape painting. He founded in that city the celebrated school in which Albano, Domenichino, and Guido studied. His excellence was such that he may be regarded as the restorer of the Bolognese school, . especially in color. His designs had many faults, were mannered, and his figures sometimes indecorous. He was of a turbu lent' and fiery disposition and temperament. He was, however, a most earnest and devoted teacher. His pictures may be seen in the churches of Bologna. He inscribed his name sometimes as Dionisio Calvaert, de Antvkrsa. 174 CAMASSEI — CAMPAGNOLA. Camassei, Andrea (1601-1648). Pupil of Domenichino and Andrea Sacchi. His works may be seen in many public edifices at Rome: "Triumph of Constantine," Baptistery of the Lateran; " Assumption of the Virgin " in the Botonda, and a " Pieta " at the Cappucini. Cambiaso, Luca, called also Luchetto da Genova, born near Genoa (1527-1585). Pupil of his father, Giovanni, whom he soon surpassed. He painted both in oil and fresco, and it is said that his impetuosity was so great that he sometimes executed his works«with- out cartoon or sketch of any kind. His drawings are much esteemed. He was fruitful in invention and there is novelty in his designs. His Cupids and infant angels are boldly outlined, and suggest the study of Michael Angelo. His color is sometimes brilliant, but too fre quently brown and dull. Some of his best works are in Genoa and that vicinity. His fame reached Spain, and Philip n. invited him to Madrid, where he went with his son Orazio in 1583. He was employed in the Escorial and received 12,000 ducats for his fresco of " Paradise " on the ceiling of the choir of S. Lorenzo. Probably this was the largest sum that had then been paid for any modern work of art. After the death of Luca, Philip continued to employ Orazio, and settled a liberal pension on him. Cambio. See Arnolfo. Camerata, Giuseppe, born at Venice (1724?-1803). An en graver and painter in miniature who was invited to Dresden, where he assisted in engraving the plates for the Gall., and was made en graver to the court. Camilo, Francisco, born at Madrid, of an Italian family ; died 1 6 7 1 . Palomino praises him immoderately. He was the scholar of Pedro de las Cuevas. His works may be seen in various Spanish cities. His most celebrated one is his ' ' Nuestra Senora de Belen ' ' in the ch. of S. Juan de Dios at Madrid. Campagnola, Giulo. A Paduan who flourished about 1500. He is most entitled to notice as an engraver, and there has been much discussion concerning him. Some of his plates are peculiarly done. The background is expressed by dots, and the figures, strongly out lined, are finished by dots within. These plates prove this style not modern, as it is generally supposed to be. -. _ Campagnola, Domenico. Son of the preceding. A w „ pupil of Titian, he aroused the jealousy of that mas- ^•" ¦ ' ter. His frescoes in the Scuola del Santo, and his oil pictures in S. M. del Parto established his right to good consideration. His more important works are at Padua; there are four Prophets, half figures, in the Acad, at Venice. He holds high rank as an en graver, and his etchings and wood-cuts, mostly from his own designs, are executed with a spirit and style which show the power of a master hand. CAMPALaSTRO — CANAL. 175 Campalastro, Ludovico, born at Ferrara. His best works are in the churches of that city. Campanna, Pedro, born at Brussels (1503-1570). Went when very young to Italy, where he gained a good reputation, and in 1530 was invited to Spain by Charles V. His principal works are at Seville. Camphuysen, Theodore Raphael, born at Gorcum (1586- 1626 ?). Pupil of Dietric Govertze. An imitator of Paul Potter. The facts of his life are not known, and are variously stated by differ ent authors. According to Smith, No. 527, Cassel Gall., represent ing cattle life size, is by Camphuysen. Campi, Galeazzo. A Cremonese of little reputation, who flourished in the early part of the 16th century, and whose best work is his own portrait in the Florence Gall. Campi, Giulio, born at Cremona (1500-1572). Son of the pre ceding. Head of the Eclectic school at Cremona. He attempted to unite the excellences of the Roman and more northern schools, and has been called the Ludovico Caracci of Cremona, although his reform must have preceded that of Ludovico. He admired Raphael, Titian, and Giorgione. His best works are in Cremona, Milan, and Mantua. Campi, Antonio, born at Cremona. Flourished about 1586. Brother and pupil of Giulio. He excelled most as an architect. His pictures were mannered. His best one is that of " S. Paul resusci tating Eutychus," which was engraved by Agostino Caracci. Campi, Vincenzo, died 1591. Also brother of Giulio, and in structed by him. His best pictures were those of still-life, but he was much inferior to his brothers. Campi, Bernardino, born at Cremona (1522-1592). Also brother of Giulio, and the greatest of the Campi. After studying under Giulio, and at Mantua, he went to Parma «.nd Modena to study the manner of Correggio. Returning to Cremona he executed im portant works, the best of which are in the ch. of S. Gismondi. In the cupola he painted an immense representation of the " Blessed of the Old and New Testaments." The figures are seven braccia high and are very numerous, each one being distinguished by an appropriate symbol. He completed this great work in seven months. The Campi were the best Cremonese artists of their time, but they were extremely mechanical in their style. Canachus. A sculptor of Sicyon. Lived probably at tho begin ning of the 5th century B. C. He excelled more in technicalities and in the excellence of the separate parts of his works than in the grace and beauty of the whole. One of his most important works was a colossal brazen " Apollo " at Miletus. Of this we have copies in a statuette in the British Mus., and on Milesian coins. Canal or Canale, Antonio, called Canaletto, born in Venice, 176 CANAL— CANO. (1697-1768). A pupil of his father, who was a scene painter. He went early to Rome, where he assiduously studied the ruins of the ancient city. Returning to Venice, he astonished his countrymen by his magnificent views of the palaces and edifices of their city, and by his representations of festivals and carnival scenes, in some of which there are at least 200 figures. He went twice to England, where he was much patronized. His interior views were fine. His coloring in the latter was not brilliant, and in his Venetian pictures it is the gondolas with their gold and gay decorations which give the glare to the scene, his figures being often in neutral tints. He acquired a fortune. His works are very numerous and are in almost every collection. Some of his followers imitated him so closely that theh works are sometimes mistaken for his own, and, indeed, there are large numbers of pictures similar to those of Canaletto. Candido. See Witte. Cano, Alonso, born at Grariada (1601-1667). Architect, sculptor, and painter. He studied painting under Pacheco, Castillo, and the elder Herrera ; and sculpture with Martinez Montaiies. His talents and versatile genius secured him a high place among artists ; and his temper was such as led him to defend his rights against all new comers. In 1637 he fought a duel, and escaped Madrid; and in 1644 his wife was found murdered in her bed. Cano was suspected of the crime, and, although he fled, was at length apprehended and put to the torture. He made no confession, and was released, judicially in nocent. He still retained his place as painter of the king, and draw ing-master to Don Carlos; and was, from time to time, employed on important works. He determined to remove to Granada and take priest's orders. Philip IV. appointed him to a canonry. He was still employed as painter and sculptor by private persons and religious bodies, and even went to Malaga to superintend improvements in the Cathedral. On account of his fierce temper he was deprived of his office by the chapter, and was obliged to repair to the king in order to be reinstated. This occurred in 1659, and so offended him that he would no more use his pencil or chisel in the service of the Cath. at Granada. He devoted the remainder of his life to religious and charitable works, and gave away his money as soon as received. His purse being often empty, he was accustomed to go into a shop and beg a pen and paper. He would then sketch a head, or an architect ural design, and mark the price upon it. This he would give to a beggar with directions for finding a purchaser. Large numbers of these eleemosynary works were collected after his death. One of his strong characteristics was hatred of the Jews. He would cross the street in order to avoid them, and throw away a garment that had touched one of them. Entering his house, one day, he found his housekeeper bargaining with one of the despised race. He chased him out with great fury, sent his housekeeper away to perform quar- CANO — CANOVA. 177 antint,, purified his house by re-paving the spot where the Israelite had stood, and gave the shoes, in which he had himself followed his tracks, to his servant. In his last sickness, he refused to receive the sacrament from his attendant priest, because he had communicated with Jews; and, when they gave him a rudely sculptured crucifix, pushed it away. Being reproved, he answered, " Vex me not with this thing, but give me a simple cross, that I may adore it, both as it is in itself, and as I can figure it in my mind." " This being done," Palomino says, " he died in a manner highly exemplary, and edify ing to those about him." Cano's architectural works were chiefly retablos, which were executed according to the taste of the day, loaded with heavy ornamentation. Very few of these remain; but the Louvre has a few architectural drawings, simple and elegant in style. He loved his chisel better than his brush, and the little of his work which remains, proves him to have been excelled by no carver of Spain. When weary of painting he carved for refreshment. A pupil once remarked upon this strange method, when he replied, " Blockhead, don't you perceive that to create form and relief, on a flat surface, is a greater service than to fashion one shape into another ? " The masterpiece of his chisel, now remaining, is a Virgin, about a foot high, in the Sacristy of the Cath. of Granada. In painting he was a ready draughtsman, yet was accustomed to borrow largely from the ideas of others, and defended the practice. His works are the finest produced by any Spaniard without study in Italy. The Queen of Spain's Gall, has eight of his pictures. The ch. of Getafe, two leagues from Madrid towards Toledo, has six large pictures by Cano, adorning the retablo of the high altar. The Cath. of Granada was cruelly robbed by the French, but still retains some good altar-pieces by its artist-canon. The Cath. of Malaga boasts the ' ' Virgin of the Rosary, ' ' in wliich the hands and feet are peculiarly beautiful. This picture is fast decaying. The Mus. of Valencia has two pictures by this master. One of his most beautiful, and latest works, representing " Our Lady of Bethlehem," painted at Malaga for Don Andres Cascantes, was presented to the Cath. of Seville, where it still hangs in a small chapel, lighted only by votive tapers. It is finished with exceeding care, and is a worthy crown to his labors. The portraits by Cano, which remain, are few, but ex cellent. The Louvre, the National Mus. at Madrid, and the Royal Mus., each possess one of these works. Canova, Antonio, born in Possagno (1 757-1 822). His father and grandfather were stone-cutters. The former died young, and Antonio was left to the care and instruction of the latter. Works executed by Canova in his ninth year still remain. Not far from his home lived the Signor Gio. Faliero, who was accustomed to employ the old Pasino Canova, for whom he entertained so great a regard that he sometimes invited him to spend a few days at his villa. Antonio ac- 12 178 CANOVA. companied his grandfather, became the friend of the young Giuseppe Faliero, and the favorite of the entire family. On one occasion when Canova and his grandfather attended a festival in the Villa Faliero, the ornament for the dessert was forgotten. The mistake being dis covered almost the moment it was required, the servants applied to Pasino to assist them, for they feared tHe displeasure of the master. The old man could do nothing, but the young Tonin, as he was called, asked for some butter, and presently carved a lion. This being sent to the table attracted the attention of all, and Tonin was sent for. He received the praises of the whole company, and from this time the Senator Faliero became his patron. This anecdote is very pleasing, but it is probable that the talents of Canova were well known to Faliero before this occurrence. He placed the boy under the tuition of Giuseppe Bernard!, called Toretto, a Venetian sculptor, who had settled at Pagnano. Canova was at this time twelve years of age. He remained two years with this master, and during that time made many statues and models which are still preserved in the Faliero family, and in various collections. During an absence of his master he made the models, in clay, of two angels, which were his first really original work. He placed them in a conspicuous situation, and awaited the master's return with hope and fear. Toretto remained astonished before them, and exclaimed that it was truly a marvellous work. From these models the grandfather executed in pietra dura the two angels on the high-altar at Monfumo. About this time Canova executed his first representation of the human form in marble. He made small statues and used them as gifts for his friends. When he was fifteen his patron sent for him to go to Venice, and received him kindly into his own house. Canova desired to do something for himself, and engaged to work the latter half of the day for Giuseppe Ferrari, nephew of Toretto. In a private letter Canova afterwards wrote, " I labored for a mere pittance, but it was sufficient. It was the fruit of my own resolution, and, as I then flattered myself, the foretaste of more honorable rewards." This fact places his genius before us in a strong light, for it is unusual that a youth of fifteen should receive money, instead of paying it for instruction. In Venice a new field was open to his observation. He systematically divided his time; passed his mornings in the Acad, or in some Gall., his afternoons in the workshop, and the evenings in studies which had been neglected in his youth. The first commission which Canova received was from the Commendatore Farsetti, and consisted of two baskets filled with fruits and flowers, sculptured in marble, and placed on the balustrade of the staircase which led to the picture- gallery, in the Pal. Farsetti, where Canova had spent much time in study. These works had no especial excellence, and prove that the powers of Canova were not extraordinary at that time. At the end of a year he went with the Faliero family to their summer home at CANOVA. 179 Asolo. Some time previous to this, his patron, desiring to possess a good work of his, had given him as a subject, a group of Orpheus and Eurydice, and wished him to represent the moment when the lover beholds her torn from his arms forever. He had worked upon this in his leisure hours, and took everything necessary for the work with him to Asolo, where he finished, in his sixteenth year, " Euryd ice," his first, original statue. It was executed in pietra di Costosa, and was the size of life. From this time Canova perceived a great deficiency in the models then used, for it was customary to make them many times smaller than the statue when finished. He deter mined to make all his models, even those of colossal figures, of the exact, size in which they were to be finished. After this time he oc cupied a cell in the monastery of the Augustine friars attached to the ch. of S. Stefano. During the next three years, in addition to his studies, he was employed on the " Orpheus," and in executing a bust of tho Doge Renier. He was accustomed, at this time, to study enthely from nature. He also gave much time to anatomy, and in later years made dissections with his own hand, in order to sketch, and frequently to model from important parts, or well-defined conforma tions in particular instances. In 1776 his " Orpheus " was exhibited at the annual festival of the Ascension. It happened that at the same time the opera of " Orpheus " was brought out in Venice. The praise which he then received was always remembered by Canova " as that which made him a sculptor," to use his own words; and his gratitude for it caused him, when created Marquis of Ischia, to choose the serpent and lyre, the mythological symbols of Orpheus and Euryd ice, for his armorial ensigns. He soon received an order from the Senator Grimani for a copy of the " Orpheus," wliich was the first statue he executed in Carrara marble. Finding his workshop too small, ho removed to one in the street of S. Maurizio, where he con tinued until his final departure from his native country. His next work was a statue of " iEsculapius," larger than life; and it is said that but a short time before his death, he saw this work for the first time after it had left his atelier, and declared himself sorrowful that " his progress had by no means corresponded with the indications of excel lence exhibited in this performance of his youth." He also executed a group of " Apollo and Daphne," never entirely finished. When twenty-two years old, he completed the group of "Daedalus and Ica rus," for the Senator Pisani. This was intended as an outward decora tion of his palace, but when finished, it was considered too valuable, and was placed in the Gall, already made famous by the ' ' Family of Darius " of Paul Veronese, and other excellent works. This may be considered his last work executed in Venice, as he went to Rome soon after his twenty-third birthday. He had been recommended by let ters to the Cavaliere Zuliani, who then represented the Republic of Venice at Rome, and was the intimate friend of Faliero. He was an 180 CANOVA. enlightened and generous protector of the arts, and -received Canova with great kindness. He soon arranged to have the model of " Daeda lus and Icarus " displayed before the best artists and connoisseurs in Rome. The trepidation with which Canova went to this exhibition, can easily be imagined. The praise which he received, and the acknowledgment of his merit, established his reputation. He had long desired to undertake a group on some heroic subject, and Zuli- ani procured him the marble, and promised that if no other purchaser appeared, he would give him the full value of the group when finished. The subject chosen was that of " Theseus vanquishing the Minotaur, "• the figures to be of heroic size. His workshop was in a part of the Venetian Pal. to which no one had access. He worked with untiring industry, studied in the museums and collections at Rome, and at daylight was often seen with his sketch-book or modelling ap^ paratus before the statues in front of the capitol, or the colossal figures on Monte Cavallo. In the mean time his friends in Venice succeeded in obtaining for him a pension of 300 ducats from the government. While at work upon the " Theseus " he also finished a statue of "Apollo," which last was first exhibited at the same time with the " Minerva Pacifica " of Angelini, and in spite of the formidable com petition, the *' Apollo" received high praise. At length the " The seus " was finished. Its existence was unknown to all save the ambas sador. In order to give full effect to the first exhibition of this work, Zuliani gave an entertainment and invited all the - most distinguished men of Rome. A model of the head of Theseus had been prepared by the artist, and attracted the attention of the guests. Various opin ions were expressed regarding its form, its expression, and subject, and all agreed that it was an antique of great merit. In the midst of the talk, the ambassador said, " Come, let us end these disputes by see ing the original," and the statue was unveiled before them. Every thing was forgotten in their surprise and admiration, and even the ar tists, who afterwards pursued him with envious malice, praised him in that moment. Canova was often heard to say that death itself could not have been more terrible than his emotions during these oc currences. With the completion of this work terminated the novitiate of Canova. From this time his fame was established. He was soon selected by Volpato to erect a monument to Clement XIV. , " the suppressor of the Jesuits, the collector of the Clementine Mus., and the author of those elegant letters by which his family name, Gan- ganelli, has been rendered famous over Europe." Canova hesitated in accepting this, feeling that his time should be controlled by those who had bestowed his pension. Pie went therefore to Venice, and laid the matter before the senate, who directed him to employ his time as was most profitable to himself. He now gave up his studio in Venice, and, as Zuliani left Rome at this time, he established him self in the Strada Babbuino, and opened that studio which is still the CANOVA. 181 resort of the lovers of art, of all nations. He now commenced to practise upon his long meditated design of making his original models of the dimensions of the projected work. In 1787, the monument of Ganganelli was first exhibited. It was much praised, even by Mili zia, a bitter critic. This was followed by a monument to Clement XIIL, erected by his nephews in S. Peter's; and the mourning genius in this monument is one of the loveliest works of Canova. These two monuments employed the best part of ten years of the most vigorous time in his life. An engraving of the first monument had been dedi cated to Zuliani, but Canova desired to give him some more substan tial proof of his gratitude, and made for him a statue of Psyche; but Zuliani hesitated to accept it, and was only persuaded to do so with the understanding that the artist should receive from him a number of gold and silver medals, with. Psyche on one side, and the head of Canova on the other, to distribute among his friends. In the midst of these arrangements, the ambassador died, and the heirs of Zuliani, displeased at his having given his works of art to the public library, refused to carry out his plans. Subsequently the "Psyche " was pur chased by Napoleon and presented to the Queen of Bavaria. The fame of Canova extended to Russia, and most advantageous offers were made him to go to St. Petersburgh. He did not wish to do so, and excused himself on account of a commission from the Venetian senate. This was a monument to the Admiral Emo. Canova suc ceeded so well in this that a gold medal was made by order of the senate and presented to him; while, at the same time, an annuity for life was voted him. In 1798, unable to endure the revolutionary frenzy at Rome, he retired to his native Possagno. Here he re mained more than a year and employed his time in painting. Al though we are not accustomed to associate his name with this branch of art, he was by no means a despicable painter, and his pictures, wliich Cicognara states as twenty-two, were more numerous than that. In May, 1800, his masterpiece, representing the Saviour just taken from the cross, surrounded by the Maries, S. John, Joseph of Arima- thea, and Nicodemus, was placed in the parish ch. of Possagno. This was the first of his many munificent gifts which made this hum ble church a splendid temple. After his return to Rome, his health being affected by continual application, he determined to leave the many orders which awaited him, and, in company with Prince Rezzo- nico, he visited Vienna and Berlin. He returned with restored health, and from this time enjoyed the reputation he had so well earned, and was constantly employed in the most important labors. His "Per seus " was placed, by a public decree, in one of the Stanze of the Vatican, an asylum hitherto denied to modern art. This was a proud triumph for Canova. In 1802-03, he went to Paris at the request of Napoleon, to model the bust for a colossal statue, finished six years after. In 1810 he was called again to Paris to prepare a model for 182 CANOVA. the statue of Maria Louisa. In 1805, he went the second time to Vienna, where he modelled the bust of the emperor. With the ex ception of these journeys, from 1800 to 1815, he never quitted Rome, and, in truth, scarcely left his workshop. In the last named year he was sent, in an official capacity, to Paris, for the purpose of re claiming the works of art which had been taken from Italy, and be longed to the patrimony of the Church. His exertions, and the suc cess attendant upon them, should ever be remembered by Romans with gratitude. When his commission was happily accomplished he went to London. Here he was received with great distinction. The king honored him with several conferences, gave him a commission for a beautiful group, presented him with rich gifts, and made him the bearer of private letters to the Pope. The joy in Rome when her works of art were restored, was increased when Canova himself arrived. His entry there may be called a triumphal one, and took place on the 5th of January, 1816. He had been president of S. Luke's before; he was now made president of the commission for the purchase of objects of art, and of the Acad, of Archaeology. In full consistory, the Pope ordered his name to be inscribed in the " golden volume of the Capitol," with the title of Marquis of Ischia, and a pen sion of 3000 crowns a year was given him. Canova now desio-ned to execute a colossal statue of " Religion," to commemorate the return from banishment of the Pope. He only waited for the proper au thorities to determine where it should be placed ; but this they would not do, and, through mutual jealousies, Rome was deprived of the magnificent gift. Canova was filled with sorrow and regret at this circumstance, but he determined that not only one statue, but his re maining life and fortune, should be consecrated to religion; and he re solved to erect a church at Possagno, adorned with many works of art, and that there his ashes should repose. In the summer of 1819, after many preparations, Canova arrived at his native town. On the 8th of July, he assembled his workmen and gave them a sumptuous entertainment. Many young shepherdesses and peasant girls had joined in the festivities, and assisted in the preliminary excavations. At the close of the day, each one received a present from Canova as she passed his seat to bid him farewell. On the eleventh of the month the religious ceremony of laying the foundation stone of the future church took place. An immense concourse, not only from the surrounding country, but from Venice, was present. Canova, habited in his robes as a Knight of Christ, and bearing the insignia of various other orders, led the procession. The occasion must have been most impressive, for all could not have passed away, who had seen this famous man, when, a poor boy, he attended the steps of his grand father, the stone-cutter, now raised by the noblest distinctions. He consecrated his life and fortune to the service of God, and the bene fit of his birthplace. Every autumn, Canova visited Possagno, en- CANOVA. 183 couraged and rewarded the workmen, and changed from time to time, as seemed best to him, the details of the previous plan. The expenditure he thus incurred necessitated great exertion, and he con stantly undertook new commissions. One work of this time, the statue of Washington, is especially interesting " as the first piece of sculpture executed in the Old, and publicly commissioned in the New World; thus uniting, by the fame of one individual, the art of both hemispheres." (Memes.) In his last winter he was more than or dinarily diligent, engaged upon an equestrian statue of Ferdinand of Naples. On account of this work, in Ma)-, he went to that city, and there became ill. He returned to Rome where, for a time, he seemed to revive, and was able to resume his work. He arrived in Possao-no on the 17th of September, and in October went to the Villa Faliero. A half century had passed since lie had here indulged the dreams of youth, and he lingered lovingly on every favorite spot. Though con stantly growing weaker he went to Venice, to the house of his friend Francesconi, where, on the 13th of October, he died. Solemn ser vices were held in Venice when his bier was borne to the cathedral by the professors of the academy, attended by the most distinguished men in art, letters, or rank. His remains were then consigned to a deputation of priests from Possagno, and borne in a barge to Pos- tioma. From here they were taken to his temple, and on the 25th, the last honors were paid them. On this occasion, the crowd was so vast that they were obliged to deliver the oration in the open ah. The Venetian Acad, obtained the heart of Canova, to contain which, an elegant little monument was erected in the hall of the Pal. of the Arts. The Venetian artists made arrangements to erect a cenotaph to him, and selected for it his own model of the tomb of Titian. In Rome a statue was decreed to him, and he was pro claimed perpetual president of her chief academy. In personal ap pearance Canova was not especially attractive. His hair was black and luxuriant, and his forehead of noble dimensions, but the outline of his features was neither grand nor extraordinary. His head was remarkably well set upon his shoulders, and his loose manner of dressing his neck permitted this to be seen. His whole air, manner, and dress was that of modesty, benevolence, and simplicity. There is a story that when he first arrived in Venice, he fell in love with a beautiful girl, somewhat older than himself, who came to draw in the Farsetti Gall. Day by day he watched her, until at last she came no more. At length her attendant appeared, and when he inquired for the loved one, she burst into tears and exclaimed, " La Signora Julia is dead." He said no more. Who Julia was he never knew, but, through all his life, whenever he endeavored to unite the purity of the angel with the representation of earthly beauty, the lovely Julia was in his mind. The habits of his life were very unostentatious. He arose early and worked late. He went little into public society, 184 CANOVA — CANTAGALLINA. but almost always surrounded himself with a few friends at dinner. He entertained them cordially, but without display. He was very abstemious, and required rest even after his frugal meals. He joined in cheerful and light conversation, but avoided any subject connected with the arts, or anything that required mental activity. He re tired to his chamber at eleven, and amused himself with a book or pencil before sleeping. Some of his finest sketches were made at this time, a part of wliich have been published under the title of " Pen sieri." To describe one day, is to describe his whole life. His re ligious character and generosity have been sufficiently portrayed. In professional intercourse, he was governed by the same rules that regu lated his life. The progress of art through the achievements of others afforded him pleasure; envy and jealousy were unknown to him. At the same time he was severely just in the estimation of his own merits. He would not receive pupils, and no one could boast of being taught by him; but he never refused to leave his own work to give his advice or assistance, or to visit the work of any other artist. To art he was a willing and powerful patron, and he had executed, at his own order and expense, the numerous busts of distinguished per sons in the Mus. of the Capitol. The following is a list of a por tion of his works, with the dates of their execution : — 1772. Two baskets of fruits and flowers in marble, Farsetti Pal. 1773. Statue of Eurydice; soft stone of Costosa. 1776. Orpheus ; soft stone of Costosa. 1779. Daedalus and Icarus ; Carrara marble, Pasini Pal., Venice. 1782. Theseus and the Minotaur. 1787. Tomb of Clement XIV, Rome, ch. of the Holy Apostles. 1792. Tomb of Clement XIIL, Rome, S. Peter's. 1793. Second statue of Psyche. 1 794. Cenotaph of Admiral Emo. 1800. Perseus, with the Head of Medusa; Vatican. 1803. Colossal statue of Napoleon. 1805. Venus victorious; head of Pauline Bonaparte; Villa Bor ghese, Rome. 1811. Statue of Maria Louisa. 1817. Monument of Cardinal York. 1818. Sitting statue of Washington. 1822. Pieta in model. 1822. Seven reliefs for the Metopes of the temple at Possagno. These are but a small portion of his works. Cupid, Psyche, Venus, Adonis, Nymphs, etc., etc., were his favorite subjects and often repeated. Cantagallina, Remigio, born at Florence (1582-1630). An eminent designer and engraver, said to have instructed Callot and Stefano della Bella. His pen-drawings are much prized. The following are his principal plates: — CANTAGALLINA — CARAGLIO. 185 The Immaculate Conception ; after Callot. Set of four Landscapes. 1609. Set of six Landscapes. Set of twelve Landscapes; octagon; marked with cipher. Set of six Landscapes ; with cipher. 1624. Set of plates of the scenes of an Opera; after designs by Giulio Parigii. Set of plates called the Palazzo della Fama. 1608. Cantarini, Simone, called II Pesarese, born at Orpezza, 1612; died at Verona, 1648. After studying with other masters he became the pupil of Guido Reni. He came to be one of the very best Italian portrait painters. A head of Guido by Cantarini in the Acad, of Bologna can scarcely be surpassed in the world. He was vain, and so disagreeable in disposition that he was obliged to leave Bologna, and went to Rome. His imitation of Guido is very apparent, and even more so in his etchings than in his paintings. He is very highly esteemed as an engraver. Cantofoli, Ginevra, born at Bologna (1618-1672). Pupil of Elisabetta Sirani. Her pictures were historical and may be seen in several churches in Bologna. Canuti, Domenico Maria, born at Bologna (1620-1684). One of the most excellent pupils of Guido. He was employed in the public edifices of Rome, Bologna, and Padua. He also etched several plates in the manner of Guido. Capella, Jan Van de. A Dutch painter of marine views, born at Amsterdam, and granted the freedom of the city in 1653. Further- than this his history is unknown. His pictures are much admired in England, and a large part of them are in that country. No. 10, Gall. of the Duke of Aremberg at Brussels, is by him, and represents the mouth of the Scheldt, with numerous vessels. His pictures arc signed J. V. Capelle, but are not dated. He liked smooth seas best, with objects clearly reflected, and his skies are often red. He was a good colorist. Some of his works are winter landscapes with skaters on lake or river. Caracciolo, Giambattista, born at Naples (1580 ?-l 641). Al though in the main a follower of the Carracci, he was somewhat influenced by the Naturalisti. He is said to have been one of a cabal formed to exclude all masters from other parts of Italy from Naples. This association is said to have committed many crimes. Caracciolo went to Rome and studied the works of Annibale Carracci in the Farnese Pal. to so good a purpose, that some of his works done afterwards in Naples closely resemble those of Annibale. Some of his pictures are seen in the churches of Naples. Caraglio or Caralius, Gio. Giacomo, born at Verona, fn (1512?-1570?). An eminent Italian designer and engraver vs* who was celebrated for his copper-plates from 1526 to 1551. From his style he is believed to have been a pupil, of Mare 186 CARAGLIO — CARDUCCI. Anton. He executed some medals at the court of Poland which gained him much reputation, and he was often employed to engrave gems. Caravaggio, Michael Angelo. See Amerighi. _ Cardi, Ludovico, called fy f^ |"r y T"1 T A.T "\ 7 Cigoli from the place of his T A L* 1 V. r.liN V birth (1559-1613). One of those artists distinguished more by the absence of any glaring faults than by the presence of any striking excellences. His color was warm and pleasing, but his expression was often exaggerated. He was a follower of Baroc cio, and well understood chiaro-scuro. His designs were sometimes grand. S. Francis was one of the favorite subjects of this artist, and one of the best of these pictures is in the Pitti Pal., where there is also a " Christ walking on the Sea with Peter " and an " Ecce Homo," which last merits much praise. In the Louvre there is a beau tiful " Flight into Egypt." Several of his works are in the churches of Rome and Florence. He engraved the two following plates : — Mary Magdalene washing the feet of Christ : — . The Conversion of S. Paul. Cardisco, Marco, called H Calabrese. A Calabrian who flour ished from 1508 to 1542. Some of his works may be seen in the churches of Naples. Carducci or Carducho, Bartolomeo, born at Florence, 1560; died at Madrid, 1608. A pupil of Zuccaro, he went with him to Spain. Carducho had also studied sculpture and architecture under Barto lomeo Ammanati at Florence. He was employed by both Philip II. and his successor. Henry IV. invited him to the court of France, but he preferred to stay in Spain. Among his works at the Escorial, the frescoes in the spaces between the bookcases and the cornice of the library are especially fine. The work which most established his reputation was the " Descent from the Cross," painted for the ch. of S. Felipe el Real. He was engaged in painting a gallery at the Pal. of the Pardo at the time of his death. He was an imitator of tho antique. His drawing and coloring were good, and he was fastidious to a fault, in his own ideas of excellence. He never felt as if a picture was finished, and he declared that it was not the people that he wished to please, but those who could judge of art. Carducci or Carducho, Vincenzo, born at Florence, 1568; died at Alcala de Henares, 1638. Brother of Bartolomeo, who brought him to Madrid in 1585. Vincenzo was accustomed to declare himself more a Spaniard than an Italian. He was instructed in painting by his brother, and at his death was appointed to succeed him as painter to the king. He had an inventive genius, and was not confined to any one class of subjects. He had studied anatomy to good advan tage, and his pictures are vigorous in action, his draperies grand, and CARDUCCI — CAROTTO. 187 his coloring rich. In the National Mus. of Madrid are the pictures which he painted for the Chartreuse of Paular. They number 54, and he agreed to paint them in four years. Twenty-six of these illustrate the life of S. Bruno; an equal number represent events in the history of the order, and two are a combination of the arms of the Royal House and those of the Carthusians. These works are a wonderful monument to his industry and inventive powers. They lose much of their effect from being seen in a museum. They were intended for the lonely silence and gloomy shadows of a cloister, and to speak to the hearts of those who lived in perpetual silence, to whom the figures of these pictures became friends, and were to them the only reminder of the mothers and sisters they had left, or, in fact, of the existence of woman in the world. What is absurd to us now, was venerable and lovely to thein. The pictures of Carducho are seen in most of the Castilian cities. In the Gall, of the Queen of Spain, there are three pictures of a different order of subjects: " The Taking of Rheinfelt," " The Relief of Constance," and " The Victory at Florus." There is also a colossal study of a man's head, which is very effective if viewed from a favorable position. Collec tors of sketches formerly esteemed those of Carducho very highly. He also wrote a book of " Dialogues on Painting," published in 1633. This book is very curious and rare. His portrait at the Louvre, Gall. Espagn., No. 454, represents him as turning the leaves of this book with one hand, and holding a pen in the other. Cariano, Gio., born at Bergamo. Flourished early in the 16th century. His chef-d' auvre was a "Madonna and Saints" painted for the ch. of S. Gottardo in Bergamo, which was removed to the Gall, of Milan, No. 113, during the French domination. He made a fine- reputation as a portrait painter. Several of his works remain in Bergamo; Palazzo Borghese, Rome, Room IX., No. 32 ; Hermitage, St. Petersburgh, No. 116; Dresden Mus., No. 218 ; Berlin Mus., No. 188. Carlevariis, Luca, born at Udina, 1665 ; died at Venice, 1 729. His pictures are little known out of Venice, and represent views of that city and other sea-ports. His figures have spirit, but his color is not good. He made 100 good etchings of views in Venice. Carloni, Gio., born at Genoa ^1590-1630). He studied under Passignano at Florence, and became a good fresco painter, especially remarkable for his fine coloring. Carloni, Giambattista (1594-1680). Younger brother of the preceding, with whom he studied under Passignano, and painted with him afterwards. He was remarkable for his large family, having had 24 children by his wife Nicoletta Scorza. Three of his sons were painters. The Cath. of Guastato at Genoa was the place where the Carloni executed their best and most extensive works. Carotto, Gianfrancesco, born at Verona (1470-1546). Out of 188 CAROTTO - CARRACCI. Verona his works are rare ; there they are in the churches and the Palazzo del Consiglio. Mantegna was his teacher, but his works more nearly imitate the manner of Leonardo. His drawing was severe, his color warm and well blended. The ' ' History of Tobias " in S. Eufemia is an excellent series of pictures. Carpaccio, Vittore. Flourished early in the 1 6th century. Kug- Ier calls him " the historical painter of the elder Venetian school." His pictures represent daily life in Venice. The backgrounds have landscape, architecture, etc., and his figures are numerous and full of spirit, his color deep and powerful. Many of his works are in the Acad, of Venice, among which are eight representing S. Ursula and her 11,000 virgins. His pictures are also in the Venetian churches, in the Brera, the Louvre, and the Berlin Gall. Carpi, Ugo da. Flourished about 1510. Born at Rome. Painter and engraver, but chiefly important on account of having invented (as it is believed) that kind of wood-engraving which imi tates drawings, and is called chiaro-scuro. Bartsch gives 52 plates by Carpi; they are mostly after the works of Raphael and Parmigi anino, and are spirited and masterly. Carpi, Girolamo, born at Ferrara (1501-1556 ?). Pupil of Garo falo. Painted both in fresco and oil, and succeeded in portraits. He was also an architect and a decorative painter. Julius III. desired to have him superintend the Vatican buildings, but his rivals in Rome so disturbed him that he returned to Ferrara. Carpioni, Giulio, born at Venice (1611-1674). Pupil of Ales sandro Varotari, called Paduanino. He painted bacchanals and history, and small sacred subjects, many of which are in the churches of the Venetian states. Some of his works are close imitations of Paolo Veronese, and some remind one of Niccolo Poussin, though upon examination the figures arc not as highly finished as those of Poussin, and the color is more opaque. His pictures are in private galleries in England. Carracci, Ludovico, born at Bologna (1555-1619). The founder of what is called the School of the Carracci. This was tho most im portant of the eclectic schools of Bologna. Ludovico was a pupil of Prospero Fontana, and afterwards of Tintoretto. He studied with more system and devotion to the principles of art than was the cus tom of his time. He thus incurred much criticism, and by it he be came convinced of the need of a reform in the study and practice of painting. In the formation and conducting of his school he was as sisted by his two nephews, Agostino and Annibale. The former composed a sonnet in which the principles of their theory was set forth. He advocated the selection of the chief points of excellence from various masters, par exemple, the color of Lombardy, the truth and nature of Titian, the design of Rome, etc., etc.; and all these were to be united to the study of Nature. But although this doctrine PORTRAIT OF C7ESAR HORGfA. By Raphael. ( Borghese Palace. Rome. ) See p. 474. CARRACCI. 189 was the foundation of the school of the Carracci, they soon went be yond it, and became independent artists, guided by their own genius. Their school, however, was most prosperous; so much so that all other schools in Bologna were closed. They furnished casts, models, and drawings, as well as living subjects for study, and were most attentive to their pupils. They also gave theoretic instruction in anatomy, perspective, etc. Ludovico excelled more as a teacher than as a painter, and in his works the greatest ability is found in their examination in single parts, rather than as a whole. The larger number of his works are in Bologna, and in the Gall, there is a fine Madonna surrounded with a glory of angels, with SS. Francis and Jerome ; she is standing on the moon. Same coll., " Birth of S. John the Baptist " has some most attractive features. Several of his pic tures are in the Louvre, and in the Doria and Corsini galleries in Rome. He seems to have been the first to depict the pathos of sor row, and his example resulted in the almost numberless sorrowing Maries and Ecce Homos of the Bolognese artists. There is a higher feeling in his works which raises him above his own school. Sir Joshua Reynolds gives Ludovico unbounded praise. It is said that when the scaffoldings were removed in the Cath. of Bologna, he dis covered some errors in the " Annunciation," which could not be rem edied then, and that this disappointment hastened his death. We have a few plates engraved by Ludovico from his own designs, in a masterly style. They are first etched and then finished with the graver. ENGRAVINGS AFTER THE WORKS OP LUDOVICO CARRACCI. Engraver, Algardi, Alessandro. A Blind Beggar and his Dog. The Cries of Bologna, in 80 plates, engraved by Algardi in conjunc tion with Simon Guillain. Engraver, Aliamet, Francois Germain. The Adoration of the Shepherds. Engraver, Aquila, Francesco Faraone. The Dead Christ in the Lap of the Virgin, with Mary Magdalene and S. Francis. Auhert, Michel. Pan instructed by Cupid; half-length figures. Audran, Charles. The Annunciation; inscribed Spiritus Sanctus, etc., incorrectly attributed on the plate to Annibale. The picture is in the Bologna Cath.; very fine. Engraver, Audran, John. S. John administering the Sacrament to the Virgin. Engraver, Baillu. The Dead Christ on the Lap of the Vhgin. Engraver, Bartoli, Pietro Sante. The Virgin and Child in the Clouds, with Saints. Engraver, Blanchard, James. S. Agnes adoring the Child in the arigflfiof the Vhgin. Engraver, Boulanger, John. The Holy Family, with S. Joseph giving the Infant some Cherries. 19.0 CARRACCI. Engraver, Brizzio, or Briccio, Francesco. The Return out of Egypt. Portrait of Cinthio Aldrobrandini. A Frontispiece inscribed Explicatione del Sacro, lenzuolo; 1599; scarce. Another Frontispiece inscribed Tempio al Cardinale Cinthio Aldrobrandini ; 1579. Another Frontispiece with the Arms of the Duke of Modena, with children in the middle; 1594; very scarce. S. Francis holding the Infant Jesus, with the Virgin in the Clouds. The Virgin crowned, with the Infant and two Angels. Engraver, Camerata, Giuseppe. S. Roch. The Assumption of the Virgin. Engraver, Cantarini, Simone. S. Benedict curing a Demoniac. Plates by himself, from his own Designs. Samson overcoming the Lion; L. C. G. The Virgin and Child with four Angels ; half length. The Virgin suckling the Infant ; half length ; Lod. Car. inv.f. The Holy Family, with the Virgin washing Linen ; L. Cf. Another Holy Family ; 1604; Ludovico Carracci fee. Another Holy Family under an Arch. The Frontispiece to the Poems of Ce.io.re Rimaldi. A Thesis with the arms of Bonfigliovoli, with Mercury and Her- .cules. Engraver, Ciamberlano, Luca. Christ appearing to S. Theresa ; 1615. Engraver, Coriolano, Gio. Batista. Christ crowned with Thorns; fine. Engraver, Corneille, Michel the Elder. The Virgin suckling the Child. Engraver, Corneille, Michael the Younger. Marriage of 8- Catherine. Engraver, Cort, Cornelius. The Cord of S. Francis. Engraver, Cunkgo, Domenico. The birth of S. John Baptist. Engraver, Daret, Peter. The Virgin suckling the Child. Engraver. Dupuis, Nicholas Gabriel. S. Seoastian. Engraver, Fantetti, Cesare. Christ in the Garden. Engraver, Frey, James. Crowning of the Virgin. Engraver, Frezza, Gio. Girolamo. The Virgin suckling the Child. Engraver, Gantrel, Stephen. S. Francis supported by an Angel. Engraver, Gatti, Oliviero. An emblematical subject represent ing an armorial bearing supported by two river gods, surrounded by several mythological personages. Engraver, Giovannini, Giacomo Maria. S. Sebastian. Engraver, Green, Valentine. The Entombing of Christ. Engraver, Kessel, Theodore. Christ and the Woman of ftpmaria. The Woman taken in Adultery. CARRACCI. 191 Engraver, Lasne, Michael. The Visitation of the Virgin. Engraver, Lorenzini, Fra Antonio. The Ascension. Engraver, Mattioli, Ludovico. The Annunciation; scarce. The Circumcision. Engraver, Morin, John. The Virgin, with the Dead Christ. Engraver, Pasquilini, Gio. Batista. S. Felix kneeling before the Virgin and Child. Engraver, Pitau, Nicholas. The Entombing of Christ. Engraver, Podesta, Andrea. Two Subjects from the Life of S. Diego. Engraver, Poilly, Francis the Elder. The Dead Christ on the Lap of the Virgin at the foot of the Cross. Engraver, Rossi, Girolamo, called De Rubeis the Elder. The Virgin and Child, with SS. Jerome and Francis, inscribed Hieroni mus de Rubeis pictor, delineavit incidit. Engraver, Scaramuccia, Luigi. S. Benedict praying. Engraver, Schulze, John Gotfried. The Head of Christ. Engraver, Simoneau, Charles. The Stoning of Stephen. Engraver, Toure, Flaminio. The Virgin and Child with SS. Francis and Jerome ; very fine. Engraver, Traballesi, Giulio. Conversion of S. Paul. Carracci, Agostino, born at Bologna (1558-1602). A man of poetic temperament and superior education. In the school he super intended the theoretical instruction. His pictures are rare, and the most important one is the " Communion of S. Jerome," now in the Gall, of Bologna. The " Infant Hercules " in the Louvre has been at tributed to Annibale, but belongs to Agostino Carracci. There is no doubt that the advice and suggestion of Agostino had much to do with the works of Annibale, especially in his mythological pictures, for the latter had not sufficient knowledge to have guided him in these undertakings. But Agostino is chiefly famous as an engraver, and is one of the most celebrated Italians in that art. His plates are very numerous. The heads are admirable, and the extremities are worked with the greatest care. His instructor was Cornelius Cort, and his manner is bold and free like that of his master. He seems to have used the graver entirely. ENGRAVINGS AFTER THE WORKS OF AGOSTINO CARRACCI. Engraver, Bartolozzi, Francesco. The Adulteress before Christ. Engraver, Brizzio or Briccio, Francesco. The great S. Jerome; the plate left imperfect by Carracci, and finished by Brizzio. Christ and the Samaritan Woman; 1610. Principal Plates by himself, after his own Designs, Portraits and other Subjects. Agostino Carracci. Antonio Carracci, his father; very scarce. 192 CARRACCI. Medallion of the Emperor Augustus ; C. A. Bust of Cosmos I., with ornamental figures. The Head of a Woman ; fine. Portrait of a Lady, with a collar of pearls. Giovanni Tommaso Costanzo. Princess Christina of Lorraine. Ulysses Aldrovandus. Marc Antonio Raimondi. Titiano Vecelli. 1587. Antonio Carracci as S. Joseph. Eve giving the Apple to Adam. 1581. The Virgin and Child. The Virgin suckling the Child. The Repose in Egypt. The Virgin in the Clouds giving the Scapulary to a Saint. The Virgin Seated on a Step with the Child; SS. Joseph and John and an Angel; scarce. Good Samaritan. Proofs before the letter are very rare. The impressions with the name of Bertelli are retouched. The Crucifixion, with two Females representing Christianity and Paganism. The Resurrection. Le Nome di Dio. The Pope and the Senate of Venice kneeling before the Virgin; Luc. Bartelli, formis. 1582. S. Francis of Assisi receiving the Stigmata; Agos. Car. 1586. The Cord of S. Francis; S. Francis distributing cords to persons of different orders. 1586. S. Jerome kneeling at the entrance of a cave. There are impres sions of this plate which are very scarce, where it is three parts fin ished, and the rest slightly sketched. The plate was finished by Villamena. Seventeen plates of free subjects, called Le Lascivie dei Carracci. Two other indecent subjects. A Landscape with naked figures. A Landscape with the same; a dance in the distance. Cupid conquering Pan; Omnia vincit Amor. 1599. Perseus combating the Monster. Frontispiece for the book " Cremona Fidelissima," which contains 35 portraits engraved by Agostino; very scarce. Subjects after Various Masters not Mentioned Elsewhere. A Child blowing Bubbles. Goltzius. Very scarce. Jacob watering the Flocks of Rachael. D. Calvart. 1581. Judith; hah length. Lorenzo Sabbatini. Tobit conducted by the Angel; improperly marked Raffaelle d' Urbino. It is after Raffaelle da Reggio. CARRACCI. 1 93 The Presentation in the Temple. Orazio Samacchini. The Virgin and Child giving the Keys to S. Peter. The same. Adoration of the Magi. 1579. Balth. Peruzzi pinx. Adoration of the Magi. Marco del Moro. Mocking of Christ. Vesp. Strada,pinx. The Dead Christ supported by an Angel. The same. Nativity of the Virgin. And. del Sarlo. The Virgin crowned by the Trinity. A. Mostaert. The Holy Family. Fed. Baroccio. iEneas carrying his Father. The same. Holy Family with S. Michael. L. Sabbatini. The Virgin with a crescent, and the Child giving the Benediction. The same. The Virgin and Child, with several Saints. Giulio Campi. S. Paul resuscitating Eutychus. Antonio Campi. The Holy Family. B. Passeri. The Virgin ; half length. Giacomo Francia. S. Sebastian. Francesco Francia. The Vhgin suckling the Child. Gio. Ligozzi. S. Jerome; hah length. Vanni. Engraver, Corneille, Michel the Younger. The Virgin and Child. Engraver, Cunego, Domenico. Galatea, from the Farnese Gall. Engraver, Fariat or Farjat, Benoit. The Marriage, or the Crowning of S. Catherine. Engraver, Galle, Cornelius the Elder. Venus bound to a Tree, and Minerva chastising Cupid. Engraver, Gatti, Oliviero. S. Jerome with a Crucifix. Engraver, Green, Valentine. Venus and Cupid. Engraver, Lorenzini, Fra Antonio. The Vhgin and Child. Engraver, Mattioli, Ludovico. The Nativity. Engraver, Perrier, Francois. Communion of S. Jerome. Flight into Egypt. Engraver, Ravenet, Simon Francis. Tobit anointing his father's eyes. Engraver, Torre, Flaminio. Pan conquered by Cupid; very fine. Engraver, Traballesi, Giulio. Communion of S. Jerome. Engraver, Vangelisti, Vincenzio. Venus chastising Cupid. A_^ Carracci, Annibale, born at Bologna (1560-1609). i The most distinguished of his family. His earlier works ^"^ evidence his study of Correggio and Paul Veronese; but after he went to Rome he developed new power under the influence o" the antique, and of Michael Angelo and Raphael. Although his pictures often fail to please, it is impossible not to recognize in them the genius of a great master. Those in the Farnese Pal. were his last important works. He painted landscapes as well as historical 13 194 CARRACCI. subjects, and in some cases the attention is much divided between his figures and the background. His pictures are very numerous and are in almost all good collections. It is said that he painted very little during the last five years of his life. He died at Rome, and was bur ied in the Pantheon, near Raphael. Annibale excelled in small com positions of the Madonna and Holy Families. His " Three Ma ries " is very fine, and full of deep pathos in its expression of sor row. But his Farnese pictures are generally considered his greatest works, and are a good example of the school of the Carracci. jffiiHSiy VENUS AND MARS. BY ANNIBALE CARKACCI. In the Farnese Pal., Rome. ENGRAVINGS AFTER THE WORKS OF ANNIBALE CARRACCI. Engraver, Audenaerde or Oudenaerde, Robert Van. The Birth of the Virgin. Engraver, Audran, Charles. The Baptism of Christ; small oval. Engraver, Audran, Gerard. The Death of S. Francis. Martyr dom of S. Sebastian. Achilles at the court of Lycomedes. Tempta tion of S. Anthony. Engraver, Audran, John. The Good Samaritan; arched. _ Engraver, Bartoli, Pietro Sante. The Family of Coriolanus at his Feet. S. Charles Borromeo led by. an Angel. Engraver, Bartolozzi, Francesco. Portrait of Annibale Carracci. Engraver, Baudet, Stephen. The Dead Christ on the. Lap of the Virgin; The Stoning of Stephen; 1677. Engraver, Brizzio or Briccio, Francesco. A Blind Man led by a Dog. CARRACCI. 1 95 His own Plates. The Virgin suckling the Child; oval. The Virgin supporting the Head of the Child sleeping. The Virgin and Child, and S. John presenting a Bird. The Virgin seated, the Child standing. Adoration of the Shepherds. The Virgin of the Porringer giving Drink to S. John. 1606. A Dead Christ, called the Christ of the Caprarole. 1597. Christ crowned with Thorns; A. C. inv. etfec. 1606. S. Jerome with Spectacles. S. Francis with the Crucifix and Skull. S. Francis kneeling at the foot of a Rock. S. Petronius kneeling. Apollo playing the Lyre, with Pan. An Old Man with two other Figures. Venus sleeping, with Cupid and a Satyr. Venus sleeping, contemplated by a Satyr, menaced by Cupid. Silenus, a Faun, and Satyr, called the Cup of Annibale. The Triumph of Bacchus, a Salver to the Cup ; both very scarce. Acis and Galatea, with a Satyr. Susanna and the Elders ; very scarce. Engraver, Cesi or Cesio, Carlo. Forty-one plates from the Far nese Gall. Engraver, Chateau or Ciiasteau, William. The Stoning of Stephen. Assumption of the Virgin. Christ appearing to S. Peter. Engraver, Corneille, Michel the Younger. Jacob wrestling with the Angel. S. John preaching in the Desert. S. Jerome. S. Francis receiving the Stigmata. Silenus, a Satyr, and Faun. Abraham send ing away Hagar. Engraver, Corneille, Michel the Younger. S. John in the Wil derness. Christ with the Samaritan Woman. Engraver, Cunego, Domenico. Apollo and Silenus. Engraver, Dupuis, Nicholas Gabriel. The Vhgin and Child, with Saints. Engraver, Earlom, Richard. Christ curing the Blind. Engraver, Fantetti, Cesare. Charity, with three Children. Engraver, Fariat or Farjat, Benoit. The Vhgin and Child, with S. John presenting Fruit. Engraver, Galestruzzi, Gio. Batista. Mercury giving the Golden Apple to Paris. Engraver, Grimaldi, Gio. Francesco. Two upright Landscapes. A set of four Landscapes. Engraver, Hainzelmann, Elias. The Virgin and S. John, with the Child sleeping, called " The Silence." 196 CARRACCI — CARRENO. Engraver, Hainzelmann, John. The Child embracing the Virgin. Engraver, Langlois, John. Tobit and the Angel. Engraver, Lasne, Michael. The Virgin, called "The Silence." Engraver, Lombard or Lombart, Peter. The Virgin and Child. Engraver, Mannl or Maennl, Jacob. Susanna and the Elders. Engraver, Mattioli, Ludovico. Christ and the Woman of Sa maria. Engraver, Michel, John Baptist. Clytie; circular. Engraver, Mitelli, Giuseppe Maria. The Cries of Bologna; 41 prints. Engraver, Pasquilini, Gio. Batista. S. Diego working a Miracle. Engraver, Picchianti, Gio. Domenico. The Vhgin and Child with S. John. Engraver, Po, Pietro del. S. John in the Wilderness. The Woman of Canaan before Christ. The Dead Christ on the Lap of the Virgin. Engraver, Poilly, Francis the Elder. The Repose in Egypt, in which the Virgin is sleeping, with two Angels kneeling. Engraver, Rkni, Guido. Holy Family, with S. Clara. The Vh gin suckling the Child. The Charity of S. Roch ; 1610. Engraver, Rossi, Girolamo, called De Rubeis the Elder. S. Charles Borromeo kneeling before a Crucifix. Engraver, Roullet, John Louis. The three Maries with the Dead Christ; very fine. The Virgin and Child. Engraver, Rousseau, James. The Repose in Egypt. S. John baptizing the people of Israel. Engraver, Scaramuccia, Luigi. Venus and Adonis. The Virgin. Engraver, Schmidt, George Frederick. Alexander and his Phy sician. Timocleus justified by Alexander. Engraver, Sharp, William. The three Maries and Dead Christ; plate left unfinished. Engraver, Simoneau, Charles. The Adoration of the Shepherds. Christ and the Woman of Samaria. Engraver, Vorsterman, Lucas the Elder. Christ praying in the Garden. Engraver, Woollett, William. A Landscape with figures and a waterfall. Carre" or Carrey, Michael, born at Amsterdam (1666-1728?). A landscape and cattle painter. His works resemble those of Van der Le.euw more than those of Nicholas Berghem, with whom he is said to have studied. He was employed by the King of Prussia, and ap pointed one of his principal painters. His easel pictures are seen in many collections, and are very good. Carreno, as he is commonly known, was a native of Avilds (1614- 1685). His whole name was Juan Carreno de Miranda. His parents CARRENO — CARSTENS. 197 were of noble families, and the Carreiios had been eminent among the knights of Spain for nearly three centuries before his time. Juan learned to draw in the school of Pedro de las Cuevas, and to usa colors in that of Bartolome Roman. Before the death of Philip IV., he was appointed one of his court painters ; and when the king asked Colonna whom he considered the first painter of Madrid, the Bo lognese replied in favor of Carreno. Before he was called to court, he had painted many pictures for the churches and convents of Madrid, and had acquired a good reputation in the city. In 1665 he was em ployed in the Cath. of Toledo ; and in 1671 had so advanced in the favor of Charles, the young king, that he made him painter in ordi nary and deputy Aposentador, and gave him the cross of Santiago. He would allow no other artist to paint his likeness without the con sent of Carreno; and the portraits of this artist were so well considered, that most of the eminent men of his time desired to possess them. He deserved all his good fortune. His drawing was correct, his color harmonious, his portraits easy and truthful, and his religious compositions were highly esteemed. He was good-tempered and affable, and much regretted by all who knew him. Some anec dotes are told of him, and it is said, that being one day in a house where a copy of Titian's " S. Margaret " hung upon the wall, a discus sion arose as to who had painted it. Every one declared it abom inable. Carreno said, " It at least has the merit of showing that no man need despah of improving in art, for I painted it myself when I was a beginner." It happened at one time that Gregorio Utande, a poor artist, had painted a " Martyrdom of S. Andrew " for the Car melite nuns of Alcala, for which he demanded 100 ducats. The nuns refused to pay it, and desired to have the picture valued by Carreno. Accordingly Utande proceeded to the capital, and first presented Carreno with a jar of honey, and then begged him to re touch his S. Andrew. Carreno consented, and, in fact, repainted the picture. A short time after, he was astonished at being asked to value the same; he declined, and it was left to Herrera-Barnuevo, who called it worth 200 ducats. Utande, after receiving his money, told, of his trick, and the work was known as la Cantarilla de Miel. The Queen of Spain's Gall, has several portraits by Carreno, among which is that of Bishop Potemkin, the ambassador of the Czar of Muscovy, who, with his long beard and red robes, was a subject to please an artist. There is also a curious study of a female dwarf, with an apple in each hand, and a gaudy, flowered robe. Carriera. See Rosalba. Cars, Laurence, born at Lyons (1702 ?— 1771). One of the best French designers and engravers of the 18th century. His best works are after Le Moine; and that of " Hercules and Omphale " is his chef-d' osuvre. He left many plates. Carstens, Asmus Jacob, born in Schleswig (1754-1798). A 198 CARSTENS — CASSANA. great lover of Michael Angelo and classic art. He gave a new im pulse to German artists, and his fine paintings and drawings did much in their noble simplicity to cast off mechanical drowsinecs, and arouse his countrymen to the poetic sentiment which now distin guishes them. Carucci, Jacopo, called Pontormo, from his birthplace (1493-1558). After studying under other masters he entered the school of Andrea del Sarto, who, from jealousy of his fine powers, expelled him from his academy. In his large works he disappointed the expectations founded on his youthful promise, but he excelled as a portrait painter. There are good portraits of him in the Berlin Mus. , and in the Uffizi one of Cosmo dei Medici, which is vivid in color. In the National Gall, there is a portrait by him of a young Italian nobleman, which is very fine. Casalina, Lucia, born at Bologna (1677-1762). Avery successful portrait painter. Her own likeness painted by herself is in the Flor entine Gall. Casanova, Francesco, born in London (1732-1805). Son of Ve netian parents, he was early placed under the instruction of Guardi. He painted battles, landscapes, and animal subjects. He was ad mitted to the French Acad., and settled in Vienna. Two of his large battle pieces are in the Louvre. Casentino, Jacopo di, born at Prato Vecchio (1310 7-1390 ?). A relative of the family of Messer Christoforo Landino. He acompa- nied Taddeo Gaddi to Florence. He painted many frescoes, of which few remain, and was an architect as well as a painter. He is worthy of notice as one of the founders of the Florentine Acad, of S. Luke. In the National Gall, there is an altar-piece by him, formerly in the ch. of S. Giovanni Evangelista at Prato Vecchio. It has .22 compart ments, and represents the old legend of the lifting of the Evangelist to heaven. It was probably the chef-d'oeuvre of Casentino. No. 1 292, Uffizi, is also his work, and is a predella, representing a religious cere mony in the centre, with side pictures from the life of S. Peter. It is better painted than the National Gall, picture. Casolani, Alessandro, born at Siena (1552-1606). A reputable painter of history, whose works may be seen in the churches of Siena, and also at Naples and Genoa. Casolani, Ilario, son of the preceding. Several of his works are in the churches of Rome, where he died in middle life. Cassana, Gio. Francesco, born at Genoa (1611-1691). A painter of history and portraits ; in the latter he excelled. He was the father of a family of artists who were all of good reputation. Niccolo was an excellent portrait painter, and went to England in Queen Anne's time. He painted her portrait, and those of many nobles. He died in London, in 1713. Abate Gio. Agostino painted animals, and his works are in the collections of Genoa, Venice, and CASSANA — CASTIGLIONE. 199 Florence; died 1720. Gio. Batista painted fruit, flowers, and still life. Maria Vittoria executed small devotional subjects for private collections, and her works were much esteemed; died 1711. Cassteels, Peter, born at Antwerp (1684-1749). A successful painter of flowers, birds, fruit, etc. He also engraved some plates which are not without merit. Castagno, Andrea del, born at Castagno (1390-145 7). The name of this painter has been loaded with infamy as the murderer of Domenico Veneziano, from whom it is said he had learned the secret of oil-painting, and killed him that he might be the sole possessor of this knowledge. But of this crime he could scarcely have been guilty, since, according to Signor Gaetano Milanesi, he died three years before Domenico ! (See Giornale Star. ub. sup. pp. 6, 7). As a painter he is a coarse and exact imitator of nature, rather than the follower of any school. Some of his works show the study of the antique; his colors were used with a dash, but his flesh tints were not good; his figures are bold in outline and full of action. He painted for the Cath. of S. M. del Fiore at Florence a picture of S. Niccolo di Tolentino, intended to represent an equestrian statue. It was a remarkable work. It has been transferred to canvas, and hangs in the cathedral. Besides his pictures iu various places in Flor ence, there are two in the Berlin Mus. Castelli, or Castello, Bernardo, born at Genoa (1557-1629). In his desire to acquire facility of execution, he fell into many faults. His works may be seen in Genoese churches, and at S. Peter's at Rome there is one representing " S. Peter walking on the Sea." He lived in intimacy with the cultivated and literary men of his time. He excelled as a miniaturist, and was praised for his manner of paint ing insects. Castelli, Valerio; born at Genoa (1625-1659). Son of the pre ceding. He was a good painter. His sacred subjects are in the churches of Genoa, and his battle pieces in the palaces of that city. Castelli, Gio. Battista, called II Bergamasco, born at Gandino (1500-1570). In his youth he attracted the attention of one of the Pallavicini at Genoa, who sent him to Rome, where he became pro ficient in architecture and sculpture, as well as painting. After his return to Genoa, he painted in rivalry with Luca Cambiaso. Castelli was the more successful one. In 1567 he was invited to Spain by Charles V., and received a salary of 300 crowns, besides payment for his work. He designed the grand staircase in the Escorial, and executed several ceilings in the Palace of Madrid, in which eity he died. Castello. There are several other artists of this name, whose works are occasionally seen in churches and galleries. __ _^ Castiglione, Gio. Benedetto, born at Genoa /g* Qj (1616-1670). Painted landscapes in which he intro duced animals, and sometimes figures. He met Van- 200 CASTIGLIONE — CATLIN. dyck in Genoa and received some instructions from him, the influence of which may be traced in his works. Sometimes he painted re ligious subjects with great tenderness. There are a few studies of animals on paper by this artist, which are surprisingly good. As an engraver, he deserves notice, having left more than seventy plates etched with power, and in light and shade resembling Rembrandt and Delia Bella. He used the graver but little. His son Francesco, and his brother Salvatore, were his pupils and imitators, but never equalled him. Castillo Juan del, born at Seville (1584-1640). Pupil of Luis Fernandez and teacher of Murillo, Alonso Cano, and Pedro de Moya. He was a distinguished painter of historical subjects. Castillo y Saavedra, Antonio del, born at Cordova (1626-1667). Studied first with his father, and then at the school of Zurbaran at Seville. He painted portraits, sketched from nature, made archi tectural drawings, and executed models for the silversmiths at Cor dova. After his return from Seville, he became the fashionable painter of his city, and his portraits were sought by all persons of pretension. Flattered by this homage, he desired to win reputation in a wider field, and went again to Seville. He was kindly received by the artists there, but foolishly praised his own works, at the ex pense of theirs. When, however, he was led to the cathedral to see the works of Murillo, he was overpowered by their splendor, and ex claimed, " Castillo is dead." Pie returned to Cordova and attempted to imitate his rival, but soon sickened and died, a victim to his con viction of inferiority ; in the same way as Francesco Francia, a cen tury and a half before, is said to have died of the S. Cecilia of Ra phael. Castillo was a man of cultivation and wit. His pupil, Juan de Alfaro, visited Madrid, and returned puffed up with his knowledge of< art. He signed his pictures conspicuously, " Alfaro pinxit; " whereupon Castillo inscribed his " Baptism of S. Francis," " Non pinxit Alfaro." Most of his works are in the churches and convents of Cordova. The Royal Gall, at Madrid has but one — tho " Adora tion of the Shepherds " — which has strong lights and shadows, effec tive heads, is well drawn, but dry and disagreeable in color. Catena, Vincenzo, born in the Venetian States (1495 ?— 1531). Real name Vincenzo di Biagio. He was a most industrious artist, but had no great talent. One of the school of the Bellini, of whom he was a close, if not a servile imitator. His best works were his portraits, some of which are fine. Many of his pictures are in Venice, and they are also found in nearly all large collections in Europe. He left several wills and codicils, and considerable property. Catlin, George, born in Wyoming Valley, Pennsylvania (1794- 1872). He first studied law, but afterwards devoted himself to painting. He spent eight years, 1832-1839, among the American Indians, and made the acquaintance of forty-eight different tribes. CATLIN — CAXES. 201 He made many drawings illustrative of their manners and mode of life, and painted two hundred portraits of the most prominent chiefs and warriors. His gallery was exhibited in this country and in Eu rope, and attracted much attention. His letters concerning this tour were published in 1841 ; he published also the "North American Portfolio of Hunting Scenes," 1844; " Notes of Eight Years' Travel and Residence in Europe," 1848; "Life among the Indians," and " Okeepah," 1867. His first book had over 300 steel-plate engrav ings from his own designs. His books remain the most authentic, as well as the most entertaining account we have of the wild tribes which he visited. Cavallini, Pietro. Very little is positively known, and much has been conjected of this artist. It is certain that in 1308 he was cm- ployed by Robert of Naples, but his works of that time do not exist, or are unknown. He was a pupil or follower of Giotto, and had prob ably been instructed by the Cosneati. At S. Grisogono, at Rome, there is a mosaic, undoubtedly his, which represents the Virgin en throned, with the Child giving the benediction ; SS. James and Chry- sogonus are also in the same work. In S. Maria, in Trastevere, there are some wall mosaics, much damaged, probably by the same hand as the above. He was an architect, as well as a painter and worker in mosaics. There is a " Crucifixion " in the ch. of Assisi at tributed to him, but of this there is still some doubt. Cavallino, Bernardo, born at Naples (1622-1654?). An artist who painted easel pictures of historical subjects, which may be seen in the collections of Naples. He gave promise of great excellence, and indeed his works have much merit, but he became intemperate and died young. Cavallucci, Antonio, born at Sermoneta (1752-1795). A good painter of the modern Roman school. His most celebrated work is " Venus with Ascanius," Palazzo Cesarini, Rome. Cavarazzi, Bartolomeo, called Crescenzi, born at Viterbo (1590V-1625). Studied under Pomerancio. When he left his mas ter he was taken under the protection of the family Crescenzi. He painted many pictures for his patron, and was much employed in the public edifices at Rome. In the ch. of S. Ursula he represented the legend of that saint. In S. Andrea della Valle is his picture of S. Carlo kneeling with a choir of angels; and in the convent of S. Anna, a "Holy Family." Cavedone, Giacomo. A Modenese (1577-1660). A pupil of Annibale Carracci, whom he bid fair to rival, for some of his pictures painted in middle life were mistaken for those of his master. But through family misfortune he became depressed, relinquished his art, and died a beggar in the streets of Bologna. His best works are in the public edifices and Gall, of that city. Caxes, Patricio. An Italian painter who spent many years in 202 CAXES — CELLINI. Spain. Few of his works remain, for many of them were burned in the Pardo. In the Queen of Spain's Gall., there is a large Madonna with the Child asleep on her lap, surrounded by adoring angels. Caxes, Eugenio. Son of the preceding, born at Madrid (1577- 1642). Court painter to Philip III. and Philip IV. Much employed in the churches, convents, and edifices of Madrid ; many of his works perished in the Pardo and the Convent of S. Philippi. Queen of Spain's Gall., " Repulse of the English under Leicester, at Cadiz, in 1625." Caylus, Anne Claude Philippe, Comte de (1692-1765). An amateur engraver. He was a zealous lover of art, and did so much for its advancement, and for the service of artists, that his name de serves honorable mention in any work referring to the fine arts. Celesti, Andrea, born at Venice (1637-1706). One of the best painters of the Venetian decline. He imitated Paul Veronese. His lights and shadows are better than his middle tints, but this may arise from his backgrounds not having been properly prepared. His works can be well judged in the Dresden Gall. He painted views of Venice and other Italian cities, which are rare and of much value. Cellini, Benvenuto, born at Florence (1500-1570). The life of this great sculptor was so full of change and incident, that his story is one of the most interesting books of its class. Very early in life he de sired to be a sculptor, but his father was determined he should be a musician ; and his first fifteen years were divided between the two pur suits. Then, against the will of his father, the son established him self with a goldsmith. His temper constantly led him into difficul ties. On account of an affray he went to Siena, then to Rome, and then returned to Florence. Again, for the same reason, he went to Rome, and Pope Clement VII. employed him both as sculptor and musician. He tells us that he was a good soldier, and claims to have killed the Constable Duke of Bourbon and the Prince of Orange while fighting in defence of Rome. He returned after a time to Florence, and from there went to Mantua, which he was soon obliged to flee on account of some indiscretion. He became known to Michael Angelo in Florence. By invitation of the Pope he went again to Rome, and was appointed engraver of the mint ; but Pompeo of Milan, who was his enemy, obtained his dismission from office. About this time his mistress, Angelica, deserted him, and he spent much time with a necromancer, who told him she had gone to Naples. He was engaged in another quarrel, and this, united to the influence of Pompeo, determined the Pope to arrest him and have him imme diately executed. He was informed of this design, and fled to Na ples, where he met Angelica as had been foretold. She again de ceived him ; and although the Viceroy desired his services, he would not remain. He obtained the pardon ofthe Pope, and again went to Rome. In 1534 the Pope died, and as Cellini was returning from S. CELLINI — CERACCHI. 203 Peter's, where he had been to kiss the feet of his dead patron, he met Pompeo and killed him. Paul III. desired his services, so he pardoned him and again made him engraver of the mint. Pier Luigi, the natural son of the Pope, hated him and determined to have him assassinated. He learned this and fled again to Florence, where ho was received with much honor. But soon the Pope summoned him to Rome ; and after going there and again returning to Florence, and again to Rome, he determined to visit France. Francis I. made him great offers if he would remain ; but he was ill, and attributed it to the climate. So again ho went to Rome only to meet misfortune, for his servant accused him of having stolen vast treasures from the Castle of S. Angelo during the war. This was utterly false, but he was imprisoned, and made his escape. Again he was apprehended and treated with great severity. While in prison his release was foretold to him in a vision. His friend, the Card, of Ferrara, ob tained his pardon, and they went together to Paris. The salary pro posed to him did not please him, and he set out on a pilgrimage to Jerusalem. Francis I. sent in pursuit of him and he was brought back. The king would have been his friend but for the influence of the favorite, Mme. d'Estampes, who disliked Cellini. He obtained permission to return to Florence, and Cosmo de' Medici gave him a studio where he commenced his celebrated " Perseus." He then went to Venice where he became acquainted with many distinguished artists. Beturning to Florence he finished the " Perseus." This obtained such great honors for him that he made a pilgrimage to Vallombrosa and Camaldoli in order to express his gratitude. He was then employed on various important works,- and contended with Bandinelli for the commission of a statue of Neptune. Catherine de' Medici wished him to go to France to erect a monument to her hus band, but the Grand Duke required his services, and he left Italy no more. His " Perseus," in the Piazza del Gran Duca, Florence, dis plays his merit as a sculptor of large works. He executed many portraits, and large numbers of dagger-hilts, medals, coins, clasps, etc. His works are not as numerous now as might be expected. One great reason for this is the fact that he often worked in the precious metals, and they have been destroyed for the sake of their intrinsic value, regardless of their merits as works of art. He wrote a treatise on his art, which is praised by Vasari. He died at Florence and was buried in the Annunziata with great pomp. Cephisodotus, the Elder. A sculptor of Athens. Probably the father of Praxiteles. In the Glyptothek at Munich there is a copy of a statue by this master wliich represents Irene with Plutus in her arms. The forms are grand, the drapery admirable, and the whole expression noble. This artist represents the transition period between the severe and sublime art of Phidias and the grace of Praxiteles. Ceracchi, Joseph (17-60-1800). He had an eventful life., In 204 CERACCHI — CESPEDES. 1782 he was in London, and made some excellent busts of distin guished men. But not finding sufficient employment, he went in 1790 to Vienna. Soon after this he met Napoleon, and executed his bust so well that he was invited to Paris, where he was guillotined, in 1800, on account of the part which he had taken in the invention of the Hell-machine. The bust of Napoleon is in the Glyptothek at Munich; that of Metastasio is in the Pantheon at Rome. One of his best works was the bust of Prince Wenzel von Kaunitz, which he executed at Vienna. Cerano, II. See Crespi. Cerezo, Matteo, born at Burgos (1635-1675). An excellent pupil of Carreno. He was called the Vandyck of Spain. Queen of Spain's Gall. , " Marriage of S. Catherine ; " " S. Jerome ; " " Assumption of the Virgin." Cerquozzi, Michael Angelo, called Michael Angelo delle Bat taglie; born at Rome (1600-1660). A distinguished painter of battle scenes. The works of Peter de Laer were so in vogue in Rome, that Cerquozzi gave himself to the same style of painting, and represented fairs, and festive scenes in low life. He heeded not the prettinessof peasant life, but chose the lazzaroni, etc., as his subjects. He could rival many of the best masters of the Netherlands in color, finish, completeness, and naivete. In the Spada Pal., Rome, there is a very touching representation of a Dead Ass, with the family to whom it belonged grouped around it; Berlin Mus., a fine representa tion of the entrance of one of the Popes into Rome. Cesare, Giuseppe, il Cavaliere d'Arpino, born at Rome (1568- 1640). Pupil of Roncalli. He had great facility of handling, and finding himself able to please, he did not study thoroughness. His influence upon art was bad, although he acquired great reputation, and was much employed. He had also many scholars, and opposed himself to other schools, especially that of the Carracci. His fres coes on the ceiling of the choir of S. Silvestro a Monte Cavallo are his best works. His pictures of " Diana and Actaeon," and "Bath ing Nymphs " are also among his finer pictures. Cesi, Bartolommeo, born at Bologna (1556-1629). A contempo rary of the Carracci, and often employed with them. He deserves honorable mention among the artists of his time. His frescoes were superior to his oil pictures. Many of his works are in Bologna. Cespedes, Pablo de, born at Cordova (1538-1608). Painter, architect, sculptor, divine, poet, and scholar. He studied at the University of Alcala, and excelled in the languages of the Orient. He went to Rome and studied. He was "an intimate friend, some say the pupil, of Federigo Zuccaro. While in Rome, Cespedes painted in several churches, and made a head of Seneca in marble, which he fitted to an antique trunk. This gained for him the title of " Victor il Spagnuolo." When Zuccaro was asked to paint a pic- CESPEDES — CHAMBERS. 205 ture for the Cath. of Cordova he declined, and said that while Ces pedes was in Spain they had no need of Italian artists. He left many writings, among wliich were an essay on the antiquity of the Cath. of Cordova, a discourse on ancient and modern painting and sculpture, and a poem on painting. His works which remain scarcely support the fame which he enjoyed as a painter. His " Last Sup per," in the Cath. of Cordova, is too faded to be judged fairly. In the foreground are some jars and vases which it is said were so well painted, tjiat some visitors complimented them, to the neglect of the rest of the picture. - Cespedes angrily commanded his servant to rub them out, and only the most judicious entreaty and admiration saved them from destruction. In the Cath. there is also a Virgin, Infant, and S. Anne. In the counting-room of the Cath. of Seville there is a picture of "Abraham offering up his Son." It is good in color. Isaac is modelled after one of the boys of the " Laocobn." In the Louvre there is a portrait of Cespedes, said to have been painted by himself. His biographer likened his coloring to that of Correggio. Cespedes was as modest as he was learned. He was also much be loved, and when made a canon in the Cath. of Cordova, he was re ceived with "hill approbation of the Cordobese bishop and chapter." Chabry, Mark, born at Lyons (1660-1727). Painter and sculp tor. He did many works in his native city. He sent a statue of Hercules and one of the Vhgin to the King, who appointed him sculptor of the city of Lyons. Tbe Marechal de Villeroy paid him 6,000 livres for a statue of " Winter." The bas-relief over the en trance to the Hotel de Ville, at Lyons, representing Louis XIV. on horseback; the paintings and bas-reliefs of the great altar in the ch. of S. Antoine, and several works in the ch. de la Trinite were by him. His son, Mark, also attained considerable distinction as a sculptor. Challe, Charles Michael Angelo, born at Paris (1718-1778). When elected to the Acad, he executed a picture of ' ' Painting and Sculpture united by the Genius of Design." One of his most impor tant pictures represented S. Hippolyte congratulated by the priests upon his conversion. It was in the ch. of that saint. He also wrote treatises upon architecture. He was made professor of per spective in the Royal Acad. , designer for the Royal Cabinet, and Chevalier of the Order of S. Michael. Chambers, George, born at Whitby. Son of a seaman, lie be came a sailor, although from childhood he desired to be a painter. After various ups and downs in life, he met with Horner, who em ployed him seven years on his panorama. He then became scene painter at the Pavilion Theatre, and at last by Vice-Admiral Lord Kerr was introduced to William IV. His pictures of naval battles, three of which are in Greenwich Hospital, are good. His smaller works are also deserving notice; he is coming to be generally ap preciated. 206 CHAMP AIGNE — CIIAUDET. Champaigne, Philippe de, born at Brussels (1602-1674). When quite young he went to Paris and worked with Nicholas Duchesne upon the decorations of the Luxembourg. In 1627, he returned to Brussels, but soon hearing of the death of Duchesne, he returned to Paris, married the daughter of that painter, and succeeded to his work at tho Luxembourg. Champaigne excelled as a portrait painter. His best works of this kind are in the Louvre. Some of his pictures are finished with great attention to effect in matters of laces, jewels, etc. One of his finest pictures represents " Adam and Eve mourning for Abel," and is in the Belvedere Gall., at Vienna. Chantrey, Sir Francis, born at Norton, in Derbyshire (1782- 1841). From his early youth, he desired to be an artist, and attracted the attention of a lady named Stanley, by some pastry figures which he modelled for her table. She placed him with a carver in Sheffield. Here he made models in clay, and received instruction in painting from John Raphael Smith. He visited Edinburgh and Dublin, but at length went to London and studied in the Royal Acad., where he ex hibited a portrait in oil, in 1804. He returned, however, to his true vocation, and next exhibited three busts which displayed great talent. In 1809, the architect Alexander gave him an order for four colossal busts. He also made the bust of Pitt, and, in 1811, the works which he exhibited so pleased the sculptor Nollekens that he ordered one of his own busts to be removed, that one by Chantrey might take its place. For the city of London, he executed his statue of George III. This greatly increased his fame. In 1817, he was made an associate of the Royal Acad. He made many statues and monuments. One of the finest represented two children, lying asleep in each other's arms, which is in Litchfield Chapel. This obtained him an election to the Royal Acad. In 1819, he went to Italy, and was elected member of the Academies at Rome and Florence. In 1835, he received the honor of knighthood. An especially beauti ful work is his statue of Lady Luisa Russell. At the time of his death, he was engaged upon the colossal equestrian statue of the Duke of Wellington. He possessed a choice cabinet of medals, antiques, etc. Plis large fortune was bequeathed to his wife for life, and then to the Royal Acad, for the encouragement of English art. Chardin, Jean Baptisto Simon, born at Paris (1699-1779). A painter of conversations, still-life, etc. His best works are those with two or three small figures together. He paid great attention to acces sories. Some of his kitchen pieces are excellent. There is a light ness and grace in his female figures, and he gave a richness of effect to his works by a variety of colors. Chaudet, Antoine Denis, born at Paris (1763-1810). At the age of fourteen, he had shown so much talent for modelling and de signing, that he was admitted to the Royal Acad. In 1784, he car ried off the grand prize, and went to Rome with the royal pension, CHAUDET — CHRISTOPHSEN. 207 where he remained five years. He soon came to be ranked among the first modern sculptors. He also acquired a reputation as a painter and designer. He was appointed professor of sculpture, and made valuable contributions to the " Dictionary of Fine Arts." Some of his works in sculpture are : the silver statue of " Peace," in the Tui- leries; statue of " Cincinnatus," in the senate chamber; a statue of " QSdipus ; " a bas-i'elief, representing "Painting, Sculpture, and Architecture," in the Musee Napoleon, and many busts, etc. He painted " iEneas and Anchiscs in the Conflagration of Troy," and designed many of the illustrations for the fine edition of Racine, published by P. Didot, and a great number of medals. Cheney, Seth, born at Manchester, Conn.; died 1856. Brother of John Cheney, one of the best engravers of heads in America. Seth was a crayon limner, and his best works are exquisite female heads. He was enthusiastic and of an extremely sensitive tempera ment; so much so, that if a sitter came to him to whom he found him self antagonistic, he was forced to relinquish the picture. He visited Europe four times, and ended his life in a weary decline in his native town, where he was buried with an impressive service by moonlight, singularly in keeping with his poetical nature. There is no depart ment of art, in which true genius can be more strikingly displayed, than in that of drawing where few lines are used, and no color and little shadow to conceal defects. The most scrupulous exactness in design can alone be termed excellent. Chodowiecki, Daniel Nicolas, born at Dantzic, 1726; died at Berlin, 1801. The poverty of his youth compelled him to follow mer cantile pursuits, but he practised miniature painting during leisure hours, and learned the process of enamel painting. At last he gave himself up to the profession of an artist and engraver, and succeeded well. He painted few oil pictures, and they had no special merit. His etchings amounted to more than 1300, and he made them as illus trations for various kinds of books. Those for the " Sorrows of Werther," were very fine. He published a plate called " Les Adicux de Calas," of which but 100 impressions were taken. It is now rare, and prized by collectors. At the time of his death he was director of the Acad, of Arts and Sciences at Berlin. Christoph. The history of this artist is unknown. He flourished in Cologne, early in the 16th century. His firpt known work, exe cuted about 1501 , was formerly in the Chartreuse, at Cologne, now the possession of Herr Haan of that city. His most remarkable work is a " Descent from the Cross," No. 280, Louvre. There are others in the Munich Gall., Cabinets, and in the City Gall, at Mayence. Christophsen, Pieter. This painter is known by this name, but should properly be Christus. He was of the Van Eyck School. He bought citizen's rights as a painter in Bruges, in 1444. His earliest known work is dated 1447, is in the St'adel Mus., at Frankfort, and 208 CHRISTOPHSEN — CIGOLI. represents the Virgin and Child with SS. Francis and Jerome. In 1452, he painted a "Nativity," an " Annunciation," and a "Last Judgment," now in the Berlin Gall. They are wonderfully fine in color. He painted a picture of S. Eligius, as a goldsmith selling a ring to a bridal couple. This is dated 1449, and is in the possession of Mr. Oppenheim, the banker, at Cologne. Churriguera, Josef de, born in Salamanca; died, 1725. His works were so peculiar, that since his time, everything bizarre or extravagant has been called Churriguresque. He removed to Madrid in 1 688. In the next year he made the design for a catafalque for Maria Louisa, which was very singular. He was appointed assistant draughtsman for royal works, built a portal, church, and palace, and executed many sculptures. Soon after his death, the dome of the ch. of S. Tomas, upon which he was employed, fell down and killed num bers of workmen and worshippers. Ciampelli, Agostino, born at Florence (1578-1640). Pupil of Santo di Titi. He painted some angels with offerings, on the walls of the apsis of S. Maria in Trastevere, which merit attention. Two good works of his, representing the Burial of Martyrs by Pious Women, are in S. Pudenziana. He was also an architect, and super intended some works at S. Peter's. Cibber, Caius Gabriel, born at Holstein. Flourished about 1670. He went to England, where he received much encouragement. He is best known by his statues of " Raging " and " Melancholy Madness," at New Bethlehem Hospital, St. George's Fields. Cignani, Carlo, born at Bologna (1628-1719). This artist was of a noble family. He has been called the last of the Bolognese. He was of the school of Albano, and produced correct and pleasing pic tures, quite academic in character, but wanting in depth of senti ment. He attempted principally graceful postures and display of beautiful limbs. He was much admired in his time, and even called the Apelles of his age. " Joseph and Potiphar's Wife," one of his pictures, is in the Dresden Gall., and an " Assumption " of great size is in the Gall, at Munich. He painted the cupola of the ch. of the Madonna del Fuoco at Forli. This occupied him nearly twenty years, and he died in that city. Cignaroli, Giambettino, born at Verona (1706-1770). One of the best painters of his time. He painted in the manner of Carlo Maratti, and his pictures are full of sweet beauty and grace. His subjects were mostly religious. He introduced architectural back grounds with good effect, and his angels and cherubs were well painted. It is said that in 1769, the Emperor Joseph II. visited Cignaroli in his studio at Verona, and afterwards said that in that city he had seen two rare things, the first painter in Europe, and an ancient amphitheatre. Cigoli. See Cardi. CIMA — CIMABUE. 209 Cima. See Conegliano. Cimabue, Giovanni. Of the noble family of the Cimabui (1240- 1302?). Few facts arc known with certainty concerning the life of this artist, and so much has been said and contradicted, that the search for what is true is most puzzling and unsatisfactory. But the important truth connected with him is, that he gave a now impulse to art, and infused new life into dying and worn-out forms and rules. From his time the revival of painting may be confidently dated, and this result is much more important to us, than the matter of where and with whom he studied, whether or no a certain quarter of a city was named for him, etc., etc. In Florence there are two large Madonnas ascribed to him. The oldest one, formerly in S. Trinita, now in the Acad., is Byzantine in style, and although very powerful in some features, as in the energy and expression of the prophets in the centre niche, it does not show the peculiar characteristics of Cimabue with the same clearness as does the " Madonna Enthroned," in S. Maria Novella. At the time when this last was completed, it was the largest altar-piece that had been seen, and it is said to have been borne to the church by a rejoicing procession of Florentines, with trumpeters, and expressions of pride and praise. In it the Virgin sits in a chair held by six kneeling angels. The infant is on her lap, and both theh heads are encircled by the nimbus, delicately wrought. The frame of the picture (which is a gabled parallelogram in form) is richly carved, and in it are thhty medallions representing half ST. JOHN THE EVANGELIST. BY CIMABUE. From a Madonna picture in S. Maria Novella, Florence. 14 210 CIMABUE — CIVETTA. figures of saints on gold ground. The old features are still here, but the eye is softened by a change in the form of the iris, and by closer curving of the lids than had been customary. The hands are very striking for their thinness, and the separation of the fingers. The head of Mary is disproportionate to the slenderness of her form, and it is a wonder now that angels could have been so painted, and yet, from this very picture went out an influence, but for which such names as those of Giotto, Ghirlandaio, Michael Angelo, Leonardo, and Ra phael might never have been heard. In color, Cimabue made great advance. He softened the old hardness of outline; he made new and better flesh tints; he rounded the form, and he used for his draperies gay, transparent colors. He used much ornament, it is true, but he made it a subordinate part of his work, and executed it in better taste than his predecessors had shown. Cimabue painted in the ch. of As sisi, but which are his pictures is not known. The careful observer of that church must be convinced that the works were done by several diff'erent hands, and I can but believe that careful study and criticism reveals the brush of Cimabue. A large Virgin and Child above the altar of the Conception in the lower church, surrounded by the works of Giotto, and an enthroned Saviour and some ansrels in the northern transept of the upper church, seem to be the work of the same master who painted the Madonnas of Florence, especially that in the Acad, of Arts. The last known work of Cimabue was done in the Duomo of Pisa, where he was appointed capo maestro of the mosaics. He executed a large part of the mosaic in the chief tribune, representing the Saviour with the Virgin and John the Bap tist. This work has suffered so much injury as to afford little satis faction from examination. A Madonna somewhat like those in Flor ence, once in S. Francesco at Pisa, is now in the Louvre. A Madonna in the National Gall, was in the ch. of Santa Croce. Cimaroli, Giambattista, da Salb, born at Venice. Flourished 1718-1733. A painter of seaports, landscapes, and classical ruins. His works are not uncommon in England. Cioli, or Ciolli, Valerio. This old sculptor studied under Tri- bolo and Raphael de Monte Lupo. He was employed by the Grand Duke of Tuscany to restore antique statues. Pie executed the statue of Michael Angelo, on his grave at Santa Croce in Florence. Cipriani, Gio. Battista, born at Florence, 1727; died in London, 1 785. An elegant designer, as well as a painter. After studying in Florence and Rome he went to England, where he designed many plates which were engraved by Bartolozzi in his excellent manner. He painted but few large pictures, but he left many beautiful draw ings, wliich, together with Bartolozzi's engravings, have a wide repu tation. In his oil pictures his female figures are beautiful in the dis tance, but are too coarse and unfinished to bear examination. Civetta. See Bles. CI VITALI — CLE VENGER. 211 Civitali, Matteo, born at Lucca (1435-1501). One of the most distinguished sculptors of his time. Studied in Florence. His " S. Sebastian," in the Duomo at Lucca, so delighted Perugino that he re peated the figure in his picture of " The Entombment." His most im portant work was the tomb of Pietro da Noceto, Secretary to Pope Nicholas V., wliich ranks high among the monuments of the 15th century. At Genoa he executed six statues and five bas-reliefs for the chapel of S. John the Baptist. In the Uffizi there is a seated figure of " Faith," full of earnestness and religious feeling. Although best known as a sculptor, he was an accomplished architect, and did much to improve the style of building in Lucca; and the beautiful temple of the Volto Santo in the Duomo was designed by him. Claessens, Anthony. A painter of Bruges, whose works are in the Acad, and Town Hall of that city. Cleef, John Van, born at Venloo, 1646; died at Ghent, 1716. Pu pil of Gaspard de Craeyer. His works are numerous in Flanders and Brabant, and some of the best are at Ghent. Cleomenes. 1. The sculptor of the " Venus de Medici " in the Uf fizi Gall. Pliny alone mentions this master, and he does not appear to have been very celebrated among the ancients. From various known facts it is decided that he lived between 363 and 146 B.C. 2. Another sculptor, the author of the statue in the Louvre called " Germanicus," and which, in truth, represents a Roman orator with the right hand lifted and in the habit of Mercury, as is seen from tho turtle at his feet. There is also at Florence a bas-relief representing the story of Alceste, which is inscribed with the name of Cleomenes, but to which one it should be attributed is not known. Clerisseau, or Clarisseau, Charles Louis, born at Paris. Died 1820. An architect and a designer in water-colors. Principally known for his much-esteemed water-color drawings of the remains of ancient architecture. Cleve, Joas Van, born at Antwerp. Flourished from 1530 to 1550. Little is known of him. It is said he went to Spain. It is certain he painted in England. His pictures are sometimes mistaken for those of Holbein. Two of his best works are his portraits of his wife and himself, at Windsor Castle. Clevely, John, born in London (1 743-1 786). Plis best works arc water-color marine views. His perspective was fine and his execu tion neat and delicate. Clevenger, Shobal Vail, born in Middletown, Ohio, 1812. Died at sea, 1843. He was first encouraged to attempt sculpture by the execution of an angel upon a tombstone, when employed as a stone cutter in Cincinnati. He confined himself to making busts, and found much employment in Boston and New York. His works are well known, and some of them have been widely circulated in plas ter casts. His bust of Webster is perhaps the most striking of all. 212 CLEVENGER - CLOVIO. It does not represent Webster, the intellectual giant, but the Web ster known by the mass of the people. Webster, Clay, Everett, Allston, Van Buren, Chief Justice Shaw, and other eminent men were perpetuated in his marble portraits. Thorwaldsen greatly praised some of his works. The early education of Clevenger was deficient, but his association with refined and cultivated people had its fullest legitimate effect upon him. He frankly confessed his need of knowledge, and never hesitated to ask what he did not know. There was a genuine truthfulness and a sincere directness about him that endeared him to all with whom he came in contact. When in Florence, with his young family, with every opportunity and motive to work about him, he was prostrated by disease. His intense long ing for his home led him to attempt to reach it. This he was not permitted to do, and from the midst of the broad ocean his sphit found free course to his eternal home. Cleyn, Franz, born at Rostock; died 1658. He was employed by Christian IV. of Denmark, went next to Rome, and acquired the art of painting grotesques. James I. of England employed him at his tapestry manufactory at Mortlake. Some of his best works are in Holland House. He left a few etchings which resemble those of Hollar. Clint, George, born at Hexham (1770-1854). Son of a hair dresser. After repeated trials of other pursuits, he gave himself up to miniature painting and mezzotinto engraving. About 1816 he commenced his valuable portraits of the principal dramatists of his time. These embrace Kean, Charles Kemble, Young, Liston, Mat thews, Macready, etc. , in character. Many of these are at the Gar- rick Club. He also painted numerous other portraits. Clouet, or Cloet. Three artists of this name have been con founded into one. Jehan the father went from Brussels and settled in Tours, in 1480. Jehan the son went with his father to France, and became painter to Francis I. in 1518, and the portraits often credited to Francois belong to him. He painted the equestrian por trait of Francis I. in the Florence Gall., attributed to Holbein. He did not write his name on his. works. Clouet, Francois, son of Jehan the younger, and called by his name, on account of his celebrity, was born at Tours (1510-1574). He succeeded his father as painter to the king, and was continued in that office under Henry II. He painted many portraits of the royal family, nobility, and persons of celebrity. Clouet, Peter, born at Antwerp (1606-1668). An engraver, who studied with Spierre and Bloemaert, at Rome. After his return to Antwerp he engraved several plates after Rubens, which are much esteemed. Clovio, Giulio, born in Croatia (1498-1578). A pupil of Giulio Romano. Pie was a miniaturist or illuminator. His designs were CLOVIO - COELLO. 213 bad, but the finish of his works wonderful. The "Farnese Brevi ary," now in the library at Naples, is said to have occupied him nine years in the execution of its twenty-six miniatures. Codagora, Viviano. Flourished about the middle of the 1 7th cen tury. Painted architectural ruins. Some of his works are in Eng land, and many are in the collections of Naples. The figures in his pictures were done by other artists. Coello, Alonso Sanchez, born at Benifayro, early in the 16th century; died 1590. The first great portrait painter of Spain. Painter-in-ordinary to Philip II., and a great favorite of that king, who was accustomed to address him in Ms letters as his ' ' beloved son." At Madrid, Coello'-lived in apartments to which Philip could go by a private door, to which he kept the key. He was in the habit of surprising him in his studio, or even when dining with his family. But Coello never abused this confidence, and remained a favorite, not only of the king, but of the court also. Gregory XIIL, Sixtus V., Card. Alexander Farnese, and the Dukes of Florence and Savoy, were also his admirers and friends, and many royal and noble persons were accustomed to visit him and to accept his hospi talities. Large as the expense must have been of maintaining a proper style of living under these circumstances, it is said that when he died he left a fortune of 55,000 ducats. He endowed a hospital at Valladolid. Pliilip often called Coello his " Portuguese Titian," because he had lived at Lisbon, and Ms portraits, of which com paratively few exist, are fine in color and graceful in design. He knew how to represent the repose and refinement which belong " to gentle blood and delicate nurture." He also painted sacred subjects, and there is a "Marriage of S. Catherine," by him, in the Royal Gall, at Madrid. Many of his pictures were burned in the Palace of the Prado. Lope de Vega wrote his epitaph, and called his pictures " Eternal scenes of history divine, Wherein for aye his memory shall shine." His pictures in the Escorial were painted at the command of Philip, in 1582, and represent different saints at their altars, but a "Martyrdom of S. Sebastian," painted for the ch. of S. Jerome, at Madrid, is considered by many to be his chef-d'oeuvre, and was praised by Cumberland for its " majesty of design, bold relief, and strong, masterly expression." Coello, Claudio, born at Madrid between 1630 and 1640; died 1693. His father was a Portuguese sculptor in bronze, and intended to train his son in his own profession. He placed him in the school of Rizi, to study drawing, where he showed so much talent, that his master persuaded his father to allow him to be a painter. He was never weary of his pencil, and soon outstripped his fellow-pupils. While still under Rizi, he was employed to paint for churches and 214 COELLO — COLE. convents. He became the friend of Carreno, who obtained admis sion for him to the Royal galleries, where he studied color by copy ing Rubens, Vandyck, and Titian. He became the partner of Xiinenez Donoso, and together they executed many frescoes. When Queen Maria Louisa made her public entry into Madrid, these two painters superintended the artistic arrangements of the great cere monial. In 1683, Coello was called to Zaragoza, by the Archbishop, to paint in the collegiate ch. of the Augustines, and upon his return, in 1684, was made painter to the king, and afterwards became painter-in-ordinary and deputy-aposentador. After the death of Rizi, in 1685, he painted the altar-piece for the Santa Forma. This was Ms masterpiece, and still hangs in the Escorial. It represents Charles II. and his court receiving the sacerdotal benediction at the dedication of the altar. (For legend of the Santa Forma, see Fran cisco Rizi.) This picture occupied him more than two years, and at its completion was received with great applause. During a few suc ceeding years, Coello reigned supreme artist of Madrid. He painted portraits of the royal family and many notable persons ; he was ap pointed painter to the Cath. of Toledo, and keeper of the Boyal gal leries. He felt, with reason, that he merited the honor of painting the walls of the Escorial; and so great was Ms sorrow and mortifi cation when Luca Giordano was preferred to that work, that he threw aside his brushes and pencils, grew sad, and at length ill, and died a year later. The frescoes of Coello were not his best works, because too hastily done, but his oil pictures were finished with care, and are effective, graceful, and rich in tone. The picture at the Escorial is the best. The Royal Gall., Madrid, has two large compositions, Nos. 224 and 306, both representing the Virgin, with several saints. The sketches of Coello, a few of wMch are in the Louvre, are highly esteemed. Cole, Thomas, born in Lancashire, England, 1801. His father was a woollen manufacturer, who came to America while Thomas was a child, and manufactured paper-hangings in Ohio. In mixing pig ments, the son took his first lessons in art. He was of an extremely sensitive temperament, had much taste for music, and fully appre ciated beautiful scenery. A portrait painter strayed into the village where he lived, and gave Mm some instruction. At length, with his palette and other materials, his flute, and a little clothing, he started off, supported himself by playing Ms flute, and took Ms frugal meals by the roadside. After varied experiences, he made his way to New York. Here Durand and Trumbull were his friends. His views of the Hudson brought Mm good prices. During Ms life he made two visits to Europe, but he followed his art with unceasing devotion. Some of his autumnal scenes were exhibited in England, where they were considered as the invention of an extravagant Yankee. His allegorical pictures are most celebrated, but it is in the landscape COLE — COLOGNE 215 rather than in the figure that he excelled. He painted landscapes in England, Italy, and Sicily, but he loved best to represent tho beauties of the New World. It has been well said that his brush performed the same service to our scenery, as Bryant's pen. Ho wrote from Italy, " Neither the Alps, nor the Apennines, nor even Etna itself have dimmed in my eyes the beauty of our own Catskills." Ilis religious sensibility was shown in his pictures of the " Voyage of Life." He died at his home among the Catskills when forty-seven years old. There is a singular coincidence connected with his serial pictures. " The Course of Empire " was painted for Luman Reed, who died just before its completion. His " Voyage of Life " was for Samuel Ward, whose own life was ended before the work was done. " The Cross and the World," he painted for himself, and the " Pil grim entering Heaven " was scarcely finished when his own spirit was taken to that other world he had so recently contemplated. He painted but few portraits. His descriptions of scenery were charm ing and full of artistic feeling. His " Mount Etna," and view of the "White Mountains" are in the Wadsworth Gall., Hartford; his " Course of Empire " in the Gall, of the New York Historical Soci ety; the " Mountain Ford," " Kenilworth Castle," and the " Voyage of Life " are in the Gall, of John Taylor Johnston, New York city; the " Angel appearing to the Shepherds," in the Boston Athenaeum, and many of his pictures are owned by our most appreciative men, as will be understood from the fact that after Ms death sixty-three pic tures were exhibited in New York, by the kindness of the owners. Colin, Alexander, born at Malines (1520-1612). His principal works are at Innsbruck, where he settled and received the appoint ment of sculptor to the Archduke Ferdinand. In 1577, he exe cuted the embellishments for a fountain at Vienna. Collantes, Francisco, born at Madrid (1599-1656). A painter of history and landscapes, which last were rich in color, and bold and masterly in style. Queen of Spain's Gall., very striking picture of " Ezekiel in the Valley of Bones," signed, Fran. Collantes, ft. 1630; same Gall., a landscape; Louvre, the " Burning Bush in Horeb." Collins, William, born in London (1788-1847). A very charm ing painter of landscapes, rustic children, etc. His pictures are highly prized. They are excellent, whether considered as landscapes with figures, or as figures in a landscape. He was fond of such sub jects as " The Sale of the Pet Lamb," " Shrimp Boys at Cromer," " Skittle Players," etc. He painted many subjects connected with fishermen and sea views, especially those of Cromer Sands. He visited France, Italy, Holland, Belgium, Germany, and the Shetland Isles. Towards the end of his life he painted some religious sub jects. Cologne, Meister 'Wilhelm, of. Little is known of this old master, who is said by some to be the same as Wilhelmus de Herle, 216 COLO GNE - CONINCK. and to have settled in Cologne in 1370. The Limburg Chronicle of 1380 says, " In this time there was a painter in Cologne of the name of Wilhelm; he was considered the best master of all German Land; he paints every man, of whatever form, as if he were alive." All the best old pictures of Cologne and vicinity have, on the strength of this, been credited to Meister Wilhelm. The oldest one is probably that at S. Castor, at Coblentz. It is a wall painting, commemorative of an Archbishop of Treves who died in 1386. Its original appearance cannot be even surmised, owing to the restorations (?) it has suffered. The altar-piece and wings which once adorned the ch. of S. Clara, and arc now in the Cath. of Cologne, are far more satisfactorily asso ciated with the great fame of Meister Wilhelm. It is probable that the centre portion only was his work. This represents the " Life and Passion of Christ." The pictures arc on gold ground, the drawing feeble and incorrect, butvthe tints better. At S. Severin, there is a "Crucifixion" on the wall of the Sacristy, probably by the same hand. There are works attributed to him in the Museums of Cologne, Berlin, and Munich; in the National GaU., the Frankfort Library, etc. Colonna, Michael Angelo. See Mitelli. Compe, Jan Ten, born at Amsterdam (1713-1761). Pupil of Dirk Dalens. He painted landscapes and views of cities. One of the New Market at Amsterdam sold for 2000 Dutch florins, at public sale. Conca, Sebastiano, born at Gaeta (1676-1764). A pupil of Francesco Solimena, he strove only to acquire the prettiness of art. He was employed in Rome by Clement XL Mengs says that by the introduction of Ms style at Rome, " he put the finisMng stroke to the ruin of painting." Condivi, Ascanio. A pupil of Michael Angelo. Without suffi cient talent to be known as a painter, his reputation is world-wide as the author of the life of the great master, published in 1553. Conegliano, Giambatista Cima da. His latest date on any known work is 1508 ; but he is said to have lived much later. He was one of the best of the Bellinesque painters. His coloring of some works is such that Kugler says it "glistens like jewels." His chef- d'oeuvre is in tho ch. del Carmine, at Venice, and represents the Vir gin kneeling before tho sleeping Child. Ho often introduced into the landscapes of Ms backgrounds the rocky height and castle of Coneg liano. As a painter of sacred subjects he merits a worthy place in his age. Ho was very industrious, and his pictures are in most Euro pean collections, and many are in Venice in churches, and in the Acad. Coninck, David do (1636-1687). Pupil of Jan Fyt. His pic tures arc animated and powerful in color. They arc rare. There are two of great merit in tho Amsterdam Mus., representing a Stag- hunt and a Bear-hunt. UUM STABLE — UUPLK Y . 217 Constable, John, born at East Bergholt in Suffolk (1776-1837). A landscape painter. His favorite subjects were country lanes, stiles, and fields. He was passionately fond of quiet nature, and one con spicuous characteristic of his works is their simplicity. He was ac customed to give the effect of clew, and this, sometimes carried to an excess, gave a spotted appearance which is much criticised. The " Corn-field " and " Valley -farm," in the National Gall., are fine specimens of his pictures. Contarini, Cavaliere Gio., born at Venice (1549-1605). An exact imitator of Titian. He painted many mythological pictures. His principal work, formerly in the Ducal Pal. of Venice, now in the Louvre, represents the Virgin with the Child; she is on a throne, sur rounded by SS. Mark and Sebastian, and the Doge Marino Griniani kneeling. He was also an eminent portrait painter. Conte, Jacopo del, born at Florence (1510-1598). He lived much at Rome, and a few of his historical pictures are to be seen in churches there; but he especially excelled in portraiture, a branch of art much patronized in his time in Venice, Rome, and Florence. Conti, Bernardino di. In the Berlin Mus., there is a fine por trait of a Cardinal by this old artist, and in the Gall, of the Capitol, Rome, a picture of a boy, 1496. Cooninxloo, Giles, born at Antwerp (1544-1609). A landscape painter, who was well considered in Ms time. His pictures are spirited and his color is agreeable. Cooper, Samuel, born in London (1609-1672). An eminent miniaturist. His works were much admired during his life, and now have an honorable place in fine collections. His reputation extended to the continent. He has been called " the Vandyck in little." But his impasto and fine fresh color remind one of Lely, more than Van dyck, and there is a breadth in his works unusual in miniature. He painted many eminent persons. His wife was aunt to Alexander Pope, and was promised a pension (wliich she never received) for the pictures her husband had painted for the court. He was buried in Old S. Pancras. Coopse, Pieter. Little is known of this artist. He painted in the style of Backhuysen, and it is believed that many of his pictures are attributed to the latter. No 230, Munich Gall., is called a Back huysen, although the name of Coopse is on it. Copley, John Singleton, R. A., born in Boston (1737-1815). The father and mother of this artist emigrated from Limerick, Ire land, to Boston. The father was descended from the Copleys of Yorkshire, and the mother from the Singletons of County Clare, both families of importance. When the subject of our sketch was eleven years old, his mother was married to Peter Pelham, a portrait painter, and mezzotint engraver. Wliitmore calls Pelhain " the founder of these arts in New England." This marriage was an ad- 218 COPLEY. vantage to young Copley, since he not only received the instruction and advice of Pelham, but was surrounded by those who sympathized with him in his choice of a profession. He was studious and quiet, and advanced rapidly. He attained eminence as a portrait painter in America, and lived in easy elegance, having married in 1 769 Miss Susan Clarke, the daughter of a distinguished merchant of Boston. A little later Copley sent to Benjamin West, in London, his picture of the "Boy with a Squirrel " now owned by Mrs. James S. Amory, for exhibition at Somerset House. He sent no letter or name with it ; the rule of the exhibition excluded anonymous pictures, but West knew it to be an American work by the wood upon which it was stretched, and from the fact of the squirrel being such as belong to New England. The rule was set aside, and the picture so favorably received, that Copley was advised to go to England. He sailed in 1774, never to return. He went from England to the Continent, studied at Rome and Parma, travelled as far as Naples, returned to France, Germany, and Holland, studying constantly, and finally settled in London, where his wife and cMldren joined Mm. He soon rose to distinction, was made an Associate of the Royal Acad, in 1 7 7 7, and an Academician six years later. Many distinguished persons were among his sitters, and a portrait of three of the children of George III., now at Buckingham Pal., is a fiue example of his por traits-. He painted several large pictures, illustrative of events in English history, and some religious subjects. His portraits are full of dignity, and there is that in them which seems to assure us that they were truthful likenesses; his rich, subdued coloring is very effective. His life was most successful; he had friends among the most eminent men on both sides of the Atlantic ; his family were cul tivated, and his son became eminently distinguished as the great Lord Lyndhurst. He was a man of strong religious sentiments, and of quick and earnest sympathy. The following anecdote shows us his American feeling. In 1 782, Elkanah Watson was in London, and Copley made a full length portrait of him. In his journal, Mr. Watson says, " The painting was finished in most exquisite style in every part except the background, which Copley and I designed to represent a ship, bearing to America the acknowledgments of our in dependence. The sun was just rising upon the stripes of the Union streaming from her gaff. All was complete save the flag, which Copley did not deem proper to hoist under the present circumstances, as his gallery was the constant resort of the Royal family and of the nobility. I dined with the artist on the glorious 5th of December, 1 782. After listening with him to the speech of the King, formally recognizing the United States of America as in the rank of nations, previous to dinner, and immediately after our return from the House of Lords, he invited me into his studio; and there, with a bold hand, a master's touch, and I believe an American heart, he attached to the COPLEY — COQUES. 219 sMp the stars and stripes. This was, I imagine, the first American flag hoisted in Old England." Copley was buried in Croydon ch., near London. Many of. his pictures are scattered over America, belonging to the descendants of those for whom they were painted. A number are of easy access to the public in the Boston Athenaeum, where some are owned, and where from time to time they are put on exhibition by private indi viduals. Heretofore there has been no satisfactory account of his works, but a book is about being published which will supply this de ficiency. It is known that 269 oil paintings, 35 crayons, and 14 miniatures by him are still in existence in this country ; a list of these will be given with a sketch of his life, and other interesting facts. The title of the book is " A Sketch of the Life, and a List of some of the Works, of John Singleton Copley." It is written by Augustus Thorndike Perkins, to whom I am indebted for the facts contained in tMs article. LIST OF ENGRAVINGS AFTER THE WORKS OF COPLEY, AS GIVEN BY MR. PERKINS. Engraver, Dunkarton, Robert. The Children of George III. Abraham's Sacrifice. Engraver, Earlom, Richard. Portrait of Admiral Viscount Dun can. Portrait of Lord Spenser. Engraver, Green, N. Portrait of Henry Laurens of South Caro lina. Engraver, Green, Valentine. Samuel and Eli. A boy rescued from a Shark. Engraver, Thew, Robert. Picture of the Copley Family. Engravers not given. Portrait of President John Adams. Portrait of Lord Howe. Portrait of Admiral Bonington. Portrait of Lord Mansfield. Portrait of George IV. at a Review. A Head of Cop ley; by himself. The Nativity. The Tribute Money. The Death of Earl Chatham.1 The Death of Major Pierson. The Surrender of Admiral De Winter. .The Siege of Gibraltar. Copley also made an engraving from one of his portraits. It bore the following inscription : " Rev. William Welsteed, of Boston, New England, cet. 58, 1753, J. S. Copley, pinxit et fecit. Coques, Gonzales, born at Antwerp (1618-1684). Pupil of David Ryckaert, the Elder. His best works are groups of ladies, gentlemen, and cMldren, with accessories, in the open air. These were probably portraits. They are admirably colored; his white draperies are exquisite, and he excelled in painting beautiful hands. He often introduced dogs, and so well were they done that the ad miration of the beholder is divided between them and the children playing with them. His backgrounds were also well done, but in 1 Engraved by Francesco Bartolozzi. — C. E. C. 220 COQUES — CORNELISSER. these he was often assisted by other artists. " The Verhelst Family," his chef-d'oeuvre, is in the Queen's Coll. at Buckingham Palace. Dresden Gall., No. 964, is said to represent his own family. His sin gle portraits are, as a rule, inferior to his groups. He sometimes painted genre pictures, such as "La Lecon de Musique," in Lord Hertford's coll. He was a true lover of art, and being rich, painted for pleasure rather than gain. His works are not numerous, and arc very valuable. Cordieri, or Cordier, Nicholas (1567-1612). Educatedin Rome as an engraver on copper. He preferred sculpture, and became dis tinguished in that art. Clement VIII. and Paul V. often visited Ms atelier. His works are in the Paulina, S. John in Lateran, and S. Gregorio in Monte Celio. Corenzio, Belisario. A Greek (1558-1643). He studied at Venice, under Tintoretto. Settled at Naples, where he gained great influence and a large fortune, and lived in elegant luxury. His works in that city are numerous. His style was the same as that of Tin toretto, and large frescoes were, his best efforts. His pictures are also in some churches in Venice. He formed a cabal with Caracciolo and Ribera (called Lo Spagnoletto) for the purpose of excluding other Italian artists from Naples. They committed many outrages, and, it is said, the crime of poisoning those whom they could not be rid of otherwise. D' Arpino, Guido, Annibale Carracci, and, it is said, Domenichino, all suffered at the hands of these men. Coriolano. The name of a family of artists, mostly engravers, who flourished in the last half of the 16 th and the early part of the 1 7th centuries. Cristofano was the most important, and engraved the portraits for Vasari's " Lives of the Painters," published in 1568. Corneille, Michel, the Younger, born at Paris (1642-1708). More noticeable as an engraver than as a painter. His etchings are the admiration of collectors. They are correct in drawing, grand in composition, and masterly in execution. His S. Francis kneeling before the Cross is fine. The four following plates came into the hands of a Roman print-seller, Rossi, who put the name of Raphael on them; they are now scarce. The Deity appearing to Abraham. Abraham journeying with Lot. Abraham discomfiting the Army of the Confederate Kings. Abraham with his son Isaac setting out for the Sacrifice. Cornelisser, Cornelis, called Cornelis van Haarlem, from his birthplace (1562-1638). One of Ms best works is that by which he became known, and was executed for the Guild of Marksmen of Haar lem. Berlin Gall., No. 734, " Bathsheba Bathing," is one of his chefs-d'oeuvre. In the Gall, at the Hague his " Murder of the Inno cents ' ' is most unpleasant. At Dresden there are mythological sub jects by him, but although carefully finished, good in color, and full CORNELISSER — CORT. 221 of force, it is easy to see that the only talent he had was for tho realistic, and portrait painting was his vocation. Corona, Leonardo, born at Murano (1565-1605). An artist, no ticeable for his copies of Titian, of which picture-buyers should beware, since they are sold as originals. Correggio. See Allegri. C^ P Cort, Cornelius, born at Hoorn, in Holland, 1536, \j J died at Rome, 1578. His first instructor was prob- ably Jerome Cock, for whom he engraved some plates published under the name of that master. He first engraved after Dutch and Flemish masters; then went to Venice and resided in the house of Titian, and engraved some of his finest works. He next went to Rome, where he established a school. Before his time there had been few large engravings. He greatly advanced his branch of art, and his plates are much valued by collectors. He worked with the graver only. His execution was masterly and bold, his drawing correct, and his landscapes especially fine. Agostino Carracci was his pupil. The following is a list of his best prints, not given in con nection with the masters from whom he copied. portraits. Cornelius Cort. Henricus IL, Gallorum Rex; oval. Catherine de' Medici. Don Juan of Austria; oval, with ornaments. 1578. Marcus Antonius Moretus; oval. Andrea Alciati; oval, with ornaments. Roger of Brussels, painter. - Theodore van Haarlem, painter. JoacMm Dionatensis, painter. SUBJECTS AFTER HIS OWN DESIGNS. The Birth of the Virgin. 1568. Conception of the Virgin. 1567. Presentation in the Temple. Repose in Egypt. 1568. Holy Family, S. Joseph presenting a Pear to the Child. The Last Supper. 1568. He engraved this subject twice. A Crucifix held above a globe by Angels. The Resurrection. 1569. S. Theodore overcoming a Dragon. S. Catherine crowned by two Angels. S. Veredina kneeling before an Altar. Two Landscapes with Shipwrecks. SUBJECTS AFTER FLEMISH ARTISTS BEFORE HE WENT TO ITALY. Adam and Eve with the Serpent; after Michael Coxcie. The Resurrection; after the same. 156S. 222 CORT. The Descent of the Holy Ghost; after the same. Christ Triumphant, with SS. Peter and Paul; after the same. Four plates of the Rich Man and Lazarus; after Hemskerk. The Parable of the Vineyard ; after the same. Four plates of the Parable of the Talents; after the same. Six plates of the history of Noah and the Deluge; after F. Floris. Six plates of the history of Abraham ; after the same. Six plates of the history of Jacob and Rachel; after the same. Ten plates of the labors of Hercules; after the same. Four plates of the history of Pluto and Proserpine; after the same. Bacchus and Venus ; 1566; after the same. The Immortality of Virtue, emblematical; 1564; after the same. The Descent from the Cross; after Roger van der Weyde. S. Roch; after J. Speckaii. 1567. S. Lawrence ; after the same. S. Dominic reading; after Bart. Spranger. Holy Family with Angels ; after the same. Crowning of the Virgin ; after Giles Moestaert. 1565. The Acad, of Painting ; after Stradan ; fine. SUBJECTS ENGRAVED IN ITALY. After Girolamo Mutiano. S. Peter walking on the Water. 1568. Christ crowned with Thorns. Christ bearing Ms Cross. The Descent from the Cross, with two ladders. The Descent from the Cross, with four ladders. Christ appearing to the Maries. S. Jerome meditating. A set of seven landscapes with figures, called " The Seven Peni tents:" S. John Baptist, Magdalene, S. Jerome, S. Onophrius, S. Hubert, S. Francis with the Stigmata, and S. Francis in devotion. After Clovio. The Annunciation. Adoration of the Magi, in the form of an Altar. Virgin and Child; half length. Christ preaching in the Temple. Baptism of Christ. The Crucifixion between the two Thieves. Another Crucifixion; a grand composition. 1568. The Dead Christ, with the Maries. Entombment of Christ. Christ appearing to Magdalene. Conversion of S. Paul. S. George and the Dragon. CORT. 223 After Taddeo Zucchero. Creation of Adam and Eve. Presentation in the Temple. Nativity; a rich composition. Holy Family, with S. John and a Lamb. Miracle of the Loaves. Entombment of Christ. Descent of the Holy Ghost. Martyrdom of S. Agatha. After Federigo Zucchero. Moses and Aaron before Pharoah. Birth of the Virgin. 1578. Conception of the Virgin. The Annunciation. 1571. The Nativity. 1568. Adoration of the Magi. Holy Family. Flight into Egypt. Woman taken in Adultery. Temptation of Christ. The Money Changers driven from the Temple. Resurrection of Lazarus. The Woman of Samaria. Christ on the Mount of Olives. Christ taken in the Garden. Death of the Virgin. Coronation of the Virgin. SUBJECTS AFTER VARIOUS MASTERS. Parnassus; after Polidoro da Caravaggio. Adoration of the Shepherds; after the same. Repose in Egypt; after B. Bassaro. Visitation of the Vhgin to S. Elizabeth ; after Marco da Siena. The Nativity; after (he same. Adoration of the Shepherds ; after Paris Romano. Holy Family; after F. Baroccio. Baptism of Christ; after F. Salviati. The Marriage at Cana; after Lorenzo Sabbatini. The Last Supper; after Livio AgreslL Stoning of Stephen ; after Marcello Venusti. S. Jerome penitent; after Riccio da Siena. S. Jerome in the Desert, with two Angels; after J. Parmensis. S. Margaret of Cortona; after Tempesta. A dance of Dryads ; after II Rosso. The Three Fates; after Giulio Romano. 224 CORT — COSSA. Cort, Henri de, born at Antwerp, 1742; died in London, 1810. Pupil of Antonissen and G. Herreyns. Many of his pictures, which are landscapes, are in collections in England, in which country he lived many years. They are well finished, and have rich foliage, with cool, silvery skies. He was fond of openings in heavy foliage, with bright light or sunshine between, which discloses buildings and other objects in the distance. Corte, Juan de la, born at Madrid (1587-1660). Painter to both Philip III. and Philip IV. He excelled in battle pieces and per spective views. Several of his works may be seen in Madrid. Cortese, Jacopo, called II Borgognone, born in Franche Conte (1621-1676). One of the most celebrated battle painters. Pupil of Cerquozzi. Many pictures are attributed to Borgognone which are the work of his imitators. In the Borghese Pal. there are two of his original works. Others are in the Pitti Gall. When in the height of his career, his wife died. He had not lived amicably with her, and was suspected of her murder. The sadness which this accusation induced led him to become a Jesuit. Besides his pictures he left a few etchings of battles, which are uncommonly effective in light and shade, and full of spirit. Cortona, Pietro Berrettini da, born at Cortona (1596-1669). One of the most prominent among that class of painters called machinists. His works prove that he had great talent, in spite of their incorrectness and superficiality. He attempted to dazzle by great effect rather than to satisfy judgment or good taste. He acquired a passing reputation by his inventive powers and ready execution, but is now more justly valued. He painted a ceilinn- in tho Palazzo Barberini at Rome, and frescoes in the l*itti Pal. in Florence. Some of his smaller pictures, good specimens of which may be seen in Paris, are pleasing in their bright, cheerful tints. Cortot, Jean Pierre (1787-1843). This sculptor excelled in design, but we find a want of deep feeling in expression. In the Chapelle Expiatore the group representing Marie Antoinette, sup ported by Religion, is his work. He also executed a group in the pediment of the Palais des Deputes, symbolical of the glory of France, and the relief of " Napoleon crowned by Victory" on the Arc de l'Etoile. Cosimo, Piero di (1441-1521). Pupil of Cosimo Rosselli. Said to have rivalled Leonardo in his early Florentine days. He was of a gloomy temperament, which is shown in his works, especially in the " History of Perseus," in tho Uffizi. His chiaro-scuro is good, but depth of feeling is wanting in his pictures. His principal works are in Florence, but there are specimens in the Louvre, Berlin Mus., etc. Cossa, Francesco. Little is known of the history of this painter. His name first appears in the history of Ferrara. in 1456. He went later to Bologna, where there arc two works of his, justly celebrated. COSSA. 225 DEATH OF S. MARY OF EGYPT. BY PIETEO DA COETONA. One is an altar-piece in the Gall, of Bologna, representing the Madonna holding the Child on her lap, with a saint on each side, and one of the donors of the picture kneeling. It was painted in 1474. There is much dignity in his figures; his faces are of a noble type, his outlines clear, his extremities well drawn, and Ms draperies broad ; but there is a fixedness in all that suggests statues as models, rather than living and moving beings. His wall painting in the Barracano is only uncovered on days of high festival. It represents an enthroned Virgin within a highly ornamented arch. On each side of the throne angels hold candelabra, and lower down are figures of a male and female who look up to Mary. It is said that they were portraits of Gio. Bentivoglio and Maria Vinzigucrra, and the picture was painted at the request of Bentivoglio. The Madonna was a miraculous one wMch Cossa restored, and added the portraits. It has been restored, so that portions only of Cossa's work remain. These are the female in profile, the angels, the frame of the Virgin and Child, and the architecture. Both are remarkable works for their time. 15 226 COSTA — COUSIN. Costa, Lorenzo, born at Ferrara (1460-1536). There is doubt as to who were the teachers of Costa, but it is easy to tell his earlier from his later works by the change and improvement in them. He painted much in Bologna, and his works may be seen in the churches and gallery of that city. In Ferrara, too, in the Constabili and other collections, there are pictures of his, and in most large collec tions in Europe. A "Dead Christ," at Berlin, is a good specimen of his manner. Among Bolognese artists he ranks next to Francia. He was his contemporary and co-worker. His color is less harmo nious and delicate than that of Francia, but it is more powerful. In some of his works the architectural parts are overdone, as was the rule in Ferrarese art. After the fall of the Bentivoglio, who had been his patrons in Bologna, Costa entered the service of the Gonzagas of Mantua, where he passed the remainder of his life, and executed as many more works as he had before done in Bologna and Ferrara. Cosway, Richard, born in Devonshire (1740-1821). An emi nent miniaturist. He did not confine himself to that branch of painting, but nothing that he did outside of it compared in excel lence with his miniatures, or added to his reputation. Small pictures of Venus, Cupid, etc., were his best subjects. There is a charminc refinement in his miniature portraits of ladies, which are rather pale or delicate in color, and often in white dresses with light backgrounds. Cotan, Juan Sanchez, born at Alcazar de S. Juan, 1561 ; died at Granada, 1627. A painter monk. A pupil of Bias del Prado. His finest pictures were for the Chartreuse of Granada. He was also a mechanic, and in the habit of repairing the water-pipes and clocks of the convent, making alarums, etc. The Mus. of Madrid has a fine bodegon, or kitchen piece, by Cotan, in which is a huge garden thistle, lying on a table surrounded by vegetables, while birds and fruits hang above. Cotes, Francis, born in London (1725-1770). A portrait painter who is justly celebrated for Ms pictures in crayon, in which he excelled. His painted portraits cannot be praised. Cotignola, Girolamo Marchesi da. Real name Marchesi ; called Cotignola from his birthplace (1475-1550). Pupil of Francesco Francia. His pictures prove him to have been a great artist. He had two distinct styles. The first was that of his master ; the other showed the effect of Roman study, the works of Raphael, etc. To the first belongs a " Coronation " in the Berlin Mus. There is much sweetness in the heads, but the arrangement of the picture is stiff and void of grace. A " Madonna" with kneeling Monks, in same Gall, shows his later manner. Courtois, Jacques. See Cortese. Cousin, Jean, born at Soucy, 1501. A painter, sculptor, architect, and writer. Little is positively known concerning him. He was ori°i- COUSIN — COYPEL. 227 nally a glass painter, and executed works of this kind at Sens. He is celebrated for his picture of the " Last Judgment," in the Louvre. It is in minute, hard style. P. de Jode engraved it in twelve plates. He was the author of a book of portraiture, pub lished in 1603, in Paris. The monument of Louis de Braze), in the Cath. of Rouen, has been attributed to Cousin. It is a beautiful work of the Renaissance style, and is more probably that of Jean Goujon, rather than Cousin. Couston, Nicholas, born at Lyons, 1658; died at Paris, 1733. He studied at Paris under his uncle (Coysevox) , and took the grand prize at the Royal Acad, at twenty-three. He went to Rome, where he studied principally the works of Michael Angelo and Algardi. He made a copy of the " Hercules," which is now at Versailles. After his return to France, he was much employed. His works, though executed with spirit, are wanting in the purity of the antique. His most important production was a colossal representation of the " Junction of the Seine and Marne." He also executed a bronze statue, representing the river Saone, for the city of Lyons. Some of Ms works are in the Cath. of Notre Dame. Couston, Guillaume, born at Lyons (16 78-1746). Brother of the preceding. He gained the grand prize of the Acad, and went to Rome. Returning to Paris, his reputation rapidly increased. Some of his best works were for the garden at Marly ; the bronze statue of the Rhone, at Lyons ; a bas-relief of " Christ with the Doctors," at Versailles ; and statues of Louis XIV. and Cardinal Dubois, in the Musee des Monuments Francais. Couston, Guillaume, born at Paris (1716-1777). A son and pupil of the preceding. He took the grand prize and went to Rome, and, in 1746, was appointed Professor of Sculpture, and Keeper of the Sculptures in the Louvre. He executed the sepulchre of the father of Louis XVI. ; a bronze of the " Visitation " in the chapel of Versailles, in bas-relief ; and a statue of St. Roch in the church of that saint. For the King of Prussia he made statues of Mars and Venus ; and a fine marble group for the Jesuits of Bordeaux, repre senting the " Apotheosis of St. Francis Xavier." Coypel, Noel, born at Paris (1628-1707). He was, when quite young, employed at the Louvre, and became an Academician in 1659. He was appointed director of the French Acad, at Rome, whither he went in 1672, and presided for three years with great honor. He painted the four easel pictures representing scenes in Roman history, now in the Louvre ; they were displayed in the Rotunda and much admired. After he returned to Paris he was employed at the Tuileries, and when seventy-eight years old painted the Vault of the ch. des Invalides, which was one of Ms best works. He also left the following etchings: — The Virgin caressing the Child; two sizes. The Holy Family. 228 COYPEL — CRAESBECKE. Coypel, Antoine, born at Paris (1661-1722). Son of the pre ceding. This artist has been much admired by some, and severely criticised by others. His grace has been called that of the dancing- master, and his effects too theatrical. But he was very popular, was much employed in the royal palaces, and made painter to the King. He also left a considerable number of etchings, some of which are very fine, and all are executed in a masterly and finished style. Coxcien or Van Coxcyen, Michael, born at Mechlin (1499- 1592). Pupil of Van Orley. He studied also in Rome, and became an imitator of Raphael; indeed, he has been called the Flemish Raphael. In the Antwerp Gall, there is a " S. Sebastian," and a " Triumph of Christ " by this master ; in the Mechlin Cath. a " S. Sebastian." His frescoes in the ch. dell' Anima at Rome are unim portant. His chef-d'ozuvre was a copy of the " Adoration of the Lamb " by the Van Eycks. He painted this for Philip II. of Spain, and was two years in completing it. Much of it is well executed. He is said to have received more than £300, besides his living while at work on it. This picture was formerly in Madrid, but was taken away by the French. Some portions of it are in the Mumch Gall. and some at Berlin. Coysevox, Antoine, born at Lyons (1640-1720). Before he was seventeen he had distinguished himself by a statue of the Virgin. He studied in Paris, and progressed rapidly. In 1067 he was engaged by Cardinal Furstenberg to go to Alsace to decorate his palace. This occupied him about four years. When he re turned to Paris he executed a statue of Louis XIV. and was com missioned by the province of Bretagne to make an equestrian statue of the same monarch. He became very eminent. Among his best works are : the tomb of the Cardinal Mazarin ; the tomb of the great Colbert, in S. Eustache ; the monument of Charles le Brun, in the ch. of S. Nicholas ; the statue of the great Conde ; the marble statue of Louis XIV. in the ch. of Notre Dame, etc. His bust by Lemoine is in the Musee des Monuments Francais. Cozens, John, died 1799. A landscape painter and drawing- master. He left many drawings, admirably executed, which are now highly prized by connoisseurs. Craesbecke, Joost Van, born at Brussels, 1608. Pupil of Adrian Brower. He painted the same class of subjects as his mas ter but did not equal him in color or execution. His works are very spirited. On account of having first followed the trade of a baker, and dying young (1641 ?), his works are rare. One of the best is in the Aremberg Gall, and represents his own atelier, with himself painting a group of men and women. This is undoubtedly his chef-d'oeuvre. Kugler says, " The arrangement is easy; the heads full of life ; the keeping in a cool harmony, and, with decided light- CRAESBECKE - CRANACH. 229 ino-, very delicate ; and the careful and spirited execution of solid impasto." Craeyer, Gaspard de, born at Antwerp (1585-1669). Pupil of Raphael Van Coxis of Brussels. A contemporary of Rubens, who, it is said, admired his works. He was also the friend of Vandyck, who painted his portrait. Craeyer's pictures were mostly of Bibli cal subjects. His color was subdued, but truthful ; he had a free, masterly touch, and his feeling for beauty sometimes borders on the ideal. He was much admired in his time, and fully occupied. Many of his works were very large ; they are well drawn, and, in spite of their formality, impressive by their dignity. In the Mus. at Ghent he may best be judged. The best picture of the number there, is the " Coronation of S. Bosalie by the Infant Christ." This picture was carried away by the French, and returned. The " Mar tyrdom of S. Blaize," in same Mus., was his last work, executed when he was eighty-six years old. In the Munich Gall, there is an im mense enthroned Madonna, with Angels, surrounded by Saints ; the lower figures are portraits of himself, his brother, sister, and nephew. He had no wife. His own head is fine. His portraits resemble those of Vandyck. The backgrounds of his pictures were sometimes executed by other artists. A Virgin and Child enthroned, with surrounding saints, in the Vienna Gall, is considered by some critics Ms chef-d' ozuvre. It is full of tender feelings. Works of his are also in the Louvre, Brussels Gall., etc. _ K ^_ - Cranach, Lucas, born at I y*&£& 5^18 ¦^Jj)^ Kranach (1472-1553). His V_^ WW ^Qi<37t^:=5^^v~^2 family name was Sunder. ' ^aV © jj;s style seems to have been formed by Matthew Griinewald. He painted religious, mythological, historical, and genre subjects ; he also painted miniatures, was an engraver, and made drawings for wood-cuts. His drawing is the poorest feature of his works. His color was good, his execution finished, and his inventive powers varied. His characteristics were cheerfulness and grace, rather than grandeur or dignity, though he . is not without the latter. He .retained his powers to the time of his death, and his works are numerous. The most important one is the altar-piece at Weimar. The centre of this represents Christ on the Cross, and his own portrait and that of Luther is introduced. His works are at Prague, Leipsic, Schneeberg, and Gotha, as well as in the galleries of Munich, Berlin, Augsburg, the National Gall., and some private collections. The " Fountain of Youth," at Berlin, is a peculiar picture. On one side of the fountain old women are with much trouble assisted into the water, and emerge on the other side with youth and beauty. They dance ; a feast is spread, etc., and the only sad thing is that the men retain their age and their gray locks. His mythological pictures are naive and somewhat graceful, but are almost burlesques upon good renderings of such subjects. He was successful in the representation of childhood, as is shown in his various pictures of Christ blessing little cMldren. Purely realistic subjects, such as hunting pieces, he treated well. His execution was GROUP FROM A PAINTING BY LUCAS CKANACH. so rapid that he was called " celerrimus pictor." He was in the ser vice of Frederick the Wise, and was retained by his two successors, John the Constant, and John Frederick the Generous. When the latter was a prisoner for five years, Cranach remained with him, to CRANACH — CRAWFORD. 231 cheer him by his art and his society. In Wittenberg he was much respected, and was elected Burgomaster. His prints are scarce and much prized. The following are some of the best. Copper-plates. Portrait of John Frederick, Elector of Saxony, with an Angel hold ing a Crown of Laurel; very scarce. Portraits of Frederick and John, two Electors of Saxony; half length ; one holding a Chaplet. 1510. Christianus II. Danorum rex, etc. Martin Luther, in a Monk's Habit. Temptation of Christ; L. C. W. ; very scarce. Wood-cuts. Half length of an Elector, with a Book, before a Crucifix; marked with the Dragon; 1552; scarce. Pliilip Melancthon ; full length. Emperor Charles V. ; full length. Emperor Ferdinand; full length. Adam and Eve in Paradise. 1509. The Annunciation. S. John preaching in the Wilderness. 1516. The Passion of Christ; in fourteen prints; entitled Passio D. N. Jesu Chrisli, etc.; 1509; very fine. The twelve Apostles; very fine. Paris dying on Mount Ida, visited by the three Goddesses; 1508; fine. M. Curtius plunging into the Gulf. The great Tournament 1509. The little Tournament. 1509. Cuts in Chiaro-scuro. S. George and the Dragon. S. Christopher carrying the Infant Jesus. 1507. Venus and Cupid. Cranach, Lucas, the Younger, died 1586. He formed Ms style after his father and Albert Diirer. In the principal ch. of Witten berg, there are several of his works, and they are also in the galleries at Munich, Dresden, etc. No doubt some of the pictures attributed to the father, were the works of the younger. He had grace and sweetness, and his color was often glowing. He was also a Burgo master at Wittenberg. Crawford, Thomas, born in New York, 1813; died in London, 1857. No striking event marked Ms youth, and his advance in art was a healthful and systematic process. Next to Bome, Munich is, of all the cities of Europe, severely critical of statuary. It is there- 232 CRAWFORD — CREDI. fore sufficient to establish Crawford's claim to eminence to say that,' at the time of the casting of his two great statues, that German city expressed its enthusiasm by the celebration of impromptu festivals. At the completion of the Beethoven, some of that composer's grand est music was performed under the united auspices of the court and the artists. When Crawford went to Munich to see his Washington in bronze, on the evening of his arrival, he was surprised to find it in the midst of a large and gloomy arena; but suddenly, as he ap proached, numberless torches flashed their light upon Ms work, and a hundred German voices greeted him in a triumphant song. For years the studio of Crawford was one of the homes of travellers in Rome, and he became, through his works and the charm of his manners, the friend of the lovers of art in every country in which the word art is used. The following are his principal works and the places where they may be found : The statue of Beethoven, Boston Music Hall; statue of James Otis, Chapel of Mount Auburn; the " Indian," New York Historical Society; the " Orpheus," " Adam and Eve after the Expulsion," a " Shepherdess," and a bust of Josiah Quincy, Boston Athenaeum; a statue of " Flora," New York Central Park; " Chil dren in the Wood," owned by Hon. Hamilton Fish, New York; "Boy Playing Marbles," by Hon. Stephen Salisbury, Worcester, Mass. ; the bust of his wife when a bride, and several busts of Washington were owned by the late John Ward, of New York. His most elaborate monumental works are in Washington, D. C, and. Richmond, Va. ; while his "Pandora," "Dancing Jenny," — for which Ms daughter, now deceased, was the model,— " Cupid," "Genius of Mirth," "Flora," "Indian Woman," "Hebe and Ganymede," "Mercury and Psyche," "Daughter of Herodias," "Aurora," "Peri," etc., as original or repetitions, are widely dis tributed. Crawford executed no less than twenty-two bas-reliefs from classic, Scriptural, and other subjects. Eighty-seven plaster casts of his works were presented by Louisa W. Crawford to the commissioners of the Central Park, and are now arranged in a building where they can be seen by visitors. His works embody the history of his life, in which there were few remarkable events. The disease of which he died was extremely painful, a tumor on the inner side of the orbit of the eye. The pressure on the brain was removed by medical skill, and he retained his mind until his last moment. His remains were brought to New York and interred at Greenwood. As we consider his life, it .would almost seem from the ' intensity of his application and the results of his labor, that the time of his early death had been revealed to him and urged him on to work while Ms day lasted. Credi, Lorenzo di, died 1537. A fellow-pupil with Leonardo da Vinei under Andrea Verocchio. He surpassed his teacher, but not Leonardo. His favorite subjects, and those in wliich he best sue- CREDI — CRIVELLI. 233 ceeded, were Madonnas and Holy Families. His best pictures arc in Florence, at the UfHzi, and an " Adoration of the Shepherds," formerly in S. Chiara, now in the Acad., is one of his happiest efforts. There is a Madonna and Child with Saints, in the Louvre, which Vasari called Ms capo d'opera. The Berlin Mus. has fine specimens of the pictures of Credi, and there are two small, but characteristic ones in the National Gall. Credi copied the works of Leonardo most successfully. Cresilas. A sculptor of Athens who competed with Phidias, Poly cletus, and Phradmon in making the statue of an Amazon for the Ephesian temple of Diana. A " Wounded Amazon " in the Capitol at Rome, is believed to be a copy of that by Cresilas, who took, as we are told, the third rank in the contest. He also made a beautiful bust of Pericles, and there are three now existing which have some claims to being copies of it; they are in the Vatican, the British Mus., and the Glyptothek at Munich. Crespi, Gio. Battista, called II Cerano from his birthplace (1557- 1633). One of the most eminent pupils of the Procaccini school of Milan. He was mannered, but he was also powerful. The Brera has some excellent works of Ms, and there is a fine one in the Berlin Mus. He was also a sculptor and architect, and executed the colos sal statue of S. Charles Borromeus, in the Lago Maggiore, for his patron, Card. Borromeo. Crespi, Daniele (1590-1630). Son of the preceding. Also dis tinguished among Milanese painters. Crespi, Giuseppe Maria, called Lo Spagnolo di Bologna (1665- 1747). Pupil of Cignani. He had a capricious fancy, and was tempted to caricature, even in religious subjects. His manner of working was as coarse as that of Ms master was fine. His execution was free, but in some cases so slight, that parts have disappeared. His figures sometimes appear to be thrown upon the canvas. Of his works at Dresden, that of the " Seven Sacraments " is remarkable. The " Cumsean Sibyl," at Vienna, is a good specimen of his style. He was a good copyist of the old masters. He left several etchings from his own designs. Cristofori, Pabio, and his son, Pietro Paolo. Two fine'mosaists. They executed for S. Peter's the " Communion of S. Jerome," after Domenichino; the " S. Petronilla," after Guercino, and the "Bap tism of Christ," after Carlo Maratti. Crivelli, Carlo, born at Venice. His earliest known work is dated 1468, and his latest, 1495. He was one of the best of the tempera painters of Venice. His pictures are well executed, and not badly colored, but they are hard and ugly in expression. He was fond of painting garlands of flowers, or fruit on gold grounds, as ornaments to his pictures ; these were excessively rigid in effect. When his works are chronologically studied, there is much interest in tracing 234 CRIVELLI — CROME. the changes and improvements in his manner. The honor of knight hood was conferred on Crivelli in 1490, by Prince Ferdinand, of Capua. Some of the best works of this master in any Gall, are in that of London. The Brera, Berlin Mus., Borghese Pal., Vatican S. LUCIA. BY CRIVELLI. Gall., and Kensington Mus., all have his pictures. A "Pieta "of 1493, now in the Oggioni Coll. at Milan, was his best and probably last work. He had much talent, but his pictures are not pleasant. They are very numerous, and are in many private collections and in the churches of Massa and other places. Crome, John, born at Norwich (1769-1821). A good landscape CROME — CUYP. 235 painter. His sun effects and moonlight scenes are especially excel lent. Sandy or pebbly beaches he also painted well, and his water views were made effective by bright lights thrown on the water in the distance. His color is sometimes very rich. He also left some etchings, which are good. Cross, John, born at Tiverton (1819-1861). Studied in Paris. In 1847 he gained a prize of £300 for his picture of " Richard Coeur de Lion forgiving Bertrand de Gourdon," which was purchased by the English government, and is now at Westminster Pal. For several years he sent pictures to the Exhibition, but in the end his " Storm Scene on the Cliff's " was rejected by the Acad. He died in great poverty, and broken-hearted at his want of success in the art he loved. Curia, Francesco, born at Naples (1538-1610). This artist painted several imposing altar-pieces for churches in Naples. That in S. Maria della Pieta has been a model to Neapolitan painters. Curradi or Currado, Francesco, born in Florence (1570-1661). Pupil of Battista Naldini. His best works were historical subjects, easel size. Two of Ms finestonos are in the Florence Gall. Cuyp, Jacob Gerritze, called Old Cuyp, born at Dort (1580?- 1642?). Although much eclipsed by his son, this artist merits hon orable mention. A pupil of Abraham Bloemaert. He painted land scapes and battle pieces, but excelled most in portraits. He was skilful in the arrangement of family groups. His color was fine, and may be described as sunny. Berlin Mus., No. 743; Amsterdam Gall., No. 60. Cuyp, Albert, born at Dort (1606-1672). Son and pupil of the preceding. Little is known of the life of this great painter. His favorite subjects were landscapes, with cattle and other animals. Frequently they were lying beside a river. He also painted winter scenes with good effect; still-life, fowls, hens, ducks, etc., were all painted by him. He was remarkable for Ms atmospheric effects, and as we look at his pictures we can almost feel the chill of the damp morning, or the heat of the high noon which he has painted. His colors, too, are managed with great skill; and the contrasts of light and shade, of dull and bright, were perfectly understood by him. But there is a certain monotony in the heads of his cattle; and his pictures were never very carefully finished. He was not appreciated for a long time, and his paintings had no large sale even at moderate prices. The English first gave them their proper value, and many of them are in England, both in public and private collections. Smith's Catalogue numbers 336 of his pictures. No. 53, National Gall., is called his masterpiece, and represents a morning landscape with two cows reposing in the foreground, and a woman talking with a horseman. Some of his works are in the Munich Gall, and the Louvre, but are wanting in most Continental collections. 236 D ADDI — D AMER. D. Daddi, Bernardo, born at Arezzo. Flourished about 1355. Pupil of Spinello Aretino. Some of his works remain in Florence, and his name is among those who approved the original statutes for the founding of the Compagni of Florence. The object of this so ciety was the meeting together of artists to afford each other assist ance, and to thank God for the prospered state of art at that time. It seems to have been largely a religious institution, and assem bled in a chapel of S. Maria Nuova. Daelliker, John Rudolph (1694-1769). A Prussian portrait painter who lived at Zurich and Berne several years, and then studied in Paris, after which he returned to his own country. His drawing was correct, his color beautiful, and his execution masterly. Dalil, Michael, born at Stockholm, 1656 ; died in London, 1743. After visiting France and Italy he settled in England, where he made a fine reputation as a portrait painter. Dahl, John Christian (1788-1857). A Norwegian landscape painter. Pie was intended for the Church, but he loved art too well to devote himself to anything else. In 1811 he went to Copenhagen and found friends who enabled Mm to study at the Acad. Before this he had received but little instruction. He went afterwards to Dresden, and later, in the suite of Prince Christian of Denmark, he visited the Tyrol and Italy. He was an acute observer, and an accurate imitator of nature, and represented her well in various forms ; but his best works were representations of stormy northern seas, although his Italian skies and sultry atmospheric effects, and his Tyrolese passes, are well painted. His works are to be seen in all parts of Europe ; some are in America, but the larger number are in the galleries of Copenhagen and in Berghen, his native city, and other places in Norway. Dalmasio, Lippo di, born at Bologna. Flourished towards the end of the 14th century. Called " dalle Madonne," on account of-the beauty of Ms Madonnas. It is said that his works were done in oil colors, which is interesting in connection with the much-discussed question of the time when these were first used. Damer, Hon. Anne Seymour (1748-1828). A distinguished sculptor. Daughter of Field-Marshal Conway. While still young, in conversation with Hume, Miss Conway criticised some pVter casts they had seen. Hume told her it was more easy to criticise than to do better. She immediately obtained some wax and mod elled a head which she showed him. It had merit enough to surprhe him, but he suggested that it was much more difficult to chisel than to model. She then proceeded to execute a bust in stone, which, though rude, demanded his admiration. From tMs time she devoted DAMER — DANIELL. 237 herself to art. She studied under Ceracchi, and in the studio of Ba con acquired the technicalities, and learned the elements of anatomy from Mr- Cruikshank. She visited Italy in order to better study Grecian art, and endeavored always to imitate its pure and simple style. She married the Hon. John Damer in 1767, but the marriage was an unhappy one, and he committed suicide in 1776. She had travelled considerably and had written some things which she at one time intended to publish, but in her will she commanded all her papers to be destroyed, and among them were not only her MSS. but many interesting and valuable letters. She declared that the distinction of being an artist was all that she desired, and requested that her working apron and her tools should be placed beside her in her coffin. She executed a large number of works, among which are the following: A marble statue eight feet high, in the Registry Office, Edinburgh ; two colossal heads in Portland stone, which orna ment the key-stone of the bridge at Henley -upon- Thames; a bust of Fox, which she presented to Napoleon Bonaparte in person in 1815, and in return for which she received a snuff-box with the portrait of the emperor set in diamonds; a bust of Lord Nelson, who was her friend, and sat for this bust immediately after his return from the Battle of the Nile; this she presented to the city of London, and it is in the Common Council Chamber at Guildhall ; busts of her father, of Sir Humphry Davy, of her mother, and of herself One of the latter is in the Royal Gall, at Florence, and another is in the British Museum. Danby, Francis, born in Wexford County, Ireland (1793-1861). He was most successful as a painter of calm evenings at sea ; gen erally sunset scenes, with wMch he frequently connected some poetic incident or sentiment. Dance, Sir Nathaniel, born in London (1734-1811). Pupil of Francis Hayman, and travelled in Italy for improvement during sev eral years. He painted in various styles. Some of Ms portraits are likened to those of Sir Joshua Reynolds. Some of his works remind one of Hayman or of Hogarth, and again they are more like Italian paintings. Dance married a fortune, had a seat in Parliament, was made a baronet, and took the name of Holland. He did not abandon painting entirely, but sometimes sent works to the Exhibition as an amateur. Dandini. The family of artists by this name were quite important in theh time. The most distinguished was Vincenzo, a pupil of Pietro da Cortona, whose style he imitated. Some of his works remain in Florence. He died 1675. Daniell, Thomas, born at Kingston-on-Thames fl 749-1840). Dis tinguished for pictures of Oriental scenery. Together with . his nephew, William Daniell, he passed ten years in India, and made illustrations for a work descriptive of that country, wMch was pub- 238 DANIELL — DAVID. lished in six volumes, in 1808. Their works are so united that they must be considered as almost one artist. Dannecker, Johann Heinrich, born at Stuttgart (1758-1841). He gained the prize in the Acad, founded by the Duke Charles Euo-ene. His statue was that of Milo. This entitled him to the royal pension, with which he went to Paris, from there to Rome, where he remained seven years, and then returned to Wurtemburg to be appointed Director of the Acad, with 15,000 fr. a year. For fifteen years he was considered a fine sculptor, but his health failed, and others of his country surpassed Mm. There was a delicate feeling for nature, and noble expression in the heads of Dannecker, and his figures were light and graceful. The " Ariadne " in the coll. of M. Bethmann of Frankfort is one of Ms best known and most admirable works. He also executed a Cupid, a statue of Alexander, and the monument of Count Zeppelin. His figure of Christ, upon which he labored eight years, belongs to the Emperor of Russia. His statues and portrait-busts are numerous. The " Maiden lamenting the Dead Bird " is fine; in Stuttgart, on a fountain in Neckar Street, there is a Nymph pouring out water, and on a reservoir in the palace gardens two reposing Nymphs, which display the fine arcMtectural taste of this master. Dante, Girolamo, celebrated for his copies of Ms master, Titian. Sometimes, it is said, Titian finished his works with a few strokes, and then it was impossible to see that they were copies. His own desio-ns were meritorious. There is a good work attributed to him in S. Giovanni in Olio. Dario da Treviso. Flourished about the middle of the 15th century. Disciple of Squarcione. But one of his pictures remains, and that is a " Virgin of Mercy " in the Bassano Gall. It was the custom, in his time, to paint the outsides of houses, and many deco rated by him are seen at Serravalle, Conegliano, and Treviso. Daulle, Jean, born at Abbeville (1703-1763). One of the most eminent and excellent engravers of his time. Daven, Leon, called also Daris and Danet, an engraver whose birthplace is not known. He distinguished himself in Florence and Rome about 1540. When Primaticcio went to France, Daven ac companied him, and engraved plates after his works. His plates are esteemed by collectors. They are frequently marked with his ini tials, L. D. David, Gerhard, born at Oudewater. Settled at Bruges 1487, and died there 1523. In the Acad, of Bruges there are two of his pic tures illustrating the judgment of Cambyses upon the unjust judge, Sisamnes. The first represents his seizure, and the second his flay ing. Herodotus says that the son of Sisamnes succeeded his father in office, and that his judgment-seat was covered with his father's skin. The pictures of David have the figures three quarters life size. DAVID — DEAS. 239 They are well colored, and the heads are expressive, but the subject of the second is too horrible. In the same Gall, there are also two miniatures on vellum by this artist. David, Jacques-Louis, born at Paris (1748-1820). He was con sidered the first master in modern art, at the close of the 18th cen tury. He had great power, but his taste and judgment may well be questioned. So great was his admiration for the antique that his pictures are repetitions of the ideal Greek physical proportions, and his costumes might be called heroic Greek. Some of his works are merely groups of statues — the flesh is as hard as marble. He was active in the revolution, but returned to the practice of his art. Napoleon honored Mm, and he painted the " Passage of S. Bernard," and other scenes from the life of the Emperor. After the return of the Bourbons, David was banished, and lived in Brussels, where he executed many of Ms best works. His family were not allowed to bury him in France. David, Pierre Jean, born at Angers (1789?-1856). He went when young to Paris to study sculpture. He was in very poor cir cumstances until he by some means made the acquaintance of David the painter, who instructed him gratuitously, and otherwise assisted him. In 1811 he obtained a prize which secured to Mm a pension, and enabled him to go to Rome. He studied closely, and upon his return to Paris was constantly employed. He executed many colos sal works, large numbers of busts, and more than 90 medallions. Among his works may be mentioned the statue of Mme. de Stael ; that of Talma, for the Theatre Francais; colossal statue of King Bene at Aix; Fenelon's monument at Cambray ; statues of Cuvier; one of Jefferson in Philadelphia, etc., etc. He executed busts of Goethe, Schelling, Dannecker, and many others. He was a Knight of the Legion of Honor, a member of the Institute, and a Profes sor in the Acad, of Painters, besides belonging to other academies. He is called David of Angers to distinguish him from David the painter. Dawe, George, died 1829. An English portrait painter who went to Russia, and is said to have painted 400 portraits of the leaders of the Russian army which fought against Napoleon I. Deas, Charles, born in Philadelphia (1818 ). From his ear liest youth his inclination for art was plainly manifested. He was of a nervous temperament and strangely sensible to color. He. had executed several pictures when he saw Catlin's Indian Gallery. From tMs time he desired to represent scenes from Indian life, and as his brother was stationed at Fort Crawford, every opportunity was his for the study of theh wild habits and customs. He at tended their councils, feasts, dances, etc. He established himself at St. Louis, and there found patronage and appreciation. Ho was deranged in his later life, and died in an asylum where he had been 240 DEAS — DELACROIX. for a long time. The following are the subjects of some of his pic tures : " Long Jake; " " The Trapper; " " The Wounded Pawnee; " two scenes from the history of Wenona ; "The Last Shot;" " Plunters on the Prairie," etc. Decamps, Alexander Gabriel, born at Paris (1803-1860). A painter of landscapes, animals, and genre pictures. He often repre sented Eastern scenes with striking lights and effective contour. At the Paris International Exhibition of 1855, there were forty-four paintings besides drawings by this artist. His subjects were always popular, because illustrative of the life about him. He was thrown from his horse against a tree, and killed, while hunting in the forest of Fontainebleau. Decker or Dekker. There are nine artists of this name men tioned by different writers, and the confusion concerning them is so great, that it is quite impossible to give a clear account of any one. The Decker lived in the 1 7th century, and painted pictures closely resembling those of Ruysdael, and like the latter excelled in represent ing river scenery and running water. His works are well finished, his perspective correct, his cottages well done, and though Ms tone of color is sometimes dark, he relieves it by silvery skies. His works are placed in the most important collections. The figures in some of his pictures were painted by Adrian Van Ostade and A. Van de Velde. Deelen, Dirk Van, born at Heusden. Flourished from 1640 to 1670. He painted architectural subjects, both exterior and interior. His perspective was good, his color clear and pleasing, and Ms exe cution finished. His indication of separate forms is somewhat too prononce, and reminds us of older artists. The figures in his pictures were done by others. His works are not numerous in public galleries. The Vienna Gall, has two of the finest, both representing grand buildings with columns. At the Mus. of the Hague, there is a view of the Binnenhof with the last great meeting of the States General, which took place in 1651; Berlin Gall., a view of antique buildings, dated 1647, clear and delicate in tone. One of Ms best pictures in England is a church interior in the coll. of Mr. H. T. Hope. Delacroix, Eugene, born at Charenton, S. Maurice (1799-1863). Under the Directory, his father had been Minister of Foreign Affairs, and held other offices of honor. The son had the prospect of some fortune, but all was lost, and he was obliged to struggle hard for the barest necessities of existence. He entered the studio of Guerin when eighteen years old, and there became the friend of Gericault. He first exhibited in 1822, and his subject was that passage from Dante's " Inferno " in which the poet recognizes some of his old townspeople among the condemned who float upon the lake which surrounds the infernal city. This work made a great impression. It was purchased for the Luxembourg Gall. Baron Gros was so DELACROIX — DELFT. 241 much pleased with it, that he invited Delacroix to his studio, and assured him he could obtain the " prix de Rome." But Delacroix was not anxious to follow in the accepted path, and so offended those in power, that he received no large commissions, and after painting the " Massacre of Scio " (Luxembourg Gall), and " Sardanapalus," he was compelled to execute small works for private collections as a means of support. He also designed illustrations for " Faust " and " Hamlet." The former were approved by Goethe himself. In 1830, he went to Spain, Algiers, and Morocco, and on his return painted a picture of three Algerine ladies smoking the narghile. He now found a patron in M. Thiers, Minister of the Interior under the new order of things, and received orders for the decoration of the Throne-room in the Chamber of Deputies. He was severely criticised by other artists, but his work when finished was magnificent in effect. He was prosperous from this time, and some of his large pictures were placed at Versailles; others are in many of the churches of Paris, and another important commission was given him in the library of the Chamber of Peers. His works, when considered as a whole, are powerful in the extreme, but lose their effect when examined in portions. His color was rich and bold, his design free and spirited, and Ms expression well suited to his subject. His works are nu merous and varied in character. He became a member of the Insti tute in 1857. Delaroche, Paul, born at Paris (1797-1856). Pupil of Baron Gros. A great painter. His best works are illustrative of subjects of much interest, such as the " Death of the Duke de Guise," 1835; " Napoleon at Fontainebleau," 1847; " Cromwell contemplating the Remains of Charles I. ; " " Condemnation of Marie Antoinette," etc. His largest work is the " Hemicycle," in the theatre of L'Ecole des Beaux Arts, at Paris. It contains seventy-five life-size figures, and employed Mm three years. It represents the arts of different coun tries and times, by groups of portraits of the artists of those times and nations. Delaroche married the daughter of Horace Vernet, and it is said that the figure which symbolizes Gothic architecture is her portrait. The pictures of Delaroche appeal forcibly to the hsart. His design was in a good degree academical, or uniform, but many of his works are free from conventionalities. His color has rarely been excelled, and in some of Ms small religious pictures, there is sentiment of a high character. He was a member of the Institute, a, professor in L'Ecole des Beaux Arts, and received the Cross of an officer of the Legion of Honor. His principal works have been well engraved by S. W. Reynolds, Desclaux, Henriquel-Dupont, Martinet, A. and J. Francois, and other fine engravers. Delft, Jacob. A Dutch portrait painter of the 16th century. There is a very remarkable female portrait by him in the Stadel In stitute, at Frankfort. 16 242 DELFT — DESPORTES. Delft, Johann William, born at Delft. Son of the pre- ds ceding. There is in the H6tel de Ville, at Delft, an archery C) piece dated 1592, by this artist. But he was a better en graver than painter, and at length gave all his time to that art. He engraved many portraits, especially after Mirevelt, whose daughter he married. His heads are finely drawn. Delli, Dello, born about 1404. He was about twenty years old, when his father, who was keeper of the fortress of Montecerro, sur rendered to the Duke of Milan. For tins' he was sentenced to death, and fled to Sienna. From here they wfent to Venice, and at last Dello emigrated to Spain, and lived in Seville many years. He gained a fortune and the title of " Cavaliere," which was recognized in Florence upon his return to Italy. In the ch. of S. M. Novella, at Florence, there are twenty-four pictures representing episodes from the Genesis, said to be the work of Dello. These are very weak and imperfect, and it does not appear that one who painted them could have gained reputation for excellence in any country. Dello was the friend of Paolo Uccelli, and it is said that the latter painted the portrait of Dello, in the figure of Shem, in his picture of the " Drunkenness of Noah." Delmont, real name Deodat van der Mont, born near Antwerp (1581-1644). The earliest scholar of Rubens. His works arc very rare. No. 300, Antwerp Mus., is a representation of the " Trans figuration " by him, and has no great merit. Denis or Denys, Simon, born at Antwerp (1750-1815). He pain'ed landscapes and cattle. He resided many years in Italy, and died in Naples. His botanical representations are fine and very accu rate. His works are much valued. Denner, Balthasar, born at Hamburg (1685-1749). If the exact and toilsome imitation of nature would make a great artist, Denner would be at the head of the first rank. His best works are bust portraits of old people, with not a freckle, a hair, a wrinkle, or a speck left out. Two very striking pictures of this kind are at Vienna; another, No. 1014, Berlin Mus. But he sometimes painted family groups and other likenesses, and many of his portraits remain at Schwerin, where he was much employed by the Duke of Mecklen burg- Schwerin. His miniatures executed late in life, both in oil p.nd water-colors, are very fine. In the city library of Hamburg, there is a series of these in water-colors. Desplaces, Louis, born at Paris, 1682. An eminent engraver. His best plates are after Jouvenet. He used both point and graver. Desportes, Francois, born at Champigneul (1661-1743). An eminent painter of animals, especially dogs. He was a great favorite with Louis XIV., who employed Mm in the palaces of Versailles, Fon tainebleau, and Meudon, and gave him the office of painter to the king. His own portrait, as a sportsman with dead game and a dog, DESPORTES — DIEPENBECK. 243 painted by himself, is in the Louvre. Desportes was without doubt in England, and painted some pictures there. Detroy, Jean-Francois, born at Paris (1679-1752). This artist passed many years in Italy, was Director of the French Acad, at Rome, and President of the Acad, of S. Luke. He painted a variety of subjects; large altar-pieces, genre subjects, and myths and stories for the Gobelins' tapestries. His execution was very careless, but his designs exhibit great ability. In the Louvre is one of his best works, dated 1 732, and representing the first Chapter of the Order of S. Esprit, held by Henri IV. in the convent of the Grandf-Au- gustins. Deutsch. See Manuel. Devis, Arthur, born at Preston, Lancashire (1708-1787). He could not be termed a miniaturist, and yet his portraits were small, often full lengths 15 or 18 inches high. He gave them the appear ance of fancy sketches by putting them in a room or in a landscape, and paying great attention to all the details of finish. His color was cool, but Ms heads are very expressive, even when thinly painted. Devis, Arthur 'William (1762-1822). Son of the preceding. He painted life-size portraits in a somewhat theatrical style. When but twenty years old he was appointed draughtsman to the East India Company, and started for a voyage round the world. He suffered shipwreck and many hardships, but at length reached Bengal, where he painted for a time. Returning to England he executed historical subjects, one of the best of which is the " Death of Nelson," at Greenwich Hospital. He grouped his figures well, and his portraits were full of character; he made good use of light and shade, but his color was brown and thin. Many of his portraits are excellent. Diaz, Diego Valentine. A Spanish painter of architecture and Mstory. He founded a hospital for orphans at Valladolid, and his most creditable work was done there. In the Mus. at Valladolid there is a " Holy Family " by Diaz. Diepenbeck, Abraham van, born at Bois-le-Duc (1607-1675). This artist was originally a painter on glass, and the windows of a chapel in the Cath. of Antwerp were Ms work. Pie spent a long time in Italy, and went, also to England. His whole manner shows that he was the pupil of Rubens ; but he used more impasto than his master, his colors are more blended, and the whole work smoother. He was a figure painter, decidedly, but Ms backgrounds were well done and very varied, embracing lake and river scenery, houses and terraces, landscape and sea. He also painted animals well, and loved to represent horses. Antwerp Mus., "Ecstasy of S. Bonaven tura; " Vienna Gall., " Vanity of all Earthly Things ; " Berlin Mus. and Louvre, " Cloelia fleeing from Porsenna." His chef-rP ozuvre was long attributed to Rubens, and is the altar-piece of the ch. of Deurne, near Antwerp, representing " S. Norbert giving the Cross and his 244 DIEPENBECK — DIETRICH. Benediction to Waltman, first Abbot of S. Michel." Perhaps no works of Ms so well display Ms powers of invention as the designs he made for engravers, among which were those for " The Temple of the Muses," engraved by Cornelius Bloemaert. Diest, Adrian van, born at the Hague (1655-1704). A land scape painter of some merit. He occasionally painted portraits also. His pictures would be called decorative works, but they are bold and spirited in effect. His skies were pale blue, and his whole tone of color silvery gray ; sometimes he made large gray clouds with lighted edges of a delicate yellow. His men-of-war and fishing boats were good, and his foreground figures spirited. He executed a few etch ings from his own designs, in a slight, masterly manner. Dietisalvi, Petroni. In the latter part of the 1 3th century it was the custom to have the registers and books of the public offices adorned with paintings of the arms of the people and " commune," or with portraits of the officers who kept the books. Dietisalvi painted in 1264 and 1269 two such book-covers, wMch are now pre served in the Acad, of Arts at Siena. They are very curious and interesting on account of their authenticity and age. M. Ramboux, of Cologne, made a full collection of these curiosities, and amono-them was a portrait by Dietisalvi. Dietrich, Christian Wilhelm Ernst, born at Weimar (1712- 1774). Pupil of Ms father and Alexander Thiele. He especially loved the painting of pasticci, and succeeded well with the works of Rembrandt, Everdingen, Ostade, Poelemberg, Heinrich Roos, and Salvator Rosa. He had no originality, and his color and execution were subject to much criticism, yet he had great popularity and Ms works are numerous. The Dresden Gall, has 51, and all the Ger man galleries have specimens of his brush. In the National Gall, the " Wandering Musicians " is an unusually good work of this artist. The engraving of Wille has made it well known. But Dietrich was more worthy of praise for Ms etchings than for his paintings. These can only be admired, and as he often destroyed Ms plates after mak ing a certain number of impressions, some of Ms prints are now rare. Among these are the following: — Lot and his Daughters; scarce. Abraham going to sacrifice Isaac; 1730; scarce. Another of the same subject differently designed; very scarce. The Repose in Egypt; 1732; scarce. Descent from the Cross; style of Rembrandt; 1730; scarce. The Disciples at Emmaus ; extremely rare. Famine and Pestilence; 1731; very scarce. Nero dying, tormented by Furies and the Shade of his Mother; scarce. Jupiter and Antiope ; 1735; one of the best; scarce. DIETRICH — DOLCI. 245 The Alchymist in his Laboratory; 1731; style of Rembrandt; scarce. Dobson, William, born in London (1610-1646). Pupil of Robert Peake. Dobson was a portrait painter of much merit. His color was good and Ms drawing excellent. Vandyck was attracted by the sight of one of his pictures, sought Mm out, and recommended him to Charles I. After the death of Vandyck, the king gave Dobson the appointment of sergeant-painter to Ms Majesty. His pictures in some points resemble those of Lely and Vandyck, but the resemblance is not sufficient to lead to any confusion in theh works. His portraits have much dignity, and the face shadows are sometimes very dark. He did not succeed in historical subjects. He lived extravagantly, and was poor and dissipated at the time of his death. Does, Jacob van der, born at Amsterdam (1623-1673). Pupil of Nicholas Moyaert. He went to Rome when the works of Pieter van Laer were very much in vogue, and Does adopted the same class of subjects, which were scenes from peasant life, markets, robber- subjects, etc. The landscapes of Van der Does were principally Italian, and he introduced sheep and goats successfully. His works are rare in public galleries. There is a fine one in the Vienna Gall. It represents an antique fountain around which a flock of sheep and a laden mule are resting, with a shepherdess and some cMldren near. The clearness and power of color suggest Rembrandt. Brunswick Gall., No. 41, is another fine work of this master. He executed one etcMng, dated 1650, which represents five sheep, and is as good as his pictures. Does, Simon van der. Son of the preceding (1653-1717). He painted the same subjects as his father, and also small portraits and domestic subjects. He did not equal his father. There are three of his works in the Amsterdam Mus. He also etched a few plates of landscapes with cattle. Dolci, Carlo, born at Florence (1616-1686). School of Matteo Rosselli. He painted few historical pictures. His best works were Madonnas and penitent Saints. These he painted with great delicacy and grace. There was also much sentiment in them, which sometimes became affectation. There is a great difference in the quality of his works, but they are all valuable. They are not rare in galleries. His most important historical picture is in the Pitti Pal. It represents S. Andrew praying by the Cross, previous to his execution; and is dated 1646. He especially excelled in the painting of the hands. His representations of the Mater Dolorosa, S. Apollonia, and the Magdalene are very beautiful, and find many passionate admirers. He had many imitators, and his pictures were often copied. This was done best by his daughter Agnese, who also executed original works, but never equalled her father. 246 DOLCI — DOMENICHINO. ENGRAVINGS AFTER THE WORKS OF CARLO DOLCI. Engraver, Baron, Bernard. S. Cecilia. Engraver, Bartolozzi,, Francesco. Madonna and Child. Engraver, Basan, Francis. Christ breaking the Bread. Engraver, Cardon, Anthony the Younger. Salvator Mundi. Engraver, Earlom, Richard. The Virgin and CMld with S. John ¦ Salvator Mundi. Engraver, Faucci, Carlo. The Martyrdom of S. Andrew, Engraver, Garavaglia. Bust of Mary, Mater pulchrce dilectionis. Magdalena with the oil-flask. Engraver, Kilian, Philip Andrew. Daughter of Herodias with the Head of S. John. S. Cecilia. Engraver, Marri, G. Carlo Dolci, after himself. (Tosti ColL) Engraver, Rossi, Andrea. A Bust ofthe Virgin. Domenichino, real name Domenico Zampieri, born at Bologna (1581-1641). The most distinguished painter of the school of the Carracci. His originality was not large, but his expression and color command admiration. He has been often criticised for allow ing the auxiliary parts of his works to detract from the interest of the principal figure. It is true that he did tMs ; par exemple, in Ms picture of " S. Cecilia bestowing her Goods," it is not the Saint her self who holds the attention, but the group of poor people below who struggle for the gifts tM'own from the balcony above, and who are most powerfully represented ; and in the " Scourging of S. Andrew," the women thrust back by the executioners are the great excellence of the work. He imitated the designs of other artists, but not with servility, for there is individuality in Ms heads, as well as grace and a noble beauty. His most noted work is the " Communion of S. Jerome, " in the Vatican, considered by many second only to Raphael's " Transfiguration," among all the pictures in Rome. His other impor tant works in Rome are, the " Four Evangelists " in the pendentives of the Cupola of S. Andrea delle Valle; two scenes from the life of S. Cecilia, in S. Luigi; " Scourging of S. Andrew," in chapel of that saint on Monte Celio ; the "Martyrdom of S. Sebastian," in S. M. degli Angeli; " Diana and her Nymphs," Borghese Gall. Other famous pictures of his are, " Scenes from the Life of the Vhgin " in a chapel of the Duomo at Fano; the " History of S. Nilus " at Grottaf errata; a " Guardian Angel defending a Boy from Satan," Studj Gall., Na ples; an "Inspired S. John," S. Petersburg, coll. of Prince Narisch- kin; same subject at Castle Howard; "Pious Women dressing the Wounds of S. Sebastian," Stadel Institute, Frankfort: and the "Mar- trydom of S. Agnes," Bologna Gall. His most important work at Naples was a series of subjects from the life of S. Januarius, in the chapel Tesoro of the Cath. It is believed that he was poisoned by Neapolitan artists. Ho left Rome on account of the persecutions of COMMUKIOK OF S. JEROME. BY DOMENICHIKO. Vatican. DOMENICHINO. 249 rivals, only to meet death at Naples. The landscapes of Domenichino are deserving of attention, whether they are the full subject, or merely the background for figures. They are grand and solemn; frequently towers and classical buildings are introduced, and Ms coloring is warm and rich. ENGRAVINGS AFTER THE WORKS OF DOMENICHINO. Engraver, Andriot or Handeriot, Franz. Christ crowned with Thorns. Engraver, Audran, Charles. The Assumption ofthe Vhgin; very fine. Engraver, Audran, Gerard. JEneas saving Anehises. The Mys tery of the Rosary. Temptation of S Jerome. Martyrdom of S. Agnes. Four sheets of the four angles in the ch. of S. Carlo de Catenari, representing Justice, Temperance, Prudence and Fortitude ; Rome; 1675. Engraver, Audran, John. Our Saviour on the Mount of Olives. Engraver, Barriere, Dominique. Several plates of the History of Apollo. Engraver, Baudet, Stephen. Adam and Eve; very fine. Engraver, Blond or Blon, James Christopher le. S. Agnes. Engraver, Canale, Giuseppe. The Glory. . Engraver, Chaveau, Francis. A Concert; engraved also by Picart. Engraver, Cunego, Domenico. S Cecilia receiving the Palm of Martyrdom. Six plates : the Annunciation, the Visitation, the Na tivity, the Circumcision, the Adoration of the Magi, and the Presen tation in the Temple. Engraver, Duflos, Claude. A Concert. The Triumph of Gal atea. Cupid stung by a Bee. The same subject, smaller and circu lar. Bacchus and Ariadne. Engraver, Earlom, Richard. The infant Jesus sleeping. Engraver, Fariat or Farjat, Benoit. Communion of S. Jerome. Engraver, Frey, James. Martyrdom of S. Sebastian. Commun ion of S. Jerome. Justice, Temperance, Prudence, and Fortitude, from S. Carlo de Catenari, at Rome. Engraver, Green, Valentine. The Vhgin and Child. Engraver, Grkuter, John Frederick. The Death of S. Cecilia. Engraver, Hainzelmann, Elias. S. Francis praying before a Crucifix. Engraver, Mariette, John. S. Peter delivered from Prison. Engraver, Morghen, Raphael. Diana and her Nymphs. Engraver, Pavon, Ignatius. Communion of S. Jerome. S. John writing. Engraver, Picart, Stephen. S. Cecilia. A Concert. 250 DOMENICHINO — DONATELLO. Engraver, Poilly, John Baptist. Martyrdom of S. Cecilia. Engraver, Roussellet, Giles. David playing on the Harp. Engraver, Sharp, William. S. Cecilia. Engraver, Simoneau, Charles. Christ with Martha and Mary. Engraver, Sirange, Sir Robert. The Martyrdom of S. Agnes; 1759. S. Agnes; 1759 (?) Engraver, Tardieu, Nicholas Henry. Adam and Eve. Engraver, Tardieu, Peter Alexander. Communion of S. Jerome. Engraver, Testa, Gio. Cesare. Communion of S. Jerome. Donatello, real name Donato di Betto Bardi (1386-1468). This old sculptor was a close imitator of nature. He seemed careless of mere beauty, and his works are striking for their marked difference from those of his predecessors, especially in tMs, that he defined the forms beneath Ms draperies, and by use of the girdle, and other EELIEF. BY DONATELLO. In S. Antonio, Padua. means, made it possible to believe that the folds concealed the human figure. He executed numerous works. Among those remaining, the following are the most important : Reliefs in marble representing Dancing Children, executed for the front of the organ in the Cath. of Florence, now in the Uffizi; bronze David, same Gall.; bronze statues of SS. Mark, Peter, and George, on the exterior of Orsanmichele; the Magdalene in the Baptistery at Florence; bronze reliefs of two pulpits in S. Lorenzo, and a bronze Judith in the Loggia de' Lanzi. DONATELLO - DOSSI. 251 At Padua, there is an equestrian statue of Francesco Gattamelata, which was the first one of importance in modern art, and is full of life and power. Many of his works are very excellent, but others, as the " Magdalene," are almost repulsive. He was much admired and patronized by Cosmo and Pietro de' Medicis. It is said that he con sidered his " David," called Lo Zuccone (the bald head), Ms chef- d'ozuvre, and was accustomed to use as an affirmation, these words, " By the faith I place in my Zuccone." Donatello was buried in the ch. of S. Lorenzo with great pomp. His resting-place was near that of Cosmo de' Medicis, that, as he said, " his body might be near him when dead, as his spirit had ever been near Mm when in life." See Brunelleschi. Doni, Adone or Done, born at Assisi, 1472. A pupil of Pietro Perugino, whom he at first imitated, but later changed to the Roman style. In the ch. of S. Pietro, at Perugia, there is an " Adoration of the Magi" by hiin, in his first manner. It is graceful. He also painted Sibyls in the ch. at Assisi. Donzelli, Piero and Ippolito. Many contradictory tMngs have been written about these brothers. The full extent of what is known seems to be that they were sons of Francesco d' Antonio di Jacopo, bailiff (flon zello) of Florence. Piero was born in 1451, and Ippo lito in 1455. The latter was apprenticed to Neri de' Bicci, and they were both in the " Studio " at Florence in 1480. It is hard to say which of the pictures attributed to these artists are genuine. They may have taken part in the frescoes at S. Severino in Naples, but that they were Florentines is certain, and also is it true that they lived later than the Neapolitan accounts have stated. Dorigny, Michel, born at St. Quentin (1617-1665). A painter and engraver. He married the daughter of Simon Vouet, and is de serving of notice principally as having engraved the works of that artist. Dossi, Dosso, and Ms brother, Gio. Battista. The former was the most celebrated. He died in 1560. The brothers passed some time in Rome, after the death of Raphael. Dosso shows his peculiar characteristics in mythological subjects, more than in religious pic tures. The " Four Fathers of the Church," the " Fhst Person of the Trinity," and the " Glory of the Virgin," all in the Dresden Gall., have much merit. They are rich and dignified representations. But in the " Circe " ofthe Borghese Gall., there is freedom of action, naivete of expression, and pleasing individuality. The " Dream," in the Dresden Gall., is wild and fanciful. The brothers worked together in the Ducal Pal. at Ferrara, in 1554. Many of their works are much injured, and in those that remain there is a mixture of excel lence and hard conventionality. In the Borghese Pal., there are two landscapes by Gio. Battista. Dosso excelled in portraits, and painted that of Ariosto, by whom he was employed to make designs for Ms 252 DOSSI — DOW. " Orlando Furioso." There are several pictures by Dosso in the churches of Ferrara. Doudyns, "William, born at the Hague (1630-1697). His ceil ings were his best works. He executed several in the Town Hall of his native city. He deserves mention as one of the founders of the Acad, at the Hague, of which he was a Director. Doughty, Thomas, born in PhiladelpMa (1793-1856). He started in life as a leather manufacturer, but at tMrty years of age, his love of ait compelled him to take up the brush, even in the face of the opposition of his friends, and against all prudential considerations. He was one of the earliest American artists who represented our au tumnal colors. His works were much admired in theh time, and are now remarkable for their true feeling for nature. Col. William Doughty, of Georgetown, D. C, brother of the artist, has some of Ms pictures, others are in the collections of various gentlemen, and one of his landscapes is in the Boston Athena?um ; others are in the Philadelphia Acad, of Fine Arts. Dow, Douw.or Dou, Gerhard, born at Leyden (1613-1680). Son of a glazier, who, on account of Ms love for drawing, early placed him with a glass painter, named Kowenhoorn. At fifteen he entered the school of Rembrandt, where he re mained three years, when he had become a finished painter. He did not at tempt to make his works tell romantic tales, but de picted the every-day life of the humbler classes. Plis execution and finish are most remarkable; so minutely did he dwell on each part, that he was obliged to relinquish por trait painting on account of the weariness to Ms sitters. He loved to paint her mits, and Scriptural events, and, like Rembrandt, he often repeated his own face. His impasto is ad; mirable ; his color warm and transparent at times, and always excellent; he. fully appreciated the picturesque, and excelled in his ehiaro-scuro. His lights were often from lanterns and candles, and are wonderfully effective. In spite picture by g. dow. Vienna Gall. DOW — DROST. 253 of Ms minute execution he finished more than 200 pictures. They are never large, and rarely contain more than three figures. Even in his own time his works were so much esteemed that President Van Spiring offered him 1 000 florins a year for the right to choose from Ms works; they now bring very large prices. There are specimens in all the large European galleries. The " Woman sick of the Dropsy," in the Louvre, is often called Ms chef-d' azuvre. This was ex ecuted when he was sixty-five years old. It has a sunny, transparent lighting, and a marvellous execution. The " Evening School, " in the Amsterdam Mus., is his best candle-lighted picture. It is ex tremely picturesque, and the lights are admirable. His best por traits are in the same Mus., and represent a Burgomaster of Leyden and his wife, full length, in one frame. He excelled in the combi nation of domestic, peaceful happiness, with masterly lighting, warm, beautiful color, and tender execution. ENGRAVINGS AFTER THE WORKS OF GERARD DOW. Engraver, Amstel, Cornelius Ploos Van. A Lady seated at a Harpsichord; Ger. Douw, del., 1660,- P. v. Amstel, fecit, 17 '67. Engraver, Baillie, Capt. William. The Pen Cutter. The Lace Maker. The Mother of G. Douw. Engraver, Bause, John Frederic. The Good Housewife. Engraver, Beauvarlet, James Firmin. The Double Surprise. Engraver, Kauperz, John Vitus. The Flute Player. Engraver, Moitte, Peter Stephen. The Dutch Cook. The Fish- woman. Engraver, Valk, or Valck, Gerard. A Girl holding a Lamp. Engraver, Voyez, Nicholas Joseph. The Astrologer. An Old Man in Meditation. Engraver, Wille, John George. A Lady Reading. The Housewife. Drevet, Pierre, the Elder, born at Lyons (1664-1739). An emi nent engraver. He used only the graver, of wMch he was a perfect master. Drevet, Pierre, the Younger, born at Paris (1697-1 739). Son of the preceding, and a celebrated engraver also. His portrait of Bos- suet gained Mm a world-wide reputation. That of Samuel Bernard is almost as fine, and all Ms works are excellent. Drolling, Michel Martin, born at Oberbergheim (1786-1861). Pupil of David. Two decorated ceilings in the Louvre were by this master. His subjects were poetical and classical as well as religious, and he painted some good portraits. He was a good academic painter. Drost (1638-1690). A pupil of Rembrandt, and one of his most faithful imitators as far as Ms talents would allow. There is a " Christ with the Magdalene after his Resurrection," by Drost, in the Cassel Gall., and the " Daughter of Herodias with the Head of the Baptist," in the Mus. at Amsterdam. 254 DROUAIS — DUCCIO. Drouais, Jean Germain, born at Paris (1763-1788). An artist who gave great promise of excellence, but whose early death pre vented the execution of many works. His masterpiece was " Ma- . rius at Minturnse." This picture is illustrative of the imitation of the antique in the modern French school. Drummond, Samuel (1770-1844). An English landscape and portrait painter. His portraits were his best works. Dubbels. There have been at least three artists of tMs name, and all painted sea and river views. But few facts are known of them. Jan has been called both the scholar and master of Backhuysen, to whom, it is said, many of his pictures have been attributed. But Ms known works would indicate him to have been the instructor rather than the pupil, for the Dutch school can scarcely show a finer sea view than one of Dubbels, which is signed and in the Van der Hoop Coll. at Amsterdam. It represents an agitated sea breaking on the coast. It is almost equalled by another similar subject, also signed, in the Pitti Pal. In this a single figure is seen emerging from the breakers. The lighting is exquisite. The general tone of color is a silver gray, with gleams of sunshine on waves, sands, and horizon. One of this artist's rare works is in the Coll. of the Duke of Bedford, London. Ilendrik and Thierry are the names of the other Dubbels. Due, A. In the Gall, at Dresden there is a picture of a peasant kneeling and begging his life of a soldier, and in the Vienna Gall. one of a lady and gentleman imploring the mercy of an infantry offi cer, and both are signed A. Due. Otherwise he is unknown. These works show him to have been a good imitator of the style of Pala medes. Ducq, Jan le, born at the Hague (1633-1695). He is believed to have been the pupil of Paul Potter, but his pictures resemble those of the Palamedes, whom he also surpassed. He had much delicacy of touch, and his heads are very trutMul. His portraits were excel lent, as may be seen in two small, delicately painted ones in the Dresden Gall. The Berlin and Munich galleries have good speci mens of his scenes from soldier life. Le Ducq also executed a number of very skilful etchings, representing dogs and other animals. Duccio di Boninsegna, was to the Sienese school what Cimabue and Giotto were to that of Florence. He was a reformer who re tained indeed much of the manner of those who had preceded him, but he added to it, and elevated it by creations all his own. The time of his birth is unknown. He was in Florence in 1 285. He commenced his great altar-piece for the Cath. of Siena in 1308, and in June, 1310, it was borne, like tho " Madonna" of Cimabue, from his studio to the Duomo by a solemn procession, headed by the Archbishop, followed by clergy, monks, government and communal officers, women, and children. Music and the ringing of bells added merry inspiration, and Duccio was the " bright, particular star " DUCCIO — DUCHANGE. 255 to the Sienese of that day. His work remained nearly 200 years in its place, and is now well preserved in the transept and sacristy of the Cath. It is probable that at the time of the procession it was not all completed, for in the end it was painted on both sides, and from some records it would appear that a portion, at least, of the back part was done afterwards. The front was a representation of the "Majesty" of the Virgin. Seated on a vast throne, and hold ing the Child, she was surrounded by angels and worshipped by saints. There was much gold, tapestry, and orna mentation ; the group was characterized by grace more than solemnity or dignity. His drawing was careful ; his color soft and powerful ; his execution was patient and highly finished, and even his superabundant ornament was tasteful. A marked difference was made be tween the treatment of the male and female fig ures, but color was the best feature of Duccio and his school, who re tained much of the old exaggeration of design, form, and action. On the other side of the work, he depicted the Passion of Christ, in 28 panels. The subjects commenced with the entrance into Jerusalem, and proceeded to the meeting at Em maus. The whole has been divided into many pieces. In the Acad, of Siena there are other works of this master, and in the National Gall, a Vhgin with saints and prophets. One of his finest works is in the Coll. of the late Royal Consort, Prince Albert. This ranks next the great altar-piece. In the Ramboux Coll. at Cologne there are two pictures of his. The successors of Duccio in the 14th cen tury did nothing wliich exceeded him. Duchange, Gaspar, born at Paris, 1662. An eminent engraver. THE WOMEK GOING TO TnE SEPULCHRE OF CHRIST. BY DUCCIO. Cath. of Siena. 256 DUCHANGE — DUPATY. His plates are remarkable for the effect which he produced by the combined use of the etcMng-point and the graver. He reproduced the works of Correggio with peculiar skill. Duchatel, Frans, born at Brussels, 1625. Pupil of Teniers, his works so nearly resemble those of Ms great master that they have been mistaken for his. He had however been brought under the influence of Van der Meulen in France, and was, all in all, more independent in style than Teniers. His chief work is in the Mus. at Ghent, and represents " Charles II. of Spain receiving homage as Count of Flanders from the Estates of Ghent, in the person of his Stadtholder the Marquis of Castel Rodrigo." TMs picture is signed and dated 1668. It contains several most excellent portraits, and is good in general effect and keeping. In the Antwerp Mus. the pano rama of Valenciennes has been called a Teniers, but good authorities now assign it to Duchatel. Dufresnoy, Charles Alphonse, born at Paris (1611-1665). A very learned painter. He was classical in his taste, and after his death his friends published his Latin poem, " De Arte Graphica," which was translated into English by William Mason, and enriched with notes by Sir Joshua Reynolds. Dufresnoy went when quite young to Rome, and became learned in antiquities, anatomy, and perspective, as well as in classical literature. His works are scarce. His subjects, were landscapes, Mstory, and architecture. They are correct in drawing and carefully executed, but are too studied to be pleasing. Dunlap, William, born at Perth Amboy, New Jersey (1766- 1839). The versatility of his talents and the circumstances of his life led him into so many different pursuits that it is difficult to know whether to call Mm a painter, an annalist, or a theatrical manager. He did however devote several years entirely to portrait painting, and his pictures are numerous. The sketch of Ms life is full of adventures and interesting stories. He should be mentioned as one of the active men in establisMng the New York Acad, of Fine Arts, and indeed it is due him to say that he did much for artistic and literary enterprise at a time when little thought or sym pathy was given to such matters. Diinwegge, Victor and Heinrich. Two painters of the West- phalian school. In the parish ch. of Dortmund there is what the Germans term a "Holy Kith-and-Kin picture," by these artists. It was painted in 1523, but seems about a century older in style and excellence, proving the school of Westphalia to have been beMnd others in Germany. Dupaty, Charles Mercier, born at Bordeaux (1771-1825). His father designed to make him a lawyer, but after his death in 1 788, Dupaty studied painting. He was, however, compelled to enter a regiment of dragoons, and did not resume Ms studies until 1795, ¦' f/ DUPATY — DURER. 257 At length he devoted himself to sculpture under tho teaching of Lemont. As early as 1799 he obtained the grand prize, but did not go to Rome until 1801. His first works were executed in the man ner of his time and country, but when he went to Italy he adopted the antique, and made models for some mythological and historical statues, which were put in marble later. His chef-d' ozuvre was " Ajax pursued by Neptune," which gained him, deservedly, a great reputation. He executed various commissions for the government, among which was the principal group of the monument to the Duke de Berri. He also made the statue of the Virgin for the ch. of S. Germain des Pres. Duquesnoy, Francois, called " B Fiammingo," on account of his nationality, born at Brussels (1594-1646). The Archduke Albert sent him to Rome, but at the death of his benefactor he was forced to carve ivory figures to support himself. He made the ac quaintance of Poussin, and they pursued their studies together. Duquesnoy soon gained a reputation for his beautiful statues of children,1 and was commissioned to model the groups which adorn the columns of the grand altar of S. Peter's. He also made a colossal statue of S. Andrew for the same basilica, which is one of the best works of modern art, and occupied him five years. His S. Susanna for the ch. of S. Maria di Loretto has been much admired. It is said he was poisoned by his brother when on his way to France. Durer, Albert, born at Nu remberg (1471-1528). This artist, if not really the founder of the German school, perfected the art which already existed in his country. He was a sculptor, architect, and painter. He also wrote various theoretical works. He was capable ofthe severest study, and full of earnest and truthful feeling in art. His drawing was rich in life and expression; his coloring very unequal; his nude figures ugly and vulgar; and his love for the fantastic prevented him from be coming what he might otherwise have been. His father was a gold smith, and intended to have placed him with Martin Schoen, but the death of that artist caused him to become the disciple of Michael Wolgemuth, in whose atelier he remained three years. In 1490, he set out on his travels, and in 1494 returned to Nuremberg and settled himself as a painter. He remained there ten years, and did many important works in engraving. In 1505, he went to Venice, Padua, and Bologna. The following year he returned to Nuremberg, where he remained till 1520, and executed an immense number of paintings, drawings, engravings, and some carved works in box-wood and steatite. He then made a journey into the Netherlands, was absent about a year, and returned to his native city, never to leave it again; 1 His figures of children are full of genuine naivete; he executed the foun tain of the Manneken-Pis at Brussels. 17 258 DURER. although Venice and Antwerp made him attractive proposals to re main in those cities, and his own people, witMn thhty years, paid him but 500 guilders. The only favor he asked was that the city should pay Mm five per cent, upon a capital of 1000 guilders, which he had obtained by un ceasing toil. In rep resenting ecclesiastical subjects, Diirer disre garded all fixed forms, and portrayed them with great power, but with perfectly human feeling. In 1498, he illustrated the book of Revelation by wood cuts. In these the fan tastic element forms the groundwork, but they are conceived in a singularly poetic sphit. In them, the marvel lous and the monstrous are strangely united. In the Uffizi, at Flor ence, is a splendid " Adoration of the Kings," painted in 1504; in the Monastery Strahoff, at Prague, the " Feast of Roses ; " in the Belvedere Gall., at Vienna, the '¦ Martyrdom of 10,000 Saints," full of terrible truth; 1508: in the same Gall., the " Trinity; " 1511; color clear, light, and fresh. From 1511 to 1515, he published many wood-cuts of religious subjects. The Madonnas are especially pleasing. In 1518, he represented the death of the Virgin, giving her the features of the deceased wife of the Emperor Maximilian, and making the other characters portraits of living personages. This picture is in England. Although his pictures are scarce, the large German galleries have specimens of his work. In 1526, he painted on two panels, SS. John and Peter, and SS. Paul and Mark, and presented them to the council of Nuremberg. They have been called " The Four Temperaments," and are now in the Pinacothek, at Munich. This Gall, has also five large pictures of the life of Christ. The portrait of Ms father, dated 1497, is in the Munich Gall. Cabi- S. CHRISTOPHER. BY ALBERT DUKER. DURER. 259 nets, No. 1 28 ; and his own portrait in the same Gall. Cabinets, No. 124. One of his most celebrated pictures, the "Adoration of the Trinity," painted for a chapel in Nuremberg, in 1511, and a Virgin holding the Naked Child in her Arms, are now in the Belvedere, at Vienna. One of his most singular pictures is the " Knight, Death, and the Devil," in the Munich Gall. These are but a small part of the important works of Diirer. He also published, during the latter portion of his life, scientific works upon Geometry, the Art of Forti fication, and the Proportions of the Human Body. He was one of the first artists in Germany who practised and taught the rules of perspective, which he is said to have learned from Lucas von Ley den. He lived in the most frugal and unostentatious manner, apply ing himself unceasingly to his profession, and receiving the honors which were paid Mm with quiet modesty. He had married (it is said, to please his father) the daughter of Hans Fritz, who proved a Xantippe, and rendered his life one of discomfort. She survived Mm, and he left her 6000 florins. He had joined the Reformers, but Pirkheimer states that he died a member of the Romish Church. ENGRAVINGS AFTER THE WORKS OF ALBERT DURER. Engraver, Bruyn or Bruin, Nicholas de. The KMght, Death, and the Devil. 1618. His own Plates. Portraits on Copper : — Albert Diirer represented at two different dates, 1509 and 1517, on each side of a piece of arcMtecture, with a Latin inscription. Albert, Elector of Mentz. 1523. Frederick, Elector of Saxony. 1524. B Pirkheimer. 1524. Melanchthon. 1525. Erasmus, from statue at Rotterdam; 1526; scarce. Subjects on Copper : — Adam and Eve with the Serpent; 1504; fine. Adam and Eve after the Fall. The Nativity; 1504; called " The Little Nativity." The Holy Family, S. Joseph resting on a Stone. 1506. The Holy Family, called " The Virgin with the Monkey." The Virgin and Child, called " The Virgin with the Pear." The Virgin and Child, called " The Virgin with the Apple." The Passion of Christ; sixteen plates including frontispiece. 1507- 1512; difficult to find complete. The Apostles. The Crucifixion, with the Maries and S. John at the foot of the Cross; small, circular; very scarce. Christ in the Garden; 1515; said to be engraved on iron; very- scarce. 260 DURER. Angels with the Instruments of the Passion. 1516. The great Ecce Homo; 1512; Latin inscription; very scarce. Prodio-al Son ; best impressions before the date. 1513. S. Hubert kneeling before a Stag with a Cross on its Forehead; one of Ms finest works. S. Jerome in the Desert. S. Jerome seated in a Room, writing; 1514; very fine. A Woman with Wings, standing on a Globe, holding a Cup, im properly called "Pandora's Box;" sometimes called "The Great Fortune." A Naked Woman on a Globe, holding a Stick with a TMstle at the end, called " The Little Fortune." Melancholy; a Woman resting her Head on her Hand, holding a Compass ; very fine. Three Women or Witches, with a Globe over theh Heads, with the letters O. G. H., and an appearance of Hell in the background ; copied after Israel Van Mecheln; 1497; very scarce. An Armed Man on Horseback pursued by Death, called " Death's Horse;" best impressions before the date 1513. A Coat of Arms with a Skull, a Satyr, and a Young Woman; 1503 ; called " The Death's Head." A coat of Arms, with a Lion and a Cock. A Horse, with an Armed Man with an Halberd following. A Man mounted on a Unicorn, carrying off a Woman ; called " The Rape of Proserpine ; ' ' very scarce. Etchings : — Christ seated, leaning his Head on Ms Hand, with a figure in front pointing towards Him. One of the Fathers of the Church, in a Cell, with two Books. 1515. The Vhgin and CMld asleep, with a Young Female kneeling. 1519. Moses receiving the Tables of the Law. 1524. The Cannon, with figures, at the Entrance of a Village; 1518; said to be etched on iron ; very scarce. Wood-Cuts (Portraits) : — Albert Diirer, at the age of fifty-sis, inscribed Albreeht Durer Con- lerfeyt, etc. Albert Dureri Effigies, edita ex linea tabula, etc. Bust of the Emperor Maximilian I. 1519. Ulrichus Varnbuler ; 1522; scarce. Wood-Cuts (Various Subjects) : — The Life and Passion of Christ, in thirty-six cuts. The Life of the Vhgin, in twenty cuts. S. Anne, with the Infant on her Knee, and the Virgin kneeling with two Saints ; in chiaro-scuro ; very scarce. The Holy Family iu a Landscape, with two Angels crowning the DURER — DYCE. 261 Virgin, and three Rabbits; in the lower part of the print, S. CM-is- topher carrying the Infant Jesus; scarce. The Emperor Maximilian, with the Vhgin and several Saints wor shipping the Saviour. The Siege of Vienna, in two sheets; 1527 ; scarce. The Triumphal Car of Maximilian I., in eight sheets. The Rhinoceros, with a German inscription; scarce. Six cuts of Ornaments for Tapestry and Embroidery. Engraver, Hopfer, Jerome. S. Hubert. S. Jerome ; smaller than the original. The Great Cannon. Engraver, Hopfer, Lambert. The Life and Passion of Christ ; fifteen small plates. Engraver, Kartarius, Marius. Christ in the Garden; lionise; 1567. S. Jerome, seated in a Chamber. Engraver, Montagna, Benedetto. The Nativity, with Joseph at the Well; B. M. on a Tablet hung from the upper part of the house. The Sorceress ; B. M. at bottom on ike left. The Virgin suckling the Child ; marked B. M. Engraver, Prestel, John Gottlieb. The Holy Family. Engraver, Raimondi, Marc Antonio. Set of seventeen plates of the Life of the Virgin; copied from the wood-cuts of Diirer, with his monogram; on the last plate the cipher of Marc Antonio. Set of thirty-six plates of the Life and Passion of Clirist ; copied in imita tion of the wood-cuts of Diirer, without Ms mark. Engraver, Sadeler, Giles. The Virgin and CMld. Christ bear ing his Cross. Engraver, Steen, Francis Van der. The Martyrdom of the 11,000 Virgins; from a drawing by Van Hoy, after the picture by Diirer. Engraver, Wierix or Wierinx, John. The Little Satyr. Adam receiving the Apple from Eve; upon a tablet is inscribed Albert Durer inventor, Johanes Wierix fac, ozt. 16. S. Hubert Kneeling before the Stag; reversed from the print by Albert Diirer, marked with the cipher of that artist. S. Jerome in meditation. Dusart, Cornelius, born at Haerlem (1665 ?-l 704). Pupil of Adrian Van Ostade. He represented subjects of vulgar merriment. His positions are extravagant, and his heads almost or quite carica tures. His color was warm and powerful, and his chiaro-scuro well managed, but he wanted the Rembrandtish effect, and the more truthful spiritedness of Ostade. He used moro colors in his inte riors than others who painted his class of subjects. One of his best pictures is " A Fish-Market," and is in the Amsterdam Mus. Du sart also executed a number of excellent etchings, and thirty-five plates in mezzotint. Dyce, William, born at Aberdeen (1806-1864). Director of the Government School of Design at Somerset House, from 1837 to 1844. He was a severe painter, a learned and precise man. His talents 262 DYCE — EDMONDS. were versatile. He painted in oil and fresco, and while most of his subjects were religious and historical, he also executed some fine landscapes. His works are in the House of Lords, in the Queen's Robing Room, and in All-Saints ch., Margaret Street. E. Earlom, Richard (1740-1822). An accomplished English mez zotint engraver. His ' ' Bathsheba leading Abishag to David," has been called the chef-d' ozuvre of mezzotint engraving. His fruit and flowers after Van Huysum are also much admired. Boydell pub lished the " Liber Veritatis," containing 200 plates by Earlom. Eckhout, or Beckhout, Gerbrandt Van der, born at Amsterdam (1621-1674). Pupil of Rembrandt. He composed his pictures, es pecially his Biblical subjects, very much in the style of his master. In color, too, he approached the same excellence, although Ms whole effect is cooler than that of Bembrandt. His works are well consid ered. Among the best are the " Raising of Jairus' Daughter," Ber lin Mus. ; " Woman taken in Adultery," Amsterdam Gall.; "David and Abigail," Schleissheim Gall.; " Christ Teaching in the Tem ple," Cabinet, Munich Gall.; and "Hannah giving Samuel to be dedicated to the Lord," in the Louvre. Edelinck, Gerard, born at Antwerp (1627-1707). An eminent engraver. Pupil of Cornelius Galle. It is difficult to select the best of the numerous works of this artist. He interpreted Raphael with great truth, and his engravings after Le Brun and other French artists are very superior. He used the graver only. His plates are highly finished, Rnd yet they are spirited and bold. " The Holy Family," after Raphael, and the " Tent of Darius," after Le Brun, are among his best works. Some of Ms portraits are also very fine. Edema, Gerard, born at Friesland (1652-1700). Pupil of Ever- dingen ; like him he painted wild, rocky landscapes with waterfalls, etc. They were often Norwegian views, and he also went to New foundland for the study of scenery. He did not equal Everdingen, and Ms chief excellence was in the representation of falling water. Edmonds, John W., born at Hudson, New York (1806). Ha was known as a business man as well as an artist, for from his early years he was a clerk, and afterwards the cashier of a bank. He re moved to New York city in 1834. When he first began to exhibit his pictures he used an assumed name, fearing that the reputation of being a painter would injure him in business circles. He was accus tomed to paint both morning and evening, and this continued appli cation weakened his health so much that in 1840 he went to Europe for rest. His pictures may be called genre, and are such as appeal very strongly to all classes and ages. His ' ' Gil Bias and the Arch- EDMONDS — ELMAR. 263 bishop " belongs to J. Taylor Johnston of New York ; " Dame in the Kitchen," to J. L. Claghorn; " Boy Stealing Milk," and " Bashful Cousin," to Jonathan Sturges; and "Bargaining," the " Wind mill," and the "Image-Peddler" to R. L. Stuart. "The Penny Paper " was one of his most successful attempts, and some of his other subjects are "Sparking," engraved by the Art-Union; "Comforts of Old Age;" " Dominie Sampson; " " Sam Weller," etc. Egg, Augustus Leopold (1816-1863). His subjects may be called high genre. His best pictures are " Catherine seen by Peter the Great for the first time;" " The Life and Death of Bucking ham ; " " Past and Present ; " " The Night before Naseby ; " and his last work, " Catherine and Petruchio." He is noticeable for the spirit of his pictures in both serious and comic subjects. He died at Algiers, when travelling for his health. Egmont, Justus Van, born at Leyden (1602-1674). Pupil and as sistant of Rubens. He worked with his master on the pictures for the churches of Mechlin, on those illustrating the life of Marie de' Medicis, and others. Egmont was appointed painter to Louis XIIL, and Louis XIV. He also painted in conjunction with Simon Vouet. In the Vienna Gall, there are two portraits of Philip IV. of Spain, by Egmont alone. They are too smooth in execution, but good in color and expression, and prove Mm to have been a good painter. Eimbeck, Johann Raphon Von. In the choir of Halberstadt Cath. there is a triptych by this painter, dated 1508. The centre is a picture of the Crucifixion, and the wings represent the Annun ciation, the Adoration of the Magi and that of the Shepherds, and the Presentation. There is life and variety of expression, but the color is not good, and the whole effect is somewhat coarse. Elliger or Elger, Ottomar, the Younger, born at Hamburg (1666- 1732). After some other instruction he became the pupil of Gerard Lairesse, whose style he imitated. He was, like Lairesse, very mind ful of details in costume, etc., and his architectural representations were good. He painted Mstorical subjects, such as the " Death of Alexander," which he did for the Elector of Mentz. His principal works are in Amsterdam. Elliot, Charles Loring, born at Scipio, New York (1812-1868). One of the very best of American portrait painters. His pictures are all that one can desire a portrait to be. Full of expression and char acter, life-like in effect, and well colored. He executed an immense number, and among his sitters were many men eminent in different departments of life; clergymen, authors, artists, statesmen, and mili tary men. His portrait of Fletcher Harper is considered a master piece. Some of his pictures may be seen in the City Hall of New York, in the State Library at Albany, and in the Mercantile Li brary of Baltimore. Elmar or Elmer, Stephen, lived principally in Farnham, in Surrey, 264 ELMAR — ENGELBRECHTSEN. where he died about 1795. He painted still-life, such as dead game, fruit, and flowers. His pictures are seen in old-fasMoned collections and are executed with spirited fidelity. Elstracke, Reginald, or Renold. An English engraver of about 1620. He engraved some portraits which are prized for their con nection with history, more than for their merits as engravings. When he did not sign his plates with his full name, he used Ms imtials, R. E. Elzheimer, Adam, born at Frankfort (1574-1620). He studied first under PMUp Uffenbach, then went to Rome, where he was called II Tedesco. His pictures were often painted on copper, wMch was a disadvantage in regard to the "quality" (as artists say) of his color. He had an intense love of nature, and after studying a view, would go away and paint it with marvellous exactness, even to the shadows at the time of day he chose to represent, and all without a sketch. His pictures were always small, and exquisite in finish. He loved to introduce figures, and many times repeated the " Holy Fam ily " and " Tobit and the Angel." He was fond, too, of effective lights, and sometimes gave moon and torch light in the same work. He married an Italian, 'And had a numerous family, and though well paid for his pictures, he spent so much time on them that he became involved in debt and was thrown into prison. He died there, or very soon after his liberation. Rubens and the Chevalier Goudt assisted him, but in vain. His works became very valuable after Ms death, and the works of other painters were often called by Ms name. There are about 60 engravings after the works of Elzheimer. Some of these are by Hollar, and seven by Count Goudt, who was also his pupil. He is said to have etched several plates himself, but that of "Tobit leading his Father " is the only authentic one. His "Flight into Egypt," in the Louvre, has been called Ms masterpiece. Other important works are, " The Good Samaritan," Louvre; " Paul and Barnabas, at Lystra;" and "Christ at Emmaus," StSdel Institute, Frankfort; " Flight into Egypt," Munich Gall; " Repose in Egypt," and another " Flight into Egypt," Vienna Gall.; and the " Triumph of Psyche," Uffizi Gall. Empoli, Jacopo Chimenti da (1554-1640). An imitator of An drea del Sarto. His Madonnas were much admired. A picture of S. Ivo, Florence Gall., is one of his best works. He was so injured by falling from a scaffolding, that he could not paint in fresco. He was so fond of good eating that he was called L'Empilo, which is to say, a stew-pan. Engelbrechtsen, Cornelis, born at Leyden (1468-1533). Very little is known of this old painter. The only picture known to be his is an altar-piece in the Town Hall at Leyden. The centre has a pic ture of the " Crucifixion," the wings those of the " Sacrifice of Abra ham " and the " Lifting of the Brazen Serpent ; " the predella has the ENGELBRECHTSEN — EUTYCHIDES. 2G5 " Restoration of Mankind by the Atonement of Christ." It is very different from the works of the masters who had preceded him, but is hard and crude. The flesh tones are brown, and the heads very monotonous. Es, or Essen, Jacob van, born at Antwerp. He painted flowers, birds, fish, lobsters, etc. He excelled in representing shell-fish. In the Antwerp Mus. there is a picture of fruit, dead game, vessels, etc., which is good. In the Vienna Gall. , two large pictures of fish-mar kets are excellent; the figures in them are by Jordaens. Escalante, Juan Antonio, born at Cordova (1630-1670). Pu pil of Francesco Rici. He was an imitator of Tintoretto, and a painter of good reputation. In the churches of Madrid some of his pictures are seen, and in the Royal Gall, there are two: the "In fants Christ and S. John," and the " Holy Family." Espagnondel, Mathieu, born at Paris (1610-1689). A sculptor of some merit. Several of his works are in the gardens at Ver sailles, and he also executed many statues for churches. Espinosa, Jacinto Jeronimo de, born at Cocentayna, 1600; died at Valencia, 1680. He studied under Francisco Ribalta, and also in Italy. He was pious, industrious, and popular. Some of his works are little inferior to the works of the Ribaltas, to which they bear a strong resemblance. In 1647 the plague appeared in Valencia, and it is said that this artist placed himself and his household under the protection of S. Luis Bcltran, who not only preserved them from con tagion, but also cured the master of water on the brain. For these benefits Espinosa painted a series of pictures, and placed them in the chapel of the Saint, in the convent of S. Domingo. The Mus. and churches of Valencia contain many of his pictures. Etty, William, born at York (1787-1849). This artist especially excelled in color, and when judged by that alone was one of the most highly distinguished English painters. His works were numerous, and embraced a large variety of subjects. In the year of his death 130 of his pictures were exhibited in the room ofthe Society of Arts, at the Adelphi. He declared that his aim had been in all his large works to paint some great moral on the heart; par exemple, by three "Judith " pictures he would represent patriotism and self-sacrifice to one's country and God; by " Benaiah," David's great captain, he would picture valor, etc. Eusebio di San Giorgio. A pupil of Perugino. He was never above mediocrity. His pictures are dated 1505 and later. Most of his remaining works are in Perugia. Eutychides. A sculptor of Sicyon. He was a disciple of Lysip pus and lived b. c. 300. One of Ms most famous works was a bronze statue of the Eurotas, " in quo artem ipso amne liquidiorem piurimi dixere." Several of his statues are known to us in the writ ings of the ancients, and that of " Fortune " for the Syrians on the Orontes, is represented by a copy in the Vatican. 266 EVEEDINGEN — EYCK. Everdingen, Aldert van, born at Alkmaar (1621-1675). A fine landscape painter. His Norwegian views are admhable. They are poetic, with clear skies, rocky masses, and tumbling waterfalls, and dark, lofty fir-trees. He painted storms at sea, but rarely. His col oring is occasionally too heavy a brown. His pictures are in the Louvre, Berlin Mus., and Munich Gall., and in many private collec tions. He was also a master in his handling of the etching point. He left 106 etchings, wMch are known, besides 57 plates, which illus trate the poem of " Reineke Fuths." The original drawings for these last are in the British Mus. , as are also some landscapes done in In dia ink, bistre, and sepia. Eyck, Hubert Van, born at the small market town of Maaseyck (about 1366-1426). Little is known of his history beyond the facts that he spent, probably, his middle life at Bruges, and his later years at Ghent. That he effected a revolution in painting, is beyond a doubt. By his strong intellectual power he breathed life into the symbolic art which had preceded him. He represented Scriptural scenes and characters, but he did it through the medium of such peo ple as he had seen in actual life. He gave his figures the appearance of men about him. He represented nature as he saw it, and did not hesitate to use architectural backgrounds, or even to make well-fur nished rooms the scenes of his " Annunciations" and other sacred incidents. For all the requirements of Ms brain, the mediums here tofore used were inadequate, and as ever, necessity being the mother of invention, he made great improvements in the preparation and use of colors. He used oil as a cement, and a new varnish, which from its brilliant freshness, gave a reality of effect, never seen by his con temporaries. His greatest work was an " Adoration of the Lamb," executed for Judocus Vyts, and Lisbetta, Ms wife, for the decoration of thehfuneral chapel in the ch. of S. Bavo, at Ghent. This was arranged with a centre piece and wings which could be closed. The inside was divided into twelve different pictures, and the outside of the wings was also painted. It is not known exactly how much of this great work Hubert did, for it was finished by John Van Eyck after his death; but the principal figures must have been by the elder, for they show a power which no work of John's approaches. Liibke says, " Hubert is confirmed as an inventor, by contemporary records. To no other was such a depth of thought imputed, combined with such abundance of ideas, and with such grand power of characteriza tion." The donors are represented on the outer wings in a masterly manner. The larger panels remain in their original place, the figures of Adam and Eve are in the Mus. at Brussels and six others are in the Berlin Mus. There are but two other works attributed to Hu bert. One of these is in the Mus. in S. Trinidad, at Madrid, and represents the " Triumph of the Christian Church over the Jewish Synagogue." TMs is in the form of the front of a Gothic building EYCK. 267 with arches and towers, and the whole picture is made up of several different designs. The otlier represents " S. Jerome extracting a Thorn from the Paw of the Lion," and is in the Gall, at Naples. WM la THE ANCHORITES. BY HUBERT VAN EYCK. From the Ghent Painting. Eyck, John Van (1390-1440). Brother and pupil of Hubert. He lacked the power of his brother in conception and design, and preferred smaller works. But he finished with greater minuteness and nicety than Hubert, and was the founder of that school among Ms countrymen, remarkable for delicacy in detail and fhiish of exe- 268 EYCK. ANNUNCIATION. BY J. VAN EYCK. cution. There are a good number of the works of this artist remain ing. The following is a list of the more important ones in chronologi cal order. The " Consecration of Thomas a Becket," dated 1421, is in the coll of the Duke of DevonsMre, at Chatsworth; " S. Francis receiving the Stigmata," 1428-29, is at the seat of Lord Heytesbury, in Wilt shire; the wings of the " Adoration of the Lamb," executed by Jan Van Eyck, Berlin Mus.; the "Virgin and Child," at Ince Hall, near Liverpool, inscribed, " Completum anno domini MCCCCXXXH, per Johannem de Eyck, Brugis," with the motto, " Als ich chan," or, " As well as I can ; " the " Virgin suckling the Child," Stadel In stitute, Frankfort, called the "Madonna di Lucca;" portrait of a man, National Gall, with the above motto, and inscribed " Johes de Eyck me fecit ano mcccc33, Oct. 21 ; " also in National Gall., por traits of himself and wife, signed, " Johannes de Eyckfuit hie 1434 ; " this is one of the very best, and perhaps the best, of his works. Van Mander says that the sister of Charles V., the Governess of the- Netherlands bestowed a post of 100 guldens yearly upon a barber to whom this picture belonged. The Virgin and Child, with S. Barbara, Burleigh House; another Virgin and Child, with the donor, Louvre; a Madonna and Child, with several saints and the donor, signed EYCK — FABRIANO. 269 1436, Acad, of Bruges; portrait of Jan de Leeuw, same date, Belve dere, Vienna; another portrait, same Gall.; picture of S. Ursula, Antwerp Mus., 1437; Plead of Christ as Salvator Mundi, 1438, Berlin Mus.; portrait of his wife, 1439, Acad, of Bruges; and a small highly finished altar-piece, Dresden Gall. There arc. embroidered ecclesiastical robes in the Imperial Treasury, at Vienna, that were probably executed from the cartoons of Jan van Eyck. Eyck, Lambert van. It is but recently that this third brother has been discovered, but the records of Lille declare him to have been a painter, and it is now thought that he must have executed the copy of the great Bruges picture, which is in the Antwerp Mus., No. 11. There is also a triptych in Louvain, now attributed to him. Eyck, Margaretha van. Sister of the foregoing artists; is said to have been a skilful painter, but no picture is known which can positively be ascribed to her. .She was buried in the Cath. of Ghent, where Hubert rested before her. Fabris or Fabre. A painter of views in the vicinity of Naples. Some of his best works resemble those of Canaletto, and are perspec tive or architectural views, with figures, etc. The sombreness of his color is Ms greatest fault. He also visited Malta, and his works are in the collections of Valetta. Fabriano, Gentile da. TMs is the name by which this painter is known, but his true name was Gentile di Niccolo di Giovanni Massi, of Fabriano. Born between 1360 and 1370. Pupil of Allegretto Nuzi. It has been said that he was associated with Fra Angelico, either as master or pupil, but while in point of careful preparation of materials and in finish, they might be compared, in result they were totally at variance. He painted in Brescia, Venice, and Rome, and died in the latter city, and was buried in S. Francesca Romana. He also lived some time at Florence, and from existing records, probably went there about 1422. Jacopo Bellini, his pupil, went to Florence with him, and there seems to have been a strong friendship between them. It is not possible to tell when he went to Rome. Vasari says that Michael Angelo praised him and said that his manner corre sponded to his name of Gentile. Van der Weyden thought him to have excelled all other masters of Italy. It is scarcely possible to believe that the first opinion could have been other than a sarcasm, for his style was characterized by bright contrasts in color, fusion of tone, with no shadow, and great minuteness in detail and finish, which would have found a response in the Fleming, without doubt. His re maining works are portions of a " Coronation of the Virgin " at the Brera, Milan, the predella of wMch is at Fabriano ; a " Virgin and 270 FABRIANO — FAGE. Child " in the Acad, of Venice ; " Adoration of the Magi," Acad, of Arts, Florence; some side panels of a picture in the ch. of S. Niccolo di la d'Arno, Florence; another panel in the same church represent ing the Father sending the dove or Holy Ghost down to the Virgin and Saviour; a." Virgin and Child" purchased by Mr. James Jack son Jarves ; a mutilated remnant of a " Madonna " in the Cath. of Florence ; in the Casa Morichi, Fabriano, the " Coronation of the Vim-in" and " S. Francis receiving the Stigmata," formerly making the two sides of a standard; a Virgin seated on a cusMon with the Child on her lap, Pia Casa della Misericordia, Pisa ; an enthroned Madonna with saints, Berlin Mus. ; and a few others, some of wliich are in private collections. Fabullus, called also Amulius, was a Roman painter, distinguished for his decorations of the " Golden House of Nero." One of Ms works there was a picture of Minerva, wMch was always looking at the beholder, from whatever point -observed. Pliny says he painted but a few hours a day, and so valued his dignity, that he would not lay aside his toga even when employed upon scaffoldings, or among machinery, and calls him "gravis et severus, idemque'floridus." Fachetti, Pietro, born at Mantua (1535-1613). He went to Rome during the time of Gregory XIIL, where his portraits were so much admired that every person of distinction desired to be painted by him. He was also an engraver. Bartsch mentions two prints by him, which have been claimed by Niccolo van Aelst. One is a " Holy Family," after Raphael, and the other. " Christ bearing his Cross." Facini, Pietro, born at Bologna (1560-1602). Pupil of Annibale Carracci, of whom it is said that the master became jealous. Facini later established an Acad, of his own. But he had little real merit beyond that of color. In this he was truly admirable, and resembled Tintoretto. Some of his works are in the churches of Bologna. There are also some prints attributed to Facini. Faenza, Gio. da. In Faenza there is a Madonna and Child with Angels and Saints, executed by this painter in 1506. It is in the Gymnasium (convent of the Serviti), and is a worthy specimen of that Umbrian school which preceded Raphael. Faes, Peter van der. See Lely. Fage, Raymond de la, born at Toulouse (1648-1690). Cele brated for his drawings with the pen. They are little more than out lines, but are admirable for their grace and spirit. It is said that he visited Carlo Maratti in his studio, and was offered a palette and brushes. De la Faga declined them, saying he did not paint. Ma ratti declared himself pleased at that, and said that if he could paint as well as he could draw, he should himself abandon the brush. He also etched some designs of his own, and others have been eno-raved by Audran, Vermeulen, etc. FAITHORNE — FANTUZZI. 27 1 .. _^ Faithorne, William, the Elder, born in London ; ff Hi died 1691. An eminent engraver. His best works ' were his portraits. These are executed with the graver almost enthely, and are admirable. His plates are numerous, and some which are scarce are very valuable. Falcone, Aniello, born at Naples (1600-1665). Pupil of Ribera, called Spagnoletto. The first painter noted for battle pieces. The school which arose from the influence of this master was connected with history, for under Masaniello it was organized as the " Com- pagnia della Morte," and took part in the insurrection. Aniello was the teacher of Salvator Rosa. His drawing was correct both in figures and horses; he gave much animation to his designs, and his color was effective. His easel pictures were good, and his works are well esteemed. After the death of Masaniello, Falcone went to France, and Salvator to Rome. There are a large number of engrav ings attributed to this painter. Falconet, Etienne Maurice, born at Paris (1716-1791). Pupil of Lemoine. He became an eminent sculptor, and was appointed Professor and Rector of the Royal Acad. He was invited to St. Petersburg by Catherine II. , and executed a bronze equestrian statue of Peter the Great. After his return to Paris in 1778, he devoted himself to literary pursuits. His most important works in Paris were executed for the ch. of S. Roch and that of the Invalides. Falens, Karel van, born at Antwerp (1684-1733). An imitator of Wouvermans, and a reputable painter. The smoothness of his touch takes from the spirit of his pictures. There is a work of his in the Berlin Gall., representing figures and animals in a landscape, and a " Departure of a party of Falconers," in the Dresden Gall. Fanelli, Virgilio. A Florentine goldsmith who practised his art in Italy and Spain. He executed, in 1646, the great chandelier which is still suspended from the dome of the Pantheon of the Escurial. This was made at Genoa, and has twenty-four burners, with many ornaments. He also executed the throne for the Madonna del Sa- grario in the Toledo Cath. ? <~43 Fantuzzi or Fontuzzi, Antonio. Said to A Lj ' \U have been born at Viterbo about 1520. There f V xNC is much disagreement among the highest au thorities regarding this engraver. Some say that he and Antonio da Trento are the same artist. His plates are chiefly after Primaticcio, and are scarce. The following are the principal ones : — Silenus supported by two Bacchante and surrounded by Satyrs; after II Rosso. 1543. Dispute of the Muses with the Pierides; after Primaticcio. Alexander and Roxana; after the same ; circular. Festival given to Thalestris by Alexander ; after the same. 1543. 272 FANTUZZI — FERNANDEZ. Jupiter directing Minerva to dismiss Venus, Cupid, and Psyche; after the same ; oval. 1543. Titan reposing on the Bosom of the Ocean ; Bologna inventor. 1544. The four Cardinal Virtues. Farinato, Paolo (1526-1606). A great ornamental painter. Kug- ler calls him the worthiest predecessor of Paul Veronese, whom he re sembled. His " Pagan Sacrifice" at Vienna is a fine picture; his masterpiece is in the ch. of S. Giorgio at Verona, and was executed in his seventy-ninth year. It represents the " Miracle of the Loaves and Fishes ; ' ' there are many figures introduced, and among them are portraits of his own family. It is inscribed, mdciv. Paulus Farinatus de Uberto fecit ceiatis suae lxxix. There is no doubt that some of the works of this painter are called those of Veronese. Fari nato and his wife died the same day. Farrington, Joseph (1742-1821). An English painter, pupil of R. Wilson. He was a good painter of park scenery. Fassolo, Bernardino, born at Pavia. A picture of the " Virgin and Child "in the Louvre, is inscribed " Bernardinus Faxolus de Papia faciebat anno 1518." It is so much in the style of Leonardo da Vinci that it is believed that Fassolo must have been Ms pupil. Fattore, IL See Penni. Feke, Robert. An early colonial painter. One of his remaining works is dated 1746. It is said that " he was taken prisoner and carried to Spain," and there learned to paint. Upon his return he settled at Newport, R. I., as a portrait painter. A portrait of the wife of Governor Wanton, painted by Mm, is in the Redwood Library. Ferg, Paul Francis, born at Vienna (1689-1740). Painter of landscapes with architectural adornments and figures. His works are often seen in England, where he lived about twenty years before his death. Most of his small pictures are on copper. His skies are silvery ; his figures are generally engaged in merry-making, and his horses and donkeys are well done. He occasionally painted sea pieces, but his landscapes are his best works. He was much accus tomed to introduce an obelisk into his pictures ; frequently with no apparent meaning. Fernandez, Antonio, de Arias, born at Madrid; died 1684. Pupil of Pedro de las Cuevas. HeVas an excellent colorist and ex ecuted with great rapidity. He was one of the most noted Spanish artists of his time. In the Queen of Spain's Gall, there is a picture by him of the " Pharisees questioning Christ concerning the Tribute Money." Fernandez, Vasco, born at Viseu, 1552. But little is known of this Portuguese artist. He is popularly known as Gran-Vascot. Count Raczynski, in Ms " Dictionnaire Historico-Artistique du FERNANDEZ — FERRARI. 273 Portugal," gives two illustrations of the work of this artist. The " Calvary," in the Cath. of Viseu was his chef-d' ozuvre. It resembles the works of Albert Diirer so closely that it has been attributed to him. The other illustration is " S. Peter as a Pope." Ferrara, Stefano da. Pupil of Mantegna. There are many works of his in the Brera at Milan. They are peculiarly fantastic, but have considerable merit. Ferrara, Ercole da. See Grandi. Ferraresino. See BerlingMeri. A wall-painting in the catacombs of s. calixtus, ROME. Ferrari, Gaudenzio, born at Valdugga (1484-1549). An artist of the Milanese school ; ho greatly improved by the study of the works of Leonardo, and later in life he worked under Raphael at Rome. In his style all the different influences under which he had formed himself may be traced, and in addition there is a large fan tastic element all Ms own. His design is correct, Ms execution fin- 18 274 FERRARI — FIESOLE. ished, and his coloring brilliant but wanting in harmony. He is, however, after Da Vinci, one of the very best Milanese painters. His works are very numerous, both in fresco and oils. An early work of great merit is a Group lamenting over the Dead Christ, Unyal Gall., Turin. A " Martyrdom of S. Catherine,'' in the Brera, Milan, together with a " Visitation " in the Solly Coll., and a " Madonna " in the Cath. of Vercelli, are among his best easel-pictures. In the Brera there are several frescoes formerly in S Maria della Pace. His most extensive and best works are at Varallo, which was the pilgrim shrine of Piedmont. He also painted in the convent of the Minorites; in S. Maria di Loreto, near Varallo; in S. Paolo, at Ver' celli; in S. Christoforo; in the ch. of Saronno, near Milan; and his last work was a " Scourging of Christ," in S. Maria delle Grazie at Milan. This is dated 1542, and is powerful and spirited. Ferri, Ciro, born at Rome (1634-1689). Pupil of Pietro da Cor tona, and one of Ms best imitators. He excelled most in his studies of children, infant angels, or amorini. His color was very agreeable. Among his finest works are his frescoes in the 1'itti Pal., at Florence, and at S. Maria Maggiore, at Bergamo. His works are in some of the churches at Rome. Ferucci, Andrea di Piero, born 1465. He was an architect and sculptor whose first works were done in Naples, from wliich city he went to Fiesole and executed the high-altar in the Duomo. Another similar work, made for S. Girolamo of Fiesole, is now in the South Kensington Mus. Some of his sculptures are in the Cath. of Flor ence, and in the ch. of S. Felicita. His works are somewhat pleas ing, but he was not above mediocrity. His chef-d' ozurre was the baptismal niche in the Cath. of Pistoja, in wMch the figure of Christ is fine, and the adoring angels beautiful. Fesele, Martin. An imitator of Albert Altdorfer. There are pic tures of his at Nuremberg, and in the Schleissheim and Munich gal leries. That in the latter represents the siege of Rome under Por- senna, and was painted about 1530. Feti, Domenico, born at Rome (1589-1624). Pupil of Ludovico Cardi. He painted small pictures, and many of these illustrated the New Testament parables. His coloring is powerful, and his heads full of expression. A mourning figure which is called a " Magdalen '' in the Louvre, and " Melancholy," in the Acad, of Venice are ex cellent. His works are not at all numerous. There are a number in Florence, and several in the Dresden Gall. Fiammingo, E. See Duquesnoy. Fiammingo. It is very difficult to distinguish the artists called by this name in Italian writings. Zani mentions 64 such, and there are undoubtedly more. Fiesole, Fra Gio. da, called Angelico and J[ Beato; born at Vic- chio, in the province of Mugello (1387-1455). In 1407, with Ms FIESOLE. 275 brother Benedetto, he became a novice in the Dominican convent of Fiesole. He had been christened Guido, but now took the name of Giovanni. At this time the convent at Fiesole had no novitiate, and the brothers were sent to Cortona to the care of the master of nov ices. This explains the fact that the earliest works of Angelico are at Cortona. It is believed that he returned to Fiesole in 1418, where he spent eighteen years. In 1436 Ms order received the monastery of S. Marco, in Florence, where Angelico executed many works; here he remained until called to Rome by the Pope, in 144G. With the exception of a few months in Orvieto, he remained in Rome until Ms death, and was buried in the ch. of the Minerva. The title of the Angelic could scarcely be more fittingly applied than in the case of this holy man. His life was one of simple piety. He would paint only saintly subjects, and would receive no pay. He commenced a work with earnest prayer, and would never change his design, be lieving that he was divinely assisted, and any change would thus be sacrilegious. He excelled all others in depicting religious sentiment. His works were finished with exquisite care, and there is a harmony both in composition and color in all he did. His draperies gave din-- nity and character to his figures, and, in short, "every part con tributed to that unity of tenderness, inspiration, and religious feeling, which mark Ms pictures, and which are such as no one man had ever succeeded in accomplishing." Of human anxieties and struggles he was so entirely ignorant, that he failed to depict them well, and the hatred of Christ in Ms enemies is but feebly expressed when attempted by Angelico. TMs is noticeable in his representations of the Cruci fixion, of the persecutions and martyrdoms of saints, etc. The " An nunciation," and the " Crowning of the Virgin " were favorite and oft-repeated subjects of his, as was also the " Last Judgment." He painted a great number of small panel pictures. The best ones are in the Acad, of Florence. Those which were formerly upon the presses for the silver of the SS. Annunziata at Florence are very fine. At S. Domenico in Perugia, there are many of his works, and another collection of his small pictures is in the Uffizi, where a " Cor onation of the Virgin " deserves especial attention. In the Vatican there is a predella illustrating the. life of S. Nicholas of Bari, which well displays Ms power of representing what might be called semi- genre subjects. At the Stadel Institute, Frankfort, there is a fine en throned Madonna, and in truth, these small works are seen in many European collections. Of his larger works I will mention those at his own convent in Florence : a " Deposition from the Cross," in the Acad, of Florence; the doors of a large tabernacle in the Uffizi; a " Coronation of the Virgin," in the Louvre; frescoes in the chapel of the Madonna di S. Brizio in the Cath. of Orvieto; and lastly, two chapels in the Vatican which are greatly restored. The pictures in the monastery of S. Marco are in better preservation. WMle in 276 FIESOLE — FILOCAMO. Coronation op the virgin, by fra angelico. In the Acad, of Florence. Rome the Pope desired to make Angelico Archbishop of Florence, but he refused the honor, and recommended Fra Antonio of Ms order for the office. The Pope acted upon his suggestion, and the good qualities of Antonio proved the wisdom of Angelico. Fiesole, Mino da (1400-1486). A sculptor whose works are in Florence and Rome, and are remarkable for theh ornamental decora tions rather than for the figures. Figino, Ambrogio, born at Milan, 1590. A pupil of Gio. Paolo Lomazzo, and a successful imitator of Michael Angelo. His works are more remarkable for the elegance and correct drawing of a few figures than for the numbers represented. Some of his best works are in the churches of Milan. Filippi, Sebastiano, called also Gratella, born at Ferrara (1532- 1602). After studying under Camillo Filippi, his father, he entered the school of Michael Angelo, at Rome, and became one of his best disciples. He was called Gratella on account of his squaring large works when reducing them to a smaller size. This he learned of Michael Angelo. His best works are in the churches of his native city. Filocamo, Antonio and Paolo. Natives of Messina, who after attending the school of Carlo Maratti at Rome, established an Acad. at Messina. They worked together both in oil and fresco, and both died of the plague in 1743. Their principal works are in the churches of Messina. FINIGUERRA — FIORENTLNO. 277 Finiguerra, Maso. Flourished about the middle of the 15th cen tury. He was a goldsmith and niello-worker, and is very generally acknowledged to be the inventor of engraving on metal. Before his discovery, metal workers had been accustomed to make sulphur casts of their works, and to engrave from them, but Finiguerra being em ployed to make a Pax, and wisMng to see the effect of his work, filled the lines made by Ms graver with a preparation of oil and lamp-black, and the plate being laid by chance on a pile of damp linen, he found his design reproduced upon it. From this time it was customary to use damp paper, and a roller to take off the designs wished for. The " Coronation of the Vhgin," the subject of the Finiguerra Pax, was engraved in 1452. The original plate is in the Uffizi Gall., and the only known impression from it is in the Bibliotheque de Paris. Fink, Frederick, born at Little Falls, N. Y. (1817-1849). He went to Europe in 1840, and was employed in making copies after Murillo and Titian. He manifested good talent for genre subjects, but died before reaching the excellence he had reason to anticipate. His original works are, " The Young Thieves; " " A Negro Wood- sawyer; " " The SMp wrecked Mariner; " and " An Artist's Studio." Finoglia, Paolo Domenico, born at Orta, in the kingdom of Naples; died 1656. One of the best pupils of Stanzioni. His prin cipal works are in the Certosa of S. Martino, which towers above Naples on the steep rock of St. Elmo. In this convent the best specimens of Neapolitan art are gathered together. Fiore, Colantinio del. Much has been written and said of this artist. Ho has been called the disciple of Francesco Simone, and certain works have been attributed to him, but the more recent re searches of art writers and students have failed to establish what has been related of Mm, and some even doubt if he ever existed lie is usually said to have lived from 1354 to 1444, and a " S. Jerome ex tracting a Thorn from the Lion's foot," in the Gall, at Naples, was called Ms best work. This picture is in tempera, although it has been affirmed that he painted in oil. Fiore, Jacobello del. A Venetian painter, who flourished in the first half of the 15th century. About his time a change took place in Venetian art, which seemed to foretell the excellence of coloring reached there later. As an example of this progress his " Madonna," in the Manfrini Gall., dated 1434, is a work of interest. He had a good reputation in his day, but the extreme ornamentation of Ms fig ures and draperies is not admired in more modern times. Fiorentino, Stefano. The usual account of this old painter is that he was born at Florence, and was the grandson and pupil of Giotto (1301-1350). Vasari says that he surpassed Giotto in every way; that he established the rules of perspective, and prac tised foreshortening. A " Virgin and Child," in the Campo Santo at Pisa, are claimed to have been painted by him. But there is 278 FIORENTLNO — FLEMAEL. notMng really known of Mm or Ms works, and all that is said of him must be taken as a pleasant tale which lacks evidence of truthfulness. Fiori, Mario di. See Nuzzi. Fisher, Alvan, born at Needham, Mass.; died 1863. A portrait painter. His likeness of Spurzheim is a valuable picture. He had good success in painting children with dogs, rabbits, etc. Flaxman, John, born at York (1755-1826). His father kept a plaster-cast shop in London, and the son went to that city early in life. He commenced drawing and modelling very young, and gained Ms first prize for a model, when eleven years and five months old. At thirteen he received a second prize, and was admitted to the Royal Acad., at fourteen. In Ms youth, he painted a few pictures in oil. In 1 782 he married Miss Denman, and five years later went to Italy. He remained there seven years, and was a close student of the antique, and an incessant worker. While there, he executed a large group for Lord Bristol, representing the " Fury of Athamas," from the Metamorphoses of Ovid, and a smaller one of " Cephalus and Aurora," for Mr. Hope. It was also in Rome that he made the designs from Homer, iEschylus, and Dante, which have now a world-wide reputa tion. In 1794 he returned to England, where he was constantly em ployed on important works until Ms death. It is not possible to give an entire list of Ms works in the space allotted him here, but many of his sepulchral monuments are seen in the cathedrals and churches of England. In Glasgow are his statues of Mr. Pitt and Sir John Moore, in bronze, and in Edinburgh that of Robert Burns. He exe cuted many works for the East Indies, one of which was not quite completed when he died. One of his best, perhaps the best of his works in England, is the group of the " Archangel Michael and Satan." TMs was one of his latest works, and was made for the Earl of Egremont, who had also a life-size " Apollo," which is very beauti ful. He was elected Associate of the Royal Acad., in 1797, Acad emician in 1800, and Professor of Sculpture in 1810. His lectures in the Acad, have been published. He was singularly pure in heart and life, and characterized by a cheerful and attractive manner, which made him the beloved friend of old and young. The very last work he did, was to make designs for the exterior embellishments of Buckingham Pal., which would have been executed partly by him, and entirely under his direction, had he lived. The friezes on the front of Covent Garden Theatre were all designed by Flaxman, and one of them, and the figure of " Comedy," were executed by him. Plis wife possessed an intelligence of mind and love for art, which enabled her to appreciate and assist the studies and labors of her husband, and her death, in 1820, was a grief from which he never recovered. Flemael, Bertholet, born at Liege (1614-1675). Pupil of Ge rard Douffet. Pie visited Italy, and on his return was much ein- FLEMAEL — FLORIS. 279 ployed, and gained a good reputation in Paris. The Chancellor Seguier employed him at Versailles, and he painted in the Carmelite and Augustin churches. Pie went to Liege, but was invited again to Paris, where he was employed in the Tuileries. He was made a professor in the Royal Acad, and every inducement was offered him to remain in France. But he. returned to his beloved Liege, and was employed in embellishing its churches. His works show the influence of the French school. He loved to make the foreground figures especially fine, and finished them with great care, but his color was feeble, and there is little feeling in his works. One of his pictures, representing " Pelopidas arming against the Lacedaemonians," is in the Dresden Gall. Flinck, Govaert, born in Cleves (1615-1660). He was, after . Eckhout, the scholar, most like their great master, Rembrandt. His chief occupation was portrait painting, but he succeeded well in genre subjects, and sometimes painted Mstorical pictures. He was also a successful imitator of Murillo. He settled in Amsterdam, and re ceived the freedom of the city in 1652. He made a fine collection of drawings and engravings from the best masters, and casts from an tique sculpture. It was sold for about 12,000 florins. In the new Hotel de Ville of Amsterdam is his picture of the " Regents," dated 1642; in the Amsterdam Gall., his picture of the " Archers " is re markable for its fine portraits; in the same Gall, is " Isaac blessing Jacob," one of his few historical pictures; in the Berlin Mus., the " Expulsion of Hagar ; " and in the Munich Gall., a genre picture of the " Guard Room." At the time of his death, he had finished the sketches' for twelve large pictures, which the Burgomasters of Am sterdam had commissioned him to paint. Florigerio, Sebastiano, born at Udine. Flourished about 1533. Pupil of Gio. Bellini, and an imitator of Giorgione. His frescoes at Udine have perished, but some of his oil-pictures remain in the churches there, and two Madonnas with Saints, in the Venice Acad., are Ms workg. His color was pale and cold? but his figures are well drawn, and the composition is arranged after the antique manner. Floris, Frans, born at Antwerp, real name Frans de Vriendt (1520-1570). Pupil of Lambert Lombard. He opened a school in Antwerp, which was much frequented. He had great facility of exe cution and power of invention, but there is much want of grace and sentiment in his pictures, and he knew too little of drawing to be a fine painter. His life was very wild, and his intemperate habits prevented his attaining the fame and fortune which the patronage and favor of Ms friends placed before him. His chef-d' ozuvre is in the Ant werp Mus., and represents the " Fall of the Angels." Other works of his are in the same place, and a picture of Vulcan showing Venus and Mars, whom he has in a net, to the Gods, is in the Berlin Mus. While this displays the mastery of his hand, it is very tasteless; it is dated 1547. 280 FOGOLINO - FONTANA. Fogolino, Marcello. A Friulan who flourished about 1525. He spent his youth at Vicenza, where some of his works remain. His pictures are more interesting as illustrations of the style of his time and country, than for any merit of their own. In the Berlin Mus., there is a " Virgin and Saints " by Mm, and in the Acad, of Venice, a " Madonna and Saints " which has been attributed to Bernardino Licinio. He also painted in the churches of Pordenone and Trent, where Ms pictures may still be seen. Folo, Giovanni, born at Bassano (1764-1836). An eminent en graver. He studied in the school of Volpato, but later he made Raphael Morghen his model. His " S. Andrew," after Domenichino, is very highly esteemed, and is considered Ms chef-d'oeuvre by many. The " Madonna de' Candelabri " of Raphael and the " Mater Dolo rosa " of Sassoferato were engraved by Folo. His style was best suited to large subjects, and Ms plates are after the works of the best masters, namely, Raphael, M. Angelo, Guido, Titian, Poussin, Thor waldsen, Canova, etc. Fontana, Domenico. A famous architect, whose life was writ- [/ ten by Milizia, and who is especially interesting to all who visit Rome, on account of Ms having removed the Egyptian obelisk from its an cient position to the Square of S. Peter's. This was done in 1586, and was a memorable occasion in Rome. After great preparations, the morning came when the obelisk was to be raised. Fontana re ceived the blessing of the Pope, who also told Mm that failure would cost him his head. The workmen received the Holy Eucharist. The concourse of spectators was immense, the priests, soldiers, and people, high and low, were crowded in the streets and on the housetops. When the obelisk was raised, the guns of S. Angelo were all dis charged, and joy was universal, and when, a few months later, the removal was completed, and the obelisk was placed on its pedestal, the people carried Fontana on their shoulders in a triumphal proces sion, with drums and trumpets. Fontana was made a nobleman and a Knight of the Golden Spur; he had a pension of 2000 crowns, which descended to his heirs; ten knighthoods; 5000 crowns ready money, and all the materials he had used, which were valued at 20,000 crowns. Two bronze medals of Mm were struck, and on the base of the obelisk, a Latin inscription was cut to perpetuate his name and honor. Fontana, Prospero, born at Bologna (1512-1597). He had a fine mind, good invention, and many requisites for a good artist, but he often painted so hastily and carelessly, that his works were very imperfect. His pictures are still seen in Bologna. He also painted portraits, and was distinguished in that branch of art at Rome in the time of Julius III. , and later. Fontana, Lavinia, born at Bologna (1552-1614). Daughter of the preceding, whom she excelled. Her portraits were excellent FONTANA — F ORMENT. 281 and in her historical subjects, her manner is clever and sphited. Some of her works are in the churches of Bologna. Foppa, Vincenzo, born at Foppa, territory of Milan. Nothing positive is known of Mm until 145S ; died 1492. It is said that he was a pupil of Squarcione, and some of his works would confirm this. He was an artist of more than usual merit, and his later pictures are much better than his earlier ones. His outlines were well drawn, his faces expressive, and his color good and well blended. He lived at Brescia in his youth and returned there in his old age, and was buried in the ch. of S. Barnaba. He also resided at Pavia, and painted at Milan and Savona. In the Brera there is a S. Sebastian, taken from the ch. of S. Maria di Brera, and the only one remaining of a whole cycle which he painted in that church. It is called his chef- d'eeuvre. His works are also in the Carrara Acad., Bergamo; in S. Maria di Castello, Savona; in the National Gall.; and in different places in Brescia. Foppa, Vincenzo, the Younger. Very little is known of him. He was a subordinate Brescian artist of the 16th century. Son and probably pupil of the preceding. The works attributed to him are in several churches of Brescia, in the Scuola Elementaria, and in the Tosi Gall. Forli, Melozzo da, born at Forli; died 1494. Count Girolamo Biario, nephew of Pope Sixtus IV., governed Forli, and through his influence Melozzo went to Rome, where he was appointed painter to the Pope, and received the honor of knighthood. Only small por tions of his works remain, but they prove him to have been a won derful painter. His principal work was the " Ascension of Christ," in the ch. S. Apostoli. Portions of this have been removed, and are preserved in the sacristy of S. Peter's, the Quirinal Pal., and in the Lateran. Grimm says, " I can place nothing of the same date by the side of these figures as regards boldness of composition. For an im agination, before wMch human forms hovered in such bold foreshorten ing;, and a hand such as the painter possessed who could sketch so freely and firmly what his mind perceived, I find combined in no painter hitherto." The foreshortening or painting of figures in per spective, on vaults and ceilings, was his invention and was perfected a half century later by Correggio. His draperies were somewhat form less; his principal figures grand; and Ms cherubs and angels, graceful and beautiful. In the Vatican there is a picture by him of Sixtus IV. , surrounded by Ms nephews. Melozzo da Forli was a very important artist, but his place in the history of art is small, on account of the paucity of his existing works. Forment, Damian, born at Valencia; died 1533. He went to Italy to study, and it is supposed that he formed his style after the works of Donatello. In 1511 he executed a work at Zaragoza, which is considered one of the finest monuments in Aragon. It is an 282 FORMENT — FRANCESCA. altar-piece of alabaster, for the Cath. " of the Pillar." This work occupied Forment nearly nine years. It represents the Assump tion of the Virgin, the Nativity, and the Purification. In 1520 he began a retablo for the high-altar of the Cath. of Huesca. This oc cupied thirteen years. It is of alabaster, and represents the " Death and Passion of Christ." The Emperor, Charles V., invited him to enter his service, but he died soon after. He left a large estate. His school never numbered less than twelve scholars. Fosse, Charles de la, born at Paris (1640-1716). He was ad mired for Ms coloring, which he acquired from the study of Venetian art. He was much employed on the churches and palaces of Paris, Versailles, etc. He visited. England, and ornamented the mansions of some of the nobles. His design was incorrect and inelegant, and his color, which was good, was much inferior to that of Titian or Vandyck. Foucquet, Jean. Flourished 1461-1485. He was a miniaturist, illuminator, and painter to Louis XI. A Boccaccio which he illumi nated, is at Munich, and portions of a Book of Hours, also by him, belong to the coll. of M. Brentano Laroche, at Frankfort. There is a " Virgin and Child " in the Gall, at Antwerp, attributed to hiin. The Virgin is said to be a portrait of Agnes Sorel, the beautiful mis tress of Charles VII. This picture is pale and flat. Fouquieres, Focquier, or Foucquier, James, born at Antwerp (1580-1659). Pupil of Mompert and Jan Breughel. He was a fine landscape painter, and was employed in the Louvre by Louis XIIL That king made him a knight, and this, with other flattering attentions, rendered him so vain that he became unendurable. Nicholas Poussin, who was employed at the Louvre at the same time with Fouquieres, left Paris on account of his insolence and overbear ing conduct. His drawing was good and Ms pencil free. His color was somewhat cold, though fresh and clear. He chose picturesque scenes, and his wagons, figures, etc., were well put in. Fragonard, Jean-Honore, born at Grasse (1732-1806). He painted historical subjects, conversations, and bacchanals with con siderable success.1 Some rather stiff portraits are attributed to him, and he also executed several etchings from his own designs, and those of other masters. Francesca, Pietro della, born at Borgo S. Sepolcro. He is dis tinguished for having advanced the study of perspective. Some of his frescoes remain in his native place ; in S. Francesco, at Riinini, and in S. Francesco, at Arezzo. In the National Gall, there is a profile portrait in tempera, attributed to him. In the Uffizi there are portraits of Federigo di Montefeltro and his wife, by his hand. Ho is said to have been the teacher of Signorelli and Pietro Perugino. He was living in 1494. 1 Four fine pictures, by Fragonard, belonging to Mr. Henry Lee, were burned in the great lire in Boston, November 9, 1872. FRANCESCHINI — FRANCIA. 283 Franceschini, Baldassare, called II Volterrano, born at Volterra (1611-1689). He was most distinguished as a fresco painter, but Ms oil pictures were very commendable. His correctness of design was remarkable; his knowledge of foreshortening perfect; his color harmonious; and his figures spirited. His works both in fresco and oil may be seen in Florence and Volterra. Franceschini, Marcantonio, born at Bologna (1648-1729). Carlo Cignani was his chief teacher, and so fond of Mm that he gave Mm attentions and privileges beyond all his other pupils. He ex celled as a machinist. His compositions were copious but without confusion. His inventive powers were large, and ho had facility of execution. Many of his works are at Bologna. His easel pictures were good; his angels were especially beautiful. Franciabigio or Francia Bigio, real name, Francesco di Cristofano (1482-1525). Pupil of Mariotto Albertinelli. He was a friend of Andrea del Sarto, and resembled him in his manner of painting. In 1513, Francia Bigio was employed at the Servi in Florence, and it is said was associated with Del Sarto. He painted, in the court of the Servi, a picture of the " Marriage of the Virgin." Just before it was finished, a day observed with especial solemnity by the Servites came round, and the monks removed the screens which were before the pic ture. Francia Bigio was so angry at this that he took a hammer and did much injury to the Virgin's head, and to other portions of his work, and moreover, he 'could never be persuaded to restore it, neither would other artists do so. and the injuries remain to this day. In 1518-19, he worked at the Scalzo, and in 1521, together with Del Sarto, at the Medici Pal. in Poggio a Cajano. He was always a reputable painter, but he was not, a man of great genius, and there fore could not equal many others. During the later years of his life, he painted with great rapidity, and took every order that was offered him. Several of his frescoes remain, and a number of portraits by his hand, are in various collections in Europe. The " Bath of Balh- sheba," at Dresden, was painted but two years before Ms death One of Ms portraits is at Windsor Castle, and another at Stanstead House. Francia, Francesco, real name Francesco di Marco Raiholini, born at Bologna (1450-1518). As a goldsmith, he was first dis tinguished, and was steward of goldsmiths in 1483. He was also master of the mint to the Bentivoglio, and to Julius II. at Bologna. It is impossible to say exactly when ho began to paint, but his earliest known work is a Madonna surrounded by six saints, dated 1490 or 1494. This is one of the treasures of the Bologna Pinacothek. His first pictures are Umbrian in style, and much resemble thoec of Perugino, which is easily accounted for by the fact that the works of that master were taken to Bologna near tho close of the 1 5th century. Later in life, Francia became Raphaelesque in manner, and Ms pic-: 284 FRANCIA. tures have been attributed to both these masters whom he imitated. His most striking characteristic is a tender and agreeable expression of deep religious feeling. His figures express calmness more than ac tion; his color is warm, and his finish delicate and careful. His only remaining frescoes are in the oratory of S. Cecilia, at Bologna, and represent the marriage and entombment of that saint. An altar- piece in the Bentivoglio chapel in S. Giacomo Maggiore, representing the enthroned Madonna, with saints and angels, is very beautiful. The color is especially fine. Various other works of his are in Bo- MADONNA. BY FK. FRANCIA. Dresden. logna; in Munich is a " Vhgin adoring the Infant Jesus," which is very attractive; in the Brera, another enthroned Madonna; many portraits, half length Madonnas, and Ploly Families are seen in various European galleries. All have the same oval faces, and soft, dark eyes; the same calm and thoughtful expression, and arc always pleasing. He retained his full powers at the time of his death. When the S. Cecilia of Raphael was finished, he sent it to Francia and requested him to care for it and see it properlv hung in its place. He did so, and soon after died, it has been said, because of Ms dis- FRANCIA — FRANCO. 285 covery of his great inferiority to Raphael. It is well known that these two masters were friends, and corresponded, but it is not known that they met. There are few, perhaps no otlier specimens of the antico-moderno style, equal to the works of Francia. His por traits were excellent, and in some of his groups he introduced the likeness of the donor with good effect. He had more than 200 scholars. Franck or Francken. There are at least eleven painters and en gravers by this name, and probably more. There is some diificulty in distinguishing between them. The most important are Hans Franck, who was one of the earliest engravers on wood, and is be lieved to be the same as Jan Franck, who worked for Albert Durer at Nuremburg ; Frans Francken, the Elder (1544-1616), Ambro- sius Francken, the Elder (1545-1618), and Jerome Francken, the Elder (1542?-1620) were pupils of Franz Floris, and painted in Ms style. The Antwerp Mus. has a number of pictures by Ambrose. There were three younger Franckens having the same names as the elder ones. Of these Frans, the Younger, was the most important. Born at Antwerp (1581 ?-1642). His works are characterized by fine keeping and a spirited touch, with much feeling for graceful action. His drawing was good, and he had fine inventive talents. No picture better displays his powers of imagination than that of the " Witch's Sabbath," in the Vienna Gall., dated 1607. His color was often heavy. He sometimes painted the figures in the pictures of Pieter Neefs, Van Bassen, and Jesse Momper. He was one of the best genre painters of his time. Jean Baptiste Francken was the son of Sebastian, and was instructed by him. Born at Antwerp, 1600, sometimes called Old Francks. He improved by the study of the works of Rubens. His best pictures are the interiors of museums and galleries, and he so well imitated the manner of different artists, that however small his representations are, the style and color of the painter can be distinguished. He painted vases, suits of armor, and objects of natural history with wonderful exactness and finish. Many of the figures which he introduced were portraits. He eome- times painted figures in the pictures of Neefs, and sometimes the figures wMch he painted were encircled with flowers by Daniel Segers. Franco, Battista, called II Semolei, born at Venice or Udino (1498-1566?). He went to Rome where he diligently studied the works of Michael Angelo. A few of his works remain in Venice. The finest of these are small decorations upon ceilings, such as those in the chapel of S. Francesco della Vigna, and in the Scala d'Oro of the Doge's Palace. His most important large works are also in the above-named chapel. A good portrait of Saneovino, by Franco, is in the Berlin Mus. TMs artist merits honorable mention as an en graver. He is believed by some to have been the pupil of Marc An- 286 FRANCO — FRED'L tonio. Bartsch mentions more than 100 plates by him. His drawing is often incorrect, but he showed great love for the antique, and re spect for the traditions of the past, in the choice of his subjects. He worked entirely with the graver, and marked Ms plates B. F. V. F., for Batista Fran co Venetus fecit. Francois. There are three painters by this name, Lucas, Peter, and Simon. The first two were father and son, and born at Mechlin; the latter was a native of Tours. They are of no especial importance. Francois, Jean Charles, born at Nancy (1717-1786 ?) The in ventor of the engraving called the Chalk style, wliich represents crayon drawings. He received a pension of 600 livres, for this in vention. He also executed some portraits with the graver. Fraser, Charles, born at Charleston, S. C. (1782-1860.) A very successful portrait painter. In 1857 his works were exhibited in Charleston, and numbered 313 miniatures and 139 landscapes and other compositions. Fratellini, Giovanna, born at Florence (1666-1731). Her talents attracted the attention of the Grand Duchess Victoria, who provided her with masters. She painted in oil, miniature, and crayons, and excelled in the latter. Her reputation spread all over Italy, and she painted the portraits of many nobles and eminent persons. In the Ducal Gall., Florence, there is a portrait of herself engaged in paint ing that of her son, which is one of her best works. Frazee, John, born in Rahway, N. J., 1790. A sculptor in spite of many hindrances, for in Ms youth there was no brightness but that of Ms mother's love; and it was not until 1824 that he was able to execute Ms first bust. This was a portrait of John Wells, and was placed in Grace Church, New York city, and is, according to Dun- lap, the first marble portrait from a native hand. At this time he had opened a marble-yard on Broadway, with Launitz, and it was there that Crawford first practised in statuary. After this Frazee made busts of several notable men, and in 1831 that of John Jay, for which Congress made an appropriation. Fredi, Bartolo di, born at Siena about 1330. He was associated with Andrea Vanni, in 1353. In 1361 h? was employed by the government of Siena, and in 1362 went to S. Gimignano, where he remained several years. After his return to Siena he was honored with some public offices. He was the founder of the noble house of the Bartoli Battilori. Had his reputation depended alone on Ms real artistic merit, he would not have occupied a leading position. His color was hard, and Ms pictures very flat; and he was excelled by many artists of his day in Pisa and Siena, while he could not be mentioned beside those of Florence. His remaining works are some pictures in S. Francesco of Montalcino; an '¦ Adoration of the Magi," in the Acad, of Siena, and another in the Ramboux Coll. at Co logne ; and a " Vhgin giving the Girdle to S. Thomas," in the ch. FREDI — FUNGAL 287 of S. Maria, at Bettona, near Assisi. His " Descent from the Cross," in the ch. of S. Francesco, is dated 1382. Freminet, Martin, born in Paris (1567-1619). He studied some time in Italy, and on his return was made painter to Henri IV., and also to Ms successor, Louis XIIL He was much employed at Fon tainebleau. A picture in the Louvre, representing " Mercury admon ishing .ZEneas," is a good example of his work. Frey, James, born at Lucerne (1681-1752). An eminent en graver, and better known by his Italian name of Giacomo Frey. He studied in the school of Carlo Maratti, at Rome. He left a large number of fine plates after the works of some of the best Italian masters. Frey, John Peter de, born at Amsterdam, 1770. He became a distinguished engraver, though he could only use his left hand. His prints after Rembrandt, Flink, and G. Dow are much esteemed, es pecially the " Anatomical Lecture," the " Family of Tobias," the " Presentation in the Temple," and the " Ship-builder and his Wife." Frisius, Simon, born at Leuwarde, in Fricsland, about 1590. An eminent engraver, and the first who brought etching to perfection. His prints are scarce and much valued. He sometimes marked Ms plates S. F. fecit, and frequently fecit only. Fruitiers Philip, born at Antwerp (1625-1677). He first painted historical subjects in oil, but changed to distemper and miniature. He was very celebrated for his water-color portraits, and so much admired by Rubens that he employed him to paint himself and fam ily. He also made some etchings, among which the portrait of Queen Hedwig Eleanor, of Sweden, is distinguished for its excel lence. Fuessli, John Caspar, born at Zurich (1706-1781). A good por trait painter, and the author of the " Lives of the Swiss Painters," for which work he designed and engraved the portraits and vignettes. Fiiger, Henri, born at Heilbronn (1751-1818). He was appointed Director of the Imperial Gall, at Vienna, in 1806. His works in that Coll. are not his best. German writers considered him one of the most eminent artists of his time. Fulton, Robert, born in Lancaster County, Penn. (1765-1815). It is well known that this great mechanician was also an artist. But very few of his works remain. There is in Philadelphia a portrait by him of Mr. Plumstead's sister; it belongs to her family. Fulton executed the first panorama ever exhibited in Paris. His love for art was very great, and he wrote from London to urge the people of Philadelphia to buy West's pictures as the nucleus of a Gall., and bought himself the " Lear" and " Ophelia," and gave them to the New York association of artists. There is a print from one of Ms pictures representing Louis XVI. in prison, with his family. Fungai, Bernardino, born at Siena. Flourished about 1512. 288 FUNGAI —FUSELI. There are numerous works attributed to tMs artist in guide-books and catalogues. They are all lifeless, badly drawn, and confused in arrangement. Several of these are in the churches and Acad, of Siena. They are also seen in various European galleries. Furini, Francesco, born at Florence (1604-1646). Pupil of his father, and afterwards of Passignano and Roselli. He became a priest in 1640, but continued to paint until Ms death. He has been called the Guido and Albano of Florence. His heads are sometimes very powerful; Ms face shadows are deep brown. His pastoral sub jects are half Spanish in appearance. His best works are easel pic tures, and are much esteemed. His women and children are elegant and delicate, and he excelled in the representation of nymphs and kindred subjects. Furness, William Henry, Jr., born at Philadelphia (1827-1867). A successful painter of portraits. He studied at Diisseldorf, and after his return to America established himself in Boston. His pic tures are in the possession of the families for whom they were painted, and are much esteemed. Fuseli or Fiissli, Henry, born at Zurich (1 741-1825). He was ed ucated for the church, and took holy orders, but in 1763, having a difficulty with a magistrate of Zurich, he went to England, where he lived until his death, with the exception of eight years passed in Italy. He intended to devote himself to literature, but by advice of Sir Joshua Reynolds, who had seen his drawings, he became an artist. As a painter he was entirely original, and remarkable for his wonderful imaginations and fantastic conceptions of Ms subjects. He had a good knowledge of anatomy, wliich is fully shown in his pic tures. His best works are his Milton Gall., and eight pictures painted for Boydell's Shakespeare Gall. These are all extravagant and incorrect, but extraordinary in design. As a writer and critic of art, he ranks high, but is not free from the same extravagance in his intellectual efforts which characterizes his paintings. He held the offices of Professor of Painting, and Keeper of the Royal Acad. He delivered twelve lectures in all. He was very witty and sarcas tic, and spared none who came in his way; still he was liked by the students, for they knew that he endeavored to build up die best in terests of the Acad. He had a passionate temper, and was sometimes overcome by depression of spirits, when his wife was accustomed to make him angry, as a fit of passion restored Ms cheerfulness. He was very learned, and could speak eight languages. When not em ployed in painting, he took up the pen; and when eighty years old declared himself to have been happy in tho fact that he had always been occupied in something that he liked. There are many sharp and witty sayings of his recorded, and his life, publi.-hed by Ms executor, John Knowles, is very interesting. From his choice of strange subjects, his fellow-artists called Mm " painter-in-ordinary to FUSELI — GADDI. 28'9 tho devil;" he laughed at this, and said, " Aye, he has sat to me many times." A student once showed him a drawing, saying, "I finished it without using a crumb of bread." " All the worse for you," answered Fuseli; " buy a two-penny loaf and rub it out." Fiiterer, Ulrich. In the Gall, of Schleissheim there is a large "Crucifixion" by this artist, who flourished about 1480. It is painted in compartments of Gothic architecture to imitate sculpture. Fyoll, Conrad. Flourished from 1461 to 1476. There are pic tures by this artist in the St'adel Institute, at Frankfort, and in the Berlin Mus. Kugler says, " He has something tender and mild in his heads, and a dehcate, silvery, and, upon the whole, cool tone in his flesh." Fyt, Jan, born at Antwerp (1609-1661). After Snyders, he is the greatest Flemish animal painter. His greyhounds cannot be equalled by any master. His live dogs are excellent, but he was most successful in representing dead animals. The fur of animals and the plumage of birds was rendered by him with more detail of finish than by Snyders, and with wonderful truth. His composition was good, and he had much animation ; in drawing, he is not always accurate, but his effects of light are fine. He may be well studied in the Munich and Vienna Galleries, which have fine pictures by him. There is a work of his in the British Mus., and others are in private collections in England. He sometimes painted in conjunction with Jordaens and Willeborts. Jan Fyt also executed the Mowing etchings, which are much esteemed : — Eight plates of Dogs and other animals; marked Jo. Fyt. 1640. Seven plates of different kinds of Dogs with landscape back grounds; 1642; inscribed Johannes Fyt pinx. et fecit. A set of eight small plates comprising a Horse, a Cart, a Dog, Goats, Foxes, and tM-ee of Cows ; very scarce. G. Gaal or Gall, Barent, born at Haerlem (1650-1703). Pupil of Philip Wouvermans. His village scenes are good pictures of their class. His figures have no special merit, but Ms effects of light and shade are fine, particularly when, like Ruysdael, he paints heavy clouds with the sun shining on distant fields. Gabbiani, Antonio Domenico, born at Florence (1652-1726). The works of this artist occupy an honorable position in the Floren tine galleries and palaces. His landscapes with mythological subjects resemble those of Domenichino. His distant scenery is grand. His Cupids are, as a rule, his best figures, and Ms greatest deficiency is in drapery. He was a pupil of Ciro Ferri. Gaddi, Gaddo, born at Florence (1239-1312). A friend of Cimabue, whom he m.-vived twelve years. The friend also of Andrea 19 290 GADDI — GAINSBOROUGH. Tafi, and a worker in mosaics. He made a fortune which was the foundation of the position his family occupied later. Vasari speaks of many of Ms works, both paintings and mosaics, but the only remaining ones that can be attributed to Mm are some mosaics in the portico of S. Maria Maggiore, at Rome, executed in 1308, and possibly others in the cathedrals of Florence and Pisa, and in the Baptistery at Florence. Gaddi, Taddeo, born at Florence (1300-1366?). Son of the preceding. He was held at the baptismal font by Giotto, and became the favorite disciple of that great master. His pictures are, in general, in the style of Giotto. Vasari, who saw many of Ms works which are now destroyed, thought he excelled his instructor. His works still remaining are frescoes from the life of the Virgin, on the walls of the Giugni (formerly the Baroncelli) chapel in Santa Croce, at Florence, and some smaller panel pictures in the Florentine Acad. and the Berlin Mus. There is much truth and feeling in the frescoes, and the small pictures are beautifully executed. His countenances are less characteristic than those of Giotto, and Ms entire manner more mechanical, the almost unavoidable result of having been the assistant of his master, for more than twenty-four years. When he was asked to name the greatest painter in Italy, he replied, " Art has fallen very low since the death of Giotto," and it was the misfortune of Taddeo and others who followed Giotto, to study Ms works and practise Ms rules, rather than to draw their inspiration from nature, and reproduce her more perfect models. Taddeo was also an archi tect, and made the plans for the Ponte VeccMo and Ponte a Santa Trinita, in 1336, and was employed at Orsanmichele and the Cam panile. Gaddi, Agnolo. Son of the preceding. Time of birth not known. Died 1396. The pictures of Agnolo are sometimes imposing at a distance, but do not bear close examination. A finely drawn head is often spoiled by disregard to the details of the features; his hands and feet are bad, and the folds of the flesh are indicated by lines. His color is clear and transparent, and Ms relief better than Taddeo's. The best preserved works of tMs master are in the chapel of the Holy Girdle in the Cath. of Prato, and in the choir of Santa Croce, at Florence. The latter are. a series illustrating the history of the Holy Cross, and are full of allegorical allusions. Gaeta, Scipione da. See Pulzone. Gainsborough, Thomas, born at Sudbury, in Suffolk (1727-1788). Pupil of Francis Hayman. He became very eminent as a portrait painter, and his landscapes are much esteemed, while his fancy pic tures are also excellent. He settled in London in 1774. It is said that he never put his name on any picture. When he died, he had 56 paintings and 148 drawings. The latter are much valued by con noisseurs and coUectors. Several of Ms fine landscapes are in the GAINSBOROUGH — GALLI. 291 National Gall., and the excellent portraits of Mrs. Siddons and Dr. Ralph Shomberg are also there. In the Edinburgh Gall, there is a fine likeness of the Hon. Mrs. Graham. Some of his best pictures of genre subjects are, the " Shepherd Boy in a Shower; " the " Wood man and Dog in a Storm; " the " Cottage Door; '' and the " Cottage Girl with Dog and Pitcher." His pictures command high prices, one having been sold in 1867 for £1800. Many of Ms works have been engraved. Galanino, called Baldassare Alloisi, born at Bologna (1578- 1638). Pupil of the Carracci, and one of the ablest artists of their school. He was very busy in Rome in painting portraits of the most illustrious men of tho time of Urban VIII. His larger works were for the churches of Bologna, and the great altar-piece for the ch. of Gesu e Maria, at Rome. Galassi, Galasso, born at Ferrara, 1380. But few of his works remain, and these are in the churches of Bologna. It has been said that he learned the use of oil colors from Van der Weyden, but all his known paintings are frescoes. Galaton. A Greek painter who probably lived under the earlier Ptolemies. He executed a picture probably intended to ridicule the Alexandrian epic poets. It represented Homer vomiting, and other poets gathering up what fell from him. r~». Galestruzzi, Gio. Batista. Of his paintings C&K/f little is known, but he was the friend of Delia Bella, ^"^ ^ whose manner he imitated in engraving, and acquired a good reputation. His plates are numerous, and some of them are rare. He flourished about the middle of the 17th century. F-p^ Galle, Philip, born at Haerlem, 1537. The first Jtr of a family of engravers consisting of Theodore, i MX 1560, and Corneliusthe Elder, 1570 (sons of Philip), and Cornelius the Younger, 1600. Cornelius the Elder excelled the others, and after studying in Rome established himself in Antwerp as an engraver and print-seller. He left a con siderable number of plates, wliich are well esteemed. Gallegos, Fernando, born at Salamanca, probably about 1475. He followed the manner of Van der Weyden and Memling. He has been called a pupil of Albert Diirer, and his works are said to resem ble those of that master. His best picture is a Madonna, in the chapel of S. Clement, in Salamanca. Galli, Gio. Maria, called Bibiena from his birthplace (1625-1665). The first of a family who distinguished themselves in art. He was a pupil of Albano, whose gracefulness he successfully imitated. Some of his finest works are in the churches of Bologna. Galli, Ferdinando, called Bibiena, born at Bologna (1657-1743). Son of the preceding, he was very eminent as an ornamental and 292 GALLI — GARZI. decorative painter, and was sought by all the sovereigns of Europe. He served the dukes of Parma and Milan, and went to Vienna by invitation of the Emperor Charles VI. He arranged public festivals with much magnificence, and made great improvements in the dec orations and illusive effect of scenic decorations. He also painted many architectural and perspective views, which are in the galleries of Italy and are well esteemed. He published a work on architect ure. He had three sons, Alessandro, Antonio, and Giuseppe, who became distinguished as decorative artists at several European courts. Galli, Francesco, called Bibiena, born at Bologna (1659-1739). Brother of the preceding, to whom he was inferior. He painted the same class of subjects, and was invited to Spain and appointed prin cipal architect to Philip V. Garbo, Raffaellino del, born at Florence (1476-1524). Pupil of Filippino Lippi. His earlier works are characterized by amiability, and an elegant tenderness of feeling. His works in the Berlin Mus. especially display this. His " Resurrection," in the Florentine Acad., shows the same dramatic power which his master had. Later in hfe, when he attempted to follow M. Angelo and Raphael, he was less admirable, as may be seen in his ceiling pictures in the chapel of S. Thomas Aquinas in S. Maria Sopra Minerva at Rome. His works are also seen in the Louvre, Dresden Gall., Uffizi, Acad, of Venice, Mus. of Naples, and in some private collections. Gargiuoli, Domenico, called Micco Spadaro, born at Naples (1612-1679). Pupil of Salvator Rosa, and painted landscapes and small figures. His works in the Studj Gall, at Naples are very in teresting as Mstorical representations of the events of Ms time. One series delineates the whole tragedy of Masaniello, and the horrors of the plague of 1656 form the subjects of others. Garofalo was called by this name from his custom of painting a gilliflower in the corner of his pictures, but his real name was Ben venuto Tisio. Born at Ferrara (1481-1559). He executed some fres coes in Ferrara which caused him to be considered the head of the Ferrarese school, but he is best known by Ms easel pictures, which are in various galleries, especially in Rome. An " Entombment,'' at the Borghese Pal., is his most celebrated large work, and another, very similar, is in the Studj Gall, at Naples. The Doria Gall.., the Acad, of Venice, and the English National Gall., have fine specimens of his works. His pictures at Ferrara were painted after his return from Rome, and show the effect of his study there. His color was good, and his pure, positive tints have not faded, and equal in this respect the works of the early Venetian artists. He was blind nine years before his death. Garzi, Ludovico, born at Pistoja (1638 7-1721). A favorite pupil of Andrea SaccM, and a rival of Carlo Maratti. He was em- GARZI — GELDER. 293 ployed in Naples in churches and palaces, and in Pescia; his princi pal works at Rome are the cupola of the Capella Cibo in S. Maria del Popolo, and his celebrated " Prophet Joel," in the Lateran. Gassel, Lucas. Flourished middle of 16th century. His style is fantastic, his color cool and monotonous. Vienna Gall., a landscape, with Judah and Thamar, 1548. Gasser, Hans (1817-1868). This Austrian sculptor was remark able for his portrait busts, among which are those of Jenny Linil, Marko, Rahl, and Szechenyi. His ideal figures were also worthy of praise. TMs may be seen in the new opera-house at Vienna, the Karl Theatre, and the arsenals at Vienna and Trieste. Gatti, Bernardino, called B Soiaro or Sogliaro, from the occupa tion of his father. There is much doubt about the facts of tMs painter's life, and it is not known whether he was a pupil or an imi tator of Correggio. His works were in the manner of that master, and the most important were executed at Parma, Cremona, and Piacenza. Died 1575. Gervasio Gatti, his nephew, was also his pupil, and called II Soiaro. Bryan names five painters and one en graver of the name of Gatti. Gaulli, Gio. Battista, called Bacicio, born at Genoa (1639-1709). He had great celerity of invention and execution, and became dis tinguished as a machinist. One of his most important works is the great vault of the Gesu, at Rome. He painted in several Roman churches, and is said to have succeeded in portraiture, especially in making good likenesses of those who were dead. For the latter he was accustomed to draw an ideal face, which he would change ac cording to the suggestions of those who had known the subject, until he made a satisfactory picture. Gault de St. Germain, Pierre Marie, born at Paris, 1 754. A painter of large Mstorical subjects and portraits. He also wrote several books relative to painting. Gaywood, Robert. Flourished about 1660. The plates of tMs eminent English engraver are much esteemed by collectors. He was a pupil of Wenceslaus Hollar, and Ms most interesting works are his portraits. Geddes, Andrew, born at Edinburgh (1789-1844). He painted landscapes and portraits. He was most successful in the latter, although many of his small landscapes are pretty, particularly his canal views. He also painted one large altar-piece, and a picture of " Christ and the Woman of Samaria." His picture of the " Dis covery of the Regalia of Scotland " includes a portrait of Walter Scott, and several distinguished men of Edinburgh. —^ Gelder, Aart de, born at Dort (1645-1727). Pupil f ft\ of Rembrandt, and a good imitator of his style, though V/T\_ not equal to him in impasto and transparency of color. Many of Ms pictures pass for those of his master, and 294 GELDER — GERARD. his works are not numerous in public galleries. The Amsterdam Mus. has a portrait of Peter the Great, and the Dresden Gall, a man's portrait and an Ecce Homo, by De Gelder. Gelee, Claude. See Lorraine. Genga, Girolamo, born at Urbino (1476-1551). Pupil of Luca Signorelli and Pietro Perugino, and fellow-pupil of Raphael. Few of Ms works are known, as he painted much in conjunction with other masters, and was also employed as an architect, rather than painter, by the Duke of Urbino. Gennari, Benedetto, born at Cento (1633-1715). Nephew and pupil of Guercino, whose style he imitated so perfectly, that the copies which he made from the master's works could scarcely be distinguished from the originals. He painted some Mstorical pictures for the churches of Bologna, Padua, and Cento, and in the reign of Charles II. went to England and was appointed painter to the King, in which office he was confirmed by James II. His principal works in England, were portraits. Cesare Gennari, brother of Benedetto, and Lorenzo, probably of the same family, were also painters. _. Genoels, Abraham, born at Antwerp (1640-1723). One ff\ of the best landscape painters of his country. In France, JT \- he was employed by Le Brun, to paint the backgrounds to his " Battles of Alexander the Great." His drawing is cor rect, his touch spirited, his color clear, and Ms figures in the antique style. His works are rare. The Amsterdam GaU. has one, and there is another in tho Brunswick Gall. He is also distinguished for his etchings. Bartsch enumerates seventy-three, and Weigel gives thirty-one more. In Rome, he was called Archimedes, on ac count of his mathematical knowledge, and he sometimes signs his etchings with that name. Gentileschi, real name Orazio Lomi, born at Pisa (1563-1647). He painted in several Roman palaces in conjunction with Agostino Tassi. He also painted historical subjects at Turin and Genoa. He was invited to England by Charles I. Several of his pictures are now at Marlborough House. Vandyck painted his portrait, which was engraved by Vorsterman. Gentileschi, Artemisia (1590-1642), was the daughter of the above, and accompanied him to England, where she painted both portraits and other pictures, but she passed most of her life in Bologna and Naples. She was the friend of Guido, and was much admired. She excelled her father in portraits. In the Florence Gall., there is a " Judith," painted by her. Gentileschi, Francesco, brother of the preceding, was also an artist, and resided chiefly at Genoa, where he painted for several churches. Gerard, Francois, born at Rome (1770-1837). The best French portrait painter of his time, and distinguished also for his large his torical pictures. His chef-d'oeuvre of this kind is the " Entrance of GERARD — GHIBERTI. 295 Henry IV. into Paris," at Versailles. He was a great favorite with Napoleon, and painted portraits of the Emperor, his wives, and the King of Rome. He was also principal painter to Louis XVIU., who made him a baron. Gerard, Mark, horn at Bruges. Painter, designer for glass-paint ing, and architect. He was not an eminent artist, but some por traits he painted in England are interesting. Those of Queen Eliza beth, Lord Burleigh, and Lord Essex are at Burleigh House. Gerard of S. John. Van Mander says he was thus called from the monastery of S. John, at Haerlem, where he resided. Two panels attributed to him are in the Belvedere Gall., at Vienna, and three pictures which form a triptych in the Pinakothek of Munich, are also called his. These works are far from excellent, and seem to belong to the 16th century. Gerard of Ghent is one of the painters said to have executed the celebrated Grimani Breviary, in the library of S. Mark, at Venice; 1 25 of the illuminations are attributed to him. It has been said that he was identical with Gerard Van der Meire. Gericault, Jean Louis, born at Rouen (1791-1824). The chef- d'ozuvre of this artist is his immense picture of the " Wreck of the Medusa," in the Gall, of the Louvre. Gessi, Francesco, born at Bologna (1588-1649). A pupil and successful imitator of Guido Reni. His early works are the best, for in later years he became a cold and languid mannerist. His pictures are in several churches of Bologna. Gessner, Solomon, born at Zurich (1734-1788). A poet and artist. He was an amateur painter, until he was thirty years old, when he began to study landscape painting. He is known by Ms etchings, some of wMch he executed for Ms literary works, and some for separate publication. They are all well fimshed and pleasing. ^ £ Ghein or Gheyn, James, the * ' '^7^* + Elder, born at Antwerp (1565- #Hr» S\ VJj* "Hey 1615). Pupil of Henry Goltzius. I U/r* ,/ . ff -+ • *KT + ^e became a skilful engraver, and ' + his plates are much esteemed. Some of them are scarce. Ghent, Justus Van. This old painter must have been born about 1400, as he was a pupil of Hubert Van Eyck. The only re maining work known to be his, is in the ch. of the Fraternity of Corpus Christi, at Urbino. It represents " Christ giving the Chalice to the kneeling Apostles," and has manypoints of merit. The por traits it contains are excellent. Ghiberti. Lorenzo, horn at Florence (1378-1455). A goldsmith and sculptor, he also painted some pictures at Rimini, whither he fled from the plague in 1398. He is best known by his bronze gates 296 GHIBERTI. to the Baptistery of Florence, which Michael Angelo thought " wor thy to be the gates of Paradise," and which have never been sur passed in some respects. There was much controversy as to who should obtain the honor of making these gates, and after Ghiberti re ceived it, he spent twenty years upon the first, and as much more time upon the last. It is easy to see in them the marks of the gold smith's minute and finished manner; but Ghiberti introduced a new feature in bas-relief when he attempted to represent distance in background. In this he of course failed, but in beautiful ornamenta tion, and perfect form and finish of all minor parts, he has never been surpassed. Ghiberti also made three statues for the ch. of Or- sanmichele; two bas-reliefs for the Cath. of Siena, and the Sarcoph agus of S. Zenobius, in S. Maria del Fiore, of Florence. All these works still remain, but tho sarcophagus and the gates are the most GHIBERTI — GHIRLANDAIO. 297 excellent, and, indeed, are to-day among the finest works of art in Italy. Ghiberti had been a student of the antique as far as was possible for him, and in his records of art describes the ancient works he had seen. The earliest known work of this master is in the Uffizi, and is a bronze relief of the " Sacrifice of Isaac." which he made when contending for the commission for the Baptistery gates. Ghirlandaio. Real name, Domenico di Tommaso Curradi di Doffo Bio-ordi. Born at Florence (1449-1494). It is said that Ms father was a goldsmith, who made such exquisite garlands for the hair that he was called Ghirlandaio (the garland-twiner), which name de scended to his children. There are certain characteristics of Dome nico' s pictures which might result from a knowledge of the gold- ZACHAKIAS WETTING THE NAME OF JOHN. BY DOMENICO GHIRLANDAIO. S. Maria Novella, Florence. smith's art, such as precision in drawing, the modelling of figures, and the arrangement of drapery. Ghirlandaio was a pupil of Alessio Baldovinetti, and became a mosaist and celebrated painter. There is much of interest in the works of this master. They plainly show the advance from his earlier to his best manner : he introduced in his pictures the portraits of celebrated and important personages of his time, and was original in many ways. His life is a landmark in the history of Florentine art. His especial greatness is that of a composer. He preferred large spaces, and worked in the old system of tempera. His portrait figures were not the actors in the scene represented, but he placed them, generally, in detached groups. Kugler says this gave a solemn effect, and compares them, in theh 298 GHIRLANDAIO. relation to the picture, to the chorus in a Greek tragedy. He laid his scenes in the streets of cities known to us, Ms architecture and costumes were familiar, but he did not run into the fantastic, and his works are never unpicturesque. His study of the antique is espe cially apparent in his draperies. In the technicalities of fresco-paint ing he excelled, and his works were highly finished. His remaining frescoes are those in the ch. and refectory of Ognissanti, Florence, dated 1480 ; in the Palazzo Vecchio, and Palazzo Pubblico, Flor ence, 1481-85; in the Sixtine Chapel, Rome, only the " Calling of Peter and Andrew" remains; in the Chapel of S. Fina, at S. Gi- mignano; in the Sassetti Chapel, in S. Trinita, Florence, and the choir of S. M. Novella (1490), same city. His smaller works are an '¦' Adoration of the Magi," in the Uffizi ; two pictures in the Acad, of Florence, in one of which, an " Adoration of the Shepherds," an an tique sarcophagus serves as the manger; a "Visitation," in the Louvre; six pictures in the Berlin Mus., and others in the Dresden, Munich, and National galleries ; while a few more are in other public and in some private collections. Ghirlandaio was the master of Mi chael Angelo. Very little is known of the mosaics which he exe cuted, although he called mosaic work " painting for etermty." Ghirlandaio, Ridolfo, born at Florence (1483-1560). Son of Domenico. The works of tMs master ma)' be classed in three divis ions : those of his early time, his middle and best works, and his later and more mechanical manner. The first are characterized by thin, stiff figures, hard enamel, and thick substance of color, which may be seen in an " Annunciation," in the Abbey of the Montoliveto, outside Florence. His middle and best manner was largely influ enced by his association with other artists, and the study of theh works. It has been said that he studied with Fra Bartolommeo and was the intimate friend of Raphael. It is true that the latter desired Ridolfo to go to Rome to work with Mm in 1508, and about this time Ridolfo excelled all Florentine artists in oil-painting, as his father in Ms day had excelled in mural decorations. To tMs time belong his "Nativity," Berlin Mus., and another in the Esterhazy Coll., at Vienna; a female portrait in the Pitti; the Miracle and the Burial of S. Zanobius, Uffizi; and various others in churches and galleries, in some of which he employed the assistance of his pupil Michele di Ridolfo. There was an old precept among shopkeepers, that an artist, if he kept a shop, should execute all orders brought him, no matter how small. Domenico believed this, and Ms son prac tised it. He did much merely mechanical work from 151 5 to 1541 for the public occasions, both of joy and sorrow, in which the Medici were the principal actors. This had a tendency to injure his man ner, for he hastily executed scenes for plays, banners to be carried in processions, and gaudy triumphal arches. Then, too, he had a good fortune, fifteen children, and was growing old, — indeed, he suffered GHIRLANDAIO — GIBSON. 299 so much from gout that he was wheeled about in a chair for some time before his death; still he did not resign his profession, but re mained a silent partner, as it were, in his own business, and as late as 1543 undertook a series of frescoes for the monastery of the An geli, where Ms brother Bartolommeo was in orders. Ridolfo sur vived most of his contemporaries except Michael Angelo. Ghisi. This is the name of a Mantuan family of engravers. Gio. Battista Ghisi, called Mantuano, was the eldest, and flourished about the middle of the 16th century. He was a painter, sculptor, architect, and engraver, in wMch latter profession, he is best known. He is said to have been a pupil of Marc-Antomo Rai- mondi, but his drawing is incorrect and his prints wanting in harmony. G-« ^j— f Giorgio Ghisi, born 1524, son Of the preceding, was VH a much more eminent engraver, and his works are much esteemed by collectors. Fine impressions of his prints are scarce. r, .\ -7-r Aaamo and Diana Ghisi were the brother /(\ /S\ and sister of Giorgio> and were instructed by J. *¦ / ¦* *- him. Diana was the best artist, and executed some plates of great merit. They were all called Mantuano. Ghisolfi, Gio., born at Milan (1623-1683). He studied under several masters, the best of them being Salvator Rosa. His pic tures abound in Milan, Geneva, Naples, Rome, and are well repre sented in England. He painted some Mstorical subjects, but is best known by dark pictures of ruins, corridors in perspective, and court yards paved with marbles. His works are in the choicest collections. Ghezzi, Cavaliere Pier Leone. Chiefly known by Ms etcMngs and his caricatures, wMch are numerous in Roman collections. Giamberti. See San Gallo. Giambono, Michele. An old painter and mosaist of the middle of the 15th century. An altar-piece in the Acad, of Venice, signed by him, represents Christ with S. Bernardino and other saints. At S. Marco, in the wagon roof of the Madonna de' Mascoli, there is a mosaic with Ms name, and at Padua, in the Coll. of Conte Riva, an exquisitely finished " Virgin and Child," inscribed "Michael Jo hannes Bono, venetus pinxit." The Berlin Mus. Catalogue calls No. 1154 a Giambono. It is the " Assumption of S. Magdalen." Gibbon, Grindling. A sculptor of the reign of Charles n. Some of his remaining monumental works are seen in the churches of England, but his wood-carving is most worthy of notice. His bhds, flowers, foliage, and imitations of lace are remarkable for fine and elaborate execution. Some of the best of these are at Hampton Court, Windsor Castle, Chatsworth, S. Paul's Cath, and S. James' ch., Piccadilly. He died in 1721. Gibson, Richard (1615-1690), usually called the Dwarf, was only three feet ten inches in height, and was married in the presence 300 GIBSON. of Charles I., whose page he was, to Anne Shepherd, who was ex- . actly his own height. They had nine children, who lived and were of a proper size. Vandyck painted the portraits of this remarkable couple. The King observed the talents of Gibson, and placed hiin with Cleyn for instruction. He made a reputation in water-color painting. He painted a miniature of the " Parable of the Lost Sheep," which the King valued and gave to his medallist Vander- doort for safe keeping. When Charles desired to have it, Vander- doort had forgotten. where he had put it, and became so nervous about it, that he hanged Mmself ; after Ms death it was found. A drawing of Queen Henrietta, by Gibson, is at Hampton Court. He was sent to Holland to instruct the Princess Mary in drawing, and also was honored by 'being the teacher of Queen Anne. Gibson, John, born near Conway, North Wales, 1790; died at Rome, 1866. When nine years old, Ms parents went to Liverpool with the intention of emigrating to the United States, but this plan was abandoned, and Gibson sent to school in Liverpool. Before this he had been in the habit of drawing whatever he saw that pleased Mm. He now began to study the prints in the shop windows, and sold his little drawings to his fellow-pupils. He attracted the atten tion of a print-seller, who lent him some studies and casts from the antique. At fourteen he was apprenticed to a cabinet maker, but at the end of a year, he persuaded Ms employer to change his indent ures, and was bound to a wood-carver. He soon made the ac quaintance of Messrs. Francis, who had marble works, and after much trouble and negotiation with his master, he was again apprenticed to the occupation which he had determined to follow. In modelling, drawing, and working in marble, he was truly happy, and made most rapid improvement. After a few months he fell under the notice of William Roscoe, who became his friend and patron. From this time until he was twenty-seven years old, he remained in Liverpool and executed many busts, bas-reliefs, etc. He had improved his oppor tunities, but they were small, and he greatly desired to travel. In 1817 lie went to London with a few letters of introduction, and ob tained several commissions. In September of the same year he left England for Rome, where he arrived in October. By means of a letter, he was presented to Canova, who took him under his protec tion and introduced him into his Acad., where he had an opportunity to draw from life. He had also the. advantage of associating with artists, and listening to conversations on art, in wliich the most talented sculptors, such as Canova and Thorwaldsen, were engaged. In 1819 he received his first commission from the Duke of Devon shire, which was for a group of Mars and Cupid. From this time, he advanced steadily in his profession, and was fully employed. He hved twenty-seven years in Rome, spending his summers principally at Innsbruck. In 1844 he went to Liverpool to superintend the plac- _ M PORTRAIT OF MRS. CALEB LORING. By Gilbert Stuart. See p. 557. GIBSON. 301 ing of Ms statue of Mr. Huskisson. He was received there with great enthusiasm. He had also executed a statue of Mr. Finlay for the Merchants Hall of Glasgow, to which city he was invi.ed, to wit ness its erection. The compliments here paid him were more flatter ing than those of Liverpool, on account of the absence of all ties of association or residence. During this visit, he was invited to Wind sor to make a statue of her Majesty. This was completed in Rome. The Queen was represented in a classical costume, and the diadem, sandals, and borders of the drapery were colored. This created much controversy; but Gibson always answered, " Whatever the Greeks did, was right." The Queen and Prince Albert were much pleased with the statue. In 1853 he received Miss Harriet Hosmer as Ms pupil. She is the only one he ever professed to teach, and they became devoted to each other, not only as teacher and pupil, but as friends. In 1862 he modelled a sacred subject, a bas-relief of " Christ blessing Little Children." In 1851 Gibson sustained a great loss in the death of Ms brother Ben, to whom he was greatly attached, and who had resided with him in Rome for fourteen years. On the 9th of January, 1866, when seventy-six years of age, and ap parently in perfect health, he was seized with paralysis, and died on the 27th of the same month. He was buried in the English cemetery at Rome; and as he had been decorated with the cross of the Legion of Honor, a company of French soldiers joined the funeral procession and fired a salute above his grave. The inscription upon his monu ment, written by Lord Lytton, gives a concise and truthful account of him as an artist, and as a man : " His native genius strengthened by careful study, he infused the sphit of Grecian art into master pieces all his own. His character as a man was in unison with his attributes as an artist, beautiful in its simplicity and truthfulness, noble in its dignity and elevation." A monument was also raised to Gibson in the ch. at Conway. He left the models of all his works, and the greater part of his fortune, to the Royal Acad. "Many amus ing stories are told of his absent-mindedness, and he was scarcely fit to go outside his studio alone. He could never master the ins and outs of railroad travelling, and when started in the right train at the right time, was sure to get out at the wrong place at the wrong time. Miss Hosmer said of Mm, " He is a god in his studio, but God help him when he is out of it." On one of his journeys, having arrived, as he supposed, at the right place, he desired a porter to show him the way to the Cathedral. In his own account he said, " But the scoundrel would have it that there was no cathedral in the place, and at last had the impudence to ask me if I knew where I was. Then I discovered that instead of being in Chichester, where I had a par ticular appointment with the Dean and Chapter, I was safe in Ports mouth, where there was no cathedral at all." He found his entire happiness in art, and worked on, to use Ms own words, " happily, 302 GIBSON — GIMIGNANI. and with ever new pleasure, avoiding evil, and, with a calm soul, making images, not for worship, but for the love of the beautiful. The beautiful elevates us above the crowd in this world; the ideal, higher, yes higher still, to celestial beauty, the fountain of all. Soc rates said that outward beauty was the sign of inward; in the life of a man, as in an image, every part should be beautiful." The tributes of respect which were shown Mm, he thoroughly enjoyed; and those of which any man might be proud, he received with a simplicity of self-respect which added a higher worth to them. The following arc a portion of his works : — Mars and Cupid; Chatsworth. Psyche borne by Zephyrs; Palazzo Torlonia, Rome, and S. Petersburgh. Hylas surprised by Nymphs ; National Gall. Sleeping Shepherd Boy; Mr. Lennox, New York. Cupid disguised as a Shepherd; often repeated; Mr. Appleton, Boston. Narcissus; Boyal Acad. Portraits of the Queen; Buckingham Pal. and Osborne. Sir Robert Peel; Westminster Abbey. George Stephenson ; S. George's Hall, Liverpool. Eighteen portrait-busts, among which are those of Mrs. Jameson and Sir Charles L. Eastlake. Sixteen bassi-relievi, mostly of mythological subjects, and sixteen monumental relievi; a large part of the last are in Liverpool Ceme tery Chapel. Gillray, James, born at Lanark (1757-1815). This celebrated caricaturist began life as a goldsmith, then ran away with a strolling company of players, and at last went through a course of study at the Royal Acad. His first caricatures were done about 1779, and he worked diligently in this department of art until 1811. He left more than 1200 of these prints. He seized upon every circumstance of politics and manners which could be turned to ridicule, and in this art has had no rival. His intemperate habits undermined his health, and induced an insanity several years previous to Ms death. There are a few engravings of Gilhay's of subjects not caricatured, of wMch the impressions are rare. Gilpin, Sawrey, born at Carlisle (l 733-1807). An animal and landscape painter, who painted whole pictures by himself, but was also accustomed to work in conjunction with Barret, who painted the landscapes for Gilpin's animals, wliich the latter repaid by painting animals in the pictures of Barret. Gimignani, Giacinto, born at Pistoja (1611-1680). A disciple of Pietro da Cortona. He assisted Carlo Maratti, at the Lateran, in Rome. A picture of his in the Ducal Gall., at Florence, has been attributed to Guercino. His works are also at the Palazzo Nic- GIMIGNANI — GIORDANO. 303 colini, Florence; in S. Giovanni at Pistoja, and in other churches of Italy. Giordano, Luca, born at Naples (1632-1705). Pupil of Ribera, called II Spagnoletto. He went to Rome while still young, and was employed by Pietro da Cortona. His facility of execution was mar vellous. He made copies from various masters, and Ms style became a mixture of all. This was greatly to Ms disadvantage. His father, who had always been very poor, followed him to Rome, urged him to haste for the sake of money, and was accustomed to repeat to him " Luca, fa presto," by which appellation he is known. In 1690 he was in vited to Spain, where he executed a vast amount of work for Charles II. , in the Escorial and elsewhere. He returned to Naples with much wealth and a great reputation. His works are very numerous, and varied in style. They are in all large galleries. Perhaps Ms masterpiece is the " Expulsion of the Fallen Angels," in the Belve dere, Vienna, signed Jordanus, F. 1666. Giordano painted equally well in oil and fresco, and is at times remarkable for beauty, glow of color, and dramatic effect, but sacrificed so much to hasty finish that it is painful to see what he has done and feel how much less it is than what he might have done. He also left some very spirited etcMngs, executed with free and masterly touch. ENGRAVINGS AFTER LUCA GIORDANO. Engraver, Aveline, Peter. The Death of Seneca. Engraver, Beauvarlet, James Firmin. Lot and his Daughters. Susanna and the Elders. Perseus combating Phineus. Acis and Galatea. Judgment of Paris. Rape of Europa. Rape of the Sa bines. Engraver, Dennel, Louis. Triumph of Galatea. Engraver, Earlom, Richard. Galatea. Judgment of Paris. Engraver, Eredi, Benedetto. Death of Lucretia. From his own designs, engraved by himself. Elijah calling down Fire on the Priests of Baal. Vhgin and Child. SS. Joseph and John. Penitent Magdalene. The Woman taken in Adultery. Christ in the Temple with the Doctors. S. Anne, received into Heaven by the Virgin. Engraver, Mannl or Maennl, Jacob. Martyrdom of S. Bartholo mew. Philosopher meditating on a Skull. A Geometrician. Engraver, Ravenet, Simon Francis. Sophonisba receiving the Nuptial Present. Engraver, Sornique, Dominick. The Rape of the Sabines. Engraver, Vasseur, John Charles Le. Apollo and Daphne. 304 GIORDANO — GIORGIONE. Engraver, Wagner, Joseph. Meeting of Jacob and Rachel. Rebecca receiving the presents from Eliezer. Engraver, Zucchi, Lorenzo. David with the Head of Goliath. Giorgione, real name Giorgio Barbarelli, born at Castelfranco (1477-1511). The first Venetian who cast off the Bellinesque rule and handled brush and colors freely. Grimm says, " His outlines disappear into something almost unessential. As when living beings approach us, we only see colors and movement, so in his pictures; there is none of the fixed, statue-like appearance; the living, moving character alone seems produced by magic." TMs artist had great personal beauty, and a dignified deportment. Giorgione means George the Great, and he acquired tMs name on account of his tall, noble figure. He had also an intense love of beauty ; he was a good lute player, and composed songs wMch he sung; in short, his nature was full of harmony and sentiment. This shows itself plainly in his works, and Mrs. Jameson saysr " If Raphael be the Shakespeare, then Giorgione may be styled the Byron of painting." Very little is known of his life. The Venetian traditions give the following : He was fond of pleasure, but never profligate, and his love of his art would not allow Mm long to neglect it. Pietro Luzzo, a painter known as Morto da Feltri, lived in the same house with Giorgione, where was also a girl whom he passionately loved. He made Morto Ms confi dant, of which he took advantage to seduce and carry off the girl. Giorgione never recovered from the double grief caused by the faith lessness of Ms mistress and his friend, and sank into a despondent state of mind, in which he died. Morto fled from Venice, entered the army, and was killed at the battle of Zara, 1519. _ Giorgione was much employed in decorative painting, and worked with Titian on the Fondacho dei Tedeschi, at Venice. He had great influence upon Titian. If any of the frescoes of Giorgione remain in Venice, they are but parts of pictures. The dampness of the climate, fires, and the effect of time have effaced them. His pictures are rare, and it is difficult to give a list of them, for there have been so many differ ences of opinion among the best judges, concerning the genuineness of those assigned to him, that few remain upon wMch no doubt has been thrown. He painted but few historical subjects. Among the works acknowledged as his, the first place should be given to an altar-piece in the ch. at Castelfranco. It represents the Virgin and Child between SS. Francis and Liberale. A study in oil for the figure of S. Liberale is in the National Gall. This altar-piece was executed before 1504. In the Belvedere Gall, at Vienna, there is a picture called the " Chaldean Sages," in which a company of as tronomers study the heavens. In the Manfrini Pal., Venice, is the so-called " Family of Giorgione." Be the subject what it may, it is an exquisite picture in which the painter succeeded in throwing great interest into a simple and natural arrangement of common objects. GIORGIONE. 305 At Kingston-Lacy, there is an unfinished picture of the " Judgment of Solomon." " The Concert," at the Pitti Pal., is one of his most beautiful and famous works. There are many portraits, sibyls, and Other pictures in various galleries, attributed to Giorgione, but the THE CONCERT. BY GIORGIONE Pitti Gall. above are almost, if not quite all, which are universally acknowledged to be genuine, although it may be quite true that others are so. Among those very generally admired, as the works of this master, are the portrait of a lady with a lute, Manfrini Pal. ; his own portrait, Munich Gall.; the "Daughter of Herodias," the portrait of Gaston de Foix, and a " Holy Family," in the Louvre; " Jacob meeting Rachel," Dresden; the " Finding of Moses," Brera, Milan; the Sea-storm, with the patron saints of Venice in a boat, demons and monsters all about, and a city in the distance, Acad, of Venice; etc., etc. engravings after giorgione. Engraver, Dupuis, Nicholas Gabriel. Amusement of Pastoral Life. Engraver, Kessel, Theodore. A Riposo. Magdalen at the feet of Christ. Engraver, Mannl or Maennl, Jacob. A Warrior giving Ms Hand to a Man. Engraver, Pether, William. A Warrior; hah length. 20 306 GIOTTINO — GIOTTO. Giottino. Vasari calls the name of this painter Tommaso di Stefano called Giottino, and says he was born in 1324. The only work remaining of those assigned to him is the chapel of S. Sil vestro in Santa Croce in Florence, in wliich is a series of pictures illustrating the legend of S. Sylvester. These are well composed, the drawing is firm, the movement animated, the heads individual, and the color warm and clear. There are other pictures at Assisi and in Florence, in the same manner as these, but not known to be by the same master. Giotto di Bordone, born at Vespignano (1276-1336). It is a custom to call Cimabue the father of modern painting, and it is true in the sense that he discovered the genius of Giotto and placed him where it could benefit the world. Cimabue' s pictures are in the Byzantine manner, but Giotto drew his inspiration from nature, and seems almost an opposite to Cimabue rather than a follower of Ms. When tending his flock, Giotto was accustomed to draw on the large, flat stones, and while thus employed, Cimabue came upon Mm, was filled with admiration of his work, and obtained the consent of his father to his taking him to be his pupil. Giotto became a painter, sculptor, and architect. His principal works were Ms fresco paint ings, which were in most of the large cities of Italy. The Bell- tower of Santa Maria del Fiore is his most famous arcMtectural monument. He did not live to see it finished, but he left a perfect model for it, which was largely, though not entirely followed in its construction ; for before it was completed the GotMc pyramidal sphe which he had used was no longer admired, and had, in fact, come to be regarded with contempt. But the main construction, the stories, the windows, the sculptured ornaments are Ms plan, and "form a matchless whole." Giotto was the friend of Dante, and it is most reasonable to believe that much of what appears original in the con ception and treatment of his subjects was derived from his intercourse with the great poet, and the ideas he received from him. Dante's portrait, which he painted 6n the wall of the palace of the Podesta at Florence, and which has been restored to the world, is one of his most famous works, and in spite of its destruction and restoration it is full of wondrous power. Of his small pictures there are twenty in the Florentine Acad., two in Berlin, and four others in private col lections, which originally formed a series of twenty-six, illustrative of the lives of Christ and S. Francis in reference to each other; or representing circumstances in the two lives wliich seem to have a cer tain likeness in them. Par exemple, opposite to the " Incredulity of S. Thomas," in the Life of Christ, ho places a picture of S. Francis on a bier, while a pious disciple examines the marks of the Stigmata. A divided altar-piece is in the Brera of Milan and the Gall, of Bo logna. Some pictures on wood are in the Sacristy of S. Peter's at Rome, and in the vestibule of that basilica is his mosaic, called the GIOTTO. 307 " Navicella." This has been changed from its original place, and has been often injured and restored, until it is probable that no part of the original work remains, but the design is that of Giotto. His large frescoes were in series. Those in the Carmine at Florence were destroyed by fire in 1771, but there are engravings of them. In the ch. of Santa Croce, a " Coronation of the Virgin," and the " Last Supper," in the refectory, still remain. In Padua, in the chapel of the Madonna dell' Arena, he painted the Life of the Virgin in forty- two different pictures. In the lower ch. at Assisi, I13 represented scenes from the Life of S. Francis. In the Incoronata at Naples he painted the " Seven Sacraments," which are very well preserved. His sculptures and reliefs, both upon the bell-tower, and in the facade of the Duomo, were also arranged in cycles. In order to form FIGURE OF JOHN ABOUT TO THROW HIMSELF ON THE BODY OF CHRIST. BY GIOTTO. From the painting in S. Maria dell' Arena, Padua. a correct judgment of the works of Giotto, one must always keep in mind the time in which he lived, and the opportunities he had for study. Then it will be felt that he was eminent in his composi tion, design, and color, and that he gave a wonderful impetus to art in various directions. Some of his followers devoted themselves to form, some to color, some to relief, and thus each branch progressed, until in Raphael the different parts were again united in a compar atively perfect manner. The works of Giotto were so numerous that it would be impossible .in such an account as this to even mention all of them, but it should not be forgotten that one of his most original conceptions was that of the crucifix. Before him there had been two representations. In one Christ was erect and alive on the cross, held by the nails. In the other every effort was made to de pict simple physical agony, the effect being that of vulgar realism only. Giotto made more perfect anatomical proportions, and gave up 308 GIOTTO - GIRARDON. the dreadful contortions while he still indicated pain; he gave the expression of suffering to the head, and to the face tenderness, abne gation, and heavenly resignation. In truth it would be a difficult task to paint a better type of crucifix than that of this master. Two of his crucifixes are in S. Marco, and in the Gondi Dini chapel, in Ognissanti, at Florence; another at S. Felicita is also ascribed to him, but with less certainty. At the time of his death, Giotto had been architect and master of S. Maria del Fiore two years. He was buried there, and afterwards a monument was erected to Mm upon which his portrait was carved by Benedetto da Maiano. There is much of interest in the life of Giotto, and it is to be regretted that no more is known of it. He lived in stormy times, when Guelf and Ghibelline hated and persecuted each other, times in which Dante made enemies; but Giotto, though free from mental slavery, inde pendent, and judging for himself, seems to have been so poised towards all humanity as to have impressed himself upon Ms sur roundings, rather than to have stirred up any bitterness. His con temporaries acquiesced in Ms success and fame, and his successors have enlarged it. Giotto was personally so ugly that Ms friends all joked about it, but he was charming in conversation, witty, and withal modest. He would not accept even the title of " Magister," although in Ms day such honors were much coveted. There are various jokes and witticisms attributed to him, such as the following. The king of Naples asked him to paint his kingdom, and he drew a saddled ass smelling at another pack-saddle at his feet. When the king asked him to explain, he said, " Simply that the ass, your kingdom, not satisfied with one royal saddle, is always snuffing around for another." There has been a story oft repeated, that in. order to paint Ms crucifixes so well, he persuaded a man to he bound to a cross for an hour for him to study, and that when he had him there he stabbed him, and thus succeeded in making his fine representation of the subject. His picture pleased the Pope so well, that he would have it for his own chapel, but when Giotto told him all the truth, and showed him the dead man, the Pope threatened him with death. Then Giotto brushed the picture over so that it seemed to be erased, which the Pope so regretted that he promised forgiveness if it were done again. Giotto exacted the promise in writing, and then removed the wash with a wet sponge, and the crucifix was as perfect as before, and, according to tradition, is that from which all famous crucifixes were afterwards drawn. Giotto had a wife and eight children, of whom nothing is known but that Francesco became a painter. Girardon, Francois, born at Troyes (1630-1715). A reputable sculptor who was assisted in his studies by Chancellor Seguier. Louis XIV. gave Mm a pension while he studied in Rome, and many commissions after Ms return. He was finally advanced in office GIRARDON — GLOVER. 309 until he became director and chancellor in the Acad. A portion of Ms works were destroyed by the revolutionists, but many still exist in France. Girodet, Anne Louis (1767-1824). He adopted the name of Trioson in 1812. The favorite pupil of David. The only excellence he possessed was that of drawing the figure correctly. For this rea son, his drawings are better than his paintings. His principal works are in the Louvre. Girtin, Thomas (1775-1802). Pupil of Dayes. A good water- colorist. Plis manner of treatment is simple and pleasing. He made sketches of twenty views in Paris, and etched the outlines of the plates, which were finished by other artists. Glass, James W., born at Cadiz. His mother was an American, and he commenced his studies as an artist in the studio of Hunting ton, in New York. He chose to paint horses and such subjects as required them. He was very successful and gained a good reputa tion in London, where he lived for some time. It has been said that his picture of the Duke of Wellington was the best portrait ever made of Mm. It was sold to Lord Ellesmere. His pictures are all well esteemed, but they are not numerous, for he did not live to fulfil the promise of excellence he had given. He died in New York in 1856. " The Battle of Naseby," " Safe," " Royal Standard," " Puritan and Cavalier," and " Edge Hill," are some of the subjects he painted. Glauber, Jan, born at Utrecht (1646-1726). Pupil of Berghem. He studied in Italy, and became an imitator of Poussin. He settled in Amsterdam, and was the friend of Gerard Lairesse, who often painted figures in the landscapes of Glauber. His compositions are poetical, and his drawing excellent. His color is also admirable. His pictures are seen in the Louvre, Dresden, Berlin, and Munich galleries. He also executed a number of etchings from Ms own de signs and those of other artists. Glaucus, an artist of Chios, who worked in bronze, and is dis tinguished as the inventor of the art of soldering metals. Eusebius says he lived about 69 b. c. Glockenton, Albert, born at Nuremberg about 1432. The plates of this engraver are stiff and neat, and executed with the graver alone. The following are his : — Twelve plates ofthe Passion of Christ; after Martin Schoen; fine and scarce. Ten plates of the Wise and Foolish Virgins; after Che same. Christ bearing his Cross ; after the same ; scarce. Death of the Virgin ; after the same. The Virgin and Child seated on an Altar. Glover, John (1767-1849). An English landscape painter. His a«r o nt uvcu ii-ih.mil ui/ n 310 GLOVER — GOMEZ. pictures are highly finished, and become tedious if large, but his small works are pleasing, especially those cool in color. His rocky scenery is pretty, and his views well selected. Glycon. The Athenian who executed the " Farnese Hercules " in the Mus. at Naples. It represents Hercules resting on his club after one of his labors. The right hand is modern. It is believed to be a copy of the " Heracles " of Lysippus, of which there are several imitations, but none so fine as this. It was found in the Baths of Caracalla. Gobbo, Pietro Paolo Bonzi, called II (1580-1640). The hunch back of Cortona, and known as II Gobbo da' Frutti on account of his pictures of fruit, in which he excelled. His works are in the finest collections. He ornamented several Roman palaces in fresco. Goebouw or Gobau, Anthony, born at Antwerp (1625-1677). His best pictures are merry-makings, and subjects like those of Te niers. He also painted landscapes, sea-ports, and battle-fields after the conflict; the latter with such truth as to reach the horrible. His pictures are much admired in his own country. Goes, Hugo Van der, born at Bruges (1405 ?-1480 ?) It is said that he was a scholar of Jan Van Eyck, and a distinguished painter. Many of his works perished by the hands of the Dutch and Flemish Iconoclasts. About fifty pictures are now attributed to him, but there is little certainty about many of them. A large altar-piece in the choir of S. Maria Nuova, at Florence, is undoubtedly his work, and a portrait of his is in the Pitti Pal. The Munich Gall, has a " S. John in the Wilderness," signed H. V. D. Goes, 1472. It is delicately finished. There are no others that can be positively given to him. He retired, late in life, to the convent of Rooden, near Brussels, where he died. -_ /l~v Goltzius, Heinrich (1558-1617). A distinguished en- \~Vl graver. He left a great many plates — more than 500. X \f Those which imitated Albert Diirer and Lucas Van Leyden are the most successful. His own portrait is a master piece of engraving. Pie visited Italy and became enamored of the works of Michael Angelo, and in Ms attempts to imitate him, he made some very distorted pictures. Late in life he commenced to paint, but Ms works were few and much inferior to his plates. His " Circumcision," in the manner of Diirer, and his " Adoration of the Kings," in that of Lucas Van Leyden, are very celebrated engravings, and indeed, all his plates are much esteemed by intelligent collectors. Some of his paintings are in the Imperial Gall, at Vienna. Gomez, Sebastian, was the mulatto slave of Murillo, and prac: tised painting secretly, until at length he so perfected himself, that he ventured one day, to paint the head of a Virgin which his master had sketched and left on his easel. Murillo promoted Gomez, and was happy in the thought that he had made Mm a painter. His GOMEZ — GOYA. 311 pictures were full of faults, but his color was much like that of his master. In the Mus. of Seville, there are two pictures by Gomez, representing SS. Anne and Joseph, and the Virgin appearing to S. Dominie. He died soon after his master, in 1082. Gondolach, Matthaus. This painter settled in Augsburg, and died in 1653. He married the widow of Joseph Heinz, and suc ceeded that artist in the favor of Rudolph II. He painted small pic tures on copper in the Lilienbergh, C. Nothing is known of this artist, but this signature on his pictures. He painted dead game, with the addition sometimes of fruit and vegetables. The Berlin and Dresden galleries have each one of his works. He was living in 1663. Limborch, Hendrik van, born at the Hague (1680-1758). Pupil of Adrian van der Werff. He painted historical subjects, portraits, and landscapes. He was inferior to his master. Two of his works are in the Louvre. Lingelbach, Johann, born at Frankfort-on-the-Mainc (1625- 1687). Pie spent a long time in Italy, where he made many studies which greatly assisted him after his return to Amsterdam, where he settled. He loved to represent scenes in which he could introduce many figures, such as fairs, markets, etc. He so excelled as a figure painter, that he was sought by other artists, especially Wynants and Wouvermans, to add the figures to their landscapes. In composition, drawing, and careful execution, he excelled, but his color was a weak point. His flesh tones were often cold and inharmonious, while in clearness and impasto he falls far below the artists named above. His works are seen to advantage in the Louvre, Hague, and Amster dam galleries. lie also left a few slight and spirited etchings after his own designs. Lint, Peter van, born at Antwerp (1609-1675?) He passed several years in Italy, where he was well employed. Returning to Antwerp, he executed altar-pieces and smaller works. He also painted many portraits, which are well esteemed in the Low Coun tries. Lint, Henry van, called Studio, on account of his industry. Son of the preceding. His Italian landscapes are well considered. Some of his pictures are on water-color grounds, and have so little oil with the pigments, that the color is not at all durable. His works are su perior to those of Occhiali in finish. He etched a few plates, some of which are dated 1680. Linthorst, J, born at Amsterdam (1755-1815). Painter of fruit and flowers. He painted large flowers and leaves, nuts, and grapes well, and his works are placed in the best collections. Two fine ones are in the Amsterdam Mus. Lippi, Fra Filippo (about 1412-1469). This artist is one who has been considered as disgracing his profession by his private life, but there are many and grave doubts as to whether the usual account of Mm be true, and of those doubts he should have the full 24 370 LIPPI. benefit. The story is this : He was an orphan at an early age, and his aunt, upon whom it devolved to care for him, being poor, he was placed in the monastery of the Carmine in Florence in 1420. Here he studied painting and formed his style after that of Masaccio. But as the story goes, he could not endure restraints, broke away from the convent, and while on an excursion at sea was captured by pirates and taken to Barbary as a slave.. He at last obtained Ms freedom on account of a likeness he made of his master, and was returned to Italy with rich presents. He landed, it is said, at Naples, and at length returned to Florence. Later in life, while employed at the convent of S. Margherita at Prato, he seduced and carried off Lucre zia Buti, a novice, who became the mother of Filippino Lippi, and eleven years later he died from poison, administered according to one account by tho relatives of Lucrezia, and according to another by those of a woman who had succeeded her in his affections. Were this story wholly true it would be best to speak only of his works, forgetting himself entirely, but while it is not possible to totally con tradict it, there are some circumstances now known which mitigate censure, at least. The name of Castagno has been freed from tho stiwma of murder which Vasari attached to it, and it is Vasari who accuses Fra Filippo of all his faults. From 1430 to 1432 his name is mentioned with the title of painter in the records of the convent, and it was probably during that time that he executed there the works which arc spoken of as very excellent, but of which none remain. The capture by the pirates cannot be supported by any proof of his having been either at Ancona, from wliich he is said to have sailed, or at Naples, to which ho returned. Again, it is not true that he for feited his title of " Frater," for all his works which are signed bear it, and Domenico Veniziano mentions Mm in a letter of 1438 as " Fra Filippo." But more direct than all is the proof of a note written by himself to Piero de' Medici in 1439, when he says, " I am one of the poorest friars of Florence," and goes on to relate that he has charge of six marriageable nieces who depend upon him. He begs Piero to let him have corn and wine on account, so that his nieces may not starve while ho is absent from them. We know that in 1452 he was chaplain to the nuns of S. Giovannino at Florence, and in 1457 rec tor of S. Quirico at Legnaia. It would not seem that the seducer of one nun would thus have been associated with others. All thtsc doubts one must have in reading the story of Vasari, in whom our faith has been so justly shaken, and it is to be hoped that further re searches may bring to light proofs which shall establish his innocence. As an artist he was the best master of technicalities, and the best colorist of his time, and his mode of color was original. With a full brush he created a deep impasto; he then shaded ov fused the various parts into soft, rich fulness, and still preserved clear tones behind. He was much inferior to Masaccio in composition, and his LIPPI — LIVINS. 371 works were marred by a certain sort of bas-relief flatness, but he gave much life and feeling to his heads, which, united to his color, made his pictures very attractive. Ho did not advance perspective, he never foreshortened, and Ms architectural knowledge was compar atively small; on the other hand, his atmosphere supplied in part his deficiencies; he was a good draughtsman and understood how to pre sent the nude without the vulgarity of too great realism. His dra peries were loaded with ornaments in gilt relief, and his love for elaborate friezes, cornices, and pilasters was remarkable. His most important frescoes were done in tho Cath. of Prato, and illustrated tho history of S. Stephen, and that of S. John Baptist, besides single figures of saints. His works in the Cath. of Spoleto are less impor tant. The pictures of Fra Filippo are in all the large European gal leries, but there are more in Florence than in any other city. Fra Filippo was buried in the Cath. of Spoleto, and a monument was there erected to his memory by his son, at the expense of Lorenzo de' Medici. Lippi, Filippino. It is not positively known when this artist was born, or who were his parents. He has been called the natural son of Fra Filippo Lippi and Lucrezia Buti, and said to have been born at Florence in 146u. He died in 1505. Pie formed his style from that of Fra Filippo and from Sandro Botticelli. He executed a great number of works, and was entrusted with those of much importance. One peculiarity of his style was his love for ornamentation of every kind, which he used in all parts of his works. He much excelled Fra Filippo in execution, and was, in truth, one of the greatest artists of Ms century. His women are elegant and graceful, his men dignified, and all Ms figures full of life, emotion, and action. His finest frescoes arc in the Brancacci chapel of the Carmelite eh. in Florence. His finest easel picture is a " Vision of S. Bernard," in the Badia at Florence. His works are seen in all large galleries of Europe, but Florence is richer than any other city, both in the num ber and quality of his pictures. Liverseege, Henry, born at Manchester (1803-1832). This painter was weak and deformed in body, and unable to support his active imagination, so that his life was one of ' suffering, and termi nated suddenly. He at first painted portraits, but soon devoted himself to representing various characters from the novels of Scott, and other subjects of a genre nature. He was especially happy in his picture of Adam Woodcock, and became a favorite artist. Most of his works have been engraved, and are familiar to the public. Livins, Jan, born at Leyden (1607-1663). Pupil of Peter Last- man at the same time as Rembrandt. They were always friends. Livins is more important as an engraver than as a painter, and the influence of Rembrandt is most apparent in his etchings. He excelled Ms fellow-pupil as a draughtsman, but fell below Mm in every other 372 LIVINS — LOMBARDO. panicular. His portraits were very fine. Few of Ms works are in public galleries. An important one represents ' ' Jacob receiving the Blessing of Isaac," and is in the Berlin Mus. The Louvre, the Am sterdam, and Munich galleries also have specimens of Ms works. Bartsch gives fifty-six etchings by him, and they are very excellent. Lombard, Lambert. Real name Lambert Sustermann. Born at Liege (1506-1560). Pupil of Mabuse, he adopted the Italian style SS. PETEK AND PAUL BEFORE THE PKOCONSUL FELIX. BY FILirPINO LIPPI. Brancacci Chapel. of painting, which was confirmed by a visit to Italy, where he was in structed by Andrea del Sarto. He returned to Liege and opened a school, and in addition to painting, professed architecture, numis matics, engraving, archaeology, and poetry. His works had consider able merit, and are now rare. There is one in the Berlin Mus. Lombardo, Alfonso (1488-1537). Sculptor of Bologna, where Ms most important works remain, in the churches of S. Pietro, S. LOMBARDO — LONSING. 373 Petronio, S. Domenico, and S. Maria della Vita. In the latter, a life- size clay group representing the "Death of the Virgin" is an ex cellent composition. fr fr Lombardo, Pietro, and Ms sons Tullio and Antonio. Pietro was an architect and sculptor. In 1481 he constructed the Palazzo Vendramin Calergi at Venice. This was a chef-d'oeuvre of the time. A large number of sculptures are assigned to the three conjointly. Among the most important of these is the tomb of the Doge Mo- cenigo, in S. Giovanni e Paolo, and the reliefs on the facade of the Scuola di S. Marco. Tullio was the more important. The great altar relief in S. Giovanni Crisostomo, representing the " Coronation of the Virgin," is ascribed to Mm. Lomi. See Gentileschi. Londonio, Francesco, born at Milan (1723-1783). Best known for Ms etchings of landscapes and animals. He also painted, and Ms pastoral subjects are seen in fine collections in Milan, Genoa, and Naples. Longhi, Luca, born at Ravenna. Flourished about 1580. His principal work was a " Marriage at Cana," in the refectory of the Camaldolese at Ravenna. Some of the heads are fine, but Ms whole manner was somewhat affected. His pictures are in the churches of Ravenna, Mantua, and Ferrara. He inclined to the manner of Francia; his finish is excellent and his color agreeable. Longhi, Francesco. Son and pupil of the preceding, to whom he was inferior as an artist. Longhi, Giuseppe, born at Monza (1766-1831). A distinguished engraver. He studied under Vangelisti, professor of engraving at Milan, whom he afterwards succeeded. He also studied in Rome, where he was acquainted with Raphael Morghen. His chief object. in Ms work was to represent the style of the original artist. He excelled in light and shade. He engraved some of the choicest works of the best Italian masters, and executed some superb por traits. His skill in handling the graver was wonderful. In 1827 he commenced to engrave the " Last Judgment," after Michael Angelo; it was well advanced at his death, and finished by one of his scholars. Lonsdale, James, born in Lancashire; died 1839. A portrait painter of no especial merit, who painted some men so distinguished as to render the pictures valuable. He was successful in represent ing the characteristics of his sitters. Lousing, Francois Joseph, born at Brussels (1743-1799). He entered a regiment of cadets, and while in garrison at Antwerp attracted the attention of Prince Charles de Lorraine to Ms love of art. Under the patronage of the Prince he studied in the Acad, he had organized, and obtained a prize. The Prince and the Count Cobentzel then sent Mm to Rome, where he entered the school of Raphael Mengs. He engraved several prints for Sir W. Hamilton 374 LONSING — LORENZETTI. in 1772, and went from Rome to Paris, Lyons, and Bordeaux, and died in the latter city, where most of his works remained. His por traits have been engraved. His easel pictures are rare and are well esteemed. There is a mixture of the Flemish and Italian in Ms works, which gives them a peculiar appearance. Loo, Peter Van, born at Haarlem (1731-1784). A painter of flower pieces. He commenced by painting choice flowers for the florists, and thus acquired the habit of exactness in Ms representa tions. Pie is sometimes confounded with artists by the name of Vanloo. Looten, Jan, died in London, 1681. A Dutch painter of land scapes. His composition was good, but his coloring was heavy and inky. The Berlin Gall, has a landscape with a stag hunt, signed Jan. Looten, 1659. Lorenzetti, Pietro, flourished about 1340. A contemporary of Simone' of Siena. He was eliiefly noticeable for the spirited action of his figures, but his pictures as a whole are so conformed to the art conventionalities of his time that they seem tasteless to us. Vasari calls his pictures in the Cath. of Arezzo, now destroyed, the best that had then been done in Italy. His " Fathers and Hermits in the Wil derness," painted in the Campo Santo at Pisa, are still preserved there. In the Uffizi there is a " Madonna and Child with Angels," signed by him, and dated 1340. His later pictures are his best, and show an attempt to free himself from the prejudices of Ms time. In 1342 he painted a " Nativity "for the Cath. of Siena, now preserved in the sacristy ; another altar-piece is in the Pieve of Arezzo ; he also painted at Assisi, and fragments of his large works are in the Acad. of Siena, in the Vatican, and other places, one of them being in England. He excelled in imparting strong expression to his faces, such as that of pain, fear, etc., and was, all in all, an artist of great talent, a close student of nature, and remarkable in his power to render movement and expression. Lorenzetti, Ambrogio. Brother of Pietro. Lorenzo Ghiberti praised this artist very hijihly. His earliest works were frescoes in S. Francesco of Siena, of which but two fragments remain. In the Acad, of Arts at Florence are two small predella panels by Am brogio, and a " Presentation in the Temple," dated 1342. In the Palazzo Pubblico of Siena he executed three immense allegorical pictures, intended to present the benefits of good, and the evils of bad government. These works are very curious and interesting in design, and although much injured, enough remains to prove Ghiberti to have been wise when he placed Ambrogio before Simone. Pietro ought to receive the same praise. These brothers worked together, seem to have boon of nearly the same age, and their names appear and disappear from reccrds at the same time. They approached more nearly to Giotto than any others of Siena. Besides the works LORENZETTI — LORRAINE. 373 of Ambrogio already mentioned, there are those attributed to him which are not dated, and may have been done by his pupils. Some of these are in the Berlin Gall. There is, however, another gen uine Ambrogio in the Acad, of Siona, finished in 1344, representing the " Annunciation." There were a number of Sienese artists by the name of Lorenzetti, who flourished in the 15th century. Lorenzo, Fiorenzo di. An artist of Perugia who flourished about 1487. His works are rare; there are four specimens in the churches and Palazzo del Consiglio of Perugia, and one in the Berlin Gall. His composition was good, and his conception more refined than that of the Perugian artists of his time. Certain characteristics indicate his acquaintance with Paduan art, especially the "Madonna" at Berlin, which is hard in expression. Lorenzo da S. Severino. There were two Umbrian painters by this name who flourished in the 15th century. The first one was the best artist, and was twenty-six years old in 1400, as is- shown by (lis inscription on a picture now almost destroyed, belonging to the Cistercians of S. Severino. Some of his works also remain in S. Gio. Battista, at Urbino. He was an average Umbrian painter for his time. Lorenzo " the Second " flourished about 1483. One of his pictures, a "Marriage of S. Catherine," is in the National Gall.; others are at Pansola and Sarnano. Little can be said in their praise. Lorme or De L'Orme, A. A painter of the interiors of Dutch churches, who flourished late in the 17th century. His works are rare, and in some respects fine; Ms color, being always the same, gives a monotony to his pictures, but Ms perspective and his light and shade are excellent. His best works have figures by Terburg and other artists. Lorraine, Robert le, born at Paris (1666-1743). A sculptor who entered the school of Girardon at eighteen, and was employed by him on very important works. In 1690 he went to Borne, and afterwards completed some works at Marseilles, which Puget had left unfinished at his death. In 1717 he was chosen Professor of Sculpture, and in 1737, Director of the Acad. His " Galatea" is much admired, as are also his works in the Episcopal Pal. of Saverno. He made statues for the gardens of Versailles and Marly. Lorraine, Claude, real name Claude Gelee, born at Champagne in Lorraine (1600-1682). This artist is the prince and poet of land scape painters. The following extract from Liibke is comprehensive and full of truth : " Far more profoundly than these and all other masters, did Claude Gelee penetrate into the secrets of nature, and by the enchanting play of sunlight, the freshness of his dewy fore grounds, and the charm of his atmospheric distances, he obtained a tone of feeling which influences the mind like an eternal Sabbath rest. In his works there is all the splendor, light, untroubled brightness, and harmony of the first, morning of creation in Paradise. His 376 LORRAINE. masses of foliage have a glorious richness and freshness, and even in the deepest shadows, are interwoven with a golden ghmmer of light. But they serve only as a mighty framework, for, more freely than with other masters, the eye wanders through a rich foreground into the far distance, the utmost limits of which fade away in golden mist." One of the striking excellences of the works of this artist is the immense space he represents; another is his color; he seems to have first used much silvery gray, over which he painted, and this foundation color gives a peculiarly atmospheric effect. His architec tural representations are unexceptionable, but he never succeeded in animals and figures, and was wont to say that he sold the landscape, but gave away the figures. Even before Ms death, his pictures were so much admired, that other artists attempted to imitate Mm and to dispose of their works as his. In order to prevent this, he kept a book of drawings by which to identify his pictures. This he called, " Liber Veritatis." At his death there were six of these, one of wMch, containing 200 drawings, is at Chatsworth, and has been re produced by Earlom. All the principal . European galleries have pictures by Claude, but England is especially rich in his works, wMch are not only in public, but in numerous private collections.1 Enormous prices are now paid for them, whenever they are sold. The life of Claude began in poverty. His parents were very poor, and died, while he was still young. He was apprenticed to a pastry cook, and travelled to Rome as valet to some young artists. Soon after ho ar rived there, he entered the service of Agostino Tassi, for whom he cooked and prepared colors. He at length began to paint, and was a most assiduous student of nature. He w as accustomed to sit whole days watching a scene and studying the effects of light at the differ ent times of day, and so faithful was his memory, that he could repro duce them exactly upon his canvas. But few of Ms works are an exact picture of any one scene ; they are rather composed of pictur esque materials gathered from different points, united with consummate taste and skill, and poetized or idealized by his exquisite imagination. There is another account of his early life, which says that he journeyed to Rome with a relative, and says nothing of his having been a pastry cook; but tho fact that Sandrart was Ms personal friend, and published tho first account, wMle Claude still lived, is strong proof in favor of its truth. It is also said that he studied in Naples with Godfrey Waal before he became the pupil of Agostino Tassi. His reputation, which was already good, was fully established by some works executed for Urban VIII. soon after 1627. From this time, he received commissions from the most appreciative patrons of art in all parts of Europe. In character, he was unimpeachable, amiable in disposition, and tender in feeling. His personal appear- 1 An original Claude Lorraine, belonging to Mr. William Philip?, was burned in Boston, November 9, 1872. LORRAINE —LOTTO. 377 ance was attractive, though his expression was grave. He suffered much from gout, and was often unable to paint. It would seem that he should have left a goodly fortune, but it was 10,000 scudi only. It is believed that Ms charities to his needy relatives had made it thus small. Smith's Catalogue Raisonne gives a descriptive list of more than 400 works by this master. ENGRAVINGS AFTER THE WORKS OF CLAUDE LORRAINE. Engraver, Bas, James Philip le. The Port of Messina; fine. An ftalian Landscape; fine. Engraver, Browne, John. A Landscape, with Procris and Ceph alus. Engraver, Byrne, William. Evening; a fine landscape. Engraver, Canot, Peter Charles. A Landscape. Sunrise; a ma rine view. Engraver, Godfroy, Francois. A Landscape. Engraver, Lerpiniere, Daniel de. Landscape, with the Flight into Egypt. Landscape, with S. George and the Dragon. Grand Landscape, with the Israelites worshipping the Golden Calf. Engraver, Mokin, John. Landscape, with Ruins. Engraver, Vivares, Francis. Landscape, Morning. Landscape, Evening. The Enchanted Castle. View near Naples. Engraver, Wood, John. Two Italian Landscapes. Engraver, Woollett, William. The Enchanted Castle. The Temple of Apollo. Roman Ruins. Landscape, with the Meeting of Jacob and Laban. Lothener, Stephan. An old artist of Constance, who belongs to the school of Cologne, where he owned a house. He flourished most from 1442 to 1451. He was the painter of the well-known triptych in a chapel of the choir of Cologne Cath. This represents (when open) in the centre, the " Adoration of the Magi; " on the insides of the wings, " S. Gereon and his Warriors," and " S. Ursula and her Maidens; " the outsides of the wings, the " Annunciation."- This is a most interesting work ; it is characterized by an ideal grace and beauty, solemn and simple dignity, force and depth of tone, and has a remarkably good color for a tempera of its age. In the Darmstadt Mus., there is a " Presentation in the Temple," dated 1447, by Meis ter Stephan, and in the Coll. at Kensington, a picture of SS. Cather ine, Matthew, and John the Evangelist. In the Mus. of Cologne, there is a Madonna, and another colossal " Virgin and Child," in the Coll. of the Archbishop of Cologne. Stephan may have been the pupil of Meister Wilhelm; it is plain that he formed his style after that master: There are other works executed by him and under his direction, in the chapel of S. Maurice, at Nuremberg, and in the Cologne, Munich, and Berlin galleries. Lotto, Lorenzo, was probably born at Bergamo, although he is 378 LOTTO — LUIGI. sometimes called a Venetian (1480 ?-1558 ?). Tassi says lie studied under Andrea Previtali and Gio. Bellini. He was one of the most important second-rate artists of his day, and to be called but second- rate in that era is high praise. He was not original, but followed whatever artist he admired most at the time, and as his standard changed, so changed his manner; the result being that at different times his works resemble Bellini, Giorgione, and Titian. He executed an immense amount of work in oil and fresco. His pictures arc in the churches and galleries of numerous Italian cities and towns, and in almost all European collections from St. Petersburg to Madrid. He-' resided for a time in Venice, Treviso, Recanati, Bergamo, Trescorre (where he first painted in fresco), Ancona, and Loretto, where lie died. Besides his Scriptural aud Mstorical series and single subjects, he painted many very excellent portraits, some of wMch have been at times (as probably others still are), attributed to Titian, Giorgione, Leonardo, and Pordenone. That they could be thus assigned is suf ficient praise, and tells how excellent they must be. These portraits are in the Borghese Pal. , in the Brera, the Vienna GaU., the National Gall., etc. His principal large works are at Venice, Bergamo, and Recanati. During the later years of his life he was the friend of Titian, and assimilated his style more and more to his. Aretino writes of him that he became very religious, and as he was employed at Loretto and dwelt in the sanctuary, it is probable that the hours not given to art were spent in devotion. Loutherbourg, Philip James, born at Strasburg (1740-1812). Settled in England in 1771. He painted landscapes, marine and battle scenes, and was also employed as a scene-painter. He con tributed largely to the Royal Acad, exhibitions. The " Fire of Lon don," the" Destruction of the Spanish Armada," and " Lord Howe's Victory," are among his principal works. His battle subjects have an historical interest, and his naval pictures are finished with great care, but Ms color was neither fine nor natural. His cabinet land scapes are his most pleasing works, and some of them are excellent. Lowry, Wilson, died 1824. An English engraver who excelled in mechanical and architectural subjects. He engraved many plates for books, such as Crabbe's Technological Dictionary, Nicholson's Architecture, etc. Lucatelli or Locatelli, Andrea. A Roman landscape painter who flourished late in the 17th century. Many of his pictures are in England. His river water is better painted than his seas. Some of his works are highly and delicately finished, and are pleasing in effect. Lucchesino. See Testa. Luigi, Andrea, called LTngegno. Probably a pupil of Niccolo Alunno. Very little is known of Ms history. He was established as an artist as early as 1484. He was a native of As?isi, and there are various pictures on the walls of houses there ascribed to Luigi. PICTURE OF S. URSULA, IN THE CATII. OF COLOGNE. BY STEPHAN LOTHENER. LUIGI — LUTMA. 381 A Madonna with saints and angels, in the Louvre, is called his, also a beautiful Madonna, dated 1505, in S. Spirito at Florence, but there are grave doubts about the latter. He relinquished painting and gave himself to civil affairs. Luini or Lovini, Bernardino, born at Luino on Lake Maggiore (about 1460-1530). If not tho pupil, he was the most successful fol lower of Leonardo da Vinci, indeed, many of his woiks have been attributed to Leonardo. But his pencil was less masculine than that of his master. His coloring was clear and warm, his figures beau tiful, and his conceptions full of grace and tender feeling. His best works arc elaborately finished. He is not as great as Leonardo, but he has scarcely received the attention and admiration he merits. The " Herodias," in tho Tribune of the Uffizi, and the half-length of the " Infant Baptist playing with the Lamb," in the Ambrosian Gall, at Milan, were long credited to Leonardo; a Madonna between SS. Catherine and Barbara, in the Esterhazy Gall., is still inscribed with Ms name, but competent judges ascribe not only these, but also " Christ disputing with the Doctors," and " Vanity and Modesty," to Luini. He executed many frescoes. The Brera is rich in those which have been removed from the walls where they were painted; it has also many of his easel pictures. The Ambrosian Library, the Casa Silva, and the Monastero Maggiore (S. Maurizio), all at Milan, have fine works by Luini. His frescoes in the ch. of Saronno, exe cuted about 1530, are well preserved and very fine. His works at the Cath. of Como contain some figures of surprising beauty. Lundens, Gerrit or Gerard. A Dutch painter who flourished prob ably late in the 1 7th century. Nothing is known of his life. He painted interiors and merry-makings. His works were formerly only seen in Holland, but of late a few have been brought to England. Luti, Cavaliero Benedetto, born at Florence (1666-1724). It is to be regretted that this artist spent much time in working with cray ons, which are so perishable. The Grand Duke gave him the means to visit Rome, where he attracted the attention of Pope Clement XI , from whom he received commissions and the Order of the Cross. His works are in several churches of Rome, but the ' ' Vest of S. Ra- nieri," in the Cath. of Pisa, is considered Ms chef-d' ozuvre. He also left the two following etchings, which are now scarce : — The Crucifixion, with S. John and the Magdalene at the foot of the Cross. A Landscape; after Guercino. Lutma, Janus or John, born at Amsterdam. An engraver and goldsmith. There are a few plates by Lutma which are scarce and much esteemed. They are as follows : — Portrait of his Father; Janus Lutma, Posleri fati ; opus mallei per Janune, fee. His own Portrait; Janus Lutma Batavus, per se opere mallei 1681. 382 LUTMA — LYSIPPUS. J. Vondelius ; Olor Batavus ; opus mallei, per J. Lutma. P. C. Hooft ; Alter Tacitus ; opus mallei, per J. Lutma. The above were executed in a peculiar manner, with a cMsel or punch and a mallet. This he called opus mallei. The two following are engraved in the manner of Rembrandt, and arc much admired : — Joannes Lutma, Aurifex. It is a likeness of his father in a furred robe; he has his spectacles in one hand, and a porte-crayon in the other; signed, Joannes Lutma, Junior, fecit Ao. 1656. Joannes Lutma, Junior ; seated at a table drawing, with a large hat which overshadows his face ; very scarce. Lutzelburger, Hans, called also Hans Franck. An old wood-en graver who engraved principally the works of Hans Holbein. He lived early in the 16th century. His initials, H. L., are on some of his plates. Zani called him the " prince of wood-engravers." Luyken, John, born at Amsterdam (1649-1712). TMs artist was first a painter, but became at length an eminent engraver. His facility of execution and his powers of invention obtained for him the title of the Callot of Holland. Bohn's new catalogue mentions more than 900 engravings by Luyken. Luzzo.Pietro, called also Morto da Feltri. Born 1474. Little is positively known of this artist, and but few of his works remain. The most important of these is an altar-piece in the ch. of Villabruna, which represents the Virgin seated on a cloud, holding the Child, who gives the benediction. SS. George and Victor are below. There are also portions of ornamented houses in Feltre, believed to be his work, and a few fragments in other churches near Feltre. Several galleries have works ascribed to him, but it is impossible to say with how much justice. This is the same artist who is said to have been in the employ of Giorgione at Venice, to have seduced the mistress and broken the heart of Ms master, and to have fallen in battle at Zara. Lysippus. A native of Sicyon. Ho was a famous sculptor who worked chiefly, if not entirely, in bronze. He was the head of the Argive-Sicyonic school. Pliny says he executed as many as 610 statues, and that they were remarkable for what he calls symmetria. He made many statues of Hercules, and one in the British Mus. may possibly be Ms, which represents the god holding tho apples of tho Hespcrides. His statue of Jupiter at Tarentum was sixty feet high, and ho also made a colossal' Hercules for the same city. His Apoxyomenes was highly celebrated, and represented an athlete scraping himself from the dust of Palasstra with an iron. A copy of it in marble was found at Trnstevcro in 1846, and is now in the Vatican. This shows that Lysippus aimed to give the body a more elegant and slender shape than had been the manner of representa tion ; lie also made the head smaller in proportion to the body than had before been the custom. This statue is full of elastic grace. He LYSIPPUS — MABUSE. 333 made many portrait statues of Alexander the Great, who was unwill ing that any other should model him. Ho also represented a famous lion hunt of Alexander's, and his rescue from danger by Craterus; and a group of the King with twenty-five horse and nine foot soldiers in the battle on the Granicus. Another characteristic of this artist was his excellent execution of the hair. M. Maas or Maes. There have been so many artists of this name that it would be impossible to give them all a place here. The most important is Nicholas Maas, born at Dortrecht (1632-1693). Said to have been a pupil of Rembrandt. He painted genre subjects and portraits. The former are highly esteemed; they have but few figures ; the lighting is admirable, and his sunlight effects very pleas ing; Ms perspective is fine, Ms color brilliant and warm. His por traits are excellent also; the backgrounds and accessories aro picturesque and highly finished, and often have the effect of fancy pictures rather than tho stiff awkwardness of many portraits. Threo of his works are in the National Gall., one of which, the " Idle Servant Maid," is a masterpiece. The Amsterdam and Berlin galleries, the Van der Hoop Coll., and the Uffizi have each one of Ms pictures, but most of them are in private collections, and many are in England. Smith only mentions forty-five of his works in all. Maas, Theodore or Dirk, born at Haerlem (1656-1715). Pupil _ of Henry Mommers and Nicholas Berghem. His pictures are not important, but he left a few etcMngs which are fine and rare. One of these represents a " Cavalier on Horseback." He especially ex celled in drawing horses. Mabuse, Jan Van, real name Jan Gossaert, born at Maubeuge (about 1470-1532). pie went to Italy about 1513, and before this time had made himself one of the best painters of the later Van Eyck school; his best works were executed there. Like many of Ms countrymen, he forsook in Italy that manner of painting and choice of subjects which his nature and training fitted him to excel in, and attempted what may perhaps be best termed ideal art. From this time his portraits are his finest pictures. His nude figures and mythological subjects are simply repulsive, as may be seen in a " Neptune and Amphitrite," in the Berlin Gall., and a "Danae and the Golden Shower," in the Munich Gall. The redeeming feature of Ms later works is his masterly treatment, and some small repre sentations of religious subjects are remarkable. The " Ecce Homo " in tho Antwerp Mus. is one of these. Two of his finest early pic tures are the " Adoration of the Kings," at Castle Howard, and an illustration of the legend of the Count- of Toulouse, who went as a pilgrim to Jerusalem, at the seat of Sir John Nelthorpe, in Lincoln- 384 MABUSE — MALB3NE. shire. There are several of his works at Hampton Court. Writers disagree about his having been in England, but it is probably true that he was there in the reign of Henry VII. Mabuse was a friend of Lucas von Leyden, and accompanied him on his famous pleasure trip. (See Von Leyden.) He was always wanting money, and the following anecdote shows one of his modes of obtaining it. When he was in the service of the Marquis de Veere, that nobleman, ex pecting a visit from the Emperor Charles V., gave all his retainers splendid white silk damask for suits in which to receive his Majesty. Mabuse requested to be allowed to superintend the making of his clothes, and sold the damask and substituted for it a suit of paper, which he painted to represent the damask so perfectly as to deceive all who saw it. This joke was told to the Marquis, who called the at tention of the Emperor to the suits, and asked which one he preferred. His Majesty selected that of Mabuse, and would not believe, until lie touched it, that it was not real damask. Besides the above-named pictures, there are others in many of the large European galleries, in Lubeck and at Althorpe. Machuca, Pedro, painter and sculptor. None of Ms pictures remain, but near the Alhambra gate there is a marble fountain, now much dilapidated, which was one of his best works. At Seville, over the door of the ch. of the Hospital de la Sangre, there are three alto-relievos of Faith, Hope, and Charity, which are better pre served. His fame, however, rests on the architecture of the palace which ho commenced for Charles V., near the Alhambra. Machuca first introduced Italian architecture into Spain, and although this palace was never roofed in, and has been a ruin for centuries, enough remains to demand admiration. Maeda, Asensio de. Son of Juan do Maeda, a sculptor and architect. Asensio is supposed to have executed the marble statues iu the antechamber of the chapter-room of tho Cath. of Seville. Maganza, Alessandro, born at Vicenza (1556-1640). An imi tator of Paul Veronese. There are many of his works in Ms native city. He had three sons who were artists, and his father was a por trait painter, and also published some poetry under the name of Magagno. Mahselkircher, Gabriel. Flourished about 1470. In the Gall. at Schleissheim there are two large pictures by this artist, repre senting " Christ bearing his Cross," and the " Crucifixion." They are fantastic and wild. Majano. Sec Benedetto. Malbone, Edward G-., born at Newport, Rhode Island (1777- 1807). A fine miniaturist; his works are in many American houses. He was a friend of Allston, who said of Mm, "He had the happy talent of elevating the character without impairing the likenes3; this was remarkable in his male heads; no woman ever lost any beauty MALBONE — MANNL. 385 from Ms hand ; the fair would become still fairer under his penciL To this he added a grace of execution all his own. He was amiable and o-enerous, and wholly free from any taint of professional jeal ousy." Manfredi, Bartolommeo, born at Mantua (1580-1617). An imitator of Michael Angelo Caravaggio. His subjects were bandits, gamesters, etc. His works arc rare, and it is believed that many of them have been attributed to Caravaggio. The Louvre possesses a few good examples of his style. Manni, Giannicola di Paolo, born at Citta della Pieve; died 1544. Pupil of Perugino, and an artist of no great excellence. The best of his works are in Perugia, in the Acad, and ch. of S. Tommaso. Mannl or Maennl, Jacob, born at Vienna, about 1695. He was an engraver in mezzotinto. In 1 720 he undertook to engrave all the pictures of the Imperial Gall., but died when but thirty-one plates were finished. These prints are now very rare. The following is a list of them : — The Portrait of the Emperor Charles VI. The Dead Christ, supported by an Angel; after Palma. The Virgin, and Child, who caresses S. John; after Vandyck. Mary Magdalene, penitent, with an Angel ; after Correggio. S. Francis praying ; after Bassano. S. Clara kneeling ; after Bassano. Repentance of S. leter; after Spagnoletto. Martyrdom of S. Bartholomew; after L. Giordano. Christ praying in the Garden; after M. A. Caravaggio. Venus with Cupid holding a Mirror ; after Titian. Judith leaving the Tent of Holofernes ; after P. Veronese. Christ disputing in the Temple ; after Spagnoletto. Samson delivered to the PMlistines; after Vandyck. Ecce Homo; hah length; after Titian. Mater Dolorosa; after Titian. A PMlosopher meditating on a Skull; after L. Giordano. A Geometrician; after L. Giordano. S. Margaret and the Dragon; after Raphael. Tobit restoring his father's Sight; after M. A. Caravaggio. Christ taken in the Garden; after E. Manfredi. Susanna at the Bath; after Tintore'.to. Susanna and the Elders; after Ann. Carracci. Jupiter and Mercury, with Baucis and Philemon; after Carlo Loti, Diana and her Nymphs ; after Willeborts Boschaert and Jan Fyt. The Virgin and Child; after Titian. A Warrior giving Ms hand to a Man ; after Giorgione. A Dying Magdalene ; after the younger Palma. Christ bearing his Cross; after Bassano. Judith with the Head of Holofernes; after A. Varotari. 25 386 MANNL — MANTEGNA. Judith; after Carlo Veneziano. A Child holding a Dog ; after Paul Vt-ronese. Mansueti, Gio., born at Venice. Very little is known of this painter, but in an inscription on a picture dated 14£4, he declares himself a pupil of Bellini, and adds that he believes the miracle of the cross which he represented. This picture is now in the Acad. of Venice. There are about a dozen works of this master, most of which have genuine inscriptions. His manner was stiff and conven tional, and his color dull and inharmonious. He sometimes intro duces numbers of birds and animals, as in a nativity at Verona. Several of his pictures are in the Acad, of Venice; others are at Berlin, the Brera, the Uffizi, Verona, and Lochis Carrara galleries. . Mantegna, Andrea, born at Padua 1VF7 |§sl M (1431-1506). He was adopted by 1 * A- - — = - Squarcione, and registered as his fos ter-child in 1441. When but seventeen years old he painted a Ma donna for the ch. of S. Sophia, which was much admired. It is evident from the early efforts of Mantegna that he studied the works of other masters than Squarcione, Ms instructor. The earliest picture of his which is so preserved as to show his manner, is an altar-piece in the Brera, representing S. Luke and other saints. TMs was executed in 1454, and is excellent in modelling and light and shade ; it has a northern realism, but is far superior to most Squarcionesques, and equal in color to any tempera painting of Venice of the same time. After 1448 he worked on the chapel of SS. Jacobo and Cristoforo in the ch. of the Eremitani at Padua. The whole left side, with the "Life of S. Jacobo," and the "Martyrdom of S. Cristoforo," is Ms work. For his age and the state of Paduan art they are wonderful, although the criticism of Squarcione, namely, that his figures were statuesque and lifeless, is valid. Mantegna had become disaffected towards his foster-father, had married the daughter of Jacopo Bellini, and fully sympathized with the faction opposed to Squarcione. He had no doubt been much affected by the influence of Donatello at Padua; he had studied the antique as much as possible, and imitated it in his architecture and figures. But the " Martyrdom of S. Cristoforo" shows that he had discovered his mistake, and strangely displays his attempt to remedy his greatest fault. These works made him famous, and the Marquis of Mantua used every inducement to per suade him to leave Padua. But he was occupied with some pictures for S. Zeno at Verona, a part of which arc now hung in the choir of that ch., while other parts are in the Museums of Tours and Paris. The Marquis persistently followed Mantegna. and at length about 1460 ho entered Ms service, in which ho continued until his death. The works which he did in Mantua are scattered through all the large collections of Europe. The sack of the city in 1 630 left few works of art there. The Marquis required all kinds of work of him, MANTEGNA. 387 from the most sacred subjects to that of a turkey and turkey cock to be copied in arras. In the old castle two rooms remain decorated by Mantegna. An inscription in one gives the date of 1474. Some of these pictures arc well preserved, and the Marquis and his family are represented. It was impossible that such pictures should be at tractive, for the people and their costumes were ugly ; but in the cor nices and other parts of the ceiling he paints very differently, with a free fancy and great ease. There he overccjnes the difficulties of perspective, light, shade, etc., and doesMmself credit. The subjects are full of grace and life. The achievements of Hercules, busts of Roman emperors, and a strutting peacock, with beautiful heads of women and children regarding it, are a part of them; and in the centre he represented a great aperture through wMch, apparently, the blue sky is seen. From time to time the Marquis made Mm presents of land, but the records of Ms life show that he was always needing money, and lived extravagantly. Pie was of a quarrelsome temper, too, and in peace with few of those about him. In 1478 he made great complaints to the Marquis Ludovico of the way in which he had been treated, and of his poverty; and indeed, he had a right to do tMs, for he would have been employed by other princes gladly, if he would have broken his engagements at Mantua. In this same year tho Marquis died, and his son, Federico, who succeeded him, paid all that had been promised, and treated Mantegna with much con sideration. Requests were constantly made for his services, but these were refused, and in 1483 he was hastening to complete a camera for Federico, who suddenly died, and the government passed to Francesco II. This was unfortunate for the artist, for his new master was only a boy ; but he soon found a patron in the Duchess of Este, who was betrothed to the young Marquis. At length in J 488 he was sent to Rome to paint a chapel in the Vatican for In nocent YI1I., whose request the Marquis could not refuse. Here he labored unceasingly for two years. He then resumed the " Tri umphs of Caesar," in which he had been interrupted, and in 1491 the Marquis made him new presents of land as a reward for these ex cellent works. They are at Hampton Court, much injured; they are nine in number, and represent all the different parts of a Roman tri umphal procession. It is not known for what they were intended, and they have been so daubed by restorers (?) that no good judgment can be formed of their merit. From this time his works all show the presence of his assistants. It was not, however, until 1495 that he produced Ms famous " Madonna della Vittoria," now in the Louvre. He painted until his death, but he suffered sorrow and loss. His wife died; he became the father of an illegitimate son; he was obliged to sell his house and to live in lodgings, and his eldest son so displeased the Marquis that he was banished from Mantua. At the last he was obliged to part with Ms collection of antiquities, which 388 MANTEGNA. were more precious to him than anything else, and from the day that Isabella bought his bust of Faustina, he was broken-hearted. His great wish in Ms last days was to see the Marquis, but he was absent at Perugia, and so the master died in the midst c-f his troubles, sep arated from both his son and his patron. There are letters from his cMldren begging Francesco to allow the sale of his works, especially in order to satisfy the Bishop of Mantua for the chapel which Man tegna had undertaken to arrange and adorn for a burial-place for CHRIST MOURNED BY ANGELS. BY MANTEGNA. Berlin Mus. himself and family. Mantegna was doubtless the greatest painter of Northern Italy in his day, and his influence was felt in all Italy. His works are full of meaning; Ms inventive powers were large; his foreshortening, perspective, chiaro-scuro, and color were excellent, and the one great objection, before mentioned, that his figures were portrait-like, must be excused by the consideration that such a man ner as his was a legitimate step in advance, from the art which had preceded to that which followed him. The Madonna, in the Louvre, and the works at S. Zeno, Verona, already mentioned, are among MANTEGNA — MARATTI. 389 his most important easel pictures. An " Entombment," in the Vati can, should also be mentioned; his pictures are in all large collections. He also painted what may be called reliefs, or pictures in chiaro scuro, and was besides a good engraver. He was early in the prac tice of this art, and his knowledge of design greatly assisted Mm to excel. Bartsch mentions twenty-tlirec plates of his, besides which there is a " S. George and the Dragon," in the British Mus., and another called " Tho Chalice." The following are Ms principal plates : — The Virgin and Child. The Scourging of Christ. The Entombment of Christ, inscribed, Humani generis redemptore. Christ descending into Hell. Christ holding the Standard of the Cross between two Saints. Judith with tho head of Holofernes. Battle of Sea Monsters, with tho figures of two warriors. Battle of Sea Gods, with the figure of Neptune. Hercules between Virtue and Vice; sometimes attributed to Marc Antonio. Hercules strangling Antaeus, inscribed, Divo Herculi invicto. Four female figures dancing. Bacchus supported by Fauns and Satyrs. Triumph of Julius Caesar; nme plates; perfect sets of these are rare. Ludovico and Francesco, sons of Andrea Mantegna, completed the unfinished works of their father. They died in 1511 and 151 7. Manuel, Nicolas, born at Berne (1484-1531). Called Deutsch. TMs painter was a partisan of the Beformation. He made many satirical sketches which proved him a good artist, and fruitful in in vention, though stiff and mannered in execution. He painted the " Todtentanz " in a convent of Berne, now known only by cuts, the frescoes being destroyed. He was also a poet, soldier, statesman, and reformer. His pictures are very unequal in merit. His landscape backgrounds show tho influence of Titian and Venice, which city he visited. Several of his works are in the Mus. of Basle. He also painted portraits; his own is in the Civic Library, at Berne, where are many of his drawings. He left some wood-cuts executed in a free, easy style, from Ms own designs. Maratti, Carlo, born at Camurano (1625-1713). Pupil of Andrea Sacchi. Ho was an academic painter, feeblo in design, and affected in manner, and yet some of his works have a pleasing dignity of sen timent. His portraits were very good. Ho was a great admirer of Raphael, and was so constantly engaged upon Holy Families and Madonnas, that he was called Carluccio delle Madonne. Sacchi ob tained for him a commission for a picture for the Baptistery of S. John of Lateran. He chose " Constantine destroying the Idols," for 390 MARATTI — MARCH. Ms subject, and painted it in such a manner as to secure the favor of Alexander VII. He became the most popular artist of Rome, and has been called the " Last of the Romans." In 1689 Ciro Ferri, who was his principal rival, died, and from this time, he was rapidly advanced. He was made inspector of the stanze in the Vatican, by Innocent XI. Innocent XII. continued the appointment and made him superintendent of all the paintings of tho Vatican, and Clement XI. entrusted to him the complete restoration of the frescoes of Ra phael, and gave him the insignia of the " Order of Christ," for Ms labor upon them. He was President of the Acad, of S. Luke at the time of Ms death. His works are numerous in both public and private galleries. There are many of them in England. Bartsch mentions fourteen etchings by Maratti. These are well executed, and are partly from his own designs. Marc Antonio. See Baimondi. Marcellis (Marsceus, Masseus, or Snuffelaer), Otho. This ar tist was known by all the above names. Born in Amsterdam (1613- 1673). A painter of reptiles, insects, and curious plants. His works are in the best collections of Holland. March, Esteban, born at Valencia; died 1660. A pupil of Or rente, and a man of singular genius and violent tempers. His life and manner of painting were Quixotic, not to say disorderly. He succeeded Best in battle scenes. He kept his atelier hung with pikes, cuirasses, javelins, etc., and would arm himself, and rave about in a manner most severe on the surroundings, and frightful to Ms scholars. When thus lashed up to the point, he dashed off wonderful Pharaohs, and fiery Christians fighting for the cross against the armies of the Crescent. He painted religious subjects also, but not with the en joyment or success which attended his other efforts. He was often idle, worked only from necessity, and but poorly provided for Ms family. His wife complained of him to her confessor, and begged Ms advice. He told her to try what patience and tenderness would effect, but they seemed of little use, and the result was sometimes amusing. He came home late one night, with the determination that a few fish, which lie brought, should be instantly cooked. There was no oil in the house, and when he sent his pupil, Conchillos, to buy some, the shops were all closed. March then declared that linseed- oil should be used. TMs was done, and when they began- to eat, it operated as an emetic on all the party, "for indeed," quaintly re flects Palomino, " linseed-oil, at all times of a villainous flavor, when hot, is the very devil." March then seized fish and frying-pan, and threw them out of the window. Conchillos sent the charcoal and chafing dish to keep them company. This so pleased March that lie embraced him, and lifted the youth in such a manner that he feared that he too was to bo thrown out with the rest. The poor wife quietly went supperless to bed, and March followed in surprisingly MABCH — MABMOLEJO. 391 good humor. In tho Queen of Spain's Gall., there is a " Pharaoh and his Host in the Waters;" an "Encampment of Turks ;" a couple of old Drunkards; a Man with a Cup, and a Woman with a Bottle; and a S. Jerome. Most of his works are at Valencia and Madrid. The brilliancy of his tones, and his skill in representing the dust and smoke of the combat, are points of merit, and in some re spects he was an artist of high excellence; but few can echo the words of Palomino, who says that Ms works are " stupendous, and worthy of eternal remembrance." Marchesi. See Cotignola. Marconi, Rocco, born at Trevigi. Flourished early in the 16th century. His chief excellence is his color, and this is sometimes almost gaudy. Several of Ms pictures are in Venice. Margaritone of Arezzo (1236-1313). This old artist seems to have been the last of the decaying mediaeval painters, and from his time improvement begins. There are several existing works of his, and some are inscribed with his name. One of these is in the Na tional Gall.; one is in Santa Croce, Florence; one in the Acad, of Arts, Siena; and another in the Museo Cristiano of the Vatican. Others are in more out of the way places. All are ugly in every par ticular, but curious as illustrations of the art of his time. He is said to have been a good sculptor and architect, and to have executed the tomb of Gregory X., at Arezzo. Marinus, Ignatius. Flourished about 1630. This engraver re sided principally at Antwerp. Good impressions of Ms plates are well esteemed. The following are among the best : — The Flight into Egypt; night scene; after Rubens. S. Ignatius healing the Sick ; after the same. S. Francis Xavier restoring a dead Person to Life; after the same. Adoration of the Shepherds; after Jordaens. Christ before Caiaphas ; after the same. Martyrdom of S. Apollonia; after the same. Village Children forming a Concert; after C. Sachtleeven. 1633. Marlow, William (1740-1800). Pupil of Scott, and a painter of English landscapes. He painted many scenes on tho Thames, and near Richmond and Twickenham. His pictures are pleasing, well colored, and finely finished. He also painted and etched some Italian views. Marmolejo, Pedro de Villegas, born at Seville (1520-1599). Bermudez calls him one of the greatest artists of Andalusia. Is be lieved to have studied at Rome. The few of his works which re main are in the Cath. of Seville, and in the Hospital of S. Lazarus. In the Cath., the altar of the chapel of the Visitation is adorned by a picture of the Virgin visiting Elizabeth, and several smaller works. These are good in design, color, and expression. The hospital has a S. Lazarus in pontifical robes. Marmolejo was a friend of Arias 392 MARMOLEJO — MARTINEZ. Montano, who wrote his epitaph, and in the ch. of S. Lorenzo, near the tomb of the painter, there are two of his pictures representino- the " Annunciation," and the " Virgin and Child." Marquez, Esteban, born at Estremadura ; died 1 720. TMs ar tist, by patient study and application, became a good imitator of Mu rillo. The Hospital de la Sangro, at Seville, has a series of Ms paint ings of the Apostles, and the Mus. of Seville, a " S. Joseph and Infant Saviour,' ' which are surprisingly like the works of the great master he followed. Martin, John, born near Hexham (1 789-1 854). A painter of the most terrible, brilliant, and incomprehensible imaginations. He lias been called the painter of " architectural dreams," but Ms ardii- tecture was no more that of dreams than his landscapes were thofe ¦of fancy. NotMng could be thought of too sublime or impossible for him to attempt. The names of his works show this; namely,; "Joshua commanding the Sun to standstill; " the " Seventh Plague;" " Sadak seeking tho Waters of Oblivion; " the " Fall of Nineveh," etc. He constantly exhibited at the British Institution, and twice obtained a premium. He had worked so much on glass that his color always reminded one of stained windows ; the human figures of his pictures were ill-proportioned and ugly, but Ms conceptions were so poetic that there was a peculiar fascination in Ms works. He was also an engraver, and thus made Ms works well known; Ms engraving was peculiarly suited to Ms pictures, and brought out theh wonderful light and shade as no other engraver could do. Martinez, Josef. Valladolid, end of 16th century. Painted so much like the Florentine masters, that it is probable he studied in Italy. An " Annunciation " by this artist is in the Mus. of Valla dolid. The *' drawing is good, the draperies finely managed, and the coloring rich and effective." Martinez, Ambrosio, born at Granada (1630-1674). Pupil of Alonso Cano. A reputable historical painter. Principal works are at the Monastery of S. Geronimo, and at the Carmelites in Granada- Martinez, Sebastian, born at Jaen (1602-1667). After the death of Velasquez he was painter to Philip IV. An excellent painter of cabinet pictures, most of which are in private galleries in Jaen, Cordova, Seville, Cadiz, and Madrid. Martinez, Juan Bautista del Mazo. A pupil of Velasquez. He first employed himself in copying the best works of his master and other painters. He acquired great skill in portrait painting, and attracted attention by a picture of Queen Mariana. His best works were landscapes and hunting scenes. In the Royal Gall, at Madrid are views of Pamplona and Saragossa, a Seaport and a River view, a view of the Escorial, and a fine portrait of a military commander, by this artist. He married the daughter of Velasquez, and at the death of that master was appointed painter in ordinary to the King. MARTINEZ — MARTINI. 393 He died in 1687. His portrait, painted by Esteban March, is in the Royal Gall. Martini, Simone, called also Simone Memmi, born at Siena (1283-1344). He married tho sister of Lippo Memmi, hence Vasari's mistake of calling hiin Memmi. He was probably ac quainted with Giotto, and was, in a sense, his rival, but never his pupil. Kugler says : " It is worthy of remark, and seems moro than mere accident, that the reputa'.ion of Giotto is preserved by the epic-didactic Dante, and that of Simone by the great lyric poet of medisevrl Italy — Petrarch — in two of his sonnets." The earliest of his frescoes eminently displays the truth that he was purely Sienese in manner. It is in tho hall of the Palazzo Pubblico of Siena, and is enclosed in a kind of border of shields and medallions, with the arms of the Commune and people. It represents an enthroned Madonna with angels, archangels, saints, apostles, evangelists, patriarchs, etc. Its size is vast, and the whole work is of great interest. It appears from the records that it was necessary to repair it soon after it was painted, and tMs was done by Simono himself. An altar-piece in seven compartments, painted in 1320 for the Dominicans of Pisa, is still preserved. Nothing more graceful than the female saints in this can be attributed to Simone. The S. Cath erine and the Magdalene are especially admirable for noble grace and beauty. No after work by this master was better, and yet this very picture painfully reminds one of his inability to express relief. Another small altar-piece of the same date (1320) is in the Fabbri- cieria of the Cath. of Orvieto, without pediment or pinnacles. This also has a sense of flatness, but its drawing and color are good. His action and attitude are better in his smaller works than in his larger ones. Another altar-piece equally good is in the same place. The Chapel of S. Martin at Assisi was entirely decorated by Simone, and its frescoes are among the very best of his remaining works. There arc frescoes in S. Maria Novella of Florence, evidently from the hand of a Sienese artist, wliich have been ascribed to Simone, but tMs lacks confirmation, and it is more than probable that he painted no great work at Florence; ho probably sent there from Siena the altar-piece for tho Gondi Chapel, of which Vasari speaks, and some other works. Simone travelled much. He was universally admired and welcomed. The works he did at Avignon, and his portrait of Laura, which Petrarch admired, have perished. A few remaining in a hall and tho chapels of the Papal Pal are too much injured to warrant consideration. Besides the works already mentioned, there is an "Annunciation" in the Uifizi, dated 1333, and painted by Simone and Lippo Memmi together; a beautiful small picture in the Liverpool Institution, illustrating the text, " Behold, thy father and I have sought Thee, sorrowing," and a " Madonna and Child " in the Berlin Mus. A few other works are attributed to him, but these are 394 MARTINI — MASACCIO. the most authoritative. From the sonnets of Petrarch it would seem that he was a miniaturist. If this be so, a Virgil in the Ambro siana at Milan is in all probability Ms work, and the la,st twelve illuminations in a Bible in the Royal Library of Paris were probably executed by him at Avignon. He had saved money and bought him a house in Siena, but in 1338 went to reside with his wife and brother Donato at the Papal Court at Avignon. Here he became the friend of Petrarch and Laura, and here he died. He was child less, and gave much of his property to the children of Donato. Simone was second only to Giotto, to whom he was a positive con trast; Giotto has been called an epic and Simone a lyric painter, and perhaps these words give the difference between them as well as any comprehensive generality (for which alone we have space) could do. Simone was full of joy, tender sentiment, graceful and beautiful conceptions, and at. the same time sympathetic with nature ; all tMs enabled him to paint such pictures as are irresistibly attractive, and have made Ms name one of those never to be forgotten. Martos, Ivan Petrovitch, born at Ichtnia (1755-1835). An eminent Russian sculptor, whose works are numerous in the cities of Russia, and are noble in conception and expression: his execution was free and finished. His bas-reliefs are excellent. He was Councillor of State and Director of the Acad, of Fine Arts at S. Petersburgh. Marziale, Marco. Flourished 1499-1507. A painter of small excellence. Some of Ms works remain in the Acad, of Venice, ch. of S. Giobbe, Berlin Mus., etc. Masaccio. Son of Ser Gio. di Simone Guidi, of the family of Sche.ggia. Born at Castel S. Giovanni, in the Val d'Arno (1402— 1429). According to tradition, this great master early manifested his inclination for painting. In 1421 he was enrolled in the guild of the Speziali at Florence, and in 1424 was registered in the guild of painters as " Maso di Ser Giovanni di Chastello Sangiovanni." His name was Tommaso Guidi. The name of Masaccio signified Ms want of neatness. The only authentic accounts relating to his private life are in the Florentine registers of the income returns for the years 1427 and 1430. These show that he was in debt, and had disappeared previous to the last, and was " said to have died at Rome." No other positive facts have been discovered concerning him. There is a fresco which was uncovered a few years ago in the ch. of S. Maria Novella, in Florence, which, if wo credit Vasari, is the earliest known work of Masaccio, for he says it was executed before those of S. Clemente in Borne. It represents the Trinity between the Virgin and S. John the Evangelist, with two kneeling figures. The restor ers have so injured it that it is difficult to judge of its primitive merit. Signor Cavalcaselle believes it to be a later work than Vasari makes it, and yet it is inferior to Ms latest works. The frescoes at S. Cle- MASACCIO. 395 mente were probably done about 1423 or 1424. They cover the walls, arch, and vault of a chapel, and represent the Evangelists, Apostles, Doctors ofthe Church, several Saints, the Crucifixion, and scenes from the lives of SS. Catherine and Clement. The " Cruci fixion " is in advance of what had preceded this master, but the PETER BAPTIZING. BY MASACCIO. From the frescoes in S. Maria del Carmine, Florence. scenes from the history of S. Catherine prove his power and original ity. The finest of these is that in which the Saint discourses before Maxentius and the Doctors, but they all display his knowledge of form, and are characterized by natural and graceful action and ex pression. When Masaccio returned to Florence he first executed, it is said, some pictures to prove his ability, and then received the com- 396 MASACCIO — MASSARD. mission to adorn the Brancacci chapel. These frescoes represent the Fall of Adam and Eve and their Expulsion from Eden, and various events in the life of S. Peter. Hitherto some of these works have been attributed to Masolino, but Signor Cavalcaselle, who has made a critical examination of them and everything connected with them; decides that they belong to Masaccio, and that if Masolino painted there, his works were upon the vault and lunettes, and are either de stroyed or covered by the more modern decorations of the chapel. We cannot afford space for a description of these important and beau tiful works. Masaccio was a very great influence in the progress of art. Some one has said that he seemed to hold Giotto by one hand and to reach forward to Raphael with the other. The Brancacci frescoes were studied by the artists who followed Mm, great and small, and even Leonardo, Baphael, and Buonarotti were amonc the number. Masaccio not only imitated the forms of nature, but he sought to represent her subtle shades of expression of feelino- and passion. He carefully studied Ms modelling; he grouped Ms fio-ures well; his draperies were graceful and in massive folds, and yet did not conceal the forms beneath; Ms coloring was rich and harmonious, and he selected fine types of the subjects which he represented. In a word, he showed himself thoughtful, appreciative of the ideal, and jn a good degree a poet as well as painter; and these qualifications united are those which have distinguished the artists whose influence has been enduring. Considering the art which preceded him, the works of Masaccio are as wonderful as the works of later artists are beautiful. In the cloister of the Carmine at Florence, within a few years, a fresco has been uncovered wMch is apparently by Mm. It is a fine relic, uninjured by restorers, and affords a good study of Ms manner. In the Acad, of Arts in Florence there is a " Conception," painted by Masaccio for the ch. of S. Ambrogio. The Uffizi has two portraits attributed to him, but there is doubt of their genuineness, which is also true of several other works ascribed to him in different European galleries. Masolino. See Panicale. Mason, James (1710-1780). This eminent English engraver produced some landscapes after Claude, Poussin, and various other artists, which are much esteemed. His " Landing of iEneas in Italy," after Claude, and " Venus at the Bath," after Andrea Sacchi, are especially fine. Massard, Jean, born at Paris (1740-1822). An engraver whose works are well esteemed. Ho engraved after the best masters. His " Death of Socrates," after David, and " La plus belle des Meres," after Vandyck, are among tho best. Jean Baptiste Raphael Urbain Massard, son and pupil of Jean, has also left excellent plates. His " S. Cecilia," after Raphael, and "Apollo and the Muses," after Giulio Romano, are fine, as well as inauy other works of his. MASSON — MASSYS. 397 Masson, Anthony, born near Orleans (1636-1700). A very cel ebrated engraver. He used only the graver, and handled it with great delicacy and firmness. His portraits are very fine, and some of them are rare. His print of " Clirist at Emmaus," called " The Tablecloth," is a chef-d'oeuvre of engraving. Massys, Messys, or Metsys, Quintin, born at Antwerp (1460- 1530). Early in life he was a blacksmith, and it is said became a painter for the sake ofanartisfsdaugh- firy!|!l!l|8i!i||||i|li|!|il!filI^~rTr ter whqm he loved, and whose father was determined she should marry none but a painter. There are speci mens of his iron work (or those said to be his), pre served in Antwerp. He became a great painter. His relig ious works show much feeling for beauty, and a ten- d e r earnestness which reminds one of the religious sen timent of earlier painters. In the common episodes of life which he rep resented, he suc- c e e d e d wonder fully. Lovers, frightful old women, money-changers, misers, etc., grew under his brush with great truthfulness. His most important work was an altar-piece in three parts, now in the Mus. of Antwerp. The figures are nearly life-size, as are those of many of his later works, wliich was not usual with artists of his country. " The Misers," at Windsor Castle, is one of his most celebrated works. Ho painted many half-lengths of Christ and Mary, which are very attractive. His pictures are seen in all large European galleries. Bryan gives a list of sixty-nine of his works, and these are not all. He painted some portraits. His own and that of his second wife are in the Uffizi. In the wall of the Cath. of Antwerp there is a slab which teils his story, one sentence THE MISERS. BY Q. MASSYS. At Windsor Castle. M 398 MASSYS — MAZZUOLI. of which reads, " Connubialis amor de Mulcibre fecit Apellem.'' He is buried in front of the Cath., and the immediate spot is marked with the simple inscription, M. Q. M. obiit 1529. His son Jan was also an artist, and it is believed that some of the genre subjects attrib uted to the father are the work of the son. Matham. TMs is the name of a family of J Dutch enoravers of whom Jacob alone merits C*a/U* • especial praise. He was born at Haerlem (1571- 1631). He was a son-in-law of Henry Goltzius, under whose direc tion he worked after having visited Italy. He engraved after the works of the best masters of the Low Countries, and many of Ms plates are much esteemed. His son Theodore, and Adrian, a rela tive, were also engravers, but not equal to Mm. Mattoni. See Pietro della Vecchia. m-v /«- Maurer, Christoph, born at Zurich (1558- (py( 1614). A pupil of Tobias Stimmer. He is only known by a few plates and wood-cuts etched by himself and from his designs. These are now rare. Mayno, Juan Bautista, born at Toledo (1569-1649). Pupil of Teotocopoli, and a fine painter. Early in life, he became a Domini can monk, but did not resign his occupation as an artist. He in structed Philip IV. in painting, and assisted Alonso Cano and other artists. He painted for Philip his celebrated battle-piece, in the Bueno Betiro. Plis principal works are in the ch. and convent of S. Peter Martyr, at Toledo. Mazzolini, Ludovico, called Mazzolini di Ferrara, born at Fer rara (about 1481-1530). Pupil of Lorenzo Costa. An eminent ar tist in the Ferrarese school of his time. His conceptions have some thing singular and romantic in them ; his style is vigorous ; Ms color brilliant ; he had a firm and solid touch ; his hands and feet were beautifully finished, and his groups can be examined in detail with pleasure. There are a number of his pictures in private collections in England, for which large prices have been paid. His most im portant work is in the Berlin Mus. where are also a large number of his other pictures. It is dated 1524, and represents " Christ in the Tempio with the Doctors." The National Gall, has two of his works, and others are in the Doria Pal., and the Gall, of the Capitol at Rome. Mazzuoli, Filippo, born at Parma; died 1505. Principally im portant as the father of Parmigiano. Some of his works are in the Gall., and the Episcopal Pal. of Parma, in the Museums of Naples and Berlin, and in some private collections. Mazzuoli, Francesco Maria, called II Parmigiano or Parmigia nino, born at Parma (1503-1540). He was probably never a pupil of Correggio, but he formed his style after that master, and, like all who did so, became grossly mannered. Perhaps the best that can be MAZZUOLI — MEDINA. 399 said of him is, that he was the most excellent of the imitators of Correggio. His religious subjects are not enjoyable. His portraits, in which he followed nature, are fine. One, said to be that of Ms mistress, and another called Columbus, in the Mus. of Naples, are splendid. The " Vision of S. Jerome," in the National Gall., is one of his celebrated works, and is open to much criticism. The Virnin and Child are its best features. It is said that he was so absorbed by this work, during the sack of Rome in 1527, that the invaders penetrated to his studio before he realized what was taking place, and they, on their side, were so moved by the picture, that they left Mm unmolested. His Madonna with the "long neck," in the Pitti Gall., and a S. Margaret, in the Bologna Gall., are well-known pic tures. His most important frescoes are in S. Giovanni and Delia Stec cata in Parma. For some time, Parmigiano was considered the in ventor of etching, but this art was practised in Germany before his time. Bartsch mentions fifteen etchings by him, and there are a few others which are probably his. A number of wood-cuts from Ms designs, which have been attributed to him, are now known to have been exe cuted by other artists, under his superintendence. Mazzuoli, Giuseppe, called E Bastaruolo, from the occupation of Ms father, who was a corn-chandler. Born at Ferrara (about 1525- 1589). Pupil of Dosso Dossi. His principal works are in his native city. Mecherino. See Beccafumi. Meckenen or Mecheln, Israel von, born at Meckenen (1440- 1503). Very little can be positively affirmed of tMs old artist. He was certainly an engraver, and for a long time there were a number of paintings attributed to him, but it is not known that he ever painted at all. The chief picture called his was a representation of the " Passion," on eight panels, at Cologne. The unknown master who produced it, is now often termed the "Master of the Passion," and the work the " Lyversberg Passion," on account of its having been owned by Herr Lyversberg. There are several other pictures some times called by his name, most of them being at Cologne and Munich. The engravings of this master are very numerous. M. Heineken es timates them at 250. All the pictures which were celebrated in his time, were copied by him. He had little artistic power, but suc ceeded better with genre subjects, than with the works of great mas ters. " The Concert " is one of those well known. His works are valuable as showing the costumes and customs of his time. He en graved the pictures of Martin Schongauer and Albert Diirer. Medina, Sir John Baptist, born at Brussels (1660-1711). Son of a captain in the Spanish service. He went to England, and then to Scotland, where he was knighted. He painted an immense num ber of portraits. He was accustomed to use lay figures, which he arranged in the requisite position, and draped as desired, and having 400 MEDINA — MELDOLLA. copied these, he painted the heads of his subjects on them. Many of his pictures are in Edinburgh, and Ms own portrait is in the Florentine Gall. Meer, Jan van der, de Jonge, born at Haerlem (1665-1688). Pupil of his father and Nicolas Berghem. He usually painted land scapes with sheep. His works are not often seen. There are three in the Berlin Mus., which show a free handling and careful execu tion. He left some masterly etcMngs, and some of them are now rare. Meer, Jan van der, called " the Van der Meer of Delft " from his birthplace, born 1632. This artist has left but few pictures, per haps not more than six. They are single figures and views of streets. His chef-d'ozuvre is in the Six Gall, at Amsterdam, and represents a servant maid pouring out milk ; she stands in full sunlight, and the color is beautiful. The Dresden Gall., Van der Hoop Coll., Bruns wick Gall., Hague Mus., and Aremberg GaU., all have specimens of Ms works, and all are exquisite in modelling, color, and execution. Meert, Pieter, born at Brussels (1618-1669). A portrait painter who imitated Vandyck. The Mus. at Brussels has pictures of the magistracy of the city, by Meert, and the Berlin Mus. has portraits of a naval captain and his wife. Meire, Gerard van der, born at Ghent. Flourished 1450- 1472. Very little can be told of tMs painter. He was free-master of the Guild of S. Luke at Ghent, in 1452, and junior of the corpo ration in 1472. His works were praised by Van Mander. The best picture now attributed to him is a " Crucifixion "in a chapel of S. Bavon at Ghent, and is very inferior to the works of the Van Eycks, with whom he is said to have studied. The galleries of Antwerp and Berlin have pictures attributed to Mm, which are not equal to that aheady mentioned. Gerard van der Meire is also believed to have executed some of the miniatures of the famous Grimani Breviary, at Venice. Jan van der Meire was Ms brother, and there were several artists of Ghent of their name. Melano, Gio. da. Flourished about 1365. His works are grace ful and sweet and earnest in expression. The principal ones are in the ch. of S. Francesco, at Assisi. Others are in the Ognissanti at Florence, and in the Florentine Acad. / // Meldolla or Meldola, Andrea. An engraver who A /j/f nourished about 1540. About 120 prints are known * to be his. Many of them are after the works of Parmigiano, and until the end of the 18th centurv they were attributed to that artist and to Schiavone, called Medula Zani claimed to have made the discovery that Meldolla was a different artist. Ho worked side by side with Purmigiano, and probably under his direction; so it is not strange that he should have the same manner, which he certainly had, even when engravino- the works of MELDOLLA — MEMLING. 401 Raphael. Some of his plates have his name very distinctly inscribed, but on others it is carelessly etched. A part of Ms prints are ex tremely rare. Mellan, Claude, born at Abbeville (1601-1688). An eminent desio-ner and engraver. He first studied under Simon Vouet, but went early to Rome. He was engaged to engrave the busts and statues of the Justinian Coll. He first engraved in the usual method, but afterwards adopted a manner of his own, namely, instead of crossing his lines in order to shade his prints, he made them parallel, and shaded by making them heavier or nearer together. This new mode obtained celebrity for him, and its effect is soft and pleasing. The number of his prints is large, and many are from his own de signs. One of his finest works is "Rebecca meeting the Servant of Abraham," after Tintoretto. Melzi, Francesco. A noble of Milan who was an intimate friend. of Leonardo da Vinci, and an amateur painter. His works are rare. In the Castle of Vaprio, which belongs to the Melzi, there is an immense fresco attributed to him, and at Berlin a " Vertumnus and Pomona," formerly ascribed to Leonardo, is now given to Francesco. Melzi inherited the studies and manuscripts of Da Vinci, and fur nished Vasari and Lomazzo with notices of his life. Memling, Hans. The birthplace of this very important master is not known. He was of the Van Eyck school, or the school of Bruges, was a pupil of Roger van der Weyden, and sometimes worked conjointly with Mm. He seems to have spent Ms youth at Brussels. Different records mention him from 1450 to 1499, at which time he probably died. Memling did not advance beyond his predecessors in the linear portion of painting, but his works were characterized by grace and poetry; his drapery was more flowing than that of his master, and his groups were symmetrical; his color and aerial perspective were truer than those of Van der Weyden ; his men were just good portraits of men, and not at all idealized, but his Madonnas had a lofty mien and a soft, meek beauty, with an expression of dignity and religion; his pictures of the infant Saviour were more natural in color, and more youthful and beautiful in expression than those which he had seen from the hands of the great masters about him. His color was good, but often so thin that the drawing could be seen through it. There are many works of his remaining, and it is difficult to select any one as the very best. Tho shrine of S. Ursula, in the Hospital of Bruges, is of great interest and importance. This has eight pictures and six medallions, and rep resents scenes from the legend of that saint and her eleven thousand virgins. The whole shrine resembles the nave of a Gothic cathe dral. There are on each side three windows (so to speak), each in a recess, where an episode is painted; two other pictures adorn the ends, and on each side of the roof are tMee medallions. These 26 402 MEMLING. pictures are all chefs-d'oeuvre of the Flemish school, but the me dallions do not equal the others. The drawing is better in these small works than in his larger; the movement is free, the expression excellent, and the color and execution are soft and powerful. The S. nRSULA LANDING AT COLOGNE. BY HANS MEMLING. From the Shrine of S. Ursula. hospital has also his " Marriage of S. Catherine," two small triptych altar-pieces, and a " Virgin and Child," with a portrait of Neven- hoven, the donor. A large altar-piece in the ch. of Dantzic is an important work of Mending's. His pictures are also in the Munich Gall., the Palais de Justice, Paris, Stuttgart Gall., Vienna Gall., MEMLING — MENELAUS. 403 Acad, of Bruges, Cath. of Liibeck, and Antwerp, Strasburg, Uffizi, Turin, and Kensington galleries. There are others in private collec tions. His portraits were excellent, as is seen in the votive pictures at Bruges and in the Uffizi. Memling was an excellent miniaturist, as is proved by his works in the exquisite Griniani Breviary, in the Library of S. Mark's, at Venice, executed probably for Mary of Burgundy, daughter of Charles the Bold. This Breviary belonged to Antonello da Messina, who sold it to Card. Griniani for 500 ducats. It is now considered a great treasure. There is a legend that Memling accompanied this Charles to war, and, returning sick and wounded, was cared for at the Hospital of Bruges, in return for wliich he painted the pictures, now so rich a treasure to that institu tion. It has also been affirmed that Hans Memling and Juan Fla menco are one and the same, but these questions cannot be settled by positive knowledge, and afford an unlimited battle-ground for disputes. This much, however, seems impossible, that the hand that painted his pictures could have wielded a sword, or that one life could have given time for aught but the study of which these are the fruit. Memmi, Lippo, born at Siena; died 1356. This artist is impor tant principally for having painted conjointly with Simone Martini, his brother-in-law, to whom Lippo was very inferior. In the Hall of Justice at S. Gimignano, in the ch. of Monte Oliveto, near by, in the chapel of the Santissimo Corporale at Orvieto, and in a few galleries, there are works attributed to Lippo. At Siena a fresco over the door leading into the convent of the Servi is signed by him, and is much finer than any other called his, as is also a small Madonna in the Berlin Mus. Perhaps this excellence is explained by saying that he painted much better when under the immediate eye and influence of Simone. Mena y Medrano, Pedro de. Pupil of Alonso Cano. A colossal statue of Santiago on horseback, by this master, still fills its original retablo in the Cath. of Granada. He did much work for the cathe drals of Malaga and Toledo, and was at length invited to Madrid by Don Juan of Austria, to execute a group of our Lady of the Pillar for the queen-mother. This work so attracted a prince of the house of Doria, that he ordered a crucifix of hiin, which was much ad mired in Genoa. He spent the last part of his life at Malaga, in order to be near- his daughters, who were nuns in that city. He died in 1693. He was one of the best pupils of Cano. Menelaus. The sculptor of a marble group in the Villa Ludovisi at Bome, representing a male and female figure. It has been called by various names, such as " Papirius and his Mother," " Octavia and Marcellis," etc. Otto Jahn calls it " Merope and JEpytus," at the moment when the mother recognizes her long absent son. It is very beautiful, but a certain impression arises from the exact arrangement of the drapery, wMch lessens its power. 404 MENGS — MERIAN. Mengs, Anton Raphael, born at Aussig in Bohemia (1728-1774). His father was a miniature and enamel painter, in wMch art the son was most severely trained. He copied from antiques and the works of the best masters, until he had acquired ideas of color from Titian, of chiaro-scuro from Correggio, composition from Raphael, etc. But the fire of genius was wanting; power of invention and feeling were not his, and though he had, and still has, warm admirers, his works are cold and uninspiring — perfect in technicalities, but void of soul. He lived much in Bome, where he was first sent by the King of Poland, who had appointed him court painter when but seventeen years old. In Rome he received much patronage, and painted a ceil ing in the Villa Albani, the ceiling of the Camera de' Papini in the Vatican, etc. He was invited to Spain, where he was much admired, and did many fine works. Twelve of his easel pictures are in the Madrid Gall., and a " Nativity," lighted from the Child, like the " Notte" of Correggio, is much praised. His frescoes in Madrid, especially the " Apotheosis of Trajan," gained him great reputation. His portraits are his best works. These are seen in the Uffizi, Mu nich, and Berlin galleries. A " Cupid," in the Dresden Gall., done in pastils, is a good specimen of Ms work in that manner. He also wrote upon art subjects, and his observations upon notable pictures are excellent. The standing of this artist has been a matter of much difference and dispute. By some, as by Winkelman, he is exalted to tho very pinnacle of fame, by others severely criticised; but one thing is certain, that if he had not great virtues he had no glaring faults, and gave a careful and learned attention to the proprieties of his art. His " Mount Parnassus " has been engraved by Raphael Morghen ; and ' ' James dictating to History, ' ' and a ' ' Holy Family," by Domenico Cunego. "^7 \/P* _ Merian, M , W, /A\.WF. /TC\iG..5Ke; born at Basle' (1593-1651). This eminent designer and engraver married a daughter of Theodor de Bry, by whom he was instructed and advised. It is said that Merian instructed Hollar. His best plates are views of the environs of Heidelberg, Stuttgart, Schwal- bach, etc. He also engraved portraits and some other subjects from his own designs. A large plate of the " Last Supper," inscribed, Accepit Jesus panem, is very scarce, as is also another of " Human Life," inscribed, Tabula Cebetis, continens totias vilos humanat dis- criptionem. Merian, Matthew, the Younger, born at Basle, 1621. Son of the preceding, and pupil of Sandrart, Rubens, and Vandyck. A reputa ble painter of portraits and historical subjects. Merian, Maria Sybilla, daughter of Matthew, the Elder, horn at Frankfort (1647-1717). Her father died when she was but four MERIAN — MESSINA. 405 years old. Jacob Murel, her step-father, taught her to paint flowers and fruit, and at length placed her under the instruction of Abraham Mignon. She became an excellent artist, and excelled in represent ing insects, butterflies, etc., in various stages of development. She married an artist, John Andrew Graff of Nuremberg, and in 1679 published a book illustrated by herself, giving a history of the insects of Europe. In 1698 she went to Surinam, and in 1705 published her second book describing the insects of Surinam. Her daughter, Dorothea Graff, was also an engraver, and made twelve plates for a later edition of the latter book. The British Mus. possesses two large books of the drawings of Maria Sybilla. Messina, Antonello da, born at Messina (about 1414-1493). There have been great discrepancies in the accounts of this impor tant old painter, but the following, culled from all, is as nearly correct as possible. His family were painters for generations under the name of the Antonii. His grandfather and uncle are men tioned in the " Memorie de' Pittori Messinesi," and his father, Sal- vadore d' Antonio, was an architect and painter. The latter was his first instructor, and sent him when young to Rome to complete his studies. From Rome he went to Palermo, whence he went to Mes sina, and painted (as is believed) at this time the " Virgin and Child," in tempera, on panel, now in the Museo Peloritano of that city. He next went to Naples, probably about 1438, and became the pupil of Colantonio del Fiore. This master and other painters of his school had some knowledge of the use of oils, but did not understand the method of Van Eyck. Antonello saw somewhere a picture by John Van Eyck, and immediately determined to go to Bruges and learn his great secret if possible, which he did. His visit to Flanders is fully proved by an old MS. wMch says, " Antonello Van Sicilien would not leave Flanders without bequeathing to it an example of the mode of coloring in oil which he learnt from John Van Eyck. It is said that he presented a picture to the ch. of S. John (S. Bavon of Ghent), for this reason." After Van Eyck died, Antonello returned to Messina, and soon went to Venice. Here he was much employed, and painted many portraits. He seems to have acquired Flemish finish and execution, but his tints were more harmonious and beauti ful. From this time his Italian tendencies seemed to strengthen as his later works show. It has been said that he taught Domenico Veniziano to paint in his manner, and that he was murdered by An drea Castagno for possessing the secret, but this is now known to be false as regards the murder, and no works in oil done' by Veniziano exist. In 1465 Antonello returned to Messina, where he received pupils, the best of whom was his son or nephew, Salvo d'Antonio. About this time he executed his most important works. In 1473 he went again to Venice and received important commissions. He was at one time in Milan, but when is not precisely known. . He was also 406 MESSINA — METSU. in Treviso in 1490, but returned to Venice, where he died, and was buried with great pomp by the artists who honored his memory for having brought to Italy the oil painting of John Van Eyck. There is a story, hardly creditable, that Gio. Bellini went to Antonello dis guised as a nobleman, and desired him to paint Ms portrait, and thus became possessed of his secret. His most important works are at Berlin; namely, a male portrait of 1445; a " S. Sebastian," 1478; and a "Madonna and Child," which especially illustrates the Ve netian coloring. Other works of Ms are a fine male portrait, in the Louvre; a " Crucifixion," in the Acad, of Antwerp; a half figure of Christ, in the National Gall., 1465; a reading Madonna, in tho Acad. of Venice; a " Dead Christ mourned by Angels," at Vienna; a male head, in the Uffizi; a weeping Nun, in the Acad, of Venice; and a " Christ bound to a Pillar," in the Manfrini Gall, of the same city. Metsu or Metzu, Gabriel, born in Leyden, 1615; still alive in 166 7. One of the most charming painters of genre subjects. It is certain that he formed Ms style after Terburg. It is not known with whom he studied. He was the intimate friend of Jan Steen. Most of Ms works are small — a few por traits are almost the only exceptions — and are excellent, a matter of surprise in a little master. His whole manner is ele gant, almost uncx- • ceptionable. His color is best in Ms earlier and middle time, later it is cold. He did not finish so extremely as some artists, and thus has moro freedom and expression. He loved to paint people in high life, but also represented fairs, markets, maid - ser- Smith gives a list of 1 60 pictures by Metsu. Many of A SPOHTSMAN. BY METSU. At the Hague.. vants, etc. these are in private galleries, especially in England, where very high prices have been paid for them. They arc also seen in the Louvre, Hague, Dresden, Van der Hoop, Munich, and Berlin galleries. The METSU — MIERIS. 407 " Woman taken in Adultery," in the Louvre, and " Justice," at tho Hao-ue, are inferior works for Metsu, and show that Mstorical or allegorical subjects were not his forte. But these galleries have other fine works of his. Meulen, Anton Frans van der,- born at Brussels (1634-1690). Pupil of Peter Snayers. He was made painter to Louis XIV., and accompanied that king in his campaigns for the purpose of represent ing Ms battles, victories, etc., with perfect truth. Considering the sameness and want of grace of his subjects, his pictures are remark ably fine. They are numerous, and contain many portraits of Louis and other notable men. His color was good, and his execution mas terly. Many of his works are in the Louvre, some fine ones at Mu nich, Buckingham Pal., and Petworth. Meyer. Bryan's Dictionary gives an account of eleven painters and engravers of this name. Of these the most important was Felix, born at Winterthur (1653-1713). Pupil of Ermels, of Nuremburg. He travelled in Italy and on Ms return made himself a reputation for decorating apartments. He was employed by several princes of the empire for this purpose. He also etched some plates from his own designs. Meyering, Albert, born at Amsterdam (1645-1714). A reputa ble painter whose works are not often seen in galleries. The Berlin Mus. has two landscapes with bathing nymphs and dancing cMldren. He also left twenty-eight etchings of considerable merit. Michau, Theobald, born at Tournay (1676-1755). A painter of landscapes with numerous figures, small, and well composed, but poorly colored. Two of these, a summer and a winter scene, are in the Vienna Gall. Miel, Jan, born near Antwerp (1599-1664). He went to Italy and was associated with Andrea Sacchi. His tastes led Mm to the gro tesque, and he introduced something of this in a religious subject he was painting with that artist. This caused them to separate, and Miel studied the pictures at Parma and Bologna. After he returned to Rome, he executed religious and historical works with good suc cess, but his scenes from low life must be admitted to be his best pic tures. His works are not numerous. They are in the Louvre, Dresden, Berlin, Vienna, Florence, and Madrid galleries. He also executed some etchings with masterly execution and charming effect. Mierevelt, Michael Janse, born at Delft (1567-1651). A good portrait painter. His works are said to have numbered 5000. Plis groups are not equal to Ms single heads, some of which are very fine. His pictures are in the H6tel de Ville at Delft, the Dresden, Mu nich, and other galleries. His son Pieter was also a portrait painter. Mieris, Frans van, born at Leyden (1635-1681). Gerard Dow called him the " prince of his scholars." He is very little inferior to his master, and some writers prefer Ms works to those of Dow. 408 MIERIS — MIGNON. His pictures are very small, and their subjects are often from the higher classes of life. Smith names 140 pictures of his. The Munich Gall, is richest in his works, and Dresden, Vienna, Florence, and St. Petersburgh have good examples, but the Louvre and English col lections arc less fortunate. The Hague has a beautiful " Boy blowino- Bubbles." " The Tinker," of the Dresden Gall., and " The Charla° tan," at the Uffizi, are masterpieces. His portraits of himself and family are fine. Indeed, all Ms works are full of artistic merit and charming effect. He was fond of Jan Steen, though not so dissipated as he ; still, he often passed his evenings with his friend, and upon one occasion, when going home, fell into the sewer, wMch some workmen had left uncovered. Here he must have perished but for the timely aid of a cobbler and his wife, who took him out and kindly cared for him. Not long after he carried the good couple a picture of Ms best manner, saying that the person they rescued had sent it. He recommended them to sell it to Cornelius Plaats. The woman went, expecting a small sum of money, and was surprised to find herself possessor of 800 florins ! Mieris, Willem van, born at Leyden (1662-1747). Son of the preceding, to whom he was much inferior. His best efforts are copies of his father's subjects. The Dresden Gall, has twelve of Ms works, and they are seen in various collections. Mieris, Frans van, the Younger. Son of Willem (1689-1763). A painter of the same subjects as the above, but far weaker in draw ing, coloring, etc. Mignard, Nicolas, born at Troyes (1605-1668). He was called D' Avignon on account of a long residence there. He was invited to Paris through the influence of Card. Mazarin, and employed at the Tuileries. He also painted many portraits, and executed several etcMngs in a spirited manner. Mignard, Pierre, born at Troyes (1610-1695). Brother of Nico las, and called " the Roman," from having hved twenty-two years in Rome, where he was patronized by the Popes Urban Vin., Innocent X., and Alexander VII. He was an imitator of Anmbale Carracci. His portraits were excellent, but his larger works were characterized by a false, theatrical effect, which destroyed all his influence as a true artist, and helped to hasten the decline of painting which fol lowed in the next century. Louis XIV. invited him to return to France. He frequently painted the portrait of the King and many noble persons. The cupola of Val-de-Grace was Ms chief fresco in France. He painted twelve frescoes at S.Cloud. In 1664 he was made President of the Acad, of S. Luke at Rome. In 1690 he suc ceeded Le Brun as court painter, and was elected Chancellor of the Acad. His portrait of Mme. de Maintenon is in the Louvre. Mignon, Abraham, born at Frankfort (1639-1697). A second- rate painter of flowers, fruit, insects, etc. His works are in many MIGNON — MOLA. 409 galleries, public and private. He approaches in style to Jan D. de Heem, who was one of his instructors. He failed entirely when he attempted dead animals life-size, but some of his small pictures at Munich and Dresden are excellent. Mind, Gottfried, born at Berne (1768-1814). A celebrated painter who excelled in representing cats and bears. Most of his works are in water-colors, and are wonderful in their imitation of the soft, velvety skins of cats, etc. When a boy he carved animals in wood, which were as much sought after as his drawings. His works have been lithographed with great delicacy and nicety. His original pictures are rare, especially in this country. I only know of one, which belongs to W. E. Doggett of Chicago. Minderhout, Hendrik, born at Antwerp (1637-1696). A painter of seaports and marine subjects. His works are seen in the princi pal collections of Flanders. /"* /~* JA Mitelli, Agostino, born at Bologna (1609- C^i /rji C_A/j 1660). He painted many years with M. A. Jy\£ ' \J \_ Colonna. Their principal works were fres coes in Bologna, Parma, Modena, Genoa, and Madrid, where they were invited by Philip IV. Colonna executed the figures, and at Madrid painted his celebrated " Pandora." Mocetto, Girolamo. A disciple of j] j-i lS *» 7S* Gio. Bellini, who flourished from 1490 j T rS^/' I , to 1514. He is best known as an en graver, but there are glass windows painted by Mm in S. Giovanni e Paolo at Venice, and pictures at San Bia gio, at Verona; at the Vicenza Gall., and the Modena Mus. His plates are very rare, and this constitutes their worth. Bartsch de scribes eight, and does not Mclude several which other judges attrib ute to Mm. MT TV TT1 1*^ *7ir Modena, Nicoletto da, born at 1 lJ l^N LrsL Modena about 146°- It; is known ~ " ' that he painted perspective and architecture, but he is famous as one of the earliest engravers of Lombardy. His manner proves that he was not instructed, but studied out his own method. Bartsch describes more than sixty of his prints, and Bryan twenty-six not Mcluded in Bartsch or any writer previous to him. Moine. See Lemoine. Mol, Peter van, born at Antwerp (1599-1650). An imitator of Bubens. His works, though inferior, are sometimes ascribed to that master. His pictures are in the Louvre and Antwerp Mus. Mola, Pier Francesco, born at Coldra (1609-1665). A good ar tist of the Bolognese school. Plis historical subjects are excellent, and Ms single figures fine, especially in color. Some of his large landscapes are grand in composition, and he excelled in glowing 410 MOLA — MONAMY. evening lights. His hght and shade are always fine. His works are seen in public galleries, and are in many private collections in Eng land. We have a few spirited etchings by him. Mola, Jean Baptiste, born about 1616-1661. Pupil of Simon Vouet and Francesco Albano. His landscapes are very pretty and Ms portraits good. He also executed a few etchings. Molenaer, Jan. Flourished 1625-1660. Dutch painter of scenes from peasant-life. His works are full of humor and anima tion. The Berlin Mus. has one of Ms best pictures, a ballad singer with a group in the open air. Bartsch mentions an engraving of his which is very rare; another is in the British Mus. Molyn, Pieter, born at Haerlem, about 1600. One of the early landscape painters. His works are rare in public galleries. A good picture by Mm, of two cottages with rich woods, is in the Berlin Mus. He also left four good etchings of landscapes with figures. Molyn, Peter, called Tempesta, from his pictures of sea-storms, and Peter de Mulieribus from his many mistresses, born at Haerlem (1637-1701). Son of the preceding. He painted wild animals re markably well, the result, perhaps, of a nature sympathetic with theirs. He became a Papist and went to Rome and married there. He went later to Genoa where he loved a Genoese lady, and hired assassins to murder his wife. His crime was discovered, and he was imprisoned many years; after his escape, he deserted his second wife, and became a fashionable painter at Milan. Some of Ms best works were done in prison. His pictures are in the Dresden and Vienna galleries. Mommers, Hendrik born at Haerlem (1623-1697). The works of tMs painter are rare in public galleries. That of Berlin has one not at all pleasMg, representing a bare landscape with several figures. Momper or Mompert, Josse de, born probably at Antwerp (about 1559-1635). A fantastic landscape painter. His color is not always truthful, and his treatment is slight. His works are numerous in public galleries. He was skilful with the etching point. The figures in his foregrounds were often the work of other artists. Monaco, Don Lorenzo. A Camaldolese monk, who was an ex cellent artist about 1413. He resided at Florence. Several of his works remain. One bearing his name is in the Abbey at Ceretto. It is very large, 15 by 12 feet, with three pinnacles, pilasters, etc. Tho central subject is a " Coronation of the Virgin," and there are numerous other figures and subjects. One of his best preserved works is in Santa Trinita, Florence, in the Bartolini chapel; others are in the Acad, of Florence, the ch. of Monte Oliveto, and in the National Gall. Plis works display the characteristics of art in his time. Monamy, Peter, born at Jersey (1670-1749). An indifferent painter of marine pictures. MONCALVO - MONTELUPO. 411 Moncalvo. See Caccia. Moni, Louis de, born at Breda (1698-1771). A painter of kitch ens and kindred subjects. His works are seen in choice collections, and have considerable merit. Monnicks or Moimix, born at Bois-le-Duc (1606-1686). The works of tMs master are pleasing. He painted landscapes, market scenes, etc. He introduced ruins, elegant arches, etc., with good taste. Houbraken says that Urban VIII. admired him so much that he retained Mm thirteen years in Ms service. Monnoyer, Jean Baptiste, called Baptiste. Born at Lille (1634- 1699). A flower painter, who was the fashion in his day. Le Brun employed Mm at Versailles; he was a member of the Acad., and was invited to England where he spent nineteen years and died. Many of Ms pictures are at Hampton Court, and though not of the best, are still good. Mont, Del. See Delmont. Montagna, Bartolommeo, born at Brescia or of Brescian parents. Flourished from 1480 to 1523. He lived at Vicenza, and in 1491 was called its best painter; and he was, indeed, a fine master. Many of his works remain, and his progress can be traced in them; the first show the formality of the artists about him; then come changes re sulting probably from the effect of the Bellini ; then at length he visited Padua, where, under the influence of the works and followers of Mantegna, he brought out his full power. Many of his works are in the Gall, of Vicenza, and there this progress is illustrated. His pictures are also in the Lochis-Carrara Gall., at Bergamo; in the churches of Padua; in the Brera. Venice Acad., Louvre, etc. Montagna, Benedetto, born at Vicenza. Flourished about 1500. Son of the preceding, whom he did not equal as a painter. He is noticeable as an engraver, and Ms prints are valued for their age and rarity, more than for excellence. They are weak and imperfect, but are almost the first engravings from the Venetian states. There are about fifty prints attributed to him, many of wMch bear his name. Montaiies, Juan Martinez, born at Alcala la Real ; died at Se ville, 1650. Having studied sculpture under Pablo de Roxas, he re moved to Seville. He was one of the best sculptors of Spain. He usually colored his own statues, and they were well done. He ex celled especially in carving cherubs and children. The ch. of S. Lorenzo has the high-altar and patron saint which Montaiies exe cuted, and the ch. of S. Juan de la Palma, the draped figure of S. John. The Mus. of Seville has a kneeling figure of " S. Dominick scourging himself," and a " Crucifixion," which is a fine specimen of the work and style of Montaiies. Stirling thinks if it were of Carrara marble, it would rival the " Crucifix "_of Cellini. Montelupo, Raffaelle da (1503-1570). This sculptor left an un finished autobiography, which is of great Mterest; if it could have 412 MONTELUPO — MORALES. been completed, it would have been of much value on account of his association with the men and events of his day. He was a pupil and assistant of Michael Angelo, and worked in the Medici chapel and on the monument to Julius II. Together with Nanni Bigio, he executed the seated Popes in the choir of S. M. Sopra Minerva, at Rome. He was architect of the Castle of S. Angelo. Montorfano, Gio. Donato, born at Milan. Flourished 1495. The principal reason that this rather inferior Milanese master is known to us is, that he painted a " Crucifixion " on the wall opposite to that on which Leonardo painted his "Last Supper," in the refectory of S. Maria delle Grazie ; and those who go there can but notice this work of Montorfano. There are many figures, and a formal line of saints is a great fault in its composition; the figures are correctly drawn but are not beautiful in expression, and the whole effect is stiff and unar- tistic. Montorsoli, Fra Gio. Angelo (1500-1563). Pupil of Michael Angelo. He led a wandering and restless life, and imitated his mas ter in sculpture as closely as a weaker mind can follow a stronger one. He became a monk and a member of the Servi, at Florence. He executed portions of many works, ornamented the ch. of the Do- rias at Genoa, executed two handsome fountains at Messina, etc. He had no great excellence. Moor, Karel van, born at Leyden (1656-1738). Pupil of Gerard Dow, Abraham van den Tempel, and Franz van Mieris. He painted sacred and profane history in large and small pictures, but Ms portraits were his best works. He imitated Gerard Dow in Ms small pictures, and etched a few portraits from Ms own designs, among wliich were those of Dow and Mieris. Morales, Luis, called " the Divine," born at Badajoz (1509-1586). School of Estremadura. The first Spaniard who had a place among the masters of painting in Europe. Little is known of his life. About 1564 Philip II. sent for him. He appeared in a dress so magnificent as to displease the King, who ordered that he should be paid a sum of money and dismissed. But Morales declared that he had spent all he had, with the object of coming before Philip in a dress befitting the dignity of the King. TMs reconciled the monarch. His pictures were all of sorrowful, religious subjects. Few of them have left his native country. The Louvre has one of " Christ bear ing his Cross," which resembles " Christ crowned with Thorns," in the Queen of Spain's Gall., which last is, perhaps, his chef-d'oeuvre. Some, of his works are at Cordova and Seville, and they are found in the churches and convents of Estremadura, but they are now rare- He always painted on panels. He finished with great care, but his drawing was often incorrect, and Ms colors sombre and sometimes cold. He excelled his Spanish contemporaries. When the King visited Badajoz in 1581, he saw the artist in a very different garb MORALES - MORGHEN. 413 from that in which he had appeared at court. " Morales, you are very old," said PMlip. " Yes, sire, and very poor," he answered. Philip commanded that he should have 200 ducats of the crown rents of Badajoz for his dinner. Morales exclaimed, " And for supper, sire?" This aptness pleased the King, and he added 100 ducats more. Badajoz has named for Mm the street in which he lived. Morando, Paolo, born at Verona (1486-1522?). One of the best painters of Verona before the time of Paul Veronese. He was a disciple of the Moroni, as Ms works show. Fine specimens of tMs master's manner arc in the National Gall., but most of his works are in Verona. More or Moro, Sir Anthony, born at Utrecht (1519-1576). This excellent portrait painter was a pupil, in early life, of Jan Schoreel. He went to Rome, but after Ms return became an imitator of Hol bein. He went to Spain and was sent to Portugal to make portraits of the King and Queen, and afterwards to England to paint a picture of the Princess Mary for Philip. He returned to Spain with Philip after the death of Mary, but on account of a personal freedom which he took with the King (he daubed his hand with carmine) , he was warned to leave the country, and he went to the Netherlands. Many of his works were burned in the Pardo. His own portrait is in the Painters' Gall, at Florence. His works may be best studied at Vienna, but are seen in other public collections. Morel, Bartolome. A Spanish artist of the reign of Philip II. He made the bronze statue of Faith which is a weather-vane upon the great belfry of Seville. He also made the lectern of the choir of the Cath. of Seville, and the beautiful candlestick called the Tenebrario, in the same cathedral. TMs is of bronze, and modelled like that of Solomon's Temple. Morelli, Gio. Battista, died 1665. Pupil of Algardi at Rome. He was summoned to Spain to assist .with his talents at the palaces of Aranjuez and Madrid, at which latter place he died. Moreelzee, Paul, born at Utrecht (1571-1638?). J 8 Painter, architect, and engraver. His portraits were his best works. Some of his wood-cuts are now scarce. They are executed in chiaro-scuro, and are pleasing in effect. One of Ms pictures is in the Berlin Mus. Moretto. See Bonvicino. Morgenstern, Ludwig Ernst, born at Rudolstadt (1737-1819). Painter of the interiors of churches. His works are rare. Two are in tho Stadel Institute, Frankfort. Morghen, Raphael, born at Florence (1758-1833). This most celebrated engraver of modern times was the son of an engraver, and commenced the practice of Ms art very early in life. His first important works, seven plates from the Masks of the Carnival of 1778, were completed when he was twenty years old, and he was 414 MORGHEN — MORONI. then placed under the instruction of Volpato at Rome, whose daughter he afterwards married. He worked for a time in con junction with Volpato, and assisted him in engraving the " Parnassus " of Raphael and other important works. His best known plates are the " Aurora," after Guido; tho "Last Supper," after Da Vinci; the "Transfiguration," and the "Madonna della Seggiola," after Raphael ; and many portraits which are very fine. Palmerini, one of his pupils, published an account of all his works. Raphael Morghen was accustomed to give Palmerini an impression from his plates in all their different stages of advancement, and this collection wa3 purchased for £1200 by the late Duke of Buckingham, and is one of the most valuable and complete in the world. Morin, John, born at Paris (1612-1666). This fine engraver left many valuable plates, among which the portraits are especially fine. They are etched in a masterly manner, with freedom and taste, and are much esteemed. Morland, George, born in London (1763-1804). Son of an artist, he early showed Ms talent for painting. It is said that Ms father, from mercenary motives, forced him to work continually, and rewarded Mm by the indulgence of Ms appetite for rich food and drink. His character was pitiful, and there are no alleviating points in it; he was literally as much a brute as those he painted. His subjects were those of rustic life, and his pictures contain many animals wonderfully well painted, but Ms pigs surpass all. The latter part of his life he became careless and slovenly in his manner, but the pictures of his best time are masterpieces in their way, and are sold at large prices. Moro, H. See Torbido. Moro, Gio. Battista d'Angeli, born at Verona (1512-1568?). Pupil of Torbido, whose daughter he married. He was a rival of Paul Veronese, and they painted together in the Cath. of Mantua. His best works are in the churches of Venice and Verona. Morone, Domenico. An old paintei- of whom no authentic ac count can be given. He was born at Verona, in 1442, and his name is mentioned a few times in the records of the city, but he is espe cially interesting on account of his son. Morone, Francesco, born at Verona (1473-1529). A fine painter who executed many works. He was the pupil and assistant of his father, -but seems to have studied the works of others. In drawing he resembles Mantegna, in color Montagna, and he imitated the softness of the Umbro-Ferrareso school. His works are too numerous for any attempt at a description of them. His master pieces are in Verona in S. Maria in Organo, and pictures of his are seen in tho Brera, Lochis-Carrara Gall., Bergamo, Berlin Mus., National Gall., etc. Moroni, Gio. Battista, born at Albino, near Bergamo (1510- MORONI — MOYA. 415 1578). Pupil of II Moretto, and as a portrait painter saccnd only to Titian. It is said that when the Bergainese applied to the latter for their portraits he was wont to tell them to go to Moroni if they would have good pictures. His historical works are unimportant, but his portraits are in many galleries. Plis own likeness is in the Berlin Mus. Mortimer, John Hamilton, born in Sussex (1739-1779). An artist of great talent and power, but his paintings are few, and he is better known for his etchings than for other works. He lived too fast to live long. He was the pupil of Hudson, and the teacher and friend of Reynolds. His picture of " S. Paul preaching to the Britons," at High Wycombe, is well known. The " Battle of Agin- court," and the " Meeting of Vortigern and Rowena " arc the sub jects of pictures exhibited in 1779. He was elected a member of the Acad, just before his death. His etchings arc well esteemed. Morto da Feltri. See Luzzo and Giorgione. Mostaert, Jan, born at Haerlem (1474-1555). A good painter whose works are in the Mus. at Antwerp, the ch. of Notre Dame at Bruges, and in some private collections. His portraits were excel lent, and all his figures are portrait-like in effect. Moucheron, Frederik, born at Embden (1633-1686). Pupil of Jan Asselyn. He lived some time in Paris and settled at length in Amsterdam. He painted landscapes indifferently well. Some of his later works have figures executed by A. van de Velde and Lingel- hach. His works are seen in public galleries. Moucheron, Isaac, born at Amsterdam (1670-1744). Son of the preceding, whom he imitated but did not equal. Seven of his works are in the Dresden Gall. He left a number of good etchings from his own designs. Mount, William S. He may be called the comic painter of our country. His subjects are rustic genre, and in them he has done full justice to the humorous side of the negro's character. The names of some of his pictures arc sufficient to indicate his manner : "Bargaining for a Horse; " " Turning the Grindstone; '* " Raffling for a Goose; " " Farmer's Nooning; " " Dance of the Haymakers," etc. Moya, Pedro de, born at Granada (1610-1666). A pupil of Juan de Castillo. A desire to travel induced him to enlist as a foot-soldier in the Flemish army. Amidst the bustle of soldier-life he copied the pictures of the Low Countries. The works of Vandyck fascinated hiin, and, in 1641, Moya went to London to become the scholar of Sir Anthony. The Spaniard was kindly received, but to his great sorrow, Ms instructor died within six months. His improvement had been such as to astonish Murillo when he returned to Seville. His works are very rare. In the Louvre there is a large " Adoration of the Shepherds." It is spirited and pleasing, and has sometMng 41 6 MOYA — MUNOZ. of the softness and grace which Murillo perfected. Mr. Ford has a remarkable picture by Moya, formerly at Seville. It represents a girl caressing a dusky swan, and, without doubt, illustrated the fable of Leda, and was originally a nude figure, but probably for fear of the Holy Office, the painter threw over her a saffron-colored robe, and added a cat, a pigeon, and a spaniel, thus converting the heathen myth into a Christian maiden surrounded by her pets. Mudo. See Navarrete. Mulinari or Molinari, Stefano. Flourished 1 775. An engraver of many plates after the best Italian masters. Mulier. TMs is the name of a number of German engravers who lived between 1550 and the present time. John, born at Amsterdam about 1570, was a pupil of Henry Goltzius, and an eminent artist. Plis plates are numerous. John Gottfried, born at Bernhausen (1747-1830). He only engraved thirty-three .plates. His "Madonna di Seggiola " is considered by some superior to that of Raphael Morghen. A " S. Catherine," after Da Vinci, and a " S. Cecilia," after Domenichino, are among his best prints. Christian Friederich von, born at Stuttgart (1783-1816). Son of the preceding. He left but few plates, for after he had executed but a small number he was commissioned to engrave the " Madonna di San Sisto," and to this work devoted his life. He labored so constantly as to destroy his health, and did not live to see a finished print from it. The proof arrived a few days after his death, and was suspended above Ms body on the day of his burial, as the " Transfiguration" had been placed near that of Raphael. Several others of the same name are less important. Miiller, William John, born at Bristol (1812-1845). A land scape painter, principally remarkable for his numerous fine sketches made during a journey in Egypt, up the Nile, and in Lycia. After his death these were sold for £4360. Mulready, William, born at Ennis, County Clare, Ireland (1 786- 1863). He showed his inclination for art very early, and when thirteen years old had the good fortune to meet with the sculptor Banks, who took Mm into his studio and befriended him. From tMs time his improvement and advance kept pace with his years, and lie became an eminent artist of genre subjects. " The Sonnet," " First Love," " The Wedding Gown," " The Fight Interrupted," " The Wolf and the Lamb," and " The Barber's Shop," are titles of a part of his pictures, and suggest his style of art, in wMch he ranks next Wilkie among British painters. Mufloz, Sebastian, born at Navalcarnero (1654-1690). He stud ied first under Claudio Coello, and then passed some time in Borne. In 1684 he painted with his former master in the Cath. of Zaragoza. When he went to Madrid his works became popular, and lie was employed in the Alcazar. In 1688 he was made one of the painters MUNOZ — MURILLO. 41V to the King. He deserves especial notice as the last good painter of Castile. He fell from his scaffolding, and died, in 1690. His picture of S. Sebastian was taken to Paris, but is now " the pride of the National Mus. of Madrid." A portrait of Mufioz by himself is in the Queen of Spain's Gall., No. 312. Murand, Emanuel, born at Amsterdam (1622-1700). Pupil of PMlip Wouvermans. He painted Dutch farm-houses with great perfection. His works are rare in public galleries. The Amsterdam Mus. has one. Murano, Andrea, Giovanni, and Antonio da. Three old painters of the Venetian school of the 15th century. Pictures by all of them are in the Acad, of Venice. Murillo, Bartolome" Estevan, born at Seville (1617-1682). As soon as he had learned to read and write he was placed under the care of Juan de Castillo. By him he was taught not only the use of the pencil and brush, but also how to grind the colors, prepare the canvas, and perform all the mechanical parts of Ms calling. He improved so rapidly that in a short time he painted as well as Castillo Mmself . When he was twenty-two years of age Ms master removed to Cadiz. His parents were either dead or too poor to assist him, and he was compelled to support himself by painting for the Feria, or market. This was held on Thursdays, and it was customary for artists to go there with their pictures, carrying also their brushes and colors, and making alterations to suit the taste of the purchasers. A few of the pictures supposed to belong to this early time of Murillo are in striking contrast with his later works, as they hang side by side in the Mus. of Seville. In 1642 Murillo's desire to travel was aroused by observing the improvement of Moya, who had studied in Flanders and England. By means of painting and selling a large number of pictures, which were bought by American traders for ex portation, he obtained money to go to Rome. When he reached Madrid ho went to Velasquez, then painter to the King, and begged for advice and letters of introduction. Velasquez, pleased with the answers to his many questions, invited Mm to his house, and pro cured him admission to the Royal galleries. Here he passed two years in copying the works of Ribera, Vandyck, and Velasquez. At the end of that time his patron considered Mm ready for Rome, and offered to assist him in the journey. But Murillo determined not to leave Ms beloved Spain, and returned to Seville early in 1645. In considering the merits of this master it should be remembered that he had never seen the antique models which the artists of Italy were wont to study. All that is comprehended in the word antique was unknown to Mm, for he left Madrid before the purchases of Velas quez had been placed in the Alcazar, and the only glimpse of classic art which he obtained was through the Italian pictures in the Gall. of Madrid. His ideas, Ms models, and Ms mode of expression were 27 418 MURILLO. purely Spanish. About the time of his return to Seville he was em ployed by the Franciscans to paint eleven large pictures for their convent. The price they paid him was small, but they gave him an opportunity to make his name, and their house, famous throughout Spain; and from the time that these pictures were displayed to the throngs who came to see and criticise, the name of Murillo was placed first among the painters of religious subjects in Spain. In 1648 he S. JOHN. BY MUHILLO. Madrid Mus. was married to a rich and noble wife, and was enabled to become the social leader and patron of his order. From this time his works were sought by all the religious houses of Seville. He painted series for the Cath., for the ch. of S. Maria la Blanca, and, at length, his won derful works for the Hospital de la Caridad. He also painted for the Capuchins without the walls, and, at the time of his death, was engaged in a convent at Cadiz, where he fell from a scaffold and re ceived the injuries which proved fatal, while painting the upper part MURILLO. 419 of ihe large picture of the " Marriage of S. Catherine." The princi pal group remains as it was left by him, and may still be seen in the convent, now a hospital, at Cadiz. He lived long enough to reach Seville, to arrange his worldly affairs, and died in the midst of his friends. He was buried in the ch. of Santa Cruz, beneath a picture of the " Descent from the Cross," before which he was accustomed to perform Ms devotions. This was in accordance with his own de sire. His grave was covered with a slab, on which was carved, by Ms direction, Ms name, a skeleton, and two words, Vive Moritv- Evs. The French destroyed this church, and its site is now covered with weeds and debris. Murillo's pictures may be divided into three classes : his first or earlier manner may be styled cold (frio) ; his second, warm (calido); and his latest, vapory (yaporoso). To the first period belong his pictures of beggar-boys, peasants, and subjects from common life. Both his later periods were especially devoted to religious subjects. In the first his outlines became softer, and the figures rounder, than in his early works; but to the last, or vapory period, belongs that beautiful atmospheric effect in wliich the dis tinctness of the outline is lost, or shaded off, as in nature. Murillo excelled in the management of drapery, in light clouds, flowers, and transparent waters; and, while ho must yield to some Italian painters in knowledge of the accurate rules of art, ho was endowed with the power to touch the heart, to awaken tender emotions and religious sympathies. He has justly been called " the painter of the Concep tion," and has represented tMs subject with unrivalled grace and tenderness. He has varied the age, the style of beauty, and the sur roundings of the Virgin, in almost numberless pictures; but all breathe the same purity and spotless innocence; all are the fitting representation of that Mother of Christ who holds so high a place in the religion of the South. It was such pictures as those of Murillo that inspired the cloistered devotees, as they gazed upon them, day by day, to do their penitential work, and to suffer even death itself, with the hope that in the future they should be received with appro bation by this sweet Mother of their God. He also painted a few portraits, whioh are of great beauty and value ; and in the front of the church of the Hospital of Charity there are five large designs, wrought in glazed tiles, for which he is said to have made the draw ings. He found time in 1658 to prepare for the establishment of an academy of art at Seville. There was much labor involved in this, but he was at last successful, and the first meeting for the purpose of instruction was held in 1660. In character Murillo, like Velasquez, was the favorite of his patrons, and found Ms friends among his fel low-artists. He had much good sense, was moderate in temper, and wholly wanting in Andalusian egotism. Towards the poor he prac tised the charity which Ms pencil taught; and his epitaph is by no means untruthful, when it says that he lived as one about to die- 420 MURILLO. The following is a list of a portion of his principal works, and the places where they now are : - Moses striking the Rock in Ho- reb. The Miracle of the Loaves and Fishes. S. Juan de Dios, carrying a Sick Man. The Guardian Angel. The Saviour in his Youth. The Baptism of Christ. Eight Saints; busts; life-size. S. Ferdinand, armed; full length. The Annunciation. Three pictures of the Immaculate Conception. La Virgen de la Servilleta. S. John the Baptist in the Des ert. Adoration of the Shepherds. S. Bonaventura and S. Leander. S. Thomas of Villanueva giving Alms at the Door of Ms Ca thedral. SS. Justa and Rufina. Portrait of a Bare-footed Friar. Two Landscapes. The Last Supper. The Annunciation. Three pictures of the Immaculate Conception. Our Lady of the Rosary. The Holy Family. S. John Baptist, as a CMld, with a Lamb. Adoration of the Shepherds. Christ crowned with Thorns. Two pictures of the Crucifixion. Conversion of S. Paul. S. Jerome reading. S. Jerome in the Desert. The Porciuncula. S. Francis de Paula. Old Woman spinning. Gypsy Girl. The Annunciation. Seville, Hospital of Charity. Seville, Cathedral. Seville, Public Mus. Seville, Ch. of S. Maria la Blanca Madrid, Queen of Spain's Gall. Paris, Louvre. MURILLO. 421 Joseph interpreting the Dreams. Paris, Louvre. Our Lady of the Immaculate Con ception; painted for the ch. of S. Maria la Blanca. " « Our Lady of the Rosary. " " Three pictures of S. Joseph and the Infant Saviour. " " Four Sketches of the Prodigal Son. " " S. Augustine, with a Child, on the Seashore. "¦ " S. Augustine wasMng the Feet of Our Lord. " " S. Thomas of Villanueva, two pictures. •' " Beggar Boy hunting Vermin on Ms Person. '• " Portrait of Don Andres de An- drade. " •' Murillo in his Youth. " " A large coll. of drawings executed on paper. Jacob's Dream. The Assumption of Our Lady. S. Joseph leading the Infant Sav iour. S. Joseph holding the Infant Sav iour. The Flight of the Holy Family; two pictures. The Nativity of Our Lord. Adoration of the Shepherds. S. Florian. Martyrdom of S. Peter the Do minican. A Girl in a Green and Red Dress. A Gentleman dressed in Black; called the Brother of Murillo. A Landscape with a Ruined Cas tle on a Wooded Hill. The Annunciation of Our Lady. Our Lady of the Immaculate Con ception. The Madonna, with the Child on her Knee. S. John de la Cruz. St. Petersburg, Hermitage. Amsterdam, Public Mus. The Hague, Gall, of the King. 422 MURILLO — MUTINA. Our Lady, with the Infant Sav iour; two pictures. The Virgin, with the Saviour on her Lap. Girl, with a Basket of Fruit. S. John Baptist as a Child. S. Joseph and the Infant Saviour. The Holy Family. A Girl. Our Lady with the Infant on her Lap. Two Boys seated on the Ground. Two Boys throwing Dice, with a Dog eating Bread. Two Boys eating Bread and Fruit, with a Dog by their side. The Holy Family. S. John Baptist as a Child, with a Lamb. Four drawings on Paper. S. Anthony of Padua, kneeling, with the Saviour M his Arms ; life-size. Florence, Pitti Pa!, Dresden, Royal Gall. U C( Vienna, Imperial Gall. Vienna, Esterhazy Gall. Munich, Leuchtenberg Gall. Mumch, Pinakothek Gall. London, National .Gall. Print Room, British Mus. Berlin, Boyal Mus. ENGRAVINGS AFTER THE WORKS OF MURILLO. Engraver, Ardell, James Mc. The Virgin, with a Glory of An gels ; fine. S.Jerome kneehng before a Crucifix ; fine. S.Francis de Paula. Engraver, Carmona, Immanuel Salvador. Vhgin and Child; half-length. Engraver, Dean, John. S. Anthony of Padua. Engraver, Haldou, John Louis. La Toilette du Savoyard. Engraver, Major, Thomas. Tho Good Shepherd. Engraver, Spilsbury, Inigo. Flight into Egypt. Engraver, Strange, Sir Robert. The Infant Jesus plaiting a Crown of Thorns. 1787 (?) Muscher, Michiel van, born at Rotterdam (1645-1705). A pupil of Van Temple, Metsu, and Van Ostade. He painted small conversations and portraits which are excellent. They are seen in some public galleries. Musis, Agostino de, called Agostino Veneziano. Born A at Venice (about 1490-1540 '!). An eminent engraver and a pupil of Marc Antonio, whom he followed with success without being his equal. He engraved many plates after Raphael. Fine impressions of his plates arc very rare. Mutina or Modena, Thomas of. In 1357, the Emperor Charles MUTINA — MYRON. 423 IV. employed this painter at the castle of Carlstein. In the chapel of the castle, two of his pictures still remain. Another work in the altar recess of S. Catherine's chapel, at Carlstein, is doubtlessly his. It represents a Madonna between an Emperor and Empress, and is a picture of great sweetness. A Vera Icon in the Cath. of Prague, is attributed to Mm, and a Virgin and Child with two warrior saints in the Belvedere, Vienna, is inscribed with his name. Muziano, Girolamo (1528-1592). A Brescian artist, who studied under Romanino. He became one of the best imitators of Michael Angelo. His chief work was •' S. John preaching to the Monks in the Desert," in S. Maria degli Angeli, at Rome. Myn, Herman van der, born at Amsterdam (1684-1741). He first painted flowers and fruit, and afterwards portraits. He resided some years in London. Many English families have Ms pictures, which are rare in public gal leries. He had one daughter and five sons who practised painting in London; of these Gerhart. and Frans were the most successful. Mytens, Daniel, the Elder, born at the Hague (about 1590-1656?) An excellent portrait painter, who preceded Vandyck in England. Some of his works are at Hampton Court, and in other English galleries. Vandyck painted his por trait, and it is one of the " Centum Icones'' published at Antwerp in 1645. Myron. This celebrated Greek sculptor was a native of Boeotia, and born about B. c. 430. He was remark able for his difficult attitudes and Ms power to represent a variety of forms. Most of his statues were in bronze. The two most wonderful works which he did were the " Discobolus," and a Cow, of which many writers speak. It was at Athens, and carried to Rome, it was placed in the temple of Peace, The praise awarded it proves it to have been perfect in its MAKBLE COPY OF MYRON'S BKONZE DISK- THH0W1SU. Massimi Pal., Rome. 424 MYRON — NARDI. way. Of the quoit-thrower, we have several copies; that in the Massimi Villa, at Rome, is undoubtedly the best, and was found on the Esquiline, in 1782; others are in the British Mus., Hadrian's Tiburtine Villa, the Vatican, and the Capitoline Mus. In this work, he had full scope for the exercise of his power to portray manly vigor and strength. This is true of another statue in the Vatican repre senting Marsyas regarding the flutes which the goddess rejected. The representation of a momentary action renders the " Discobo lus " wonderfully effective, and we feel as if we must see the throw made, and the tense muscles relaxed, before we can leave it. It is an example of the highest Greek art, in the representation of the phys ical frame and difficult action, but it has no intellectual depth or thought. N. Nahl, John Augustine, born at Berlin (1710-1785). A sculptor who received commissions for the gardens of Potsdam and Charlot- tenburg. He is well known by his monument to Mine, de Langhaus in Hindelbanck, Switzerland. This beautiful work is mentioned by the poets Haller and Wieland. At Cassel, where he hved from 1 755, he did many good works, among which the statue of the Landgrave William may be mentioned for excellence. At Cassel he was made Professor of Sculpture. Naiii, Louis, Antoine, and Matthieu Le. Brothers, born at Laon, about 1583, 1585, and 1593. Their-works are not separated, but are usually marked Le Nain. Their subjects were genre and largely from rustic life. They are carefully painted, and the faces are varied in expression and often beautiful. Naiwinck or Naiwyncx, H., born at Utrecht about 1620. Very little is known of the landscapes of this painter outside his own country, but he left two sets of landscape etchings, numbering eight each, that are esteemed by collectors. Balkema calls Ms name Naenwincx. His baptismal name is not known. Nanteuil, Robert, born at Rheims (1630-1678). A very eminent engraver. He also executed portraits in crayons. His engravings of portraits, both after Ms own designs and those of other masters, are held in high esteem. His manner was peculiar; he carefully modelled every shade of the face, and for the rest of the engraving employed a diff'erent kind of work. Nanteuil obtained from Louis XIV., in 1660, the edict which declared engraving to be distinct and free from the mechanical arts, and gave engravers the privileges of other artists. Nardi, Angelo. An Italian painter who passed a large portion of his life in Spain and was painter to Pliilip TV. He is said to have been a pupil of Paul Veronese, in whose style he painted. His works are seen in the churches of Madrid. NASMYTH — NAVARRETE. 425 Nasmyth, Alexander, born at Edinburgh (1 758-1840). A land scape painter whose works are numerous, but of no extraordinary merit. He painted a portrait of Robert Burns. Much of his life was devoted to teaching, in which he was very successful. Nasmyth, Patrick, born in Edinburgh (1786-1831). Son of the preceding, to whom he was superior. He was compelled by an injury to Ms right hand to paint with his left. He settled in London, and has been called the " English Hobbema." His works are now much esteemed by collectors. Many of them represent Scotch landscapes. Nason, Pieter. Flourished about 1670. A painter of portraits which are admirable. His still-life pictures are most esteemed, and are seen in the finest German collections. Two of Ms pictures are in the Berlin Mns. Naucydes. An Argive sculptor, ne was the teacher of Poly- cleitus II. His gold and ivory Hebe, a statue of Hecate, one of Erinna the poetess, a Discobolus, and others, are praised by ancient writers. There is a statue in the Vatican believed to be a copy of the last-mentioned. Navarrete, Juan Fernandez, called El Mudo, because deaf and dumb, born at Logrono, 1526; died at Toledo, 1579. There were two otlier Spanish painters, Diego Lopez, called also El Mudo, and Pedro el Mudo, who were mutes, but who must not be con founded with Navarrete. He was not born a mute, but at three years of age became deaf, and so could not learn to speak. He was in Italy several years, and » pupil in the school of Titian. Tibaldi was known to say that he did nothing of much worth while in Italy, hut he was appointed painter to Pliilip II. in 1568. He painted eight pictures for the Escorial, which were his principal works. Three of these were burned. His picture of the " Nativity " is remarkable for its lights, of which there are three. One is from the Divine Infant, like that in the " Notte " of Correggio; another is from the glory above, and the third from a torch in the hand of Joseph. When Tibaldi saw this picture he exclaimed, "01 gli belli pastori!" and the picture has since been called " The Beautiful Shepherds," for the group of shepherds is the best part of the painting. The others represent the "Martyrdom of S. James the Great," " S. Jerome," " Christ at the Pillar," and the " Holy Family." In 1576 he painted " Abraham and the three Angels." This was placed in the entrance hall where the monks received strangers. He after wards contracted for thirty-two large pictures, but his health pre vented his finishing them. The contract stipulated, among other things, that he should not represent any cat, or dog, or any immodest figure. TMs doubtless arose from his having painted a dog and cat contending for a bone in the foreground of his " Holy Family." His pictures are little known outside of the Escorial. The King of 426 NAVARRETE — NEEFS. Holland has a " Holy Family," and the Coll. of Lord Lansdowne contains a portrait by El Mudo which is a gem. Lope de Vega wrote a lament for his death, and said, — "Ningun rostro pinto que fuese mudo." 1 When the " Last Supper," painted by Titian, arrived at the Esco rial, it was found to be too large for the panel iu the refectory for which it was designed, and the King ordered it to he cut. El Mudo was in great distress at this, and offered to copy it in a re duced size in six months, and to forfeit his head if he failed to do so. He also intimated that he should expect to be made a knight if he copied in six months what Titian had been seven years in painting. But Philip persisted in cutting the painting, to the intense grief of Navarrete. While he lived Philip did not realize his worth, but after Ms death he often eulogized him, and declared that Ms Italian artists could not equal Ms mute Spaniard. Neagle, John, born in Boston (1799-1865). He began to paint coaches, but became a portrait painter in Philadelphia. He made a good reputation, and married the daughter of the artist Sully. His picture of Patrick Lyon, the blacksmith at Ms forge, now in the Boston Athenaaum, gained him much fame. His portraits are in Indepen dence Hall, in the Philadelphia Acad., and in the Union League Club of that city. Neale, John Preston (1770-1848). This eminent English en graver is best known by his admirable plates for the following works : " History and Antiquities of Westminster Abbey," " The Seats of Noblemen and Gentlemen of England, Wales, Scotland, and Ire land," and " Views of the most interesting Collegiate and Parochial Churches of Great Britain, including Screens, Fonts, Monuments, etc." Necker or Negker, Josse de. An engraver on wood, of the 16th century. He executed a part of the prints of the "Triumph of Maximilian," by Hans Burginair. He usually signed Ms plates with his whole name. Neefs, Pieter, the Elder, born at Antwerp (1570-1651). Pupil of Hendrik van Steenwyck, the Elder. He painted the same class of subjects, namely, church interiors, and excelled Ms master in tone and effects of light and shade. His torchlight effects are excellent. He did not fancy the picturesque, evidently, for Ms churches are always in good preservation and order. But he enlivened them with figures well arranged. In this he was often assisted by Francken the Younger, Teniers the Elder, and Jan Breu"hel. Pieter Neefs, the Younger, painted the same subjects as Ms father, but in an inferior manner. Neefs, James, born at Antwerp, 1630. An engraver of the works 1 " No countenance he painted that was dumb." NEEFS — NEWTON*. 427 of Bubens, Vandyck, and otlier Flemish masters. His best prints are esteemed by collectors. Neer, Aart or Artus van der, born at Amsterdam (1619-1683). An eminent landscape painter who especially excelled in moonlight effects, and in representing conflagrations. His pictures are in the large European galleries. The figures were sometimes painted by other artists. The National Gall, has a fine one, with animals and figures by Cuyp. His works are marked by poetic feeling, clear tone, and excellent finish. Neer, Eglon van der, born at Amsterdam (1643-1703). Son of the preceding, and an imitator of Frans van Mieris. He loved to paint elegantly attired ladies ; white satin was a favorite dress with him; he was very skilful also in portraits. His landscapes and his torical subjects are inferior to his genre subjects. Some of his most important works are in private collections. The Munich and Dres den galleries have his pictures. Smith names but forty-three genre subjects by him, and these give him high rank among painters of Ms class. Nerroccio di Bartolommeo de' Landi, born in Siena (1447- 1500). His remaining works are in the Acad, of Sieua. He was of moderate excellence, but was well esteemed in Ms native city. He was also a carver and designer. Netscher, Caspar, born at Heidelberg (1639-1684). An imitator of Terburg and Metsu. His works are very beautiful. His chil dren are especially lovely. His small portraits are numerous and much admired. His genre pictures are fine, but in Mstorical and allegorical pictures he failed utterly. His composition was tasteful, his heads fine in expression, and his execution admirable. He painted his auxiliaries with great taste, and gave to many of his portraits the appearance of fancy pictures. The Dresden Gall, is rich in his works, which are also seen in large European collections, but in Eng land they are mostly in private hands. His son Theodore was not equal to his father in any particular. Constantin, born at the Hague (1670-1722). He imitated his father with good success, but never acquired his excellence. His most admirable works are his small portraits. His mythological subjects are weak and dull. His pic tures are in Continental galleries. Neuchatel, Nicolas, called Lucidel (1550-1600). An excellent Belgian portrait painter. His picture ofthe " Mathematician teach ing his Son," in the. Munich Gall., is masterly. Newton, Gilbert Stuart, born at Halifax, N. S. (1795-1835). His parents had left Boston when that city was evacuated by the British, but in 1803, after his father's death, his mother returned to Charlestown. Gilbert Stuart was his uncle and instructor, although they were alienated later in life. Newton was a friend of Leslie, and they were in London together in 1817. Newton ought to have made 428 NEWTON — NICOLAUS. a good genre painter, but he would not give the labor necessary for such works; he did, however, a few choice things, which were enough to indicate what he might have accomplished. One of his best portraits was a cabinet picture of Washington Irving. His like ness of John Adams is in the Coll. of the Massachusetts Historical Society. Leslie has written his autobiography, which shows Mm to have been a man of society, with fastidious tastes. For some years his life was blighted by a mental disorder. Niccolo dell' Abbati. See Abbati. Nickelen, Isaac and Jan van. Father and son. ArcMtectural and landscape painters of some merit. Their works are seen in some Continental galleries. Nicolaus, Master, of Verdun. TMs is the name of the artist SAMSON OVERCOMING THE LION. EXECUTED BT MASTER NICOLAUS, IN 1181. From the Verdun altar at Kloster-Neuberg. who executed the Verdun altar at Kloster-Neuberg, in 1181. It is a very curious work, consisting of fifty-one gilded plates of brass, which are engraved in deep outlines which are filled with red and blue. The subjects are Biblical, and must have been the work of a great artist, for they are characterized by freedom and nobleness of design and execution. The illustration given shows the forceful action and energy of his style. This is of the same class of work as the shrine of the Three Kings at Cologne and the relic cases at Aix- la-Chapelle and Osnabriick. It was a sort of step between sculpture , NICOLAUS — NORTHCOTE. 429 and painting. Sometimes rich enamel and jewels were used with gilding and engraving. Nogari, Giuseppe (1700-1763). A portrait painter whose works have been frequently brought to England. There is usually some thing attractive about them. His color is rich, and his expression powerful. His Oriental heads are especially good. Nollekens, Joseph, born in London (1737-1823). Pupil of Peter Scheemakers. In 1760 he went to Borne. He had already given proof that Ms talents were worth cultivation. He was very poor when he arrived in Italy, but some works which he sent home were well sold, and he added to his income by making collections of rare and antique fragments, etc., which found good sale among con noisseurs, wMle he retained a fine collection for himself. We can not form a very exalted idea of the man when we know that he also smuggled silks, laces, gloves, and other articles by filling his plaster casts with them; he not only did this but also boasted of it, saying that his bust of Sterne held the lace ruffles which he wore to court I When he returned to England he had such a reputation that he became at once the fasMon, and his studio was filled with people desiring portrait busts, for this was the one thing for which he became famous. In 1771 he was elected to the Royal Acad. Soon after tMs he was married to Miss Mary Welch. The busts, statues, and monuments executed by Nollekens are very numerous. He and- Ms wife were well agreed in the practice of economy, and he became rich; it is said that after her death he was somewhat more self-in dulgent. Nollekens loved to model small figures and groups in clay; he had them baked and would not sell them, so they became very numerous. Lord Yarborough was a true friend and generous patron to the sculptor, and to him he owed much of his success. There is little that is pleasant in the review of his life, and his biographer (Smith) speaks justly when he says, after enumerating more than 1000 of his works, " Such and so numerous are the works of Nolle kens, who will long be remembered, not only as having held a con spicuous rank among contemporary artists, in an era abounding in men of genius, but as having, by assiduity rarely surpassed, and parsimony seldom equalled, amassed a princely fortune; from which, however, his avaricious spirit forbade him to derive any comfort or dignity, exceptmg the poor consolation of being surrounded, in Ms dotage, by parasites who administered to his unintellectual enjoy ments, and flattered even his infirmities, in the hope of sharing the vast property which death would force him to resign." Northcote, James, born at Plymouth (1746-1831). Pupil of Sir Joshua Reynolds. He visited Rome, became dissatisfied with por trait painting, and attempted Mstorical and poetical subjects, but he never produced anything above mediocrity. His portraits were de cidedly Ms best works. Northcote was also an author. He contrib- 430 NORTHCOTE — OLIVER. uted largely tc " The Artist; " wrote the Life of Sir Joshua Rey nolds, etc., and a brief Analysis of his Discourses; and a Life of Titian. He also published a book of Fables, original and selected, illustrated by wood-cuts from his own designs. Nuyen, Wynand Jan Joseph, born at the Hague (1813-1839). Although he died so young, he had made himself an enviable reputa tion as a marine painter. His works are only seen in rich collections. " Le Coup de Canon " is one of his chefs-d'ozuvre, and represents a view on the Y off Amsterdam, with a yacht from which a gun is fired. It was sold in 1850 for £375. Nuzzi, Mario della Penna, called Mario da' Fiori, born at Penna (1603-1673). A fine flower painter. He often painted garlands for the decoration of the figures of the Virgin, saints, etc. He also painted festoons and wreaths around the figures of Carlo Maratti. o. Obregon, Pedro de, born at Madrid (1597-1659). A good painter of history, whose works still remain in some churches and convents of Madrid, and also in the private collections of the same city. Ochtervclt, J. Flourished about 1670. His pictures represent familiar subjects and are very excellent, though not equal to those of Metsu, whom he resembles in manner. His works are somewhat rare. His color and lighting recall the manner of Peter de Hoogh. Two of his best pictures are in the Hague and Aremberg galleries. Oggione or Uggione, Marco d' (about 1470-1530). A scholar of Leonardo da Vinci. Some of his works are preserved in the Brera, but he is especially worthy of notice for having made copies ofthe "Last Supper " of his master. One of these in oil, the size of the original, is in the Acad, of London ; another is in the Convent of Castellazzo, near Milan. These were painted from the original for people acquainted with it, and by a pupil of its author; it would seem that they should be entitled to much consideration, making allowance, of course, for the different capabilities of the master and pupil. Ohmacht, Landolin, born at Dunningen in Wurtemberg (1760- 1834). A celebrated sculptor. After his early studies under Melchior, and a residence of two years in Rome, he settled in Stras burg. He executed many important monumental works, some of which are in the cathedrals of Lubeck, Spcycr, and Strasburg. The sculptor David is said to have called Ohmacht "the Correggio of sculpture." He was an intimate friend of Klopstock, of whom he made several busts. He executed some classical subjects. Bis " Judgment of Paris " is at Nymphenburg. Oliver, Isaac (1556-1617). This English miniaturist was sec- OLIVER — ORCAGNA. 431 ond only to Cooper in his department of art. His finish of details, such as lace, jewels, etc., was wonderful. He sometimes copied the pictures of other artists, such as Correggio and Titian. He painted a few small portraits in oil, and very rarely designed historical sub jects. His works are much esteemed by curious collectors. His son Peter (1601-1660) was instructed by Ms father, and painted in the same manner. His works are fine, and sometimes equal, but never surpass those of his father. Ommeganck, Balthasar Paul, born at Antwerp (1755-1826). Pupil of Antonissen. An admirable painter of landscapes and animals, especially sheep and goats. IBs works were much sought during his life, and are since increased in value. Plis color is not as warm as we could wish, but he depicts nature with great truthful ness, and it is often easy to tell the season of year, and even the hour of day which he represents in his works, from the manner in which he reproduces the smallest characteristics of the scene he paints. Many of his works are in private galleries, but they are also seen in the Louvre, Brussels and Cassel galleries, the Chateau of Wilhelmshbhe, etc. Omodeo or Amadeo, Gio. Antonio (1447-1520). One of the best of the Lombard sculptors. His works m the Capella Colleoni, at Bergamo, rank with the most splendid sculptures of Upper Italy; his other important labors were done at the Certosa of Pavia. Oost, Jacob van, the Elder, born at Bruges (1600-1674). An excellent Mstorical and portrait painter. He acquired in Italy sometMng of the manner of Annibale Carracci, but in color and realism he remained always true to Ms nationality. Many of his works are in the churches of Bruges. The number of his altar-pieces was very large. He did not crowd his figures ; he introduced archi tectural backgrounds with good effect, and gave fine expression to his heads. His son, Jacob van, the Younger (1637-1713), estab lished Mmself in Lille, and painted in the same good style as his father. His portraits were very fine and have even been compared to those of Vandyck. Oosterwyck, Maria van, born at Nootdorp near Delft (1630- 1693). This celebrated flower painter was instructed by John David de Heem. She was famous in her lifetime, and princes and sovereigns sent to her for her pictures. She grouped her flowers and fruit with grace; her color was admirable, and her finish delicate and excellent. Her works are rare and much esteemed. Orbetto, L. See Turchi. Orcagna, Andrea, real name Andrea Arcagnuolo di Cione. Ar- cagnuolo, meaning Archangel, has been corrupted into Orcagna. Born at Florence (1329-1376?). Son of Maestro Cione, a gold smith. Orcagna was an architect, goldsmith, sculptor, painter, mo- saist, and poet. He first studied his father's craft, was next instructed 432 ORCAGNA. in painting, by Ms brother Bernardo, and then entered the studio of Andrea Pisano. He painted, with his brother, the Life of the Ma donna in S. Maria Novella (now repainted) ; the great frescoes of " Hell and Paradise," in the Strozzi chapel of the same church; frescoes in the Servi (now destroyed); the facade of S. Apollinare; the " Coronation of the Virgin," now in the National Gall.; and then, as has always been said, the great frescoes of the " Triumph of Death " and the " Last Judgment," in the Campo Santo of Pisa. Signor Cavalcaselle doubts the truth of these being the work of Orcagna; but if this author is right, enough remains to show that he was the greatest painter who had succeeded Giotto. He united the dramatic force of composition of the Florentine, with the tender ness of color of the Sienese school. He practised a kind of fore shortening. His perspective could 'not be tested by scientific rules, ORCAGNA — ORLEANS. 433 but it was all that could be done without them. He attained to more relief and roundness of form than Giotto had done; his color was well fused, transparent, and soft, while yet brilliant, and his atmos pheric effects were advanced for his time. All tliis fully entitles him to the fame of having been a great representative of progress in painting. As an architect, he was summoned from Orvieto (where lie was employed), to change the loggia which Arnolfo del Cambio had built into a church, and to erect a tabernacle in it for the shrine of the famous Virgin, which Ugolino da Siena had painted upon one of the pilasters of the loggia. The commission was given him by tho brotherhood of Or San Michele. This tabernacle is a wonderful ex pression of the spirit of mediaeval art. Perkins thus speaks of it : " Built of white marble ip the Gothic style, enriched with every kind of ornament, and storied with bas-reliefs, illustrative ofthe Madonna's history from her birth to her death, it rises in stately beauty towards the roof of the church, and whether considered from an architectural, sculptural, or symbolic point of view, must excite the warmest admi ration in all who can appreciate the perfect unity of conception through wMch its bas-reliefs, statuettes, busts, intaglios, mosaics, and incrustations of pietre dure, gilded glass, and enamels are welded into a unique 'ensemble.' " His next great work was the "Loggia de' Lanzi," which was constructed for a place of public assembly and discussion in rainy weather. It was named from its nearness to the guard-house ofthe German Landsknechts or Lanzi. This was probably unfinished at the time of his death. His brother Bernardo succeeded him as architect of the Commune. Orcagna was employed as a mo- saist in the Cath of Orvieto. He was an admirer of Dante, and made sonnets, called clever by the judges of Ms time. Viewed in any light, he stands forth honorably; as a great genius, a noble artist, a man of profound thought, and in his life, according to Vasari, " pleasant, courteous, and amiable." Orizonte. See Bloemen. Orleans, Marie, Princess of, born at Palermo (1813-1839). Daughter of Louis Philippe, and wife of Duke Alexander of Wiir- temberg. She had great artistic talents, and, though she died so young, left works behind her which insure her unending fame. At Versailles is her celebrated statue of Joan of Arc, in which she has represented the maiden warrior as having, for the first time, killed a man with her battle-axe; she is moved with contending and powerful emotions; she believes that God has strengthened her arm, and will help her to deliver France, and tMs imparts a noble pride to her fea tures; at the same time, the young maiden trembles, and gazes upon blood and death with consternation. It is full of spirit and anima tion. She modelled a dying Bayard, which was never executed in large size. A beautiful angel in white marble adorns the sarcopha gus of her brother, in the chapel of Sablonville, and seems like a work 28 434 ORLEANS — OSTADE. of inspiration. She also made some designs for glass painting. In a chapel at Fontainebleau, there is a glass painting of S. Amalia, the patroness of her mother, made from her design, and much admhed by connoisseurs. She was as beautiful in her life, as in her art. "When she proceeded to Wurtemberg, she. was received with great enthusiasm. Then she suffered misfortune; theh castle was burned; her health failed, and she went to Pisa, in hopes of restoration; here, a few days before her death, she asked for more light in her apart ment, and spent an hour in drawing. Orley, Bernhard van, born at Brussels (1471-1541). When quite young, tMs painter entered the school of Raphael, at Rome. After Ms return, he was court painter to Margaret of Austria and her successor, Mary of Hungary. He painted a large number of altar- pieces, and was also much employed with cartoons for tapestry for the court. Although he adopted much of the Italian manner, his execution is always careful, and Ms color cool in tone. His pictures are seen in the Mus. of Brussels; ch. of Our Lady, at Lubeck; Vienna Gall.; chapel " des Orphelins," at Antwerp; Liverpool In stitution, etc. The shrine with double wmgs, at Liibeck, is Ms most considerable work; it represents the "Annunciation;" the "Latin Fathers; " the " Sibyl showing the Vision to the Emperor Augus tus; " the "Vision of the Apocalypse to S. John;" and the " Trinity." In many respects, this is an excellent work. The Gall. of the King of Holland has several pictures by Van Orley. Orrente, Pedro, born at Montealegre, Murcia (1560-1644). He visited Italy, and upon Ms return became a favorite of the Duke of Olivarez. He was employed at Bueno Retiro, and Ms works are now seen in all large Spanish cities. They are also in the Royal Gall. Ortolano, L\ See Benvenuto. Os, Jan van, born at Middelharnis (1744-1808). A distinguished painter of fruit and flowers. His works are in great request, and rank next those of Van Huysum. They are rare in public galleries. His son, George Jacob Jan van Os, also excelled in the same style of painting as his father's; but another son, Pieter Gerhard (1776- 1839), became a distinguished animal painter. He imitated Paul Potter and Karel Du Jardin. His works are in the choicest collec tions, and Ms etchings from Ms own desio-ns and those of other artists are much esteemed. Osorio, Francesco Meneses, born at Seville. Flourished about 1 725. A pupil of Murillo, whose works he copied perfectly, excelling particularly in those of children. After the death of Ms master he partly finished the " S. Catherine " upon which Murillo was engaged when he died. The works of Osorio are in the ch. of S. Martin at Seville, the Hospital of Cadiz, and other public places. a j/~\ mr Ostade, Adrian van, born at Lubeck (1610- JT\\J J\r 1685*' °"e °f the m0St exeellent among the Dutch genre painters, for though born at Lubeck OSTADE — OVEBBECK. 435 he went when young to Haerlem, was a pupil of Frank Hals, and settled at last in Amsterdam. His color resembles that of Rembrandt, and Ms chiaro-scuro also recalls that master. He had little eye for beauty of form, or grace of motion ; his' children are rarely pretty, and Ms subjects are never more elevated than the scenes of common peasant life. But of these he chooses the best; his works illustrate contentment and humble happiness, rather than drunken brawls and disgusting orgies. Kugler well says that his pictures ' ' afford a striking proof that works of art, in spite of great deficiencies, may yet, if only possessing excellences of one class, offer high attraction to the cultivated eye; the excellences of Ostade consisting, namely, in genuine feeling for nature, picturesqueness of arrangement, harmony of color and chiaro-scuro, and extraordinary technical mastery." Smith mentions about 385 of Ms works. Many of the best are in England, but they are seen in all large European galleries. It is wonderful how their value has increased; for instance, one sold in 1802 for £340 brought £1386 in 1844. He also made numerous drawings in semi-opaque color, which are now very valuable, and about fifty-four etchings from his own designs, which are esteemed highly. He married the daughter of Van Goyen, and had a large family; he left Haerlem intending to return to Liibeck, where he hoped better to support his household, but his pictures were so much appreciated in Amsterdam that about 1662 he settled there for life, made the neighboring villages the scenes of his study, and gave him self quietly to the work of picturing ' ' the short and simple annals of the poor." Ostade, Isaac van, born at Lubeck (1617?-1671 ?). Brother and pupil of Adrian. He adopted a little different class of subjects, and represented travellers halting at inns, village scenes with animated figures, etc. He attempted in many ways to imitate Adrian, espe cially in the vines hanging from porches and other portions of cottages. Adrian excelled especially in this feature of his works, and Isaac im itated Mm well. He was earliest appreciated in England, and his works are somewhat rare in Continental galleries, where pictures of a much poorer master are sometimes called by his name. His pic tures are also of value, and are eagerly sought by collectors. His best works were executed from 1644 to 1650. Oudenarde. See Audenarde. Oudry, Jean Baptiste, born at Paris (1686-1755). He espe cially excelled in painting hunting pieces and animals, and many of Ms works are seen in the royal palaces of France. Overbeck, Frederich, born at Lubeck (1789-1869). In 1810 he fixed his residence in Rome, where He died. He endeavored to teach and practise upon the principle that art exists not alone for beauty, but should be consecrated to the service of religion. He attempted to reestablish the ascetic art of past centuries, and gathered about 436 OVERBECK — PACCHIAROTTI. him in Rome other artists who were fascinated with his doctrine. The "History of Joseph" in La Salle Bartoldi, and "Jerusalem Delivered " at the Villa Massimi, are grand frescoes executed under his direction. Among his oil paintings are the " Entrance of Christ into. Jerusalem," ch. of Notre- Dame at Lubeck; " Christ on the Mount of Olives," at Hamburg; the "Marriage of the Virgin; " va rious Holy Families; the " Influence of Art upon Religion," etc. Ovens, Jurian, born at Amsterdam (about 1620-1675?). Pupil of Rembrandt. He excelled in portraits and the representation of night scenes. The" Conspiracy of Claudius Civilis," in the Town Hall of Amsterdam, is a chef-d'azuvre. In the Huyssittenhuys at Amsterdam there is a picture of seven Regents sitting round a table, wMch is excellent for its aMmation and powerful treatment. Pacchia, Girolamo del, born at Siena (1477-1535 ?). Son of a Hungarian who made himself famous as a founder of cannon. Noth ing is known of the teachers of Del Pacchia. In 1500 he was in Rome, and from 1508 to 1511 he painted pictures which are known only by the accounts of them. The earliest of his remaining works r.re in the churches of S. Christoforo and S. Spirito at Siena. These are in advance ofthe Sienese pictures of Ms time in drawinc and ex pression, and the color is excellent. He was in Siena in 1515, but r.o works of that year remain. In 1518 he competed with Bazzi and Beccafumi for the frescoes for S. Bernardino. In these he appears to have adopted some of the traits of Pinturicchio, but is still original. In 1533 he became entangled with the dangerous Bardotti club, and two years later disappeared from Siena, and notMng more is known of him. Many of the pictures which have been ascribed to Pacchi- r.rotti doubtless belong ,to Del Pacchia, who was the superior artist. Of these may be mentioned a " Holy Family " in the Siena Acad., a " S. Bernard " in the Pinakothek of Munich, and a "Madonna " in the National Gall. Pacchiarotti, Jacopo, born at Siena (1474-1540). This artist led a troubled life. Ho was involved in a political conspiracy, and is said to have fled to France in 1535. He had returned to Siena in 1539, when he was banished and declared an outlaw by the govern ment; through the influence of his wife he was restored to his family in 1540, after which time notMng positive is known concerning Mm. Vasari did not mention Pacchiarotti, and although he executed some great works, he has been comparatively neglected by posterity. He was not equal to Perugino in color, but in other respects he surpassed him, and there is no proof of his having studied under that master, as has sometimes been stated. His best remaining works are in the churches and the Acad, of Siena. In the ch. of S. Catherine there PACCHIAROTTI — PAJOU. 437 is a representation of that saint visiting tho body of S. Agnc, wliich is full of tenderness, grace, and beauty. Facheco, Francesco, born at Seville (1571-1654). More cele brated as a writer upon art and as the teacher of Alonso Cano and Velasquez, than for his own pictures. He studied only at Seville, and did not visit Madrid or see the works of any great masters until 1611. He then returned to his native city and established a school where younger men than himself could have a thorough and system atic education in art. We are led to believe that he improved much himself, from his own and other descriptions of his picture of the "Last Judgment," but the work no longer exists. Pacheco suc ceeded best in small portraits, and among the famous men who sat to him was the author of " Don Quixote," Miguel De Cervantes Saavedra. Pacheco was the first to properly paint and gild statues and relievi, and some specimens of his work of this sort still remain in Seville. His treatise on the art of painting obtained him much reputation in Spain. In the Gall, of the Queen of Spain there is a picture of S. Inez by Pacheco. Fadouanino. See Varotari. Paelinck, Joseph, born at Oostacker near Ghent (1781-1839). An historical painter whoso works entitle him to eminence among modern Belgian artists. He spent several years in Paris and Rome, and while in the latter city painted his chef-d'ozuvre, representing the " Invention of the Cross," now in the ch. of S. Michel in Ghent. Other works of Ms are in Antwerp, Malines, Oudenarde, and other cities of Belgium. His religious subjects are Ms best works, because more free from academic affectation than his mythological and other pictures. Paggi or Pagi, Gio. Battista, born at Genoa (1554-1627 ?). Pupil of Luca Cambiaso. He killed an antagomst in a quarrel, and fled to Florence, where he lived twenty years and was much patronized by the court. In 1600 he was invited to return to Genoa, and was con stantly employed, both for public and private collections, until Ms death. His works are seen in Florence, Pavia, and Genoa. Pajou, Augustin, born at Paris (1730-1809). At the age of eighteen this sculptor gained the grand prize at Paris, and went by means of the King's pension to Rome. He remained there twelve years, and after his return to France became famous and was much employed. He executed the sculptures for the facade of the Palais Boyal, and the figures of Prudence and Liberality, Mars and Apollo, for the garden ofthe same Pal. ; the sculptures for tho opera house at Versailles; a Psyche Abandoned in the Luxembourg; statues of Descartes and Bossuet; the ornaments of the Cath. of Orleans, and many other works. He gained admittance to the French Acad, by Ms group of " Pluto holding Cerberus in Chains," and was made pro fessor of sculpture in that institution. During the time of Napoleon 438 PAJOU — PALAMEDES. he was a member of the Institute. His style was masterly and at the same time natural, not exaggerated. He surpassed the French sculp. tors who preceded Mm. COEONATION OF THE VIRGIN. SUPPOSED TO HAVE BEEN EXECUTED ABOUT 1360. From the Imhoff Altar-piece, at Nuremberg. Palamedes. Real name Anton G. Stevens, called also Staevaerts or Stevers; born at Delft (1604-1680). Ho painted interiors which are highly finished and warm in color. His pictures are rare in pub lic galleries. The only ones of which I know are in the Berlin Mus., Frankfort Gall., and Brussels Mus. He was fond of representing fashionable people, and pencilled his figures with great precision. His brother, whose name was Palamedes Staevaerts or Stevers, was a painter of small battle pieces, and not equal to Anton, though re- PALAMEDES — PALISSY. 439 semhling Mm in color and drawing. The Duke of Northumberland has a collection of his works at Sion House. Palissy, Bernard de, born near Agen (1510 ?-1589). This cele brated man was a potter, glass painter, chemist, author, and scientific discoverer. He was first, as he says, employed in " portraiture and vitrification." He was a fine geometrician, and occasionally surveyed and made maps. He saw, when still young, some beautiful Italian pottery, and spent sixteen years in ascertaining the method of enamel painting, the making of colors, etc. He endured privation and nu merous disappointments, and spent all he could get, so that he and his family were in deep poverty. When at length he succeeded he soon rose to such fame as to be much employed by the Constable de Mont morency, to have rooms allotted to him in the Tuileries, and to be called " maker of the King's rustic potteries." His garden vases and out-of-door ornaments were very fashionable, and Ms small works, such as salvers, ewers, jugs, etc., were eagerly sought for. He was a Huguenot, and was imprisoned in Bordeaux in the time of Henri II., when he was set free at the entreaty of the great Constable and various nobles. In the time of the S. Bartholomew massacre he was saved by Catherine de' Medici, but he was at last thrown into the Bastille, where he died. His scientific discoveries were very impor tant, and he anticipated the results of modern discoveries. He gave the theory of artesian wells and stratifications, and a method of tak ing soundings. He lectured on his discoveries in 1575, and invited criticism and objections to them. Many scientists accepted his chal lenge. It has been said that Palissy " was to chemistry what Lord Bacon was to pMlosophy." The following account of the medallion which adorned the front of Ms house is interesting: "The house where Bernard de Palissy lived for so many years is situated No. 24 Rue Dragon, but in fact the famous enameller never lived in this house, wMch was built during the last years of the reign of Louis XV., but in the house formerly occupying the site, which was demol ished toward the end of the reign of Henri IH., shortly after the death of Palissy. The present building is a very common structure, and has for many years been occupied as a lodging-house. Nothing is remarkable beyond the wooden staircase, which certainly belonged to the former house. Upon the front, one reads this inscription in rude letters, ' Ancienne demeure de Bernard de Palissy.' Under neath was imbedded the medallion in question, a marvellous work of art in terra cotta, enamelled and varnished, of wMch the subject was Hercules with the Nemean lion, with tMs legend : ' Pauvrete em- peche souvent les bons esprits de reussir.' This last inscription was visible until about 1820, when the front was painted and it disap peared. No one has since thought of restoring it. The medallion alone was carefully respected, having been there since the rebMlding of the house, that is to say, more than a hundred years. Lately a 440 PALISSY — PALMA. curiosity-dealer looked upon it with curious eyes. This dealer, who is a connoisseur in objects of this kind, saw the owner of the house, and after some bargaining carried away the medallion, leaving in ex change the sum of 2500 francs. The space left upon the front by the absence of this enamel, was quickly filled by a plaster bust worth fifteen francs, and supposed to represent the celebrated potter. Ap pearances were kept up, and the ghost of Palissy has notMng to say. The medallion has already changed hands, and the present owner asks 15,000 francs. Fifteen thousand francs! The artist, durino- his life, had trouble to sell the same for five or six francs." Palma, Giacomo, called " II Vecchio." Born at Se tt/"")) rma» near Bergamo (about 1480-1528). He was Berga- mesque by birth and name, but Venetian in Ms manner of painting. He was original, and if an imitator at all, it was of Gio. Bellini and Cima ; he did his part with Giorgione and Titian to regenerate Venetian art. He was not great, but in the compass in which he worked, he was a. fine designer, a good colorist, melo dious in tone, and skilful in the management of light and shade. He was fond of natural backgrounds/ and represented in them eter nal summer. His female figures are his best works, and are not ex celled in soft, richly blended tones, elegant bearing, and tasteful dress. We have no account of his having studied with any great master, or of his being employed by the state ; but he was much pat ronized by the families of noble Venetians of Cornaro and Friuli, and dwelt much in their palaces. At the time of his death, he had no family but nephews and a niece, and was a member of the brother hood of S. Spirito, in whose vaults, at S. Gregorio, at Venice, he desired to be buried. His pictures are numerous, and yet he left forty-four unfinished when he died. There are no large galleries in which they are not seen, and space for a general description of them cannot be given here ; his altar-piece at S. Maria Formosa in Venice is in his best manner, and is generally called his master piece. The centre figure of S. Barbara can scarcely be too highly praised, and many of the surrounding figures are wonderfully excel lent. This is especially true of the figure of the Virgin (in the pin nacle), bending over the dead Christ. This whole work displays his happy power of combining a bold touch with vigorous tint, and yet attaining to harmony and finished blending. The " Three Graces " at Dresden, said to represent his daughters, is too well known to .re quire mention. It is said that Violante was Ms favorite, and the model for the celebrated S. Barbara ; but there is a marked simi larity in all his female figures. Vienna is rich in such as may be called portraits ; there are also two beautiful ones at the Barberini and Seiarra palaces in Rome. Besides the large number of pictures assigned to Palma with good reason, there are many in European churches and galleries, catalogued as his, which are of doubtful origin. PALMA — PALMEZZANO. 441 Palma, Giacomo, called " Giovine " (1544-1628). This painter was mechanical in manner, but had some fine points. There are many worksof his in the Acad, and churches of Venice, and some of the best are in the Pal. of the Doge. He loved to represent nude, or hah nude mythological figures in the midst of pleasing landscapes. Bartsch describes twenty-seven etchings by this master. Palmaroli, Pietro. The picture restorer who, in 1811, transferred the celebrated " Descent from the Cross," by Daniele da Volterra, from the wall to canvas. He also transferred and restored many other pictures, a list of which is given by Nagler. Palmezzano, Marco, born at Forli (1456 7-1537?). A disciple of Melozzo of Forli. His pictures may be called geometrical. He illustrated the system which came to perfection under Correggio, the Carracci, and other barocchi. His drawing was correct and sculptural ; 442 PALMEZZANO — PAPA. there is no flow of drapery, no atmosphere,' no feeling for color. In ornamentation, such as tracery of steins and leaves on pilasters, ficr- ures supporting vases, etc., he was skilful and tasteful, but generally speaking, his pictures are lifeless and angular, with little charm of color. Many of his works are seen in European galleries. Forli is especially rich in Ms pictures, and among the most important of his labors are the frescoes in S. Girolamo, Forli, and the altar-piece in Orfanotrofio delle Michellinc at Faenza. All his works have been ' attributed to his master, but it is now proved that great mistakes have been made in this way, Palomino. See Velasco. Panetti, Domenico, born at Ferrara (1460-1511 ?) His pictures are precise and rigid. Garofalo was his pupil, but after he visited Rome, Panetti studied his works with attention, and much improved Ms manner. The " Maries weeping over the Dead CMist," in the Berlin Mus , is the only work of his in any European Gall., of wMch I know. Panicale, Masolino da, born at Florence (1403-1440). TMs • painter is well known by his frescoes in the Carmine, and is reputed to have been the teacher of the great Masaccio. Masolino was a pu pil of Ghiberti and Stamina. His own fame seems to have been lost in that of Masaccio, although his frescoes referred to above have been attributed to the more distinguished pupil, which proves a great resemblance of general effect and execution. Other works by Maso lino have been brought to light in the college ch. of Castiglione d'OIona, near Milan. Pannels, 'Willem, born at Antwerp about 1600. A painter and engraver, who is best known by his clever etchings, wMch are prin cipally after Rubens, and his own designs. His drawing is often in correct, but he had much vigor and spirit in execution. Pannini, Gio. Paolo, born at Piacenza (1691-1 764). An eminent painter of architectural subjects. His perspective was fine, and his works characterized by correctness and precision. He also introduced figures into his compositions. As a colorist, he cannot be especially commended. His works are numerous in the private collections of England, and are also seen in some palaces at Rome. They have been engraved by a number of excellent engravers, such as Lem- pereur, Le Bas, Bartolozzi, and others. Pantoja, Juan de la Cruz, born at Madrid (1551-1610). This artist may be called the portrait painter of kings, for he was much employed by Philip [I. and III. in painting numerous pictures of themselves and their families. Many of these are still seen in the galleries of Spain. Papa, Simone, il Vecchio, born at Naples (1430?-1488). Said to have been a pupil of II Zingaro. Worthy of notice on account of Ms imitation of the style of the Van Eycks. S. Michael, with PAPA — PARROCEL. 443 other saints and the donors of the picture, is perhaps his best work; it is in the Museo Borbonico. Papa, Simone. il Giovine, born at Naples (1506-1569). Notice able for the simplicity of his style among the Neapolitan mannerists of his day. His best works are in the ch. of Monte Oliveto at Naples. Pape, Adrien de. TMs artist is almost unknown, but his two pictures in the Hague and Berlin museums prove him to have been one of the best genre painters of his time. He has been called a scholar of Gerard Dow. Fapias. A sculptor of Cyprus who, together with Aristeas, made the two statues of centaurs in the Capitoline Mus. They are of dark gray marble, and were found in the villa of Hadrian at Tivoli in 1746. They are supposed to be of the time of Hadrian, and as better statues than these have been found representing the same subject, it may be that the}' are not original works,- but copies. They are inscribed, APICTEAC KAI nAniAC A*POAICIEIC, and are of a good style of execution. Papillon. The name of a family of wood-engravers who flour ished from 1680 to 1775. The younger, Jean Baptiste Michel, was the more important. He attempted a revival of wood-engraving and wrote a history of that art, but it is comparatively worthless since the publication of better books on the same subject. Farcellis, Jan, born at Leyden (about 1597-1641). A mediocre painter of marine views. Farcellis, Julius, born at Leyderdorf, 1628. Pupil of the fore going but a much better artist ; indeed, Ms pictures are sometimes compared favorably with those of Willem van der Velde. His works are rare; there is one in the Berlin Gall. Both father and son signed their pictures with the initials, J. P. Pareja, Juan de, born in Spanish America (1610-1670). The slave and color-grinder of Velasquez, he became secretly an artist, and on one occasion, when King Philip visited the studio of his master, he displayed a picture he had painted, and threw himself at . the feet of his Majesty, begging pardon for his audacity. Both the King and Velasquez treated him most kindly, and it is said that he served his master until his death, although he was emancipated from slavery. He succeeded best in portraits. His works are not numerous; the most important are the " Calling of S. Matthew," in the Royal Gall, of Spain ; the portrait of a Provincial of a religious order, in the Imperial Gall, of Russia; and a few others, at Madrid and Toledo.. A portrait of Pareja painted by Velasquez was in the Gall, of Lord Radnor. Parrocel, Joseph. The most important member of a family of painters and engravers who flourished in France from 1670 to about 1 750. There are two battle scenes by Joseph Parrocel in the old Coll. of the Louvre. Charles, Ignatius, Pierre, and Stephen were of the same family, but all mediocre artists. 444 PASS — PASSEROTTI. m -rj Pass or Passe, Crispin de, the _ (&J- \ v / / ®der. -This eminent engraver was \[/ N'T /t *^e head of a family of artists, for he tf had three sons and a daughter who received theh instruction from Mm and practised the art of engrav ing. The father and the son William were the most skilful artists, and their prints are much esteemed. The accounts of the life of the father are very unsatisfactory. The only thing upon which all a°ree is that he was instructed by Coornhaert. He went to England, but it is rot known at what time. William resided in that country the greater part of his life. The portraits of these engravers are their most valuable prints. Crispin (the Younger), Simon and Magdalene are the names of those not yet mentioned. Crispin ' left very few plates; those of the others are reputable, but not equal to the works of the father and the elder brother. Passeri, Giambattista, born at Rome (1610-1679). He was a fond lover of DomenicMno, with whom he lived at Frascati. He also painted the portrait of the great master (now in the Uffizi), and pronounced his funeral oration. Passeri was more a genre than an Mstorical painter. He was president of the Acad, of S. Luke at Rome, and wrote upon art with great correctness. His chief work was called " Vite de Pittori, Scultori, e Architetti, che hanno lavo- rato in Roma, e che son morti dal, 1641, al 1673." Passerotti, Bartolomeo, born at Bologna (1520-1595). Pupil of Jacopo Vignola, with whom he visited Rome. After his return to Bologna he established an Acad., and Agostino Carracci was one of the pupils there. He excelled most in portraits, and by some has been esteemed second only to Titian in this department of painting. He was much employed for the Bolognese churches, and in them his altar-pieces are still seen. He studied anatomy very thoroughly, and left materials for a treatise on that subject. He had four sons who were artists. We have an account of a remarkable picture painted by Passerotti for Gio. Battista Deti. It represented Homer on the seashore with a gypsy, a dog, and some shells, while a large number of sailors in a boat are propounding a riddle to the great Greek. Homer was painted with Passerotti's own features. There are now two portraits of Passerotti in Europe, one being in the Florence Gall. and the other in a family picture in the Dresden Gall. Not long since a third one was found in an auction room in Boston. It has this inscription : — Barto^o Passerotti feci ni sua mano sua el'tige, dicta d'ani 51 in Bologna. Donato da esso a Mesisu Gio. Batta. Deti, Adi 9, a.d. 1571. PASSEROTTI — PATRAS. 445 Which translated reads, " Bartolomeo Passerotti painted with his hand his likeness at the age of 51 years, in Bologna. Presented by him to Mr. Giovanni Battista Deti on the ninth day of the year 1571 ; " and if genuine (which I have not heard doubted), it is a dis covery of a real treasure. The inscription decides the time of his birth, which was not before known. So few of his portraits remain that it is difficult to do him justice, for we know not whether they are of Ms best style. The other works of his in Bologna have no espe cial merit, but the mannerists of his time were more excellent in por trait than in historical painting, for the reason that they were obliged to adhere to nature and lay aside their affectations in a good degree. It is seen by the inscription that this picture was painted for tho same Deti for whom the Homer was done, and was probably a gift made in gratitude for Ms patronage. Passerotti was also a good en graver, and left a number of etchings. Bartsch describes fifteen of these and mentions others, and does not claim to give a complete catalogue. He says these prints have been much esteemed and have become very rare; more than two are seldom found in any one Coll., however rich. Patavinus. See Avibus. Patel The name of two landscape painters who flourished in the latter part of the 17th century. They were father and son, and the former was the superior artist, although it is sometimes difficult to decide between them, as many of the pictures are not signed. The works of Patel are not uncommon in England, and are seen in the Louvre. The elder seems to have imitated Claude with good success. There are pictures of the " Four Seasons " in the Louvre, attributed to the son. Pater, Jean Baptiste Joseph, born at Valenciennes (1696-1736). The works of this painter are too rare to be very well known. He chose the same class of subjects as Watteau, namely, fdtes champe- tres and other merry scenes. His figures are especially pretty, and many of his heads are so nicely finished that they may bo called fine miniatures. His landscapes are well arranged, but their color is not always pleasing; still the whole effect of Ms pictures is extremely satisfactory. Patinier, Joachim, born at Dinant (1490-1545). This painter may be called the founder of the landscape painting of the Nether lands. He first made the representation of nature the principal part, and figures the accessories of his works. His earlier pictures are very defective in perspective, overloaded with details, and altogether unsatisfactory; his later ones are more truthful, and have a better feeling for effect. He was a man of dissolute habits and low tastes, and yet Albert Diirer was very fond of him and painted his portrait. His pictures are in the Antwerp, Brussels, and Vienna galleries. Patras, Lambert. A bronze caster of Dinant who flourished 446 PATR AS— PEALE. about 1112. The font at Liege from which the illustratio'i is taken is a very important work of its kind. The bronze workers of Dinant were so skilful that in adjacent provinces all workmen in that art were known as Dinandiers. Pauditz, Christopher. A native of Lower Saxony. Died 1666. He was an imitator and perhaps a pupil of Rembrandt. He was much patronized by Albreeht Sigismund, Duke of Bavaria, and Bishop of Freising. " Christ driving the Money-changers from the Temple " in the Cath. of Freising is the most important work by Pauditz. In the GaU. of Munich are two pictures of a" Wolf de stroying a Lamb," one of which was painted by this artist in compe tition with an artist of Nurnberg. Neither one of them is excellent; that of Pauditz is the better of the two, but the judges did not so de- i o"5e^- BAPTISTA BELIEF ON A BAPTISMAL BASIN. BY LAMBERT PATKAS, AFTER A. D. 1112. Ill S. Barthelemy, Liege. cide, and it is said that he died in consequence of his disappointment and mortification. Pautre, Jean le, born at Paris (1617-1682). This engraver left an immense number of plates, probably 1500. They represent arcM- tectural designs, ornaments, altars, tombs, fountains, etc., and are executed with extraordinary facility. Peale, Charles Wilson, born in Chesterton, Maryland (1741- 1826). The life of this painter was quite remarkable, and full of interesting experiences. He possessed an unusual mechanical genius, and could work in leather, wood, or metal. The museum which he established in Philadelphia illustrated his enterprise and his desire to do good to all. But his decided taste was artistic, and he made pic tures which proved his talent, before he received any instruction. He PEALE — PENCZ. 447 studied under a German in Philadelphia, and with Copley in Boston. He then went to London and was instructed by West. During tho Revolution he commanded a corps of volunteers, but at odd times in camp he painted portraits, and that of Washington as a Colonel of Vhginia troops is the first authentic likeness of that great man, and was executed in 1772. This picture is well known from the numer ous copies and engravings of it. He painted fourteen different pic tures of Washington, the last one in 1783. For some time he was the only well-known portrait painter of America, and sitters came to Mm from all parts of the country, Canada, and the West Indies. He was versatile in Ms talents, and " sawed his own ivory for Ms minia tures, moulded the glasses, and made the shagreen cases." His sen Rembrandt says of Mm, " His likenesses were strong, but never fla-i- tered; Ms execution spirited and natural." His last work was a full- length portrait of himself at the age of eighty-three years. His most interesting works are in Independence Hall, Philadelphia, and number 117 in all. Otlier valuable works of his are in the Acad, cf Philadelphia; in the Coll. of Joseph Harrison of that city, and in the Gall, of the New York Historical Society. Peale, Rembrandt, born in Bucks County, Pennsylvania (1787- 1860). While young ho was associated with his father, then studied with West in London, and spent a long time in Paris engaged in making portraits of eminent persons for his father's museum. He painted two historical subjects which were exhibited, " The Roman Daughter" and the " Court of Death," but devoted himself to por trait painting. When but eighteen, Washington paid hiin the com pliment to sit to Mm, wliich so overcame him that he was forced to seek the assistance of the presence of his father. Later in life he made a portrait of Washington which is considered by many the best one ever painted, and of which Chief Justice Marshall said, " It is more Washington himself than any portrait I have ever seen." For a long time he was the only artist who had seen Washington. He made this picture from Houdon's bust and his recollections of his great subject. There have been many copies of it by himself and others. Some of Ms works are in the Philadelpliia Acad, and the Gall, of the New York Historical Society. Pellegrini, Gio. Antonio (1675-1741). His father was a glover of Padua who lived in Venice. The artist is claimed by both cities. He was distinguished in France for frescoes executed in a hall of the Hotel de Mazarin (now the Library). His principal work is in San Mose at VeMce. s-\ Pencz, George, born at Nuremberg (1500-1550). \T) T) One of the best scholars of Albert Diirer; indeed, in I QJ- engraving he is first among them. He went to Italy, where, in the study of the works of Raphael, he modi fied Ms manner, but still remained original and Netherlandish. His 448 PENCZ — PENNI. historical works are very rare; there is a " S. Jerome " in the Chapel of S. Maurice, at Nuremberg, which is an excellent picture; a " Venus and Cupid," in the Munich Gall., is graceful and pleasing. His por traits are more numerous, and some of them are masterly. Among the best are three in the Berlin Mus. , one in the Landauer Briidcr- haus at Nuremberg, and that of Erasmus of Rotterdam at Windsor Castle. He studied engraving under Marc Antonio, and closely attained to the excellence of that master, as may be seen in Ms plate of the " Taking of Carthage," after Giulio Romano, the only engrav ing he made after any composition not his own. His plates of por traits were very fine; a series illustrative of the story of Tobit are tender and beautiful, a German conception, treated with Italian grace. Bartsch describes 126 prints by Pencz, and Nagler adds three to the list. Pennacchi, Pietro Maria, born at Treviso (1464-1528). The earlier works of this painter are really remarkable for their German type, and some of them have been marked with the monogram of Diirer. He went to Venice, and his manner so changed that it is difficult to believe the later works of his life to be by the same hand. Most of Ms pictures are in Treviso and Venice. One of Ms early style is in the Berlin Mus., and represents the Saviour supported in the tomb by two angels. It is remarkable for its patient finish and its ugliness. Pennacchi, Girolamo di Pier" Maria (1497-1545). Son and pupil of the preceding, whom he surpassed. His pictures are principally in Treviso, Venice, and Bologna, in which last city he painted much for the churches. His works are rare in public galleries; the National Gall, and the Hermitage have pictures by him. After his early studies in Venice, he modified Ms manner by familiarity with works of Raphael and other painters, but he always remained essentially Venetian. He was a friend of Sansovino, Titian, and Aretino, and some particulars concerning him are con tained in letters of the latter. During his last stay in Venice, 1535- 1538, he painted many palaces; in 1542 he was appointed arcMtect to Henry VIII. of England, and made plans for a residence for that King. In 1544 he was made, an engineer, and commanded the works in the siege of Boulogne. He was throwing a portable bridge over one of the ditches before that place when he was killed by a cannon- ball. Penni, Gianfrancesco, born at Florence (1488-1528). A favorite pupil of Raphael's and one of the heirs to his estate; he also acted as his steward, and on tMs account was called II Fattore. He assisted Raphael in many important works, such as the Cartoons, the pictures in the Loggie of the Vatican, the story of Cupid and Psyche at the Farnesina, and others. He left very few original works, but he executed fine copies of the works of Ms master. With PENNI — PEREYRA. 449 Giulio Romano he was employed to finish the " History of Constan tine," commenced by Raphael. The " Baptism of Constantine" and the "Donation of Rome to Pope Sylvester" were by Penni. The Marquis del Vasto invited him to Naples, where he died from the effect of the climate. Penni, Luca. Brother of the preceding. He studied a short time under Raphael and then with Perino del Vaga. He went to Eng land in the reign of Henry VIII., and then to France, where he painted with 11 Rosso. After his return to Italy he applied Mmself to engraving, cMefly after B Rosso and Primaticcio. Penny, Edward, born at Knutsford in Cheshire (1714-1791). Pupil of Hudson and Benefiali. His best works were small portraits, which were much admired. He was one of the original members, and the first professor of painting in the Royal Acad. He read an annual course of lectures there until 1783, when he resigned on account of his health. Some of Ms historical subjects were en graved, and the print of the " Death of General Wolfe " had a large sale. Pepyn, Martin, born at Antwerp (1575-1647). He was but a second-rate artist, as may be seen by his works in the Antwerp Mus. Some of his heads, however, are elevated in expression, animated, and life-like. A female portrait in the Aremberg Gall, is one of his best pictures. Pereda, Antonio, born at Valladolid (1599-1669). Pupil of Pedro de las Cuevas, and a great historical painter in his day. His drawing was correct, Ms color Venetian, and he painted with a beau tiful impasto. There are now but few pictures wliich can be posi tively called Ms ; two in the Madrid Gall., one in the Esterhazy Coll. at Vienna, and three or four at Munich, are nearly all that can be named with assurance. It is said of Mm that having married a lady of rank, who insisted upon having her duena always with her, and not being able to afford such an appendage, he painted an old lady with spectacles, sitting and sewing; all visitors saluted her as they passed, and believed her too deaf or too discreet to notice their move ments. Perelle, Gabriel, born at Paris (1610-1675?). An eminent en graver. He was assisted by his sons, Adam and Nicholas. Perelle used both the point and graver, and executed with much taste. His best plates were landscapes. He composed in a pleasing manner, and made a variety in his pictures by the introduction of ruins and various accessories. Pereyra, Manuel (1614-1667). A Portuguese sculptor who set tled at Madrid, and became so distinguished as to be considered one of the most talented artists of Ms nation. His works were numerous. One of the best is a statue of Christ in the ch. of the Rosary at Madrid. He became blind, but continued to model, and it is said 29 450 PEREYRA — PERUGINO. that a statue of S. John, which was executed from Ms model, made without sight, was one of his finest works. Perugino, Pietro, born at Citta della Pieve (1446-1524). His father's name was Christoforo Vannucci, who was of respectable family, but had a number of children to provide for. The little Pietro was apprenticed to a master in Perugia before he was nine years old, and took his name from that city. He became the asso ciate of Piero della Francesca, and at length in Florence probably studied under Verrocchio together with Leonardo, whose friend he was. Perugino is considered the founder of that style of painting MADONNA. BY PERUGINO. In the Pitti Gaff., Florence. wMch Raphael perfected. He brought his figures out from the back ground, rounded them and threw them into bold relief by means of strong shadows. He did not huddle numerous figures together, as had been the custom in Florence, but produced well arranged and more complete groups. Considering his advance upon what had prectded him, it is scarcely possible to say too much in his praise; and yet his works leave so much to be desired. The truth is, that by nature he was rough ; by some he is accused of being intensely mercenary, of atheism, and the most unlovely traits ; but it is not necessary to be lieve all this in order to account for tho want wo feel in Ms pictures; it can all be explained in the fact that he did not conceive in Ms soul PERUGINO - PERUZZI. 451 the spiritual, or even the most tender view of Ms subjects. How then could he do more than he has done ? In technicalities he ex celled, and did much to make ready for that great master who, in the thirty-seven years he had to live, had no time to work up to the ex cellence which Perugino, as his teacher, was able to impart to him. The works of his middle life are the best, for in his later years Ms pictures are unceasing repetitions of the same subject, and have no charm of sufficient depth to awake the best and truest emotions of the heart. The Umbrians were all characterized by simplicity and devoutness in their pictures, and were noticeable beyond their con temporaries for theh brilliancy of color; in all these points, Peru gino maintained the reputation of his school. The wall painting in the Sistine chapel, representing the " Delivery of the Keys to S. Peter;" the Madonna and four saints in the Vatican Gall.; the " Descent from the Cross," in the Pitti Gall. ; the ' ' Adoration of the Magi," in S. Francesco del Monte at Perugia; and the " Virgin adoring the Child," in the National Gall., are among his best works, but there is no public collection of any importance in Europe without the pictures of Perugino, and many are in private galleries. Peruzzi, Baldassare, born at Siena (1481-1537) In 1501 he was employed to paint in the cathedral, which proves his early ability. In 1504 he went to Rome, where he eventually became a famous ar chitect and painter. His life was eventful and full of interest, and deserves to be studied at greater length than it is possible to give it here. Tho building of the Villa Farnesina for the Siena banker, CMgi, has perhaps done more than any other work of his to give Mm a great and lasting reputation. He was its architect, and also exe cuted many of its decorations. Time has so destroyed or defaced them, that now we can scarcely judge of theh merit, but the high praise they gained for him in Ms own art-favored time is well known to us. He was a man of great compass; an architect, mathematician, thorough master of perspective, a sculptor, and a painter. We can not say that he was classic, and yet he approaches being so, just as Etruscan art is related to that of Greece. He does not stand on a level with Leonardo, Miehael Angelo, and Raphael, but he presses hard upon them. He did much work in Rome; adorned the fronts of palaces, painted frescoes, etc., etc., but he can be best studied by us in S. Maria della Pace, where he labored about 1517. Here he painted numerous scenes from the Old Testament, and the Virgin with SS. Catherine and Brigitta. These show the hand of a great master, and in painting, he seemed to have reached his utmost height, for he never excelled them. In 1520 he succeeded Raphael as archi tect of S. Peter's. In the next year, he visited Bologna, where he made designs for various architectural works. During the sack of Rome, 1527, Peruzzi was seized, and plundered of all he possessed. At length he made Ms way to Siena, and was engaged by the gov- 452 PERUZZI — PHIDIAS. ernment at a salary of five scudi per month. While there, he was chiefly employed in revising old fortresses, or planning new ones. In 1535 he returned to Rome and devoted himself exclusively to arcM- tecture until his death, two years later. The few pictures he painted while in Siena only show his decline from the height he attained in S. Maria della Pace. His paintings are rare in galleries ; there are some attributed to him that are of doubtful origin. Peruzzi was the last great Sienese painter. He was buried near Raphael in the Ro tunda at Rome. Pesaro, or II Pesarese. See Cantarini. Fesello. There were two artists of this name. There are very conflicting accounts of the elder, concerning his name and time of birth. By some he is called Francesco, and by others Giuliano. Several authorities agree that he lived from 1380 to 1457. He painted animals mostly, and is said to have kept numbers of them in his house — even wild beasts — for the purpose of painting from nature. Francesco Pesello, called Pesellino, born at Florence (1426-1457), was a son of the preceding and a pupil of Fra Filippo Lippi. His works are very rare, but may be seen in the Florentine Acad., the Louvre, and the Liverpool Institution. There is also a gradino in the Casa Buonarotti, at Florence, representing stories in the fife of S. Niccolo. He had variety of invention, animation, and force, and a highly finished execution. Pesne, Jean, born at Rouen (1623-1700). An engraver who is more remarkable for the exactness with which he imitated the different masters after whom he engraved, than for any agreeable traits of his own. He left a large number of plates, many of them after the works of Niccolo Poussin. Peters, Bonaventura, born at Antwerp (1614-1653). A painter of marine views. His works have a poetic character, but are not always true to nature. They are very rare in galleries, although Vienna is an exception in this, and has five of Ms pictures. Peters, Jan, born at Antwerp (1625-1677). Brother of Bona ventura and a painter of similar subjects. Petitot, John, the Elder, born at Geneva (1607-1691). A cele brated enamel painter. Some of his miniature copies of the portraits of Vandyck were very beautiful. He was a favorite of Charles I. and Louis XIV. Many of his miniatures are in the Mus. at Paris. He requested permission of Louis to return to Switzerland, which was granted him, after an absence of thirty-six years or more. Bordier, a brother-in-law of Petitot's, was his assistant, but his fame is lost in that of Petitot, who may be called the inventor of enamel painting, as he first brought it to perfection. John Petitot, the Younger, was very inferior to Ms father, by whom he was instructed. Phidias, born at Athens about 500 n. c. Son of Charmides. He first turned his attention to painting, but afterwards to sculpture, PHLDIAS — PIGALLE. 453 and became the greatest artist (in this department) that the world has ever seen. He was a favorite with Pericles, and in the works which he had executed for the adornment of Athens Phidias found full scope for his powers. Many of his statues were chryselephantine, and the two most wonderful ones were the " Minerva " of the Par thenon, and the "Olympian Jupiter" at Elis. His adornment of the Parthenon was wonderful in beauty of design and execution, and if any work of his hand still remains, it must be seen in some of the statues and relievi which ornamented the exterior of this temple. These are wonderfully beautiful and truthful ; they display a perfect knowledge of anatomy, a skilful management of drapery, and a grand simplicity of style. They are also worthy of notice for the perfect management of relief shown in them, both of alto as seen in the metopes, and of basso in the frieze. The crowds of figures, both walking and riding, with animals for sacrifice, etc., etc., cannot be too much commended in theh arrangement. He was accused of various crimes by the enemies of Pericles, was imprisoned, and died, it is said, of poison. Phillips, Thomas, born at Dudley in Warwickshire (1770-1845). An eminent portrait painter. Some of the most noted men of his time sat to him, such as Lord Byron, Lord Brougham, Tom Moore, Southey, Coleridge, and many others. In 1824 he succeeded Fuseli as Professor of Painting in the Acad. , wMch office he held eight years. His portraits have been called " the Vandycks of England." Piazza. The name of a family of artists of Lodi who flourished from 1490 to 1556. Albertino and Martino were the elder ones, and never rose above mediocrity. Some of their works are still seen in Lodi. Calisto, son of Albertino, was the most excellent artist of his name. He was a pupil of Romanino of Brescia. Some of his earlier pictures are in this city, but his best works are in Lodi in the ch. "dell' Incoronata." They represent scenes in the life of S. John Baptist, and are characterized by great purity and depth of senti ment. Picart, Etienne, born at Paris (1631-1721). This engraver was called "the Roman." He has left a great number of plates. He was employed to engrave (together with other artists) the pictures in the King of France's Coll. His plates are not without grave faults. Pigalle, Jean Baptiste, born at Paris (1714-1785). TMs cele brated sculptor first established Ms reputation by his statue of Mercury, but his chef-d' ozuvre is the tomb of Marechal Moritz of Saxony, in the ch. of S. Thomas at Strasburg. The soldier is represented in his own costume, about to enter a tomb, on one side of which stands Death as a skeleton, and on the other side Hercules mourning. An impersonation of France endeavors to hold him back from the tomb, and a Genius attends with an inverted torch. There are also many emblems and military tropMes as accessories. This 454 PIGALLE — PINTURICCHIO. sculpture has been engraved several times. Pigalle was much em ployed by Mme. de Pompadour, of whom he made a statue. His finest work in Paris is the tomb of Comte d'Harcourt, in Notre Dame; Pilgrim, Hans TJlrich, or Hans Ulrica Vaechtlein. Known as " the Master of the crossed Staves," was a skilful engraver. The time of his birth is unknown. It is believed that he lived principally in Strasburg. In Germany he is considered the inventor of engrav ing en camaieu. Eleven of his plates are known, and are exact in de sign and well executed. Pilon, Germain, died 1590. A French sculptor whose works are seen at the Louvre, the ch of S. Denis, etc. Pineda, Bernardo Simon, is principally known as the architect ofthe Hospital of Charity at the time of its rebuilding. He employed the chisel of Roldan in sculptural decoration, and defrauded him in his division ofthe payments. Pineda was also much employed in the Cath. of Seville, when it was prepared for the reception of S. Ferdi nand. Pinelli, Bartolommeo, died 1835. An engraver who resided chiefly at Rome. His etchings of Roman history, Italian costumes, manners, etc., are numerous and well known. He also etched views in the neighborhood of Rome, with groups of banditti, to the number of 200. His drawings in chalk and water-colors are much esteemed anil are very spirited in execution. Pinturicchio, Bernardino, born at Perugia (1454-1513). He was often called Sordicchio, from his deafness and insignificant appear ance, but Pinturicchio was Ms usual name. He was a partner of Perugino. His earlier works no longer exist. He never perfected himself in the use of oil mediums, but was confined almost entirely to tempera. He went to Rome and probably labored with Perugino in the Sixtine chapel. He afterwards executed almost numberless fres coes in the churches and palaces of that city. He was first patronized by the Rovere, and then by the Piccolomini. For Alexander VI. he decorated the Apartamento Borgia in the Vatican ; five of these rooms still remain in their original state. His pictures in the Castle of S. Angelo have been completely destroyed. During his engagements in Rome he went twice to Orvieto for tho execution of commissions there. The amount of his labors was surprising, but is explained by his great facility of execution and the employment of many assistants. He was not original in his compositions ; he loved landscapes, but lie cumbered them with too much detail; his figures of virgins, infants, and angels have a certain coarseness ; he used too much gilt and ornamentation; Ms draperies were full, bnt often badly cast; his works are either too gaudy or very sombre, no pleasing medium seem ing to suggest itself to him; his flesh has the red outlines of the earliest tempera; and yet with all these faults he painted at a time when the great precepts of art were well known, and his works are PINTURICCHIO — PIOMBO. 455 good exponents of skilled labor in art without any striking or excep tional power in the artist. It is scarcely possible hero to give more than a list of the churches in which he painted; in Rome they were the Araccli, S. Cecilia in Trastevcre, Santa Croce in- Gerusalemme, and S. Onofrio. In 1496 he returned to Perugia and undertook an altar-piece for S. Maria de' Fossi (now S. Anna), to be completed in two years. This is the most finished of his works, and more full of feeling than any other. Ho next adorned the collegiate ch. of Spello; these works are fast disappearing from the effects of damp ness. He was next called to Siena by Card. Francesco Piccolomini, to decorate the Library of the Duomo. Here he painted the ceilinn- in a variety of designs, with the shield and arms of the Piccolomini in the centre; and the walls with ten scenes from the life of JEneas Sylvius or Pius II. This work was commenced in 1503, but was in terrupted by deaths in the family of his patron, and was not com pleted until 1507, he having filled various other commissions in the mean time. It is said with great probability that he was assisted in the Library by the young Raphael, and some critics have been wont to attribute the best features of all Pinturicchio's pictures to aid from the same source. But this should not be sc. They were associated more or less, without doubt, and it is not improbable that Baphael was one of the many assistants whom the master hired in Perugia for his work in Siena; but there are many reasons why the credit of the best of Pinturicchio should not be given to Sanzio, who certainly does not need any such praise. There are many circumstances connected with certain cartoons, many similarities of figures in the works ofthe two masters, which make us feel sure of their association, but these Siena frescoes are conceived in the system of Pinturicchio. This library is one ofthe few Italian halls that retain their original charac ter. The frescoes are discolored and injured in parts, but are, on the whole, fairly preserved. It is probable that after the completion of these works the master went to Rome, and returned to Siena in 1509 with Signorelli, who stoodas godfatherto the son born to Pinturicchio in the beginning of that year. He then probably entered the service of Pandolfo Petrucci. His last authentic picture is now in the Palazzo Borromeo at Milan, and is a cabinet size of " Christ bearing his Cross." It was painted in 1513, the year of his death. Dreadful Btories have been told of the manner in which his wife Grania treated him. It is said that when very sick she left him to die of starvation, but this lacks confirmation. His works are seen in all large, and in some smaller collections of Europe. Piombo, Fra Sebastiano del, real name Luciani. Born at Ven ice (1485-1547). In early life he was destined by his father to be a musician, but he decided for himself to be a painter, and gained his knowledge of Ms art from Gio. Bellini and Giorgione. He excelled in coloring and in breadth of chiaro-scuro. From the very first it 456 PIOMBO. was evident that he lacked the gift of composition, and thouo-h he struggled manfully, this want and that of elevation seemed to define the position he must hold as a painter. This inability to desio-n great subjects did not affect his power to paint portraits; Ms works in this department were magnificent. That of Andrea Doria in the Doria Pal., is by some considered the finest portrait in the world. I believe it is no longer to be seen by travellers. A cardinal in the Studj Gall, at Naples, a female portrait in the Uffizi, one in the National Gall., and one in the St'adel Mus. at Frankfort should he mentioned. The last two are claimed to represent Giulia Gonzao-a, the most beautiful woman in Italy. In 1533 Ippolito de' Medici, who was madly in love with her, sent Sebastian with an armed force to Fondi to paint her portrait ; it was completed in a month, and was sometimes called the best that he had painted. The picture was sent to Francis I. at Paris, but its present place is not positively known. The fame of Ms portraits is all his own, but this is not true of his other works, for it is said that after he went to Rome, Michael Angelo assisted him with designs which he magnificently colored, They were certainly ardent friends, and there were some good rea sons for it. They were alike in temperament, impulsive, and real istic; they loved nature alike; they hated Raphael together; they equally detested monks and friars ; they both loved out-door sketch ing for a recreation ; they were alike in theh muscular forms, and both were left-handed. Sebastian went to Rome by invitation of Agostino Chigi; he first painted in the Farnesina, which Peruzzi had designed, and, together with Raphael, had adorned for the luxurious banker. Here the inferiority of Sebastian was apparent, and he en deavored to improve by study under Buonarotti. It is said that on account of the growing fame of Baphael, Buonarotti determined to assist Sebastian, and so designed for him to color. Card. Giulio de' Medici gave orders to Raphael and Sebastian for pictures of the same size; they were the " Transfiguration " and the " Resurrection of Lazarus." When completed they were exhibited, and even by the side of the transcendent beauty of Raphael's work, the "Lazarus" was much admired. It is certainly in the very spirit of Michael Angelo. It was one of the important works of the 16th century. It was sent to Narbonne by the Cardinal, and is now in the National Gall. After the death of Raphael, Sebastian was called the first painter in Rome. His works were numerous ; some fine ones are in Madrid and St. Petersburg; many are in Venice, and they are seen in several Continental galleries. When he was made piombatore it was necessary for him to be an ecclesiastic, and his name of Luciano was given up for that by which he is best known, Fra Sebastiano del Piombo. He wrote to Michael Angelo, " If you were to see me as an honorable lord, you would laugh at me. I am the finest ecclesiastic in all Rome. Such a thing had never come into my mind. But God PIOMBO — PIRANESI. 457 be praised in eternity I He seemed especially to have thus decreed it. And, therefore, so be it." It is not strange that he should have been thus resigned to a high office with the salary of 800 scudi a year I It is said that Sebastian and Michael Angelo disagreed con- RAISING OF LAZARUS. BY SEBASTIAN DEL PIOMBO. In the National Gall. cerning the painting of the "Last Judgment," which caused a con tinued coldness between them, but this needs confirmation, and may well be doubted, since Vasari did not mention it. Piranesi, Gio. Battista, born at Venice (1721-1779). An emi- 458 PIRANESI — PISANO. nent designer and engraver of ruins, architectural subjects, etc. He has been called the " Rembrandt of Architecture,'' on account of his admirable management of light and shade, which gave force and vigor to his works. His pictures of ancient ruins are not always exact, as Ms imagination was indulged to some extent, even in rep resenting what was before Mm. He was of a fiery temper, and dis agreed seriously with Lord Charlemont, so that he cut out the arms of that nobleman where he had engraved them in Ms plates, and sub stituted other designs in their places. Ho was a member of the London Society of Antiquaries. His son took his father's plates to Paris, where he went as minister for the Roman Republic. After the son's death in 1810, they were purchased by Didot, but now be long to the government of Rome, and are in the Vatican. They number nearly 2000. His son Francesco and Ms daughter Laura also engraved the same class of subjects as did the father. Pisanello. Real name Vittore Pisano. Born at Verona. There is much uncertainty concerning the birth, education, etc.,' of this painter. It is said that he painted wi:h Gentile da Fabriano iu the Lateran, and that ho died in 1451. Many of his works are pre served in Verona, his native city, and show Mm to have been a graceful and attractive painter. Pisano, Niccola, born at Pisa (about 1206-1278). According to the custom of his time he was both architect and sculptor. At the early age of fifteen ho was appointed architect to Frederic II , with whom he went to Naples. In the service of this sovereign he passed ten years, and then went to Padua, where he made the design for the Basilica di S. Antonio. The first known attempt which he made as a sculptor resulted in his alto-rilievo of the " Deposition from the Cross," which now fills a lunette over a door of the Cath. of S. Mar- tino at Lucca. This is most excellent as the work of an untutored artist, as he was at that time, and it shines by comparison with works of Ms contemporaries wliich are near it. The statuettes of the Mis- ericordia Vecchia at Florence are of about the same merit as this bas-relief. In 1248 Niccola went to Florence to assist the Ghibel- lines in their work of destruction ; he was commissioned to overturn the tower called Guardamorto, in such a way as to destroy the Bap tistery; he overturned the tower, but it did not fall in the anticipated direction, and we may believe that this was in accordance with his intention, although it was attributed to a special miracle, by Villani. During the twelve succeeding years he was employed in making de signs for tho building and remodelling of many churches and palaces. The ch. of Santa Trinita at Florence is one of the best known of his works of this period. In 1260 Niccola established Ms fame as a Fculptor by the magnificent pulpit which he executed for the Baptis tery at Pisa. Of course marks of his comparative inexperience can be found in this work, but taken all in all it almost challenges criti- PISANO. 459 cism. His next work was the " Area di S. Domenico,'' at Bologna, which is now surrounded with a maze of beautiful sculptures of which the " Area " is the centre, and is of great interest as illustrating the art of the 13th century. In 1206 Niccola went to Siena to make tho pulpit for the Duomo. TMs is similar to that of Pisa in many ways, but not as effective, because surrounded by other objects of interest, and in a larger space, wMle at Pisa the pulpit seems ahnost the only thing to attract the attention. In 1 269 he was commissioned to build the Abbey and Convent of La Scorgola, which are now in ruins. In 1274 he commenced the fountain of Perugia, which was his last work. The authorities of the city made severe laws for its preservation, and it was considered the most precious possession of the city. In 1278 Niccola died, after a life of great usefulness, for Ms influence had been felt through all Italy. His services could 460 PISANO. never be estimated ; he had founded a new school of sculpture ; had put bcMnd him the standards of barbarism ; in architecture, too, the same may be said, and in the words of Mr. Perkins, " He was truly a great man, one to whom the world owes an eternal debt of gratitude and who looms up in gigantic proportions through the mist of five centuries, holding the same relation to Italian art which Dante holds to Italian hterature." In his life he was respected and loved by all who came in contact with him, be it as patron, friend, or servant. Pisano, Gio., born at Pisa (about 1240-1320). He seems to have inherited much of his father's gemus, but had an enthely different taste. Gothic architecture was Ms choice, and he was fond of exao-- geration and fantastic action and expression in sculpture. He worked much under Niccola, and assisted him with the Perugian fountain. As early as the making of the Siena pulpit, he was a master in his own right, and went in 1268 to Naples to fulfil a commission from the Franciscans there ; he also designed the Episcopal Palace. After the death of Niccola, the Pisans were anxious to have. Giovanni remain in his native city, where he executed important works. The ch. of S. Maria della Spina was the first example M Italy of the pointed architecture, and is a most pleasing one. In 1278 he was chosen to build the Pisan Campo Santo ; it was the first and the most beautiful one of all Italy. It is too well known to be described in our limited space, but it seems that nothing could have been more fitting for its purpose than the plan which he adopted. Many of the sculptures here were also by his hand. The representation of Pisa was the first attempt at making large statues in Italy, since the days of Con stantine. It is a strange, and in many respects an unlovely work; and yet it has great intensity of expression in its principal figure, and displays the originality of Giovanni. He gained much reputa tion from this, and in 1286 went to Siena, where he was commis sioned to build the facade of the cathedral. The people of Siena were very desirous that he should fix his home there; the magistrates made him a citizen and exempted Mm from taxes for Kfe ; but he remained only three years, and went next to Perugia. In this city he made a monument to Urban IV., which no longer exists. From this time, he devoted himself almost wholly to sculpture. At Arezzo, he made the shrine of S. Donato for the cathedral, which cost (including jewels for the Madonna, enamels, and silver bas-reliefs) 30,000 florins. It was a superb work of art. His next work was done as a rival to " II Tedesco," a sculptor who had made a pulpit for tho ch. of S. Gio vanni at Pistoja, which was much praised. A new pulpit was also to be made for the ch. of S. Andrea, and there were those in Pistoja who had so admired Niccola Pisano that they desired to have his son to do it; he excelled his rival in every way, and fully supported the reputation lie had already gained. Our artist now went to Florence. This was a prosperous time there, and Giovanni remained two years; PISANO - POILLY. 461 but in spite of Ms reputation, he received but one order during that time. In 1305 he was commissioned to make the monument of Pope Benedict XI., still remaining in S. Domenico at Perugia ; and some what later, another monument of S. Margaret in tho ch. of that saint, at Cortona. Tho general arrangement of the two was similar, and in both cases angels were holding back curtains and regarding the figures with sorrow. In 1312 he commenced rebuilding the Cath. of Prato. He did not live to see it completed, but Ms designs were carried out with precision. He had neither the dignity nor the feel ing for beauty wMch Niccola so largely possessed; but Ms style is uncommon and very dramatic, and could not have belonged to a man of inconsiderable genius. ' He had many pupils, among whom was the distinguished Andrea Pisano. Pisano, Andrea (127U-1345). His works as an architect were very few, and as a sculptor, they were not numerous. He spent some time in Vemce. He gained a great reputation as a bronze- caster, and was intrusted with the execution of the gates to the Bap tistery of Florence. On tMs work his fame almost entirely rests. They arc now displaced by Ghiberti's gates, but when they were completed in 1339, all Florence was in an ecstasy regarding them, and the Signory went in state to praise him, and did Mm the honor to make Mm a citizen. It was not the custom of the Signory to leave the Palazzo Vecchio in a body, except on the most solemn and im portant occasions. He may be regarded as the reviver of bronze sculpture, which had constantly declined from the antique, and in which no work had been produced at all comparable with the gate of Andrea Pisano. Pitau, Nicholas, born at Antwerp (1633-1696 ?). An engraver of Mstorical subjects after various masters. His plates were numer ous and are held in well deserved estimation. Ploos. See Amstel. Poccetti See Barbatelli. Poel, Egbert van der. Flourished about 1660. Many of his pictures are rude and false in effect, but a few are surprisingly bet ter. The best were conflagrations. His works arc seen in the Louvre, Amsterdam Mus., and the Mus. at the Hague. Poelemberg, KomeUs, born at Utrecht (1586-1660). Pupil of Abraham Bloemaert; he visited Rome, where he adopted, as far as he was able, the elegance of the Italian school. He represented many stories from sacred history and from mythology, with nude figures in richly colored landscapes. His execution was extremely labored and finished. His least commendable feature is his drawing. His works are in nearly all European galleries. The " Annunciation to the Shepherds," in the Louvre, is one of Ms best pictures. Poilly, Francis, the Elder, born at Abbeville (1622-1693). TMs eminent engraver, whose works are deservedly esteemed, left about 462 POILLY — POLYCLEITUS. 400 plates, including those executed by his pupils under his super vision. Nagler describes 170 wMch he believes to be entirely his own. They are so uniform in style, that it is difficult to select a chef-d' ceuvre. The choice seems to depend upon the taste of each one who judges. That of the " Flight to Egypt," after Guido, and the " Holy Family," after Raphael, are almost universal favorites. " S. Charles Borromeus administering the Sacrament," after Mio-nard is very fine. There were several other engravers of the same name and family. Polidoro. See Caldara. Pollaiuolo, Antonio and Piero, born in Florence in 1433 and 1443. Antonio died in 1498, but the time of Piero' s death is not known. They were goldsmiths and workers in bronze and silver ornaments, and also painters. Theh pictures were much affected by their other occupations, and seemed to be copies of theh other works ; even the colors were such as to suggest bronze and silver ornaments. These brothers excelled especially in the knowledge of anatomy,. and it is said that Antonio was the first artist who dissected the human body in order to know how to represent it Theh most ex cellent productions represented contests of strength and muscular action, such as " Hercules and Hydra," and the '¦ Death of Antajus.'' This is less true of Piero than Antonio, but applies to both. Antonio is celebrated as the best goldsmith of Ms time, and he received many important commissions from church and state. He was constantly in communication with Lorenzo de' Medici regarding Ms art and matters related thereto. He made bronze monuments for the Popes Sixtus IV. and Innocent VIII. The first is now in the Chapel of the Sacrament in S. Peter's. In painting, their model was Andrea del Castagno. It is difficult to separate theh works and say to wMch of the brothers particular ones belong, but it is safe to say that those which are most pictorial in character were done by Piero. Theh masterpiece is, without doubt, the " S. Sebastian "in the National Gall. It is a fine work, without being refined or in the least idealistic; it has been unduly praised by some writers. The " Archangel and Tobit," in the Gall, of Turin, is an excellent example of theh manner. Their pictures are in the different galleries of Florence, in Berlin, Munich, and Modena. Polycleitus, the Elder. This celebrated statuary was probably a native of Sicyon and a citizen of Argos. He was the pupil of Ageladas and fellow-pupil of Phidias and Myron. His time was, as nearly as can lie told, B.C. 452-412. The difference between Phidias and Polycleitus was, that the former was perfect in his representations of the gods, and the latter in those of men, and each one was preferred before the other according to the taste of the person judging. Polycleitus received the highest encomiums of praise from Pliny, Cicero, Dionysius of Halicarnassus, Quintilian, etc. He POLYCLEITUS. 463 was a worker in marble and bronze, an architect, and a toreutic artist. He also wrote a treatise on tho proportions of the human body, called Kavav, and made a statue of the same name, in which Ms theory was exemplified. Begarding his works which remain there has been much discussion. I agree with Liibke, who believes HEAD OF JUNO. Ludovisi Villa, Rome. the Berlin "Amazon," and the copy in the Braccio Nuovo, to be Polycletan; the head of Juno, in the Villa Ludovisi, is attributed to this artist; we give an engraving of it, but doubt its being by Poly cleitus. He had many pupils, and exercised great influence upon the school of Argos. 464 POLYDORUS — PORTA. Polydorus. See Agesander. Ponte, Francisco da, Jacopo da, Francisco da, Gio. Batista da, Leandro da, Girolamo da. See Bassano. Pontius, Paul, born at Antwerp about 1596. Pupil of Lucas Vorsterman. Pie was one of the very best Flemish engravers, and his plates are much esteemed. He made many engravings after Rubens and Vandyck. He seemed fully to imbibe the spirit of Rubens, who was his friend, and, in truth, he adapted himself wonderfully to whatever artist he. copied. Pontormo. See Carucci. Ponzio. TMs sculptor is the " Maitre Ponce " of the French, and probably identical with Ponce Jacquio. His works are at the Louvre and at S. Denis. Pordenone, Gio. Antonio Licinio Regillo da, born at Porde none (1484-1539). He was of the same class of painters as Gior gione and Titian, and may perhaps be called a rival of the latter. His composition was very simple; his heads rarely speak of deep passion ; and his chief excellence was color. He painted flesh with a marvellous softness. His portraits were fine, and he frequently represented several persons on one canvas. We have very few easel pictures by Pordenone, and those which are attributed to him in gal leries, are oftentimes proved not to be Ms, or are under so much doubt, that it is unsafe to risk a list of them. The " Glory of S. Lo renzo Giustiniani," in the Acad, of Venice, is one of Ms finest works. Much has been said of the '-'- Woman taken in Adultery," in the Ber lin Mus., but it is so repainted (the heads of the Saviour and the Woman being almost new), that it can do little honor to any artist ofthe 16th century. His frescoes at Venice have nearly all perished. Porta, Baccio della, Fra Bartolommeo, or II Frate, born at Savignano (1469-1517). He was a pu( il of Cosimo Roselli in Flor ence, and lived near the gate of S. Piero, from wMch circumstance was derived his name of della Porta- He was the intimate friend of Mariotto Albertinelli. He had acquired great fame for the beauty of his Madonnas, and had been commissioned to execute a fresco of the. " Last Judgment " in the Convent of S. Marco, about the time when Savonarola went to Florence to preach against the sinfulness of the city. Bartolommeo became the earnest friend of the preacher, and was so carried away by Ms influence, that he burned all his studies and drawings of profane subjects and those which repre sented nude figures. He abandoned his art, and spent his time in the society of the enthusiast. When at length Savonarola was seized, ' tortured, and burned, Bartolommeo took the vows of a Dominican friar, and left his unfinished pictures to be completed by Albertinelli. During four years he led a most austere life, never toucMng his pencil. His superior then commanded his practice of Ms art, and he resumed it with languor and entire want of interest. About this PORTA. 465 time Raphael arrived in Florence; he was but twenty-one, but already a great painter; he visited the friar's cell, and a deep friend- sMp between the two was the consequence; to this we owe the after works of Fra Bartolommeo. Raphael instructed him in perspective, and he in turn gave new ideas of drapery to Raphael. Fra Bar tolommeo was the first to employ lay figures in the study of drapery; he also imparted to Raphael his mode of coloring. The examination of the works of these painters will prove that from this time both of them produced more excellent pictures than they had done before; the friar had caught an intellectual grace from his young friend, and Raphael had advanced M color and drapery. About 1513, Fra THE DESCENT FROM THE CROSS. BY FEA BARTOLOMMEO. In the Pitti Gall. Bartolommeo was allowed to go to Rome. This visit was doubtless a deep joy to him, but the beauties of what he saw so far exceeded Ms imaginations, that he seems to have been stupefied; he made no attempt to equal or excel the artists about him, and only commenced two figures of SS. Peter and Paul, which Raphael finished after his return to Florence. When once more in his convent, Bartolommeo showed the benefit he had received, and executed the "Madonna della Misericordia," now at Lucca, and considered by many as his most important work. It had been said that he could do nothing grand; he now painted the " S. Mark " which is in the Pitti Pal., and is so simply grand as to be compared to the remains of Grecian art. He only lived four years after going to Rome, and died at a time 30 466 PORTA — POURBUS. when his powers eeemed daily increasing. His character was im pressed on all his works ; when Savonarola was seized he hid him self, and vowed that if he escaped he would become a monk. This want of courage and energy we must admit, but he was enthusiastic, devout, and loving in his nature. His saints and virgins are tender, mild, and full of sweet dignity, and if we characterized his pic tures in one word, holiness is that we should use, for it is that which they most express. His boy angels were beautifully painted, and his representations of architecture were rich and grand. His works are rare. Besides those we have mentioned, the " Presentation in tho Temple," in the Vienna Gall., is most important. The Louvre has two of his pictures and the Berlin Mus. one, but he is best studied in Florence, where the larger number of Ms works remain. Porta, Guglielmo della. One of the ablest sculptors among the followers of Michael Angelo. His most important work was the monument to Paul III., in tho tribune of S. Peter's. Two statues of " Peace " and " Abundance," which formerly made a part of tMs work, are now in the Farnese Palace. Potter, Paul, born at Enkhuysen (1625-1654). " One touch of Nature makes the whole world kin." The truth of tMs finds proof in the sympathetic pleasure with wMch thousands have regarded the eminently truthful representations of Nature by this artist. His works are made up of few objects — an open landscape, a few ani mals, perhaps a shepherd, and this is almost all. He settled at the Hague early in life ; he had there full opportunity for such studies as he wished to make. Later he removed to Amsterdam, and tMs is attributed to the folly of his wife, to whom he was devotedly attached; it is said that she had many admhers, and was detected by her hus band in listening to one; he threw a net, which he carried, over both, and exposed them to the ridicule of friends; soon after he removed to Amsterdam, where he died and was buried. He had a daughter three years old, when he died. He was remarkable for the early age at which he attained great excellence. Though he lived so few years, he left many works; 103 pictures and 18 etchings, besides numeous drawings and studies of a variety of subjects. Perhaps no one work of his is so well known as the " Young Bull," at the Hague. Two other pictures of the same year (1647) are in private collections. The Cassel Gall., Amsterdam Mus., the Louvre, and the Imperial Gall, of St. Petersburg, all have his works. In the Berlin cabinet of engravings there are four books of his studies, in their original boar-skin bindings. That he was more successful with cat- tV and sheep than with horses is plainly seen in his etchings. Among these "Le Vacher " and " Le Berger " may be particularized for excellence ; but all are fine. Pourbus, Pieter, born at Gouda (1510-1584). He went early to Bruges, which city has many of his fine works. In an age of excel- POURBUS — POUSSIN. 467 lent portrait painters, he ranked very high, and his historical subjects show the hand of si good master. Ho was much considered in Bruges; he served as Dean of the Corporation of Painters, and after Ms death, Ms widow was pensioned by the town. His son, Frans Pourbus, the Elder, born at Bruges (1540-1580), and Ms grandson, Frans, the Younger, born at Antwerp (1570-1622), were also good portrait painters. Poussin, Nicholas, born at Andelys in Normandy (1594-1665). He studied first with Varin, then worked with Nicholas Duchesne, and at length, in 1624, went to Rome, where Ms career as an artist commenced in reality. He entered the school of Sacchi, and re ceived some instruction in that of Domenichino, but he formed his style by the study of the antique and of Raphael. It is often said MOSES AT THE SPRING. BY J*. POUSSIN. that his works resemble a painted rilievi. He became almost an an cient in his modes of thought, from familiarity with their history and customs. When first in Rome, he was in great poverty, but at length began to be known and employed. His fame reached France, and Louis XIIL invited him to return to his own country. He was given apartments in the Tuileries, and received many honors, but he longed for Rome again. He made the plea of going for his wife, and as the King soon died, he never returned. Although ho re ceived more orders than he could fill, he asked prices so moderate that he was never rich; but he. did not desire to be fo. When a rich cardinal pitied him for his lack of servants, he replied by pitying him 468 POUSSIN — PRATT. for Ms abundance of them. His portrait painted by himself is in the Louvre. The " Seven Sacraments," of which he painted two series (both now in England), are among his important works. His " Bac chanalian Dance," National Gall., is a masterpiece, and in this class of subjects Ms power was truly wonderful. He is accredited with most perfect knowledge of the imitation of antiques by Sh Joshua Reynolds and other writers on Art. Poussin, Gaspar. Real name, Gaspre Dughet. Nicholas Poussin had married his sister, and was the teacher of Gaspar, who for these reasons was called by his name. Born in Borne (1613-1675). lie showed so much taste for landscape painting that Nicholas led Mm to devote himself to that especially. His pictures have a dark, solemn effect, from the use of very dark backgrounds. Pradier, James, born at Geneva (1790-1832). This artist was little fitted for religious representations, as is seen in his works for S. Clotilde and the Madeleine, but he excelled in representing purely sensual female beauty. The fountain of Nismes is a masterpiece; the drapery is noble and distinct in treatment, and the lines beautifully arranged, while the figures' and the whole form of the work is fine. The serious and comic Muses of the Fontaine Molicre are excellent. Of his female figures we may mention his Psyche, and Atalanta, and the despairing Sappho, Ms last work. His Prometheus, erected in the garden of the Tuileries in 1832, is an example of how grand and spirited he could be. There are works of Ms in the Louvre designed after tho antique, which are good in composition and arrangement of lines, and display great technical skill. Prado, Bias del, born at Toledo (probably 1540-1600). He painted many pictures for the churches and convents of Toledo and Madrid. In 1593 the Emperor of Morocco desired Philip to send Mm a painter. Philip made answer that in Spain they had both ordinary and excellent painters, and asked which he would have. Tho Moor haughtily replied, " Kings should always have the best." Philip sent Bias del Prado. He remained several years and so pleased the monarch that he sent him home with generous gifts. He excelled in painting fruits and flowers, and was accustomed to put garlands around his pictures of Madonnas and Saints. In the Acad. of S. Ferdinand, at Madrid, there is a picture by Prado, of the Vh gin, with the Infant, seated on clouds. Beneath is a tower, and a nun and a man in a black dress aro kneeling in prayer. In the Queen of Spain's Gall., there is a picture of Mary, Infant Christ, and S. Joseph, attended by SS. John and Ildefonso. TMs was probably -i votive picture given to some shrine by Alonso do Villegas, who is represented as adoring the Virgin, who regards him kindly. Pratt, Matthew, born in Philadelphia (1734-1805). He painted signs in a manner which won for him much praise, and also made good portraits of the leaders of American life in his day, wMch pos- PRATT — PREVITALI. 469 sess much historical interest rather than great merit, when artisti cally considered. He escorted the bride of Benjamin West (to whom he was related) to London, and gave her away at the altar. Ho then studied four years with West, and painted portraits of several emi nent persons. After his return he occupied an honorable position in his native city, and assisted Peale in establishing his museum. He made portraits of many prominent members of the Philadelphia Con vention of 1788. Praxiteles. Probably born about 392 n. c. He was a celebrated sculptor in bronze and marble, but Ms most famous works were of the latter. He loved to repre sent beauty, youth, and dreamy happiness. His representations of Venus and Cupid are most praised by those who write of him. Of the first we can judge only by Cnidian coins. It was considered worth a journey to Cnidus to see his Venus, and when King Nicoinedes of Bithy- nii offered to pay all their debts for this one statue, the Cnidians refused. There are existing copies of his works wliich make us fully realize -what the origi nals must have been. Among these are the Cupid in the Vat ican; a Satyr in the Capitol, Rome; an Apollo in the Louvre, and another in Florence, Trib une of Uffizi; and a statue at Naples called Narcissus, Pan, and Bacchus, by different crit ics. Preti, Cavalier Mattia. Called B Calabrese. Born at Taverna (1613-1699). One of the less important Naturalisti. Pupil of Guercino. He chose gloomy subjects; his composi tion was copious, his design bold, and his use of heavy shad ows very effective. Previtali, Andrea, born at Bergamo. Flourished from a satyr, after fraxiteles. 1506 to 1528. A pupil of Gio. Capitol, Rome. 470 PREVITALI — PULIGO. Bellini, and a follower of his manner. His works are quite numer ous. The most important are in Bergamo; an altar-piece in S. Spirito is one of the best. The Manfrini Gall, at Venice, the Berlin Mus., and the National Gall, have his works. Primaticcio, Francesco, born at Bologna (1490-1570). He studied with Innocenzio da Imola and II Bagnacavallo, and was the assistant of Giulio Romano six years. His principal works were frescoes at Fontainebleau, many of which are now destroyed. These were an enormous labor; Primaticcio made the designs entirely, and much of the painting was done by Niccolo dell' Abate. Francis I gave Primaticcio the large revenues of the Abbey S. Martin in Troyes, Champagne. This artist was retained in the service of Henry IL, Francis IL, and Charles IX. It has been said . that the taste and standard in art was improved in France by Primaticcio, Abate, and II Rosso, but this is doubtful. Their design and compo sition, though brilliant, were not true; they had far more science than feeling, and sacrificed everything to freedom and ease of design. The works of Primaticcio are rare out of France. Procaccini, Ercole, born at Bologna (1520-1591). A patient and careful painter of no great power. He held up to his pupils the best masters, and stoutly opposed the mannerisms of Ms time. He was the founder of the eclectic school at Milan established by Ms sons. Correggio was their model. Procaccmi, Camillo (1546-1626). A mere machinist who turned out pictures in the most extraordinarily short time. Some of his works were, however, worthy of a better master. " S. Roch admin istering to the Sick of the Plague," at Dresden, is one of Ms best pictures. Procaccini, Giulio Cesare (1548-1618) The best painter of his family. He imitated Correggio with success, and some of Ms cabi net pictures have been passed for the works of that master. There are many works of his in the churches and galleries of Milan. Prud'hon, Pierre, born at Cluny (1758-1823). He studied in Rome, where he became the friend of Canova. He returned to Paris in 1789. He was not as fond of the imitation of the antique as was then the fashion to be, and it was some time before his talents were recognized. He was the teacher of the Empress Maria L°uisa, an^ a member of the Institute of France. His picture of " Crime pur sued by Justice and Vengeance," in the Louvre, is one of his most admired works. Constance Mayer was his pupil and friend. She committed suicide in 1821, and from that time Prud'hon was afflicted with a fixed melancholy. Puget, Pierre (1622-1694). A follower of Bernini, whose sculp tures are seen at the Louvre and at Versailles. Puligo, Domenico, born at Florence (1475-1527). This artist was older than Andrea del Sarto, and had studied under other PULIGO — QUE R CIA. 471 masters, but he seems in the end to have attempted to imitate him, and so well succeeded that his pictures are sometimes mistaken for those of that master. He is not a pleasing painter, and shows no deep love of art; he painted for money, and was a sensual man. He is said to have died of the plague, contracted in a low place which he visited. Pulzone, Scipione, called Gaetano, born at Gaeta (1550-1588 ?). A portrait painter of such excellence that he has been called the "Vandyck of the Roman school." He also painted some historical pictures, the best of which are in Rome. Pynacker, Adam (1621-1673). This painter went when young to Italy. His pictures are landscapes, but many of them are enli vened with figures and animals. His remaining works are few, probably because he spent much time in adorning the rooms in Dutch houses, which was then the fashion. Many of the laro-e European galleries have specimens of his works. He usually adopted a cool tone, for wMch reason he excelled in morning scenes. Smith estimates the number of Ms pictures at sixty-nine. Q. Quaglio, Dominik, born at Munich (1787-1837). This artist commenced as a scene-painter, but afterwards devoted himself to architectural painting, in which he became eminent. His pictures of cathedrals, and Ms architectural views in South Germany, are admirable. Quellinus, Arthur, born at Antwerp, 1607. Pupil of Duquesnoy. He executed the sculptures which decorate the magnificent Town Hall built in Amsterdam in 1618. The interior figures are simple and noble in style, and those of the exterior are vigorous and natural. He was one of the most able and imaginative sculptors of his time. Quellinus, Erasmus, born at Antwerp (1607-1678). An educated man and the friend of Rubens and Gevartius. It is said that he was at one time professor of philosophy, but his love for painting induced him to vacate his chair. His pictures were very unequal in excel lence. They are seen in the churches of Antwerp, and some of the best are in the Mus. of that city. Quellinus, John Erasmus. Son of preceding, born at Antwerp (1629-1715 ?). He visited Italy, and became an imitator of Paul Veronese. He used immense canvases. The " Coronation of Charles V. as King of Rome," in the Vienna Gall., and the " Pool of Be- thesda," in the Antwerp Mus., are two of his best works; the former is much the best. Quercia, Jacopo della (1374-1438). Son of a goldsmith, in whose art lie was educated. He possessed an inventive mind and 472 QUERCIA — RAIMONDI. independent spirit, and when he devoted himself to sculpture, he threw off many of the old traditions, and embodied Ms own lifelike conceptions of nature. He labored in Ferrara, Siena, Lucca, and Bologna; in the latter city he made the sculptures for the portico of S. Petronio. They are in his best manner, and among the most attractive works of his time ; they were done in 1425. Jacopo was one of the applicants for the gates of the Baptistery of Florence, which were given to Lorenzo Ghiberti. Querfurt, Augustus (1696-1761). Born at Wolfenbiittel. Pupil of his father and of Rugendas. He imitated Wouvermans. His works may be seen in the Vienna, Dresden, and Berlin galleries. He was the inferior of Rugendas in composition, but superior to him in impasto, transparency of color, and carefulness of execution. R. Raeburn, Sir Henry, born near Edinburgh (1 756-1823). A por trait painter of good reputation. Some of Ms best works are in the National GaU. of Scotland. Raibolini. See Francia. Raimbach, Abraham, born in London (1776-1843). An en graver whose best plates are after the works of David Wilkie. They are well suited to their subjects, and are boldly engraved. ¦MMrl vf. AF, Akvft, af, -1$. Raimondi, Marc Antonio, born at Bologna (1487-1539). This very eminent engraver studied the art of niello under Francesco Francia, and commenced engraving by copying the works of that painter; he also copied after Mantegna and Diirer, but perfected his drawing under Raphael, who favored him greatly, and allowed him to engrave his drawings. Together, Raphael and Raimondi exerted great influence upon the art of engraving, and the works of that time have never been excelled in drawing and clearness of outline, though much surpassed in gradation of tone and delicacy of model ling. It should be remembered that it was from the drawings, and not the finished pictures, of Raphael that Marc Antonio worked. He was especially remarkable for the exactness with which he copied ; he seems to have been willing to lose himself entirely in the master he reproduced. His life may be said to have been devoted to multiplying the works of Raphael. He also executed a few plates after Michael Angelo, Mantegna, Bandinelli, and Giulio Romano. He was imprisoned on account of some plates after the designs of the latter, which were so indecent as to enrage Clement VII., and it was with difficulty that his release was obtained by some of the cardinals and Bandinelli. In 1527 he was in full favor in Rome, when he RAPHAEL. 473 was driven away by the sacking of the Spaniards. He was plundered and fled to Bologna. His last work was done in 1539, and he is said to have been killed by a nobleman of Rome because he had engraved a second plate of the " Murder of the Innocents," contrary to his agreement. His works are. numerous, and in selecting them oreat attention should be paid to the different impressions, for some of the plates have been retouched by those who have, had them, until they are greatly changed. The best impressions have no publisher's name. Heineken gives a complete catalogue of his prints. Ramenghi. See Bagnacavallo. Raphael Santi, born at Urbino, on Good Friday, 1483. Son of Gio. Santi, a good painter, who executed many pictures for the churches in the March of Ancona, in Urbino, and the surrounding country, and also wrote a biography in rhyme of his patron, the Lord of Urbino, which is now preserved among the MSS. in the Vatican. The mother of Raphael died in 1491, and his father in 1494, leaving him with a step-mother, to whose care, together with that of his uncle, Don Bartolommeo Santi, the boy was consigned. It cannot be doubted that he received his first instruction in painting from his father, who took him to Cagli, between 1492 and 1494, where he was painting a chapel with frescoes. Luca Signorelli and Timoteo Viti were his first teachers in painting, and the latter is said to have painted the portrait of Raphael at twelve years old, in the Borghese Gall. It was probably in that year of his age that he was placed in the school of Perugino, at Perugia. Rumohr says this master was characterized by " stainless purity of soul, by the highest aspirations, and by feelings sweetly sad and enthusiastically tender. He was now at the zenith of his fame and surrounded by many distinguished pu pils." Raphael soon proved himself the best of all. His sketch-book of this time is in the Acad, of Venice, and a little picture of the " In fant Christ with S. John," on a gold ground, is preserved at S. Pietro Maggiore at Perugia, as a relic of his pupil days. He soon began to assist Perugino in important works, and his hand may be traced in many pictures of that master. In 1499, a quarrel having arisen be tween Ms step-mother and guardian, he returned to Urbino and suc ceeded in establishing a family peace which was lasting. In 1500 he received his first independent order, which consisted of a banner for a procession, and a " Crucifixion," with four saints in adoration. Both of these remain. The latter is in England. He also executed other works before he returned to Perugia. In this latter city he now began to work entirely in the style of Perugino. To these days belong a Madonna, and the " Adoration of the Magi," in the Berlin Mus.; a " Sleeping Knight," in the National Gall.; the " Adoration of the Kings," at Copenhagen ; and about twenty other small paint ings. In 1504 he went to Citta di Castello, where he painted the Sposalizio, now the ornament of the Brera. In the same year he re- 474 RAPHAEL. turned to Urbino and painted, for the Duke Guidobaldo, " Christ on the Mount of Olives," now in England; and " S. George and the Dragon," and " S. Michael overcoming the Monster," in the Louvre. About this time Raphael assisted Pinturicchio by making cartoons for his paintings in the Library of the Cath. at Siena. The fame of the cartoons of Michael Angelo and Leonardo da Vinci reached Ms ears and drew him irresistibly to Florence. Here a new world was open to him, and he studied not only the works of Leonardo and Michael Angelo, but also those of Masaccio. We now find ourselves at the commencement of Raphael's second period, in which he attempted, to throw aside the influence of Perugino. This master was absorbed in reflecting upon the glories of the next world, and in his works attempted to represent the perfectness of fervent feeling. Raphael now attempted to represent human life in its variety, and character in its individuality. To this time in Florence we may attribute the " Madonna del Granduca " now in the Pitti Gall. ; the Madonna sur rounded by three Children, in the Berlin Mus. ; and a portrait of a youth of eighteen or twenty, one of the ancestors of King Louis of Bavaria. In 1505 Raphael was compelled to return to Perugia to execute the commissions wMch he had there, one of which was the altar-piece now at Blenheim. In these days at Florence many dis tinguished artists, young and old, were accustomed to assemble in the evening in the studio of Baccio d' Agnolo. There many things re lating to art were discussed. For these meetings and all the advan tages of Florence he pined. Perugia seemed so small and narrow, that he soon left it again. At the house of Agnolo he expressed him self freely, and he made many friends there, among citizens as well as artists. He received commissions from them, and to this time be long the " Madonna del Cardellino " or Goldfinch, in the Uffizi; the Holy Family with the Fan Palm, and the portraits in the Pitti Pal. of Angelo Doni and his wife. From Florence he went to Bologna to make the acquaintance of Francesco Francia, and to execute a com mission for the governor of that city. At this time Duke Guidobaldo had gathered about him, at Urbino, a circle of the most brilliant and intellectual people of Italy. Thither Baphael now went, and made friends there, most of whom were true to him while he lived. Among them were Pietro Bembo, Andrea Doria, Giuliano dei Medici, Bernardo da Bibbiena, and Count Uastiglione. He painted for the Duke " S. George, on Horseback, killing tho Dragon," now at St. Petersburg; the portraits of the Duke and his wife, also, and other pictures. In 1507 he completed, at Perugia, the " Entombment of Christ," now in the Borghese Pal. at Borne. In this picture may be seen distinctly the influence of the. study lie had made of Michael Angelo, Leonardo, and other artists. The Clirist, in truth, might almost have been painted by Michael Angelo himself. Again he went to Florence, and soon after painted the " S. Catherine of Alexandria," RAPHAEL. 475 now in the National Gall. ; also the Madonna of the Tempi family, now at Munich, for which Louis of Bavaria paid 16,000 scudi. Several other pictures soon followed, among wMch are " La Vierge au Linge," at Paris ; " La Belle Jardiniere," in the Louvre; and the Madonna with two Children, in the Esterhazy Gall. He became ac quainted at this time with Fra Bartolommeo. He was strongly attracted by Mm, and studied much with him. He learned to ar range his drapery better, to lay color more broadly, and to use car mine with skill. He had commenced the " Madonna del Baldac- chino," now in the Pitti Pal., when he was summoned by the Pope to Rome. This was in 1508. Goethe says, in speaking of Raphael at this time, " Preceding masters had only conducted youth to the threshold; he alone needed to but raise his foot to enter' within the temple." At Florence he was the greatest painter of his time. He needed only the patronage of such a man as Julius to become the ar tist that he afterwards was. Julius desired that the Vatican should be a kind of city, and every branch of art was put in requisition for its adornment. In the state apartments Raphael executed the "Parnassus," the " Disputa del S. Sacramento," the " School of Athens," and fifteen small pictures representing Poetry, Philosophy, Theology, etc., which obtained for him the title of " the philosophical painter." These wonderful works are too well known, and have been too often described, for a word to be added. No one can see them and consider the age of the artist, who in these for the first time attempted large pictures, without wonder and admiration. Many stories have been told of the disagreement between Raphaet and Michael Angelo, but we cannot doubt that they must have honored and appreciated each other, although they may have appeared like enemies. Certain it is that Raphael was full of what Vasari calls " the might of his noble nature." He made friends everywhere, and at Ms appearance, even among painters, ill-humor was banished. Vasari also said, " Nature, having been conquered by art through the hand of Michael Angelo, was in Raphael conquered by art and man ners together." The influence of such a man is well known. Even the Pope and the most noble men in Rome sought his friendship. He lived, as no artist had lived before, in the luxury of wealth, and Michael Angelo alone avoided him. The never-ending dispute re garding the merits of these two men is well disposed of by Goethe. He says, " Such disputes have not perplexed me, because I have always let them alone, and occupied myself with more immediate examination of all that is valuable and estimable." Not long after Raphael went to Rome, there is reason to believe that he formed an attachment which endured through life. A small house, No. 20 Con- trada Santa Dorotea, is shown as the birthplace of his beloved one, said to have been the daughter of a turf-burner. Passavant says that she was called Margarita. We know not why, she is gen- 476 RAPHAEL. erally called tbe Fornarina. It is pleasant to believe her to have been the same maiden who was in Ms house at the time of Ms death, and for whom he provided in Ms will. We can be certain of notMnw regarding this story, hut we do know that the same female figure ap pears in many of his pictures, and may reasonably be thought the portrait of one he loved, if not of her whom we call the Fornarina. Her picture is in the Barbarini Pal. at Rome. It represents her sit ting in a grove, partly dressed, as if just coming from her bath; her right hand pres.ses a transparent garment to her bosom ; her left hand rests on her lap, and on the arm is a gold bracelet with the name of Raphael inscribed upon it. Can it be that by this he indicated that the beautiful girl was all his own ? It is said that at one time she drew him so completely away from Ms work that his friend Chigi at last devised the plan of bringing her to his scaffold, where she sat the whole day by his side. On the back of some of his sketches for the painting of the " Disputa," wMch are still preserved, four sonnets are written. Three of these are at Oxford. They are full of ardent affection, but the last one ends with the expression of the desire to regain Ms peace and resume his labors. He was never married, although he did not refuse the hand of Maria di Bibbiena, who was proposed to him. The marriage was constantly postponed, as some say because he hoped to become a cardinal, while others maintain that the maiden died, which is not positively known. According to his will her remains were to be placed beside Ms own as Ms betrothed, and the inscription proves that this was done. To the year 1511 be longs the " Madonna di Foligno ; " to 1512 the " Prophet Isaiah," on a pillar in the ch. of S. Augustine ; and many other smaller works were done while he proceeded with the decoration of the second hall in the Vatican. This hall is called La Stanza d'Eliodoro. The pic tures in it are intended to illustrate the divine protection of the church. The subjects are the " Expulsion of Heliodorus from the Temple," the "Miracle of Bolsena," the "March of Attila," the " Deliverance of Peter from Prison," " God appearing to Noah," " Abraham's Sacrifice," " Jacob's Dream," and " Moses at the Burn ing Bush ; " also various smaU allegorical figures, Hei-mas, Caryatids, which serve as socle pictures under the frescoes. He also executed pictures in the window recesses, which are defaced or have been now repainted. For his work here Raphael received £335. Only the first two of these pictures were finished during the life of Julius II. The " Mass of Bolsena " is, without doubt, the most celebrated of these works. It is a representation of the legend that a priest who had doubted the miracle of transubstantiation was brought back to the faith by the flowing of blood from the host, while he himself was celebrating the mass at Bolsena. These pictures might also be con sidered as having a secular as well as religious meaning, for the Pope in the picture of the " March of Attila " was a likeness of Leo. X, RAPHAEL. 477 who in 1513 had succeeded in expelling the French from Italy. Tho socle pictures, too, representing Protection, Peace, Commerce, Plenty, etc., conveyed a delicate compliment to the rule of Leo X. To Julius II. the praise may be given of having developed the venius of both Michael Angelo and Raphael, by giving them the opportunity of executing such extensive works as they alone were able to do. And yet much of the glory has been given to Leo X. , in whose reign the plans of Julius were perfected. Raphael painted more and greater works in five years for Julius IL, than he did in seven years for Leo. In 1815-16 Raphael was employed upon the colored car toons for ten tapestries representing events in the history of the Apostles, to be executed at Arras. These were intended for the lower hall of the Sistine chapel; but seven of them remain, and are in the Mus. at South Kensington. The year before Ms death Francis I. ordered of Raphael the cartoons for twelve otlier tapestries which were completed by Giulio Romano and others. From 1514 until the time of his death the principal paintings of Raphael were the follow ing: The remainder of his paintings in the Vatican, not before mentioned; the Gate leading from the Stanza della Segnatura to the Stanza di Torre Borgia; portraits of many eminent persons, among which were several members of the Medicean family; a portrait of a violin player, 1518, in the Pal. Sciarra Colonna is most attractive, and represents a favorite companion of the Pope ; the Prophets and Sibyls, in a Chapel of S. Maria della Pace; " Galatea," now in the Villa Farnesina; " S. Cecilia," now at Bologna; " Vision of Eze- kiel," Pitti Pal. ; " Marriage of Alexander with Roxana," Borghese Gall.; " Lo Spasimo di Sicilia; " the Sistine Madonna; the " Trans figuration of Christ; " and a large variety of Holy Families, Madon nas, and various other religious subjects, many of which are known by names derived from their distinguishing traits, such as " The Ma donna with the Candelabra," " The Perla," " La Sacra Famiglia della Lacerta," etc. The more important of these pictures are well known by fine engravings, especially those of Marc Anton, for some of which, according to tradition, Raphael assisted with graver and file in the preparation of the plates. The " Lo Spasimo " was painted for a church in Palermo. The ship which was carrying it was wrecked, and all on board perished. The case containing this pic ture alone floated into the port of Genoa, and was recovered before the water had penetrated it. There was great joy in the whole city, and when the monks of Palermo claimed their treasure, the Genoese would not give it up until the Pope commanded them to do so. It is now in the Mus. of Madrid. The Sistine Madonna, so called from the representation of S. Sixtus with S. Barbara in the lower part of the picture, it is said was originally painted for the monks in Piacenza, to be used for a drappellone, that is, a procession standard, but it was the cliief altar-piece in the church until, in 1753, it was purchased for 478 RAPHAEL. the Dresden Gall, for 40,000 Roman scudi. It is almDst universally acknowledged that in tMs work the wonderful genius of Raphael is most directly exhibited. It is full of spirituality, and marvellous in its sublimity, and yet a more simple arrangement could scarcely be conceived. It is pyramidal in form, and while perfect in symmetrical grace, corresponds exactly to the mathematical division known by the ancients as the sectio aurea. TMs picture was painted entirely by Raphael, wMch was a rare occurrence in the latter years, of Ms life. His last work, the " Transfiguration of Christ," was unfinished at the time of his death. The figure of the Saviour, the demoniac boy, the father, the figure of S. Andrew, and the kneeling female in the foreground, are the only portions of tMs work in which the brush of Raphael can be recognized with certainty. Raphael died on Good Friday, wMch was also Ms birthday, 1520. AU Rome was filled with sorrow for Ms death, and crowds surrounded Ms house, where the body was laid out on a catafalque, encircled with torches, while the " Transfiguration " stood behind it. The ceremonies at Ms burial were magnificent. He was buried, as he Mmself had chosen, in the Pantheon of Agrippa. He had also arranged that a statue of the Virgin should be executed by Lorenzetto and placed over his sepul chre. The epitaph, written by Bembo, concludes with these words : " TMs is that Raphael by whom nature feared to be conquered while he lived, and to die when he died." By his will he gave all his works of art to Giulio Romano and Francesco Penni. He provided gen erously for the Fornarina. His house in Rome was given to Bib- biena. He ordered that a house should be purchased with 1000 scudi, the revenue of which should pay for twelve masses to be said monthly on the altar of his burial chapel. These have been discon tinued since 1 705, on account of the insufficiency of the rent of the house. The rest of Ms property was inherited by Ms relatives. Three hundred and thirteen years after the death of Raphael, Pope Gregory XVI. permitted his grave to be opened. His body was found in a tolerable state of preservation, and entire. A second funeral ceremony was celebrated, wliich was attended by eminent artists and men of rank, who moved about the church in a procession, bearing torches, while beautiful music was chanted by an invisible choir, and his body was again consigned to its resting-place. ENGRAVINGS AFTER THE WORKS OF RAPHAEL. Engraver, Albkrti, Cherubino. The Presentation. The Resur rection. The Holy Family; 1582. Jupiter and Ganymede; 1580. The Graces and Venus leaving Juno and Ceres. Engraver, Ai.ix, John. The Holy Family. Engraver, Anderloni, Pietro. The Holy Family. Ihe Incendio di Borgo. The Heliodorus. The Flight of Attila. Engraver, Audouin, Pierre. La Belle Jardiniere. RAPHAEL. 479 Engraver, Audran, Gerard. Thirteen Hieroglyphical Figures, in the Vatican. Fifteen plates called Emblems — or Cupid and Psyche, in a Loggia in the Farnese Garden. Moses in the Burning Bush. S. Paul and Barnabas at Lystra. The Death of Ananias. The Descent of the Saracens in the Port of Ostia. Engraver, Audran, John. Our Saviour in the Bark, preachino-. Engraver, Badalocchio, Sisto. Fifty-one plates after Biblical subjects, painted in the Vatican. Engraver, Baillu. Heliodorus driven from the Temple. Engraver, Bartoli, Pietro Sante. Three sets of friezes, forty- two plates in all. A set of ornaments in figures, forty-three plates, inscribed, Parerga atque ornamenta in Vaticani, etc. The Adoration of the Magi. Engraver, Beatrici, Niccolo. Joseph explaining the Dream, marked with cipher and Ms name ; one of his best plates. Christ de livering the Souls from Purgatory, with the names of Raphael and Beatrici. The Ascension, with cipher; 1541. S. Michael over coming the Evil Spirit; marked N B. L. The Temple of Fortune; marked with cipher. Engraver, Bkiiam, Bartel. Apollo causing Marsyas to be flayed; marked with a B. on a die. Clirist giving his Charge to S. Peter; same mark. Engraver, Berger, Daniel. The Virgin Mary. Engraver, Bloemakrt, Cornelius. S. Luke painting the Virgin and Infant. The Adoration of the Shepherds. Engraver, Blooteling, Abraham. The Marriage of S. Catherine. Engraver, Bonasoni, Giulio. Noah coming out of the Ark. Joseph sold by his Brethren. The Cup found in Benjamin's Sack; with the names of Raffaelle and Bonasone. Christ meeting S. Peter. S. Cecilia. The Bape of Europa. Venus, attended by the Graces. Engraver, Bokcht, Henry van der. The Dead Christ, supported by Joseph of Arimathea, from a drawing by Parmigiano, after Raffaelle; 1645. Engraver, Boulanger, John. The Virgin of the Pinks. A Bust of the Virgin, inscribed, Mater amabilis. Engraver, Brebiette, Peter. The Holy Family, with S. John. Engraver, Bruyn or Bruin, Nicholas de. S. Cecilia. Engraver, Bos or Vanden Bosch, Cornelius. Moses breaking the Tables of the Law; 1550. Moses Presenting the Law to the People; 1551. Engraver, Carracci, Agostino. The Holy Family, with S. John. Engraver, Caraglio or Caralius, Gio. Giacomo. Holy Family. Another Holy Family, with S. Elizabeth. Engraver, Carpi, Ugo da. Jacob's Ladder. David with the Head of Goliath. The Murder of the Innocents. Christ preaching on the Steps of the Temple. Elynias struck with Blindness. The 480 RAPHAEL. Death of Ananias The Descent from the Cross. The Dead Christ in the Lap of the Virgin. S. John in the Wilderness. JEneas carrying Anchises. A Sibyl reading, with a Child holding a Torch. Hercules strangling Antaeus. Raffaelle and Ms Mistress. Engraver, Cavalleiuis, Gio. Battista. The Animals coming out of the Ark. Moses showing the Tables of the Law. The Miracle of the Loaves. . Christ appearing to S. Peter. Battle of Constan tine and Maxentius. The Murder of the Innocents. Engraver, Chambers, Thomas. Raffaelle's Mistress. Engraver, Chateau or Chasteau, William The Miraculous Draught of Fishes. Engraver, Chereau, Jacques. The Holy Family. La Belle Jardiniere. The Transfiguration. Engraver, Cochin, Charles Nicholas, the Elder. Alexander and Roxana; after a drawing by Raphael, in the Crozat Coll. Engraver, Colignon, Francis. The Flight of Attila. Engraver, Cornkille, Michel, the Elder. The Holy Family, with S. Elizabeth. The Murder of the Innocents. Christ appearing to Magdalene. Engraver, Cort, Cornelius. The Transfiguration. The Battle of the Elephants. The Battle of Constantine and Maxentius. Engraver, Cossin, Louis. The School of Athens; large plate. Engraver, Couvay, John. The Virgin and Infant; Di/ectus meus, etc. S. John in the Desert. Engraver, Cuxego, Domenico. La Fornarina. Galatea; from the Barberini Pal. The Entombing of Clirist. Engraver, Dokigny, Sir Nicholas. Nine plates of the seven planets, and the creation of the sun and moon; after the paintings in the Chigi Chapel in La Madonna del Popolo. The Cartoons in eight plates, including the title. Twelve of the history of Cupid and Psyche, and the Triumph of Galatea, including the title; after the paintings in the little Farnesian Gall. The Transfiguration. Engraver, Duflos, Claude. The Entombing of Christ. S. Michael discomforting the Evil Spirit; for the Crozat Coll. Engraver, Edelinck, Gerard. The Holy Family, with S. John, S. Elizabeth, and two angels; after the picture by 'Raphael which is in the Coll. of tho King of France; very fine. The first impressions are before the arms of Colbert,, the second are with the arms, and in the third tho arms have been effaced, but the frame in wMch they were inserted remains. Engraver, Edelinck, Nicholas. Portrait of Card. Julius de' Medici. Portrait of Count Balthasar Castiglione. Engraver, Ehedi, Benedetto. The Transfiguration. Engraver, Fidanza, Paolo. Mount Parnassus. The Mass of Bolsena. Engraver, Flipart, Jean Charles. The Virgin and Infant; for the Crozat Coll. Christ on the Mount of Olives ; for the Crozat Coll. RAPHAEL. 481 Engraver, Franco, Batista, called II Semelei. Tho Donation made to the Church by the Emperor Constantine. Enqraver, Galle, Cornelius, the Elder. The Virgin caressing the Child. The Entombment of Christ. Engraver, Gaultier, Leonard. Thirty-two plates of the history of Cupid and Psyche. Engraver, Ghisi, Giorgio. Portrait of Julius II. The Holy Family; half-length. School of Athens; two sheets. The Dispute of the Sacrament. An emblematical subject, sometimes called " Raphael's Dream," and sometimes " The Melancholy of Michael Angelo;" 1561. Engraver, Ghisi, Diana. The Holy Family, with S. John pre senting a billet. Engraver, Gregori, Carlo. The Maries at the Sepulchre. Engraver, Gribelin, Simon. The Cartoon ; seven small plates. Engraver, Jacoboni, Gio. Batista. The Holy Family. Engraver, Kirkall, Edward. The Cartoons of Raphael, in eight plates. The Bust of the Saviour. Engraver, Lanfranco, Cavaliere Gio. A part of the plates en graved conjointly with Sisto Badalocchio, from the paintings in the Vatican called " Raphael's Bible; " fifty-one prints besides the titles. Engraver, Langi.ois, John. S. Luke painting the Virgin. Engraver, Larmessin, Nicholas de, the Younger. Portraits for the Crozat Coll. : Baphael and Jacopo Pontormo (half-lengths) ; Federigo Carondeletto; Cardinal Pole. Subjects for the Crozat Coll.; S.Michael vanquishing the Evil Spirit; S. George and the Dragon; S. John the Evangelist; The Holy Family; Madonna and Child; Vision of Ezekiel; Christ Bearing his Cross. Engraver, Lombard or Lombart, Peter. S. Michael subduing the Demon. Engraver, Mannl or Maennl, Jacob. S Margaret treading on the Dragon. Engraver, Maratti, Carlo. Heliodorus driven from the Temple; in two sheets. Engraver, Matham, James. The Holy Family, with S. Ann. Mount Parnassus, with Apollo and the Muses. Engraver, Mazzuoli, Francesco, called II Parmigiano. S. Peter and S. Paul healing the Lame Man; fine. Engraver, Morghen, Baphael. The Mass of Bolsena. - The Transfiguration. The Madonna della Seggiola. Engraver, Morin, John. The Virgin with the Child on her knee, holding a bouquet of flowers, inscribed, Dilectus mens mild. Engraver, Moro, Gio. Batista d' Angeli. The Holy Family, with S. Elizabeth and S. John. Another Holy Family. Engraver, Musis, Agostino de, called Agostino Veneziano. The Creation, engraved in conjunction with Marco da Ravenna. The 31 482 RAPHAEL. Sacrifice of Isaac. The Benediction of Isaac, dated 1522; very scarce. Same subject dated 1524. The Israelites passing the Dead Sea. The Israelites gathering the Manna. The Archangel Michael. S. Jerome with the Lion. Tarquin and Lucretia. The Death of Lucretia. Vulcan giving Cupid's arrows to Venus; 1530. Venus riding on a Dolphin, with Cupid holding a Torch. Apollo and Daphne. The Triumph of Silenus, marked A V, on a tablet. Hercules destroying the Nemean Lion. Engraver, Natalis, Michael. Holy Family. Engraver, Otta viani, Gio. Four plates from the pictures in La Farnesina. Jupiter and Ganymede. Juno on her Car. Neptune on the Ocean. Pluto and Proserpine. Engraver, Pavon, Ignatius. La Madonna del Trono. La Ma donna di Foligno. La Vierge au Papillon. La Vierge au L'Oiseau. The Transfiguration. Engraver, Pazzi, Pietro Antonio. The Assumption of the Vhgin. Engraver, Peiroleri, Pietro. Portrait of the Fornarina. Engraver, Perac, Stephen. The Judgment of Paris. Engraver, Perrier, Francis. Ten plates of the angels in the Farnesina. Two plates of the Assembly of the Gods, and the Mar riage of Cupid and Psyche; from paintings in the Farnesina. Engraver, Pesne, John. Holy Family. Engraver, Piccioni, Matteo. S. Luke painting the Virgin. Engraver, Pitau, Nicholas. Holy Family, with S. Elizabeth and S. John; very fine. Engraver, Poilly, Francis, the Elder. The Vision of Ezekiel. The Holy Family, with Christ standing upon a Cradle. The Virgin lifting up a Veil to show the Sleeping CMist to S. John. Engraver, Pheisler, John Martin. The Madonna della Seggia. Engraver, Prestel, John Gotleib. The Descent from the Cross. Engraver, Raimondi, Marc Antonio. Adam and Eve. Noah sacrificing after leaving the Ark. God appearing to Noah. God appearing to Isaac. Joseph and Potiphar's Wife. David cutting off the Head of Goliath. David taking up the Head of Goliath; very scarce. The Murder of the Innocents. The Holy Family; usually called "The Virgin with the Long Thigh." The Virgin seated, with a palm-tree in the background; called " The Vhgin of tho Palm." The Virgin seated near a cradle, presenting the Child to S. Anne; called "The Vhgin of the Cradle." The Virgin seated on a Chair, embracing the Infant. The Virgin holding the Infant, and reading. The Virgin and Child; to whom Tobit, ac companied by an Angel, is presenting a Fish. The Virgin in the Clouds, holding the Infant Jesus. Christ seated between two Col umns, upon the Steps, with the Virgin and Mary Magdalene; called " The Virgin with the Steps." Mary Magdalene at the Feet of Christ in the House of Simon the Pharisee. The Last Supper; RAPHAEL. 483 called " La Piece des Pieds." The Taking down from the Cross. The dead Christ laid on the Sepulchre, with the Virgin with her arms extended. The same composition, in wMcli the Virgin appears younger, and has one of her arms naked; called " The Virn-in with the Naked Arm." The Dead Christ with his Head on the Knees of the Vhgin, with the Holy Women, two of the Disciples, and Nicodemus. Christ with a Glory, between the Virgin and S. John, and, below, S. Paul and S. Catherine; called " The Five Saints." The Death of Ananias. Elymas struck blind. S. Paul preaching at Athens. S. Cecilia with Mary Magdalene, S. Paul, and two other Saints ; there is a shadow on the neck of S. Cecilia, from which it is called " The S. Cecilia with the Necklace." The Martyrdom of S. Felicita. A set of thirteen plates of Christ and the Apostles. The Books of the Sibyls put into the Tomb of Nunia Pompilius. The Rape of Helen. iEneas saving Anchises from the Burning of Troy. Venus appearing to iEneas in the form of a Huntress. The Death of Dido. The Death of Lucretia. The Battle of the Sabre. Three of the Angels of the Farnesina; representing Venus caressing Cupid, Cupid and the Graces, and Mercury descending from Olympus. The Judgment of Paris. Vulcan, Venus, and Cupid. The Triumph of Galatea. Mount Parnassus. The two Sibyls. The Pest; called "II Mor- betto." Engraver, Ravenna, Marco da. A set of twelve plates of Biblical subjects from paintings in the Vatican. The Transfigu ration. The Last Supper. The Holy Family; called " The Vir gin with the Long Thigh." A set of thirteen plates of Christ and the Apostles. S. Michael discomfiting the Evil Spirit. The Bape of Helen. Venus quitting Juno and Ceres. The Triumph of Gal atea. The Assembly of the Gods. Venus on the Water, seated on a Shell. Venus under a Tree, taking a Thorn from her Foot; called " The Venus with the Rabbit." _ Polyphemus pursmng Galatea. Galatea, on a Shell, flying from Polyphemus. Engraver, Raymond, John. The Holy Family; a circular plate. Engraver, Bichomme, Joseph Theodore. The Triumph of Gala tea. Five Saints. The Holy Family. Adam and Eve. Engraver, Bota, Martino. Christ appearing to S.Peter; 1568. Engraver, Boussellet, Giles. The Holy Family, with S. Eliza beth and S. John, presenting Jesus with a Bird. La Belle Jardi niere. The Holy Family, with S. Elizabeth, S. John, and two An gels. S. Michael discomfiting the Evil Spirit. Engraver, Sadeller, Egidius or Giles. The Virgin and Infant. Engraver, Sanuto or Sanutus, Giulio. The Marriage of the Virgin. Apollo and Marsyas, after Correggio; with the Parnassus, after Baphael. Engraver, Scalberg, Peter. The Entombing of Christ. Engraver, Schiavone, Andrea. S. Peter and S. John healing the Lame Man. 484 RAPHAEL. Engraver, Schuppen, Peter Van. The Virgin and Child; 1661. Engraver, Scotto or Scotti, Gholamo. The Virgin in the Clouds, with the Child in her arms. Madonna di Foligno. Mater pulchrae dilectionis ; after a picture by Raphael, discovered at Genoa in 1823. Engraver, Selma, Fernando. La Madonna del Pesce. The Vh gin and Child. Engraver, Simoneau, Charles. The Holy Family, with S. Eliza beth and S. John. The Virgin and Child, with S. John. Engraver, Sirani, Elisabetta. The Holy Family; inscribed, Elizabetha Sirani, sic incisum exposuit. Engraver, Strange, Robert, Sir. S. Cecilia; 1771. Justice; 1765. Meekness; 1765. Engraver, Tardieu, Peter Alexander. CMist overcoming Lu cifer. Engraver, Testelin, Henri. The Holy Family, in which Angels scatter Flowers. S. Michael vanquishing Satan. Engraver, Thomassix, Philip. A set of plates called " Christ and the Apostles." S. Margaret. S. Cecilia. School of Athens. The Disputa. The Defeat of the Saracens in the Port of Ostia. In- cendio del Borgo. Engraver, Thomassin, Simon. The Miraculous Draught of Fishes. The Transfiguration. Engraver, Vaillant, Wallerant. S. Barbara. Engraver, Valet or Vallet, William. The Nativity. The Holy Family. Melchisedec bringing Presents to Abraham. The Last Supper. Engraver, Vallee, Simon. The Transfiguration. S. John in the Desert. Engraver, Vangelisti, Vincenzio. The Madonna and CMld. Engraver, Vicentino, Gio. Niccolo. Hercules killing the Lion. A Sibyl reading a Book. Engraver, Vico, Vicus, or Vighi, Enea. The Entombing of Christ; 1548. Engraver, Victoria, Vicente. Virgin and Child in the Clouds, with a Glory of Angels, S. John, S. Francis, and S. Jerome below. Engraver, Villamena, Francesco. The Holy Family, with S. John, S. Elizabeth, and S. Anne; 1602. Same subject, engraved at Rome; 1611. A set of twenty Scriptural subjects from the Vatican, called " Raphael's Bible." Engraver, Volpato, Gio. Four Sibyls; from paintings in the ch. of S. Maria della Pace. The Marriage of Alexander and Boxana. Illuminated Plates : The School of Athens; The Disputa; Helio- dorus; Attila arrested by S. Peter and S. Paul; S. Peter delivered from Prison; Mount Parnassus; Incendio del Borgo; The Mass of Bolsena. RAPHAEL — READ. 485 Engraver, Vorsterman, Lucas, the Elder. The Holy Family. The Entombing of Christ. S. George. Engraver, Vouillemont, Sebastian. Murder of the Innocents. Christ with the Disciples at Emmaus. Mount Parnassus. Engraver, Vuibert or Wibert, Remi. Adam receiving the forbidden Fruit. The Judgment of Solomon. Apollo and Marsyas. Rauch, Christian, born at Waldeck (1777-1857). This eminent sculptor was a follower of Schadow, and as artist and teacher car ried out the style of that master. The statue of Queen Louise at Charlottenburg is one of the finest productions of modern sculptors. In Berlin are Ms statues ofthe Generals Scharnhorstand BUlow; the reliefs on the pedestals are of classic beauty. These were done be tween 1815 and 1822, and his advance in design and expression of life may be seen by comparing them with the grand Friedrichs monument (1839-1851), which is not far from them. This last is one of the very finest works of modern times. Other important works by Rauch are the statue of Bliicher, at Breslau; that of August Hermann Franke, at Halle; that of Diirer, at Nuremberg; the monument to Maximilian I., at Munich; and six marble " Victories " for the Wal- halla. He also executed many marble busts of great excellence. He combined a happy and truthful embodiment of individual character with fine technical treatment, and yet he seemed to elevate the indi vidual characteristics to the greatest nobleness of wMch they were capable, thus giving a satisfactory portrait and a more satisfactory effect. Late in life he made a model for the marble group of " Moses supported in prayer by Aaron and Hur," but as a rule he avoided religious subjects. __ ^^ Ravenna, Marco da, real name Marco Dcnte. Ivri TH Born at Ravenna about 1496. One of the best pu- pils of Marc Antonio Raimondi. He did not equal his master in firmness of touch and precision of drawing, but was, after all, a good engraver. It is believed by some that the second plate of the " Murder of the Innocents " was executed by this artist. If so it is his chef-d' ceuvre, but it is very doubtful. Usually he was a mere copyist of his instructor, and failed in imitating him in his most finished works. Ravestyn, Jan, born at the Hague (1580-1657). This portrait painter executed two very large pictures, which are in the Town Hall at the Hague. His smaller works are seen in many private col lections in Holland. His heads are full of life, but somewhat coarse ; his handling is skilful, but Ms color is usually too red. Razzi, called B Soddoma. See Bazzi. Read, Thomas Buchanan, born in Chester County, Pennsylvania (1822-1872). When but seventeen years old he entered the studio of a sculptor in Cincinnati, intending to devote himself to sculpture for life; but painting soon proved the more attractive to him, and 486 READ — REINAGLE. he practised sculpture only as an amateur. His bust of General Sheridan will be remembered as an ornament of Ms studio in Rome. In 1841 he went to New York, then to Boston, and settled in PMla- delphia in 1846. He visited Europe first in 1850, since which time he has lived in Florence and Rome, passing some intervals in Cincinnati. His pictures and his poems have the same charac teristics, as might be expected. They are full of aerial grace and delicacy; an exquisite refinement and an ideal charm mingle in all he did. And yet he sometimes wrote with the spirit we find in " Sheridan's Ride," and painted with such force as is seen iu " Sheridan and his Horse." His portraits are too well known to require praise. Some of his most charming pictures are his " Un dine," " The Lost Pleiad," and " The Star of Bethlehem." 1 His poems have gained Mm an honorable place among the minor poets of America, and many of them are widely known, though none so well as the " Sheridan's Ride," wMch has received the largest praise of all. His first poems were published in Boston in 1847 ; Ms "Lays and Ballads " in 1848, and an illustrated edition in 1853. In 1855 " The New Pastoral " was published, and " The Home by the Sea " followed the next year. In 1860 a collective edition of his works was issued, and since then his writing has been but occasional. For about five years before his death he had scarcely left Rome, and the effect of the climate told upon his health very seriously. He de termined to come home, and when in Liverpool contracted a cold, which ended in pleuro-pneumonia, and he died May 1 1th, only a few days after his arrival in New York. His sufferings on the voyage were intense, 'and although he rallied a little after landing, and had hopes himself of reaching Cincinnati, where he ardently desired to go, his strength continually failed until he passed beyond all journeys. Plis friends are in all lands, and he was dearly loved for his sweet disposition and cordial manners, as he was much admired for his intellectual gifts and attainments. The society he graced in Rome will feel Ms loss deeply, and his American friends cherish Ms mem ory with true affection. Regillo. See Pordenone. Reinagle, Philip (1749-1833). A landscape and animal painter of some merit. He spent considerable time in painting the " Sports man's Cabinet," a collection of dogs. These were engraved by John Scott. Richard Ramsay Reinagle, son of Philip, was a successful landscape painter (1775-1862). He resided several years in Italy, and brought to England a great number of sketches, from which he composed Ms pictures. George P. Reinagle (1802-1835), son of it. R. Reinagle, was a painter of sea pieces, but is best remembered for 1 Mr. Claghorn of Philadelphia (a generous friend and patron of Mr. Read) has in his Coll. several pictures by this artist, executed during his successive visits to Italy, and showing his progress from time to time. REINAGLE — REMBRANDT. 487 his drawings of ships, sea-fights, etc., on stone. He was present at the battle of Navarino, and painted several works representing that engagement. Rembrandt van Ryn, born at Leyden (1607-1669). This great painter was not intended by his parents for the profession which he chose. He was placed in a good school at Leyden, but very early manifested such a talent for drawing and such a love for it, as ex cluded everything else from his thoughts. Ho was therefore placed under the instruction of J. J. van Swanenburg, of Leyden. It is also said that he was taught by Pieter Lastmann and Jacob Pinas. If the influence of any master can be seen in the works of Rembrandt, it would be that of Lastmann, but he so entirely originated his own manner, that we scarcely realize that he was ever taught at all. At the early age of twenty-two he established Mmself in Amsterdam, where he lived until his death. He had already attracted much attention, and received numerous commissions. In 1634 he married Saskia Nilenburg, a wealthy young lady of very respectable con nections. She lived but eight years after her marriage, and bore two children, but one of whom, Titus, survived her. The years of tMs marriage were undoubtedly the happiest portion of Rembrandt's life. Saskia left her entire fortune to her husband, stipulating only that her son should be well educated, and should receive a marriage por tion. Bembrandt^ married again, and had two other children born to him, as is proved by the records of Amsterdam, but the name or position of his second wife is not known. There is very little material for a biographical sketch of this master. It has been by some supposed that he knew nothing of antique or Italian art, but we now know that his strongest passion was that of collecting works of art and curiosities; indeed, his pursuit of these things, and his willingness to pay large sums for them, was the cause of his ultimate poverty. In the Court of Insolvency at Amsterdam is the catalogue of his collection, and this simple and hastily written paper throws much light on the history of Rembrandt. Besides a rich collection of weapons, armor, costumes, and utensils of different nations, he had a number of antique sculptures, such as the " Laocobn," a " Cupid," and busts of Homer and Socrates; of pictures, he had those of the Dutch and Netherlandish schools from the earliest dates, and a small number by such Italian masters as Giorgione, Palma Vecchio, Raphael, and Michael Angelo. His engravings were numerous and from the works of Titian, Andrea Mantegna, Vanni, Baroccio, Tempesta, the Carracci, Guido, Spagnoletto, and others. The list also mentions "a parcel of ancient rags of various colors." With this knowledge, we can no longer feel that Rembrandt did not choose his subjects and their treatment from a decided preference and love for them, and with sufficient knowledge of what had been done by other artists, in other nations and times, to be able to decide under- 488 REMBRANDT. standingly for Mmself . He wished only to represent what he saw, and of what he saw it was ever the most striking and unusual feature which seemed to remain with him. We are too apt to say of an unusual thing that it is not natural; but if we were more acute in our observations, we should soon find that nothing can be too strange to be natural, and especially when, as in the ease of Rembrandt, the great effects are those of light and shade. Have we not all seen a landscape on a dull day, with no sun and no shadow, that seemed tame and featureless ? And have we not seen the same place again when the sun threw out that clump of trees, and shimmered on that brook until it was rippling silver, and left all else dark and cold, — so cold and so dark that the great rock is blacker than black, and the grass beyond the sunshine brown in place of green, — and we wonder why we did not see that there was character and " points " here before 1 Now, this is just what Rembrandt did. He put such effects of light and shade as he had seen, and nothing else. He gave in every work " points " to fix our eye, and though all else was fimshed with ex quisite skill, and would bear examination just as the flowers and grass in the shade of our real landscape would do if we went to them, still we do not care to search them out. The one great interest holds us and is enough. His technical powers were marvellous; his freedom, sphit, and breadth of manner had no example before Mm. In spite of all these advantages, he painted ugly and even vulgar heads ; he disregarded all rules of art in costume and acces sories ; he parodied ideal and mythological subjects, and painted the coarse and common men about him to represent the personages of Scripture story ; but with all there is a simplicity, trutMulness, and earnestness that holds and satisfies us. At different periods he used different lighting and handling; e. g., before 1633 he used such clear daylight as is seen in the " Anatomical Lecture," now at the Hague; the flesh tints are warm and clear, and there is a certain fusion in spite of the free and careful touch. Ever after tMs period he pre ferred the light of which we have spoken, enclosed light, so to speak; that which leaves great masses in shadow, and breaks over certain objects; bis touch, too, became very sphited and more dis tinct; Ms flesh tones were more golden, and therefore less natural. It was in 1656 that his money matters became so involved that his house and his precious collection were sold. We can imagine the grief this must have been to Mm, and yet Ms works do not show it. The large picture of "Jacob blessing the Sons of Joseph," in the Cassel Gall., was painted in this year. The etcMngs are no less wonderful than the paintings of this great master. He has been called the " Prince of Etchers." He did not use the etching needle alone, but the dry point also, and sometimes finished with the graver. Pie established a new school of engraving, and by his own genius alone invented a process of wMch the charm is indescribable. Bis REMBRANDT. 489 consummate management of light and shadow, together with Ms free handling of Ms point, produces wonderful results; he makes a con fusion, but brings a surprising and perfect effect out of it. Both as a painter and engraver his portraits are of the very highest excel lence. His domestic scenes are full of spirit, and have an hresistible RAPE OT GANYMEDE. BY KEMBKANDT. Dresden Gall. power, and Ms compositions of a Mgher order seem to have been executed by a magic needle. Such are the plates of ' ' Christ heal ing the Sick," and the " Raising of Lazarus." The first of these is known as the " Hundred Guilders Print," that being the price set upon it by the master. A good impression of it is now worth about nine times that sum. Of Ms portraits in etching, those of Jan Lutma, 490 REMBRANDT. Burgomaster Six (his great patron), and of himself are the most remarkable. It is very hard to select, in the space we have, the pictures or engravings of which to speak, for he left about 600 of the first and 400 of the latter, and they embrace all possible conceptions of such subjects as he represented. His works are in all large galleries. The following is a partial list of the more important ones : The " Ni"ht Watch " (his largest picture) and the " Trustees ofthe Staalhof," in the Amsterdam Gall. ; the " Anatomical Lecture" and the " Presentation in the Temple," in the Hague Gall.; the " Descent from the Cross," cabinet, Munich Gall.; the "Woman taken in Adultery," a " Descent from the Cross," and a fine portrait of a Rabbi, in the National Gall.; a " Holy Family," the " Family of Tobit ador ing the departing Angel,'-' the " Good Samaritan," two " PMlos- ophers " (so-called), two portraits of himself, and another of a beau tiful young woman, in the Louvre; the well-known " Ganymede," at Dresden, and a number of pictures in the Cassel Gall., among wMch are the large picture of " Jacob blessing Joseph's Sons," already mentioned, and a fine portrait of a female in profile. The Berlin Mus. has the picture of " Prince Adolphus of Gueldres threatening his Father in Prison; " this is important among Rembrandt's works from profane history. Besides all these, the galleries of St. Peters burg and Vienna are rich in his pictures, and a large number are scattered through England in private galleries; and those of the magnificent Coll. of the Six family, in Amsterdam, should not be forgotten. This great artist gave expression to his feehng for nature in some rare landscapes. Most of these are in private hands. I have seen but, one, in the Cassel Gall. It has a magnificent sky; in the foreground is a bridge, and on an eminence the rains of a castle are seen. The color is glowing, and the whole composition charm ing, just as we should expect when we think of his landscape etch ings. The last home of Rembrandt was on the Rozengracht, where he died. He was buried in the cemetery of the Westerkerk, and the registered cost of the burial fees is but fifteen florins. ENGRAVINGS AFTER THE WORKS OF REMBRANDT. Engraver, Amstel, Cornelius Ploos van. A Woman looking out of a Door; Rembrandt, del., P. Van Amstel, fecit; 1764. A Youn? Man, with a Hat on, looking out of a Door; same inscription; both fine. Engraver, Ardell, James Mc. Interior of a Chamber, with a Woman reading and a Child in a Cradle; fine. The Angel and Tobit. The Tribute Money. Rembrandt's Mother reading. Engraver, Baillu, . S. Anastatius reading. Engraver, Bernard, Samuel. The Nativity. Engraver, Brinckman, Philip Jerome. The Repose in Egypt; Rembrandt, inv., Brinckman, fee. REMBRANDT. 491 Engraver, Campion, Charles, Comte de Tersan, and Ms brother Joseph Andre. Abraham and Isaac. Job and his Wife. Engraver, Chatelain, J. B. A Landscape. Engraver, Corbutt, Charles. The Old Rabbi. Engraver, Danzel, Jerome. An Old Man; half-length. Engraver, Earlom, Richard. A Portrait of Rembrandt. Rem brandt's Wife; Rembrandt, pinx. Elijah restoring to life the Widow's Son. The Presentation in the Temple. Susanna and the Elders. Engraver, Exshau, S. A Bust of an Old Man, with a Bound Hat; Rembrandt, inv., C. Exshau, fee. ; 1758. The Head of an Old Man, with a Beard; same inscription and date. Joseph and Poti- phar's Wife; Rembrandt, pinx., Exshau, fee. aqua forte ; scarce. S. Peter's Bark in the Storm ; same inscription, scarce. Engraver, Greenwood, John. Christ with Nicodemus. Christ among the Doctors. Rembrandt's Father. Engraver, Haid, John Gottfried. Abraham offering up Isaac. Engraver, Haid, John Elias. The Nativity. The Raising of Lazarus. Engraver, Houbraken, Jacob. The Sacrifice of Manoah. Engraver, Houston, Richard. An Old Man with a Beard; fine. A Man seated, with a large Hat on Ms Head; fine. Bust of a Woman, called " The great Jew Bride." An Old Woman plucking a Fowl. A Man holding a Knife. The Pen-cutter. The Philoso pher in Contemplation. The Gold-weigher. Christ and the Samari tan Woman. Engraver, Janota, John George. Bust of a Young Man. Engraver, Landkrer, Ferdinand. Samson and Delilah. Engraver, Lawrie, Robert. The Incredulity of S. Thomas. Engraver, Leeuw, William de. Tobit and his Wife. David playing the Harp before Saul. The Portrait of Bembrandt's Wife. A Lady with a Veil; half-length; inscribed, Marianne. Engraver, Lepicie", Bernard. Vertumnus and Pomona. Engraver, Marcenay, Anthony de Ghuy. Tobit recovering his Sight. The Lady with the Pearl; an oval; 1768. Engraver, Moreau, John Michael. The Bath of Bathsheba. Engraver, Oeser, Frederic. Saul and the Witch of Endor. The Presentation in the Temple. Engraver, Pether, William. The Rabbi. An Officer in Armor. An Old Man with a Beard. The Lord of the Vineyard. Engraver, Ravenet, Simon Francis. The Lord of the Vineyard. Engraver, Read, Richard. A Portrait of a Dutch Lady. Rembrandt's own Plates. Portraits of himself : — Rembrandt with his mouth open. 1630. The Busts of Rembrandt and Ms AVife. 1636. 492 REMBRANDT. A Bust of Rembrandt; highly finished. 1638. His Portrait, with a Crayon in Ms Hand. His Portrait in a Persian Habit. 1654. There are in all twenty-seven portraits of Rembrandt by himself. The above are the most interesting. Old Testament Subjects : — Adam and Eve in Paradise. 1638. Abraham sending away Hagar. 1637. Abraham and Isaac. 1645. Joseph relating his Dream. 1638. Jacob lamenting the Death of Joseph. Joseph and Potiphar's Wife. 1634. The Triumph of Mordecai. Tobit and the Angel. 1641. New Testament Subjects : — The Annunciation to the Shepherds. 1634. The Adoration of the Shepherds ; three different impressions. The Circumcision; fine. The Presentation in the Temple. 1630. The Flight into Egypt. 1658. Same subject in the manner of mezzotinto. Same subject in the style of Elsheimer. The Holy Family. 1654. The Little Tomb. The Tribute Money. Christ driving the Money-changers from the Temple. Christ and the Samaritan Woman. Same Subject, with Samaria in the distance. 1634. The Raising of Lazarus. 1642. The Great Resurrection of Lazarus. The first impressions of this print are scarce, and the figure running away is bareheaded. In the second he wears a cap. Christ healing the Sick; called " The Hundred Guilders Print." The great Ecce Homo. 1636. The Descent from the Cross. 1633. Christ presented to the People. 1655. The Crucifixion. 1658. The Entombing of Christ. Christ with the Disciples at Emmaus. 1643. The Good Samaritan. The first impressions have the tail of the horse white. SS. Peter and John at the Gate of the Temple. The Baptism of the Eunuch. 1641. The Death of the Virgin. 1639. Devout Subjects : — The Stoning of Stephen. 1635. REMBRANDT. 493 S. Jerome sitting near the Trunk of a Tree. 1654. S. Jerome kneeling. 1634. S. Jerome writing in a Book. 1648. S. Jerome; an unfinished plate. S. Francis praying; 1657; very scarce. Various Subjects : — The Hour of Death. Youth surprised by Death. 1639. The Marriage of Jason and Creusa. 1648. The Star of the Kings. A Lion Hunt. The Blind Bagpiper. The Spanish Gypsy. The Rat-killer. 1632. The Goldsmith. The Pancake Woman. 1635. The Jewish Synagogue. 1648. The Corn-cutter. The Schoolmaster. 1641. Hie Mountebank. Travelling Peasants. A Jew with a high Cap. 1639. The Astrologer. The Philosopher. The Persian. 1632. The Skater. Beggars : — j Several small plates of Bf ggars: some of which are scarce. 'Group of Beggars at the Door of a House. 1648. Academical Subjects : — A Student drawing from the Model called " The Statue of Pyg malion." The Bathers. 1631. A Woman before a Stove. Four different impressions. A Woman with her Feet in the Water. Landscapes : — Bridge of the Burgomaster Six. 1643. View of Amsterdam. The Sportsman. The three Trees. 1642. Landscape, called " The Milk Pails." A Village near the High Road; arched. 1650. The Coach Landscape, Village with a Square Tower; arched. 1650. A Large Landscape, with a Cottage and Barn. 1641. A Village seen in the distance. 1641. 494 REMBRANDT. Landscape with Cattle; arched. Landscape with an Obelisk; arched. The Mill of Rembrandt's Father. 1641. The Gold-weigher's Field. 1651. Landscape, with a Cow drinking. Portraits of Men : — An Old Man with a large Beard. A Man with a Crucifix and Chain. 1641. J. Antonides Vander Linden, Professor of Physio. Janus Silvius, minister, of Amsterdam. A Young Man meditating. 1636. Manasseh Ben Israel. 1636. Dr. Faustus. Renier Hansloo, minister of the Anabaptists. 1641. Clement de Jonge, print-seller. 1651. Abraham France. The Old Haaring. The Young Haaring. 1655. John Lutna, goldsmith. 1656. John Asselyn, painter. Ephraim Bonus, a Jewish physician. Wtenbogardus ; oval. 1635. John Cornelius Silvius. The Banker, or Gold-weigher. 1639. The Little Coppenol, the Writing-masl* er- The Great Coppenol. Impressions of §^s piate ^jth the white or unfinished background are very scarce. The Advocate *~ ¦p j^gomaster Six. fSV:. leads of Men : — tiree Oriental Heads; inscribed Rembrandt Venetiis. 1635. An Old Man with a large Beard. A Bald-headed Old Man. 1630. A Young Man, half-length, in profile. Bust of an Old Man with square Beard and velvet Cap. 1637. The Turkish Slave. The Philosopher with the Hour-glass. Portraits of Women : — The Great Jewish Bride. The Little Jewish Bride. 1638. Two portraits of Old Women. A Young Woman reading. 1 634. An Old Woman in an Oriental Dress. 1631. Rembrandt's Mother. 1631. Rembrandt's Wife. An Old Woman sleeping. REMBRANDT — RENI. 495 An Old Woman with Spectacles. The above are but a part of the prints made by Rembrandt, and there is a variety of studies and sketches, some of wMch are very fine, and very scarce. Engraver, Savery or Savry, Solomon. Christ driving the Money-changers out of the Temple. Engraver, Schiavonetti, Luigi. The Portrait of Berehem. Engraver, Schmidt, George Frederic. The Portrait of Rem brandt. Christ restoring the Daughter of Jairus. Lot and Ms Daughters; very rare. The Young Jewess and her Father. The Mother of Rembrandt. The Young Lord. Old Man with the Beard. Engraver, Spilsbury, Inigo. Abraham sending away Hagar. Engraver, Tischbein, John Henry, the Younger. A Mountain ous Landscape. Engraver, Watson, Thomas. Jupiter and Mercury with Philemon and Baucis. Engraver, Wood, John. A Firelight. ttn Reni, Guido, born at Bologna (1575-1642). Son of a ClT\ Pr°fessor °f music, he early began to practise playing upon the flute, but soon chose to adopt the profession of a painter. His first instructor was Denis Calvart, whom he left in order to enter the school of the Carracci, where he became the favorite of Ludo vico. When the pictures of Caravaggio began to attract attention, the Carracci were thoroughly alarmed for the fate of true art, and Annibale in a lecture laid down the rules which he considered the basis of the highest type of painting. This discourse made a great impression upon Guido, and he determined to govern himself by it- Soon the excellence of Ms works was noticed, and he was upbraided by Ms teachers for insolence in attempting to establish a new system; Ludovico at last dismissed Mm from the academy. Guido soon after painted a " S. Benedetto in the Desert," for the ch. of S. Michele in Bosco; some of Ludovico's finest works were in the same church, but that of Guido did not suffer by contrast. He went to Rome with Albano. His first picture painted there, the " Martyrdom of S. Cecilia," won for him great praise, but it gained Mm the enmity of other artists. The power of Caravao-gio was so great at that time that when Card. Borghese commissioned Guido to paint a picture of the " Crucifixion of S. Peter," he stipulated that it should be done in Caravaggio' s manner. Guido did not break the letter of the agree ment, but the spirit of his work made it very unlike those of the other master. His success called out the hatred of his enemies; even Albano deserted him ; but the bitterness of Annibale Carracci, who was then employed at the Farnesina, was the most important of all, for his invectives being repeated would injure Mm even with pos- 496 RENI. terity. He gained a new triumph in Ms decoration for Paul V. of the private chapel of Monte Cavallo. He had some disagreement with the Pope's treasurer, and returned to Bologna. He then painted several pictures in Ms native city, the most celebrated beino- the "Murder of the Innocents," for the ch. of S. Domenico. Paul V. was anxious for his return to Rome, and when he went he was employed at S. Maria Maggiore. His finest work in Rome, wMch is also generally considered his chef-d' ceuvre, is the " Aurora" in the garden house of the Palazzo Rospigliosi. This is well known by the engravings of Morghen and Frey. After his work was finished at S. Maria Maggiore, he returned to Bologna and was obliged to refuse many commissions, so great was the number he received. When he sent his " S. Michael " to the Cappuccini at Bome, he wrote, "I wish I had had the wings of an angel, to have ascended into Paradise, and there to have beholden the forms of those beatified sphits from which I might have copied my archangel; but not being able to mount so high, it was in vain for me to search for Ms resemblance here below ; so that I was forced to make an introspection into my own mind, and into that idea of beauty wMch I have formed in my own imagination." It is said, indeed, that his beauty and grace was always drawn from the same source ; that he was accustomed to pose his color grinder, and drawing the outline from him, and arrano-in" the lights and shades as he saw them, he supplied the beauty from his own idea of it. But the life of tMs master was degraded by Ms passion for gaming, and at last he sent forth unworthy pictures for the sake of gain ; he was, however, reduced to great distresses, which brought on the fever of which he died. With the exception of Do menichino he is considered the most worthy of the disciples ofthe Car racci. There is much grace and beauty in his works, but they are wanting in vigor and strength; this is especially true of Ms male figures. There is also a tiresome sameness in his female heads, which seem to be modelled after the antique Niobe. His heads of Christ want dignity, and his Virgins are only pretty women ; in short, Ms characteristic seems to be an exalted and beautiful concep tion of beauty, withoutindividual life or interest — an empty abstrac tion. In the last days he multiplied Madonnas and -Cleopatras and kindred subjects, which are to be seen in many collections. In ad dition to those already mentioned, some of his more important works are a " Madonna della Pieta" and a " Mater Dolorosa " at Bologna; SS. Paul and Anthony, the hermits, in the Berlin Mus. ; a " Fortune," an allegorical picture, which is several times repeated, and is in the Schleissheim, Berlin, and Capitol (Rome) galleries. The Louvre has a large number of his works. He also left a considerable number of etchings which have the same characteristics as Ms paintings, and are executed with much grace and freedom. RENI. 499 engravings after the works of guido reni. Engraver, Aliamet, Francois Germain. The Circumcision; oval. Engraver, Andriot or Handeriot, Franz. A Magdalene. Madonna and Bambino. Engraver, Aubert, Michel. S. Francis; arched. Engraver, Audran, Gerard. The Magdalene ; half-length. Engraver, Audran, Benoit. The Rape, of Dejanira. Engraver, Audran, John. S. Andrew led to Crucifixion. The Martyrdom of S. Peter. Engraver, Baillu. S. Michael vanquishing Satan. Engraver, Bause, John Frederick. Artemisa. The Head of CMist. Engraver, Bella, Stefano della. TMee CMldren carrying a Pla teau. Engraver, Bernard, Samuel. The Flight into Egypt. Engraver, Bolognini, Gio. Batista^ The Murder of the Inno cents. S. Peter made Pope. The Crucifixion, after the picture of the Capuchins at Bologna. Bacchus and Ariadne; in three sheets. Engraver, Boulangeu, John. The Virgin, with the Child asleep. The Virgin and Child, with S. John kissing his Foot. Engraver, Boullongne, Louis. The Rape of Helen. Engraver, Cantarini, Simone. Fortune with her Foot on a Globe; G. Renus in. #• fee. Engraver, Canuti, Domenico Maria. S. Francis praying; Dom. Ma. Canuti, fee. Engraver, Cesi or Cesio, Carlo. S. Andrew led to Martyrdom, prostrating himself before the Cross. Engraver, Chereau, Francois. The Crucifixion. Engraver, Coriolano, Bartolommeo. S. Jerome meditating before a Crucifix. Herodias with the Head of S. John. The Virgin, with the CMld asleep. The same subject in chiaro-scuro; very fine. Engraver, Coriolano, Gio. Batista. The miraculous Image of the Virgin, painted by S. Luke, held by three Angels. Cupid sleep ing; in chiaro-scuro. Engraver, Cunego, Domenico. A Head of Magdalene. Engraver, David, Jerome. The Virgin of the Rosary; 1633. Engraver, Duflos, Claude. Bust of the Virgin. Engraver, Dupuis, Nicholas Gabriel. The Death of Lucretia. Engraver, Earlom, Bichard. Cupid bound. Simeon receiving the Infant Jesus. Engraver, Edelinck, Gerard. The Virgin sewing, with the Child asleep in a Cradle surrounded by Angels, called " La Couseuse ; " fine. Engraver, Fatjcci, Carlo. Cupid. 500 RENL Engraver, Frey, James. The Archangel Michael. The Four Fathers of the Church. Aurora ; in two sheets. Bacchus consolino- Ariadne, after the departure of Theseus. Engraver, Frezza, Gio. Girolamo. The Descent of the Holy Ghost; scarce. Engraver, Gregori, Ferdinando. Venus sleeping. S. Sebastian; half-length. Engraver, Kassel, Theodore. Susanna and the Elders. Engraver, Lorenzi, Fra Antonio. S. Domenic taken up to Heaven. Engraver, Michel, John Baptist. Adoration of the Shepherds. Engraver, Morghen, Raphael. S. John in the Wilderness. The Aurora. Engraver, Nicolet, Benedict Alphonsius. S. Apollonia. Engraver, Pasqualini, Gio. Batista. The Aurora. Engraver, Picart, Stephen. The Birth of the Virgin. Engraver, Poilly, Francis the Elder. Flight into Egypt. The Adoration of the Shepherds ; in an octagonal border. Christ- in Gethsemane. Engraver, Preisler, John Martin. David and Abigail. Semir- amis putting the Crown of Ninus on her Head. Engraver, Ravenet, Simon Francis. Painting and Design. His own Plates. The Bust of Pope Paul V. ; Paulus V. Pont. opt. max. The Holy Family, the Vhgin seated with her Face toward the Child. The Virgin with the Child asleep on her Breast; engraved in three different manners. The Virgin embracing the Child, and holding a Book in her Hand. The Virgin with the Child giving his Hand to S. John. The Holy Family, with two Angels scattering Flowers; engraved in four different manners. S. Christopher bearing Christ on his Shoulders. S. Jerome praying in a Cave, with a Book and Crucifix. The Virgin seated in the Clouds with SS. George, Francis, Law rence, and others. Bartsch describes sixty etcMngs by Guido. Engraver, Roussellet, Guido. The Annunciation. Four plates representing three of the Labors of Hercules, and his Death. Engraver, Schulze, John Gottfried. The Ecce Homo. Engravej; Sharp, William. The Doctors of the Church. Ecce Homo. Engraver, Sirani, Gio. Andrea. A Sibyl. Engraver, Strange, Sir Robert. Penitent Magdalene ; 1762 and &i Yf / vd and f£cae; his female heads are all representations of a single person, •ied only by changing the pose ; there is nothing of the ideal. A udoniia in the Tribune of the Florence Gall, is one of Ms very best. .e private life of Andrea was so unfortunate that his artistic career ild but be weakened by it, and it was his good fortune that his ne as a painter was not destroyed, as was his reputation for hon esty and virtue. He be came enamored of Lu crezia Fede while she was still a wife, and when she became a widow he married her, in spite of Ms knowl edge of her vile charac ter and the opposition of Ms friends. Her in fluence led him to de sert dependent relatives whom he had cared for, to commit many unwor thy acts, and at last to appropriate to Ms own use a large sum of money with which he had been intrusted by the King of France for the purchase of works of art. He had received great kindness from Francis, and left Paris th this money, promising to return to fulfil his engagements ; it said he took an oath to do so ; but the avarice and wickedness of i wife prevailed, and all that could have made Andrea del Sarto a m, was lost. Bitterly he repented, but Francis could never forgive n, and the world has never forgotten his need of forgiveness. Ten ars moro he lived and painted, and to the last was fond of his ill- irred wife. In purity and dignity, his earlier compositions are far 3 best, and though his scope was never large, Ms artistic merits re sufficient to gain for him an honorable rank, wMch Ms works 11 always hold. ENGRAVINGS AFTER THE WORKS OP ANDREA DEL SARTO. Engraver, Alberti, Cherubino. Baptism of Christ; 1579. Mira- i of S. Philip Benizzo. Engraver, AunouiN, Pierre. Charity. Engraver, Bloemaert, Cornelius. Marriage of S. Catherine with John. MADONNA. BY ANDREA DEL SARTO. SARTO — SAVERY 541 Engraver, Bonacina, Gio. Battista. Holy Family with SS. Catherine and John. Engraver, Boyer, Jean Baptiste. Marquis d' Aiguilles. Mar riage of S. Catherine. Engraver, Brebiette, Peter. Holy Family, with S. John. Engraver, Callot, James. Virgin and CMld, with SS. Elizabeth and John. Engraver, Ceracci, Agostino. Nativity of the Virgin. Engraver, Cavalleriis, Gio. Battista. S. John preaching in the Wilderness. Engraver, Dalco. Salvator Mundi. Engraver, Felsing, Jacob. Madonna del Trono. or di S. Fran cesco. Engraver, Gregori, Ferdinando. Holy Family. Engraver, Lasinio, Gio. Paolo, together with other engravers. Twelve frescoes of Del Sarto, at the Scalzo, in Florence. Engraver, Lorenzini, Gio. Antonio. Virgin and Child appearing to six Saints. Joseph sold by his Brethren. Joseph governing Egypt. Engraver, Mire, Noel de. Death of Lucrezia. Engraver, Miricenus, Petrus. Herod ordering the imprisonment of S. John Baptist. Engraver, Moitte, Pierre Etienne. Holy Family of the Dresden Gall. Engraver, Montmarillon, Ludwig Albert von. Holy Family. Engraver, Morghen, Raffaello. Madonna del Sacco. Madonna col Bambino. Engraver, Musis, Agostino de, called Veneziano. The Dead CMist, with Angels ; 1516. Engraver, Perfetti, Antonio. Birth of the Virgin. Engraver, Saiter, John Gottfried. Holy Family. Engraver, Saunders, Joseph. Andrea del Sarto ; portrait. Engraver, Scotto or Scotti, Girolamo. Healing of Children by Virtue of the Garments of S. Philip. Engraver, Steen, Francis van der. Madonna del Sacco. Engraver, Surrugue, Louis. Sacrifice of Abraham. Engraver, Thento, Antonio da. Holy Family. Engraver, Zuccarelli, Francesco. A set of studies designed by Del Sarto. Sassoferrato. See Salvi. Savery, Roelandt, born at Courtray (1576-1639). He was one of a class who came up in his time, who painted all sorts of animals, in all sorts of landscapes, with all sorts of trees and plants, and gave them all sorts of names, such as " Adam and Eve in Paradise," " Noah leaving the Ark," etc. Savery was almost fantastic in man ner, but displays a poetic imagination in landscape, especially in 542 SAVERY — SCHEDONE. woods. His " Paradise " in the Berlin Mus. is a good specimen of his works. Savoldo, Girolamo, born at Brescia. Flourished about 1540. An imitator of Titian. He was an able artist, no doubt, but his his tory is not well known, and it is difficult to speak of him. Some good critics believe that his works are in many galleries and are attributed to other painters. His works are seen m the Manfrini, Uffizi, and Berlin galleries. Scanabecchi. See Dalmasio. Scaramuccia, Luigi, called II Perugino (1616-1680). He was not only a painter, but also a teacher, and a writer on art. He was a pupil of Guido's and settled at Milan where he had his school. He published in 1674 at Pavia a work on the excellences of the Italian painters. His portrait is in the Acad, of S. Luke at Rome, of wMch he was a member. Schadow, John Gottfried, born at Berlin (1764-1850). After studying some time in' Rome he was appointed court sculptor at Ber lin. His works are unpretending and lifelike in effect. Among his best works are the statues of Count von der Mark in Berlin, and Frederick the Great at Stettin. His son, John Rudolph Schadow, was very gifted but died young. He studied under Canova and Thorwaldsen, and is well known by Ms statue of a ghl fastening her sandal, which has been often repeated. At the time of Ms death he had modelled the group of " Achilles protecting the body of Pen thesilea," which was finished by Wolff (1786-1822). Schafiher, Martin. Flourished 1499-1535. A painter of Ulm. He modified his realistic manner, and must have studied some Italian works. He excelled in the representation of the innocence of young girls, as it is seen in a picture of female saints in the Beriin Mus. His best work is a series from the life of the Virgin, now at Munich. His portraits in the Besser chapel and sacristy of the Ulm Cath. prove him to have excelled in this department of painting. Schalken, Gottfried, born at Dort (1 643-1 706). Pupil of Hoch- straeten and Gerard Dow. He visited England in the time of Will iam HI. He painted portraits and some Scriptural subjects, but Ms forte was scenes from common life, by candle-light. Many of them are now injured by change of color. His works are seen in the Louvre, Munich, Vienna, Dresden, Berlin, and Amsterdam galleries, and a few are at Buckingham Palace. Schedone, Bartolommeo, born at Modena (about 1580-1615). Duke Ranuccio was his friend and patron, and he formed himself by study of Correggio. Large works by Schedone are rare, and his pictures are best seen in the Gall, of Naples. The small number of his works is attributable to his love of gaming, in which he wasted his time, and died, it is said, from distress of mind, on account of losing in one night more than all he possessed in the world. SCHEFFER — SCHINKEL. 543 Scheffer, Ary, born at Dort (1795-1858). An eminent painter. He may be styled a Romanticist. His picture of Francesca da Ri mini, from Dante, is known the world over. There is sadness of a certain sort in all his works ; no hope, no cheerfulness. His pictures from Faust, Mignon, Beatrice, and others of this class, are highly poetical. He also represented Scriptural subjects, such as " Le Christ Consolateur," " Les Douleurs de la Terre," " Ruth and Na omi," etc. His works have been engraved by Girard, Henriquel- Dupont, Blanchard, and others. engravings after the works of ary scheffer. Engraver, Bernardi, Jacopo. S. Cecilia, half-length. Engraver, Blanchard, Auguste Jean Baptiste Marie. Christus Remuncrator. Engraver, Calamatta, Louis. Francesca da Rimini. Engraver, Dupont. Christus Consolator. Engraver, Louis, Aristide. Mignon regretting her Country. Mignon aspiring to Heaven. Engraver, Thevenin, J. Charles. The Charitable Child. Schiavone, Andrea, called Medola. Real name Andrea Medola, Lo Schiavone, that is, the Sclave. Born in Dalmatia (1522-1582). He settled in Venice, became a follower of Titian, and a fine colorist. He was so poor that he was forced to paint house decorations, and other like matters, wMch injured him, for he designed and executed too hastily to do it well. His pictures are seen in good collections, and prized for theh extraordinary power of color. He left several etcMngs, some from his own designs, and others after Parmigiano and other artists. Schievelbeiu, Hermann (1817-1867). The principal works of this sculptor are in Berlin, and are characterized by a poetic concep tion which displays the rich imagination of the artist. The grand frieze which depicts the ruin of Pompeii, and is in the Greek court of the new Mus. at Berlin, is a work which displays all his power. It is but a model in stucco. It is full of fascination, and merits being better known. He left some fine incomplete works, and his compar atively early death leaves us little more than the opportunity to imagine what he might have done had he lived. Schilling, Johannes. The sculptor of the groups of " Day " and "Night" of the Briihl Terrace at Dresden. Schinkel, Karl Friedrich (1781-1841). This architect was a I- student and enthusiastic lover of Greek art. He was forced to mod ify Ms plans to suit the requirements of the life of his time, but so far as he was able, he carried out the principles of Hellenic art. His finest works are the theatre, the Museum, and the guard-house of Berlin. His influence continues since his death, and his principles are followed in the works of his pupils, especially in regard to fine ness of ornament and detail. 544 SCHLUTER — SCHONGAUER Schluter, Andreas, born at Hamburg (about 1662-1714). An architect and sculptor. Tbe plastic ornaments of the arsenal at Berlin were by his hand; the heads of dying Warriors above the windows in the court-yard are wonderfully fine. His chef-d' azuvre was the equestrian statue of the Great Elector, for the long brido-e at Berlin. The palaces of Potsdam and Charlottenburg were much decorated by Schliiter. A tower wMch he was erecting in 1 706 proved faulty in construction, and was pulled down. TMs caused his dismissal from work at the Pal. of Berlin, and completely broke his sphit. In 1713 he was summoned by Peter the Great to St. Petersburg, but died in a year from that time. Schoenfeldt, Heinrich, born at Biberach (1609-1675). Pupil of Johann Sichelbein, and afterwards went to Italy. His works are unequal, and he treated all kinds of subjects. His mythological pic tures are very attractive, but his altar-pieces and religious subjects are better. He executed numerous works for churches, one of the best being a " Crucifixion," in Wiirzburg Cath. " Jacob and Esau," in the Vienna Gall., is also one of Ms happiest efforts. Several of Ms pictures are in the Dresden Gall. Schongauer, Martin, commonly called Martin Schdn. TMs artist flourished on the Upper Rhine, but where or when he was born is not positively known. As nearly as can be judged he was a native of Colmar, and lived from 1420 to 1488. He was a very im portant artist for his time. Very few of Ms paintings remain, and those are not equal in excellence to Ms engravings. He is called the pupil of Rogier van der Weyden. His engravings after his own designs prove him to have excelled Rogier in feeling for beauty and spirituality ; his power of invention was good, and he executed with animation and spirit. His most important picture remaining is that of the " Vhgin in a Rose Garden," in S. Martin's ch. at Colmar; next to this are the " Virgin and Child," the " S. Anthony Hermit," and the " Annunciation," in the Civic Library of Colmar, formerly in a monastery at Isenheim ; the " Death of the Vhgin," National Gall., is probably his earliest known work; there is a cabinet picture in the Munich Gall, representing " David with the head of Goliath," and a few others, mostly in private hands, but the above-mentioned are those by which he is generally known and judged. A list of his plates from his own designs is given below; that of the " Temptation of S. Anthony " is said to have been copied by Michael Angelo, and the " Bearing of the Cross " was admired by Raphael, while the " Conversion of S. Paul " is beyond anything of the German school of the same time in excellence. He is justly a very celebrated engraver, and may be called the father of this art in his country. Many critics consider Ms " Flight iuto SCHONGAUER. 545 Egypt " Ms chef-d'oeuvre. He executed secular subjects as well as religious; Ms " Departure for the Market," and " The Peasants" are excellent. Schongauer designed beautiful ornaments and jew elry, and Ms genius and manner were greatly admhed by his suc cessors, who were largely influenced by him. engravings after the works of martin schongauer. Engraver, Glockenton, Albert. Twelve plates of the Passion of Christ; fine and scarce. Ten plates of the Wise and Foolish Virgins. Christ bearing his Cross. The Death of the Virgin. Engraver, Hollar, Wenceslaus. Half length portrait of a Woman with a wreath of oak-leaves. His oion Plates. The Life of the Virgin ; twelve plates. The Passion of our Saviour; twelve plates. The Annunciation. The Nativity. Adoration of the Magi. Flight into Egypt. The Wise and Foolish Virgins; ten plates. The Last Judgment. CMist bearing his Gross. The Crucifixion. The Death of the Virgin. Also engraved by Israel Van Mecheln, Wenceslaus, and others. A small set of the Apostles. S. Anthony carried into the Air by Demons. S. Sebastian tied to a Tree. Two Alchymists fighting. A set of twelve subjects for ornaments, for goldsmiths. A Drinking Cup. An Incense Cup, or Censer, engraved also by Van Mecheln. A Bishop's Crozier. A Battle of the Saracens against the CMistians. S. James appears on the side of the latter. TMs was probably Ms last plate, for it was not enthely finished. Engraver, Schoen, Bartholomew. The Life of Christ. Le Cavalier avee la Dame en Croupe. Le Paysan a la Masse d'Armes. L'Enfant dans le Bain. L'Enfant nud assis. Le Paysan a 1' Ail; a circular print. L'Enfant aupres du petit Pot; in two circles. Le Concert; circular. La Brouette. Les deux Amans. Les Engraver, Wenceslaus of Olmutz. Death of the Vhgin; 1481. The Annunciation, with a Flower Pot in the front ; the Deity 35 546 SCHONGAUER — SCHWANTHALER. appears above. A Gentleman and Lady walking ; Death appears behind a Tree in the Background. ,The Last Supper. Crucifixion of S. Andrew. A set of small, upright prints, representing the Life and Passion of Christ. Schoreel, Jan, born at Schoreel (1495-1562). TMs painter was probably the first of his country who introduced Italian art into Holland. He loved to 'travel, and went to Jerusalem- On his return he arrived in Rome just when Adrian VI. was made Pope. Schoreel was employed by him because he was Ms countryman, rather than from a love of art. The pictures known to be by Schoreel are very few. An authentic one is in the Town Hall of Utrecht ; it represents the Virgin and Child, with donors, in a landscape, and is a decided imitation of Michael Angelo and Baphael. This shows Mm to be a good draughtsman ; other works called by his name are of vigorous conception, warm color, and excellent execution. Schotel, Christian, born at Dort (1787-1838). TMs artist was a very eminent marine painter. His works resemble those of Backhuysen, but are more spirited and more freely executed. His pictures are much prized; several are in England. There is a fine specimen at the Hague. Schriek, Otto Marseus van, bom at Amsterdam (1613-1673). Often wrongly called Marcellis. The founder and best painter of the plant and insect school. He excelled in representing flowers, birds' nests, serpents, butterflies, etc; he was true to nature and powerful in color. Two of his works are in the Dresden Gall. -¦¦ Schut, Cornelis, born at Antwerp (1597-1655). Vandyck painted the portrait of Schut among the eminent artists of his coun try. He was a follower of Bubens, but was very weak in comparison with that master. He painted many decorative works and also ecclesiastical subjects. His pictures are in the galleries of Vienna and Antwerp. There is much confusion in the accounts of artists by the name of Schut. Schiitz, Christian George, the Elder, born at Fldresheim (1718- 1791). A good painter of small views on the Rhine and Maine. His works are numerous. They may be well studied in the Sta'del Institute at Frankfort. Schwanthaler, Ludwig (1802-1848). This sculptor made repeated visits to Rome, and seems to have chosen for his model, the antique as revived by Thorwaldsen. His chief works are in Munich, and comprise the interior decorations of the Glyptothek, those for the new Kbnigsbau, two marble groups for the Walhalla, the statue of Bavaria, fifty-four feet in height, twelve gilt bronze statues of Bavarian sovereigns, and various other statues. He had marvellous inventive powers and a surprisingly fruitful imagination; in these particulars he ranks with the first of modern artists; but SCHWANTHALER — SEGHERS. 547 in spite of these gifts his works seldom rise above what we term decorative art, and are deficient in power in spite of some most excellent elements. Schwartz, Christopher, born at Ingolstadt. He studied at Venice and afterwards held a high position in the Bavarian court, but we can say little in praise of Ms works, which «may be seen in the Munich Gall. Scott, John (1774-1828). An eminent English engraver, who excelled in representations of all kinds of animals. His horses and dogs are especially fine, and some of his plates are much esteemed. Scott, Samuel, died 1772. A good painter of sea pieces. Scott, David, born at Edinburgh (1806-1849). An artist of wonderful imagination, but negligent in execution and often extrav agant in conception. His works are quite numerous when we con sider his early death. We have not space to enumerate them. Screta, Carl, born at Prague (1004-1674). He went to Rome with Wilhelm Bauer, and there studied the best works of the Italians. He acquired a wonderful power of copying and preserving the char acteristics of different masters. His own works are numerous. He loved to illustrate the legends of the saints, and evidently painted his figures from models ; they are very life-like. He is said to have twice painted his own portrait in the garb of a saint. He was often extravagant in Ms attitudes ; his best works are excellent in chiaro scuro; he had good inventive powers, and displayed much elevated feeling; he used his brush with spirit, and yet with softness. Some of his fine works are in Prague. Sebastiano, Fra. Sac Piombo. Seghers or Zegers, Gerard, born at Antwerp (1589-1651). Pupil of Van Balen and Janssens. He studied in Italy also, where he became an imitator of Caravaggio. He went to Spain, and exe cuted works for Philip III. He amassed a large fortune after his return to Antwerp, and was honored there by being elected dean of Ms guild. He painted historical, sacred, and profane subjects. Some of Ms finest works are in the churches of Antwerp, and have been well engraved. Vandyck painted Ms portrait, wMch Pontius en graved. Seghers or Zegers, Daniel, born at Antwerp (1590-1661). Brother of the preceding. This eminent flower painter used colors wMch may be called fadeless in some respects ; no red roses endure like his. He usually painted garlands around the pictures of other masters, instead of painting whole pictures of his own. This he did for Rubens, Cornelius Schut, Diepenbeck, and Quellinus. His flowers were usually highly finished, although at times they resemble decorative painting. He could not execute all his commissions, so popular did his works become. They may be seen in most Euro pean galleries. 548 SEMOLEI — SESTO. Semolei, II. See Franco. Senefelder, Alois, born at Munich (about 1771-1834). Etching on stone was a lost art which was rediscovered or reinvented by Senefelder. His patient labor and his difficulties make a full account of him very interesting. He published one in 1809, and Nailer gives interesting facts regarding Ms works, pupils, etc., in Ms " Kunstler Lexicon." Sequeira, Domingos Antonio de (1760 ?-1823?). Many works by this Portuguese painter are at Lisbon. He was in Paris in 1823, and Ms picture of the " Last Moments of Camoens " was much praised by Gerard, Vernet, and other artists. His pictures are very varied in character, embracing all sorts of subjects, but the larger portion are religious. Sergell, Johann Tobias (1736-1813). This Swedish sculptor studied in Rome, and executed antique subjects, such as " Cupid and Psyche," " Mars and Venus," etc. His best works are in the Mus. of Stockholm. Sermoneta, Girolamo Sciolante da (1504-1580). The disciple of Perino del Vaga, and one of the best artists of Ms time. An " Adoration of the Shepherds," painted by him, in S. Maria della Pace, at Rome, is a good example of his best manner. Serra, Miguel, born in Catalonia (about 1653-1728). This painter ran away from his mother, who abused Mm, when eight years old, made his way to Marseilles, and began to study. He worked diligently, and when seventeen painted an altar-piece which estab lished his reputation. He was constantly employed, and became very rich. He was appointed painter to the King of France, and elected to the Acad, for the merit of a picture he sent to Paris. It is said that he painted his easel pictures very rapidly, and that one morning some people waited on him to request Mm to execute an altar-piece; the arrangements were made, and he asked them to remain to dinner, and left them to walk in the garden. Meantime he finished the picture, and was able to show it when the meal was served. During the plague of 1721 he became poor by giving all he had for the sufferers. After it was over he resumed his labors cheerfully. He painted two pictures illustrating the horrors he had seen, and sent, them to his son in Paris, to be presented to the King. The son sold them for his own profit. This injured the father's reputation very much. He did not long survive this trouble. Sesto, Cesare da, called Cesare Milanese. Flourished about 1500. The early works of this painter resemble those of Leonardo, and he is often called his disciple. Later in life he was in the school of Raphael at Rome, and that master was his friend. The union of the Roman and Milanese manner, which appears in his later works, is not altogether pleasing. His works are seen in Italian collections and at Vienna. He sometimes painted figures in the landscapes of Bernazzano. SEYDELMAN — SIGNORELLI. 549 Seydelman, Jacob Cre3centius, born at Dresden (1750-1829). An artist celebrated all over Europe for his drawings in sepia. He made many drawings after fine pictures in Rome, which sold for very hidi prices. He was elected to several academies, and received many distinctions. Ho copied the finest pictures at Dresden, full size, for the Emperor of Russia, and received enormous sums for them. Ho made some designs for engravers, and one etching, of a fin-uro bathing in a cavern, from Ms own design. His wife, Apollonia Seydelman, was celebrated in the same art as her husband, and assisted Mm very much in his large works. She also executed draw ings enthely by herself, and was made a member of the Acad, of Dresden. Sharp, 'William, born at London (1749-1824). One of the very best line-engravers of England. Among his best plates are the "Doctors of the Church," after Guido; the "Holy Family," after Sir Joshua Reynolds ; portrait of John Hunter, after the same ; "Lear in the Storm," after Benjamin West, etc. After 100 im pressions had been made ofthe " Holy Family," Bartolozzi attempted to change the plate to a dotted engraving, and effected its ruin. Sherwin, John Keyes. An excellent English engraver who flourished from 1775 to 1795. He was instructed by Bartolozzi and also much employed by that master. Siebold, Christian, born at Mayence (1697-1768). A painter of portraits in the manner of Denner, every wrinkle, spot, freckle, etc., being portrayed with exactness ; but in a picture this seems exaggera tion. His best work is probably his own portrait in the Louvre. His pictures are in several Continental galleries. He was much ad mired in his day, and was appointed cabinet painter to Maria Theresa. Sigalon, Xavier, born at Uzes (1788-1837). This painter de veloped his talents under great difficulties, and first attracted public attention by his picture of the " Young Courtesan." This is now in the Louvre, and is well known from engravings of it. The artist pre ferred subjects full of the horrible, and his " Locuste and Narcisse testing Poisons," as represented in the third act of Bacine's " Britan- nicus," followed by others of similar effect, established his reputation as a painter. His works are principally in Nismes, Nantes, and Paris. Signorelli, Luca Egidio di Ventura, born at Cortona (1441- 1523?). This painter was very remarkable for his time. He pos sessed a wonderful knowledge of anatomy, and was a precursor of the manner of Michael Angelo, who admired his works, and in a cer tain sense imitated Mm. He was of a generous, noble character, handsome, fond of society, and magnificent in his style of living. His greatest work was in tho Cath. of Orvieto, where he represented the "End of the World," and the " History of Antichrist." We 550 SIGNORELLI — SIMBRECHT. have not space for a description of these great works, but they are worthy of all the praise and admiration which is given them. 'I'he architectural parts are in the best classic style, the angels are beau tiful and graceful, the imps and the lost ones struggle with inde scribable energy, and are most fittingly represented, and, in short, there is a skilful arrangement and suitable action in all. Signorelli also painted in the Sixtine chapel a large fresco of the Bistory of Moses, and even there he holds an honorable place among the great painters whose works surround his. His fresco is grand and suitable FROM THE LAST JUDGMENT. BY SIGNORELLI. Cath. of Orvieto. to his subject in its arrangement and proportions. His Madonnas, Holy Families, and other subjects are seen in all the large European galleries. He generally signed them Luca Cartonensis or Coritius. Silvestre. A family of French engravers, five at least, in number, who flourished from 1645 to 1767. Israel Silvestre was the most im portant (1621-1691), and left more than 1000 prints. His subjects were principally landscapes, views, and public festivals. Simbrecht or Zimbrecht, Matthias, born at Munich; died 1680. The few existing pictures by this master show him to have been a very successful imitator of Raphael. His color was warm and power- SIMBRECHT — SMYBERT. 551 ful; his composition was simple and his draperies graceful, while a fine feeling runs through all his works. Several of them are in the churches of Prague, where he died of the plague. Simoneau, Charles, born at Orleans (1639-1728). The works of this engraver embrace a variety of subjects, and are well esteemed. His brother Louis and his son Philip were also engravers. Sirani, Gio. Andrea (1610-1670). A pupil of Guido Reni, and a good imitator of that master. His daughter Elisabetta was a won derful artist (1638-1665). Although her career was of short dura tion she executed more than 160 pictures. Her works are seen in the Bologna Gall. When she died it was suspected that she was poisoned by her maid, but no proof of this was obtained. Bartsch describes ten etchings which he believes to have been executed by Elisabetta Sirani; they are in a spirited style, with the extremities finely marked. Slingelandt, Peter van, born at Leyden (1640-1691). This pu pil of Gerard Dow was only remarkable for his laborious execution, which excelled that of Ms master. His subjects were genre, and mostly of very homely scenes. His pictures are seen in several Con tinental galleries. Smirke, Robert, born at Wigton (1752-1845). This artist was first a coach painter, and his earliest success was in his pictures illus trating "Don Quixote." He was so much occupied in designs for books that his works are not numerous. His subjects were usually from Cervantes, Shakespeare, Milton, or classical stories and legends. lie was the father of the architect, Sir Robert Smirke. Smith, John. Flourished about 1700; died 1720. The most skilful mezzotint engraver that had appeared in the time in which he lived. His prints number 500 at least, and are very fine. Some portraits after the pictures of Sir Godfrey Kneller are among the best of his works. Smith, John Raphael (1750-1812). Son of Thomas Smith, a landscape painter. He excelled in mezzotint engraving; his por traits are especially fine; many of them are after Sir Joshua Rey nolds. This artist was so fond of pleasure that his works are com paratively few, numbering about 150. Smybert, John, born at Edinburgh (1684 ?-1751). His name has also been spelled Smibert and Swibert. In early life he was a house painter, but went to London, and then to Italy, and at last came to Boston and established Mmself as a portrait painter. His pictures are valuable as the best pictures we have of the early divines and other notable persons of New England, rather than as works of art. These portraits are in Harvard and Yale Colleges, in the Massachu setts Historical Society, at Worcester, Mass., and in several family collections in different parts of the country. His portrait of Dean Berkeley and his family, now at New Haven, is a picture of great in- 552 SMYBERT — SOLARIO. forest, and the best work known to be from the hand of Smybert. It is nine by six feet in size, and contains eight figures, the artist himself making one of the number. The works of this artist were the best painted in America before the Revolution. Allston thus speaks of his copy of Vandyck's Card. Bentivoglio, now at Harvard ; " When I saw the original I had to change my notions of perfection," but adds, " I am grateful to Smybert for the instruction he, or rather his works, gave me ; " and it is true that he greatly assisted the New World painters who followed him. Snayers, Peter, born at Antwerp (1593-1662?). A painter of scenes from military life. Plis pictures are very animated and pos sess the rare Virtue (in such subjects) of distinctness. He also painted excellent landscapes. He was made court painter to Arch duke Albert, at Brussels, and was employed by the Spamsh court. The Vienna Gall, affords better opportunities for judging Ms works than any otlier, but Ms pictures are seen in several large European collections. Snyders, Frans, born at Antwerp (1579-1657). TMs great ani mal painter was the pupil of Hell Breughel and Van Balen, the friend and co-worker of Bubens and Jordaens, and closely allied in friend ship to Vandyck, who painted his portrait. He executed animals in the landscapes of Rubens, and the latter painted figures in the works of Snyders. Like Rubens he could represent Ms animals in action, in the most exciting moment of the combat or the chase. His cu linary subjects were admhable, both for his skilful painting of single objects and for his manner of grouping them. His pictures were in great demand, and princes and nobles were his patrons at home and abroad. Philip V. of Spain gave Mm large commissions. His works are in all the large European galleries, and in private collections in England. Soddoma, II. See Bazzi. Sogliani, Gio. Antonio (about 1491-1544). The pupil and imitator of Lorenzo di Credi. His works sometimes pass for those of his master, although he was inferior to him. Some of Ms Ma donnas are graceful and pleasing. Soiaro. See Bernardino Gatti. Solario, Andrea. Very little can be related with assurance con cerning the early life of this old painter. He probably studied at Milan, perhaps formed himself after Leonardo, and seems also to have had some Florentine traits. He went, it is said, to Venice, with his brother, in 1490. Many of Ms works remain and are scattered all over Europe ; some of the most interesting are at Milan. In 1507 Solario went to France to ornament the chapel of George of Amboise at Gaillon. This chapel was destroyed in 1 793. Solario was much admired in France, and was very popular in Italy after his return. He was commissioned to paint a large altar-piece for SOLARIO — SOLIS. 553 the Certosa of Pavia in 1515, which he did not live to complete. Some of his works have been attributed to Leonardo, as, for example, the portrait of Chaumont at the Louvre. He painted several pictures of " Christ bearing the Cross ; " the best of these is in the Borghese Gall, at Rome. Solario, Antonio, called Lo Zingaro, or the Gypsy, from Ms early life. It is said that, like Quintin Massys, he was a smith, and became a painter in order to win the hand of Ms beloved, the daughter of Colantonio del Fiore. His manner is midway between that of the Umbrian and German schools of the 15th century. It is said that he lived from 1382 to 1455, but there is very little positively known of Mm, and some even doubt Ms existence at all. His works would lead us to place him in the last 'half of the cen tury rather than the first. The most important of these are in Naples, in the Museo Borbonico, the ch. of S. Lorenzo Maggiore, and the monastery of S. Severino. The most noticeable is an enthroned Madonna in the Museo. Solimena, Francesco, born at Nocera de' Pagani (1657-1747). Although he was very successful while alive, and left an immense fortune of 200,000 scudi and numerous pictures, he belongs to the time when Italian art was degenerating, and little can be said in his praise. He was a friend of Giordano; he never married, and kept houses, horses, etc., for his relatives, as well as for himself. There are numerous works of Ms at Naples, and a number in the Dresden Gall. (X~> Solis, Virgilius. Bartsch says, " The little \vff ll^ x we know °fthe history of Virgilius Solis is sup- \r ]/ "Vj1 plied by an inscription at the bottom of his portrait engraved by a master who signs with the letters B. J." It is in German, and has been translated thus : — Virgilius Solis was my name ; Through all the world extends my fame; For artists many, formed by me, Acknowledge my paternity And call me father. I did ever To serve them use my best endeavor. I painted, graved with the burin ; Illumined, to make art alluring; Designed, to waken their abi ity ; And etched, to teach their hands facility; And subjects traced on blocks of wood : — So no one as my equal stood In executing works of art With skill refined in every part. In justice, then, the voice of fame Has given me Sons for my name; For that imports that, like the Sun, I stand alone — the only one. 554 SOLIS — SPINELLO. When fifteen hundred sixty-two, As Christians reckon, onward drew, And years I counted forty-eight, God pleased to call me from the state Of mortal life ; and his behest Has numbered me among the blest. He lived at Nuremburg. His works have now become very rare. He appears first to have imitated Albert Diirer, but later followed the Italian manner. Sophonisba. See Anguisciola. Soutman, Pieter, born at Haerlem (1591-1653). The well- known engraver of the works of Rubens. He also painted portraits. Spagna, Lo, real name Gio. di Pietro. Next to Raphael this painter holds the place of interest among the followers of Perugino. He appears first as an independent master, at Todi in 1507; notMng of Ms previous life is known. In 1516 he went to Spoleto, where he married a lady of good family, and was an esteemed citizen. His chef-d'oeuvre is a Madonna enthroned and surrounded with saints, in the ch. of S. Maria degli Angeli, in that city. His works are characterized by grandeur, severity, and lofty sentiment. His color was warm, approaching the Venetian. Another "Madonna" in S. Francesco at Assisi is fine. His later works are not equal to the earlier ones, for the reason that he became little more than a servile imitator of Raphael, and lost his most excellent traits. His works are seen in many Italian churches and in most large galleries. Spagnoletto, IL See Ri bera. Spierre, Francis, horn at Nancy (1643-1681). Pupil of Francis de Poilly. His most esteemed prints are rare. Spinello, Aretino, of Arezzo. Flourished at the end of the 14th century. In the Campo Santo of Pisa this old master executed the frescoes of the histories of SS. Efeso and Polito; in the Palazzo Pubblico of Siena he painted the story of Pope Alexander III. and the Emperor Frederic I. ; in the sacristy of S. Miniato, at Florence, the history of S. Benedict (well preserved) ; and in S. Maria degli Angeli, at Arezzo, the " Fall of Lucifer." His works are grand in conception, but sketchy and unfinished in execution, while the color is thin and faint. He was well known for his Christian charity and character, and his representations of religious subjects are spiritual and full of reverent feeling. It is said that he was in his ninetieth year when he worked at Siena, where he was assisted by his son, Parri Spinello, and that after leaving that city he painted the " Fall of Lucifer." In this work he became over-excited, and believed that Satan appeared to him, to demand why he had represented Mm as SFINELLO — STAVEREN. 555 such a hideous monster. From this time the old painter waB terror- struck and haunted by a horrid vision, until he died shortly after wards. Spranger, Bartholomew, born at Antwerp (1546-1625). Stud ied in Italy, and imitated 1'aruiigianino. He was much patronized and admired, which seems quite incomprehensible when we consider Ms want of feeling, cold tones, lbrce.d attitudes, etc. His one virtue was excellent modelling. His works may bo well studied in the Vienna Gall. Nagler attributes six etchings to Mm ; these are done in a slight, masterly manner. Squarcione, Francesco, born at Padua (1396-1474). This painter is more distinguished as a teacher of painting than for his own works. He was perfectly enamored of antique art, and travelled all over Italy, and to Greece, collecting curious objects, and making drawings from the remains of antiquity. He returned to Padua and established a school, to which great numbers flocked. He also arranged a museum. He was called the " Father of young Painters," and " Squareionesquc " became the well-known word by which his followers were characterized. Staevaerts, Stevers, or Stevens. See Palamedes. Stanfield, Clarkson (1793-186 7). This English marine painter was well qualified for the -subjects which he chose. He was some time a sailor, then a scene painter, and did not exhibit at the Acad. until 1820. From this time lie was well-considered, and became so distinguished as to be styled the English Vandervelde. His cloud painting is simply wonderiul. Ruskin says : " One work of Stan- field's presents us with as much concentrated knowledge of sea and sky as, diluted, would have lasted any one of the old masters his life." He also praises " his salt, serviceable, unsentimental sea," as thoroughly good. His chef-d' ozuvre is the " Battle of Trafalgar," painted for the United Service Club. Stanzioni, Massimo, born at Naples (1585-1656). This painter appears to have imitated Caravaggio and Spagnoletto, but he was more noble in his feeling than they, and more excellent in his color than the painters of his time. He was persecuted by Spagnoletto with as much bitterness as if he had been a foreign artist. Stanzioni had painted a Dead Christ, with the Maries, over the entrance of S. Martino; it had become dark, and Spagnoletto was allowed by the monks to clean it ; he washed it in a corrosive preparation, which almost ruined it. Stanzioni refused to repair it, in order that this monument of the perfidy of Spagnoletto might remain. Stanzioni had many pupils. Staveren, Johan Adraen van. This painter imitated Gerard Dow, and represented old men, hermits, etc. His figures are stiff and very highly finished. His works are in the Amsterdam Mus. and a few other collections, but are somewhat rare. 556 STEEN — STORK. Steen, Jan, born at Leyden (1626-1679). This artist is genial and attractive, in spite of the generally low character of the scenes he represented. He loved a jovial, roistering life, and as a tavern- keeper was able to indulge himself. It is remarkable that in Ms half drunken state he could have executed 200 works of so much merit. He studied first with Nicolas Knupfer, and it is said, with Van Goyen, whose daughter he married. He was fond of the ludicrous, especially in children, and some of his works represent them in mis- cMef and in play. He painted the " Alchemist " with terrible force, and sometimes chose such homely scenes as a Mother feeding her Child, a Poor Family saying grace before their scanty meal, etc. His works are much admired, and deservedly so, but unhappily he sometimes degenerated into so careless and vulgar a manner, that there is much distinction to be made between them. They are seen in most large collections. A very fine one at the Hague illustrates the proverb, " Wie die. Alten sungen, so pfeifen auch die Jungen." The painter and his family are here portrayed. Another in the same Gall., called a " Representation of Human Life," is a chef-d' azuvre. Steen, Francis van der, born at Antwerp about 1604. This artist distinguished Mmself by his engravings after Teniers. He also made plates after other masters, among which were three after Correggio, wMch are now rare. They are " Cupid shaking Ms Bow," " Jupiter and lo," and " Ganymede." These were made from designs by Van Hoy, after the Vienna pictures. Steenwyck, Hendrik van (1550-1604). This master became an excellent architectural painter, and was the first to introduce the effect of torch and candle light upon architectural forms. His fine perspective gives his works their highest value. They are seen to advantao-e in the Vienna Gall. His son Hendrik painted in the same manner as the father. Stella, Claudine Bousonnet, born at Lyons (1636-1697). This lady distinguished herself by her engravings after the works of her uncle, James Stella, and those of Nicolas Poussin. She was espe cially happy in rendering the spirit of the pictures of the latter, and her plates are much esteemed. Stephan, Meister. See Lothener. Stephanus, Hans. See Calcar. Stone, Frank, born at Manchester (1800-1859). This English genre painter was graceful and pleasing in style. Many of his works are known by good engravings. Among these are " Tho Last Ap peal," "The Gardener's Daughter," "The Impending Mate," "Mated," "Ophelia and the Queen," etc. Stork, Abraham, born at Amsterdam (1650-1708). An imitator of Backhuysen, to whom he was very inferior. His works are seen in the German galleries. He also etched a few plates- in a slight, spirited manner. STOSS — STUART. 557 St03s, Veit (about 1438). His birthplace is a disputed point. Cracow and Nuremberg both claim the honor; the latter seems to possess the best title to it. In private he was, according to Nu remberg decrees, " a restless and graceless citizen, who has caused much uneasiness to the honorable council and the whole town." As a wood-carver he was deservedly much admired. His principal works are in the churches of the two cities mentioned above. Stothard, Thomas, born in London (1755-1834). A celebrated designer and painter. His life was without important events. He first appeared to the public as a designer for the " Novelist's Magazine." He is said to have made more than 5000 designs, more than 3000 of which have been engraved. His "Canterbury Pilgrims" is one of his best efforts. His works were all characterized by grace and good taste, rather than by any remarkable originality or power. He always caught the sentiment of his subject, and was free from caricature and affectation. It is said that he preferred fifteen small illustrations which he made of the " Pilgrim's Progress " before all Ms other works. These were engraved by Strutt. Strange, Sir Robert, born in one of the Orkney Isles (1 721-1 792). This distinguished engraver, after a preparatory course of instruction in Edinburgh became the pupil of Le Bas, in Paris. He learned the use of the dry point which he employed so skilfully. When he re turned to London in 1 75 1 the art of historical engraving had been little cultivated. He soon made himself known, and when, in 1761, he visited Italy for the purpose of designing from celebrated pictures, he was honored with much attention, and elected a member of the academies of Rome, Florence, Bologna, Parma, and Paris. He was never a member of the Royal Acad., but the King knighted him in 1787. His plates are not very numerous, the highest estimate ever made being but eighty, and most of them are in three states; the first state, wMch was hut a trial, is very rare; the second is also rare, because he only printed as many as were subscribed for. Most of his plates are mentioned in this work. Strutt, Joseph (1749-1802). This engraver distinguished him self especially by his publication of valuable works, all finely illus trated. He also wrote upon different subjects connected with art, and left an unfinished romance at his death, called " Queen-Hoo Hall," which Sir Walter Scott attempted to complete. Among Ms publications are the Biographical Dictionary of Engravers, the " An tiquities of England," " Horda Angel-Cynnan," "Chronicles of England," " Begal and Ecclesiastical Antiquities of England," "Dresses and Habits of the People of England," and " Sports and Pastimes." Stuart, Gilbert, born at Narragansett, Rhode Island (1756-1828). He received his first lessons in art from Cosmo Alexander, a Scotch painter who came to America in 1770. Stuart accompanied Mm to 558 STUART — STUERBOUT. Scotland and later in life studied with Benjamin West in London, where he painted portraits of Sir Joshua Reynolds, Benjamin West, Alderman Boydell, John Kemble, W. Woollett, Dr. Fothergill, and others of less note. He returned to America in 1793 and resided in New York, Philadelphia, and Washington alternately until 1806, when he settled in Boston. His portraits of Washington are better known than his other works, but his pictures are numerous and are in pos session of many families indifferent parts of the country. He painted three pictures of Washington from life; the first was not successful, and he destroyed it; the second was a full length hfe-size, painted for the Marquis of Lansdowne; it was badly engraved by Heath, and his print is often seen in this country ; the third picture was that now in the Boston Athenaeum. Of these pictures he made twenty-six copies. Two of his earlier works are in the Redwood Library at Newport; a portrait of Gen. Oliver Walcott is in the Wadsworth Gall, at Hartford ; a canvas with three views of the head of Madame Bonaparte is in the Coll. of the Baltimore Historical Society ; the Massachusetts Historical Society has a portrait of Jeremiah Allen, and an unfinished one of Edward Everett; these are but a few of the more well-known of his works ; PhiladelpMa has perhaps more of his pictures than any other city. The ISoston Athenaeum has, besides the portraits of George and Martha Washington, four others by his hand. His male portraits are the best, and are remarkable for theh freedom from all affectation, and excellent representation of the in dividual character of his sitters. Stuerbout, Dierick.. This painter, a very important artist of Ms time, was probably born about 1391, and is often called Dierick van Haerlem, from his birthplace. Every circumstance and probabil ity indicates that he was a pupil of Hubert van Eyck. In 1461 he was living in Louvain, and was appointed " Portraiteur " to the city. His earliest known work is probably the series of eight pictures of the History of S. Ursula, in the H6 pital des Soeurs Noires, at Bruges; these are ascribed to Memling; they were probably executed in 1426. Next in order are two pictures belonging to a large altar-piece, one in Munich Gall. Cabinets, No. 58, and the other in the chapel of S. Maurice at Nuremburg. Then comes a smaller altar-piece in the Cath. of Bruges; then the "Martyrdom of S. Erasmus " in S. Peter's at Louvain, about 1463; in 1167 the large altar-piece in the same ch.; the wings of this are separated, a part being in the Munich Gall, and a part in the Berlin Mus. His largest and latest works were exe cuted for the Town Hall of Louvain, and were completed in 1468. These passed into the Royal Coll. of Holland, and were purchased by Mr. C. J. Niewenhu^s at the sale by the Dowager Queen, after the death of William II. In the Town Hall at Louvain they were affixed to the wall, and beside each was a panel explaining the subject and meaning of the picture. They illustrated an old legend of Louvain, STUERBOUT — SULLY. 559 that the Emperor Otho III. had, on the testimony of his wicked Em press, executed a noble of Ms court; the wife of the noble proved her husband's innocence by submitting unhurt to the ordeal of fire, and the Empress was condemned to the flames. He was paid for these works 230 crowns, and commissioned to paint others which he did not live to finish. His religious pictures are solemn, restful, and slightly melancholy in tone, and of the peculiarly devotional charac ter which belongs to the Netherlandish school in early days. His design was picturesque ; his proportions were too slender in figures, but the heads were expressive and individual — sometimes beautiful: his hands were well drawn, and his drapery excellent; but his color, his landscape backgrounds, and his execution were his best features. His color was more powerful than that of any painter of his school, and the softness of his red and green draperies, and of the greens of his landscapes, is worthy of much praise. There is a considerable number of pictures attributed to him ; those mentioned are the most easily seen, and arc most characteristic. Suardi, Bartolommeo, called Bramantino, the Younger. Born at Milan. Flourished about 1520. Pupil of Bramante of Urbino, or Donato Lazzari. One of Suardi's best works is in the Brera, and represents an enthroned Madonna, with two, angels; it is attractive in expression, softly modelled, and striking, rather than beautiful. Other works of Ms are in Milan, but his best efforts are in the chapel of S. Bruno m the Carthusian convent at Padua. They represent the family of the Visconti, on their knees, presenting a plan of the building to the Virgin. Subleyras, Pierre (1699-1749). This French painter studied first with Antoine Rivalz at Toulouse, obtained the prize and royal pension by his exMbition of Ms picture of the ' ' Brazen Serpent. ' ' He went to Rome and passed the remainder of Ms life. He was much esteemed, and Ms altar-piece in S. Peter's, representing " S. Basil celebrating Mass before the Emperor Valens," was copied in mosaics before Ms death. This has been engraved by Domenico Cunego. The works of Subleyras are in many churches of Italy, and in several Continental galleries. He also executed a few sphited etchings from Ms own designs. Sueur, Bustache Le, born at Paris (1617-1655). Pupil of Simon Vouet. The spirit of this painter was not in accordance with the spirit of his country in his time. Now he is called the Baphael of France. His chefs-d'ozuvre were the scenes from the life of S. Bruno, now in the Louvre. Sully, Thomas, born at Horncastle, Lincolnshire, England, 1783. His parents, who were actors, came to America in 1 792. Sully com menced his studies as a painter in Charleston, S. C. He was in Richmond, Va., in 1813, and went a little later to New York, but set tled in Philadelphia. His portraits are too well known to need any 560 SULLY — SYRLIN. description or word .of praise here. His pictures of women are the best, and are often wonderful in their grace and spirituelleness. He paints the mind as well as the face, and never represents anything but well-bred, cultivated men and women. Many of his best por traits are in the Philadelphia Acad, of Fine Arts ; that of Jefferson is at West Point; " Washington crossing the Delaware," is in the Bos ton Mus. ; M. O. Roberts of New York has Ms " Woman at the Well" and " Girl offering Flowers at a Shrine;" his picture of Queen Victoria, painted from life in 1838, is owned by S. George's Society of Philadelphia. Sully painted portraits of many fine actors, among which are Fanny Kemble, Charles Kemble, Cooke, Mrs. Wood, etc. Two of Ms portraits are owned by the Boston Athe naeum. Sunder. See Cranach. Sustermann, Lambert. See Lambert Lombard. Sustermans, Justus, born at Antwerp (1597-1681). When quite young he went to Florence, where he passed his life. He was an ex cellent draughtsman, a fine colorist, free in his execution, and altogether realistic. He painted historical and religious subjects and portraits. Many of his portraits and other works remain in Florence; the Berlin Mus. and Vienna Gall, possess his works, and some are in private English collections. Suyderhoef, Jonas, born at Leyden (1600-1668 ?). An eminent designer and engraver, whose prints are MgMy esteemed. Ho en graved various subjects after different masters. He used both point and graver; his plates are neatly finished and yet spirited, and Ms chiaro-scuro is unusually good. Swanevelt, Herman van, born at Woerden (1620- T_T P& 1656 ?)¦ This Dutch painter went early to Borne and ,J PCJ became the pupil of Claude Lorraine. His landscapes are seen in many galleries, and while they are taste fully composed, well drawn, and have good atmospheric effects, they are so cold and gloomy in tone, and so over nicely finished, as to lose their effect. But the etchings of Swanevelt can scarcely be too highly praised. They are numerous, and a large proportion repre sent views near Rome. Figures representing mythological or Bib lical stories are usually introduced with good effect. He has also represented animals in a few, and these are admirally drawn and executed. He used both dry point and graver, ^ind made more dots than lines. They arc all in a free, masterly, and spirited manner, and are among the most beautiful etchings found in the portfolios of col lectors. Syrlin, Jorg. Flourished during the last half ofthe 15th century. The principal works of this sculptor arc at Ulm. A singing-desk preserved in the Mus. is believed to be his earliest work of impor tance, and bears date 1458. The splendid stool, and the choir stalls, SYRLIN — TASSI. 5G1 in the Ulm Cath., and the fountain called "Fischkasten," in the market-place, are his masterpieces, and sufficiently establish his claim to being called " one of the most excellent of the German masters of the entire epoch." The choir stalls were completed in four years. They are more rich and of greater artistic value than any work of the kind which had preceded them, and have scarcely been equalled by anything similar of more modern date. Jorg Syrlin, the Younger, was the pupil of Ms father, and became a very reputa ble artist. T. Tacca, Pietro Giacomo. Sculptor of Carrara, who flourished early in the 17 th century. After studying under Gio. da Bologna he made himself distinguished in France and Spain. He returned to Florence, where he died in 16-10. He executed a statue of Henry IV. and one of Jane of Austria, in Paris; one of Ferdinand III. of Tuscany, with four slaves chained at his feet, for Leghorn ; but his capo d'opera was a statue of PMlip IV., which was first placed in the gardens of Buenretiro, but was removed in 1844 to the Square in front of the Pal. of Philip V., in Madrid. Ferdinand Tacca, son of the above, was also esteemed as a sculptor. Tafi, Andrea (1213-1294). The accounts of this old mosaist are very vague, but generally amount to the following : He went from Florence to Venice to learn Ms art from some Greeks then em ployed at S. Mark's; he persuaded one, Apollonius, to accompany him to Florence, where, in the dome of the Baptistery, they exe cuted some mosaics which still remain. Those attributed to Tafi are an " Enthroned Clirist " of colossal size, and a group of angels. It is said that Tafi first represented angels playing on the violin, and first painted the outsides of cabinets for the reception of bridal gifts, a custom borrowed from the Greeks. Talpino. See Salmeggia. Tanm, Frans Werner, born at Hamburg (1 658-1 724). The pic tures of this artist represent fruits, flowers, dead game, birds, dishes, etc. They are seen in the galleries of Vienna. Tardieu. There have been at least eight French engravers by tMs name. The most important is Nicolas Henri Tardieu, born at Paris (1,674-1749). He was one of the most distinguished en gravers of his country. He used both the point and graver, and was very effective in his manner of finish and execution. Tassi, Agostino. Family name, Buonamici. Born at Perugia (1566-1642). Pupil of Paul Bril, and teacher of Claude Lorraine. He was sent to the galleys for some crime, and while there made sketches of marine subjects wMch furnished material for his pictures after his liberation. 562 TATTI — TENIERS. Tatti. See Jacopo Sansavino. Tauriscus. A statuary of Tralles, who assisted to make the " Farnese Bull." See Apollonius. Tempel, Abraham van den (1611-1672). Pupil of George van Schooten. He painted small Mstorical subjects, which he finished with great nicety. He is called a teacher of F. Mieris, the Elder. He also painted remarkably fine portraits, which are mostly in pri vate families. A picture of a noble-looking man and his whe is in the Berlin Mus. Tempesta, Antonio, born at *je* i-rH r-\ i-rr* Florence (1555-1630). The paint- jr\_ £_, f1 t /V . ings of this artist are battle scenes, huntings, processions, etc., and are of little moment when compared with Ms numerous etchings. These are numbered as 1460 by Bartsch, while others give them at 1519. They are masterly in manner, and well esteemed. The earliest is of 1589, and the latest 1627. One of the " Crucifixion," mscribed, Ant. Tempestes, 1612, is scarce. Tempesta, Peter. See Molyn. Teniers, David, the Father, born at Antwerp r V(\ Tlj (1582-1649). He was some time in Rome, and be- -L-' t J—/ came a disciple of Adam Elzheimer. In many of his works the landscape is a very important part, but he usually treated Biblical, mythological, and peasant>life subjects. His earlier works, some of which may be seen at Vienna, are much heavier than Ms later ones, such as a "Village Fair," in Dresden. There is no doubt that the weaker efforts of the son are often attributed to the father. They both executed some etcMngs, and it is difficult to discriminate between them, as they are similar in manner, and have the same mark. Teniers, David, the Son, born at Antwerp (1610-1694). The most eminent genre painter of Belgium. He was instructed by his father, but was very much influenced by Rubens. His talents and pleasing personal qualities gained him universal favor and many honors. His first wife was the daughter of Jan Breughel, and the second a daughter of the Secretary of State for Brabant, Isabelle de Fren. He was much favored by the Archduke Leopold William, and by Don Juan of Austria; besides this, he received commissions from several other courts, and was so fortunate as to be able to live in handsome style at his home at Perck, between Mechlin and Vilvorde, where he went in order to be near the classes whose life and habits he portrayed so admirably. It is said that he was active and industrious up to the time of his death, at eighty-four years of age. He excelled in imitating the styles of different masters, and some of his "pasticcios" were very remarkable. The Vienna Gall. has n work of his, wliich represents the wall of a room hung with TENIERS. 5G3 fifty pictures, imitating those of Italian masters, with the painter and the Archduke conversing in the foreground. His sacred subjects are his least meritorious works; he excelled in guard-house scenes, peasant life in every aspect, representations of the alchemist, in which he is unequalled, and fairs and festivals of all sorts. His light, brilliant touch, his exquisite coloring, especially in detail, and his picturesque arrangement are perfection; Ms fault is a monotony in heads and a certain coldness in feeling ; on account of this monotony, Ms best pictures are those with fewest figures. His works PICTURE BY TEOTEKS. Madrid Gall. are so numerous and so excellent, that it is very difficult to mention a small number and do him any good degree of justice. The Louvre, Vienna, Munich, and Madrid galleries are richer in his best works than other public collections; there are fine pictures of his in private galleries in England. Smith describes 900 pictures by him wliich may be counted on as genuine, and 100 more at least are known. Some of his works are large, but the most are of medium and small sizes. One at Schleissheim was thirteen and a half by ten feet, and contained 1138 figures; others have from 150 to 300 figures. His pictures sell for very large sums, and are in all large galleries. As 564 TENIERS. before said, it is difficult to speak of his etchings, as they cannot be separated from those of his father with any degree of certainty. ENGRAVINGS AFTER THE WORKS OF TENIERS, THE SON. Engraver, Aliamet, Jacques. Two plates of the Sabbath. Engraver, Aveline, Francis Anthony. The Flemish Musician. Engraver, Baillie, Capt. William. The Interior of an Ale-house; very fine. Engraver, Baron, Bernard. The Card Players. The Temptation of S. Anthony. Engraver, Bas, James Philip Le. Teniers and Ms Family; fine. The Works of Mercy. The Prodigal Son. Large Flemish Festival, with Teniers and his Family. Engraver, Basan, Frcncis. The Card Players. An Incantation. Engravir, Beauvarlet, James Firmin. The Tric-trac Players. The Bagpiper. Engraver, Browne, John. The Kitchen. Engraver, Bruggen, John Vander. An Old Peasant, and a Girl playing on a Flute. A Man drinking, and a Woman smoking. Engraver, Canot, Peter Charles. The Amorous Toper. The Dutch Smokers. Engraver, Chedel, Quintin Pierre. Daybreak, a Landscape. Engraver, Godfroy, Francis. ' Amusement of Brabant. Engraver, Gole, John. The Tooth-drawer. Engraver, Greenwood, John. The Good Friends. Engraver, Hollar, Wenceslaus. James n., when Duke of York; scarce. Engraver, Houston, Richard. Temptation of S. Anthony. Engraver, Kauperz, John Vitus. A Peasant smoking. Engraver, Laurent or Lawrence, Andrew. A Conversation. Engraver, Lempereur, Loms Simon. Two plates, Flemish Merry-makings. Engraver, Lempereur, Catherine Elizabeth. The Milkmaid. Engraver, Lf.pici^, Rende Marie Elizabeth. The Flemish Cook. Engraver, Major, Thomas. Two Flemish Festivals. Engraver, Masquelier, Louis Joseph. A View in Flanders, etched by Masquelier and finished by Le Bas. Engraver, Pether, William. A Village Festival. Engraver, Pitteri, Gio. Marco. Twelfth Night. Two Rustic Subjects. Engraver, Somer, John Van. A Flemish Concert. Engraver, Sornique, Dominic. Peasants regaling. Engraver, Spooner, Charles. Peasants regaling. Engraver, Sulivan, Luke. The Temptation of S. Anthony. Engraver, Surrugue, Louis. A Flemish Merry-making. The Fortune Teller. TENIERS — THEOTOCOPULI. 565 Engraver, Watelet, Claude Henry. A Corps de Garde of Monkeys. Teniers, Abraham, the younger brother of the preceding, painted similar subjects in an inferior manner. These are sometimes mis taken for the works of the brother by those not experienced in judg ing- Terburg, Gerard, born at Zwol (1608-1681). A contemporary of Teniers, and like Mm a painter of genre subjects, but those of the higher ranks in life; he usually represented but few figures, and such scenes as ladies' toilets, musical parties, conversations, etc. He excelled in painting elegant costumes, and Ms wliite satin dresses are especially remarkable. The general tone of his pictures is cool, his heads being warmly colored. He painted small portraits, but these are rare in public galleries ; Ms own is at the Hague. The " Conseil Paternel," in the Amsterdam Mus., is a chef-d' ozuvre, but has been so injured that the copies (original) in the Berlin and Bridgewater galleries are more satisfactory. Plis works number a little more than 100, and are of enormous value. They are in most large European collections, and about twenty-five are in England and Scotland. Testa, Pietro, called B Lucchesino, born at Lucca (1611-1650). This artist is unimportant as a painter, but as an etcher demands at tention. His prints in Mariette's Coll. numbered ninety-two. There was scarcely a vestige of antiquity in or near Rome that he had not designed. His fancy was extravagant, but his drawing was tasteful, and Ms extremities well marked; his heads are expressive, and Ms faces often beauthul ; his chief fault was in the management of light and shade. Theotocopuli or Teoscopolo, Domenico, called II Greco and El Griego. Supposed to have been born of Greek parentage in the Venetian states (about 1548-1625). He is sometimes called the pupil of Titian; he is certainly his imitator. In 1577 he lived in Toledo, and his most important woiks were executed in Spain. He painted very unequally, and Mr. Ford says that what he did well was excellent, and what he did ill was wqrse than anybody else. The "Parting of the Raiment of Christ," painted for the Cath. of Toledo, was Ms chef-d' ozuvre. It is still there, although the retablo in which it hung, also his own work, is not to be seen. Teoscopolo was an excellent portrait painter, and is said to have introduced his own like ness and that of Ms beauthul daughter into several fine works. Por traits of both of them are among the Spanish pictures at the Louvre. He was also an architect, and some say a wood-engraver. In 1590 he designed the ch. of the Augustine College at Madrid, and carved a retablo for the high-altar, which was of his bad style. In 1600 he built two churches atBlescas; one of these remains. Pie made 'he plans for the City Plall of Toledo, carved retablos for the Hospital of S. John Baptist, and erected a temporary monument in the Cath. to 566 THEOTOCOPULI — THORWALDSEN. Queen Margaret of Austria, wife of Philip III. Theotocopuli is sometimes confounded with Domenico delle Greche, who was, per haps, his father ; certainly he was older than II Greco. Thiele, Johann Alexander, born at Erfurt (1685-1752). First a soldier, then a landscape painter, he was appointed to the service of King Augustus of Poland. The Dresden Gall, has forty-six of his works, which display both good and bad qualities. They are trutMul in drawing and carefully executed, but the color is not attractive. Thorwaldsen, Bertel, born in Copenhagen (1770-1844).1 Son of a poor wood-carver, who intended him for the same profession. He early showed a taste for sculpture, and was sent at the age of eleven years to the free school of the Royal Acad, of Fine Arts. He showed no talent for anything not connected with Ms art, and was never a man of literary culture. When seventeen years old he took a prize, and when twenty-three gained the grand prize which enabled him to travel and study. Several of his earliest works are in the Acad, at Copenhagen. He had received good preparatory instruction in his native city, where the best models were placed before the students, but was crude and unfinished in manner. On account of various Mn- drances he did not arrive in Rome until 1797. He is represented at this time as indolent in everything but his favorite pursuit, and even in matters regarding that he seemed almost as if in a dream. But the beauties of the antique which he saw aroused him, and he was accus tomed to call the period of Ms arrival in Bome the day of his birth, meaning that then he first realized his powers and desired to perfect them. But he was embarrassed pecuniarily, and so affected by the climate as to suffer in health. The archaeologist, Zoega, was his friend, and the young man was never satisfied with anything that Zoega could not praise. He occupied himself in copying from the works of antiquity, made models only to destroy them, made a few statues such as " Achilles raising Penthesilea," and "Bacchus and Ariadne," but accomplished nothing which established a reputation, until he modelled Ms " Jason." TMs was cast in plaster in 1803. It was admired, but he received no orders. He had been six years the dependent of the Acad., Ms money was gone, and with sad heart he prepared to leave Italy, when Mr. Hope changed all Ms life and for tune, by giving him a commission for the "Jason," in marble. It was not until 1828 that this good patron received the statue completed, and much blame has been attached to Thorwaldsen for his appar ent ingratitude ; but our limits do not allow a statement of the case. Meantime, in the house of his friend Zoega, he had mot a Roman girl, Anna Maria Magnani, whom he passionately loved, and who was a powerful influence in his life. She seems to have loved 1 Those who claim thut tho Norsemen discovered America relate that during their htuv upon our coast a child was born, from whom Thonvaldsen's descent is distinctly traced. THORWALDSEN. 567 him as fondly as her nature would allow, but she married a man of fortune whom she did not love, M. d'Uhden. She succeeded at the same time in retaining her hold upon the artist, and he signed an agreement to provide for her in case of a rupture with her husband. TMs soon came, and in 1803 he received her into his house, where she lived, tormenting him by her temper and jealousy, and loving him by turns, until'1819, when she disappears from Ms life. She had borne Mm a daughter for whom he provided and arranged an honor able marriage. In 1803 he made the acquaintance of Baron von Schubart, Danish ambassador at Naples, who with his wife did much for the artist; they were never weary of having him at their home, at Montenero. From 1804 his fame was established, and he was never able to fulfil all the commissions he received. These came from all countries. He was courted in all societies ; he was praised for Ms art, and beloved for Ms agreeable and pleasing manner; he was made honorary member of many academies, and was finally, after the death of Canova, elected President of the Acad, of S. Luke, although a Protestant. This was in 1825. It was in 1805 that he produced his first important bas-relief, the " Abduc tion of Briseis," and it was not long before he stood first in that branch of his art. In 1810 he was made a Knight of Danebrog, and his countrymen were becoming very impatient for Ms return to his native land. It was not until 1819 that he complied with their wishes, and then Ms stay was one great ovation. But in 1820 he returned to Rome, with his mind full of new works which he was to execute. It is impossible to tell of all the honors paid him, and the places he vis ited, as it is to give an account of the orders he received and the works he did. They would fill a volume. In 1830 he went to Munich to superintend the final arrangements of the monument of the Duke of Leuchtenburg. The King of Bavaria had long been his friend and patron. He returned again to Borne, and not until 1838 did he go to Copenhagen to remain. Then he was received with every possible honor, and surrounded by friends who ministered to his remaining years in every way which could contribute to his happiness. Again in 1841 he visited Rome, for the last time, and his journey there and back to Copenhagen was one series of most flattering receptions and entertainments. He had lived at Copenhagen in apartments arranged for Mm in the Charlottenburg Pal. (the Acad, of Fine Arts), and the people by public subscription, and with the help of the city, had erected the Thorwaldsen Mus , which is so grand a monument to Min. When he returned to Copenhagen for the last time it was just completed, and here he was received the day after his arrival. It had been hung with garlands for the occasion, and he went over the whole building and into the court, where he was to be juried. Here he stood with bowed head, while all kept silence. Can any one tell the thoughts that must have filled his mind, or imagine the feelings 568 THORWALDSEN. of his heart ? Here he must be buried, yet here must he live in the glorious works of his hand which would remain to testify to Ms im mortal genius. Thorwaldsen lived three years longer, and was always busy. His mind was unimpaired, and his powers of conception quick and strong, but his execution lost in exquisite finish, and was un equal. He went much into society, was fond of the theatre, and under the care of a devoted servant, Wilkens, enjoyed all the comforts and pleasures possible to a man of seventy-four. The Baroness von Stampe was never weary in showing Mm the kindest attentions; he passed much time at her home at Nysoe, where he had a studio. On the 24th of March, 1844, she went for Mm to dine at her house. He had not been well that day, and wished to remain at home, hut she had invited other friends to meet him, and Ms daughter, then in Co penhagen, was also to be of the party. He was modelling a bust of Luther. The Baroness persuaded him to leave it, and he threw down before the bust his handful of clay, and tMust his trowel into it. He never took it again, and the bust and clay, just as he left it, are now seen in the Mus., preserved under glass, with the print of his hand in the clay. He talked gayly with his friends at dinner, and in speak ing of the Mus. said that he could die when he chose, since Bindes- boll had finished his tomb. While driving he met the architect, and other friends. After dinner he went to the theatre, and it was then seen that he was ill. He was taken out with all haste, but when laid on a sofa it was found that Thorwaldsen was dead. The Charlotten- burg joined the theatre, and there, in the hall of antique sculpture, he was laid. He was carried to the Frue Kirke, wMch he had so beautifully adorned with sculptures, and there he rested for nearly four years, when, in 1848, his body was borne to the vault in the centre ofthe Thorwaldsen Mus., where above it grows the evergreen ivy, a fitting emblem of that fame which can never fade. Thiele, in his magnificent book called ' ' Thorwaldsen and his Works," gives plates and describes 205 works by this master. This shows at once how impossible it is to speak of them with any degree of satisfaction here. But as one journeys from Rome, where is his tomb of Pius VII. and the monument of Card. Consalvi, to Copenhagen, where in the Frue'" Kirke and the Thorwaldsen Mus. so many of his sculptures are gathered, there arc few cities not enriched by some work of his hand. Among his greater works may be mentioned the frieze at the Quiri- inal Pal. in Rome, representing the entry of Alexander into Babylon; the Lion of Lucerne; the statues, groups, and bas-reliefs for the Frue Kirke at Copenhagen ; more than thirty sepulchral and commemora tive monuments in various countries and cities; a series of sixteen bas-reliefs of the history of Cupid and Psyche; twenty bas-reliefs of Genii; twenty-two of figures from antique fable, etc., etc. Thorwald sen has been called a posthumous Greek, and it is true that in him the spirit of antique sculpture seems to have revived. No circum- THORWALDSEN — TINTORETTO. 569 stance of his youth pointed to such success, but the power within him asserted itself and forced him to be. the great man that he be came. His characteristics are severe simplicity, perfect beauty in form, distinctness, and repose. The early works of this sculptor and the religious subjects of his later years are strikingly opposed to each other in sentiment, and the latter wonderfully unite antique beauty with CMistian sentiment. In the words of Thiele, "He has chal lenged and has received the decision of the world's Supreme Court, that his name shall stand on the rolls of immortality. And if his life might be embodied in a single emblem, perhaps it should be that of a young lion, with an eye that glows and flashes fire, wliile he is bound with ivy, and led by the hand of the three Graces." Thys, Peter, called Typrus, born at Antwerp (1616-1683). A portrait painter who formed his style after that of Vandyck. He also painted some historical subjects. His works are seen in the Mus. of Antwerp and in the ch. of S. Jacques. Tibaldi, Pellegrino, born at Bologna (1527-1600). An architect and painter who was much praised by the Carracci, and called the reformed Michael Angelo. After distinguishing himself in Ancona, Pavia, and Milan, he was called to Spain by Philip II. to decorate the Escorial. He remained nine years in Spain, and executed many frescoes which are now in too injured a state to be well judged; he was honored with the title of Marquis, and richly rewarded in money. His chef-d' ozuvre there was the ceiling of the Library, on wliich he represented the arts and sciences, ancient philosophers, and the Doctors of the Church, and has ornamented the whole with groups of cMldren, wreaths, insignia, etc. Tibaldi, Domenico, born at Bologna (1540-1582). One of the earliest Bolognese who handled the graver. His etchings are so well done that it would seem that the nine which are known must be but a small portion of what he did in order to attain such excellence. Tilborgh, Egidius van, born at Brussels (1625-1678?). A painter of considerable merit who represented scenes from peasant life, fairs, and kindred subjects. No. 972, Dresden Gall., is one of his best works. Tintoretto, so called from his father's trade (the dyer), real name Jacopo Bobusti (1512-1594). The art of Venice had fallen into decline in the last half of the 16th century. Tintoretto shows a strange mingling of good and bad; his works sometimes rise to excellence, and again sink to absolute unworthiness. His colossal design and rapid manner of execution resulted in a strong, natural istic style, wanting in beauty and refinement. It is said that his motto was, " The coloring of Titian, the drawing of Michael Angelo." He certainly studied the works of these masters with great industry. His best productions are slight in treatment, and 570 TINTORETTO. the others are coarse and unfinished in execution; his color has suffered from time, and it is not surprising that we enjoy Ms portraits more than his other pictures. These are much more carefully treated than his large subjects; they are freely and even grandly conceived, and are full of life. Some of his paintings are enormous; it would seem that the larger the canvas, the more he was pleased. One of Ms works is 74x30 feet, and the school of S. Roch has 57 larwe compositions of Ms, in wMch many of the figures are life-size. His two most famous pictures are the " Miracle of S. Mark," in the Acad, of Venice, and the " Crucifixion," in the school of S. Roch; ALLEGORICAL PICTURE BT TINTORETTO. In the Doge's Pal., Venice. the latter is probably, all things considered, his best work. It is like a great theatrical representation, in which are crowds of figures on foot and on horseback, with all imaginable expressions and move ments. The immense canvas referred to is in the Doge's Pal., and represents "Paradise." A small sketch of it, by Ms own hand, in the Louvre, is much pleasanter. Among his worst pro ductions is the "Last Supper," in S. Trovaso. S. John is fast asleep; another apostle is uncovering a dish upon the floor, from which a cat is also eating; a chair is overthrown as if there had been a scuffle ; some of the twelve are asking, " Lord, is it I ' " with gestures absolutely burlesque, and the whole work is wanting TINTORETTO — TITIAN. 571 in the dignity which belongs to the subject or to art. One can scarcely realize that it is the same scene which Leonardo depicted a century before. A portrait of a bald-headed man is in the Louvre, and three fine ones are at Berlin ; several works of Ms are in tho National Gall, and other collections in England. Marietta Eobusti (1560-1590) was instructed by her father, and became so good a portrait painter that she was invited to Spain by Philip II. , but her father could not consent to a separation from her. She has left some excellent pictures. ENGRAVINGS AFTER THE WORKS OF TINTORETTO. Engraver, Carracci, Agostino. The Great Crucifixion; in three sheets. S. Jerome, with a Lion, regarding the Virgin M the Clouds; 1598. Mercury and the Graces. Engraver, Desplaces, Louis. The Purification. Engraver, Fialetti, Odoardo. The Marriage in Cana of Galilee. Engraver, Houtemels, Frederic. The Birth of S. John Baptist. Engraver, Jackson, John Baptist. Martyrdom of S. Mark. Murder of the Innocents. Engraver, Kilian, Wolfgang. The Assumption of the Virgin. Engraver, Kilian, Philip Andrew. The Adulteress before Christ. Engraver, Leonardis, Gio. The Golden Calf; 1768. Engraver, Lorenzini, Fra Antonio. S. Augustine, with a Glory of Angels. Engraver, Mannl or Maennl, Jacob. Susanna at the Bath. Engraver, Mellan, Claude. Bebecca meeting the Servant of Abraham ; esteemed his best print. Engraver, Mitelli, Giuseppe Maria. The Finding of the Cross. Engraver, Sadeler, Giles. Murder of the Innocents. The Last Supper. Engraver, Vaillant, Wallerant. The Bust of a Warrior. Engraver, Visscher, Cornelius. The Entombing of CMist. Engraver, Volpato, Gio. The Marriage in Cana. Tisio. See Garofalo. Titian, real name Tiziano Vecellio, called Da Cadore. Born at the castle of Cadore in Friuli (14 77-1516). When ten years old he had already shown his inclination for art, and was sent to Venice to the care of Ms uncle. His first instructor was Sebastian Zuccati. He was afterwards the pupil of both Gentile and Gio. Bellini. Young as he was he felt a dissatisfaction with all the painting he had seen, but in the school of the Bellini he acquired correct drawing and the power of perfect imitation. It was not until he saw the works of Giorgione that he realized what p linting might become, and from this time he followed the leadings of his own aspiring genius. When 572 TITIAN. eighteen years old Titian painted a portrait of the noble Barbarigo which excited universal admiration, and soon after he was employed with Gioro-ione to paint the two fronts of the Fondaco de Tedeschi. That of Titian was preferred, and added much to his growing repu tation. In 1511 Giorgione died, and Titian succeeded Mm in im portant commissions in which he had been employed. In 1512 Gio. Bellini died, leaving unfinished a painting in the Sala del Gran Con- siglio, which Titian finished. In 1514 he was invited to Ferrara by the Duke Ahonso, for whom he painted his celebrated pictures of Bacchus and Ariadne and other fabulous subjects. At Ferrara he made the acquaintance of Ariosto, and became Ms intimate friend. He painted the portrait of the poet, who, in turn, introduced him into his " Orlando Furioso." From this time Titian received all the honor that could be conferred upon an artist. He not only painted the portraits of Popes, princes, and celebrated men, but he associated with them as a friend. In 1548 he went to Rome, where, it is said, Michael Angelo visited him. We are told that he praised the color ing of Titian, but lamented that he paid no more attention to design. Before this time Titian had become the friend of Aretino. It has been said that Titian visited Spain, but this is not satisfactorily proved. In truth, the letters of Aretino to Titian and other friends, written between 1530 and 1555, which may be said to record the movements of Titian, make no mention of a journey to Spain. Some of his finest pictures are in the royal palaces at Madrid, and some of his best portraits were of the royal family of Spain. But it is well known that many of Ms pictures were not painted from life, and that of the Empress Isabella was finished at Venice in 1544. The Em peror Charles V. was a most liberal patron of Titian, and he attended him twice at Augsburg. He died of the plague when almost a century old, and his latest works have been likened to the foolish prattle of old age. As a colorist Titian has never been ap proached. In truth, his color is so near to nature that it is almost an illusion. As a painter of portraits he claims the highest rank, and his landscapes were most excellent. But in his historical and other subjects he falls short of the ideal, and Ms characters seem rather de signed from life about him than from the artist's conception of what they might have been. His pictures are very numerous, and found in almost every collection. The finest of his early works is " Christ with the Tribute Money," in Dresden. Of Ms sacred pictures, painted later in life, the great " Assumption of the Virgin," in the Acad, of Venice, is beautiful and wonderful in the effect which is produced by the manner in which the Virgin is borne on the clouds, as if divinely impelled, without the customary attendant angels. The. " Entombment of Christ," in the Manfrini Pal. at Venice, is perhaps the most important work of Titian. It is, at least, the best existing representation of the subject, and has exercised more in- S. SEBASTIAN. 11Y TITIAN. Vatican. TITIAN. 575 fraencc iipon art than any other Venetian picture. It is highly fin ished; the arrangement of the figures is excellent; beauty of form, dignity of expression and gesture, combined with deep feelino- and great emotion, are all there, but above all is the general expression of sorrow. A repetition, in the Louvre, is almost equal to the origi nal in Venice. Of a different class is the ' ' Presentation of the Vir gin in the Temple," also in the Acad, at Venice. It is incomparable in color, and represents a cheerful company, from all classes in life, filled with curiosity and sympathy. Titian painted many altar-pieces representing Enthroned Madonnas and the usual class of subjects. Some excellent ones are in the Dresden Gall., the Escorial, the Pitti Pal., etc. Two otlier celebrated pictures are the " S. Peter Martyr," in SS. Giovanni e Paolo, at Venice, and the " Martyrdom of S. Lorenzo," in the Jesuit's church, at Venice. The first of these has long been placed in the highest rank of excellence. His masterly representa tion of the nude female figure may be seen in the two Venuses in the Uffizi, the Danae at Naples and one at Vienna, similar pictures at Dresden, in the Madrid Gall., and in a, number of pictures in England. The " Bacchus and Ariadne," in the National Gall, at London, painted for the Duke of Ferrara, is full of poetic beauty, and is a most charming conception of the ancient myth. The " Ar rival of Bacchus at the Island of Naxos," and a " Sacrifice to the Goddess of Fertility," also painted at Ferrara, are at Madrid. The " Venus del Pardo," in the Louvre, has been so much injured that its chief beauty is now in the landscape. A powerful picture of the same class is at Munich, and represents " Venus instructing a Maiden in the Mysteries of Bacchus." That of Del Vasto, with Ms mistress and other figures, at Vienna, is in some respects a repetition of the Munich picture. Of his beautiful symbolic pictures, the " Three Ages," in the Manfrini Pal. at Venice, and " Sacred and Profane Love," in the Borghese Pal., deserve mention. His fine portraits are almost numberless. They strike one as having been taken at the very best and happiest moment of the existence of the subjects, and Ms female portraits excite the highest admiration. Those which are called by the name of " Titian's Mistress " arc beautiful above all. The " Flora," in the Uffizi, " La Bella di Tiziano," in the Pitti Pal., and another of the same name in the Seiarra Gall, at Rome, are un rivalled. The picture of his daughter Lavinia is often repeated. One of the best is in the Berlin Mus. Titian was married at the age of thhty-four to Lucia, a Venetian lady, by whom he had three chil dren. One of his sons, named Horatio, died of the plague at the same time with Ms father. Although those who died of this disease were not allowed the honors of burial, an exception was made in the case of Titian, and his remains were deposited in the ch. of the Frari. In addition to his paintings Titian engraved both on copper and wood. His copper-plates consisted of several large landscapes, 576 TITIAN. etched in a slight, masterly manner. His wood-cuts will be found in the following list. ENGRAVINGS AFTER THE WORKS OF TITIAN. Engraver, Anderloni, Pietro The Adoration of the Shepherds. Engraver, Andreani, Andrea. The Deluge; large print in four sheets ; marked with cipher. Pharaoh's Host destroyed in the Red Sea; large print in four sheets ; 1585; with cipher. The lower part of the picture of S. Nicholas; Andreani, intagliat, Manloano. The Triumph of the Church; Christi Triumphus; large frieze in eight sheets, dedicated to the Duke of Mantua in 1599, and published in Rome, 1608. Engraver, Aubin, Augustin de St. Venus a la Coquille. Engraver, Audran, Charles. The Virgin and Child, S. John presenting an Apple, and S. Catherine kneeling; very fine. Engraver, Audran, Gerard. Ganymede; an octagon. Engraver, Baron, Bernard. The Cornaro Family. Jupiter and Antiope ; Ms best plate. Engraver, Beatrici, Niccolo. Christ on the Mount of Olives; marked, N. B. F. S. Jerome kneehng before a Crucifix; marked, N. C. L. F. Engraver, Beccafumi, Domemco. The Nativity ; a wood-cut; fine. Engraver, Bertelli, Fernando. Venus and Cupid ; etched by F. Bertelli; Nic. Bertelli, exc. ; 1566. Engraver, Bertelli, Lucas. A Woman and Children warming themselves by a Fire; Lucce Bertelli, ex. Engraver, Bloemaert, Abraham. A Naked Infant. Engraver, Bloemaert, Cornelius. The Madonna. Engraver, Blond or Blon, James Christopher le. The Repose in Egypt. The Entombing of Christ. Engraver, Boldrini, Joseph Nicholas. The Offering of the Wise Men. S. Jerome praying. SS. Catherine, Sebastian, and four others. Venus seated on a Bank, holding Cupid; a Squirrel on a Tree; Titianus, inv. ; Nicolaus Boldrinus Vicentinus ineidebat ; 1566. Engraver, Bonasoni, Giulio. Cardinal Pietro Bembo, set. 77. The Entombing of Christ; 1563. Engraver, Caraglio or Caralius, Gio. Giacomo. The Annun ciation; Titiani, fgurarum Sfc. ; Jac. Caraglio. The Punishment of Tantalus. Engraver, Carracci, Agostino. The Trinity. Engraver, Cavalleriis, Gio. Batista. Susanna and the Elders; 1586. Engraver, Chaveau, Francis. Christ at Emmaus; called "The Table Cloth; " engraved also by Masson. Engraver, Cort, Cornelius. The Annunciation. Another An- TITIAN. 577 nunciation. The Martyrdom of S. Lawrence; 1571. The Trinity; called " All Saints." S. Jerome in the Wilderness, reading. S. Je rome in the Wilderness, kneeling before a Crucifix at the entrance of a Cavern; in Venetia, Corn. Cort., ft; scarce. The Magdalene; half-length. The Magdalene in the Desert, before a Crucifix. Tar quin and Lucretia; 1571. Diana and Calista. Prometheus. Rogero liberating Angelica from the Dragon. Engraver, Cunego, Domenico. Ganymede. Engraver, Dalen, Cornelius Van. Pietro Aretino, with a Book. Gio. Boccace. Georgio Barbarelli, called Giorgione. Sebastiano del Piombo. Engraver, Danckert or Danckers, Dancker. Venus and Cupid, with a Satyr. Engraver, Desplaces, Louis. Jupiter and Danae. Engraver, Duflos, Claude. Christ at Table with the Disciples. Engraver, Hollar, Wenceslaus. The Ecce Homo, with many figures. Engraver, Jackson, John Baptist. S. Peter Martyr. The Descent of the Holy Ghost. Engraver, Jode, Peter de, the Elder. The Virgin and Child. Marriage of S. Catherine. Large Holy Family. Engraver, Jode, Peter de, the Younger. Holy Family with SS. Elizabeth and John and Zacharias. Engraver, Kassel, Theodore. Charles V. Engraver, Lasne, Michael. An Ecce Homo. Engraver, Mannl or Maennl, Jacob. Venus, with Cupid hold ing a Mirror. The Ecce Homo ; half-length. Mater Dolorosa. The Madonna. Engraver, Masson, Anthony. Christ at Emmaus; very cele brated, and known as " The Table Cloth." Engraver, Meyssens, John. The Madonna. Engraver, Mitelli, Giuseppe Maria. David and Goliath. Engraver, Morin, John. The Virgin adoring the Child; fine. Engraver, Musis, Agostino de. Charles V. holding his Sword. Engraver, Natalis, Michael. The Marquis del Guasto, with his Mistress represented as Venus. Engraver, Persyn, Regnier de. The Portrait of Ariosto. Enqraver, Picchianti, Gio. Domenico. Sebastian del Piombo. The Tribute Money. A Madonna. Engraver, Podesta, Andrea. The Triumph of Bacchus. Bac chus and Ariadne. Silenus, supported by Satyrs and Bacchanals. Engraver, Pontius, Paul. The Entombing of Christ. Engraver, Ravenet, Simon Francis. The Emblem of Human Life. Engraver, Rota, Martino. Martyrdom of S. Peter. Mary Mag dalene, penitent. Prometheus chained to the Rook. 37 578 TITIAN — TOLEDO. Engraver, Roussellet, Giles. The Entombing of Christ. Engraver, Sanuto or Sanutus, Giulio. Venus and Adonis. Engraver, Scaramuccia, Luigi, called B Perugino. Christ crowned with Thorns. Engraver, Smith, John. A set of ten plates of the Loves of the Gods. Engraver, Steen, Francis Vander. The Ploly Family. Engraver, Strange, Sir Robert. Venus reclining; after the picture in the Florentine Gall.; 1768. Danae; from a picture be longing to the King of Naples; 1768. Venus and Adonis; same Coll; "1762. Venus blinding Cupid; 1769. Engraver, Tibaldi, Domenico Pellegrino. Pemtent Magdalene! His own Plates (wood-cuts'). The Marriage of S. Catherine; inscribed, Tilianus Vecellius inventor lineavit. Samson and Delilah. The Triumph of Faith, represented by a procession of Patriarchs, Evangehsts, Saints, Martyrs, etc.; a long frieze of eight or ten prints. 1505. Engraver, Vaillant, Wallerant. Holy Family. Engraverr Vandyck, Sir Anthony. Titian with his Mistress leaning-on a Casket with a Skull ; Tiliano, pinx. ; A. Vandyck, fee. Engraver, Vanuden, Lucas. Two landscapes; one with the Holy Family, and one with the Good Samaritan. Engraver, Vico or Vicus, Enea. The Annunciation. Engraver, Zucchi, Andrea. Tobit and the Angel. S. John the Evangelist. Engraver, Zucchi, Lorenzo. The Tribute Money. Tivoli, Rosa di. See Roos. Tobar, Don Alonso Miguel de (1678-1758). This Spanish painter was celebrated cMefly for his fine copies of the works of Mu- • rillo, and there is little doubt that some which are called replicas are by the hand of Tobar. He was also a good portrait painter, and exe cuted a few original religious and historical subjects. Tol, Dominicus van. This painter was so good an imitator of Gerard Dow, that his pictures are frequently attributed to that mas ter. Some of his best works are in the Amsterdam and Dresden galleries. Toledo, Juan de, born at Lorca (1611-1665). He entered the army at an early age. His gallantry soon raised him to the rank of captain of horse. His campaigns were in Italy. This gave him an opportunity to perfect himself in the art he had studied under his father. After his return to Spain he become a reputable painter of small military subjects. TORBIDO— TRUMBULL. 579 Torbido, Francesco, called II Moro. Authorities differ hope lessly regarding the lime of his birth. He is called a pupil of Gior gione. His drawing was correct, his finish careful, and his color brilliant, like, that of his reputed master. His more important works are in the Cath. of Verona and in S". Maria Maggiore, Venice. His easel pictures are seen in private galleries in Italy. He painted many portraits. Torre, Flaminio, born at Bologna (1621-1661). His great excel lence as a painter consisted in his power of copying the works of great masters with wonderful exactness. He made a few good etch ings. Bartsch describes seven, after Guido, Ludovico and Agostino Carracci, and Ms own designs, which are in demand for the portfolios of collectors. Torregiano, Piero. The first notable act of this sculptor was the disgraceful one of giving Michael Angelo a blow, which broke his nose, and disfigured Mm for life. When this occurred they were fellow-students in the gardens of S. Mark, but the anger of Lorenzo de' Medici forced Torregiano to leave Florence, and he went to Rome. He became a soldier, and after ten years, in 1503, went to England and entered the service of Henry VIII. as a sculptor. His greatest work here was the tomb of Henry VII. in Westminster. Although he was well patronized, his restless disposition would not allow him to remain long quiet, and he went next to Spain and settled at Seville, where he probably died. So much doubt hangs over the different works ascribed to him in Seville, that it is quite impossible to decide concerning them. The S. Jerome, in the Mus., is perhaps the only authenticated work of his — and this is not supported by documentary evidence. Tribolo, real name Niccolo Braccini (1485-1550). This sculptor played no important part as an artist. His best works are in S. Petronius at Bologna, and in the Santa Casa at Loreto. He was much employed in decorations for public occasions in Florence, and at the time of his death was occupied in the decoration of the pleasure grounds of the Villa Castello, where he made two beautiful fountains. Tristan, Luis, born near Toledo (1594-1649). A good painter, whom Velasquez followed in preference to his master, Pacheco. Tristan was a pupil of Theotocopuli, and was much favored by that master. Seven leagues from Toledo is the quaint old town of Yepes. One side of its strange old market-place is its church, and here Tris tan executed a series of pictures wMch were Ms chefs-d' ozuvre. The town is picturesque, with its walls and gates, and not long since its only mode of communication with the outside world was by means of little carts. Tristan's pictures are seen in Toledo and Madrid. Trumbull, John, born at Lebanon, Connecticut (1756-1843). Son of Jonathan Trumbull, colonial governor of Connecticut. He 580 TRUMBULL. may be called the painter of the American Revolution, for it was in the illustration of its events and in representing the men who were engaged in it, that his brush was principally employed. He was a graduate of Harvard, and aide to Washington, and a colonel under Gates. In 1780 he went to France and then to London, where he studied under West. After the execution of Andrd he was arrested as a spy. When examined before the authorities he said, " I am an American ; my name is Trumbull ; I am a son of him whom you call the rebel governor of Connecticut; I have served in the rebel army; I have had the honor of being an aide-de-camp to Mm whom you call the rebel George Washington. I am entirely in your power; treat me as you please, always remembering that as I may be treated, so will your friends in America be treated by mine." After eight months in prison he was released upon condition that he should leave the country. From 1789 to 1794 he was engaged in painting the portraits of those who had become the men of history, from their connection with the war and with the formation of the new republic. Ho painted several pictures of Washington, some of wMch are very fine. He then went to England as secretary to Mr. Jay, and was engaged in diplomatic life for seven years. The pictures he painted during this time were unimportant. In 1817 he wps commissioned by Congress to paint large pictures for the Rotunda of the Capitol. His subjects were tho •' Declaration of Independence," the " Surren der of Burgoyne," the " Surrender of Cornwallis," and the " Resig nation of Washington at Annapolis." These are well known by en gravings from them. He also painted many Mstorical pictures, such as the " Death of Montgomery," tho battles of Bunker Hill, Trenton, and Princeton, the " Sortie of the Garrison from Gibraltar," and many portraits of eminent persons. He resided in New York the last twenty-seven years of his life. He was President of the Acad, of Fine Arts, and but a short time before his death became the Presi dent of the Washington Monument Association. The social position of Trumbull was an enviable one. He could number among his friends and acquaintances many men and women of note. Fox, Jefferson, Mme. do Stael, Talleyrand, Sheridan, Sh Joshua Rey nolds, Lafayette, David, Governor Hancock, and many others of his torical and literary reputation were well known to him. Still he had many hardships and disappointments, and was lonely in his old age. His original sketches and portraits which he had made for Ms Capi tol pictures were sold to Yale College for a pension. Beneath tho Gall, in which they were arranged he built a tomb, where he buried his whe and where he was laid. The following is the inscription which designates his resting-place : " Col. John Trumbull, patriot and artist, friend and aide of Washington, died in New York, Nov. 10, 1843, m. 88. He reposes in a sepulchre built by himself beneath this monumental gallery, where, in September, 1834, he deposited the TRUMilULL — TURNER. 581 remains of Sarah, his wife, who died in New York, April 24, m. 51. To his country he gave his pencil and his sword." His works have now been removed to the new Art Gall, of Yale College. Tulden, Theodor van, born at Bois-le-Duc (1607 ?-l 676 ?). A pupil of Rubens, who assisted him very much in forwarding his laro-e works. He was versatile in talent, and treated a variety of subjects. He approached Rubens in color, and in. his earlier works had the broad delineation of form of that master; later in hfe he became more refined and graceful, while his coloring was colder. His works are seen in many large galleries. His etchings are well esteemed. The best are after Rubens' "Battle of the Amazons," the Life of S. John of Matha, from his own works in Paris, and scenes from the Odyssey, after Niccolo dell' Abbate. Turchi, Alessandro, called L'Orbetto (1582-1648). The works of this painter are seen in several churches in Rome. Turner, Joseph Mallord William, bom in London (1775-1851). Son of a hair-dresser. The first assistance he received in the study of art was from Girtin, who introduced him to Dr. Munro, of the AdelpM, who allowed him to copy his fine drawings, and also em ployed him to sketch for him. He made progress early in topo graphical drawing, and before 1800, had travelled and made sketches in more than twenty-six counties of England and Wales. In 1801 ho became a member of the Royal Academy. His first oil- paintings worthy of especial notice were the " Tenth Plague of Egypt," and " Jason in Search of the Golden Fleece." Heretofore Ms originality had not made itself apparent, but from this time he was individual. Mr. Ruskin has devoted so much thought and time to writing of Turner, that nothing is left to be wished for except a biography of the artist. He visited Italy three times; he never married, and left his pictures and fortune to the nation. For more than sixty years, with scarcely an interruption, his works were ex hibited at the Acad. When he died it was in humble lodgings, where he lived under an assumed name, for the purpose of pursuing his art uninterruptedly. His finished pictures in the National Gall. amount to something moro than one hundred. The works of the middle portion of his life are the most satisfactory. Those of his later years arc so full of mystery, that to the ordinary eye they are meaningless. Taine says of the " Last Judgment " of Michael Angelo, " Lorsqu'on a trop longtemps manie ses idees, on les posi-ede mieux, mais on en est moins emu; on pousse au dela de la sensation primitive, la seule vraie, et Ton s'exagere ou l'on se copie." This applies perfectly to the later pictures of Turner. Among his best works are the " Bay of Baise," " Childe Harold's Pilgrimage," "Ulysses deriding Polyphemus," "Caligula's Palace and Bridge," and tho " Fighting Tcmeraire." Turner was buried in the crypt of S. Paul's Cath., beside Sir Joshua Beynolds; this was in accordance wiLh Ms own request. 582 UBERTINI — UTRECHT. u. TJbertini, Francesco, called II Bachiacca, born at Florence. Flourished about 1530-1557. A pupil of Perugino. He painted historical subjects on a small scale with numerous figures. He also worked in gold and silver. TJccello, Paolo (1396-1479). This interesting old painter gave much thought and study to perspective, and although we can but smile when we look at his pictures and think of this, still they do show a little advance upon what had preceded him. His works are rare ; some are in S. Maria Novella in Florence; the "Battle of S. Egirlio" is in the National Gall., and in the Louvre is a panel with the heads of Giotto, Donatello, BrunellescM, Gio. Manetti, and himself. He had a passion for birds ; from this he acquired Ms name of Uccello, his true one being Paolo di Done. He was brought up a goldsmith, and was a pupil of Ghiberti. Uden, Lucas van, born at Antwerp (1595-1662). This painter frequently executed the landscapes in Rubens' pictures, and also painted some pictures in which Teniers painted the figures. He was a good artist, and some works of Ms in the Dresden Gall, show Ms best manner. He also engraved about sixty plates, a part of which are very fine. Some of them are very rare; there is one of which the British Mus. has the. only impression. TJdine, Martino da, called Pellegrino di S. Damello (1480- 1545?). Pupil of Gio. Bellini. He acquired a reputation equal to that of his master, who was at that time much esteemed. Udine, Gio. Nanni (1494-1564). He was first a, pupil of Giorgione, under whom he became an excellent colorist; later he studied with Raphael and was one of his most valuable assistants. He executed animals, birds, flowers, and ornaments in the loggie and apartments of the Vatican, which are still objects of universal admiration. After Raphael died he worked with Del Vaga in the Torre di Borgia, and executed many decorations. He fled during the sack of Borne, and was employed by the Medici at Florence, but he returned to Rome, where he died, and was buried in the Pantheon near his beloved master. Uggione. See Oggione. Ulft, Jacob van der, born at Gorcum (1627-1688). An architec tural painter. He had never been in Rome, but many of his pictures represented the monuments, piazzas, and buildings of that city, which must have been designed from engravings. His works are rare. Pie combined good drawing and good color with fine finish and picturesque taste in design. His pictures are seen in Amster dam, and at the Louvre, Hague, and Berlin galleries. Utrecht, Adrien van, born at Antwerp (1599-1651). A painter UTRECHT — VAGA. 583 of animals, fruit, flowers, and kitchen pieces. He approached Rem brandt in detail and color, and was skilful in arrangement. His treatment was masterly. Vadder, Lodewyck de. The only works of this landscape painter in pubhc galleries are at Munich and Brussels. He followed Rubens in his manner. Bartsch attributes eleven etcMngs to him; they are rather coarse and- without much taste in desio-n. Vsenius. See Veen. Vaga, Pierino del, real name Pietro Buonaccorsi, born near Florence (1500-1547). His parents were poor, and died when he was very young. A Florentine took him to his house, where many artists were in the habit of going, and at an early age Pierino gave proof of Ms artistic taste ; when eleven years old he was placed under the care of Ridolfo Ghirlandaio, where he became a correct draughtsman and attracted the notice of an artist who took him to Rome in 1515. In that city he became known to Giulio Romano, by whom he was recommended to Raphael. He was a very useful assistant to the great master, and executed several works after his designs, in the Vatican, and after Raphael's death he assisted Romano and Francesco Penni in completing his unfinished pictures. After the sacking of Rome he went to Genoa and was employed by Prince Doria to embellish his palace. These decorations gained Mm much praise. His Madonnas and kindred subjects are seen in public galleries. ENGRAVINGS AFTER DHL VAGA. Engraver, Beatrizet, Nicolas, the Younger. The Sacrifice of IpMgema. - Engraver, Desnoyers, Louis Augustin Boucher. Les Muses et les Picrides. Montagnani, Pietro Paolo, published the following plates; the names of the engravers are on the plates, and they are from Del Vaga's paintings in the cupolas of the arcade of the loggie called "Raphael's Bible." Cupola VIII., History .of Moses. Finding of Moses; engraved by A. Mochetti. Moses before the Burning Bush. Passage of the Red Sea. Moses striking the Rock ; engraved by A. Mochetti. Cupola X., History of Joshua. Crossing the Jordan; engraved by Gio. Petrini. Fall of Jericho. Joshua's Victory. Joshua dividing the Land; by Gio. Petrini. Cupola XL, History of David. David anointed King; by Camillo Tinti. David conquering Goliath; by Camillo Tinti. David's triumph over the Syrians; by J. B. Dasori. David and Bathsheba; by J. B. Dasori. 584 VAGA — VANDERLYN. Cupola Xni., From the New Testament. Adoration of the Shepherds; by Giacomo Bassi. Adoration of the Kings. Baptism of Christ. Last Supper; by Giacomo Bassi. (Vasari says these were done by Del Vaga; others say they were by Giulio Bomano). Engraver, Tinti, Camillo. David anointed King. David con quering Goliath. Valdes, Don Juan de, born at Cordova (1630-1691). Of the ancient family of Leal. After the death of Murillo he was the first painter in Seville. Many of Ms pictures are in the Cath., churches, and Mus. of Seville. Lucas de Valdes, his son, was also a painter of some repute, and a successful engraver. Vanderhamen, Juan de, born at Madrid (1596-1632). Studied with Ms father, and painted some pictures of Mstorical subjects. His best pictures were fruit and flower pieces and " bodegones," in wMch he painted, with remarkable skill, sweetmeats and confections. No. 104, Royal Gall, of Madrid, is a picture of this class. Vanderlyn, John, born at Kingston, Ulster County, New York (1 776-1852). It seems when we speak of this painter that we ought only to talk of his two great works, the " Marius " and " Ariadne." The former took the prize at the French Exhibition in 1808. The Emperor Napoleon himself selected it as the work most worthy of that honor, and desired to have it placed in the Louvre, but the artist wished it to be in his own country. It was brought here and purchased by Bishop Kip. It was painted in Rome in 1807, when Vanderlyn and Allston were living side by side, and were almost the only American art students there. The " Ariadne," when exhibited in Boston, was offered to the Atha;neum for $500. Mr. Harrison of PhiladelpMa paid $5000 for it, and it is now in Ms gallery. Marius is represented sitting among the ruins of Carthage ; it pictures the grand, patriotic Roman with great power; in color it is dark and se vere. The Ariadne is sleeping, and is a beautiful ideal of beauty. The good execution of such diverse subjects conveys the idea of great power, and promised much for the artist. His other works are occa sional portraits, some copies of old pictures, and a few historical sub jects. Plis last years were spent in poverty. Tw e he pawned the Napoleon medal; it was redeemed the last time in Paris by Bishop Kip, as it had been before in New York by his father. At length, in the autumn of 1852, he went to his birthplace, so poor that he begged a shilling with which to transport his baggage to the town. Upon reaching the hotel his only request was for a bed, and to be left alone. And there, the next morning he was found dead. He was buried in the " Wiltwyck cemetery." No stone or inscription marks the spot, and as if to increase the gloom of his history, the account of Ms life, which he had related to a friend, was burned while in the hands of a publisher. In a letter written after the death of Allston, lie said, " When I look back some five or six and thhty years since, VANDERLYN — VANDYCK. 585 when we were both in Rome, and next door neighbors on the Tri nita del Monte, and in the spring of life, full of enthusiasm for our art, and fancying fair prospects awaiting us in after years, it is painful to reflect how far these hopes have been from realization." Vandyck, Sir Anthony, born at Antwerp, 1599; died in London, .1641. After studying under Henry Van Balen, he entered the school of Rubens in 1615. He soon became afavorite pupil with his master. There was a great demand for prints from the designs of Rubens. Pie often employed Vandyck to make the drawings from which the en gravers worked, and as these should be as exactly like the original picture as possible, such employment proves that he esteemed the abilities of Ms pupil. Rubens was accustomed to ride for an hour or two towards evening, at which time his pupils were in the habit of teasing his servant to show them what he had been doing. On one occasion, in their haste, when his painting room was opened, they jostled against the picture and injured it. A consultation was held, and it was decided that Vandyck should restore what had been de faced. He did this with no little hesitation, but so well that the pupils hoped to escape detection. The keen eye of the master, how ever, recognized the working of another hand, and he summoned the young men for an explanation. When this was given he was so well pleased that he made no further comment. Descamps states that this happened to the celebrated picture of the ' ' Descent from the Cross." Rubens advised Vandyck to devote himself to portraiture. Some persons have accused the master of jealousy of Vandyck's genius, and have assigned this as the cause for Ms advice. There is a letter from the agent of the Earl of Arundel, dated at Antwerp, 1620, in which he recommends Vandyck to the employment of his master. From the order-books of the Exchequer it is now proved that a pass was given to Vandyck, the 28th of February, 1020, in which he was called "his Majesty's servant," and permitted to travel for eight months. He proceeded first to Flanders, and in the village of Savelthem, near Brussels, became enamored of a young woman named Anna Van Ophem. This passion so far controlled him that he seems to have forgotten Italy, and painted for the parish church (it is said at her persuasion) two pictures. One represented S. Martin on horseback dividing Ms cloak with a beggar, in which the saint was a portrait of himseh, and the horse was painted from one given him by Rubens. At one time the parish authorities agreed to sell this picture without the knowledge of the villagers, who, when they heard of it, surrounded the church, armed with pitchforks and other weapons, and would not allow it to be removed. They mani fested the same enthusiasm for their saint in 1806, when it was car ried away by the French. It remained in the Louvre till 1815, when it was returned to its original position. The other picture painted at Savelthem was a Holy Family, in which he introduced tho por- 586 VANDYCK. traits of Anna and her parents. When the knowledge of tMs stay in Savelthem came to Rubens he was greatly dissatisfied with his pupil, and attempted immediately to break the spell of Ms infatua tion. Happily he was able to do this, and taking a hasty leave of Anna, Vandyck proceeded to Venice. His whole attention was given to the study of Titian and Giorgione. He went next to Genoa, where, some years before, Rubens had met with such success. The remembrance of the master predisposed the Genoese in favor of the pupil. His elegance and refinement of manner, added to Ms powers as a portrait painter, quickly obtained for Mm all the patronage he desired. Many of the portraits he then painted still remain in the palaces of Genoa. From there he went to Rome. He was received as a guest by Card. Bentivoglio, who had acquired a fondness for the Flemings when Nuncio in Flanders. He commissioned Vandyck to paint a " Crucifixion," and a full-length portrait of himseh. The latter is now in the Pitti Pal. SopraM says that he remained two years in Rome. His leaving it has been ascribed to the manner in which the Flemish artists there disparaged Mm. On Ms arrival he had found that, as a class, they were intemperate and uncongenial to himseh; and he ceased to attend their meetings. They were an noyed at this, and made Mm so uncomfortable that he returned to Genoa. At Genoa he frequented the house of Sofonisba Angosciola, a celebrated artist, and he was accustomed to say that he had learned more of the principles of art from this woman, who had become blind, than from the works of the most celebrated painters. He was in vited to Palermo, where his stay was short, for, the plague breaking out, he was obliged to flee. In travelling, he met the Countess of Arundel and her two sons, and accompanied them to Turin. He went also to Florence and other Italian cities, but spent most of his time in Genoa, until, at the end of 1626, he returned to Antwerp. The story of his successes in Italy had reached his native city. He was not allowed to remain idle. PBs first large work was an altar- piece for the ch. of the Augustines. The original effect of this pic ture cannot be understood from its present state. It represents S. Augustine in ecstasy, and Vandyck painted him in light vestments. The brotherhood insisted that these should be changed to black, which spoiled its arrangement of light, and its whole appearance. He then received a commission from' the canons of the collegiate ch. of Courtray for a large altar-piece representing the " Raising of the Cross." When ho carried it to them they insisted upon seeing it before it was put in its place, and declared that it was altogether wanting in dignity, and, calling him a " dauber," they left him. He returned to Antwerp and said nothing of this. Soon persons of good judgment and taste went to see the picture, and declared it a won derful work for so young a man. After a time the canons became convinced of theh mistake, and decided to employ Vandyck to paint VANDYCK. 587 two other pictures for their church, hoping thus to make amends for their past insolence; but Vandyck replied to their communication by saying there were already "daubers" enough in Courtray without summoning those of Antwerp. He remained in Flanders and Hol land for five years, and was constantly occupied. In the latter country he painted portraits of the royal family, and many persons of rank and consequence. On one occasion, when at Haarlem, he called on Frank Hals, who was, as usual, at a tavern. He sent word to Mm that a stranger wished Ms portrait painted, and when Hals THE CHILDREN OF CnARLES I, BT VANDYCK. Dresden Gall. appeared, told Mm he could have but two hours for his work. The picture was finished and shown to Vandyck. He expressed his ap proval and, saying that portrait painting seemed a very pimple thing, ho asked Hals to change places with him. It was soon evident that this was not his first acquaintance with palette and brush, and he showed his work to Hals who ardently embraced him, crying out, " You are Vandyck; no person but he can do what you have now done." In 1632 Vandyck went to England and was well received by the King, and appointed principal painter in ordinary to their Majesties. His courtly elegance of person and refinement of address 588 VANDYCK. soon won the favor of the monarch, who often visited Ms studio and passed hours in familiar conversation with Mm. He immediately painted a large picture of the King and Queen, the Prince of Wales, and the Princess Mary ; and in three months after his arrival in Eng land, the King conferred on Mm the honor of knighthood. He gave Vandyck constant employment, and in 1633 settled on Mm a pension of £200 yearly. There are four portraits of Lady Digby, painted about this time, as she died in 1633. One of these represents her lying dead in her bed, with a faded rose beside her, and is extremely beautiful. Even while in Rome Vandyck had been so ostentatious in his dress and equipage that he was called II pittore Cavalieresco ; and now that fortune smiled upon Mm, he indulged in magnificent living. He entertained his sitters with dinners in order to study their expression. He was liberal to men of talent, especially musi cians, and his house, often visited by the King, became the resort of men of rank and talent; in fact, a visit to his studio became indis pensable in the day's programme of the fashionables of that time. He was given to gallantry, and lavish in his expenditures for Ms favor ites. A portrait which he painted of Margaret Lemon, a woman of much notoriety, has been often engraved. On one occasion the King was sitting to him, when the Lord Steward came to speak on the subject of finance. Charles said to Vandyck, " And you, Sh Knight, know you what it is to want three or four thousand pounds ? " " Yes, sire," replied the painter ; " he who keeps his house open for his friends, and his purse for his mistresses, will soon find a vacuum in his coffers." It has been said that in order to increase his fortune he prosecuted a chemical search for the philosopher's stone, and thus greatly injured Ms health. The King and his other friends were much troubled at Ms mode of life; and hoping that marriage would lead him to adopt more temperate habits they planned and promoted an alliance with Maria Ruthven, daughter of Lord Gowrie. Van dyck was constantly employed in portrait painting, and occasionally executed pictures of other subjects, both religious and mythological. But he greatly desired to exercise Ms talent in something wMch should establish his fame upon a, higher scale than he had yet reached. The rich pictures by Rubens upon the ceiling of the banquetting-hall at Whitehall, necessitated similar decorations for the walls. Van dyck proposed to make a series of pictures illustrating the history of the Order of the Garter. The King was much pleased with the idea, and desired sketches to be made. But unfortunately the work was never done. Many things at this time rendered his situation painful, and in 1640 he made a journey to Flanders. While there he heard that the King of France desired to adorn the Gall, of the Louvre with paintings. He proceeded to Paris, hoping to be employed, but Nicholas Poussin had been summoned from Borne, and Vandyck was again disappointed. He returned to England, and in 1641 witnessed VANDYCK. 589 the dispersion of the royal family, which he knew and loved so well. The following May the Earl of Strafford was executed. All these tilings, added to bodily ailments, so prostrated Vandyck that when the King returned from Scotland he was greatly alarmed, and told his physician he would give him £300 if he succeeded in preserving the artist's life. All efforts were in vain, and he died on the 9th of December, 1641, at his home in Blackfriar's. He was buried in the Cath. of S. Paul's, near the tomb of John of Gaunt. He left one daughter by Ms wife, named Justiniana, and a natural daughter, Maria Theresa, for whom he provided in his will, giving her to the care of his sister Susanna, a nun in Antwerp. The works of Van dyck are too well known to require praise, but. a great difference exists in their coloring. Those which he painted in Italy, and soon after his return, are rich and mellow, and in a style which Reynolds observes " supposes the sun in the room." This may be called his first manner. His English pictures have a more silvery color; they are brilliant and delicate, and at the same time solid and firm in their painting. These are in his second manner. His latest pictures show that but little labor was bestowed on them, and are slight and meagre in execution. As a portrait painter Vandyck stands beside Titian, in the first place. As a painter of Mstorical subjects he is also masterly. His drawing was more correct, his feeling for nature moro refined, and Ms expression of profound emotion more elevated than that of Rubens. The latter excelled in power to depict terrible and momen tary incidents, but, all in all, they may very fairly be placed on the same level. The works of Vandyck are numerous, and found in nearly all large or good collections. He left a collection of small pictures in brown chiaro-scuro, a part of which are in the Munich Gall. There are also etchings by Mm, executed with a spirit and energy seldom surpassed. They will be found in the following list. ENGRAVINGS AFTER TnE WORKS OF VANDYCK. Engraver, Ardell, James Mc. Rubens' Wife; fine. Rachel, Countess of Southampton ; very fine. Lord John and Lord Bernard Stuart ; very fine. The Virgin and Infant Jesus. Moses found by Pharaoh's Daughter; very fine. Time clipping the Wings of Love ; very fine. Engraver, Aubert, Michel. Portrait of Charles Emanuel, Duke of Savoy. Engraver, Audran, John. Portrait of Rubens. The Elevation of the Cross. The Crucifixion. Engraver, Baillu, . The Crucifixion. The Virgin in the Clouds. Binaldo and Armida. Engraver, Baron, Bernard. Charles I. on Horseback, with the Duke d'Epernon; 1-741. Charles I., his Queen, and two Children. The Nassau Family; after Earl Cowper's picture. The Pembroke 590 VANDYCK. Family; after the picture at Wilton. Family of Vandyck; after the Earl of Pembroke'-s picture. Robert, Earl of Caernarvon. Anna Sophia, Countess of Caernarvon. Engraver, Beauvais, Nicholas Dauphin de. S. Jerome. Engraver, Bleck or Bleeck, Peter Van. Portrait of Francis Du Quesnoy, called Fiammingo, sculptor; A. Vandyck, pinx. ; P. V. B.I., ft; 1751. Engraver, Blond or Blon, James CMistopher le. S. John em bracing the Infant Jesus. Engraver, Blooteling, Abraham. Portrait of the Marquis de Mirabelle. Engraver, Bolswert or Bolsuerd, Scheltius A. Scheltius A. Bolswert ; A d. Lommelvm, sc. Andrew Van Ertwett, painter, of Ant werp. Martin Pepin, painter. Adrian Brower, painter. John Baptist Barbe, engraver. Justus Lipsius, historian. Albert, Prince of Aremberg. Maria Ruthven, wife of Vandyck. Margaret of Lorraine, Duchess of Orleans. William de Vos, painter. Sebastian Vranck, painter. Maria Mater Dei. The Holy Family, with an Angel holding a Crown. The Virgin with the CMld on her Knee, and a Female Saint holding a Palm. The Holy Family, with the CMld asleep in the Arms of the Vhgin. The Holy Family in a Landscape, with several Angels. Christ crowned, with Thorns; very fine. The Elevation of the Cross. The Crucifixion; a grand com position, with two men on horseback, and a figure presenting the sponge to Christ ; on the other side, the Virgin Mary and S. John standing, and Mary Magdalene kneehng and embracing the Cross; one of the finest works of Bolswert. Engraver, Borrekens, Matthew. The Crucifixion, with the Virgin, the Magdalene, and S. John; Ant. Vandyck, pinx.; Eras. Quellinusj del. Engraver, Bruggen, John Vander. Portrait of A. Vandyck; se ipse pinx. Engraver, Burghers, Michael. William Sommer, the antiquary. Franeiseus Junius. Engraver, Carmona, Emanuel Salvador. The Virgin and In fant. Engraver, Caukkrkf.n, Cornelius Van. The Dead Christ, with the Virgin, Magdalene, and S. John. The Descent of the Holy Ghost. Charity, with three Children. Engraver, Caylus, Anne Claude Philippe, Comte de. A set of thirty heads; after Rubens and Vandyck ; from the Crozat Coll. Engraver, Chambers, Thomas. Helen Forman. Engraver, Clouet, Peter. Christopher Van der Laenen. The odore Rogiers, goldsmith. Charles Scribbanius, a celebrated Jesuit. Anne Wake, Countess of Sussex, holding a Fan of Feathers. Henry Rich, Earl of Holland. VANDYCK. 591 Engraver, David, Francis Anne. Family of Charles I. Engraver, Davis, Edward Le. S. Cecilia, with Angels. Engraver, Delft or Delphi us, William James. Michael Mirevelt, painter. Engraver, Does, Anthony Vander. The Magdalene. Engraver, Earlom, Richard. James Stuart, Earl of Richmond. The Duke of Aremberg, on horseback. Engraver, Faithorne, William, the Elder. Sir William Paston, Bart.; 1659; extremely fine. Lady Paston; 1659; also very fine. Margaret Smith, afterwards Lady Plerbert. Montague Bertie, Earl of Lindsey. Anne Bridges, Countess of Exeter. A Dead Christ. Engraver, Ferdinand, Louis. Portrait of a Lady. Engraver, Galle, Cornelius, the Elder. Artus Wolfart, painter. Engraver, Galle, Cornelius, the Younger. Emperor Ferdinand III.; 1649. Mary of Austria, his Empress; 1649. Henrietta of Lorraine. John Meyssens, painter and engraver. Engraver, Green, Valentine. Sir Thomas Wharton. Henry, Earl of Danby. George, Marquis of Huutley. Time clipping the Wings of Love. Engraver, Groensvelt, John. Dorothy, Countess of Sunder land. Engraver, Hollar, Wenceslaus. PMlip Herbert, Earl of Pem broke. Thomas Wentworth, Earl of Strafford. Althea Talbot, Countess of Arundel. Teresia, Lady Shirley; very scarce. Mary Villiers, Duchess of Bichmond and Lennox. Mary Stuart, Countess of Portland. Archbishop Laud. P. P. Rubens. Sir Anthony Van dyck. Inigo Jones, architect. Jerome Weston, Earl of Portland. Engraver, Jode, Peter, the Younger. S. Augustine, supported by Angels. Rinaldo and Armida. Engraver, Jode, Arnold de. Magdalene, half-length ; circular. The Infant Christ embracing S.John; inscribed, Arnoldus de Jode, sculp. Londini, tempore incendii maximi. Engraver, Lauwers, Nicholas. Fran. Lelio Blancatio. Engraver, Laurie, Robert. The Crucifixion. Engraver, Lombard or Lombart, Peter. A set of twelve plates, half-length; two of the Earl of Arundel and Earl of Pembroke, and ten ladies, called " The Countesses." Charles I. on horseback; after Ms death the head of Cromwell was substituted for that of the King. Engraver, Lommelin, Adrian. Charles I. Ferdinand of Austria. Jacob le Roi, Seigneur of Herbaix. J. C. de la Faille, Jesuit. Alex. de la Faille, Senator of Antwerp. Zegher Van Hontsum, Canon of Antwerp. Adrian Stephens, ecclesiastic. J. Malderus, Bishop of Antwerp. John de Wael, painter, of Antwerp. John Baptist de Bisthoven, Jesuit; one of the best plates. Christ taken in the Gar den. Engraver, Louts or Loys, John. Francis Thomas of Savoy, Prince of Carignan. 592 vandyck. Engraver, Mannl or Maennl, Jacob. The Virgin with the CMld caressing S. John. Samson delivered to the Philistines. Engraver, Massard, John. Family of Charles I. Engraver, Matham, Theodore. Michael le Blon, Agent to the Crown of Sweden. Engraver, Morghen, Raphael. Francesco Moncado, Duke of Ossono, on horseback. Engraver, Morin, John. Guido, Card, de Bentivoglio. The Countess de Bossu. Margaret Lemon. Charles de Mallery, en graver and print-seller. Engraver, Natalis, Michael. Ernestine, Princess de Ligne. Engraver, Neef or Neefs, Jacob. Francis Snyders, painter. Anthony de Tassis, Canon of Antwerp. The MarcMoness of Barle- mont, Countess d'Egmont. Josse de Hertoghe. Martin Ryckart, painter. Engraver, Paul or de Paulis, Andrew. Titian and Ms Mis tress ; after the etching by Vandyck. Engraver, Payne, John. Ferdinand of Austria. Engraver, Pazzi, Pietro Antonio. The Virgin and Child. Engraver, Pesne, John. Francis Langlois. Engraver, Picakt, Bernard. Charles I.; 1724. Engraver, Picchianti, Gio. Domenico. Card. Bentivoglio. Engraver, Place, Francis. Portrait of Charles I. Engraver, Pontius, Paul. Paul du Pont or Pontius. Peter Paul Rubens. James de Breuck, arcMtect. John Wildens, painter, of Antwerp. John Van Ravesteyn, painter at the Hague. Palemedes Palamdessen, painter. Theodore Van Loo, painter, of Louvain. Theodore Rombouts, painter, of Antwerp. Cornelius Van der Gheest, celebrated connoisseur. Gerard Honthorst, painter at the Hague. Henry Van Balen, painter, of Antwerp. Adrian Stalbeut, painter, of Antwerp. Daniel Mytens, painter, of Holland. Gerard Seghers, painter, of Antwerp. Simon de Vos, painter, of Antwerp. Gaspar de Craeyer, painter, of Ghent. Henry Steenwyck, painter, of Antwerp. Gaspar Gevartius, counsellor, of Antwerp. Nicholas Rockox, magistrate of Antwerp. John Vanden Wonwer, counsellor of state. Cassar Alexander Seasdia, Abbot of Stophard. Gustavus Adolphus, King of Sweden. Mary de' Medici, Queen of France. Francis Thomas of Stvoy, Prince of Carignan. John, Count of Nassau. Don Alvarez. Marquis of Santa Cruz. Don Carlos de Colonna, Spanish general. Don Diego Philip de Gusman, Marquis de Leganez. Mary, Princess of Aremberg. Henry, Count de Berghe, in armor. Sir Balthasar Gerbier, Ambassador from Spain. Frederic Plenry, Prince of Orange. Engraver, Puestel, John Gotlieh A Pieta. Engraver, Riedel, John Anthony. Portrait of a Lady holding a Letter. VANDYCK. 593 Engraver, Sailliar, LoMs. Portrait of Helen Forman. Engraver, Schiavonetti, Luigi. Mater Dolorosa. Dead Christ. Engraver, Schmidt, George Frederic. Virgin and Child with S. John. Engraver, Sharp, William. Charles I.; three faces. Earl of Arran. Engraver, Simon, John. Charles I. Engraver, Sompel or Sompelen, Peter Van. Card. Ferdinand, brother to Philip IV. Isabella Clara Eugenia, Infanta of Spain. Gaston, Duke of Orleans, brother to Louis XVI. Margaret, his con sort Engraver, Strange, Sh Robert. Charles I.; whole length; 1770. Charles I. , with a Page, and his Equerry holding his Horse; 1782. Henrietta Maria, Queen of Charles I., with the Prince of Wales and Duke of York; 1784. The Children of Charles I.; 1758. The In fant Jesus, asleep; 1787 (?) Half-length of Charles I. ; engraved in the first edition of Smollett's " History of England," in quarto; 1757. James Graham, Marquis of Montrose. Thomas Wentworth, Earl of Strafford. Engraver, Suyderhoef, Jonas. Charles I. Henrietta Maria. Francis de Moncade. Count d'Ossonne. Engraver, Tardieu, Peter Alexander. The Earl of Arundel. Vandyck's own Plates. Christ crowned with Thorns; A. Vandyck, inv. A Holy Family. A Bust of Seneca, and others. Adam Van Oort, painter; Ant. Vandyck, fecit aquaforti. Justus Suttermans, painter of Antwerp. Peter Breughel, painter. Lucas Vorsterman s, engraver. Judocus de Momper, painter. Paul du Pont or Pontius, engraver. John Breughel, painter. Francis Frank, painter. Jon de Wael, painter. John Snellinx, painter. Titian, with his Mistress, leaning on a Casket with a Skull; Ti- tiano,pinx., A. Vandyck, fee. Anthony Cornelissen, amateur. Erasmus Rotterdamus. Anthony Vandyck. Philip le Roi, Eques. Francis Snyders, painter. Anthony Triest, Bishop of Ghent. William de Vos, painter. 594 VANDYCK — VARGAS. Paul de Vos, painter. John Waverius or Van den Wouwer. Engraver, Visscher, John. Peter Paul Rubens. Engraver, Voerst, Robert Van der. Philip, Earl of Pembroke. Ernest, Count Mansfeld. Simon Vouet, painter. Sh Kenelm Digby. Inigo Jones. Christian, Duke of Brunswick. Sh George Carew. Engraver, Vorsterman, Lucas the Elder. Charles I. Thomas Howard, Earl of Arundel. Isabella Clara Eugenia, Infanta of Spain. Gaston, Duke of Orleans. Ambrose Spinola, Governor of the Lower Countries. Wolfgang William, Duke of Bavaria. Fran cis de Moncade, Count of Ossone-. Nicholas Rockox, magistrate of Antwerp. Anthony Vandyck, painter. Peter de Jode, the Elder, engraver. Charles de Mallerie, engraver. James Callot, engraver. Theodore Galle, engraver. Wenceslaus Koeberger, painter. Deo- datus Delmont, painter. Peter Steevens, amateur, of Antwerp. John Van Mildert, sculptor. Hubert Van den Enden, painter. Lu cas Van Uden, painter. Cornelius Sachtleven, printer. Orazio Gentileschi, painter. John Lievens, painter and engraver. A Pieta, with Angels weeping. Engraver, Williams, Robert. Charles I. Edward, Lord Little ton, Lord Keeper. Engraver, Woollett, William. Peter Paul Rubens. Engraver, Wyngaerde, Francis Van den. A Dead Christ, supported by the Maries. AcMUes discovered among the Daughters of Lycomedes. Vandyck, Philip, born at Amsterdam (1680-1752). The historical pictures by this artist are far from good. His best works are genre subjects. Most large Continental galleries have his pictures. Vanloo, Charles Andre, called Carlo. Born at Nice (1 705-1765). This painter was the most eminent of a, family of artists. His principal works are in the ch. of the Augustines in Paris. A " Marriage of the Virgin " in the Louvre is worthy of note. His studies in Italy helped him to rise above the artists of his country in his day. Vanucchi. Se3 Sarto. Vannucci. See Perugino. Varela, Francisco, born at Seville; died 1656. Next to Zur baran he was the best scholar of Roelas. Many of his works are in the churches and convents of Seville, and in the private collections of that city. In the ch. of S. Bernardo, beyond the walls, is his • "Last Supper," painted in 1622. It is one of Ms best pictures, and the figure of Judas elutchiii"- the baa-, with a face full of treachery and terror, is very effective. Vargas, Luis de, born at Seville (1502-1568). He studied for a VARGAS — VASARI. 595 time in his native city, and, like most Sevillian painters, painted on sarga. He went to Italy, and, it is said, remained twenty-eio-ht years. His master is not known, but his style has induced the belief that he studied under Pieriuo del Vaga. Stirling says, "As a painter, Vargas is remarkable for the grandeur and simplicity of his designs, and for the purity and grace of his female heads; for correctness of drawing and agreeable freshness of color." His easel pictures are few, and his frescoes, to which he undoubtedly owed his greatest fame, are now so defaced as to afford small opportunity for forming a judgment of their merits. He was a very religious man, and in Ms chamber were found, after his death, scourges and instruments of penance, and a coffin in which he was accustomed to lie down, and meditate upon death and the future. But with all Ms seriousness he was a witty man. A brother artist once asked his opinion of a poor picture of " Christ on the Cross." " He looks," said Vargas, " as if ho were saying, ' Forgive them, Lord, for they know not what they do.' " In Seville he was considered a great artist and a good man Among his remaining works is a portrait of the "Apostle of Seville," wliich hangs in the sacristy of chalices in the Cath. This holy man was a brother of the Order of Mercy, named Fernando de Contreras. In the Cath. also, a " Nativity," in the chapel dedicated to that event, and in the chapel of the Conception a picture of the " Temporal Generation of Our Lord." This is considered his finest work now in Seville. Adam kneels in the foreground, and one of his legs is so well painted that from it the picture has been called "La Gamba." This same chapel has several other pictures by this master, but it is so dark that they can be seen well only on days when it is lighted with tapers. His frescoes which were on the. outer walls, and on the tower, are almost obliterated. There was a full-length of John the Baptist, in the Coll. of Lord Francis Egerton in London, which was attributed to Vargas, but a duplicate of it in the Gall, of the King of Bavaria was ascribed to Giulio Bomano. Varotari, Alessandro, called II Padovanino (1590-1650). His principal work is the " Marriage in Cana " in the Acad, of Venice ; another fine work is the picture of a " Saint in Deacon's Orders," taken in a moment of ecstasy. He seems to have formed his style by the study of Titian's works. Vasari, Giorgio, born at Arezzo (1512-1574). This artist is best known to us by his "Vite de' piu eccellenti Pittori, Scultori, ed Architetti," published in 1550 and revised in 1568. It is the first comprehensive work of its kind, and is written in a very attractive style; it is not always correct as regards chronology, and must be criticised with care before it is taken for authority, but this is not strange when we remember that it was chiefly compiled from verbal accounts. And then, what would all other writers upon kindred 596 VASARI — VELASQUEZ. subjects have done without the opportunity to quote and contradict Vasari ! His paintings are in Rome, Naples, Arezzo, and Florence. He was rapid in execution and matter-of-fact in spirit; Ms best works were portraits. That of Lorenzo de' Medici in the Uffizi is excellent and well known; that of Cosimo I. was often re peated, and is in several galleries. Vasari's talents were varied, for he was also an arcMtect and superintended the erection and deco ration of several buildings. Vasquez, Alonso, born at Ronda. Studied with Luis de Vargas. A few of his pictures, which are very imperfect, are in the Mus. of Seville. They illustrate the story of S. Raymond. Vasquez was one of the artists chosen to paint the catafalque used at the burial of Philip II. in 1598. Vecelli. This was the family name of the great Titian, and several of his relatives were painters and imitators of Ms style. Theh works are occasionally seen in churches and galleries. Vecchia, Pietro (1605-1678). Real name was Mattoni, called Vecchia from his skill in imitating the old masters. Some of Ms imitations of Giorgione have undoubtedly been considered as originals. Veen, Martin van. See Hemskerk. Veen, Othon van, called Otto Vaenius, born at Leyden (1558- 1629). Painter of historical subjects, in a cold and affected manner. He was a man of unusual classical learning, but Ms introduction of allegorical allusions was often far-fetched and unpleasing. His works are somewhat numerous, and are seen in the Antwerp and Munich galleries. Velasco, Don Acisclo Antonio Palomino de Castro y, born at Bujalance (1653-1726). The Vasari of Spain. His "Museo Pictorico "was the only book of its kind until the work of Cean Bermudez appeared. Velasco published the first volume in 1715, and the second nine years later. As a painter he became quite cele brated, and executed many important works in Madrid. He was associated with Alfaro, Coello, Carreno, and Giordano. He was ap pointed painter to the King, on account of his works at the Alcazar. He also painted in Valencia, Salamanca, Granada, and Cordova. In early life he had been ordained for the church, and in 1725 he en tered into full orders. He had been married, and was interred with great pomp by the side of his whe, in the ch. of S. Francesco, at Madrid. Velasquez, Diego Rodriguez de Silva y, born at Seville, 1599; died at Madrid, 1660. Both his parents were of noble blood. His father was Juan Rodriguez de Silva, and his mother Geronima Velas quez, by whoso name, according to the custom of Andalusia, he was called. The poverty of his paternal grandfather caused Mm to leave Portugal and seek Ms fortune at Seville. To this chcumstance Spain VELASQUEZ. 597 owes her greatest painter. His father became a lawyer, and lived comfortably at Seville ; and his mother devoted herself to his educa tion. His great love of drawing induced his father to place him in the school of Herrera, the Elder, whom Stirling calls "a clever brute," and of whom Velasquez soon became weary. Before leaving him, however, he had acquired something of his free, bold style. He then entered the school of Francesco Pacheco, a somewhat inferior painter, but a learned and polished gentleman. Velasquez soon learned all he could teach him of painting, and at the same time discovered that the study of nature and untiring industry were the surest guides to perfection for an artist. Until 1622, he painted actual pictures of the low, or common life which he saw around him, accustoming himself to paint nothing of which he had not the model before him. He strictly adhered to color, form, and outline of what ever he represented; and, we are told, kept a peasant lad for a study, and from him executed a variety of heads in every posture, and with every expression possible. In this way he acquired his wonderful skill in taking likenesses. To this period belong the "Water Carrier of Seville," several pictures of beggars, and the "Adoration ofthe Shepherds." The first of these is now at Apsley House; the "Adoration of the Shepherds," and a, "Beggar Boy munching apiece of Pastry," are in the Louvre; at the Imperial GaU. of Vienna there is a " Laughing Peasant holding a Flower; " and in the Pinakothek, at Munich, another " Beggar Boy." In 1622 Ms desire to see the paintings of the Royal Galleries, which had been aroused and intensified by his reading, and the accounts to which he had listened from the guests of Pacheco, led him to Madrid. Letters which he carried obtained him admission to the galleries, but during this visit he was not brought especially to the notice of tho King. He however painted the portrait of the poet Gongora, and after a few months returned to Seville. While in Madrid he secured the friendship of Fonseca, a noted patron of art, who after Ms de parture interested the minister Olivarez in his behalf. This resulted in a letter summoning Velasquez to court, fifty ducats being sent Mm for the journey. He was attended by his slave, Juan Pareja, a mulatto lad, who was his faithful attendant for many years, and became an excellent painter. Pacheco, who was now his father-in- law as well as instructor, also accompanied him. His first work at the Capitol was a portrait of Fonseca, which was carried immediately to the King, and so pleased Mm that he appointed Velasquez to his service, in which he remained during his life. The service of Philip IV. gave Velasquez full opportunity to perfect himself as a portrait painter, for the King was never weary of multiplying pictures of himseh, and, it is said, would sit three hours at a time without weari ness. He also had many portraits of his Queens and children, both in groups and single pictures. The life of Velasquez was an excep- 598 VELASQUEZ. tion to that of most artists, in the evenness of its prosperity. He steadily advanced to perfection in his art, and the favor of his King was such as to afford him every opportunity for improvement and enjoyment. He went twice to Italy; the first time to study the works of that country and its various schools of art. He visited all the large cities, and was absent from Spain about two years. Dur ing this time he painted the "Forge of Vulcan" and "Joseph's Coat," which are among his most celebrated works. He went the second time to Italy, as the agent of the King, to collect works of art; and Ms orders gave Mm the liberty to buy everything that he thought PORTRAIT. BY VELASQUEZ, worth having. In this capacity he was everywhere received with attention and kindness. The Pope sat to Mm for Ms portrait; Cardinals Barberini and Rospigliosi, and many Roman princes, treated him with the utmost civility ; and he numbered among his friends the sculptors Bernini and Algardi, and the painters Nicolas Poussin, Pietro da Cortona, Claude, and Matteo Prete, or II Calabrese. Upon his return to Madrid he was appointed aposentador-major, with a salary of 3000 ducats a year, and he carried at his girdle a key which would open every lock in the palace. Although the duties of his oflice required him to superintend the ceremonies and festivals of the royal household, he still found time to arrange his Italian VELASQUEZ. 599 bronzes and marbles in the halls of the Alcazar, to oversee the cast ing in bronze from the models which he had brought from Italy, and to paint his last great picture, known in Spain as " Las Meninas," or the "Maids of Honor," which represents the royal family with the artist, maids of honor, the dwarfs, and a sleeping hound. It is said that when the King saw the picture he declared but one thing want ing, and painted the cross of Santiago upon the breast of the artist with his own hand. TMs is the picture which Luca Giordano called " The Theology of Painting." The last great ceremony at which he officiated was the meeting of the courts of France and Spain, on the Isle of Pheasants, when Louis XIV., accompanied by the Queen- Mother of France, received the Infanta Maria Teresa for his wife. The pomps and rejoicings were worthy of the two most luxurious courts of Europe, and all these, as well as the provision for the royal households, were superintended by Velasquez. That week upon the Isle of Pheasants furnished many scenes worthy the pen or pencil of the poet and artist. Stirling says that the life of Velasquez was shortened by the fatigues of his office. Certain it is that he arrived in Madrid, on the 26th of June, much fatigued with his journey; that his health gradually failed, and he died on the 6th of August. He was buried with magnificent ceremonies in the ch. of S. Juan, which was destroyed by the French in 1811. His wife survived him but eight days, and was buried in the same grave. The character of Velasquez was rare, and happy in its combination of freedom from jealousy, power to conciliate, and sweetness of temper, with strength of will and intellect, and steadfastness of purpose. Stirling says, " He was tho friend of Rubens, the most generous, and of Ribera, the most jealous, of the brethren of his craft; and he was the friend and protector of Cano and Murillo, who, next to himself, were the greatest painters of Spain. The favorite of Philip IV., in fact, his minister for artistic affairs, he filled tMs position with a purity and a disinterestedness very uncommon in the counsellors of state ; and to befriend an artist less fortunate than himself was one of the last acts of his amiable and glorious life." Of the portraits of Velasquez, the most youthful is in the picture of the " Surrender of Breda," painted about 1646; and the most authentic, that in the " Maids of Honor," 1656. In the Royal Gall, of Madrid there is no separate picture of Velasquez. Florenoe has two, Munich one, and in the Coll. of the Earl of Ellesmere there is another, of which there is a copy in the Louvre. The following list gives the names of Ms most important pictures, and the places where they are at present : — The Water Carrier of Seville. Apsley House. Boar Hunt at the Pardo. National Gall. The Adoration of the Shepherds. Los Borrachos, or the Topers; 1624. Madrid Gall., Royal Mus. (500 VELASQUEZ. Louvre. Las Hilanderas, or the Spinsters. Madrid Gall., RoyaiMus, The Coronation of Our Lady. " " Adoration of the Wise Men. Christ on the Cross. S. Anthony the Abbot and S. Paul the first Hermit. The Forge of Vulcan. The Surrender of Breda. " " " t: Las Meninas. Mars. " " " " Moemppus. iEsop. " " " " Ei°ht different Portraits of Phihp ?Y « « " a And many others, making in all sixty-five by Velasquez in this Gall. Christ and the Disciples at Em maus. Two pictures of S. Peter, half- length. S. John, half-length. Sketch of S. Anthony the Abbot, and S. Paul. S. Isidore the Laborer. Two Portraits of Philip IV. Two Portraits of Queen Isabella of Bourbon. Queen Mariana of Austria. Landscape, Woodlands at Sunset. The Old Alameda of Seville. Several other Portraits. The Family Picture of Velasquez. Portrait of Pliilip IV. The Infant Don Balthazar Carlos. Two Portraits of Infantas. Card. Bospigliosi. Young Man in a Black Dress. Man in Armor. Two Busts of Men. Beggar Boy. The Count of Olivares. Two Peasants seated at a Table with Flasks and Glasses. Philip IV., bust. Duke of Olivares, bust. Vienna, Imperial Gall. u it <( U U 11 II II 11 Munich, Pinakothek. 11 (i ii i' n ii n u Dresden.St. Petersburg, Hermitage. VELASQUEZ — VELDE. 601 Innocent X., Study of the Head. St. Petersburg, Hermitage. Old Man with a White Beard. " " « Head of a Peasant. " " « Peasant Boy laughing. " " View of Saragossa. « " " View of the Haihor of La Ca- racca. " « » A Thatched Hut, by a Road side. " " 11 Philip IV. on Horseback. Florence, Royal Gall. Two Portraits of Velasquez. " " « Man; half-length. Pitti Pal. The Duke of Olivares. The Hague, Gall, of the King. Ghl in a Green Dress. " " " " « " ENGRAVINGS AFTER VELASQUEZ. Engraver, Ametller, Bias. The Water-carrier of Seville. Engraver, Audouin, Pierre. Las Meninas, The Maids of Honor. Engraver, Bouvier, Charles. Cervantes. Engraver, Crontelle, L. Portrait of the great phate Barba- rossa. Engraver, Ferreri, Cesare. Portrait of Philip IV. Engraver, Gruxicr. Ludwig. A Shepherd; 1826. Engraver, Luderitz, Gustav. The Infanta Margarita. Engraver, Pannier. Bust of a Young Man. Velde, Willem van de, the Elder, born at Leyden (1610-1693). The fame of this artist is lost in that of his great son. He was, how ever, a reputable painter of marine subjects. His early life as a sailor gave him much knowledge of every description of vessel and rigging, and greatly assisted him to excellence in technicalities. In 1675 he went to England, by invitation of Charles II. , and remained there until Ms death. Velde, Willem van de, the Younger, born at Amsterdam (1633- 1707). He was first instructed by his father, and then by the excel lent Simon de Vlieger. He passed his early life in Holland, and fol lowed his father to England, where he was much patronized by the crown and by the nobility and amateurs among the gentry. He stands first among Dutch marine painters. He represented the sea under all its changes of storm and calm with the utmost truthfulness. He was perfectly familiar with every rope and all the minute differ ences in the various kinds of vessels. His aerial perspective, his light clouds, and all his atmospheric effects are picturesque and pure in feeling. His works number 329, according to Smith, and are mostly in Holland and England, very few having been allowed to leave those countries. We have not space to enumerate even the finest of them ; they can be well studied in the Amsterdam, Hague, 602 VELDE — VERNET. and Munich galleries. His pictures, when sold in these days, bring enormous prices. Velde, Adrian van de, born at Amsterdam (1639-1672). This very remarkable painter and etcher was a pupil of Jan Wynants. In similar subjects to those painted by Paul Potter he ranks almost as Mgh as that artist; in landscapes he was one of the greatest masters, and his etchings were almost better than his pictures. All his works are finished with great labor and delicacy ; he died in his thirty-third year ; he painted many figures and animals in the pictures of other artists; and yet he executed 187 pictures and 26 plates. His earliert known work is dated 1655. His pictures are seen in all large Conti nental galleries north of Italy, and quite a number are in England. Good impressions of some of his plates are very rare, and cost im mense sums. No. 26 was purchased for Baron Rothschild in 1841 for £1125. In 1763 it was sold for £53. Vendramini, John, born near Bassano (1769-1839). TMs en graver studied under Bartolozzi. He went to Russia in 1805 and re mained two years ; when he wished to leave, the Emperor refused him a passport, but by the assistance of friends he escaped. His best plates are after works of the old masters. Among these are ex cellent ones of the " Raising of Lazarus," by Sebastian del Piombo, " Leda," by Leonardo da Vinci, and the " Vision of S. Catherine," by Paul Veronese. Veneziano, Agostino. See Musis. Veneziano, Sebastiano. See Piombo. Veneziano, Carlo. See Saraceno. Veneziano, Antonio. Flourished about the middle of the 14th century. His works at the Campo Santo at Pisa, representing the history of S. Ranieri, and the " Miracle of the Loaves and Fishes," at Florence, are his most celebrated works. Venne, Adrian van der, born at Delft (1589-1662). TMs painter divided his time between writing and painting. His pictures are seen in the Louvre and Amsterdam Mus. He painted historical subjects in which many of the figures were portraits. Verboom, Abraham. Flourished 1653. An imitator of Ruys dael. His pictures are good, and may be seen in the Amsterdam and Dresden galleries. Bartsch describes two etchings by this artist which are extremely rare. Vernet, Claude Joseph, born at Avignon (1714-1789). An em inent French marine painter. He was commissioned by Louis XV. to paint the seaports of France. Fifteen of these are now in the Louvre. His drawing is correct and his finish elaborate, but his figures are stiff and his color monotonous. There have been many engravings from his works. He also executed a few etchings. His Italian seaports, and views near Rome and Tivoli, are among his best pictures. The " Castle of S. Angelo " is in the National Gall. VERNET. 603 ENGRAVINGS AFTER THE WORKS OF JOSEPH CLAUDE VERNET. Engraver, Aliamet, Jacques. A Storm. A Fog. A Fire in a Seaport by Night. Two sea pieces — the Fisherman, and Return from Fishing. Four — the Four Times of the Day. Engraver, Aveline, Francis Anthony. View of a Port in the Levant. Engraver, Avril, Jean Jacques. Fishermen Returning. Travel lers in a Storm. The Shipwreck; 1775. Engraver, Balechou, John James. The Storm. The Calm. The Bathers. Engraver, Bas, James Philip Le. An Italian Seaport. Fisher men going out. Thirteen of the ports of France ; after the etch ings of Cochin. Engraver, Benasech, Peter Paul. Fishermen. Return from Fishing. A Calm at Sea. Morning. Engraver, Berne, William. A sea piece. Engraver, Cathelin, Louis Jacques. A Waterfall with Fisher men. A set of four Pictures of the Times of the Day. Engraver, Coclet, Anne Phillibert. The Departure of the Boat. The Fortunate Passage. The Fine Afternoon. The Fishermen throwing their nets. Neapolitan Fishermen. Engraver, Daudet, John Baptist. The Washerwomen. Corsi- can Fishermen. Engraver, Daulle, John. Four plates; marines and other sub jects. Engraver, David, Francis Anne. Two Views of the Gulf of Ven ice. Two Views near Dunkirk. Engraver, Duret, Peter. An Italian Seaport. Engraver, Flipart, Jean Jacques. A Sea-storm by Day. A Sea-storm at Night. Engraver, Lawrie, Robert. A hard Gale. A Squall. Engraver, Lempereur, Catherine Elizabeth. A set of six marine subjects and seaports. Engraver, Lerpiniere, Daniel De. A sea-piece; a Storm. A Calm. Engraver, Marcf.nay, Anthony de Ghuy. Sunset. A View of the Seacoast, with Fishermen. Engraver, Martini, Pietro Antonio. The Pleasures of Summer. A View of Spoletto. A View of Porto Ercole. A View of Avignon. Engraver, Masquelier, Louis Joseph. A View in Italy. A Shipwreck. Engraver, Nicolet, Benedict Alphontius. A View of Naples. A Shipwreck. Engraver, Ozanne, Jane Francis, and Mary Jane. Two Views of the Port of Leghorn ; M. J. Ozanne. A Calm. 604 VERNET — VERROCHIO. Engraver, Schlicht, Abel. A Storm and SMpwreck. A Calm. Engraver, Veau, John le. A View of Montserrat. The Fisher men. Vernet, Antoine Charles Horace, called Carle Vernet. Born at Bordeaux (1758-1835). Son of the preceding, and father of Horace Vernet. It is said that when dying he exclaimed, " C'est sinuulier comme je resemble au grand Dauphin, fils de roi, pere de roi — et jamais roi." He was celebrated for Ms good nature, wit, and brilliant repartee. He was a battle painter. His horses were Ms chefs-d'oeuvre. The "Battle of Marengo" and the " Morning of Austerlitz " were his best works. For them Napoleon gave him the Cross of the Legion of Honor; he was also a Chevalier of the Order of S. Michael, and a member ofthe Institute of France. Vernet, Emile Jean Horace, born in the Louvre (1789-1863). Pupil of his father. At fifteen years of age he maintained himself by Ms own drawings. In 1814 Napoleon decorated him with the Cross of the Legion of Honor, on account of his gallant conduct at the Barriere of Clichy, where he and Gericault served in a regiment of hussars; before his death he became a Grand Officer in that Or der. In 1826 he was made a member of the Institute, and in 1828 was Director of the French Acad, of Arts at Rome. He was seven years in Rome, and there executed his best works. He also travelled to Algiers, Egypt, Syria, the Holy Land, Russia, and England. He was everywhere honored by the attentions of those m the loftiest posi tions, and died full of honors and years. His powers of painting were simply marvellous ; it is said that many of his works were completed alia prima, without retouching. He painted a variety of subjects. At the Exhibition of 1855 he displayed twenty-two pictures, the most important being battle scenes. He painted some fine portraits and good genre subjects, such as an " Arab Camp Scene." There is no doubt that the excellence of Vernet has been overestimated in many directions, but his wonderful memory, his power of representing what he remembered, and his facility of execution, are all worthy of remark. Veronese, Paolo. See Cagliari. Veronese, Alessandro. See Turchi. Verrochio, Andrea (1432-1488). An important follower of the sculptor Donatello. Ho was first a goldsmith, then a painter; but sculpture was his best loved art. His execution was careful and fin ished ; his nude parts are trutMul but without, grace ; his draperies are often in small, crumpled folds. His best works are the " David," in the Mus. of the Bargello ; a bronze Genius pressing to itself a dolphin, on a fountain in the court of the Palazzo Vecchio ; and the equestrian statue of Colleoni, in front of the ch. of S. Giovanni e Paolo, at Venice. The group of " S. Thomas examhiing the Wounds of Christ," at Or San Michele, belongs to his latest manner, and is powerful in expression, though the drapery remains indistinct and faulty. VERSCHURING — VINCI. 605 Verschuring, Henrik, born at Gorcum (1620-1690). He painted military subjects, banditti, etc., in a, pleasing style. He executed four etcMngs wMch are very rare ; they represent a battle, some travellers, and two sets of dogs. Vertue, George, born in London (1684-1 756). This very eminent line engraver has preserved for us many venerable antiquities as well as a large number of portraits. He excelled in engraving the pictures of Sir Godfrey Kneller, and was much patronized by the nobility on account of his power of preserving the distinguished air of the lords and ladies whose pictures he reproduced. His works are very nu merous. Victor, Jan. Almost nothing is known of this master. He painted Biblical subjects in the manner of Rembrandt. They are dated about 1640-1050. They arc in good collections,, and are often very excellent in pencilling, chiaro-scuro, and color. Vien, Joseph Marie, born at Montpellier (1716-1809). He is called the regenerator of painting in France. He was the teacher of David; Ms merit was more in his technical qualities than in his whole manner. He was prolific in pictures of religious and profane subjects. His works are in large numbers in the churches and col lections of Paris. Vigarny, Felipe de, called Felipe de Borgoiia, because Ms father was a Burgundian. Bjrn r.t Burgos; died at Toledo, 1543. In 1502 he had been called to Toledo by Card. Ximenes, to superintend the erection of the high-altar of tho Cath. For this he executed histor ical bas-reliefs and portraits. At Gianada lie constructed the high- altar for the Royal Chapel of the Cath. The colored wooden bas- reliefs which represent the " Surrender of the Alhambra," and the " Baptism of the Moslem," are attributed to Vigarny. He returned to Toledo, probably, to execute the monument of Ferdinand and Isa bella. His last work was upon the choir of Toledo Cath. This he did in conjunction with Berreguette. Until the return of the latter from Italy, Vigarny was esteemed the best sculptor in Spain. Villamena, Francesco, born at Assisi (1566-1026). lJ* This designer and engraver is supposed to have been a ty'T. pupil of Cornelius Cort. His drawing was correct and Ms heads expressive, but his hght was too generally dif fused; this weakens and gives an unfinished appearance. His prints are numerous. Villavicencio, Don Pedro Nunez, born at Seville (1635-1700). A nobleman who gave much time to painting, and particularly ex celled in representing ragged boys. A large work in the Royal Gall. of Spain represents two boys wrangling over their dice, in the fore ground; there is a landscape background, and other figures. Vinci, Leonardo da, born at the Castle of the Vinci, in the lower vale of the Arno, in 1452. He was a natural son of Pietro 606 VINCI. da Vinci, but lived always in his father's family, and was treated with the same consideration as his other children, not only by Ms father, but by Ms uncle, Francesco da Vinci, who left him a share of his property. He was a person of wonderful talents, a fine math ematician, well skilled in mechanics, an able architect, a poet, and a musician. In addition to these attainments he had great personal beauty, and excelled in all manly exercises. He was also fond of gayety and luxurious living, and was, in short, the brilliant good fellow of whatever company he was in, and Ms reputation early extended over all Italy. In spite of his various other acquirements painting was his favorite pursuit, and the one to which he most applied himseh. His father placed him under the instruction of Andrea del VeroccMo, an eminent master of Ms time. He soon perceived the extraordinary ability of his pupil, and tradition relates that soon after Leonardo became his scholar, being employed to paint the " Baptism of Christ," he gave him a portion of the work to do. An angel painted by the youth so far- excelled the master that he resigned the pencil forever, " enraged that a child should know more than himself." From this time Leonardo devoted himseh to the different branches of the art he loved, but with some want of steadfastness. He went much into society, lived extravagantly, keeping a retinue of servants, and a sumptuous equipage. He was also at times diverted by his love of the sciences, sometimes making astronomical observations, sometimes studying natural history and botany. His numerous scientific writings show with what industry he must have worked. Two projects, of the many which he con templated, deserve notice. One was the lifting of the Cath. of S. Lorenzo by means of immense levers; the other was to form a canal of the Arno as far as Pisa. Vasari relates that one of the Conladini on his father's estate brought to him a piece of wood from a large fig-tree, desiring to have something painted on it. Leonardo, after considering, determined to try what effect he could produce with the horrible, and collected serpents, lizards, and other obnoxious animals, from which he painted a monster so horrid that it seemed to infect the atmosphere about it. When it was finished he called his father, who was so much frightened that he turned and ran away. Leonardo was quite satisfied with Ms work, which was sold to a merchant for the large sum of 100 ducats, and soon after pur chased by the Duke of Milan for three times that sum. It was called the " Rotello del Fico." Da Vinci was able to remember a peculiar face he had seen, and on his return home could draw it from memory as well as if it had been present. He was in the habit of inviting people from the lower orders to his house, amusing them, and sketching their faces. In this way he produced the most ridiculous caricatures, which were, at the same time, good likenesses. He somethnes showed them to the originals. For the sake of Ms VINCI. 607 studies ho went so far as to accompany criminals lo the place of execution; in short, he neglected no means for perfecting himself in his art. After a time Leonardo becamo anxious to secure some fixed salary for himself, and wrote to the Duko of Milan, Ludovico Sforza, called II Moro, offering his services to that prince. Matters were arranged, and his salary fixed at 500 scudi, besides various immunities, and the privilege of receiving tho price of pictures not executed by the order of the duke. The time of his going to Milan is a matter of doubt, as the dates given by various authorities ran°-e from 1487 to 1494. This Duke of Milan, although a regent, governed with absolute power, and had gathered about him talented men for the instruction and amusement of his nephew. He fully appreciated Leonardo, and knew something of his talents from tho " Rotcllo del Fico." Leonardo, for his part, found himself in a most pleasino- situation. Surrounded with brilliant and congenial men, lcadino- a gay life, he soon became a favorite of the Duke, who was a great lover of pleasure, and dissolute in his private life. Leonardo could assist him in all things, by advice at his council, by plans for the adormng of his city, by music and poetry in his leisure hours, and by painting the portraits of his favorite mistresses. His first public work at Milan was the equestrian statue of Francesco Sforza, the First. At this time he also painted the portraits of Cecilia Gal- lerani, and Lucretia Crevelli, two favorites of the Duke. These portraits were both celebrated and admired, and the latter is be lieved to be now in the Louvre. II Moro proved the estimation in which he held Leonardo by choosing him to be the founder and director of an academy which he had long wished to establish, the purpose of which was the bringing together of men of letters and skilful artists. It was called the "Academia Leonardi Vinci." Leonardo was also made superintendent of all the fetes and entertain ments given at the court of Milan, and the Duke employed Leonardo in the great undertaking of bringing the waters of the Adda from Mortesana to Milan, a distance of nearly two hundred miles, a work which he accomplished to the wonder and astonishment of all Italy. In 1494, Charles VIII. invaded Italy, and went to Pavia, where B Moro entertained him magnificently. Leonardo had much to do here, but he found time to study the anatomy of the human body under Marc Antonio della Torre. Da Vinci was accustomed to draw the different portions of the human frame in red chalk, while Ms instructor would describe them most minutely. Some of thece drawings are preserved in the Royal Library in London. Leonardo also made Mmself a favorite of the French King. Not long after this II Moro became the established Duke of Milan. He now had more leisure for the cultivation of literature and art, and Ms court became what that of Florence had been under Lorenzo de' Medici. Leonardo's life at the court of Milan was most agreeable, but it was. 608 VINCI. detrimental to him as an artist, and few works, comparatively, can be attributed to this time. At length the Duke, desirous of perfect ing some work of art which should perpetuate his name and enrich his capital, commanded Leonardo to paint the " Last Supper " on the walls of the Refectory in the Dominican convent of the Madonna delle Grazie. It is not precisely known when he commenced tMs great picture, but it must have been about 1497. During the JOHN, TETER, AND JUDAS. BY DA VINCI. From tho " Last Supper," in the Refectory of S. Maria delle Grazie, Milan. progress of this work the artist encountered many difficulties, among which the impatience of the prior for its completion was most aggravating. He was at length silenced by the declaration of Da Vinci that he had sought everywhere, in the prisons, and among the lowest people, for a model for the Judas, and he could see no way in which to satisfy the haste of the prior but that of allowing Mm to sit for the picture of the traitor. The Duke was much amused at this, and Leonardo relieved, but he had too much honor to have VINCI. 609 acted upon this thought in any case. Da Vinci had been always in the habit of carrying a sketch-book in his girdle, and was much as sisted by the sketches he thus secured. The Cenacolo has been made so well known, by the engraving of Raphael Morghen, that it needs no description ; and the picture itself is in such a state of decay that one who has read of it, seen the engraving, and imagined its beauties, can have little satisfaction in looking upon it in its present condition. Many good copies were made of it while it remained perfect, and are scattered throughout Europe. The misfortunes of the Duke of Milan, after the death of Charles VIII., made it impossible for the equestrian statue to be finished, and Leonardo was reduced to absolute poverty. He did not immediately leave the city of his patron, but waited, hoping for better days. In the end II Moro was imprisoned in France, and the artist returned to Florence. Here he was received with great respect and kindness, but was obliged to accustom himself to the simplicity of the Republic, in place of the luxurious extravagance of the court of Milan. He was immediately enrolled in the list of the artists employed by government, and his pension enabled him to keep a comfortable establishment, with his friend Paciolo, and his pupil Andrea Solaino. After remaining a short time in Florence he travelled over ' the greater part of Italy, and in 1503, having returned, he engaged to paint one side of the council hall in the Palazzo Vecchio. Michael Angelo was employed to make designs for the same purpose, and from this circumstance arose the jealousy of these two great masters. The paintings were never done, and even the cartoons were destroyed. The subject of Da Vinci's was the " Defeat of Nicolo Pici-nino." That of Michael Angelo was called the " Bathing Soldiers." These cartoons were shown in the Medici Pal. for a time, and Raphael came to Florence in order to study them. We have no account of any works of con sequence by Da Vinci after the painting of the cartoon. In 1507 he acquired the friendship of Louis XII. who appointed him his painter. But Leonardo did not go to France at that time. In 1514, attracted by the fame of the court of Leo X., although somewhat broken in spirit and advanced in years, he went to Rome. He was kindly received by the Pope, and painted a " Holy Family," into which he introduced the portrait of a young lady, probably the sister-in-law of the Pope. This picture was so wonderful in its execution that the Pope employed Mm in an important work; but he was not treated in Rome as he had been at Milan, or with the consideration which his reputation demanded. Some criticisms which the Pope had made upon him came to his ears, and he resolved to leave the city, in which he had never been happy. Francis I. succeeded Louis XII., and was attempting to draw around him men who were eminent in politics, science, and literature. Leonardo resolved to go to him, and set out for Pavia where he then was. He was received by the 610 VINCI. King with every mark of favor, and from that time Da Vinci con sidered himself as belonging to the French court. In 1516 he went to Paris, where he met with a reception equal to his merits, and everything was arranged for his comfort and pleasure. But from this time his health began to fail, and it is not probable that he painted anything in France. At the time of his death he had accompanied the court to Fontainebleau, and expired M the arms of the King,1 in the seventy-fifth year of his age. This is the account given by Vasari, and confirmed by contemporary writers. It is supposed that he left many literary works. A good part of these had been written for the Acad, in Milan, and many of them are preserved in the different libraries of Europe in manuscript form. His letters and other writings are easily recognized, as he wrote from right to left. His best known work is the " Trattato della Pittura," which has been translated into English. As an engineer, his canal of the Martesana was sufficient to establish a reputation. As an artist he may be called the poet of painters. His works com bined grandeur of design, and harmony of expression, with minute finish, and if he was surpassed by those who followed him, it should be remembered that it is easier to advance in a path once opened, than to discover the path. Personally he was very much beloved. Living in a time of great intrigue and gallantry, possessed of attrac tive person, talents, and accomplishments, his general conduct was marked by propriety and morality. He seldom painted nude figures. When he did so their attitudes were modest, and his pictures free from all indecency. He had advanced the progress of science, was a generous patron and affectionate friend, and seemed scarcely to desire anything beyond the advancement of art. There are good reasons for believing that, in addition to his other works, he sometimes etched, or engraved on copper. In the British Mus. are the following, two of which are thought to be undoubtedly Ms work : — The Bust of a Young and Beautiful Female. Study of Heads of three Horses. A large print of a lady in a rich dress. Of the works of Leonardo which remain, the "Last Supper" is, of course, the greatest. Besides this there are many excellent originals at, Milan and in the surrounding country. In the Am brosian Gall, at Milan is a series of very interesting small works. Among them are the portraits of Ludovico and his wife, in oil. It has been difficult to decide which are the pictures of Leonardo, and which those of his pupils, but the following are called those of the master : — In the Louvre, S. John the Baptist, half-length; the Virgin and CMld, with S. Anne; a group known as " La Vierge aux Rochers;" 1 Not well authenticated. VINCI. 611 Portrait of a Woman, bust; Portrait of Mona Lisa, called "La Joconde; " and .a Bacchus. In the Gall, of the Hague is a picture called a " Charity," which is supposed to have represented a Leda, and to have been painted over from motives of decorum. In the Gall, of the Uffizi is a large " Adoration of the Kinn-s," so unfinished that it may be called a cartoon. In the Sciarra Pal., at Rome, is a picture of " Modesty and Vanity," which is very beautiful. One of the best old copies of the " Last Supper " is in the Royal Acad, of London. It was made by Marco d' Oggione, about 1510, and must give a good representation of the picture in its original state. ENGRAVINGS AFTER THE WORKS OF DA VINCI. Engraver, Benaglia, Giuseppe. Madonna and Child, with » Lamb and S. Anne. Engraver, Bernardi, Jacopo. The Virgin nursing the Child, who holds a Pigeon in one Hand. Same subject, different engraving. Engraver, Blot, Maurice. Vanity; from the picture of Vanity and Modesty. Engraver, Bri'doux, Francois Eugene Augustin. La Belle Fer- roniere. La Belle Ferroniere, another engraving. Engraver, Campanella, Angelo. Vanity and Modesty. Engraver, Desnoyers, LoMs Augustin Boucher. La Vierge aux Rochers. Engraver, Edelinck, Gerard. Combat of four Horsemen for the Standard. Engraver, Felsing, Jacob. Mater Dolorosa. Engraver, Forstkr, Francois. La Vierge au Bas-relief. Engraver, Franck, Joseph. The Madonna with a Flower. Engraver, Garnier, Francois. La Vierge aux Balances. Bac chus. Engraver, Janota, John George. Christ bearing his Cross. Engraver, Juster, Joseph. Virgin and CMld, both holding Flowers. Engraver, Leroux, Jean Marie. Leda. Engraver, Longhi. Giuseppe. Madonna di S. Onofrio. Engraver, Marri, Giuseppe. Madonna di S. Onofrio. Engraver, Massard, J. B. Raphael Urbain. La Gioconda. Engraver, Michel, Jean Baptiste. La Gioconda, undraped. Engraver, Morghen, Rafaello. The Last Supper. Head of Christ. Leonardo da Vinci. Engraver, Muller, John Gotthard von. S. Catherine, with two Angels; probably by a pupil of Leonardo. Engraver, Reindfl, Albreeht Christoph. Madonna of Count Schonborn at Pommersfelden. 612 VINCI — VISCHER. Engraver, Ricciani, Antonio. Magdalene. Engraver, Romanet, Antoine Louis. La Colombine, also called Flora. Engraver, Steinmuller, Joseph. Virgin and Child with SS. Catherine and Barbara. Vinckenboons, David, born at Mechlin (1578-1629). A painter of landscapes and scenes from peasant life. An imitator of the Breughels. His works are seen in German galleries, but little can be said in their praise. ' Vischer, Hermann. In 1457 this old sculptor carved the small figures of the Apostles on the font in the ch. of Wittenberg. Vischer, Peter. Son of the preceding, and far more important. He was admitted as a master in 1489. Five years later he was sum moned to Heidelberg, together with Simon Laraberger, to assist the Elector Philip with his advice and skill. We know notMng of what he did there. Peter was assisted by five sons; Peter, admitted a master in the thimble trade in 1527, Hans, called "the caster," Hermann, who went to Italy and brought home models and designs, Jacob, and Paul. The father, Peter, died in 1529, and his sons probably did not survive him more than eleven years. The most that can be known of the life of Peter Vischer is the artistic prog ress which is revealed by the monogram and dates wMch he placed upon his works; but these tell a full tale of thought, study, industry, and the growth wMch is their reward. His earliest known work is the monument of Archbishop Ernst in the Magdeburg Cath.; it be longs to 1495, and that of Bishop Johann, in the Cath. at Breslau, was done in the next year. These works are the legitimate products of the Nuremberg school. They are like Wolgemuth and Krafft, and yet there is a beauty in them, and a power, which foretells Ms future excellence. This is especially true of the Apostles on the sides of the sarcophagus at Magdeburg. From the completion of these monu ments we are without the knowledge of his works for ten years. During this time he must have studied hard, as is seen in the eleva tion of his powers as displayed in the great work of his life, the Tomb of S. Sebald, at Nuremberg. He was engaged on tMs from 1508 to 1519. The bones of the patron saint were enclosed in a sarcophagus of the Middle Ages, and the task set our sculptor was to erect a fitting tomb for these honored relics. All his powers were given to it, and the result is one of the finest monuments of the plas tic art of his age The plate given shows its form. There is the abundance of ornament which marked the manner of the 15th cen tury, but examination reveals distinctness and beauty in every detail, and a fitness is observed in every part; for example, if we compare the statue of the saint and that of Vischer himself, how accurately is each suited to its subject. The saint in his flowing drapery and full beard, with his pilgrim's staff and the model of the church, ad- VISCHER. 613 vances like an ideal statue of the holy son of a king, such as he was said to be. It expresses power, but it is the power of the unseen. The artist, on the contrary, with his leather apron, round cap, and realistic German face, speaks of a will to do, and a power to execute, founded largely on the strength so well expressed in his robust figure. The four rehefs illustrating scenes from the saint's lhe are on the ' &.*&**'!/... BV P. VISCHEB. TOMB OF S. SEBALD. At Nuremberg. substructure upon which the sarcophagus rests; they are in the purest style of relief of his time. All this is in the centre of the monument, which is surrounded by eight pillars supporting a balda chin of Romanesque style; between the pillars are graceful candela bra, and the whole, rests on the shells of snails. It is a beautiful combination of the decorative and GotMc styles. But the chief beauty of all is in the figures of the Apostles which are placed upon 614 VISCHER. the pillars. They are slender in proportion, gracefully draped, and bearing their appropriate emblems; the expression of each won derfully suited to the character, and the whole perfectly free from the realism of his earlier works. Above these are twelve figures of Prophets and other Biblical personages; Perseus and Hercules appear among the lower figures, while Strength, Moderation, Pru dence, and Justice are also personified. The centre and hio-hest dome (of which there are three) is crowned by a figure of the Infant Christ. Besides all these the various ornamental designs in different parts are almost innumerable; there are harpies, sirens, satyrs, fauns, and the richest abundance of fantastic and natural life. Liibke says, " Never has a work of German sculpture combined the beauty of the South with the deep feeling of the North more ricMy, more BELIEF FP.OM THE TOMB OF S. SEBALD. At Nuremberg. BY P. VISCHER. thoughtfully, and more harmoniously." Vischer and Ghiberti seem to have breathed the same spirit of purity and noble feeling. We have given so much space to this description that we can only name his later works, and say that they are of the same pure style, with occasionally more exquisite finish. They are two casts of a relief of the "Crowning of the Virgin," in the churches of Wittenberg and Erfurt; a relief of " Christ meeting the Sisters of Lazarus," in the Cath. of Ratisbon ; a relief of the " Entombment," in the iEgidien- kirche at Nuremberg; a monument to Card. Albreeht von Branden burg, in the ch. at Aschaffenburg, and a monument to the Elector, Frederick the Wise, in the castle ch. of Wittenberg. No other works are authentically known to be his; some others arc in dispute, and by many believed to be either entirely or partly by his hand. His sons, VISCHER— VOLPATO. 615 Hermann and Johann, executed a few monuments which are not equal to the works of the father, yet partake largely of his style. Visscher, Cornelius, born at Haerlem (1610-1670). "An eminent engraver, whose prints are somewhat numerous and very much es teemed. Proofs of the best are very rare and expensive. Ho stud ied under Peter Soutman. His engravings after his own desin-ns are better than those after other masters. The portrait of Gellius de Bouma, the "Pancake Woman," and the " Rat Catcher "arc very perfect. Visscher, Jan. Flourished about 1650. Younger brother of Cornelius, and a good engraver, whose plates are well esteemed. He used the point more than the former, and his manner of etcMng is very picturesque. There were several other less important en gravers of the same name and family. Vite or Viti, Timoteo della, born at Urbino (1470-1523). He executed some pleasing pictures before ho joined the school of Raphael, but under his influence he acquired new grace. A " Mag dalene," iu the Bologna Gall., is very attractive; his works are rare. He was also distinguished as a miniature painter. Vivares, Francis, born at Montpellier (1712-1782). This en graver is especially distinguished for his fine engravings after the landscapes of Claude Lorraine. Vivarini, Antonio. This artist is called Da Murano, from the island of that name. He flourished about the middle of the. 15th century. His pictures are soft, and well blended in color. Bar tolommeo was probably a younger brother. His works are seen in the churches of Venice; their chief excellence is the expression of his sacred figures. Luigi was a still younger man of the same family. His works are much better than those of the elder Vivarini; they are seen frequently in Venice, and a Madonna enthroned, with several saints, is in the Berlin Museum. Vlieger, Simon de, born at Amsterdam. Flourished 1635-1650. His best works are very excellent. A cabinet, Munich Gall., rep resenting a storm at sea, is a masterpiece. His works did not receive the praise they merited for a long time ; now he is reckoned among the good masters in his branch of painting. His views often include landscape and water. They are in the Louvre, Amsterdam, Bresden, and Munich galleries, and some are in England. Bartsch gives a list of twenty excellent etchings also by this master. Vliet, Hendrik van (1608-1659). A few pictures of this artist are known. He painted the interiors of churches and genre subjects by lamplight. Vois, Ary de (1641-1698). An artist especially remarkable for his minute finish. His works are in several large Continental gal leries. Volpato, Gio., born at Bassano (about 1738-1802) This en- 61 6 VOLPATO — WALDO. graver is chiefly distinguished for Ms set of colored prints from the works of Raphael in the Vatican. He also made a set of the most remarkable views near Rome, and did other considerable works. Volterra, Daniele da, real name Ricciarelli (1509-1566). The best scholar of Michael Angelo. He made himself distinguished by his grand " Descent from the Cross," in the Trinita de' Monti, at Rome, which has become one of the well-known pictures to all the world. Other works of his are a "Baptism of Christ," in S. Pietro in Montorio, Borne; a double picture of 'David and Goliath," giv- inc two points of view, in the Louvre; it is on slate, and was lono attributed to Michael Angelo; a " Massacre of the Innocents," in the Uffizi, is also a very celebrated work of his. _ _ Vorsterman, Lucas, the Elder, born at Antwerp about 1/ 1580. This eminent engraver first studied painting under " * Rubens; in later times no engraver so perfectly repro duced the works of that master as did Vorsterman. He was a wonderfully skilful artist, but when he attempted to reproduce the works of Raphael, he did not succeed in giving their delicate beauty; his work was better suited to Rubens and Caravaggio. He went to England and remained eight years, and made some excellent prints - after the portraits of Vandyck. Vos, Martin de, born at Antwerp (1531-1603). The best pupil of Frans Floris. He also studied under Tintoretto at Venice, and on his return to Antwerp established a school. The Antwerp Mus. has a series of his works. In color and dramatic effect he sometimes seems to have been the forerunner of Rubens. His muscular exag gerations are less marked than those of Floris, and his finish is careful ; yet he is cold in feeling, and mannered in motive. Vouet, Simon, born at Paris (1590-1649). He seems to have formed Ms style from Caravaggio and Paul Veronese. He travelled much, made a great reputation, and was appointed President of the Acad, of S. Luke, at Rome. In 1627 he was called home by Louis XIH., and apartments in the Louvre were assigned to him. He can scarcely be called anything but a machinist. Among Ms pupils were some of the best French painters, Le Brun, Le Sueur, Pierre Mign ard, Dufresnoy, etc. Vries, Adrian de. This sculptor was a pupil of Gio. da Bologna, and carved the Hercules fountain at Augsburg, in 1599. w. Wagner, Hans, called Hans von Kulmbach, died 1540. Pupil of Albert Diirer, to whose style he faithfully adhered. His best works arc in Nuremberg, and are very remarkable. The Munich Gall., and the Stiidel Institute, at Frankfort, have a few of his pictures. Waldo, Samuel, born in Windham, Connecticut (1783-1861). WALDO — WATTEAU. 617 After sundry ups and downs, Waldo went to London in 1806, where he was befriended by West, Copley, and Fulton, and painted many portraits. After his return to America he met with good success and some of his pictures are in the City Hall, New York, and some in the Gall, of the Historical Society of that city. Walscapelle, Jacob. Flourished about 1670. Nothing is known of him except his name and the dates on his admirable flower pieces, which arc in the manner of De Heem. His works are rare. Ward, James, born in London (1769-1859). The best animal painter of England His picture of an •' Alderney Bull, Cow, and Calf " is only rivalled by such works as Paul Potter's " Young Bull," at the Hague. It is said that Ward painted it in emulation of the last-named work. It was done in 1820-1822, and is in the National Gall. - ~ /- A t J , \ Waterloo or Wa- MA, AWAVM) t:™rl'^ posed) about 1618. There are a few paintings called by his name, but it is a matter of doubt if any are positively known. It is said that he was a good painter, but his fame rests on his etchings. They are very much esteemed. Bartsch has minutely described 136, and Weigel and the Messrs. Smith have followed up the inquiry, and added somewhat to the information of Bartsch. Among them all the following are especially admired : — A set of six upright Landscapes, among which is the celebrated "Water-mill." A set of six Landscapes with subjects from Fables; such as " Apollo and Daphne," the " Death of Adonis," " Pan and Syrinx," etc. A set of six Landscapes, with subjects from the Old Testament. Watteau, Antoine, born at Nogent-sur-Marne (1684-1721). TMs distinguished artist enriched the world of pictures with much cheerful beauty in his fetes-champetrcs and merry out-of-door scenes, and gave us the best ideas of the court life, dress, and manners of the time of Louis XIV. His aims as an artist were not high, and he ac complished the task he set himself, in a manner that entitles him to a good rank among painters. His color resembles that of Paul Veronese. ENGRAVINGS AFTER THE WORKS O'F WATTEAU. Engraver, Audran, Benoit, the Younger. Dance of Peasants. Engraver, Cars, Laurent. F@tes Venitiennes. Engraver, Cochin, Charles Nicolas, the Younger. La Mariee de Village. Engraver, Moyreau, Jean. La Collation. Engraver, Scotin, Louis Gerard. Les Plaishs du Bal. 618 WEENIX — WEST. Weenix, Jan Baptist, born at Amsterdam (1623-1660). This remarkable animal painter was solid in Ms execution, brilliant in lighting, and clear in chiaro-scuro; occasionally he was gaudy, but all in all he was the most eminent of the group of Dutch painters to which he belonged. Some of his best works are seen in the Munich cabinets. A Seaeoast with a repulse of Turkish pirates, in the Louvre, is noticeable for its lighting. Weenix, Jan, born at Amsterdam (1644-1719). Son and pupil of the preceding. IBs works mostly represent dead animals, life- size. He especially excelled in dead hares, and these are the pictures on which his fame rests; they are frequently painted with birds and other game, and rarely a, living dog is introduced. His masterly works are at the Louvre, Munich, Hague, Amsterdam, and Berlin galleries. Werff, Adrian van der, born near Rotterdam (1659-1722). This artist pursued the ideal in the midst of the realistic school of his country, and became famous by his works. His execution was won derfully smooth, his forms were beautifully elegant, but his grouping is artificial and unpleasant, his whole tone cold and heavy, with a lack of feeling running through all. But his works were much ad mired, and he could not find time to execute the orders he received. His figures are mostly small. Munich is rich in Ms works, and they are seen in several large galleries. Werff, Pieter van der, born at Rotterdam (1665-1718). Brother, pupil, and assistant of Adrian. He so often copied the pictures of Adrian, and so adopted his style, that it is sometimes difficult to dis tinguish between their works. But Pieter was, in truth, much the weaker of the two. Three of Ms works are in the Amsterdam Mus. West, Benjamin, born at Springfield, Pennsylvania (1738-1820). The story of his early love for painting, of the gift of a paint box which he received, of Ms truancy and first picture in his mother's garret, etc., is too well known to be repeated. At eighteen he was established as a portrait painter in Philadelphia. By the kindness of appreciative friends in that city and in New York he was enabled to go to Italy, and at length went to England in 1763. From tMs time he advanced steadily and received many honors, being made a mem ber of the Academies of Florence, Parma, and Bologna, and finally President ofthe Royal Acad, of England. He received, instructed, and befriended the young American artists who went to England, and led a life of honorable comfort. He was not intense in Ms nature, and his experience brought no trials to develop and strengthen his spirituality. His life was one of regular, orderly industry and success. His pictures are a legitimate result of such an experience, and while there is much to admire, while we may be very proud of him as an early American artist, there is nothing in his creations to stir our uouls while we regard them, or to make a living recollection when we WEST. 619 turn away. He was highly connected in England ; Ms great-grand father was the friend of Penn; his father was one of the early cham pions of emancipation, and his antecedents seemed just fitted to lead up to the kingly favor which he so long enjoyed and which secured to him his baronetcy,1 prosperity, and happy old age; and if the wide difference between his cottage birthplace and his cathedral tomb (he was buried in S. Paul's) seems at first glance surprising, the knowl edge of the path which led from his " cradle to his grave " dissipates our wonder. His rewards were but the just result of the fortunate circumstances which placed them in his way, and his unswerving in dustry and continuous effort to merit them. His works were very numerous, and have been estimated as high as 3000. Many of his early portraits are possessed by the descendants of those for whom they were painted, and are in different parts of the country. IBs " Lear " is in the Boston Athenaeum ; his " Hamlet and Ophelia " in the Coll. of Mr. Longworth of Cincinnati ; " Christ Healing the Sick " is in the Pennsylvania Hospital, and the "Rejected Christ" is owned by Mr. Harrison of Philadelphia. But the larger part of his works are in England. There are good portraits of him in America; two are in the Boston Athenasum, painted by Leslie and Allston, and a full-length by Sir Thomas Lawrence is in the Wadsworth Gall., Hartford, Conn. West was the discoverer of the principle of the camera obscura, which was suggested to him by watching the effect of the light which came through a crevice in a closed shutter of his sick-room. He had an eminently thoughtful and practical mind, and there is much interest and many useful lessons in the story of Ms hfe as presented by his biographer, John Gait. ENGRAVINGS AFTER THE WORKS OF B. WEST. Engraver, Bartolozzi, Francesco. Cornelia, Mother of the Grac- cM. S. Paul at Malta. Engraver, Basire, James. Orestes and Pylades before Iphigenia. Engraver, Dunkartox, Robert. Martyrdom of S. Stephen. Engraver, Earlom, Richard. Portrait of Thomas Newton, Bishop of Bristol. Portrait of Sir Edward Astley, Bart. Angelica and Medora. Cupid stung by a Bee. Engraver, Green, Valentine. The Stoning of Stephen; very fine; 1776. Raisins- of Lazarus. Christ receiving little Children. Peter denying Christ. Jacob blessing the Sons of Joseph; 1768. Daniel interpreting Balthasar's Dream; 1777. Nathan said unto David, " Thou art the Man; " 1 784. SS. Peter and Paul going to the Sepulchre. Three Maries at the Sepulchre. Alexander and his Physician. Regulus leaving Rome for Carthage. Hannibal vowing Eternal Hatred to the Romans. Marc Antony's Oration on the Death of Cassar. Agrippina weeping over the Urn of Germanicus. Death of Epaminondas. Death of the Chevalier Bayard. 1 An honor which he did not accent. C20 WEST -r- WEYDEN. Engraver, Hall, John. William Penn treating with the Indians for the Province of Pennsylvania. Oliver Cromwell dissolvino- the Long Parliament. Death of Schomberg at the Battle of the Boyne. Engraver, Michel, Jean Baptiste. Cupid stung by a Bee. Alfred dividing Ms last Loaf with a Pilgrim. Continence of Alfred. Engraver, Sharp, Will iam. The Witch of E ndor. Alfred dividing his Loaf with a Beggar. Lear in the Storm. Portrait of Samuel Moore. Engraver, Smith, Ben jamin. Christ healing the Sick. S. Peter's first Ser mon. Engraver, Strange, Sh Robert. The Apotheosis of two cMldren of George III., who died m infancy; 1787. Engraver, Woollett, William. Death of General Wolfe. Battle of La Hogue. Westmacott, Richard (1799-1872). TMs sculptor and writer on art retired from the active duties of his profession several years before his death, but made himseh useful as a lecturer and writer. He published "The Handbook of An cient and Modern Sculp ture" in 1864. He was elected an Associate of the Royal Acad, in 1838, and an Academician in 1S49. His works are well known. Among them the following may be mentioned: "David holding the Head of Goli ath," the " Cymbal Player," the " Guardian Angel," " Go and sin no more," "Paolo and Francesca," and "Resignation." Weyden, Rogier van der, the Elder. Pupil of Jan van Eyck THE SIBYL AND THE EMPEROR AUGUSTUS. BY MOGIER VAN DEH WEYDEN. Ill the Berlin Mus. WEYDEN — WILKIE. 62 1 born at Brussels ; flourished in the first half of the 15th century. He was official painter to the city of Brussels in 1436; in 1449 he went to Italy; he died in 1464, and was buried in the Cath. of Brus sels. He is remarkable among the painters of his time, but his devo tion to positive truth in representation leads him to be tasteless and unattractive; his figures, thin, with long, ill-formed hands and feet, are especially displeasing. He diligently represented the symbolic subjects of the Middle Ages. A goodly number of his works remain, and are in large galleries, where they are easily seen, and we have not space for a description. The most remarkable one is the ' ' Last Judgment," in the Hospital at Beaumc ; it is the most comprehen sive of his remaining works, and adheres strictly to the traditions of his time in arrangement and motive. The Stadel Institute, at Frank fort, has the " Virgin and Child, with SS. Cosmo and Damian." The Berlin Mus., the Munich Gall , the Antwerp Mus., and the Hague Gall., all have interesting examples of his pictures. Rogier van der Weyden was also a fine miniaturist. His influence upon the art of his age was equal to that of any other masters, the Van Eycks not excepted Hans Memling was his pupil, and lie became the greatest master in Belgium in the next generation. Weyden, Rogier van der, the Younger. Son of the preceding. He became very rich, was very benevolent, and died r.t Brussels in 1529. But few works of his arc in public galleries; these are at Madrid, Naples, Brussels, and Berlin. A " Descent from the Cross," of Ms early time, a small altar-piece, is in the Liverpool Institution. His drawing was very careful, and there is much pathos in his repre sentations of the Virgin, in which he especially delighted. Weyden, Goswin van der. A relative of the preceding, and also an artist. Two pictures by him are in the Brussels Gall. ,_TT __. T Wierix or Wierinx, John, born in Amsterdam, ,'r4 \X/ 1550. The most eminent of the three engravers by this name; the others were Hieronymus and Anthony. John imitated Albert Diirer perfectly, and copied some of his etch ings with wonderful exactness. His prints are much esteemed, especially by collectors of the curious. Wilkie, Sir David, born in Fife County, Scotland (1785-1841). Son of a Scotch clergyman, who was greatly disappointed that his son would be a painter. At fourteen he was sent to Edinburgh to the Trustees' Acad., where he remained five years. In 1804, on Ms return to his home, he painted the picture called "Pitlessie Fair." The personages represented were mostly the villagers about him; by some critics it is considered a more wonderful piece of character painting than many of his later works. In 1805 he went to London; the first success he made there was the " Village Politicians." Sir George Beaumont bought it and ordered another, and Lord Mul grave also became Ms patron. From tMs time his story is but that 622 WILKIE - WOODVILLE. of toil and success. He never became rich, and in 1825 his health failed; he travelled from one country to another, and was everywhere received with great kindness by artists and art lovers. He was particularly impressed with the art of Spain, and evidently changed his manner from the time of his visit there. In 1836 he was knighted. Wilkie was a painter of domestic scenes, but he repre sented that side of life which calls out our sympathies; unlike Hogarth, he shows us the joys and sorrows of life rather than the ridiculous view of it; he fixes our attention on what we have heed lessly passed by many times. His " Peep o' Day Boy's Cabin " is one of the finest of his later works; it is in the Vernon Coll. of the South Kensington Mus. " Napoleon and the Pope in Conference at Fontainebleau," and " Wellington writing a Dispatch the night before the' Battle of Waterloo," were exhibited in 1836. In 1840 he went to the East to collect materials to paint a Scripture scene, and made many sketches, but died before he. reached home. He was buried at sea. His pictures and their excellences are too well known to require any word of praise here. Willaerts, Adam, born at Antwerp (1577-1640). He usually painted coast and harbor scenes; sometimes he represented fahs and festive gatherings. His works have considerable merit and are seen in the Antwerp and Berlin museums. Wit, Jacob de, born at Amsterdam (1695-1754). A decorative painter of great excellence. His works are seen in the Hotel de Ville of Amsterdam, which was his most important undertaking. He loved to paint pretty cMldren; these are seen in the Cassel and Dresden galleries. Witte, Emanuel de, born at Alkmaar (1607-1092). TMs artist brought to perfection the painting of church interiors. His lineal and aerial perspective, and his chiaro-scuro are admirable, and Ms broad, free impasto is most excellent. His works are in the Amsterdam and Berlin museums, and in some churches of the former city. W Wohlgemuth, Michael, born at Augsbourg (1434- 1519). The chief master of his time, and the teacher of Albert Diirer. His works are very unequal in all except color; this is always clear and powerful. This is accounted for by the fact that he left much to his assistants, and was very capricious in his own labors. His best remaining works are in the Munich Gall. and in the chapel of S. Maurice at Nuremberg. There have been endless discussions about Wohlgemuth as an engraver, and there is nothing conclusive known about it; the best authorities disagree, and it is not yet established whether he engraved or not. Woodville, Richard Caton, born in Baltimore. When quite young this artist went to Dusseldorf, and in 1847 sent to the New York Art Union " The Card-Players." His works are all represen tations of homely and familiar subjects. They are seen in a number WOODVILLE — WOUVERMANS. 623 of the est private collections in America, and several are known by engravings; among these are " Old '76 and Young '48," " The Card-Players," " The Politicians," etc. He died in London in 1855. Woollett, William, born at Maidstone in Kent (1735-1785). This artist stands at the head of the best landscape engravers. His works embrace a wide range of subjects. The two most admired are the " Death of General Wolfe " and the " Battle of La Hoo-ue." He was the first one to unite in his plates the three styles of enoravino-, thereby giving a just effect of light and shadow, and producing most admirable optic illusions. Aquafortis, the burin, and the dry point, all contributed to make up the charming effects of his prints. f*. Wouvermans, Philip, born at Haerlem (1620- ff-£W$ 1668)- PuPil o£ Jan Wynants, whom he followed in Ms landscapes, while he imitated Pieter van Laer in his animals. But in the end he formed an independent manner of his own, which far exceeds any others who have attempted the same subjects. For the mass of light he usually introduces a white horse. He had much picturesque feeling, animation, and tender keeping, with a delicate and spirited touch. His pictures are nearly 800 in number; this speaks for his industry and facility of execution. Among so many it is not strange that there should be great inequali ties and much monotony. He had three different manners. The first was characterized by heavy horses and angular figures ; this time may be best studied at Dresden. In his second manner the horses are more slender, his touch is firm, and the color warm, clear, and brilliant; the Hague, Dresden, and Louvre galleries have fine specimens of tMs time. About 1660 he adopted a cool, silvery tone, while his touch was very tender; and a wonderful feeling for keeping adds a peculiar charm to these pictures. The much admired Hawk ing scene, at Amsterdam, is a fine specimen of this time, and there are many others. His works are seen in ah large galleries. ENGRAVINGS AFTER THE WORKS OF WOUVERMANS. Engraver, Aliamet, Jacques. The Spanish Halt. Engraver, Bas, James Philip le. The Italian Chase. The Milk Pot. The Boar Hunt. Engraver, Boetius or Boece, Christian Frederick. Sportsmen at the Door of an Inn. Engraver, Boutats, Gaspar. A Sutler's Tent. Engraver, Chedel, Quintin Pierre. A Landscape. Figures and Horses. Engraver, Danckert or Danckers, Dancker. A Set of fine Etchings. Engraver, Daudet, John Baptist. A Stag Hunt. 624 WOUVERMANS — WYNANTS. Engraver, Duret, Peter. The Country Blacksmith. Engraver, Kobell, William. Cavaliers and Horses at the Door of an Inn. '¦ Engraver, Lempereur, Catherine Elizabeth. The Dangerous Forest. The Rural Labors. Engraver, Major, Thomas. The Manege. Engraver, Moitte, Peter Stephen. A Halt of Travellers. The Watering Place. Engraver, Ozanne, Mary Jane. Two Pastoral Subjects. Engraver, Pelletier, Jean. The Travellers. Ladies going to the Chase. Engraver, Prestel, Maria Catherine. Two Landscapes, with; Horses. Engraver, Strange, Sir Robert. The Return from Market; one of the first plates he published, engraved at Paris ; 1 750. Engraver, Visscher, Jan. Several Landscapes, etc. Wouvermans, Peter (1625-1683). TMs artist so often closely resembles his brother, that his works are attributed to the elder. But in truth his tone is heavier and Ms handling less free than that of Pliilip. Wright, Joseph, born at Bordentown, New Jersey (1756-1793). His mother, Patience Wrijht, was in the habit of modelling relievos in wax, and had considerable imitative skill, as some of her works • wliich remain fully prove. The son was instructed by AVest, and when in England made a likeness of the Prince, who was afterwards George IV. He was sent to Paris to study, and was under the care of Dr. Franklin. Returning to America, he was sMpwrecked and cast upon the Spanish coast. He at length reached home penniless. He executed several portraits of Washington, which are no doubt authentic, though inelegant and unideal. He was appointed by Washington as draughtsman and die-sinker at the United States Mint when first established, and in all probability made the first medals and coins ever executed in America. He died of the fearful pestilence which raged in Philadelphia in 1 793. Wynants, Jan, born at Haerlem (1600-1677?). This great landscape painter is only known by his works, for the facts of Ms history have not come down to us. His pictures have great vir* tues, but are monotonous and tiresome. He was painfully truthful; truthful in detail, in outline, in everything. His color is clear and bright. He painted figures badly, and in his best works they were done by other artists. He executed with such care that his pictures are not numerous when we consider the length of time he painted; they number about 214. His works are seen in most European col lections; they are much liked in England on account of their genuine naturalness. BHED WITH HOKSES. BY PHILIP WOUVERMANS. XAMETE — ZAGEL. 627 Xamete was a sculptor who is known only by the magnificent portal of the Cath. cloister at Cuenca. This was carved between 1546 and 1550, of Arcos stone. It is twenty-eight feet high, sup ported by Corinthian columns, and ornamented with cupids, tritons, harpies, etc., etc., as well as with statues of Judith and Jael, S. John and the Virgin, and bas-reliefs of the Life of CMist. Zachtleven. See Sachtleven. Zagel, Matthias. Flourished about 1500. He is called by differ ent authors Zatzinger, Zasinger, and Zinck. From the style of his engravmg he was probably a goldsmith. If his plates were not dated, they would be thought earlier than those of Martin Schoen. He worked with the graver only, in a neat manner, but so delicately that Ms plates would not resist many impressions, and after they were retouched the prints were very bad. It is supposed that he worked at Munich. He also painted, and in connection with Ms pic tures was called Martin Zagel. A picture of the Crucifixion, said to be by him, is in the Vienna Gall., and is a simple and excellent work. His prints are very scarce. He usually marked Ms plates with the letters M. Z., in Gothic character. The following are Ms principal plates: — Solomon's Idolatry. 1501. S. Catherine with the WTaeel. S. Ursula. S. CMistopher bearing the Infant Christ. Martyrdom of S. Sebastian. Socrates and Xantippe. A Cavalier, seated in a Landscape, entertaining Ms Mistress. A March of Soldiers, preceded by a Drummer and a Fifer. A Lover and his Mistress embracing. 1505. An Assembly of Courtiers, called " The Great Ball." A Tournament in the Streets of Mumch, called " The Great Tour nament." In addition to these, Bartsch mentions the following : — The Decollation of John the Baptist. S. Sebastian pierced with Arrows. S. George encountering the Dragon. The Martyrdom of S. Barbe. S. Catherine reading. S. Margaret holding a Cross. Meditation on Death ; represented by a naked woman standing on a skull and holding a sun-dial. 628 ZAMPIERI — ZURBARAN. Zampieri. See Domemchino. Zeghers. See Seghers. Zeitblom, Bartholomew. Flourished about 1495. Very little can be told of this painter, but from Ms works he seems to have been influenced by Martin Schongauer. The Berhn Mus. is the only public gallery in which I find his pictures. A head of S. Anna, No. 561 B., and No. 606 A., are of Ms best manner, and are delicate in feeling, and warm and pure in coloring. Zuccaro, Taddeo and Federigo. The first of these brothers died at thirty-seven, at Rome, in 1566, and was buried in the Pantheon, near Raphael. Federigo painted in Florence, Rome, France, Eng land, and Spain. He was President of the Acad, of S. Luke, at Rome, and left writings on the arts. The pictures of both are in sipid and disagreeably smooth, and yet at times we find something in them wMch indicates more power than appears. Theh historical paintings in the Castle of Caprarola show all these characteristics. The paintings of Federigo in the cupola of the Duomo, at Florence, occasioned this satire : — "Poor Florence, alas! will ne'er cease to complain, Till she sees her fine cupola whitewashed again." Zurbaran, Francisco, born at Fuente de Cantos, 1598 ; died at Madrid, 1662. Pupil of Juan de Roelas, at Seville. He acquired the title of the Caravaggio of Spain, from his imitation of the Italian master of that name. He is one of the first among Spanish painters. His tints were sober and subdued, but also brilliant; and in color he was by no means an inferior artist. ¦ His Virgins were rare, and his female saints resembled the ladies of his day. In the delineation of animals he was very successful; and Ms representations of still-life and drapery were fac-similes of the models from which he painted. He painted historical and religious pictures, portraits, and animals, but Ms cMef excellence was in the representation of monks Stirling says he "studied the Spanish friar, and painted him with as high a relish as Titian painted the Venetian noble, and Vandyck the gentleman of England." He was appointed painter to Philip IV. before he was thirty-five years old, and was a great favorite with that King, who once called him " painter of the King, and king of painters." His portrait is in the Louvre, and represents him a good- looking man, dressed in the extreme of fashion. His finest works are in the Mus. at Seville; and are the allegorical picture called " S. Thomas Aquinas," and three pictures painted for the Carthusians. The Louvre claims to possess ninety-two of his pictures. The Cath. of Cadiz has a fine " Adoration of the Kings; " the Queen of Spain's Gall, his " Labors of Hercules," the " Sleeping Jesus," and two pic tures from the hfe of S. Pedro Nolasco. APPENDIX. Aaalst or Aelst. Wilhelm or William van. In 1877 the Museum of Antwerp obtained a chef-d'oeuvre by this painter, called " Dead Nature," for which 8,500 francs was paid. Aldegrever, Heinrich. At the Hartmann sale in Paris in 1873, a " Portrait of an Old Man," by this master, was sold for £320. Allegri, called Correggio. " The Holy Family," by this painter, in the National Gallery, London, commonly known as •• La Vierge au Panier," was formerly in the Royal Gallery at Madrid. During the French invasion of Spain, Mr. Wallace, an English painter, ob tained it. In 1813 it was vainly offered for sale in England for £1,200. It is painted on a panel, and is 13V inches high by 10 inches wide. After a time this work passed into the Lapeyriere collection in Paris. In 1825 it was sold at auction in that city, and Mr. Nieuwenhuys, senior, bought it for 80,000 fr., and soon after wards sold it to the National Gallery for £3,800. Earl Dudley gave £l,600 for a replica of the "Reading Magdalen," of the Dres den Gallery. Allori, Alessandro. A portrait of one of the Medicis, by Allori, was bought for the gallery at the Hermitage, St. Petersburg, from the sale of the collection of King William II., of Holland, for 5,000 florins.1 Allston, Washington. At the sale of the collection of John Taylor Johnston, New York, 1876, " Spalatro's Vision ofthe Bloody- Hand " (20 by 32), painted at Cambridge in 1832, sold for $3,900. (See engraving, page 30.) Apelles. It is said that this Greek painter received a sum equal to 125,000 francs for a portrait of Alexander the Great. Aristeides. We are told that King Attalus also gave this painter the amount last named for a picture. Asselyn, Jan. At the Cope sale in London, 1872, a "Land scape, — Booth, and Men carousing," sold for 100 guineas. Audubon, John James. Since the publication of this book it has happened that I have seen several oil paintings by Audubon which are fine spirited representations of his subjects, and have l Florin, about forty-three cents. 630 APPENDIX. an unusual interest from their rarity and the associations connected with them. Backhuysen, Ludolf. At the Cope sale, London, 1872, a "Sea View — Shipping under weigh," sold for 100 guineas. Bartolommeo, Fra. At the Northwick sale, Thirlestane House, 1859, "The Vhgin, Christ, and S. John" sold for 13,260 fr. At the Hargreaves sale, 1873, same subject, for 220 guineas. Bega, Cornelius. At the Pierard sale in Paris, 1860, " The Gipsey " (quite small) sold for 1,260 fr. ; at a sale in 1869, " A Dutch Musician," for £136. Bellini, Giovanni. At the Northwick sale, Thirlestane House, 1859, "A Holy Family '' (Bepose), an early work, realistic, with beautiful background, sold for 7,800 fr. ; at a London sale, in 1872, a "Virgin and Child" for 600 guineas. Beltraffio, Gio. Antonio. At a London sale in 1872, a " Portrait of a Poet " sold for 125 guineas, and a "Portrait of a Lady " for 405 guineas. Berehem, or Berghem, Nicolas. At the Hermitage, St. Peters burg, is " A View in Italy," by this master, which was bought at the sale of the collection of the Duke de Choiseul, 1772, for 11,600 livres. In the same gallery is the " Halte de Chasseurs." This was painted by Berehem in competition with Both for a prize of 800 florins, which had been offered by the Burgomaster of Dordrecht. Berehem gained the prize, and the Burgomaster doubled the' sum and bought the picture. Lord Ashburton paid for " Le Fagot " (see page 99) £600. It is painted on panel, and is 15 by 19^ inches. It has been in the Blondel, De Gagny, Marquis de Pange, and Talleyrand collections. At a London sale, 1876, " Herdsmen with Cattle, Sheep, etc., passing a River," sold for £1,207. Bergen, Dirk Van. At a Paris sale in 1873, "The Farmer," by Bergen, sold for £379. Berkheiden, Gerit. At a Paris sale in 1869, "An Interior View of a Dutch Town " sold for £200. Bloot, Peter. At a London sale in 1871, "A Kitchen Scene,'' by Bloot, fold for £73. Boccaccino, Boccaccio. In 1870, "The Procession to Calvary," by this old master, was bought for the National Gallery, London, for £300. Bonifazio, Veneziano. At the Sedelmeyer sale, Vienna, 1873, a " Holy Family," by Bonifazio, sold for £1,640. Boniiigton. Richard Parkes. " Henry III. receiving the Ambas sadors of Spain " was sold at the San Donato sale, for 83,000 fr. It had been sold previously for 49,000 fr. At the Gillott sale, Lon don, 1872, " A View on the Seine " was purchased for the New York Metropolitan Museum for 300 guineas. Bonvicino, Alessandro, called II Moretto. At the Northwick APPENDIX. 631 sale, Thirlestane House, 1859, "The Glorification of the Virgin " sold for 14,300 fr. It was formerly an ornament of the high altar in the church of SS. Faustino and Giovita at Brescia. Bordone, Paris. At a Paris sale in 1872, " A Girl at her Toi let," by this master, sold for 700 guineas. Borgognone, Ambrogio. At the Blaisel sale, Paris, 1870, "The Education of the Infant Jesus " sold for £185. Both, Jan. At the Pierard sale, Paris, 1860, a landscape by this painter sold for 2,400 fr. At a London sale in 1878, " A BockyPass" sold for £1,600, and at the Schneider sale, Paris, 1876, an " Italian Landscape " brought £1,800. Botticelli, Sandro. At the Barker sale, England, 1874, " The Virgin caressing the Infant Jesus" sold for 1,600 guineas. This work was from the Beckford collection, and is a noble specimen of the wonderful conceptions of this painter. '• Venus " brought 1,452 guineas. Boucher, Francois. At a sale at Christie's in 1860 two large allegorical pictures painted by Boucher for Louis XV. sold for 31,250 fr. At the Cope sale, London, 1872, a, " Portrait of a Boy as Pierrot " sold for 870 guineas. Brauwer or Brower, Adrian. At the Papin sale, Paris, 1873, " The Quack " sold for £220. Breughel, Pieter, called Peasant Breughel. At the Oppenheim sale, London, 1864, " A Cattle Fair in a Dutch Village," and a " Scene," both by this master, sold for 245 guineas. Bronzino, Angiolo. At the Pourtales sale, 1865, a "Portrait. of a young Medici" sold for £2.200. At a London sale, 1872, a " Portrait of Cosmo de Medici " sold for 325 guineas. Bugiardini, Giuliano. At a London sale, 1872, a " Virgin and Child," by this painter, sold for 110 guineas. Buonarotti, Michael Angelo. At the Eoyal Academy, London, there is a circular composition in marble by this sculptor which represents, in deep relief, the Virgin, Child, and St. John. It is, probably an early work, and is interesting from its history aside from its merit and value. The nephew of Michael Angelo, Leo nardo Buonarotti, presented it to the. Archduke Cosmo I. of Flor ence ; Cosmo II. gave it to the younger Michael Angelo, that it might be placed in a gallery which he had built. During the Rev- olution M. Vicar, a painter, obtained possession of it, and Sir George Beaumont presented it to the Royal Academy. At the National Gallery. London, there is an "Entombment" (painting), attributed to Michael Angelo. It was purchased in 1868 lor £2,000. Cagliari or Caliari, Paolo, called Paul Veronese. " The Fam ily of Darius before Alexander " is in the National Gallery, London, and cost that institution £13,650. It was in the Pisam Palace, 632 APPENDIX. Venice, for many years, and it is said to have been left there by the artist in payment for his entertainment during a visit which he had made. At the Demidoff sale, 1868, a " Portrait of Ms Daughter " sold for £2,524. Callcott, Sir Augustus Wall. At the Gillott sale, London, 1872, "A Coast Scene," by Callcott, sold for 1,400 guineas; at the Holmewood sale, London, 1874, " Tor Point Ferry, above Devon- port," for 310 guineas. Camphuysen, Theodore Raphael. At the Northwick sale, Thirlestane House, 1859, " The Dutch Farm," considered the chef- d'ozuvre of this master, sold for 13,260 fr. Canal or Canale, Antonio, called Canaletto. At the Northwick sale, Thirlestane House, 1859, " The Marriage of the Doge" sold for 10,400 fr. At Christie's, in 1873, a " View in Venice " sold foi 3,200 guineas.- Capella, Jan Van de. The works of this artist are very rare. At the Pierard sale, Paris, 1860, a " M.irine " sold for 3,000 fr. ; at the Harris sale, London, 1872, " Fishing Boats in a Calm," for 175 guineas; at the Lissengen sale, Paris, 1876, the "Plage'' sold for 17,300 fr., and was purchased for the Berlin Museum. Carracci, Annibale. The " Christ and St. Peter," of the Na tional Gallery, London, was bought for £8,000, and Lord Carlisle paid £4,000 for " The Three Maries." Champaigne, Philippe de. At the Pourtales sale, Paris, 1865, the " Marriage of the Virgin," formerly the altar-piece of the chapel of the Palais Royal, sold for £1,740. At a, Paris sale, in 1873, the " Portrait of Colbert " brought £400. Chardin, Jean Baptiste Simon. At the Marcille sale, Paris, 1876, " The Charwoman," dated 1738, sold for 23,200 fr., and "Dead Na ture," dated 1760, for 12,000 fr. Clouet, Francois. At the Pourtales sale, 1865, a "Bust Portrait of a Man " sold for £276. At a London sale in 1874, a " Portrait of Diana of Poitiers " sold for £131. Coello, Claudio. At the Demidoff sale, 1868, a "Portrait of a Young Gentleman," by this painter, sold for £124. Collins, William. At a London sale in 1871, "The Nutting Party " sold for 945 guineas. At the Gillott sale, London, 1872, " Cromer Sands," a large picture, brought 3,600 guineas. Conegliano, Giambatista Cinia da. At the Northwick sale, Thirlestane House, 1859, " St. Catherine " sold for 20,800 fr. This picture is in the best style of the painter, and has his name in scribed full-length. At a London sale in 1872, the " Vhgin and Child " sold for 308 guineas. Constable, John. In 1873 Mr. John W. Wilson presented to the Louvre a picture of " Weymouth Bay," by Constable, for which he paid £2,240. Mr. Wilson received the Cross of tho Legion of Honor. APPENDIX. 633 Coques, Gonzales. At the Patureau sale Lord Hertford paid 45,000 fr. for '• Le Repas Chauipetre." It was sold in the collec tion of King William II. of Holland, for 7,200 florins. At a Paris sale in 1873, a "Portrait of a Gentleman," by Coques, brought £726. Cotes, Francis. At a London sale in 1870, a "Portrait of Mrs. Marrable," by Cotes, sold for 450 guineas. Craesbecke, Joost Van. At the Lemaitre sale, Paris, 1874, the "Alehouse Politicians," by this painter, sold for £240. Credi, Lorenzo da. At the Northwick sale, Thirlestane House, 1859, a " Holy Family," by Credi, sold for 13,000 fr. Crivelli, Carlo. " The Madonna and Child," purchased for the National Gallery, London, in 1863, cost £2,182. An altar-piece, same collection, cost £3,360. At the Barker sale, 1874, a "Ma donna in Ecstasy," dated 1492, sold for 550 guineas. Cuyp, Albert. Sir Robert Peel paid 350 guineas for a panel by this artist, 12 by 20 inches, which was originally purchased in Hol land for about one English shilling ! It is a landscape, and thus described .by Waagen : " An old castle with towers, gilded by the most glowing evening sun, is reflected in the clear water by which it is surrounded. In the background misty mountains ; in the foreground, in happy contrast, a horseman on a black horse, and some sheep. Few pictures excite in so high a degree the poetical feeling of the silence of a fine summer evening, with the melancholy sense of a time long past." Before the middle of the eighteenth cen tury, nearly a hundred years after his death, no picture of Cuyp's sold for more than thirty florins ! At the Northwick sale, Thirlestane House, 1859, " a Splendid Landscape, with Peter Both, first Gov ernor of Batavia, and his Wife," with fine background and accesso ries, sold for 23.920 fr. At a London sale in 1876, a " View on the Bhine " sold for £3.150, and at the Forster sale, London, 1876, "A Hilly Landscape. Morning Light," brought £5,042. " The River Maas frozen," by Cuyp, one of the treasures of the Bedford col lection, was purchased for £1,200. Painted on wood, 2 feet by 3 feet 11 inches in size. David D' Angers. A bust of Humboldt, by this sculptor, was sold at auction at Berlin in 1860 ; it was purchased for the Louvre, for 7,500 fr. David, Jacques Louis. While in Brussels this artist completed a duplicate of the " Sacre de l'Empereur," at Versailles. Mon sieur Lajard encouraged him to finish it, and paid hiin 75,000 fr. It has been exhibited in London and America. At the Pourtales sale, 1865, " Portraits of Pius VII. and Cardinal Capreva " sold for £712. Decamps, Alexander Gabriel. At a Paris sale, 1873, the " Court yard of an Inn," by Decamps, sold for £1,048. 634 APPENDIX. Delacroix, Eugene. The "Marino Faliero" was first sold for £400 ; in later years it has been sold for £4,0C0. A. Dumas says that Delacroix wished never to be separated from this picture, and esteemed it his best work. At the San Donato sale '¦ Columbus in the Cloister of Santa Maria de Rabida " brought 38,000 fr. At the Oppenheim sale, Paris, 1877, the Duke d'Aumale paid 70,500 fr. for " The Two Foscari," by this artist. Delaroche, Paul. At the Norzy sale, Paris, 1860, "Jesus in the Garden of Olives " sold for 8,000 fr. At the Delessert sale, 1869, " St. Cecilia " brought £840; at London, 1874, "Portrait of Na poleon I.," from the collection of Napoleon III., £430. At the San Donato sale his " Lady Jane Grey" brought 110,000 fr. Denner, Balthasar. Waagen says that Denner's works are only good to refute the doctrine that nature should be represented with exactness, on the theory of realism. If this doctrine were correct Denner would be the greatest painter who ever hved. At the De Morny sale, 1852, a " Portrait of an old Woman " was purchased for the Pereire collection for 18,900 fr. Dolci, Carlo. At the Northwick sale, Thirlestane House, 1859, " St. John writing the Apocalypse " sold for 52,260 fr. This pic ture was particularly warm and clear, has all the feeling usual with this painter, and seems to have been finished con amore. Dow, Gerard. Sir Bobert Peel had in his collection one of the most pleasing works of this master. It is on panel, 22 by 1 7i in., is called " The Dealer in Game," and represents an old woman at an open window, talking with a girl about a hare ; two other fig ures and various accessories. The price paid by Sir Robett Peel is not known, but in 1772 the Due de Choiseul paid for it 17,300 fr. ; in 1777, Prince de Conti, 20,000 fr. ; in 1787, Duke de Chal ot, 20,800 fr. ; in 1821, Coupry Dupre bought it for 26,000 fr.; in 1823, Mr. Beckford gave 1,270 guineas. At the sale of the Van Leyden collection in 1804, " A Hermit praying before a Crucifix, with an open Bible," sold for 32,000 fr. It passed into the collection of Lord Ashburton. " The Physician,'' in the Hermitage at St. Petersburg, was purchased in 1772, at the Due de Choiseul sale, for 19,153 livres. At the Pierard sale, Paris, 1860, a portrait of Dow painted by himself, when about forty or forty-five years old, brought 37,000 fr. Drouais, Jean Germain. At the De Morny sale, Paris, 1865, " A Boy playing with a Cat," by this artist, sold for £804. Egg, Augustus Leopold. At a sale at Christie's in 1869, " Launce's Substitute for Proteus' Dog " sold for 600 guineas. Etty, William. At the Gillott sale, London, 1872, "Pluto car rying off Proserpine," sold for 1,000 guineas. At the Twopenny sale, London, 1874, " Phcedra and Cymocles on the Idle Lake," 510 guineas. APPENDIX. 635 Eyck, Van. It is said that the six panels in the Berlin Museum from the " Adoration of the Lamb," by the brothers Van Eyck, were bought by M. Nieuwcnhuys for 6,000 fr. in 1815 ; they were sold by him in England for 100,000 fr., and purchased for the Ber lin Museum for 450,000 fr. An " Annunciation," in the Hermitao-e at St. Petersburg, by Jan Van Eyck, was bought from the collec tion of King William II of Holland for 5,375 florins. In the Na tional Gallery, London, there is a very interesting picture by Jan Van Eyck. It is on wood, 2 ft. 9 in. high by 2 ft. £ in. wide. It. represents the artist and his wife, standing in a room with rich accessories. There is a circular mirror, on the frame of which the ten moments from the life of Christ are represented, and although very diminutive they are quite distinctly rendered. The effect of chiaro scuro in this work is remarkable for the period in wliich it was executed. It is inscribed, " Johannes de Eyck fuit hie, 1434." The regent of the Netherlands, Margaret, daughter of Charles V., bought this picture of a barber in Brussels, and gave him a j early pension of 100 gulden. Fiesole, Fra Gio. da, called Fra Angelico. In 1860, " Christ with the Banner of the Resurrection " was bought for the National Gallery, London, for £3,500. Forli, Melozzo da. In 1866, " Rhetoric and Music," by this ar tist, was purchased for the National Gallery, London, for £600. Foppa, Vincenzo. At a London sale, 1872, a " Portrait of a Man," by Foppa, sold for 250 guineas Fragonard, Jean-Honore. At a Paris sale, 1874, "Spring" and 'I Summer '' (a pair) sold for £796. At the Marcille sale, Paris, 1876, " La Fuite a Dessein " was purchased by Baron Rothschild, of Vienna, for 22,000 fr. Francesca, Pietro della. In 1866, a " Portrait of a Lady," by this painter, was purchased by the National Gallery for £160. At the Barker sale, 1874, " The Nativity " brought 2,300 guineas. Francia, Francesco. At the Pourtales sale, 1865, " The Vir gin," by Francia, sold for £860. At a London sale, 1872, " Por trait of a Youth," for 390 guineas. An altar-piece in the National Gallery, London, cost £3,500. «, Gainsborough, Thomas. At a Paris sale, 1874, a " Portrait of Himself" sold for £ 760. At Christie's in 1876, " The Portrait of the Duchess of Devonshire " was bought by Messrs. Agnew for 10,000 guineas, the largest price ever paid at Christie's. Garbo, Raffaellino del. At a London sale, 1873, a "Madonna and Child " sold for 950 guineas. Garofalo, Lord Northwick had at Thirlestane House "The Stoning of St. Stephen," by this master ; it was in brick-red tones, and in dramatic scenes he did not excel, but when sold in 1859 it brought 39,250 fr. It was formerly in the Balbi Palace at Borne. 636 APPENDIX. Giorgione. At the Northwick sale, Thirlestane House, 1859, " A Wounded Cupid complaining to Venus " sold for 32,500 fr. and " A Concert in the Country," for 19,500 fr. In 1863, the Calco- graphie (Louvre) gave £800 for a plate by Pallet after " The Con cert," of the Pitti Gallery. Giotto di Bordone. The works of this old artist are rare. At the Bromley sale, London, 1863, the " Coronation of the Vir gin," formerly in the Fesch gallery, sold for 195 guineas. This pic ture so much resembles the well-known picture in S. Croce in Flor ence, that it seems reasonable to attribute it to Giotto. At same sale " The Death of the Vhgin ; the Saviour receiving her Soul," a capo d'opera, brought 950 guineas. It is a very spirited compo sition, and excepting the gold ground is well preserved. Goya y Lucientes. At the Edwards sale, Paris, 1870, " Char lotte Corday," by Goya, sold for £584, and " Goya's Mistress " for £444. Goyen, Jan Van. At a Paris sale in 1873, " The Banks of the Meuse " sold for £516, and at a sale in same city, 1874, a " View at Nimeguen " for £356. Greuze, Jean Baptiste. "La Pelotonneuse " was sold in 1770 for 950 livres and in 1772 for 1,600 livres. "Le Miroir Casse " is one of the rarer works of this master. It was formerly in the Fesch collection. The Marquis of Hertford paid £1,600 for it. At the Norzy sale, 1860, Paris, " A Bacchante " (a bust only) sold for 22,200 fr. It was a study rather than a picture. At the San Donato sale, a work by Greuze sold for 126,000 fr., and at the Forster sale, 1876, " A little Girl with a Lapdog in her Arms " brought £6,720. At the sale of the Due de Choiseul in 1772, the same picture sold for £300, and in 1832 it brought £703 10s. Guardi, Francesco. At the De Morny sale, 1865, " The Rialto, Venice," sold for £1,000 and the " Doge's Palace " for £800. Guercino. At the Northwick sale, Thirlestane House, 1859, " Christ and the Samaritan Woman," formerly in the Balbi Palace at Rome, sold for 13,052 fr. At the Hargreaves sale, London, 1873, the same subject sold for 360 guineas. Hals, Frans. At the Pourtales' sale, 1865, Lord Hertford paid 51,000 fr. for the " Portrait of a Man," by Hals. In the same year the Brienen gallery of Amsterdam was sold at the Hotel Drouot, and Baron James de Rothschild gave 35,000 fr. for another portrait of a gentleman. Heist, Bartholomew van der. At the sale of the collection of King William n. of Holland, "The Presentation of the Fiancee" was purchased for the Hermitage for 17,900 florins.1 Heyden, Jan van der. Sir Robert Peel paid 415 guineas for a " Street Scene in Cologne," on panel, 13 by 17 inches. In Lord 1 Florin, about forty-three cents. APPENDIX. 637 Ashburton's collection, the " View of a Market Place," with figures by Van der Velde, was formerly in the Louvre, was returned to Hol land after the Restoration, and was sold for £600. It is on panel, 19 by 23 in. At the Delessert sale, 1869, " City Scene in Hol land " sold for £1,600, and at a sale in Paris, 1874, " The Chateau" brought £660. Hobbema, Mindert. In the collection of Sir Robert Peel were two pictures by this master, which cost more than £1,600 for the two — the largest being 3 ft. 5 'in. by 4 ft. 8 in. and the smaller 2 ft. 81 in. by 3 ft. 4£ in. The first represented the " Ruins of the Castle of Brederode," and the other the " Village of Middelhar- nis." Mr. Holford paid £3,000 for a " Road through a Wood," 3 ft. by 4 ft. 2 in., inscribed with name full length and dated 1663. This is probably the mate to that of Lord Hatherton for which the same price was paid, and for which 6,000 guineas has been refused. Lord Hertford bought the " Moulin a Eau," at the sale of the col lection of William II. of Holland, for 27,000 florins, and a " View in Holland," from the sale of Cardinal Fesch, for 8,000 Roman crowns, or about 44,000 fr. At the De Morny sale, 1852, M. Schultze of Berlin bought a picture by Hobbema, which had been valued at 200,000 fr., for 105,000 fr. At the Patureau sale, " The Mills" brought 95,500 fr. The sketches by this artist are very rare. In 1847, two in India ink were sold for 1,830 florins. Hogarth, William. At the Holmewood sale, 1874, «, " Portrait of Mrs. Hogarth " sold for 360 guineas. At the Twopenny sale, 1874, " The Lady's Last Stake " brought 1,506 guineas. Holbein, Hans, the Younger. At the Northwick sale, Thirles tane House, 1859, a miniature of Sir John Gage sold for 1,586 fr. Hondekoeter, Melchior. At the Schneider sale, Paris, 1876, two pictures by this master, called " Morning " and " Evening," sold for £1,420. Hoogh, Peter de. In the collection of Sir Bobert Peel was a picture by this master, on canvas, 2 ft. 5 in. by 1 ft. 11 in., for which £945 were paid in 1825. It represents a woman with her child, in an inclosed vineyard, with bright sunlight. It is in scribed "P. D. H. 1658." At the De Morny sale, 1852, " A Card Party " sold for 18,800 fr. At the Delessert sale, Paris, 1869, " The Interior of a Dutch House," was bought for the National Gallery, London, for £6,000. At the Schneider sale, Paris, 1876, "Interior of a Dutch Mansion," £5,400. Houdon, Jean- Antoine. At the sale Marquis de Maison, a bust in marble of Mile. Dathe", dated 1781, sold for £588. Huysum, Jan van. " A Bouquet," by this master, in the col lection Pereire, at Paris, cost 20,000 fr. At the Twopenny sale, London, 1874, " Flowers, Birds, etc.," brought 500 guineas. Jardin, Karel du. In Sir Bobert Peel's collection, " Cattle in a 638 APPENDIX. Meadow " was sold at the Duke de Praslin's sale, 1793, for £680, and at the sale of Sir Simon Clarke it brought 930 guineas. In Lord Ashburton's collection " A Watermill, with a Man, Pigs, an Ass, etc.," on panel, 16^ by 14-| inches, was bought from the Eynard collection in 1825 for 10,000 fr., and " An Italian Scene," on cop per, circular, 8^ inches in diameter, from the Talleyrand collec tion, was valued at 300 guineas in 1817. A " Landscape," by Du Jardin, which was in the Duo de Morny collection in 1863 was sold in 1771 for 4,400 livres ; in 1804, for 8,000 livres; and in 1852 for 25,000 fr. At the Patureau sale " The Dismounted Cuirassier " sold for 14,000 fr., and at the Pierard sale for 1 7,000 fr. Kiss, Augustus. Since the death of this sculptor his widow pre sented to the National Gallery at Berlin " The Fox Hunt," and a, group of " Faith, Hope, and Charity,'' which last was unfinished at the death of the artist, and was completed by Blaser. Koningh, Philip de. At the Gillott sale in London, 1872, 'A Bird's View in Holland " was purchased for the Metropolitan Mu seum, New York, for 575 guineas.' Lancret, Nicolas. At the Fould sale, 1869, "The Meeting at the Fountain," sold for £2,520. At the Pereire sale a " Portrait of Camargo " brought £396. Lebrun, Mine. This artist's portrait, painted by herself in 1776, has been sold for £1,140. Lely, Sir Peter. At the sale of the Marquis of Hastings, 1869, a " Portrait of the Countess of Shrewsbury," by Lely, sold for 100 guineas. Lingelbach, Johann. At the Cope sale, London, 1872, " The Hay Cart," by this painter, sold for 670 guineas.' Lippi, Filippino. At the Barker sale, 1874, " The Adoration of the Magi," by this master, sold for 700 guineas. Lombard, Lambert. At the Schneider sale, Paris, 1876, "A Vision," and the " Passage of the Red Sea," works of this painter, sold for £1,000. Lorraine, Claude. The following description of the " Liber Veri- tatis " (see page 376), is from the pen of Dr. Waagen : "The num ber of the drawings is 200. On the reverse of the first a label is pasted with an inscription in Claude's handwriting which I here give in his own orthography : — Audi. 10, dagosto 1677 ce present livre Aupartien a moy que je faict durant ma vie Claudio Gillee Dit le lorains A Roma ce 23 Aos. 1680. Claude Lorraine was seventy-eight ye.irs of age in 1680, and died about two years after. He also wrote on the .back of each drawing the number, with his monogram, the place where, and generally APPENDIX. 639 the person for whom it was painted, and sometimes the year, but he never omitted the ' Claudio fecit.' According to Ms will this book was to remain as an heirloom in his family, which direction was so faithfully observed by his descendants that all the pains taken by Cardinal d' Estrees, the French ambassador at Boine, to obtain pos session of it failed. The later heirs, however, were so little influ enced by this species of filial piety that they sold it for the low price of 200 scudi to a French jeweler, who sold it again in Holland, whence it came into the possession of the Duke of Devonshire, by whom it is held in due honor." Two very fine works by Claude, make a part of the Leigh Court collection. One is 5 ft. 4 in. by 7 ft. 4 in. and is inscribed, " II Tempio di Apollo, Claudio Gille, Inven, fecit Rom. 1662." (or 1665). The companion represents the landing of iEneas and his companions in Italy, is also inscribed and dated 1675. At the limeof the French Revolution these pictures were in the Altieri Palace, Rome. Mr. Fagan bought them there for 9,000 scudi. Their price has since been very largely increased. At the Lord Northwick sale, Thirlestane House, 1859, "A Land scape" sold for 7,800 fr. At the Pourtales sale, 1865, "A Land scape'' sold for £1,460. At the Hartmann sale, 1873, a " Seaport, Sunset " sold for £600. Luini, Bernardino. A "Flora," in the Hermitage at St. Peters burg, was for a long time attributed to Leonardo. It was purchased at the sale of the collection of King William IL, of Holland, for 40,000 florins.1 Mabuse, Jan van. At the Schneider sale, Paris, 1876, a pair, " St. John the Baptist " and " St. Peter," sold for £1,420. Mantegna, Andrea. The nine pictures of the triumphs of Julius Csesar, at Hampton Court (see page 387), originally adorned a frieze in the Palace of St. Sebastian, at Mantua. In the time of Charles I. they were brought to England, and after his death were sold for £1,000 ; but Charles II. bought them again, and replaced them at. Hampton Court. At a London sale, 1872, " An Enthroned Virgin," by Mantegna, sold for 100 guineas. Marziale, Marco. In 1869 " The Circumcision," by Marziale, was bought for the National Gallery, London, for £1,005. Masaccio. At the Northwick' sale, Thirlestane House, 1859, a portrait of this artist, painted by himself, bust, less than life size, sold for 2,678 fr. Meer, Jan van der, of Delft. At the Pereire sale, Paris, 1872, "The Geographer" sold for £688. Memling, Hans. At the Barker sale, 1874, an "Enthroned Ma donna" sold for 1,250 guineas. Mengs, Anton Baphael. At the Corcoran Gallery, Washington, there is an " Adoration of the Shepherds," by this artist, which l Florin, equal to 2 francs and 15 centimes. 640 APPENDIX. was formerly in the collection of Joseph Bonaparte, who brought it from Spain. Messina, Antonello da. At the Pourtales sale, 1865, a "Por trait of a Man," by this painter, sold for £4,450. Metzu, Gabriel. " Le Chasseur Endormi," which is one of the best works by this master, 15 by 11 inches, was formerly in the Fesch gallery, and was bought by Lord Hertford for £3,000. In the Baring collection is a clief d' ozuvre, called " The Intruder," a gen tleman entering a room where two ladies are dressing, and a maid. trying to hold Mm back. It is unusually large, 2 ft. 21- in. by 1 ft. 11^ in. It was sold in 1830 for 500 guineas. In Paris, 1874, " The Gold Weigher," sold for £1,600. Mierevelt, Michael Janse. At the Papin sale, Paris, 1873, a " Portrait of a Young Girl," sold for £240. Mieris, Frans Van. At a London sale, 1876, " The Enamored Cavalier," sold for £3,675. Morando, Paolo. In 1867, a " Madonna and Child with St. John," by Morando, was purchased for the National Gallery, Lon don, for £900. More, Sir Anthony. At a Paris sale, 1873, a "Portrait of Isa bella of Valois," wife of Philip II. of Spain, sold for £724. Moroni, Gio. Battista. " A Portrait of a Jesuit," by this painter, was purchased many years since by the Marquis of Stafford for £800. There is in England a portrait of an ecclesiastic, with a long inscription and dated 1584, which is well authenticated as a Moroni. This proves the artist to have lived beyond the time, 1578, given by Lanzi, ano other writers, as the period of his death. (See page 415.) At the Pourtales sale, 1865, a " Portrait of a Lawyer," was purchased for the National Gallery, London, for £528. Mulready, William. At the Northwick sale, Thirlestane House, 1859, " The Wounded at Waterloo," by this artist, sold for 30,680 fr. Murillo, Bartolome' Estevan. In the Stafford House collection is " The Prodigal Son," one of the ei-.ht pictures executed by Mu rillo for the church of the Caridad at Seville. It was bought from Marshal Soult for 11,000 guineas. In the collection of the Marquis of Hertford is " St. Thomas of Villa Nueva, distributing alms to the sick and poor." It was for merly in the church of the Franciscans at Genoa. It is a fine exam ple of the second period of this master. Its cost was 3,000 guineas. At the Northwick sale, Thirlestane House, 1859, " Jacob putting the Rods into the Drinking Troughs of his Cattle," sold for 36,600 fr. In the National Gallery, London, is " A Holy Family," which cost 4,000 guineas, and a " St. John and the Lamb," which cost 2,000 guineas. " The Young Beggar " and " The Young Peasant," in the gallery of the Hermitage, St. Petersburg, were purchased in APPENDIX. 641 1772 from the sale of the Due de Choiseul, for 4,600 livres. The " Saint Pierre aux Liens," of the same gallery, was bought from the collection of Marshal Soult for 151,000 fr. From the last nanied collection was also sold the " Immaculate Conception "• of the Louvre for the enormous sum of 615,300 fr. It had been of fered in England for £6,000. At the time of the sale it was be lieved to be the largest price ever paid for a picture. At a sale in London at Christie's in 1860, another " Immaculate Conception," larger than that of the Louvre, was sold for 22*5,000 fr. Nasmyth, Patrick. At the Northwick sale, Thirlestane House, 1859, " A Gipsy Camp in the Woods of Leigh," sold for 18,900 fr. At the Gillott sale, 1872, " The Frith of Forth " sold for 1,070 guineas. Neer, Artus van der. In the collection of the Marquis of Hert ford, a picture by this painter, whose works are rare, is very beau tiful, and cost £400. At the Cope sale, London, 1872, " A Biver Scene — Sunset " sold for 240 guineas. At the Pierard sale, Paris, 1860, " A Grand Lady," by Eglon van der Neer, sold for 3,750 fr. Netscher, Caspar. In Paris, 1874, "The Singing Lesson " sold for £528. In Amsterdam, 1872, " Four Children under an Archway " sold for £1,384.. "Blowing Bubbles'' (not a foot square), dated 1670, was purchased from the gallery of the Duchess de Berri for £280. Ostade, Adrian van. Sir A. Rothschild bought from the gal lery of the Duke de Berri, a panel 16f in. by 22£ in. for £928. It represents two couples of country people dancing, with several per sons looking on, and is a chef d'oeuvre of this master. At the Lehon sale, Paris, 1861, an Ostade sold for 31,400 fr. At the Forster sale, 1876, "Interior of a Village Ale House," sold for £3,780. At the Lissengen sale, 1876, " The Card Players," 28,100 fr. At a Paris sale, 1876, Lord Dudley paid 103,000 fr. for the "Interior of a Cabaret," by A. van Ostade. Pajou, Augustin. Baron A. Rothschild bought, in 1869, a marble bust of Mme. Le Brun, by this sculptor, for £412. Palma, Vecchio. At the Bromley sale, London, 1863, " Divine and Heathen Love," by this painter, sold for 420 guineas. Palmezzano, Marco. At the Bromley sale, was also sold an " Enthroned Virgin," by Palmezzano, for 320 guineas. Pannini, Gio. Paolo. At a London sale, 1871, "Place Navona, Rome — during a Fete, 1729," sold for 610 guineas. Parmigianino, or Mazzuoli. In the National Gallery, London, is a " Virgin in Glory, or the Vision of St. Jerome," by this artist, which Vasari says was painted in Rome in 1527. (See page 399.) It was originally in the church of St. Salvatore in Lauro, at Citta di Castello ; and after the earthquake in that place was bought by M. Durno for £6,000. It is 11 ft. 6 in. by 4 ft. H in., and for 41 642 APPENDIX. size and grandeur of subject is one of the chief works of this mas ter, although painted when he was -but twenty-four years old. A very spirited original sketch of this work is in the Grosvenor gal lery. Pater, Jean-Baptiste-Joseph. At the sale of Lord Pembroke, " Repose in the Park," and " Country Pleasures " were sold for 30,000 fr. At the Paturean sale, " The Establishment of a French Camp," and " An Encampment," sold for 15,100 fr. ; same works at the Norzy sale, 18"60, for 25,000 fr. At the Veron sale " The Bathers " sold for 900 fr. ; same work at Norzy sale, 9,600 fr. In 1869, the " Concert Champetre " brought £4,000, and at the Oppen heim sale, 1877, " The Repose in the Park" sold for 21,300 fr. Perugino, Pietro. In 1856 " The Virgin Worshipping the Infant Christ" was bought from the Menzi family of Milan, for the Na tional Gallery, London, at £3,571. In 1863 the Calcographie ofthe Louvre gave £800 for a plate, by Caron, after " The Virgin Mary,'' by Perugino. Piombo, Sebastian del. The very important " Raising of Laz arus " (see page 456) was removed from Narbonne to the Orleans Gallery. It is said that 24,000 fr. were then paid for it. When it went to England, with the Orleans Gallery, Mr. Angerstein bought it the first morning of its exhibition for 3,500 guineas. Later, Mr. Beckford of Fonthill Abbey offered Mr. Angerstein £15,000 for it, but Mr. A. demanded as many guineas, and the negotiations failed. This work was originally on panel, but has been skillfully transferred to canvas. It is inscribed " Sebastianus Venetus Faciebat." In the Gallery of the Hermitage, St. Petersburg, " A Descent from the Cross " was purchased from the collection of King William II. of Holland, for 29,600 florins. In the same gallery " The Bearing of the Cross," attributed to Piombo, was from the collection of Marshal Soult at 41,000 fr. In 1860 a " Holy Family" was brought from Spain to Paris, and sold at auction for 40,000 fr. At the Pourtales sale, 1865, a "Portrait of the Young Duke of Urbino" (formerly attributed to Andrea del Sarto), sold for £3,720. Potter, Paul. At the Hermitage. St. Petersburg, is a " Halte de Chasseurs," by Potter ; it was purchased in 1777 for 7,450 livres. At (he same gallery is " La Vache qui pisee," which was painted in 1649 for a Princess of Nassau, who refused it as indecent. It was in the gallery at Malmaison, and in 1814 was valued at 250,000 fr. In Amsterdam in 1872, a " Group of Pigs " sold for £705. In Sir Bobert Peel's collection was a landscape with various animals, 23 by 21 inches in size, which was purchased from the sale of Lord Gwy- dyr, 1829, for 1,205 guineas. Poussin, Nicolas. The " Seven Sacraments," of the Bridge- water (formerly Stafford) Gallery, were purchased by the Begent, Philip, Duke of Orleans, for 120,000 livres. The Duke of Badge- APPENDIX. 643 water bought them from the Orleans Gallery for £4,900. In Lon don, in 1863, " The Marriage of St. Catherine," by this painter, sold for 185 guineas. In the National Gallery, London, is his " Dance of Fauns and Bacchantes interrupted- by a Satyr," on canvas, 3 ft. 3 in. by 4 ft. 8 in., painted for Cardinal Richelieu, in perfect pres ervation, bought of Mr. Hamlet for £2,000. Poussin, Gaspar. In the Marquis of Hertford's collection is a tall, narrow picture, a " View of Tivoli " (one of the best of ibis subject, which he often painted), which was bought froni the collec tion of Lord Ashburnham for 400 guineas. This painter is a great favorite in England, where his name is often coupled with that of Claude. At the Northwick sale, Thirlestane House, 1859, •' A Wooded Landscape " sold for 8,320 fr. Previtali, Andrea. At the Barker sale, 1874, " A Madonna and Child, with St. John in Adoration " sold for 660 guineas. Prud'hon, Pierre. At the Paul Perrier sale, Lord Hertford paid 12,000 fr. for a sketch, by this artist, of the '• Assumption of the Virgin," in the Louvre. At the Sommariva sale, 1839, his sketch of " Venus and Adonis " brought 8,500 fr. Raimondi, Marc Antonio. At the Brentano-Birckenstock sale, Frankfort, 1870, Raimondi's proofs sold as follows : " Massacre of the Innocents," £303, "The Three Singers," £339, "God Com manding Noah to Build the Ark," £340, " Portrait of Aretino," £452, " The Bacchanal Orgie,'' £600. Raphael. The " Vierge d' Aloe," at the Hermitage, St. Peters burg, was purchased from the banker Coeswelt, in London, in 1836, for 350,000 fr. A " Portrait of a Man," in same gallery, was bought from the collection of King William II. of Holland, for 16,000 florins. "La Vierge de la Maison Orleans," sold in 1828 for 200 guineas; in 1869 the Duke d'Aumale paid £6,000 for it. The National Gal lery, London, bought from Lord Garvagh " The Virgin, Child, and St. John " for £9,000. At the Museum of Lille there is a bust in wax which is attributed to Raphael. Rembrandt van Ryn. At Buckingham Palace is a picture of a " Shipbuilder making a Drawing of a Ship, and his Wife with an Open Letter,"— the figures are to the knees, — on canvas, 3 ft. 10 in. by 8 ft. 6 in. In 1810 it. was sold from the collection Smeth Van Alpen for 16,500 florins. It is dated 1633. In the same palace a portrait of a woman, dated 1641, 3 ft. 5* in. by 2 ft. 8£ in., on can vas, was bought for 1,000 guineas. Same palace, " The Adoration of the Kings?" dated 1657, on panel, about 4 ft. by 3 ft. 5 in., was bought in 1815 for 70,000 fr. In the Lansdowne collection, a por trait of the artist, painted by himself late in life, formerly in the Danoot collection at Brussels, bought by Lord Lansdowne for £800. In the Lansdowne collection (Bowood) was also "Rembrandt's Mill," from the Orleans Gallery, for which 800 guineas were paid. In the 644 APPENDIX. Amsterdam Museum there is a portrait of a lady, said to be that of Saskia Nilenberg, the first wife of the artist. It was bought from the sale of King William II. of Holland, 1850, for 7,850 fr. At a sale at Christie's, in 1860, two portraits by Rembrandt, dated 1634, were. bought by Mr. Fisher for 46,500 fr. At the De Morny sale, 1865, "A Portrait" sold for £6,200. In 1867 "Christ Blessing Little Children " sold for £7,000. At the Lissengen sale, Paris, 1876, Mr. John W. Wilson bought a " Portrait of a Man," by this painter, for 170,000 fr. At the Schneider sale, Paris, 1876, the por traits of Pastor Ellison and his wile were bid off for £2,600, and £2,000. It was understood that they were bought in. An engrav ing of the Burgomaster Six, by Rembrandt, alter his own design, has been sold for 5,500 fr. Reni, Guido. A " St. Joseph," by Guido. at the Hermitage, St. Petersburg, was sold from the collection of King William II. of Hol land, 1850, for 7,900 florins. At the Northwick sale, Thirlestane House, 1859, " An Angel appearing to St. Jerome " sold for 9,100 fr. At a London sale, 1872, a rare impression of the " Aurora," by Morghen, and signed by the engraver himself, sold for 105 guin eas. Reynolds, Sir Joshua. At a sale at CM-istie's, in 1873, a " Por trait of Mrs. Morris," by Sir Joshua Reynolds, sold for 5,450 guin eas. At the same place, in 1874, "Mrs. Hartley and Child" sold for 2,395 guineas. Portrait of Edmund Burke for 1,000 guineas. Robert, Leopold. At the Paturle sale, Paris, 1872, " The Fish ers of the Adriatic," by Robert, sold for £3,320. It was dated 1834. Understood to be bought for the Neuchatel Museum. Romano, Giulio. At the Northwick sale, Thirlestane House, 1859, " The Birth of Jupiter " sold for 24,700 fr. Romney, George. At a London sale, 1871, a "Portrait of a Young Lady " sold for £136. At Christie's, in 1873, " Portrait of John Wesley " brought 530 guineas. Rosa, Salvator. At Lord Ashburnham's sale Lord Hertford paid 1,700 guineas for a large landscape with Apollo and the Sibyl in the foreground. It formerly belonged to M. Julienne. Rubens, Peter Paul. At the National Gallery, London, is the celebrated " Peace and War," painted for Charles I. in 1630. When the collection of this king was dispersed the picture was added to the Doria Gallery at Genoa. In 1802 Mr. Irvine bought it for £1,100. In the same year the Marquis of Stafford paid £3,000 for it, and in 1827 presented it to the National Gallery. The his tory of the famous " Chapeau de Paille " is interesting. There is a tradition that Rubens fell in love with the subject of the picture while painting it, and would never part with it. After the death of the widow of Rubens it came into the possession of the Lun- den family, and in the year 1817 was sold by one of the heirs of APPENDIX. 645 that fjmily, M. Van Haveren, to another of the relatives, M. Stiers d'Artselaer, at whose death in 1822 it was sold at-auetion in Ant werp. M. Nieuwenhuys bought it for about £3,000. The followim* year it was exhibited in London, and about 20,000 persons went to see it. Sir Robert Peel bought it for £3,500 (it is said), which was then the highest price ever paid for a half-length portrait. Sir Rob ert Peel also bought " The Drunken Silenus," on canvas, 4 ft. 7 in. by 6 ft. 6 in., eight figures. This work was owned by Rubens at his death. Cardinal Richelieu bought it in 1642. it afterwards passed through the following galleries : the Orleans, De Tartre, Lu cien Bonaparte, and Bonnemaison. Sir Bobert Peel paid £1,100 for it. Iu Lord Ashburton's collection " The Wolf Hunt," cele brated for its spirit, and containing the portraits of the artist and Ms first wife, Catherine Brandt, was painted in 1612 for the Spanish General Legranes. It was inherited by Count Altainira, and was sold in 1824 to Mr. Smith, picture dealer, for 50,000 fr. It is on canvas, 6 ft. 7 in. by 9 ft. 2 in. The Marquis of Hertford paid 3,000 guineas for a " Holy Family ' which was presented to M. Burtin, of Brussels, by tbe Emperor Joseph. It passeil into the Lapeyricre collection. In the R.ibens Room at Windsor Castle are ten pictures by this master; aiunng them a splendid portrait of Helena Formalin, his second wife, for which George IV. paid 800 guineas in 1820. At a sale at Christie's, in 1860, " A Family in an Interior," called the Balthazar family, was sold to Mr. Ward for 187,000 fr. In Paris, in 1873. three half-length figures called the " Magi " were bought by Mr. John W. Wilson for 46,500 fr., 30,600 fr., and 10,600 fr. Ruysch, Rachel. At a London sale, in 1876, " A Bouquet of Flowers with Insects " sold for £420. Ruysdael, Jacob. " The Cascade '' in the gallery of the Duke de Morny, 1863, was sold at the Meffre sale for 11,500 fr. At the Patureau sale, a " View in Norway " sold for 6,800 fr. Same work at the Pierard sale brought 12 600 fr. At the Foster sale, London, 1876, " The Mill " sold for £1,837. At Amsterdam, in 1872, '¦ A Landscape with a Waterfall" sold for £2,275. Sarto, Andrea del. The Marquis of Hertford paid £1,260 for "The Virgin, Infant Jesus, St. John, and the Angels." £2,000 were paid for the Madonna of the Berlin Muserm. Scheffer, Ary. In the Pereire collection was '• Margaret at the Fountain," which cost 25,000 fr. At the San Donato sale " Fran cesca da Rimini" sold for 100,000 fr. Signorelli, Luca. At the Barker sale, 1874, " The Triumph of Chastity" sold for 800 guineas. Stanfield, Clarkson. At a London sale, 1872, " The Morning after the Wreck " sold for 2,800 guineas. Steen, Jan. Sir Robert Peel had in his collection " A Young 646 APPENDIX. Girl Sitting at a Harpsicord," inscribed " Johannes Steen, 1671," wliich was purchased at auction in Paris, 18-1«8, for 7,740 fr. At the Cope sale, 1872, " An Interior " sold for 1,018 guineas. At a London sale, 1876, "Bad Company" sold for £998. Teniers, David. At the sale of the Duke de Berri " The Mar ket at Ghent, ' on wood, 34 by 45 inches, was sold for £666. It is a chef d' ozuvre, rich in composition, delicate, clear, and tender. It was much praised by Waagen when he saw it in the collection of Mr. Heusch, 1851. Two " Village Fetes " in the Hermitage, at St. Petersburg, were bought in 1772, at the sale of the Duke de Choiseul, for 37,400 livres. At the Northwick sale, Thirlestane House, 1859, " The Laboratory of an Alchemist " sold for 17,550 fr. At the Pierard sale, 1860, a " Village Kermesse " sold for 22,600 fr., and the " Village Cabaret" for 14,100 fr. The " Flemish Feast," Teniers himself being the host, and his wife and daughters also represented, was bought for the Brussels Museum in 1867, for 125,000 fr. Teniers, The Younger. Lord Hertford paid £720 for "L' Homme a la Chemise Blanche," by this artist. Terburg, Gerard. At the Pierard sale, 1860, 'f A Young Lady '' sold for 5,300 fr. At the Lehon sale, 1861, "The Visit" sold for 10,900 fr. At the sale of the Duchess de Berri the "Congress of Munster " sold for £1,450, and the same picture at the San Donato sale, 1868, brought £7,280. At the Schneider sale, 1876, "The Prodigal Son " sold for £5,200. Titian. When the chateau of Blenheim, owned by the Duke of Marlborough, was burned in 1861, nine works by Titian were de stroyed. These pictures had been given to the famous Duke of Marlborough by Victor Amadeus, of Sardinia. The " St. Peter Martyr " (see page 575) was destroyed in the church of SS. Giovan ni 'e Paolo, in 1868. The Museum of Florence had for a long time possessed an excellent copy of this woik, which was presented by the authorities of the Museum to the Venetians, in order to make good their loss, as far as possible. The famous " Danae " was pur chased by the Emperor of Bussia for 600,000 fr. The Marquis of Hertford paid £540 for the " Tarquin and Lucretia," formerly in the collections of Charles I.. Joseph Bonaparte, and Mr. Coningham. The Calcographie. Louvre, paid £480 for a plate by Thevenin, after the "Marquis del Guasto " of Titian. Vandyck, Sir Anthony. At a sale at Christie's, in 1860, "The Portrait of Snyders, Ms Wife and Child " sold for 25,000 fr. At a Paris sale in 1874, a " Portrait of Martin Pepyn " sold for £1,240. At a Brussels sale in 18 76, the following etchings by Vandyck were sold : " Portrait of Vandyck, Painted by himself." very rare speci men, £880; " Philippe le Roi," head only, £820; "J. Monipcr, Dutch Painter," £420 ; " Paul Pontius, or Du Pont," £20 ; " Sny ders," £500 ; " Suttermans," £444 ; '¦ Peter Breughel," £264. APPENDIX. 647 Velasquez, Diego Rodriguez y Silva. At the Hermitage, St. Petersburg, are the portraits of " Philip IV." and the " Duke of Oliv ires," by Velasquez. They were purchased from the collection of King William II. of Holland, for 38,850 florins. At the North wick sale, Thirlestane House, 1859, an "Equestrian Portrait of San Luis de Haro," was bought by Baron James de Bothschild for 32,920 fr. Velde, Willem van de. At a London sale in 1876, " Sea dur ing a Fresh Breeze " sold for £735. At the Foster sale, 1876, " A Calm " brought £2,062. Velde, Adrian van de. In the Pereire collection, " A Pastoral," by this artist, from the Rhone sale, cost 11,200 fr. Vernet, Claude Joseph. At the Delessert sale, Paris, 1869, " An Ilalian Harbor," by this painter, sold for £340. Vinci, Leonardo d i. At the Royal Academy, London, there is a copy of the " Last Supper " which is very interesting. It is the size of the original, and was made by Marco Oggione, one of the pupils of Leonardo. It was formerly in the Certosa at Pavia ; dur ing the Revolution it passed into the hands of a Frenchman ; after the Restoration it was purchased by the Academy for £600. In 1860 the Emperor of Russia purchased a " Saint Sebastian " for 60,000 fr. At the Pourtales sale, 1865, a " Madonna and Child " sold for £3,340. In 1864, in Paris, an engraving by Morghen, af ter the " Last Supper," by Leonardo, sold for £164. Watteau, Antoine. '¦ Le Rendez-vous de Chasse " was sold at the sale of Cardinal Fesch for 15,000 fr., and at the De Morny sale, 1852, the same work brought 25,000 fr. At the Norris sale, Lon don, 1878, "Les Delices de la Campagne" brought £1,180. Weenix, Jan. At a. sale at Christie's, in 1860, " Dead Nature," by Weenix, brought 18,500 fr. At the Lehon sale, 1861, " A Mag pie Teasing a Dog who Guards some Game " (among which is the traditional hare) sold for 15,000 fr. At the Schneider sale, 1876, " Still Life with Fruits " sold £884. Wilkie, Sir David. At the Moore sale, 1872, " The Cotter's Sat urday Night " sold for 590 guineas, and the " Only Daughter," for 630 guineas. At the Knowles sale, the " Errand Boy," a small cab inet picture, brought 1,050 guineas. Witte, Em.inuel de. In Amsterdam, in 1872, the "Interior of a Church " sold for £2,475. Wouvermans, Philip. " A Falcon Hunting Party, — Halt," on wood, 22J- by 26 in., sold at the sale of the Duke de Berri, in 1837, for £735. The " Course au Cerf," at the Hermitage, St. Peters burg, was bought at the sale of the Due de Choiseul, in 1772, for 20,700 livres. " A River on Each Side of which Merchandise is being Taken from Boats" sold from tbe Crozat collection for 1,230 livres, and from the Meffre sale for 40 000 fr. At a London sale, ''View, 1876, on a Canal in Holland," £1,102. 648 APPENDIX. Wynants, Jan. A small picture # on panel, ll1^ by 15 in., with fio-ures by Adrian van de Velde, was sold in 1826 for 255 guineas. I^ was in the collection of Sir Bobert Peel. At the Delessert sale, 1869 one of Wynants' works sold for £2,040. At the Schneider sale, 1876, " A Landscape " sold for £1,480. GENERAL INDEX. PAGE Agnes Sorel, Portrait of. See Foucquet 282 Alcibiades, Pictures of. See Aglaophon 8 Aldobrandini Marriage, The 20 Apollo Belvedere, The. See Agasias 5 Baptistery of Florence, Gates of. See Ghiberti 296 Barberini Faun, The. See Bouchardon 128 Bell Tower of S. Maria del Fiore, The. See Giotto 303 Bellini Jacopo, Sketch-book of 90 Borghese Gladiator, The. See Agasias 5 Boy with a Goose. See Boethus 115 Brancacci Chapel, The. See Buonarotti 142 Brunelleschi, Anecdote of ......... 138 Bunker Hill Monument. See Greenough 315 Calendar of Basilius II. See Blachernita 110 Cartoons of Michael Angelo and Leonardo. See Buonarotti . . 146, 147 Chiaro-scuro, Disrovery of. See Apollodorus 48 Conchillos, Anecdote of. See March 390 Corinthian Capital, Invention of the. See Callimachus . . . 173 Cromwell, Anecdote of. See Lely 362 Discobolus, Statue of. See Myron 423 Donatello, Anecdote of. See Brunelleschi 138 Dying Gladiator, The. See Buonarotti 101 Ecclesiastical Robes. (Imperial Treasury, Vienna.) See Jan van Eyck . 289 Egyptian Obelisk, The. (Rome.) See Fontana 280 Etching on Stone. See Senefelder S48 Farnese Breviary, The. See Clovio 213 Farnese Bull, The. See Apollonius 49 Farnese Hercules, The. See Glycon 310 Finiguerra Pax, The. See Finiguerra 27? Fontana della Tartarughe, The. See Landini 359 Fountain of Grenelle, The. See Bouchardon 128 Gardens of S. Marco, The. See Buonarotti 141, 143 Germanicus, Statue of. See Cleomenes 2i-l Great Fire in Boston 282, 376 Griniani Breviary, The. (Venice. ) See Memling 403 ; mentioned, 295, 400 650 GENERAL ESTDEX. PAGE Intaglios, minute and remarkable. See Properzia de' Rossi . . . 519 Laocoon, The. See Agesander, 7. Fine plate of. See Bervic, 107; men tioned, 146, 205 Liber Veritatis. See Earlom 262 Liber Veritatis. See Lorraine 376 Lo Spasimo di Sicilia. See Raphael 477 Lyversberg Passion, The. See Meckenen .399 Mask of a Faun, The. See Buonarotti 141 Michael Angelo's David. See Botticelli 128 Michael Angelo's Last Judgment. See Buonarotti . . . 158, 159, 163 Michael Angelo's Moses. See Buonarotti 157 Marble Tiles. See Byzes 166 Mausoleum of Hadrian. See Antonio di Sangallo .... 535 Mercury, The. See Gio. Bologna 117 Missal, The Illuminated. (Brussels.) See Attavante . . .57 Mosaics in S. Peter's. See Calandra 171 Navicella, The. See Giotto 307 Nuptials of Alexander and Roxana. See Aetion 4 Parthenon, The. See Ictinus 346 Philip II. and Morales, Anecdote of 412 Place du Carrousel, The. See Bosio 126 Place Vendome. See Bergeret and Bosio 102, 126 Place des Victoires, The. See Bosio 126 Porticos of Agaptos, The 5 Praxiteles, Statues by 469 Praying Boy, The. See Boedas 115 Rape of the Sabines, The. See Gio. Bologna 117 Rembrandt's Prints, Copies of. See Baillie 65 Rhamnusian Nemesis, The. See Agoracritus 10 Shakespeare Gall., Account of. See Boydell 130 S.Mark's, Venice; Porticos around Square of. See Calendario . . 172 Statue of Bavaria (colossal). See Schwanthaler 546 Tenebrario, The. See Morel 413 Torso of Hercules, The. See Apollonius 49 Vittoria Colonna. See Buonarotti 159 160 Venus Anadyomene, The. See Apelles 48 Venus coming from the Bath. See Gio. Bologna 117 Venus de' Medici, The. See Cleomenes 211 Vera Icon, The. (Prague.) See Mutina ..... 423 NAMES OF ARTISTS, AUTHORS, AMA TEURS, ETC. Aalst, 1, 629. Abate, Andrea, 1. Abbate, Niccolo, 1. Abbiati, Filippo, 2. Abbot, Lemuel, 2. Abel, 2. Ahildgaard, Nikolai, 2. Abshoven or Apshoven, 2. Acevedo, Cristobal, 2. Achen or Ach, Haus van, 3. Aclitschelling, Lucas, 3. Acosta, Cayetano, 3. Adda, Coute Francesco d', 3. Adolfi, 3. Adriano, 3. Adrianssen, Alexander, 4. Aelst. See Aalst. Aerts, Richard, 4. Aertszen, Pieter, or Lange Peer, 4. Aetion, 4. Afesa, Pietro, 5. Agabiti, Pietro Paolo, 5. Agaptos, 5. Agar, Jacques d', 5. Agasias, 5. Agatharcus, 6. Ageladas, 7. Agesander, 7. Agi, Andrea Cardelle, 8. Aglaophon, 8. Aglio, Andrea Salvatore, 8. Agnolo, Sculptor. See Agostino. Agnolo, 8, 9. Agoracritus, 9. Agostino, 10. Agresti, Livio, 11. Agricola, Christopher Ludwig, 11. Agua, Bernardino del, 11. Asriiero, Benito Manuel de, 11. Aguiar, Tomas de, 11. Aguirre, Francisco de, 11, Ainemolo, Vincenzo, 12. Aikman, William, 12. Aken, Joseph van, 12. Akerboom, 12. Akers, Benjamin, 12. Alba, Macrino d', 13. Albani, 13, 16. Alberelli, Giacomo, 16. Alberici, Eurico, 16. Albertinelli, Mariotto, 16. Alberti, 17, 18. Albertoni, Paolo, 18. Albertus, H. C, 18. Albini, Alessandro, 18. Alcamenes, 19; mentioned, 10. Aldegrever, Heiurich, 19, 629. Aldighiero or Altichiero, 20. Aldrovandini, 20. Aleman, Cristobal, 21. Alen or Olen, Jan van, 21. Aleni, Tommaso, 21. Alesio, Mateo Perez de, 21. Alexander, Francis, 21. Alfani, 21, 22. Alfaro, Don Juan, 22. Alfon, Juan, 23. Algardi, Alessandro, 23. Algarotti, mentioned, 169. Aliamet, 23. Aliberti, Gio. Carlo, 23. Alibrandi, Girolamo, 23. Aliense. See Vassilacchi. Allan, 23. Allegri, 24, 28, 629. Allegrini, Francesco, 29. Allet, Jean Charles, 29. Alloisi. See Galanino. Allori, 29, 629. Allston, Washington, 30; 384, 552, 629. Almeloveu, John, 34. 652 NAMES OF ARTISTS, AUTHORS, ETC. Alsloot, 34. Altamonte, Martin, 34. Altdorfer, Albreeht, 34. Altham, 36. Altissimo, Cristofano, 36. Alunno, Niccolo, 36. Amalteo, 37. Amato, 37. Amatrice, 37. Amaya, 37. Amberes, 38. - Amberger, Christopher, 38. Ambrogi, Domenico, 38. Amelsfoort, Quirinus, 38. Amerighi, M. A., 38. Ames, Joseph, 39. Amici, Francesco, 40. Amiconi, 40. Amidano, Pomponeo, 40. Amigazzi, Gio. Batista, 40. Amling, Carl Gustavus, 40. Amman, 40, 41. Ammanati, Bartolomeo, 41. Ammon, 41. Amorosi, 41. Amory, Mrs. James S., mentioned, 218. Amstel, Cornelius Ploos van, 41. Anchilus, N , 42. Ancona or Anconitano, 42. Anderlini, D., 42. Anderloni, 42. Anderson, 42. Anderton, Henry, 42. Andre, Jean, 42. Andrea, 42, 43. Andrea del Sarto. See Sarto. Andreani, Andrea, 43. Andreasi, Ippolito, 43. Andriessen, 43. Andrioli, Girolamo, 43. Andriot or Handeriot, 43. Aneda, Juan de, 43. Anesi, Paolo, 43. Angeli or Angelis, 43, 44. Angelico, Fra. See Fiesole. Angelini, Scipione, 44. Angelo, M. See Buonarotti ; mentioned, 456, 457, 535, 579. Angelo, 44. Angiers, Paul, 44. Angioletto, 44. Atiguier, 44, 45. Anguisciola or Angosciola, 45. Angus, William, 46. Anichini, 46. Anjou, Rene d', 46. Anna, Baldassare d', 46. Ansaldo, Gio. Andrea, 46. Ansaloni, Vincenzio, 46. Anselin, Jean Louis, 46. Anselmi, 46. Ansiaux, 47. Antelami or Antelmi, 47. Anthemius, 47. Antiquus, 47. Antolinez, 47. Antonello da Messina. See Messina. Antonio, Marc. See Raimondi. Antonio, Pedro. 48. Antonisze, Cornelius, 48. ApeUes, 48, 629. Apollodorus, 48. Apollonio, 49. Apollonius, 49. Appelius, jean, 49. Appelman, Bernard, 49. Appiani, 50. -. Appleton, Mr , mentioned, 302. Appleton, Hon. Nathan, mentioned, 30. Aquila, 50. Araldi, Alessandro, 50. Arbasia, Cesare, 51. Arce, Josef de, 51. Archer, Wykeham, 51. Arcimboldi, Giuseppe, 51. Arco, Alonso del, 51. Ardell, James Mc, 51. Ardemans, Teodoro, 52. Ardente, Alessandro. 52. Aregio, Pablo de. 52. Arellano, Juan de, 52. Aretino, Spinello, 52. Aretino, mentioned, 378, 448, 514, 572. Aretusi, Cesare, 52. Arevalo, Juan Cano de, 53. Artian, Antonio de, 53. Arias, Fernandez Antonio, 53. Ai'iosto, mentioned, 572. Aristeides, 54, 629. Arland, James Anthony, 54. Armaimo, Vincenzio, 54. Arnolfo, 54. Arpino, 54. Arredondo, Don Isidoro. 54. Arteaga y Alfaro, Matias, 54. Artois, Jacob van, 55. Asper, Hans, 55. Aspertini, 55. Assche, Henri van, 56. Asselyn, Jan, 56, 629. Assen, Jan Walther van, 56. Asserreto, Giovacchino, 56. Asta, Andrea dell', 56. Astley, John, 56. Athanasio. See Boccanegra. Athenodorus. See Agesander. NAMES OF ARTISTS, AUTHORS, ETC. 653 Attavante or Vante, 57. Attiret, Jean Denis, 57. Aubert 57. Aubin, 57, 58. Aubriet, Claude, 58. Aiulenaei-de or Oudeuaei-de, 58. Audouin, Pierre, 58. Audran, 58, 59. Audubon, John James, 60, 629. Augur, Hezekiah, 60. Austin, William, 60. Auzon, Madame, 60. Avanzii or Avanzi, 60. Aved, Jacques Antoine Joseph, 60. Aveline, 60, 61. Avellino, 61. Avibus, Gaspar ab, 61. Avogardo, Pietro, 61. Avont, Peter van der, 61. Avril, 61. Axtmann, Leopold, 61. Ayala, Barnabi de, 61. Azzolini or Mazzolini, 61. B. Baader, Amalie, 62. Baak, Hattigh Jan, 62. Baan, John de, G2. Baccarini, Jajopo, 02. Baccicio. See Gaulli. Baccio. See Della Porta. Bacheley, Jacques, 62. Bachelier, 62, 63. Bachiaca. See Ubertiuo. Backereel, Giles, 63. Backhuysen, 63, 630. Baerse, Jacques de la, 63. Baglioni, 64. Bagnacavallo, II, 64. Baillie, Captain William, 64. Bailii, David, 65. Baillu, 65. Bajardo, Gio. Batista, 65. Bait Iter, 65. B;ddi, Lazzaro, 65. Halilovinetti, Alessio, 65. Balch-ighi, Giuseppe, 66. Balducci, Gio., 66. Bal.lung, Hans, 66. Balechou, Jean Jacques, 67. Balen, Heinrich van, 67. Balestra, Antonio, 67. Balkema, mentioned. 424. Baltz, J. Georges, 67. Bambini, 67. Bamboccio. See Peter de Laer. Banck, Peter van der, 67. Bandinelli, Baccio, 67. Banks, Thomas, 68. Baptiste. See Monnoyer. Barabbinu, Simone, 68. Barbalunga. See liicci. Barbarelli. See Giorgione. Barbaris, Jacopo de, 68. Barbary, Jacob da, 69. Barbatelli, Bernardino, 69. Barbello, Gio. Giacomo, 69. Barbiani, 69, 70. Barbier-Walbonne, Jacques Luc, 70. Barbiere, Domenico del, 70. Barbieri, 70. Barca, Don Vicente Calderon de la, 70. Bardin, Jean, 70. Barker, Robert, 70. Barnue\ o, Don Sebastian de Herrera, 70. Baroccio, Federigo, 70. Baron, 72. Barozzo, Jacopo, 72. Barret, George, 72. Barry, James, 73. Bartholomew, Edward Sheffield, 73. Bartoli, Pietro Sante, 74. Bartolin of Piacenza, 74. Bartolini, 74. Bartolo, 74, 75. Bartolommeo, Fra. See Porta, Baccio della. Bartolozzi, Francesco, 75. Bartsch, Adam, 75; mentioned, 69, 188, 286, 294, 366, 372, 389, 390, 409, 445, 448, 553, 562, 579, 582, 602, 615, 617. Bas, Jacques Philippe le, 75. Basaiti, Marco. 75. . Basili, Pier Angiolo, 76. Bassano, 76, 77. Bassen, Bartholomew van, 77. Basseporte, Frances Magdalene, 77. Bassetti, Marc Antonio, 77. Bassi, 77. Bast, Dominic de, 78. Bastaro, Giuseppe del, 78. Bastai-uolo, II. See Mazzuoli, Filippo or Giuseppe. Batoni or Battoni, Pompeo, 78. Battiferri, Laura, mentioned, 41. Baudet, Stephen, 78. Bauduins, Anthony Francis, 78. Baur, 78, 7!). Bausa, Gregnrio, 79. Bayeu y Subias, Don Francisco, 79. Bayeu. Don Raymon, 79. Bazin, Nicholas, 79. Bazzani, Giuseppe, 79. Bazziacaluve, Ercole, 79. 654 NAMES OF ARTISTS, AUTHORS, ETC. Bazzi or Razzi, Gianantonio, 79. Beale, 80. Beatrici, Niccolo, 80. Beaumont, 83. Beauvais, Nicholas Dauphin de, 83. Beauvarlet, James Firmin, 83. Beccafumi, Domenico, 83. Beccaruzzi, Francesco, 84. Becerra, Gaspar, 84. Beechey, Sir William, 84. Beeck, Jan, 85. Beek, David, 85. Beeldemaker, 85. Beerstraaten, Alexander, 85. Bega, Cornelius, 85, 630. Begarelli, Antonio, 86. Begas, Charles, 86. Begyo, Abraham, 86. Beham, 86, 87. Behnes, William, 88. Beich or Beisch, Franz Joachim, 88. Beinaschi. See Benaschi. Belcamp or Belkamp, Jan Van, 89. Bella, Stefano Delia, 89. Belle, 89. Bellevois, 89. Bellini, 89-95, 630. Belliniano, Vittore, 95. Bellori, mentioned, 71. Bellotti, Bernardo, 95. Beltramo, Gio. Antonio, 96, 630. Bellucci, Antonio, 96. Beltrano, Agostino, 96. Bembo, mentioned, 478. Bemmell, 96. Benaschi, 96, 97. Benazech, Charles, 97. Bencovich, Federigo, 97. Benedetto, 98. Benedicto, Roque, 98. Benefial, Cavaliere Marco, 98. Benfatto, Luigi, 98. Benso, Giulio, 99. Bent, John van der, 99. Benvenuto, Gio. Batista, 99. Berehem, Nicholas, 99, 630. Berchet, Peter, 101. Berg, Mathias van den, 102. Bergen, Dirk van, 102, 630. Berger, Daniel, 102. Bergeret, Pierre Nolasque, 102. Bergler, Joseph, 102. Bei-gmuller, John George, 102. Beringeroth, 103. Berkheiden, 103, 630. Berkmans, Henry, 103. Berlinghieri, 103. Bermudez, Cean, mentioned, 3, 351, 505. Berna or Barna, 103. Bemabei, Pier Antonio, 104. Bernaerts, Nicaise, 104. Bernard, 104. Bernini, Gio. Lorenzo, 104. Berre\ Jean Baptiste, 106. Berreguette, Alonso, 106. Berrestyn, C. V., 106. Berretoni, 106. Bertaud, Marie Rosalie, 106. Bertelli, 106. Berthelemy, Jean Simon, 106. Bertin, Nicholas, 107. Bertucci, 107. Bervic, Charles Clement, 107. Beschey, 107. Besenzi, Paolo Emilio, 107. Bestard, 107. Bettelini, Pietro, 107. Betti, Padre Biagio, 108. Betti, Bernardino. See Pinturicchio. Bewick, Thomas, 108. Bianchi, 108. Biancucci, 108. Bicci, 108. Bigordi. See Ghirlandais. Bigari, Vittorio. 108. Biliverti, Gio., 109. Biltius, Francis, 109. Binck, James, 109. Birch, Thomas, 109. Bird, Edward, 109. Biscaino, Bartolommeo, 109. Biset, Charles Emmanuel, 110. Bisi, Michael, 110. Bissolo, Pier Francesco, 110. Bissuccio, Leonardo di, 110. Blaceo, Bernardino, 110. Blachernita, Michael and Simon, 110. Blackmore, John, 111. Blake, William, 111. Blanchard, Jacques, 111. Blanchet, Thomas, 111. Blaiikhof, John Teunisz, 111. Blanseri, Vittorio, 111. Bleck or Bleeck, Peter van, 112. Bles, Henri de, 112. Bloemaert, 112. Bloemen, 112, 113. Blond or Blon, James Christopher Le, 113. Blondeel, Lancelot, 113. Bloot. Peter, 114, 630. Blooteling or Bloteling, 114. Blot, Maurice, 114. Bobadilla, Geronimo, 114. Bocanegra, Don Pedro Atanasio, 114. Boccaccino, 114, 630. NAMES OF ARTISTS, AUTHORS, ETC. 655 Bocciardo, 115. Bockborst, John van, 115. Boedas, 115. Boece, C. F. See Boetius. Boehin. See Beham. Boel, Pieter, 115. Boethus, 115. Boetius, 115. Boeyermaims, Theodor, 115. Holm, mentioned, 382. Boissieu, Jean Jacques de, 116. Boizot, 110. Bol, 116, 117. Boldrini, Joseph Nicolas, 117. Bologna, Gio. or Gian, 117. Bolognese, II. See Grimaldi. Bolognini, 117. Bolswert or Bolsuerd, 118. Bouibelli, Sebastian, 118. Bonacina, Gio. Batista, 118. Bouasoni, Giulio, 118. Bonatti, Gio., 118. Boncuore, Gio. Batista, 118. Bone, Henry, 119. Bonesi, Gio. Girolamo, 119. Bonfanti, Antonio, 119. Bonfigli or Buonfiglio, Benedetto, 119. Boni, Giacomo, 1 19. Bonifaccio, Francesco, 119. Bonifazio, Veneziano, 119, 630. Bonington, Richard Parkes, 120, 630. Bonone, Carlo, 120. Bonsignori, Francesco, 120. Bonvicino, Alessandro, 120, 630. Boonen, Arnold van, 121. Bordone, Paris, 122, 631. Borgani, Francesco, 123. Borgiani, Orazio, 123. Riirgognoue, Ambrogio, 124, 631. Borgognone, II. See Cortese. Borras, Nicholas, 124. Borrekens, 124. Borsum, 124. Boi-zone, 124. Bos or Bosche, 125. Bosch, or Bossche, 125. Boschaert, Nicholas, 126. Boschi, 126. Boschini, Marco, 126. Boscoli, Andrea, 126. Boselli, 126. Bosio, Francis Joseph, 128. Bosschaert, Thomas Willeborts, 127. Bosse, Abraham, "127. Both, Jan and Andries, 127, 631. Bottala, Gio. Maria, 127. Botticelli, Sandro, 127, 631. Bouchardon, Ednie, 128. Boucher, Francois, 128, 631 Boucquet, Victor, 129. Boulanger, John, 129. Boullongne, 129. Bouman, P., 129. Bourdon, Sebastian, 129. Bourgeois, Sir Francis, 130. Bousseau, Jacques, 130. Bout, 130. Boydell, John, 130; mentioned, 302. Braccioli, Gio. Francesco, 131. Brakenburg, Regnier, 131. Bramante d'Urbino, 131. Bramantino. See Suardi. Brambilla, Gio. Batista, 132. Bramer, Leonhard, 132. Brauwer or Brower, Adrian, 132, 631 . Brea, Ludovico, 133. Brebiette, Peter, 133. Breda, John van, 133. Bredael, 133. Bree, 133. Breenberg, Bartholomaaus, 133. Brekelenkamp, Quirin van, 134. Bresang, Hans, 134. Breughel, 134, 631. Breukelaar, Henri, Junior, 134. Breydell, K-arel, 134. Bridell, Frederick Lee, 135. Briggs, Henry Perronet, R. A.. 135. Bril, 135. Brinckman, Philip Jerome, 135. Briosco. See Riccio. Broederlain, Melchior, 135. Brompton, Riclrard, 135. Bronkhorst, 135, 136. Bronzino, Angiolo, 136, 631. Brown, Mather, 136. Browne, John, 136. Bruges, John of, 136. Brun, Le, Elisabetta. See Lebrun. Brun, Charles le, 136. Brunelleschi, Filippo, 137. Brussel, Paul Theodore van, 138. Bruyn or Bruin, 138. Bry or Brie, Theodore de, 139. Bryan, mentioned, 75, 107, 132, 293, 409, 410. Bucklaer, Joachim, 139. Buffalmaeco, 139. Bugiardini, Giuliano, 139, 631. Buister, Philip, 140. Bollinger, John Balthasar, 140. Bunel, Jacques, 140. Buonacorsi. See Vaga. Buonamici. See Tassi. Buonarotti, Michael Angelo, 140, 631. Buoni, 165. 656 NAMES OF ARTISTS, AUTHORS, ETC. Burghers, Michael, 166. Burgkmair, 16G. Burlte, mentioned, 503. Byzes of Naxos, 166. C. Cabel or Kabel, Adrian van der, 166. Cabezalero, Juan Martin de, 166. Caceia, Guglielmo, 167. Caccinoli, Gio. Batista, 167. Cafta, Melchiore, 167. Caffieri, 167. Cagliari, Paolo, 167, 631. Cagnacci, Guido, 171. Cairo, Cavaliere Francesco, 171. Calabrese. See Preti. Calabrese. See Cardisco. Calandra, Gio. Batista, 171. Calcar, Hans von, 171. Caldara, Polidoro, 171. Calendario, Filippo, 172. Calense, Cesare, 172. Caletti, Giuseppe, 172. Call, John van, 172. Callcott, Sir Augustus Wall, 172, 632. Calleja, Andres de la, 172. Callet, Antoine Francois, 172. Callimachus, 173. Callot, Jacques, 173. Calvart, Denis, 173. Camassei, Andrea, 174. Carabiaso, Luca, 174. Caiubio. See Arnolfo. Camerata, Giuseppe, 174. Camilo, Francisco, 174. Campagnola, 174. Campalastro, Ludovico, 175. Campsuiua, Pedro, 175. Camphuysen, Theodore Raphael, 175, 632, Campi, 175. Canachus, 175. Canal or Canale, Antonio, 176, 632. Candido. See Witte. Cano, Alonso, 176. Canova, Antonio, 177. Cantagallina, Remigio, 184. Cantarini, Simone, 185. Cantofoli. Ginevra, 185. Canuti, Domenico Maria, 185. Capella, Jan ran de, 185, 632. Caracciolo, Giambnttista, 185. Caraglio, Gio. Giacomo, 185. Caravaggio. See Amerighi. Cardi, Ludovico, 186. Cardisco, Marco, 186. Carducci or Carducho, 186. Carew, Joseph, mentioned, 12. Cariano, Gio., 187. Carlevariis, Luca, 187. Carloni, 187. Carotto, Gianfrancesco, 187. Carpaccio, Vittore, 188. Carpi, 188. Carpioni, Giulio, 188. Carracci, The, 188-196, 632. Carre or Carrey, Michael, 196. Carreno, 196. Camera. See Rosalba. Cars, Laurence, 197. Carstens, Asinus Jacob, 197. Carucci, Jacopo, 198. Casalina, Lucia, 198. Casanova, Francesco, 198. Casentino, Jacopo di, 198. Casolani, 198. Cassana, Gio. Francesco, 198. Cassteels, Peter, 199. Castagno, Andrea del 199. Castelli, 139. Castello, 199. Castiglione, Gio. Benedetto, 199. Castillo, 200. Catena, Vincenzo, 200. Catlin, George, 200. Cavalcaselle, Signor, mentioned, 396, 432. Cavalhm, Pietro, 201. Cavallino, Bernardo, 201. Cavallucci, Antonio, 201. Cavarazzi, Bartolomeo, 201. Cavedone, Giacomo, 201. Caxes, 201, 202. Caylus, Comte de, 62, 202. Celesti, Andrea, 202 Cellini, Benvenuto, 202. Cephisdotus, 203. Ceracchi, Joseph, 203. Cerano, II, 204. Cerczo, Matteo, 2'"1!. Cerquozzi. M. Angelo, 204. Cesare da Sisto. See Sesto. Cesare, Giuseppe, 204. Cesi, Bartulummeo, 204. Cespedes, Pablo de, 204. Chabry, Mark, 205. Challc, Charles M. A., 205. Chambers, George, 205. Champaigne, Philippe de, 206, 632. Chantrey, Sir Francis, 206. Chardin, Jean Baptiste Simon, 206, 632 Chaudet, Antoine Denis, 206. Cheney, Seth, 207. Choilow'ieeki, Daniel Nicolas, 207. Christoph, 207. Christophsen, Pieter, 207. Churriguera, Josef de, 208. NAMES OF ARTISTS, AUTHORS, ETC. 657 Ciampelli, Agostino, 208. Cibber, Caius Gabriel, 208. Cicero, mentioned, 462. Cignani, Carlo, 208. Cignaroli, Giambettiuo, 208. Cigoli. See Cardi. Cima. See Conegliano. Cimabue, Giovanni, 209. Ciniaroli, Giambattista, 210; mentioned, 306. Cioli or Ciolli, 210. Cipriani, Gio. Battista, 210. Civetta. See Bles. Civitali, Matteo, 211. Claessens, Anthony, 211. Cleef, John van, 211. Cleomenes, 211. Clerisseau or Clarisseau, 211. Cleve, Joas van, 211. Clevely, John, 211. Clevenger, Shobal Vail, 211. Cleyn, Franz, 212. Clint, George, 212. Clouet or Cloet, 212, 632. Clovio, Giulio, 212. Codagora, Viviauo, 213. Coello, 213, 632. Cole, Thomas, 214. Colin, Alexander, 215. Collantes, Francisco, 215. Collins, William, 215, 632. Cologne, Meister Wilhelm of, 215. Colonna, M. Angelo. See Mitelli. Compe, Jan Ten, 216. Conca, Sebastiano, 216. Condivi, Ascanio, 216. [632. Conegliano, Giambatista Cima da, 216, Coninck, David de, 216. Constable, John, 217, 632. Contarini, Cavaliere Gio., 217. Conte, Jacopo del, 217. Conti, Bernardino di. 217. Cooninxloo, Giles, 217. Cooper, Samuel. 217. Coopse, Pieter, 217. Copley, John Singleton, 217. Coques, Gonzales. 210, 633. Cordieri or Cordier, 220. Corenzio, Belisario, 220. ¦Coriolano, 220. Corneille. Michel, 220. Cornelisser, Cornelis. 220. Corona, Leonardo, 221. Con-egeio. See Allegri. Cort, 221, 224. Corte, Juan de ja. 224. Cortese, Jacopo, 224. Cortona, Pietro da, 224. Cortot, Jean Pierre, 224. Cosimo, Piero di, 224. Cossa, Francesco, 224. Costa, Lorenzo, 226. Cosway, Richard, 226. Cotan, Juan Sanchez, 226. Cotes, Francis, 226, 633. Cotignola, 226. Courtois, Jacques. See Corteae. Cousin, Jean, 226. Couston, 227. Coypel, 227, 228. Coxcien, Michael, 228. Coysevox. Antoine, 228. Cozens, John, 228. Craesbecke, Joost van, 228, 633. Craeyer, Gaspard de, 229. Cranach, Lucas, 229, 231. Crawford, Thomas, 231. Crawford, Louisa W., mentioned, 232. Credi, Lorenzo di, 232, 633. Cresilas, 233. Crespi, 233. Cristofori, 233. Crivelli, Carlo, 233, 633. Crome, John, 234. Cross, John, 235. Crowe and Cavalcaselle, mentioned, 20. Curia, Francesco, 235. Curradi or Currado, 235. Cuyp, 235, 633. D. Daddi, Bernardo, 236. Daelliker, John Rudolph, 236. Dahl, 236. Dalmasio, Lippo di, 236. Dinner, Hon. Anne Seymour, 236. Dauby, Francis, 237. Dance, Sir Nathaniel, 237. Dandmi, 237. Daniell, Thomas, 237. Dannecker, Johann Heinrich, 238. Dante, Girolamo, 238. Dante, mentioned, 154, 306, 393, 543. Dario da Treviso, 288. DaullC, Jean, 238. Daven. Leon, 238. David,' 238, 239, 633. Dawe, George. 239. Deas, Charles 239. Decamps, Alexander Gabriel, 240, 633 Decker or Pekker, 240. Deelen, Dirk van, 240. Delacroix, Eucene, 240, 634. Delaroche, Paul, 241, 634. Delft, 241, 242. 658 NAMES OF ARTISTS, AUTHORS, ETC. Delli, Dello, 242. Delmont, 242. Denis or Denys, Simon, 242. Denner, Balthasar, 242, 634. Desenfans, Mr., mentioned, 130. Desplaces, Louis, 242. Despoi-tes, Francois, 242. Detroy, Jean-Francois, 243. Deutsch. See Manuel. Devis, 243. Diaz, Diego Valentine, 243. Diepenbeck, Abraham van, 243. Diest, Adrian van, 244. Dietisalvi, Petroni, 244. Dietrich, Christian W. E., 244. Dionysius, mentioned, 462. Dobson, William, 245. Does, 245. Doggett, W. E., mentioned, 409. Do'fei, Curio, 245, 634. Domenichino, 246. Donatello, 250. Done, or Dono. See Uccello. Doni, Adone or Done, 251. Donzelli, 251. Dorigny, Michel, 251. Dossi, 251. Doudyns, William, 252. Doughty, Thomas, 252. Dow, Gerhard, 252, mentioned, 407, 634. Drevet, 253. Drolling, Michel Martin, 253. Drost, 253. Drouais, Jean Germain, 254, 634. Drummond, Samuel, 254. Dubbels, 254. Due, A, 254. Ducq, Jan le, 254. Duccio di Boninsegna, 254. Duchange, Gaspar, 255. Duchatel, Frans, 256. Dufresnoy, Charles Alphonse, 256. Dunlap, William, 256. Dunwegge, 256. Dupaty, Charles Mercier, 256. Duquesnoy, Francois, 257. Diiier, Albert, 257 ; mentioned, 95, 109, 273, 365, 445. Dusart, Cornelius, 261. Dyce, William, 261. Earlom, Richard, 262. Eastlake, Sir Charles L., mentioned, 302. Eckhout or Eeckhout, 262. Edelinck, Gerard, 262. Edema, Gerard, 262. Edmonds, John W., 262. Egg, Augustus Leopold, 263, 634. Egmont, Justus van, 263. Eimbeck, Johann Raphon von, 263. Elliger or Elger, Ottomar, 263. Elliot, Charles Loring, 263. Elmar or Elmer, Stephen, 263. Elstracke, Reginald, 264. Elzheimer, Adam, 264. Emerson, mentioned, 365. Empoli, Jacopo Chimenti da, 264. Engelbrechtsen, Cornelis, 264. Es or Essen, Jacob van, 265. Escalante, Juan Antonio, 265. Espagnondel, Mathieu, 265. Espinosa, Jacinto Jeronimo de, 265. Etty, William, 265, 634. Eusebio di San Giorgio, 265. Eutychides, 265. Everdingen, Aldert van, 266. Everett, Edward, mentioned, 315. Eyck, Van, 266-269, 635. F. Fabris or Fabre, 269. Fabriano, Gentile da, 269. Fabullus, 270. Fachetti, Pietro, 270. Facini, Pietro, 270. Faenza, Gio. da, 270. Faes, Peter van der. See Lely. Fage, Raymond de la, 270. Faithorne, William, 271. Falcone, Aniello, 271. Falconet, Etienne Maurice, 271. Falens, Karel van, 271. Fanelli, Virgilio, 271. Fantuzzi or Fontuzzi, 271. Farinato, Paolo, 272. Farrington, Joseph, 272. Fassolo, Bernardino, 272. Fattore, II. See Penni Feke, Robert, 272. Ferg, Paul Francis, 272. Fernandez, 272. Fen-ara, 273. Ferri, Ciro, 274. Ferucci, Andrea di Piero, 274. Fesele, Martin, 274. Feti, Domenico, 274. Fiammingo, II. See Duquesnoy. Fiammingo, 274. Fiesole, Fra Gio. da, 274, 635. Fiesole, Mino da, 276. Kgino, Ambrogio, 276. Filippi, Sebastiano, 276. Filocamo, 276. NAMES OF ARTISTS, AUTHORS, ETC. 659 Finiguerra, Maso, 277. Fink. Frederick, 277. Fiuoglia, Paolo Domenico, 277. Fiore, 277. Fiorentino, Stefano, 277. Fiori, Mario di. See Nuzzi. Fiori. See Baroccio. Fisher, Alvan, 278. Flaxman, John, 278; mentioned, 117, 515. Flemael, Bertholet, 278. Flinclt, Govaert, 279. Florigerio, Sebastiano, 279. Floris, Frans, 279. Fogolino, Marcello, 280. Folo, Gio., 280. Fontana, 280. Foppa, 281, 635. Ford, Mi-., mentioned, 565. Forli, Melozzo da, 281, 635. Forment, Damian, 281. Fosse, Charles de la, 282. Foucquet, Jean, 282. Fouquieres, James, 282. Fragonard, Jean-Ilonore', 282, 635. Francesca, Pietro della, 282, 635. Franceschini, 283. Franciabigio, 283. Francia, Francesco, 283, 635. Franck or Francken, 285- Franco, Battista, 285. Francois, 286- Francuccci. See Imola. Fraser, Charles, 286. Fratellini, Giovanna, 286. Frazee, John, 286. Fredi, Bartolo di, 285. Freminet, Martin, 287. Frey, 287. Frisius, Simon, 287. Fruitiers. Philip, 287. Fuessli, John Caspar, 287. Fuger, Henri, 287. Fulton, Robert, 287. Fungai, Bernardino, 287. Furini. Francesco, 288. Furness, William H , Jr., 288. Fuseli or Fiissli, Henry, 288. Fiiterer, TJlrich. 289. Fyoll. Conrad, 289. Fyt, Jan, 289. G. Gaal or Gall, Barent, 289. Gabbiani. Antonio Domenico, 289. Gaddi, 289, 290. Gaeta, Scipione da. See Pulzone. Gainsborough, Thomas, 290, 635. Galanino, 291. Galassi, Galasso, 291. Galaton, 291. Galestruzzi, Gio. Batista, 291. Galle, 291. Gallegos. Fernando, 291. Galli, 291, 292. Garbo, Raftaellino del, 292, 635. Gargiuoli, Domenico, 292. Garofalo, 292, 635. Garzi, Ludovico, 292. Gassel, Lucas, 293. Gasser, Hans, 293. Gatti, Bernardino, 293. Gaulli, Gio. Battista, 293. Gault de St. Germain, 293. Gaywood, Robert, 293. Geddes, Andrew, 293. Gelder, Aart de, 293. Gelee, Claude. See Lorraine. Geuga, Girolamo, 294. Gennari, Benedetto, 294. Genoels, Abraham, 294. Gentileschi, 294. Gerard, 294, 295. Gericault, Jean Louis, 295. Gessi, Francesco, 295. Gessner, Solomon, 295. Ghein or Gheyn, James, 295. Ghent, Justus van, 295. Gherardo delle Notte. See Houthorst Ghiberti, Lorenzo, 295. Ghirlandaio, 297. Ghisi, 299. Ghisolfi, Gio., 299. Ghezzi, Cavaliere Pier Leone, 239. Giamberti. See San Gallo. Giambono. Michele, 299. Gibbon, Grindling, 299. Gibson, 299, 300. Gillray, James, 302. Gilpiii, Sawrey, 302. Gimignani, Giacinto, 302. Giordano, Luca, 303. Giorgione, 304, 636. Giottino, 306. Giotto, 306 ; mentioned, 10, 290, 393, 636 Girardon, Francois, 308. Girodet, Anno Louis, 309. Girtin, Thomas, 309. Glass, James W., 309. Glauber, Jan, 309. Glaucus, 309. Glockenton, Albert, 309. Glover, John, 309. Glycon, 310. Gobbo, Pietro Paolo Bonzi, 310. Goebouw or Gobau, 310. 6G0 NAMES OF ARTISTS, AUTHORS, ETC. Goes, Hugo van der, 310. Goethe, mentioned, 475. Goltzius, Heinrich, 310. Gomez, Sebastian, 310. Gondolach, Matthiius, 311. Cood, T. S., 311. Gool, John van, 311. Gortzius, Gualdorp, 311. Gossaert. See Mabuse. Goudt, Count de, 311. Goujon, Jean, 311. Goya y Lucientes, Francisco, 311, 636. Goyen, Jan van, 312, 636. Gozzoli, Benozzo, 312. Graff, Anton, 312. Graat or Graft, 313. Gramroatica, Antiveduto, 313. Granacci, Francesco, 314. Grandi, 314. Gi-anet, Francois Maurice, 314. Graziam, Ercole, 314. Grebber, Pieter de, 314. Greff, Jerome, 315. Green, Valentine, 315. Greenough, Horatio, 315. . Greuze, Jean Baptiste, 316, 636. Grien or Grim. See-Baldung. Griffier, Jean, 316 Grimaldi, Gio. Francesco, 316. Grimm, mentioned, 137, 145, 154, 281, 304. Grimou, Grimoux, or Grimoud, 316. Gros, 317. Griinewald, Matthew, 317. Gryeffor Griff, 317. Guardi, Francesco, 317, 636. Guercino, 318, 636. Guerin, Pierre Narcisse, 321. Guido. See Reni. Guillain, Simon, 321. Gyssens or Ghysells, Peter, 321. H. Haansbergen, Jan van, 321. Haarlem, Cornelis van. See Cornelisser. Haarlem, Dierick van. See Stuerbout. Hackaert, Jan, 322. Hackert, Jacob Philip, 322. Ilagen, Jan van der, 322. Hainzelmann, Elias, 322. Haldenwang, Christian, 322. Haller, John, 322. llaller (poet), mentioned, 424. Hals, Frans, 323 ; mentioned, 587, 636. Hamilton, 323. Hanneman, Adrian, 324. Harding, Chester, 324. Harlow, Geortre Henry, 324. Hartinanu, Johann Jacob, 324. Haydon, Benjamin Robert, 324. Haymann, Francis, 324. Head, Guy, 324. Heaphy, Thomas, 325. Hearue, Thomas, 325. Heath, James, 325. Heck, Nicholas van der, 325. Heda, Willem Klaasz, 325. Heem, 325. Heere, Lucas de, 325. Heil, Daniel van, 326. Heineken's Dictionnaire des Artistes, mentioned, 173, 399. Heins, Heinsius, or Ens, 326. Heintsch, Johann Georg, 326. Heinz, Joseph, 326. Helmbrecker, Theodore, 326. Helmont, Matthew van, 326. Heist, Bartholomew van der, 327, 636. Hemessen, Jan van, 327. I lemling, Hans. See Memling. Hemskerk, 327. Hendreks, Wybrand, 327. Herlen, Frederick, 327. Hernandez, Gregorio, 327. Herp, Gerard van, 328. Herrera, 328. Hersent, Louis, 329. Heusch, 329. Heyden, Jan van der, 329, 636. Highmore, Joseph, 329. Hilliard, Nicholas, 329. Hilton, William, 329. Hire, Laurent de la, 330. Hobbema, Mindert, 330, 637. Hodges, William, 330. Hoeck, Jan van, 330. Hoecke, Robert van, 330. Hoefnagel, Jooris, 330. Hoekgeest, G. or C, 331. Hoet, Gerard, 331. Holland, Thomas Christopher, 331. Hogarth, William, 331, 637. Hogenberg, 334. Holbein, 334, 637. Holland. See Dance. Hollar. Wenceslaus, 341. Holloway, Thomas, 342. Hondekoeter, Melchior, 342, 637. Hondius, Abraham, 342. Honthorst, 342. Hoogh, Peter de, 343, 637. Hooche, Romeyn de, 343. Poopstraeten, 343. Hope, Mr., mentioned, 666. Hopfer, 343. NAMES OF ARTISTS, AUTHORS, ETC. 661 Hoppner, John, 343. llon-emans, John, 343. Hoskins, John, 344. Hosmer, Harriet, mentioned, 301. Houbraken, Arnold, 344; mentioned, 411, 514. Houbraken, Jacob, 344. Houdon, Jean Antoine, 345, 637. Houston, Richard, 345. Howard, Henry, 345. Huber, John Itodolph, 345. Huchtenburgb, Joon van, 345. Hudson, Thomas, 346. Huysmans, 346. Huysum, 316, 637. Ibbetson, Julius Cffisar, 346. Ictinus, 346. Imbert, Joseph Gabriel, 346. Imola, Innocenzo Francucci da, 346. Ingham, C. C, 347. luman, Henry, 347. Iriarte, Ignacio de, 347. J. Jacopo da Casentino. See Casentino. Jahn, Otto, mentioned, 403. Jameson, Mrs , mentioned, 302, 304. Jamesone, George, 347. Janet, Francois. See Clouet. Jansen, Cornelius, 348. Jansens, Abraham, 348. Janssens. Victor Honorius, 348. Jardin, Karel du, 348, 637. Jarenus, 348. Jarvis, John Wesley, 349. Jeaurat, Edme, 349. Jegher, Christopher, 349. Jervas, Charles, 349. Joanes, Vicente de, 349. Jode, 350. Jongh, Lieve de, 350. Jordaens, Jacob, 350. Jouvenet, Jean, 351. Julien, Pierre, 351. Juni, Juan de, 351. Justus of Padua, 351. Justus of Ghent, 352. Juvara, Filippo, 352. Juvenel, Paul, 352. K. Kabel. See Cabel. Kager, Johann Mathias, 352. Kalcar. See Calcar. Kalf, Willem, 352. Kauffman, Maria Angelica, 353. Kerkhove, Joseph van der, 353. Kessel, Van, 353. Ketel, Cornelis, 354. Keulen or Ceulen, Jansons van, 354. Keux, John le, 354. Keyser, Theodor de, 354. Keyzer, Henry de, 354. Kierings or Cierincx, 354. Kilian, 354. King, Charles B , 354. Kiss, Augustus, 355, 638. Klerck, Henry de, 355. Klomp, Albert, 355. Klopstock, mentioned, 430. Kneller, Sir Godfrey, 355. Knoller, Martin, 355. Knowles, John, mentioned, 288. Kobell, 355, 356. Koninck or Coninck, 356. Koning, Salomon, 356 Koningh, Philip de, 356, 638. Kraffr, Adam, 356. Krug or Krugen, 357. Kugler, mentioned, 34, 38, 94, 139, 166, 188, 216, 228, 272, 289, 297, 393, 435. Kupetzky, Johann, 357. L. Laer, Pieter van, 358. Lafond, Charles N. R., 358. Lafosse, Charles de la, 358. Lagrene'e, Louis J. F., 358. Laguen-e, Louis, 358. Lairesse, Gerard de, 359. Lambert, George, 359. Lana, Ludovico, 359. Lanci-et, Nicholas, 359, 638. Landini, Taddeo, 359. Lanfranco, Gio., 359. Lanini, Bernardino, 359. Lanzi, mentioned, 24, 50, 57, 68, 119, 123. Lapo, Arnolfo, 360. Largilliere, Nicholas, 360. Lasinio, II Conte, 360. Lasne, Michael, 360. Lastman, Pieter, 360. Launitz, Edward von der, 360. Lauri, Filippo, 360. Lawrence, Sir Thomas, 360. Lazzarini, Gregorio, 361. Leal, Don Simon de Leon, 361. Lebrun, 361, 638. Lecomte, Felix, 361. 6C2 NAMES OF ARTISTS, AUTHORS, ETC. Leeuw, 361. Lefevre, or Fevre, 361. Lelie, Adrien de, 361. Lely, Sir Peter, 301, 638. Lembke, Johann Philip, 362. Lemoine, Francois, 362. Lempereur, 362. Lenain, 362. Lens, Andries Cornelis, 363. Leochares, 363. Leonardo, Juseppe, 363. I^onbruno, Lorenzo, 363. Leoni or Lioni, 363. Leopardo, Alessandro, 363. Leprince, 363, 364. Leslie, Charles Robert, 364. Lethiere, Guillaume Guillon, 364. Leu, Thomas de, 364. Leutze, Emmanuel, 364. Leyden, Lucas van, 365. Liberale, 368. Liberi, Pietro, 368. Libri, -Girolamo dai, 368. Licinio. See Pordenone. Liemakere, Nicholas de, 369. Lilienbergh, C, 369. Limborch, Hendrik van, 369. Lindsay, Lord, mentioned, 139. Lingelbach, Johann, 369, 638. Lint, 369. Linthorst, J., 369. Lippi, 369, 371, 638. Liverseege, Henry, 371. Livins, Jan, 371. Lomazzo, mentioned, 401. Lombard, Lambert, 372, 638. Lombardo, 372, 373. Lomi. See Gentileschi. Londonio, Francesco, 373. Longhi, 373. Lonsdale, 373. Lousing, Francois Joseph, 373. Loo, Peter van, 374. Looten, Jan, 374. Lorenzetti, 374. Lorenzo, 375. Lorme or De L'Orme, 375. Lorraine, 375, 638. Lnthener, Stephan, 377. Lotto, Lorenzo, 377. Loutherbourg, Philip James, 378. Lowi-y, Wilson, 378. Liibke, mentioned, 6, 169, 375, 463, 508, 531, 537. Lucatelli, 378. Luccbesino, 378. Luciani. See Piombo, Del. Luigi, Andrea, 378. Luini or Lovini, Bernardino, 381, 639 Lundens, Gerrit, 381. Luti, Cavaliere Benedetto, 381. Lutmaj Janus or John, 381. Lutzelburger, Hans, 382. Luyken, John, 382. Luzzi, Pietro, 382. . Lysippus, 382. Lytton, Lord,, mentioned, 301. M. Maas or Maes, 383. Mabuse, Jan van, 383, 639. Machuca, Pedro, 384. Maeda, Asensio de, 384. Maganza, Alessandro, 384. Mahselkircher, Gabriel, 384. Majano. See Benedetto. Malbone, Edward G-, 384. Manfredi, Bartolommeo, 385. Manni, G. di Paolo, 385. Mannl or Maennl, Jacob, 385. Mansueti, Gio., 386. Mantegna, Andrea, 386, 639. Manuel, Nicolas, 389. Maratti, Carlo, 389. Marc Antonio. See Raimondi. Marcellis, Otho, 390. March, Esteban, 390. Marchesi. See Cotignola. Marconi, Rocco, 391. Margaritone of Arezzo, 391. Marinus, Ignatius, 391. Marlow, William, 391. Marmolejo, Pedro de Villegas, 391. Marqnez, Esteban, 392. Marshall, Chief Justice, mentioned, 447. Martin, John, 392. Martinez, 392. Martini, Simone, 393. Martos, Ivan Petrovitch, 394. Marziale, Marco, 394, 639. Masaccio, 394, 639. Masaniello, mentioned, 516. Masolino. See Panicale. Mason, James 396. Massard, Jean, 396. Masson, Anthony, 397. Massys, Quintin, 397. Matham, 398. Mattoni. See Pietro della Vecchia. Maurer, Christoph. 398. Mayno, Juan Bautista, 398. Mazzolini, Ludovico. 398. Mazzuoli, 398, 399, 641. Mecberino. See Beccafumi. Meckenen or Mecheln, Israel von, 399. NAMES OF ARTISTS, AUTHORS, ETC. 663 Medici, Lorenzo de', mentioned, 128, 140, 141, 314, 371. 462, 535, 579. Medici, Marie de', mentioned, 522. Medina, Sir John Baptist, 399. Meer. 400, 639. Meert, Pieter, 400. Meire, Gerard van der, 400. Melano, Gio. da, 400. Meldolla or Meldola, Audrea, 400, Mellan, Claude. 401. Melzi, Francesco, 401. Memling, Hans, 401, 639. Memmi, Lippo, 403. Memmi, Simone. See Martini. Meiia y Medrano, 403. Menelaus, 403. Mengs. Anton Raphael, 404; mentioned, 71, 216, 639. Merian, 404. Messina, Antonello da, 405, 640. Metsu or Metzu, Gabriel, 406, 640. Meulen, Anton Frans van der, 407. Meyer, 407. Meyering, Albert, 407. Michau, Theobald, 407. Miel, Jan, 407. Mierevelt, Michael Janse, 407, 640. Mieris, 407, 408, 640. Mignard, 408. Mignon, Abraham, 408. Milizia, mentioned, 72, 181. Mind, Gottfried, 409. Minderhout, Hendrik, 409. Mitelli, Agostino, 409. Mocetto, Girolamo, 409. Modena, Nicoletto da, 409. Modena, Niccolo da. See Abbate. Moine. See Lemoine. Mol, Peter van, 409. Mola, 409, 410. Molenaer, Jan, 410. Molyn, 410. Mommers, Hendrik, 410. Momper or Mompert, 410. Monaco, Don Lorenzo, 410. Monamy, Peter, 410. Moncalvo. See Caccia. Moni, Louis de, 411. Monnicksor Monnix, 411. Monnoyer, Jean Baptiste, 411. Mont, Del. See Delmont. Montagna, 411. Montares, Juan Martinez, 411. Montelupo, Rafaelle da, 411. Montorfano, Gio. Donate, 412. Montorsoli, Fra Gio. Angelo, 412. Moor, Karel van, 412. Morales, Luis, 412. Morando, Paolo, 413. 640. More or Moro, Sir Anthony, 413, 640. Moreelzee, Paul, 413. Morel, Baitolonie\ 413. Morelli, Gio. Battista, 413. Moretto. See Bonvicino. Morgenstern, Ludwig Ernst, 413. Morghen, Raphael, 413; mentioned, 609. Morin, John, 414. Morland, George, 414. Moro, II. See Torbido. Moro, Gio. Battista, 414- Morone, 414. Moroni, Gio. Battista, 414, 640. Mortimer, John Hamilton, 415. Morto da Feltri. See Luzzo and Gior gione. Mostaert, Jan. 415. Moucheron, 415. Mount, William S., 415. Moya, Pedro de, 415. Mudo. See Navarrete. Mulinari or Molinari, 416. Mulier, 410. Mulier, mentioned, 5. Mulready, William, 416, 640. Mufioz, Sebastian, 416. Murand, Emanuel, 417. Murano, 417. Murillo, Bartolome' Estevan, 417, 640. Muscher, Michiel van, 422. Musis, Agostino de, 422. Mutina or Modena, 422. Muziano, Girolamo, 423. Myn, Herman van der, 423. Mytens, Daniel, the Elder, 423. Myron, 423; mentioned, 7, 462. N. Nagler, mentioned, 441, 448, 548, 555. Nahl, John Augustine, 424. Nain, 424. Naiwinck or Naiwyncx, H., 424. Nanteuil, Robert. 424. Nardi, Angelo, 424. Nasmyth, 425, 641. Nason, Pieter, 425. Naucydes, 425. Navarrete, Juan Fernandez, 425. Neagle, John, 426. Neale, John Preston, 426. Necker or Negker, Josse de, 426. Neefs, 426. Neer, 427, 641. Nelson, Lord, mentioned, 521. Nerroccio, 427. Netscher, Caspar, 427, 641. 664 NAMES OF ARTISTS, AUTHORS, ETC. Neuchatel, Nicolas, 427. Newton, Gilbert Stuart, 427. Niccolo dell' Abate. See Abbate. Nickelen, 428. Nicolaus, 428. Niewenhuys, Mr. C. J., mentioned, 558. Nogari, Giuseppe, 429. Nollekens, Joseph, 429; mentioned, 206. Northcote, James, 429. Numan, mentioned, 43. Nuyen, Wynand Jan Joseph, 430. Nuzzi, Mario della Penna, 430. O. Obregon, Pedro de, 430. Ochtervelt, J., 430. Oggione or Uggione, 430. Ohmacht, Landolin, 430. Oliver, Isaac, 430. Ommeganck, Balthasar Paul, 431. Omodeo or Amatleo, 431. Oost, Jacob van, 431. Oosterwyck, Maria van, 431. Oppenheim, Mr., mentioned, 208. Oibetto L'. See Turchi. Orcagna, Andrea, 431. Orcagna, Bernardo, mentioned, 433. Oi-izonte. See Bloemen. Orlandi, mentioned, 40. Orleans, Marie, Princess of, 433. Orley, Bernhard van, 434. Orrente, Pedro, 434. Ortolano, L'. See Benvenuto. Os, Jan van, 434. Osorio, Francesco Meneses, 434. Ostade, 434, 435, 641. Oudenarde. See Audenarde. Oudry, Jean Baptiste, 435. Overbeck, Frederich, 435. Ovens, Jurian, 436. Pacchia, Girolamo del, 436. Pacchiarotti, Jacopo, 436. Pacheco, Francesco, 436. Pudouanino. See Varotari. Paelinck, Joseph, 437. Page, William, mentioned, 30. Paggi or Pagi, Gio. Battista, 437. Pajou, Augustin, 437, 641. Palamedes, 438. Palissy, Bernard de, 439. Palma, Giacomo, 440, 441, 641. Palmaroli, Pietro, 441. Palmerini, mentumeV, 414. Palmezzano, Marco, 441, 641. Palomino. See Velasco; mentioned, 47, 54, 177, 512. Panetti, Domenico, 442. Panicale, Masolino da, 442. Pannels, Willem, 442. Pannini, Gio. Paolo, 442, 641. Pantoja, Juan de la Cruz, 442., Papa, 442, 443. Pape, Adrieu de, 443. Papias, 443. Papillon, 443. Parcellis, 443. Pareja, Juan de, 443. Parrocel, Joseph, 443. Pass or Passe, 444. Passavant, mentioned, 475. Passeri, Giambattista, 444. Passerotti, Bartolomeo, 444. Patavinus. See Avibus. Patel, 445. Pater, Jean Baptiste Joseph, 445, 642. Patinier, Joachim, 445. Patras, Lambert, 445. Pauditz, Christopher, 446. Pausanias, mentioned, 10. Pautre, Jean le, 446. Peale, 446, 447. Pelham, Peter, mentioned, 217. Pellegrini, Gio. Antonio, 447. Pencz, George, 447. Pennachi, 448. Penni, 448, 449. Penny, Edward, 449. Pereda, Antonio, 449. Perelle, Gabriel, 449. Pereyra, Manuel, 449. Perkins, Mr. C. C, mentioned, 433, 460. Perkins, Col. T. H., mentioned, 30. Perkins, Augustus Thorndike, men- tioned, 219. Perugino, Pietro, 450, 642. Peruzzi, Baldassare, 451. Pesaro or II Pesarese. See Cantarini. Pesello, 452. Pesne, Jean, 452. Peters, 452. Petitot, 452. Petrarch, mentioned, 393. Phidias, 452 ; mentioned, 7, 9, 10, 19, 462., Phillips, Thomas, 453; mentioned, 453. Piazza, 453. Picart, Etienne, 453. Pigalle, Jean Baptiste, 453. Pilgrim, Hans Ulrich, 454. Pilon. Germain, 454. Pineda, Bernardo Simon, 454. Pinelli, Bartolommeo, 454. Pinturicchio, Beruardiuo, 454. NAMES OF ARTISTS, AUTHORS, ETC. 665 Pinmho, Fra Sebastiano del, 455, 642. Pippi. See Romano, Giulio. Piranesi, Gio. Battista. 457. Pisaliellu, 408. Pisano, 458, 4G1. Pitau, Nicholas, 461. Pliny, mentioned, 7, 8, 363, 462. Ploos. See Amstel. Poccetti. See Barbatelli. Poel, Egbert van der, 461. Poelemberg, Kornelis, 461. Poilly, Francis, the Elder, 461. Polidoro. See Caldara. Pollaiuolo, 462. Polycleitus, 7, 462. Polydorus. See Agesander. Ponte. See Bassano. Pontius, Paul, 4G4. Pontormo. See C'arucci. Ponzio, 464. Pope, mentioned, 358. Pordenone, 464. Porta, Baccio della, 1G, 464, 630. Porta, Guglielmo della, 465. Potter, Paul, 466, 642. Pourbus, Pieter, 406. Poussin, 467, 4(i8, 642, 643. Pradier. James, 468. Prado, Bias del, 4G8. Pratt, Malthew, 468. Praxiteles, 4G9. Preller, Ludwig, mentioned, 5. Preti, Cavalier Mattia, 469. Previtali, Andrea, 469, 643. Primaticcio, Francesco, 470. Procaccini, 470. Prud'hon, Pierre, 470, 643. Puget, Pierre, 470. Puligo, Domenico, 470. Pulzone, Scipione, 471. Pynacker, Adam, 471. Q- Quaglio, Dominik, 471. Quellinus, 471. Qnercia, Jacopo della, 471. Qnerfurt. Augustus, 472. Quintilian, mentioned, 8, 462. R. Raczynski, Count, mentioned, 272. Raeburn, Sir Henry, 472. Raibolini. See Francia. Raimbach, Abraham, 472. Raimondi, Marc Antonio, 472; men tioned, 519, 643. Ramboux, M., mentioned, 244. Ramenghi. See Bagnacavallo. Raphael Santi, 150, 473, 643. Rauch, Christian, 485. Ravenna, Marco da, 485. Ravestyn, Jan, 485. Razzi. See Bazzi. Read, Thomas Buchanan, 485. Regillo. See Pordenone. Reinagle, 486. Rembrandt van Ryn, 487, 643. Reni, Guido, 495, 644. Retzsch, Friedrich, A. M., 501. Reynolds, Sir Joshua, 501; mentioned, 131, 189, 256, 288, 327, 468, 515, 644 Reynolds, Samuel William, 504. Ribalta, 504. Ribera. Josef de, 505. Ricci, 506. Riccio, 506, 507. Ridolfi, Cavaliere Carlo, 507. Riemenschneider, Tilman, 507. Rietschel, Ernst, 507. Rietschoof, Jan Claasze, 508. Rigaud, Hyacinthe, 508. Riley, John, 508. Rincon, Antonio del, 508. Rizi, 508, 509. Rizzo, Antonio, 509. Robbia, Luca della, 509. Robert, Louis Leopold, 511, 644. Roberts, M. O., mentioned, 560. Robetta, 511. Robusti. See Tintoretto. Rode, Christian Bernard, 511. Roelas, Juan de las, 512. Roepel, Conrad, 512. Rogman, Roland, 512. Rokes, Hendrik Martenz, 512. Roldan, Pedro, 512. Romanino, Girolamo, 513. Romano, Giulio, 513, 644. Rombouts, Theodore, 514. Romeyn, Willem, 514. Romney, George, 514, 644. Roos, 515. Rosa, 515, 644. Rosalba, Camera, 515. Rosaspina, Francesco, 517. Rosellino, 518. Rosselli, 518. Rossi, 518, 519. Rota, Martino, 520. Rothenhammer, Johann, 520. Rothschild, Baron, mentioned, 602. Roubilliac, Louis Francois, 520. Roullet, Jean Louis, 520. Roux, Maitre. See Rosso de' Rossi. 666 NAMES OF ARTISTS, AUTHORS, ETC. Rovezzano, Benedetto da, 520. Rubens, Peter Paul, 521, 644 ; men tioned, 585, 586. Rude, Francois, 531. Rugendas, George Philip, 531. Rumohr, mentioned, 473. Ruskin, mentioned, 555. Russell, Rev. J. Fuller, mentioned, 35. Rustici, Gio. Francesco, 531. Ruysch, Rachel, 532, 645. Ruysdael, 532, 645. Ryckaert, David, 533. Ryn. See Rembrandt. Rysbraek, 533. S. Sabbatini, 533. Sacchi, 533. Sachtleven, Cornelis, 534. Sadeier, 534. Saenredam, John, 534. Salerno, Andrea da. See Sabbatini. Salmeggia, Enea, 534. Salviati, Cecchino del. 534. Salvi, Gio. Battista, 534. Sanchez-Coello. See Coello. Sanchez.-Cotan. See Cotan. Sandrart, Joachim von, 534. Sandvoord, D. D., 535. Sangallo, 535, £36. Sansavino, 536, 537. Santa-Croce, 538. Santa'ede, Francesco, 538. San ten e, Jean Baptiste, 539. Sauz'o. See Raphael Santi. Saraceno, Carlo, 539. Sargent, Henry, J30. Sarrazin, Jacques, 539. Sarto, Andrea del, 539, 645. Sassoferrato. See Salvi. Savery, Roelandt, 541. Savoldo. Girolamo. 542. Savonarola, mentioned. 141, 464, 466. Scanabecchi. See I 'ahnasio. Scaranmccia, Luigi, 542. Schadow. John Gottfried, 542. Schaffner, Martin, 542. Schalken, Gottfried, 542. Schedone, Bartolouimeo, 542. Scheffer, Ary, 543, 645. Schiavone, Andrea, 543. Schievelbein, Hermann, 543. Schilling, Johannes, 543. Schinkel, Karl Friedrich, 543. Schliiter, Andreas, 544. Schoenfeldt, Heinrich, 544. Schongauer, Martin, 544. Schoreel, Jan, 546. Schotel, Christian, 546. Schriek, Otto Marseus van, 546. Schut. Cornelis, 546. Schutz, Christian George, 546. Schwanthaler, Ludwig, 546. Schwartz, Christopher, 547. Scott, 547. Screta, Carl, 547. Sears, Hon. David, mentioned, 30. Sebastiano, Fra. See Piombo. Seghers or Zegers, 547. Semolei, II. See F'ranco. Senefelder, Alois, 548. Sequeira, Domingos Antonio de, 548. Sergell, Johann Tobias, 548. Sermoneta, Girolamo Sciolante da, 548 Serra, Miguel, 548. Sesto, Cesare da, 548. Seydelman, Jacob Crescentius, 549. Sharp. William, 549. Sherwin, John Keyes, 549. Siebold, Christian, 549. Sigalon, Xavier, 549. Signorelli, 549, 645. Silvestre, 550. Simbrecht or Zimbrecht, 550. Simoneau, Charles, 551. Sirani, Gio. Andrea, 551. Slingelandt, Peter van, 551. Smirke, Robert, 551. Smith, 551. Smith, mentioned, 377, 406, 427, 471, 563, 602. 617. Smybert, John, 551. Snayers, Peter, 552. Snyders, Frans, 552. Soddoma, II. See Bazzi. Sogliaui, Gio. Antonio, 552. Soiaro. See Bernardino Gatti. Solario, 552. 553. Solimena, Francesco, 553. Solis. Virgilius, 553. Sophonisba. See Anguisciola. Soutman, Pieter, 554. Spagna, Lo, 554 Spagnoletto, II. See Ribera. Spagnolo, Lo, di Bologua. See Crespi, Spierre, Francis, 554. Spinello, Aretino, 554. Spranger, Bartholomew, 555. Squarcione, Francesco, 555. Staevaerts, Stevers, or Stevens. See Palamedes. Stanfield. Clarkson, 555, 645. Stanzioni, Massimo, 555- Staveren, Johau Adraen van, 555. Steen, 556, 645. NAMES OF ARTISTS, AUTHORS, ETC Steenwyck, Hendrik van, 556. Stella, Claudine Bousonnet, 556. Stephan, Meister. See Lothener. Stepbauus, Hans. See Calcar. Stilling, mentioned, 51, 328, 350, 411, 500, 595, 597, 599. Stone, Frank, 556. Stork, Abraham, 556. Stoss, Veit, 557. Stothard, Thomas, 557. Strange, Sir Robert, 557. Strutt, Joseph, 557. Stuart, Gilbert, 557. Stuerbout, Dierick, 558. Suardi, Bartolommeo, 559. Subleyras, Pierre, 559. Sueur, Eustache Le, 559. Sully, Thomas, 559. Sunder. See Cranach. Sustevmann, Lambert. See Lambert Lombard. Sustermans, Justus, 580. Suydei-hoef, Jonas, 580. Swanevelt. Herman van, 560. Syrliu, Jorg, 530. T. Tacca, Pietro Giacomo, 561. Tafi, Andrea, 58 1. Talpino. See Sameggia. Tanui, Frans Werner, 561. Tardieu, 561. Tassi, Agostino, 561. Tatti. See Jacopo Sansavino. Tauriscus, 562. Tempel, Abraham van den, 562. Tempesta, Antonio, 562. Tempesta, Peter. See Molyn. ¦Teniers, 562, 565, 646. Terburg, Gerard, 565, 646. Testa, Pietro, 565. Theotocopuli, 565. Thiele, Johann Alexander, 566. Thiele, menlimied, 568, 569. Thiers, M., mentioned, 241. Thorwaldsen. 566. Tins, Peter, 56 J. Tibaldi, 509. Tilboiirh, Egidius van, 569. Tintoretto, 569. Tisio. See Garofalo. Titian, 571, 646; mentioned, 426. Tivoli, Rosa di. See Roos. Tobar, Don Alonso Miguel de, 578. Tol, Dominions van, 578. Toledo, Juan de, 578. Torbido, i-'rancesco, 579. Torre. Flaminio, 579. 667 Torregiano, Piero, 579; mentioned, 146. Tribolo, 579. Tristan, Luis, 579. Trumbull, John, 579. Tulden, Theodor van, 581. Turchi, Alessandro, 581. Turner, Joseph Mallord William, 581. U. Ubertini, Francesco, 582. Uccello, Paolo, 582. Uden, Lucas van, 582. Udine, 582. Uggione. See Oggione. Ulft, Jacob van der, 582. Utrecht, Adrien van, 582. V. Vadder, Lodewyck de, 583. Vienius. See Veen. Vaga, Pierino del, 583. Valdes, Don Juan de, 584. Vanderhamen, Juan de, 584. Vanderlyn, John, 584. Vandyck, Sir Anthony, 585, 594, 646. Vanloo, Charles Andre', 594. Vanucchi. See Sarto. Vannucci. See Perugino. Varela, Francisco, 594. Vargas, Luis de, 594. Varotari, Alessandro, 595. Vasari, Giorgio, 595 ; mentioned, 11, 29, 36, 45, 55, 119, 120, 128, 203, 290, 306, 314, 370, 374, 401, 457, 475, 511, 536, 606, 610. Vasquez, Alonso, 596. Vecelli, 596. Vecchia, Pietro, 596. Veen, Martin van. See Hemskerk. Veen, Otho van, 596. Vega, Lope de, menlwmd, 213, 426. Velasco, 596. Velasquez, 596, 647- Velde, 601, 602, 647. Vendramini, John, 602. Veneziano, Agostino. See Musis. Veneziano, Sebastiano. See Piombo. Veneziano, Carlo. See Saraceno. Veneziano, Antonio, 602. Venne, Adrian van der, 602. Verboom, Abraham, 602. Vernet, 602, 604, 647. Veronese, Paolo. See Cagliari. Veronese, Alessandro. See Turchi. Ven-ochio, Andrea, 604. Verschuring, Henrik, 605 668 NAMES OF ARTISTS, AUTHORS, ETC. Vertue, George, 605. Victor, Jan, 605. Vien, Joseph Marie, 605. Vigarny, Felipe de, 605. Villamena, Francesco, 605. Villavicencio, Don Pedro Nunez, 605. Vinci, Leonardo da, 605, 647 j men tioned, 145. Vinckenboons, David, 612 Vischer, 612. Visscher, 615. Vite or Viti, 615. Vitruvius, mentioned, 6. Vivares, Francis, 615. Vivarini, Antonio, 615. Vlieger, Simon de, 615. Vliet, Hendrik van, 615. Vois, Ary de, 615. Volpato, Gio., 615. Volterra, Daniele da, 616 f mentioned, 163. Vorsterman, Lucas, 616. Vos, Martin de, 616. Vouet, Simon, 616. Vries, Adrian de, 616. Weigel, mentioned, 294, 617. Werff, 618. West, Benjamin, 618. Westmacott, Richard, 620; mem 105. Weyden, 620, 621. Whitmore, mentioned, 217. Wierix or Wierinx, John, 621. Wilkie, Sir David, 621, 647. Willaerts, Adam, 622. Winkelman, mentioned, 404. Wit, Jacob de, 622. Witte, Emanuel de, 622, 647. Wohlgemuth, Michael, 622. Wolsey, mentioned, 521. Woodville, Richard Caton, 622. Woollett, William, 623. Wornum, mentioned, 169. Wouvermans, 623, 624, 647. Wright, Joseph, 624. Wynants, Jan, 624, 648. X. Xamete, 627. W. Wagner, Hans, 616. Waldo, Samuel, 616. Walpole, mentioned, 508. Walscapelle, Jacob, 617. Ward, James, 617. Ward, John, mentioned, 232. Waterloo or Waterlo, 617. Watson, Elkanali, mentioned, 218. Watteau, Antoine, 617, 647. Weenix, 618, 647. Z. Zachtleven. See Sachtleven. Zagel, Matthias, 627. Zampieri. See Domenichino. Zani, mentioned, 274, 354, 382, 400. Zeghers. See Seghers. Zeitblom, Bartholomew, 628. Zoega, mentioned, 566. Zuccaro, 628. Zuliani, Cavaliere, mentioned, 179, 180, Zurbaran, Francisco, 628. INDEX OF PLACES. Aix. Statue of King Rene, 239. Aix-la-Chapelle. Relic cases, 428. Albany. Capitol, 347. State Library, 263. Ahala. Jesuit College, 53. S. Maria, 53. Alkmaer. Town House, 325. Alnwifk Castle, 95. Amsterdam, Museum orGallerv, 63, 85, 102, 103, 127, 216, 235, 245, 253, 231, 252, 279, 294, 31G, 321, 325, 327, 342, 343, 345, 348, 352, 354, 356, 309, 372, 383, 417, 421, 461, 466, 490, 508, 514, 533, 542, 555, 505, 578, 601, 602, 615, 618, 622, 623, 644. Town Hall, 535. Van der Hoop Coll., 56, 63, 254, 343, 383, 406, 512. New Hotel de Ville, 279, 322, 327, 342, 354. Ch. of Our Lady, 4. Leprosenhuys^ 116. Werkhuys, 535. New Theatre, 43. Six Gall., 400, 490. Treasury, 48. Huyssittenhuys, 116. Ancona. Dome, 95. Antwerp. Museum or Gallerv, 4, 107, 116, 125, 126, 134, 228, 242, 243, 256, 265, 269, 279, 282, 285, 344, 343, 363, 383, 397, 400, 403, 415, 471, 514, 523, 546, 569, 596, 616, G21, 622, 629. Academy, 406. Cathedral, 65, 67, 243, 397, 523. Hall of the Society of Archers, 110. New Hotel de Ville, 65. Chapelle des Orphelins, 434. Ch. of the Beguines, 115. Ch. of the Augustines, 63. S. James, 67, 116, 522, 569. Arezzo. Pievc, 373. S. Maria degli Angeli, 554. £. Angelo, 52. S. Francesco, 282. Aschajfenlnirg. Church, oil. Royal Library, 87. Ashhy-de-la-Zouch, ch. of, 30. Lower Church, 44, 307. S. Francesco, 400, 554. Chapel of S. Martin, 393. Ch. of Assisi, 201, 210, 251 Asti. S. Agostino, 23. Auysbury. Cathedral, 166, 334. Convent of S. Catherine, 334. Hercules Fountain, 616. Museum or Gallery, 35, 69, 166, 229, 334, 335, 516. Baltimore. Historical Society Coll., 558. Mercantile Library, 263. Bamberg. Cathedral, 317,507. Basle. Museum, 334, 335, 336, 389. Bassano Cathedral, 49, 76. Gallery, 238. 670 INDEX OF PLACES. S. Giovanni, 77. S. Sebastian, 49. Beaume. Hospital, 621. Beckford Coll., 8. Bergamo. Monastery del Paradiso, 3. Lochis Carrara Gall., or Carrara Acad., 95, 281, 386, 411, 414. S Maria Maggiore, 274. S. Alessandro della Croce, 3. S. Christoforo, 126. S. Spirito, 470. S. Marie della Grazie, 3. Capella Colleoni, 431. Ch. of the Augustines, 126. Berlin. Museum, 1, 4, 8, 17, 19, 26, 36, 38, 39, 55, 64, 66, 75, 76, 77, 80, 86, 93,94,95, 96, 99, 103, 104, 110, 112, 113, 115, 116, 120, 122, 124, 125, 131, 134, 135, 136, 138, 139, 140, 171, 187, 188, 198, 199, 204, 208, 216, 217, 220, 224, 228, 229, 233, 234, 235, 240, 242, 243, 254, 262, 266, 268, 269, 270, 271, 279, 280, 285, 289, 290, 202, 2J8, 299, 306, 309, 316, 321, 327, 328, 330, 338, 342, 349, 355, 356, 358, 359, 368, 36 , 372, 374, 375, 377, 383, 38S, 388, 393, 398, 400, 403, 404, 400, 407, 410, 413, 414, 415, 422, 438, 442, 443, 448, 449, 464, 470, 472, 473, 474, 490, 496, 513, 514, 515, 516, 524, 525, 532, 533, 542, 543, 558, 560, 562, 565, 575, 582, 615, 618, 621. 622, 628, 632, 635, Imhof Coll., in Mus., 335. [639. Arseaal, 544. Theatre, 543. Guard House, 543. Long Bridge, 544. Chai-lottenburg, 485, 544. Sans Souci, 507, 511. Berne. Civic Library, 389. Bettona. S. Francisco, 21. S. Maria, 287. Bologna. Academy or Gallery, 37, 55, 60, 64, 140. 135, 189, 19\ 225, 246, 283, 306, 318, 551, 615. Cathedral, 189. La Madonna del Piombo, 98. S. Petronio, 143, 372, 472, 519, 579. S. Cecilia, 55, 284. S. Antonio, 77. S. Martino Maggiore, 55. S. Maria della Vita, 372. S. Domenico, 372, 459. Madonna del' Soccorso, 64, 109. S. Pietro, 64, 372. S. Michele in Bosco, 19. S. Ignatius, 67. S. Stefano, 46. S. Giorgio, 14, 64. S. Giacomo Maggiore, 38, 284. S. Biagio, 119. S. Marino, 119. S- Maria de Galeria, 14. Madonna di Mezzarata, 60. Celestines, Ch. of the, 46, 119. Nunziata, 38. Certosa, 119. Madonna del Barracano, 225. Boston. Faneui! Hall, 539. Athenaeum, 33, 215, 219, 232, 252, 347, 426, 558, 560, 619. Museum, 560. Music Hall, 232. Roman Catholic Society, 539. Coll. of Massachusetts Historical Society, 428, 539, 558. Brescia. Tosi Gall., 281. Scuola Elementaria, 281. S. Joseph, 61. Dei Miracoli, 16. Breslau. Cathedral, 612. Bruges. Cathedral, 63, 113, 330, 558. Hopital des Soeurs Noires, 558. Council Hall, 113. Town Hall, 211. Hospital, 401. Notre Dame, 144, 415. S. Jacques, 113, 127. Academy, 211, 238, 269, 408. Brunswick. Statue of Lessing, 507. Brunswick GaU. (England), 245, 294, 400. Museum or Gallery, 55, 229, 266, 355, 363, 390, 400, 431, 434, 438, 646. INDEX OF PLACES. 671 Aremberg Gall., 134, 185, 326, 328, 356, 400, 430, 449. Library, 57, 331. Jesuit church, 112. Franciscan church, 63. Capuchin church, 127. S. Gudula, 3. Burgos. Cathedral, 43. Burleigh House (England), 268, 295. Cadiz. Cathedral, 628. Cambridge. Chapel at Mount Auburn, 232. Harvard College, 551. Cambridge (England). Fitzwilliam Mus., 515. Caprarola. Palace, 72. Carhruhe. Art Hall, 36. Carlstein. Castle, 423. Cassel. Gallery, 175, 253, 325, 329, 344, 348, 358, 359, 431, 466, 488, 490, 512, 515, 622. Castelfranco. Parish church, 304. Castiylione d' Olona. College Church, 442. Chatsworth. Duke of Devonshire's Coll., 268,- 299, 302, 376. Choisy. Gardens, 128. Cincinnati. Collection of Mr. Longworth, 619. Coblentz. S. Castor, 216. Colmar. S. Martin, 544. Civic Library, 544. Cologne. Museum or Gallery, 138, 139, 216, 377. Cathedral, 216, 377. Shrine of the Three Kings, 428. Ramboux Coll., 255, 286. S. Sophia, 47. Academy, 566, 567. Thorwaldsen Mus., 567, 568. Charlottenburg, 568. Frue Kirke, 568. Cordova. Cathedral, 51, 205. Cortona. S. Margaret, 43, 461. Cos. Temple of Asclepius, 48. Cremona. S. Sigismondi, 115. S. Domenico, 21. S- Gismondi, 175. S. Quirico, 114. Cathedral, 114. Bishop's Pal., 114. Cuenca. Cathedral Cloister, 627. Dantzic. Parish church, 402. Darmstadt. Museum, 377. Delft. Hotel de Ville, 136, 242, 407. Deurne. Parish church, 243 Dijon. Museum, 63, 135. Diruta. S. Antonio Abbate, 21. Dresden. Gallery, 1, 2, 11, 25, 26, 55, 64, 78, 95, 99, 103, 110, 113, 116, 121, 127, 128, 130, 132, 133, 155, 166, 169, 202, 208, 220, 231, 244, 251, 254, 269, 271, 274, 279, 283, 284, 292, 294, 298, 305, 309, 313, 314, 316, 321, 325, 337, 338, 339, 344, 348, 358, 369, 400, 404, 406, 407, 408, 410, 415, 422, 427, 440, 444, 470, 472, 478, 489, 490, 504, 512, 513, 514, 515, 525, 532, 533, 534, 542, 544, 546, 553, 562, 566, 569, 572, 575, 578, 582, 600, 602, 615, 622, 623, 629. Briihl Terrace, 543. Statue of Weber, 507. Zwingerhof, 507. Dusseldorf. Gallery, 96. Edinburgh. Registry Office, 237. Gallery, 291. Erfurt. Church, 614. 672 INDEX OF PLACES. Ettal. Convent, 355. Fabriano. Chiesa della Carita, 95. Casa Morichi, 270. Cathedral, 98, 347. Orfanotrofio delle Michelline, 442. Gymnasium, 271. Fano. Duomo, 246. Ferrara. Strozzi Pal., 55. Constabili Coll., 226. S. Benedetto, 172. S. Niccolo, 99, 103. S. Antonio Abbate, 103. S. Maria de Servi, 99. S. Lorenzo, 99. S. Francesco, 119. La Santissima Trinita, 119. Fiesole. Hospital of the Innocenti, 137. Badia, 137. Florence. Academy of Arts, 17, 103, 108, 145, 209, 210, 233, 270, 275. 290, 292, 298, 306, 396, 400, 410, 452. Ducal GaU., 46, 286, 302. Uffizi Gall., 16, 22, 36, 66, 80, 95, 98, 108, 117, 322, 128, 136, 140, 144, 164, 198, 211, 224, 233, 250, 258, 264, 275, 277, 292, 297, 298, 339, 374, 381, 386, 393, 396, 397, 403, 404, 406, 408, 456, 474, 510, 518, 520, 537, 542, 575, 596, 611, 616. Tribune of the Uffizi, 71, 144, 469, 540. Pitti Gall., 16, 30, 76, 186, 224, 245, 254, 282, 298, 305, 310, 399, 422, 450, 451, 465, 474, 475, 477, 516, 518, 519, 575, 586, 600. Pitti Pal., 41, 137, 274. Gallery of Artists, 5, 126, 175, 356, 400, 414. Loggia de' Lanzi, 117, 250, 433. Badia, 371. Ponte Sta. Trinita, 41. Piazza della Signoria, 117. Piazza del Gran Duca, 203. Palazzo Niccolini, 303. Palazzo Pnbbl'ico, 298. Palazzo Vecchio, 117, 298, 604. Casa Buonarotti, 452. Museum of the Bargello, 604. Boboli Gardens, 117. Duomo, 68, 98, 137, 270, 274, 290, 510. Campanile, 510. Carmine, 520. Nunziata, 8, 17, 66, 68, 275, 519, 539. Scalzo, 539. Certosa, 126, 536. Servi, 283. Baptistery, 250, 290, 296, 531, 561. Brancacci Chapel, 371. Ognissanti, 298, 308, 326, 400. Montoliveto, 98, 298, 410. Misericordia Vecchia, 458. Orsanmichele, 117, 250, 296, 604. Convent of S. Lucia, 126. Monastery of S- Marco, 275. S Marco, 109, 308. S. Agostino, 537. S. Maria Novella, 8, 17, 98, 209, 242, 297, 298, 393, 394, 432, 582. Gondi Chapel, 138. S. Maria del Carmine, 395. S. Maria del Fiore, 8, 108, 161, 199, 296, 360. S. Maria del Popolo, 537. S. Miniato-in-Monte, 8, 52, 66, 518, 554. S. Ambrogio, 518. S. Reparata, 54. S. Trinita, 66, 298, 410, 458. S. Lorenzo, 68, 137, 152, 250. Santa Croce, 98, 137, 138, 164, 210, 290, 306, 307, 391, 518. S. Maria Nuova, 108, 310. S. Niccolo di la d'Arno, 270. S. Spirito, 381. S. Felicita, 274, 308. Foligno. S. Niccolo, 36. Fontainebleau. Palace, 116, 329, 434, 519. Forli. Cathedral, 11. Palazzo Pubblico, 20. Madonna del Fuoco, 208. S. Girolamo, 442 Frankfort. Stadel Gall., 95, 120, 207, 241, 246, 264, 268, 275, 285, 334, 438, 456, 515, 546, 61&, 621. Library, 216. INDEX OF PLACES. 673 Coll. of M. Bethmann, 238. Coll. of M. Brentano Laroche, 282. Theatre, 360. Guttenburg monument, 360. Freibury. Cathedral, 66. Freisiny. Cathedral, 446. Genoa. Council chamber, 20. Doria Pal., 99, 644. Casa Durazzo, 29. Cloister of S. Agostino, 6E . Chapel of S. John Baptist, 211. S. Pietro, 65. S. Spirito, 125. S. Paolo, 115. S. Domenico, 125. Nunziata, 46, 99. Getafe (near Madrid). Church, 177. Ghent. Museum, 229, 256. Cathedral, 269, 514. Ch. of the Carthusians, 58. ¦ S. Bavo, 266, 400. S. James, 58, 115. S. Michel, 437. Glasgow. Merchants' Hall, 301. Granada. Cathedral, 52, 177, 403, 605. Jesuit College, 114. Ch. of the Carmelites, 392. Cloister of Nuestra Sefiora de Gra- cia, 114 Monastery of S. Geronimo, 392. Alhambra Gate, 384. Gries (in the Tyrol). Convent, 355. Grottaf errata. Church, 246. Gubbio. Cathedral, 29. Haerlem. Oude Man Huys, 323. Hotel de Ville, 323. Hague. Gallery or Museum, 63, 79, 100, 112, 127, 220, 240, 325, 331, 342, 343, 345, 348, 350, 354, 356, 369, 400, 406, 408, 421, 430, 443, 464, 466, 488, 490, 532, 556, 565, 582, 601, 611, 618, 621, 623. Town Hall, 485. 43 House in the Wood, 127. Halbevstadl. Cathedral, 263. Halle. Ch. of Our Lady, 317. Hamburg. Library, 242. Hartford. Wadsworth GaU., 73, 215, 558, 619. Henley-upon- Thames. Bridge, 237. Hindelbanck. Monument to Mme: de Langhaus, 424. Huesca. Cathedral, 282. Imola. S. Domenico, 74. Ipres. Jesuit Church, 116. Jaen. Cathedral, 512. Kingston- Lacy. Picture by Giorgione, 305. Kloster Neubery. Verdun Altar, 428. Lago M.iggiore. Colossal statue, 233. Leipzig. Museum, 140- Leyden. Town House, 116, 264, 365. Liege. S. Paul, 47. S. BartheTeray, 446. Liliendael. Picture by Bloemaert, 112. Lisbon. Pal. of the King, 336. LitcJijUld. Chapel, 206. Liverpool. Institution, 311, 393, 452, 515, 621. S. George's Hall, 302. Ince Hal) (near Liverpool), 268. Lodi. Ch. dell' Incoronata, 453. London. National Gall., 17, 19, 26, 37, 63, 71, 75, 95, 96, 99, 120, 127, 128, 130, 136, 169, 198, 210, 216, 217, 233, 235, 244, 255, 268, 281, 282, 291, 292, 298, 302, 304, 312, 328, 330, 351, 354, 359, 364, 368, 375, 378, 383, 391, 398, 399, 406, 410, 674 INDEX OF PLACES. 413, 414, 422, 427. 432, 436, 448, 451, 456, 457, 462, 468, 470, 473, 475, 490, 509, 513, 534, 544, 571, 575, 581, 582, 599, 602, 617, 629, 630, 631, 632, 633, 635, 637, 639, 640, 641, 642, 643, 644. Royal Acad , 302, 314, 325, 430, 611, 631, 647. National Portrait Gall., 30. British Mus., 90, 148, 175, 233, 237, 266, 289, 338, 382, 389, 405, 410, 422, 424, 582, 010. Bridgewater Gall. (Earl of Elles- mere), 63, 565, 591, 642. Royal Library, 607. Coil, of Mr. Baring, 103, 116, 640. Adelphi Society of Arts, 73. Coll. of Lord Athburton, 99, 634, 637, 638, 645. Coll. of L