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BRYAN'S    DICTIONARY 


OF 


PAINTERS   AND    ENGRAVERS 


IN  FIVE  VOLUMES 


GEORGE  BELL  AND   SONS 

LONDON  :  PORTUGAL  ST.  LINCOLN'S  INN 
CAMBRIDGE:  DEIGHTON,  BELL  &  CO. 
NEW  YORK:  THE  MACMILLAN  Ca 
BOMBAY   :     A.      H       WHEELER     &     CO. 


^^H-raU  ofeuv  eld  ic/o^/fuui. 


BRYAN'S  Dictionary 


OF 


Painters  and  engravers 


NEW     EDITION     REVISED     AND      ENLARGED 


UNDER    THE    SUPERVISION    OF 

GEORGE     C.     WILLIAMSON,     Litt.D. 


WITH    NUMEROUS    ILLUSTRATIONS 


VOLUME    IV  N-R 


THE    MACMILLAN     COMPANY 

LONDON  :    GEORGE    BELL  AND    SONS 

1904 

All  rights  reserved 


,*,    !  •  .;  ."•  ,•. '.     ..      .  .. 


•  •••  .• 


REFERENCE 
/WO 

V.    ^ 


NOTE   TO   VOL.   IV 

Chief  perhaps  in  importance  in  this  volume  are  the  new  biographies  of  the  great 
British  painters,  Reynolds,  Romney,  Raeburn,  Rossetti,  and  Russell.  The  first 
President  of  the  Academy  has  been  undertaken  by  Mr.  Algernon  Graves,  F.S.A., 
the  leading  authority  of  the  day.  The  biography  of  Romney  has  been  contributed 
by  Mr.  Roberts,  who  is  now  engaged  upon  a  monograph  on  that  artist.  Raeburn 
has  been  fittingly  given  to  the  Scots  critic,  Mr.  Caw,  who  has  devoted  special 
attention  to  the  portraits  of  that  master.  Rossetti  has  naturally  fallen  to  Mr. 
Marillier,  his  latest  biographer,  and  Russell  to  the  Editor,  as  the  author  of  a  monograph 
on  the  great  painter  in  pastel. 

A  very  striking  article  on  Ruskin  has  been  contributed  by  Mr.  Frederic  Harrison, 
who  better  than  almost  any  other  writer  of  the  present  day  realizes  the  influence  upon 
art  exercised  by  "  The  Master,"  while  another  biography  deserving  special  mention  is 
the  one  on  Titian  by  Mr.  Herbert  Cook,  who  has  also  written  the  biography  of 
Previtali.  Rembrandt  and  Rubens  have  fallen  to  Mr.  Malcolm  Bell,  and  the  Editor 
calls  attention  to  the  exhaustive  and  carefully-classified  lists  of  works,  especially  by 
Rembrandt,  which  that  writer  has  provided. 

Amongst  the  Italian  Masters  the  curious  and  bewildering  school  of  the  Piazzas 
with  Piazzetta  and  the  Pitati,  once  known  as  the  Bonifazio  I.,  II.,  and  III.,  have 
been  under  the  chai-ge  of  Miss  Constance  Jocelyn  Ffoulkes ;  the  work  of  Raphael 
has  been  treated  in  the  light  of  recent  research  by  Julia  Cartwright  (Mrs.  Ady), 
and  Mr.  Selwyn  Brinton  has  made  a  careful  study  of  Pisano. 

Some  of  the  lesser-known  men  have  been  undertaken  by  Mr.  R.  H.  Hobart  Cust, 
and  particular  attention  may  be  directed  to  his  articles  on  Neroccio,  Pacchiarotti,  and 
Peruzzi. 

Entirely  new  biographies  based  upon  recent  monographs  also  appear  in  this 
volume  upon  Tintoretto  and  Francia,  and  a  very  complete  one  of  Guido,  whose 
pictures  are  worthy  of  more  attention  than  they  receive  at  the  present  time,  while 
with  regard  to  Palma  the  Editor  has  been  fortunate  enough  to  enlist  the  services  of 
Dr.  Gronau,  and  so  to  secure  the  very  latest  discovered  information  respecting  that 
noble  painter. 

The  veteran  Mr.  Weale  has,  as  in  other  volumes,  taken  the  Flemish  painters 
under  his  care,  and  the  biographies  of  P.  Nachtegaele,  Neufchatel,  Nieulant,  Oost 
(three),  Orley  (three),  A.  van  Ouwater,  A.  van  Overbeck,  J.  Prevost,  Pourbus  (three), 
P.  Quast,  A.  Raguineau,  J.  Ramey,  and  Rijckaerta  (threej  are  from  his  pen,  while 


vi  NOTE  TO  VOL.  IV. 

he  has  also  assisted  ia  correcting  the  various  Ravesteya  biographies.  Dr.  Martia  of 
the  Hague  has  been  mainly  responsible  for  these  last-named  articles,  and  also  for 
those  on  Adriaen,  Isack  van  Ostade,  Paulus  Potter,  and  Ruisdael. 

The  miniature  painters  have  not  been  overlooked,  and  the  three  Robertsons,  who 
have  never  before  received  their  full  measure  of  attention,  are  the  subjects  of  special 
biographies  by  Miss  Emily  Robertson,  the  daughter  of  Andrew  Robertson.  New 
lives  have  been  contributed  of  Isaac  and  of  Peter  Oliver,  of  Andrew  and  Nathaniel 
Plimer,  of  Nixon,  Prieur,  and  many  of  the  lesser-known  painters  in  miniature 
and  enamel. 

As  in  previous  volumes,  Dr.  Laing  of  Dundee  has  undertaken  various  members  of 
the  Scottish  and  allied  Schools,  writing  the  biographies  of  R.  H.  Nibbs,  W.  H.  Overend, 
R.  Nightingale,  Walter  H.  Paton,  P.  W.  Nicholson,  A.  W.  Rattray,  F.  R.  Pickersgill. 
W.  P.  Osborne,  J.  T.  Ross,  P.  Peel,  C.  Pearson,  and  others,  while  the  two  artists  named 
Ai-thur  Perigal  have  been  the  subjects  of  special  articles  by  Mrs.  O'Reilly,  the  daughter 
of  the  younger  painter. 

Some  attention  has  been  directed  to  gifted  amateurs  such  as  Dr.  Propert,  art 
writers  and  critics  as  J.  Hungerford  Pollen  and  R.  Redgrave,  glass  painters  as  Peckitt, 
Oliver,  and  Price,  caricaturists  as  Rowlandson,  medallists  as  Pistrucci  and  Pingo, 
flower  painters  as  Marianne  North  and  Maud  Naftel,  and  artists  who  are  specially 
known  in  connection  with  architecture  and  decoration,  such  as  the  members  of  the 
Pugin  (three),  Papworth  (six),  and  Parry  (six)  families.  Several  of  these  new 
biographies  have  been  written  by  members  of  the  families  concerned,  or  by  experts 
who  have  devoted  particular  attention  to  the  artists  in  question. 

i  The  Liverpool  painters,  F.  C.  Newcombe,  J.  W.  Oakes,  B.  Ousey,  H.  C.  Pidgeon, 
J.  Pelham,  J.  Pennington,  and  G.  Nicholson  have  been  given  into  the  care  of  Mr. 
Dibdin,  who  has  been  devoted  for  many  years  to  the  study  of  their  paintings. 

Mr.  Martin  Hardie  of  the  South  Kensington  Art  Library,  beside  helping  very 
much  with  the  minor  painters  in  miniature,  has  contributed  the  lives  of  H.  Ninham, 
W.  Parrott,  John  Pettie,  D.  C.  Read,  T.  M.  Richardson,  C.  J.  Richardson,  and 
important  articles  on  Puvis  de  Chavannes  and  T.  Rowlandson. 

Amongst  other  artists  who  have  been  the  subject  of  particular  biographies  should 
be  mentioned  Geo.  Pinwell  by  the  Editor,  F.  H.  Potter  by  Mr.  J.  Baillie,  E.  T.  Parris 
by  Mr.  W.  Roberts,  S.  W.  Reynolds  the  engraver  by  Mr.  Alfred  Whitman  of  the  Print 
Room,  British  Museum,  Pater  by  Mr.  Staley,  Room  and  Roden  by  Mr.  Chamberlain  of 
the  Birmingham  Art  Gallery,  G.  Piranesi  by  Mr.  01dmeadow,'and  also  J.  T.  Nettleship 
and  Sir  Noel  Paton. 

American  artists  have  not  been  overlooked,  and  biographies  of  T.  Nast,  J.  Neagle, 
C.  Pearson,  W.  Page,  C.  W.  Peale,  R.  Peale,  W.  L.  Picknell,  and  P.  F.  Rothermel  may 
be  taken  as  illustrative  of  the  attention  given  to  this  section  of  the  book 

Mr.  Pinkerton  is  responsible  for  very  many  of  the  notices  of  foreign  painters,  and 
beside  the  many  names  that  have  been  mentioned,  there  appear  in  the  long  roll  of  the 
rank  and  file  the  names  of  Paul  J.  Naftel,  L.  von  Nagel,  J.  C.  Nattes,  C.  G.  Naumann, 
J.  Navlet,  V.  Navlet,  F.  H.  Nazon,  B.  Neher,  L.  Neubert,  E.  N.  Neureuther,  L. 


NOTE  TO  VOL.   IV.  vii 

Neustatter,  E.  J.  Newell,  R.  H.  Newell,  Lady  Newton,  T.  Nicholson,  J.  Nixon, 
R.  Nixon,  George  Noble,  Samuel  Noble,  F.  Nodder,  R.  Norbury,  B.  Nordenberg, 
C.  Norris,  F.  Newer,  L.  Nulck,  G.  Nuti,  A.  Obermiillner,  John  O'Connor,  K.  W. 
Oesterley,  D.  Ogborne,  F.  W.  Oliphant,  E.  F.  Otho,  Carl  Otto,  C.  A.  Pabst, 
A.  L.  C.  Pagnest,  F.  Palizzi,  G.  W.  Palm,  V.  Palmaroli,  J.  E.  Pannier,  V.  de 
Papeleu,  E.  M.  Papermann,  Camille  Paris,  H.  P.  Parker,  A.  Pa-sini,  B.  Pasini, 
L.  Passini,  Isidore  Patrols,  0.  Patzig,  A.  Pauli,  F.  Paulsen,  W.  F.  Pauwels,  R.  Peake, 
Sir  R.  Peake,  J.  L.  Pearson,  Carlo  Pellegrini,  J.  C.  L.  L.  Pellenc,  L.  G.  Pelouse, 
L.  F.  Penet,  0.  Penguilly  L'Haridon,  C.  0.  de  Penne,  C.  F.  J.  Pensee,  D.  Pentber,  A. 
Pequegnot,  P.  E.  Peraire,  S.  R.  Percy,  A.  G.  Perez,  A.  von  Perger,  A.  H.  Perin,  W.  G. 
Peroff,  C.  Perrandeau,  M.  Perret,  E.  Perrin,  E.  Perseus,  J.  Peszka,  P.  F.  Peters,  J.  B. 
Peyrol,  K  G.  Pfannschmidt,  N.  G.  Philips,  J.  G.  Philp,  H.  Picard,  E.  Pichio,  P.  A.  Pichon, 
N.  E.  Pickenoy,  George  Pickering,  H.  P.  Picou,  K.  von  PidoU,  E.  U.  B.  Piglhein, 
H.  Pillati,  C.  H.  Pille,  J.  PiUiard,  F.  Piloty,  R.  Pilsbury,  A.  Pincon,  E.  Pinel, 
E.  H.  T.  Pingret,  C.  Pissarro,  F.  Pitner,  P.  Pittori,  J.  Plank,  M.  Pliischke,  C.  Plasencia, 

A.  E.  Plassan,  H.  Plathner,  F.  Plattner,  0.  Pletsch,  H.  Pliichart,  F.  Podesti, 
H.  Pohle,  L.  Pomey,  C.  M.  Popelin-Ducarre,  C.  A.  Porcher,  J.  F.  Portaels,  W. 
Portmann,  ;G.  Postma,  A.  T.  Potemont,  L.  J.  Pott,  H.  Potuyl,  H.  Pranischnikoff, 
E.  de  Pratere,  F.  Preller,  K.  L.  Preusser,  J.  W.  Preyer,  J.  C.  Puttner,  L.  Quarante, 
K.  G.  Quarnstrom,  E.  Quenedey,  J.  F.  Quesnel,  J.  Quinaux,  G.  Raab,  M.  R.  Radiguet, 
S.  Radin,  E.  Rafifort,  D.  Rahoult,  P.  A.  Rajon,  J.  M.  Ranftl,  V.  J.  Ranvier,  A.  Rapin, 
P.  E.  le  Rat,  S.  Ra}-ner,  J.  Rebell,  A.  M.  Rebonet-Alboy,  K.  Rechlin,  R.  and  S.  Redgrave, 

B.  Reher,  A.  Reid,  F.  Reiff,  B.  Reinhold,  A.  Renan,  E.  Renouf,  J.  Resch,  W.  A.  Reuter, 
J.  H.  Reve,  A.  T.  Ribot,  E.  Richard,  J.  Richaud,  Geo.  Richmond,  J.  Richomme, 
A.  Richter,  M.  W.  Ridley,  A.  Rimmer,  E.  Riou,  A.  C.  Risler,  A.  H.  Rivey, 
H.  P.  Riviere,  A.  Robert,  L.  Robie,  H.  Robinson,  0.  G.  de  Rochebrune,  K.  Rochussen, 
H.  Rodakowski,  W.  Roelofs,  C.  M.  Roerbye,  J.  Roeting,  K.  Rohde,  N.  Rohde,  H.  H. 
Rolland  de  la  Porte,  Karl  RoUe,  A.  Romako,  A.  G.  Romberg,  C.  Ronot,  F.  Rops, 
—  Rosemale,  L.  M.  Rossetti,  F.  Rothbart,  G.  Rouget,  M.  von  Rouvroy,  C.  Rous, 
L.  P.  Roux,  D.  H.  Rozier,  A.  A.  Rube,  P.  E.  Rudell,  J.  Ruinart  de  Biimont, 
W.  H.  Rule,  P.  P.  Rumpf,  H.  F.  G.  von  Rustige. 

In  all  there  are  more  than  three  hundred  and  fifty  new  biographies  in  this 
volume,  a  far  larger  number  than  in  any  of  the  preceding  volumes;  while,  in 
addition  to  these,  many  other  biographies  have  been  re^-ised  and  amplified,  and 
upwards  of  one  thousand  corrections  and  emendations  have  been  introduced. 


NOTICE 

As  confusion  frequently  arises  in  the  alphabetical  arrangement  of  biographical  dic- 
tionaries owing  to  the  arbitrary  mode  in  which  it  has  been  customary  to  deal  with  such 
names  as  are  preceded  by  an  article  or  a  preposition,  or  by  both,  it  has  been  thought 
desirable  in  this  work  to  adopt  the  grammatical  principle  sanctioned  by  the  Belgian 
Academy  in  regard  to  the  names  of  Flemish  and  French  (or  Walloon)  origin,  which 
are  included  in  the  '  Biographic  Nationale.' 

The  an-angement  therefore  is  according  to  the  following  plan : 

I.  Every  artist  having  a  surname  is  placed  under  that  surname,  cross-references  being 
given  from  assumed  names  and  sobriquets  whenever  needed. 

Thus,  Con-eggio  is  entered  under  Allegri,  Antonio. 

rinturicchio  ,,  Biagio,  Bernardino. 

Sebastiano  del  Piomho  „  Zuciani,  Sehastiano. 

Tintoretto  „  Eohusti,  Jacopo. 

(a)  "When  the  prefix  to  a  name  is  an  article  it  remains  annexed,  because  it  is  an  integral 
part  of  the  name  ;  but  when  it  is  a  preposition,  it  is  disunited,  because  it  indicates  the  place 
of  origin  or  birth  of  the  artist,  or  a  territorial  or  seigneurial  name.  Thus,  the  French  Le 
and  La,  and  the  equivalent  Dutch  and  Flemish  Be  are  retained ;  while  the  French  de,  the 
Italian  da  and  di,  the  German  von,  and  the  Dutch  and  Flemish  van  are  rejected. 


Thus,  Charles  Le  Brun 

is  entered  under 

Le  Brun. 

Jan  David  De  Heem 

j> 

De  Eeem. 

Jean  Francois  de  Troy 

» 

Troy. 

Heinrich  Maria  von  Hess 

i> 

Hess. 

Isack  van  Osiade 

1} 

Ostade. 

(b)  When  the  prefix  is  an  article  joined  to  or  preceded  by  a  preposition,  as  in  the  French 
du,  de  la,  and  des,  the  Italian  del,  delta,  degli,  dai,  dagli,  and  dalle,  the  Spanish  del  and  d« 
la,  and  the  Dutch  van  der,  van  de,  van  den,  and  ver  (a  contraction  for  van  der),  it  cannot  be 
disunited  from  the  proper  name,  because  the  particles  together  represent  the  genitive  case 
of  the  article. 

Thus,  Alphonse  du  Fresnoy  is  entered  under  Du  Fresnoy. 

Laurent  de  La  Eire  „  De  La  Hire. 

Niccold  deW  Abbate  „  DeW  Abbate. 

Girolamo  dai  Libri  „  Dai  Libri. 

Willem  van  de  Velde  „  Van  de  Veldt. 


X  NOTICE. 

(c)  English  artists  bearing  foreign  names  are  placed  under  the  prefis,  whether  it  be  an 
article  or  a  preposition. 

Thus,  Peter  De  Wint  is  entered  under  De  Wint. 

(d)  Proper  names  with  the  prefix  .S'^.  are  placed  as  though  the  word  Saint  were  written 
in  full :  and  similarly,  M'  and  Mc  are  arranged  as  Mac. 

(e)  Foreign  compound  names  are  arranged  under  the  first  name. 

Thus,  Bapliste  Auh'y-Lecomte  is  entered  under  Auhry-Lecomte. 

Juan  Cano  de  Arevalo  „  Cano  de  Arevalo. 

II.  An  artist  having  no  surname  is  placed  under  the  name  of  the  place  from  which  he 
is  known,  or  failing  that,  under  his  own  Christian  name 

Thus,  Andrea  da  Bologna  is  entered  under  Bologna. 

Andrea  del  Sarto  „  Andrea. 

Fra  Bartolommeo  „  Bartolomrmo. 

III.  Anonymous  artists  known  as  the  Master  of  the  Crab,  the  Master  of  the  Die,  the 
Master  of  the  Rat-Trap,  will  be  found  under  the  common  title  of  Master. 


CONTRIBUTORS  OF  INITIALED  ARTICLES. 

W.  A.  ...  ...  ...  ...  Sir  Walter  Armstrong. 

J.  B.  ...  ...  ...  ...  J.  Baillie. 

A.  L.  B.  ...  ...  ...  ...  A.  LysBaldry. 

C.  B.  ...  ...  ...  ...  Clara  Bell. 

M.  B.  ...  ...  ...  ...  Malcolm  Bell. 

L.  B.  ...  ...  ...  ...  Lawrence  Binyon. 

S.  B.  ...  ...  ...  ...  Sehvyn  Brinton. 

J.  C.  ...  ...  ...  ...  Julia  Cartwright  (Mrs.  Ady). 

J.  L.  C.  ...  ...  ...  ...  J.  L.  Caw. 

A.  B.  C.  ...  ...  ...  ...  Arthur  B.  Chamberlain. 

H.  C.  ...  ...  ...  ...  Herbert  Cook. 

M.  C.  ...  ...  ...  ...  Maud  Crutt well. 

L.  C.  ...  ...  ...  ...  Lionel  Cust. 

E.  H.  H.  C.     ...  ...  ...  ...  K.  H.  Hobart  Cust. 

G.  S.  D.  ...  ...  ...  ...  Rev.  G.  S.  Davies. 

G.  R.  D.  ...  ...  ...  ...  G.  E.  Dennis. 

E.  R.  D.  ...  ...  ...  ...  E.  E.  Dibdin. 

CD.  ...  ...  ...  ...  Campbell  Dodgson, 

L.  D.  ...  ...  ...  ...  Langton  Douglas. 

0.  J.  D.  ...  ...  ...  ...  0.  J.  Dullea. 

C.  J.  Ff.  ...  ...  ...  ...  Constance  J.  Ffoulkes. 

R.  E.  F.  ...  ...  ...  ...  Roger  E.  Fry. 

R.  E.  G.  ...  ...  ...  ...  Robert  Edmund  Graves. 

A.  G.  ...  ...  ...  ...  Algernon  Graves. 

G.  G.  ...  ...  ...  ...  Georg  Gronau. 

M.  H.  ...  ...  ...  ...  Martin  Hardie. 

F.  H.  ...  ...  ...  ...  Frederic  Harrison. 

M.  M.  H.  ...  ...  ...  ...  Mary  M.  Heaton. 

J.  B.  S.  H.      ...  ...  ...  ...  J.  B.  Stoughton  Hoi  born. 

C.  H.  ,..  ...  ...  ...  Charles  Hoi royd. 

P.  K.  ...  ...  ...  ...  Paul  Kristeller. 

J.  H.  W.  L.    ...  ...  ...  ...  J.  H.  W.  Laing. 

G.  S.  L.  ...  ...  ...  ...  G.  S.  Layard. 

M.  L.  ...  ...  ...  ...  Mary  Logan  (Mrs.  Berenson). 

H.  C.  M.  ...  ...  ...  ...  H.  C.  Marillier. 

W.  M.  ...  ...  ...  ...  W.  Martin. 

D.  R.  M.  ...  ...  ...  ...  Dora  R.  Meyrick. 

L.  O.  ...  ...  ...  ...  LucyOlcott. 

E.  J.  O.  ...  ...  ...  ...  E.  J.  Oldmeadow. 


CONTRIBUTORS  OF  INITIALED  ARTICLES. 


A.  O'R. 

.. 

Agnes  O'Reilly. 

F.  M.  P. 

. 

.. 

F.  M.  Perkins. 

P.P. 

.. 

Percy  Pinkerton. 

A.  H.  P. 

, 

•  ■ 

A.  H.  Pollen. 

S.  P.  P. 

.. 

S.  Pugin  Powell 

C.  R. 

, 

.. 

Corrado  Ricci. 

E.  R. 

. 

.. 

Ralph  Richardson. 

J.  P.  R 

, 

J.  P.  Richter. 

W.  R. 

, 

•  > 

W.  Roberts. 

E.  R. 

. 

.. 

Emily  Robertson. 

W.  B.  S 

William  Bell  Scott. 

F.  S. 

, 

Florence  Simmonds. 

H.  C.  S 

, 

H.  Clifford  Smith. 

E.  S. 

. 

E.  Staley. 

E.  S. 

•  •             • 

Elliot  Stock. 

E.  C.  S. 

E.  C.  Strutt. 

W.  H.  J.  W.  ... 

, 

■  •             • 

W.  H.  James  Weale. 

A.  W. 

, 

.* 

AJbinia  Wherry. 

A.  W. 

. 

Alfred  Whitman. 

F.  W.  W. 

.. 

Frederic  W.  Whyte. 

G.  C.  W. 

.. 

George  C.  Williamson 

LIST  OF  ILLUSTRATIONS 


REMBRANDT  VAN   RUN 

Portrait  of  an  Old  Woman  {Photogravure  Plate)         .        National  Gallery        Frontispiece 

PETER  NASMYTH 

Landscape  with  Cascade National  Gallery    To  face  p.      4 

JEAN  MARC  NATTIER 

La  DncHESSE  de  Chartkes  (Pliotogravure  Plate)  .        .        .  Stockholm  „  6 

Les  Trois  Graces The  Louvre  „  6 

NEROCCIO  DI  BARTOLOMMEO 

The  Madonna  and  Child Siena  „  12 

The  Madonna  and  Child  with  Saints Siena  „  12 

CASPAR  NETSCHER 

Blowing  Bubbles  National  Gallery  „  14 

SIR   WILLIAM   NEWTON 

Mr.  T.  B.  Beale.     1824  ....         CoUtction  of  Lady  BarAv/ry  „  16 

MARCO   D'OGGIONNO 

Christ  and  St.  John Hampton  Court  „  34 

ISAAC  OLIVER 

Henry,  Prince  of  Wales Windsor  Castle  „  36 

A  Man,  name  unknown,  aged  30.     1614       Collection  of  the  Queen  of  Holland  „  36 

PETER  OLIVER 

Arthur  Capel,  Earl  of  Essex,  and  his  Wife  At  one  time  at  Castle  Hoivard  „  38 

Henry,  Prince  of  Wales  \  Belvoir  Castle  ,.  38 

ISAAC  OLIVER  i'^,"",^ 

Sir  Philip  Sidney  )   P'"'* Welbeck  Abbey  „  38 

JAMES  VAN   COST  (miscalled  on  the  illustration  Jakob) 

Portrait  of  a  Boy.     1650 National  Gallery  „  40 

JOHN  OPIE 

The  Woman  in  White The  Zoutire  „  40 

BERNARD  VAN  ORLEY 

The  Dead  Christ Brussels  „  42 

ADRIAEN  VAN  OSTADE 

Dance  in  a  Tavern  {From  tlie  Etching) „  46 

The  Smoker.     1655 Antu^erp  „  46 

ISACK  VAN  OSTADE 

A  Forest  Scene National  Gallery  „  48 

JEAN   BAPTISTE  OUDRY 

Panth^re  couch6e  dans  sa  cage Stockholm  „  50 

ALBERT  VAN  OUWATER 

The  Raising  of  Lazarus Berlin  „  50 


xiv  LIST  OF   ILLUSTRATIONS. 

GIACOMO  PACCHIAKOTTI  (miscalled  Jacopo  Pacchiabotto  on  the  illustration) 

The  Madonna  and  Child National  Oallery    To  face  p.    54 

JACOPO  PALMA,  called  PALMA  VECCHIO 

The  Three  Sistebs; Dresden  „  68 

MARCO  PALMEZZANO 

The  Deposition  in  the  Tomb,  -with  San  Valeeiano  and  San  Mercubiale 

National  Oallery  „  60 

JEAN  BAPTISTE  JOSEPH   PATER 

Ff:TE  Champetre South  Kensington  „  78 

SIR  NOEL  PATON 

Dawn.    Luther  at  Erfurt    .        .        .         Collection  of  R.  H.  Brechin,  Esq.  „  78 

The  Fairy  Raid Collection  of  John  Folsen,  Esq.  „  78 

JEAN  BAPTISTE  PERRONEAU 

La  Jedne  Fille  au  Chat The  Louvre  „  98 

JEAN  PETITOT 

Anne  of  Austria The  Louvre  „         104 

Louis  XIV.,  Anne  of  Austria,  and  a  Brother  op  the  King       The  Louvre  ,,         104 

JOHN   PETTIE 

The  Rivals Glasgow  „         104 

THOMAS  PHILLIPS 

Lord  Chancellor  Thurlow National  Portrait  Gallery  „         110 

H.  W.  PICKERSGILL 

William  Wordsworth  National  Portrait  Gallery  „  114 

ROBERT  E.  PINE 

David  Gabrick National  Portrait  Oallery  „         120 

GEORGE  J.   PIN  WELL 

Gilbert  A  Beckett's  Troth  (or  The  Saracen  Maiden)         Collection  of  Sir 

John  Jaffray  „  122 

The  Dove-cote  (From  the  Engraving) „         122 

GIAMBATTISTA  PIRANESI 

The  Dark  Prison  (From  the  Etching) .         .  „  124 

A  Grand  Staircase  with  Columns  and  Fountains  {From  the  Etching)         .  „         124 

VITTORE  PISANO,  called  PISANELLO 

The  Vision  of  St.  Anthony  and  St.  George       .        .        National  Gallery  „         126 

Adora'iion  of  the  Magi Berlin  „         128 


ANDREW   PLLAIER 

Rebecca,  Lady  Northwick' 
Hon.  Mrs.  Grieve 
Hon.  Lady  Cockerell 
Hon.  Anne  Rdshout 


„         132 

Collection  of  J.  Pierpotit  Morgan,  Esq. 


134 


CORNELIUS  VAN   POELENBURGH 

Girls  disturbed  while  bathing Amsterdam  „         136 

JACQUES  ANDRfi  PORTAIL 

Le  Concert  de  Famillb Collection  of  M.  Doucet  „         146 

H.  POT 

A  Startling  Introduction Hampton  Court  „         148 

PAULUS  POTTER 

The  Young  Bull The  Hague  „         148 

The  Two  Plough  Horses.     1652  (From  th^  Etching) ,,148 

PIETER  POURBUS 

Portrait  of  J.  Van  der  Gheenste.    1583 Brussels  „         150 


LIST  OF  ILLUSTRATIONS.  xv 

F.   POURBUS,  tlie  younger  (miscalled  on  the  plate  P.  Podbbcs  the  younger) 

ISABELLA,  Arcuduchess  OF  AUSTRIA Hampton  Court    To  face  p.  150 

NICOLAS  POUSSIN 

The  Infant  Jupiter  suckling  the  Goat „         152 

ANDREA   PEEVITALl 

St.  John  the  Baptist  and  three  other  Saints  .        .        .      Bergamo  „         158 

WILLIAM   PREWITT 

George  Washington        I Mmtagu  Hoxise  „         158 

Horace  Walpole.    1735 1  "^  » 

P.   PRIEUR 

Probably  Nicolas  FoCQUet.    1658        .        .  Collection  of  the  Earl  of  Dartry  „         160 

Frederik  III.     1663        ....       Collection  of  the  King  of  Dtnmark  „  160 

PIERRE  PRUD'HON 

Psyche  carried  off  by  Zephyrus  .....  The  Louvre  „  164 

PUVIS  DE  CHAVANNES 

The  Dedication  of  St.  Genevieve Paris  „         168 

FERDINANDO  QUAGLIA 

The  Empress  Josephine Wallace  Collection  „         170 

SIR  H.   RAEBURN 

Mrs.  Campbell  of  Balliemore  {Photogravure  Plate)      .        .        .  Edinburgh  „  176 

Sir  Walter  Scott Collection  of  the  Earl  of  Home  „         178 

FRANCESCO  DI   MARCO   RAIBOLINI,  called  FRANCIA 

The  San  Martino  Maggiore  Altar-piece  in  its  original  Francia  Frame 

Bologna  „  180 

The  Manzuoli  Altae-piece Bologna  „  182 

MARC  ANTONIO   RAIMONDl 

Les  Grimpeurs  {From  the  Engraving) „  184 

Portrait  of  Pietro  Aretino  (From  the  Engraving) „  186 

ALLAN   RAMSAY 

George  III National  Portrait  Gallery  „         190 

RAPHAEL 

The  Crucifixion Collection  of  Dr.  Lndwig  Mond  „  192 

The  Ansidei  Madonna National  Gallery  „  194 

The  Madonna  della  Seggiola     \  on  one        .        .         Pitti  Palace,' Florence  „  196 

The  Madonna  di  Casa  D'Alba    )   page         .        .        .      Hermitage  Gallery  „  196 

GUIDO  RENI,  called   GUIDO 

Phcebus  and  Aurora Pom^  „         210 

SIR  JOSHUA   REYNOLDS 

John  Charles,  Viscount  Althorf  {Photogravure  Plate) 

Collection  of  Earl  Spencer  „  216 

Lady  Cockburn  and  her  children  {miscalled  on  illustration  "In  the  National 

GaUerij  ")  Collection  of  Alfred  Beit,  E.-q.  „  218 

The  Age  of  Innocence National  Gallery  „         220 

Portraits  of  two  Gentlemen National  Gallery  „         220 

8.  W.  REYNOLDS 

The  Countess  of  Oxford  {From  the  Mezzotint) „  222 

JOSEF  DE   RIBERA,  called  LO  SPAGNOLETTO 

An  Old  Woman  with  a  key ,        .       Munich  „         224 

JONATHAN   RICHARDSON 

The  Artist  {by  himself) National  Portrait  Gallery  „         228 

GEORGE   RICHMOND 

Christ  and  the  Woman  op  Samaria Tate  Gallery  „         230 


xW  LIST  OF  ILLUSTRATIONS. 

REMBRANDT  H.  VAN  RUN 

Portrait  of  the  Artist.     1640 National  Gallery    To  face  p.  286 

The  Three  Trees  {From  the  Etching) „         242 

J.  RILEY 

James  II Nationai  Portrait  Gallery  „  244 

DAVID  ROBERTS 

Interior  of  the  Church  of  St.  Paul  at  Antwerp     .        .        Tate  Gallery  „         250 

ANDREW   ROBERTSON 

The  Artist Collection  of  Miss  E.  Robertson  „         252 

JACOPO   ROBUSTI,  called  TINTORETTO 

St.  Michael  overcoming  Lucifer Dresden  „         256 

The  Last  Supper Venice  „         258 

GIROLAMO  ROMANINO 

The  Madonna  and  Child  with  Saints  and  ANOEia     .        .        .         Berlin  „         266 

The  Nativity National  Gallery  „         266 

GEORGE   ROMNEY 

Mrs.  Fitzherbert — thb  Haughty  Damb  (Photogravure  Plate)  Collection  of  J. 

E.  Gray  Rill,  Esq.  „  268 

The  Artist National  Portrait  Gallery  „  268 

Mrs.  Mark  Currie National  Gallery  „  270 

The  Parson's  Daughter National  Gallery  „  270 

NICCOLO  RONDINELLO 

Portrait  of  a  Youth Dorchester  Hoxise  „         272 

SALVATORE   ROSA 

Jacob's  Dream Devonshire  House  ,,         276 

SIR  W.    C.   ROSS 

The  Artist  as  a  Young  Man South  Kensington  „         280 

D.  G.  ROSSETTI 

Beata  Beatrix  {Photogramre  Plate) Tate  Gallery  „  282 

Lady  Lilith Collection  of  William  Bossetti,  Esg.  „         284 

THOMAS  ROWLANDSON 

From  the  Dance  of  De.j^th.    1815        ....        South  Kensington  „         290 

P.   P.  RUBENS 

The  Descent  from  the  Cross  {Photogravure  Plate)      .        .        .      Anttoerp  „         292 

Le  Chapeau  de  Poil  National  Gallery  „         294 

JAKOB  VAN   RUISDAEL 

Landscape  with  an  old  Manor  House Berlin  „         298 

Landscape  with  Waterfall National  Gallery  „         298 

JOHN   RUSSELL 

Miss  F\DES  {Photogravure  Plate)    ....         Collection  of  Mr.  Webb  „         304 

The  Younq  Artists        ....        Collection  of  Mr.  Frank  H.  Webb  „         306 


BIOGRAPHICAL    DICTIONARY 


OF 


PAINTEES   AND   ENGKAVEES 


NABHOLZ,  JoHANN  Christoph,  a  painter  and 
engraver,  born  at  Regensburg  in  1752,  died  in 
1796.  He  painted  principally  portraits,  among 
them  those  of  the  Czarina  Catherine  II.  ;  and  of 
many  of  her  nobility.  Some  of  his  portraits  and 
other  snbjects  he  engraved  himself. 

NACHENIUS,  Jan  van,  a  native  of  the  Hague, 
who  painted  about  1812.  He  was  a  pupil  of 
Mathieu  Tcrwesten.  He  lived  first  at  Amsterdam, 
afterwards  in  the  Dutch  Indies,  where  he  died. 

NACIITEGAELE,  Peter,  1450-70,  held  office 
in  the  Guild  of  St.  Luke  at  Bruges  in  1457-58, 
and  14f)l-G.H. 

NACHTMANN,  Franz  Xavier,  painter  and  litho- 
grapher, was  born  at  Bodenmais,  in  Lower  Bavaria, 
in  179'J.  He  studied  in  the  Academy  at  Munich, 
and  was  employed  in  1823  as  flower  and  fruit 
painter  at  tlie  Royal  China  Manufactory  of  th.it 
city.  In  1827  he  quitted  this  employment  to 
devote  himself  to  portraiture  in  water-colour  and 
miniature,  and  the  study  of  architectural  per- 
Bpective.  His  portraits  of  the  royal  family  are  finolj' 
executed,  while  among  his  perspective  views  may 
be  mentioned,  the  '  Interior  of  the  Court  Church  at 
Munich.'  He  signed  his  works  X.N.  Nachtniann 
died  in  1846. 

NADAT.     See  Dati,  Natalr. 

NADORP,  Franz,  a  paintur,  etcher,  and  litlio- 
grapher,  also  a  sculptor  and  modeller,  was  born  at 
Anholt,  Rlicnish-Prussiii,  in  1794.  He  began  to 
learn  painting  under  Bergler  at  Prague  in  1814. 
Afterwards  he  spent  some  time  at  Dresden,  Vienna, 
and  Home,  wliere  he  died  in  1876.  Nadorp  painted 
landscapes  of  large  dimensions,  as  well  as  portraits 
and  otlier  subjects.     Among  them  ; 

The  Villa  Raphael. 

The  Villa  il'Este. 

The  lucrum  of  I'ompeii. 

The  Murder  of  King  Edward's  Children. 

Dante. 

Francesca  da  Rimiai. 

He  also  etched  thirteen  plates,  among  which  is 
'The  Barberini  Triton.' 

VOL.  IV.  B 


NAECKE,  GusTAv  Heinrich,  was  born  at 
Frauenstein  in  Saxony  in  1786,  and  was  instructed 
by  Grasse,  whom,  however,  he  followed  only  in 
his  colouring.  After  having  lived  at  Rome  for 
some  years,  he,  in  1825,  became  a  professor  at  the 
School  of  Art  at  Dresden,  where  he  died  in  1835. 
Among  his  paintings  are  : 

St.  Genovefa.     1816.     (The  Grand  Duke  of  Cobury.) 
St.  Elizabtth.     1826.     (NaumhuTy  Cathedral.) 
Christ  and  His  Disciples.     1830. 

NAEUWINCX,  (or  Naiwinck,)  Hendbik.  The 
birthplace  of  this  Dutch  painter  and  etcher  is 
uncertain ;  but  it  was  either  Utrecht,  or  more 
probably  Schoonhoven,  and  the  date  of  his  birth 
about  1619-20,  as  he  was  contemporary  with  Jan 
Asselyn,  who  was  born  in  1610,  died  in  1660,  and 
jiainted  figures  and  animids  in  landscapes  by 
Naeuwincx  ;  so  that  the  pictures  by  him  may  have 
been  confounded  with  those  uf  Asselyn.  Imnier- 
zeel  quotes  very  high  prices  as  having  been  paid 
for  pictures  by  Naeuwincx,  which  consist  of  land- 
scapes, towns,  villages,  &c.  One  in  the  style  of 
Waterloo,  in  which  sportsmen  are  introduced,  is 
dated  1651.  He  is,  however,  more  generally 
known  by  his  drawings  and  etchings,  in  which 
the  point  is  used  with  great  delicacy.  They  are 
rare,  and  were  published  in  two  sets  of  eiglit  each  ; 
of  which  N.iglcr  gives  a  full  description.  The 
date  of  the  death  of  Naeuwincx  has  not  been 
ascertained. 

N A  FTEL,  Maud,  a  clever  flower  painter,  daughter 
of  Paul  J.  Naftel  by  his  second  wife.  She  was 
born  in  1856,  studied  in  the  Slade  School,  and 
in  Paris  under  Carolus  Duran.  She  became  as- 
sociated with  the  Society  of  Painters  in  Water- 
Colours  in  1887,  but  never  attained  to  full  member- 
ship. She  died  in  London  in  1890  after  a  very 
short  illness.  A  book  on  '  Flowers  and  how  io 
Paint  them'  was  written  by  her  and  became  a 
standard  work  on  the  subject. 

NAFTEL,  Paul  Jacob,  a  clever  water-colour 
artist,  a   native  of  the  Channel  Islands,  born  at 


A   BIOGRAPHICAL  DICTIONARY  OF 


Guernsey  in  1817.  Npither  liis  father  nor  mother 
exhibited  any  talent  in  art,  but  from  his  earliest 
youth  Naftel  was  fond  of  drawing  and  dehghted 
in  the  use  of  brushes  and  colours.  He  befjaii  life 
in  a  commercial  pursuit,  but  soon  abandoned  it  in 
favour  of  art,  earning  his  living  by  giving  lessons 
in  drawing  and  painting  at  various  schools.  After 
a  few  years  of  rigid  economy  and  very  laborious 
Avork  lie  obtained  the  position  of  drawing-master 
at  the  chief  college  of  his  native  island.  In  1870 
he  left  Guernsey  and  came  to  London,  and  there 
obtained  considerable  work  in  tlie  teaching  profes- 
sion, becoming  master  in  drawing  and  painting  at 
many  fashionable  schools.  This  work  he  continued 
down  to  the  time  of  his  death,  hut  gradually  taught 
less  and  less  as  the  demand  for  his  own  exquisite 
water-colours  increased.  He  had  joined  the  Old 
Water-Colour  Society  in  1856  while  he  was  in 
Guernsey,  first  as  an  associate  and  then  three  years 
after  as  a  member,  and  he  exhibited  from  that 
time  down  to  his  death  in  the  Galleries  of  that 
Society.  Part  of  his  life  he  lived  at  Chelsea,  but 
he  died  near  Feltliaiii  on  September  1.3,  1891.  He 
did  a  little  book  illustration,  preparing  the  designs 
for  two  small  volumes  on  the  Channel  Islands. 
His  landscapes  were  of  exquisite  quality  and  very 
dainty  refinement,  most  of  them  representing 
scenes  in  Italy,  the  Tyrol,  Scotland,  and  England, 
whilst  many  of  his  works  depicting  the  sea  were 
from  scenes  in  his  own  much-loved  island  home. 

NAGEL,  J.\N,  an  unimportant  Dutch  painter  of 
the  17th  century.  He  was  born  at  Haarlem.  He 
imitated  Cornelius  Molenaer,  and  died  at  the  Hague 
in  1G02  (?). 

NAGEL,  LunwiQ  von,  German  painter  ;  born 
March  29,  1836,  at  Weilheim  (Upper  Bavaria)  ; 
was  a  pupil  of  W.  Diez.  He  was  fond  of  equestrian 
subjects,  and  indeed  is  best  known  for  his  spirited 
drawings  of  horses  and  of  episodes  in  military 
inanceuvres.  He  went  through  the  Franco-German 
War  of  1870.  He  became  popular  by  his  con- 
tributions to  'Fliegende  Blatter,'  and  'Miinchener 
Blatter.'     He  died  in  September  1899. 

NAGEL,  Peter,  a  Flemish  engraver,  who 
flourished  at  Antwerp  about  1569-84.  He  is  said 
to  have  been  a  pupil  of  Philip  Galle,  and  he 
engraved  many  subjects  after  Flemish  masters. 
Among  other  prints  he  has  left, '  The  Seven  Works 
of  Mercy  ' ;  after  M.  Heemslcerh. 

NAGLI,  Francesco,  called  II  Centino,  an  Italian 
painter  of  the  17th  century.  He  was  born  at  Cento, 
and  was  a  pupil  of  Guercino.  Most  of  his  active 
life  was  passed  at  Rimini,  where,  in  the  Church  of 
Santa  Maria  degli  Angeli,  his  best  work  is  to  be 
found. 

NAGTEGEL,  Arnold,  engraver.  He  worked  in 
1690,  probably  at  Amsterdam.  His  name  is  aOixed 
to  prints  in  mezzotint,  after  portraits  of  Ishach 
Aboab  Rabin  and  of  the  English  surgeon,  Thomas 
Sydenham. 

NAHL,  JoHANN  AnonsT,  one  of  a  family  of 
artists,  mostly  sculptors,  established  at  Ausbach. 
He  was  born  in  1752  at  Channe,  near  Bern,  on  a 
property  belonging  to  his  father,  who  gave  him 
his  first  instruction  in  art.  As  his  taste  inclined 
rather  towards  painting  than  to  sculpture,  he 
became  a  scholar  of  Tischbein  at  Cassel,  then  of 
Tannesch  at  Strasburg,  of  the  landscape  painter 
Bemmel,  and  of  Handmann  at  Bern.  At  the  age 
of  twenty  Nahl  went  to  Paris,  and  studied  Le 
Sueur  so  ardently  as  to  assimilate  his  style.  In 
1774  Nahl  proceeded  to  Rome,  where  he  passed 


seven  years  in  drawing  from  antiques,  and  copying 
the  works  of  Raphael  and  Guido.  He  there  painted 
his  fine  picture  '  An  Offering  to  Venus,'  one  of  his 
richest  and  most  highly-finished  works.  The 
illness  of  his  father  induced  him,  in  1781,  to  re- 
turn to  Cassel,  where,  shortly  afterwards,  his  father 
died.  Nahl  did  not  remain  long  in  that  place,  but 
went  to  England.  There  he  remained  fifteen 
months,  and  after  visiting  Holland,  returned  to  his 
native  place.  In  1786  and  1787  he  was  again  in 
Rome  and  Naples  ;  and  in  1792  returned  to  Cassel. 
There  he  became  a  professor  in  the  Academy,  and 
in  1815  '  Professor  of  Painting.'  He  died  at 
Cassel  in  1825.  Twice  Nahl  gained  prizes  given 
by  Goethe  for  pictorial  composition.  In  1799- 
1800  by  his  '  Parting  of  Hector  and  Andromache,' 
and,  in  1801,  by  his  'Hercules  at  the  Court  of 
Lycomedes.'  Nahl's  works  include  history,  por- 
traits, and  landscapes.  He  also  etched  several 
mythological  subjects. 

NAIGEON,  Jean,  a  French  historical  and  por- 
trait painter,  and  relative  of  the  French  philosopher, 
Jacques  Andr6  Naigeon,  who  himself  began  life 
as  an  artist.  Jean  Naigeon  was  a  scholar  of 
Devosge,  at  the  Dijon  Academy,  and  of  David. 
His  principal  pictures  are,  '  The  infant  PyrrhuB 
presented  at  the  Court  of  Glaukias ; ' '  jEiieas  going 
to  Battle;'  'Numa  Pompilius consulting  the  Nymph 
Egeria ; '  two  bas-reliefs  in  the  gallery  of  the 
Luxembourg,  being  allegories  {en  grisaille)  of  the 
glory  of  Rubens  and  Le  Sueur ;  the  design  for  the 
Vignette  engraved  by  Ro<;er  for  the  official  docu- 
ments of  the  Government  of  the  French  Republic. 
He  also  painted  theatrical  decorations,  and  por- 
traits of  distinguished  persons  of  the  time,  among 
them  Monge  and  Laplace.  He  was  instrumental 
in  .saving  many  works  of  art  from  destruction  in 
1793,  and  was  conservator  of  the  Museum  of  the 
Luxembourg,  and  a  member  of  the  Legion  of 
Honour.  He  was  bom  at  Beaune  (Cote  d'Or)  in 
1757,  and  died  in  18.32. 

NAIGEON,  Jean  Gdillaume  Elzidob,  a  French 
historical  and  portrait  painter,  born  in  Paris  in 
1797.  He  studied  under  his  father,  Jean  Naigeon, 
and  also  under  David  and  Gros.  He  entered  the 
'^cole  des  Beaux  Arts'  in  1815,  and  having  gained 
the  second  grand-prize  in  1827,  went  to  Italy.  In 
1832  he  succeeded  his  father  as  curator  of  the 
Luxembourg  Gallery.  He  died  in  Paris  in  1867. 
Amongst  his  works  are  : 

The  Magdalen  in  the  Desert.     1836. 

The  Adoration  of  the  Shepherds.     1845. 

Gleaners  near  Naples. 

The  Vintage  at  Ainalfi. 

Several  Portraits.     (I'ersailUs  Galleri/.) 

NAIN.     See  Le  Nai.n. 

NAISH,  William,  an  English  miniature  painter 
of  the  18th  century.  He  was  a  native  of  Asbridge, 
Somersetshire,  and  practised  in  London.  He  ex- 
hibited at  the  Royal  Academy  from  1783  to  1800, 
in  which  year  he  died.  His  brother,  John  Naish, 
was  also  an  artist. 

NAIVED.     See  Neveu. 

NAKE,  Gustav  Heinrich,  a  German  painter  of 
history  and  portraits,  who  flourished  between  1784 
and  1834.     Works : 

Faust  and  Mjirguerite. 

St.  Elizabeth  of  Hungary  distributing  Alms. 

NALDINI,  Battista  di  Matted,  called  Bat- 
TisTA  Degli  Innocenti,  was  born  at  Florence  in 
1537,  and  spent  the  greater  part  of  his  youth  with 
the    superintendent    of  the  Foundling   Hospital, 


PAINTERS  AND  ENGRAVERS. 


He  was  first  a  scholar  of  Jacopo  Carrucci, 
but  afterwards  studied  under  Angelo  Bronzino. 
According  to  Baglione  he  visited  Rome  in  the 
pontificate  of  Gregory  XIII.,  where  lie  painted 
sereral  altar-pieces  for  the  churches,  and  on  his 
return  to  Florence  he  was  engaged  by  Giorjfio 
Vasari  as  his  coadjutor  in  the  works  in  which  he 
was  employed  in  the  Palazzo  Vecchio,  where  he 
was  occupied  fourteen  years.  His  pictures  of  the 
Purification  and  Entombment  in  Santa  Maria 
Novella,  at  Florence,  are  extolled  by  Borghini. 
Other  works  of  his  are  the  'Pieta'  over  the  tomb 
of  Michelangelo,  and  Adorations  '  of  the  Shep- 
herd.s,'  and  'of  the  Magi'  in  the  Dresden  Gallery. 
He  was  living  in  1590.  Zani  supposes  that  he 
died  about  1600. 

NAMEUR,  Louis  DE,  a  French  historical  painter, 
was  born  in  1629,  and  received  into  the  Academy 
in  1665.     None  of  his  works  can  now  be  identified. 

NANGIS,  Genevieve.  See  under  Regnadlt, 
NIC.  Fr. 

NANI,  Jacopo.  (or  Giacomc,)  an  unimportant 
Italian  painter,  of  the  18th  century.  He  was  em- 
ployed at  the  Neapolitan  Court,  where  he  painted 
landscapes,  flowers,  and  fruit.  Lanzi  says  he  was 
a  scholar  of  Belvidere. 

NANINI  (Matteo).  An  obscure  pupil  of  Carlo 
Cignani. 

NANNI,  Giovanni,  (or  Nani,)  called  Giovanni 
DA  Udine,  Giov.  de  Nanis,  and  De  Recamatori,  of 
the  Embriverero,  was  bom  at  Udine  on  the  15th 
October,  1487,  and  having  discovered  an  early 
disposition  for  art,  by  making  drawings  from  the 
animals  and  birds  killed  in  the  chase  by  his  father, 
Francesco  Becamatore,  he  wa.s  sent  to  Venice, 
wliere  he  was  placed  under  the  tuition  of  Giorgione. 
The  fame  of  Raphael  had  reached  Venice,  and 
inspired  Nanni  with  an  ardent  desire  to  visit 
Rome.  His  protector,  the  patriarch  Grimani,  de- 
sirous of  promoting  his  wishes,  furnished  him  with 
letters  of  recommendation  to  Baldassare  Castig- 
lione,  by  whom  he  was  introduced  to  Raphael, 
who  admitted  him  into  his  scliool.  He  was  there 
employed  in  painting  the  ornamental  accessories. 
While  he  was  in  Raphael's  studio  the  discovery 
was  made  of  the  remains  of  antiquity  in  the  baths 
of  Titus.  Nanni  was  selected  by  Raphael  to  make 
designs  from  the  beautiful  grotesques  on  stucco, 
found  in  the  different  apartments.  He  not  only 
succeeded  in  his  commission  to  the  entire  satisfac- 
tion of  his  master,  but  discovered  a  process  of 
compounding  a  stucco,  which  had  the  same  appear- 
ance, and  probably  the  same  durability,  as  that 
used  by  the  Romans.  He  was  now  employed  by 
Raphael  to  execute  the  greatest  part  of  the  gro- 
tesques in  the  Loggie  and  Stanze  of  the  Vatican,  a 
commission  he  discharged  so  well  as  to  link  his 
name  indissolubly  with  that  of  his  master.  The 
grotesques  in  the  lower  Loggia  were  entirely  from 
the  brush  of  Giovanni,  but  in  1867  they  were  much 
painted  over  by  Mantovani.  After  the  death  of 
Raphael  he  was  employed  by  Clement  VII.,  in  con- 
junction with  Pierino  del  Vaga,  to  ornament  that 
part  of  the  Vatican  called  La  Torre  di  Borgia, 
where  they  represented  the  Seven  Planets ;  the 
emblematical  figures  were  designed  by  del  Vaga, 
but  the  grotesques  and  symbolical  decorations 
were  executed  by  Nanni.  The  festoons  of  the 
'  History  of  Psyche,'  in  the  Farnesina  Palace,  were 
also  by  him,  and  he  decorated  the  vestibule  of 
the  Villa  Madama,  now  in  ruins,  and  prepared 
the   designs  for  the   windows  of  the   Laurentian 

II  2 


Library.  In  1527  he  was  compelled,  by  the  sack- 
ing of  Rome,  to  fly  from  that  city,  and  he  took 
refuge  at  Udine,  where  he  was  for  some  time  em- 
ployed. He  was  afterwards  engaged  at  Florence, 
by  the  family  of  the  Medici,  in  several  considerable 
works.  He  returned  to  Rome  in  the  pontificate  of 
Pius  IV.,  and  there  he  died  in  1564.  He  was  buried  in 
the  Pantheon,  near  the  tomb  of  his  master  Raphael. 
NANNI,  GiROLAMO,  was  a  native  of  Rome,  and 
flourished  about  the  year  1642,  during  the  pontifi- 
cate of  Sixtus  v.,  by  whom  he  was  emploj-ed  in 
several  considerable  works.  He  was  generally 
known  by  the  name  of  "  poco  e  buono,"  from  the 
following  circumstance.  Being  of  a  very  studious 
disposition,  and  rather  slow  in  his  operations,  he 
was  reproached  for  his  tardiness  by  Giovanni  da 
Modena,  a  contemporary  artist,  when  he  replied, 
"  Faccio  poco  e  buono  ; ''  and  he  bore  that  name 
ever  afterwards.  His  works  are  to  be  seen  in 
several  of  the  public  buildings  of  Rome.  In  the 
church  of  the  Madonna  dell'  Anima  there  is  an 
'  Annunciation  ; '  and  in  San  Bartolomeo  dell'  Isola, 
two  subjects  from  the  life  of  St.  Bonaventura, 

NANNUCCIO,  or  Nannoccio,  was  a  Florentine 
painter,  and  a  pupil  of  Andrea  del  Sarto ;  he 
flourished  about  1540.  He  went  to  France  with 
the  Cardinal  Toumon,  and  spent  a  large  part  of 
his  life  there. 

NANTEUIL,  Celestin  Lebceuf,  a  French  his- 
torical and  genre  painter  and  lithographer,  bom  at 
Rome  in  1813.  He  was  brought  to  France  when 
only  two  years  old,  and  studied  under  J.  M.  Lang- 
lois  and  Ingres.  In  1829  he  entered  the  Ecole  des 
Beaux  Arts,  but  was  expelled  for  heading  a  stu- 
dent's disturbance.  Much  of  his  time  was  occupied 
in  illustrating  books  by  Victor  Hugo,  Dumas,  and 
others,  for  which  he  made  an  immense  number  of 
drawings.  He  obtained  medals  in  1837  and  1848. 
In  his  later  years  he  held  the  post  of  Director  of 
the  Dijon  Academy.  He  died  in  1873.  Amongst 
his  pictures  are : 

A  Ray  of  Sunshine.     1848.     ( Valenciennes  Museum.) 

The  Temptation.     1851.     (Havre  Museum.) 

Souvenirs  of  the  Past. 

Scene  from  Don  Qui.'sote.     {Lille  Jfuseum.) 

Hunting-dogs  reposing.     {Luxembourg,  Paris.) 

The  Fawn.     {The  same.) 

His  chief  lithographs  are: 

The  '  Bebedores ' ;  after  Velazque:. 

The  Studio  of  Velazquez  ;  after  the  same. 

The  Toper ;  after  Tenters. 

Souvenirs. 

Expectations. 

NANTEUIL,  Robert.  This  celebrated  French 
engraver  and  draughtsman  in  crayons,  was  bom  at 
Rheims  about  1623,  according  to  the  '  Mercure 
Galant'  of  December  1678,  or  in  1630  as  stated  by 
other  authorities.  There  is  an  engraving  by  him 
dated  1645,  and  it  was  not  the  first  he  did.  He 
was  the  son  of  a  merchant,  who  gave  him  a  classi- 
cal education,  but  a  decided  inclination  for  the  art 
of  design  induced  him  to  adopt  it  as  a  profession. 
He  was  instructed  in  engraving  by  his  brother-in- 
law,  Nicolas  Regnesson,  whose  sister  he  married  in 
1647,  and  then  went  to  Paris,  where  he  received 
further  instmction  from  Abraham  Boke  and  Phil- 
lippe  de  Champagne.  He  acquired  considerable 
reputation  as  a  maker  of  portraits  in  crayons,  and 
his  talent  in  that  branch  recommended  him  to  the 
protection  of  Louis  XIV.,  whose  portrait  he  painted, 
and  after  this  was  appointed  designer  and  engn^aver 
to  the  Royal  cabinet,  with  a  pension.     In  1648  he 

3 


A  BIOGRAPHICAL  DICTIONARY  OF 


ajiplied  hiinselt  more  to  engraving  in  the  style  of 
C.  Mcllan  and  otliers,  but  in  1650  ho  adopted  one 
infinitely  superior,  whicli  in  clearness  and  beauty 
of  effect  l)a8  never  been  surpassed.  Tlie  portraits 
by  him  will  ever  hold  a  ranK  among  the  most  ad- 
mired productions  of  the  art.  Nanteuil  died  in 
Paris  in  December  1678,  and  it  appears  extra- 
ordinary that  in  so  short  a  life,  if  he  was  born  in 
1630,  he  could  accomplish  so  many  plates  in  so 
finished  a  style.  Mariette  possessed  two  hundred 
and  eighty  prints  by  this  artist.  The  following 
are  among  his  most  esteemed  portraits: 

Anne  of  Au.stria,  Queen  of  France  ;  after  Mignard, 
Several  Portraits  of  Louis  XIV. ;  from  his  tncn  designs, 

and  after  Mit/nard,  and  others. 
XiOuia,  ijaupliin  ;  son  of  Louis  XIV.     1677. 
Louis  Bourbon,  Trince  de  Cond6  ;  after  his  ovm  design. 

1662. 
Henri  Jules  de  Bourbon,  Duke  d'Enghein  ;  after  Mig- 
nard.   1661. 
Christina,  Queen  of  Sweden ;  after  S.  Jiourdon.    1654. 
Louisa  Maria,  Queen  of  Poland  ;  after  Juste.     16S3. 
Charles  Emmanuel,  Duke  of  Savoy.     lt)68. 
Charles,  Duke  of  Lorraine.     1660. 

Johann  Friedrich,  Duke  of  Brunswick  Luneburg.    1674. 
Charles  II,,  Duke  of  Mantua.     1652. 
Antonio  Barberini,  Cardinal,  and  Archbishop  of  Bheims. 

1663. 
Emanuel  Theodore,  Duke  of  Bouillon,  Cardinal.    1670. 
Leon  le  Bouthellier,  Minister  of  State ;   after  Cham- 

paigne.     1652. 
Jules  Mazarin,  Cardinal.     1655. 
Armand  Jean  du  Plessis,  Cardinal  de  Eichelieu ;  after 

Champaigne. 
Henri  de  la  Tour  d'Auvergne,  Viscount  Turenne.    1665. 

Fine. 
Pompone  de  Bellievre. 

Two  Plates  ;  one  after  P.  de  Champaigne ;  dated  1653. 
The  other,  an  oval,  after  C.  le  Brun.  The  latter  is 
one  of  Nanteuil's  best  engravings. 

Robert  Nanteuil  was  also  a  poet,  and  the  verses 
he  addressed  to  Louis  XIV.,  begging  for  more 
time  to  finish  his  portrait,  are  graceful. 

NANTO.     See  Denanto. 

NAPOLETANO,  II.     See  Anqeli,  Fil. 

NAPOLI,  Rosa  da.     See  Eoos,  Jac. 

NAPOLITANO,  Simone.     See  Bologna. 

NAPPI,  Francesco,  was  born  at  Milan  about 
1573,  and  after  studying  for  some  time  both  there 
and  at  Venice,  visited  Rome  during  the  pontificate 
of  Urban  VIII.  He  was  employed  for  some  of  the 
public  edifices  at  Rome  ;  but  his  works  do  not  rank 
above  mediocrity.  His  best  productions  are,  his 
pictures  of  the  '  Resurrection  '  and  the  '  Assump- 
tion of  the  Virgin,'  in  the  cloister  of  Santa  Maria 
sopra  Minerva;  and  the  'Annunciation'  in  the 
Monasterio  dell'  Umilitk.     He  died  in  1638. 

NARCISO,  Jos6  Antonio,  a  Spanish  painter  of 
the  18th  century,  no  details  of  whose  life  are  known. 

NARCISSUS.     See  Persijn. 

NARDI,  Angelo,  was  bom  at  Florence  about 
1601,  and  after  studying  the  works  of  Paolo 
Veronese,  visited  Spain  in  the  reign  of  Philip  IV., 
whose  court-painter  he  became  in  1625,  and  whom 
he  assisted  with  advice  in  the  purchase  of  Italian 
paintings.  He  was  a  favourite  of  the  Archbishop 
of  Toledo,  and  executed  for  him  seven  altar-pieces 
for  the  Bemardin  Nuns  at  Alcali  de  Heneares, 
eleven  for  those  at  Jaen,  and  eight  in  the  Atocha 
Church  at  Madrid.  Nardi  died  at  Madrid  in  1660. 
NARDINI,  ToMASO,  an  Italian  painter,  was  bom 
at  Ascoli  about  1658.  He  painted  figures  in  the 
perspectives  of  Collaceroni.     He  died  in  1718. 

NARDOIS,  J.  Galioth,  a  French  painter  of  the 
17th  century.     He  is  quoted  in  Nagler's  '  Mono- 
4 


gramistcn,'  wliere  he  is  said  to  have  painted  in  the 
style  of  Claude,  and  to  have  engraved  some  jilates. 

NARDUCCI,  (or  Narduck,)  Giovanni,  after- 
wards '  Fray  .luan  de  la  Miserin,'an  Italian  painter, 
was  born  in  Molica  about  1526.  He  acquired  some 
knowledge  of  painting  in  the  Schools  of  Naples, 
whence,  being  of  a  pious  disposition,  he  made 
pilgrimages  to  nil  parts  of  Italy,  and  at  last  left 
his  native  country  for  the  shrine  of  Siintiago  at 
Compostella.  Proceeding  afterwards  to  Madrid, 
he  entered  the  school  of  Sanchez  Coello,  where  Inn 
piety  recommended  him  to  the  devout  sister  of 
Philip  II.  In  1560  he  entered  one  of  the  reformed 
Carmelite  convents  at  Pastrana.  There  he  painted 
an  'Ecce  Homo,'  and  two  portraits  of  Santa  Teresa 
lie  Jesus.  It  is  doubtful  whether  any  of  his  works 
still  exist.  He  painted  also  portraits  of  St.  Luis 
Bcltran  and  of  Fray  Nicolas  Factor,  the  artist,  of 
Valencia.  He  closed  a  long  life  of  devotion  at 
Madrid  in  1616. 

NASELLl,  FRA^"CESC0,  was  bom  at  Ferrara,  and 
flourished  about  the  year  1610.  When  young,  he 
studied  the  works  of  the  Carracci  and  Guercino. 
which  he  copied  with  surprising  success,  but  after- 
wards devoted  himself  to  the  manner  of  his  coun- 
tryman Giuseppe  Mazzola.  lie  was  employed  for 
several  of  the  churches  in  Ferrara.  In  the  cathe- 
dral there  is  an  altar-piece  by  him,  representing 
the  'Nativity  ; '  in  the  church  of  Santa  Maria  de 
Servi,  a  large  picture  of  the  'Last  Supper;'  ana 
in  the  church  of  Sanfa  Francesca,  the 'Assumption 
of  the  Virgin.'    Naselli  died  at  Ferrara  about  1630. 

NASH,  Edward,  an  English  miniature  painter, 
born  in  1778.  He  exhibited  at  the  Academy  from 
1811  to  1820.  In  his  later  years  he  practised  in 
India,  sending  his  works  home  to  be  exhibited. 
He  died  in  England  in  1821. 

NASH,  Frederick,  an  English  water-colour 
painter  and  draughtsman,  bom  in  1782  at  Lambeth. 
His  instruction  in  art  was  due  to  Malton.  His 
works  first  appeared  at  the  Academy  in  1800,  and 
he  occasionally  exhibited  there  till  1847.  In  1808 
he  was  elected  a  member  of  the  Water-Colour 
Society,  where  he  exhibited  with  some  intermis- 
sions till  1856.  To  show  his  facility  and  industry, 
it  may  be  stated  that  his  contributions  to  the  latter 
Society  amounted  to  nearly  five  hundred  works. 
He  was  also  draftsman  to  the  Society  of  Anti- 
quaries, and  made  several  tours  in  France,  Switzer- 
land, German}',  &c.  In  1834  he  retired  to  I3righton, 
where  he  spent  the  remainder  of  his  life,  and  died 
there  in  1856.  There  are  water-colour  drawings 
by  him  of  '  Tintem  Abbey,'  and  the  'Versailles 
Fountains,'  at  the  Kensington  Mu.seum.  Amongst 
the  works  which  he  illustrated  are: 

'  Views  of  St.  George's  Chapel,  Windsor.'    1805. 

'  Twelve  Views  of  the  Antiquities  of  London.'     1810. 

Ackerman's  '  History  of  Westminster  Abbey.' 

'  History  of  the  University  of  Oxford.'     1814. 

'  Picturesque  views  of  the  City  of  Paris  and  its  Environs. 
1823. 

NASH,  Joseph,  an  English  water-colour  painter 
and  draughtsman,  born  in  1808.  He  became  a 
member  of  the  old  Water-Colour  Society,  where 
he  first  exhibited  in  1835.  His /orte  was  the  de- 
piction of  mediaeval  buildings  and  scenes.  He 
published  'Architecture  of  the  Middle  Ages' 
(1838)  ;  '  Mansions  of  England  in  the  Olden  Time  ' 
(1839-49)  ;  and  '  Views  of  Windsor  Castle  '  (1848) 
He  also  contributed  illustrations  to  Lawson's 
'  Scotia delineata'  (1847);  E.  MacDermott's ' Merrie 
Days    of    England'    (1859);    and   'Old    English 


X 


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w 
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Oh 


PAINTERS  AND  ENGRAVERS. 


Ballads'  (1864);  and  he  drew  on  stone  Sir  D. 
Wilkie's  '  Oriental  Sketches. '  At  the  Paris  Exhibi- 
tion of  1855  he  exhibited  six  water-colour  draw- 
ings, and  was  awarded  an  "  honourable  mention." 
He  died  at  Bayswater  in  1878. 

NASINI,  Antonio,  a  brother  of  Guiseppe  Nic- 
colo,  by  whom  he  was  trained  in  art.  He  after- 
wards became  a  monk,  and  worked  for  the  churches 
of  Siena.     He  died  in  1716. 

NASINI,  Cavaliere  Giuseppe  Niccol6,  was  born 
at  Siena,  probably  in  1664.  His  father,  Fran- 
cesco Nasini,  an  artist  little  known,  instructed  him 
in  the  first  rudiments  of  art ;  but  lie  afterwards 
went  to  Rome,  and  became  one  of  the  ablest  dis- 
ciples of  Giro  Ferri.  By  the  recommendation  of 
this  master  he  was  employed  by  the  Grand  Duke 
of  Tuscany,  to  paint,  from  the  designs  of  Pietro 
da  Cortona,  the  '  Four  Ages  of  Man,'  in  emblem- 
atical subjects,  in  the  Palazzo  Pitti  at  Florence.  On 
his  return  to  Rome  he  was  commissioned  to  paint 
the  ceiling  of  the  Capella  Bracciana,  in  the  church 
de  SS.  ApostoU ;  and  his  picture  of  the  '  Prophet 
Amos,'  in  the  Basilico  of  St.  John  of  Lateran.  He 
died  at  Siena  in  1736.     Among  his  pictures  are: 

Foligno.       ^^«*'.'"""i«U  S.Leonardo. 

Pianto.     J 
Rome.     Chapel  of  S.  An-->^^  Cupola. 

Siena.  Conventuale.    Death,  Judgment,  Heaven,  and 

HeU. 

He  etched  a  print  of  the  Virgin  and  the  Infants 
Jesus  and  St.  John  in  a  landscape,  with  Cherubs 
flying  in  the  air,  in  the  taste  of  Giro  Ferri,  and  also 
engraved  in  the  manner  of  P.  S.  Bartoli. 

NASINI,  Francesco,  an  obscure  painter  of  Siena, 
who  in  the  17th  century  painted  in  fresco  in  the 
refectory  of  the  Monasterio  del  Carmine  of  that 
city. 

NASMYTH,  Alexander,  a  Scotch  landscape 
painter,  was  bom  at  Edinburgh  in  1758.  He  went 
early  to  London,  and  was  a  pupil  of  Allan  Ramsay. 
Afterwards  he  went  to  Rome,  where  he  remained 
several  years,  and  studied  historical  painting, 
landscape,  and  portraiture.  On  his  return  to  Edin- 
burgh, he  commenced  practice  as  a  portrait  painter, 
and  had  Robert  Bums  as  one  of  his  sitters.  His 
portrait  of  the  poet  is  now  in  the  National  Gallery 
of  Scotland  ;  a  rephca  is  in  the  National  Portrait 
Gallery,  London.  He  was  a  member  of  the 
original  Society  of  Scottish  Artists,  and  an  Asso- 
ciate of  the  Royal  Institution.  His  inclination, 
however,  being  towards  landscape  painting,  he 
ultimately  confined  himself  to  that  branch  ;  but 
much  of  his  time  was  occupied  in  teaching,  in 
which  he  was  very  successful.  He  exhibited 
landscapes  occasionally  at  the  Royal  Academy  in 
London,  from  181.S  to  1826.  In  18"22  he  published 
sixteen  views  of  places  described  in  the  'Waverley 
Novels.'     He  died  at  Edinburgh,  April  10,  1840. 

NASMYTH,  Peter,  commonly  called  by  himself 
and  others,  Patrick,  was  the  son  of  Alexander 
Nasmyth,  and  was  born  at  Edinburgh  in  1787.  lie 
showed  an  early  and  decided  predilection  for  land- 
scape paintting ;  and  his  zeal  in  pursuit  of  his 
favourite  art  left  him  little  opportunity  of  acquiring 
any  other  instruction.  Early  in  life  he  injured  his 
right  hand,  and  learned  to  paint  with  his  left,  and 
owing  to  an  illness  he  became  deaf.  At  the  age  of 
twenty  he  went  to  London,  and  his  productions 
became  very  popular,  obtaining  for  him  the  desig- 
nation of  '  tiie  EngUsh  Hobbema,'  which  was  about 
as  well  justified  as  such  soubriquets  usually  are. 


He  improved  on  the  style  of  his  father,  and  his 
pictures  have  less  of  the  spotted  chalky  character 
wiiich,  from  its  having  been  followed  by  several 
other  members  of  this  clever  family,  is  considered 
as  a  chief  feature  of  "the  Nasmyth  school."  In 
1809  he  first  exhibited  at  the  Royal  Academy,  and 
in  1824  he  became  one  of  the  original  members  of 
the  Society  of  British  Artists.  He  often  painted 
Scottish  scenes,  but  the  character  of  his  landscapes 
is  entirely  English.  His  style  was  not  sufficiently 
massive  to  represent  properly  the  wild  mountain- 
ous character  and  striking  atmospheric  peculiar- 
ities of  Scotland.  Light  clouds,  sunshine,  smooth 
water,  or  small  pattering  brooks,  meadows,  gently 
rising  grounds,  and  green  trees,  are  the  objects 
which  his  pencil  was  best  qualiiied  to  represent. 
Nasmyth  died  at  Lambeth,  on  the  17th  of  August, 
1831,  during  a  thunder-storai,  which,  at  his  own 
desire,  he  was  raised  in  his  bed  to  behold.  His 
pictures  are  signed  Pat^.  Nasmyth.  Among 
Nasmyth's  better  works  we  may  name: 

London.  Kat.  Gall.     Cottage  in  Hyile  Tark. 

„  „  The  Angler's  Xook. 

„  „  Landscape      with       a      furzy 

common. 

„  „  A  Cascade. 

„  „  A  Country  Road, 

„  „  Landscape  with  River. 

„  „  Lake  Scene. 

„    South  Kensington.    Sir  Philip  Sydney's  Oak,  Pens- 
hiu'st. 

^  ,,  Cottage  by  a  Brook. 

,,  >>  Rick-yard. 

View  of  St.  Albans. 
Distant  View  of  Edinburgh. 
View  of  Windsor  Castle. 
A  Hampshire  Landscape. 

NASOCGHIO,  Giuseppe,  a  native  of  Bassano, 
who  painted  in  the  style  of  the  quattrocentisti, 
but,  according  to  Lanzi,  left  a  picture  dated  1529. 
Two  more  artists  of  this  name,  Francesco  and 
Bartolommeo  NASOCCnio,  were  active  in  Bassano 
in  the  16th  century. 

NASON,  PiETER,  painter,  was  bom  early  in  the 
17th  century  at  Amsterdam,  or  The  Hague.  He 
was  a  member  of  the  Guild  of  Painters  of  the 
latter  place,  and  in  1656  was  one  of  the  forty- 
seven  members  who  established  the  '  Pictura' 
Society.  From  a  MS.  by  Pieter  Terwesten,  it 
appears  not  improbable  that  Nason  was  a  pupil  of 
Jan  van  Ravensteyn  ;  and  it  is  believed  that  his 
name  has  been  effaced  from  pictures  since  at- 
tributed to  Mierevelt,  Moreelse,  and  above  all  to 
Ravensteyn.  It  is  certain  that  he  painted  the 
portrait  of  Prince  Mauritz,  Governor  of  the 
Brazils,  engraved  by  Houbraken,  and  those  of 
Charles  the  Second  of  England,  engraved  by  C. 
Van  Dalen  and  Sandrart,  and  of  the  Grand 
Elector.  At  Berlin  there  is  a  full-length  portrait, 
dated  1667,  of  the  latter,  by  Nason  ;  also  a  fine 
picture  of  still  life,  representing  gold,  silver, 
and  glass  vessels,  ic. ;  likewise  a  portrait  by  him 
signed  and  dated  1670.  There  are  others  at 
Copenhagen  and  at  Rotterdam.  The  date  of  his 
death  is  not  known,  but  his  life  was  long.  Redgrave 
gives  the  initial  of  his  Christian  name  wrongly  as  R. 

NAST,  Thomas,  American  caricaturist  and 
black-and-white  artist,  was  born  at  Landau  in 
Bavaria  on  Sept.  27,  1840.  He  went  to  America 
with  his  parents  at  the  age  of  six,  and  after  very 
little  instrtiction  began  his  artistic  career  by 
supplying  illustrations  and  caricatures  to  '  Frank 
Leslie's  Illustrated  Newspaper,' 'Harper's  Weekly,' 

5 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  other  periodicals.  In  1860  he  was  sent  to 
En<,'land  by  the  '  New  York  Illustrated  News 'to 
illustrate  the  prize-fight  between  Heenan  and 
Sayers.  He  then  joined  General  Medici  as  artist- 
correspondent  in  the  campaign  conducted  by 
Garibaldi  in  1860,  furnishing  sketches  for  various 
English,  French,  and  American  papers.  On  his 
return  to  America  he  gained  a  high  reputation  as 
an  artist  durin?  the  Civil  War,  and  became  a 
cartoonist  to  '  Harper's  Weekly.'  As  a  political 
cartoonist  he  had  wide  influence,  his  work  having  an 
ingenious  distortion  and  a  subtlety  that  made  him 
a  dreaded  opponent.  His  most  trenchant  campaign 
was  his  attack  on  Tammany  Hall  in  New  York. 
He  illustrated  a  number  of  books,  made  designs 
for  panoramas,  and  travelled  on  several  lectiiring 
tours.  He  also  executed  a  number  of  oil-paintings, 
one  of  which,  representing  the  departure  of  the 
7th  Regiment  of  New  York  for  the  war  in  1861, 
is  in  tlie  armoury  of  the  regiment,  of  which  at  the 
time  of  his  death  Nast  was  a  veteran  member. 
In  1871  he  supplied  thirty-three  illustrations  to 
'The  Fight  at  Uame  Europa's  School,' published 
in  Londun  in  1871  ;  and  in  187.3  illustrated  a  New 
York  edition  of  the  '  Pickwick  Papers.'  For  some 
years  before  his  death  he  was  American  Consul 
at  Guayaquil  in  Ecuador.  He  died  in  January 
1903.  M,H. 

NATALE.    See  Schiavoni. 

NATALI,  Carlo,  called  II  GnABDOLINO,  was 
bom  at  Cremona  about  the  year  1590.  He  was 
first  a  disciple  of  Andrea  Mainardi,  but  afterwards 
studied  at  Bologna,  under  Guido  Reni.  There  are 
several  of  his  works  at  Genoa  and  Cremona,  where 
he  also  distinguished  himself  as  an  architect.  One 
of  his  best  works,  as  a  painter,  is  a  picture  of 
'St.  Francesca  Romagna,'  in  the  church  of  San 
Gismondo  at  Cremona.  He  lived  to  above  the 
age  of  ninety-three,  for  he  was  still  alive  in  1683. 

NATALI,  Giovanni  Battista,  the  son  of  Carlo 
Natali,  was  born  at  Cremona  about  the  year  1630, 
and  distinguished  himself  as  a  painter  and  en- 
graver. After  receiving  some  instruction  from 
nis  father,  he  went  to  Rome,  where  he  entered  the 
school  of  Pietro  da  Cortona.  On  his  return  to 
Cremona,  he  painted  several  pictures  for  the 
churches,  and  established  an  academy  in  which  he 
cultivated  the  principles  of  Cortona,  though  with- 
out many  followers.  In  the  church  of  the  P.  P. 
Predicatori,  is  a  large  picture  by  him,  embellished 
with  architecture,  representing  '  St.  Patriarca  burn- 
ing the  Books  of  the  Heretics.'  He  died  about 
the  year  1700. 

NATALI,  Giuseppe,  was  the  head  of  a  family 
established  at  Casal  Maggiore,  in  the  Cremonese, 
many  members  of  which  were  employed  in  archi- 
tectural and  decorative  painting.  Giuseppe  was 
bom  in  1652,  and  died  in  1722.  His  brothers 
Francesco,  Pietbo,  and  Lorenzo  worked  with  him. 
His  son  Giambattista  died  young,  and  Francesco's 
son  of  the  same  name,  after  being  appointed  court 
painter  to  the  King  of  Naples,  died  before  the 
middle  of  the  18th  century.  Giovanni  Battista 
Zaist,  who  wrote  the  memoirs  of  the  painters  of 
Cremona,  was  a  pupil  of  Giuseppe  Natali. 

NATALINO  riA  MURANO.     See  Mdrano. 

NATALIS,  Michjlel,  was  bom  at  Liege  in  1606 
or  1609,  and  first  instmcted  in  engraving  by  his 
father,  who  was  medallist  to  the  Bishop,  and  by 
Carl  de  Mallery.  He  afterwards  went  to  Paris  and 
Rome,  where  he  was  introduced  by  Sandrart  to 
Prince  Giostiniani,  for  whom,  in  conjunction  with 
6 


Theodor  Metham,  Regnier  Persyn,  and  others,  he 
engraved  the  antique  statues  in  his  gallery.  In 
1653  he  was  court-engraver  to  the  Elector  Maxi- 
milian Heinrich  at  Cologne,  and  engraved  in  1658 
the  portrait  of  the  Emperor  Leopold.  He  was 
still  alive  in  1670.  He  engraved  a  few  portraits, 
which  are  among  the  best  of  his  prints.  We  have, 
among  others,  the  following  by  him  : 

portraits. 

Josephos  Jastinianns  Benedlcti  Filius;  ilich.  NatalU 

fee. 
Jacob  Catz,  Pensionary  of  Holland,  and  Poet ;  after  du 

Bordieu. 
Eugene  d'Alamond,  Bishop  of  Ghent. 
Ma.\imilian  Emanuel,  Elector  of  Bavaria ;  after  J.  Saur 

drart. 
Friidrich,  Count  of  Merode. 
Ernestine,  Princess  de  Li^-ne ;  after  Van  Dyck. 
The  Marquis  del  Gua-sto,  with  his  Mistress  represented 

as  Venus  ;  after  Titian. 

SDFJECTS  AFTER  VARIOUS  MASTERS. 

The  Holy  Family ;  after  Raphael. 

The  Virgin  and  Inmnt  Jesus,  with  St.  Joseph  seated 
behind  ;  afterAndrea  del  Sarto. 

The  Holy  Family;  after  A'.  Poussitu  The  first  im- 
pressions are  before  the  child  was  draped. 

The  Holy  Family,  with  angels  presenting  flowers ; 
after  K  Bourdon. 

The  Virgin  holding  the  Infant  Christ,  who  is  sleeping, 
with  St.  John  by  her  side  ;  after  the  same.  The  6r8t 
impressions  are  before  the  bosom  of  the  Virgin  was 
covered. 

The  Assembly  of  the  Carthusians ;  in  four  sheets ; 
after  Bertholet  Flematl. 

Mary  washing  the  Feet  of  Christ ;  after  Rubens. 

The  Last  Supper  ;  after  Diepenleeck. 

NATHE,  Christoph,  a  landscape  painter  and 
etcher,  bom  at  Niederberlau  in  Upper  Lusatia  in 
1753.  He  studied  under  Oeser  at  Leipsic,  and 
travelled  in  Silesia  and  Switzerland.  Of  his 
etchings  may  be  mentioned  a  collection  of  forty- 
eight  landscapes,  heads,  and  portraits.  He  painted 
in  oils  and  water-colours,  and  made  drawings  in 
sepia.  Nathe  died  at  Schadewalde,  near  Marklissa, 
in  1808. 

NATKER,  (or  Notkeb,)  a  monk  of  SL  Gall,  who 
painted  miniatures  in  the  10th  century. 

NATOIKE,  Charles  Joseph,  painter  and  en- 
graver, was  born  at  Nimes  in  1700,  He  was 
instructed  by  Louis  Galloche  and  Lemoine.  Having 
obtained,  in  1721,  the  first  prize  for  painting,  by 
his  picture  of  '  The  mother  of  Samson  offering 
a  sacrifice  to  God,'  which  is  the  oldest  of  the 
competition  pictures  preserved  in  the  Acad^mie 
des  Beaux  Arts,  he  then  went  to  Rome,  where  the 
Academy  of  Saint  Luke,  having  proposed  the 
subject  of  '  Moses  delivering  the  Law  to  the 
Israelites,'  he  gained  the  first  prize.  In  1751  he 
became  Director  of  the  French  Academy  at  Rome, 
and,  after  he  had  painted  the  dome  of  the  church 
of  Saint  Louis  des  Franijais,  was,  in  1756,  made  a 
Knight  of  the  Order  of  St.  Michael.  He  retired  in 
1774,  and  died  at  Castel  Gandolfo  in  1777.  His 
best  works  as  a  painter  are  '  St  Seba.stian,  with  an 
Angel  taking  an  Arrow  from  his  body  ; '  and  the 
fresco  paintings  (now  much  damaged)  in  the 
chapel  of  Les  Enfants  trouv^s,  engraved  by 
Desplaces,  Fessard,  and  others.  His  works  are 
signed  C.  X.,  or  with  his  full  name.  The  Louvre 
possesses  the  three  following  works  from  his  brush : 

Venus  demanding  arms  for  .,£neas  from  Vulcan. 

The  Three  Graces. 

Juno. 


^/iTiii  //if /un>ih/u//-i/.     \,Utu'r,„  Hir.     \,it/e>mL    ffuJfDm  <■  Hi'cUio/m 


■j: 


PAINTERS  AND  ENGRAVERS. 


He  etched  the  foUowinp  plates,  but  most  of  the  im- 
pressions remaining  of  the  '  Crucifiiion '  and  the 
'  Four  Seasons '  have  been  linished  with  the  burin  : 

The  Crucifixion,  with  Mary  Magdaleue  at  the  foot  of 

the  Cross. 
The  Adoration  of  the  Magi. 
The  Martyrdom  of  St  Fereol. 
Two,  of  the  Sports  of  Children. 
Spring  and  Winter;  etched  by  Natoire,  and  finished 

with  the  burin  by  P.  Aveline. 

His  sister,  Mademoiselle  Natoibe,  who  went  to 
Italy  with  him,  worked  in  pastel. 

NATTES,  John  Ci.adde,  an  English  water- 
colour  painter,  of  the  early  tinted  school,  was  born 
about  17G5.  He  studied  under  Hugh  IJeane,  and 
exhibited  at  the  Royal  Academy  from  1782  to  1814. 
This  very  clever  topographical  draughtsman  was  an 
Irishman  of  vehement  temper  and  wild  enthusiasm. 
He  was  one  of  the  earliest  topographical  painters 
whose  works  had  any  artistic  merit  beyond  tiieir 
accuracy,  and  he  was  able  to  invest  the  scenes  which 
he  represented  with  some  distinct  poetic  charm. 
His  works  appear  in  many  volumes  depicting  Scot- 
land, Ireland,  the  West  of  England,  and  the  northern 
parts  of  France,  all  of  wljich  were  published  by 
himself;  but  occasionally  his  work  was  commis- 
sioned by  other  writers  to  illustrate  their  pro- 
ductions, and  in  the  '  Beauties  of  England  and 
Wales'  and  the  various  volumes  of  the  'Keepsake' 
there  are  mauy  of  his  drawings  to  be  found.  He 
was  one  of  the  founders  of  the  Old  Water-Colour 
Society  and  exhibited  constantly  in  its  Galleries 
and  also  at  the  Royal  Academy,  but  in  1807  he 
was  expelled  from  the  Society  of  Painters  in 
Water-Colours,  having  been  convicted  of  attaching 
his  name  to  certain  drawings  which  were  not  his 
own  work,  and  which  it  is  said  he  had  sent  to  the 
Gallery  because  his  own  works  were  not  ready  in 
time.  He  protested  against  the  expulsion  and 
insisted  that  the  greater  part  of  these  drawings 
were  his  own  work,  and  in  this  he  was  probably 
correct,  but  the  members  refused  to  accept  his 
excuses.  He  continued,  however,  to  exhibit  at  the 
Royal  Academy  up  to  1814.  He  died  at  South 
Molton  Street,  London,  in  1822.  With  his  ver)- 
latest  breath  he  condemned  the  action  of  the  Old 
Water-Colour  Society,  claiming  that  drawings  done 
by  his  pupils,  but  linished  by  himself,  were 
entitled  to  be  called  his  work  and  to  be  shown  in 
his  name.  For  the  support  of  this  argument  he 
was  able  to  produce  many  famous  exami)les  from 
the  works  of  the  old  masters.  Among  the  illus- 
trated works  which  be  published  are  : 

Scotia  Depicts.     1804. 

Hibemia  Depicta.     1802. 

Select  views  of  Bath,  Bristol,  Malvern,  &c.     1805. 

Bath  illustrated.     1606. 

NATTIER,  Jean  Baptiste,  elder  son  of  Jean 
Marc  Nattier,  the  elder.  He  was  a  painter  of 
history  of  small  merit.  Received  into  the  Academy 
in  1712,  he  became  involved  in  a  disgraceful  scan- 
dal, was  committed  to  the  Bastille,  and  there  put  an 
end  to  his  own  life  in  1726. 

NATTIER,  Jea.\  Marc,  commonly  called  Marc 
Nattier,  was  bom  in  Paris  in  1642.  He  painted 
some  excellent  portraits,  and  was  the  father  and 
first  master  of  Jean  Marc  Nattier,  the  younger. 

NATTIER,  Jean  Marc,  son  of  the  last-named 
and  of  Marie'  Courtois,  a  distinguished  miniaturist, 
was  born  in  Paris  in  1685.  He  was  instructed  by 
his  father,  and  afterwards  studied  at  the  Academy, 
and  in  the  Gallery  of  the  Luxembourg.     He  dis- 


tinguished himself  as  a  portrait  painter,  in  which 
capacity  he  was  much  employed.  The  drawings  for 
the  engravings  from  the  pictures  painted  by  Rubens 
for  Marie  de'  Medici  were  by  Nattier.  About  1716 
he  accompanied  M.  Le  Fort,  the  minister  of  Peter 
the  Great,  to  Amsterdam,  where  the  Czar  then  was. 
There  he  painted  the  Czar,  several  members  of 
the  Russian  court,  and  a  picture  of  the  '  Battle  of 
Pultawa.'  He  afterwards  began,  at  the  Hague,  a 
portrait  of  the  '  Empress  Catherine,'  which  was 
never  finished.  In  1718,  Nattier  was  received  into 
the  Paris  Academy  on  the  strength  of  a  '  Perseus 
bringing  the  Medusa's  head  to  the  marriage  feast 
of  Pliineus.'  In  1720,  having  lost  his  accumu- 
lations through  the  schemes  of  Law,  he  resolved 
to  confine  himself  to  portraiture,  which  he  prac- 
tised with  success  for  the  rest  of  his  life.  He  died 
in  Paris  in  1766.  His  life,  by  Madame  Torgal,  his 
daughter,  has  been  published.  Among  his  pictures 
we  may  also  name: 

Dresden.  Gallery.    Portrait  of  Marshal  Saxe. 

Nantes.  Gallery,     Portrait    of   the    famous   dan- 

sense,  M.  A.  Cuppi,  called  La 

Cannarijo, 
„  „  A  Lady  of  Louis  XV.'s  Court 

(portrait). 
Paris.  Louvre.    The  Magdalen, 

NAUDET,  Thomas  Charles,  a  French  landscape 
draughtsman,  and  pupil  of  Hubert  Robert.  He 
flourished  between  1774  and  1810. 

NAUDI,  Angelo,  an  obscure  Italian  of  the  16th 
century,  who  imitated  the  style  of  Paolo  Veronese, 
an<l  was  employed  at  the  court  of  Philip  IV. 

NAUMANN,  Carl  Georg,  German  painter; 
bom  Sept.  13,  1827,  at  Konigsberg  (Prussia) ; 
studied  at  the  Academy  there  under  Rosenberger 
and  afterwards  at  Munich.  He  chose  to  establish 
himself  at  Konigsberg  ;  he  painted  cheerful  genre 
pictures,  many  of  which  have  been  reproduced, 
such  as  'Fasting  Time,'  'The  Postman,'  '  Haiti' 
'Alpine  Roses,'  &c.     He  died  in  December  1902. 

NADMANN,  Friedrich,  was  born  at  Blasewitz, 
near  Dresden,  in  1750,  and  studied  five  years 
under  Casanova  at  the  Academy  there.  He  then 
went  to  Venice,  and  stayed  seven  years  at  Rome, 
where  he  was  a  disciple  of  Mengs.  He  studied 
principally  the  works  of  Raphael,  Guido  Reni, 
and  Titian.  The  Margrave  of  Anspach  appointed 
him  his  court-painter  ;  and  he  was  also  a  member 
of  the  Academy  at  Berlin.  There  is  by  him, 
besides  'The  Hermit,'  and  '  The  portrait  of  Mengs  ' 
(engraved  by  Cunego),  an  altar-piece  in  the  Krerz- 
kirche  at  Dresden.     F.  Naumann  was  alive  in  1815. 

NAUBOKGO,  Michael,  a  Bolognese  painter, 
who,  it  is  believed,  was  a  pupil  of  Guido  Reni. 

NAUINX,  or  Navinx,  a  landscape  painter,  who 
h'ved  at  Hamburg  in  the  17th  century,  and  who  is 
often  confounded  with  Naeuwincx  or  Nauwinck. 
He  painted  Alpine  scenery  in  his  larger  works. 
In  the  smaller,  more  tranquil  scenes  somewhat  in 
the  style  of  Waterloo,  but  his  colouring  runs  into  a 
bluish  green,  or  into  grey.  J.  M.  Weyer  painted 
figures  for  him  in  good  keeping  with  his  landscapes. 
He  died  in  Hamburg,  but  the  date  is  uncertain. 

NAV.\,  Ldis  pe,  a  Spanish  knight  of  Santiago, 
who  practised  art  as  an  amateur  about  1753,  and 
was  a  member  of  the  Seville  Academy. 

NAVARO,  Jdan,  a  Spanish  engraver,  is  stated 
by  Strutt  to  have  resided  at  Seville  about  the 
year  1598.  He  engraved  several  frontispieces  for 
books. 

NAVARRETE.    See  Fernandez  Navarrete. 

7 


A   BIOGRAPHICAL  DICTIONARY  OF 


NAVARRO,  Francisco,  a  Spanish  engraver,  wlio 
executed  tlie  title-page  and  a  large  plate  of  arms, 
for  a  descriptive  account  of  an  aiito-dii-fe  held  at 
Madrid  in  J632,  and  the  title-page  of  a  book 
called 'The  Church  Militant,'  published  by  Fray 
Fernando  Carniayo  y  Salgado  in  1G42.  In  the 
same  year  lie  engraved  an  arcliitectural  title-page 
with  the  effigies  of  Horace,  Persius,  and  Juvenal 
arranged  like  saints  in  a  retahlo,  for  Don  Diego 
Lopez's  'Dissertation  '  on  the  two  latter  satirists. 

NAVARRO,  Juan  Jose,  a  Spanish  admiral  who 
practised  painting  and  designing,  was  born  in  1687. 
He  executed  some  very  clever  pen-and-ink  draw- 
ings in  the  style  of  Callot. 

NAVARRO,  J0AN  Simon,  an  historical  and 
flower  painter,  lived  at  Madrid  about  the  middle 
of  the  17th  century.  A  somewhat  mediocre 
historical  picture  by  him  bears  the  date  1664, 
and  represents  the  Virgin,  of  the  size  of  life, 
employed  in  the  workshop  of  Joseph,  who  is 
sawing  a  board,  while  the  Infant  Jesus  is  forming 
a  cross  in  the  midst  of  a  group  of  angels.  As 
a  painter  of  flowers  he  holds  a  more  respectable 
rank.  In  the  convent  of  the  Shod  Carmelites 
at  Madrid,  are  a  'Nativity'  and  an  'Epiphany' 
by  him,  which  were  formerly  in  the  convent 
of  the  same  order  at  Valderaoro. 

NAVEZ,  Francois  Joseph,  a  Belgian  historical, 
genre,  and  portrait  painter,  born  at  Charleroi  in 
1787.  He  first  studied  under  Joseph  Francois, 
and  obtained  several  prizes  at  the  Brussels  and 
Ghent  Academies.  He  was  thus  enabled  to  com- 
plete his  studies  in  Paris  under  David,  with  whom, 
when  exiled  from  France,  he  returned  to  Belgium. 
From  1817  to  1822  Navez  was  at  Rome,  and  subse- 
quently settled  at  Brussels.  There  his  fame  was 
already  well  eslablislied,  and  he  was  uuich  em- 
ployed. During  many  years  he  held  a  foremost 
position  among  Belgian  artists,  and  was  Director 
of  the  Brussels  Academy.  Many  pupils  passed 
through  his  studio,  and  honours  were  freely  be- 
stowed on  him.  He  died  at  Brussels  in  18G'J. 
Among  his  works  are  : 

Amsterdam.  Jesuits'  Ch.    Incredulity  of  St.  Thomas, 
„  „  The  Holy  Family. 

„  „  The  Marriage  of  the  Virgin, 

Brussels.  Museum.     Hagar    and     Ishmael    in    the 

Desert, 
ff  „  Athatiah  and  Joash, 

„  „  The  Judgment  of  Solomon. 

„  „  The  Rich  Man  before  Christ. 

„  St.  Gudule.    The  Assumption  of  the  Virgin, 

„  „  The  Raising  of  Lazarus, 

Haarlem.  Gallery.     Raising  the  Shun.imite's  Son, 

„  ,1  The  Meeting  of  Isaac  and  Re- 

becca. 
Munich  NewPinalcothek,    'Spinsters'  of  Fondi. 

NAVLET,  Joseph,  French  historical  painter,  was 
bom  at  Chalons-sur-Marne,  and  studied  under  Abel 
de  Pujol.  Since  1848  he  has  exhibited  at  the 
Salon,  his  chief  works  being  '  The  Martyrdom  of 
Joan  of  Arc'  and  'The  Defeat  of  Attila.'  The 
war  of  1870  supplied  him  with  many  subjects  for 
his  brush.  He  was  also  well  known  as  a  water- 
colour  painter.  He  died  in  1889  at  the  age  of 
sixty-eight. 

NAVLET,  Victor,  French  painter  and  archx>- 
ologist,  died  in  1886. 

NAVOIS,  J.  S.,  who  lived  in  the  second  half  of 
the  17th  century,  was  a  painter  of  landscapes  and 
marines  in  the  manner  of  Bakhuisen.  His  paint- 
Vngs  have  often  been  confounded  with  the  works 
of  that  master. 

8 


NAYS,  — ,  was  a  Flemish  landscape  painter  who 
lived  towards  the  end  of  the  17tli  century.  In 
some  of  his  pictures,  which  are  very  numerous  in 
Belgium  but  of  small  merit,  the  figures  are  painted 
by  Nicolay. 

NAZON,  FBANgois  Henri,  French  painter; 
born  Dec.  25,  1821,  at  R^almont  (Tarn);  was  a 
pupil  of  Gleyre,  and  afterwards  copied  the 
manner  of  Corot.  In  1870  he  settled  at  Montauban. 
Among  his  best  works  are  '  Lever  de  Soleil  k 
Penne,'  now  in  the  Luxembourg,  and  'Moulins  du 
Tarn,'  in  the  Montauban  Museum.  He  died  in 
May  1902. 

NAZZARI,  Bartolommeo,  (or  Nazari,)  was  born 
at  or  near  Bergamo  in  1699,  and  was  first  a  scholar 
of  Vittore  Ghislandi  and  Angelo  Trevisano  at 
Venice,  Afterwards  he  studied  at  Rome  under 
Francesco  Trevisani,  and  then  settled  at  Venice. 
He  was  a  painter  of  history  and  portraits,  but 
particularly  excelled  in  the  latter,  in  which  he 
was  much  employed  at  the  different  courts  in 
Germany.  One  of  the  most  esteemed  of  his  his- 
torical pictures  is  a  '  Holy  Family,  with  St.  Anne,' 
at  Pontremoli.  Ho  died  at  Venice  or  Milan  in 
1758.  He  etched  the  portrait  of  F.  M,  Molza,  at 
Modena.  Bartolozzi  and  A.  Faldoni  have  engraved 
after  him. 

NEAGLE,  John,  an  English  line  engraver,  bom 
in  London  about  1760.     Amongst  his  plates  are: 

The  Royal  Procession  to  St,  Paul's.     1789. 

Several    plates  for    the    Shakespeare  Gallery ;    after 
Wheaileij  and  Smirke. 

The  illustrations  to  Murphy's  '  Arabic  Antiquities  of 
Spain.'     1816, 

NEAGLE,  John,  a  self-taught  American  artist 
who  became  a  very  clever  portrait  painter.  He 
was  apprenticed  to  a  coach-builder  of  Philadelphia 
when  quite  a  lad,  having  been  born  in  that  city  in 
1799.  When  nineteen  years  of  age  he  was  able  to 
relinquish  the  work  to  which  he  had  been  set, 
and  devote  his  time  to  training  in  the  higher 
branches  of  the  profession,  and  eventually  settled 
down  in  New  Orleans,  where  he  sjieedily  became 
well  known  and  very  popular.  He  married  a 
daughter  of  the  artist  Sullj-,  and  from  his  father- 
in-law  received  much  assistance  and  tuition.  When 
he  left  New  Orleans  he  returned  to  his  native  town, 
and  there  he  spent  the  rest  of  his  life,  and  in  that 
city  are  to  be  found  his  most  notable  works,  portraits 
uf  Washington,  Carey,  and  Clay.  Other  portraits 
by  Neagle  can  be  found  at  Boston,  New  Orleans, 
Pittsburg,  and  New  York.     He  died  in  18(J5. 

NEAL,  Elizabeth,  a  still-life  painter  of  the  18th 
century.  It  is  said  that  she  lived  in  Holland,  and 
painted  flowers  which  rivalled  those  by  Seghers. 
None  of  her  works,  however,  can  be  identified. 

NEALE,  John  Preston,  a  very  eminent  English 
architectural  designer  and  engraver,  was  born  in 
1771.  His  father  is  beliered  to  have  been  a  painter 
of  insects.  He  himself  began  his  career  as  a  clerk 
in  the  Post  Office,  but  he  soon  left  clerical  work 
for  topographical  draughtsmanship.  He  painted  a 
few  works  in  oil,  but  his  favourite  method  was  to 
draw  with  the  pen  and  finish  with  washes  of  water- 
colour.  In  1818  he  published  the  first  portion  of 
the  '  History  and  Antiquities  of  the  Abbey  church 
at  Westminster,'  and  in  1823  the  second  part,  form- 
ing together  two  volumes  roj'al  quarto,  containing 
sixty-one  beautiful  engravings. '  The  literary  part, 
consisting  of  notices  and  Biographical  Memoirs  of 
the  Abbots  and  Deans  of  that  foundation,  was 
written  by  E.   W.  Brayley.      Together  with   the 


PAINTERS  AND  ENGRAVERS. 


second  portion  of  this  work,  he  published  six 
volumes,  royal  quarto,  of  '  The  Seats  of  Noblemen 
and  Gentlemen  of  Eughmd,  Wales,  Scotland,  and 
Ireland  ; '  and  in  1829  a  second  series  in  five  vols., 
containing,  in  the  whole,  seven  hundred  and  thirty- 
seven  plates.  The  labour  of  producing  two  such 
important  works  iu  the  period  would  have  been 
sufficient  employment  for  the  most  industrious  de- 
signer ;  but  Neale  was  indefatigable.  During  the 
years  1824  and  1825  he  publislied,  in  conjunction 
with  LeKeux,  '  Views  of  the  most  interesting  Col- 
legiate and  Parochial  Clmrches  of  Great  Britain, 
including  Screens,  Fonts,  Monuments,  &c.,  with 
historical  and  architectural  descriptions,'  containing 
ninety-eight  plates,  in  which  the  talents  of  both 
artists  appear  to  the  greatest  advantage.  He  was  a 
frequent  exhibitor  between  1797  and  1844.  In  the 
earlier  part  of  his  artistic  career  he  painted  many 
architectural  subjects  in  oil,  with  views  of  their 
several  localities,  in  which  he  exhibited  the  feeling 
and  power  of  a  true  landscape  painter.  A  larger 
number  of  his  works  were,  however,  in  water- 
colours,  and  in  1817  and  1818  he  exhibited  at  the 
Water-colour  Society.  But  the  success  that  at- 
tended his  publications  induced  him  to  abandon  the 
palette  altogether,  and  devote  his  energies  and 
skill  to  a  class  of  work  in  which  he  particularly 
dehghted,  and  in  which,  for  a  long  time,  he  stood 
unrivalled.  Many  detached  pieces  were  designed 
and  executed  by  him  for  the  embellishment  of 
other  publications.     He  died  near  Ipswich  in  1847. 

NEALE,  Thomas,  was  an  English  engraver,  who 
flourished  about  the  J'ear  1050.  He  is  supposed 
to  have  been  a  disciple  of  Hollar.  He  engraved 
after  him  twenty-four  subjects  from  Holbein's 
'  Dance  of  Death,'  the  first  of  which  is  marked, 
Paris.  1657.  He  signed  his  prints  with  his  name 
in  full,  or  with  the  letters  T.  N.  He  etched 
several  plates  of  birds  after  Barlow  ;  these  were 
executed  at  Paris  in  1659.  It  is  very  probable,  too, 
that  he  engraved  some  of  the  plates  for  the  eighth 
edition  of  Ogilby's  '  .iEsop.' 

NEALKES,  one  of  the  later  painters  of  ancient 
Greece,  lived  probably  at  Sicyon  about  252  B.C. 
He  is  reg.arded  as  the  principal  representative  of 
the  later  Sicyonian  school.  He  is  said  to  have 
possessed  a  lively  genius,  and  an  accurate  judg- 
ment. Being  engaged  to  paint  a  picture  of  a 
combat  between  the  Persians  and  Egyptians  on 
the  Nile,  and  being  apprehensive  that  the  river 
might  be  mistaken  for  the  sea,  he  introduced  a 
mule  drinking  on  the  border  of  the  Nile,  and  a 
crocodile  ready  to  attack  it,  thus  rendering  the 
scene  of  the  action  quite  unmistakable  I 

NEAPOLI,  Francisco,  a  Spanish  historical 
painter,  was  born  at  Madrid  in  the  15th  century, 
and  is  supposed,  from  the  style  of  his  works,  to 
have  been  a  scholar  of  Leonardo  de  Vinci.  In 
conjunction  with  Pablo  de  Aregio,  it  is  said  that 
he  painted  the  doors  that  enclose  the  great  altar  of 
the  cathedral  of  Valencia.  They  represent  scenes 
from  the  life  of  the  Virgin  Mary.  This  work  was 
finished  in  1506,  and  for  it  the  artists  received 
3000  ducats.  Neapoli  was  the  founder  of  the 
Valencian  school. 

NEBBIA,  Cesare,  was  born  at  Orvieto  about 
the  year  1636,  and  was  the  ablest  scholar  of  Giro- 
lamo  Muziano,  whose  style  he  adopted,  and  whom 
he  assisted  in  the  works  he  executed  for  Gregory 
XIII.,  in  the  Vatican  and  the  Capella  Gregoriana. 
He  was  himself  employed  by  Gregory's  successor, 
Sixtua  v.,  in  superintending  the  works  undertaken 


by  order  of  that  pontiff  in  the  palaces  of  St.  John 
Lateran  and  Monte  Cavallo,  in  tlie  library  of  the 
Vatican,  and  at  the  Scala  Santa,  in  which  he  was 
assisted  by  Giovanni  Guerra  da  Modena.  He 
painted  several  pictures  for  the  churches  in  Rome, 
of  which  the  most  important  are  the  '  Resurrection,' 
in  San  Giaconio  degli  Spagnuoli ;  some  subjects 
from  the  life  of  the  Virgin,  painted  in  fresco,  in 
the  Capella  Borghe.se,  in  Santa  Maria  Maggiore  ; 
and  the  'Crowning  of  the  Virgin,'  in  Santa  Maria 
de'  Monti.     He  died  at  Rome  about  the  year  1614. 

NEBEA,  GalEutto,  the  author  of  two  altar-pieces 
in  the  church  of  S.  Brigida,  at  Genoa.  He  was  a 
native  of  Castellaccio,  near  Alessandria,  and  the 
two  pictures  in  question  are  dated  respectively 
1481  and  1484. 

NEBOT,  B.,  painted  the  portrait  of  Captain 
Thomas  Coram,  the  founder  of  the  Foundling  Hos- 
pital, which  was  in  the  possession  of  D.  Nesbit, 
and  engraved  by  Brooke  in  1751. 

NECK,  Jan  van,  was  bom  at  Naarden  in  1636. 
He  was  the  son  of  a  physician,  who  destined  him 
for  his  own  profession,  but  yielded  to  the  marked 
disposition  his  son  evinced  for  art,  and  placed 
him  under  the  tuition  of  Jacob  de  Backer,  whose 
style  he  followed  with  great  success.  Houbraken 
speaks  of  his  talents  as  an  historical  painter  in  the 
most  flattering  terms,  and  particularly  commends 
a  picture  by  him  representing  the  '  Presentation  in 
the  Temple,'  in  the  French  church  at  Amsterdam. 
He  was  still  more  successful  in  painting  fabulous 
subjects,  and  was  also  an  eminent  portrait  painter. 
He  resided  chiefly  at  Amsterdam,  where  he  died  in 
1714.  The  following  works  by_  him  have  been 
engraved : 

Alpheus  and  Arethusa  ;  by  A.  Blooteling. 
The  Bath  of  Diaua ;  hy  the  same. 

The  portrait  of  the  theologian,  Groeuweyen ;  iy  C. 
Haijens. 

NECKER.    See  De  Neckek. 

NEDEK,  PiETER,  born  at  Amsterdam  in  1616, 
was  a  scholar  of  P.  Lastman,  and  a  painter  of  his- 
tory, portraits,  and  landscapes.     He  died  in  1678. 

N^E,  Denis,  a  French  engraver,  was  bom  in 
Paris  about  the  year  1732,  and  died  in  1818.  He 
was  a  pupil  of  J.  P.  le  Bas,  has  engraved  several 
plates  in  the  style  of  that  artist,  and  first  brought 
himself  into  notice  by  a  new  edition  of  the  '  Recueil 
des  Peintures  antiques '  of  Caylus  and  Mariette. 
Among  others,  he  executed  several  vignettes  for 
Ovid's  Metamorphoses,  published  in  Paris,  and  en- 
graved several  landscapes  after  A.  Van  de  Velde 
and  other  Dutch  masters.  In  conjunction  with 
Masquelier  he  engraved  '  Les  Tableaux  pittoresques 
de  la  Suisse '  and  '  Le  Voyage  pittoresque  de  la 
France.'  He  left  some  fifty-two  plates,  including 
the  following: 

The  Massacre  of  St.  Bartholomew  ;  'after  Gravelot. 

Three  Views  in  Martinique ;  after  the  Chexalier 
rf'  Epernay. 

Benjamin  Franklin  ;  after  ChariitonteL 

A  View  of  the  City  of  Lyons  ;  after  IjiUemand. 

The  Environs  of  Frascati ;  after  the  same. 

A  View  of  Tivoli ;  after  the  same. 

NEEFFS.  (misspelt  Neefs,  Neef,  and  Nefs,) 
JACOBD.S.  This  Flemish  engraver,  a  member  of  a 
large  family  of  artists,  was  bom  early  in  the  17th 
century.  He  was  probably  the  grandson  of  the 
elder  Pieter  Neeifs,  the  painter,  and  distinguished 
himself  by  the  plates  he  engraved  after  Rubena, 
Van  Dyck,  and  the  other  celebrated  painters  of 
the  Flemish  school.     His  works,  which  are  dated 

9 


A  BIOGRAPHICAL  DICTIONARY  OF 


from  1632  to  1645,  are  principally  executed  with 
tlie  burin.  The  year  of  his  deiitli  is  not  known. 
The  following  are  some  of  his  best  plates : 

PORTRAITS. 

Ga.'ipar   Nennius,  Bishop  of   Antwerp ;   after    Gerard 

Segers. 
Gio.  ToUenario,  Jesuit ;  after  P.  Fruytiers. 
Frana  Snyders,  Painter;  after  I'an  Di/ck. 
.AJithODis    de    Tassis,    Canon   of  Antwerp;    after  the 

same. 
The  Marchioness  of  Barlemont,  Countess  d'Egmont; 

after  the  same. 
Jesse  de  Ilertoghe  ;  after  the  same. 
Martin  Kyekaert,  Painter ;  after  the  same. 

SUBJECTS   AFTER    VARIOUS    MASTBRS. 

The  Fall  of  the  Angels  ;  after  Buhens. 

Tlie  Meeting  of  Abraham  and  Melchizedek ;  after  the 

same. 
The  Crucifixion,  with  the  Virgin  and  St.  John ;  after 

the  same. 
St.  Augustine ;  after  the  same. 
The  Martyrdom  of  St.  Thomas  ;  after  the  same. 
The  Judgment  of  Paris,  and  the  Triumph  of  Galatea, 

called  the  Ewer  of  Charles  I. ;  after  the  same  ;  scarce. 
Christ  and  the  Six  Penitents  ;  after  Gerard  Seyers. 
Job  and  his  "Wife  ;  after  the  same. 
The  Martyrdom  of  St.  Lievin  ;  after  the  same. 
Christ  appearing  to  Magdalene  ;  after  the  same. 
Christ  brought  before  Pilate ;  after  J.  Jordaens. 
The  Satyr,  with  the  Peasant  blowing  Hot  and  Cold ; 

after  the  same. 
St.  Eoch  interceding  for  the  Persons  attacked  by  the 

Plague ;  after  Erasmus  Quellinus. 

NEEFFS,  PiETES,  the  elder,  was  born  at  Ant- 
werp in  1577  or  1578.  He  was  the  scholar  of 
Hendrik  van  Steenwyck  the  elder.  He  painted 
the  interiors  of  the  churches  in  Antwerp  and  its 
neiglibourliood,  often  introducing  candle-light 
eflecte.  His  niech.mical  skill  was  great,  but  his 
hand  was  heavier  than  that  of  Steenwyck,  and  his 
colour  less  pleasing.  The  figures  in  his  pictures 
were  painted  by  F.  Francken,  Van  Thulden, 
Teniers,  and  Velvet  Breughel.  Neeffs  died  between 
1657  and  1661.  Many  of  his  best  pictures  are  in 
England,  but  the  museums  of  Paris,  Amsterdam, 
Rotterdam,  Brunswick,  Cassel,  Munich,  Geneva, 
"Vienna,  and  St.  Petersburg  are  also  rich  in  his 
works. 

NEEFFS,  PiETER,  the  younger,  the  son  and 
scholar  of  Piettr  Neeffs  the  elder,  was  bom  at 
Antwerp  in  1601,  and  died  after  1675.  He  painted 
similar  subjects  to  tliose  of  his  father,  but  they  are 
greatly  inferior,  both  in  the  neatness  of  the  finish- 
ing and  the  correctness  of  the  perspective.  Several 
of  his  paintings  are  in  the  possession  of  the  Mar- 
quis of  Hertford,  and  others  at  the  Hague,  in  the 
Vienna  Academy,  and  the  Liechtenstein  Gallery. 

NEEL,  ScHEELEN.   See  Molenaer,  Corn. 

NEELE,  Samuel  John,  an  English  engraver, 
who  was  born  in  1758,  and  died  in  1824.  His  em- 
ployment was  principally  illustrating  antiquarian 
works  and  engraving  maps ;  but  he  contrived  to 
do  well  for  himself  in  a  pecuniary  sense. 

NEER.     See  Van  der  Neer. 

NEES.     See  Nes. 

NEESSA,  Alonzo  de,  a  Spanish  painter  born  in 
the  neighbourhood  of  Madrid  in  1C28.  There  are 
pictures  by  him  in  the  Monastery  of  the  Observ- 
ants in  that  city.     He  died  in  1C68. 

NEFF,  TiMOTHEiis  Carl  von,  a  Russian  painter, 
born  in  1805  at  Korkulla,  in  Esthonia.  He  studied 
at  Dresden  under  Hartmann,  and  at  Rome.  In 
1826  he  returned  to  Russia  and  settled  at  St.  Peters- 
burg.    He  became  court  painter  in  1832,  and  in 

10 


1839  a  member  of  the  Academy,  in  which  he  was 
appointed  professor  in  1865.  From  1842  he  was 
much  employed  on  the  decorations  of  St.  Isaac's 
Cathedral,  and  his  picture  of  the  patron  saint  there 
is  one  of  his  best  works.  Many  members  of  the 
Imperial  family  sat  to  him  for  their  portraits.  He 
died  at  St.  Petersburg  in  1877.  Some  of  his  works 
recall  those  of  Leopold  Robert.  At  the  Hermitage 
there  are  the  following  by  him : 

La  Baigncuso.     1858. 

Two  Girls  m  a  Grotto.    1859. 

NEGKER  (Necker).    See  De  Necker.  _ 

NEGKE,  Matthieu  van,  was  an  historical  and 
architectural  painter,  who  lived  about  1620  or 
1630.  In  the  cathedral  of  Tournay  there  is  a  '  Holy 
Family'  by  him,  with  a  glory  of  angels,  dated 
1623.  Descamps  mentions  him,  but  there  are  no 
particulars  of  his  life. 

NEGRE,  Nicholas  van,  an  excellent  Flemish 
portrait  painter;  perhaps  the  son  of  Matthieu.  He 
flourished  about  1645.  Snyderhoef  engraved  his 
portrait  of  Salmasius  in  1641  ;  C.  van  Dalen  that  of 
Spanheini  in  1644  ;  and  there  are  other  plates  after 
his  work. 

NEGRI,  Gi.\nfrancesco,  also  called  Francesco 
de'  Ritratti,  from  the  excellence  of  his  portraits, 
was  born  at  Bologtia  in  1593.  He  was  instructed 
by  Odoardo  Fialetti  at  Venice,  and  was  the  foundiT 
of  an  academy  of  arts,  called  Degl'  Indomiti,  in  his 
own  house.  He  was  also  a  poet,  translated  parts 
of  Tassu's  works  into  the  Bolognese  dialect,  and 
wrote  other  books.  His  eldest  son  Pietro  Negri 
painted  in  the  stylo  of  his  instructor  Zanchi.  There 
is  by  him  in  the  Gallery  at  Dresden,  'The  Death 
of  the  Empress  Agrippina  in  the  presence  of 
Nero.'  He  died  at  Bologna  in  1659.  His  son 
Bianco,  who  was  a  Canon  of  St.  Petronio,  and  an 
authi'r,  also  painted. 

NEGRI,  Pier  MARTiRE,was  a  native  of  Cremona, 
and  flourished  about  the  year  1600.  According  to 
Zaist,  he  was  a  disciple  of  Giovanni  Battista  l.'rotti, 
and  distinguished  himself  as  a  painter  of  history 
and  portraits.  He  afterwards  studied  at  Rome, 
and  was  received  into  the  Academy  of  St.  Luke. 
Pictures  by  him  exist  at  Cremona  and  Pavia. 

NEGRON,  LuciAN  Carlos  de,  a  Spanish  genre 
painter,  who  flourished  about  1660.  He  was  one 
of  the  founders  of  the  Seville  Academy. 

NEGRONE,  (or  NIGRONE,)  Pietro,  a  native  of 
Calabria,  was  born  about  the  year  1600.  Accord- 
ing to  Dominici,  Jie  was  a  disciple  of  Giovanni 
Antonio  d'Amato,  and  also  studied  under  Marco 
Calabrese.  At  Naples,  in  the  church  of  Santa 
Maria  Donna  Romata,  are  two  pictures  by  him, 
representing  the  'Adoration  of  the  Magi,'  and  the 
'Scourging  of  Christ,'  painted  in  the  year  1541  ; 
also  in  the  church  of  Santa  Agnello  a  picture  re- 
presenting the  Virgin  Mary  and  Infant  Christ  in 
the  clouds,  with  a  glory  of  angels,  and  below  St. 
Catharine,  St.  Jerome,  and  St.  Onofrio.  Negrone 
died  in  1665.  He  was  sometimes  called '  II  giovane 
Zingaro,'  the  young  gipsy. 

NEGRONI.     See  Neroni. 

NEGROPONTE,  Era  Antonio,  an  early  Venetian, 
and  contemporary  with  Jacobello  del  Fiore.  In 
the  church  of  San  Francesco  della  Vigna,  Venice, 
there  is  a  colossal  '  Virgin  in  adoration'  by  him 
which  is  inscribed  "  Prater  Antonius  da  Negropon. 
pinxit,"  80  that  Boschini  and  Sansovino  are  mis- 
taken in  calling  him  Fra  Francesco.  To  Fra 
Antonio  Crowe  and  Cavalcaselle  also  ascribe  tenta- 


PAINTERS  AND  ENGRAVERS. 


lively  a  '  Madonna'  at  Legnano,  in  the  oratory  of 
the  Disciplina. 

NEHER,  Bernard,  liistorical  painter,  was  born 
at  Biberach,  Wiirteraburg,  in  1800.  After  some 
early  instruction  in  his  native  place,  he  studied  at 
Stuttgart  under  Danneeker,  and  at  Munich  under 
Cornelius,  and  showed  so  much  talent  in  his  early 
essays  that  he  was  relieved  from  military  service, 
and  granted  a  government  pension  for  further  study 
in  Italy.  He  stayed  four  years  at  Rome,  and  wliile 
there  painted  (1831)  his  '  Raising  of  the  Widow's 
Son,'  now  in  the  Stuttgart  Gallery.  On  his  return 
to  Munich  he  was  commissioned  to  paint  a  fresco 
on  a  large  scale  over  the  restored  '  Isarlhor,'  repre- 
senting the  entry  of  Ludwig  of  Bavaria  after  the 
battle  of  Ampfing.  He  was  afterwards  engaged 
on  decorative  paintings  at  the  Court  of  Weimar, 
and  designed  a  number  of  cartoons  for  glass-paint- 
ing. In  1841  he  became  Director  of  the  I.eipsic 
Academy,  and  in  1854  Director  of  the  Art  School  of 
Stuttgart.  He  died  in  1886.  His 'Descent  from 
the  Cross '  is  in  the  Stuttgart  Gallery. 

NEHER,  Joseph,  a  decorative  painter,  born  at 
Buchan  in  Wurtemburg  in  1788.  He  painted  at 
Stuttgart,  and  must  not  be  confounded  with  an 
artist  of  the  same  name,  the  father  of  Michael 
Neher. 

NEHER,  Michael,  was  bom  at  Munich  in  1798, 
and  the  son  of  Joseph  Nehek,  a  citizen  and  painter 
of  that  city,  but  of  a  family  from  Biberach. 
Michael  received  a  chissical  education,  and  was 
instructed  in  the  rudiments  of  painting  by  Mitterer, 
and  in  1813  entered  the  Academy  at  Munich. 
From  1816  to  1818  he  studied  under  Mattliias 
Klotz,  and  was  then  employed  by  Angelo  Quaglio 
in  his  tlieatrical  work.  After  having  worked  for 
some  time  as  scene-painter  at  the  Court  Theatre, 
he  went  to  Trent,  Milan,  and  Trieste,  and  painted 
portraits.  In  1819  he  was  encouraged  by  Hierony- 
mus  Hess,  at  Rome,  to  devote  himself  to  genre 
painting.  On  his  return  to  Munich  in  1823  he 
became  Conservator  of  the  Art  Union.  In  1839 
he  painted  several  saloons  in  the  Hohenschwangen 
Schloss,  after  sketches  of  Schwind,  Gasner,  and 
Schwanthaler.  He,  however,  in  1837  devoted  him- 
self entirely  to  architectural  painting,  and  travelled 
for  improvement  on  the  Rhine,  and  in  Belgium. 
He  was  received  an  honorary  member  of  the 
Academy  at  Munich  in  1876,  and  died  there  in  the 
same  year.  His  best  performances  are  the  following 
views: 

The  Cathedral  of  Magdeburg. 

The  Minster  at  Fribourg. 

The  Town-hall  and  St.  Peter's  Church  at  Lowen. 

The  Cathedrals  at  Frankfort,  Prague,  and  Mechlin. 

NEHRLICH.     See  Nerly. 

NEIDLINGER,  (or  Neydlinger,)  Michael,  a 
painter  of  Niiniberg,  and  a  pupil  of  G.  Strauch, 
and  at  Amsterdam  of  J.  de  Backer.  He  went  iiito 
Italy  and  lived  long  at  Venice,  where  he  painted 
for  the  Monasterio  di  Santa  Anna  '  The  Apparition 
of  Jan  Lorenzo  Giustiniani ; '  and  there  are  other 
pictures  by  him  in  that  city.  Neidlinger  died  at 
Venice  in  1700. 

NEIJN.     See  De  Neyn. 

NEIJTS,  GiLLis.     See  Neyts. 

NELLI,  Niccol6,  was  a  native  of  Venice,  and 
flourished  about  the  middle  or  latter  half  of  tlie 
16th  century.  From  the  style  of  his  engraving 
he  is  supposed  to  have  been  a  disciple  of  Marco 
da  Ravenna.  He  engraved  an  architectural  fron- 
tispiece,  with   figures,  for  a  book  of   plans  and 


views  of  cities  and  fortresses,  published  in  1568 
(it  is  inscribed  Nicolo  Nelli  Veneziano/.),  also  other 
subjects  and  portraits. 

NELLI,  Ottaviano  di  Martino,  (or  De  Martis,) 
was  the  son  of  Martino  Nelli  of  Gubbio,  and 
flourished  at  the  commencement  of  the  15th  cen- 
turj'.  In  the  church  of  Santa  Maria  Nuova  at 
Gubbio  is  preserved  under  glass  a  fresco  repre- 
senting the  Madonna  and  Saints,  which  is  signed 
and  dated  M.C.C.C.CIII.,  Morelli  says  IV.,  and  has 
been  chromolithographed  and  published  by  the 
Arundel  Society.  He  also  worked  for  Gian  Gale- 
azzo,  Duke  of  Milan,  at  Perugia  in  1403-4,  and 
moved  to  Uibino  in  1420;  his  death  took  place 
between  1445  and  1450.  The  chapel  of  the  Pahice 
of  Corrado  de'  Trinci,  now  called  the  Palazzo  del 
Govemo,  was  decorated  by  him  in  1424,  and  the 
work-can  still  be  seen  at  Foligno. 

NELLI,  PlETRO,  was  born  at  Massa  in  1672,  and 
was  instructed  by  Morandi,  whose  style  he  imitated 
in  his  paintings  for  several  churches  at  Rome. 
Ho  was  alive  in  1730,  and  distinguished  himself 
greatly  as  a  painter  of  portraits,  among  which 
are: 

Cardinal  Lodovico  Pico  (engraved  hi/  Frey). 
Andrea  Giuseppe  Rossi  (enffraved  by  Billy). 
Bishop  Giovanni  Francesco  Tenderini  (enc/ravtd  iy  Gio- 
vanni Rossi). 

NELLI,  Suor  Plautilla,  a  lady  of  a  noble  family, 
was  born  at  Florence  in  1523,  and  probably  in- 
structed by  Fra  Paolino  of  Pistoja.  She  became 
in  1537  an  inmate,  and  afterwards  prioress,  of  the 
Dominican  convent  of  St.  Catherine  at  Florence, 
and  painted  for  their  church  a  'Descent  from  the 
Cross,'  which  is  said  to  have  been  from  a  design 
by  Andrea  del  Sarto,  and  is  probably  the  same  as 
that  now  to  be  seen  at  the  Florence  Academy  ; 
also  a  picture  of  the  '  Adoration  of  the  Magi.'  In 
Vasari's  time  a  large  collection  of  drawings  by 
Fra  Bartolommeo  was  in  her  possession,  and  at 
Dresden  is  a  drawing  by  her  of  '  St.  Anthony 
tempted  by  a  beautiful  woman,'  which  appears 
to  bo  an  imitation  of  the  Frate's  work.  She  died 
in  1588.     There  are  by  her : 

Berlin.     Mag.  of  Jf us.     A  painting  of  1524. 
Florence.      Academy.     A  Descent  from  the  Cross. 
„     S.  M.  Xovella.    A.  Last  Supper. 

NELLO  DE  DINO,  an  unimportant  Tuscan  painter 
of  the  14th  century.  He  was  a  friend  of  BufiEal- 
macco. 

NELLO  DI  Giovanni  FALCONE,  Bernardo,  a 
painter  of  the  14th  century,  who  is  known  by 
report  only,  as  no  authentic  work  by  him  is  in 
existence.  He  studied  under  Orcagna,  and  painted 
much  in  Pisa,  in  the  cathedral  and  in  the  Canipo 
Santo,  where  there  is  a  fresco  said,  by  some,  to  be 
by  hira.  Lanzi  says  he  is  supposed  to  be  the  same 
artist  as  Nello  di  Vanni. 

NENCI,  Francesco,  was  bom  about  1782,  and 
studied  at  the  Academy  at  Florence.  He  at  first 
painted  portraits,  but  abandoned  tliat  branch  of 
art  for  historical  painting.  His  chief  performance 
is  at  Florence  in  the  Villa  Poggio,  and  represents 
the  *  Assumption  of  the  Virgin.'  In  1821  he  made 
a  series  of  designs  for  Dante's  '  Divina  Commedia.' 
He  was  for  a  time  director  of  the  Academy  at 
Siena. 

NEPVEU,  Laurens  Theodor.  was  bom  at 
Utrecht  in  1782.  He  was  a  politician,  and  only 
practised  painting  as  an  amateur.  His  master  in 
art  was  B.  van  Straaten.     Nepveu  died  in  1839. 

11 


A  BIOGEAPHICAL  DICTIONARY   OF 


NERANUS,  A.,  painter,  flourished  about  the 
middle  of  the  17th  century,  and  imitated  the 
manner  of  Rembrandt.  In  Cardinal  Fesch's  col- 
lection there  was  a  pictuie  by  him  representing 
•Pilate  washing  his  hands.' 

NERENZ,  WiLHELM,  genre  painter,  was  bom 
at  Berlin  in  1804,  first  studied  under  Wilhelm  von 
Schadow,  until  the  removal  of  the  latter  to  Diissel- 
dorf .  In  the  next  year  he  was  employed  as  picture- 
restorer  in  the  Royal  Museum,  but  in  18.S3  followed 
his  master,  von  Schadow,  to  Dusseldorf,  where  he 
remained  three  years.  He  then  returned  to  Berlin, 
where  he  resided  for  the  remainder  of  his  life,  with 
the  exception  of  a  short  time  in  Dresden  and  Italy. 
He  died  at  Berlin  in  1871.  Of  his  works  may  be 
mentioned : 

Berlin.    Nat.  Gallery.    At  the  Armonrer's.    1840. 
The  Goldsmith's  Daughter  {.from  Uhland). 
Katbcben  von  Heilbronn  {from  Kleist). 
The  end  of  the  Wanderjahrt. 

NERI,  Giovanni,  called  Neki  degli  Uccelli,  a 
Bolognese  artist,  celebrated  for  his  paintings  in 
miniature  of   animals,  birds,  and  fishes.     DJysses 
Aldrovandi    had  seven  books  full   of  his   works. 
He  died  in  the  year  1575. 
NERI,  Paolo  del  Maestro.    See  Paolo. 
NERI  Dl  BICCI.     See  Bicoi. 
NERITO,   Jacopo  di,  lived  early   in   the  14th 
century.     He  was  probably  born  at   Padua,  and 
a  pupil   of  Gentile  da  Fabriano.     According   to 
Eossetti,  he  painted  a  'St.  Michael  and  Lucifer' 
of    gigantic  proportions,  once   in   the   church  of 
San    Michele,   Padua.     In  the  Communal  Gallery 
of  that  city  there  are  some  panels  by  him.     No 
dates  can  be  given  of  his  birth  or  death. 

NERONI,  Bartolommeo,  or  Negroni,  called 
Mae.stro  Riccio,  was  a  native  of  Siena,  and  flour- 
ished from  1550  to  1573.  He  was  a  pupil,  and 
afterwards  son-in-law  and  assistant,  of  Bazzi 
(Sodoma).  He  painted  history,  but  was  more 
celebrated  for  his  perspective  and  architectural 
views.  At  the  Osservanti  at  Siena  is  a  Crucifixion, 
with  a  great  number  of  figures  ;  and  in  the  church 
of  the  Derelitte,  a  '  Descent  from  the  Cross,'  which 
is  painted  entirely  in  the  style  of  his  master.  Two 
large  paintings  by  him  in  the  Academy  of  that 
city  are  Florentine  in  style.  He  was  also  dis- 
tinguished as  a  sculptor,  architect,  and  painter  of 
scenery.  One  of  his  scenes  has  been  engraved  by 
Andreani. 

NEROCCIO  DI  BARTOLOMMEO  di  BENE- 
DETTO LANDI  was  equally  celebrated  both 
as  sculptor  and  painter.  He  belonged  to  the 
noble  family  of  Landi,  who  are  described  as 
of  Pof;gio  Malevolti,  to  distinguish  them 
from  the  family  of  Landi  Sberghieri.  He 
was  born  in  1447,  and  died  in  1500.  He  was 
twice  married  :  first,  to  Elizabetta,  daughter  of 
Antonio  Cifjalini,  who  died  in  1483  ;  and  secondly, 
in  1493,  to  Lucrezia,  daughter  of  Antonio  Paltoni, 
who  bore  him  several  sons,  one  at  least  of  whom 
was  a  painter  like  his  father.  He  was  a  contem- 
porary of  Francesco  di  Giorgio,  and  probably  a 
pupil  of  Lorenzo  di  Fietro  (Vecchietta).  Like  both 
those  artists,  he  left  behind  him  works  in  both 
mediums  of  surpassing  loveliness,  and  is  one  of 
the  greatest  and  most  typical  of  the  Sienese  artists 
of  the  15th  century.  Mr.  Berenson,  in  '  The  Cen- 
tral Italian  Painters  of  the  Renaissance,'  says  of 
him:  "  He  was  Sinione  (Martini)  come  to  life  again. 
Simone's  singing  line,  Simone's  endlessly  retined 
feeling  for  beauty,  Simone's  charm  and  grace — you 
12 


lose  but  little  of  them  in  Neroccio's  panels,  and 
you  get  what  to  most  of  us  counts  more,  ideals 
and  emotions  more  akin  to  our  own,  with  quicker 
suggestions  of  freshness  and  joy."  There  are 
many  records  extant  of  commissions  given  to  hira 
for  statues  and  monuments  still  existing  in  Siena, 
the  most  celebrated  of  which  are  a  St.  Catherine  of 
Alexandria  in  the  chapel  of  St.  Giovanni  in  the 
Duomo  ;  the  tomb  of  Tommaso  del  Testa  Piccolo- 
mini  in  the  same  place,  and  a  wooden  effigy  of  St. 
Catherine  of  Siena  in  the  Oratory  of  that  Saint  in 
Fontebranda.  In  1483  he  designed  the  fine  figure 
of  the  '  Hellespontine  Sibyl'  for  the  cathedral 
pavement.  His  pictures  are  rarely  to  be  found 
outside  Siena,  but  the  AcaiUniy  there  contains 
some  beautiful  examples.  The  collection  in  the 
Palazzo  Saracini  in  Siena  boasts  of  two  good 
'  Madonnas  with  Saints  '  by  him,  and  a  particularly 
charming  '  Virgin  and  Child  with  SS.  Michael  and 
John  the  Baptist'  is  in  the  upper  sacristy  of  the 
Confraternity  della  SS.  Triniti  in  the  same  city. 
We  gather  from  documents  dealing  with  commis- 
sions for  work  given  him  that  he  died  at  some 
date  between  1488-1502,  but  the  exact  year  of  his 
death  is  not  known.  Among  his  pupils  were 
Giovanni  Battista  di  Bartolommeo  Alberti,  Gio- 
vanni di  Tedaldo,  Leonardo  di  Ser  Anibrogio  de' 
Aiaestrelli  (called  Mescolino),  Taldi  di  Vittore,  and 
Achille  di  Pietro  di  Paolo  del  Crogio. 

Bergamo.  ^f. '";;."  \  Madonna. 

Jlorelli,  41.  i 
Berlin.  63a.     Madonna  and  Saints. 

Florence.      Uffizi,  1304.     Fredella.     Ejiisodes   from  the 
Life  of  St.  Benedict. 

Frankfort-  mdd  )  ji^jonna  and  two  Saints. 

on-Main.    Institute^  4.  ) 

,,  „       5a.     Madonna  with   SS.  Catherine 

and  Sebastian. 
London.  Mr.  C.  Sutler.     Madonna. 
Sleiningen.  Holy  Family. 

Newhaven^US-A.  |  Annunciation. 

Janis  Collection,  oi.  ) 
Vans.  jJf.G.  Dreyfus.^.     Claudia. 

„  M.  Martin  Le  Roii.     Tobias  and  the  Angel. 
Siena.  Sola  I'l.  S.     Madonna  with  six  Saints.  1492. 

,^  „       11.     Madonna  with  SS.  Bernardino 

and  Jerome. 
,,  „       13.     Madonna  with   SS.  Catherine 

and  Bernardino. 
J.  „       14.    Madonna  with  SS.  Catherine 

and  Jerome. 
„  „       19.     Triptych.     1479. 

jj  „       22.     Madonna  with  two  Saints. 

'„  Sala  VII.  2.     Cassone.     Triumph  of  David. 

jj  „         8.     Fragment  of  an  Annunciation. 

Arckivio.     Book  cover :  Madonna  protect- 
ing Siena.     1480. 
,,     Palatzo  Saracini.     Madonna  with   St.    Catherine 

and  the  Magdalen. 
jj  „  Madonna  with  Baptist  and  tlie 

Magdalen. 
„  Confraternithielld^  Madonna  with  St.  Michael  and 
SS.Trtmti.  V     the  Baptist. 

{Sa/yrtsty  upstairs.)  J  ^ 

„     Duomo  Favement.  )  ReUespontine  Sibyl.     14S3. 
(trom  desiyn.)     \  ^ 

R.H.H,C. 

NERVESA,  Gasparo.  painter,  a  native  of  Friuli, 
and,  according  to  Ridolti,  a  pupil  of  Titian.  No 
picture  by  him  can  now  be  pointed  out,  but  he  is 
known  to  have  painted  at  Spilimbergo,  and  perhaps 
at  Trevigi,  about  the  middle  of  the  16th  century. 

NES,  Jan  Van,  (or  Nkes,)  was  bom  at  Delft 
probably  about  the  year  1600,  and  was  one  of  the 
best  scholars  of  Michiel  J.  van  Mierevelt.  He 
travelled  in  France  and  Italy,  and  studied  some 
time  at  Rome  and  at  Venice.  On  his  return  to 
Holland  he  painted  some  historical  pictures,  which 


NEROCCIO  DI  BARTOLOMMEO 


//.  Burton  fhalo] 


Santa  Trinitu,  Siena 


THE  MADONNA  AND  CHILD 


NEROCCIO  DI   BARTOLOMMEO 


//.  tuirloii  j''iioto\  Liiuich  oj  liu  liiiuhiitti,  Suii.i 

THE  MADONNA  AND  CHILD  WITH  SAINTS 


PAINTERS  AND  EXGBAVERS. 


were  deservedly  admired  ;  ami  he  would  probably 
have  distinguished  hiuiself  in  that  branch  of  the 
art,  had  not  the  general  demand  for  his  portraits 
induced  him,  for  the  sake  of  emolument,  to  devote 
himself  entirely  to  them.  The  date  of  his  death 
is  uncertain,  but  he  is  said  to  have  worked  as  late 
as  1670. 

NESBITT, Charlton,  an  English  wood-engraver, 
born  in  1775,  at  Swahvell,  Durham.  He  was 
apprenticed  when  fourteen  to  Beilby  and  Bewick, 
and  gained  two  premiums  at  the  Society  of  Arts. 
Specimens  of  tlie  work  done  by  him  while  with 
Bewick  are  to  be  found  in  the  tail-pieces  of  '  British 
Birds,'  and  in  the  edition  of  Goldsmith  and  Par- 
nell  of  1795.  At  the  end  of  his  apprenticeship  he 
engraved  a  block  15  inches  by  12  from  a  drawing 
by  his  fellow-pupil  Robert  Johnson.  About  1799 
he  moved  to  London,  where  he  obtained  an  ex- 
tensive practice.  Among  the  works  he  illustrated 
were  editions  of  '  Hudibras'  and  of  '  Shakespeare,' 
Sir  Egerton  Bridges'  works,  Ackerman's  '  Re- 
ligious Emblems,'  Northcote's  '  Fables,' &c.  From 
1815  to  1830  helived  at  Swalwell,  and  then  returned 
to  London.     He  died  at  Brompton  in  18.88. 

NESFIELD,  William  Andrew.  This  artist, 
the  father  of  the  well-known  architect  of  the  same 
name,  was  the  son  of  the  rector  of  Brancepeth, 
and  was  educated  at  Winchester,  and  at  Trinity 
College,  Cambridge.  He  entered  the  army  at  Wool- 
wich in  1809,  served  in  the  Peninsula  under  Wel- 
lington, and  was  afterwards  aide-de-camp  to  Sir 
Gordon  Drummond  in  Canada.  On  retiring  from 
the  army  he  devoted  his  talents  to  painting  in 
water-colours,  and  was  elected  an  associate  ex- 
hibitor of  the  Society  of  Painters  in  Water-colours 
in  1828.  The  following  year  he  became  a  member 
of  the  Society  and  one  of  its  most  constant  con- 
tributors. A  drawing  of  '  Bamborough  Castle  '  at 
South  Kensington  is  a  good  example  of  his  style. 
Later  in  life  he  gave  his  chief  attention  to  land- 
scape gardening,  and  many  of  the  improvements 
in  the  Horticultural  Gardens  at  South  Kensington, 
Kew  Gardens,  and  in  St.  James's  Park  are  due  to  his 
skill.     He  died  in  1881,  at  the  age  of  87,  in  London. 

NETO,  EsTEVAO  GoNSALVES,  a  Portuguese  archi- 
tect and  painter  in  miniature.  Nothing  is  known 
of  his  birth,  but  he  was  chaplain  to  the  Bishop  of 
Vizen  and  a  canon  in  1622.  A  missal,  beautifully 
illMmin.ited  by  him  between  1610  and  1622,  is  pre- 
served in  the  Academy  of  Sciences  at  Lisbon.  He 
died  the  29th  of  July,  1G27. 

NETSCHER,  Caspar,  was  born  at  Heidelberg 
in  1639,  and  died  at  the  Hague  in  1684.  His 
father  was  a  sculptor,  and  an  engineer  in  the  Polish 
service,  who  died  in  Prague  when  he  was  only  two 
years  of  age,  leaving  a  widow  with  three  children, 
of  whom  Caspar  was  the  youngest.  The  calamities 
of  war  obliged  her  to  fly  from  Germany,  and  make 
the  best  of  her  way  towards  Holland.  Two  of  her 
children  died  on  the  road,  and  she  arrived  at  Arn- 
heira  in  Guelderland  in  a  state  of  the  utmost 
destitution.  There  an  opulent  physician,  named 
Tullekens,  took  pity  on  her,  and  adopted  the  young 
Netscher.  He  educated  him  with  the  intention 
of  his  following  the  medical  profession,  but  his 
genius  strongly  inclining  to  the  art  of  painting,  it 
was  judged  best  to  give  way  to  it ;  he  was  in  con- 
sequence placed  undi-r  Koster,  a  painter  of  dead 
game  and  still-life,  but  he  did  not  remain  long 
with  him,  as  these  were  not  subjects  suited  to  his 
powers.  He  became  a  disciple  of  Gerard  Terburg, 
and  his  progress  under  that  master  was  great.    On 


leaving  Terburg,  he  determined  to  visit  Italy,  and 
with  that  intention  embarked  at  Amsterdam  for 
Bordeaux,  where  he  was  induced  to  remain  some 
time,  by  the  encouragement  he  received  as  a  painter 
of  portraits,  as  well  as  by  an  attachment  he  conceived 
for  Marie  Godin,  the  niece  of  the  person  at  whose 
house  he  lodged.  They  were  married,  and  this 
union  preventing  his  proceeding  to  Italy,  he  re- 
turned to  Holland,  where  his  talents  promised  him 
a  more  certain  success.  The  pictures  of  Netscher 
usually  represent  domestic  subjects  and  conversa- 
tions, which  are  treated  in  a  style  reminding  us 
of  the  productions  of  Frans  Mieris  and  Terburg. 
His  handling  is  a  little  woolly  and  wanting  in  hfe, 
but  like  his  master,  he  particularly  excelled  in 
painting  white  satin,  silk,  ermine,  &c.  He  some- 
times painted  historical  and  fabulous  subjects,  but 
they  were  not  favourable  to  his  powers  ;  he  was 
more  successful  in  miniature  portraits  of  a  small 
size.  Walpole  says  he  visited  England  on  the 
invitation  of  Sir  William  Temple,  in  the  reign  of 
Charles  II.,  but  did  not  remain  here  long.  The 
following  list  includes  most  of  Netscher's  more 
accessible  works  : 


Amsterdam.       Gallery. 
Berlin.  Musmm. 


Cassel. 


Museum. 


Darm.stadt.         Gallery. 
Dresdea.  Gallery. 


Glasgow.  Gallery. 

»J  n 

Hague.  Museum. 

London.      Xat.  Gallery. 

»»  n 

„  ISriitjewattr  Gall. 


Munich. 


Gallery. 


Paris.  Louvre. 

»»  »» 

Petersburg.  Hermitage. 

Botterdam.  Gallery. 


Four  portraits. 

The  Lute-player. 

The  Kitchen. 

Vertumnus  and  Pomona. 

Two  portraits. 

His  own  portrait. 

A  Lady  with  a  Violoncello. 
i^AndJive  more.) 

Portrait  of  a  Boy  with  a  Dog. 

Lady  at  the  Piano. 

The  Letter-writer  (said  to  be 
the  painter^s  own  portrait). 

The  Doctor's  visit. 

Tlie  Duet. 

Portrait  of  Madame  de  Monte- 
span. 

Portrait  of  Madame  de  Monte- 
span  and  her  son,  the  Due  de 
Maine. 

Lady  with  a  Dog. 

Peasant  'Woman  spinning. 

The  Lace-maker. 

A  Lady  in  a  white  satin  dress. 

Nymphs  adorning  a  statue  of 
Venus. 

A  Princess  of  Orange. 

His  own  portrait,  with  his  Wife 
and  Daughter. 

Mr.  and  Mme.  van  Waalwijk. 

Children  blowing  Bubbles. 

Maternal  Instruction. 

Lady  at  a  Spinning-wheel. 

Portrait  of  George,  Earl  of 
Berkeley. 

Interior  with  two  Ladies  and  a 
Gentleman. 

Vertumnus  and  Pomona  {said 
to  beportraits  of  St.  Evrtmond 
and  the  Ihichesse  de  Mazarin). 

A  Music  Party. 

A  Girl  feeding  a  Parrot. 

Bathsheba  at  the  Bath. 

Night  scene. 

A  Shepherd  with  a  Girl  on  his 
lap. 

The  Singing  Lesson. 

The  Lesson  on  the  Double-bass. 

Portrait  of  Mary  H.  of  England. 

Portrait  of  the  painter. 

Family  scene. 

Two  portraits. 


There  are  several  of  his  miniatures  in  the  Col- 
lection at  Welbeck  Abbey,  and  the  Queen  of 
Holland  has  three. 

13 


A   BIOGRAPHICAL  DICTIONARY  OF 


NETSCHER,  Constaktine,  the  younger  son  of 
Caspar  Netscher,  was  born  at  the  Hague  in  1669 
or  1670.  He  learned  the  first  principles  of  art 
from  his  father,  but  when  he  had  reached  the  age 
of  fourteen,  death  deprived  him  of  that  instructor. 
It  does  not  appear  that  lie  studied  under  any  other 
master,  but  contented  himself  by  imitating  the 
pictures  left  by  his  father.  He  was  very  exten- 
sively employed  in  painting  portraits,  and  was 
encouraged  by  the  principal  personages  of  his  time. 
Among  his  other  patrons,  were  the  families  of 
Wassenaer  and  Duivenvoorden,  wliose  portraits  he 
painted,  with  those  of  the  Earl  and  Countess  of 
Portland.  Descannps  reports,  that  the  earl  used 
every  persuasion  to  prevail  on  him  to  visit  England, 
but  he  declined,  on  account  of  the  irttirm  state  of 
his  health.  His  talents  were  not  confined  to  por- 
traits, as  he  occa.sionally  painted  domestic  subjects 
and  conversations  ;  but  in  these  he  was  very  in- 
ferior to  his  father.  He  was  received  into  the 
Society  of  Painters  at  the  Hague  in  1699,  and  was 
afterwards  appointed  the  Director.  His '  Children  of 
Baron  Suasso'  may  be  mentioned  as  one  of  his 
best  portraits.  His  works  are  to  be  found  at 
Rotterdam,  St.  Petersburg.  Copenhagen,  and  in  the 
La  Caze  collection  in  the  Louvre.  He  died  at  the 
Hague  in  1722. 

NETSCHER,  Theodob,  the  elder  son  and 
scholar  of  Caspar  Netsclier,  was  bom  at  Bordeaux 
in  1661.  At  the  age  of  eighteen  he  visited  Paris, 
under  the  patronage  of  Count  Davaux,  who  had 
been  ambassador  from  France  to  Holland.  He 
here  received  great  encouragement  as  a  portrait 
painter  during  a  residence  of  twenty  years,  which 
caused  him  to  be  known  at  home  as  '  The  French- 
man.' He,  however,  returned  at  last  to  Holland, 
fixed  his  residence  at  the  Hague,  and  was  employed 
by  the  principal  personages  of  the  court.  Des- 
camps  says  he  visited  England  in  1715,  as  pay- 
master to  the  Dutch  auxiliaries.  He  died  at  llulst 
in  1732.  A  portrait  by  him,  dated  1681,  is  in  the 
Rotterdam  Museum.  In  his  larger  pictures  he 
introduced  fruit,  flowers,  Turkey  carpets,  and  other 
decorations,  and  he  was  particularly  successful  in 
representing  grapes  and  peaches. 

NETTLESHIP,  John  Tbivett.  This  distin- 
guished painter  of  animals  was  horn  at  Kettering, 
Feb.  11,  1841  and  was  the  second  of  the  sons  of 
Mr.  Henry  John  Nettleship,  a  solicitor  of  Kettering. 
Northamptonshire.  He  was  educated  at  Durham 
school,  aiii  after  devoting  a  brief  period  of  his  life 
to  other  pursuits,  studied  painting  at  Heatheriey'e, 
and  at  the  Slade  School.  Mr.  Nettleship  devoted 
his  attention  mainly  to  art,  and  for  a  considerable 
period  exhibited  regularly  at  tlie  Academy,  the 
Grosvenor  Gallery,  and  at  a  later  period  at  the 
New  Gallery.  It  was  to  Burlington  House  that  he 
sent  hia  'Puma  Devouring  a  Peacock,'  which  was, 
in  most  respect.s,  his  strongest  and  most  character- 
istic work.  "  His  many  pictures  of  wild  animals 
were  remarkable  for  their  breadth  and  freedom — 
his  beasts  were  always  vigorous  and  well  drawn, 
thoroughly  alive,  and  instinct  with  action.  His 
conceptions  were,  however,  better  than  hi.s  execu- 
tion, which  was  often  rat'ged  and  suggestive, rather 
than  finished."  Other  important  works  which  he 
produced  were  'Blind,'  'Refuge,'  'Flood,'  'A 
Death  Grip,'  'Crouching  to  Spring,"  'A  Mighty 
Hunter'  (1892),  'A  Big  Drink'  (1893),  'The  Blood 
Trail'  (1895),  'The  Honey  Stealer'  (1895),  and 
'La  Joie  de  Vivre'(1895).  He  was  the  second  of  a 
very  remarkable  quartette  of  brothers.  The  eldest 
14 


brother,  Henry,  was  a  classical  scholar  of  the  first 
rank,  and  from  1878  until  his  death  in  1893  held 
the  Corpus  Professorship  of  Latin  at  Oxford.  He 
was  also  a  fine  musician,  and  his  knowledge  of  the 
theory  and  methods  of  the  great  German  school  of 
composers  was  surpassed  by  very  few.  The  third 
brother,  Richard  Lewis,  became  a  Fellow  of  Balliol 
in  1869,  and  was  philosophy  tutor  in  that  college 
until  he  lost  his  life  from  exposure  on  Mont  Blanc 
in  1892.  The  fourth  brother  is  the  eminent  oculist, 
Dr.  Edward  Nettleship,  the  only  one  of  the  four 
now  surviving.  John  T.  Nettleship  devoted  his 
spare  time  and  energy  to  literature,  and  one  of  the 
first  books  on  the  poetry  of  Browning  was  from  his 
pen.  It  was  a  piece  of  very  thoughtful  and  most 
acceptable  criticism.  In  1890  Mr.  Nettleship 
issued  a  new  edition  of  his  '  Robert  Browning : 
Essays  and  Thoughts,'  and  eight  years  later  he 
wrote  an  interesting  book  upon  '  George  Morland 
and  the  Evolution  from  him  of  some  later 
Painters.'  He  was  greatly  attracted  to  the  work 
of  Morland  by  reason  of  the  love  which  that  artist 
had  for  animals  and  the  admirable  manner  in  which 
he  depicted  them.  Tlie  book  was  the  most  luminous 
essay  on  the  work  of  the  great  English  master  tliat 
had  yet  appeared.  Mr.  Nettleship  married  in  1876 
the  daughter  of  the  late  Mr.  James  Hinton  the 
aural  surgeon.  He  died  in  1903,  at  his  residence 
in  Wigmore  Street,  aged  sixty-one. 

NEUBERGHE,  Cubistopheb,  a  Tyrolese,  who 
painted  historical  pictures  in  the  Vatican  and  at 
the  Palazzo  Burghese.  He  was  employed  by  the 
Empress  of  Russia  to  copy  all  the  most  beautiful 
pictures  in  the  Vatican,  and  was  living  at  Rome  in 
1776. 

NEUBERT,  LuDWio,  German  painter ;  bom 
Feb.  28, 1846,  at  Leipzig  ;  studied  at  the  Weimar 
Art  School,  being  a  pupil  of  Schmidt  and  of 
Kalkreuth  ;  completed  his  artistic  education  in 
Italy  and  France  ;  much  of  his  work  shows  the 
influence  of  Bocklin  ;  mostly  painted  landscapes, 
to  which  he  gave  a  certain  quiet,  mournful  charm. 
He  died  at  Sonnenscliein-bei-Pirna,  March  25, 1892. 

NEUE  (Neve).     See  De  Neve. 

NEUFCHATEL,  Colin  de,  called  Ldcidel,  a 
corruption  of  the  German  translation  of  his  family 
name,  bom  in  the  lordship  of  Mens,  Hainault, 
about  1525.  He  is  inscribed  in  the  register  of  the 
Antwerp  Guild  of  St.  Luke  as  apprenticed  to  Peter 
Coucke  of  Alost  He  settled  at  Nuremberg  about 
1560.  He  painted  portraits  only,  which  he  signed 
in  Latin  Nicclmts  de  Novocastdlo.  They  are  re- 
markable for  the  care  with  which  every  detail  is 
executed,  and  for  their  refined  feeling  for  colour. 

Althorp.     Earl  Spencer.    Anoa  von  Botzheim. 
Berlin.  Museum.     A  young  man ;  half-length. 

London.     Kat.  Gallery.    A    young    lady;    half-length. 

1561. 
Munich.        Pinakothtk.    The  Mathematician,  John  Neu- 
dorfer.    1561. 
„  ,,  A  man  in  a  furred  robe. 

Prague.      Count  Xostitz.    A  young  laJy  and  child. 
Vienna.  Museum.     A  young  man. 

And  portraits  at  Darmstadt,  Prague,  Pesth,  and 
Schleissheim. 

NEDRATTER,  Augustin,  was  a  German  en- 
graver, who  resided  at  Prague  about  the  year  1715. 
He  engraved  a  set  of  figures,  entitled  '  Statuse 
Pontis  Pragensis,'  published  in  that  year.  He 
worked  from  1704  to  1749,  when  he  died.  His 
plates  are  found  in  many  books,  some  of  wliich  it 
is  said  he  published  at  his  own  expense. 


CASPAR  NETSCHER 


In.        ■< 

*■■"■  1 

'^Z^ 

IWtotiliury  Co.  photi>^ 


BU)\VI\G   HUBliLKS 


\_Nalional  Gattery 


PAINTERS  AND   ENGRAVERS. 


NEUEEUTHER,  EnoEN  Napoleon,  painter, 
etcher,  and  book  illustrator,  was  born  at  Munich 
on  January  13,  1806.  He  Btudied  at  the  Munich 
Academy  under  Professor  von  Kobell,  and  later 
assisted  Cornelius  in  his  frescoes  for  the  Olypothek 
and  the  Kbnigsbau  of  his  native  town.  From  1829 
to  1839  ho  publislied  his  illustrations  to  Goethe's 
poems,  winning  the  praise  of  the  poet  himself.  In 
this  and  much  of  his  other  work  he  adopted  the 
style  of  marginal  illustration  with  arabesque  treat- 
ment, once  so  unfortunately  popular.  In  1838  he 
produced  the  first  illustrated  edition  of  Herder's 
'Gid,'  and  besides  tliese  works  issued  a  large 
number  of  separate  etchings.  The  principal  works 
illustrated  with  lithographs  or  etchings  by  Neu- 
reuther  are  as  follows :  '  Randzeichnungen  za 
Goethe's  Balladen und  Romanzen' (1829-39);  'Sou- 
venir du  27-29  Juillet,  1830'  (1831);  '  Baierische 
Gebirgslieder '  (1829-34);  'Randzeichnungen  zu 
den  Dichtungen  der  deutschen  Classiker'  (1832- 
35);  'Der  Nibelimgen  Noth'  (1843);  'Gotz  von 
Berlichingen '  (1846);  'Randzeichnungen  zu 
neueren  Deutschen  Dichtungen '  (18.53);  and 
'Randzeichnungen  zu  Liedem  von  Dichtern  der 
Gegenwart' (1800).  In  1868  he  was  made  Pro- 
fessor of  the  Kunstgewerbeschule  at  Munich. 
Many  buildings  in  Munich  were  decorated  with 
his  frescoes,  and  among  his  oil  paintings  may  be 
mentioned, '  The  Dying  Man '  and  '  Peter  Cornelius 
among  his  Pupils,'  both  in  the  Munich  Gallery. 
He  died  on  Marcli  23,  1882.  If,  h 

NEUSTATTER,  Louis,  a  German  painter,  born 
at  Munich,  September   5,  1829  ;  was  a  pupil   of 
Peter   Lutz,  the   engraver ;   then   studied   at   the 
Munich  Academy  ;  also  with  Bernhardt,  the  por- 
trait painter ;  travelled  in  1852;  worked  in  Paris 
under  Cogniet,   and   visited   Naples   and   Rome ; 
established  himself  in  Vienna  as  a  fashionable  por- 
trait painter;  in  1864  returned  to  Munich,  where 
he  devoted  himself  to  genre  subjects  such  as  '  Heim- 
kehr  vom  Walde,' '  Der  Findling,'  '  Katzcnmueik,' 
and  others.     He  obtained  the  Gold  Cross  of  Merit, 
the  Bavarian  Order  of  St.  Michael,  &c.     He  died 
at  Tiitzing,  on  the  Starnberg  Lake,  May  24,  1899. 
NEUVEL,  Simon,  (or  Neuvelt,)  who  usually 
went  by  the  name  of  Novellanus,  was  a  designer 
and   engraver   of    Cologne    towards  the  close  of 
the  16th  century.     In  conjunction  with  Franz  Ho- 
genberg  he    etched    twenty-one   plates    of    '  The 
Funeral  Pomps  of  Frederick  II.  of  Denmark,'  pub- 
lished in  1592.     He  also  etched  several  of  the  plates 
for  Braun's  '  Civitates  Orbis  Terrarum,'  published 
at  Cologne  in  1572;  as  well  as  'The  History  of 
Tobias,'  in  eight  plates,  and  '  The  Good  Samaritan,' 
(with    Hogenberg,)    in     six.      His   son,    iS^GlDins 
Nedvel,  also   engraved   at  Cologne  in   the  early 
part  of  the  17th  century  ;    one  of  his  plates  is  a 
'  Christ  on  the  Cross.' 

NEUVILLE,  Alphokse  Marie  de,  was  bom  at 
Saint  Omer  in  1836.  His  family  was  "  noble  "  and 
well  to  do  in  the  world,  and  they  wished  him  to 
embark  on  an  official  career.  But  he  had  set  his 
heart  on  the  amjy  as  a  profession,  and  he  was  there- 
fore sent  to  the  preparatory  school  at  Lorient.  The 
drawing-master  at  Lorient  is  said  to  have  at  once 
discovered  his  unusual  talent  with  the  pencil,  and  to 
have  prophesied  his  future  success.  After  he  left 
Lorient  he  entered  a  law  school  in  Paris,  to  please 
his  family.  There  he  staid  three  years,  passing 
most  of  his  time  in  picking  up  such  knowledge  of 
military  life  as  he  could.  After  this  he  finally 
made  up  his  mind  to  be  a  painter,  and  after  a  year 


of  contention  with  his  family,  his  father  consented 
to  consult  various  well-known  artists  on  his 
chances.  They  all  discouraged  the  idea,  but  Neu- 
ville,  nothing  daunted,  took  a  small  studio  and  set 
to  work.  He  made  the  acquaintance  of  Delacroix, 
then  in  his  decline,  and  was  very  kindly  treated  by 
him.  In  1859  he  won  a  medal  for  his  first  exhibited 
picture,  and  a  year  later  he  was  commissioned  by 
the  "  Cercle  Artistique,"  to  paint  them  '  Garibaldi 
taking  Naples.'  This  picture  was  a  failure.  In 
1861,  however,  he  took  a  second-class  medal  at  the 
Salon  with  a  '  Chasseurs  de  la  Garde,'  and  from 
that  time  onward  his  work  .attracted  notice.  His 
great  opportunity  came  with  the  war  of  1870-71. 
His  weak  constitution  prevented  him  from  bearing 
an  important  part  in  it,  but  he  became  its  chronicler 
in  paint.  From  the  time  that  he  exhibited  his  pic- 
ture, '  The  Last  Cartrids;e,'  there  was  scarcely  a 
better  known  artist  in  Europe.  Neuville  made  a 
great  many  designs  for  woodcuts,  and  at  his  death 
was  occupied  witli  the  drawings  for  an  important 
work  in  illustration  of  the  incidents  of  a  hard-fought 
campaign.  He  died  in  Paris  in  1885.  Among  his 
works  we  may  name  : 

Fighting  in  the  Streets  of  Magenta.     1864. 
Chasseurs-a-Pied      crossing     the     Tchernaija     (Lillt 

Musfuvi).     1868. 
Bivouac  before  Le  Bourget  (Dijon  Museum).     1872. 
The  Last  Cartridge.     1873. 

Attack  on  a  Barric»ded  House  at  Villersexel.    1874. 
Surprise  near  Metz.     1875. 
Battle  of  Forbach.     1877. 
Cemetery  of  St.  Privat. 
Le  Bourget. 

Defence  of  Korke's  Drift. 
Cuirassiers  at  Kezonville. 
The  Storming  of  Tel-el-Kebir. 
Le  Parlementaire  (his  last  picture), 

NEVE,  Cornelius,  an  English  portrait  painter, 
who  practised  in  the  reign  of  Charles  I.  He 
painted  a  group  of  himself  and  his  family,  which 
is  now  at  Petworth.  He  painted  also  Lord  Buck- 
hurst  and  Mr.  Edward  Sackville  in  one  piece  in 
1637.  It  is  at  Knole.  In  1664  he  painted  Mr. 
Ashmole  in  his  herald's  coat. 

NEVE,  (or  Neue,)  Fkans  van.  There  were 
several  painters  of  this  name,  probably  father, 
son,  and  grandson.  The  first  was  inscribed  in  the 
books  of  the  Guild  of  St.  Luke  at  Antwerp  in 
1630,  and  the  third  in  1691.  It  was  therefore  pro- 
bably the  second  who  was  born,  according  to 
Balkema,  at  Antwerp  in  1625,  and  died  in  1681. 
He  studied  the  works  of  Rubens  and  Vandyck, 
and  at  Rome  those  of  Raphael,  and  became  a 
better  designer  and  colourist  than  many  of  his 
contemporaries.  There  are  many  of  his  pictures 
at  Antwerp.  At  Vienna  are  the  portraits  of  the 
Archduke  Leopold,  Governor  of  the  Netherlands, 
and  Charles  IL  of  Spain,  with  the  Archduchess 
Maria  Anna.  In  the  Lichtenstein  Gallery  are  '  The 
Judgment  of  Solomon  '  and  '  The  Massacre  of  the 
Innocents.'  There  are  a  number  of  etchings  signed 
'  F  de  Neve,  inv  et  fecit.'  Probably  they  are  by  the 
second  Van  Neve,  as  the  figures  are  well  drawn, 
and  in  the  landscapes  the  foliage  particularly  well 
expressed. 

NEVEU,  Mathijs,  (or  Naiveu,)  was  bom  at 
Leyden  in  1647,  and  was  first  a  scholar  of  .\braham 
Torenvliet,  but  he  had  afterwards  the  advantage 
of  being  instructed  by  Gerard  Dou.  He  painted 
domestic  subjects  aftd  conversations,  and  Hou- 
br.aken  highly  commends  a  picture  by  him  at 
Amsterdam,  representing  the   '  Works  of  Mercy,' 

15 


A   BIOGRAPHICAL  DICTIONARY  OF 


a  compoaition  of  a  great  number  of  figures  in- 
geniously grouped.  IIo  died  at  Auisterdara  in 
1721.  Some  of  his  pictures  have  been  imported 
into  England,  but  for  the  most  part  they  are 
confined  to  liis  own  country.  There  is  a  '  St.  Je- 
rome'  by  him  in  the  Amsterdam  Museum. 

NEVEU,  NoKL.  A  painter  of  this  name  won  the 
second  Grand  Prix  of  tlie  Paris  Academy  in 
1692,  witli  an  'Abraliam  dismissing  Hagar.' 

NEWCOME,  FitKUEiuCK  Clive,  a  landscape 
painter,  chiefly  in  water-colours,  was  born  at 
Penketh,  near  Warrington,  January  16,  1847,  one  of 
a  famdy  of  thirteen.  His  real  name  was  Frederick 
Harrison  Suker,  and  he  adopted  his  Thackerayan 
pseudonym  to  distinguish  him  from  his  father, 
John  Suker  (born  at  Chester,  December  6,  1807, 
died  April  10, 18H6),  and  his  brother,  Arthur  Suker, 
also  painters.  Another  brother  assumed  for  the 
same  reason  the  name  John  Sinclair.  John  Suker, 
who  only  embraced  art  as  a  profession  in  middle 
life,  came  of  a  markedly  artistic  stock,  Thomas 
Crane,  the  father  of  Mr.  Walter  Crane,  being  a 
cousin.  Coming  to  Liverpool  early  in  life.  New- 
come  studied  at  the  Mount  Stfeet  School  of  Art 
under  Jlr.  John  Finnie  ;  afterwards  he  was  in- 
fluenced by  Whitakerand  Syor.  At  the  Liverpool 
Academy  Exhibition  of  1867  Newcome  showed  two 
pictures  (medium  not  stated)  of  'Cox's  garden  at 
Bettws '  and  '  The  Moorland  Stream,'  priced  ten 
guineas  each.  This  was  not  improbably  his  first 
appearance  as  exhibitor.  To  the  first  Liverpool 
Autumn  Exhibition  (1871)  he  contributed  two  oils  : 
'  The  Eagle  Rock,  Cumberland,'  and  '  Lake 
Guillion,'  each  £40.  His  next  contributions  were 
two  drawings  of  Lake  District  subjects  in  1874, 
each  £40.  In  1875  he  appeared  at  the  Royal 
Academy  with 'The  Head  of  a  Highland  Glen' 
(water-colour),  which  attracted  thenotice  of  Ruskin, 
who  in  his  '  Notes  on  the  Academy  '  described  it  as 
the  best  study  of  torrent,  including  distant  and 
near  water,  that  he  found  in  the  rooms.  He  added  : 
"The  rest  of  this  mountain  scene  is  also  carefully 
studied,  and  very  right  and  good."  At  Liverpool 
he  showed  in  1H75  an  important  oil,  '  Floodgates 
of  a  Highland  River  '  (£250),  and  two  drawings. 
Newcome  exhibited  occasionally  at  the  Royal 
Academy,  the  last  of  his  nine  contributions  being 
'  A  lonely  Jlountain  Tarn '  (water-colour)  in 
1887.  His  last  picture  at  the  Walker  Art 
Gallery  was  in  1884.  Newcome's  earliest  sketch- 
ing-ground was  at  Bettws-y-Coed,  and  he  after- 
wards worked  in  Scotland,  Warwickshire,  Devon- 
shire, and  the  Lake  District.  The  last  was  his 
favourite,  and  in  1880  he  made  Keswick  his  head- 
quarters. A  number  of  his  best  works  were  painted 
in  Arran  for  the  Duke  of  Hamilton,  and  have  never 
been  exhibited.  He  painted  the  scenery,  and 
especially  the  waters  of  wild  mountainous  country, 
with  great  ability,  and  in  a  manner  that  secured 
him  immediate  and  continuing  recognition.  Un- 
fortunately he  was  of  a  careless,  pleasure-loving 
disposition,  and  although  he  was  of  strong  physique 
and  constitution,  his  health  was  prematurely 
undermined,  and  he  died  at  Coniston  (to  which  he 
had  removed  from  Keswick)  in  February  1894.  He 
left  a  widow  and  one  daughter.  E.  R.  D. 

NEWCOURT,  Richard,  an  English  draughtsman 
in  the  17th  century,  who  drew  some  of  the  illus- 
trations for  Dugdale's  '  Monasticon  Anglicanum.' 

NEWELL,  Edward  John.   For  a  short  time  this 
remarkable  Irish  spy  practised  as  a  painter,  and  he 
must  therefore  be  mentioned  in  this  volume.     He 
16 


was  born  at  Downpatrick  in  1771,  was  apprenticed 
to  a  painter  and  glazier,  and  followed  the  trade  of 
a  glass  stainer  for  some  years,  both  in  Dublin  and 
Limerick.  A  little  later  on  he  took  up  with  the 
profession  of  miniature  painting,  which  he  practised 
with  some  considerable  success  at  Belfast,  but  at 
Ipngth,  neglecting  his  business  for  the  sake  of  the 
United  Irish  movement,  he  lost  almost  all  his 
clients,  and  had  to  seek  a  maintenance  in  other 
ways.  As  a  \iainter  in  miniature  his  work  was 
eminently  creditable  and  his  success  was  a  deserved 
one,  but  as  a  common  informer  or  spy,  in  which  he 
had  still  further  success,  his  conduct  was  despic- 
able to  the  last  extremity.  He  was,  however,  a 
man  of  no  shame,  and  in  his  biography  which  he 
issued  in  1798  he  gloried  in  his  infamy.  He  was 
assassinated  in  that  same  year  by  some  persons 
whom  he  had  betraj'ed,  and  in  Ireland  universal 
execration  is  given  to  his  name  and  career. 

NEWELL,  RoDKRT  Hasell,  the  son  of  a  Col- 
chester surgeon,  born  in  1778,  educated  at  St. 
John's  College,  Cambridge,  lecturer  and  dean  of 
his  College,  and  finallj-  curate  for  some  twenty- 
five  years  of  Great  Hormead.  He  died  in  1852. 
He  was  a  clever  amateur  artist  who  will  be  best 
remembered  by  the  drawings  which  he  made  for 
Goldsmith's  '  Deserted  Village,'  and  which  were 
engraved  in  aquatint  by  Aiken.  He  also  illustrated 
a  volume  on  North  Wales  which  he  had  himself 
written,  and  the  illustrations  of  which  were 
engraved  by  Sutherland. 

NEWENHAM,  Frederick,  an  English  portrait 
and  subject  painter.  He  exhibited  at  the  Royal 
Academy  from  1844  to  1865.  There  is  a  portrait 
of  H.  M.  Queen  Victoria  by  him  at  the  Junior 
United  Service  Club.  Newenhara  was  born  in 
1807,  and  died  in  1859. 

NEWMAN,  Alfred.  He  was  a  pupil  of  George 
Hawkins,  and  drew  architectural  subjects  on  stone, 
illustrating  a  valuable  series  of  works,  principally 
on  Gothic  Architecture.  Among  these  are  '  Bever- 
ley Minster,'  '  Johnson's  Relics  of  English  Archi- 
tecture,' '  VV.  E.  Nesfield's  Mediasval  Architecture,' 
&c.  Alfred  Newman  died  in  London,  13th  March, 
1866,  ased  39. 

NEWTON,  Alfred  P.,  painter  in  water-colours. 
He  was  born  in  1830.  In  1858  he  was  elected  an 
associate,  and  in  1879  a  full  member  of  the  Royal 
Society  of  Painters  in  Water-colours.  He  died  in 
1883  at  Rock  Ferry.  He  was  a  prolific  exhibitor 
in  the  rooms  in  Pall  Mall  East,  sending  in  the  last 
year  of  his  life  no  less  than  sixteen  drawings,  the 
records  of  a  visit  to  Greece.  His  work  was  re- 
markable for  its  delicacy,  and  for  a  certain  poetry 
of  expression  rather  than  for  its  vigour. 

NEWTON,  Edward,  is  the  name  of  an  engraver 
affixed  to  a  portrait  of  William  Tansur,  the  musi- 
cian, published  with  his  'Melodia  Sacra.' 

NEWTON,  Francis  Milner,  was  bom  in  Lon- 
don in  1720,  and  was  a  pupil  of  Marcus  Tuscher. 
He  confined  himself  to  portrait  painting,  in  which 
he  was  considerably  employed,  though  by  no  means 
an  able  artist.  At  the  foundation  of  the  Royal 
Academy  he  was  chosen  a  member,  and  was  ap- 
pointed the  first  secretary  to  that  institution,  which 
situation  he  filled  until  1788,  when  he  resigned. 
He  held  for  some  time  the  office  of  '  Muster  Mas- 
ter '  for  England,  and  generally  wore  the  Windsor 
uniform.  He  died  in  1794,  upon  an  estate  which 
had  been  left  him,  ne  ir  Taunton. 

NEWTON,  Gilbert  Stuart,  was  bom  at  Halifax, 
in  Nova  Scotia,  in  1795.    He  commenced  his  studies 


SIR  WILLIAM   C.   NEWTON 


MR.  T.   H.  BEALE,   1S24 


PAINTERS  AND  ENGRAVERS. 


with  Gilbert  Stuart,  who  was  his  maternal  uncle, 
at  Boston.  He  made  a  tour  in  Italy  in  1817,  and 
then  visited  Paris,  and  in  the  course  of  the  same 
year  he  came  to  England  and  entered  as  a  student 
of  the  Royal  Academy.  He  at  first  adopted  Wat- 
teau  as  his  model,  and  produced  several  small 
pictures  much  in  the  style  of  that  master.  His 
first  works  tliat  attracted  notice  were  '  The  For- 
saken,' exhibited  at  the  British  Institution  in  1821, 
and  '  The  Lovers'  Quarrel,'  engraved  for  the 
'Literary  Souvenir'  of  1826.  The  'Prince  of 
Spain's  Visit  to  Catalina '  was  engraved  in  the 
same  annual  in  1831,  and  he  received  500  guineas 
from  the  Duke  of  Bedford  for  the  picture.  His 
otlier  works,  best  known  to  the  public  by  the 
engravings,  are  '  Shylork  and  Jessica,'  '  Yoriok  and 
the  Grisette,'  in  the  National  Gallery  ;  '  The  Abbot 
Boniface,'  '  Portia  and  Bassanio,'  in  the  South 
Kensington  Museum  ;  and  '  Lear  attended  by  Cor- 
delia and  the  Physician.'  He  also  painted  a  small 
picture  of  'Abelard  in  his  Study,'  which  he  de- 
posited as  bis  diploma  work  on  his  election  as 
R.A.  ;  'The  Vicar  of  Wakefield  restoring  his 
Daughter  to  her  Mother  ;  '  '  The  Poet,  reading  his 
Verses  to  an  impatient  Gallant,'  a  piece  of  genuine 
humour  ;  '  Macbeath,'  and  a  few  portraits.  The 
'Macheath'  was  purchased  by  the  Marquis  of 
Lansdowne  for  500  guineas.  His  last  picture, 
'  Abelard  '  was  exhibited  at  the  Royal  Academy 
in  1833,  and  it  was  about  this  time  that  he  evinced 
signs  of  aberration  of  mind,  and  these  were  fol- 
lowed by  unequivocal  insanity,  from  which  he 
recovered  only  four  days  before  his  death.  This 
occurred  on  the  5th  of  August,  1835,  at  Chelsea. 
He  was  a  member  of  the  Royal  Academy  from 
18.32.  It  is  said  that  he  was  irritable  and  capricious  ; 
but  he  enjoyed  the  steady  friendship  and  esteem 
of  Washington  Irving  and  Charles  R.  Leslie.  His 
pictures  are  weak  in  drawing,  but  many  of  them 
are  very  fine  in  colour. 

NEWTON,  James,  an  engraver,  resided  in  Lon- 
don about  the  year  1778.  He  was  the  son  of  an 
engraver,  Edward  Newton,  of  wliom  nothing  is 
known.  We  have,  among  others,  the  following 
prints  by  him : 

PORTRAITS. 

Sidney  Parkinson,  Draughtsman   on  boarJ  of  the  En- 
deavour, Capt.  Cook. 

■William  Newton,  Clerk  of  the  'Works  at  Greenwich 
Hospital. 

Edward  Sargeant,  Secretary  to  the  Protestant  Associa- 
tion in  1780. 

LANDSCAPES. 

Two  Views  in  Italy  ;  after  Marco  Hicci. 

A  Landscape,  with  Cattle  passing  a  Eiver  ;  after  Claude. 

The  Herdsman,  a  pastoral  Landscape  ;  after  ZuccareUi. 

NEWTON,  Mary  (Mrs.  Charles  T.).  She  was 
the  daughter  of  Joseph  Severn,  the  artist  and 
H.M.  Consul  at  Rome,  and  studied  figure  painting 
under  Mr.  G.  Richmond,  R.A.  She  was  born  at 
Rome  in  183'2,  and  was  taught  drawing  by  her 
father,  who  set  her  to  copy  old  master  drawings 
and  celebrated  engravings.  She  became  in  later 
years  a  pujiil  of  Ary  Scheffer,  and  was  bigldy 
praised  by  that  artist.  Her  earlier  works  are  in 
crayons  and  water-colours,  her  later  in  oils.  Ilcr 
contributions  to  the  Exhibitions  of  the  Royal 
Academy  include  pictures  named  'Chess,'  dated 
1855;  'Summer'  and  'Winter,'  1864;  and  the 
portrait  of  herself  in  1863.  She  married,  in  1861, 
Mr.  C.  T.  Newton  (afterwards  Sir  Charles),  super- 
intendent of  Greek  and  Roman  Antiquities  at  the 
VOL.  IV.  0 


British  Museum,  and  turned  her  attention  to  paint- 
ing from  the  sculptures,  vases,  &c.,  in  that  institu- 
tion. In  that  branch  of  art  she  attained  remarkable 
skill.  Very  much  of  her  time  was  given  up  to 
preparing  drawings  for  the  illustrations  of  her 
husband's  books,  but  some  of  her  sketches  of 
scenery  in  Greece,  near  Smyrna,  and  on  the 
Eujihrates  and  Tigris,  were  of  remarkable  lieauty 
and  excellence.     She  died  in  London  in  1866. 

NEWTON,  Richard,  a  caricaturist,  and  painter 
in  miniature.  His  works  generally  represent  con- 
vivial scenes.  'The  Blue  Devils,'  1795,  drawn  and 
etched  by  himself,  is  perhaps  his  best  production. 
He  died  in  London  when  only  21,  the  9th  December, 
1798. 

NEWTON,  Sir  William  John,  Kt.,  was  the  son 
of  James  Newton  the  engraver,  and  was  born  in 
London  in  1785.  He  was  a  successful  painter  in 
miniature,  and  exhibited  at  the  Royal  Academy  in 
1808,  and  subsequently.  He  was  miniature  painter 
to  Queen  Adelaide,  and  was  knighted  in  1837.  He 
died  in  London  the  22nd  January,  1869. 

NEYN.     SeeDeNEYN. 

NEYTS,  jEgidids  or  GiLLls,  a  Flemish  painter, 
who  flourished  at  Antwerp  from  about  1647,  in 
which  year  he  was  named  a  master  of  the  Painters' 
Guild,  to  1690.  He  was  a  disciple  of  Lucas  van 
Leyden,  but  next  to  nothing  is  known  of  his  life. 
In  the  Dresden  Gallery  there  are  two  pictures 
by  him,  a  '  Mountain  Landscape  with  Figures,' 
signed  jE.  Neijts,/.  1681  ;  and  a  'Mountain  Land- 
scape with  Ruins,'  signed  G-  Nevts  f-  He  has  left 
the  following  etchings : 

The  'Wooden  Bridge. 
Man  and  Dog. 
View  of  Lille. 
A  Peasant's  Cottage. 

Besides  the  above  signatures  he  also  made  use  of 
the  annexed  monogram :  \J^ 

NIBBS,  Richard  Henry,  was  a  popular  painter 
of  marine  subjects.  His  first  picture, 'Lord  Mayor's 
Day,'  appeared  at  the  Academy  of  1841,  but  next 
year  he  sent  a  sea-piece,  and  to  that  branch  of 
art  he  afterwards  remained  constant.  He  died  at 
Brighton  in  1893,  in  the  seventy-eighth  year  of  his 
age. 

NICAISE,  a  French  painter,  who  flourished  at 
Cambrai  in  1448.  He  was  commissioned  by  the 
Duke  of  Burgundy  to  write  tlie  verses  and  paint 
the  scenery  for  an  '  Histoire  morale  sur  la  Danse 
Macabre,'  which  was  performed  in  1449  before  the 
Ducal  court. 

NICAISE,  Jean,  a  French  miniaturist,  who 
worked  in  1375-6,  for  Jeanne,  Duchesse  de  Brabant. 

NICANOR,  a  painter  of  Paros,  who  flourished 
411  B.C.     He  is  mentioned  by  Pliny. 

NICC0L6  Di  SEGNA,  is  thought  to  have  been 
the  son  of  Segna  di  Buenaventura,  and  is  the 
author  of  a  '  Crucifix,'  signed  and  dated  1345,  in 
the  Academy  of  Siena. 

NICCOLET.     See  Nicolet. 

NICCOLINO  (or  Messer  Niccol6).  See  Dell' 
Abbate. 

NICCOLO.     See  Semitecolo. 

NICC0l6  DELL'  ABBATE.  See  Dell'  Ab- 
bate. 

NICCOLO,  Gelasio  di,  was  an  unimportant  Fer- 
rarese  painter  of  the  13th  century,  who  imitated 
the  style  of  Giotto.  ^  _ 


A    BIOGRAPHICAL  DICTIONARY  OF 


NICC0L6  i>A  BOLOGNA.    See  Bologna. 

NICC0L6  DA  VERONA.     See  Verona. 

NICC0L6  DA  FOLIGNO.    See  Liberatobe. 

NICC0L6  Di  PIETRO.     See  Gerini. 

NICERON,  Jean  Francois,  a  French  monk,  wlio 
painted  the  walla  of  his  convent  in  fresco,  in  1643. 

NICHOLLS,  Sdtton,  an  English  engraver,  re- 
sided in  London  early  in  the  18tli  century.  He  was 
chiefly  employed  by  the  booksellers,  for  whom 
he  executed  a  considerable  number  of  plates.  His 
best  prints  are  slight  etchings  of  shells,  and  other 
trifling  subjects ;  when  be  made  use  of  the  burin, 
his  productions  were  very  poor.  In  1725  he  pub- 
lished '  Prospects  of  the  most  considerable  Buildings 
about  London  ; '  he  also  engraved  the  metropolitan 
views  for  Stowe's  '  Survey. 

NICHOLS,  Joseph,  an  English  painter,  who  is 
remembered  by  two  pictures  painted  in  1738,  '  A 
View  of  tlie  Fountain  in  the  Temple,'  and  '  The 
Stocks'  Market  in  the  City.'  The  latter  is  an  ex- 
cellent work,  and  was  for  some  time  attributed  to 
Hogarth. 

NICHOLSON,  Alfred,  an  English  landscape 
painter  in  water-oolours,  born  at  Whitby  in  1788. 
He  was  the  son  of  Francis  Nicholson,  and  passed 
his  early  years  in  the  navy.  Devoting  himsilf  to 
art,  he  went  to  Ireland  in  1818,  and  spent  some 
years  in  sketching  there.  He  settled  in  London 
as  a  teacher  of  drawing  about  1818.  The  greater 
part  of  1821  and  1822  were  spent  by  him  in 
sketching  tours.     He  died  in  London  in  1833. 

NICHOLSON,  Francis,  an  English  landscape 
painter  in  water-colours,  born  at  Pickering  in 
Yorkshire  in  1753.  His  art  instruction  was  con- 
lined  to  a  few  lessons  from  an  artist  at  Scarborough. 
He  settk-d  at  Whitby  in  1783,  where  he  married, 
and  practised  painting  animals,  birds,  &c.,  and 
taught.  In  1792  he  went  to  Knaresborough,  Ripon, 
Weybridge,  finally  settling  in  London.  He  had 
exhibited  for  the  fiist  time  at  the  Royal  Academy 
in  1789,  and  in  1804  he  became  one  of  the  original 
members  of  the  Water-colour  Society,  where  he 
exhibited  till  1815.  In  his  later  years  he  devoted 
his  time  to  lithography,  made  above  800  drawings 
on  stone,  and  did  much  to  advance  that  art. 
After  he  retired  from  the  practice  of  his  art,  he 
amused  himself  with  experiments  on  colours,  &c. 
In  1820  he  published  'The  Practice  of  Drawing 
and  Painting  Landscape  from  Nature.'  He  died 
in  London  in  1844.  There  are  several  of  his  water- 
colour  drawings  at  the  Kensington  Museum. 

NICHOLSON,  George,  was  bom  in  1795, 
probably  at  Liverpool,  where  he  afterwards  lived. 
His  mother,  Mrs.  Isabella  Nicholson,  was  notable  for 
skilful  copies  in  tine  needlework  of  noted  pictures. 
Several  other  members  of  the  family  practised  art. 
In  combination  with  his  brother  Samuel  (a  draw- 
ing-master) George  Nicholson  in  1821  publislied 
in  folio  twenty-six  lithographs  of  subjects  in  the 
vicinity  of  Liverpool.  This  was  followed  in  1824 
by  '  Plas  Newydd  and  Valle  Crucis  Abbey  '  (4to). 
George  Nicholson  exhibited  at  the  Liverpool 
Academy,  from  1827  to  1834,  numerous  landscape 
"compositions"  in  water-colour  or  lead  pencil. 
He  did  nut  exliibit  again  until  1838,  when  he  sent 
one  drawing, '  Langdale  Pikes.'  It  may  be  inferred 
that  he  died  about  1839  of  phthisis,  from  the  fact 
that  his  sister  Isabelia  exhibited  in  1840  a  drawing, 
'Mrs.  Bridgrnau's  Boarding-House,  Madiera,  from 
the  last  sketch  by  the  late  George  Nicholson.' 
Miss   Nicholson,   who   usually  painted    birds   or 

18 


flowers,  was  an  exhibitnr  at  the  Liverpool  Academy 
from  1828  to  1847.  Sanmel,  already  mentioned, 
died  about  1825  from  the  effects  of  a  mad  dog's 
bite.  E.R,D, 

NICHOLSON,  Isaac,  an  English  wood  engraver, 
born  at  Melmcrby,  Cumberland,  in  1789.  He  was 
one  of  Bewick's  apprentices,  and  imbibed  a  large 
share  of  his  master's  style.  He  died  in  1848. 
Specimens  of  his  work  will  be  found  in  : 

Sharp's  '  History  of  the  Rebellion.' 

Flower  and  Grover's  '  VisitatioQ  of  Durham.'     1820. 

'  Kobinson  Crusoe,' 

Watts's  '  Hymns,'  &c.,  &c. 

NICHOLSON,  James,  glass  painter,  was  one  of 
the  four  who  contracted  to  execute  eighteen 
windows  for  King's  College  Chapel,  Cambridge, 
in  the  reign  of  Henry  VIII. 

NICHOLSON,  Peter  Walker,  was  born  at 
Cupar,  Fife,  in  1856.  Educated  at  the  Universities 
of  St.  Andrews  and  Edinburgh,  he  intended  to 
follow  his  father's  profession  of  law,  but  his  tastes 
inclined  strongly  to  art,  and  in  1878  he  resolved 
to  be  a  painter.  He  received  his  art  training  at 
the  School  of  Art,  Edinburgh  ;  the  Slade  School, 
Oxford  ;  and  Bonnat's  studio  in  Paris.  He  stayed 
for  a  time  at  Barbizon,  and  returned  in  1882,  work- 
ing on  happily  thereafter  in  Fife,  Edinburgh,  and 
the  Highlands  until  his  accidental  de.ith  by  drown- 
ing at  Nigg,  Cromarty,  in  1885.  He  had  genuine 
literary  aptitude,  as  his  published  essay  on  D.  G. 
Rossetti  (Round  Table  Series)  attests.  In  1835  he 
began  to  exhibit  at  the  Royal  Scottish  Academy 
Exhibition,  and  in  all  he  exhibited  fifteen  pictures 
(all  but  one  in  water-colour).  '  Burning  Weeds,' 
'  In  the  Orchard,'  and  '  In  the  Summer  Woods,'  are 
bis  important  works — figure  studies  of  every-day 
country  life,  with  a  tender  ami  harmonious  land- 
scape setting.  An  illustrated  memorial  volume  by 
Prof.  H.  B.  Baildon  and  J.  M.  Gray  was  privately 
issued  at  EdinburK'h  in  1886.  J.II.W.L. 

NICHOLSON,  T.  (?)  H.,  was  popular  as  a  book- 
illustrator  in  the  first  half  of  the  present  century. 
He  produced  a  series  of  designs  for  a  Shakespeare, 
and  was  said  to  be  the  real  author  of  Count 
D'Orsay's  statuette  of  Wellington. 

NICHOLSON,  William,  a  portrait  painter  and 
etcher,  born  at  Newcastle-on-Tyne  in  1784.  He 
first  exhibited  at  the  Royal  Academy  in  1813. 
About  1820  he  removed  to  Edinburgh,  where  he 
obtained  a  good  practice,  and  had  a  great  share  in 
the  foundation  of  the  Royal  Scottish  Academy,  of 
which  he  was  an  original  member,  and  afterwards 
secretary.  His  forte  was  in  water-colour  portraits, 
and  he  also  etched  a  series  of  portraits.  He  died  at 
Edinburgh  in  1844.  There  is  a  portrait  by  him 
of  'Grecian'  Williams  in  the  Scottish  National 
Gallery.  In  1816  he  painted  the  portrait  of  W. 
Bewick,  whicli  was  exhibited  at  the  Academy.  A 
series  of  his  portraits  was  published  with  short 
Biographical  Notices. 

NICIAS,  an  ancient  Greek  painter,  mostly  in 
encaustic,  was  a  native  of  Athens,  and  flourished 
from  348  to  308  before  Christ.  He  was  instructed 
by  Antidotus,  and  his  works  were  distinguished 
for  their  excellent  light  and  shade.  Praxiteles, 
whose  statues  he  painted,  declared  that  those 
were  the  best  upon  which  Nicias  had  rendered  as- 
sistance. He  particularly  insisted  upon  nobility  in 
the  choice  of  subjects  for  pictures.  He  painted 
women  with  great  success,  as  well  as  dogs  I  One 
of  his  admired  works  represented  '  Ulysses  invok- 
ing the  Shades  of  the  Dead,'  from  the  Odyssey. 


PAINTEKS   AND  ENGRAVERS. 


YoT  this  picture,  Attalus,  King  of  Pergamus,  offered 
liim  sixty  talents,  but  such  was  the  patriotism  of 
the  painter,  that  he  refused  the  ofEer,  and  presented 
the  picture  to  his  country.  Tlie  liberality  of  his 
fellow-citizens  had,  however,  enabled  him  thus  to 
indulge  his  patriotism,  as  he  liad  become  extremely 
rich  by  the  bountiful  remuneration  he  recfived  for 
his  works.  In  the  time  of  Pliny,  a  picture  of  Bacchus, 
byNicias,  was  preserved  in  the  Temple  of  Concord 
at  Rome. 

NICKELE.    See  Nikkelen. 
NICOLAI.     See  Swanenburg. 
NICOLAI,  G.  D.  C,  resided  at  Vienna  in  1720. 
Conjointly  with  A.  J.  Prenner,  he  executed  part  of 
the  plates  from  the  pictures  in  the  Grand  Gallery  at 
Vienna,  which  were  published  in  four  sets  in  folio. 
NICOLAS,   Adrien,   a   painter   of   the    French 
school,  who   was   by  birth  a   Belgian.      He  was 
born    at   Antwerp    early    in    the    16th    century, 
but,    mij,'rating    to    France    in    his    youth,   was 
naturalized  by  Francis  I.     He  established  himself 
at  Orleans,  where  he  died  at  an  advanced  age. 

NICOLAS,  Louis,  a  French  miniaturist  of  the 
13th  century.     He  was  at  work  in  Paris  in  1293. 

NICOLAS  LE  Lorraik,  a  painter  on  glass,  who 

was  employed  in  the  ducal  palace  at  Nancy  in  1515. 

NICOLAS   LE   PicAKD,    a   French   painter   and 

native  of  Amiens,  who  was  at  work  at  Avignon, 

in  the  church  of  St.  Agricol,  in  the  year  ISO'J. 

NICOLAUS,  a  native  of  Friuli,  who  was  at 
work  at  Gemona  in  1332.  He  painted  the  facade 
of  the  cathedral,  and  a  martyrdom  wliich  he 
signed  thus:— Mcccxxxii.  Magister  Nicolaus 
PiNTOB  me  FEfiT.  To  him  some  writers  have 
ascribed  a  large  picture  of  the  '  Presentation  in 
the  Temple,'  in  the  cathedral  of  Veagone. 

NICOLAY,  Frere,  was  a  Jesuit,  and  pupil  of 
Rubens.  He  excelled  in  making  copies  of  pictures 
by  Rubens  and  Van  Dyck.  He  also  painted  small 
figures  in  the  landscapes  of  Nayo. 

NICOLAY,  Jan  Hendrik,  was  bom  at  Leeu- 
warden  in  1766.  He  was  tlie  son  of  a  carriage 
painter,  and  for  a  time  followed  the  same  trade. 
He  was  also  a  great  ornithologist,  and  delighted 
in  painting  dead  birds.  He  was  a  frequent  ex- 
hibitor at  Amsterdam,  and  his  works  are  much 
esteemed  in  Holland.     He  died  in  1826. 

NICOLET,  Benedict  ALFHONSins,  or  Beunhard 
Anton,  (Nicollet,  Nikolet,  &c..)  was  a  Swiss  en- 
graver, born  at  St.  Immier,  in  the  bishopric  of 
Basle,  in  1740.  He  went,  when  he  was  young, 
to  Paris,  where  his  first  performances,  after  study- 
ing under  I'oilly  and  Cochin,  were  some  plates, 
engraved  in  conjunction  with  Longueil,  after  the 
marines  of  Vernet.  He  also  engraved  four  of  the 
plates  wliich  embellish  the  '  Voyage  Pittoresque 
du  Royaume  de  Naples,'  by  the  Abbe  de  St.  Non. 
He  died  in  1807.  The  following  are  esteemed  his 
best  prints  : 

PORTRAITS. 
Noel  Halls,  Painter  to  the  King,     1775  ;  after  Cochin. 
Thomas  Le  Sueur,  Professor  of  Mathematics  at  Rome ; 

after  the  same. 
Francois  de  Paul  Jacquier,  Professor  of  Mathematics 

after  the  same. 

VARIODS   SUBJECTS. 
St.  Apollonia  ;  after  the  picture  by  Giiido ;  in  the  Or- 
leans Collection. 
Milo  of  Crotona ;  after  Giorgione  ;  the  same. 
Susannah  and  the  Elders  ;  after  De&haii. 
A  View  of  Naples  ;  after  Vernet. 
A  Shipwreck  ;  after  the  same. 

C  2 


A  View  of  the  Interior  of  the  Church  of  San  Gennaro 
at  Naples,  at  the  moment  when  the  miracle  of  St. 
Januarius  occurs;  after  Dchrets  ;  etched  by  Martini 
and  Germain,  and  finished  with  the  graver  by  Nicolet. 

NICOLETTO.     See  Cassana. 

NICOLETTO  DA  Modena.     See  Rosex. 

NICOLUCCIO  CALABRESE,  a  Calabrian  pupil 
of  Lorenzo  Costa,  who  is  said  to  have  made  an 
attack  on  his  master  with  a  knife,  in  revenge  for 
a  supposed  caricature  in  one  of  Costa's  pictures. 

NICOMACHUS,  a  painter  of  about  400  B.C., 
was  a  native  of  Thebes,  and  the  brother  of  Arist- 
eides.  He  was  instructed  by  his  father  Aristiieus. 
Of  all  the  painters  of  antiquity,  he  was  the  most 
remarkable  for  the  extraordinary  facility  of  his 
pencil,  a  promptness  which  did  not,  however, 
diminish  the  beauty  of  his  productions;  and  Plutarch 
compares  the  readiness  with  which  he  worked  to 
that  of  Homer  in  the  composition  of  his  verses. 
Aristratus,  the  tyrant  of  Sicyon,  having  engaged 
him  to  decorate  with  his  paintings  a  monument  he 
intended  to  consecrate  to  the  memory  of  the  poet 
Telestus,  a  particular  day  was  fixed  when  it  was 
expected  to  be  finished.  Tlie  period  had  nearly 
elapsed  before  the  painter  had  commenced  his 
work,  when  Aristratus,  irritated  by  his  apparent 
neglect,  threatened  to  punish  him  severely  ;  but 
Nicomachus  satisfactorily  accomplished  his  under- 
taking within  the  hmit  of  time.  Among  his  prin- 
cipal works  was  a  picture  of  the  '  Rape  of 
Proserpine,'  which  was  for  a  long  time  preserved 
in  the  Capitol  at  Rome.  At  the  time  of  his  death 
he  left  imperfect  a  picture  of  Helen. 

NICOPHANES,  a  painter  of  the  school  of 
Sicyon,  who  is  reckoned  by  Pliny  among  the  most 
eminent  of  his  time.  He  lived  about  316  B.C., 
and  studied  under  Pausias.  He  was  called  '  The 
Courtesan  Painter,'  for  his  models  were  usually 
members  of  the  class  of  hetairae. 

NICOTERA,  Marcantonio,  a  painter  of  the 
school  of  Naples,  scholar  of  P.  Crisnolo,  flourished 
about  1690-1600.  In  the  church  of  S.  Nicola  alia 
Dogana  at  Naples,  there  is  a  picture  by  him 
representing  'The  Virgin  and  Child,  St.  Jerome, 
and  St.  Blaise.'  The  title-page  of  0.  Boldoni's 
'  Epigraphica,'  Augusto  Perusia  160O,  signed  M 
NIC  M.  and  containing  the  portrait  of  Cosmo  de' 
Medici,  is  said  to  be  by  him. 

NIEMANN,  Edjidnd  John,  a  landscape  painter 
of  German  extraction,  born  at  Islington  in  1813. 
In  his  early  years  he  was  employed  at  Lloyds, 
where  he  remained  till  1839.  He  then  devoted 
himself  to  art,  settling  in  High  Wycombe,  in  the 
neighbourhood  of  which  he  found  many  subjects 
for  his  brush.  His  works  first  appeared  at  the 
Royal  Academy  in  1844.  About  1850  he  spent 
a  few  years  in  London,  through  his  connection 
with  the  short-lived  National  Institution,  of  which 
he  was  Secretary  and  Trustee.  He  then  lived  in 
England  Lane,  near  Hampstead,  on  a  site  now 
swarming  with  artists.  He  died  of  apoplexy  at 
Brixton  in  1876.  A  collection  of  forty-one  of  his 
works  was  exhibited  at  Nottingham  Castle  in  1878. 
Specimens  of  his  art  are  to  be  seen  in  the  Kensing- 
ton Museum  and  the  Liverpool  Gallery. 

NIEULANDT,  Adriaen  van,  painter,  was  bom 
at  Antwerp  in  1590.  It  has  often  been  said  that 
the  date  of  this  painter's  birth  is  unknown;  but 
underneath  a  portrait  of  Nieulandt,  published  in 
1649,  we  find  this  inscription:  "A  very  good 
painter  of  small  figures  and  landscapes ;  he  has 
also  painted  many  scenes  from  the  Old  Testament ; 

19 


A  BIOGRAPHICAL  DICTIONARY  OF 


he  is  a  native  of  Antwerp ;  lie  began  as  an  artist 
at  Amsterdam  under  I'ii'ter  IsaaoRZ  and  Franz 
Badens,  and  is  still  established  in  that  city.  He 
is  fifty-nine  years  of  age."  Adriaen  was  possibly 
the  brother  of  William  van  Nieulandt,  who  acquired 
a  reputation  as  a  playwright.  Adriaen  passed  most 
of  liis  life  at  Amsterdam,  but  from  the  picture 
mentioned  below  as  in  the  Brussels  Gallery,  he 
seems  to  have  revisited  his  native  town  at  least 
once.  The  date  of  his  death  is  unknown,  but  he 
was  still  living  in  1657.  Works: 
Brunswick.  Gallery,    Diana  and  nymphs  in  a  land- 

scape. 
»  „  Diaua  and  Calli.sto. 

n  „  Landscape  with  Hunters. 

„  „  StiU-life. 

Brussels.  Gallery.    A  carnival  scene  at  Antwerp. 

„  „  {Skaters  on  the  ire  in  the  town 

ditch.)  At  Madrid  a  replica 
of  this  picture,  with  some 
variations,  is  ascribed  to 
Denis  van  Alsloot. 
Copenhagen.  Gallery.  Entry  of  Christ  into  Jerusalem. 
,1  „  Triumph  of  Bacchus. 

NIEULANT,  John,  born  at  Antwerp  in  1569, 
painted  historical  pictures  and  landscapes,  of  small 
dimensions,  often  on  marble.     He  died  in  1628. 

NIEULANT,  William  VAN,  was  born  at  Antwerp 
in  1584.  After  being  instructed  in  the  first  prin- 
ciples of  art  by  James  Savery  of  Courtrai,  he  went 
to  Rome,  where  he  became  the  scholar  of  Paul 
Bril,  under  whom  he  studied  three  year.s,  and  fur 
some  time  followed  the  style  of  that  master  ;  but 
he  afterwards  adopted  one  more  bold  and  ex- 
peditious. On  his  return  he  was  admitted  free 
master  into  the  Guild  ofSt.  Luke,  1005.  He  married 
Anne  Huystaert,  and  settled  about  1628  at  Am- 
sterdam, where  he  was  much  employed  in  painting 
views  of  the  ruins  of  ancient  architecture  in  the 
vicinity  of  Rome,  from  the  designs  he  had  made 
during  his  residence  in  Italy.  He  was  still  alive 
in  July  1635.  The  following  paintings  remain 
from  his  hand : 

Antwerp.  Museum.    View  of  the  Campo  Vaccine  at 

Rome.    (Signed  G.  V.  Nieu- 
lant.     1611.) 
Copenhagen.    Museum.    View  of  the  Campo  Vaccine, 

Rome.     1609. 
Vienna.  Museum.    View  of  the   Campo  Vaccine, 

Rome,  with  more  than  fifty 
figures.     (Sicimd  gvilmo  van 

NIEVLANT  FEC.       1612.) 

William  van  Nieulant  etched  about  sixty  plates  of 
landscapes  and  ruins,  from  his  own  designs,  and 
from  those  of  Paul  Bril ;  they  are  occasionally 
strengthened  by  the  burin.  Among  others,  we 
have  the  following  by  him  : 

A  Landscape,  with  ruins,  and  figures  representing  the 

Good  Samaritan  ;  P.  Bril  inv.  G.  Nieulant  fecit. 
A  Mountainous  Landscape,  with  Tobit  and  the  Angel ; 

the  same. 
Two  Views  of  the  Sea  Coast ;  the  same. 
Three  Views  of  Ruins  in  and  near  Rome ;  Guil.  Nieu- 
lant. 
A  large  Print  representing  three  Bridges  on  the  Tiber, 
and  a  part  of  the  City  of  Rome;  in  three  sheets, 
inscribed,  Guilielmus  van  Nieulant  fecit  et   excud. 
Antverpite.     1600. 
Nieulant  also  wrote  several  tragedies. 

NIEUWENHUIZEN,  Henprik,  born  at  Breda 
in  1747,  copied  with  the  pen  with  most  surprising 
accuracy  several  engravings  and  etchings  after 
Callot  and  Rembrandt. 

NIEUWERBORCH,   Pieter   van,   an   obscure 
Flemish  painter,  who  was  inscribed  in  the  Guild 
register  at  Bruges  in  1480. 
20 


NIGHTINGALE,  Robert,  was  bom  in  1815, and 
devoted  himself  to  animal  painting.  His  first  work 
appeared  in  the  Royal  Acadiiny  Exhibition  of  1846, 
a  portrait  of  'Frolic  and  her  Pups,'  and  thereafter 
ho  exhibited  fre(iuently  at  the  Royal  Academy  and 
the  Royal  Institution  of  British  Artists,  his  work 
being  popular  and  well  known.     He  died  in  1896. 

J.  H.  ■«■.!,. 

NIKKELEN,  Isaak  van,  (or  Nickele,)  archi- 
tectural painter,  was  born  at  Haarlem  in  the  17th 
century.  He  entered  the  guild  in  that  city  in 
1660.  In  the  Six  Collection,  at  Amsterdam,  there 
is  an  '  Interior  of  a  Gothic  church  at  Haarlem  '  by 
him.  Other  productions  of  his  are  to  be  met  with 
at  Brunswick,  Brussels,  Copenhagen,  St.  Peters- 
burg, and  Stockholm.    He  died  at  Haarlem  in  1703. 

NIKKELEN,  Jan  van,  was  born  at  Haarlem  in 
1649,  and  instructed  by  his  father  or  elder  brother 
Isaak.  He  did  not  pursue  the  same  branch  of  art, 
but  applied  himself  to  the  painting  of  landscapes 
and  game,  in  which  he  followed  the  style  of  Karel 
du  Jardin.  He  passed  some  time  at  the  court  of 
the  Elector  Palatine,  for  whom  he  painted  several 
pictures,  and  was  afterwards  made  painter  at  the 
court  of  Cassel,  where  hedied  in  1716.  The  Gallery 
there  contains  a '  Roebuck  in  a  Forest '  by  him.  His 
daughter,  Jakobea  Nikkelen,  born  in  lO'JO,  was  a 
pupil  of  Herman  van  der  Myn,  and  excelled  in 
painting  fruit  and  flowers.  She  married  Willem 
Tioost,  a  portrait  painter.  The  pictures  she  painted 
at  Diisseldorf  have  been  erroneously  ascribed  to 
her  father.     See  Teoost. 

NIKOLET.     See  Nicolet. 

NILSON,  F.  Christian,  painter,  was  bom  at 
Augsburg  in  1811.  He  worked  chiefly  at  Munich, 
and  is  principally  known  by  his  frescoes  of  scenes 
from  the  Greek  "War  of  Liberation,"  executed 
after  designs  by  Peter  von  Hess,  in  the  "  Hof- 
garten  ; "  and  by  the  decorative  pictures,  from  his 
own  designs,  on  the  staircase  of  the  State  Library 
at  Munich.  His  paintings  in  illustration  of  Schil- 
ler's '  Song  of  the  Bell '  have  been  engraved  by 
Adrian  Schleich.  In  his  later  years  he  abandoned 
painting  for  drawing  and  engraving.  Nilson  died 
at  Munich  the  19th  December,  1879. 

NILSON,  JonANN  Esajas,  a  German  miniature 
painter  and  engraver,  was  born  at  Augsburg  in 
1721.  He  engraved  and  etched  several  portraits, 
and  a  number  of  figure  scenes  in  borders,  which 
are  good  examples  of  the  decorative  art  of  the  18th 
century.  He  became  Director  of  the  Academy  at 
Augsburg,  and  died  there  in  1788.  His  plates 
appeared  in  series  of  two,  four,  six,  or  twelve,  and 
are  signed  either  Nilson,  E.  N.,  J.  E.  N.,  or  with 
a  monogram.     Among  others  are  the  following : 

roRTRArre. 

Clement  XIII.,  Pontif.  Max. ;  Nilson  inv.  et  fee. 
Petrns  III.,  Russorum  Imperator. 
Catherina  Aleiiewna,  Russorum  Imperatrix. 
Stanislaus  Augustus,  Rex  Pol. 

NIMECIUS,  Balthasar  Meneius,  was  an  in- 
different engraver  on  wood,  and  is  said  to  have 
been  a  native  of  Saxony.  Professor  Christ  attri- 
butes to  liim  a  monogram  composed  of  a  B.,  an 
M.,  and  an  N. 

NIMEGEN  and  NIMWEGEN.    See  Ntmeqen. 

NINFE.     See  Dalle  Ninfe. 

NINHAM,  Henry,  born  at  Norwich  on  October 
16,  1793,  was  the  son  of  John  Ninham,  who  in 
1792  drew,  with  the  assistance  of  the  camera 
obscura,  the  ancient  gates  of  Norwich,  then  about 
to  be  demolished.    Henry  succeeded  to  his  father's 


PAINTERS  AND  ENGRAVERS. 


business  as  an  heraldic  painter  and  copper-plate 
printer,  and  was  for  many  years  employ'  d  by  the 
]iriacipal  coach-builders  of  the  city  to  paint 
armorial  bearings  on  their  patrons'  carriages. 
The  artistic  tendencies  of  the  father  developed 
in  the  son,  and  he  became  a  frequent  contributor 
to  the  Norwich  Exhibitions  both  in  nil  and  water- 
colours.  In  the  Norwich  Castle  Museum  is  a 
water-colour  '  Gateway  and  Castle,'  and  in  the 
possession  of  Mr.  James  Reeve,  Mr.  Knssell  C'olman 
and  other  Norwich  collectors  are  several  of  his  oil 
and  water-colourpaintings  of  picturesque  old  houses 
and  churches  of  Norwich  and  its  neighbourhood. 
Ninhara  was  a  good  etcher,  and  published,  without 
letterpress,  '  Eight  Etchings  of  Antiquities  of 
Norfolk,'  and  not  long  before  his  death,  'Views 
of  the  Gates  of  Norwich,'  from  drawings  made  by 
Kirkpatrick  about  1720.  He  also  etched  for  private 
circulation  a  series  of  small  but  spirited  plates  of 
Norfolk  views.  He  supplied  etched  illustrations 
for  Blomes'  '  Castle  Acre  '  and  Grigor's  '  Eastern 
Arboretum'  (1847),  and  from  1847  till  his  death 
contributed  largely  to  the  illustrations  of  'Norfolk 
Archseology '  and  other  local  anti()uarian  works. 
'  Remnants  of  Antiquity  in  Norwich  '  and  '  Norwich 
Corporation  Pageantry,'  publislied  by  Muskett, 
were  illustrated  by  Ninham  in  lithography  from 
his  own  drawings.  Ninham  died  at  his  house  in 
Chapel  Field,  Norwich,  on  October  23,  1874,  and 
was  buried  in  Norwich  Cemetery.  M.H. 

NINO  DE  GUEVARA.     See  Guevara. 

NIPOTE,  II.     See  Garbiebi,  Lor. 

NIQUET,  Claude,  the  elder,  was  born  in  1770. 
He  was  one  of  the  engravers  employed  on  the 
'  Galerie  du  Mus^e  Napoleon,'  published  by  Filhol. 
He  was  still  living  in  1831.     Among  his  plates  are  : 

The  Death  of  St.  Bruno  ;  after  Le  Sueur. 

The  Triumph  of  Flora  ;  after  N.  Foussin, 

The  Apollo  Belvedere. 

The  Diana  of  the  Louvre. 

The  Laocoon. 

Cupid  and  Psyche. 

The  Transfiguration ;  after  Raphael. 

NIQUEVERT,  Alphonse  Alexandre,  a  French 
historical  and  landscape  painter.  He  was  born  in 
Paris  in  1776,  studied  under  David  and  Regnault. 
aud  exhibited  at  the  Salon  from  1806  to  1824. 
He  was  a  friend  of  the  painter  Jean  Louis  Cesar 
Lair,  whose  biography  he  wrote,  and  after  whose 
death  he  retired  into  private  life.  There  are  several 
of  his  works  in  the  cathedral  of  Metz.  Niquevert 
died  2nd  December,  1860.     There  are  by  him  : 

Tobit  and  the  Angel. 

The  Siege  of  Paris  by  Henry  IT. 

Christ  before  Pilate. 

NITTIS,  Giuseppe  de,  an  Italian,  was  bom 
near  Barletta,  Naples,  in  1845,  and  was  a  pupil  of 
G^rome,  in  Paris.  He  painted  genre  subjects, 
chiefly  scenes  in  the  streets  of  Paris  and  London, 
which  are  remarkable  for  their  truth.  His  works 
are  realistic  in  the  best  sense.  He  painted  for  a 
time  in  England,  and  with  nmch  success.  He  won 
the  orthodox  honours  at  the  Salon,  and  was 
"  decorated  "  in  1878.  He  died  suddenly  in  1884. 
Among  his  works  we  may  name : 

Bougival.     1875. 

Paris,  Place  de  la  Concorde.    1875. 
„         „       des  Pyramiiles.     1876. 

Naples,  on  the  Road  to  Castellamare.     1876. 

Paris,  from  the  Pont  Royal.     1877. 

Paris,  Arc  de  Triimiphe.     1878. 

London,  The  Victoria  Embankment. 

NIVOLSTELLA,  (?  Johann  Georg,)  was  a  wood- 


engraver  of  Mayence,  who  was  at  work  towards 
the  end  of  the  16th  century.  He  is  known  by  a 
set  of  borders  after  the  designs  of  B.  Castelli  for 
the  first  Genoa  edition  of  Tasso's  '  Gerusalemme 
liberata.'  His  son,  Johann  Georg,  was  bom  in 
Genoa  in  1594,  and  was  also  a  wood-engraver,  but 
his  works  are  inferior  to  those  by  his  father.  He 
produced  a  set  of  wood-cuts  for  an  edition  of  the 
'  Mne\d,'  and  another  after  Anton  Tempesta's 
'  Patriarchs.'     He  died  at  Rome  in  1624. 

NIXON,  James,  an  English  miniature  painter. 
He  was  a  member  of  the  Incorporated  Society, 
studied  in  the  Royal  Academy,  where  he  first  ex- 
hibited in  1772,  and  was  elected  an  Associate  in 
1778.  Nixon  received  court  patronage,  and  held 
appointments  to  the  Prince  of  Wales  and  the 
Duchess  of  York.  He  was  born  in  1741,  and  died 
at  Tiverton  in  1812. 

NIXON,  John,  an  English  engraver,  who  was 
born  in  1706,  and  was  still  at  work  about  1760. 
His  best  prints  are  small  portraits,  in  which  the 
faces  are  entirely  finished  in  stipple.  Among 
others  we  have  the  following  portraits  by  him  : 

Frederick,  Prince  of  ^V■aIes. 

William  Augustus,  Duke  of  Cumberland ;  two  plates. 

Archbishop  Tillotson. 

John,  Earl  of  Granville. 

NIXON,  John.  The  only  important  work  which 
was  done  by  this  clever  amateur  artist  was  in 
connection  with  a  series  of  views  of  county  seats 
in  England  and  Ireland  issued  by  Watts  the  en- 
graver in  1779-86.  Most  of  the  original  drawings 
for  the  series  were  the  work  of  Nixon.  He  was  a 
merchant  in  the  city  of  London,  who  was  born 
about  1760  and  died  in  1818.  He  amused  himself 
with  etching,  and  some  clever  caricatures  were 
etched  by  him  from  the  drawings  of  his  friends. 
He  often  exhibited  at  tlie  Royal  Academy. 

NIXON,  Robert.  This  artist  is  said  to  have  been 
the  brother  of  John  Nixon,  but  by  other  authorities 
it  is  stated  that  he  was  his  cousin.  He  was  a 
clergyman  and  the  father  of  a  Bishop  of  Tasmania, 
but  he  is  best  known  for  the  fact  that  it  was  at  his 
house  that  Turner  as  a  lad  completed  in  1793  his 
first  painting  in  oil-colours.  He  exhibited  frequently 
at  the  Royal  Academy,  and  his  name  appears  at 
the  foot  of  certain  drawings  in  Watts'  book  of 
county  seats  alluded  to  in  the  biography  of  John 
Nixon,  but  it  is  not  even  certain  whether  these 
drawings  were  executed  by  this  man  or  by  another 
Robert  Nixon,  an  Irishman,  who  lived  at  about  the 
same  time,  and  who  died  in  1837.  About  this 
latter  man  nothing  very  definite  is  known,  but 
some  writers  have  stated  that  there  was  but  one 
artist  of  the  name  of  Robert  Nixon,  and  that  the 
father  of  the  Bishop  of  Tasmania  was  the  Irishman 
who  died  in  1837.  The  exhibitor  at  the  Academy 
was  bom  in  1769,  but  he  is  called  a  Scotchman  in 
contemporary  documents,  whereas  the  man  alluded 
to  above  claimed  to  have  been  born  in  Cork.  The 
confusion  is  now  almost  inextricable. 

NOBLE,  George,  a  brother  of  Samuel  Noble, 
and  an  engraver  of  some  considerable  merit.  His 
chief  works  are  some  illustrations  in  BoydeU's 
'  Shakespeare '  and  in  Hume's  'History  of  England.' 
He  also  engraved  many  portraits.  He  lived  at  the 
latter  end  of  the  eighteenth  century,  but  the  dates 
of  his  birth  and  death  are  not  known. 

NOBLE,  John,  an  English  painter,  born  in  1797. 
He  was  a  member  of  the  Society  of  British  Artists, 
and  occasionally  painted  Italian  landscapes.  He 
died  in  1879. 

21 


A  BIOGRAPHICAL  DICTIONARY  OF 


NOBLE,  Samuel.  Better  known  as  an  eminent 
Swedeiibcirgiau  minister,  Noble  demands  attention 
in  these  pages  for  liis  work  as  an  engnivir.  He 
was  born  in  1779,  tlie  son  of  Edward  Noble,  a 
bookseller,  who  was  the  author  of  a  small  volume 
on  perspective.  He  was  apprenticed  to  a  silver- 
plate  engraver,  but  soon  left  him  and  went  to 
another  man  in  the  same  profession  who  did  book 
work,  and  for  him  he  executed  several  important 
architectural  plates.  In  1798  he  set  up  in  the 
profession  for  himself,  and  from  that  time  down  to 
1819  he  worked  steadily-  at  it  and  was  a  popular 
engraver,  commanding  good  prices  for  his  archi- 
tectural and  landscape  plates.  In  1820  he  becatue 
a  Swedenborgian  minister  and  attained  great 
einineiice  in  bis  new  profession.  In  1848  he 
became  quite  blind,  and  he  died  in  1853. 

NOBLE,  William  Bonneau,  an  English  land- 
scape painter,  was  born  in  1780.  He  taught  draw- 
ing, and  exhibited  a  few  works  at  the  Royal  Academy 
in  1809-11.  Having  lapsed  into  irregular  habits, 
through  disappointment  in  love  and  art,  he  at- 
tempted suicide  in  1825,  and  died  in  Somers  Town 
in  1831.  He  left  a  MS.  poem  called,  '  The  Artist." 
NOBLESSE,  (or  Noblet,)  Franqois,  according 
to  Nagler  was  born  at  Cahors  in  1652,  and  resided 
in  Paris,  where  he  died  in  17.TO.  He  excelled  in 
drawing  with  a  pen,  and  appears  to  have  formed 
his  taste  by  studying  the  works  of  Callot.  He 
etched  a  few  small  landscapes. 

NOBILI,  Antonio,  named  Strafoeo,  was  an 
excellent  landscape  painter  of  Verona.  He  died 
young  in  1696. 

NOBILI,  Durante  de',  an  Italian  painter,  who 
flourished  at  Caldarola  about  1571,  and  fonned 
himself  on  the  style  of  Michelangelo.  At  S.  Pier 
di  Castello,  Ascoli,  there  is  a  '  Madonna'  inscribed 
with  his  name,  birthplace,  and  the  above  date. 

NOBLIN,  H.  and  L.  Two  indiffeient  engravers 
of  portraits,  who  lived  in  Paris  about  the  year  1680. 
NOCHER,  J.  E.,  a  French  engraver,  born  in 
Paris  about  the  year  1736.  He  was  a  pupil  of 
Etienne  Fessard,  and  has  engraved  several  book- 
ornaments,  and  a  few  portraits  ;  among  the  latter 
a  'J.  J.  Rousseau,'  after  Ramsay,  dated  1766. 

NOCRET,  Jean,  (or  Nooroit,)  a  Fiench  painter 
and  engraver  was  bnrn  at  Nancy  in  1618,  and  be- 
came a  scholar  of  Jean  Leclerc,  but  tinished  his 
studies  in  Italy  under  the  direction  of  Poussin. 
On  bis  return  to  France  he  was  much  employed  at 
St.  Cloud  and  the  Tuileries.  He  painted  the  por- 
traits of  several  of  the  royal  family  of  France, 
among  them  the  Queen  of  Louis  X!\^  as  '  Minerva.' 
He  engraved  several  plates  after  his  own  designs  ; 
the  best  is  '  L'hommage  du  petit  St.  Jean.'  He 
was  principal  painter  to  the  Duke  of  Orleans,  and 
Rector  of  the  Royal  Academy  of  Painting  and 
Sculpture  in  Paris,  where  he  died  in  1671.  P.  Syl- 
vestre  engraved  his  portrait  of  himself,  and  Nan- 
teuilthatof  theDukeof  Beaufort.  His  son  Charles 
(born  1647,  died  1719)  painted  portraits  with  some 
success,  and  was  known  as  NocRET  Jeune. 

NODDER,  Frederick,  a  botanical  painter  and 
engraver  who  exliibited  at  the  Royal  Academy, 
and  who  in  1788  was  created  "  Botanical  Painter 
to  the  King."  It  is  not  known  where  or  when  he 
was  born,  but  liis  name  ap[iear8  first  in  the 
catalogues  in  1786,  and  he  is  said  to  have  died  in 
1800.  He  illustrated  many  important  botanical 
books,  and  started  a  long  series  of  volumes  on 
natural  history  which  were  completed  by  other 
relations  of  his  after  bis  death, 
22 


NODDER,  R.  P.,  an  English  painter  of  horses 
and  other  animals,  exhibited  at  the  Royal  Academy 
from  1786  to  1820.  He  was  appointed  botanic 
painter  to  George  III.,  and  after  that  exhibited  a 
few  flower  pictures.     Nothing  is  known  of  his  life. 

NOll;,  Am£d6e  Charles  Henri,  Vicomte  de. 
Tliis  brilliant  draughtsman  and  caricaturist  was  the 
second  son  of  Jude-Am^d^e,  Cointe  de  Noe,  a  peer 
of  France.  The  name  of  the  family,  whose  nobility 
dates  from  the  time  of  the  Carlovingian  kings,  is 
that  of  a  small  island  near  Mirande.  There  Am6- 
dee  Charles  was  born  the  20th  of  January,  1819. 
Tlie  date  and  place  of  bis  birth  are  thus  given 
by  G^rome,  who  no  doubt  knew  the  facts.  His 
tnother  was  an  Englishwoman,  and  as  he  grew 
up  he  combined  in  his  manners  the  most  striking 
characteristics  of  the  two  nations  from  which  he 
derived  his  origin  ;  the  calmness  of  the  English- 
man with  the  vivacity  of  the  Frenchman.  It  was 
to  this  singular  union  of  very  difi'erent  qualities, 
and  to  bis  ever  ready  wit  that  he  owed  his  great 
popularity.  Although  his  talent  for  design  had, 
from  his  childhood,  been  known  to  his  friends,  and 
liad  led  to  his  abandoning  the  military  career  for 
which  he  had  been  educated,  to  study  under  Paul 
Delaroclie,  Charlet,  and  Lanny,  it  was  only  in  1842 
that  his  first  "album"  appeared.  It  is  entitled 
'  Calembours,  betises,  jeux  de  mots  tirfis  par  les 
cheveux.  Paris,  1842.  Par  Cham  de  N**,'  and 
affords,  it  is  said,  the  only  instance  in  which  the 
n.ame  of  'Cham,'  that  he  rendered  so  famous,  is 
combined  with  any  hint  at  the  de  No^.  Between 
that  year  and  1879,  when  he  died,  de  No^  produced 
at  least  forty  thousand  designs,  illustrating  every 
phase  of  life  in  France  and  Algeria.  They  are  to  be 
found  in  so  many  dilTcrent  publications,  that  want 
of  space  will  not  permit  us  to  name  them  separately. 
Although  '  Cham  '  dealt  so  many  hard  blows,  they 
were  always  so  fair  and  honest  that  de  No6  was 
a  man  esteemed  alike  by  friends  and  foes.  One  of 
the  former  proposed  to  inscribe  upon  his  tomb, 
"Quarante  ans  d' esprit,  et  pas  un  de  mechancete."' 
His  wife,  the  Comtesse  de  No6,  died  in  1880,  six 
months  after  her  gifted  husband. 

NOEL,  Achille  Jules,  a  French  landscape  and 
marine  painter,  born  at  Quimper  in  1815.  His 
works  first  appeared  at  the  Salon  in  1840,  and  be 
was  awarded  a  medal  in  1853.  He  died  in  Paris 
in  1881.  As  one  of  his  best  works  we  may  name 
'The  Arrival  of  the  Diligence  at  Quimper  in  the 
time  of  the  Directory.'  The  following  pictures  are 
in  the  French  public  collections : 

Besanijon.        Museum.     View  of  Brest  Harbour.     1840. 
Bordeaux.       Museum.     Two  landscapes. 
Nantes.  Museum.    Sea-piece.    1840. 

NOEL,  Alexis  Nicolas,  designer,  lithographer, 
and  painter,  was  born  at  Clycliy-la-Gart-nne  in 
1792.  Hi;  studied  in  Paris  under  David,  and  his 
sketches  in  oil  and  water-colours  represent  land- 
scapes, military  scenes,  hunts,  and  architectural 
views.  He  published  a  '  Voyage  Pittoresque  et 
Militaireen  France  et  en  Allemagne,  dessin^d'aprfes 
nature,  par  A.  Noel : '  most  of  the  plates  in  this  work 
were  lithographed  by  himself.     He  died  in  1848. 

NOEL,  ALruoNSE  L£om,  a  lithogr.apher,  born  in 
Paris  in  1807,  who  studied  under  Gros,  Hersent,  and 
Girodet.  He  began  his  career  as  a  painter,  but 
acquiring  great  skill  in  lithography,  he  devoted 
his  time  almost  exclusively  to  that  branch  of  art. 
Among  a  great  number  of  works  by  him  we  may 
name  a  set  of  lithographs  from  the  more  remarkable 


PAINTERS  AND  ENGRAVERa 


pictures  in  the  Gallery  at  Dresden.  He  reproduced 
a  number  of  Winterhalter's  portraits  of  royalty. 
He  died  in  1879. 

NOEL,  Jean  Albxandbe,  a  French  marine 
painter,  was  t'Orn  in  1750,  and  became  a  scholar 
of  Joseph  Vernet.  He  visited  California  in  1768-70, 
and  afterwards  Spain  and  Portugal,  and  painted 
storms,  fogs,  conflagrations,  moonlights,  and  falls 
of  snow,  principally  in  water-colours.  He  also  made 
si^etches  of  the  combat  of  the  French  corvette.  La 
Bayonnai.se,  with  the  Enghsh  frigate,  L'Embuscade, 
and  of  a  French  frigate  passing  Alexandria  by  night. 
He  painted  views  of  Gibraltar  and  Lisbon  ;  and  was 
an  industrious  exhibitor  till  the  year  1822.  His 
views  of  Gibraltar  and  Cadiz  have  been  engraved 
by  F.  Hegi.     He  was  still  living  in  1831. 

NOEL,  Peter  Paul  Joseph,  was  bom  at  Waul- 
Bort  surMeuse,  near  Dinant,  in  1789,  and  was  there 
instructed  in  the  rudiments  of  art.  At  Antwerp 
he  studied  under  Herreyns  and  Kegemorter,  and 
obtained  several  prizes  there  and  at  Brussels.  In 
Paris  he  became  a  disciple  of  Schwebach  ;  and  after 
visiting  Rome,  went  to  Brussels,  where  be  for  a 
time  painted  landscapes  with  animals  and  figures, 
and  then  devoted  himself  entirely  to  genre  subjects. 
He  died  at  Sosoye  in  1822.     There  are  by  him: 

A  Peasant  falling  from  a  Tree,  and  upsetting  a  Basket 
of  Fruit. 

Halt  of  Bavarian  Cavalry. 

Postilion  before  an  Inn. 

The  Market-place  of  Amsterdam.  (Amsterdam  Museum.) 

Girl  with  grapes.     (The  same.) 

A  Cavalry  Outpost.    (Brussels  3fuseum.) 

Kepose  of  the  Shepherds.     (The  same.) 

NOFERI,  MiCHELE,  a  Florentine  painter,  of  whom 
little  is  known.  He  worked  in  the  17th  century, 
and  was  a  pupil  of  Vincenzo  Dandini. 

NOGARI,  Giuseppe,  a  Venetian  painter,  was 
born  in  1699,  and  became  a  scholar  of  J.  B.  Pittoni 
and  Antonio  Balestra.  He  especially  devoted  him- 
self to  the  painting  of  half-length  figures,  and  from 
the  numerous  heads  by  him  which  have  been 
brouglit  to  England,  it  may  be  concluded  that  he 
was  an  excellent  portrait  pamter.  He  was  Director 
of  the  Academy  at  Venice,  where  he  died  in  1763. 
We  are  indebted  to  him  for  the  excellent  copies  of 
the  'Madonna  de  San  Sisto,'  after  Raphael,  at  Pia- 
cenza,  and  the  '  Notte,'  after  Correggio,  at  Modena. 
T  Cattini  and  T.  E.  Hayd  have  engraved  after  him. 
Among  his  better  works  we  may  name: 

Dresden.    Royal  Gall.     An  old  Man. 

„  „  The  Bust  of  an  old  "Woman. 

St.  Peter. 
Stockholm.       Gallery.     An  old  Man. 

„  „  An  old  Woman  with  a  Spindle. 

NOGARI,  Paris,  (called  Romano,)  a  painter 
and  engraver  of  Rome,  who  flourished  during  the 
pontificates  of  Gregory  XIII.,  Sixtiis  V.,  and  Clement 
VIII.  He  imitated  the  manner  of  Ratfaello  Motta, 
and  was  employed  in  the  Loggie  of  the  Vatican, 
and  in  the  library  and  church  of  the  Lateran.  He 
also  painted  several  pictures  for  other  churches, 
both  in  oil  and  fresco.  In  the  church  of  the 
Madonna  de  Monti  is  a  picture  by  this  master 
representing  our  '  Saviour  bearing  his  Cross  ; '  in 
San  Spirito  in  Sassia,  the  '  Circumcision  ; '  and  in 
the  Trinita  de'  Monti,  the  'Taking  down  from  the 
Cross.'  In  later  year?  he  painted  in  miniature  and 
practised  engraving  ;  his  best  plate  is  considered  to 
be  'The  Battle  of  King  Ramirez  with  the  Moors' 
(1588).     He  died  at  Rome  in  1596. 

NOLIN.     See  Nollin. 


NOLLEKENS,  Josbph  Francis,  (called  Old 
NoLLEKENS,)  was  bom  at  Antwerp  in  1702.  He 
came  to  England  in  1733,  and  was  for  some  time 
a  scholar  of  Pieter  Tillemans.  He  painted  land- 
scapes and  domestic  subjects,  and  was  much  em- 
ployed in  copying  the  works  of  Watteau,  and  the 
architectural  views  of  Giovanni  Paolo  Pannini. 
Lord  Cobham  employed  him  in  several  ornamental 
works  at  Stowe  ;  and  he  was  also  patronized  by 
the  Earl  of  Tilney.  NoUekens  died  in  London  in 
1748.  He  was  the  father  of  the  sculptor,  Joseph 
Nollekens.  His  subjects,  like  Watteau's,  were 
often  musical  and  fashionable  conversations  al 
fresco,  but  they  are  not  imitations  of  that  master: 
the  scene  is  generally  the  gardens  at  Wanstead, 
the  seat  of  Lord  Tilney.  There  is  a  painting  at 
Windsor  by  him  containing  portraits  of  Frederick 
Prince  of  Wales  and  his  sisters. 

NOLLET,  Dominique,  was  born  at  Bruges  in 
1640.  and  was  a  scholar  of  Frans  van  der  Meulen 
in  Paris.  He  painted  history,  but  was  more  dis- 
tinguished for  his  landscapes,  battles,  and  sieges. 
His  talents  recommended  him  to  the  patronage  of 
.Maximilian,  Duke  of  Bavaria,  who  sent  him  to  ac- 
company the  Duchess  to  Venice  ;  the  governor  of 
the  Low  Countries  also  appointed  him  his  principal 
painter.  He  was  made  a  member  of  the  Society  of 
Painters  at  Bruges  in  1687.  In  the  church  of  the 
Carmelites  at  Bruges  is  an  altar-piece  representing 
'  St.  Louis  embarking  for  the  Holy  Land.'  There 
are  several  of  his  battle-pieces  and  landscapes  in 
private  collections  in  Belgium.  He  died  in  Paris  in 
1736.  His  pictures  on  close  inspection  have  more 
the  appearance  of  crude  sketches  than  finished 
works,  but  viewed  at  a  proper  distance,  the  colours 
become  warm,  and  the  arrangement  harmonious. 

NOLLI,  Carlo,  painter  and  engraver,  was  a 
native  of  Como,  a  son  of  Giovanni  Battista  Nolli 
the  architect,  and  a  scholar  of  Agostino  Masucci 
ind  Corradi.  He  engraved  after  Guercino,  Prima- 
ticcio,  Parmigianino,  and  others.  He  was  era- 
ployed  by  command  of  the  King  of  Naples,  on  the 
.^^ntichiti  d'Ercolano  '  (Napoli,  1757-62),  and  en- 
irraved  also  for  Hamilton's  works  on  Greek,  Etrus- 
'  an,  and  Roman  Antiquities.  He  died  at  Naples 
in  1770. 

NOLLI,  Giovanni  Baitista,  the  father  of 
Carlo  Nolli,  was  a  native  of  Italy,  and  flourished 
about  the  j'ear  1755.  He  was  an  architect  by  pro- 
fession, but  he  engraved  nineteen  sheets  of  plans 
•md  views  of  buildings  in  Rome  in  1748. 

NOLLIN,  (or  Nolin,)  J.  B.,  a  French  engraver, 
was  born  in  Paris  in  1657.  He  studied  in  Paris 
under  N.  de  Poilly,  and  in  Italy,  where  he  executed 
some  plates  after  Annibale  Carracci,  Nicholas 
Poussin,  and  other  masters.  He  engraved  several 
of  the  prints  in  a  work  entitled,  '  Vues,  plans, 
coupes  et  ^Uvations  de  Versailles.'    He  died  in  1725. 

NOLPE,  Pieter,  a  Dutch  painter  and  engraver, 
was  born  at  the  Hague  about  1601.  Of  his  works 
as  a  painter  little  is  known  apparently  beyond 
a  'Dutch  Landscape'  in  the  Copenhagen  Gal- 
lery ;  but  we  have  several  prints  by  him.  They 
are  usually  begun  with  the  point,  and  finished 
with  the  burin.  His  best  productions  are  his 
landscapes.  He  usually  signed  his  prints  with 
his  name  at  length,  joining  the  initials  P.  and 
iV.   together,   and    in    a   few  instances  with    this 

monogram  J^^.    or    jy  -^  only.     He  is  said  to 

have  engraved    as  early   as    1616,  and  as  late  as 
1670.     The  following  are  esteemed  his  best  works  : 

23 


A   BIOGRAPHICAL  DICTIONARY  OF 


The  Portrait  of  Jobana  Adler  Salvius,  Swedish  Minister 

Plenipotentiary. 
A  Bet  of  eight  Cavaliers;  etched. 
A  set  of  eighteen   etchings  of  Beggars ;  i«  the  style  of 

P.  Quast. 
St.  Peter  delivered  from  prison  ;  after  J.  V.  I'ncht. 
Judah   and   Tamar,   in   a   large   landscape;  from  hit 

own    deiign.      The    same   figures   were    afterwards 

introduced   into   another    landscape,   of    a   smaller 

size. 
The  Broken  Dyke  ;  from  his  own  dengu  (a  v\ust4rpiece). 
Daniel  in  the  Den  of  Lions  ;  after  Blajicert. 
An  Allegorical  Print  on  the  Marriage  of  the  Prince  of 

Orange  with  the  Princess  Mary  of  England. 
A  set  of  six  Landscapes  ;  after  Adriaan  van  Aiettlant. 
A  set  of  six  Landscapes  ;  after  li.  Jio^iman. 
Eight  Months  of  the  Year  ;  Pie'er  Nolpe  fee.  et  exc. 
The  Prophet  Elijah  and  the  Widow  of  Sarepta. 
St.  Paul,  the  Hermit,  fed  by  an  Eagle  in  the  Desert ; 

after  Pieter  Potter. 
The  Cavalcade  of  1638  at  Amsterdam,  on  the  entry  of 

Mary  de'  Medici  into  that  city  ;  after  C.  Molyii ;  a 

large  print  in  six  sheets. 
A  Landscape  in  the  style  of  Van  Goyen.     1616, 
Six  plates  of  Costumes  ;  after  P.  Quast. 
Six  plates  on  the  Entry  of  the  Prince  of  Orange  ;  after 

J.  fVildens. 
Ten  plates  on  the  Entry  of  Maria  de'  Medici;  after 

Afoijart  de  Jonghe.    1639. 
Thirty  plates  on  the  funeral  of  Prince  Frederic  Henry ; 

after  P.  Post.    1651, 

NON,  DoM.  Viv.  de.  See  Denon, 
NON,  J,  C,  R.  DE  Saint.  See  Saint  Non, 
NONOTTE,  (or  Nounotte,)  Donat.  This  painter 
was  born  at  Besan^on  in  1707,  and  became  a 
favourite  pupil  of  Lenioine,  wbo  employed  liim  on 
many  of  his  works,  and  whose  biography  he 
eventually  wrote.  The  death  of  his  protector,  the 
Uuke  d'Antin,  prevented  his  accomplishing  a 
long-desired  journey  to  Rome.  He  was  made 
painter  to  the  King,  and  a  member  of  the  Academy 
of  Paris  in  1741,  In  1754  he  was  appointed  painter 
to  the  city  of  Lyons,  where  he  established  a  free 
school  of  design,  the  model  of  all  6ubse(iuent 
institutions  of  the  kind  in  France.  He  published  a 
'  Complete  Treatise  on  Painting,' in  four  parts,  and 
was  in  a  literary  capacity  Associate  of  the  Academies 
of  Rouen  and  Lyons.  He  died  at  the  latter  city 
in  1785.  His  historical  pictures  are  of  the  style 
of  his  age,  displaying  an  abuse  of  allegory.  One 
of  them  is  the  'Taking  of  Besan^on  by  the 
Protestants,'  But  after  the  earlier  portion  of  his 
career,  he  abandoned  this  branch  of  art  for  por- 
traiture.    Among  his  portraits  we  may  name : 

Eobert     le    Lorrain,    sculptor     {engraved     by    J.   N. 

Taidieu). 
Gentil  Bernard,  {engraved  by  DaulU). 

NONZIO,  (or  Annunzio,)  an  Italian  miniaturist, 
was  born  at  Trent,  but  lived  and  worked  at  Milan 
in  the  last  half  of  the  16th  century.  His  daughter, 
Fede  Galizia  {q.v.),  was  born  at  'Trent  in  1675. 

NOOMS,  Renier,  (or  Remigius,)  commonly 
railed  Zeeman,  was  born  at  Amsterdam  about  1612 
Very  little  is  known  of  his  life.  It  is  supposed 
that  at  one  time  he  worked  with  the  elder  Willem 
van  de  Velde.  He  resided  for  a  long  time  in 
Berlin,  where  he  was  painter  to  the  Elector 
Frederick  William  ;  he  also  visited  England  and 
France,  On  etchings  published  by  him  in  Amster- 
dam, we  find  the  dates  1652,  1664,  and  1056  ;  on 
others  published  in  Paris,  1650  and  1652.  He 
also  etched  three  plates  of  the  naval  fights 
between  the  English,  French,  and  Dutch,  which 
took  place  in  1673.  The  paintings  of  Nooms 
betray  the  influence  chiefly  of  Backhuysen  and 
24 


Claude,  The  date  of  his  death  is  not  known,  but 
it  must  have  been  later  than  1673,  Isank  and 
EnochZeeman,  who  were  working  in  London  about 
the  middle  of  the  18th  century,  were  nmst  likely 
related  to  Nooms,  Paul  Zeeman  was  the  son  of 
Enoch.  (See  Zeeman.)  Among  the  better  works  of 
Nooms  we  may  name: 

Amsterdam,     Museum.    Sea-fight  near  I^gliorn,    14th 
March,  1653, 
..  „  View  of  Amsterdam, 

Berlin,  Museum.     A  Quiet  Sea. 

„  „  Seashore  with  Boats. 

Paris,  Louvre.     View  of  the  old  Louvre,  from 

the  South  bank  of  the  Seine 
{a     mn:iterpuce ;     etched    by 
jiftryou). 
Viiiiua,  Selvedere.    A  Sea-piece, 

The  following  is  a  list  of  his  plates: 
Two  plates  of  Block-houses, 
Land.'icape  with  Canal  and  Boats. 
The  Dutch  Herring  Fleet, 

A  set  of  eight  plates  of  Shipping;  designed  and  en- 
graved by  liemy  Zeeman.      1032. 
A  set  of  four  Views  in  Amsterdam.     1636. 
A   set   of  four   Sea-ports  in   Holland ;    published    at 

Amsterdam  in  1 656. 
The  Four  Elements  ;  in  four  plates  ;  Peinier  Sceiiirm,fec. 
Two  Views  in  Paris,  one  of  the  Faubourg  St.  Mnrceau, 

the  other  of  the  Gate  of  St.  Bernard. 
A  set  of  twelve   Views  of  Shipping ;  published   in 

London  by  Ar  Tookcr. 
NOORDE,  CoRNELia  van,  paiiiter  and  engraver, 
was  born  at  Haarlem  in  1731,  He  was  the  scholar 
successively  of  F,  Decker  and  F.  II,  Jalgersma, 
and  afterwards  became  master  of  the  Haarlem 
school  of  design.  He  died  in  1795.  Among  his 
works  may  be  named  : 

His  own  portrait,  in  chalk  and  Indian  ink. 

,,  „         a  woodcut. 

Portrait  of  Fraus  Hal.s,  a  mezzotint. 
A  View  of  Haarlem,  engraving  after  J.  I'an  Eyek. 
A  Landscape  with  Cow  (etching). 
Van  Noorde  signed  himself  0.  V,  N, 

NOOKDERWIEL,  Hendrik,  a  painter  on  glass, 
who  was  one  of  tlie  founders  of  the  '  Pictura'  fra- 
ternity at  the  Hague  in  1656. 

NOORDT,  Jan  van,  was  a  painter  of  the  17th 
century,  who  produced  emblematical  subjects, 
bathing  nymphs,  and  also  portraits,  some  of 
which  have  been  engraved.  Strutt  cites  him 
as  an  engraver,  on  account  of  an  etching  dated 
1645,  of  a  '  Landscape  with  Ruins,'  probably  after 
P.  Lastmann,  Bartsch  mentions  another  after  P. 
van  Laer ;  and  the  portrait  of  Prince  Baltazar 
Carlos  of  Spain,  inscribed, '  Juan  de  Noort  fecit,' 
is  probably  by  him. 

NOORT,  Apam  van,  painter,  was  born  at 
Antwerp  in  1557.  He  was  the  son  of  Lambert 
van  Noort,  and  shares  with  Otho  Van  Veen  and 
others  the  honour  of  guiding  the  youthful  steps  of 
Rubens.  The  facts  of  his  life  are  obscure.  He  has 
sometimes  been  represented  aa  a  brutalized  victim 
of  dissipation,  but  (considerable  doubt  hangs  about 
many  of  the  traditions  to  that  effect.  He  is  said 
to  be  the  author  of  the  'Tribute  of  St.  Peter,' 
in  the  church  of  St.  James  at  Antwerp,  in  which 
case  he  must  have  had  a  genius  for  colour  only 
inferior  to  that  of  Rubens.  Van  Noort's  daughter 
became  the  wife  of  Jordaens,  who  was  his  pupil. 
Pictures  under  the  name  of  Van  Noort  are  very 
rare,  although  in  his  long  life  he  must  have 
produced  a  great  number.  They  pass,  no  doubt, 
as  a  rule,  under  the  names  of  his  various  pupils. 
Van  Noort  died  at  Antwerp  in  1641.  Among  his 
works  we  may  name  : 


PAINTERS  AND  ENGRAVERS. 


Brussels.  Gallery.     Christ  blessing  the  (Jhildren. 

Ghent.  S.  J^fj^f^^'^j^  I  The  Cure  of  the  Lame  Man. 

A   '  Stan<lard-bearer '    at    Mimicli,    ascribed   to 
Ilimirik  Goltzius,  is  per}iap8  by  Adam  van  Noort. 
NOORT,  Arthds  van,  a  painter  on  glass,  who 
flourished  at  Nyineguen  in  the  lOtb  century. 

NOORT,  Lambert  van,  historical  painter,  was 
born  at  Aniersfort  about  1520,  and  became  a 
master  of  the  guild  at  Antwerp  in  1547.  He  was 
the  father  of  Adam  van  Noort.  He  died  in  1571. 
In  the  Antwerp  Museum  there  is  a  'Nativity'  by 
him,  signed  Lambertus  a  Noort,  Inveti :  pinr/ebat 
Ao.  1555,  as  well  as  fifteen  otlier  pictures.  At 
Brussels  the  Museum  possesses  an  'Adoration 
of  the  Shepherds,'  and  a  '  Descent  from  the  Cross.' 
Lambert  designed  the  windows  in  St.  John's 
Oliurch  at  Gouda,  and  himself  painted  two  of 
them,  wliich  were  dated  1551  and  1559.  He  also 
practised  with  success  as  an  architect. 

NOORT,  PlKTER  VAN,  a  little  known  Dutch 
painter  of  the  17tli  century,  who  painted  fish  and 
still-life. 

NOORTIG,  jAN,(orNoORTRTS,)  a  native  of  Fries- 
land,  and  painter  of  genre  subjects  in  the  manner 
of  Bega.  According  to  Kramm  he  was  an  amateur. 
He  flourished  about  1660. 

NOOTT,  Wemmer,  a  native  of  Arnhem,  who 
flourished  between  1670  and  1750.  He  lived  chiefly 
at  Emmerik,  where  he  painted  perspectives,  and 
excelled  in  the  imitation  of  sculptured  surfaces. 

NOP,  Gerrit,  an  obscure  painter,  who  was 
born  at  Haarlem  late  in  the  16th  century.  He 
lived  for  a  time  in  Germany  and  Italy,  where  he 
painted  history  and  portraits.     He  died  in  1622. 

NORBERT,  Pater.     See  Baumgartner,  Joh. 

NORBLIN  de  la  GOURDAINE,  Jean-Pierre, 
a  painter  and  etcher,  was  born  at  Misy,  near  Sens, 
in  Burgundy,  in  1745.  He  was  a  pupil  of 
Casanova.  In  1774  he  visited  Poland,  and  founded 
a  school  for  painters  at  Warsaw  ;  he  also  became 
court-painter  to  King  Stanislaus,  by  whom  he  was 
subsequently  knighted.  He  returned  to  France 
in  1804,  and  died  in  1830.  His  most  important 
works,  seventy-seven  etchings  of  scenes  from  the 
Bible,  heads,  and  landscapes,  are  in  the  style  of 
Rembrandt.  He  signed  his  plates  with  the  initials 
iV;  N.  f.\  N.  1776.  W.  (that  is  Warsowiae),  or 
a  monogram. 

NORBLIN  DE  LA  GOURDAINE,  Sebastien 
Louis  GuiLLAUME,  the  son  of  Jean-Pierre  and  an 
historical  painter,  was  born  at  Warsaw  in  1796. 
Taken  to  Paris  when  young,  he.  studied  under 
Regnanlt  and  Blondel,  and  in  the  Eculc  des  Beaux 
Arts.  In  1823  he  obtained  the  second,  and  in 
1825  the  first,  grand  jrrix  ;  which  enabled  him  to 
pursue  his  studies  in  Rome.  He  returned  to  France 
in  1882.  There  are  several  of  his  works  in  the 
church  of  St.  Louis  en  I'Isle,  in  Paris,  and  the 
Orleans  Museum  possesses  his  'Death  of  Ugolino.' 

NORBURY,  R.,  painter  and  sculptor,  was  born 
at  Macclesfield  in  1815.  He  held  successively  the 
posts  of  assistant  master  to  the  Scljools  of  Design 
at  Somerset  House  and  at  Liverpool.  After  his 
resignation  of  the  latter  appointment  he  was 
elected  President  of  the  Liverpool  Water-Colour 
Societ}'.  He  was  also  a  member  of  the  Liverpool 
and  Cambrian  Academies.  He  painted  a  large 
number  of  portraits,  and  was  also  mucli  employed 
in  decorative  design  and  in  book  illustration,  prac- 
tising at  Liverpool,  but  freipiently  exhibiting  in 
London.     He  died  April  25,  1886. 


NORCINO  (or  Noecini).     See  Parasole. 

NORDEN,  Frederick  Ludwig,  a  Danish  naval 
captain  and  draughtsman,  was  born  at  Gliickstadt 
in  1708.  He  travelled  for  Christian  VI.  in  Egypt 
and  Nubia,  and  coming  to  England,  he  published 
with  his  illustrations,  '  Travels  in  Egypt  and 
Nubia,'  and  'Ruins  at  Thebes'  (1741).  He  died 
in  1742.  There  is  another  edition  in  French 
(Copenhagen,  1755),  in  which  the  plates  are  en- 
graved by  M.  Tycher. 

NORDEN,  John,  an  English  artist,  was  an 
eminent  engraver  of  topographical  subjects.  An- 
tliony  Wood  conjectures,  with  great  probability, 
that  he  was  the  author  of  several  tracts  which  he 
enumerates,  and  thinks  he  was  born  in  Wiltshire, 
about  the  year  1546.  He  was  a  commoner  of 
Hart  Hall,  Oxford,  in  1564,  and  took  tiie  degree  of 
Master  of  Arts  in  1573.  He  resided  at  Hendon,  in 
Middlesex,  was  patronized  bj-  Lord  Burleigh,  and 
his  son,  Robert,  Earl  of  Salisbury,  and  was  sur- 
veyor of  the  King's  lands  in  1614.  He  died  about 
1626.  His  ]irincipal  work,  as  an  engraver,  was  his 
'Speculum  Britanniae,'  or  an  Historical  and  Topo- 
graphical Description  of  Middlesex  and  Hertford- 
sliire,  with  a  frontispiece  and  maps.  He  also 
engraved  a  'View  of  London'  in  1609,  with  a 
representation  of  the  Lord  Mayor's  Show ;  and  a 
series  of  costumes. 

NORDENBERG,  Bengt,  Swedish  painter;  born 
April  22,  1822,  at  KompiUalla  (Sweden)  ;  for  seven 
years  he  followed  the  trade  of  carpenter,  and  then 
began  to  study  art  at  the  Stockholm  Academy, 
subsequently  going  to  DUsseldorf,  where  he  was  a 
pupil  of  Th.  Hildebrandt ;  painted  genre  episodes 
of  Swedish  peasant  life  ;  in  1853  went  to  Dale- 
carlia;  in  1857  was  in  Paris,  visiting  Italy  in 
1859.  His  works  include:  'Holy  Communion  in 
the  Village  Church,'  'A  Golden  Wedding,'  and 
'  A  Forest  Fire.'  He  obtained  a  medal  at  Lyons 
in  1866  ;  medals  at  Stockholm  in  1845,  1847,  and 
1848  :  an  honourable  mention  at  the  Paris  Salon 
in  1864  ;  also  at  the  Vienna  Exhibition  of  1873  ; 
and  a  gold  medal  in  London  1879.  He  died  in 
June  1903. 

NORGATE,  Edward,  "limner,"  was  the  son 
of  Dr.  Robert  Norgate,  master  of  Bennet  College, 
Cambridge,  where  he  was  born.  He  was  brought 
up  by  Nicholas  Felton,  Bishop  of  Ely,  who  married 
his  mother.  He  showed  early  a  strong  inclination 
for  Heraldry  and  Illumination.  As  he  became  not 
only  one  of  the  best  artists  in  the  latter  branch  of 
art,  but  also  an  excellent  judge  of  pictures  by  the 
old  masters,  he  was  sent  to  Italy  by  the  Earl  of 
Arundel  to  make  purchases  for  him  in  that  country. 
Fuller  speaks  of  him  as  the  best  illuminator  of  his 
time,  and  he  became  Windsor  Herald  and  Clerk 
of  the  Signet.  Fuller  says  that  he  died  at  tlie 
Herald's  Oflice  the  23rd  December,  1650,  but  Dal- 
laway  says  that  his  'Miniature,  or  the  Art  of  Lim- 
ning,' in  his  own  hand,  is  <lated  1654.  Among  his 
best  works  were  a  letter  from  James  I.  to  the 
'  Sophy  '  of  Persia,  and  the  letters-patent  appointing 
the  Earl  of  Stirling  Governor  of  Nova  Scotia.  The 
latter  was  found  in  the  last  century,  and  was  at 
first  attril  nted  to  Van  Dyck. 

NORIEGA,  Pedro,  a  "Spanish  historical  painter 
of  little  note,  who  was  living  at  Madrid  in  1658. 

NORMAND,  Charles  Pierre  Joseph,  designer, 
engraver,  and  architect,  was  bom  at  Goyencourt 
(Lourme)  in  1765.  He  was  instructed  by  M. 
Thieriy  and  Gizors,  and  in  1792  olitaiiied  a  prize 
and  went  to  Rome,  where  he  pursued  his  studies. 

25 


A    BIOGRAPHICAL    DICTIONARY  OF 


He  exhibited  in  the  Louvre  in  1800  and  1802, 
published  a  number  of  works  witli  plates,  and  pre- 
pared others  for  the  'Annalcs  du  Musie,'  '  Les 
vies  dos  peintres,  par  Laiidon,'  and  '  Nouveau 
parall6le  de.s  ordres  d'architecturo  des  Grecs,  des 
Romains,  et  des  auleurs  mudernes  '  (1819).  Among 
his  ot)ier  plates  may  be  mentioned : 

The  Miracle  of  the  liOaves  ;  after  Raphael. 

The  Ceiling  of  the  Sistine  Chapel ;  after  Michelani/elo. 

He  died  in  Paris  in  1840. 

NORM  AND,  Louis  Marie,  son  of  the  above,  was 
taught  design  by  Lafitte,  and  engraving  by  his 
father.  He  was  born  in  Paris  in  1789.  Besides 
the  plates  for  a  large  number  of  books,  he  engraved 
the  'Marriage  at  Cana,'  after  Paul  Veronese,  and 
other  important  works. 

NORKIS,  Charles,  an  eccentric  well-to-do 
amateur  artist  wlio  resided  in  Pembrokeshire  and 
wliose  claim  to  fame  rests  upon  his  drawings  of 
tlie  architectural  antiquities  of  Wales,  and  especi- 
ally upon  those  of  the  Cathedral  of  St.  David's, 
which  he  published  in  1811.  He  was  also  a 
talented  etcher,  and  did  many  delightful  plates 
illustrating  Tenby  and  the  castles,  such  as  Manor- 
bere  and  Llamphey,  in  its  neighbourhood.  He 
was  born  in  London  in  1779,  early  left  an  orphan 
with  a  considerable  estate,  was  an  ofBcer  in  the 
army  for  a  few  years,  but  on  his  marriage  resigned 
his  position  and  gave  up  his  time  to  art  and  to 
the  study  of  architecture.  He  died  at  Tenby  in 
1858. 

NORSINI  (or  Norsiko).  See  Parasole. 
NORTH,  Marianne,  the  sister  of  Mrs.  John 
Addington  Syinonds,  and  perhaps  one  of  the  best 
and  most  accurate  flower  painters  who  ever  lived, 
was  born  at  Hastings  in  1830,  and  died  in 
Gloucestersliire  in  1890.  She  was  the  daughter 
of  Frederick  North,  member  for  Hastings,  who  in 
1865  retired  from  Parliament,  and  she  travelled 
with  him  tljrough  many  lands,  and  from  him 
acquired  her  passionate  love  of  flowers.  She 
painted  them  in  every  quarter  of  the  globe, 
exploring  the  forests  of  Java  and  Borneo,  Australia 
and  Chili,  in  search  of  new  blossoms  which  she 
could  depict  with  loving  skill.  Her  whole  collec- 
tion she  presented  to  Kew,  adding  to  her  generosity 
the  gift  of  a  gallery  in  whicli  they  might  be 
exhibited,  and  arranging  them  herself  with  the 
utmost  patience  and  diligence.  She  is  believed  to 
have  been  offered  a  peerage  by  Queen  Victoria, 
who  very  highly  esteemed  her,  and  who  was  most 
grateful  for  her  generosity  to  the  nation  and  her 
services  to  botanical  science.  She  was  a  woman 
of  marvellous  charm,  great  refinement,  and  con- 
siderable learning,  but  united  with  the  pleasant 
and  even  affectionate  manner  in  which  she  treated 
her  friends  a  very  stiff  and  formal  if  not  stilted 
demeanour  to  others.  Her  work  cannot  be  too 
highly  praised  for  its  perfect  accuracy,  and  students 
of  botanical  science  owe  very  njuch  to  her  profound 
knowledge  and  her  assiduous  industry  and  patience. 
She  ruined  her  own  health  by  her  travels  in 
tropical  regions  in  search  of  flowers,  and  a  tropical 
fever  whicli  she  first  of  all  obtained  in  Borneo 
was  the  eventual  cause  of  her  decease.  Her  auto- 
biography, edited  by  her  sister,  Mrs.  J.  A.  Symonds, 
ajipeared  in  1893  in  two  vols.,  called  '  Recollections 
of  a  Happy  Life,'  and  in  the  same  year  was  issued 
'Further  Recollections  of  a  Happy  Life,'  being 
selections  from  her  journal,  edited  by  the  same 
sister.  Q.  C.  W, 

NORTHCOTE.  James,  an  English  historical  and 
26 


portrait  painter,  was  born  at  Plymouth  in  1746. 
His  fatlier  was  a  watchmaker,  and  he  for  some 
lime  assisted  in  the  same  business,  but  with  his 
whole  mind  bent  upon  being  a  painter.  The  fame 
of  his  countryman,  Jusliua  Reynolds,  inflamed  his 
desire  ;  and  the  kind  view  that  some  of  his  towns- 
men took  of  his  attempts  iu  art,  and  their  friend- 
ship or  acquaintance  with  the  President,  introduced 
Northcote  to  his  notice.  In  his  '25tli  year  he  was 
[)ermitted  to  enter  the  studio  of  Sir  Joshua,  and  he 
remained  in  the  employment  of  that  master  for 
about  five  years.  In  1777  he  went  to  Rome,  to 
see,  as  his  biographer  says,  "  if  fame  reported  truly 
of  the  prime  works  of  the  cliiefs  of  the  calling."  The 
journey  at  least  enabled  him  to  talk  of  Michelangelo, 
Raphael,  and  Titian.  This  he  never  ceased  doing, 
and  his  productions  served  as  commentaries.  North- 
cote returned  to  England  in  1780,  and  applied  him- 
self to  the  long  life's  work  which  did  not  come 
to  an  end  till  more  than  fifty  years  had  passed. 
Among  his  best  pictures  may  be  named,  'The 
Death  of  Wat  Tyler'  (City  of  London  Gallery)  ; 
'The  Munier  of  the  Cliildren  in  the  Tower  ;'  'The 
Entry  of  Bolinghruko  aud  Richard  11.  ;'  '  Hubert 
and  Arthur  ;'  '  The  Earl  of  Argyll  asleep  ; '  '  Lady 
Jane  Grey;'  'Prospero  and  Miranda  ;'  'A  Vulture 
and  Stiake ;  '  'A  Lion  Hunt,'  and  some  others  of 
the  like  kind,  in  which  he  showed  a  considerable  gift 
for  animal  painting.  His  portraits  are  numerous  ; 
but  whatever  veneration  he  felt  for  Titian,  or  for 
his  master  Sir  Joshua,  he  failed  to  emulate  their 
works.  In  1796  he  published  a  scries  of  ten  en- 
gravings from  his  own  pictures,  the  subject  being 
the  contrasted  careers  of  'A  Diligent'  and  'A 
Dissipated  Maidservant,'  a  sort  of  female  version 
of  Hogarth's  '  Idle  and  Industrious  Apprentice.' 
It  is  a  very  feeble  performance.  There  is  a  por- 
trait of  Northcote,  by  himself,  in  the  National 
Portrait  Gallery,  and  another  in  the  gallery  of 
Haarlem.  In  the  former  collection  there  are  also 
portraits  by  him  of  Jenner  and  Lord  Exmoutli. 
Northcote  was  elected  A.R.A.  in  1786 ;  R.A.  in 
1787;  and  died  in  1831. 

Northcote  exercised  the  pen  as  well  as  the  pencil. 
His  earliest  known  literary  productions  are  some 
papers  published  in  '  The  Artist,'  entitled  '  Origin- 
ality of  Painting;'  'Imitators  and  Collectors;' 
'A  Letter  from  a  discontented  Genius  ; '  'Character 
of  John  Opie  ; '  '  Second  Letter  of  a  discontented 
Genius  ;'  '  On  the  Imitation  of  the  Stage  in  Paint- 
ing ; '  'The  History  of  the  Slighted  Beauty;  '  'Tha 
Dream  of  a  Painter,  an  allegory.'  His  most  im- 
portant performances  as  a  writer,  are  his  '  Life  of 
Sir  Joshua  Reynolds,' containing  anecdotes  of  many 
distinguished  personages,  and  a  brief  analysis  ;  to 
which  are  added,  'Varieties  on  Art,'  pulilished  in 
1813,  in  quarto.  A  supplement  appeared  in  1815; 
and  an  octavo  edition  in  1819,  with  considerable 
additions.  In  1828  he  published  an  octavo  volume 
of  '  One  hundred  Fables,'  original  and  selected, 
with  engravings  on  wood  from  his  own  designs.  In 
1830  appeared  the  '  Life  of  Titian  ; '  and,  after  his 
decease,  a  second  volume  of  Fables,  published  under 
the  title  of  'The  Artists'  Book  of  Fables,"  and 
illustrated  with  numerous  woodcuts,  executed 
under  the  direction  of  Harvey.  The  curious 
process  Northcote  made  use  of  in  designing  these 
cuts  lias  been  often  described.  He  clipped  figures 
of  animals  out  of  all  kinds  of  fcooks,  papers,  &c., 
and  selecting  such  as  fitted  the  fable  to  be  embel- 
lished, pasted  them  down  to  paper  in  the  required 
places',  filling  in  backgrounds  with  his  pencil.  The 


PAINTERS  AND   ENGUAVEIiS. 


designs  thus  made  were  freely  interpreted  by  the 
engraver. 

NORTHEN,  Adolf,  battle  painter,  was  born  at 
Miinden  in  Hanover,  in  1828,  studied  from  1847 
to  1851  at  the  Academy  of  DUsseldorf.  lu  liis 
first  productions  he  painted  scenes  from  the  wars 
of  Napoleon  I.,  and  brought  himself  e8|iecially  into 
notice  by  his  '  Battle  of  Waterloo'  (1855),  which 
is  in  possession  of  the  King  of  Hanover,  and  at  a 
later  date  he  executed  several  lively  and  charac- 
teristic sketches  from  the  Franco-German  war. 
He  died  at  Dvissfldorf  in  1876.  The  following  are 
some  of  his  best  pictures  : 

Guerilla.s  with  captured  French  Soldiers.     1852. 

The  Skirmish  on  the  Gtihrde.     Hildesheim  Mas.     1852. 

Napoleon's  Retreat  from  Kussia. 

Episode  at  Gravelotte. 

The  Prussian  Guards  at  Konigratz. 

Attack  of  the  16th  Uhlan  Regiment,  near  Vionville. 

NORTON,  Christopher,  an  English  engraver  in 
the  latter  half  of  the  18th  century.  He  studied  in 
the  St.  Martin's  Lane  Academy,  and  at  Rome  in 
1769,  giiining  a  Society  of  Arts'  premium  the  same 
year.  There  are  plates  by  him  after  Pillement, 
Vaudevelde,  Canot,  &c. 

NOSADELLA.    See  Brizzi,  Franc. 

NOTER.     See  De  Noter. 

NOTER,  AnonsTE  Herman  de,  the  son  of  P.  F. 
Noter,  was  born  at  Ghent  in  1806.  He  painted 
landscapes  and  scenery  in  winter  in  the  style  of 
the  Wouvermans.     He  died  in  1839. 

NOTER,  Pierre  Franqois  de,  was  born  at  Wal- 
hem,  near  Malines.  He  was  the  son  of  an  architect 
and  a  pupil  of  Van  Gheel  the  sculptor,  but  in  1811 
devoted  himself  entirely  to  painting,  in  which  he 
rose  to  some  eminence.  His  pictures  represent 
landscapes,  shipping,  and  above  all  streets  and 
the  interiors  of  churches.  In  1824  he  was  a 
member  of  the  Academy  of  Amsterdam,  and  Pro- 
fessor in  that  of  Ghent.  In  most  of  the  Museums 
of  Belgium,  Holland,  and  the  north  of  Fiance  his 
pictures  are  to  be  found.     He  died  in  1842. 

NOTERMANN,  EiiANnEL,  animal  and  genre 
painter,  was  born  at  Oudenarde  in  1808,  and 
studied  in  the  Academy  at  Ghent,  but  in  1830  he 
became  a  scholar  of  Maes-Canini,  and  finished  his 
art  education  under  Peter  Kremer.  His  paintings 
represent  domestic  scenes  by  day-  and  candle-light, 
consecrations  of  churches,  carnivals,  &c.  He  died  in 
1863.  His  best  known  works  are  :  '  A  Spaniel,'  and 
'  A  Poacher  bewailing  the  Loss  of  his  Dog.'  Among 
his  etchings,  which  are  rare,  '  The  Death  of  Anton 
Van  Dyck,'  after  P.  Kremer,  is  the  best. 

NOTHNAGEL,  Johann  Andreas  Benjamin,  a 
German  painter  and  engraver,  was  born  at  Buch, 
in  the  principality  of  Saxe-Coburg,  in  1729.  He 
resided  at  Frankfort,  and  worked  at  the  inannfaoture 
of  wall-papers  under  Lentzner,  after  whose  death 
he  married  his  widow  and  continued  the  business 
himself.  He  aciiuired  considerable  reputation  as  a 
painter  of  landscapes  witli  merry-makings,  in  the 
style  of  Teniers  ;  but  he  is  now  more  known  as  an 
engraver.  His  best  productions  are  a  immber  of 
heads  and  busts,  in  which  he  has  imitated  the  style 
of  Rembrandt  with  great  success.  His  plates 
amoimt  to  sixty-five,  marked  with  N.  and  a  nail, 
or  B.N.F.     He  died  at  Frankfort  in  1804. 

NOTTI,  Gherardo  dalle.     See  Honthorst. 

NOUAILHIER,  (or  Noylier,)  was  the  name  of 
a  family  of  enamel  painters  of  Limoges  from  the 
16th  to  the  19th  century: — CouLY,  or  Colin,  was 
burgomaster  from  ■*613-31.     Jacques  was  born  in 


1605,  and  flourislied  under  Louis  XIV.  ;  he  painted 
the  'Adoration  of  the  Magi,'  after  Van  Aken,  in 
the  Louvre  at  Paris.  Pierre,  was  born  in  1657, 
and  flourished  1686—1717.  Jean-Baptiste  was 
born  in  1752,  and  died  in  1804.  A  collection  of 
the  works  of  these  artists  is  in  possession  of  M.  de 
Lille-Lot  ure  at  Orleans. 

NOVA,  Pecino  de.  Tliere  were  several  artists 
at  B 'rgamo  of  this  name.  Tassi  quotes  documents 
which  prove  that  Pecino  and  Piero  de  Nova  were 
two  ditl'erent  men.  The  former  was  the  son  of 
Alberto  de  Nova,  a  painter.  Pecino  worked  at 
intervals  at  Santa  Maria  Maggiore,  Bergamo,  from 
1363  to  1381.  In  1375  Piero,  who  was  probably  the 
brother  of  Pocino,  Pecino,  and  Michele  de  Roncho, 
a  Milanese,  were  all  working  in  conjunction  at  the 
above  church.  Fragments  of  frescoes  by  one  of 
the  Novas  can  still  be  seen  in  the  belfry,  together 
with  a  'Virgin  and  Saints,'  'The  Epiphany,'  and 
other  Scripture  subjects.  On  the  front  of  a  house 
in  the  Contrada  Sant'  Andrea,  Bergamo,  some  re- 
mains of  frescoes  by  one  of  the  Novas  ciin  also  be 
seen.  We  may  also  name  two  altar-pieces  at 
Bergamo : 

Virgin  and   Child,  with   SS.  Catharine,  Francis,  and 

donors. 
Virgin  and  Child,  with  SS.  Bartholomew  and  Agatha. 

There  are  other  works  of  theirs  in  the  Locchis 
Carrara  Gallery. 

Pecino  de  Nova  was  still  working  at  Bergamo 
in  13'J9,  and  was  buried  there  6th  June,  1403. 

NOVARKA.     See  Ricci. 

NOVELIERS,  Pierre.  In  1605,  a  painter  of  this 
name  was  appointed  conservator  of  the  pictures  in 
the  p  laces  of  Brussels  and  Tervueren. 

NOVELIERS,  Salomon,  son  of  the  last-named. 
In  1618  he  succeeded  to  the  office  of  his  father,  and 
Was  also  named  painter  to  the  court.  In  1613  lie 
was  commissioned  to  catalogue  the  pictures  left  by 
Charles  de  Croy,  Due  d'Arschot.  A  certain  David 
NovELiERS  is  supposed  to  have  been  a  second  son 
of  Pierre. 

NOVELLANUS.    See  Neuvel. 

NOVELLARA.     See  Orsi. 

NOVELL!,  Francesco,  the  elder,  an  engraver, 
was  born  at  Venice  in  1764.  After  learning  the 
principles  of  his  art  under  his  father,  he  attended 
the  Academy  of  his  native  place  for  some  time, 
and  then  went  to  Rome.  In  conjunction  with 
Cumano  he  etched  the  works  of  Rembrandt  with 
such  skill  that  his  copies  have  been  often  mistaken 
for  the  originals ;  he  also  imitated  the  designs 
of  Mantegna  with  success,  and  engraved  that 
artist's  'Madonna  della  Vittoria'  (about  1800), 
The  date  of  his  death  is  not  recorded.  He  was  a 
member  of  several  academies.  He  signed  his  prints 
with  a  monogram  in  a  circle.  His  son  of  tlie  same 
name  was  also  an  engraver. 

NOVELLI,  PlETRO,  painter  and  engraver,  called, 
from  his  birthplace,  Monrealese,  or  Morrealese, 
was  born  in  1603.  He  resided  for  a  long  time  in 
Palermo,  but  in  later  life,  it  is  said,  he  visited 
Rome,  which  city,  as  well  as  the  former,  jiossesses 
several  pictures  from  his  haml.  He  was  living  up 
to  1660.  His  masterpiece  is  the  '  Marriage  at 
Cana,'  in  the  refectory  of  the  Benedictines  at  Mon- 
reale.  Novelli's  style  is  a  little  like  that  of  Cara- 
vaggio.  His  life  was  published  by  Agostino  Gallo 
(Palermo:   1829). 

NOVELLO,  Giovanni  Battista,  a  painter  of 
Castelfranco,  and  pupil  of  the  younger  Palma.    In 

27 


A   BIOGRAPHICAL  DICTIONARY   OF 


the  neighbourhood  of  Castelfranco  are  some  good 
altar-pieces  by  him.  He  was  the  master  of  Pietro 
Domini.     He  was  born  in  1578,  and  died  in  165-i. 

NOWER,  Francis,  a  lierald  painter  of  tlie 
seventeenth  century,  wlio  died  with  his  children 
and  servants  in  1G70  in  a  fire  in  Bartholomew 
Lane,  London.  He  was  the  editor  of  the  fourth 
edition  of  Guillim's  '  Display  of  Heraldry,'  and  he 
supplied  all  the  new  illustrations  for  the  work. 
He  did  many  coats-of-arms  for  the  City  Companies, 
and  his  name  constantly  appears  in  tlieir  books  of 
accounts.  He  also  painted  banners  for  the  City 
regiments,  and  for  two  at  least  of  the  City  Guilds. 

NOYLIEK.     See  Nouailheb. 

NUEUI,  AvANZio,  painter,  was  bom  at  Castello, 
near  Rome,  studied  under  Pomerancio,  and  was 
employed  by  Sixtus  V.  His  works  are  to  be  found 
in  the  churches  of  Rome.  He  was  born  in  1562, 
and  died  in  1629. 

NUIJEN,  WiJNAND  Jan  Joseph,  (Nuye.v,)  painter 
and  designer,  a  scholar  of  A.  Schelfhout,  was  born 
in  1813,  and  died  at  the  Hague  in  1839.  In  his 
sixteenth  year  he  exhibited  a  landscape  at  Ghent, 
fur  which  he  received  a  prize  ;  some  time  after  he 
obtained  a  first  prize  from  the  Felix  Meritis  society 
at  Amsterdam.  In  1838  a  winter  scene,  which  he 
exhibited  at  Ghent,  attracted  attention,  and  led  to 
his  nomination  as  a  member  of  the  Academy  of  the 
Fine  Arts  at  the  Hague.  He  was  also  a  member 
of  that  of  Antwerp  and  of  the  Netherlands  Insti- 
tute. His  premature  death  prevented  the  full 
development  of  his  talents.  There  is  a  landscape 
with  ruins  by  him  in  the  Amsterdam  Museum, 
■which  is  considered  one  of  his  finest  works. 

NDLCK,  L.,  a  painter  apparently  of  the  Dutch 
school,  of  whose  life  nothing  is  known.  In  the 
Collection  of  M.  Ch.  Careus,  Brussels,  there  is  an 
interior  with  figures  by  him,  signed  L.  Nvlck,  1680. 

NUMAN,  Hermanus,  painter  and  etcher,  was 
bom  at  Ezinge,  near  Groeningen,  in  1744.  He  first 
designed  and  i)ainted  birds  and  landscapes,  but 
devoted  himself  later  on  to  portraiture  in  oil  and 
pastel,  and  studied  engraving  under  Le  Bas  at 
Paris.  He  produced  many  portraits  at  Amsterdam, 
and  published  in  1797  a  series  of  etchings  repre- 
senting; Dutch  country  houses.     He  died  in  1820. 

NUXEUAM,  SiMO.N'  Harcourt,  Viscount,  was  an 
amateur  etcher.  There  are  various  landscape  jilates 
by  him,  some  after  Paul  Sandby,  and  some  '  Views 
of  the  Ruins  at  Stanton  Harcourt.'  He  became  the 
second  Earl  Harcourt,  and  died  in  1809. 

NUNES,  Philip,  (or  Fba  Philipe  das  chazas,) 
a  Portuguese  artist,  bora  at  Villa  Real  de  Tras-os- 
montes.  He  entered  holy  orders  in  1591,  and  took 
the  name  of  Fra  Philipedas  Chazas(of  the  wounds). 
He  was  one  of  the  most  celebrated  artists  in 
Portugal  in  his  time,  and  author  of  'Arte  de 
pintura,  symetria  e  perspectiva,'  1615. 

NUNEZ,  Juan,  one  of  the  earliest  of  the  nainters 
of  Seville,  lived  at  the  commencement  of  the  16th 
century,  and  was  a  scholar  of  Sanchez  de  Castro, 
and  married  Ana  de  Castro,  a  relation  of  that  master. 
The  greater  number  of  his  works  have  been  de- 
stroyed. In  the  cathedral  of  Seville  there  is  still 
a  picture  by  him  representing  the  '  Virgin  with 
the  dead  Christ  in  her  arms,  accompanied  by  St. 
Michael  and  St.  Vincent  Martyr  j'  in  the  "fore- 
ground are  several  figures  on  their  knees  adoring 
the  Virgin.  This  picture  Cean  Bermudez  compares 
to  the  work  of  Albert  Diirer. 

NU5fEZ,  Pedro,  was  born  at  Madrid  early  in  the 
28  •' 


.17th  century.  He  studied  under  Juan  de  Soto, 
and  afterwards  at  Rome,  it  is  said  under  Guercino. 
On  his  return  he  painted  a  series  of  the  Spanish 
sovereigns  for  the  theatre  of  the  Alcazar  at  Madrid. 
In  1625,  by  command  of  Prieto,  General  of  the 
Order  of  Mercy,  he  executed  some  works  for  the 
cloister  of  the  convent  of  the  order.  He  died  at 
Madrid  in  1654,  having  unsuccessfully  competed 
with  Angelo  Nardi  for  the  post  of  King's  painter. 
NUXEZDEVILLAVICENCIO,PEDRO,a  chevalier 
of  the  order  of  St.  John,  was  born  at  Seville  in 
1635,  of  an  illustrious  family.  He  studied  painting 
for  amusement,  and  placed  himself  under  the  direc- 
tion of  Murillo,  to  whom  he  became  the  most 
attached  friend.  Such  was  his  progress  in  the  art, 
that  from  an  amusement  it  became  his  constant 
occupation.  As  a  knight  of  the  order  of  St.  John, 
he  was  obliged  to  perform  the  usual  expedition 
(las  carahanas)  ;  and  on  his  arrival  at  Malta  he 
placed  himself  under  Matteo  I'reti,  called  II  Cala- 
brese,  who  was  also  a  knight  of  the  same  order ; 
and  with  him  he  increased  his  knowledge,  particu- 
larly in  chiaroscuro.  On  his  return  to  Spain  he 
rejoined  Murillo,  who  loved  him  tenderly,  and  for 
whom  he  felt  such  attachment  and  veneration  that 
he  always  resided  with  him.  The  two  conjointly 
founded  the  Academy  of  Seville.  The  master  died 
in  the  arms  of  his  scholar.  Vill.avicencio,  like 
Antolinez,  Tobar,  and  Meneses  Osorio,  approached 
so  near  to  the  manner  of  Murillo  in  painting  chil- 
dren, that  it  is  sometimes  difficult  to  decide  be- 
tween the  two  ;  he  was  also  an  excellent  portrait 
painter.  He  died  at  Seville  in  1700.  There  is  a 
picture  by  him  at  Alton  Towers,  the  seat  of  Lord 
Shrewsbury,  partaking  of  the  dark  manner  of  Cala- 
brese.  It  represents  the  Virgin  sewing,  and  Joseph 
embracing  the  child  Jesus.  The  Madrid  Museum 
contains  a  picture  by  him  of  '  Boys  playing  witli 
Dice ; '  and  the  Suermondt  Gallery  at  Cologne  had  a 
'  Child  Jesus,  in  a  Landscape.'  The  Carmen  Calzado, 
at  Seville,  has  also  some  genre  pictures  and  por- 
traits by  him,  including  his  own  portrait. 

NUNZIATA,  ToTO  (or  Antonio  del),  painter, 
was  a  pupil  of  Ridolfo  Ghirlandaio.  He  is  said  to 
have  visited  England  in  15.^1. 

NUSBIEGEL,  Johann,  (or  Ndssbiegel,)  an  en- 
graver, born  at  Nuremberg  in  1740,  was  a  son 
and  scholar  of  Georq  Paul  Nusbiegel  (who  died 
1776).  He  studied  perspective  under  Stettner, 
and  attended  the  Academy  at  Nuremberg  under 
Preissler.  He  engraved  several  plates  and  por- 
traits for  Lavater's  works,  and  executed  some 
otiiers  after  the  designs  of  Chodowiecki.  One  of 
his  best  plates  is  the  '  Death  of  Schwerin,'  after 
Berger.     He  died  in  1818. 

NUTI,  GiOLiA,  the  wife  of  Antonio  Marini  (g.«.), 
frequently  painted  flowers  in  her  husband'spictures. 
NUTSCHIDEL.  See  Ne'dchatel. 
NUTTER,  William,  an  English  engraver,  who 
studied  under  J.  Smith  and  Bartolozzi,  and  practised 
in  the  stippled  manner.  He  was  born  in  1754. 
There  are  plates  by  him  after  Reynolds,  Morland, 
Westall,  Hoppner,  Wheatley,  and  Russell.  He 
died  in  Somers  Town  in  1802. 

NUTTING,  Joseph,  was  an  English  engraver, 
who  resided  in  London  at  the  beginning  of  the 
17th  century.  He  was  principally  employed  by 
the  booksellers,  and  executed  among  others  the 
following  portraits : 

Charles  I.,  with  the  persons  who  suffered  in  bis  cause. 
Mary  Capel,  Duchess  of  Beaufort ;  after  H'alker. 
Matthew  Mead,  father  of  Dr.  Mead. 


PAINTERS  AND  ENGRAVERS. 


Sir  John  Cheke. 

Lucius  Cary,  Viscount  Falkland. 

Kobert  Pierpoint,  Earl  of  Kingston. 

George  St.  IjOo,  Commissioner  for  the  Navy. 

Henry  Sacheverel,  D.D. 

John  Locke. 

Aaron  Hill. 

G.  Parker,  the  Almanack-maker. 

Johannes  Jacobus  Scheuchzerns ;  after  Melchior  Fusa- 

liitus, 
William  Elder,  Engraver  ;  after  Faithome. 
Dr.  Monk,  Bishop  of  Hereford,  who  died  in  1661. 

NUVOLONE,  Carlo  Francesco,  (called  Pan- 
FILO.)  was  the  elilest  son  of  Pnnfilo  Niivolone,  and 
was  bom  at  Milan  in  1C08.  He  received  his  first 
instruction  from  hi."!  father,  but  was  afterivards  a 
scholar  of  Giulio  Cesare  Procacoini.  He  abandoned 
the  principles  of  that  master  to  imitate  the  works 
of  Guido  Reni,  and  some  of  his  pictures,  particularly 
those  of  the  Virgin,  approach  so  near  to  the  style 
of  the  latter,  that  he  acquired  the  soubriquet  of 
'  the  Guido  of  Lombardy.'  In  the  oratory  adjoin- 
ing the  church  of  San  Vincenzio  at  Piacenza  is  his 
'  Purification  of  the  Virgin,'  considered  his  best 
work.  In  the  church  of  San  Vittore,  at  Milan, 
is  a  fine  picture  by  him  of  '  St.  Peter's  Miracle  at 
the  Gate  of  the  Temple.'  Other  works  of  his  are  in 
public  buildings  at  Parma  and  Cremona.  He 
also  painted  portraits  with  great  success.  In  the 
year  1649,  when  the  Queen  of  Spain  visited  Milan, 
he  was  selected  to  paint  her  portrait.  He  died  in 
1661. 

NUVOLONE,  Giuseppe,  also  called  Pan'filo,  was 
the  younger  brother  of  Carlo  Francesco  Nuvolone, 
and  was  born  at  Milan  in  1619.  Possessed  of  a 
fervid  imagination,  and  great  facility  of  hand,  his 
works  form  a  striking  contrast  to  those  of  his 
brother.  During  a  long  life,  he  painted  many 
altar-pieces  for  the  churches  at  Brescia,  and  other 
cities  in  the  states  of  Venice.  A  '  St.  Jerome  '  in 
the  church  of  San  Tommaso  at  Piacenza  is  regarded 
as  one  of  his  best  productions.  Towards  the  latter 
part  of  his  life  his  powers  became  Languid  and 
feeble,  which  is  not  extraordinary,  as  he  continued 
to  paint  till  his  eighty-fourth  year.  He  died  in 
1703. 

NUVOLONE,  Panfilo,  was  a  native  of  Cremona, 
and  flourished  about  the  year  1608.  He  was  one 
of  the  ablest  disciples  of  Giovanni  Battista  Trotti, 
and  painted  history  in  the  style  of  that  master.  In 
the  church  of  the  monastery  of  SS.  Domenico  and 
Lazzaro  at  Milan,  is  one  of  his  principal  works, 
representing  the  '  Rich  Man  and  Lazarus  ;  '  and  in 
the  cupola  of  the  church  of  La  Passione,  the  '  As- 
sumption of  the  Virgin.'  Zani  places  his  death  in 
1651. 

NUVOLSTELLA.    See  Nivolsteixa. 

NUYEN.     See  Ndijen. 

NUZI,  Allegretto,  (or  Nncci  di  Nozio,)  called 
Allegretto,  or  Gritto,  da  Fabriano,  was  born  at 
Fabriano  in  the  14th  century,  and  first  appears  on 
the  Register  of  Florence  in  1346,  at  which  date  he 
may  be  said  to  have  brought  to  that  city  the  man- 
ner of  the  Umbrian  school.  Nothing  is  known  of 
the  details  of  his  life,  and  the  earliest  picture  signed 
and  dated  by  him  is  a  '  Madonna  and  Child,  between 
the  Archangel  Michael  and  St.  Ursula,'  with  the 
six  donors  kneeling  on  each  side  of  the  throne, 
which  bears  the  date  of  1365.  In  1369  he  executed 
the  altar-piece  now  in  the  sacristy  of  the  cathedral 
of  Macerata  ;  and  in  1372  he  completed  the  '  Virgin 
and  Child,'  now  in  the  possession  of  Signor  Rorao- 
aldo  Fomari,  of  Fabriano ;   the  same  gentleman 


also  possesses  an  '  Ecce  Homo  '  that  can  be  assigned 
to  Allegretto.  In  the  Gallery  at  Berlin  are  two 
panels  by  this  artist,  viz.,  a  'Virgin  and  Child, 
between  SS.  Catherine  and  Bartholomew,'  and  a 
'  Crucifixion.'  Crowe  and  Cavalcaselle  have  attri- 
buted to  this  artist  an  altar-piece  now  in  the 
sacristy  of  the  Fabriano  cathedral,  containing  the 
'  Virgin  and  Child,  with  SS.  Bartholomew,  John 
the  Evangelist,  and  Mary  Magdalene  ; '  as  also  the 
'St.  Augustine  between  SS.  Nicholas  of  Tolentino 
and  Stephen,'  in  the  sacristy  of  Sant'  Agostino, 
in  the  same  city.  According  to  Ricci,  Allegretto 
is  the  author  of  the  frescoes  in  Santa  Lucia  of 
Fabriano,  which  represent  the  '  Death  and  Coron- 
ation of  the  Virgin,'  the  '  Crucifixion,'  and  other 
sacred  subjects,  executed  between  1345  and  1349. 
Other  paintings  by  him  are  to  be  found  at  Cancello, 
near  Fabriano.  in  which  church  he  was  buried  in 
1385.  He  signed  his  pictures,  AUegrettus  Nutii 
de  Fabriano. 

NUZZI,  Mario,  called  Mario  da'  Fiori,  or  Mabio 
della  Penna,  was  bom  at  Penna,  in  the  diocese 
of  Fermo,  in  1603,  and  was  a  scholar  of  his  uncle 
Tommaso  Salini,  a  flower  painter.  He  chiefly 
resided  at  Rome,  where  his  pictures  of  fruit  and 
flowers  were  held  in  the  highest  estimation.  But 
from  using  something  of  a  noxious  quality  in  the 
preparation  of  his  colours,  his  works  soon  lost  their 
original  freshness,  and  many  of  them  have  almost 
entirely  perished.  He  was  in  1657  made  a  member 
of  the  Academy  of  St.  Luke,  and  died  at  Rome  in 
1673.  He  was  much  employed  in  paintitig  gariands 
to  decorate  figures  of  the  Virgin,  Saints,  and  other 
religious  subjects.  The  church  of  Sant'  Andrea 
della  Valle  at  Rome  contains  a  wreath  of  flowers 
painted  by  him  round  Andrea  Camassei's  portrait 
of  St.  Cajetanus.  A  '  Bird  Concert '  was  engraved 
after  him  in  mezzotint  bv  Earlom. 

NYMEGEN,  (or  NIMEGEN,  or  NIMWEGEN,) 
DiONlJS  VAX,  son  and  scholar  of  Elias,  was  bom  at 
Rotterdam  in  1705.  He  painted  similar  subjects 
to  those  bv  his  father,  and  also  excelled  in  por- 
traiture, it  is  related  that  at  the  age  of  eighty- 
one  he  painted,  without  the  aid  of  spectacles,  a 
perfect  likeness  of  a  young  lady.  His  crayon 
drawings  are  also  much  esteemed.  He  died  in 
1798  or  1799. 

NYMEGEN,  Elias  van,  was  bom  at  Nymeguen 
in  1667,  and  was  taught  the  first  elements  of  the 
art  by  his  elder  brother,  who  was  an  indifferent 
painter  of  flowers  and  portraits  ;  but  on  the  death  of 
his  instructor,  when  he  was  little  more  than  fourteen 
years  of  age,  he  resolved  to  dispense  with  further 
assistance,  and  applied  himself  to  the  study  of 
nature  till  he  became  a  tolerably  correct  desigiier 
of  the  figure,  and  acquired  a  competent  acquaint- 
ance with  perspective  and  architecture.  He  also 
excelled  in  painting  landscapes  and  flowers.  His 
principal  occupation  was  ornamenting  the  ceilings 
and  saloons  of  mansions  in  Holland,  with  emblem- 
atical and  historical  subjects,  embellished  with 
bas-reliefs  and  other  accessories.  His  talents  re- 
conmiended  him  to  the  patronage  of  the  Princess 
of  Orange,  who  employed  him  in  adorning  the 
apartments  of  her  different  palaces,  in  which  he 
was  occupied  several  years.     He  died  at  Rotterdam 

in  1755.  ,  ,^.     .. 

NYMEGEN,  Gerard  van,  was  the  son  of  Dionijs, 
and  was  bom  at  Rotterdam  in  1735.  He  was  in- 
structed by  his  father,  and  at  a  very  early  age  painted 
the  portrait  of  Prince  William  V.,  which  was  en- 
graved by  Beauvarlet ;  but  he  applied  himself  more 

29 


A  BIOQUAPUICAL  DICTIONARY  OF 


particularly  to  landscape,  in  wliich  he  made  the  works 
of  Riiysdael,  Everdingen,  and  Pynacker  his  models. 
His  best  pieces  are  mountainous  landscapes,  and 
forest  scenery  with  rivulets,  ornamented  with 
animals  and  figures.  He  painted  matiy  portraits, 
and  made  drawinj^a  and  copies  after  Jacob  liuys- 
dacl,  Wynants,  Hackaert,  and  Hobbema.  There 
exist  twenty-one  etchings  of  landscapes  by  him. 
He  died  at  Rotterdam  in  1808. 

NYMEGEN,  Sosan-na  Catharina  van,  bom 
VlJGH,  the  wife  of  Gerard  van  Nymegen,  has  left 
several  drawings  of  landscape  of  some  merit.  She 
died  in  1805. 

NYMEGEN,  Tobias  van,  the  younger  brother  of 
Elias  van  Nymegen,  was  horn  at  Nymeguen  about 
the  year  1670.  His  technical  education  was  similar 
to  tliat  of  Elias ;  and  he  pursued  the  same  branch 
of  the  art.  He  was  invited  to  the  court  of  the 
Elector  Palatine,  in  whose  service  he  remained  till 
his  death,  the  date  of  which  is  not  ascertained. 

NYMEGEN,  (or  NIMWEGEN,)  Willem  van, 
of  Haarlem,  was  admitted  as  master  into  the 
Guild  of  St.  Luke,  at  Delft,  in  1G84.  He  was  cele- 
brated for  imitating  engravings  with  the  pen.  He 
died  in  1698. 

NYPOORT,  Jdsths  van  (or  van  deb),  painter  and 
etcher,  a  little-known  artist,  who  is,  nevertheless, 
of  some  importance.  He  painted  scenes  of  peasant 
life,  often  humorous,  several  of  which  he  etched 
in  the  style  of  Ostade.  He  flourished  about  1680. 
Plates  : 

Pat.  Joan.  Maldonatus ;  an  Angel  beside  him  and  Death 
in  the  distance. 

Zoylus ;  "  De  giistibus  non  est  disputandum. 

Peasants  in  a  Room. 

Interior  of  Farm-house,  with  the  Farmer  and  his  Family. 

A  Knife-griuder  before  a  Farm-house. 

A  Peasant  with  his  Wife  and  Child. 

Peasants  drinking  and  playing  Card.s. 

Peasants  and  Children  in  an  interior. 

Three  Pe.isants  smoking  and  drinking. 

Group  of  three  Boors  in  a  Cottage. 

The  Fruit-dealer. 

A  company  of  Peasants 

Three  Card-players. 

A  Boor  looking  into  an  empty  Jug. 

A  village  Surgeon  and  a  Boor  with  toothache. 

Landscape,  with  a  Sacrifice.  . 

A  Genius  laying  a  Halberd  on  the  breast  of  a  winged 
old  man  asleep  under  a  tree.  ^,     ..^ 

A  book-plate  for  the  Prince-Bishop,  Carl  von  Olmutz. 

NYS,  Jacques  de.    See  Denys. 
NYTS.    See  Neyts. 

0 

0.    See  Van  der  0. 

CAKES,  John  Wright,  a  landscape  painter  of 
eminence,  was  born  at  Sproston  House,  Middlewich, 
Cheshire,  the  home  of  his  family  for  several  genera- 
tions, on  July  9, 1820.  Early  in  life  he  was  brought 
to  Liverpool,  where  he  was  educated,  and  appren- 
ticed to  a  house  painter.  In  1839  Oakes  made  his 
first  appearance  as  an  exhibitor,  at  the  Liverpool 
Academy,  with  a  picture  of  'Fruit,'  priced  5 
guineas.  His  residence  in  the  following  year  and 
until  1846  was  4,  Parker  Street.  He  continued  to 
exhibit  fruit  pieces  for  several  years,  but  in  1843 
he  began  modestly  as  a  landscapist  with  a  three- 
guinea  '  Sketch  on  the  Lancashire  Coast.'  W.  J. 
Bishop  is  credited  with  being  his  chief  preceptor  in 
art,  and  he  seems  to  have  attended  classes  at  the 
Liverpool  Academy,  but  his  training  was  in  all 
probability  desultory.     Oakes  continued  a  house 

30 


painter,  until  success  as  a  picture-maker  enabled 
him  to  dispense  with  ladders  and  pails.  This  pro- 
bably was  about  1840,  when  he  exhibited  ten 
landscapes,  of  local  or  Welsh  subjects,  at  the 
Liverpool  Academy.  In  the  following  year  he  was 
elected  an  associate  of  that  body,  removed  to  100, 
Bold  Street,  and  exhibited  '  Naut  Frangcon,  Car- 
narvonshire,' at  the  British  Institution.  About  this 
date  Oakes  married  a  lady  who  had  a  prosperous 
business  as  a  dressmaker.  In  1848  his  pictures  at 
Liverpool  included  some  subjects  in  the  Lake 
District,  one  of  them, 'On  the  river  Greta,  Keswick,' 
having  previously  been  shown  (his  first  appear- 
ance) at  the  Hnyal  Academy.  Thereafter,  with  a 
single  exception,  he  was  always  represented  at  the 
Royal  Academy,  where  in  all  (according  to  Mr. 
Graves)  he  showed  ninety  works ;  his  London 
record  otherwise  being  twerity-eij;ht  at  the  British 
Institution,  eleven  at  Suffolk  Street,  and  tweuty-six 
at  other  Exhibitions.  In  1850  Oakes  became  a  full 
member  of  the  Liverpool  Academy,  and  the  sub- 
jects of  his  work  at  its  Exhibition  give  evidence  of 
a  visit  to  Scotland.  Two  years  later  he  exhibited 
some  Irish  subjects.  In  1853  Oakes  became 
Secretary  of  the  Academy,  a  post  he  filled  until 
1855,  when  he  removed  to  28,  Victoria  Road, 
Kensington,  London.  Tlie  innovation  of  printing 
prices  in  the  exhibition  catalogue  of  185.3  was 
probably  due  to  the  practical  sagacity  of  Oakes. 
None  of  his  own  four  exhibits  were  for  sale.  In 
1854  his  highest  price  was  150  guineas  for 
'The  Vale  of  Bersham';  iu  1855,  1001.  each 
for  'Twll-du'  and  'Loch  Ranza,  Arran.'  After 
going  to  London,  Oakes  remained  a  non-resident 
member  of  the  Liverpool  Society,  and  coiitinued  to 
send  to  its  Exhibitions.  In  1858  he  showed  at  the 
Royal  Academy  'The  Warren,'  and  '  Maldreath 
S.inds — rain  passing  off,'  in  1859  '  Marchllyn- 
Mawr,'  in  1800  'Aberaftraw  Bay,'  and  in  1861 
'  A  Carnarvonshire  Glen,'  which  all  rank  among 
his  finest  achievements.  'The  Forest,  Glen  of  the 
Gardewalt,'  shown  in  1865,  is  evidence  of  a  foreign 
tour,  and  it  was  followed  in  1866  by  '  Morning  at 
Angera,  Lago  Maggiore.'  In  the  next  year  there 
were  three  Scottish  subjects  (two  of  the  Bass 
Rock),  and  in  1868  he  showed  nothing.  In  1869, 
the  first  year  of  Burlington  House,  '  Early  Spring' 
was  Oakes'  sole  contributio.i.  It  is  said  to  be  in 
the  Glasgow  Corporation  Gallery,  but  the  curator 
states  that  this  is  incorrect ;  that  it  at  one  time 
belonged  to  the  Glasgow  Institute  of  Fine  Arts, 
and  was  sold  with  all  the  other  pictures  belonging 
to  that  institution  about  1880.  Its  present  location 
has  not  been  traced.  In  1871  the  '  Linn  of 
Muick,  near  Ballater,'  was  one  of  three  pictures  at 
the  Royal  Academy,  and  to  the  first  Corporation 
Autumn  Exhibition  at  Liverpool,  Oakes  sent  four 
works,  of  which  the  most  important  was  '  Morning 
in  the  Bay  of  Ceri,  Lake  of  Lucerne'  (Koyal 
Academy,  1870),  which  was  priced  £367  10s.  in 
the  catalogue.  In  the  following  year  he  again 
sent  four  pictures  to  Liverpool,  and  '  A  North 
Devon  Glen,  Autumn  '  (£367  10s.)  was  purchased 
for  the  Permanent  Collection.  It  is  now  in  the 
Walker  Art  Gallery.  The  size  is  48  by  96 
inches.  In  1873,  when  he  removed  to  Leam 
House,  Addison  Road,  '  A  Mountain  Stream,  Glen 
Derry,  Aberdeenshire'  (£367  10s.),  was  shown  both 
at  the  Royal  Academy  and  at  Liverpool.  In  the 
following  year  Oakes  was  elected  Associate  of  the 
Institute  of  Painters  in  Water-Colours,  but  in  1875 
he   resigned,   doubtless   having   in  view  the  As- 


PAINTERS   AN'D    ENGRAVERS. 


sociateship  of  the  Royal  Academy,  which  fell  to 

him  in  1876. 

In  1883  Oakes  was  elected  an  honorary  member 
of  the  Royal  Scottitsh  Academy.  Two  or  tliree 
years  before  this  lie  had  fallen  into  chronic  ill 
health  due  to  asthma,  which  interfered  with  the 
practice  of  his  art.  He  continued  to  exhibit 
regularly,  however,  at  the  Royal  Academy,  his  last 
contributions,  in  1887,  being  '  Barnton  Mill'  and 
'Hailstorm  at  tlie  Devil's  Bridge,  Pass  of  St. 
Gothard.'  He  died  at  Learn  House  on  July  'J, 
1887,  and  was  buried  at  Brompton  Cemetery.  In 
the  1888  Esliibition  at  Burlington  House  Oakes  was 
represented  for  the  last  time  by  '  Tlie  Warren.'  On 
March  10, 1H88,  his  remaining  pictures  were  sold  at 
Christie's:  they  realized  £3.848.  The  range  in  land- 
scape of  Oakes  is  fairly  well  indicated  hy  the  titles  of 
pictures  which  have  aln-ady  been  ijuoted.  He  had 
a  passion  for  the  scenery  of  inountainous  country, 
and  partii-uhirly  loved  North  Wales,  but  he  also 
chose  subjects  from  Scotland,  Ireland,  the  Isle  of 
Man,  England,  and  occasionally  the  Continent. 
Extensive  prospects  pleased  him  better  than  "  bits," 
and  he  exhibited  in  his  treatment  of  such  themes 
a  brilliant,  almost  unerritig,  sense  of  composition, 
a  fine  perception  of  light,  atmosphere,  and  colour, 
and  the  poetry  of  nature.  The  work  of  his  early 
years  was  particularly  brilliant,  but  after  going  to 
London  he  did  not  progress  as  his  early  admirers 
anticipated.  Although  he  was  closely  associated 
with  the  Liverpool  pre-Raphaelites,  the  style  of 
Oakes  was  not  affected  by  them.  One  of  his  con- 
temporaries has  described  him  as  a  man  of  sturdy 
appearance,  more  like  a  sea-captain  than  a  painter, 
much  marked  by  small-pox,  and  addicted  to  wear- 
ing black  satin  waistcoats.  He  habitually  had  his 
left  hand  in  his  pocket.  Unlike  most  artists  he 
would  never  allow  any  one  to  see  him  paint.  A 
son,  Frederick  Oakes,  was  intended  for  an  artist, 
and  did  some  good  work  in  his  youth,  but  event- 
ually entered  upon  a  business  career.  He  died 
young.  E.R.D, 

OaKLEY,  OcTAvms,  a  painter  in  water-colours, 
was  bom  in  1800.  After  having  practised  as  a  por- 
trait painter  at  Leamington  and  at  Derby,  he  came 
to  London  in  1842,  was  elected  an  Associate  of  the 
Water-colour  Society,  and  a  full  member  in  1844. 
His  pictures  consist  chiefly  of  rustic  tiguros,  groups 
of  gypsies,  &c.,  and  in  his  later  years  of  landscapes. 
He  began  to  exhibit  at  the  Royal  Academy  in  1826, 
and  ceased  in  1860.  Most  of  his  contributions  to 
that  exhibition  were  portraits.  Oakley  died  at 
Bayswater  in  March,  1867. 

OAKMAN,  John,  an  English  wood  engraver, 
born  at  Hendon,  who  practised  about  the  middle 
of  the  18th  century.  He  was  chiefly  employed 
on  illustrations  for  children's  books.  In  his  later 
years  he  turned  ballad  and  novel  writer,  and  died 
in  indigence  in  1793. 

OBACH,  Kaspar,  painter,  engraver,  and  litho- 
grapher, was  born  at  Zurich  in  1807,  and  was  a 
pupil  of  Fiissli.  He  went  to  Stuttgart  in  1825, 
and  made  many  landscape  sketches  in  pencil,  which 
he  reproduced  in  water-colours  or  lithographed. 
He  died  at  Stuttgart  in  1865. 

OBEET.  a  good  Flemish  picture  of  still-life 
(fruit,  oysters,  and  goblets)  in  the  Madrid  Museum 
bears  this  name. 

OBERMANN,  Antonis,  painter  and  etcher,  was 
born  at  Amsterdam  in  1781,  and  died  in  the  same 
city  in  1850.  He  painted  landscapes,  horses  and 
cattle,  flowers    and   fruit,  and  was  a   member   of 


the  Academy  of  his  native  place.  At  Haarlem 
there  is  a  '  Vase  of  Flowers'  by  him.  He  etched  a 
series  of  twenty  '  Studies  of  cattle,  sheep,'  &c. 

OBER.MULLNER,  Adolf,  Austrian  painter; 
born  September  3,  1833,  at  Wels,  Upper  Austria ; 
studied  at  the  Vienna  Academy  under  Steinfeld 
and  subsequently  with  Zimmermann  ;  travelled 
through  France  and  Holland  :  then  returned  to 
Vienna,  where  he  settled  in  1860,  painting  Alpine 
scenery,  glaciers  and  the  like  with  striking  truth 
and  vigour.     He  died  at  Vienna,  October  29, 1898. 

OBERTO,  Francesco  da,  an  artist  who  painted 
at  Genoa  in  1368.  His  name  appears  in  the  Register 
of  Painters  of  Genoa  immediately  before  that  of 
Lodovico  Brea,  but  nothing  is  known  of  his  life. 

OBIDOS,  Josepha  de,  a  Portuguese  artist,  was 
the  daughter  of  Balthazar  Gomes  Figuiera,  said  to 
have  also  been  a  painter,  and  was  born  at  Seville 
about  16.30.  She  must  have  studied  painting  and 
other  arts  in  Spain  ;  but  she  was  still  young  when 
her  father  returned  to  Obidos,  in  Portugal,  taking 
her  with  him.  She  painted  in  that  country  a 
number  of  pictures  in  oil  for  the  churches ;  also  a 
portrait  of  Marie  Fran^oise  Isabell  de  Savoie,  which 
was  sent  to  Victor  Amed^e,  Due  de  Savoie,  before 
their  marriage.  She  likewise  painted  flowers,  fruit, 
&c.,  and  engraved  ;  for  in  the  '  Statutes  of  the  Uni- 
versity of  Coimbra,  1654,'  there  is  an  engraving 
signed '  Josepha  Ayala  (her  mother's  name)  Obidos, 
1653.'  In  the  church  of  Saint  Peter  at  Obidos, 
where  she  died,  and  in  which  she  was  buried  in 
1684,  there  are  many  of  her  pictures;  also  in  the 
Academy  at  Lisbon,  at  Evora,  &c.  A 'St.  John,' 
described  as  being  in  the  manner  of  Velvet  Breu- 
ghel, is  dated  16ii0. 

OBREGON,  Peuro  de,  the  younger,  was  born 
at  Madrid  about  1597.  He  was  a  disciple  of  Vin- 
cencio  Carducho,  and  proved  a  reputable  painter  of 
history  and  genre  subjects,  particularly  in  pictures 
of  an  easel  size,  of  which  there  are  several  in  the 
private  collections  of  Madrid.  Of  his  larger  works. 
Palomino  particularly  notices  his  picture  of  'The 
Trinity,'  in  the  convent  of  La  Merced,  and  'The 
Immaculate  Conception,'  in  the  church  of  Santa 
Cruz.  He  died  at  Madrid  in  1659.  He  was  an 
excellent  engraver;  as  were  also  his  two  sons 
Diego  and  Marcos  Obregon,  the  former  of  whom, 
in  1683-4,  prepared  thirfy-six  plates  of  Birds  and 
Beasts  to  illustrate  a  work  by  Andres  ue  Valdecebro  ; 
also  other  engravings  in  1687  and  1699.  Pedro 
DE  Obregon,  '  the  elder,'  was  a  miniaturist  and 
illuminator  of  books  of  devotion,  who  worked  for 
the  cathedral  of  Toledo,  in  1564  ;  but  there  are  no 
further  particulars  of  him.  He  may  have  been  the 
father  of  the  younger  Pedro.  Marcos  de  Obregon 
became  priest,  and  lived  until  1720. 

OBRY,  Adrien,  a  French  designer  and  painter 
of  windows,  who  was  at  work  in  the  year  1532  at 
the  Chateau  d'Auxy. 

OBRY,  Jean,  was  a  French  miniaturist  of  some 
talent,  who  embellished  many  manuscripts  about 
the  year  1484.     He  was  a  native  of  Amiens. 

OCCHIALI,    Dagli.      See    Ferrantini  ;    also 

WlTTEL. 

OCH,  Georges,  an  obscure  French  landscape 
painter,  who  flourished  at  the  beginning  of  the 
19th  century.  He  was  a  pupil  of  Ciceri.  His  chief 
work  was  a  view  of  Paris  from  the  towers  of  Notre 
Dame. 

OCHILICH,  JOHANN  Conrad,  a  painter  of  land- 
scapes, animals,  and  portraits,  who  flourished  at 
Nuremberg  at  the  end  of  the  18tb  century.     His 

31 


A   BIOGRAPHICAL  DICTIONARY  OF 


education  was  partly  gained  at  Munich.  His  works 
were  mostly  copies  from  the  old  masters. 

OCHOA,  FiiANClsco,  a  painter  of  Seville  and 
pupil  of  MuriUo.  He  is  believed  to  be  identical 
with  Francisco  Antolinez  y  Sarbia  (o.  v.). 

OCHS,  Fribdrioh,  was  born  in  Basle,  and  studied 
in  Paris  under  Augustin.  He  migrated  to  St. 
Petersburg,  where,  about  1812,  he  had  a  consider- 
able reputation.  His  miniatures  were  good  and 
expressive  likenesses,  and  agreeable  in  colour.  The 
date  of  his  birth  and  death  are  unknown. 

OCHTERVELT,  Jacob,  (sometimes  wrongly 
called  Jan,  and  Uchtervelt  or  Achtervelt,)  was 
born  perhaps  at  Rotterdam.  In  1667  he  was  a 
candidate  for  the  presidency  of  the  Brotherhood  of 
St.  Luke  in  that  city.  In  1672  he  was  still  working 
there.  In  1674  he  painted  the  portraits  of  the 
Regents  of  the  lepers'  hospital  at  Amsterdam.  He 
died  before  1710.  He  formed  himself  on  the  ex- 
amples of  Metsu  and  Terburg,  more  especially  of 
the  latter.  In  some  respects  his  best  work  does 
not  fall  far  below  the  level  of  the  last-named  artist. 
Good  pictures  by  Ochtervelt,  in  good  condition, 
are,  however,  very  scarce.  The  following  list 
includes  most  of  them  : 

Amsterdam.       Museum.    The  Governors  of  the  Levrozen- 
huh.     (Signed  /.    ochtervelt 
fecit,  1674.) 
Berlin.  Museum,    The  La.st  Testament. 

Brussels.  Orenburg  Cult.     Interior  of  a  Kitchen. 
Cologne.      Walraff  Mus.     Two  Musicians. 
Copenhagen.      Museum.    Lady  playing  the  viohn. 
Dresden.  Gallery.     'Woman   with  a  Girl  and  Dog 

^purchased  as  hy  Jerhard  auf 
der  Feld !). 
Kug,and.C««.„/^C.^.„.|j„yj^T.^„g^. 

Hague.  Museum.    Lady  buying  Fish  {a  very  good 

example). 
Botterdam.        Museum.    '  La  Collation  ;' young  man  and 
woman  eating  oysters.    {Per- 
haps  his  masterpiece.) 
Petersburg.     Hermitage.    Buying  Fish. 
»  »  Buying  Grapes. 

»  „  Young  Man  singing  to  a  young 

Woman. 
„  „  The  Breakfast  Party. 

OGLE,  Robert,  (or  Oktll,)  member  of  a  family 
of  painters  settled  at  Norwich,  painted  a  '  Life  of 
St.  Katherine'  on  panel  in  141&-16,  for  which  he 
was  paid  iia.  4d. 

O'CONNOR,  Jawes  A.,  an  Irish  landscape  painter, 
born  at  Dublin  in  1793.  He  was  brought  up  as  an 
engraver  by  his  father,  who  followed  that  profes- 
sion. In  1813  he  came  to  London  with  his  friend, 
Francis  Danby,  but  his  means  were  soon  exhausted, 
and  he  made  liis  way  on  foot  to  Bristol,  whence 
he  contrived  to  get  a  passage  back  to  Dublin.  In 
1822  he  returned  to  England,  and  from  that  time 
he  chiefly  resided  in  London,  with  the  exception 
of  visits  to  Brussels,  Paris,  and  Rhenish  Prussia. 
But  his  abilities  were  not  recognized,  and  he  had 
a  hard  struggle  for  existence.  He  occasionally 
exhibited  at  the  Royal  Academy  from  1822  ;  tlso 
at  Suffolk  Street.  He  died,  in  embarrassed  circum- 
stances, at  Brompton  in  1841.  There  are  eight  of 
his  pictures  in  the  Kensington  Museum.  In  style 
they  may  be  classed  with  the  work  of  Richard 
Wilson. 

O'CONNOR,  John,  a  very  talented  scene  painter, 
born  in  Ireland  in  1830.  He  was  early  left  an 
orphan,  and  had  to  work  hard  for  a  livelihood.  He 
was  first  of  all  errand  boy  and  call  boy  in  a 
Belfast  theatre,  but  began  scene  painting  when 
quite  a  youth.  In  1848  he  was  in  England,  and 
32 


employed  at  Drury  Lane  Theatre  and  the  Hay- 
market.  Later  on  he  painted  a  diorama  and  then 
took  up  water-colour  subject  painting,  and  in  that 
field  of  art  acquired  more  than  a  passing  renown. 
He  was  also  drawing-master  to  a  London  literary 
institution,  but  held  his  position  for  a  very  few 
years.  For  many  years  he  was  chief  scene 
paiiitir  at  the  Ilaymarket,  and  as  a  master  of 
architectural  design  and  an  admirable  colourist 
had  few  equals  in  that  branch  of  art.  He  was  a 
very  popular  imd  most  genial  man,  and  made 
hosts  of  friends,  who  were  always  introducing  to 
him  fresh  conun^s-iions  for  decorative  work.  He 
decorated  two  rooms  at  Eaton  Hall  for  the  Duke  of 
Westminster,  designed  costume  and  scenery  for 
Shakespcrian  tableaux,  made  drawings  of  many 
important  Court  ceremonials,  and  painted  wonder- 
ful scenery  for  various  performances  of  Greek 
plaj's  both  in  London  and  at  Ciiiiibridge.  His 
architectural  drawings  were  num-.;rous  and  of 
great  beauty.  One  of  his  chief  friends  was  Lord 
Ronald  Sutherland  Gnwer,  the  eminent  sculptor, 
'  with  whom  we  worked  for  some  years,  and  most  of 
the  facts  in  the  foregoing  narrative  are  derived  from 
his  old  friend.  0  Connor  on  leaving  London 
moved  into  Hampshire,  and  there  he  died  of 
paralysis  in  1889. 
I  OCTAVIEN,  FRANgois,  a  French  painter,  was 
bom  at  Rome  aliout  1695.  He  was  received  into 
the  Paris  Academy  in  172.5,  as  a  genre  painter.  His 
reception  picture,  'The  Fair  at  Vesoul,'  is  now  in 
the  Louvre.  He  died  in  Paris  in  1736.  No  further 
particulars  of  his  life  are  known. 

ODAM,  GiROLAMO,  was  an  artist  who  resided  at 
Eonie,  and  distinguished  himself  at  the  beginning 
of  the  18th  century  as  a  painter,  sculptor,  and 
architect.  He  was  horn  in  1681,  and  was  a  pupil 
of  Carlo  Maratti.  He  drew  portraits  in  crayons, 
engraved  on  copjier,  and  copied  small  cameos  on  a 
larger  scale.  He  was  made  a  Knight  of  St.  George 
by  the  Duke  of  Parma,  and  was  a  member  of  the 
Academia  degl'  Arcadi. 

ODASI,  Giovanni,  (or  Odazzi,)  was  born  at 
Rome  in  1663,  and  studied  for  some  time  under 
Bloeniart  and  Ciro  Ferri,  but  afterwards  was  a 
scholar  of  Giovanni  Battista  Gaulli.  Of  his  works 
at  Rome,  the  most  creditable  are  his  picture  of  the 
'  Prophet  Hosea,'  in  San  Giovanni  in  Laterano  ; 
'St.  Bruno,' in  Santa  Jlaria  degli  Angeli ;  and  an 
altar-piece,  representing  '  The  Full  of  Lucifer,'  in 
the  church  of  the  Saiiti  Apostoli.  He  also  executed 
some  paintings  in  the  cupola  of  the  cathedral  of 
Velletri.     He  died  at  Milan  in  1731. 

ODDI,  Giuseppe,  a  native  of  Pesaro  and  pupil  of 
Carlo  Maratti.     No  details  of  his  life  are  known. 

ODDI,  Mauro,  a  painter,  designer,  etcher,  and 
architect,  who  was  bom  in  1639  at  Parma,  where 
he  was  instructed  in  the  first  principles  of  art.  He 
went  afterwards  to  Rome,  where  he  studied  six 
years,  under  Pietro  da  Cortona.  On  his  return  to 
his  native  city  his  talents  recommended  him  to  the 
patronage  of  the  Duke  of  Parma,  who  employed 
him  in  ornamenting  the  ducal  palace,  and  the  Villa 
di  Colomo;  giving  him  also  the  appointments  of 
court  painter  and  builder.  He  drew  two  thousand 
medals  in  the  ducal  cabinet  of  coins,  and  painted 
some  altar-pieces  for  the  churches  of  Parma,  Pia- 
cenza,  and  Modena.  Kiisel,  N.  Dorigny,  and  others 
have  engraved  after  his  works.  Two  etchings  by 
him  are  also  known,  '  The  Adoration  of  the  Shep- 
herds,' after  Parmigiano  and  Caraglio,  and  'The 
Rape   of  Europa,'  after  Agostino  Carracci.      His 


PAINTERS  AND  ENGRAVERS. 


death  occurred  in  1702  or  1703.  He  signed  his 
works  with  a  monogram  composed  of  a  Maltese 
cross  between  JI.  and  0. 

ODEBRECHT,  Otto  Friedrich  Heumanx,  land- 
scape painter,  was  born  in  Greifswald  in  1833. 
He  was  principally  funned  in  the  studio  of  Prof. 
Ang.  AVeber  at  Dusseldorf,  where  he  died  in  1860, 
from  the  effects  of  a  poisonous  sting.  In  the  Berlin 
National  Gallerj'  there  is  a  'Mootdight  View  on 
the  Kunigs-See,  with  a  ferryman.'  bv  him. 

OUEKERKEN,  Willem,  a  painter  of  Delft,  who 
lived  about  the  middle  of  the  17th  century.  His 
wife  was  one  Maria  Sasboutsvan  derDussen.  His 
works  are  very  scarce.  He  is  said  to  have  very 
accurately  copied  a  picture  by  Metsu  which  repre- 
sents a  '  Cook  in  her  Kitchen,  surrounded  by  culin- 
ary utensils.'  A  work  of  that  class  by  him  has 
lately  (1885)  been  added  to  the  collection  in  the 
Kijks  Museum,  Amsterdam.  He  also  painted 
etill-life.  His  activity  extended  from  1642  to 
1677. 

ODERICO  DA  SIENA,  flourished  about  1213. 
He  was  a  canon  of  Siena,  and  painted  miniatures 
in  the  Byzantine  manner. 

ODERICO,  GiovA.NN-i  Paolo,  was  born  in  1613, 
of  a  noble  family  of  Genoa.  According  to  Soprani 
he  was  a  scholar  of  Domenico  Fiasella,  and  painted 
history  with  some  success,  but  was  more  distin- 
gnished  for  his  portraits.  Of  his  historical  works, 
the  most  esteemed  is  his  picture  of  the  'Guardian 
Angel,'  in  the  church  of  the  Padri  Scolopi  at 
Genoa.     He  died  in  1657. 

ODERIGI  PA  GUBBIO,  (Oderisco,  Oderisio,) 
was  born  atGubbio,in  1240.  His  only  known  works 
are  two  mass-books  of  the  Virgin  and  St.  George  ; 
but  some  miniatures  in  the  Archivio  de'  Canoiiici 
di  San  Pietro,  at  Rome  are  supposed  to  he  by  liim. 
He  is  said  to  have  painted  at  Gubbio  in  1264,  at 
Bologna  in  1268,  and  in  1295  at  Rome,  where  Vasari 
says  he  made  the  acquaintance  of  Giotto.  Oderigi 
died  in  Rome  in  1299.  He  is  mentioned  by  Dante, 
who  represents  him  as  expiating  in  Purgatory  the 
pride  with  which  his  skill  inspired  him. 

ODERISIO,  Robertus  di,  was  a  Neapolitan,  and 
the  author  of  a  '  Crucitixion '  in  the  church  of  San 
Francesco  d'Assisi,  at  Eboli.  He  lived  in  the 
14th  century,  and  is  said  to  have  been  a  pupil 
of  Giotto. 

ODEVAERE,  Joseph  Dionisids,  an  historical 
painter  and  critic,  was  born  at  Bruges  in  1778. 
After  receiving  a  good  scholastic  education  at  the 
college  of  the  Augustins,  and  obtaining  several 
prizes  at  the  Academy  of  Design,  he  was  sent  in 
1728  to  Paris  to  study  painting  under  Suvie  and 
David.  In  1804  he  obtained  the  prix  de  Rome 
for  his  picture  of  the  '  Death  of  Phocion.'  On 
his  return  to  Bruges  he  was  received  in  triumph, 
and  treated  with  every  mark  of  distinction  by  the 
Academy,  the  municipality,  and  the  public.  Shortly 
afterwards  he  returned  to  Paris  ;  and  the  following 
year,  1805,  went  to  Italy,  where  he  remained  for 
about  eight  years,  and  executed  several  pictures 
of  large  dimensions.  In  1814  he  was  again  in 
Bruges,  and  painted  for  William  I.,  King  of  the 
Netherlands,  the  picture  of  '  The  Peace  of 
Utrecht;'  and,  after  the  battle  of  Waterloo,  an- 
other representing  that  action  at  the  time  the 
Prince  of  Orange  received  his  wounds.  For  this 
and  others  relating  to  the  history  of  the  country  he 
received  special  marks  of  the  Royal  favour.  His 
pictures  are  numerous,  and  are  to  be  found  at 
Paris,  Brussels,   Ghent,    and   Bruges.     They   are 

VOL.  IV.  D 


generally  large,  one  painted  for  the  King  of  the 
Netherlands  measuring  twenty-four  feet  long  and 
sixteen  feet  high.  Odevaere  while  in  Italy  col- 
lected materials  for  a  history  of  the  state  of  the 
arts  in  that  country  from  the  revival  of  painting  to 
the  time  of  Raphael  ;  his  MS.  still  lies  in  the  Royal 
Library  at  Brussels.  He  died  at  Brussels  in 
1830. 

ODIEUVRE,  Michel,  was  a  French  engraver 
and  printseller,  who  resided  at  Paris  about  the  year 
1735.  He  began  life  as  a  tailor.  He  etched  and 
published  in  1738  a  set  of  portraits  entitled,  '  Por- 
traits des  Personages  illustres  de  I'un  et  de  I'autre 
Sexe.'  These  are  usually  found  in  the  large  paper 
quarto  editions  of  tlie  '  Memoires  de  Sully '  and 
'  Memoires  de  Commines.'  Odieuvre  died  at 
Rouen  in  1756. 

OECHS,  Joseph  Dominicus,  a  painter  of  excel- 
lent portraits  in  oil  and  in  miniature,  and  a  designer, 
was  born  at  Erbach,  near  Eliingen  in  Wurtemberg, 
in  1776.  He  studied  under  his  brother,  Anton 
Oechs,  at  Ratisbon,  under  Frost  in  Nuremburg, 
and  under  A.  Graff  and  Klengel  in  Dresden.  In 
1804  he  went  to  Courland,  and  was  in  1824  made 
drawing-master  in  the  Gymnasium  at  Mitau.  His 
principal  works  were  portraits,  and  the  Provincial 
Museum  of  Courland  possesses  a  complete  set  in  oil 
by  him  of  the  Dukes  and  Duchesses  of  that  province. 
He  died  at  Mitau  in  1836. 

OEDIXG,  Philipp  Wilhelm,  painter  and  de- 
signer, was  bom  at  Benzigerode,  near  Blankenburg, 
in  1697.  Having  studied  under  Huber  at  Halber- 
stadt,  and  Busch  at  Brunswick,  he  was  in  1722 
sent  by  Duke  Ludwig  Ruiolph  to  Nuremberg, 
where  he  worked  under  Preisler,  Desmarees,  and 
Kupetzki,  and  chiefly  adopted  the  style  of  the  last- 
named  master.  In  1729  he  married  Preisler's 
daughter,  Barbara  Helena,  who,  in  addition  to 
painting,  practised  engraving,  embroidery,  and 
working  in  wax  and  alabaster.  About  1741  he 
painted  among  other  pictures  a  large  '  View  of 
Altona,'  tlie  'Adoration  of  the  Magi,'  and  the  'In- 
stitution of  the  Last  Supper,'  for  the  Lutheran 
Church  at  that  place  ;  where  also  he  painted  por- 
traits and  taught  drawing.  Subsequently  he  was 
appointed  a  professor  in  the  '  Karolinum  '  at  Bruns- 
wick. Preisler  engraved  after  him  the  portrait  of 
his  wife,  and  Tyrof  and  others  some  drawings  of 
antique  vases.     Oeding  died  in  1781. 

OEFELE,  Franz  Igkaz,  called  Bavaeese,  was 
born  at  Posen  in  1721,  and  studied  under  various 
masters  at  Landsberg,  Augsburg,  and  Munich, 
until  he  went  to  Venice,  where  he  placed  himself 
under  Giuseppe  Nogari,  and  remained  with  him  six 
years.  Subsequently  he  went  to  Rome,  and  studied 
under  Giovanni  Barca  for  two  years.  Returning  to 
Munich,  tie  was  made  painter  to  the  Elector  Maxi- 
milian III.,  as  well  as  professor  in  the  School  of 
Design.  Of  his  works  the  principal  are,  'Joseph 
and  Potiphar's  Wife,'  the  portrait  of  the  Electress 
Adelhaid  in  the  Court  Chapel  of  Mutuch,  and  his 
own  portrait  in  the  Schliessheim  Gallery.  Of  liis 
etchings  the  best  arc,  'The  Woman  of  Samaria,' 
and  '  The  Daughter  of  Dibutades,'  both  after  his 
own  designs.     He  died  in  1797. 

OEHME,  Ernst  Friedrich,  was  bom  at  Dresden 
in  1797,  and  alter  studying  under  Professor 
Friedrich,  and  travelling  from  1819-25  in  Italy, 
became  court-painter  at  Dresden,  and  died  there 
in  1854.  He  painted  chiefly  landscapes,  and 
signed  his  works  with  an  E  in  a  circle.  Among 
them  are : 

33 


A  BIOGRAPHICAL  DICTIONARY  OP 


TIiP  Mountain  Chapel. 

Viiiw  of  tlie  "  Jagdschloss  "  of  Moritzburg. 

Autumn  Landscape  (//.  I'Utsch,  Dresden). 

OELENHAINZ,  August  Frieurich,  (Oehlen- 
HAINZ,  &c.,)  was  born  at  Endingtn,  near  IJalingen. 
in  1749,  and  after  commencing  tlie  study  of 
theology  at  Tubingen,  prepared  liimself  as  an 
artist  in  tlie  same  place,  under  Meyer,  and  then 
under  Baier  at  Stuttgart.  In  17GG  he  went  for 
farther  improvement  to  Vienna,  where  he  painted 
the  portraits  of  the  Royal  Family,  of  several 
courtiers,  and  of  the  poet  Blumauer.  In  1789  he 
was  made  a  member  of  the  Academy,  and  he  died 
at  Falzhurg  in  1804.  His  portraits  were  flatter- 
ing, and  thereby  ensured  him  patronage.  Durmer, 
about  1796,  engraved  two  jilates  after  him  for  the 
Frauenholz  Collection  :  'The  Maiden  of  the  Black 
Forest,'  and  '  The  Bernese  Girl ; '  and  Pheifer,  the 
portrait  of  Lavater. 

DERI,  Hans  Jakoh,  was  an  historical  and  por- 
trait painter,  also  a  draughtsman  and  lithographer, 
who  was  born  at  Kyburg  in  Switzerland,  in  1782, 
and  studied  under  Kuster  and  David.  He  travelled 
a  great  deal,  principally  in  Russia.  As  an  artist 
he  distinguished  himself  by  the  truth  of  his  por- 
traits, and  above  all  as  a  lithographer.  He  died  in 
1843  (?).  '  Dxdalus  and  Icarus  '  and  '  Chloe,'  are 
two  of  his  best  paintings.  Noticeable  among  hie 
lithographs  are  : 

The  Marriage  of  the  Virgin  ;  after  Raphael. 

Joseph  8ol(l  by  his  Brethren  ;  iifter  Ovcrheck. 

Madonna  with  Sleeping  Child  ;  after  Catarhii. 

Christ  in  the  House  of  Martha ;  after  Overl/eck,  dated 
1826. 

OERI,  Peter,  a  Swiss  artist,  and  a  native  of 
Zurich.  He  appears  to  be  the  man  of  whom 
Nagler  says  that  he  was  born  in  1737,  and  diid  in 
1792.  After  studying  six  years  in  Italy,  he  re- 
turned to  Switzerland,  where,  probably  for  want 
of  employment,  he  abandoned  painting,  to  follow 
the  occupation  of  a  chaser  and  working  goldsmitli. 

OESER,  Adam  Frieduich,  a  German  painter, 
modeller,  and  engraver,  was  born  at  I'resburg  in 
1717.  He  was  sent  at  thirteen  years  of  age  to 
Vienna,  but  was  compelled  to  return  home  for 
want  of  means,  and  then  found  employment  at 
the  country-seats  of  Hungarian  noblemen.  In 
1735,  however,  when  eighteen  years  of  age,  he 
returned  to  Vienna,  and  gained  the  gold  medal  at 
the  Academy.  His  talent  was  noticed  and  en- 
couraged by  Raphael  Donner,  a  sculptor,  who 
taught  him  to  model.  I)resdeM  was  at  that  time 
the  residence  of  several  artists  of  eminence,  and  in 
1739  he  visited  that  city,  where  his  abilities 
procured  liim  the  esteem  and  fnendsliiji  of  its 
most  distinguished  residents.  Here  also  lie  prac- 
tised enamel  and  miniature  painting.  In  1749  he 
decorated  the  ceilings  and  walls  of  the  Hubertsburg 
Schloss.  He  formed  an  intimate  acquaintance  with 
Winkelmann,  whom  he  assisted  in  his  first  studies  of 
the  antique,  and  who  makes  mention  of  him  in  his 
first  literary  work  as  "  the  successor  of  the  Tlieban 
Aristides."  In  1756  he  proceeded  to  Dahlen, 
where  he  painted  in  the  Biinau'sche  Schloss;  and 
thence  removed  to  Leipsic,  where,  in  1763,  he 
became  Director  of  the  Academy.  He  settled  in 
that  city,  and  during  a  residence  of  many  years 
he  painted  some  important  works  for  public  build- 
ings and  private  collections,  both  in  oil  and  fresco. 
He  was  also  Professor  of  the  Academy  at  Dresden 
and  court  painter.  He  died  at  Leipsic  in  1799. 
Among  his  chief   productions  are  the  freacoos  in 

34 


the  church  of  St.  Nicholas,  at  Leipsic.  There  is 
a  portrait  group  of  his  own  children  in  the  Dresden 
Gallery.  Oeser  etched  a  variety  of  plates  from  hiu 
own  compositicnis  and  after  other  masters  ;  among 
nianj'  others  are  the  following: 

A   variety   of   vignettes  and    frontispieces  for   books, 

designed  and  etched  by  /'.  (k^er. 
The  Circumcision  ;  after  Cr.  van  den  Eerkhotit. 
Saul  and  the  'Witch  of  Eridor  ;  after  llemhraiidt. 
The  Presentation  in  the  Temple  ;  after  the  same. 
Christ  brought  forth  by  Piliit** ;  after  the  same. 
Cupid  and  Psyche  ;  piohabttj  after  O'lterri/to. 

OESER,  JoiiANN  Fkieiirioh  Ludwio,  son  of 
Adam  Friedrich  Oeser,  was  bom  at  Dresden  in 
1751,  and  was  a  landscape  painter  and  engraver. 
He  was  for  seven  years  a  teacher  in  the  Academy 
of  Leipsic,  and  in  1774  became  professor  of 
historical  and  landscape  paintimr  at  Dresden,  and 
in  1780  a  member  of  the  Academy  there.  He 
executed  numerous  drawings  in  Indian  ink  and 
colours,  together  with  oil  paintings,  representing 
views  in  tlie  neighboiuliuod  of  Dresden,  aiul 
chiefly  in  Ruisdad's  style.  His  principal  etchings 
are  after  Rambrandt,  Rubens,  and  Salvator  Rosa. 
He  died  in  17'J1  or  1792. 

OESTERLEY,  K.  W.,  German  painter,  was 
also  a  well-known  art  critic.  He  was  born  in 
1805,  and  was  Professor  of  the  History  and 
Theory  of  Fine  Art  at  Gottingen.  He  died  in 
1891  at  Hanover. 

OESTERREICH,  Mathias,  a  German  designer 
and  etcher,  was  born  at  Hamburg  in  1716.  He 
learnt  the  art  of  design  nnder  J.  B.  Groni  at 
Dresden,  and  twice  travelled  in  Italy,  where  he 
gained  a  knowledge  of  art  which  enaliled  him  to 
take  the  position  of  superintendent  of  the  Electoral 
Gallery  at  Dresden.  In  1767  ho  became  Director 
of  the  Gallery  of  Sans  Souci  at  Potsdam.  He 
died  at  Berlin  in  1778.  His  principal  productions 
are  a  set  of  twenty-four  caricatures,  etched  from 
the  designs  of  P.  L.  Ghezzi,  and  published  at 
Dresden  in  1750,  entitled  '  Raccolta  di  XXIV. 
Caricature,  disegnate  coUa  penna  dal  celebre 
Cavaliere  P.  L.  Ghezzi;' these  plates  were  repub- 
lished at  Potsdam  in  1776,  with  the  addition  of 
eighteen  from  the  designs  of  Giovanni  Battista 
Internari,  and  others.  Oesterreich  also  engraved  a 
set  of  forty  plates  from  drawings  in  the  collection 
of  Count  von  Brulil,  published  at  Dresden  in  1752,  ■ 
under  the  title  of  '  Kecueil  de  quelques  dessins  de  . 
plusienrshabiles  niaitres,'  &c.  Several  of  the  [ilates 
in  ''The  Dresden  Gallery"  were  engraved  by, 
Oesterreich.  He  marked  his  plates  3f.  0.  Am-  i 
burgese  fecit,  with  a  monugram  composed  of  two  ' 
interlacing  triangles,  or  with  his  initials.  He  has 
left  descriptive  accounts  of  several  collections  of 
paintings. 

OEVEK,  Albertine  ten,  born  Roelfsema,  was 
an  amateur  of  some  ability.  She  was  a  native  of 
Holland,  and  flourished  early  in  the  19tli  century. 

OEVER,  IlE.NDltiK  TEN,  a  Dutch  painter,  who 
flourished  about  1690.  No  details  of  his  life  are 
known.  A  portrait  group  of  regents  by  him  still 
hangs  in  the  church  of  St.  Michael,  at  Zwolle.  It 
is  signed  and  dated  Hekdbik  ten  Oeyer,  pinxit, 
1690. 

OFFERMANS,  Antonis  Jacob,  a  Dutch  animal 
painter,  was  a  pupil  of  D.  van  Donge,  and  was 
painting  at  Rotterdam  about  1800. 

OFFERMANS,  Jan,  born  at  Dordrecht  in  1646, 
painted  landscapes  for  some  time ;  but  faihng  to 
succeed,  became  a  house  painter. 


MARCO  D'OGGIONNO 


.S/.VKi7//ii'A', 


/ tampion  Court  Gallery 


CHRIST  AND  ST.  JOHN 


PAINTERS  AND   ENGRAVERS. 


OFFIN,  Chari.es  n'.    See  DAtrpniN. 
OFHUYS,   Jan,  a  Flemish  glass  painter,  who 
flourished  in  the  first  half  of  the  16tli  centurj-. 

OGBORXE,  David.  Very  little  is  known  as  to 
this  artist,  whose  chief  works  are  views  of  the  towns 
of  Chelmsford  (his  native  place)  and  Duninow. 
He  also  painted  a  few  portraits  and  did  some 
illustrations  for  local  guide-hooks.  He  called 
liiraself  a  'limner,"  and  dahhled  also  in  literature 
and  the  drama,  writing  poetry,  plays,  and  accounts 
of  local  sights.  He  was  horn  ahoul  1700,  and  died 
in  1768  at  a  village  near  Dunniow. 

OGBORNE,  John,  an  English  designer  and  en- 
graver, was  born  in  London  about  the  year  17"i5. 
He  was  a  sch'  lar  of  Bartolozzi,  and  engraved  in 
the  dot  manner.  Several  of  the  large  plates  fur 
Boydell's  Shakspeare  Gallery  are  among  his  best 
works.  He  was  chiefly  employed  on  the  pictures 
of  the  painters  of  that  time  ;  Smirke,  Stothard, 
W.  Hamilton,  A.  Kautfmann,  Westall,  and  Rom- 
ney :  and  he  also  engraved  some  subjects  from  his 
own  designs.  In  his  later  plates  line  is  combined 
with  stipple.  He  died  about  1795.  MabyOgbobne 
assisted  him  on  some  of  his  plates. 

OGGIONNO.  Marco  d',  was  born  at  Oggionno, 
near  Milan,  probably  about  1470.  He  was  one  of 
the  chief  pupils  of  Leonardo  da  Vinci,  whose 
famous  wall  picture,  '  The  Last  Supper,'  he  copied 
more  than  once.  The  best  of  these  copies  is  now 
in  the  possession  of  the  English  Royal  Academy 
of  Arts.  Among  his  most  important  works  were  a 
series  of  frescoes  in  the  church  of  S.  Maria  della 
Pace,  at  Milan.  The  two  best,  a  'Marriage  at 
Cana,'  and  an  '  Assumption,'  are  now  in  the  Brera. 
Marco  died  in  1549.  Works: 
Berlin.  JIusatm.     A  '  Holy  Coaversation .' 

London.       i\rtf.  Gallery.     A  Madouna  and  Child. 

„  Rfjyal  Academy.     Copy  of  Leonardo's  '  Cenacolo.* 

,.  Hampton  Coitft.  The  Infant.s  Christ  and  St.  John. 
Milan.  Brera.     Michael    suppressing    Lucifer. 

{A  masterpiece ;  sit/ned  '  Alar- 
r«.<.') 

„  „        The  A.ssumption. 

„  „        A  *  Holy  Conversation.* 

„  „         Marriage  at  Cana. 

„  Santa  Maria }  St.  John    the  Baptist   and   a 

delte  Ora:ie. )      Donator. 

„  Santa  Eufemia.     Madonna,    St.    Eufemia,    and 

Donator. 

„       Santa  3[aria  della}  rr\     ,.        c  ■ 
"  pi  ^"®  Crucifixion. 

„  Bonomi-Cereda  Coll.    A  Madonna.     (A   masterpiece ; 
.^it/ned  '  Marcus.^) 
Paris.  Louvre.    A  Holy  Family. 

Petersburg.     Herniitaye.     Copy  of  Leonardo's  '  Cenacolo.* 
Turin.  fialltry.     Christ  bearing  His  Cross. 

OHME,  Ersst  FEiEriRicH,  an  obscure  German 
painter  of  landscape,  who  was  active  in  Dresden 
in  the  first  years  of  the  19th  century. 

O'KEEFE,  (OB  KEEFE,)  Daniel,  was  a  painter 
in  miniature,  who  practised  in  London,  and  ex- 
hibited at  the  Royal  Academy  from  1771  to  1783. 
He  died  at  Brompton,  1787. 

O'KEEFE,  (or  KEEFE,)  John,  painted  in 
miniature,  and  was  the  brother  nf  Daniel.  He 
was  born  at  Dublin  in  1748.  After  studying  in 
the  Academy  of  Dublin,  and  in  London  under 
Hudson,  be  made  a  lunnher  of  humorous  designs. 
Relinquishing  painting,  he  became  an  actor  of 
low  comedy  in  London  and  Dublin,  and  was  also 
the  author  of  some  successful  dramatic  pieces. 
He  died  at  Southampton  in  18.33.  There  is  a 
portrait  of  him  by  Lawrenson  in  the  National 
Portrait  Gallery. 

OKEY,  Samuel,  an  English  mezzotint  engraver, 
D  2 


in  the  second  half  of  the  18th  century.  He  gained 
Society  of  Arts'  premiums  in  1765-7.  About  1771 
he  emigrated  to  America,  and  settled  in  Rhode 
Island,  where  he  continued  to  practise.  Amongst 
his  engravings  are : 

Nelly  O'Brien  ;  after  Reynolds. 
Old  Man  with  Scroll ;  ajter  the  same. 
Lady  Anne  Dawson  ;  after  the  same. 
Girl  with  Lamb  ;  niter  Kettle. 
William  I'owle  ;  after  Fine. 

OLAGNON,  Pierre  VicTOR,  a  French  painter 
of  genre  and  portrait,  flourished  about  1786.  He 
was  a  pupil  of  Regnault.  Hi&  best  works  are  a 
'  Vintage  at  Macon,'  and  '  Toilet  in  the  Mansarde.' 

OLANDA,  Alberto  d'.    See  Odwater. 

OLANDA,  Antonio  and  Francisco  d',  two  Por- 
tuguese artists  of  the  16th  century  who  are  famous 
for  their  illuminations.  Francisco,  who  was  An- 
tonio's son,  made  a  voyage  to  Italy,  and  on  bis 
return  in  1549  presented  a  petition  to  John  XI., 
which  by  protesting  against  the  influence  of 
Flemish  art  in  Portugal,  prepared  the  way  for  that 

of  Italy. 
OLANDA,  GuGLiELMO  d'.    See  Aelst,  Willem 

VAN. 

OLDENDORP,  Christian  Johann,  a  landscape 
painter,  born  in  177'2  at  the  Castle  of  Marienborn 
in  the  Wetterau.  He  was  almost  self-taught,  and 
studied  the  works  of  Berghem,  but  distinguished 
himself  most  by  his  fireliglit  pictures,  which  were 
exhibited  a-t  Weimar  in  ls02,  such  as  the  burning 
of  Magdeburg,  Gorlitz,  Moscow,  &c.  Some  of  his 
other  landscapes,  views  in  Saxony,  were  engraved  ; 
and  in  18'26  two  appeared  in  lithography. 

OLDEKMAN,  Ernst  Friedrich,  or  Fbitz,  a 
German  engraver,  was  born  in  the  village  of 
Werther,  near  Bielefeld,  in  1802,  and  was  the  son 
of  a  merchant,  who  intended  him  for  his  own 
business.  His  love  of  drawing  induced  him  to 
devote  to  it  all  his  leisure  time,  and  he  was  encou- 
raged by  a  drawing-master  whose  acquaintance  he 
made.  Convinced  that  he  could  never  settle  to 
business,  he  left  his  home  and  travelled  to  Dussel- 
dorf  and  Berlin,  where  he  endeavoured  to  improve 
himself,  but  was  obliged  from  want  of  money  to 
eulist  for  a  time  as  a  soldier.  After  this  he  entered 
the  service  of  a  lithographer,  and  commenced  as  an 
engraver  in  mezzotint.  He  died  at  Berlin  in  1874. 
Among  bis  best  mezzotints  we  may  name : 

Jubal ;  after  Klolers. 

The  Compromise  of  the  Dutch  Nobles:  after  Biefve. 

Parade  before  Frederick  the  Great ;  after  Camphausen. 

Richard  III. ;  after  Stilke. 

Children  at  Play  ;  after  Meyerheim. 

After  thK  Wedding  ;  after  Kindler. 

Diirer  in  Antwerp  ;  after  Oer. 

Philippa  Welser  ;  after  Schroder. 

OLDONI,  Bonifobte  de,  belonged  to  a  family  of 
artists  wliich  appears  to  have  moved  to  Vercelli 
from  Milan  in  the  middle  of  the  15th  century. 
B>jniforte  worked  from  1463  to  1510.  He  had 
three  sons,  Ercole,  Giosue,  and  Eleazak,  all 
painters.  In  the  parish  church  of  Verrone,  near 
Biella,  is  a  fresco  signed  by  Giosue  ;  and  in  the 
possession  of  the  Countess  "Castelnuova,  at  Turin, 
is  a  small  '  Adoration  of  the  Infant  Christ,'  signed 
by  Eleazar,  '  Eleazar  de  Oldonibus.' 

OLEN,  Jan  van.     See  Alen. 

OLENDOKF.     SeeOLMDORF. 

OLESZCZYNSKI,  Anthony,  a  Polish  engraver 
and  painter,  born  in  1796  at  Krasnystow  (Lublin). 
He  at  first  studied  law  at  Warsaw,  and  then  spent 

35 


A   BIOGRAPHICAL  DICTIONARY  OF 


six  years  in  the  School  of  Fine  Arte  at  St.  Peters- 
burg, With  government  aid  he  further  prosecuted 
his  studies  at  Paris,  under  Hegiiault  and  Richoniine. 
He  then  passed  some  time  at  Florence,  in  the 
Academy  of  which  city  he  was  appointed  a  Pro- 
fessor. His  patriotic  tendencies  at  length  lost 
him  the  support  of  the  Russian  Government,  and 
he  then  produced  the  series  of  plates  known  as 
'Polish  Varieties.'     Among  the  best  are: 

The  Hungarian  Ambassadors  offering  the  Crown  to  the 
Son  of  I^islaus  Jagello. 

The  German  Emperor  bi-gs  the  assistance  of  John 
Sobieski. 

The  Entry  of  Boleslaw  into  Kief. 

Bogdan  Schmielnicki. 

The  Shoemaker  Kilinski. 

The  Enchantment  of  Twardowski. 

Portrait  of  Kosciusko. 

OLGIATI,  GlEOLAMO,  an  Italian  engraver,  who 
flourished  in  the  latter  part  of  the  16th  century 
He  formed  liis  style  of  engraving  by  studying  the 
works  of  Cornells  Cort.  Among  other  plates  by 
him  is  an  etched  print  representing  the  '  Trinity,' 
with  a  number  of  saints  and  angels,  after  Fcderigo 
Zuccaro,  inscribed  Hieronymus  Olgiatus  /.  1572 ; 
the  '  Entombment,'  after  Guido  Clovis,  and  others. 
OLIPHANT,  FBANas  Wilson,  chiefly  known 
as  a  designer  of  stained  glass.  Olipliant  had  also 
a  considerable  talent  for  oil  painting,  and  was  a 
frequent  exhibitor  at  tlie  Royal  Academy.  He 
■was  born  in  1818  at  Newcastle-on-Tyne,  but  passed 
most  of  his  life  in  London,  working  at  decoration 
and  stained  glass,  and  in  the  latter  department  of 
art  he  attained  great  renown.  Windows  in  Ely 
Cathedral,  Aylesbury  Church,  and  tlie  ante-chapel 
to  King's  College,  Cambridge,  are  from  his  hand. 
He  was  a  great  friend  of  William  Dyce,  R.A.,  and 
worked  with  him  in  some  of  his  frescoes  and 
cartoons.  He  was  always  a  very  weakly  man, 
and  frequently  compelled  to  leave  England  in  the 
winter,  and  he  died  at  Rome  in  1859. 

OLIS,  Jan,  a  Dutch  painter,  born  in  1610,  at 
Dordrecht  (?).  He  painted  '  Corps-de-gardes,' 
corporation  groups,  and  a  few  single  portraits.  He 
died  in  1665,  most  likely  in  Amsterdam,  where 
most  of  his  life  was  passed.  In  the  Kijks  Museum 
there  is  a  '  Kitchen  Interior '  by  him.  Though  signed 
J.  Olis  fecit.  1645.,  it  used  to  be  ascribed  to  Sorgh. 
A  landscajie  with  figures  in  the  Darmstadt  Gallery, 
given  in  the  Catalogue  to  Jan  Lis,  is  most  likely 
the  work  of  Olis. 

OLIVA,  Ignazio,  a  Neapolitan  painter  and 
scholar  of  Doraenico  Gargiulo,  called  Micco  Spa- 
daro.  The  latter  was  the  fellow-pupil  of  Salvator 
Rosa  under  Aniello  Falcone,  and  they  all  painted 
landscapes  and  marine  views  much  in  the  same 
style  in  the  latter  half  of  the  17th  century. 

OLIVA,  Philip,  a  native  of  Middlebtirg,  was 
admitted  a  bourgeois  of  Antwerp  in  1642,  and  a 
free  member  of  the  Society  of  St.  Luke  in  1655  or 
1656.  He  died  at  Antwerp  about  1659.  In  1648-9 
an  Andreas  Oliva  was  also  inscribed  on  the  guild 
books,  and  in  1  667-8  a  Michael  and  a  second 
Philip,  all  described  as  sons  of  a  master. 

OLIVA,  PlEBo,  painter,  a  native  of  Messina,  and 
pupil  of  Antonello,  flourished  about  1490. 

OLIVEIKA-BERNARES,  Ignacio  de,  belongs  to 
a  family  of  artists  in  Portugal  who  bore  this  name. 
The  first  mentioned  is  Manoel  Rodriguez,  a  painter 
who  seems  to  have  been  known  also  as  Oliveira 
Bernares.  He  had  a  son  Antonio,  and  three  grand- 
sons, Ignacio,  Fra  Jose  de  Santa-Maria,  a  monk, 
and  Polycarp,  all  painters.  Ignacio,  who  was  bom 
36 


at  Lisbon  in  1695,  was  one  of  the  young  artists 
whom  John  the  Fifth  of  Portugal  sent  to  Rome, 
where  he  wished  to  estabhsh  a  Portuguese  Academy 
of  Painting.  At  Rome  Ignacio  studied  painting 
and  architecture  under  Henedetto  Luti  and  Paolo 
de  Matteis.  On  his  return  to  Lisbon  he  was  ad- 
mitted into  the  Brotherhood  of  St.  Luke,  and 
afterwards  made  a  professor  of  tli,'  Academy.  He 
died  in  1781.  At  Lisbon  many  of  his  works,  both 
in  architecture  and  in  painting,  are  to  be  seen.  His 
son  Joas  Pedro  de  Oliveira,  born  at  Lisbon  in  1752, 
was  also  an  artist,  and  there  are  pictures  by  him  in 
the  Lisbon  churches. 

OLIVER,  Archer  James,  an  English  portrait 
paiiittr,  was  born  in  1774.  He  studied  in  the  schools 
of  tlie  lioyal  Ac.idemv,  of  which  he  was  elected  an 
Associate  in  1803.  For  some  years  he  had  a  wide 
and  fashionable  circle  of  sitters  at  his  studio  in  New 
Bond  Street,  and  he  exhibited  largely  from  1800 
to  1820.  In  1835  he  was  appointed  curator  of  the 
painting  school  in  the  Academy.  Through  ill 
health  in  his  latter  years  his  means  were  reduced, 
and  he  became  a  pensioner  of  the  Academy.  He 
died  in  1842. 

OLIVER,  D.,  supposed  by  Fiissli  to  have  been 
a  French  painter,  resided  in  London  in  the  17th 
century.  The  portrait  of  the  painter  P.  Sevin, 
by  D.  Oliverus  was  engraved  by  De  La  Croix 
in  1692. 

OLIVER,  Isaac,  an  English  mezzotint  engraver 
in  the  latter  part  of  the  17th  century.  He  was  the 
son  of  John  Oliver,  glass  painter.  Amongst  his 
engravings  are  : 

The  Seven  Bishops. 

Ckirlcs  II. 

George,  Prince  of  Denmark, 

E.  van  Heemsktrk. 

OLIVER,  Isaac.  This  eminent  miniature  painter 
was  probably  a  man  of  French  origin,  but  may 
possibly  have  been  bom  in  England.  Some 
references  have  quite  recently  been  found  by 
Mr.  Lionel  Oust  in  the  registers  of  the  French 
church,  Threadneedle  Street,  and  the  Dutch 
church,  Austin  Friars,  and  in  a  return  of  aliens  in 
London  for  1571,  which  seem  to  make  it  clear  that 
Oliver's  parents  were  one  Peter  Oliver,  a  gold- 
smith, who  was  born  at  Rouen,  and  Typhan  his 
wife,  and  that  tliey  were  in  London,  lodging  in 
Fleet  Lane,  in  1571,  and  later  in  that  year  in  the 
parish  of  St.  Sepulchre's,  and  that  they  had  with 
them  one  child  named  Isaac,  who  appears  at  that 
time  to  have  been  under  six  years  old.  The  con- 
temporaries of  Oliver  appear  to  have  all  regarded 
hiiii  as  an  Englishman.  Sandrart,  in  his  '  'Teutsch 
Academic,'  speaks  of  him  as  "  Membranarum  pic- 
tor  Londinensis,"  and  in  the  inscription  below  the 
portrait  of  him  which  was  engraved  by  Hendrik 
Hondius  he  is  styled  "  Isaacus  Oliverus  Anglus.'' 
In  all  probability  he  is  identical  with  one  Isaac 
Olivier  of  Rouen,  who  on  February  9,  1602,  was 
married  at  the  Dutch  church,  Austin  Friars,  to 
Sara  Gheeraerts  of  London,  the  record  of  whose 
marriage  Mr.  Oust  found  in  the  registers  of  the 
church.  If  this  was  so,  it  may  enable  us  to  iden- 
tify the  author  of  the  treatise  on  limning  which 
is  now  in  the  British  Museum,  and  which 
was  considered  by  Vertue  to  be  the  work  of 
Hilliard.  The  anonymous  author  in  this  treatise 
refers  more  than  once  to  "  your  late  countryman 
and  my  dear  cousin,  Isaac  Ohver,"  and  therefore, 
in  all  probability,  Vertue's  attributiou  was  not 
correct.     Mr.  Cust,  in  the  '  Dictionary  of  National 


ISAAC  OLIVER 


\^J-'rnm  Ihe  miniature  at  11  V«</jv  Castle 
HENRY,  PRINCE  OF  WALES 


ISAAC  OLIVER 


[Collection  of  the  Queen  of  Hollafid 


A  MAN.  NAME  UNKNOWN,  AGED  30, 
1614 


PAINTERS  AND  ENGRAVERS. 


Biography,'  points  out  that  Sara  Glieeraerts, 
Oliver's  wife,  appears  to  have  been  the  daugliter 
of  Marcus  Glieeraerts  the  elder  by  liis  second 
wife  Susannah  de  Critz,  who  was  certainly  related 
to  John  de  Critz,  Sergeant  Painter  to  James  I. 
Francis  Meres,  in  his  '  Palladis  Tamia  '  of  1598, 
selects  three  artists,  Hilliard,  Isaac  Oliver,  and 
John  de  Critz,  as  specially  excellent  in  the  art  of 
painting,  "  and  assuming,"  ea_v8  Mr.  Gust,  "  that 
John  de  Critz  was  the  cousin  by  marriage  of 
Isaac  Oliver,  he  may  well  have  been  the  author 
of  this  treatise  on  limning."  It  should  be  noticed, 
however,  that  there  is  nothing  in  this  theory  to 
prevent  the  treatise  having  been  taken  down  from 
the  teaching  of  Hilliard,  or  having  formed  part  of 
the  manuscripts  of  that  eminent  artist,  edited  as  it 
is  now  by  De  Critz. 

Oliver  frequently  spelt  his  own  name  Olivier  or 
Ollivier,  but  from  the  constant  references  to  him 
as  an  Englishman  by  his  contemporaries,  it  would 
seem  likely  either  that  he  was  born  in  England,  or 
else  that  he  came  to  England  at  such  a  tender 
age  that  he  was  considered  as  an  Englishman. 
Burton's  Manuscript  Collections  for  Leicester- 
shire, collected  by  Nicholls  in  his  history  of  the 
county,  connected  Oliver  with  a  family  seated 
at  East  Norton  in  that  county,  while  at  Ashbj'-de- 
la-Zouch  there  is  an  entry  of  the  birth  of  an  Isaac 
OUiveerin  1651.  It  is  probable,  however,  that  these 
entries  refer  to  another  family,  and  that  Mr.  Cust's 
discoveries  bring  us  as  near  to  definite  information 
about  this  painter  as  can  be  attained.  More  than  one 
writer  has  drawn  attention  to  the  fact  that  in  the 
portrait  of  Oliver  by  Hondius  there  is  to  be  seen 
through  a  window  a  river-scene  which  resembles 
nothing  in  England,  but  is  very  like  the  scenery 
of  the  Seine  near  Rouen,  and  that  this  is  further 
evidence  of  the  connection  of  the  family  with 
France.  Haydocke's  Introduction  to  Lomazzo's 
'Art  of  Painting'  tells  us  that  Oliver  was  the 
pupil  of  Nicholas  Hilliard,  and  from  examination 
of  his  work  it  is  clear  that  he  followed  Hilliard's 
manner  of  painting  very  closely.  He,  however, 
excelled  his  master  in  the  painting  of  the  face 
and  hands,  and  he  in  his  turn  was  surpassed  by 
his  son  Peter.  Vertue  states  on  the  authority  of 
Nathaniel  Russel,  a  painter,  that  Oliver  also 
painted  larger  pictures  in  oil,  and  he  mentions  two 
pictures,  representing  'St.  John  the  Baptist 'and  the 
'  Holy  Family,'  as  at  that  time  in  Russel's  posses- 
sion. Russel  appears  to  have  been  a  kinsman  to 
Oliver,  and  was  therefore  well  acquainted  with  his 
work,  but  there  are  no  oil  paintings  which  can 
now  be  definitely  attributed  to  this  artist.  There 
are  a  large  number  of  his  miniatures  in  existence, 
some  of  the  finest  being  ,it  Windsor  Castle,  Mon- 
tagu House,  Chatswortli,  Sherborne  Castle,  Belvoir 
Castle,  and  Minley  Manor,  in  the  latter  house 
being  some  famous  works  of  this  artist,  which 
were  at  one  time  at  Penshurst  Place.  Perhaps 
one  of  the  finest  works  which  Oliver  ever  did  is 
the  group  of  the  three  sons  of  the  second  Viscount 
Montagu,  with  their  servant,  which  he  painted  in 
1598,  and  which  now  belongs  to  the  Marquis  of 
Exeter,  and  is  to  be  seen  at  Burghley. 

Oliver  resided  in  the  district  of  Blackfriars,  and 
be  died  in  1617.  He  was  buried  on  October  2  of 
that  year  in  the  church  of  St.  Anne,  Blackfriars, 
where  a  monument  was  erected  to  his  memory, 
with  a  bust  and  an  epitaph.  This  was  destroyed 
in  the  Great  Fire  of  London,  but  Vertue  declares 
that  he  saw  a  clay  model  of  the  bust  in  the  pos- 


session of  Russel,  together  with  several  leaves 
from  Oliver's  sketch-book.  His  will  was  dated 
June  4,  1617,  and  was  proved  on  October  30  in 
the  same  year,  and  by  it  he  appointed  his  wife 
Elizabeth  his  executrix,  and  referred  to  his  eldest 
son  Peter,  who  would  carry  on  his  work,  and  to 
other  sons  who  were  under  age.  In  all  probabil- 
ity Oliver  was  married  twice,  possibly  even  three 
times.  His  will  is  signed  "  Isaac  Oliver,"  and  not 
"Olivier."  His  portrait  is  to  be  seen  both  at 
Montagu  House  and  at  Windor  Castle  amongst 
the  miniatures  in  these  two  important  Collections. 

G.  C.  W. 
OLIVER,  John,  was  born  in  IGlGin  London,  and 
died  in  1701.  Some  authorities,  Walpole  among 
others,  suppose  him  to  have  been  the  son  of  James 
Oliver,  one  of  the  youngest  sons  of  Isaac  Oliver 
(q.  v.);  others  speak  of  him  asa  descendantof  John 
Oliver,  master  mason  to  James  I.  He  is  probably 
the  John  Oliver  who  was  one  of  the  Commissioners 
appointed  to  direct  the  rebuilding  in  London  after 
the  Great  Fire  of  1666,  and  who  became  possessed 
of  the  MS.  designs  of  Inigo  Jones.  His  most 
important  achievements  were  in  glass-painting, 
but  he  also  executed  some  engravings. 

Northill  Church,  Bedfordshire  :  a  window  put  np  by 
the  Grocers'  Company,  no  longer  in  its  ori>^inal  place. 
The  Royal  Arms  and  other  heralilic  devices ;  dated 
1664.  There  was  also  in  Northill  Rectory  a  sundial 
painted  with  insects,  &c.,  signed  and  dated  John 
Oliver  fecit  1664. 

Lambeth  :  a  sundial  put  up  by  Archbishop  Sheldon 
(died  1677),  with  arms  and  a  \-iew  of  the  .Sheldonian 
Theatre,  Oxford  ;  this  was  finished  in  1669. 

Petworth  :  the  arms  of  the  Percys  in  the  great  window 
of  the  chapel. 

Oxford,  Christ  Church:  'St.  Peter  delivere<l  from 
Prison ' ;  dated  and  insiTibed  J.  Oliver  atat.  sua 
84,  anno  nOO,pinxit  deditqve.  This  window  has  been 
removed. 

The  engravings  ascribed  to  him  are  a  portrait  of 
James  II.,  in  mezzotint ;  Judge  Jeffiies  as  '  Earl  of 
Flint';  and  some  others.  Also  a  '  View  of  the  Hot 
Wells,  Bath,'  dated  1676;  a 'View  of  Tangiers,' 
after  Hollar;  besides  a  '  Boy  asleep,  a  SkuU  by  hie 
side,'  after  Artemisia  Gentileschi.  C.  B. 

OLIVER,  Peter.  This  notable  miniature  painter 
was  the  eldest  son  of  Isaac  Oliver,  probably  by 
his  first  wife.  It  is  not  known  for  certain  when  he 
was  born,  but  that  event  probably  occurred  in 
1594.  He  died  at  Isleworlh  in  Middlesex  in  1648, 
and  was  buried  beside  his  father  in  St.  Anne's, 
Blackfriars.  His  will  was  dated  December  12, 
1647,  and  was  proved  on  December  15,  1648,  anil 
by  it  he  left  his  whole  estate  to  his  wife  Anne. 
He  was  a  pupil  of  hia  father,  Isaac  Oliver,  but  his 
work  is  richer  in  colouring  than  that  of  his  father, 
and  the  painting  of  the  hands  and  faces  is  of  extra- 
ordinary merit.  He  was  employed  by  Charles  I. 
to  make  water-colour  copies  of  many  of  the  more 
important  paintings  in  the  Royal  Collection,  of 
works  by  Raphael,  Titian,  Correggio,  and  Holbein 
especially,  and  these  copies  were  put  in  frames 
provided  with  locks,  and  known  in  the  old  in- 
ventories as  shutting  glasses.  These  miniiiture 
co|>ie8  were  taken  by  the  King  on  his  travels,  in 
order  that  he  might  enjoy  and  appreciate  the 
beauty  of  the  pictures  when  unable  to  be  near  the 
gallery.  They  were  dispersed  at  the  sale  of  the 
Collection,  but  several  of  them  still  remain  in  the 
Royal  Collection  at  Windsor.  One  exceedingly  fine 
signed  example,  still  in  its  original  frame,  is  at 
Burghlev,  and  in  the  same  Collection   there  are 

37 


A   BIOGRAPHICAL  DICTIONARY  OF 


three  more  copies  in  water-colour  of  old  masters' 
paintings,  wliich  were  probably  the  work  of  Oliver 
or  of  his  pupils.  Another  is  to  be  found  in  the 
Jones  Collection  at  South  Kensington,  and  yet 
another  is  at  Mont.igu  House.  Oliver  also  made 
copies  in  miniature  of  works  of  Van  Dyck,  and 
two  of  these  copies  are  at  Sherborne  Castle, 
while  one,  which  is  of  unusual  size  and  gnat 
beauty,  represents  Rachel  de  Riivigiiy,  Countess 
of  Southampton.  One  of  his  most  be:uitiful  works 
is  the  portniit  of  Henry,  Prince  of  Walus,  which 
is  now  at  Belvoir  Castle.  The  Prince  is  re- 
presented in  gilded  armour,  wearing  the  blue 
ribbon  of  the  Garter  and  a  fine  lace  ruff.  A 
miniature  in  the  same  Collection  of  Cliarles,  Prince 
of  Wales,  is  very  probably  the  work  of  the  .same 
artist.  Peter  Oliver's  portrait  as  a  boy,  painted  by 
his  father,  is  to  be  seen  at  Welbeck,  and  another 
one  of  himself  as  .i  young  man,  which  is  his  own 
work,  is  at  Montagu  House.  There  are  several 
miniatures  in  the  possession  of  the  Queen  of 
Holland,  who  also  owns  some  of  the  finest  works 
of  his  father  Isaac,  and  other  examples  of  the  work 
of  Oliver  appear  in  the  Rijks  Museum  at  Amster- 
dam. A  great  many  of  his  miniatures  remained 
in  the  possession  of  his  widow  at  Isleworth,  and  it 
is  said  that  Charles  II.  heard  of  their  existence 
and  was  desirous  of  obtaining  them.  Vertue  tells 
us  that  the  King  went  privately  and  unknown  to 
see  Mrs.  Oliver,  taking  with  him  a  man  whom 
Vertue  calls  Rogers,  but  who  was  probably  a  man 
named  Progers,  who  was  well  known  for  being 
employed  in  the  King's  private  pleasures.  Mis. 
Oliver  showed  the  King  a  large  mnnber  of  minia- 
tures both  finished  and  unfinished,  and  when  he 
revealed  himself  to  her,  promised  to  look  over  her 
husband's  books  and  let  him  know  what  prices 
his  father  the  late  King  had  paid.  The  King  took 
away,  says  Vertue,  wliat  he  liked,  and  sent  a 
messenger  to  Jlrs.  Oliver  with  the  option  of  a 
thousand  pounds  for  them  or  an  annuity  of  £300 
for  her  life.  She  chose  the  latter  sum,  but  it  was 
subsequently  reported  to  the  King  that  Mis.  Oliver 
had  denounced  in  disrespectful  terms  the  Ro3al 
mistresses  to  whom  many  of  the  pictures  had  been 
given,  and  stated  that  if  she  had  thought  the  King 
would  have  given  them  to  such  persons,  he  would 
never  have  had  tliem.  From  the  moment  that  the 
story  reached  the  Court  the  poor  woman's  salary 
was  stopped,  and  she  never  received  it  after- 
wards. The  rest  of  the  miniatures  in  Mrs.  Oliver's 
possession  passed,  so  Vertue  tells  us,  into  the 
hands  of  Theodore  Russel,  the  father  of  Vertue's 
informant. 

Oliver's  portrait  is  said  to  have  been  engraved 
by  T.  Chambars  ;  there  is  an  anonymous  etching 
known  which  represents  him.  In  the  Earl  of 
Derby's  Collection  there  is  a  leaf  of  a  pocket- 
book  with  drawings  by  Oliver  in  black  lead  of 
himself  on  one  side  and  of  his  wife  on  the  other. 
His  pictures  are  painted  on  cardboard,  or  on  an 
exceedingly  thin  vellum  mounted  on  card.  Several 
of  his  works  belong  to  Mr.  L.  Currie,  and  are  at 
Minley  Manor,  there  is  a  beautiful  one  at  Ham 
House,  and  an  important  one  at  the  Wallace 
Gallery,  several  at  Welbeck,  and  very  many  at 
Montagu  House.  0-  C.  W. 

OLIVER,  William,  an  English  landscape 
painter,  bom  in  1805.  He  chiefly  practised  in 
water-colours,  exhibiting  at  the  New  Water-Colour 
Society,  of  which  he  was  a  member.  His  subjects 
were  mainly  taken  from  foreign  scenery.    He  died 

38 


in  185.B.  There  is  an  oil-painting  ot  Foligno,  in  the 
Papal  States,  by  him,  in  the  Kensington  Museum. 

OLIVEHL'S,  a  skilful  French  miniaturist  of  the 
12th  century.  He  worked  in  Paris.  The  library 
of  Donai  possesses  a  fine  MS.  illustrated  by  him. 

OLIVES,  Francisco,  a  Spanish  painter,  who 
flourished  at  Tarragona  about  1557.  He  filled  for 
a  time  the  post  of  valuer  of  works  of  art  for  the 
province. 

OLIVIER,  AuBiN,  a  die-sinker  and  engraver  on 
wood,  was  born  at  Roye,  in  Picardy,  in  the  first 
h.ilf  of  tiie  Ifith  century;  and  was  I>ircctor  of  the 
Mint,  under  Henri  II.,  in  1553.  As  a  wood-en- 
graver, in  conjunction  with  Jean  le  Royer,  his 
brotlier-iu-law,  he  engraved  the  sixty  figures  which 
illustrate  the  '  Lievre  de  Perspective  de  Jehan 
Cousin,'  the  celebrated  French  artist,  which  was 
published  in  Paris  in  15fi0  by  Jehan  le  Royer,  in  a 
large  folio.  The  date  of  Aubin  Olivier's  death  is 
not  known. 

OLIVIER,  Heinrich,  elder  brother  of  Johann 
H.  Ferdinand  Olivier,  was  bom  at  Dessau  in  1783. 
He  underwent  the  same  course  of  study  as  his 
brother,  and  ultimately  became  a  teacher  of  draw- 
ing and  of  languages  in  Berlin,  where  he  died  in 
1848.  In  Vienna  he  executed  a  copy  of  Pordenone's 
'St.  Justinn,'  and  also  produced  original  paintings 
for  the  churches  of  his  native  town. 

OLIVIER,  JoHAN.v  Hei.vrich  Fekdinakd,  painter 
and  lithographer,  was  born  at  Dessau  iu  1785. 
His  first  instructions  were  received  from  K.  W. 
Kolbe  and  Haldenwang,  but  in  1804  he  went  to 
Dresden,  and  studied  under  Jakob  Mechau.  In 
1807  he  accompanied  his  brother  Heinrich  to  Paris, 
and  together  they  painted  a  portrait  of  Napoleon  I. 
on  horseback,  as  well  as  'The  Baptism  of  Christ' 
and  a  'Last  Sup)ier'for  the  church  of  Worlitz. 
In  1811  he  proceeded  to  Vienna,  and  in  1828  pub- 
lished a  series  of  lithographs  at  Salzburg.  His  oil 
pictures  are  for  the  most  part  either  purely  his- 
torical, or  historical  landscapes.  In  1833  he  became 
professor  of  art  history  and  general  secretary  to 
the  Academy  at  Munich,  where  he  died  in  1841. 
His  liist  and  best  painting  is  a  landscape  in  the 
possession  of  Friiulein  Linder  of  that  city.  Ho 
usually  signed  bis  work  with  a  monogram  of  F.  0. 

OLIVIER,  Michel  BARTH^LEMy,  was  bom  at 
Marseilles  in  171'2,  and  died  in  Paris  in  1784.  He 
was  received  into  the  Academy  as  painter  of  land- 
scape and  genre,  and  became  painter  to  the  Prince 
du  Conti.  His  style  is  that  of  his  time,  the  execu- 
tion neat,  and  colour  undecided. 

OLIVIER,  WoLDEMAU  Friedrich,  younger 
brotlier  of  Heinrich  and  Ferdinand  Olivier,  wag 
born  at  Dessau  in  1701.  From  1811  lie  studied 
under  his  brother  Ferdinand  :  but  in  1813-14  he 
served  as  an  officer  in  the  Lutzow  volunteer  corps, 
and  as  such  obtained  the  iron  cross  and  the  Order 
of  St.  Anne  and  St.  George.  In  1815  he  travelled 
in  England  and  the  Netherlands,  and  proceeded  in 
1818  to  Rome,  where  he  studied  under  Overbeck 
and  Cornelius.  He  here  painted  his  picture  of 
'  Christ  with  the  Tribute  Money,'  together  with 
landscapes  with  historical  figures.  In  1824  he 
returned  to  Vienna  and  practised  as  a  portrait 
painter,  but  removed  in  1829  to  Munich,  where  he 
worked  upon  the  frescoes  in  the  Konigsbau,  in  the 
Nibelungen  and  Homer  Saloons,  and  also  designed 
a  '  Pictorial  Bible '  with  fifty  illustrations  from  the 
New  Testament.     He  died  at  Dessau  in  1859. 

OLIVIERI,  DoMENico,  was  bom  at  Turin  in 
1679.     He  particularly  excelled  in  painting  droll 


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PAINTERS  AND  ENGRAVERS. 


scenes,  fairs,  and  morry-iiiakings,  in  imitation  of 
tlie  style  of  Peter  van  Lacr,  in  wliicli  lie  diKplayed 
infinite  Iiuniour,  and  a  talent  for  caricature.  In 
the  gallery  of  the  court  of  Turin  were  two  of  his 
best  piclures,  in  one  of  which  he  has  represented  a 
fair,  witli  an  imniense  asseniblnge  of  figures,  of 
ijuack-doctors,  and  groups  of  ]ieasaiitK,  sporting  or 
quarrelHng.  Though  chiefly  employed  in  jiainting 
what  are  called  Bamhocriate,  he  was  not  incapable 
of  historical  painting,  as  apjiears  in  his  picture  of 
'The  Miracle  of  the  Sacrament,'  in  the  sacristy  of 
Corpus  Domini,  at  Turin.  He  ilied  in  1755.  Boni 
says  that  he  liad  a  pupd  who  painted  in  the  same 
style,  and  of  whom  he  speaks  as  N.  Graneri  of 
LoTidon. 

OLIVIERI,  DoMEXico,  called  S.\lvatoriello,  a 
Neapolitau,  born  in  the  last  half  of  the  17th 
century.  He  was  the  best  of  Solimena's  pupils, 
and  painted,  in  fresco,  '  The  Virgin  and  Child,'  in 
S.  Maria  delle  Grazie  ;  '  Rinaldo  and  Armida,'  and 
other  pictures  on  a  large  scale.     He  died  in  1718. 

OLIVIERS,  Jacoi!  Fran'S  and  AniiiAEN,  two 
obscure  painters  of  Haarlem,  who  flourislieil  in  tlie 
17tli  and  18th  centuries,  .lacob  was  inscribed  on 
the  Guild  in  1632.  In  1650  he  received,  from  the 
military  authorities,  a  sum  of  150  florins  for  re- 
storing pictures,  and  in  1667  a  recpiisition  wasniade 
for  a  tomb  for  him  in  the  church  of  St.  Bavon. 
Adriaen  was  inscribed  on  the  Guild  in  1707. 

OLLJliJTZ,  Wexzel  or  Wexceslaus  von,  (Ot,- 
MUTZ,  or  (jLOMrcz,)  was  a  painter  and  engraver  of 
the  15lh  century,  who  produced  several  extremely 
good  copies,  as  well  as  originid  plates.  By  Bartseh 
he  was  sup|Mjsed  to  be  identical  with  the  "  Jlaster 
signing  W,"  while  some  have  endeavoured  to  iden- 
tify him  with  Michael  Wolgemut.  The  more  recent 
opinion  i.s  that  the  plates  with  W  upon  thmi 
are  the  work  of  Wolgennit,  and  that  instead  of 
being  copies  from  Diirer.  Diirer  copied  them.  For 
a  fuller  discussion  of  the  question  see  Wolgemut. 
The  name  of  Weiictdnus  von  Olomucz  appears  on  a 
copy  from  Schongauer's  '  Death  of  the  Virgin,' 
dated  1481.  He  was  still  working  as  late  as  the 
beginning  of  the  16th  century.  The  best  of  his 
plates  are  in  the  above-mentioned  copiy  fnnn  Sc  lion- 
gauer's  famous  engraving. 

OLilDOKF,  Hans  von,  (or  Olmendorf,)  a  Ba- 
varian artist,  who  painted  between  1460  and  1518. 
He  was  court  painter  to  the  Duke  Sigtnund.  He 
painted  at  Municli  and  at  Blutenburg,  where  it  is 
thought  he  made  the  designs  fur  the  windows 
painted  liy  Hans  Hebenstreit.  To  him  is  ascribed 
also  the  picture  of  'God  the  Father  with  the  dead 
Christ  on  His  kiwes,'  the  engraving  from  wliich  is 
attributed  to  Tlie  Master  of  1466.  Some  of  his 
pictures,  on  panels  with  gold  backgrounds,  are 
at  SLlileissheim.  One  of  his  best  works  is  the 
'  Crowning  of  the  Virgin,'  in  which  the  Duke  Sig- 
niunil  is  introduced  on  his  knee. 

OLMO,  Giovanni  Paolo.  Siret  speaks  of  a  Ber- 
gamese  painter  of  this  name,  and  of  a  '  Vierge 
Glorieuse,'  at  Berlin,  signed  Jo.  I'aulus  Vlnins. 

OLMO,  Marco.  Born  in  168.S,  of  a  noble  family 
in  the  territory  of  Bergamo,  Marco  Olnio  showed 
early  such  a  strong  inclination  for  painting  that  he 
was  sent  to  Bologna,  and  studied  for  some  years 
under  Gio.  Giosetfe  dal  Sole.  On  his  return  he 
painted  a  great  number  of  pictures  for  the  churches 
in  his  native  country,  and  many  portraits.  He 
died  in  175.S. 

OMEU,  Rowlamd,  a  draughtsman,  born  in  Ire- 
land, who  worked  about  1750.      He  drew  many 


public  buildings  in  Dublin  and  other  parts  of  Ire- 
land, which  were  engraved. 

OMINO,  L'.     See  Lombaudi. 

OMME,  H.  VAN,  a  mediocre  painter,  who  w.as 
active  at  Oudewater  in  1651.  In  the  orphanage 
of  that  town  there  is  a  large  picture  of  '  Orplians 
at  Dinner,'  by  him. 

0MMF;GAXCK,  Balthazar  Paul,  a  distin- 
guished painter  of  landscapes  and  animals,  waa 
horn  at  Antwerp  in  1755,  and  studied  under  Hen- 
dricus  .Josephus  Antonissen  from  1767.  In  1789 
he  became  dean  of  the  Guild  of  St.  Luke  in  his 
native  city,  and  in  1796  professor  in  tlie  Academy 
there.  In  1799  he  won  the  first  prize  for  landscapes 
in  Paris,  and  in  1809  became  a  corresjionding 
member  of  the  Institute.  He  was  also  a  member 
of  the  Academies  of  Amsterdam,  Brussels.  Ghent, 
Munich,  and  Vienna.  He  died  at  Antwerp  in  1826. 
He  was  one  of  the  connnissioners  of  1815,  ajipointed 
by  Belgium  to  reclaim  from  France  the  objects  of 
art  which  she  had  acquired  by  force  of  anns  during 
the  great  war.  During  his  life  his  works  were 
in  such  request  that  only  tlie  rich  could  obtain 
them,  and  they  are  therefore  seldom  to  be  found 
but  in  tlie  finest  modern  collections  of  England, 
France,  and  Holland.  And  yet  in  handling  they 
were  soft,  weak,  and  oversmooth,  in  conception 
confused,  and  in  colour  poor.  It  is  in  fact  greatly 
to  tlie  example  of  Ommeganck  that  the  poor  work 
done  by  Belgian  landscape  and  animal  painters  in 
the  early  part  of  the  jiresent  century  is  to  be 
traced,  esjiecially  their  shortcomings  in  the  matter 
of  colour.  Carpentero,  J.  F.  Lenzen,  and  some  of 
the  more  recent  Belgian  painters,  have  imitated  his 
manner;  a  female  painter,  long  resident  in  Holland 
and  Belgium,  has  copied  sevfral  of  his  pictures 
very  successfully  ;  and  otliers  in  England  and  else- 
where, under  the  auspices  of  the  dealers,  have  made 
it  a  very  profitable  speculation.  He  executed  some 
admired  drawings,  and  also  clay  moilels  of  sheep 
and  cows.  Among  his  oil-paintings  there  are  (be- 
sides some  at  Antwerp,  Brussels,  and  Cassel)  : 

Frankfort.      Stiidel  Iii.^t.     Landscape     with     sheep     and 

goats. 
Loudon.   Std^ord  House.     Cow.s  in  the  water. 
Paris.  Louvre.     Landscape  witli  sheep. 

OMMEGAXCK,  Maria  Jacoba.     See  Baesten. 

O.MPHALION,  a  painter  of  the  4th  century  B.C., 
who,  as  Pausanias  tells  us,  was  a  pupil  and  friend 
of  Nicias. 

ONA,  (or  Onna,)  Pedro  de,  a  Spanish  painter, 
born  in  Spain  about  1550,  son-in-law  to  Esteban 
Jordan,  sculptor  to  Philip  II.  He  painted  in  1590 
the  principal  altar-piece  in  the  parish  church  of 
Santa  Maria  de  Rioseco. 

ONATAS,  an  e.uly  Greek  sculptor  of  JEgina, 
practised  i)ainting  also  to  some  small  extent,  and 
was  employed  in  conjunction  with  i'olygnotus  in 
the  temple  of  Atliene  at  Platsea. 

ONA'TE,  Miguel,  a  Spanish  portrait  painter, 
was  born  at  Seville  in  15r!5,  and  studied  under 
Antony  Mor,  who  was  in  Spain  in  1551.  He  ac- 
companied his  instructor  to  Portugal,  where  lie  was 
sent  to  paint  the  portrait  of  the  first  consort 
of  Philip  II.  He  then  returned  with  him  to 
M.adrid,  where  he  died  in  1606.  leaving  to  his 
heirs  a  considerable  fortune  acquired  by  his  pro- 
fession. 

0'NE.\L,  Jeffrey  Hamet,  was  born  in  Ireland, 
J  ractised  in  Lotidon  for  m.iny  years,  and  died  early 
in  the  19th  century.  He  ]iainted  landscapes,  birds, 
flowers,  small  conversations,  and  miniatures  ;  and 

39 


A   BIOGRAPHICAL   DICTIONARY  OF 


contributed  several  years  to  the  Spring  Gardens' 
Exhibition. 

O'NEIL,  Henry  Nelson,  was  born  at  St.  Peters- 
burg in  1817  ;  came  to  England  and  entered  the 
Royal  Academy  schools  in  1833.  Some  years  after- 
wards he  started  on  a  journey  to  Italy  with  Mr. 
Elmore,  with  whom  he  contracted  a  friendship  wliile 
in  the  schools.  On  his  return  to  England  he  rapidly 
rose  to  fame  as  a  contributor  to  the  Exhibitions  of 
the  Royal  Academy.  He  was  elected  an  Associate 
in  1860.  He  died  on  the  13th  of  March,  1880.  The 
following  are  a  few  of  his  best  works  ;  they  were 
very  popular  at  the  time  they  were  painted:  'By 
the  rivers  of  Babylon,'  '  Ahasuerus  and  the  Scribes,' 
'  Eastward  Ho  ! "'  and  '  Home  Again,  '  The  Wreck 
of  the  Royal  Charter,'  and  '  The  Death  of  Rr.ffaelle.' 
The  last  is  considered  his  best  picture.  Besides 
these,  he  executed  a  number  of  landscapes  and 
portraits.  He  was  also  the  author  of  various 
treatises  on  art. 

O'NEILL,  Hugh,  an  English  draughtsman,  born 
in  London  in  1784.  He  was  helped  by  Dr.  Munro, 
and  afterwards  taught  drawing  in  Oxford,  Edin- 
burgh, Bath,  and  Bristol.  His  subjects  were  arclii- 
tectural  antiquities,  and  his  sketchesof  Christ  Church, 
Oxford,  and  of  Bristol  were  published.  He  died  at 
Bristol  in  1824.  There  are  three  water-colour 
drawings  by  him  in  the  South  Kensington  Museum. 
Fifty  of  his  sketclies  of  antiquities  in  Bristol  were 
etched  by  J.  Skelton,  and  published  in  1826. 

ONGARO,  MlCHELE,  an  artist  of  the  middle  of 
the  15th  century,  a  native  of  Ferrara.  A  picture 
of  the  'Virgin  and  Child  'discovered  there  in  1842, 
is  supposed  to  be  by  him. 

ONGHERS,  JacJb,  a  Dutch  p.ainter  e.stablished 
at  Prague  in  1691.  In  1714  he  became  chief  of 
the  corporation  of  painters  in  that  city,  and  died 
there  about  1730. 

ONGHERS,  Oswald,  painter,  was  bom  at  Mechlin 
in  1628,  and  died  at  Wiirzburg  in  1706.  He  studied 
mainly  after  Van  Dyck,  and  in  1660  settled  at 
Wurzhurg  as  painter  to  the  Prince  Bishop.  He 
produced  an  'Assumption  of  the  Virgin'  for  the 
Haug  Church,  and  a  'Mocking  of  Christ'  and 
'Martyrdom  of  St.  Kilian  '  for  the  cathedral. 

ONOFRI,  Francesco,  a  Roman  knight  and  en- 
graver of  the  18th  century,  who  published  a  set 
of  twelve  etchings,  with  a  title,  after  the  works 
of  G.  L.  Bernini. 

ONOFRIO  TA  FABRIANO,  a  p.ainter  of  the 
Umbrian  school,  who  is  s.^id  to  have  been  contem- 
porary with  Gentile  da  Fabriano,  and  to  have 
painted  in  1460  the  '  Life  of  St.  Benedict,'  in  one  of 
the  cloisters  of  St.  Michele  in  Bosco  at  Bologna. 

ONOFRIO,  Crf.scextio,  (HoNorHRUS,  or  HoN- 
UFRIIS,)  landscape  painter  and  etcher,  was  born  at 
Rome  most  likely  some  years  Later  than  1613,  the 
date  usually  given.  He  was  a  scholar  of  Gaspar 
Poussin,  and  painted  landscapes  in  the  style  of  that 
master.  He  resided  chiefly  at  Florence,  where  he 
was  much  employed  by  the  court  and  for  private 
collections.  He  died  at  Florence.  Lanzi  and  Zani 
say  he  was  living  in  1712,  which  is  more  probable 
than  that  he  died  in  1688,  as  he  etched  a  fine  series 
of  twelve  plates  of  landscapes,  after  his  own  designs, 
which  are  dated  1696  I 

OORT,  Van.    See  Nodrt,  Adam  van. 

OORTMAN,  Joachim  Jan,  an  engraver,  of  Dutch 
parentage,  but,  from  his  long  residence  in  Paris, 
reckoned  among  French  artists,  was  born  at  Weesp 
in  1777,  and  studied  successively  under  W.  Koch, 
C.  H.  Hodges,  and  Claessens.     He  engraved  after 

40 


Rembrandt,  Gerard  Don,  A.Ostade,  Jan  Steen,  and 
other  eminent  Dutch  masters;  also  after  Titian, 
Giulio  Romano,  Caravaggio,  and  Valentino  :  and 
some  French  painters  of  more  modern  date.  He 
died  in  Paris  in  1h18.  In  addition  to  two  platea 
in  illustration  of  the  '  Lusiad,'  he  supplied  the 
following  to  Filhol's  '  Musee  Fran9aiB  :  ' 

Portrait  of  Eenibrnndt ;  aftfr  thai  arti-t. 
The  Death  of  the  Virgin  ;  after  Cai-nvnyyio. 
Martyrdom  of  St.  Laurence  ;  after  Titian. 
Human  Life  ;  njter  J.  ^teen. 

COST,  James  van,  the  elder,  son  of  John  and 
Geraldine  Weyts,  bom  at  Bruges  before  1600; 
inscribed  in  the  register  of  the  Guild  of  St.  Luke 
as  apprenticed  to  his  brother  Francis,  and  as  free- 
master  October  18,  1621.  Shortly  after  he  went 
to  Italy,  wliere  he  studied  under  Hannibal  Carracci. 
He  returned  to  Bruges  in  1629,  and  was  soon  after 
elected  vinder  of  the  Guild.  In  1633-34  he  held 
the  office  of  Dean.  He  was  twice  married,  and 
died  in  1671.  He  painted  a  great  many  pictures, 
the  figures  in  which  are  generally  life-size,  and 
the  backgrounds  architectural.  The  churches  of 
Bruges  contain  many  of  his  religious  paintings. 
His  portraits  are  often  excellent.  He  was  also  a 
good  musician. 

Bruges.       St.  Saviour's.     The  Flight  into  Egypt. 
,,  „  Martyrtlom  of  St.  Godeleva. 

„  „  Descxint  of  the  Holy  Ghost  at 

Pentecost.     1658. 
„  St.Jfari/'s.    Saints  adoring  the  Infant  Jesus. 

1G.52. 
„  St.  James'.    Presentation  of    the    Blesseti 

Virgin.     165.5. 
„  Museum.    Episoiles  in   the  Life  of    St. 

Anthony  of  Padua. 
„  „  Portrait  of  a  religious  dictating 

to  a  clerk.     1668. 
„  St.  John's  JTospital.     A  Christian  meditating.    1647. 
„      Guitdhouse  of  St.  \  p         jj    f  ^  Pauwels.    166T. 
Stf'a.tttan.  j 
Lisle.  Jlii.-ieuoi.    St.  John  of  the  Cross  dressing 

a  friar's  leg. 
„  „  St.    Tcre.sa  and   St.    Peter   of 

Alcantara   in   prayer   before 
the  Holy  Family. 
„  „  Portrait  of  a  man. 

Paris.  Zouvre.     St.  t'harles  Borromeo  admiois- 

teriug  the  plague-stricken  iu 
ir,76. 

Vienna.  Miisetim.     The  Nativity. 

Biblinrjraphn :  Weale,  'Catalogue  du  Mus^e  de 
Bni-es,'"pp.  75-80.     Bruges,  1861.        W.  H.  J.  W. 

COST,  James  van,  the  younger,  son  anil  scholar 
of  James  van  Oost  the  elder,  born  at  Bruges, 
February  10,  1639.  He  studied  under  his  father 
until  he  was  twenty,and  then  went  to  Paris  and,  two 
years  later,  Rome  for  improvement.  He  returned, 
after  some  years,  to  Bruges.  After  painting  there 
some  pictures  fur  the  churches,  he  went  to  Lille, 
where  he  married  and  settled.  Having  lost  his 
wife  after  forty-one  years,  he  returned  to  Bruges, 
where  he  died  on  September  29,  1713.  He 
painted  history  and  portraits,  and  was  so  eminent 
in  the  latter,  that  liis  partisans  ventured  to  compare 
his  work  with  that  of  Van  Dyck.  His  historical 
pictures  partake  more  of  the  Roman  than  of  the 
Flemish  school.     Works : 

Museum.     Portrait  of  a  man.     1697. 
Museum.     Portrait  of  a  man.     Signed  J. 
V.  Oost  de  ionyhe. 
St.  Stephen.     Martyrdom  of  St.  Barbara. 
Capuchin  Ch.    Christ    contemplating   the  In- 
struments of  His  Pa.ision. 
Museum.     Two  portraits  of    men.     1688 
and  1693.  W.  H.  J.  W. 


Bruges. 
Brussels. 

Lille. 


JAKOB  VAN  OOST 


Woodbury  Co.  pliolo]  [Nalional  Gallery 

PORTRAIT  OF  A  BOV,  1650 


JOHN  OPIE 


l\'o<uibnry  Co.  photo] 


The  Louvre 


thl:  woman  in  white 


PAINTERS  AND  ENGRAVERS. 


OOST,  William  van,  son  of  James,  the  elder, 
born  March  8,  1G51,  entered  the  Order  of  St. 
Dominic  in  1671,  and  died  August  31,  1686. 

Brugea.  Musci'm,     St.  Doniinic  seated  readiug.  ia 

a  larulsr:ii»e  painted  by  Luke 
AchtschelUuck. 

\V.  H.  .T.  W. 
OOSTEN,  J.  VAN,  was  an  artist  wlio  painted 
email  landscapes,  with  figures  and  animals,  in  the 
manner  of  Jan  Breughel,  to  whom  they  are  usually 
ascribed  when  they  appear  in  sales.  There  are 
no  particulars  of  him  recorded.  There  is  a  good 
example  of  his  work,  a  '  Paradise,'  in  thel/iechten- 
stein  Collection,  at  Vienna.  It  is  signed  J.  van 
Ooslen,  fecit. 

OOSTERHOUDT,  Thierry  vax,  was  born  at 
Tiel,  in  Guelderlaiid,  in  1756.  lie  was  a  scholar 
of  R.  van  E.vnder,  and  frequented  the  Electoral 
Academy  at  Diisseldorf.  Afterseveral  years'  study 
of  the  pictures  of  Raphael,  Carlo  Dolci,  Rubens, 
Van  Dyck,  and  other  masters  there,  he  returned  to 
his  native  city,  and  painted  portraits,  and  finished 
numerous  compositions.  Some  of  his  subjects  are 
scenes  in  private  life,  and  are  to  be  met  with  at 
Tiel  and  Utrecht.  He  painted  also  in  water- 
colours.     He  died  in  1830. 

OOSTERWIJCK,  Maria  van,  a  celebrated 
painter  of  tlowers  and  fruit,  was  bom  at  Nootdorp, 
a  small  town  near  Delft,  in  1627  or  1630.  She 
was  the  daugliter  of  a  clergyman,  who  encouraged 
the  disposition  she  evinced  for  art  by  placing 
her  under  the  tuition  of  the  flower  painter,  Jan 
Davidsz  de  Heem,  whose  works  she  in  a  few  years 
almost  equalled.  Her  pictures  of  fruit,  flowers, 
and  still-life  found  their  way  into  the  choicest 
collections,  and  she  received  commissions  from 
many  of  the  princes  and  sovereigns  of  Europe. 
The  Emperor  Leopold  I.  engaged  her  to  paint  a 
picture  for  his  collection,  and  on  its  completion 
sent  her  the  portrait  of  the  Empress  and  his  own, 
set  with  diamonds,  as  a  mark  of  his  approbation. 
William  III.  and  Louis  XIV.  were  among  her 
mo.st  munificent  patrons.  Maria  van  Oosterwijck 
died  at  Eiitdam  in  1693.  Her  works  are  extremely 
scarce,  from  the  care  she  bestowed  upon  them. 
Among  them  we  may  note  : 

Dresden.  Gallery.     Glass   filled    with    Flowers   in 

great  variety. 
„  „  Fniit-piece,  with    Clusters   of 

Grai>es. 
Vienna.  Schonhntn  Gall.     The  same  subject. 
„  „  Still-life  subject. 

OPIE,  (or  OriEY,)  a  portrait  )  ainter,  was  bom 
in  Cornwall,  but  is  said  to  have  been  in  no  way 
connected  with  John  Opie.  He  is  believed  to  have 
been  self-taught.  In  the  catalogue  of  the  Exhibition 
held  in  London  in  1780,  by  the  Incorporated  Society 
of  Artists,  he  an<l  his  works  are  thus  described, 
'•  Master  Oppey,  Penryn.  '  A  Boy's  Head.'  An 
instance  of  genius,  not  having  si^en  a  picture." 
This  head  is  said  to  have  been  expressive,  well 
coloured,  and  to  have  attracted  notice  on  its 
merits,  Oppey  died  young,  in  London,  25th  Nov. 
1785. 

OPIE,  John,  painter,  was  born  in  the  village  of 
St,  Agnes,  about  seven  miles  from  Trurc,  in  1761. 
He  was  the  son  of  a  master  carpenter,  who  was 
very  desirous  of  bringing  him  up  to  his  own 
business,  but  the  love  of  drawing  appears  to  have 
given  an  early  bent  to  his  inclinations,  and  as  his 
propensity  was  encouraged  by  an  uncle,  who  had 
instructed  him  in  arithmetic  and  the   elements  of 


mathematics, liis  desire  of  becoming  a  jiainter  gained 
an  entire  dominion  over  his  mind,  and  nothing  could 
divert  him  from  it.  He  had  already  acquired  some 
practice  in  portrait-painting,  when  his  talent  was 
accidentally  discovered  by  Dr.  Wolcott,  '  Peter 
Pindar,'  who  at  that  time  resided  at  Truro.  He 
interested  himself  in  his  advancement,  and  lent 
him  some  of  his  pictures  to  study  and  copy.  By 
Wolcott's  assistance  and  recommendation,  the 
talents  of  young  Opie  soon  became  known  through- 
out the  county,  and  he  met  with  considerable  em- 
ploj'ment  as  a  portrait  painter.  His  earliest  efforts, 
though  not  distinguished  by  taste,  or  a  graceful  dis- 
position of  the  figure,  were  extraordinary  produc- 
tions for  an  artist  reared  in  so  remote  and  secluded 
a  situation.  About  the  year  1777  he  was  introduced 
to  Lord  Bateman,  who  employed  him  in  painting 
old  men,  beggars,  &c.,  which  he  designed  with 
uncommon  vigour  and  great  truth  of  expression.  In 
1780  he  visited  London  under  the  auspices  of  Dr, 
Wolcott,  where  his  merit  and  the  extraordinary 
circumstances  of  his  early  artistic  life,  made  him 
the  object  of  widespread  interest.  Commissions 
crowded  upon  him,  his  partisans  were  zealous  in 
his  praise,  and  for  sometime  'the Cornish  wonder' 
was  the  rage. 

The  powers  of  Opie  were  not  calculated  to  flatter 
the  frivolity  of  fashion  ;  he  was  not  very  suscept- 
ible to  female  grace,  and  his  portraits  of  men  were 
rather  distinguished  by  identity  and  tnith,  than  by 
dignity.  Thus  it  was  not  long  before  the  curiosity 
excited  on  his  arrival  in  London  in  a  great  degree 
subsided,  but  as  his  talents  were  not  confined  to 
portraiture,  he  continued  t9  meet  with  employment 
in  painting  domestic  or  rustic  subjects.  The  great 
undertakings  which  were  in  hand  at  this  time,  such 
as  Boydell's  'Shakespeare,'  Bowyer's  'English 
History,'  Macklin's  '  Poets  and  Bible,'  opened  a 
new  field  to  Opie,  and  perhaps  his  most  popular 
performances  were  his  pictures  of  the  'Murder  of 
James  I,  of  Scotlar.d,'  the  '  Death  of  Rizzio,' 
'  Jephtha's  Vow,' the  'Presentation  in  the  Temple,' 
and  'Arthur  supplicating  Hubert,'  In  the  best  of 
these  he  shows  not  only  vigour,  but  also  a  curious 
sense  of  style  which  is  hardly  to  be  found  in  any 
other  Engli.sh  historical  pictures  of  the  time. 

On  Fuseli's  appointment  to  the  office  of  Keeper 
of  the  Royal  Academy,  in  1806,  Opie  became  a 
candidate  for  the  vacant  professorship  of  painting, 
and  was  elected.  In  that  capacity  he  read  four 
lectures  at  Somerset  House,  which  bear  testimony 
to  the  extent  of  his  powers,  and  to  his  acquaintance 
with  the  theory  of  his  art.  He  died  in  1807,  and 
his  remains  weie  interred  in  St.  Paul's  Cathedral, 
near  those  of  Sir  Joshua  Reynolds.  A  catalogue 
of  his  paintings  was  published  in  1878.  There  are 
in  public  collections  : 
Loudon.  Natiotial  \  Portrait  of  Himself. 

Portrait  Gal/tri/.  f  „  liartolozzi. 

Th.  Holcroft. 

„     Xaiional  Gallery.  „        'William  Siddons. 

„  „  „        Mary       ■\Vollstone- 

craft-Godwin. 

„      C(Vv  Art  Gallery.  „         Daniel  Finder. 

„  Murlerof  James  I, of  Scotland. 

,,  „  Murder  of  Kizzio. 

Dulwich.  Gallery.     Portriit  of  Himself. 

Manchester.  Gallery.  Troilus,  Cres,<ida,  and  Pan- 
darus.  (Lent  by  the  National 
OaUery.) 

OPITZ,  Gkoro  Ema.nl'ki.,  was  born  at  Prague  in 
1775,  and  studied  under  Casanova  in  Dresden.  Up 
to  1807  he  painted  portraits  in  oil  and  miniature. 


A   BIOGRAPHICAL  DICTIONARY  OF 


but  tlien  commenced  painting  populiir  scenes,' 
character  sketcliPR,  i08tume  figures,  and  so  forth. 
In  1H13  lie  followed  the  Duchess  of  Courland  to 
Paris,  where  lie  found  a  rich  source  of  such  sub- 
jects. Afterwards  he  lived  at  lliidelbiirg  and 
Altenburg,  and  finally  settled  at  Ijcii'sic,  where  he 
died  in  18-11.  He  was  also  successful  in  aquarelle 
and  gonnclie  painting,  and  as  an  engraver. 

Ori'KXOlH),  GiLLis  Marie,  (or  OiricxiMir,)  a 
draughtsman  and  architect,  was  born  in  Paris  in 
167"J,  and  was  sent  with  a  pension  from  the  King 
to  Rome,  where  he  spent  ei^lit  years.  He  died 
in  Paris  in  1742.  He  prepareil  tlie  designs  for 
the  high  altars  of  St.  (ienuain  des  Prcs  and  St. 
Sulpice.  Huquicres  engraved  some  oruanieiits after 
liLm, 

OPPERDOES,  .Jan  Pietersz,  a  Dutch  painter, 
was  born  at  Amsterdam  in  1631  or  1632.  In  1648 
lie  was  bound  apprentice  to  Govaert  Camphuysen. 
Little  is  known  of  him.  In  the  Rijks-Museura 
there  is  a  landscape  by  him,  signed  Ojipe.rdoes. 

OPPERMANN,  C.  There  is  a  miniature  of  the 
Czar,  Alexander  I.,  in  the  Dresden  Gallery,  signed 
with  this  name,  and  dated  1809. 

OPPI,  Bernaiuhno,  a  designer  .md  engraver,  who 
worked  at  Rome  in  1590.  He  helped  to  engrave 
a  collection  of  sixteen  plates  representing  the 
'  Virtues,'  after  designs  by  Lanfranco,  which  are 
dedicated  to  Cardinal  Piccolomini. 

OPSTAL,  AntuNV  van,  a  Flemish  painter,  who 
was  in  the  service  of  tlie  Archduke  Charles  of 
Austria,  in  1624.  Nagler  says  that  Van  Opstal 
lived  at  Brussels,  and  that  Van  Dyck  painted  his 
portrait.  Jan  Meyssens  was  his  pupil  and  engraved 
after  him. 

OPSTAL,  Caspar  Jacob  van,  the  younger,  was 
born  at  Antwerp  in  1654.  He  was  probably  a 
pupil  of  his  father.  In  1676  he  entered  the  guild, 
of  which  in  1698-9  he  was  dean.  He  painted  his- 
tory and  portraits,  and  there  are  several  of  his 
works  in  the  churches  in  Flanders  and  Brabant  ; 
but  the  defective  pigments  which  he  used  have 
caused  them  to  darken.  In  1714  he  was  employed 
by  Marshal  Villeroy  to  copy  the  celebrated  altar- 
piece  by  Rubens,  in  the  cathedral  at  .\ntwerp, 
representing  the  '  Descent  from  the  Cross,'  together 
with  the  shutters  of  the  organ.  The  commissions 
which  he  received  were  so  numerous  that  he  fri"- 
qucntly  had  to  entrust  them  to  bis  pupils.  He 
died  at  Antwerp  in  1717.  Of  his  other  works  we 
may  name : 
Antwerp.  Museum.    A  Portrait.     1699. 

„  Jesuits'  Ch.     The  Child  Jesus  aJilresseil  by 

Angels.     1(!!)3. 
Darmstadt.  Gallery.     Tne  Holy  Family  rtsting  near 

a  cla-*sic  riiu. 
St.  Omer.         Cathedral.    The  Fathers  of  the  Church. 

OPSTAL,  Gaspar  van,  the  elder,  a  painter  ot 
Antwerp,  who  studied  under  Simon  de  Vos  in  1632. 
He  was  admitted  a  master  in  1644.  His  son, 
Gaspar  Jacob,  was  a  better  painter  than  he. 

OR.\M,  EuwARli,  an  English  landscajie  painter 
in  the  latter  half  of  the  18th  century.  He  was  the 
son  of  William  Oram,  and  acted  as  assistant  to 
Loutherbourg.  He  exhibited  at  the  Incorporated 
Society  in  1766,  and  at  the  Academy  from  1775 
to  17U9.  A  work  of  his,  apparently  posthumous, 
'  Precepts  and  Observations  on  the  Art  of  Colour- 
ing in  Landscape  Painting,'  was  published  in 
1810. 

ORAM,  William,  called  'Old  Oram,'  was 
brought  up  as  an  architect,  but  taking  to  land- 

42 


scape  painting,  arrived  at  success  in  that  branch 
of  art,  and  was,  in  1748,  made  superintendent  of 
the  Board  of  Works  by  the  interest  of  Sir  Edward 
Walpole,  who  had  several  of  his  jiictures  and  draw- 
ings. There  is  a  picture  by  him  in  the  Hermitage 
at  St.  Petersburg;  it  probably  went  there  with  the 
Houghton  Collection.  Oram  was  much  employed 
in  decorating  halls,  staircases,  and  the  panels  over 
chimney-pieces.  Walker  has  engraved  the  tri- 
umjihal  arch  erected  by  him  for  the  coronation  of 
George  III.,  at  Westminster  Hall,  and  has  intro- 
duced the  entrance  of  the  Champion  and  the  Lord 
Chancellor. 

OKATII,  (or  Ouazi,)  Alessandro,  painted  about 
tlie  middle  of  the  15tli  century,  at  Bologna.  Mal- 
vasia  speaks  of  a  picture  of  the  Virgin  by  him, 
which  he  found  over  the  Macchiavclli  altar  in  the 
church  of  San  Francesco. 

t)R.\ZI,  Andrea  Antonio,  painted  in  fresco  and 
in  oil.  He  was  born  about  1630,  and  was  a  pupil 
of  L.  Gaizi  and  C.  Ferri  in  Rome.  In  the  Crozat 
collection  was  a  drawing  by  him,  'The  Angel  and 
Gideon's  Fleece,'  which  was  etched  by  Caylus,  and 
enuraved  by  N  le  Sueur.  He  died  about  1690. 
Giuseppe  Orazi,w1io  painted  the  vault  of  St.  JIaria 
del  Orto,  is  believed  to  have  been  a  relation  of 
Andrea  Antonio. 

ORAZZI,  NicroLO,  was  an  Italian  engraver,  who 
flourished  about  the  year  1760.  He  was  employeil 
to  execute  part  of  the  plates  for  the  '  Antiquities  of 
Herculaneum,'  published  by  the  authority  of  the 
King  of  Naples. 
ORBETTO,  L'.  See  Turcui. 
OHCAGNA.     See  Cione. 

ORDE-POWLETT,  Thomas,  an  English  ama- 
teur etcher,  born  in  1746.  His  plates  are  chiefly 
caricatures  and  portraits.  There  is  a  burlesque 
portrait  of  Voltaire  by  him,  signed  '  T.  0.  fecit, 
1772.'  He  was  raised  to  the  peerage  as  Lord  Bolton 
in  1797,  and  died  in  1807. 

OKDONNANCE.     See  Mouciieron,  Is. 
ORELLI,    Antonio     Baldassare,    an    obscure 
painter  of  the  Milanese.     There  is  a  large  altar- 
piece  by  him  in  the  '  Calvary '  Church  at  Domo- 
Dossohi. 

ORELLI,  GlDSEPrE  Antonio  Felice,  was  born 
in  1700,  in  the  Milanese,  and  received  his  first 
instruction  in  art  from  his  father,  Antonio  Bal- 
ilassare.  He  also  worked  under  Baptista  Sassi  for 
r-ight  years,  but  Tiepolo  having  been  called  to  Milan 
by  Count  Archinti,  Orclli  had  the  good  fortune  to 
lie  employed  by  him,  and  iifterwards  accompanied 
him  to  Venice.  There  he  remained  six  years.  He 
then  went  to  Bergamo,  where  he  executed  several 
works  for  the  convents  and  churches,  also  at  Milan 
for  Count  Brentato.  He  also  painted  a  few  portraits. 
He  died  in  1774. 

ORFELIN.  See  L'Horfelin. 
ORIENT,  Joseph,  was  bnm  at  Burbach,  near 
Eisenstadt,  in  Hungary,  in  1677,  and  was  a  pupil 
of  Anton  Feistenberger.  He  became  sub-director 
of  the  Academy  at  Vienna,  and  died  there  in  17.37 
It  is  said  that  he  made  use  of  a  concave  mirror  in  the 
painting  of  his  landscapes,  in  which  Ferg,  Canton, 
and  Janneck  used  to  supply  the  figures.  Among 
them  are : 

Lau<lscape  with  a  Hunt.     {Liechtenstein  Col.) 
A  Flat  I>au(lscape.     (The  snine.) 
Two  Tyrolese  Landscapes,     (fjalhri/.) 
Forest,  with  Uame  (et'fjravetl  by  liusel). 
Mountain  Landscape,  with  river.   (I'oicn  Gallery,  i'tutt- 
yurt.) 


J 

Oil 
O 

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Pi 
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PAINTERS  AND  ENGRAVERS. 


ORIENTE,  Josfe,  a  Spanish  j.aiiil<;r,  born  in  or 
near  Villareal  in  Valencia,  wlio  painted  in  the 
capital  of  that  province  about  1680-9.  Among 
other  works  by  him,  are  '  Virgin  of  the  Rosary,'  in 
the  church  of  S.  Felipe  Neri,  and  a  portrait  of  Do- 
mingo Sarrio,  which  was  engraved  by  Crisistonio 
llartinez. 

ORIOLI,  Bartolommko,  was  of  Trcviso,  and 
painted  there  about  1616.  His  principal  work  is 
a  large  picture  painted  for  the  church  of  Santa 
Croce,  in  which  tliere  is  a  procession  of  the  inhabit- 
ants of  Treviso,  all  portraits. 

URIOLI.  Giuseppe,  painted  at  Mantua.  His  best 
picture  is  'The  Last  Supper,'  in  the  Refectory  of 
the  Carmine  in  that  place.     He  died  in  1750. 

ORIOLO,  Giovanni,  of  Ferrara,  is  known  only 
by  a  portrait  of  Leonello  d'Este,  in  the  National 
Gallery;  it  is  signed  Ojnis  Jo/iaiiis  Orioli,  and 
was  formerly  in  tlie  Costabili  Gallery  at  Ferriira. 
Oriolo  painted  in  the  middle  of  tlie  15th  century. 
He  is  supposed  to  have  been  a  pupil  of  Vittor 
Pisano  of  Verona,  called  Pisanellu,  because  this 
Leonello  d'Este  is  a  free  copy  from  one  of  that 
master's  medals. 

ORIZONTE.     See  Bloemen,  J.  F.  Van. 

ORLAN'DI,  Deodato,  lived  at  the  close  of  the 
13th  century,  and  is  the  author  of  a  '  Crucifix'  now 
in  the  Palace  of  Parma,  and  bearing  the  date  1'28«. 
In  the  Pisa  Gallery  there  is  a  '  Virgin  enthroned 
between  SS.  James,  Damian,  Peter,  and  Paul,' 
painted  by  him  in  1301.  No  certain  dates  can  be 
given  for  his  birth  or  death. 

ORLANDI,  Francesco,  the  son  of  Stefano 
Orlandi,  was  born  in  1725,  and  educateil  by  his 
father.  He  painted  in  the  same  style  for  theatres 
at  Leghorn  and  a  chapel  at  Cente,  and  was  Pro- 
fessor of  Architecture  in  the  Clementine  Aca<lemy 
at  Bologna.  He  was  .also  a  good  musician.  He 
died  at  Bologna  in  1769. 

OHLANDI,  Giovanni,  an  engraver  and  pub- 
lisher of  prints  in  Rome  b'-tween  1590  and  1640. 
He  followed  the  style  of  Cornelius  Cort.  The 
number  of  engravings  executed  orpulilished  by  him 
is  considerable.  Among  them  are  '  The  Last  .Judg- 
ment,' after  Michelangelo,  and  'The  Transtigura- 
tion,'  after  Raphael ;  also  from  forty  to  fifty  portraits, 
and  a  plan  and  view  of  Genoa,  dated  1637. 

ORLANDI,  Odoaudo,  an  obscure  Bolognose 
painter,  and  pupil  of  Pasiaelli.  He  was  born  in 
1660,  and  died  in  1736. 

ORLANDI,  Stefano,  was  the  son  of  Odoardo 
Orlandi.  Stefano  was  born  in  1681,  and  studied 
under  Pompeo  Aldrovandini,  with  whom  he  went 
to  Rome.  In  1684,  in  conjunction  with  Giuseppe 
Orsoni,  he  painted  in  many  theatres  in  Italy,  in  the 
Saloon  of  Ihe  Palazzo  Ranuzzi,  and,  with  Francesco 
Monti,  for  the  Martinengo  family  at  Brescia.  He 
died  in  1760. 

ORLANDINI,  GlULlO,  painted  in  Parma  in  the 
middle  of  the  17th  century. 

ORLANDO,  Beunardo,  was  appointed  court 
painter  at  Turin  in  1617. 

ORLANDO  OF  PERUGIA,  was  one  of  the  fol- 
lowers of  Perugino.  In  1509  he  was  paintim;  in 
conjunction  with  Sinibaldo  Ibi,  at  Gubbio,  of  which 
place  he  was  made  a  citizen  between  1502  a:.d 
1506. 

ORLEANS,  Fran(;'OIS  d',  a  French  artist,  wlio 
was  bori\  at  the  end  of  the  15th  century,  and 
worked  at  Fontainelileau  under  11  Rosso. 

OHLEY,  Van  (or  Orl.\y).  The  important  artistic 
family  of  the  Van  Orleys  flourished  in  Brussels  for 


three  centuries.     The  following  pedigree  is  gi^ec 
by  Alphonse  Wauters  : 


Valentine  van  Orley.  14flG,  d  hefcire  1532. 


Philip. 

1606—1640. 


Bemanl. 

U831-)— 1M2(?). 


Kverard, 

working 

ISOi. 


Michael. 

working 

1591). 


Jerome. 

working 
1X7—1IM2. 


Jerome, 
working 


Pieter. 
16S0— J.  after  iro 

I 


Giles, 

Wiirkine 

1533-63. 

I 
Jerome. 

l-'ranz. 


Gomar. 

working 

1333. 

JoBme. 
Mar.  Ant.  Leyniers 
(tapcatry  worker). 


Rich.ird  (I.l. 


Richard  (H.  I. 
16621?)— 1732  0. 


John. 
1C56— 1735. 


ORLEY,  Bernard  v.\n,  son  of  Valentine,  born 
in  or  before  1491.  In  1509  he  left  Brussels  and 
went  to  Rome,  where  he  studied  undi^r  Raphael, 
becoming  a  great  favourite  with  his  master.  He 
returned  to  Brussels  wdiile  still  young.  In  1515 
he  was  settled  there,  and  had  already  acquired  a 
reputation,  for  in  that  year  the  confraternity  of  the 
Holy  Cross  at  Furnes  sent  a  delegate  to  ask  him 
to  furnish  a  design  for  an  altar-piece  for  their 
chapel  representing  'The  Carriage  of  the  Cross,' 
'Christ  on  the  Cross,'  and  'The  Deposition.'  The 
sketch  was  approved  of,  and  Bernard  received  the 
commission  to  paint  the  altar-piece  for  the  sum  of 
60  1.  gr.  In  1518  Margaret  of  Austria,  Regent  of 
the  Netherlands,  appointed  him  her  official  painter. 
In  1520  he  entertained  Diirer,  wlio  painteil  his 
poitrait,  now  in  the  Museum  at  Dre.-(K-n.  In  1527 
Bernard  and  his  family,  together  with  many  of 
their  connections  and  a  number  of  painters,  ta|iestry- 
weavers,  and  goldsmiths,  were  arrested  for  having 
assisted  at  clandestine  Lutheran  meetings  held  in 
the  houses  of  Valentine  and  Everard  van  Orley, 
and  were  sentenced  to  pay  tines  and  to  assist  at  a 
certain  number  of  sermons  in  the  church  of  St. 
Gudula.  In  1530  Bernard  was  appointe<l  official 
painter  to  Mary  of  Hungary,  Margaret's  successor. 
He  is  said  to  have  superintended  the  weaving  of  the 
tapestries  from  Raphael's  cartoons.  lie  himself 
made  designs  lor  tapestry,  among  the  most  famous 
of  which  are  :  '  The  Life  of  Abraham,'  at  Hampton 
Court,  'The  Hunts  of  Maximilian,'  at  the  Louvre, 
and  '  The  Battle  of  Pavia,'  at  Naples.  He  also 
made  designs  for  windows.  Those  in  the.  church 
of  St.  Gudula  at  Brussels,  in  which  the  portraits  of 
Charles  V.,  Louis  of  llungar)-,  and  Francis  I. 
ajipear,  are  from  his  cartoons  now  in  the  Museum 
of  Art  Industries.  Brussels.  Bernard  was  twice 
married,  first  to  Agnes  Seghcrs,  who  bore  him 
seven  children,  and  secondly  to  Katherine  Ilellincx, 
who  bore  him  two.  He  <lied  January  6,  1542. 
His  earlier  pictures  often  show  earnest  feeling  ;  in 
the  later  he  combined  a  supnticial  resemblance  to 
Raphael,  Michelangelo,  and  Leonardo  da  Vinci 
with  his  own  native  manner.  In  spite  of  the  cor- 
ruptions of  his  style  and  bis  errors  of  taste  he  was 
really  a  great  painter.  Ilis  jiortraits  are  trntliful 
and  "often  of  great  merit.  He  painted  eight  of 
Margaret  of  Austria,  but  none  have  as  yet  been 
identified.  The  brilliancy  of  several  of  his  pictures 
ie  due  to  their  being  painted  on  a  gold  ground. 
His  motto,  EU  sijne  tijt,  "  Every  man  his  day," 
appears  on  some  of  his  pictures. 

Antwerp.      >"?/.  .TamesK  The  Last  Jmlgment. 

„  Hvspilal.      The   ('orporal  Works  of    Mercy 

and    Last    Judgment.      1519- 
1S23. 

43 


A  BIOGRAPHICAL  DICTIONARY  OP 


Bruges.         St.  Mary's.  Triptych.      The     Passion      (left 

uiifiuished ;  completed  by  fliark 

Gerard). 
Brussels.      Museum.      Portrait   of   George   van   Zelle, 

doctor.     1519. 
n  „  Triptych.    The  trials  and  patience 

of  Job,  and  the  story  of  Dives 

and  I.AZarus.     1521. 
„  „  Episodes    in    the    lives    of     SS. 

Thomiis  and  Matthew  (shutters 

of  a  triptych). 
Dresden.      Gallery.       The  Holy  Family. 
Lubeck.        Cathedral.    Polyptvch.     The    Adoration    of 

the  Holy  Trinity. 
Turin.  Gallery.       Panel  said  to  have  formed  part 

of  the  altar-piece  of  Furnes. 
Vienna.        Museum.      The  election  of  St.  Matthew  and 

Martyrdom     of     St.     Thomas 

(centre  of  the  altar-piece  of  the 

Guild  of  Carpenters  of  Brussels. 

Signed). 
„  „  The  Holy  Family  resting  on  the 

road  to  Egypt.  w.  H.  J.  W. 
ORLEY,  Van,  School  of.  A  great  number  of 
pictures  referable  to  the  school  of  \'an  Orley  are 
extant,  among  them  the  so-called  Leonardo  da 
Vinci  at  Gatton  Park,  the  '  Vierge,  an  bas-relief,' 
wliich  8eeins  to  be  a  copy  from  a  picture  by  Cesare 
da  Sesto,  now  in  the  Brera,  which  is  itself  a 
compilation  from  various  sources.  W^  A. 

ORLEY,  Philip  van,  son  of  Valentine,  drew  in 
1513,  for  the  church  of  St.  Peter  at  Louvain,  the 
cartoon  of  a  tapestry  representing  tlie  story  of 
Herkenbald,  now  in  the  Museum  of  Art  Industries 
at  Brussels.  Another  tapestry  in  the  same  Museum, 
representing  the  '  Descent  from  the  Cross,'  the 
'Harrowing  of  Hell,'  and  the  'Entombment,'  was 
probably  woven  from  his  design,  tliough  some 
critics  think  that  Bernard  designed  the  cartoon. 

\V.  H.  J.  W. 
ORLEY,  (or  Orlat,)  Richard  van,  was  the 
eldest  son  of  Peter  van  Orley,  of  the  same  family 
as  Bernard.  Peter  was  a  landscape  painter,  and 
had  two  sons — Richard,  who  died  in  1732,  and 
Jean,  who  died  in  1735.  They  were  each  then 
from  twenty  to  twenty-two  years  of  age.  Their 
tirst  master  was  their  father,  but  he  soon  placed 
them  under  the  guidance  of  his  brother,  who  was 
a  monk  and  artist.  Richard  painted  in  the  ItaHan 
style,  and  engraved  a  number  of  plates  after 
different  masters.  The  uncle,  Richard,  painted 
some  fine  pictures  for  the  church  of  his  order,  'The 
Recollets,'  but  Jean  was  the  most  able  of  them  alt, 
as  lie  painted  a  number  of  pictures  for  churches, 
and  made  many  fine  designs  for  tapestry.  They 
are  mostly  done  on  blue  paper  with  the  pen,  and 
shaded  with  Indian-ink.  Those  by  liichanl  are 
miniatures  or  designs  for  book-illustrations  in  Indian- 
ink,  and  were  much  admired  by  Picart  le  Romain. 
ORLEY,  Valentine  van,  son  of  John,  bom  nt 
Brussels  in  1466,  removed  to  Antwerp  in  1512  and 
was  admitted  as  free  master  into  the  Guild  of  St. 
Luke  ;  during  the  next  five  years  lie  received 
several  apprentices.  He  returned  to  Brussel.s  in 
or  before  1527,  and  died  there  in  1532,  leaving  four 
sons  wlio  were  all  painters.  W,  H.  J.  W. 

ORLOWSKY,  Alexander  Ossipowitsch,  a 
painter,  designer,  etcher,  and  lithographer,  who 
wa.s  bom  at  Warsaw  in  1777.  He  studied  under 
Norblin,  and  at  the  Academy  of  St.  Petersburg, 
after  which  he  travelled  in  France,  Germany,  and 
Italy.  He  distinguished  himself  at  this  period 
chiefly  by  his  battle-pieces.  In  1812  he  was  named 
court  painter  to  the  Czar,  Alexander  I.,  an  appoint- 
ment which  the  next  Czar,  Nicholas,  continued.  He 
44 


died  at  St.  Petersburg  in  1S32.  His  best  pictures 
of  battles  are  in  the  possession  of  the  Russian 
Emperors,  but  others,  together  with  sketches  from 
Russian  popular  life,  historical  pictures,  and  por- 
traits, are  in  the  collections  of  the  nubility  of  that 
country.  Eight  luintin.g  and  rural  pieces  are  in 
the  Hermitage.  He  also  executed  a  number  of 
drawings  which  either  himself  or  others  repro- 
duced ill  lithography,  among  them  the  humorous 
'  Cat  Court.'  Four  original  litliograp'is  by  him 
represent  military  subjects,  and  his  own  portrait. 
An  etching  of  a  'Race-horse  and  Jockey'  is 
his. 

ORME,  Anton  de  l'.    See  De  Lormr. 

ORME,  Daniel,  an  engraver  and  miniature 
painter.  He  worked  about  1800,  and  exhibited 
many  portraits  in  miniature,  and  one  or  two  in 
oils  at  the  Royal  Academy,  between  1797  and 
1801.  He  engraved  in  stipple  many  portraits  of 
persons  celebrated  at  the  time,  some  battle-pieces, 
and  a  picture  of  '  Alexander  and  Thais,'  from  a 
picture  painted  by  himself.  There  is  a  water- 
colour  drawing  of  Marinate  New  Pier  by  him  in 
the  South  Kensington  Museum,  dated  1799. 

ORMEA,  Marc,  a  painter  of  Utrecht,  who  was 
dean  of  the  College  of  painters  from  1621  to  1625. 
He  painted  sea-pieces. 

ORMEA,  WiLLEM,  son  of  Marc,  was  a  painter  of 
still-life.  In  1G38  he  presented  to  the  Hospital  of 
St.  Job  (Utrecht^  a  picture  of  various  kinds  of 
fish. 

ORMIS,  L60NARD,  an  obscure  Burgundian,  who 
painted  at  Li^ge  in  the  16th  century. 

URO,  II  Monaco  del'  Isola  d',  a  painter,  poet, 
and  historian,  was  born  in  Genoa  about  1346.  He 
became  a  monk  in  the  monastery  of  the  Isola 
li'Uro  (Stecati),  and  subsequently  librarian  there. 
He  wrote  several  books  which  he  embellished  with 
miniatures,  and  presented  to  the  Queen  of  Aragon. 
He  died  in  1408. 

OROZCO,  Marcos  de,  a  Spanish  priest  and 
engraver,  who  resided  at  Madrid  in  the  17th 
ceniury,  and  executed  many  title-pages  to  books 
printed  in  his  time.  Tlie  title-page  to  Ortiz  de 
Zuniga's  '  Anuals  of  Seville,'  published  in  1677, 
is  probably  the  best  work  from  Orozco's  burin. 
There  are  many  devotional  prints  by  his  hand. 
Among  them  portraits  of  St.  Francis  de  Sales  ;  of 
the  Bishop  Crespi  di  Borja,  executed  in  1664;  in 
1G80  the  title-page  bearing  the  royal  arms,  and 
a  curious  folding  plan  for  tlie  authorized  history 
of  the  great  auto-da-f^  at  Sladrid  ;  in  1682,  a 
'  Crucifix  and  angels  bearing  shields  charged  with 
episcopal  devices,'  designed  by  Ximenez  Donoso, 
and  prefixed  to  an  official  account  of  the  synod 
held  at  Toledo  that  year  ;  in  1696,  a  title-page 
containing  efligies  of  the  seven  first  canonized 
bishops  of  Spain,  for  Don  Pedro  Juarez's  'History 
of  the  united  sees  of  Guadix  and  Baza;'  and  is 
1597,  an  '  Our  Lady  of  the  Forsaken,'  and  the  arms 
of  the  Archbishop  Rocaberti  of  Valencia,  for  Don 
Felipe  Finnin's  treatise  on  minor  benefices. 

ORRENTE,  Pedko,  was  a  Spanish  painter,  bom 
at  Montealegre,  in  Murcia,  about  the  year  1560. 
He  was  probably  a  scholar  of  II  Greco's,  at  Toledo, 
but  he  subsequently  visited  Italy,  where  he  became 
a  follower  of  the  Venetian  school,  and  an  imitator 
of  Titian,  Giorgione,  and  Bassano.  He  was  favoured 
with  the  protection  of  the  Duke  of  Olivarez,  who 
employed  him  in  painting  several  pictures  for  the 
palace  of  the  Buen  Retiro  at  Madrid.  Soon  after 
1611  he  nainted  for  the  Vizconde  de  Huesca,  in 


PAINTERS  AND  ENGRAVERS. 


Murcia,  eight  pictures  on  '  The  History  of  the  Crea- 
tion ; '  and  in  1616  he  produted  a  '  St.  Sebastian,'  for 
the  cathedral  at  Valencia,  -where  also  he  established 
a  school  in  which  Pontons  and  JIarch  were  among 
hia  pupils.  He  next  proceeded  to  Cuen^a,  where 
he  founded  another  school,  in  which  he  had  Sal- 
meron  for  a  schohir.  Slany  of  his  works  are  in  the 
churches  and  convents  at  Valencia  and  Cordova. 
In  the  cathedral  at  Toledo,  over  the  door  of  the 
sacristy,  is  a  fine  picture  representing  '  Santa  Leo- 
cadia  coming  out  of  the  sepulchre,  before  St.  Ilde- 
fonso;'  and  in  the  P.eyes  Nuevus,  in  the  same 
church,  was  a  'Nativity'  painted  by  him,  which 
has  been  since  removed  into  the  royal  collection. 
Another  picture  by  this  master  representing  'Or- 
pheus playing  to  tjie  brute  Creation  '  hangs  in  the 
Royal  Palace.  There  are  also  in  the  king's  posses- 
sion four  landscapes,  whilst  the  Madrid  Gallery 
has  eight  of  his  paintings,  including  'The  Ador- 
ation of  the  Shepherds,'  and  'The  Repose  of  Lot's 
Family.'  A  'St.  John  in  the  Wilderness'  was 
in  the  Siiermondt  Collection  at  Aix-la-Chapelle,  and 
other  works  of  his  are  at  Dresden,  Paris,  and  St. 
Petersburg.  Being  especially  successful  with 
animals  and  landscapes,  he  made  choice  of  such 
Biblical  subjects  as  permitted  the  introduction  of 
these.  His  last  years  were  spent  at  Seville  and 
at  Toledo,  where  he  died  in  1644,  and  was  buried 
in  the  same  church  as  II  Greco. 

ORSAY,  COMTE  d',  the  son  of  General  d'Orsay, 
an  officer  of  the  French  Republic  and  Empire,  was 
born  in  Paris  at  the  beginning  of  the  present 
century.  When  about  twenty  3'ear3  of  age  he 
entered  the  French  military  service,  and  whilst 
with  his  regiment  at  Valence,  became  acquainted 
with  the  Earl  of  Blessington  and  his  Countess. 
After  that  he  threw  up  his  commission  and 
travelled  with  them  on  a  tour  in  Italy,  eventu.iUy 
marrying  Lord  Blessington's  daughter  by  his  first 
wife.  He  was  appointed  Superintendent  of  the 
Fine  Arts  by  Louis  Napoleon,  but  shortly  after- 
wards (1852)  he  died  of  disease  of  the  lungs.  There 
is  a  half-length  by  him  of  the  Duke  of  Wellington 
in  the  National  Portrait  Gallery,  and  the  South 
Kensington  Museum  possesses  some  of  his  pencil 
caricatures.     D'Orsay  also  practised  sculpture. 

ORSEL,  Victor,  a  French  historical  painter, 
born  at  Lyons  in  1795.  He  went  to  Rome,  where, 
about  1825,  he  came  under  the  influence  of  Over- 
beck,  but  he  also  studied  from  the  antique,  and  was 
a  close  observer  of  nature  ;  his  object  being,  as  he 
said,  '  to  baptize  Greek  art.'  In  Paris  he  was  one 
of  the  artists  employed  in  the  chapel  of  the  Virgin 
in  the  church  of  Notre  Dame  de  Lorette.  Orsel 
died  in  1850.     Among  his  other  works  are: 

La  Charite.     1S22.     {Lyons  Hospital.) 

Adam  and  Eve  with  the  body  of  AbiL     1824. 

Moses,   when   a   child,  presented  to  Pharaoh.     1839. 

{Exhibited  in  the  Capitol  at  Hume.) 
Good  and  Evil.     1833.     {Emjraved  by  Vibert.) 

ORSI,  Benedetto,  was  a  native  of  Pescia,  and 
flourished  about  the  year  1660.  Lanzi  numbers 
this  artist  among  the  disciples  of  Baldassare  Fran- 
ceschini,  and  mentions  in  favourable  terras  a 
picture  by  him  in  the  church  of  San  Stefano,  at 
Pescia,  representing  'St.  John  the  Evangelist.' 
He  also  painted  the  '  Seven  Works  of  Mercy,'  for 
La  Torapagnia  dei  Nobili,  and  a  large  lunette  at 
Pistoja,  in  S.  Maria  del  Letto,  which  was  long 
attributed  to  Volterrano.     He  died  about  1680. 

ORSI,  Lelio,  called  Lelio  da  Novbllaba,  was 


a  painter,  designer,  and  architect,  and  was  bom 
at  Reggio  in  1511.  Having  been  banished  from 
his  native  city,  for  some  unknown  reason,  he  first 
procee'led  to  Rome,  and  subsequently  established 
himself  at  Novellara,  whence  his  common  appella- 
tion. From  the  similarity  of  his  style  to  that  of 
Correggio,  he  has  been  supposed  to  liave  been  a 
disciple  of  that  master,  with  whom  he  was 
certainly  on  terms  of  friendship.  That  he  studied 
Correggio's  works  attentivelv  is  evident,  from 
his  liaving  occasionally  copied  his  pictures,  of 
which  one  of  the  most  remarkable  is  a  fine  copy 
of  the  famous  '  Notte,'  in  the  Casa  Gazzola,  at 
Vernna.  Otliers  liave  stated  him  to  have  been  a 
scholar  of  Michelangelo  :  but  this  tradition  is 
suspected,  altliough  Tiraboschi  asserts  that  he 
resided  at  Rome  in  the  time  when  that  artist  was 
painting  some  pictures  for  the  churches.  There 
were  many  of  his  fresco  works  in  the  churches  at 
Reggio  and  Novellara,  which  are  now  nearly  all 
perished.  Orsi  d  ed  in  1587.  Italian  writers  say 
he  was  "  in  pittura  grande,  in  architettura  ottimo, 
e  in  disegno  massimo "  (in  painting  great,  in 
architecture  best,  and  in  drawing  j;reate8t). 

ORSI,  Peospero,  was  born  at  Rome,  apparently 
about  1560.  He  lived  durin<j  the  pontificate  of 
Sixtus  v.,  who  employed  him  in  the  palace  of  S. 
Giovanni  Laterano,  w-ln  re  he  painted  two  of  the 
ceilings,  one  representing  'Moses  with  the  Children 
of  Israel  passing  the  Red  Sea  ; '  the  other,  '  Jacob 
receiving  the  Blessing  from  Isaac'  He  was  the 
particular  friend  of  Giuseppe  Cesare  d'Arpino, 
whose  manner  of  painting  he  imitated.  He  died 
at  Rome  in  1635. 

ORSI,  Tbanqdillo,  was  a  painter  and  architect 
of  Venice  in  the  present  century,  who  died,  in 
1844,  while  professor  of  perspective  there.  He 
produced  views  of  churches,  palaces,  and  public 
buildings,  and  some  of  his  works  are  in  the  Venice 
Academy. 

ORSINI,  Antonio,  a  native  of  Ferrara,  who 
engraved  there  about  1730. 

ORSOLONI,  Carlo,  an  Italian  engraver,  was 
bom  at  Venice  about  the  year  1724.  He  carried 
on  a  considerable  commerce  in  prints,  and  was 
employed  in  engraving  some  of  the  plates  for  the 
'  Museo  Fiorentino.'  Among  others,  we  have  the 
following  by  him  : 

St.  Jerome  in  Meditation  ;  after  Ant.  Baleatra. 

St.  Francis  de  Sales  ;  after  the  same. 

The  Virgin  with  several  Saints  ;  after  Pietro  Riechi. 

ORSONI,  Giuseppe,  (or  Obsi.si,)  a  Bolognese 
painter,  born  1691,  died  1755.  He  was  a  pupil  of 
Pompeo  Aldrovandini,  and  worked  much  with  Ste- 
fano Orlandi  at  ornamental  painting  in  theatres  and 
private  houses. 

ORTIGA,  Bosant  de,  painter  to  the  deputies 
of  Aragon,  was  living  in  1457.  He  painted  an 
altar-piece  with  figures  of  St.  Simon  and  St.  Jude 
for  the  church  of  St.  Francis,  in  Saragossa. 

ORTO,  Diego  de,  was  a  miniature  painter  of 
Seville,  son  of  Bernardo  de  Okto.  Between  1540 
and  1575  he  decorated  a  number  of  choir-books, 
(fee.     In  some  of  these  his  brothers  assisted  him. 

ORTOLANO,  Dell'.  See  Bknvendti,  Giov. 
Batt. 

ORVIETANI,  Andrea  and  Bartolommeo,  were 
two  painters  who  worked  at  Orvieto  between  1405 
and  1457. 

ORVIETANO,  Ugolino,  a  painter,  who  was  em- 
ployed in  the  cathedral  of  Orvieto  about  1321. 

OS,  Gregorius  Jacobus  Johannes  van,  flower 

45 


A  BIOGRAPHICAL  DICTIONARY  OP 


painter,  was  the  second  aon  of  Jan  van  Os,  and 
was  born  nt  the  Hague  in  178'2.  He  gained  a 
prize  at  Amsterdam  in  1809,  and  on  going  to 
Paris  in  1812  lie  won  a  gold  medal,  and  was  em- 
ployed on  designs  for  Sevres.  Here  he  spent  the 
greater  part  of  the  next  fifty  years,  painting  flowers 
after  the  manner  of  Van  Hiiysum,  and  now  and 
then  exhibiting  landscapes.  Two  of  his  best  flower- 
pieces  are  now  in  the  Hague  Museum.  Van  Os 
died  in  Paris  in  1861.  He  was  a  member  of  the 
Academy  of  Amsterdam.  Among  his  works  we 
may  also  name : 
Amster'lam.  li.  Museutn.  Flowers. 
Botterilam.  Museum.     Flowers. 

„  „  Fruit  and  Flowers. 

„  „  Landscape  in  Guelders. 

OS,  Jan  van,  a  painter  of  fruit,  flowers,  arid 
marine  subjects,  was  born  at  Middelhamis,  in 
Holland,  iii  1744,  and  was  a  scholar  of  Aart 
Scliouman,  at  the  Hague.  His  marine-pieces  are 
only  fair,  but  his  fruit  and  flowers  are  in  great 
request,  and  approach  those  of  Jan  van  Huysuna. 
He  died  at  the  Hague  in  1808.  A  good  '  Vase  of 
Flowers'  by  him  is  in  the  possession  of  Cremer  of 
Rotterdam.  Jan  van  Os  was  also  a  poet.  Among 
his  works  may  be  included  : 

Frankfort.  Slodel  Gal.  A  Sea-piece. 

London.  Nat.  Gal.  Flowers,  Fruit,  and  Dead  Birds. 

Paris.  Louvre,  Flowers  and  Fruit. 

Petersburg.  Hermitage.  Flowers  and  Fruit. 

OS,  PiETER  Gerakdus  VAX,  the  eldest   son  of 
Jan  van  Os,  was  born  at  the  Hague  in  1776,  and 
was  instructed  in  the  elements  of  art  by  his  father,  i 
but  devoted  himself  mainly  to  cattle  painting,  and  | 
made  the  works    of   Paul    Potter   and    Karel   du  j 
Jardin    his  models.      His   etchings,  consisting    of  j 
cattle,   sheep,    &c.,    from   his    own    designs,   and 
also   after   Paul    Potter,  Berchem,   and    Kuisdael, 
are  valuable.      His   prints   are  sometimes  siijned 
P.  G.  ran  Os  fee.  et  exc,  and  sometimes  with  his 
initials  only,  P.  G.  V.  O-f.     He  died  at  the  Hague 
in  18.^9.     There  is  a  good  'Landscape  with  Cattle' 
by  him  in  the  Rotterdam  JIuseum. 

OSBORNE,  John,  an  English  portrait  painter, 
who  practised  at  Amsterdam  in  the  17th  century. 
There  is  a  portrait  of  Frederick  Prince  of  Orange 
by  him. 

OSBORNE,  Walter  P.,  an  Englishman  who 
settlid  in  Ireland,  was  an' occasional  exhibitor 
-  at  the  Royal  Academy.  He  was  an  Academician 
of  the  Royal  Hibernian  Academy,  and  practised 
portraiture  and  landscape  in  oil  and  in  black  and 
white.  He  died  in  1903  at  the  age  of  forty-three. 
OSELLO,  Gaspar,  called  Gaspar  ab  avibcs  Cit- 
ADELENSis,  or  Gaspar  Patavind.s,  or  Padovano, 
was  an  enjifraver,  born  at  Padua  in  1530.  He  imi- 
tated the  style  of  Giorgio  Ghisi  Mantuano,  whose 
pupil  he  may  possibly  have  been.  He  lived  until 
1585.  He  has  left  sixty-six  plates  of  '  Portraits  of 
the  Archdukes  of  Austria;'  also  that  of  the  Phy- 
sician Andreas  Mattiolus  Sinensis,  and  a  '  Mar- 
riage of  the  Virgin,'  after  Paolo  Veronese.  He 
signed  his  prints  with  a  monogram  composed  of 
the  letters,  C.A.P. 
OSORIO.    See  Meneses. 

OSSENBEECK,  Jan  (or  Josse  van),  a  painter  and 
etcher,  was  a  native  of  Rotterdam,  bom  about 
1627.  After  having  received  some  instruction  in 
his  native  city,  he  went  to  Italy,  and  distinguished 
himself  at  Rome  as  a  painter  of  landscapes,  with 
animals,  fairs,  and  huntings,  in  the  style  of  Peter 
ran  Laar,  whose  works  were  then  greatly  admired. 
46 


Thence  he  proceeded  to  Vienna,  where  he  became 
court  painter  ;  next  to  Frankfort  :  and,  lastly,  to 
Ratisbon,  where  he  died  in  1678.  He  usually 
embellished  his  pictures  with  waterfalls,  grottoes, 
ruins,  and  architecture,  designed  from  the  remains 
of  antiquity  in  and  near  Rome.     Pictures  : 

Christiania.  Plundering  of  a  Caravau. 

Dresden.  Gallery.     Grotip  of  Hcnlsmeu. 

Glasgow.  (ialleri/.     A  Hawking  I'arty. 

New  York.      Museum.     Abrahatn  with  Sarah  and  Hagar 

in  a  romantic  landscape. 
Vienna.         Belvedere.     Jacob's  journey  to  Meso{>otaniia. 

We  have  by  this  artist  sixtj'-two  etchings,  exe- 
cuted in  a  firm  and  free  style,  twenty-seven  of 
which  are  from  his  own  designs,  and  thirty-two 
after  other  masters.  He  engraved  part  of  the 
plates  for  the  collection  called  the  'Gallery  of 
Teniers.'  Among  his  plates  the  following  may  be 
particularized  : 

Two  I  andscapes  ;   nftir  .falvator  Rofa. 

('hrist  asleep  during  the  Storm  ;  after  S:  de  Jlieijer. 

Cavalcade  of  the  Eniiwror  Leopold  in  the  Fort  at  Vienna. 

Procession  of  the  Emperor  Carl  VI.  to  Scbottwien. 

The  Caffarclla. 

The  Children  of  Xiobe ;  after  Falma. 

The  Children   of  Israel  gathering  the  Manna  in  the 

Desert ;  after  Tintoretto. 
Orpheus  playing  to  the  Animals  ;  after  Jiassano. 
The  Four  Seasons  ;  after  the  saiue. 
A  set  of  twelve  plates  of  different  Animals  ;  from  hit 

own  d^sifftis. 
A  set  of  four  of  different  subjects  ;  the  same. 
Twn  Views  iu  and  near  Konie ;  the  same. 
A  Boar-hunt ;  after  Peter  van  Laar. 
A  grand  Festival  given  at  Vienna,  with  a  great  number 

of  figures  ou  horseback  and  on  foot ;  A.  LaHucci  inv. 

J.  Ossenheeck  sc. 

OSSEXBEEi'K,  W.,  a  Dutch  painter,  of  whom 
scarcely  anything  is  known.  He  flourished  about 
16.32,  and  may  have  been  the  father  of  Jan  van 
Ossenbeeck.  In  the  Rijks  Museum,  Amsterdam, 
there  is  a  picture  by  him  of  '  Mercury  and  lo.'  It 
is  signed  W.  Ossenbeeck,  F.  16,32. 

OSTADE,  Adriaen  van,  a  celebrated  and 
prolific  painter  and  engraver,  especially  of  scenes 
from  Dutch  peasant  lif",  but  al-o  of  portraits  and 
still-life.  He  was  baptized  ("  Getauft ")  at  Haar- 
lem on  the  lOlh  of  December,  1610.  His  father, 
Jan  Ilendrik,  was  probably  a  weaver,  and  had 
retired  before  the  religious  persecutions  from  the 
town  of  Eindhoven.  Hi*!  mother's  name  is  said 
to  have  been  Janneke  Hendriksz,  and  the  chil- 
dren adopted  the  name  of  Ostade  from  a  small 
hamlet  of  that  name  near  ElTidhoveo,  which  may 
have  been  the  birthplace  of  their  father.  Adriaen 
and  his  younger  brother  Isack  became  artists,  and 
the  former,  entering  the  studio  of  Fraiis  Hals, 
came  there  under  the  influence  of  Adriaen 
Brouwer,  who  was  in  1627  also  a  pupil  of  Hals. 
In  Later  years  he  came  under  the  influence 
of  Rembrandt's  chiaro-oscuro.  On  leaving  Hals, 
Adriaen  set  up  as  a  painter  at  Haarlem,  and  his 
name  as  Ostaie  is  first  mentioned  in  163(>,  when 
he  is  recorded  under  it  as  a  member  of  the 
Schutterij  or  civic  guard.  In  1638  he  married 
Machteltgen  Pietersen,  who  died  in  1640  ;  and  his 
father  in  the  following  year.  It  has  been  ascer- 
tained that  he  married  a  second  time,  but  the 
name  of  this  wife  is  not  known.  We  only  know 
that  she  belonged  to  an  aristocratic  family  of 
Amsterdam,  and  this  was  the  reason  that  Ostade 
since  visited  sometimes  that  town.  She  died  in 
1666,  and  Adriaen  himself,  on  the  27th  of  April, 
1685,  in  the  Nieuwe  Kruysstraet.     On  the  2nd  of 


U2, 


O 
< 


H 


ADRIAEN  J.  VAN  OSTADE 


Woodbury  Co.  fhoto\ 


[Antwerp  Gallery 


THE  SMOKER,  1655 


PAINTERS  AND  ENGRAVERa 


May  he  was  buried  in  tlie  Cliurch  of  St.  Bavon, 
where  he  liad  previously  laid  tlie  reiiiaitis  of  his 
two  wives.  Tlie  sale-list  of  his  works  of  art  lie 
left  included  two  hundred  pictures  by  his  own 
hand,  and  acollection  of  his  eteliiiifis,  drawings,  &c. 
Smith's  catalo,:;ue  mentions  nearly  four  hundred 
of  Adriaen  van  Ostade's  oil  pictures.  He  executed 
besides  an  unknown  number  in  water-colours,  and 
a  vast  quantity  of  pencil  drawings  and  etchings. 
Of  the  latter  Hartsch  has  enumerated  fifty. 
The  Teyler  Museum  at  Haarlem  contains  a  line 
collection.  Besides  his  younger  brother  Isack, 
Adriaen  had  the  following  pupils  :  Cornelia 
Dusart,  Cornells  Bega,  Micliiel  van  Musscher, 
R.  Brakenburgh,  and  Jan  de  tiroot.  These  all 
adopted  more  or  less  of  Adriaen's  manner.  Jan 
Steen  also  came  under  his  influence  when  he 
stayed  at  Haarlem.  We  distinguish  clearly  three 
periods  of  painting  in  Ostadu's  art.  The  tirst  is  in 
tlie  style  of  Brouwer,  also  in  the  subjects.  The 
tone  is  greyish,  and  a  little  bit  cold.  In  the  second 
period  the  painting  is  larger  and  thicker,  and  the 
chiaro-oscuro  proves  the  influence  of  Ileiiibrandt's 
works ;  the  tone  becomes  more  brown  and  warm, 
and  the  subjects  more  distinrjne's.  His  last  period 
is  not  80  eminent.  Though  the  painting  is  an 
extraordinarily  finished  one,  and  the  composition 
made  with  great  care  and  studj-,  the  impression  of 
tlie  whole  is  not  so  vUjourenx  and  lesa  pittorescpie. 
The  following  are  some  of  Adriaen  Ostade's  more 
important  works  : 

Amsterilam.     Museum.     A  Painter's  Stiulio.     A.  0. 

„  „  Travellers  restiug.  A.  v.  ost.\de, 

1671. 
„  „  The  f'harlatau.     A.  V.  ostade, 

1(548. 
„  „  The  Baker. 

„    Tan  der  Hoop  C.    Peasauts  round  a  Hearth.  A.  v. 

OSTADE,  1661. 

„     Six  Collection.     The  Fi.sh-wife.     (Daiei!  IGl 2.) 
Antwerp.  Museum.    The    Smoker.     A.    T.    ost.uie. 

1655. 
Berlin.  Gallery.    Portrait  of  an  Old  Woman,    a. 

V.  (IST.\T)K,  16 — . 

a  „  The  Lyre-player  before  an  Ale- 

house.    A.  V.  OSTADE,  1640. 
„  ,,  Tlie    .Smoker.      A.  v.   oSTABE, 

1607. 
Brunswick.  Gallery.     The  Annunei.ition. 

„  A  Peasant  smoking. 

Brussels.  Gallery.     Man  eating  Herrings. 

Arenhercj  Coll.     Interior  of  a  Tavern. 
Cassel.  Gallery.    Peasants  in  the  Arbour  of  an 

Ale-house.       A.   V.    ostade, 
1670. 
„  „  Pea.>ants  drinking  in    an  Ale- 

house.    A.  T.  OSTAUK.  16 — . 
,,  „  Pea.sants  playing  Cards,     a.  v. 

O^TADE,  16.59. 

Darmstadt.  Gallery.     Peasants  dancing. 

Dresden.  Gallery.    Peasants  in  an  Ale-house,     a. 

V.  OSTADE,  1639. 
„  „         The    Painter's    Studio.     A.    V. 

OSTAHE,  1663. 
ft  „         Two  Peasants  eating  at  a  Table. 

A.  V.  OSTADE,  1653. 

n  „        Two  Peasants  before   an  Ale- 

house, one  lighting  a  Pipe. 

A.  T.  OSTADE,  1664. 

»  „         Interior  of  an  Ale-house,  with 

Men  .and  M'omen.  a.  t.  os- 
tade, 1679. 

»  „         Peasants  |)Iaying  Cards,      ad. 

USTADE,  Ft. 

Dublin.  JfTat.  Gall.     Boors  carousing. 

Dulwich.  Gallery.     Boors  making  merry,     a.  t.  os- 

tade, 164 — . 
M  „        Man  and  Woman  in  conversa- 

tion. 


Ilulwich.  Gallery.    A  Man  smoking.     A.  T.  OSTADK. 

„  „        A  Woman  with  a  Jug.    a.  v. 

OSTADE. 

Edinburgh.      Xat,  Gall.    Interior  of  a  Butcher's  Shop. 
Florence.  Uffizi.     A  Man  at  a  Window. 

Frankfort.  Stadel.    Interior  of  a  Shed.     A.  V.  os- 

tade, 1656. 
Glasgow.  Gallery.    The  strolling  Fiddler. 

„  „  The  Village  School. 

Hague.  Gallerv.    Pea-sants  in  an  Inn     a.  v.  os- 

TADK,  1062. 
„  The    Fiddler.      A.  t.   ostade, 

1673.  (rioos  van  Amstel 
made  a  facsimile  t-iit/raviny 
from  a  dratcinff  by  A.  ran  05- 
tade^  dated  1673,  exactly  simi- 
lar  to  this  picture.) 
London.  A'at.  Gall.    The  Alchymist.    a.  v.  ostade, 

1661. 
„  Apsley  Houte.    A  company  of  Peasants.    (The 

drairiiu/  for  this  picture  is  in 
the  British  Museum.) 
„         Ashburton  Coll.    Peasants  playing  and  singing. 

(Dated  1601.) 
„  „  A  Village  Scene.    (Paled  1616.) 

„       Bridgewater  Ho.    Peasants  playing   Skittles,    a. 

V.  ostade,  1676. 
„  „  Portrait  of  an  Old  Man  {prob- 

ably a  lawyer).     1671. 
„      Buckingham  Pal.     Peasants  conversing,     a.  v.  os- 
tade, 1650. 
n  V  An     Interior,    with     Peasants 

smoking,  a.  v.  ostade,  1665. 
„  BiUe  Coll.    Lawyer  in  his  Study. 

„       Northbrook  Coll.     Four  Persons  playing  at  Cards. 
(Dated  1648.) 
[And  fine  examples  in  the  collections  of   Lord    Howe, 
Mr.    H.   Lonsdale,   Mr.   Alfred    de    Eothschild,   Lonl 
Eothsrhild,  Miss  de  Roth.schild,Mr.  George  Salting,  ic, 
an<l  other  private  collections.] 
Madrid.  UulUry.     A  Concert. 

,<  „  Peasants  feeding. 

,t  ,,  A  Toper. 

Munich.         Pindkothtk.    Interior  of  a  Peasant's  Cottage. 
A.  V.  ostade.  1047. 
„  „  Peasants  quarrelling.    A.  V.  os- 

tade. 1656. 
)•  ,j  Peasants  p'aying  and  dancing. 

A.  V.  USTADE.  1647. 
J,  „  A  Toper.     A.  v.  ostade. 

»  „  Peasants  carousing,     a.  v.  cS- 

TADE. 
'>  .,  Peasants  in  an  Ale-house.    A. 

V.  USTADE,  10 — . 

»  „  Pea.sants  in  an  Ale-house,  with 

a  Woman  and  her  Children. 
Oxford.  Univ.  Gall.     A  Dutch  interior. 

Paris.  Louvre.     The    Family  of    Adriaen    van 

Ostade. 
).  „        The  School-master,    a.  v.  os- 

tade, 1662. 
,.  „        The  Fish-market. 

..  I,        Interior  of  a  Cottage,   a.  t.  os- 

tade, 1642. 
>•  „        A  Man  reading  in  his  Cabinet. 

»  „        A  Smoker. 

>.  „         A  Toper,     a.  t.  ostade.  1663. 

Pesth.  Gallery.     Interior  of  a  Peasant's  Cottage. 

A.  v.  ostade. 
„  „  Interior,  with  Peasants. 

„  „  Peasants  drinking. 

„  „  Interior,  with  Peasant*. 

„  „  A  Man  mending  a  I'eu. 

,r  „  Interior,  with  Peasants,     i.  ▼. 

ostade. 
Petersburg.    Hermitage.    A  Village  Fete. 
„  „  A  Peasant  Family. 

,.  „  The  Viol  in -player.  (Signed  and 

dated  1618.) 
„  „  An    old   Woman   seated   on   a 

Window-sill,  surrounded  by 
a  Vine. 
V  „  A  Village  Minstrel  playing  a 

Hunly-gurdy. 
..  ,,  The  Baker.    (Signed.) 

47 


A   BIOGRAPHICAL   DICTIONARY   OF 


Rotterdam 
Vienna. 


JIuseum. 

OaUety, 
Cztrnin  foil. 


Lxechtenstdn  Coll. 


Petersburg.    Ilnmitaiji.    The  Village  Concert. 
„  .,  Peasants  smoking. 

„  „  Pea.«ants,  while    smoking  and 

drinking,  listen  to  a  M^oman 
who  reads  a  Letter. 
V.  „  A  Peasant  Family. 

,  „  Peasants  in  an  Ale-house. 

„  „  Touch.     (Siyned.) 

„  „  Sight.     {■^ijnedanddat(dl65\. 

„  .,  Taste. 

„  ,,  Peasant  in  a  Cottage. 

I<andscape. 

A  Man  reading.     A.  V.  OSTASB. 

A  Village  Tavern. 

The  Mountebank. 

Peasants. 

A  Smoker. 

A  Drinker. 

Four  good  pictures.      rrr  \c 

OSTADE,  IsACK  VAN,  the  brother  and  scholar' of 
Adriaen  van  Ostade,  bom  at  Haarlem,  2nd  of  June, 
1621.  Little  is  known  of  his  life.  He  painted  at 
Haarlera,  and  was  buried  there  16th  of  October, 
1649.  Hisearliest  pictures  were  painted  in  imitation 
of  tlie  first  style  of  his  brother,  they  are  of  a  brown- 
ish tone,  and  are  inferior  to  the  works  of  Adriaen  ; 
but  he  afterwards  adopted  a  manner  of  his  own,  in 
which  he  was  most  successful.  This  latter  is  to 
be  found  in  his  pictures  representing  winter  .scenes 
and  frozen  canals,  with  figures  amusing  themselvi'S 
on  the  ice.  Some  of  these  are  faithful  and  admir- 
able representations  of  nature,  and  are  deservedly 
held  in  the  highest  estimation.  They  approach  to 
the  productions  of  Albert  Cuyji,  and  it  niay  fairly 
be  presumed  that  if  Isack  had  lived  longer,  he 
would  have  reached  a  still  higher  rank  than  he 
now  enjoys  in  the  Dutch  school.  A  large  pro- 
portion of  his  best  pictures  are  in  England,  where 
he  was  appreciated  long  before  he  met  with  much 
recognition  abroad. 

A    Village    Inn.      isack    tan 

OSTADE. 

The  Merry  Peasant. 

A  Way-side  Inn. 

^Villter  Landscape,    isack  vas 

OSTADE,  1645. 
A  Halt  before  an  Inn.     i.  van 

OSTADE. 

Interior  of  a  Dutch  Peasant's 

Cottage.    ISACK  van  ostade. 

A  Peasant  in  a  Flap-hat.    isack 

VAN   OSTADF. 

Travellers  Halting.  i.  van 
ostade,  1660  (sic).  [Tilts 
date  must  l>e  ajorifery,  for  the 
painter  was  dead  in  1660.] 

^Vuman       'Wiuding      Thread. 

OSTADE.  P. 

WicterLandscape.with  Figures. 

ISACK   OSTADE. 

Winter  Landscape,withFigures. 

IS.ICK   TAN   OSTADE. 

Peasants  Drinkingand  Dancing. 

I.  VAN  OSTADE. 

A  Fish  Auction. 
M&gae.Stee7iffracht Coll.    Peasant  with    a  Pig  (swine). 

L  V.  OSTADE. 

Village  Scene ;  a  capital  ex- 
ample. {Mngravedhij  Dunker.) 

Frost  Scene.  Isaac  tan  os- 
tade. 

A  Frozen  Eiver.  i.  v.  ostade. 
{A  masterpiece.) 

Travellers  and  Villagers  before 
an  Inn. 

A  Village  Street. 

Boors  Making  Merry.      ISACK 

TAN   OSTADE,  1646. 

A  Village  .Street,  isack  van 
OSTADE,  1643. 


Amsterdam.     Museum. 


Antwerp. 
Berlin. 


Brussels. 


Copenhagen. 
Dresden. 

»» 
G]a.«gow. 


Jtfuseum. 
Museum. 


Museum. 


Galleri/. 

Gdllery. 

»» 
Gallery. 


London.       Nat.  Gallery. 


AshbuTton  Coll. 

Bridtjewater  House. 
BuckiTiyham  Pal. 


48 


London.   Dudley  House.    Selling  Fish.      isack  van  os- 
tade, 1649. 
„     Lansdowne  House.    The  Frozen  Canal,     isack  van 

OSTADE. 

„       Northbrook  Coll.    Winter  I..andscape. 
Madrid.  Galleri/.    Peasants. 

Munich.         Pinakothek.     .\    Rocky    Landscape,   with    a 
Donkey     and     his      Driver. 

I-iACK   VAN   <  STADE. 

„  ,,  Peasants  Drinkiug.     isack  tan 

OSTADE. 

Paris.  Louvie.     Travellers  halting  at   an  Inn. 

isack   tan    OSIADE. 

f.  „  The      Halt.        (Eni/ravtd      in 

Filhol.) 
^  „  A   Frozen   Canal    in    Holland 

(No.    378).     ISACK    osTiDE. 

{Eiirfraved     in    Landon    and 

Fil'hol.) 
„  „  A    Frozen    Canal    in    Holland 

(XO.379).    ISACK  TAN  OSTADF. 

Petersburg.     Ilermitaije.     .\     Winter     Landscape,    with 
Fig'ires.     (Xii/iied.) 
„  .,  A  Ti-.nidscape — Travellers  stop- 

ping before  an  Inn.   {.Sijned.) 
.,  „  A  Frozen  Lake  in  Holland. 

Kotterdam.        Museum.     A     Village      Scene.        i.    tan 

OSTADE,  16 — . 

Vienna.  liehedt  re.     A    Peasant     havin?    a    Tooth 

extracted.  "     W.  M 

OSTENDORFER,  Hans,  probably  the  son  of 
Martin  Ostendorfer,  prepared  a  Tilt-book  for  Duke 
Wi  Ham  IV.  of  Bavaria,  in  conjunction  with  the 
niaitre  d'armes,  Hans  Schenk.  It  is  now  in  the 
Royal  Library  at  Munich. 

OSTENDORFER,  Martin,  was  court  painter  to 
the  Duke  William  IV.,  in  the  first  half  of  the  16th 
century;  he  belonged  to  the  school  of  Landshut. 
He  ]iainted  the  portraits  of  his  master  and  his  wife, 
Maria  Jacobaa.  Two  pictures  of  his  are  in  the 
Moritz  Chapel  at  Xureniherg,  viz.: 

The  Martyrdom  of  St.  Andrew. 

The  Martyrdom  of  St.  Bartholomew. 

OSTENDORFER,  Micuael,  painter,  sculptor,  and 
wood  engraver,  flourished  in  the  first  half  of  the 
llith  century,  and  formed  himself  mainly  upon  A. 
Altdorfer.  He  worked  in  Ratisbon  from  l.ol9  to 
1659,  and  died  there  in  the  latter  year.  Among 
his  pictures  we  may  specify  : 

Munich.  Gallery.    A  Scene  from  the  Apocalypse 

(signed   M.    O.   in   a   mono- 
gram). 
Kegensburg.  An  Altar-piece  with  wings. 

,,  A  Portrait. 

Schleissbeim.      Gallery.    A  Christ  on  the  Cross. 

In  the  Munich  Gallery  there  is  also  a  small 
'  Hilly  Landscape,'  which  was  formerly  in  the 
Wallerstein  collection,  and  is  now  ascribed  to  Alt- 
dorfer, but  is  much  more  probably  the  work  of 
Cstendorfer.  He  engr.ived  on  wood  a  genealogical 
tree  of  the  Turkish  Sultans,  with  their  busts. 

OSTERWALD,  Geokg,  painter  and  etcher,  was 
bom  at  Rinteln  in  Weserthal,  in  1803.  He  was 
trained  uudcr  Gartner  in  Munich.  From  1630  to 
1832  he  studied  in  Paris.  He  painted  history,  genre, 
landscape,  architecture,  and  portraits.  Among  his 
better  works  we  may  name  : 

The  Cathedral  of  Bamberg. 

The  Cathedral  of  Siena. 

The  Prophecy  of  Jeremiah  (water-colour). 

OSTERWIJCK.     See  Oosterwijck. 

OTELIN,  of  Valenciennes,  the  first  painter  men- 
tioned in  the  annals  of  his  native  city,  flourished 
in  the  15th  century,  and  executed  a  picture  of  '  The 
Valenciennois  setting  out  to  pull  down  the  Houses 
of  Bniay  and  Fresnes,  April  25th,  1456,'  which  is 
at  Valenciennes. 


ISACK  VAN  OSTADE 


-*■-■■*'—  "■  »:-i,". 


^'.■^'  .■?J^r-'    '  ■ 


IVooifdttry  Co.  photo  \ 


A  FOREST  SCENE 


\^NatiGnal  GalUry 


PAINTERS  AND  ENGRAVERS. 


OTHO,  Edward  Fitz,  1245,  painted  the  Apostles 
and  King  Henry  III.  and  liis  Queen  in  St.  Stephen's 
CJhapel,  Westminster,  and  the  '  Last  Judgment'  on 
the  wall  at  the  west  end. 

OTT,  JuHANN  Georo,  was  bom  at  Schaffliausen 
in  1782,  and  in  1801,  with  the  assistance  of  Landolt 
and  Breitinger,  first  devoted   himself  to  art,  after 
having  been  brought  up  to  busin'Ss  pursuits.     In 
the  following  year  he  went  to   Vienna,  and  there 
produced  some    'Studies   of    Horses.'       He   then 
travelled  in  Germany,  Holland,  and  France,   and 
returned   in   1805  to  his   native  place,  where    he 
devoted  himself  to  the  paiating  of  battle-pieces, 
in    which    he    evinced    much    acquaintance    both 
with  military  matters  and  with  horses.     He  died 
at  Zurich    in    1808.     Among  his  works  we   may 
mention  : 
Patrol  of  Hussars. 
A  Horse  dragging  a  dead  Chasseur. 
Brother  Nikolaus  von  der  Flute  at  the  fatal  Meeting  at 
Stauz  in  1481  {(eft  incomplete  at  Otfs  death). 

OTTAVIANI,  Giovanni,   an    Italian    designer 
and  engraver,  w.is  born  at  Rome  about  1735,  and 
died    in    1808.     He   was   a    pupil   of   Wagner   at 
Venice,  and  on  his  return  to  Rome  engraved  several 
phiti-s  after  some  of  the  most  distinguished  masters. 
The  following  are  among  the  best  of  his  works: 
St.  Jerome  with  a  Crucifix  ;  after  Guercino, 
St.  Cecilia;  after  V e  sam-- 
Angelica  and  Medoro ;  after  the  same. 
Mars  and  Venus  ;  after  the  same. 
Three  Women  hathing  surprised  by  a  young  Man;  after 

the  same. 
Diana  and  Actaeon  ;  after  the  same. 
Twenty-three  plates,  from  the  paintings  by  Raphael,  in 

the  loggie  of  the  Vatican. 
Four  plates  from  the  pictures  by  Raphaels  in  the  Far- 
nesina.  representing 

Jupiter  and  Ganymede. 
Jtmo  on  her  Car. 
Neptune  on  the  Ocean. 
Pluto  and  Prosperine. 
The  Aldobrandini  Marriage  ;  after  Smugliemcz, 

OTTAVIANO  DA  Faenza.     See  Faenza. 

OTTENS,  Frkdekik  arid  Jan.  two  little  known 
engravers,  who  flourished  at  Delft  early  in  the 
18th  century. 

OTTEVAERE,  Adgdste,  a  native  of  Everghem, 
Flanders,  who  painted  from  1809  to  1856  He 
lived  chiefly  in  Paris,  but  died  at  Ghent  in  the 
latter  year  mentioned.  He  was  a  pupil  of  E.  Ver- 
boecklioven,  and  painted  similar  subjects. 

OTTINI,  Felice,  called  Filicetto  di  Beandi, 
was  one  ..f  the  best  scholars  of  H.  Brandi.  In  the 
churches  of  Rome  there  are  but  a  few  pictures  by 
him,  for  he  died  young  in  1697.  He  also  etched 
from  his  own  designs  and  from  the  works  of 
other  Italian  luasters.  He  signed  his  etchings 
F.  0.  F. 

OTTINI,  Pa.sqdai.e,  (called  Pasqualotto,)  was 
born  at  Verona  about  1570,  and  died  in  the  same 
city,  of  the  plague,  in  1630.  He  was  a  disciple  of 
Felice  Ricci,  whose  manner  he  imitated  so  happily 
that  he  was  eni|^iloyed,  iifter  that  artist's  death,  in 
conjunction  with  Turclii,  to  complete  several  pic- 
tures which  Kicci  had  left  unfinished.  A  study  of 
the  works  of  Raphael  added  much  to  the  improve- 
ment of  his  talent.  A  goo<l  example  of  his  work- 
manship is  'The  Slaughter  of  the  Innocents,'  in 
San  Stefano;  and  he  appears  to  still  more  advan- 
tage at  San  Giorgio  in  the  pictu  e  of  St.  Nicholas, 
with  St.  Bernard  and  several  fithers  i.f  the  Church. 
A  single  etching  is  known  by  him  ;  it  is  an  '  En- 
tombment,' and  is  signed  Fasq:  Ottu.  Ver:  inv. 
VOL.  IV.  E 


OTTLEY,  William  Young,  an  English  writer, 
and  artist,  was  bom  near  Thatcham  (Berks.),  in 
1771.  He  was  of  a  good  family,  and  cultivated 
art  as  an  amateur.  Having  studied  under  Cuitt, 
and  in  the  schools  of  the  Academy,  he  went,  in 
1791,  to  Italy,  where  he  remained  ten  years,  study- 
ing and  collecting  works  uf  art.  He  is  mainly 
known  as  an  author,  but  he  illustrated  many  of 
his  books  himself.  In  1833  he  was  appointed 
Keeper  <  f  the  Prints  in  the  British  Museum.  He 
died  in  London  in  1836.     His  chief  works  are  : 

Inquiry  into  the  Origin  and  Early  History  of  Engrav- 
ing.'    1816. 

'  The  Stafford  Gallery.'     1818. 

'The  Italian  School  of  Design'  (with  etchings  by  him- 
self.)     1823. 

'  A  series  of  plates  after  the  early  Florentine  School.' 
1826. 

'Fac-similes  {hy  himself)  of  Prints  of  early  Italian, 
German,  and  Flemish  Schools.'     1826. 

'  Fac-similes  (hy  himself)  of  rare  Etchings  after  Italian, 
Flemish,  and  Dutch  Schools.'    1828. 

'  Notices  of  Engravers  and  their  Works.'     1831. 

'  An  Inquiry  into  the  Invention  of  Printing.'     1863. 

In  1823  Ottley  exhibited  a  spirited  design  at  the 
Royal  Academy,  of  •  The  Battle  of  the  Angels.' 

OTTMER,  Karl  Theodor,  an  architect  and 
painter,  was  born  at  Brunswick  in  1800,  and 
after  having  attended  the  Carolinum  there  during 
1816-19,  lie  in  1822  went  to  Berlin,  seven  years 
laier  to  Paris,  and  thence  to  Italy,  where  he  first 
devoted  himself  to  painting,  althou<;h  through- 
out his  life  he  was  more  engaged  in  building. 
He  died  at  Berlin  in  1843.  He  was  a  member  of 
the  Architectural  Union  of  Great  Britain,  and  an 
honorary  member  of  the  Berlin  Academy. 

OTTO,  Carl,  German  painter  ;  born  August  26, 
1830,  at  OstiTode;  at  first  was  a  painter  of  porce- 
hiin  at  Klausthal,  and  subsequently  a  pupil  of 
Piloty's  at  the  Munich  Academy  ;  completed  his 
stu  lies  by  travel  in  Holland  and  by  residence  in 
Paris  ;  he  finally  settled  in  Munich.  His  works 
are  to  be  found  in  various  Galleries  of  Germany  ; 
they  inoluile  his  '  Battle  of  Nordlingen,'  '  Belsh-iz- 
zar's  Feast,'  &c.  He  also  painted  frescoes.  He 
died  at  Munich,  Oct.  6,  1902. 

OTTO,  H.  F.,  an  obscure  German  engraver,  said 
to  have  been  a  native  of  Berlin.  He  resided  at 
Frankfort  in  1707,  and  engraved  part  of  ihe  head» 
for  a  work  enti  led.  'N  ititia  Univers  tatis  Franco- 
fortianfe  '  pub  ished  in  that  year.  His  plates  con- 
sist chiefly  of  book  ornaments. 

OTTO,  Johannes  Samuel,  was  bom  at  Unruh- 
Btadt,  in  ihe  province  of  Posen,  in  1798.  He 
visited  the  Berlin  Academy,  where  he  was  much 
oceu]  ied  in  etching  ufter  the  architectural  drawings 
ofSchinkel.  He  also  painted  several  al'ar-pieces, 
as  well  as  many  portraits  ;  some  of  his  portraits  of 
royal  persomges  he  reproduced  by  lithography. 
He  alsi  worked  in  facsimile  after  Holbein's  '  Uance 
of  Death."  In  1844  be  was  named  a  Royal  Pro- 
fessor. He  was  a  great  friend  of  Kiss  the  sculptor. 
0  to  died  in  Berlin  in  1878.  There  is  a  portrait  of 
Kiss  by  him  n  the  National  Gallery  at  Berlin.  We 
m:iy  also  name  : 

Portrait  of  the  Opera  singer,  Lehmann. 

„  King  Frederick  William  IV.  (tngrated    by 

Mandel). 

OlIDEN-AEKD.     See  Auden-Akrd. 

OUDEN  ALLEN.     See  Allen. 

OUDENDIJK,  Adbiaen,  a  landscape  painter, 
wiis  I  orn  ai  Haarlem  about  1648,  and  instructed 
hy  his  father.     He  painted  landscapes  and  views  of 

49 


A   BIOGRAPHICAL  DICTIONARY  OF 


towns,  Bome  of  which  are  enriched  with  figures  by 
Dirck  Maas,  probably  when  he  was  young ;  but  his 
chief  skill  lay  in  copying,  or  rather  pillaging,  the 
works  of  Adriacn  van  de  Velde  and  Thomas  Wyck, 
for  which  he  was  surnamed  '  Rapianus.'  The  time 
of  his  death  is  not  known,  but  lie  was  living  in 
1696. 

OUDENDIJK,  Evert,  a  painter  at  Haarlem, 
who  was  admitted  into  the  guild  in  1640.  He 
was  the  father  of  Adriaen  Oudendijck.  He  painted 
landscapes  enlivened  with  stag-hunts  and  similar 
subjects. 

OUDENROGGE,  Johaknes  Diecksz,  a  painter 
of  whose  life  few  particulars  are  known,  but  in 
the  Museum  at  Amsterdam  there  is  a  picture,  '  The 
Workshop  of  a  Weaver,'  signed  by  him,  and  dated 
1(352.  Gudenrogge  visited  France  in  1651  and 
died  two  years  later,  in  1663,  at  Haarlem. 

OUDKY,  Jacques  Charles,  animal  painter,  was 
the  son  of  Jean  Baptists  Oudry,  and  the  pupil  of 
his  father.  He  was  born  in  Paris  in  1720.  He 
was  received  into  the  Academy  in  1748.  He 
travelled  much  ;  he  lived  for  a  time  at  Brussels. 
where  he  was  |iiiinter-in-chief  to  Prince  Charles  of 
Lorraine  ;  and  died  at  Lausanne  in  1778. 

OUDRY,  Jean  Baptiste,  a  French  painter  and 
engraver,  born  in  Paris  in  1686.  His  first  art 
instruction  was  received  from  his  father,  an  artist 
who  combined  tlie  trade  of  picture-dealing  with 
painting.  He  also  studied  in  the  old  '  maitrise  '  of 
St.  Luke,  and  under  de  Serre,  the  king's  painter  at 
Marseilles,  whom  he  accompanied  to  that  city. 
On  his  return  to  Paris  he  became  a  pupil  of  Lar- 
gilliere,  under  whom  he  studied  five  years,  and 
who  bestowed  great  care  on  his  training,  and  fully 
recognized  the  peculiar  bent  of  his  genius.  In 
1717  he  had  already  risen  to  such  repute,  that 
when  Peter  the  Great  came  to  Paris  in  that  year, 
he  had  his  portrait  painted  by  Oudry.  He  was 
elected  a  member  of  the  '  nuiitrise '  in  1708,  and 
subsequently  tilled  in  it  the  ofiSces  of  assistant  and 
professor.  Oudry  was  received  into  the  Academic 
dcs  Beaux  Arts  as  an  historical  painter  in  1717, 
on  hie  picture  of  '  Abundance.'  For  many  years 
his  practice  consisted  of  portraits  and  votive  pic- 
tures for  churclies  :  in  fact,  whatever  came  to  him. 
Among  these  works,  the  most  noteworthy  were 
the  'Nativity'  in  the  church  of  St.  Leu,  and  the 
'  Adoration  of  the  Magi '  in  St  Martin-des-Champs. 
At  one  time  he  was  disposed  to  seek  better  fortunes 
in  Russia,  whither  he  was  invited  by  the  Czar,  whose 
portrait  he  had  painted.  A  commission  to  paint 
•some  hunting-scenes  for  the  Duke  d'Antin,  however, 
turned  the  scale  in  favour  of  liis  native  country. 
and  induced  him  to  remain  in  France.  But  it  was 
not  until  he  was  presented  to  Louis  XV.  that  he  was 
enabled  to  devote  himself  entirely  to  the  class  of 
work  on  which  his  reputation  rests.  He  became 
a  great  favourite  with  the  king,  and  was  assigned 
apartments  in  the  Louvre.  His  brush  was  in  con- 
stant requisition  to  portray  the  royal  dogs  and 
hunts,  as  well  as  any  additions  to  the  king's  col- 
lection of  wild  animals.  Basking  in  the  sunshine 
of  court  patronage,  there  was  now  no  lack  of  com- 
missions to  paint  his  favourite  subjects.  One  of 
his  chief  patrons  was  Fagon,  the  finance  minister, 
for  whom  he  executed  many  decorative  works.  By 
him  he  was  appointed,  in  1734,  to  the  superintend- 
ence of  the  manufactory  at  Beauvais,  and  his 
success  in  this  undertaking  obtained  him  the  like 
appointment  at  the  Gobelins.  In  producing  designs 
for  execution  at  these  establishments,  he  worked 

50 


assiduously,  and  for  some  time  single-handed,  until 
he  summoned  Boucher  and  Natoire  to  his  aid. 
Notwithstanding  these  labours  he  found  time  to 
paint  a  great  number  of  pictures.  Moreover,  his 
appreciation  of  La  Fontaine  led  him  to  produce 
illustrations  for  the  fine  edition  of  that  poet's 
fables  which  was  published  in  1765.  In  the  same 
year  he  was  struck  with  apoplexy.  He  removed  to 
Beauvais,  in  the  hopes  of  obtaining  benefit  from 
the  change  ;  and  there  he  died  on  the  30th  April, 
1765.  The  following  is  a  list  of  his  better  works  : 
Amiens.  Jfuseuin.     Dog  aud  Game. 

Arra.s.  „  Fox-hunt. 

Besauron.  „  Dog  guarding  Game. 

Caen.  „  Wild  Boar  Hunt.    1748. 

Cherbourg.  „  Eagle  and  Hare. 

Dijon.  I'rfifecture.     Fish,  Eel,  aud  Ducks. 

Lille.  Museum.     Pug-dog.     1730. 

MoutpcUiur.  „  Game,  Dog,  Flowers,  aud  Fruit. 

1748. 
Nantes.  „  Rustic  scene. 

„  „  Dog  seizing  a  Duck. 

„  „  Wolf-hunt.    1748. 

„  „  Spaniel. 

Narbouue.  „  Bitch  and  Puppies. 

Orleans.  „  Poultry. 

„  „  Dog  and  Pheasant. 

Paris.  Louvre,     AVolf-hnnt.     1746. 

„  „  Cock-fight.     1749. 

„  „  Dog  and  Game.     1747. 

„  „  The  Farm.     1750. 

„  „  Three  pictures  of  Dogs  of  Louis 

XV. 
Pau.  Museum.     Stag-hunt. 

Rouen.  „  Stag-hunt.     1725. 

Stockholm.  iVb<.  Galleri/.     Water-spaniel      and       Heron. 
1725. 
,,  „  Tiger  at   the  Menagerie,  Ver- 

sailles.    1739. 
„  „  Stag-hunt. 

„  The  Lion  and  the  Spider. 

„  „  Flowers  and  Fruit.     1731. 

„  „  Spaniel  and  Partridge.     1742. 

„  „  Six  still-life  pictures. 

Toulouse.  Museum.     Portrait  of  liimself. 

,,  „  Louis  XV.  hunting  the  Stag. 

Tours.  „  Bear-hunt. 

Versailles.  (irand  )  „,      . 

.p  ■  V  Plcuty. 

„  „  The  Harvest. 

„  „  Vintage. 

Some  of  Oudry's  drawings  of  birds  in  black  and 
white  chalk  on  blue  paper  are  peculiarly  fine. 

O.J.D. 

OUDRY,  P.,  an  unknown  French  painter,  whose 
name  is  appended  to  a  portrait  of  Mary  Queen  ot" 
Scots  in  the  possession  of  the  Duke  of  Devonshire 
at  Hard  wick  Hall,  and  probably  painted  at  Sheffield 
for  the  Countess  of  Shrewsbury. 

OURS,  J.  S.  SAINT.    See  Saint  Ours.  I 

OUSEY,  Buckley,  painter  of  landscape  and 
figure  subjects,  was  born  at  Stalybridge  about 
1851.  Originally  a  weaver,  he  acquired  by  industry 
a  sound  knowledge  of  drawing  and  painting. 
Little  is  known  of  his  early  life.  As  a  boy  be 
painted  portraits  at  five  shillings  each,  and  used  to 
tell  a  story  of  one  old  woman  wlto,  on  receiving 
her  portrait,  asked,  "  Now,  Mr.  Ousey,  is  this  a 
real  ile  jiainting,  will  it  waash  ? "  In  or  before 
1884  he  removed  to  the  Conway  valley.  In  that 
j'ear  he  was  resident  at  Roe-Wen,  and  sent  to  the 
Liverpool  Autumn  Exhibitiou  '  Salmon  Fishers  on 
the  Con  way,' £30, and 'A  Wood  Nymph,' 15  guineas. 
During  the  short  remainder  of  his  life  Ousey  sent 
every  year  to  this  Exhibition.  The  most  important 
of  three  pictures  in  1885  was  'Fishing-boats  off 
Puffin  Island,'  50  guineas.  In  1885-7  he  studied 
for  a  year  and  a  half  at  -Antwerp  under  Verlat, 


■r. 
y. 


u 

-a 
s: 
u 

o 


PAINTERS  AND  ENGRAVERS. 


the  requisite  funds  being  advanced  by  a  brother 
artist.  In  1887  he  had  removed  to  Conway,  and 
sent  a  large  drawing,  '  Gipsy  Hawkers,'  £65.  In 
1888  he  made  his  only  appearance  at  the  Royal 
Academy  with  an  oil,  '  Lune  Margin  of  the  Sea,' 
which  was  afterwards  at  the  Liverpool  Exhibition. 
He  (lied  in  1889,  leaving  a  widow  and  several 
children.  He  was  a  member  of  the  Royal  Cambrian 
Academy.  Early  in  1890  a  memorial  exhibition 
of  his  works  was  held  in  Stalybridge  ;  and  in 
connection  witli  it  his  remaining  works,  with  a 
largo  nnmber  contributed  by  brother  artists,  were 
disposed  of  by  an  Art  Union  for  the  benefit  of  his 
family.  Ousey  was  a  singularly  versatile  painter, 
with  much  facility  of  invention.  His  cleverness 
is  well  shown  by  a  large  number  of  small  decorative 
panels  which  be  executed  for  the  Bellevue  Hotel, 
Trefriw.  Tliese  are  now  in  the  Gogarth  Abbey 
Hotel,  Llandudno.  Those  that  illustrate  Welsh 
scenery  show  acute  observation  and  a  tine  percep- 
tion of  choice  colour.  Others,  which  represent 
Shakespearean  characters  and  romantic  imaginary 
scenes,  are  tlie  work  of  a  man  of  considerable 
reading  and  fertile  invention.  There  can  be  little 
doubt  that  Ousey,  but  for  his  premature  death, 
would  have  surmounted  the  drawbacks  of  his  early 
career  and  made  a  considerable  reputation  in  art. 

E.  R.  D. 
OUTKIN.    See  Utkin. 
OUVILLY.     See  Gerbier. 
OUVRIE,   Pierre   Justik,   painter   and    litho- 
grapher, was  born  in  Paris  in  1806.     He  was  a 
pupil  of  Abel  de  Pujol  and  of  Chatillon.   He  visited 
Italy,  Flanders,  and  England.     His  landscapes  are 
remarkable  for  the  skill  with  which  the  buildings 
in  them  are  treated.    Ouvri6  died  in  1879.    Among 
his  best  works  we  may  name  : 

Shelley's  Funeral. 

The  Grand  Canal,  Venice. 

St.  Laurence,  Nuremberg. 

San  Pietro,  Genoa. 

■Windsor  Castle. 

■Wurzburg  Cathedral.     {fVater-Colour.) 

"View  of  Kouen.     {l^he  $amf.) 

Market  in  Nuremberg.     {The  same.) 

Somerset  House.     (The  same.) 

OUVRIER,  Jean,  a  French  engraver,  was  bom 
in  Paris  in  1725,  and  died  in  1764.  We  have  by 
him  a  variety  of  vignettes,  landscapes,  and  other 
subjects,  of  which  the  following  are  considered 
the  best : 

The  Villagers  of  the  Apennines  ;  after  Pierre. 

A  View  in  the  Alps  ;  after  I  'ernet. 

A  View  in  the  Apennines ;  after  the  sarrt 

The  Magic  Lantern  ;  after  Schenau. 

The  Flemish  School ;  after  Eisen  the  elder. 

The  Dutch  School ;  after  the  same. 

The  Geniua  of  Design,  an  emblematical  subject ;  after 

Cochin. 
OUWATER,  Albert  van,  a  Haarlem  painter 
■who  flourished  1430-1460.  He  acquired  a  reputa- 
tion for  skill  in  tlie  treatment  of  landscape  and  in 
the  painting  of  hands  and  feet.  Cardinal  Grimani 
is  said  by  the  'Anonimo'  to  have  possessed  some 
landscapes  by  him,  and  Van  Mander  informs  us 
tliat  he  executed  an  altar-piece  for  the  church  of 
St  Bavo  at  Haarlem  representing  SS.  Peter  and 
Paul  hfe-size,  with,  on  the  predella,  pilgrims  on 
the  way  to  Rome,  in  a  finely-painted  landscape. 
These  are  now  lost,  and  the  only  picture  proved 
to  be  by  liim  is  the  '  Raising  of  Lazarus '  de- 
scribed by  Van  Mander,  and  now  in  the  Berhn 
Museum.  W.  H.  J.  W. 

E2 


OUWATER,  GHEERABDr  va.s.     See  DAvin. 

OUWATER,  IsAAK,  an  artist,  born  in  1747,  at 
Amsterdam.  He  painted  there,  at  Utrecht,  and  at 
Haarlem.  His  subjects  were  views  of  or  in  towns, 
into  which  he  introduced  figures  and  animals.  He 
died  at  Amsterdam  in  1793.  Six  pictures  by  him 
were  sold,  in  1814,  at  the  sale  of  J.  C.  van  Hall  ; 
and  there  are  in  the  Museum  at  Amsterdam,  two 
views  of  that  city  by  him. 

OUWATER,  Jakob,  was  a  Dutch  painter  of 
fruit,  flowers,  insects,  birds,  &c.,  of  whom  little  is 
known.  He  lived  long,  however,  at  the  Hague, 
where  he  was  inscribed,  in  1754,  on  the  registers  of 
the  '  Pictura '  brotherhood.  He  afterwards  worked 
for  a  time  at  Middelburg. 

OU  WERKERK,  J.an  Van,  an  unimportant  Dutch 
painter,  was  estabhshed  at  Middelburg  in  1774, 
where  he  painted  marine  views.  He  was  a  pupil 
of  Marinus  Piepers. 

OVENS,  Juuiaen,  a  Dutch  painter  and  etcher, 
was  born  at  Amsterdam  in  1623.  He  has  been 
supposed  to  have  been  brought  up  in  the  school 
of  Rembrandt.  Whether  this  be  correct  or  not, 
he  certainly  excelled  in  painting  night-pieces  and 
subjects  by  torch-light ;  he  was  also  eminent  as 
a  portrait  painter.  There  are  some  of  his  works 
in  the  Stadt-house  at  Amsterdam,  representing  sub- 
jects from  Dutch  history.  In  1675  he  was  invited 
to  Friedrichstadt,  to  the  court  of  the  Duke  of 
Holstein,  in  whose  service  he  remained  till  his 
death,  which  occurred  on  the  7th  December,  1678. 
There  has  been  some  confusion  as  to  the  dates  of 
Juriaen  Ovens,  in  consequence  of  a  mistaken 
assertion,  supported  by  Nagler,  that  on  a  portrait 
of  himself,  painted  by  him  in  1666,  the  words 
anno  cetatis  66,  were  to  be  read.  Pictures  of 
his  are  to  be  found  as  under  : 

Amsterdam.  Town  Hall.    The    Conspiracy    of    Claudius 
Civilis. 
„        Huisittenhuis.    Portrait. 
„  3Iuseum.    Portrait  of    Mr.  Jan  Bareud 

Schaep. 
„  „  Portrait  group  of  seven  regents, 

half  life  size. 
Copenhagen.      Museum.    The  Concert. 

„  ,,  Portrait. 

Nantes.  Museum.    The  Departure  of  Tobit.    1651. 

Vienna.  Count  Harrach's.    Girl  with  a  Fowl. 

„  „  Girl  with  a  Bunch  of  Grapes. 

Among  his  etchings  there  are  : 

The  Whale.     1(359. 

Inauguration  of  Kiel  University.     1C66. 

Portrait  of  Chancellor  Kielmann. 

UVERBECK,  Bokaye.ntura  van,  called  'Romu- 
lus,' a  painter,  engraver,  and  author ;  was  born 
in  1660  at  Amsterdam.  He  was  probably  a  pupil 
of  Gerard  Lairesse,  and  went  three  times  to  Rome, 
many  of  the  antiquities  of  which  city  he  drew  and 
engraved.  He  painted  there  also  a  picture  for  the 
Bentvogel  Society,  which  was  engraved  by  Van 
Pool.  Schenk  engraved  his  '  Mars  and  Apollo,' 
and  C.  Vermeulen  his  portrait  by  C.  le  Blon.  He 
died  in  1706.  After  his  death,  hi>!  work,  '  Reliquise 
antiqusB  urbis  Romae,'  was  published  in  1708,  and 
remarks  upon  it,  by  P.  Rolli,  in  1739. 

OVERBECK,  JoHAKN  Fbiedrich,  the  leader  of 
the  modern  religious  movement  in  Gennan  art, 
was  born  at  Lubeck  on  the  4th  of  July,  1789.  His 
ancestors  for  three  generations  were  Protestant 
ministers ;  his  father  was  doctor  of  laws,  a  poet, 
and  Burgomaster  of  his  native  city.  After  a 
general  education  conducted  mostly  at  home,  Over- 
beck  was  sent,  in  1806.  to  prosecute  his  art  studies 

51 


A   BIOGRAPHICAL   DICTIONARY  OF 


at  Vienna,  in  the  Acadcmj-.  The  method  there  in 
force  soon  awakened  strong  opposition  in  his 
peculiar  temperament,  whicli  led  to  liis  expulsion 
with  several  of  his  synipiitliizerss.  In  1810  he  went 
to  Rome,  where,  with  his  friend  Cornelius,  he 
founded  the  school  of  {xerman  pre-Raphaelites  ;  the 
home  of  the  brotherhood  being  the  disused  monas- 
tery of  Sant'  Isidoro,  on  the  Pincian.  The  first 
importiint  commission  Overbeck  received  was  one 
from  Queen  Caroline  of  Bavaria  for  an  '  Adoration 
of  the  Kings.'  This  was  in  1811  ;  two  years  later 
he  renounced  the  Lutheran  heresy,  and  was  re- 
ceived into  the  Catliolic  Church.  This  change, 
which  can  hardly  have  failed  to  distress  his  parents 
at  home,  must  no  doubt  be  taken  as  the  explanation 
of  Overbeck's  deliberate  avoidance  of  his  native 
place  on  his  several  visits  to  Germany.  After  his 
parting  with  them  in  1806,  he  never  again  saw  his 
mother  and  father,  although  they  did  not  die  until 
1820  and  1821  respectively.  In  1819,  an  exhibition 
of  German  pictures,  painted  in  Rome,  was  held  in 
tlie  Palazzo  Cafarelli,  and  the  chief  interest  centred 
in  the  works  of  Overbeck,  Correlius,  Veit,  and 
Schadow.  One  of  Overb'  ck's  contributions  was  a 
'  Madonna '  which  sliowed  an  almost  slavish  defer- 
ence to  Raphael.  The  other  was  a  '  Flight  into 
Egypt,'  in  which  little  of  his  own  ascetic  bent 
could  be  perceived.  In  1819  Overbeck  married  a 
lady,  a  native  of  Vienna,  whose  Christian  name 
was  Nina,  and  who,  we  are  told,  had  no  right  to  a 
surname,  for  she  was  the  illegitimate  daughter  of 
a  Viennese  noble,  from  whom  she  received  a 
dowry.  By  her  he  had  two  children,  a  girl  who 
died  young,  and  a  boy,  Alfons  Maria,  who  only 
lived  long  enough  to  give  promise  of  considerable 
powers.  In  1831  Overbeck  paid  a  visit  to  Gennany. 
In  1833  he  was  present  at  the  opening  of  Raphael's 
tomb  in  the  Pantheon.  In  1840  occurred  the  death 
of  his  son,  which  was  followed  thirteen  years  later 
by  that  of  his  wife.  In  18.'i5  he  visited  Germany 
for  the  last  time.  Two  years  later  he  was  honoured 
by  a  visit  in  his  studio  from  I'ius  IX.,  on  the  7th 
of  February,  and  on  the  12th  November,  1869,  he 
died  at  the  age  of  eighty.  The  following  list 
includes  most  of  his  important  works: 

*'''^'  ^A^gl^"  }  "^''*'°°  °f  ^'-  *'''^°"''-    '-^^""'■'^ 

Carlsnihe.         Gallery.     The  Christian  Parnassus.      (Car- 
toon.) 
Cologne.       Cathedral.    Assumption  of  the  Madonna. 
Basle.  Museum.     The  Finding  of  Moses.  (Cartoon.) 

„  „  Israelites  gathering  Munna.   (The 

same.) 
„  „  Translation  of  Elijah.    (The  same.) 

„  „  Death  of  St.  Joseph.    (The  same.) 

Berlin.     Nat.  Gallery.    The  Seven  Sacraments.      Seven 
pictures. 
,,  „  Portrait  of  an  old  Monk. 

„  „  Jerusalem  delivered. 

„      Baczmiski  Coll.     Blarriage  of  the  Virgin. 
A  Sibyl. 

Biebrich.      ^i/'^G^-)  Christ  condemned. 

»><:7t;a.  j 
Dusseldorf .  Academy.     Raising  of  Lazarus. 
Frankfort.  Slddel  Gnl.     Joseph  sold  by  his  Brethren. 
Hamburg.       ^^G>.aJ  |  ^^^  ^^^^^  .^  ^^^  g„^^^ 

Heidelberg.  «^^A>;-  J  The  Entombment. 

„  „  Portrait  of  Cornelius. 

Lubeck.  Tovm  Libiary.    Sleeting  of    Ulysses    and    Tele- 
maclms. 
„  „  A  Pieta. 

„      Marien  Kirche.     Christ  entering  Jerusalem. 

Munich,     -n^^^^^^""- 1  Holy  Family,  with  St.  John. 

52 


Munich.        A'ifir  Pina-  \  Italia    and    Germania,  as   two 

coihek.  j      female  figures  in  a  laudscape, 

,,  „  Confirmation. 

„  „  Portrait  of  Vittoria  Caldoni. 

Rome.  Cara  Bartholdi,    History  of  Joseph.    (Frescoes.) 

,,         J'illa  Massimo.     Jerusalem  delivered.  (/•>«««.) 

Weihem  (near       Lot:-  \  '  Cyclus '    from    the    Gospels, 


(Forty  Cartoons.) 


Lotz 

Munich),     beck  Coll. 

OVERBECK,  (or  Overbkeck,)  Leendebt,  a 
Dutch  landscape  painter  and  engraver,  born  at 
Haarlem  in  1750.  He  was  a  pupil  of  II.  Meyer, 
and  at  first  designed  tajiestry  and  ornaments,  but 
afterwards  turned  his  attention  to  drawing  and 
etching,  in  whicli  latter  he  became  very  skilful. 
In  the  year  1775  he  was  Moderator  in  the  Academy 
at  Haarlem,  and  gave  the  following  year  a  dis- 
course which  was  printed.  He  worked  in  Amster- 
dam and  at  Weesp,  and  died  at  Haarlem  in  1815. 
He  engraved  a  number  of  Dutch  landscapes  with 
figures,  among  which  are  views  in  the  neighbour- 
hood of  Haarlem, dated  1791-93,  and  two  of  Leydea, 
dated  1H07. 

OVERBEKE,  Adrian  van,  entered  in  the  register 
of  the  Guild  of  St.  Luke  in  1495  as  an  apprentice  of 
Quentin  Metsjs,  was  admitted  as  free  master  in 
1508.  In  1,009-10  he  painted  an  altar-piece  for 
the  chapel  of  Our  Lady  attached  to  the  Hopital 
Comtesse  at  Lisle,  for  which  he  was  paid  the  large 
sum  of  438?.  In  1510-11  John  van  Ghent  painted 
the  .shutters  for  241.  This  altar-piece  was  one  of 
the  354  old  pictures  sold  by  auction  by  order  of 
the  municipality  in  1813.  On  August  11,  1513, 
the  confraternity  of  St.  Anne  established  in  the 
church  of  Kempen  (Rhine  Province)  made  a 
contract  with  him  by  the  tenns  of  which  he  bound 
himself  to  execute  a  reredos  for  the  high- altar  of 
that  church  for  the  sum  of  300  gold  florins.  The 
centre  of  this  altar-piece,  which  still  occupies  its 
original  position,  represents  the  '  Nativity,'  'Adora- 
tion of  the  M  igi,'  '  Presentation  in  the  Temple,'  and 
the  'Tree  of  Jesse 'in  richly-polychromed  sculpture, 
whilst  on  the  shutters  are  painted  episodes  from 
the  legend  of  St.  Anne  and  St.  Joachim,  with  the 
'  Last  Judgment '  on  the  exterior.  In  March  1524 
Adrian  was  found  guilty  of  publicly  reading  and 
expounding  the  Scriptures,  and  was  sentenced  to 
leave  the  town  before  sunset  and  go  on  a  pilgrim- 
age to  Wilsenaken.  Van  Overbeke  is  probably 
the  m.ister  Adrian  whose  portrait  Diirer  drew 
when  he  was  at  Antwerp  in  1520,  and  to  whom  he 
gave  some  of  his  prints.  In  1529  Van  Overbeke 
painted  another  altar-piece  for  the  chapel  of  St. 
Joseph  in  the  church  of  Kempen  ;  this  was  takea 
away  to  Kuiserwerth  in  1662  and  is  now  lost. 

BIKLIOGRAPHT. 

H.  Keussen.  '  Der  Meister  des  Schreines  am  Hauptal- 
tare  in  der  Pfarrkirche  zu  Kemijen.'     Coin,  1873. 

'  The  Academy,'  Jime  21,  1S79,  p.  547. 

P.  Clemen.  '  Die  Kuuf tdenkmaler  des  Kneises  Kempea.' 
Diisseldorf,  1891.  W.H.  J.  W. 

OVEREXD,  W.  H.,  was  born  at  Coatham,  York- 
shire, in  18.il,  and  educated  at  the  Charterhouse. 
His  boyish  drawings  showed  considerable  natural 
powers  of  observation.  Strongly  attracted  to  the 
sea  and  .seafaring  life,  he  started  at  first  as  a 
painter  of  marine  subjects,  but  was  soon  drawn 
aside  to  work  as  an  illustrator  for  the  '  Illustrated 
London  News,'  a  connection  which  lasted  till  his 
death.  He  soon  acquired  a  special  reputation  for 
his  intimate  knowledge  of  life  at  sea,  whether  on 
merchantman   or   war  vessel,  and   his   numerous 


PAINTERS  AND  ENGRAVERS. 


renderings  of  8uch  scenes  are  always  marked  by 
accuracy  and  spirit.  In  later  years  he  occasionally 
exhibited  at  the  Royal  Academy,  and  he  was  a 
member  of  the  Institute  of  Painters  in  Oil-Colours. 
A  portrait-study  of  tiie  Duke  of  York  as  command- 
ing officer  of  a  torpedo-boat,  and  another  of  Admiral 
Farragut  in  the  battle  of  Mobile  Bay  (now  in  the 
possession  of  the  U.S.  Government),  are  his  best 
pictures.  His  life-work  was  done,  however,  in 
black  and  white,  and  the  bulk  of  it  appeared  in  the 
pages  of  the  'Illustrated  London  News.'  He  did 
occasional  work  also  as  a  book-illustrator.  His 
death  occurred  in  1898. 

OVERLAET,  Anton,  a  designer  and  etcher, 
who  lived  at  Antwerp  in  the  latter  half  of  the  18th 
cent'iry,  and  had  at  first  been  a  journeyman  baker. 
He  was  admired  for  his  pen-and-ink  drawings 
from  portraits,  historical  pictures,  landscapes,  and 
genre  scenes.     Among  his  copies  we  may  name  : 

Beggar  and  his  Wife  ;  after  Remhrandt.     1760. 

Dutch  Village,  with  Castle  and  Canal ;  after  the  same. 

1761. 
Two  drawings  of  Male  and  Female  Feasants;    in  A. 

Ostade^s  manmr. 
OWEN,  The  Rev.  Edwabd  Pryce,  an  English 
etcher  and  painter,  born  in  1788.  He  graduated 
at  Oxford,  took  orders  in  the  Church  of  England, 
and  cultivated  art  as  an  amateur.  He  published 
some  etchings  of  ancient  buildings  in  Shrewsbury, 
1820-21,  and  another  volume  of  etchings  in  1826. 
He  died  at  Cheltenham  in  1863. 

OWEN,  Samuel,  marine  painter  in  water-coiours, 
was  born  in  1768.  His  subjects  were  generally 
shipping,  which  he  executed  in  a  correct  and 
skilful  manner.  He  exhibited  for  the  first  time  at 
the  Royal  Academy  in  1794,  and  again  in  1797, 
when  his  subject  was  the  '  British  and  Spanish 
Fleets,  commanded  by  Sir  John  Jarvis.'  He  was  a 
member  of  the  '  Associated  Artists  in  Water- 
Colours,'  a  defunct  society,  which  was  founded  in 
1808.  For  several  years  before  his  death  (which 
occurred  at  Sunbury  in  1857)  he  had  given  up 
painting.  He  made  the  eiglity-three  drawings 
illustrating  Bernard  Cooke's  '  The  Thames.' 

OWEN,  William,  an  eminent  painter  of  por- 
traits and  fancy  subjects,  was  bom  at  Ludlow  in 
1769,  and  was  educated  at  the  grammar-school  of 
that  town.  It  is  not  known  that  he  received  any 
instruction  in  painting  until  he  reached  his  seven- 
teenth year,  although  he  had  as  a  boy  exliibited  a 
strong  inclination  for  art.  About  1786  he  was  sent 
to  London  and  placed  under  Catton,  who  had  been 
a  coach-painter,  but  was  then  a  Royal  Academi- 
cian ;  and  soon  afterwards  a  copy  Owen  made  of 
Reynolds's  picture  of  Perdita,  introduced  him  to 
the  notice  of  the  President  and  to  the  benefit  of  his 
iDstruction.  In  the  year  1792  he  made  his  first 
appearance  as  an  exhibitor  at  Somerset  House, 
with  the  '  Portrait  of  a  Gentleman,'  and  a  view  of 
Ludford  Bri<ige,  Ludlow ;  each  succeeding  year 
his  practice  as  a  portrait  painter  increased,  till  in 
the  year  1798  lie  exhibited  no  less  than  ten.  This 
may  be  considered  good  evidence  of  his  artistic 
skill,  for  he  had  no  advantage  of  patronage  like 
Reynolds,  Beechcy,  Lawrence,  and  Hoppner,  who 
divided  the  world  of  fashion  between  them.  And 
among  those  who  sat  to  him  were  some  of  the  most 
distinguished  men  of  the  day  ;  such  as  William 
Pitt,  Lord  Grenville,  Sir  William  Scott,  Cyril 
Jackson,  Vicary  Gibbs,  Chief  Justice  Abbot,  the 
Marquis  of  Staffonl,  the  Earl  of  Bridgcwater,  John 
Soane  the  architect,  ViBcoant  Exmoutb,  and  many 


others.  The  '  Blind  Beggar's  Daughter  of  Bethnal 
Green,'  'The  Sleeping  Girl,'  'The  Schoolmietrese,' 
'The  Giri  at  the  Spring,'  'The  Road-side,'  'The 
Cottage  Door,'  '  The  C'liildren  in  the  Wood,'  are 
among  his  subject  pictures.  In  1804  he  became 
an  Associate,  and  in  1806  a  full  member  of  the 
Royal  Academy  ;  in  1810  he  was  appointed  por- 
trait painter  to  the  Prince  of  Wales.  The  IMnce 
Regent  offered  to  knight  him,  an  honour  which  he 
refused.  For  the  last  five  years  of  his  life  he  was 
in  a  state  of  almost  utter  helplessness,  but  his 
sufferings  were  at  last  put  an  end  to  in  1825  by 
the  mistake  of  a  chemist's  boy,  who  sent  hira  a 
bottle  of  opium  instead  of  a  harmless  draught. 
Owen  died  on  the  11th  of  February,  1825.  Besides 
the  pictures  already  named  the  following  may  be 
noted : 

London.     Roij.  Acatlemii.  (  Boy  and  Kitten. 
{Diploma  Gall. )  (  Cottage  Cliildren. 

„        A'at.  Port.  Gall.     .John  Wilson  Crocker. 

„  „  Lord  Loughborough. 

„  „  (?)  John  Philpot  Curran. 

OZANNE,  Jean'.ne  Franqoise,  and  Maris 
Jeanne,  were  the  sisters  of  Nicolas  Ozanne,  and 
were  instructed  in  engraving  by  Aliamet.  We 
have  by  them  several  prints  of  sea-ports,  &c., 
among  which  are  the  following: 
A  View  of  the  Port  of  Dieppe;  ./.  F.  Ozanne;  after 

Hachert. 
A  View  of  St.  Vallery ;  the  same- 
Two  Views  of  the  Port  of  Leghorn;  Jf.  J.  Otanne; 

after  Vernet. 
A  Calm ;  tlie  same;  after  the  same. 
Two  Pastoral  subjects ;  after  Phil.  Wouvarman  ;  31.  J. 
Ozanne. 

OZANNE,  Nicolas,  a  French  engraver,  was  bom 
in  Paris  about  tlie  year  1724.  He  engraved  from 
his  own  drawings  a  number  of  plates  of  marines 
and  sea-ports,  which  are  esteemed  for  their  neat- 
ness. We  have,  among  others,  the  following  by 
him  : 

A  set  of  four  Landscapes  and  Marines ;  Ozanne  fee. 

Two  Views  of  the  Port  of  Brest. 

OZANNE,  PiEBRE,  designer  and  engraver,  was 
bom  in  Paris  in  1725,  who  produced  four  sets  of 
etchings  of  shipping.  He  was  probably  a  brother 
of  Nicholas. 


PAAPE.     See  De  Pape. 

PAAR,  We.vzkl,  Count  von,  executed  some 
drawings  and  etchings.  His  son  LoUlH,  born  at 
Vienna  in  1772,  and  died  in  1819,  also  painted 
several  landscapes. 

PAAS,  CoRNELitJs,  a  German  engraver,  bom  in 
1740.  He  settled  in  London  about  1765,  and 
became  engraver  to  George  III.  He  died  in  London 
in  1806. 

PABLO,  Pedro,  was  a  Catalonian,  who  in  1563, 
In  conjunction  with  Pedro  Serafin,  a  Greek,  painted 
the  doors  of  the  great  organ  in  Tarragona  cathe- 
dral. The  artists  received  three  hundred  Catalonian 
pounds  for  this  performance,  and  were  employed  in 
various  works  by  the  chapter. 

PABST,  Camille  ALFREn,  French  painter  ;  bom 
at  Colmar  (.Alsace)  in  1828  ;  became  a  pupil  of 
Charles  Comte  ;  was  a  regular  exhibitor  at  the 
Paris  Salon  since  1865  ;  his  principal  works, 
several  of  which  have  been  engraved,  include : 

53 


A   BIOGRAPHICAL   DICTIONARY  OF 


'  Jeune  Mfere,'  '  La  Toilette,"  '  Chez  rAkliimiste, 
•Jeu  de  Quilles,'  '  Une  Maritje  en  Alsace,'  and 
•Alsaciens  i\  Paris';  obtained  third-class  medal  in 
1874  ;  died  in  Paris,  September  30,  1898. 

PABST,  Paul,  a  Dutch  gentleman,  who  was 
Burgomaster  of  Rochlit,  Leipsic,  in  1490,  and 
built  the  church  of  St.  Peter  there.  He  decorated 
its  interior  with  pictures,  and  was  still  living  in 
1524.  He  was  also  called  Pabst  van  Ohorn,  or 
Oh.im. 

FACCHIA.     See  Del  Pacchia. 

PACCliIAnC»TTI,  GiAroMO,  was  the  son  of  one 
Bnrtoloinnieo  di  Giovanni  Paccliiarotfi,  a  dresser 
of  woollen  cloth,  and  Elisabetta  his  wife.  lie  was 
born  at  Siena  in  1474,  and  at  an  early  age  entered 
the  studio  of  Bernardino  Fungai,  then  considered 
the  most  distinguished  exponent  of  art  in  that  city. 
So  well  did  he  imitate  his  teacher's  mannerisms, 
rigid  with  the  traditions  of  the  earlier  Sienese 
School,  that  the  work  of  the  pupil  is  not  in- 
frequently mistaken  for  that  of  the  master.  In 
spite  of  a  stormy  life,  due  to  his  turbulent  and 
excitable  disposition,  and  his  fondness  for  niixing 
himself  up  in  the  continuous  political  strifes  and 
revolutions  of  the  period,  he  seems  to  have  received 
a  good  deal  of  employment  from  public  bodies. 
We  read  of  work  executed  by  him  in  1503  in  jiaint 
and  stucco  (heads  of  the  Emperors)  in  the  nave 
of  the  Duomo,  and  standards  ordered  for  such  State 
occasions  as  the  Elevation  to  the  Pontilicate  of 
the  Sienese  Pius  III.,  and  the  Reception  of  the 
Legate  of  Pope  Julius  II.  In  1512  he  was  com- 
missioned to  make  the  heraldic  and  other  decora- 
tions to  be  used  at  the  public  funeral  of  Pamlolfo 
Petrucci,  whilst  various  religious  confraternities 
entrusted  their  processional  banners  to  him.  In 
1507  the  sons  of  Andrea  Piccolomini,  a  brother  of 
Pius  III.,  employed  hin^to  complete  the  adornment 
of  a  chapel  at  San  Francesco,  commenced  in  1504, 
under  the  direction  of  their  father,  by  Pinturicchio. 
This  work,  however,  owing  to  the  artist's  idleness, 
was  not  finished  until  1514,  and  was  totally 
destroyed  by  lire  in  1655.  In  1518  he  was  engaged 
by  the  Signoria  to  restore  the  face  of  the  clock  on 
the  Torre  del  Mangia.  In  1525,  and  againin  1536, 
he  received  commissions  from  the  Guild  of  Notaries ; 
the  latter  one  being  a  triumphal  arch  on  the  occa- 
sion of  the  visit  to  Siena  of  the  Emperor  Charles  V. 
The  two  best-known  works  of  his,  still  existing  in 
his  native  city,  are  two  '  Ascensions '  ;  one  in  the 
Church;  of  the  Carmine,  and  the  other  painted  for 
the  Convent  of  the  Osservanza,  but  now  in  the 
Academia  delle  Belle  Arti.  Altliough  holding 
the  positions  of  Gonfalonier  and  Captain  of  the 
Company  of  Stalloreggi,  in  which  quarter  of  the 
city  he  resided,  his  political  activity— largely,  how- 
ever, braggadocio — led  to  his  getting  more  than 
once  into  trouble,  for  which  he  was  imprisoned  and 
banished  to  bis  propertj-  outside  the  town.  His 
worst  scrape,  which  forms  the  subject  of  one  of 
Fortini's  Norelle,  occurred  during  a  serious  famine 
in  1533,  when  the  Society  of  the  Bardotii,  of  which 
body  he  was  a  prominent  member,  raised  a  civil 
tumult.  The  authorities,  however,  succeeded  in 
forcibly  quelling  the  disturbances,  and  the  terrified 
Pacchiarotti  took  refuge  in  the  vaults  of  a  church 
(variously  indicated  as  S.  Giovanni  Battista  della 
Morte,  the  Baptistery,  or  the  Church  of  the  Osser- 
vanza, to  which  latter  place  he  ultimately  fled) : 
even  passing  two  days  at  close  quarters  with  u 
newly-buried  corpse.  He  escaped  punishment  for 
some  time  for  this  escapade,  but  on  November  17, 

54 


15.19,  for  the  good  of  the  State,  he  wag  sent  into 
lifelong  exile,  and  his  life  declared  forfeit.  Never- 
theless this  harsh  sentence  was,  at  the  petition 
of  his  wife,  repealed  on  August  17th,  in  the  follow- 
ing year,  and  he  returned  to  his  country  house, 
wliere  he  shortly  afterwards  died.  Owing  to 
the  similarity  of  their  names  and  the  fact  that 
both  were  involved  in  political  difficulties,  constant 
confusion  has  arisen  in  the  minds  of  both  historians 
and  students  of  art  between  Pacchiarotti  and  a 
very  different  artistic  personalitj- — Girolamo  del 
Pacchia.  He  married  in  1505  Girolama,  daughter 
of  Scr  Alessandro  di  Francesco,  by  whom  he  had 
three  daughters,  Gabrielhi,  Virginia  and  Lucrezia. 
The  following  pictures  are  the  bcst-knownexamples 
of  his  work — • 
Buoiicon-  Church  of^ 
veuto.  <Si'.  I'ietro  e  vMadonna  and  four  Saints.  E. 
/'aolo.J 
Florence.  Aearlemv,  SI.  Visitation. 
London.  Mr.  C  liutler.  Four  small  panels  :  Nativity ; 
Baptism ;  Kesurrection  ; 

Pentecost. 
„  Mr.  Muir }  Moses,      David,      and      other 

Machfnzie.  j     Prophets. 
Rome.      Don    Marcello  )  Crucifixion. 

jila$.<aTcn1i.  \ 
ScotIan<t./-orc/  Kinnaird  )  l;„ti^ity. 
(Rossi e  Prion/),  i  ■' 

Siena.  Sola  IX.    0.     Five  Saints. 

„  „       X.  14.     Madonna   and   Saints  (in  lun- 

ette);Christ  with  SS.  Jerome 
aud  Francis. 
„  „       „    23.    Predella.    E. 

„  „       „    24.     Altar-piece ;  Ascension.     E. 

,,  „       ,,    31.     Visitation.     E. 

„  ,  D  ?    •  „■  ^  Holy  Family  ;   Madonna  with 

„     Palazzo  ^■'l'"^^;-  L    St    Jerome    and    a    female 

„     Church  of  the  Car- ] 
mine,  itii  Altar. R.i 

R:  H.  H.  C. 

PACE  DA  Faesza,  painter,  flourished  at  that  town 
in  the  14th  century.  His  works  were  of  a  grotesque 
character. 

PACE,  DoMENico  DI.    See  Beccafumi. 

PACE,  MrcHELASGELO,  called  Di  Campidoglio,  a 
painter  of  fruit  and  flowers,  was  born  at  Rome  in 
1610.  He  was  a  scholar  of  Fioravanti,  and  was 
called  '  Di  Campidoglio'  from  an  office  lie  held  in 
the  Campidoglio,  or  Capitol,  at  Rome.  There 
w.is  a  fine  picture  by  him  in  the  collection  of  the 
Duke  of  Marlborough  at  Blenheim,  and  many  others 
are  to  be  found  in  England.     He  died  in  1670. 

PACECCO.     See  Rosa,  Fp.ANcisro  di. 

PACELLI,  Matteo,  a  native  of  the  Basilicata, 
and  a  pupil  of  Luca  Giordano,  whom  he  followed 
into  Spain.     He  died  in  1731. 

PACHECO,  Cristobal,  a  Spanish  portrait  and 
history  painter,  who  flourished  about  1568.  He 
was  a  protege  of  the  Duke  of  Alva,  for  whom  he 
painted  many  pictures,  including  several  portraits. 

PACHECO,  Fkakci.'-co,  a  painter,  was  bom  at 
Seville  in  1571.  He  was  a  pupil  of  Luis  Fernandez, 
and  his  first  recorded  works  were  the  Standards  of 
the  Fleets  which  sailed  in  1594.  In  1598  he  exe- 
cuted the  paintings  for  the  Monument  erected  for 
the  funeral  honours  of  Philip  II.  In  1600  he 
painted  for  the  Convent  of  Mercv  some  scenes  from 
the  life  of  St.  Raymond,  and  in'  1603  the  fable  of 
'  Daedalus  and  Icarus  '  for  the  Duke  of  Alcala.  In 
1611  he  visited  Madrid,  and  on  his  return  to  Seville 
established  a  school  of  painting  in  his  own  house. 
In  1S12  he  painted  for  the  imns  of  St.  Isabel  his 
greatest  work,  the  '  Last  Judgment.'  In  1618  he 
was  appointed  inspector  of  pictures.     In  1620  he 


Saint. 
■  Ascension. 


JACOPO  PACCHIAROTTO 


1 1  'oodbury  Co.  pholo]  ^XjlUnal  Gallery 

THE  MADONNA  AND  CHILD 


PAINTERS  AND  ENGRAVERS. 


painted  '  The  Baptism  of  our  Lord,'  and  '  His 
Banquet  served  by  Angels  in  the  Desert,'  for  the 
high  altar  of  the  college  of  St.  Hermengild.  In 
1623  he  visited  Madrid  with  his  son-in-law  Velas- 
quez, where  he  resided  till  1625.  On  his  return  he 
devoted  himself  chiefly  to  the  pen,  and  wrote  the 
'  Treatise  of  Painting,'  which  was  published  in 
1649.  He  died  at  Seville  in  1654.  The  Madrid 
Mtiseo  possesses  the  following  examples  of  his 
work  : 

St.  Ints. 

St.  Catalina. 

St.  John  the  Evangelist. 

St.  John  the  Baptist. 

PACHELBLIN,  Amalia,  a  German  flower- 
painter,  who  was  working  at  Nuremberg  between 
1686  and  1723.  The  details  of  her  life  are  un- 
known. 

PACKER,  Michael,  a  painter  who  flourished  in 
the  latter  part  of  the  15th  century.  He  was  a 
native  of  Bruneck  in  the  Tyrol,  and  his  chief  work 
is  an  altar-piece  at  Wolfgang  in  Salzkame  gut, 
dated  1481. 

PACHMANTf.     See  Baciimann. 

PACICCO.    See  Kosa,  Francisco  di. 

PACINI,  BiAGio  ni  Fbani'ESCO,  a  Florentine 
painter,  who  was  living  in  1525,  according  to  the 
Ruolo  de'  Pittori.  Signer  Milanesi  suggests  that 
he  was  identical  with  the  Biagio,  a  pupil  of  Sandro 
Botticelli,  of  whom  Vasari  tells  an  absurd  story  in 
connection  with  tlie  sale  of  a  picture  by  him  to  a 
citizen. 

PACINI,  Santi,  an  obscure  Florentine,  who  lived 
towards  the  end  of  the  eighteenth  century.  He 
made  the  copy  which  took  the  place  of  Andrea  del 
Sarto's  '  Deposition  '  in  the  convent  of  S.  Pietro  in 
Mugello,  when  the  original  picture  was  removed 
to  the  Pitti  Palace. 

PACK,  CnEiSTOPHER,  an  English  portrait  painter, 
bom  at  Norwich,  in  1750.  Brought  up  to  trade,  he 
suffered  some  losses,  and  then  devoted  himself  to 
art.  He  came  to  London,  and  was  introdoced  to 
Sir  J.  Reynolds,  whose  pictures  he  copied.  Sub- 
sequently he  practised  as  a  portrait  painter  at 
Norwich,  Liverpool,  Dublin,  and  London,  where 
he  is  Last  heard  of  in  1796. 

PACOT,  was  a  n.ative  of  France,  and  flourished 
about  the  year  1690.  He  engraved  some  plates  of 
bnttlesandsea-fights,  which  are  etched  and  finished 
with  the  graver. 

PACUVIUS.  the  Roman  tr.igic  poet,  practised 
painting  by  way  of  amusement  in  his  old  age,  and 
executed  some  much-admired  works  in  the  Temple 
of  Hercules,  about  150  c.r.  After  his  time,  Pliny 
tells  us,  no  worthy  painter  arose  among  the 
Romans.  The  art,  in  fact,  fell  into  disrepute,  and 
scarcely  any  but  slaves  and  foreigners  were  found 
to  practise  it  at  all. 

PADER,  HiLAiKE,  painter  and  engraver,  flour- 
ished at  Toulouse  in  the  middle  of  the  17th  century. 
He  was  a  pupil  of  Chalette,  and  painted  several 
views  of  Toulouse. 

PADERNA,  Giovanni,  was  bom  at  Bologna 
about  the  year  1600,  and  w.as  a  scholar  of  Girolamo 
Curti  (Dentone).  under  whom  he  became  an  emi- 
nent painter  of  perspectives  and  architecture.  After 
the  death  of  Dentone  he  was  much  employed,  ami 
his  success  was  such  as  to  excite  the  jealousy  of 
Agostino  Mitelli,  one  of  the  ablest  artists  in  that 
branch.  Of  his  numerous  works  at  Bologna,  the 
decorations  of  the  Capella  Zagoni,  in  the  church  of 


La  Madonna  della  Liberta,  are  considered  among 
his  best  performances.  He  died,  according  to  some, 
in  1640  ;  butZani  says  he  was  living  in  1647. 

PADERNA,  Paolo  Antonio,  was  born  at  Bologna 
in  1649,  and  for  some  time  studied  under  Guercino. 
On  the  death  of  that  master  he  entered  the  school 
of  Carlo  Cignani.  Although  he  acquired  some 
celebrity  as  an  historical  painter,  he  was  more 
distinguished  for  his  landscapes,  which  are  in  the 
style  of  his  first  instructor.     He  died  in  1708. 

PADERNI,  Camillo,  a  Neapolitan  painter,  who 
flourished  in  the  18th  century.  He  came  to  Eng- 
land, where  he  made  several  drawings  from  old 
pictures.     He  died  about  1770. 

PADOVA,  Girolamo  da.     See  Sordo. 

PADOVA,  GiusTO  DA.     See  MENABUor. 

PADOVANINO,  Francesco,  was  bom  at  Padua 
in  1561.  It  is  not  known  by  whom  he  was  in- 
structed in  the  art,  but  he  painted  history  with 
some  success.  One  of  the  most  esteemed  of  his 
works  is  a  picture  representing  a  Saint  interceding 
for  two  criminals  condemned  to  death,  in  the 
church  of  La  Madonna  del  Carmine,  at  Venice. 
He  also  was  much  employed  in  painting  portraits. 
He  died  in  1617. 

PADOVANINO,  II  (Alessandro).    See  Varo- 

TARI. 

PADOVANINO,  II  (Ottavio,  son  of  Ludovico). 
See  Leoni. 

PADOVANINO,  Ottavio,  the  son  of  Fr.mcesco 
Padovanino,  was  born  at  Padua  about  the  year 
1582.  After  studying  some  time  under  his  father, 
he  was  sent  to  Rome  for  improvement.  He  ac- 
quired some  celebrity  as  an  historical  painter,  but 
was  chiefly  engaged  in  portrait  painting,  in  which 
he  was  more  successful.     He  died  in  1634. 

PADOVANO,  Gasparo.     See  Ostello. 

PADOVANO,  Girolamo.     See  Sordo. 

PADOVANO,  Lauro.  In  the '  Venezia  De.scritta,' 
by  Sansovino,  this  painter  is  said  to  have  been  « 
native  of  Padua,  and  a  scholar  of  Francesco  Squar- 
cione.  He  was  a  successful  imitator  of  the  style 
of  Andrea  Mantegna,  and  painted  for  the  church 
of  La  Carith,  at  Venice  some  subjects  from  the  life 
of  St.  John,  which  rank  among  the  most  cnilitable 
productions  of  the  time.  He  is  st.ittd  by  the  above 
author  to  have  flourished  about  the  year  1420.  It 
is  expected,  however,  that  he  is  one  with  Lfturo, 
or  Laura  da  Padova,  who  lived  to  a  mucli  later 
period  :  Zani  says  he  was  at  work  from  1470  to 
1500. 

PADRO  Y  PEDRET,  Tomas,  designer  and  painter, 
was  born  at  Barcelona  in  1S40,  and  died  there  in 
1877.  He  was  a  pupil  of  the  school  of  art  in  that 
city.and  of  the  Academy  of  San  Fernando,  studying 
under  Madrazo  and  Riviera,  and  being  specially 
distinguished  for  his  caricatures. 

PADTBRUGGE,  H.  L.,  was  a  native  of  Stock- 
holm, and  flourished  about  the  year  1700.  He- 
engraved  the  greater  part  of  the  plates  for  a  work 
entitled  'Suecia  Antiqua  et  Ilodierna,'  published 
in  three  vols,  folio;  the  first  in  1693,  the  Last  in 
1714.  It  contains  about  three  hundred  and  fifty 
plates,  consisting  of  bird's  eye  views  .and  maps. 

PAELINCK,  JosKPH,  an  historical  painter,  was 
born  at  Oostacker,  near  Ghent,  in  1781.  He  com- 
menced his  artistic  studies  umler  Verhaeiren,  the 
professor  of  painting  at  the  Academy  of  Ghent  ; 
after  this  he  went  to  Paris,  and  enrolled  himself 
among  the  scholars  of  David.  In  1804  he  obtained 
a  prize  offered  by  the  Academy  at  Ghent,  with  his 
picture  of '  The  Judgment  of  Paris,'  and  was  also 

55 


A   BIOGRAPHICAL  DICTIONARY  OF 


named  Professor  of  Design  to  the  Academy.  He 
shortly  after  vacated  this  appointment,  and  went 
to  Italy  in  order  to  study  the  works  of  tlie  great 
masters.  Here  he  corrected  mucli  of  tlie  academic 
manner  which  he  had  imbibed  in  the  school  of 
David,  and  produced  what  is  considered  his  best 
picture,  'The  Finding  of  the  Cross,'  which  is  now 
in  the  church  of  St.  Michel  at  Ghent.  He  remained 
at  Rome  for  about  live  years,  and  during  that  time 
he  painted  a  large  picture  for  the  palace  of  the 
Pope  at  Monte-Cavallo,  representing  the  embellish- 
ments of  Home  by  Augustus.  In  1816  ho  became 
court  painter  to  the  queen,  and  a  member  of  the 
Netherlands  Institu:e.  In  1820  he  obtained  the 
great  prize  at  Ghent  for  his  '  Anthia.'  Finally  he 
became  professor  at  the  Academy  of  Brussels.  He 
died  in  that  city  in  1839.  His  principal  pictures, 
in  addition  to  the  above,  are  : 

The  Adoration  of    the   Shepherds.      (Convent  of  La 

Trappe^  near  Antwerp.) 
The  Flight  iuto  Kgypt.     {At  ^fa!ines.) 
The  Departure  of  Tubit.     ((pbraeke/,  near  Oudenarde.) 
The  Ketiim  of  Tobit.     (For  Maria  Oiidenhore.) 
The  Assumption  of   the  Virgin.     (For  Muysen,  near 

Malincs. ) 
The  Disciples  at  Emmaus.     (Church  at  Eeerghem,  mot 

Ghent.) 
Calvary.     (Village  of  Oostacker.) 
The  Toilette  of  P>yche.     (Hai/ue  Museum.) 
The  Dance  of  th<'  Muses. 
Tlie  .luflgment  of  Midas. 
The  Abdication  of  Charles  V. 

PAESI,  li,  GiovANE  DE.    See  Muziano. 

PAKST,  Henry,  a  portrait  painter  and  copyist, 
•wlio  practised  in  England  in  the  latter  half  of  the 
17th  cetitury.  He  worked  under  Henry  IStonc  and 
Francis  Barlow.  There  was  a  copy  by  him  of 
Eiica  Giordano's  '  Cyclops  '  at  St.  James's  Palace. 
He  died  in  1G97. 

PAGANELLI,  NlccoLO,  a  painter  of  Faenza 
born  in  1538.  He  worked  chiefly  at  Rome,  but 
■executed  a  famous  picture  of  '  St.  Martin  '  for  the 
cathedral  of  Faenza,  which  has  been  ascribed  to 
Liica  Longhi.  He  died  in  1620.  PagancUi  signed 
his  pictures  N  +  P. 

PAGANI,  FnANCESCO,  was  born,  according  to 
Baldinucci,  at  Florence  in  1531.  After  learning  the 
first  rudiments  of  art  in  his  native  city  he  went  to 
Rome,  where  he  studied  the  works  of  Polidoro  da 
Caravaggio  and  Maturino.  He  returned  to  Florence 
at  the  age  of  twenty-one,  and  died  young  at 
Castelfiorentino  in  1561. 

PAGANI,  Gregorio,  the  son  of  Francesco 
Pagani,  was  born  in  1568.  Ilis  fatlier  dying  when 
he  was  an  infant,  he  was  placed  as  a  disciple  of 
Santo  di  Titi,  and  afterwards  improved  his  style  by 
the  instruction  of  Lodovico  Cardi,  called  Cigoli. 
In  imitation  of  the  style  of  that  master,  he  pointed 
a  picture  of  'The  Finding  of  the  Cross,' for  the 
church  of  the  Carmelites,  of  wliich  a  i>rint  by 
Cecchi  is  the  only  record.  The  church  was  de- 
stroyed by  fire.  Some  of  his  fresco  works  remam 
in  the  cloister  of  Santa  Maria  Novella,  Florence, 
including  a  '  Nativity.'  His  own  portrait  by  him- 
self is  in  the  Kiccardi  Gallery  of  the  same  city, 
and  in  the  Uffizi  there  is  a  '  Family  uf  Tobit'  by 
him.     Baldinucci  dates  his  death  in  1605. 

PAGANI,  Paolo,  was  bom  at  Valsolda,  in  the 
Milanese  state,  in  1661.  He  formed  his  manner 
by  studying,  at  Venice,  the  works  of  the  best 
masters,  and,  according  to  Zanetti,  established 
there  an  academy,  where  he  introduced  a  style  of 
designing   the   nude,  which,  though  occasionally 

56 


surcharged  and  extravagant,  is  bold  and  effective. 
After  a  residence  of  some  years  at  Venice,  where 
he  painted  several  pictures  for  the  churches,  he 
returned  to  Milan,  and  was  much  employed  for  the 
public  edifices  and  for  private  collections.  One  of 
Ilis  best  works  is  in  the  Dresden  Gallery.  He  died 
in  1716. 

PAGANINI,  GuGLlELMO  Capodoko,  was  born, 
according  to  Orlandi,  at  Mantua  in  1670,  and  wag 
a  scholar  of  Antonio  Calza.  His  genius  led  him  to 
paint  battles  and  encampments,  but  having  seen 
some  of  the  pictures  of  ISorgogiione  at  Florence, 
he  attached  himself  to  the  study  and  imitation 
of  that  artist's  works.  No  particulars  as  to  his 
iM<lividnal  works  appear  to  be  iceorded. 

PAGE,  William,  American  painter;  born  January 
28,  1811,  at  Albany  (New  York)  ;  became  a  pupil 
of  Herring  and  of  S.  Morse.  Lived  at  Florence 
and  Rome  from  1840  to  1860;  in  1874  visited 
Kesselstudt  to  make  a  drawing  of  the  Shakespeare 
Death  M.ask.  His  '  Holy  Family '  is  in  the  Boston 
Athenaeum.  He  occasionally  painted  portraits. 
He  died  at  Tottenville,  Staten  Island  (New  York), 
September  30,  1885. 

PAGGI,  Giovanni  Battista,  (or  Pagi,)  was 
bom  at  Genoa  in  1554  or  1556.  He  was  first  a 
scholar  of  Luca  Carabiaso,  and  improved  himself 
in  design  by  studying  antiijue  statues  and  bas- 
reliefs.  He  had  acquired  some  reputation  as  a 
painter  of  history,  when  he  unhappily  killed  an 
antagonist  in  a  qunrrel,  which  obliged  him  to  take 
refuge  at  Florence,  where  he  resided  twenty  years. 
His  first  productions  were  rather  distinguished  by 
grace  than  energy,  as  his  '  Holy  Family '  in  the 
church  Degli  Angeli,  at  Florence,  proves.  He 
afterwards  adopted  a  manner  more  robust  and 
masculine  ;  and  his  large  work  of  the  '  Tianfigura- 
tioii,'  in  the  church  of  San  iMarco,  is  painted  with 
such  vigour  and  effect,  that  it  does  not  appear  to 
be  by  the  same  hand.  Another  of  his  earlier  works 
is  his  '  St.  Catherine  of  Siena,'  in  Santa  Maria 
Novella  of  the  same  city.  Lanzi  mentions  as  his 
finest  works,  three  subjects  from  the  Passion  of 
our  Saviour,  at  the  Certosa  at  Pavia.  His  best 
performances  at  Genoa  are  two  jiieturcs  in  the 
church  of  St.  Bartolommeo,  and  'The  Murder  of 
the  Innocents,'  in  the  Palazzo  Doria,  painted  in 
1606,  in  competition  with  Rubens.  He  died  in 
1627.  He  was  also  a  sculptor,  architect,  and 
writer  on  art. 

PAGHOLO.     See  Bartolojimeo  pi  Pagholo. 

PAGLIA,  Antonio,  a  native  of  Brescia,  born  in 
1680,  was  a  son  and  pupil  of  Francesco  Paglia. 
He  died  in  1747.  His  brother  Angelo  was  born 
in  1681,  and  died  in  1763.  Antonio  was  in  the 
habit  of  painting  from  groups  of  little  clay  figures 
modelled  by  himself,  by  which  means  he  obtained 
a  piquant  chiaroscuro.  In  colour  he  was  akin  to 
the  second-rate  Veneti,iDS. 

PAGLIA,  Francesco,  was  born  at  Brescia  in 
1636,  and  was  brought  up  in  the  school  of  Guer- 
cino.  He  painted  some  pictures  for  the  public 
edifices  at  Brescia,  of  wliich  the  most  distinguished 
is  an  altar-piece,  in  the  church  of  La  Carita. 
His  best  productions  are  his  portraits.  According 
to  Zani  he  died  in  1713. 

PAGLIARI,  Giovanni  Battista,  a  painter  of 
Cremona,  was  born  in  1641.     He  died  in  1717. 

PAGNEST,  Amable  Louis  Claude,  French 
painter,  born  June  9,  1790,  in  Paris,  and  became 
a  pupil  of  David.  He  painted  rather  over-elahor- 
ately-finished  portraits ;  as,  for  instance,  those  of 


PAINTERS   AND  ENGRAVERS. 


Nanteuil  Lanorville  (in  the  Louvre)  and  of  General 
de  Salle  (also  in  the  Louvre).  His  'Mort  de 
Lucrfece '  is  in  the  Angers  Museum.  He  died  in 
Paris,  May  25,  1819. 

PAGNI,  Benedetto,  was  a  native  of  Pescia,  and 
•was  brought  up  at  Rome  in  the  school  of  Giulio 
Romano.  He  followed  that  master  to  Mantua, 
where  he  distinguished  himself  as  a  painter  of 
history.  In  the  church  of  Sant'  Andrea  is  an  altar- 
piece  by  liira  of  the  Martyrdom  of  St.  Lorenzo ; 
and  at  the  CMllegiati,  a  picture  of  the  Marriage  of 
Cana.  Zani  says  he  was  at  work  from  1525  to 
1570. 

PAIGEOLINE  (or  Paigeloine).  The  name  of 
this  engraver  is  affixed  to  a  slight  etching  from 
a  picture  by  Paolo  Veronese,  representing  the 
'Mother  of  Xloses  brought  to  Pharaoh's  Daughter.' 

PAILLET,  Aktoi.ne,  a  pupil  of  Bourdon,  was 
bom  in  Paris  in  1659,  and  died  in  1739.  He  was 
a  portrait  and  historical  painter,  and  professor  of 
the  Royal  Academy  of  Paris.  In  1659  he  was 
rector  of  that  institution. 

PAINE,  James,  a  water-colour  dranghtsman,  was 
a  son  of  James  1  aine,  the  architect.  He  exhibited  at 
the  Spring  Gardens  Exhibitions  in  1761-64-70,  and 
was  a  member  of  the  St.  Martin's  Lane  Academy. 

PAIOT,  ■ — ,  was  a  French  engraver  of  little  note, 
who  appears  to  have  been  chiefly  employed  by  the 
booksellers.  Among  others,  there  is  a  print  by 
him  of  '  Uavid,'  a  half-length  figure,  after  Vignon. 
He  lived  about  1627. 

PAJOU,  Aoguste  Desire,  was  the  son  of  Jacques 
Augustin  Pajou.  He  was  born  in  1800,  and  studied 
under  his  father  and  Baron  Gros.  His  best  work 
is  '  Las  Casas  and  his  Guides  attacked  by  a  Tiger.' 

PAJOU,  Jacques  AnousxiN,  historical  painter, 
was  born  in  Paris  in  1766.  His  father  was  the 
famous  sculptor,  Augustin  Pajou.  He  was  in- 
structed in  painting  by  Vincent.  At  first  he  painted 
portraits,  among  which  were  those  of  the  Emperor 
Napoleon  and  several  of  his  Marshals.  He  after- 
wards took  to  historical  scenes,  among  which  an 
'CEJipus  and  Polynices,'  at  Fontainebleau,  may  be 
named. 

PALACIOS,  Francisco,  a  Spanish  painter,  was 
born  at  Madrid  about  1640.  He  entered  the  school 
of  Velasquez,  and  early  gave  indications  of  a  talent 
for  portraiture,  but  the  death  of  his  master  in  1660 
appears  to  have  put  a  limit  to  his  progress.  Jean 
Bermudez  notices  his  picture  of  'St.  Onophrius,' 
in  the  church  of  the  female  penitentiary.  He  died 
in  1676. 

PAL.\DINI,  Arcangela,  was  bom  at  Pisa  in 
1599.  She  was  the  daughter  of  FiLipro  Paladini, 
a  portrait  painter,  by  whom  she  was  instructed  in 
the  rudiments  of  the  art.  Her  talents  were  not 
confined  to  painting,  for  she  excelled  in  music, 
and  above  all  in  embroiderj'.  Her  portrait,  painted 
by  herself,  was  placed  in  the  gallery  of  artists  at 
Florence.     Slie  died  in  1622. 

PALADINI,  LiTTERio.  In  the  'Meinorie  de' 
Messineei  Pittore,'  by  Hackert,  this  painter  is  said 
to  have  been  born  at  Messina  in  1691.  He  worked 
at  Rome,  in  the  school  of  Sebastiano  Conca.  but 
studied  largely  from  the  antique.  On  his  return 
to  Messina,  he  was  engaged  in  several  considerable 
works  in  fresco,  of  wliich  the  most  esteemed  is  the 
ceiling  of  the  church  of  Monte  Vergine.  He  died 
of  the  plague  in  1743. 

PAL.\DINO,  FiLirPo,  a  native  of  Florence,  was 
bom  in  1544.  He  was  a  pupil  of  Allori.  He  lived 
in  Rome  and  Milan,  but  chiefly  in  Sicily,  where 


most  of  his  works  are  to  be  found.  He  died  at 
Mazzarino  in  1614. 

PALAGI,  Pelagio,  historical  painter,  was  bom 
at  Bologna  in  1775,  and  was  a  pupil  of  Appiani. 
In  the  time  of  Napoleon  he  was  director  of  the 
Academy  at  Rome,  and  later  on  a  professor  in  that 
at  .Milan,  and  member  of  that  of  San  Luca.  He 
died  at  Turin  in  1860. 

PALAIS.     See  Pelais. 

PALAMEDES.     See  Stievens. 

PALAVICINI,  Giacomo,  called  II  Giannolo, 
was  born  at  Caspen  in  the  Veltlin,  in  1640.  Altar- 
pieces  by  this  artist  are  found  at  Cremona,  Verona, 
and  Milan.  He  also  painted  a  few  portraits.  He 
died  in  1729. 

PALCKO,  Franz  Karl,  son  of  Anton  Palcko 
(who  died  at  Pre.sburg  in  1754),  was  born  at 
Breslau  in  1724.  He  was  first  a  pupil  of  his  elder 
brother,  Franz  Anton,  at  Presburg  and  then  at- 
tended the  Vienna  Academy  and  travelled  in  Italy. 
In  1752  he  became  court  painter  at  Dresden,  and 
in  1764  at  Munich.  He  died  in  1767,  apparently 
at  Prague.     Among  his  paintings  are  : 

.Tudith  and  Ilolofemes. 

Deiivirance  of  Captives.     (Trinitarians,  Prubury.) 

St.  Jolin.    {Dresden  Court  L'hapel.) 

Two  etchings  by  him  are  known  : 

Christ  and  the  Samaritan  Woman. 
Adam  and  Eve  hiding  themselves  ia  Fear. 

His  brother,  Franz  Anton  Palcko,  was  a  pupil 
of  his  father,  and  became  court  painter  to  Prince 
Esterhazy.  He  has  left  altar-pieces  in  the  cathedral 
and  in  the  Salvatorskirche,  at  Vienna. 

PALING.     See  Pacly.v. 

P.\LISSY,  Bernard,  was  bora  about  1510,  at  La 
Chapelle  Biron,  a  village  in  Perigord.  He  was 
brought  up  to  his  father's  trade  of  a  glazier,  but 
having  a  taste  for  drawing,  design,  and  decoration, 
he  turned  it  to  account  in  painting  glass  for  churches 
in  the  district.  At  the  age  of  twenty-one  he  set 
out  on  his  travels.  He  first  went  into  the  country 
of  the  Pyrenees,  and  after  settling  for  a  time  at 
Tarbes,  he  went  through  France,  Switzerland,  and 
Southern  Germany  to  Belgium  and  Flanders.  He 
returned  to  France  in  1539,  and  settled  atSaintonge 
in  the  south-west,  where  he  married,  and  pursued 
his  manifold  callings  of  portrait  painting,  glass 
painting,  and  land-measuring.  While  thus  en- 
gaged he  was  seized  with  the  desire  to  produce 
enamelled  faience,  and  his  ardour  in  prosecuting 
his  researches  is  well  known.  His  fame  as  a  potter 
spread,  and  he  soon  attracted  the  notice  of  the 
Duke  of  Montmorency,  Constable  of  France,  who 
by  using  his  influence  with  Catharine  de'  Medicis, 
saved  Palissy  from  being  burnt  as  a  Huguenot. 
After  his  release  from  imprisonment  he  removed 
from  Saintonge  to  the  Tuileries  at  Paris,  where  he 
long  continued  to  carry  on  the  manufacture  of  his 
famous  pottery.  At  the  age  of  seventy-six  he  was 
again  arrested  as  a  heretic  and  imprisoned  in  the 
Bastile,  where  he  died  after  about  a  year's  imprison- 
ment, in  the  year  1588. 

PALIZZI,  FlLirpo,  Italian  painter ;  bom  at 
Vasto  in  1818;  ciriginally  intended  for  the  law, 
hut  studied  art  at  the  Naples  Art  Scliool  with 
Bonolis,  and  also  at  Paris  ;  excelled  in  landscape 
and  as  a  painter  of  animals.  He  presented  his 
best  paintings  to  the  National  Gallery  of  Rome, 
where  there  is  a  special  Sala  Palizzi,  His  last 
work  was  an  '  Agnus  Dei,'  which  he  presented  to 
his  native  town.     He  obtained  many  decoratione 

57 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  was  a  member  of  rariona  Academies.    He  died 
at  Naples  in  September  1899. 

PALLADINO,  Adbiano,  according  to  Orlandi, 
was  born  at  Cortona  in  1610,  and  was  a  scholar  of 
Berrettini  (Pictro  de  Cortona).  He  painted  history 
in  the  style  of  his  muster,  and  executed  several 
works  for  the  public  editices  of  his  native  city 
He  died  in  1680. 

PALLAVICINI,  Leo,  appears  to  have  resided  at 
Milan  in  the  early  part  of  the  17th  century.  He  is 
said  to  have  published  some  prints  marked  with 
the  initia!.-*  L.  I'.f. 

PALLIERE,  Armand  Julien,  a  painter  of  Bor- 
deaux, was^  bom  in  1783.  He  was  a  brother  of 
Louis  Palliere,  and  was  also  instructed  by  Vincent. 
He  painted  mythological  and  historical  pictures, 
such  as  '  The  Death  of  Epaminondas,'  '  Love,'  and 
others. 

I'ALLlfeRE,  LoiTis-ViNCENT-L£oN,  a  French  his- 
torical paiTiter,  was  born  at  Bordeaux  in  1787.  He 
was  a  scholar  first  of  his  father,  wlio  was  an  en- 
graver and  draughtsman,  and  then  of  Vincent,  and 
gave  early  promise  of  arriving  at  excellence  in  the 
art.  In  1809  he  obtained  a  second  prize  for  his 
'Priam  kneeling  before  Achilles,'  and  in  1812  the 
Prix  de  Rome  for  his  '  Ulysses  slaying  the  Suitors 
of  Penelope.'  At  Rome,  where  he  remained  five 
years,  he  painted  '  Argus  slain  by  Mercury  ; ' 
'Prometheus  tormented  by  the  Vulture;'  'The 
Flagellation  of  Christ'  (for  which  Louis  XVIII. 
awarded  liim  a  gold  medal:  it  was  painted  for 
the  church  of  the  Trinita  de'  Monti)  ;  and  '  Juno 
borrowing  the  Girdle  of  Venus.'  In  1819  he  ex- 
hibited at  the  Mus(5e  '  St.  Peter  curing  the  Lame 
Man';  '  Tobit  restoring  Sight  to  his  Father' 
(now  in  the  Bordeaux  Museum);  'A  Shepherd  in 
Repose';  'A  Nymph  coming  from  the  Bath': 
'  Preaching  at  Rome  during  the  Night'  ;  and  other 
subjects.     He  died  in  1820. 

PALM,  Gns'JAV  Wh.lem,  Swedish  painter;  bom 
March  14,  1810,  at  Christianstad  ;  was  a  pupil  at 
the  Stockholm  Academy  ;  after  travel  in  Scandi- 
navia he  spent  sixteen  years  in  Italy,  and  sub- 
sequently visited  France  and  England  ;  made  his 
name  as  a  landscape  painter  ;  his  '  Canal  Grande ' 
is  in  the  Stockholm  National  Museum ;  was  a 
member  of  the  Stockholm  and  Venice  Academies. 
In  1867  obtained  the  Gustavus  Vasa  Order.  He 
died  at  StockJiolm,  September  20,  1890. 

PALMA,  Jacopo,  later  on  called  Palma  il 
Vecchid,  to  distinguish  him  from  his  grand-nephew, 
was  born  at  Serinalta,  in  the  Valle  Brembana,  near 
Bergamo.  Of  his  life  little  is  known ;  to  begin 
with,  the  exact  year  of  his  birth.  The  date  1480, 
usually  given,  is  quite  uncertain  and  based  only 
on  Vasari's  statement,  that  Palma  died  forty-eight 
years  old — an  event  which  took  place  in  1528. 
Anyhow  it  may  be  the  approximate  date  when 
he  was  born.  The  verj'  few  indisputable  facts 
of  his  life  and  artistic  career  are  now  collected 
and  discussed  in  an  article  by  Dr.  G.  Ludwig  in 
'  Beiheft  7..  Jahrbuch  d.  K.  Preuss.  Kunst-sanunl. 
1903.'  His  family  name  was  Negretti  ;  "lacoino 
de  Antonio  de  Negreto "  he  signs  himself  in 
earlier  documents.  When  he  first  came  to  Venice, 
and  who  was  his  master,  we  do  not  know.  For 
only  two  of  his  paintings  we  possess  the  dates. 
In  1520  he  undertook  to  paint  an  altar-piece  for 
the  church  of  Sant*  Antonio  in  Venice,  on  the 
order  of  Marin  Querini  ;  of  this  picture,  which 
represented  the  marriage  of  the  Virgin,  only  a 
fragment,  the  central  part,  is  preserved  (Palazzo 

58 


Giovanelli,  Venice).  In  1525  he  signed  a  contract 
with  a  lady  of  the  Malipero  family  to  paint  for  her 
an  altar-piece,  representing  the  '  Adoration  of  the 
Magi,'  which  was  to  be  put  on  the  high  altar  of 
the  church  of  S.  Elena  at  Venice,  and  is  now  in 
the  Brera  at  Milan.  On  July  28,  1528,  he  made  his 
will,  and  died  two  days  later.  On  August  8  an 
inventory  of  Ins  goods  was  made  which  gives  us 
the  list  of  about  forty-six  pictures  which  remained 
in  his  studio  in  very  different  states  of  accomplish- 
ment, many  of  which,  finished  by  his  pupils,  are 
still  preserved  in  various  collections.  Palma  was 
never  married.  The  famous  Violante,  who  is  said 
to  have  been  Raima's  daughter  and  "Titian's  mis- 
tress, is  a  pure  invention  of  a  later  time.  He  left 
his  fortune  to  two  nephews  and  a  niece,  children 
of  his  brother  Bartolomeo.  Ilis  nephew  Antonio 
became  too  a  painter ;  a  signed  picture  of  his,  re- 
presenting the  '  Resurrection  of  Christ,'  is  in  the 
Stuttgart  Gallery.  The  son  of  this  Antonio,  Jacopo, 
was  afterwards  highly  renowned  as  "Palma  il 
Giovine." 

Palma  never  signed  or  dated  a  picture.  (The 
much-discussed  signature  on  the  '  Holy  Conversa- 
tion' in  the  Chantilly  Collection  is  now  generally 
accepted  as  a  forgery.)  This  fact,  together  with 
the  very  few  dates,  and  even  these  only  of  his 
later  years,  known  from  documents,  makes  the 
difficulty  of  tracing  his  artistic  development  easy 
to  be  understood,  the  more  so  as  the  character  of 
his  painting  has  undergone  only  slight  variations 
during  the  various  decades  of  his  life.  As  it  was 
with  all  painters  born  in  the  Bergamask  province, 
his  art  preserved  for  ever  a  strong  character  of 
provincialism  which  distinguished  him  at  once 
from  the  inborn  Venetians.  He  must  have  had 
his  first  instruction  with  one  of  the  Quattrocentist 
masters  who  did  follow  more  the  older  traditions. 
One  may  guess  it  from  the  fact  that  he  painted 
many  pictures  of  the  Virgin  with  Saints  and 
Donors  in  half-figures,  like  one  of  the  generation 
of  later  Quattrocento,  Bissolo,  Catena  or  Cima,  and 
that  some  of  his  altar-pieces,  among  which  his 
most  famous,  have  the  form  of  a  polyptych,  which 
occurs  quite  exceptionally  in  the  16th  century. 
But  this  Quattrocentistic  element  is  to  be  dis- 
covered only  on  the  outside  of  his  art ;  his  treat- 
ment of  the  form,  his  sense  of  colouring,  his 
understanding  of  nature,  give  him  his  position 
with  themasters  of  the  Cinquecento,  with  Giorgione, 
Titian,  and  Sebastiano.  So  he  has  in  Venice  a 
position  not  unlike  Fra  Bartolommeo  in  Florence, 
as  an  artist  who  invested  tlie  composition  of  a  pre- 
vious period  with  the  form  of  the  classic  style  in 
Italian  art.  But  it  is  not  only  this  to  give  him  a 
quite  distinct  position  in  the  history  of  Venetian 
art.  He  has  perhaps  not  introduced,  but  surely 
developed  more  than  any  one  of  his  contemporary 
artists,  the  theme  generally  characterized  as '  Holy 
Conversation ' ;  this  means  the  reunion  of  various 
Saints  round  the  Holy  Family  sitting  on  the 
meadow,  with  the  background  of  some  dark  trees 
and  a  large  view  of  the  landscape,  up  to  the  blue 
mountains.  Again  and  again  he  repeated  this 
theme,  which  became  more  popular  afterwards 
through  his  pupil  Bonifazio.  Besides  tliis,  Venetian 
art  is  indebted  to  Palma  for  certain  pictures  of 
beautiful  women  in  half-length  figure,  not  por- 
traits, but  figures  of  highly  ideal  forms,  looking 
out  to  the  spectator  with  a  somewhat  sensual 
expression.  The  Vienna  Gallery  is  especially  ricli 
in  tfiat  genre  of  paintings  by  Palma,  but  specimens 


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PAINTERS  AND  ENGRAVERS. 


of  it  are  to  bp  found  in  the  more  important  art 
collections  of  Europe,  some  of  them  bearing  still 
the  names  of  more  famous  artists,  e.g.  tlie  so-called 
'  Schiava  di  Tiziano '  in  the  Barberini  Palace,  or 
the  '  Bella,'  also  ascribed  to  Titian,  when  it  be- 
longed   to    the    Sciarra    Collection.     The  finest 
picture  of  this  group  is  the  picture  of  the  'Three 
Sisters'  (1525)  in  the  house  of  Taddeo  Contarini, 
and  now  preserved  at  Dresden.     Like  all  artists  of 
his  generation,  he  painted  mythological  subjects, 
but   the   most   of  them   are    lost,  and   only   two 
pictures   of   'Venus,'  i.e.   of    a  nude   recumbent 
figure,    are    preserved    (Cambridge    Gallery   and 
Dresden).     Almost    in   a   mythological   sense   he 
painted  the  very  beautiful  picture  of  '  Adam  and 
Eve,'  once  in  the  house  of  Francesco  Zio,  now  at 
Brunswick,  and  like  a  genre-scene  the  meeting  of 
Jacob  and  Rachel,  in  the  midst  of  a  glorious  huid- 
Bcape  scenery    (Dresden).     The   number    of    his 
altar-pieces  is  not  very  large,  but  among  them  is 
the  polyptych  with  tlie  St.  Barbara  in  the  centre, 
in  Sta.  Maria  Formosa  at  Venice,  painted  for  the 
Venetian  Bombardiers,  by  far  the  best  and  doubt- 
less Palma's  masterpiece ;  another  very  beautiful 
painting  is  the  Virgin  enthroned,with  various  Saint.s, 
and  an  Angel  playing  an  instrument  at  her  feet,  in  S. 
Stefano  at  Vicenza  ;  others  are  to  be  found  in  the 
Venetian  Academy,  at  Zerman,  at  Serin.ilta  (this 
is  said  to  be  of  a  hasty  execution),  in  the  Brera 
(by  a  pupil  in  part),  and  other  places  near  Bergamo. 
As  a  portrait  painter  Palma  did  not  excel,  because 
he  seems  not  to  have  been  gifted  with  the  sense 
for  the   individual.     Fine  portraits   of  his   are  a 
gentleman  and  a  lady  (unfinished)  of  the  Querini 
family,  still  preserved  in  the  family  p;ilace  (now 
Querini-Stampalia  Gallery),  both  described  in  the 
inventory  of  Palma's  goods,  but  nevertheless  given 
by  modern  critics  to  Giorgione.     His  finest  por- 
trait, and  almost  to  be  called  an  ideal  creation,  is 
the  once-called  'Ariosto'  in  the  National  Gallery, 
erroneously  ascribed  sometimes  to  Giorgione.     A 
word  is  to   be  said  on  a  famous   picture  which 
I  Vasari  was  the  first  to  give  to  Palma  Vecchio,  but 
after  having  ascribed  the  self-same  picture  in  the 
first  edition  of  his  lives  to  Giorgione.     This  is  the 
'  Storm,'  painted  for  the  Scuola  di  San  Marco  (of 
which,  by  the  way,  Pahna  from  1613  on  has  been 
a  member),  and  now  in  the  Academy  at  Venice. 
This    picture    is    by   some   modern   writers   still 
attributed  to  Pnlma,  but  it  is  impossible  to  believe 
that   a  painting   full  of  movement   and   poetical 
fancy  like   this  should  have  had   its  offspring  in 
Buch  quiet  temperament   like   Palma's,  which  re- 
mains unaltered   through  his  whole  life.     In  all 
probability  this  much-niined   picture  was   begun 
by  Giorgione,  it  is  surely  finished  by  Paris  Bordone. 
As  colourist  Palma  Vecchio  holds  liis  own  position 
among  the  Venetian  masters  of  his  time.     Even 
only  from  a  general  look  it  is  easy  to  recognize 
his  work.     His  colour  scheme  is  very  brilliant  and 
always  of  a  very  fair,  almost  golden  general  tone  ; 
the  hair  of  his  women  very  light  and  the  flesh  tone 
fair,  and  even  tlie  colouring  of  his  male  Saints  is 
often  rather  pale,  where  Titian,  for  instance,  puts 
liis  men  in  a  brownisli,  dark  contrast  to  his  female 
Saints.     His  handling  of  the  brush  is  very  smooth, 
80  that  the  general  impression  of  his  art  often  is 
somewhat  effeminate.     In  his  later  years  his  pic- 
tures  are  sometimes  very  pale  in   colouring ;    a 
specimen   of   this   kind   is   the    Madonna   in   the 
Brignole-Sale  Collection  at  Genoa.     Not  a  few  of 
his    later    pictures   are   finished    by    his    pupils, 


Bonifazio  and  others,  some  of  them  for  the  l.irge 
part,  which  his  assistants  took  in  finishing  the 
pictures,  up  to  the  present  time  unrecognized 
as  Palma's  works,  as  the  '  Holy  Conversation '  in 
the  Querini-Stampalia  Gallerj"  at  Venice  (finished 
by  Bonifazio),  or  the  large  picture  of  the  Virgin 
with  two  female  Saints  and  two  Donors,  in  tlie 
Borghese  Gallery,  ascribed  to  Lotto  (finished  by 
an  unknown  pupil).  C.  G. 

AUSTBIA-HCNGART — 

Vienna.  Gallei-y.     1.34,1.35,144.  John  the  Baptist. 

,,  „  SS.  Koch  and  Sebastian.   (For- 

merly a  triptych^  in  part  a 
loork  hy  pupils.) 

,,  „  139.     Visitation.      (Berenson : 

jiaished  by  Cariani.) 

,,  „  140.     Holy  Conversation  with 

four  Saints. 

„  „  133.   137,  13S,   141.  142,  143. 

Half-length  figuresof  women, 
■  among  thetu  the  so-called 
'  Violante,' 

„  y  136.     Lucretia. 

„  „  329e.     Portrait    of    Olil   Man. 

{Crowe  and  Cavulcaselie ; 
Berenson.) 

"  r:  1,  ^"''■"  I  Holy  Conversation. 

Liechtenstein,  y        ■' 

,,  „  Holy  Family  and  two  female 

Saints.      i  Bt^retison  :     Crowe 
and  Cavalcnselle :  Copy.) 
„  Buda  Pesih)  S2.     Madonua.with St.  Francis. 

Gallery.  §      {Berenson  ;  Jtnished  hy  Cari~ 
ani.) 
Bhitish  Isles — 
Alnwick.  i>«7L-e  of )  Lady  with  lute.     (1525  in  the 

yorthumherland.)      houae  of  .leronimo  Jlarcello 
at  Venice.) 
Blenheim  (formerly).        Madonna  adored  by  a  warrior 
and  a  female  Saiut.     {Crowe 
and  Cavalcaielle.) 
Cambridge.        FitzwiU  1 

Ham  Museum. 
Canford, 
Wimborne 
( Dorset  ^ 
Glasgow.      Corporation  \  336.    Madonna,  with  SS.  Cath- 
Galleries.  ^      erine,  John  and  Peti-r.     {Be- 
renson; Jitiished  by  Cariani.) 
Hampton  Court.  115.     Holy  Conversation. 

„  140.      Half-length    figure    of 

woman. 
Horsmonden.  Mrs.  )  Portrait  of  a  Courte.san.    {Be- 

Austen.y      renson.) 
London,  yational  Gall.    636.     Portrait  of  Man.     (The 
so-called  '  Ariosto  *). 
„  Mr.  Benson.     Holy   Conversation   with    SS. 

Catherine,     John      ami      a 
Donor.     (Berertson  :  finished 
bi/  Can'aiti.) 
„         Mr.  irickham  \  Holy    Conversation   with    SS. 
Flower.  J      John,   Elizabeth  and   Cath- 
erine,     {lirrenson:    fnished 
bu  Cariani.) 
3[r.  Mond.    Half-length  figure  of  Woman. 


Lord} 

rne    „-    i  r 

ty  imborne.  I 


"  J  Venus. 


Bast  of  a  L.ady.     (Berenson.) 


FnASCE — 

ChantiUy. 


Gallery.     Madonna  with  two  Saints  and 
Donor.     ( ll'ith  a  forced  in- 
scription.    Bennsim  :    Rocco 
Marconi.) 
Paris.  Louvre.    1399.    Adoration  of  Shepherds 

with  female  Donor. 
„        Mr.  Alphonse  de\VoTtTait    of    a     Lady.     (For- 
Rothschiid.     j      merly   in    the   Sciarra    Col- 
lection'/) 
Germaxi. 
Berlin.  Gallery.     174.    Portmit  of  Man. 

„  „  197a,  19711    Half-length  figures 

of  Women. 
Brunswick.       Museum.    Adam  and  Eve.    (Formerly  in 
the  house   of  Francesco   Zio 
at  J'enice.) 

59 


A  BIOGRAPHICAL  DICTIONAEY  OF 


Dresden.  Gallery. 


Hambarg.C%»iJu2  Weber. 
Miinicli.  Galhry. 


Strassbnrg. 
Stuttgart. 

Italy. 
Bergamo. 


Galleri/. 
Gallery. 


Lochis. 


Florence.  ^'j?"-'- 


Geuoa.      BrignoU  Sale. 
Milan.  Brera. 


„  Tola  PezzoH. 

Motlena.  Jfarchese } 

Loiario  Ra}tijoni.  / 

Naples.         Gallery  Sola  ) 

Grande.  ) 

Peghera(near    church.X 

Bergamo).  ) 

Rome.  Sorijhese. 


„  Capitol. 

„  Barhtrini. 

„  Colonna. 

,,         Sciarra  Colonna  } 
(now  dispersed),  f 

Kovigo. 


Serina  (near        f.,       f^  \ 
Bergamo).  J 


Venice. 


Academy. 


„  ( Recently  bought . ) 

„  Gall.  Qitcrini-  \ 

Stampalia. ) 


60 


188.  Madonna,  with  SS.  Cath- 
erine and  John. 

189.  'The  three  Sisters.' 
(1525  in  the  house  of  Taddeo 
Contarini  in  Venice.) 

190.  Venus. 

191.  Holy  Family,  with  the 
Infant  John  and  St.  Cath- 
erine. 

192.  Jacob  and  Rachel. 
Annunciation. 

1107.  Portrait  of  Man  (?). 
(Morelli  andBtrenson:  Cari- 
ani.) 

1108.  Madonna,  with  SS.  Koch 
and  Mary  Magdalen. 

271.     Salvator  mundi  (?). 
Archangel    with    Tobias    (?). 
(Mortlli.) 

183.  Madonna,  with  SS.  John 
and  Mary  Magdalen. 

Altarpiece.     (Morelli.) 

619.    Judith. 

623.     Holy  Family,  with  Mary 

Magdalen    and    the    Infant 

John. 
Madonna,  with  SS.  Magdalen 

and  .John. 
17"-.     .\doration       of       Magi. 

(Foriiiirly     Church    of    At. 

Elena  ^      Venice ;      only      in 

part.) 
230.     SS.  Helen,  Constantiue, 

Koch  and  Sebastian. 
560.      Half-length    figure     of 

woman. 
Madonna    and     Saints.      [Be- 

renson.) 
28.    Holy    Conversation  with 

three  Saints  and  two  Donors. 
Polyptych.     {^forelli  and  Be^ 

renson.) 
106.     Lucrcce. 

157.  Ma<Ionna,  with  SS.  Bar- 
bara,    Cristina     and      two 

Donors.      (Finished    by    un- 
known hand.) 
163.     Madonna,  with  SS.  An- 
tony,   Jerome    and    female 

Donor. 
203.    Christ   and    Adulteress. 

(Formerly    in    the    house  of 

Francesco  Zio  at   Venice.) 
'La  Schiava  di  Tiziano.'   (3Io- 

relli:  Copy.) 
22.     Madonna,  St.  Peter  and 

Donor. 

La  Bella  di  Tiziano.'     (Now 

Mr.  Alphonsc  de  Rothschild, 

J'aris?) 
Madonna,  with  SS.  Helen  and 

Jerome.     (Croire  and  Caval- 

raselle^  Jfurclfi.) 
Polyjitych,   with    presentation 

of  the  Virgin  in  the  central 

part.  (Crowe and  CavalcaselU, 

Morelli,  Bercnson.) 
302.     St,  Peter  enthroned  with 

si.x  Saints.    (Front  the  Church 

of  Fontanclle.) 
310.     Christ  and  the  woman  of 

Canaan. 
315.       Assumption.        (Crowe 

and  Cavalcaselle :  perhaps  by 

pupils.) 
Madomia  with   SS.   Catherine 

and  .Tohn. 
Portrait  of   Man.     (Francesco 

Querini.) 
Portrait    of    a    La<ly     (Paola 

Priuli,    wife    of     Francesco 

Querini).    (Unjiniihed.) 


Prince  Giovanelli. 


Vici-nza. 


Lady  Layard. 
i>.  Stefano. 


Zermau  (near    Gallery. 
Trtviso). 


Venice.    Gall.  Querini-  \  Holy   Conversation  with  four 
Stampalia.)      Saints.     (Finished  by   Boni- 
facio.) 
„  Santa  Maria  \  Polyptych,  with  S.S.   Barbara, 

Formosa. )      Antony  and  Sebastian ;  above 
Pietii,  St.  John  and  Dominic. 
Sposalizio.      (Fragment   of  an 

Altar-piece.) 
Knight  and  Lady.     (Berenson.) 
Madonna  enthroned  with   SS. 

Lucy  and  George. 
Madonna  eutliroued  with  four 
Saint.s.     (Crowe  and    Caval- 
caselle. ) 

RlIS.SIA — 

St.  Peters-      ZfKc/i<i;n- )  Holy  Conversation.    (Formerly 

biu-g.       burg  Gallery,  f      in  the  hall  of  the  Council  of 

Six;  Croweand  Cavalcaselle. ) 

PALMA,  Jacopo,  called  '  1l  Giovine,'  was  bom 
at  Venice  in  1544.  His  father,  Antonio,  nephew 
of  Palma  Veccliio,  was  also  his  instructor.  At 
the  age  of  fifteen  lie  was  taUen  by  the  Duke  of 
Urliino  to  Rome,  where  he  stuflied  chiefly  the 
works  of  Polydoro  Caravaggio.  His  manner,  though 
mechanical,  shows  much  talent,  especially  in  the 
treatment  of  heads.  Some  of  his  best  pictures  are 
ill  the  palace  of  the  Doge,  and  in  the  Academy. 
After  the  death  of  Tintoretto  and  Paolo  Veronese 
he  seems  to  have  displayed  less  care,  as  many  of 
his  later  pictures  are  very  inferior.  He  died  in 
1628.  A  good  '  Madonna,  with  Saints,'  is  in  the 
church  of  S.  Francesco  della  Vigiia ;  and  a  '  St. 
Catharine  rescued  from  the  Wheel '  at  S.  Frari  in 
Venice.  The  following  examples  of  his  art  may 
also  be  named : 

The  Presentation  of  Mary. 
St.  Sebastian. 
Crucifi.xioii  of  St.  Andrew. 
St.  Margaret  with  the  palm  of 

Martyrdom. 
The  Tempt.^tion  of  St.Benedict. 
The       Deposition.         (Sii/ned 
Jacobds  Palma.    F.  1600.) 
The  Nativity. 
Eccc  Homo. 
The  Flagellation. 
Two  scenes  from  the   Apoca^ 

lypse. 
St.  Francis. 
The  Murdir  of  Abi  1. 
Tlie  Daughter  of  Herodi.'us. 
„  „  Two  iiictures  of  the  Deposition. 

„  ,,  Christ  supported  on  the  edge 

of  the  Tomb  by  three  Angels. 
„  „  Christ's     Body     w.atched     by 

Angels. 
„  „  The  Immaculate  Conception. 

„  „  St.  John  and  the  Angel  of  the 

Apocalypse. 

PALMAROLI,  PlETKO,  was  an  Italian  painter 
and  picture  restorer,  to  whom  the  worhi  is  indebted 
for  the  preservation  of  tlie  famous  '  Descent  from 
the  Cross,'  by  Daniele  da  Volterra,  which  in  1809 
he  transferred  from  the  wall,  on  which  it  was 
painted  in  fresco,  to  canvas.  Tliis  was  the  first 
work  of  the  kiud,  and  he  afterwards  transferred 
and  restored  several  other  pictures  in  Rome,  and, 
in  1826,  in  Dresden  ;  among  the  latter  the  cele- 
brated 'M.idonna  di  San  Siato,' by  Raphael.  He 
also  freed  Raphael's'  Sibyls,' in  the  church  of  Santa 
Maria  dclla  Pace,  from  the  destructive  restorations 
in  oil  made  by  order  of  Alexander  VII.  Palmaroli 
died  at  Rome  in  1828. 

PALMAROLI,  Vicente,  Spanish  painter  ;  bom 
in  1835  at  Sladrid  ;  was  a  pupil  at  the  Academy 
there,  and  studied  with   Madrazo  ;    pursued   his 


Dr.silu 


Florence. 


Milan. 
Munich, 


Venice. 


Vienna. 


Gallery. 


Zrjizi. 

liftra. 

OaUtry. 


Acadeinia. 


Galleri/. 


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O 
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1—4 


PAINTERS  AND  ENGRAVERS. 


art  studies  in  Rome ;  became  Director  of  the 
Madrid  Gallery  in  succession  to  Madrazo  ;  resident 
for  a  long  while  in  Paris  ;  at  the  Exhibition  of 
1867  he  obtained  a  second-class  medal ;  some  of 
his  works  found  appreciation  in  London ;  he  painted 
portraits  of  various  Spanish  notabilities,  including 
one  of  the  young  King  Alfonso  XII.  He  died  in 
January  1896. 

PALMASANDS  (or  Palmegqiani).    See  Pal- 

MEZZANO. 

PALMER,  Sir  James,  was  a  member  of  the 
household  of  Charles  I.,  and  was  employed  by  him 
in  tlie  purchase  of  pictures.  He  made  copies  of 
several  works  in  the  Royal  Collection,  among  them 
Titian's  '  Tarquin  and  Lucretia.' 

PALMER,  Samuel,  water-colour  painter,  was 
born  in  1805.  He  early  showed  a  taste  for  art, 
and  at  the  age  of  fourteen  he  exhibited  at  the 
British  Institution,  'Bridge  Scene'  and  'Land- 
scape,' and  at  the  Royal  Academy, 'Cottage  Scene, 
Banks  of  the  Thames,  Battersea,'  '  Landscape  witli 
Ruins,'  and  '  A  Study.'  By  the  advice  of  his 
father-in-law,  John  Linnell,  he  underwent  a  course 
of  figure  drawing  at  the  British  Museum,  during 
which  time  he  was  introduced  to  W.  Blake.  He 
then  went  to  live  at  Shoreham  with  his  father, 
and  we  find  him  exhibiting  at  the  Academy  and 
Briti.sli  Institution.  In  1839  he  married,  and  for 
his  wedding  tour  spent  two  years  in  Italy.  He 
then  returned  to  London,  and  lived  in  Kcn-sing^on 
till  1851,  when  he  removed  to  Furze  Hill,  near 
Reigate,  where  he  spent  the  remainder  of  his  life. 
His  last  appearance  at  the  Academy  was  in  1842. 
He  was  elected  an  Associate  Exhibitor  of  the 
Society  of  Painters  in  Water-Colours  in  184.S,  and 
a  full  member  in  1855.  He  was  chosen  a  member 
of  the  Etching  Club  in  1853.  A  translation  of 
Virfjil's  '  Kclogues'  by  him  was  published  after  his 
death,  with  plates  designed  and  partly  etched  by 
himself.  The  subjects  of  his  finest  drawings  were 
mostly  from  Milton.  He  died  at  Reigate  in  1881. 
The  following  is  a  complete  list  of  his  etchings : 

The  WiUow.     1850.     His  first  plate. 

Christmas  ;  or  Folding  the  Last  Sheep.  1850.  (From 
Uampfi/ide's  Sonjiet.) 

The  Herdsman's  Cottage.     1850. 

The  Skylark.     1850.     (ruhliihed  by  the  Etching  Chib.) 

The  Vine  ;  two  subjects  on  one  plate.  1852.  (Published 
in  the  *  Songs  and  Sonnets  of  Shakespeare.') 

The  Sleeping  Shepherd.  1857.  (Published  by  the  Etch- 
infj  Club.) 

The  Kising  Moon.  1857.  (PuMislied  bv  the  Etching 
Club.) 

The  Herdsman.     1867.    (PuUished  ly  the  Etching  Club.) 

The  Early  Ploughman.  1868.  {Published  in  '  JEtching 
and  Etchers.') 

The  Morning  of  Life.  1872.  (Published  by  the  Etching 
Club.) 

The  Bellman  ;  from  11  Pensieroso.     1879. 

The  lonely  Tower ;  from  II  Pensieroso.  1880.  (Pub- 
li:fhed  l>y  the  Etching  Club.) 

Early  Morning  ;  opening  the  Fold.     1880. 

PALMERUCCJ,  GuiDO.,  was  bom  at  Gubhio  in 
1280,  and  is  known  to  have  executed  frescoes  in 
the  church  of  Santa  Maria  de'  Laici,  Gubbio,  pre- 
vious to  1337,  and  to  have  painted  at  the  Town 
Hall  in  1342.  In  the  former  of  these  buildings,  on 
an  exterior  wall,  are  the  remains  of  a  figure  of  St. 
Anthony  ;  and  in  the  latter  is  a  colossal '  Enthroned 
Virgin  and  Child,  with  Saints  and  a  kneeling 
Gonfaloniere.'     His  death  occurred  about  1345. 

PALMEZZANO,  Marco  (di  Antonio),  was  bom 
at  Forli.  probably  about  the  year  1456,  and  lived 
up  to  1537.     He  was  a  pupil  of  Melozzo  da  Forli, 


and  was  in  the  habit  of  signing  his  early  produc- 
tions Marcus  de  Melotius,  a  fact  which  has  occa- 
sioned many  of  his  best  paintings  to  be  attributed 
to  his  master.  He  closely  fillowed  Meiozzo's 
teachings,  and  his  frescoes  exhibit  a  sculpturesque 
hardness  of  style.  In  a  chapel  of  San  Biagio  in 
San  Girolamo,  at  Forli,  are  some  frescoes  repre- 
senting secular  scenes  which  are  signed,  Marcus 
Palmezzantis  Victor  foroliviensis  M.  .  .  .,  which, 
accord  ing  to  Messrs.  Crowe  and  Cavalcaselle,  closely 
resemble,  both  in  style  and  colour,  a  fresco  repre- 
senting eight  of  the  prophets,  painted  on  the  dcime 
of  the  Cajiella  Tesoro  in  the  church  of  Loretto.  In 
1497  Palmezzano  executed,  by  order  of  the  Prior 
of  the  Company  of  San  Michclino  of  Faenza,  an 
altar-piece  representing  the  Virgin  and  Child, 
enthroned  between  SS.  Michael  and  James  the 
Less.  The  church  of  the  Zoccolanti,  at  Matelica 
near  Fabriano,  contains  an  altar-piece,  '  An  en- 
throned Virgin  and  Child,  with  a  Pieti  and  Saints  ' 
etc.,  signed  Marcus  de  Melotius  Foroliviensis 
fatiebat,  al  temp,  de  frate  Zorzo  Guardiano  del 
MoC.C-C.C.C.i.,  with  a  curious  monogram.  The 
church  of  the  Carmine  at  Forli  possesses  a  '  Glory 
of  St.  Anthony,  between  SS.  John  the  Baptist  and 
Sebastian,'  with  a  similar  inscription.  The  exact 
date  of  Palmezzano's  death  is  unknown.  A  por- 
trait of  the  artist,  painted  by  himself  in  1536,  is 
now  in  the  Pinacoteca  of  Forli.  Examples  of 
Palmezzano  are  also  to  be  found  as  below  : 

The  Eesurrection.     1515. 

Virgin  and  two  Saints. 

Calvary. 

Enthroned  Virgin  and    Child, 

between    SS.   John    Baptist 

and  Lucy.     1508. 
The  Crucifixion. 
Subjects  from  the  Life  of  the 

Apostle  James.     1485. 
Virgin  surrounded  by  Saints. 
Communion   of  the  Apostles. 

1506. 
Christ  on  the  way  to  Calvary. 
The  Nativity.     1530. 
The  Entombment. 
Virgin  and  four  Saints.     1493. 
The  Nativity.     1492. 
Coronation  of  the  Virgin. 
The  Dead  Christ. 
Virgin  and  six  Saints.     1537. 
Christ  on  the  way  to  Calvary. 


Berlin. 

Bordeaux. 
Dublin. 


Florence. 
Forli. 


Museum, 

Jlluseum. 
Nat.  Gallery. 


S.  Girolamo. 


Pinac.  Coinun. 


Grenoble.  Museum. 

London.       Kat.  Gallery. 
Milan.  Brera. 


Paris.  Louvre. 

Home.  Lateran. 

„  Spada  Palace. 


PALMIERI,  GiosEFFo,  (or  Giuseppe.)  was  born 
at  Genoa  in  1674.  Although  he  acquired  some 
reputation  as  a  painter  of  history,  he  is  chiefly  cele- 
brated for  his  pictures  of  animals.  One  of  the  best 
of  his  historical  works  is  his  picture  in  the  church 
of  San  Domenico,  at  Genoa,  representing  the 
'  Resurrection.'     He  died  in  1740. 

PALMIERI,  PiETBO,  painter  and  engraver,  was 
born  at  Parma  in  1740.  He  leamt  the  elements  of 
art  in  his  own  city,  and  then  went  to  Paris.  He 
painted  chiefly  landscapes  and  genre  subjects. 
After  several  years'  residence  in  Paris,  he  was  ap- 
pointed a  Professor  in  the  Academy  at  Parma. 
He  died  at  Turin  in  1804. 

PALMIERI,  PiETRo  Jacopo,  engraver,  was  born 
at  Bologna  in  1720.  He  engraved  landscapes  and 
battle  scenes,  the  latter  chiefly  after  Simonetti. 

PALMISANUS.     See  Palmezzano. 

PALOMARES.    See  Santiago  Palomares. 

PALOMBO,  Bartolommko,  was  bom  at  Rome 
about  the  year  1612,  and  was  a  scholar  of  Pietro 
da  Cortona.  In  the  church  of  St.  Joseph,  at  Rome. 
is  an  altar-piece  by  him,  representing  the  death  of 

61 


A  BIOGRAPHICAL  DICTIONARV  OF 


tliat  Saint  ;  and  in  the  church  of  the  Carmelites  of 
St.  Martino  de'  Monti,  a  picture  of 'Mary  Magda- 
lene.'    He  was  still  living  in  1666. 

I'ALOMBO,  Onokrio,  a  painter  who  flourished 
at  Naples  ahout  1640.  He  was  a  pupil  of  J.  B. 
Carraccioli  and  Artemisia  Gentileschi,  and  painted 
chiefly  for  the  churches. 

PALO.MBO,  PiETKO  Paolo,  an  engraver  of  Na- 
varra,  who  lived  at  Rome  about  the  middle  of  tlie 
1 6th  century.  Among  his  plates  were  the  following : 

The  La.st  Supper ;  after  Raphael. 
A  Holy  Family  ;  aj'ter  the  same. 
The  Kntombmeut ;  after  Michelanyelo. 
The  C'rucitixion  ;  after  the  same. 
A  Drawiug-School ;  after  the  savie. 

PALOMINO,  Jdan  Bernae6,  was  born  at  Cor- 
dova in  1692,  and  studied  painting  under  his  uncle 
Antonio  Palomino  at  Madrid,  until  the  death  of 
that  artist  in  1726.  He  practised  engraving  also,  and 
executed  the  second  title-page  and  some  plates  for 
his  uncle's  great  work.  Returning  to  Cordova,  he 
devoted  himself  to  the  burin,  executing  a  portrait 
of  Louis  XV.  of  France  of  such  merit  as  to  induce 
Philip  V.  to  recall  him  to  court.  On  the  estab- 
lishment of  the  Academy  of  San  Ferdinando  in 
1752,  he  was  made  director  of  the  engraving 
school,  and  Ferdinand  VI.  appointed  him  engraver- 
in-ordinary.  He  died  at  Madrid  in  1777.  lie  exe- 
cuted a  large  number  of  prints,  some  of  consider- 
able merit:  '  Diony.sius  the  Carthusian.' after  Car- 
ducho ;  '  San  Bruno,'  from  the  statue  by  Pereira  ; 
'A  Miracle  of  St.  Isidro,' after  Carreno  ;  'St.  Peter 
in  Prison,'  from  a  picture  by  Roelas,  in  the  church 
of  that  saint  at  Seville  ;  portraits  of  Queen  Isabella, 
the  Nuncio  Cardinal  Gonzaga,  his  own  nephew, 
Nicolas  Palomino,  the  Jesuit  Alonzo  Rodriguez, 
the  controversialist  Bishop  Juan  de  Palafos,  aiul 
many  other  worthies  of  his  time.  He  furnished 
titles  and  frontispieces  to  many  books.  He  left 
a  son,  Jdak  Fernando  Palomino,  likewise  an  en- 
graver, who  died  at  Madrid  in  1793. 

PALOMINO  DE  CASTRO  Y  VELASCO,  Don 
AciscLO  Antonio,  the  Vasari  of  Spain,  was  born  at 
Bujalance,  near  Cordova,  in  1653.  His  parents  were 
Bemabe  Palomino  and  Maria  Andrea  Lozano,  who, 
being  in  good  circumstances,  transferred  their 
residence  to  Cordova,  in  order  to  bestow  an  educa- 
tion on  their  son  suitable  to  his  rank.  Here  he 
studied  grammar,  philosophy,  theology,  and  juris- 
prudence ;  but  his  ruling  passion  discovered  itself 
by  his  devoting  his  leisure  hours  to  copying  prints. 
In  1672,  the  painter  Juan  de  Valdes  Leal,  returned 
from  Seville  to  Cordova,  and  was  shown  some  of 
Palomino's  productions ;  he  gave  him  encourage- 
ment to  proceed,  and  taught  him  the  fundamental 
rules  of  painting.  This  decided  his  course,  and  he 
acknowledged  Valdes  Leal  as  his  master.  He, 
however,  did  not  abandon  his  literary  studies,  and 
was  ordained  for  the  Church.  In  1675  he  received 
some  further  instruction  and  encouragement  from 
Juan  de  Alfaro,  who  recommended  him  to  visit 
Madrid,  and  study  the  works  of  the  great  masters 
there.  But  he  stayed  at  Cordova  till  1678,  when 
Alfaro  returned  to  Madrid,  and  Palomino  accom- 
panied him.  He  found  employment  at  the  court, 
and  gave  so  much  satisfaction  to  his  friend  Alfaro, 
that  the  latter  appointed  him  by  his  will  to  finish 
some  pictures  which  he  had  commenced,  but  had 
been  unable  to  complete.  Palomino  next  fonned  a 
friendship  with  Juan  Carreno  and  Coello,  and  was 
chosen  by  the  latter  to  assist  in  painting  tlie  ceiling 
of  the  queen's  gallery  at  the  Alcazar  ;  he  executed 
62 


his  part  so  much  to  tlie  satisfaction  of  his  coadjutor, 
that  Coello,  having  otlier  engagements  at  the  Es- 
corial,  left  him  to  finish  the  ceiling.  On  the  mar- 
riage of  Charles  II.  in  1690,  Palomino  designed  the 
decorations  for  the  state  entry.  In  1692,  the  arrival 
of  Luca  Giordano  caused  some  consternation  among 
the  Spanish  painters ;  but  Palomino  maintained 
his  position.  Luca  was  probably  not  so  well  versed 
in  Christian  as  in  heathen  mythology,  and  Palo- 
mino was  able  to  instruct  him  in  the  subjects  bo 
was  called  upon  to  paint.  This  he  did  with  such 
delicacy  and  perspicacity,  that  Giordano,  embracing 
him  warmly,  exclaimed,  "  The  work  is  done  1  " 
In  1697  he  went  to  Valencia,  where  he  painted  the 
frescoes  from  the  lives  of  the  two  St.  Johns,  in 
the  presbytery  of  the  church  of  San  Juan  del  Mer- 
cado,  and  remained  there  for  three  years,  with  the 
exception  of  a  short  period  passed  at  Madrid,  and 
painted  several  important  pictures.  While  at  the 
latter  city,  in  1701,  he  produced  his  '  Confession  of 
Peter,'  in  Nucstra  Senora  Desamparados.  In  1705 
he  went  to  Salamanca,  to  paint  frescoes  in  the 
convent  of  San  Esteban.  On  his  return  to  Madrid 
he  produced  many  other  pictures ;  and  in  1715 
published  the  first  volume  of  his  '  Museo  Pictorico,' 
on  which  he  had  been  employed  for  many  years. 
He  had  in  1712  painted  the  sacristy  of  the  Car- 
thusian monastery  at  Granada,  with  a  '  St.  Bruno 
supporting  the  World,  amid  a  glory  of  saints  and 
angels  ; '  as  well  as  five  pictures  for  the  grand  altar 
at  Cordova.  He  published  the  second  volume  of 
the  '  Museo  Pictorico '  in  1724.  From  this  time  his 
health  began  to  decline  ;  and  his  wife  having  died 
in  1725,  he  was  ordained  a  priest.  He  died  in  the 
following  year,  and  was  buried  with  great  pomp  in 
the  same  grave  as  his  wife,  in  the  church  of  San 
Francesco,  at  Madrid. 

As  an  artist  he  was  more  successful  in  oil- 
paintings  than  in  frescoes.  He  is,  however,  best 
known  by  his  writings  upon  art.  In  his  two  folio 
volumes  he  notices  upwards  of  two  hinidred  painters 
and  sculptors,  who  flourished  in  Spain  from  the 
time  of  Ferdinand  the  Catholic  to  the  end  of  the 
reign  of  Philip  IV.  Of  this  work  there  was  an 
abridgment,  in  Spanish,  published  in  London  in 
1742,  entitled,  '  Las  Vidas  de  los  Pintores  y 
statuaries  eminentes  Espanoles,'  of  which  there 
is  an  English  translation.  The  original  volumes, 
though  containing  plenty  of  mistakes,  afEord  a  vast 
store  of  good  material,  and  until  the  more  exact 
work  of  Cean  Bennudez  appeared,  were  the  only 
source  worth  consulting  for  a  knowledge  of  the 
arts  and  artists  of  Spain. 

Palomino's  sister,  Francesca  Isabel,  also  prac- 
tised painting. 

PALOUN,  John,  a  painter,  was  a  native  of 
Dumfries  in  Scotland.  In  1730  he  came  to  London, 
but  died  in  the  following  year. 

PALTHE,  Adriaan,  son  of  Gerard  Palthe.  He 
painted  a  few  portraits,  and  copied  many  pictures 
in  gouache. 

PALTHE,  Antonis,  son  of  Gerard  Paltlie,  and^ 
portrait  painter  of  little  note.  His  widow  married 
Willem  Hendriks,  of  Haarlem. 

PALTHE,  Gerard  Jan,  bom  at  Degenkamp,  in 
Overyssel,  in  1681,  was  a  scholar  of  Jurriaan  Pool. 
He  painted  portraits,  family  subjects,  and  inte- 
riors, by  candle  or  torch-light,  in  the  manner  of 
G.  Schalken.     He  died  about  1750. 

PALTHE,  Jan,  portrait  painter,  a  son  and  pupil 
of  Gerard  Jan  Palthe,  was  bom  at  Deventer  in 
1719,  and  resided  at  Leyden,  where  he  acquired 


PAINTERS  AKD  ENGRAVERS. 


considerable  reputation,  and  where  lie  died  in  1769. 
There  were  two  other  painters  of  the  same  name, 
who  may  be  considered  as  amateurs.     Works : 
Ameterdam.      GalUry.      Portrait    of    Pieter    Cypriaan 
restart. 
„  „  Portrait  of   Agatha  Heronyma 

Xobel  (Testart's  wife). 
„  .*  Portraits  of  the  Nobel  family. 

PALTRONIERI,  Pietro,  (or  P.\ltrinieri,) 
called  II  Mira.vdolese  ualle  iT.osrETrivE,  was 
bom,  according  to  Oretti,  at  Bologna  in  1673.  He 
distinguislied  liiniself  as  a  painter  of  perspective 
and  architectural  views.  There  are  many  of  his 
•works  in  the  public  edifices  at  Bologna,  also  at 
Vienna  ;  the  figures  in  these  are  frequently  painted 
by  Ercole  Graziani.     He  died  in  1741. 

PALUDANUS,  Heinrich,  a  painter,  was  a  native 
of  Malines,  and  flourished  about  the  middle  of  the 
16th  century.  He  was  a  pupil  of  F.  Floris,  and 
afterwards  went  to  Italy,  where  he  spent  some 
time  at  the  Ducal  Court  of  Florence,  and  some 
time  at  Rome,  eventually  returning  to  his  own 
country. 

PALUSELLI,  Ignaz,  called  Paduello,  was  a 
native  of  Heimserthale  in  the  Tyrol,  and  painted 
several  Bacchanalian  pieces.  He  died  young  at 
Roveredo  in  1778. 

PAMPHILUS  was  a  native  of  Amphipolis,  in 
Macedonia,  and  a  disciple  of  Eupompus.  He 
flourished  from  about  390  to  350  B.C.,  principally 
in  the  reign  of  Philip,  the  father  of  Alexander  the 
Great,  and  has  the  reputation  of  being  the  first 
artist  who  united  painting  with  the  study  of  the 
Belles  Lettres.  He  was  well  acquainted  with 
mathematics,  which  he  considered  neces.sary  to 
art,  employing  them  doubtless  in  calculating  pro- 
portions in  fore-shortening.  He  in  fact  helJ 
the  opinion  that  a  painter  ought  to  be  versed  in 
every  department  of  knowledge,  and  conversely 
that  no  education  was  complete  that  did  not  com- 
prise an  acquaintance  with  painting.  Such  was 
the  lustre  and  dignity  to  which  he  elevated  the  art, 
that  by  his  influence  an  ordinance  was  first  pub- 
lished at  Sicyon,  and  afterivards  made  general 
throughout  Greece,  by  which  painting  was  placed 
in  the  first  rank  among  the  liberal  arts,  was  for- 
bidden to  be  practised  by  slaves,  and  was  only 
to  be  studied  by  persons  of  education  and  distinc- 
tion. It  was  indeed  as  a  teacher  and  theorist  that 
he  won  so  high  a  reputation,  that  the  young  rnen  of 
the  noblest  families  became  his  disciples.  Their 
course  of  study  occupied  ten  years,  and  the  fee  for 
it  was  a  talent  (£260).  He  distinguished  himself 
among  the  painters  of  his  time  by  a  superior  skill 
in  composition.  His  pictures  were  usually  of  large 
dimensions,  and  more  crowded  with  figures  than 
was  customary  with  Greek  artists.  One  of  his 
best  represented  the  Battle  of  Phlius;  another, 
Ulysses  in  his  Galley.  It  is  stated  that  lie  al.so 
practised  encaustic  painting.  He  had  the  credit 
of  having  been  the  instructor  of  Apelles,  while 
Melantliiu.s  and  Pausias  were  certainly  his  pupils. 

PAMPLONA,  Pedro  de,  scribe  and  miniature 
painter.  About  the  middle  of  the  13th  century  he 
wrote  and  illuminated  a  Bible  for  King  Alonso  the 
Wise,  of  Spain.  This  MS.  is  now  in  the  library  of 
Seville  Cathedral.  The  miniatures  are  poorly  drawn 
and  designed,  but  are  brilliant  in  colour. 

PAMPURINI,  Alessandbo,  a  Cremonese  painter 
of  historical  and  rehgious  subjects.  He  flourished 
in  1511,  in  which  year  he  was  at  work  in  the 
cathedral  of  Cremona. 


PAN.     See  Lis,  Jan. 

PANCALDI,  PiETBO  Fba.\cesco,  called  Mola, 
was  a  native  of  Ancona,  but  flourished  as  a  painter 
at  Bologna  about  1780.  He  painted  portraits  and 
historical  {)ieces. 

PANCHET,  called  Bellerose,  an  obscure  French 
painter  of  portraits  and  landscape,  who  was  at 
work  at  Bayeux  early  in  the  present  century. 

PANCORBO,  Fka.ncisco,  a  little  known  Spanish 
historical  painter,  who  was  at  work  at  Jaen  about 
the  middle  of  the  18th  century. 

PANCOTTO,  PiETRO,  was  a  native  of  Bologna, 
and  flourished  about  the  year  1590.  He  was 
brought  up  in  the  school  of  Carracci,  and,  according 
to  Malvasia,  was  one  of  the  most  eccentric  and 
enterprising  artists  of  the  Bolognese  school.  His 
principal  work  is  the  '  Last  Judgment,'  painted  in 
fresco,  in  the  church  of  La  Madonna  di  San  Colom- 
bano,  at  Bologna. 

PANDEREN,  Egbert  van,  a  Dutch  engraver, 
was  bom  at  Haarlem  in  1606  (according  to  Nagler 
1575).  He  resided  at  Antwerp,  where  he  engraved 
a  considerable  number  of  plates,  executed  with  the 
burin  in  a  fomial  style.  Among  others,  we  have 
the  following : 

The  Virgin  interceding  with  Christ  for  the  salvation  of 

mankind  ;  ajttr  Biibens. 
The  Four  Evangelists  ;  after  Pieter  de  Jode. 
St.   Louis,  with   a  border  representing  his  Miracles ; 

after  the  same. 
Three  circular  plates  of  Minerva,  Juno,  and  Venus ; 

after  S^rraitger. 
The  Portrait  of  Maurice.  Prince  of  Orange,  on  horseback, 

with  a  battle  in  the  background  ;  after  Tempesta. 
Four  plates  of  the  Sick  Man  and  the  Doctor;  aftet 

Gcltziiis ;  scarce. 
Part  of  the  Plates  for  the '  Academie  de  I'Espee ' ;  byG. 

Thilault. 

PANDERIT.     See  Pauditz. 

PANDINO.  Antonio  da,  lived  in  Milan  in  the 
middle  of  the  15th  century,  and  painted  the  Apostles 
in  the  pendentives  of  the  cupola  of  San  Satiro, 
Milan.  He  is  also  the  author  of  a  window  in  the 
Certosa  of  Pavia,  representing  '  St.  Michael  over- 
coming the  Dragon.'  His  master  was  probably  a 
glass  painter,  known  as  Pandino  Milano. 

PANDOLFI,  Giangiacomo,  was  a  native  of 
Pesaro,  and  flourished  eariy  in  the  17th  century. 
He  was  a  scholar  of  Federigo  Zuccaro,  of  w'hose 
style  he  was  one  of  the  most  successful  followers. 
He  painted  in  fresco  in  the  Or.itorio  de  Nome  di 
Dio,  where  he  treated  several  subjects  from  the  Old 
and  New  Testaments.  His  picture  of  '  San  Giorgio 
and  San  Cario,'  in  Pesaro  cathedral,  is  considered 
by  Lanzi  as  little  inferior  to  the  works  of  Zuccaro. 

PANDOLFO.     See  Reschi. 

PANEELS.     See  Pan.<jeei.s. 

PANETTI,  DoMENicx),  was  the  son  of  Gasparo 
de  Panetis  of  Ferrara,  and  was  probatdy  born  about 
1460.  He  was  a  contemporary  of  Costa,  and, 
according  to  Vasari,  the  master  of  (Jarofalo.  His 
early  paintings  show  him  to  have  been  a  disciple 
of  Bono  da  Ferrara.  The  Berlin  Museum  possesses 
a  '  Dead  Christ  wept  over  by  the  three  Maries  ; '  and 
the  sacristy  of  the  cathedral  at  Ferrara,  a  '  Virgm 
and  Child  enthroned,'  which  may  be  counted  among 
his  eariier  productions.  In  1503  he  painted  a  '  St. 
Job,'  and  a  '  Virgin  and  Child  between  four  samts.' 
In  1509  he  executed  the  frescoes  in  the  chapel  of 
San  Maurelio,  at  San  Giorgio  extra  Muroe  di  Fer- 
rara, by  order  of  Alphonso  I.  In  1511  he  received 
payment  for  a  banner,  representing  on  one  side  the 
Virgin  and   Child,  and   on  the  other  a  skeleton, 

63 


A  BIOGRAPHICAL  DICTIONARY  OF 


painted  for  tlic  brotherhood  '  della  Morte,'  of 
Ferrara.  His  death  occurred  before  1513.  Many 
of  the  private  and  public  galleries  of  his  native 
city  contain  pictures  by  Panetti ;  the  Costabili 
Collection  alone  possesses  cigiit.  The  following 
may  also  be  named : 

Ferrara.  Pinacoteca.     Tlie  Annunciation. 

„  „  Tlie  Visitation. 

„  St.  Panl.     (Aiid  others.) 

Paris.  Louvre.    The  Nativity. 

PANFI,  RoMOLO,  was  born  at  Carmignano,  near 
Pistoja,  in  1632.  He  was  instructed  in  tlie  art  of 
painting  by  G.  Vignali,  and  at  first  painted  small 
]>ortraits,  but  afterwards  took  to  landscapes  and 
battle-pieces.     He  died  about  1700. 

PANFILO.     See  NnvoLONE. 

PANHUIJS,  LuisE  Fbiedeike  Auguste  von, 
was  born  at  Frankfort  in  IIBH.  She  was  the 
daughter  of  the  designer  and  painter  Helene  Elisa- 
beth von  Barkhaus-Wiesenhiitten  (wlio  lived  from 
1736  to  1804),  and  married  van  Panliuij.s,  the 
Dutch  governor-general  of  Surinam,  and  resided 
with  him  at  Paramaribo  during  1810-16.  She 
visited  that  place  a  second  time,  and  on  both 
occasions  painted  landscapes,  plants,  and  butter- 
flies from  nature.  She  was  a  pupil  of  Gerard  C.  H. 
Schiitz,  and  painted  landscapes  after  Waterloo, 
Moucheron,  and  also  after  her  own  designs.  She 
died  at  Frankfort  in  1844. 

PANICALE.     See  Fini. 

PANICO,  Antonio  Maria,  was,  according  to 
Bellori,  a  native  of  Bologna,  and  a  disciple  of 
Annibale  Carracci.  He  accompanied  that  master 
to  Rome  when  he  was  very  ynung,  and  was  taken 
under  the  protection  of  Signer  Mario  Farnese,  who 
employed  hini  in  ornamenting  his  country-seats  of 
Castro  and  Latera.  In  the  cathedral  at  Farnese 
he  painted  a  picture  of  the  Mass,  in  which  he  is 
supposed  to  have  been  assisted  by  Annibale 
Carracci. 

PANICO,  Ugo  da.    See  Carpi. 

PAN'NI.     See  Pannini. 

PANNEELS,  Herman,  a  Fleming,  was  the 
engraver  of  two  plates  for  a  book  to  vindicate 
Philip  IV. 's  claim  to  the  title  of  '  the  Great,'  pub- 
lished by  Don  Juan  Antonio  Sapia  y  Roleles  at 
Madrid  in  1638.  He  also  engraved  a  portrait  of 
Philip  IV.  in  armour  weiring  the  order  of  the 
Golden  Fleece,  inscribed  'A  Ueligione  Magnus,' 
and  an  excellent  head  of  Olivarez,  the  minister, 
with  the  cross  of  Calatrava,  both  framed  in  tasteful 
borders,  and  laken  from  pictures  by  Velas  luez. 

PANNEELS,  WiLLEM  van,  a  Flemish  painter 
and  engraver,  was  born  at  Antwerp  about  the  year 
1600.  He  was  a  disciple  of  Rubens,  as  appears 
from  the  inscription  on  one  of  his  prints.  He 
worked  at  Cologne  and  Frankfort-on-tlie-Maine, 
and  one  of  his  plates  is  dated  1636.  The  year  of 
his  death  is  unknown.  Of  his  work  as  a  painter 
little  is  known,  and  from  the  number  of  his  prints 
he  appears  to  have  been  chiefly  employed  in 
etching  after  Rubens  and  from  his  own  designs. 
The  following  are  his  principal  plates : 

The  Portrait  of  Rnbens,  in  an  octagon  border. 

David  cutting  off  the  Head  of  Goliath. 

Esther  before  Ahasiierus. 

The  Adoration  of  tlie  Magi. 

Mary  washing  the  Feet  of  Christ. 

The  Aiisumption  of  the  Virgin. 

The  Holy  Family,  with  the  Infant  Christ  and  St.  John 

playing  with  a  Lamb. 
St.  Johu  baptizing  Christ. 
64 


Samson  killing  the  Lion,  with  a  companion,  David  kill- 
ing the  Lion  and  the  Bear. 
St.  Sebastian. 
The  Toilet  of  Venus. 
Jupiter  and  Antiope. 
Jupiter  and  Juno  (all  after  Bubens). 
Holy  Family, 
The  Fate  of  Phaeton. 
The  Nativity  {these  three  after  Annibale  Carracci). 

PANNI,  an  obscure  Italian  decorative  painter. 
He  was  a  relative  and  pupil  of  Gio.  Bat.  Zaist. 

PANNICCIATI,  JACoro,  according  to  Baruff- 
aldi,  was  born  at  Ferrara  about  the  year  1510. 
He  was  a  disciple  of  Dosso  Dossi,  and  painted 
history  much  in  the  style  of  that  master.  He  died 
young,  in  1540. 

PANNIER,  Jacques  Etienne,  French  painter 
and  engraver  ;  born  in  Paris  in  1802,  and  became 
a  pupil  of  Abel  de  Pujol.  He  mostly  did  portraits 
in  pastel,  liis  engravings  being  after  works  by 
Van  der  Meulen,  Winterlialter,  De  Mirbel,  Sandof, 
&c.,  for  the  Versailles  Galleries  ;  he  also  engraved 
many  portraits  by  well-known  artists.  In  1849 
he  obtained  a  third-class  medal.  He  died  November 
14,  1869. 

PANNINI,  Cavaliere  Giovanni  Paolo,  or  Giam- 
POLO,  (or  Panini,)  was  born  at  Piacenza  in  1691, 
or  1695.  He  went  early  to  Rome,  where  he  became 
a  scholar  of  Andrea  Locatelli  and  Benedetto  Luti. 
He  also  partly  adopted  the  style  of  Salvator  Rosa. 
He  applied  himself  to  designing  the  remaining 
monuments  of  ancient  architecture  in  the  Roman 
vicinity.  His  merit,  however,  is  not  confined  to 
architecture  ;  he  decorated  his  pictures  with  figures, 
gracefully  designed,  and  grouped  with  taste. 
Although  he  usually  confined  liimself  to  pictures 
of  an  easel  size,  he  was  not  incapable  of  succeed- 
ing in  works  on  a  larger  scale  ;  and  Lanzi  speaks 
in  very  favourable  terms  of  a  '  Christ  clearing  the 
Temple,'  with  life-size  figures,  in  the  church  of  the 
Signori  della  Missione,  at  Piacenza.  Works  of 
Pannini  are  to  be  found  in  most  large  collections 
in  England,  and  several  decorate  the  palaces  of 
Rome.  Two  of  the  finest  are  in  the  gallery  of 
the  royal  palace  of  Monte  Cavallo.  Pannini  died 
in  1764.  He  was  a  member  of  the  Academies  of 
San  Luca,  at  Rome,  and  of  Paris.  Many  of  his 
pictures  have  been  engraved  by  Lenipereur,  Le 
Bas,  J.  S.  Miiller,  Vivarcs,  Benazech,  Bartolozzi, 
and  other  eminent  engravers.  The  following  are 
among  those  that  remain  : 


Florence.  UJizi. 

London.      Sat.  Galleri/. 
Madrid.  Escorial. 


Montpellier.       Musoim. 
Paris.  Louvre. 


Borne.       Corsini  Palace. 
Turin.  Gallery. 


Suins.  (A  similar  subject  at 
GrenohU.) 

The  Pyramid  of  Cestius. 

A  Cardinal  visiting  a  Picture 
Gallery. 

Vestibule  of  St.  Peter's  at 
Rome. 

Monuments  of  Kome. 

A  Banquet  (two  copies). 

A  Concert. 

Architectural  Ruins  {three  sub- 
jects). 

Interior  of  St.  Peter's  at  Borne 
(Signed  I.  P.  Panini.  EoM-K. 

MDCCXXX.). 

Concert  given  at  Rome  on  the 
Birth  of  the  Dauphin  in  17:;9. 

Preparations  for  the  Fete  on 
the  same  occa.'iion. 

The  Porch  of  Octavia. 

The  Temple  of  Vesta. 

The  Pantheon. 

Three  Views  in  Rome. 


PANNINI,  Giuseppe,  painter,  was  born  at  Rome 


PAINTERS  AND   ENGRAVERS. 


aDout   1745.      He   was   instructed  by  his   father,  I 
Giovanni  Paolo  Pannini.     He  painted  chiefly  land- 
scape and  marine  pictures,  and  travelled   in  Italy, 
France,  and  England.     He  died  about  1812. 

PANCENUS,  a  distinguished  painter  of  ancient 
Greece,  was  the  nephew  of  the  great  sculptor, 
Phidias,  and  probably  some  years  younger  than 
Polygnotus  and  Micon.  He  exercised  his  talents 
in  conjunction  with  his  uncle,  in  adorning  the 
temple  of  the  Olympian  .Jupiter,  where  he  painted 
'Atlas  supporting  the  World,'  and  '  Hercules,  ac- 
companied by  Tlieseus  and  Peirithoiis,  preparing 
to  relieve  him  of  his  burden.'  He  also  painted 
'  Hercules  combating  the  Nemean  Lion  ; '  '  Hippo- 
damia,  the  daughter  of -Sinomaus,  with  hermotlier;' 
'  Prometheus  chained  to  the  Rock,  whom  Hercules 
is  about  to  deliver;'  and  '  Penthesilea  killed  by 
Achilles.'  But  the  work  which  most  contributed 
to  the  establishment  of  his  fame,  was  the  '  Battle 
of  Marathon,'  with  which,  assisted  by  Micon,  he 
decorated  the  Poecile  at  Athens. 

PANTALEO,  a  Byzantine  miniaturist  of  the 
10th  century,  by  whom  several  of  the  miniatures 
in  a  missal  sent  to  Luigi  Sforza,  Duke  of  Milan, 
by  the  Emperor  Basilius  Porpbyrogenitus,  were 
painted. 

PANTOJA   DE   LA   CRUZ,  Jcan,  was   bom  at 
Madrid    in    1551,   and  was   a   scholar  of  Alfonso 
Sanchez  Coello,  in  whose  school  he  so  greatly  dis- 
tinguished himself  that  Philip  II.  named  him  one 
of  his  painters  and  valets-de-cliambre.  He  became 
very  eminent   both   as  an    historical   and   portrait 
painter.     Palomino  possessed  the  original  designs 
by   him  for    the    beautiful    tombs   of  Charles    V. 
and  Philip  II.  in  the  Escorial,  which  he  painted  in 
oil,  together  with  two  escutcheons  of  the  Arms  of 
Austria,   en   grisaille,   which   were    used    at  the 
funeral  ceremony  of  the  great  Emperor.  He  painttjd 
a  great  number  of  portraits  of  the  family  of  Philip 
II.,  of  which  many  exist  at  the  Escorial,  the  Retiro, 
and  in  the  tower  of  the  Paradas.     Several   were 
d"8troyed   at   the  burning  of  the  Pr:ido.     At  the 
death  of  Philip,  he  continued  in  favour  with  his 
successor,   Philip    III.,  who   commanded   hira   to 
paint  his  t'Ortrait  on  horseback,  a*  a  model  for  the 
famous  sculptor,   Giovanni   de   Bologna,  then   at 
Florence,  to  form  the  equestrian  group  in  bronze 
placed  in  the  garden  of  La  Casa  del  Campo  ;  Tacca 
also  executed  a  statue  from  it.     He  painted  also 
two   magnificent  portraits  of  Philip  III.  and  his 
Queen,  which  are  dated   1606,  and  are  still  pre- 
served in  the  palace   of  the   Dukes   d'Uceda   at 
Montalvan.     Bermudez  lays  particular  stress  upon 
the  portrait  of  the  councillor  Ruiz  Perez  de  Ribera. 
which  is  in  the  monastery  of  Santa  Maria  de  Naxera. 
It  is  dated  in  1696.     Mention  is  further  made  of 
a   picture   of  the    '  Adoration  of  the  Shepherds,' 
in   which   the    portraits    of    Philip    II.    and    his 
family  are  introd  ced.     Among  the  other  notable 
persons  whom  he  portrayed,  we  find  the  Empress 
Maria  and  the  Princess  Juana  in    the    Descalzas 
Reales,  and  the  same  Empress  with  the  Princess 
Margarita  of  Austria  and  Isabel  de  Valois  in  the 
Madrid  Gallery.     He  was  also  a  successful  painter 
of    animals.      After   a   laborious   life   he   died   at 
Madrid  in  1609.    The  Spanish  parallel  to  the  story 
of  Zeuxis  is  attached  to  a  work  by  this  master. 
It  is  related  that  a  superb  eagle  having  been  cap- 
tured near  the  Prado.  the  king  gave  orders  to  Pan- 
toja  to  paint  its  likeness;  which  he  did  with  so 
much  truth,  that  the  royal  bird  on  seeing  it  mistook 
it  for  a  real  eagle,  and  notwithstanding  all  their 
VOL.  IV.  V 


efforts  to  control  it,  attacked  the  picture  with 
impetuosity  and  tore  it  to  pieces.  The  Madrid 
Museo  possesses  the  following  examples  of  his  work : 

Portrait  of  Donna  Maria,  daughter  of  Philip  II.,  and 
wife  of  the  Emperor  Maximilian  II. 

Portrait  of  Isabel  of  Valois,  third  wife  of  Philip  II. 
I'itto.  ditto. 

Portrait  of  Margaret  of  Austria,  wife  of  Philip  III. 

Portrait  of  the  Emperor  Charles  V. 

Portrait  of  the  Infanta  Juana,  daughter  of  Phihp  II. 

Portrait  of  Philip  II. 

The  Birth  of  the  Virgin. 

The  Birth  of  Jesas  Christ. 

Two  female  portraits. 

One  male  portrait. 

PANTOT.  A  French  painter  of  this  name, 
a  native  of  Lyons,  was  the  intimate  friend  of 
Thomas  Blanchet  during  the  latteHs  stay  in  Rome, 
about  the  middle  of  the  17th  century. 

I'ANVINUS,  Ondlph,  is  stated  to  have  been 
a  native  of  Antwerp..  He  flourished  in  the  latter 
part  of  the  16th  century.  He  engraved  and  pub- 
lished a  set  of  twenty  seven  portraits  from  his  own 
designs,  entitled  '  Elogije  et  Im.agines  Pont.  Max. 
ad.  viv.  delin.'  1568.  Zani  mentions  an  Onopbio 
Panvinus,  a  designer  and  engraver  of  Verona, 
who  was  at  work  about  the  same  period. 

PANZA,  Fredebigo,  was  bom  at  Milan  between 
1633  and  1643.  He  was  a  pupil  of  Niivolone,  and 
went  to  Venice  to  copy  the  works  of  Titian  and 
Paolo  Veronese.  On  his  return  he  settled  at  Milan, 
where  he  executed  several  pictures,  and  was 
knighted  by  the  Duke  of  Savoj'.  He  died  in  1703. 
PANZACCHI,  Maria  Helena,  (Panzachia,  Pan- 
ZDCCHi,)  was  born,  according  to  Orlandi,  at  Bologna 
in  1688.  She  was  instructed  in  design  by  Emilio 
Taruffi,  and  became  a  reputable  painter  of  land- 
scapes, embellished  with  figures.  Some  of  her 
works  are  to  be  found  in  the  private  collections  at 
Bologna.    Zani  says  she  died  in  1737. 

PAOLETTI,  Antosio  d'Eemolas,  painter,  worked 
at  Venice,  decorating  the  court  of  the  Casa  Luna 
with  frescoes  and  oil  pictures  in  the  style  of  Louis 
XVI.,  .and  producing  scenes  from  the  fashionable 
life  of  Venice  in  the  18th  century. 

PAOLEITI,  Paolo,  was  a  native  of  Padua,  and 
flour  shed  in  the  first  half  of  the  18th  century.  He 
exc.-Ued  in  painting  fruit,  fish,  and  dead  gaine. 
His  pictures  are  held  in  considerable  estimation 
throughout  Friuli.     He  died  at  Udine  in  1735. 

PAOLI,  Francesco  da.  Florent  le  Comte  men- 
tions this  artist  as  the  engraver  of  a  View  of  the 
City  of  Rome.     He  lived  about  1640. 

PAOLI,  Jacobus,  was  an  inferior  artist,  living 
at  the  beginning  of  the  15th  century,  who  was  the 
painter  of  an  'Annunciation'  with  a  kneeling 
(latron,  in  the  Archivio  of  the  Podesta's  Palace  at 
Bologna,  and  also  part  author  of  an  altar-piece  in 
the  chapel  of  San  Croce,  in  San  Giacomo  Maggiore. 
PAOLI,  MiCHELE,  a  pupil  of  Crespi,  who  practised 
at  Pistoja  as  a  historical  painter  at  the  beginning 
of  the  18th  century. 

PAOLILLO,  a  Neapolitan,  and  the  best  pupil 
of  Sabbatini,  to  whom  his  works  used  invariably 
to  be  ascribed.  Paolillo  died  young. 
PAOLINI,  Giacomo.  See  Patjlini. 
PAOLINI,  Pietro,  or  Luca  Pietbo,  (or  Paulini.) 
was  born  at  Lucca  in  1603,  and  was  sent  early  in 
his  life  to  Rome,  where  he  entered  the  school  of 
Angelo  Caroselli,  and  where  he  remained  thirty 
years.  After  retuming  to  Lucca  he  established  su 
academy  there.  His  death  occurred  in  1681  or 
1682.     He  painted  a  fine  picture  of  the  Martyrdom 

65 


A  BIOGRAPHICAL   DICTIONARY   OF 


of  St.  Andrew,  for  the  church  of  San  Michele  at 
Lucca ;  and  his  large  work  in  the  library  of  San 
Frediano,  representing  Pope  Gregory  entertaining 
the  Pilgrims,  is  in  the  style  of  Paolo  Veronese. 
He  invented  an  instrument  for  taking  perspective 
views,  and  designing  them  in  tlieirdue  proportions : 
perhaps  the  Camera  lucida. 

PAOLINI,  Pio  (or  Fabio),  was  a  native  of 
Udine,  but  studied  at  Rome  under  Pietro  da  Cor- 
tona.  He  painted  historical  subjects,  and  was  re- 
ceived into  the  Academy  at  Rome  in  1678.  There 
are  several  of  his  frescoes  in  the  Roman  churches  ; 
a  ceiling  of  one  of  the  chapels  in  San  Carlo  al 
Corso  is  particularly  good. 

PAOLINO,  Fra.  See  Del  Signobaccio. 
PAOLO  DEL  JIAESTRO  NERI,  was  a  Sienese, 
living  in  the  middle  of  the  14th  century,  and  a 
pupil  and  follower  of  the  Lorenzetti.  His  name 
first  appears  on  the  roll  of  the  Sienese  Guild  of 
Painters  in  1355.  He  is  the  author  of  a  series  of 
chiaroscuro  frescoes  in  the  cloisters  of  the  convent 
of  Lecceto,  representing  Heaven  and  Hell,  the 
Works  of  Mercy,  incidents  from  the  lives  of  certain 
Augustine  Hennits,  and  other  subjects  both  sacred 
and  profane,  which  were  finished  in  1343. 
PAOLO  DEL  MASACCIO.  See  Pittori. 
PAOLO  Di  BONO.  See  Dono. 
PAOLO  VENEZIANO,  (or  Maestro  Paolo,)  a 
north  Italian  painter,  who  was  at  work  at  Vicenza 
in  1.S40.  His  two  sons,  Giovanni  and  Jacofo, 
helped  him  in  his  work.  In  the  Hopenzollem 
collection,  at  Sigmaringen,  there  is  a  'Coronation 
of  the  Virgin'  with  the  following  inscription: 
BEQINA  CELI  LETABE  ALELCIA  QUEN  MEBDISTI 
CHRIST  AM  PORTARE  Ai.ELDiA  ;  and  Under  the  throne 
the  signature:  MCCCLVIII  johaninus  eiv(s) 
rAlILUSCDM  FILin(s)   nSEBVT  HOC  op(vs). 

PA0L0TT0,Il  Krate.  See  Ghislandi,  Vittore. 

PAON.     See  Le  1'aon. 

PAOUL,  Jea.v.  An  artist  of  this  name  was 
painter-in-or(lin:iry  to  the  court  of  Lorraine  in 
1575.  Portraits  by  him  are  still  extant  in  Nancy 
and  the  neighbourhood. 

PAPA,  SiMONE,  "il  Giovine,"  born  at  Naples  in 
1506,  was  the  son  of  a  goldsmith.  He  was  placed 
under  the  instruction  of  Giovan'  Antonio  d'Amato, 
the  elder,  and  bt-c mie  a  painter  of  history.  In  the 
•church  of  Santa  Maria  la  Nuova,  at  Naples,  are 
two  frescoes  by  this  master,  in  one  of  which  he 
has  represented  the  Assumption  of  the  Virgin,  and 
in  the  other  the  Annunciation.  Another  of  his 
frescoes  is  in  the  choir  of  Monte  Oliveto,  in  the 
«ame  city.     He  died  at  Naples  in  1567. 

PAPA,  SiMONE,  "  il  Veccliio,"  was  born  at  Naples 
aVjout  the  year  1430  ;  his  death  occurred  in  1488. 
He  w-as  the  scholar  of  Antonio  Solario,  surnamed 
■"  lo  Zingaro."  In  the  church  of  San  Niccol6  alia 
Dogana,  Naples,  there  is  a  picture  of  the  Annun- 
elation  by  Papa ;  and  the  church  of  San  Lorenzo 
in  the  same  city  possesses  his  altar-piece  of  the 
Virgin  and  Child,  with  Saints. 

PAPARELLO,  ToMMAso,  (or  Papacello,)  painter, 
was  a  native  of  Cortona.  In  1551  he  was  employed 
as  assistant  by  Giulio  Romano.  He  was  still  alive 
in  1553. 

PAPE,  A.  DE.     See  De  Pape. 

PAPE,  .^GiDins  Simon  (de),  a  native  of  Oude- 
narde,  who  flourished  from  1585  to  1636.  He 
spent  his  life  in  his  native  town,  where  he  enjoyed 
a  considerable  reputation  as  painter,  goldsmith,  and 
architect.  His  son  JossE  was  also  a  painter,  and 
on  the  death  of  his  father,  migrated   to  Rome. 

66 


Another  son,  Simon,  lived  and  worked  at  Oudenarde, 
where,  and  at  Ghent,  some  of  his  works  are  to  b« 
found.  This  Simon  died  in  1677.  His  son  Gii.Lis 
practised  as  an  historical  painter  in  Oudenarde. 
where  he  died  in  1705. 

PAPE,  F.  DE,  a  Flemish  miniaturist  and  painter 
in  water-colours.  He  was  born  in  1814,  and  died 
St  Bruges  in  1863. 

PAPE,  Maiitin  Didieb,  was  an  enamel  painter, 
who  lived  at  Limoges  from  1574  to  1609,  and  was 
about  the  former  date  superintendent  of  the  enamel 
factory  there. 

PAPELEU,  Victor  de,  French  painter ;  bom 
February  10,  1810,  at  Ghent ;  he  became  a  pupil 
of  A.  Benouville  and  Jules  Dupr6 ;  afterwards 
travelled  in  Europe  and  the  East.  Painted  French, 
Italian,  and  Dutch  landscapes,  as,  for  instance, 
'  Ferme  dans  les  Landes,'  '  lie  de  Capri,  pr^s  de 
Naples,'  and  '  Abecoude ;  environs  d'Amsterdam.' 
He  died  at  Ghent  in  1885. 

PAPERMANN,  Ernst  Moritz,  German  painter; 
born  October  28,  1830,  at  Fischergasse,  near 
Meissen  ;  became  a  pupil  of  Bendemann  and  of 
the  Dresden  Academy.  Painted  on  porcelain ; 
also  portraits  and  genre  pictures,  such  as  his 
'  Sandalcnkinder.'  He  died  at  his  birthplace, 
April  2,  1893. 

PAPETY,  Dominique  Louis  F^b^ol,  a  French 
painter,  born  at  Marseilles  in  1815.  He  was  a 
pupil  of  L.  Cogniet,  and  carried  off  the  Grand  Prix 
in  1836.  In  Rome  he  painted  'Moses  in  the 
bulrushes;'  a  copy  of  the  'Council  of  the  Gods,' 
after  a  fresco  of  Raphael's ;  and  '  Dream  of  Hap- 
piness.' He  travelled  in  Greece  and  the  East,  and 
made  many  drawings ;  on  his  last  voyage  he  laid 
the  seeds  of  a  fever  which  carried  him  off  in  1849. 

PAPI,  Cristofano  di,  called  Dell'  Altissimo, 
was  a  Florentine  painter  of  the  middle  or  latter 
half  of  the  16th  century.  He  was  a  pupil  of  Bron- 
zino  and  Pontormo,  and  in  his  youth  produced 
several  important  pictures,  chiefly  portraita,  for 
Cosmo  I.  Duke  of  "Tuscany ;  also  a  large  number 
of  those  portraits  of  distinguished  persons  which 
hang  in  tlie  corridor  of  the  Uffizi  at  Florence. 
Neither  the  jear  of  his  birth  nor  that  of  his  death 
has  been  ascertained,  but  he  was  still  living  in 
1568. 

PAPILLON,  Jean,  '  the  elder,' a  French  engraver 
on  wood,  was  born  at  Rouen  in  1639.  He  was 
instructed  by  Du  Bellay,  but  his  design  was  not 
equal  to  his  engraving.     He  died  in  Paris  in  1710. 

PAPILLON,  Jean  Baptiste,  '  the  younger,'  the 
son  of  Jean  Papillon,  was  bom  at  St.  Quentin  in 
1661.  After  receiving  some  instruction  in  drawing 
from  his  father,  be  was  sent  to  Paris,  where  he  was 
placed  under  the  tuition  of  Noel  Cochin.  His  first 
pursuit  was  drawing  with  a  pen.  He  afterwards 
turned  his  attention  to  engraving  on  wood,  and  his 
cuts  possess  considerable  merit.  He  executed  a 
great  variety  of  vignettes  and  book  ornaments, 
and  is  said  to  have  been  the  inventor,  about  the 
year  1688,  of  paper-hangings  for  rooms.  He  died 
in  Paris  in  1723.  Among  his  cuts  were  the  por- 
traits of  Popes  Paul  III.,  Julius  III.,  and  Pius  IV., 
also  of  King  James  II.  of  England.  His  most 
famous  work  was  a  '  Mass-book '  in  chiaroscuro 
after  Leclerc. 

PAPILLON,  Jean  Baptiste  Michel,  the  son  of 
Jean  Baptiste  Papillon,  was  bom  in  Paris  in  1698; 
and  was  instructed  by  his  father  in  the  art  of 
engraving  on  wood,  which  he  practised  with  great 
success.     Among  his  best   performances   are    the 


PAINTEKS  AND  ENGRAVERS. 


cuts  he  executed  in  conjunction  with  N.  le  Sueur, 
from  the  designs  of  J.  J.  Bachclier,  for  the  fine 
edition  of  '  Les  Fables  de  la  Fontaine,'  in  four 
volumes  fcilio.  He  also  furnished  217  plates  to 
the  Amsterdam  Historical  Bible.  He  publitihed  a 
history  of  the  art  of  engraving  on  wood,  in  two 
volumes,  entitled,  'Traits  Historique  et  Pratique 
de  la  Gravure  en  Bois,'  in  which,  however,  be  was 
guilty  of  many  mistakes,  while  the  appearance  of 
more  recent  works  on  the  subject  has  destroyed 
its  value.     He  died  in  Paris  in  1776. 

PAPILLON,  Jkan  Nicolas,  wood  engraver,  was 
born  at  St.  Quentin  in  1663.  He  was  the  son  of 
Jean  Papillon  '  the  elder.'  He  executed  several 
unimportant  works.     He  died  in  1714. 

PAPIN,  J.  A.,  a  French  painter,  and  native  of 
Bordeaux,  was  born  in  1800.  He  never  rose  above 
mediocrity,  and  died  in  1880.  His  best  work  is  a 
'  Dream  of  St.  Joseph.' 

PAPINI,  GiusKiTE,  (or  Giuseppe  Benedetti  de 
Papini,)  an  Italian  engraver,  who,  according  to 
Zimi,  was  born  in  1707,  and  died  in  1782.  He 
executed  several  plates  of  ceilings,  and  other 
decorations  for  the  'Museo  Etrusto,'  by  Gori  ;  the 
'  Museum  Capitolinum  ;'  and  other  works  published 
between  17.37  and  1750. 

PAPPANELLI,  Niccol6,  a  native  of  Faenza, 
was  born  in  1537.  He  was  a  knight,  and  an 
amateur  in  art,  which,  however,  he  studied  with 
enthusiasm  under  tlie  influence,  at  least,  of  Baroccio. 
His  best  work  is  a  '  St.  Martin '  in  Faenza  cathe- 
dral.    Pappanelli  died  in  1620,  aged  83. 

PAPPERITZ,  GusTAV  Friedrich,  landscape  and 
genre  painter  and  etcher,  was  born  at  Dresden  in 
1813.  He  studied  at  the  Academy  there  under 
Clausen-Dahl,  and,  after  1836,  at  Munich.  He 
travelled  in  Italy  and  Spain.  His  death  occurred 
at  Dresden  in  1861.  In  1836  he  brought  out  twelve 
etchings  of  Italian  views.  Among  his  paintings 
there  are : 
The  Valley  of  Elche,  in  Spain.    (Dresden  Museum.) 

Kuins  of  Petersberg,  near  Halle. 

Sicilian  Pilgrim  scene. 

PAPPINO  DELLA  PIEVE,  an  Italian  painter  of 
the  16th  century.  He  was  a  pupil  of  Niccol6  Soggi, 
but  died  in  his  first  youth. 

PAPWOKTH,  EuGAR  George.  For  his  clever 
drawings,  and  especially  for  his  sketches  for  a 
panoramic  view  of  Kome,  this  talented  sculptor 
finds  mention  in  tbis  volume.  He  was  born  in 
1809,  resided  at  Rome  in  the  time  of  his  youth, 
having  won  a  travelling  scholarship  at  tbe  Royal 
Academy,  and  died  at  Highgate  in  1866. 

PAPWOUTH,  Geurge,  an  architect,  the  uncle 
of  E.  G.  Papworth,  and  a  man  of  unusual  skill  as 
a  draughtsman  and  colourist.  He  was  responsible 
for  many  important  buildings  in  Ireland,  but  especi- 
ally deserves  notice  on  account  of  the  intrinsic 
beauty  of  his  architectural  designs,  the  originality 
of  his  drawing,  and  the  refinement  of  his  schemes 
of  colour.  He  was  born  in  1781  and  died  in 
1855. 

PAPWORTH,  John  Bdonarotti,  another  mem- 
ber of  this  talented  family,  son  of  John  Papworth, 
born  1775,  and  died  in  Huntingdonshire  in  1847. 
He  was  not  only  an  architect,  but  also  "  a  designer 
of  decorations,  furniture,  and  accessories,"  and 
remarkable  as  an  artist  in  water-colour.  He  was 
an  honorary  member  of  the  Old  Water-Colour 
Society,  and  a  frequent  exhibitor  in  its  Galleries. 
He  was  appointed  Director  of  the  Government 
School  of  Design  in  1836,  and  was  the  author  of 


many  important  works  on  decoration,  architecture, 
and  ornamental  gardening. 

PAPWORTH,  John  Woody,  born  1820,  died 
unmarried  in  1870,  the  elder  son  of  J.  B.  Pap- 
wortb,  and  tbe  brother  of  W.  A.  V.  S.  Papwortli. 
He  was,  like  other  members  of  his  family,  an 
architect,  but  he  was  also  a  very  clever  heraldic 
painter,  and  an  admirable  designer  for  "glass, 
pottery,  terra  cotta,  paperhangings,  and  carpets." 
He  was  the  author  of  numerous  works  on  art  and 

PAPWOIJTII,  W.  A.  V.  S.,  the  younger  son  of 
J.  B.  Papworth,  and  the  editor  of  the  '  Dictionary 
of  Architecture.'  He  was  born  in  1822,  became 
curator  in  1893  of  the  Soane  Museum,  and  died 
therein  1894.  He  was  a  most  skilful  draughtsman 
and  designer,  intimately  connected  with  many 
architectural  and  artistic  societies,  the  author  of 
many  treatises  and  books  on  art,  and  a  very 
diligent  student  of  archeology.  His  designs  were 
of  great  merit  and  beauty,  and  all  students  of 
architecture  are  indebted  to  him  for  the  results  of 
his  diligent  and  persevering  study. 

PAQUEST,  Aimable  Louis  Claude,  a  pupil  of 
David,  born  in  1790,  and  died  in  1819.  Though 
well  endowed  by  nature,  his  early  death  and  his 
laborious  finish  curtailed  his  productiveness ;  a 
portrait  of  M.  de  Nanteuil-Lanorville,  exhibited  in 
1817,  with  three  or  four  other  portraits  and  a  few 
studies,  complete  the  list  of  his  pictures. 

PARADISI,  NiccoLO,  a  Venetian  painter  of  the 
15th  century,  whose  name  is  preserved  by  the 
signature  on  a  'Crucifixion,'  which  runs  thus: 
Nicholaus  Paradixi  Miles  de  Venetiis  pinxit, 
1404.  The  picture  belongs  to  the  Agostiniani 
family  at  Verucchio. 

PARANT,  — ,  a  painter  referred  to  in  the  will  of 
Pierre  Mignard.  Probably  a  jonnieyman  who 
'forwarded '  that  master's  pictures  and  completed 
the  accessories. 

PARANT,  Louis  Bertin,  a  famous  painter  on 
ivory  and  porcelain,  was  born  in  1767.  He  was 
distinguished  by  Napoleon  when  First  Consul ;  for 
him  he  executed  several  works.  Parant  died  in 
1852. 

PARASACCHI,  DoMENico,  ,in  Italian  designer 
and  engraver,  resided  at  Rome  about  the  year  1630. 
In  conjunction  with  Giovanni  Maggi,  he  engraved 
a  set  of  plates  of  the  Fountains  at  Rome,  published 
in  1618,  and  again,  with  additions,  in  1636. 

PARASOLE,  Bernardin'o,  was  the  son  of  Leo- 
nardo Parasole,  and  studied  painting  in  the  school 
of  Giuseppe  Cesari.  He  was  a  native  of  Norcia. 
He  had  begun  to  distinguish  himself  as  an  his- 
torical painter,  when  he  died,  in  the  bloom  of  life. 
He  executed  a  few  engravings  on  wood,  from  bis 
own  designs. 

PARASOLE,  Geromima,  was  a  sister  of  Isabella 
Parasole.  We  have  by  her  some  engravings  on 
wood  ;  and,  among  others,  the  '  Battle  of  the  Cen- 
taurs,' after  Tempesta ;  and  a  series  of  scenes  from 
the  Life  of  St.  Anthony. 

PARASOLE,  Isabella,  was  the  wife  of  Leonardo 
Parasole,  who  assumed  her  family  name.  She 
executed  several  cuts  of  phmts  for  an  herbal,  pub- 
lished under  the  direction  of  Prince  Cesi,  of  Aqua- 
sparta.  She  published  a  book  on  the  methods  of 
working  lace  and  embroidery,  with  ornamental 
cuts,  which  she  engraved  from  her  own  design--. 
She  was  working  at  Rome  about  1600,  and  died 
there  in  her  50th  year. 

PARASOLE,  Leonardo,  born  Norsini  (or  Nor.- 

67 


A  BIOGRAPHICAL  DICTIONARY  OF 


ciNO),  an  Italian  engraver  on  wood,  was  bom  nt 
Rome  about  tbe  year  1570.  He  chiefly  distinguished 
liiniself  by  his  cuts  in  the  Herbal  of  Castor  Durante, 
physician  to  Pope  Sistus  V.,  which  were  engraved 
by  order  of  that  pontiff.  He  also  engraved  the 
wood-cuts  to  a  'Testanientuni  novum,  arabice  et 
latine,'  and  several  prints  from  the  designs  of 
Antonio  Tenipesta,  including  an  '  Annunciation.' 
He  married  Isabella  Parasole,  and  thenceforth 
went  by  her  name. 

PAUCELLES,  Jan,  (Parcellis,  Percelles,  Por- 
CELLIS,  &c.,)  painter  and  etcher,  was  born  at 
Ghent  about  the  year  1597,  and  was  a  scholar  of 
Hendrik  Cornells  de  Vroom.  He  lived  at  Haarlem 
from  1622  to  1680,  and  died  there  in  or  subsequent 
to  the  latter  year.  He  excelled  in  painting  marines, 
particularly  tempests,  thundersturms,  and  sliip- 
wrecks.  His  pictures  of  calms  have  also  considerable 
merit;  they  usually  represent  views  of  the 
coast  of  Holland,  with  fishing-boats,  and  groups 
of  figures  on  the  strand.  Among  his  etchings  are 
the  following : 

A  set  of  twelve  large  and  eight  small  Sea-pieces. 

A  set  of  twelve  plates  of  the  different  Sbippiug  used  iu 
Holland,  with  a  Latin  inscription.     1G27. 

PARCEIXES,  JrLirs,  the  son  and  scholar  of 
Jan  Parcelles,  was  burn  at  Leyerdorp  in  162S. 
He  painted  similar  subjects  to  those  of  his  father, 
whose  style  he  imitated  with  some  success.  His 
productions  cannot  always  be  distinguished  from 
those  of  the  elder  Parcellefs,  as  they  both  marked 
their  pictures  with  the  initials  J.  P.  Good  ex- 
amples of  their  work  are  to  be  seen  in  the  galleries 
of  Berlin,  Frankfort,  and  Vienna. 

PAKEOES,  Ji'AN  HE,  was  a  Spanish  painter, 
who  studied  under  Miguel  Menendez  at  Madrid, 
and  afterwards  with  Evaristo  Muiioz  at  Valencia. 
According  to  ('can  Bermudez  his  drawing  and 
colouring  excelled  many  of  his  contemporaries. 
His  best  works  are  in  the  convent  of  the  Sliod 
Trinitarians  and  in  the  College  of  Augustines,  at 
Valencia. 

PAUEJA,  JfAV  DE,  known  as  the  Slave  of 
Velasquez,  was  born  at  Seville  in  1606.  He 
accompanied  Velasquez  to  Madrid  in  1623,  and  re- 
mained in  his  service  till  he  died.  Being  employed 
in  the  menial  work  of  the  studio  he  took  erery 
opportunity  to  perfect  himself  as  an  artist,  but 
kejit  his  ambition  studiously  concealed  from  his 
master.  At  length  he  painted  a  picture  which  he 
placed  in  his  master's  studio  in  such  a  position  as 
to  attract  the  attention  of  Philip  IV.  The  king 
was  so  pleased  with  the  work  that  he  asked  for 
^he  author,  whereupon  Pareja  owned  that  it  was 
himself,  and  in  return  received  his  liberty.  Velas- 
quez promoted  him  to  the  rank  of  a  pupil,  but  he 
remained  in  his  master's  service  till  the  latter  died, 
and  afterwards  served  his  daughter  till  his  own 
death  in  1670.  The  Madrid  Gallery  possesses  a 
single  work  of  Pareja,  '  The  Calling  of  St.  Matthew,' 
and  the  Gallery  of  St.  Petersburg  the  portrait  of  a 
Provincial  of  some  religious  order.  He  excelled 
in  portraiture. 

PAKENT.\NI,  Antonio,  an  obscure  Italian 
painter,  who  was  at  work  in  Turin  in  1550.  He 
painted  a  '  Paradise,'  with  many  angels,  in  the 
Chapter  House  of  the  Consolata. 

PARENTING,  Bernardino,  who  lived  in  the 
15th  and  16th  centuries,  is  thought  to  have  belonged 
to  the  Benedictine  Order,  to  have  taken  the  name 
of  Lorenzo,  and  to  have  died  at  Vicenza  in  1531. 
He  was  an  imitator  of  Squarcione,  and  his  earliest 

68 


production  is  a  Religious  Allegory  in  the  Gallery 
of  Modena.  representing  the  Saviour  carrying  His 
Cross,  St.  Jerome  penitent  before  a  crucifix,  and 
a  kneeling  bishop  in  a  landscape.  The  Doria 
Gallery,  in  Rome,  possesses  three  panels  by  him, 
with  scenes  from  the  life  of  St.  Anthony,  which 
show  a  Manfegnesque  feeling.  His  latest  work 
consists  of  some  unfinished  frescoes  of  scenes  from 
the  life  of  St  Benedict,  in  tbe  cloisters  of  San 
Giustina,  Padua. 

PARET  T  ALCAZAR,  Luis,  painter,  designer, 
and  etcher,  was  born  at  Madrid  in  1747.  He 
received  a  liberal  education,  and  becoming  a  scholar 
of  Antonio  Gonzalez  Velasquez,  he  obtained  in 
1760-6  prizes  at  the  Academj-  of  St.  Ferdinand. 
Having  finished  his  artistic  education,  he  applied 
himself  to  studying  oriental  and  other  languages 
5nd  history.  Returning  to  Madrid  he  became  a 
memlier  of  the  Academy,  and  was  employed  by 
Charles  III.  to  paint  views  of  the  various  harbours 
of  Spain  on  the  Atlantic  coast.  He  held  the  post 
of  vice-secretary  to  tbe  Academj-,  and  secretary 
to  a  board  of  architecture  for  the  purpose  of  exam- 
ining works  to  be  constructed  at  the  state  expense. 
He  died  at  Madrid  in  1799.  He  painted  a  large 
picture  representing  the  '  Estates  of  the  kingdom 
taking  the  oath  of  allegiance  to  the  Prince  of 
Asturias,  afterwards  Charles  IV.'  According  to 
Cean  Bermudez,  his  best  -work  was  a  series  of 
drawings  made  by  request  of  Don  Gabriel  Sancha, 
to  illustrate  '  Don  Quixote : '  unfortunately  they  were 
never  engraved.  He  left  several  etchings  and  a 
few  frontispieces  for  books. 

PAHIA.     See  Perkier,  Franqois. 

PARIGI,  GlULio,  a  Florentine  architect,  en- 
gineer, and  designer,  was  the  son  of  the  architect 
Alfonso  Parigi.  There  are  three  etchings  ascribed 
to  Giulio  by  Bartsch  and  Nagler:  'The  Garden  of 
Calypso,'  '  The  Temple  of  Peace,'  and  a  Landscape 
after  R.  Canta-Gallina,  who  was  his  scholar.  Giulio 
died  in  1635.  His  son,  Alfonso  Parigi,  '  the 
younger,' etched  some  plates  of  opera  scenes  in  the 
manner  of  Canta-Gallina  ;  also  some  other  theatrical 
decorations,  one  of  which  represents  a  '  Dance  of 
Cavaliers  and  Ladies.'  He  was  at  one  time  military 
engineer,  and  afterwards  architect  to  the  Duke  of 
Tuscany.     He  died  at  Florence  in  1656. 

PARILLA,  Miguel,  a  painter,  was  born  at 
Malaga  about  1620.  He  was  at  first  only  a  village 
painter,  but  he  afterwards  rose  to  considerable 
distinction.     He  died  about  1683. 

PARIS,  Camille,  French  painter  ;  born  in  Paris, 
March  22,  1834  ;  was  a  pupil  of  Ary  Scheffer  and 
of  Picot ;  devoted  himself  to  landscape  art.  His 
lirst  work  exhibited  at  the  Salon  in  1864  was 
'  Roche  della  Fata'  ;  this  was  followed  by  various 
Italian  landscapes;  his  'Taureau,'  shown  at  the 
Universal  Exhibition  of  1878,  is  novc  in  the  Luxem- 
bourg. He  obtained  a  third-class  medal  in  1874, 
a  second-class  medal  in  1889,  and  also  a  bronze 
medal,  receiving  the  Legion  of  Honour  in  1895, 
and  a  medal  at  the  Universal  Exhibition  in  1900. 
He  died  suddenly  at  Barbizon,  August  19,  1901. 

PARIS,  Di.     See  Alfani. 

PARIS,  Jean  de.     See  Perreal. 

PARIS,  Jerome,  engraver,  was  bom  at  Versailles 
in  1744.  He  was  instructed  by  Longueil,  and 
engraved  several  landscapes  and  \-iews,  among 
which  were : 

Views  of  Provence ;  after  Hackert. 
Views  of  Besancjon  ;  after  Zingg. 
Views  of  Dresden  ;  after  the  same. 


PATNTERS  AND  ENGRAVERS. 


Views  of  Blois,  Nantes,  Noyon,  etc. ;  after  Desfricht). 
Landscape  ;  after  Van  der  Meer. 
Landscapes ;  after  Tcr  Heinpel. 

He  died  about  1810. 

PARIS,  Pierre  Adrien,  an  architect  and  archi- 
tectural designer,  was  bom  at  Besan^on,  in  1747, 
and  died  in  1819.  His  architectural  designs  appear 
in  '  Le  Voyage  i  Naples,'  by  Saint  Non  ;  in  '  Les 
Tableaux  de  la  Suisse,'  by  Delaborde  ;  and  in  worhs 
publislied  by  himself:  such  as  '  Recueil  de  desseins 
et  etudes  d'Arcliitecture,'  nine  vols,  in  folio  ;  '  Exa- 
nien  des  Edifices  de  Rome,'  in  folio  ;  '  Restoration 
du  Colysse,'  forty-five  plates ;  and  other  pub- 
lications. 

PARISE,  Francesco,  a  painter  of  Calabria,  was 
called  Cabresello.  He  studied  at  Naples  under 
P.  de  Matteis,  and  afterwards  went  to  Rome  to 
study  under  Maratti.  He  painted  pictures  for 
churches,  landscapes,  and  sea-pieces.  He  died 
about  174.3. 

PARISET,  D.  P.,  a  French  engraver,  was  born 
at  Lyons  in  1740.  He  is  supposed  to  have  been  a 
pupil  of  Demarteau,  under  whom  he  learned  the 
art  of  engraving  in  the  chalk  style.  In  1769  he 
came  to  England,  where  he  was  for  some  time 
employed  by  Ryland,  and  engraved  some  plates 
for  the  collection  of  prints  from  the  drawings  of  the 
great  masters,  published  by  Rogers.  He  also 
worked  for  Bartolozzi.  The  date  of  his  death  is 
unknown.  We  have  also  by  him  several  portraits 
after  Falconet  and  others,  among  them  the  follow- 
ing: 

Sir  Joshua  Reynolds ;  P.  Falconet  del.     1768. 

Benjamin  West,  with  liis  family  ;  after  West. 

Francis  Cotes. 

William  Kyland. 

I'aul  Sandby. 

Ozias  Humphrey. 

J.  Meyer. 

Oliver  Cromwell :  after  Cooper. 

The  De.ith  of  Admiral  de  Coligty. 

The  Death  of  the  Duke  of  Guise. 

PARISINUS,  AuGUSTiNus,  is  supposed  to  have 
been  a  native  of  France,  and  to  have  flourished 
about  the  year  1640.  He  engraved  several  plates 
of  book  ornaments,  which  are  executed  with  the 
graver ;  also,  in  conjunction  with  J.  B.  Coriolano 
and  Olivier  Gatti,  a  book  of  emblems  by  Paul 
Macchi,  published  at  Bologna  in  1628.  There  are 
also  a  few  landscapes  with  his  mark,  a  large  A. 
with  a  P.  beneath  it. 

PARIZEAU,  Philip  Louis,  a  French  engraver, 
was  born  in  Paris  in  1740  or  1748,  and  died  in 
1801.  We  have  by  him  several  etchings  after 
Salvator  Rosa  and  other  masters,  among  them 
the  following : 

An  Assembly  of  Koman  Soldiers  ;  after  Salv.  Rosa. 

Marius  seated  ou  the  Ruins  of  Carthage ;  after  the  same. 

The  Martyrdom  of  St.  Andrew  ;  after  Ihshai/es. 

The  Martyrdom  of  St.  Kartholomew ;  after  the  same. 

Fsyche  refusing  the  Honours  of  Divinity  ;  after  Boucher. 

PARK,  TH0M.4S,  an  English  engraver,  born  in 
1760.  His  works  are  in  mezzotint,  and  were  pro- 
duced in  the  early  part  of  his  career.  After  1797 
he  devoted  himself  to  literature  and  to  antiquarian 
pursuits.     Amongst  his  plates  are : 

Hon.  Lincoln  Stanhope  ;  after  Sir  J.  Beijnolds.     1788. 

Dr.  Thomas,  Bishop  of  Rochester  ;  after  the  same.    1788. 

Miss  Penelope  Boothby  ;  after  the  same.    1789. 

Holman  and  Miss  Brunton  as  Komeo  and  Juliet ;  after 
Broicne. 

Mrs.  Jordan  as  the  Comic  Muse ;  after  Hoppner.    1786. 

Lord  Henry  Fitzgerald ;  after  the  same. 


PARKER,  Frederick,  an  English  wood  en- 
graver of  much  promise,  who  died  young  in 
1847. 

PARKER,  Henry  Perlee,  a  portrait  pamter 
from  the  west  of  England,  son  of  the  teacher  of 
marine  drawing  at  Plymouth.  He  was  bom  in 
1795,  and  resided  in  his  native  town  till  1816, 
when  he  moved  to  the  north  and  settled  at  New- 
castle, and  was  there  ultimately  associated  with 
the  foundation  of  the  Northumberland  Institution 
of  Fine  Arts.  During  his  residence  on  the  Tyneside 
he  became  very  popular  by  reason  of  his  selection 
of  local  incidents  as  the  subjects  for  his  pictures. 
He  was  a  Wesleyan,  and  was  appointed  in  about 
1840  to  the  position  of  drawing-master  at  Wesley's 
College  in  Sheffield.  In  that  town  he  resided  for 
some  four  years,  and  then  moved  to  London,  where 
he  died  in  1873.  He  exhibited  very  constantly  at 
the  Royal  Academy. 

PARKER,  J.iMES,  an  engraver,  was  bom  in 
1750,  and  was  a  pupil  of  Basire.  He  was  one  of 
the  engravers  employed  by  Boydell  in  his  '  Shake- 
speare : '  eleven  of  the  plates  are  by  him.  He  also 
engraved  •  The  Revolution  of  1688  ; '  '  The  Novel ; ' 
and  '  Yorick  feeling  the  Lady's  Pulse,'  after  North- 
cote  ;  'The  Commemorations  of  the  14th  of  Feb- 
ruary and  the  11th  of  October,  1797,'  after  Smirke  : 
several  of  the  plates  for  Flaxman's  illustrations  of 
Homer's  Iliad  ;  for  the  '  Vicar  of  Wakefield  '  (1792), 
after  Stothard  ;  and  for  Falconer's  '  Shipwreck  ' 
(1795).  He  was  one  of  the  founders,  and  a 
governor,  of  the  Society  of  Engravers.  He  died 
in  1805. 

PARKER,  John,  was  an  historical  and  portrait 
painter,  and  was  bom  in  England  about  1730.  He 
resided  several  years  in  Rome,  where  he  displayed 
suflicient  ability  to  be  employed  to  paint  an  altar- 
piece  for  the  church  of  San  Gregorio,  on  Monte 
Celio,  representing  St.  Silvia.  He  returned  to 
England  about  the  year  1762,  and  was  an  exhibitor 
at  the  Society's  Rooms,  in  the  Strand,  in  1763, 
where  he  had  two  pictures.  The  subject  of  one 
was  '  The  Assassination  of  David  Rizzio  ; '  the 
other,  his  own  portrait.  He  did  not  long  survive 
his  return  to  England,  but  died  at  Paddington 
about  the  year  1765. 

PARKER,  John,  landscape  painter,  was  for 
some  time  a  student  in  the  Duke  of  Richmond's 
Gallery,  and  received  some  instruction  from  the 
Smiths  of  Chichester.  He  was  at  Rome  about 
17G8,  but  had  returned  to  Engl.and  by  1770.  He 
exhibited  at  the  Academy  in  1771,  and  again  and 
for  tlie  l.ast  time  in  1776. 

PARKES,  David,  an  English  draughtsman,  bom 
at  Hales  Owen  in  1763.  He  was  a  schoobnaster, 
and  made  sketches  of  antiquarian  interest,  some 
of  which  appeared  in  the  '  Gentleman's  Magazine.' 
He  died  at  Shrewsbury  in  1833. 

PARKES,  JAMES.an  English  draughtsman,  tlieson 
of  D.  Parkes,  was  born  in  1794.  He  taught  draw- 
ing at  Shrewsbury.  Twelve  etchings  of  antiquities 
in  Shrewsbury  by  him  were  published  in  the  year 
after  his  death,  which  took  place  in  1828. 

PARKINSON,  Thomas,  an  English  portrait  and 
subject  painter,  in  the  second  h.ilf  of  the  18th 
century.  He  had  considerable  practice  in  theatrical 
subjects,  and  exhibited  at  the  Academy  from  1775 
to  1789.     Amongst  his  works  are : 

Scene  from  '  She  Stoops  to  Conquer.'    1775. 
Scene  from  •  <^ymon.'     177o. 
Sc«ne  from  '  The  Duenna.'    1776. 
Garrick  as  Macbeth. 

69 


A   BIOGRAPHICAL  DICTIONARY  OF 


Mrs.  Eradshaw  as  Dorcas.     Garrick  dub,  London. 
Palmer  and  Reddish  in  '  Cjmbeliae.' 

Some  of  his  pictures  have  been  engraved. 
PARMA,    Battista    Pensieri   da.     See   Pab- 

MENSIS. 

PARMA,  Ceistorofo  da.    See  Caselli. 

PARMA,  Dakiele  da.    See  Ponni. 

PARMA.  Fab.  Andrea  da.     See  Parmigiano. 

PARMANTIO,  Jacques.  A  painter  of  tliis  name, 
of  Frcncli  extraction,  lived  at  the  end  of  the  17th 
century  at  the  Hague,  wliere  he  painted  some 
ceilings  in  the  Binneiihof. 

PARME,  JuLiEN  HE.    See  Julien,  Simon. 

PARMEGIANO  (or  Parmegianino).     See  Maz- 

ZUOLA,  FRANTrSrO. 

PARMEN8IS,  Battista  Pensieri,  (or  da 
Parma,)  an  Italian  engraver,  was  born  at  Parma 
in  the  former  part  of  the  16th  century,  and  worked 
from  1538  to  1601.  He  chiefly  resided  at  Rome, 
where  he  engraved  several  plates  after  various 
masters,  and  from  his  own  designs.  He  was 
patronized  by  Pietro  Aretino,  and  praised  by  him 
in  some  of  his  letters.  His  prints  are  executed 
with  the  graver,  in  a  style  resembling  that  of 
Cornelis  Cort.  Among  others,  we  have  the  follow- 
ing by  him  : 

The  Portrait  of  Philip  11.,  King  of  Spain.    1589. 

The  Virgin  and  Infant  appearing  to  St.  John  ;  after 

Baroccio.     Baplisla  I'nrmciinis  fee.     1588, 
The  Baptism  of  Christ,    hapl.  I'armensis  del. 
The  Chastity  of  Joseph.     1592. 
The  Crucifixion,  in  two  sheets  ;  Bapt.  Parmcnsis  for- 

mis.    1584. 

PARMENSIS,  Jacobus.    See  Caeaglio. 

PARMENTIER,  Jacques,  called  James,  was 
born  in  France  in  1658.  He  was  a  nephew  of 
Sebastian  Bourdon,  by  whom  he  was  instructed 
in  art.  On  the  death  of  Bourdon,  he  came  to 
England  in  1676,  and  was  for  some  time  cmploj-ed 
by  Charles  de  la  Fo-sse,  to  assist  him  in  the  works 
upon  which  he  was  engaged  at  Montague  House. 
King  AVilliam  sent  Parmentier  to  Holland,  to 
ornament  his  palace  at  Loo,  but  he  quarrelled  with 
Marot,  the  superintendent  of  the  works,  and 
returned  to  London.  Not  finding  much  employ- 
ment on  his  arrival,  he  went  into  Yorkshire,  and 
was  engaged  in  several  historical  subjects  as  well 
as  portraits.  He  [minted  an  altar-piece  for  the 
principal  church  at  Hull,  and  a  picture  of  '  Moses 
receiving  the  Law,'  for  St.  Peter's  church  in  Leeds. 
His  best  performance  was  the  staircase  at  Work- 
sop. He  gave  a  picture  of  Diana  and  Endymion' 
to  Painters'  Hall.  On  the  death  of  Laguerre,  in 
1721,  he  returned  to  London,  where  he  died  in 
1730. 

PARMENTIER,  L.,  engraved  a  title  for  the 
'  Works  of  Philips  Wouwerman,'  with  the  portrait 
of  the  painter  at  the  bottom,  from  a  design  by 
J.  de  la  Jure. 

PARMIGIANINO.    See  RoccA,  Michele. 

PARMIGIANO,  (or  Parmioianino).  See  Maz- 
znoLA,  Francesco. 

PARMIGIANO  (or  Parmigianino).    See  Scaglia. 

PARMIGIANO,  GiULio,  a  battle  painter  of 
Venice,  called  Ca  Gbimani,  was  educated  in  the 
school  of  F.  Monti.  He  accompanied  General 
Grimani  to  the  Morea,  to  make  drawings  of  battles, 
which  he  painted  for  the  Palazzo  Grimani  at  Venice, 
He  died  in  1734. 

PARMIGIANO,  Fabrizio  Andrea,  (or  da 
Parma,)  was  born  about  1555,  and  flourished  at 
Rome  as  a  landscape  painter  in  the  pontificate  of 

70 


Clement  VII.  In  the  church  of  Santa  Cecilia  in 
Trastevere,  are  eight  large  pictures  by  him,  painted 
in  fresco,  in  which,  like  some  of  the  landscapes  by 
the  Carracci,  there  is  more  fancy  than  truth.  He 
died  in  1600. 

PAROCEL.     See  Parrocel. 

PARODI,  DoMENico,  (or  Parrodi,)  was  bom  at 
Genoa  in  1668.  He  was  the  son  of  Giacomo 
Filippo  Parodi,  .an  eminent  sculptor,  who  bestowed 
on  him  an  excellent  education.  He  acquired  the 
first  elements  of  design  under  his  father,  and  for 
some  time  applied  himself  to  the  pursuit  of 
sculpture  ;  but  a  partiality  for  painting  prevailed, 
and  he  was  sent  to  Venice,  where  he  entered  the 
school  of  Bombelli,  and  became  an  excellent 
colourist  b}'  studying  the  works  of  Tintoretto 
and  Paolo  Veronese.  He  also  visited  Rome,  where 
he  attached  himself  to  the  manner  of  Carlo 
Maratti.  His  '  S.  Francesco  di  Sales,'  in  the 
church  of  San  Filippo  Neri  at  Genoa,  is  in  the 
style  of  that  master.  He  further  painted  '  The 
Holy  Trinity,  with  SS.  Stephen  and  Leonard,'  in 
Santa  Vergine  delle  Vigne,  and  representations  of 
the  deeds  of  the  Negroni  family  in  their  palace  in 
the  same  city.     He  died  in  1740. 

PARODI,  Ottavid,  was  born  at  Pavia  in  1659, 
and  was  a  scholar  of  Andrea  Lanzano.  Ho  after- 
wards visited  Rome,  where  he  studied  some  years. 
On  his  return  to  Pavia  he  executed  several  works 
for  the  public  places  in  that  city,  which  established 
his  reputation  as  a  painter  of  history.  He  was 
still  living  in  1718. 

PARODI,  Pellegro,  a  portrait  painter,  was  the 
son  of  Domenico  Parodi.  He  went  to  Portng.d, 
and  in  Lisbon  painted  portraits  of  many  leading 
men.  Capinetti  engraved  after  him  the  portrait 
of  the  Marquis  Pombal,  and  Gregori  that  of  the 
Doge  Spinola.     He  died  about  1769. 

PAROLINI,  Giacomo  (or  Giacomo  Filippo),  was 
born  at  Ferrara  in  1663.  His  father  dying  when 
he  was  only  five  years  of  age,  he  was  taken  under 
the  protection  of  a  maternal  uncle,  who  perceiving 
his  disposition  for  art,  placed  him  with  the  Cavaliere 
Peruzzini  at  Turin,  with  whom  he  remained  until 
he  was  sixteen,  when  he  visited  Bologna,  and 
entered  the  school  of  Carlo  Cignani.  He  returned 
to  Ferrara  in  1699,  and  finished  some  pictures 
left  imperfect  by  M.  Aurelio  Scannavini,  who  had 
been  his  fellow-student  under  Cignani.  He  was 
successful  in  the  design  of  his  female  figures  and 
children,  and  his  bacchanals  and  festive  dances 
remind  us  of  Albani.  His  pictures  of  those 
subjects  are  to  be  found  in  almost  ever_v  collection 
in  Ferrara.  Of  his  historical  works  the  most 
considerable  are,  the 'Last  Supper,'  in  the  cathedral 
at  Ferrara;  and  a  fresco  representing  'St.  Sebastian 
with  a  glory  of  angels,'  in  the  church  dedicated  to 
that  Saint  at  Verona.  He  was  the  last  eminent 
painter  of  his  country,  and  "  with  him,"  says 
Lanzi,  "  was  buried  the  glory  of  the  Ferrarese 
school."     He  died  at  Ferrara  in  1733. 

PAROLINI,  Pig,  was,  according  to  Titi,  a 
native  of  Udine,  though  he  chiefly  resided  at 
Rome,  where  he  was  received  into  the  Academy  in 
1678.  He  painted  an  allegorical  subject  on  thd 
ceiling  of'one  of  the  chapels  in  San  Carlo  al  Corso. 

PARONE,  Francesco,  was  born,  according  to 
Baglione,  at  Milan,  near  the  end  of  the  16th 
cei'.tury.  He  was  the  son  of  an  obscure  artist  ; 
but  at  an  early  age  be  visited  Rome,  where  he 
bad  the  good  fortime  to  be  taken  under  the 
protection   of  the    Marquis   of   Giu«tiniani,   who 


PAINTERS  AND   ENGRAVERS. 


enabled  him  to  study  the  works  of  art  in  his  own 
collection  and  elsewhere.  In  the  cljurcli  of  the 
monastery  of  San  Romualdo,  is  an  altar-piece  by 
him,  representing  the  'Martyrdom  of  a  Saint.' 
Parone  died  at  Rome  in  the  prime  of  life,  in 
the  year  1634. 

PAROY,  Jacques  de,  glass  painter,  was  bom  at 
Saint  Pourcain  sur  Allier,  Auvergne,  towards  the 
end  of  the  16th  century.  He  studied  in  Rome 
under  Donienichino.  He  painted  the  choir  windows 
in  St.  M6ry,  Paris  ;  he  designed  the  story  of 
Susanna  for  anotlier  set  of  windows  in  the  same 
church,  and  also  the  four  '  Fathers  of  the  Church.' 
Paroy  died  at  the  end  of  the  17th  century,  aged  102. 
PAROY,  Jean  Philippe  Gov,  a  French  painter 
and  engraver,  was  born  in  Brittan)'  in  1750.  In 
his  youth  he  showed  great  talent  for  art,  in  spite 
of  the  opposition  of  his  father.  In  1800  he 
produced  his  engraving  of  the  '  Modern  Antigone,' 
which  had  great  success.  He  wrote  a  history 
of  the  Royal  Academy  of  Painting,  and  other 
works.     He  died  in  1822. 

PARR,   Remi,  (or    Remigios,)  an  architectural 
designer   and   engraver,   was   born    at   Rochester 
in  1723,  and  in  1737  published  a  View  of  London 
from  Westminster  Bridge,  with  other  plates  of  a 
similar  kind.     He  was,  however,  chiefly  employed 
by  the    booksellers  in  portraits,  book-plates,  and 
humorous  subjects.     He  was  still  living  in  1750. 
Among    others,  we  have  the  following  engraved 
portraits  by  him  : 
Haria  Louisa,  daughter  of  Charles  II. 
John  Fisher,  Bishop  of  Rochester. 
■William  Becket,  prefixed  to  his  Chlrurgical  Observations. 

1T40. 
PARRASIO,  Angelo,  a  Sienese  painter,  who  was 
employed  at  the  court   of  the  Marquis   Leonello 
d'Este,  in  the  middle  of  the  15th  century. 

PARRASIO,  Michele,  a  painter  of  the  16th  cen- 
tury, was  a  pupil  of  Titian  and  of  Paolo  Veronese. 
He  was  a  man  of  wealth,  and  continued  through 
life  in  intimate  correspondence  with  Titian.  There 
remain  by  him  : 

Madrid.  Escorial.    The  Marys  at  the  Sepulchre. 

„  „  Adoration  of  the  Kings. 

„  Museum.    The    Dead    Christ  adored  by 

Pius  V. 
Venice.  Academy.    Deposition  from  the  Cross. 

„  „  Male  Portrait. 

PARRE,  MATHIE0,  a  Dutch  painter  of  the  present 
century,  who  was  at  work  in  Amsterdam  from  1811 
to  1849.     He  was  a  pupil  of  J.  Van  der  Stok. 

PARREU,  Jos6,  was  born  at  Rusafa,  Valencia, 
in  1694.  He  was  a  pupil  of  D.  Vidal,  and  executed 
several  works  for  the  churches  in  Valencia.  He 
died  in  1766. 

PARRHASIUS,  the  younger  contemporary  and 
rival  of  Zeuxis,  was  a  native  of  Ephesus,  and  a 
disciple  of  Euenor.  He  was  in  the  fulness  of  his 
reputation  about  400  B.C.  According  to  I'liny,  he 
was  the  first  who  arrived  at  perfect  symmetry  in 
the  proportion  of  his  figures,  and  Quintilian  terras 
him  "  the  legislator  of  art,"  from  the  canon  which 
he  established  on  this  point  having  been  accepted 
by  succeeding  artists.  He  gave  to  his  forms  more 
relief  and  roundness,  more  life  and  motion,  than 
were  known  before  his  time.  He  was  also  par- 
ticularly successful  in  the  treatment  of  the  hair, 
and  in  the  expression  of  his  female  figures.  This 
characteristic  he  carried  so  far  as  to  impart  to  his 
pictures  some  of  the  soft  and  sensuous  quality  of 
the  Asiatic  school,  and  this  not  to  the  female 
figures  only,  for  Euphronor   remarked    that    the 


'Theseus'  of  Parrhasius  had  been  fed  on  roses, 
while  his  own  was  fed  upon  beef  The  painter, 
moreover,  was  voluptuous  in  his  own  habits,  and 
used  to  add  to  his  signature  the  epithet,  a/3poJiairoc, 
'  the  luxurious.'  Parrhasius  was  remarkable,  too, 
for  vanity  and  arrogance.  He  styled  himself  the 
prince  of  painters,  and  asserted  that  he  had  carried 
the  art  to  the  highest  possible  perfection.  He 
was  always  clothed  in  sumptuous  attire,  and 
claimed  to  be  descended  from  Apollo.  He  pre- 
tended to  have  painted  Hercules  from  a  revelation 
of  his  form  in  a  vision  :  and  when  defeated  by 
Timanthes  in  a  contest  for  a  picture  upon  the 
'  Strife  of  Ajax  and  Ulysses,'  he  declared  that 
Ajax  was  a  second  time  overcome  by  an  unworthy 
rival.  The  story  versified  by  the  American  poet 
Willis,  of  his  putting  a  slave  to  the  rack  in  order 
to  furnish  himself  with  a  model  for  the  expression 
of  intense  agony,  whether  it  be  founded  upon  fact 
or  not,  is  too  much  in  accordance  with  his  nature  : 
"  I'd  rack  thee  though  a  thousand  lives  were  thine ; 
TVliat  were  ten  thousand  to  a  fame  like  mine!  " 
Notwithstanding  these  serious  personal  defects, 
Parrhasius  cannot  be  denied  the  glory  of  having 
been  one  of  the  most  accomplished  painters  of 
Greece.  The  well-known  story  of  Pliny  in  refer- 
ence to  the  contest  between  him  and  Zeuxis  is 
related  in  the  article  upon  the  latter  artist.  One 
of  his  principal  works,  representing  a  '  High  Priest 
of  the  goddess  Cybele,'  was  afterwards  purchased 
by  the  Emperor  Tiberius,  for  sixty  thousand 
sesterces.  Pliny  highly  commends  two  pictures 
by  Parrhasius.  one  representing  a  warrior  rushing 
to  the  combat,  the  other  a  soldier  taking  off  his 
armour.  His  celebrated  picture  of  '  Theseus  '  was 
in  that  historian's  time  preserved  in  the  Capitol  at 
Rome  ;  and  another  representing  Meienger,  Her- 
cules, and  Perseus,  in  one  group,  was  fonnerly  at 
Rhodes.  Yet  another  of  his  m<ist  notable  produc- 
tions was  his  picture  of  '  The  Athenian  People,'  in 
which  he  appears  to  have  caught  and  expressed 
all  the  varying  modes  and  passions  of  the  populace. 
Some  of  his  subjects  were  lascivious. 

PARRHASIUS  (of  Antwerp).  See  ScHOONJANS 
PARRIS,  Edmund  Thom.^s,  was  bom  in  the  parish 
of  Marylebone  on  June  3,  1793,  and  served  an 
apprenticeship  with  Ray  and  Montague,  the 
jewellers,  where  be  leamt  enamel-painting  and 
metal-chasing  ;  he  studied  mechanics  in  his  spare 
time.  In  1816  he  was  admitted  ns  a  student 
in  the  schools  of  the  Roj-al  Academy  ;  in  this 
year  two  of  his  pictures  were  hung  at  the  Royal 
Acadeniy,  'The  I5utterfly,'  and  a  view  of  West- 
minster Abbev,  "with  old  houses  as  tliev  appeared 
in  1816."  Between  1816  and  1874  eighty-six  of 
his  works  were  exhibited  in  London,  including 
twenty-six  at  the  Royal  Academy :  thirty-six  at 
the  British  Institution  ;  and  eighteen  at  Suffolk 
Street  ((iraves,  'Dictionary  of  Anists').  From 
1824  to  Nov.  1829  Parris  was  chiefly  engaged  in 
painting  Horner's  Colosseum,  erected  near  Regent's 
Park  (in  1845  he  repainted  it)  ;  and  from  1853  to 
1856  he  so  completely  "restored"  Sir  J.  Thorn- 
hill's  paintings  in  the  cupola  of  St.  Paul's  Cathedral 
as  to  leave  practically  nothing  of  the  original 
work.  Between  these  two  undertakings  he  as- 
sisted W.  Daniell,  R.A.,  in  painting  a  panorama 
of  Madras,  the  buildin.c  of  which  was  also  from 
his  design.  His  exhibits  were  chiefly  fancy  sub- 
jects, and  probably  the  most  popular  of  these 
was  'The  Bridesmaid'  (inspired  by  Haines  Bailey's 
'  Lay  of  the  Minstrel '),  exhibited  at  the  British. 

71 


A  BIOGRAPHICAL  DICTIONARY  OF 


Institution  in  1830,  and  of  w)iich  the  en<;raving 
by  J.  Bromley  liad  a  great  success  ;  tlie  picture, 
thirty  inches  by  twenty-two  inches,  was  bought 
by  Sir  Robert  Peel,  and  at  the  sale  of  the  Peel 
heirlooms,  May  11,  1900,  it  realized  only  eleven 
guineas.  To  the  three  sets  of  plates  from  his 
drawings,  '  Flowers  of  Loveliness,'  '  Gems  of 
Beauty,'  and  'The  Passions'  (1836-38),  Lady 
Blessington  wrote  the  accompanying  verses,  and 
he  illustrated  her  '  Confessions  of  an  Elderly 
Gentleman,'  1836,  and  '  Confessions  of  an  Elderly 
Lady,'  1838.  He  had  for  many  years  a  consider- 
able vogue  as  a  fashionable  portrait  painter,  his 
sitters  including  Queen  Adelaide;  this  was  lent 
to  the  Guelph  Exhibition  in  1891  by  Mr.  John 
Cleland  ;  in  1832  he  was  appointed  historical 
painter  to  Queen  Adelaide.  He  made  a  sketch  of 
<Jiieen  Victoria  on  her  visit  to  Drury  Lane  in 
Nov.  1837,  and  this  was  engraved  by  Wagstaffe, 
who  also  engraved  (in  1842)  his  picture  of  the  same 
Queen's  coronation  ;  the  Queen  gave  him  sittings  ; 
the  original  drawings  in  pencil  and  crayon  were 
sold  at  Sotheby's  on  July  10,  1899,  and  several  of 
these  are  now  the  property  of  the  present  writer. 
An  early  picture,  '  Christ  Blessing  Little  Children,' 
is  in  St.  George's  Church,  Sheffield  ;  his  cartoon  of 
*  Joseph  of  Arimathaea  converting  the  Britons ' 
won  a  prize  of  £100  at  the  Westminster  Hall 
competition  in  1843  ;  and  he  designed  a  model 
for  a  piece  of  tapestry  forty  feet  long  for  the  Paris 
Exhibition  of  1867,  and  "  was  much  employed 
in  decorating  the  mansions  of  the  nobility."  A 
number  of  his  historical  costume  plates  were 
reproduced  in  the  fourth  and  fifth  volumes  of 'The 
Connoisseur.'  Parris  was  a  man  of  untiring  and 
extraordinary  industry,  but  he  is  now  perhaps 
best  remembered  by  the  many  pretty,  sentimental 
plates  which  he  designed  for  the  '  Keepsakes'  and 
'  Annuals'  of  the  earlier  years  of  the  19th  century; 
he  was  not  in  any  sense  a  great  artist,  but  he  was 
a  conscientious  and  painstaking  %vorkman,  and  it  is 
a  matter  of  regret  tliat  he  is  not  represented  in  any 
public  Gallery.    He  died  on  Nov.  27, 1873.     W.E. 

PAREOCEL,  Charles,  the  son  of  Josejih  Parro- 
cel,  was  bom  in  Paris  in  1688,  and  was  first  in- 
structed by  his  father,  who  dying  when  he  was 
only  sixteen  years  of  age,  he  was  placed  under  the 
tuition  of  Charles  de  la  Fosse,  and  on  leaving  that 
master,  travelled  to  Italy,  where  he  studied  some 
years  in  Rome.  On  his  return  to  France  he  ac- 
quired considerable  reputation  as  a  painter  of 
battle-pieces,  and  though  these  and  his  hunting- 
pieces  are  inferior  to  those  of  his  father,  they 
possessed  sufficient  merit  to  procure  his  reception 
into  the  Academy  at  Paris,  of  which  in  1745  he 
further  became  professor.  He  was  in  the  same 
year  appointed  to  accompany  the  king  to  Flanders, 
to  depict  his  victories.  Among  his  best  paintings 
are  those  of  '  The  Turkish  Ambassador  before  and 
after  his  audience  in  the  Tuileries,'  now  at  the 
Gobelins.  Parrocel  has  left  thirty-seven  etchings, 
from  his  own  designs,  representing  horse  and  foot 
soldiers,  among  them  six  in  the  style  of  Salvator 
Rosa.     He  died  in  Paris  in  1752. 

PARROCEL,  Etienne,  was  the  son  of  Pierre 
Parrocel.  He  was  born  in  Paris  about  the  year 
1720,  and  is  stated  to  have  been  a  painter,  perhaps 
also  an  engraver. 

PARROCEL,   Barthelemy,   a  native   of  Biig- 
nolles,  father  and  first  instructor  of  Joseph  Parrocel. 
He  was  of  no  repute  as  an  artist,  and  died  about 
1660. 
72 


PARROCEL,  Ignace,  the  nephew  of  Joseph 
Parrocel,  was  born  in  Paris  in  1668.  He  was 
apparently  the  scholar  of  his  uncle,  as  he  painted 
similar  subjects,  battles  and  huntings,  and  in  a 
closely  similar  style.  He  died  in  Paris  in  1722. 
A  'Turkish  Battle '  and  a  '  Field  Encampment '  by 
him  are  in  the  Belvedere  of  Vienna. 

PARROCEL,  Joseph,  an  eminent  painter  of 
battles,  was  born  at  Brignolles,  in  Provence,  in  1648. 
He  was  the  son  of  Barthelcmy  Parrocel,  a  painter 
of  little  note,  who,  together  with  his  elder  son 
Louis,  instructed  Joseph  in  the  first  elements  of  the 
art.  Without  the  help  of  any  other  teaching,  the 
latter  went  to  Paris,  where  he  obtained  the  notice  of 
some  distinguished  artists,  who  recommended  him 
to  visit  Italy.  On  his  arrival  at  Rome,  he  found 
the  works  of  Borgognone  in  the  highest  estimation  ; 
and  he  entered  the  school  of  that  artist.  After  a 
residence  of  some  years  at  Rome,  he  visited  Venice, 
where  he  rapidly  improved  his  colour  by  study- 
ing the  works  of  the  best  Venetian  masters.  The 
encouragement  he  experienced  in  Venice  led  him 
to  think  of  establishing  himself  there,  when  one 
evening  he  was  assailed  on  the  Rialto  by  several 
assassins,  posted,  it  was  believed,  by  persons  jealous 
of  his  success,  and  it  was  only  by  his  courage  and 
personal  vigour  that  he  escaped.  In  1675  he  re- 
turned to  Paris,  and  immediately  met  with  public 
favour.  He  was  made  a  member  of  the  Academy 
the  following  year,  on  which  occasion  he  painted 
the  '  Siege  of  Maestriclit '  for  his  reception  picture. 
He  was  commissioned  by  the  Marquis  de  Louvoie, 
to  decorate  one  of  the  four  refectories  of  the  In- 
valides,  with  the  conquests  of  Louis  XIV.,  and  after 
this  he  was  employed  on  some  of  the  works  at 
Versailles  and  Marly.  He  became  one  of  the 
favourite  painters  of  Louis  XIV.,  in  whose  service 
he  remained  until  his  death,  which  occurred  in 
Paris  in  1704.  He  painted  several  historical  sub- 
jects for  the  Hotel  de  Toulouse,  and  an  a<lmirable 
picture  of  '  St.  John  in  the  Wilderness,'  for  the 
church  of  Notre  Dame  de  Paris.  The  Museum  of 
Lyons  possesses  a  '  Horsemen  Resting  '  by  him. 
We  have  ninety  etchings  by  Parrocel  from  his  own 
designs:  among  which  are  the  following: 

The  Four  Parts  of  the  Day  ;  J.  Parrocel  inv.  el.  fee. 

Four  Battles  ;  the  same  inscription. 

A  set  of  forty-eight  prints  from  the  Life  of  Christ. 

PARROCEL,  Lonis,  a  painter,  the  eldest  son  of 
B:irth>51emy  Parrocel,  was  born  at  Avignon  in  1640. 
lie  was  instructed  by  his  father,  and  painted  chiefly 
historical  pictures. 

PARROCEL,  Pierre,  nephew  of  Joseph  and  son 
of  Louis  Parrocel,  was  born  at  Avignon  in  1664, 
and  died  in  Paris  in  1739.  He  was  first  instructed 
by  his  uncle,  and  afterwards  entered  the  school  of 
Carlo  Maratti  at  Rome,  and  in  1730  became  a 
member  of  the  Academy  there.  His  principal  work, 
as  a  painter,  was  in  the  gallery  of  the  Hotel  de 
Noailles,  at  St.  Germain-en-Laye,  where  he  repre- 
sented the  history  of  Tobit  in  thirteen  pictures ; 
but  the  'Coronation  of  the  Virgin,'  in  the  church 
of  St.  Mary  at  Marseilles,  is  considered  his  chef- 
d'oeuvre.  He  also  etched  and  engraved.  His 
etchings  are  executed  with  dexterity  and  spirit,  in 
a  style  analogous  to  that  of  A.  Rivalz;  but  he  wag 
not  equally  successful  with  the  graver.  Of  the 
fourteen  etchings  left  by  him,  '  'The  Triumph  of 
Amphitrite  '  is  perhaps  the  most  noteworthy. 

PARROCEL,  Pierre  Ignace,  was  born  at  Avig- 
non in  1702,  and  was  at  Rome  in  1739-40.  He 
was  afterwards  director  of  the  school  of  art  there. 


PAINTERS  AND  ENGRAVERS. 


He   etched   thirty-six   plates,  coinprisiufj  among 
tliem  a  series  of  Bernini's  statues. 

PARRODI.     See  Parodi. 

PABROTT,  William,  tlie  son  of  a  fanner  at 
Aveley  in  Essex,  was  born  in  October  1813. 
Coming  to  London,  he  was  apprenticed  to  Juliii 
Pye  the  engraver,  but  soon  forsook  ttie  burin  for 
the  brusli.  In  1840  he  published  a  series  of  twelve 
lithograph  views  of  '  London  from  the  Thames,' 
and  in  1843  his  residence  in  Paris  is  marked  by  a 
similar  set  of  Paris  views.  During  the  years  1844 
and  1845  he  travelled  in  Italy,  and  on  his  return 
settled  in  Warren  Street,  Fitzroy  Square,  which 
neighbourhood  he  never  left  till  his  death.  In 
1851  he  visited  Germany,  and  afterwards  spent 
much  time  in  Normandy  and  Brittany.  From 
1836  to  18.07  he  was  a  regular  exhibitor  at  the 
Royal  Academy,  showing  twenty-tive  pictures  in 
all.  From  1835  to  18G9  he  also  exhibited  twenty- 
five  pictures  at  Suffolk  Street,  and  nineteen  at  the 
British  Institution.  His  work  consists  mainly  of 
landscapes,  but  he  occasionally  produced  figure 
eubjects  full  of  life  and  vivacity,  such  as  '  The 
llonk  preaching  in  the  Colosseum,'  '  Catering  for 
the  Convent,'  &c.  One  of  his  best-known  works  is 
his  caricature  portrait  of  Turner,  painted  in  1842, 
and  now  in  the  Riiskin  Museum.  To  his  last  years 
belong  the  'Part  of  St.  Malo '  (1864);  'Margate 
Jetty  '  (1865) ;  '  Sea  View,  Isle  of  Wight '  (1866)  ; 
'Across  the  Thames  at  Henley'  (1867);  'The 
Romantic  Fair  of  Quimperle,  Brittany,'  and 
'Vesuvius  in  Eruption'  (1868).  His  last  exhibit 
was  in  1869,  and  it  may  be  presumed  that  he  died 
in  that  year,  or  shortly  after. 

P.\RRY,  Chahles  James,  a  younger  son  of  D. 
H.  Parry,  and  a  clever  amateur  artist.  He  was 
born  in  1824,  educated  at  Manchester,  where  he 
was  afterwards  engaged  in  commercial  pursuits, 
and  died  in  London  in  1894.  Two  of  his  sons 
were  also  artists. 

PARRY,  David  Henry,  junior,  a  painter  of  mili- 
tary subjects,  and  a  writer,  son  of  Charles  Parry. 

PARRY,  David  Henry,  a  son  of  Joseph  Parry, 
born  in  1793,  whose  success  in  the  world  as  a 
portrait  painter  caused  him  to  remove  to  London, 
where  he  died  in  1826.  He  painted  both  in  oil 
and  in  water-colour,  and  some  notable  portrait 
drawings  were  executed  by  him  in  pastels. 

PARRY,  James,  a  son  of  Joseph  Parry,  and  an 
engraver.  His  work  is  well  represented  in  Corry's 
'  History  of  Lancashire,'  and  be  both  drew  and 
engraved  many  views  of  buildings  in  that  county. 
He  died  in  1871. 

PARRY,  Joseph,  a  Liverpool  artist,  the  son  of 
a  master  pilot,  who  was  apprenticed  to  a  ship 
painter,  but  who  speedily  proved  his  capacity  for 
artistic  work.  He  painted  a  great  many  pictures 
dealing  with  the  curious  by-streets  and  quaint 
buildings  of  Manchester  and  Liverpool,  and  he 
also  had  considerable  practice  as  a  portrait  painter 
in  those  towns.  lie  etched  a  very  clever  portrait 
of  himself  which  is  exceedingly  rare.  He  died  at 
Manchester  in  1826,  and  two  of  his  sons  practised 
as  artists. 

PARRY,  Thomas  G.\mbier,  a  well-to-do  amateur 
artist,  born  in  1816,  whose  chief  title  to  fame  rests 
upon  his  discovery  of  the  "  spirit  fresco  "  jtrocess, 
which  was  adopted  both  by  Ford  Madox  Brown  an<l 
Lord  Leighton  in  their  most  notable  works.  He 
decorated  a  church  which  he  built  at  Iliglmam,  the 
roof  of  the  nave  at  Ely  Cathedral,  and  some  im- 
portant   portions    of    Gloucester    Cathedral,   and 


Tewkesbury  Abbej'  at  his  own  cost  with  fresco 
work,  and  attained  to  a  very  eminent  position 
thereby,  being  considered  the  greatest  living 
authority  on  internal  decorative  work.  He  was 
a  great  collector  of  tine  old  Italian  paintings, 
many  of  which  were  described  in  the  '  Burlington 
Magazine' for  July  1903.  He  died  suddenly  in 
1888. 

PARRY,  William,  was  bom  in  London  in  1742. 
He  was  the  son  of  Parry,  the  celebrated  blind  per- 
former on  the  Welsh  harp,  and  received  his  first 
instructions  in  design  in  Shipley's  drawing-school. 
He  afterwards  studied  from  the  plaster-casts  in 
the  Duke  of  Richmond's  gallery,  and  became  a 
pupil  of  Sir  Joshua  Reynolds  ;  about  which  time  he 
also  entered  the  academy  in  St.  Martin's  Lane.  He 
was  considered  at  that  time  a  very  promising  artist, 
and  obtained  several  premiums  from  the  Society 
of  Arts,  and  in  1766  he  became  a  member  of  the 
Incorporated  Society  of  Artists.  On  leaving  Sir 
Joshua  he  was  favoured  with  the  patronage  of  Sir 
Watkin  Williams  Wynn,  by  whose  liberality  he 
was  enabled,  in  1770,  to  visit  Italy,  where  he 
remained  four  years,  and  among  other  things  he 
painted  for  his  protector  a  copy  of  Raphael's 
'  Transfiguration,'  at  that  time  in  the  church  of 
San  Pietro  in  Montorio.  He  returned  to  London 
in  1775,  and  in  1776  was  chosen  an  Associate  of 
the  Royal  Academy  ;  he  then  exhibited  some  por- 
traits, as  he  did  again  in  1778,  1779,  and  1788. 
Not  meeting  with  the  employment  he  expected,  he 
removed  to  Wales,  and  on  the  death  of  his  wife, 
in  1788,  revisited  Rome,  where  he  found  sufiiciert 
encouragement  to  induce  him,  with  the  help  of  a 
small  fortune  acquired  through  his  wife,  to  remain 
several  years.  His  ill  state  of  health  obliged  him 
to  return  to  his  native  country  at  the  conmience- 
ment  of  the  year  1791  ;  but  he  only  survived  his 
arrival  a  few  days,  and  died  on  February  13th. 
There  is  a  small  etching  by  Parry,  prepared  as  a 
ticket  for  a  benefit  concert  on  behalf  of  his  father, 
whom  it  represents  playing  on  the  harp. 

PARS,  Henry,  an  English  draughtsman,  bom  in 
1734.  He  was  the  elder  brother  of  W.  Pars, 
A.  R.  A.,  and  was  brought  up  as  a  chaser.  Hie 
chief  claim  to  remembrance  is  in  connection  with 
the  St.  Slartin's  Lane  School,  of  which  he  was 
master  so  long  that  it  became  known  by  his  name. 
He  died  in  1806. 

PARS,  William,  was  born  in  London  in  1742, 
and  was  educated  in  the  rudiments  of  art  in  Ship- 
ley's drawing-school.  He  afterwards  frequented 
the  St.  Martin's  Lane  school,  and  the  Duke  of 
Richmond's  Gallery.  He  exhibited  at  the  Society 
of  Arts  in  1761,  and  in  1764  obtained  from  them 
the  third  premium  of  twenty  guineas,  for  historic 
painting.  Shortly  afterwards  he  went  as  draughts- 
man with  the  expedition  sent  into  Ionia  by  the  Dilet- 
tanti Society,  with  Dr.  Chandler  and  W.  Revett 
as  his  colleagues.  On  this  expedition  he  was  ab- 
sent over  two  years,  and  some  time  after  his  return 
he  was  engaged  by  the  second  Lord  Pahuerston, 
to  accompany  him  in  a  tour  through  Switzerland 
and  Italy,  to  make  drawings  of  the  most  remark- 
able views  and  antiquities.  In  1770  he  was  elected 
an  Associate  of  the  Royal  Academy  ;  and  in  1774 
the  Dilettanti  Society  having  determined  to  sen^ 
an  artist  to  Rome,  for  a  certain  number  of  years, 
upon  a  pension,  to  complete  his  studies  as  a  painter, 
Pars  was  made  choice  of,  and  arrived  at  Rome  in 
1775.  He  continued  his  studies  in  Italy  until  the 
autumn  of  the  year  1782,  when  he  died  of  a  fever. 

73 


A  BIOGRAPHICAL  DICTIONARY  OF 


He  had  exhibited  at  the  Royal  Academy  constantly 
from  its  establishment  until  1776,  producing  both 
small  and  life-size  portraits,  as  well  as  drawings 
and  stained  views  of  temples  in  Asia  Minor  and 
Greece.  Several  of  the  views  he  made  in  Greece 
have  been  engraved  by  Byrne ;  and  some  of 
those  in  Switzerland  and  Italy  were  reproduced  in 
aquatint  by  Paul  Sandby.  Woollet  also  engraved 
five  Swiss  views  after  Pars. 

PARSON,  William,  an  amateur  architectural, 
landscape,  and  fruit  painter,  was  bom  in  London 
in  1736.  His  father  was  a  builder,  and  at  fourteen 
he  was  apprenticed  to  an  architect.  He  afterwards 
went  on  the  stage,  and  became  a  popular  comic 
actor,  but  never  relinquished  his  art.  He  died  in 
1795. 

PARSONS,  Francis,  an  English  portrait  painter, 
in  the  second  half  of  the  18th  century.  He  was 
taught  in  the  St.  Martin's  Lane  school,  and  became 
a  member  of  the  Incorporated  Society  of  Artists. 
In  his  later  years  he  became  a  picture-dealer. 
Works : 

Portrait  group  of  Indian  Chiefs  who  visited  London  in 

1763.     Eiup-aved  by  McArdell. 
Portrait  of  Miss  Davis  as '  Madge,'  in '  Love  in  a  Village.' 
Portrait  of  Brindley,  the  Engineer.     Engraved  by  Dun- 

harton. 

PARTRIDGE,  John,  a  portrait  painter,  was  bom 
in  1790.  He  exhibited  at  the  Royal  Academy  from 
1815  to  1846.  In  1843  he  exhibited  portraits  of 
the  Queen  and  Prince  Albert,  which  were  engraved 
and  became  very  popular.  Two  years  later  he 
was  appointed  portrait  painter  extraordinary  to  the 
Queen.  For  thirty  years  he  held  a  good  position 
in  the  second  rank  as  a  portrait  painter,  exhibiting 
for  the  last  time  in  1846.  On  two  occasions  only, 
in  1830  and  1836,  did  he  send  a  subject  picture  to 
the  Academy  ;  these  were  respectively,  '  Titania, 
Puck,  and  Bottom,'  and  'A  Sketching  Society,  the 
Critical  Moment.'  Partridge  died  November  25, 
1872.  The  National  Portrait  Gallery  possesses  a 
large  picture  by  him  of  a  meeting  of  the  Fine  Arts 
Commission  of  1841  at  Gwydyr  House,  Whitehall; 
and  the  National  (iallery  of  Ireland  a  portrait  of 
SirT.  Wyse,  K.C.B. 

PAS,  DE  (Pass).    See  Van  de  Pass. 

PASADOS,  MiGDEL,  a  Spanish  Dominican  monk, 
l)0rn  at  Valencia  in  1711.  He  painted  historical 
pictures,  and  died  in  1753. 

PASAROT.     See  Passerotti. 

PASCAL,  Antoine.  a  painter  of  still-life,  and 
pupil  of  Redouts.  He  was  at  work  at  Macon  in 
the  early  years  of  the  present  century.  His  wife 
followed  the  same  profession. 

PASCAL,  JosEi'u  Andreas,  a  miniature  painter 
of  Munich,  who  flourished  in  1729.  He  painted 
portraits  and  other  pictures  in  miniature  for  the 
Bavarian  court.     He  died  in  1758. 

PASCALINI.     See  Pasqualini. 

PASCH,  LoRENZ,  a  painter  of  Stockholm,  was 
horn  in  1733.  He  painted  the  Swedish  king  and 
the  members  of  his  house  and  court,  and  decorated 
the  royal  palace  with  pictures.  He  was  a  professor 
and  rector  of  the  Academy,  and  inspector  of  the 
Gallery.     He  died  in  1805.     Works: 

Stockholm.  Gallery.     Portrait  of  the  Engineer  Daniel 

Thunberg.       [^Fasch     /'iiixir, 
1772. 
„  Half-length   portrait    of  Gus- 

tavus  Adolphus  IV. 

His  sister,  Friederica  Ulrica  Pasch,  who  was  at 
74 


Stockholm  in  1735,  and  died  in    1796,  was   also 
a  portrait  painter  and  member  of  the  Academy. 

PASENA,  Roo.  DE.    See  Van  der  Weydkn. 

PASINELLI,  Lorenzo,  was  born  at  Bologna  ia 
1629,  and  was  first  a  scholar  of  A.  Baroni  and 
Simone  Cantarini,  but  afterwards  studied  under 
Flaminio  Torre,  whose  school  he  left  at  an  early 
age.  He  then  visited  Turin,  Mantua,  and  Rome, 
and  spent  some  time  at  Venice,  where  the  style  of 
Paolo  Veronese  exercised  great  influence  over  him. 
On  leaving  Venice  he  returned  to  Bologna,  where 
he  died  in  1700.  Among  his  best  paintings  are : 
'  Christ's  Entry  into  Jerusalem,'  and  '  The  Return 
of  Clirist  from  Limhu.s,'  in  the  Certosa  of  Bologna; 
'  St.  Francis  raising  a  Dead  Man  to  Life,'  at  San 
Francesco  in  the  same  city ;  and  the  '  History  of 
Coriolanus,'  in  the  Palazzo  Ranuzzi.  We  have 
the  following  etchings  by  Pasinelli  from  his  own 
designs : 

St.  John  preaching  in  the  "Wilderness. 

The  Martyrdom  of  several  Saints. 

The  Murder  of  the  Innocents ;  after  Guido  Rent. 

PASINI,  Aleerto,  an  Italian  painter,  born 
September  3,  1826,  at  Busseto  (Parma) ;  was  a  pupil 
of  Ciccri  at  the  Parma  Academy  ;  then  he  studied 
in  Paris  under  Isabey  and  Rousseau  ;  travelled  in 
Turkey,  Arabia,  and  Persia,  wliicli  served  to  develop 
and  confirm  his  taste  for  Oriental  subjects,  as  a 
painter  of  which  he  attained  excellence.  For  a 
time  he  worked  in  Paris,  and  afterwards  at  Mon- 
calieri,  near  Turin.  He  also  painted  Venetian 
scenes,  though  his  Eastern  subjects  show  him  at 
his  best.  He  obtained  a  third-class  medal  at  the 
Salon  in  1859  ;  a  second-class  one  in  1863  ;  a 
medal  in  1854  ;  a  nit'daille  d'honneur  in  1878  ;  the 
Legion  of  Honour  in  1868;  being  nominated  OflScer 
in  1878.  He  died  at  Cavoretto,  near  Turin, 
December  14,  1899. 

PASINI,  BoNiFAZio,  of  Verona,  son  of  Bartolo- 
meo  Pasini,  born  1489,  traceable  as  a  painter  at 
Verona  from  1515.  In  1523  he  became  a  member 
of  the  Confraternity  of  SS.  Siro  e  Libera,  and 
appears  to  have  held  the  ottice  of  Sacristan  to  that 
body  until  his  death  in  1540.  This  painter  was 
formerly  designated  in  the  history  of  Art,  Bonifazio 
I.  of  Verona,  and  was  regarded  as  the  oldest 
member  of  a  family  of  three,  the  others  being 
styled  respectively,  Bonifazio  Veronese  II.  and 
Bonifazio  III.  Veneziano.  The  important  dis- 
coveries of  Dr.  Gustav  Ludwig  in  the  archives  of 
Verona  and  Venice  have,  however,  proved  this  to  be 
incorrect.  In  his  exhaustive  treatment  of  the  sub- 
ject ('Jahrbiich  d.  K.  Prcussischen  Kunstsamm- 
lungen,' 1901,  Heft  IL  and  III.,  and  1902,  Heft  I.)  he 
has  shown  conclusively  that  the  second  Bonifazio 
of  Verona  was  named  "  Di  Pitati  "  (sec  that  painter), 
and  was  no  relation  of  Bonifazio  Pasini,  and  that 
a  third  painter  of  the  name  of  Bonifazio  never 
existed.  No  works  can  be  ascribed  to  Bonifazio 
Pasini  with  .any  certainty.  C.J.  Ff. 

PASQUALI  FiLino,  was  a  native  of  Forli,  and 
a  scholar  of  Carlo  Cignani.  He  flourished  about 
the  year  1680,  and  in  conjunction  with  Marc 
Antonio  Franceschini,  painted  several  fresco  works 
at  Bologna  and  Hiniini.  There  are  some  of  his 
paintings  in  the  jiortico  of  the  Serviti  at  Bologna  : 
and  Lanzi  makes  honourable  mention  of  his 
pictures  in  tlie  church  of  San  Vittore,  at  Ravenna. 

PASQUALIXI,  Felice,  a  pupil  of  Sabbatini ; 
some  of  liis  works  are  still  extant  at  Bologna  and 
its  neighbourhood. 

PASQUALINI,  Giovanni  Battista,  (or  Pasca- 


PAINTERS  AND  ENGRAVERS. 


LiN'i,)  an  Italian  painter  and  engraver,  was  born 
at  Cento,  near  Bologna,  about  the  j-ear  1600.  He 
frequented  for  some  time  tlie  school  of  Giro  Ferri ; 
but  it  does  not  appear  tljat  he  arrived  at  great 
eminence  as  a  painter.  We  have  several  etchings 
by  him,  principally  after  Guercino,  his  countryman, 
in  which  he  endeavoured,  not  very  successfully, 
to  imitate  with  the  point  the  masterly  pen  drawings 
of  that  master.  The  earliest  is  dated  1619,  and  the 
latest  1630.  He  freiiuently  signed  his  plates  J.  B. 
Centensis.  We  have,  among  others,  the  following 
prints  by  him : 

St.  Felix  kneeling  before  the  Virgin  and  Infant ;  after 

L.  Can'acci, 
St.  Diego  working  a  Miracle  :  after  Ann.  Carracci, 
The  Death  of  St.  Cecilia ;  after  Domenichvio. 
The  Aurora  ;  after  Uuido. 

SUBJECTS   AFTER  GUERCINO. 

Christ  dictating  the  Gospel  to  St.  John. 

The  Resurrection  of  Lazarus. 

Christ  giving  the  Keys  to  St.  Peter. 

The  Treachery  of  Judas. 

Angels  showing  M.iry  Magdalene  the  Instruments  of 

the  Passion. 
Christ  with  the  Disciples  at  Emmaus. 
The  IncreduHty  of  Thomas. 

The  Virgin  and  Infant,  with  an  Angel  presenting  Fmit. 
The  Virgin  and  Infant,  to  whom  St.  John  presents  an 

Apple. 
S.  Carlo  Borromeo. 
St.  FeUx  resuscitating  a  Dead  Child. 
Tancred  and  Erminia. 
Tithonus  and  Aurora. 

PASQUALINO.     See  Rossi,  Pasquale. 

PASQUALINO,  an  imitator  of  Bellini  and  Cima, 
who  lived  in  the  latter  part  of  the  15tli  century. 
In  the  Correr  Museum,  Venice,  there  is  a  '  Virgin 
and  Child,  with  St.  Mary  Magdalene,'  dated  and 
signed  by  him  in  1496.  Nothing  is  known  of  his 
birth  or  death. 

PASQUALOTTO.    See  Ottini. 

PASQUETTI,  Fortunato,  portrait  and  historical 
painter,  was  a  pupil  of  N.  Cassana.  In  1741  he 
was  director  of  the  Academy  at  Venice,  and  died 
about  1770. 

PASQUIER,  Jean  Jacques,  a  French  engraver, 
was  born  in  the  early  part  of  the  17th  century,  and 
was  a  pupil  of  Laurent  Cars.  He  has  engraved 
several  plates  after  French  painters,  and  a  variety 
of  vignettes  and  other  illustrations  for  books.  We 
may  name  the  following  by  him  : 

Arion  upon  the  Dolphin  ;  after  liouclier. 

Two  Pastoral  Subjects  ;  after  the  same. 

The  Graces;  after  C.  van  L'^o. 

A  set  of  Twelve  Academical  Figures  ;  after  Katoire. 

PASS,  DE  (or  PASS.EUS).     See  Van  de  Pass. 

PASSANTE,  Bartolommeo,  a  Neapolitan  painter 
of  little  note,  and  a  pupil  of  Spagnoletto. 

PASSAin.     See  I'asseri. 

PASSAHOTO  (or  Passaeotti).    See  Passerotti. 

PASSAVANT,  JoHANN  Daviu,  a  German  his- 
torical painter,  born  at  Frankfort  in  1787.  His  art 
studies  were  carried  on  under  David,  Gros,  and 
Overbeck.  But  he  chiefly  devoted  himself  to  the 
literature  and  criticism  of  art,  publishing  works  on 
Kaphael  (by  which  he  is  best  known),  engraving, 
art  in  England,  &c.  He  died  in  1861.  At  Frank- 
fort there  is  a  portrait  of  the  Emperor  Henry  II. 
by  him,  .ind  a  picture  of  St.  Hubert.  We  give  the 
titles  and  dates  of  publication  of  hi.s  books  : 

'  Kunstreise  durch  England  und  Belgien.'     1833. 
'Kaphael  von  Urbino  und  sein  Vater  Giovanni  Santi.' 
1839-57. 


'  Die  Ohristliehe  Kunst  in  Spanien.'    1853. 
'  Le  Peintre  Graveur.'     1860—1864. 

PASSE,  De  (Pass).    See  Van  de  Pass. 

PASSERI,  Andrea,  was  a  native  of  Como,  in 
the  Milanese.  In  the  year  1505  he  painted  in  the 
cathedral  of  his  native  city  a  picture  of  the  Virgin 
surrounded  by  the  Apostles. 

PASSERI,  Bernardino,  (Passari,  orPAssERO,) 
an  Italian  engraver,  flourished  at  Rome  about  the 
year  1580.  He  is  doubtfully  stated  to  have  been 
also  a  painter,  and  to  have  adopted  the  style  of 
Taddeo  Zuccaro.  Among  others  we  have  the 
following  prints  by  him  : 

The  Holy  Family  in  which  the  Virgin  is  attired  as  a 
Bohemian. 

A  set  of  several  plates  of  the  Life  of  St.  Bruno. 

Several  Madonnas,  and  other  subjects. 

PASSERI,  Giovanni  Battista,  was  bom  at 
Rome  about  the  year  1610,  and  is  reported  by 
Lanzi  to  have  been  a  friend  of  Domenichino,  and  a 
follower  of  his  style.  He  was  employed  by  Canini, 
in  the  Villa  Aldobrandini,  in  1635,  and  was  president 
of  the  Academy  of  St.  Luke,  in  1641,  when  Domeni- 
chino died.  At  the  close  of  his  life  Passeri  entered 
into  holy  orders,  and  in  1675  obtained  a  benefice 
in  the  college  of  Sta.  Maria  in  Via  Lata.  He  died 
in  1679.  In  the  church  of  San  Giovanni  della 
Malva,  at  Rome,  is  a  picture  by  him  of  the  Cruci- 
fixion ;  but  his  works  are  more  frequent  in  private 
collections  than  in  public  edifices.  He  sometimes 
painted  pictures  of  dead  game,  birds,  &c.,  of  which 
there  are  several  in  the  Palazzo  Mattel.  In  the 
Academy  of  St.  Luke  there  is  a  portrait  of  Domeni- 
chino, painted  by  him,  and  placed  there  at  the  death 
of  his  friend,  whose  funeral  oration  Passeri  pro- 
nounced. Passeri  was  one  of  the  chief  Italian 
writers  on  art.  His  principal  work  is  entitled 
'  Vite  de'  Pittori,  Soultori,  e  Architetti,  che  hanno 
lavorato  in  Roma,  e  die  son  morti  dal  1641  al 
1673.'  It  was  published  in  full  for  the  first  time 
in  1772,  in  Rome. 

PASSERI,  Giuseppe,  the  nephew  of  Giovanni 
Battista  Passeri,  was  born  at  Rome  in  1654,  and, 
according  to  Pascoli,  w.as  a  favourite  disciple  of 
Carlo  Maratti,  of  whose  style  he  was  one  of  the 
most  successful  followers.  His  principal  works  at 
Rome  are  his  picture  of  the  Conception,  in  the 
church  of  San  Tomraaso  in  P.arione  ;  and  one  of 
the  wings  to  the  picture  of  the  Baptism,  by  Maratti, 
in  the  Vatican,  in  which  he  has  represented  St. 
Peter  baptizing  the  Centurion,  which  was  executed 
in  mosaic,  and  the  original  placed  in  the  church  of 
the  Conventuali  at  Urbino.  At  Pesaro  there  ia 
one  of  his  best  works,  representing  St.  Jerome 
meditating  on  the  Last  Judgment.  Passeri  died  in 
1714. 

PASSEROTTI,  Bartolommeo,  (or  Passarotti,) 
was  born  at  Bologna  about  the  year  1520  or  1530. 
He  was  first  a  scholar  of  Giacomo  Baroccio  da 
Vignola,  but  afterwards  he  became  the  disciple 
and  coadjutor  of  Taddeo  Zuccaro,  ,at  Rome,  where  he 
resided  in  the  early  part  of  his  life.  For  the  public 
buildings  here  he  painted  some  pictures  of  which 
the  most  esteemed  is  the  Martyrdom  of  St.  Paul,  in 
the  church  of  San  Paolo  alle  Tre  Fontane.  On  his 
return  to  Bologna  he  painted  .i  great  number  of 
altar-pieces  for  the  churches,  of  which  the  most 
celebrated  are  the  Adoration  of  the  Magi,  in  San 
Pietro ;  the  Annunciation,  in  San  Martino  Mas 
giore  ;  and  the  Virgin  on  a  throne,  surroundeil  by 
St.  John  the  Baptist  and  other  Saints,  in  San 
Giacomo  Maggiore.     The  last-named  was  painted 


A   BIOGKAPHICAL  DICTIONAHY  OF 


in  competition  with  the  Carracci,  and  excited  their 
admiration.  He  died  at  Bologna  the  3rd  June, 
1592.  His  works  are  very  unequal,  as  he  frequently 
sacriticed  correctness  and  refinement  to  his  desire 
of  gain  and  to  the  indulgence  of  an  uncommon 
facility  of  hand.  He  was  the  founder  of  a  respect- 
able academy  at  Bologna,  and  counted  among  his 
disciples,  Francesco  Vanni,  Agostino  Carracci,  and 
other  distinguished  artists.  He  particularly  ex- 
celled in  portrait  painting.  Among  the  personages 
whom  he  portrayed  were  Popes  Pius  V.,  Gregory 
XIII.,  and  Sixtus  V.,  and  Cardinal  Guastavillani. 
Hiiitsch,  who  speaks  highly  of  his  abilitj'  as  a 
designer  with  the  pen,  and  of  the  freedom  and 
boldness  of  his  work  with  the  burin,  mentions  the 
first  fifteen  of  tlie  following  etchings  : 

The  Cha-stity  of  Joseph  ;  afttr  Pavmitjiano, 

The  Visitation  ;  after  F.  fitilviati. 

The  Virgin,  with  the  Infant  and  St.  John,  marked 
P.F. 

A  similar  subject  with  the  letters  B.  P. 

Tlie  Virgin  sitting  on  the  ground,  with  the  Infant 
Jesus  on  her  knees  ;  signed  B.  Fa^arvt. 

Jesus  Chri.st  holding  a  banner ;  li.  Fasarot.  This  and 
the  five  following  are  supposed  to  be  part  of  a  suite 
of  thirteen,  representing  Christ  and  bis  Apostles. 

St.  Peter,  with  the  letters  S.  P. 

St.  Andrew.     />'.  Pasarot. 

St.  John  the  Evangelist.     B.  Pasnrot. 

St.  Bartholomew.     B.  Pasarot. 

St.  Paul,  with  the  letters  B.  P. 

Keligion,  represented  by  a  woman  seated  in  the  sun  ; 
signed  B. 

Painting,  represented  by  a  young  Female  with  Wings ; 
with  the  letters  B.  P. 

A  young  Woman  in  Bed.  B.  Passaroto,  written  back- 
wards, the  letter  B.  reversed  and  joined  to  the  P. 

A  Sacriilice,  in  which  there  are  eight  figures.  The 
letters  B.  P.  on  the  left  at  bottom. 


A  Charity,  mentioned  by  Gori. 

The  Marriage  of  Isaac  and  Kebecca;  after  Peruyino; 

mentioned  by  Host. 
A  Holy  Family,  doubtful. 
St.  Peter  deUvered  from  Prison  by  an  Angel,  marked 

B.  P. ;  mentioned  by  Zani, 

PASSEROTTI,  TiBURZio,  the  eldest  son  and  the 
disciple  of  Bartolommeo  Passerotti,  was  born  at 
Bologna  in  1575.  He  painted  history  ati<i  por- 
traits, in  the  style  of  his  father.  Of  his  works  in 
the  public  edifices  at  Bologna,  the  following  are 
the  most  de-serving  of  notice.  In  the  church  of 
Santa  Maria  Mascarella,  a  picture  of  the  '  Assump- 
tion ;'  in  Santa  Cecilia,  '  St.  Francis  and  St.  Jerome 
kneeling  before  the  Virgin  ; '  in  Santa  Cristina,  the 
'  .Annunciation  ; '  and  in  San  Giacomo  Maggiore,  the 
'  Martyrdom  of  St.  Catharine,'  his  best  performance, 
lie  died  at  Bologna,  in  the  prime  of  life,  in  1612. 
Zani  calls  him  an  amateur. 

PASSEROTTI,  Ventura,  the  fourth  son  of  Bar- 
tolommeo Passerotti,  was  bom  at  Bologna  about 
1586.  He  was  instnicted  by  his  father,  and  assisted 
by  his  brother  Tiburzio.  He,  however,  chiefly 
delighted  in  making  pen  drawings.  His  practice 
as  a  professed  painter  was  confined  to  portraiture, 
in  which  he  won  much  success.  There  is  no  account 
of  any  public  work  by  him.     He  died  in  1630. 

PASSIGNANO,  II.     See  Cresti. 

PASSINI,  JoHANN,  engraver  and  painter,  was 
bom  at  Vienna  in  1798  or  1799,  and  studied  at  the 
Academy  there  under  Seipp,  and  aftervvards  under 
J.  G.  Mansfeld.  He  was  a  member  of  the  Academj' 
of  Vienna,  and  professor  in  the  Ober  Realschule 
at  Gratz.  His  death  occurred  at  Gratz,  on  January 
14th,    1874.      He   painted   landscapes  in  oil  and 

70 


aquarelle,  but  was  best  known  by  his  engravings, 
many  of  which  are  in  Pezzel's  'Sketches  of 
Vienna,'  and  Lichnowsky's  '  Memorials  of  Old  Ger- 
man Architecture.'  Besides  these  we  may  nanie 
the  following : 

'  La  Notte ' ;  after  Corrtyyio. 

The  Imperial  Family  ;  after  Fendi, 

The  Two  Foscaris  ;  after  Haijez. 

The  Crucifixion  ;  after  Tintoretto. 

The  Guardian  Angel ;  after  Kadlik. 

Croatian  Peasants  ;  after  Klein. 

Hituruing  Home  in  the  Storm  ;  after  Gauermann. 

Charles  V. ;  after  Titian. 

The  Repose  oi  the  Holy  Family  :  after  Guide  Rent. 

Kio  Janeiro,  two  plates  ;  after  EmJer. 

PASSINI,  Louis,  son  of  the  engraver  Jean 
Passini,  was  bom  at  Vienna  in  1832,  and  educated 
in  the  same  city.  He  lived  much  in  Italy,  chiefly 
at  Rome  and  Venice,  and  his  pictures  obtained 
great  repute  in  Germany,  where  he  settled,  becom- 
ing Professor  in  the  Berlin  Academy  of  Fine  Arts. 
He  was  awarded  a  medal  at  the  Salon  of  1870,  and 
became  Chevalier  of  the  Legion  of  Honour  in  1878. 
His  water-colours  are  notable  for  their  luminous 
quality,  and  he  also  painted  genre  pictures  and 
many  portraits.  His  '  Choristers  in  Church,'  a 
water-colour  painted  at  Rome  in  1870,  hangs  in 
the  National  Gallery  of  Berlin.  Ue  died  at  Venice 
in  November  1903. 

PASSOT,  Gabriel  Aristide,  miniature  painter, 
was  born  at  Nevers  about  1798.  He  was  taught 
successively  by  Madame  de  Mirbel,Diibufe  tlie  elder, 
and  Fr^d^ric  Jlillet.  He  died  in  1875.  Among 
his  works  we  may  name  the  following  : 

Portrait  of  Rossini. 

„  Lamartine. 

„  Dupiu. 

„  Giiilia  Grisi. 

„  Le  Due  de  Bas-sano. 

„  Prince  Napoleon. 

„  Napoleon  III.  and  the  Empress  Eugenie ; 

after  n'inlei  hatter. 

„  Napoleon  I. 

Queen  Hortense  ;  after  Gerard. 
Lady  playing  the  Harp. 
AVomau  bathing. 
After  the  Bath. 

PASTI,  Matteo,  (Pastin''-',  Pasto,  De  Pastis, 
or  De  Pratis,)  an  Italian  artist  He  was  a  native 
of  Verona,  and  flourished  from  1446.  He  was 
a  wood-engraver,  a  painter  in  miniature,  a  sculptor 
in  bronze  and  marble,  a  medallist,  and  a  gem 
engraver.  Neither  the  year  of  his  birth  nor  of  his 
death  is  correctly  ascertained.  He  worked  in  the 
above  year  upon  the  Breviary  of  the  Marchese 
Leonardo  da  Ferrara,  and  executed  a  set  of  prints 
for  a  folio  volume,  entitled  '  De  Re  Militare,'  by 
R.  Valturius,  which  was  published  at  Verona  in 
1472.  In  that  he  signed  his  work  :  O  M  D  P  V 
(Opus  Matthai  de  Fastis  Veronensis). 

PASTILL.  J.  I'E,  was  a  French  engraver,  who 
appears  to  have  been  chiefly  employed  in  copying 
the  prints  of  other  artists.  Among  other  plates 
we  have  the  '  Murder  of  the  Innocents,'  from  the 
engraving  by  Louis  Audran,  after  Le  Bmn. 

PASTORINI,  Benedetto,  was  an  Italian  en- 
graver, who  resided  in  London  in  the  latter  part 
of  the  18th  century,  and  was  one  of  the  governors 
of  the  Society  of  Engravers,  founded  in  1803.  He 
engraved  some  plates  in  imitation  of  the  style  of' 
Bartolozzi,  and  with  his  assistance.  We  have, 
among  others,  the  following  by  him  • 


PAINTERS  AND  ENGRAVERS. 


t'AUegro ;  A  nyel.  Knvffman  pinx.     B.  Pastorini  fee. 

II  Pensieroso  ;  the  companion. 

A  View  of  Loudon  ;  fr&m  his  own  desigv. 

Ganthenis  and  Griselda  ;  J.  F.  Uiijaxtd  pinx.  B.  Pasto- 

rini  fee. 
Griselda  returning  to  her  Family  ;  the  companion. 

PASTORINI,  J.,  a  miniature  painter,  bom  in 
1773.  He  exhibited  at  the  Royal  Academy  from 
1812  to  1826,  and  died  in  London  in  18.39. 

PASTOliINO,  Giovanni  Michele,  a  glass  painter 
and  medallist  of  Sitna,  who  worked  frequently 
from  designs  furnished  by  Pierino  del  Vaga.  In 
1549  he  painted  the  '  Last  Supper'  on  glass  in  the 
cathedral  of  Siena.  In  this  art  he  is  said  to  have 
been  tauglit  by  Claude  of  Marseilles. 

PASTURE,  RoGiER  HE  la.  See  Van  der  Weyden. 

PATANAZZI,  a  painter  whose  "  vigorous  brush 
and  consummate  powers  of  invention  "  are  extolled 
in  the  '  Galleria  de'  Pittori  Urbinati.'  He  was 
probably  a  pupil  of  Claudio  Ridolfi. 

PATAROL,  Lawrence,  engraved  some  book 
illustrations,  among  which  was  a  frontispiece  for  a 
book  on  coins,  published  at  Venice  in  1702. 

PATA8,  Jean  Bap'IISte,  a  French  designer  and 
engraver,  was  born  in  Paris  in  1744  or  1748,  and 
died  in  1817.  He  e7igraved  some  of  the  plates  for 
the  '  Galleries '  of  Florence  and  Orleans,  the  '  Musee 
Fran^ais,'  the  '  Cabinet  Poullain,'  and  other  works 
of  the  same  class ;  also  several  .small  plates  after 
various  French  painters,  and  from  his  own  designs  ; 
among  which  are  the  following  : 

The  Judgment  of  Paris  ;  aflei'  Qitexerdo. 

The  dangerous  Model ;  after  the  same. 

Henry  IV".  permitting  Provisions  to  enter  Paris  wliilst 

he  was  besieging  it ;  after  Careme. 
An  allegorical  subject  on  the  Accession  of  Louis  X^I. 

to  the  Throne  of  France  ;  from  his  own  design. 

PATAVINUS.     See  Osello. 

PATCH,  Cozens.  At  Petworth  there  is  a  picture 
by  this  artist,  in  the  style  and  of  the  same  period 
as  Hogarth. 

PATCH,  Thomas,  was  an  English  engraver,  who 
flourished  about  1770.  In  that  year  he  engraved 
a  set  of  twenty-six  plates,  from  the  frescoes  in  the 
Brancacci  Chapel ;  a  series  of  caricatures  and  two 
landscapes  after  Poussin  were  published  in  1768-70. 
He  worked  also  after  Giotto,  Frh,  Bartolommeo, 
and  other  old  Italian  masters.  He  practised  land- 
scape and  figure  painting  to  some  slight  extent, 
and  two  pictures  by  him  are  at  Hampton  Court, 
a  'View  of  the  Arno,  Florence,  by  Day,'  and  a 
view  of  the  same  place  by  Night.  Patch  went  to 
Italy  with  Sir  Joshua  Reynolds,  and  probably  died 
there  after  1772. 

PATEL,  the  name  of  two  French  landscape 
painters,  father  and  son,  who  flourished  in  the  17th 
century.  But  little  is  known  of  them.  Bej'ond 
the  fact  that  some  of  the  earlier  pictures  which  are 
assigned  to  the  father  are  signed  '  P.  Patel,'  and 
that  some  later  works  assigned  to  the  son  bear 
a  monogram  before  the  surname,  composed  appar- 
ently of  the  letters  A.  P.  T.,  their  Christian  names 
are  unknown. 

The  elder  painter,  who  is  generally  known  as 
'  Patel  le  pere,'  appears  to  have  been  born  in 
Picardy,  shortly  before  the  year  1620.  It  is  sur- 
mised that  be,  like  many  of  the  French  artists  of 
his  time,  owed  his  training  to  Vouct,  and  that  he 
completed  his  art  education  by  a  visit  to  Italy. 
The  latter  surmise  is  founded  on  the  fact  that 
several  of  his   works  are   evidently  inspired  by 


scenes  in  the  neighbournood  of  Rome.  It  is  also 
stated  that  he  painted  the  landscape  backgrounds 
in  some  of  Le  Sueur's  pictures.  With  greater 
certainty  he  is  included  amongst  the  illustrious 
band  of  painters  who  in  1649  were  engaged  on  the 
decorations  of  the  mansion  of  the  President  Lam- 
bert de  Thorigny  on  the  Island  of  Notre  Dame  in 
Paris.  His  brush  was  also  employed  in  decorating 
the  apartments  of  Anne  of  Austria  in  the  Louvre. 
He  was  received  into  the  Guild  of  Master  Painters 
in  l(i35,  and  became  a  director  in  1650.  In  the 
following  year  he  was  one  of  the  elders  who  signed 
the  agreement  amalgamating  the  Guild  with  the 
newly-founded  Academy.  His  death  occurred  in 
Paris  on  the  5th  August,  1676.  The  elder  Patel 
ranks  amongst  the  most  able  imitators  of  Claude 
Lorrain,  whose  aerial  effects  he  imitates  with  con- 
siderable success.  Like  his  model  he  delights  in 
the  ruins  of  ancient  architecture,  which  form  a 
prominent  feature  in  bis  comjiositions.  Not  many 
pictures  have  survived  under  his  name.  This  is 
due  to  two  caOses.  First,  that  he  probably  executed 
but  few  easel  works,  owing  to  his  having  been 
much  employed  on  decorations.  Second,  that  ninny 
of  his  pictures  have  doubtless  been  passed  ofiE 
under  the  greater  name  of  Claude. 

Concerning  the  younger  painter,  '  Patel  le  fils,' 
even  less  is  known  than  concerning  his  father, 
with  whom  he  is  often  confounded.  He  appears 
to  have  been  born  shortly  before  the  middle  of 
the  17th  century,  as  it  is  expre.ssly  stated  that  he 
assisted  his  parent  in  the  decoration  of  the  apart- 
ments of  Anne  of  Austria.  He  is  also  said  to  have 
painted  twelve  pictures  representing  the  months, 
for  the  church  of  St.  Louis-la-Culture,  in  Paris, 
four  of  which  are  now  in  the  Louvre.  His  career 
was  prolonged  to  the  beginning  of  the  18th  century, 
as  there  are  two  pictures  at  Marseilles  bearing  his 
monogram,  which  are  dated  1705.  He  was  killed 
in  a  duel :  hence  he  is  by  some  writers  called 
'  Patel  le  tue,'  which  cognomen  is  sometimes  wrongly 
applied  to  his  father.  Two  etchings  by  him  are 
known,  described  by  Dumesnil  as  '  Architectural 
Ruins  '  and  '  View  of  a  Forest.'  His  art  i.s  not 
equal  to  that  of  his  father,  whose  style  he  followed 
slavishly. 

The  following  is  a  list  of  pictures  by  the  two 
Patels.  It  is  frequently  doubtful  whether  a  work 
should  be  ascribed  to  the  father  or  to  the  son.  In 
the  cases  in  which  some  degree  of  certamty  exists, 
*  is  placed  against  the  pictures  of  the  elder,  and  t 
against  those  of  the  younger  painter. 

All.  Museum.  The  Finding  of  Moses,  t 

Avignon.  „  Landscape. 

Basle  „  Landscapes  (2). 

Besan(;on.  „  Laudscape. 

Caen.  ,.  Landscape. 

Cherbourg.  .,  Two  Landscapes. 

Marseilles.  .>  Landscape:  Morning  (1705).  t 

„  Landscape :  Sunset  (1705).  t 

Montpellier.  ,.  Cephalus  and  Procris. 

Nantes.  ,.  Stag-hunt. 

„  Landscape. 

Orleans.  „  Two  Landscapes. 

Paris  Louvre.  Jochal)ed       expo.siug      Moses 

(1660).* 

„  Moses  burying  the   Egyptian 
I        "  (1660).  • 

„  Two  Landscapes.  * 

"  January,  Snow  scene  (1699).  t 

,!  April  (1699).  t 

"  _  August,      arrest  (1699).  t 

September,  Harvest  (1699).  t 

"  Laudscape,  Harvest  (170.»).  t 

77 


A   BIOGRAPHICAL  DICTIONARY  OF 


Pfctersbarg.  Hermitage. 

»>  t» 

Rennes.  Museum. 

Valencieimes.  Museum. 


Vienna 


na.  Archduke )  r      j 

Albrechts  Gallery.  \  Landscape. 


Christ  and  the  Oenturion.* 
Two  Landscapes,  t 
Kains  by  the  Sea. 
Two  Landscapes. 
Landscape  with  Water-mill. 
Landscape  with  Castle. 


A  CENOiT  Nicolas  Patel,  a  painter  of  the  18th 
century,  was  of  the  same  family,  but  very  little  is 
known  about  him. 

PATEXIEI!.     See  Patinir. 

PATEi;,  Jean  Baptisje  Joseph,  a  French 
painter  of  fetes  galantes,  was  born  at  Valenciennes 
on  the  29th  December,  1695.  He  early  showed 
artistic  predilections,  and  bis  father,  a  wood-carver, 
having  grounded  him  in  the  first  principles  of  art, 
took  him,  while  still  young,  to  continue  his  studies 
in  Paris.  There  he  became  a  pupil  of  his  fellow- 
townsman  Watteau,  but  the  irritable  temperament 
of  the  master  caused  a  separation.  When,  how- 
ever, Watteau  felt  his  end  approaching  in  1721, 
he  sent  for  Pater  to  come  to  him  at  Nogent-sur- 
Mame.  For  a  short  time  the  pupil  painted  daily 
under  the  eye  of  the  master,  receiving  his  latest 
inspiration.  This  instruction  thoroughly  imbued 
him  with  the  spirit  of  the  chief  of  his  school,  and 
lie  ever  p:ratcfully  acknowledged  his  obligation. 
In  1728  he  was  received  into  the  Academy  as  a 
member  of  the  new  class  of  "  peintres  de  sujets 
niodernes."  There  are  but  few  incidents  to  record 
in  the  short  career  of  Pater.  He  did  not  cultivate 
friendships,  and  rarely  went  out  of  his  studio.  His 
time  was  entirely  devoted  to  art:  the  whole  day 
was  occupied  in  painting,  and  the  evening  brought 
no  relaxation  to  his  labours.  This  foveri.sh  industry 
was  caused  by  an  over-haunting  fear  of  poverty, 
which  led  him  to  stint  himself  to  provide  for  his 
latter  d.ays.  His  health  at  length  gave  way  under 
such  a  strain,  and  he  died  in  Paris  on  the  25th  July, 
1736,  before  he  couM  enjoy  the  provision  wliich 
he  had  laid  up.  Pater  was  a  good  colourist,  but 
his  drawing  is  without  the  precision  of  Watteau, 
and  his  touch  is  wanting  in  delicacy.  He  followed 
Watteau  not  only  in  choice  of  subject,  but  also  in 
composition.  The  following  are  some  of  his  more 
accessible  works  : 


Angers.  Museum. 

Bcrbn.  Alter  Schloss. 

"  »» 

.,  JVeKM  Palais. 


Brunswick.  GrandDucal 
Museum. 
Ca.ssel. 

Dresden. 

Edinburgh.       Xnt.  Gal. 

Fontainebleau.     Palace. 

t»lasgow.        Corporation 

Gallery. 

London.        Victoria  and 

Albert  Museum. 

„  Wallace  Coll. 


78 


AVomen  Bathing. 

Bal  Champutre. 

Fete  a  la  Champagne. 

Les  PScheurs. 

Le  Jeu  de  Colin-Maillard. 

Ffite  Champetre. 

Les  ComWiens  Italiens. 

I^s  Baigneuses. 

Un  Pay  sage. 

Danse  en  plein  air. 

The  Suite   (14),  '  Le    Roman 
Comique  de  Scarron." 

Conversation       musicale      un 
y      Guitariste. 

The  Guitariste. 

Fete  Ohampdtre. 

Royal  Cortege  au  Pare  (17-15). 

Danse  dans  la  Fordt  (1753). 

AVomen  Bathing. 

Chinese  Hunting  Scene. 
\  Picnic. 
)  F(5te  Champitre. 

|F6te  Champetre. 

Fete  Galante. 

LeBal. 

Les  Baignense«. 

FAte  dans  un  I'arc. 

Le  Bain. 


London.       Wallace  Coll. 


Xantes. 
Paris. 


Museum. 


Le  Boudoir. 

Detachemeut  faisaut  halte. 
Conversation    Ualante   (three 
compositions). 

/■Le  Jeu  de  Colin-Maillard. 
J  La  Danse. 
"j  L'Escarpolette. 

I  F^te  Champetre. 
Plaisirs  pastorals. 
Reunion  dans  un  Jardin. 
F6te  Champfitre  (1728). 

des        ComMiens 


Potsdam 


„  Stadt  Schloss. 

Stockholm.       jVat.  Gal. 
Valenciennes.    Museum. 


Versailles. 


Louvre. 
Louvre,  Coll.  la  )  Reunion 
Caze. )      Italiens. 
„  La  Toilette. 

„  Conversation  dans  un  Pare, 

„  La  Baigneuse. 

Schloss  Sans- )   f  Soldats  en  marche. 

Souci. }   (  Soldats  devant  un  Auberge. 
„  Bain  dans  la  Maison, 

„  L'Araour  en  plein  air. 

„  Le  Sultun  (two  compositions). 

„  La  Gaiet6  Villageoise. 

„  (  Danse  i,  la  Campagne. 

„  (  Concert  en  plein  air. 

„  La   Boh^mienue    Diseuse    de 

bonne  Avcnture. 
.,  Reunion  de  ]\Iusiciens. 

Rdunion  en  plein  air. 
Le  Jeu  de  Colin-Maillard. 
Young  Girls  Bithing. 
Portrait  of  tlie  Painter's  Sister. 
The  Nest  of  Turtle-Doves. 
,,  La  Soiree. 

Grand  \  The  Bath. 
Trianon,  j  Fishing, 

PATICINA.    See  Adler,  Philip. 

PATIGNY,  Jean,  a  French  engraver,  flourished 
from  1650  to  about  1670.  He  executed  a  few 
plates,  in  which  be  appears  to  have  imitated  the 
style  of  Agostino  Carracci,  but  with  little  succeBS. 
A  print  of  the  '  Virgin  and  Infant  Christ,  with  St. 
John,'  after  Annibale  Carracci,  may  be  named. 

PATIN,  Jacqdes,  was  painter  in  ordinary  to 
Henry  111.  of  France,  and  to  his  Queen,  Louise  de 
Lorrain.  He  was  employed  by  the  Queen  to 
paint  the  scenes  for  a  masque,  or  ballet,  given  by 
her  on  the  marriage  of  her  sister  Marguerite  de 
Vaudemont  with  the  Duke  de  Joyeuse,  in  1681, 
on  which  occasion  the  king's  valet-de-chambre, 
Baltazarini  Beaujoyeux,  prepared  the  book.  This 
book  is  illustrated  with  twenty-seven  etchings  by 
Patin. 

PATINIR,  Joachim  D.,  (or  Patinieb,)  was  bom 
either  at  Dinant  or  at  Bouvignes,  on  the  opposite 
bank  of  the  Meuse,  about  1490.  He  became  a 
member  of  the  Antwerp  Guild  of  Painters  in  1516. 
He  contracted  a  first  marriage  with  Franqoise  Buyst, 
and  a  second,  in  1621,  with  Jeanne  Noyts.  At  this 
second  marriage  Albrecht  Diirer  was  present;  he 
saw  Patinir's  work  with  admiration,  and  he  drew 
his  portrait.  Patiiiir  must  have  died  before  the 
6th  October,  1624,  because  on  that  date  his  widow 
and  children  sold  the  bouse  he  had  bought  on  the 
30th  March,  1519.  Patinir  left  a  son,  Heri;i 
Patinir,  who  also  devoted  himself  to  painting,  but 
with  slight  success.  Patinir  has  been  called  the 
inventor  of  landscape  painting  so  far  .as  the  Norili 
is  concerned,  but  that  is  an  exaggeration.  It 
would  be  truer  to  say  that  he  was  the  lirst  Fleming 
to  make  his  landscapes  distinctly  more  important 
than  the  figures  with  which  they  are  peopled. 
His  style  may  be  placed  between  those  of  Gerard 
David  and  of  Jeroin  Bosch.  His  pictures  are  not 
numerous,  out  most  of  the  important  galleries  have 
good  examples  to  show.  Among  these  we  may 
name  : 


JEAN  BAPTISTE  JOSEPH   PATER 


FETE  CHAMPETRE 


iJones  liciiuest,  South  Kcrtiin^u^n 


SIR  NOEL  PATON 


DAWN— luthp:r  at  erkurt 


\CoUectioH  of  R.  H.  lUahiH,  Esq. 


o 

H 

<; 

W 

o 

"in 


Q 


< 


PAINTERS  AND  ENGRAVERS. 


Antwerp.  Museum.    The  Flight  into  Egjrpt  (signed 

Opts.  Joachim.  D.  Patinie, 

iit  a  caHoiu'k). 
{This  samti  (jalterij  possesses  two 
pictures  on  which  Fatiniy  is 
said  to  have  collaborated  with 
Bernard  van  Orley.) 
Berlin.  Museum.    A  '  Kiposo.' 

„  „  Conversion     of     St.     Hubert 

(formerly  ascribed  to  Herri  de 
isles). 
Brussels.       R.  Museum.     A  '  Mater  Dolorosa '  {the  land- 
scape by  Patinir;  the  fi/ures 
perhaps  by  another  hand). 
Darmstadt.         Museum.     Virgin  and  Child  iu  a  landscape 
(J'ormei  ly  ascribed  to  Mostaert 
and  to  Herri  de  Bles). 
Glasgow.        Corp.  Gall.    Virgin  and  Child  in  a  landscape, 

with  rich  architecture. 
Haarlem.  Museum.     History  of  Tobias. 

Lille.  „  St.  John  the  Baptist  preaching. 

London.  iVirf.  Gall.     The  Crucifixion. 

„  „  St.  Christopher  carrying  Christ. 

„  „  St.    John    on    the    Island    of 

Patmos. 
„  „  The  Visit  of  the  Virgin  to  St. 

Elizabeth. 
„  „  The  Flight  into  Egypt. 

A  Nun  (?). 
Madrid.  Museum.    A  '  Eiposo '  (three  versions). 

„  „  Landscape  with  St.  Jerome. 

„  „  The  Temptation  of  St.  Anthony 

[a  masterpiece). 
„  „  Paradise  and  Hell. 

„  „  St.  Francis  of  Assisi  and  another 

monk    of    the   order   in    the 
Desert  {?  van  Eyck). 
Munich.  Gallery.    Christ    on    the   Cross   (jcith  a 

forged  inscription). 
Vienna.  dallcry.     The  Baptism  of  Christ. 

„  „  Landscape  with  the  Martyrdom 

of  St.  Catherine 
»  M  The    Flight    into    Egypt   (txDO 

versions). 
n  n  St.  Jerome. 

»  „  The  Battle   of  Pavia.    (As  the 

battle  was  fought  the  year  after 
Patinir  died^  according  to  the 
dates  we  have  given,  the  picture 
must  either  be  wrongly  named 
or  cannot  be  his  work.) 
„  Liechtenstein  Col.  Christ  on  the  Cross. 
n  T,  St.  Jerome  in  a  landscape,  with 

his  Lion  (with  the  forged  sig- 
nature Ktinten  Masts  1513). 

PATON,  (or  Patton,)  David,  a  Scottish  portrait 
and  miniature  painter,  who  worked  with  some 
BuccesB  about  the  middle  of  the  17th  century.  A 
portrait  of  General  Thomas  Dalzell,  still  in  the 
possession  of  the  Dalzell  family,  is  ascribed  to  him. 

PATON,  Sir  Joseph  Noel.  This  venerable  artist 
was  born  at  Dunfermline  in  1821,  and  was  one  of 
the  oldest  survivors  of  what  may  be  called  the  pre- 
pre-Raphaelite  epoch  in  art.  Paton  was  ap- 
penticed  to  his  father's  craft  as  a  pattern  designer, 
but  soon  relinquished  that  branch  of  tlie  profession 
and  went  to  study  first  at  the  Edinburgh  Academy, 
and  then  at  the  Ro_yaI  Academy  schools,  London. 
In  1844  he  contributed  to  the  Edinburgh  Exhibi- 
tion his  first  work,  entitled  'Ruth  Cleaning.'  In 
1845  he  obtained  one  of  the  three  premiums  of 
200J.  for  a  cartoon  called  '  The  Spirit  of  Religion  ' 
for  Westminster  Hall.  Armitage  and  Sir  John 
Tenniel  won  the  other  two.  At  a  further  com- 
petition in  1847  he  won  the  larger  prize,  'MOL, 
with  pictures  of  'Christ  bearing  the  Cross'  ancl 
'The  Reconciliation  of  Oberon  and  Titania.'  'The 
Quarrel  of  Oberon  and  Titania,'  by  biui,  was  bought 
for  1001.  by  the  Scottish  Academy  in  1847,  and  is 


now  with  its  sequel  in  the  Public  Gallery  at  Edin- 
burgh. In  1847  he  was  made  an  Associate  of  the 
Scottish  Academy.  In  1856  the  fuller  honours  of 
that  society  fell  to  him.  Ten  years  later  he  was 
appointed  Her  Majesty's  Limner  for  Scotland,  and 
accepted  knighthood  at  Windsor.  In  1878  the 
University  of  Edinburgh  made  him  an  LL.D.  His 
paintings  were  of  a  very  sentimental  and  religious 
character,  but  attained  to  extraordinary  popularity. 
Many  of  them  were  engraved,  and  the  reproductions 
commanded  a  large  and  important  sale,  especially 
amongst  Nonconformists.  Queen  Victoria  pur- 
chased several  of  Paton's  works,  and  the  patronage 
and  approval  of  Her  Majesty  assisted  very  largely 
in  making  the  artist  well  %nown.  Some  of  his 
most  important  paintings  were  :  '  Home  from  the 
Crimea,'  'The  Good  Shepherd,'  'Thomas  the 
Rhymer  and  the  Queen  of  Faiiyland,'  '  Dante 
meditating  the  Episode  of  France.sca '  (1852), 
'Tlie  Dead  Lady,'  'The  Pursuit  of  Pleasure'  (1855), 
'Home'  (185G),  'In  Meu.oriam  '  (1858),  'Dawn,' 
'  Luther  at  Erfurt,'  '  The  Dowie  Dens  of  Yarrow,' 
illustrated  in  six  pictures  (1860),  'Mors  Janua 
Vit;B,'  '  Faith  and  Reason,'  '  Caliban  listening  to 
the  Music,'  'Nickes  the  Soulless,'  'The  Bluidy 
Tryste,'  'Oskold  and  the  Elle  Maids'  (1874), 
'The  Entombment,'  'Gethsemane,'  'The  Man  of 
Sorrows,'  '  Thy  Will  be  done  I '  'In  Die  Malo,' 
'  Ezekiel's  Vision'  (1893),  'Puck," By  Still  Waters,' 
'Queen  Margaret  reading  the  Gospel,'  'Satan 
watching  the  Sleep  of  Christ,'  and  '  The  Spirit  of 
Twilight.'  His  paintings  were  elaborate  and  full 
of  detail,  but  distinguished  by  a  hardness  of 
texture  and  an  over-strained  pathos  and  sentiment 
in  their  subject.  With  a  certain  class  of  religious 
thought  they  were  the  only  pictures  which 
appealed  strongly,  and  in  Presbyterian  circles 
their  vogue  was  immense.  Sir  Noel  was  a  most 
courteous,  kind-hearted,  and  sympathetic  man,  dis- 
tinguished by  a  considerable  amount  of  religious 
fervour.  He  was  an  ardent  collector  of  armour, 
books  and  mcdaks,  an  archaeologist  of  no  mean 
attainments,  and  a  .scholar  of  polished  and  refined 
manner.  He  published  two  volumes  of  verses,  and 
wrote  several  archseological  papers.  He  died  at 
Edinburgh  in  1902,  aged  81. 

PATON,  Richard,  an  English  painter  of  marines 
and  condiats  by  sea,  was  born  in  Loudon  in  1717. 
He  was  found  in  the  streets  as  a  poor  boy  by 
Admiral  Knowles,  and  by  him  sent  to  sea.  He 
exhibited  largely  at  the  Royal  Academy  from  1776 
to  1780.  He  held  an  appointment  in  the  Excise 
for  a  great  part  of  his  life.  He  died  in  London  in 
1791.  His  works  were  very  popular,  as  he  painted 
most  of  the  great  .sea-tights  that  occurred  during 
his  time.  Many  of  them  have  been  engraved  by 
Woollet,  Fittler,  Lerpeniere.  and  C;mot.  Among 
his  paintings  we  may  name  : 

Engagement  of  the    Monmouth   and    Foudroyaut   by 

Moonlight  (etched  by  himself).      1758. 
Attack  upon  Gibraltar.     1782. 
The  Lord  Mayor's  .Show  hj  "Watfr  (Guildhall ;  Jiffures 

by   U'heat/ry). 
Four  pictures  of  Dockyards,  at  Hampton  Court. 

We  have  also  a  few  etchings  by  him.     Among 
others,  the  following: 

The  Victory  gained  by  the  English  over  the  French 

21st  September,  1757. 
Tl>e  Engagement  of  the  Monmouth  and  Foudroyaut 

(as  above). 
The  Engagement  between  the  Buckingham   and  the 

Florissant,  supported  by  two  Frigates,  3rd  Nov.  1758. 

7'J 


A   BIOGRAPHICAL   DICTIONARY  OF 


PA  TON,  Wallkr  Hugh,  tlie  brother  of  Sir  Noel 
Paton,  was  born  at  Dunferniline  in  1828.  For  a 
few  years  lie  assisted  his  father  in  his  work  of 
pattern  designing,  but  in  1848  he  resolved  to 
become  a  landscape  p:iinter,  and  got  lessons  from 
John  A.  Houston,  R.S.A.  His  first  exhibited 
picture  was  a  water-colour,  'Antique  Room,  Wooers' 
Alley,  by  firelight.'  He  had  a  landscape,  'Glen 
Ma8scn,'in  the  Koyal  Scottish  Academy  Exhibition 
of  1851,  and  afterwards  was  a  regular  exhibitor. 
His  pictures  became  popular,  and  in  1857  he  was 
elected  Associate  of  tlie  Royal  Scottish  Academy, 
becoming  an  Academician  in  1868.  In  1858  ho 
collaborated  with  his  brother  Sir  Noel  in  illuntrat- 
ing  Aytoun's  'Lays  of  the  Scottish  Cavaliers' 
(published  live  years  later).  He  settled  at  Edin- 
burgh in  1859,  occasionally  going  abroad,  and  to 
tours  made  in  1861  and  1868  drawings  of  French, 
Swiss,  GtMman  and  Italian  scenery  are  due.  In 
1862  he  first  exhibited  at  the  Royal  Academy  of 
London,  and  in  that  year  received  a  royal  com- 
mission for  a  drawing  of  Holyrood.  For  the  last 
ten  years  of  his  life  he  had  poor  health,  and  in 
1895  he  died.  He  was  a  Fellow  of  the  Society  of 
Antiquaries  of  Scotland,  an  honorary  member  of 
the  Liverpool  Society  of  Water-Colour  Painters, 
and  a  member  of  the  Scottish  Water-Colour  Society. 
He  was  an  industrious  painter,  both  in  oil  and 
water-colour,  the  Highlands  of  Perthshire  and 
Aberdeenshire,  Arran,  Wales  and  the  Lake  cuuntry 
furnishing  the  subjects  of  most  of  his  landscapes. 
'The  Mouth  of  the  Wild  Waters,  Inveruglas,'  won 
the  warm  commendation  of  Mr.  Ruskiii,  and  all 
were  characterized  by  the  loving  accuracy  with 
which  he  rendered  natural  detail.  His  diploma 
picture, '  Landash  Bay,  Isle  of  Arran,'  hangs  in  the 
Scottish  National  Gallery.  At  one  time  he  made 
a  careful  study  of  Turner's  water-colours  at  South 
Kensington.  He  kept  a  careful  catalogue,  with 
dates  and  miniature  sketches,  of  all  his  important 
pictures.  He  is  said  to  have  been  the  first  Scot- 
tish artist  who  painted  a  picture  entirely  out  of 
doors,  and  his  landscapes,  with  their  carefully- 
finished  detail,  were  for  long  exceedingly  popular 
and  widely  known  in  chromo-lithographic  repro- 
ductions. He  specially  loved  to  depict  the  glowing 
colours  of  sunset,  purple  hills  and  saffron  sky,  anil 
repeated  the  theme  so  often  as  to  become  mannered 
and  monotonous. 

PATOUR,  Jean  Adgustin,  a  French  engraver, 
was  born  in  Paris  about  the  year  1730,  ami 
flourished  till  1784.  He  was  a  pupil  of  Halle  and 
Flipart,  and  has  engraved  several  plates  in  a  neat 
style,  among  which  are  the  following : 

The  Little  Lyar  ;  after  Alhrecht  Diirer. 
Lc  doux  S'  immeil ;  after  Halle. 
Le  doux  Repos  ;  afUr  the  same. 
Hercules  atid  Omphale  ;  after  the  snwe. 
IVo  Views  of  La  Rochelle  ;  after  Lallemand. 

PATROIS,  Isidore,  French  painter;  bom  in 
1815  at  Noyers  (dep.  Yonne) ;  became  a  pupil  of 
L'Enfant  and  of  Monvoisin.  At  first  he  chose  to 
paint  scenes  of  Russian  national  life,  then  he  dealt 
with  historical  subjects,  and  finally  genre.  The 
Luxembourg  possesses  his  '  Procession  des  Saintes 
images  aux  environs  de  St.  Petersbourg,'  and  the 
Dijon  Museum  has  his  '  Frangois  I.  et  Rosso.'  He 
occasionally  used  water-colour  most  efiectively. 
In  1861  he  obtained  a  third-class  medal,  and  a 
rappel  in  1863,  another  medal  in  1864,  and  the 
Legion  of  Honour  in  1872.  He  died  in  Paris  in 
1886. 

80 


PATTE,  Pierre,  a  French  architect  and  en- 
graver, was  boni  in  Paris  in  1723.  He  is  stated  by 
Basan  to  have  engraved  several  plates  of  architec- 
tural ornaments.  He  also  engraved  some  of  the 
plates  for  Blondel's  '  Architecture  Fran(jaise  ; '  '  Per- 
spective Views,'  after  Piranesi ;  and  the  'Temple 
of  Venus,'  after  Claude.  He  died  in  1812,  at 
Mantes. 

PATTEN,  George,  an  English  portrait  and 
historical  painter,  born  in  1801.  His  first  instruc- 
tion in  art  was  received  from  his  father,  a  minia- 
ture painter.  In  1816,  he  entered  the  schools  of 
the  Academy,  where  he  first  exhibited  in  1819. 
Up  to  1830,  he  j)ractised  miniature  painting,  after 
which  he  devoted  himself  to  oil  portraiture.  He 
made  a  tour  in  Italy  in  18.S7,  to  study  its  art 
treasures,  and  in  the  same  j'car  was  elected  an  Asso- 
ciate of  the  Acadi'uij'.  The  Prince  Consort,  whose 
portrait  he  painted  in  Germany  in  1840,  appointed 
him  liis  portrait  painter,  and  he  obtained  a  large 
practice  in  presentation  portraits.  His  art,  how- 
ever, did  not  fulfil  its  early  promise,  and  he  never 
reached  the  front  rauk.  In  the  latter  part  of  his 
life  he  lived  at  Ross,  Herefordshire.  He  died  in 
London  in  1865. 

PATTON.    See  Paton. 

PATZIG,  Otto,  German  painter;  born  near 
Wurzburg  in  1822,  and  studied  at  the  Dresden 
Academy  under  E.  Bendemann.  For  a  time  he 
worked  at  Wiirzburg,  where  he  held  a  po.st  as 
Professor;  he  painted  portraits  and  historical 
subjects  in  wliich  prominence  was  given  to  costume- 
details.     He  died  at  Klingenberg-am-Main  in  1885. 

PAU  DE  SAINT  MARTIN,  Alexandre,  a 
French  landscape  painter,  born  at  Mortagne  in  the 
second  half  of  the  18th  century.  He  studied  under 
Le  Prince  and  Vernet,  and  exhibited  (chiefly  views 
in  Normandy)  at  the  Salm  from  1791  to  1838. 

PAU  DE  "SAINT  MARTIN,  Pikrre  Ai.exandee, 
a  French  landscape  painter  and  sun  of  the  above, 
was  born  in  Paris  towards  the  close  of  the  18th 
century.  He  studied  under  his  father,  and  ex- 
hibited at  the  Salon  from  1810  to  18.34.  His 
'  Entrance  of  the  Elys6e  '  was  awarded  a  gold  medal 
in  1824. 

PAUDITZ,  Christoph,  (Paumss,  Pudiss,  Pac- 
DlES,  &c.,)  was  born  in  Lower  Saxony  about 
ihe  year  1582.  After  receiving  some  mstruction 
in  design  from  an  obscure  German  painter,  he 
visited  Amsterdam,  where  he  entered  the  school  of 
Rembrandt.  On  his  return  to  Germany  he  was 
taken  under  the  protection  of  Albert  Sigismund, 
Duke  of  Bavaria,  in  whose  employment  he  re- 
mained several  years.  He  was  also  favoured  with 
the  patronage  of  the  Duke  of  Ratisbon,  and  dis- 
tinguished himself  as  a  painter  of  history  and 
portraits.  Sandrart  reports  that  his  death  was 
hastened  by  his  failure  in  a  contest  he  had  ac- 
cepted with  a  contemporary  artist,  who  had  chal- 
lenged him  to  paint  a  picture  in  competition. 
Although  the  production  of  Pauditz  was  greatly 
superior  to  that  of  his  rival,  the  decision  was 
against  him,  and  he  did  not  long  survive  it.  This 
occurred  at  Freising  in  1666.  Among  his  best 
works  may  be  mentioned  : 
Augsburg.  Gallery.    Diogenes  and  the  Drunken  Old 

AVoman. 
Dresden.  Gallery.     Lady  Conversing  with  a  Gen- 

tleman engaged  in  writing. 
Freising.  Cathedral.     Christ  desiring  tlie  Temple. 

Munich,         Pinakotliek.     Wolf  Tearing  a  Lamb. 
Nuremberg.  Landaa  )  ^  jj^,^  p^^^^j^ 

Brotherhood,  y 


PAINTERS  AND  ENGRAVERS. 


Vienna. 


Gallery.       St.  Jerome. 
Gsell  foil.     Still-life  subject. 


PAUELSEN,  Erik,  painter  and  engraver,  was 
bom  at  Bygom,  near  Viborg,  in  1749,  and  studied 
in  the  Copenhagen  Academy,  where  in  1777  he 
won  the  large  gold  medal  with  a  '  Judgment  of 
Solomon.'  In  1780-83  he  visited  France  and  Italy, 
and  after  his  return  was  received  into  the  Academy 
with  an  '  Allegory  of  the  Union  of  the  three  North- 
em  Kingdoms  '  (1784).  After  this  he  travelled  in 
Norway,  and  painted  views,  some  of  which  were 
preserved  at  Frederikshorg  Castle.  His  death 
occurred  at  Copenhagen  in  1790,  by  his  throwing 
himself  from  a  \\-indow  in  a  fit  of  melancholy.  He 
painted  a  few  good  portraits,  some  of  which  he 
engraved,  together  with  a  few  vignettes ;  he  also 
etched  '  Canute's  Reproof  to  his  Courtiers.'  The 
following  historical  pictures  were  executed  by  him 
in  grisaille  : 

Morder  of  Canute  the  Holy  in  St.  Alban's  Church 
[St.  Knud^s  Churchy  Odensf). 

The  Priest  Madsen  bringing  news  of  the  Enemy  to 
Eantzan  {enijraved  by  J.  (i.  Preisler). 

Anne  Colbjomsen  in  the  Parsonage  Court  of  Norder- 
houg  {engraved  by  M.  Haas). 

Bolf  Krage  [engraved  by  the  sa7ni). 

The  Royal  Gallery  of  Copenhagen  possesses  two 
genre  pictures  by  Pauelsen. 

PAUL,  AxDRiAAN,  (or  De  Paulis,)  a  Dutch  or 
Flemish  engraver,  flourished  about  the  year  1640. 
He  engraved  several  plates,  among  which  are  the 
following  : 

Peter  denjring  Christ ;  after  Gerard  Segers. 

Titian  and  his  Alistress  ;  after  the  etching  by  Van  Dyck. 

The  Tooth-drawer ;  after  Theodor  Roelants. 

PAUL,  J.  S.,  an  English  mezzotint  engraver, 
flourished  about  the  year  1760,  and  has  left  a  few 
portraits,  among  them  that  of  Mrs.  Barry,  the 
actress,  after  Kettle  ;  and  Lady  Georgiana  Spenser 
and  her  daughter,  after  Reynolds.  He  also  en- 
graved a  '  Conversation '  piece  after  Jan  Steen. 
His  plates  show  much  ability. 

PAUL,  Robert,  was  probably  a  native  of  Scot- 
land. He  resided  at  Glasgow  in  the  latter  part  of 
the  last  century,  and  studied  in  the  Academy 
there.  He  engraved  some  views  of  that  city,  and 
one  representing  the  Cathedral  is  dated  1762. 

PAULI,  (or  Paul,)  Andreas,  also  called  De 
Paulis,  a  Dutch  engraver,  was  born  about  1598. 
No  details  of  his  life  are  known.  The  following 
plate«  by  him  have  mucli  in  common  with  those  of 
Johann  Anton  Pauli  : 

Portrait  of  the  physician  N.  Bulias. 

Titian  and  his  Mistress ;  copied  on  a  reduced  scale  from 

Van  Dyck^s  plate. 
The  Denial  of  Peter ;  after  G.  Zeghers. 
Virgin  and  Child ;  after  Rubens. 
Bacchus  and  Ceres  ;  after  Sprangher. 
The  Entry  of  Maria  de'  Medici  into  the  towns  of  Mods, 

Brussels,  and  Antwerp,  in  1631 ;  three  plates. 
A  set  of  Fifty  Plates  of  Emblems. 

PAULINI,  Bebto  di  Giovannf,  (or  Paolini,)  an 
obscure  painter  of  Citta  della  Pieve,  who  flourished 
early  in  the  IGth  century. 

PAULINI,  GiAoiMO,  (or  Paolini,)  was  an  Italian 
engraver,  a  native  of  Naples,  who  flourished  about 
1600,  and  apparently  resided  at  Venice.  We  have 
a  few  prints  by  hira,  among  wliich  are  the  following: 

St.  Peter ;  probably  from  his  own  design. 
A  View  of  the  Ponte  di  Kialto,  Venice. 
An  Alphabet. 

PAULINI,  PiETRO.     See  Paolini. 

TOI..  IV.  O 


PAULSEN,  Fritz,  German  painter ;  bom  May- 
Si,  1838,  at  Schwerin  ;  became  a  pupil  of  the 
Diisseldorf  Academy,  and  subsequently  studied  at 
Munich  under  Piloty,  and,  later,  in  Paris.  Settled 
in  Berlin,  where  his  portraits  were  much  appreci- 
ated. His  works  in  genre  include  '  Bauerfanger' 
(1874),  '  Der  Augenblick  zur  Rache  '  (1867),  in  the 
Schwerin  Gallery,  and  '  Bericht  von  Ball '  (1886). 
He  died  at  Beriin,  February  22,  1898. 

PAULUTY,  Zachabie,  portrait  painter,  was  born 
at  Amsterdam  in  1600,  and  died  in  1657. 

PAULUS,  Jacobus.  This  name  is  found  on  part 
of  an  altar-piece  in  the  Santa  Croce  chapel  of  San 
Giacomo,  Bologna.     It  is  of  no  great  merit. 

PAULUZZI,  Stefano,  a  Venetian  painter  who 
enjoyed  some  repute  about  the  middle  of  the  17th 
century.  Lanzi  says  his  pictures  had  greatly 
deteriorated  in  his  time  owing  to  the  badness  of 
his  grounds. 

PAULY,  Nicolas,  a  miniature  painter,  was  bom 
at  Antwerp  in  1660,  and  died  at  Brussels  in  1748. 
Very  little  is  known  of  his  life. 

PAULYN,  HoRATins,  is  introduced  by  M.  Des- 
camps  among  the  arrists  born  about  the  year  1643. 
He  was  a  native  of  Amsterdam,  but  it  is  not  said 
under  whom  he  studied.  According  to  Balkema 
he  died  in  1686.  Some  of  his  pictures  are  in  the 
manner  of  Rembrandt.  He  excelled  in  painting 
conversations  and  '  gallant '  subjects,  but  too  often 
outraged  decorum.  He  affected  piety  and  ex- 
hibited all  the  outward  signs  of  devotion,  while 
he  painted  subjects  which  caused  libertines  to 
blush.  At  one  time  he  set  out  for  the  Holy  Lanti 
with  a  number  of  companions,  but  they  broke  up 
en  rcniie.  In  the  UfiBzi,  Florence,  there  is  a  picture 
by  him,  '  The  Miser.' 

PAULYN,  IzAAK,  called  by  LordOrford,  Paling, 
was  bora  at  Amsterdam  about  the  year  1630,  and 
was  a  pupil  of  Abraham  van  den  Temple.  He  was 
an  eminent  portrait  painter,  and  in  that  capacity 
he  visited  England  in  the  reign  of  Charles  II., 
and  there  resided  many  years.  In  1682  he  returned 
to  Holland,  and  established  himself  at  the  Hague, 
where  he  met  with  great  encouragement,  and  where 
he  died.  He  also  painted  conversation  pieces  in 
the  style  of  his  master. 

PAUPELIER,  Pierre,  a  French  miniature 
painter,  was  bom  at  Troyes  in  1621.  He  became 
a  member  of  the  Academy  in  Paris  in  1664,  and 
died  in  1665  (?). 

PAUQUET,  Jean  Louis  Charles,  engraver,  was 
bom  in  Paris  in  1759.  He  was  instructed  by 
Gauchet,  and  engraved  after  Van  Dyck,  Le  Sueur, 
Teniers,  Barbier,  Moreau,  and  others.  He  died 
about  1820. 

PAUSIAS,  one  of  the  ancient  Greek  painters, 
was  a  native  of  Sicyon,  and  was  first  instructed  in 
the  art  by  his  father,  Brietes,  but  afterwards  became 
a  disciple  of  Pamphilus.  He  was  the  first  artist  of 
antiquity  who  painted  ceilings.  He  also  painted 
small  pictures,  and  was  particularly  successful  in 
the  representation  of  children.  Some  of  his  rival 
artists  pretended  that  he  made  use  of  those  subjects 
as  best  suited  to  the  slow  and  laboured  style  of  his 
execution.  To  contradict  the  calumny,  and  to 
prove  that  he  was  capable  of  more  spirited  exer- 
tions, he  finished  in  one  day  a  large  picture  repre- 
senting the  infant  Hercules,  which  picture  obtained 
from  this  circumstance  the  title  of  >;^(pi/<Tii>c,  "  the 
day's  work."  In  his  youth  he  became  enamoured 
of  Glycera,  the  beautiful  garland-maker  ;  and  one 
of  his  most  admired  works  was  a  portrait  of  his 

81 


A  BIOGRAPHICAL    DICTIONARY  OF 


mistress  holding  a  garland.  A  copy  of  this  picture 
was  purchased  at  Athens,  hy  Lucius  Luculfus,  for 
two  talents.  Paueias  also  excelled  in  painting 
animals. 

PAUSON,  another  Greek  painter,  lived  at  abont 
the  same  time  as  Polygnotus  and  Micon.  He  is 
mentioned  by  Aristotle.  "  Polygnotus,"  says  that 
philosopher,  "  drew  men  more  perfect  than  they 
were,  Pauson  worse  than  they  were,  and  Dionysius 
such  as  they  were."  Whence  we  may  infer  that 
Polygnotus  improved  upon  ordinary  nature,  that 
Pauson  degraded  her  by  a  selection  of  her  more 
vulgar  forms,  and  that  Dionysius  contented  him- 
self with  representing  her  as  she  usually  appears. 

PAUTRE.     See  Le  Paultbe. 

PAUWELS,  WiLDELM  Ferdinand,  Belgian 
painter  ;  born  April  13,  1830,  at  Eckeren,  near 
Antwerp  ;  at  first  he  studied  with  Wappers  and 
Dujardin  at  the  Antwerp  Academy  ;  a  subsequent 
residence  in  Italy  served  to  develop  his  powers. 
From  1862  to  1872  he  was  a  professor  at  the 
Weimar  School  of  Art,  and  this  post  he  held  at  the 
Dresden  Academy  from  1876  onwards,  becoming 
eventually  Hofrath.  His  canvas,  '  Graf  Philipp 
von  Elsass,'  is  in  the  Dresden  Gallery.  '  Die 
witwe  Jakobs  van  Artevelde'  is  in  the  Brussels 
Museum.  Other  pictures  of  his  are  at  Munich, 
Leipzig,  Eisenach,  and  Washington.  lie  obtained 
gold  medals  in  1857,  18(54,  and  1868,  and  the 
Leopold  Order  in  1861.  He  died  at  Brussels  in 
1898. 

PAVESE,  El.    See  Sacchi,  Francksco. 

PAVIA,  GiACOMO,  was  born  at  Bologna  the 
18tli  February  1655,  and  is  said  to  have  been  a 
scholar  of  Antonio  Crespi.  He  painted  histori- 
cal subjects,  and  was  employed  in  several  works 
for  the  churches  in  his  native  city ;  the  most 
esteemed  being  his  picture  of  'St.  Anne  teach- 
ing the  Virgin  to  read,'  in  San  Silvestro  ;  and  the 
'  Nativity  '  in  San  Giuseppe.  Lanzi  states  that  he 
visited  Spain.     He  died  in  1750. 

PAVIA,  Giovanni  da.  Lanzi  ascribes  several 
pictures  in  the  churches  at  Pavia  to  au  artist  of 
this  name.     He  was  a  pupil  of  Lorenzo  Costa. 

PAVIA,  LoEENZO  da.  There  is  a  picture  in  the 
church  at  Savona  signed  Laiirentius  Papiensis. 
Its  apparent  date  is  about  1550. 

PA  VON,  Ignatius,  was  a  scholar  of  Raphael 
Morghen.  He  imitated  the  manner  and  copied 
several  of  the  fine  engravings  of  his  master.  The 
dates  of  his  birth  and  death  are  not  known.  The 
lollowing  are  his  principal  works : 

Mater  Amabilis ;  after  Sassoferrato. 

The  Virgin  and  Infant  Christ,  with  St.  John,  in  a  land- 
scape ;  after  Raphael ;  but  copied  from  the  engraving 
by  R.  Morghen. 

La  Madonna  del  Trono  ;  after  Raphael. 

La  Madonna  di  Foligno  ;  after  the  same. 

La  Vierge  a  I'Oiseau ;  after  the  same;  copied  after  R. 
Morghen. 

The  Tran86guiation ;  after  the  same ;  copied  after  R. 
Morghen. 

The  Communion  of  St.  Jerome ;  after  Domtnichino. 

St.  John  VTriting  ;  after  the  same. 

The  Magdalene ;  after  Schidone. 

Leda;  after  Coiregyio :  and  several  others  after  Car- 
racci,  iV.  Foiissiit,  ^e. 

PAVONA,  Francesco,  a  painter,  was  bom  at 
Udine  in  1682.  He  was  instructed  by  A.  Camio 
and  G.  dal  Sole,  and  painted  portraits  and  historical 
subjects.  He  travelled  through  Italy,  Germany, 
Spain,   and   Portugal,    painting  for  the  different 

82 


courts,  but  settling  eventually  at  Bologna.  He  died 
at  Venice  in  1773  or  1777. 

PAXINO.    See  Nova,  Pecino  de. 

PAXTON,  John,  a  Scotch  portrait  and  historical 
painter,  bom  in  the  first  half  of  the  18th  century. 
He  was  taught  at  Foulis's  Academy,  Glasgow,  and 
coming  to  London,  became  in  1766  a  member  of  the 
Incorporated  Society  of  Artists,  where  he  exhibited 
as  well  as  at  the  Royal  Academy.  He  spent  some 
time  at  Rome,  and  finally  went  to  India,  dying  at 
Bombay  in  1780. 

PAY,  Jan  van,  (or  Pey,)  a  painter  of  history  and 
portraits,  was  born  at  Reidlingen  in  1589.  He  was 
painter  to  the  Elector  of  Bavaria,  and  portraits  by 
him  are  to  be  found  in  Munich  and  the  neighbour- 
hood.    He  died  in  1660  (?). 

PAYE,  Mis.s,  an  English  miniature  painter,  who 
was  probably  the  daughter  of  R.  M.  Paye.  She 
exhibited  at  the  Academy  from  1798  to  1807,  and 
appears  to  have  had  a  fair  practice.  Among  other 
people,  Mrs.  Siddons  sat  to  her. 

PAYE,  Richard  Morton,  an  English  subject 
painter,  born  at  Botley,  Kent,  about  the  middle  of 
the  18th  century.  He  was  brought  up  as  a  chaser, 
but  his  art  tastes  induced  him  to  become  a  painter, 
and  he  produced  some  works  which  rapidly  brought 
him  into  repute.  For  some  time  he  was  on  tenns 
of  intimacy  with  '  Peter  Pindar,'  but  the  connection 
did  not  last  long,  and  ended  in  a  quarrel.  Paye 
was  an  unfortunate  genius.  Two  pictures  of  his 
are  said  to  have  been  sold  respectively  as  works  of 
Velasquez  and  of  Wright  of  Derby.  But  his  work 
did  not  find  a  market,  and  he  suffered  much  from 
ill-health.  Poverty  overtook  him,  and  he  sunk  into 
obscurit}'.  He  is  believed  to  have  died  in  1821. 
Many  of  Paye's  pictures  were  engraved  by  J. 
Young,  who  was  a  friend  of  his  ;  Valentine  Green 
engraved  his  '  Child  of  Sorrow,'  and  three  others, 
while  he  himself  engraved  '  Puss  in  Durance,'  and 
'  No  Dance,  No  Supper.' 

PAYEN,  Antoine  A.  J.,  a  Flemish  landscape 
painter,  born  at  Tournai  towards  the  close  of  the 
18th  century.  He  resided  for  a  long  time  in  the 
East  Indies.  He  obtained  the  prize  for  landscape 
in  1815  at  Brussels.     Amongst  his  pictures  are: 

Brussels.  Museum.    Landscape :  moonlight. 

Haarlem.  Museum.    Views  in  Java. 

PAYNE,  John,  an  English  engraver,  was  bom 
about  the  year  1607.  He  was  a  disciple  of  Simon 
van  de  Pass,  and  is  considered  the  first  artist  of 
this  country  who  distinguished  himself  with  the 
burin.  Had  his  application  been  equal  to  his 
genius,  he  would  have  ranked  among  the  first  of 
his  profession ;  but  he  was  indolent  and  dissipated, 
and  though  recommended  to  King  Charles  I., 
he  neglected  his  fortune  and  his  fame,  and  died 
in  indigence  before  he  was  forty,  in  1647.  He 
engraved  portraits,  frontispieces,  and  other  plates 
for  books,  as  well  as  a  variety  of  other  subjects, 
such  as  landscapes,  flowers,  fruit,  birds,  beasts, 
&c.,  but  his  portraits  are  the  most  esteemed  of  his 
prints.  They  are  executed  entirely  with  the  graver, 
in  a  free,  open  style,  and  produce  a  very  pleas- 
ing effect.  One  is  dated  as  early  as  1620.  In 
Evelyn's  'Scultura,'  he  is  commended  for  his 
engraving  of  a  ship,  which  Vertue  informs  us  was 
the  '  Royal  Sovereign,'  built  in  1637,  by  Phineas 
Pett.  It  was  engraved  on  two  plates,  and  when 
joined,  was  tliree  feet  long,  by  two  feet  two  inches 
high.  The  following  are  his  most  esteemed  por- 
traits : 


PAINTERS  AND  ENGRAVERS. 


Heury  VII.,  prefixed  to  his  Life  by  Lord  Bacon. 
Henry  VIII. 

Robert  Deverenx,  E-irl  of  Essex,  with  a  hat  and  feather. 
Sir  Benjamin  Rudyard  ;  after  Mytens. 
Doctor  Alabaster  ;  after  Cornells  Jansen. 
Hugh  Broughton. 
Alderman  Leate  ;  after  C.  Jansen. 
Roger  Bolton.     1632. 
Arthur  Lake,  Bishop  of  Chichester. 
Sir  Edward  Coke.     16:i9. 
Algernon  Percy,  Earl  of  Northumberland. 
George  Wither,  the  Poet,  with  a  hat  on,  for  his  '  Em- 
blems,' published  in  lt)35. 
William  Shakespeare. 
Ferdinand  of  Austria  ;  after  Van  Syck. 
Count  Ernest  de  Mansfeld. 
Elizabeth,  Countess  of  Huntingdon. 

PAYNE,  William,  an  Englisli  water-colour  land- 
scape painter,  born  about  1760.  He  was  in  early 
life  employed  in  Plymouth  Dockyard,  but  having 
a  love  of  art,  he  devoted  himself  to  it.  His  manner 
of  painting  had  originality,  and  he  produced  some 
good  effects  of  colour.  In  1790  he  removed  to 
'  London,  and  obtained  a  good  practice  as  a  drawing- 
master.  From  1809  to  1813  he  was  an  Associate 
of  the  Water-Colour  Society,  after  which  there  is 
no  trace  of  him.  There  are  several  specimens  of 
his  art  in  the  South  Kensington  Museum. 

PAZ,  Don  Jose,  historical  painter,  was  born  at 
Madrid  late  in  the  17th  century.  He  was  of  no 
importance  as  an  artist,  but  held  an  office  under 
the  Spanish  Court. 

PAZZI,  Maria  Magdalena  de,  was  born  at 
Florence  in  1566.  She  became  a  Carmelite  nun, 
and  painted  sacred  pictures.  S.  Maria  in  Cosmedin, 
at  Rome,  possesses  one  of  her  works.  She  died 
in  1607. 

PAZZI,  PiETRO  Antonio,  an  Italian  engraver, 
was  born  at  Florence  about  the  year  1706,  and 
died  in  1770.  He  was  a  pupil  of  G.  Piamontini 
and  C.  Mogalli,  and  engraved  several  portraits  of 
artists  for  the  '  Museo  Fiorentino,'  Gori's  '  Museo 
Etrusco,'  and  the  '  Museo  Capitolino,'  as  well  as 
various  plates  after  pictures  in  the  Florentine 
galleries.  Among  others  we  may  name  the  follow- 
ing : 

SUBJECTS. 

Francesco  Albani,  Bolognese  Painter ;  sc  ipse  pinx. 
Federigo  Baroccio,  Painter  ;  ditto. 
Giacomo  Bassano,  Painter ;  ditto. 
Giovanni  Bizelli,  Painter  ;  ditto. 
Andrea  Boscoli,  Painter ;  ditto. 

SUBJECTS  AFTER   VARIOUS  MASTERS. 

The  Holy  Family  ;  after  L.  Cambiaso. 

The  Assumption  of  the  Virgin  ;  after  Raphatl. 

The  Virgin  and  Christ ;  after  Van  Byck. 

St.  Zanobi  resuscitating  a  dead  Person ;  after  Betti. 

St.  Philip  refusing  the  Popedom ;  after  tlie  same. 

A  Sibyl ;  after  Crespi. 

PEACHAM,  Henry.  In  Walpole's '  Anecdotes,' 
this  man  is  said  to  have  engraved  a  portrait  of 
Sir  Thomas  Cromwell,  afterwards  Earl  of  Essex, 
after  Holbein.  He  was  the  author  of  a  book  called 
'  The  Complete  Gentleman,'  published  in  1633. 
He  was  born  at  South  Mimms  in  Hertfordshire, 
and  took  the  degree  of  M.A.  at  Trinity  College, 
Cambridge.  He  was  tutor  for  a  time  to  the  cliildren 
of  Lord  Arundel,  whom  he  accompanied  to  the 
Low  Countries.  In  the  course  of  his  life  he  also 
visited  Italy.  He  was  an  amateur  rather  than  a 
professed  artist,  and  was  skilled  in  music  as  well 
as  painting  and  engraving.  In  his  book  entitled 
'  The  Complete  Gentleman,'  and  another  entitled 
G  2 


'The  Gentleman's  Exercise,'  lie  lays  down  rules 
for  drawing  and  painting  in  oil ;  for  making  of 
colours,  blazoning  coats  of  arms,  &c.  He  died  about 
1650. 

PEACKE,  Edward,  was  an  English  engraver, 
who  flourished  in  the  middle  of  the  17th  century. 
In  conjunction  with  Robert  Peacke,  who  was 
probably  his  brother,  he  executed  some  plates  of 
friezes,  and  other  architectural  ornaments,  pub- 
lished in  1640. 

PEACKE,  William,  was  an  engraver  and  painter 
of  the  time  of  James  I.  Strutt  mentious  him  as  the 
engraver  of  two  portraits  of  the  Earl  of  Holland 
and  the  Earl  of  Warwick. 

PEAK,  James,  an  English  engraver.  We  have 
several  plates  of  landscapes  by  him,  some  of  which 
were  engraved  for  Boydell ;  he  also  etched  a  few 
plates  from  his  own  designs.  Among  others  the 
following  are  by  him : 

A  View  of  Waltham  Abbey. 

Two  Landscapes;  after  Piliement. 

Two  Views  of  Warwick  Hall  in  Cumberland,  and  Ferry 

Bridge,  in  Yorkshire  ;  after  Betters. 
A  Landscape,  with  figures  ;  after  Claude. 
Morning,  a  Landscape ;  after  the  same. 
A  Landscape,  with  Kuins ;  after  G.  Smith. 
A  Landscape,  with  a  Waterfall ;  the  companion ;  after 

the  same. 
Four  Views  ;  after  R.  Wilson. 
liauditti  in  a  rocky  Landscape  ;  after  Borgognone. 
The  Beggars,  the  companion ;  after  tlie  same. 

PEAKE,  Robert,  serjeant  painter  to  James  I. 
in  conjunction  with  John  de  Critz.  He  painted 
many  portraits  of  James  I.  and  Charles  I.,  especially 
a  notable  one  of  the  latter  king,  which  still  hanjfs 
in  the  University  Library  at  Cambridge.  Fait- 
horne  the  elder  was  one  of  his  pupils.  He  was 
born  about  1580,  and  died  in  1626. 

PEAKE,  Sir  Robert,  son  of  the  above  Robert 
Peake,  a  print-seller  "on  Snow  Hill  near  Holborn 
Conduit,"  who  had  some  skill  himself  as  an  en- 
graver, and  who  assisted  both  Faithorne  and 
Hollar,  who  were  his  personal  friends,  in  the 
production  of  their  plates.  He  took  up  arms 
on  the  Royalist  side  at  the  time  of  the  Civil 
War,  and  was  Lieutenant-Govenior  under  the 
Marquis  of  Winchester  at  the  siege  of  Rasing  House. 
He  was  knighted  at  Oxford  in  1645.  On  the 
surrender  of  Basing  House  he  was  taken  prisoner, 
but  later  on  was  released,  but  was  exiled  for  refus- 
ing to  take  the  oath  of  allegiance  to  the  Protector. 
After  the  Restoration  he  became  Vice-President  of 
the  Hon.  Artillery  Company,  and  died  in  1667, 
aged  about  75. 

PEALE,  Charles  Wilson,  an  American  portrait 
painter,  was  bom  at  Chesterton  in  Pennsylvania, 
in  1741.  He  was  apprenticed  to  a  saddler,  and 
after  being  successively  saddler,  harness-maker, 
watchmaker,  carver,  naturalist,  and  taxidermist, 
at  the  age  of  twenty-six  he  took  lessons  in  painting 
from  Copley,  in  Boston.  In  1770-1  he  studied  in 
London  under  West,  and  in  1772  painted  the  first 
picture  of  Washington,  as  a  Colouel.  He  painted 
the  portraits  of  many  distinguished  revolutionary 
officers.  lie  opened  a  picture-gallery  in  Phila- 
delphia, and  was  instrumental  in  establishing  an 
Academy  of  the  Fine  Arts  in  Pennsylvania.  He 
died  at  Philadelphia  in  1827.  His  eldest  son 
Raphakl,  also  a  painter,  died  at  Philadelphia  in 
1825. 

PEALE,  Rembrandt,  painter,  son  of  Charles 
,  Wilson  Peale,  was  born  in  Bucks  county,  Penn- 

83 


A  BIOGRAPHICAL  DICTIOXAEY  OF 


Bvlvania,  in  1778.  He  sliowcd  talent  as  a  draughts- 
man in  early  life,  and  in  1796  he  established 
himself  as  a  portrait  painter  at  Charleston,  South 
Carolina.  From  1801  to  1804  he  studied  in  London 
under  West,  and  then  went  to  Paris,  where  he 
painted  the  portraits  of  several  eminent  men.  In 
1809  lie  returned  to  Philadelphia.  He  there 
painted  two  subject  pictures,  '  The  Roman  Daugh- 
ter,' and  '  The  Court  of  Death,'  and  many  portraits, 
among  which  we  may  specify  those  of  President 
Jefferson,  Mrs.  Madison,  Commodore  Bainbridge, 
Perry,  Decatur,  General  Arm8trong,and  the  sculptor 
Houdon.     Peale  died  in  1860. 

PEARCE,  William,  portrait  painter,  was  bom 
in  London  about  the  middle  of  the  18th  century. 
He  painted  rustic  subjects,  and  Charles  Turner 
engraved  his  '  Milkmaid.'  He  exhibited  at  the 
Academy  in  1798-9. 

PEARSON,  Mrs.  Charles,  a  portrait  painter. 
Her  maiden  name  was  Ddtton.  She  was  bom  in 
1799.  Early  in  life  she  married  a  solicitor  named 
Pearson,  who  was  afterwards  a  member  of  Parlia- 
ment. She  exhibited  portraits  at  the  Royal  Academy 
from  1821  to  1842,  two  of  them  bi'ing  portraits  of 
Lord  Mayors.     Mrs.  Pearson  died  in  1871. 

PEARSOX,  Cornelius,  was  bom  at  Boston,  and 
came  to  London  at  an  early  age,  where  he  was 
apjirenticed  to  a  copper-plate  engraver.  He  soon 
abandoned  this  for  the  practice  of  painting  in 
water-colours,  to  which  he  devoted  himself, 
becoming  a  regular  exhibitor  at  the  Suffolk  Street 
Galleries  (1843-79).  He  was  one  of  the  oldest 
members  of  the  Langham  Sketching  Club,  and 
was  constant  to  the  older  traditions  of  English 
water-colour.     He  died  in  1891  in  his  83rd  year. 

PEARSON,  Eglinuton  Margaret,  daughter  of 
Samuel  Paterson,  distinguished  herself  by  her  skill 
in  painting  on  glass.  She  was  the  wife  of  James 
Pearson.  She  painted  two  sets  of  the  Cartoons, 
after  Raphael,  one  of  which  was  purchased  by  the 
Marquis  of  Lansdowne,  and  the  other  by  SirGregory 
Page  Turner.  There  is  also  another  set,  but  whether 
by  the  husband  or  wife,  or  by  both,  is  not  certain. 
She  died  in  1823.  Her  works  were  various,  but 
mostly  copied  from  pictures  by  other  masters. 

PEARSON,  James,  a  glass  painter,  was  born  at 
Dublin  about  the  middle  of  the  18th  century.  He 
learnt  his  art  at  Bristol.  There  are  windows  by 
him  at  Brascnose  College,  in  Salisbury  Cathedral, 
and  in  Aldersgate  Church,  London.  Pearson  also 
painted  some  designs  after  James  Barry,  R.A. 
Hf  married  the  al>ove-named  Eglington  Margaret, 
the  daughter  of  Samuel  Paterson,  a  well-known 
book-auctioneer.     He  died  in  1805. 

PEARSON,  John  LouGHBOROnGH,  son  of  a 
water-colour  artist  of  Durham,  was  born  at  Brus- 
sels on  July  5,  1817.  At  the  age  of  fourteen  he 
was  articled  to  Bonomi,  a  Durham  architect,  and 
three  years  later  left  for  London,  where  he  worked 
in  the  offices  of  Anthony  Salvin  and  Philip  Hard- 
wick.  He  devoted  himself  mainly  to  ecclesiastical 
architecture,  and  soon  became  one  of  the  most 
distinguished  of  the  modern  school  of  Gothic  re- 
vivalists. Holy  Trinity  Church,  Vauxliall  Bridge, 
built  in  1850,  was  his  first  work  of  importance, 
and  this  was  followed  by  St.  Peter's,  Vauxhall,  and 
the  Art  Schools  in  the  same  neighbourhood.  St. 
Augustine's,  Kilburn,  in  1871,  and  St.  John's,  Red 
Lion  Square,  in  1875,  are  among  other  London 
churches  of  his  designing.  His  greatest  achieve- 
ment was  the  Cathedral  of  Truro,  which  was  begun 
from  his  designs  in  1878,  and  completed,  except 

84 


for  the  western  towers,  in  1903.  Among  his 
domestic  buildings  may  he  named  Lechlade  Manor 
House  ;  the  reconstruction  of  Westwood,  Syden- 
ham ;  Craigside,  the  seat  of  Lord  Armstrong;  St. 
Peter's  Convalescent  Home,  Woking ;  and  the 
Astor  Estate  Office  on  the  Embankment.  Probably, 
however,  it  is  as  a  restorer  that  he  is  best  known. 
He  was  the  official  architect  to  many  cathedrals, ' 
Bristol,  Rochester,  and  Chichester  among  them ; 
and  his  rather  drastic  restoration  of  Westminster 
Abbey  and  Peterborough  met  with  severe  criticism.' 
Pearson  was  a  clever  painter  in  water-colours  of 
architectural  views  of  cathedrals,  &c.,  wliich  he 
naturally*  rendered  with  much  sympathj',  and  from 
1851  onwards  the  designs  for  his  current  work 
were  regularly  exhibited  at  the  Royal  Academy. 
In  1874  he  was  elected  an  Associate  of  the 
Academy,  in  1878  became  a  Knight  of  the  Legioo 
of  Honour,  and  in  1880  a  Royal  Academician.' 
He  was  also  a  Fellow  of  the  Society  of  Antiquaries. 
He  died  on  Deo.  9, 1897,  after  a  short  illness,  and 
was  buried  in  Westminster  Abbey  on  Dec.  16. 

M.H. 

PEART,  (or  Paebt,)  Hekry,  an  English  portrait 
painter,  born  in  the  first  half  of  the  17th  century. 
He  studied  under  Francis  Barlow  and  Old  Stone, 
and  was  much  employed  on  copies  of  pictures  in 
the  royal  collections.     He  died  about  1697. 

PEAT,  T.,  an  English  portrait  painter,  in  the 
latter  half  of  the  18th  century.  He  was  a  follower 
of  Reynolds,  and  exhibited  at  the  Academy  from 
1791  to  1805.     Much  of  his  work  was  in  enamel. 

PECHAM,  Georg,  (or  Peham),  painter  and  en- 
graver, was  an  artist  of  the  Munich  school.  By 
some  lie  is  supposed  to  have  been  a  pupil  of 
Melchior  Pocksberger.  We  ha\e  by  him  some 
etchings,  among  which  are  : 

Hercules  and  Antaeus. 

Neptune  and  the  Tritons. 

Virgin  and  Child. 

View  of  Gratz. 
He  died  about  1604. 

PECCHIO.  DoMENico,  was  born  at  Verona  in 
1712,  or  1715.  He  was  a  pupil  of  Balestra,  and 
one  of  the  most  famous  landscape  painters  of  his 
daj'.     He  died  in  1759. 

P^CHEUX,  Benoit,  son  and  pupil  of  Laurent 
Picheux,  was  born  at  Rome  in  1769.  In  1793  he 
won  the  great  prize  at  the  Academy  of  Parma,  and 
became  three  years  later  professor  at  Turin.  The 
date  of  his  deiith  is  unknown.  He  painted  the 
'  Assumption  '  and  the  '  Annunciation '  for  the 
churches  of  Rouen  and  Yvetot  respectively.  He 
was  the  author  of  '  Iconographie  Mythologique.' 

PECHEUX,  Laurent,  painter  and  designer,  was 
born  at  Lyons  about  1740,  and  came  when  young  to 
Paris,  whence  he  proceeded  to  Rome,  and  became 
a  pupil  and  friend  of  Rafael  Mengs.  He  was  dis- 
tinguished by  liis  frescoes  in  the  Villa  Borghese, 
and  was  later  on  made  chief  painter  to  the  King  of 
Sardinia,  a  member  of  the  Academy,  and  a  Knight 
of  the  Order  of  St.  Maurice  and  Lazarus.  He  died 
at  Turin  in  1821. 

PECHWELL,  August  Josef,  a  painter,  was 
bom  at  Dresden  in  1757.  He  was  instructed  by 
Flutin,  and  afterwards  went  to  Rome,  where  he 
remained  till  1781.  He  painted  altar-pieces  and 
portraits.  He  was  Inspector  of  the  Royal  Gallery 
at  Dresden.     He  died  in  1811. 

PECHWELL,  Carl  von,  a  German  engraver, 
flourished  at  Vienna  in  the  latter  half  of  the  18th 
century.    He  engraved  the  portrait  of  the  Emperor 


PAINTERS  AND  ENGRAVERS. 


Joseph  II.,  after  P.  Batoni,  anrl  those  of  several 
other  German  princes;  also  the  following  subjects: 

La  Tieille  Amoureuse ;  after  J,  ToornvWft. 

The  Judgment  of  Paris  ;  afttr  A.  van  dtr  Wtrff^  with 

a  dedication  to  the  Graces  of  Europe. 
Venus  uncovered  by  a  Satyr. 
The  Reading  Magdalene ;  after  P.  Batoni's  picture  at 

Dresden. 
The  Angry  Mother  and  her  Daa;^hter ;  after  P.  della 

Vecchia. 

PECINO.     See  Nova,  Pecino  de. 

PECKITT,  William,  born  in  1731  at  Hurs- 
thwaite,  Yorks,  died  in  1795,  was  one  of  the  most 
important  of  English  glass-painters,  and  the  last 
of  a  school  which  had  for  above  500  years  been 
famous  in  York.  He  was  of  humble  birth  and 
trained  as  a  carver  and  gilder,  but  adopted  the  art 
of  glass-painting.  Though  almost  self-taught  he 
may  have  worked  for  a  time  with  William  Price 
the  younger.  He  especially  devoted  himself  to 
the  chemistry  of  coloured  glass,  in  which  he 
attained  great  skill,  producing  probably  a  greater 
variety  in  transparent  colour,  as  distinct  from 
enamel-colours,  than  has  ever  been  achieved  by 
any  other  artist ;  the  latest  examples  of  old  ruby 
glass  (before  the  manufacture  was  revived  in  the 
19th  century)  were  due  to  his  skill.  He  married 
Mary  Motley,  the  daughter  of  a  sculptor  of  York, 
and  he  was  buried  in  the  churchyard  of  St.  Martin- 
cum-Gregory  in  that  city.  An  inscription  in  his 
honour,  "  designed  and  executed  by  his  afflicted 
widow,"  was  added  to  a  window  in  the  church  of 
that  parish  in  the  year  after  his  death.  His  earliest 
and  latest  works  are  to  be  seen  at  York.  In  and 
after  1757  he  was  engaged  in  repairing  the  ancient 
windows  in  the  Minster,  but  before  that  date  he 
had  produced  original  works. 

York,  Justice-room  of  the  Guildhall;  A  symbolical 
presentment  of  '  Justice  in  a  Triumphal  Car.'  Peckitt 
made  a  gift  of  this  work  to  the  municipality,  and  in 
return  was  admitted  without  payment  to  the  freedom 
of  the  city.  It  was  executed  in  1753  and  put  up  in 
1754. 

York  Minster,  south  transept,  1754 :  A  figure  of  '  St. 
Peter,'  with  the  arms  of  the  See,  for  which  he  was 
paid  £11  15s.  But  in  175?,  "having  attained  to 
greater  excellence  in  his  art,"  he  was  tUssatisfiedwith 
the  figure  and  presented  another  in  its  place. 

York  Minster,  1793 :  The  figures  of  '  Abraham,' 
*  Moses,'  and  *  Solomon '  in  the  south  transept,  to 
complete  with  the  '  St.  Peter '  a  set  of  four.  These 
he  bequeathed  to  the  Dean  and  Chapter,  who  had 
them  put  up  in  accordance  with  his  will  in  1795. 

Lincoln  Cathedral,  17t)2  :  The  east  window ;  geometrical 
patterns  of  coloured  glass  (it  has  been  removed). 

Exeter  Cathedral,  17C6:  The  great  west  window, 
probably  Pcckitt's  finest  work,  was  barbarously 
removed  in  1903. 

Oxford,  Oriel  Chapel,  1 767  :  He  painted  the  '  Present- 
ation of  Christ  in  the  Temple ' — a  window  now  on 
the  north  side  of  the  ante-chapel.  It  was  designed 
by  Dr.  Wall,  a  physician  of  Worcester. 

Oxford,  New  College  Chapel :  The  north  windows, 
executed  between  1765  and  1774  from  the  dej^igns  of 
Biagio  Rebecca,  R.A.  Each  of  the  five  windows 
contains  eight  figures,  three  of  personages  and 
prophets  from  the  OKI  Testament,  and  two  from  the 
Xew;  the  later  windows  show  greater  variety  and 
delicacy  of  colour  than  the  earlier. 

Cambridge,  Trinity  College  Library,  1775:  A  large 
window  from  a  design  by  G.  B.  Cipriani ;  among  the 
heads  are  portraits  of  Xewton,  Francis  Bacon,  and 
George  III.  Little  coloured  glass  or  pot-metal  is 
used  in  this  window. 

Peckitt  also  executed  a  good  deal  of  repairing 
and  ornamental  glazing  in  various  cathedrals,  &c.. 


throughout  the  country,  such  as  may  still  be  seen 
in  the  clerestory  at  Peterborough  and  at  Tewkes- 
bury. He  -was  employed  by  Horace  Walpole  to 
paint  some  windows  at  Strawberry  Hill  in  1768  ; 
and  there  were  in  the  chapel  at  Bishopsthorpe, 
Yorks,  several  coats-of-amis,  recently  removed, 
not  without  mutilation,  to  the  "  business-room  "  of 
the  Areliiepiscopal  Palace.  c.  B. 

PECORI,  DoMENico,  was  a  pupil  of  Bartolommeo 
della  Gatta,  and  a  partner  of  Niccolo  Soggi  of 
Arezzo.  He  lived  in  the  15th  century,  but  no 
certainty  exists  as  to  the  dates  of  his  birth  or  death. 
An  '  Adoration  of  the  Virgin'  by  him  is  still  in  the 
Sacristy  of  the  Pieve  at  Arezzo  ;  and  other  works 
of  his  may  be  found  in  that  city  and  its  environs. 
Vasari  says  he  was  more  skilled  in  the  use  of 
tempera  than  in  that  of  oU. 

PEDIUS,  QoiNTUs,  a  Roman  artist,  grandson  of 
C.  Pedius,  flourished  about  twenty  years  before 
Christ.     He  was  dumb,  and  died  young. 

PEDONE,  Bartolo,  an  Italian  painter,  who 
worked  in  the  first  half  of  the  18th  century.  He 
painted  landscapes,  sea-pieces,  storms,  and  night- 
pieces.     He  died  in  1735. 

PEDRALI,  GiACOMo,  an  Italian  perspective  and 
architectural  painter,  who  flourished  at  Brescia 
from  1630  to  about  1660.  He  was  a  companion  of 
Domenico  Bruni,  and  was  already  dead  in  the 
latter  year, 

PEDRET.    See  Padbo  y  Pedret. 

PEDRETTI,  Giuseppe  Carlo,  was  bom  at 
Bologna  in  1694,  and  was  a  scholar  of  Marc  An- 
tonio Franceschini.  He  resided  some  time  in  Po- 
land ;  and  on  his  return  to  Bologna  painted  a  great 
number  of  pictures  and  altar-pieces  for  the  churches 
and  public  edifices,  of  which  the  most  esteemed  are 
the  '  Martyrdom  of  St.  Peter,'  in  San  Petronio : 
'  Christ  bearing  his  Cross,'  in  San  Giuseppe ;  and 
'  St.  Margarita,'  in  the  Anunziata.    He  died  in  1778. 

PEDRIEL,  Santos,  a  Spanish  painter,  who  was 
a  pupil  of  Sanchez-Coello.  He  painted  historical 
subjects,  and  flourished  about  1570.  Siret  gives 
the  date  of  his  death  as  1578. 

PEDRIGNANI,  Girolamo.  a  painter  and  en- 
graver, who  flourished  at  Forli  about  1640  to  1C50. 
Among  his  plates  are : 

The  Death  of  Abel. 

Adam  and  Eve  in  Paradise. 

Adam  bewailing  the  Death  of  .-Vbel. 

PEDRINI,  Giovanni,  of  Milan,  who  flourished 
in  the  16th  century,  was  one  of  those  followers  of 
Leonardo  da  Vinci  who  exaggerated  their  master's 
style.  His  works  are  to  be  seen  at  Milan,  Berlin, 
and  else%vhere.  Pedrini  is  supposed  to  be  identical 
with  the  Pietro  Riccio,  mentioned  by  Lomazzo  as  a 
pupil  of  Leonardo. 

PEDRO,  El  Licenciado.     See  Gctierrez. 

PEDRO,  Francesco  del,  an  engraver,  was  born 
at  Udine  in  1736.  He  established  himself  at  Venice, 
and  among  his  engravings  we  may  name  : 

A  Holy  Family. 

A  sleeping  Jesus. 

Charity;  after  Atbani. 

Judgment  of  Paris ;  after  Giordano. 

The  Card-player ;  after  Tenters. 

Landscapes  ;  after  Londonio  and  Maygiotto. 

PEDRONI,  Pietro,  an  Italian  historical  painter, 
was  a  native  of  Pontrenioli.  He  studied  at  Parma 
and  Rome,  and  eventually  settled  at  Florence, 
where  he  became  Director  of  the  Academy.  He 
died  in  1803 

85 


A  BIOGRAPHICAL  DICTIONARY  OF 


PEDUZZI,  DoMENico  Aktonio,  a  Dutch  painter 
of  Italian  extraction,  was  bom  at  Amsterdam  in 
1817.  He  was  a  pupil  of  J.  Pieneman,  and  painted 
eflPects  of  light  and  interiors.  He  died  at  Vienna 
in  1861. 

PEE,  Engelhardt  van,  a  Flemish  painter,  who 
was  born  at  Brussels.  He  resided  chiefly  in  Ger- 
many, and  had  much  success  at  the  Court  of 
Munich.     He  died  in  1605. 

PEE,  Henbieita  van.  See  Wolters. 
PEE,  Jan  van,  a  Dutch  tigure  painter,  born  at 
Amsterdam  about  1640.  He  was  a  son  of  Em- 
manuel Van  Pee,  a  Dutch  picture-seller,  and  was 
chiefly  employed  in  copying  the  works  of  the  Dutch 
masters. 

PEE,  Theodob  van,  a  Dutch  historical  portrait 
and  interior  painter,  was  born  at  Amsterdam  in 
1669.    His  painting  not  being  sufficient  to  support 
him,  he  became  a  picture-dealer.     In  this  cai)acity 
he  came  to  England  in  1715  and  1719,  and  on  the 
last  occasion  he  remained  seven  years,  and  amassed 
a  considerable  fortune.     He  then  returned  to  his 
own  country,  and  died  at  the  Hague  in  1747  or  1750. 
PEEL,  Paul,  was  born  at  London,  Ontario,  in 
1861.     He  received   his   first  art-training  at   the 
College  of  Fine  Arts,  Pennsylvania,  and  studied 
subsequently  at  the  Koyal  Academy,  London,  and 
in  Paris  under  Gerome.     He  settled  in  Paris  and 
only  returned  to  Canada  for  short  visits,  and  his 
art  was  French  both  in  spirit  and  technique.     In 
1889   he  gained   an  honourable   mention   for  his 
'Life   is   Bitter,'   and   a  gold   medal  in  IS'JO  for 
'After  the   Bath.'     He   specially  loved   to   paint 
children  and  baby-life,  but  he  also  painted  land- 
scapes with  a  fine  sense  of  colour  and  light.     He 
died  in  1892. 
PEER,  Lanoe.     See  Aaktsen. 
PEETERS,  Bonaventdra,  a  Flemish  painter  of 
battles  and  sea-pieces,  was  born  at  Antwerp  in  1614. 
His  favourite  subject  was  a  stormy  sea  with  light- 
ning flashing  above,  and  a  ship  in  danger.     His 
works  are  very  unequal  in  merit.    His  strong  point 
was  composition,  and  the  arrangement  of  light  and 
shade.     He   died   at   Hoboken   in  1652,  and  was 
buried  there.     He  usually  signed  his  pictures  P.  B. 
with  the  date.     Works  : 


Amsterdam. 

Jlfuseum. 

View  at  Flushiug. 

Antwerp. 

Museum. 

View  of  Middelburg. 

Brunswick. 

Gallery. 

View  on  a  Kiver-bank. 

Darmstadt. 

Gallery. 

Dordrecht  from  the  Maas. 

A  Storm  at  Sea. 

Dresden. 

Gallery. 

View  of  Corfu  (?)  {Signed 
Bonaventiira  Peeters  ;  fecit  in 
Hoboken  1652.) 

» 

*t 

View  of  Scheveningen  {with 
figures  ly  David  Teniers  the 
elder). 

Petersburg. 

Sermitafje. 

A  Seaport. 

Vienna.  Liechtenstein  C. 

Three  pictures  of  Storms  at  Sea. 

1) 

Galhi-y. 

A  Sea-piece. 

»» 

») 

A  Military  Post. 

PEETERS,  Clara,  a  Flemish  still-life  painter, 
who  flourished  in  the  17th  century.  Several  pictures 
by  her  are  in  the  Madrid  Museum,  and  one  bears 
the  date  1611. 

PEETERS,  Gerbit.    See  Pieterszen. 

PEETERS,  GiLLES  (or  Eoidius),  who  was  bom 
in  1612,  and  died  in  1653,  was  a  brother  of  Bona- 
ventura  Peeters,  and  worked  in  the  same  atelier. 
Nothing  is  known  of  his  paintings,  but  he  etched  a 
series  of  hunting-pieces  after  Snyders. 

PEETERS,  Jacob,  a  Flemish  painter  of  church 
interiors,  who  flourished  in  1695.  He  was  a  pupil 
86 


of  Pieter  Vandevelde,  at  Antwerp,  in  1672-3,  and 
Master  of  the  Guild  in  1688-9.  lie  painted  in  the 
style  of  Pieter  Neefs.  His  brother  Jan  flourished 
at  Antwerp  as  a  painter  and  engraver  in  1680. 

PEETERS,  Jan,  a  brother  and  pupil  of  Bona- 
ventura  Peeters,  was  born  at  Antwerp  in  1624. 
He  painted  similar  subjects  to  those  of  his  brother, 
though  in  general  his  works  are  very  inferior  to 
those  of  Bonaventura.  He  sometimes  painted  com- 
bats at  sea,  and  even  attempted  historical  subjects. 
He  became  a  Master  of  the  Guild  in  1645,  and 
appears  to  have  died  in  1677.  Paintings  by  him 
are  in  the  Antwerp  Museum,  the  Munich  Pinakothek, 
and  the  Museum  and  Liechtenstein  Collections  at 
Vienna ;  and  the  Rijks-Museum  of  Amsterdam 
possesses  a  good  picture  of  the  '  Destruction  of 
the  English  fleet  at  Chatham,  in  1607,'  by  him. 
He  engraved  a  series  of  landscapes  in  the  style  of 
Nieulandt. 

PEGNA  (or  Pegxia).    See  De  la  Peigne. 

PEHAM.     See  Pecuam. 

PEINS.     See  Pencz. 

PEIPERS,  Hermine.    See  Stilke. 

PEIROLERI,  Pietbo,  an  Italian  engraver,  was  a 
native  of  Turin,  and  flourished  about  the  year  1760. 
Zani  gives  1741  for  the  date  of  his  birth,  and  says 
lie  was  active  in  1777.  Nagler  says  he  was  bom 
in  1738,  and  gives  a  list  of  20  prints  by  him. 
Neither  authority  mentions  the  date  of  his  death. 
His  chief  prints  appear  to  be  : 

Bacchus  seated  on  a  Tun ;  after  Ruhem. 
Portrait  of  the  Foruarina ;  after  liaphael. 
Portrait  of  Raphael ;  after  tbt  same. 
Philippe  de  Champagne ;  copied  from  EJelinck. 
The  Holy  Family  ;  after  .Scarsellino. 
The  Finding  of  Moses  ;  after  Lazzarini. 
A  '  Roman  Charity  ; '  after  the  same. 
Abraham's  Offering  ;  after  Bellucci. 
Jupiter  and  CaUsto  ;  after  Amiconi. 
Zephyrus  and  Flora  ;  after  the  same. 

PELACANE.    See  Mobone,  Dom. 

PELAIS,  MrcHEL,  (or  Palais  ?,)  supposed  to  have 
flourished  at  Rome  about  1625.  He  engraved  the 
portraits  of  Cardinal  d'Ossat  and  J.  de  Gastebois. 
His  mark  is  also  found  on  prints  after  Palma  the 
younger,  and  Federigo  Zuccaro,  and  his  manner 
approaches  that  of  Cornells  Cort.  The  signature 
Palais  fee.  is  to  be  found  on  a  wretched  print  of 
'St.  John  preaching  in  the  Wilderness,'  but  the 
author  may  have  been  a  totally  different  person. 

PELEE,  Pierre,  a  native  of  Courtedoux  in  the 
Canton  of  Bern,  and  a  scholar  of  von  Schenker, 
engraved  from  1820  to  1838.  The  following  prints 
by  him  are  noticed  by  Nagler : 

The  Evangelist  St.  John  ;  after  Domenichino. 
The  President  Duranti :  after  P.  Delaroche. 
Several  Portraits  and  Vignettes  for  the  works  of  Vol- 
taire and  Rousseau  ;  after  iHsenne  and  Devcria. 

PELEGRET,  Tomas,  a  Spanish  historical  painter 
in  fresco  and  en  grisaille,  was  born  at  Toledo,  where 
he  studied  the  elements  of  his  art,  but  afterwards 
went  to  Italy  and  placed  himself  under  Baldassaro 
da  Siena,  and  Polidoro  da  Caravaggio,  from  whom 
he  derived  his  knowledge  of  chiaroscuro ;  and 
whom  he  made  his  model.  He  returned  to  Spain, 
in  the  time  of  Charles  V.,  and  established  himself 
at  Saragossa,  where  he  acquired  considerable  reput- 
ation. His  drawings  were  highly  prized,  not  only 
by  amateurs,  but  by  artists.  'They  were  purchased 
with  avidity  by  painters,  sculptors,  decorators,  and 
goldsmiths.  Unfortunately  few  or  none  of  his 
works  in  fresco  exist,  and  the  only  examples  of  his 


PAINTERS  AND  ENGRAVERS. 


ability  that  can  be  mentioned  with  certainty,  are 
some  pictures  in  tlie  manner  of  Polidoro  Caravaggio 
in  the  Monastery  of  Santa  Eugracia,  in  Saragossa. 
He  died  at  the  age  of  84.  He  liad  many  scholars  ; 
among  them  was  Cuevas,  who  assisted  him  in 
painting  the  sacristy  of  the  cathedral  of  Huesca, 
and  some  other  works. 

PELGROM,  Jakob,  a  Dutch  landscape  painter, 
who  flourished  early  in  the  19th  centurj-.  He  was 
a  pupil  of  J.  Pieneman. 

PELHAM,  Henrv,  historical  and  miniature 
painter,  resided  with  Copley,  R.A.,  and  was  most 
probably  his  pupil.  In  1777  he  contributed  to  the 
Academy  '  The  Finding  of  Moses,'  which  was  en- 
graved by  W.  Ward  in  1787.  In  the  following 
year  he  exhibited  some  miniatures  in  enamel  and 
water-colours. 

PELHAM,  James,  miniaturist  and  portrait 
painter,  chiefly  in  water-colour,  was  bom  in 
London,  September  16,  1800,  the  son  of  James 
Pelham  (died  circ.  1850),  also  a  miniaturist  of  some 
note,  but  not  equal  to  his  son  in  ability  ;  he  was  a 
great-nephew  of  the  Prime  Minister,  Henry  Pelham. 
In  early  life  the  second  James  Pelham  travelled 
about  the  kingdom,  painting  portraits  of  notable 
persons,  especially  in  the  eastern  counties  and  in 
Bath  and  Cheltenham.  He  was  appointed  painter 
to  the  Princess  Charlotte,  and  had  many  distin- 
guished sitters.  Pelham  was  resident  at  Bath  in 
1832,  when  he  made  his  first  appearance  at  the  Royal 
Academy  with  portraits  of  Viscount  and  Viscountess 
Weymouth.  In  1836  there  were  five  portraits,  and 
in  1837  one,  by  James  Pelham,  resident  in  London, 
but  it  is  uncertain  whether  this  exhibitor  was  the 
father  or  the  son.  Most  probably  it  was  the  latter. 
In  or  before  1846  he  settled  at  Liverpool.  In  that 
year  he  had  six  portraits  at  the  Exhibition  of  the 
Liverpool  Academy,in  1847  three, and  in  1848  four, 
also  eight  miniatures.  He  was  elected  an  Associate 
of  the  Academy  in  1847,  a  full  member  in  1851, 
and  in  1854  or  1855  Secretary,  in  which  capacity 
he  for  several  years  took  a  prominent  part  in 
arranging  the  Academy's  Exhibitions  during  a 
period  of  great  importance  in  its  history.  He 
exhibited  portraits  yearly  until  1854,  but  not  after- 
wards. The  progress  of  photography  so  greatly 
interfered  about  this  time  with  the  practice  of 
miniature  and  portrait  painters  that,  like  many 
others,  Pelham  had  to  turn  to  another  branch  of 
art — in  his  case  it  was  the  painting  of  domestic 
genre  subjects,  usually  on  a  small  scale.  In  1855 
his  only  contribution  was  entitled  '  Fast  Bind, 
Fast  Find,'  priced  12  guineas.  Thereafter  he 
appears  to  have  exhibited  only  twice  :  in  1859 
'A  Cup  of  Tea,'  12  guineas,  and  in  1867  'The  Old 
Sempstress'  and  'The  Summer  Tourist,'  not  for 
sale.  It  is  not  well  to  speak  witli  certainty,  be- 
cause of  possible  confusion  with  the  artist's  son, 
James  Pelham  the  third,  who  began  to  exhibit  in 
1858.  Pelham's  interest  in  the  Academy  did  not 
abate.  He  continued  to  act  as  Secretary  until  1860 
or  1861,  and,  after  an  interval,  again,  until  suc- 
ceeded by  hi.*!  son  in  1867.  He  died  at  Liverpool, 
April  17,  1874,  and  was  survived  by  eight  of  a 
family  of  nine  children.  James,  already  mentioned, 
is  a  well-known  Liverpool  artist  in  landscape  and 
genre,  and  Miss  Emily  Pklham  in  early  life  gave 
considerable  promise.  She  exhibited  genre  sub- 
jects at  the  Liverpool  Academy  in  1867,  and, 
."iccording  to  Graves,  sent  four  pictures  to  Suffolk 
Street  from  1867  to  1879.  A  painter  named  Henry 
Pklham,  "at  Mr.  Copley's,  Leicester  Fields,"  who 


exhibited  at  the  Royal  Academy  in  1777  and 
1778,  does  not  appear  to  have  been  related  to 
James  Pelham.  In  addition  to  ten  miniatures 
(two  in  enamel)  he  showed  'The  Finding  of  Moses.' 
The  portrait  of  James  Pelham,  painted  by  John 
Robertson,  is  in  possession  of  his  son.        E.  R;  D. 

PELHAM,  Peter,  an  English  engraver,  was  bom 
in  London  in  1684,  and  died  about  1738.  He  en- 
graved several  portraits  in  mezzotint ;  among  which 
are  the  following  : 

King  George  I.:  after  Kneller. 

King  George  II. ;  after  the  same. 

Anne,  Consort  of  the  Prince  of  Orange  ;  after  the  same. 

Oliver  Cromwell ;  afttr  Walker. 

Thomas  Holies,  Duke  of  Newcastle. 

Robert,  Viscount  Molesworth;  after  Gibson, 

John,  Lord  Carteret ;  after  A'nei/er. 

James  Gibbs,  Architect ;  after  Ht/sing. 

Peter  Paul  Rubens  ;  after  Euljen.i. 

Edward  Cooper  :  after  Van  der  I  'aaH. 

Dr.  Edmund,  Bishop  of  London  ;  after  Murray. 

J.  C.  Pelham,  a  painter  chiefly  of  portraits,  bom  in 
1721,  was  his  son. 

PELICHY,  Gertrude  de,  a  Flemish  portrait, 
landscape,  and  animal  painter,  bom  at  Utrecht  in 
1743.  In  1753  she  followed  her  father  to  Bruges, 
and  afterwards  resided  in  Paris,  where  she  received 
lessons  from  Suvee.  In  1777  she  returned  to  Bruges, 
and  was  made  an  honorary  member  of  the  Imperial 
Academy  of  Vienna.  She  painted  portraits  of  the 
Emperor  Joseph  II.,  and  of  his  mother,  the  Empress 
Maria  Theresa.  In  the  Bruges  Academy  there  are : 
a  landscape  ;  a  head  of  Clirist,  after  Guido  ;  and  an 
old  man's  head,  by  this  lady.     She  died  in  1825. 

PELISSIER,  Theodob,  a  German  painter  of 
French  extraction,  was  a  pupil  of  Wacli,  and 
painted  genre  pictures  towards  the  end  of  the  18th 
century.     He  lived  at  Hanau,  Hesse. 

PELKIN,  CoRXELis,  an  indifferent  Dutch  en- 
graver, lived  about  the  year  1663.  He  engraved 
a  frontispiece  to  a  book  entitled  '  Spiegel  der 
Spaensche  Tirannie,'  published  at  Middleburg  in 
1663. 

PELLEGRINI,  Andrea,  an  Italian  painter, 
flourished  at  Milan  from  1560  to  1595.  He  painted 
historical  subjects,  and  several  of  his  pictures  are 
to  be  found  in  the  church  of  St.  Jerome  at  Milan. 

PELLEGRINI,  Carlo,  draughtsman  and  cari- 
caturist, was  born  at  Capua  in  1838,  and  was,  on 
his  father's  side,  the  scion  of  an  ancient  family 
long  settled  in  the  district,  and  known  as  the 
Sedili  Capttani;  on  his  mother's  a  descendant 
of  the  Medici.  In  his  youth  he  became  involved 
in  the  Italian  struggle  for  libertj,  and  enrolled 
himself  among  the  Garibaldians.  In  1865  he 
arrived  in  England  in  straitened  circumstances, 
and  a  chance  having  revealed  his  gifts  .as  a  satirical 
draughtsman,  he  was  engaged  on  the  staff  of 
'  Vanity  Fair.'  In  1869  his  first  political  carica- 
ture, a  drawing  of  Lord  Beaconsfield,  appeared  in 
that  journal.  It  was  signed  "  Singe,''  a  pseudonym 
which  he  afterwards  changed  for  "  Ape."  Hence- 
forth he  was  a  prolific  contributor  for  many  years 
to  '  Vanity  Fair,'  and  has  left  behind  him  many 
hundreds  of  portraits  of  notabilities  in  the  English 
political,  artistic,  and  social  world.  One  of  the 
most  successful  was  a  statuette  in  red  plaster  of 
Mr.  Lowe  standing  on  a  match-box,  which  the 
artist  modelled  in  Count  Gleichcn's  studio.  His 
last  published  caricature  was  that  of  Sir  William 
Dolby,  the  famous  aurist,  and  the  last  he  drew  a 
sketch  of  Mr.  Edison,  the  inventor  of  the  phono- 

87 


A   BIOGRAPHICAL   DICTIONARY  OF 


grapli.  During  his  long  residence  in  London, 
Pellegrini's  gay  and  genial  temper  endeared  him 
to  all  with  whom  he  came  in  contact,  and  in  his 
last  illness  a  fund  was  provided  by  his  more  intimate 
friends  for  his  support.  He  died  in  Mortimer  Street, 
Cavendish  Square,  January  22,  1889,  and  was 
buried  at  Kensal  Green. 

PELLEGRINI,  Giovanni  Antonio,  was  born 
at  Padua  in  1674  (or  Venice  in  1675).  He  was  a 
scholar  of  Genga  ;  and  is  said  to  have  received  some 
instruction  from  Paolo  Pagani.  He  distinguished 
himself  among  the  modern  Venetians,  by  a  ready 
and  ingenious  invention,  and  an  unusual  facility 
of  execution,  though  the  effect  of  Lis  works  is  im- 
poverished by  a  feeble  and  languid  colouring,  and 
a  total  neglect  of  the  principles  of  chiaroscuro. 
The  reputation  he  had  acquired  at  Venice,  and 
afterivards  in  Paris,  recommended  him  to  the  notice 
of  the  Duke  of  Manchester,  who  invited  him  to 
England,  where  he  resided  some  years,  until  1712, 
in  which  year  he  entered  the  service  of  the  Elector  of 
Saxony  at  Dresden,  and  finally  returned  to  Venice. 
He  died  in  1741.  He  executed  several  ornamental 
works  for  the  mansions  of  the  English  nobility. 
He  is  noticed  in  the  '  Guida  di  Venezia,'  with  this 
addition,  '  Fu  pittore  piii  di  forluna  che  di  merito ' 
('he  was  apainter  rather  byfavour  than  by  merit'). 
Some  of  his  pictures  have  been  engraved  by  V. 
Green,  J.  B.  Cathelin,  P.  Simon,  and  T.  Park.  The 
following  lire  preserved : 

Augsburg.  Gallery.    Several  portraits  and  allegories. 

Genoa.         Dnrazzo  Pal.     The  Oath  of  Hamlet's  Mother. 
Paris.  Louvre.     Allegorical    design  —  Modesty 

offers  the   Artist's  Painting 
to  the  Academy. 
Borne.      Academy  of  St. )  ,r  , 

Lule.         j  ^''^^- 
Venice.  S.  JUoise.    The  Brazen  Serpent. 

PELLEGRINI,  Domenico,  a  painter,  was  born 
at  Venice  about  1768.  He  studied  chiefly  at  Rome, 
and  his  first  great  works  were  the  '  Death  of  Mes- 
salina,'  and  'The  Marriage  at  Caiia.'  In  1792  lie 
came  to  England,  where  he  gained  a  considerable 
reputation  as  a  portrait  painter.  He  returned  to 
his  own  country  and  painted  several  portraits  in 
Rome,  Venice,  and  Naples.  Sohiavonetti  engraved 
after  him. 

PELLEGRINI,  Felice,  was  born  at  Perugia  in 
1567,  and  was  a  scholar  of  Federigo  Baroccio.  He 
painted  historical  subjects,  and  became  an  artist  of 
sufiBcient  celebrity  to  be  invited  to  Rome  by  Pope 
Clement  VIII.,  who  employed  him  in  the  Vatican. 
After  having  exercised  his  talents  at  Rome  with 
some  success,  he  returned  to  Perugia,  where  he 
died  in  1630. 

PELLEGRINI,  Franczsco,  was,  according  to 
Barotti,  a  native  of  Ferrara.  He  was  a  scholar  of 
Giovanni  Battista  Cozza,  and  flourished  about  the 
year  1740.  There  are  many  of  his  works  in  the 
cliurches  at  Ferrara.  In  the  cathedral  is  a  '  St. 
Bernard  ; '  and  in  San  Paolo  a  '  Last  Supper.' 

PELLEGRINI,  Pellegrino,  ,in  Italian  historical 
painter,  was  employed  at  the  Escorial  at  Madrid, 
and  was  appointed  painter  to  the  Court  of  Spain. 
He  died  about  1634. 

PELLEGRINI,  Vincenzio,  the  brother  of  Felice 
Pellegrini,  was  born  at  Perugia  in  1575,  and  was 
also  educated  in  the  school  of  Baroccio.  He  painted 
several  pictures  for  Perugia,  in  the  churches  of 
Sant'  Antonio,  in  the  Chiesa  Nuova,  and  in  other 
places.  He  was  called  '  II  Pittor  Bello '  for  the 
beauty  of  his  person.     He  died  in  1612. 

88 


PELLEGRINO,  Fra  Ignazio.     See  Danti. 
PELLEGRINO  da  BOLOGNA,  and  Domenico. 
See  TiiiALDi. 
PELLEGRINO  da  MODENA  (or  Munari).   See 

A  RFTFTRI 

PELLEGRINO  da  SAN  DANIELE.  See  Mar- 
ting  DI  Battista. 

PELLENC,  Jean  Charles  Louis  LiSon,  French 
painter;  born  February  28,  1819,  at  Nimes  (Gard); 
highly  successful  as  a  landscape  painter  in  water- 
colour  ;  contributed  regularly  to  the  Salons  since 
1848,  his  subjects  being  chiefly  chosen  from  the 
scenery  of  Southern  France  or  in  the  Seine-et- 
Marne  and  Cote  d'Or  departments,  as,  for  instance, 
'Environs  d'Epcrnon'  (1848),  ' Groupe  de  Chenea 
;i  Marlotte'  (1869),  'L'Autonme  i  Reclose'  (1881), 
&c.     He  died  in  December  1894. 

PELLET,  David,  was  a  French  engraver,  whose 
name  is  affixed  to  a  plate  representing  Louis  XIII. 
when  young,  on  horseback,  with  the  portraits  of 
Henry  IV.  and  Maria  de'  Medici  in  small  ovals  at 
the  top. 

PELLETIER,  Jean,  a  French  engraver,  was 
born  in  Paris  about  the  year  1736.  We  have 
several  plates  by  him  of  various  subjects,  among 
them  the  following : 

The  Watering-place ;  after  Berehem. 

Kuins  and  Figures ;  after  the  same. 

The  Fish-Market ;  after  Pierre. 

The  Green-Market ;  after  the  same. 

Diana  reposing  ;  after  Boucher. 

The  Kape  of  Europa  ;  after  the  same. 

Two  Pastoral  subjects  ;  after  the  same. 

The  Union  of  Design  ancl  Painting;  after  Natoire. 

Young  Bacchus  ;  after  C.  van  Loo. 

The  Travellers ;  after  Wouwerman. 

Ladies  going  to  the  Chase;  after  the  same. 

The  Tipplers ;  after  Ostade. 

Nagler  mentions  about  twenty  more,  after  Claude, 
A.  Van  der  Velde,  Teniers,  Bega,  F.  Millet,  Metsu, 
and  others.  Pelletier's  wife  also  engraved  two 
plates  after  A.  Ostade,  and  one  after  Wouwerman. 
There  is  no  account  of  the  death  of  either. 

PELLI,  Marco,  an  engraver,  was  born  at  Venice 
about  1696.  His  principal  engravings  are  heads 
of  saints  ;  a  few  portraits  ;  a  '  Charge  of  Cavalry,' 
after  Borgognone  ;  and  a  '  Landscape,'  after  D.  B. 
Zilotti,  signed  31.  Pelli  exc.  No  particulars  of 
his  life  have  been  preserved. 

PELLICIAIO.     See  Del  Pelliciaio. 

PELLICOT,  Lotus  Alexis  de,  a  French  painter, 
and  native  of  Digne.  He  flourished  in  1787.  A 
'  Cromwell  at  Windsor  '  and  a  set  of  views  of  old 
French  chateaux  were  among  his  most  important 
works. 

PELLIER,  Nicolas  Franqois,  a  native  of 
Besan9on,  was  born  in  1782,  and  has  left  a  few 
small  landscapes  engraved  with  the  point  from  his 
own  designs.     He  died  in  1804. 

PELLIER,  PiEiiRE  Edm]6  Lools  a  French  por- 
trait and  historical  painter,  who  flourished  about 
1815.  He  was  a  pupil  of  Regnault.  In  the 
Museum  at  Caen  is  a  'Telemachus'  by  him. 

PELLINI,  Andrea,  a  native  of  Cremona,  who 
flourished  about  1595.  He  painted  historical  pic- 
tures, and  resided  chiefly  at  Slilan. 

PELLINI,  Marc  Antonio,  an  historical  painter, 
was  born  at  Pavia  in  1659.  He  was  a  pupil  of  Th. 
Gatti,  and  studied  at  Venice  and  Bologna.  He 
died  in  1760. 

PELOSI,  Francesco,  an  historical  painter,  who 
flourished    at   Venice   in  the   15th    century.     At 


PAINTERS  AND  ENGRAVERS. 


Bologna  are  by  this  artist  a  'St.  Julian,'  a  'St. 
James,'  a  '  Virgin  and  Child,'  and  a  '  Dead  Christ.' 

PELOUSE,  L^ON  Geiimaik,  Frencli  painter ; 
born  at  Pierrelaye  (Seine-et-Oise)  in  1838  ;  began 
life  as  a  commercial  traveller,  but  in  spite  of  the 
opposition  of  his  parents  he  determined  to  become 
an  artist.  His  whole  career  is  an  example  of 
indomitable  energy.  He  made  his  debut  in  1865 
with  a  picture  that,  having  no  studio  of  his  own, 
he  was  obliged  to  paint  in  barracks,  the  colonel 
permitting  this.  Success  came  slowly  ;  and  it  was 
not  till  1873  that  he  received  a  medal  of  the  second 
class.  In  1878  he  obtained  a  first-class  medal  and 
the  Legion  of  Honour.  At  the  Universal  Ex- 
hibition of  1889  he  received  a  gold  medal.  Tlie 
French  School  possessed  in  him  one  of  its  most 
brilliant  and  prolific  landscape  artists.  His  charm- 
ing '  Coin  de  Cernay  en  Janvier '  is  in  the  Luxem- 
bourg ;  other  well-known  pictures  are  his  'Environs 
de  Pr^cy,'  '  Souvenir  de  Cernay,'  '  Coupe  de  Bois  k 
Senhsse,'  and  'Matin  en  Br«tagne,'  which  are  to 
be  seen  in  private  and  public  collections.'  His 
preference  was  for  broad  and  simple  motives, 
which  he  delighted  to  express  in  low  keys  of 
colour  perfectly  suited  to  the  scenery  he  loved. 
He  died  at  Pierrelaye,  July  31,  1891. 

PELTRO,  John,  engraver,  was  bom  in  1760.  In 
1779  he  exhibited  some  engravings  after  Taverner 
and  others,  but  his  chief  work  was  engraving  after 
Repton  the  miniature  views  of  gentlemen's  seats 
for  the 'Polite  Repository.'  He  died  at  Hendon 
in  1808. 

PEMBROKE.  Thomas,  an  English  historical 
painter,  born  in  1702.  He  was  a  pupil  and  follower 
of  the  younger  Laroon,  and  was  patronized  by  the 
Earl  of  Bath.  His  best  known  work  is  a  'Hagar 
and  Ishmael,'  which  was  mezzotinted  by  J.  R. 
Smith  and  published  by  Boydell.     He  died  in  1730. 

PEN,  Hl.sPEL,  (or  Penn).  Strutt  has  fallen  into 
error  with  respect  to  a  supposed  artist  of  this 
name  ;  it  is  now  satisfactorily  ascertained,  that  the 
prints  assigned  to  him  ought  to  be  included  in  the 
works  of  Beham. 

PEN,  Jacob,  was  a  Dutch  painter,  mentioned  by 
Balkema  as  being  particularly  employed  by  Charles 
II.  He  says  that  he  composed  with  intelligence, 
and  added  beavitiful  colour  to  correct  drawing  ;  but 
he  says  nothing  of  his  subjects,  and  adds,  "  All  his 
pictures  are  in  England."     Pen  died  in  1678. 

PENA.     See  Diaz  de  la  Pena. 

PENAL     See  La  Penai. 

PENALOSA,  Juan  de,  an  historical  painter  of 
the  school  of  Seville,  was  born  at  Baeza  in  1581. 
He  was  one  of  the  best  scholars  of  Pablo  de  Ces- 
pedes,  whose  works  he  assiduously  imitated,  as  is 
evinced  in  the  magnificent  picture  in  the  cathedral 
of  Cordova,  representing  St.  Barbe.  He  also 
painted  a  'St.  Jago'  for  the  convent  of  Arizafa  ; 
several  pictures  for  the  llinimes,  and  many  others 
for  private  collections  in  Cordova,  where  he  died 
in  1636. 

BENCH ARD,  J.,  was  a  Dutch  engraver,  who 
resided  at  Leyden  about  the  year  1678.  His  plates 
are  chiefly  confined  to  frontispieces,  and  other  book 
ornaments  ;  but  he  engraved  the  anatomical  plates 
for  the  works  of  Reg.  de  Graaf,  with  the  portrait 
of  the  author,  published  at  Leyden  in  1678. 

PENCZ,  Georg,  a  native  of  Nuremberg,  was 
born  at  or  before  the  beginning  of  the  16th  century. 
He  was  admitted  into  the  Guild  of  Painters  in 
1523,  after  he  had  been,  if  not  under  the  instruc- 
tion, at  least  under  the  influence,  of  Albrecht  Diirer 


He   was   associated  with  the  Behams,  and  with 
them  in  1524  underwent  the  sentence  of  banish- 
ment for  heresy.     His  sentence,   however,   seems 
to  have  been  allowed  to  drop,  as  we  find  frequent 
notices  of  his  presence  in  Nuremberg,  though  he 
was  deprived  of  his  citizen-right,  and  in  1525  he 
was   permitted   to  settle  in    Windsheim,  a  place 
within   the    city's   jurisdiction.      About    1532    he 
probably  returned  to  Nuremberg  altogether.     Be- 
fore his  trial  we  find  him  engaged  on  the  work  of 
restoring  pictures,  but  he  was  afterwards  appointed 
painter  to  the  Rath.     There  is  no  proof  that  he 
paid  mucli  attention  to  engraving  till  1535,  the  first 
date  on   any   of  his   plates.     He    seems  to  have 
visited  Italy  on  several  occasions,  and  the  dates  of 
those  visits  have  unusual  importance  from  the  fact 
that  Passavant  confidently  ascribes  to  him  one  of 
the  finest  of  the  plates,  which  the  world  has  been 
in  the  habit  of  giving  to  Marc-Antonio.     In  the 
fourth  volume  of  the  '  Peintre-Graveur,'  Passavant 
says  :   "  Pencz  left  his  home  to  frequent  the  school 
of  Marc-Antonio.     This  is  put  beyond  a  doubt  by 
the  style  of  liis  words  at  the  time.     The  influence 
of  the  Italian  school  is  clearly  present.  .  .  .  Above 
all  is  it  visible  in  the  '  Massacre  of  the  Innocents 
(au  Chicot),  Bartsch,  18,'  hitherto  considered  the 
original  plate  by  Raimondi  himself.''      Passavant 
goes  on  to  say  that  this  Massacre  au  Chicot  is  finer 
and  firmer  in  drawing  than  the  one  by  Marc-An- 
tonio, but   rather  less  graceful  and  life-like.     To 
quote  his  works  ;  "  On  carefully  comparing  these 
two  masterpieces  of  engraving  on  copper,  No.  18 
appears  neater  and  firmer  in  drawing,  but  differs 
not  only  in  the  burin  line,  which  is  slightly  thinner 
and  stiffer  than  that  of  so  consummate  an  artist  as 
Marc-Antonio,  but  the  expression  of  the  heads  has 
less  life,  and  the  hatchings  sometimes  have  that 
horizontal  direction  which  is  never  found  among 
the  Italian  engravers.     No.    20  (Bartsch),  which 
undoubtedly  belongs  to  Slarc-Antonio,  is  of  freer 
line,  and  fuller  outline,  and  of  greater  vivacity  in 
the  heads.     Everything  considered,  we  are  fully 
convinced  that  the  print,  No.  18,  '  Au  Chicot,'  was 
executed  by  George  Pencz  after  the  original  draw- 
ing of  Raphael"   (vol.  iv.  p.   101).     To  all   this 
the  champions  of  Raimondi  oppose  an  alibi,  assert- 
ing that  Pencz  did  not  practise  engraving  until 
after  the  deaths  both  of  Raphael  and  Raimondi. 
It  is  ditTicult  to  see  how  this  can  be  conclusive, 
and  there  certainly  is  much  in  conmion  between 
the  work  in  the  disputed   plate  and  that  in  the 
'Triumphs  of  Petrarch,' which  are  without  doubt 
by  Pencz.     In  1539  Pencz  was  certainly  in  Rome, 
and  at  this  time  executed  a  large  print  after  Giulio 
Romano,  called  '  The  Taking  of  Carthage,'  and  to 
this  period  is  also  assigned    by  Passavant,  '  The 
Prisoners,'    a    print   generally    ascribed  to  Ghisi. 
Pencz  executed  several  plates  in  miniature   from 
the  Old  and  New  Testaments;  also  many  scenes 
from  ancient  history  and  mythology,     In  1544  he 
was  commissioned  to  paint  a  '  S.  Jerome  '  at  Nurem- 
berg, where  he  was  also  successful  in  portrait  paint- 
ing.    He   died   at  Breslau  in   1550.     Most  of  the 
pictures  ascribed  to  Pencz  are  merely  copies  from 
his  plates,  but  the  following  may   be  considered 
authentic  : 

Berlin.  Museum.    Portrait  of  the  painter  Erhard 

Schwetzer    (s/ym-rf     irith     a 
inonot/rani  and  dated  1544). 
„  Portrait  of  Schwctzer's  wife. 

1545. 
Portrait  of  a  Young  Mao.  1534. 
89 


A  BIOGRAPHICAL  DICTIONARY  OF 


Carlsruhe.        Museum.    Portrait  of  a  Mathematician. 
Dresden.  Gallery.    Tliree     fragments     from     an 

'Adoration    of     the    Magi,' 
signed-  G.  P.  in  a  monogram. 
„  „  Two  Male  Portraits  (?). 

Glasgow.  Gallery.     Female  Portrait  (formerly  as- 

cribed to  Holbein^  whose  name 
appears  upon  it). 
Gotha.  Gallery.    A  Portrait. 

Hampton  Court.  Portrait  of  au  Italian  Gentle- 

man. 
Vienna.  Belvedere.    A  Portrait. 

Copies  of  Holbeiu'.s  Erasmus,  at  Windsor,  Brunswick, 
and  in  the  Bruderhaus  at  Nuremberg. 

His  engravings  of  Bible  subjects  are  notable  for 
their  secular  spirit,  and  his  work  as  a  whole  for  its 
combination  of  Italian  refinement  in  execution  with 
northern  thoroughness.     The  following  list  includes 
all  his  more  important  plates  : 
The  six  triumphs  of  Petrarch. 
The  Massacre  of  the  Innocents  (au  Chicot). 
The  taking  of  Carthage  (signed  Georj/ino  Penc:  pirlor, 
Niirnberg,    Faciebat,     Anno     MUXXXIX);     after 
Giulio  Romano. 
The  Prisoners.    (Generally  ascribed  to  G.  Ghisi.) 
Scenes  from  the  Old  Testament. 

1.  ..      New  „ 

Thomiris,  Medea,  Paris,  and  Procris  (four  plates). 
Triton  carrying  off  Amymone. 

The  Legend  of  Virgil  and  the  Scornful  Ijady  (2  plates). 
Death  of  Sophonisba. 
The  Conversion  of  St.  Paul. 
Portrait  of  Duke  Frederick  of  Saxony. 
(Pencz  is  the  only  one  of '  Ike  Little  Masters '  who  has 
left  no  Madonnas.) 

See  Bartsch,  '  Les  Peintrcs  Graveurs,'  vol.  viii.  p. 
319, 1803  ;  '  The  Little  Masters,"  W.  B.  Scott,  1880; 
and  J.  D.  Passavant, '  Le  Peintre  Graveur,'  vol.  iv. 
PENET,  Lonis  FRANfois,  a  French  painter  and 
engraver,  born  at  Thiennes  (Nord)  in  1834  ;  was  a 
pupil  of  Kusten  :  painted  portraits,  genre  pictures, 
and  still-life,  domg  a  good  deal  of  work  in  email, 
notably  a  portrait  of  Sarah  Bernhardt  as  Dona 
Sol.  He  obtained  a  third-class  medal  in  1886. 
He  died  in  Paris,  March  2,  1901. 

PENGUILLY  L'HARIDON,  Octave,  French 
painter  and  engraver;  born  April  4,  1811,  in 
Paris  ;  became  a  pupil  of  Charlet ;  served  as  an 
officer  of  artillery ;  a  prolific  illustrator,  notably 
of  Stranger's  works  and  of  Scarron's  '  Roman 
Comique.'  Among  his  pictures  are  '  Vieux  Trouba- 
dour,' '  La  Mort  de  Judas,'  &c.  In  1847  he 
obtained  a  third-class  medal,  a  second-class 
medal  in  1851,  and  the  Legion  of  Honour  in  the 
same  year.     He  died  November  3,  1872. 

PENICAUD.  This  was  the  name  of  a  family  of 
artists  of  the  15th  and  16th  centuries.  It  com- 
prised : 

LEONARD  or  Nardon  PfiNicAHD,  an  enameller  of 
Limoges  (1495—1513). 

Jean  Penicaud,  the  elder,  also  an  enameller  of 
Limoges  (beginning  of  the  16th  century). 

Jean  Penicaud,  the  younger,  a  painter  (1531-47), 
has  left  a  portrait  of  Luther  and  several  other 
works  in  Paris,  and  in  private  collections. 

Jean  Penicaud,  the  youngest,  called  '  The  Glory 
of  Limoges,'  was  a  follower  of  Parmigiano  in  style. 
The  Louvre  has  a  fine  collection  of  his  enamels. 

Pierre  Penicaud,  probably  a  brother  of  the  last 
(born  1515),  is  the  painter  of  some  draped  figures 
in  the  Gatteaux  Collection,  and  of  a  mythological 
subject  on  porcelain  at  Berlin.  For  a  more  detailed 
account  of  the  Penicauds  see  Laborde,  '  Notice  des 
Eraaux  du  Louvre.' 
PENLEY,  Aaron  Edwin,  a  water-colour  painter, 
90 


born  in  1806,  first  appears  in  1835  as  an  exhibitor 
at  the  Royal  Academy,  to  which  he  continued  to 
contribute  occasionally  till  1857.  In  1838  he  was 
elected  a  member  of  the  Institute  of  Painters  in 
Water-colours,  but  withdrew  in  1856  on  the 
ground  that  justice  was  not  done  to  his  works 
when  sent  for  exhibition.  In  1859  he  was,  at  his 
own  solicitation,  re-elected  an  Associate.  From 
1851  till  its  dissolution  he  was  Professor  of  Drawing 
at  the  Addiscombe  East  India  College,  atid  he  held 
a  similar  post  at  Woolwich  till  his  death.  He  was 
water-colour  painter  to  William  IV.  and  Queen 
Adelaide.  He  was  the  author  of  'Elements  of 
Perspective,'  '  The  English  School  of  Painting  in 
Water-colours,'  and  '  Sketching  from  Nature  in 
Water-colours.'     lie  died  at  Lcwishara  in  1870. 

PENNA,  Della.     See  Nuzzi. 

PENNACCHLGiROLAMO  di  Pier-Maria,  (called 
GiROLAMO  DA  Treviso,)  was  the  son  of  Pietro  Maria 
Pennacchi,  and  born  in  1497  at  Treviso,  in  which 
city  a  house  known  as  that  of  Pier  Maria  Pennacchi 
still  exists,  its  fipade  covered  with  a  fresco  by 
Girolamo  of  the  'Judgment  of  Solomon,'  together 
with  medallions,  playing  children,  and  similar 
designs.  In  early  life  Girolamo  went  to  Venice, 
and  from  thence  to  Genoa,  but  nothing  authentic 
now  remains  of  his  labours  in  either  city.  In  1632 
he  was  employed  by  Cardinal  Gloss  to  paint  several 
frescoes  in  the  Castello  at  Trent ;  remains  of  these 
still  exist.  In  1533  Sabba  daCastiglione  employed 
him  to  paint  at  the  church  of  the  Commenda  of 
Faenza  a  votive  fresco  of  the  '  Virgin  and  Child,  with 
Saints,'  and  a  kneeling  portrait  of  himself,  that  still 
remains  over  the  high  altar.  At  about  this  period 
in  his  life  he  paid  a  visit  to  Bologna,  where  several 
of  the  churches  possess  frescoes  and  paintings  by 
liim.  Between  the  years  1535  and  1538  he  returned 
to  Venice,  and  became  intimate  with  Titian,  San- 
sovino,  and  Aretino.  During  this  visit  he  painted 
many  frescoes  in  different  palaces  of  the  nobility  ; 
those  executed  by  him  in  the  Palazzo  Andrea  Odone 
still  remain.  In  1542  he  came  to  England,  and  be- 
came architect  and  engineer  to  Henry  VIII.,  and  was 
employed  by  that  monarch  at  the  siege  of  Boulogne, 
where  he  was  killed  by  a  cannon-ball  in  1544.  The 
mode  of  his  death  is  described  in  a  letter  from 
Aretino  to  Sansovino,  dated  in  July  1545.    Works  : 

London.         Nat.  Gal.    Virgin  and  Child,with  SS.  Joseph, 

James,  and  Paul,  and  patron. 

[Tlie  best  example  extant.     It 

came  originally  from  the  Boc* 

caferri    Chapel    in  Han  Do~ 

vienicOy  Bologna.) 

Rome.      Colonna  Pal.     Portrait  of  a  Man  holding  a  medal. 

Treviso.      Onigo  Coll.     Virgin  and  Child,  with  St.  Joseph. 

„  „  Two  bust  portraits  of  Men. 

PENNACCHI,  PiETRo  Maria,  was  the  son  of 
Giovanni  di  Daniele  Pennacchi,  and  born  in  1464. 
He  probably  spent  his  early  years  in  Treviso,  and 
went  to  Venice  in  after-life.  In  the  church  of  San 
Francesco  della  Vigna,  Venice,  there  is  an  '  Annunci- 
ation '  by  him  ;  and  Santa  Maria  della  Salute,  Santa 
Maria  della  Misericordia,  and  La  Madonna  de' 
Miracoli  have  each  ceilings  panelled  in  relief  with 
sacred  subjects  in  the  panels,  which  are  ascribed  to 
this  artist.  On  the  front  of  a  house  in  the  Via 
Ognissanti,  Treviso,  are  various  sacred  and  profane 
frescoes,  said  to  have  been  painted  by  Pietro  in 
1528,  in  which  year  he  died.  The  following  works 
by  him  may  also  be  mentioned  : 
Berlin.  Museum.    Christ  in  the  Tomb,  between  two. 

Angels. 
Treviso.        CaVudral.    The  Assumption  of  the  Virgin. 


.  PAINTERS  AND  ENGRAVERS. 


PENNE,  Charles  Olivier  de,  French  painter  ; 
bom  in  Paris,  January  11,  1831  ;  was  a  pupil  of 
Leon  Cogniet  and  Charles  Jacque ;  in  1857  he 
obtained  the  Second  Grand  Prix  de  Rome  with  his 
picture  entitled  '  Jesus  et  la  Samaritaine,'  though 
his  ddlnit  at  the  Salon  was  in  1855  with  'Dans 
deux  mille  ans,'  inspired  by  Victor  Hugo's  'Arc 
de  Triomphe.'  He  excelled  as  a  painter  of  animals 
and  of  hunting  scenes,  such  as  '  Retour  de  la 
Cliasse,'  'Chiens  Bleus  de  Gascogne,'  'Sangliers 
au  Ferme,'  '  Pendant  la  Chasse,'  &c.  He  painted 
a  good  deal  in  water-colour,  and  exhibited  such 
work  at  regular  intervals.  He  gained  a  third-class 
medal  in  1876,  a  second-class  one  in  1883,  and  a 
silver  medal  at  the  Exhibition  of  1889.  He  died 
at  Marlotte,  April  18,  1897. 

PENNE,  Jan  van,  a  Dutch  still-life  painter,  was 
settled  at  Antwerp  about  1680.  He  was  born  about 
1652,  and  died  after  1700.  He  was  the  teacher  of 
J.  J.  Horemans  the  elder.  Perhaps  identical  with 
J.  van  Pee. 

PENNEMAKERS,  the  Recollet,  was,  according 
to  Balkenia,  a  scholar  of  Rubens.  In  the  Museum 
at  Antwerp  there  is  an  '  Ascension  of  Christ '  at- 
tributed to  him. 

PENNENSUS,  F.,  who  was  probably  a  painter, 
and  a  native  of  Italy,  has  left  a  few  slight  etchings, 
tlie  following  among  them  : 

The  Holy  Family,  with  St,  Catharine,  and  an  Angel  in 
the  air  ;  after  Parmigiimo. 

The  Marriage  of  St.  Cath.iriue  ;  from  his  own  design. 

PENNEVILLE,  Jan,  a  Flemish  historical  painter, 
was  a  native  of  Bruges.  He  was  Master  of  the 
Corporation  of  St.  Luke  in  1639,  and  died  in  1681. 

PENNEY,  N.,  a  French  engraver,  has  left  some 
plates  of  devout  subjects,  executed  with  the  graver. 
Among  others  is  'The  Virgin  appearing  to  St. 
Bartholomew,'  which  is  apparently  from  his  own 
design,  as  he  adds  fecit  to  his  name. 

PENNI,  Bartolommeo,  was  an  Italian  portrait 
and  historical  painter  of  the  16th  century.  He 
was  engaged  in  England  by  Henry  VIII.  at  the 
game  time  as  Antonio  Toto. 

PENNI,  GlANFRANCESco,  called  II  Fattore,  was 
a  painter  of  Florence,  born  about  1488.  He  went 
to  Rome  when  he  was  very  young,  and  was  re- 
ceived into  the  school  of  Raphael,  of  whom  he 
became  a  favourite  disciple  ;  and  being  entrusted 
by  that  artist  with  the  management  of  his  domestic 
affairs,  he  acquired  the  appellation  of  '  II  Fattore.' 
Raphael  employed  him  in  many  of  his  most  im- 
portant works,  particularly  in  painting  upon  the 
cartoons  for  Leo  X.,  and  in  the  Loggie  of  the  Vati- 
can. Taja  informs  us  tliat  the  histories  of  Abra- 
ham and  Isaac  were  executed  by  Penni.  In  these 
important  undertakings,  he  acquitted  himself  so 
much  to  the  satisfaction  of  Raphael,  that  he  was 
appointed  joint  executor  with  Giulio  Romano.  He 
was  employed  by  Clement  VII.,  in  conjunction 
with  Giulio,  to  finish  the  frescoes  of  the  '  History 
of  Constantino,'  which  had  been  begnn  in  the 
Saloon  now  called  after  them.  'Constantino's 
Vision  of  the  Cross,'  and  his  '  Battle  with  Maxen- 
tius,'  were  painted  by  Giulio  ;  his  '  Baptism  by  St. 
Silvester,'  and  his  '  Donation  of  Rome  to  that 
pontiff,'  by  Penni ;  so  in  '  The  Assumption  of  the 
Virgin,'  at  Monte  Luce,  Perugia,  Penni  painted 
tlie  lower  half.  He  had  also  a  principal  share 
in  the  'History  of  Cupid  and  Psyche,'  in  the 
Famesina.  After  this  he  fell  into  disagreement 
with  Giulio,  and  made  a  tour  through  Lombardy, 
settling  afterwards  »t    Rome.     The   marriage   of 


his  sister  with  Perino  del  Vaga  led  him  to  work- 
ing in  conjunction  with  this  artist  also.  Of  his 
own  compositions,  those  executed  in  fresco  hav<- 
now  almost  entirely  perished ;  and  he  painted 
so  few  pictures  in  oil,  that  they  are  rarely  to  be 
met  with.  He  particularly  excelled  in  landscapes, 
and  was  well  acquainted  with  the  beauties  of 
architecture.  In  1525  he  was  invited  to  Naples 
by  the  Marquis  del  Vasto,  and  took  with  him  an 
admirable  copy  he  had  made  of  the  '  Transfigura- 
tion,' by  Raphael,  which  he  sold  to  that  nobleman, 
for  whom  he  executed  some  considerable  works. 
This  copy  is  now  in  the  Sciarra  Colonna  Palace, 
at  Rome.  He  died  in  1528.  Pictures  by  him  are  in 
the  Vatican,  the  Museum  of  Naples,  and  the  galleries 
of  Dresden  and  Stuttgart.  According  to  some 
authorities  the  picture  in  the  Bridgewater  Gallery. 
known  as  '  The  Madonna  del  Passeggio,'  is  painted 
by  him. 

PENNI,  LccA,  called  Ro.mano,  the  brother  of 
Gianfrancesco  Penni,  was  bom  about  the  year 
1500.  He  is  said  to  have  frequented,  for  a  short 
time,  the  studio  of  Raphael ;  and  after  the  death  of 
that  master  to  have  attached  himself  to  Perino  del 
Vaga.  After  painting  some  pictures  for  the  churches 
at  Lucca  and  Genoa,  he  visited  England,  in  the  reign 
of  Henry  VIII.,  by  whom  he  was  for  some  time 
employed,  and  afterwards  went  to  France,  when; 
he  painted  at  Fontainebleau,  in  conjunction  with 
II  Rosso.  On  his  return  to  Italy  he  applied  himself 
to  engraving,  and  executed  several  plates,  both 
with  the  point  and  the  graver.  Among  his  designs 
are  '  Diana  borne  on  the  shoulders  of  Orion '  (en- 
graved by  Giorgio  Ghisi)  ;  'Apollo  with  the  Muses 
upon  Parnassus  '  (engraved  by  G.  Mantovano)  ;  and 
a  'Scourging  of  Christ'  (engraved  by  H.  Wierix). 
His  prints  are  chiefly  from  the  works  of  II  Rosso 
and  Primaticcio  ;  the  following  are  the  best ; 

The  Death  of  Lucretia. 

Two  Satyrs  presenting  AVine  to  Bacchus ;  after  II  Rosso. 

Leda  drawing  Arrows  from  Cupid's  Quiver ;  after  the 

same. 
Susanna  and  the  Klders ;  nfler  the  same. 
The  Sacrifice  of  Isaac  ;  after  Primaticcio. 
The  Marriage  of  St.  Catharine ;  after  the  same. 
Penelope  at  work,  surrounded  by  her  Women  ;  after 
the  same. 

PENNING,  NicoLAAS  Lodewijk,  born  at  the 
Hague  in  1764,  was  a  scholar  of  Dirk  van  der  Aa, 
and  painted  landscapes,  interiors  of  stables,  and 
marine  subjects.  He  died  at  the  Hague  in  1818. 
His  drawings  are  held  in  some  esteem. 

PENNINGTON,  John,  a  landscape  painter,  of 
who.se  personal  history  little  is  known,  was  an 
exhibitor  at  the  Liverpool  Academy  in  1811  ;  he 
was  then  resident  at  Stockport.  In  the  following 
year  he  had  removed  to  Liverpool,  which  may 
have  been  his  native  place,  the  family  of  Penning- 
ton being  one  well  known  in  the  town,  where  an 
earlier  John  Pennington  was  a  noted  potter. 
It  is  stated  by  one  writer  that  this  was  his  father. 
Pennington's  exhibits  in  1812  show  him  to  have 
visited  Wales,  Galloway,  and  Birmingham  in 
quest  of  themes  ;  they  included  '  A  Winter  piece,' 
a  class  of  subjects  for  which  he  was  noted.  In  the 
two  following  years  he  did  not  exhibit,  and  there 
were  no  further  Exhibitions  until  1822.  Penning- 
ton was  then  a  member  of  "  the  Academy  of  the 
Liverpool  Royal  Institution,"  and  showed  four 
pictures,  the  largest,  a  'View  on  the  Banks  of 
the  Canal,  near  Bootle,'  being  priced  £21.  He 
was  then  in  Ranelagh  Street,  but  before  the  next 

91 


A   BIOGRAPHICAL  DICTIONARY  OF 


Exhibition  (1824)  had  removed  to  Everton  Terrace. 
He  continued  to  reside  tliero  and  to  be  a  member 
of  the  Academy  until  1840,  after  which  his  name 
disappeared  from  tlie  catalog;ues.  In  tlie  mean- 
time he  was  a  regular  exhibitor,  his  total  con- 
tributions numbering  nearly  one  hundred.  His 
subjects  were  chiefly  local,  but  sometimes  he 
had  scenes  from  North  Wales,  the  Lake  District, 
Derbyshire,  and  Cheshire.  Occasionally  he  at- 
tempted such  genre  subjects  as  '  Peasants  Re- 
posing,' '  The  Fisherman's  Family,'  and  '  The 
Fisli  Herds.'  He  used  figures  freely  and  skilfully 
in  his  landscapes.  He  does  not  seem  to  have 
attempted  any  high  flights,  or  to  have  advanced 
greatly  in  reputation.  Towards  the  latter  part  of 
his  life  the  exhibition  prices  of  his  pictures  were 
little  enhanced.  In  1H35  'View  near  Black  Combe, 
CuraberlaiKl,'  was  22  guineas;  in  1836  'View 
near  Hale'  was  25  guineas;  in  1839  'Near  Speke, 
Winter,'  was  30  guineas  ;  and  in  1840  '  View 
near  Northwicli,'  his  last  exhibit,  was  20  guineas. 
A  newspaper  critic  in  1828  observed  that  "  Mr. 
Pennington's  prices  are  always  moderate,  which 
shows  that  he  is  modest  and  void  of  pretence  to 
a  high  rank  in  his  profession."  He  was  a  careful 
craftsman,  drew  well,  and  had  a  tolerable  if  some- 
what timid  colour  sense,  but  lacked  perception  of 
atmospheric  values.  In  water-colour  he  seems 
to  have  been  an  experimenter.  Another  of  his 
critics  writes :  "  He  puts  a  queer  oily  varnish  or 
something  we  cannot  better  describe  over  his 
drawings,  which  is  extremely  offensive  to  the  eye. 
If  freed  from  that  his  scenes  would  be  good." 
Pennington  was  apparently  content  with  his  local 
reputation,  for  he  never  exhibited  in  London.  He 
was  a  bachelor.  E.  R.  D. 

PENNY,  Edward,  was  born  at  Knutsford,  in 
Cheshire,  in  1714,  and  having,  at  an  early  period 
of  his  life,  discovered  an  inclination  to  painting,  he 
was  sent  to  London,  where  he  was  placed  under 
the  tuition  of  Hudson,  who  was  at  that  time  emi- 
nent. He  afterwards  went  to  Home,  where  he 
studied  some  time  under  Marco  Benefial.  On  his 
return  to  England,  some  time  before  1748,  Penny 
became  a  member  of  the  Incorporated  Society 
of  Artists  of  Great  Britain,  of  which  he  was  for 
some  time  vice-president.  At  the  foundation  of 
the  Royal  Academy  be  was  one  of  the  original 
men^bers,  and  was  appointed  their  tirst  Professor 
of  Painting.  He  continued  in  tliat  situation,  and 
read  an  annual  course  of  lectures,  which  were  well 
received,  until  the  year  1783,  when,  in  consequence 
of  declining  health,  he  was  obliged  to  resign  the 
professorship,  and  was  succeeded  by  Barry.  About 
this  period  he  went  to  reside  at  Chiswick,  and 
having  married  a  lady  of  property,  lived  in  quiet 
retirement  until  his  death,  which  happened  in  1791. 
Penny  was  principally  employed  in  painting 
small  portraits  in  oil,  which  were  very  generally 
admired.  He  also  painted  sentimental  and  historical 
subjects,  many  of  which  were  publicly  exhibited. 
Among  others,  were  the  '  Death  of  General  Wolfe,' 
from  which  a  mezzotint  print  was  published  by 
Sayer,  and  met  with  a  very  extensive  sale ;  the 
portrait  of  the  'Marquis  of  Granby  relieving  a 
sick  Soldier,'  from  which  there  is  a  print;  'Virtue 
rewarded,'  and  '  Profligacy  punished,'  two  pictures 
which  are  also  engraved.  In  1782  he  exhibited 
for  the  last  time.  The  pictures  then  shown  included 
'The  Benevolent  Physician,'  'The  Rapacious 
Quack,'  and  '  The  Distraint  of  the  Widow's  Cow.' 
PENOZZI,  B.,  is  mentioned  by  Papillon  as  an 
92 


engfraver  on  wood,  but  he  has  not  specified  any  of 
his  prints. 

PENS.     See  Pencz. 

PENSABENE,  Fra  Marco,  and  Fra  Marco 
Maraveia,  his  assistant,  both  of  the  order  of  the 
Dominicans  at  Venice,  painted  at  Treviso  in  1520 
and  1521.  The  former  was  born  at  Venice  about 
1486,  and  entered  his  religious  order  in  1502.  Lanzi, 
enumerating  the  scholars,  followers,  and  imitators 
of  Giovanni  Bellini,  mentions  the  altar-piece  in 
the  Dominican  church  at  Treviso,  painted  by 
Marco  Pensabene  and  his  assistant,  in  which  the 
cupola,  the  columns,  and  the  perspective,  with  the 
throne  of  the  Virgin  seated  with  the  infant  Jesus, 
and  surrounded  by  saints  standing,  the  steps  orna- 
mented with  an  angel  playing  on  the  guitar,  arc 
all  modelled  on  similar  things  by  Bellini.  Crowe 
and  Cavalcaselle  conjecture  that  this  altar-piece 
may  have  been  finislied  by  Savoldo.  In  1520 
Pensabene  began  a  painting  of  'The  Madonna 
with  Saints,'  for  San  Niccol6,  in  Treviso,  but  for 
some  unknown  reason  fled  secretly  .from  his  con- 
vent in  1521,  before  it  was  completed.  It  still, 
however,  evinces  such  merit  that  it  has  been 
ascribed  to  Titian,  Giorgione,  and  Sebastiano  del 
Piombo.  In  1524  Pensabene  was  again  a  Dominican 
friar  in  Venice,  where  he  died  in  1529.  Two  por- 
traits by  him  are  in  the  monastery  at  Treviso,  and 
a  '  Madonna  with  Saints'  in  possession  of  the  Conte 
Lochis  Carrara. 

PENSEE,  Charles  Francois  Joseph,  French 
painter  and  lithographer;  born  August  10,  1799, 
at  Epinal  (Vosges).  Ilis  drawings  and  paintings 
of  French  and  Swiss  scenery  gained  him  consider- 
able reputation  in  Orleans,  where  he  chose  to 
establish  himself.     Here  he  died,  July  11,  1871. 

PENSIERI,  Battista.     See  Parmensis. 

PENTHER,  Daniei-,  Russian  painter  ;  born  at 
Leraberg  in  1837  ;  studied  at  the  Vienna  Academy  ; 
also  at  Munich,  Paris  and  Rome.  In  1873  he  was 
appointed  Court  painter  to  the  Grand  Duke  Michael 
at  Tiflis.  He  studied  for  a  while  with  Lenbach. 
He  died  at  Vienna,  February  11,  1887. 

PENZEL,  JoHANN  Geoiig,  a  painter  and  en- 
graver, was  born  at  Hersbruck,  near  Nuremberg, 
in  1764,  according  to  Brulliot  (Zaui  and  Nagler 
say  in  1754),  and  died  at  Leipsic  in  1809.  He 
commenced  with  Sclieilenberg  at  Winterthur,  and 
afterwards  studied  at  Dresden,  where  he  entirely 
devoted  himself  to  engraving.  He  worked  nmch 
for  the  publishers  there,  and  engraved  many  of 
Chodowiecki's  designs. 

PEPIJN,  Martin,  (Pepin,  or  Pepyn,)  was  bom 
at  Antwerp  in  1575.  It  is  not  known  under  whom  he 
studied,  but  he  went  when  young  to  Italy,  where 
he  remained  sevenil  years.  Such  was  the  reputation 
he  acquired  at  Rome,  that  when  Rubens,  who 
was  then  in  the  zenith  of  his  fame  at  Antwerp, 
heard  of  Pepijn's  intention  to  return  to  his  native 
country,  it  occasioned  him  some  uneasiness.  Pepijn 
became  a  member  of  the  Guild  at  Antwerp  about 
1600,  and  died  in  1642  or  104.3.  In  the  church 
of  the  hospital  at  Antwerp  there  are  two  ad- 
mirable works  by  him  ;  they  are  both  triptychs. 
In  the  centre  [licture  of  one  he  has  represented 
the  Baptism  of  St.  Augustine ;  on  one  of  the 
wings,  that  Saint  giving  alms  to  the  poor  ;  on 
the  other,  St.  Augustine  curing  the  Sick.  The 
centre  picture  of  the  other  triptych  represents 
St  Elisabeth  giving  charity  to  a  group  of  miserable 
objects,  who  are  struggling  to  approach  her.  Ob 
one  of  the  wings  is  the  death  of  that  Saint,  and  on 


PAINTERS  AND  ENGRAVERS. 


the  other  her  Ascension  to  heaven,  with  a  choir  of 
angels.  The  Museum  of  the  same  city  possesses  a 
'  Preaching  of  St.  Luke,'  and  '  The  Passage  of  the 
Red  Sea'  (1626),  by  him;  the  Cathedral  a  'St. 
Norbert,'  and  the  Arenberg  Gallery  at  Brussels  a 
'  Female  Head.'  Most  of  the  works  of  Pepijn 
are,  however,  in  Italy.  His  daughter,  Katharina 
Pepijn,  also  a  painter,  was  born  in  1619,  and  be- 
camt-  a  member  of  the  Guild  in  1653. 

PfiQUEGNOT,  AUGOSTE,  French  painter  and 
engraver;  born  Oct.  5,  1819,  at  Versailles  ;  became 
a  pupil  of  the  elder  Ciceri  ;  painted  landscapes 
and  completed  several  remarkable  engravings. 
He  died  in  Paris  in  1878. 

PfiQUIGNOT,  an  obscure  French  landscape 
painter  of  the  18th  century.  He  is  chiefly  re- 
membered as  the  friend  of  Girodet  Trioson,  with 
whom  he  travelled. 

PEBAC.     See  Dop^RAC. 

PfiRAIRE,  Paul  Emmanuel,  French  landscape 
painter ;  born  in  1830  at  Bordeaux  ;  a  pupil  of 
Isabey  and  of  Luminals ;  since  1866  exhibited 
regularly  at  the  Salons,  his  subjects  being  mainly 
suggested  by  the  scenery  of  the  environs  of  Paris. 
His  picture,  '  Le  Marais,  environs  de  Corbeil ' 
(1890),  was  bought  by  the  State,  as  also  his  large 
canvas  exhibited  at  the  Salon  in  1892,  entitled 
'  Un  coup  de  vent ;  bles  versus.'  Other  pictures 
by  him  are:  'tie  de  Croissy  &  Bougival '  (1866), 
'La  Saison  Dor^e,  bords  de  la  Seine'  (1882),  and 
'Couchee  du  Soleil,  Ballancourt '  (1886).  In  1880 
he  received  a  medal  of  the  third  class,  and  an 
honourable  mention  at  the  Universal  Exhibition 
of  1889.     He  died  in  Paris,  January  21,  1893. 

PERANDA.    See  Santo  Peranda. 

PERCELLES  (or  Percellis).    See  Paecelles. 

PERCY,  Sidney  Richard,  was  a  son  of 
Edward  Williams  the  landscape  artist,  who  as- 
sumed the  name  of  Peroj'.  He  was  born  about 
1821,  and  died  at  Sutton  in  Surrey  in  1886.  He 
was  a  clever  landscape  painter,  and  the  founder  of 
the  so-called  School  of  Barnes.  He  constantly 
exhibited  at  the  Royal  Academy  and  various  other 
Picture  Exhibitions,  and  was  a  prolific  painter, 
contributing  over  300  pictures  to  various  Exhibi- 
tions. 

PERDANUS,  Abraham,  a  Dutch  painter  of  still- 
life,  born  at  Haarlem  in  1673.  He  was  a  pupil  of 
Brakenburg,  and  died  at  Maarsen  in  1744. 

PERE,  Ant.  van  de.     See  Vandepere. 

PEREA, .     A  Spanish  painter  mentioned  by 

Espinosade los  Monteros amongtheartists  employed 
at  Seville  in  the  decoration  of  the  funeral  monument 
of  Philip  IL     Perhaps  identical  with  Pereira  {q.  v.). 

PEREA,  Blas  de,  was  a  Portuguese  painter,  who 
settled  in  Castile  about  1550.  He  was  a  friend  of 
the  painter  Francisco  de  Holanda. 

PEREDA,  Antonio,  (or  Pekea,)  a  Spanish  his- 
torical painter,  was  bom  at  Valladolid  in  1599. 
He  was  a  scholar  of  Pedro  de  las  Cuevas,  and  gave 
early  proofs  of  his  ability  in  art.  After  making 
considerable  progress  in  the  school  of  Cuevas  he 
was  placed  by  his  patron,  Don  Francisco  de  Texada, 
with  Juan  Bautista  Crescenzi,  Marquis  de  la  Torre, 
who  had  been  a  pupil  of  Pomerancio.  At  the  age 
of  eighteen  he  produced  and  exhibited  to  the  public 
a  picture  of  the  '  Immaculate  Conception,'  in  which 
the  Virgin  appeared  on  a  throne  of  clouds  supported 
by  angels.  "Tlie  reputation  he  acquired  by  tliis  per- 
formance induced  the  'Conde-Duque,'  Olivarcz,  who 
was  then  occupied  in  filling  the  palace  of  the  Buen 
Retiro  with  the  works  of  the  best  Spanish  painters, 


to  place  Pereda  among  those  of  the  highest  rank. 
He  performed  his  part  to  the  satisfaction  of  his 
patron,  and  was  munificently  rewarded.  Pereda's 
works  were  much  in  request,  and  he  exercised  his 
talent  on  a  great  variety  of  subjects.  History, 
social  scenes,  still-life,  vases,  tapestry,  musical 
instruments  ;  all  were  within  the  compass  of  his 
versatile  brush.  He  died  at  Madrid  in  1669.  His 
works  were  formerly  to  be  found  in  all  the  palaces 
and  churches  of  Madrid,  Toledo,  Alcala,  Cuenca, 
Valladolid,  and  in  many  private  collections.  At 
present  there  are  two  in  the  Madrid  Gallery,  one  of 
which  is  a  'St.  Jerome  meditating  on  the  last 
Judgment ; '  in  the  church  of  San  "Toraas  is  a  '  St. 
Domingo  and  God  the  Father'  (1640),  and  in  tlie 
Academy  of  San  Fernando  '  The  Dream  of  Life  ; ' 
in  Marshal  Soult's  collection  there  was  a  'Christ 
asleep  on  the  Cross,'  with  flowers  and  skulls  about 
Him ;  in  the  Esterhazy  Gallery,  at  Pesth,  there 
is  a  '  St.  Anthony  and  the  Infant  Christ '  (the 
same  subject  is  among  the  Suermondt  pictures  at 
Berlin)  ;  a  still-life  subject  (1621)  is  at  St.  Peters- 
burg ;  and  three  or  four  in  the  Gallery  at  Municli. 
Formerly  it  was  considered  that  no  Spanish  col- 
lection was  complete  without  an  example  of 
Pereda. 

PEREDA  Y  DUARTE,  Tomas  de,  a  Spanish 
artist,  who  became  a  member  of  the  Academy  of 
San  Fernando  in  1757.     He  died  in  1770. 

PEREGRINI  da  CESENA,  an  Italian  engraver 
of  the  15th  century.  Duchesne  enumerates  sixty- 
six  plates  by  his  hand,  which  he  calls  nielli-  More 
recent  critics,  however,  see  in  these  not  proofs  of 
goldsmith's  work,  but  impressions  from  plates  ex- 
pressly engraved  for  printing.  The  facts  in  favour 
of  this  view  are,  in  the  first  place,  the  number  of 
these  so-called  nielli,  and,  secondly,  the  occurrence 
of  the  artist's  signature  upon  the  prints  with  the 
letters  the  right  way.  Peregrini's  most  important 
plate  is  a  '  Resurrection,'  which  is  signed  Df  Opus 
Peregrini  Ce'.  The  rest  of  the  plates  ascribed  to 
him  are  signed  either  P  or  O.P.D.C. 

PEREIRA,  Vasco,  (Pereyra,  or  Preira),  was  a 
Portuguese  painter,  who  resided  at  Seville,  in  great 
credit,  at  the  end  of  the  16th  century.  He  was 
employed  in  1594  to  repair  the  fine  fresco  of  '  Christ 
of  the  Criminals,'  painted  only  thirty  years  pre- 
viously by  Luis  de  Vargas.  He  was  one  of  the 
artists  employed  in  the  cathedral  of  Seville  in 
1598,  to  prepare  the  magnificent  decorations  for 
the  funeral  service  of  Philip  II.  He  painted  the 
'  Decollation  of  St.  Paul '  for  the  convent  of  that 
order,  in  competition  with  Mohedano  and  Vazquez. 
He  executed  many  other  works  which  have  ceased 
to  exist  in  Spain,  though  some  are  to  be  found  in 
Portugal.  He  was  reckoned  a  skilful  draughtsman, 
but  dry  and  hard  as  a  colourist,  as  may  be  noted  in 
the  '  Four  Doctors  of  the  Church  '  painted  by  hiui 
for  the  library  of  the  Carthusians  of  Santa  Maria  de 
las  Cuevas,  and  an 'Annunciation  '  in  the  college  of 
San  Hermenegildo.  He  died  at  the  commencement 
of  the  17th  century.  The  Dresden  Gallery  possesses 
a  '  St.  Onofrius  '  by  him.  In  the  case  of  the  '  Cruci- 
fixion '  in  the  Misericordia  of  Oporto,  it  is  undecided 
whether  it  was  the  work  of  Pereira,  or  of  Vasco 
Fernandez.  The  Museum  of  Seville  possesses  a 
'Nativity'  dated  1579. 

PERELLE,  Gabriel,  an  eminent  French  de- 
signer and  engraver,  was  born  at  Vernon-sur-Seine 
at  the  beginning  of  the  17th  century,  and  died  in 
Paris  in  1675.  He  was  instructed  by  Daniel  Rabel, 
whom  he  soon  surpassed.     He  excelled  in  drawing 

as 


A  BIOGRAPHICAL  DICTIONAEY  OF 


and  engraving  landscapes  and  views,  of  whicli  he 
left  a  prodigious  number.  He  usually  enriched 
them  with  ruins  and  other  objects,  which  give  an 
agreeable  variety  to  his  scenery.  Although  by  far 
the  greater  part  of  his  plates  are  from  his  own  com- 
positions, he  also  engraved  from  the  designs  of 
several  other  masters,  particularly  Paul  Bril,  Gas- 
par  Poussin,  Asselyn,  and  above  all,  Silvestre. 
His  best  works  are  comprised  in  the  two  collections, 
'  D^lices  de  Paris,'  and  '  D^lices  de  Versailles.'  He 
was  assisted  in  his  numerous  works  by  his  sons, 
Nicolas  and  Ad.wi  Perelle,  who,  after  his  deatli, 
engraved  a  great  number  of  plates  of  architectural 
views,  landscapes,  &c.,  which  are  inferior  to  those 
of  their  father.  Nicolas  is  stated  to  have  engraved 
'The  Four  Seasons,' and  'The  Four  Elements,'  and 
to  have  died  at  Orleans ;  Adam,  to  have  been  born 
in  1638,  and  died  in  Paris  in  1695.  The  Perelles 
worked  both  with  the  point  and  the  graver.  Their 
works  from  their  own  designs  are  multifarious,  and 
frequently  to  be  met  with.  The  following  are  the 
principal  plates  they  engraved  after  otlier  artists : 

A  set  of  four  Views,  the  Church  of  St.  Michel  at  Dijon, 
the  Palace  in  that  City,  the  Bridge  of  Grenoble,  and 
the  Porte  Royale  at  Marseilles ;  after  Silvestre. 

Four  Views  in  Paris,  the  Arsenal  du  Mail,  the  Pontneuf , 
the  Louvre,  the  Mail,  and  surrounding  country  ;  after 
the  same. 

A  set  of  four  Views,  the  Baths  of  Bourbon  d'Archam- 
baud,  the  Castle  of  Bourbon  Lancy,  with  the  Baths 
of  Julius  Caisar;  and  the  great  Chartreuse  near  Gre- 
noble ;  after  the  same. 

Six  Views  of  the  Jardin  de  Euel ;  after  Israel  Silvestre. 

Two  Mountainous  Landscapes,  with  biblical  subjects ; 
after  F.  Bril. 

Six  Views  in  Rome  and  its  Environs ;  after  J.  Asselyn. 

A  View  of  Ruins,  witli  the  Adoration  of  the  Magi ; 
after  Poeletnberfj. 

PERERIETTE, ,  executed  a  coarse  etching 

after  Paolo  Veronese,  representing  the  Holy  Family 
accompanied  by  two  angels. 

PERET.     See  Perret. 

PEREYRA.     See  Peukira. 

PEREZ,  Andres,  a  Spanish  historical  and  flower 
painter,  was  born  at  Seville  in  1660 ;  and  was 
instructed  by  his  father,  Francisco  Perez  de  Pineda 
one  of  the  members  of  the  Society  of  Professors 
who  established  the  Academy  in  that  city,  and 
who  was  himself  a  scholar  of  llurillo.  In  the 
sanctuary  of  Santa  Lucia,  at  Seville,  there  were 
three  Scriptural  subjects  relating  to  the  holy  sacra- 
ment, signed  Andres  Perez,  1707  ;  and  in  the 
sacristy  of  the  Capuchins  of  the  same  city  another 
with  the  date  1713,  representing  the  '  Last  Judg- 
ment,' taken  in  part  from  that  of  Michelangelo. 
Perez  was,  however,  most  successful  in  painting 
flowers  and  other  objects  after  nature.  His  his- 
torical works  show  a  great  falling  off  from  the 
good  rules  Murillo  had  endeavoured  to  establish. 
Andres  Perez  died  in  1727. 

PEREZ,  Antonio,  a  Spanish  historical  painter, 
bom  in  a  village  of  Andalusia.  In  1548  he  was 
employed  to  paint  chosen  subjects  for  the  old 
sanctuary  of  Seville  cathedral.  In  1550  he  finished 
liiree  pictures  for  the  church  of  Nuestra  Seiiora ; 
in  1563  he  painted  the  altar  of  San  Ibo,  and  in  1555 
restored  tliat  of  the  church  of  San  Francisco.  He 
died  about  1580.  His  son  Antonio  worked  with  him. 

PEREZ,  Antonio  and  Nicolas,  painters,  were 
two  brothers  living  at  Seville  from  1654  to  1668, 
who  devoted  considerable  time  and  money  to  the 
foundation  of  the  Academy  in  that  city. 

PEREZ,  BARTOLOMi;,  was  a  Spanish  painter,  bom 
at  Madrid  in  1634,  and  appointed  painter  to  the 
94 


king  in  1689.  He  was  the  scholar  and  son-in-law 
of  the  flower-painter  Arellano,  whom  he  excelled 
as  a  draughtsman,  and  sometimes  assisted  by  paint- 
ing the  figures  in  his  works.  He  was  particularly 
successful  in  rendering  curtains  and  drapery,  on 
which  he  was  much  employed  for  the  theatre  at 
Buen  Retire.  His  flower-pieces  too  were  much 
esteemed.  He  died  in  1693  from  a  fall  from  some 
scatt'olding  whilst  painting  a  ceiling  in  the  palace 
of  the  Duke  of  Monteleon.  He  painted  a  '  St 
Rosa  of  Lima,'  a  '  Virgin  praying  to  the  Child,' 
and  many  flower  paintings,  of  which  there  are 
four, good  examples  in  the  Madrid  Museum. 

PEREZ,  Florian  Joan,  a  Spanish  nobleman,  and 
amateur  painter  of  genre  subjects,  was  bom  in 
the  neighbourhood  of  Madrid  in  the  first  half  of 
the  16th  century.  He  was  a  knight  of  a  religious 
order ;  in  1566  was  appointed  valet  to  Philip  11. 
He  died  at  the  commencement  of  the  17tli  century. 

P!^REZ,  JoAQDl.N",  a  Spanish  historical  painter, 
was  bom  at  Alcoy.  In  1773  he  gained  the  prize 
from  the  Academy  of  San  Carlos  at  Valencia.  He 
died  in  1779. 

PEREZ,  Matteo.     See  Alesio. 

PEREZ  DE  LA  VILLA  AMIL,  Geronimo,  a 
Spanish  painter,  born  at  JIadrid  about  1810.  He 
studied  at  the  Madrid  Academy,  and  painte<I  land- 
scape, genre,  and  notably  architectural  interiors 
with  figures.  His  best  known  picture  is  an  'Interior 
of  Seville  Cathedral  on  Corpus  Christi  Day.'  He 
published  a  work  on  Spanish  Architecture,  illus- 
trated by  lithographs.    He  died  at  Madrid  in  1853. 

PEREZ  DE  PINEDA,  Francisco,  was  a  pupil 
of  Murillo.  His  son,  who  bore  the  same  name, 
went  at  his  father's  death  to  the  school  of  Luca  de 
Valdes,  and  died  at  Seville  in  1732.  Bermudez 
says  that  his  pictures  were  as  bad  as  the  doggerel 
verse  in  which  he  wrote  the  life  of  Fernando  de 
Contreras. 

PERFETTI,  Antonio,  an  engraver,  was  born  at 
Florence  in  1794  and  from  1818  onwards  was  a  pupil 
of  Rafael  Morghen.  In  1828  he  obtained  the  prize 
at  the  Florence  Academy  with  his  '  Sibyl  of  Cumae,' 
after  Guercino,  but  obtained  wider  renown  through 
his  '  Presentation  in  the  Temple,'  after  Fra  Barto- 
lommeo.  He  and  his  pupils  completed  the  engraved 
collection  of  the  Gallery  of  Florence.  He  died  in 
that  city  in  1872.     Other  plates  by  him  are : 

The  Madonnas '  della  Sedia '  and  '  del  Granduca  ' ;  after 

Uaphael. 
Birth  of  the  Virgin ;  after  Andrea  del  Sarto. 
Portrait  of  Dante ;  after  Giotto. 

PERGER,  Anton  von,  German  painter;  bom 
December  20,  1809,  at  Vienna  ;  was  first  taught 
by  his  father  and  afterwards  at  the  Vienna  Academy. 
He  then  travelled  in  Italy,  becoming  Professor  at 
the  Vienna  Academy  in  1845.  He  painted  land- 
scapes and  genre  scenes.  He  had  also  considerable 
literary  talent  He  died  at  Vienna,  April  14, 
1876. 

PERGER,  SiGMOND  Ferdinand  von,  historical 
painter  and  engraver,  was  bom  at  Vienna  in  1778, 
and  studied  at  the  Academy  there.  In  1816  he  be- 
came Court  painter,  and  in  1825  assistant  custodian 
of  the  Belvedere  Gallery.  He  died  in  the  same 
city  in  1841.  As  a  painter  on  porcelain  he  showed 
himself  especially  skilful,  working  eleven  years  at 
the  Imperial  factory.  Among  his  works  we  may 
name : 

Horse-race  at  Kopcsan  (nfterxrards  enyrared  hy  himself). 

The  Herald  bringing  the  News  of  the  Victory  of  Uaira- 
thon  to  Athens. 


PAINTERS  AND  ENGRAVERS. 


The  Kapc  of  Ganymede. 

KomuJus  and  Kemus  with  the  She-wolf.    (Etching.) 

PERICCIOLI,  GiULlo,  (or  Pebiccivoli,)  designer 
and  etcher,  was  born  at  Siena  about  1600,  and  after 
receiving  some  instruction  from  his  uncle  Fran- 
cesco, an  ecclesiastic  and  calligraphist,  completed 
his  studies  in  Rome  and  Venice.  He  subsequently 
visited  Constantinople,  Egypt,  Malta,  Sicily,  and 
Spain,  where  Philip  III.  appointed  him  drawing- 
master  to  the  prince,  his  son.  He  next  went  to 
Holland,  and  was  similarly  eraploj'ed  on  behalf  of 
the  Princess  Louise ;  tlien  to  England,  where  he 
painted  Charles  I.;  and  finally  returned  to  bis  own 
country,  where  he  entered  tlie  service  of  the  Grand 
Duke  of  Tuscany.  He  died  after  1660.  He  pro- 
duced numerous  pen-and-ink  drawings,  several  of 
which  he  etched.  Two  plates  by  him  after  Vaniii 
represent  a  '  King  writing,'  and  a  '  Warrior  on 
horseback.' 

PEBIER,  Francois,  an  obscure  French  painter 
and  engraver,  who  died  about  1655.  He  was  a 
native  of  Saint-Jean-de-Laure.  He  was  a  member 
of  the  mattrise. 

PERIGAL,  Arthur  (Senior),  an  English  his- 
torical and  portrait  painter  who  gained  the  Eoyal 
Academy  Gold  Medal  in  1811  for  his  'Themistocles 
taking  refuge  with  Admetus.*  In  early  life  Mr. 
Perigal  was  in  the  Admiralty,  where  several  of 
his  relatives  have  held  appointments  at  various 
times,  but  he  resigned  his  post  in  order  to  devote 
himself  to  Art.  A  fine  example  of  his  work  is  a 
large  canvas  representing  a  scene  firom  '  The 
Talisman,'  where  Queen  Berengaria  and  Edith 
Plantagenet  intercede  with  King  Richard  for  the 
life  of  tlie  Knight  of  the  Leopard.  This  picture  is 
now  in  tlie  possession  of  his  daughter-in-law — 
Mrs.  Perigal,  of  7  Oxford  Terrace,  Edinburgh. 
Other  examples  of  his  work  are—'  Lo,  at  the 
Couch  where  Infant  Beauty  Sleeps,'  and  'The 
Finding  of  Moses.'  He  also  painted  many  portraits, 
including  a  very  fine  one  of  his  son — Arthur 
Perigal,  R.S.A.— now  in  7  Oxford  Terrace,  Edin- 
burgh. Mr.  Perigal  lived  in  London,  Northampton, 
and  Manchester,  and  finally  settled  at  Edinburgh, 
where  he  died  in  1847.  A.  O'R. 

PERIG-\L,  Arthur,  R.S.A.,  son  of  the  above, 
was  bom  in  London  in  1816.  He  was  a  landscape 
painter  of  considerable  repute,  his  forte  being 
Highland  scenery,  but  he  also  painted  many  Italian 
and  Norwegian  scenes.  He  spent  many  winters  in 
Italy.  A  fine  specimen  of  his  work  in  that  country 
is  a  large  oil-painting,  '  The  Grand  Canal,  Venice,' 
which  can  hold  its  own  among  the  many  repre- 
sentations of  that  famous  waterway,  and  which 
elicited  the  warm  praise  of  his  friend,  T.  Faed,  R.A. 
This  fine  picture  is  now  in  the  possession  of  his 
widow  at  7  Oxford  Terrace,  Edinburgh.  Another 
large  picture,  'Pompeii  with  Vesuvius  in  Eruption,' 
was  painted  on  the  spot  during  the  eruption 
of  1872.  This  is  now  the  property  of  his  son-in- 
law,  Lt.-Col.  J.  O'Reilly,  A.M.S.,  Belhaven,  Guild- 
ford. Mr.  Perigal  painted  an  immense  number 
of  pictures  of  Highland  scenery,  a  great  many  of 
which  are  to  be  found  in  private  collections  in 
Scotland.  The  large  oil-painting,  'The  Borderland,' 
— now  in  the  possession  of  his  widow — was  speci- 
ally asked  for,  and  hung  in  a  conspicuous  position 
in  the  Glasgow  Exhibition  of  1889.  A  fine  oil- 
painting,  'Glen  Nevis,'  occupied  a  prominent 
position  in  the  Glasgow  Exhibition  of  1901,  and 
attracted  much  attention.  It  was  lent  by  its 
owner,  L.  Piatt,  Esq.,  Stirling.     The  fine  picture, 


'  Romsdal '  (Norway),  was  bought  for  a  large  sum 
by  the  Academy  of  Fine  Arts.  Some  others  of 
5Ir.  Perigal's  many  works  are  : 

Molde  (Norway). 

Early  Summer  in  Lowlands.     (Bought  ly  Academy  of 

Fine  Arts.) 
Loch  Lee— Glen  Esk.    {In  the  Collection  of  the  Earl  of 

Dalhousie.) 
Spittal  Sands  and  Bocks.    (Exhibited  in  Royal  Academy 

and  bouyht  by  Mr.  Oamuet  Morliy,  M.P.) 
Dunrobin  Castle. 
On  the  Jed. 
An  Evening  in  Skye. 
Loch  Tromlie, 
Arran. 
Moor  near  Kinlochewe,  Rosshire.     (Scottish  National 

Gallery. ) 
The  Matterhom  by  Moonlight. 
Loch  Cormisk  (Isle  of  Skye). 

The  two  last-named  pictures  are  now  in  the 
possession  of  his  son.  Dr.  Perigal,  New  Barnet. 

In  the  house  where  Mr.  Perigal  hved  and 
worked  (No.  7  Oxford  Terrace,  Edinburgh)  there 
are  a  great  number  of  his  paintings  in  oils  and 
water-colours,  and  many  hundreds  of  his  works 
were  dispersed  by  sale  after  his  death.  Mr.  Perigal 
was  a  regular  exhibitor  in  the  Scottish  National 
Academy,  Edinburgh,  and  an  occasional  contributor 
to  the  Royal  Academy  and  the  British  Institution 
from  1861  to  1876.  He  was  elected  an  Associate 
of  the  Royal  Scottish  Academy  in  1841,  an 
Academician  in  1868,  and  Treasurer  in  1880.  At 
a  later  period  many  people  hoped  and  expected 
that  he  would  have  been  elected  President.  Mr. 
Perigal  died  somewhat  suddenly  in  1884,  and  is 
buried  in  the  Dean  Cemetery,  Edinburgh.      A;  O'E. 

PERIGNON,  Alexis  -Joseph,  a  French  portrait 
^nd  genre  painter,  born  in  Paris  in  1806.  He  was 
tlie  son  of  A.  N.  Perignon,  under  whom,  and  Gros, 
he  studied.  His  works  were  awarded  medals  in 
1836,  1838,  and  1844,  and  he  obtained  the  Legion 
of  Honour  in  1850,  becoming  an  officer  of  the  order 
in  1870.  His  latter  years  were  spent  at  Dijon  as 
Director  of  the  Academy  there.  He  died  in  1882. 
Amongst  his  works  are  : 


Nantes. 
Dijon. 


Museum.    Portrait  of  Admiral  Leray. 
Museum.    St.  Cecilia. 


PERIGNON,  Alexis  Nicolas,  the  elder,  a  French 
painter  and  engraver,  also  an  architect  and  notary, 
was  bom  at  Nancy  in  1725.  He  travelled  in  Italy 
and  Switzerland,  and  died  in  Paris  in  1782.  He 
painted  landscapes  in  oil,  and  flowers  in  gouache ; 
and  has  etched  43  plates  from  his  own  landscapes. 

PERIGNON,  Alexis  Nicolas,  the  younger,  a 
French  painter  of  portraits,  genre,  and  historical 
subjects,  was  bom  in  Paris  in  1785.  He  was  a 
pupil  of  Girodet,  and  exhibited  at  the  Salon  from 
1814  to  1850.  obtaining  a  second  class  medal  in 
1824.  He  died  in  1864.  At  Versailles  there  are 
by  him : 

Davoust  in  1792. 

The  Duke  of  Orleans  and  the  Duke  of  Chartres. 

Perignon's  daughter,  Caroline  Louise  Emma, 
Mme.  Debay,  also  won  some  repute  as  a  painter. 

PfiRIN,  Alphonse  Henri,  French  painter,  bom 
in  Paris,  March  12, 1798;  became  a  pupil  of  Guerin 
at  the  Ecole  des  Beaux  Arts.  In  1827  he  went  to 
Rome  and  made  the  acquaintance  of  Orsel.  De- 
corations by  him  are  in  Notre  Dame,  Pans ;  he 
also  painted  portraits,  landscapes  and  genre  scenes. 
His  engraving  of  Madame  Recamier  is  also  re- 

'J5 


A  BIOGRAPHICAL  DICTIONARY  OF 


markable.  In  1827  lie  obtained  a  eecond-class 
medal,  and  tlie  Legion  of  Honour  in  1854.  He 
died  in  Paris  in  January  1875. 

PERIN-SALBREQX.Lif;  Louis,  a  French  minia- 
ture painter,  born  at  HLeims  in  1753.  He  came  to 
Paris  at  the  age  of  twenty-five,  and  took  lessoua 
from  an  Italian  painter  called  Sicardi.  On  the 
outbreak  of  the  Revolution  he  retired  to  Rheims, 
where  he  died  in  1817. 

PERINI,  Giuseppe  Sforza,  an  Italian  engraver, 
WHS  born  at  Rome  about  the  year  171:8,  and  was  still 
living  in  1795.  He  executed  some  of  the  plate.s 
for  the  '  Scuola  Italiana '  of  Gavin  Hamilton,  and 
engraved  some  of  the  statues  in  the  Clementine 
Gallery.  The  following,  among  others,  are  by 
him : 

The  Frontispiece  to  the '  Scuola  Italiana,'  with  two  figure* 
by  Michdaiitjelo. 

Jupiter  aud  Autiope  ;  after  Jacopo  Palma 

Charity  ;  after  JJartotommeo  >Schedone. 

Christ  bearing  his  Cross;  after  Lanfranco. 

PERINI,  LoDOvico,  an  indifferent  Italian  en- 
graver, has  left  some  prints  executed  with  the 
graver,  among  which  is  one  representing  two  men 
playing  at  cards,  and  a  woman  overlooking  them. 

PERINO  DEL  VAGA.     See  Buonaccorsi. 

PERIS,  Henri,  a  Flemish  landscape  painter. 
He  was  appointed  Dean  of  the  Corporation  of  St. 
Luke  at  Antwerp  in  1662.  In  the  church  of  the 
Augustins  at  Antwerp  are  two  landscapes  by  him. 
He  died  in  1670. 

PERISIN.     See  Pbrrissim. 

PERJECOUTER.     See  Serwouter. 

PERKINS,  Charles  C,  an  American  painter, 
draughtsman,  and  writer  on  art.  He  was  born  at 
Boston  in  1823.  He  studied  painting  under  Ary 
Sclicffer,  and  etching  under  Bracquemond  and 
Lalanne,  but  most  of  his  life  was  devoted  to  the 
study  of  art  history  and  to  its  teaching.  In  1876 
be  was  appointed  honorary  director  of  the  Museum 
of  Fine  Arts  at  Boston.  In  1864  he  publislied 
'Tuscan  Sculptors'  in  two  volumes;  in  1867, 
'  Italian  Sculptors,  in  one  volume,  and  in  1878, 
'Raphael  and  Michael  Angelo.'  The  ])lates  in 
these  books  were  etched  by  himself,  mostly  from 
his  own  designs.     He  died  in  1886. 

PERLA,  Francesco,  the  reputed  author  of  two 
frescoes  in  the  Cathedral  of  Mantua,  dating  from 
the  16th  century. 

PERNA,  PiETRO,  according  to  Strutt,  was  an 
engraver  on  wood,  to  whom  some  prints  marked 
P.  P.  are  usually  attributed.  He  lived  to  the  latter 
end  of  the  16th  century. 

PERNET,  ,  is  mentioned  by  Strutt  as  an 

engraver  who  lived  about  the  year  1620,  and 
executed  a  few  indifferent  portraits. 

PERNICHARO,  Pablo,  a  native  of  Zaragoza, 
studied  with  Hovasse  at  Madrid.  Philip  V.  granted 
him  a  pension  to  enable  him  to  study  in  Rome, 
where  he  was  elected  to  the  Academy  of  St.  Luke. 
On  his  return  he  became  painter-in-ordinary  to  the 
king,  and  Director  of  the  Academy  of  San  Fer- 
nando from  1763  till  his  death  in  1760.  He  furnished 
various  sacred  compositions  to  the  palace,  the 
Academy,  the  church  of  San  Isidro,  and  the 
hospital  of  Monserrate,  also  a  copy  of  Raphael's 
'  Assembly  of  the  Gods '  to  the  palace  of  San 
Ildefonso. 

PERNOT,  FRANgois  Alexandre,  was  born  at 

Wassy  (Haute  Marne)  in  1793.     He  was  a  pupil 

of  Victor  Bertin  and  Hersent.     He  travelled  from 

1818  to  1828,  through  Switzerland,  tht  Vosges,  the 

96 


Rhine  Provinces,  Belgium,  England,  and  Scotland. 
He  worked  to  some  small  extent  as  a  sculptor 
also.  He  died  in  1865.  Among  his  pictures  we 
may  name  : 

Eighty  sketches  of  old  Paris. 

A  series  of  picturesque  Views  iu  Scotland. 

The  Trenches  of  Vincennes.     {I'ersailles  Gallery.) 

Marius  ia  Carthage. 

Tail's  Chapel. 

Kuins  of  the  Chateau  de  Pierrefonds. 

PEROFF,  Wassilij  GRiGOR.iEwiTscn,  Russian 
painter;  born  December  1833 at  Tobolsk  (Siberia). 
He  was  the  natural  son  of  Baron  Kriidener,  and 
received  the  name  of  Peroff  forhis  abilitj'  in  writing 
(pero  signifying  p«n).  He  studied  with  Stupin  at 
Arsaraass,  and  with  Wassiliew  at  Moscow,  and  in 
Paris.  It  was  at  Moscow  that  he  settled,  wliere  he 
became  a  professor.  He  began  as  one  of  Russia's 
most  realistic  painters  by  his  canvas  '  Arrival  of 
the  Police  Officer,'  exhibited  in  1858,  which  gained 
him  the  silver  medal  of  the  Petersburg  Academy. 
This  was  followed  by  a  series  of  pictures  depicting 
tragic  events  in  domestic  life  in  some  remote  vil- 
lages of  the  Caucasus.  He  was  successful  in 
light  genre  subjects  too ;  and  his  fertility  may  be 
imagined  when  we  know  that  he  signed  upwards 
of  200  oil-paintings.  His  health,  and,  in  fact,  his 
mental  powers,  at  last  gave  way,  which  put  a 
sudden  stop  to  his  career  as  an  artist.  He  died  at 
Moscow,  May  22,  1882. 

PEROLA,  Juan,  Francisco,  and  Est^fano, 
painters,  sculptors,  and  architects,  were  three 
brothers,  natives  of  Almagro,  in  La  Mancha,  who 
are  supposed  to  have  studied  in  the  school  of 
Becerra.  In  1586  they  were  employed  by  the 
Marquis  of  Santa  Cruz,  witli  Cesare  Arbasia,  an 
Italian,  to  paint  in  fresco  the  staircase,  halls,  and 
court  of  his  palace  at  El  Viso.  In  the  adjacent 
conventual  church  of  the  Franciscans  were  some 
oil  pictures  and  various  marble  tombs  attributed  to 
the  Perolas ;  they  also  assisted  Mohedano  in  paint- 
ing frescoes  for  Cordova  cathedral. 

PERON,  Dal.    See  Cusighe. 

Pl^RON,  Louis  Alexandre,  a  French  historical 
painter,  was  born  in  Paris  in  1776.  He  was  a 
pupil  of  David,  and  among  his  works  are  '  The 
Capture  of  Toulon '  and  '  The  Murder  of  the  Inno- 
cents.' 

PERONI,  Giuseppe,  according  to  Abate  Affo, 
was  born  at  Parma  about  the  year  1700.  He  first 
studied  at  Bologna,  under  Felice  Torelli  and  Do- 
nate Creti,  and  afterwards  went  to  Rome,  where  he 
became  a  scholar  of  Agostino  Masucci.  He  was  a 
tolerably  correct  designer,  and,  in  his  best  perform- 
ances, imitates  the  style  of  Carlo  Maratti.  Such 
are  his  pictures  in  the  church  of  San  Satiro,  at 
Milan;  and  the  'Conception,'  at  the  Padri  dell' 
Oratorio,  at  Turin.  In  competition  with  Pompeo 
Batoni,  he  painted  in  fresco  for  the  church  of  Sant' 
Antonio  Abate,  '  The  Crucifixion,'  which  places  him 
among  the  most  respectable  artists  of  his  time. 
He  died  in  1776- 

PEROTTI,  Pietro  Antonio,  portrait  painter, 
was  born  at  Verona  in  1712,  and  died  there  in 
1793.  He  was  a  pupil  of  Balestra,  and  painted 
pastel  portraits  at  Venice,  Rome,  and  London. 
He  married  Angelica  Legru  (bom  1719,  died 
1776),  who  executed  works  of  a  similar  class. 

PEROU,  Antoine,  an  obscure  painter,  who  was 
appointed  concierge  to  the  Academic  in  Paris,  in 
the  time  of  Louis  Testelin,  whose  pupil  he  had  been. 

PEROUX,  Joseph  Nicolaus,  was  born  at  Lud- 


PAINTERS  AND  ENGRAVERS. 


wigsburg-  in  1771,  and  after  studying  at  Stuttgart, 
became  the  first  teacher  of  Overbeck,  and  came  in 
1806  to  Frankfort,  where  he  died  in  1849.  He 
painted  portraits  in  oil  and  miniature,  an  allegor- 
ical Reformation  picture,  and  a  '  Christ  as  the 
Children's  Friend '  (now  in  the  City  Collection  at 
Frankfort). 

PEROXINO,  Giovanni,  a  painter  who  was  active 
at  Alba,  in  Piedmont,  in  the  year  1517.  He 
painted  an  altar-piece  for  the  conventuali,  in  that 
town. 

PERR ACINI,  GinsEPPE,  an  historical  painter, 
called  11  Mirandolese.  He  was  born  in  1672,  and 
died  in  1754.  His  talent  was  very  slight,  and  he 
should  not  be  confounded  with  Pietro  Paltronieri, 
who  was  also  called  II  Mirandolese. 

PERRANDEAU,  Charles,  French  painter ;  born 
1865  at  Sully-sur-Loire  (Loiret)  ;  wiis  a  pupil  of 
Cabanel ;  made  his  d^but  at  the  Salon  in  1880 
with  '  Extase' ;  obtained  au  honourable  mention  in 
1881  for  '  Mort  de  J^sus  '  and  '  La  Veuve  '  ;  also  a 
third-class  medal  in  1886  for  'Mis^re';  and  a 
silver  medal  at  the  Universal  Exhibition  of  1889  ; 
painted  genre  pictures,  and  landscapes  melancholy 
in  feeling  and  masterly  in  execution.  He  died 
June  20,  1903.  P.P. 

PERRE,  Jan.     See  Van  deb  Perre. 

PERREAL,  Jehan,  called  Jean  de  Paris,  was 
court  painter  to  Charles  VIII.,  Louis  XII.,  and 
Francis  I.,  from  1483  to  1528,  and  produced  numer- 
ous pictures  of  battles  and  sieges.  His  father, 
Claude  de  Perreal,  painter  and  poet,  in  wliose 
honour  Clement  Marsh  wrote  some  verses,  was 
valet  to  Louis  XL  in  1474.  Jean's  name  occurs  for 
the  first  time  in  1483,  as  that  of  a  valet-de-chambre 
to  Charlotte,  the  wife  of  Louis  XI.  He  followed 
the  French  army  into  Italy,  and  was  commissioned 
to  paint  some  of  its  feats.  Jean  was  employed  by 
the  municipality  of  Lyons  in  1489  and  1493  to 
organize  the  fetes  given  by  the  town  in  honour 
of  the  visit  of  Charles  VIII.  In  1496  he  was  the 
first  to  sign  the  act  of  incorporation  of  the  Lyons 
artists.  He  was  the  friend  and  protector  of  the 
poet,  Jean  Lemaire,  whom  he  presented  to  Anne  of 
Brittany.  After  Anne's  death  Perreal  was  charged 
to  paint  her  portrait,  which  he  did,  from  the  corpse. 
Tlie  miniatures  in  a  manuscript  relating  to  the 
Queen's  obsequies  are  also  ascribed  to  him.  Per- 
real, who  was  en  engineer  and  architect  as  well  as 
a  painter,  died  in  1528  or  1529. 

PERRET,  Marius,  French  painter;  bom  at 
Moulins  (Allier) ;  studied  under  Cabanel ;  for  several 
years  exhibited  regularly  at  the  Salon ;  gained  an 
honourable  mention  at  the  Exhibition  of  1889 ;  at 
the  Salon  of  1890  won  the  Prix  Raizecourt-Goyon  ; 
a  medal  in  1892  ;  and  a  second-class  medal  in 
1897.  His  later  work  dealt  entirely  with  scenes  of 
Indo-China,  to  which  he  gave  great  vivacity  and 
colour.  His  Algerian  picture,  '  Douar  d'Ouled 
Nayli,'  gained  a  silver  medal.  He  died  at  Java  in 
September  1900. 

PERRET,  Pieter,  (or  Pedro  Peret,)  an  en- 
graver, was  born  about  1550:  it  is  uncertain 
whether  he  was  a  native  of  France  or  of  the  Low 
Countries.  He  studied  at  Rome  under  Cornells 
Cort,  and  was  engraver  to  the  Duke  of  Bavaria 
and  the  Elector  of  Cologne.  In  1589  he  settled  at 
Antwerp,  where  he  engraved  some  views  of  the 
monastery  of  San  Lorenzo  in  the  Escurial,  from 
drawings  by  Juan  de  Herrera,  which  gave  so 
much  satisfaction  to  Philip  II.  that  he  invited  him 
to  Spain,  and   appointed   him   his   engraver ;    an 

VOL.  IV.  H 


office  which  he  retained  under  Philip  III.  and  IV. 
He  was  called  to  Madrid  in  1595,  and  resided  there 
till  his  death  in  1637.  His  chief  performance  was 
a  set  of  portraits  of  the  Kings  of  Portugal,  pub- 
lished in  1603,  which  he  inscribed  Pedro  Perret 
sculptor  Regis  fecit.  He  also  engraved  several 
plates  of  historical  subjects,  among  which  are: 

The  Woman  taken  in  Adultery  ;  after  Brueghel. 

The  Chastity  of  Joseph ;  after  Speeckaert. 

Four  subjects  from  the  Life  of  Ignatius  Loyola,  with 
his  portrait. 

PERRIER,  Francois,  called  Le  Bourgdignon, 
was  a  French  painter  and  engraver,  who  was  bom 
either  at  Saint  Jean  de  Losne  or  at  Macon,  in  Bur- 
gundy, about  the  year  1584.  He  was  the  son  of  a 
goldsmith,  who  had  him  instructed  in  the  elements 
of  design  ;  but  as  he  opposed  his  desire  of  becoming 
a  painter,  the  young  Perrier  secretly  left  his  home, 
and,  without  the  means  of  subsistence,  associated 
himself  with  a  blind  mendicant,  who  was  on  his 
way  to  Italy,  and  by  this  means  arrived  at  Rome. 
He  accidentally  became  acquainted  with  Lanfranco, 
who  encouraged  him  in  his  pursuit,  and  admitted 
him  into  his  school.  After  a  residence  of  several 
years  at  Rome,  he  returned  in  1630  to  France,  and 
passed  some  time  at  Lyons,  where  he  painted  a 
set  of  pictures  for  the  cloister  of  the  Carthusians. 
He  then  visited  Paris,  where  Simon  Vouet,  who 
was  then  in  possession  of  every  commission  of 
importance,  employed  him  in  painting  the  chapel 
of  the  chateau  of  Chilly,  from  his  design.  Finding 
little  employment  in  Paris,  he  returned  to  Rome  in 
1635,  where  he  applied  himself  to  engraving  the 
principal  antique  statues  and  bas-reliefs,  and  exe- 
cuted several  plates  after  the  Italian  masters,  as 
well  as  from  his  own  designs.  After  the  death  of 
Simon  Vouet,  he  returned  to  Paris  in  1645,  when 
he  was  employed  to  paint  the  gallery  of  the  Hotel 
de  la  Vrilliere,  and  was  one  of  the  twelve  professors 
who  in  1648  founded  the  Academy.  He  died  in 
Paris  in  1650.  Some  of  his  best  paintings  are  the 
frescoes  in  the  above  hotel,  and  his  pictures  of 
'Apollo  in  the  Chariot  of  the  Sun,'  'The  Tempta- 
tion of  St.  Anthony,'  and  '  Acis  and  Galatea ' — this 
last  in  the  Louvre.  We  have  by  him  also  a  con- 
siderable number  of  etchings,  from  liis  own  designs, 
and  after  other  masters.  He  sometimes  signed  his 
name  Paria.  The  following  are  his  principal 
plates : 

A  set  of  one  hundred  prints  from  antique  statues, 
published  at  Rome. 

A  set  of  fifty,  from  ancient  bas-reliefs. 

Ten  plates  of  Angels  from  the  Farnesina  ;  after  Raphael. 

Two  plates  of  the  Assembly  of  the  Gods,  aud  the  Mar- 
riage of  Cupid  and  Psyche ;  after  the  paintings  by 
Raphael,  in  the  Farnesina. 

The  Communion  of  St.  Jerome ;  after  A^osi.  Carracci. 

The  Fhght  into  Egypt ;  after  the  same. 

The  Nativity  ;  after  .V.  I'ouet. 

The  portrait  of  Simon  Vouet ;  F.  Perrier  fecit.    1632. 

AFTER   HIS   OWN    DESIGNS. 

The  Holy  Family,  with  St.  John  playing  with  a  Lamb. 

The  Orucifiiiou ;  inscribed  Franascus  Perrier,  Bur- 
yundius,  pinx.  et  scul. 

St.  Koch  curing  the  Plague-stricken. 

The  Body  of  St.  Sebastian,  supported  by  two  Saints. 

Venus  and  the  Graces. 

Time  clipping  the  Wings  of  Love,  eagraved  in  chiar- 
oscuro. 

PERRIER,  GniLLAUME,  born  at  Macon  about 
1600,  was  the  nephew  and  scholar  of  Francois 
Perrier,  whose  style  he  followed.  Of  his  works  as 
a  painter  the  most  considerable  are  his  pictures  in 

97 


A  BIOGRAPHICAL  DICTIONARY  OF 


tlie  sacristy  of  the  Minimes  at  Lyons,  where  he 
took  refuge,  having  killed  a  man  in  a  duel.  We 
have  by  this  artist  several  etchings,  executed  in 
the  style  of  his  uncle.  He  died  in  1655.  Among 
his  best  plates  we  may  name  : 

A  Holy  Family. 

The  Death  of  the  Magdalene. 

Portrait  of  Lazarus  Meysonnier. 

Au  iJlegorical  subject. 

PERRIN,  ftiaiLE,  French  painter,  bom  at  Rouen 
in  1810;  became  a  pupil  of  Delaroche  and  tif 
<jros.  In  later  life  he  became  Director  of  the  Paris 
Academy  of  Music,  and  also  of  the  Paris  Opera 
Comique.  His  pictures  iuclude  'MalfiUtre  mourant' 
(in  the  Caen  Sluseuni),  '  Mort  de  Saint  Meinrad,' 
and  '  Louis  XIV.  au  Chateau  de  Cr4cy.'  He  died 
September  15,  1884. 

PERUIN,  Jean,  was  an  obscure  engraver  on 
wood,  who,  conjointly  with  Jean  Munier,  executed 
a  set  of  cuts  for  a  work  entitled  '  La  Morosophie 
de  Guillaume  de  la  Perriere  Tolsain,  contenant  cent 
Embleraes,'  published  in  1553. 

PERKIN,  Jean  Charles  Nicaise,  a  French  his- 
torical painter,  was  born  in  Paris  in  1754.  He  was 
a  pupil  of  Doyen  and  Duraraeau.  In  1787  he  was 
elected  a  member  of  the  Academy  of  Painting. 
Among  his  works  are,  '  Venus  healing  the  Wound 
of  .lEne.as,'  '  The  Sacrifice  of  Cyanippus,'  and  an 
'  Assumption.'     He  died  in  1831. 

PERRIN,  Olivuck  Stanislas,  a  French  painter, 
born  at  Rostrenen  in  1761.  He  first  studied  at  the 
Academy  of  Ronncs,  but  afterwards,  through  the 
kindness  of  the  Duke  of  Charost,  he  entered  the 
studio  of  Doyen.  He  then  worked  with  the  en- 
graver Massard,  after  which  he  went  on  two  or 
three  campaigns.  He  then  obtained  a  (iovernment 
post  at  Quiraper,  and  painted  several  pictures  illus- 
trating Breton  life.     He  died  at  Quimper  in  1H32. 

PEKRIN,  Thomas,  a  miniaturist,  who  flourished 
at  Dijon  about  1400.  He  worked  for  the  Duke  of 
Burgundy. 

PERRISSIM,  Jacques,  (Peiusix,  or  Persinds,) 
■was  an  old  French  engraver,  who  flourished  about 
the  year  1570.  In  conjunction  with  J.  Tortorel, 
he  designed  and  engraved,  partly  on  wood  and 
partly  on  copper,  a  set  of  twenty-four  large  prints, 
representing  subjects  from  the  Huguenot  war,  1559 
to  1570.  His  copper-plates  are  etched  in  a  coarse, 
incorrect  style;  the  woodcuts  are  executed  with 
more  attention.  He  .sometimes  signed  his  prints 
J.  PeiTissim  fecit,  or  J.  Persinus  fecit,  and  some- 
times marked  them  with  the  monogram  p,   Zani 

tliinks  that  he  was  a  German  by  birth,  an  opinion 
in  whicli  Nagler  seems  to  concur.  The  latter  says 
he  was  bom  in  1530,  and  quotes  the  work  referred 
to  as  being  published  in  1567  and  1574.     Brulliot 

has  given  his  monogram  thus  l|j  which  agrees  with 

Nagler,  who  calls  him  C.  Jakoh.  When  he  en- 
graved conjointly  with  Tortorel  the  monogram  is 


See  also  Tortorel. 


PERRONEAU,  Jean  Baptiste,  a  French  en- 
graver, was  born  in  1731,  and  died  in  1796.  He 
was  instructed  by  L.  Cars.  He  engraved  also  after 
Boucher,  Van  Loo,  and  Bouchardon.  He  was  a 
jiainter  in  crayons,  and  was  for  a  short  time  in 
England,  where  he  exhibited  some  portraits  in  that 
medium.  Among  other  prints,  he  has  left  two  of 
the  elements,  'Air'  and  'Earth,'  after  Natoire; 
98 


the  companions,  '  Fire '  and  '  Water,'  are  engraved 
by  P.  Aveline.  Perroneau  is  said  by  Siret  to  have 
dicil  at  Amsterdam  in  1783. 

PERROT,  Antoine  Marie,  a  French  landscape 
and  architectural  painter,  born  in  Paris  in  1787. 
He  was  a  pupil  of  Watelet  and  Michallon.  Among 
his  landscapes  are  views  of  Clisson  and  Messina. 

PERROT,  Catherine,  aFrench  miniature, flower, 
and  animal  painter,  who  flourished  in  the  17th 
century.  She  was  a  pupil  of  Nicolas  Robert,  and 
was  received  into  the  Academy  in  1682.  She 
published  some  works  on  ptiinting  in  miniature. 
She  married  one  Claude  Horry,  a  notary. 

PERROT,  Ferdinand  Victor,  a  French  painter, 
born  at  Paimbocuf  in  1808.  At  the  age  of  nineteen 
he  painted  for  the  small  church  of  Ploudanic!  an 
'  Assumption,'  which  attracted  a  great  deal  of  at- 
tention. He  then  went  to  Paris  to  study,  and  there 
executed  for  M.  Gudin  a  large  number  of  litho- 
graphs. He  painted  several  sea-pieces,  and  in 
1836  went  to  Italy,  where  he  produced  a  picture  of 
'Susannah  and  the  Elders'  which  made  some  sens- 
ation. In  1840  he  went  to  St.  Petersburg,  and 
was  just  about  to  be  admitted  into  the  Academy, 
when,  yielding  to  the  severity  of  the  climate,  he 
died  in  1841. 

PEURY,  Francis,  an  English  engraver,  was  born 
at  Abingdon  in  Berkshire,  and  was  a  pupil  of  one 
of  the  Vanderbanks.  He  was  for  some  time  under 
Richardson,  but  made  little  progress  as  a  painter. 
He  afterwards  set  up  as  an  engraver,  and  for 
some  time  worked  for  the  magazines.  He  died  in 
London  in  1765.  His  best  plates  are  coins  and 
medals,  which  he  copied  with  neatness  and  pre- 
cision. He  also  engraved  some  portraits,  among 
which  we  have  the  following: 

Dr.  Ducarrel,  afl5.ted  to  his  Anglo-Norman  Antiquities. 

Matthew  Hutton,  Bishop  of  Durham. 

Alexander  Pope,  Poet. 

He  also  etched  a  series  of  drawings,  by  himself, 
of  Lichfield  Cathedral. 

PERSECOUTER  (or  Persecoteub).    See  Ser- 

WODTER. 

PERSEUS,  an  ancient  Greek  painter,  who  flour- 
ished more  than  three  hundred  years  before  Christ. 
He  was  a  disciple  of  Apelles,  and  though  greatly 
inferior  to  his  master,  he  may  be  presumed  to  have 
possessed  considerable  talents,  as  he  was  favoured 
with  the  particular  esteem  of  that  painter,  who 
addressed  a  treatise  on  art  to  him. 

PERSliUS,  EiiVARD,  Swedish  painter  ;  born 
December  23, 1841,  at  Lund;  became  a  pupil  of  the 
local  Academy ;  studied  at  Diisseldorf,  and  subse- 
quently under  Piloty  at  Munich.  Travelled  in  Italy 
in  1872,  and  then  returned  to  his  native  city  in 
1875;  painted  historical  subjects,  such  as  'Katherine 
Mansdotter  and  Erich  XIV.,'  '  Judith,'  and  also 
portraits.     He  died  at  Stockholm,  October  8,  1890. 

PERSEVAL,  — ,  a  French  portrait  painter,  born 
at  Chamery  in  1745.  He  was  a  Professor  of  Draw- 
ing at  the  Royal  College  of  Pont-le-Voy.  In  the 
Museum  at  Rheims  there  is  an  old  woman's  portrait 
by  him.     He  died  in  1837. 

PERSIJN,  Renier  de,  (Perseyn,  Perzyn,  &c.,) 
called  Narcissus,  was  a  painter  and  engraver,  born 
at  Amsterdam  about  the  year  1600.  He  went  to 
Rome,  where,  in  conjunction  with  Cornells  Bloe- 
maert,  Theodor  Matham,  and  M.  Natalis,  he  en- 
graved the  statues  in  the  Palazzo  Giustiniani.  He 
married  the  daughter  of  the  glass-painter,  Theodor 
Crabeth,  who  brought  him  a  fortune  which  enabled 
him  to  drop  the  profession.     He  worked  with  the 


JEAN  BAPTISTE  PERRONNEAU 


T-:c  L.UI,. 


LA  JEUNE  FILLE  AU  CHAT 


PAINTERS  AND  ENGRAVERS. 


burin  in   a  neat,  clear  style.     We  have  also  the 
following  plates  by  him: 

The  Portrait  of  Ariosto ;  after  Titian, 
Baldassarc,  Count  Castiglione  ;  after  Raphatl, 
S.  Coster,  PhysiciaQ  ;  after  Saadrart. 
Admiral  jleppel ;  after  Pierson. 
Old  Age ;  after  Kubens. 

PERSINUS.    See  Perrisstm. 
PERSON,  NlcoLAUS,  a  German  engraver,  flour- 
ished about  the  year  1700.     He  executed  a  set  of 
indifferent  prints  after  portraits  of  Gennan  Arch- 
bishops ;  these  were  published  in  1696. 

PERSYN,  Jan,  a  Dutcli  portrait  painter,  born  at 
The  Hague  in  1708.  He  was  a  pupil  of  Constaiitiue 
Netscher.  He  afterwards  entered  the  Artillery, 
and  became  an  engineer  in  the  service  of  the  Dutch 
Republic. 

PERTUS,  Raphael,  a  Spanish  painter  of  history 
and  landscape,  who  flourished  at  Saragossa  about 
1680.  His  landscapes  were  graceful  in  composition 
and  pleasant  in  colour. 

PERUCCI,  Obazio,  an  Italian  historical  painter, 
born  at  Reggio  in  1548.  He  was  a  pupil  of  Lelio 
Orsi,  and  was  also  an  architect.  In  the  church  of 
S.  Giovanni  in  Reggio  there  is  a  picture  of  S. 
Albert  by  him.  He  died  in  1624.  His  son 
Francesco  was  also  an  artist. 

PERUGIA,  Bernardino  da,  was  a  painter  living 
in  Perugia  in  the  early  part  of  the  16th  century, 
who  has  been  often  confounded  with  Pinturicchio. 
He  established  himself  in  San  Severino  in  1509, 
and  in  1524  he  painted  an  altar-piece,  now  in  San 
Donienico  of  that  city,  representing  a  '  Virgin  and 
Child,  with  four  Saints.'  Several  paintings  ascribed 
to  him  are  to  be  seen  in  Perugia.  In  London, 
at  Dudley  House,  is  '  A  Virgin  holding  a  bird  by 
a  string,  with  the  Child  in  her  grasp.'  At  tlie 
Louvre,  a  'Crucifixion,'  with  numerous  tigures,  is 
generally  attributed  to  him. 

PERUGIA,  Mariano  da,  or  Mariano  di  der 
EusTERlo  DA,  an  obscure  scholar  of  Perugino,  to 
whom  Vasari  refers  as  the  author  of  a  picture  '  of 
slight  interest '  in  S.  Agostino,  at  Ancona.  Mariotti, 
however,  ascribes  to  him  a  better  work  in  S.  Do- 
nienico, at  Perugia. 

PERUGINI,  a  landscape  painter  of  Milan,  to 
whose  pictures  figures  were  added  by  Alessandro 
JIagnasco. 

PERUGINO,  Aloisi  (or  LuiGi).  See  Scaramuccia. 
PERUGINO,  DoMENiro,  an  obscure  painter,  who 
died  in  Rome  about  1590,  aged  70  years.     He  is 
supposed  to  have  bfenalso  the  engraver  mentioned 
by  Vasari  as  the  author  of  certain  excellent  plates 
after  Roman  antiques  (see  vol.  v.  p.  431  [3filanesi]) 
PERUGINO,  II.     See  Santi,  Pietro. 
PERUGINO,  II  Cavalikke.     See  Cei:rini. 
PERUGINO,  Paolo.     See  Gismondi. 
PERUGINO,  Petruccio.     See  Montanini. 
PERUGINO,  PiRTRo.     See  Vanucci. 
PEIU'GINO,  PoLiuoRO,  a  goldsmith,  who  was 
living  about  1550  at  Perugia,  and  who  may  have 
also  engraved.     It  has  been  suggested  that  he  may 
be  the  Perugino  alluded  to  by  '^"asari  in  the  life  of 
Marc-Antonio  (vol.  v.  p.  431  [MiUinesi]). 

PERUZZI,  Baldassare,  in  spite  of  Vasari's 
elaborate  arguments  to  the  contrary,  was,  it  has 
been  incontestably  proved,  a  natire  of  Siena,  and 
not  in  any  way  related  to  the  noble  Florentine 
family  of  the  same  name.  His  father's  name  was 
not  Antonio,  but  Giovanni  di  Salvestro  di  Salva- 
dore,  a  weaver  from  Volterra,  who  settled  at  Siena, 

il  2 


where,  in  1481,  Baldassare  was  born.     He  appears 
to    liave    been    originally   a    pupil    of    Giacomo 
Pacchiarotti,  but  came  also  markedly  under  the  in- 
fluence, first  of  Pinturicchio,  and  then  of  Sodoma: 
and,  although  other  influences  subsequently  inter- 
vened, his  work  to  the  end  abounds  in  traces  of 
the  manner  of  both  these  earlier  masters.     In  the 
field   of  architecture,   however,  his   individuality 
had  full  scope  for  development,  in  which  art  few 
before  or  since  have  excelled,  or  equalled  him.    No 
trace  can  now  be  found  of  the  chapel  at  Volterra 
decorated  by  him,  of  which  Vasari  makes  mention, 
but  documentary  evidence  proves  that  in  1501  he 
was  employed  on  certain  paintings  for  the  chapel  of 
S.  Giovanni  in  the  Cathedral  at  Siena.   About  1503 
he  left  his  home  for  the  Eternal  City,  and  among  his 
earliest  works  there  are  the  frescoes  in  the  principal 
chapel  at  S.  Onofrio.   In  spite  of  traditionary  a.scrip- 
tion  of  the  more  important  part  of  these  frescoes  to 
Pinturicchio,  Signer  Cavalcaselle  has  been  able  to 
prove  that  the  whole  of  the  chapel  is  really  the 
work  of  the  young  Penizzi.     Two  other  works, 
probably  of  about  the  same  date  and  also  exhibit- 
ing the  same  affinities  with  the  style  of  Pinturicchio, 
are  to  be  found  in  the  Museum  at  Madrid :   '  The 
Rape  of  the  Sabines'  and  the  'Continence  of  Scipio'; 
whilst  an  interesting  fragment  of  fresco  represent- 
ing the  'Three  Graces'  in  the  Palazzo  Chigi  at 
Rome  recalls  the  celebrated  marble  group  in  the 
Cathedral  Library  of  his  native  city.    In  this  latter 
work  the  graceful  pose  and  channing  smile  of  the 
three    beautiful    heads    betray    the    influence   of 
Sodoma,  as  also  does  the  peculiar  treatment  of  the 
tree-trunks  and  foliage  in  the  background.    Of  the 
two  small  chapels  in  the  Church  of  S.  Rocco  a 
Ripetta  mentioned  by  Vasari,  one  is  totally  de- 
stroyed, and  the  other  so  injured  by  restoration  as 
to  leave  little  or  no  trace  of  the  original  work. 
Signer    Cavalcaselle,  however,    discovered    some 
much   more   important   evidences   of  his   talent, 
overlooked  by  Vasari, in  the 'Stanza  dell' Eliodoro' 
in  the  Vatican — work  spared  by  Raphael  from  the 
general  destruction  of  his  predecessor's  labours  in 
those  apartments.     It  is  even  suggested  by  Signer 
MorelH  that  the  portrait  introduced  into  the  fresco 
of  the  '  Expulsion  of  Ileliodorus,'  generally  sup- 
posed  to  be  a  likeness  of  "  Giulio  Romano,"  is 
really  one  of  "Baldassare   Peruzzi."     In  two  of 
the    saloons    of    the    Capitol    are    certain    large 
frescoes  representing  scenes  from  Roman  history, 
at  present  labelled  '  Bontigli,'— but  attributed  at 
different  times  to  very  varied  authors — which,  in 
spite  of  much  destructive  restoration,  are  clearly 
the  work  of  Peruzzi.     Here  the  influences  of  both 
Pinturicchio  and  Sodoma  are  very  marked,  though 
the   taste  of  the   artist   himself  for  architectural 
effects  is  also  strongly  apparent.     It  was  at  about 
this  period  (1505-6)  that  he  appears  to  have  been 
particularly  attracted  to  this  latter  art,  and,  through 
the  influence  of  the  wealthy  Agostino  Chigi.  his 
fellow-citizen,  to  have  obtained  much  employment 
at  the  Vatican  from  Pope  Julius  II.,  in  which  he 
even    rivalled    Bramante.     To    the   year   1508-9 
belongs  a  fine  work  by  him  in  mosaic,  still  existing 
in  the  crypt  of  the  Church  of  S.  Croce  in  Gierusa- 
lenmie ;  but  the  most  important  works,  both  pictorial 
and  architectural,  belonging  to  this  period,  were 
those  carried  out  by  him  for  Agostino  Chigi  at  the 
celebrated  Villa  Famesina  in  tlie  Trastevere,  the 
entire  plan  of  which  villa  tradition  has  till  recently 
assigned  to  Penizzi.   Whether  this  be  so  or  not.  he 
undoubtedly  executed  important  external  decora- 


A  BIOGRAPHICAL  DICTIONARY  OF 


tions,  whicli  have  unfortunately  perished.     Those, 
however,  in  the  interior  wliich  still  survive,  though 
from  their  situation  placed  in  strong  contrast  with 
masterpieces  by  liis  most  celebrated  contemporaries, 
hold  their  own  for  graceful  design  and  imagination, 
and  greatly  redound  to  his  credit     Throughout  all 
his  later  paintings  the  influences  of  the  two  greatest 
masters  of  the  time,  Raphael  and  Michelangelo, 
may  be  observed  striving  with  his  earlier  Sodoni- 
esijue  impressions,  blended  nevertheless  by  a  talent 
distinctly  individual  to  himself     These  tendencies 
may  again   be  noticed  in  the  charming  frescoes 
painted   by   him  in  the  Capella    I'onzetti  of   tlie 
Church  of  the  Madonna  della  Pace.     In  1522  he 
was  invited  to  Bologna,  where  he  made  designs 
for  the  Church   of  S.  I'etronio,  and  also  executed 
certain  works  for  Count  Giovanni  Battista  Benti- 
voglio.     Among  these  last  was  a  cartoon  for  the 
'  Adoration  of  the  Magi,'  subsequently  copied  by 
Girolanio  da  Treviso,  and  engraved  by  Agostiuo 
Carracci.     This   cartoon   is  now  in  the  National 
Gallery  in   London.     In  1520   he   had   been   ap- 
pointed by  Leo  X.  architect  of  St.  Peter's,  but  in 
1527,  at  the  Sack  of  Rome,  after  suffering  great 
hardships  and  being  plundered  of  all  his  posses- 
sions, he  escaped  to  Siena,  where  he  was  warmly 
welcomed,  appoinled  City  Architect, and  consulted 
on  a  vast  variety  of  sudjects,  artistic  and  military. 
To  him  is  due  the  removal  of  the  high  altar  and 
choir  of  the  Duomo  from  under  the  cupola  to  its 
present  position.    During  this  time  he  decorated  the 
chapel   and  certain  ceilings  at  the  Villa  Belcaro 
outside  the  city.    These  frescoes,  after  cruel  injury 
and  neglect,  have  been  carefully  restored,  but,  alas  1 
show  little  trace  now  of  their  original  merit.     The 
Palazzo  PoUiui,  formerly  "dei  Celsi,"is  a  fine  speci- 
men of  his  architectural  skill,  of  which  examples 
abound  in  his  native  city,  and  it  contains  three 
much-injured  ceiling-paintings  by  him.     He  also 
painted  the  striking,  hut  by  no  means  faultless. 
'  Sibyl  foretelling  the  Advent  of  Christ  to  the  Em- 
peror Augustus,'  in  the  Church  of  the  Fontegiusta. 
In  March  1535  he  returned  to  Rome  to  continue 
work  at  St.   Peter's,  but  died — not,  according  to 
Vasari,  without  suspicion  of  poison — on  the  7th  of 
January.  1536,  and   was  buried   in  the  Pantheon 
beside   Raphael.     As  an  architect   he  takes  rank 
among  the  greatest,  and  is  scarcely  surpassed  by 
anj-,  but   as   a   painter,    although    he   had   much 
imagination,  grace,  and  skill  in  draughtsmanship, 
his  work  shows  rather  too  much  trace  of  the  pre- 
vailing influences  with  which  he  successively  came 
in  contact,  and  scarcely  excite  enthusiasm.     His 
taste  for  decorative  ornament  was  fine,  and  full  of 
charming   and    fanciful    conceits.     His   principal 
existing   works   with    pencil    and    brush   are    as 
follows  : 

Berlin.  Maijazine,  98.     Annunciation.     E.  (?). 

Chiu.si.    Duomo,  Sncristij.     Madonna  and  Shunts. 
Dresden.  Galleri/,99.     Adoration  of  the  Magi, 

London.        Aat.  Galhry.     AdoratioD     of      the      JIagi. 
{Cartoon). 

"  House  I  Adoration  of  the  Magi. 

„  Mr.  Mond.    Portrait   of    Alberti    Pio   li.T 

Carpi.     1512. 
Madrid.         Galleiy,  573.     Eape  of  Sabines.     E. 

„  ,,        574.     Continence  of  Scipio.     E. 

Milan.  Marchese  Fassati.     Bust  of  young  Man. 

t'oiite  Giovio.     Dido  and  ^neas. 
Montpellicr.  Gnllery,  577.     Bust  of  young  Man. 
Munich.      GalUry,  1052.    Portrait  of '•  Bindo  Altoviti." 
{According    to  Mr.  Heren- 
son,  Cent.  Italian  Painters.) 

100 


Munster.        GaUenj,Vi.     Madonna  and  Infant  St.  John. 

in  W.         _  E. 

Kome.  Tilla  Albani.    Madonna  with  SS.  Lawrence, 

Sebastian,  James,  and 
Donor.    E. 

„  Sorghese,92.    Venus. 

X  Capitol.     Frescoes  :     Sala  IV.  Judith  ; 

Koman  Triumph.  E.     Sala 
VII.  Hannibal  in  Italy. 
Corsini,  706.    Flight  into  Egypt. 

„  Fiirnesiiia.     Frescoes :     Sala   di   Galatea, 

the  entire  ceiling,  and  in  a 
lunette  a  gigantic  Head  in 
monochrome. 

„  I,  Room    off    Sala    di    Psiche. 

Frieze.     All  about  1511. 

It  n  Saloon  (upper  floor).   Decora- 

tive frescoes. 

>,  Vatican.    Stanza  dell'  Eliodoro,  Fresco 

decoration  of  ceiling.  (De- 
corative work  only.) 

„       Museo  Christiam, )  „      •  t  o^.  <-.  »u     ■         r. 

Case  S.  XIII.  \  ^I'^^^Se  of  St.  Catherme.    E. 

„  Prince  Chigi.     Fresco  :  The  Three  Graces. 

„   .?.  Croce  in  Gierusa-     Mosaics    (after    design)    not 

lemme,  Crypt.        later  than  1508. 
„    iS.    M.   della   Pace,     Frescoes:       Madonna      with 
\st  Chapel,  L.         Saints    and     Ponzetti     as 
Donor ;      (above)    BibUcal 
Scenes  1516. 
,,         5.  lil.  della  Pace,  1  „  ...        e  .,     ^.     . 

R.of  High  Altar.  \  I'^esentatiou  of  the  V.rgin. 

,,      iS.  Onofrio,  Choir.     Frescoes :      Assumption    and 

other  sacred  subjects.     E. 
,,      S.  Pietroin  Mont-t  ^  ^ 

orio,  over  2nd  and  y'^fF^"'-      Coronation,   and 
3rdChapeh,K.)      ^ '^ues. 
Siena.  Sala  IX.  29.    Madonna  and  Infant  St  John 

E. 
„   Area delle due  Porte.     Fresco:  Madonna,  Infant  St. 
John,   and   Catherine.      L. 
1535. 
„  Belcaro  {near  Siena),     Frescoes :      Ceiling,    Ground 
Floor.    Judgment  of  Paris. 
.1      n  loggia.     Decorations  (completely 

moilernized). 
„      „       Church,  Ap^e.     Madonna  and  Saints. 
„  Palazzo  Poll  mi.     Ceiling  Frescoes  :  Continence 

of      Scipio ;        Epiphany ; 
Stoning  of  Elders.     L, 
„    Duomo,  Chapel  of  S.     Frescoes:    Youthful  Bapti.st 
Gitvanni.        in  Desert ;  St.  John  Preach- 
ing.    1501. 
"  Fontegiusta,)  .  .  ...     „., 

!.-(  Altar,  L.  )  -A-^eustus  and  the  Sibyl.    L. 

'  R.  11.  H.  C. 

I  KKLZZINI,  DosiENico,  an  engraver,  boru  at 
Pesaro,  supposed  to  have  been  the  elder  brother  of 
Giovanni  Peruzzini.  He  appears  to  have  lived 
mostly  at  Ancona,  and  flourished  from  1640  to 
1661,  according  to  the  dates  on  the  prints  attri- 
buted to  him  by  Bartsch.  These  prints  had  been 
previously  ascribed  to  Domenico  Piola,  but  the 
style  is  entirely  different,  both  in  design  and 
execution.  It  is  supposed  tliat,  like  his  brother 
Giovanni,  he  was  a  scholar  of  Simone  Cantarini  da 
Pesaro,  and  his  etchings  resemble  those  of  that 
master,  and  of  Guido  Reni.  Subjoined  is  a  list  of 
their  titles : 

The  Holy  Virgin,  lialf-Ieugth,  with   the  infant  Jesus. 

I'he  Virgin  seated,  with  the  Infant  on  her  knees.    D 

P.  1661. 
Christ  tempted  by  the  Devil,  in  the  form  of  an  old  man 

D.  P.  Ifrl2. 
Christ  bearing  his  Cross,  with  other  figures,  half-lengths. 

D.  P.  P.  F.  engraved  on  the  cross  {circular). 
The  Holy  Family  and  Saints.    Z'om'-.  Pei"".  Anconae. 

1681. 
St.  Anthony  of  Padua  praying,  an.l  the  Inf.int  Jesus 

appearing  to  him    ou  a  cloud  supported   by   three 

cherubim.     Don  P.  /■'. 


PAINTERS  AND  ENGRAVERS. 


The  AssassiuatioQ.    A  man  in  bis  shirt  on  a  bed,  assailed 

bj  three  soldiers,  one  of  whom  thrnsts  a  lance  into 

his  body.  D.  F.  IWO. 
Four  landscapes.    The  first  is  signed  D.  P.f-  Anconae  ; 

the  others,  B.  P.  only. 
St.  Jerome  doing  Penance  in  the  Desert.     The  letters 

O.  P.  F.  are  on  a  plant  to  the  right.     {Considered 

doubtful.) 

PERUZZLNI,  Giovanni,  was  bom  at  Ancona, 
or  at  Pesaio,  in  1629,  and  was  a  scholar  of  Simone 
Cantarini.  There  are  several  of  his  pictures  in  the 
churches  of  his  native  city,  of  which  the  most 
esteemed  are  the  'Decollation  of  St.  Jolin,'  at  the 
Spedale ;  and  a  picture  of  '  St.  Teresa,'  at  the 
Carmelitani.  He  resided  some  time  at  Bologna, 
■where  there  are  some  of  his  works  in  the  public 
edifices,  particularly  the  '  Descent  of  the  Holy 
Ghost,'  in  the  church  of  SS.  Vitale  ed  Agricola ; 
and  a  picture  of  '  St.  Cecilia,'  in  the  church  dedicated 
to  that  Saint.  He  was  invited  to  tlie  court  of 
Turin,  where  he  executed  several  works,  both  in 
oil  and  in  fresco,  so  much  to  the  satisfaction  of  hia 
patron,  that  he  was  made  a  knight  of  the  order  of 
St.  Maurice.  He  died  at  Milan  in  1694.  He  was 
vain  of  his  facility  of  execution,  and  inscribed  on 
one  of  the  lunettes  of  the  Portico  de'  Servi  in  Bo- 
logna, "Opus  2-4  Hor.  Eq.  Jo.  P."  (the  work  of 
twenty-four  hours  by  Gio.  Peruzzini,  knight).  Carlo 
Cignani,  on  re.idingit,  observed,  "Leminchionerie  si 
fanno  presto  "  (trifles  are  soon  done).  Giovanni's  son 
Paolo,  and  his  brother,  Domenico,  were  also  painters. 

PERY,  Nicolas,  an  obscure  historical  painter  of 
the  seventeenth  century.  He  was  received  into 
the  Guild  of  St.  Luke,  at  Brussels,  in  1736. 

PERZYN.     See  Persijn. 

PESARESE,  II  (or  Simone  da  Pesaro).  See 
Cantarini. 

PESARI,  Giovanni  Battista,  an  Italian  his- 
torical painter,  was  a  native  of  Modena.  He  lived 
some  time  at  Venice,  where  he  died  after  1650. 

PESARO,  NincoLO.     See  Trometto. 

PESCHEL,  Kabl  Gottlieb,  a  German  historical 
painter,  born  at  Dresden  in  1798.  He  was  a  pupil 
of  Vogel,  and  studied  in  the  Dresden  Academy. 
In  1825  he  went  to  Rome,  where  he  remained  about 
a  year.  On  his  return  he  assisted  his  master  Vogel 
on  frescoes  at  Pilnitz.  About  1830  he  was  ap- 
pointed a  Professor  in  the  Dresden  Academy. 
Considerable  attention  was  devoted  by  him  to 
mural  decoration,  and  good  examples  of  his  work 
are  to  be  seen  in  the  Roman  House,  Leipsic  ;  and 
at  the  Royal  Palace  at  Dresden.  He  died  in  1879. 
Amongst  his  chief  pictures  are : 

Rebecca  at  the  Well.     (Leipsic  Jfuseum.) 

'  Come  unto  Me,  all  ye  that  labour.'    1851.     (Dresden 

Gallery.) 
The  Crucifixion.     {Leipsic  Jfuseum.) 
Ezekiel  in  Babylon. 

Angels  appearing  to  Jacob.    1843.     {Dresden  Gallery.^ 
Holy  Family.     {Leipsic  Museum.) 

PESCI,  Gasparo,  a  Bolognese  painter  of  archi- 
tectural perspectives  who  flourished  about  1776. 
No  details  of  liis  life  are  known. 

PESCIA,  Mariano  da,  also  called  Graziadei, 
was  an  Italian  painter  the  time  of  whose  birth  and 
death  is  uncertain  ;  Zani  says  he  died  about  1520  ; 
others,  that  he  was  born  in  1525,  and  died  in  1550. 
It  is  also  said  tliat  he  was  a  scholar  of  Domenico 
Ghirlandajo,  and  assisted  him  in  his  works  ;  but  in 
that  case  he  must  have  been  born  much  earlier,  aa 
Ghirlandajo  died  in  1494.  Perhaps  it  was  Ridolfo 
Gliirlandajo.     In  the  chapel  della  Signoria,  in  the 


Palazzo  Vecchio  at  Florence,  there  is  an  altar-piece 
by  him ;  and,  in  the  Gallery,  the  '  Virgin  and 
Infant  Jesus,  with  Elizabeth  and  the  young  St. 
John.'  It  ia  agreed  by  all  that  he  died  young,  and 
his  known  works  are  very  few. 

PESELLO  and  RESELLING.     See  GluocHl. 

PESENTI,  Galeazzo,  called  II  Sabbioneta,  a 
painter  and  sculptor  of  Cremona,  who  flourished  in 
the  15th  century.  A  Martire  Pesenti,  also  called 
II  Sabbioneta,  lived  at  Cremona  at  the  end  of  the 
16th  century. 

PESNE,  Antoine,  the  son  of  Thomas  Pesne,  (a 
portrait  painter,  and  brother  of  Jean  Pesne,)  was 
born  in  Paris  in  1684  (?).  He  studied  under  his  father 
and  under  his  uncle  Charles  de  la  Fosse,  and  aftet 
wards  spent  some  time  at  Venice  for  further  improve- 
ment After  having  been  received  a  member  of  the 
Paris  Academy  he  settled  at  Berlin,  where  he  became 
court  painter  to  Frederick  the  Great,  as  well  as 
Director  of  the  Academy.  He  died  at  BerUn  in 
1757.  He  painted  history  and  portraits,  and  hia 
works  were  much  admired  by  the  coimoisseurs  of 
the  court.  The  Galleries  of  the  Berlin '  Schloss,'  and 
of  Potsdam  and  Sans-souci,  contain  many  of  his 
works,  and  some  elegant  genre  pictures  are  in  the 
Dresden  Gallery.  Pesne  painted  figures  in  the 
pictures  of  his  friends  C.  S.  Dubois  and  P.  C. 
Leygebe.  The  follomng  are  among  the  best  known 
of  his  own  pictures : 

Portrait  of  Frederick  the  Great.     (Enyraved  ly  Wille.) 
His  own  Portrait.     {Dresden  Gallery.    Engraved  ly  G. 

F.  Schmidt.) 
Himself  and  Wife.     {Berlin  Museum.) 
Family  picture  of  the  Colonel  of  the  Swiss  Guard,  Baion 

von  Erbach. 
Tapestry  pictures  with  portraits  of  Prince  Leopold  and 

his  Family.     {Dessau  Castle.) 
Portrait  of  the  Chev.  Vleughels. 

„  „        Painter  Dubuisson. 

„  „        Mailame  Dubuisson. 

A  Cook  plucking  a  Turkey. 
A  Young  Girl  with  Pigeons. 
Fortune-telling. 
Portrait  of  the  Engraver  Scmidt  and  his  Wife. 

PESNE,  Jean,  a  French  engraver,  was  bom  at 
Rouen  in  1623,  and  died  in  Paris  in  1700.  It  is 
not  ascertained  by  whom  he  was  instructed,  but 
he  attained  some  success  as  an  artist,  particularly 
as  a  designer.  He  produced  168  plates,  of  which 
some  are  executed  with  the  burin  alone,  and  others 
in  combination  with  the  point.  Hia  principal 
plates  are  from  the  pictures  of  Nicolas  Poussin, 
with  which  he  succeeded  admirably  ;  others  are 
after  Raphael,  Titian,  the  Carracci,  Guercino,  Giulio 
Romano,  and  others.  The  following  are  perhaps 
the  best : 

portraits. 

Two  of  Nicolas  Poussin  ;  after  pii-tiires  hy  that  patntir. 
Lom's  le  Comte,  Sculptor  to  the  King. 
Frauc;ois  Langlois  ;  after  I'an  Dyck. 

SUBJECTS  AFTEB  POUSSIN. 

Assumption  of  the  Virgin. 

Esther  before  Ahasuerus. 

The  .A.doration  of  tlie  Shepherds. 

The  dead  Christ,  with  the  Virgin  and  St.  John. 

The  Entombment. 

The  Death  of  S.ippbira. 

The  Holy  Family  attended  by  .\ngels,  with  a  dedication 

to  Le  Brun. 
The  Vision  of  St.  Paul. 
The  Triumph  of  Oalat«a. 

The  Testament  of  Eudamidas ;  one  of  his  hestprintn. 

101 


A  BIOGRAPHICAL   DICTIONARY  OF 


The  Seven  Sacranienta,  in  seven  plates  of  two  sheets 

each. 
The  Labours  of  HiTcules,  in  nineteen  plates;  from  the 

paintings  in  the  LouvTt'. 

SUBJECT'S   AFTKB    ITALIAN    LtASTERS. 
The  Holy  Family  ;  after  Raphaet. 

A  set  of  fifteen  lau ilscapi's ;  n/tn-  Guercino,  and  other 
masters. 

PESZKA,  JosKF,  Polish  painter  ;  born  February 
19, 1767,  at  Cracow;  became  a  iiupil  of  Estreiclier, 
and  then  of  Lampis  and  Sniuglewicz  at  Warsaw. 
In  1797  he  went  to  Wilna  ;  in  1800  to  St.  Peters- 
burg, and  subsequently  to  Moscow.  Became  Court 
l)ainter  to  Prince  Itadziwill.  He  returned  to  Cracow 
to  fill  the  post  of  Professor  at  the  University  there. 
His  choice  was  mostly  that  of  historical  and  genre 
subjects.     He  died  September  4,  1831. 

PETE,  Simon,  au  obscure  painter  of  Valladolid, 
who  flourished  about  1661. 

PETER,  Emm.,  a  German  miniature  painter, 
born  at  Jagerndorf  in  Silesia,  in  1799.  He  died  at 
Vienna  in  l^TA. 

PETEK,  Wkncrslaus,  animal  painter,  was  born 
at  Carlsbad  in  Bohemia  in  1742.  He  applied  lilm- 
self  successively  to  metal  working,  cliasiiig,  and 
sculpture  before  settling  to  tlie  art  which  he  at  last 
adopted.  He  became  Professor  at  the  Academy  of 
San  Luca  in  liome,  and  his  best  work  is  '  The 
Terrestrial  Paradise.'  A  'Hen  and  Chickens'  by 
him  is  in  the  Borghese  Galhry.  He  died  at  Rome 
in  1829. 

PETERS,  Anton  dr.    See  Dr  I'i-.teks. 

PETE  US,  BoNAVENiur.A  and  Jan.    See  Peeters. 

PETERS,  FnAN.s  Lucas,  was  born  at  Mechlin  in 
1606.  He  was  tlie  son  of  an  obscure  painter,  from 
whom  he  learned  the  elements  of  design,  but  he 
afterwards  entered  the  school  of  Gerard  Segers. 
He  did  not,  however,  follow  the  style  of  that 
master,  but  abandoned  liistorical  painting  to  devote 
himself  to  landscapes.  He  was  taken  into  the 
service  of  the  Archduke  Leopold,  in  wliose  employ- 
ment he  passed  tlic  greater  part  of  his  life.  He 
died  at  Brussels  in  1654. 

PETERS,  Grrrit.     See  Pieterszen. 

PETERS,  Matthias,  flourished  at  Amsterdam 
about  tlie  year  1660,  and,  in  conjunction  with  his 
brother  Nicolaar  Peters,  engraveil  tlie  plates  for 
the  '  Atlas  Major,'  published  by  Bl.aeu,  in  that  city, 
from  dra%vings  by  the  pulilisher. 

PETERS,  the  Reverend  Matthkw  William, 
was  born  in  the  Isle  of  Wight  in  the  first  lialf  of 
the  18tli  century.  His  parents  very  early  removed 
to  Ireland,  where  his  father  lield  a  post  in  the  Cus- 
toms at  Dublin.  The  son  became  pupil  of  Robert 
West,  the  master  of  tlie  scliool  of  design  there,  and 
in  1759  lie  obtained  a  premium  from  tlie  Society  of 
Arts.  He  was  brought  up,  however,  for  the  Chuicli, 
and  came  to  hold  the  appointments  of  Prebendary 
of  Lincoln  and  chaplain  to  the  Prince  Regent.  In 
the  pursuit  of  art  as  an  amateur  he  travelled  in  Italy, 
and  when  at  Parma  lie  copied  the  'St.  Jerome,' 
and  his  copy  is  now  in  the  church  at  Saffron  Waldeu. 
In  1782  he  also  copied,  for  the  Duke  of  Rutland, 
a  picture  by  Le  Brun  in  the  Carmelite  church  .at 
Paris.  In  1771  he  was  elected  an  Associate  of  tlie 
Royal  Academy,  and  in  1777  a  full  Academician. 
He  resigned  in  1790,  and  died  in  1814,  at  Brasted 
Place,  in  Kent.  He  is  better  known  by  tlie  prints 
engraved  for  Boydell  and  Macklin  than  by  Ids 
paintings,  though  some  of  bis  pictures  have  al- 
most the  impasto  of  Sir  Joslnia  Reynolds.  His 
'  Resurrection  of  a.  Pious  Faniilv, '  the  '  Guardian 

102 


Angel,'  'Cherubs,'  and  the  'Spirit  of  a  Cluld  :' 
his  scenes  from  the  '  Merry  Wives  of  Windsor," 
and  from  '  Mucli  Ado  about  Nothing,'  and  other 
theatrical  subjects,  were  very  popular.  He  painted 
many  fancy  subjects  and  also  portraits  with  much 
taste  and  elegance.  He  was  patronized  by  some 
of  the  nol>ility  of  his  daj-,  for  whom  he  painted 
subjects  very  different  from  bis  '  Resurrection  of  a 
Pious  F.amily.'  There  are  engravings  of  several 
of  liis  fancy  pieces  and  portraits  by  Bartolozzi, 
Marcuard,  Simon,  Thew,  Dickinson,  and  J.  R. Smith. 
He  was  severely  satirized  by  "  Peter  Pindar." 

PETERS,  PlETKR  Francis,  the  younger,  Gennan 
painter  ;  born  at  Nijmegen  in  1818  ;  a  pupil  of 
his  father.  After  travel  in  Geriiianj-,  Switzerland, 
France  and  Italy,  in  1845  he  settled  at  Stuttgart, 
where  with  Herdtlc  he  founded  a  permanent  Art 
Exhibition  ;  painted  landscapes,  such  as  '  An 
Autumn  Evening,  near  Stuttg,art,'  'A  Mill,  near 
Mon.aco  ' ;  also  various  water-colours.  In  1872  he 
gained  the  grand  medal  in  London,  and  the  Order 
of  St.  Miciiael  in  1869.  He  died  at  Stuttgart, 
Feb.  23,  1903. 

PETERSEN,  Heinbich  Ludwig,  a  Danish  en- 
graver, was  born  at  Altona  in  1806.  In  1824  he 
entered  the  Academy  of  Dresden,  and  in  1827  the 
atelier  of  Rossniiisster.  In  the  two  following  years 
he  engraved  some  landscapes  and  portraits  at 
Heidelberg  for  the  Ehrcnhalle,  and  in  1835  several 
phates  for  the  Bibliographical  Institute  at  Hild- 
burghauscn,  and  for  the  Aiistri.an  Lloyd's  Company 
some  small  landscapes  after  Rothbart  and  David. 
In  1838  he  settled  at  Nuremberg,  where  he  executed 
his  principiil  phates — the  '  Madonna  della  Sedia,' 
after  Raphael ;  '  The  Tribute  Money,'  after  Titian  ; 
'  The  Children  in  the  Wood,'  after  Von  der  Euibde, 
and  'Charles  IX.  on  the  Night  of  St.  Bartholomew.' 
From  1840  to  the  end  of  his  life  lie  etched 
extensively  for  Hefner's  work  on  costumes,  and 
produced  numerous  facsimiles  from  drawings  by 
the  old  masters.  He  became  conservator  of  the 
art  collections  at  Nuremberg,  and  died  tliere  in 
1874.  Ho  was  also  a  restorer  of  engravings  and 
pictures. 

PETERSEN,  JoHANN  Er.lK  Ciiristiak,  marine 
painter,  was  born  at  Copenhagen  in  1839.  He 
studied  at  the  Academy  of  his  birthplace,  and  then 
under  Melbye  and  Dalil.  He  was  engaged  in  the 
war  as  a  Danish  officer  in  1864,  and  in  the  following 
year  went  to  America,  where  he  died  at  Boston 
In  1874. 

PETERSON,  Frederic,  enamel  painter,  was  a 
pupil  of  Boit,  and  died  in  London  in  1729. 

PETERZANO,  Simone,  (Prrterzono,)  was  a 
native  of  Venice,  and  was  brought  up  in  the  school 
of  Titian.  He  flourished  about  the  year  1590.  His 
'Pieta,'  in  the  church  of  San  Fedele,  at  Milan,  is 
signed  with  his  name,  to  which  he  has  added 
T'itiani  discipiilxs.  lu  the  church  of  San  Bar- 
nab.a,  at  Milan,  he  painted  some  frescoes  from  the 
life  of  St.  Paul.  There  is  a  fine  '  Assumption,'  in 
the  Chiesa  di  Brera,  at  Milan  by  him. 

PETHER,  Abraham,  was  born  at  Chichester 
in  1756.  In  the  early  part  of  his  life  he  ap- 
plied himself  to  the  study  of  music,  and  at  the 
age  of  nine  years,  is  said  to  have  occasionally 
performed  as  organist  in  his  native  city.  He 
afterwards  turned  his  thoughts  to  painting,  in 
which  he  was  instructed  by  George  Smith,  and 
attained  a  considerable  rank  in  the  art  as  a  land- 
scape painter,  particularly  by  his  moonlight  effects, 
whence  he  has  obtained  the  sohriqiMt  of  'Moon- 


PAINTERS  AND    ENGRAVE  US. 


light  Petlier.'  A  '  Harvest  Moon '  by  him  met 
with  special  admiration.  Ili.s  moonliglit  pieces 
are  notable  for  their  astronomical  accuracy.  He 
exhibited  at  the  Royal  Academy  in  1784,  his  sub- 
ject being  '  Moonlight'  In  1789  he  followed  this 
with  '  A  Ship  on  Fire  at  Night,'  and  at  intervals 
with  others,  till  in  1811  he  sent  a  second  '  I>up- 
tion  of  Vesuvius.'  Petlier  not  only  distinguished 
himself  as  painter  and  musician  ;  his  philosophi- 
cal and  mathematical  researches  were  of  some 
value.  He  also  showed  skill  as  a  mechanic,  and 
constructed  various  optical  instruments,  such  as 
telescopes,  miscroscopes.  air-pumps,  and  electric 
instnimenti.     Petlier  died  April  13th,  1812. 

PETHER,  Sebastian,  the  eldest  son  of  Abraham 
Pether,  was  born  about  1790,  and  was  probabl}- 
instructed  by  his  father,  as  he  painted  similar  sub- 
jects. His  pictures  consist  of  moonlights,  con- 
flagrations, and  sunsets,  and  exhibit  fine  feeling  ; 
but  the  narrowness  of  his  circumstances,  and  the 
largeness  of  his  family,  reduced  him  to  the  necessity 
of  working  for  picture-dealers,  and  beyond  them  it 
does  not  appear  that  he  ever  had  a  patron,  except 
in  one  instance.  That  patron  was  Sir  John  F. 
Leicester,  Bart. ,  who  commissioned  him  to  paint 
'  A  Caravan  overtaken  by  a  Whirlwind,'  which  was 
exhibited  at  the  Royal  Academy  in  1826,  togethei 
with  'The  Destruction  of  a  City  by  a  Volcano.' 
His  first  and  almost  his  only  previous  contributions 
had  been  in  1814,  when  his  subjects  were  '  A  View 
from  Chelsea  Bridge,'  and  'The  Burning  of  Drury 
Lane  Theatre.'  He  had  considerable  knowledge 
in  the  mechanical  arts,  and,  it  is  said,  was  the 
first  that  suggested  the  idea  and  construction  of 
the  stomach-pump  to  Mr.  Jukes,  the  surgeon 
who  introduced  it  to  the  medical  jirofession.  His 
pictures  are  not  numerous  ;  but  they  were  a  source 
of  great  emolument  to  his  friends  the  dealers,  as 
they  could  be  readily  copied,  and  the  copies  dis- 
posed of  to  country  gentlemen  ;  whence  it  is  that 
his  name  so  frequently  appears  in  catalogues.  His 
real  works  have  considerable  merit.  He  died  at 
Battersea  in  1844. 

PETHER,  William,  painter  and  mezzotint  en- 
graver, was  the  cousin  of  Abraham  Pether,  and 
was  bom  at  Carlisle  in  1731.  He  painted  por- 
traits in  oil  and  miniature,  and  studied  engraving 
under  Thomas  Frye.  He  was  admitted  into  the 
Roj'al  Academy  in  1778,  and  exhibited  occnsionally 
between  1781  and  1794.  He  died  in  London  about 
1795.  He  engraved  several  fine  plates  after  Rem- 
brandt and  other  masters,  as  well  as  a  few  from 
his  own  works.  Among  others,  we  have  the 
following  prints  by  him  : 

PORTRAITS. 

The  three  brothers  Smith,  Painters  of  Chichester;    W. 

Pether  pin.r.  et  fee.      1765. 
Beujamin  "West ;  after  Lajcranson. 
Samuel  Chandler,  D.D. ;  after  Chamherliit. 
Fran<;ois  du  Quesnoy,  Sculptor ;  after  C.  le  Bi-un. 
Carlo  Te.ssariui,  Musician  ;  etfta'  Palthe. 
Kembrandt's  Wife  fthe  Jewi.sh  15ride) ;  after  Rembrandt. 
Kubens's  second  Wife ;  after  Utihens. 

SUBJECTS  AFTER  VARIOUS  MASTERS. 

The  Rabbi ;  after  Remhrandt. 
An  Officer  in  Armour  ;  after  the  same. 
Ad  old  Man  with  a  bear(l ;  after  the  satne. 
The  Lord  of  the  Vineyard  ;  after  the  same. 
A  Village  Festival  ;  aftirr  Teniers. 
A  Warrior  ;  balf-length  ;  after  Giortfione, 
'I'be  Descent  from  the  Cro.is  ;  after  the  picture  in  King's 
College,  Cambridge,  by  Daniel e  da  I'ol terra. 


The  Philosopher ;  after  Jos.  Wrii/ht. 

The  Sculptor  ;  after  the  same. 

The  Academy ;  after  the  same. 

The  Continence  of  the  Chevalier  Bayard ;  after  Penny. 

The  Hermit ;  after  the  same. 

The  Alchemist ;  after  the  same. 

PETIT,  Giles  Epm^,  a  French  engraver,  was 
born  in  Paris  in  1696,  and  died  in  1760.  He  was 
a  pupil  of  J.  Chereau,  and  engraved  several  plates 
in  the  style  of  his  instructor,  the  most  esteemed 
being  his  portraits.  Among  others,  we  have  the 
following  prints  by  him  : 

PORTRAi'm. 

Francis   I.,   King   of    France ;    after   Titian ;    for  the 

Crozat  Collection. 
Louis  Philip,  Kegent  of  France  ;  after  Liotard. 
Louis  XV,,  King  of  France  ;  after  C.  van  Dju. 
Charles  Edward  Stuart,  the  Pretender  ;  after  Duprn. 
Philibert  Papillon,  Canon  of  Dijon. 
Een6,  Charles  de  Maupeon,  President  of  the  Parliament. 
Peter  Bayle,  Author  of    the    Historical   and   Critical 

Dictionary. 
Maria  Theresa,  Queen  of  Hungary. 
Armand  Jules,  Prince  of  Kohan  ;  after  Rii^avd. 
Henri  Charles  de  Pompone,  Abbe  of  St,  Medard. 
Jean  Fr^eric  Philipeaux,  Count  of  Maurepas, 
Joachim  Frau(;ois  Potier,  Duke  of  GesvTes. 

SUBJECTS. 

The  Disciples  at  Emmaus;  after  J.  Andii. 
The  Visitation  ;  after  the  saiiie. 
The  Virgin  of  the  Eosary  ;  after  the  same. 
St.  Catharine  of  Siena ;  after  the  same. 

PETIT,  Jean  Louis,  a  French  historical  and 
marine  painter,  was  born  in  Paris  in  1795.  He 
was  a  pupil  of  Maudevare  and  Regnault.  He  died 
in  1876.     Works : 

Combat  of  Roland  and  Rodomont. 
The  Wreck. 

PETIT,  the  Rev.  John  Louis,  an  English  amateur 
draughtsman,  born  in  1801.  He  was  educated  at 
Trinity  College,  Cambridge,  where  he  graduated  in 
1823  as  a  senior  optime,  and  afterwards  took  holy 
orders.  Antiiiuarian  pursuits  were  his  delight,  and 
he  dre.v  the  illustrations  for  his  works  and  papers. 
He  was  a  member  of  the  Institute  of  British  Archi- 
tects, and  of  the  Arclieeological  Institute.  He  also 
produced  a  few  good  etchings.  He  died  at  Lich- 
field in  1868.     Amongst  his  publications  were  : 

'  Remarks  on  Church  Architecture,  with  niastrations.* 

1S41-5. 
'  Principles  of  Gothic  Architecture  as  applied  to  Parish 

Churches.'     1S45. 
'  The  Abbey  Church  of  Tewkesbury.'     1943. 
'  Architectural  Studies  in  France.'     1854. 

PETIT,  LfiONCE,  a  Frenrh  draughtsman  and 
illu.str.itor,  was  born  in  1839.  He  was  a  constant 
contributor  to  the  Salons  after  1869,  and  to  the 
'Journal  Amusant'  and  '  Le  Monde  Illustri.'  He 
died  in  1884. 

PETIT,  Louis,  a  designer  and  engraver,  was 
bom  in  Paris  in  1760,  and  was  a  schol.ar  of  N. 
Ponce.  He  was  much  employed  in  designing 
vignettes  and  other  book  illustrations,  which  he 
etched  with  considerable  ability.  He  died  about 
1812.  Among  his  detached  engravings  the  follow- 
ing are  most  deserving  of  notice  : 

I^  Belle  .Tardiniere.  jointly  with  .l/rt.vni-rf  ,•  after  Raphael. 
The  Infant  Jesus  asleep,  finished  by  Bovine!  ;  after  the 

same. 
Aurora  ;  after  the  same. 
A  Holy  Family ;  after  the  same. 

St.  Romualdus;  after  A.Saeehi ;  finished  by  ;)(im'.ru«- 

103 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  dancing  Nymphs  ;  after  Van  der  Werff. 

And  several  plates  for  Ligni*s  '  History  of  the  Life  of 
Christ ' ;  among  which  are  the  *  Transfiguration,'  after 
Sapluul ;aad  the 'Last  Supper,'  after  Leonardo  da 
Vinci. 

PETIT,  Lonis  Marie,  a  French  water-colour 
painter  of  still-lifo  and  miniatures,  flourished  at 
Fontainebleau  at  tlie  end  of  the  18th  century.  He 
was  a  pujiil  of  David  and  De  Moitte.      Works  : 

The  School-boy  and  the  Arts. 

Landscape  with  Mill. 

PETITOT,  Jean,  the  elder,  enameller  and  minia- 
ture painter,  was  bom  at  Geneva  in  1607.  He  was 
the  son  of  a  sculptor  and  architect,  who  designed 
liim  for  a  jeweller,  and  having  frequent  occasion  to 
make  use  of  enamel  in  that  trade,  he  attained  such 
skill  in  colour,  that  he  was  advised  to  apply  him- 
self to  portrait  painting.  He  was  patronized  by 
Charles  I.  and  Louis  XIV.,  and  his  extraordinary 
ability  was  deserving  of  their  protection.  In  com- 
pany with  Pierre  Bordier,  who  afterwards  became 
his  brother-in-law,  he  visited  Italy,  where  they  both 
resided  some  years.  Petitot  painted  the  heads  and 
hands,  and  Bordier  the  draperies  and  backgrounds. 
In  this  division  of  labour  they  visited  England, 
and  had  tlie  good  fortune  to  form  the  acquaint- 
ance of  Sir  Theodore  Turquet  de  Mayerne, 
physician  to  the  king,  who  had,  by  experiment, 
discovered  how  to  get  super-excellent  colour  in 
enamel.  Mayerne  introduced  Petitot  to  King 
Charles  I.,  who  retained  him  in  his  service,  :ind 
gave  him  apartments  at  Whitehall.  He  painted 
the  portraits  of  that  monarch  and  of  his  family, 
several  times.  He  copied  several  pictures  after  Van 
Dyck,  who  assisted  him  with  his  advice.  King 
Charles  often  went  to  see  him  at  work,  as  he  took 
great  pleasure  both  in  painting  and  chemical  experi- 
ments. Thedeath  of  his  royal  protectorwas  a  misfor- 
tune for  Petitot,  who  did  not  quit  the  exiled  family, 
but  followed  them  in  their  flight  to  Paris,  where 
he  was  looked  upon  as  one  of  their  most  faithful 
adherents.  Charles  II.,  during  his  abode  in  France, 
took  great  notice  of  Petitot,  and  introduced  him  to 
Louis  XIV.,  who  appointed  him  his  painter  in 
■enamel,  and  gave  him  apartments  in  the  Louvre. 
He  painted  that  monarch  several  times,  Anne  of 
Austria,  his  mother,  and  Maria  Theresa,  his  queen. 
Being  a  zealous  Protestant,  and  dreading  tlie  con- 
sequences of  the  revocation  of  the  edict  of  Nantes 
in  1685,  Petitot  begged  the  king's  permission  to 
retire  to  Geneva.  Louis,  unwilling  to  part  with  so 
favourite  an  artist,  for  some  time  evaded  the  de- 
mand, and  employed  the  celebrated  Bossuet,  bishop 
of  Meaux,  to  endeavour  to  convert  liim.  This  not 
succeeding,  Petitot  was  at  length  allowed  to  leave 
France,  after  a  residence  of  thirty-six  years,  and  he 
returned  to  Switzerland.  He  settled  at  Geneva, 
but  the  crowd  of  admirers  who  came  to  see  him 
was  so  great,  that  he  was  obliged  to  quit  Geneva 
and  retire  to  Vevay,  where  he  continued  to  exercise 
his  art  till  he  had  reached  the  age  of  84.  He  died 
in  1691. 

Petitot  was  the  first  artist  to  bring  enamel  paint- 
ing to  complete  technical  perfection.  In  the  South 
Kensington  Museum  (Jones  Collection)  there  are 
fifty-two  enamel  portraits  which  are  certainly  l)y 
Petitot,  while  some  eight  or  ten  more  are  ascribed 
to  him  with  more  or  less  justice.  Among  the 
former  several  are  scarcely  to  be  equalled,  certainly 
not  to  be  excelled,  elsewhere.  Among  them  we 
may  name  six  portraits  of  Louis  XIV.,  and  por- 
traits  of  Sully,  La    Valliere,  Vendome,   Olympia 

104 


and  Hortense  Mancini,  Richelieu,  Mazarin,  Mrae. 
de  Sdvign6,  Molifere,  '  La  Grande  Mademoiselle,' 
Mme.  de  Montespan,  the  Duke  of  Orleans,  Armand 
de  Meilleraye,  Tureime,  and  Ninon  de  I'Enclos.  In 
the  Apollo  Gallery  of  the  Louvre  are  about  sixty 
of  Jean  Petitot's  finest  enamels,  consisting  of  por- 
traits of  Louis  XIV.,  of  his  family,  of  ladies  of  the 
Court,  and  of  the  statesmen  and  military  com- 
manders of  France. 

PETITOT,  Jkan  Lodis,  the  younger,  the  son  of 
Jean  Petitot  tlie  elder,  was  born  in  or  about  1650. 
He  was  instructed  in  enamelling  by  his  father. 
He  settled  in  London,  where  he  exorcised  his  art 
with  considerable  success,  and  painted  for  Charles 
II.  up  to  1682,  when  he  removed  to  Paris.  In 
1695  he  returned  to  London,  where  eventually 
he  died.  His  works  are  inferior  to  those  of  liis 
father,  though  they  possess  great  merit.  A  few 
of  the  best  are  at  South  Kensington,  and  others 
are  in  the  Dartrey  Collection.  Among  others  he 
painted : 

Charles  II. 

Peter  the  Great. 

Queen  Catherine. 

The  Due  de  lierry. 

The  Due  d'Anjou. 

PETEAZZI,  AsTOLFO,  was  a  native  of  Siena,  and 
flourished  about  the  year  1636.  He  was  a  scholar 
of  Ventura  Salimbeni  and  Pietro  Sorri,  and,  accord- 
ing to  Baldinucci,  painted  some  pictures  for  the 
public  edifices  and  private  collections  iit  Siena. 
One  of  his  principal  works  is  the  '  Communion  of  St. 
Jerome,'  at  the  Agostiniani  at  Siena,  in  which  he 
exhibits  something  of  the  style  of  the  Carracci.  He 
excelled  in  painting  children,  whom  he  introduced 
very  happily  into  his  emblematical  subjects.  Such 
are  his  '  Four  Seasons  '  in  the  Villa  Cliigi,  at  Volte, 
which  are  admired  for  the  playfulness  and  ingenuity 
of  the  groups.     He  died  in  1665. 

PETRI,  Heinuicu,  was  bom  at  Gottingen  in 
1835.  At  the  age  of  seventeen  he  entered  the 
Academy  in  Diisseldorf.  In  1854  his  first  paid 
work  was  a  copy  of  a  '  Madonna  '  after  Deger. 
He  was  for  a  short  time  at  Munich  in  1857,  and  in 
tlie  following  year  proceeded  to  Rome,  where  he 
studied  the  masters  of  the  early  Renaissance  and 
Overbeck.  After  his  return  he,  in  1861-2,  painted 
in  encaustic  in  the  convent  chapel  of  Nonnen- 
werth,  particularly  a  '  Descent  from  the  Cro.ss,' 
which  attracted  general  attention.  Ir.  1868  he 
paid  a  second  visit  to  Rome,  in  order  to  ]iaint  an 
altar-piece  for  Lisbon.  In  1870  we  find  him  at 
Diisseldorf  producing  a  '  Virgin  and  St.  John 
weeping  over  the  Body  of  Christ,'  and  in  1871  his 
chef  d'aeuvre,  'The  Virgin  as  the  Protectress  of 
poor  Children.'  He  died  at  Dusseldorf  in  February 
1872. 

PETRI,  Pietro  iie,  was  born,  according  to 
Orlandi,  at  Prcmia,  in  the  Novarese  state,  in  1671  ; 
Zani,  however,  says  he  was  born  in  1663,  and  died 
in  1716.  He  studied  at  Rome,  in  the  school  of 
Carlo  Maratti.  He  painted  history,  and  united 
with  the  style  of  Maratti  somewhat  of  the  taste  of 
Pietro  da  Cortona.  One  of  his  principal  works  at 
Rome  is  a  picture  of  the  '  Crucifixion,' in  the  church 
of  SS.  Vincento  ed  Anastasio :  he  also  painted 
some  frescoes  in  the  tribune  of  San  Clemente.  We 
have  a  few  etchings  by  this  artist  from  his  own 
designs,  executed  in  the  style  of  a  painter,  among 
which  are : 

The  Assumption  of  the  Virgin. 
San  Lorenzo  GiuRtiniano. 


JEAN  PETITOT 


[  The  Louvre 


ANNE  OF  AUSTRIA 

AN   ENAMEL 


JEAN  PETITOT 


[  The  Louvre 
LOUIS  XIV.,   ANNE  OF  AUSTRIA,  AND  A  BROTHER  OF  THE  KING 

THREE  ENAMELS  IN  AN  ENAMELLED  AND  JEWELLED  MOUNT 


H 
H 
W 

Oh 

Z 

o 


I 


PAINTERS  AND  ENGRAVERS. 


Zani  distinguislies  liim  from  Pietro  Antonio  de 
Petri,  or  Pitri,  to  whom  Bartsch  has  assigned  four 
engravings  in  addition  to  the  two  above  named. 
Zani  says  the  latter  was  born  at  Rome. 

PETRIE,  George,  a  landscape  painter,  the  son 
of  James  Petrie,  was  born  at  Dublin  in  1789.  His 
art-training  was  gained  in  the  school  of  the  Dublin 
Society.  He  was  much  devoted  to  antiquarian 
pursuits,  and  furnished  many  drawings  for  the 
illustration  of  works  on  Ireland.  In  1810  he  visited 
Wales,  and  in  1813  London,  in  company  with 
Danby  and  O'Connor.  In  1816  he  exhibited  at  the 
Royal  Academy.  In  1826  he  was  elected  an  as- 
sociate of  the  Hibernian  Academy,  becoming  a 
full  member  in  1828,  and  subsequently  president. 
From  1833  to  1839  he  was  entirely  employed  on 
the  Ordnance  Survey  of  Ireland,  and  took  charge 
of  the  topographical  and  antiquarian  branch  of  tiie 
work.  In  1845  he  visited  Scotland.  In  1847  he 
received  the  honorary  degree  of  D.C.L.  from  the 
University  of  Dublin,  and  in  1849,  a  pension  on  the 
Civil  List.  He  resigned  the  presidency  of  the 
R.H.A.  in  1859,  and  died  at  Dublin  in  1866.  He 
published  much  relating  to  archeology  ;  his 
magnum  opus  is  '  On  the  Ecclesiastical  Architec- 
ture of  Ireland ; '  but  in  early  life  he  contributed 
many  papers  to  the  '  Dublin  Examiner,'  and  similar 
publications. 

PETRIE,  James,  a  Scotch  portrait  painter  of  the 
18th  century,  born  at  Aberdeen.  About  1780  he 
settled  in  Dublin,  and  obtained  a  good  practice 
there.  In  the  troubled  times  of  the  Irish  Rebellion 
he  was  a  firm  loyalist,  but  nevertheless  he  painted 
several  members  of  the  'patriot'  party,  among 
them  Emmet,  Curran,  and  Lord  Edward  Fitzgerald. 

PETRINI,  Cav.  GmsEPrE,  an  Italian  painter, 
born  at  Carono,  in  the  Luganese,  about  1700.  He 
■was  a  pupil  of  Strozzi,  and  painted  historical 
subjects.     He  died  about  1780. 

PETTER,  Anton,  was  born  at  Vienna  in  April, 
1781.  In  1808  he  visited  Home,  and  in  1814 
obtained  admission  to  the  Vienna  Academy  with 
liis  '  Meleager  murdered  by  his  mother  in  his  wife's 
arms.'  In  1820  he  became  professor  to  the  Aca- 
demy, and  in  1828  director.  He  died  at  Vienna  in 
1858.     His  principal  historical  pictures  are  : 

Ma-ximilian's  meeting  with  his  Bride,  Mary  of  Burgundy, 
(/n  the  Johanneum  at  Gratz.) 

Meeting  of  the  same  Royal  Couple,  the  Consort  holding 
their  Uttle  son  Philip  in  her  arms,  after  the  Battle  of 
Guiuegate.     (Belvedere.) 

Joanna  of  Aragon  by  her  husband's  coffin. 

Charli-'S  V.'s  visit  to  Francis  I. 

Kudolf  of  Hapsburg  by  Ottokar's  corpse  ;  with  other 
subjects  from  Pi^rker's  '  Rudolphias.' 

PETTER,  Franz  Xaveb,  flower  painter,  was 
born  at  Vienna  in  1791,  and  died  in  1866.  He  was 
a  pupil  of  Drechslerin  the  Academy,  and  afterwards 
became  a  professor  there.  The  Belvedere  possesses 
a  '  Vase  of  Flowers '  by  him  (18.^3"). 

PETTIE,  John,  the  son  of  Alexander  Pettie,  a 
tradesman,  was  born  at  Edinburgh  on  March  17, 
1839,  and  a  few  years  later  removed  with  his  parents 
to  East  Linton,  in  Haddingtonshire.  As  a  boy  in 
the  village  school  he  showed  an  early  predilection 
for  figure  subjects  in  preference  to  landscape,  and 
■was  continually  drawing  portraits  of  himself  and 
his  relations,  and  sketching  the  local  celebrities. 
His  resolve  to  become  an  artist  was  encouraged 
by  his  parents,  and  he  was  sent  to  Edinburgli  to 
reside  with  his  uncle,  Robert  Frier,  a  well-known 
teaclier  of  drawing.  At  the  age  of  seventeen  he 
entered  the  Trustees'   Academy,  then   under  the 


care  of  Robert  Scott  Lauder,  and  among  his 
fellow-students  were  W.  Q.  Orchardson,  J.  Mac- 
Whirter,  Peter  Graham,  Tom  Graham,  G.  Paul 
Chalmers,  and  W.  MacTaggart.  Pettie's  first  ex- 
hibited picture,  'The  Prison  Pet,'  appeared  at  the 
Royal  Scottish  Academy  in  1858,  and  among  his 
other  early  paintings  in  Edinburgh  were  :  '  False 
Dice,"  Convent  Hospitality,'  'Distressed  Cavaliers,' 
'  Morning  Prayer,'  and  '  Evening  Prayer.'  In  18t)0 
'The  Armourers'  was  hung  on  the  line  at  the 
Royal  Academy,  and  in  the  following  year  he 
was  represented  by  'What  d'ye  lack,  Madam?' 
Encouraged  by  this  success  he  moved  in  1862 
to  London,  where  he  shared  a  studio  with 
Orchardson,  and  from  that  date  contributed  yearly 
to  the  Academy,  exhibiting  119  pictures  in  all. 
Nearly  the  whole  coterie  of  Scott  Lauder's  pupils 
had  gathered  about  tliis  time  in  London,  and  met 
in  one  another's  studios  once  a  week  to  renew  a 
Sketch  Club  they  had  started  in  Edinburgh.  On 
his  marriage  in  1865  Pettie  went  to  live  in  St. 
John's  Wood  Road,  and  later  built  "  The  Lothians  " 
in  Fitzjohn's  Avenue,  where  his  kindly,  genial  and 
hospitable  nature  drew  round  him  a  large  circle  of 
friends.  In  1866  he  was  elected  A.R.A.,  and 
became  a  full  member  of  the  Academy  in  succes- 
sion to  Sir  Edwin  Landseer  in  1873,  exhibiting 
'  Jacobites,  1745,'  as  his  diploma  picture.  Towards 
the  end  of  his  life  he  became  a  popular  portrait 
painter,  but  it  was  in  historical  and  genre  pictures 
that  he  excelled.  He  was  a  keen,  rapid  and 
enthusiastic  worker.  His  strong  vigorous  nature 
found  its  own  expression  in  his  pictures,  ■which 
were  always  dramatic,  and  always  characterized 
by  a  rich  glow  of  colour.  In  his  early  years  he 
contributed  to  the  book  illustrations  for  which  the 
"  sixties  "  are  famous,  making  several  drawings  for 
'Good  Words'  from  1861  to  1863.  In  1868  and 
1869  wood-engravings  after  his  drawings  appeared 
in  the  '  Sunday  Magazine.'  He  also  illustrated  'The 
Postman's  Bag'  (along  with  J.  MacWhirter),  and 
Wordsworth's  '  Poetry  for  the  Young'  in  1863.  In 
1891  Pettie  began  to  suffer  from  an  affection  of 
the  ear,  produced  by  an  abscess  on  the  brain,  which 
caused  his  death  at  Hastings  on  Feb.  21, 1893.  He 
was  buried  in  Paddington  Cemetery  on  Feb.  27. 

Among  his  more  important  pictures  besides 
those  mentioned  were  :  '  Terras  to  the  Besieged ' 
(1872);  'The  Flag  of  Truce' (1873);  'The  Step' 
(1876);  'The  Sword  and  Dagger  Fight '  (1877) ; 
'The  Death  Warrant'  (1879)  ;  '  Before  his  Peers' 
(1881)  ;  '  Monmouth  and  James  II. '  (1882) ;  '  The 
Vigil'  (1884)  (bought  under  the  terms  of  the 
Chantrey  Beijuest,  and  now  in  the  Tate  Gallerv)  ; 
'  Challenged  '  and  '  Sir  Peter  Teazle '  (1885) ;  '  the 
Chieftain's  Candlesticks'  (1886)  ;  'Two  Strings  to 
her  Bow'  (1887);  'The  Traitor'  (1889);  'The 
World  went  very  well  then'  (1890);  and  'The 
Ultimatum'  (1892).  Among  his  principal  portraits 
are  those  of  Bret  Ilarte  (1885)  ;  Sir  Walter 
Besant  (1887)  ;  Charles  Wyndham  as  David  Gar- 
rick  (18K8)  ;  the  Rev.  Oswald  Dykes,  D.D.  (1889  ; 
now  at  Westminster  College,  Cambridge) ;  and  Sir 
August  Manns  (1892).  In  1894-5  a  selection  of 
his  works  was  included  in  the  Winter  Exhibition 
of  the  Royal  Academy.  in  h. 

PETTIT,  Joseph  Paul,  a  landscape  painter,  who 
died  at  Balsall  Heath  near  Birmingham  in  1H82. 
He  was  a  member  of  the  Society  of  British  Artists, 
and  an  exhibitor  at  the  Academy,  British  Institu- 
tion, and  Suffolk  Street  Exhibitions  from  1845  to 
1880. 

105 


A  BIOGRAPHICAL  DICTIONAEY  OF 


PETTY,  RoiiKRT,  painter,  was  born  in  London 
about  174(1.  lie  resided  mostly  at  Hamburg,  where 
he  painted  birds,  fruits,  and  flowers  in  water-colours. 
He  died  in  Holland  in  1789. 

PETZHOLDT,  Ernst  Christian  Frederik, 
landscape  painter,  was  born  at  Copenhagen  in 
1805,  and  studied  from  1825  at  the  Academy  and 
under  Eckersberg.  He  won  raedal.s  in  1827  and 
1828,  and  in  the  following  year  travelled  in  the 
Harz  mountains.  From  1830  to  1835  he  was 
occupied  in  a  visit  to  Italy  and  Sicily,  and  went  in 
1836  to  Munich,  and  thence  to  Italy  a  second  time, 
and  to  Greece,  wlicre  lie  died  suddenly  at  Patras  in 
1839.     Among  his  best  paintings  are : 

Sketch  at  Capri. 

Hadrian's  Villa  at  Tivoli.     {Copenhagen  Gallery.) 

View  from  the  \'illa  Pamfili. 

View  on  the  Poutine  Marshes. 

PETZL,  Joseph,  genre  painter,  was  born  at 
Munich  in  180.3.  After  studying  under  Langer  in 
the  Munich  Academy,  he  placed  himself  un<ler 
Begas  in  Berlin,  and  afterwards  set  off  on  a  journey 
through  Bohemia,  Saxony,  Hanover,  Schleswig, 
and  Sweden.  In  1832-4  he  went  to  Rome,  and.  in 
the  suite  of  the  King  of  Greece,  to  Constantinople. 
He  afterwards  spent  two  years  at  Venice.  He  died 
at  Munich  in  1871.     His  principal  pictures  are  : 

Greek  Chieftains.  {In possession  of  {{.JiiniscIiyHamlmrg.) 

Greek  Wedding. 

The  Division  of  au  Inheritance. 

The  runaway  Daughter  among  Actors. 

Slave-dealer  and  Kunuchs  bringing  Female  Slaves  be- 
fore the  Pacha.     (Rosensteiii,  tltiilt</art.) 

The  Novice  {eniintved  by  Jiahl). 

Scene  in  an  Inn  {lithoyraphed  bi/  Leiter). 

Tyrolese  Fugitives  {/ithof/rapbe'I  bi/  Ziininerinann), 

The  Invalid  [litlmnvaphed  hi  Hoke). 

The  Crack  Shot  (litlioijrapkid  hi/  Jinyiiiann). 

PEUTEMAN,  PiETEi;,  (or  Nicolaas,)  was  born 
at  Rotterdam  in  1650  or  1657.  He  excelled  in 
painting  objects  of  still-life,  such  as  musical  instru- 
ments, "books,  vases,  &c.  Balkenia  attributes  his- 
torical works  also  to  him.  His  death  is  said  to 
have  been  occasioned  by  terror.  One  day  in  1692 
Peuteman  fell  asleep  in  the  dissecting  room  of  the 
Rotterdam  Hospital,  where  he  was  studying 
anatomy.  He  was  awakened  by  a  movement  a- 
mong  the  bones  and  skeletons  in  the  room,  which 
bad  been  set  in  motion  by  a  sudden  earthquake. 
From  the  fright  thus  caused  he  never  recovered. 
Peuteman  engraved  many  of  his  own  works. 

PEYNAUD,  Jacques  Franquis,  was  bom  at 
La  Fert6  St.  Aulun  in  1771.  He  was  a  pupil  of  the 
Academy  of  Orleans,  and  of  Girodet  and  Aubry, 
and  for  eighteen  years  was  director  of  the  free 
school  of  design  at  St.  Malo.  His  principal  works 
are,  the  '  Martyrdom  of  St.  Clement,'  at  Caucales  ; 
'  Soids  in  Purgatory,'  at  Pleustuis  ;  and  a  portrait  of 
Maupertuis,  now  at  St.  Malo.  He  died  at  St.  Malo 
in  1829. 

PEYRANNE,  PniLirrE,  a  French  painter  who 
flourished  at  Toulouse  about  1780.  He  was  a 
pupil  of  Suau.;>;^)-?,  and  of  David,  and  painted  his- 
torical and  still-life  pictures.     Works  : 

Young  Girls  studying  Art. 

Martyrdom  of  St.  Stephen.     (Mouchy.) 

PEYRE,  Antoine  Fran(;'ois,  an  architect,  and 
brother  of  Mathieu  Joseph  Peyre  ;  he  painted  a  few 
pictures.     He  was  born  in  1739  ;  died  in  1823. 

PEYROL,  Juliette  BoNHErrn,  French  painter ; 
born  July  19, 1831,  in  Paris  ;  she  was  a  sister  of  the 
famous  Rosa  Bonheur  ;  studied  with  her  father, 
Raymond  Bonheur;  made  her  debut  wth  pictures  of 

106 


Btill-life,  but  soon  devoted  her  attention  to  animals, 
her  studies  of  sheep  being  specially  noteworthy. 
Her  work  was  often  shown  at  London  Exhibitions 
of  French  art,  as,  for  instaDce,at  the  French  Gallery, 
Pall  Mall.  She  married  the  French  artist  Peyrol, 
and  became  the  Directress  of  an  Art  School  in 
Paris.     Here  she  died  in  1891. 

PEYRON,  Jean  Franqois  Pierre,  a  French  his- 
torical painter  and  engraver,  was  born  at  Aix  in 
1744,  and  died  in  Paris  in  1820.     He  was  a  scholar 
of  Arnulfi  and  of  the  elder  Lagrenee.    His  subjects 
are  from  the  ancient  poets,  aud  from  Greek  and 
Roman  history,  occasionally  also  from  events  oc- 
curring in   his  own   time,   such    as  the  death   of 
General  Walhubert  at  the  battle  of  Austerlitz.     In 
1773  he  obtained  with  his  '  Death  of  Seneca '  the 
Grand  Prixde  Rome,  and  accordingly  went  to  that 
city,  where  he  studied  from  the  antique  and  from 
nature;  painting  also  his  picture  of 'Cimon  allowing 
himself  to  be  taken  Prisoner  in  order  to  see  after 
his   Father's  Funeral'     In    1781    he   returned   to 
Paris,  and  was  in  1787  adniitteil  a  member  of  the 
Academy,  with  a  picture  of  '  Dentatus,'  now  at 
Foidainebleau.     The  greater  number  of  his  pictures 
were  executed  between  1780  and  1800,  but  he  con- 
tinued to  exhibit  till  1812.     He  engraved  several 
subjects  after  Raphael,  Poussin,  and  after  his  own 
designs.     He  was  director  of  the  Gobelins  Maim- 
factory  in  1787,  and  executed  many   cartoons  for 
that   establishment.      The  Revolution  caused  him 
much  privation  and  suffering,  which  he  bore  with 
exemplary  patience.     \Vorks : 

The  Funeral  of  Miltiades.     (P.iris. 

Alcestis  .and  Adnu-tiis. 

Paul  Emilius,  the  conqtieror  of  Perseus. 

PFANNSCHMIDT,  Karl  Gottfried,  German 
painter;  born  September  15,  1819,  at  Muhlhausen, 
and  was  a  pupil  of  Cornelius  and  Dage  at  Berlin  ; 
he  afterwards  travelled  nmch  in  Italy.  He  became 
Professor  at  the  Berlin  Academy,  his  art  being,  as 
it  were,  an  echo  of  the  classic  school  prevalent 
in  the  first  half  of  the  19th  century.  Of  his 
works  we  may  mention  '  Caritas,'  '  Abendmahl,' 
and  'Altar '  (in  St.  Paul's  Church,  Schwerin).  Many 
of  his  drawings  were  published.  lie  obtained  the 
Berlin  gold  medal  in  1884,  and  also  the  Red 
Eagle  of  the  fourth  class.  He  died  July  5, 1887,  at 
Berlin. 

PFANSTILL,  LunwiG,  (Pfanstil,  or  Pfannen- 
STIL,)  a  painter  and  engraver  who  was  born  at 
Vienna  at  the  beginning  of  the  17th  century,  and 
died  at  Frankfort  in  1665.  He  painted  portraits 
and  allegories,  and  engraved  a  '  Pieta  '  in  mezzotint. 

PFEFFEL,  JoiiANN  AkiiREAS,  a  German  en- 
graver, was  born  at  Bischoffingen  in  1674.  He  re- 
sided at  Vienna,  where  he  produced  among  other 
plates  a  portrait  of  the  Emperor  Leopold.  He  after- 
wards removed  to  Augsburg,  where  he  followed 
the  business  of  a  printseller.  His  works,  as  an 
engraver,  were  chiefly  confined  to  architecture  and 
ornamental  foliage,  which  he  executed  in  a  neat 
style.  In  conjunction  with  C.  Engelbrecht,  he  en- 
graved a  set  of  plates  of  jewellery  ornaments,  from 
the  designs  of  A.  Morison  ;  and  executed  part  of 
the  plates  for  the  '  History  of  Architecture,'  pub- 
lished at  Vienna  in  1721  by  John  Henhard  Fi.schers. 
Scheuchzer's  Bible  was  one  of  the  works  issued 
from  his  establishment  at  Augsburg.  Finally  he 
became  Court  engraver  at  Vienna,  where  he  died 
in  1750.  His  son  Johann  Anoreas  Pfeffel  the 
1  younger  was  born  at  Augsburg  in  1715,  and  died 


PAINTERS  AND  ENGRAVERS. 


in  1768.  He  also  worked  upon  the  plates  of 
Soheuchzer'.s  Bible. 

PFEIFFER,  FRAKgois  Joseph,  a  portrait  painter 
and  engraver,  born  at  Aix-la-Chapelle  in  1741. 
He  practised  for  many  years  at  Amsterdam,  but 
late  in  life  he  settled  at  Brussels,  where  he  died  in 
1807. 

PFEIFFER,  Franqois  Joseph,  a  designer,  en- 
graver, and  litliograpber,  the  son  of  the  preceding, 
was  born  at  Liege  in  1778.  For  several  years  he 
was  engaged  as  a  scene-painter  at  Amsterdam. 
He  died  at  Terbiirg  in  1835. 

PFEIFFER,  Kaui,  Hermann,  an  engraver,  was 
born  at  Frankfurt  in  1769.  He  studied  at  the 
Royal  Academy  at  Vienna,  under  the  Professor  Ch. 
Brand.  He  worked  with  point  and  burin,  in  the 
English  manner,  and  was  a  very  industrious  artist. 
He  died  at  Vienna  in  1829.  His  engravings  are 
numerous,  particularly  of  portraits,  which  are 
chiefly  of  German  nobility,  and  persons  of  science 
and  letters,  of  his  time.  He  also  engraved  after 
some  of  the  older  Italian  and  other  painters,  such  as 
Raphael,  Correggio,  Fra  Bartolommeo,  Giuliano  da 
Parma,  Sassoferrato,  Kubens,  Lampi,  Oelenhainz, 
and  Fiiger.     Among  his  plates  we  may  mention  : 

Virgin  with  the  Child  and  St.  John  ;  after  Raphael. 
Venus  and  Cupid  ;  after  Cnrrejiyio. 
Rubens's  Portrait ;  after  Rubens. 

PFENNINGER,  Elizabeth,  the  niece  of  Hein- 
rich  Pfenninger,  was  born  at  Zurich  in  1772,  and 
died  after  1836.  She  was  a  miniature  painter,  and 
studied  in  Geneva  under  Boileau  and  Bouvier,  and 
in  Paris  under  Renault  and  Augustin.  Her  minia- 
tures are  well-handled. 

PFENNINGER,  Heinrich,  a  Swiss  painter  and 
engraver,  born  at  Zurich  in  1749.  He  was  a  scholar 
of  Jan  Balthasar  Bullinger,  under  whom  he  spent 
five  years,  and  afterwards  went  to  Dresden,  where 
he  worked  under  Zingg  and  Graf,  and  by  virtue  of 
his  access  to  the  Electoral  Gallery,  devoted  himself 
to  a  study  of  the  best  masters,  particularly  Van 
Dyck  and  Rembrandt.  On  his  return  to  Switzer- 
land, he  was  engaged  by  Lavater  to  make  the 
designs  and  engrave  some  of  the  plates  for  his  work 
on  Physiognomy.  In  1795  he  visited  Paris,  and 
in  1808  Hungary.  He  died  in  1815.  He  was 
much  employed  as  a  portrait  painter,  and  has 
etched  a  great  number  of  plates  of  portraits  and 
views  in  Switzerland.  He  engraved  some  of  the 
portraits  for  Fiissli's  '  Supplement  to  the  Lives  of 
the  Swiss  Painters.'  We  have  also  the  following 
by  him  : 

A  set  of  seventy-five  Portraits  of  Illustrious  Personages 
of  Switzerland,  accompanied  with  an  abridged  history 
of  their  lives  by  Leonard  Meister.     1781. 

Thirty-four  Portraits  of  the  most  celebrated  German 
Poets,  with  their  characters,  by  L.  Meister.     1785. 

A  set  of  six  Views  in  Switzerland. 

He  signed  his  work  //.  Pf. ;  II.  Pf.  fecit ;  Heinr. 
Pf.  :  and  P fen.  fee. 

PFENNINGER.  Johannes,  p.ainterand  engraver, 
was  born  at  Stiifa,  by  Lake  Zurich,  in  1705.  He 
learnt  engraving  under  H.  von  Mechel  in  Basle, 
and  painting  in  Rome  (1794-9).  After  this  here- 
turned  to  Zurich  and  occupied  himself  on  portraits, 
principally  miniatures  in  water-colour.  He  died 
at  Zurich  in  1825.     Among  his  works  are  : 

The  first  Navigator  (engraved  ty  Seip). 

The  Laocoon  Group,  in  sepia. 

The  Dismissal  of  Hagar  ;  the  same. 

The  Crucifixion  ;  after  Michelangelo  ;  in  Indian  ink. 


PFLUG,  Johann  Baptist,  genre  painter,  was 
born  at  Biberach  in  1785,  and  studied  at  the  Munich 
Academy  in  1805-9.  After  this  he  became  a 
teacher  of  drawing  in  his  native  town,  and  devoted 
himself  to  painting  humorous  scenes  from  the 
popular  life  of  Upper  Swabia,  and  also  military 
pictures  and  a  few  portraits.  He  died  at  Biberach 
in  1865.  Several  of  his  works  are  at  the  Rosenstein, 
near  Stuttgart.  Noticeable  among  his  productions 
are  : 

A  Peasants'  AVedding. 

The  Gipsy  Family. 

The  Gamesters. 

The  A'illage  Alehouse. 

Washing  Day. 

The  Battle  of  Stockach.     1S42. 

Distribution  of  Medals  to  Veteran.s.     1843. 

Austrian  Hussars.     1844. 

March  of  the  Russians  from  the  Waldsec. 

PFORR,  Franz,  historical  painter,  was  bom  at 
Frankfort-on-the-Maine  in  1788.  He  was  the  son 
of  the  better  known  Johann  Georg  Pforr.  His 
first  master  was  his  uncle,  Tischbein,  the  in- 
spector of  the  Cassel  Gallery.  In  1805  he  went 
to  the  Academy  of  Vienna,  and  studied  under 
Fijgcr,  and  it  was  there  that  he  made  the  acquaint- 
ance of  Overbeck.  In  1810  he  went  to  Rome. 
Cornelius,  too,  entered  into  friendship  with  Over- 
beck  and  Pforr,  and  both  of  these  artists,  who 
outlived  Pforr,  spoke  in  high  terms  of  his  talent, 
and  confessed  themselves  indebted  to  the  taste 
which  he  always  displayed  in  his  works.  Pforr 
died  at  Albano  in  1812.  His  subjects  were  taken 
from  Scripture,  from  German  legends,  or  from 
his  own  fancy.  The  Stiidel  Institute  has  a  picture 
by  him  entitled  '  Rudolf  of  Hapsburg  presenting 
his  Horse  to  an  Ecclesiastic' 

PFORR,  Johann  Georg,  animal  painter  and 
etcher,  was  born  at  Upfen,  near  Eisenach,  in  1745. 
He  was  working  at  the  mine  at  Richelsdorf,  when 
the  Hessian  minister,  Waitz,  discovered  bis  talent, 
and  placed  him  in  his  own  porcelain  factory.  In 
1777  he  entered  the  Academy  at  Cassel,  where  in 
the  following  year  he  obtained  the  first  prize,  and 
in  the  next  year  was  admitted  a  member.  In  1781 
he  settled  in  Frankfort,  where  he  died  in  1798. 
He  had  a  pa-ssionate  fondness  for  horses,  which  led 
hira  to  paint  them  with  a  succe.ss  hardly  sur- 
passed. He  worked  well  in  sepia  and  Indian 
ink,  and  was  a  good  etcher ;  but  he  could  not 
render  the  human  figure  with  freedom.  The  Stiidel 
Institute  at  Frankfort  possesses  eight  of  his  pictures. 

PFRtJNDT,  Georg,  (or  Pfrund,)  was  born  at 
Flachslanden,  in  Bavaria,  in  1603,  and  died  at 
Durlach  in  1663.  According  to  Sandrart,  he  en- 
graved a  considerable  number  of  architectural  and 
geographical  subjects.  He  was  an  engineer, 
sculptor,  modeller  in  wax,  and  steel  engraver,  and 
served  the  Duke  of  Weimar  in  the  first  of  these 
capacities. 

PHEIDIAS,  the  celebrated  sculptor,  who  was 
born  at  Athens  about  500  B.C.,  and  died  about  430, 
is  said  by  Pliny  to  have  painted  at  Athens  a  picture 
of  Pericles  as  the  Olympian  Jupiter. 

PHELPS,  Richard,  a  portrait  painter  who  prac- 
tised in  England  in  the  first  half  of  the  18th  century. 
J.  Faber  engraved  after  him  a  portrait  of  Bampfield 
Moore  Carew. 

PHILESIUS,  Rigmanx,  a  German  engraver  on 
wood,  resided,  according  to  Papillon,  at  Strasburg 
in  the  beginning  of  the  16th  century.  He  exetuted 
a  set  of  twentv-five  cuts  of  the  Life  and  Passion  of 

107 


A  BrOGRAPniCAL  DICTIONARY   OF 


our  Saviour,  published  at  Strasbuig,  by  John 
Knoblauch,  in  1508.  He  was  also  a  carver  of  wood. 
Zani  notices  him  under  the  names  Rigman,  Phi- 
lesiiis,  and  P/dleri/,  or  Phillery. 

PHILIP  IV.  of  Spain  (1605-1665)  was  an 
amateur  painter.  He  produced  among  other  pic- 
tures a  'St.  James  with  the  Lamb,'  'Jesus  with  St. 
John,'  and  a  '  Magdalen  in  the  Desert.'  Philip  V. 
(1683-1746),  according  to  Palomino,  was  also  an 
amateur  artist,  drawing  in  pen  and  ink  with  skill 
and  facility. 

PHILIPPE,  Jean  B.  C.     See  Chatelain. 

PHILIPPE,  PlETER,  was  a  Dutch  engraver,  who 
flourished  at  tlie  Hague  about  the  year  1660.  We 
have  by  him  a  few  plates  of  portraits  and  festivals, 
among  which  are  the  following : 

PORTRAI'IS. 

Loiiifi  Henri,  Prince  of  Nassau  ;  P.  Philippe  fee. 
Henri  Charles  <le  la  Tremouille,  Prince  ds  Tarente; 

ajtcr  Van  der  IStmk. 

SUBJECTS. 
Tlie  Assembly  of  the  States-General  of  Holland  ;  after 

Toriivliet, 
A  grand  Festival ;  after  the  same. 
A  set  of  Merry-makings;  after  Van  der  Venne.     1600. 

PHILIPPI,  IIkiniucii,  was  born  at  Cleves  in 
18.'i8,  and  studied  in  Diisseldorf,  Munich,  and 
Home.  He  joined  the  German  forces  in  1866  and 
1870-1  as  a  Landwehr  officer,  and  at  Koniggratz 
was  wounded  in  the  foot.  After  leaving  the  army 
ho  devoted  himself  entirely  to  art,  and  produced 
historical,  genre,  and  aninnil  pictures.  An  early 
death  at  Diisseldorf  in  1874  interrupted  his  success- 
ful career.     Among  his  best  compositions  are  : 

Thusnelda  in  the  Triumph  of  Germanicus. 
Scenes  from  the  Peasant  War. 

Scenes  from  the  Life  of  the  Komans  and  Pompeians. 
Soldiers  of  the  Landwehr  returning  home. 
Choice  Ewes. 

PHILIPPOTEAUX,  Heniii  Emmandel  Felix,  a 
French  battle  painter,  was  bom  in  Paris  in  1815. 
He  studied  art  under  Leon  Cogniet.  He  painted 
military  scenes  with  great  success,  though  some- 
times with  a  curious  dryness.  Late  in  life  he  pro- 
duced one  or  two  excellent  panoramas.  He  died  in 
Paris  in  1885.     Works  : 

Chasseurs  d'Afrique  at  Balaclava. 

Rivoli. 

Moutebello. 

The  Death  of  Turenne. 

The  Retreat  from  Moscow. 

Surrender  of  Antwerp. 

Henry  IV.  and  Sully  at  Ivry. 

The  English  Cavalry  at  Balaclava. 

The  English  squares  at  "Waterloo  recei\ing  the  French 
Cuirassiers.     ('South  Kensington.) 

Battle  of  Fonteuoy.     (South  Ktnsimjton.) 

PHILIPS,  Charles,  an  English  portrait  painter, 
the  son  of  Richard  Philips,  was  born  in  1708.  His 
practice  was  among  the  nobility,  and  he  liad  a 
large  clientele  at  an  early  age.  He  married  in 
1738,  and  lived  in  Great  Queen  Street,  St.  Giles's. 
His  portraits  are  generally  of  a  small  size,  and 
though  well  painted  and  good  likenesses,  do  not 
show  him  to  have  been  possessed  of  any  high  art 
qualities.  This  is  especially  evident  in  his  portrait 
groups.  Several  of  his  portraits  have  been  en- 
graved.    He  died  in  1747.     Works: 


Knole  Park. 
Knowsley  Hall. 

108 


Lady  Betty  Germaine.     1731. 
Wilson,  Bishop  of  Sodor  and 
Man. 


London.  A'a^'onan  Warburton,  Bishop    of   GIcu- 

Portrait  Gallery.  ]     cestcr. 
Thomton-le-  Hall.    Duke  of  Cumberland  and  Lord 

Stre«t.  Cathcart. 

„  „        The  Family  of  Lord  .\.  Hamil- 

ton.    1731. 
Woburn  Abbey.  The    Second    Duke   of    Marl- 

borough.   1731. 

PHILIPS,  Nathaniel  George,  was  the  youngest 
son  of  John  Leigh  Philips,  Esc].,  of  Mayfield,  Man- 
chester, and  was  born  on  June  9,  1795.  After 
leaving  school  he  went  to  Edinburgh  University, 
intending  to  adopt  the  medical  profession,  but  the 
favourable  encouragement  he  received  from  Sir 
William  Allan  and  other  artists  caused  him  to 
abandon  this  intention  and  devote  his  time  to  art. 
Having  a  moderate  competency  derived  from  the 
property  of  his  father,  whoso  collection  of  books 
and  works  of  art  took  nineteiii  days  to  dispose  of 
by  auction  in  1814,  he  spent  three  years  travelling 
and  .studying  in  Italj'.  In  Rome  his  work  was  so 
highly  appreciated  that  in  18:i5,  on  the  deatli  of 
Fuseli,  he  was  chosen  to  fill  the  vacancy  in  the 
membership  of  the  Academy  of  St.  Luke.  His 
sketches  also  served  on  one  occasion  to  ransom 
him.  from  a  more  than  ordinarily  cultured  band  of 
brigands.  On  his  return  he  settled  at  Liverpool, 
where  he  painted  landscapes  and  exhibited  as  a 
member  of  the  Liverpool  Academy.  His  most  not- 
ableachievement,  however.isa  fine  series  of  twenty- 
eight  plates,  many  of  them  engraved  by  himself, 
from  early  drawings  of  old  lialis  in  Lancashire  and 
Cheshire.  This  work  was  originally  published  in 
part  between  the  years  1822  and  1824,  before  his 
Italian  tour  ;  but  it  was  reissued  in  complete  form 
on  a  handsome  scale  in  1893  by  Henry  Gray,  the 
publisher,  with  contributory  letterpress  by  twenty- 
four  authors,  and  a  memoir  of  the  artist's  life. 
Philips  occasionally  practised  etching  as  well  as  en- 
graving. His  work  is  masterly  and  accurate.  He 
was  famous  personally  for  his  conversational  gifts, 
and  was  an  excellent  musician.  He  died,  un- 
married, at  Rodney  Street,  Liverpool,  on  August  1, 
I8.5I. 

PHILIPS,  Richard,  an  English  portrait  painter, 
born  in  1681,  who  enjoyed  a  large  practice  in  the 
early  part  of  the  18th  century.  He  died  in  1741. 
Amongst  his  works  are: 

London.       Iromnowjers-  }  gj^  jj  Q^g 

Halt.        j 
AToburn  Abbey.  Unknown  male  Portrait.    1731. 

PHILLERY,  Anton,  an  old  engraver  on  wood, 
lived  at  Antwerp  about  1530,  and  has  left  a  middle- 
sized  print  representing  two  soldiers  standing 
before  a  woman,  who  is  seated,  holding  a  dog 
upon  her  lap.  It  bears  the  following  inscription 
in  old  Flemish  characters,  CTiIjcptint  t'Snttiitrpcn  6n 
mg  9pi)ilktp  Be  figutsnilict,  printed  at  Antwerp,  l»j 
me  Phillery,  the  Jigure-cutter.  There  is  also  known 
a  'Genealogia  illustrissimae  Domus  Austriie'  by 
him. 

PHILLIP,  John,  was  born  at  Aberdeen  April 
19th,  1817.  His  parents  were  of  humble  condition, 
but  from  his  youngest  days  lie  showed  a  strong 
inclination  for  art.  He  was  apprenticed  early  in  life 
to  a  house  painter,  where  he  made  his  first  effort 
in  art  by  trying  to  copy  a  portrait  of  Wallace 
from  a  sign-board  which  hung  on  the  opposite  side 
of  the  street.  He  is  said  to  have  received  some 
instruction  from  Mr.  Forbes,  a  local  portrait  painter, 
but  in  1834  he  went  to  London  as  a  stow-away  on 


PAINTEU3  AND  ENGRAVERS. 


a  brig  belonging  to  a  friend  of  liis  father.  On 
arriving  in  London  he  was  kept  liard  at  work,  but 
contrived  to  visit  the  exhibition  of  the  Royal 
Academy  at  Somerset  House.  He  attracted  the 
notice  of  a  Major  Pryse  Gordon,  who  recommended 
him  to  Lord  Panraure,  by  whose  generosity  he  was 
placed  as  a  pupil  with  T.  M.  Joy.  In  1837  he 
entered  the  Academy  as  a  student,  and  in  1839  he 
exhibited  two  pictures,  'A  Moor'  and  a  portrait. 
In  1840  he  exhibited  his  first  subject  picture, 
'  Tasso  in  disguise,  relating  his  persecutions  to 
his  Sister,'  and  in  the  same  year  he  returned  to 
Aberdeen,  where  he  was  principally  employed  in 
painting  portraits.  In  18-16  he  again  sought  Lon- 
don, where  he  continued  to  have  his  domicile  till 
his  death.  In  1847  he  exhibited  at  the  Academy 
'A  Presbyterian  Catechising,'  and  at  the  British 
Institution  'Courtship'  and  'The  Grandfather.' 
In  1848  he  exhibited  a  'Scotch  Fair';  in  1849, 
'Drawing  for  the  Militia';  in  1850,  'Baptism  in 
Scotland,'  and  in  1851,  'Scotch  Washing,'  'The 
Spae  Wife,'  and  '  A  Sunbeam.'  In  this  year  he 
went  to  Spain  and  lived  for  a  time  at  Seville, 
where  he  made  numerous  sketches,  and  began 
several  pictures,  one  of  which,  'The  Spanish  Gipsy 
Mother,'  was  purchased  by  the  Queen  on  the 
recommendation  of  Sir  E.  Landseer.  He  also 
painted  for  Her  Majesty  '  The  Letter-Writer  of 
Seville.'  In  1856-57,  in  company  with  his  friend 
Richard  Ansdell,  he  made  a  tour  through  Spain, 
and  in  1857  sent  home  to  the  Academy  'Charity' 
and  'The  Prison  Window';  and  in  the  same  year 
he  was  elected  an  Associate  of  the  Royal  Academy. 
In  the  year  1858  he  painted  '  Spanish  Contraban- 
distas'  for  the  Queen,  a  portrait  of  the  Prince 
Consort  for  the  city  of  Aberdeen,  '  El  Cortejo,'  and 
'  Youth  in  Seville.'  In  1859  he  became  a  full 
Academician,  and  exhibited  '  Huff,'  and  a  portrait 
of  A.  L.  Egg,  R.A.  In  1860  was  exhibited  his 
picture  of  '  The  Marriage  of  the  Princess  Royal,' 
ordered  by  the  Queen,  and  'Prayer,'  his  diploma 
picture ;  and  in  the  autumn  of  the  same  year  he 
was  again  in  Spain.  In  1861  he  exhibited  'Gossips 
at  a  Well';  in  1862  'Doubtful  Fortune,'  or  'The 
Fortune-Teller,'  'A  Spanish  Volunteer,'  'Water 
Drinkers,'  and  '  Dolores.'  In  1863  was  exhibited 
his  '  House  of  Commons,'  painted  for  the  Speaker, 
Mr.  Denison,  afterwards  Viscount  Ossington,  repre- 
senting a  del)ate  on  the  Frencli  Treaty,  1860 ;  and 
'  Agua  Bendita.'  In  1864  appeared 'La  Gloria — a 
Spanish  Wake,'  bought  for  the  Scottish  National 
Gallery,  Edinburgh,  in  1897,  for  5260i.,  and  a 
portrait  of  the  Earl  of  Dalhousie  ;  and  in  1865 
'  The  Early  Career  of  Murillo,  1634.'  In  1866  he 
produced  a  portrait  of  Duncan  McNeill,  of  Colonsay, 
Lord  Justice  of  Scotland,  and  '  A  Chat  round  the 
Brasiero.'  In  the  spring  of  this  year  he  went  to 
Rome,  for  the  winter,  but  ill  health  brought  him 
back  to  London,  where  he  was  attacked  by  paralysis, 
and  died  February  27, 1867.  Phillip  married  a  sister 
of  Mr.  Richard  Dadd.  A  large  collection  of  his 
works  was  exhibited  at  the  London  International 
Exhibition  in  1873.  Besides  those  already  men- 
tioned we  may  name  : 

The  Brig  Mimly.     1834. 

Portrait  of  himself  at  the  age  of  twenty-three.     1840. 

Sketch  portrait  of  Sir  J.  E.  Millais,  Bt.,  E.A.     1843. 

(T.  Oldham  Barlow,  Esq.,  R.A.) 
The  Miller's  Daughter.     1847. 
<iirl  tending  Cattle.     1850. 
The  Gipsy  Queen.     1853. 
The  Highlander's  Home.     1855. 


Richard  Ansdell,  E.A.    1856. 

S.  Bough,  A.K.S.A.    1856. 

The  Eril  Eye.     1858. 

H.E.H.  The  Princess  Beatrice.     1880. 

The  Toilet.     1860. 

A  Spanish  Widow.     1881. 

La  Bomba,  or  the  Wine-Driukers. 

The  Grape-Seller.    Seville.     1862. 

La  Loteria  Nacional.     1862. 

Breakfast  in  the  Highlands.     1865. 

A  large  number  of  his  unfinished  pictures  were  sold 
after  his  death  ;  among  them  : 
Spanish    Boys    playing    at    Bull-Fighting.      (Scottish 

National  Gallery.) 

PHILLIPS,  Chables.  a  mezzotint  engraver,  was 
born  in  1737.  He  studied  in  London,  and  was  in 
1765  employed  by  Boydell.  The  latest  date  known 
on  his  works  is  1770.  He  worked  also  in  the  dot 
manner.  We  have,  among  others,  the  following 
prints  by  him : 

Portrait  of  the  Daughter  of  N.  Hone,  EA. 

A  Boy  holding  a  Pigeon  ;  after  Mola. 

A  Woman  plucking  a  Fowl ;  after  Rembrandt. 

The  Philosopher ;  after  the  same. 

The  Holy  Family  ;  after  Parmigiano. 

Ven\is  and  Cupid  ;  after  Salviati. 

Isaac  blessing  Jacob ;  after  Spatjuoletto. 

And  others,  after  Loutherbounj  and  Sir  Joshua  Reynolds. 

PHILLIPS,  Giles  Firman,  an  English  landscape 
painter,  born  in  1780.  His  practice  was  confined 
to  river  scenes,  and,  living  at  Greenwich,  these 
were  chiefly  furnished  by  the  Thames.  He  ex- 
hibited at  the  Academy  from  1836  to  1858,  and 
published  '  Principles  of  Effect  and  Colour'  (1838), 
and  'Practical  Treatise  on  Drawing'  (1839).  He 
died  March  31,  1867. 

PHILLIPS,  Henby  Wyndham,  an  English  por- 
trait painter,  born  in  1820.     He  received  his  art 
instruction  from  his  father,  T.  Phillips,  R.A.,  and 
exhibited   at   the    Academy   from    1839   to    1868. 
Though  his  works  were  chiefly  portraits  and  he 
had  a   large   circle    of  sitters,  he  painted    a   few 
Scriptural   subjects.      For    several    years   he  was 
secretary  to  the  Artists'  Benevolent  Institution.    He 
died  Deoembar  5,  1868.     Amongst  his  works  are  : 
London.      Garrick  Club.    Charles  Kean  as  Louis  XI. 
Royal  CoHeye  \  p^  p^„^,j 
0/  Fhysictaus.  ) 

"        ^-^ifi'"''""  "-^  \  Robert  Stephenson.     1866. 
Civil  Engineers.  ^  *^ 

PHILLIPS,  S.,  an  English  engraver,  practising 
in  London  at  the  close  of  the  18th  century.  Amongst 
his  plates  are  : 

The  P.irth  of  Sliakespeare  ;  after  Westall. 
The  Guardian  Augel ;  after  Maria  Cosway. 

PHILLIPS,  Thomas,  a  well-known  portrait 
painter,  was  born  at  Dudle.v,  in  Warwickshire,  in 
1770.  He  was  placed  witli  Eginton,  the  glass 
painter,  at  Birmingham,  and  came  to  London  in 
1790  with  a  letter  of  introduction  to  Benjamin  West, 
who  employed  him  on  the  windows  in  St.  George's 
Chapel  at  Windsor.  In  17112  he  commenced  as  an 
exhibitor,  with  a  '  View  of  Windsor  Castle  ' ;  and  in 
the  two  following  j-ears  he  exhibited  the  '  Death  of 
Talbot,  Earl  of  Slirewsbury,  at  the  battle  of  Cas- 
sillon,'  '  Ruth  and  Naomi,'  '  Elijah  restoring  the 
Widow's  Son,'  '  Cupid  disarmed  by  Euphrosyne,' 
and  other  subject  pictures.  Soon  afterwards  he 
devoted  himself  chiefly  to  portrait  [lainting.  Not- 
withstanding that  he  had  to  compete  with  Uoppner, 
Owen.  Jackson,  Lawrence,  and  Beechey,  lie  kept 
steadily  progressing  in  public  favour,  and  seemed 
to  be  the  selected  painter  for  men  of  genius  and 

109 


A  BIOGRAPHICAL  DICTIONARY  OP 


talent.  In  1804  he  wa8  elected  an  Associate  of  the 
Academy.  In  1806  he  painted  the  Prince  of 
Wales,  Lord  Bgrcmont,  tlie  Marquis  of  Staflbrd, 
and  tlie  Stafford  Family.  In  1808  he  became  an 
J{.A.,  and  in  1824  succeeded  Henry  Fuseli  in  the 
professorship  of  painting,  wliich  oflice  lie  held  till 
1832.  On  his  appointment  to  the  professorship  he 
made  a  tour  in  Italy,  in  the  company  of  Hilton,  in 
order  to  enable  him  to  discharge  the  duties  of  the 
office  more  efficiently.  He  delivered  ten  '  Lectures 
on  the  History  and  Principles  of  Painting,'  which 
he  afterwards  published  in  one  volume  (in  183.^). 
Those  lectures  are  clear  and  simple  in  their  stylo, 
and  instructive  in  substance  and  arrangement, 
especially  in  those  parts  where  he  gives  an  exposi- 
tion of  his  views  of  the  principles  of  art.  He  died 
in  London,  April  20,  1845.  In  1802  he  painted  by 
stealth,  but  with  the  connivance  of  Josephine,  a 
portrait  of  Napoleon  which  is  now  at  I'etworth  ; 
it  has  been  engraved.  Phillips  wrote  many  of  the 
articles  on  the  line  arts  in  Ilees's  Cyclopsedia,  and 
in  other  jjublications.  He  was  one  of  tlie  great  pro- 
moters of  the  Artists'  General  Benevolent  Institu- 
tion. His  Diploma  picture  at  Burlington  House  is  a 
'  Venus  and  Adonis.'  Tlie  following  portraits  were 
painted  nearly  in  the  order  in  which  we  give  thcni. 

Lord  Thiulow. 

M'illiam  ISlake  (engraved  by  Schiavonetti). 

Lord  Byron  (tioice). 

Count  I'latoff. 

The  poet  C'rabbe. 

Earl  Grey. 

Lord  Broiigliam. 

Sir  Josepli  Jlauks. 

Joshua  Brookes,  the  celebrated  lecturer  on  surgery. 

Major  Deiiham,  the  .Vfricau  traveller. 

Lord  Stowell. 

Sir  B.  Parry. 

Sir  J.  Brunell. 

David  Wilkie.    (yatioiial  GaUe.-ij.) 

Sir  F.  Burdett. 

Lord  LynUhurst. 

Dr.  Arnold. 

The  Duke  of  Sussex. 

Sir   Nicholas   Tiudal,  Chief  Justice  of  the  Common 

Pleas. 
Dr.  Shuttleworth,  Bishop  of  Chichester. 
Sir  "Walter  Soott.  Thomas  Moore,  Thomas  Campbell, 

Southey,  and  Coleridge, /<)/•  Mr.  Murray. 
Dr.  Bucklaud. 
Professor  Sedgwick. 
Davies  Gilbert. 
Mrs.  Somerville. 
Mr.  Hallam,  the  historian. 
Francis  Baily,  the  astronomer. 
Michael  Faraday. 
Sir  Humphrey  Davy. 
Himself. 

I'HILOCHARES.abrother  of  the  orator  .Ssohines, 
was  one  of  the  last  of  the  Greek  painters  previous 
to  the  decline  of  the  art  in  the  3rd  century  B.C. 
Another  painter  of  the  same  name  is  mentioned  by 
Pliny  as  the  author,  about  50  B.C.,  of  a  'Glaucon 
and  his  Son.'  for  the  comitia. 

PHILOXENES,  a  native  of  Eretria,  was  a  dis- 
ciple of  Nicomachus,  and  adopted  the  expeditious 
style  of  his  instructor.  According  to  Pliny,  he 
painted  for  Cassander  a  picture  representing  the 
•  Defeat  of  Darius  by  Alexander,'  which  was  con- 
sidered one  of  his  most  important  works. 

PHILP,  James  George,  painter,  was  a  native 
of  Falmouth,  ami  w.t.8  born  in  1816.  He  first  ex- 
hibited at  the  Koyal  Academy  in  1846,  his  contri- 
butions being  two  landscapes  in  oils.  He  after- 
wards successfully  devoted  himself  to  painting  in 
water-colour,  and  in  1856  became  a  member  of  the 
110 


New  Roi:iety  of  Painters  in  Water-Colours.     He 
died  April  II,  1885. 

PIIKYLUS,  an  ancient  Greek  painter  of  some 
repute,  is  mentioned  by  Pliny  as  a  contemporary 
of  Aglaophon  the  younger,  Ccpliisodotus,  and 
Evenor.     lie  flourished  about  420  n.c. 

PIACENZA,Bartolinoi).\.  Thisnameisfoundon 
some  wall-paintings,  executed  in  the  14th  century, 
in  the  Baptistery  at  Parma.  The  town  of  Piacenza 
also  possesses  some  worksattributi'd  to  the  same  man. 

PIAGALI,  Fra.vcksco,  a  native  of  Saragossa, 
who  flourished  in  the  17th  century,  and  is  placed 
by  Palomino  among  the  good  Valencian  painters. 

PIAGGIA,  Teramo,  (or  Erasmo  da  Zoagli,)  was 
a  native  of  Zoagli,  in  tlie  Genoese  state,  and  flour- 
ished about  the  year  1547.  He  was  a  disciple  of 
Lodovico  Brea.  In  conjunction  with  Antonio 
Semiui,  lie  painted  several  works  for  the  churches 
at  Genoa,  of  which  one  of  the  best  was  a  '  Martyr- 
dom of  St.  Andrew.' 

PIANE,  Giovanni  JIaria  dalle,  a  painter  called 
Molinaictto,  was  born  ut  Genoa  in  1660.  He 
studied  at  Kome  under  G.  B.  GauUi,  and  painted 
historical  pictures  and  portraits.  lie  visited  Parma 
and  Piacenza,  and  Charles  Bourbon  of  Naples 
appointed  him  court  jiaiiitcr.     He  died  in  1745. 

PIANOHO,  1l.     See  Morelli,  Bartolommeo. 

PIASTKINI,  Giovanni  Domenico,  was  an  his- 
torical painter  of  Pistoia,  and  flourisheil  at  the 
beginning  of  the  18th  century.  He  was  a  pupil  of 
Luti.  He  painted  several  frescoes  in  the  porch  of 
the  Madonna  della  Uiiiilta,  at  Pistoia,  and  also 
worked  in  S.  Maria  in  Via  Lata,  at  Kome. 

PIATTI,  Francesco,  is  said  by  Fuessli,  in  his 
Supplement,  to  have  been  born  at  Teglio,  in  the 
Vulteline,  in  1650.  He  does  not  aciiuaint  us  by 
whom  he  was  instructed,  but  informs  us  that  he 
painted  a  great  number  of  altar-pieces  and  pictures 
for  the  cliuiches  and  galleries  of  the  neighbourhood, 
and  highly  commends  a  picture  of  '  Cleopatra,'  by 
him,  in  the  possession  of  a  noble  family  at  Delebio. 
Zani  says  he  was  living  in  1690. 

PIATTOLI,  Gaetanu,  a  Florentine  painter,  was 
born  in  1703.  He  was  a  pupil  of  Riviere,  a  French 
painter,  and  painted  portraits  and  mythological 
scenes.  He  died  about  1770.  His  wife  An.na  was 
also  a  portrait  painter,  and  died  in  1788. 

PIAZZA,  Albertino,  (called  Toocagni,)  bom  at 
Lodi  about  1450,  died  before  1529 ;  son  of  a 
painter,  I'ertino,  by  whom  no  works  are  known, 
and  probably  a  pupil  of  Borgognone.  Conjointly 
with  his  brother,  Mariino  Piazza,  he  painted  many 
altar-pieces,  the  two  brothers  being  the  chief  repre- 
sentatives of  the  local  school  of  Lodi.  Albertino 
was,  however,  an  artist  of  greater  distinction  and 
finer  fibre  than  his  brother,  though  with  strongly 
eclectic  tendencies.  In  many  of  his  later  works 
he  shows  himself  a  close  follower  of  the  school 
of  Leonardo,  as  exemplified  more  especially  by 
Cesare  da  Sesto,  while  in  others  a  strain  of 
Haphaelesque  feeling  is  apparent.  Among  his 
principal  paintings  are  the  following  : 

Bergamo.     Locliis  Coll.    Marriage  of  St.  Catherine. 
„      Signor  Frhzoni  )  j^^^^^i^^^  „{  ^^^  jiagi. 
iSalls.  j  ^' 

Castiglione  S.  Maria  Altar-piece  (Joint  work  with 
(i'Adda.  <tell^  Inco-  Martina) :  Madonna  and 
ro/iata.  Child,  with  SS.  Roch  and 
John  Baptist;  Criicitixion, 
with  Saints ;  and  above,  the 
Annunciation.  Predelfa:  the 
twelve  Apostles. 


THOMAS  PHILLIPS 


1 1  alker  an  J  Cockcrdl  phoh^^  {Sation.il  Portrait  Gallery 

LORD  CHANCELLOR  TIIURLOW 


PAINTERS  AND  ENGRAVERS. 


Cathedral. 

Incoronata  {lit- 

rimayhi  Chapel). 


Milan. 


Incoronata 

(choir). 

Eorromeo  Coll. 


„  Crespi  Coll. 

„  Marchese  Vis- 

conti  Venosta. 

Padua.  nailery. 

Verona.  Gallery. 


Lodi.  S.  Aijnese.    Altar-piece  {joint  work,  dated 

1.52U) :  St.  Augustine  en- 
throned, with  ."^aiuts ;  Ma- 
donna and  Child,  with 
Saints  and  the  donor,  Nic- 
colo  Galliani. 

The  Assumption. 

Altar-piece  (iifter  1513,  joint 
work):  Madouna  and  Child, 
with  St.  Anthony  (who  pre- 
sents Albcrtino  Berinzaghi) 
and  other  Saints ;  above, 
Crucifixion,  with  Saints. 

SS.  AppoUonia  and  Catherine 
{lunette  fresco). 

The  Coronation  of  the  Virgin 
11.519). 

Christ  and  the  Apostle.s  (pre- 
della). 

Madonna  and  Child. 

Triptych,  with  several  Saints. 

f  Pieta  {predella). 

Christ  with  SS.  Peter  and  John. 

Holy     Family      {ascribed      to 

Raphael).  C.  J.  Ff. 

PIAZZA,  Cavaliere  Andrea,  was  tlie  nephew  of 
Cosimo  Piazza,  by  whom  he  was  instructed  in  the 
art,  and  he  accompanied  his  uncle  to  Rome,  where 
lie  had  the  advantage  of  studying  after  the  great 
masters.  He  passed  some  years  in  the  service  of 
tlie  Duke  of  Lorraine,  and  on  his  return  to  Venice 
painted  a  large  picture  of  the  'Marriage  at  Cana,' 
for  the  Church  of  Santa  Maria,  which,  according 
to  Lanzi,  is  his  most  celebrated  work.  He  died  at 
Venice  in  1670.  There  is  a  picture  by  liim  dated 
1649. 

PIAZZA,  Bertino,  a  painter  of  Lodi  in  the  15th 
centuiy,  the  father  of  Albertino  and  Martino  Piazza, 
and  grandfather  of  Calisto  da  Lodi.  No  works  by 
him  are  known,  but  he  is  probably  the  painter 
who,  according  to  Lomazzo,  was  summoned  by 
Francesco  Sforza  to  decorate  witli  frescoes  the 
courtyard  of  tlie  Palazzo  dell'  Arengo  at  Milan, 
where  he  was  associated  with  Bonifazio  Bemho 
and  other  distinguislied  masters  of  the  day. 

PIAZZA,  C.^LISTO,  (usually  called  Calisto  ha 
Lodi,)  born  before  1505,  died  after  1561  ;  the 
son  of  Martino  Piazza  according  to  a  contract 
of  1529,  in  which  Calisto  and  his  brothers  are 
mentioned  as  receiving  payment  for  completing  a 
picture  left  unfinished  by  their  uncle  Albertino. 
His  principal  master  was  Romanino  of  Brescia, 
whom  he  often  approaches  closely,  and  he  must 
also  have  been  intimately  associated  with  Ales- 
sandro  Moretto,  who  was  his  fellow-pupil  in  the 
workshop  of  Romanino.  Calisto  was  employed  for 
some  years  at  Brescia  and  in  the  Val  Catnonica, 
but  returned  to  Lodi  in  1529,  where,  in  company 
with  his  brothers  Scipione  and  Cesare,  he  decorated 
several  chapels  in  the  Church  of  the  Incoronata, 
some  of  these  paintings  being  valued  in  1532  by 
Civerchio  and  other  artists.  In  1539  he  visited 
Spain  and  Portugal,  and  is  known  tn  have  executed 
a  fresco  in  the  Escurial.  About  1544  he  settled  at 
Milan,  and  did  much  good  work  in  the  Churches 
of  S.  Maurizio,  S.  Francesco,  S.  Nazzaro  e  Celso, 
&c.  Calisto  was  a  very  prolific  painter,  and 
though  many  works  which  he  is  known  to  have 
executed  have  disappeared,  he  is  still  well  repre- 
sented in  North  Italy.  In  1562  his  son  Fabid,  a 
very  feeble  painter,  was  ordered  to  complete  the 
work  in  the  Incoronata  at  Lodi  which  Calisto  had 
left  unfinished  at  his  death.  The  archives  of  this 
church  contain  many  records  of  payments  made  to 


the  three  brothers,  Calisto,  Cesark,  and  SciPlO.SE, 
between  the  years  1529  and  1549.  By  the  last- 
named  painter,  who  died  in  1551,  there  is  a  signed 
work  in  the  Church  of  S.  Spirito  at  Bergamo. 
Among  the  best  works  of  Calisto  are  the  following  : 

Breno.  {Val Canonica) .    The  Madonna  and  Child,  with 
Saints. 
„  „  The  Deposition. 

Brescia.       iS.  Clemenie.    The  Annunciation,  with  Saints. 
„  S.  Maria  in    The    Visitation     {signed      and 

Calcltera.         ffated  15J1). 
,,  Gallery.     The  Nativity  {signed  and  dated 

1.524). 
Cividate.  ( Val    Madonna  and  Child,  with  Saints 

Canonica.)         {signed). 
Codogno.  The  Assumption,  with  portraits 

of     the     Trivubsio     family 
(1533). 
Crema.      Church  of  the     Madonna    and      Child,    with 
Triniia.        Saints     {signed    and      dated 
1535). 
Edolo.   {Val  Canonica.)    Frescoes:  History  of  St.  John 
Baptist,  and  the  Crucifixion. 
EibaDO.  {Val Canonica.)     Frescoes:  St.  George ;  Death  of 
St.  John  Baptist ;  and  the 
Assumption. 
Esine.    {Val  Canonica.)     Pieta,   with  Two   Angels,  and 
seven    other  figures   {signed 
and  dated  1527). 
Lodi.  Cathedral.    Altar-piece:  Madonna  and  Child, 

with  Saints ;  Massacre  of  the 
Innocents  {left  nnjiiiished  by 
AlbertinOy  completed   by   Ca- 
listo  and  his  brothers). 
„  Incoronata.    Beheading  of  St.  John  Baptist 

(signed  and  dated  1530). 
„  „  Scenes  from  the  History  of  the 

Saint. 
„  „  Deposition    {signed    and   dated 

1538). 
.,  „  Scenes  from  the  Passion. 

„  „  Scenes   from    the    History    of 

.Joachim  and  Anna. 
Milan.  Brera.    Madonna     and     Child,    with 

Saints  and    an    Angel    mu- 
sician (1530). 
„  „        Baptism  of  Christ. 

„  „        St.  Stephen,  with  two   Saints 

(sig?u:d). 
„  „         Portrait  of  Lodovico  Vistarini. 

„  {Stairs  leading    The   Marriage    in     Cana,    and 

to  tlie  Library).         medallions  of  Apostles.   1545 
{from    the     refectory    of   S. 
Amhrogio). 
St.  Peters-         M.Paul    Madonna  and  Child  {copy  of  a 
burg.  Delaroff.        picture    by     Moretto    in    the 

Lat/ard  Collection^  Venice). 
Verona.  Gal/cry.     The  Daughter  of  Herodias. 

Vienna.  Gallery.    The    Daughter    of     Hero<lias 

(dated  15-2G).  C.J.Ff. 

PIAZZA,  Martino,  of  Lodi,  died  about  1527  ; 
father  of  the  above,  and  brother  of  Albertino,  with 
whom,  as  already  noted,  he  executed  many  large 
altar-pieces  for  the  churches  of  Lodi  and  elsewhere. 
He  was  probably  a  pupil  of  Borgognone,  and  later 
followed  the  Leonardesque  painters.  As  a  eolour- 
ist  he  often  attained  to  great  excellence,  and  his 
landscapes  are  of  peculiar  charm.  The  name  of 
Martino  Piazza  has  been  connected  with  several 
pictures  in  private  collections  in  England  and  in 
North  Italy.  In  addition  to  the  works  already 
mentioned,  which  he  executed  conjointly  with  his 
brother,  the  following  may  be  ascribed  vnth 
certainty  to  Martino  alone : 

London.    -Va«.  Gallery.    St.  John  Baptist  {signed  aitlt  a 

monoifratnl. 
Milan.         Ambrosiana.     Adonition  of  the  Magi  {with  a 

monogram  similar  to  the  pre- 

ceding). 

Ill 


A  BIOGRAPHICAL  DICTIONARY  OP 


Milan  Brera.     St.  John  Baptist  (dated  1519). 

Sessa  Coll.     Nativity  (1520). 
Borne.  Collection  of    Madonna  and  Child,  with  the 

Miss  Hertz.        little  St.  John  and  a  lamb. 

C.  J.  Ff. 

PIAZZA,  Paolo,  called  Fra  Cosimo,  born  at 
Castelfranco,  1577,  died  at  Venice,  1663.  Studied 
at  Venice,  and  acquired  some  reputation  for  his 
painting  in  S.  Giovanni  e  Paolo  over  the  tomb  of 
Marc  Antonio  Bragadino,  the  defender  of  Fama- 
gosta.  He  was  employed  later  by  the  Capuchins 
of  his  native  place,  and  entered  tlie  Order,  taking 
the  name  of  Fra  Cosimo.  Subsequently  he  worked 
at  the  Court  of  tlie  Emperor  Rudolph  II.,  and  went 
to  Rome,  where  he  enjoyed  the  favour  of  Pope 
Paul  V.  and  of  Cardinal  Scipione  Borghese,  for 
both  of  whom  he  executed  numerous  works.  On 
liis  return  to  Venice  he  painted  prophets  and 
sibyls  in  the  Church  of  the  Redentore,  and  was 
commissioned  by  the  Doge  Antonio  Priuli  to  exe- 
cute frescoes  in  the  Ducal  Palace,  but  he  died 
before  completing  the  work.  C.  J.  Ff. 

PIAZZETTA,  Giovanni  Battista,  born  at  Pie- 
trarossa,  near  Treviso,  1682,  died  at  Venice,  1754. 
I'upil  of  Antonio  Molinari.  Went  to  Bologna, 
where  he  was  influenced  by  Giuseppe  Maria 
Crespi,  and  more  especially  by  tlie  works  of 
Guercino.  He  became  first  Director  of  the  Aca- 
demy of  Venice  in  1750,  and  was  enrolled  an 
honorary  member  of  the  Clementina  Academy  at 
Bologna.  Among  his  best  works  are  :  frescoes  in 
S.  Giovanni  e  Paolo,  Venice  ;  the  '  Decollation  of 
S.  John,'  in  the  Church  of  the  Santo,  Padua ;  the 
'  Standard-Bearer,'  Dresden  Gallery,  and  the  '  As- 
sumption,' Lille.  Other  works  by  him  at  Dresden, 
Cassel,  and  Brunswick.  Pitteri  and  others  have 
engraved  after  him,  and  mention  is  made  by  Nagler 
of  two  etchings  by  himself.  Piazzetta  enjoys  the 
distinction  of  having  exercised  some  influence 
over  the  development  of  Giovanni  Battista 
Tiepolo,  the  greatest  Venetian  master  of  the  18tli 
century.  C.  J.  Ff. 

PICARD,  Alexandre  Noel,  a  French  painter, 
born  in  Paris  in  1813.  He  chiefly  painted  land- 
scapes.    He  died  in  1869. 

PICARD,  HnGUES,  French  painter,  born  in  1840 
at  Voreppe  (dep.  Isere).  Studied  first  at  Grenoble, 
and  subsequently  in  Paris  under  Boulanger  and 
Leffebvre.  Painted  portraits  and  landscapes,  also 
genre  scenes,  such  as  '  La  le^on  de  Chant,'  '  La 
If^on  au  Convent,'  &c.  He  was  also  a  prolific 
■illustrator.     He  died  in  Paris,  January  16,  1900. 

PICART,  Bernard,  an  engraver,  and  the  son  of 
Etienne  Pioart,  was  born  in  Paris  in  1673.  He  was 
instructed  in  design  and  engraving  by  his  father, 
but  obtained  further  help  from  Le  Brun  and 
Jouvenet.  At  the  age  of  sixteen  he  gained  honours 
at  the  Academy  of  Pari.^.  He  distinguished  him- 
self both  as  designer  and  engraver,  and  executed 
a  vast  number  of  plates.  He  used  both  tlie  point 
and  tlie  burin  ;  but  in  his  larger  plates  the  exe- 
cution was  not  equal  to  the  drawing,  and  his  later 
productions  were  inferior  to  his  earlier  ones.  His 
works  chiefly  consist  of  plates  for  books,  and  other 
ornamental  engravings.  In  1710  he  left  Paris,  and 
settled  at  Amsterdam,  where  he  was  greatly  em- 
ployed by  the  booksellers,  and  died  there  in  1733. 
He  engraved  a  set  of  seventy-eight  plates  in 
imitation  of  the  different  styles  of  the  old  engravers, 
which  were  published  after  his  death,  in  1738,  in 
one  volume,  entitled  'Les  Impostures  Innocentes.' 
The  following  are  his  most  esteemed  works : 

112 


POBTRAITS. 

Charles  I. ;  after  Van  Dyck.     1724. 

Charles  II. ;  after  Kneller.     1724. 

James  II. ;  after  Larqilliere.     1724. 

William  III. ;  after  Van  der  Werf. 

George  I. ;  after  Kneller. 

Edward  Hyde,  Earl  of  Clarendon ;  after  Zoust.    1724. 

■William,  Lord  Russell  ;  after  Kneller.     1724. 

Frederick,  Duke  of  Schomberg  ;  after  the  same.     1724. 

Gilbert  Buruet,  Bishop  of  Salisbury ;  after  Hoadlil.  1724. 

Eugene  Franijois,  Prince  of  Savoy  ;  after  Van  Schuppeit. 

1722. 
Don  Luis,  Prince  of  the  Asturias. 
Jan  de  Wit,  Grand  Pensionary  of  Holland.     1727. 
Francjois  Pierre,  Cardinal  de  Foix.     1713. 
Philip,  Duke  of  Orleans,  supported  by  Minerva  and 

Apollo;  after  A.  Coj/jiel.     1706. 
Etienne  Picart,  the  Roman,  Engraver  to  the  King. 
Roger  de  Piles  ;  ipse  pinx.  B.  Picart  fee.  aquaforti.  1704. 

SUBJECTS   FROM   HIS  OWN  DESIQNS. 

The  Murder  of  the  Innocents.  The  first  imi)ressions  are 
before  the  crown  was  placed  upon  the  head  of  Herod, 

A  set  of  twelve  Prints,  called  the  Epithalamia. 

Truth,  the  Research  of  Philosophy ;  a  Thesis  in  honour 
of  Descartes. 

The  Triumph  of  Painting. 

The  Death  of  Niobe's  Children. 

The  Feast  of  the  Gods  and  the  C-csars. 

A  set  of  Prints  for  the  Annals  of  the  Dutch  Republic. 

The  Frontispieces  to  '  C6r6monies  Religieuses,'  11  vol*. 
1723 — 1743  ;  and  to  various  other  works. 

SUBJECTS   AFTER   VARIOUS    MASTERS. 

Time  discovering  Truth ;  after  the  picture  It/  Pouasin,  in 

the  Louvre. 
An  Allegory  on  human  Life ;  after  the  same. 
Arcadia  ;  after  the  same. 

Two  Muses,  Calliope  and  Terpsichore;  after  Le  Sueur. 
Abraham  dismis.sing  Hagar ;  after  Le  Brun. 
The  Discovery  of  Calisto's  shame  ;  after  Ann.  Carracci, 
Neptune  calming  the  Sea;  after  An.  Cat/pel. 

PICART,  Charles,  an  English  engraver  and 
draughtsman,  born  about  1780.  He  practised  in 
London,  and  died  about  1837.  Specimens  of  his 
work  will  be  found  in  : 

Dibdin's  '  Decameron.' 

'  Description  of  the   Ancient  Marbles  in  the  British 

Museum.' 
Lodge's '  Portraits.' 

He  also  engraved  several  dramatic  portraits  after 
Clint  and  Wivell. 

PICART,  Etienne,  called  '  Le  Remain,'  was  born 
in  Paris  in  1632.  After  a  long  sojourn  in  Rome 
he  was  employed,  with  several  other  artists,  to 
engrave  the  pictures  in  the  King  of  France's  col- 
lection. His  plates  are  sometimes  executed  with 
the  burin  only,  in  the  style  of  Poilly ;  but  he  also 
engraved  a  few  in  which  the  point  is  predominant. 
He  died  at  Amsterdam  in  1721.  His  prints  are 
extremely  numerous ;  the  following  are  the  most 
deserving  of  notice  : 


PORTRAITS. 


1652. 


Jean  Fran(;ois  Paul  Gaudy,  Cardinal  de  Retz. 
Bust  of  Cardinal  Fachenettus ;  after  Morand. 
Melchisedeck  de  Thevenot,  the  traveller ;  after  Chaveau. 
Nicolas  Choart  de  Busenval,  Bishop  of  Beauvais. 
Claude  de  Brion,  President  of  the  Parliament. 
Pierre  Loisel,  Doctor  of  the  Sorbonne. 
Fran9oise    Athenais    de    Eochechouart,    Marquise    de 
Montespan. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Ecce  Homo,  with  three  Angels  ;  after  Alhani. 

The  Birth  of  the  Virgin  ;  after  Guide. 

The  Marriage  of  St.  Catharine ;  after  Correggio. 


PAINTERS  AND  ENGRAVERS. 


Triumph  of  Virtue ;  after  the  same. 

Triumph  of  Vice  ;  ajier  the  same. 

St.  Cecilia ;  after  Dotnenichino. 

A  C'^Dcert  of  Music  ;  after  the  same. 

The  Infant  Jesus  sleeping,  with  the  Virgin  holding  up 

her  finger  to  St.  Johii ;  called  '  Silenzio ' ;  after  Ann. 

Carracci. 
The  Holy  Family ;  after  Palma. 

The  Parting  of  SS.  Peter  and  Paul ;  after  Lanfranco. 
The  Plague  among  the  Philistines;  after  N.  f'oussi*. 
Christ  curing  the  Blind  ;  after  the  same. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
The  Martyrdom  of  SS.  Gervais  and  Protais ;  after  Le 

iStieur. 
St.  Paul  burning  the  Books  of  the  Ephesiaus ;  after  the 

same. 
The  Martyrdom  of  St.  Andrew ;  after  Le  Brun. 
The  Stoning  of  St.  Stephen  ;  after  the  same. 
The  Adoration  of  the  Magi ;  after  Coia-tois. 
The  Virgin  and  Infant ;  after  Noel  Coypel. 
St.  Anthony  of  Padua  adoring  the  Infaut  Jesus ;  after 

Van  Dyck. 

PICART,  Jean,  was  a  French  engraver,  wbo 
resided  in  Paris  about  the  year  1640.  He  is  sup- 
posed to  have  been  a  pupil  of  Crispin  van  de  Pass, 
as  he  engraved  from  the  designs  of  that  master, 
and  imitated  his  style,  though  not  very  success- 
fully. He  appears  to  have  been  principally  em- 
ployed in  engraving  ornaments  for  books,  and  a 
few  portraits.  We  have  by  hira  a  portrait  of 
Edward,  prince  of  Portugal,  a  half-length,  with 
emblems  ;  that  of  Erasmus,  a  whole-length,  forming 
the  frontispiece  to  an  edition  of  part  of  his  works, 
published  in  Paris  in  1639  ;  and  several  other  plates 
for  books,  &c. 

PICART,  Jean  Michel,  was  a  Flemish  painter, 
bom  about  1600.  He  painted  flowers  and  land- 
scapes, but  his  chief  employment  was  selling 
pictures.  He  estabh'shed  himself  in  Paris,  where 
he  employed  many  young  artists  to  make  copies 
which  he  sold  as  originals.     He  died  in  1682. 

PICAULT.  Pierre,  a  French  engraver,  was  bom 
at  Blois  in  1680.  It  is  probable  that  he  was  a  pupil 
of  Gerard  Audran,  as  he  copied,  on  a  small  scale, 
the  celebrated  '  Battles  of  Alexander,'  from  the 
plates  engraved  by  that  artist,  after  Le  Brun.  He 
also  engraved  some  portraits,  and  the  '  Visitation 
of  the  Virgin  to  St.  Elisabeth,'  after  Carlo  Maratti. 
He  died  young  in  1711.  He  usually  signed  his 
plates  P.  Picault,  Blesensis,  sculp. 

PICCHI,  Giorgio,  a  painter  of  Castel-Durante, 
who  flourished  about  1559.  He  sojourned  for  a 
time  in  Rome,  where  he  was  employed  in  the 
Vatican.     He  worked  in  the  manner  of  Baroccio. 

PICCHIANTI,  Giovanni  Dojienipo,  an  Italian 
designer  and  engraver,  was  born  at  Florence  about 
1670.  He  was  taught  the  rudiments  of  drawing 
by  G.  B.  Foggini,  a  sculptor,  and  applied  himself 
to  engraving,  both  with  the  point  and  the  burin. 
In  conjunction  with  Lorenzini,  Mogalli,  and  other 
artists,  he  executed  several  plates  from  the  pictures 
in  the  Gallery  of  Florence.  We  have,  among 
others,  the  following  prints  by  him  : 

PORTRAITS. 

Sebastiano  del  Piombo ;  after  Titian. 
Cardinal  Bentcvoglio  ;  ajter  Van  Di/rk. 
Pope  Leo  X.  with  the  Cardinals  Rossi  and  Giulio  de' 
Medici ;  after  Raphael. 

SUBJECTS   AFTER   VARIOnS   MASTERS. 

The  Madonna  della  Seggiola ;  after  Rapliael. 

The  Virgin  and  Infaut  Jesus,  with  St.  John  ;  after  Ann 

Carracci. 
The  Tribute  Money ;  (ifler  Titian. 

VOL.  IV.  I 


The  Virgin  and  Child ;  <ifter  the  same. 

Abraham  sending  away  Hagar  ;  after  Pietro  da  Cortona 

PICCINI,  GiACOMO,  an  engraver,  was  bom  at 
Venice  in  1617,  but  it  is  not  known  by  what  master 
he  was  instructed.  Zani  says  he  was  still  working 
in  1669  ;  but  the  latest  date  on  his  prints  is  1655. 
We  have  several  plates  by  him,  executed  in  a  stiff, 
disagreeable  style ;  among  them  a  set  of  thirty 
portraits  of  the  principal  painters  of  tlie  Venetian 
school  for  the  account  of  their  Lives  published  by 
Ridolfi  in  1648.  We  have  also  the  following  prints 
by  him : 

The  Portrait  of  Alessandro  Famese. 

Diogenes,  with  his  Lantern  ;  after  P.  Lileri. 

The  Holy  Family  ;  after  the  same. 

Juditli,  with  the  Head  of  Holofernes  at  her  feet ;  after 

Titian. 
The  Holy  Eamily ;  after  the  same. 

PICCINI,  GuGLiELMO,  was  the  brother  of  Giacomo 
Piccini,  and  among  other  prints  etched  a  plate  after 
a  '  PietA,'  by  Rubens.  He  had  a  daughter,  Isabella 
Piccini,  who  was  a  nun,  and  engraved  a  set  of 
portraits  of  the  illustrious  personages  of  Italy,  for 
the  '  Conchilia  Celeste  '  of  G.  B.  Fabri. 

PICCININO;  NiccoLO,  an  obscure  Milanese 
painter,  who  was  at  work  at  Milan  about  1500. 

PICCIONI,  Matteo,  an  Italian  painter  and  en- 
graver, was  born  at  Ancona  probably  in  or  about 
1615.  Of  his  works  as  a  painter  little  is  known ; 
but  he  was  made  a  member  of  the  Academy  of  St. 
Luke  in  1655.  We  have  a  few  spirited  etchings  by 
him,  two  of  which  are  dated  1641.  The  following 
are  among  them : 

St.  Luke  painting  the  Virgin ;  after  Raphael. 

The  Adoration  of  the  Shepherds ;  after  Paolo  Veronese. 

The  Holy  Family  ;  after  the  same. 

The  Virgin  and  the  Infant  Jesus,  with  St.  John ;  after 

A.  Camassei. 
Moses  exposed  on  the  Nile ;  after  the  same. 

PICCOLA,  NiccoLA  La,  a  native  of  Crotona,  in 
Calabria.  He  was  born  in  1730,  and  worked  in 
Rome,  where  he  painted  some  decorative  pictures 
in  the  Vatican,  which  have  since  been  copied  in 
mosaic.  Some  of  his  work  is  also  to  be  seen  at 
Velletri. 

PICENARDI,  Carlo.  Two  artists  of  this  name 
painted  in  Cremona earlj'in  the  17th  century.  One 
was  a  pupil  of  Lodovico  Carracci,  and  painted 
church  pictures  and  burlesque  histories.  These 
were  imitated  by  the  other  Picenardi,  who,  however, 
died  young. 

PICHIO,  Ernest,  (also  called  Picq,)  French 
painter  ;  bom  in  Paris  in  1840  ;  a  pupil  of  Auguste 
Couder ;  his  historical  pictures  achieved  consider- 
able success,  notably  '  Charles  IX.  et  Cathdriiie  de 
Medicis  le  Matin  de  la  St.  Barthelcmy'  (Salon 
1866).  Better  known  yet  was  the  '  Mort  d'Alphonse 
Baudin,'  which  the  Paris  Municipal  Council  caused 
to  be  engraved  at  its  own  expense.  His  death 
occurred  in  Paris  in  August  1893. 

PICHLER,  JoHANN,  gem-cutter,  painter  and  en- 
graver, was  born  at  Naples  in  1734.  He  was  a 
pupil  of  his  father,  Anton  Pichler,  and  the  painter 
Corvi.  In  1761  he  painted  several  pictures  for 
the  Franciscans  and  Augustinians,  and  made  ex- 
periments in  encaustic  and  mosaic.  In  1763  he 
joined  his  father  at  Rome,  after  which  he  visited 
England,  returning  to  Rome  in  1775.  Most  of  his 
time  was  given  to  gem-cutting,  in  which  he  rose  to 
such  excellence  that  many  of  his  int.aglios  were 
sold  as  antiques.  It  is  said" that  even  Winkelmann 
was  deceived  by  them.    He  died  at  Rome  in  1791. 

113 


A  BIOGRAPHICAL  DICTIONARY  OP 


PICIILER,  JoHAN'N  Peter,  mezzotint  enpjraver, 
■was  born  at  liotzeii  in  1765,  and  studied  at  Vienna 
nndor  Professor  Jiikob(5.  He  worked  for  the  Prince 
of  Anlialt  Dessau  at  Dresden,  and  died  at  Vienna 
in  1806.     Among  his  best  plates  are  : 

Portrait  of  the  King  of  Poland ;  afttr  Lampi. 

The  Fruit  Girl ;  after  Murillo. 

Venus ;  after  Titian. 

Omphale ;  after  Domenichino, 

Perseus  and  Andromeda. 

Magdalene  and  St.  John  ;  after  Batoni. 

Kembraudt's  portrait  of  himself. 

PICHON,  Pierre  AucnsTE,  French  painter ; 
bom  at  Sorezo  (Tarn),  December  6,  1805  ;  a  pupil 
of  Ingres  ;  was  a  fashionable  portrait-painter 
during  the  reign  of  Louis  Philippe  ;  obtained  a 
third-class  medal  in  1843,  a  second-class  medal 
in  1844,  a  first-class  medal  in  1846,  a  rappel  in 
1857,  and  a  like  distinction  in  1861,  when  he 
received  the  Legion  of  Honour.  He  died  in  Paris, 
October  1900. 

PICKAERT,  PlETER,  who  was  probably  a 
native  of  Holland,  has  left  a  set  of  coarse  etchings, 
published  in  Holland,  and  representing  the  fliglit 
of  James  II.  from  England.  They  are  probably 
from  liis  own  designs,  as  he  adds  the  word  fecit  to 
his  name.  Neither  the  time  of  his  birth  nor  death 
are  recorded,  but  he  must  apparently  have  been 
living  in  1688. 

PICKEN,  Andrew,  an  English  litliographer, 
born  in  1815.  He  was  a  pupil  of  Louis  Hagln-, 
and  had  much  employment  in  illustrating  books  of 
travel.  Through  ill-health  he  made  two  sojourns 
in  Madeira,  and  published  a  fine  work,  '  Madeira 
Illustrated.'  In  18.^5  he  exhibited  at  the  Academy 
a  '  Tomb  in  Narbonne  Oatliedral.'  He  died  in 
London,  amid  much  promise,  in  1845. 

PICKENOY,  Nicolas  Elias,  called  Elias,  a 
little-known  Dutch  painter,  who  is,  however,  the 
reputed  master  of  Van  der  Heist,  was  born  at 
Amsterdam  about  1590.  There  are  twelve  pictures 
by  him  in  the  Kijks  Museum  at  Amsterdam,  which 
show  him  to  have  been  an  excellent  portraitist. 
He  died,  probably  at  Amsterdam,  between  1646 
and  1666. 

PICKERING,  George,  a  drawing-master  of 
Chester,  who  Inid  an  important  local  renown  for 
the  beauty  of  his  work  in  water-colour.  He  was 
a  Yorkshire  man,  who  resided  for  many  years  at 
Chester,  and  later  on  at  Liverpool.  He  exhibited 
largely  at  the  Liverpool  Academy,  and  his  pictures 
were  very  highly  esteemed.  He  also  drew  for  the 
engraver  many  views  in  Lancashire,  and  is  believed 
to  have  done  work  with  the  graver  himself.  He 
died  at  Birkenhead  in  1857,  and  his  loss  was  much 
lamented  by  his  hosts  of  pupils,  who  had  found  in 
him  not  only  an  admirable  teacher  but  a  refined 
and  most  estimable  friend. 

PICKERING,  Henry,  an  English  portrait  painter 
in  the  early  part  of  the  18th  century.  He  was  a 
follower  of  Kneller,  and  painted  portraits  "  in 
character." 

PICKERSGILL,  Frederick  Richard,  a  nephew 
of  H.  W.  Pickersgill,  R.A.,  was  born  in  London 
in  1820.  His  tastes  were  early  shown,  and,  after 
instruction  from  his  maternal  uncle,  F.  Withering- 
ton,  he  entered  the  Academy  schools.  His  first 
exhibited  picture,  'The  Brazen  Age'  (18-39), 
his  '  Combat  between  Hercules  and  Acbelous ' 
(1840),  and  again,  his  'Amoret's  Deliverance 
from  the  Enchanter'  (1841),  showed  his  peculiar 

114 


talent  and  predilections,  bis  chief  pictures  being 
based  on  his  loving  study  of  Spenser,  Milton, 
Shakespeare,  and  the  romantic  episodes  of  history. 
In  1843  he  gained  a  £100  prize  in  the  Westminster 
Hall  competition  by  his  cartoon  of  '  The  Death  of 
Kin;;'  Lear.'  In  1847  he  followed  up  this  success 
by  gaining  the  first  prize  for  his  '  Burial  of  Harold 
at  Waltham  Abbey,'  which  was  purchased  for 
X500  for  the  decoration  of  the  new  Houses  of 
Parliament.  Tiiis  brought  him  into  prominence, 
and  he  was  elected  in  that  year  an  Associate  of  the 
Royal  Academy  at  the  unusually  early  age  of 
twenty-seven.  In  1857  he  became  full  Academi- 
cian, his  diploma  picture  being  a  Spanish  subject, 
'The  Bribe,'  and  the  Prince  Consort  bought  his 
'  Death  of  Francesco  Foscari.'  His  '  Birth  of 
Christianity '  is  in  the  South  Kensington  Museum 
(Jones  Bequest),  as  are  also  the  sketch  and  com- 
pleted design  for  'The  Industrial  Arts  in  Time  of 
Peace,'  designed  for  a  lunette  in  fresco  but  not 
carried  out.  In  the  Glasgow  Gallery  there  hangs 
(on  loan  from  the  National  Gallery)  'Amoret, 
.iEmylia  and  Prince  Arthur  in  the  Cottage  of 
Slander.'  He  was  strongly  influenced  by  W. 
Etty  ;  his  colour  was  sound  and  often  brilliant,  and 
his  drawing  and  composition  correct  though  some- 
what formal  and  academic.  He  exhibited  50 
pictures  in  all  at  the  Royal  Academy,  and  six  at 
the  British  Institution  (1841-1847).  He  also  illus- 
trated Milton's  'Comus,'  Poe's  poems,  Mas- 
singer's  '  Virgin  Martyr,'  and  certain  Biblical  sub- 
jects ('The  Life  of  Clirist,'  'The  Lord's  Prayer'). 
These  were  engraved  on  wood  by  Dalziel,  and 
some  designs  appeared  in  Dalziel's  Bible  Gallery 
in  1881.  He  was  chosen  as  Trustee  and  Keeper 
of  the  Academy  in  1873,  but  resigned  these 
posts  in  1887,  retiring  finally  from  the  Academy 
in  1888.  He  died  in  the  Isle  of  Wight  in 
1900. 

PICKERSGILL,  Henry  Hall,  an  English  sub- 
ject and  portrait  painter,  the  eldest  son  of  H.  W. 
Pickersgill,  R.A.  His  studies  were  completed  in 
the  Netherlands  and  Italy,  and  he  first  exhibited  at 
the  Academy  in  18:i4.  About  1844  he  spent  two 
years  in  Russia,  which  furnished  him  with  subjects 
for  some  pictures.  On  his  return  he  practised  as  a 
portrait  painter  in  the  midland  counties.  He  died 
in  1861.  His  picture  '  The  Right  of  Sanctuary '  is 
at  South  Kensington.     Other  works : 

The  Troubadours. 

Holy  Water. 

Charity. 

Fishermen  of  Eabatsky,  on  the  Neva. 

Ferry  on  the  Neva. 

Cupid  and  Psyche. 

Finding  of  Moses. 

Komeo  and  Juliet. 

PICKERSGILL,  Henry  William,  an  English 
portrait  and  subject  painter,  born  in  London  in 
1782.  He  was  originally  intended  for  a  silk  manu- 
facturer. Preferring  art,  he  became  a  pupil  of  George 
Arnald,  A.R.A.,and  in  1805  entered  theschools  of  the 
Academy.  Here  he  first  exhibited  in  the  following 
year,  and  was  elected  an  Associate  in  1822,  and  a 
full  member  in  1826.  His  practice  became  very 
large,  and  most  of  the  eminent  persons  of  the  day 
sat  to  him.  Up  to  1872,  when  he  retired  from 
work,  he  exhibited  no  less  than  363  pictures  at  the 
Academy.  These  were  chiefly  portraits,  with  the 
exception  of  a  few  landscapes  and  fancy  subjects. 
He  died  at  Barnes  April  21,  1875.  Amongst  his 
works  are  : 


H.  \V.  PICKERSGILL 


U'a/icr  and  Cocicrcll photo]  [A'a/ioiia/  Portrait  Gallery 

WILLIAM  WORDSWORTH 


PAINTERS  AND  ENGRAVERS. 


Bowood.  Lady  playing  Guitar. 

London.       Nat.GalUry.     Portrait  of  K.  Veruon.     18-16. 
„  „  A  Syrian  Maid.     1837. 

„  „  The  Nun. 

„     National  Portrait    Portraits      of       Wordsworth, 
GaXlery.  Jeremy   Bentham,   Hannah 

More,  W.  Godwiu,  'Monk* 
Lewis,  U.   Stephenson,   and 
Sir  T.  Talfourd. 
Incorporated.  |  Lo^a  Chancellor  Truro. 


Law  Society. 
Jioyal  Institution. 


ProfRSSor  Faraday. 

Dr.  Brande. 

Portrait  of  second  Marquis  of 

Bath. 
Portrait  of  Lord  Hill. 


Lougleat. 

Windsor  Castle. 

PICKNELL,  William  LnciAN,  American  painter; 
bom  1854  at  Boston  ;  a  (jupil  of  Innes  ai  Rome, 
and  of  Gerome  at  the  Ecole  des  Be.iux  Arts  ;  lie 
also  studied  in  Brittany  with  R.  Wylie  ;  returned 
to  America  in  1882,  and  settled  in  New  Y(irk  ; 
examples  of  his  work  are  in  the  Museums  of  New 
York,  Philadelphia,  Boston  and  Liverpool ;  he 
obtained  an  honourable  mention  at  the  Paris 
Salon  of  1880,  and  the  Boston  gold  medal.  He 
died  at  Boston  in  1897. 

PICOLET,  CoRNELis,  a  painter  of  portraits  and 
conversations,  flourished  at  Rotterdam  from  about 
1670  to  1690.  His  reputation  rests  rather  on  the 
circumstance  of  his  having  been  the  first  instructor 
of  Adrian  van  der  VVerf  than  on  any  particular 
work  that  can  be  with  certainty  ascribed  to  himself. 

PICOT,  Franijois  Edouard,  a  French  historical 
painter,  bom  in  Paris  in  1786.  He  studied  under 
Vincent,  and  in  1811  obtained  the  second'  Prix  de 
Rome'  for  his  'Lycurgus.'  In  1813  he  obtained 
the  same  award  by  his  '  Death  of  Jacob.'  As  he 
could  not  be  sent  to  Rome,  he  was  awarded  a  prize 
of  3000  francs.  Many  conmiissions  for  decorative 
works  were  entrusted  to  him :  the  chief  of  these 
were  for  the  Louvre,  for  Versailles,  and  for  the 
churches  of  St.  Vincent  de  Paul  (in  conjunction  with 
Flandrin)  and  St.  Clotilde.  He  was  elected  to 
the  Institute  in  1856.  He  died  in  Paris  in  1868. 
Amongst  his  works  are  : 

Amiens.  Museum.     Cephalus  and  Procris.     1824. 

Brussels.  Museum.     jEueas  and  Venus.     1815. 

Grenoble.  Museum.    The  Plague  at  Florence.     1839. 

Paris.  Louvre.    Orestes  and  Electra.    1822. 

„      Comedie  Franqaise.    Portrait  of  Talma. 

„        y.  D.  de  Lorette.     Coronation  of  the  Virgin. 

„  S.  Suljiice.    Death  of  Sapphira.    1819. 

Versailles.  Siege  of  Calais.    1838. 

PICOT,  Victor  Marie,  a  French  engraver,  was 
born  at  Abbeville  in  1744,  and  studied  in  I^aris. 
He  came  to  London  in  the  year  1766  with  Wynne 
Ryland,  and  about  1770  he  was  living  with  Ravenet, 
whose  only  daughter,  Angelica,  he  married.  In 
1766  he  was  elected  a  member  of  the  Incorporated 
Society  of  Artists.  He  engraved  several  plates  after 
Serres,  Barrulet,  Loutherbourg,  and  others,  some  of 
which  were  for  the  collection  of  Boydell.  He  re- 
turned to  France  in  1790,  nnd  died  about  1805.  We 
have,  among  others,  the  following  prints  by  him  : 

The  Four  Evangelists  ;  after  Rubens. 

Diana  and  her  Nymphs  ;  afier'the  same. 

The  Nurse  and  Child  ;  after  Schedone, 

A  young  Man  holding  a  Flute ;  after  B.  Luti. 

Apollo  holding  a  Branch  of  Laurel ;  after  S.  Caniarini. 

A  Landscape  and  Figures  ;  after  Zuccarelli. 

Two  Sea-pieces  ;  after  I).  Serres. 

Two  Landscapes,  Morning  and  Evening ;  after  Barralet. 

Several  other  subjects  ;  after  the  same. 

PICOU,  Henri  Pierre,  French  painter  of  his- 
torical and  allegorical  subjects  ;  born  at  Nantes, 
I  2 


February  27,  1822;  a  pupil  of  Delaroche  and 
Gleyre ;  made  his  debut  at  the  Salon  in  1847  ; 
"obtained  second-class  medal  in  1848,  and  a  rappel 
in  1857  ;  in  1853  won  the  second  Prix  de  Rome  ; 
was  considered  tlie  fashionable  painter  towards 
the  close  of  the  Second  Em[)ire.  Among  his  chief 
works  we  may  mention  :  '  Cleopitre  et  Antoine  sur 
le  Cydnus,' '  Le  Passage  du  Styx,' '  L'fitoile  du  Soir,' 
'  Une  Nuit  de  Cl^opatre,'  and  '  Psyche  aux  enfers.' 
He  died  at  Nantes,  July  17,  1895. 

PICOU,  UoisKUT,  (orPiQUOT,)a  French  engraver, 
was,  according  to  Jlarolles,  a  native  of  Tours,  anil 
flourished  about  the  year  1630.  He  enjoyed  the 
title  of  Peintre  du  Roi ;  he  visited  Italy,  and  re- 
mained some  time  at  Rome.  Dumesnil  describes 
seven  rare  prints  by  him,  of  which  the  last, 
executed  from  a  picture  by  Jacopo  Ba.ssano,  is  the 
best ;  the  others  are  evidently  from  his  own  de- 
signs. They  are  executed  partly  with  the  point, 
partly  with  tlie  burin.  We  have  also  several  frontis- 
pieces and  other  book  ornaments  by  him,  from  his 
own  designs.  The  following  are  the  titles  of  the 
seven  plates  above  alluded  to  : 

Love  asleep;  R.  Picou.fe. 

Two  Cupids  caressing;  R.  Picou.fe.  Roma. 

Two  Infants;  R.  Picou.fe.  Roma. 

Three  Infants;  R.  Picou.fe. 

The  little  Wrestlers  ;  R.  Picou.  fecit. 

Two  couples  of  Infants  ;  R.  P.  ^c. 

Jesus  Christ  delivered  to  His  Enemies.  On  the  margin 
to  the  left  inscribed  Jacobus  de  poto  Passan  piitrit,  R. 
Picou  scuipsit ;  and  on  the  right,  dartres  formis  Cum 
Priuilegio.  In  a  second  impression,  dartres  formis 
is  erased,  and  Mariette  Excudit  substituted^ 

PICQUE,  Charles,  a  Flemish  painter,  born  at 
Deynze  in  1799.  He  painted  portraits,  still-life, 
and  historical  pictures.  He  died  at  Brussels  in  1869. 

PICQUET,  J.  In  Dubrayet's  drawing-book  there 
is  a  print  by  this  artist,  representing  'Juno,  Pallas, 
and  Venus,'  half-length  figures,  executed  with  the 
graver.     It  is  inscribed  Joan  Picquetft. 

PICQUET,  Thomas,  a  French  painter  of  the  17th 
century,  quoted  by  Marolles. 

PICQUOT,  Henri,  supposed  to  be  the  brother 
of  Thomas  Picquot,  was  a  scholar  of  Simon  Vouet, 
at  Paris,  and  flourished  about  1640,  as  appears  by 
that  date  on  one  of  his  prints.  Dumesnil  describes 
three  prints  by  him  ;  the  first  two  after  Chapron, 
etched  with  the  point  in  a  style  analogous  to  that 
of  Michel  Dorigny,  the  other  from  his  own  design, 
also  with  the  point,  in  a  very  light  and  spirited 
manner. 

The  young  Virgin  a.scending  the  steps  of  the  Temple; 
a  composition  of  many  figures,  with  a  glory  of  angels 
and  cherubim  above  ;  Chappron  jnuen.  et  pinxit  ;  H. 
Pic'juot  jncidit  Cum  Priuilegio  Regis.  1&40.  In  a 
second  impression,  Coi/pel,  ex.  avec  privilege^  was  sub- 
stituted. 

The  Virgin  gi\-ing  the  breast  to  the  Infant  Jesus; 
Josepli,  Elisabeth,  and  the  infant  St.  John  are  intro- 
duced. Although  this  print  bears  the  name  of  Gueri- 
neau,  and  not  of  H.  Picquot,  Dumesnil  is  of  opinion 
that  it  is  by  the  latter. 

A  sick  Frog  attended  by  others ;  one  acts  as  a  physician, 
two  seem  to  pray,  another  is  bringing  a  potion,  and 
fovir  frogs  are  danciug  to  the  sound  of  a  violin.  In 
the  margin  are  six  lines  of  IVench  verse,  moralizing  on 
the  brutalizing  propensities  of  man.  M.  Picquotjnven. 
et  fecit.  F.  L.  D.  dartres  excudit  avec  Privilege  du 
Roy. 

PICQUOT,  Thomas,  an  engraver  of  goldsmiths' 
work,  designs  for  embroidery,  damascening,  and 
other  ornaments,  flourished,  according  to  Zani, 
from  1623  to  1645.  Dumesnil  conjectures  that  he 
was  a  scholar  of  Marin  le  Bourgeois,  painter  and 

115 


A  BIOGKAPHICAL  DICTIONARY  OF 


valet  de  chambre  to  Henry  IV.  and  Louis  XIII.. 
and  describes  fourteen  prints  by  liini,  the  first  "f 
which  is  a  portrait  of  the  aforesaid  Marin  le  Bour- 
geois ;  the  others  consist  of  arabesque  designs  for 
goldsmiths'  and  armourers'  work,  book  and  other 
decorations.  The  portrait  is  etched  in  the  manner 
of  a  painter,  and  is  the  best  piece ;  tlie  ornaments 
are  etched  with  an  extremely  delicate  point,  and 
appear  in  white  on  a  dark  ground. 

PIDDING, Henry  J., an  English  subject  painter, 
born  in  1797.  He  was  the  son  of  a  Cornisli  lottery- 
ofiBce  keeper,  and  studied  under  Aglio.  Hi.",  works 
appeared  at  the  Academy  from  1824  onwards,  and 
also  at  the  Society  of  British  Artists,  of  wliicli  latter 
body  he  was  elected  a  member  in  184.3.  He  fre- 
quently chose  humorous  subjects,  and  some  of  his 
pictures  enjoyed  considerable  popularity.  lie  died 
at  Greenwich  in  18G4.    His  best-known  works  are  : 

The  Gaming  Room  at  Homburg.     1S60. 

The  Fair  Penitout. 

Negro  in  the  Stock.*?. 

Greenwich  Peusiouers  re-fightiug  the  battle  of  the  Nile. 
(  Jt'olm7-n  Abbey.) 

The  two  last-named  were  engraved  by  himself. 

PIDOEON,  Hknbt  Cl.\rk,  painter  in  water- 
colours,  was  born  in  1807.  He  was  originally 
intended  for  tlie  Church,  but  abandoning  tliis, 
took  first  to  literature  and  then  to  art.  lie  was 
for  some  time  a  teacher  of  drawing  in  London,  but 
in  1847  removed  to  Liverpool  as  Professor  of  tln^ 
School  of  Drawing  at  the  Institute  there.  He  had 
a  strong  antiquarian  bent,  and  made  many  sketches 
of  old  hfcal  buildings.  In  1848  he  was  associated 
with  Mr.  .loseph  Mayer  and  Mr.  Abraham  Hume 
in  founding  the  Historic  Society  of  Lancashire  and 
Cheshire,  to  the  Proceedings  of  which  ho  con- 
tributed numerous  lithograpiis  and  etchings.  On 
his  arrival  in  Liverpool  he  was  elected  a  member 
of  the  Liverpool  Academy,  and  held  the  post  of 
Secretary  in  1850.  He  contributed  some  fifty  works 
to  the  Liverpool  Academy  Exhibitions.  He  was 
elected  an  Associate  of  the  Institution  of  Painters 
in  Water-Colours  in  1846,  and  a  full  member  in 
18G1.  He  was  also  President  of  the  Sketching 
Club.  He  exhibited  four  times  at  the  Royal 
Academy  and  twice  at  the  British  Institute, 
besides  numerous  pictures  at  the  Suffolk  Street 
Galleries  and  the  Manchester  Institution.  His 
work  is  accurate  in  draughtsmanship,  broad  in 
treatment,  and  in  colour  somewhat  after  the  style 
of  Varley.  He  died  in  Fitzroy  Street,  Regent's 
Park,  on  August  6,  1880.  E.  G.  D. 

PIDOLL,  Karl  von,  German  painter,  horn 
January  7,  1847,  at  Vienna  ;  was  a  pupil  of 
Arnold  Bocklin  and  H.  von  Maries.  For  a  long 
period  he  lived  in  Paris,  and  afterwards  at  Frank- 
fort-on-the-Maine,  where  he  obtained  some  distinc- 
tion as  a  portrait-painter.  Among  other  works  he 
published  a  series  of  seven  pen-drawings  in  litho- 
graph, representing  views  of  Gelnhauscn.  He 
died  in  1901. 

PIEMANS,  an  obscure  Dutch  artist  of  the  17th 
century.  He  painted  somewhat  in  the  manner  of 
"Velvet"  Breughel,  and  formed  one  pupil,  his 
nephew,  Jan  de  Baan. 

PIEMONT,  NicoLAAs,  called  Opoang,  was  bom 
at  Amsterdam  in  1659.  He  at  first  passed  some 
time  under  Marten  Zaagmolen,  an  obscure  artist, 
but  he  afterwards  became  a  scholar  of  Nicolaas 
Molenaer.  He  visited  Italy,  where  he  passed  seven- 
teen years,  and  improved  his  talents  for  landscape 
painting,  by  designing  from  nature  in  that  country. 

lie 


From  Rome  he  returned  to  Holland,  where  lie 
painted  pictures  from  his  Italian  sketches  and 
gained  a  great  reputation.  His  landscapes  bear  a 
strong  resemblance  to  the  works  of  Jan  Both.  He 
died  at  Vollenhove  in  1709.  The  sobriquet  'Opgang' 
(up-going)  was  bestowed  upon  him  in  consequence 
of  his  marriage  with  the  landlady  of  the  Guild. 

PIENE,  A.  DK,  a  French  engra.'er,  produced, 
among  other  plates,  a  portrait  of  the  '  Duchess  of 
Savoy,'  after  S.acchetti,  for  a  book  published  in  1672. 

PIENEMAN,  Jan  Willkm,  a  Dutch  historical, 
portrait,  and  landscape  painter,  born  at  Abcoude 
in  1779.  He  was  a  pupil  of  the  Amsterdam 
Academy,  and  subsequently  taught  drawing  in  the 
military  school  at  Delft.  The  appointments  of 
Director  of  the  Hague  Museum  and  of  the  Anister- 
ilam  Academy  were  afterwards  conferred  upon 
him.  He  died  at  Amsterdam  in  1853.  The  follow- 
ing pictures  by  him  are  in  the  Rijks  Museum, 
Amsterdam : 

An  Arcadian  Landscape. 

Portrait  of  Joauoa  Cornelia  Zieseuis. 

„  „  „  „        as  Agrippina. 

„  Andries  Snoek. 

„  Albertus    Bcrnardus   Rootbaan  and    Louis 

Roger. 

Battle  of  Waterloo.   (Signed  .7.  W.  Pieneman,  a.d.  1824.) 

I'lENEMAN,  Nicolas,  a  Dutch  historical  painter, 
llie  son  and  pujiil  of  J.  W.  Pieneman,  was  born  at 
.\iiiersfoort  in  1809.  He  died  at  Amsterdam  in  1860. 
Amongst  his  chief  works  are: 

The  Death  of  Admiral  De  Kuyter. 

AVilliam  I.  of  Orange  wouuded  by  Jaurequi. 

Tlie  Condemnation  of  Bameveldt. 

Portrait  of  J.  W.  Pieueman.     (Haarlem  Pavilion.) 

J.  S.  de  Ryk  in  presence  of  Requessens. 

The  Death  of  Archimedes. 

Portrait  of  William  III. 

Portrait  of  C.  J.  Fodor.     (Fodor  Museum,  Amsterdam.) 

PIEPENHAGEN,  AoonsT,  landscape  pamter, 
was  bom  at  Soldin,  in  Prussia,  in  1792.  He  was 
originally  a  button-maker,  but  raised  himself,  by 
no  other  assistance  than  the  diligent  study  of 
nature,  to  a  distinguished  rank  in  art.  He  died  at 
Prague  in  1868.     Three  of  his  best  pictures  are : 

Winter  Landscape. 
Landscape  in  a  Storm. 
Sketch  of  Forest  Scenerj. 

PIERA,  P.,  a  Dutch  painter,  and  a  native  of 
.\msterdam.  He  painted  landscapes  and  portraits, 
and  had  two  sons  who  followed  in  their  father's 
steps.     He  died  in  1784. 

PIERCE,  Edward,  was  an  English  artist,  who 
flourished  in  the  reigns  of  Charles  I.  and  II.  He 
was  eminent  as  a  painter  both  of  history  and  of 
landscapes,  and  also  excelled  in  architectural  and 
perspective  views.  For  some  time  he  was  an 
assistant  to  Van  Dyck,  and  after  the  Restoration 
he  was  employed  to  repair  the  altar-pieces  and 
ceilings  in  London  churches,  damaged  by  the 
Puritans.  He  died  soon  afterwards,  and  was 
buried  at  Stamford.  Few  of  Pierce's  works  now 
remain,  the  far  greater  part  being  destroyed  in  the 
fire  of  London  in  1666.  Lord  Orford  attributes  to 
him  a  set  of  friezes,  in  eight  plates,  etched  in  1640. 
His  son  John  is  said  to  have  attained  some  eminence. 
Another  son,  Edward,  became  a  successful  sculptor. 

PIERI,  Antonio  di,  called  Lo  Toppo,  was  a 
native  of  Vicenza.  He  worked  about  1738,  and 
painted  landscapes  and  frescoes. 

PIERI,  Stefano,  was  a  native  of  Florence,  and 
a  disciple  of  Battista  Naldini.  Zaci  places  his 
birth  in  1513,  and  his  death  in  1600.     According 


PAINTERS  AND  ENGRAVERS. 


to  Baglione,  he  visited  Rome  in  the  pontificate  of 
Clement  VIII.,  and  was  taken  under  the  protection 
of  Cardinal  Aleesandro  de'  Medici,  by  whom  he  was 
emplojed  in  the  church  of  San  Prassede,  where  he 
painted  some  pictures  of  the  Apostles,  and  an  '  An- 
nunciation.' In  Santa  Maria  in  Via  Lata  is  a  picture 
by  him  of  the  '  Assumption  of  tlie  Virgin.'  He 
assisted  Giorgio  Vasari  in  the  Cupola  of  Santa 
Maria  del  Fiore,  at  Florence,  and  painted  for  the 
Palazzo  Pitti  the  'Sacrifice  of  Isaac,'  one  of  his 
best  works. 

PIERINO  DEL  Vaga.    See  Buokaccorsi. 

PIERLNO  DE  Nova.     See  Nova. 

PIERO,  Giovanni  ni.     See  Giovanni. 

PIERO  DI  LORENZO,  the  son  of  Lorenzo  di 
Piero,  was  born  at  Florence  in  1462.  He  became 
an  assistant  to  Cosinio  Koselii,  and  accompanied 
the  latter  when  he  was  sununoned  to  Rome  by 
Sxtus  IV.  Hence  the  name  PiEiio  Dl  CosiMO, 
by  which  he  is  known.  In  14H.5  he  returned  to 
Florence,  and  was  employed  with  B'ra  Bartolommeo 
in  the  Convent  of  Sant  Ambrogio.  Tiie  connection 
with  Roselli,  however,  seems  to  have  lasted  till  the 
death  of  the  latter,  which  took  place  in  1506,  and 
BO  Piero  may  be  considered  to  have  taken  a  share 
in  several  altar-pieces  in  S.  Spirito  at  Florence, 
and  other  works  of  Roselli.  Piero  did  not  confine 
himself  to  sacred  subjects,  but  took  pleasure  in 
classic  fable,  especially  when  he  was  able  to  dis- 
play animal  life  in  natural  or  fantastic  shapes. 
This  may  be  seen  in  'Tiie  Wedding  of  Perseus 
disturbed,'  '  Sacrifice  to  Jove  for  the  Safety  of 
Andromeda,'  and  two  '  Rescues  of  Andromeda,'  in 
the  Uffizi,  and  in  a  splendid  '  Death  of  Procris ' 
in  the  National  Gallery.  A  picture  by  him  of 
'Venus  playing  with  Ciipid  and  a  sleeping  JIars' 
is  in  the  Berlin  Museum.  He  was  the  inventor  of 
the  strange  masque  called  '  The  Triumph  of  Death,' 
which  became  the  fashion  in  the  Carnival  at 
Florence.  Besides  the  picture  already  named, 
which  is,  perhaps,  Piero's  master-piece,  the 
National  Gallery  possesses,  according  to  the  best 
connoisseurs,  a  second  example  of  him,  in  a 
picture  now  ascribed  to  Lorenzo  Costa,  and  called 
the  portrait  of  Francesco  Ferrucci.  This  is  a 
■work  of  much  power,  and  besides  its  undoubted 
affinity  with  the  acknowledged  productions  of 
Piero,  it  offers  a  curious  confirmation  of  his 
asserted  authorship,  in  the  introduction  of  the 
Palazzo  Vecchio,  with  Michelangelo's  David  at  its 
portal,  into  the  background.  For  Piero  di  Cosimo 
was  a  member  of  the  committee  appointed  in  1504 
by  the  Signory  of  Florence  to  choose  a  site  for  that 
statue.  Many  of  his  pictures,  most  of  them,  per- 
haps, pass  under  other  names.  The  '  Vierge  an 
Pigeon,'  in  the  Louvre,  and  two  fine  Holy  Families, 
both  '  tondos,'  at  Dresden  and  in  the  Borghese 
Gallery,  Rome,  are  among  the  best  of  these.  Piero 
was  a  man  of  curious  interests  and  habits,  caring 
much  more  for  the  strange  traditions  of  the  pagan 
mythology  than  for  the  tales  of  his  own  Church. 
He  was  the  master  of  Andrea  del  Sarto.  He  died 
at  Florence  in  1521. 

PIERO  DA  PERUGIA,  a  miniaturist  of  the  15th 
century,  many  of  whose  works  are  preserved  in  the 
Duomo  at  Siena. 

PIERO  Dl  RIDOLFO,  an  obscure  painter  who 
flourished  in  Tuscany  at  the  close  of  the  16th 
century. 

PIERON,  Gustave,  a  Flemish  landscape  painter, 
who  studied  at  the  Antwerp  Academy,  and  resided 
in  that  city.     He  died  in  1864. 


PIERONI,  Adolfo,  painter,  engraver,  and  medal- 
list, was  bom  at  Lucca  in  1832.  He  studied  under 
Onestini  and  Casale,  though  he  was  best  known  as 
a  medallist.     He  died  at  Florence  in  1875. 

PIERRE,  a  native  of  Troyes,  who  designed  and 
painted  the  fine  series  of  windows  in  the  cathedral 
dealing  with  the  parable  of  the  Prodigal  Son. 

PIERRE.  A  painter  of  this  name  is  mentioned  in 
the  Belgian  archives  as  the  author  of  a  portrait, 
painted  in  1417  or  1418,  of  Margaret  of  Burgundy, 
the  eldest  daughter  of  Philip  the  Bold  and  the  wife 
of  William  IV.,  Count  of  Hainault.  In  1418  this 
portrait  was  placed  in  the  Chapel  of  St.  Anthony  in 
Barbefosse,  near  Mons. 

PIERRE,  maitre,  a  painter  of  this  name  was  at 
work  in  1486  in  the  Monastery  of  the  Cordehers,  at 
Nancy.     He  was  a  native  of  Strasbourg. 

PIERRE,  Andr^,  a  native  of  Blois,  who,  in  1472, 
painted  a  large  '  Nativity '  for  the  chapel  of  the 
Chateau  de  Montilz. 

PIERRE  DE  COMPlfeGNE  a  native  of  Com- 
piegne,  (?)  who  was  at  work  on  miniatures  and  illum- 
inations for  the  Chapter  of  Troyes  in  the  year  1387. 

PIERRE  DE  COPIAC,  a  glass-painter,  who 
painted  the  windows  in  the  Cathedral  of  Montpellier, 
his  native  place. 

PIERRE  DE  ST.  CATHERINE,  a  native  of  Lille, 
who  painted  in  the  year  1365  an  altar-piece  for  the 
church  of  St.  Maurice  in  that  city. 

PIERRE,  DiEnDONNE,  the  son  of  Etienne  Pierre, 
a  fruit  and  flower  painter,  was  born  at  N.ancy  in 
1807.  He  was  a  pupil  of  Hersent,  and  painted 
historical  .subjects.  In  the  Museum  of  Nancy  there 
is  a  '  Christ  in  the  Garden  of  Olives  '  by  him.  He 
died  in  1838. 

PIERRE,  Jean  Baptiste  Marie,  was  born  in 
Paris  in  1714  (or  171.3).  He  was  at  first  a  pupil 
of  Natoire,  but  went  to  Italy  when  young,  and 
studied  some  years  at  Rome  under  De  Troy.  On 
his  return  to  Paris  he  distinguished  himself  as  a 
painter  of  history,  and  was  employed  for  some  of 
the  public  buildings,  particularly  on  a  large  ceiling 
in  the  chapel  of  the  Virgin  at  St.  Roch.  He  painted 
an  excellent  picture  of  St. Nicholas  and  St.  Francis,' 
for  the  church  of  St.  Sulpice,  which  has  been  en- 
graved by  Nicolas  Dupuis.  He  was  made  director 
of  the  Academy  in  Paris,  and  was  appointed  prin- 
cipal painter  to  the  Duke  of  Orleans  and  to  the 
king.  He  died  in  Paris  in  1789.  Among  his  best 
paintings  are,  '  Peter  curing  the  Lame  JIan,'  and 
'  The  Death  of  Herod  '  (in  St.  Germain  des  Pres). 
Pierre  left  several  etchings,  among  which  we  may 
name  the  following : 

The  Village  Entertainment ;  after  his  ow»  design. 
Several  Studies  of  Heads  ;  made  by  him  in  Italy. 
Some  riate.s  of  subjects  from  '  Fontaiue's  Fables ' ;  nfter 

desiijiis  by  Hubleyras. 

PIERSON,  CiiRiSTOPH,  was  born  at  the  Hague 
in  1G31,  and  was  destined  by  his  parents  for  mer- 
cantile pursuits,  but  became  a  scholar  of  Bar- 
tholomaus  Meyburg,  whom  after  some  time  he 
accompanied  to  Germany,  but  after  an  absence  of 
three  years  returned  to  Holland,  and  established 
himself  at  Gouda,  where  he  met  with  immediate 
employment  as  a  painter  of  history  and  portraits. 
Notwithstanding  the  reputation  he  had  acquired, 
the  encouragement  given  to  the  pictures  of  Lce- 
raens,  a  painter  of  dead  game,  guns,  &c.,  induced 
him  to  adopt  similar  subjects,  in  which  he  sur- 
p.assed  his  model.     He  died  at  Gorcura  in  1714. 

PIET,  — ,  was  a  native  of  the  Low  Countries, 
and  flourished  about  the  year  1600.     He  engraved 

117 


A   BIOGRAPHICAL  DICTIONARY  OF 


the  plates  for  a  work  entitled  '  Le  Maniement 
d'Armes  de  Nassau,'  <S:c.,  by  Adam  V.  Brien,  pub- 
lished in  1608. 

PIETERS,  Geertje,  or  Gertrude,  was  a  fruit 
and  flower  painter,  and  was  working  at  Delft  at 
the  beginning  of  the  18th  century.  She  was  a 
pupil  of  Maria  van  Oosterwyck,  and  was  of  good 
repute  in  lier  day,  though  most  of  her  productions 
have  been  attributed  to  De  Heem.  The  Suermondt 
Collection  had  a  '  Plate  of  Fruit '  by  her,  dated  1680. 

PIETERS,  Gerard,  a  Flemish  historical  painter, 
who  was  a  native  of  Bruges.  He  was  received  as 
master  painter  in  1562,  but  in  1590  he  left  Bruges 
and  settled  at  Ghent,  where  he  was  often  employed 
by  the  town  authorities.  He  died  in  1612.  His 
son  Pierre  worked  with  his  father. 

PIETERS,  J.\N,  or  John,  was  born  at  Antwerp 
in  1667,  and  was  a  scholar  of  Pieter  Eyckens.  He 
came  to  England  in  1685,  when  he  was  eighteen 
years  of  age,  and  finding  no  employment  for  a 
painter  of  liistory,  he  offered  his  services  to  Sir 
Godfrey  Kneller,  who  employed  him  to  paint  the 
draperies  and  backgrounds  of  his  portraits.  He 
excelled  in  copying  the  works  of  Rubens.  He  died 
in  London  in  1727,  and  was  buried  in  the  church- 
yard of  St.  Martin's-in-the-Fields. 

PIETERS,  Pierre,  the  son  of  Gerard  Pieters. 
accompanied  his  father  to  Ghent  in  1590,  and  was 
admitted  to  the  freedom  of  that  city.  In  1609  he 
was  at  work  for  the  magistracy  of  Glient,  but  must 
liave  been  already  dead  in  1612,  for  in  that  year  his 
wife  is  spoken  of  as  a  ^ridow,  in  a  document  still 
preserved. 

PIETERS,  Simon-,  a  Flemish  historical  painter, 
received  as  muster  painter  at  Bruges  in  1521.  He 
was  Dean  of  St.  Luke's  Guild  in  16-19.  In  1553  he 
restored  the  'Last  Judgment 'of  Walens,  and  painted 
several  pictures  for  the  city.     He  died  in  1556. 

PIETEKSZ,  RoELOF,  an  obscure  painter  who 
worked  at  Utrecht  about  1517. 

PIETERZEN,  Abraham,  a  Dutch  painter  who 
flourished  at  Middelburg  early  in  the  present 
century.  He  was  a  pupil  of  Van  Regemorter,  at 
Antwerp. 

PIETERSZEN,  Aert,  the  son  of  Pieter  Aertazen 
(kuown  as  Lange  Peer),  was  born  at  Amsterdam 
in  1550.  He  deserves  great  praise  for  his  picture 
of  the  'Lesson  of  Anatomy,'  which  hangs  in  the 
same  room  as  the  world-famous  picture  of  the  same 
subject  by  Rembrandt,  in  the  Surgeons'  Guild-Hall 
at  the  Hague.  It  represents  the  professor  Sebastiaen 
Egberts  lecturing  over  a  dead  body  to  twenty-eight 
eager  listeners,  much  in  the  same  way  as  Rembrandt 
has  depicted  Tulp.  It  is  now  in  the  Rijks  Museum, 
Amsterdam.  Pieterszen's  picture  is  vigorously  exe- 
cuted in  a  brown  tone,  and  exhibits,  more  especially 
in  the  countenances,  much  vivacity,  facility  of 
drawing,  and  general  truth  to  nature.  It  bears  the 
painter's  monogram  of  A.  P.  and  the  date  1603, 
which  is  twenty-nine  years  earlier  than  Rembrandt's 
work.  Besides  this,  the  Rijks  Museum  possesses 
two  more  excellent  examples  of  Pieterszen,  both 
groups  of  portraits.  Pieterszen  died  at  Amster- 
dam, and  was  buried  there  on  the  12th  Jime,  1612. 

PIETERSZEN,  Gerrit,  (Pieters,  orPEETERS,) 
was  a  painter  and  etcher,  who  flourished  at  Amster- 
dam at  the  end  of  the  16th  century  and  beginning 
of  the  17th.  He  was  first  instructed  by  Jacob 
Lenartszen  and  Comelis  van  Haarlem,  and  after- 
wards went  to  Antwerp  and  Rome.  After  a 
residence  of  some  years  in  the  latter  city  he  re- 
turned to  Amsterdam,  where  he  distinguished  him- 
118 


self  as  one  of  the  ablest  artists  of  his  time. 
Unfortunately  he  devoted  himself  principally  to 
portraiture,  and  the  rapid  production  of  small 
pictures,  but  his  talents  fitted  him  for  higher 
efforts.  He  was  particularly  successful  with  the 
nude,  and  is  also  celebrated  as  a  painter  of 
gallant  assemblies  and  conversations,  which  he 
composed  in  a  very  agreeable  style,  and  finished 
with  great  neatness  and  delicacy.  According  to 
Balkema  he  died  in  1626.  There  is  a  beautiful 
landscape  drawing  by  him  in  the  cabinet  at 
Muiiirh.    He  etched  several  plates,  among  them  : 

St.  Cecilia,  with  Angels. 

St.  John  in  the  Wildemefls. 

The  three  Theological  Virtues. 

PIETERSZOON,  Pieter,  a  glass-painter  of 
Haarlem,  who  was  received  into  the  Guild  of  St. 
Luke  in  1619,  and  formed  a  large  class  of  scholars. 

PIETRASANTA,  Angelo,  a  painter,  was  born 
at  Milan  in  1837.  He  was  a  pupil  of  Hayez,  and 
worked  from  1859  to  1861  in  Rome  and  Florence, 
where  he  won  a  considerable  reputation  as  a  fresco 
painter.  He  painted  '  The  Rucellai  Gardens,'  the 
'  Borgia  Family,'  and  figures  of  '  Europe '  and 
'  Srience  '  in  the  Galleria  Vittorio  Emmanuele,  at 
Milan.  His  lastwork  was  the  decoration  of  the  Sanc- 
tuary of  the  Incoronata.  at  Lodi.     He  died  in  1876. 

PiETRO  BORGHESE.     See  Dei  Franceschi. 

PIETRO  DI  PIETRI,  an  Italian  painter,  bom  at 
Novara  in  1671.  He  was  a  pupil  of  Carlo  Maratti, 
and  painted  historical  subjects.     He  died  in  1716. 

PIETRO,  Giovanni  di.     See  Giovanni. 

PIETRO  DI  BENEDETTO.   See  Dei  Franceschl 

PIETROLINO,  an  Italian  painter  of  the  12th 
centurj',  who  was  at  work  at  Rome,  with  Guido 
Guiduccio,  between  1110  and  1120.  In  a  MS. 
preserved  at  Venice  it  is  stated  that  Pietrolino's 
home  was  at  Siena.  Some  remains  of  his  work  are 
said  to  be  visible  in  the  Church  of  the  Santi  Qttattn 
Coronaii,  in  Rome. 

PIETROWSKI.    See  Piotrowskt. 

PIGAL,  Edm£  Jean,  a  French  painter  of  still- 
life,  was  born  in  Paris  in  1794.  He  was  a  pupil 
of  Gros.  Among  his  works  is  a  '  Consultation  of 
Doctors.'     He  died  in  1872. 

PIGEON,  JE.4.N  Baptiste,  a  Flemish  painter, 
born  at  Bare  in  1823.  He  was  a  pupil  of  Marinus 
V'an  der  Haert  and  Mathieu,  and  painted  portraits 
and  historical  subjects.  His  chief  work  is  the  'In- 
stitution of  the  Rosary,'  in  the  Church  of  Anhee, 
near  Dinant.     He  died  in  1868. 

PIGLHEIN,  Elimar  Ulrich  Bruno,  German 
painter  ;  born  Febru.ary  19,  1848,  at  Hamburg ;  a 
pupil  of  Pauwels  at  Weimar,  and  of  Diez  at 
Munich.  In  1855  he  travelled  through  Palestine, 
and  subsequently  painted  a  remarkable  panorama 
of  the  Crucifixion.  This  was  destroyed  by  fire  in 
1892.  He  was  a  Professor  and  Honorary  Associate 
of  the  Munich  Academy.  He  executed  many 
charming  and  piquant  pastels ;  and  among  his 
ino.st  notable  works  are :  '  The  Entombment  of 
Christ,'  'The  Blind  "SV'^oman,'  '  Moritur  in  Deo,' 
'The  Krupp  Family,'  &c.  He  died  at  Munich, 
July  15,  1894.  P.  P. 

PIGNATELLI,  Vicente,  a  Spanish  amateur 
landscape  painter,  born  about  1700.  He  was  a 
noble.  He  showed  a  decided  inclination  for  the 
arts,  and  took  a  prominent  part  in  founding  an 
Academy  at  Saragossa,  of  which  he  became  the 
first  President.     He  died  in  1770. 

PIGNE,  Nicolas,  a  French  engraver,  was  bom 
at  Chalons  in  1690,  and  is  said  to  have  been  a  pupil 


PAINTERS  AND  ENGRAVERS. 


of  Bernard  Picart.  He  appears  to  have  been  in 
England,  as  there  is  a  portrait  with  liis  name,  of 
Richard  Fiddes,  B.D.,  prefixed  to  '  Divinity,'  by 
the  latter,  and  dated  1718.  We  have  by  this  artist 
a  few  plates  in  line,  among  which  are  the  following : 

The  Virgin,  with  the  Infant  sleeping  in  a  eradle,  with 
St.  John  standing  by  her  side,  attended  by  four 
angels ;  aper  F.  Trevisani  ;  for  the '  Crozat  Collection.' 

The  Woman  of  Canaan  kneeling  at  the  feet  of  Christ ; 
after  Ann.  Carracci. 

PIGNONE,  SiMONE,  was  born  at  Florence,  accord- 
ing to  Oretti,  in  1614.  After  being  instructed  in 
the  elements  of  art  by  Domenico  Cresti,  he  became 
a  scholar  of  Francesco  Furini.  He  aftenvards  lived 
for  a  time  in  Venice,  where  he  improved  his 
colour  by  studying  the  works  of  Titian  and 
Tintoretto.  On  his  return  to  Florence  he  painted 
several  pictures  for  the  churches,  of  which  the 
most  admired  are  the  pictures  of  '  St.  Michael  dis- 
comfiting the  Evil  Spirit,'  in  the  church  of  the 
Nunziata  ;  and  '  St.  Louis  distributing  his  Wealth 
to  the  Poor,'  in  Santa  Felicita.  He  also  excelled 
in  painting  m^'thological  subjects,  which,  however, 
he  sometimes  treated  with  too  much  licentiousness. 
He  died  in  1698. 

PIJNACKER,  Adam,  sometimes  erroneously 
called  Adriaen,  was  bom  at  Pijnacker,  near  Delft, 
in  1621,  and  went  when  young  to  Rome,  where  for 
three  years  he  studied  the  works  of  the  most  dis- 
tinguished landscape  painters,  and  made  designs  of 
the  most  picturesque  objects  in  the  environs  of 
that  capital.  On  his  return  to  Holland  he  soon 
gave  proof  of  how  much  he  had  profited  by  his 
travels,  and  became  one  of  the  most  admired  and 
best  employed  artists  of  his  country.  It  was  at 
that  time  the  practice  to  ornament  the  apartments 
of  important  houses  with  the  works  of  the  most 
eminent  landscape  painters ;  and  Pijnacker  was 
much  engaged  in  works  of  that  description. 
His  style  has  something  in  common  with  that  of 
Jan  Both.  It  is,  however,  at  once  more  decor- 
ative and  less  true  to  nature.  His  composition  is 
excellent,  but  his  colour  too  cold,  and  his  texture 
metallic.  In  the  Gotha  Gallery  there  is  a  '  Land- 
scape with  a  Ruin  '  by  him,  which  is  signed  with 
the  initials  A.  V.  P.  P.  He  was  a  fine  draughts- 
man of  trees.  Almost  all  of  his  pictures  contain 
men  and  animals.  Pijnacker  died  at  Amsterdam, 
where  he  was  buried  on  March  28,  1673.  Among 
his  best  works  we  may  name  : 

Amsterdam.     3fuseutii.    Four  Landscapes. 
Berlin.  „  Landscape  with  Shepherds. 

Cassel.  „  Cows  and  Cowherds. 

Dulwich.  Gallery.    An  Italian  Landscape. 

„  „  Landscape,  with  Sportsmen.    (A 

Jirst-rate  example.) 
Hague.  Museum.     A  Torrent.     (Very  fine.) 

St.  Petersburg.    Her-   >Sea-coast. 

milage. ) 
Vienna.  Academy.    Mountainous  Landscape. 

PILAJA,  Paolo,  an  Italian  engraver,  flourished 
at  Rome  from  1727  to  1747.  He  executed  a  set  of 
plates  for  a  book  entitled  '  Storia  di  Volsena,'  by 
the  Abate  Adami,  published  at  Rome  in  1737.  We 
have  also,  among  others,  the  following  prints  by 
him  : 

The  Portrait  of  Pope  Benedict  Xlll. ;  after  Brughi. 
The  Martyrdom  of  St.  Fedele  ;  after  S.  Conca. 
A  Miracle  wrought  by  St.  Thoribio  ;  after  the  lame. 
S.  Liberale,  with  two  Children ;  after  the  same. 
Statue  of   the   Prophet  EUjah ;    after  the  sculpture  by 
Agost.  Cornachini,  in  St.  Peter's  at  Rome. 

FILEN  Hans,  an  unimportant  Dutch  landscape 


painter,  flourished  toward  the  close  of  the  16th 
century.  He  painted  somewhat  in  the  style  of 
Pieter  Lastinann. 

PILES,  Roger  de,  painter,  etcher,  and  writer  on 
art,  was  born  at  Clamecy  (Nievre)  in  1635,  and 
died  in  Paris  in  1709.  He  was  a  pupil  of  Claude 
Franfois,  and  travelled  in  Italy  and  Holland.  His 
fame  depends  chiefly  on  his  voluminous  writings 
on  art. 

PILGRIM,  J.  U.     See  Wechtlin. 

PILKINGTON,  Sir  William,  Bart.,  an  English 
amateur  landscape  painter,  bom  in  1775.  He  suc- 
ceeded to  the  title  as  eighth  baronet  in  1811.  His 
style  was  founded  on  that  of  the  classic  school, 
and  especially  that  of  Richard  Wilson.  He  was 
also  an  amateur  architect  and  a  good  scholar. 
Butterton  Hall,  Staffordshire,  was  built  from  his 
designs.  He  died  at  Chevet  Hall,  Wakefield,  in 
1850. 

PILLANS,  R.,  an  English  marine  painter,  who 
practised  in  the  second  part  of  tlie  18tb  century. 

PILL.ATI,  Heinrich,  Polish  painter,  bom  at 
Warsaw  in  1832  ;  studied  there,  and  afterwards  at 
Munich  under  Kaulbach,  and  then  worked  at 
Rome.  Painted  historical  and  romantic  subjects, 
'  Faust  and  Marguerite,'  &c.  He  died  at  Warsaw, 
April  14,  1894. 

PILLE,  Charles  Henri,  French  painter  ;  bom 
at  Essomes  (Aisnes)  in  1845  ;  became  a  pupil  of 
Felix  Barrias ;  began  his  career  as  a  painter  of 
anecdotic  genre  and  historical  subjects ;  scored 
his  first  real  success  with  '  Frederic  de  Saxe  et  le 
Due  d'Albe'  and  '  L'Automne '  in  the  Salon  of 
1872;  obtained  a  medal  in  1869,  a  second-class 
medal  in  1872,  a  gold  medal  in  1889,  and  the 
Legion  of  Honour  in  1882  ;  well  known  as  a 
portrait  painter  and  successful  as  an  illustrator  of 
'  Don  Quixote,'  and  also  of  the  romances  of  Victor 
Hugo.     He  died  in  Paris,  March  4,  1897. 

PILLE.MENT,  Jean,  was  born  at  Lyons  about 
1728  (some  say  1719),  and  after  receiving  his 
education  in  that  city,  went  to  Paris  and  Vienna, 
and  after  1763  to  London.  He  painted  in  oil  or 
pastel  a  ff  w  pictures  of  landscapes  and  fancy  sub- 
jects, wliicli  were  composed  and  coloured  in  a 
theatrical,  gaudy  style  ;  he  treated  similar  subjects 
in  pencil  drawings  and  water-colours,  which  were 
finished  with  great  neatness  and  labour.  Between 
1773  and  1780  he  occasionally  exhibited  at  tlie 
Free  Society  of  Artists,  but  in  the  former  year  he 
dropped  for  a  time  the  practice  of  his  art  on  account 
of  ill-health,  and  returned  to  Avignon.  He  became 
painter  to  Marie  Antoinette  and  to  the  last  king 
of  Poland,  but  finally  settled  again  at  Lyons, 
where  (?)  be  died  early  in  the  last  century  (?  1808). 
Several  of  his  designs  have  been  engraved  by 
Canot,  Ravenet,  Woollet,  Mason,  Elliot,  and  other 
eminent  engravers.  He  himself  etched  a  few  plates 
of  flowers,  &c. 

PILLEMENT,  Victor,  designer  and  engraver, 
was  born  at  Vienna  in  1767.  He  was  a  son  and 
pupil  of  Jean  Pillement,  and  worked  with  the 
graver  and  point  combined.  He  died  in  Paris  in 
1814.     Among  his  best  plates  may  be  mentioned  : 

The  Banks  of  the  Bosphorus  ;  after  Melting. 
Travels  in  Egypt ;  after  Denon. 
CEdipus  Colonneus  ;  after  Valenciennes. 

PILLIARD,  Jacques,  French  painter,  bom  at 
Vienne  (dep.  Is^re)  in  1814  ;  became  a  pupil  of 
Orsel  and  of  Bonnefond,  a  religious  painter  of 
mark  :  his  works  include '  Education  de  la  Vierge,' 

119 


A  BIOGRAPHICAL  DICTIONARY  OF 


'Mort  <le  Rachel,'  'Une  Peste,'  'Le  Martyre 
de  St.  Hippolyte,'  '  Le  Christ  an  Tombeau.'  He 
obtained  a  tliird-class  medal  in  1843,  and  a  Becond- 
clasB  medal  in  1844  and  1848.  He  lived  for  many 
years  at  Home,  and  died  at  his  birtliplace,  April 
10,  1898. 

PILO,  Carl  GnsTAV,  a  Swedish  painter,  was 
bom  near  Buntuna,  in  Siidermanland,  in  1712  or 
1713.  He  first  studied  under  his  father,  Oluf  Pit.o 
(a  portrait  painter),  then  under  Crismau  at  Stock- 
holm, and  was  at  Vienna  from  1734  to  1736.  He 
next  travelled  widely  in  Germany,  and  on  returning 
to  his  own  country  settled  for  a  time  at  Schonen, 
where  he  successfully  practised  portrait  painting. 
In  1741  he  went  to  Copenhagen,  and  was 
appointed  drawing-master  to  the  Cadet  Corps, 
and  after  painting  the  Crown  Princess  Louise,  was 
in  1745  made  court-painter,  and  three  years  later 
professor  at  the  old  Academy.  In  1771  he  became 
director,  but  by  accepting  the  Order  of  Vasa  from 
his  own  sovereign,  Gustavus  III.,  he  fell  into  dis- 
favour with  the  Danes,  and  returned  to  Sweden. 
Here,  too,  he  was  chosen  a  director  of  the  Academy. 
He  died  at  Stockholm  in  1792.  Among  his  best 
pictures  we  may  note : 

Fredcrik  V.  of  Denmark  on  Horseback, 
(^aroliae  Mathilde,  his  Consort. 
Coronation  of  Gustavus  III. 
Portrait  of  Lieut.-General  Lerche. 

PILOTTO,  GiROL.«io,  was  a  native  of  Venice, 
and  flourished  about  the  year  1590.  He  was  a 
scholar  of  the  younger  Palma,  and,  according  to 
Zanotti,  a  faithful  follower  of  his  style  One  of 
his  best  performances  is  a  '  St.  Biagio,'  over  the 
high  altar  of  the  Fraglia  at  Hovigo ;  but  his  most 
celebrated  work  is  the  '  Marriage  of  the  Adriatic  by 
the  Doge,'  in  the  grand  saloon  in  the  ducal  palace 
at  Venice.     Zani  places  his  death  in  1649. 

PILOTY,  Carl  Theodor  vox,  a  Bavarian  painter, 
was  born  at  Munich  in  1826.  After  studying  under 
his  father  he  entered  the  Munich  Academy,  and  be- 
came the  pupil  of  his  brother-in-law,  Carl  Schom. 
In  early  manhood  he  visited  Paris,  England,  and 
Brussels,  and  soon  after  his  return  to  Bavaria,  was 
commissioned  by  the  king  to  paint,  for  the  Maxi- 
milianeum,  '  The  Elector  Max  adhering  to  the 
Catholic  League  in  1609.'  This  was  completed  in 
1854.  Piloty  formed  a  large  class  of  pupils,  and  for 
the  greater  part  of  his  life  was  both  a  member  and 
a  professor  of  the  Munich  Academy.  Lenbach, 
Defregger,  and  Hans  Makart  were  among  his 
scholars.     He  died  in  1886.     Works  : 

Death  of  'WaUenstein. 
Seni  before  'WaUeDstein's  corpse. 
Battle  of  the  'White  Mountain,  Prague. 
Galileo  in  Prison. 

Wallenstein  marching  against  Egger. 
Discovery  of  America. 
Henry  VIII.  and  Anne  Boleyn. 
Nero  among  the  ruins  of  Kome. 

Thusnelda  at  the  Triumph  of  Germanicus.    {New  Pina- 
cothek,  Munich^ 

PILOTY,  Frrdinand,  lithographer,  was  born  at 
Homburg  in  1785.  He  was  instructed  in  painting, 
but  after  the  invention  of  lithography  he  devoted 
himself  exclusively  to  that  art.  In  1836  he  asso- 
ciated himself  with  Joseph  Lohle  for  the  production 
of  a  series  of  copies  from  the  Munich  Pinakothek 
and  the  Schleissheim  Gallery.  After  the  death  of 
Gottlieb  Bodmer  the  two  artists  continued  the 
publication  of  his  works,  and  the  lithographic 
establishment  of  Piloty  and  Lohle  is  still  one  of 

120 


repute  in  Germany.  Piloty  died  at  Munich  in 
1844. 

PILOTY,  Ferdinand,  German  painter,  bom  Oct. 
9,  1828,  at  Munich  ;  a  brother  of  the  more  famous 
Karl  Piloty  ;  studied  at  the  Munich  Academy 
under  K.  Schoyn  ;  underwent  a  further  course  of 
study  in  Rome,  Paris  and  Vienna.  His  works 
include  five  frescoes  in  the  Munich  National 
Museum  ;  others  are  in  the  Landsherg  Town  Hall ; 
he  also  painted  '  Thomas  More  in  Prison,'  '  The 
Judgment  of  Solomon'  (for  King  Ludwig  II.), 
and  illustrated  Shakspere,  Schiller's  '  Bell,'  &c.  ; 
he  was  an  honorary  member  of  the  Munich 
Academy  and  gained  various  decorations.  He 
died  Dec.  21,  1895. 

PILS,  Isidore  Alexandre  AncnsTE,  a  French 
historical  painter,  born  in  Paris  in  1813.  He  studied 
in  the  Ecole  des  Beaux  Arts,  and  was  a  pupil  of 
Lethifere  and  Picot.  In  1838  he  gained  the  Grand 
Prix  de  Rome  for  his  '  St,  Peter  healing  the  lame 
man  at  the  gate  of  the  Temple.'  For  some  years 
his  attention  was  chiefly  devoted  to  Scriptural 
subjects,  and  he  spent  much  time  in  travel.  The 
Russian  War  gave  a  new  turn  to  his  art,  and 
he  henceforth  painted  those  military  subjects  on 
which  his  reputation  rests.  He  went  to  the 
Crimea,  and  depicted  several  incidents  of  the  cam- 
paign for  Napoleon  III.  Besides  medals  in  1846, 
1855,  1857,  and  1861,  he  received  the  Legion  of 
Honour  in  1857,  becoming  an  officer  of  the  order 
in  1867.  lie  became  Professor  of  Painting  at  the 
6cole  des  Beaux  Arts  in  1863,  and  was  elected  a 
member  of  the  Institute  in  1868.  There  are  deco- 
rative paintings  by  him  at  the  churches  of  Ste. 
Clotilde  and  St.  Eustache  in  Paris  ;  but  his  greatest 
work  of  this  kind  is  the  ceiling  over  the  grand 
staircase  in  the  New  Opera  House.  Pils  died  of 
chest  disease  at  Douarnenez  (Brittany)  in  1875. 
Amongst  his  chief  pictures  are  : 

Christ  preaching  in  Simon's  Boat.     1846. 

Death  of  the  Magdalen.     (1847.) 

Bacchantes  and  Satyrs.     (1848.) 

Rouget  de  I'lsle  singing  the  Marseillaise.     1849. 

Death  of  a  Sister  of  Charity.     1850. 

Athenian  Slaves  at  Syracuse.     (1852.) 

Prayer  at  the  Hospital.     (1853.) 

A  Trench  before  Sebastopol.   1855.  (Bordeaux  Museum.) 

Disembarkation  of  the  French  Army  in  the  Crimea. 

1858. 
School  of  Musketry,  Vincennes.     (1859.) 
Battle  of  the  Alma.    1861.    ( Versailles  Gallery^) 
Fete  to  the  Emperor  and  Empress  in  Algiers  in  1860. 

(1867.) 
Apollo  with  the  Chariot  of  the  Sun. 
Fame  crowning  Wisdom. 
Apollo  charming  the  Beasts  with  his  Lyre. 
The  City  of  Paris  encouraging  the  Arts.     ( This  and  tin 

three  preceding  for  the  .Stairs  of  the  Grand  Opera.) 
Portraits  of  Lecointe  and  Castelnau. 

His  brother,  Edouard  AiSNfe  Pils,  born  1823, 
died  1852,  was  a  pupil  of  the  School  of  Arts,  and 
from  1845  onwards  painted  religious  and  military 
subjects  with  some  success. 

PILSBUBY,  B.,  English  painter;  bom  at 
Burslem  in  1830  ;  began  his  career  as  a  painter  on 
china,  for  which  he  received  special  training ;  he 
afterwards  obtained  a  post  as  teacher  at  Sovith 
Kensington,  and  finally  became  associated  with 
Minton  factories.  He  was  one  of  the  pioneers  of 
the  new  development  of  decorative  pottery,  his 
talent  being  specially  devoted  to  flower-painting. 
He  died  at  Longton,  September  1,  1897. 

PILSEN,  Frans,  was  born  at  Ghent  in  1700, 
and  died  in  1786.     He  studied  painting  and  en- 


ROBERT  E.  PINE 


1 1  'al.cr  <:n.l  Cockenll  fholu  Xali^nal  Porliait  Gallery 

DAVID  GARKICK 


PAINTERS  AND  ENGRAVERS. 


graving  under  Robert  van  Auden-Aerd.    We  have 
among  others,  the  following  prints  by  him  : 

The  Virgin  aud  Infant  Jesus  ;  after  Rubens. 
The  Conversion  of  St.  Bavon  ;  after  the  same. 
The  Judgment  of  Midas  ;  after  the  same. 
The  Martyrdom  of  St.  Blaize  ;  after  G.  de  Crayer. 
St.  Francis;  after  Rubens;  inscribed  F.  Pilsen,   sculp. 
G.  1770. 

PINACCI,  Giuseppe,  an  obscure  Italian  painter, 
a  native  of  Siena,  flourished  about  1642.  He  was 
a  pupil  of  Borgognone,  and  painted  historical  and 
battle  scenes.  He  resided  at  Naples,  and  after- 
wards at  Florence,  at  the  Court  of  Prince  Ferdinand. 

PINAIGRIER,  TnoMAS,  a  French  landscape 
painter,  born  in  Paris  in  1616.  He  was  received 
into  the  Academy  in  1648,  and  died  in  1658. 

PINAS,  Jacob,  was  the  younger  brother  of  Jan 
Pinas,  and  was  instructed  by  his  brother,  whose 
style  he  imitated. 

PINAS,  Jan,  was  an  historical  painter  of 
Haarlem  early  in  the  17th  century.  It  is  not 
known  under  whom  he  learned  the  rudiments  of 
the  art,  but  in  1605  he  travelled,  in  company  with 
Pieter  Lastman,  to  Italy,  where  he  studied  some 
years.  On  his  return  to  Holland  he  distinguished 
himself  as  a  painter  of  history  and  portraits.  Of 
his  historical  productions,  one  of  the  most  esteemed 
was  a  picture  in  the  great  church  at  Haarlem  of 
'Joseph  and  his  Brethren.'  He  was  living  in  that 
city  up  to  at  least  1621,  and  in  1623  a  landscape 
by  him,  with  the  story  of  Salmacis  and  Herma- 
phroditus,  was  engraved  by  Magdalen  van  de  Pass. 

PIN(JHARD,  P.,  is  said  by  Strutt  to  have  re- 
sided at  Genoa,  where  he  engraved  several  platea 
for  books,  about  the  year  1687. 

PINCUN,  Adolphe,  French  engraver,  bom  in 
1847  at  Romorantin  (Loire  et  Cher).  His 
'Baigneuse'  (after  Chaplin)  was  shown  at  the 
Salon  in  1868,  and  to  this  Exhibition  he  was  from 
that  date  a  frequent  contributor.  He  also  completed 
lithographs  of  Gerard's  '  Psychd  et  I'Amour,'  Staal's 
'Invocation,'  and  Schenck's  '  L'fitd  '  and  '  L'Hiver,' 
besides  several  portraits.  He  died  at  Bicetre 
Hospital  near  Paris  in  1884. 

PINE,  John,  an  engraver,  and  a  man  of  letters, 
was  born  in  1690.  He  kept  a  printshop  in  St. 
Martin's  Lane,  and  became  intimate  with  Hogarth, 
who  introduced  his  portrait  as  the  friar  in  his 
picture  of '  Calais  Gate,'  from  which  circumstance 
he  went  often  by  the  name  of  '  Friar  Pine.'  He 
brought  out  several  handsome  works  illustrated 
with  plates  of  his  own  engraving.  The  principal 
of  them  were  a  series  representing  the  ceremonies 
used  at  the  revival  of  the  order  of  tlie  Bath,  by 
King  George  I.  (published  in  1725)  ;  also  his 
prints  from  the  tapestry  in  the  House  of  Lords, 
representing  the  '  Destruction  of  the  Spanish  Ar- 
mada' ;  and  a  superb  edition  of  '  Horace,'  the  text 
engraved,  and  illustrated  witli  ancient  bas-reliefs 
and  gems.  The  '  Pastorals '  and  '  Georgics '  of  Virgil 
were  published  by  his  son,  after  his  death,  orna- 
mented in  a  similar  maimer,  with  a  printed  type. 
Pine  also  engraved  a  few  portraits,  among  which 
are  an  etching  of  himself  and  a  mezzotint  bust 
of  Garrick,  taken  from  a  cast.  He  received  the 
appointment  of  Blue  .Mantle  in  the  Heralds'  Col- 
lege, and  there  died  May  4, 1756.  Pine  was  one  of 
the  committee  of  artists  who  attempted,  in  1755,  to 
found  a  Royal  Academy. 

PINE,  Robert  Edge,  son  of  John  Pine,  was  born 
in  London  in  1742.  It  is  not  known  by  whom  he 
was  instructed,  but  he  gained  the  premium  for  the 


best  historic  design,  given  by  the  Society  of  Arts, 
with  his  '  Surrender  of  Calais'  in  1760,  and  again 
with  'Canute  and  his  Courtiers'  in  176.S.  Ho 
afterwards  practised  as  a  portrait  painter,  and 
occasionally  exhibited  at  Spring  Gardens  and  the 
Royal  Academy.  In  1782  he  exhibited  a  series  of 
pictures  of  scenes  from  Shakespeare.  He  after- 
wards went  to  America,  and  portrayed  Washing- 
ton and  other  leaders  of  the  revolution.  He  died 
at  Philadelphia  in  1790.  His  principal  works  are 
subjects  from  Shakespeare,  and  theatrical  portraits, 
which  have  been  engraved  by  M'Ardell,  V.  Green, 
C.  Watson,  Aliamet,  Lomax,  and  Dickinson.  His 
'  Surrender  of  Calais  '  was  preserved  in  the  Town- 
hall  of  Newbury,  and  mention  may  be  made  of 
the  following  portraits  : 

George  II.  {at  Audley  End). 

The  Duke  of  Northumberland  {Middlesex  Hospital). 

Garrick  {National  Portrait  Gallery). 

PINE,  Simon,  an  English  miniature  painter  in 
the  18th  century,  the  son  of  John  Pine.  He 
practised  in  Ireland  and  at  Bath,  and  exhibited  at 
Spring  Gardens,  and  at  the  Academy.  He  died  in 
1772. 

PINEDA,  Francisco  Perez  de,  a  Spanish  painter, 
was  born  at  Seville  about  the  year  1640.  He  was 
a  scholar  of  Murillo,  whose  style  he  followed,  and 
there  are  several  of  his  works  in  the  churches  and 
convents  at  Seville.  There  was  also  an  Antonio 
Perez  de  Pineda,  who  lived  about  100  years 
previously. 

PINEL,  Edouard,  painter,  born  at  La  Rochelle, 
was  a  pupil  of  Koqueplan  and  of  Gudin.  He  en- 
joyed some  repute  as  a  landscape  painter  in  the 
days  of  Louis  Philippe,  and  was  for  many  years 
keeper  of  the  Museum  in  his  native  town.  He  died 
in  1884. 

PINELLI,  Antonia  BERTUCCI.  See  Bertccci- 

PlNELLI. 

PINELLI,  Bartolommeo,  an  Italian  painter, 
etcher,  and  modeller,  was  boni  at  Rome  in  1781. 
He  studied  when  young  at  the  Academy  of  Saint 
Luke,  and  then  went  to  Bologna,  where  he  ob- 
tained honours,  after  which  he  returned  to  Rome. 
He  was  very  successful  with  his  sketches  from 
popular  life,  and  then  took  to  painting  views  at 
Rome  and  Tivoli  in  aquarelle.  He  also  etched 
(1810-22)  a  number  of  plates  illustrating  Italian 
life  and  costumes,  as  well  as  Grecian  and  Roman 
history  and  the  works  of  classic  authors.  Be- 
sides these  original  designs  he  engraved  after 
other  artists.  His  drawings  in  chalk  and  in 
water-colours  are  nmcli  esteemed.  The  works  by 
which  he  is  best  known  are,  '  Istoria  degli  Imperi- 
tori,  inventata  ed  incisa  in  cento  rami':  ' Rac- 
colta  di  Costumi  pittoreschi' ;  '  Nuova  Raccolta 
di  cinquanta  Costumi  pittoreschi';  'Istorica  Greca,' 
with  100  etchings;  '  Istorica  Romana,' 152  etch- 
ings; Illustrations  to  Virgil,  Dante,  Tasso,  Aretino, 
anil  Cervantes  ;  and  some  others,  of  which  the 
plates  were  brought  to  England,  and  printed  here. 
He  also  engraved  the  frescoes  painted  by  Pintu- 
ricchio  in  the  cathedral  of  Santa  Maria  Maggiore  ; 
the  illustrations  of  the  '  Life  and  Miracles  of  St. 
Francis  di  Paula,'  after  Marco  da  Faenza  and 
others  ;  the  friezes  by  Giulio  Romano  in  the  Far- 
nesina  ;  Picturesque  Views  of  Tivoli.  &c.  ;  .ind 
lithographed  illustrations  to  Manzoni.  He  died  at 
Rome  in  1835. 

PINGO,  Lewis.  The  exquisite  drawings  which 
this  distinguished  medallist  made  for  the  coins 
and  medals  which  he  struck  were  of  such  beauty 

121 


A   BIOGRAPHICAL  DICTIONARY   OF 


iui  to  give  liira  full  claim  for  recogiution  in  this 
dictionary.  He  was  the  son  of  Tlioinas  Pingo,  an 
engraver,  was  born  in  1743,  became  a  member 
of  tiie  Free  Society  of  Artists  when  19  years  of 
age,  and  was  first  of  all  assistant  engraver  and 
then  chief  engraver  to  the  Royal  Mint.  He  lived 
to  be  nearly  90  years  of  age,  and  died  near  London 
in  1830.  His  medals  were  of  great  merit  and 
marked  by  much  refinement. 

PINGKET,  Edooard  Henbi  Th^ophile,  French 
painter  and  lithographar,  bom  September  30,  1788, 
at  St.  Quentin  (Aisne) ;  became  a  pupil  of  David 
and  of  Kegnault.  He  worked  for  some  years  in 
Paris,  afterwards  at  St.  Quentin.  Painted  many 
portraits,  also  historical  and  genre  scenes,  '  Voya;;e 
de  Louis  Philippe  k  Windsor,'  &c.  Obtained  a 
second-class  medal  in  1824,  and  the  Legion  of 
Honour  in  1839.     Died  at  St.  Quentin  in  1876. 

PINO,  Marca  da,  (or  Marco  da  Siena,)  a  painter 
and  architect,  is  stated  to  have  been  born  at  Siena 
about  the  year  1520.  He  was  a  pupil  of  Buonac- 
corsi  and  Ricciarelli,  but  chiefly  followed  the  style 
of  Michelangelo.  He  painted  some  pictures  for 
the  churches  at  Rome,  of  which  one  of  the  most 
esteemed  was  a  '  Dead  Christ,  with  the  Virgin  and 
St.  John,'  in  Santa  Maria  di  Ara  Caeli.  Much  of  his 
work  in  Rome  was  done  in  collaboration  witli 
Daniele  da  Volterra.  From  Rome  he  proceeded  to 
Monte  Cassino,  where,  in  1557-8,  he  painted  for 
the  church  of  the  Benedictines  some  large  frescoes 
from  the  Lives  of  Christ  and  of  SS.  Jlaurus  and 
Placidus.  But  the  chief  scene  of  his  activity  was 
Naples,  where  he  established  himself  in  1560. 
During  a  residence  of  twenty-seven  years,  he 
decorated  the  principal  churches  with  several  of 
his  finest  works.  Of  these,  the  most  famous  and 
perhaps  the  best  is  a  '  Deposition  from  the  Cross,' 
in  the  church  of  San  Giovanni  de'  Fiorentini, 
painted  in  1577.  In  the  same  church  is  a  fine 
picture  of  the  '  Annunciation,'  and  in  the  cathedral 
an  '  Incredulity  of  St.  Thomas'  (1573).  A  'Christ 
on  the  Cross,'  an  '  Assumption  of  the  Virgin,'  nn<l 
an  'Adoration  of  the  Magi,'  in  the  church  of  San 
Severino,  may  also  be  named.  Pino  died  in  1687. 
His  art  has  niuch  that  is  clever  and  energetic  about 
it,  but  it  has  also  the  affectation  and  insipidity  of 
the  decadence. 

PINO,  Paolo,  an  unimportant  Venetian  painter, 
who  flourisliid  about  1565.  His  style  was  founded 
on  the  followers  of  Bellini.  There  is  a  portrait  of 
the  physician  Coignati  by  him,  in  the  Uffizi,  at 
Florence. 

PINO  DA  MESSINA.    See  Messina. 

PINSON,  Nicolas,  was  born  at  Valence,  in  the 
Drome,  about  the  year  1640.  He  studied  at  Rome, 
where  he  remained  a  considerable  time,  and  imi- 
tated the  manner  of  Pietro  da  Cortona.  Scarcely 
anything  more  of  his  history,  or  of  his  works,  ia 
known,  except  that  Coelemans  has  engraved  his 
picture  of  'Tobit  and  the  Angel,'  which  was  in 
the  collection  of  Boyer  d'Aguilles  ;  and  that  he 
etched  two  prints,  a  'Dead  Christ '  and  the  '  As- 
sumption of  the  Virgin,'  which  are  both  of  ex- 
treme rarity.  The  first  is  marked  N.  P.  In.  /., 
and  the  second  N.  Pinson-  Inuent.  et  Sculp. 

PINSSIO,  Sebastiano,  who  was  bom  in  Paris  in 
1721,  and  flourished  in  1755,  is  mentioned  by 
Strutt  aa  the  engraver  of  a  few  portraits. 

PINTDRICCHIO.    See  Biagio,  Bernardino. 

PIN  US,  Cornelius,  a  Roman  painter  of  the  reign 
of  Vespasian,  was  engaged  \vith  Accius  Priscua  in 
the  Temple  of  Virtue  and  Honour. 
122 


PINWELL,Georoe  John,  was  born  at  Wycombe, 
December  26,  1842,  and  died  in  London,  September 
8,  1876.  His  father  was  a  builder,  who  it  is  be- 
lieved built  the  original  station  at  Surbitou,  and 
who  was  in  a  very  fair  way  of  business,  but  ho 
died  young,  and  the  care  of  the  family  fell  upon 
Mis.  Pinwell,  who  was  somewhat  rough  and  a 
very  determined  person.  His  first  important  em- 
ployment was  with  a  firm  of  embroiderers  for 
whom  he  made  designs,  and  it  was  while  he  was 
with  tliem  that  he  mot  first  the  lady  who  after- 
wards became  his  wife,  and  who  now  survives  him. 
She  was  a  Miss  Isabella  Mercy  Stevens,  and  the 
firm  who  employed  Pinwell  were  well  known  to 
her  mother.  Miss  Stevens  needed  a  design  for  a 
piece  of  difficult  work  that  she  had  projected,  and 
went  to  this  house  to  obtain  it,  but  as  the  matter 
was  not  an  easy  on«  to  decide,  she  was  referred  to 
the  designer  himself,  and  to  him  she  explained 
her  wishes.  Pinwell  at  once  grasped  the  young 
lady's  idea,  and  promised  her  the  design  that  she 
wanted.  He  found  that  she  had  decided  on  the 
colouring  for  the  work,  and  that  her  decision  gave 
proof  of  a  good  judgment  in  colour,  and  of  the 
power  of  combining  colours.  Colour  fascinated 
Pinwell,  and  he  was  specially  noted  in  after  years 
for  his  jewel-like  colour  and  opulence  of  glowing 
effect.  He  was  therefore  struck  by  the  facility 
that  this  young  lady  possessed  in  suggesting 
colours  suitable  for  work,  and,  started  in  this  way, 
the  acquaintance  grew  into  affection  and  ripened 
into  a  very  happy  married  life.  Whilst  Pinwell 
was  with  the  embroiilerers  his  mother  married 
again,  and  the  severe  strain  upon  his  means  having 
been  in  this  way  reduced,  he  was  able  to  leave 
his  work,  and  devote  himself  entirely  to  training 
in  art.  He  first  entered  the  St.  Martin's  Lane 
School,  where  in  the  intervals  of  his  work  he  had 
already  studied)  in  the  night  classes.  In  1862  ho 
joined  the  Academy  in  Newman  Street. 

He  worked  at  Heatherley's  during  1862,  trying 
at  intervals  to  earn  some  money  by  practical  work, 
and  during  that  year  produced  the  first  of  his 
illustrations  that  are  known.  They  are  of  a  sin- 
gularly uninteresting  character,  and  show  but  little 
promise  of  what  was  to  follow.  The  volumes  con- 
taining these  quaint  early  drawings  are  '  Lilliput 
Levee,'  a  book  of  delightful  rhymes  for  children 
by  Matthew  Browne,  '  Tlie  H;ip|iy  Home,'  and 
'  Hacco  the  Dwarf.'  A  little  before  this  time 
'  Fun,'  which  afterwards  was  the  property  of  the 
Dalziel  Brothers,  was  started  by  a  tradesman  in 
the  Strand.  He  expressed  himself  willing  to 
purchase  at  a  low  price  drawings  and  footnotes 
suitable  for  his  new  publication,  and  Pinwell  was 
able  occasionally  to  sell  such  work  to  him.  Pin- 
well never  did  much  work,  however,  for  '  Fun,' 
and  was  more  often  engaged  in  preparing  draw- 
in.s;s  for  Elkingtons  the  silversmiths,  than  in 
black-and-white  illustrations,  until  his  connection 
with  '  Once  a  Week  '  commenced. 

Pinwell's  acquaintance  with  Mr.  J.  W.  Whymper 
began  at  this  time.  At  the  time  of  Pinwell's  call 
upon  Whymper,  Fred  Walker  had  just  left,  and 
Charles  Green  was  on  the  point  of  departure, 
and  there  was  no  definite  figure  draughtsman 
in  the  ofiioe.  North  was  there  at  the  time,  and 
first  became  acquainted  with  Pinwell  when  he 
called  to  introduce  himself  to  Whymper,  and 
in  this  way  started  a  friendship  that  lasted  as 
long  as  Pinwell's  life,  and  has  been  loyally 
continued  to  his  widow.      Pinwell  was   not  re- 


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GEORGE  J.  PINWELL 


THE  DOVECOTE 


'^From  thi  engraving 


PAINTERS  AND  ENGRAVERS. 


galarly  apprenticed  to  Mr.  Whymper,  but  a 
running  arrangement,  something  on  the  lines 
of  apprenticeship,  was  made  between  them.  Mr. 
Whymper  greatly  nppreciatwi  tlie  instinct  for 
design  and  cliaracter  that  he  could  discern 
in  Pinwell,  but  his  want  of  knowledge  of  draw- 
ing could  not  be  overlooked  by  the  publisher, 
and  no  great  amount  of  success  attended  Mr. 
Whympcr's  efforts  with  him.  It  appears  to  have 
been  Thomas  White  who  shared  a  room  with 
Pinwell  in  Millman  Street,  and  first  introduced 
him  to  regular  work.  White  had  been  working  for 
'  Fun,'  and  had  just  started  a  drawing  for  '  Once  a 
Week,'  that  important  magazine  that  was  to  con- 
tain within  its  pages  all  the  best  work  of  the 
"  sixties,"  and  in  vol.  viii.,  at  p.  169,  appeared  the 
first  of  Pinwell's  drawings,  called  'Saturnalia,'  and 
dated  January  31,  1863.  Many  of  Pinwell's  old 
fellow-students  at  Heatherley's  were  working  on 
the  same  magazine  and  in  similar  works,  and  of 
those  with  whom  he  was  most  familiar  may  be 
mentioned  Linton,  Fred  Barnard,  and  Charles 
Green.  This  same  year  saw  other  drawings  from 
Pinwell's  hand  in  the  magazines  of  tlie  day. 
'Good  Words 'had  'Martin  Ware's  Temptation' 
(p.  673);  'Loudon  Society '  had 'The  Confessor' 
(p.  37);  'The  Churchman's  Family  Magazine' 
had  'By  the  Sea'  (p.  257);  'Comhill'  one  block, 
and  '  Sunday  at  Home '  had  '  The  German  Band  ' 
on  p.  753.  In  the  following  year  Pinwell  made 
the  personal  acquaintance  of  the  Brothers  Dalziel, 
and  commenced  to  work  on  '  The  Arabian  Nights,' 
and  on  his  most  important  volume,  'The  Illus- 
trated Goldsmith.'  For  this  volume  Pinwell  did 
no  fewer  than  one  hundred  drawings  upon  wood. 
He  completed  them  week  by  week  for  the  issue  of 
the  book  in  parts  ;  producing  them  in  about  six 
months,  and  putting  all  his  heart  into  them.  His 
work  on  the  '  Goldsmith '  is  so  thoroughly  good, 
80  full  of  his  earnest  desire  to  ropresent  the  author, 
that  it  can  be  taken  as  a  model  of  what  an  illus- 
trated book  should  be. 

In  the  year  that  saw  the  completion  and  the 
issue,  in  one  volume,  of  the  '  Goldsmith,'  Pinwell 
married.  The  wedding  took  place  at  Marylebone 
parish  church  on  April  25,  1865,  and  the  honey- 
moon was  spent  at  Hastings.  He  was  then  living 
at  70  Newman  Street,  but  shortly  after%vards 
moved  to  Charlotte  Street,  Fitzroy  Square.  In 
1873  he  moved  into  Adelaide  Road,  No.  52, 
and  eventually,  in  the  same  year,  took  Mr.  Top- 
ham's  house  in  that  road,  No.  86,  where  he 
died.  When  liWng  in  Newman  Street  he  first 
made  the  acquaintance  of  Joseph  Swain,  who 
called  upon  him  as  to  some  business.  The  j"ears 
from  1865  to  1870  were  very  full  of  work.  Each 
volume  of  '  Once  a  Week'  down  to  1869  contained 
hie  drawings,  and  other  magazines  include  '  Good 
Words  '  down  to  1871,  '  London  Society,'  'Sunday 
Magazine,'  '  Quiver,'  and  '  Sunday  at  Home.'  Be- 
side these  are  his  more  important  works:  'Touches 
of  Nature,'  issued  by  Strahan  in  1866,  which  con- 
tained eight  of  his  works  ;  '  The  Spirit  of  Praise  ' 
and  '  Golden  Thoughts,'  both  published  by  Warnes 
in  1867  ;  '  Wayside  Posies,'  a  work  published  by 
Routledge  for  Dalziel,  and  issued  in  the  same  pro- 
lific year  ;  '  A  Round  of  Days,'  another  of  Dalziel's 
and  Routledge's  books  ;  and  then,  perhaps  greatest 
of  all, '  Poems  by  Jean  Ingelow,'  issued  by  Long- 
mans in  1867,  in  which  he  had  twenty  illustrations 
of  his  very  finest  work.  These  do  not  exhaust  the 
list  of  his  engraved  work,  as  there  are  books  which 


do  not  bear  a  date,  such  as  Buchanan's  '  Stories  of 
the  AfEections,'  '  Our  Life  Illustrated  by  Pen  and 
Pencil,'  and  also  'The  North  Coast,'  by  Buchanan, 
1868,  'National  Nursery  Rhymes,'  1877,  and  the 
'  Musical  Annual,'  1870,  which  contain  charming 
drawings  by  him.  The  labour  of  these  years  was 
by  no  means  devoted  entirely  todrawing  upon  wood, 
hut  side  by  side  with  that  work  Pinwell  was  steadily 
building  up  a  reputation  as  a  painter.  It  was  in 
1865  that  his  first  exhibited  work  was  seen.  It  was 
shown  at  the  Dudley  Gallery,  then  just  founded, 
and  was  a  development  in  oil-painting  of  an  idea 
used  in  his  black-and-white  work.  He  called  it 
'An  Incident  in  the  Life  of  Ohver  Goldsmith'; 
it  has  also  been  styled  after  what  it  depicts, 
'Goldsmith  earning  his  Board  and  Lodging  by  a 
Merry  Tune.'  The  picture  in  1876  belonged  to 
Mr.  R.  H.  Waithman.  It  was  to  be  seen  in  1899 
at  Agne%v's  Gallery,  No.  183,  and  was  sold  on  that 
occasion. 

From  the  time  of  that  first  appearance  till  1869, 
when  he  joined  the  Water-Colour  Society,  Pinwell 
exhibited  at  the  Dudlev  Gallerv.  In  1866  he  sent 
three  works:  'The  Watch,'  'The  Double  Trans- 
formation,' and  '  Old  Wives,'  which  was  burnt  by 
an  accident.  In  1868  he  sent '  The  Tramps,'  which 
is  to  be  recognized  under  the  name  of  'The 
Vagrants,'  in  Mrs.  Samuel  Joseph's  Collection,  and 
then,  in  1869,  occurs  the  last  at  the  Dudley,  '  The 
Calf,'  which  was  sold  in  1899  at  Agnew's,  and  was 
a  small  drawing  measuring  only  15|  by  12  inches. 
Brought  thus  into  favourable  notice  by  exhibits 
at  the  Dudley  Gallery,  "  he  sought  election  at  the 
Water-Colour  Society,  and  was  at  once  chosen  as 
Associate  on  April  3,  1869."  He  attained  full 
rank  in  the  Society  in  1870,  and  he  exhibited  as  a 
member  in  the  summer  of  1871.  His  first  exhibit 
in  1869  consisted  of  three  works,  two  scenes  from 
'The  Pied  Piper  of  Hamelin,'  called  respectively 
'  Children '  and  '  Rats,'  which  now  belong  to  Mr. 
J.  S.  Budgett,  and  a  pathetic  scene  called  '  A  Seat 
in  St.  James's  Park,'  a  development  of  a  drawing 
done  in  the  same  year  for  '  Once  a  Week '  (vol.  iii. 
p.  518),  a  sketch  for  which  can  now  be  found 
in  Mr.  Hartley's  Gallery,  the  original  being  in 
AustraUa  in  a  public  gallerj-.  In  the  Winter 
Show  of  the  same  year  were  four  more  :  'The 
Quarry,'  a  sketch  for  the  picture  ;  '  The  Last 
Load,'  a  fine  sketch  for  which  belongs  to  Mr. 
Hartley  ;  '  New  Books '  and  '  The  Old  Cross.'  The 
one  called  'New  Books '  belongs  to  ilrs.  Samuel 
Joseph  ;  but  the  other  now  belongs  to  Sir  Cuthbert 
Quilter,  Bart.,  and  is  called  'Out  of  Tune.'  In  1870 
appeared  a  really  important  picture, 'The  Elixir 
of  Love.'  This  was  shown  at  the  Summer  Exhibi- 
tion, and  in  the  winter  of  the  same  year  Pinwell 
exhibited  two  more:  'At  the  Foot  of  the  Quan- 
tocks'  and  'Landlord  and  Tenant.'  The  Summer 
Exhibition  of  the  following  year  possessed  only 
one  picture,  called  'Away  from  Town,'  and  the 
one  in  the  next  year  was  called  'The  Poachers 
(Early  Morn).'  Three  others  appeared  in  the  Winter 
Exhibition  of  1871-2:  'Time  and  his  Wife,'  an  illus- 
tration to  the  'Unconnnercial  Traveller'  (Charles 
Dickens). '  The  Earl  o'  Quarterdeck,'  and  'A  Country 
Walk,'  which  belongs  to  Mrs.  Rand  Capron.  In 
the  year  1872  Pinwell  exhibited  'Gilbert  ii  Becket's 
Troth,'  his  first  exhibited  work  as  a  full  member 
of  the  Water-Colour  Society.  '  A  Long  Conversa- 
tion '  is  the  solitary  picture  that  the  artist  exhibited 
at  the  Winter  Exhibition  of  1872-3.  In  1873  *  The 
Great  Lady '  appeared. 


A  BIOGRAPHICAL  DICTIONARY  OF 


For  a  year  Mrs.  Pinwcll  had  been  ill,  and  on  ' 
her  recovery  was  ordered  away,  but  for  four 
roontlis  they  could  not  start,  as  no  sooner  was 
the  severe  strain  of  her  illness  over  than  he 
failed,  and  for  many  weeks  lay  at  death's  door. 
Gradually  he  became  a  little  better,  and  then 
he  went  to  Ventnor,  accompanied  by  Miss  Dora 
Dalziel,  her  brother,  and  Pinwell's  ^eat  friend 
Houghton.  Here  the  party  remained  for  six 
weeks,  and  then  came  home,  but  Pinwell's  health 
had  become  no  better,  and  he  was  ordered  to 
Africa  for  the  winter.  One  more  picture  he  sent 
in  for  exhibition  ere  he  started,  '  The  Princess 
and  the  Ploughboy,'  which  was  to  be  seen  at  the 
Winter  Exliibition  of  1873-4.  In  Africa  Pinwell 
painted  three  pictures  that  were  exhibited  ;  one 
was  at  the  Summer  Exhibition  of  1874,  'The 
Beggars'  Roost,  Tangier,'  and  the  other  two.  'The 
Prison  Hole,  Tangier,'  and  'The  Auctioneer, 
Tangier,' were  at  the  Winter  Exhibition  in  1875. 
Pinwell  was  in  Africa  for  eight  months,  and  in 
the  spring  of  1875  he  returned  home,  spending  a 
week  on  the  homeward  journey  at  Gibraltar.  In 
the  summer  of  that  year  he  sent  five  pictures  to  the 
Water-Colour  Society,  the  last  that  he  exhibited. 
The  five  pictures  exhibited  in  1875  were  :  '  Sweet 
Melancholy,'  which  belongs  to  Mr.  Harry  Quilter, 
'The  Old  Clock,'  'Waiting,'  'The  Letter,'  and 
'  We  fell  out,  my  Wife  and  1.' 

On  his  return  home  the  artist  at  once  moved  into 
the  house  in  Adelaide  Road,  but  the  doctor  warned 
him  that  he  would  have  to  winter  abroad  again. 
The  prospect  was  not  an  agreeable  one  to  him, 
as  he  was  full  of  work,  and  very  anxious  to  stay 
in  England  and  finish  the  great  picture,  'Vanity 
Fair,'  that  had  been  so  long  in  hand.  The  idea 
of  a  long  journey  in  his  weak  state  of  health  lie 
could  not  bear,  and  in  his  own  words,  "  he  would 
almost  rather  die  than  go  abroad."  He  was  to 
have  that  wish  gratified,  as  in  a  few  days  after 
he  had  received  the  doctor's  report  he  grew  worse, 
took  to  his  bed,  and  never  rose  from  it  again. 
He  died  on  September  8,  1875,  and  was  buried  at 
Highgate  Cemetery. 

In  the  Winter  Exhibition  of  the  same  year  there 
were  exhibited  upon  one  of  the  screens  some 
thirty-three  unfinished  sketches  and  studies,  while 
in  February  1876  there  was  a  very  full  show 
of  his  works  in  Mr.  Deschamp's  Gallery,  168 
New  Bond  Street.  For  full  particulars  of  the 
artist  and  his  works  see  '  G.  J.  Pinwell,'  by 
G.  C.  Williamson  (George  Bell  and  Son),  1900. 

G.C.W. 

PINZ,  JoHANN  Georg,  (or  PiNTZ,)  was  an  engraver 
of  Augsburg,  who  died  in  1767,  at  the  age  of  70. 
He  is  said  to  have  been  chiefly  employed  by  the  book- 
sellers, for  wliom  he  engraved  several  prints,  in  the 
style  of  those  which  ornament  the  numerous  pub- 
lications of  Van  der  Aa.  He  engraved,  among 
others,  an  emblematical  print,  entitled  '  Gallus  and 
Germanus,'  in  honour  of  tlie  King  of  France,  after 
P.  Decker. 

PIO,  Giov.  DEL.    See  Bonatti. 

PIOLA,  DoMEKico,  the  younger  brother  of  Pel- 
legrino  Piola,  was  bom  at  Genoa  in  1628.  He 
received  his  first  education  in  art  from  his  brother, 
but  after  his  death  he  became  a  scholar  of  Gio- 
vanni Domenico  Capellini.  In  conjunction  with 
Valerio  Castelli,  he  executed  some  works  for  the 
public  edifices  in  Genoa  and  the  state.  For  some 
time  he  followed  the  style  of  Castiglione,  and  after- 
wards that  of  Pietro  da  Cortona.     He  was  particu- 

124 


larly  happy  in  the  representation  of  children,  which 
he  designed  from  the  casts  of  Fiamraingo.  One  of 
his  best  productions  is  the  '  Miracle  of  St.  Peter 
at  the  gale  of  the  Temple,'  at  Carignano,  which  is 
not  degraded  by  its  vicinity  to  an  admirable  picture 
by  Guercino.  He  died  in  1703.  He  is  known 
to  have  produced  the  following  etchings :  two 
'Nativities';  'The  Virgin  on  the  throne  with  the 
Infant  Jesus  on  her  knees,  and  St.  John  kneeling '  ; 
'  Paris  holding  the  Apple  ' ;  and  an  '  Old  Man  with 
a  long  beard.'  Domenico  Piola  had  three  sons,  An- 
roNlo,  who  abandoned  painting  in  early  life  after 
showing  some  promise,  GlOVAN.>H  Battista.  who 
never  developed  any  original  talent,  and  Pablo 
Geronimo. 

PIOL.\,  Domenico,  the  younger,  was  a  grand- 
son of  Domenico  Piola,  the  elder,  and  was  bom  in 
1748.  He  painted  historical  subjects  with  mediocre 
talent,  and  was  the  last  of  the  family.  He  died 
in  1774. 

PIOLA,  Giovanni  Gregorio,  a  successful  minia- 
ture painter,  bom  at  Genoa  in  1583.  He  died  at 
Marseilles  in  1625. 

PIOLA,  Pablo  Geronimo,  historical  painter,  son 
of  Domenico  Piola,  the  elder,  was  born  in  1666. 
He  was  a  pupil  of  his  father,  but  imitated  the  style 
of  Carlo  Maratti  and  the  Carracci.     He  died  in  1724. 

PIOLA,  Pellegro,  or  Pellegrino,  was  bom  at 
Genoa  in  1617.  He  is  supposed  to  have  been  a 
pupil  of  Capellino.  Though  the  world  was  de- 
prived of  his  talents  at  the  premature  age  of 
twenty-three,  when  he  was  assassinated,  a  '  Ma- 
donna,' painted  by  him,  wliich  was  in  the 
collection  of  the  Marchese  Brignole,  was  thought 
by  Francescbini  to  have  been  painted  by  Andrea 
del  Sarto ;  and  his  picture  of  St.  Elogio,  in  one  of 
the  churches  of  Genoa,  was  mistaken  by  Mengs  for 
a  work  of  Lodovico  Carracci.     He  died  in  1640. 

PIOLA,  Pietro  Francesco,  historical  and  portrait 
painter,  was  born  in  1565.  He  was  a  pupil  of 
Sofonisba  Angnisciola,  and  a  successful  imitator  of 
Cambiaso.     He  died  in  1600. 

PIOMBO,  Seb.  del.    See  Luciani. 

PIORT,  v.,  an  obscure  artist,  mentioned  by 
Strutt  as  the  engraver  of  a  plate  from  Rubens,  re- 
presenting an  old  woman  holding  a  pot  on  a  fire 
from  which  a  hoy  is  taking  a  lighted  coal. 

PIOTROWSKY,  Maximilian  Anton,  (or  Pie- 
TROWSKl,)  was  bom  at  Bromberg  in  1814,  and 
studied  at  the  Berlin  Academy  under  Hensel.  He 
afterwards  became  Professor  in  the  Academy  at 
Konigsberg.  He  at  first  painted  romantic  subjects 
from  Polish  history,  and  other  historical  pieces,  one 
of  which  was  '  Marie  Antoinette  in  the  Temple.' 
Later  on  he  took  to  genre  painting  from  Polish 
popular  life.  He  died  at  Konigsberg,  the  29th 
November,  1875. 

PIPER,  F.  LE.    See  Le  Piper. 

PIPPI,  GinLio  (Romano).     See  Dei  Giannczzi. 

PIQUOT.    See  Picou. 

PIRANESI,  Francesco,  son  and  pupil  of  Giam- 
battista  Piranesi,  was  bom  at  Rome  in  1756,  and 
was  instructed  in  design  and  architecture  by  his 
father.  The  Revolution  drove  him  to  Paris,  where, 
with  his  brotlier  Pietro,  he  essayed  in  vain  to 
found  an  Academy,  and  to  start  a  terra-cotta 
manufactory.  He  died  in  1810.  We  have  by  him 
several  plates  of  architectural  views,  and  also  of 
antique  statues  ;  among  them,  the  following : 

Jupiter  enthroned ;  from  the  statue  in  the  Capitolino 

Museum  ;  after  a  drainny  fry  Piroli. 
The  Venus  of  Medici ;  after  the  same. 


GIAMBATTISTA  PIRANESI 


[Fro/a  tht  etching 


THE  DARK  I'KISOX 


GIAMBATTISTA  PIRANESI 


iFrom  the  erc/iinj^ 
A  GRAND  STAIRCASK  WWU  COLUMNS  AND  FOUNTAINS 


PAINTERS  AND  ENGRAVERS. 


Cupid  and  Psyche ;  from  the  group  in  the  Capitol. 
Papirius  and  his  Mother ;  from  the  group  in  the  Villa 

Ludovisi. 
Portrait  of  his  Father,  with  Title-page  to  his  Works ; 

the  latter  after  Carles. 
The  Illumination  of  the  Chapel  of  St.   Paul   in   St. 

Peter's.   {Set  also  the  list  of  plates  by  G.  B.  Piranesi.) 

PIRANESI,GiAMBATTisTA,  ctclier  and  architect, 
the  so-called  "  Rembrandt  of  Arcliitecture,"  was 
born  at  Venice  in  1720.  About  1738  hi.s  fatlier, 
a  mason,  sent  him  to  Rome.  He  studied  under 
Vuleriani,  througli  whom  he  acquired  the  style  of 
Valeriani's  master,  Marco  Ricci  of  Belluno.  Marco 
Ricci  and  the  better-known  Giovanni  Pannini, 
stimulated  by  the  example  of  Claude,  liad  already 
set  a  fashion  of  pictures  in  which  the  overgrown 
ruins  of  Rome  and  the  Campagna  furnished  the 
matter  of  many  a  magniloquent  coni|>osition. 
Piranesi  greatly  excelled  both  Ricci  and  Pannini  ; 
but  it  was  through  his  own  medium  of  etching  that 
he  displayed  his  superiority  in  boldness  of  inven- 
tion and  force  of  execution  to  the  two  painters. 
His  sound  knowledge  of  engraving  was  derived 
from  the  Sicilian  Giuseppe  Vasi.  It  was  his 
father's  wish  that  he  siiould  practise  as  an  archi- 
tect at  Venice,  and  the  youth  twice  made  the 
attempt.  Indeed  "Architect  of  Venice  "is  found 
on  certain  of  liis  title-pages.  But  Piranesi  could 
not  live  away  from  Rome.  Threats  to  cut  off  his 
little  allowance  of  six  crowns  a  month  only 
sharpened  his  resolve  to  carve  out  a  career  for 
himself  according  to  his  own  lights.  Amidst  the 
dwindling  away,  "  under  the  attacks  of  time  and 
the  greed  of  their  owners,"  of  the  splendours  of 
ancient  Rome,  he  "  resolved  to  preserve  them  by 
means  of  engravings."  And  the  tilling  up  of  this 
huge  pictorial  record  was  the  work  of  Piranesi's 
forty  years  in  Rome.  He  varied  it  by  etching 
some  remarkable  exercises  in  imaginative  archi- 
tecture, and  also  spent  some  time,  at  the  request  of 
the  Venetian  Clement  XIII.,  in  restoring  the  two 
Churches  of  Santa  Maria  del  Popolo  and  II 
Priorato.  Of  his  restorations  it  must  suffice  to 
quote  Lanciani's  opinion  that  II  Priorato  is  amass 
of  monstrosities  inside  and  out.  But  it  is  not  as  a 
master-builder  that  Piranesi  wished  to  be  judged. 
His  deliberate  claim  to  immortality  rests  on  his 
etchings,  as  appears  from  his  recorded  belief  that 
he  had  "  executed  a  work  which  will  descend  to 
posterity,  and  will  last  so  long  as  there  will  be 
men  desirous  of  knowing  all  that  has  survived  of 
the  ruins  of  the  most  famous  city  of  the  universe." 
Piranesi's  life  was  uneventful.  He  married,  five 
days  after  his  tirst  sight  of  the  bride,  a  maiden 
whose  hand  he  had  demanded  instantly  upon 
seeing  her :  and  the  impetuousness  and  decisive- 
ness of  this  act  marked  the  whole  conduct  of  his 
life,  as  they  mark  also  all  the  best  of  his  work. 
In  a  sorry  quarrel  with  an  English  patron,  Viscount 
Charlemont,  Piranesi  showed  dignity  and  self- 
respect,  as  four  altered  title-pages  remain  to  prove. 
Proud  though  he  was  of  Venetian  birth,  he  habitu- 
ally displayed  a  truly  Roman  imperiousness  which 
came  out  remarkably  in  his  reply  to  an  anonymous 
Englishman's  assertion  that  Rome  owed  all  her 
art  to  Greece.  He  received  the  great  distinction 
of  the  Order  of  Christ,  but  was  still  more  proud  of 
his  membership  in  the  London  Society  of  Anti- 
quaries. The  name  "  Salcindio  Tiseio  "  on  one  of 
his  title-pieces  commemorates  his  connection  with 
the  Academy  of  the  Arcadi,  a  Society  which  found 
some  satisfaction  in  giving  to  every  one  of  its  new 


members  a  fantastic  name.  The  comings  of  these 
honours,  the  spoiling  of  the  two  churches,  a  few 
disputes,  and  the  etching  of  nearly  two  thousand 
plates  filled  up  a  laborious  life  which  ended  at 
Rome  on  November  9,  1778.  His  tomb  is  in  II 
Priorato,  where  his  son  set  up  a  tolerable  statue 
by  Angolini. 

The  original  copper  plates  of  Piranesi's  w^orks 
were  captured  by  a  British  war-ship  during  the 
struggle  with  Napoleon  :  and  it  had  been  better 
for  Piranesi's  reputation  if  the  British  commander 
had  sunk  them  in  deep  water.  Unfortunately  they 
still  exist,  and  could  quite  lately  be  hired  for  a 
day's  printing.  As  a  result,  the  curiosity-shops 
are  full  of  coarse  and  almost  brutal  prints  which 
grossly  misrepresent  Piranesi's  achievements. 
Despite  his  weakness  for  the  blackest  of  blacks  and 
the  whitest  of  whites,  the  artist's  own  proofs  are 
full  of  fine  touches,  and  one  can  peer  into  their 
shadows.  It  is  only  by  a  study  of  these  copies 
that  Piranesi's  excellence  and  importance  as  an 
engraver  can  be  understood.  Nor  have  popular 
anecdotes  failed  to  do  their  work  in  strengthening 
the  common  belief  in  this  artist's  rudeness  and 
sumraariness  of  working.  It  is  told,  for  instance, 
that  Piranesi  was  wont  to  haunt  a  monument  by 
moonlight  and  then  to  throw  his  vision  of  it 
directly  upon  the  copper.  An  examination  of  the 
drawings  for  the  great  Paestum  set  in  the  Soane 
Museum,  London,  will  throw  sufficient  light  upon 
such  legends.  Piranesi  was  always  a  strong 
and  picturesque  draughtsman,  though,  strangely 
enough,  he  could  not  deal  truthfully  with  a  round 
tower.  Speaking  generally,  he  was  less  happy 
with  well-repaired  churches  and  palaces  than  with 
ruins  or  with  the  creations  of  his  own  fancy.  He 
loved  to  enhance  the  majesty  of  the  crumbling 
baths  and  temples  by  stretching  back  their 
pillared  flanks  to  an  immeasurable  distance,  while 
he  marked  their  age  by  festooning  them  with 
strange  sea-weed-like  foliage.  It  was  also  his 
habit  to  emphasize  their  hugeness  and  stability  by 
a  contrast  of  Callot-like  hinds  or  beggars  dancing  or 
gesticulating  under  the  immense  vaults  and  crag- 
like columns.  More  remarkable  even  than  the 
ruins  is  the  set  of  sixteen  inventions  called 
'  Carceri,'  said  to  consist  of  prison-interiors  seen 
by  Piranesi  during  the  delirium  of  a  fever.  On  the 
other  hand,  his  original  designs  for  chinmeys, 
'  Diverse  Maniere  d'Adornare  i  Camini,'  are 
foolish  and  vulgar.  Below  is  a  list  of  his  principal 
works  as  published  both  by  himself  in  Rome  and 
by  his  sons  in  Paris.  (The  plates  passed  from  his 
sons  first  to  Firmin-Didot,  and  ultimately  into  the 
hands  of  the  Papal  Government.)  The  dates 
affixed  are  in  some  cases  only  approximately 
correct,  as  the  original  sets  are  not  always 
encountered  bound  and  arranged  in  the  same  way. 
A  MS.  Life  of  Piranesi  which  was  in  London 
about  1830  appears  to  have  been  lost. 

Antichita  Romane  de  tempi  della  repubblica,  e  de' 

primi  imperatori,  &c.     1750. 
Antichita  Komaiie,  4  vols,     1756. 
Kaccolta  di  Tempi  Antichi,  viz.  di  Vesta ;  della  Sibilla ; 

deir  Onore  e  della  Virtu.     1776. 
Panteon  di  Marco  Agrippa,  detto  la  Botonda, 
Monumenti  degli  Scipioni.     1785. 
De  Romanorum  Maguificeutia  et  Architectura.     1760. 
Opere  Varie  di  Architettura,  Prospettiva,  Groteschi, 

Antichita,  &c.     1750. 
Trofci  di  Ottaviano  Augusto.     1753. 
Carceri.     1750. 
Vedute  di  ^Uchi  Trionfali,  &c.     1748. 

125 


A  BIOGRAPHICAL  DICTIONARY  OF 


Rovine  del  Casttllo  del  Acqua  Giulia.     1761. 

Lapides  Capitolini,  sivc  Faiti  Consulares,  &c.     1762. 

Antichita  di  Cora,     1764. 

Campus  Martius.     1762, 

Antichita  d'  Albano  e  di  Castel  Gandolfo.     1764. 

Descrizione  e  disegno  dell'  emissario  del  Logo  Albano. 

1762. 
Vasi,  Candelabri,   Cippi,  Sarcofagi.  Tripodi,  Lucerne 

ed  Omamenti  Antichi,  2  vob;.     1778. 
Colonna  di  Trajano.  1770.  Colonna  Antouina.  Colonna 

dell'  Apoteosi  di  Antonino  Pic. 
Rovine  di  Pesto. 

Vendute  di  Roma,  2  vols.     1765. 
Teatro  d'  Ercolano.     1783. 

Diverse  Maniere  d'  Adomare  i  Camini,  &c,     1769. 
Statute  Antichi.     1781-84. 
Variae  Tabula  celeberrimorum  Pictonun  :  Rsccolta  di 

Disegni  del  Guercino. 
Sebola  Italica  Pictura^,  cura  et  impends  Gavini  Hamil- 
ton.    1773. 
Stampe  Diverse. 
Peintures  de  la  Villa  Lante ;  Sala  Borgia  ;  Jules  II. ; 

Famesina ;  Villa  Altoviti. 
Antiquit^s  de  la  Grande  Grece,  gravees  par  Fr.  Piranesi 

d'apres  les  Dessins  du  feu  J.  B.  Piranesi.     i  Paris. 

1804.)    1807.  E.  J.  0. 

PIRAXESI,  Ladba,  the  daughter  of  Giambattista 
Piranesi,  was  born  at  Rome  in  1750.  She  carried 
on  business  with  her  brother  at  Rome,  and  her 
etchings  bear  a  strong  resemblance  to  those  of  her 
father.  She  probably  retired  to  Paris  with  her 
brother.  There  is  no  account  of  her  death.  She 
engraved  some  views  of  the  remarkable  buildings 
in  Rome  ;  among  others,  the  following : 

The  Capitol. 

The  Ponte  Salario. 

The  Temple  of  Peace. 

The  Arch  of  Septimus  Severus. 

PIRINGER,  BE^^EDIKT,  a  designer  and  engraver, 
was  born  at  Vienna  in  1780,  and  died  in  Paris, 
where  he  had  resided  for  some  time,  in  18:i6.  lie 
studied  at  the  Vienna  Academy  under  F.  A.  Brand 
and  Herzinger,  and  was  afterwards  admitted  to 
membership.  He  worked  in  aquatint  and  with 
the  graver,  and  his  productions  are  chiefly  land- 
scapes, romantic  scenery,  and  views  of  cities  after 
old  and  modem  masters,  some  of  which  were  pub- 
lished collectively.  His  pieces  are  rather  numerous, 
and  include  among  the  best : 

The  four  Parts  of  the  Day ;  four  plates,  after  Claude 

Lorrain. 
The  AVaterfall ;  after  Molitar. 
The  Rocky  Pyramid ;  after  the  same. 
Landscapes ;  after  J'oussin  and  Locatelli. 

PIRINI,  Lonis  DE,  a  French  engraver,  by  whom 
we  have  a  plate  representing  two  Men  playing  at 
Cards,  and  a  Woman  holding  a  Mirror  behind  one 
of  them,  to  discover  liis  hand  to  the  other ;  after 
Cornells  van  Tienen. 

PIRNBADM,  Alexis,  was,  according  to  Papillon, 
who  calls  him  P!R.NRAnM,an  engraver  on  wood,  and 
rp.8ided  at  Basle  about  the  j'ear  1545.  Papillon 
supposes  him  to  have  been  a  disciple  of  Hans 
Holbein,  but  does  not  specify  any  of  his  works. 
Nagler  is  of  opinion  that  he  is  identical  with  Adam 
Petri,  a  bookseller  of  Basle. 

PIROLI,  ToMMASO,  an  Italian  designer  and  en- 
graver, was  born  at  Rome  in  1750,  and  received  his 
instruction  in  Florence.  In  1806  he  returned  to 
Rome,  in  which  city,  after  passing  some  years  in 
Paris,  he  finally  settled,  and  died  in  1824.  His 
prints  are  numerous,  etched  in  outline  and  in  the 
chalk  manner.  The  following  are  considered  as 
the  most  interesting:   'The  Deposition  from  the 

126 


Cross,'  after  Caravaggio ;  Bronzes,  &c.,  from  Her- 
culaneum  ;  a  set  of  Bas-reliefs,  after  Canova ; 
the  Prophets  and  Sibyls  of  Michelangelo  in  the 
Cappella  Sistina  ;  a  copy  of  Metz's  prints  of  the 
'  Last  Judgment,'  in  the  same  chapel  ;  the  story  of 
Cupid  and  Psyche,  from  the  frescoes  of  Raphael 
in  the  Farnesina ;  Mass.icio's  frescoes  in  the  Bran- 
cacci  chapel  at  Florence ;  and  the  outlines  for 
original  editions  of  Flaxman's  illustrations  to 
Homer,  Hesiod,  .^schylus,  and  Dante,  engraved 
under  Flaxman's  own  supervision,  and  published 
at  Rome.  There  are  also  several  sets  of  engravings, 
from  remains  of  ancient  art,  by  Piroli,  part  of  which 
were  published  at  Rome  and  part  at  Paris  by  Fran- 
cesco and  I'ietro  Piranesi,  the  sons  of  the  celebrated 
Giambattista. 

PIROTTE,  Olivier,  a  Flemish  historical  painter, 
bom  at  Liege  in  1699.  He  was  a  pupil  of  B.  Luti 
at  Rome,  and  afterwards  of  Coypel  at  Paris.  He 
painted  several  pictures  for  the  churches  in  Liege. 
He  died  in  1742. 

PISAXO,  GI0NTA,  (or  GiUNTA  DA  Pisa,)  lived  in 
the  first  half  of  the  13th  century,  and  was  born, 
if  the  old  chronicles  are  to  be  believed,  in  1202. 
Among  the  existing  works  attributed  to  him,  are  a 
'  Crucifixion '  in  San  Ranieri  at  Pisa ;  a  picture  of 
Saints  in  the  chapel  of  the  Campo  Santo ;  a  '  De- 
struction of  Simon  Magus,'  and  a  '  Martyrdom  of 
St.  Peter,'  both  in  San  Francesco  at  Assisi,  where 
there  was  formerly  a  picture  of  the  Crucifixion, 
with  Father  Elias,  the  first  General  of  the  Fran- 
ciscans, embracing  the  Cross.  This  was  inscribed 
with  Giunta's  name  and  the  date,  1236,  but  is  now 
lost.  Gumta  died  in  or  about  1258.  Though  still 
constrained  in  design,  he  made  some  advance  be- 
yond the  conventionality  of  the  Byzantine  painters 
who  immedi.itely  preceded  him. 

PISANO,  ViTTORE,  called  Pisan'ello,  famous  as 
a  painter,  and,  even  more  so  perhaps,  as  the  greatest 
of  Italian  medallists,  was  bom  at  S.  Vigilio  in 
tlie  Veronese  territory  about  1380,  and  seems  to 
have  ended  his  career  at  Rome  early  in  1456. 
The  date  of  his  birth  is  approximate,  but  that 
of  his  death  is  supported  by  two  letters  from 
Rome  to  Giovanni  de  Medici  and  other  evidence. 
Vittore  was  a  painter  of  great  originality,  excelling 
especially  in  his  treatment  of  animals.  "In  pin- 
gendis  equis  caeterisque  animahbus,"  says  Fazio, 
"  peritorum  judicio  caeteros  antecessit ;  "  and  this 
valuable  evidence  of  a  contempor.iry  is  fully  borne 
out  by  his  magnificent  fresco  of  '  St.  George,'  with 
its  great  war-horses  champing  at  their  bits  (Verona, 
S.  Anastasia),  by  his  '  Vision  of  St  Eustace ' 
(National  Gallery  of  London),  and  his  drawings  at 
Paris  in  the  Musee  du  Louvre.  He  was  the  Land- 
seer  or  Morland  of  his  day,  but  was  at  the  same 
time  no  less  excellent  in  portraiture  and  modelling 
in  relief.  Of  too  marked  individuality  to  be  classed 
under  any  school,  his  connection  with  Verona  is  to 
be  noted,  where  he  may  have  learnt  from  Alti- 
chiero,  who  was  working  both  here — in  the 
churches  and  the  Palace  of  the  Signory — and  at 
Padua  with  Jacopo  d'Avanzo  (in  1370),  on  the 
decorations  of  the  Capella  S.  Felice  in  S.  Antonio, 
and  (in  1377)  on  the  Church  of  S.  Giorgio  close  to 
the  Santo  (S.Antonio).  At  the  same  time  Vittore's 
connection  with  Ferrara  is  too  important  to  be 
omitted.  Leonello  d'Este,  the  natural  son  of 
Niccolo  III.,  had  summoned  him  here.  Pisanello's 
portrait  of  his  Ferrarese  patron  appears  in  the 
Bergamo  Collection,  and  is  to  be  compared,  with  its 
rich  costume,  short  close-cut  hair,  and  clever  ugly 


VITTORE  PISANO, 


PISANELLO 


[Natumal  Gallery 


THE  VISION  OF  ST.  ANTHONV  AND  ST.  GEORGE 


PAINTERS  AND  ENGRAVERS. 


face,  with  the  same  artist's  medallion  of  Leonello. 
A  replica  of  this  portrait  is  in  the  National  Gallery, 
from  the  hand  of  Giovanni  Oriolo,  a  Ferrarese 
painter,  heyoml  much  doubt  a  pupil  of  Pisanello, 
and  living  in  1461.  The  portrait  is  a  profile,  life- 
size,  in  red  coat  and  black  gown  edged  with  gold  ; 
it  is  signed  Op^is  Johanis  Orioli,  and  came  from 
the  Costabili  Gallery  at  Ferrara.  Thus  we  find 
that  Pisanello's  influence  contributed  to  the  forma- 
tion of  that  most  interesting  Ferrarese  school 
which,  under  Leonello's  successor,  Duke  Borso 
(1450-71),  takes  definite  form,  with  Cosimo  Tura 
as  the  Court  painter.  Leonello  himself,  the  Mar- 
quis of  Este,  calls  Pisano  in  one  letter,  "  Pisanus, 
omnium  pictoruni  hujusce  aetatis  egregius ;  "  and 
the  great  medallist  reproduced  his  patron's  features 
in  no  less  than  seven  different  medals.  Vasari 
tells  us  that  Vittore  Pisano  was  "fully  equal  to 
any  of  the  painters  of  his  time  ;  and  of  this  we 
have  ample  proof  in  the  works  which  may  still  be 
seen  in  his  native  place,  the  most  noble  city  of 
Verona,  though,"  he  adds,  '■  many  of  them  are  in 
part  destroyed  by  time."  In  fact  the  only  frescoes 
by  Pisano  which  have  escaped  are  those  in  S. 
Fermo  Maggiore  at  Verona  (an  '  Annunciation ' 
and  figures  of  'SS.  Michael  and  George'  which 
are  damaged,  with  an  'Adoration')  and  the 
magnificent  scene  of  '  St.  George  mounting  his 
great  charger  for  the  fight,'  with  the  king's 
daughter  in  rich  medisval  dress  standing  near 
him,  upon  an  arch  in  the  Pellegrini  Chapel  of  S. 
Anastasia  at  Verona.  Gone  are  his  frescoes  in  the 
Hall  of  the  Great  Council  in  the  Ducal  Palace  of 
Venice,  where  he  was  working  with  Gentile  da 
Fabriano  (about  1421-22),  and  those  recorded  by 
Vasari  at  Rome  (notably  in  S.  Giovanni  Laterano), 
as  well  as  at  Mantua,  Ferrara,  and  the  Castello  of 
Pavia  ;  but  certain  frescoes  found  in  S.  Eustorgio 
of  Milan,  and  since  very  freely  restored,  bore 
traces  of  Vittore's  style.  His  connection  with 
Gentile  da  Fabriano  is  to  be  especially  noted. 
Both  share  in  a  sort  of  knightly  grace,  in  both  the 
old  sentiment  of  chivalry  seems  to  find  expression  ; 
and  if  the  Eastern  King  of  Gentile's  lovely  '  Ador- 
ation'seems  like  a  dehcious  mediicval  fairy-tale, 
then  Pisano's  '  St.  George,'  clad  in  mail  of  silver, 
is  the  true  hero  of  the  Christian  legend.  Of  his 
panel  paintings  there  may  be  noted  the  '  Leonello 
d'Este '  of  t'.ie  Bergamo  Gallery,  and  the  'Miraculous 
Stag  appearing  to  St.  Eustace '  in  the  National 
Gallery,  with  its  beautiful  rendering  of  animal  life, 
for  which  numerous  studies  exist  among  his  draw- 
ings. The  Saint  himself,  riding  out  to  the  chase, 
reins  back  his  steed,  covered  with  rich  trappings, 
as  he  sees  before  him  a  great  stag,  with  between 
his  horns  the  Crucified  Christ.  Elsewhere  in  the 
picture  a  hound  is  chasing  a  hare  ;  in  the  marsh 
above  herons  are  fishing  in  their  quiet  deliberate 
manner ;  stags  are  browsing  ;  a  bear  climbs  the 
hillside  ;  and  every  hair,  every  feather  of  these 
creatures  is  finished  to  perfection.  This  master- 
piece of  Pisanello's  art  came  from  the  Earl  of  Ash- 
burnham's  Collection,  and  was  purchased  for  the 
National  Gallery  in  1895.  Scarcely  less  interesting 
is  the  '  St.  Anthony  and  St.  George'  (inscribed 
Pisanus  pt)  which  came  from  the  Costabili 
Collection  at  Ferrara  ;  and  here  too  the  painter's 
love  of  animal  life  grasps  at  some  expression. 
St.  Anthony  must  have  his  boar,  St.  George,  of 
course,  his  dragon  ;  and  behind  the  Saint  the  head 
of  his  war-horse,  and  that  of  his  esquire's  steed, 
recall  those  in  the  great  fresco  of  Verona,  just  as 


the  quaint  head-dress  of  the  rescued  Princess  re- 
appears in  the  profile  portrait  of  a  woman,  recently 
acquired  by  the  Louvre  Museum,  which  may  depict 
Margherita  Gonzaga,  first  wife  of  Leonello  d'Este 
of  Ferrara.  An  '  Adoration  of  the  Kings  '  and  a 
'Virgin  with  Saints'  in  tlie  Berlin  Gallery  have 
been  attributed  to  his  hand  ;  and  we  must  by  no 
means  omit  that  exquisitely  tender  '  Virgin  and 
Child  '  of  the  Museo  Civico  of  Verona,  which  is  one 
of  the  most  beautiful  creations  of  early  Italian  art. 
As  a  medaUist  Pisano  stands  unequalled  in  Italian 
art.  M.  Heiss,  in  his  valuable  work  on  the 
medallists  of  the  Renaissance,  gives  a  detailed  ac- 
count of  authentic  medals  by  Pisanello,  which, 
following  him,  we  might  arrange  chronologically 
as  follows: 

1.  Head  of  the  artist  m  profile,  wearing  a  cap.  One 
with  a  cap ;  a  smaller  without.  Reverse :  Wreath  and 
letters,  F.  S.  K.  J.  P.  F.  C.  (initiak  of  the  Seven  Virtues?). 

2.  Johannes  Palaeologus,  Emperor  of  the  East.  Bast, 
wearing  curious  hat.  Legend  :  Johannes  .  Baiihus  .  kai  . 
autocrator  .  Romaion  .  o  .  Palaiuloyos,  Reverse  :  The 
Emperor,  mounted,  before  a  crucifcii,  with  the  osnal 
legend  Opus  .  Pisani  .  Pictoris  repeated  in  Greek,  Ergon  . 
ton  .  Pisanou  .  zograpko.  An  example  of  this  medal  in 
the  Florence  Museum.  A  drawing  in  the  Louvre  (Val- 
lardi  Coll.)  shows  the  Emperor  on  horseback — a  study 
for  this  reverse.  The  best  of  Vittore's  drawings  are  in 
the  Mus^e  du  Louvre ;  others  are  at  Vieima  (women 
with  dogs  and  falcons)  and  in  the  Brirish  Museum. 

3.  Filippo  Maria  Visconti,  Duke  of  Milan  (1412-47). 
Bust  of  Filippo  Maria,  wearing  a  cap.  Reverse  :  The 
Duke  on  horseback,  clad  in  mail,  with  on  his  crest  the 
arms  of  the  Visconti  (a  serpent  devouring  a  child).  An 
esquire  and  armed  knight  behind  him.  A  towered  city  in 
distance.  Legend :  Opus  Puani  Pictoris.  Legend  on 
face:  Philippus  .  Maria  .  An(jlus  .  Diuc  .  Mediolani  .  et  . 
cetera  .  Antfterieque  .  Comes  .  ac  .  Gtnue  .  dominus.  Two 
drawings  of  this  medal  exist,  probably  by  Pisano's  hand, 
in  the  Vallardi  Collection. 

4.  Francesco  Sforza,  Duke  of  Milan  (1450-66).  Bom 
1401,  a  successful  Condottiere.  Legend :  Francesco  . 
SfoTtia  .  I'icecoiiies  .  Marchio  .  et  .  Comes  .  ac  .  Cremone. 
Bust  in  armour,  wearing  a  cap.  Reverse :  Head  of  a 
horse,  books,  and  a  bared  sword.  This  medal  dates  from 
after  his  marriage  (1441),  when  the  Countship  of  Cre- 
mona {Comes  Cremone)  came  to  him  with  Bianca  Maria, 
and  before  he  became  Duke  of  Milan  (1447),  as  that  title 
does  not  appear.  As  Pisano  left  for  Ferrara  in  1444,  it 
must  date  between  1441  and  1444. 

5.  Pietro  Candido  Decembrio  (1399-1477).  Legend: 
Petrus  .  Cajididus  .  Studiorum  .  Humanitatis  .  decus. 
Bust,  wearing  a  cap.  "Reverse  :  Opus  Pisani  Pictoris.  An 
open  book,  with  eight  seals.  Dates  probably  from  about 
the  same  period  as  the  preceding,  viz.  at  Milan,  between 
1441-1444. 

6.  Niccolo  Piccinino  (1380-1444).  Legend  :  JV/cAo/aus  . 
Picininus  .  Vicecomes  .  Marchio  .  Capitaneus  .  Muxiinus . 
ac  .  Mars  .  alter.  Bust  in  armour,  wearing  a  cap.  Re- 
verse :  Niicolaus)  Picininus  .  Braccius  .  Pisani  P{ictoris) 
opus.  A  winged  griffin,  with  Perusia  engraved  on  her 
collar,  suckles  two  babes.  Vicecomes  {i.e.  Visconti)  refers 
to  Picciuiuo's  formal  adoption  by  Duke  Filippo  Maria. 
Date  about  1441. 

7.  Leonello  d'Este  (bom  1407,  ruled  1441-50).  There 
are  seven  medals  of  Leonello,  all  with  his  strong  ugly 
face,  with  its  short  curly  hair.  Three  contain  the  title 
Leonellus  Marchio  Ustensis ;  on  reverse,  Opus  Pisani 
Pictoris.  On  No.  1  (reverse)  an  old  man  and  yoath 
naked,  seated  by  a  mast ;  on  Xo.  2  (reverse)  the  mask  of 
a  child  with  three  faces,  armour,  and  an  olive  branch  ;  on 
third  (reverse),  a  naked  youth  and  old  man  carry  great 
baskets  filled  with  corn.  These  are  fine  medals,  but  yet 
finer  are  three  others  inscribed  (as  well  as  one  smaller 
one),  Leonellus  Marchio  £stensis  Dominus  Ferrarie  Segii 
et  Mutine. 

No.  4.  Reverse :  A  naked  youth  lying  beneath  a  rock  ; 
above,  a  vase  filled  with  com.  Superb,  this,  in  spacing 
and  modelling  of  the  figure. 

No.  5.  AVinged  Love  stands  holding  a  scroll  of  music 

127 


A  BIOGRAPHICAL  DICTIONARY  OF 


before  »  lion.  On  a  column  a  sail,  filled  with  wind,  and 
date  MCCCCXLni.  Behind,  an  eagle  on  a  tree  with  bare 
branches.  . 

No.  6.  A  wild  cat  or  lynx,  sitting  on  a  cushion,  with  ita 
eyes  bandaged. 

No.  7.  A  vase  of  fruit,  with  two  anchors  attached. 

la  No.  5,  above  Leonello's  portrait  are  the  letters 
G{ener)  R(ex)  Ar(agomi),  referring  to  his  marriage 
(which  Filippo  Maria  Visconti  lieli«;d  to  arrange)  in  1444 
with  Maria  of  Aragon,  natural  daughter  of  Alfonso. 

8.  Sigismondo  FandoU'o  Malatesta  (bom  1417  ;  Lord 
of  Rimini  and  Fano  1432-68).  (1)  Legend:  Htgisntundiis 
de  Malatestis  Arimini  et  Romanae  EccUsiae  Capitanenf 
Generalis.  Bust  in  armour,  with  head  bare.  Reverse: 
Sigismondo  Malatesta  armed,  on  horseback  ;  behind,  two 
towers  bear  the  date  1445,  and  the  Malatesta  shield. 

(2)  Legend:  Sigismundus  Fandulf us  de  Malatesta  Ari- 
mini Fani  Dominus.  Bust  in  armour,  with  head  bare. 
Reverse :  Sigismondo  upright,  in  full  armour,  his  vizor 
down,  placing  his  sword  in  sheath.  On  his  left  upon  a 
tree  the  Malatesta  shield ;  on  right  his  casque,  with  the 
eleplianfs  head  as  his  crest. 

9.  Domenico  Malatestn,  called  Novello.  Legend :  Dux 
Ejuitum  praestans  (above  the  head) ;  beside  it :  Mala- 
testa yovellus  Cesenae  domiuus.  Bust  (profile  of  great 
beauty);  head  bare.  Reverse:  Novello  in  armour  kneels 
before  a  crucifix,  embracing  it-s  stem  ;  his  horse  waits 
beside  him.     Opus  Pisani  Fictoris. 

10.  Giovanni  Francesco  Gouzaga  (1395-1444).  Legend : 
Johannes  .  Francescus .  de  .  Gonzaga  .  Primus  .  Marchio  . 
Mantue  .  Capit{aneus)  .  J/aj-miM  .  A nnigerorum.  Bust, 
wearing  a  high  cap  trimmed  with  fur.  Reverse ;  Opus 
Pisani  PictorU.  Tlie  Marquis  in  armour  on  horseback,  still 
wearing  his  peculiar  cap.  In  front  of  him  a  rosary,  be- 
hind him  an  esquire  on  horseback  with  his  back  turned, 
who  seems  a  dwarf.  In  the  Vallardi  Collection  is  a  draw- 
ing by  Pisano  of  Gianfrancesco  on  horseback,  with  his 
daughter  Cecilia  also  on  horseback  beside  him,  and  be- 
hind the  same  dwarf  as  his  esquire.  Another  drawing  at 
Oxford  shows  him  again  in  the  same  fashion  on  horse- 
back, but  the  dwarf  riding  away  as  in  the  medal.  These 
drawings  are  most  evidently  studies  for  the  medal.  No 
date  ;  prolsibly  14-17,  when  Pisano  was  at  Mantua. 

1 1 .  Another  ;  somewhat  different. 

12.  Lodovico  Gonzaga,  called  the  Turk  (1414-70). 
Zodovicus  de  Gonzaga  Marchio  Mantue  etcet^era)  Capit- 
aneus  armiiierorum.  Bust  in  armour,  with  head  bare. 
Reverse  :  I'he  Marquis  in  full  armour  on  horseback,  his 
vizor  down.  Behind  him  the  sun,  before  him  a  sunflower, 
which  turns  to  him,  not  to  the  sun.    Opus  Pisani  Pietoris. 

13.  Cecilia  Gonzaga  (?  1425-51),  daughter  of  Gian- 
francesco Gonzaga  and  Paola  Malatesta,  sisterof  Ijodovico 
III.  Ceciiia  .  yirgo  .  Jiiia  .  Johannis  .  Francisci  .primi  . 
Alarchionis  Mantue.  The  hair  is  drawn  back  from  the 
front,  and  fastened  with  a  ribbon,  the  long,  slender  neck 
is  bare,  the  costume  simple  and  beautifully  rendered. 
Reverse  :  A  young  girl,  half  nude,  holds  captive  an  uni- 
corn. It  was  held  that  only  a  virgin  could  capture  alive 
the  unicorn  ;  and  we  may  note  the  epithet  J^irgo  occurs 
on  the  front  of  the  medal,  and  helps  to  explaiu  the 
reverse.  A  study  for  this  unicorn  (taken  from  a  large 
he-goat)  in  the  Vallardi  drawings.  O/ius  Pisani  Pietoris, 
with  the  d.ite  1477,  on  reverse  of  Cecilia's  medal.  In 
distance  mountains,  and  a  crescent  moon,  the  symbol  of 
Diana. 

14.  Vittorino  da  Feltre  (1379-1447).  Victorinus  .  Fel- 
trensis  .  Summus  .  (the  legend  continues  on  the  reverse) 
Mathematicus  .  et  .  omnis  .  Humanitatis  ,  Pater  .  Opus  . 
Pisani  .Pietoris.  On  front:  The  bust  of  Vittorino  wear- 
ing a  cap.  Reverse  :  A  pelican,  feeding  her  young  with 
her  own  blood,  symbolizes  his  absolute  devotion  to  his 
pupils'  highest  and  best  interests.  Date  of  medal,  prob- 
ably in  1446.  A  study  for  the  pelican  on  this  medal  in 
the  Vallardi  Collection. 

15.  Belotto  of  Como  (1447).  Nothing  is  known  of  this 
person,  save  that  Basilio  of  Parma,  in  his  poem  in  praise  of 
Pisanello, alludes  to  his  medal, — "del  Belotto  fanciuUo." 
Bellotus  .  Caiiianus.  Bust,  wearing  cap.  Reverse :  A 
weasel  running,  with  above  the  date  1447,  and  around. 
Opus  .  Pisoni  .  pietoris. 

16.  Don  Inigo  d'Avalos,  Marquis  of  Pescara.  Legend  : 
Don  Inigo.  de  .  Avalos.  Bust  to  R.,  wearing  fur-trimmed 
bonnet  and  cape.  Reverse :  A  globe  containing  the 
heaven    filled  with    stars,  the    earth    with    cities   and 

128 


mountains,  and  the  sea  or  water  beneath.  Above,  ths 
arms  of  Avalos  between  two  ro.se-trees.  Beneath,  Per 
mi  se  fa,  and  Opus  Pisani  Pietoris.  A  study  for  the 
cities,  mountains,  and  sky  of  reverse,  but  with  one  star 
only,  in  the  Vallardi  Collection. 

17.  Medals  of  Alfonso  of  Aragon,  King  of  Naples  and 
Sicily  (bom  1391,  died  1458) : 

(1)  Legend :  jDivus  .  A/phons)is  .  Sex  .  Triumphatur  . 
et .  Pacifcus  M.CCCCXL  VIII.  (This  still  refers  to  his  tri- 
umphant return  in  1443.)  Bust  facing  to  R.,  in  armour, 
head  bare ;  in  front,  an  open  crown  Ijctween  the  date 
given  ;  behind,  a  helmet  bearing  the  motto,  Vir  Sapiens 
dominahitur  astris.  Reverse:  An  eagle  seated  on  a  tree- 
trunk  among  the  rocks,  a  dead  kid  at  his  feet,  and  a  bird 
beneath.  Beneath  him  another  eagle  and  two  eaglets. 
Opus  .  Pisani  .  Pietoris. 

(2)  Divus  .  Alphonsus  .  Arago{niae)  .  Siciiiae  .  J'al- 
(entiae)  .  Hie{rosolymae)  .  Hun{gariae)  .  Ma{joricary.m)  . 
Sa{rdiniae)  .  Cor{sicae)  .  Rex  .  Co{mes)  .  La{runoae)  . 
Dux  .  At{henarum),  etc.  Bust  facing  to  R.  Beneath  it 
an  open  crown.  Reverse:  Venator  intrepidus.  A  naked 
youth  or  man  (?Alphonso),  armed  with  a  knife,  bestrides 
a  wild  boar,  whom  two  boar-hounds  hold  back. 

(3)  Alphonsus  .  Rex  .  Aragoniae  (small).  Bust  to  R. 
as  in  the  last.  Reverse  :  Victory  driving  a  four-horsed 
chariot.      Victor  .  Siciliae  is  the  legend. 

(4)  Divus  .  Alphonsus  .  Aragoniae  .  utriusque  .  Siciliae . 
Valenciae,  and  full  titles  as  in  (2),  ending,  as  there,  with 
Comes  .  Roscilionis  .  et  .  Ceritaniae.  Bust  facing  to  R.  in 
armour,  head  bare,  beneath  an  open  crown.  Reverse : 
Fortitudo  .  mea  .  et  .  lavs  .  viea  .  Dominus  .  et  .  /actus  . 
est  .  michi  .  in  .  salutem.  Victory  (or  is  it  a  draped 
Love  ?),  winged,  drives  a  four-horsed  chariot ;  a  groom  or 
escjuire  walks  beside  the  leaders.  Beneath,  Opus .  Pisani . 
Pietoris. 

Numerous  studies  for  these  fine  medals  are  in  the 
Vallardi  Collection.  One  study  seems  to  have  served 
for  the  head  in  the  reverse  of  (2),  i.  e.  the  bold  huntsman 
(Venator  intrepidus).  Another  is  for  the  bust  in  the 
medal  No.  (1),  but  with  a  child  with  tliree  faces  beneath 
on  the  cuirass ;  it  has  the  date  1448,  and  the  legend, 
Triumpliator  et  Pauficus. 

Other  medals  are  attributed  to  Pisanello  by  con- 
temporary and  later  writers,  which  have  not  yet 
been  found.  Of  special  interest  among  these  are 
Guarino  of  Verona  (born  1.370,  died  1460),  Carlo 
Gonzaga,  Porcellio  of  Naples,  Pope  Martin  V. 
(1417-31),  the  Condottiere  Braccio  di  Montone  (see 
above),  Borso  d'Este,  Lord  of  Ferrara  and  patron 
of  Cosimo  Tura,  and  Gian  Galeazzo  Visconti, 
Despot  of  Milan.  None  of  the  existing  medals  of 
Gian  Galeazzo  are  genuine  work  of  Pisano's  period; 
but  there  is  a  drawing  in  the  Louvre  (Vallardi 
Collection),  described  by  tlie  writer  in  his  Re- 
naissance series  (Vol.  H.  chapter  ii.),  wliich 
seems  to  be  a  contemporary  portrait  of  the 
Milanese  despot,  and  here  we  shall  not  be  far 
wrong  in  tracing  Pisano's  hand.  g  g 

PISBOLICA,  Jacopo,  a  Venetian  painter,  men- 
tioned by  Viisari  in  his  Life  of  Sansovino  as  the 
author  of  a  good  picture  of  '  Christ  with  Angels,' 
in  Santa  Maria  Maggiore,  Venice. 

PISSARKO,  Camille,  French  painter,  born  at 
Saint  Thomas  (Normandy),  January  18,  1830; 
became  a  pupil  of  Melbye  and  Corot ;  with  Cezanne 
and  Sisley  he  counts  as  one  of  the  most  notable 
exponents  of  the  so-called  Impressionist  school. 
He  is  best  known  to  us  by  his  landscapes,  though 
in  architectural  studies  he  shows  equal  skill  and 
subtlety.  His  early  work  was  largely  influenced 
by  Millet  and  Corot,  and  after  Manet  in  1885 
succeeded  in  winning  him  over  to  Impressionism, 
there  remained  a  good  deal  of  classicism  in  his  work. 
This  blend  of  impressionism  and  classicism  gives 
a  certain  special  and  distinctive  charm  to  Pissarro's 
work.  In  his  series  of  pictures  representing  views 
of  Paris  he  displayed  rare  insight,  and  makes  one 


VITTORE  PISANO, 


PISANKLLO 


[Berlin    Gallery 


ADORATION  OF  THE  MAGI 


PAINTERS  AND  ENGRAVERS, 


feel  the  atmosphere,  the  charm,  and  the  very  spirit 
of  the  French  capital.  Of  his  landscapes  we  may 
mention,  '  Paysage  k  Montmorency '  (in  the  Salon 
of  1859),  '  Bords  de  la  Marne,'  '  Route  de  Cachalas 
4  la  Roche  Guyon,'  '  Chenneviferes,  au  bord  de  la 
Marne,'  '  La  Cote  de  Jallais,'  '  L'Hermitage,' 
'Automne,'  &c.  He  was  a  true  artist,  and  a 
sincere  and  conscientious  painter.  His  death 
occurred  in  Paris,  November  14,  1903. 

PISTOIA,  Gerino  da,  is  described  by  Vasari  as 
the  friend  of  Pinturicchio,  a  diligent  colourist,  and 
a  follower  of  Perugino.  For  his  birth  or  death  no 
dates  can  be  given.  In  1505  he  painted  some  de- 
signs in  the  cathedral  of  his  native  city ;  and  in 
the  church  of  San  Pietro  Maggiore  an  altar-piece 
of  his  still  remains.  In  the  refectory  of  the 
convent  of  Santa  Lucchese,  near  Poggibonsi,  now 
turned  into  a  canteen,  there  are  two  scenes  from 
the  life  of  Christ  by  him. 

PISTOJA,  Leonardo  da.    See  Grazia. 

PISTOJA,  Paolo  da  (or  Pistojese).  See  Del 
Signoraccio. 

PISTORIUS,  Eduard  Karl  GnsTAv  Lebrecht, 
a  genre  painter,  was  born  at  Berlin  in  1796.  He 
was  originally  a  pupil  of  the  portrait  painter 
Willich,  and  copied  many  pictures  in  the  Gallery 
of  Sans-Souci.  In  1818-19  he  lived  in  Dresden, 
where  he  chiefly  busied  himself  with  genre-paint- 
ing. In  1827  he  visited  the  Netherlands,  and 
stayed  in  Diisseldorf  on  his  way  back.  He  returned 
in  1830  to  Berlin,  and  was  elected  member  of  the 
Academy  in  1833.  He  died  at  Kissingen  in  1862. 
The  National  Gallery  at  Berlin  possesses  the 
following  pictures  by  him  : 

An  Old  Man  and  an  Old  Womau ;  a  pair  {marked  in 
cipher,  E.  P.).     1S24. 

The  Geography  Class. 

The  Toilet.     1827. 

The  Village  Fiddler.     1831. 

The  Artist's  Studio.     1828. 

A  Sound  Sleep.     1839. 

PISTRDCCI,  Benedetto,  a  very  eminent  gem 
engraver  and  medallist,  bom  at  Rome  in  1784. 
He  was  chief  medallist  at  the  Mint  in  1828,  and 
many  of  the  finest  of  the  medals  as  well  as 
the  designs  for  the  gold  and  silver  coinage  of 
George  III.  from  1817  to  1822  are  from  his  hand. 
To  him  is  due  the  design  for  the  St.  George  and 
the  Dragon,  still  in  use  on  the  existing  gold  coinage. 
His  engraving  was  of  the  utmost  delicacy  and 
distinguished  by  much  refinement,  and  his  pencil 
copies  of  antique  coins,  gems  and  medals  were  of 
extreme  beaut)'.     He  died  near  Windsor  in  1855. 

PITATI,  BoNiFAZio  Di,  born  at  Verona  in  1487, 
died  at  Venice  in  1553  ;  son  of  a  soldier  Marco  di 
Pitati,  who  removed  with  his  family  to  Venice  in 
1505.  Here  Bonifazio  must  have  entered  the 
workshop  of  Palma  Vecchio,  and  became  his  princi- 
pal pupil  and  assistant.  During  the  first  half  of 
the  sixteenth  century  he  was  doubtless  one  of  the 
most  popular  painters  in  the  city,  and  executed  a 
great  number  of  works  for  palaces  and  churches. 
His  workshop  was  one  of  the  largest  and  most 
frequented  in  Venice,  the  pupils  and  assistants 
being  trained  more  especially  in  the  execution  of 
decorative  paintings  for  Venetian  palaces.  One 
of  Bonifazio's  most  important  undertakings  of  this 
description  was  the  entire  decoration  of  the  Pa- 
lazzo Camerlenghi,  which  was  begun  in  1529  and 
carried  out  with  the  aid  of  numerous  assistants ;  it 
was  not  completed  until  some  years  after  the 
master's  death.  Some  of  these  paintings  have 
VOL.  IV.  K 


Dresden. 
London. 


Milan. 


perished,  but  a  great  number  are  still  in  existence, 
dispersed  in  different  Galleries,  at  Venice,  Vienna, 
Milan,  Florence,  and  elsewhere.  As  already  ob- 
served in  the  notice  of  Bonifazio  Pasini,  recent 
research  has  proved  that  the  painters  formerly 
designated  Bonifazio  I.,  II.,  and  III.  must  now  be 
identified  with  Bonifazio  di  Pitati  and  his  disciples, 
and  their  works  are  classified  as  follows  :  pictures 
formerly  ascribed  to  Bonifazio  I.  are  held  to  be  by 
the  hand  of  B.  di  Pitati  alone ;  those  attributed  to 
Bonifazio  II.  were  probably  executed  in  the  work- 
shop during  the  master's  lifetime  ;  while  those 
which  formerly  passed  under  the  name  of  Bonifazio 
III.  must  have  been  produced  by  the  followers 
and  heirs  of  B.  di  Pitati  either  during  his  lifetime 
or  after  his  death.  The  works  of  Bonifazio  di 
Pitati  and  his  school  are  very  numerous,  and  are 
met  with  in  public  and  private  collections  in  Italy 
and  abroad  ;  among  the  most  celebrated  examples 
by  the  master  himself  are  the  following  : 

Gallery.    Finding  of  Moses. 
Nat.  Gal.     The  Madonna  and  Child  with 
Saints  in  a  landscape. 
A  mhrosiana.     Holy  Family  with  Tobias  and 
the  Angel. 

„  Brera.     The  Finding  of  Moses. 

„  „        The  ^¥■oman  taken  in  Adult- 

ery. 
Rome.  Colmna  Gal.    Madonna    and    Child    with 

Saints. 
Venice.  Academy.     Adoration  of  the  Magi  (1545). 

„  „  Massacre  of   the  Innocents 

(1536). 
„  „  Dives  and  Lazarus. 

,,  Palazzo  Reale.    The  Madonna  with  SS.  Omo- 

bono  and   Barbara   {dated 
1533). 

Of  Bonifazio  di  Pitati's  pupils  some  are  now 
known  to  us  by  name,  and  a  few  of  their  works 
have  been  identified.  Among  them  may  be  men- 
tioned the  following : 

Antonio  Palma,  died  after  1575,  a  nephew  by 
marriage  of  Bonifazio,  and  his  heir.  A  signed 
picture  by  him  is  in  theGaller}'  at  Stuttgart,  show- 
ing his  close  connection  with  his  uncle.  Later  he 
appears  to  have  worked  in  the  manner  of  the  Santa 
Croce  ;  this  is  seen  in  a  processional  banner  at 
Serinalta  of  1565,  and  in  works  at  Vienna  belong- 
ing to  the  series  from  the  Palazzo  Camerlenghi. 

Battista  di  Giacomo,  nephew  by  marriage,  and 
heir  of  Bonifazio.  A  picture  by  him  was  formerly 
in  the  Church  of  S.  Sebastiano,  Venice,  where  with 
other  painters  of  Bonifazio's  workshop  he  was  em- 
ployed in  decorating  the  sacristy  about  1551. 
After  the  death  of  Bonifazio,  Antonio  Palma  and 
Battista  di  Giacomo  appear  to  have  lived  in  their 
master's  house,  and  to  have  carried  on  the  work- 
shop. 

Domenico  Biondo,  mentioned  in  documents  be- 
tween 1537  and  1553,  in  which  year  he  signed  his 
name  as  one  of  the  witnesses  to  the  will  of  Boni- 
fazio, being  probably  at  that  time  an  assistant  in 
the  masters  workshop.  In  1541  he  received  pay- 
ment for  a  picture  painted  for  the  Ducal  Palace. 
He  may  possibly  be  the  author  of  two  good  pic- 
tures originally  in  the  Palazzo  Camerlenghi  and 
now  at  Vienna  :  '  Zacharias  and  the  Angel '  (1550), 
and  'St.  Laurence'  (1551). 

Stefano  Cernotto,  a  Dalmatian  ;  a  signed  picture 
by  him  ('  St.  Peter  '),  dated  1536,  is  in  S.  Giov.  e 
Paolo,  Venice ;  the  companion  picture  ('  St.  Paul ') 
is  at  Vienna  ;  both  were  originally  in  the  Palazzo 
Camerlenghi,   where    they  formed  the   wings    to 

129 


A   BIOGRAPHICAL  DICTIOKARY  OF 


Bonifazio's  picture,  'Chriet  driving  the  Buyers  and 
Sellers  from  the  Temple,'  now  in  the  Palazzo 
Ducale,  Venice.  Cernotto  was  already  dead  in  1543k 
Jacopo  Pistoia,  probably  a  relation  of  th<j 
painter  Antonio  Zappello  of  Bergamo,  who  was 
also  called  Pistoia.  He  doubtless  received  his  first 
teaching  in  the  workshop  of  Palma  Vecohio,  and 
on  the  death  of  that  master  became  a  disciple  of 
Bonifazio.  A  document  of  1563  proves  that  he 
■was  greatly  esteemed  as  a  painter  at  Venice,  where 
he  was  associated  with  Titian,  Tintoretto,  Paul 
Veronese,  and  other  distinguished  masters.  The 
following  works  by  him  are  known  :  '  The  Ascen- 
sion,' in  the  Church  of  the  Madonna  delle  Cendriole 
at  Eiese  (between  Castelfranco  and  Asolo),  a  picture 
mentioned  by  Vasari  (who  erroneously  calls  the 

Sainter  Pisbolica)  as  being  in  his  day  in  S.  Maria 
[aggiore  at  Venice ;  '  The  Madonna  in  Glory '  and 
'The  Assumption,'  both  in  the  Venice  Academy. 
These  two  pictures  are  ascribed  respectively  to 
Bonifazio  and  Palma  Vecchio,  but  agree  in  character 
with  Pistoia's  authenticated  work  at  Riese.  Like 
that  picture,  they  came  originally  from  S.  Maria 
Maggiore  at  Venice.  The  following  are  also  con- 
sidered to  be  by  this  painter :  a  '  Madonna  and  two 
Saints,'  in  the  Gallery  at  Padua,  and  a  similar  sub- 
ject in  the  Louvre,  showing  respectively  the  influ- 
ence of  Palma  and  Bonifazio,  and  '  The  Supper  at 
Emmaus,'  in  the  Pitti,  ascribed  to  Palma  Vecchio. 
Vitruvio  Buonconsiglio,  called  Vitrulio,  son  of 
Giovanni  Buonconsiglio,  of  Vicenza,  bom  c.  1494 
at  Venice.  He  was  working  in  the  Palazzo  Camer- 
lenghi  between  1551  and  1559,  and  was  also 
employed  in  the  Souola  di  S.  Rocco.  Three 
pictures  by  Vitruho  are  still  in  Venice :  in  the 
Academy,  the  Palazzo  Reale,  and  the  Pahizzo 
Ducale,  tiie  latter  being  signed  and  dated  1559. 
Among  pupils  of  B.  di  Pitati  must  also  be  in- 
cluded Polidoro  Lanzani,  whose  real  name  is  now 
known  to  have  been  Polidoro  de  Renzi,  son  of 
Paolo  da  Lanzano,  near  Lodi,  and  Jacopo  Bassano, 
who,  according  to  Ridolfi,  was  for  a  short  time  in 
the  studio  of  Bonifazio.  C.  J.  Ff. 

PITAU,  NicoLAAS,  the  elder,  an  engraver,  was 
born  at  Antwerp  about  1633,  and  first  studied  under 
his  father  Johank  Pitau,  but  in  1660  went  to  Paris 
and  became  a  pupil  of  Francois  de  Poilly,  or  at 
least  partially  adopted  his  style.  Pitau  died  in 
Paris  in  or  about  1676.  He  engraved  a  variety 
of  historical  subjects  after  different  masters,  and  a 
considerable  number  of  portraits.  The  following 
are  considered  to  be  his  best  plates : 

portraits. 

Louis  Henri,  Due  de  Bourbon,  supported  by  Wisdom 

and  Religion. 
Pope  Alexander  VXI.  ;  after  Mignard. 
Louis  XIV.,  King  of  France  ;  after  Le  Fevre.    1670. 
Louis,  Dauphin,  his  son ;  after  the  sanii. 
Peter  Seguier,  Chancellor  of  France.    1668. 
Alexandre  Paul  Pitau,  Advocate  in  Parliament. 
Caspar  de  Fieubert,  Chancellor.     1663. 
Nicolas  Colbert ;  after  Le  Fevre. 

St^JECTS  AFTER   VARIOUS  HASTBBS. 

The  Holy  Family,  with  St.  Elisabeth  and  St.  John  ;  after 

Raphael. 
The  Entombment  of  Christ ;  after  L.  Carracci. 
The  Virgin  holding  the  Infant  Jesus  in  her  arms  and 

reading ;  after  Guercino. 
The  Dead  Christ,  with  Angels  weeping  over  him ;  after 

the  samt. 
The  Virgin  interceding  for  St.  Bruno  and  bis  order ; 

after  Champaiyne. 

130 


Christ  and  the  Woman  of  Samaria ;  after  the  same. 

The  Penitent  Magdalen  ;    after  the  same. 

St.  Sulpice  in  Council ;  after  the  same. 

The  Holy  Family,  with  the  Infant  Jesus  embracing  St. 

John  ;  after  the  same. 
The  Holy  Family,  with  an  Angel  presenting  a  Basket  of 

Flowers ;  after  Villequin. 
St.  Francis  de  Sales. 

PITAU,  NicoLAAS,  the  younger,  son  of  the  last 
named,  worked  from  1695  to  1745,  and  has  left  a 
few  engraved  portraits,  including  : 

Louis  Alexandre  de  Bourbon,  Count  de  Toulouse ;  in- 
scribed Cohen  pirur.     1701.     Jf.  Pitau  Junior. 
OUver  Cromwell. 

PITI,  a  Spanish  historical  painter,  bom  at  Sala- 
manca. He  was  a  pupil  of  Giordano,  on  whose 
return  to  Italy  Piti  received  a  commission  to  work 
in  the  cathedral  of  Valladolid.  He  also  painted  for 
the  chapel  of  the  Marquis  of  Cerralvo  at  Salamanca. 

PITLOO,  Anton  S.,  a  Dutch  landscape  painter, 
bom  at  Amheim  in  1791.  He  was  a  pupil  of  H. 
J.  van  Araeron.  In  1816  he  went  to  Italy,  where 
he  painted  several  views,  among  which  were  a 
view  of  Rome,  and  one  of  the  Capitol  from  theCampo 
Vaccino.     He  died  in  1837. 

PITNER,  Fkanz,  German  painter,  bom  October 
11,  1826,  at  Vienna  ;  a  pupil  of  the  Academy ;  also 
studied  at  Venice  and  Rome  ;  became  drawing- 
master  to  the  Duchess  of  Berry  and  subsequently 
worked  at  Venice,  where  he  painted  Italian  genre, 
such  as  '  Serenata,'  '  Italian  Water-carrier,'  and 
several  water-colours.  He  also  executed  several 
chromo-lithographs.  He  died  at  Gries,  near  Bozen, 
in  June  1892. 

PITOCCHI,  Matted  da,  a  native  of  the  Venetian 
state,  who  painted  bambocciati,  and  also  some  re- 
ligious pictures  for  the  churches  of  Padua.  He 
died  about  1700. 

PITONUS.     See  Pittoni. 

PITRI.     See  Petri. 

PITTERI,  Giovanni  Marco,  designer  and  en- 
graver, was  born  at  Venice  in  1703,  and  died  there 
in  1786.  He  was  a  pupil  of  J.  Baroni  and  Antonio 
Faldoni,  but  adopted  an  original  style,  with  single 
strokes  which  run  from  the  top  to  the  bottom,  his 
shadows  being  produced  by  strengthening  these 
as  the  occasion  requires.  The  effect  he  produced 
by  this  whimsical  operation  is  neither  unpleasing 
nor  unharmonious,  and  his  prints  possess  consider- 
able merit.  Some  of  his  works  are  marked  M.  P. 
fecit.  He  engraved  several  plates  for  the  collec- 
tion of  the  Dresden  Gallery,  and  others  after  various 
masters  ;  among  them  the  following : 

portraits. 

A  bust  of  himself  ;  after  Pia:zetta. 

Oiovanni  Battista  Piazzetta,  painter,  of  Venice ;  after 

the  same. 
Carlo  Goldoni,  the  poet ;  after  the  same. 
Giuseppe  Nogari,  painter ;  after  the  same. 
Giovanni  Mocenigo,  noble  Venetian ;  after  the  same. 
Count   Schulenburg,  Field  Marshal  of  Venice ;   after 

Rusea. 
Cardinal  Quirini. 
Marquis  Scipione  Maffei. 
Clara  Isabella  Fornari. 

SUBJECTS  AFTER  VARIOUS   MASTERS. 
The  Holy  Family  ;  after  Pietro  Longhi. 
The  Seven  Sacraments  ;  after  the  same. 
The  Crucifixion  ;  after  Piazzetta. 
The  Twelve  Apostles  ;  after  th*  same. 
Religion  overthrowing  Heresy ;  after  the  same. 
St.  Peter  delivered  from  Prison ;  after  Ribera. 
The  Martyrdom  of  St.  Bartholomew ;  after  the  same. 


PAINTERS  AND  ENGRAVERS. 


St.  Catharine  of  Sieua ;  after  Tiepoto. 

Mary  Magdalene,  penitent ;  after  the  same. 

A  set  of  six  Plates  of  Hunts  in  the  environs  of  Venice ; 

after  Fietro  Lonahi. 
Twelfth-Night ;  after  Tenters. 
Two  Rustic  Subjects  ;  after  the  same. 

PITTONI,  Battista,  called  Vicentino,  an  en- 
graver, was  born  at  Vicenza  probably  in  1520,  and 
was  living  in  1585.  His  engraving.s  consist  of 
landscapes  with  ancient  ruins,  mythological  sub- 
jects, and  arabesques.  Some  of  them  bear  date  from 
1561  to  1585.  A  work  formerly  in  the  possession 
of  a  late  collector  (Mr.  Lloyd)  was  entitled '  Imagini 
favolosi,  &c.,  intagliatiin  Rami  da  M.  (Messer)  Bat- 
tista Pittoni.'  Venice,  1585.  In  conjunction  with 
Battista  Angolo  del  Moro  he  engraved  a  set  of  lifty 
landscapes  from  Titian  and  others.  These  plates 
are  very  boldly  and  freely  executed.  Vicentino 
usually  marked  his  prints  Battista  P.  V.  F.,  and 
appended  a  Latin  inscription  descriptive  of  the 
subjects. 

PITTONI,  Giovanni  Battista,  a  painter,  was 
born  at  Vicenza  in  1690,  and  received  his  first 
instructions  in  the  art  from  his  uncle  Francesco 
PiTTOJJl ;  but  his  greatest  improvement  was  de- 
rived from  study  of  the  works  of  the  best  masters 
of  the  Venetian  school.  His  figures  are  generally 
smaller  than  life  ;  and  he  was  less  successful  when 
he  attempted  to  work  on  a  larger  scale.  Two 
of  his  finest  pictures  are  the  'Martyrdom  of  St. 
Thomas,'  in  the  church  of  Sant'  Eustacio,  at  Venice, 
and  the  '  Miracle  of  the  Loaves,'  in  San  Cosmo  della 
Giudecca.  He  died  at  Venice  in  1767.  The  exist- 
ence of  two  etchings  by  him  is  recorded — a  '  Giov. 
Nen.  Canonico  de  Praga,'  and  a  '  St.  John." 

PITTORI,  Paoli,  called  Paolo  del  Masaccio,  an 
Italian  painter,  bom  at  Masaccio,  where  he  painted 
many  pictures  for  churches,  &c.     He  died  in  1590. 

PITTORI  DA  MACEltATA,  Lorenzo,  an  Italian 
painter,  flourished  about  1533  at  Macerata,  where 
he  painted  a  '  Christ,'  in  the  Church  of  the  Virgin, 
in  the  antico-modemo  manner. 

PITTORINI,  Padre.    See  Bisi,  Fba  B. 

PIXELL,  (Miss)  Maria,  an  English  landscape 
painter  in  oil  and  water-colours,  born  in  the  latter 
part  of  the  18th  century.  She  studied  under  Sawrey 
Gilpin,  and  obtained  a  considerable,  but  transient, 
reputation.  Her  works  appeared  at  the  Academy 
between  1796  and  1811. 

PIZZARO,  Antonio,  a  Spanish  historical  painter, 
was  a  scholar  of  El  Greco,  and  resided  at  Toledo 
at  the  commencement  of  the  17th  century.  He 
painted  the  '  Foundation  of  the  order  of  Los  Trini- 
tarios '  for  their  convent ;  several  pictures  in  the 
churches  of  SS.  Justo  and  Pastor  ;  and  the  '  Nativity 
of  tlie  Virgin'  in  the  church  of  Santa  Maria,  at 
Casarrubios.  He  also  designed  the  three  subjects 
engra%'ed  by  Alardo  Popnia  for  the  '  Life  of  St 
Ildefonso '  by  Salazar  de  Mendoza,  published  in 
1618.  Neither  the  date  of  his  birth,  nor  of  his 
death,  is  recorded. 

PIZZOLI,  GiovACCHiNO,  a  decorative  and  land- 
scape painter,  bom  at  Bologna  in  1651.  He  was 
instructed  by  Borboni,  Pasinelli,  and  Michelangelo 
Colonna,  whom  he  afterwards  assisted.  He  died 
in  1733. 

PIZZOLO,  Niccol6,  was  one  of  the  most  import- 
ant of  Squarcione's  pupils,  and  aided  him  in  the 
decoration  of  the  Eremitani  Chapel,  at  Padua. 
According  to  Vasari,  the  '  Eternal,'  in  the  semi-dome 
of  the  chapel,  the '  Virgin  in  Glory,  with  Cherubim,' 
and  the  figures  of  SS.  Paul,  Christopher,  Peter, 
E  2 


and  James,  are  all  by  him.  In  these  works  there  is 
much  to  remind  us  of  Mantegna,  who  is  said  to 
have  been  much  influenced  by  Pizzolo.  He  also 
assisted  Fra  Filippo  in  the  chapel  of  the  Podesta, 
Florence,  and  Donatello  in  the  church  of  S.  An- 
tonio, Padua,  in  1446  to  1448.  He  is  said  to  have 
perished  early  in  life  in  a  street  brawl. 

PLAAS.     See  Van  deb  Plaas. 

PLACE,  FBANCls,was  the  younger  son  of  Rowland 
Place,  of  Dinsdale,  in  the  county  of  Durham,  but 
was  himself  bom  in  Yorkshire.  His  father,  intending 
him  for  the  profession  of  the  law,  placed  him  as  a 
clerk  to  a  solicitor  in  London,  under  whom  he 
continued  until  the  year  1665,  when  he  was  obliged 
to  quit  the  metropolis  on  account  of  the  plague, 
and  he  took  this  opportunity  of  abandoning  a  pur- 
suit which  was  never  agreeable  to  his  inclination, 
and  of  indulging  his  propensity  for  drawing.  He 
painted,  designed,  etched,  and  engraved  in  mezzo- 
tint, and  also  drew  with  the  pen,  shading  the  fore- 
grounds with  Indian  ink ;  but  as  he  practised  art 
for  amusement  only,  his  works  are  very  scarce. 
They  prove  him  to  have  been  a  man  of  genius,  and 
it  is  to  be  regretted  that  his  application  was  not 
equal  to  his  abilities.  He  is  said  to  have  refused  a 
pension  of  five  hundred  pounds  a  year,  which  was 
offered  him  in  the  reign  of  Charles  II.,  to  draw  the 
royal  navy,  as  hu  could  not  endure  confinement  or 
dependence.  He  was  intimate  with  Hollar,  and 
with  Ralph  Thoresby,  the  antiquary.  He  died  at 
York  in  1728,  and  his  widow  disposed  of  his  paint- 
ings, among  which  were  one  of  fowls,  and  others 
of  flowers  and  fish.  Most  of  his  engravings  appear 
to  have  been  private  plates,  and  this  may  account 
for  their  scarcity.  They  were  executed  not  later 
than  about  1683,  and  among  them  the  following 
are  the  chief: 

portraits. 

Charles  I. ;  after  Van  Dyck. 

Catharine,  Countess  of  Middleton ;  after  Lely. 

Major-General  John  Lambert. 

Richard  Sterne,  Archbishop  of  York. 

Nathaniel,  Baron    Crew,    Bishop    of   Durham ;    after 

Kneller. 
Rev.  William  Cray,  of  Newcastle.     1683. 
Richard  Tompson,  printseller ;  after  Zoust. 
PhiUp  'Woolrich,  Esq.,  in  armour  ;  after  Greenhill. 
John  Moyser,  Esq.,  of  Beverley  ;  after  Kneller. 
Henry  Gyles,  glass-painter. 

Sir  Ralph  Cole,  Bart.,  amateur  painter  ;  after  Lely. 
"William  Lodge,  engraver. 
Pearce  Tempest,  printseller ;  after  Seemskerk. 
James  Naylor,  the  Quaker. 

VARIOUS   SUBJECTS. 

Seven  etchings,  being  part  of  a  set  of  twelve  of  Birds . 

after  Barlow;  the  other  five  were  by  Jan  Grijier ; 

very  fine. 
Lady  confessing  to  a  Monk. 
A  Dutch  Family. 

A  Monk  Reading ;  after  Tan  Dycfc. 
A  View  of  Tynemoiith  Castle  and  Lighthouse. 
View  of  York  Minster. 
A  Prospect  of  Leeds. 

PLACE,  George,  an  Irish  miniature  painter,  bom 
in  Dublin  in  the  latter  half  of  the  18th  century. 
He  studied  in  the  Schools  of  the  Irish  Academy, 
and  practised  in  London,  exhibiting  at  the  Royal 
Academy  from  1791  to  1797.  He  afterwards  prac- 
tised in  Yorkshire.  The  date  of  his  death  has  eluded 
research. 

PL.\NER,  Christian  Julius  Gustav,  a  German 
engraver,  was  bom  at  Leipsic  in  1818.  He  at- 
tended the  Academy  of  his  birthplace,  and  at  first 

131 


A  BIOGRAPHICAL  DICTIONARY  OF 


designed  himself  for  a  lithographer,  but  in  1840 
he  visited  Italy,  and  afterwards  studied  engraving 
at  Dresden  under  Steinla.  There,  in  1873,  not 
being  able  to  find  a  publisher  for  his  drawing  of 
Leonardo's  '  Last  Supper,'  he  put  an  end  to  his 
life  by  shooting  himself.  His  principal  plates 
are: 

The  Saviour ;  after  Cima  da  Conegliano. 

Christ  blessing  the  Bread  ;  ajttr  Carlo  Dolci. 

The  Virgin  Mary  ;  after  Steinbjtick. 

The  Repentant  Magdalene  ;  after  Correygio. 

The  Sons  of  Rubens  ;  after  Rubens. 

St.  Mary  of  Egypt ;  after  Ribera. 

The  Dead  Christ  mouraed  over  by  his  Disciples ;  after 
Rothermnnd. 

Rembrandt  and  his  wife :  after  Rembrandt. 

The  Reading  Hermit ;  after  De  Koninck. 

Portrait  of  Count  Hoym  ;  after  Rigaud. 

JuUus  Schnorr  von  Karolsfeld,  painter. 

Moritz  Steinla,  engraver. 

Napoleon  III.,  Emperor  of  the  French. 

Love  riding  on  a  Panther ;  after  a  bas-relief  by  Rieischel. 

PLANES,  Luis,  the  elder,  was  bom  in  Valencia 
about  1732.  He  was  Director  of  the  Royal  Academy 
of  S.  Carlos,  and  died  about  1810. 

PLANES,  Luis  Antonio,  a  painter,  was  bom  in 
Valencia  in  1765.  He  was  instructed  by  his  father, 
Luis  Planes,  and  then  went  to  Madrid,  where  he 
studied  under  Francisco  Bayeu,  and  gained  the 
gold  medal  of  San  Fernando.  He  died  young,  in 
1799.  One  of  his  best  pictures  is  an  'Immaculate 
Conception,'  in  the  Church  of  Albalat. 

PLANK,  Josef,  Gemian  painter, born  1815  near 
Vienna,  where  he  first  began  to  study.  He  painted 
historical  scenes,  such  as  his  '  Altar  in  der  Stifts- 
kirche.'  He  died  in  Feb.  1901  at  Hiitteldorf, 
near  Vienna. 

PLANO,  Francisco,  a  Spanish  painter,  was  bom 
at  Daroca,  and  resided  at  Saragossa  towards  the 
end  of  the  17th  century.  He  had  a  great  reput- 
ation as  a  painterand  architect,  especially  for  decor- 
ative works.  Palomino  places  him  beside  Colona 
and  Mitelli ;  and  the  works  he  has  left  in  the  sanc- 
tuary of  Nuestra  Seiiora  del  Portillo,  at  Saragossa, 
and  other  churches,  would  seem  to  justify  the 
assertion. 

PLAS,  PlETER,  a  Dutch  painter,  was  at  work  at 
Alkmaar  in  1810.  He  was  a  pupil  of  J.  van  Ravenz- 
waay  and  G.  Bodeman,  and  painted  landscapes 
and  animals.     He  died  at  Alkmaar  in  1853. 

PLAS.    See  Van  deb  Plas. 

PLASCHKE,  Moritz,  German  painter,  born  at 
Strehlen,  August  5,  1818  ;  painted  genre  scenes, 
such  as  'Kinder  im  Komfelde'  (at  Antwerp), '  Die 
Erwartung,'  &c.  He  died  at  Diisseldorf,  June  5, 
1888. 

PLASENCIA,  Casto,  was  a  prominent  Spanish 
historical  painter.  His  best-known  picture  is  '  The 
Origin  of  the  Roman  Republic,'  depicting  the 
death  of  Lucretia.     He  died  at  Madrid  in  1890. 

PLASSAN,  Antoine  Emile,  French  painter, 
bom  September  29,  1817,  at  Bordeaux  ;  the  first 
picture   exhibited  by  him  at  the    Paris  S;ilon  in 

1846  was 'Portrait  de  M .'     It  was  followed 

by  a  remarkable  series  of  genre  pictures,  such  as 
'  Le  D^jedner  des  Enfants,'  '  L'Enfant  Malode,' '  La 
Visite  au  Tiroir,'  '  La  Famille,' '  La  Sortie  du  Bain,' 
&c.  In  1852  he  obtained  a  third-class  medal,  and 
this  also  in  1857  and  1859,  being  decorated  with 
the  Legion  of  Honour  in  that  same  year.  He 
died  in  Paris  in  1903. 

PLASSARD,  Vincent,  was  a  French  engraver  of 
the  17th  century,  of  whom  there  are  no  particulars. 
132 


His  only  known  print  represents  the '  Holy  Family,' 
in  a  mountainous  landscape,  and  is  signed  V.  Plas- 
sard  in.  et  ft.  1650.  It  is  in  the  style  of  the 
Carracci. 

PLATEAU,  Antoine,  a  flower  and  decorative 
painter,  was  bom  at  Tournai  in  1759,  and  died  in 
1815.  Several  pictures  by  this  artist  are  in  the 
Temple  of  the  Sun  at  Laeken,  and  in  the  house 
of  M.  Walkiers. 

PLATHNER,  Herm.ujn,  German  painter,  born 
August  23,  1831,  at  Gronau  (Hanover) ;  was  a 
pupil  of  A.  Tidemand,  K.  Jordan,  and  also  of 
the  Diisseldorf  Academy ;  his  artistic  talent 
was  afterwards  developed  by  travel.  For  some 
time  he  worked  in  the  Black  Forest  at  a  series 
of  genre  studies,  and  subsequently  settled  at 
Diisseldorf.  Among  his  pictures  we  may  mention  : 
'  Ertappt  1 '  (in  the  Leipzig  Museum),  '  Hungrige 
Ga8te'(in  the  Danzig  Museum),  'Die  Kartenlegerin,' 
'  Die  gestorten  Spider,'  and  several  remarkable 
portraits.  In  1876  and  1877  he  obtained  the 
London  silver  medal.  Owing  to  an  affection  of 
his  eyes  he  had  to  give  up  painting.  He  died  in 
1902. 

PLATNER,  Ernst  Zacharias,  painter  and  writer 
on  art,  was  bom  at  Leipsic  in  1773,  and  was  a  son 
of  the  philosopher,  Ernst  Platner.  He  studied  at 
the  Academy  of  his  birthplace  under  Oeser,  and 
sought  further  improvement  at  Dresden  from  1790, 
at  Vienna  from  1797,  and  from  1800  at  Rome.  In 
1823  he  became  Saxon  consul  at  Rome,  where  he 
died  in  1855.  He  worked  in  conjunction  with 
Bunsen,  Gerhard,  and  Rostel  on  their  '  Description 
of  the  City  of  Eome.'  Among  his  best  plates 
are  : 

Lucretia. 

The  Dismissal  of  Hagar. 

Hagar  and  Ishmael. 

PLATTE-MONTAGNE,  Matheus  de,  (Plat- 
TENBERG,  Or  VAN  Platten-Berch,)  was  born  at 
Antwerp  about  1608.  Having  acquired  the  first 
rudiments  of  art  in  his  native  city,  he  went  to 
Italy,  and  resided  some  time  at  Florence,  where,  in 
conjunction  with  his  countryman,  Jan  Asselyn, 
called  Crabetje,  he  painted  several  sea-pieces  and 
landscapes,  which  were  greatly  admired.  He 
aftenvards  visited  Paris,  where  his  works  were  not 
less  esteemed,  and  he  met  with  sufficient  encourage- 
ment to  induce  him  to  settle  there  for  some  time. 
From  a  singular  caprice,  he  Frenchified  his  name 
of  Platten-Berch  into  that  of  Platte-Montagne,  which 
he  sometimes  signed  to  his  pictures  and  prints, 
and  sometimes  Montague  only.  He  died  in  Paris 
in  1660.  His  landscapes  are  liighly  finished,  and 
exhibit  very  pleasing  scenery.  A  '  Storm  at  Sea,' 
by  him,  is  in  the  Augsburg  Gallery.  We  have  a 
few  etchings,  executed  in  a  very  spirited  style. 
They  represent  landscapes  and  marines,  and  re- 
semble the  works  of  Fouquieres,  under  whom  he 
learnt  engraving.  They  are  usually  inscribed  M. 
Montagne  in.  et  f.  He  was  the  brother-in-law  of 
Jean  Morin,  and  the  larger  number  have  the  ad- 
dition, Morin  ex.  cum  priiil.  Re. 

PLATTE-MONTAGNE,  Nicolas  de,  (Platten- 
berg,  or  van  Plattkn-Bekch,)  was  born  in  Paris  in 
1631,  and  studied  painting  under  Philip  de  Cham- 
paigne.  He  was  instructed  in  engraving  by  Jean 
Morin,  whom  he  surpassed.  His  principal  works 
as  a  painter  are  in  the  churches  of  Notre  Dame, 
St.  Sacrament,  St.  Sulpice,  and  St.  Nicolas  des 
Champs,  in  Paris.  He  was  also  a  reputable  portrait 
painter.     In  1681  he  became  professor  of  history 


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■=^ 


PAINTERS  AND  ENGRAVERS. 


to  the  Academy,  and  died  in  Paris  in  1706.  From 
1651  to  1694  he  executed  twenty-eight  phites  with 
the  point  and  graver,  in  addition  to  ten  portraits. 
Among  other  prints  we  have  the  following  by  him  : 

The  Portrait  of  Olivier  de  Castellan,  general,  killed  at 

the  siege  of  Tarragoua  in  1644. 
St.  Genevieve  ;  after  P.  de  Champaiijne, 
Christ  in  the  Tomb ;  after  the  same. 
The  Penitent  Magdalene  ;  after  the  same. 
The  Sudarium  of  St.  Veronica ;  after  the  same, 

PLATTEL,  Henih  Daniel,  a  French  historical 
and  landscape  painter,  was  bom  at  Geneva  in  1803. 
He  was  a  pupil  of  N.  Berlin  and  of  R6mond,  and 
died  in  1859. 

PLATTNER,  Andreas,  painter,  a  native  of 
Nuremberg,  was  a  pupil  of  his  father  Alexander. 
In  1595  he  went  to  Munich  in  the  train  of  Duke 
Ferdinand,  where  he  remained  till  1601.  He  died 
ubout  1617. 

PLATTNER,  Franz,  German  painter,  born  1826 
at  Zirl  in  the  Tyrol ;  studied  at  the  Vienna  Academy 
and  with  Cornelius ;  also  with  Overbeck  at  Rome. 
He  painted  frescoes  in  several  of  the  churches  in 
the  Tyrol,  at  Dornbirn,  Innsbruck,  Girlan,  &c. 
Another  large  fresco  by  him  is  '  Veleda,'  at 
Innsbruck.     Here  he  died  March  18, 1887. 

PLATZER,  Johann  Georg,  (or  Plazer,)  was 
born,  according  to  Fiissli,  at  Epan,  in  the  Tyrol,  in 
1702,  and  studied  under  his  step-father  Kessler, 
and  with  his  uncle  on  the  father's  side,  who  was  a 
painter  at  Passau.  In  1721  he  went  to  Vienna, 
and  there  became  intimate  with  an  artist  of  the 
name  of  Jannek.  They  adopted  the  same  style  of 
painting,  but  it  did  not  weaken  their  friendship, 
and  the  public  were  benefited  by  their  rivalry. 
Platzer  returned  to  his  native  country,  where  he  was 
living  in  1755.  The  cities  of  Breslau  and  Glogau 
possess  many  good  specimens  of  his  finer  work. 

PLATZER,  Johann  Victor,  is  called  by  Nagler 
a  sculptor,  though  it  does  not  appear  that  he 
exercised  that  art.  The  same  writer  says  that  he 
was  bom  in  Vintschgau,  probably  at  Mais,  in  1704, 
and  was  a  scholar  of  Kessler  at  Inspruck,  until  the 
court-painter,  Christoph  Platzer,  took  him  under 
his  care  at  Passau.  He  afterwards  established 
himself  at  Vienna,  and  painted  small  pictures, 
mostly  with  many  figures,  which  were  received 
with  much  applause  both  at  home  and  abroad. 
His  application  was  such  that  he  weakened  his 
eight,  and  diminished  the  fimmess  of  his  hand,  so 
that  in  painting  he  was  obliged  to  use  a  machine 
to  steady  it.  In  the  year  1755  Platzer  returned  to 
the  place  of  his  nativity,  and  died  in  1767.  His 
garish  pictures  have  nothing  to  recommend  them 
but  manual  dexterity.  Among  the  best  are : 
Dresden.  Gallery.    The  Four  Elements. 

Vienna.  Galleiy.    Men  and  Women  Drinking  and 

making  Music. 

PLATZER,  Joseph,  a  painter  of  architecture, 
theatrical  decorations,  moonlights,  and  small  his- 
torical subjects,  was  the  son  of  the  celebrated 
Bculptor,  Ignaz  Platzer,  and  was  born  at  Prague 
in  1752.  After  the  completion  of  his  scholastic 
etudies  he  devoted  six  years  to  drawing,  chiefly 
architecture,  under  the  direction  of  F.  Wolf.  In 
oil  painting  he  was  his  own  master,  and  while  still 
voung,  was  favoured  by  the  patronage  of  Prince 
fcannitz.  Thus  encouraged,  he  went  to  the  Vienna 
Academy,  and  was  afterwards  selected  by  the 
emperor  Joseph  II.  to  embellish  the  royal  theatre. 
During  these  operations  he  encountered  many 
obstacles,  and  was  obliged  to  maintain  liis  reput- 


ation by  painting  moonlights,  historical  compoei- 
tions,  and  small  theatrical  designs.  On  the  ac- 
cession of  Leopold  II.  he  was  promoted  at  court, 
became  a  member  of  the  Vienna  Academy  in  1796, 
and  died  in  1810.  One  of  his  pictures,  '  The 
Murder  of  Semiramis,'  is  in  the  Academy  building. 
He  also  painted  in  aquarelle. 

PLAYTER,  Charles  Gauthier,  was  an  English 
engraver,  who  flourished  in  the  latter  part  of  the 
18th  century,  and  worked  for  Boydell  on  the  Shake- 
speare Gallery.  He  died  at  Lewisham  In  1809. 
Amongst  his  plates  are  : 

Scene  from  the  '  Comedy  of  Errors  ; '  after  JRiyaud. 
Lady  Godiva  ;  after  W.  Hamilton. 

PLEGINCK,  Martin,  was  a  German  engraver 
on  wood  and  on  copper,  who  flourished  about  the 
year  1590.  He  engraved  a  set  of  copper-plates 
representing  figures  fighting,  entitled  '  Fechter- 
Bu^chlein,'  in  a  style  resembling  that  of  Virgilius 
Soils.  His  woodcuts  are  in  tlie  manner  of  Jost 
Amman.  Bartsch  and  Passavant  describe  fifty- 
three  prints  by  this  master,  which  are  of  small  size, 
and  represent  ecclesiastical  orders  and  dignities, 
cavalry  and  foot  soldiers  (after  J.  De  Gheyn), 
animals,  and  goldsmiths' work  :  the  date  1594  is  on 
some  of  them.     Zani  says  he  was  working  in  1606. 

PLEISTEINETUS,  a  brother  of  Pheidias,  is 
stated  to  have  been  a  painter,  but  nothing  more 
than  this  is  known  of  him. 

PLETSCH.  O.SK_4R,  German  black-and-white 
artist,  born  !March  26,  1830,  at  Berlin  ;  became  a 
jiupil  of  Bendemann  at  Dresden.  He  began  as  an 
illustrator,  first  of  popular  fiction  and  then  of  chil- 
ilren's  books,  endeavouring  to  rival  Richter  in  this 
style  of  art.  He  obtained  considerable  success  with 
such  works  as  '  Kleines  Volk,'  'Allerlee  Sclinick 
Schnack,'  '  Was  willst  du  Werden,'  &c.  He  died 
Jan.  12,  1888,  at  Niederlossnitz,  near  Dresden. 

PLEYDENWURFF,  Wilhelm,  one  of  the  early 
engravers  on  wood,  was  a  native  of  Germany,  and 
flourished  about  the  year  1493.  Conjointly  with 
Michel  Wolgemut,  he  is  said  to  have  executed  the 
cuts  for  the  Nuremberg  '  Chronicle,'  compiled  by 
Hermann  Schedel,  and  printed  in  1493.  They 
represent  views  of  towns,  &c.,  and  figures  of  vari- 
ous kinds. 

PLEYSIER,  A.,  a  Dutch  marine  painter,  bom  at 
Naardingen  in  1809.  He  died  in  1879.  In  the 
Bruges  Academy  there  is  a  '  Coast  Scene '  by  him. 

PLIMER,  Andrew.  This  celebrated  miniature 
painter  was  a  Shropshire  man,  the  son  of  a  clock- 
maker  at  Wellington,  and  the  parish  register  gives 
the  following  record  of  his  baptism :  "  Andrew, 
son  of  Nathaniel  and  Eliza  Plynier.  December  29, 
1 763."  The  family  was  well  known  in  Wellington, 
and,  as  far  as  can  be  ascertained,  the  following 
is  a  brief  pedigree  of  the  Plimers  of  Wellington: 
One  Abraham  Plimer  had  four  children,  William, 
Thomas,  Abram,  and  John.  William,  his  eldest 
son,  had  four  children,  William,  Charles,  Anne, 
and  Sarah.  Thomas  had  six  children,  Martha, 
Isaac,  Rebekah,  Thomas,  Mary,  and  William. 
Abram,  the  third  .son,  had  four  children,  Sarah, 
Eliza,  Abram,  and  Natlianiel  ;  and  this  Nathaniel, 
who  was  born  November  20,  1726,  and  married 
one  Mary  (whose  surname  is  unknown),  had 
two  sons,  Nathaniel  and  Andrew  the  miniaturists. 
The  fourth  son,  John,  had  also  four  children, 
Mary,  Rachel,  Elizabeth,  and  Thomas.  Nathaniel 
and  Abram  Plimer,  the  sons  of  one  Abram  and 
the  grandsons   of  another,  were  clockmakers  in 

133 


A  BIOGRAPHICAL  DICTIONARY  OF 


partnership,  and  both  sundials  and  watches  are 
still  in  existence  bearing  their  names,  together  or 
separately,  as  makers.  Abram  never  married,  but 
Nathaniel  had  two  sons,  as  already  mentioned, 
Andrew,  born  1763,  and  Nathaniel  his  elder  brother, 
bom  1757.  The  two  boys  were  both  brought  up 
as  clockmakers,  but  greatly  disliking  the  business, 
they  joined  a  party  of  gipsies  with  a  caravan  and 
menagerie,  and  wandered  about  with  them  for 
many  months,  eventually  walking  on  into  London 
with  all  their  worldly  possessions  on  their  heads, 
tied  up  in  two  red  and  yellow  shawls.  The  parents 
on  learning  that  their  resolute  sons  had  reached 
London  sent  them  some  money,  as  tlie  lads  were 
nearly  starving,  and  they  at  once  commenced  to 
take  lessons  in  drawing.  Presently  Nathaniel 
entered  the  employ  of  Henry  Bone,  the  enaniellist, 
as  an  assistant,  while  Andrew  became  personal 
servant  to  Cosway  in  order  to  be  near  to  the  artist. 
It  would  appear  that  Andrew  Plimer  l)iid  at  first 
no  other  chance  of  becoming  an  artist  than  that 
afforded  him  by  domestic  service,  and  that  he  was 
80  eager  to  be  near  to  an  artist  of  repute  that  ho 
presented  himself  to  Mrs.  Cosway  in  1781,  when 
he  was  about  seventeen,  and  the  Cosways,  who 
had  recently  married,  were  living  in  Berkeley 
Street,  and  begged  to  be  engaged  as  studio  boy. 
He  pleased  Mrs.  Cosway  so  much  by  his  determin- 
ation and  by  his  pleasing  manners,  that  she  took 
him  into  her  service,  and  at  first  he  was  employed 
in  cleaning  the  studio,  grinding  and  mixing 
colours,  arranging  the  easels,  and  announcing  the 
callers.  With  the  Cosways  he  moved  to  Schom- 
berg  House,  but  had  been  there  but  a  few  days 
when  Richard  Cosway  detected  him  attempting  to 
copy  one  of  his  miniatures,  and  doing  it  with 
such  skill  and  with  such  "  applomb  '' — to  use  the 
misspelt  word  which  appears  in  one  of  Cosway's 
letters — that  tlie  artist  speedily  discovered  the 
making  of  a  clever  miniature-painter  in  his  young 
servant.  He  then  seems  to  have  sent  Plimer  otf 
to  a  Mr.  Halle  (or  Hayle)  that  he  might  learn 
drawing  from  him,  and  with  this  master  he  ap- 
parently remained  for  a  year  or  more,  employing 
himself  in  the  intervals  of  his  tuition  in  similar 
work  to  that  in  which  he  had  been  engaged  while 
in  the  studio  of  Cosway,  so  as  to  earn  the  tuition 
which  he  received. 

In  1783  Plimer  was  back  again  with  the  Cosways 
at  Sehomberg  House.  Whether  Nathaniel,  who 
had  by  this  time  left  Bone's  studio,  accompanied 
his  brother  to  Sehomberg  House  cannot  be  stated. 
It  is  believed  that  he  did,  and  it  is  certain  that 
both  brothers  are  spoken  of  in  contemporary  letters 
as  the  "  pupils  of  Cosway."  Andrew  stayed  with 
Cosway  till  1785,  leaving  him  then  to  set  up  a 
studio  for  himself  This  he  did  at  32,  Great 
Maddox  Street,  Hanover  Square.  He  seems  to 
have  been  there  only  for  one  year,  as  in  the 
following  year  his  address  appears  in  the  catalogue 
of  the  Royal  Academy  as  at  .3,  Golden  Square.  It 
was  from  Great  Maddox  Street  that  he  sent  the 
first  pictures  which  he  exhibited  at  the  Royal 
Academy.  No.  38  was  a  portrait  of  'A  Poor  Boy 
in  a  Cold  Morning,'  No.  202  represented  the  '  Death 
of  Don  Louis  de  Velasco,  at  the  storming  of  the 
Moro  Fort  at  the  siege  of  Havana.'  In  1787 
Plimer  was  at  3,  Golden  Square,  but  in  1796  he 
changed  house,  going  from  No.  3  to  No.  8,  and 
there  he  remained  till  he  married.  Plimer  married 
at  Wicken,  in  Northamptonsliire,  on  February  21, 
1801.     Mrs.  PUmer  came  of  an  old  Northampton- 

134 


shire  family,  the  Knights  of  Slapston,  who  had 
been  settled  in  that  place  since  1573.  Mrs.  Plimer 
had  five  children,  four  daughters  and  one  son, 
the  latter  of  whom  died  when  quite  a  child.  Of 
the  four  daughters,  one  only,  the  eldest,  Louisa, 
married.  The  other  three  daughters  of  Andrew  and 
Joanna  Plimer  were  Joanna  (bom  1803,  died  1846), 
Charlotte  (born  1804,  died  1845),  and  Selina  (born 
1809,  died  1841).  Mrs.  Plimer  survived  all  her 
family  save  the  eldest  daughter,  at  whose  house 
she  died.  Her  death  occurred  at  Hawick  Manse 
in  1861,  October  18,  at  the  age  of  eighty-eight,  and 
she  was  buried  in  St.  Cuthbert's  churchyard  at 
Hawick.  After  his  marriage  Plimer  and  his  wife 
went  into  Devonshire  and  Cornwall,  and  then 
returned  to  London,  and  settled  down  in  Goldea 
Square.  He  exhibited  one  portrait  only  at  the 
Royal  Academy  in  1801  and  two  in  1804,  but  the 
names  of  neither  of  the  sitters  are  given  in  the 
catalogue.  In  1803  Plimer  executed  the  first  of 
the  Rushout  commissions,  sending  a  portrait  of 
Lady  C.  Rushout  to  the  Royal  Academj-,  and 
rather  later  than  that  painted  separate  miniatures 
of  Lady  Northwick  and  her  three  lovely  daughters, 
and  then  the  famous  group  of  the  'Three  Graces,' 
which  was  his  most  notable  miniature,  and  upon 
which  his  fame  chiefly  rests.  Three  miniatures 
were  sent  up  in  1805,  one  representing  Master 
Cunningham  ;  another,  said  to  be  a  Miss  Wilhel- 
mina  Leventhorp,  whose  sister  was  painted  as  '  A 
Lady,  name  unknown,'  the  following  year,  and 
whose  portrait  can  now  be  found  in  the  collection 
of  Mr.  Pierpont  Morgan,  bearing  the  initials  W.  C. 
L.  on  its  reverse ;  and  a  portrait  of  a  Mrs.  Mortimer. 
In  1806  Plimer  sent  the  portrait  of  the  other  Miss 
Leventhorp  to  the  Academy,  and  also  a  portrait  of 
the  Hon.  Colonel  Acheson.  In  1807  he  sent  in 
the  portraits  of  four  children,  and  in  1810  two 
pictures  were  exhibited,  one  representing  '  Indo- 
lence, a  Portrait  of  a  Gentleman,'  and  the  other  a 
'  North  Devon  Country  Farmer.'  After  this  date 
Plimer's  name  disappears  from  the  catalogue  of 
the  Royal  Academy  for  some  time,  and  only  twice 
again  is  it  to  be  found,  when  he  exhibited  again 
in  1818  and  in  1819.  In  1815  Plimer  was  residing 
at  Exeter  a  few  doors  above  St.  Sidwell's  Church. 
In  1818  the  family  were  back  again  in  town  and 
living  in  Upper  York  Street,  Montague  Square, 
and  then  for  a  couple  of  years  his  name  appears 
again  on  the  lists  of  the  Royal  Academy.  In  1818 
he  sent  in  portraits  of  Lieut.-Colonel  Grej',  Mr. 
H.  Bunn,  and  '  A  Child,'  the  latter  being,  it  is 
believed,  one  of  his  own  children,  and  very  prob- 
ably the  portrait  of  Joanna.  In  1819  he  sent  in 
a  portrait  of  Mrs.  Colonel  Hughes,  and  in  the  same 
year  there  is  an  entry  of  his  name  in  the  books  of 
the  Britisli  Institution  as  exhibiting  three  works 
in  that  Gallery. 

In  about  1820  Plimer  seems  to  have  started  off 
to  travel  about,  leaving  his  wife  and  children  at 
home,  probably  in  London.  We  hear  of  him  in 
Reading,  in  Brighton,  in  Devonshire,  Cornwall 
and  Dorsetshire,  in  Wales  and  in  Scotland.  In 
the  following  year  Plimer  settled  down  with  his 
family  at  Brighton.  At  first  he  took  a  house  in 
the  Old  Steine,  but  soon  after  that  moved  into 
Western  Cottages,  and  there  he  lived  till  the 
date  of  his  death.  At  that  time  one  of  his  friends 
mentions  him  in  a  letter  as  a  "  prosperous  and 
very  high-spirited  man,  thinking  of  buying  an 
estate  in  Northamptonshire,  near  to  his  wife's  old 
home,  and  settling   down   there."    He  was  not, 


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PAINTERS  AND  ENQRAVERg. 


however,  to  carry  out  this  cherished  wish,  for  two 
years  after  he  had  come  to  Brighton  he  was  dead. 
He  died  on  January  29,  1837,  aged  seventy-four, 
and  his  death  is  recorded  in  the  '  Gentleman's 
Magazine'  of  the  time.  No.  334,  Part  I.,  as  "for 
many  years  an  eminent  miniature  painter  of 
Exeter."  Plimer  was  buried  at  Old  Hove,  and  the 
entry  of  his  burial  is  as  follows  :  "Andrew  Plimer, 
Western  Cottages,  Brighton,  buried  February  4, 
1837,  aged  74  years.  Walter  Kelly,  Vicar."  His 
funeral  took  place  in  the  old  churchyard  at  Hove, 
and  the  tombstone  is  a  fiat  one  just  behind  the 
church  and  quite  close  to  that  of  Copley  Fielding. 
Plimer  left  behind  him  a  substantial  fortune  of 
five  thousand  pounds,  which  was  in  the  3i  per 
cent,  reduced  annuities,  besides  some  other  estate, 
and  he  left  the  income  of  his  fortune  to  his  widow 
for  her  life,  to  be  divided  after  her  decease  between 
his  three  daughters.  For  full  infonnation  as  to 
this  artist  and  his  works  see  'Andrew  and  Nathaniel 
Plimer,'  by  G.  C.  Williamson  (George  Bell  and 
Sons),  1903.  G.C.  W. 

PLIMER,  Nathaniel.  For  the  details  of  the 
early  life  of  this  artist  see  above  article  on  his 
brother  Andrew.  In  1787  the  name  of  Nathaniel 
Plimer  first  appears  on  the  list  of  the  Royal 
Academy,  and  he  was  then  living  either  at  31, 
Great  Marlborough  Street,  as  one  edition  of  the 
catalogue  for  that  year  states,  or  31,  Great  Maddox 
Street,  as  another  edition  informs  us.  It  is  prob- 
able that  Great  Marlborough  Street  is  the  correct 
address,  as  several  copies  of  the  catalogue  give 
that  as  the  address,  whilst  one  only  gives  Great 
Maddox  Street.  In  1794  he  was,  however,  in 
Maddox  Street,  and,  strangely  enough,  his  number 
there  was  also  31,  so  that  the  problem  as  to  where 
he  was  before  that  time  is  not  an  easy  one  to  solve. 
From  1794  down  to  1800  his  address  is  given  as 
31,  Maddox  Street.  In  1801  he  was  at  81,  New 
Bond  Street,  in  1815  at  13,  Paddington  Street. 
After  this  we  have  no  further  trace  of  him,  but  he 
is  said  on  Redgrave's  authority  to  have  died  in 
1822.  He  only  sent  twenty-six  works  in  all  to  the 
Academy,  and  of  those  one  only  is  named,  the 
portrait  of  one  Isaac  Perrins,  which  he  sent  in 
1790.  We  do  not  know  whom  he  married,  but  we 
do  know  that  he  had  four  children,  Georgina, 
Mary,  Louisa,  and  Adela,  and  that  one  of  them, 
Adela,  married  the  artist  Andrew  Geddes,  and  had 
offspring.  A  portrait  of  Adela  belongs  to  Mr. 
Andrew  Geddes  Scott  of  Edinburgh,  and  other 
portraits  of  her  to  Mr.  Pierpont  Morgan. 

The  marriage  of  Geddes  with  Adela,  the  younger 
daughter  of  Nathaniel  Plimer,  took  place  in  1827, 
and  he  is  believed  to  have  had  one  son  and  one 
daughter,  who  married  a  Mr.  James.  Their  por- 
traits were  painted  by  Nathaniel  Plimer.  Nathaniel 
Plimer  is  said  to  have  been  a  man  of  violent  temper, 
giving  way  at  times  to  terrible  outbursts  of 
feeling.  Where  he  died  and  where  he  was  buried 
are  not  known,  and  his  children  are  stated  to  have 
gone  to  the  Colonies,  with  the  exception  of  the 
members  of  the  Geddes  family,  who  remained  in 
Scotland.  A  portrait  of  the  artist,  which  was 
painted  by  Geddes,  now  belongs  to  Mr.  FitzHenry. 
This  was  acquired  from  Miss  James  through 
Messrs.  Colnaghi,  and  was  then  said  to  represent 
Andrew  Plimer,  but  there  is  more  likelihood  that 
it  is  a  portrait  of  Nathaniel,  and  that  the  one  in  the 
National  Gallery  of  Scotland,  which  came  from  the 
same  collection  and  through  the  same  dealers,  is 
the  one  which  the  artist  painted  of  Andrew.     It  is 


a  far  finer  picture  than  the  one  which  is  in  the 
FitzHenry  Collection,  although  this  latter  is  a 
remarkable  piece  of  portraiture,  somewhat  in  the 
style  of  Raebum.  A  miniature  of  Nathaniel  was 
exhibited  at  South  Kensington  in  1865  by  a  Mrs. 
Geddes,  but  it  is  not  known  to  whom  it  now 
belongs.  Nathaniel  Plimer  signed  his  miniatures 
with  small  initials  in  the  same  manner  as  his 
brother,  and  almost  always  added  the  date  of  the 
year  as  well.  For  a  list  of  his  works  see  '  Andrew 
and  Nathaniel  Plimer,'  byG.  C.  Williamson  (George 
Bell  and  Sons),  1903.  G.  C,  W. 

PLIN,  E.,  was  a  native  of  France,  who  flourished 
about  the  year  1780.  He  engraved  some  plates 
representing  conversations  and  domestic  subjects, 
which  are  etched,  and  finished  with  the  graver. 

PLOEGSMA,  Dirk  Jacobs,  a  painter,  was  bom 
at  Leeuwarden  in  1769.  He  was  a  pupil  of  Accama 
and  chiefly  painted  portraits,  though  there  were 
some  historical  scenes  and  genre  pictures  executed 
by  him,  among  which  we  may  name  '  The  Disciples 
plucking  Corn  on  the  Sabbath  Day.'  He  died  in 
1791. 

PLOETZ,  Heinrich,  a  miniature  painter,  was 
born  at  Holstein  in  1748.  He  was  instructed  by 
Marsinhe  of  Ghent,  after  which  he  entered  the  house 
of  the  famous  naturalist  Bonnet,  and  made  draw- 
ings of  insects,  till  1795,  when  he  went  to  Italy. 
There  he  visited  Leghorn,  Corsica,  and  Genoa,  and 
afterwards  went  to  Germany,  painting  portraits 
in  Hamburg  and  Berlin.  He  finally  settled  in 
Copenhagen,  where  he  died  about  1810. 

PLONICK.     See  Duplonich. 

PLOOS  VAN  AMSTEL,  Jacob  Cornblis,  who  was 
bom  at  Amsterdam  in  1726,  and  died  there  in  1798, 
was  a  collector  of  drawings  and  an  amateur  en- 
graver. He  devoted  himself  to  the  art  with  a  zeal 
rarely  found  in  persons  who  do  not  adopt  it  as  a 
profession,  and  to  him  we  are  indebted  for  a  very 
interesting  set  of  plates,  after  drawings  by-  cele- 
brated Dutch  and  other  masters.  The  following  is 
a  list  of  the  more  important : 

Frontispiece,  a  Monument  bearing  a  Latin  inscription  ; 

on  it  stands  a  Genius   holding    an  Escutcheon,  in 

the  middle  a  Fleur-de-lys ;  Inventor  Corttelius  Plooi 

van  Amslel,  D.  1  Febr.  1765. 

Two  small  landscapes;  H.  Zaftleven,  del.;  v.  Amstel, 

fecit,   nes. 

A  Landscape,  with  a  Shepherd,  Shepherdess,  and  Cattle 

on  the  Banks  of  a  Canal ;  Ad.  van  de  Velde,  del.;  P. 

van  Amstel,  fecit. 
A  "Woman  looking  out  of  a  Door ;  Eembrandt,  del. ;  P. 

van  Amstel,  fecit.     1764. 
A  Young  Man  with  a  Hat  on,  looking  out  of  a  Door ; 

same  inscription.      These  tico  are  clever  imitations  of 

Rembrandt. 
The  Interior  of  a  Dutch  Cottage,  with  Peasants,  one 

reading  a  paper;  Ad.  v.  Ostmle,  del.,  1673;  P.  van 

Amstel,  fecit,  1766. 
A  Frost  Piece,  with  sii  Spanish  figures,  one  a  Woman 

with  a  Mask;  Hendrik  Avercam,  del.,  1621;  P.  van 

AmsUl,  fecit,  1766. 
Portrait  of  Jan  Josephzoon  van  Goyen  ;  Ant.  vaiiDyck-, 

del.,  1633  ;  P.  van  Amstel,  fecit,  1769. 
A  Land.scape,  with  a  Market  at  the  entrance  of  a  Town  ; 

Jan  Josephzoon  van  Goyen,  del.,  1653 ;  P.  v.  Amstel, 

fecit,  1767. 
A  similar  subject,  with  a  Cattle  Market ;  same  inscription . 
A  Lady  seated  at  a  Harpsichord  ;  Ger.  Douw,  del.,  1660 ; 

P.  V.  Amstel,  fecit,  1767. 
A  Sea-piece,  with  Shipping :   Ludolf  Bakhuysen,  del., 

1694 ;  P.  V.  Amstel, fecit,  1769. 
A  Landscape,  with  a  Woman  riding  on  an  Ass,  with 

Cattle,  by  the  side  of  a  Canal ;  X.  £erghem,  1764  ; 

P.  van  Amstel,  fecit,  1769. 
The  Virgin  Mary,  with  the  Infant  Jesus.    A  circular 

plate.   Abr.  Bloemaert,  del.;  P.  v.  Amstel, fecit,  1780. 

135 


A  BIOGRAPHICAL  DICTIONARY  OP 


An  assemblage  of  Peasants  before  an  Alehouse,  with  a 

Man  playing  on  the  Violin,  and  another  dancing ;  Ad. 

e.  Ostadt,  dtl.,  1673;  P.  v.  Amitd,  fecit,  1769. 
Portrait  of  a  Young  Lady,  with  a  Book  on  a  Table ;  H. 

Gollzius,  del.,  1612;  r.  v.  Amstel,feeit,  1770. 
Portrait  of  a  Young  Man,  sitting  in  a  Chair ;  C.  Visscher, 

del.,  1651 ;  P.  v.  Amstel. fecit,  1771. 
Landscape,  with  a  Man  leading  a  Horse,  and  in  the 

foreground  some  Women  washing  ;  PA.  Womcerman, 

del.,  1660;  P.  v.  Amstel, fecit,  1772. 
The  Inside  of  a  Church,  with  a  Man  drawing  ;  P.  Saen- 

redam,  del.,  1630  ;  P.  v.  Amstel,  fecit,  1774. 
A  Spanish  Concert ;  Karel  van  Mander,  del.,  1603  ;  P. 

r.  Amstel,  fecit,  1772. 
A  Man  seated,  holding  a  Flute,  with  a  Bonnet  in  the 

manner  of  Rembrandt;   G.  Flinck,  1643;    PI.  van 

Amstel,  fecit,  1773. 
A  Sea-piece,  with  Shipping  ;  P.  Coops,  del.  ;  P.  v.  Am- 
stel. fecit,  1773. 
An  assembly  of  Peasants,  one  sleeping;  Ad.  B>outoer,del., 

1635  ;  P.  V.  Amstel,  fecit,  1775. 
A  Man  sitting  at  a  Table,  with  Cards  in  his  hand  ;  F. 

Mieris,  del.,  1693  ;  P.  v.  Amstel.  fecit,  1777. 
Two  Dogs,  small  prints  ;  similar  inscription. 
Three  Peasants,  one  with  a  Bottle ;  C.  Vusart,  del. ;  PI. 

van  Amstel,  fecit. 
A  Young  Lady  taking  a  Beverage  presented  by  a  Boy, 

and  a  Physician  standing  near  her ;    Ger.  Terbunj, 

del.  ;  PI.  van  Amstel,  fecit,  1779. 
A  Young  Lady,  with  a  musical  Instrument ;  G.  Xetscher, 

del.,  1664  ;  P.  van  Amstel,  fecit,  1781 ;  oval. 
Two  Sea-pieces  ;  Ludolf  Bakhuysen,  del. ;  PI.  v.  Amstel, 

fecit.  1781. 
The  Judgment  of  Solomon;   Lucas  tan  Leyden,  del., 

1515  ;  P.  V.  Amstel,  fecit,  1782. 
A  Landscape,  with  Kuins,  and  a  Man  with  an  Ass ;  Th. 

Wyck.  del. ;  P.  v.  Amstel, fecit,  17S2. 
A  View  in  Norway,  with  figures  ;  Aid.  van  Eeerdinyen, 

del. ;  P.  V.  Amstel,  fecit,  1782. 
Five  Dutch  Magistrates  sitting  round  a  Table ;  J.  de 

Bray,  del.,  1663  ;  PI.  v.  Amstel,  fecit. 
The  Attorney  and  his  Clerk  ;  /.  iSteen,  del,  1672 ;  P.  v. 

Amstel,  fecit. 
A  landscape,  with  Kuins,  and  a  Shepherd  with  Sheep 

and  Goats ;  J.  van  der  Does,  del.,  1699 ;  P.  ran  Amstel, 

fecit. 
A  mountainous  Landscape,  with  Cattle ;  J.  r.  der  Meer, 

de  Jonge,  del.,  1704  :  PI.  v.  Amstel,  fecit. 
The  Carpenter  and  his  "U'ife ;  /.  Saenredam,  dtl.,  1610 ; 

P.  V.  Amstel.  fecit. 
The  Inside  of  a  Cottage,  with  Peasants ;  Corn.  Beya, 

del.,  1684;  P.  v.  Amstel,  fecit. 
The  Botanist,  with  Figures  bringing  him  Plants ;  G.  v. 

den  Eeck/wut.  del. ;  P.  v.  Amstel.  fecit. 
A  Landscape,  with  four  Sheep  ;  A',  du  Jardin,  del. ;  P. 

V.  Amstel,  fedt. 
Tlie  Chymist ;  J.  Langhans, del.,  1711 ;  P.  v.  Amstel, fecit. 
Shipping  ;  J.  Esselens,  del.,  1708  ;  P.  van  Amstel,  fecit. 

PLOTT,  John,  was  born  at  Winchester  in  1732. 
In  the  early  part  of  his  life  he  was  articled  to  an 
.■ittorney,  but  he  did  not  long  follow  the  profession. 
In  1756  he  came  to  London,  and  having  shown  an 
inclination  for  painting,  he  became  a  pupil  of 
Richard  Wilson,  the  landscape  painter  ;  but  his 
genius  directing  hira  to  portraiture  rather  than 
landscape,  he  quitted  that  master,  and  placed  him- 
self under  the  tuition  of  Nathaniel  Hone.  He 
afterwards  distinguished  liimself  as  a  miniature 
painter,  both  in  enamel  and  water-colours,  though 
he  sometimes  painted  in  oil.  He  had  a  taste  for 
natural  history,  and  executed  several  dr.iwings  in 
that  branch.  Whilst  in  London  in  1777  he  ex- 
hibited at  the  Academy.  Towards  the  latter  part 
of  his  life  he  resided  at  Winchester,  and  some  years 
before  his  death  became  a  member  of  the  corpor- 
ation of  that  city.  He  began  a  history  of  '  Land 
Snails,'  and  had  made  some  beautiful  drawings  for 
it  when  interrupted  by  death.  He  died  at  Stoke, 
near  Winchester,  in  1803.  Bromley  rnentions  a 
mezzotint  portrait  of  Plott,  scraped  by  himself. 

136 


PLUCHART,  Henri,  French  painter,  bom  in 
1840  at  Valenciennes  ;  wag  a  pupil  of  Abel  de 
Pujol  and  also  of  Picot.  Chiefly  distinguished  as 
a  clever  portrait  painter.  He  became  Director  of 
the  Lille  Slueeum,  and  here  he  died  in  November 
1898.  Of  his  genre  works  we  may  mention,  '  Dn 
Escalier  dans  la  Falaise,'  '  Un  Semeur,'  '  L'Heure 
de  la  Pipe,' '  En  Octobre,'  &c. 

PLUDDEMANN,  Hermann  Freihold,  historical 
painter,  was  bom  at  Colberg  in  1809.  His  first 
master  was  Seig  in  Magdeburg,  and  in  1828  he 
entered  the  studio  of  K.  Begas  in  Berlin,  and  went 
in  1831  to  Diisseldorf,  to  the  atelier  of  W.  von 
Schadow,  with  whom  he  remained  six  years.  In 
company  with  H.  Miicke  he  completed  a  number 
of  frescoes  for  Count  Spee  in  his  schloss  at  Heltorf, 
and  in  1843  he  painted  a  wall  in  the  Rath-haus  of 
Elberfield.  He  went  in  1848  to  reside  at  Dresden, 
where  he  died  in  1868  Among  his  pictures  we 
may  name : 

Loreley.     1833. 

The  Death  of  Roland.     1834. 

Columbus  catching  sight  of  Land.     1836.    (Berlin  Nat. 

Gallery.) 
The  Battle  of  Iconium  (fresco) ;  after  Lessing.    1839. 

(Schloss  Heltorf.) 
Columbus  in  La  Kabida.     1845. 
The  Finding  of  Barbarossa's  Corpse.     1846. 
The  Landgrave  Ludwig.     1849. 
Prince  Hal  and  Falstaff.     1860. 
Henry  at  Canossa.    1863. 

PLUMIER,  Edmond,  painter,  was  born  at  Liege 
in  1694.  He  was  a  pupil  of  Fisen  and  Largillifere 
at  Paris.  He  then  went  to  Italy,  and  entered  the 
atelier  of  Masucci.  He  had  a  son,  JACQnES  Theodor, 
also  a  painter,  who  died  in  1766.  In  the  church 
of  S.  Remade  at  Lidge  i.s  a  '  Descent  from  the 
Cross'  by  this  artist.     He  died  in  1733. 

PC,  P.  DEL.     See  Del  Po. 

POCCETTI.     See  Barbatelli. 

POCCI,  Fbasz,  Graf  von,  draughtsman,  etcher, 
poet,  and  musician,  was  born  at  Munich,  March  7, 
1807.  He  owed  such  teaching  in  art  as  he  had 
to  the  example  of  his  mother,  Amalia  Franziska 
Xaveria  (bom  in  Dresden,  1776 ;  died,  1849).  From 
1825  to  1828  he  studied  jurisprudence,  and  then 
became  a  member  of  the  Bavarian  Government. 
In  1830  he  was  named  a  master  of  the  ceremonies 
at  the  court,  and  shortly  afterwards  accompanied 
King  Ludwig  and  the  Crown  Prince  to  Italy. 
Pocci's  best  works  as  an  artist  are  his  etchings 
for  Grimm's  '  Volksmarchen '  and  for  Schreiber's 
'  Marchen.'     He  died  May  7,  1876. 

POCH,  Tobias,  (Pock,)  a  German  historical  and 
still-life  painter,  who  flourished  at  Constance  in 
the  17th  century.     He  was  living  at  Vienna  in  1662. 

POCHMANN,  TRAtJGOTT  Leeerecht,  portrait 
painter,  was  born  at  Dresden  in  1762.  He  was  a 
Professor  of  the  Dresden  Academy,  and  died  in 
1830.     His  own  portrait  is  in  the  Dresden  Gallery. 

POCO  e  BUONO.     See  Nanni. 

POCOCK,  Isaac,  an  English  portrait  and  his- 
torical painter,  the  son  of  Nicholas  Pocock,  was 
bom  at  Bristol  in  1782.  He  studied  under  Romney 
and  Beechey,  and  in  1807  was  awarded  a  prize  of 
£100  by  the  British  Institution  for  his  '  Murder  of 
St.  Thomas  a  Becket.'  His  works  occasionally 
appeared  at  the  Academy  between  1800  and  1819, 
and  he  also  exhibited  at  the  Liverpool  Academy, 
ofwhicli  he  was  a  member.  Inheriting  property, 
he  retired  from  the  practice  of  art,  and  amused 
himself  by  writing  for  the  stage.     He  died  at 


2 

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PAINTERS  AND  ENGRAVERS. 


Maidenhead  in  1835.  There  is  a  portrait  of  Hartley 
as  Hamlet  by  him  at  the  Garriek  Club,  London. 

POCOCK,  Nicholas,  an  English  marine  painter, 
bom  at  Bristol  in  1741.  His  family  were  mer- 
chants, and  in  his  younger  years  he  commanded 
a  vessel.  During  his  voyages  he  was  enabled  to 
exercise  his  talent  for  sketching,  and  he  at  length 
devoted  himself  entirely  to  art.  He  attracted  the 
favourable  notice  of  Sir  J.  Reynolds,  and  first 
exhibited  at  the  Academy  in  1782.  Seven  years 
later  he  moved  to  the  wider  sphere  of  London,  and 
■was  much  engaged  in  depicting  the  naval  battles 
of  the  period.  He  was  one  of  the  original  members 
of  the  Water-Colour  Society,  where  he  exhibited 
up  to  1817.  He  died  at  Maidenhead  in  1821.  The 
following  are  some  of  his  works : 

Greenwich.       Hospital.    Defeat  of  the  French  Fleet  at 
St.  Kitt's,  1782. 
H.M.S.  Triton. 
„  „  H.M.S.  Defence. 

„  „  Cutting  out  a  Vessel. 

London.    -SWA^^^^'^S"  |  A  Mountainous  Country.   1790. 

„  Bangor,   with    Penmaenmawr. 

1795. 
„  „  Caderldris.     1790. 

„  „  Llanstephan  Castle. 

PODESTA,  GugoMO  Axdrea,  was  bom  at  Genoa 
about  the  year  1620,  and  went  early  in  life  to 
Rome,  where  he  became  a  scholar  of  Giovanni 
Andrea  Ferrari.  The  year  of  his  death  is  not  as- 
certained. It  does  not  appear  that  he  reached  any 
celebrity  as  a  painter ;  but  we  have  gome  very 
spirited  etchings  by  him,  which  prove  him  to  have 
been  an  artist  of  considerable  ability.  He  usually 
marked  his  plates  AND.  P.  or  And.  P.  in.  et  fee- 
One  of  his  prints  is  marked  16.36,  and  four  others 
1640,  which  was  probably  his  best  time.  Bartech 
describes  eight  engravings  by  him,  of  which  five 
are  bacchanalian  subjects,  two  amatory,  and  one 
a  St.  Francis  performing  a  miracle.  The  following 
are  also  by  him  : 

An  Allegorical  Subject,  representing  Boys  cultivating 
the  Arts,  and  a  Pbcenuc  in  the  Flames  ;  after  his  own 
design. 

The  Triumph  of  Bacchus  ;  after  Titian. 

Bacclius  and  Ariadne  ;  after  the  same. 

Silenus  Dnmk,  supported  by  Satyrs  and  Bacchanals  ; 
after  the  same. 

Two  subjects  from  the  Life  of  Diego ;  after  Carracci. 

PODESTI,  Francesco,  Italian  painter,  born  1800 
at  Ancona  ;  was  at  first  a  pupil  of  Cammuccini 
at  Rome.  Many  of  his  works,  including  mural 
decoration  in  churches,  are  to  be  seen  at  Ancona. 
His  '  Medicante' was  burnt  during  the  Hamburg 
fire,  but  a  copy  of  it  exists  at  Naples.  Pius  IX. 
commissioned  him  to  paint  the  imposing  frescoes 
in  Sala  della  Concezione  of  the  Vatican.  Other 
works  by  him  are  '  Tasso  a  Ferrara,'  '  Assedio  di 
Ancona,'  the  latter  exhibited  at  Paris,  1855,  where 
it  obtained  a  second-class  medal.  He  was  Corre- 
Bpondant  de  I'Academie  des  Beaux  Arts.  He  died 
at  Ancona  in  February  1895. 

POEHAM,  Martim,  an  old  German  engraver,  to 
whom  Professor  Christ  attributed  some  indifferent 
copies  from  the  prints  of  Aldegrever,  Sebald  Beham, 
and  others. 

POEL.     See  Van  der  Poel. 

POELENBURGH,  Cornelis  van,  (or  Poelem- 
BURG,)  called  also  Brusco  and  Sattro,  was  born 
at  Utrecht  in  1586.  He  received  his  first  instruc- 
tion from  Abraham  Bloemaert,  and  then  travelled 
to  Italy  in  search  of  improvement.     On  his  arrival 


at  Rome,  he  attached  himself  to  the  style  of  Adam 
Elsheimer.  He  adopted  a  pleasing  style  of  painting 
small  landscapes,  distinguished  by  suavity  and 
delicacy  of  colouring,  and  an  agreeable  choice  of 
scenery,  enriched  with  architecture,  into  which  he 
introduced  figures  remarkable  for  the  fusion  of 
their  handling,  their  clear  carnations,  and  mediocre 
drawing.  He  quitted  Rome  with  some  reluctance, 
after  a  sojourn  of  several  years  ;  and  on  his  arrival 
at  Florence,  where  the  reputation  of  his  talents  had 
preceded  him,  he  was  received  with  favour  and 
distinction  by  the  Grand  Duke,  for  whom  he 
painted  several  pictures.  On  his  return  to  Utrecht, 
the  impatience  of  his  countrymen  to  possess  his 
works  loaded  him  with  commissions.  In  1607 
Charles  I.  invited  him  to  London,  where  he  re- 
mained some  time,  and  painted  several  pictures  for 
the  king  and  the  nobility.  He  frequently  orna- 
mented with  figures  the  architectural  views  of 
Steenwyck,  and  the  landscapes  of  Keirrinckx.  In 
King  Charles's  catalogue  are  mentioned  the  por- 
traits of  his  Majesty,  and  of  the  children  of  the 
King  of  Bohemia,  by  Poelenhurgh  ;  and  in  that  of 
James  11.  there  are  sixteen  pictures  by  him.  But 
the  success  he  met  with  did  not  induce  him  to  remain 
in  England.  He  returned  to  Utrecht,  where  in 
1649  he  was  made  President  of  the  Painters'  Guild, 
and  where  he  died,  August  12, 1667.  Descamps  and 
JI.  Watelet  assert  that  Poelenhurgh  etched  some 
prints  from  his  own  designs,  and  that  the  plates 
being  soon  afterwards  destroyed,  they  are  now  ex- 
tremely scarce.  Possibly  the  prints  thus  attributed 
to  Poelenhurgh  are  those  etched  by  J.  G.  Bronk- 
horst  after  his  designs.  Jan  van  der  Lys  was  an 
imitator  of  his  style.  Poelenhurgh' s  pictures  are  in 
nearly  all  the  GaOeries  of  Europe  ;  among  them  the 
following  may  be  named  : 

Cassel.  Gallery.    The  Virgin. 

„  „  Christ     borne     to    Heaven    by 

Angels. 
Dresden.         Gallery.    The  Assumption  of  the  Virgin. 

.,  „  Diana  at  the  Chase. 

Dulwich.  Gallery.    Nymph  and  Satyr  dancing. 

London.        Nat.  Gai.    JadgmentofFaiis  {in  a  layidseapt 
by  Both). 
„  Ruins :  Women  bathing. 

Paris.  Louvre.     The  Annunciation. 

Vienna.  Gallery.     The  same  subject. 

POEPPELMANN,  Johann  David,  a  painter, 
was  'jom  at  Dresden  in  1729.  He  was  instructed 
by  Oeser,  and  painted  portraits.  In  1752  he  was 
appointed  one  of  the  painters  to  the  Count  of 
Saxony,  and  died  in  1813. 

POERBUSSE.     See  Podrbus. 

POERSON,  Charles,  who  was  born  at  Metz  in 
1609,  and  died  in  Paris  in  1667,  was  a  pupil  of 
Simon  Vouet,  and  became  painter-in-ordinary  to  the 
king  and  Rector  of  the  Royal  Academy  of  Painting. 

POERSON,  Charles  Franqois,  a  French  painter, 
was  born  in  Lorraine  in  1652.  He  was  a  son  of 
Charles  Poerson,  and  a  pupil  of  Noel  Coypel,  in 
whose  style  he  painted  history.  Through  the  patron- 
age of  M.  JIansard,  he  was  introduced  to  the  notice 
of  Louis  XIV.,  and  was  employed  on  some  his- 
torical subjects  for  the  Hospital  of  the  Invalids ; 
these,  however,  were  soon  afterwards  destroyed, 
and  replaced  by  some  frescoes  by  Bon  de  Boul- 
longne.  He  was  subsequently  appointed  director 
of  the  French  Academy  at  Rome,  where  he  died 
in  1725. 

POESEL,  Wolfgaso,  a  painter,  was  bom  at 
Amberg  in   1736.     He  painted  for  several  of  the 
I  churches  in  his  native  district,  and  died  in  1797. 

1.37 


A  BIOGRAPHICAL  DICTIONARY  OF 


POGET,  Jean,  a  miniature  painter,  wlio  flourished 
early  in  the  16th  century.  Some  of  his  work  is  in 
the  '  Livre  d'heurs,'  of  Anne  of  Brittany,  in  the 
Mus^e  des  Souverains  of  the  Louvre. 

POGGETTI.     See  Barbatelli. 

P0G6I,  Cesare,  historical  painter,  was  bom  at 
Milan  in  1803.  He  was  a  pupil  of  Sabatelli,  but 
after  1824  studied  in  Venice  and  Rome.  He  died 
at  Milan  in  1859,  a  member  of  the  Academy  there. 
Besides  a  large  number  of  pictures  by  him  in  the 
churches  of  Lombardy,  we  may  name  the  follow- 
ing: 

Death  of  Clarissa  Visconti.     {Count  Arese.) 

The  Adulteress  before  Christ.     (Marchese  Busca.) 

Brutus  and  Ligarius. 

St.  John  the  Baptist. 

Susannah  in  the  Bath. 

Three  Card-players. 

Koman  Robbers. 

POGGINO,  Zanobi  di,  an  Italian  painter,  who 

flourished  in  the  16th  century.     He  was  a  pupil  of 

Sogliani,  and  painted  portraits  and  historical  scenes, 

of  wliich  a  considerable  number  are  still  to  be  found 

in  Florence. 

POGGIO,  G.  DEL.    See  Giovanni  di  Paolo. 

POHLE,     HEB5IANK,    German     painter,     bom 

November   23,    1831,    at   Berlin,   where    he    first 

studied  under  Biermann,  and  subsequently  under 

Gude  and  Schirmer  at  the  Diisseldorf  Academy, 

and  here,  after  lengthy  travel,  he  settled  down. 

He  painted  landscapes,  mostly  of  Alpine  scenery. 

The  Rudolfinum  of  Prag  has  a  fine  example  of  his 

style  in  '  Waldbach.'     Other  pictures  by  him  are 

'Meersburg  am  Bodensee'  and  'Schloss  Klenau,' 

at   Lugano.      He   died   at    Diisseldorf,   July   10, 

1901.      His   pencil   sketches   of    scenery   around 

Lugano  are  of  remarkable  beauty  and  recall  the 

work  of  Prout,  but  in  his  oil  work  he  adopted  an 

entirely   different    technique,   painting    in   broud 

masses  with  but  little  detail. 

POILLY,  Francois  de,  the  elder,  an  eminent 
French  engraver,  was  born  at  Abbeville  in  1622 
or  1623.  He  was  the  son  of  a  goldsmith  and  en- 
graver, who  instructed  him  in  the  rudiments  of 
art.  He  afterwards  went  to  Paris,  where  he  became 
a  pupil  of  Pierre  Daret,  under  whom  he  remained 
three  years,  and  afterwards  visited  Rome,  where 
he  took  Cornells  Bloemaert  as  his  model.  During 
a  residence  in  Rome  of  seven  years,  he  greatly 
improved  his  design,  and  engraved  several  plates 
rtfter  the  works  of  the  great  Italian  masters.  In 
1656  he  returned  to  Paris,  where  he  became  one 
of  the  most  celebrated  engravers  of  his  time  and 
country.  In  1664  he  was  appointed  engraver  in 
ordinary  to  the  king.  He  died  in  Paris  in  1693. 
His  plates  are  executed  entirely  with  the  burin, 
which  he  handled  with  uncommon  firmness  and 
dexterity.  Though  he  had  the  assistance  of  some 
able  pupils,  it  is  surprising  that  he  could  have 
finished  so  many  plates.  About  400  prints  bear 
his  name,  and  Nagler  describes  107  as  entirely  by 
hitn.     The  following  are  among  his  best : 

PORTRAITS. 

Pope  Alexander  VII. 

Louis  XIV.  when  young  ;  after  Xoeret.  ' 

Cardinal  'Mazarin  ;  after  Mignard, 

Henri  d'.\maud,  Bishop  of  Angers. 

Jerome  Bignon,  Counsellor  of  State ;  after  Philippe  de 

Champaigtie. 
Abraham  Fabert,  Marshal  of  France  ;  after  Ferdinand. 
Guillaume  de  Lamoignon,  with  Allegorical   Figures ; 

after  Mignard. 
East  of  Guillaume  da  Lamoignon ;  after  Le  Brun. 

138 


SUBJECTS   FEOM   HIS  OWN   DESIGNS. 

The  Virgin  and  Child. 

The  Holy  Family,  with  St.  John  embracing  the  Infant 

Christ. 
St.  Ignatius  Loyola. 
The  Death  of  St.  Francis  Xavier. 
The  Crucifixion. 
The  Triumph  of  Augustus. 


SnBJECTS   AFTER    VARIOUS   MASTERS. 

The  Vision  of  Ezekiel ;  after  Raphael. 

The  Holy  Family,  in  which  the  Infant  Christ  is  standing 

upon  the  cradle  (Louvre) ;  after  the  same. 
The  Virgin  lifting  up  a  veil,  to  show  to  St.  John  the 

Infant  Christ  sleeping  (Vierge  au  Diademe,  Louvre) ; 

after  the  same. 
The  Flight  into  Egypt ;  after  Guido. 
The  Nativity,  or  Adoration  of  the  Shepherds,  in  au  oota- 

gonal  border ;  after  the  same.     The  first  impressions 

of  this  plate  are  before  the  two  angels  which  appear 

above  were  inserted. 
Christ  praying  in  the  Garden  ;  after  the  same. 
The  dead  Christ  on  the  lap  of  the  Virgin,  at  the  foot  of 

the  Cross  ;  after  L.  Carracct. 
The  Repose  in  Egypt,  io  which  the  Virgin  is  represented 

sleeping,  with  two  Angels  kneeUng ;  after  Ann.  Car* 

racci. 
The  Holy  Family ;  after  IV.  Potissin. 
The  Marriage  of  St.  Catharine ;  after  P.  Mignard. 
The  Holy  Family  ;  after  the  same. 
The  Baptism  of  Christ ;  after  th  e  same. 
3.  Carlo  Borromeo  administering  the   Communion  to 

Persons  infected  with  the  Plague ;  after  the  same 
The  Visitation  ;  after  C.  le  Brun. 
St.  John  in  the  Isle  of  Patmos ;  after  the  same. 
The  Crucifixion  ;  after  the  same. 
The  Parable  of  the  Wedding  Garment;  after  P.  de 

Champaigne. 
The  Cruci&rion ;  a  large  print,  in  three  sheets ;  after 

the  same. 
The  Trinity  ;  after  the  same. 
Joseph's  Bloody  Garment  presented  to  Jacob ;   after 

Charles  Antoine  Coypel. 
Nymphs  Bathing ;  after  Giulio  Romano. 

POILLY,  FfiANgois  de,  the  younger,  the  younger 
son  of  Nicolas  de  Poilly,  was  bom  in  Paris  in  1671, 
and  was  instructed  in  engraving  by  his  father.  He 
afterwards  travelled  ^vith  his  brother  to  Rome, 
where  he  engraved  a  plate  representing  '  St.  Cecilia 
distributing  her  wealth  to  the  Poor,'  after  Domeni- 
ehino,  a  companion  print  to  the  Martyrdom  of  that 
Saint,  by  Jean  Baptiste  de  Poilly. 

POILLY,  Jean  Baptiste  de,  the  son  and  pupil 
of  Nicolas  de  Poilly,  was  bom  in  Paris  in  1669. 
Having  made  some  progress  in  engraving  under 
his  father,  he  went  to  Rome,  where  he  studied 
some  years.  On  his  return  to  Paris  he  executed 
several  plates,  by  which  he  gained  a  considerable 
reputation,  and  was  made  a  member  of  the  Academy 
in  1714.  He  died  in  Paris  in  1728.  His  style  of 
engraving  differs  greatly  from  those  of  his  father 
and  uncle.  He  forwarded  his  plates  with  the  point, 
and  finished  them  with  the  burin,  in  a  pleasing 
and  picturesque  style.  We  have  several  portraits 
and  historical  subjects  by  him,  of  which  the  follow- 
ing are  the  most  deserving  of  notice : 


portraits. 

Clement  XIII.  Pontifex  Max. 

Louis  XIV. ;  after  Mignard. 

Charles  James  Edward  Stuart,  son  of  the  Pretender; 

after  Duprat. 
SVanijois  de  Troy,  Painter ;  from  a  picture  by  himself, 

his  reception  plate  at  the  Academy. 
Oomelis  van  Cleve,  Sculptor ;  aftfr  Vinien  ;  the  same. 


PAINTERS  AND  ENGRAVERS. 


SUBJECTS  AFTER   VABIOITS  MASTERS. 

The  Nativity ;  after  Gauden:io  Ferrari  ;  for  the '  Collec- 
tion Crozat.' 
The  Virgin  adoring  the  sleeping  Christ ;  after  Garofalo  ; 

for  the  same  publication. 
The  Martyrdom  of  St.  Cecilia;  after  DorMnichino. 
The  Adoration  of  the  Shepherds ;  after  C.  Maratti. 
The  Rod  of  Aaron  devouring  the  Kods  of  the  Magicians ; 

after  If.  Foussin. 
The  Israelites  worshipping  the  Grolden  Calf ;  after  the 

same. 
The  Holy  Family  ;  after  the  same. 
The  Judgment  of  Solomon  ;  after  A.  Coypel. 
Susannah  and  the  Elders  ;  after  the  same. 
Jupiter  and   Danae ;  after    Giulio  Romano ;    for  the 

'  Collection  Crozat.' 
Eleven  Plates  from  the  pictures  by  F.  Mtgnard,  in  the 

saloon  of  St.  Cloud. 
The  Four  Seasons ;  from  pictures  formerly  in  the  Gallery 

of  St.  Cloud,  by  Mignard. 

POILLY,  Nicolas  de,  was  bom  at  Abbeville  in 
1626.  He  was  the  younger  brother  of  Francois  the 
elder,  by  whom  he  was  instructed  in  the  art  of 
engraving.  He  executed  several  plates  in  the 
style  of  his  brother.  He  died  in  Paris  in  1696. 
He  has  left  several  plates  from  portraits  and  from 
historical  subjects,  executed  with  the  burin,  in  a 
neat,  clear  manner.  The  following  are  perhaps  the 
best: 

POBTEAITS. 

Louis  XIV., in  a  frame  of  laurels,  with  Children  bearing 

emblems  ;  after  y.  liliqnard. 
Bust  of  Louis  XIV.,  life-size.    1683. 
Maria  Theresa,  Queen  of  France  ;  the  same.     1630. 
Louis,  Dauphin,  the  son  of  Louis  XIV. ;  the  same. 
Louis  de  Bourbon,  called  the  Great  Conde ;  the  same. 

SUBJECTS   AFTER  VARIOUS   MASTERS. 

St.  Augustine  holding  a  Crucifix. 

The  Holy  Family,  with  two  Angels  holding  a  Basket  of 

Flowers ;  after  S.  Bourdon. 
The  Marriage  of  St.  Catharine ;  after  the  same. 
The  Presentation  in  the  Temple ;  after  C.  le  Brun. 
The  Holy  Family  returning  from  Egypt ;  after  the  same. 
The  Holy  Family,  with  the  Infant  Jesus  sleeping  on  the 

knees  of  the  Virgin ;  after  the  same. 


The  Repose  in  Egypt ;  after  Chapron. 
The  Crucifiiion  ;  after  N.  Foussin. 


POILLY,  Nicolas  de,  the  yomiger,  was  bom  in 
Paris  in  1675.  He  was  the  third  son  of  Nicolas 
the  elder,  and  studied  painting  under  Mignard  and 
Jouvenet.  Among  his  pictures  are  '  Calvary,'  en- 
graved by  himself,  and  '  Jesus  waited  on  by  Angels,' 
painted  for  the  Refectory  of  the  Abbey  of  S.  Martin 
des  Champs.     He  died  in  1747. 

POILLY,  Nicolas  Jeas  Baptiste  de,  the  son  of 
Jean  Baptiste  de  Poilly,  was  bom,  according  to 
Nagler,  in  Paris  in  1712.  He  was  intended  by  his 
father  for  an  engraver,  but  he  did  not  long  follow 
that  branch  of  art.  He  engraved  a  few  portraits, 
after  C.  N.  Cochin,  some  of  which  are  dated  1753  ; 
one  of  his  prints  bears  the  date  1758. 

POINDRE,  Jacob  DE,a  portrait  painter  of  Malines. 
was  born  at  Malines  in  1527,  and  was  a  scholar  of 
his  brother-in-law.  Marc  Willems.  He  painted  a 
few  historical  pictures,  but  attached  himself  more 
particularly  to  portraiture.  He  went  to  Denmark, 
and  painted  imaginary  portraits  of  some  of  the 
kings.     He  died  in  Denmark  in  1570. 

POINSART,  J.,  a  French  engraver,  flourished 
about  the  year  1630.  He  was  principally  employed 
by  the  booksellers,  for  whom  he  executed  several 
plates  of  views  of  cities,  castles,  &c.  Among  other 
prints  by  him  is  the  'Entry  of  Charles  II.  into 
Bheims.' 


POINTE.    See  De  la  Poiste. 

POISSON,  Louis,  a  French  painter,  who  worked 
at  Fontainebleau  about  1610,  where  he  was  custodian 
of  the  pictures.  He  was  succeeded  by  his  son 
Pierre  in  1613,  and  in  1643  by  his  grandson  Jean. 

POITREAU,  Etiekxe,  a  French  landscape  paint- 
er, bom  at  Corbigny.  He  was  received  into  the 
Academy  in  17.39,  and  died  in  1767. 

POITTEVIN.     See  Le  Poittevin. 

POL, ,  of  Limburg,  is  the  author  of  some 

miniatures  executed  in  1409  in  a  prayer-book  of 
the  Duke  of  Bern,  in  the  Bibliotlieque  Ste.  Gene- 
vieve, and  in  a  'Josephus'  of  the  year  1410  in 
the  public  library  of  Paris.  Of  these  miniatures 
Mr.  J.  A.  Crowe  says,  "They  remind  us  of  later 
productions  of  the  Van  Eycks  in  the  originality  of 
conception,  the  peculiar  embodiments  of  form,  and 
the  remarkable  tendency  to  realism  which  they 
display." 

POL,  Cheistiaan  van,  a  flower  and  arabesque 
painter,  was  bom  at  Berkenrode,  near  Haarlem,  in 
1752.  In  1782  he  went  to  Paris,  where  he  obtained 
a  great  reputation  for  his  paintings  in  arabesque. 
He  ornamented  in  this  manner  the  chateaux  of 
Bellevue,  Chantilly,  and  St.  Cloud.  He  also  painted 
flower-pieces  in  oil,  and  occupied  himself  occasion- 
ally in  painting  groups  of  flowers  on  snuff-boxes, 
which  are  of  considerable  merit.     He  died  in  1813. 

POLACK,  Solomon,  a  miniature  painter,  bom  at 
the  Hague  in  1757,  who  settled  in  England,  and 
exhibited  at  the  Academy  almost  every  year  from 
1790  to  1835.  He  practised  for  a  time  in  Ireland, 
about  1795.  He  designed  and  etched  the  plates 
for  a  Hebrew  edition  of  the  Bible.  He  died  at 
Chelsea  in  1839. 

POLACK,  Martin  Theophilus,  a  Pole  by  birth, 
who  gained  his  reputation  in  the  Tyrol,  where  he 
was  painter  to  Duke  Leopold,  and  after  his  death 
in  1632  to  Cardinal  van  Madruz.  His  masterpiece 
is  to  be  found  in  the  church  of  the  Servites  at 
Innsbruck,  and  a  few  of  his  works  are  at  Trent. 

POLANCO,  .     Two  brothers  of  this  name 

are  mentioned  among  Spanish  historical  painters. 
Scarcely  anything  is  recorded  of  them,  except 
that  they  studied  under  Francisco  Zurbaran,  and 
flourished  at  Seville  about  1646.  It  is  said 
that  their  works  were  so  like  those  of  Zurbaran, 
that  they  were  often  mistaken  for  his.  This  is 
home  out  by  the  pictures  in  the  church  of  San 
Esteban,  at  Seville,  where  Zurbaran  painted  tha 
'  St.  Peter  and  St.  Stephen,'  but  where  the  '  Mar- 
tyrdom of  the  Patron  Saint.'  the  '  Nativity,'  and 
the  '  St.  Fernando,'  are  by  the  brothers  Polanco. 
They  also  painted  several  large  pictures  for  the 
sacristy  of  the  convent  of  St.  Paul,  in  the  same 
city;  and  'The  Angels  appearing  to  Abraham.' 
'  Tobit  and  the  Angel,'  '  Jacob  wrestling  with  the 
Angel,' '  Joseph's  Dream,'  and  '  St.  Teresa  conducted 
by  Angels,'  the  last  for  the  church  of  the  Guardian 
Angel,  belonging  to  the  Barefooted  Carmelites  and 
the  Franciscan  Friars. 

POLANZANI,  Felice,  (or  PuLanzi,)  an  engraver, 
was  bom  at  Andale,  near  Venice,  about  the  year 
1700,  and  is  believed  to  have  been  living  up  to 
1771.  He  chiefly  resided  at  Rome,  where  he  en- 
graved a  set  of  twenty-two  plates,  representing  the 
'  Life  of  the  Virgin,'  from  designs  which  are  by 
some  attributed  to  N.  Poussin  ;  but  from  their 
resemblance  to  the  style  of  J.  Stella,  they  are  more 
probably  after  the  works  of  that  painter.  He  also 
engraved  after  Van  Dyck  and  various  other  masters. 
The  following  prints  are  perhaps  his  best : 

139 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Bust  of  a  'Woman  ;  after  C.  Cigmni. 
The  Bust  of  o  blind  Musician  ;  after  Mareo  Ben/Jtali. 
The  Virgin  and  Infant  Christ ;  after  G.  Nogari. 
An  old  Man  holding  a  Money-bag ;  after  the  same. 
An  old  Woman  warming  her  hands ;  after  the  same. 

POLAZZO,  Francesco,  a  Venetian  painter,  bom 
in  1683.  He  was  a  pupil  of  Piazetta,  and  painted 
portraits  and  historical  subjects,  tliough  he  was 
better  known  as  a  restorer  of  pictures.  He  died  in 
1753. 

POLESTANUS,  Andrea,  who  was  a  native  of 
Italy,  and  apparently  a  painter,  has  left  a  slight 
etching  of  a  Bacchanalian  subject,  a  composition 
of  many  figures,  from  his  own  design.  It  is  signed 
with  his  name,  and  dated  1640. 

POLETNICH,  J.  F.,  an  engraver,  resided  in 
Paris  about  the  year  1760,  and  was  still  living  in 
1780.  He  executed  several  plates  after  the  works 
of  Van  Dyck,  Boucher,  La  Gren^e,  and  others. 

POLIDORINO,  IL.     See  Rdviale. 

POLIDORO  DA  CARAVAGGIO.     See  Caldara. 

POLIDORO  VENEZIANO.     See  Lanzani. 

POLLACK,  LEoroLD,  a  still-life  and  genre  painter, 
bom  at  Lodenitz  in  Bohemia  about  1806  or  1809. 
He  studied  in  Prague,  Munich,  and,  in  1833,  in 
Rome.  He  painted  scenes  of  Italian  life,  in  which 
he  took  Riedel  for  his  model.  Some  of  his  pictures 
have  been  engraved  by  Mandel,  Straucher,  and 
others.     He  died'in  1880.     Works: 

The  Shepherd  Boy. 

Shepherdess  with  Lamb. 

Zuleika  (from  Byron). 

Maternal  Love. 

POLLARD,  Robert,  an  English  engraver,  born 
at  Newcastle-on-Tyne  in  1755.  He  began  life  as  a 
silversmith ;  then,  after  receiving  some  instruction 
from  Richard  Wilson,  he  painted  landscapes  and 
sea-pieces.  He  finally  devoted  himself  to  en- 
graving, working  in  various  manners,  and  fre- 
quently reproducing  his  own  deigns.  His  latter 
years  were  passed  in  poverty,  and  shortly  before 
his  death  he  handed  over  to  the  Royal  Academy 
the  records  of  the  Incorporated  Society  of  Artists, 
of  which  he  was  the  last  surviving  member.  He 
died  in  1838.  Amongst  the  plates  after  his  own 
designs  the  best  are  : 

Aglaia. 

Euphrosyne. 

The  Blind  Beggar  of  Bethnal  Green. 

At  Fault  {a  hunting  scene). 

Lieut.  Moody  escaping  from  the  Americans. 

Childish  Sports. 

POLLASTRINI,  Enrico,  was  bom  at  Leghorn 
in  1817.  He  was  a  pupil  of  Bezzuoli,  but  was 
also  a  diligent  student  of  the  old  masters,  as  his 
paintings  bear  witness.  He  had,  however,  much 
originality  of  conception  ;  he  was  a  good  draughts- 
man and  a  fair  colourist.  He  was  first  professor 
and  afterwards  president  of  the  Academy  of 
Florence.     He  died  in  that  city  in  1876.     Works  : 

The  Kaising  of  the  Widow  of  Nain's  Son.  (Church  of 
the  i'occorso,  Leghorn.) 

The  Death  of  Ferruccio. 

Death  of  Duke  Alexis  of  Medici. 

Inundation  of  the  Serchio.    (Modern  Gallery,  Florence.) 

Pia  dei  Polomei. 

Death  of  St.  Joseph . 

I>t.  Lorenzo  giving  Alms. 

The  Battle  of  Legnano. 

The  Exiles  of  Siena. 

POLLEN,  John  Hdnqerford,  bora  in  Old 
Burlington  Street,  November  19,  1820,  son  of 
John  Pollen  of  Rod  bourne.  Recorder  of  Winchester, 

140 


and  nephew  of  Charles  Robert  Cockerell,  R.A.,  the 
celebrated  architect.  He  was  educated  at  Eton 
and  Christchurch,  and  became  fellow  of  Merton 
and  Senior  Proctor  in  1851.  On  joining  the 
Catholic  Church  in  1852,  he  studied  painting  and 
antiquities  at  Rome,  having  made  two  journeys 
to  Greece  and  to  the  East  a  few  years  before. 
In  1855  he  became  Professor  of  Fine  Arts  at 
the  Catholic  University,  then  just  founded  by 
Dr.  (afterwards  Cardinal)  Newman.  It  was  on 
leaving  Oxford  that  he  gave  his  attention  seriously 
to  the  pursuit  of  art  as  a  profession.  He  had  no 
technical  training,  and,  although  in  a  very  few 
years  he  attained  a  high  proficiency  as  a  water- 
colour  painter,  he  did  not  pursue  this  branch  of  art, 
and  his  works  are  comparatively  little  known.  It 
is  as  a  decorative  artist  and  architect  that  he  will 
be  best  remembered  as  a  producing  artist.  Ho 
undertook  the  decoration  of  the  Merton  Chapel, 
Oxford,  in  the  year  1850,  and  was  practically  the 
first  to  re-introduce  fresco  painting  into  England. 
In  1856  he  designed  and  decorated  the  University 
Chapel  at  Dublin  in  the  Byzantine  style,  and  in 
1857  collaborated  with  Rossetti,  Burne- Jones,  and 
others  in  decorating  tlie  Oxford  Union.  It  was  in 
1850,  while  carrying  out  the  decorations  and 
painting  of  the  Chapel  at  Merton,  that  he  made 
the  acquaintance  of  young  ilillais,  whose  success 
he  very  confidently  prophesied.  During  the  years 
1862,  1863,  and  1864  he  carried  out  the  building 
of  the  Catholic  Chapel  at  Rliyl,  the  decorations  at 
Blickling  Hall  for  the  Marquess  of  Lothian,  and 
the  decorations  at  Alton  Towers  for  Lord  Shrews- 
bury. In  1862  he  won  a  prize  in  a  competition 
for  the  decorations  for  the  new  War  Office.  These 
decorations  were  never  carried  out,  owing  to  the 
style  of  the  building  being  changed  from  Gothic 
to  Palladian.  From  1863  to  1876  he  was  one  of 
the  keepers  of  the  South  Kensington  Museum, 
and  drew  up  the  catalogues  on  furniture  and 
woodwork  and  gold  and  silversmiths'  work,  on 
which  the  reputation  he  enjoyed  for  many  years 
as  the  leading  authority  on  these  subjects  was 
based.  In  1862  he  served  on  the  jury  of  the 
Great  Exhibition,  and  completed  the  decorations 
for  the  Marquess  of  Ormonde  at  Kilkenny  Castle. 
In  1876  he  built  a  house  for  Lord  Lovelace  on 
the  Thames  Embankment. 

Pollen's  artistic  production  divides  itself  into 
three  heads.  First,  his  water-colours,  characterized 
by  a  delightful  shnplicity  and  freshness  in  colour, 
resulting  in  his  rendering  certain  effects  of 
Italian  sky  and  landscape  with  extraordinary 
success.  His  oil-colour  only  attained  a  high 
degree  of  success  on  rough  canvas,  on  which  ht 
obtained  efEects  akin  to  those  of  tapestry.  The 
best  of  these  works  is  the  series  at  Alton  Towers, 
which  are  marked  by  great  skill  and  movement 
in  the  composition,  arch«ological  fidelity,  a  high 
standard  of  drawing,  and  a  rare  sympathy  of  treat- 
ment in  the  sense  that  he  successfully  preserves, 
without  any  false  archaism,  the  naiveUoi  mediaeval 
treatment ;  the  charm  of  the  complex  ornament 
in  the  borders  of  these  so-called  tapestries  is 
very  marked  ;  and  in  the  decorations  at  Rhyl, 
Blickling,  Dublin,  and  Kilkenny  are  an  extra- 
ordinary wealth  of  fancy  in  the  treatment  of  ara- 
besques and  in  the  use  of  children,  animals,  and 
flower  forms  in  decoration.  In  the  Blickling 
ornaments  will  be  found  the  germ  of  much  that 
later  on  successfully  developed  in  the  Arts  and 
Crafts  Movement  of  thirty  years  later.     There  can 


PAINTERS  AND  ENGRAVERS. 


be  little  doubt  that,  in  spite  of  the  technical 
shortcomings  due  to  want  of  early  training,  the 
influence  of  Pollen,  exerted  through  his  abundant 
fancy  and  invention,  and  still  more  from  the  rigid 
and  correct  taste  which  governed  all  his  produc- 
tion, was  very  great  on  his  contemporaries,  and 
the  effect  of  his  influence  as  a  producer,  and 
later  as  a  tutor  and  examiner,  is  to  be  seen  far 
beyond  Great  Britain.  The  Art  Nouvenu  Move- 
ment abroad,  while  productive  of  much  tliat  is 
pure  abortion,  owes  its  finer  results  largely,  first, 
to  the  pre-Raphaelite  Movement  in  England,  and, 
next,  to  the  Arts  and  Crafts  Movement  of  a  genera- 
tion later.  It  was  to  the  recognition  of  the  restrain- 
ing standard  in  mediaeval  and  Renaissance  art  that 
the  merit  of  Pollen's  work  was  largely  due.  He 
seemed  to  work  with  equal  ease  and  certainty 
whether  producing  original  work,  as  at  Blickling 
and  Kilkenny,  in  the  Renaissance  spirit  of 
Holbein,  as  at  the  Reigate  Priory,  or  the  Jacobean 
and  Tudor  style,  as  at  Ingestre  and  Studley. 

Some  of  Pollen's  work  as  a  writer  on  furniture 
and  woodwork  has  been  superseded  as  to  details 
of  historical  accuracy  and  scholarship  by  the  more 
elaborate  researches  of  later  scholars,  but  the  main 
lines  of  tastes  and  classification  of  merit  laid 
down  in  his  earlier  works  have  been  generally 
accepted  as  final,  and  are  not  likely  to  be  upset. 
Pollen  was  an  occasional  exhibitor  at  the  Royal 
Academy  and  Grosvenor  Gallery.  j^,  jj,  p, 

POLLET,  Victor  Florence,  painter  and  en- 
graver, was  bom  in  Paris,  November  22,  1811. 
He  was  a  pupil  of  Paul  Delaroche  and  of  Richomme. 
In  18.38  he  won  the  grand  prize  of  Rome  and  went 
to  Italy,  where  at  first  he  painted  more  in  water- 
colours  than  he  engraved.  Later  on,  however,  he 
completed  several  excellent  plates.  He  gained 
honours  at  the  Salon  both  as  painter  and  engraver, 
being  decorated  with  the  Legion  of  Honour  in 
1855.     He  died  in  1883.     Works  : 

WATER-COLOUR  DRAWINGS. 
Salmacis. 
Pandora. 
Lycenium. 
Innocence. 
The  Siesta. 
The  Bath. 

PLATES. 
Venus;  after  Titian. 

Artless  and  Worldly  Love ;  after  thf  same. 
II  Suonatore  ;    after  Bfjpliaef. 
Birth  of  Venus  ;  after  Delaroche. 
Maid  of  Orleans ;  after  the  same. 
Bonaparte  in  Italy  ;  after  Raffet. 
Emperor  of  Austria  ;  after  TVinterhalter. 
Empress  of  Austria ;  lifter  the  same. 

POLLINGER,  Fklix,  an  animal  painter,  born  at 
Munich  in  1817.  His  pictures  of  birds  had  some 
merit.    He  died  at  FUnfhaus,  near  Vienna,  in  1877. 

POLMARES.    See  Santiago  Palomares. 

POLO,  Bernardo,  a  painter  of  fruit  and  flower 
pieces,  resided  near  Saragossa  towards  the  end  of 
the  17th  century.  He  painted  his  subjects  from 
nature,  and  his  pictures  were  highly  esteemed  both 
at  Saragossa  and  Madrid.  According  to  Zani,  he 
worked  in  1680  and  died  about  1700. 

POLO,  Diego,  'the  elder,'  was  born,  according 
to  Palomino,  at  Burgos  in  1560.  He  studied  at 
Madrid,  under  Patricio  Caxes,  and  was  a  reputable 
painter  of  history.  There  are  some  of  his  works 
in  the  Escorial,  and  in  the  palace  at  Madrid,  in 
which  city  he  died  in  1600.  The  pictures  by 
which  he  gained  his  reputation  are  the  portraits 


of  the  kings  of  the  Goths ;  a  painting  of  '  St. 
Jerome  chastised  by  an  Angel  for  taking  too  much 
pleasure  in  reading  Cicero ' ;  and  a  '  Penitent 
Magdalene.' 

POLO,  Diego,  'the  younger,'  the  nephew  of  the 
elder  Diego,  was  bom  at  Burgos  in  1620,  and  was 
a  scholar  of  Antonio  Lanchares.  He  acquired  an 
admirable  style  of  colouring  by  studying  the  works 
of  Titian,  in  the  royal  collection ;  and  painted 
several  pictures  for  the  churches  at  Madrid,  of 
which  the  most  esteemed  are  the  '  Baptism  of 
Christ,'  in  the  church  of  the  Carmelites  ;  and  the 
'  Annunciation '  in  Santa  Maria.  He  also  excelled 
in  portraiture.     He  died  in  1655. 

POLONY,  Zakaria,  was  an  obscure  engraver, 
who  resided  in  Paris  about  the  year  1615.  Among 
other  prints  we  have  by  him  a  slight  etching, 
representing  '  Queen  Margaret  lying  in  state,  in 
the  Faubourg  St.  Germain,'  Paris. 

POLYDOR.     See  Glauber,  Joh. 

POLYGNOTUS,  the  earliest  of  the  greater  mas- 
ters of  ancient  Greek  painting,  was  a  native  of 
the  island  of  Thasos,  and  a  younger  contemporary 
of  Panasnus.  He  flourished  from  480  to  430  B.C., 
and  came  to  reside  at  Athens  about  463.  He  was 
the  son  and  pupil  of  Aglaophon  the  elder,  and  was 
the  first  painter  who  raised  the  art  into  an  inde- 
pendent position,  instead  of  one  of  subordination 
to  architecture  and  sculpture.  Endowed  with  a 
taste  for  poetry  as  well  as  painting,  he  had  not 
only  stored  his  mind  witli  the  beauties  of  the 
'  Iliad  '  and  the  '  C)dyssey,'  but  had  studied  all  the 
epic  poems  then  extant,  which  furnished  him  with 
the  mythological  subjects  with  whicli  he  adorned 
tlie  temples  and  porticoes  of  Athens,  Delphi,  and 
other  cities  of  Greece.  The  Amphictyonic  Council 
decreed  by  way  of  recompense  that  Polygnotus 
should  be  maintained  at  the  public  expense  when- 
ever he  came  ;  and  the  Athenians  voted  him  their 
citizenship. 

Pliny  is  lavish  in  his  eulogies  on  the  powers  of 
this  painter.  According  to  that  writer,  he  was  the 
first  artist  who  gave  an  air  of  ease  and  grace  to  his 
figures,  dressed  his  females  in  rich  and  elegant 
vestments,  and,  above  all,  characterized  his  heads 
with  an  expression  which  was  entirely  unknown 
before  him.  There  undoubtedly  remained  in  his 
work  much  crudity  and  deficiency  as  compared 
with  the  freedom  of  nature ;  but  his  style  was 
idealistic  and  grand,  and  Aristotle  assigns  to  him  a 
similar  position  in  art  to  that  occupied  by  Homer 
in  poetry.  He  repeats  the  designation  ijeoypa^oj 
('mind-painter'),  which  had  already  been  applied 
to  him,  and  says  that  he  painted  men  better  than 
they  are.  He  gave  proof  of  his  extraordinary 
capacity  in  vanquishing  difiiculties  in  his  cele- 
brated picture  of  'Cassandra.'  He  represented  the 
daughter  of  Priam  at  the  moment  she  had  been 
brutally  outraged  by  the  Telanionian  Ajax.  The 
face  of  the  unfortunate  captive  was  partially- 
covered  with  a  veil,  but  the  glowing  blush  of  con- 
fusion was  visible  in  her  countenance,  which  dis- 
played all  the  symptoms  of  insulted  modesty.  This 
performance  is  alluded  to  by  Lucian  in  discussing 
the  features  of  his  perfect  woman.  "  Polygnotus," 
he  says,  "  shall  open  and  spread  her  eyebrows,  and 
give  her  that  warm,  glowing,  decent  blush  which 
80  inimitably  beautifies  his  'Cassandra.'  He  like- 
wise shall  give  her  an  easy,  tasteful,  flowing  dress, 
with  all  its  tender  and  delicate  folds,  partly 
clinging  to  her  body,  and  partly  fluttering  in  the 
wind."     The  picture  in  question  was  the  part  of  a 


A  BIOGRAPHICAL  DICTIONARY  OF 


larger  one,  or  perhaps  of  a  serias,  representing  the 
'  Trial  of  Ajax  by  the  Greeks '  ;  it  adorned  the 
Pcecile  (ttohciXi;  aroa,  or  '  painted  portico ')  of  the 
Agora  at  Athene. 

The  particular  work  which  induced  the  Athenians 
to  receive  Polygnotus  into  citizenship  has  been 
conjectured  to  have  been  a  portion  of  the  decoration 
of  the  Temple  of  Theseus.  In  that  of  the  Dioscuri 
(Castor  and  Pollux)  he  depicted  'The  Story  of  the 
Daughters  of  Leucippus.'  But  the  works  which 
brought  him  the  greatest  renown  were  those  repre- 
senting scenes  from  the  '  Iliad '  and  '  Odyssey,' 
which  he  painted  in  the  Temple  of  Apollo  at  Delphi, 
which  Pausanias  so  admired  six  hundred  years 
after,  and  which  have  gone  by  the  name  of  '  The 
Iliad  and  Odyssey  of  Polygnotus.' 

In  the  Pcecile  at  Athens  he  painted  also  the 
'Battle  of  Marathon.'  In  the  foreground  of  the 
picture  the  Greeks  and  Persians  were  represented 
combating  with  equal  valour ;  but  in  the  middle 
distance,  the  barbarians  were  seen  flying  to  the 
Phoenician  ships,  which  were  visible  in  the  distance. 
In  this  painting  Polygnotus  allowed  himself  all  the 
license  of  the  Grecian  poets.  Minerva,  the  tutelary 
goddess  of  the  Athenians,  and  Hercules,  are  made 
to  descend  from  heaven  ;  the  town  of  Marathon  is 
personified  by  a  genius,  and  Theseus  is  drawn  from 
the  shades  of  death  to  \vitness  the  battle.  This 
master  was  fond  of  compositions  which  admitted  of 
a  great  concourse  of  figures.  It  wasprobably  the 
taste  of  the  period  at  which  he  lived,  a  taste  which 
did  not  long  survive. 

POLZONE,  SciPio,  a  painter  born  at  Gaeta  in 
1556.  He  studied  at  Naples,  and  then  went  to 
Rome,  where  he  gained  some  repute  as  a  por- 
trait painter.  Among  his  portraits  were  those  of 
Gregory  XIII.,  Sixtus  V.,  and  many  of  the  Car- 
dinals.    He  died  at  Rome  in  1594. 

POMARANGE,  Cristoforo  dalle.    See    Bon- 

CALLI. 

POMARANCE,  Niccol6  and  Antonio,  (or  II 

POMARANCIO).      See  CiRCIGNANO. 

POMAREDE,  Silvio,  was  a  native  of  Italy,  who 
flourished  from  1736  to  1768,  and  engraved  some 
plates,  which  ho  marked  with  his  initials.  Among 
them  were  four  of  the  '  Triumphs '  of  Petrarch,  viz. 
those  of  '  Time,'  '  Fame,'  '  Death,'  and  '  Religion,' 
after  Bonifazio  Veneziano ;  and  some  of  the  por- 
traits of  painters  for  the  Florence  Gallery.  He 
engraved  also  some  plates  for  the  '  Museo  Capito- 
lino,'  and  many  of  those  for  Ficoroni's  '  Mascliere 
sceniche  e  Figure  comiche  d'antichi  Romani,'  pub- 
lished at  Rome  in  1736. 

POMEDELLO,  Giovanni  Maria,  who  was  a 
goldsmith  and  medallist,  besides  painter  and  en- 
graver, belonged  to  the  school  of  Vittore  Pisano, 
and  lived  at  Verona  from  1519  to  1534.  He 
painted  a  '  Virgin  before  the  Cross,'  in  the  Church 
of  San  Toraraaso  in  that  city  (1524),  and  there  is 
a  pen-and-ink  sketch  by  him  of  '  The  Ruins  of  the 
Coliseum,'  in  the  Vienna  Belvedere.  Among  his 
engravings  are  '  Hercules  strangling  the  Lion,' 
and  '  The  Abduction  of  Deianeira.' 

POMEY,  Louis,  French  painter,  born  in  Paris 
in  1825 ;  became  a  pupil  of  Gleyre ;  also  of 
Willems  and  Lobrichon.  Since  1867  was  a 
regular  contributor  to  the  Salon,  his  work  in 
genre  and  portraiture  being  careful  and  scholarly. 
He  obtained  an  honourable  mention  in  1889.  He 
died  at  G^rardmer,  September  7,  1891. 

POMMAYRAC,  Pierre  Paul  de,  a  miniature  por- 
trait painter,  was  born  in  1818  at  Porto  Rico,  of 
142 


French  parents.  He  was  a  pupil  of  Gros,  and  also 
studied  miniature  painting  under  Mine.  Lizinska 
de  Mirbel.  He  died  in  1880.  Among  his  portrait 
miniatures  the  following  may  be  named : 

Napoleon  III. 

The  Empress  Eugteie. 

The  Prince  Imperial. 

General  Trochu. 

The  Princesse  Mathilde. 

Queen  Isabella  of  Spain. 

Berlioz. 

Isabey. 

Cardiual  Guibert  [oil). 

MdUe.  Chancy  [oil). 

POMMERENCKE,  Heinrich,  was  a  successful 
portrait  painter  of  Mecklenburg-Schwerin.  He  was 
bom  and  brought  up  in  poverty,  but  exercised  his 
talent  for  art  so  ably  that  he  was  enabled  to  pur- 
sue his  studies  at  Berlin.  He  went  to  Paris  also, 
and  had  the  good  fortune  to  paint  the  portrait  of 
Helena,  Duchess  of  Orleans,  by  which  he  gained 
the  protection  of  the  reigning  Royal  Family.  After 
'the  Revolution  of  1848  he  returned  to  Schwerin, 
where  he  painted  many  excellent  pictures  for  the 
Grand  Duke.     He  died  in  1873. 

POMPADOUR,  Jeanne  Antoinette  Poisson, 
Marchioness  of,  was  born  in  Paris  in  1721,  and  in 
1741  married  M.  Le  Normand  d'fitioles.  In  1745 
she  became  the  mistress  of  Louis  XV.,  who  created 
her  Marchioness  of  Pompadour,  and  over  whom 
her  influence  was  paramount  until  her  death,  which 
took  place  at  Versailles  in  17C4.  She  was  one  of 
the  most  accomplished  amateur  etchers  of  the  18th 
century.  Having  commissioned  Jacques  Guay  to 
engrave  from  the  designs  of  Vien  and  Boucher  a 
series  of  gems  with  symbolical  and  allegorical 
subjects  commemorative  of  the  victories  of  Louis 
XV.,  she  etched  them  for  distribution  among  her 
friends.  The  original  series  consists  of  fifty-two 
plates,  entitled  '  Suite  d'Estampes  gravees  par 
Madame  la  Marquise  de  Pompadour,  d'apres  les 
pierres  gravies  de  Guay,'  and  includes  the  por- 
trait of  Louis  XV.,  and  that  of  Madame  de  Pom- 
padour as  '  Minerve  protectrice  de  la  gravure  en 
pierres  pr^cieuses.'  To  the  collection  was  after- 
wards added  'Les  petits  Buveurs  de  lait,'  'Le 
petit  Faiseur  de  boules  de  savon,'  and  '  La  petite 
Mendicante,'  after  the  designs  of  Boucher,  three 
plates  of  ivories,  and  a  frontispiece  to  an  edition 
of  Corneille's  tragedy  of  '  Rodogune,'  which  was 
printed  in  1759  in  her  apartments  in  the  palace 
of  Versailles.  This  last  was  designed  by  Boucher, 
and  the  plate  was  retouched  by  C.  N.  Cochin.  The 
whole  of  the  plates  afterwards  passed  into  the 
hands  of  Basan,  and  were  published  in  1782,  after 
having  been  touched  probably  by  Cochin.  They 
arefuliy  described  in  Leturcq's  'Notice  sur  Jacques 
Guay,'  Paris,  1873. 

PONCE-CAMUS,  Marie  Nicolas,  was  bom  in 
Paris  in  1778.  He  was  instructed  by  David,  and 
painted  historical  subjects,  among  which  were 
'Napoleon  at  Ostend  '  in  1810;  'Napoleon  and 
Prince  Charles,'  1812,  now  at  Versailles ;  '  Alex- 
ander and  Apelles,'  and  others.     He  died  in  1889. 

PONCE,  Nicolas,  a  French  engraver,  was  born 
in  Paris  in  1746,  and  died  there  in  1831.  He  was  a 
pupil  of  M.  Pierre,  the  painter,  and  of  Fessard  and 
Delaunay,  the  engravers.  His  works  are  rather 
numerous,  as  he  was  enployed  on  several  of  those 
grand  publications  which  do  honour  to  the  French 
nation :  such  as  '  Le  Mus^e  Laurent,'  '  Le  Cabinet 
de  Choiseul,'  '  La  Galerie  du  Palais  Royal,'  '  Les 
Campagnes  d'ltalie ; '  the  folio  edition  of  '  Racine, 


PAINTERS  AND  ENGRAVERS. 


by  Didot ;  '  Les  Illustres  Franyais,'  with  fifty-Bix 
plates  ;  '  Les  Bains  de  Titus  et  de  Livie,'  in  seventy- 
five  plates;  and  'La  Guerre  d'Am6rique,' conjointly 
with  Godefroy.  He  was  the  editor  of  the  Bible 
with  300  engravings  after  Marillier  ;  and  dedicated 
to  Louis  XVIIL  the  beautiful  edition  in  quarto  of 
the  '  Charter.'  He  also  wrote  and  translated  several 
works  relative  to  the  arts.  Besides  the  plates  for 
the  above-mentioned  works  the  following  may  be 
specially  mentioned : 

L'  Enlevement  nocturne ;  after  Saudouiii.  (His  chef- 
d'oeuvre.) 

La  Toilette ;  aper  the  same. 

Repertoire  des  Spectacles  de  la  Cour  ;  after  Moreau. 

Vignettes  (44)  to  D'Ussieux's  translation  of  Ariosto's 
'  Orlando  Furioso,'  1775-83 ;  after  Cochin. 

Vignettes  to  '  Adonis,'  a  poem  by  Fr^ron  and  Colbert 
d'Estouteville,  1775  ;  after  Eisen. 

Vignettes  to  Billardon  de  Tauvigny's  '  Parnasse  des 
Dames,'  1773  ;  after  Marillier. 

Vignettes  (4)  to  Kousseau's  '  Pygmalion,'  1775  ;  afttr 
the  same. 

PONCE,  RoQUE,  a  Spanish  landscape  painter, 
was  a  scholar  of  Juan  de  la  Corte,  at  Madrid.  He 
flourished  about  the  year  1690,  and  painted  land- 
scapes, which  he  embellished  with  suitable  incidents. 
In  some  of  his  pictures  the  figures  are  by  Antonio 
Castrejon,  but  those  are  most  esteemed  in  which 
the  latter  had  no  hand. 

PONCHINO,  Giovanni  Battista,  called  II  Boz- 
ZATO  Dl  Castelfranco,  was  born  at  Castelfranco 
in  1500.  He  has  also  been  called  Bazzacco  and 
Brazzacco.  He  was  a  disciple  of  Titian,  and, 
according  to  Lanzi,  was  a  reputable  painter  of 
history.  His  picture  of  'Limbo,'  in  the  church  of 
San  Liberale,  at  Castelfranco,  is  an  excellent  work 
of  art.  He  also  painted  several  altar-pieces  for  the 
churches  of  Venice  and  Vicenza.  He  died  in  1570. 
According  to  Zani,  he  was  a  prelate  with  the  title 
of  Monsignore. 

POND,  Arthur,  an  English  painter  and  en- 
graver, was  born  about  1705.  He  was  educated  in 
London,  and  afterwards  travelled  to  Rome  in  com- 
pany with  the  sculptor  Roubilliac.  He  painted 
portraits  in  oil  and  drew  them  in  crayons,  and  also 
etched  and  engraved  in  the  chalk  and  crayon 
manner.  By  a  combination  of  etching  and  aquatint 
he  produced  plates  in  imitation  of  Salvator  Rosa, 
the  Poussins,  and  others,  and  after  these  brought 
out  his '  Imitations  of  the  Italian  Masters '  (1734-5), 
and,  in  conjunction  with  George  Knapton,  the  col- 
lection of '  Heads  of  Illustrious  Persons,'  engraved 
by  Houbraken  and  Vertue.  They  also  engraved  a 
set  of  ninety  plates  from  the  drawings  of  the  great 
masters,  in  imitation  of  the  originals,  and  a  set  of 
twenty-five  caricatures,  after  Cavaliere  Ghezzi,  and 
other  masters.  He  painted  numerous  portraits,  in- 
cluding those  of  the  Duke  of  Cumberland,  Alexander 
Pope,  and  Peg  Woffington  (now  in  the  National 
Portrait  Gallery)  ;  and  he  engraved  after  Raphael, 
Parmigiano,  and  others.  He  was  elected  a  Fellow 
of  the  Royal  Society  and  the  Society  of  Antiquaries 
in  1752,  and  died  in  1758.  He  etched  several  por- 
traits, in  a  style  resembling  that  of  Rembrandt, 
among  them  the  following  : 

His  own  Portrait. 

Lord  Bolingbroke. 

Alexander  Pope. 

Dr.  Mead. 

Thomas  Sadler,  antiquary. 

PONSE,  JoRis,  a  painter  of  birds,  fruit,  and 
flowers,  was  born  at  Dordrecht  in  1723.  He  was 
a  scholar  of  A.  Schouman.     He   passed   through 


many  vicissitudes,  being  at  one  time  reduced  to 
gain  a  livelihood  by  house-painting.  In  middle 
life  he  was  established  at  Amsterdam,  where  he 
had  some  pupils.  His  pictures  are  very  scarce. 
He  died  at  Dordrecht  in  1783. 

PONT,  Du.     See  Dn  Pont. 

PONTE,  Da.     The  genealogy  of  the  north  Italian 

family  of  Da  Ponte,  commonly  called  the  Bassani, 

is  as  follows : 

Francesco  da  Ponte, 
died  lo30. 

Jacopo  da  Ponte. 
B.  1610.  D,  1592. 


Francesco. 
1648—1691. 


Gio.  Battista. 
1653—1813. 


Leandro  (Cav). 
1M8-16J3. 


Girolamo. 
1560-  1622. 


PONTE,  Francesco  da,  the  elder,  was  bom  at 
Vicenza  about  1475.  After  receiving  his  technical 
education  at  Venice  he  established  himself  at  Bas- 
sano,  a  small  town  on  the  Brenta.  If  not  an  actual 
pupil  of  Bellini  he  was  at  all  events  a  follower  of 
his  style.  Among  his  best  works  we  may  name  a 
'  St.  Bartholomew,'  in  the  cathedral  of  Bassano, 
an  altar-piece,  in  the  church  of  San  Giovanni,  and 
a  '  Descent  of  the  Holy  Ghost,'  in  the  village  church 
of  Oliero.     Francesco  died  at  Bassano  in  1530. 

PONTE,  Francesco  da,  the  younger,  the  son  of 
Jacopo  da  Ponte,  was  born  26th  January,  1549,  at 
Bassano,  and  was  educated  in  his  father's  studio. 
He  afterwards  migrated  to  Venice,  where  he  was 
employed  to  paint  a  series  of  historical  pictures  in 
the  Doge's  Palace.  He  also  worked  much  for  the 
Venetian  churches,  and  his  pictures,  though  less 
vigorous  and  rich  in  colour  than  those  of  his  father, 
are  among  the  treasures  of  the  Venetian  School.  He 
was  subject  to  hypochondriacal  attacks,  in  one  of 
which  he  committed  suicide  by  throwing  himself 
from  a  window.  This  was  on  the  4th  July,  1492. 
Many  of  the  pictures  by  Francesco  which  occur 
in  European  galleries  are  assigned  to  his  father, 
Jacopo.  Among  those  ascribed  to  himself  we 
may  name  the  following  in  the  Vienna  Gallery  : 

St.  Francis. 

St.  Clara. 

Boy  with  a  Flute  (signed  Feanc  Bass,  fec). 

PONTE,  Giovanni  Battista  da,  the  second  son 
of  Jacopo  da  Ponte,  was  born  at  Bassano  in  1553. 
He  was  the  least  distinguislied  of  the  family,  and 
was  chiefly  known  as  a  copyist  of  his  father's  works. 
Many  of  his  productions  now  figure,  no  doubt, 
under  Jacopo's  name.     He  died  in  1613. 

PONTE,  Girolamo  da,  the  youngest  of  Jacopo's 
sons,  was  born  at  Bassano  in  1560.  He  also  copied 
his  father's  pictures,  and  like  his  brother  Giambat- 
tista,  must  take  his  share  in  the  blame  or  credit 
which  attaches  to  their  wide  diffusion.  He  also 
painted  original  works  of  his  own,  however,  and 
one  of  these,  an  '  Apparition  of  the  Virgin  to  St. 
Barbara,'  is  in  existence  at  Bassano.  Girolamo 
died  in  1622. 

PONTE,  Jacopo  da,  '  II  Bassano  '  par  excellence, 
was  bom  in  1610,  in  the  city  from  which  he  takes 
his  sobriquet.  His  training  in  art  took  place  first 
under  his  father  Francesco,  at  Bassano,  afterwards 
at  Venice  in  the  studio  of  Bonifazio  Veneziano. 
His  mature  style,  however,  was  mainly  formed  on 
the  example  of  Titian.  His  earlier  subjects  were 
of  an  ambitious  class,  such  as  '  Samson  slaying 
the  Philistines,'  the  remains  of  which  are  still  to  be 
seen  on  the  outside  of  the  Casa  Michieli  at  Venice. 
But  this  energy  was  not  of  long  duration,  and  he 
turned  his  attention  mainly  to  portraits,  and  to 

143 


A  BIOGRAPHICAL  DICTIONARY  OF 


those  Biblical  scenes  which  lend  themselves  to  a 
genre  treatment.  Among  his  sitters  were  Sebas- 
tiano  Venerio,  Doge  of  Venice,  Tasso,  Ariosto,  and 
other  distinguished  men.  Jacopo  had  already  ac- 
quired a  position  at  Venice  when  tlie  deatli  of  his 
father  compelled  him  to  return  to  Bassano,  where 
he  chiefly  resided  for  the  rest  of  his  life.  The 
family  home  was  picturesquely  placed  on  the  river- 
bank,  and  Jacopo  was  quickly  led  to  devoting 
most  of  his  time  to  subjects  which  allowed  him  to 
treat  the  scenes  before  his  eyes,  and  the  living 
things  by  which  they  were  peopled.  The  '  Entry 
of  the  animals  into  the  ark,'  the  '  History  of  Jacob,' 
the  '  Adoration  of  the  Shepherds,'  the  '  Expulsion 
of  the  Dealers  from  the  Temple,'  were  painted  by 
him  again  and  again.  Jacopo's  knowledge  of  the 
nude  and  power  of  design  were  small,  but  his 
brush  was  extraordinarily  facile.  With  the  help 
of  his  sons,  he  produced  an  inexhaustible  stream  of 
pictures,  which,  it  is  said,  were  put  up  to  auction 
lit  the  neighbouring  fairs  when  no  buyer  had  been 
decured  beforehand.  At  one  time  he  was  invited 
to  the  court  of  the  Emperor  Rodolph  11.,  but  he 
refused  to  leave  his  beloved  Bassano,  where  he 
died  in  1592.  One  of  his  best  pictures  is  the  '  Good 
Samaritan,'  in  the  National  Gallery.  We  may  also 
name: 
Eas.sano.       5.  Giuseppe.    The  Nativity. 

ti.Mariu  \  Baptism  of  Lucilla. 
d.  Grazie.  j       "^ 
Dublin.      yut.  Gallery.    Departure    of    Abraham    (rff- 
jiosited  hi/  the  A^at.  (jallefy  of 
IjOiidon). 

„  „  A  Holy  Family,  with  donors. 

„  „  Visit  of  the  Queen  of  Sheba  to 

Solomon. 
Florence.  Uffizi.    His  own  Portrait. 

„  „         The  Ponte  Family  as  musicians. 

London.     Nat.  Gallery.    Portrait  of  a  Gentleman. 

„  „  Christ  clearing  the  Temple. 

Milan.  Ambiosiana.     Adoration  of  the  Shepherds. 

„  „  A'Riposo.' 

Naples.  Museum.    Raising  of  Lazarus. 

,.  „  Holy  Family. 

Paris.  Louvre.    The  Animals  entering  the  Ark. 

„  „  Moses  striking  the  Rock. 

„  „  Marriage  of  Oana. 

„  „  The  Road  to  Calvary. 

„  „  A '  Deposition.' 

„  „  Vintage. 

„  „         Portrait  of    Giovanni   da  Bo- 

logna. 
Venice.  Academy.    Virgin   with    SS.  Joseph  and 

John. 
Vicenza.  Museum.    A  Deputation  to  the  Virgin. 

PONTE,  Leandro  da,  the  third  son  of  Jacopo, 
was  born  at  Bassano  in  1558.  He  was  a  pupil  of 
his  father.  His  fame  was  won  chiefly  by  his 
portraits.  He  put  the  finishing  touches  to  his 
brother  Francesco's  pictures  in  the  Ducal  Palace 
at  Venice,  and  has  left  a  vast  number  of  canvasses, 
many  of  which  are  ascribed  to  his  father.  Leandro 
was  created  a  Knight  of  the  Order  of  St.  Mark,  by 
the  Doge  Grimani.  In  the  latter  part  of  his  life  he^ 
lived  in  great  state  at  Venice,  where  he  died  in 
1623.  Among  his  acknowledged  works  we  may 
name  : 
Dresden.  Gallery.    Christ  healing  the  Blind. 

„         The  Entry  of  the  Animals  into 
the  Ark. 
1^  „  Christ  bearingtheCross  (signed 

Le4j."dee    a    Poste    Basso 

EftVES,  F.) 

„  „         Portraits  of  the  Doge  Cicogna 

and  his  wife  (both  signed). 
Male  portrait,  said  to  be  that 
of  the  artist  himself. 

141 


Dresden.  Gallery.     Shepherds  and  Sheep. 

Dublin.      Nat.  Gallery.    The  Building  of  the  Tower  of 
Babel. 
„  „  Adoration    of   the    Shepherds 

(deposited  ly  the  London  Nat. 
Galhry). 
Madrid.  Museum.    Eight  pictures. 

Munich.  Gallery.    A 'Deposition.' 

„  „  A  Holy  Conversation. 

Vienna.  Gallery.    The  Adoration  of  the  Magi. 

„  „  Portrait    of    the    Doge,    Ant. 

Priuli. 
„  „  Portrait     of     Cardinal    Dom. 

Tu-scu. 
„  „  A  Portrait  Group. 

„  „  Two  Male  Portraits.         Vi'.A. 

PONTE,  Giovanni  da  Santo  Stefano  da,  a 
painter,  was  born  at  Florence  in  1306.  He  was  .i 
pupil  of  Buffalmacco,  and  painted  portraits  and 
historical  subjects.  He  worked  at  Florence  and 
Assisi.     He  died  in  1365. 

PONTE,  OcTAVio  DEL,  a  marine  and  dead  game 
painter  of  Utrecht.  He  was  governor  of  the  Hos- 
pital of  St.  Job  at  Utrecht  from  1639  to  1645.  In 
1638  he  was  master  of  the  guild  of  St.  Luke.  He 
died  in  1645. 

PONTE,  Peduo  de.     See  Aponte. 

PONTEAU,  Michel,  called  II  Pontiano,  was 
born  at  Liege  about  1588.  He  was  first  instructed 
by  Bertin  Hoyoux,  but  at  an  early  age  he  went 
to  Italy,  where  he  resided  till  his  death  in  1650. 
He  painted  portraits  and  historical  subjects.  He 
painted  a  series  of  portraits  of  the  Roman  Emperors 
on  the  windows  of  his  house  at  Li^ge. 

PONTIUS.     See  Dn  Pont. 

PONTONS,  Pablo,  a  Spanish  pamter,  was  bom 
at  Valencia  in  1606.  He  was  a  scholar  of  Pedro 
Orrente,  and  followed  the  style  of  his  instructor, 
who  had  been  a  scholar  of  Bassano.  His  colouring 
bears  the  character  of  the  Venetian  school.  There 
are  several  of  his  works  in  the  churches  and  con- 
ventfi  of  his  native  city,  of  which  the  most  import- 
ant in  a  series  of  subjects  from  the  life  of  San  Pedro 
Nolasco,  in  the  church  and  cloisters  of  the  convent 
of  La  Merced.  He  also  painted  some  altar-pieces 
for  the  monastery  of  La  Cartuja  del  Puche  ;  and  in 
the  church  of  Santa  Maria  de  Morella,  two  pictures, 
representing  the  Nativity,  and  the  Adoration  of  the 
Magi.  He  was  also  a  reputable  painter  of  portraits. 
He  died  in  1670. 

PONTORMO,  Jacopo  da.    See  CABRncci. 

PONZ,  Antonio,  a  Spanish  painter,  born  at 
Bexix  in  1725.  He  was  a  pupil  of  Richart  at 
Valencia,  and  then  went  in  1746  to  Madrid,  where 
he  studied  for  five  years.  He  then  went  to  Rome 
for  a  short  time,  but  soon  returned  to  his  own 
country,  where  he  was  soon  engaged  in  painting  at 
the  Escurial.  In  1771  he  made  a  journey  through 
Spain.  In  1776  he  was  appointed  secretary  of  the 
Academy  of  San  Fernando.  He  was  a  member  of 
nearly  every  academy  in  the  Peninsula.  He  made 
some  excellent  copies  after  Raphael,  Guido,  and 
Paolo  Veronese.  He  also  wrote  '  Comentarios  de  la 
Pintura,'  and  several  other  works.    He  died  in  1792. 

PONZ,  MosEM  Jayme,  was  born  at  Vails,  near 
Tarragona,  and  studied  in  the  school  of  the  Jun- 
eoaas  at  Barcelona.  In  1722  he  painted  a  number 
of  pictures  for  the  Carthusians  of  Scala  Dei.  In 
1723  he  painted  some  frescoes  on  the  dome  of 
the  Hermitage  of  Nuestra  Seuora  de  Misericordi.i, 
without  the  walls  of  Reus.  The  parish  church  of 
Valls  had  some  frescoes  by  Ponz,  and  that  of  Alta- 
fuUa  one  of  '  St.  Michael,'  after  Raphael 

PONZONE,  Matted,  was  bom  in  Dalmatia  and 


PAINTERS  AND  ENGRAVERS. 


lived  between  1630  and  1700.  He  was  a  scholar 
of  Santo  Peranda,  and,  after  acting  for  a  time  as 
his  master's  assistant,  became  a  painter  of  history 
on  his  own  account.  Several  of  his  works  are  in 
the  churches  and  public  buildings  of  Venice,  par- 
ticularly in  Santa  Maria  Maggiore,  and  in  the 
church  of  the  Padri  Croceferi.  A  '  Holy  Family  ' 
by  him,  in  the  Houghton  Gallery,  was  engraved 
by  Valentine  Green. 

POOL,  JCRIAEK,  was  born  at  Amsterdam  in 
1666.  He  distinguished  himself  as  a  portrait 
painter,  and  passed  the  early  part  of  his  life  at  the 
court  of  the  Elector  Palatine,  by  whom  his  works 
were  much  esteemed.  After  the  death  of  his  patron 
he  returned  to  Holland,  where  he  abandoned  paint- 
ing, and  applied  himself  to  mercantile  pursuits. 
He  was  the  husband  of  Rachel  Ruysch,  the  cele- 
biated  painter  of  flowers  and  fruit.  He  died  in 
1745.  His  works  are  rare.  There  is  a  portrait 
group  of  C.  Bockelman,  president  of  the  Surgeons' 
guild  of  Amsterdam,  and  his  colleague,  J.  Six,  in 
the  Rijks  Museum  of  that  city. 

POOL,  Matty,  a  Dutch  engraver,  was  bom  at 
Amsterdam  about  the  year  1670.  He  was  in- 
structed in  the  art  in  Paris,  and  on  his  return  to 
Holland  engraved  several  plates  after  various 
masters,  in  a  style  resembling  that  of  Bernard 
Picart.  The  date  of  his  death  is  not  recorded,  but 
he  engraved  in  1727,  as  appears  by  a  work  pub- 
lished in  that  year.  Among  others  the  following 
prints  are  by  him  : 

Portrait  of  Barend  Graat,  painter. 

The  Infancy  of  Jupiter ;  after  B.  Graat. 

Cupid  taken  in  a  Net  by  Time  ;  after  Guercitu). 

A  Bacchanalian  subject ;  after  If.  Poussin. 

A  set  of  twelve  subjects  :  from  desiyns  by  Rembrandt. 

A  set  of  103  plates,  entitled  '  The  Cabinet  of  the  Art 
of  Sculpture,'  by  Frans  van  Bossuit ;  frotn  draaings 
by  B.  Graat. 

Three  burlesque  representations  of  the  Ceremonies 
adopted  by  the  Flemish  painters  at  Borne ;  from  th* 
same. 

POOL,  Rachel.    See  Ruijsch. 

POOLE,  Paul  Falconer,  an  English  historical 
painter,  bom  at  Bristol  in  1810.  He  was  almost 
entirely  self-taught  in  art,  but  came  to  London 
early,  and  first  appeared  at  the  Royal  Academy 
in  1830  with  a  picture  of  'The  Well,  Naples.' 
He  attracted  notice  in  1843  by  his  picture  of 
'Solomon  Eagle,'  and  in  1846  was  elected  an 
Associate  of  the  Academy,  of  which  he  did  not, 
however,  become  a  full  member  till  1861.  At  the 
Westminster  Hall  competition  of  1847  he  won  a 
prize  of  £300,  and  he  was  awarded  a  medal  at  the 
Paris  Universal  Exhibition  of  1855.  His  success 
was  chiefly  due  to  the  poetry  of  his  conceptions, 
but  he  was  a  fine  colourist,  and  in  his  best  works 
contrived,  with  much  skill,  to  conceal  the  weak- 
ness of  his  drawing.  He  led  a  very  retired  life, 
and  died  at  Hampstead  in  1879.  Amongst  his 
chief  works  are : 

The  Farewell.    1837. 

The  Emigrant's  Departure.    1838. 

The  Surreuder  of  Syon  House.     1846. 

.Tob  receiving  the  news  of  his  disasters.     1347. 

The  Goths  in  Italy.     1851. 

The  Leaguer  of  Valencia. 

The  May  Queen.    1852. 

The  Songs  of  the  Troubadours.     1854. 

Philomena's  Song.     1855. 

Escape  of  Glaucus  and  lone.     1860. 

A  Border  Raid.    1S68. 

Eemorse.    {Koi/al  Academy,  London.) 

Two  Children  at  a  Stile.   {Bridyewater  Gallery,  London.) 

The  Lion  in  the  Path.    1873. 


Ezekiel's  Vision.    1875.    (National  Gallery,  Loitdon.) 
The  Death  of  CordeUa.    (.SfeutA  Keminyton.) 

POORT.    See  Van  deb  Poort. 

POORTEN.    See  Van  der  Poorten. 

POORTER,  WiLLEM  DE.    See  De  Poobteb. 

POOST,  Frans.    See  Post. 

POPE,  Alexander,  younger  brother  of  Somer- 
ville  Stevens  Pope,  was  well  known  for  his  per- 
formances in  the  characters  of  Othello,  Henry 
VIIL,  «S:c.  He  was  bom  at  Cork,  and  was  a 
student  of  the  Dublin  Art  School  under  West. 
La  1783  he  came  to  London,  and  made  his  first 
appearance  in  Covent  Garden  Theatre.  He  ex- 
hibited at  the  Academy  from  1790  to  1821.  He 
died  in  London  in  1835.  He  painted  a  portrait  of 
Michael  Bryan,  the  first  compiler  of  this  Diction- 
ary, which  was  engraved  as  a  frontispiece  for  the 
original  quarto  edition. 

POPE,  Alexander,  the  English  poet,  bom  in 
London  in  1688,  died  at  Twickenham  in  1744, 
deserves  mention  as  an  amateur  painter.  He 
studied  under  Jervas  for  eighteen  months,  and 
frequently  worked  very  assiduously  at  art,  making 
many  copies  of  portraits.  Lord  Mansfield  has  a 
specimen  of  his  work  as  a  copyist. 

POPE,  Clara  Maria,  an  English  painter  of  por- 
traits, miniatures,  and  flowers,  bom  about  the 
middle  of  the  18th  century.  She  was  the  daughter 
of  Jared  Leigh,  an  amateur  artist,  and  married 
first  Francis  Wheatley,  and  subsequently  Alexander 
Pope,  the  miniature  painter.  Her  works  frequently 
appeared  at  the  Academy  from  1796,  and  her  flower 
pictures  were  in  good  repute.  She  painted  the 
portrait  of  Mme.  Catalan!.     She  died  in  1838. 

POPE,  Somerville  Stevens,  an  amateur  minia- 
ture painter,  was  born  in  Ireland  in  the  first  half 
of  the  18th  century.  His  chief  instructors  were 
his  father  and  Thomas  Roberts.  He  is  chiefly 
known  as  a  copyist  of  Vemet.  He  became  High 
SherifE  of  Dublin,  and  afterwards  worked  at  art 
as  an  amateur. 

POPELIN-DUCARRE,  Claude  Marcel,  French 
painter,  born  in  Paris  in  1825  ;  became  a  pupil  of 
Picot  and  of  Ary  Schefi'er;  painted  'Dante  et  Giotto' 
(1852),  'Jules  C^sar'  (1864),  'Renaissance  des 
Lettres' (1867),  and  others;  was  an  authority  on 
enamel  painting,  and  wrote  poems.  Died  in  Paris, 
May  17,  1892. 

POPELS,  Jean,  was  bom  at  Tournay  about  the 
year  1630.  He  engraved  some  plates  from  the 
copies  in  the  gallery  of  the  Archduke  Leopold  at 
Brussels,  for  the  collection  of  prints  called  '  The 
Cabinet  of  Teniers ' ;  among  them  the  following : 

Hagar  and  Ishmael ;  after  Titian. 

St.  George  and  St.  Stephen ;  after  Giovanni  Bellini. 
3t.  John  the  Baptist  and  St.  Roch  ;  after  Palma  Vecchio. 

The  Virgin  and  Infant  Christ,  with  St.  John  and  St. 
Catharine  ;  after  Palma  Giovine. 

A  Dead  Christ,  supported  by  Joseph  of  Arimathea; 
after  Schiavone. 

Ths  Triumph  of  Bacchus ;  after  Rubens. 
At  Girttingen  there  is  a  picture  by  this  artist  of 
'  The  Deliverance  of  Andromeda.' 

POPMA,  Alardo  de,  was  a  Spanish  engraver, 
who  worked  at  Madrid  in  the  eariy  years  of  the 
17th  century.  He  executed  a  tine  title-page  for 
the  '  Historia  de  las  Ordenes  Militares  de  Santiago, 
Calatrava  y  Alcantara'  (Madrid,  1629);  also  one 
for  Navarrete's  '  Conservacion  de  las  Monarquias 
y  Discursos  politicos'  (Madrid.  1626). 

POPOLI,  GlAClNTO  de',  an  It.alian  painter,  bom 
at  Orta.  He  was  a  pupil  of  Massimo  Stanzioni, 
and  painted  mostly  in  churches.    He  died  in  1682. 

145 


A  BIOGRAPHICAL  DICTIONARY  OF 


POPP,  Heinbich,  a  Qennan  painter,  born  at 
Nuremberg  in  1637.  He  was  a  pupil  of  Reisler. 
and  painted  portraits  and  historical  subjects.  He 
died  in  1682. 

POPPI,  II.     See  MoRANDijJi,  Fbancesoo. 

PORBDS.     See  Podrbus. 

PORCELIUS.     See  Pobzel. 

PORCELLI,  Antonio,  an  Italian  painter  of  the 
present  century,  born  in  1800.  He  painted  both 
landscape  and  figures.  Among  liis  best  pictures 
may  be  named  the  '  Fontana  dell'  Acqua  Autosa,' 
the  '  Pine  Forests  of  Ravenna,'  and  the  '  Cobbler's 
Monday.'  The  last  is  in  the  Collection  of  the 
Czar.     Porcelli  died  in  1870. 

PORCELLIS  (or  Pobcelles).    See  Pabcelles. 

PORCELLO,  Giovanni,  a  little-known  painter 
of  Messina.     He  studied  under  Solimena. 

PORCHER,  Charles  Albert,  French  painter ; 
bom  March  8,  1834,  at  Orleans  ;  for  twenty-five 
years  a  regular  exhibitor  at  the  Salon  ;  his  subjects 
were  chosen  mainly  from  scenery  in  the  districts 
of  Oise,  Mame,  lefere,  Morvan  and  Alpes  Maritimes. 
He  also  painted  various  scenes  of  Venice  and  of 
Holland.  At  the  Universal  Exhibition  of  1889  he 
obtained  a  medal.    He  died  in  Paris,  March  1805. 

PORCIA,  Francesco  di,  a  painter  of  Friuli,  who 
flourished  about  1606.  His  surname  is  believed 
to  have  been  Apollodoro.  He  worked  chiefly  at 
portraits. 

PORDENONE.    See  Licinio. 

PORETTANO,  Pier-Mabia,  an  obscure  Bolog- 
nese,  who  lived  and  painted  about  1600.  He  was 
a  pupil  of  Led.  Carracci. 

PORIDEO,  Gregobio,  a  forgotten  pupil  of  Titian, 
whose  name  was  signed,  says  Lanzi,  on  a  little 
oblong  picture  formerly  in  the  Casa  Pisani,  at 
Venice. 

PORLETTI,  Carlo.     See  Portelli. 

PORPORA,  Paolo,  a  Neapolitan  painter,  was  a 
pupil  of  Falcone,  and  a  member  of  the  Academy 
of  St.  Luke  in  the  year  1656.  He  excelled  chiefly 
in  battle  scenes,  animals,  and  in  such  still-life  us 
shells,  dead  fish,  flowers  and  fruit.  He  died  about 
1680. 

PORPORATI,  Carlo  Antonio,  an  engraver  and 
painter,  was  born  at  Volvera,  near  Turin,  in  1741. 
He  went  to  Paris  when  he  was  j'oung,  and  be- 
came a  pupil  of  Chevillet  and  of  Beauvarlet.  In 
1773  he  was  made  a  member  of  the  Academy 
at  Paris,  and  engraved  for  his  reception  plate 
'Susannah  at  the  Bath,'  after  Santerre.  In  the 
same  year  he  was  admitted  to  membership  of  the 
Turin  Academy,  and  in  1797  appointed  conservator 
of  the  gallery  there.  In  1793,  commissioned  by 
the  king,  he  founded  at  Naples  a  school  of  engrav- 
ing, and  spent  in  that  city  the  four  years  previous  to 
his  last-mentioned  appointment.  He  died  at  Turin 
in  1816.  He  painted  some  good  portraits,  but 
engraving  was  his  forte.  The  following  prints  are 
by  him,  some  of  which  are  executed  in  a  finished 
and  beautiful  style  : 

Susannah  at  the   Bath ;    after  Santerre.    (His  chef- 

d'ceuvre.) 
Abraham  sending  away  Hagar ;  after  Philip  van  Dyk. 
Tancred  and  Clorinda  ;  aftfr  Carte  van  Loo. 
Le  Coucher  ;  after  the  same. 

Erminia  asking  shelter  of  a  Shepherd  ;  after  the  same. 
Cupid  in  Meditation  ;  after  Angelica  Kaufmann. 
The  Death  of  Abel ;  after  A.  van  der  Werff. 
Venus  caressing  Cupid  ;  after  Fompeo  Batoni. 
Jupiter  and  Leda  ;  after  Correggio. 
The  Madonna  with  the  Rabbit ;  after  the  same. 
Leda  and  the  Swan ;  after  the  same 
146 


'       Leda  bathing  ;  after  tne  sam4. 
La  Zingarella  ;  after  the  same. 
The  young  Girl  with  a  Dog  ;  after  Greuxe. 
Portrait  of  Charles  Emmanuel  III. 
Portrait  of  Queen  Marie  Antoinette. 
Portrait  of  the  Empress  Marie  Louise. 

The  following  plates  were  engraved  by  him  in 
mezzotint : 

Paris  and  CEnone !  after  Van  der  Werff. 
The  Compassionate  Priestess ;  after  Gibelin. 

PORRI,  Daniello,  (or  Daniele,)  called  also  Db 
PoB,  De  Porb,  De  Pobbo,  and  Da  Pabma,  a  por- 
trait and  historical  painter,  was  born  at  Parma  in 
the  early  years  of  the  16th  century.  His  family 
was  Milanese  by  origin.  He  worked  under  both 
Correggio  and  Pamiigiano,  and  afterwards  in  col- 
laboration with  Taddeo  Zucchero  in  the  church  of 
Santa  Maria  d'Alvito.  Of  their  combined  work 
nothing  remains  but  a  single  '  Holy  Conversation,' 
in  which  the  Madonna  is  seated  with  the  child 
between  St.  Francis  and  St.  Nicholas  of  Bari. 
Porri  died  at  home  in  1566. 

PORRO,  GiBOLAMO,  an  Italian  engraver  on  wood 
and  on  copper,  was  bom  at  Padua  about  the  year 
1520,  but  worked  during  the  greater  part  of  hiH 
life  at  Venice.  He  engraved  in  a  tasteful  and 
delicate  style  the  vignettes,  amounting  to  nearly 
one  hundred,  for  a  book  entitled  '  Imprese  illustri 
di  divefsi,'  published  by  Camillo  Camilli  in  1535. 
He  also  executed  the  plates  for  the  '  Orlando 
Furioso'  of  Ariosto,  published  at  Venice  in  1548  ; 
for  the  '  Funerali  antichi  di  diversi  Popoli  et 
Nationi,'  by  Tommaso  Porcacchi,  published  in 
1574  ;  and  the  portraits  for  the  '  Sommario  delle 
Vite  de'  Duchi  di  Milano,'  by  Scipione  Barbuo, 
1574.  The  maps  in  Ruscelli's  translation  of  the 
'Geographia'  of  Ptolemy,  1674,  and  the  views  in 
Porcaochi's  '  Isole  piu  famose  del  Mondo,'  1575, 
are  likewise  by  him.  After  this  there  is  no  account 
of  Porro  ;  but  Zani  says  he  was  working  in  1604. 

PORRO,  Maso,  a  native  of  Cortona,  and  painter 
on  glass,  who  was  active  shortly  before  1568. 

PORTA,  Andrea,  a  Milanese  painter,  bom  in 
1656.     Orlandi  mentions  him  as  still  alive  in  1718. 

PORTA,  B.  DELLA.    See  Babtolommeo  di  Pao- 

HOLO. 

PORTA,  Febdinando,  a  painter  of  Milan,  bom 
1689,  died  about  1767.  He  was  an  industrious 
imitator  of  Correggio. 

PORTA,  Giuseppe,  called  Salviati,  was  bom 
at  Castel  Nuovo,  in  the  Grafagnana,  in  1520  or 
1518.  He  was  sent  to  Rome  when  he  was  young, 
and  placed  in  the  school  of  Francesco  Salviati 
(Rossi),  whose  character  of  design  he  followed, 
and  acquired  the  name  of 'the  younger  Salviati,' 
by  which  he  is  more  generally  known  than  his 
own.  When  his  instructor  was  invited  to  Venice 
he  was  accompanied  by  his  pupil,  whose  works 
were  sufficiently  admired  in  that  capital  to  induce 
him  to  establish  himself  there.  He  was  employed 
by  the  senate,  in  conjunction  with  some  of  the 
most  distinguished  artists  of  his  time,  in  ornament- 
ing the  palace  and  library  of  St.  Mark,  where  he 
painted  '  The  Sibyls,  the  Prophets,  and  the  Cardi- 
nal Virtues '  ;  and  for  the  chapel,  the  '  Dead  Christ 
with  the  Marys.'  From  1541  to  1552  he  worked  at 
Padua,  painting  in  particular  a  series  of  '  Scenes 
from  the  Life  of  John  the  Baptist,'  in  the  Selvatico 
Palace.  His  reputation  reached  Rome,  whither  in 
1563  he  was  invited  by  Pius  IV.  Here  he  was 
employed  in  the  Sala  Regia,  and  painted  the 
'  Emperor  Frederick  I.  doing  homage  to  Alexander 


JACQUES  ANDR^  PORTAIL 


LE  CONCERT  DE  EAMILLE 


[Collection  of  M.  Douut 


PAINTERS  AND  ENGRAVERS. 


III.'  Having  finished  these  and  other  works  for 
that  pontiff,  for  which  he  was  munificently  re- 
warded, he  returned  in  1565  to  Venice,  where  lie 
painted  several  pictures  for  the  churches  and  public 
edifices,  particularly  a  'Purification,'  for  the  Church 
of  the  Padri  Servi  ;  and  the  '  Annunciation,'  in 
the  chapel  of  the  Incurabili.  In  the  Church  Degli 
Angeli,  at  Murano,  is  one  of  his  best  works,  a 
'  Descent  from  the  Cross,  with  the  Virgin,  Mary 
Magdalene,  and  St.  John.'  The  date  of  his  death 
is  uncertain,  but  it  probably  occurred  between 
1570  and  1585. 

Papillon  mentions  Porta  as  an  excellent  en- 
graver on  wood.  That  writer  asserts  that  he  had 
seen,  in  the  possession  of  M.  Villayer,  at  Paris, 
about  a  dozen  woodcuts  by  him,  representing 
'  Prophets  and  Sibyls,'  and  a  print  of  '  Cupid  and 
Psyche.'  He  himself  possessed  a  print  of  the 
'  Crucifixion,  with  the  Virgin,  Mary  Magdalene,  and 
St.  John,'  signed  Giuseppe  Salviati  ;  and  another 
representing  the  '  Academy  of  Arts  and  Sciences,' 
signed  Joseph  Porta  GrafagniniLS.  Others  are  the 
title-page  to  the  '  Sorti'  of  Marcolini  (1540)  and  a 
'  Lucretia.'  Zani,  however,  is  of  opinion,  in  spite 
of  the  above  inscription,  that  though  designed 
by  Porta,  they  are  executed  by  an  anonymous 
hand. 

PORTA,  Orazio,  a  native  of  Monte  S.  Savino, 
who  was  painting  in  1568. 

POBTAELS,  Jean  Franqois,  Belgian  painter; 
born  May  1,  1818,  at  Vilvorde  in  Brabant  ;  a  pupil 
in  Paris  of  Navez  and  of  Delaroche  ;  won  the  Prix 
de  Rome  in  1843  ;  completed  his  artistic  education 
by  travel  in  Spain,  Italy,  Hungary,  and  the  East ; 
subsequently  appointed  Director  of  tlie  Ghent 
Academy ;  ten  years  later  went  to  Brussels  in 
a  like  capacity.  The  Brussels  Musee  Moderne 
possesses  his  'Fille  de  Sion'  and  his  '  Loge  au 
Theatre  de  Pesth.'  Other  works  by  him  are  :  '  Le 
Suicide  de  Judas,' '  Le  Conteur  Egyptien,'  a  portrait 
of  Rose  Caron,  the  singer,  and  one  of  Paul 
Deroulede.  He  gained  a  second-class  medal  in  1852, 
and  the  Order  of  St.  Leopold  in  1851.  He  died  at 
Brussels,  February  8,  1895. 

PORTAIL,  Jacques  Andr£,  a  French  fruit  and 

flower  painter.  In  1742  he  was  appointed  custoilian 

of  the  king's  pictures,  and  in  1746  he  was  admitted 

to  the  Academy.     He  died  in  1759. 

POKTANA.    See  Lopez  y  Portana. 

PORTE,  H.  H.  R.  DE  LA.    See  Holland  de  la 

POBTE. 

POKTELLI,  Carlo,  (or  Portegli,)  an  Italian 
painter,  and  native  of  Loro,  in  tlie  Valdarno.  He 
was  a  pupil  of  Ridolfo  del  Ghirlandajo.  Vasari 
speaks  of  him  as  an  artist  of  ability.  He  painted 
several  pictures  for  the  churches  of  Florence, 
especially  for  Santa  Maria  Maggiore.  On  October 
15,  1574,  one  Carlo  di  Galeotto  Partelli  da  Loro 
was  buried  in  San  Pancrazio. 

PO  RTENGEN,  Pierre,  a  painter  of  Utrecht,  and 
Bcliohir  of  Paul   Moreelse,  flourished  about  1638. 
He  painted  landscapes  in  the  manner  of  Jan  Botli, 
but  in  handling  is  very  inferior  to  that  master. 

PORTER,  Sir  Robert  Ker,  was  bom  at  Durham 
in  1777,  and  passed  his  boyhood  in  Edinburgh, 
whither  his  mother  had  moved  on  the  death  of 
her  husband,  an  officer  in  the  army.  Here  he  made 
the  acquaintance  of  the  famous  Flora  Macdonald. 
In  consequence  of  his  admiration  for  a  battle-piece 
in  that  lady's  possession,  representing  some  action 
in  tlie  aflEair  of  '45,  which  she  explained  to  him 
in  animated  language,  he  determined  on  becoming 

L  2 


himself  a  painter  of  battles.  This  occurred  when 
he  was  only  nine  or  ten  years  old.  From  this  time 
he  was  continually  sketching  similar  subjects,  which 
induced  his  mother  in  1790  to  take  him  to  West, 
the  President  of  the  Royal  Academy,  who,  struck 
with  the  spirit  of  his  sketches,  immediately  pro- 
cured him  admission  as  a  student.  His  progress 
was  rapid,  and  in  1793  ho  was  commissioned  to 
paint  an  altar-piece  for  Shoreditch  Church.  In  the 
following  year  he  painted  a  picture  of  '  Christ 
allaying  the  Storm,'  which  he  presented  to  the 
Roman  Catholic  chapel  at  Portsea  ;  and  in  1798 
'  St.  John  preaching,'  for  St.  John's  College  at 
Cambridge.  These  pictures  showed  wonderful 
precocity;  but  in  1800  he  astonished  the  public  by 
the  exhibition  of  'The  Storming  of  Seringapatam,' 
a  picture  120  feet  in  length,  representing  with 
much  animation  the  details  of  an  exploit  never 
surpassed  in  its  way.  It  is  said  that  he  was  only 
ten  weeks  employed  on  the  work.  Unfortunately 
this  picture  was  destroyed  by  fire,  but  the  sketches 
exist,  and  the  engravings  by  Vendraraini  preserve 
some  evidence  of  its  merits.  He  painted  several 
other  fights,  among  which  are  the  '  Battle  of  Agin- 
court,'  for  the  city  of  London  ;  the  '  Battle  of 
Alexandria,'  and  the  '  Death  of  Sir  Ralph  Aber- 
crombie.'  In  1804  he  went  to  Russia,  and  was 
appointed  historical  painter  to  the  emperor.  He 
then  travelled  in  Finland  and  Sweden,  where  the 
king  knighted  him.  In  1808  he  accompanied  Sir 
John  Moore  to  the  Peninsula,  and  attended  that  hero 
to  his  end  at  the  Battle  of  Corunna.  After  this  he 
paid  a  second  visit  to  Russia,  where  he  married  the 
Princess  Mary,  the  daughter  of  Prince  Theodore  de 
SchertkofE.  After  his  return  to  England  he  pub- 
lished, in  1813,  an  'Account  of  the  Russian  Cam- 
paign,' and  was  re-knighted,  by  the  Prince  Regent, 
in  the  same  year.  In  the  course  of  1817-20  he 
travelled  in  the  East,  where  he  made  numerous 
sketches,  which  are  now  in  the  British  Museum. 
He  afterwards  published  an  account  of  his  travels 
in  Georgia,  Persia,  America,  Ancient  Babylon,  and 
other  places,  with  numerous  engravings  of  por- 
traits, costumes,  and  antiquities.  In  this  work  are 
excellent  designs,  in  outline,  from  the  fine  charac- 
teristic sculptures  of  Nakshi  Roustan,  Nakshi 
Rajab,  Shiraz,  and  Persepolis.  The  book  is  ex- 
tremely valuable,  as  in  many  cases  it  corrects  the 
statements  of  preceding  travellers.  Being  in  1826 
appointed  British  consul  at  Venezuela,  he  resided 
at  Caracas  until  1841,  and  continued  to  employ  his 
pencil.  He  painted  while  there  three  pictures  of 
sacred  subjects  :  '  Christ  instituting  the  Eucharist,' 
'  Christ  blessing  a  little  Child,'  and  an  '  Eeoe  Homo.' 
He  also  painted  the  portrait  of  Bolivar.  In  1841 
he  paid  his  last  visit  to  St.  Petersburg,  where 
the  cold  proved  too  intense  for  his  constitution, 
after  being  inured  to  the  warmth  of  Venezuela. 
He  was  preparing  for  his  return  to  England  when 
he  was  struck  by  a  fit  of  apoplexy,  and  expired  on 
the  2nd  of  May,  1842. 

PORTIO, Aniello,  was  an  engraver,  who  worked 
at  Naples  from  1690  to  1700.  His  name  is  affixed 
to  a  few  portraits  and  other  plates  for  books. 

PORTMANN,  Wilhelm,  German  painter,  bom 
at  Diisseldorf  in  1819 ;  studied  there  with  Schirmer, 
and  travelled  in  Switzerland  and  Italy.  Established 
himself  at  Diisseldorf  as  a  successful  genre  painter, 
and  here  he  died,  December  18,  1893. 

PORTO,  Giovanni  Baitista  deu  See  Del 
Porto. 

PORTUCAL,  — ,  according  to  Strutt,  was  the 

147 


A  BIOGRAPHICAL  DICTIONAEY  OP 


engraver  of  a  small  upright  plate,  representing  n 
female  figure  weeping,  and  pouring  water  from 
a  cup. 

roEfZEL,  Elias,  (or  Porcelids,)  a  German  en- 
graver on  wood,  was  bom  at  Isny,  in  Swabia,  in 
1662.  He  was  a  pupil  of  Jakob  Enderlein,  and 
about  1682  was  working  in  Switzerland,  after 
which  he  travelled  in  Italy,  and  finally  settled  at 
Nuremberg,  where  he  died  in  1722.  He  executed 
several  plates  for  Eoderlein's  '  Picture  Bible,'  after 
designs  by  Sandrart. 

POSADAS,  MiQUEL,  a  Spanish  painter,  was  bom 
in  Aragon  in  1711.  He  was  a  Dominican  monk 
living  at  Valencia,  and  painted  historical  pictures. 
He  died  in  1753. 

POSCH,  Lauuemz,  a  Swedish  portrait  painter, 
was  born  in  1733,  and  died  in  1786.  At  Stockholm 
there  is  a  portrait  by  him  of  Gustavua  IV.  as  a 
child,  in  uniform. 

POSE,  Eduard  Wilhelm,  was  bom  at  Diisseldorf 
in  1812.  He  entered  the  Academy  at  Diisseldorf, 
where  after  studying  for  some  time  he  went  with 
And.  Achenbach  to  Munich,  and  in  1836  to  Frank- 
fort, whence  he  visited  Italy.  He  painted  land- 
scapes and  figure  pictures  of  a  serious  cast.  His 
care  for  details  was  great.  He  died  in  1878. 
Among  his  works  we  may  name  : 

Castle  Eltz.     (.ytadel  M.  Frankfort.) 

Castle  io  Tyrol.     (King  of  the  Belgians.) 

The  Konigssee.     (Grand  Duke  of  Hesse.) 

The  Falls  at  Tivoli.     (H.  Hauck,  Frankfort.) 

The  Theatre  at  Taormina.     (Prague  Gallery.) 

The  Temples  of  Psestiun.     (Heydt  collection,  Elberfeld.) 

The  Homburg  Forest. 

POSSENTI,  Benedetto,  was,  according  to  Mal- 
vasia,  a  native  of  Bologna,  and  was  brought  up  in 
the  school  of  theCarracci.  He  excelled  in  painting 
landscapes,  seaports,  embarkations,  fairs,  festivals, 
and  battle-pieces. 

POSSENTI,  Giovanni  Pietro,  the  son  and 
scholar  of  Benedetto  Possenti,  was  born  at  Bologna 
in  1618.  He  painted  battles  and  attacks  of  cavalry, 
in  which  he  not  only  surpassed  his  father,  but  was 
regarded  as  one  of  the  ablest  painters  of  his  time 
in  that  genre.  His  talents  were  not  confined  to 
such  subjects,  and  he  acquired  some  reputation  by 
altar-pieces  for  the  churches  at  Bologna  and  Padua. 
One  of  his  best  productions  is  a  picture  in  the 
church  of  San  Lorenzo,  in  the  latter  city,  repre- 
senting the  martyrdom  of  that  saint.  Possenti  died 
in  1659. 

POST,  Frans,  (or  Poost,)  was  bom  at  Haarlem 
about  the  year  1612.  He  was  the  son  of  Jan 
Post,  a  glass-stainer  of  some  celebrity,  who  died 
wliile  he  was  still  young.  It  is  not  known  how 
Frans  was  taught,  but  before  he  was  twenty  years  of 
age  he  discovered  sufficient  ability  to  recommend 
him  to  the  protection  of  Count  Maurice  of  Nassau- 
Siegen,  who  took  him  into  his  service,  and  he 
accompanied  that  prince  in  the  voyage  he  under- 
took to  the  West  Indies  and  South  America. 
During  a  residence  of  two  years,  he  made 
numerous  drawings  of  the  most  interesting  views 
in  these  countries,  from  which,  on  his  return  to 
Holland,  he  painted  several  large  pictures  for  the 
palace  of  Ryksdorp,  near  Wassenaer.  He  died  at 
Haarlem,  and  was  buried  there  on  the  16th  February, 
1680.     Among  his  works  we  may  name  : 

Portrait  of  Count  Maurice  of  Nassaa-Siegen.     (Amster- 
dam Museum.) 
View  in  Brazil.    (The  same.) 
View  of  a  Native  Village  in  Brazil.    (Hampton  Court.) 

148 


There  are  also  several  etchings  by   him,   among 

which  are  the  following: 

A  set  of  Views  in  Brazil ;  from  designs  made  by  himself 
A  View  of  the  Gulf  of  All  Saints ;  Fr.  Poost  fee.    1645 
A  View  of  Cape  St.  Augustiine ;  the  same  inscription. 
A  View  of  the  Isle  of  Thamaraca ;  the  same. 

POST,  Karl  BoRROMins,  an  engraver,  was  born 
at  Prague  in  1834.  He  studied  at  the  Academy  at 
Prague  in  1862  under  Haushofer,  and  at  Vienna  in 
1853  under  Stober.  He  engraved  after  Marko, 
Achenbach,  and  Pausinger  landscapes  and  animal 
pieces.  He  was  custodian  of  the  Emperor's  private 
library  at  Vienna,  where  he  died  in  1877. 

POSTL,  Karl,  a  painter  and  etcher,  who  was 
a  teacher  of  landscape  painting  at  the  Prague 
Academy,  and  painted  panoramas,  &c.,  was  born 
in  1768,  and  died  after  1815. 

POST.MA,  Gerrit,  Frisian  painter,  bom  at 
Nes  (Friesland)  in  1825  ;  became  a  pupil  at  the 
Amsterdam  Academy,  and  subsequently  travelled 
in  Italy  and  Spain.  Painter  of  genre,  as,  for 
instance,  his  '  Impfstube  in  Holland  '  (1893).  He 
died  in  1894  at  Haarlem. 

POT,  Hendrik  Gerritsz,  was  bora  at  Haarlem 
in  1600.  It  is  not  known  under  whom  he  studied, 
but  it  is  supposed  that  he  received  some  instruction 
from  Frans  Hals.  He  died  in  1656.  Houbraken 
praises  a  picture  by  this  master,  representing 
'  Judith  with  the  Head  of  Holofernes  ' ;  and  men- 
tions in  very  favourable  terms  a  large  picture  of  a 
'  Triumphal  Car  of  one  of  the  Princes  of  Orange,' 
which  is  now  in  the  Gallery  at  Haarlem  as  the 
'Apotheosis  of  William  the  Silent.'  The  frame  is 
the  work  of  a  well-known  sculptor,  Dom.  Janss. 
Pot  was  also  a  distinguished  portrait  painter,  of 
which  he  has  given  proof  in  a  large  picture  in  the 
Hall  of  the  Archers  at  Haarlem,  in  which  he  has 
represented  the  principal  officers  of  that  society. 
At  Hampton  Court  there  is  a  curious  picture  by 
him  called  'A  Startling  Introduction.'  It  seems 
to  represent  Charles  I.  making  his  court  to  a  lady 
into  whose  room  he  has  made  his  way  by  the 
chimney.  Various  explanations  have  been  offered 
of  it,  but  none  quite  satisfactory.  In  the  Louvre 
there  is  a  portrait  of  Charles  I.  by  Pot.  It  is 
signed  and  dated  HP.  FESIT.,  1632,  but  was 
nevertheless  ascribed  formerly  to  a  mythical  N. 
Conning. 

POTfiMONT,  Adolphe  Theodore,  French 
painter  and  engraver,  born  Febraary  10,  1828, 
in  Paris  ;  became  a  pupil  of  Brissot,  Cogniet,  and 
Marville  ;  painted  landscapes  in  the  Callot  style, 
and  completed  some  300  etchings  of  Old  Paris  ; 
a  prolific  illustrator  and  an  authority  on  etching. 
Died  in  Paris  in  1883. 

POTENZANO,  Francesco,  painter,  poet,  and 
improvisatore,  called  '  The  Great,'  was  a  native  of 
Palermo.  He  travelled  to  Rome,  Naples,  Malta,  and 
through  a  large  part  of  Spain.     He  died  in  1599. 

POTEKLET,  a  French  painter,  bom  at  Epernay 
in  1802.  He  was  a  pupil  of  Hersent  and  a  student 
of  the  Flemish  School.  He  painted  historical  and 
still-life  subjects,  but  devoted  most  of  his  time  to 
making  sketches  from  the  most  remarkable  pictures 
in  European  collections.  He  died  in  Paris  in  1835. 
The  Louvre  possesses  a  '  Dispute  of  Trissotin  and 
V^adius,'  from  the  '  Femmes  Savantes,'  by  him. 

POTHEUCK,  Jan,  was  a  member  of  a  Protestant 
family,  which  left  Verviers  and  settled  at  Leyden 
at  the  vbeginning  of  the  17th  century.  Born  in 
1626,  he  was  admitted  in  1652  into  the  Guild  of 
St.  Luke  at  Leyden,  of  which  he  became  the  head. 


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PAINTERS  ANP  ENGRAVERS. 


He  died  in  1669.  His  portraits  of  the  '  Four  Regents 
of  the  Pesthuis/in  the  Leyden  Museum,  is  perhaps 
his  best  work.  (See  Obreen's  '  Archief  voor  Neder- 
landsche  Kunstgeschiedenis.') 

POTHOVEN,  Hendrik,  was  bom  at  Amsterdam 
in  1725,  and  was  a  scholar  of  Philip  van  Dyk. 
He  painted  portraits  and  cabinet  pictures  in  the 
manner  of  his  master.  He  imitated  satin,  velvet, 
lace,  and  carpets  very  successfully,  and  the  other 
accessories  which  he  introduced  in  his  small  family 
pictures.  It  is  said  that  as  late  as  1791  he  painted 
the  portrait  of  Professor  David  Kuhnkenius.  He 
also  engraved,  in  mezzotint,  an  '  Old  Man  reading 
a  Book  by  the  light  of  a  Candle  ; '  and,  if  Balkema 
is  correct,  many  other  phites.     He  died  about  1795. 

POTLEPEL.     See  JonoAENS,  Jan. 

POTMA,  Jacob,  was  born  at  Workura,  in  Fries- 
land,  about  the  year  1610,  and  was  a  scholar  of 
Wybrandt  de  Gheest.  He  painted  history  and  por- 
traits, but  was  most  successful  in  the  latter.  The 
greater  part  of  his  life  was  passed  at  the  different 
courts  in  Germany,  where  he  was  much  employed 
as  a  portrait  painter.     He  died  at  Vienna  in  1684. 

POTRELLE,  Jean  Louis,  a  French  engraver, 
was  born  in  Paris  in  1788,  and  was  a  scholar  of 
David,  Tardieu,  and  Desnoyers.  He  gave  early 
proof  of  his  talents,  and  in  1806  obtained  the 
second  grand  prize  for  engraving.  He  exhibited 
for  the  last  time  at  the  Salon  of  1824,  and  died 
probably  about  that  date.  He  has  produced 
several  plates  of  subjects  by  the  Italian  masters, 
and  also  of  portraits  of  distinguished  persons. 
Among  them  are : 

Portrait  of  GiuUo  Romano ;  after  himself. 

Portrait  of  Michelangelo. 

Louis  XVIII. ;  after  Gerard. 

Cupids  ;  after  the  sayne. 

Portraits  of  Raphael  and  N.  Poussin. 

Portrait  of  David  ;  after  yavet. 

Prince  Schwartzenberg ;  after  Gerard. 

Cupid  and  Pysche  ;  after  David. 

Portrait  of  Dr.  Dubois. 

The  Course  of  Love,  in  sii  plates  ;  after  Gerard. 

POTT,  JOHN,  is  said  to  have  been  a  mezzotint 
engraver,  who  practised  in  London  towards  the  end 
of  the  18th  century.  There  is  a  good  plate  of 
Lady  Charles  Spencer  after  Sir  Joshua  Reynolds, 
which  bears  his  name,  but  as  it  is  very  similar 
to  that  by  Finlayson,  Mr.  Chaloner  Smith  sug- 
gests that  it  may  be  a  retouched  plate,  and  that 
the  engraver's  name  may  be  fictitious.  This  sus- 
picion is  strengthened  by  the  fact  that  the  name 
of  Pond  has  been  found  substituted  for  that  of 
Benjamin  Green  upon  later  impressions  of  that 
engraver's  plate  of  Miss  Baldwin  after  Kettle. 

POTT,  L.1SLETT  John,  English  painter,  bom 
in  1837  at  Newark  ;  began  life  as  an  architect, 
but  subsequently  studied  art  under  Carey  and  A. 
Johnstone ;  painted  historical  subjects,  such  as 
'Charles  the  First  after  his  Trial,"  Don  Quixote,' 
&c.     He  died  1901. 

POTTER,  Frank  Hdddlestone,  was  bom  on 
April  25,  1845.  His  father,  George  W.  K.  Potter, 
a  solicitor,  was  secondary  of  the  city  of  London 
for  fifty  years.  His  uncle,  Cipriano  Potter,  was  a 
well-known  musical  composer,  sometime  President 
of  the  Royal  Academy  of  Music.  Frank  Potter 
did  not  take  up  art  as  a  profession  for  some  years 
after  leaving  school,  when  he  joined  Heatherley's 
School  of  Art  in  Newman  Street,  and  remained 
there  till  he  gained  admittance  to  the  Royal 
Academy  Schools.  On  leaving  he  went  to 
Antwerp  with  the  idea  of  continuing  his  studies, 


but  finding  that  the  system  there  did  not  accord 
with  his  ideas,  he  returned  to  London  in  a  few 
months.  From  that  time  he  worked  in  an  inde- 
pendent manner.  His  first  picture  was  exhibited 
at  the  Royal  Academy  in  1870.  This  'Study  of 
a  Girl's  Head'  was  well  hung,  but  failed  to  attract 
attention.  In  the  following  year  he  exhibited  a 
'Girl's  Head,'  but  not  till  1882  is  he  again  repre- 
sented there.  From  1871  to  1885  he  exhibited 
fairly  regularly  at  the  Society  of  British  Artists, 
and  in  1877  became  a  member  of  that  body. 
Frank  Potter  was  an  unwearying  and  most  con- 
scientious painter,  but  his  work,  though  recognized 
by  his  fellow-artists,  did  not  at  anytime  meet  with 
the  appreciation  it  deserved.  He  was  never  robust, 
and  for  some  time  before  his  death  on  May  3,  1887, 
his  health  had  been  failing.  A  'Quiet  Corner'  was 
on  exhibition  at  the  Grosvenor  Gallery  in  1887, 
and  attracted  much  notice,  but  unfortunately  the 
artist  did  not  live  to  enjoy  the  appreciation  which 
had  so  long  been  denied  bim.  He  died  on  the 
opening  day  of  the  Exhibition.  In  November  of 
the  same  year  a  collection  of  thirty-four  of  his 
works  was  exhibited  at  the  Royal  Society  of 
British  Artists.  j_  b. 

POTTER,  Paclus,  was  baptized  at  Enkh'uizen 
on  November  20,  1625.  In  1631  Pieter  Potter, 
his  father,  left  Enkhuizen  and  settled  at  Amsterdam, 
where  he  bought  the  right  of  citizenship.  He 
instructed  liis  son,  who  in  1642  also  studied  at 
Haarlem  under  Jacob  de  Wet  the  elder.  Perhaps 
also  other  painters  of  Amsterdam,  like  Moegaert, 
have  influenced  him.  Potter  was  a  pre'coce  artist. 
To  1643  belongs  his  first  signed  picture,  called 
'The  Herdsman.'  It  was  to  a  constant  study  of 
nature  that  Potter  chiefly  owed  his  success,  and 
he  devoted  himself  especially  to  the  study  of 
animals.  In  1646  Paul  Potter  went  to  Delft,  where 
he  was  received  as  a  member  of  the  Corporation  of 
St.  Luke.  There  he  seems  to  have  studied  to  the 
utmost  of  his  power,  and  in  1647  he  produced  'The 
Young  Bull.'  In  1649  he  removed  to  the  Hague, 
as  appears  from  the  registers  of  that  town.  In 
1650  he  married  Adriana  Balckeneynde,  the 
daughter  of  an  architect  in  the  Hague.  To  tliis 
period  belong  '  Orpheus '  and  the  '  Shepherds  and 
their  Flocks.'  In  1652  he  left  the  Hague  and 
returned  to  Amsterdam,  where  he  was  protected 
by  the  "  Maecenas"  burgomaster  Tulp.  This  and 
the  following  year  saw  the  production  of  many 
famous  works,  but  his  unremitting  attention  to  his 
art  exhausted  a  constitution  naturally  weak,  and  he 
died  in  1654  (buried  on  January  17),  in  the  twenty- 
ninth  year  of  his  age.  As  an  artist  Paul  Potter  by 
no  means  deserves  the  universal  fame  he  has  won. 
But  as  a  sincere  and  patient  student  of  nature  few 
men  can  be  placed  before  him.  He  painted  for 
ten  years,  with  an  "  einem  erhortem  Fleiss."  His 
best  works  are  in  the  Hermitage  at  St.  Petersburg, 
Amsterdam,  the  Hague,  Cassel,  and  London.  He 
seldom  painted  on  a  large  scale,  but  his  Bull,  more 
famous  than  fine,  is  almost  life-size,  and  in  the  Six 
Collection  there  is  an  equestrian  portrait  of  Tulp 
on  the  same  scale. 

Among  his  principal  pictures  are  the  following: 

Amsterdam.        Museum.     The  Shepherd's  Hnt.    1645. 
The  Bear  Hunt.     1&49. 
Shepherds  and  their  Flocks. 
1651. 
„  Orpheus  and  his  Lut«.    1650. 

„  „  Horses  in  a  Field.     1649. 

,,  ,  Cows  in  a  Fi«ld.    1651. 

U9 


A  BIOGRAPHICAL  DICTIONARY  OF 


Amsterdam.       Six.  Coll. 
It  tf 

Berlin.      Soyal  Museum, 
Brus.'els.     Arenberg  Coll. 


Ca£sel. 


fVilhelmshdhe  \ 
Gallery.       j 


Equestrian  portrait  of  Tulp. 
Dairy  Maid  washing  her  Milk 

Tails. 
The  AVood  and  Hunters  at  the 

Hague.     1052. 
Cattle  with  Peasants,  dated 

1654  (the  year  of  his  death). 

Landscape  and  Cows.     1644. 


Copenhagen. 
Dresden, 


Gallery. 
Gallery. 


Gotha.  Gallery. 

Hague.      Royal  Museum. 


„  Stcenpracht  Coll. 

London.  Buckingham 

Palace. 


„  Nat.  Gallery. 

„  ffestminster^ } 

Duke  of.     / 
Munich.  Pinakotnek. 

Paris.  Louvre. 


Petersburg.      Hermitage. 


Home.     Borghese  Palace, 
Turin.  Pinacoteca. 

Vienna.  Gallery. 


Landscape  and  Cattle.    1648. 
Figures  and  Cattle. 
Cows. 
ForestandHunters.  1652.  {An 

infiriorrepetitionof  the  pic- 
ture at  Berlin.) 
Cattle  at  Pasture.     1632. 
Cattle,  Sheep,  and  a  Horse. 

1652. 
Sheep  in  a  Field. 
The  Young  Bull.     1847. 
Meadows  and  Cattle  (oxen and 

swine).     1652. 
A  Small  Example. 
A  Country  Scene,representing 

two  Cows  and  a  young  Bull 

in  a  Pasture. 
The  Halt. 
Cows  in  a  Field. 
Landscape  with  Cattle.   1651. 
The  old  Grey  Hunter. 
Cows  and  Sheep. 

And  several  other  pictures. 
Landscape  with  Cattle. 
Animals  in  a  Landscape  (three 

oxen  and  three  sheop).  1652. 
The  Field. 
A  Grey  Horse. 
Cattle  under  Trees. 
Dog  and  Kennel.     1650. 
Landscape.     1650. 
Cows.     1651. 
The  Life  of  a  Huntsman  (in 

fourteen  compartments). 
Huntsmen  Halting.     1650. 
The  Cow.    1649.   With  cows, 

horses,  asses,  sheep,  hens,  a 

cat  and  a  dog,  and  human 

figures. 
A  Bull  in  a  Meadow. 
The  Stable  Boy. 
Landscape  and  Cattle. 
Cattle  in  a  Landscape. 
Landscape  and  Cattle.     1647. 
Field  and  Cattle. 


The  works  of  this  artist  have  been  engraved  by 
Bartolozzi,  Le  Has,  Danckerts,  Visscher,  Hiiygens, 
Coucl]6,  Zeelander,  and  others.  We  have  some 
cliiinninj;  etchings  by  Potter,  drawn  with  great 
spirit  and  correctness,  and  executed  in  a  very 
masterly  style  ;  they  are  as  follows: 

A  set  of  eight  plates  of  Cows,  Oxen,  and  other  animals, 
with  a  Bull  on  the  title ;  Paulus  Potter,/, 

A  set  of  five  plates  of  Horses  ;  the  same  inscription. 

A  Mountainous  Landscape,  with  cattle  and  a  herdsman  ; 
Paulus  Potter,  in  etf.     1649. 

A  Landscape,  with  a  shepherd  playing  on  a  pipe,  and  a 
flock  of  sheep  and  goats. 

BIBLIOGRAPHY. 

*  Paulus  Potter,  Sa  Vie  et  ses  CEuvres,*  par  I.  van  West- 

rheene.     La  Haye.     1867. 
'  Journal  des  Beaux  Arts.'     1870. 
'  Kunstkronijk,'  IX.  xiv. 
'  Eaux-fortes  de  Paul  Potter,'  Teite  par  Georges  Gratet 

Duplessis.     Paris. 

POTTER,  PlETER,  f.ather  of  Paulus,  was  born 
at  Enkhuizen  in  or  before  1600,  and  was  buried 
October  4,   1652,   at  Amsterdam.     He    lived   at 

150 


Leyden  from  1628  till  1630.  In  16,31  he  came 
to  Amsterdam.  In  1647  lie  was  for  a  short  time 
in  Delft  and  the  Hague.  He  painted  landscapes, 
animals,  history,  genre,  and  still-life.  Little  is 
known  of  this  artist.  He  painted  a  scries  of 
landscapes,  with  figures,  which,  if  we  may  judge 
from  the  prints  engraved  from  them  by  Pieter 
Nolpe,  must  have  possessed  considerable  merit 
They  represent  the  'Four  Seasons'  and  the  '  Four 
Elements,'  the  '  Prophet  Elias  speaking  to  the 
Woman  of  Sarepta,'  and  'St.  Paul  tlie  Hermit 
nourislied  in  the  Desert  by  an  Eagle.'  Among 
his  better  pictures  we  may  also  note  : 

Amsterdam.        Museum.     Straw-cutters. 

Berlin.  Museum.    Still  Life.   (P.  Potter,  1636.) 

Copenhagen.         Gallery.     Players     at    Tric-trao.      (P. 

POTTEB,  1629.) 
London.       Nat.  Gallery.     Stag  Hunt.  (P,  PoTTEE,  165-.) 

POTTEY,  Jan,  a  Dutch  portrait  and  historical 
painter,  bom  at  Haarlem  in  1615.  In  1641  he 
came  to  England,  but  seems  to  have  returned  to 
Haarlem  in  the  following  year.  He  was  also  an 
engraver,  and  one  plate  by  him  is  known. 

POTTGIESSER,  Johann  Wilhelm,  probably  a 
son  and  pupil  of  Dietrich  Pottgie.sser,  was 
working  at  Cologne  in  the  second  half  of  the 
17th  century,  being  in  1656  upon  the  Guild,  and 
in  1683  a  town  councillor.     There  remain  by  him  : 

A  young  Woman  handing  an  Orange  to  her  Child. 

{J.  J.  Merlo's,  Cologne.) 
Alexander's  Visit  to  Diogenes.    (Leuchtenberg  Gallery.) 
Hagar  ;  after  Post.     (  H-'allraf  Museum.) 
The  Finding  of  the  Cross.    (Formerly  in  the  Dominican 

Church,  Cologne,) 

POTUYL,  Henri,  was  a  painter  of  the  Dutch 
School,  painting  peasant  interiors  and  genre  pieces. 
His  works  are  seldom  found.  One  of  his  best  is 
the  '  Interieur  de  Grange'  of  1639  in  the  Brussels 
Museum.    About  his  life  nothing  is  known. 

POUGE.VS,  Marie  Charles  Joseph  de,  a  French 
painter,  was  born  in  Paris  in  1755.  He  was  chiefly 
devoted  to  literature  and  philology,  and  was  a 
member  of  the  Acaderaie  des  Inscriptions  et  Belles 
Lettres.  In  1784  he  published  '  Recreation  de 
Philosophic  et  de  Morale,'  and,  in  1821-5,  '  Arch^- 
ologie  Krangaise.'     He  died  in  1833. 

POULLEAU,  — ,  a  French  engraver,  was  bom 
in  Paris  in  1749.  He  engraved  several  jilates  of 
ruins  and  architecture,  among  which  are  the 
following : 

Kuins  of  a  Temple  ;  after  De  Machy. 
A  View  of  the  Interior  of  the  Church  of  the  Magdalene, 
at  Ville  I'Eveque  ;  after  Contau  d'lvry. 

POUNCY,  B.  T.,  an  English  engraver,  flourished 
in  the  latter  part  of  the  18th  century.  He  was  the 
brother-in  law  of  Wollett,  by  whom  he  was  taught. 
Antiquarian  work  first  engaged  his  attention,  but 
he  subsequently  devoted  himself  to  landscape,  in 
which  he  produced  some  excellent  plates.  He 
exhibited  at  the  Royal  Academy  from  1782  to 
1789,  and  died  at  Lambeth  in  1799. 

POURBUS,  Francis,  son  of  Peter,  born  at 
Bruges  in  or  before  1545,  was  taught  by  his  father 
until  1562,  when  he  went  to  Antwerp  and  became 
the  pupil  of  Francis  De  Vriendt,  alias  Floris.  He 
was  admitted  as  free  master  into  the  Guild  of  St. 
Luke  in  1569,  and  on  September  14  in  the  same 
year  into  the  Bruges  Guild.  He  married  first,  in 
1567,  Susan,  daughter  of  the  architect  Cornelius 
Floris  De  Vriendt,  who  died  in  1578,  leaving  two 
children,  Francis  and  Susan,  who  bad  for  guardians 


PIETER  POURBUS 


PORTRAIT  OK  I.  VAN   DER  GHEENSTE,   15S3 


/'/  U'  'r\  •    (/.7..t  fV 


p.  POURBUS  THE  YOUNGER 


Spooner  photo]  [Hamploii  Court  Gallery 

ISABELLA,  ARCHDUCHESS  OF  AUSTKL\ 


PAINTERS  AND  ENGRAVERS. 


their  grandfather,  Peter  Pourbus,  and  uncle, 
James  Floris,  the  glass-painter.  Francis  Pourbus 
married  a  second  time,  Anne  Mahieu,  who  survived 
him  and  became  the  wife  of  the  Delft  painter 
Hans  Jordaens,  who  died  in  1613.  Francis  Pour- 
bus died  September  19,  1581.  He  painted  re- 
ligious subjects  and  portraits  ;  the  latter  are  re- 
markable for  their  golden  and  clear  colouring. 

Berlin.  Gallery. 

Brunswick.      Gallery. 
Brussels.        Museum. 


Florence.  Vffi:t. 

Ghent.         Cathedral. 


Three  Portraits. 

Portrait  of  a  man.    1575. 

St.  Matthew  writing  his  Gospel. 
1573. 

Portrait  of  a  man.     1575. 

Portrait  of  himself.    1570. 

Triptych.  Christ  amidst  the 
Doctors,  the  Circumcision  and 
Baptism,  and  Viglius  d'Aytta 
de  Zoichem  kneeling  before  the 
Saviour.  1571. 
jj  ,^         Miracles  and  Martyrdom  of  St. 

Andrew,  patron  of  the  Order 
of  the  Golden  Fleece.    1572. 

Panshanger.         •£•'"•' I  Portrait  of  a  man.     1573. 

Cowper.  I 
Pesth.  Museum.    Portrait  of  Maurice  of  Nassau. 

Tournai.      Cathedral.     Raising  of  Lazarus.    1575. 
Vienna.  Museum.     Six  Portraits. 

„  Liechtenstein  Gall.  Two  Portraits.  W.  H.  J.  W. 

POURBUS,  Francis,  son  of  Francis,  bom  at 
Antwerp  in  1569.  It  is  not  known  who  his  master 
was.  In  1589  he  was  at  Bruges,  and  restored  the 
large  altar-piece  of  the  Passion  in  the  church  of 
Our  Lady,  which,  commenced  by  Bernard  van 
Orley  and  completed  by  Mark  Gheeraerts,  had 
been  damaged  by  the  Calvinist  iconoclasts.  In 
1591  he  was  admitted  as  free  master  into  the 
Guild  of  St.  Luke  at  Antwerp.  In  1600  he  was 
working  at  Brussels  for  the  Archduke  Albert. 
Thence  he  went  to  Mantua,  where  he  became  Court 
(lainter.  In  1609  he  accompanied  Eleanor  of 
Mantua  to  Paris,  and  being  appointed  painter  to 
her  sister  Queen  Mary  de'  Medici,  settled  in  Paris, 
where  he  died  in  1622. 
Berlin. 


Florence. 
London. 


Munich. 
Paris. 


Gallery.     Portrait  of  Henry  IV.  of  France. 
,,  Portrait  of  Mary  de'  Medici. 

Pitti  Pal.     Portrait  of  Eleanor  of  Mantua. 
Hampton     Portrait  of  Henry  IV.  of  France. 
Court.         1610. 

„  Portrait  of  Mary  de'  Medici. 

Gallery.     Two  Portraits.    1616. 
Louvre.     Two    Portraits    of    Henry    IV. 
1610. 
„  ,,  Portrait  of  Mary  de'  Medici. 

„  „  Portrait  of  W.  Du  Van-. 

„  „  The  Last  Supper.     1618. 

„  „  St.    Francis   receiving  the  Stig- 

mata.   1620. 
St,Petersb^urg.^.^^^^|p„^^^,^ 

Vienna.  Gallery.    Two  Portraits. 

Valenciennes.  Museum.  Portrait  of  Dorothy  Duchess  de 
Croy  d'Aerschot.     1615. 

W.  H.  J.  W. 

POURBUS,  Peter,  (or  Poerbus,)  son  of  John, 
born  at  Gouda  in  1513,  travelled  in  Italy,  came  to 
Bruges  in  1543,  and  was  admitted  as  free  master 
into  the  Guild  of  St.  Luke  on  August  26,  and  into 
the  Guild  of  St.  George  (cross-bowmen)  on  March 
30,  1544.  He  married  Anne,  only  daughter  of 
Lancelot  Blondeel.  He  occupied  a  house  in  the 
'sheer  Ian  Mirael  street  to  which  be  gave  the  name 
of  Rome  ;  his  studio  was,  according  to  Van  Mander, 
the  most  spacious  and  beautiful  he  had  ever  seen. 
He  belli  minor  offices  in  the  Guild  of  St.  Luke  in 
1550-51,  1552-53,  1555-56,  1561-62,  1565-66, 
1573-74,  and  1579-80,  and  was  Dean  in  1569-70, 


1580-81,  and  158.3-84.  He  was  a  good  geome- 
trician, topographer,  and  civil  engineer.  In  1564 
be  painted  for  the  magistrates  of  the  Franc  or 
Liberty  of  Bruges  a  large  bird's-eye  view  on 
canvas  and  in  oil  of  the  whole  of  the  territory 
within  their  jurisdiction.  This  immense  work 
(40  feet  square)  has  perished,  but  a  copy  of  it  by 
Peter  Claeis  is  preserved  in  the  Town  House.  He 
was  constantly  employed  by  the  magistrates  of 
both  the  town  and  the  liberty  of  Bnigcs  in 
devising  and  superintending  the  decorations  on 
public  festivals,  in  designing  fortifications  and 
making  plans  and  maps.  lie  died  January  30, 
1584,  leaving  one  son,  Francis.  The  municipality 
granted  his  widow  a  montlily  pension  of  10  a.  g. 
His  portraits  are  of  rare  perfection,  and  his  re- 
ligious compositions  often  very  fine.  His  best- 
known  pupils  are  Anthony  Claeis  and  his  son 
Francis. 


Bruges.  Museum. 


Town  House. 
St.  Saviour's. 

St.  Basil's. 
Our  Lady's. 


St.  Giles'. 


St.  James'. 


Brussels.        Museum. 

London,  ff 'allace  Coll, 
Paris.  Louvre. 

Vienna.  Gallery. 


Portraits'  of  J.    Fernaguut   and 

wife.    1551. 
The  Last  Judgment.     1551. 

Triptych.  The  Carriage  of  the 
Cross,  Descent  from  the  Cross, 
and  Resurrection. 
Predella.  The  Annunciation, 
Adoration  of  the  Shepherds, 
and  Circumcision. 

Bird's-eye  view  of  the  Cistercian 
Abbey  of  Our  Lady  of  the 
Dunes.     1580. 

Triptych.  The  Last  Supper, 
Abraham  and  Melchisedech, 
Elias  under  the  Juniper  Tree, 
the  Miracle  of  Bolsena,  and 
portraits  of  the  members  of 
the  confraternity  of  the  Blessed 
Sacrament.    15.59. 

Portraits  of  the  members  of  the 
confraternity  of  the  Holy 
Blood.     1556. 

The  Last  Supper.    1562. 

Portraits  of  Anselm  De  Boot  and 
family,  with  Saints.  1573. 
(shutters  added  to  a  picture 
attributed  to  Gerard  David). 

Triptych.  The  Adoration  of  the 
Shepherds,  J.  De  Damhoudere 
and  family,  with  Saints,  the 
Circumcision,  and  Adoration  of 
the  Magi.     1574. 

Polyptych.  The  Adoration  of 
the  Shepherds,  Circumcision, 
Adoration  of  the  Magi,  and 
Flight  into  Egypt,  with  por- 
traits of  an  abbot  and  abbess. 
15U4. 

Triptych.  Our  Lady  of  Seven 
Dolours,  donor  and  family,  and 
Saints.     1556. 

The  Resurrection,  with  portraits 
of  Siger  van  Male  and  family. 
1578. 

Portrait  of  J.  Van  der  Gheenste. 
15S3. 

An  allegorical  love  fea.st. 

The  Resurrection.     1566. 

Portrait  of  Don  Pedro  Guzman. 

Four  Male  Portraits.     1550-63. 


According  to  Van  Mander  bis  finest  work  was  a 
triptych  with  scenes  from  the  life  of  St.  Hubert 
painted  for  the  church  of  Gouda,  which  he  saw  at 
Delft,  W.  H.  J.  W. 

POUSSIN,  Gaspabd.     See  DnoHET. 

POUSSIN,  Lavall^k.  See  Ds  la  VALLfiE, 
Etienne. 

POUSSIN,  Lemaire.    See  Lemaibk,  Pierre. 

POUSSIN,    Nicolas,    painter,    who    has    been 

151 


A  BIOGRAPHICAL  DICTIONARY  OF 


called  the  head  of  the  French  school,  was  bom  in 
June,  1594,  at  Villers,  a  hamlet  in  the  district  of  Les 
Andelys,  in  Normandy.  It  was  at  one  time  sup- 
posed that  his  father,  Jean  Poussin,  was  of  gentle 
birth,  and  had  served  in  the  wars  of  the  League, 
but  recent  researches  have  thrown  much  douht 
upon  that  idea.  Although  not  encouraged  by  his 
parents,  the  young  Nicolas  early  showed  a  predi- 
lection for  art.  After  some  opposition  he  succeeded 
in  obtaining  their  consent  to  his  receiving  in- 
struction from  an  artist  named  Quentin  Varin. 
This  painter,  a  native  of  Beauvais,  passed  some 
time,  about  1610,  at  Les  Andelys,  where  he  left  a 
reminiscence  of  his  sojourn  in  two  pictures,  still  to 
be  seen  at  the  church  of  Le  Grand  Andely.  From 
him  Poussin  learnt  to  paint  in  distemper,  and  also 
in  oils.  This  instruction  only  served  to  whet  his 
appetite  for  art,  and  to  render  him  desirous  of  con- 
tinuing his  studies  in  Paris.  Accordingly,  at  the 
age  of  eighteen,  he  quitted  his  home  secretly,  and 
managed  to  reach  the  capital,  unaided  by  friends, 
and  with  the  slenderest  resources. 

In  Paris  he  continued  his  training  under  Ferdi- 
nand Elle,  a  Flemish  portrait  painter,  and  afterwards 
under  L'Allemand,  a  Lorrainer.  Though  doubtless 
he  received  some  assistance  from  these  masters,  his 
progress  was  due  rather  to  the  study  of  Marc  An- 
tonio's engravings  after  Raphael  and  Giulio  Romano. 
These  belonged  to  an  amateur,  to  whom  he  was 
introduced  by  a  young  Poitevin,  of  good  family, 
with  whom  he  had  formed  a  friendship.  His  studies 
were  interrupted  for  a  short  time  by  atrip  to  Poitou 
with  his  friend;  but  his  reception  by  his  friend's 
mother,  who  treated  him  as  a  domestic,  disgusted 
him,  and  he  painted  his  way  on  foot  back  to 
Paris.  There  he  stayed  but  a  short  time,  for  an 
illness,  brought  on  apparently  by  the  fatigues  of 
his  journey,  compelled  him  to  seek  his  home  at 
Les  Andelys,  where  he  remained  for  about  a 
year.  On  liis  return  to  Paris,  the  desire  to  visit 
Rome,  which  he  had  always  entertained,  increased 
so  much  that  in  1620  he  resolved  to  make  the 
attempt  But  he  only  got  as  far  as  Florence,  when 
he  was  compelled  to  turn  back.  Settling  again  in 
Paris,  he  formed  an  acquaintance  with  Philippe  de 
Champaigne,  like  himself  a  pupil  of  L'Allemand, 
and  the  two  worked  for  some  time  under  Duchesne 
on  the  decorations  of  the  Luxembourg.  But  this 
employment  soon  became  irksome,  and  Poussin 
again  endeavoured  to  reach  Rome.  On  this  occasion 
his  resources  failed  him  by  the  time  he  arrived  at 
Lyons,  and  he  had  to  exercise  his  brush  to  procure 
the  means  to  return  to  Paris.  Here  a  series  of 
pictures  which  he  executed  for  the  Jesuits  attracted 
the  notice  of  the  Italian  poet,  the  Cavaliere  Marini, 
then  in  Paris.  This  patron  gave  him  lodgings  in 
bis  house,  and  on  Marini's  return  to  Rome  Poussin 
followed  liim  there  in  the  year  1624,  having  re- 
mained in  Paris  to  complete  a  picture,  'The  Death 
of  the  Virgin,'  commissioned  by  the  Goldsmiths  for 
Notre  Dame. 

He  now  began  a  course  of  study  of  the  classic 
remains  around  him,  which  continued  during  tlie 
whole  of  his  life,  and  rendered  him  the  best  inter- 
preter of  antiquity  among  the  painters  of  his 
country.  He  became  intimate  with  Duquesnoy,  tlie 
Flemish  sculptor,  'il  Fiammingo,'  and  the  two 
artists  worked  together  with  a  congenial  ardour  in 
their  study  of  ancient  art.  The  rules  of  perspecth-e 
Poussin  studied  in  the  treatises  of  Matteo  Zoccolino 
and  others.  His  knowledge  of  anatomy  he  improved 
under  the  guidance  of  Nicholas  Larcher,  a  surgeon 
152 


then  practising  in  Rome.  Among  modem  painters 
Raphael  perhaps  exercised  the  greatest  influence 
over  him,  but  he  also  received  very  substantial 
profit  from  working  in  the  studio  of  Doraeni- 
chino.  So  great  was  his  ardour  for  work,  that  his 
friends  could  with  difiSculty  lure  him  away  from 
his  studio  even  on  holidays.  His  sojourn  in  Rome 
opened  brightly  and  with  good  promise.  Besides 
the  patronage  of  Marini,  he  was  also  introduced  to 
Cardinal  Barberini,  the  nephew  of  the  reigning 
Pontiff.  But  the  death  of  the  first,  and  the 
departure  of  the  Cardinal  from  Rome,  wrought  a 
change  in  his  prospects,  and  he  had  to  fight  a 
hard  struggle  for  the  bare  necessities  of  existence. 
The  prices  he  received  for  his  works  at  this  time 
scarcely  sufficed  to  procure  his  daily  bread.  He 
has  left  it  on  record  that  he  sold  two  battle-pieces 
for  fourteen  crowns,  and  a  '  Prophet'  for  less  than 
two.  And  his  troubles  were  not  confined  to  narrow 
means.  The  national  jealousy  between  the  Italians 
and  the  French  was  just  then  at  fever-heat,  and  his 
French  costume  caused  him  to  be  attacked  by  some 
wandering  swash-bucklers  in  the  street.  He  was 
fortunate  enough  to  escape  with  a  wound  in  the 
hand,  and  thenceforth  adopted  the  Italian  dress. 
Shortly  afterwards  he  was  prostrated  by  a  serious 
illness.  Thanks  to  the  care  of  a  compatriot,  Jacques 
Dughet,  by  whose  family  he  was  carefully  nursed, 
his  recovery  was  complete.  The  gratitude  of  the 
painter  was  not  evanescent.  In  1630  he  married 
Anna  Maria,  the  eldest  daughter  of  his  host. 
Having  no  children,  he  subsequently  adopted  his 
wife's  brothers,  Jean  and  Gaspard,  the  former  of' 
whom  became  an  engraver,  and  the  latter,  under 
his  fostering  care,  more  than  rivalled  him  in  pure 
landscape.  With  his  wife's  marriage  portion 
Poussin  bought  the  house  on  the  Pincian  which 
became  his  home,  and  with  which  his  name  is 
inseparably  connected.  On  the  return  of  Cardinal 
Barberini  to  Rome,  the  star  of  the  painter  began  to 
be  in  the  ascendant.  For  this  patron  he  painted 
'The  Death  of  Germanicus,'  and  'The  Taking  of 
Jerusalem  by  Titus.'  Through  him  he  also  obtained 
the  commission  to  paint  '  The  Martyrdom  of  St. 
Erasmus,'  for  St.  Peter's.  For  the  Commander 
Cassiano  del  Pozzo,  of  Turin,  who  was  among  the 
first  to  recognize  his  genius,  and  who  always  con- 
tinued one  of  his  chief  friends  and  patrons,  he 
produced  many  works,  notably  the  first  series  of 
the  'Seven  Sacraments.'  To  this  period  of  his 
career  belong  several  other  important  works,  such 
as  '  The  Sabines,'  '  The  Philistines  struck  by  the 
Plague,'  'The  Manna,' '  Moses  striking  the  Rock,'  &c. 
Poussin's  reputation  was  by  this  time  so  well 
established  in  his  own  country  that  in  16.39  M.  de 
Noyers,  the  superintendent  of  the  royal  buildings, 
made  overtures  to  induce  him  to  come  to  Paris. 
The  painter  hesitated ;  he  preferred  the  serene 
artistic  atmosphere  of  Rome  to  the  intrigue  and 
disquietude  of  a  court.  Then  Louis  XIII.  expressed 
his  royal  wislies,  and  although  Poussin  yielded,  it 
was  not  until  1G40  that  he  arrived  in  France,  in  the 
train  of  his  friend  De  Cliantelou,  who  had  taken  a 
leading  part  in  the  negotiations.  At  first  all  went 
well.  He  was  presented  to  the  great  Richelieu 
and  to  the  king,  and  was  received  with  great 
favour.  His  travelling  expenses  were  paid,  a  pen- 
sion was  bestowed  on  him,  a  residence  was  assigned 
him  for  life  in  the  garden  of  the  Tuileries,  and  he 
was  appointed  first  painter  in  ordinary.  In  spite 
of  these  advantages  the  reluctance  which  he  had 
shown  to  quit  Italy  again  appears  in  the  fact  that 


(Si 

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F- 


PAINTERS  AND  ENGRAVERS. 


he  would  not  bind  himself  for  a  longer  period  than 
five  years.  His  sojourn  in  France  was  marked  by 
great  activity.  He  produced  eight  cartoons.founded 
on  sacred  subjects,  for  tapestry,  pictures  for  the 
chapels  of  the'  palaces  at  Fontainebleau  and  St. 
Germain,  and  an  important  series  of  works  illus- 
trating the  '  Labours  of  Hercules,'  for  the  great 
gallery  at  the  Louvre,  besides  designs  for  book 
illustrations,  &c.  But  the  two  years  passed  by  the 
painter  in  Paris  were  a  period  of  much  disquiet. 
The  advent  of  such  a  star  into  the  artistic  firma- 
ment of  Paris  could  not  fail  to  excite  much  jealousy 
amongst  those  whose  light  was  in  danger  of  eclipse. 
Poussin  had  to  suffer  many  annoyances  from  their 
intrigues.  His  chief  opponents  were  the  hitherto 
all-powerful  Vouet,  Feuquieres,  and  the  architect 
Lemercier.  Wearied  at  last  of  their  cabals,  he  ob- 
tained leave,  under  the  pretence  of  fetching  his  wife, 
to  return  to  Rome.  Thither  he  set  out  in  the  autumn 
of  1642,  and  never  returned  to  his  native  country. 

The  remainder  of  his  life  was  spent  in  Italy,  in 
the  tranquil  pursuit  of  his  beloved  art.  His  sub- 
sequent career  contains  no  events  of  importance  to 
record.  It  might  be  summed  up  in  a  list  of  the 
works  which  he  produced.  Of  these,  the  following 
are  some  of  the  most  important.  In  1648  he  com- 
pleted a  second  series  of  pictures  of  the  'Seven 
Sacraments,'  which  had  occupied  him  since  1644, 
for  his  friend  De  Chantelou.  At  the  repeated 
request  of  his  old  friend,  he  painted,  in  his  tifty- 
sixth  year,  his  own  portrait,  now  in  the  Louvre. 
Amongst  other  works  executed  during  what  is 
called  his  middle  period,  when  he  was  in  the 
maturity  of  his  power,  are  the  well-known  '  Shep- 
herds of  Arcadia,'  '  Diogenes,' '  Eliezer  and  Rebecca,' 
'The  Judgment  of  Solomon,'  and  'The  Vision  of 
St.  Paul.'  Of  works  produced  in  his  third  and 
latest  period,  mention  should  be  made  of  '  The 
Woman  taken  in  Adultery,'  'The  Adoration  of  the 
Magi,'  and  the  series  of  pictures  of  the  'Seasons,' 
painted  for  the  Duke  of  Richelieu  in  1660-64.  In 
the  year  which  saw  the  completion  of  this  com- 
mission he  lost  his  faithful  wife,  after  an  illness  of 
nine  months.  He  touchingly  expresses  his  grief 
and  bewails  his  lonely  condition  in  a  letter  to  De 
Chantelou,  with  whom  he  had  maintained  an  in- 
timate correspondence  for  nearly  thirty  years.  He 
did  not  long  survive  her  loss ;  he  died  in  Rome 
the  19th  November  1665,  and  was  buried  in  the 
church  of  S.  Lorenzo  in  Lucina.  His  property, 
amounting  to  10,000  crowns,  was  left  to  his  poor 
relations  in  Normandy. 

The  most  striking  characteristic  of  Poussin  is 
his  intimate  knowledge  and  appreciation  of  classic 
art.  His  composition  and  drawing  are  but  little 
obnoxious  to  criticism,  though  it  must  be  owned 
that  there  is  an  occasional  stiffness  in  the  latter, 
the  result  of  incessant  study  of  statues  and  friezes. 
His  colour,  especially  in  his  later  works,  is  the 
point  in  which  he  is  most  open  to  reproach.  It  is 
generally  heavy  in  tone,  and  the  flesh  tints  are 
frequently  painfully  hot.  His  failure  as  a  colourist 
is  to  be  largely  ascribed,  however,  to  his  practice 
of  painting  upon  a  red  ground.  With  the  passage 
of  time  this  ground  begins  to  assert  itself  through 
the  pigments  laid  upon  it,  and  to  produce  heat  and 
opacity  even  in  works   that,  when  painted,  were 

food  enough  in  colour.  The  etching,  '  Children 
'laying,' attributed  to  him,  dates,  most  likely,  from 
the  18th  century.  There  is  a  fine  collection  of 
Poussin's  drawings  in  the  Royal  Collection  at 
Windsor. 


The  followng  is  a  list  of  some  of  Poussin's 
pictures  in  the  public  galleries  of  Europe ;  a  few 
of  the  more  important  in  private  coUectionfl  are 
also  included. 

Barcelona.    Academy. 
Ba.sle.  Gallery, 

Berlin.    Nat.  Gallery. 


Bordeaux.     Museum. 
Caeu.  Museum. 

Cassel.  Gallery. 

Cherbourg.    Museum. 
CopeniiageD.      Ckris- 
tiansborg. 

Dresden.  Gallery. 


Dublin.  Nat.  Gallery. 

ft  »» 

Florence.  Pffi-i- 

Gotha.  Gallery. 

Hampton  Court.  Fal. 

KarUnihe.       Gallery. 
Lisbon.  Royal 

Academy. 
Liverpool.  Royal 

Institution. 
Londou.  Nat.  Gallery. 


„  Bridgevater 

House. 

I*  '* 

„  Dulwick  Gallery. 

)»  »» 

Lyons.  Museum. 

tia.dnd.Royal  Museum. 


Montpellier.  .Museum. 

Munich.  Tinakothek. 

»  '» 

»»  »t 

Nancy.  Museum. 

Narbonne.     Museum. 

Oldenburg.      Gallery. 


Paris. 


Louvre. 


Peteis\>\ag.Bermitage, 


Quimper. 

Keunes. 

Rome. 


Museum. 
Museum. 
1 'at  lean. 


Stockholm.  Nat.  Gall. 
Toulouse.       Jfustum. 


Narcissus. 

Bacchus. 

Armida  and  RinaMo. 

Education  of  Jupiter. 

Holy  Family. 

lieath  of  Adonis. 

Satyrs  and  a  Bacchante. 

Pyramus  and  Thifibe. 

[  Christ  healing  the  Blind. 

The  Burning  Bush. 

Sacrifice  of  Noah. 

Moses  exposed. 

Adoration  of  the  Magi. 

Martyrdom  of  St.  Er;ismu3. 

The  Entombment. 

Phinenj  and  the  Gorgon's  head. 

Theseus  at  Troezenc. 

Venus  and  Adonis  on  Mount  Id& 

Landscape. 

Nymph  and  Satyrs. 

The  Dead  Christ. 

Virgin  and  Child. 

I  The  Plague. 

(  Landscape  with  Shepherds. 

The  Plague  at  Ashdod. 

Bacchanalian  Festival. 

Cephalus  and  Aurora. 

Sleeping  Venus. 

Bacchanalian  Dance.    {A  master- 
piece.) 
\  The  Seven  Sacraments.     (The  set 
j      painted  for  M.  Chantelou.) 

Moses  striking  the  Rock. 

Education  of  Jupiter. 

Triumph  of  David. 

Bacchanalian  Scene. 

Bacchanalian  Festival. 

Parnassus. 

David,  the  Conqueror  of  Goliath. 

Ruins,  with  Hermit. 

Meleager  and  Atalanta,  &c,  kc. 

Death  of  St.  Cecilia. 

Baptism  of  Our  Lord. 

Midas  and  Bacchus. 

St.  Norbert. 

Portrait  of  Himself. 

Entry  of  Our  Ljrd  into  Jeru- 
salem. 

Camillus  and  the  Schoolmaster. 

St.  John  baptizing  in  the  Jordan. 

The  Israelites  attacked  by  Fierj 
Serpents. 

Moses  striking  the  Rock. 

Eliezer  and  Rebecca.     1643. 

The  Finding  of  Moses. 

The    Israelites    fed    by    Manna. 
1639. 

The    Philistines    struck  by  the 
Plague. 

The  Judgment  of  Solomon.    1649. 

The  Holy  Family.     10.51. 

The  Blind  Men  of  Jericho.    1651. 

Tlie  Assumption.     1(>50. 

The  Ecstacy  of  St.  Paul. 

Diogenes.     1848.     ic,  kc. 

Moses  striking  the  Rock. 

Victory    of    Joshua    over    the 
Amaiekites. 

Victory    of     Joshua    over    the 
Amorites. 

Finding  of  Moses. 

Ruins  of  a  Triumphal  Arch. 

Martyrdom  of  St.  Erasmus. 

I.abaQ  searching  for  his  Idols. 

St.  John  Baptist  in  the  Desert, 

Holy  Family. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Tiirio.  Gallery.    A  Hanter. 

,,  „  St.  Margaret. 

Vieuna.  Gallery.    The  Sack  of  the  Temple  at  Jeru- 

Balem  by  Titus.  0.  J.  D. 

POWELL,  C.  M.,  an  English  marine  painter, 
flourielied  during  tlie  first  twenty  yearB  of  the 
present  century.  His  works  are  numerous,  as  he 
wa.s  principally  employed  by  the  dealers,  but  little 
of  his  history  is  known,  further  than  that  he  was 
origirjally  a  sailor,  and  self-taught  in  the  art  of 
painting.  Many  of  his  pictures  are  injured  from 
being  varnished  imprudently.  Powell  was  a  clever 
artist,  but  a  careless  man  ;  hence  he  was  always 
in  a  state  of  thraldom,  and  had  frequently  the 
mortification  of  seeing  his  pictures  sold  at  once  by 
his  '  patrons  '  for  five  times  the  sum  he  had  received. 
He  exhibited  at  the  Koyal  Academy  in  1809,  and 
repeatedly  afterwards  up  to  1820.  He  died  in 
1824. 

POWELL,  Georqe  William  H.,  a  portrait  and 
historical  painter,  was  born  in  the  State  of  Ohio, 
U.S.,  in  1824.  He  was  an  associate  member  of  the 
National  Academy,  and  worked  in  New  York,  where 
he  died  in  1879.     Among  his  works  are : 

The  Discoveiy  of  the  Mississippi  by  De  Soto  (Rotunda 

of  the  Capitol,  Washington). 
The  Battle  of  Lake  Erie.  {Painted  for  the  State  of  Ohio.) 
The  Landing  of  the  Pilgrims. 
Portraits  of  General  McClellan,  Major  Anderson,  and 

Washington  Irv-ing. 

POWELL,  John,  an  English  portrait  painter  and 
copyist  of  Reynolds,  of  whom  he  was  an  assistant. 
He  exhibited  at  the  Academy  from  1778  to  1785. 
There  is  a  portrait  of  the  Duke  of  Cumberland  by 
him  in  the  National  Portrait  Gallery.  It  is  a  copy 
from  KejTioIds. 

POWELL,  John,  an  English  landscape  painter, 
chiefly  in  water-colours,  born  about  1780.  On  the 
foundation  of  the  old  Water-Colour  Society,  he  was 
an  unsuccessful  candidate  for  membership.  He 
had  a  large  practice  as  a  drawing-master,  and  ex- 
hibited at  the  Royal  Academy  from  1797  to  1829. 
There  are  some  landscape  and  tree  etchings  by 
him,  and  the  South  Kensington  Museum  possesses 
four  of  his  water-colour  drawings. 

POWELL,  Joseph  John,  an  English  historical 
painter,  born  in  1834  atDouai,  where,  and  at  Lille, 
he  received  his  first  instruction  in  art.  Coming 
to  England  in  1851,  he  entered  the  schools  of  the 
Academy  and  obtained  various  honours,  culmin- 
ating in  1855  with  the  gold  medal  for  his  '  Death 
of  Aloibiades.'  He  suSered  much  from  poverty 
and  ill-health,  and  his  career  was  cut  short  in  the 
midst  of  much  promise.  He  died  at  Southampton 
in  1856. 

POWIS,  William  Henry,  an  English  wood- 
engraver,  was  born  in  1808.  He  rapidly  made  him- 
self a  position,  but  his  unremitting  labour  sapped 
his  health,  and  he  died  in  1836.  Specimens  of  his 
work  are  to  be  found  in  : 

'  lUostrations  of  the  Bible.'    1833. 

Scott's  Bible.     1834. 

'  Solace  of  Song.' 

POWLE,  George,  was  an  English  engraver,  who 
flourished  in  the  middle  of  the  18th  century.  He 
was  a  pupil  of  Worhdge,  and  has  engraved  por- 
traits, some  of  which  he  exhibited  in  1776  with  the 
Free  Society  of  Artists.  Among  them,  in  the  style 
of  his  instructor,  is  that  of  Sir  Robert  Berkeley, 
Chief  Justice  of  the  King's  Bench.  His  only  known 
mezzotint  plate  is  a  portrait  of  Mrs.  Worlidge,  after 
a  painting  by  her  husband.  He  also  designed  some 
154 


views  of  the  City  of  Hereford,  which  have  been 
engraved  by  James  Ross. 

POZO,  Pedro,  an  historical  Spanish  painter,  bom 
at  Lucena  in  1700.  He  studied  under  Luis  Cancino, 
and  afterwards  went  to  Rome.  He,  however, 
eventually  abandoned  painting  for  literature.  His 
son  Pedro,  also  an  artist,  died  in  America  about 
1810. 

POZZI,  Andrea,  an  historical  painter,  bom  at 
Rome  in  1778.  He  painted  several  mythological 
subjects,  but  one  of  his  chief  works  was  a  'Virgin 
and  Saints,'  painted  for  the  City  of  Camerino.  In 
1820  he  painted  for  a  chapel  of  S.  Maria  Rotondo, 
in  Rome,  a  'Martyrdom  of  St.  Stephen.'  He  was 
President  of  the  Academy  of  St.  Luke  at  Rome 
for  many  years. 

POZZI,  DoMENico,  a  painter,  was  born  at  Castel 
St.  Pietro  in  1742.  After  receiving  instruction 
from  his  father  and  Baldrighi  he  entered  the 
Academy  of  Milan.  After  some  time  he  went  to 
Rome  and  then  to  Germany,  where  at  Mannheim, 
in  the  Library  of  Count  von  Castelli,  he  executed 
several  paintings.  He  afterwards  worked  in  Solo- 
thum,  Mendrisio,  and  in  the  Palace  of  the  Marquis 
Odescalchi.     He  died  at  Milan  in  1796. 

POZZI,  Francesco,  an  Italian  engraver,  bom  at 
Rome  in  1750,  was  the  nephew  of  Rocco  PozzL  In 
conjunction  with  Coppa  and  Perini,  he  engraved 
some  of  the  plates  from  the  statues  in  the  Clemen- 
tine Gallery.  He  died  about  1805.  The  following 
prints  also  by  him  : 

Portrait  of  Pope  Pius  VL 

Aurora ;  after  the  painting  by  Gwrcino  in  the  Villa 
Ludovisi.    1780. 

POZZI,  Giovanni  Battista,  was,  according  to 
Baglione,  a  native  of  Milan,  where  he  was  born 
about  1560,  but  went  to  Rome  when  young,  and 
was  employed  by  Sixtus  V.  in  the  palace  of  S. 
Giovanni  Laterano,  and  in  the  library  of  the  Vatican. 
In  the  Sistiiie  Chapel  in  Santa  Maria  Maggiore,  he 
painted  'The  Visitation  of  the  Virgin,'  and  "The 
Angel  appearing  to  St.  Joseph  in  his  Dream.'  He 
died  at  the  premature  age  of  28  years. 

POZZI,  Giovanni  Battista,  was  born  at  Milan 
towards  the  end  of  the  17th  century.  He  decor- 
ated a  large  number  of  buildings  in  the  Piedmon- 
tese  with  hasty  frescoes.  Some  of  his  best  work 
is  to  be  seen  in  S.  Cristoforo,  at  Vercelli.  The 
dates  of  his  birth  and  death  are  unknown. 

POZZI,  Cario  Ignazio,  painter  and  architect,  was 
born  at  Mannheim  in  1766.  He  was  a  son  of  Giu- 
seppe Pozzi,  an  ornamentist,  and  studied  at  the 
Academy  of  his  native  city.  He  travelled  through 
the  Netherlands,  and  then  visited  Italy.  At  Parma 
he  copied  the  works  of  Correggio.  He  painted 
historical  scenes,  portraits,  and  landscapes.  In 
1779  he  was  engaged  in  scene  painting  at  Dessau. 
He  died  in  1842. 

POZZI,  Rocco,  was  a  native  of  Italy,  who  flour- 
ished about  the  year  1750.  He  engraved  several 
of  the  plates  for  the  '  Museo  Florentine, '  and  exe- 
cuted some  of  the  prints  for  the  'Antiquities  of 
Herculaneum,' published  at  Naples.  He  was  court 
engraver  to  the  King  of  Naples,  and  died  about 
1780. 

POZZI,  Stefano,  was  a  native  of  Rome,  and  was 
first  a  scholar  of  Carlo  Maratti,  and  afterwards 
studied  under  Agostino  Masuoci.  There  are  several 
of  his  works  in  the  public  buildings  of  Rome : 
in  the  palace  of  Monte  Cavallo  a  picture  of  '  St. 
Gregorio;  '  and  in  the  church  of  il  Nome  SS.  di 
Maria,  an  altar-piece  representing  the  '  Death  of 


PAINTERS  AND  ENGRAVERS. 


St.  Joseph,'  may  be  named.  He  died  at  Rome  in 
1768.  His  brother  Giuseppe,  also  a  painter,  died 
young,  in  1763. 

POZZO,  Andreas,  was  bom  at  Trent  in  1642. 
Without  the  assistance  of  a  master  lie  became  an 
eminent  architect  and  painter.  By  studying  the 
works  of  the  Venetian  school  he  became  an  ex- 
cellent colourist,  and  during  a  residence  of  several 
years  at  Rome  he  improved  his  style  of  design. 
In  1665  he  entered  the  society  of  Jesus,  and  was 
afterwards  chiefly  occupied  in  ornamenting  the 
churches  of  his  order.  He  resided  some  time  at 
Genoa,  where  he  pamted  for  the  Congregazione  de 
Mercanti  four  pictures  of  the  '  Life  of  our  Saviour,' 
in  the  style  of  Rubens,  which  he  had  studied  during 
a  previous  residence  at  Turin.  Of  his  works  in  oil, 
one  of  the  most  esteemed  is  his  picture  of  '  San 
Francesco  Borgia,'  in  the  Jesuits'  church  at  Rome. 
He  was  more  eminent  in  fresco,  in  which  his 
masterpiece,  perhaps,  is  the  ceiling  of  the  church 
of  St.  Ignatius  at  Rome.  Such  was  his  facility 
that  Giro  Ferri  was  accustomed  to  say,  that 
the  horses  of  other  painters  moved  at  a  foot's 
pace,  but  those  of  Pozzo  were  always  on  the 
gallop ;  and  Lanzi  reports,  that  he  painted  the 
portrait  of  a  cardinal  in  four  hours.  He  was 
invited  to  Vienna  by  the  Emperor  Leopold,  where 
he  executed  some  works  for  public  buildings,  and 
died  in  1709.  He  also  worked  at  Modena,  Monte- 
pulciano,  Arezzo,  and  Bologna.  His  brother,  Padre 
Giuseppe  Pozzo,  a  barefooted  and  Carmelite  monk 
of  Venice,  decorated  the  high  altar  of  the  church 
of  the  Scalzi  in  that  city  during  the  last  years  of 
the  17th  century. 

POZZO,  Isabella  dal.     See  Dal  Pozzo. 

POZZO,  Matteo  del.     See  Del  Pozzo. 

POZZOBONELLI,  Gidliano,  an  obscure  Milan- 
ese, who  was  painting  in  that  city  in  1605. 

POZZO  SERRATO',  Lodovico.     See  ToEPnx. 

PRADIER,  Charles  Simon,  a  French  engraver, 
but  a  native  of  Geneva,  was  born  in  1790,  and  was 
a  scholar  of  Desnoyers.  He  was  the  brother  of 
James  Pradier,  the  celebrated  sculptor,  and  died 
in  1848.  Among  his  principal  plates  are  several 
portraits  after  Gerard,  and  the  following : 

La  Vierge  aux  Ruines ;  after  Raphael. 

Titian's  Daughter;  after  Titian. 

Cupid  and  Psyche;  after  Gerard. 

Virgil  reading  the  '  MniAA '  to  Augustus  ;  after  the  same. 

Zephyr  caressing  Flora  ;  after  the  same. 

Kaphael  and  the  Fornarina ;  after  Inf/res. 

Jesus  Christ  giving  the  keys  to  St.  Peter ;  after  the  same. 

Virgil  reading  the    Sixth  Book  of    the  '  iEneid '  to 

Augustus  ;  after  the  same. 
Antiochus  ;  after  the  same. 
Portrait  of  Queen  Hortense. 
Some  Landscapes. 

PRADO,  Blas  del.    See  Del  Prado. 

PRAG,  Theodorich  von,  was  an  artist,  who 
flourished  from  1348  to  1375,  and  was  court  painter 
at  Prague  to  the  Emperor  Karl  IV.  He  is  now 
regarded  as  the  probable  author  of  a  'Christ  on  the 
Cross,'  and  'The  Church  Teachers,  Ambrosius  and 
Augustine,'  which  have  been  removed  to  the  Bel- 
vedere from  the  chapel  of  Carlstein  Castle,  in 
Bohemia,  and  which  were  formerly  attributed  to 
Nicolaus  Wurmser.  Theodorich  also  painted  an 
altar-piece  in  the  Raudnitz  Monastery,  now  placed 
in  the  Gallery  of  Prague. 

PRAMPOLINI,  Alessandro,  a  landscape  painter, 
who  was  born  at  Reggio,  in  the  Emilia,  in  1827, 
and  died  there  in  1865,  is  known  chiefly  by  his 
views  of  the  neighbourhood  of  Tivoli  and  of  the 


Roman  Ruins.     He  was  professor  of  painting  at 
Reggio. 

PRANISCHNIKOFF,HiLARio\,Russianpainter; 
born  at  Moscow  in  1840;  excelled  in  genre  and 
landscape  ;  specially  fond  of  depicting  interiors 
and  hunting-scenes.  Among  his  most  famous 
works  are  the  '  Gostinyi  Dvor '  (Merchants'  Quarter, 
Moscow),  and  '  Fete  de  Village,'  the  latter  being 
bought  by  the  Czar.  Pranischnikoff  died  at  Moscow 
in  March  1894. 

PRANKER,  Robert,  was  an  English  line  en- 
graver, who  was  much  employed  by  the  booksellers. 
He  married  the  daughter  of  Gerard  van  der  Gucht, 
and  became  in  1763  a  member  of  the  Free  Society 
of  Artists. 

PRATA,  Randnzio,  a  native  of  Milan,  who 
painted  at  Pavia  about  1G35. 

PRAT^RE,  Edmund  de,  Belgian  artist,  born  in 
1826  at  Courtrai  ;  studied  there  and  at  IBrussels, 
and  also  in  Paris.  Notably  excellent  as  a  painter 
of  auimals ;  we  may  cite  his  '  Dray-horses, 
Brussels,'  and  'Chevaux  ^ccossais,'  as  examples 
of  this  excellence.  He  obtained  a  second-class 
medal  at  Munich  in  188,S.  He  died  at  Brussels, 
September  16,  1888.  He  was  one  of  the  most 
industrious  artists  of  this  country  and  of  his  time. 

PRATO,  Francesco  del,  an  Italian  still-life 
painter.  He  was  first  a  goldsmith,  but  afterwards 
turned  to  painting,  and  put  himself  under  the 
instruction  of  Salviati.     He  died  in  1562. 

PRATO,  GiROLAMO  del,  draughtsman,  sculptor, 
niellist,  and  goldsmith,  flourished  at  Cremona  in  the 
first  half  of  the  16th  century.  He  has  been  some- 
times called  the  '  Lombard  Cellini.' 

PRATO  VECCHIO,  Jacofo  da.     See  Landing. 

PRATT,  Matthew,  an  American  portrait  painter, 
born  at  Philadelphia  in  1734.  He  began  life  as  a 
sign  painter,  but  afterwards  studied  four  years  with 
West.  He  assisted  Peale  in  establishing  his 
museum  at  Philadelphia,  and  died  in  1805. 

PRATTENT,  T.,  an  engraver  who  practised  at 
the  end  of  the  18th  century,  by  whom  there  are 
some  etchings  in  the  '  Gentleman's  Magazine.' 

PRECIADO,  Francisco,  (or  Preziado,)  was  born, 
according  to  Lanzi,  at  Seville  in  171.3.  He  was  a 
scholar  of  Domingo  Martinez,  but  he  visited  Rome 
in  1733,  where  he  entered  the  school  of  Sebastiano 
Cunca.  On  leaving  him  he  painted  some  pictures 
for  the  public  edifices  at  Rome,  particularly  a 
'  Holy  Family '  for  the  church  of  the  Forty  Saints, 
which  is  entirely  in  the  style  of  his  instructor.  He 
was  appointed  painter  to  the  camera  of  Ferdinand 
VL,  and  director  of  the  Spanish  Academy  at  Rome. 
There  are  few  of  his  works  in  his  native  country, 
as  he  resided  the  greater  part  of  his  life  at  Rome, 
where  he  died  in  1789. 

PREIRA.     See  Perkira. 

PREISLER,  Daniel,  (or  Preissler,)  was  born 
at  Prague  in  1627,  and  in  1654  became  a  master  of 
the  Landau  Brotherhood  at  Nuremberg,  through 
his  painting  of 'The  Death  of  Abel.'  He  died  at 
that  city  in'l665.  The  Brunswick  Gallery  possesses 
a  male  portrait  by  him,  and  two  of  the  churches 
of  Nuremberg  contain  his  '  Descent  of  the  Holy 
Ghost '  and  '  The  Ascension  of  Christ.'  He  was 
the  founder  of  the  Preisler  family  of  artists,  being 
the  father  of  Johann  Daniel,  and  consequently  the 
grandfather  of  four  others  named  below,  and  the 
great-grandfather  of  Johann  Georg  Preisler,  the 
last  of  the  name. 

PREISLER,  Gkoro  Martin,  the  second  son  of 
Johann  Daniel   Preisler,  was  born  at  Nuremberg 

155 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  1700,  and  followed  liis  brother  Johann  Justin 
Preisler  to  Italy,  where  he  resided  some  years. 
He  was  one  of  the  engravers  employed  by  Stosch 
for  his  work  on  antique  gems.  He  died  at  Nurem- 
berg in  1754.  Huber  speaks  of  him  as  a  painter 
of  portraits  ;  but  he  is  most  worthy  of  notice  as  an 
engraver.  Besides  some  plates  after  the  statues  in 
the  Dresden  Gallery,  and  a  set  of  twenty-one  plates 
from  drawings  made  by  Johann  Justin  Preislec, 
after  statues  at  Rome  and  Florence,  there  are  the 
following  prints  by  him  : 

POETRAirs. 

Raphael.     (Ris  chef-iTauvre.) 

Giovanni  Dometuco  Ferretti,  painter;  after  a  picturi 

by  himself. 
Giovanni  Domenico  Campiglia,  painter  ;  after  himself. 
Eglon  van  der  Neer ;  after  the  portrait  by  himself  in  tlu 

Florentine  Gallery. 

PREISLER,  Johann  Daniel,  son  of  Daniel 
Preisler,  was  born  at  Nuremberg  in  1666,  and  died 
there  in  1737.  He  was  a  pupil  of  his  stepfather, 
H.  Popp,  and  of  J.  Miirrer,  and  came  to  be  principal 
of  the  school  of  design  in  bis  native  city,  for  which 
he  also  published  a  drawing-book.  He  painted 
'The  Four  Evangelists'  on  the  ceiling  of  the 
.Sgidienkirche.  He  was  the  father  of  four  of  the 
artists  cited  in  this  series  of  articles  (Johann  Justin, 
Georg  Martin,  Johann  Martin,  and  Valentin  Daniel) 
and  of  Barbara  Helena  Preisler.    (See  Ceding.) 

PREISLEK,  Johann  Georg,  the  son  of  Johann 
Martin  Preisler,  was  born  at  Copenhagen  in  1757. 
After  receiving  some  instruction  in  engraving  from 
his  father  he  entered  the  Academy  of  his  birth- 
place, where  in  1780  he  obtained  the  gold  medal 
for  his  plate  of  '  Christ  and  the  Samaritan  Woman.' 
In  the  following  year  he  went  to  Paris,  where  he 
became  a  pupil  of  Jean  George  Wille.  He  en- 
graved several  plates  in  the  style  of  his  instructor, 
and  in  1787  was  made  a  member  of  the  Academy 
in  Paris.  His  plate  of  reception  represented 
'  Dsedalus  and  Icarus,'  engraved  from  a  picture  by 
Vien.  After  his  return  he  was  in  1788  admitted  a 
member  of  the  Academy  nf  Copenhagen.  He  died 
at  Lyngby,  near  that  city,  in  1831. 

PREISLER,  Johann  Jdstin,  a  German  painter 
and  engraver,  the  eldest  son  of  Johann  Daniel 
Preisler,  was  bom  at  Nuremberg  in  1698.  He  was 
instructed  in  design  by  his  father,  and  afterwards 
visited  Italy,  where  he  resided  eight  years.  On 
his  return  to  Germany  he  gave  proof  of  considerable 
ability  in  a  picture  representing  the  '  Ascension  of 
Christ,'  for  one  of  the  hospitals  at  Nuremberg, 
where  he  died  in  1771.  He  is,  however,  more 
known  as  an  engraver  than  as  a  painter.  The 
following  prints  are  by  him  : 

The  Four  Elements  ;  after  Boiiekardon. 

The  Four  Quarters  of  the  "World  ;  after  the  same. 

A  set  of  fiftj  plates  of  the  priucipal  antique  statues  at 

Rome  ;  from  the  designs  of  Bouchardon. 
Part  of  the  plates  from  the  ceilings  painted  by  Rubens, 

in  the  church  of  the  Jesuits  at  Antwerp,  with  the 

frontispiece,  containing  the  portraits  of  Rubens  and 

Van  Dyck. 

PREISLER,  Johann  Martin,  the  third  son  of 
Johann  Daniel  Preisler.  was  bom  at  Nuremberg  in 
1715.  He  was  instructed  in  engraving  by  his 
father  and  his  eldest  brother  ;  but  in  1739  he  visited 
Paris,  where  he  received  some  lessons  from  Georg 
Friedrich  Schmidt.  In  1744  he  was  invited  to  the 
court  of  Denmark,  and  became  engraver  to  the  king, 
and  a  member  of  the  Academy  at  Copenhagen,  near 
which  city  (at  Lyngby)  be  died  in  1794.    'There 

156 


are  several  plates  by  this  artist,  among  them  the 
following  : 

portraits. 

Frederick  V.,  King  of  Denmark  and  Norway,  and  his 

Consort ;  after  Tilo.    17J8. 
Christian  VI.,  King  of  Denmark  ;  after  JVahl. 
Jacobus  Benzelius,  Bishop  of  Upsal.     1751. 
Otto,  Count  de  Thot ;  after  Krafft. 
Johan  Wiedewelt,  sculptor ;  after  P.  Alst.    1772. 
KJopstock  ;  after  Juel.     1782. 
Equestrian  Statue  of  Frederick  V. ;  after  the  orijinal  in 

bronze  by  J.  Saly. 
Cardinal  de  Bouillon ;  after  Rigaud. 

SUBJECTS  AFTER  VARIOUS   MASTERS. 

David  and  Abigail ;  after  Guido  Rem. 

Semiramis  putting  the  Crown  of  Ninus  on  her  head ; 

after  the  same. 
Christ  bearing  His  Cross ;  after  Paolo  Veronese.     This 

and  the  preceding  print  were  for  the  Dresden  Gallery. 
Ganymede  taken   up  by  the  Eagle  of  Jupiter ;  after 

Pierre. 
A  Bacchanalian  subject ;  after  the  same. 
Laban  seeking  for  his  Gods  ;  after  Cazes. 
The  Triumph  of  Darid  ;  after  Trevisani. 
Jonah  preaching  to  the  Ninerites  ;  after  Salvator  Rosa. 
The  '  Madonna  della  Sei;giola  ; '  after  Raphael. 
Many  plates  from  antique  statues  in  tlie  galleries  of 

Italy  and  Germany. 

PREISLER,  Valentin  Daniel,  the  fourth  and 
youngest  son  of  Johann  Daniel  Preisler,  was  bom 
at  Nuremberg  in  1717,  and  studied  under  his 
brother  Johann  Martin.  There  are  by  him  some 
mezzotint  portraits  of  the  Burgomasters  of  Zurich, 
after  the  designs  of  J.  C.  Fiissli,  which,  from  some 
caprice,  he  signed  with  the  name  of  S.  Watch. 
He  also  scraped  some  plates  of  portraits  and  his- 
torical subjects,  after  pictures  in  the  collection  of 
the  King  of  Denmark.  He  died  in  1765.  Nagler 
enumerates  twenty-six  pieces  by  him  ;  one  is  a 
'  Virgin  and  Child,'  after  Correggio. 

PRELLER,  Friedrich  Johann  Christian  Ernst, 
painter  and  etcher,  was  born  at  Eisenach  in  1804. 
He  came  when  young  to  Weimar,  but  .studied  for 
two  years  at  Dresden  about  1820.  In  1822  he 
returned  to  Weimar,  and  became  the  close  friend  of 
Goethe,  and,  throtigh  him,  the  proUcji  of  the  Grand 
Duke,  Karl  August.  In  1827  Preller  went  to  Rome, 
where  he  studied  under  Koch.  Four  years  later  he 
was  again  in  Weimar,  painting  six  large  Thuringian 
landscapes,  with  historical  incidents,  for  the 
Schloss,  and  decorating  the  Wieland  Hall  in  the 
Museum  with  scenes  from  '  Oberon  '  in  fresco,  and 
a  Hall  in  Leipsic  with  scenes  from  the  'Odyssey.' 
The  sixteen  cartoons  for  these  latter  pictures  are  in 
the  Leipsic  Museum.  In  1840  Preller  visited  Nor- 
way, which  provided  him  with  subjects  for  many 
landscapes  and  '  marines.'  He  died  at  Weimar  in 
1878.     Among  his  pictures  we  may  also  name : 

Calypso.     (Munich.) 

Leucothea.     (The  same) 

Styrian  Landscape.     (Berlin  National  Gallery.) 

Norwegian  Coast  Scene.     (The  same.) 

About  1830  Preller  became  interested  in  etching, 
and  established  a  club  for  its  encouragement. 
Among  his  own  plates  the  best,  perhaps,  are  the 
three  following  (B.  M.)  : 

Landscape  with  a  View  of  the  EUersbnrg. 

HiiOD,  bound,  and  leaning  against  a  Tree. 

Landscape  with  a  Stag. 

PRELLER,  Friedrich,  the  younger,  German 
painter,  born  September  1,  1838,  at  Weimar  ;  son 
and  pupil  of  his  father ;  studied  subsequently  at 
Rome.     Since  1867  he  became  resident  at  Dresden 


PAINTERS  AND  ENGRAVEES. 


as  a  Professor  and  Director  of  the  Fine  Art 
Gallery.  Travelled  much  in  Switzerland,  France, 
and  Italy,  where  he  made  numerous  studies.  The 
Hoftheater  at  Dresden  has  examples  of  his  mural 
decoration.  Ilis  'Cloister  of  Sta.  Scholastica'  is 
in  the  Dresden  Gallery,  and  his  'Sappho'  in  the 
Leipzig  Museum.  He  received  several  distinguished 
decorations,     He  died  in  October  1901, 

PRENNER,  Anton  Joseph  von,  a  German  en- 
graver, was  bom  at  Vienna  about  the  year  1698. 
After  the  death  of  Jacob  Mannl,  he  undertook, 
conjointly  with  Andreas  Altamont,  Franas,  Stam- 
part,  Johann  Adam  Schmutzer,  and  other  artists  to 
engrave  all  the  pictures  in  the  Imperial  Collection. 
The  plates,  consisting  of  160,  were  published  at 
Vienna  in  four  volumes,  under  the  title  '  Theatrum 
Artia  Pictoriaj,'  in  the  years  1728  to  1733.  He  died 
in  1761.  He  has  scraped  a  few  plates  in  mezzotint, 
but  they  are  inferior  to  his  other  works.  He  also 
engraved  some  portraits,  among  which  are  the 
following  : 

Johann  Gottfried  Auerbach,  Painter  to  the  Emperor 
Charles  VI. 

Count  d'Odt,  Governor  of  Vienna ;  after  J.  G.  Auer- 
bach. 

PRENNER,  Georg  Caspar  von,  the  son  of  Anton 
Joseph  von  Prenner,  was  born  at  Vienna  about  the 
year  1722.  He  went  young  to  Italy,  and  studied 
painting  at  Rome  for  several  years.  In  the  church 
of  Santa  Dorot^a  there  is  an  altar-piece  by  this 
artist.  There  are  a  few  etchings  by  him,  some  of 
which  are  neatly  finished  with  the  graver.  He 
engraved  some  of  the  plates  for  the  '  Museo  Fioren- 
tino ;  '  and  also  those  for  the  '  Illustri  Fatti  Fame- 
siani,'  published  at  Rome  in  1744  and  1746.  He 
died  in  Italy  in  1766. 

PRENNER,  Johann  Joseph  von,  was  the  younger 
son  of  Anton  Joseph  von  Prenner,  and  was  in- 
structed in  engraving  by  his  father.  He  resided 
some  years  in  Italy,  where  he  executed  some  plates 
for  the  '  Museo  Fiorentino.'  He  also  engraved  a 
set  of  forty-five  prints  from  the  paintings  by 
Taddeo  Zuccaro,  in  the  Castle  of  CapraroUa,  repre- 
senting the  most  memorable  actions  of  the  Famese 
family. 

PRENTIS,  Edward,  an  English  subject  painter, 
bom  in  1797.  He  was  one  of  the  earliest  members 
of  the  Society  of  British  Artists,  where  he  exhibited 
from  1829  to  1850.  In  1823-4  he  exhibited  at 
the  Royal  Academy.  His  works  were  generally 
of  a  domestic  and  humorous  character,  conveying 
some  moral,  and  several  of  them  were  engraved. 
He  died  in  1854,  leaving  a  widow  and  a  large 
family.     Works : 

The  Prodigal's  return  from  the  Alehouse.     (1829.) 

Valentine's  Eve.     (1835.) 

The  Hypocrite.     (1838.) 

Morbid  Sympathy.    (1843.) 

The  Folly  of  Extravagance.    (1850.) 

PRESTEL,  Johann  Amadeus,  (called  also  J. 
Gottlieb  and  J.  Theophilos,)  a  (jerman  painter 
and  engraver,  was  bom  at  Gronenbach,  in  Swabia, 
in  1739.  He  was  at  first  a  carpenter,  but  during 
the  restoration  of  the  abbey  of  Ottobeuren  he 
learned  drawing  under  F.  A.  Zeiller,  and  in  1760 
went  to  Venice,  where  he  studied  painting  under 
Giuseppe  Nogari,  and  was  instructed  in  engraving 
by  Joseph  Wagner.  In  1767  he  proceeded  to 
Rome,  where  he  spent  four  years  in  studying  the 
antique  and  copying  Pompeo  Batoni.  Two  years 
later  he  settled  at  Nuremberg  and  married  the 
engraver  Maria  Catherina  H611  (see  next  article). 


In  1775  he  spent  some  time  in  Zurich  drawing 
portraits,  after  which  he  returned  to  Nuremberg, 
and  devoted  himself  to  reproducing  drawings  by 
the  best  masters — among  other  works  executing 
the  thirty  plates  of  the  '  Schmidt  Cabinet,'  and 
the  forty-eight  of  the  '  Braun  Cabinet."  In  1783 
he  returned  to  Frankfort,  where  he  died  in  1808. 
In  1814  liis  son  published  fifty  more  of  his  plates. 
He  worked  in  various  styles ;  and  left  a  great 
number  of  plates,  most  of  which  are  first  etched,  and 
then  finished  in  aquatint.  He  also  engraved  several 
plates  in  the  crayon  manner.  Among  others,  we 
have  the  following  prints  by  him  : 

The  Portrait  of  himself,  sitting  at  an  easel ;  from  his 
own  design. 

The  Descent  from  the  Cross ;  after  Raphael ;  in  chiaro- 
scuro. 

The  Virgin  with  the  Dead  Christ ;  after  Van  Ih/ck. 

The  Huly  Family;  copied  from  Albrecht  Durer. 

PRESTEL,  Maria  Catharina,  {nee  Holl,)  was 
the  pupil  and  afterwards  wife  of  Johann  Amadeus 
Prestel,  whom  she  aided  in  some  of  his  best  plates, 
particularly  in  landscape.  In  1786  she  separated 
from  him,  and  came  with  her  daughter  to  Eng- 
land, where  she  engraved  some  prints,  which  are 
etched  with  spirit,  and  finished  in  a  picturesque 
manner  in  aquatint.  She  died  in  London  in  1794. 
She  has  left  some  seventy-three  plates  after  Italian, 
Dutch,  and  German  masters.  Among  others,  the 
following  prints  are  by  her : 

Ceres  ;  an  oval ;  after  Cipriani. 

Four  Views  from  the  designs  made  by  Wehberf  in  his 

voyage  with  Captain  Coo'k. 
Two  other  Views ;  from  the  same. 
Two  Landscapes,  with  Horses  ;  after  Wouwerman. 
A  pair  of  Views,  with  Horses  and  figures ;  after  Casanova. 
Hobbema's  Village ;  after  Hohbema. 
Evening,  with  Cattle  reposing  ;  after  Rosa  di  Tivoli. 
Two  Landscapes  ;  after  Gainsborouc/h. 
View  of  a  Tin  Mine  ;  after  Loutherbourg. 

Her  daughter,  Ursula  Magdalena  Prestel, 
afterwards  Reinheimer,  was  bom  at  Nuremberg  in 
1777,  and  after  residing  with  her  mother  some  time 
in  London,  went  on  her  marriage  to  Brussels,  where 
she  died  in  1845.  She  painted  portraits,  land- 
scapes, and  flowers,  and  etched  in  aquatint. 

PRESTON,  Thomas,  called  'Captain  Preston,'- 
was  an  English  engraver,  who  flourished  in  the 
reign  of  George  II.  He  was  an  artist  of  little 
celebrity,  whose  name  is  affixed  to  a  slight  etching 
of  a  bust  of  Pope.  There  are  also  by  him  mezzo- 
tint portraits  of  Admiral  Blake  and  James  Naylor 
the  Quaker.     Preston  is  said  to  have  died  in  1759. 

PRETE  GENOVESE,  II.  See  Galantini  ;  also 
Strozzi. 

PRETI,  Gregorio,  the  brother  of  Mattia  Preti. 
There  is  a  fresco  by  him  in  the  church  of  S.  Carlo 
de'  Catinari,  at  Rome. 

PRETI,  Cavaliere  Mattia,  called  II  Calabrese, 
was  born  at  Tavema  in  Calabria,  or  Ravenna,  in 
1613.  After  passing  some  time  at  Parma  and 
Modena  he  went  to  Rome,  to  work  with  one  of  his 
brothers,  Gbegorio,  and  was  for  a  short  time  a 
scholar  of  Giovanni  Lanfranco.  The  reputation 
Guercinohad  acquired  by  the  novelty  and  grandeur 
of  his  style  induced  him  to  visit  Cento,  where  he 
studied  under  that  master  for  several  years.  He 
afterwards  went  to  Venice  and  Bologna,  where  he 
painted  some  pictures  for  the  public  edifices,  by 
which  he  acquired  a  considerable  reputation.  He 
returned  to  Rome  about  the  jear  1657,  where  he 
was  employed  to  paint  three  pictures  for  the 
church  of  Sant'  Andrea  della  Valle,  representing 

157 


A   BIOGRAPHICAL  DICTIONARY  OP 


siibjectfl  from  the  Life  of  that  Saint.  These,  un- 
fortunately for  his  f  ime,  were  placed  immediately 
under  tlie  '  Four  Evangelists,'  painted  by  Domeni- 
chino.  His  repute  reached  Malta,  whither  he  was 
invited  by  the  grand  master  Cotoner,  who  com- 
missioned him  to  ornament  the  cathedral  with 
some  frescoes,  representing  subjects  from  the  lifn 
of  St.  John  the  Baptist ;  for  these  works  Popp 
Urban  VIII.  conferred  on  him  the  knighthood  of 
the  order.  He  afterwards  passed  some  time  at 
Naples,  where  he  painted  some  considerable  works 
in  fresco,  in  the  church  of  the  Carthusians.  Preti 
was  of  a  violent  disposition,  and  was  under  the 
continual  necessity  of  sliifting  his  quarters  to  avoid 
the  consequence  of  his  quarrels.  He  usually  chose 
the  most  terrific  and  gloomy  subjects;  and  his 
pictures,  which  are  in  the  style  of  Cariivaggio  and 
Ribera,  frequently  represent  martyrdoms  and  scenes 
of  death,  to  which  his  sombre  style  of  colouring 
was  particularly  appropriate.  Disgusted  at  the 
admiration  bestowed  on  tlie  works  of  Luca  Gior- 
dano, he  left  Naples  and  returned  to  Malta,  where 
he  died  in  1699,  his  death  beingcaused,  it  is  said, 
by  a  wound  received  from  his  barber.  The  paint- 
ings from  his  hand  are  innumerable  ;  the  following 
list  contains  some  of  the  more  remarkable  : 

Floreoce.  Xlffizi.    His  own  Portrait. 

„  Academy.     St.  Joha  the  Evangelist. 

Milan.  Brtra.    Christ  Blessiug  the  Children. 

Modena.  3fuseum.     Diogenes. 

Naples.  S.  Pietro  a  )  Legend     of    St.     Catharine — 

Majdla.   J      Frescoes. 

„  Museum.     The  Return  of  the  Prodigal. 

Paris.  Louvre.     Martyrdom  of  St.  Andrew. 

Kome.    St.  Andrea  deUa\SiQenes   from   the   Life  of  St. 
Valle.       j      Andrew — Frescoes. 

„  Doria  Pal.     The  Magdalene. 

„  „  A  Philosopher. 

PRETO  GALLO,  1l.    See  Guillacme,  Le  Frere. 

PREU.     See  Pbew. 

PREUSSER,  Karl  Lodls,  German  painter,  born 
at  Dresden,  July  10,  1845  ;  studied  at  the  Academy 
there  under  Schnorr  and  Groosc.  He  painted 
'Ulysses  and  Calypso,'  'The  Fislierman  '  (after 
Goethe's  poem),  &c.  He  died  at  Dresden,  December 
9,  1902. 

PREVITALI,  Andrea,  a  native  of  Brembate 
Superiore,  a  village  near  Bergamo,  seems  to  have 
been  born  in  1480,  and  to  have  come  to  Venice 
towards  the  close  of  the  century  to  study  under 
Giovanni  Bellini.  The  most  recent  research  cor- 
roborates his  identity  with  the  Andreas  Bergomensis, 
or  Andrea  Cordegliaghi  {q.  v.),  who  is  mentioned  in 
contemporary  documents,  and  by  whom  there  is  a 
signed  and  dated  picture  of  1604  in  the  National 
Gallery  (formerly  in  the  Eastlake  Collection).  Dr. 
Ludwig  has  found  numerous  records  of  the 
Previtali  family  in  and  about  Bergamo,  and 
concludes  that  Andrea  on  removing  to  Venice 
adopted  the  name  Andreas  Bergomensis,  or,  to  still 
further  distinguish  himself  from  a  certain  Andreas 
da  Bergamo,  a  sculptor  also  living  at  Venice, 
An<ireas  Cordegliaghi,  a  nickname  signifying  tapes 
and  needles.  He  probably  adopted  this  curious 
name  from  one  of  his  forefathers,  who  may  have 
been  a  huckster  of  such  wares.  Numerous  paint- 
ings of  his  ar»  recorded  in  various  documents,  and 
he  appears  to  have  been  one  of  the  most  prolific 
of  Giovanni  Bellini's  followers.  The  earliest  known 
example  of  such  work  is  a  Madonna  in  the 
Museo  Civico  at  Padua  of  1502,  in  which  a  home- 
liness of  conception  is  relieved  by  attractiveness 
of  colouring  and  charm  of  landscape.    These  two 

158 


characteristics  constantly  recur  in  Previtali's 
works,  and  Morelli  goes  so  far  as  to  say  that 
in  brilliancy  of  colouring  he  is  second  to  no  other 
pupil  of  Bellini.  Even  at  his  best,  however,  he  is 
only  a  second-rate  artist,  reflecting  the  influence 
of  his  greater  contemporaries,  Bellini,  Cinia,  and 
Lotto,  and  seldom  (except  in  the  portraits  he 
introduces  into  his  votive  altar-pieces)  rising  to 
any  originality  of  representation.  His  works  are 
fairly  numerous,  Bergamo  alone  possessing  some 
twenty  examples,  of  which  an  altar-piece  in  eight 
parts,  a  Madonna  and  two  Saints  with  portraits  of 
Cassoti  and  his  wife,  and  a  Madonna  with  SS. 
Dominic  and  Sebastian  of  1506,  are  the  most 
important  in  the  Gallery.  We  may  also  note 
the  altar-piece  in  the  Duomo  of  1524,  and  two 
works  in  S.  Spirito,  a  St.  John  Baptist  and  four 
other  Saints  of  1515,  and  a  Madonna  between 
four  female  Saints  of  1525.  This  is  his  last  dated 
work,  and  was  probably  finished  by  another  and 
inferior  hand.  At  Ceneda  there  is  an  'Annunciation' 
which  Ridolfi  tells  us  Titian  never  failed  to  stop 
and  admire  when  on  his  way  to  Cadore.  In  the 
Palazzo  Ducale  at  Venice  the '  Christ  in  Limbo '  and 
the  'Crossing  the  Red  Sea'  are  now  generally 
attributed  to  Previtali,  although  they  long  bore 
Giorgione's  name,  and  in  the  church  of  S.  Giobbe 
at  Venice  is  a  replica  with  variations  of  the 
National  Gallery  Madonna  and  Saints  alri'ady 
mentioned.  England  also  possesses  a  Madonna 
in  the  Christ  Church  Gallery  at  Oxford,  and  two 
capital  examples  in  Mr.  George  Salting's  Collection. 
Other  pictures  are  : 


Bergamo.     <S.  Alessandro  i 
in  Croce.  J 

„  S.  Andrea. 

„     S.MariaMaiigiore. 
Berlin.  Gallery. 

Buda  Pesth.  Gallery. 
Dresden.  Gallery. 

Milan.  Brera. 

„  Dr.  Frizzoni. 

-      Ex  Bon'-'ini-Cereda. 


Venice. 


Vienna. 


Poldi. 
Hedentore. 

Lady  Layard. 
Gallery. 


Crucifixion.     1524. 

Entombment. 

Fresco  over  South  Door. 

Madonna  and  four  Saints. 

Marriage  of  St.  Catherine. 

Madouna. 

Madonna  and  Saints.     1510. 

Christ  in  Garden.     1512. 

Madonna  and  Donor.     1506. 

Madonna   and    two    Saints. 

1522. 
Male  Portrait. 
Nativity. 
Crucifixion. 
Head  of  Christ. 
Madonna. 
Portrait  of  a  Man. 


Previtali  is  said  to  have  died  in  1528  of  plague, 
but  Morelli  thinks  his  death  probably  occurred  a 
few  years  earlier,  in  1525.  H.C. 

PKEVOST,  BenoIt  Louis,  a  French  engraver, 
was  born  in  Paris  about  the  year  1735,  and  was 
a  pupil  of  Jean  Ouvrier.  He  was  a  skilful  en- 
graver of  vignettes,  and  the  faithful  interpreter  of 
Cochin,  after  whose  designs  he  executed  about 
sixty  pieces,  including  the  fine  frontispiece  of  the 
'  Encyclop^die,'  1770.  He  also  engraved  the  vig- 
nettes after  Moreau  for  D^sormeaux's  '  Histoire  de 
la  Maison  de  Bourbon.'  He  died  in  1804.  The 
following  portraits  also  are  by  him  : 

Louis  XV. ;  medallion  profile  ;  after  Cochin.     1765. 
Queen  Marie  Antoinette  ;  after  the  same.    1776.     (His 

chef  d^ceuvre.) 
Armand  Thomas  Hue,  Marquis  de  Mirom^nil ;  after  the 

same.    1773. 
Marquis  de  Marigny  ;  monumental  medaUion.     1781. 
Charles  Nicolas  Cochin,  the  younger,  engraver ;  small 

medallion  in  head-piece  of  Jombert's  '  Catalogue  de 

rtEu\Te  de  Cochin,'  1770  ;  after  Prevost's  own  design. 
The  same ;  medaUion ;  after  himself.    1781. 


ANDREA   PREVITALI 


Alinari photo\  [Saint  Sfiiilo,  Bergamo 

ST.  JOHN  THE  BAPTIST  AND  THREE  OTHER  SAINTS 


WILLIAM   PREWITT 


GEORGE  WASHINGTON  HORACE  WALPOLK,   1735 

From  enamels  at  Montagu  House 


PAINTERS  AND  ENGRAVERS. 


Joseph  Ignace  Ouillotin,  physician ;  after  J.  U.  Jforeau. 
Voltaire  walking  in  his  Garden. 

PRfiVOST,  Jacques,  a  French  historical  painter, 
bom  at  Gray,  in  the  department  of  Haute 
SaSne,  about  1546.  He  lived  at  Langrt-s,  where 
he  painted  a  picture  of  the  death  of  the  Virgin 
for  the  church  of  St.  Mamert.  He  was  also  an 
engraver. 

PRfiVOST,  John,  a  native  of  Mons  in  Hainault, 
admitted  as  free  master  into  the  Guild  of  St.  Luke 
at  Antwerp  in  1493,  removed  shortly  after  to 
Bruges,  and  having  bought  the  right  of  citizenship, 
February  10,  1494,  settled  there.  In  1498  he 
purchased  the  freedom  of  the  town  of  Valenciennes, 
and  shortly  afterwards  married  Joan  de  Quaroube, 
widow  since  1489  of  the  celebrated  painter  and 
miniaturist  Simon  Marmion.  Provost,  after  holding 
various  offices  in  the  Bruges  Guild  in  1501-2, 
1507-8,  1509-10,  1511-12  and  1514-15,  was  Dean 
in  1519-20  and  1525-26.  In  1521  he  was  at 
Antwerp,  where  he  made  the  acquaintance  of 
Albert  Diirer,  who  in  his  diary  tells  us  that  he 
accompanied  him  to  Bruges,  was  his  guest  for 
three  days,  and  was  entertained  by  liini  at  a 
sumptuous  banquet  to  which  the  principal  artists 
of  the  town  were  invited.  Diirer  drew  his  portrait 
and  that  of  his  third  wife.  Provost's  first  wife 
died  in  1505-6  ;  he  re-married  three  times,  and 
died  in  January  1529.  In  the  Museum  of  Bruges 
there  is  a  picture  of  the  '  Last  Judgment '  painted 
by  him  in  1525  for  the  Town  House  for  the  sum  of 
201.  12s.  gr.  A  full  account  of  other  works 
executed  by  him  will  be  found  in  '  Le  Beffroi,'  iv., 
205-216,  Bruges,  1875,  and  a  critical  notice  of 
paintings  attributed  to  him  by  M.  G.  Hulin  in 
'L'Art  et  la  Vie,'  Ghent,  1902.  Provost  left  two 
sons,  Adrian  and  Thomas,  both  painters,  who  settled 
at  Antwerp.  Another  pupil  of  his,  Maximilian 
Fraus,  admitted  to  tlie  freedom  of  the  Guild  in 
1524,  remained  at  Bruges.  No  work  by  any  one 
of  these  has  been  identified  as  yet. 

PREVOST,  Nicolas,  (or  Provost,)  was  a  native 
of  France,  and  is  mentioned  by  the  Abbe  de  Ma- 
roUes  as  a  painter  and  scholar  of  Claude  Vignoii. 
He  flourished  about  the  year  1666,  and  is  said  to 
have  etched  six  small  plates.  Dumesnil  is  of 
opinion  that  he  is  the  artist  that  painted  the  '  De- 
collation of  St.  John,'  for  the  church  of  Notre 
Dame  in  Paris.  He  describes  only  one  print  by 
him,  a, '  Holy  Family,'  signed  JV.  Preuost  Jn. 

PREVOST,  Pierre,  a  painter  of  panoramas  and 
landscapes,  was  born  at  Montigny  (Eure-et-Loir) 
in  1764.  In  tlie  first  place  he  worked  at  Valen- 
ciennes, but  afterwards  migrated  to  Paris.  He 
painted  a  number  of  easel  pictures,  landscapes,  and 
ruins,  but  his  principal  works  were  panoramas, 
which  he,  perhaps,  was  the  first  to  exhibit  in  France. 
Among  these  were  Paris,  Naples,  Amsterdam, 
London,  Antwerp,  Athens,  Jerusalem,  and  various 
battles,  in  which  ho  was  assisted  by  Bouton  and 
Daguerre.  In  1817  Prevost  visited  Greece  and 
Asia  Minor  with  M.  Forbin.  He  died  in 
182.3.  ^ 

PREVOST,  ZACCHfeE,  an  engraver,  was  born  in 
or  about  1797,  and  became  a  pupil  of  Baron  Reg- 
nault  and  of  Bervic.  The  first  large  work  exhibited 
by  him,  which  establislied  his  reputation,  was 
'  Corinne,'  after  Gerard.  About  1830  he  com- 
menced engraving  in  aquatint,  executing  several 
plates  after  Leopold  Robert  and  Delacroix.  He 
soon,  however,  returned  to  line-engraving,  and 
exhibited  a  large  plate  of  the  '  Marriage  of  Cana,' 


from  the  great  Paolo  Veronese  in  the  Louvre.     For 
this  he  was  decorated.     He  died  in  1861. 

PREW,  JoRO,  (Breu,  or  Preu,)  was  a  painter 
at  Augsburg  in  the  16th  century,  an  imitator  of 
Altdorfer.  He  was  most  likely  identical  with 
"  Georg  Prew  von  Aue,  1501,"  as  he  signs  himself 
on  a  picture  at  Herzogenburg,  in  Austria.  He 
began  to  work  in  Augsburg  about  1500,  and  died 
there  in  1636.  The  Munich  Pinakothek  contains  a 
'  Battle  of  Zama  '  by  him.  It  is  signed  Joro  Prew, 
and  with  a  monogram  as  well.  The  arms  of 
Bavaria  and  the  letters  H.W.  (Duke  Wilhelm  IV.) 
also  appear  upon  it. 

PREWITT,  William,  an  English  miniature 
painter  of  considerable  merit  in  the  middle  of  the 
18th  century.  He  was  a  pupil  of  Zincke,  and  prac- 
tised in  London.  His  works  are  in  enamel  and 
brilliant  in  colour.  There  is  a  good  specimen  of 
his  art  in  the  Kensington  Museum. 

PREY,  J.  Z.,  a  painter,  was  bom  at  Prague  in 
1744.  He  worked  at  Pressburg,  visited  Dresden 
and  Frankfort,  and  in  1770  settled  at  Rotterdam. 
He  painted  portraits  and  historical  subjects,  and 
died  at  Bois-le-Duo  in  1823. 

PREYER,  JoHANN  Wilhelm,  German  painter, 
born  at  Rheydt,  near  Diisseldorf,  July  19,  1803. 
Still-life     painter  ;     studied     at     the     Diisseldorf 
Academy,    and   subsequently   travelled   in    Italy, 
Holland,  and  Switzerland.'    Most  of  his  pictures 
are  in  America.     He  died  at  Diisseldorf,  February 
19,  1889. 
PRKZ,  F.  DES.    See  Desprez. 
PREZIADO.     See  Preciado. 
PRICE,  (I.)  William  the  elder,  died  1722,  was 
the  ablest  pupil  of  Henry  Gyles  (or  Giles)  of  York, 
"a celebrated  Glasse-Painter "  (died  1709).    Price, 
like  other   glass-painters   of  the   period,   worked 
more   in   enamelled    glass   than   in   pot-metal   or 
mosaic  of  transparent  glass. 

Oxford,  Christchurch,  1696 :  He  painted  for  the  ea.st 
window  a  copy  of  Sir  James  Thornhill's  *  Nativity'; 
this  work  was  taken  down  by  Sir  G.  G.  Scott. 
Merton  College  Chapel,  1702 :  The  east  window ; 
six  lights  in  grisaille,  representing  the  *  Life  of 
Christ,'  signed  by  the  artist.  With  the  donors 
name  and  the  date  HDCCII.     Still  in  its  place. 

II.  Joshua,  his  brother  and  fellow-pupil ;  suc- 
cessor to  Gyles.     Works  dated  1715  and  1717. 
Oxford,  Queen's  College  Chapel,  1715  :  The  east  window, 

the  '  Holy  Family  with  Angels.' 
Queen's  College  Hall :  The  round-heads  of  the  win- 
dows,  containing  portraits    and   coats-of-arms,  are 
probably  by  Joshua  Price. 
1717  :   He  was  engaged  to  repair  a  number  of  17th 
century  windows   in  Queen's    College   Chapel,  the 
work  of  Abraham  van  Linge  ;  and  he  also  restored 
and  added  to  the  windows  of — 
Denton  Church,  near  Bungay,  1716-17. 

III.  William,  the  younger,  died  1765,  Joshua's 
son.     He  died  unmarried  in  London. 
Westminster  Abbey,  1722-35  :  He  worked  on  several  of 

the  windows,  the  money  being  voted  by  Parliament 

for  the  work.     The  great  west  window  is  liis  finest 

work. 
Oxford,  New  College  Chapel,   1740:    He  repaired  and 

completed   the   Flemish  windows  of   the  scliuol  of 

Rubens,  adding  to  them  a  good  deal. 
Winchester,  College  Chapel :  the  '  Genealogy  of  Adam,' 

now  removed. 
Wilton  House  :  The  '  Herbert  Family.' 
Gloucester,  the  Bishop's  Palace  :  A  window,  the  '  Re.eur- 
.  rection. ' 

'    Westminster,  St.  Margaret's  Chnrch :  One  of  the  Price 

family  repaired  tJtie  window,  the '  Crucifixion  with 

Saints,'  when  it  was  still  in  the  chapel  of  Copt  Hall, 

159 


A  BIOGRAPHICAL  DICTIONARY  OF 


near  Kpping.  An  advertisement,  quoted  in  the 
'Arch.  Jouru.'  xixiv.,  p.  103,  sets  forth  that: 
*'  Whereas  the  ancient  Art  of  Painting  and  Staining 
Glass  has  been  much  discouraged,  by  reason  of  an 
opinion  generally  received  tliat  the  Red  Colour  (not 
made  in  Europe  for  many  years)  is  totally  lost ; 
these  are  to  give  notice,  that  the  said  Red  and  all 
other  colours  are  made  to  as  great  a  degree  of 
Curiosity  and  Fineness  as  in  former  Ages  by  William 
and  Joshua  Price  Glasiers  and  Glass-Painters,  near 
Hatton  Garden  in  Holborn,  London;  where  Gentle- 
men may  have  Church  History,  etc..  Painted  upon 
Glass  in  what  colours  they  please,  to  as  great  Perfec- 
tion as  ever  .  .  ."  0.  B. 

PRICKE,  Robert.    See  Pryke. 
PRIEM,  Joseph,   a  German   painter,   born   at 
lUestissen  in  Bavaria  in  1776.     He  was  a  pupil  of 
Kellerhoven,  and  painted  landscapes  and  historical 
Bubjects.     He  died  in  1822. 

PRIEST,  Thomas,  was  an  English  landscape 
painter,  who  resided  at  Chelsea  about  the  year 
1738.  He  chiefly  painted  views  of  the  Thames, 
and  pubhshed  a  set  of  eight  etchings  of  Chelsea, 
Mortlake,  and  other  places  on  the  river. 

PRIETO,  Thomas  Francisco,  engraver,  was 
born  at  Salamanca  in  1716.  He  was  a  pupil  of 
Lorenzo  Monteman  y  Cusens,  and  Director  of  the 
Academy  of  San  Fernando.  His  daughter  Maria 
DE  LoRETTO,  a  Spanish  amateur  engraver,  was  born 
at  Madrid  in  1753.  She  was  received  an  honorary 
member  of  the  Academy  of  San  Fernando,  and 
died  in  1772. 

PRIEUR,  P.,  a  great  enamel  portrait-painter  of 
the  seventeenth  century,  of  whom  very  little  per- 
sonal history  is  known.  He  was  in  England  in 
1669  painting  Charles  II.;  in  1670  in  Poland,  and 
in  1671  in  Deiuuark.  He  also  visited  France  and 
Spain,  and  it  is  believed  Russia.  There  are  fine 
portraits  by  him  in  Windsor  Castle,  the  Dartrey 
Collection,  London,  Rosenborg  Palace,  Copen- 
hagen, and  the  Hermitage,  St.  Petersburg. 

PRIEUR,  RoMAiN  Etienne  Gabriel,  a  French 
landscape  and  historical  painter,  born  at  Fert^ 
Gaucher,  Seine  et  Mame.  He  was  a  pupil  of  V, 
Bertin  in  landscape.     He  died  in  1879. 

PRIMATICCIO,  Francesco,  was  born  at  Bo- 
logna in  1504.  He  was  of  good  birth,  and  his 
family,  perceiving  his  strong  inclination  for  art, 
jilaced  him  first  with  Innocenzo  da  Imola,  and 
afterwards  with  Bagnacavallo.  Thence  he  migrated 
to  the  studio  of  Giulio  Romano,  who  had  more 
influence  on  his  style  than  his  earlier  masters. 
Primaticcio  worked  with  Giulio  at  Mantua,  in  the 
Palazza  del  T6.  On  the  Duke  of  Mantua  being 
asked  to  reconnuend  an  artist  to  Francis  I.,  he  sent 
him  Primaticcio,  who  for  a  time  collaborated  with 
II  Rosso  at  Fontainebleau.  A  quarrel  arising, 
however,  Primaticcio  was  sent  back  to  Italy  to 
collect  works  of  art  for  the  French  King.  During 
his  absence  his  rival  died,  and  he  succeeded  to 
the  vacant  post  of  Director  of  the  Works  at  Fon- 
tainebleau. In  this  office  Primaticcio  was  suc- 
cessively confirmed  by  Henry  II.,  Francis  II.,  and 
Charles  IX.  He  died  in  Paris  in  1570.  Much  of 
Primaticcio's  work  at  Fontainebleau,  (most  of  it, 
however,  actually  painted  by  Niccolo  dell'  Abate 
from  his  designs,)  was  destroyed  in  1738,  when 
some  structural  alterations  were  made  in  the  palace. 
All  that  remains  is  the  decoration  of  the  guard 
chamber,  now  called  the  "Salle  de  Madame 
d'^tampes,"  a  series  of  frescoes  illustrating  the 
career  of  Alexander  the  Great,  painted  by  Niccolo 
after  his  master's  designs,  and  various  scenes  from 
160 


classic  mythology,  painted  by  Primaticcio  himself 
All  these  works  have  undergone  much  "  restor- 
ation," and  now  the  art  of  their  author  is  perhaps 
to  be  best  appreciated  through  the  fine  series  of 
liis  drawings  in  the  Louvre.  Ills  easel  pictures 
are  very  rare.  At  Fontainebleau  there  is  a  full- 
length  nude  figure  of  '  Diana,'  and  at  Castle 
Howard  a  fine  '  Return  of  Ulysses.' 

PRIMAVESI,  JoHANN  Georq,  painter  and  en- 
graver, was  born  at  Heidelberg  in  1776.  He  drew 
a  series  of  landscapes  illustrating  the  Rhine  from 
its  source  downwards.  He  became  court-painter 
at  Heidelberg.  Twelve  etchings  by  him  of  '  Heidel- 
berg Castle,'  and  some  of  views  from  Mannheim 
and  Baden,  are  extant.  The  date  of  his  death  is 
not  known. 

PRIMI,  Giovanni  Battista,  a  marine  and  por- 
trait painter,  was  a  pupil  of  A.  Tassi  and  a  native 
of  Rome.  He  resided  a  long  time  at  Genoa,  where 
he  died  in  1657. 

PRIMISSER,  Julie.    See  Mihes. 

PRIMO,  Luis,  known  as  Gentile  on  account  of 
his  gentle  manners,  was  born  at  Brussels  in  1606, 
and  went  when  young  to  Rome,  where  he  spent 
thirty  years,  and  was  in  1650  received  into  the 
Academy  of  Saint  Luke.  He  was  employed  by 
Pope  Alexander  VII.,  whose  portrait  he  painted. 
In  the  church  of  San  Marco  a  painting  exists  by 
liim  of  '  St.  Anthony,'  and  in  the  Cappuccini  at 
Pesaro  there  are  a  '  Nativity '  and  '  St.  Stephen.' 
One  of  his  best  works  is  the  '  Crucifixion,'  in  the 
church  of  St.  Michael  at  Ghent.  Others  are, 
'  Phoebus  in  the  Chariot  of  the  Sun '  (engraved 
by  Bloemaert),  'St,  Raymond,'  and  '  S.  Carlo 
Borromeo  healing  the  Plague-stricken.'  Primo 
painted  many  portraits,  which  are  remarkable  for 
their  finish.     He  died  at  Rome  in  1668. 

PRINA,  Pier  Francesco,  a  native  of  Novaro, 
who  is  commended  by  Orlandi  for  his  decorative 
frescoes.     He  was  living  in  1718. 

PRINCE,  Le.     See  Leprincb. 

PRINETTI,  Constantino,  landscape  painter, 
was  born  at  Canobbio  in  1830.  After  studying  at 
the  Milan  Academy  under  Canella  he  travelled  in 
Germany,  Holland,  Paris,  Normandy,  England,  and 
Scotland.  He  died  at  Milan  in  1855.  Among  his 
paintings  we  may  name: 

The  Brienzer  See. 

The  Battle-field  of  Niifcls  ;  engraved  by  Salathi. 

Duudas  Castle. 

The  Thames  and  Houses  of  Parliament. 

Street  iu  Edinburgh. 

Valsasina. 

_  PRINS,  B.  M.,  a  painter  of  landscapes  and  sea- 
pieces,  was  living  at  Amsterdam  about  1824. 

PRINS,  Johann  HtiiBERT,  a  painter  of  views  of 
the  interiors  of  cities,  was  born  at  the  Hague  in 
1757.  He  was  intended  for  the  medical  profession, 
but  his  predilection  for  painting  induced  him  to  quit 
his  home  and  the  university  in  order  to  avoid  his 
friends,  who  were  strongly  opposed  to  his  inclin- 
ation. He  rambled,  as  an  artist,  through  Brabant 
and  France,  where  he  made  numerous  sketches  and 
drawings,  with  which,  after  two  years'  absence,  he 
returned  to  his  own  country.  He  visited  Amster- 
dam, Utrecht,  and  Leyden,  and  painted  views  in 
e.ach  of  those  cities.  The  Dutch  writers  say  he 
painted  in  the  manner  of  Berck-Heyden  and  Van 
der  Heyden,  but  his  pictures  resemble  theirs  only 
in  subject.  His  pictures,  which  are  generally 
small,  are  representations  of  the  cities  of  Holland, 
with  landscapes  and   marine  views.     Besides  oil 


p.  PRIEUR 


An  enamel]  [Colltclion  of  the  Earl  of  Dartrey 

PROBABLY  NICOLAS  FOUQUET,  FINANCE  MINISTER  TO  LOUIS  XIV  ,  1658 


p.  PRIEUR 


[Collecfioii  of  the  King  oj  Denmark 
FREDFRIK  III  ,   1663 


PAINTERS  AND  ENGRAVERS. 


paintings,  be  executed  numerons  drawings,  aqua- 
relles, and  etchings.  He  was  drowned  in  a  canal 
at  the  Hague  in  1806. 

PRIOR,  Thomas  Abiel,  an  English  line  en- 
graver, was  bom  on  November  6th,  1809.  He 
practised  the  severest  form  of  engraving  in  line, 
and  in  that  method  interpreted  Turner  with  rare 
skill.  He  merits  a  place  among  what  are  called 
'  Turner's  Engravers  '  by  the  fact  that  he  engraved 
one  plate  during  the  painter's  life,  and  under  his 
supervision,  the  'Heidelberg.'  He  resided  for 
many  years  at  Calais,  where  he  was  engaged  as 
drawing-master  in  one  or  two  of  the  public  colleges. 
His  plates  were  done  in  his  spare  time.  He  died 
at  Calais,  November  8,  1886.  The  list  of  his  plates 
is  not  long  : 

Heideiberg;  after  Turner.    (1846.) 

Zurich  ;  after  the  same.     (1854.) 

Apollo  and  the  Sibyl ;  after  the  same.     (1873.) 

The  Golden  Bough  ;  after  the  same. 

Venice,  the  Dogana  ;  after  the  same.     (1859.) 

The  Goddess  of  Discord ;  after  the  same.     (1860.) 

Dido  building  Carthage  ;  after  the  same.     (1863.) 

Heidelberg  Castle  in  the  olden  Time ;  after  the  same. 

(1861.) 
The  Sun  rising  through  Mist ;  after  the  same  (1874) ; 

begun  by  Chapman. 
Crossing  the  Bridge  ;  after  Landseer. 
The  Fighting  Temeraire ;  after  Turner.     (1886.) 

And  three  plates  for  '  The  Turner  Gallery.' 

PRIWITZER,  JoHANN,  was  a  Danish  artist,  who 
visited  England  in  the  time  of  James  I.,  and 
probably  had  court  favour,  as  it  is  said  that  he 
painted  the  portraits  of  many  of  the  nobility.  The 
only  one,  however,  on  record,  is  that  at  Wobum. 
Abbey,  of  Sir  William  Russell,  in  the  robes  of  the 
order  of  the  Bath,  and  attended  by  a  dwarf  (dated 
1627). 

PROBST,  JoHANK  Balthazar,  a  German  en- 
graver, was  born  in  1673,  and  died  in  1748.  He 
worked  chiefly  with  the  burin,  in  a  neat,  formal 
style.  Among  other  prints,  he  engraved  several 
of  the  plates  after  antique  statues  in  the  '  Dresden 
Gallery.'  We  have  also  by  him  some  prints  after 
Luca  Giordano,  Bernardino  Poccetti,  Rugendas, 
and  Ridinger.  He  also  engraved  several  plates  of 
birds  and  beasts  in  the  menagerie  of  Prince  Eugene, 
published  in  1734. 

PROCACCINI,  Andrea,  was  bom  at  Rome,  Jan. 
14th,  1671,  and  was  brought  up  in  the  school  of 
Carlo  Maratti.  He  painted  historical  subjects  in 
the  style  of  his  master,  and  among  his  other 
works  in  the  public  edifices  at  Rome,  is  his  picture 
of  Daniel,  in  the  series  of  the  twelve  prophets 
painted  by  order  of  Clement  XL,  in  San  Giovanni 
Laterano.  He  assisted  the  same  pontiff  with  his 
advice  on  the  establishment  of  his  tapestry  factory. 
He  was  invited  to  the  court  of  Spain,  where  he 
resided  fourteen  years,  and  was  appointed  cabinet 
painter  to  Philip  V.  He  executed  many  im- 
portant works  in  tho  palaces  and  churches  of 
Spain,  but  his  smaller  pictures  are  very  few.  He 
etched  gracefulh",  and  in  this  branch  of  art  there 
are  by  him  a  half-length  of  '  San  Vincente  Ferrer,' 
an  'Infant  Bacchus,'  'Diana  in  the  Chase,'  'Clelia 
passing  the  Tiber,'  the  'Supper  at  Emmaus,'  and 
' The  Transfiguration  '  (after  Raphael);  and  other 
pieces,  after  Carlo  Maratti.  He  died  at  San  Ilde- 
fonso  in  1734,  and  was  buried  with  great  pomp  in 
the  convent  of  San  Francisco  de  Segovia. 

PROCACCINI,  Camillo,  the  son  of  Ercole  Pro- 
caccini  the  elder,  was  born  at  Bologna  in  1546,  and 
was  first  instructed  by  his  father ;  but  he  afterwards 

VOL.  IV.  M 


visited  Rome,  where  he  particularly  applied  him- 
self to  studying  the  works  of  Raphael  and  Michel- 
angelo. Correggio  and  Parmigiano  were  also  the 
objects  of  his  imitation.  Finding  the  presence  of 
the  Carracci  an  obstacle  to  his  success  at  Bologna, 
he  removed  to  Milan,  where  most  of  his  works  are 
to  be  met  with.  He  died  at  that  city  in  1625. 
Among  the  most  remarkable  of  his  pictures  are 
those  of  the  '  Martyrdom  of  St.  Agnes,'  painted  in 
fl-esco,  in  the  sacristy  of  Milan  cathedral ;  a  '  Ma- 
donna and  Child,'  in  Santa  Maria  del  Carmine  ;  an 
'  Adoration  of  the  Shepherds,'  in  the  Brera  ;  and 
the  ceiling  of  the  church  of  Padri  Zoccolanti,  repre- 
senting the  '  Assumption  of  the  Virgin  ' — all  in  the 
same  city.  But  his  best  known  performances  are 
his  '  Last  Judgment,'  in  the  church  of  San  Prospero 
at  Reggio ;  and  his  '  St.  Roch  administering  the 
Sacrament  to  the  Plague-stricken,'  a  really  ad- 
mirable work,  to  which  Annibale  Carracci  paid 
a  tribute  of  admiration  when  he  expressed  his 
reluctance  to  paint  a  companion  picture  to  it,  repre- 
senting St.  Roch  distributing  Alms  to  the  Poor. 
Procaccini  was  commissioned  by  the  Duke  of 
Parma  to  execute  some  frescoes  in  the  cathedral  at 
Piacenza,  in  competition  with  Lodovico  Carracci, 
and  accordingly  he  painted  the  '  Coronation  of  the 
Virgin,'  with  a  beautiful  choir  of  angels.  The  Parma 
Gallery  possesses  also  a  '  Plague '  by  him.  In  the 
Ufiizi  there  is  a  small  '  Madonna  and  Child.'  Of  his 
works  at  Bologna,  the  most  important  are  the 
'  Adoration  of  the  Shepherds,'  in  the  church  of  San 
Francesco  ;  the  '  Nativity,'  now  in  the  Pinacoteca ; 
the  '  Crucifixion  of  St.  Peter,'  in  San  Petronio ;  and 
the  '  Annunciation,'  in  S.  Clemente.  Camillo  Pro- 
caccini possessed  a  fertile  invention,  and  great 
facility  of  hand.  His  colour  is  fair,  and  his 
draperies  are  cast  with  judgment  and  taste  ;  but 
his  facility  often  led  him  into  extravagance  and 
mannerism.  He  has  left  several  etchings,  among 
which  are  the  following  : 

The  Holy  Family  reposing,  in  which  St.  Joseph  is  repre- 
sented lying  on  the  ground,  resting  on  the  saddle  of 
the  ass. 

Another  Holy  Family,  in  which  St.  Joseph  is  presenting 
an  orange  to  the  Infant.     1593. 

The  Virgin  suckling  the  Infant,  St.  Joseph  standing 
behind  her. 

The  Virgin  and  Child  with  St.  Peter  and  St.  Anthony. 

The  Transfiguration,  of  which  there  are  two  impressions ; 
the  second  retouched  by  another  hand,  but  in  a  very 
able  manner. 

St.  Francis  receiving  the  Stigmata.    1593. 

PROCACCINI,  Carlo  Antonio,  the  third  son  of 
Ercole  and  the  brother  of  Camillo  and  Giulio  Cesare 
Procaccini  the  elder,  was  born  at  Bologna  about 
the  year  1555,  and  is  said  to  have  been  instructed 
in  art  by  his  father,  though  he  practised  a  difierent 
genre.  He  excelled  in  painting  landscapes,  flowers, 
and  fruit,  and  his  pictures  possessed  suflicient 
merit  to  secure  them  a  place  in  the  best  collections 
in  the  Milanese.  He  was  also  much  employed  in 
commissions  for  Spain. 

PROCACCINI,  Ercole,  the  elder,  was  bom  in 
1520  at  Bologna.  His  principal  works  are  in 
that  city.  The  following  are  the  most  worthy 
of  notice:  in  the  church  of  San  Benedetto,  a 
picture  of  the  '  Annunciation  ; '  in  San  Giacomo 
Maggiore, '  The  Conversion  of  St.  Paul,'  and  '  Christ 
praying  in  the  Garden  ; '  in  San  Bernardo,  '  St. 
Michael  discomfiting  the  rebel  Angels ; '  and  in  St, 
Stefano,  a  '  Deposition  from  the  Cross.'  Ercole 
established  an  Academy  at  Milan,  which  became 
the  most  celebrated  of  his  time,  and,  besides  his 

161 


A  BIOGRAPHICAL  DICTIONARY  OF 


own  sons,  turned  out  some  of  the  most  distin- 
guished artists  of  the  Milanese  school.     He  died 
after  1591.     Other  works  : 
Bologna.  Gatlery.    A  Pieta. 

„  „  The  Asnimciation. 

„  „  St  Augustine  and  an  Angel. 

PROCACCINI,  Ercole,  the  younger,  the  eon  of 
Carlo  Antonio  Procaccini,  was  born  at  Milan  in 
1596,  and  was  educated  in  the  school  of  his  uncle 
Giulio  Cesare.  He  followed  the  style  of  his  in- 
structor, and  painted  several  pictures  for  the  public 
edifices  and  private  collections  at  Milan.  One  of 
his  best  works  is  an  altar-piece  representing  the 
'  Assumption  of  the  Virgin,'  in  the  church  of  Santa 
Maria  Maggiore  at  Bergamo.  On  the  death  of 
Giulio  Cesare,  he  became  the  director  of  the  academy 
established  by  the  Procaccini,  and  died  in  1676. 
Other  works  : 

Milan.  Brera.    The  Crucifixion. 

PROCACCINI,  Giulio  Cesare,  the  younger 
brother  of  Camillo  Procaccini,  and  son  of  Ercole 
Procaccini  the  elder,  was  bom  at  Bologna  in  1548. 
He  was  taught  the  rudiments  of  design  by  hie 
father,  and  for  some  time  applied  himself  to  the 
study  of  sculpture,  in  which  he  had  made  some 
progress,  when  the  reputation  his  brother  Camillo 
had  acquired  as  a  painter  induced  him  to  change 
the  chisel  for  the  pencil.  He  studied  in  Rome  and 
Venice,  and  appears  to  have  formed  his  style  upon 
the  principles  of  Correggio,  whom  in  his  smaller 
cabinet  pictures  he  sometimes  successfully  imi- 
tated. At  Rome,  where  he  passed  some  time, 
the  productions  of  Raphael  were  particularly  the 
objects  of  his  attention.  In  1618  he  was  invited  to 
Genoa,  where  he  worked  in  the  ducal  palace.  He 
died  at  Milan  about  1626.  An  etching  repre- 
senting the  Virgin  with  the  Infant  Jesus,  has  been 
attributed  to  him,  but  doubtfully.  Of  his  principal 
extant  paintings  we  may  note  : 

Dresden.  Gallery.    Virgin  and  Child. 

„  „  St.   Roch  curing  the    Plague- 

stricken. 
Edinburgh.      AaJ.  Gall.    A  Dead  Christ,  with  the  Mag- 
dalen aud  Angels. 
Florence.  Uffi^i.    His  own  Portrait. 

Genoa.  Ducal  Pal.    Adam    and    Eve  driven   from 

Paradise. 
„  JSrignola  Pal.    Holy  Family. 

„  „  Charity. 

„  ■    Doria  Pal.     The  Dead  Christ. 

Milan.  ^.  Antonio.     The  Annunciation. 

yt  Ambrosiana.     His  own  Portrait. 

„  Brera  Mus.    Adoration  of  the  Magi. 

„  „  Virgin,  St.  Ambrose,  and   St 

Charles. 
„  „  The  Magdalen. 

„  ,  St.  CeciUa. 

Modena.  Museum.    The      Circumcision.    {Colotsal 

Composition.) 
Paris.  Louvre.     Holy  Family. 

Petersburg.    Hermitage.    A  Madonna. 

„  „  Marriage  of  St.  Catharine. 

Toulouse.  Museum.    Marriage  of  St.  Catharine. 

Turin.  Museum.    Virgin   adored  by  SS.  Cecilia 

and  George. 

PROCTOR,  Thomas,  an  English  historical  painter, 
bom  at  Settle  (Yorks.),  April  22, 1753.  His  parents 
were  in  humble  circumstances,  and  for  some  years 
he  had  to  devote  himself  to  uncongenial  occupations 
in  Manchester  and  London.  But  the  love  of  art  at 
length  prevailed,  and  he  entered  the  schools  of  the 
Academy  in  1777.  His  student  career  was  emin- 
ently honourable,  cidminating  in  1784  with  the 
gold  medal  for  his  picture  of  the  '  Tempest.'  He 
162 


also  devoted  himself  to  modelling  with  such  suc- 
cess that  he  ranks  high  among  English  sculptors. 
In  1785  he  exhibited  a  statue  of  Ixion,  which 
was  bought  by  Sir  Abraham  Hume.  He  then 
produced  a  group  of  '  Diomed  devoured  by  bis 
Horses,'  which,  failing  to  sell  it,  he  destroyed  in  a 
fit  of  despondency.  The  first  pictures  he  sent  to 
the  Academy,  in  1780-3,  had  been  portraits,  and  in 
1789  he  again  returned  to  that  genre.  In  1794 
he  was  elected  to  the  travelling  studentship  of  the 
Academy,  but  could  not  be  found,  as  for  some 
years  he  had  sent  no  address  with  his  contributions 
to  the  Exhibition.  West,  however,  tracked  him 
out,  and  found  him  living  on  bread  and  water  in 
an  attic  in  Clare  Market.  Hopes  of  prosperity  had 
come  too  late,  and  a  few  days  later  he  was  found 
dead  in  his  bed.  He  was  in  his  forty-first  year, 
and  was  buried  in  Hanipstead  churchyard. 

PROFONDAVALLE,  Valekio,  an  historical 
painter,  born  at  Louvain  in  1533.  He  lived  for 
some  time  at  Florence,  and  afterwards  settled  at 
Milan.  His  daughter  Prudenzia  painted  still-life 
and  historical  subjects.  Their  real  name  was  Die- 
pendale,  and  they  belonged  to  a  famous  glass- 
painting  family  in  Louvain  of  the  15th  and  16th 
centuries. 

PRONCK,  CoRNElls,  was  bom  at  Amsterdam  in 
1691,  and  was  taught  drawing  by  F.  van  Houten, 
and  painting  by  Arnold  van  Booncn.  He  became 
a  good  portrait  painter,  and  had  much  employment ;. 
but  he  preferred  making  views  of  cities  and  land- 
scapes, in  Indian  ink  and  in  water-colours.  Many 
of  his  drawings,  however,  are  after  other  Dutch 
masters.     He  died  in  1759. 

PRONTI,  Padre  Cesare,  originally  Bacciocchi, 
was  bom  at  Rimini  in  1626,  and  was  brought  up  at 
Bologna,  under  Guercino.  He  was  commonly  called 
Padre  Cesare  da  Ravenna.  He  painted  historical 
subjects,  and  was  much  employed  for  the  churches 
at  Rimini  and  Ravenna.  At  an  early  period  of  his 
life  he  became  a  monk  of  the  order  of  St.  Augustine, 
and  was  afterwards  principally  engaged  in  painting 
altar-pieces  for  the  churches  of  his  fraternity,  of 
which  one  of  the  best  is  a  picture  of  St.  Tom- 
maso  da  Villanova,  at  the  Augustines  at  Pesaro, 
which  he  embellished  with  a  background  of  admir- 
able architecture.     He  died  at  Ravenna  in  1708. 

PROPERT,  John  Lumsden.  This  celebrated 
physician  finds  a  place  in  these  pages  on  account 
of  his  excellent  work  with  the  etching-needle.  He 
was  bom  in  1834,  and  exhibited  at  the  Royal 
Academy  fifteen  etchings,  of  which  'The  Relic 
of  the  Past'  (1877)  and  'The  Shipwreck,'  after 
Turner  (1878),  may  be  considered  as  the  finest 
works.  He  exhibited  also  at  the  first  Exhibition  of 
theSociety  of  Painter-Etchers  in  1881 ,  and  published 
altogether  about  forty  plates.  He  finally  gave  up 
etching  in  1887.  He  was  the  possessorof  a  fine  collec- 
tion of  miniatures,  and  was  very  much  interested  in 
these  works  of  art.  In  1887  he  published  his  im- 
portant work  on  '  The  History  of  Miniature  Art'  In 
1889  he  wrote  the  introduction  to  the  Catalogue  of 
the  Exhibition  of  Miniatures  held  at  the  Burlington 
Fine  Arts  Club.  The  Catalogue  of  the  Collection 
in  its  illustrated  form  has  become  very  rare,  and  is 
a  most  important  work  of  reference.  Dr.  Propert's 
introduction  is  a  luminous  account  of  the  art  and 
its  chief  exponents.  He  also  contributed  a  series 
of  five  articles  on  'English  Miniatures'  to  the 
'Magazine  of  Art'  in  1891.  His  collection  was 
exhibited  and  sold  at  the  rooms  of  the  Fine  Art 
Society  in  1897,  and  his  fine  collection  of  Wedg- 


PAINTERS   AND  ENGRAVERS. 


wood  and  silver  was  sold  at  Christie's  after  his 
death,  which  occurred  in  1902.  He  was  a  man  of 
very  fine  taste  and  of  great  judgment,  and  the 
gallery  at  his  house,  wliich  opened  out  from  his 
consulting-rooms,  was  full  of  precious  things  of 
beauty,  collected  in  many  parts  of  the  world  with 
unusual  discrimination. 

PROSPETTIVE,  Dalie.  See  Agostino,  also 
Paltro.nieri. 

PROTAIS,  Patjl  a.,  an  artist  who  devoted  almost 
all  his  time  to  painting  military  subjects.  He  was 
bom  in  Paris  in  1826,  was  a  pupil  of  Desmoulins, 
and  followed  the  French  army  in  the  practice  of 
his  art  into  Italy  and  the  Crimea.  He  was  a  man 
of  little  fear,  and  thought  nothing  of  posting  him- 
self close  to  the  engaging  forces  in  order  that  he 
might  represent  the  scene  of  carnage  with  vivid 
truth.  Twice  he  was  wounded,  and  twice  received 
a  medal.  He  exhibited  a  great  many  battle  pictures 
between  1857  and  1877,  and  died  in  1886. 

PROTOGENES,  one  of  the  most  illustrious  of 
ancient  Greek  painters,  was  a  native  of  either  Caunus 
or  Camirus,  both  cities  of  Caria.  His  life  as  an 
artist  was,  however,  spent  at  Rhodes,  which  he  only 
once  quitted  on  a  visit  to  Athens.  He  flourished 
between  330  and  300  B.C.  It  is  not  known  of  whom 
he  was  a  disciple,  but  it  is  probable  that  he  received 
his  instruction  from  some  obscure  artist,  or  that 
he  formed  his  style  by  a  general  study  of  the 
painters  who  had  preceded  him.  It  is  certain  that 
for  some  time  he  practised  ship-painting  for  a  live- 
lihood, that  the  early  part  of  his  life  was  passed  in 
indigence  and  obscurity,  and  that  he  was  consider- 
ably advanced  in  years  before  he  became  known 
as  an  artist.  One  of  his  principal  pictures,  which 
has  been  celebrated  by  several  writers,  repre- 
sented the  hunter  lalysus  with  his  Dog ;  it  was 
long  preserved  in  the  Temple  of  Peace  at  Rome. 
A  singular  story  is  told  of  the  production  of  this 
painting.  Protogenes  was  engaged  upon  it  for 
seven  years,  during  which  he  lived  wholly  upon 
lupins  and  water,  hoping  thereby  to  give  his  fancy 
freer  powers.  But  at  the  last  he  found  himself 
wholly  unable  to  produce  the  appearance  of  froth 
in  the  dog's  mouth,  and  after  many  unsatisfactory 
attempts  he  threw  his  sponge  upon  the  canvas  in 
a  fit  of  vexation.  He  had  aimed  it  exactly  at  the 
mouth  of  the  animal,  and  the  stroke  produced  the 
very  effect  which  he  had  been  seeking  so  long  in 
vain.  A  much  greater  interest  attaches  to  this 
picture  in  the  fact  that  it  was  the  means  of  saving 
a  portion  of  the  city  of  Rhodes  from  destruction, 
and  delaying  the  capture  of  the  whole,  when  it  was 
besieged  (b.c.  305)  by  Demetrius  Poliorcetes,  who, 
finding  that  the  only  ready  means  of  mastering  the 
place  consisted  in  setting  fire  to  that  side  on  which 
was  the  house  of  Protogenes,  chose  rather  to  pro- 
tract the  siege  indefinitely  than  to  destroy  such  a 
work  of  art.  The  atelier  of  Protogenes  was  situ- 
ated without  the  walls  of  the  city,  where,  to  the 
astonishment  of  the  besiegers,  he  continued  to 
paint  with  the  most  perfect  tranquillity  and  indiffer- 
ence. This  circumstance  being  made  known  to 
Demetrius,  he  ordered  the  artist  to  be  brought  to 
liis  tent,  when  he  demanded  how  he  could  persist 
in  the  quiet  exercise  of  his  profession  when  sur- 
rounded by  the  enemies  of  his  country.  Protogenes 
replied,  that  he  did  not  consider  himself  to  be  in 
any  danger,  as  he  was  convinced  that  a  great 
prince  like  Demetrius  did  not  wage  war  against 
the  arts,  but  against  the  Rhodians. 
It  was  during  these  hostilities  that  he  painted 


his  famous  picture  of  a  Satyr  playing  on  a  Flageo- 
let. Into  this  he  introduced  a  partridge,  which  he 
depicted  so  accurately  that  some  live  partridges  on 
being  placed  near  it  showed  themselves  deceived 
by  the  resemblance ;  but  Protogenes,  not  wishing 
to  be  regarded  as  a  mere  mechanical  imitator,  and 
observing  that  the  presence  of  the  partridge  blinded 
the  spectators  to  everything  else,  obliterated  it 
from  the  painting  altogether.  Another  admired 
work  of  Protogenes  was  a  subject  taken  from  the 
'  Odyssey,'  representing  Nausicaa  driving  a  chariot 
drawn  by  mules.  A  fourth  was  in  the  Propylsea 
of  tlie  Athenian  Acropolis,  and  represented  the 
sacred  ships  '  Paralus  '  and  '  Ammonias.'  Pliny 
mentions  some  others,  but  the  length  of  time  de- 
voted by  Protogenes  to  each  prevented  the  number 
from  being  large.  His  great  contemporary  Apelles 
found  the  one  fault  in  him  that  he  "  did  not  know 
how  to  let  his  pictures  alone."' 

The  association  of  these  two  masters  gave 
rise  to  more  than  one  interesting  episode.  Not- 
withstanding the  distinguished  talents  of  Pro- 
togenes, his  fellow-citizens  were  either  insensible 
to  his  merit,  or  were  more  than  usually  parsimoni- 
ous in  remunerating  him.  He  continued  to  live  in 
extreme  poverty,  until  the  generosity  of  Apelles 
roused  the  Rhodians  from  the  indifference  they  had 
shown  to  his  talents.  When  that  painter  visited 
Rhodes,  he  was  struck  with  admiration  on  seei'  g 
the  works  of  Protogenes.  He  demanded  wll.t 
price  he  put  upon  his  pictures,  and  the  painter  of 
Rhodes  having  named  an  inconsiderable  sum, 
Apelles,  indignant  at  the  injustice,  offered  him  fifty 
talents  for  each  of  his  works,  publicly  announcing 
that  he  could  sell  them  again  as  his  ovra  at  a  profit. 
This  liberality  opened  the  eyes  of  the  Rhodians, 
who  now  gladly  gave  the  painter  a  higher  suxn 
than  Apelles  had  offered,  rather  thaii  have  their 
city  deprived  of  what  they  had  at  length  learned 
to  appreciate. 

When  Apelles  first  landed  at  Rhodes  on  the 
occasion  of  the  above  interview,  he  called  at  the 
house  of  Protogenes,  but  found  liira  from  home. 
Instead  of  leaving  his  name  with  the  servant  he 
drew  with  a  brush  an  extremely  fine  line  on  a 
panel  that  lay  before  him.  This  being  shown  to 
Protogenes  on  his  return,  he  declared  that  it  must 
have  been  Apelles  who  had  called  upon  him,  and 
taking  a  brush  with  a  different  colour,  he  drew  a 
still  finer  line  upon  the  first  line  itself,  desiring 
that  this  might  be  shown  to  his  visitor  upon  hia 
second  call.  When  this  took  place,  Apelles  with  a 
third  colour  drew  a  yet  finer  line  upon  this  second 
one,  and  Protogenes  upon  seeing  this  was  compelled 
to  declare  that  the  attenuating  process  could  go  no 
further  ! 

PROU,  Jacqtjes,  a  French  painter  and  engraver, 
was  born  in  Paris  about  the  year  1639,  or,  accord- 
ing to  others,  at  Troyes,  in  1624,  and  died  at  the 
end  of  the  same  century.  He  was  a  scholar  of 
Sebastien  Bourd<in,  and  painted  landscapes  in  the 
style  of  that  master.  Of  his  works  as  an  engraver, 
the  following  are  the  most  worthy  of  notice : 

A  set  of  twelve  Laodscapes  and  Views ;  after  his  oirn 
dfsi^s. 

A  set  of  six  large  Landscapes  ;  after  Seh.  Bourdon. 

The  Baptism  of  Christ  by  St.  John  ;  after  the  same. 

The  Flight  into  Egypt ;  after  Agost.  Carracci. 

PRODD,    ,    an    obscure    engraver,    whom 

Strutt  mentions  as  having  resided  in  England 
about  the  year  1760.  He  engraved  a  few  plates 
for  books  and  portraits,  among  which  was  that  of 

163 


A  BIOGRAPHICAL  DICTIONARY  OF 


LondoD. 


Sarah  Philips,  preBied  to  '  The  Ladj  'a  Handmaid.' 
1758. 

PRODT,  J.  Skinner,  nephew  of  Samuel  Prout, 
was  born  at  Plymouth  in  1806.  He  practised 
chiefly  in  water-colours,  and  was  a  member  of  tlie 
Institute,  but  was  chiefly  self-taught.  He  published 
'Antiquities  of  Chester,'  and  'Castles  and  Abbeys 
of  Monmouthshire  '  in  1838.  He  also  visited  Aus- 
tralia, and  resided  for  some  time  in  Sydney  and 
Hobart  Town.  On  his  return  he  lived  for  many 
years  in  Bristol,  and  published  a  work  on  the  an- 
tiquities of  that  town.  The  sketches  for  this  were 
made  in  company  with  W.  Muller,  with  whom  he 
formed  a  close  friendship.  He  afterwards  came  to 
London,  where  he  died  August  29,  1876. 

PROUT,  Samuel,  was  horn  in  Plymouth  about 
1784,  and  educated  at  the  Grammar  School.  Wheu 
quite  a  cliild  he  had  a  sunstroke,  which  affected  his 
health  for  the  rest  of  his  life.  He  accompanied 
John  Britton  into  Cornwall  in  1801,  and  he  after- 
wards went  to  reside  with  liini  in  Clerkenwell, 
during  which  time  he  was  employed  by  the  chief 
topographical  draftsman  of  tlie  day.  In  1805  he 
returned  home,  but  returned  to  London  in  1812. 
He  exhibited  occasionally  at  the  Academy  and 
British  Institution  from  1803  to  1827.  In  1820  he 
was  elected  a  member  of  the  Water-Colour  Society. 
In  1 81 8  he  visited  the  Continent,  and  became  famous 
as  the  painter  of  foreign  Cathedrals  and  Market- 
places. In  1824  he  visited  Italj',  and  fac-similes 
of  the  sketches  of  his  travels  were  published  in 
1839.  He  contributed  to  the  Annuals,  and  for 
Ackermann  he  undertook  drawing-books  for 
learners.  Prout  died  in  Camberwell  February  10, 
1852.     Works : 

>  Bridge  near  York. 

„  „  Arch  of  Constantine,  Rome. 

„  „  Porch  of  Ratisbou  Cathedral. 

„  „  Wurzburg. 

„  „  Castle  on  a  Rocky  Shore. 

„  „  Old  House  near  Tunbridge. 

„  „  Cottage    near    St.    Michael's 

Moiuit. 
„  The  Beach,  Hastings. 

„  „  The  Zwinger,  Drsden. 

„  „  Temple    of    Minerva    Medica, 

Rome. 

A  collection  of  Prout's  drawings  was  exhibited  at 
the  Fine  Art  Society's  Galleries  in  1879-1880,  and 
notes  upon  it  written  by  J.  Ruskin. 

PROVENCAL,  Joseph,  a  French  historical 
painter,  born  in  Lorraine.  He  was  a  pupil  of 
CI.  Charles  and  painted  several  frescoes  in  the 
churches  of  Nancy.     He  flourished  about  1679. 

PROVENCE,  a  Gennan  historical  painter,  who 
studied  in  Italy  and  afterwards  settled  in  Berlin. 
He  died  in  1701. 

PROVENZALE,  Marcello,  -was  bom  at  Cento 
in  1575.  He  was  a  scholar  of  Paolo  Rossetti,  but  is 
chiefly  distinguished  for  his  talents  as  a  mosaicist 
Baglione  describes  several  of  his  works  at  Rome, 
executed  under  the  direction  of  Paul  V.,  among 
which  is  the  portrait  of  that  pontiff,  now  in  the 
Borghese  Palace.  In  conjunction  with  Rossetti, 
he  executed  several  mosaics  in  the  Capella  Clemen- 
tina, in  St.  Peter's,  from  the  cartoons  of  Cavaliere 
Cristofano  Roncalli ;  and  for  the  Cardinal  Soipione 
Borghese  he  finished  some  smaller  works,  among 
which  is  '  Orpheus  playing  on  the  Lyre,  surrounded 
by  animals.'     He  died  at  Rome  in  1639. 

PROVEXZALI,  Stefano,  a  native  of  Cento  and 
a  pupil  of  Guercino.    Crespi  extols  his  battle-pieces. 

164 


S.  Kensington 
Museum. 


PROVOST,  Nicolas.    See  Provost. 

PRUCKER.     See  Pruqger. 

PRUD'HOMME,  Antonie  Daniel,  a  Dutch 
amateur,  born  at  Zwolle  in  1745.  He  at  first 
entered  on  a  commercial  career,  but  after  a  voyage 
to  Demerara  he  settled  at  Antwerp,  and  devoted 
himself  to  art.  He  painted  landscapes,  sea-pieces, 
and  portraits.     He  died  in  1826. 

PRDD'HON,   Pierre,  a   French   historical  and 
portrait  painter,  born  at  Cluny  (SaCne  et  Loire)  in 
1758.     He  was  the  thirteenth  child  of  a  stonemason, 
who  died  soon  after  his  birth.     His  mother  had  a 
great  affection  for  him,  but  her  narrow  means  were 
insufficient  to  provide  for  liis  education,  which  was 
due  to  tlie  charity  of  the  monks  at  the  Abbey  of 
Cluny.     The  pictures  which  decorated  the  walls 
of  the  monastery  early  developed  his  taste  for  art 
The  fruits  of  this  were  first  seen  in  his  exercise- 
books,  which  he  covered  with  sketches.     Unaided, 
he  taught  himself  the  elements  of  oil-painting  with 
the  very  humble  materials  which  lay  within  his 
reach.     At  the  critical  age  of  sixteen,  when  his 
schooling  was  completed,  he  was  fortunate  enough 
to  find  a  friend  in  the  Bishop  of  Macon,  who  placed 
him  in  the  Academy  of  Dijon.     Here  his  progress 
was   satisfactory,   and   his  future   seemed   full   of 
promise,  when  he  contracted  an  imprudent  mar- 
riage at  the  early  age  of  nineteen.     To  continue 
his  studies,  he  migrated  to  Paris  in  1780,  and  re- 
ceived some  assistance  from  an  engraver  named 
Wille.     The  great  object  of  his  ambition  was  to 
study  in  Italy,  and  to  enable  him  to  do  this,  ho 
competed  in  1782  for  a  triennial  prize  founded  by 
the  estates  of  Burgundy.     Concerning  this  com- 
petition there  is  an  interesting  little  story,  showing 
the  painter's  kindliness  of  disposition.     One  of  the 
competitors  was  overwhelmed  with  grief  at  being 
unable  to  finish  his  composition.     By  the  assistance 
of  Prud'hon  he  was  enabled  to  complete  it,  and 
with  such  success  that  he  was  awarded  the  prize. 
Not  to  be  outdone  in  generosity,  he  confessed  the 
help  which  he  had  received,  and   the  prize  was 
adjudged   to    Prud'hon.      During   his   sojourn    at 
Rome,  he  diligently  made  use  of  his  opportunities, 
and  studied  closely  the  masterpieces  of  Raphael, 
Correggio,  and  Leonardo  da  Vinci.     He  made  the 
acquaintance  of  Canova,  and  the  two  artists  formed 
a   close  friendship.     Resisting  the   sculptor's   en- 
treaties   to   stay   with    him    at    Rome,   Prud'hon 
returned  to  Paris  in  1789.     His  wife  now  rejoined 
him,  and  for  several  years  he  had  an  uphill  fight  to 
supply  the  wants  of  an  increasing  family.     Un- 
kno\vn  to  fame,  he  drew  book-illustrations,  portraits, 
headings  for  letters   and   concert-bills,  and   even 
designs  to  ornament  the  lids  of  sweetmeat-boxes. 
Whatever  came  he  was  glad  to  accept,  so  as  to 
keep  the  wolf  from  the   door  of  his  comfortless 
home.     So  little  prospect  of  success  did  he  appear 
to  have  in  the  capital  that  in  1794  he  spent  two 
years  in  Franche  Comt^,  painting  portraits.     Here 
he  made  the  acquaintance  of  his  fellow-countryman, 
M.    Frochot,   who  afterwards,    as   Prefect  of  the 
Seine,  became  his  warm  patron.     On  his  return  to 
Paris,  he  executed  some  admirable  designs  for  the 
publisher  Didot,  and  his  reputation  gradually  in- 
creased.    The  assignment  to  him  of  apartments  in 
the  Louvre,  just  before  the  close  of  the  century,  to 
execute  the  painting  of  '  Truth  descending  from 
Heaven,'  for  the  design  of  which  he  had  won  a  prize, 
marks  that   his   position   was  at   length  assured. 
Cut  off  by  his  unfortunate  marriage   from   home 
comforts,  he  found  consolation  in  a  liaison  with  a 


PIERRE  PRUD'HON 


II  MMiury  Co.  flioto]  L i'>^  Louirc 

PSYCHE  CARRIED  OVV  liV  /.El'IIVRUS 


PAINTERS  AND    ENGRAVERS. 


pupil  named  Constance  Mayer.  He  was  intro- 
duced to  her  by  a  friend  in  1803,  when  she  was 
seeking  for  a  master  to  replace  Greuze.  The 
tardy  recognition  of  Prud'hon's  merits  secured 
bim  a  fair  share  in  the  public  commissions. 
The  chief  of  these  were  a  ceiling  at  the  Louvre, 
'  Diana  imploring  Jupiter,'  and  the  well-known 
■  Di%'ine  Justice  pursuing  Crime,'  originally  ordered 
by  his  friend  Frochot  for  the  Palais  de  Justice. 
For  the  latter  work,  exhibited  in  1808,  he  received 
the  Legion  of  Honour,  and  in  1816  was  elected  a 
member  of  the  Institute.  In  1821,  he  suffered  a 
severe  shock  from  the  death  of  Mademoiselle 
Mayer  by  her  own  hand.  His  health  gave  way, 
and  he  died  in  Paris  in  1823,  in  the  arms  of  his 
friend,  M.  Le  Boisfremont. 

Prud'hon  forms  an  interesting  figure  in  the 
liistory  of  French  art.  His  pictures  have  a  grace 
and  tenderness  which  is  wanting  in  the  works  of 
all  his  contemporaries.  This  he  ascribed  to  his 
study  of  Leonardo,  whom  he  was  accustomed  to  call 
his  master  and  his  hero.  He  is  seen  at  his  best, 
perhaps,  in  his  smaller  and  less  ambitious  pro- 
ductions, such  as  his  '  Zephyr,'  where  he  has  de- 
parted most  from  the  historic  style,  and  allowed 
freer  scope  to  his  poetic  imagination. 

The  following  is  a  list  of  Prud'hon's  pictures  in 
the  pubUc  galleries  of  Europe : 


Dijon.  Museum. 

„  Salle  des  Statues. 
Dublin.  ^'at.  Gallery. 
Montpellier.       Museum. 


Orleans. 
Paris. 


Angers.  Museum.    The  Two  Souls. 

Cherbourg.         Museum.     The    Assumption.      Unfinished 
repetition  of  Louvre  picture. 
Three  Portraits. 
Various  Sketches. 
CeiUng. 

Cupid  chastised. 
Allegory     of     the     Arts    and 
Sciences.     Sketch. 
Museum.    Portrait  of  Abbe  Barbier. 
Louvre.    Justice  pursuing  crime.    1808. 
„  „         The  Assumption.     1819. 

„  ,,         The  Crucifixion.     1822. 

„  „  Minerva. 

„  „         Interview    of    Napoleon    and 

Francis  II.  after  Austerlitz. 
„  „  Four  Portraits. 

Quimper.  Museum.    Portrait  of  Mad.  Steward. 

BIBLIOQBAPHT. 

Quatremere  de  Qui  no/, '  Discours  prononce  snr  la  Tombe 

de  Prud'hon."     1823. 
Voiart, '  Notice  historique  sur  la  vie  et  les  ouvrages  de 

Prud'hon.'     1824. 
E.  Delacroix,  in  the  '  Eevue  des  Deux  Moades,'  Nov 

1846. 
aement,  C, '  Prud'hon.'    1872. 
Blanc,  Ch.. '  Histoire  des  peintres  fran(;ais.' 
Goneourt,  E.  and  J.  de, '  Prud'hon.'     1861. 

„  „  '  L'Art  du  six  siecle.'    1882. 

OJ.D, 
PRUGGER,  NiCLAS,  (Prtoker,  or  Brucker,)  a 
painter  of  Munich  in  the  17th  century,  who  died 
there  in  1694.  He  was  the  son  of  a  peasant  of 
Trudering,  near  that  city,  and  was  educated  by  the 
help  of  the  Electress  Maria  Anna,  and  trained  in 
art  by  that  of  the  Elector  Maximilian  I.  of  Bavaria, 
whose  successor,  Ferdinand  Maria,  appointed  him 
his  court-painter.  The  Pinakothek  contains  a  por- 
trait of  the  former  Elector  by  him,  together  with  a 
male  portrait  of  1664  ;  and  there  also  exist  by  him 
seven  portraits  of  the  above  Electress  on  copper- 
plates the  size  of  a  groschen. 

PRUNATI,  Santo,  an  historical  painter,  bom  at 
Verona  in  1656.  He  was  a  pupil  of  Voltolino  and 
Falcieri  at  Verona,  and  of  Loth  at  Venice.  He 
also  visited  Bologna.    There  is  a  '  San  Francesco  di 


Sales '  by  him  at  the  cathedral  at  Verona.  His  son, 
Michelangelo  Prd.nati,  was  his  pupil  and  painted 
in  the  same  style. 

PRUNEAU,  Noel,  a  French  engraver,  was  born 
in  Paris  in  1751.  He  was  a  pupil  of  Augustin  de 
St.  Aubin,  in  whose  style  he  has  engraved  several 
plates,  chiefly  portraits,  among  which  we  may 
name  the  following  : 

Kosaha  le  Yasseur  ;  after  his  own  design. 

Herman  Boerhave  ;  the  same. 

Albert  de  Haller ;  the  same. 

Gerard,  Baron  van  Swieten,  Architect ;  after  A.  de  St 
Aubin. 

Jean  Joseph  Sue;  after  A.  de  Pujol.  

Francois  de  la  Peyronie,  principal  surgeon  to  Louis  XV. 

PRYKE,  Robert,  an  English  engraver,  who 
studied  under  Hollar.  He  practised  after  the 
Restoration,  and  in  1675  published  an  edition  of 
Pierre  Le  Muet's  '  Architecture.' 

PUBLIAN,  JOHANN  Gottfried,  a  German 
architectural  painter  of  little  merit,  born  at  Meissen 
in  1809.     He  died  at  Diisseldorf  in  1875. 

PDCCINl,  BlAGio,  an  obscure  painter,  who 
flonrished  at  Rome  in  the  reigns  of  Clement  XI. 
and  Benedict  XIII. 

PDCCIO  D'ORVIETO,  Pietro  di,  is  entitled  to 
notice  for  the  reason  that  his  works  on  the  north 
wall  of  the  Campo  Santo  of  Pisa  are  believed  to  be 
the  earliest  examples  of  fresco-painting,  properly 
so  called.  They  represent  the  '  First  Person  of  the 
Trinity  ; '  'The  Creation  of  Man  ; '  '  The  Fall  of 
Man  and  its  consequences  ;  '  the  '  Death  of  Abel ;  ' 
the  'Death  of  Cain;'  and  'The  Deluge.'  A 
'  Coronation  of  the  Virgin ',  over  the  door  of  the 
second  chpael,  is  also  by  him.  These  pictures  dis- 
play grandeur  of  conception  and  design,  and  a  rare 
harmony  of  colouring.  The  series  was  continued, 
as  far  as  the  Visit  of  the  Queen  of  Sheba,  by 
Benozzo  GozEoli.  Puccio  painted  in  the  later  years 
of  the  14th  century.  (See  E.  Forster,  '  Beitrage,' 
p.  220.) 

PUCHLER,  JoHANN  Michel,  an  engraver  of 
whom  very  little  is  known,  worked  in  a  peculiar 
manner,  towards  the  end  of  the  17th  century.  He 
engraved  portraits  with  the  point,  the  hair  and 
habits  are  formed  of  writing.  In  this  fashion  he 
engraved  a  portrait  of  Martin  Luther  and  his  wife, 
after  Cranach.  It  is  signed  Mich.  Puchler  fecit. 
Van  Stettin  speaks  of  a  Jan  Gregoire  Biichler, 
a  writing-master,  who  worked  in  this  manner  about 
the  year  1692,  and  Brulliot  conjectures  that  the 
two  are  identical. 

PUCHNER,  Melchior,  was  a  painter  of  Ingol- 
stadt,  who  produced  several  altar-pieces  and  other 
devotional  pictures  for  the  churches,  and  died  in 
1760. 

PDDISS.     See  Pauditz. 

PUELLACHER,  Leopold,  was  born  at  Telfs 
in  the  Tyrol  in  1776,  and  studied  for  a  scene 
painter  at  Vienna  under  Gassner  and  Platzer. 
He  painted  scenes  for  Count  Karolyi,  and  was  in 
1815  made  court  theatrical  painter  at  Innspruck. 
He  also  executed  several  wall-paintings  for  TjTolese 
churches.     Puellacher  was  still  alive  in  1830. 

PDGA,  Antokio,  a  Spanish  painter  of  familiar 
subjects,  was  a  scholar  of  Velazquez,  whose  early 
manner  he  imitated  cleverly.  He  flourished  about 
1650-60.  In  the  Hermitage  there  is  a  '  Knife- 
Grinder '  by  him. 

PDGET,  Fr.^n<JOIS,  painter  and  architect,  the 
son  of  Pierre  Puget.  He  studied  first  under  his 
father,  afterwards  with  Laurent  Fauchier,  a  clever 
portrait  painter,  whose  style  he  followed  so  closely 

165 


A  BIOGRAPHICAL  DICTIONARY  OF 


(18  to  render  their  works  almost  indistinguishable. 
He  executed  several  historical  works  and  religious 
pictures  for  the  churches.  According  to  a  letter 
written  on  January  10,  1753,  by  his  son  Pierre 
Paul  Puget,  many  of  the  pictures  ascribed  to 
Pierre  Puget,  the  sculptor,  are  by  his  son  Francois. 
In  1683  Fran9ois  carried  his  father's  group  '  Milo 
of  Crotona,'  to  the  king  at  Versailles,  and,  in  1685, 
his  '  Andromeda.'  He  died  in  1707.  Works  : 
The  Calling  of  Matthew   and    other  pictures  in    the 

Chapel  at  Chateau  Gomber. 
Portrait  of  the  sculptor,  Pierre  Puget.     {Louvre.) 
Portrait  Group  of  eight  Musicians  and  Artists.     (The 
same.) 

PUGET,  Pierre,  (or  Pujet,)  painter,  sculptor, 
architect,  and  engineer,  was  born  at  Chateau  FoUet, 
near  Marseilles,  October  31,  1622.  At  the  age  of 
Beventeen  he  went  to  Italy  on  foot,  working  his 
way  along  the  road.  He  visited  Florence  and  Rome, 
assisted  by  Cortona  ;  he  painted  a  ceiling  in  the 
Barberini  Palace,  aud  in  the  Pitti  Palace  at  Florence, 
and  returned  to  Marseilles  in  1643.  There  he 
painted  a  portrait  of  liis  mother,  and  after  a  second 
journey  to  Italy,  painted  many  works  for  his  native 
city, and  for  Aix, 'Toulon, Cuers,andCiotat.  In  1655, 
being  attacked  by  a  severe  malady,  he  was  forced 
to  give  up  painting,  and  henceforth  devoted  him- 
Belf  to  sculpture.  He  visited  Paris  in  1659,  leaving 
it  after  a  six  months'  sojourn,  disgusted  with  the 
court  intrigue  which  had  marred  his  arrangement 
for  an  equestrian  statue  of  Louis  XIV.  He  next 
spent  sis  or  seven  years  at  Genoa,  and  then  a 
second  term  at  Toulon,  finally  settling  in  his 
native  Marseilles,  where  he  died  in  1694.  The  por- 
trait of  himself  at  an  advanced  age  in  the  Louvre, 
is  by  his  son,  Francois.  An  '  Annunciation '  of 
graceful  design  but  somewhat  cold  colouring  is  in 
the  cathedral  of  Aix,  and  many  of  his  pictures  are 
at  Marseilles  and  in  its  neiglihourhood. 

PUGH,  Charles,  an  English  landscape  painter 
in  water-colours,  of  the  early  tinted  school,  who 
exhibited  at  the  Academy  from  1797  to  1803.  His 
subjects  were  mostly  views  in  Wales  and  the  Isle 
of  Wight. 

PDGH,  Edward,  an  English  miniature  painter 
and  landscape  draughtsman,  was  bom  in  the  second 
half  of  the  18th  century.  His  works  appeared  at 
the  Academy  from  1793  to  1808.  He  died  at  Ruthin 
in  1813.  The  illustrations  in  the  following  works 
are  by  him  : 

Modem  London.     1805. 
Cambria  depicta.     1S16. 

PUGH,  Herbert,  a  landscape  painter  and 
native  of  Ireland,  who  came  to  London  about  the 
year  1758,  received  a  premium  from  the  Society  of 
Arts  in  1765.  He  painted  a  few  pictures  also  in 
which  he  attempted  to  imitate  the  style  of  Hogarth, 
but  they  were  very  indifferent  performances.  They 
were  engraved  by  Goldar.  'There  was  a  large 
landscape  by  him  in  the  Lock  Hospital.  He  was 
an  intemperate  man,  and  died  comparatively  young 
about  the  year  1789. 

PUGIN,  Augustus  Chart.es,  architectural 
draughtsman,  was  bom  in  France  in  1762.  As  a 
royalist  he  was  proscribed  by  the  leaders  of  the 
Revolution  and  obliged  to  flee  to  England,  where, 
after  many  hardships  due  to  his  loss  of  fortune  and 
ignorance  of  the  language,  he  at  length  obtained 
employment  from  Nash,  the  celebrated  architect. 
For  several  years  he  worked  in  Nash's  office,  de- 
voting his  spare  time  to  the  study  of  architectural 
drawing  both  in  the  schools  of  the  Royal  Academy 

16G 


and  under  Merigot,  the  aquatint  engraver,  whom 
he  had  known  in  France,  and  from  whom  he  now 
took  lessons.  His  skill  as  an  architectural  draughts- 
man was  well  known,  his  assistance  being  fre- 
quently sought  in  that  capacity  for  publications  of 
the  period,  and  in  1808  he  became  a  member  of 
the  Old  Water-Colour  Society,  at  whose  Gallery  he 
was  often  an  exhibitor.  The  commencement  of 
the  revival  of  Gothic  architecture  in  England 
opened  a  new  field  for  his  talent,  and  with  the  view 
of  assisting  in  the  establishment  of  that  movement, 
he  began  a  series  of  illustrated  works  on  the  Gothic 
style  which  did  nmch  to  bring  about  its  success. 
It  was  in  this  connection  that  he  opened  an  office 
for  the  study  of  architecture,  first  of  all  in  Store 
Street,  near  Tottenham  Court  Road,  and  sub- 
sequently in  Great  Russell  Street,  where  he  re- 
ceived pupils,  who  assisted  him  in  the  production 
of  the  necessary  plates  for  his  publications.  Four 
of  his  water-colours,  dealing  with  the  Coronation 
of  George  IV.,  are  in  South  Kensington  Museum. 
In  1802  he  married  Miss  Catherine  Welby,  and 
after  living  for  many  years  in  Bloomsbury,  died  at 
his  residence  there  in  1832,  leaving  one  child, 
Augustus  Welby  Pugin,  the  architect  of  that  name. 
He  was  buried  in  St.  Mary's  Church,  Islington. 
A  list  of  the  principal  publications  on  which  he 
was  engaged  is  appended  : 

Ackermann's  Microcosm  of  London  (plates  with  Row- 

landson).     1808. 
Specimens  of  Gothic  Architecture  from  Oxford  (with 

Mackenzie).    No  date. 
Ackei-mann's  Eepository  of  Arts  (plates  of  furniture). 

1810-27. 
Specimens  of  Gothic  Architecture.     1821-23. 
Views  of  Islington  aud  Pentonville  (with  Brayley). 

1823. 
Illustrations  of    Public    Buildings  of    London   (with 

Britton).     182.5-28. 
Specimens  of  Architectural  Antiquities  of  Normandy 

(with  Britton  and  Le  Keux).     1826. 
Examples  of  Gotliic  Architecture.     1828-31. 
A'iews  of  Paris  and  Environs  (with  Heath).     1828-31. 
Gothic  Ornaments  from  Ancient  Buildings  in  England 

and  France.     1831. 
Ornamental  Gables.     1831.  S.  P.  P. 

PUGIN,  Augustus  Welbv  Northmore,  is  best 
known  as  an  ecclesiastical  architect  and  the  leader 
of  the  Gothic  revival  in  this  country,  but  calls  for 
mention  here  as  an  architectural  draughtsman, 
water-colourist,  and  etcher.  He  was  born  in  London 
on  March  1,  1812,  and  at  the  age  of  thirteen  as- 
sisted his  father,  Augustus  Pugin,  in  the  production 
of  the  series  of  illustrated  works  on  architecture 
which  he  was  then  publishing.  Five  years  later 
we  find  him  engaged  for  a  short  period  in  scene 
painting,  when  he  designed  the  scenery  for  a  new 
opera  of  '  Kenilworth,'  which  was  produced  in 
London  in  1831  ;  but  he  soon  returned  to  his 
favourite  art,  and,  on  the  death  of  his  father  in 
1832,  completed  and  published  the  last  volume  of 
'  Examples  of  Gothic  Architecture.'  In  the  inter- 
vals of  his  professional  practice  he  found  time  to 
write  several  works,  in  which  he  strongly  ad- 
vocated the  claims  of  Gothic  art,  and  which  were 
illustrated  by  himself,  chiefly  with  etchings.  He 
was  a  very  rapid  draughtsman,  and  left  a  large 
number  of  sketches,  mainly  of  architectural  sub- 
jects, both  in  pencil  and  water-colour,  which 
deserve  to  be  better  known,  for  they  reveal  an 
exceptional  knowledge  of  perspective,  and  ap- 
preciation of  the  effects  of  light  and  shade.  These 
are  almost  wholly  in  private  hands,  though  after 
his  death  his  family  caused  a  selection  of  somo 


PAINTERS  AND  ENGRAVERS. 


hundreds  of  them  to  be  photographed  and  published 
in  two  volumes  in  1865.  Unfortunately  these 
reproductions  are  too  small  in  scale  to  be  altogether 
satisfactory.  He  essayed  painting  in  oils,  but  the 
comparative  slowness  of  the  process  did  not  appeal 
to  him,  and  after  two  or  three  attempts  he  returned 
to  the  medium  which  better  accorded  with  his 
temperament.  Many  of  the  leading  artists  of  the 
time  were  amongst  his  friends,  the  chief  being 
Clarkson  Stanfield,  R.A.,  and  J.  R.  Herbert,  R.A., 
the  latter  of  whom  painted  his  portrait,  which  still 
hangs  in  the  residence  he  built  for  himself  at 
Ramsgate.  His  career  as  an  artist  has  been 
described  by  Benjamin  Ferrey,  a  fellow-pupil  in 
his  father's  oflSce,  in  a  '  Life  '  published  by  liim  in 
1861.  After  being  married  three  times,  and  leaving 
several  children,  of  whom  the  eldest  son  was 
Edward  Welby  Pugin,  who  succeeded  to  his 
father's  practice  as  an  architect,  he  died  on 
September  14,  1852,  at  the  early  age  of  40,  and 
was  buried  at  Ramsgate,  in  St.  Augustine's  Church, 
of  which  he  was  both  the  founder  and  the  designer. 
In  the  subjoined  list  of  his  chief  works  those 
published  previous  to  1844  were  illustrated  with 
etchings  by  himself ;  from  that  date  the  illustra- 
tions were  re-dra%vn  for  lithography,  and  have  lost 
much  of  their  character  in  the  process. 

Gothic  Furniture.     1835. 

Details  of  Ancient  Timber  Houses.    1836. 

Designs  for  Gold  and  Silversmiths.    1836. 

Designs  for  Iron  and  Brasswork.     1836. 

I'ontrasts  (second  edition,  with  extra  plates,  published 
in  1841).     1836. 

True  Principles  of  Pointed  or  Christian  Architecture. 
1841. 

Agology  for  the  Revival  of  Christian  Architecture.  1843. 

Present  State  of  Ecclesiastical  Architecture  in  England. 
1843. 

Glos.sary   of    Ecclesiastical  Ornament  and    Costume. 
1844. 

Floral  Ornament.     1849. 

Treatise  on  Chancel  Screens  and  Rood  Lofts.     1851. 

PDGLIA,  Giuseppe,  called  Giuseppe  del  Bas- 
TABO,  was  a  native  of  Rome,  and,  according  to 
P.aglioni,  flourished  from  1600,  and  chiefly  during 
the  pontificate  of  Urban  VIII.  There  are  several 
of  his  works  in  the  churches  at  Rome,  of  which 
the  most  deserving  of  notice  are  '  The  Present- 
ation in  the  Temple,'  in  the  cloister  of  the  Padri 
della  Minerva  ;  and  an  altar-piece  in  the  church  of 
Santa  Maria  Maggiore,  representing  'The Assump- 
tion of  the  Virgin.'  In  the  church  of  San  Girolamo 
there  are  a  '  Descent  from  the  Cross,'  and  a  '  Death 
of  St.  Jerome.'     Bastaro  died  at  Rome  in  1640. 

PUGLICOCHI,  Antonio,  a  native  of  Florence, 
and  pupil  successively  of  Pietro  Dandini  and  Giro 
Ferri. 

PUIS,  Du.    See  Dnpcis. 

PUJET.     See  Puget. 

PUJOL,  Alex.  D.     See  Abel  de  Pujol. 

PULIAN,  JoHANN  Gottfried,  was  born  at 
Meissen  in  1809,  and  was  a  landscape  and  archi- 
tectural painter.  In  1837  he  began  to  attend  the 
Academy  at  Dusseldorf,  in  which  city  he  died  in 
1875.  His  best  productions  are  picturesque  sketches 
from  the  old  towns  of  Belgium  and  the  Rhine. 
Among  them  we  may  name  : 

The  City  Gate  of  Neuss.    1840. 

Schwalbach,  on  the  Rhine. 

Various  Views  in  Bacharach,  on  the  Rhine. 

The  Cathedral  of  Limburg. 

St.  Nicholas'  Church  at  Ghent. 

PULIGO,  DoMENico,  was  a  painter  of  Florence, 
bom   in   1475,  and   brought  up  in  the  school  of 


Domenico  Bigordi,  called  Ghirlandaio.  On  the 
death  of  that  master,  in  1498,  when  he  was  twenty 
years  of  age,  it  does  not  appear  that  he  made  choice 
of  another  instructor,  but  he  acquired  considerable 
reputation  as  a  portrait  painter,  and  by  some  easel 
pictures  representing  Madonnas  and  Holy  Families, 
some  of  which  are  in  the  Borghese  and  Colonna 
Palaces  at  Rome,  and  the  Pitti  at  Florence.  He 
formed  an  intimate  acquaintance  wth  Andrea  del 
Sarto,  and  though  several  years  older  than  that 
painter,  he  improved  his  style  by  a  study  of  his 
works.  He  is  stated  to  have  worked  also  with 
Kidolfo  Ghirlandaio.  Puligo  died  in  1527.  Works  : 
Florence.  Pitti  Gal.    Five  Holy  Families. 

Panshanger.  A  Portrait. 

Madrid.  Prado.  A  Holy  Family. 

PULIGO,  Jacone,  the  brother  of  Domenico 
Puligo,  was  also  a  scholar  and  assistant  of  Andrea 
del  Sarto.     He  was  a  very  inferior  painter. 

PULZONE,  Scifione,  called  Gaetano,  was  bom 
at  Gaeta  in  1550,  or,  as  Zani  states,  1562,  and  was  a 
disciple  of  Jacopo  del  Conte.  He  painted  historical 
subjects,  but  more  especially  portraits,  and  drew 
those  of  the  most  illustrious  persons  of  his  time  ; 
among  whom  were  Gregory  XIII.,  Cardinal 
de'  Medici,  and  the  Archduke  Ferdinand.  Lanzi 
asserts  that  he  was  called  '  The  Roman  Van  Dyck,' 
but  this  cannot  have  been  during  his  life-time,  as 
he  died  several  years  before  Van  Dyck  was  bom. 
Of  his  historical  works,  the  most  deserving  of 
notice  are,  his  picture  of  the  '  Assumption,  with 
the  Apostles,'  in  San  Silvestro,  on  Monte  Cavallo  ; 
a  Pieta,  in  the  Jesuits'  church ;  and  a  '  Crucifixion,' 
in  Santa  Maria,  in  Vallicella.  In  the  Palazzo 
Borghese  there  is  a  fine  '  Holy  Family '  by  him. 
He  died  at  Rome  in  the  prime  of  life,  in  1588,  or, 
according  to  Zani,  in  1600.  Besides  the  above 
works  we  may  name  : 

Florence.  Pitti  Gal.     Portrait     of    Eleonora    de' 

Medici,  wife  of  Vinoenzo 
I.,  Duke  of  Mantua. 

„  „  Portrait  of  Marie  de'  Medici. 

„  „  Three  portraits  of  Principes. 

„  „  Portrait  of  Ferdinando  I.  de' 

Medici. 

„  Uffizi.    Christ  in  the  Garden. 

Madrid.  3fuseo.    Male  portrait. 

PUNT,  Jan,  a  Dutch  engraver,  was  bom  in 
1711,  and  died  about  1779.  He  was  a  theatrical 
scene  painter,  and  painter  in  chiaroscuro.  His 
principal  plates  were  a  set  of  thirty-six,  after  the 
drawings  made  by  Jacob  de  Wit  from  the  paint- 
ings by  Rubens  on  the  ceiling  of  the  church  of 
the  Jesuits,  at  Antwerp,  which  were  destroyed  by 
lightning.  He  also  engraved  a  plate  of  the  '  As- 
cension,' after  Seb.  Ricci,  for  the  '  Dresden  Gallery ; ' 
and  many  other  subjects,  of  which  Nagler  has  given 
a  list. 

PUNTORMO.    See  Carrccci. 

PUPILER,  Antoine,  is  stated  to  have  been  a 
Flemish  painter  of  extraordinary  merit,  who  was 
employed  in  Spain  by  Philip  II.  in  1556,  but  all  of 
whose  works  were  consumed  in  the  conflagration 
at  the  Pardo. 

PUPINI,  BiAGlo,  was  a  native  of  Bologna,  and 
flourished  from  about  1530  to  1540.  He  was  a 
disciple  of  Francesco  Francia,  whose  style  he  fol- 
lowed at  a  respectful  distance.  He  also  imitated 
Raphael.  Of  his  works  in  the  public  edifices  at 
Bologna,  the  following  are  the  most  worthy  of 
notice :  In  the  church  of  S.  Giuliano,  '  The  Crown- 
ing of  the  Virgin  ; '  in  S.  Giacomo  Maggiore,  '  The 

167 


A  BIOGRAPHICAL  DICTIONARY  OF 


Virgin  and  Infant  Christ,  with  S.  Orsola ; '  in  S. 
M«ria  della  Baroncella,  '  St.  John  preaching  in  the 
Wilderness  ; '  and  in  the  Pinacoteca,  a  '  Nativity," 
with  the  Virgin,  St.  Joseph,  and  Angels  adoring 
the  Infant  Christ. 

PURCELL,  Richard,  who  passed  by  the  name 
of  C.  COBBDTT,  was  a  mezzotint  engraver,  born  in 
Ireland  about  the  year  1736.  He  studied  under 
John  Brooks  at  Dublin,  where  he  practised  for  a 
while,  engraving  'Jenny  Cameron,'  'The  Jewish 
Bride,'  'William  at  the  Siege  of  Namur,'  &c.  Some 
of  his  plates  are  mere  copies  from  those  of  other 
engravers.  In  later  years  on  he  came  to  London, 
where  he  engraved  after  Reynolds,  Coker,  Ramsay, 
Frye,  and  other  well-known  painters.  The  true 
reason  for  his  use  of  a  pseudonym  can  only  be 
guessed,  but  he  was  dissolute,  even  depraved,  in  bis 
life.  He  died  in  misery  about  1765.  Of  his  plates 
the  following,  perhaps,  are  the  most  worthy  of 
notice  : 

John  Manners,  Marquis  of  Granby ;  after  Jltynolds. 

Lady  Fenhoulet,  afterwards  Coontess  of  Essex ;  afttr 
the  same. 

Elizabeth,  Countess  of  Berkeley ;  after  the  same. 

Lady  Charlotte  Johnstone ;  after  the  same. 

Garrick  between  Tragedy  and  Comedy ;  after  the  same. 

The  Children  of  Charles  I. ;  after  Van  Dyck. 

John  Wilkes,  Esq. ;  after  Pine. 

Major-General  James  VTolfe. 

Fran9ois  Arouet  de  Yoltaire. 

Jean  Jacques  Rousseau. 

William  Komaine ;  after  F.  Cotes. 

Paoli ;  after  Comtantine. 

Anne  Bastard,  of  Kitely,  in  Devonshire. 

A  Flemish  Conversation  ;  after  Brouwer. 

The  old  Eabbi ;  after  Sembrandt. 

Two  subjects  after  J.  Vernet. 

PUSCHNER,  JoHANN  Georg,  was  a  German  en- 
graver, supposed  to  have  been  a  native  of  Nurem- 
berg. He  flourished  from  1670  till  1720,  and 
engraved  a  set  of  portraits  for  a  folio  volume, 
entitled  '  Icones  virorum  omnium  ordinum  em- 
ditiqne,'  &c.,  published  at  Nuremberg. 

PUTTNER,  Joseph  Carl,  German  marine 
painter ;  born  at  Plan  (Bohemia)  in  1821  ;  a 
great  traveller  ;  settled  at  Vienna,  where  he  was 
appointed  Court  painter  ;  his  work  at  Venice  %va8 
among  his  most  successful  achievements.  He  died 
at  Voslau  in  December  1881. 

PUVIS  DE  CHAVANNES,  Pierre  C^cile,  son 
of  an  engineer,  was  born  at  Lyons  on  December 
14,  1824.  A  member  of  an  old  Burgundian  family, 
he  was  the  second  artist  of  his  race,  for  in  the 
Louvre  is  a  landscape,  '  The  Shepherds,'  by  his 
ancestor  Pierre  Domacbin,  Sieur  de  Chavanne, 
who  was  a  member  of  the  Academy  from  1709  to 
1744.  He  was  educated  with  a  view  to  following 
his  father's  profession,  but  a  fortunate  illness  sent 
him  to  recruit  his  strength  in  Italy.  The  visit 
■was  a  determining  influence  in  his  career,  for  on 
his  return  he  announced  his  intention  of  becoming 
a  painter.  His  first  teacher  was  Henri  Scheffer, 
brother  of  Ary  Scheiler,  whom  he  soon  left  to  visit 
Italy  for  a  second  time.  Returning  to  France,  he 
worked  in  the  studios  of  Delacroix  and  Couture, 
but  found  himself  without  sympathy  with  either, 
and  the  term  of  their  influence  was  limited  to  a 
few  weeks.  Having  thus  withdrawn  from  the 
romantic  and  classical  traditions  of  the  day,  he 
proceeded  to  work  out  his  theories  alone,  giving 
himself  entirely  to  mural  and  decorative  painting. 
Critics  combined  in  disparaging  his  work,  blaming 
his  drawing,  the  calm  immobility  of  his  figures, 
the  poverty  of  his  simple  palette.    He  was  dubbed 

168 


a  Lenten  painter — un  ptinirt  dut  careme — whose 
dull  eye  saw  nature  in  ungainly  lines  and  tones  of 
grey.  Nine  of  his  pictures  were  refused  at  the 
Salon,  the  one  exception  being  his  'Return  from 
Hunting,'  exhibited  in  1859.  His  merits  received 
recognition  first  in  1861,  when  he  obtained  the 
second-class  medal.  His  two  large  canvases, 
'  War '  and  '  Peace,'  were  bought  by  the  State,  to 
be  banded  to  the  Amiens  Museum,  to  which  the 
painter  in  1863  presented  the  companion  works, 
'  Rest'  and  'Labour,'  completing  the  series  by  his 
'Ave  Picardia  Nutrix '  in  1865,  and  two  small 
grisailles,  '  Vigilance '  and  '  Fancy,'  in  1866.  At 
the  Exposition  of  1867  he  was  represented  by 
small  replicas  of  '  War,'  '  Peace,'  '  Labour,'  and 
'  Rest,'  and  by  another  canvas,  '  Sleep,'  gaining  a 
medal,  and  the  ribbon  of  the  Legion  of  Honour. 
From  this  time  his  career  became  one  of  triumphant 
success,  one  public  building  after  another  through- 
out France  being  decorated  by  his  frescoes,  always, 
it  should  be  remarked,  painted  on  canvas.  In 
1868  came  'Play'  for  the  Cercle  de  I'Union 
Artistique ;  in  1869  '  Massilia,  Greek  Colony,' 
and  '  Marseilles,  Gate  of  the  East,'  for  the  staircase 
of  Marseilles  Museum  ;  in  1870  '  The  Beheading 
of  St.  John  the  Baptist';  in  1872  'Hope';  in 
1873  'Summer'  ;  in  1874  '  Charles  Martel's  Victory 
over  the  Saracens,'  for  the  Hdtel  de  Ville  of  Poitiers ; 
and  in  1875  his  '  St,  Radegonde  protecting  Educa- 
tion,' for  the  same  building.  For  1876  and  1877 
his  work  was  the  well-known  decoration  of  the 
Pantheon,  dealing  with  the  childhood  of  St. 
Genevifeve,  for  which  he  was  made  an  Officer  of 
the  Legion.  In  1880  the  Amiens  Museum  was 
further  enriched  by  '  Pro  Patria  Ludus,'  and  in 
1882  by  the  '  Young  Picard  practising  with  the 
Lance.'  In  1881  he  exhibited  one  of  his  rare  easel 
pictures,  'The  Poor  Fisherman,'  now  in  the 
Luxembourg,  and  in  the  following  year  adorned 
the  house  of  his  friend  Bonnat  with  his  '  Lovely 
Land.'  In  1884  he  began  the  series  of  decorations 
for  the  Museum  of  his  native  city  with  '  Sacred 
Wood,  dear  to  the  Arts  and  Muses,'  following  it  in 
1885  by  'Autumn,'  and  in  1886  by  'Antique 
Vision — Christian  Inspiration,'  and  'The  Rhone 
and  the  Saone.'  To  the  next  two  years  belongs 
the  great  Hemicycle  of  the  Sorbonne,  for  which  he 
became  a  Commander  of  the  Legion.  Having 
little  sympathy  with  academic  traditions,  he 
retained  for  a  short  time  only  his  membership  of 
the  Salon  jurj',  to  which  he  was  elected  in  1872, 
and  on  the  schism  of  1890  was  one  of  the  promoters 
of  the  new  Salon  of  the  Champ  de  Mars,  becoming 
its  President  on  Meissonier's  death  in  1891.  He 
exhibited  there  in  that  year  'Inter  Artes  et 
Naturam'  and  two  small  panels,  all  for  the  Rouen 
Museum  ;  and  '  Summer '  for  the  Hotel  de  Ville  at 
Paris;  in  1892  'Winter'  for  the  same  building, 
the  staircase  of  which  he  completed  in  1894. 
There  also  in  1895  he  showed  the  large  panel  of 
'  The  Muses  welcoming  the  Genius  of  Enlighten- 
ment,' now  at  the  head  of  the  staircase  in  the 
Public  Library  at  Boston.  He  died  in  Paris,  after 
a  short  illness,  on  October  24,  1898,  his  last  work 
having  been  the  completion  of  the  cartoons  of  bis 
'  Ravitaillement  de  Paris '  for  the  Pantheon. 

The  adverse  criticism  which  assailed  Puvis  de 
Chavannes,  mainly  at  the  beginning  of  his  career, 
was  due  largely  to  the  fact  that  he  was  above  all  a 
decorator,  and  his  work  was  unfairly  judged  when 
seen  in  contrast  with  exhibited  works  of  a  radically 
different  nature.     Seen  in  its  proper  surroundings, 


PUVIS   DE  CHAXAXXES 


[Panlhecn.  Paris 


THE  DEDICATION  OE  ST.  GENEVIEVE 


PAINTERS  AND  ENGRAVERS. 


as  the  artist  meant  it  to  be  seen,  in  Paris,  Lille, 
Amiens,  Lyons,  and  many  more  of  the  principal 
towns  of  France,  his  work  has  risen  triumphantly 
above  criticism.  Puvis  de  Chavannes  was  inspired 
always  by  the  consciousness  that  the  true  purpose 
of  mural  painting  was  not  to  disguise  but  to 
emphasize  the  essential  flatness  of  the  wall,  and 
above  all,  that  the  painting  should  harmonize  with 
the  usually  grey  tones  of  its  surroundings.  He 
worked  accordingly  in  pale  keys  of  cool,  fresh 
colour,  the  delicate  tones  and  his  subtle  balancing 
of  lines  and  spaces  all  making  for  repose.  His 
subjects,  though  allegorical,  are  never  didactic,  and 
he  worked  with  entire  disregard  of  conventional 
formula.  Though  Greek  in  his  feeling  for  simple 
nature  and  his  sense  of  vital  beauty,  and  though 
influenced  no  doubt  by  Giotto,  Fra  Angelico  and 
the  primitives,  he  is  yet  independent  of  all  tradition, 
essentially  modern  and  original.  Puvis  de  Cha- 
vannes, indeed,  may  be  said  to  have  created 
modem  decorative  painting.  vr  u 

PUYOL  (Pujol).    See  Abel  de  Pdjol. 

PYE,  Charles,  an  English  engraver,  born  in  1777. 
There  is  a  '  Holy  Family,'  after  M.  Angelo,  by  him, 
and  specimens  of  his  work  will  also  be  found  in 
Dibdin's  'Tour.'  He  published  a  work  on  coins 
and  tokens. 

PYE,  John,  the  elder,  an  English  engraver  and 
painter,  was  born  in  1745.  He  was  a  pupil  of 
Major,  and  gained  a  Society  of  Arts'  pension  in  1758. 
From  1780  onwards  he  was  a  constant  exhibitor 
of  water-colour  views  at  the  Royal  Academy.  He 
was  employed  by  Boydell  as  an  engraver,  and 
worked  in  both  the  line  and  dot  manners,  and  also 
etched.  The  date  of  his  death  is  not  recorded. 
We  have  by  him  a  '  Tobit  and  the  Angel,'  after 
Karel  du  Jardin,  and  a  '  Holy  Family,'  after  Poe- 
lemberg ;  also  several  landscapes,  after  Claude 
Lorrain,  Vernet,  Swanevelt,  Cuyp,  &c.,  which  are 
etched  and  neatly  finished  with  the  graver. 

PYE,  John,  an  English  engraver,  born  at  Bir- 
mingham April  22,  1782.  In  his  early  years  he 
was  entirely  self-taught,  until  he  came  to  London 
about  1802,  and  worked  under  James  Heath,  in 
whose  workshop  he  had  an  opportunity  of  making 
friends  with  many  of  those  men  who  made  English 
engraving  famous  in  the  early  years  of  the  century. 
He  soon  obtained  a  reputation  for  his  rendering  of 
landscapes,  especially  those  of  Turner.  In  1811 
he  engraved  '  Pope's  Villa,'  after  that  master,  with 
the  figures  by  C.  Heath.  This  so  pleased  Turner 
that  he  engaged  Pye  to  engrave  his  'Temple  of 
Jupiter,  at  .lEgina.'  With  this  plate  he  was  very 
successful,  and  from  its  publication  his  repute  was 
established.  Many  important  works  were  intrusted 
to  him,  and  while  still  comparatively  young,  he 
had  acquired  means  enough  to  take  life  easily,  to 
help  on  less  fortunate  men,  and  to  promote  various 
causes  he  had  at  heart.  Much  of  his  life  was  passed 
in  Paris,  and  he  was  elected  a  corresponding  member 
of  the  French  Institute  (by  which  he  was  awarded 
a  medal),  as  well  as  of  the  St.  Petersburg  Academy. 
He  took  great  interest  in  the  history  and  con- 
dition of  English  art,  was  a  founder  of  the  Artists' 
Benevolent  Fund,  opposed  the  Royal  Academy 
with  much  energy  and  not  a  little  acerbity, 
and  wrote  an  important  work  on  '  The  Patronage 
of  British  Art.'  He  also  managed  the  publication 
of  '  Pictures  from  the  National  Gallery,'  which 
came  to  an  end  after  twenty-nine  parts  had  been 
issued.  Pye  ,died  in  London  in  1874.  Amongst 
his  best  plates  are  : 


Pope's  Villa ;  Temple  of  Jupiter ;  Hardraw  Fall ; 
Wycliffe,  Yorkshire  ;  Ehrenbreitstein  ;  Weathercote 
Cave;  Rialto,  Venice;  La  Eiccia;  St.  Mary  Eed- 
clyffe,  Bristol ;  Junction  of  the  Greta  and  the  Tees ; 
all  after  Turner.  The  Annunciation ;  after  Claude 
Lorrain.  Evening  ;  after  George  Barrett.  Claaiical 
Landscape;  after  Gaspar  Fouasin.  Plates  to  Stan- 
hope's '  Olympia.'    Plates  to  the  '  Oriental  Annual.' 

PYE,  Thomas,  historical  painter,  studied  in 
Dublin  under  West,  and  in  1794  was  in  Rome. 
Nothing  further  is  known  about  him. 

PYLE,  Robert,  an  English  portrait  and  subject 
painter,  born  in  the  first  half  of  the  18th  century. 
He  practised  in  London,  and  in  1763  was  a 
member  of  the  Free  Society  of  Artists.  Some 
of  his  works  were  engraved,  among  them  the 
following  : 

The  Power  of  Music  and  Beauty.  (Enqraved  bu  J. 
Watson.)  J      V     ^  y 

The  Four  Elements.    (Tht  same,  by  J.  Spooner.) 
Portrait  of  Queen  Charlotte. 

PYM,  B.,  an  English  portrait  and  miniature 
painter,  who  had  a  considerable  practice  in  London 
in  the  latter  half  of  the  18th  century.  He  exhibited 
regularly  at  the  Academy  up  to  1793.  There  is 
a  portrait  of  Bannister  by  him  at  the  Garrick 
Club. 

PYNAKER.     See  Pijnaker. 

PYNE,  Charles  Claude,  an  English  water- 
colour  artist,  was  bom  in  1802.  For  many  years  he 
was  teacher  of  drawing  in  the  Grammar  School  at 
Guildford,  in  which  town  he  died  in  October,  1878. 
In  the  Art  Library,  South  Kensington  Museum, 
are  six  volumes  of  his  sketches  in  Switzerland  and 
North  Italy,  and  a  volume  filled  with  small  draw- 
ings of  Normandy  and  Brittany. 

PYNE,  James  Baker,  was  born  in  Bristol  in 
1800.  He  was  intended  for  the  law,  but  he  aban- 
doned it  to  become  an  artist.  In  1835  he  came  to 
London,  and  exhibited  at  the  Royal  Academy.  In 
1842  he  was  admitted  a  member  of  the  Society  of 
British  Artists,  and  was  for  some  years  its  Vice- 
President.  In  1846  he  visited  Switzerland,  Ger- 
many, and  Italj' ;  and  in  1851  he  paid  a  second 
visit  to  Italy.  He  published  '  Windsor  and  its 
surrounding  scenery,'  in  1840,  'The  English  Lake 
District,'  in  1853,  and  the  '  Lake  Scenery  of  Eng- 
land,' in  1859.  He  died  in  1870.  His  art  was 
arbitrary  in  its  relation  to  nature,  but  as  an  execut- 
ant and  a  decorative  manipulator  of  colour,  his 
skill  was  very  great.  Three  of  his  pictures  are  at 
South  Kensington. 

PYNE,  William  Henry,  an  English  water- 
colour  painter  of  landscape  and  figure  subjects, 
was  bom  in  London  in  1769.  He  received  some 
instruction  in  drawing  from  a  draughtsman,  and 
exhibited  at  the  Academy  from  1790  to  1796.  In 
1804  he  was  one  of  the  original  members  of  the 
Water-Colour  Society,  where  he  exhibited  till  1809. 
The  later  part  of  his  life  was  chiefly  devoted  to  the 
literature  of  art,  and  he  published  many  works  in 
conjunction  witla  Aokermann.  The  chief  of  these 
were  : 

'  The  Microcosm  of  London.'     1S03-6. 
'  The  Costume  of  Great  Britain.'     1808. 
'  Etchings  of  Rustic  Figures.'     1817. 
'  History  of  the  Koyal  Kesidences.'    1819. 

He   died  at   Paddington  in   1843.     Three   of  his 
water-colour  drawings  are  at  South  Kensington. 
PYREICUS,  who  lived   immediately  after  the 
time  of  Alexander  the  Great,  was  the  most  eminent 
genre  painter  of  his  time. 

169 


A  BIOGRAPHICAL  DICTIONARY  OF 


Q 


QUADAL,  Mabtik  Ferdinand,  painter  and  en- 
graver, was  bom  at  Nieintschitz  in  Moravia  in 
1 736.  He  came  in  early  life  to  London,  then  visited 
France  and  Italy,  worked  at  Vienna  in  1787-9,  and 
in  St.  Petersburg  1797-1804.  After  a  second  visit  to 
London,  he  returned  to  St.  Petersburg,  where  he 
died  in  1811.  He  painted  animal  pieces,  as  well 
as  military  scenes,  genre  subjects,  and  portraits. 
He  etched  a  'Group  of  Cats,'  a  'Child  with  a  Dog,' 
and  '  Studies  from  Domestic  and  Wild  Animals ' 
(London,  1793). 

QUADRA,  Nicolas  Antonio,  (orDE  la  Quadra,) 
a  Spanish  painter,  who  flourished  at  the  end  of  the 
17th  century.  There  is  a  life-size  portrait  by  him  in 
the  Carmelite  Convent  at  Madrid.     It  is  dated  1695. 


QUAGLIA,  Fernando,  a  Spanish  miniature 
painter,  who  was  active  in  the  first  years  of  the  19th 
century.  He  painted  portraits  of  Marshal  Junot 
and  of  the  Empress  Josephine. 

QUAGLIATA,  Giovanni,  an  historical  painter, 
born  at  Messina  in  1603.  He  was  a  pupil  of 
Cortona.  His  brother  Andrea,  born  in  1600,  was 
also  an  historical  painter.  Giovanni  died  in  1673 
and  Andrea  in  1660. 

QUAGLIO.  This  was  the  name  of  a  family 
of  artists  of  Laino,  between  Lakes  Como  and 
Lugano.  Some  of  them  were  exclusively  architects 
(Giovanni  Maria  '  the  elder,'  Lorenzo '  the  elder,'  and 
Giulio  '  the  third ') — whose  names  in  the  following 
genealogical  table  are  enclosed  in  parentheses: — 


Giulio  cider.  1601—?. 
Giulio  youneer,  ?— 1720. 
(Oioranni  Maria  elder,  ?— 1765.) 


Domenlco  elder,  1723—1760. 
(Oiullo  •  tEkd.'  1746— ISDl.)     Giu3ep)ie,  1747-1828. 


(Lorenzo  elder.  1730—1804.) 
Giovanni  Maria  jrouuger,  1772—1803. 


Angelo,  1773—1816.     Domenico  younger,  1787—1837.    Lorenz  younger,  1793—1669.     Simon,  1795—1878. 


QUAGLIO,  Anoelo,  eldest  son  of  Giuseppe 
Quaglio,  an  architect,  designer,  and  painter,  was 
born  in  1784,  and  died  in  1815.  He  designed  and 
painted  landscapes  and  architectural  pictures  for 
Boisseree's  work  on  Cologne  Cathedral.  Two  pic- 
tures by  him  are  in  the  new  Pinakothek  at  Munich. 

QUAGLIO,  Domenico,  'the  elder,'  historical 
painter,  was  bom  at  Laino  in  1723,  and  died  in  1760. 

QUAGLIO,  Domenico,  'the  younger,'  second 
son  of  Giuseppe  Quaglio,  was  a  landscape  and 
architectural  painter,  born  at  Munich  in  1787.  He 
was  taught  perspective  and  scene-painting  by 
his  father,  and  engraving  by  Mettenleiter  and 
Karl  Hess.  In  1819  he  resigned  his  post  as 
scene-painter,  and  occupied  himself  thenceforward 
only  with  architecture,  for  which  he  obtained 
subjects  in  the  Netherlands,  Italy,  France,  and 
England.  He  died  at  Hohenschwangau  in  18.37. 
He  engraved  twelve  plates  of 'Architectural  Monu- 
ments,' and  lithographed  thirty  '  Kemarkable  Ger- 
man Buildings  of  the  Middle  Ages.'  There  are 
many  pictures  by  him  in  the  modem  collections  at 
Munich  and  Berhn. 

QUAGLIO,  Giovanni  Maria,  '  the  younger,'  son 
of  Lorenzo  Quaglio  'the  elder,'  was  an  architect 
as  well  as  painter,  and  was  born  at  Laino  in  1772. 
He  studied  at  Rome,  Naples,  Milan,  and  Venice, 
and  became  in  1793  court  scene-painter  at  Munich. 
He  died  in  1813. 

QUAGLIO,  GinLio,  'the  elder,'  father  of  the 
younger  artist  of  the  same  name,  was  an  historical 
and  fresco  painter,  and  an  imitator  of  Tintoretto. 
He  was  born  in  1601,  and  worked  in  Vienna,  Salz- 
burg, and  Laibach. 

QUAGLIO,  GinLio,  'the  younger,'  was  a  native 
of  Como.  He  established  himself  in  the  Friuli 
about  the  end  of  the  17th  century,  and  there  exe- 
cuted several  considerable  works  in  fresco.  His 
most  esteemed  productions  are  in  the  chapel  of 
the  Monte  di  Pieta,,  at  Udine. 

170 


QUAGLIO,  Giuseppe,  was  born  at  Laino  in 
1747,  and  died  at  Munich  in  1828,  having  prac- 
tised scene-painting  in  Mannheim,  Frankfort,  and 
Ludwigsburg. 

QUAGLIO,  Lorenz,  '  the  younger,'  third  son  of 
Giuseppe  Quaglio,  was  a  genre  painter  and  litho- 
grapher. He  was  born  at  Munich  in  1793,  and 
died  at  the  same  city  in  1869.  The  Berlin  National 
Gallery  contains  a  '  Tyrolose  Inn '  by  him.  He 
furnished  designs  for  a  set  of  illustrations  from 
the  Munich  Gallery,  and  lithographed  a  '  Family 
Concert '  after  G.  Netscher. 

QUAGLIO,  Simon,  a  son  of  Giuseppe  Quaglio, 
was  a  theatrical  painter,  architect,  and  lithographer, 
and  was  born  at  Munich  in  1795.  He  studied  under 
his  father,  and  under  his  brother  Angelo,  and  painted 
architectural  subjects  as  well  as  theatrical  scenes. 
He  died  at  Munich  in  1878. 

QUAINI,  Francesco,  was  born  at  Bologna  in 
1611,  and  was  a  scholar  of  Agostino  Mitelli,  under 
whom  he  became  a  painter  of  perspective  and  archi- 
tectural views.  There  are  several  of  his  works  in 
the  public  buildings  of  Bologna.  The  best  perhaps 
is  the  decoration  of  the  Sala  Farnese,  in  the  Palazzo 
PuVjlico.     He  died  at  Bologna  in  1680. 

QUAINI,  LniGi,  the  son  of  Francesco  Quaini, 
was  born  at  Bologna  in  1643.  After  learning 
perspective  under  his  father,  he  became  a  disciple 
of  Guercino,  but  afterwards  entered  the  school  of 
Carlo  Cignani  (to  whom  he  was  nearly  related),  at 
the  time  when  Marc  Antonio  Franceschini  was 
also  a  disciple  of  that  master.  Conjointly  with 
Franceschini,  he  assisted  Cignani  in  several  of 
his  principal  works.  After  the  de.ath  of  their  in- 
structor, the  two  scholars  continued  to  labour  in 
conjunction,  Franceschini  supplying  the  figures 
and  Quaini  the  landscapes,  architecture,  and  other 
accessories.  Their  united  talents  were  successively 
employed  at  Bologna,  Modena,  Piacenza,  Genoa, 
and  at  Rome,  where  they  painted  the  cartoons  for 


FERDINANDO  QUAGLIA. 


I  From  the  miniature  in  the  Waliaic  Gallery 


THE  EMPRESS  JOSEPHINE 


PAINTERS  AND  ENGRAVERS. 


one  of  the  small  domes  in  St.  Peter's,  which  were 
carried  out  in  mosaic.  Quaini  also  painted  several 
historical  subjects  from  his  own  compositions, 
which  were  entirely  finished  by  himself.  In  the 
church  of  San  Giuseppe  at  Bologna  is  a  '  Visit- 
ation '  by  Quaini  ;  in  La  Carita,  a  '  Pieta  '  ;  and  in 
San  Niccolo  the  principal  altar-piece  ;  it  represents 
the  saint  in  prison,  visited  by  the  Virgin  and  an 
angeL     Quaini  died  in  1717. 

QUARANTE,  Lccien,  was  born  at  Metz  in 
1860.  He  studied  at  tlie  ficole  des  Beaux  Arts 
under  Cabanel  and  Henriquel-Dnpont.  Subse- 
quently he  entered  the  studio  of  Laguillermie,  and 
made  his  ddbut  as  an  engraver  at  the  Salon  of 
1887  with  a  portrait  after  Franz  Hals  which  gained 
for  him  an  honourable  mention.  Since  then  he 
was  a  constant  exhibitor  at  the  Salons  of  the 
Soci^td  des  Artistes  Frangais,  where  his  plates, 
chiefly  after  the  old  masters,  attracted  much 
attention.  Among  his  principal  plates  are  :  '  The 
Duke  of  Richmond,'  after  Van  Dyck  ;  '  Le  Jeune 
Homme  au  Gant,'  after  Titian  ;  '  Le  Drapeau,'  after 
Moreau  de  Tours ;  and  '  Les  Derniers  Rebelles,' 
after  B.  Constant.  He  also  executed  many  plates 
for  the  periodical  '  L'Art '  and  other  publications. 
He  died  in  19il2. 

QUARENGHI,  Giacomo,  painter,  born  at  Ber- 
gamo in  1744.  He  was  a  pupil  of  R.  Mengs,  but 
devoted  himself  chiefly  to  architecture.  He  mi- 
grated to  St.  Petersburg,  where  he  worked  almost 
entirely  at  architecture,  and  had  a  great  influence 
over  the  development  of  that  art  at  the  Russian 
capital.     He  died  there  in  1817. 

QUARNSTKOM.  Karl  Gdstaaf,  Swedish 
painter ;  born  at  Stockholm,  March  5,  1810 ;  he 
first  studied  at  the  Stockholm  Academy  with 
Hasselgren.  A  visit  to  Italy  in  1836  served  to 
deepen  his  love  of  art.  He  subsequently  became 
Professor  and  Director  of  the  Stockholm  Academy, 
but  went  back  to  live  at  Rome  in  1854.  He  died 
at  Stockholm,  March  23,  1867. 

QUAST,  Peter,  son  of  John,  bom  at  Amsterdam 
in  1605-6,  married  in  1632  Anne  Splinters  of  the 
Hague,  settled  there,  and  was  admitted  into  the 
Guild  of  St.  Luke  in  1634.  In  1643  he  was  back  at 
Amsterdam,  where  he  died  in  May  1647.  His 
pictures  generally  represent  interiors  with  peasants 
drinking  or  playing  cards,  or  surgical  operations  ; 
occasionally  Bible  stories — these  treated  with  little 
reverence. 

A  man  having  his  leg  operated  on. 
The   Triumph  of    Folly.      1643 

(signed). 
Four   peasants  at   table.      1633 

(signed). 

We  have  several  spirited  etchings  by  him  from 
his  own  designs,  as  well  as  after  other  masters, 
some  of  which  are  executed  in  the  style  of  Callot, 
though  incorrect  in  drawing.  He  generally  marked 
his  prints  with  one  of  the  following  monograms  : 

^.  J^/^ .  ^JQ^  ■    The  following  may  be  named : 

The  Five  Senses ;  P.  Qiiastfec.    1638. 

The  Four  Seasons,  in  grotesque  figures. 

A  set  of  twenty-six  plates  of  Beggars,  Boors,  &c. 

A  set  of  twelve  Grotesque  Figures. 

A  set  of  ten  plates  of  Beggars,  kc.    S.  Savery  exc. 

A  set  of  twelve  fancy  subjects,  in  imitation  of  Callot. 

QUATBEPOMME,  Isabella,  is  mentioned  by 
Papillon  as  an  engraver  on  wood.  She  seems  to 
have  been  a  native  of  Rouen,  and  to  have  flourished 
about  the  year  1521,  for  that  date  appears  on  the 


Amsterdam.  Mvseum, 

Hague.  Maurits- 

huis, 

Vienna.         Museum. 


frontispiece  of  an  old  calendar  executed  by  her, 
representing  a  figure  of  Janus.  It  is  marked  with 
a  rebus  made  up  of  an  apple  on  which  is  the 
cipher  4.  There  has  been  some  dispute  as  to  her 
existence. 

QUEBOORN  (or  Queboren).  See  Van  den 
Queboorn'. 

QUECQ,  JacQOES  Edouabd,  a  French  historical 
painter,  bom  at  Cambrai  in  1796,  and  died  in  1874. 
He  was  a  pupil  of  Steuben.     Works: 

First  Combat  of  Romulus  and  Remus.     1827. 

Death  of  VitelUus.     1831. 

Death  of  Britannicus.     1833. 

After  the  Shipwreck.     1834.    (Museum  of  ralenciennes.) 

Saint  Waast.     1838.     (Ministere  de  I' /nteritur,  Paris.) 

St.  Francis  of  Assissi.     1836.     (Do.) 

San  Carlo  Borromeo  during  the  Plague  at  Milan.     1840. 

Sau  Carlo  Borromeo  administering  the  Viaticum  to  Pius 

IV.     1842. 
St.  Martin  of  Tours.     1846.    (Ministere  de  I'lntMeur.) 
Lais  and  Diogenes.     1850. 

Christ  fainting  under  the  Cross.     1861.     (I'm/y,  Nord.) 
Portrait  of  Louis  XVIII.     (Cambrai  Museum.) 

QUELLIN,  Erasmus  II.,  (or  Quellinds,)  was 
bom  at  Antwerp  in  1607.  He  was  son  of  the  sculp- 
tor Erasmus  Qiiellin  I.,  and  brother  of  Artus  Quellin, 
also  a  sculptor.  The  early  part  of  his  life  wa>i 
devoted  to  the  study  of  the  Belles  Lettres,  and 
Sandrart  asserts  that  he  was  for  some  time  pro- 
fessor of  philosophy.  His  intimacy  with  Rubens 
inspired  him  with  a  love  for  painting,  and,  aban- 
doning his  professor's  chair,  he  became  the  disciple 
of  his  friend.  In  a  few  years  he  distinguished 
himself  among  the  able  artists  of  his  country,  at  a 
period  when  Antwerp  was  the  residence  of  the  best 
painters  of  the  Flemish  school.  He  became  a 
master  of  perspective,  and  was  well  versed  in  the 
details  of  architecture,  with  which  he  embellished 
the  backgrounds  of  his  historical  pictures.  His 
landscapes  too  are  treated  in  a  very  pleasing  style. 
On  the  conclusion  of  peace  between  France  and 
Spain,  he  in  1660  painted  '  Mars  and  Bellona  chased 
by  Peace  and  Hymen,'  also  'The  Nuptials  of  Louis 
XIV.  and  Maria  Theresa,'  and  several  decorative 
pictures  upon  the  occasion  of  the  entry  of  the 
Spanish  Governor-General  in  1665.  He  was  not 
less  successful  with  portraits,  and  painted  those  of 
many  of  the  most  distinguished  artists  of  his  time. 
Quellin  was  a  great  friend  of  Gevartius.  He  died 
in  Tongerloo  Abbey  in  1678.  Works  : 
Antwerp.        St.  Andretc^s.    The  Guardian  Angel. 

„  St.  Jacques.    Death  of  St.  Roch. 

„  Museum.    Miracles  of  St.  Hugh  of  Lin- 

coln (a  double  picture). 

„  .,  Gratien   Molenaer  saved  by 

St.  Catherine. 

„  „  A  Bishop. 

„  „  Portrait  of  Bishop  Nemius. 

Dres.len.  Gallery.    The  Betrothal  of  M-iry. 

,,  „  The  Madonna,  and  Saints 

Ghent.  St.  Saviour's.     A  *  Riposo.' 

Ma^lriil.  Museo.    The  Conception. 

„  The  Rape  of  Eiu^pa. 

,,  .,  Bacchus  and  Ariadne. 

„  „  Death  of  Eurydiee. 

„  „  Jason. 

„  .,  Cupid  on  a  Dolphin. 

„  „  Two  Angels  putting  two  un- 

clean    Spirits    to    flight. 
(Fragment.) 
Mechlin.  S.Peter's  Church.    The  Nativity. 
Rotterdam.  Museum.    Assumption  of  the  Virgin. 

„  „  A  Kitchen. 

Vienna.  Belvedere.     Coronation  of  Charles  V. 

We  have  a  few  etchings  by  Erasmus  Quellin 
among  which  are  the  following  : 

171 


A  BIOGRAPHICAL  DICTIONARY   OF 


Samson  killing  the  Lion  ;  afur  Ruhens. 

A  Landscape,  with  a  dance  of  children  and  young  satyrs ; 

E.  Quellinus  fee. 
The  Virgin  and  Infant  Jesus ;  after  Stibetu. 
Christ  at  the  Pillar. 

QUELLIN,  Hubert,  (or  Quellinds,)  another 
brother  of  Artus  Quellin,  was  born  at  Antwerp 
about  the  year  1608.  He  engraved  a  set  of  plates 
after  designs  made  by  Jan  Bennokel,  from  the 
marble  statues  executed  by  Artus  Quellin,  in  the 
Stadthouseat  Amsterdam,  which  plates  are  marked 
with  the  initials  of  both  the  artists,  A.  Q-  H.  Q. 
They  form  a  volume  in  folio,  and  were  published  in 
1655.  He  also  engraved  some  portraits.  His 
plates  are  etched  in  a  singular  style,  resemblins 
that  of  Pieter  Soutman,  and  neatly  finished  with 
the  graver.  Among  others,  we  have  the  following 
portraits  by  him  : 

Artus  Quellin,  Statuary  of  Antwerp ;  H.  Quellinus  del. 
et  sc. 

Philip  rv.  seated  on  his  throne,  with  the  Prince  Royal, 
and  several  allegorical  figiu-es ;  H.  Quellinus.     1665. 

QUELLIN,  Jan  Erasmus,  the  son  and  scholar  of 
Erasmus  Quellin  II.,  was  baptized  at  Antwerp  on 
December  1,  1634.  He  visited  Italy,  and  resided 
Bome  years  at  Venice,  where  the  works  of  Paolo 
Veronese  particularly  attracted  his  attention.  He 
adopted  the  decorative  style  of  that  master,  and 
had  acquired  considerable  reputation  at  Venice, 
Naples,  and  Rome,  when,  at  the  desire  of  his 
father,  he  returned  to  his  native  country.  The 
expectation  his  countrymen  had  formed  from  the 
report  of  his  talents  furnished  him  with  numerous 
commissions,  and  his  altar-pieces  are  to  be  found 
in  most  of  the  churches  of  the  Low  Countries. 
The  younger  Quellin  was  a  painter  of  great  natural 
ability,  but  in  his  time  the  school  was  too  far  on 
the  decline  for  his  work  to  be  agreeable.  He  became 
a  member  of  the  Guild  at  Antwerp  in  1660,  and  was 
named  painter  to  Leopold  II.,  whose  portrait,  and 
that  of  the  Empress,  he  painted.  Quellin  married 
Comelie.the  daughter  of  David  Teniers  the  younger, 
and  by  her  had  a  family  of  eleven  children.  The 
date  and  place  of  his  death  are  unknown,  although 
Immerzeel  gives  the  year  1715.     Works : 

Antwerp.  Abbey  of  St.)  Christ  healing   the  Sick  (a 

Michael,  j      colossal  icork). 
„  „  The  Four  Feasts  of  Scripture 

{four  pictures). 
„  Cathedral.    Adoration  of  the  Magi. 

„  Museum.    The  Pool    of   Bethesda   {in 

two  parts). 
„  „  The  Martyrs  of  Gorcum  {in 

three  pictures). 
I,  „  Portrait  of  Bishop  van  den 

Eede  of  Antwerp. 
_  „  St.    Bernard    receiving    the 

Habit. 
„  „  Christ  at  the  House  of  Simon 

the  Pharisee. 
„  „  Martyrdom  of  St.  Agatha. 

„  „  The  Nativity. 

„  „  Miracle  of  St.  Hugh. 

Hechiin.  Notre  Dame.    The  Last  Supper. 

Vienna.  Gallery.    Martyrdom  of  St.  Andrew. 

„       Liechtenstein  Coll.    Esther  before  Ahasuems. 

QU:6NEDEY,  Edm^  French  painter  and  en- 
graver ;  bom  December  17,  1756,  at  Riceys-le- 
Haut  (Department  Aube)  ;  became  a  pupil  of 
Devosge.  Visited  Brussels,  Ghent,  and  Hamburg, 
living  here  for  five  years.  He  drew  and  engraved 
portraits  of  many  celebrities,  including  Madame 
de  Stael,  Kreutzer,  Bousaeau,  and  M^hul.  He 
died  in  1830. 

172 


QDENTIN,  Nicolas,  a  French  historical  painter 
who  lived  at  Dijon,  and  died  there  in  1636.  Hie 
life  has  been  too  much  neglected  by  biographers 
and  critics,  for  his  work  had  considerable  originality. 
He  appears  to  have  had  no  regular  master.  The 
compiler  of  the  catalogue  of  the  Dijon  Museum 
asserts  that  Poussin,  passing  through  Dijon  and 
seeing  his  '  Communion  of  St.  Catherine,'  exclaimed 
that  if  Quentin  understood  his  own  interests,  and 
went  to  Italy  for  improvement,  he  would  make  his 
fortune.  Works : 
Dijon.  Musie.    Bishop  blessing  a  child. 

„  „         St.  Margaret. 

„  „        The  Circumcision. 

„  „        The  Head  of  St.  Elizabeth. 

„  „        The  Visitation. 

„  „        The  Adoration  of  the  Shepherds. 

„  „        St.  Bernard. 

QUERENA,  Lactanzio,  an  Italian  painter,  born 
at  Clusone,  near  Bergamo,  in  1760.  He  studied  at 
the  Academy  of  Verona,  and  also  in  Venice.  He 
was  very  skilful  in  restoring  old  masters,  and 
painted  many  pictures  for  the  churches.  He  died 
at  Venice  on  July  10,  1853.     Works  : 

Venice.  Sta.  Maria  For-  \  g^^  ^^^ 
mosa.         y 
SS.  Giovanni  e  ^  p^^^,.  f,^^  j^^  o,^,,_ 

„  Sta.  Maria  del  )  ,,- 

Piar,to.         1  '^'P"™- 
„  St.  Mark's.    Mosaic  of  Last  Judgment. 

QUERFURTH,  August,  was  bom  at  Wolfen- 
buttel  in  1696.  He  was  first  instructed  by  his 
father,  Tobias  Qderforth,  a  landscape  and  animal 
painter,  and  afterwards  studied  imder  Rugendas  at 
Augsburg.  He  painted  encampments,  battles, 
skirmishes  of  cavalry,  and  hunting  subjects,  in  all 
of  which  he  appears  rather  as  an  imitator  than  as 
an  original  painter.  He  sometimes  imitated  the 
manner  of  Bourgognone,  Parrocel,  and  Van  der 
Meulen,  but  more  especially  sought  to  form  his 
style  after  Wouwennan.  He  died  at  Vienna  in 
1761.  The  Belvedere  possesses  two  hunting-pieces 
by  him  ;  the  Augsburg  Gallery,  four,  and  a  battle; 
others  are  at  Berlin,  Dresden,  and  Stuttgart. 

QUERRA.     See  Guerra. 

QUERTEMONT,  A.^dreas  Bernhard  de,  a  por- 
trait and  historical  painter,  bom  at  Antwerp  in  1760. 
He  was  a  pupil  of  the  Academy  of  Antwerp,  of 
which  he  afterwards  became  Director.  He  also  had 
a  private  school,  from  which  he  turned  out  several 
good  painters.  He  was  the  author  of  a  series  of 
portraits  of  the  members  of  the  '  States '  of  Brabant, 
which  have  been  engraved.     He  died  in  1835. 

QDESNEL,  a  Scoto-Frenoh  family  of  artists  of 
some  importance  :  genealogy : 

Pierre  (early  IBth  century). 


Francois  (1544?— 1699). 
I 


Auf^Btin       Francois  XL 
(1695    —  ).        (1600    —  ). 


Nicolas  Jaoqnes 

(  —   1632).         (  —   1824). 

Nicolas  Toussaint 

(1601  —  ).     Oiving  1651). 

QUESNEL,  AuGUSTiN,  son  of  Franyois,  was  bom 
in  Paris  in  1595.  He  was  painter  and  print-seller. 
MaroUes  says  he  painted  portraits,  but  the  only 
known  work  of  his  is  a  '  Flute-player,'  engraved  by 
Ganieres.  Of  the  other  two  sons  of  Francois, 
Fbanqois  II.  and  Nicolas,  nothing  is  known,  but 
it  is  believed  that  the  former  quitted  the  easel  for 
the  cloister. 

QUESNEL,  Feanqois,  the  eldest  son  of  Pierre, 
was  bom  at  Holyrood,  Edinburgh,  about  1544. 
His  portrait,  by  himself,  was  engraved  by  Michel 
Lasne.     He   seems  to   have  been  the   ablest  and 


PAINTERS  AND  ENGEAVEKS. 


the  most  famous  member  of  his  family.  He  was  a 
great  favourite  with  Henry  III.  and  his  court, 
especially  the  Chancellor  Chiverny.  His  portraits, 
Bays  de  Marolles,  are  often  confounded  with  those 
of  Janet.  He  compiled  '  Le  Premier  Plan  de  Paris, 
en  douze  feuilles.'  But  for  his  modest  and  retiring 
disposition,  he  would  have  won  wider  fame  and 
greater  honours.  He  made  many  designs  for 
tapestries,  &c.,  to  be  used  on  the  occasions  of  the 
entry  of  Marie  de  Medici,  and  the  consecration  of 
Louis  XIII.  Some  of  these  were  engraved  by 
Thomas  de  Leu.  Quesnel  died  in  Paris  in  1619. 
Works  : 

Paris.  Louvre.    Bust  Portrait  of  a  Woman.   (A 

dramny  in  black  chnlk,) 
,,  Nat.  Library.     Portrait  of  a  Mac.     (Fastel.) 

„  „  Gabrielle  d'Estr6es.     (Pastel.) 

QUESNEL,  Jacqoes,  third  son  of  Pierre,  was 
bom  at  Paris.     Nearly  all  that  is  known  of  him  is 
contained  in  the  following  quatrain  of  Marolles: 
Jacques  peignit  des  Saints,  des  voutes,  des  chapelles. 
II  peignit  des  tableaux  pour  I'hotel  de  Zamet, 
II  en  fit  pour  le  prince  a  qui  tout  se  soumet, 
Et  Ton  connut  de  lui  mille  beautes  nouvelles. 

He  died  in  Paris  May  11,  1624. 

QUESNEL,  Jean  Francois,  French  painter; 
born  August  13,  1803,  at  Coiitances  (Manche). 
He  was  a  pupil  of  Gros  and  also  of  Regnault  at 
the  ifccole  des  Beaux  Arts.  For  twenty-five  years 
he  worked  at  Caen,  where  most  of  his  best  work 
is  now  to  be  seen,  including  many  effective  por- 
traits. It  was  here  that  he  died,  November  28, 
1866. 

QUESNEL,  Nicolas,  second  son  of  Pierre,  bom 
in  Paris,  was  Dean  of  the  Society  of  Painters  and 
Sculptors.  There  is  a  portrait  in  pastel  by  him,  of 
his  father,  Pierre  Quesnel,  in  the  National  Library, 
Paris.     He  died  August  7,  1632. 

QUESNEL,  Pierre,  the  head  of  the  family,  was 
descended  from  an  ancient  Scottish  house.  He  was 
protected  by  Mary  of  Lorraine,  who  presented  him 
to  her  husband,  James  V.  He  married  Madeleine 
Digby  in  Scotland,  and,  after  she  had  borne  him  one 
son,  returned  to  France  and  settled  in  Paris,  where 
he  was  still  living  in  1580.  His  only  known  work 
is  the  design,  executed  in  1557,  for  the  east 
windows  in  the  church  of  the  Augustines,  at  Paris. 
The  subject  is  the  '  Ascension,'  with  Henry  II.  and 
Catharine  de'  Medici  as  kneeling  spectators. 

QUESNEL,  TonssAiNT,  son  of  Nicolas  the  elder, 
flourished  in  1651,  when  he  painted  history  in 
collaboration  with  Fr^minet  and  Dubreuil.  In  the 
above-named  year  he  signed  the  act  of  union  be- 
tween _the  master  painters  and  the  academicians. 

QUETRY,  BARTHfeLfesiY,  a  French  painter,  who, 
in  1543,  painted  a  series  of  mythological  pictures 
in  the  Tennis  Court  at  the  Tuileries. 

QUEVERDO,  Franqois  Marie  Isidore,  a  French 
engraver,  doubtless  of  Spanish  origin,  was  born  at 
JoBselin  in  Brittany  in  1748.  He  was  a  pupil  of 
J.  B.  Pierre  and  of  J.  de  Longeuil.  He  engraved 
several  plates,  as  well  from  his  own  designs  as  after 
other  masters.  He  executed  part  of  the  plates  for 
the  '  Voyage  pittoresque  d'ltalie,'  by  the  Abbe  de 
St.  Non.  We  have  also,  among  others,  the  following 
prints  by  him  ; 
A  series  of  designs  for  the  *  Henriade  ' ;  partly  engraved 

by  himself,  but ^finhhed  by  JJembnni. 
A  series  of  vignettes  for  a  translation  of  Ovid's  '  Fasti, 

and  *  Heroides.' 
Setting  out  for  the  Sabbath. 
Republican  Calendar  for  the  year  Two. 
Portrait  of  Charlotte  Corday.     (Dramng.) 


QUEVERDO,  Louis  Ive,  engraver,  born  in  Paris 
in    1788,    was   a    pupil   of    Regnault  and   Coiny. 
Among  his  plates  we  may  name  the  following : 
The  Transfiguration  ;  after  Raphael.    (' Musfe  FilhoL') 
The  Canaanitish  Woman  ;  after  Drouais.     (Do.) 
The  Komaos  and  Sabines ;  after  iJavid.    (*  Hccueil  des 

Prix  Decennaux.') 
The  Three  Ages  ;  after  Gerard.     (Do.) 
Marcus  Sextus  ;  after  GTierin.     (Do.) 
Orestes  and  the  Buries;  after  Hennequin.     (Do.) 
The  Coronation  of  Napoleon  I. ;  after  David.    (Do.) 
Andromache  ;  after  Guirin.     (Etching.) 
Neptune  and  Amphitrite  ;  after  Giulio  Romano.     (Do.) 
Henry  IV.  and  his  family ;  after  Ingres.     (Do.) 
Daphnis  and  Chloe  ;  after  Gerard.     (Do.) 
{These   four   plates   wei-e  finished  with    tlie    burin    by 

Richomme). 
QUILLERIER,  No£l,  a  French  historical  painter 
and  assistant  professor  of  the  Academy  of  Paint- 
ing, was  born  at  Orleans  in  1594,  and  died  in 
1669,  in  Paris.  He  was  received  at  the  Academy 
in  1663,  his  reception  picture  being  a  '  Saint  Paul.' 
He  executed  paintings  in  a  cabinet  at  the  Tuileries, 
and  during  several  years  of  his  life  was  conservator 
of  the  pictures  in  the  Royal  Palace  of  the  Louvre. 
QUILLIARD,  Pierre  Antoine,  a  French  painter 
and  engraver,  was  bom  in  Paris  in  1711.  He  was 
a  scholar  of  Watteau,  and  soon  after  leaving  the 
school  of  that  master,  he  was  invited  to  the  court 
of  Portugal,  where  he  was  made  painter  to  the 
queen,  and  a  member  of  the  Academy  at  Lisbon. 
His  principal  work  as  a  painter  is  a  ceiling  in  the 
queen's  bed-chamber.  He  engraved  from  his  own 
designs  the  plates  for  '  The  Funeral  of  Duke  Don 
Nuno  Olivares  Pereira,'  published  at  Lisbon  in  1730. 
He  died  at  Lisbon  while  still  young. 

QUINAURT,  Charles  Lodis  FRANgois,  a  French 
painter,  bom  at  Valenciennes  in  1788.  He  was  a 
pupil  of  Abel  de  Pujol  and  Watelet.  His  pictures 
are  numerous.  In  the  museum  in  his  native 
town  there  is  an  '  Erminia  with  the  Shepherds,'  in 
a  landscape. 

QUINAUX,  Joseph,  French  painter ;  bom  March 
29,  1822,  at  Namur  ;  was  a  pupil  at  the  Art  School 
of  that  town,  and  afterwards  studied  at  Antwerp 
and  Louvain.  He  became  a  Professor  at  the 
Brussels  Academy,  painting  landscapes  and  other 
subjects,  of  which  some  found  acceptance  by  the 
Brussels  Museum.  He  obtained  the  Brussels  gold 
medal,  the  Leopold  Order,  and  other  decorations. 
He  died  at  Brussels,  May  25,  1895. 

QUINKHARDT,  Jan  Maurits,  was  bom  at  Kees, 
near  Cloves,  in  1688,  and  was  a  scholar,  successively, 
of  Arnold  van  Boonen,  Lubinietski,  and  N.  Ver- 
kolje.  He  painted  familiar,  allegorical,  and  mytho- 
logical subjects,  and  was  excellent  in  portraits,  of 
winch  he  painted  a  great  number.  Five  good  ex- 
amples are  in  the  Amsterdam  Museum.  He  died  in 
1772.  His  son  Jdlids,  born  in  1736,  was  instructed 
by  his  father,  but  abandoned  art  for  commerce. 
He  died  in  1776.  Two  pictures  by  him  are  in  the 
Amsterdam  Museum. 

QUINTILIEN,  — ,  is  mentioned  by  Florent  le 
Comte  as  the  engraver  of  some  plates  after  Callot, 
to  which  he  did  not  affix  his  name. 

QUINTON,  George,  a  self-taught  engraver,  was 
born  at  Norwich  in  1779.  Some  of  his  works 
appear  in  the  'Gentleman's  Magazine,'  1796. 

QUIRICIUS  DA  MURANO,  an  obscure  painter 
over  whose  career  there  has  been  much  discussion. 
Among  the  treasures  at  Rovigo  towards  the  close 
of  the  18th  century,  Francesco  Bartoli  noticed  a  St. 
Lucia  by  an  unknown  painter  in  the  house  of  the 
Campanari  family,  dated  and   signed  as  follows, 

173 


A  BIOGRAPHICAL  DICTIONARY  OF 


Opus  Quiricius  de  Joanes  Veneciis  M"  4062.  Tliis 
picture  is  now  in  the  possession  of  Cardinal  Sil- 
vestri  at  Rovigo.  The  signature  and  technical 
characteristics  suggest  that  Quiricius  was  the  pupil 
of  Giovanni  d'Aleraania,  the  chief  of  the  famous 
workshop  of  Murano.  In  tlie  Venice  Academy 
there  area  '  Virgin  Adoring'  and  an  '  Ecce  Homo,' 
both  clearly  by  the  same  hand,  and  the  former 
signed  .  .  uiriUis,  Murano.  This  signature,  how- 
ever, is  either  false  or  repainted.  For  a  fuller  dis- 
cussion of  Quiricius,  see  Crowe  and  Cavalcaselle, 
'  Painting  in  North  Italy,'  vol.  i.  pp.  34 — 37. 

QUIROS,  Lorenzo,  a  Spanish  historical  painter, 
and  imitator  of  Murillo,  was  bom  at  Santos  in 
Estremadura  in  1717.  He  studied  at  Seville  under 
Bernard  German  Llorente,  and  made  great  progress 
both  in  fresco  and  oil  painting.  To  perfect  himself 
in  drawing,  he  went  to  Madrid  ;  but  his  turbulent 
disposition  induced  him  to  abandon  the  patronage 
of  Corrado  and  Mengs,  who  were  disposed  to  em- 
ploy hira.  He  returned  to  Seville,  where  he  re- 
mained for  twenty  years  without  ever  making  any 
one  acquainted  with  his  place  of  residence.  He 
employed  himself  in  copying  the  works  of  Murillo, 
which  he  did  very  successfully,  selling  his  copies 
through  an  agent.  He  died  in  1789.  He  has  left 
works  at  Madrid,  at  the  Royal  Academy  of  San 
Fernando,  at  Cazalla,  Granada,  Xeres,  Seville,  and 
at  other  places  in  Spain. 

QUITER,  Herman  Hendrik,  (or  Har  Hind,) 
a  Dutch  mezzotint  engraver,  was  born  in  1620,  and 
died  in  1700.  We  have  by  him  a  few  English 
portraits,  after  Sir  Peter  Lely  and  others. 

His  eldest  son,  also  Herman  Hendrik,  studied  in 
the  school  of  Carlo  Maratti,  in  1700,  and  was  after- 
wards painter  to  the  Landgrave  of  Hesse  ;  he  died 
in  1711  at  Brunswick.  Magnds  Qditer,  a  younger 
son,  a  portrait  painter,  was  also  a  short  time  in  the 
school  of  Maratti  ;  he  visited  Holland  and  England, 
and  probably  assisted  Kneller.  He  was  afterwards 
keeper  of  the  Gallery  at  Salzdalum,  and  died  in  1744. 
There  was  also  an  E.  QniTER,  a  mezzotinter,  who 
produced  a  few  plates  after  Jan  de  Baan. 


K 

RAAB,  Georg,  German  painter  ;  born  at  Vienna, 
February  1,  1821  ;  became  a  pupil  at  the  Vienna 
Academy  from  1841  to  1846  ;  he  worked  at  Buda- 
pesth,  and  also  profited  by  study  at  Munich. 
Painted  portraits  in  oil  and  water-colour  ;  also 
miniatures.  The  Vienna  Museum  possesses  his 
'Lady  with  the  White  Veil.'  He  painted  a  portrait 
of  the  Emperor  Francis  Joseph,  and  also  of  the 
Empress  Elizabeth.  He  died  at  Vienna,  December 
31,  1885. 

RAAB,  Ignaz  Joseph,  a.  painter,  was  born  at 
Mechanitz  in  Bohemia,  in  1715.  He  studied  at 
Getschin  under  Major,  but  in  1744  entered  the 
Jesuit  Order,  for  which  he  did  much  decorative  work 
in  fresco.  He  died  at  Welehrad  in  Moravia,  in  1787. 

RAABE,  Joseph,  a  portrait  and  historical  painter, 
was  born  at  Deutsch-Wartemberg,  in  Silesia,  in 
1780.  After  travelling  through  Germany,  France, 
and  Italy,  he  became  court  painter  to  the  Duke  of 
Hesse,  and  teacher  of  drawing  and  painting  in  the 
Academy  at  Bonn.  In  1816  he  became  a  member 
of  the  Dresden  Academy,  and  in  the  same  year 

174 


went  again  to  Italy.  Some  years  later  he  was 
appointed  court  painter  to  the  King  of  Saxony. 
His  chief  works  are  figures  of  St.  Peter  and  St. 
Paul,  painted  for  the  church  at  Naumburg,  in 
Silesia,  and  a  'Madonna  and  Child'  for  the  church 
at  Werthau,  in  the  same  province.  In  the  Dresden 
Gallery  there  is  a  series  of  pictures  and  drawings 
by  him  illustrating  the  history  of  Germany  in  the 
Middle  Ages.     Raabe  died  in  1849. 

RABAGLIO,  Prosper,  was  a  native  of  Brescia. 
There  is  an  altar-piece  by  him  in  the  church  of  the 
Capuchins  in  that  city,  dated  1588. 

RABASSK,  Jean,  an  engraver  and  print-seller, 
who  flourished  in  Paris  about  1650.  Three  prints 
have  been  attributed  to  him  :  a  '  Judith,'  signed 
Jean  Rabas  avec  Previlege  du  Roy ;  a  '  Holy 
Family,'  with  his  initials,  J.  R.,  and  a  'Repose 
in  Egypt,'  with  the  same  letters  in  a  cipher.  The 
two  latter  have  been  variously  assigned  by  different 
writers. 

RABBIA,  Rafaelle,  a  portrait  painter,  was  born 
at  Marino.     He  was  living  in  the  year  1610. 

RABEL,  Daniel,  the  son  of  Jean  Rabel,  was 
probably  instructed  by  him  in  the  principles  of 
art.  He  painted  landscapes,  some  of  which  have 
been  engraved.  He  etched  a  considerable  number 
of  plates  in  a  style  resembling  that  of  Israel 
Silvestre,  which  chiefly  consist  of  views  and  land- 
scapes, with  figures  neatly  drawn.  His  death  is 
said  to  have  taken  place  in  1628. 

RABEL,  Jean,  painter  and  engraver,  was  bom 
at  Beauvais,  in  France,  between  1545  and  1550.  He 
executed  several  etchings  for  a  book  called  'The 
Antiquities  of  Paris,'  published  in  1588.  He  en- 
graved portraits  of  Charles  V.,  Louis  XII.,  Soissons, 
and  Coligny ;  and  painted  portraits  of  Henri  III., 
Gamier,  and  others.  There  is  a  copper-plate  by 
him  representing  the  '  JIartyrdom  of  St.  Lawrence, 
copied  from  the  print  of  the  same  subject  engraved 
by  Marc  Antonio,  after  Baccio  Bandinelli.  It  is 
smaller  than  the  original,  and  on  a  stone  at  the 
bottom  of  the  print  is  inscribed  Jo  Rabel  Bel- 
lonacus  lute  Parisii.     He  died  in  1603. 

RABEN,  Servatics,  (Raeven,  or  Raven,)  a 
Dutch  engraver,  of  whom  little  is  kno\vn  with 
certainty,  except  that  he  engraved  the  '  Twelve 
Caesars,'  after  Stradanus,  on  one  of  which  is  a  cipher 
formed  of  S.  R.  V.,  and  on  the  rest  his  name  varied 
as  above  ;  and  the  '  Madonna  della  Seggiola,'  after 
Raphael,  signed  Servatius  Raeven.  By  some  he 
has  been  confused  with  Serwouter  ;  but  the  cipher 
of  the  latter  is  very  different  from  his,  being 
composed  of  a  P  and  an  S  interlaced,  followed 
by  a  W. 

RABER,  Johann  Georq,  a  German  engraver, 
was  born  at  Vienna  in  1764.  He  became  the  pupil 
of  Miiller  in  Stuttgart,  and  of  Desnoyers  in  Paris. 
His  chief  works  are  '  Children,'  after  Van  Dyck  ; 
a  '  Madonna,'  after  Raphael ;  and  a  portrait  of 
Prince  Ludwig  of  Bavaria,  after  Kellerhofen. 

RABIELLA,  Pablo,  a  Spanish  painter  of  battle- 
pieces,  who  lived  at  Saragossa  at  the  commence- 
ment of  the  18th  century,  where  he  enjoyed  a  con- 
siderable reputation.  Though  not  very  correct  in 
his  drawing,  in  his  painting  he  followed  with 
success  the  styles  of  Juan  Rizi  of  Castille,  and 
Juan  de  Valdes  of  Andalusia.  There  are  several 
pictures  in  the  Trinitarios  Calzados  de  Teruel 
attributed  to  him  ;  also  in  the  chapels  of  St.  Marco 
and  Santiago,  and  one  in  the  Cathedral  de  la  Seu 
at  Saragossa,  representing  the  Battle  of  Clavijo. 

RABISINO,  ToMMASO  da,  commonly  known  as 


PAINTERS  AND  ENGRAVERS. 


Tommaeo  da  Modena,  a  native  of  Modena,  who 
flonriehed  as  a  painter  in  tlie  14th  century.  Of  his 
life  nothing  is  known  for  certain,  but  the  chief 
works  wliich  have  been  tlie  means  of  preserving 
liis  name  are:  an  '  Ecce  Homo'  and  'Madonna'  in 
the  chapel  of  the  Castle  at  Karlstein  ;  a  '  Madonna ' 
in  the  Gallery  at  Modena  ;  a  '  Madonna  with  Saints ' 
in  the  Belvedere  at  Vienna,  and  several  Saints 
in  the  church  of  St.  Niccolo  at  Treviso,  most  of 
which  are  in  a  very  exaggerated  style.  See  Crowe 
and  Cavalcaselle,  '  Italian  Painting,'  vol.  ii.  p.  219. 

RABON,  Nicolas,  (or  Rebon,)  son  of  Pierre 
(Rabon),  was  born  in  Paris  in  1644,  and  painted 
historical  subjects.  He  obtained  honours  at  the 
Academy  in  1666,  and  was  admitted  a  member  in 
1686.     He  died  the  same  year  at  Hermant. 

RABON,  Pierre,  (or  Rebon,)  bom  at  Havre 
in  1619,  practised  portrait  painting.  He  was 
admitted  into  the  old  Royal  Academy  of  France  in 
1660,  and  died  in  1684. 

RACCHETTI,  Bernardo,  the  nephew  and  scholar 
of  Giovanni  Ghisolfi,  was  born  at  Milan  in  1639. 
He  painted  architectural  views  and  perspectives 
in  the  style  of  his  instructor,  for  whose  pictures 
Racchetti's  are  not  unfrequently  mistaken.  They 
usually  represent  sea-ports  embellished  with  mag- 
nificent buildings,  which  are  drawn  with  precision, 
and  handled  with  taste  and  spirit.  There  are 
many  of  his  works  in  the  private  collections  at 
Milan,  where  he  died  in  1702. 

BACINE,  Jean  Baptiste,  a  French  engraver, 
born  in  Paris  in  1747.  He  was  a  pupil  of  Fran- 
cois Aliamet,  and  has  engraved  several  vignettes 
and  other  plates  for  books,  after  Cochin.  We  have 
also  some  prints  of  landscapes  after  different 
masters,  and  a  few  subjects  from  the  pictures  in 
the  Orleans  Gallery.  Among  others  the  following 
are  by  him : 

Hagar  and  Ishmael ;  after  P.  F.  Mola. 

A  Pa.storal  Subject ;  after  B.  Breenherg. 

A  Pair  of  Landscapes ;  after  Piltement. 

RACLE,  Franqois  B.,  portrait  painter,  bom  at 
Liege,  1739,  a  pupil  of  Deprez,  and  studied  also 
in  Italy.  He  succeeded  his  father  as  painter  in 
ordinary  to  the  chapter  of  S.  Lambert's  Cathedral. 
He  died  1777. 

RADCLYFFE,  Edward,  an  English  mezzotint 
and  line  engraver,  born  at  Birmingham  in  1810. 
He  studied  under  his  father,  W.  RadclyfEe,  whom 
he  assisted  for  some  time.  Coming  to  London  in 
1842,  he  worked  for  the  Annuals  and  the  'Art 
Journal.'  In  1862  he  engraved  a  series  of  land- 
scapes after  David  Cox  for  the  Art  Union  of 
London.  He  died  in  Camden  Town  in  1863. 
Amongst  his  best  plates  are  : 

The  Wiudy  Day  ;  after  D.  Cox. 

A  Welsh  Funeral ;  after  the  same. 

Kenilworth  Castle  ;  after  the  same. 

The  Hay-field  ;  after  Absolon. 

Kape  of  EuTOpa ;  after  Claude. 

The  Beacon  Tower  ;  after  the  same. 

Momiog  :  Sea  Coast ;  after  F.  R.  Lee. 

RADCLYFFE,  William,  an  English  engraver, 
born  at  Birmingham  in  1780.  His  works  are  in 
the  line  manner,  and  are  chiefly  landscape.  He 
practised  in  his  native  town,  and  had  much  to  do 
with  the  encouragement  of  art  there.  Thus,  in 
1814,  he  was  one  of  the  founders  of  the  first  Bir- 
mingham school  of  art ;  in  1821  he  assisted  in  the 
formation  of  the  Society  of  Arts  :  and,  in  1842,  he 
aided  in  the  establishment  of  the  Society  of  Artists. 
Many  of  his  works  are  to  be  found  in  the  Annuals 
of  the  time  ;  perhaps  his  best  efforts  are  in  '  Graphic 


Illustrations  of  Warwickshire'  (1829),  and  Ros- 
coe's  '  Wanderings  in  North  and  South  Wales.' 
He  died  at  Birmingham  in  1855.  The  following 
are  some  of  his  best  plates : 

Portrait  of  Dr.  Milner ;  after  Barber 
Portrait  of  Lord  Nelson. 
Rest  in  the  Desert ;  after  Muller. 
Crossing  the  Sands  ;  after  Collins. 
Church  of  St  Julian  ;  after  Turner. 
Hornby  Castle  ;  after  the  same. 
Deal ;  after  the  same. 

RADCLYFFE,  William,  an  English  portrait 
painter,  was  the  son  of  W.  Radclyffe,  the  engraver. 
He  practised  at  Birmingham,  and  afterwards  at 
London,  exhibiting  occasionally  at  the  Royal  Aca- 
demy.    He  died  young  in  1846. 

RADEMAKER,  Abraham,  probably  the  younger 
brother  of  Gerard  Rademaker,  was  bom  at  Amster- 
dam in  1675,  and  is  said  to  have  reached  an 
eminent  rank  in  art  as  a  landscape  painter,  with- 
out the  as.sistance  of  an  instructor.  His  first 
productions  were  painted  in  water-colours,  and 
were  very  highly  finished ;  but  he  afterwards 
practised  oil  painting,  with  no  less  success.  He 
was  well  acquainted  with  the  rules  of  architecture, 
and  embellished  his  landscapes  with  buildings  and 
ruins,  in  a  very  picturesque  manner.  He  engraved 
from  his  own  designs  a  set  of  plates  of  the  most 
interesting  views  of  ancient  monuments,  &c.  in  the 
Netherlands.  They  are  executed  in  a  masterly  style, 
and  were  published  at  Amsterdam  in  1727.  Rade- 
maker  died  at  Amsterdam,  January  22nd,  1735. 

RADEMAEER,  Gerard,  bom  at  Amsterdam  in 
1672,  was  the  son  of  an  architect,  who  taught  him 
the  first  rudiments  of  drawing  and  perspective, 
with  an  intention  of  bringing  him  up  to  his  own 
profession  ;  but  perceiving  his  son's  inclination  for 
painting,  he  placed  him  under  the  tuition  of  A.  van 
Ghoor,  a  portrait  painter  of  some  reputation.  He 
had  made  some  progress  in  his  studies  when  the 
death  of  his  master  deprived  him  of  his  assistance  ; 
but  he  was  sufBciently  advanced  in  the  art  to  give 
lessons  in  design  ;  and  he  was  engaged  by  the 
Bishop  of  Sebasto  to  teach  his  niece  drawing. 
That  prelate  being  afterwards  obliged  to  visit 
Rome,  Raderaaker  was  invited  to  accompany  him, 
and  had  the  advantage  of  improving  his  talent 
by  studying  the  most  interesting  objects  in  that 
capital.  His  genius  led  him  to  represent  views 
of  the  principal  ruins  and  other  monuments  in  that 
city  and  vicinity,  which  he  designed  with  accuracy 
and  precision.  On  his  return  to  Holland  he  met 
with  the  most  flattering  encouragement.  He  did 
not,  however,  confine  himself  to  architectural 
views,  but  painted  with  considerable  success 
historic  and  emblematic  subjects  which  adorn  the 
public  edifices  at  Amsterdam  and  the  other  cities 
of  Holland.  In  the  Townhall  at  Amsterdam  is  an 
allegorical  subject  painted  by  Rademaker,  repre- 
senting the  regency  of  the  city ;  and  in  the 
collection  of  the  family  of  Walraaven  there  is  a 
view  of  the  interior  of  St.  Peter's  at  Rome,  de- 
signed with  great  accuracy.  He  died  at  Amster- 
dam in  1711. 

RADET,  Jean  B.,  a  French  painter  and  native 
of  Dijon,  where  he  was  born  in  1752.  As  an  artist 
he  had  little  success,  but  won  some  reputation 
with  his  pen.     He  died  in  1830. 

RADI,  Bernardino,  a  native  of  Cortona,  an 
Italian  designer  and  engraver,  whose  name  is  afifiseil 
to  a  set  of  architectural  omaments,  monuments,  &c., 
published  at  Rome  in  1618.     They  are  slight,  hasty 

175 


A  BIOGRAPHICAL  DICTIONARY  OF 


etchings,  and  boar  the  title  Varie  invenzioni  per 
depositi  di  Bernardino  Badi  Corionese. 

BADIGUES,  Antoine,  a  French  engraver,  bom 
at  Bheims  in  1719.  He  is  said  to  have  visited 
England,  whence  he  went  through  Holland  to 
Russia,  and  resided  several  years  at  St.  Petersburg, 
where  he  engraved  the  portraits  of  the  Prince  and 
Princess  Gallitzin,  and  other  persons  of  distinction. 
He  also  engraved  a  plate  for  the  collection  of  the 
Dresden  Gallery,representingAngelica  and  Medoro, 
after  Alessandro  Tiarini. 

RADIGUET,  Max  Ren^,  French  artist,  best 
known  for  his  extremely  clever  caricatures  ;  bom 
at  Landerneau  (Finistfere)  1816,  died  January  8, 
1899,  at  Brest ;  was  a  Chevalier  of  the  Legion  of 
Honour,  and  a  distinguished  litterateur. 

BADIN  SALEH  BEN  JAGYA,  Prince,  born 
1816  at  Samarang  on  the  north  coast  of  Java  ; 
studied  at  the  Hague  under  Schelfhout  and  Kruse- 
mann  ;  travelled  in  Germany,  France,  and  Italy  ; 
subsequently  settled  at  Buitenzorg,  in  Batavia, 
where  he  died,  April  23,  1881.  He  lived  for  a 
time  at  Dresden,  and  afterwards  accompanied 
Horace  Vernet  to  Algeria.  His  best-known  pic- 
tures, some  of  which  are  in  the  Amsterdam 
Museum,  include  'Javanese  Cattle-dealer  attacked 
by  a  Tiger,'  '  The  Fight  to  the  Death,'  '  Lion  and 
Lioness,'  and  a  portrait  of  Thorvaldsen. 

RADL,  Anton,  a  landscape  painter  and  en- 
graver, born  at  Vienna  in  1774,  received  his  early 
training  in  the  Academy  at  Vienna,  but  in  1790 
he  went  to  Brussels,  where  he  put  himself  under 
the  painter  Kormer.  Thence  he  went  to  Frank- 
fort, and  worked  at  engraving  under  Prestel, 
whose  chief  assistant  he  became,  and  had  a  great 
share  in  the  engravings  by  Prestel  after  Ruys- 
dael.  His  chief  excellence  lay  in  his  drawing, 
especially  of  foliage,  for  his  colouring  was  hard. 
He  died  at  Frankfort  in  1852.  His  chief  paintings 
are  'A  Wood  in  Summer'  in  the  Darmstadt 
Gallery,  and  a  '  Woodland  Scene '  in  the  Stadel 
Institute.  He  has  left  seventy-five  views  of  Ger- 
many in  sepia  and  Indian  ink;  while  of  his 
aquatints  the  most  worthy  of  notice  are : 

A  Moonlight  Scene ;  after  Van  der  Neer. 
A  Cornfield ;  after  RuysdauL 
A  Cattle  Scene  ;  after  Fatter. 
A  Bear  Hunt ;  after  Snyders. 

RADOS,  Ldigi,  an  engraver,  born  at  Parma  in 
1 780,  was  educated  in  the  Academy  of  that  city. 
His  principal  engravings  are  : 

The  Emperor  Francis  II. ;  nfter  Bosio. 

King  Ferdinand  ;  after  the  same. 

The  Archduke  Anton ;  after  the  same. 

Prince  Eugene ;  after  Jacob. 

The  Last  Supper ;  after  Leonardo  da  Vinci. 

Madonna  Enthroned  ;  after  RaphaeL 

A  Landscape;  after  Gonzaga. 

RAEBURN,  Sir  Henry,  the  most  famous  of 
Scottish  portrait  painters,  was  born  March  4,  1750, 
at  Stockbridge,  a  village — then  on  the  north-west 
fringe  of  the  "  new  tovm  "  of  Edinburgh,  and  now 
absorbed  in  the  city — where  his  father,  who  came 
of  Border  stock,  had  established  himself  as  a  manu- 
facturer. The  mills  were  successful,  but  when 
Henry  was  only  six  both  father  and  mother  died, 
leaving  him  to  the  care  of  his  elder  brother.  He 
was  educated  at  Heriot's  Hospital — the  school 
founded  in  his  native  city  by  the  bequest  of  James 
L's  jeweller — until  the  age  of  fifteen,  when  he  was 
apprenticed  to  Mr.  Gilliland,  an  Edinburgh  gold- 
smith   and  jeweller.     During  bis   apprenticeship 

176 


his  bent  towards  portrait  painting  was  discovered 
by  his  master's  friend  David  Deuchar,  a  seal 
engraver  and  an  etcher  of  some  skill,  who  gave 
him  some  instruction,  and  Gilliland,  who  had 
become  interested  also,  introduced  him  to  David 
Martin  (1736-1798),  the  leading  portrait  painter 
in  the  city.  Martin  had  been  a  pupil  and 
assistant  of  Allan  Ramsay  (1713-1784),  and  was 
a  painter  of  some  little  accomplishment,  if  of  no  real 
gift ;  but,  beyond  giving  Raeburn  access  to  his  studio 
and  permitting  him  to  copy  a  few  of  his  pictures, 
he  does  not  seem  to  have  given  him  any  assistance, 
and,  before  long,  having  unjustly  accused  him  of 
selling  some  of  the  copies  he  had  been  allowed  to 
make,  the  slight  friendship  came  to  an  end.  By 
this  time,  however,  Raeburn,  encouraged  by  his 
master,  who  helped  him  to  sitters,  probably,  and 
cancelled  his  indenture  in  consideration  of  a  share 
in  the  profits,  appears  to  have  taken  to  portrait 
painting  as  a  profession.  He  painted  miniatures 
to  begin  with,  but  soon  abandoned  them  for  life- 
size  portraits  in  oil.  His  earliest  dated  oil  picture, 
a  full-length  in  Dunfermline  Town  Hall,  was 
painted  in  1776,  and  technically,  even  without 
allowing  for  the  fact  that  he  was  practically  self- 
taught,  it  is  a  remarkable  performance  for  a  youth 
of  twentj',  while  it  is  marked  by  many  qualities 
which  are  characteristic  of  his  mature  style. 
Gradually  his  practice  increased,  and  in  1778  he 
married  one  of  his  sitters  and  a  considerable 
fortune.  The  widow  of  a  Franco-Scottish  Count, 
one  of  the  Leslies  of  Balquhun,  Aberdeenshire,  she 
had  three  children,  and  was  twelve  years  older 
than  Raeburn,  but  the  marriage  turned  out  most 
happily  in  every  respect.  They  settled  at  Dean- 
haugh  House,  the  property  of  his  wife,  near  Stock- 
bridge,  and  for  several  years  he  continued  to  paint 
in  Edinburgh  with  increasing  reputation  and  skill ; 
but  in  1785  desire  to  see  and  learn  more  than  he 
could  at  home  took  him  to  London,  where  he  met 
Reynolds,  in  whose  studio  he  is  said  to  have 
worked  for  a  few  weeks.  He  seems  to  have  con- 
templated a  visit  to  Italy  when  he  and  his  wife 
left  Edinburgh,  and  his  intention  was  confirmed 
by  Sir  Joshua,  who  advised  him  to  go  to  Rome 
to  study  Michelangelo  in  the  Sistine  Chapel. 
Reynolds  gave  him  more  than  advice  :  he  oS'ercd 
him  financial  assistance  and  introductions,  and, 
while  Raeburn  did  not  need  money,  he  was  glad  to 
avail  himself  of  the  letters.  In  Rome,  where  he 
knew  Pompeo  Batoni  and  other  artists,  he  associ- 
ated chiefly  with  two  of  his  own  countrymen, 
Gavin  Hamilton,  historical  painter  and  discoverer 
of  antiquities,  anil  James  Byres  of  Tonley,  an 
Aberdeenshire  laird  who  was  devoted  to  the  arts, 
and  whose  counsel  never  to  paint  anything  without 
having  the  actual  object  before  him  contributed 
in  some  degree  to  the  mastery  of  representing 
actuality  which  Raeburn  acquired.  His  way  of 
approaching  subject  and  even  his  style  were  prac- 
tically formed  before  he  went  to  Italy,  but  the 
two  years  spent  there  matured  his  views  and  added 
richness  and  depth  to  his  art.  Returning  to  Edin- 
burgh in  1787,  he  took  a  studio  in  George  Street. 
Soon  his  supremacy  as  an  artist  was  acknowledged, 
and  thereafter  he  had  no  rival  in  the  Scottish 
capital.  Everybody  sat  to  him,  and  his  practice 
and  industry  were  so  great  that  he  must  have  left 
over  a  thousand  portraits.  More  than  700  are 
mentioned  in  J.  L.  Caw's  catalogue  of  his  works. 

Raeburn  had  exliibited  at  the  Royal  Academy  as 
early  as  1792,  but  it  was  not  until  after  1810,  when 


PAINTERS  AND  ENGRAVERS. 


one  of  his  portraits  of  Sir  Walter  Scott  was  shown, 
that  lie  sent  much  to  London,  and  then,  as  it 
happens,  not  his  best  pictures.  They  were  good 
enough,  however,  to  earn  him  the  Associateship  in 
1812,  and  three  years  later,  although  he  took  no 
steps  to  press  his  claims,  he  was  elected  Academi- 
ciau.  Yet  his  reputation  remained  to  a  great 
extent  local,  and  when,  in  1810,  during  one  of 
three  recorded  visits  to  London,  he  proposed  trying 
his  fortunes  in  the  south,  Lawrence  had  no  diffi- 
culty in  persuading  him  to  remain  at  home.  He 
had  gone  to  live  at  St.  Bernard's,  which  came  to 
liim  on  his  brother's  death  in  1788,  and  in 
1795  he  built  a  fine  studio  and  gallery  in 
York  Place,  where  he  worked  until  the  end.  It 
was  in  his  gallery  that  the  early  Edinburgh  Ex- 
hibitions were  usually  held,  and  he  took  consider- 
able interest  in  efforts  to  found  an  Academy  in 
Scotland.  In  1822,  when  George  IV.  visited 
Scotland,  Raeburn  was  knighted,  and  in  the  follow- 
ing year,  only  a  few  months  before  he  died  (July  8, 
1823), he  was  appointed  "  His  Majesty's  Limner  for 
Scotland."  He  was  also  a  member  of  the  Acade- 
mies of  Florence,  New  York  (1817),  and  South 
Carolina  (1821).  Raeburn  was  !exclusively  a 
portrait  painter,  and  after  his  early  years,  when  he 
painted  miniatures,  few  of  which  are  now  traceable, 
almost  all  his  work  was  done  life-size  in  oil-paint. 
He  seems  to  have  made  no  preliminary  studies  for 
his  portraits — only  one  drawing  with  good  claims 
to  be  his  is  known — he  did  not  use  chalk  or  pencil 
even  in  placing  his  subject  on  the  canvas,  but 
commenced  at  once  with  the  brush,  and  he  painted 
without  a  mahl-stick.  For  the  greater  part  of  his 
career  also  he  employed  little  or  no  assistance  in 
forwarding  his  work.  Nor  did  he  take  pupils  in  the 
ordinary  way.  He  was  always  willing  to  be  helpful, 
however,  and  amongst  those  who  enjoyed  his  advice. 
Sir  J.  Watson  Gordon,  P. R.S. A. .Samuel  Mackenzie, 
R.S.A.,  and  John  Syme,  R.S.A.,  who  was  his 
assistant  for  some  time,  may  be  named.  Many 
others  were  influenced  by  him,  and  the  soberly 
handsome,  if  sometimes  rather  heavy,  appearance 
of  much  succeeding  Scottish  portraiture  is  due  in 
large  measure  to  his  example.  His  bold  and 
individual  way  of  regarding  a  sitter  and  his  simple 
and  direct  method  of  painting  were  largely  the 
outcome  of  personal  preference,  and  are  evident 
in  the  work  lie  did  before  going  to  Italy  ;  but  he 
was  receptive  also,  and  the  experience  gained  at 
Rome  and  study  of  other  men's  work  were  used 
to  enrich  his  own.  While  his  art  is  marked,  to 
some  extent,  by  the  fashion  of  his  day,  he  is  dis- 
tinctly the  least  conventional  of  the  great  British 
portrait  artists.  His  reading  of  character  is 
peculiarly  shrewd  and  convincing  ;  each  of  his 
pictures  is  a  portrait  of  an  individual,  and  the 
results  of  his  observation  are  stated  with  a 
simplicity  of  pictorial  motive  (his  most  charac- 
teristic pictures  have  plain  backgrounds)  and  a 
directness,  a  power,  and  sometimes  a  suhtilty  of 
handling  which  place  his  work  amongst  the  finest 
achievements  of  portrait  painting.  In  the  opinion 
of  certain  critics  he  is  the  most  outstanding,  if 
not  the  only,  exponent  of  "direct"  painting 
between  Velasquez  and  Hals  and  quite  recent 
times.  Yet  it  is  only  of  late  years  that  Raeburn's 
gifts  have  been  fully  recognized.  In  Scotland, 
indeed,  his  reputation  and  influence  have  always 
been  great,  but  it  was  not  until  after  1877,  when 
some  of  his  best  things  were  included  in  the 
Oltl   Masters  at  Burlington  House,  that  he  came 

VOL.  IV.  N 


to  his  own.  An  exhibition  of  his  works  was  held 
in  his  studio  after  his  death,  and  375  of  his  por- 
traits were  brought  together  in  a  special  exhibition 
in  the  Royal  Scottish  Academy  in  1876.  The 
National  Gallery  of  Scotland  possesses  a  very  fine 
series  of  his  pictures,  and  there  are  good  examples 
in  the  Glasgow,  Dublin  and  Dresden  Galleries,  but 
he  is  rather  inadequately  represented  in  London, 
and  the  specimens  in  the  Louvre  are  doubtful. 

The   following    list    is   confined   to   his    more 
notable  or  accessible  portraits  : 

Brussels.         Art  GalUri/.     Bust  Portrait  of  a  man. 
Dresden.      Royal  Gallery.     Lucius  O'Beirue,  Bishup  of 

Meath. 
Dublin.  Xat.  Gallery.     Earl  of  Buchau. 

n  „  Sir  James  Steuart. 

Ediuburgh.         Nat.  Gall.     Dr.  Alexander  Adam. 
„  „  Mr.  Bomiar. 

„  „  Mrs.  BoDuar. 

n  „  Mrs.     Campbell    of    Ballie- 

more. 
n  ,,  Lady  Hume  Campbell  and 

Child. 
„  „  Major  Clunas. 

„  „  Mrs.  Hamilton  of  Kamcs. 

„  ,,  Mrs.  Keimedy  of  Dunure. 

„  „  Mrs.  Scott  Jloncrieff . 

>,  „  Lord     Newton ,     (a       chef 

d^ceuiTe). 
,,  „  Adam  Rolland  of  Gask. 

„  ,,  John  Wauchope. 

M  ,,  Col.   Alastair  MacdoneU   of 

Glengarry  (on  loan). 
„      Xat.Portrait  Gall.     Professor  Dalzel. 
„  „  Neil  Gow,  the  violinist. 

,.  „  Rt.  Hon.  Francis  Homer. 

„  „  Robert  Montgomery. 

,,  ,,  Professor  Wilson  (at  age  of 

twenty). 
„  ,,  Sir  James  Montgomery  (on 

loan). 
>,  ,,  Pencil    sketch     of    Sir   F. 

Chantrey. 
„     Parliament  House.    Lord  Abercromby. 
„  „  Lord  Braxfiekl. 

..  „  George  Joseph  Bell. 

,,  „  Baron  Hume. 

„  The  University.     Principal  Robertson. 

„  „  Professor  Robison. 

„  „  Professor  Playfair. 

„  „  Professor  Adam  Ferguson. 

„  W.  S.  Society.     Lord  President  Blair. 

„       Bank  of  Scotland.     Henry,  first  Viscount  Mel- 
ville. 
„  Archers' Hall.     Dr.  Nathaniel  Spens  (one  of 

his  best). 
„  Reijiiter  House.     Lord  Frederick  Campbell. 

Glasgow.       Art  Galleries.     William  Jamieson. 
„  ,,  AVilliam  Urquhart. 

„  „  Mrs.  Urquhart. 

„  Tlie  University.     Professor  Thomas  Reid. 

„       Corporation  Gall.     Alexander  Campbell  of  Hall- 
yards. 
Leith.  Trinity  House.    Admiral  Lord  Duncan  (cue 

of  his  best). 
Loudon.  National  Gallery.     Full-length  of  a  lady. 

„  „  Lieut. -Col.  Bryce  McMurdo. 

,,  „  Aune  Neale  Laiizuu. 

,,  Kat.  Portrait  Gall.     Rt.  Hon.  Francis  Homer. 

,,  „  Rev.  John  Home. 

„  „  Henry  Mackenzie. 

„  „  Professor  John  Playfair. 

,,  „  Sir  John  Sinclair  of  Ulb.ster. 

W.  H.  Williams. 
.,         Royal  Academy.     Boy  and  Rabbit  (diploma), 
Paris.  Louvre.    A  Greenwich  Pensioner, 

„         Hannah  More, 
Lord  Bannatyue. 
Mrs.  Robert  Bell. 
The  sons  of  D.  M.  Binning. 
Mrs.  Irvine  Boswell. 
Captain  David  BurrelL 

177 


A  BIOGRAPHICAL  DICTIONARY  OF 


Mrs.  James  Campbell  (perhaps  his  masterpiece). 

John  Clerk,  Lord  Elilin. 

Sir  John  and  Lady  Clerk. 

Sir  John  Gibson  Carmichael,  Bart. 

The  Hon.  Henry  Erskiue. 

William  Ferguson  of  Kilrie. 

Mrs.  riregory. 

Eighth  Duke  of  Hamilton, 

Mrs.  Kinnear. 

Mrs.  McCall  of  Ibroxhill. 

The  Macnab. 

The  Macdonalds  of  Clanranald  (group  of  three  boys). 

Lady  Miller. 

Sir  Henry  Kaeburn. 

Lady  Kaeburn. 

Sir  Walter  Scott,  Bart. 

Sir.Tohn  Sinclair,  Bart.,  of  TTlb.ster  (one  of  his  best). 

Alicia,  Lady  Stenart  of  Coltness. 

Professor  Dug.ild  Stewart. 

James  Wardrop  of  Torbanhill. 

Rev.  Sir  H.  Moncreiff  Wellwood,  Bart.,  D  D. 

Many  of  Raeburn's  portraits  of  oien  were  admir- 
ably engraved  in  mezzotint  and  other  methods  by 
Charles  Turner,  Hodgetts,  Earlom,  Dawe,  Walker, 
and  other  contemporary  engravers,  and  over  6CI 
of  his  pictures  are  reproduced  in  photogravure  in 
R.  A.  M.  Stevenson,  Sir  W.  Armstrong  and  J.  L. 
Caw's  '  Sir  Henry  Raebum.'  j  l  C, 

RAEFUS,  P.,  (or  Raefe,)  a  wood  engraver,  was 
a  native  of  Paris.  He  flourished  about  the  year 
1575.  He,  with  0.  Goujon,  a  relation  of  the  famous 
sculptor  Jean  Goujon,  executed  the  outs  for  a  cos- 
iiiographical  worlv  by  Andre  Thevet.  His  prints 
are  very  neatly  finished,  and  are  usually  marked 
with  the  initials  P.  R.  He  also  engraved  on  wood 
the  figures  dealing  with  masoniy  in  Jean  Martin's 
translation  of  Vitruvius. 

RAET,  (or  De  Raet,)  Arnould,  painter,  work- 
ing at  L^au,  and  in  Louvain  and  the  neighbour- 
hood, in  the  second  part  of  the  15th  century.  In 
1473  he  settled  finally  at  Louvain,  and  by  his 
second  wife  became  the  father  of  Louis  Raet. 

RAET,  Louis,  (or  Louis  De  Scildere,)  painter, 
the  son  of  Arnould  Raet.  Between  1505  and 
1507  he  decorated  the  walls  of  the  church  of 
L6au  with  paintings,  which  are  now  hidden  under 
whitewash. 

RAETH,  Ignatius,  painter,  born  at  Antwerp, 
1626,  a  member  of  the  Order  of  Jesus.  He  prac- 
tised for  some  years  in  Spain  and  in  Germany, 
paiflting  historical  subjects  and,  more  especially, 
portraits.  In  the  church  of  St.  Gandolph,  at  Bam- 
berg, there  is  a  'Crucifixion'  by  him.  He  re- 
turned to  Flanders  in  1662,  and  died  in  1666. 

RAEVEN.     See  Raben. 

RAFFAELLI,  Francesco,  a  native  of  Italy,  who 
flourished  about  the  year  1705.  He  engraved  some 
historical  plates  of  no  great  merit. 

RAFFAELLINO  DA  REGGIO.     See  Regqio. 

RAFFAELLINO  DA  VITERBO.  See  Roman- 
ELLI,  Giov.  Fr. 

RAFFAELLINO  DEL  GARBO.     See  Capponi. 

RAFFAELLO.     See  Sanzio. 

RAFFALT,  Ignaz,  painter  and  engraver,  was 
born  at  Weisekirchen  in  Upper  Austria  in  1800. 
He  entered  the  Academy  at  Vienna.  His  earliest 
pictures  were  still-life,  but  he  afterwards  devoted 
himself  to  landscapes.  He  died  at  Vienna  in 
1857.     His  principal  works  are  : 

A  Mill  in  Obersteier. 

A  Snow  landscape. 

A  River  Scene  with  a  Castle. 

Soup  for  the  Convent.     1846. 

An  Evening  Scene  with  a  Castle  and  Bridge. 

Fishermen's  Huts.    1848. 

178 


Postilions  returning. 

River  Landscape  with  a  Castle.    1852. 

A  Golden  Wedding  at  Murau,  in  Styria. 

RAFFALT,  Johann  Gualbert,  a  son  of  Ignaz 
Raffalt,  was  born  at  Murau  in  Styria  in  1834.  He 
studied  at  Vienna  under  Pettenkofen,  and  after- 
wards travelled  in  Hungary  and  Dalmatia,  the 
scenes  of  many  of  his  pictures  being  placed  in  this 
latter  country.  He  died  at  Rome  in  1865.  His 
principal  works  are  : 

Annual  Fair  in  Hungary. 
A  Gipsies'  Camp. 
Pusztabrunnen,  Hungary. 
Calf-market,  Hungary. 
The  Waggon. 

RAFFET,  Denis  Auguste  Marie,  a  French 
draughtsman,  lithographer,  and  painter,  born  at 
Paris  in  1804.  He  lost  his  father,  a  soldier,  while 
young,  and  learnt  drawing  during  apprenticeship 
to  a  turner.  Entering  the  Bcole  des  Beaux  Arts 
in  1824,  he  studied  under  Gros  and  Charlet. 
In  1826  he  published  an  album  of  lithographed 
studies,  the  first  of  a  series  which  had  a  great 
success.  His  subjects  were  scenes  from  military 
life,  to  which  he  remained  faithful  throughout  his 
career.  In  1832  he  went  to  the  siege  of  Antwerp, 
and  three  years  later  exhibited  a  fine  series  of 
lithographs  from  the  sketches  he  made  there. 
The  patronage  of  Prince  Demidofl:  enabled  him  to 
make  extended  travels  in  Europe  and  Western 
Asia.  During  these  tours  he  accumulated  ma- 
terials for  a  large  number  of  valuable  lithographs. 
In  1849  Rafiet  went  to  Italy,  and  drew  the  various 
picturesque  costumes  and  uniforms  that  were  to 
be  found  in  the  still  divided  country.  After  the 
siege  of  Rome  his  time  was  spent  either  at  Paris 
or  at  Prince  Demidoff's  villa  at  San  Donate,  near 
Florence.  In  1853  the  two  friends  went  to  Spain, 
and  when  the  painter  died  he  left  incomplete  the 
resulting  album  of  sketches.  Raflfet  always  had 
the  pencil  in  his  hand,  and  his  innumerable  litho- 
graphs form  a  valuable  chronicle  of  the  scenes 
visited  by  himself  and  his  friends.  Perhaps  the 
series  in  illustration  of  the  '  Expedition  des  Portes- 
de-fer  '  is  the  best.  It  is  said  that  he  was  more 
than  once  commissioned  to  paint  a  picture  for 
Versailles,  but  always  postponed  it  to  his  favour- 
ite lithographs.  Raffet  died  at  Genoa  in  1860. 
Amongst  his  best  works  are  : 

Revue  des  Ombres. 

The  Evening  after  the  Battle  of  Novara. 

Capture  of  Cobleutz. 

Night  Review  by  NapoIeoD. 

RAFFORT,  Etienne,  French  painter;  born 
May  11,  1802,  at  Chalon-sur-Saone  ;  a  pupil  of 
Castillet ;  a  painter  of  landscape ;  developed  his 
t.alent  by  long  travel  in  Italy  and  Algeria.  His 
'  Port  de  Constantinople,'  '  Mosqu6e  de  Scutari,' 
and  '  Grand  Canal  de  Venise,'  are  good  examples 
of  his  somewhat  laboured  style.  He  obtained  a 
third-class  medal  in  1837,  a  second-class  medal  in 
1840,  and  a  first-class  medal  in  1845.  He  ex- 
hibited in  the  Salons  up  to  1891.  He  died  in 
March  1895. 

RAGENEAU,  Jacques,  painter,  practising  at 
the  court  of  France  in  the  first  half  of  the  17th 
century,  was  appointed  to  the  household  of  Marie 
de'  Medici.     He  died  in  1658. 

RAQGI,  PiETRO  Paolo,  was  bom  at  Vienna 
about  the  year  1650 ;  but  his  parents  removing 
from  thence  to  Genoa  when   he  was  young,  he 


SIR  H.  RAEBURN 


Annan  ^^hoto^ 


^{Collection  0}  snc  t^an  ty  a 


SIR  WALTER  SCOTT 


PAINTERS  AND  ENGRAVERS. 


received  his  first  education  in  art  in  that  city, 
though  it  is  not  known  by  wliom  he  was  instructed. 
His  picture  in  the  Nunziata  del  Guastato,  at  Genoa, 
representing  St.  Bonaventura,  is  in  the  style  of  the 
Carracci,  and  is  mentioned  by  Ratti  as  a  production 
of  great  merit.  After  visiting  Turin  and  Savona, 
he  established  himself  at  Bergamo,  where  he  painted 
several  pictures  for  the  churches  and  private  col- 
lections. In  the  church  of  St.  Lorenzo  is  an  admired 
picture  of  the  'Annunciation';  and  in  St.  Marta, 
'  Mary  Magdalene  taken  up  into  heaven.'  He  also 
distinguished  himself  as  a  painter  of  landscapes, 
which  he  embellished  with  figures  representing 
pastoral  or  bacchanalian  subjects,  painted  in  the 
style  of  Benedetto  Castiglioneand  Giulio  Carpioni. 
He  died  at  Bergamo  in  1724. 

RAGOT,  Fka.vcois,  a  French  engraver,  born  at 
Bagnolet  in  1641.  He  engraved  some  plates  after 
Simon  Vouet  and  Charles  Le  Brun ;  but  he  is 
chiefly  distinguished  for  his  ability  in  copying  the 
prints  engraved  by  Bolswert,  Pontius,  and  Vorster- 
mans,  after  the  works  of  Rubens  and  Van  Dyck. 
He  executed  about  forty  of  these  copies  with  such 
accuracy  and  precision,  that  they  have  been  mis- 
taken for  the  originals  by  inexperienced  collectors. 
He  is  also  said  to  have  engraved  a  few  portraits. 

RAGUINEAU,  Abraham,  son  of  Esn6  and 
Mary  Huinblot,  born  in  London,  and  baptized  at 
the  French  Protestant  Temple,  October  19,  1623  ; 
settled  at  the  Hague  in  or  before  1640  ;  became  a 
burgher  by  purchase,  January  30,  1645  ;  on  May 
15  married  Susan  Girard  ;  migrated  to  's  Hertog- 
henbosch,  and  later  on  to  Breda  ;  in  1659  was 
back  at  the  Hague,  but  in  1661  settled  at  Leiden, 
and  in  1664  joined  the  Guild  of  St.  Luke.  In  1681 
he  was  at  Zieriekzee. 
.Milan.        M.  A .  Xoseda.    Portrait  of  a  Young  Man. 

Two  portraits  of  William  III.  of  Orange,  whose 
writing-master  he  was,  have  been  engraved. 

Atithority :  C.  Hofstede  De  Groot,  in  '  Oud 
Holland,'  xvii.,  1899. 

RAHL,  Karl,  a  German  historical  and  portrait 
painter,  born  in  1812,  at  Vienna.  He  studied  in 
the  Academy  of  that  city,  and  at  the  age  of  twenty 
gained  the  great  prize  for  his  '  David  in  the  Cave 
of  Adullam,'  which  enabled  him  to  complete  hia 
art  training  at  Rome.  On  his  return  to  Vienna  he 
obtained  a  high  reputation,  and  a  large  number 
of  pupils  passed  through  his  studio.  Politics  oc- 
cupied his  attention  almost  as  much  as  art,  and 
more  than  once  he  had  to  leave  Vienna  through 
his  inconvenient  opinions.  He  practised  fresco 
painting,  and  many  of  his  works  are  to  be  seen  in 
his  native  city,  where  he  died  in  1865.  The  Palais 
Todesco,  the  faijade  of  the  Greek  Church,  the 
interior  of  Baron  Sina's  palace,  all  at  Vienna  ;  a 
Banqueting  Hall  at  Oldenburg  ;  and  some  other 
buildings  were  decorated  by  him.  The  following 
are  also  good  examples  of  his  art : 

Berlin.  Gallery.     Surprise  of  the  Christians  in  tlie 

Koman  Catacombs. 
Hamburg.         Gallery.     Manfred  at  Luceria. 

„  „         Manfred  at  Benevento. 

Munich.    Xew  Pinaco- }  Portrait     of     Martin     Wagner, 

thek.         j     Sculptor. 
Vienna.  Gallery.    Scene    from    the   'Niebelungen 

Lied.'    1835. 

RAHL,  Karl  Heinrich,  an  engraver,  was  born 
at  Heilbronn  in  1779.  His  father,  a  calico  printer, 
apprenticed  him  to  a  silversmith,  under  whom  he  dis- 
played the  first  signs  of  his  talent  by  etching  small 
landscapes.     In  1799  he  went  to  Vienna  to  study 

N  3 


under  Fiiger,  maintaining  himself  meanwhile  by 
the  proceeds  of  the  sale  of  his  works.  In  1815  he 
became  a  Fellow  of  the  Academy  ;  in  1829  chief 
engraver ;  and  in  1839  Professor.  He  died  at 
Vienna  in  1843.  There  is  great  power  about  his 
work,  but  an  absence  of  delicacy.  His  principal 
plates  are : 

Job  and  his  Friends ;  after  Wachter. 

The  BUnd  Beggar ;  after  the  same. 

Presentation  in  the  "Temple  ;  after  Fra  Bartolommto 

*  La  Notte  ; '  after  Correyyio. 
The  Battle  of  Aspern  ;  after  Kraft. 

RAHN,  Rudolph,  engraver,  bom  1805,  at  Zurich, 
where  he  first  studied.  He  came  to  Paris  to  com- 
plete his  education,  and  finally  settled  at  Munich. 
He  engraved  some  excellent  plates  for  Kaulbach's 
'  Reineke  Fuchs,'  jointly  with  Ad.  Schleich. 
We  may  also  mention  his  portrait  of  Winckel- 
mann  after  Angelica  Kaufmann. 

R.\HOULT,  DiODORE,  French  painter :  bom  in 
1819  at  Grenoble  (Is6re)  :  was  a  pupil  of  Cogniet ; 
lived  and  worked  in  his  native  town.  The 
Grenoble  Museum  has  all  his  most  important 
works,  including  '  Novenibre,'  '  La  Porte  Close,' 
and  '  Les  Saltimbanques.'  He  also  decorated  the 
Museum  with  mural  paintings.  He  published  an 
album  of  two  hundred  drawings,  engraved  on 
wood  by  Dardelet.     He  died  at  Grenoble  in  1874. 

RAIBOLINI,  Francesco  (commonly  called  II 
Francia).  Vasari  records  the  date  of  the  birth  of 
Francia  as  1450,  and  it  is  probable  that  he  is  right 
in  this  assertion.  Calvi,  who  wrote  a  short  life  of 
the  artist  in  1812,  ascertained  that  the  master 
matriculated  in  the  Goldsmiths'  Guild  in  1482,  on 
September  10,  and  in  the  following  year,  1483,  was 
appointed  Master  of  the  Guild.  He  also  found 
that,  by  the  statutes  of  the  Guild,  no  one  could  be 
Master  who  had  not  attained  the  age  of  thirty 
years,  and  we  may  therefore  conclude  that  the 
birth  of  tlie  artist  took  place  from  about  1448  to 
1454.  His  parents  Vasari  describes  as  artisans, 
but  this  is  hardly  the  right  manner  in  which  to 
speak  of  them.  The  family  was  an  old  one,  and 
well  known  in  Bologna,  where  its  members  had 
held  office  for  several  generations  in  the  highest 
positions  in  the  government  of  the  place,  and  had 
possessed  land  in  the  commune  of  Zola  Predosa 
from  the  early  part  of  the  fourteenth  century,  even, 
it  is  said,  as  far  back  as  1308.  At  the  time  of 
Francia's  birth  the  family  was  not  in  good  cir- 
cumstances, and  the  land  appears  to  have  been 
temporarily  charged,  but  the  name  of  his  father, 
Marco  di  Giacomo  Raibolini,  was  still  held  in  high 
repute,  and  appears  in  the  civic  records  in  various 
important  offices.  Francesco's  father  had  matri- 
culated in  the  art  of  a  wood-carver,  but  the  son 
desired  to  work  in  metals,  and  was  accordingly 
bound  to  a  clever  goldsmith  named  Due,  who  was 
generally  called  Francia,  and  from  his  master's 
name  the  pupil  took  his  own  cognomen,  by  which 
he  is  generally  styled.  We  are  told  from  docu- 
ments  that,  in  1488,  he  sent  to  Leonora,  Duchess 
of  Ferrara,  an  exquisite  chain  of  gold  hearts  linked 
together,  which  was  probably  a  bridal  present  for 
Elizabeth  Gonzaga,  sister  of  Isabella  d'Este's 
betrothed  husband,  who  had  visited  Ferrara  that 
spring  on  her  way  to  Urbino.  Other  docnmenta 
speak  of  the  works  of  this  artist  in  gold,  which 
were  known  at  Mantua  and  at  Parma,  and  he 
is  mentioned  in  a  contemporary  letter  of  1486, 
written  in  Florence,  as  "Raibolini,  the  famous 
goldsmith  of  Bologna,  who  will  be  able  to  give 


A  BIOGRAPHICAL  DICTIONARY  OF 


you  tlie  chain  that  you  want."  The  tine  shield 
which  was  done  for  the  Bentivoglio  family,  and 
which  is  now  preserved  at  the  Casa  Rodrigrez  at 
Bologna,  is  an  example  of  another  kind  of  metal- 
work  that  was  successfully  adopted  hy  the  artist. 
It  is  of  decorated  cuir  bouilli,  bearing  upon  its 
surface  a  Vjold,  spirited  representation  of  a  knij^ht 
in  full  armour  vanquishing  a  dragon,  which  he 
is  at  the  moment  transfixing  with  a  long  lance. 
Around  the  shield  is  a  broad  band  of  metal-work, 
in  which  are  wrought  two  inscriptions. 

Vasari  states  that  the  work  which  delighted 
Francia  above  all  other  occupations  was  the  cutting 
of  dies  for  medals,  and  that  in  this  he  was  con- 
sidered excellent,  and  his  works  most  admirable. 
He  specially  speaks  of  the  medals  of  Giovanni 
Bentivoglio,  and  of  those  of  Pope  Julius  II.,  which 
were,  he  says,  so  fine  that  the  heads  seem  to  be 
alive  on  them.  It  has  been  ascertained  that  the 
artist  was  Director  of  the  Zecca,  or  Mint,  at  Bo- 
logna, and  on  November  19,  1508,  was  given  the 
entire  charge  of  the  provision  of  money  for  the 
city.  There  are  two  zecchini  of  gold  that  were 
struck  in  Bologna  for  Bentivoglio  and  were  in 
all  probability  the  work  of  the  artist,  as  the  same 
lettering  and  the  same  style  of  drawing  are  to  bo 
seen  upon  them  as  on  the  medals.  Some  notable 
medals  were  also  done  by  Francia  for  Giovanni 
Bentivoglio  II..  who  was  Governor  of  the  city 
from  1443  to  1.509.  Of  Pope  Julius  II.  there  are 
six  medals  attributed  to  the  hand  of  Raibolini. 
Two  other  medals  it  is  known  Raibolini  executed. 
One  was  done  for  the  Legate  of  the  city  of 
Bologna,  Francesco  Alidosi,  who  was  Cardinal  in 
1505,  and  Legate  in  1508,  and  who  is  represented 
upon  this  superb  medal  in  his  Cardinal's  biretta 
and  mozette.  "  The  other  represents  Bernardo 
Rossi,  Count  of  Berceto,  who  was  Governor  of 
Bologna  in  1510,  and  who,  like  the  Cardinal,  is 
depicted  in  biretta  and  mozette.  Both  these 
medals  are  large,  65  millimetres  across,  and  are 
])OWerfiilly  drawn  and  in  very  high  relief.  The 
faces  are  clear  cut,  and  very  full  of  character,  and 
the  lettering  is  big  and  clear,  and  they  have  all  the 
special  marks  of  Raibolini's  lettering  and  classic 
style  of  draughtsmanship. 

It  was  not  as  a  medallist  that  Raibolini  did  his 
best  work  in  these  goldsmith  days,  but  as  a  worker 
in  niello.  Raibolini  is  known  to  have  executed  at 
great  cost  a  famous  silver  pax  as  a  wedding  gift 
on  the  occasion  of  themaiTiage  of  Giovanni  Sforza 
and  Lucrezia  Borgia,  but  that  has  disappeared. 
There  are  fine  works  attributed  to  him  in  the  Bar- 
gello,  notably  a  fine  chalice,  a  paten,  and  a  pax ; 
but  at  Bologna  are  still  preserved  two  pieces  of 
niello  that  are  undoubtedly  the  work  of  the  master. 
The  earlier  one,  adorned  with  the  arms,  in  enamel, 
of  the  Sforza  and  Bentivoglio  families,  was  prob- 
ably intended  as  a  wedding  gift  from  Giovanni 
Bentivoglio  to  his  bride,  Ginevra  Sforza.  The 
other  pax  (Si'j  x  Siy  nmst  be  attrihuted  to  a  later 
date,  more  about  the  time  of  1500  ;  it  was  probably 
intended  for  a  wedding  present,  and  bears  in  two 
shields  upon  its  base  the  arms  of  the  Felicini  and 
Ringhieri  families,  denoting  that  it  was  given  on 
the  occasion  of  the  marriage  of  Bartolommeo 
Felicini  with  Dorothea  Ringhieri.  The  process 
of  working  in  niello  led  in  an  indirect  manner  to 
the  discovery  of  engraving  on  a  plate.  From 
whom  Raibolini  learned  the  art  is  not  known  ;  but 
inasmuch  as  an  impression  exists  in  the  Albertina 
Museum  at  Vienna,  which  is  evidently  taken  from 

180 


the  pax  at  Bologna,  and  proves  by  the  reversed 
letters  I.  N.  K.  I.  (ihni)  above  the  cross  that  it  wa» 
taken  on  paper  from  the  actual  niello  without  the 
intervention  of  a  sulphur  cast,  it  is  clear  that  he 
had  learned  the  art  of  making  impressions  and 
practised  it.  Calvi  and  Passavant  attribute  to 
Raibolini  a  very  rare  engraving  of  '  The  Baptism 
of  our  Saviour'  (Bartsch,  XIV.,  22).  This  print  is 
identical  both  in  character  and  treatment  with  a 
painting  by  Raibolini  that  still  exists  at  Hampton 
Court  ;  and  there  can  now  be  added  to  this  con- 
firmation the  still  further  evidence  that  is  afforded 
hy  the  painting  of  'The  Baptism'  at  Dresden 
closely  resembling  the  print,  and  in  which  the  same 
figure  of  the  Christ  that  appears  in  it  and  at  Hamp- 
ton Court  can  be  seen.  Duchesne  gives  to  Raibo- 
lini four  niello  prints — 'The  Nativity,' '  The  Cruci- 
fixion,' '  The  Resurrection '  and '  A  Woman  attended 
by  Three  Men  and  a  Satyr.'  Of  these, '  The  Cruci- 
fixion '  and  '  The  Resurrection  '  are  from  the  Bo- 
logna paxes.  Passavant  adds  one  more — 'The 
Judgment  of  Paris'  (Bartsch,  339)  ;  but  with  this 
attribution  I  cannot  at  all  agree,  as  the  workman- 
ship does  not  accord  with  that  of  any  of  the  ac- 
cepted works.  Two  early  engravings  are  given 
by  Fisher  to  the  artist — that  of  '  Samson  and  the 
Lion'  (D.  18)  and  '  SS.  Catharine  and  Lucia' 
(B.  XIV.,  121)  ;  and,  in  addition  to  these,  there  is 
in  the  British  Museum  an  engraving  from  his  own 
design  of  'The  Virgin,'  with  the  Infant  Saviour 
in  her  hands,  seated  enthroned  in  the  centre,  a 
saint  standing  on  either  side  (P.  V.,  201, 2).  There 
is  also  a  print  of  'Lucretia'  (B.  XV.,  458,  4) — a 
work  of  great  attractiveness  and  beauty,  the  upper 
part  of  which  is  in  exquisite  drawing,  rivalling 
the  well-known  'Lucretia'  of  Marcantonio.  A 
fine  impression  of  this  print  is  to  be  found  in  the 
Louvre.  'David  and  Goliath' is  given  by  Ottley 
to  Raibolini,  and  I  am  disposed  to  attribute  to 
him  the  'St.  Jerome'  (7  in  his  facsimiles),  as  it 
closely  resembles  the  St.  Jerome  in  his  undoubted 
'  Crucifixion.'  These  are  all  the  prints  that  can  be 
attributed  to  Raibolini  with  any  strong  reason,  but 
they  do  not  exhaust  the  list  of  those  whicli  con- 
noisseurs are  disposed  in  their  own  collections  to 
give  to  the  famous  worker.  There  are  especially 
many  prints  that  are  signed  "  I.  F.,"  in  a  mono- 
gram, which  are  catalogued  by  Bartsch  under  the 
joint  names  of  Raibolini  and  his  son  Giacomo,  and 
which  might  with  good  probability  be  given  to  the 
elder  artist  alone  ;  but  there  is  not  sufficient 
evidence  to  warrant  the  ascription  at  present,  and 
from  internal  evidence  it  is  impossible  to  say  as 
regards  this  group  of  prints  that  they  were  the 
work  of  two  separate  hands,  or  that  one  shows  any 
more  than  another  who  was  the  designer  who 
suggested  it  or  who  engraved  it. 

In  describing  Raibolini  as  a  worker  in  metal, 
there  are  yet  two  other  crafts  to  refer  to — those  of 
working  in  jewels  and  designing  and  casting  type. 
Niccolo  Serradenari,  who  wrote  a  short  biography 
of  the  artist,  specially  refers  to  him  as  an  artificer 
of  jewels,  and  the  papers  preserved  at  Mantua 
mention  a  long  chain  set  with  "engraved  gems 
curiously  mounted  in  gold  so  as  to  turn  around," 
made  by  Raibolini  as  a  gift  for  the  Duchess  of 
Mantua.  As  a  typefounder  he  also  attained  a  con- 
siderable repute,  and  will  always  be  remembered 
as  the  man  who  made  for  Aldus  Manutius  the  first 
famous  "  italic  "  type.' 

'  '  Chi  era  Francesco  da  Bologua,'  by  Panizzi.  Loadra, 
1873,  lOmo. 


FRANCESCO  DI  MARCO  RAIBOLINI 


FRANCIA 


<S^^^#i<3f^^ 


"■l-'  II'  '  ij  ' -lii-'l^iii.ii  I  i'i_(.:i.i  i_  I.  ri 'I  :ni  ii.iifrn.iiVi.il 'I 


^ ,,,,,,,,,  ,,,,,, .  .        I  I  :Ti"  1  I      I.  I  ij  1. 


,«    mi 


Poppiphoto\ 


[Bologna 


THE  SAN  MARTINO  MAGGIORE  ALTAKI'IECi;  IX  ITS  ORIGINAL 
FRAME   BY   FRANCIA 


PAINTERS  AND  ENGRAVERS. 


A  great  start  was  given  to  the  art  of  painting  in 
Bologna  when  Lorenzo  Costa  was  called  there  in 
1483  ;  but  there  is  no  evidence  that  Francia  ever 
became  his  pupil,  and  he  was,  in  fact,  too  old  a 
man  when  he  commenced  painting  to  be  called 
the  pupil  of  any  man.  But  there  is  abundant 
evidence  of  the  very  close  friendship  that  existed 
between  the  two  men,  and  that  from  no  less  an 
authority  than  the  notebook  of  Francia  himself, 
which,  although  not  now  in  existence,  was  seen  by 
Malvasia  in  1841,  and  quoted  by  him  in  his  work 
on  the  Bolognese  painters.  Malvasia  stated  that 
the  artists  worked  in  the  same  building,  Francia 
carrying  on  his  goldsmith's  work  on  the  ground- 
floor,  whilst  in  the  floor  above  Lorenzo  Costa  was 
painting  his  pictures.  It  is  quite  possible  that  the 
coming  of  Costa  to  Bologna  was  the  cause  of 
Francia's  change  of  craft,  and  that  but  for  the 
friendship  between  the  two  men  Francia  would 
have  remained- all  his  life  a  goldsmith  ;  but  Costa 
was  much  the  younger  man  of  the  two,  and  there 
ia  nothing  whatever  to  show  either  in  archives  or 
in  work  that  he  became  in  any  sense  the  master  of 
his  older  friend.  Their  work  is  so  much  alike  in 
its  earlier  stages  that  pictures  by  the  one  man 
have  in  the  past  been  attributed  to  the  other ;  but 
very  soon  Francia  surpassed  his  friend  and  pro- 
duced works  that  were  finer  in  conception,  colour- 
ing, and  refinement  than  Costa  could  ever  have 
executed.  For  the  Church  of  the  Miserieordia  the 
two  friends  united  to  paint  an  altar-piece,  and  the 
centre  panel  by  Francia  and  the  upper  part  by 
Costa  still  remain  at  Bologna,  while  the  predella, 
by  Costa,  is  at  Milan.  Francia  signed  his  pictures 
with  the  signature  "  Francia  Avrifex,"  and  Fra 
Leandro  Alberti  tells  us  in  his  '  Storia  d' Italia' 
that  he  signed  his  metal-work  and  medals  as 
"  Francia  Pictor  "  ("  che  nell'  opere  da  lui  fatte  in 
pittura  si  scriveva  orefice,  e  nell'  opere  di  metallo 
pittore  ").  In  the  same  way  Orcagna  signed  his 
work  in  marble  as  "  Andreas  Pictor,"  and  his 
paintings  as  "Andreas  Sculptor,"  to  prove  his 
mastery  of  the  two  arts  ;  but  we  have  no  signed 
metal-work  remaining  of  Francia's  by  which  to 
prove  the  truth  of  Alberti's  statement,  which  may, 
however,  be  considered  as  in  all  probability  an 
accurate  one,  as  it  is  in  accordance  with  the  habit 
of  the  time.  It  is  impossible  to  say  what  is  the 
earliest  work  of  Francia's.  His  earliest  dated  work 
is  the  '  Madonna  and  Child,'  with  six  saints,  in  the 
Gallery  at  Bologna  (78),  which  was  painted  for  the 
Church  of  the  Misericordia ;  but  that  picture  is 
quite  evidently  not  the  first  work  executed  by  the 
master.  The  difticulty  is  to  believe  that  it  is  even 
an  early  work,  it  is  so  admirable  in  technique  and 
in  colour ;  but  it  would  appear  that  the  training 
which  Francia  had  in  his  niello-work  had  prepared 
him  so  well  for  the  use  of  the  brush  that  he  sprang 
fully  equipped  on  to  the  field  of  action  upon  which 
he  was  to  gain  so  great  a  victory.  The  '  St. 
Stephen  '  of  the  Borghese  Gallery  is  usually  con- 
sidered to  be  one  of  the  artist's  earliest  works  ;  but 
probably  the  picture  at  Berlin  preceded  it,  and 
'The  Crucifixion'  at  Bologna  in  the  Archiginnasio 
is  even  earlier  still.  This  work  very  closely  re- 
sembles the  niello  that  has  been  mentioned,  and 
was  in  all  probability  painted  from  a  sketch  done 
for  a  similar  work  in  niello.  Perhaps  another 
'Crucifixion,' which  is  now  in  the  Gallery  at  Bo- 
logna, is  his  next  work.  The  Berlin  '  Madonna ' 
(125)  is  a  small  one,  and  may  on  that  account 
have  preceded  the  one  just  named.     The  inscrip- 


tion on  the  Berlin  picture  may  be  thus  translated : 
"  Here,  painted  by  thy  hands,  0  Francia,  at  the 
expense  of  Bartolommeo  Bianchini,  dwells  the 
greatest  of  Mothers."  Lord  Wemyss  has  a  picture 
which  very  closely  resembles  this  one. 

It  is  quite  inconceivable  that  the  picture  dated 
1494,  which  Vasari  states  was  the  first  work  that 
Francia  executed,  could  have  been  so,  as  it  is 
marked  by  such  skill  in  composition,  such  grand 
colouring,  and  such  admirable  technique,  that 
although  Francia  took  a  high  position  immediately 
he  began  to  paint,  yet  he  must  have  done  many 
early  works  ere  he  could  by  any  possibility  have 
produced  so  fine  a  picture  as  this.  It  was  painted 
for  Messer  Bartolommeo  Felicini,  a  wealthy  citizen 
(if  Bologna,  who  had  founded  a  chapel  in  the 
Church  of  the  Misericordia  outside  the  city  walls. 
Messer  Francesco  also  presented  a  jewel  to  the 
cliurch,  which  the  records  say  was  set  by  Francia; 
and  so  beautiful  was  it  esteemed  to  be,  that 
by  the  desire  of  the  Chapter  it  was  depicted  in 
the  picture,  and  can  be  seen  hanging  over  the 
head  of  the  Madonna.  For  the  next  year,  1495, 
we  have  but  one  dated  work,  and  that  is  now  at 
Pressburg  in  the  collection  of  Count  Jean  Palffy, 
who  acquired  it  at  the  Dudley  sale  (Lot  62)  in 
1892.  It  was  mentioned  by  Waagen,  and  ex- 
hibited at  Manchester,  and  represents  the  Madonna 
and  Child  with  St.  Joseph.  In  1499  Giovanni 
Bentivoglio  gave  to  Francia  the  commission  to 
paint  the  altar-piece  for  his  own  chapel  in  the 
great  Church  of  San  Giacomo  Maggiore.  Vasari 
tells  us  that  its  success  was  so  great  that  it 
obtained  for  the  artist  two  other  commissions 
immediately.  One  of  these  was  from  the  son  of 
the  ruler,  Monsignore  de'  Bentivogli,  who  was 
Archdeacon  of  Bologna,  and  Papal  Protonotary, 
and  who  ordered  for  the  Church  of  the  Miseri- 
cordia an  altar-piece  which  was  to  be  done  jointly 
by  the  two  friends  Francia  and  Costa.  The  sub- 
ject of  the  centre,  which  Francia  was  to  do,  was 
'  The  Nativity  '  ;  this  is  now  in  the  Bologna 
Gallery  (81).  Calvi  states  that  on  this  picture  are 
the   following   words,   painted    in    gold    letters  : 

PICTOBVM    .     CVRA    .    OPVS    .     MENSIBVS    .     DVOBVS    . 

CONSVMATVM ;  but  no  trace  of  them  is  to  be  seen 
at  the  present  time,  although  it  is  quite  possible 
that  in  Calvi's  time  (1812)  they  may  have  been 
visible. 

It  was  for  this  same  church  that  Francia  painted 
the  puzzling  little  predella  representing  the  Birth 
and  the  Death  of  Clirist,  which  is  now  in  the  Gallery 
at  Bologna  (82),  and  which  in  so  many  ways  ditt'ers 
from  his  usual  work.  Another  picture  done  for  the 
same  building  is  a  very  important  work  named  by 
Vasari,  who  says  that  it  was  painted  at  the  request 
of  a  lady  of  the  Manzuoli  family,  and  that  in  it 
"  he  depicted  Our  Lady  with  the  Child  in  her 
arms,  San  Giorgio,  San  Giovanni  Batista,  San 
Stefano,  and  Sant'  Agostino,  with  an  angel  beneath." 
In  1500  Francia  painted  an  'Annunciation'  for  the 
Church  of  the  Annunziata,  outside,  as  Vasari  tells 
us  at  that  time,  the  gate  of  San  Mammolo,  and 
which,  he  states,  "  is  esteemed  to  be  verj-  well 
executed."  It  is  probable  that  a  little  earlier  than 
that  he  executed  for  the  same  church  the  enthroned 
'  Virgin  and  Child '  at  Bologna,  which  so  closely 
resembles  in  its  general  arrangement  the  last- 
named  picture.  The  picture  in  the  Hermitage 
Gallery  was  painted  in  about  1500.  The  next 
dated  picture  is  the  one  at  Berlin,  dated  1502, 
which   in  its  peculiar  arrangement  foreshadowed 

181 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  much  later  picture  in  the  Church  of  San 
Frediano  at  Lucca.  Tlie  other  two  representations 
of  the  '  Annunciation '  come  at  this  time.  One  is 
in  the  Gallery  at  Bologna,  the  other  at  Milan,  and 
was  done  for  the  Duke  of  Mantua.  For  his  great 
friend  Messer  Polo  Zambecearo,  Francia  painted, 
as  Vasari  tells  us,  "  a  tolerably  large  picture 
representing  the  Birth  of  Clirist  which  was  much 
extolled."  This  work  now  hangs  in  the  Gallery 
at  Forli,  and  must  be  given  to  this  period. 
Other  works  belonging  to  this  period  are  the 
Vienna  picture  of  the  Madonna  with  two  saints, 
the  single  figure  of  St.  Francis  in  Dr.  Frizzoni's 
Gallery,  the  '  Madonna  in  the  Rose  Garden ' 
at  Munich,  the  pathetic  head  of  the  Man  of 
Sorrows  bearing  His  cross,  now  to  be  found  in 
the  Lochis  Gallery  at  Bergamo  (221),  which  was 
the  predella  picture,  or.  rather,  the  square  picture 
inapredella  below  one  of  the  Bologna  altar-pieces, 
:md  the  half-length  figure  of  St.  Sebastian  that  be- 
longs to  the  Duke  of  Fernan  Nunez  at  Madrid. 
At  Cesena  is  'The  Presentation  of  the  Divine  Child 
to  Simeon  in  the  Temple.' 

The  picture  in  the  Church  of  San  Martino 
Maggiore  at  Bologna  is  an  undoubted  and  most 
important  work,  and  one  in  which  the  artist  has 
himself  designed  the  frame  for  the  picture,  and 
which  still  remains  in  the  chapel  for  which  it  was 
first  painted;  and  another  famous  one  is  now  in  the 
Chantilly  Collection,  which,  originally  in  the  North- 
wick  sale,  passed  into  the  possession  of  M.  Kuiset, 
from  whom  it  was  bought  for  Chantilly  by  the  Due 
d'Aumale.  The  altar-piece  at  Berlin,  signed  and 
dated  1502,  has  strong  points  of  affinity  with  the 
much  later  altar-piece  that  stands  in  the  Church 
of  San  Frediano  at  Lucca,  for  which  place  it  was 
first  painted.  In  1505  Francia  painted,  by  special 
contract  for  the  commune  of  his  native  town,  in 
the  dining-hall  of  the  Podesta  Communale,  a 
Madonna  known  as  the  'Madonna  del  Terrenioto,' 
to  commemorate  the  deliverance  of  the  place  from 
total  destruction  by  an  earthquake  which  visited 
Bologna  in  June  of  that  year,  and  caused  the 
greatest  alarm  and  injury.  The  chief  works,  how- 
ever, that  remain  to  show  what  Francia  could  do 
in  fresco  are  those  in  the  Chapel  of  Sta.  Cecilia. 
One  only  of  these  bears  a  date,  and  that  is  not 
one  of  the  two  done  by  Francia,  but  the  fresco 
next  to  it,  which  was  the  work  of  Costa,  and  is 
dated  1506.  This,  however,  in  all  probability,  gives 
us  the  date  for  the  entire  series,  which  it  is  almost 
certain  was  completed  before  1.507.  Only  two  of 
the  panels  were  the  work  of  Francia,  and  these 
are  the  two  nearest  to  the  altar  on  the  Gospel  and 
Epistle  side  of  the  chapel,  and,  very  fortunately, 
they  are  the  two  in  the  best  condition  of  the 
entire  series.  The  two  by  Francia  illustrate  '  The 
Marriage  of  St.  Cecilia  and  Valerian '  and  '  The 
Burial  of  St.  Cecilia.' 

The  next  landmark  that  we  have  to  guide  us 
is  found  in  the  date  upon  the  Dresden  picture, 
1509.  There  are  beyond  this  two  pictures  bear- 
ing the  dates  1512  and  1514,  and  two  dated  1515, 
one  at  Parma,  and  one  at  Turin  ;  and  then  we 
have  the  date  of  the  death  of  the  artist,  1517. 
Between  these  dates  comes  the  long  series  of 
pictures  of  the  Madonna  and  Child,  the  most  be- 
wildering of  all  the  works  of  Francia  to  set  into 
chronological  order,  and,  in  fact,  the  most  diftioult 
to  deal  with  in  any  way,  so  much  have  they  been 
copied,  and  so  much  was  the  type  of  Francia's 
group  repeated  by  the  host  of  his  pupils.     It  must 

182 


honestly  be  stated,  in  respect  to  this  group  of 
pictures,  that  there  is  no  finality  in  attributions  ; 
from  time  to  time  evidence  may  arise  that  will  up- 
set the  best-founded  theories,  especially  seeing  that 
the  sons  of  Francia  so  cleverly  copied  their  father's 
work  that  it  is  a  matter  almost  of  impossibility  to 
be  quite  certain  as  to  several  pictures  that  bear  the 
name  of  the  artist.  The  famous  '  Baptism  of 
Christ'  at  Dresden  is  dated  1509.  The  one  named 
by  Vasari  may  be  the  one  now  at  Hampton  Court 
of  the  same  subject.  The  two  works  compared 
with  each  other  yield  several  interesting  diverg- 
ences, but  both  are  genuine  works  by  the  master's 
own  hand,  and  the  signatures  are  true  ones.  The 
Dresden  picture  is  dated  1509,  but  the  one  at 
Hampton  Court  is  far  older,  and  is  much  more 
of  a  Quattrocento  work. 

There  is  a  picture  dated  1514  at  Bologna  in  the 
Ercolani  Collection,  a  small  half-length,  represent- 
ing '  God  the  Father  Almighty,'  and  has  upon  it  a 
long  inscription,  telling  the  names  of  those  who 
commissioned  it  in  1514.  It  resembles  a  similar 
one  which  is  to  be  found  in  the  Arabrosiana 
Gallery,  and  is  there  called  a  '  Doctor  of  the 
Church,'  but  which  is  probably  the  panel  from 
the  upper  part  of  some  altar-piece,  representing 
'  God  the  Father.'  The  '  Cnicifixion '  in  the  Louvre 
was  painted  for  St.  Job's  Church  at  Bologna,  and 
belongs  to  about  the  same  period.  At  Ferrara 
Francia  painted  the  altar-piece  which  is  called  by 
the  Ferrarese  '  The  Picture  of  all  the  Saints,'  and 
which  represents  the  Coronation  of  the  Virgin. 
The  only  other  crowded  composition  that  Francia 
painted  is  'The  Adoration  of  the  Magi,'  which  is 
now  at  Dresden.  The  great  altar-piece  in  London, 
by  which  Francia  is  best  known,  is  in  every  way 
a  masterpiece.  It  was  painted  for  the  Buonvisi 
Chapel  in  the  Church  of  San  Frediano  at  Lucca. 
This  chapel  was  founded  by  Benedetto,  the  son  of 
Lorenzo  Buonvisi,  in  1510,  and  Benedetto's  will, 
which  is  dated  August  1(5,  1510,  provides  for  the 
maintenance  of  the  chapel  by  landed  property,  and 
speaks  of  the  sons  of  Paolo  Buonvisi,  the  favourite 
brother  of  the  fotmder,  as  his  eventual  heirs. 
Benedetto  died  before  1516,  and  at  Lucca,  in  the 
manuscript  volumes  written  by  a  certain  Canon 
Vincenzo  Baroni,  which  contain  a  vast  amount  of 
curious  information  as  to  the  city,  is  a  brief 
abstract  of  his  will.  The  object  of  the  foundation 
of  the  chapel  was  the  welfare  of  the  souls  of  the 
Buonvisi  family,  and  it  was  specially  dedicated  to 
St.  Anne.  These  facts  account  for  the  presence  of 
the  various  saints  whom  Francia  has  introduced 
into  his  picture.  St.  Anne  appears  in  so  prominent 
a  position  as  the  special  patron  of  the  chapel  ;  St. 
Laurence  as  the  patron  of  the  father  of  the  founder  ; 
St.  Paul  as  the  patron  of  the  founder's  brother 
and  heir  ;  St.  Sebastian  as  the  plague  saint,  as  in 
1510  the  city  of  Lucca  was  visited  by  the  fell 
disease,  and  prayers  would  doubtless  be  offered 
for  the  intercession  of  that  saint ;  and  the  last  of 
the  four  saints,  who  is  termed  St.  Komuald  in  the 
National  Gallery  catalogue,  is  probably  St.  Bene- 
dict, the  patron  of  the  founder.  The  Duke  of 
Lucca  acquired  the  picture  from  the  last  of  the 
Buonvisi,  a  Princess  Elisa  Poniatowski  (ne'e  Mon- 
tecatini),  and,  on  the  sale  of  the  Duke's  efEects,  it 
was  brought  to  London.  The  picture  at  Parma 
bears  the  same  date  as  the  Turin  '  Deposition,' 
1515,  and  was  therefore  one  of  the  latest  pictures 
painted  by  Francia.  In  the  original  records  of 
the     Guilds   there   is  the   mention   of    Francia's 


FRANCESCO  DI  MARCO  RAIBOLINI 


FRANC  I A 


AUnari  pholo 


Hologiui  Gallery 


THE  -MANZUOLI"  ALTAR-PIECE 


PAINTERS  AND  ENGRAVERS. 


matriculation  as  a  goldsmith  recorded  thus:  "1482. 
—Francesco  de  Maurus  de  Raibolino  10  X"  (per- 
haps the  tenth  of  the  tenth  month)  ;  and  again 
further  on,  when  he  took  office  in  tlie  (iuild,  the 
fact  is  thus  stated  :  "  1486. — Francesco  Marco  de 
Raibolino  Congr.  S.  Niccolo  e  S.  Felice ''  (referring 
to  where  he  resided)  "  detto  il  Pittore  il  Franza." 
There  are  also  the  entries  as  to  the  matriculation 
of  his  sons  to  be  seen  in  the  same  book.  In  a  paper 
about  the  Mint  at  Bologna  there  are  two  entries — 
one  stating  in  very  lengthy  form  that  in  November 
1506  the  painter  Francia  was  Master  of  the  Mint, 
by  the  seal  of  Pope  Julius  II. ;  and  the  other 
recording  that  "on  November  27,  1508,  Messer 
Franza  the  painter  and  engraver  of  metals  of  all 
sorts  was  Master  of  the  Mint  by  the  will  of  the 
Pope."  There  are  also  in  the  Guild  records  notes 
of  his  appointment  as  Gonfaloniere  del  Popolo  and 
Tribuni  della  Plebe  on  December  10,  1482  ;  and, 
lastly,  the  two  entries  of  the  death  of  the  painter 
to  which  Calvi  alludes,  one  of  which  simply  records 
that  Francia  died  in  1517,  as  follows  :  "  1517  a  di 
Gennaro  mori  Francesc  Francia  oretice  e  pittore 
eccellente  "  ;  the  other,  which  is  the  Seccadinari 
record,  reads  :  "  1517 — 7  Gennaro  mori  Messer 
Francesco  Francia  miglior  orefice  d'  Italia  et 
buonissimo  pittore,  bravissimo  giojelliere,  bellis- 
simo  di  persona  et  eloquentissimo,  benche  fosse 
filiuolo  di  un  falegname,  della  cappella  di  Santa 
Caterina  di  Saragozza."  It  is  not  known  where 
he  was  buried,  but  he  is  believed  to  lie  in  the 
Church  of  San  Francesco,  or  in  its  cloister  near  to 
the  tomb  which  is  now  occupied  by  the  remains  of 
liis  son  Giacomo.  There  is  no  monument  to  be 
found  of  him  in  tliat  church  or  cloister. 

One  of  his  best  portraits  is  in  England,  and 
is  the  great  portrait  of  Bartolommeo  Bianchini 
belonging  to  Mr.  Salting,  which  was  shown  at  the 
Burlington  Fine  Arts  Club.  Tliere  is  also  a  picture 
at  Vienna  tin  the  Liechtenstein  Gallery  of  'The 
Marchese  Bovio '  that  was  restored  to  Francia 
by  Crowe  and  Cavalcaselle,  and  there  is  one  at 
Frankfort  of  a  man  dressed  in  black  which  is  now 
with  good  cause  given  to  the  artist.  The  one 
that  hangs  in  the  Tribune  in  the  Uffizi,  and  in- 
scribed as  the  portrait  of  Evangelista  Scappi,  is 
another  portrait  regarding  which  there  seems  to  be 
no  doubt ;  and  there  are  two  portraits  in  the  Pitti 
Gallery  which  probably  were  painted  by  this  artist 
rather  than  by  his  son  Giacomo,  whose  name  they 
bear  at  this  moment. 

One  of  the  most  interesting  portraits  which 
Francia  painted  is  of  the  young  Prince  Federigo 
Gonzaga,  son  of  Isabella  d'Este,  who  was  sent  as 
a  hostage  to  the  Papal  Court,  and  placed  in  the 
hands  of  Julius  II.  His  afiectionate  mother  desired 
to  have  a  portrait  of  her  boy  before  he  left  her 
charge,  and  the  commission  was  given  to  Lorenzo 
Costa,  who  was  at  that  time  attached  to  the  Court 
at  Mantua  ;  but  it  was  eventually  transferred  to 
Francia.  The  picture  was  finished  on  August 
10,  1510,  and  sent  to  Isabella,  who,  in  a  letter 
which  she  wrote  to  Girolanio  Costa,  expressed  her 
very  high  appreciation  of  it,  and  her  great  delight 
at  possessing  it.  She  sent  thirty  ducats  of  gold  to 
Francia  for  it,  but  returned  the  portrait  to  the 
artist,  requesting  him  to  touch  the  hair  lightly,  as 
it  was  too  blond  in  colour.  Afterwards  it  was  sent 
to  Rome,  as  the  father  of  the  youthful  Frederick, 
who  was  at  that  time  at  the  Papal  Court,  desired 
to  show  the  portrait  to  the  Pope  and  to  many  of 
the  Cardinals,  and  thither  it  went  in  November. 


In  May  1512  Isabella  presented  the  picture  to  a 
gentleman  of  Ferrara  named  Zaninello,  who  had 
rendered  her  great  services,  and  it  probably  re- 
mained at  Ferrara  until  brought  to  Paris  among 
Napoleon's  spoils.  The  father  of  its  present  owner, 
Mr.  A.  W.  Leatham,  bought  it  from  the  Napoleon 
Collection,  and  for  many  years  it  hung  unrecognized 
at  Miserden  Park,  until  in  1902  it  was  exhibited 
at  the  Burlington  Fine  Arts  Club,  and  identified 
by  Mr.  Herbert  Cook,  whose  articles  in  the 
'  Athenseum '  of  February  7  and  the  'Burlington 
Magazine  '  for  April  1903  fully  describe  it.     G.  C.  W. 

See  '  Francia,'  by  G.  C.  Williamson  (G.  Bell  & 
Sons,  1901),  for  fuller  information  as  to  this  artist. 

Some  of  his  most  notable  works  are : 


Bergamo. 
BologQa. 


Lochis  Coll. 

Roijal  GalUry 

{Salii  del 

Francia^  E.) 


Palasio  Ercolani. 


Library  in 

Archiginnaiio. 

CliurchofSS.  I'itate' 

ed  Acfricola  (Jirst 

chapel  on  the  left). 

Church  of  S.  Mar- 

tino  {^rst  chapel). 


Oratory  of  St  a. 
Cecilia. 


Our  Loril  bearing  His  Cross. 
Madonna  and  Saints,    Signed 

OPTS     FHAXCIAE     ATRIFICIS 

MCCCCLXXXXiiii.  (From  the 

Church  of  Sta.  Maria  della 

Misericordia.) 
The    Annunciation.      {From 

the  Oratory  of  S.  Girolamo 

di  Miramonte. ) 
Madonna  and  Saints.    (From 

the  Church  of  Sta.  Maria 

della  Misericordia.) 
The  Adoration  of  the  Christ. 

Imcribed  AUTOttlTS  .ajLLEiZ 

.  10  .  BESTITOLI  .    FIL  .  VTE- 

Gisi  .  DICAVIT.  (Frmn  the 
Church  of  Sta.  Maria  della 
Misericordia,  vhere  it 
originally  formed  thecentral 
panel  of  a  large  altar-piece. 
The  upper  part,  hy  Costa,  is 
still  in  situ.  Tlte  predella, 
hy  Costa,  siqned  and  dated 
1499,  is  in  the  Brera.) 

The  Life  of  Christ.  (From 
the  Church  of  Sta.  Maria 
della  Misericordia.) 

A  Pieti.  (From  the  Church 
of  the  Misericordia.) 

The    Annunciation.      Signed 

FKANCIA      ATRIKEX      PINXIT 

MCCCCC.     (From  the  Church 
of  St.  Francis.) 
The    Madonna    and     Saints. 
inscribed  JOANNES  scappts 

OB  IMMATVRVM  LACTANTI 
FILII  OBrrVM  PIENTISSIMO 
AFFECTV     HOC    VIBGINl     ET 

PAVLO  DICAVIT.     (From  the 

Church  of  the  Annunciation.) 

The     Crucifixion.        Signed 

FRANCIA    AVRIFEX.        (Front 

the  Church  of  the  Annunci- 
ation.) 
God  the  Father.    Small  half- 
length,  liucribed  pethonio 

BVROTGNINO  MASARIO,  lO 
FRANCISCO  BIASINO  PBIOBK, 
AC  PETRO  ANTONIO  BOLETTA 
DEPOSITAEIO,  NEC  NON 
HEECVLE  ORTMANTO  CON- 
SERVATORK  FRANCIA  AVRI- 
FEX FACIEBAT  A  MDXIIII. 

The  Crucifixion.  (Fainted 
about  1494.) 

sSIadonua  and  Child. 

Madonna  and  CliiUl  with 
Saint*.  The  splendid  frame 
was  also  designed  by  Francia. 
Signed  francia  avkifei  p. 

Two  Frescoes  of  1506,  repre- 
senting (1)  The  Marriage 
of  St.  Valerian  with  Sta. 
183 


A  BIOGRAPHICAL  DICTIONARY  OP 


Bologna.  Ch.  of  Si. 

Uoiitinic. 

„  PodestA  Com- 

munale. 

„     Church  of  S.  Oia- 

como  McKjtjiore, 


Berlin.       Royal  Gallery. 


Cesena.   PieUtre  Gallery. 
Chantilly. 

Dresden.     Royal  Gallery. 


Ferrara.  Cathedral. 

Florence.  Accademia. 

„  P'Mi  Palace. 

„  UJizi  Palace. 


Forli. 

Frankfort.     Staedel  Gall. 


Glasgow.  Corporation  Gall. 
Hampton  Court. 


London.     National  Gall. 


„  Earl  of  Xorthhrook, 
184 


Cecilia,  and  (2)  The  Burial 
of  iSta.  Cecilia. 

■  Madonna  and  Child. 

I 

Madonna      del      Terremoto. 

(Fresco.) 
Mailonna    and    Child    with 

Saints.       Siyned    JOHANNI 

BENTIVOOLIO     II.      FEANCIA 

AVHiTEX  piNirr.    (1499.) 
Virgin  and  Child  enthroned 
with  Saints.  Signed  FEAi<ci  a 

ATKIFABEB     BONON.,      1502. 

{From   the   Church   of   St. 
Cecilia  at  Modena.) 
The    Holy    Family.      Signed 

BAHTHOLOMEI  STMPTV  BIAN- 
CHINl  MAXIMA  MATKVM,  HlC 
VIVIT  MANIBVS  FBANCIA 
PICTA  TVIS. 

The    Presentation.      Signed 

FBANCIA  ATHIFEX  BONO.V.  P. 

The  Annunciation.  This  pic- 
ture.originally  in  the  North- 
wick  Collection, was  bought 
from  M.  Rciset. 

The  Baptism  of  Christ.  Ac- 
cording to  Vasari  this  pic- 
ture wa.s  formerly  at  Mo- 
dena. It  is  not,  however, 
mentioned  in  the  list  of 
Dresden  pictures  purchased 
at  Modena.  It  was  dam- 
aged during  the  bombard- 
ment of  Dresden  in  1760 
by  a  fragment  of  a  shell. 
Signed    FKANCIA     aveifex 

BON.  F.  MDVIIIT. 

The  Adoration  of  the  Magi. 
The   Coronation  of   the  Ma- 
donna.    Signed  franciscvs 

FBANCIA  AVRIFEX  FACIEB.^T. 

Virgin  and  Child  with  Two 

.Saints.     (Bought,  in  1818, 

from     Felice      Cartoni     at 

Rome.) 
Portrait  of  a  Man. 
Portrait  of  a  Man. 
Portrait  of  EvaugelistaScappi. 

In  his   hands   is   a   letter, 

bearing  upon    it :     "  Duo. 

Vaugelista  di   Scappi   Fr. 

Rai." 
The  Birth  of  Christ. 
A  Portrait.    Portrait  of  a  man 

dressed    in   black    clothes. 

{Purchased  in  1832 /rem  J. 

D.  Pafisavant.) 
The  Nativity. 
The      Baptism      of     Christ. 

Signed     on     a     cartellino ; 

FBANCIA  AVRIFEX  BONOXIEN. 

{Acquired  with  the  Mantuan 
Collection  by  Charles  1.,  and 
described  in  his  catalogue  a3 
**  l/no  (juadro  sopra  asse  con 
N.  S.  battezato  da  S.  Gio- 
vanni di  vtano  del  Franza." 
See  also  Claude  Phillips  on 
the  Gallery  of  Charles  J. 
(Seeley),  and  *  Arckivio* 
iii.  293.) 

The  Virgin  with  the  Infant 
Clirist,  and  St.  Anne  en- 
throned, surrounded  by 
Saints.  Signed  Fbancia 
Aueifex  Bononieksis  p. 

The  Virgin  and  Two  Angels 
weeping  over  the  Dead 
Body  of  Christ. 

The  Virgin  and  Child  with 
two  Saints. 

Holy  Family  with  St.  An- 
thony.        Inscribed     F 


London.    George  Salting, 
Esq. 

„     J.  E.  Taylor,  Esq. 

„  Sir  George  Otto 

Trevelyan. 


„        Thomas  Agnew  ^ 

Sons. 

„     Sir  E.  J.  Poynter, 

P.R.A. 

„    Sir  J.  C.  Robinson. 

Lucca.  Ch.ofS.  Frediano. 


FKANCIA  .  AVKIFEX  .   FACIE- 
BAT  .  ANNO  .  MDXII. 

Portrait  of  Bartolommeo 
Bianchini.  {Fromthe  Collec- 
tionofthePrincessdeSagan.) 

Virgin  and  Child  with  Saints. 

Madonna  and  Child  and  Saint. 
(Thidley  Sale,  1892,  Lot  63, 
£.525 ;  Winter  Exhibition, 
1892.  Sold  at  Ruston  Sale 
for  £50i.) 

Afatlonna  and  Child  and  two 
Saints. 

Drawing  of  a  Dance  of  Bac- 
clianals.     (Pen  and  bistre.) 

Drawing  of  an  Ancient  Sacri- 
fice.    (Pen  and  bistre.) 

Tlie  Coronation  of  the 
Virgin. 

IVIadonna  and  Child. 


„  Palazzo  Maiisi. 

Madrid.    Duke  of  Fernan)  ...    .,  ,     .■ 

JVuiic.  \  '  '■  f'ebastian. 
Milan.  Mrera.    The  Annunciation.   (From  the 

JJucal  Palace  of  Mantua.) 
St.  Anthony  of  Padua  (with 

a  landscape  background). 
The  Almighty  Father. 
St.  Francis. 


Modena. 


Munich. 


Poldi-Pezzoli 

Museum. 

Ambrosiana. 

JJr.  Frizzoni. 

Palace  of  the 

Marchesa  Cocca 


'the\ 
cca-  >-, 
ani.j 


p, 
Old  Gallery. 


Paris. 


Louvre. 


Parma.       Royal  Gallery. 


PressbuTg. 


Coll.  of  Count 
Jean  Palffy. 


Borne.  Barherini  Gallery. 
„  Corsini  Gallery. 

„  Capitol  Gallery. 

„  Borghese  Gallery. 


St.  Barbara  (signed). 

The  Madonna  within  the  Rose 
Garden.  Signed  fbancia 
AVHiFEX  BONO.V.  (Acquired 
ill  1815  from  the  estate  of 
the  Empress  Josephine  at 
Jlalmaisonfor  lo.OOOfrancs. 
A  drawing  for  this  picture 
is  in  the  Ufizi.) 

The  Virgin  and  Child. 
(Bought  by  Maximilian  IX. 
in  1833,  before  he  became 
King,  from  the  Zambeccari 
iialleiy  in  Bologna,  and 
presented  to  the  Gallery.) 

The  Nativity. 

The      Crucifixion.         Signed 

KRANCIA  AVRIFABEB. 

( l^aintedforSt.JoVs  Church 
at  Bologna,  and  passed  into 
the  Bianchetti  and  Solly 
i'ollections.  Bought  of  M. 
Page  in  1864  for  8000 
francs.) 
Tlie      Deposition.        Signed 

fbancia  AVRIFEX  BONON.  f. 

The  Madonna  with  the  Child 
and  St.  Benedict,  St.  Pla- 
cidus,  Sta.  Giustina,  and 
St.  Scholastica.     Signed  r. 

FRANCIA      AUBIFEX       BONO- 
NIENSIS  F.  MDXV. 

The  Madonna  with  the  Child 
and  St.  John. 

The  Madonna  and  Child. 
Madonna  and  Child  with 
St.  Joseph,  25  in.  x  18^  in., 
bought  at  the  Dudley  sale. 
Lot  62,  for  £430  10s. 
Signed   JACOBVS   cambarts 

BONUN.  PER        FRANCIAM 

AVBIFABRVM         HOC         OPVS 
FIEBI    CVBAVIT,    1495. 

Holy  Family. 

St.  George. 

The  Presentation  in  the 
Temple. 

Tlie  Madonna  and  Child. 
The  picture  was  com- 
missioned by  Sister  Doro- 
thea Fantuzzi,  of  the  Con- 
vent of  S.  M.  Maddalena  in 
Bologna,  and  is  inscribed 
on  the  back,  sobob  dobo- 


MARC  ANTONIO  RAIMONDO 


raving  in  the  British  Muuum 


LES  GKIMPEURS 


PAINTERS  AND  ENGRAVERS. 


THEA  DI    FANTCZn    IN  STA. 

HA.    MAGNA,   in    a    script 
hand. 
R  me.    Borghese  Gallery     St.     Stephen     the     Martyr. 
Jiiscribed  vincentii    desi- 

DEEII  VOTTM  FEANCIAE 
EXPRESSVM  MAXT. 

fit.  Petersbnrg.  ffermitoje     The  Virgin  and  Child  with 
Gallert/.         St.  Catherine. 
„  „  The     Madonna    and     Child. 

The  picture  was  brought  to 
the  Hermitage  in  1832  from 
the  Gallery  of  Prince  Eu- 
gene Sapiega  at  Grodno. 
Stffned  F.  FBAKCIA,  but  the 
signature  is  probably  a  false 
one. 
y,  „  The  Virgin  and  Child  with 

Saints.    Inscribed  DS  LVDO- 

VICTS  DE  CALCIN'A  .  DECRE- 
TOEY  DOCTOB  CANONICVS  . 
S  .  P  .  BON  EEDIFICATOE 
ATCTORQ  .  DOMVS  ET  HEST- 
AYKATOE  HTIVS  ECLESIAE 
FECIT  FIERI  .  P  .  ME  FBAM- 
CIAM    AVBTFICE    BONON   A.VO 

MCCCCC.  Painted  in  1500 
by  the  command  of  the 
Canon  of  the  Church  of  St. 
Petronius  at  Bologna,  Ludo- 
vico  de  Calcina.  It  after- 
wards found  its  way  into 
the  Church  of  San  Lorenzo 
delle  Grotte  in  the  same 
town,  whence  it  was  re- 
moved to  Rome  by  Cardinal 
Ludovisi ;  still  later  it 
passed  into  the  Ercolani 
Gallerj',  whence  it  was 
bought  for  the  Hermitage 
inl&43. 
Turin.  Royal  Gallery.  The  Deposition  in  the  Tomb. 
Brought  from  Casale  to 
an  altar  of  the  Count  Pio 
Sordi  di  Torcello.  and  by 
him  in  1835  given  to  the 
Gallery.   Signed  F.  francia 

AVRIFEX  BONONIEKSIS  F. 
5IDXV. 

Verona.  Pinacoteca.     Madonua    and     Child    with 

Three    Saints.     Signed    F. 

FRANCIA  AVRIFABER  BONON. 

Vienna.     Royal  Gallery.    The  Madonna  and  Child  with 
Saints.       Signed    fbancia 

AVRIFABER  BONO. 

jj  „  Drawing  of  the  Flute-players. 

„  „  Drawing  of  the  Judgment  of 

Paris. 
,,    Liechtenstein  Gall.     The  Marchese  Bovio.   G.C.  W, 

RAIBOLTNI,  GlACOMO,  the  elder  son  of  Fran- 
cesco Raibolini,  called  Francia  after  his  father, 
was  born  about  1484.  He  studied  under  his 
father,  and  acted  as  his  assistant.  He  executed 
two  of  the  frescoes  in  the  chapel  of  St.  Cecilia  at 
Bologna,  namely,  the  '  Baptism  of  Valerian,'  and 
the  'Martyrdom  of  St.  Cecilia.'  His  masterpiece, 
perliaps,  is  the  beautiful  '  Madonna  seated  with  SS. 
Francis,  Bernard,  Sebastian,  and  Maurice,'  dated 
1526,  in  the  Pinacoteca  at  Bologna,  although  his 
St.  Michael,'  in  San  Domenico,  is  also  very  fine. 
Late  in  life  Giacomo  came  under  the  influence  of 
DoBSO  Dossi.  as  may  be  gathered  from  his  two  en- 
throned Madonnas  at  Milan.  Giacomo  died  in  1557. 
By  him  : 

Berlin.  Gallery.     The   Virgin  in  Glory  (jointly 

rcith  his  brother  Giulio). 

„  „         Chastity. 

„  ,,  Madonna  with  Saints. 

Bologna.         Pinacoteca.    Two  Madonnas. 

„  „  Virgin  with  Saiut«. 

„  San  Stefano.    Christ  on  the  Cross. 


Bologna.     -Sin  Giovanni.  Christ  as  a  Gardener. 

„        5-S.  Annunziata.  The  Entombment. 

„  San  Domenico.  The  Archangel  Michael. 

Florence.         Pitti  Gall.  A  Portrait. 

Madrid.  Museum.  A  Devotional  Picture  with  St. 

Margaret  in  the  centre. 

Milan.  Brera.  Two  enthroned  Madonnas. 

Parma.  S.  Giovanni.  Adoration  of  the  Shepherds. 

A  few  scarce  prints,  dated  about  1530,  and  signed 
I.  F.,  are  ascribed  to  Giacomo  Raibolini.  Among 
them  we  may  name,  '  A  Muse,'  '  Cleopatra,'  and 
'  Venus  and  Amor.' 

RAIBOLINI,  Giulio,  younger  son  and  pupil  of 
Francia,  was  a  painter  of  mediocre  talents.  He 
was  born  in  1487.  He  worked  jointly  with  his 
brother  on  the  pictures  named  below,  which  are 
now  in  the  Bologna  and  Berlin  Galleries  respect- 
ively.    He  died  in  1540. 

Berlin.  Museum.     The  Virgin  in  Glory. 

Bologna.  Pinacoteca.    Four    Saints.     (Both    signed 

J.  J.  Fbancia.) 

RAIMBACH,  Abraham,  engraver,  born  in  Lon- 
don in  1776.  His  father  was  a  Swiss  by  birth, 
but  had  come  to  England  at  an  early  period  of  his 
life,  and  never  left  it.  After  receiving  his  educa- 
tion at  Archbishop  Tennison's  Library  School,  the 
.son  was  apprenticed  to  J.  Hall,  the  engraver,  and 
the  first  work  of  the  young  apprentice  was  the  ex- 
planatory key  to  the  engraving  of  Copley's  '  Death 
of  Chatham,'  now  in  the  National  Gallery.  After 
his  apprenticeship  he  entered  as  a  student  at  the 
Royal  Academy,  and  took  what  casual  employ- 
ment he  could  obtain  from  the  booksellers,  and 
also  occupied  himself  with  miniature  painting.  He 
found  the  latter  irksome,  and  abandoned  it  finally 
for  engraving.  The  plates  he  executed  for  Smirke 
and  Forster's  edition  of  the  'Arabian  Nights'  made 
known  his  ability,  and  were  also  profitable.  In 
18r2  he  became  David  Wilkie's  engraver,  and  the 
first  work  of  that  distinguished  painter  that  he 
transferred  to  copper  was  'The  Village  Politicians,' 
the  next  was  'The  Rent  Day,'  and  these  were 
followed  at  intervals  by  'The  Cut  Finger,'  'The 
Errand  Boy,'  '  Blindman's  Buff,'  '  Distraining  for 
Rent,'  'The  Parish  Beadle,'  and  'The  Spanish 
Mother  and  Child.'  After  Reynolds  he  engraved  a 
•  Venus  '  and  the  '  Ugolino.'  Raimbach,  it  is  said, 
never  employed  an  assistant,  but  executed  the 
whole  of  his  plates  himself.  His  prints  after 
Wilkie  are  masterly  works.  They  were  boldly 
engraved,  to  enable  the  publishers  to  take  numer- 
ous impressions,  and  therefore  appear  somewhat 
deficient  in  artistic  freedom  and  delicacy  of  exe- 
cution. They  are,  however,  suited  to  the  subjects, 
and  very  faithful  to  Wilkie's  characters.  Raimbach 
died  at  Greenwich  in  1843.  Besides  the  plates 
above  named,  he  is  also  responsible  for  the  follow- 
ing: 

Leonard  Parkinson,  a  Maroon  Chief ;  after  a  drawing 
by  .Uttz  (Edwards's  '  Maroon  War  '). 

Illustrations  for  Cooke's  '  T.-iles  of  the  Genii.' 

Illustrations  for  Forster's  •  Arabian  Nights.' 

Five  plates  for  '  Rasselas.' 

Plates  for  Sharpe's  '  Spectator,"  '  Tatler,'  and  '  Guar- 
dian.' 

Plates  for  '  Don  Quixote.'     (Longman  :  1818.) 

Frontispiece  to  Scott's  '  Arabian  Nights.' 

Initiation  into  the  Mysteries  of  Isis;  after  Smirke,  for 
Barlow's  *  CoIumbia<l.' 

Rape  of  the  Golden  Fleece ;  the  same. 

A  biography  of  Raimbach  was  privately  printed 
by  Frederick  Shoberl  in  1843. 

RAIMONDI,  Marc  Antonio,  the  most  famous 
and  the  finest  of  Italian  engravers,  was   bom   at 

185 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bologna  towards  the  end  of  tlie  15th  century, 
according  to  Passavant  in  1488.  But  there  is  much 
doubt  as  to  his  diites,  some  authorities  putting  liis 
birth  as  early  as  1470,  and  his  death  as  late  as 
a  century  afterwards.  Most  probably,  however, 
he  was  a  year  or  two  younger  than  Raphael,  while 
we  have  no  trace  of  his  existence  after  1527,  the 
year  of  the  sack  of  Rome.  His  first  master  was 
Francia,  who  taught  him  to  work  in  niello.  He 
may  have  had  anotlier  master  for  part  of  the 
technical  work  of  the  goldsmith's  engraver.  By 
the  year  1505  he  had  engraved  a  plate  for  its  own 
sake,  a  '  Pyramus  and  Thisbe,'  and  had  made  a 
journey  through  Upper  Italy  to  Venice.  About 
1508-10  he  was  engaged,  in  Venice,  in  making 
copies  of  seventeen  of  Albert  Diirer's  cuts  from 
the  'Life  of  the  Virgin,'  of  the  thirty-six  cuts  of 
the  '  Little  Passion,'  and  of  the  '  Adam  and  Evp.' 
Whether  Marc  Antonio  did  this  with  a  fraudulent 
intention  or  not  has  been  much  disputed,  but 
there  seems  to  be  no  doubt  as  to  his  desire  to 
profit,  in  an  unfair  way,  by  Diirer's  reputation, 
for  to  the  seventeen  plates  from  the  '  Life  of  the 
Virgin  '  he  affixed  the  Nuremberger's  mark,  while 
the  '  Adam  and  Eve  '  is  signed  thus  : 

ALBERT 

DURER 

NORICOS 

FACIEBAT 
1504 
exactly  as  the  original  is  signed.  The  'Little 
Passion '  is  marked  with  Diirer's  tablet,  in_  blank, 
much  as  Raimondi  afterwanls  marljed  his  own 
works.  This,  perliaps,  was  due  to  tlie  represent- 
ations made,  as  Vasari  tells  us,  by  Diirer,  who  very 
probably  made  use  of  his  favour  with  the  Emperor 
to  get  the  prohibition  to  which  Vasari  refers  made 
eflEective  against  the  use  of  his  name  by  the  Italian 
engraver.  It  is  not  likely  that  he  actually  jour- 
neyed to  Venice  to  prosecute  his  complaint.  Marc 
Antonio's  copies  after  Diirer  are  as  faithful  as 
copper-plates  after  woodcuts,  by  an  artist  with  a 
great  original  genius  of  his  own,  could  be  expected 
to  be. 

About  1510  Marc  Antonio  was  in  Florence,  and 
there  engraved  the  famous  plate  after  Michel 
Angelo's  Cartoon  of  Pisa,  which  is  known  as 
'The  CWmhevs' (Les  Griiiq^eurs).  About  a  year 
later  he  went  to  Rome,  where  he  at  first  continued 
his  imitation  of  Diirer.  Soon,  however,  he  enrolled 
himself  among  the  followers  of  Raphael,  and 
worked  for  eight  or  nine  years  under  his  super- 
vision. For  a  time  he  seems  to  have  worked  in 
Raphael's  studio,  but  he  afterwards  set  up  a  studic 
of  his  own,  where  he  received  pupils,  among  whom 
the  most  famous  were  Agostino  di  Musi  and  JIaroo 
Dente  da  Ravenna.  No  doubt  much  of  the  per- 
fection to  which  the  art  was  brought  in  this 
atelier  was  due  to  the  taste  of  Raphael,  for  the 
spirit  in  which  Raimondi  engraved  was  curiously 
akin  to  that  which  distinguishes  the  Urbinate's 
work  with  the  point.  Design,  expression,  and  purity 
rather  than  richness  of  technique,  are  the  merits 
aimed  at.  Many  of  Marc  Antonio's  plates  are 
after  lost  designs  of  Sanzio,  while  many  others 
reproduce  compositions  still  extant,  but  reproduce 
them  with  variations,  suggested  most  likely  by  the 
master.  After  Raphael's  death,  in  1520,  Raimondi 
engraved  after  Giulio  Romano.  This  connection 
brought  him  into  disgrace  and  into  prison.  Giulio 
made  a  series  of  twenty  indecent  designs  in  illus- 
tration of  sonnets  by  Pietro  Aretino.  These  Marc 
186 


Antonio  engraved,  and  so  scandalized  Pope  Cle- 
ment VII.,  that  he  was  clapped  into  prison.  At 
the  intercession  of  the  Cardinal  Ippolitode' Medici 
and  of  Baccio  Bandinelli  he  was  released,  and 
set  to  work  on  his  plate  of  the  '  Martyrdom  of 
St.  Lawrence,'  after  Bandinelli.  Tlie  engraving 
when  finished  was  submitted  to  the  Pope,  who 
was  so  pleased  with  it  that  he  at  once  took 
its  author  under  his  special  protection.  Baccio, 
on  the  other  hand,  was  not  satisfied,  and  com- 
plained to  Clement  that  his  work  had  not  been 
faithfully  rendered.  The  Pope  thereupon  com- 
pared the  design  with  the  engraving,  and  decided 
that  Raimondi  had  improved  upon  Bandinelli. 
The  original  red  chalk  drawing  by  the  latter  is 
in  the  Cabinet  at  Munich.  In  1527  Marc  Antonio 
lost  all  he  had  at  the  siege  and  subsequent  sack 
of  Rome.  He  fled  to  Bologna,  and  nothing  more 
is  known  of  him.  From  a  statement  by  G.  A.  di 
Niccolini  di  Sabio,  however,  we  may  fairly  con- 
clude that  he  was  no  longer  alive  in  1534.  For 
three  centuries  Marc  Antonio  has  enjoyed  a  reput- 
ation among  reproductive  engravers  comparable  to 
that  of  Raphael  among  painters.  Fine  impressions 
of  his  best  plates  have  steadily  increased  in  value, 
until  now  they  excite  as  fierce  a  competition  at 
sales  as  the  rarest  plates  of  Rembrandt.  His 
aeuvre  may  be  divided  into  four  classes :  first,  the 
pieces  he  executed  during  his  early  days  under 
the  shadow  of  Francia ;  secondly,  his  imitations 
of  Diirer,  and  other  productions  before  his  journey 
to  Rome ;  thirdly,  his  work  under  Raphael ; 
fourthly,  his  work  after  Raphael's  death.  In  works 
belonging  to  the  first  class,  the  hardness  of  the 
niellatore  and  the  immaturity  of  the  youthful 
artist  are  both  visible.  In  those  of  the  second, 
the  burin  is  managed  more  freely,  and  the  in- 
dividuality of  a  true  artist  is  more  traceable.  In 
tliose  of  the  third  period  the  masterpieces  of 
Raimondi  are  to  be  found.  It  begins  with  '  The 
Climbers,'  which  may  have  been  finished  at  Rome, 
and  includes  '  The  Massacre  of  the  Innocents,' 
'The  Judgment  of  Paris,'  'The  Dance  of  Cupids.' 
'The  Five  Saints,'  the  '  Lucretia,' &c.  The  fourth 
period  is  marked  by  less  care  in  drawing,  less 
delicacy  in  the  management  of  the  burin,  less  pa- 
tience, and  a  greater  toleration  for  mannerism  in 
the  works  reproduced  ;  these  were  mostly  from 
the  hand  of  Giulio  Romano.  The  following  list 
of  Marc  Antonio's  plates  is  taken  from  Passavant 
but  Bartsch's  numbers  are  also  given.  ^' j^ 

1.  Adam  and  Eve.     (B.  1.) 

:;.  Adam  and  Eve  driven  from  Paradise.    (B.  2.) 

3.  God  appearing  to  Noah.     (B.  3.) 

4.  Joseph  and  Potiphar's  Wife.     (B.  9.) 

5.  Darid  beheading  Goliath.     (B.  10.) 

6.  David  with  the  Head  of  Goliath.    (B.  11.) 

7.  David  with  the  Head  of  Goliath.    (B.  12  ) 

8.  The  Nativity.     (B.  IB.) 

9.  The  Massacre  of  the  Innocents  (without  the  '  Chi- 

cot').   (B.  20.) 

10.  The  Feast  at  Simon's  House.     (B.  28.) 

11.  The  Last  Supper.     (B.  26.) 

12.  The  Entombment.     (B.  30.) 

13.  The  Descent  from  the  Cross.     (B.  32.) 

14.  Pieti.     (B.  35.) 

15.  The  Marys  weeping  over  the  body  of  Christ.    (B.  37.) 

16.  The  Descent  into  Limbo.     (B.  41.) 

17.  S.  Paul  at  Athens.     (B.  44.) 

18.  The  Marys  on  the  Steps.     (B.  45.) 

19.  The  Virgin  Enthroned.     (B.  46.) 

20.  The  Virgin  in  Glory.     (B.  47.) 

21.  The  upper  part  of  the  Foligno  Madonna.     (B.  52.) 

22.  The  Virgin  with  the  long  thigh.     (B.  57.) 

23.  The  Holy  Family  ;  afttr  Michaelangelo.     (B.  59.^ 


MARC  ANTONIO  RAIMONDI 


PETRVS    ARRETINVS     ACERRIjviVS  VJRTVrv^AC  VlT!OPS>AJi 

DErAOSTRATOR 


[/'V««  the  very  rare  tine  eti^ravin^ 
PORTRAIT  OF  PIETRO  ARETIXO 


PAINTERS  AND  ENGRAVERS. 


24.  Holy    Family.    The    Virgia    suckling    the    Infaut 

Christ.    (B.  80.) 

25.  The  Virgin  with  the  Palm-tree.     (B.  62.) 

26.  The  Madonna  with  the  Cradle.     (B.  6;i.) 
27-39.  Jesus  and  the  Twelve  Apostles.    (B.  74-78.) 

40.  S.  Cristopher.     (B.  96.) 

41.  S.  Francis.     (B.  97.) 

42.  S.  George.     (B.  98.) 

43.  S.  John  Baptist.     (B.  99.) 

44.  S.  .Jerome  kneeling  before  a  Crucifix  placed   in  a 

tree  trunk.     (B.  101.) 

45.  S.  Jerome  with  the  small  Lion.     (B.  102.) 

46.  The  Martyrdom  of  S.  Lawrence.     (B.  104.) 

47.  S.  Sebastian.     (B.  109.) 

48.  S.  Francis,  S.  Anthony  of  Padua,  and  S.  John  of 

Capistran.     (B.  110.) 

49.  The  Five  Saints.     (B.  113.) 

50.  Saint  Catherine.     (B.  115.) 

51.  S.  Cecilia,  with  four  other  Saints.     fB.  116.) 

52.  The  Martyrdom  of  S.  Cecilia.     (,B.  117.) 

53.  Saint  Margaret.     (B.  118.) 

54.  SS.  Lucy,  Catherine,  and  Barbara.     (B.  120.) 
55-67.  Christ  and  the  Twelve  Apostles.     (B.  124.) 

68.  Christ  on  the  Cross.     (B.  137.) 

69.  The  Holy  Trinity.     (B.  138.) 

70.  The  Virg'in  standing.     (B.  139.) 

71.  The  young  Tobias  and  the  Guar  Jian  Angel.   (B.  1-10.) 

72.  S.  Anthony.     (B.  141.) 

73.  S.  Anthony  of  Padua.     (B.  142.) 

74.  S.  Benedict.    (B.  143.) 

75.  S.  Bernard.     (B.  144.) 

76.  S.  John  of  Capistran.     (B.  145.) 

77.  S.  Christopher.     (B.  146.) 

78.  S.  Stephen.     (B.  147.) 

79.  S.  Francis  of  Assisi.     (B.  143.) 

80.  The  -Archangel  Gabriel.     (B.  149.) 
81-1'.  S.  John  Baptist.     (B.  150-1.) 

83.  S.  Jerome.     (B.  152.) 

84.  Job.    (B.  153.) 

85.  S.  Joseph.    (B.  154.) 

86.  S.  Lawrence  (S.  Leonard).     (B.  155.) 
87-8.  S.  Lawrence.    (B.  156-7.) 

89.  S.  Michael.     (B.  158.) 

90.  Lazarus.     (B.  159.) 

91.  S.  Nicholas  of  Tolentino.     (B.  160.) 

92.  S.  Peter  Martyr.     (B.  161.) 
93-5.  S.  Eoch.     (B.  162-4.) 
96-8.  S.  Sebastian.     (B.  165-7.) 
99.  S.  Vincent.    (B.  168.) 

100.  A  Penitent  Saint.     (B.  169.) 

101.  S.Agatha.     (B.  170.) 

102.  S.  Agnes.     (B.  171.) 

103.  S.  Anne,  the  Virgin  and  ChUd.    (B.  1T2.) 

104.  S.  Apollonia.     (B.  173.) 

105.  S.  Barbara.     (B.  174.) 

106.  S.  Catherine.     (B.  175.) 

107.  S.  Catherine  of  Siena.     (B.  176.) 

108.  S.  Cecilia.     (B.  177.) 

109.  S.  Helena.     (B.  178.) 

110.  S.  Lucy.     (B.  179.) 

111.  The  glorified  Magdalen.     (B.  180.) 

112.  S.  Margaret.     (B.  181.) 

113.  S.  Martha.     (B.  182.) 

114.  S.  Petronilla.    (B.  183.) 

115.  Death.     (B.  184.) 

116.  The  Rape  of  Helen.     (B.  209.) 

117.  Alexander  placing  Homer's  poems  in  the  tomb  of 

Achilles.     (B.  207.) 
118-121.  The  Four  Roman  Knights.     (B.  188-191.) 

122.  Dido.     (B.  1S7.) 

123.  Lucretia.     (B.  192.) 

124.  Cleopatra  (Ariadne).     (B.  199.) 

125.  Cleopatra.     (B.  200.) 

126.  The  Triumph  of  Titus.     (B.  213.) 

127.  The  Plague  of  Phrygia.     (B.  417.) 

128.  Parnassus.     (B.  274.) 

129-131.  Jupiter,  Mars,  aud  Diana.     (B.  253-255.) 

132.  Vulcan,  Venus,  aud  Cupid.     (B.  326.) 

133-135.  Jupiter  embracing  Cupid ;  Mercury  descending 

in  search  of  Psyche  ;  Cupid  and  the  Three  Graces. 

(B,  342-344.) 

136.  Mars,  Venus,  and  Cupid.     (B.  345.) 

137.  The  Jiulgment  of  Paris.     (B.  245.) 

138.  The  Quos  Kgo,  or  Neptune  calming  the  Storm.     (B. 

252.) 


139.  Venns  and  two  Cupids.     (B.  251.) 

140.  Venus  appearing  to  JJneas.     (B.  288.) 

141.  Venus  after  the  Bath.     (B.  297.) 

142.  Venus  .stooping  to  kiss  Cupid.    (B.  311.) 

143.  Venus  rising  from  the  Sea.     (B.  312.) 

144.  Venus  crouching.     (B.  313.) 

145.  Pallas  standing  on  a  Sphere.     (B.  337.) 

146-161.  Apollo,   Miner\a,  the    Muses,  and    five    other 
figures.     (B.  263-278.) 

162.  The  Apollo  Belvedere.     (B.  331.) 

163.  Apollo  with  left  arm  upraised.     (B.  332.) 

164.  A  Replica  of  the  Last.    (B.  333.) 

165.  The  Standing  Apollo.     (B.  335.) 

166.  Apollo,  Hyacinthus.  and  Cupid.     (E.  348.) 

167.  Dance  of  Cupids.     (B.  217.) 

168.  Cupid  and  Three  Children.     (B.  320.) 

169.  Hercules— full-face— standing  in  a  niche.     (B.  256.) 
170-173.  The  Labours  of  Hercules.     (B.  289-292.) 

174.  Hercules  strangling  Antaeus.     (B.  346  ) 

175.  Two  Fauns  carrying  a  Child  in  a  Basket.     (B.  230.) 

176.  Bacchanalia,  or  The  Offering  to  Priapus.     (B.  248.) 

177.  A  reversed  Replica  of  the  last,  in  which  the  Satyr  is 

on  the  left  of  Priapus.     (B.  249.) 

178.  A  Satyr  cKisping  a  Nymph  with  his  left  arm,  and 

defending  himself  against  a  Young  Man.    (B.  279.) 

179.  A  Satyr  seated,  and  a  Child.     (B.  281.) 

180.  Nymph  surprised  by  Satyr.     (B.  285.) 

181.  Two  Votaries  of  Bacchus,  one  young  and  one  old. 

(B.  294.) 

182.  Faun  and  Child.     (B.  296.) 

183.  The  two  Satyrs  and  the  Nymph.     (B.  305.) 

184.  Pan  and  Syrinx.     (B.  325.) 

185.  Nymph  surprised  by  Satyr.     (B.  319.) 

186.  The  Vintage  of  Bacchus.     (B.  306.) 

187.  Cupid  ri.siug  from  the  Sea.    (B.  293.) 

188.  The  Three  Graces.     (B.  340.) 

189.  Orpheus  and  Eurydice.     (B.  282.) 

190.  Orpheus   delivering    Eurydice    from    the    Infernal 

Regions.     (B.  295.) 

191.  Orpheus  seated,  playing  the  Violin.     (B.  314.) 

192.  The  Triumph  of  Galatea.    (B.  350.) 

193.  Bacchus  and  Ariadne. 

194.  Pyramus  and  Thisbe.     (B.  322). 

195.  The  '  Loves  of  the  Gods  ' 

1.  The  Torso  of  a  Woman,  her  head  on  a  cushion. 

2.  A  Bearded  Man  and  part  of  a  Leg. 

3.  4.  Figures  of  Young  AVomen. 

5.  Back  View  of  a  Head. 

6.  Head  turned  to  the  Right,  embraced  by  a  Man's  Arm. 

7.  Head  turned  to  the  Left. 

8.  Head  of  a  Young  Woman. 

9.  Figure  of  a  Young   Man,  standing,  and  stretching 

out  his  Right  Arm.  (The.se  nine  fragments  are 
all  that  is  left  of  the  plates  which  brought  Rai- 
mondi  into  disgrace  with  Pope  Clement.  They 
are  quite  inoffensive.  A  complete  set,  however, 
belonged  to  the  collector  Mariette,  and  after  his 
death  passed  into  the  French  Royal  Library. 
They  have  been  either  lost,  stolen,  or  destroyed.) 

196.  Trajan  crowned  by  Victory.     (B.  361.) 

197.  Fortune  holding  a  sail  swelled  by  the  Wind.    (B. 

362.) 

198.  Love  of  Fame.    (B.  363.) 

199.  Time. 

200.  Prudence.    (B.  371.) 

201.  Strength.     (B.  375.) 

202.  Temperance.     (B.  376.) 

203.  Philosophy.     (B.  381.) 

204.  Poetry.     (B.  382.) 

205—211.  The  Seven  Cardinal  Virtues.    (B.  386—392.) 

212.  Peace.     (B.  393.) 

213.  '  Amadeus,  Austeritas,  Amititia,  Amor.'    (B.  355.) 

214.  The  Four  Doctors.     (B.  404.) 

215.  '  Le  Baton  Courbe.'    (B.  369.) 

216.  The  Woman  with  the  Crescent.    (B.  354.) 

217.  The  Man  with  two  Trumpets.     (B.  358.) 

218.  Raphael's  Dream.     (B.  359.) 

219.  The  Young  Man  with  the  Firebrand.    (B.  360.) 

220.  Man  and  Woman  holding  a  Sail.     (B.  364.) 

221.  The  Old  Shepherd  and  the  Y'outh.     (B.  366.) 

222.  The  Old  Man  and  the  Man  with  the  Anchor.    (B. 

367.) 

223.  Woman  with  Winged  Head.     (B.  368.) 

224.  Man  Beaten  with  a  Fox's  Tail.     (B.  372.) 

225.  Woman  with  two  Sponges.     (B.  373.') 

187 


A   BIOGRAPHICAL  DICTIONARY  OP 


226.  The  Man  and  •Woman  with  Globes.    (B.  377.) 

227.  Young  Woman  watering  a  Plant.     (35.  383.) 

228.  Man  whipping  Fortune.     (B.  378.) 

229.  Man  showing  a  'Woman  a  Hatchet.     (B.  380.) 

230.  Young  Man  with  a  Lantern.    (B.  384.) 

231.  Two  Naked  Men,  standing.     (B.  385.) 

232.  Serpent  speaking  to  a  Young  Man.     (B.  3D6.) 

233.  The  Two  Womeu  and  the  Zodiac.     (B.  397.) 

234.  The  Violia-Player,  and  the  Three  Naked   Women. 

(B.  398.) 

235.  Young  Woman  in  Classic  Dress,  between  Two  Men. 

(B.  399.) 

236.  '  II  Strcgozzo,'  or  '  Sorcery.'     (B.  426.) 

237.  Man  Crowning  an  Eagle.     (B.  428.) 

238.  The  Shepherd  and  the  Nymph.     (B.  429.) 

239.  Old  Man  and  Young  Woman.     (B.  430.) 

240.  The  Old  and  the  Young  Shepherd.     (B.  431.) 

241.  Young  Mother  conversing  with  Two  Men.     (B.  432.) 

242.  Man  Kneeling  at  the  outskirts  of  a  Wood.     (B.  434.) 

243.  Man  Asleep  at  the  entrance  to  a  Wood.     (B.  438.) 

244.  The   Old  Shepherd  and  the  Young  Man  with  the 

Violin.     (B.  435.) 

245.  The  Old  Man  and  the  fat  Young  Man.     (B.  436.) 

246.  Woman  tearing  her  Hair.     (B.  437.) 

247.  The  Lion  Hunt.     (B.  422.) 

248.  Emperor  sitting.     (B.  441.) 

249.  Another  Emperor  sitting.     (B.  442.) 

250.  Woman  meditating.     (B.  443.) 

251.  The  Deformed  Young  Man.     (B.  446.) 

252.  The  Cardinal  at  Market.     (B.  459.) 

253.  The  Pilgrim.     (B.  462.) 

254.  The  Climbers.      B.  487-) 

255.  One  of  the  Climbers.     (B.  488.) 

256.  Man  bearing  the  base  of  a  Column      (B.  476.) 

257.  Man  with  a  Flag.     (B.  481.) 
258—269.  The  Twelve  Caesars.     (B.  501—513.) 

270.  Equestrian  Statue  of  Marcus  Aurelius.     (B.  514.) 

271.  Constantiae  the  Great.     (U.  495.) 

272.  Pope  Leo  XH.     (B.  493.) 

273.  Pope  Adrian  VI.     (B.  494J 

274.  Charles  V.     (B.  497.) 

275.  Eaphael  resting.     (B.  490.) 

276.  The  Poet  Alexander  Achillini.     (B.  469.) 

277.  Pietro  Aretino.     (B.  513.) 

278.  The  Perfume  Va.se  for  Francis  I.     (B.  538.) 

279.  The  Facade  with  Caryatides.     (B.  538.) 

280.  The  Three  Marys. 

281.  SS.  Lucy,  Catherine,  and  Barbara. 

282.  The  Triumph  of  Neptune. 

283.  The  Glorified  Magdalen. 

284.  Cupids  at  a  Tomb. 

285.  Amymona  carried  off  by  a  Triton. 

286.  S.  Paul  kneeling  before  Christ. 

287.  Pluto. 

288.  Venus  wounded  by  a  Thorn.     (B.  321.) 

289.  Satyr  and  Bacchante. 

290.  Dance  of  Three  Fauns  and  Three  Bacchantes. 

291.  Pope  Clement  VII.     (B.  493  and  494.) 

292.  Pius  II. 

293.  Paul  II. 

294.  Sixtus  IV. 

295.  Innocent  VIII. 

296.  Alexander  VI. 

297.  Pius  III. 

298.  Adam  and  Eve.    (Copy  from  Allreclit  Direr). 

299.  The  Last  Supper.     (Do'.) 

300.  Calvary.     (B.  59.)     (Do.) 

301.  The  Virgin  with  the  Monkey.     (Do.) 

302.  The  Virgin  by  the  Door.     (Do.) 

303.  Holy  Family  with  playing  Angels.     (Do.) 

304.  Holy  Family  in  a  vaulted  Chamber.     (Do.) 

305.  The  Prodigal  Son.     (Do.) 

306.  S.  Jerome  in  his  Cell.     (Do.) 

307.  Three  Bishop-Saints.     (Do.) 

308.  The  Two  Cooks.     (Do.) 

KAIMONDO,  was  a  Neapolitan  painter,  who 
flourished  about  the  year  1477.  There  is  a  picture 
by  him  in  the  church  of  S.  Francesco  di  Chieri,  in 
Piedmont. 

BAINALDI,  DoMENico,  a  painter,  who  flourislied 
at  Rome  about  1665.  He  executed  some  works 
for  the  different  churches  in  Rome,  and  seems  to 

1«8 


have  been  patronized  by  the  Popes  of  his  time. 
Nothing  is  known  of  his  history. 

RAINIERI,  Francesco  Maria,  called  Lo  Schi- 
VENOQLIA,  was  born  at  Mantua  about  tlie  year 
1680.  He  was  a  scholar  of  Giovanni  Canti,  and 
painted  similar  subjects,  representing  landscapes 
and  battle-pieces.  His  pictures  are  little  inferior 
to  those  of  his  instructor ;  if  they  are  less  vigor- 
ously coloured,  his  figures  are  usually  better 
drawn.     He  died  in  1768. 

RA JON, Paul  Adolphe, draughtsman  and  etcher, 
was  born  at  Dijon  in  July  1843,  and  was  educated 
at  the  lyc^  of  his  native  town.  His  father  died 
when  Rajon  was  thirteen  years  old,  and  his  mother, 
left  with  small  means,  placed  the  boy  with  his 
brother-in-law,  a  photographer,  at  Metz,  who  em- 
ployed liim  to  "touch  up"  plates.  In  1864  he 
came  to  Pari.s,  and  for  a  time  gained  a  precarious 
livelihood  by  working  up  and  colouring  photo- 
graphs, making  cartoons  for  stained  glass,  and 
drawing  portraits  in  black  lead  or  saixguhie.  At 
the  same  time  he  worked  for  a  month  or  two  under 
Pils  at  the  ficole  des  Beaux  Arts.  About  1865 
Rajon  made  the  acquaintance  of  Leopold  Flaraeng 
and  L^on  Gaucherel,  and  was  induced  to  try  his 
hand  at  etching.  The  result  was  an  admirable 
reproduction  of  Gerome's  '  Rembrandt  dans  son 
Atelier,'  which  was  purchased  by  the  Messrs. 
Goupil.  Tlie  success  of  the  publication  was  fol- 
lowed up  by  several  commissions  from  the  same 
firm,  and  Rajon's  vocation  was  determined.  From 
1866  onwards  his  artistic  career  was  one  of  un- 
chequered  success,  broken  only  by  the  interlude  of 
the  siege  of  Paris,  when,  like  so  many  other  artists, 
he  quitted  his  studio  to  enrol  himself  in  the  corps 
known  as  Lea  Enfants  perdvs  de  La  Villette. 
After  the  campaign  he  visited  England,  being 
in\-ited  by  the  editor  of  the  '  Portfolio.'  Henceforth 
he  made  annual  visits  to  England,  and  some  of  his 
finest  plates  were  from  pictures  in  this  country. 
In  1885  Rajon  exhibited  a  large  collection  of  his 
works,  in  oils,  water-colours,  chalk,  and  pastel,  as 
well  as  many  etchings,  in  Bond  Street ;  and  an 
exhibition  of  his  etchings  took  place  the  following 
year  in  New  York,  which  he  then  visited  for  the 
first  time.  In  1880  he  moved  to  a  country  house 
he  had  built  at  Auvers,  on  the  banks  of  the  Oise, 
about  forty  miles  from  Paris,  where  he  delighted  to 
entertain  the  many  friends  of  all  nationalities  he  had 
attached  to  himself  throughout  his  career.  He  died 
there  on  the  8th  of  June,  1888,  and  was  buried  in 
the  cemetery  of  Auvers.  Of  his  numerous  plates 
we  may  name  : 

Eelais  de  Chiens  ;  after  Girime. 

L' Amour  Platonique  ;  after  Zumacoia. 

Le  Liseur  ;  after  Meistonier. 

Salom6 ;  after  Regnaidf. 

L'lndifferent ;  after  Ji^atteaii. 

Dutch  Courtyard  ;  after  De  Hooijhe. 

John  Bright ;  after  Ouless. 

Charles  Darwin  ;  after  the  fame. 

Cardinal  Newman  ;  after  the  same. 

The  Emperor  Claudius;  after  Alma  Tadema, 

*  George  Eliot ' ;  after  Sir  Frederick  Burton, 

Lord  Tennyson  ;  after  G.  F.  TVatts. 

Herr  Joachim  ;  after  the  same. 

Also  many  plates  for  the  '  Portfolio '  from  pictures 
in  the  National  Gallery,  the  Dulwich  Gallery,  &c. 
For  a  complete  list  of  Rajon's  plates,  with  fuller 
details  of  his  life,  see  '  Twelve  Etchings  contributed 
to  the  "  Portfolio  "  by  Paul  Adolphe  Rajon,  with 
Memoir  and  Notes  by  F.  G.  Stephens.'  London, 
1889. 


PAINTERS  AND  ENGRAVERS. 


RALPH,  G.  Keith,  an  Engliah  portrait  and 
subject  painter  in  the  latter  half  of  the  18th 
century.  He  was  portrait  painter  to  tlie  Duke  of 
Clarence,  and  exhibited  at  the  Academy  from  1778 
to  1811. 

RAM,  Jan  de.  See  De  Ram. 
RAMA,  Camillo,  painter,  a  native  of  Brescia, 
who  flourished  about  the  year  1622.  He  was  a 
pupil  of  the  younger  Palma,  and  painted  several 
altar-pieces  and  other  considerable  works  for  the 
public  edifices  of  his  native  city,  which  prove  him 
to  have  been  an  able  follower  of  the  style  of 
his  instructor.  In  the  refectory  of  the  Carmelites, 
and  in  the  churches  of  S.  Gioseffo  and  S.  Fran- 
cesco, there  are  good  examples  of  his  work. 

RAMACCIOTTI,  Giovanni  Battista,  amateur, 
a  priest  of  Siena,  who  lived  about  the  middle 
of  the  17th  century,  and  practised  portrait  and 
historical  painting.  In  the  Franciscan  church  at 
Siena  there  is  a  'Nativity'  by  him,  and  at  Florence 
(Uflizi)  a  'Nativity  of  the  Virgin.'  Bloemart  en- 
graved after  him  the  portrait  of  a  Nun,  Colomba 
da  Tofaninis. 

RAMAY,  Jean,  (or  Delle  Ramege,)  an  historical 
painter,  born  at  Liege  about  1630,  was  a  pupil  of 
Lambert  Lombard,  and  became  a  member  of  the 
Corporation  of  Goldsmiths,  of  which  he  was  dean 
in  1585.  Very  lute  in  life  he  is  said  to  have 
worked  in  the  palace  at  Luxemburg,  and  to  have 
died  during  his  journey  back  to  his  native  city. 
There  is  an  '  Adoration  of  the  Shepherds  '  by  him 
in  the  church  of  Glains,  near  Li^ge.  He  was  still 
alive  in  1602. 

RAMAZZANI,  Ercole,  bom  at  Rocoacontrada 
in  the  Roman  territory,  was  a  pupil  of  Perugino 
and  of  Raphael.  He  executed  some  works  of  art 
for  his  native  place.  The  dates  of  his  birth  and 
death  are  unknown,  but  he  is  asserted  to  have 
been  still  alive  in  1588.  Lanzi  saw  a  picture  by 
one  Ramazzani  di  Rocoacontrada  in  Matelica, 
which  was  dated  1573. 

RAMBALDI,  Carlo  Antonio,  born  at  Bologna 
in  1680,  was  a  pupil  of  Domenico  Viani.  He 
painted  history  with  some  success.  There  are 
several  of  his  pictures  in  the  churches  at  Bologna, 
which  show  considerable  merit.  The  most  worthy 
of  notice  are  the  '  Death  of  St.  Joseph,'  in  the 
church  of  S.  Gregorio ;  the  '  Visitation,'  in  S.  Giu- 
seppe ;  and  a  '  St.  Francis  Xavier,'  in  S.  Lucia. 
Rambaldi  died  in  1717. 

RAMBALDO,  Laudadio,  called  Rambaldo  di 
Feuraka,  an  inferior  Ferrarese  painter,  who  flour- 
ished towards  the  end  of  the  14th  century.  No 
details  of  his  life  are  known. 

RAMBERG,  Arthdr-Georg,  Freiherr  von, 
painter,  born  at  Vienna  in  1819,  was  the  son  of 
Field-Marshal  Ramberg,  but  instead  of  following  his 
father's  profession,  he  turned  his  attention  to  art. 
In  1840  he  entered  the  University  of  Prague,  but 
soon  migrated  to  the  Academy  of  Art,  and  then 
to  Dresden,  where  he  studied  under  Julius  Hiibner, 
and  painted  a  '  Combat  between  King  Henry  and 
the  Hungarians.'  The  revolution  of  1848  drove  him 
to  Munich,  where  he  painted  humorous  subjects. 
He  afterwards  supplied  illustrations  for  Schiller's 
'  Laura  at  the  Piano,'  '  Dido,'  '  Drinking-Song,'  and 
'  Expectation.'  He  also  furnished  illustrations  for 
Goethe's  '  Hermann  and  Dorothea,'  aud  Voss's 
'Luise.'  In  1860  he  was  appointed  professor  in 
the  Art  School  at  Weimar,  and  afterwards  to  the 
sume  position  at  Munich.  He  died  at  Munich  in 
1875.    Of  his  genre  pictures  the  best  are  : 


Meeting  on  the  L.ike. 
The  Embroidery  I'rame. 
The  Water-party. 

Frescoes  in  the  Luther-hall  tf  the  Wartburg. 
Frescoes  in  the  Palace  at  Weimar  (Legeud  of  the  Frog- 
King). 
Sunday  at  Dachau. 
The  Walk  with  the  Hofmeistcr. 
After  the  Masquerade. 

RAMBERG,  Johann  Heinrich,  an  historical 
and  portrait  painter  and  engraver,  bom  at  Hanover 
in  1763.  He  came  early  to  England,  and  became 
a  scholar  of  Sir  Joshua  Reynolds  and  of  Barto- 
lozzi,  working  also  in  the  schools  of  the  Royal 
Academy.  After  travelling  in  Italy  and  the  Nether- 
lands, he  became  court  painter  to  the  King  of 
Hanover.  As  a  caricaturist  he  is  at  his  best  in  his 
'Reineke  Fuchs '  and  'Till  Eulenspiegel.'  He 
worked  too  hastily  for  his  fame,  and  returned  to 
Hanover  in  1834,  where  he  died  July  6,  1840. 
Among  his  works  we  may  further  name  : 

Alexander  crossing  the  Granicus. 
The  Title-page  for  the  edition  de  luxe  of  Wieland. 
Curtain  for  the  Theatre  at  Hamburg. 
Illustrations  for  the  '  Taschenbuchem  zum  geselligeu 
Vergniigen.' 

RAMBERT,  Louis  de,  painter,  bora  in  Paris  in 
1614,  son  of  Louis  Rambert,  who  was  keeper  of  the 
statues  to  Louis  XIIL  He  studied  under  Vouet  and 
LeBrun.  The  king  was  his  godfather.  He  painted 
aportrait  of  Cardinal  Mazarin,  but  finally  abandoned 
painting  for  sculpture.     He  died  in  Paris  in  1670. 

RAMBOUX,  Johann  Anton,  painter,  born  at 
Treves  in  1790,  went  in  1804  to  Florenville  to  the 
school  of  the  Benedictine  monk,  Abraham,  who 
was  then  engaged  on  plates  after  Rubens,  and  in 
1807  to  David,  under  whom  he  became  a  good 
draughtsman.  In  1812  he  returned  to  his  home, 
and  there  occupied  himself  with  painting  por- 
traits. In  1815  he  went  to  Munich,  where  he 
applied  himself  to  study  the  art  of  the  Middle 
Ages,  and  produced  several  portraits  in  the  style 
of  A.  Diirer  and  Holbein.  In  1816  he  visited 
Rome,  where  he  became  affected  by  Overbeck, 
Veit,  and  Cornelius.  He  then  took  to  studying 
early  Christian  art  and  to  copying  old  wall  paint- 
ings, votive  pictures,  and  miniatures.  In  1827  he 
was  back  at  Treves,  but  in  1829  was  again  in 
Italy,  returning  to  Treves  in  1840,  where  he  com- 
pleted a  collection  of  water-colour  copies.  The 
King  of  Prussia  bought  from  him  two  hundred 
and  forty-eight  of  these  for  the  Academy  of  Dussel- 
dorf.  In  1843  he  was  appointed  keeper  of  the 
Wallraf  Museum  at  Cologne,  where  he  made  a 
reputation  by  his  restoration  of  the  old  pictures, 
and  by  supplying  designs  for  the  cathedral  tapestry. 
He  possessed  a  collection  of  Italian  pictures  of  the 
15th  and  16th  centuries,  from  which  he  executed  a 
number  of  drawings  in  pen  and  ink.  These  were 
reproduced  in  lithography,  and  published  jointly 
with  lithographs  from  a  series  of  drawings  made 
during  a  visit  to  Jerusalem  in  1854.  The  whole 
collection  runs  to  a  total  of  125  plates.  He  died 
at  Cologne  in  1866. 

RAMELLI,  Padre  Felice,  born  at  Asri,  in  tlie 
Piedmontese,  in  1666.  He  w.as  well  known  as  a 
painter  of  historical  subjects  and  portraits  in  mini- 
ature, and  resided  the  greater  part  of  his  life  in  Rome, 
where  he  became  an  ecclesiastic,  and  was  made 
a  canon  of  S.  Giovanni  Laterano.  The  King  of 
Sardinia  invited  him  to  his  court,  where  he  was 
for  some  time  employed  in  painting  the  portraits 
of  the  most  celebrated  painters,  many  of  which  ho 

189 


A  BIOGRAPHICAL   DICTIONARY  OP 


copied  from  the  originals,  painted  by  tliemselves, 
in  the  Florentine  Gallery.     Kamelli  died  in  1740. 

RAMENGHI,  Babtolommeo,  called  Bagna- 
CAVALLO,  from  a  village  near  Bologna,  where  he 
was  bom  in  1484,  was  a  pupil  of  Francia,  and 
painted  in  Bologna  in  the  style  of  his  master.  He 
appears  to  have  gone  early  to  Rome,  where  he 
studied  the  works  of  Raphael,  and  still  more  those 
of  Dosso  DoBsi.  Bagnacavallo's  style  is  a  combin- 
ation of  that  of  the  three  masters  we  have  named, 
the  simplicity  learnt  from  Francia  preserWng  him 
from  the  affectation  that  spoils  the  work  of  too 
many  of  the  painters  influenced  by  Raphael.  The 
'  Virgin  in  Glory '  in  the  Dresden  Gallery,  and  tlie 
large  altar-piece  with  several  saints  in  the  Berlin 
Museum,  are  grand  works ;  in  them  the  pupil  of 
Francia  is  to  be  readily  recognized.  After  execut- 
ing a  certain  amount  of  work  in  Rome,  Ramenghi 
returned  to  Bologna,  where  he  died  in  1542.  Morelli 
denies  the  influence  of  Raphael  on  Ramenghi,  and 
sees  in  him  nothing  but  a  pupil  of  Francia  and  an 
able  imitator  of  Dosso  Dossi.  Works  : 
Berlin.  Museum.    SS.    Petroniu.s,  Agnes,   and 

Louis  IX.  of  France. 
Bologna.  Pinacoteca.    Madonna  with  SS.  Joseph, 

Faol,    Benedict,    and     M. 

Magdalen. 
„  S.  Vitale.    The    Visitatiou    and    other 

Frescoes. 
„  S.  Michele  in  \  Copy  of  Eaphael's  '  Trans- 

Bosco.     i      figuration.' 
„  S.  Salvador.    The  Miracle  of   the  Loaves 

and  Fishes. 
„  „  St.  Augustine's  Flight  from 

the  Manichseaus. 
„  S.  Petronio.    Christ  Crncified. 

„  S.  J/,  del  Bar-  )  A  Crucifixion   and    a  Depo- 

racano.       )      sition.      {A/ so  frescoes   in 

the  Pal.  del  Podesth,  in  &: 

Stefano,  and  the  Madonna 

dec/li  Scalzi.) 
Dresden.  Gallery.    TheMadonna  enthroned  with 

SS.      Geminianus,     Peter, 

Faul,and  Anthony  of  Padna. 
Milan.  Brera.     Mystic     Marriage     of      St. 

Catharine. 
Paris.  Louvre.    The  Circumcision. 

RAMEY,  JoHS,  bom  at  Liege  c.  1530,  one  of 
the  best  pupils  of  Lambert  Lombard,  and  master 
of  Otto  van  Veen,  who  was  Rubens'  first  master. 
He  worked  at  Liege,  but  also  for  a  short  time  in 
Paris,  in  returning  from  which  at  the  commence- 
ment of  the  seventeenth  century  he  was  taken  ill 
and  died.  The  numerous  religious  pictures  painted 
by  him  for  the  churches  of  Liege  have  all  dis- 
appeared. 

GlaiD,near  Liege.  Church.     Adoration  of  the  Shepherds. 
Liege.      M.  Bmhy  Prost.     St.  Paul  healing  the  Cripple 
at  Lystra.     1600  (signed). 

„     M.Desoer  de  SoUeres.  Adoration  of  the  Shepherds. 
Brussels.     i)uA:«  o/ ^  re«- )  Episodes  in   the  life  of   SS. 
bery.  /     Joachim    and    Anne    (ttco 
drawings). 

Authorial :  J.  Helbig,  '  La  Peinture  au  pays  de 
Liege,'  1903,  pp.  182-188. 

RAMIREZ,  AxDBEA,  a  miniature  painter  of 
Seville,  who  in  1555  and  1558  illuminated  the 
choir  books  of  the  cathedral. 

RAMIREZ,  Benevides  Juan,  learned  drawing 
from  his  brother  Josef,  a  sculptor.  In  1753,  exhi- 
biting at  the  Academy  a  picture  of  the  '  Election  of 
King  Pelayo,'  he  was  elected  a  supernumerary 
Academician  of  S.  Ferdinand.  After  studying 
under  Giaquinto  he  neglected  painting  for  music, 
and  died  at  Saragosea  in  1782. 

liiO 


RAMIREZ,  Cristobal,  a  native  of  Valencia,  a 
skilful  illuminator,  was  in  the  service  of  Philip  II. 
in  1566,  and  did  most  of  his  work  in  his  native 
city.  Returning  to  the  Escorial  he  died  there  in 
1577,  leaving  his  daughter  and  two  Suns  under  the 
king's  protection.  Among  the  hooks  illuminated 
by  this  artist  were  the  '  Oficio  di  difuntos,'  the 
'  Intonario,'  and  the  '  Brevario  Nuevo  en  Cantoria,' 
for  the  Escorial. 

RAMIREZ,  Felipe,  probably  a  relation  of  Gero- 
ninio,  flourished  at  tlie  same  period.  He  painted 
hunting-pictures,  dead  game,  birds,  and  various 
other  subjects.  He  was  a  correct  draughtsman  and 
understood  the  figure,  as  may  be  seen  in  his  picture 
of  the  '  Martyrdom  of  St.  Stephen '  at  Seville.  His 
pictures  of  still-life  are  distinguished  by  their  tmtli 
and  freshness,  and  his  work  generally  was  held  in 
much  esteem  in  his  lifetime. 

RAMIREZ,  Geeonimo,  a  painter  of  Seville,  and 
a  disciple  of  Koelas,  flourished  about  the  middle  of 
the  17th  century.  In  the  churcli  of  the  hospital 
de  la  Sangre,  near  Seville,  there  was  a  beautiful 
picture  signed  with  his  name,  representing  the 
pope  surrounded  by  cardinals  and  other  personages. 

RAMIREZ,  Josef,  a  Spanish  painter,  born  at 
Valencia  in  the  year  16"24.  He  was  a  scholar 
of  Geronimo  de  Espinosa,  and  painted  history  in 
the  style  of  his  master.  Palomino  mentions,  as  his 
most  esteemed  performances,  his  works  in  the  con- 
vent of  San  Felipe  Neri  at  Valencia,  particularly 
his  picture  of  Nnestra  Senora  de  la  Luz.  He  died 
at  Valencia  in  1692.  He  was  a  learned  ecclesiastic, 
and  wrote  the  Life  of  St.  Philip  Neri. 

RAMIREZ,  JnAV,  a  Spanish  portrait  painter, 
who  lived  about  the  middle  of  the  16th  century. 
A  great  number  of  his  portraits  exist  at  Seville  and 
in  its  neighbourhood.  Of  his  other  works  there  are 
no  vestiges,  though  it  is  supposed  that,  being  em- 
ployed in  the  chapel  of  St.  Christopher  and  other 
places  of  note,  he  must  have  been  an  artist  of 
considerable  talent. 

RAMIREZ,  Pedro,  painter,  another  of  the  numer- 
ous artist-family  of  this  name  who  flourished  in 
Spain  in  the  17th  century.  He  practised  at  Seville, 
and  was  one  of  the  first  members  of  the  Academy 
established  in  that  city. 

RAMSAY,  Allam,  portrait  painter,  the  eon  of 
Allan  Ramsay,  the  author  of  the  pastoral  drama  of 
'  The  Gentle  Shepherd,'  was  bom  at  Edinburgh  in 
1713.  He  was  a  scion  of  the  house  of  Dalhousie, 
his  great-grandfather  being  the  Laird  of  Cockpen, 
a  brother  to  the  chief  After  acquiring  the  ele- 
ments of  design  in  London,  under  Hans  Huyssing, 
he  returned  to  Edinburgh  and  worked  for  two 
years  from  such  remains  of  ancient  art  as  he  could 
there  encounter.  He  went  to  Italy  in  17.36,  where 
he  was  first  a  scholar  of  Solimena,  and  afterwards 
of  Imperiali.  He  did  not,  however,  long  prosecute 
his  studies  in  historical  painting,  but  devoted 
himself  entirely  to  portraits.  On  his  return  from 
Italy  he  established  himself  for  some  time  at 
Edinburgh,  where  he  painted  the  portrait  of  Archi- 
bald, Duke  of  Argyll.  He  afterwards,  about  1762, 
settled  in  London,  where  he  met  with  very  flat- 
tering success.  He  was  introduced  by  Lord  Bute, 
whose  portrait  he  painted,  to  the  Prince  of  Wales, 
aftenvards  George  III.,  whose  Painter  in  Ordinary 
he  became  on  the  death  of  Shackleton  in  1767. 
From  that  year  onward  Ramsay  conducted  a  sort  of 
picture  factory,  from  which  he  turned  out  Georges 
and  CaroUnes  by  the  score.  His  chief  assistants 
were  David  Martin,  Mrs.  Black,  Eikhart,  Vandyck, 


ALLAN    RAMSAY 


ll'ttiJitr  .iiij  Coi:ktrcll pholi'^ 


^Sjtwnal  /\'ilrjit  CiiXlkry 


GEORGE  III. 


PAINTERS  AND  ENGRAVERS. 


Roth,  and  Vesperier  ;  to  whom  was  added  in  later 
years  the  well-known  Philip  Reinagle.  Ramsay 
was  a  good  linguist  and  an  accomplished  writer. 
Many  of  liis  essays  were  collected  into  a  volume 
under  the  name  of  '  Investigator.'  He  corresponded 
with  Voltaire,  Rousseau,  and  Hume.  For  the  last- 
named  he  painted  a  portrait  of  Roirsseau.  Of 
Ramsay  Dr.  Johnson  said,  "  You  will  not  find  a  man 
in  whose  conversation  there  is  more  instruction, 
more  information,  or  more  elegance  than  in  Ram- 
say's." Without  reaching  the  highest  rank  in  his 
profession,  he  painted  portraits  with  very  consider- 
able ability.  He  paid  four  visits  to  Italy  during 
his  lifetime,  and  it  was  on  returning  from  the  last 
that  he  died  at  Dover  in  1784.  Works  : 
Edinburgh.     Ifat.  Gallery.     David  Hume. 

„  „  Mrs.  Allan  Ramsay  (a  master' 

piece). 
„  Nat.  Portrait  Gall.  Himself. 
„  „  Hon.  Alex.  Murray. 

„  R.  Coll. of  Physicians.     Adam  Austin,  M.D. 
„  Lord  i'oung.     AndrewFletcher.Lord  Milton. 

„      R.  Scott.  .Academy.     Norrie,  a  Scotch   decorative 
artist. 
Glasgow.  Gallert/.     .Tohn,  second  Duke  of  Argyll 

London.       Ifat.  Port.  Gal.     The  Earl  of  Chesterfield. 
.,  ,,  Queen  Charlotte. 

„  „  George  III. 

„  „  Lord  Mansfield. 

„  „  Dr.  Mead. 

Patrick  Grant,  Lord  Elchies. 

Dr.  John  Kutherford,  grandfather  of  Sir  "W.  Scott. 
Caroline,  Marchioness  of  Lothian.     {Lord  Lothian.) 
•John,  second  Earl  of  Stair.     (Lord  Stair.) 
John,  third  Earl  of    Hyndford.     [Sir    W.   H.    Gibson 

Carmichael. ) 
James  Ferguson,  F.R.S. 
Sir  Alex.   Dick,  of  Prestoufield,  Bart.     (Sir  R.  K.  A. 

Dick  Conynyliam,  Bt.) 
Patrick  Boyle,  Lord  Shewalton.     (Lord  Inglis.) 
Clementina   Maria  Sophia   ^V'alklnshaw,   Countess   of 
Albertstroff  (mistress  of  the  Young  Pretender  and 
mother  of  the  Duchess  of  Albany). 

RAMSAY,  James,  an  English  portrait  painter, 
born  in  1786.  He  had  a  good  practice  in  London, 
and  exhibited  at  the  Academy  from  1803.  He 
retired  to  Newcastle-on-Tyne  in  1847,  and  died 
there  in  1854.  A  good  portrait  of  Grattan  by  him 
has  been  engraved.  Amongst  his  other  portraits 
are: 

London.  Nat.  Portrait  Gal.    Thomas  Bewick. 

Royal  Coll.  ofPhys.     Dr.  EUiotsou. 
Newcastle-on-Tyne.  Town  Hall.     Earl  Grey. 

RANG,  — ,  the  elder,  painter,  worked  at  Mont- 
pellier  towards  the  end  of  the  17th  century  with 
much  success,  and  was  one  of  Rigaud's  early 
masters.  He  was  also  the  first  teacher  of  his  more 
famous  son,  Jean  Ranc.  He  died  at  a  compara- 
tively early  age.  In  the  church  of  St.  Pierre, 
Montpellier,  there  is  a  '  Christ  giving  the  Keys  to 
Saint  Peter'  by  him. 

RANC,  Jean,  portrait  painter,  bom  at  Mont- 
pellier in  1674,  studied  under  his  father,  and  under 
Rigaud,  whose  style  he  followed  with  much  success, 
and  whose  niece  he  married.  M.  D'Argeiiville  re- 
lates an  absurd  story  respecting  Ranc.  He  says 
that  having  painted  the  portrait  of  a  gentleman,  in 
which  he  had  exerted  all  his  art,  the  friends  of  the 
sitter  persisted  in  declaring  that  it  was  in  no 
way  like  him.  Ranc  promised  to  alter  it,  and 
having  prevailed  on  his  sitter  to  co-operate,  he 
prepared  a  similar  cloth,  and  having  cut  a  hole  to 
admit  the  head,  he  requested  his  model  to  place 
himself  behind  the  canvas.  The  critics  were  sent 
for  to  examine  the  amended  portrait,  which  they 


persevered  in  declaring  was  not  yet  like  him,  when 
the  head  answered,  "  You  must  be  mistaken,  gen- 
tlemen, 'tis  I  myself."  De  la  Motte  has  introduced 
this  adventure  into  his  fables.  In  1724  Ranc  was 
invited  to  the  court  of  Spain  and  appointed  principal 
painter  to  the  king.  He  painted  the  Royal  Family, 
and  also  the  King  and  Queen  of  Portugal,  and  died 
at  Madrid  in  1735.     Works  : 

Madrid.  Gallery.    Portrait    of    Philip    V.    (on 

horseback). 
„  „  Portrait  of  Philip  V.    (half 

length). 
„  „  Portrait  of  the  Queen,  Isa- 

bel, second  wife  of  Philip 

Y.  (half  length). 
„  „  Portrait  of  Philip  V.  (to  the 

knees). 
„  „  Portrait  of  Queen  Isabel  [to 

the  knees). 
„  „  Portrait  of  Queen  Luisa,  wife 

of   Luis  I.  of  Spain  (half 

length). 
.,  „  Portrait    of    the   Prince   of 

Asturias. 
,,  „  Portrait  of  the  Prince  Carlos 

(afterwards  Charles  III.). 
„  „  Portrait  of  a  Maid  of  Honour. 

A  nd  several  others. 

RANDA,  Antonio,  a  native  of  Bologna,  was  first 
a  scholar  of  Guido,  but  afterwards  studied  under 
Lucio  Masari.  He  became  of  sufficient  celebrity 
to  be  taken  mider  the  protection  of  the  Duke  of 
Modena,  who  appointed  him  his  painter  in  the 
year  1614.  His  works  are  chiefly  to  be  seen  in 
the  churches  at  Bologna  and  Ferrara.  In  the 
latter  city,  in  the  church  of  S.  Stefano,  is  a  picture 
by  him  representing  S.  Filippo  Neri,  and  the  great 
altar-piece  of  the  church  of  S.  Liberale,  represent- 
ing the  Virgin  Mary,  with  the  infant  Saviour  and 
St.  Francis,  is  by  this  master.     He  died  in  1650. 

RANDALL,  James,  an  English  painter  and 
draughtsman,  who  practised  in  London  about  the 
beginning  of  the  19th  century.  He  exhibited 
architectural  landscapes  at  the  Academy  from 
1798  to  1814,  and  in  1806  published  '  A  collection 
of  Architectural  Designs,'  in  aquatint. 

RANDAZZO,  FiLirpO,  painter,  worked  in  Sicily 
in  the  18th  century,  and  executed  some  large  wall- 
paintings  at  Palermo. 

RANDEL,  Friedrich,  painter  and  draughtsman, 
born  1801.  A  pupil  of  Kriiger's.  He  devoted 
himself  chiefly  to  genre  pictures,  into  which  he 
introduced  animals,  especially  horses,  which  he 
treated  with  much  skill.  He  also  executed  por- 
traits in  oil  and  in  coloured  chalks.  One  of  his  best 
works  is  an  equestrian  portrait  of  General  Tumping. 

RANDLE,  Frederick  W.,  born  in  London,  1847. 
He  went  to  America  in  1860,  and  became  known 
in  Philadelphia  as  a  painter  of  still-life.  He  died 
at  Liverpool,  1880. 

RANDOLPH,  — ,  painter,  worked  in  England 
towards  the  close  of  the  16th  century,  for  the  Earl 
of  Sussex.  Directions  for  payment  to  him  of  sums 
owing  are  contained  in  the  Earl's  will  (Walpole, 
vol.  i.  p.  187). 

RANDON,  John,  an  engraver  who  resided  at 
Rome  about  the  year  1710,  by  whom  we  have 
several  plates  after  antique  and  modem  statues, 
for  the  collection  published  by  Rossi ;  and  other 
subjects  after  various  masters.  The  date  of  his 
death  is  unknown,  but  he  was  still  living  in 
1755. 

RANER,  Daniel,  painter.  Nothing  is  known 
of  this  artist  but  that  there  was  once  a  picture  of 

191 


A  BIOGRAPHICAL  DICTIONARY  OF 


an  old  man  with  a  cat  in  the  Sclileissheim  Gallery, 
eigned  D.  R.,  and  attributed  to  him. 

RANFTL,  JoHANN  Mathias,  German  painter  ; 
bom  February  21,  1805,  at  Vienna  ;  was  a  pupil 
of  the  Vienna  Academy  and  also  of  Peter  Krafft ; 
visited  Moscow  and  St.  Petersburg  in  1826,  where 
he  painted  portraits.  In  1838  he  found  scope  for 
his  ability  in  London.  His  picture  of  the  '  Floods 
at  Budapest'  is  a  good  example  of  his  style.  He 
died  at  Vienna,  November  1,  1854.  His  chief 
works  are  : 

The  Keapers'  Siesta.    {Liec)denstein  Gallery.) 

Children  gatheriug  Wood.    (Tht  same.) 

The  Family  of  Dogs.    (The  same.) 

The  Hunter's  Spoil. 

The  Labourer's  Return. 

Congratolation. 

Kuntz  von  Rosen  in  Prison. 

He  died  at  Vienna  in  1854. 

RANKLEY,  Alfred,  a  subject  painter,  bom  in 
1819,  was  a  student  in  the  schools  of  the  Academy. 
His  name  tirst  appears  as  an  exhibitor  in  the 
Academy  in  1841,  from  which  time  he  exhibited 
works  mostly  of  a  domestic  nature.  His  pictures 
were  carefully  finished  and  generally  had  a  moral. 
He  died  in  Kensington  at  the  end  of  1872. 
Amongst  his  best  works  we  may  name  : 

The  Village  Church. 
A  Scene  from  Macbeth.     1841. 
The  Guilty  and  the  Innocent. 
The  Lonely  Hearth.    1857. 
The  Day  is  Done.    1860. 
The  Doctor's  Coming.     1864. 
Follow  my  Leader.     1867. 
Following  the  Trail.     1870. 
The  Hearth  of  his  Home.     1870. 
Thf  Pharisee  and  the  Publican. 
The  Benediction.     1371. 

RANSON,  Thomas  Fk.vzeb,  an  English  engraver, 
was  born  at  Sunderland  in  1784.  He  was  appren- 
ticed to  an  engraver  at  Newcastle,  and  gained  prizes 
from  the  Society  of  Arts  for  his  plates  in  1814, 
1821,  and  1822.  He  was  eng.iged  in  the  bank- 
note controversy  of  1818,  and  by  a  strange  acci- 
dent was  tried  for  ba\nng  a  forged  note  in  his 
possession.  He  was,  however,  acquitted.  In  1821 
he  received  the  gold  medal  from  the  Society  of 
Arts  for  a  line  engraving,  and  again  in  1822  for 
his  engraving  after  David  ^Vilkie's  ■  Duncan  Gray.' 
He  died  in  1828.  Among  other  good  plates  by 
him  we  may  name  : 

A  Portrait  of  George  IV. ;  after  a  drawing  by  Edmund 

Scott. 
A  Portrait  of  the  Doke  of  Northumberland ;  after  T. 

Phillips,  R.A. 

RANSONNETTE,  Nicolas,  a  French  engraver, 
born  in  Paris  in  1753.  He  engraved  several  my- 
thological subjects,  after  Gabriel  de  St.  Aubin, 
and  other  masters.  We  have  also  the  following 
prints  by  him : 

The  new  Palais-Royal  at  Paris. 
A  View  of  the  new  Palace  of  Justice. 
The  Rival  Seducers  ;  from  his  own  dtsign. 
The  Lover  Revenged  ;  from  the  same. 
Cupid  and  Psyche  ;  after  Raphael. 
Itahan  Amusements  ;  after  tVatteau. 
Diana  of  Poitiers  ;  after  L.  Penni. 
Agues  Sorel ;  after  the  same. 
The  Dream  of  Voltaire  ;  after  St.  Aubin. 
Nostradamus  showing  Marie  de  Medicis  the  throne  of 
the  Bourbons. 

RANSPACH,  Carl,  painter,  working  at  Berlin 
in  the  first  part  of  the  19th  century.    At  the  Berhn 
Exhibition,  1838,  he  exhibited  several  hunting  and 
192 


battle  scenes,  and  was  afterwards  a  frequent  ex- 
hibitor of  such  subjects,  and  of  other  genre  pictures. 

RANUCCIUS,  an  Italian  painter,  of  whom  it  is 
recorded  that  he  was  one  of  the  signatories  of  the 
Treaty  of  Peace  made  between  Lucca  and  Pisa  in 
1228. 

RANVIER,  Victor  Joseph,  French  painter ;  bom 
July  9,  1832,  at  Lyons ;  was  a  pupil  of  Janniot  and 
of  Richard.  His  first  contribution  to  the  Salon 
was  the  '  Idylle  du  Soir '  in  1859.  The  Luxem- 
bourg possesses  his  '  Chasse  au  Filet '  and  '  Enfance 
de  Bacchus.'  He  obtained  a  medal  in  1865,  a 
second-class  medal  in  1873,  and  the  Legion  of 
Honour  in  1878.  He  died  at  Chitillon-sous- 
Bagneux,  May  24,  1896. 

BAOUL,  Jean,  miniature  painter.  In  1477  he 
executed  a  genealogy  of  the  kings  of  France, 
adorned  with  paintings  in  miniature,  and  remark- 
able for  the  delicacy  and  finish  of  its  workmanship. 

BAOUX,  Jean',  a  French  painter,  born  at  Mont- 
pellier  in  1677,  was  a  scholar  of  Bon  Boulogne, 
and  having  obtained  a  prize  at  the  Academy,  was 
sent  to  Italy  with  the  king's  pension.  Although 
his  studies  were  directed  to  historical  painting,  and 
he  was  on  his  return  from  Italy  received  into  the 
Academy  on  that  basis,  he  afterwards  worked  prin- 
cipally at  fancy  subjects  and  portraits,  of  which  we 
have  Mile.  Provost  as  a  Bacchante,  Mile.  Quinant 
as  Amphitrite,  and  Mile.  Carton  as  a  Naiad.  He 
is  said  to  have  been  in  England,  where  he  was 
patronized  by  Sir  Andrew  Fontaine.  His  historical 
works  are  his  picture  of  '  Telemaclms  in  the  Island 
of  Calypso,'  which  has  been  engraved  by  Beauvarlet, 
and  '  Venus  reposing,'  of  which  there  is  a  print  by 
J.  DauUe.  He  died  in  Paris  in  1734.  Among  his 
better  works  we  may  also  name : 

The  Four  Ages. 

Scene  in  the  Temple  of  Priapus. 

The  young  Bather. 

Young  Women  at  the  Spinet. 

Telemachus.     {Louvre.) 

Girl  reading  a  Letter.     (Louvre  ;  La  Caze  Collection.) 

RAPHAEL,  the  painter  whose  art  embodies  the 
highest  aspirations  and  finest  culture  of  the 
Renaissance,  was  born  at  Urbino  on  the  6th  of 
April,  148,3.  His  father,  Giovaimi  Santi,  was  a 
painter  and  poet  who  rose  to  distinction  at  the 
Court  of  the  Montefeltro  princes,  and  stood  high 
in  the  favour  of  Duke  Guidobaldo  and  his  accom- 
plished wife  Elisabetta  Gonzaga.  But  he  died 
when  Raphael  was  only  eleven  years  of  age, 
leaving  his  orphan  child  in  the  charge  of  his 
maternal  uncle,  Siraone  Ciarla.  Tlje  boy,  as 
Morelli  first  pointed  out,  owed  his  artistic  training 
to  Timoteo  Viti,  that  favourite  scholar  of  Francia, 
who  left  Bologna  in  1495  to  settle  in  his  old  home 
of  Urbino.  The  Ferrarese  types  and  traditions  that 
we  see  in  Timoteo's  painting.s,  the  same  gentle 
feeling  and  naive  grace,  are  apparent  in  Rapliael's 
early  works,  'The  Vision  of  a  Knight,'  in  the 
National  Gallery,  the  little  '  St.  Michael '  and 
'  St.  George '  of  the  Louvre,  and '  The  Three  Graces,' 
at  Chantilly.  These  four  little  pictures  already 
reveal  the  young  artist's  romantic  imagination  and 
instinctive  love  of  beauty,  while  they  breathe  the 
refined  atmosphere  of  the  Court  where  he  grew  up 
under  the  kindly  protection  of  the  good  Duke  and 
Duchess.  Early  in  1500,  when  he  was  seventeen 
years  of  ao^e,  Raphael  went  to  Perugia  as  the 
assistant  of  Perugino,  at  that  time  the  most 
popular  painter  in  Italy.  The  Umbrian  master 
had  been  a  personal  friend  of  Giovanni  Santi,  and 


RAPHAEL 


Dixon  pholo] 


[Collection  of  Dr.  I..  Mond,  London 
THE  CRUCIFIXION 


PAINTERS  AND  ENGRAVERS. 


had  lately  painted  some  frescoes  at  Sinigaglia  for 
the  Duke's  sister,  Giovanna  della  Rovere.  Now 
he  was  captivated,  Vasari  tells  us,  by  the  boy's 
talent  for  drawing  and  personal  charm,  and 
prophesied  that  he  would  become  a  great  artist. 
With  that  singular  receptiveness  which  was  a 
difltinctive  feature  of  his  genius,  Raphael  quickly 
absorbed  all  tlie  best  qualities  of  Perugino's  art, 
and,  according  to  Vasari,  imitated  his  style  so 
closely  that  it  became  ditficult  to  distinguish  his 
work  from  that  of  his  master.  This  is  certainly 
true  of  the  first  independent  works  that  he  executed 
at  Perugia:  the  'Crucifixion'  of  the  Mond  Col- 
lection, the  '  Coronation  of  the  Virgin '  in  the 
Vatican,  the  '  St.  Sebastian '  at  Bergamo,  and 
the  lovely  little  'Conestabile  Madonna'  which 
he  painted  for  his  friend  Domenico  Alfani.  The 
influence  of  another  Umbrian  artist,  Pinturicchio,  is 
apparent  in  two  Madonnas  which  are  now  at 
Berlin,  but,  as  Morelli  has  conclusively  shown, 
Raphael  had  no  share  in  this  painter's  frescoes  in 
the  Library  at  Siena,  and  the  designs  in  the  so- 
called  'Venice  Sketch-book'  are  not  by  his  hand. 
The  '  SposaHzio,'  which  he  painted  in  1504  for  the 
Franciscans  of  Citta  di  Castello,  was  the  crowning 
work  of  this  first  period.  Here,  with  the  mar- 
vellous facility  that  distinguished  him,  he  selects 
certain  types  and  motives,  altering  some,  trans- 
posing others,  and  blending  all  these  separate 
elements  into  one  perfect  and  harmonious  whole. 
The  form  and  grouping  of  the  picture  are  Ferrarese, 
but  the  architecture  and  distance  are  Umbrian  in 
character  ;  some  figures  recall  Perugino,  others  are 
modelled  on  Timoteo's  pattern,  but  Raphael's  finer 
taste,  we  feel,  has  lifted  the  whole  to  a  higher 
level,  and  the  work  is  infinitely  superior  to  that  of 
either  of  his  teachers.  He  had  nothing  more  to 
learn  in  Umbria,  and  by  the  end  of  the  year  we 
find  him  at  Florence,  with  a  letter  from  Giovanna 
della  Royere,  recommending  him  to  the  Gonfalo- 
niere  of  that  city  as  a  gentle  and  modest  youth, 
dear  to  her  for  his  father's  sake,  and  anxious  to 
perfect  himself  in  the  study  of  art. 

Raphael  now  entered  on  a  new  and  important 
stage  in  his  development.  The  first  sight  of 
Florence  and  all  its  wonders  of  art  made  a  deep 
impression  upon  him.  "Both  the  city,"  says 
Vasari, "and  the  works  of  art  he  saw  there  seemed 
to  him  divine,  and  from  having  been  a  master,  he 
once  more  became  a  scholar."  He  studied  the 
frescoes  of  Masaccio  and  the  reliefs  of  Donatello, 
and  copied  the  statues  of  Michelangelo  and  the 
drawings  of  Pollaiuolo,  the  prints  of  Mantegna  and 
the  paintings  of  Signorelli.  A  vast  number  of 
sketches  in  the  Uffizi  and  Albertina,  in  the  British 
Museum  and  Oxford  Galleries,  show  how  close  was 
the  attention,  how  indefatigable  the  ardour  with 
which  he  applied  himself  to  the  studj'  of  anatomy 
and  perspective.  But  Leonardo  and  Fra  Barto- 
lommeo  were  the  two  masters  who  had  the  greatest 
influence  on  his  impressionable  nature.  He 
became  the  intimate  friend  of  the  Dominican 
friar,  and  stood  dumb  with  awe  and  wonder  before 
Leonardo's  figures,  "  counting  him  greater,"  writes 
Vasari,  "than  all  others."  From  these  teachers  he 
learnt  new  secrets  of  colour  and  modelling,  of 
design  and  composition  which  soon  bore  fruits  in 
his  work.  His  portrait  of  the  rich  merchant's 
wife,  Maddalena  Doni,  was  clearly  inspired  by 
Leonardo's  '  Mona  Lisa,'  and  the  fresco  of  the 
'  Trinity,'  which  he  began  in  1505  for  the  Carmelites 
of  San  Severe  in  Perugia,  owed  its  origin  to  Fra 

VOL.  IV.  o 


Bartolommeo's  '  Last  Judgment '  in  Santa  Maria 
Nuova.  In  a  similar  manner,  the  'St.  George' 
which  he  painted  in  1506  for  the  Duke  of  Urbino, 
and  which  Castiglione  took  with  him  to  England 
as  a  present  for  Henry  VIL,  is  an  evident  reminis- 
cence of  Donatello's  relief  on  the  walls  of  Or  San 
Micliele.  At  the  same  time  his  own  personality 
began  to  find  fuller  and  freer  expression,  and  he 
painted  the  first  of  that  long  line  of  Madonnas 
which  in  their  union  of  ideal  beauty  and  human 
tenderness  were  to  appeal  to  men  and  women  of 
all  ranks  and  ages,  and  made  his  name  supreme 
among  painters.  "Raphael,"  as  M.  Gruyer  has 
truly  said,  "is  the  foremost  of  Renaissance  masters 
because  he  speaks  a  universal  language."  In  the 
'  Madonna  del  Gran  Duca '  and  the  exquisite  little 
'Virgin  and  Child'  at  Panshanger  we  see  the 
charm  and  serenity  of  the  old  Umbrian  art  com- 
bined with  the  new  knowledge  of  structural  design 
and  modelling  which  the  young  master  of  Urbino 
had  gained  at  Florence.  The  '  Ansidei  Virgin '  and 
the  'Madonna  di  Sant'  Antonio'  might  be  framed 
on  the  traditional  pattern  to  please  the  priests  and 
nuns  at  Perugia,  but  their  grouping  and  colour 
reveal  strong  traces  of  Fra  Bartolommeo's  influence. 
This  is  still  more  evident  in  the  third  group 
of  Raphael's  Florentine  Virgins,  the  'Madonna 
del  Cardellino '  which  he  painted  for  his  friend 
Taddeo,  the  '  Virgin  of  the  Meadow '  at  Vienna, 
and  '  La  Belle  Jardiniere '  in  the  Louvre,  where  he 
goes  a  step  further  and  adopts  the  Frate's  favourite 
pyramidal  design  with  rare  skill  and  grace.  But 
the  most  ambitious  work  of  his  last  years  in  Florence 
was  the  '  Entombment'  which  he  painted  in  1507 
for  the  chapel  in  the  Duomo  of  Perugia,  which 
Atalanta  Baglioni  endowed  in  memory  of  her 
murdered  son.  A  whole  series  of  studies  in 
diflierent  public  and  private  galleries  bear  witness 
to  the  immense  amount  of  time  and  labour  which 
Raphael  devoted  to  the  preparation  of  this  altar- 
piece.  We  can  follow  him  step  by  step  through 
the  various  phases  of  his  thought,  and  see  the 
motives  which  he  borrowed  in  turn  from  Mantegna, 
Perugino,  and  Michelangelo.  But  the  final  result 
of  all  this  toil  was  disappointing,  and  in  spite  of 
the  burst  of  acclamation  which  hailed  this  triumph 
of  academic  skill,  the '  Entombment'  of  the  Borghese 
lacks  the  spontaneous  charm  and  simple  pathos  of 
Raphael's  finest  art.  Yet  in  one  sense  the  con- 
temporaries who  praised  the  work  were  right.  It 
was  a  living  proof  of  the  mastery  to  which  the 
young  painter  of  Urbino  had  attained.  In  scientific 
knowledge  and  technical  completeness,  in  the 
vivid  representation  of  human  action  and  feeling, 
he  stood  on  a  level  with  the  foremost  artists  of  his 
age.  Already  at  Perugia  and  Urbmo  he  was 
recognized  as  "  the  best  master  of  the  day,"  and 
withal  "gentle  and  modest,  jealous  of  none,  kindly 
to  all,  ever  ready  to  leave  his  own  work  to  help 
another,"  with  the  sunny  nature  which  made  him 
a  favourite  wherever  he  went,  as  welcome  a  guest 
in  Baccio  d'Agnolo's  shop,  or  at  the  wealthy 
merchant  Taddeo's  board,  as  he  was  among  the 
noble  cavaliers  and  high-born  ladies  and  the 
accomplished  humanists  of  the  Court  of  Urbino. 
All  he  needed  now  was  a  wider  sphere  where  his 
powers  of  hand  and  brain  might  be  displayed  on  a 
grander  scale.  This  was  what  he  felt  when  in  a 
letter  to  his  uncle,  of  April  1508,  after  condoUng 
with  him  on  the  good  Duke's  death,  he  begged  him  to 
ask  Guidobaldo's  nephew  and  successor,  Francesco 
della  Rovere,  to  recommend  him  to  the  Gonfaloniere 

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A  BIOGRAPHICAL  DICTIONARY  OF 


of  Florence  for  the  task  of  painting  a  hall  in  the 
Palazzo  Vecchio.  His  opportunity  soon  came. 
AVhether  the  young  Duke  recommended  his  "  old 
friend  and  servant"  to  his  uncle  Pope  Julius  II.,  or 
whether  Braraante  remembered  his  young  kinsman, 
the  Buminons  reached  him,  and  before  the  end  of 
the  year  Raphael  went  to  Rome. 

The  decoration  of  the  Vatican  Stanze  was 
the  first  work  allotted  to  him  there.  Here,  on 
the  ceiling  of  the  Camera  della  Segnatura,  the 
hall  where  the  Pope  put  his  seal  to  official  docu- 
ments, Raphael  painted  allegorical  figures  of 
Theology,  Poetry,  Philosophy  and  Law,  the  four 
branches  of  learning  that  were  represented  in  the 
ducal  library  of  Urbino.  The  old  Pope  was  so 
well  pleased  with  these  works  that,  with  character- 
istic impetuosity,  he  dismissed  the  other  artists 
whom  he  had  summoned  to  help  in  the  task  of 
decoration,  and  ordered  their  works  to  be  destroyed. 
All  that  Raphael,  the  most  courteous  of  men,  could 
obtain,  was  leave  to  keep  the  paintings  of  Perugino, 
Sodoma  and  Peruzzi,  on  the  ceilings  of  the  halls 
wliich  tliey  had  adorned.  He  now  applied  himself 
with  the  greatest  ardour  to  his  new  task,  and  after 
taking  counsel  with  the  humanists  of  Rome  and 
Urbino,  and  preparing  endless  studies  with  their 
help,  the  great  scheme  of  decoration  was  finally 
evolved.  The  medallions  of  the  ceiling  supplied 
the  key-notes  of  the  design.  On  the  right  wall  he 
painted  his  grand  vision  of  the  Church  militant 
and  triumphant,  popularly  known  as  the  '  Disputa.' 
On  the  left  he  represented  the  Greek  philosophers 
of  the  School  of  Athens,  with  Plato  and  Aristotle, 
as  leaders  of  the  rival  schools,  on  the  temple  steps, 
surrounded  by  the  other  heroes  of  antiquity.  On 
the  two  remaining  walls  he  painted  Apollo  and  the 
Muses  and  poets  of  Greece  and  Rome  resting  on 
the  slopes  of  Parnassus,  and  Justinian  and  Gregory 
XI.,  wearing  the  features  of  Julius  II.,  as  law- 
givers. This  noble  conception,  embodying  the 
dreams  of  both  the  humanist  and  saint,  was  set 
forth  with  a  unity  and  grandeur,  a  perfection 
of  detail  and  fulness  of  meaning,  which  surpassed 
the  highest  expectations  that  had  been  formed  of 
Raphael's  genius.  The  Pope,  filled  with  delight 
at  the  success  of  his  experiment,  lavished  honours 
and  rewards  upon  the  artist  and  bade  him  decorate 
the  next  hall  with  frescoes  illustrating  the  divine 
protection  of  the  Church  in  past  ages,  and  glorifying 
the  reigning  pontiff. 

In  the  interest  of  the  theme,  and  in  pure  decorative 
effect,  Raphael  never  surpassed  the  frescoes  of  this 
first  Camera.  Now  he  went  on  to  show  his  powers 
in  a  new  direction,  and  gave  the  world  a  model  of 
historical  narrative  in  the  monumental  paintings 
of  the  Stanza  di  Eliodoro.  On  the  right  wall  he 
represented  the  '  Expulsion  of  Heliodorus  from  the 
Temple  of  Jerusalem,'  in  evident  allusion  to  the 
deliverance  of  Italy  from  the  French  invaders,  and 
Pope  Julius  himself,  borne  on  the  sedia  gestatoria, 
suddenly  appearing  in  the  midst  of  this  scene  of 
confusion  and  violence.  On  the  vaulted  space  above 
the  windows  he  introduced  the  Pope  and  Cardinals 
again,  kneeling  at  the  altar,  where  the  miracle  of 
Bolsena  takes  place.  Here  we  are  not  only  im- 
pressed by  the  solemn  grandeur  of  the  composition 
but  by  the  masterly  portraiture  of  the  heads  and 
the  richness  and  depth  of  the  colour,  which  Raphael 
may  have  acquired  from  his  Venetian  friend, 
Sebastiano  del  Piombo,  who  was  working  at 
Agostino  Chigi's  villa,  and  who  was  afterwards 
to  become  bis  bitterest  rival.    Sebastiano  has  left 

194 


us  a  memorial  of  these  days  in  the  fine  Buda-Pesfh 
portrait  which  he  painted  about  this  time,  and  which 
Morelli  first  recognized  as  the  likeness  of  Raphael. 
The  charming  head  of  himself,  with  the  refined 
features  and  chestnut  locks,  which  the  young 
master  of  Urbino  painted  early  in  his  Florentine 
period,  is  familiar  to  us  all,  but  this  later  portrait 
is  scarcely  less  interesting  as  showing  us  how 
Raphael  looked  in  the  flower  of  his  age  and  at 
the  height  of  his  splendid  career. 

The  '  Mass  of  Bolsena '  was  finished  in  1512,  but 
before  Raphael's  next  fresco  was  painted  the  old 
Pope  died,  and  it  w^as  his  successor,  Leo  X.,  who 
figures  under  the  guise  of  Leo  I.  arresting  the  march 
of  Attila.  The  terror  and  confusion  of  the  bar- 
barian invaders  and  the  swift  rush  of  the  avenging 
saints  through  the  air  are  rendered  in  a  dramatic 
manner,  and  the  Pope's  massive  features  are  admir» 
ably  reproduced.  The  same  pontiff's  escape  from 
his  French  captors  after  the  battle  of  Ravenna  is 
celebrated  in  the  fresco  of  the  '  Deliverance  of  St. 
Peter  from  Prison '  on  the  fourth  wall.  The  striking 
effect  produced  by  the  sudden  flood  of  light  which 
radiates  from  the  Angel  who  stands  behind  the 
dark  prison-bars,  filled  Raphael's  contemporaries 
with  wonder  and  made  Vasari  declare  this  fresco 
to  be  the  finest  of  the  whole  series.  But  in  both 
these  subjects  the  trace  of  an  inferior  hand  is 
plainly  seen.  By  this  time  the  fame  of  Raphael 
brought  him  commissions  on  all  sides,  and  it  was 
only  the  help  of  a  large  array  of  assistants  that 
could  enable  him  to  execute  the  orders  which  he 
received.  Among  the  pictures  which  he  painted 
during  the  lifetime  of  Julius  II.  were  the  'Madonna 
di  Casa  d'Alba,'  now  at  St.  Petersburg,  the  popular 
'  Madonna  della  Sedia,'  which  was  probably  exe- 
cuted for  Leo  X.  while  he  was  still  Cardinal 
Giovanni  dei  Medici,  and  the  '  Madonna  di  Foligno,' 
which  he  painted  for  the  papal  Chamberlain  Sigis- 
mondo  dei  Conti,  shortly  before  that  prelate's  death 
in  1512.  In  1614,  the  year  in  which  the  '  Stanza 
di  Eliodoro'  was  completed,  Raphael  finished  his 
fresco  of  '  Galatea'  in  the  hall  of  Chigi's  villa  on  the 
Tiber.  This  work,  to  which  he  alludes  in  a  well- 
known  letter  to  his  friend  Castiglione,  was  hailed 
with  enthusiasm  by  the  humanists  of  Rome,  who 
recognized  in  this  beautiful  creation  not  only  the 
faithful  reproduction  of  classical  motives  but  a 
breath  of  the  true  Greek  spirit. 

Early  in  his  career  Raphael  had  been  noted  for 
his  skill  as  a  painter  of  portraits.  His  bust  of 
Perugino  in  the  Borghese  is  a  life-like  presentment 
of  this  master  who  painted  heavenly-faced  saints 
to  order  and  had  so  keen  an  eye  to  his  worldly 
interests,  and  in  his  portrait  of  Julius  II.  we  have 
a  wonderful  record  of  the  fiery  old  Pope  in  his  last 
days.  No  less  striking  in  their  vivid  realization  of 
character  is  the  portrait  of  the  distinguished  scholar, 
Tommaso  Inghirami,  with  his  squinting  eye  and 
curiously  intellectual  expression,  or  the  famous 
group  of  Leo  X.  and  his  two  Cardinals.  Unfortun- 
ately, most  of  the  portraits  which  Raphael  painted 
in  his  Roman  days  have  perished  or  disappeared. 
The  portraits  of  Federico  Gonzaga  and  Pietro 
Bembo,  of  Giuliano  and  Lorenzo  dei  Medici,  are 
all  lost.  So  too  is  the  picture  of  the  poet  Antonio 
Tebaldeo,  which  Bembo  describes  as  "  so  perfect  a 
likeness,  so  true  to  life,  that  he  is  not  so  entirely 
himself  in  actual  reality  as  is  this  portrait  1 "  For 
our  consolation,  let  us  remember,  we  have  the 
portraits  of  Raphael's  two  most  intimate  friends, 
Castiglione    and    Cardinal    Bibbiena.     Both    are 


RAPHAEL 


.\\:'i,'tial  Gjllery,  London 
THE  ANSIDEI  MADONNA 


PAINTERS  AND  ENGRAVERS. 


masterpieces  of  the  finest  type,  incomparable  alike 
in  conception  and  in  execution.  The  portrait  of 
the  perfect  courtier,  after  many  wanderings,  has 
found  a  home  in  the  Louvre,  that  of  "  il  bel 
Bernardo,"  the  courtly  poet  and  gay  companion  of 
llrbino  days,  the  wily  diplomate  and  shrewd 
politician  of  the  papal  court,  is  in  the  Prado  at 
Madrid.  To  these  we  must  add  one  more  which 
is  of  especial  interest  as  the  only  portrait  of  a 
woman  which  Raphael  painted  in  his  Roman  days, 
and  in  all  probability  that  of  the  mistress  whom 
he  loved  to  the  end  of  his  life — the  '  Donna  Velata' 
in  the  Pitti.  The  modern  fable  of  the  great  master's 
love  for  the  Fomarina  has  long  been  blown  to  the 
winds,  and  the  coarse  and  vulgar  portrait  of  the 
painter's  model  in  theBarberini  Palace  is  recognized 
10  be  the  work  of  Giulio  Romano  ;  but  Vasari  tells 
us  that  Raphael  loved  one  woman  to  his  dying  day, 
and  made  a  beautiful  and  living  portrait  of  her, 
which,  after  his  death,  Matteo  Botti  kept  at  Florence 
as  a  sacred  relic.  This,  there  can  be  little  doubt, 
was  the  picture  which  afterwards  passed  into  the 
Medici  Collection  and  is  now  in  the  Pitti  Gallery. 
We  do  not  know  if  the  lady  here  represented  was 
the  unknown  mistress  to  whom  the  painter  ad- 
dressed the  soimets  which  he  wrote  on  the  back  of 
his  studies  for  the  '  Disputa,'  or  the  fair  Roman 
maiden  whom  he  mentions  in  his  letter  to  his 
uncle,  but  we  know  that  this  serene  and  beautiful 
face  meets  us  again,  idealized  and  glorified,  in  the 
Magdalen  of  the  Bologna  altar-piece  and  in  the 
Virgin  of  the  San  Sisto.  Both  of  these  pictures 
were  painted  about  the  same  time.  The  altar- 
piece  of  St.  Cecilia  was  ordered  in  1513  by  Cardinal 
Pucci  for  his  kinswoman  Elena  Duglioli,  a  noble 
Bolognese  lady,  but  only  fiuislied  in  1515.  Un- 
fortunately it  was  entirely  repainted  after  being 
taken  to  Paris  in  1798,  so  that  nothing  but  the 
design  of  the  original  work  remains.  The  'Sistine 
Madonna,'  which  was  painted  about  1515  for  the 
friars  of  Piacenza,  has  also  suffered  severely,  but 
those  portions  of  the  picture  which  have  escaped 
restoration  show  the  same  transparent  colour  and 
xilvery  tones  as  the  portraits  of  this  period — 
the  '  Castiglione'  and  'Donna  Velata' — while  the 
Kublime  beauty  of  the  conception  renders  it  unique 
among  Raphael's  works.  The  mystery  of  the 
Incarnation  has  never  been  expressed  in  a  grander 
form  than  in  this  divine  Madonna  floating  on  the 
clouds  of  heaven,  bearing  in  her  arms  the  wondrous 
Child  who  is  adored  by  Saints  and  Angels. 

The  same  grand  and  impressive  character  marks 
the  cartoons  of  the  '  Acts  of  the  Apostles  '  which 
Raphael  designed  for  the  tapestries  of  the  Sistine 
Chapel,  between  the  spring  of  1515  and  the  close 
of  the  following  year.  Three  of  the  set  have  been 
lost,  but  the  remaining  seven  were  bought  by 
Charles  I.  in  1630,  and  are  now  in  South  Kensington 
Museum.  The  execution  of  these  sadly-faded  and 
mutilated  works  seems  to  have  been  chiefly  carried 
out  by  Francesco  Penni,  but  Raphael  evidently 
superintended  the  whole  work  from  beginning  to 
end.  As  in  the  frescoes  of  the  Stanze  he  had  set 
forth  the  creed  of  the  mediaeval  Church  and  ideals 
of  the  Renaissance,  so  in  the  cartoons  he  fore- 
shadows the  teaching  of  Luther  and  the  theology  of 
the  Reformation  with  the  same  consummate  art. 
The  exactness  with  which  every  detail  of  the 
eacred  story  is  followed  reflects  the  new  spirit 
of  Bible  reading  that  was  abroad,  and  is  no  doubt 
one  reason  of  the  strong  hold  which  Raphael's 
conceptions  of  the  Gospel  scenes  has  retained  on 


the  popular  mind.  The  composition  of  these 
famous  cartoons  marks  the  final  stage  in  the  great 
master's  development  His  career  had  been  one 
of  unbroken  progress.  From  the  dawn  of  his 
marvellous  youth  he  had  gone  on  from  strength  to 
strength,  gaining  new  knowledge  and  mastering 
new  problems,  hut  through  all  retaining  his  own 
individuality  in  a  singular  way.  Now  he  entered 
on  the  last  phase  of  his  life.  His  creative  powers 
were  as  splendid  as  ever,  but  except  in  a  few  rare 
cases  the  execution  of  his  designs  was  of  necessity 
left  to  others.  The  Sibyls  with  which  he  decorated 
Chigi's  chapel  in  Santa  Maria  della  Pace,  and  the 
myths  of  Venus  and  Cupid  which  he  designed  for 
Cardinal  Bibbiena's  stvfdta  in  the  Vatican,  were 
chiefly  executed  by  his  scholars.  The  pictures 
that  issued  wholesale  from  his  workshop  were  the 
work  of  able  assistants,  Giulio  Romano,  Francesco 
Penni,  or  Perino  del  Vaga.  The  '  Madonna  del 
Pesce,'  which  was  ordered  by  one  of  his  oldest 
patrons.  Cardinal  Riario,  the  'Spasimo'  at  Madrid, 
the  '  Vision  of  Ezekiel ' — an  Olympian  Jove  borne 
on  the  wings  of  cherubim  through  the  heavens — 
and  the  'St.  Michael'  and  'Madonna'  which  Pope 
Leo  sent  to  Francis  I.  in  1518,  were  all  designed  by 
Raphael,  but  bore  no  trace  of  his  hand.  His  rivals 
might  well  sees'  at  these  works  that  were  unworthy 
of  the  great  painter's  name.  But  he  could  not 
help  himself,  and  his  last  years  were  literally 
crowded  with  colossal  enterprises. 

In  1514  Leo  X.  had  appointed  him  chief  archi- 
tect of  St.  Peter's,  in  succession  to  Bramante,  and, 
a  year  later,  inspector  of  ancient  monuments  at 
Rome.  The  building  of  St.  Peter's,  "  the  grandest 
church  in  the  world,"  as  he  proudly  told  his  uncle, 
made  large  demands  upon  his  time,  "  and  with 
Vitruvius  for  his  guide"  he  devoted  himself  to  the 
study  of  architecture  and  prepared  plans  for  the 
fagade  of  S.  Lorenzo  of  Florence  and  for  many 
palaces  and  villas,  most  of  which  have  now 
perished.  At  the  same  time  he  began  to  prepare 
a  systematic  survey  of  ancient  Rome,  illustrated 
with  drawings  of  the  chief  monuments,  and  with 
the  help  of  Castiglione,  drew  up  a  report  in  the 
shape  of  an  elegant  Latin  epistle  to  the  Pope, 
which  is  still  preserved  in  the  Munich  Library. 
This  plan  excited  the  keenest  interest  among  the 
humanists  of  Leo  X.'s  Court,  and  the  papal 
secretary  Calcagnini,  who  returned  to  Rome  in 
1619,  after  a  long  sojourn  in  Hungarj-,  wrote 
glowini;'  accounts  to  his  German  friends  of  this 
wonderful  young  man,  the  "  first  of  living  painters 
and  most  excellent  of  architects,  whom  Pope  Leo 
and  all  Rome  look  upon  as  a  god  sent  down  from 
heaven  to  restore  the  Eternal  City  to  her  former 
majesty."  All  the  while  Raphael  was  busily 
engaged  in  superintending  the  works  at  the 
Vatican.  He  prepared  cartoons  for  the  frescoes  of 
the  '  Incendio  del  Borgo '  and  '  Battle  of  Ostia ' 
which  GiuHo  Romano  executed  in  the  third  hall,  and 
designed  a  completely  new  and  original  scheme  of 
decoration  for  the  Loggia  on  the  upper  storey  of 
the  palace.  These  thirteen  arcades  were  enriched 
with  stucco  mouldings  in  imitation  of  the  antique 
grotteschi  lately  discovered  in  the  Baths  of  Titus, 
and  the  vaulting  was  adorned  with  the  series  of 
exquisite  little  paintings  known  as  '  Raphael's 
Bible.'  These  were  chiefly  executed  by  Perino 
del  Vaga,  and  in  spite  of  its  ruined  condition,  the 
whole  effect  is  still  singularly  rich  and  brilliant. 
At  the  same  moment  Giulio  Romano  and  Penni 
were  painting  the  roof  of  the  paviHon  in  Chigi's 

195 


A   BIOGRAPHICAL  DICTIONARY  OF 


villa  with  the  story  of  Cupid  and  Psyche,  and 
carrying  out  another  of  Rapliael's  designs,  by 
which  the  loggia  was  transformed  into  a  bower  of 
leaves  and  flowers,  hung  with  rich  tapestries  spread 
out  under  the  blue  sky. 

This  association  of  artists  and  craftsmen  under 
one  master-mind  was  tlie  most  remarkable  achieve- 
ment of  Raphael's  last  years.  A  wliole  school  of 
architects,  sculptors,  painters,  engravers,  mosaic- 
workers,  and  wood-carvers  had  sprung  up  under 
the  influence  of  his  genius,  and  were  engaged  in 
building  and  decorating  churches,  palaces,  and 
villas.  Never  before,  even  at  Rome,  had  so  great  a 
burst  of  artistic  activity  been  known,  and  no 
painter  before  had  reached  so  exalted  a  position  in 
the  eyes  of  his  fellow-countrymen.  He  lived, 
Vasari  tells  us,  as  a  prince  ratlier  than  a  painter, 
and  fifty  assistants  acconip;niied  him  daily  from 
his  house  to  the  Vatican.  "  You  walk,"  remarked 
Michelangelo,  when  he  met  his  rival,  ''  as  a  general 
at  the  head  of  an  army."  "And  you,"  replied 
Raphael,  "as  an  executioner  on  the  way  to  the 
scafi:old."  But  in  spite  of  the  splendour  which 
surrounded  him,  and  of  the  cardinals  and  princes 
who  caressed  him,  Raphael  retained  the  old  charm 
and  simplicity  of  his  nature.  "  Far  from  being 
puffed  up  with  pride,"  writes  Calcagnini,  "  he 
meets  every  one  with  the  utmost  friendliness,  and 
rejects  no  criticism  or  advice.  On  the  contrary, 
he  is  never  better  pleased  than  when  his  opinion 
is  doubted  or  disputed,  and  is  always  eager  to 
learn,  counting  this  to  be  the  greatest  joy  in  life." 
Unfortunately  this  very  gentile—n  proved  Raphael's 
bane.  He  allowed  his  time  and  strength  to  be 
frittered  away  in  a  multitude  of  petty  commissions, 
and  was  pressed  on  all  sides  by  impatient  patrons 
whose  claims  he  could  not  satisfy.  At  length  his 
health  gave  way  under  the  strain.  During  the 
first  months  of  1520  the  new  buildings  at  St.  Peter's 
required  much  anxious  attention,  and  his  friends 
noticed  the  unwonted  melancholy  that  oppressed 
him.  But  still  he  worked  with  unceasing  ardour 
and  devoted  all  his  powers  to  the  great  'Trans- 
figuration' which  Cardinal  Giulio  dei  Medici  had 
ordered  for  the  Cathedral  of  Narbonne.  Sebastiano 
del  Piombo's  '  Raising  of  Lazarus,'  which  was 
destined  for  the  same  French  city,  had  already 
been  exhibited  at  Christmas  in  the  Caniinal's 
palace,  and  Raphael  was  determined  that  this  time 
at  least  his  picture  should  be  worthy  of  his  name. 
He  painted  the  upper  part  of  the  picture  with  his 
own  hand,  but  before  he  could  sketch  out  the 
lower  portion  the  brush  dropped  from  his  hand. 
On  the  27th  of  March,  1520,  he  fell  ill  of  fever, 
probably  cauglit  on  some  archasological  excursion 
in  the  old  parts  of  the  city,  and  sank  rapidly,  worn 
out  in  body  and  mind.  At  nine  on  the  evening  of 
Good  Friday,  the  6th  of  April,  his  thirty-eighth 
birthday,  he  died,  to  the  grief  and  consternation  of 
all  Rome.  The  Pope  wept  bitterly,  and  the  crowds 
who  thronged  the  hall  where  his  body  lay  in  state, 
broke  into  sobs  and  tears  when  they  saw  the  dead 
Raphael  lying  at  the  foot  of  his  unfinished  'Trans- 
figuration.' On  the  next  day  all  the  artists  at  Rome 
and  a  great  concourse  of  people  followed  his 
remains  to  the  grave  which  he  had  chosen  under 
the  dome  of  the  Pantheon.  A  Latin  epitaph  com- 
posed by  his  friend  Pietro  Bembo  was  inscribed 
above  his  tomb,  ending  with  the  famous  words  : 

"  nie  est  hie  Raphael,  timuit  quo  sospite  vinci 
Rerum  magna  parens  et  moriente  mori." 

The   following   list    gives  the  chief  worlcs  of 

19G 


Raphael  and  as  far  as  possible  indicates  the  paint- 
ings which  were  executed  by  the  hand  of  his 
assistants  from  his  designs. 


Bergamo.      Lochia  Gall. 
Berlin.  Gallery, 


Bologna. 


Galleri/. 


Boston,  TI.S..\.   Mrs.  J. ) 
Gardner.  / 


Bowood.         Jfarqnis  of) 
Latisdawne.  j 

Bresci.i.      Tosio  Gallery. 
Buda  I'esth.       Galleri/. 


Chantilly. 


OdUry. 


Dresden.  Gallery. 

Florence.  VJi:i  Gallery. 


Pitti  Gallery. 


London.    Kutional  Gall. 


„  Mr.  Pierpoint  ) 

Mor(/an.  ^ 
„         Lord  Windsor. 

„    Baroness  Burdett- } 
Coutts.  f 
„      Dalicich  Gallery. 


Sir  Frederick  \ 
Coolc.j 


Misa  Mackintosh. 


„  Mr.  Ludtrig  3fond. 
„  Victoria  and  } 

Albert  Museum.  )' 

Madrid.  Prado  Gallery. 


Milau.      Brera  Gallery. 


St.  Sebastian. 

Madonna  and  Child  from  the 

Solly  Collection. 
Madonna  with  St.  Jerome  and 

St.  Francis. 
Madonna  Colonna  (partly). 
Madonna  Terranuova. 
St.  Cecilia  with  St.  Paul,  St. 

Mary   Magdalen,  St.   John, 

and  St.  Augustine. 
Portrait  of   Tommaso  Inghi- 

rami. 
Pieta  (part   of  the  predella 

of   the    Madonna    di    Sant' 

Antonio). 
The  Preaching  of  St.  John  the 

Baptist  (part  of  the  predella 

of  the  Aiisidei  Madonna). 
Salvator  Mundi, 
Madonna  from  the  Esterhazy 

Collection. 
The  Three  Graces. 
Madonna  d'Orl^ans. 
Madonna  di  San  Sisto. 
Madonna  del  Cardellino.  1506. 
Portrait  of  the  Painter. 
Portrait    of    Pope  Julius    II. 

(replica). 
Portraits      of      Angelo      and 

Maddalena  Doni. 
T.a  Donna  Gravida. 
Madonna  del  Gran  Duca. 
Madonna     del      Baldaccbino 

(partly). 
Madonna  del  Sedia. 
The  Vision  of  Ezekiel  {painted 

chiefly  hy  Giulio  Jioinano). 
Portrait  of  Pope  Julius  II. 
Portrait     of     Leo     X.     with 

Cardinal     dei     Medici    and 

Cardinal  dei  Rossi. 
Portrait  of  Cardinal  Bibbiena. 
The  Vision  of  a  Knight. 
.Madonna  Ansidei.     1506. 
St.  Katharine. 
Madonna      Aldobrandini       or 

Garvagh  (painted  by  Giulio 

Romano). 

Madonna  di  Sant'  Antonio. 

Predella :  The  Procession  to 
Calvary. 

Predella :  The  Agony  in  the 
Garden  (partly). 

Predella:  St.  Francis  and  St. 
Anthony  (executed  by  assist- 
ants). 

PredeUa  of  the  Coronation  of 
St.  Nicholas  of  Tolentino  at 
Cittii  di  Castello  (lost).  A 
Legend  of  St.  Nicholas. 

Madonna  della  Torre  (formerly 
in  tlie  Orleans  and  Sogers 
Collections). 

The  Crucifixion. 

Seven  Cartoons  for  the  Tapes- 
tries of  the  Sistine  Chapel 
(chiefly  painted  by  Penni). 

Madonna  dell'  Agnello. 

Madonna  kno\vn  as  *  La  Peria ' 
(painted  by  Giulio  Romano). 
1518. 

Madonna  del  Pesce  (chiefly 
painted  by  Giulio  Romano). 

Christ  bearing  the  Cross,  known 
as  *  Lo  Spasimo '  (painted  by 
Giulio  Romano  and  Penni). 
1517. 

Portrait  of  Cardinal  Bibbiena. 

Lo  SposaUzio.     1504. 


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PAINTERS  AND  ENGEAVERS. 


Munich.         Pinacothelc.     Madonna  Casa  Tempi. 

„  „  Madonna  Caui(^ani  {partly), 

""Te'rSShire.j  Cowper  M.W. 

„  Nieolini  ]\Iadoan8. 

Faris.  Louvre.     St.  Michael. 

„  n  St.  George. 

^j  ,,  Madonna  known  as  *  La  Belle 

Jardiniere.'     1507. 

„  „  Portrait  of  Count  Baldassare 

Castiglione. 

„  „  Madonna      de      Fran(;ois      I. 

{painted  by  Giulio  Romanu). 
1518. 

„  „  Archangel  Michael.     1518. 

,j  ,,  La  Vierge  au  Diademe  (j)ainted 

by  Giulio  Romano). 
Perugia.  San  Seveio.    Fresco  of  the  Trinity  {upper 

party  1505,  Jinished  by  Feru- 
yino).     1521. 
Rome.      Villa  Borghese.     Portrait  of  Perugino. 

„  „  The  Entombment.     LW?. 

„  Pttla::oDoria.     Portraits  of  Andrea  Navagero 

and  Agostiuo  Beazzano. 

„  Vatican  Gallery.  The  Coronation  of  the  Virgin, 
with  predelle  of  The  An- 
nunciation, The  Adoration 
of  the  Magi,  and  The  Pre- 
sentation in  the  Temple. 

„  jj  Faith,     Hope,     and    Charity 

{predelle  of  Tlie  Entombment 
in  chiaroscuro). 

„  „  Madonna  di  Foligno.     1507. 

,,  „  The     Transfiguration     {upper 

part  only ;  lower  by  Giulio 
Romano).     1520. 

„  Vatican  Stanze,     Frescoes  in  the    Camera  della 

Sei/natura:  Theology, Poetry, 
Law  and  Philosophy,  The 
Fall  of  Man,  Apollo  and 
Marsyas,  The  Judgment  of 
Solomon  and  the  Creation 
of  the  World,  La  Disputa, 
The  School  of  Athens 
Parnassu.s,  Fortitude,  Prud- 
ence, and  Temperance,  Justi- 
nian issuing  the  Pandects, 
Gregory  IX.  delivering  the 
Decretals.     1509-1511. 

jf  I'rescoes  in   the   Camera  deW 

Eliodoro :  The  Expulsion  of 
Heliodorus  from  the  Temple, 
The  Mass  of  Bolsena  (1511- 
1512),  The  Retreat  of  Attila, 
The  Deliverance  of  St.  Peter 
{pailly).     1514, 

„  „  Frescoes  in   the  Camera   dell' 

Incendio  del  BortjO:  Incendio 
del  Borgo  [chiejiy  painted 
hy  Giulio  Rmnano)^  Battle  of 
Ostia  {chie-fiy  painted  by 
Giulio  Romano).  1514-1517. 

„  Vatican  Lor/gie.     Forty-eight   frescoes   of    sub- 

jects from  the  Old  Testa- 
ment. 

„  „  Six  frescoes  of  subjects  from 

the  New  Testament  (p(iiH(«(( 
bt/  Ferino  del  Vaya  and 
others).     1517-1519. 

„  Farnesina.    Fresco   of    Galatea   and    the 

Tritons.     1514. 

f,  „  Frescoes   of  ten  scenes  from 

the  Myth  of  Cupid  and 
Psyche  {painted,  by  Giulio 
Romano,  Penni,  and  others). 
1517. 

,1  S.  Agostino.     Fresco  of  the  Prophet  Isaiah. 

„  Santa  Maria  )  Frescoes    of    the    Sibyls    and 

della  Pace,  j      Angels  {partly). 
St.Peter6burg.//e;m!(njc.  St.  George  and  the  Dragon. 
1506. 
,,  ,,  Madonna  Conestabile. 

Vienna.     Imperial  Gall.     Madonna  del  Prato.     1506. 

The   most  important  coHections   of   RapliaelV 


drawings  are  in  the  UfiBzi  at  Florence  ;  in  the 
Albertina  at  Vienna ;  in  the  Louvre  and  the 
British  Museum;  at  Windsor;  Oxford;  Lille; 
Milan;  Venice;  Cologne;  Frankfort;  Chantilly,and 
Chatswortli,  and  in  the  Habich  and  Bonnat  Collec- 
tions. A  full  but  by  no  means  exhaustive  list  of 
these,  with  an  able  critical  commentary,  has  been 
published  by  Dr.  Oskar  Fischel. 

BIBLIOGRAPHY. 
'  Le  Vite  de'  piii  Ecccllenti  Pittori.'    Scritte  da  Giorgio 

Vasari  con  Nuove  annotazioni  e  comment!  di  Gaetano 

Milanesi.     Tomo  IV.     (Firenze,  1880.) 
Quatremere  de   Quincy,   '  Histoire   de   la  vie   et    des 

ouvrages  de  Raphael.'     (Paris,  1824.) 
J.  D.  Passavant, '  Raphael  d'Urbin  et  son  pere,  Giovamii 

Santi.'     (Paris,  1860.) 
R.  Duppa, '  Life  of  Raphael.'     (London,  1860.) 
H.  Grimm, '  Das  Leben  Raphaels  von  Urbino.'   (Berlin, 

1872.) 
Ditto,  '  Raphael  et  I'Antiquit^.'     (Berlin.) 

A.  Springer,  'Raffael  und   Michelangelo.'      (Leipzig, 
1883.) 

Ditto, 'R&Baels  Schule  von  Atben.'     (Vienna,  1883.) 
J.  A.  Crowe  and  G.  B.  Cavalcaselle, '  Raphael,  his  Life 

and  Works.'     (London,  1885.) 
Eugene  Miintz,  '  Raphael,  sa  vie,  son  ceuvre,  et  son 

temps.'     (Paris,   1886;    English   Edition,   1887   and 

1890.) 
Ditto,   'Les  liistoriens  et  les   critiques  de   Raphael, 

1483-1883.'     (Paris,  1883.) 
L.   Pungileoni, 'Elogio  Storico  di  Raffaello  Sanzio  da 

Urbino.'     (Urbino,  1829.) 
G.   Campori,  *  Notizie    e   documenti  per    la    vita    di 

Giovanni    Santi    e     Raffaello     Santi,    da    Urbino.' 

(Modena,  1870.) 
G.  Morelli,  '  Die  Werke  Italienischer  Meister  in  den 

Callerien    von     Miinchen,    Dresden    und    Berlin.' 

(Leipzig,  18S0.) 
Ditto,    '  Kunst-kritische    Studien    iiber    Italienische 

Malerei.'     (Leipzig,  1893.) 
Ditto,  '  Italian  Painters.'     Trans,  by   C.  J.  Ffoulkes. 

(London,  1893.) 
M.  Minghetti,  'Raffaello.'     (Bologna,  1885.) 
G.  Frizzoni, '  L'Arte  Italiana  nel  Rinascimento.'  (Milan, 

1890.) 
0.  Clement,'  Michel- Ange,  Lfenardde Vinci, Raphael.' 

(Paris,  1878.) 

B.  Berenson,  '  The   Central    Itahan   Painters   of  tho 
Renaissance.'    (London  and  New  York,  1897.) 

Julia  Cartwright.  '  Raphael,  a  Study  of  his  Life  and 

Work.'     (London,  1896.) 
H.     Strachey,    '  Raphael '    (BeU's    Great    Masters). 

(London,  1900.) 
Lady  Eastlake,  '  Five  Great  Painters.'   (London,  1883). 
A.  Woltmann  and  K.  Woernianu, '  Die  Geschichte  der 

Malerei,     Reuais.sance.'      (I-eipzig,     1888;     English 

Edition  by  S.  Colviu.) 
H.    Knackfiitis,    '  Raphael.'     (Leipzig,    1885 ;    English 

Trans.,  London,  1899.) 
A.  F.  Rio,  •  Michel-Ange  et  Raphael.'     (Paris,  1867.) 

F.  A.  Gruyer, '  Les  Vierges  de  Raphael.'  (Paris,lS69.) 
Ditto,  'Raphael,  Pcintre  de  Portraits.'  (Paris,  1880.) 
Pulszky, '  Beitrage  zu  Raphaels  Studium  der  Antike.' 

(Leipzig,  1877.) 
R.  Ffirster, '  Farnesina  Studien.'     (Rostock,  1880) 
0.  Bigot, '  Raphael  et  la  Farnesine.'     (Paris,  1884.) 
A.  Sclimarsow,  '  Raphael  und  Pinturicchio  in  Siena.' 

(Stuttgai-t,  1880.) 
O.   Lippinaun,    '  Dei    Zeichnungen    alter    Meister    zu 

Beriiu.'     (Berlin,  1882.) 

G.  Gronau, '  Aus  Raphael's  Florentiner  Tagen.'  (Berlin, 
1902.) 

O.    Fischel,    'Raphaels    Zeichnungen.'     (Strassburg, 

1898.) 
R.  Koopmann, '  Raffael  Studien.'     (1804.) 
F.  Wickhoff,  •  Die  ItaUeni.schin  Handzeichnungen  in 

der  Albertina '  (Jahrbuch  der  K.  Sammlungen  XIII.). 

(Vienna,  1892.) 
H.  Dollraayr,  '  Raffaels  Werkstiitte  '  (Jahrbuch  der  K. 

S.ammlungeu   des    Kaiserhauses  XVI.).     (Vienna, 

1895.) 

197 


A   BIOGRAPHICAL   DICTIONARY   OF 


Heinrich  Wulfflin, '  The  Art  of  the  Italian  Renaissance.' 

(London,  1903.) 
Burun  Gejiniiller,  'Eaffatllo  Sanzio   Studiato    come 

Ari-hitetto.'     (Milaii,  lUSi.) 
J.  C.  Robinson,  '  A  critical  Account  of  the  Drawings 

by   Michelangelo  and   RaffaeUo   in   the    University 

Galleries.'     (Orford,  1870.) 
Sir  W.  M.  Conway,  '  Catalogue  of  Raphael's  known 

Drawings,  Pictures,  and  Frescoes.'  (Liverpool,  1837.) 
'  Drawings  by  Old  Masters  in  the  University  Galleries, 

Oxford."  (Edited  by  Prof.  Sidney  Colviu,  1904.)  J.C. 

RAPIIOX,  (Raphun',)  Johakn,  r  <lerni,in  reli- 
gious painter,  a  native  of  Eimbeck,  who  flourished 
in  the  15th  and  16th  centuries.  There  iire  two 
pictures  known  by  him,  both  signed  with  his  name, 
and  bearing  the  dates  1499  and  1508.  Tlie  latter 
picture  is  in  the  cathedral  of  Halberstadt ;  it  con- 
sists of  a  centre  and  wings,  or  shutters.  In  the 
middle  is  represented  tlie  Crucifixion ;  on  the 
interiors  of  the  wings  tlie  Annunciation,  the 
Adoration  of  the  Sheplierds  and  Magi,  and  the 
Presentation  in  tlie  'Temple  ;  on  the  exteriors, 
figures  of  Saints.  The  composition  of  the  central 
picture  is  somewhat  overcharged  ;  and  the  heads 
are  distinguished  rather  by  energj-  and  individu- 
ality than  by  feeling.  Another  altar-piece,  also 
a  'Crucifixion,'  with  saints  on  the  wings,  said  to 
be  by  hira,  is  in  the  library  of  the  universitj'  at 
Gottingen.  M.  Hausmann  of  Hanover  possesses 
two  wings  of  a  fourtli  altar-piece.  A  picture 
executed  in  1499  for  an  altar-piece  in  the  Cister- 
cian Monastery  of  Walkenried,  was  removed  thence 
to  Prague  in  1631. 

RAPIANUS.     See  Oudexdijk. 

RAPIN,  Alkxandue,  French  painter  ;  born  1845 
at  Noroy-le-Bourg  (Haute  Saone) ;  was  a  pupil  of 
Gdrome,  Franijais,  Glcyre,  and  Lancrenon  ;  his 
landscapes  much  admired,  such  as  '  Kuisseau  & 
Nans  Lison  ;  fitang  i  Mortefontaine,'  &c.  In  1875 
he  obtained  a  tliird-chiss  medal,  and  a  second- 
class  medal  in  1877.  He  died  in  Paris,  November 
1889. 

RASCALON,  Jerome,  painter,  born  1786.  A 
pupil  of  Cic6ri  and  of  Bouton.  He  practised  in 
Paris  towards  the  middle  of  the  19tli  century, 
painting  landscape  and  genre-pictures,  and  was 
also  employed  as  scene-painter  at  the  Vaudeville 
Theatre. 

RASPAY,  PlERKE,  painter,  born  at  Avignon  in 
1748,  went  to  Paris  and  studied  under  Vernet,  but 
returned  to  his  native  place  and  was  made  director 
of  the  Scliool  of  Art.  His  works  are  to  be  found 
in  the  Museum  of  Avignon,  and  include  a  ■  View  of 
the  Pope's  Palace  at  Avignon,'  '  View  of  the  Bridge 
of  S.  Benezet,'  and  a  portrait  of  the  Abbe  Juenet, 
first  keeper  of  the  Museum  at  Avignon.  Kaspay 
died  at  Avignon  in  1825. 

RASPE,  C.  G.,  engraver,  flourished  at  Leipzig 
and  Dresden  in  the  18th  century.  His  chief  plates 
are  : 

Charles  Bonnet ;  after  Jens  Juel. 

Charles,  Count  of  iSa.'tony  ;  after  Schmidt. 

H.  P.  Stun  ;  after  Gan:. 

RASSET,  Jean.     See  Valentin. 

RASTELL,  John,  an  English  wood-engraver  of 
the  16th  century,  the  brother-in-law  of  Sir  Thomas 
More.  He  is  remembered  by  'Tlie  Pastynie  of 
the  People,  or  The  Chronicles  of  Divers  Realmes,' 
and  more  especially  of  '  The  Realme  of  England,' 
which  he  pubhshed  in  1529,  with  his  own  illus- 
trations. These  have  been  wrongly  ascribed  to 
Holbein.  The  book  was  republished  by  Dibdin  in 
1811.  Rastell  died  in  1536. 
198 


RAT,  Paul  Edm^  le,  French  etcher  and 
engraver;  born  in  Paris,  September  10,  1849; 
became  a  pupil  of  Gaucherel  and  of  Lecocii  de 
Boisbaudran,  a  master  of  drawing  who  ranked 
with  the  very  first  of  bis  fellow-artists  ;  his 
etchings  and  engravings  after  Meissonier  and 
others  brought  him  fame  ;  liis  decorations  include 
a  medal  of  the  third  class  in  1875,  a  second-class 
medal  in  1879,  and  a  gold  medal  in  1889.  He  died 
in  Paris,  December  1892. 

RATH,  Henbiette,  painter,  bom  at  Geneva, 
1772,  a  pupil  of  Isabey,  painted  portraits,  and  also 
worked  on  enamel.  She,  with  her  sister,  founded 
the  Mus(je  Rath  at  Geneva,  and  was  made  an 
honorary  member  of  the  Societe  des  Arts  in  1801. 
She  died  in  1856. 

RATHBONE,  John,  a  native  of  Cheshire,  was 
born  about  the  year  1750.  He  has  been  sometimes 
called  "The  Manchester  Wilson."  Without  the 
help  of  an  instructor  he  acquired  a  respectable 
talent  as  a  landscape  painter,  and  his  pictures  were 
frequently  embellished  with  figures  by  Morland, 
Ibhetson,  and  other  contemporary  artists.  His 
life,  like  those  of  the  two  friends  just  named,  was 
irregular,  and  most  of  liis  pictures  pass  under 
other  names.  He  exhibited  at  the  Academy  from 
1785  till  his  death,  which  took  place  in  1807.  The 
following  are  fair  examples  of  his  art : 

Liverpool.       li'alker  Gall.     A  Landscape. 

Salford.  Feel  I'ark )  t,       t      j 

,,-  ;-  Two  Landscapes. 

Museum. }  * 

RATTI,  Carlo  Giuseppe,  the  son  of  Giovanni 
Ratti,  bom  at  Genoa  in  1735,  studied  at  first  under 
his  father,  and  then  was  taken  under  the  patronage 
of  Rafael  Mengs,  with  whom  he  lived  as  a  friend. 
He  did  not  devote  himself  so  much  to  paiuting  .as 
to  writing  ;  and  among  his  works  are,  '  The  Lives 
of  the  Painters  of  Genoa,'  'A  Life  of  Rafael 
Mengs,'  and  'Notices  of  Correggio.'  He  was 
knighted  by  Pope  Pius  VI.     He  died  in  1795. 

RATTI,  Giovanni  Agostino,  painter,  bom  at 
Savona  in  1699,  went  early  in  life  to  Rome,  whera 
he  frequented  the  school  of  Benedetto  Luti.  He 
iiccasionally  painted  historical  subjects,  of  which 
the  most  deserving  of  notice  are  his  pictures  of 
the  life  of  St.  John  the  Baptist,  in  the  church  of  San 
( fiovanni,  at  Savona,  of  which  the  '  Decollation  '  is 
perhaps  the  best.  But  his  principal  merit  was  in 
painting  scenes  for  the  theatre,  and  caricatures,  in 
which  he  discovered  great  ingenuity  and  invention. 
He  died  at  Genoa  in  1775.  He  engraved  a  few  plates. 

RATTRAY',  Alexander  Wellwood,  the  son  of 
a  Glasgow  minister,  was  born  at  St.  Andrews  in 
1849.  Educated  in  Glasgow  at  the  High  School 
and  the  University,  he  got  his  first  professional 
tr,aining  at  the  Glasgow  School  of  Arf  under 
Robert  Greenlees.  Afterwards  he  went  to  Paris, 
where  he  studied  under  the  landscapists  Damoye 
and  D'Aubigny.  He  settled  at  Glasgow  about 
1880  as  a  landscape  painter,  and  thereafter  has  been 
a  pretty  constant  exhibitor  at  Glasgow,  and  at  the 
Royal  Scottish  Academy  and  Royal  Academy 
exhibitions.  In  'The  Gate  of  the  Highlands,'  his 
first  important  picture,  exhibited  in  the  Glasgow 
Institute,  he  struck  the  note  in  which  the  rest  of 
his  landscape  work  (fresh,  simple  and  pleasing 
studies  of  nature)  was  conceived.  In  the  Paris 
Exhibition  of  1889  his  'Salmon  Stream'  and 
'  Ferry,  Loch  Ranza,'  were  exhibited,  and  received 
an  honourable  mention.  He  was  elected  an  As- 
sociate of  the  Royal  Scottish  Academy  in  1896, 
and  died  in  1902.  j.  h.  W.  L. 


PAINTERS  AND  ENGRAVERS. 


RAUCH,  Ernst,  engraver,  born  at  Darmstadt 
in  1797,  studied  under  Portmann,  and  then  after 
working  for  some  time  in  Switzerland,  went  in 
1822  to  Paris,  where  he  worked  under  Hersent.  In 
time  he  returned  to  Dannstadt,  and  became  court 
engraver.  He  worked  for  a  time  with  his  brother 
Karl  (q.  v.),  and  with  hira  completed  most  of  the 
steel  engravings  in  a  collection  of  original  views 
of  German  court  cities  and  of  tlieir  cathedrals 
(the  latter  after  Ludwig  Lange),  and  some  of  the 
plates  for  Salzenberg's  '  Altchristliche  Baudenk- 
male  von  Konstantiuopel.'  The  chief  works  he 
did  alone  are : 

A  Portrait  of  Dr.  Liebig. 

A  Peasant  Family  at  Prayers ;  after  K.  Schom. 

RAUCH,  Ferdinand,  painter,  practising  in 
Vienna  in  the  first  half  of  the  19th  century.  He 
was  a  brother  of  the  artists  Johann  Joseph  and 
Johann  Neporauk  Raucb,  and  painted  animals. 

RAUCH,  JouANN  Joseph,  painter  and  etcher, 
practised  in  Vienna,  with  his  brothers  Ferdinand 
and  Johann  Neponmk,  in  the  first  half  of  the 
present  century.  He  was  educated  at  the  Vienna 
Academy,  and  afterwards  travelled  much  in  Ger- 
many and  Russia.  He  painted  landscapes  and 
animals,  both  in  oil  and  water-colours,  and  also 
etched  similar  subjects. 

RAUCH,  Johann  Nepomuc,  a  German  landscape 
and  animal  painter,  bom  in  1804  at  Vienna.  In 
the  Vienna  Gallery  there  is  by  him  'A  Bull 
pursuing  a  Cow '  (1832).     He  died  in  1847. 

RAUCH,  Karl,  brother  of  Ernst  Karl,  born  at 
Darmstadt  in  1804,  a  pupil  of  his  brother's  and 
of  Moller,  went  to  London,  and  became  a  Fellow 
of  the  Society  of  British  Architects.  The  two 
brothers  worked  together  and  engraved  landscapes 
in  Germany  from  their  own  drawings  ;  the  prin- 
cipal cathedrals,  after  Ludwig  Lange  ;  and  a  num- 
ber of  works  after  Salzeuberg.  Karl  engraved  alone 
the  principal  door  of  the  Cathedral  of  Freiburg. 

RAUFFER,  Karl,  a  miniature  painter,  born  at 
Ratisbon  in  1727,  was  secretary  to  the  Elector 
Maximilian  III.  of  Bavaria.  He  died  at  Munich 
in  1802. 

RAUFFLT,  — ,  a  Swiss  painter,  who  studied 
in  France  towards  the  end  of  the  17tli  century, 
and  who  in  1684  gained  a  prize  from  the  Royal 
Academy  of  Painting  with  an '  Enoch  first  invoking 
the  name  of  the  Lord.' 

RAUFT,  Franqois  Louis,  born  at  Lucerne  in 
1730,  was  first  a  pupil  of  his  father,  and  then 
studied  in  Paris  and  Rome.  After  a  visit  to  Hol- 
land and  Germany,  he  settled  in  Hamburg.  His 
chief  work  was  the  decoration  of  some  ceilings  in 
the  Palace  of  Hesse  Cassel.  He  died  at  the  Hague 
in  1798. 

RAUSCHER,  Georg  Friedrich,  landscape 
painter,  was  first  a  pupil  of  his  father,  August 
Friedrich,  and  in  1813  studied  at  Munich  under  G. 
Dillis  and  W.  Kobell.  Was  appointed  Court 
painter  to  the  Duke  of  Coburg,  and  Professor  at 
the  School  of  Art.  He  made  many  drawings 
in  sepia  and  water-colour,  besides  his  landscapes 
in  oil. 

RAUWAERT,  Jakob,  painter,  a  pupil  of  Martin 
Heemskerk.  He  appears  to  have  been  a  man  of 
property,  and  to  have  practised  art  for  pleasure 
rather  than  as  a  profession.  He  flourished  at 
Amsterdam  about  the  middle  of  the  16th  century. 
He  had  a  fine  collection  of  pictures,  and  commis- 
sioned Heemskerk  to  oaint  him  one  representing 


the  •  Four  Ends  of  Man,'  for  which  he  paid  a 
large  sum.  When  in  1572  Haarlem  was  besieged 
by  the  Spaniards,  Rauwaert  protected  his  old 
master,  and  received  him  into  his  house  at  Am- 
sterdam. 

RAVANALS,  JnAN  Bactista,  engraver,  bom  at 
Valencia  in  1678,  studied  under  Evaristo  Munoz. 
His  principal  engravings,  which  displayed  more 
skill  in  handling  of  the  graver  than  in  drawing, 
were  :  an  equestrian  portrait  of  Philip  V.,  and  a 
genealogical  tree  of  the  Royal  family  ;  a  portrait 
of  Father  Gregorio  Ridaura,  a  print  of  San  Rod- 
rigo,  a  second  portrait  of  Philip  V.,  some  plates  for 
the  first  edition  of  a  mathematical  work  by  Tosca, 
the  frontispiece  for  a  book  called  'Centro  de  la  F6 
Ortodoxa,'  which  represents  the  apparition  of  Our 
Lady  '  del  Pilar '  to  St.  Francis  and  some  of  his 
disciples,  and  illustrations  for  another  book  of 
Devotion,  in  which  St.  Thomas  Aquinas  and  other 
saints  figure. 

RAVEAU,  (Madame,)  Emilie,  painter,  bora  in 
France  1785.  A  pupil  of  her  father,  Michael 
Honors  Bonnieu.  She  painted  historical  and 
mythological  subjects.     Died  after  1830. 

RAVELLI,  Pieter  Antonu,  painter,  bom  in 
1788.  Practised  at  Amsterdam,  and  was  first  a 
pupil  of  B.  Barbiers  Pietersz,  and  aftersvards  of 
C.  H.  Hodges.  He  finally  devoted  himself  chiefly 
to  portrait-painting  in  miniature  and  in  oils,  but 
also  painted  genre-pictures. 

RAVEN,  John  S.,  an  Enghsh  landscape  painter, 
born  in  Sufi'olk  in  1829.  He  was  the  son  of 
the  Rev.  Thomas  Raven,  a  clergyman  of  the 
Church  of  England,  who  had  considerable  talent 
as  an  amateur  artist,  as  may  be  seen  from  six 
water-colour  drawings  by  him  in  the  South  Ken- 
sington Museum.  Joh-n  Raven  was,  however, 
almost  entirely  self-taught.  He  exhibited  at  the 
Academy  as  early  as  1845,  and  his  works  also 
appeared  at  the  British  Institution.  He  at  first 
fell  under  the  influence  of  the  Norwich  school, 
and  of  Constable,  but  his  maturer  works,  which 
show  much  poetic  feeling,  bear  traces  of  pre- 
Raphaelitism.  It  was  his  custom  to  prepare  elabo- 
rate cartoons  for  bis  pictures.  He  was  drowned 
while  bathing  at  Harlech  in  1877.  A  collection 
of  his  works  was  exhibited  at  the  BurUngton  Club 
in  1878.     Amongst  his  chief  pictures  were  : 

Salrasey  Church  (bis  first  picture,  painted  when  he  was 
sixteen  years  old). 

The  Forest  of  Fontainebleau.    1853. 

A  Voice  of  Joy  and  Gladness.     1860. 

The  Skirts  of  a  Mountain  Farm.     1862. 

Midsummer  iloonlight.     1866. 

The  Crops  Green.     1867. 

The  Shadow  of  SnowJen.     1867. 

A  Hampshire  Homestead.     1872. 

The  Hearens  declare  the  Glory  of  God.     1ST6. 

Barff   and   Lord's  Seat  from  the  Slopes  of   Skiddaw. 
1S77. 

RAVENART,  Hennequin  de,  painter,  worked  at 
Bruges  about  the  middle  of  the  15tli  century. 

RAVENET,  Simon  Fr.\n<;ois,  a  French  en- 
graver, born  in  Paris  in  1706,  was  a  pupil  of 
Lebas.  After  practising  the  art  with  considerable 
reputation  in  his  native  country,  he  came  to  Eng- 
land, and  settled  in  London  about  the  year  1750. 
He  was  employed  for  a  time  at  the  Battersea 
Enamel  Works,  and  gained  a  premium  from  the 
Society  of  Arts  in  1761.  In  1766  he  was  a  mem- 
ber of  the  Incorporated  Society  of  Artists.  He 
is  said  to  have  been  imported  by  Hogarth,  who 
employed   him   upon   the  'Marriage   a   la   Made. 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  fourth  and  fifth  plates  in  that  series  are  by 
him.  He  was  also  employed  by  Alderman  Boy- 
dell,  for  whom,  perhaps,  he  did  his  best  work. 
He  gave  both  a  fine  suggestion  of  colour  and 
great  brilliancy  to  his  engravings,  and  finished 
them  with  precision.  Ravenet  died  in  London  in 
1774.     Among  his  plates  we  may  name : 

PORTRAITS. 
George  I. 

George  II. ;  after  Mercier. 
Lord  Camden  ;  after  Reynolds. 
Alexander  Pope,  Poet. 
.Tames  Thomson,  Poet. 
Dand  Hume,  Historian. 
Mr.  Garrick  and  Miss  Bellamy  in  '  Borneo  and  Juliet ' ; 

after  B.   Wilson. 
Hiroself ;   after  Zoffany  (lettered  Grave  par  lui  mime 

iTapres  un  tableau  peint  par  son  ami  Zoffany). 

VARIOUS   SnBJECTS. 
The  Emblem  of  Human   Life ;  after  Titian ;  Crozat 

Oollectiou. 
Venus  and  Adonis ;  a  ter  P.  Veronese ;  the  same. 
The  Adoration  of  the  Shepherds ;  after  D.  Feti ;  the 

same. 
Painting  and  Design  ;  after  Guide. 
The  Virgin,  with  the  Infant  Jesus  sleeping ;  after  the 

same. 
Charity ;  after  Carlo  Cignani. 
The  Arcadian  Shepherds  ;  after  iV.  Poussin. 
Sophonisba  taking  Poison  ;  after  L.  Giordano. 
The  Death  of  Seneca  ;  after  the  same. 
Tobit  Anointing  his  Father's  Eyes  ;  after  Ag.  Caraeci. 
The  Lord  of  the  Vineyard ;  after  Rembrandt. 
The  Prodigal  Son  ;  after  Sal.  Rosa. 
Phryne  tempting  Xenocrates ;  after  the  same. 
The  Return  of  the  Prodigal  Son  ;  after  Guercino. 
Lucretia  deploring  her  Fate  ;  after  Cazali. 
Gunhiida,  Empress  of  Germany,  acquitted  of  a  charge 

of  adultery  ;  after  the  same. 

RAVENET,  Simon,  the  son  of  Simon  Fran9oi3 
Ravenet,  was  born  in  London  about  the  year  1755 
(according  to  others  in  1749),  and  was  instructed 
by  his  father  in  the  art  of  engraving.  He  after- 
wards visited  Paris,  where  he  studied  painting 
for  a  short  time  under  Francois  Boucher.  On 
leaving  that  master  he  went  to  Italy,  and  settled 
at  Parma,  where  he  undertook  to  engrave  and 
)iublish  plates  from  all  the  works  of  Correggio  in 
that  city.  This  arduous  undertaking  occupied 
him  from  1779  till  1785,  in  which  time  he 
engraved  the  following  prints  after  the  Parmese 
master  : 

A  set  of  twelve  plates  from  the  Cupola  of  the  Cathedral. 

A  set  of  twelve  plates  from  the  Cupola  of  S.  Giovanni. 

The  Madonna  della  Scodella. 

The  Madonna  della  Scala. 

La  Santissima  Nunziata. 

The  Madonna  Incoronata. 

Christ  bearing  his  Cross. 

The  Descent  from  the  Cross. 

The  '  St.  Jerome.' 

The  Martyrdom  of  St.  Placidus. 

For  these  labours  he  was  made  '  Cavaliere.'  We 
have  also  by  him  the  two  following  prints  : 

Jupiter  and  Antiope  ;  after  Rubens. 
Theseus  lifting  the  Stone ;  after  N.  Poussin. 

Ravenet  is  believed  to  have  been  still  alive  in 
1813. 

RAVENNA,  Marco  da.    See  Dente,  Marco. 

RAVENZWAAY,  Jan  van,  the  elder,  a  Dutch 
landscape  and  animal  painter,  bom  at  Hilversum 
the  29th  November,  1789.  He  studied  under  P. 
G.  van  Os,  and  died  the  2nd  March  1869.  Among 
his  works  are : 

200 


Amsterdam.      Museum.    A  Cow-Stable. 
Haarlem.  Pavilion.     Landscape  with  Animals. 

„  ,,  Interior  of  a  Stable. 

RAVENZWAAY,  Jan  van,  the  younger,  the 
nephew  of  Jan  Ravenzwaay  the  elder,  and  his  pupil, 
born  at  Hilversum,  in  Holland,  1810.  He  painted 
landscape  in  the  manner  of  his  uncle,  who  was  his 
master.     He  died  December  3,  1849. 

RAVESTEYN,  Anthonie  van,  the  elder,  glass- 
painter,  ancestor  of  the  family  of  Ravesteyn  of 
the  Hague.  Lived  in  1593  at  Culemborch,  in 
1602  at  the  Hague.  Father  of  Jan  van  Ravesteyn 
and  Anthonie  van  Ravesteyn  the  younger. 

Literature. ■  '  Oud  Holland,'  X.  (1892),  p.  41. 

RAVESTEYN,  Anthonie  van,  the  younger, 
born  in  1581 ;  admitted  as  apprentice  to  the  Guild 
of  St.  Luke  at  the  Hague,  February  17, 1598;  free 
master,  October  14,  1614;  Dean,  1629  to  1632; 
left  the  Guild  in  1656  and  joined  the  Pictura 
Brotherhood  ;  died  January  31,  1669. 

Copenhagen.       Museum.     Portrait  of  Stnlpaert  Van  dcr 

Wiele.     1627  (signed). 
Gotha,  Museum.     Portrait    of    Lamoraal    van 

LymminghenVau  den  Berge. 

ie23  (signed). 

Literature:  Brediiis  en  Moes, '  Descliildersfamilie 
Ravesteyn,"  in  'Oud  Holland,'  X.,  1892. 

RAVESTEYN,  Arnold  van,  son  of  Anthonie  tlie 
younger,  master  painter  in  1646  at  Delft;  removed 
to  the  Hague,  and  a  member  of  the  Guild  of  St. 
Luke  from  1649  to  1656,  when  he  left  it  and 
joined  the  Pictura  Brotherhood,  of  which  he  was 
Dean  from  1661  to  1663.  He  died  October  7, 
1690.  William  II.  of  Orange  paid  him  500  florins 
tor  apicture'of  Diana  andCalisto.  Stephen  Richards, 
dealer,  London,  had  in  1891  a  portrait  by  him  of 
Cornelius  Bosch,  advocate  at  the  Hague,  signed 
and  dated  1660. 

RAVESTEYN,  Dirck  de  Qdade  van,  Dutch 
painter,  perhaps  the  great-uncle  of  Hendrick  van 
Ravesteyn.  He  was  painter  to  the  Emperor 
Rudolph  II.  of  Germany,  at  Vienna.  Before  1612 
he  seems  to  have  come  back  from  Vienna  to 
Holland.  In  the  cloister  of  Strahow  at  Prague  is 
his  only  known  picture,  representing  an  allegorical 
subject,  signed  and  dated  1603.  It  is  very  raanner- 
istic,  and  resembles  the  manner  of  Spranger  or 
Hans  van  Aken. 

Literature:  'Oud  Holland,'  IX.  (1891),  pp.  208- 
213. 

RAVESTEYN,  Harmen  van,  is  mentioned  in 
October  1649  at  the  Hague. 

See  'Oud  Holland,'  IX.  (1891),  p.  217. 

RAVESTEYN,  Hendrick  van,  married  at  Zalt- 
Bommel,  July  19,  1659,  and  died  there  young, 
about  1670.     No  pictures  by  his  hand  are  known. 

Literatiire :  Van  Gool,  '  Nieuwe  Schouburg,'  II., 
p.  445;  'Oud  Holland,'  IX.  (1891),  p.  215. 

RAVESTEYN,  Hubert  van,  painter  of  interiors 
and  cattle,  born  at  Dordrecht  about  1640,  died 
there  between  1683  and  1691.  Married  in  1669. 
His  pictures,  signed  with  the  monogram  H.  R., 
are  painted  in  a  brownish  tone  in  the  manner  of 
Comelis  Saftleven,  M.  Sorgh,  and  others.  In  his 
early  pictures  (as  for  example  the  still-life  of  1664 
in  the  Museum  at  Amsterdam)  the  painting  is 
more  carefully  coloured. 

Amsterdam.         Museum.     Still-life.     1664. 
Rotterdam.  Museum.     Interior,  with  peasants. 

Literature:  'Oud  Holland,'  IX.  (1891),  pp.  37, 
38  ;  *.  p.  217  ;  ib.  XIX.  (1901),  pp.  121-124. 


PAINTERS  AND  ENGRAVERS. 


RAVESTEYN,  Jan  van,  son  of  Antlionie  the 
elder,  born  about  1572,  pupil  of  Michael  Mierevelt, 
was  at  Delft  in  October  1597  ;  settled  at  the 
Hague  and  joined  the  Guild  of  St.  Luke.  On 
February  17,  1598,  married  Anne  van  Berendrecht, 
who  died  in  March  1640.  In  1656  he  and  many 
others  left  the  Guild  and  became  the  first  members 
of  the  Pictura  Brotherhood.  His  daughter  married 
in  1640  the  portrait  painter  Hanneman. 
TheH.^gue.  i»/awrirs/i«!>, )  Officers  (not  Colonels).  1611- 
23  (not  24).  f     1024. 

^'"*!.wfe«m:)s<'''utters.     1616  (.,>«.rf). 

„  „  Kegiuten.     1618. 

„  „  Keception  by  the  Magistrates 

of  the  Officers  of  the 
Schutters.  1618  {his  master- 
piece). 

„  „  Magistrates    deliberating   on 

the  reconstruction  of  Sebas- 
tians Doelen.     1636. 

There  is  a  portrait  of  Jan  van  Raveste>Ti  in  the 
possession  of  the  Duke  of  Buccleuch.  (None  of 
the  other  pictures  attributed  to  John  in  the  previous 
edition  of  Bryan  can  be  attributed  with  certainty 
to  any  one  of  the  Ravesteyns.) 

RAVESTEYN,  Nicolaes  van,  the  elder,  born  at 
Amsterdam  1613,  where  he  died  1693.  His 
pictures  are  very  rare.  A  battle-piece  of  1641,  in 
the  collection  of  Werner  Dahl  at  Diisseldorf,  and 
a  portrait  of  Prince  Frederik  Hendrik  on  horse- 
back, in  the  Museum  Ariana  at  Geneva,  are  painted 
in  the  manner  of  Palamedes  Palamedesz. 

Literature:  '  Oud  Holland,' IX.  (1891),  pp.  213- 
214;  ii.  XI.X.  (1901),  p.  126. 

RAVESTEYN,  Nicolaes  van,  the  younger,  son 
of  Hendrick,  bom  1661  at  Zalt-Bommel  in  Holland, 
died  there  in  1750,  89  years  old.  Perhaps  pupil  of 
Gerard  Hoet,  afterwards  of  Willem  Doudijns  and 
Jan  de  Baen  at  the  Hague.  He  was  a  well-known 
portrait  painter  during  his  life,  but  painted  also 
historical  and  allegorical  subjects.  One  of  those 
allegories  is  still  to  be  seen  in  the  town-hall  of  his 
native  town.  His  portraits  are  under  a  strong 
influence  of  de  Baen,  and  are  only  found  in  some 
Dutch  private  collections. 

Literature :  Van  Gool,  'Nieuwe  Schouburg,'  II., 
446;  'Oud  Holland,'  IX.  (1891),  pp.  215-217; 
ib.  XIX.  (1901),  p.  216. 

RAVESTEYN,  Regner,  a  landscape  painter  of 
little  note,  who  practised  at  Amsterdam  in  the 
first  fifty  years  of  the  18th  century.  (Only 
mentioned  by  Nagler.) 

N.B. — The  Ravesteyn  articles  are  the  work  of 
Dr.  Martin  of  the  Hague  and  Mr.  W.  H.  J.  Weale. 

RAVIGNANO.     See  Dente. 

RAWLE,  Samuel,  an  English  engraver  and 
draughtsman,  who  practised  in  London  about  the 
beginning  of  the  19th  century.  There  is  an  en- 
graving from  a  drawing  by  him  of  the  Middle 
Temple  Hall,  in  the  '  Gentleman's  Magazine '  for 
1719.  Landscapes  by  him  appeared  at  the  Academy 
in  1801  and  1806.  Specimens  of  his  engraving 
are  to  be  found  in  Murphy's  '  Arabian  Antiquities 
of  Spain '  (1806),  and  two  of  his  water-colour 
drawings  are  in  the  Kensington  Museum. 

RAWLINS,  — ,  an  English  engraver  of  portraits 
and  frontispieces  for  books,  who  flourished  about 
the  year  1760. 

RAWLINSON,  James,  an  English  portrait 
painter,  born  in  1769.  He  was  a  native  of  Derby- 
shire, and  studied  under  Komney.  He  only  once, 
in  1799,  exhibited  at  the  Academy,  a  picture  of 


an  old  woman  knitting.  His  portrait  of  Erasmus 
Darwin  has  been  well  engraved  by  Heath.  Raw- 
linson  died  in  1848. 

RAXIS,  Pedro,  painter,  was  living  and  working 
in  Grenada  with  much  credit  about  the  end  of  the 
16th  century.  It  is  supposed  from  his  style  that 
he  studied  in  Italy.  He  was  a  good  draughtsman, 
and  displayed  great  delicacy  in  grutteschi,  on 
which  he  was  much  employed.  According  to  a 
tradition  noted  by  Bermudez,  Raxis  had  two 
brothers  who  were  also  painters,  but  were  inferior 
to  him  in  ability.     Chief  works  : 

Grenada.        S.  Geronimo.    Saints  above  the  High  Altar. 
<)  Sacrommite.     Immaculate  Conception. 

„         Carmen  Bescaho.     Saints  (in  the  Cloister). 

RAYMOND,  Pierre,  (Reymond,  Rexmo.vt,)  one 
of  the  most  famous  of  the  Limoges  enamellers  of 
the  16th  century.  His  activity  extended  from 
1534  to  1582.  In  1567  he  was  mayor  of  Limoges. 
He  and  his  contemporaries,  Jean  and  Martial 
Raymond,  were  the  chief  rivals  of  the  Penicauds. 
Good  specimens  of  his  work  are  to  be  found  in  the 
Basilewsky  collection,  now  at  St.  Petersburg,  in 
the  Louvre,  at  Berlin,  and  in  the  most  famous 
private  collections,  such  as  those  of  the  Rothschild 
family  and  Mr.  Spitzer. 

RAYNER,  Samuel.  It  is  not  known  where  or 
when  this  artist  was  born,  nor  is  anything  of  his 
early  history  known.  His  name  tiist  appears  in 
the  Royal  Academy  catalogues  of  1821,  and  from 
that  time  down  to  1872  is  of  frequent  occurrence 
both  in  the  Exhibitions  of  the  Academy  and  in  those 
of  various  water-colour  societies.  Most  of  his 
works  were  in  water-colours,  and  as  a  rule  they 
represented  church  abbeys,  ruins,  and  old  houses, 
generally  interior  views,  but  in  some  cases  the 
exteriors  also  were  represented.  Some  of  his 
drawings  were  engraved,  and  five,  if  not  six,  ap- 
peared in  '  Britton's  Cathedral  Antiquities.'  For 
a  few  years  he  was  a  member  of  the  Society 
of  Painters  in  Water-Colours,  but  having  been 
charged  with  fraud,  was  expelled  from  the  Society 
in  1851.  He  had  five  daughters,  all  of  whom 
were  artists.  He  died  at  Brighton,  it  is  believed, 
in  1874. 

RAZALI,  Sebastiano,  a  Bolognese  painter  and 
scholar  of  the  Carracci.  There  is  a  '  St.  Benedict 
among  Thorns '  by  him  in  San  Michele  Bosco, 
Bologna. 

READ,  Catherine,  a  painter  of  portraits,  both 
in  oil  and  in  crayons,  practised  in  London  in 
the  early  ]iart  of  George  III.'s  reign.  About  the 
year  1770  she  went  to  the  East  Indies,  where  she 
resided  a  few  j'ears.  On  her  return  to  England  she 
continued  to  exercise  her  talent  with  respectable 
success  until  her  death,  which  happened  about  the 
year  1780.  There  are  several  mezzotints  after  her 
portraits.  She  painted  a  portrait  of  Queen  Charlotte, 
and  a  group  of  Princes  George  and  Frederick. 

READ,  David  Charles,  was  born  at  Salisbury 
in  1790,  and  became  a  teacher  of  drawing  in  his 
native  town.  He  had  some  repute  as  a  painter 
in  oils,  and  exhibited  an  oil-painting,  '  Boys  and 
Sheep,'  at  the  Royal  Academy  in  1823,  and  be- 
tween this  date  and  1840  showed  seven  pictures 
at  tlie  British  Institution  and  six  at  Suffolk  Street 
As  an  etcher  he  was  considerably  in  advance  of 
his  time,  and  his  work,  though  in  the  main  a 
close  imitation  of  Rembrandt,  often  shows  much 
originality.  In  1828  he  published  at  Salisbury  a 
series  of  his  etchings,  followed  by  another  series 

201 


A  BIOGRAPHICAL   DICTIONARY  OF 


of  fourteen  plates  in  1832.  In  the  latter  year  he 
published  from  The  Close,  Salisbury,  a  '  Catalogue 
of  Etchings,  after  liis  own  designs,  by  D.  C.  Read,' 
containing  descriptions  and  prices  of  the  hundred 
and  nine  plates  he  had  then  issued.  The  book 
also  contains  complimentary  letters  from  his  friend 
Goethe,  and  otlier  persons  of  distinction.  In  1845 
he  again  publislied  at  Salisbury  a  series  of  twenty- 
three  etchings  with  the  title,  'A  Series  of  Etchings 
from  Nature,  designed  to  illustrate  a  few  of  the 
leading  features  of  English  Scenery.'  He  died  at 
Kensington  on  May  1^5,  1861.  jj  jj 

READ,  RicHARii,  an  English  engraver  m  mez- 
zotint and  in  stipple,  wlio  flourished  about  the  yi>ar 
1780.  Ho  was  horn  about  1745,  became  a  pupil 
of  Caldwall,  and  was  premiated  by  the  Society  of 
Arts  in  1771.  Among  other  prints  by  him  we  have 
tlie  following : 

Mcses  saved  from  the  Nile  ;  after  Le  Siimr. 
A  Portrait  of  a  Dutch  Laily  :  nftcr  Semhrandt. 
Mary,  Queen  of  Scots,  resigniug  her  crown  in  favour  of 
her  Son  ;  after  G.  Hamilton. 

READ,  SA5IUEL,  was  born  at  Needham  Market, 
near  Ipswich,  about  1816.  As  a  boy  he  was  placed 
in  the  office  of  a  lawyer,  but  showed  so  decided  an 
inclination  for  art,  that  he  was  transferred  to  the 
office  of  an  architect.  In  1841  became  to  London, 
and  drew  on  the  wood  with  Mr.  Wliymper,  which 
brought  him  into  connection  with  the  '  Illustrated 
London  News,'  for  which  he  worked  for  more  than 
forty  years.  He  was  the  first  special  artist  ever 
sent  abroad  by  a  newspaper,  going  in  1853  to  Con- 
stantinople, just  before  the  outbreak  of  the  Crimean 
War.  In  1857  he  was  elected  an  associate,  and  in 
1880  a  full  member  of  the  Old  Water-Colour  Society. 
He  made  many  effective  drawings  of  interiors  and 
exteriors  of  churches  and  cathedrals.  He  died  at 
Sidmouth  on  May  6,  1883.     Works  : 

The  Moated  Grange.     Ifiouth  Kensiiuitun.) 

The  Corridor,  Brewer's  Hall,  Antwerp.    (The  same.) 

READ,  Thomas  Bucfia.n'a.v,  painter,  born  in 
Chester  county,  Pennsylvania,  in  1822,  went  in 
1839  to  Cincinnati,  and  was  first  an  architect  and 
then  a  painter.  In  1841  ho  worked  iu  New  York, 
and  then  in  Boston  and  Philadelphia,  and  went  in 
1H50  to  England  and  Italy,  making  a  prolonged 
stay  in  Florence,  where  he  painted  fancy  pictures, 
such  as  'The  Lost  Pleiad,'  'The  Water  Sprite,' 
'The  Star  of  Bethlehem.'  He  also  painted  por- 
traits, among  which  were  those  of  George  Pea- 
body  and  of  Longfellow's  children.  In  1848  he 
published  a  volume  of '  Songs  and  Ballads,'  and  in 
18.50  '  Idylls,'  '  Silvia  the  last  Shepherdess,'  and 
'  Sheridan's  Ride,'  illustrated  by  himself.  He  died 
at  New  York  in  1872. 

READER,  William,  portrait  painter,  born  at 
Maidstone,  was  the  son  of  a  clergyman,  and  prac- 
tised in  the  17th  century.  There  is  a  portrait  by 
him  of  Dr.  Blow  the  musician  ;  it  is  engraved. 
Reader  died  in  London,  a  pensioner  of  the  Charter 
House. 

READING,  BuBNET,  an  English  engraver,  born 
at  Colchester  about  the  middle  of  the  18th  century. 
He  held  the  somewhat  incongruous  positions  of 
riding  and  drawing-master  to  Lord  Pomfret.  Hi> 
worked  in  the  dot  manner,  and  appears  to  have 
practised  in  London  about  1770-90.  Amongst  his 
plates  are: 

Lavinia  and  her  mother ;  after  fF.  R.  B'rgg. 
Charlotte  at  the  tomb  of  SVerther. 
Portrait  of  himself  ;  after  a  drawing  by  himself. 
202 


READING,  Sarah,  probably  a  relative  of  the 
last  named,  was  at  work  at  the  same  time  and  in 
the  same  fashion.  An  oval  of  '  Olivia  and  Sophia ' 
by  her  has  been  preserved. 

READY,  William  Jamf.s  Durant,  an  English 
marine  painter,  born  in  London  in  1823.  The 
son  of  a  Custom  House  clerk,  he  was  entirely 
self-taught,  and  worked  directly  from  nature.  Of 
a  retiring  and  timid  disposition,  he  only  exhibited 
once  at  the  Royal  Academy  ;  and  though  his  works 
.showed  marked  ability,  he  never  obtained  an  ex- 
tended reputation.  He  paid  a  visit  of  some  years' 
duration  to  America,  and  on  his  return  resumed  his 
former  retired  mode  of  life.  Nearly  all  his  pictures 
were  sold  to  one  dealer.  They  were  both  in  oil 
and  water-colour,  and  in  either  case  were  nearly 
always  finished  on  the  spot.  David  Roberts  was 
his  intimate  friend.     He  died  at  Brighton  in  1873. 

REALFONSO,  Tommaso,  an  Italian  painter  of 
the  18lh  century,  one  of  the  pupils  of  A.  Belvedere. 
He  occasionally  painted  landscapes,  but  his  principal 
productions  were  flower  and  fruit  pieces,  and  studies 
of  still-life. 

REATTU,  Jacques,  a  French  historical  painter, 
born  at  Aries  in  17(50.  He  studied  under  Regnault, 
and  obtained  the  grand  prix  in  1791,  which  enabled 
him  to  complete  his  studies  at  Rome.  The  theatre 
at  Marseilles  was  decorated  by  him,  and  at  Beau- 
vais  is  his  '  History  of  St.  Paul.'  He  attained  some 
reputation  in  his  own  country,  and  was  elected  a 
corresponding  member  of  the  Institute.  He  died 
in  1833  at  Aries. 

REBECCA,  BlAGio,  an  ornamentist  and  his- 
torical painter  of  Italian  descent,  who  lived  in 
England.  He  was  born  in  1735,  and  was  admitted 
into  the  schools  of  the  Academy  in  1769,  being 
elected  an  Associate  in  1771.  Ho  was  chiefly 
employed  as  a  decorative  artist,  working  as  such 
on  the  rooms  of  tlie  Academy  at  Somerset  House, 
at  Windsor  Castle  (by  which  he  was  brought  to 
the  notice  of  the  Royal  Family),  at  Audley  End,  and 
at  Harewood  House.    He  died  in  London  in  1808. 

REBELLj.Jo.sEi'H, German  painter;  bom  January 
11,  1787,  at  Vienna.  He  was  a  pupil  of  Wutky  at 
the  Vienna  Academy.  In  1809  he  travelled  through 
Switzerland  and  proceeded  thence  to  Milan,  where 
for  two  years  he  resided  at  the  Court  of  Eug5ne 
Beanharnais.  Later  on  he  went  to  Rome,  and 
from  1811  to  1815  he  was  at  the  Court  of  Murat  at 
Naples.  Was  ajipointed  Director  of  the  Belvedere 
Gallery  at  Vienna.  He  painted  Italian  landscapes, 
three  examples  of  his  work  being  in  the  Vienna 
Museum.  Others  are  in  the  Munich  Pinakothek, 
the  Berlin  Gallery,  and  the  Parma  Gallery.  He 
died  at  Dresden,  December  18,  1828. 

REBELLO,  Jo.SE  d'Avellar,  an  historical 
painter  of  little  note,  who  flourished  in  Spain 
about  the  middle  of  the  17th  century. 

REBONET-ALBOY,  Alfred  Marie,  French 
painter;  born  in  Paris,  November  30,  1841  ;  was 
a  pupil  of  Gleyre  and  of  Gerome  :  painted  genre, 
such  as  '  La  jeune  Fille  au  Papillon,  and  '  A  I'atelier 
du  Cousin ' ;  also  portraits.  He  died  in  April 
1875. 

REBGUL,  Tn^RiiSE.     See  Viek. 

RECCHI,  Giovanni  Battista,  painter,  a  pupil 
of  Mazzuchelli,  and  brother  of  Giov.  Paolo  Recclii. 
He  became  well  known  at  Turin,  where  he  was 
■working  about  1660.  He  painted  historical  sub- 
jects, and  was  assisted  in  his  studio  by  his  nephew- 
Giovanni  Antonio. 

RECCHI,  Giovanni  Paolo,  brother  of  Giovanni 


PAINTERS  AND  ENGRAVERS. 


Battista  Reochi,  an  Italian  painter  of  the  17th 
century,  who,  in  conjunction  with  his  nephew 
Giovanni  Andrea,  worked  in  Piedmont  about  1660. 
He  was  a  pupil  of  Maz/.uchcUi. 

RECCO,  Giuseppe,  born  at  Nai)le8  in  1634,  was 
a  scholar  of  Aniello  Falcone  and  of  Porpora.  Ho 
particularly  excelled  in  painting  hunts,  dead 
game,  fish,  and  similar  subjects.  His  jiicturcs 
are  found  in  the  best  collections  at  Naples.  He 
was  invited  to  the  Court  of  Madrid,  where  he 
was  knighted  at  the  time  when  Luca  Giordano 
flourished  there.  His  pictures  were  held  in  the 
highest  estimation  by  the  Spanish  king.  There 
are  three  pictures  by  him  in  the  Madrid  Gallery, 
representing  fish  and  game.  He  died  at  Madrid 
in  1695. 

RECCO,  PlETEB,  portrait  painter,  l)Orn  at  Amster- 
dam, 1766.  He  was  a  pupil  of  A.  de  Lelie,  and 
settled  at  Basle,  where  he  spent  the  greater  part 
of  his  life.  Hence  he  is  often  called  a  Swiss  by 
biographers. 

RECHAMBAULT,  Pierre,  a  painter  upon  glass 
and  enamel,  who  flourished  at  Limoges  about 
1555.  He  was  associated  with  the  Penicauds  in 
some  of  their  works,  especially  those  for  the  con- 
fraternity of  the  Blessed  Sacrament,  at  Limoges. 

RECHBERGER,  Franz,  an  eminent  designer, 
etcher,  and  landscape  painter,  was  born  at  Vienna 
in  1771,  and  was  a  scholar  of  F.  Brandt  at  tlie 
same  time  as  Martin  von  Molitor,  with  whom  he 
afterwards  continued  to  practise.  His  landscapes 
are  natural,  his  etchings  spirited.  In  general 
his  plates  represent  wild,  romantic  scenery,  richly 
ornamented  with  trees,  or  frowning  with  rocks,  in 
the  style  of  Jacob  Ruisdael,  or  Albert  van  Ever- 
dingen.  He  also  etched  a  number  of  landscapes 
after  L)ietnch.  The  care  of  the  fine  collection  of 
prints  formerly  belonging  to  Count  Fries  was  con- 
tided  to  him,  and  he  was  also  keeper  of  the  prints 
and  drawings  of  the  Archduke  Charles  at  Vienna. 
His  etchings  are  marked  F.  R.,  which  luis  occasioned 
them  to  be  sometimes  erroneously  attributed  to 
Frederic  Rehberg,  a  contemporary  artist,  whose 
works  are  historical,  and  belong  rather  to  the 
Roman  school.  He  died  in  1842.  By  him  : 
Landscape  with  the  Temple  of  Vesta.    ( Vienna.) 

RECHLIN,  Karl,  German  painter ;  born  at 
Berlin  in  18U4  ;  studied  at  tlie  Academy  tliere  : 
notable  as  a  painter  of  military  subjects,  such  as 
'Battle  of  Kulm,  IBLi,'  'Episode  in  the  Battle  of 
Leipzig';  obtained  several  decorations.  He  died  at 
Tempelhof,  near  Berlin,  in  1882. 

RECHTEKS,  T.,  a  native  of  Amsterdam,  where 
he  lived  from  1700  to  17G8.  Among  his  pictures 
is  a  portrait  of  Jan  Wagenaar.  He  has  also  left 
a  history  of  his  native  city. 

RECK,  David  van,  a  j)ortrait  painter  of  tlie  17th 
century,  born  in  Flanders,  and  a  pupil  of  Van 
Dyck.  Queen  Christina  invite<l  him  to  the  Swedish 
Court,  and  he  settled  in  Stockholm,  where  he  ob- 
tained a  large  practice  among  the  aristocracy. 
He  painted  portraits  of  the  Queen,  and  of  many 
Swedi-sh  generals  and  persons  of  distinction. 

RECLAM,  FiUEDRicH,  born  at  Magdeburg  in 
1734,  after  learning  the  rudiments  of  design  in 
his  native  country,  went  to  Paris,  where  he  became 
a  pupil  of  J.  B.  Pierre.  In  1755  he  visited  Rome, 
and  after  a  residence  of  seven  years  in  that  capital, 
he  established  himself  at  Berlin.  He  painted  land- 
scapes and  portraits  with  considerable  success,  aiul 
died  in  1774.  We  have  the  following  etchings  by 
him : 


A  set  of  eight  Views  in  Italy.    1755. 

A  Landscape,  Morning  ;  after  MoucUeron. 

The  Companion,  Evening  ;  after  Dubois. 

Two  Views  in  the  Environs  of  Paris ;  from  his  own 

designs. 
A  View  near  Borne,  with  a  Waterfall ;  the  same. 

RECOUVRANCE,  Antoine  de,  a  French  painter, 
born  at  Avignon.  The  works  of  this  artist  are 
little  known,  though  he  was  appointed  jiainter  to 
the  king  in  1588,  and  held  his  post  till  1641.  In 
the  collection  of  Duplessis-Mornay,  who  died  in 
1611,  there  were  jiortraits  by  him.  There  are 
still  in  existence  by  him  some  interiors  of  churches, 
with  groups  of  jiersons  assembled  for  worship, 
which  are  apparently  portraits. 

REDEL,  Josef,  a  German  historical  painter, 
born  in  1774.  He  worked  in  the  style  of  Fiiger, 
and  was  considered  a  good  colourist.  He  was 
appointed  a  professor  in  the  Academy  at  Vienna, 
where  he  died  in  1836. 

REDENTI,  Francesco,  painter,  bom  at  Cor- 
reggio  in  1820,  was  employed  in  drawing  cari- 
catures for  the  Fischietto.  He  died  at  Turin  in 
1876. 

REDER,  Christian,  called  Leander,  horn  in 
Saxony  in  1656,  visited  Rome  in  1686.  In  that 
year  Buda  was  taken,  and  Reder  gained  consider- 
able reputation  for  his  battle-pieces,  representing 
the  fights  that  took  place  between  the  Ottomans 
and  the  Christians.  He  afterwards  visited  Venice, 
Hamburg,  England,  and  Holland,  and  died  in 
1729. 

REDGRAVE,  RiciiARn,  painter,  w.as  born  on  the 
30th  April,  1804,  in  Piuilico,  and  in  his  early  youth 
worked  as  assistant  to  his  fither,  who  was  associated 
in  the  engineering  works  of  Bramah,  the  inventor 
of  the  hydraulic  press.  At  the  age  of  twenty-one 
he  entered  the  Academy  schools,  and  competed  un- 
successfully for  the  gold  medal.  He  first  attracted 
public  attention  in  1836  by  his  'Gulliver  on  the 
Farmer's  Table,'  exhibited  at  the  British  Institu- 
tion, which  is  now  at  South  Kensington.  In  1840 
he  was  elected  an  Associate  of  the  Royal  Academy, 
and  in  1851  a  full  member.  Meantime  he  had  been 
actively  engaged  in  the  organization  of  the  Govern- 
ment School  of  Design,  of  which  he  was  appointed 
Botanical  Teacher  and  Lecturer,  and  later  Head 
Master  and  Art  Superintendent.  It  was  about 
this  time  that,  with  the  help  of  Mr.  H.  Cole 
(afterwards  Sir  Henry  Cole,  K.C.B.),  he  formed  the 
museum  of  ornamental  art  at  Marlborough  House, 
the  nucleus  of  the  present  Museum  of  Art  at  South 
Kensington.  They  were  again  associated  in  the 
arrangement  of  the  Great  Exhibition  in  1851,  and 
in  the  British  Si'ction  of  the  Paris  Universal 
Exhibitiim  of  1855.  In  1862  Redgrave  worked  in 
conjunction  with  Creswick  in  carrying  out  arrange- 
ments for  the  English  Art  Section  of  the  Inter- 
national Exhibition.  In  1858  he  was  appointed 
Survej'or  of  Crown  Pictures,  and  for  many  years 
was  engaged  on  a  catalogue  of  thi'in.  In  1866  he 
joined  his  brother  Sauniel  (who  died  in  1876)  in 
preparing  a  history  of  British  art  from  the  time  of 
Hogarth,  under  tin-  title  of  'A  Century  of  Painters.' 
For  many  years  he  kept  up  his  connection  with 
South  Kensington,  where  he  took  the  chief  part  in 
forming  an  historical  collection  of  water-colours 
for  the  Museum.  In  1880  he  resigned  both  his 
appointment  as  Surveyor  and  Keeper  of  the  Royal 
Pictures,  and  also  his  post  in  the  Department  of 
Science  and  Art  at  South  Kensington,  and  from 
that  time   he  seems   to   have   painted   but  little. 

203 


A   BIOGRAPHICAL  DICTIONARY   OF 


lie  died  at  KcnsinRtoTi,  the  14tli  December,  1R88. 
Kedgrave  was  a  iiicinber  of  the  Etching  Club. 

liEDGRAVE,  Samuel,  was  born  in  London, 
3rd  October,  1802.  His  father,  wlio  at  the  time 
of  his  eon's  birth  was  in  the  ofSce  of  Mr.  Josejili 
Bramah,  the  inventor,  phiced  liiin  in  an  office 
connected  with  tlie  Home  Department.  There  lie 
showed  in  time  that  he  was  possessed  of  talents  of 
an  unusual  kind,  and  was  intrusted  with  various 
responsible  tasks  under  the  Home  Secretarj'.  But 
much  of  his  leisure  was  given  to  matters  concern- 
ing art  and  artists.  He  became  a  probationer  at 
the  Royal  Academy,  in  the  architectural  class, 
having  in  his  leisure  moments  acquired  consider- 
able proticiency  as  a  draughtsman.  In  1842  he 
became  secretary  to  the  Etching  Club,  in  suc- 
cession to  his  brother  Richard.  He  was  intrusted 
with  the  collection  of  a  historical  series  of  English 
pictures,  in  oil  and  water-colour,  for  the  1862 
Exhibition,  and  was  employed  in  much  tlie  same 
capacity  for  the  Paris  Exhibition  of  1867  Two 
years  earlier  he  had  submitted  a  proposal  for  a 
Loan  Exhibition  of  Miniatures  to  the  Committee  of 
Council,  which  had  been  acted  upon,  while  in  1866 
his  aid  was  invoked  by  Lord  Derby  for  the  organ- 
ization of  the  Exhibition  of  Portraits,  which  was 
open  at  Kensington  for  three  years.  In  1869  he 
helped  the  Royal  Academy  in  starting  the  series 
of  Winter  Exhibitions  at  Burlington  House.  But 
of  all  his  claims  to  remembrance  the  chief,  per- 
haps, are  his  '  Dictionary  of  Artists  of  the  British 
School,'  and  his  share  in  '  A  Century  of  Painters,' 
published  jointly  by  liimself  and  his  brother 
Richard.  Samuel  Redgrave  married  in  1839,  but 
lost  his  wife  in  1845.  He  died  himself  on  the  20th 
March,  1876. 

REDI,  GioVANNA,  a  pupil  of  Gubbiani  together 
with  Tommaso  Redi,  to  whom  she  was,  in  all 
probability,  related. 

REDI,  Tommaso,  born  at  Florence  in  1665,  after 
receiving  some  instruction  in  his  native  city  went 
to  Rome,  where  he  frequented  the  Academy  estab- 
lished in  that  city  by  the  Grand  Duke  Cosmo  III., 
■which  was  at  that  time  under  the  direction  of 
Carlo  Maratti  and  Giro  Ferri.  His  studies  at  Rome 
were  prosecuted  with  considerable  success,  and  on 
his  return  to  Florence  he  was  employed  by  the 
Grand  Duke  in  several  works  for  the  Palazzo  Pitti. 
He  also  painted  some  pictures  for  the  churches,  and 
other  public  edifices,  and  is  spoken  of  as  an  emi- 
nent portrait  painter.  When  the  Czar  Peter  visited 
Florence,  he  was  particularly  struck  with  the  works 
of  Redi,  and  being  desirous  of  establishing  an 
academy  for  the  promotion  of  the  fine  arts  at 
Moscow,  made  very  liberal  proposals  to  that  master 
to  prevail  on  him  to  undertake  the  superintendence 
of  it,  but  his  engagements  at  Florence  prevented 
his  accepting  the  offer.  Redi  died  at  Florence  in 
1726. 

REDIG,  L.,  a  Belgian  painter  of  genre  and 
landscape,  died  1861.  His  best  known  work  is  a 
'  Village  Fete.' 

REDMOND,  Thomas,  an  English  miniature 
painter,  born  at  Brecon  about  1745.  As  a  boy 
he  was  apprenticed  to  a  house-painter  at  Bristol. 
Coming  to  London,  he  studied  in  the  St  Martin's 
Lane  Academy,  and  was  in  1763  a  member  of  the 
Free  Society  of  Artists.  Migrating  to  Bath,  he 
obtained  a  good  practice,  and  exhibited  fit  the 
Royal  Academy  from  1775  to  1779.  He  died  at 
Bath  in  1785. 

REDONDILLO,  IsiDORO  de,  a  Spanish  painter 

204 


of  the  17th  century,  and  pupil  of  Angelo  Nardi. 
He  practised  at  Madrid,  and  was  appointed  painter 
to  Charles  II.  in  1685.  He  painted  portraits  and 
historical  pictures,  which  are  often  confounded, 
says  Bermudez,  with  those  of  other  painters. 

REDOUT^,  Antoine  Ferdinand,  the  son  of 
Charles  Joseph  Redout^,  born  at  St.  Hubert,  1756. 
The  pupil  of  his  father.  He  was  a  decorative  artist 
of  much  repute  in  his  day,  and  decorated  the 
Palais  de  l'Elys6e,  the  Palais  Bourbon,  the  Chateau 
de  Compiegne,  and  other  large  houses.  In  1776  he 
settled  in  Paris,  where  he  died  in  1809. 

REDOUTE,  Charlks  Joseph,  painter,  the  son 
of  Jean  Jacques  Redoute,  and  father  of  the  three 
artists,  Pierre  Joseph,  Henri  Joseph,  and  Antoine 
Ferdinand  Redoute,  was  born  at  Jamagne,  near 
Philippeville,  in  1715.  He  was  his  father's  pupil 
until  1735,  when  he  came  to  Paris  and  studied 
at  the  Academy.  Later  he  settled  at  Saint  Hubert, 
where  he  worked  much  on  commission  for  the 
Abbey,  and  for  the  great  houses  of  the  neighbour- 
hood, and  where  he  died  in  1776. 

REDOUTE,  Henri  Joseph,  a  painter  of  flowers, 
fruit,  and  insects,  born  at  St.  Hubert,  1766.  Ho 
was  the  son  of  Charles  Joseph  Redout^,  and  studied 
under  his  brother  Pierre  Joseph  at  Paris.  He  was 
appointed  draughtsman  to  the  '  Jardin  des  Plantes,' 
and  was  chosen  as  one  of  the  members  of  the  Art 
and  Science  CoramisBion  which  Bonaparte  sent 
into  Egypt. 

REDOUTE,  Jean  Jacques,  an  obscure  artist, 
born  at  Dinant  iu  1687,  and  remarkable  only  as 
having  been  the  father  of  Charles  Joseph,  and 
grandfather  of  Pierre  Joseph  Redout^.  He  died  in 
1762. 

REDOUTE,  Pierre  Joseph,  flower  painter,  born 
at  St.  Hubert  in  Belgium  in  1759,  learned  the  prin- 
ciples of  art  from  his  father,  and  then  went  to  his 
brother,  Antoine  Ferdinand,  in  Paris.  In  1792  he 
was  appointed  draughtsman  to  the  Academy  of 
Sciences  and  to  the  Institute,  and  in  1805  flower 
painter  to  the  Empress  Josephine.  Among  his 
pupils  were  Marie  Antoinette,  Josephine,  and 
Hortense.  His  chief  works  are  lilies  and  roses, 
'  The  Flower  of  Malmaison.'  He  died  in  Paris 
in  1840. 

REED,  Joseph  Charles,  an  English  landscape 
painter  in  water-colours,  born  in  1822.  He  was 
elected  an  associate  of  the  Water-Colour  Institute 
in  1860,  and  a  member  in  1866.  His  subjects  were 
confined  to  the  scenery  of  the  United  Kingdom. 
He  died  in  London  in  1877. 

REEDER,  Martin,  a  painter  of  still-life,  born  at 
the  Hague  in  1802.  He  was  a  pupil  of  Van  Cuy- 
lenburgli  and  of  J.  Pieneman. 

REEKERS,  Hendhik,  a  painter  of  flowers  and 
fruit,  born  at  Haarlem,  1816.  He  was  a  pupil  of 
his  fatlier,  whom  he  greatly  excelled  in  his  art, 
and  of  G.  J.  J.  Van  Os.  He  lived  for  a  time  at 
Brussels,  but  returned  in  1848  to  Haarlem,  where 
he  died  in  1854. 

Rotterdam.        Museum.    Fruits,  Vegetables,  and  Game. 

REEKERS,  Jan,  born  at  Haarlem,  1790,  was 
a  pupil  of  Horstok,  and  a  painter  of  portraits  and 
landscape.     He  died  1858. 

REESBRONCQ.    See  Rtsbroeck,  van. 

KEGAMEY,  Guillaumk,  a  French  military 
painter,  born  in  Paris  in  1837.  He  studied  under 
Lecoq  de  Boisbaudran  and  Bonvin,  and  afterwards 
under  Barye  at  the  Academy,  where  he  gained  two 
medals.     His  pictures  were  not  at  first  successful ; 


PAINTERS  AND  ENGRAVERS. 


they  were  rejected  for  years  at  the  Salon,  and  it 
■was  not  till  18G3  that  he  first  appeared  there,  as 
a  painter,  with  a  'Turco.'  His  first  important 
contribution,  however,  was  a  '  Batterie  de  tam- 
bours des  Grenadiers  de  la  Garde,'  which  was 
exhibited  in  1865,  and  is  now  in  the  Mus6e  at  Pau. 
This  was  followed  two  years  later  by  '  Sapeurs  :  tete 
de  colonne  de  2°"  Cuirassiers  de  la  Garde,'  which 
made  a  great  sensation,  and  is  now  in  the  Chalons 
Museun;.  R6gamey  was  troubled  all  his  life  with 
ill  health,  and  his  work  went  on  in  very  inter- 
mittent fashion  about  this  time.  He  contrived, 
however,  to  finish  a  third  important  picture  for 
the  Salon  of  1870  ('Tirailleurs  Alg^riens '),  and  then 
the  Franco-German  War  interrupted  his  studies. 
Partly  on  account  of  his  weakly  constitution,  partly 
because  he  could  be  of  use  to  his  faiuily  by  earn- 
ing money  for  their  support  through  the  exercise 
here  of  his  talent,  he  left  Paris  for  London,  where 
he  lived  and  worked  to  the  end  of  the  war.  Many 
of  his  designs  appeared  in  English  periodicals, 
especially  the  'Illustrated  London  News.'  In  1872 
he  returned  to  Paris,  wliere  he  arrived  in  the  midst 
of  the  'Commune.'  During  the  last  three  years  of 
his  life  his  work  was  again  much  interrupted  by  ill- 
health,  but  atliis  death,  on  January  3, 1875,  he  left 
finished  the  two  last  of  the  pictures  named  below  : 

Pau.  Mi(seum.     The  Drummers.     1S66. 

Chalons-sur-Mame.  jJ/Ks««m.    Sappers.     1868. 
Marseilles.  Museum.     Tirailleurs  Alg^riens.  1866. 

Cuirassiers  in  a  Cabaret. 

Drummers  of  a  Grenadier  Regiment. 

Regamey's  life  is  the  subject  of  a  sympathetic 
notice  by  M.  Ernest  Chesneau  ('  Librairie  de  I'Art,' 
1879). 

REGEMORTER,  Ignatius  Josephus  van,  a 
Flemish  historical,  landscape,  and  genre  painter 
and  engraver,  born  at  Antwerp  in  1785.  He 
studied  under  his  father,  I'etrus  Johannes,  also 
in  Paris,  Antwerp,  Brussels,  and  Ghent.  He  died 
at  Antwerp  in  1873.  Amongst  his  works  are  : 
Amsterdam.  R.  Museum.  The  old  Fish-Market  at  Ant- 
werp. 
„  „  The  Manage  of  Jan  Steen. 

„  Fodor  Mus.    Jan     Steen     and     F.     Van 

Mieris. 
Brussels.  Museum..     An  Autumn  Morning. 

Munich.  Pinakotheh.     Interior  of  a  Garret. 

„  „  The  Ruined  Cottage. 

REGEMORTER,  Petrus  Johannes  van,  a 
Flemish  landscape  and  genre  painter,  born  in  1765 
at  Antwerp.  He  was  a  ])upil  of  the  Academy  of 
that  city,  but  he  owed  much  to  his  study  of  the 
pictures  in  some  private  collections.  He  became 
a  professor  in  the  Academy,  and  Dean  in  the 
Painters'  Guild  in  1786.  Many  artists  of  note 
studied  under  him,  and  he  had  a  large  practice 
as  a  picture-restorer.  In  1814  he  was  engaged  in 
bringing  back  the  pictures  taken  by  the  French  to 
Paris.  He  died  in  1830.  In  the  Antwerp  Museum 
is  a  'Shepherd  and  Flock'  by  him.  He  excelled 
in  painting  moonlights. 

HEGGIO,  Ldca  da.    See  Ferrari. 

REGILLO.     See  Licinio. 

REGNAHD,  Val^rien,  a  French  engraver,  who 
was  a  .scholar  of  Ph.  Thomassin,  flourislicd  at  Rome 
about  the  years  1630-50.  Among  other  things  he 
engraved  several  of  the  plates  for  the  collection  of 
prints  from  the  antique  statues,  &c.,  in  the  Gius- 
tiniani  Gallery.  He  also  engraved  some  plates 
after  the  works  of  Giovanni  Antonio  Lelli,  I'ome- 
rancio,  Agostino  Ciampelli,  &c. 

REGNAULT,  Alexandre  Georges  Hbnri,  born 


in  Paris  in  1843,  was  the  son  of  the  director 
of  the  Gobelins.  He  studied  under  Montfort, 
Lamothe,  and  Cabanel,  competed  unsuccessfully 
in  1863  for  the  Prix  de  Rome,  but  won  it  in 
1866  with  his  'Thetis  presentingArms  to  Achilles.' 
In  1864  he  sent  two  portraits  to  the  Salon. 
From  1866  to  1868  he  was  in  Rome,  where  he 
illustrated  A.  VVey's  'Journey  to  Rome,'  with 
twenty-seven  drawings  of  the  modern  citj',  and 
painted  several  good  portraits  and  pictures  of 
horses.  In  1868  he  went  to  Spain,  where  he 
painted  his  famous  portrait  of  Marshal  Prim,  and 
copied  the  '  Lanzas '  of  Velasquez.  From  Spain 
Regnault  went  to  Tangiers,  to  %vhich  he  took  a 
strong  liking,  but  in  1869  returned  to  Rome.  In 
1870  he  was  again  in  Africa,  but  was  recalled  to 
his  own  country  by  the  Franco-German  War,  in 
which  he  was  killed  at  the  attack  on  Buzenval 
towards  the  evening  of  January  19th,  1871.  No 
one  saw  him  fall,  but  next  day  the  driver  of  an 
ambulance  found  his  body,  which  had  the  last 
honours  paid  to  it  eight  days  later  in  the  church 
of  St.  Augustin.     Works  : 

Portrait  of  the  Comtesse  B— -.     1869. 

Portrait  of  Marshal  Prim.      1869.    Paris,  Louvre. 

Execution  in  the  AJhambra.  do.        do, 

Salom^.     1870. 

La  Madrilene,  water-colour.  Paris,  Luxemhourg  Museum. 

Paysan  de  la  Manche.    do. 

The  Alhambra ;  entrance  to  the  Hall  of  the  Two  Sisters. 

do. 
The  Alhambra  ;  interior  of  the  Hall  of  the  Two  Sisters. 

do. ;  and  a  series  of  fifteen  sketches  presented  by  V. 

Regnault,  Member  of  the  Institute. 

REGNAULT,  ^tienne,  born  in  Paris,  1649,  a 
painter  of  little  note,  who  became  a  member  of  the 
Academy  in  1703.     He  died  in  1720. 

REGNAULT,  Jean  Baptiste,  historical  painter, 
was  born  in  Paris  in  1754.  When  he  was  ten 
years  old  his  father  took  him  a  voyage  to  America 
and  Africa  on  board  a  merchant  vessel.  He  was 
away  four  years.  When  he  was  fifteen,  he  went  to 
Rome,  where  he  studied  under  Bardin,  and  then 
to  Paris,  where  in  1776,  with  his  'Alexander  at  the 
House  of  Diogenes,'  he  won  the  Prix  de  Rome.  Re- 
turning to  Paris  from  Rome  he  was  elected  Fellow 
of  the  Academy  in  1783,  with  his  '  Deliverance  of 
Andromeda.'  His  pictures  are  numerous,  and  consist 
of  historical,  poetical,  and  allegorical  subjects.  Of 
these  Gabet  has  given  a  tolerably  long  list  in  his 
'  Uietionnaire  des  Artistes  de  I'ficole  Fran9ai8e,  au 
XIX*  siecle,'  but  says  that  it  is  confined  to  his 
principal  productions.  At  his  death,  in  addition 
to  his  pictures,  he  left  numerous  academical  studies, 
designs,  and  finished  sketches  ;  many  of  the  latter 
illustrative  of  Ovid's  Metamorphoses,  and  other 
poets.  As  a  teacher  Regnault  was  the  great  rival 
of  David.  Among  his  scholars  were  Gu6rin, 
Crespin,  Robert  le  Febvre,  Menjaud,  Lafitte,  Bois- 
selier.  Blonde),  and  many  others.  Regnault  died 
in  Paris  in  1829.     Works  : 

The  Baptism  of  Christ ;  Louvre. 

The  Education  of  Achilles  ;  tlie  same. 

The  Descent  from  the  Cross  ;  the  same. 

Pygmalion  begging  Venus  to  animate  his  statue  ;  the 
Slime. 

The  Origin  of  Painting  ;  t/ie  same. 

The  Three  Graces. 

The  Judgment  of  Paris. 

Venu."*  on  the  Clouds. 

Portrait  of  a  Young  Woman  ;  Orleans  Museum. 

REGNAULT,  Nicolas  Francois,  a  French 
painter  and  engraver,  was  born  in  Paris  in  1749. 
His  wife  Genevieve  {we  Nangis)  engraved  a  few 

205 


A  BIOGRAPHICAL  DICTIONARY  OF 


plates  after  lier  own  and   her  husband  s  designs. 
Among  Regnault's  plates  may  be  named : 

Le  Voeu  de  la  Nature  ;  from  his  own  dtsign. 

The  Fountain  of  Love  ;  after  Fratjonard. 

Truth  and  Tenderness  ;  after  Lagrenee. 

REGNAULT,  Thomas  Casimir,  a  French  painter 
and  line-engraver,  was  born  at  Bayeux  in  1823. 
He  was  a  pupil  of  De  .Juine  and  of  Henriquel- 
Dupont,  and  is  best  known  by  bis  engraved  por- 
traits, among  which  are  those  of  Voltaire,  Made- 
moiselle Mars,  and  the  painter  Meissonier,  the  last 
after  a  miniature  painted  by  Regnault  himself. 
He  died  in  Paris  in  1871. 

REGNE,  — ,  a  native  of  France,  who  flourished 
about  the  year  1760.  Among  other  prints  he 
engraved  a  set  of  plates  of  animals,  which  are 
neatly  executed. 

REGNESSON,  Nicolas,  a  French  draughtsman 
and  engraver,  was  bom  at  Rheims  about  1625. 
There  are  by  this  artist  a  considerable  number  of  his- 
torical portraits  engraved  from  his  own  drawings, 
and  after  Philippe  de  Champaigne,  Beaubrun,  Fran- 
9oi8  Chauveau,  &c.,  besides  compositions  after  other 
painters.  He  was  the  master  of  Robert  Nanteuil, 
who  married  one  of  his  sisters.  His  daughter 
Madeleine  became  the  wife  of  Gerard  Edelinck. 
He  died  in  Paris  in  1670. 

REGNIER,  Frans,  an  obscure  Dutch  portrait 
painter,  who  was  at  work  in  the  Hague  in  1776. 

REGNIER,  Jacques  Augdste,  landscape  painter, 
bom  in  Paris,  1787.  He  was  a  pupil  of  Bertin. 
For  more  than  forty  years  he  exhibited  landscapes 
at  the  Salon,  and  was  often  premiated.  Two 
paintings  by  him  decorate  the  chapel  of  St.  Denis, 
in  the  church  of  Saint  Roch,  at  Paris,  and  another 
is  in  the  Palace  at  Fontainebleau.  Regnier's  last 
years  were  passed  in  poverty  and  neglect,  and  he 
committed  suicide  by  drowning,  in  the  Canal 
de  I'Ourcq,  in  Paris,  in  1860.  Among  his  better 
■works  we  may  also  name :  •  The  Tomb  of  King 
Arthur,'  a  'Joan  of  Arc,'  and  a  'Chartreuse  en 
Auvergne '  (1837),  in  the  Museum  of  Toulouse. 

REGNIER,  Jeas,  a  Belgian  painter  of  interiors 
and  of  genre  pictures,  practising  in  1853.  He  was 
professor  at  the  Industrial  School  at  Verviers. 

REGOLIKON,  Bernardo,  an  Italian  portrait 
painter,  practising  in  the  second  half  of  the  18th 
century,  was  a  pupil  of  P.  P.  Cristofani.  At 
Vienna  there  are  portraits  by  him  of  the  Emperor 
Joseph  II.  and  of  his  brother  Leopold. 

REGTERS,  TiEOUT,  portrait  painter,  bom  at 
Dordrecht,  1710.  He  was  the  pupil  successively 
of  Ten  Hage  at  Amheim,  of  Meyer  at  Rotterdam, 
and  of  Quinkhard  at  Amsterdam.  He  died  i.t 
Amsterdam  in  1768.  In  the  Ryks  Museum  there 
is  a  portrait  by  him  of  the  historian  Jan  Wagenaar, 
and  one  of  the  painter  Jan  Ten  Compe. 

RKHBERG,  Friedrich,  historical  painter,  bom 
in  Hanover  in  1758,  studied  first  with  Oeser  in 
Leipzig,  then  with  Casanova  and  Schenau  in 
Dresden,  and  went  in  1777  to  Rome,  where  he 
studied  theoldmasters  under  Mengs,  and  measured 
himself  with  David.  In  1783  he  returned  to  Han- 
over, painted  several  portraits,  became  teacher  of 
drawing  in  Dessau  in  1784,  in  1786  Fellow,  and  in 
1787  Professor  of  the  Berlin  Academy,  and  then 
returned  to  Rome.  There  he  painted  a '  Behsarius,' 
an  '  CEdipus  and  Antigone,'  '  The  Death  of  Abel," 
'Bacchus,'  'Orpheus  and  Eurydice,'  'Jupiter  and 
Venus.'  In  1791  he  went  to  Naples  and  made  a 
series  of  drawings  from  Lady  Hamilton,  which 
were  published.  In  1813  he  went  to  London,  and 
206 


in  1814  painted  an  allegory  of  Napoleon's  full.  In 
the  same  year  he  returned  for  a  time  to  Rome,  but 
eventually  settled  at  Munich,  where  he  published, 
m  1824,  'Raffael  S.inzio  von  Urbino ' ;  tiie  Ele- 
ments of  Lithographic  Drawing  (' Anfangs  griinde 
des  Steinzeichners'),  with  thirteen  of  his  own  litho- 
graphs.    Rehberg  died  at  Munich  the  20th  August, 

looO. 

REHER,  Bernhard,  Gemian  painter;  bom 
near  .Munich  in  1806 ;  became  a  pupil  of  Dannecker; 
also  studied  with  Cornelius  ;  after  success  as  a 
painter  he  was  appointed  Director  of  the  Art 
School  at  Stuttgart ;  he  is  best  known  by  the 
large  fresco  over  the  Isar  Thor  at  Munich.  He 
died  at  Munich  in  January  1886. 

REICH,  We.nuei,,  was  an  engraver  on  wood,  who, 
about  the  year  1515,  flourished  at  Lyons,  where  he 
published  several  cuts  marked  with  a  W.  and  an 
R.  joined  together.  We  cannot,  however,  specify 
any  of  them.  He  was  also  a  bookseller,  and  lived 
at  Strasburg  in  1540.  Bartsch  ('  Peintre-Graveur,' 
ix.  170)  has  described  a  print  bearing  his  cipher, 
supposed  to  be  by  him. 

REICHEL,  Jakob,  in  the  first  part  of  this  cen- 
tury was  working  as  a  miniature  painter  at  St. 
Petersburg,  and  painted  portraits  of  the  Emperor 
Alexander  I.,  the  Empress  Marie,  and  most  of  the 
principal  personages  of  the  empire.  He  died  at 
Brussels  in  1856. 
REICHENBACH,  Ldd.  vov.  See  Simanowitz. 
REICHENTHAL,  Ulrich  von,  a  writer  of  the 
15th  century,  who  illustrated  a  '  History  of  the 
Council  of  Constance,'  which  he  himself  wrote, 
"•ith  a  number  of  well-executed  paintings  in 
miniature. 

REICH.MANN,  Georg  Friedrich,  painter,  born 
at  Munden  in  1798,  went  through  the  campaign  of 
1813-1815,  and  then  went  to  the  Academy  at 
Cassel.  In  1821  he  went  to  Munich,  where  he 
made  himself  a  name  with  his  '  CEdipus  and  Anti- 
gone.' He  afterwards  devoted  himself  to  portrait- 
painting,  and  produced  among  others  a  portrait 
of  the  Duchess  of  Cambridge.  He  died  at  Han- 
over in  1853. 

REID,  Alexander,  a  miniature  painter,  bom 
in  1747  in  Kirkcudbrightshire.  He  is  known  from 
having  painted  a  miniature  of  Burns  at  Dumfries, 
where  Reid  was  then  living — in  1796 — which  is 
mentioned  in  Cunningham's  '  Life  of  Kaebum,' 
and  in  Douglas'  '  Works  of  Bums.'  This  minia- 
ture is  believed  to  be  the  one  in  the  Scottish 
National  Portrait  G.illery.  Reid  became  a  man  of 
substance  in  his  later  years,  having  succeeded  to 
a  family  estate.     He  died  unmarried  in  1823. 

REIFF,  Fraxz,  German  painter  ;  born  February 
12,  1835,  at  Aachen  ;  became  a  pupil  of  E.  Correns 
and  Piloty  ;  subsequently  filled  the  i>08t  of  Pro- 
fessor at  the  Aachen  Polytechnic.  His  pictures 
include  '  Kirchenstrafe  einer  Gef allenen,' '  Nymphe 
im  Walde,'  &c.  The  recipient  of  several  decora- 
tions.    He  died  in  1901. 

REIGLER,  Paul,  landscape  painter,  practising 
in  Belgium  about  1845.  He  was  a  pupil  of  the 
Spa  School  of  Painting. 

REIGNIER,  Jean,  flower  painter,  was  born  at 
Lyons,  August  3,  1815.  He  was  a  pupil  of  the 
Lyons  School  of  Art,  and  until  1845  employed  his 
talents  in  designing  for  the  silk  manufacturers. 
Afterwards  he  turned  his  attention  to  fine  art,  and 
in  1854  became  a  professor  in  the  school  in  which 
he  had  been  a  pupil.  He  formed  many  scholars. 
His  flower-pieces  and  fan-paintings  are  very  clever, 


PAINTERS  AND  ENGRAVERS. 


though  a  little  stiff  and  academical.     Eeignier  had 
mnch  official  recognition.     He  died  in  1885. 

REIMER,  Georg,  painter,  produced  small  cabinet 
pictures  and  died  in  Berlin  in  1866.  His  best 
known  work  is  '  Before  the  Sermon.' 

REINAGLE,  George  Philip,  marine  painter, 
son  of  Richard  Ramsay  Reinagle,  and  grandson  of 
Philip  Reinagle,  was  bom  in  1802,  and  instructed  by 
his  father.  He  gave  early  proofs  of  great  talent  as 
a  painter  of  marine  subjects.  After  successfully 
copying  pictures  by  Everdingen,  Backhuysen,  and 
William  van  de  Velde,  he  accompanied  the  expedi- 
tion to  Navarino,  for  tlie  express  purpose  of  giving 
a  representation  of  the  expected  action,  and  was 
also  with  Admiral  Napier's  Fleet  in  the  action  with 
the  Portuguese.  His  works  cause  regret  at  the 
shortness  of  his  career.  He  died  in  London  in 
1835. 

REINAGLE,  Philip,  a  landscape,  animal,  and 
panoramic  painter,  bom  in  1749,  was  a  scholar  of 
Allan  Ramsay,  the  court  painter,  whom  he  assisted 
in  his  official  portraits  of  George  III.  and  Queen 
Charlotte.  It  is  recorded  that  on  one  occasion 
Ramsay  left  England  for  some  months,  and  deputed 
Reinagle  to  paint  fifty  pairs  of  '  Kings  and  Queens  ' 
at  ten  guineas  a-piece.  This  task  was  duly  per- 
formed, but  it  disgusted  Reinagle  with  portrait 
painting,  and  he  turned  his  attention  to  the  study 
of  animals,  with  which  he  succeeded  to  admiration. 
His  pictures  of  hunting  subjects,  sporting  dogs 
(particularly  the  spaniel),  shaggy  ponies,  and  dead 
game,  were  among  the  best  of  the  day.  He  studied 
rather  the  manner  of  the  old  Dutch  painters  than 
that  of  his  contemporaries,  and  was  an  excellent 
copyist  of  their  works,  and  many  pictures  now 
called  Paul  Potter,  A.  van  de  Velde,  Berchem, 
Karel  du  Jardin,  &c.,  were  really  painted  by  him. 
He  assisted  Barker,  too,  in  liis  panoramic  Views 
of  Rome,  the  Bay  of  Naples,  Florence,  Gibraltar, 
Algesiras  Bay,  and  Paris.  The  work  by  which 
he  is  best  known,  however,  is  '  The  Sportsman's 
Cabinet,'  or  correct  delineations  of  the  various  dogs 
used  in  the  sports  of  the  field,  taken  from  life,  and 
engraved  by  John  Scott.  Reinagle  was  elected 
A.R.A.  in  1787,  and  R.A.  in  1812.  He  died  at 
Chelsea  in  1833. 

REINAGLE,  Ramsat  Richard,  an  English 
animal  and  landscape  painter,  born  in  1775.  He 
was  the  son  of  P.  Reinagle,  by  whom  he  was 
instructed,  completing  his  art  training  in  Italy 
and  Holland.  He  exhibited  at  the  Water-Colour 
Society,  of  which  he  was  a  member  from  1806  to 
1813.  In  the  following  year  he  was  elected  an 
Associate  of  the  Academy,  becoming  a  full  member 
in  1823.  His  later  years  were  clouded  by  his 
enforced  retirement  from  the  Academy,  which  was 
brought  about  by  his  exhibiting,  as  his  own,  a 
picture  which  he  had  only  purchased.  This  took 
place  in  1848.  He  afterwards  sank  into  poverty, 
and  was  generously  treated  by  the  Academy,  on 
the  funds  of  which  lie  became  a  pensioner.  He 
died  at  Chelsea  in  1862.    Amongst  his  works  are : 

Londou.      Bridgewater  House.     Landscape. 
„  GrosvenoT  Housf.     Landscape. 

South  Kensington.     Museum.     Kydal  Mountains. 

„  „         Three       landscapes       in 

water-colours. 
Edinburgh,    yationcd  Gallery.    A  very  fine  copy  of  the 

'  Coup   de   Lance,'  by 
Bubens. 

REINDEL,  Albert  Chbistoph,  a  German  en- 
graver, was  bom  at  Nuremberg  in  1784.     He  was 


apprenticed  to  Heinrich  Guttenberg  in  1798,  and 
worked  from  1803  to  1809  under  his  direction  in 
Paris.  In  1821  he  was  entrusted  with  the  restora- 
tion of  the  baths  at  Nuremberg,  in  which  he 
aeriuitted  himself  very  well.  In  1811  he  was  ap- 
pointed director  of  the  school  of  art  in  Nurem- 
berg, keeper  of  the  picture  gallery,  and  a  member 
of  the  Munich  Academy.  He  died  at  Nuremberg 
in  1853.     His  chief  plates  are  : 

The  Virgin  and  Child ;  after  Leonardo  da  Vinci. 

Charlemagne  ;  after  Direr. 

The  Four  Apostles  ;  after  the  same. 

The  Shrine  of  St.  Sebald ;  after  f.  l-ischer. 

Louis  I.,  King  of  Bavaria ;  after  Stieler. 

Silence  ;  after  Annibale  Carracei, 

St.  Paul  preaching ;  after  he  Sueur. 

Ddrer  ;  after  Raueh. 

Madonna  ;  after  a  Nuremhng  icocfrut. 

Christ  blessing  Little  Children  ;  after  Heinric'i  Hess. 

liEINER,  Wenzel  Lobenz,  bom  at  Prague  in 
1686,  and  son  of  Joseph  Reiner,  a  sculptor  of  little 
note,  by  whom  he  was  instructed  in  the  rudi- 
ments of  design :  he  also  took  lessons  of  Peter 
Brandel,  a  painter  of  some  reputation,  and  of 
Schweiger.  By  the  assistance  of  this  master,  and 
the  study  of  nature,  Reiner  became  a  painter  of 
some  repute.  His  talents  were  not  confined  to 
any  particular  branch,  and  he  painted  with  con- 
siderable success  historical  subjects,  landscapes, 
and  battles.  His  best  productions,  however,  were 
landscapes  with  cattle,  and  battle-pieces,  in  which 
he  resembles  Peter  van  Bloemen.  His  figures  and 
animals  are  correctly  drawn,  and  handled  with 
freedom  and  spirit.  His  works  are  chiefly  con- 
fined to  his  own  country,  where  they  are  found 
in  the  best  collections.  He  died  in  1743.  Works : 
Dresden.  Gallery.    The  Campo  Vaccino,  Borne. 

„  „  Golden    House  of    Nero,  and 

Barberini  Fountain,  Borne. 

REINERMANN,  Anna  JIargarethe,  wife  of 
Friedrich  Christian  Reinermann,  Uved  from  1781 
to  1855,  and  painted  flowers  and  fruit  in  oil  and 
water-colour.     Her  maiden  name  was  HoUenbach. 

REINERMANN,  Friedrich  Christian-,  bom  at 
Wetzlar  in  1764,  received  his  first  instruction  in 
Frankfort  from  Nothnagel,  and  then  went  to  study 
in  1789  in  the  Gallery  of  Cassel,  after  Potter, 
Berchem,  and  Claude  Lorraine.  He  also  visited 
Rome,  and  lived  iu  Switzerland  for  ten  years, 
where  he  painted  several  landscapes.  From  180.^ 
to  1811  he  worked  in  Frankfort,  from  1811  to 
1818  in  Wetzlar,  and  then  again  in  Frankfort 
He  died  at  Frankfort  in  1835.     Works : 

The  Cascades  at  TivoU. 

PLATES. 
An  Animal  piece ;  after  H.  Roos. 
Goats  on  the  Apennines  ;  afttr  Berchem. 
Study  of  a  Horse  ;  after  Wouicerman. 
Several  Views  in  the  Neighbourhood  of  the  Moselle ; 
in  aquatint^  after  his  oicn  drawings. 

REINHARD,  Anna  Maria.  See  Koster,  Jo- 
HANN  Kaspar. 

REINHARDT,  Emilie,  born  at  Amsterdam, 
1809,  was  a  flower  painter,  and  a  pupil  of  Pierre 
Joseph  Redoute. 

REINHARDT,  Karl  August,  painter,  bom  at 
Leipzig  in  1818,  was  originally  destined  for  the 
Church,  but  turned  his  talents  to  art.  He  travelled 
through  Norway,  the  Tyrol,  and  Italy,  but  after- 
wards abandoned  landscape  for  caricature,  and 
produced  humorous  pen  and  ink  sketches  for  the 
comic  papers.  He  died  at  Kotzschenbroda,  near 
Dresden,  in  1877. 

207 


A  BIOGRAPHICAL  DICTIONARY  OF 


REINHARDT,  Ludwig,  an  obscure  painter  of 
genre  pictures,  who  committed  suicide  at  Munich 
in  1870. 

REINHARDT,  Sophia,  born  at  Kirchberg  in 
1775,  studied  under  Becl^er,  and  travelled  through 
Italy,  Austria,  and  Hungary.  In  the  Kunstlialle 
.It  Carlsruhe,  are  a  '  St.  Elizabeth  and  the  infant  St. 
John,=  'The  Death  of  St.  Katharine  of  Sieiia,' 
and  '  Death  of  Torquato  Tasso  '  by  her.  She  died 
in  1843. 

REINHART,  Hans,  called  Grieninger,  a  printer 
and  engraver  of  the  15th  and  16th  centuries,  wlio 
flourished  at  Strasburg,  was  a  native  of  Gruniii- 
gen  in  Wiirtemberg.  He  engraved  the  plates  for 
several  works,  among  which  were :  Brandt's  '  Tlie 
Ship  of  Fools,'  1497 ;  Jerome  of  Brunswick's 
'  Book  of  Surgery  ' ;  Terence,  1496 ;  Boccaccio's 
'Cento  Novelle,'  1619;  Adelphus's  ' Barbarossa,' 
1520;  Virgil,  with  two  hundred  plates,  1502; 
Ptolemy's  Geography,  with  forty-seven  wood-cuts, 
1522.  His  works  show  him  to  have  been  a  pupil 
of  Martin  Schongauer. 

REINHART,  Johann  Christian,  a  German 
landscape  painter,  born  at  Hof  (Upper  Franconia) 
in  1761.  Wlien  young,  he  studied  theology  at 
Leipsic,  but  preferring  to  devote  himself  to  art, 
became  a  scholar  of  Oeser.  About  1785  he  made 
the  acquaintance  of  the  Duke  of  Meiningen,  who 
invited  him  to  his  court,  where  he  painted  both 
portraits  and  landscapes.  In  1789  he  settled  at 
Rome,  where  he  became  one  of  the  pioneers  and 
most  influential  spirits  in  the  so-called  regeneration 
of  German  art.  In  1825  he  painted  a  room  in  the 
Villa  Massimi,  with  eight  historical  landscapes 
in  tempera,  and  four  years  later  four  large  tempera 
landscapes  for  King  Ludwig  of  Bavaria.  Rein- 
liart  fell  into  reduced  circumstances  in  his  latter 
years,  and  died  at  Rome  in  1847.  The  following 
are  some  of  his  pictures  : 

Frankfort.     Stddel  Gall.    Landscape,  Cain  and  Abel. 
Gotha.  Gallery.     Landscape.     1816. 

Leipsic.  Museiim.    Landscape,  Cupid  and  Psyche. 

1828. 
„  „  Landscape,  Hypsipyle. 

Munich.        Pinakothek.    Landscape.     1846. 

He  devoted  considerable  attention  to  aquatint 
engraving,  and  published  several  volumes  of 
plates.     The  chief  of  these  are  : 

Thierstudien,  in  Eom  gezeichnet  und  radirt. 
Italienische  Landscbaften. 
Alte  Grabmaler. 

REINHEIMER,  Ursula  Maqdalena,  painter, 
born  at  Nuremberg.  She  was  the  daughter  of 
Maria  Prestel  {q.  v. ),  and  practised  for  some  time 
in  London,  painting  landscape,  portrait,  and 
flower  pieces.  She  afterwards  settled  at  Brussels, 
where  she  died  in  1845.  She  also  engraved  a  few 
plates  in  aquatint. 

REINHGLD,  Bernhard,  German  historical  and 
genre  painter  ;  bom  at  Ratzeburg,  April  23, 1824  ; 
at  the  age  of  twenty  began  to  study  as  a  sculptor 
with  Thorvaldsen  and  Bissen  at  Copenhagen;  in 
1846  went  to  Munich,  and,  a  year  later,  to  Rome, 
where  he  devoted  himself  entirely  to  painting, 
)iis  work  at  the  outset  being  influenced  by  that  of 
Biermann,  Begas,  Feuerbach  and  Kraus.  He 
settled  at  Dresden  in  the  year  1858,  painting  genre 
scenes  and  portraits  -with  success.  Of  tlie  former 
we  may  mention,  '  Die  Schule  ist  aus,'  '  Senza 
Moccolo,'  '  Erntezeit,'  and  '  In  der  Campagna.' 
He  died  at  Plauen,  near  Dresden,  Nov.  22,  1892. 

REINHOLD,  Friedrich  Philipp,  landscape 
208 


painter,  born  at  Gera  in  1799,  worked  at  the 
Academy  in  Vienna,  in  which  city  he  took  up  his 
residence.  His  principal  works  are,  '  A  land- 
scape with  thunder-clouds ; '  'A  landscape  with 
the  Wandering  Jew,'  a  very  original  work  ;  two 
pictures,  '  Death  and  Life,'  '  The  Reapers  at  their 
Meal.'     He  died  between  1840  and  1843. 

REINHOLD,  Heinrich,  brotlier  of  Friedrich 
Reinhold,  painter  and  engraver,  born  at  Gera  in 
1789,  went  from  Dresden,  where  he  ffrst  studied, 
to  his  brother  in  Vienna,  where  he  visited  the 
Academy,  and  then  in  1809  to  Paris,  to  Denon,  for 
whom  he  engraved  several  plates  for  his  work  on 
Napoleon's  campaigns.  In  1819  he  returned  to 
Vienna,  and  in  1820  travelled  with  an  English 
family  to  Italy,  and  settled  in  Rome,  where  he 
painted  heroic  landscapes.  Reinhold  died  at 
Albano  in  1825.     Works  : 

Berlin.      National  Gall.     A  Sicilian  Coast  Scene. 
Copenhagen.  Thor-  \  „  .     .,      rt-..-^ 

mddsen  Museum.]  ^"^'^^  '°  '"^  i^esert. 
„  „  The  Good  Samaritan. 

Munich. JVeHiPinaArortei-.    The  Garden  of  the  Capuchins 
at  Sorrento. 

REINICK,  Robert,  painter,  born  at  Dantzig  in 
1805,  studied  first  at  Berlin  under  Begas  ;  worked 
at  Diisseldorf  from  1831  to  1838,  then  went  to 
Italy,  and  finally  settled  in  Dresden.  He  was 
also  a  poet,  and  issued  several  songs  with  illus- 
trations, besides  a  few  books  for  children.  He 
died  at  Dresden  in  1852. 

REINIGER,  Ernst,  a  landscape  painter,  was 
a  native  of  Stiittgart.  He  was  very  ready  with  his 
brush,  and  his  pictures  were  fresh  and  natural. 
He  died  at  Munich  in  1873.     Works  : 

The  Maderanerthal. 

The  Kamsau. 

Miihithal,  on  the  Stamberger  Sec. 

REINSPERGEK,  Johann  Christoph,  a  Ger- 
man painter  and  engraver,  born  at  Nuremberg  in 
1711,  was  a  scholar  of  Liotard,  and  practised  for 
some  time  at  Vienna.  He  painted  portraits,  some 
of  which  lie  has  engraved  in  a  coarse,  heavy  style, 
nearly  as  large  as  life,  among  which  are : 

The  Empress  Dowager,  Elizabeth  Christiana. 
Joseph  11. ,  Emperor  of  Germany  ;  after  Palko. 
Maria  Theresa,  Empress  of  Austria  ;  after  Liotard. 
The  Archduke  Leopold  of  Tuscany  ;  after  Falko. 

He  also  engraved  a  plate  of  'The  Lute-player,' 
after  Bernardo  Strozzi.  He  died  at  Vienna  in 
1777. 

REISEN,  Charles  Christian,  the  well-known 
medallist  and  seal  engraver,  was  born  in  London 
about  1680.  He  merits  a  place  here  through  his 
abilities  as  a  draughtsman,  and  the  work  he  did  as 
Director  of  Kneller's  school.  He  was  much  em- 
ployed for  foreign  patrons,  in  seal  engraving,  and 
greatly  helped  by  the  Earl  of  Oxford.  He  lived  in 
the  neighbourhood  of  Covent  Garden,  but  also  had 
a  house  at  Putney.  He  was  a  large  collector  of 
medals,  books,  and  drawings.  He  died  December 
15,  1725,  and  was  buried  in  St.  Paul's,  Covent 
Garden. 

REITER,  Bartolome,  a  painter  and  engraver 
of  Munich,  flourished  during  the  first  quarter  of 
the  17th  century.  He  was  a  scholar  of  Hans 
Ostendorfer  the  younger,  and  of  one  Hennenberger, 
and,  traditionally,  one  of  the  best  painters  of 
Munich  in  his  time  ;  it  is  also  said  that  he  had 
many  pupils.  In  the  chapel  in  Unter  Ammergau  is 
a  picture  of  St.  Vitus,  signed  B.  R.  F.  1618.  He 
died  at  Munich  in  1622.     The  following  is  a  list 


PAINTERS  AND  ENGRAVERS. 


of  Reiter's  prints,  on  which  his  reputation  must 
now  rest : 

1.  Chriet  holdiog  the  Globe  in  His  right  hand. 

2.  Christ  seated,  crowned  with  thorns ;  Bartlme  Reitter 
— Pictm'.  Inv.  Monachij  1615. 

3.  Christ  carrying  His  Cross,  group  of  half-length  figures ; 

Geary  Btham  inv.  Monachii.     Bart.  Reiter  fee.     1610. 

4.  Christ  exposed  to  the  People  ;  inscribed  Ecce  Homo. 

Bart.  Reiter  pictor  Jii/ur.  Monachij  1612/ec. 

5.  The   Holy  Family  with  St.  Francis  or  St.  Jerome, 

half-figures,  a  copy  after  Palma,  with  both  mono- 
grams. 

6.  St.  Jerome  sitting  in  a  Cavern,  half-figure,  the  lion 
on  the  left :  signed  Bart.  Rei/tter  pictor  inv.  et  exmd. 
There  is  an  impression  signed  Bartholome  Reuter. 

7.  A  Nymph  sitting  in  the  lap  of  a  Satyr,  Cupid  at  their 
feet ;  Bart.  Reiter  fee.  Monachij  1610. 

8.  Venus  holding  a  Mirror,  and  seated  with  Cupid  under 
a  Tree,  half  figures;  6'eary.  Bec/iam  inv.  B.  Reyter 
fee.  1610. 

9.  Neptune  on  a  Sea-Horse  holding  his  Trident ;  Georg 
Beham  inv.  Monachij,  with  Reiter's  mark,  and  the  date 
1610. 

10.  A  Child  seated  on  a  Skull  and  blowing  Bubbles ;  B. 

R.  F.  Mona^hi  Zimmermann  Excud. 
11—18.     Eight  prints,  a  series  of    naked    Children   in 

different  positions  ;  marked  B.  R. 

REITZ,  E.,  a  native  of  Sweden,  flourished  about 
the  year  1700.  He  engraved  several  plates  of 
coins  and  architectural  views  for  a  work  entitled 
'Suecia  Antiqua  et  Hodiema.' 

REJHAN,  JozEF,  a  Polish  portrait  painter  of 
German  origin,  was  born  in  Poland  about  1762,  and 
instructed  in  the  rudiments  of  art  at  Warsaw.  In 
1794  he  served  in  the  Polish  army,  but  in  1798  he 
settled  at  Lemberg  in  Galicia,  where  he  died  in 
1822,  aged  sixty.  Rejhan  was  chiefly  engaged  as 
a  portrait  painter,  and  in  that  branch  of  art 
occupies  a  high  position  among  Polish  artists,  but 
his  pictures  of  the  '  Crucifixion  '  and  the  '  Nativity  ' 
in  the  Lutheran  Church  and  the  Church  of  St. 
Anne  at  Lemberg  also  show  a  high  conception  of 

art. 

REKTORZIK,  Franz  Lobenz  Joseph,  painter, 
born  at  Briinn  in  1793,  was  at  first  in  the  Foreign 
Office,  and  in  1815  was  Interpreter  at  Valence  to 
the  Austrian  Governor,  and  then  Director  in  the 
Chancery.  He  painted  without  having  received 
any  set  instruction,  and  produced  several  etchings 
of  landscapes,  animals,  and  genre  pictures. 

RELINDE,  Abbess  of  the  convent  of  Alten- 
Eyck,  near  Maeseyck,  and  her  sister  Herlinde 
were  skilful  illuminators  upon  parchment  and  vel- 
lum, and  flourished  in  Flanders  in  the  7th  century. 
Some  specimens  of  their  work  are  still  in  exist- 
ence in  the  treasury  of  the  ancient  church  of 
Maeseyck. 

REM,  Gaspar,  a  Flemish  painter  of  little  note, 
who  was  born  in  1542,  and  died  in  1614.  In  1554 
one  Jasper  Rem  was  inscribed  as  pupil  to  Willem 
van  Cleeve,  at  Antwerp,  and  he  seems  to  have  be- 
longed to  a  large  family  of  artists.  In  1578  Rem 
was  in  Venice,  where  liis  portrait  was  painted  by 
H.  van  Aken.  Three  other  painters  of  this  name, 
Hans,  Joris,  and  Lodewtck,  are  mentioned  in  a 
document  of  1603,  discovered  by  Mr.  Bredius.  At 
Vienna  there  are  two  pictures  by  Gaspar  Rem :  a 
'St.  Jerome  in  the  Desert'  (engraved  by  Sadeler, 
not  in  1605  as  Nagler  says,  but  in  1603),  and  a 
portrait  of  himself  which  is  thus  signed :  a(nn)o 

D(0MI)NI    MDCXIIU    EFFIGIE(s)    GASPAK    rem    .STAT 
SVE  LXH. 

REMADT,    Pierre,  portrait    painter,  bom  at 
Bruges  in  1771.     He  studied  at  the  Academy  at 
Bruges,  but  without  achieving  much  excellence  in 
VOL.  IV.  p 


liis  art.  He  died  in  1826.  At  the  '  Hopital  St. 
Jean '  at  Bruges  there  is  a  portrait  by  him  of  one 
of  the  Superiors  of  the  Hospital. 

REMAUX,  Des,  an  obscure  painter,  a  native  of 
Ypres,  who  practised  in  Flanders  at  the  end  of 
tlie  17th  century.  In  the  church  of  St.  Bertin,  at 
Poperinghe,  there  is  a  '  Holy  Family'  by  him. 

REMBOLD,  Matthaus,  was  a  German  engraver, 
who  flourished  about  the  year  1635  in  Ulm,  and 
about  1654  in  Stuttgart.  His  plates  are  generally 
signed  with  a  monogram,  but  sometimes  thus  : 
Math.  JRemb.  He  engraved  portraits,  amongst 
others  that  of  the  Duke  of  Wiirtemberg,  and  he 
also  executed  the  architectural  plates  for  Furten- 
bach's  '  Architecture.' 

REMBRANDT.    See  Run. 

REMEEUS,  David,  painter,  was  Dean  of  the 
Guild  of  St.  Luke  at  Antwerp  in  1601. 

REMES,  Charles,  a  Belgian  painter,  bom  at 
Wetteren,  practised  in  the  first  part  of  the  19th 
century.  There  are  by  him  a  'Blind  Beggar'  and 
a  '  Madonna  of  the  Rosary.'  , 

R^MOND,  Jean  Charles  Joseph,  landscape 
painter,  born  in  Paris,  1795,  a  pupil  of  Bertin  and 
of  Regnault.  He  began  by  painting  conventional 
heroic  landscape,  but  after  travelUng  much  in 
France,  Italy,  and  Sicily,  he  adopted  a  simpler 
and  more  natural  style.  He  painted  many  viewB 
of  the  scenery  of  Auvergne,  Dauphiny,  Calabria, 
and  Sicily.  He  won  the  usual  honours  from  the 
French  Government,  and  died  in  Paris  in  1875. 

REMONDE,  (Romunde,  Rormunde,  Roarmunde,) 
Everard  de,  a  Flemish  portrait  painter,  the  details 
of  whose  life  and  works  are  unknown,  but  who,  in 
1616,  received  a  commission  from  the  Chambre  des 
Comptes  of  Brabant  to  paint  the  portraits  of  Albert 
and  Isabella.  Paul  van  Somer  received  a  similar 
commission  at  the  same  time. 

REMSDYKE,  Andrew,  a  portrait  painter  and 
draughtsman  of  Dutch  descent,  who  practised  in 
England  in  the  latter  part  of  the  18th  century.  He 
gained  a  medal  at  the  Society  of  Arts  in  1767, 
and  assisted  his  father,  John  Remsdyke,  in  a  series 
of  natural  history  illustrations.  He  died  at  Bath 
in  1786. 

REMSDYKE,  John,  a  natural  history  draughts- 
man, born  in  Holland  in  the  first  half  of  the  18th 
century.  He  settled  at  Bristol  and  worked  much 
for  Dr.  Hunter.  Assisted  by  his  son,  he  published, 
in  1778,  a  collection  of  natural  history  illustrations 
taken  from  the  British  Museum. 

REMSHARDT,  Karl,  a  German  engraver,  bom 
at  Augsburg  in  1678,  published  a  dictionary  of 
monograms.  His  initials,  C.  R.,  appear  on  some 
etchings  of  architecture  after  Paul  Decker.  Nagler 
mentions  several  others  by  him,  some  of  which 
are  copies  from  earlier  engravings.  He  died  at 
Augsburg  in  1755. 

REMY,  AuGDST,  painter,  was  a  professor  of  the 
Academy  of  Beriin,  bom  in  1800  or  1801.  He 
painted  portraits  and  historical  subjects.  His  best 
known  work  is  '  The  Fisheraian's  Wife.'  He  died 
at  Berlin  in  1872.  His  daughter  Maria  REin", 
bom  at  Berlin,  1829,  practised  fruit  and  flower- 
painting. 

REN  AN,  Art,  French  painter;  bora  in  Paris, 
1855  ;  a  pupil  of  Delaunay,  .Moreau,  and  of  Puvis 
de  Chavannes  ;  son  of  the  famous  Ernest  Renan  ; 
exhibited  at  the  Salon  in  1880  his  'Portrait  de 
Mile.  N.  R.,'  and,  in  1882, '  Le  Plongeur' ;  travelled 
in  the  East,  and  a  Chevalier  of  the  Legion  d'Hon- 
neur.     He  died  in  Paris,  August  4,  1900. 

209 


A  BIOGRAPHICAL  DICTIONARY  OF 


RENANTO,  J.,  is  mentioned  as  the  engraver 
of  a  wood-cut  representing  'The  Wise  Men's 
Offering-,'  which  is  very  indifferently  executed. 

RENARD,  Jean,  was  a  French  engraver,  who 
resided  in  Paris  about  the  year  1710.  He  executed 
some  plates  for  a  collection  of  views  of  the  palace 
and  park  at  Versailles. 

RBNATDS.    See  Boivin,  Ren£. 

RENAUD,  Marie  Honore,  miniaturist  and 
painter  upon  porcelain,  was  born  in  Paris,  1797. 
Amongst  las  miniatures  we  may  mention  a  '  Holy 
Family,'  after  Raphael,  and  '  Van  Dyck  painting  his 
first  picture,'  after  Ducis. 

RENAUDIN,  Rosalie,  a  pupil  of  Girodet,  prac- 
tising in  France  in  the  early  part  of  the  19th 
century.  She  painted  portraits,  flowers,  and  fruit, 
both  in  oil  and  water-colour,  and  occasionally 
miniatures.  There  are  by  her  a  '  Sleeping  Endy- 
mion,'  after  Girodet,  and  a  '  Zephyrus  on  the 
Waters,'  after  Prud'hon. 

REN  DEUX,  Es'GLEBERT,  marine  painter,  born 
at  Li^ge,  1719.  He  worked  for  a  time  under 
Joseph  Vernet,  and  eventually  became  a  priest, 
and  settled  in  Rome,  where  he  held  the  office  of 
almoner  to  Prince  Berzonico.     He  died  in  1777. 

RENE  of  Anjou,  King  of  Naples,  Duke  of 
Lorraine,  and  Count  of  Provence  (father  to  Mar- 
garet, wife  of  Henry  VI.  of  England),  bom  in  1409, 
was  a  good  painter.  He  painted  his  own  portrait, 
which  was  extant  some  years  ago  in  the  chapel 
of  the  Canuelites  at  Aix  ;  and  there  is  a  print  from 
it  in  Montfaucon  :  he  is  supposed  to  have  painted 
that  of  Charles  VII.  of  France,  also.  He  painted 
a  large  number  of  miniatures  in  missals  and  on 
glass,  and  was  lauded  as  one  of  the  best  artists  of 
his  age.  He  also  employed  himself  in  writing 
poetry,  and  works  on  agriculture,  and  in  the  im- 
provement of  the  condition  of  his  people,  by  whom 
he  was  called  'le  bon  roi  Ren^.'  The  events  of  his 
life  belong  to  history.  Examples  of  his  works  exist 
at  Aix,  Viileneuve  near  Avignon,  and  the  Hotel  de 
Cluny.  At  Aix  is  an  altar-piece  consisting  of  a  centre 
representing  Moses  on  the  ground  taking  off  his 
shoes,  and  the  burning  bush  ;  and  two  shutters, the 
left  one,  his  own  portrait,  with  Saints,  and  the 
right  one,  his  second  wife,  Jeanne  dc  Laval,  with 
Saints.  The  work  in  Cluny  ascribed  to  him  is  a 
curious  old  picture  on  panel  of  '  Mary  Magdalene 
at  Marseilles.'  In  the  foreground  appear  the  figures 
of  King  Ren6  and  his  wife  Jeanne.  Around  them 
are  grouped  the  Marseillais,  in  a  circle  of  which  the 
Magdalen  is  the  centre.  She  stands  upon  a  tribune 
and  addresses  the  assembly.  In  the  background 
are  the  city  of  Marseilles  and  the  sea.  To  quote 
the  words  of  Cesar  Nostradamus  ('  Hist,  et  Chron. 
de  Provence,'  edit.  1614),  Ren^,  "besides  his 
sublime  and  royal  qualities,  was  a  good  musician, 
a  very  good  poet  both  in  French  and  Italian,  and 
above  all  things  loved,  with  a  passionate  love,  the 
art  of  painting,  and  had  so  excellent  a  taste  for 
that  noble  profession,  that  he  was  famous  among 
the  most  excellent  painters  and  illuminators  of  his 
time,  as  we  may  judge  from  the  number  of 
masterpieces  achieved  by  his  royal  and  divine  hand." 
He  died  at  Aix  in  1480. 

RENEDO,  Juan  de,  an  engraver  of  Zaragoza, 
executed  in  1666  a  bold  title-page  adorned  with 
heraldic  and  allegorical  devices  for  Diego  de  Sayas 
Rabanera's  'Anales  de  Aragon.' 

RENESSE,  Constantin  Adrian,  was  a  clever 
designer  and  etcher,  of  whose  history  nothing  is 
known,  except  what  may  be  gathered  from  his 

•210 


prints.  These  bear  a  considerable  resemblance  to 
the  etchings  of  Rembrandt,  and  may  be  mistaken 
by  the  unwary  for  the  works  of  that  master. 
Bartsch  has  admitted  one  in  his  Catalogue  (tom. 
ii.  p.  104,  No.  18).  Renesse  flourished,  as  we  know 
from  his  prints,  between  the  years  1649  and  1661  ; 
the  probability  is  that  he  lived  in  Holland,  though 
his  name  may  belong  to  France,  or  Flanders. 
Nagler  describes  six  etchings  by  him,  of  which 
the  titles  are  given  below  ;  but  Brulliot  says  there 
are  eleven,  and  that  one  bears  his  monogram 
(C.  A.  K.  in  a  cipher),  and  this  he  supposes  is 
the  artist's  portrait :  it  represents  a  half-length 
figure  of  a  man,  full  face,  wearing  a  '  baret,'  seated 
at  a  table  and  holding  a  basin  in  his  left  hand. 
The  other  prints  have,  most  of  them,  the  mono- 
gram accompanied  by  enesse.  Dutch  writers  men- 
tion a  J.  Renesse,  who  painted  landscapes  and  sea- 
pieces,  and  who  is  probably  identical  with  this 
engraver. 

The  following  list  of  Benesse's  prints  is  taken 
from  Nagler  : 

A  half-length  figure  of  a  Man  seated  at  a  table  ;  with 

the  monogram. 
A  Clergyman  seated  at  a  table,  with  books,  &c. ;  signed 

Eeiusse. 
A  half-length  figure  of  a  young  Man. 
Full-face  Portrait  of  a  young  Man,   with   long   hair 

escaping  from  under  his  cap;  signed  C.  A.  Rtnesse, 

1651. 
Christ  bearing  His  Cross. 
A  Village  Fair,  with  Mountebanks  and  a  crowd  of 

People. 

RENI,  GniDO,  commonly  called  "  Guido,"  was 
horn  at  Calvenzano,  near  Bologna,  in  1575.  His 
father,  a  musician,  failing  to  persuade  his  son  to 
follow  in  his  own  profession,  placed  him  at  the 
age  of  ten  with  Denis  Calvaert,  the  Antwerp 
painter,  then  living  at  Bologna,  and  nine  years 
later  in  the  rival  studio  of  the  Carracci.  He  also 
studied  fresco  painting  with  Ferrantini.  To  this 
period  belonged  some  frescoes  in  Count  Zani's 
palace,  now  skilfully  removed  and  in  possession 
of  Mr.  Pi.  Bankes  at  Kingston  Lacy ;  some 
frescoes  in  San  Michele  in  Bosco,  now  unhappily 
effaced,  and  two  of  his  earliest  collective  pictures 
(now  preserved  in  the  Pinacoteca  of  his  native 
town),  '  The  Massacre  of  the  Innocents '  and  '  The 
Coronation  of  the  Virgin.'  About  the  end  of  the 
century  Guido  accompanied  Annibale  Carracci  to 
Rorne  to  help  in  the  decoration  of  the  Farnese 
Palace,  the  peculiar  field  of  labour  in  that  city  of 
tlie  Bolognese  painters.  How  extensive  was  the 
work  of  Guido  there  it  is  impossible  to  define,  as 
'  Perseus  and  Andromeda  '  and  '  Galatea '  can  only 
be  identified,  the  original  cartoon  for  these  two 
works  being  in  the  National  Gallery.  Soon  after 
his  arrival  at  Rome  he  came  under  the  influence 
of  Caravaggio,  whose  jealousy  he  roused  by  the 
clever  imitation  of  his  naturalistic  compositions. 
He  also  added  the  study  of  Raphael  to  the  know- 
ledge he  had  already  acquired,  and  shortly  painted 
what  is  usually  considered  his  finest  piece, '  Aurora 
preceding  the  Chariot  of  Apollo,'  on  the  ceiling  of 
the  garden  pavilion  of  the  Palazzo  Rospigliosi. 
His  next  work  was  for  his  constant  friend  and 
patron.  Pope  Paul  V.,  in  the  decoration  of  his 
chapel  in  the  Quirinal  Palace  and  in  the  Borghese 
chapel  in  Sta.  Maria  Novella,  preceded  by  a  '  St. 
Cecilia'  in  one  of  the  old  Trastevere  churches, 
and  the  'Crucifixion  of  St.  Peter,'  now  in  the 
Vatican.  '  St  Michael,'  in  the  Capucini  church, 
and  the  'Ariadne  and  Fortuna'  in  the  Academy 


^   g 

O     :: 

D 

O 


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< 


PAINTERS  AND  ENGRAVERS. 


of  S.  Lacia,  are  also  among  his  most  celebrated 
works  of  this  period ;  but  Rome  is  not  rich  in 
works  by  this  master,  who  spent  the  best  years  of 
his  life  there,  and  is  reported  by  Oretti  to  have 
painted  eighty-three  frescoes  and  pictures  for 
that  city.  He  paid  several  visits  to  Bologna  and 
the  other  northern  towns  of  Italy,  and  also  spent 
some  time  at  Naples  in  1621,  but,  like  so  many 
other  artists,  was  driven  away  by  the  jealousy  of 
the  Neapolitans,  leaving  unfinished  what  many 
consider  his  probable  masterpiece,  a  '  Nativity  ' 
in  S.  Martino. 

Soon  after  this  period  Guido  finally  gave  up  the 
pronounced  energetic  style  of  his  youth  and  the 
dark  heavy  shadows  acquired  later  from  his  study 
of  Caravaggio's  work,  and  adopted  what  is 
usually  described  as  his  third  style.  The  special 
characteristics  of  this  was  a  preference  for  more 
neutral  tints,  a  thinness  of  irapasto,  and  extreme 
facility  and  rapidity  of  execution  ;  while  gradually 
the  tragic  representation  of  voluptuous  and  pas- 
sionate emotion  gained  upon  him,  until  the  latter 
years  of  his  life  passed  at  Bologna  saw  innumer- 
able 'Cleopatras,'  'Lucretias'  and  'Magdalens' 
from  his  brush,  which,  though  chiefly  founded  on 
his  earlier  classic  studies,  unfortunately  detract 
from  instead  of  enhancing  the  value  of  his  fame. 
His  often-repeated  '  Ecce  Homos,'  resembling  the 
Laocoon,  his  penitent  '  Magdalens,'  recalling  the 
weeping  Niobe,  also  belong  to  this  period  of  his 
art.  Rapidity  of  execution  in  a  measure  accounts 
for  this  uncertainty  in  his  work.  A  manuscript 
is  in  existence  by  Oretti  which  contains  a  hst  of 
four  hundred  works  by  Guido,  many  indeed  the 
result  of  his  youthful  industry,  but  the  later  pro- 
ductions influenced  by  the  necessity  of  gaining 
money  through  difiiculties  arising  from  his  great 
love  of  gambling,  when  one  of  his  creditors  is 
reported  to  have  sat  over  him  watch  in  hand 
while  he  executed  work  by  the  hour  for  him.  He 
died,  beset  by  fears,  troubles,  and  debts,  in  1642. 

At  his  best  the  paintings  of  Guido  are  admirable. 
As  a  painter,  the  purity  of  his  early  colouring,  the 
dramatic  force  of  his  prime,  are  superb,  while 
as  an  engraver  he  was  bold  and  free  in  execution, 
and  showed  the  same  quality  of  grace  as  we  find 
in  his  pictures.  He  sometimes  marked  his  plates 
with  his  initials  G.  R.,  and  sometimes  with  this 

monogram  (j^>      His   pictures   are  difficult  to 

identify,  yet  a  few  marked  traits  may  guide 
the  careful  observer.  He  usually  designed  his 
faces  with  large  eyes,  the  nostrils  somewhat 
closed,  the  mouth  very  small,  especially  when 
depicting  female  beauty.  The  hands  are  often 
rather  unfinished,  and  the  feet  are  characterized 
by  the  toes  being  rather  closely  joined,  while 
some  of  his  figures,  especially  in  his  mythological 
subjects,  are  marked  by  a  shortness  of  the  leg, 
especially  of  the  thigh,  that  detracts  from  their 
grace  and  symmetry.  In  his  own  day  Guido 
was  one  of  the  most  popular  artists,  as  the  many 
eongs  and  eulogies  written  in  his  honour  testify, 
while  his  ateliers  in  both  Rome  and  Bologna  were 
largely  attended.  The  following  are  among  his 
best-known  pupils:  Giacomo  Semenza,  Francesco 
Gessi,  Guido  Cagnacci,  the  Sirani,  father  and 
daughter,  Simone  Contarini  de  Pesaro,  Flaininio 
Torre,  Marescotti,  Girolamo  Rossi,  Rugieri,  Do- 
menico  Canuti,  Bolognini  and  Pietro  Ricci,  all  of 
whom  are  well  represented  in  the  Gallery  at 
Bologna.  Guido's  works  are  to  be  found  in  most 
P  2 


of  the  well-known  Galleries  of  Europe  and  in 
many  of  the  churches  and  palaces  of  Italy.  A  fair 
number  have  found  their  way  to  the  private 
collections  in  England,  although  during  the  latter 
part  of  the  19th  century  the  works  of  this  artist 
have  not  been  in  so  great  demand  as  they  were  in 
the  17th  and  18th  centuries,  when  they  fetched 
unusually  high  prices.  According  to  Siret,  a  '  St. 
Joseph '  changed  hands  for  7900  florins,  while  so 
late  as  1861  a  'St.  James'  was  sold  at  Christie's 
for  £1312  10«.  Space  only  permits  us  to  enume- 
rate below  the  best-known  and  most  accessible  of 
Guido's  numerous  pictures. 


Antwerp.  Church  of  St. 

Jacques. 

„     Wruyta  Gallery 

A  Mater  Dolorosa. 
A  Madonna, 

Berliu. 

Museum. 

The  Hermits. 

,^ 

^, 

Mater  Dolorosa. 

„ 

', 

David. 

Besan^on, 

Gallery 

Cleopatra. 

Bologna. 

Pinacoteca. 

Madonna  della  Pieta, 

The  Massacre  of  the  Innocents. 

,, 

,, 

Christ  on  the  Cross. 

,t 

Samson  victorious. 

,t 

,, 

A  Votive  Banner. 

tf 

,, 

Andrea  Corsini, 

,, 

St.  Sebastian. 

»* 

,, 

Coronation    of     the    Blessed 

Virgin. 
Ecce  Homo. 

Brunswick. 

Ducal  Pal. 

Procris  and  Cephalus. 

Brussels. 

Gallery. 

Flight  into  Egypt. 

,, 

»» 

A  Sibyl. 

Buda  Pesth 

Honyroise 
Gallery. 

1  Lucretia. 

Darmstadt. 

Gallery. 

Penitent  Magdalen. 

Dresden. 

Gallery. 

The  Infant  Christ. 

England.    Sat.  Gallery. 


Venus  and  Cupid. 

St.  Francis  d'Assisi. 

An  Ecce  Homo. 

A  Holy  Family. 

Ninus  and  Semiramis. 

Madonna,  with  it.  Crespin  and 
St.  Crespinian. 

St.  Jerome. 

Bacchus. 

Coronation  of  the  Virgin. 

Youthful  Christ  and  St.  John. 
,,  St.  Jerome. 

,,  The  Magdalen. 

„  Ecce  Homo. 

„  Lot  and  his  Daughter. 

,,  Susannah  and  the  Elders. 

,,  Cartoons:  Perseus  and  Andro- 

meda ;  Galatea. 
Dulvcich.     St.  John  preaching. 
„  Death  of  Lucretia. 

Europa. 

Virgin    and   Child,    with    St. 
John. 

Venus  and  the  Graces. 

Ecce  Homo. 

Cleopatra  and  the  Asp. 

St  Sebastian. 

St.  Catherine. 

A  folio  of  Cartoons. 

Portrait  of  his  Mother. 

The  Circumcision. 

Kace  of  Alalanta. 

Head  of  the  Magdalen. 


Hertford  House. 

Edinburgh  Gall. 
Hampton  Court. 
Windsor  Castle. 


Stafford  House. 


JBridgewater  \ 
House,  j 


Kedleston. 


Temple  ^eKsam. 

Lowther  Castle. 
Blair  Castle. 


Archangel. 

The  Infant  Christ  asleep  on 

the  Cross. 
Ariadne  and  Bacchus, 
Andromeda. 
Sleeping  Cupid. 
St.  John  the  Baptist. 
St.  Margaret,  with  the  Dragon, 
St.  Francis  in  Prayer. 
Assumption. 

211 


A  BIOGRAPHICAL  DICTIONARY  OF 


England.  Blair  Castle. 

II  »» 

ti  tt 

„  Saltram. 

»i  »* 

„  Narthwich  Park. 

»»  « 

,,   Burghley  House. 


Kingston  Lacy. 
Charlton  Park. 


Badminton. 

Elmore  Court. 

Longford. 
Cobham. 

Narford. 

Alton  Towers. 


Marbury. 


„     Lady  JVantage^s  ] 
Collection.  J 
Fano.  St.  Peter's. 

Florence.  Uffizi. 


Pitti  Gallery. 


„  Buonarotti  Gall. 
Forli.  St.  Gerolamo. 
Genoa.     Palazzo  Rosso. 


Gotha.  Friedenstein  Pal. 


Hague. 
Leipsic, 


Gallery. 
Museum. 


Loreto.  Santa  Casa. 

Lucca.     Mansi  Gallery. 
Madrid.  Gallery. 


Mayence.  Electoral  Pal. 
Milan.         Ambrosiana. 
212 


Assumption. 

Ecce  Homo. 

St.  Veronica? 

Head  of  an  Old  Man. 

St.  Faith. 

Angel  appearing  to  St.  Jerome. 

Head  of  St.  Peter. 

Lucretia. 

St.  Philip  de  Neri. 

St.  Peter,  head  and  shoulders. 

Virgin  with  the  dead  Christ. 

Virgin  and  Child. 

Angel's  Head. 

Head  of  the  Virgin. 

Herodias  with  John  the  Bap- 
tist's head  in  a  charger. 

Head  of  a  Youth. 

Woman's  head  and  shoulders. 

Boy  and  Pigeon. 

St.  Jerome. 

St.  Matthew. 

Virgin  and  Cliild. 

Sibyl  (ami  four  others). 

Night,  Dawn  and  Day. 

A  Nativity  or  Adoration  of  the 
Shepherds. 

Ecce  Homo. 

Four  pictures :  St.  Matthew, 
St.  Mark,  St.  Luke,  St. 
John. 

Lucretia. 

St.  Francis  in  the  Desert. 

Europa  and  the  Bull. 

Modesty  and  Liberality. 

St.  Francis. 

Venus  stealing  Cupids. 

St.  Catherine. 

Magdalen. 

A  Bishop. 

Boy's  Head  and  St.  John  the 
Baptist. 

Holy  Family. 

Madonna  and  Child. 

Massacre  of  the  Innocents. 

Sibyl. 

The  Annunciation. 

St.  Sebastian. 

Madonna  in  Contemplation. 

Madonna  and  Holy  Child. 

Cumaain  Sibyl. 

Susanna  and  the  Elders. 

Charity. 

Cleopatra. 

St.  Peter  weeping. 

Bacchus. 

Portrait  of  an  Old  Man. 

Rebecca  at  the  Well. 

St.  Paul. 

Madonna  and  Angels. 

The  Virgin  Praying. 

A  Magdalen. 

The  Saviour  holding  the  Globe. 

A  Penitent  Magdalen. 

An  Assumption. 

St.  Sebastian. 

A  Sleeping  Child. 

An  Ecce  Homo. 

A  Boy  with  a  Dove's  Nest. 

St.  Laurence. 

The  Discreet  Cupid. 

A  Madonna. 

St.  John. 

David     with     the     head     of 

Goliath. 
Madonna. 

Martyrdom  of  St.  Andrew. 
St.  flames. 

Portrait  of  a  Young  Girl. 
Madonna  a  la  chaise  Magdalen. 
Martyrdom  of  St.  Sebastian. 
Cleopatra. 

The  Rape  of  Europa. 
St.  Paul  and  St.  Peter. 


Milan.  Ambrosiana. 

)»  »» 

Modena.  Ducal  Palace. 


Munich. 


Gallery. 


Naples.  St.  Philip  Neri. 
S.  Martino. 


Paris. 


Louvre. 


Padua.  Eremitani 

Church. 
Perugia. 
Petersburg.    Hermitage. 


Pisa.  Gallery. 

Potsdam.     New  Palace. 


Ravenna. 
Rome. 


Cathedral. 
»» 
Vatican. 


Capitol  Gallery. 
S.  Lucca  Gallery. 


Corsini  Gallery. 


Sciarra  Gallery. 

Colonna  Palace, 

Barberini  Palace. 


Pal.  Conservatori. 
Pal.  Eospi(jliosi. 


Borghese. 

Quirinal. 

St.  Gregory. 


„  S.  Lorenzo  in 

Lucina. 

„  Sta.  Maria  de 

Capucini. 

SS.  TrinitA  de 

Pellegrini. 

„  Sta.  Maria 

Maggiore. 

Schleissheim.     CJidteau. 

»»  ,» 

Siena.     Ch.  of  Martina. 


An  Old  Man's  bead  and 
shoulders  (unjinished). 

An  Ecce  Homo. 

St.  Koch  in  Prison. 

Christ  on  the  Cross. 

Purification  of  the  Holy  Virgin. 

The  Holy  Trinity. 

The  Assumption  of  the  Virgin. 

Apollo  flaying  Marsyas. 

St.  Francis  d'Assisi. 

The  Nativity  i  unfinished). 

David  and  Goliath. 

Virgin  and  Child. 

Ecce  Homo. 

The  Magdalen. 

Life  of  Hercules  (four  scenei 
from). 

Rape  of  Helen. 

Holy  Family. 

St.  Sebastian. 

>  St.  John  the  Baptist. 

A  Circumcision. 
The    Seamstresses    (originally 
called '  The  Virgin  at  School'). 
Cenci. 

Adoration  of  the  Shepherds. 
St.  Jerome. 
St.  Peter. 

The  Repose  in  Egypt. 
Adoration  of  St.  Francis. 
Heavenly  and  Earthly  Love. 
Cleopatra. 
Lucretia. 
Madonna. 

Falling  of  the  Manna. 
Elijah  in  the  Desert. 
Crucifixion  of  St.  Peter. 
Madonna  in  Glory. 
Frescoes    from     the    Life    of 

Samson. 
A  Redeemed  Spirit. 
A     Cupid     playing     with     & 

Dove. 
Ariadne  and  Bacchus. 
Fortuna. 
Herodias. 
Magdalen. 
An  Old  Man. 
Head  of  an  Angel. 
The  Adoring  Virgin. 
Galatea. 
Contemplation. 
Three  Ecce  Homos. 
The  Magdalen. 
St.  Agnes. 
The    Cenci,    or    Head    of    a 

Girl. 
So-called  Stepmother. 
St.  Sebastian. 
Magdalen. 
Aurora. 

Details  of  Head. 
Andromeda. 
Head  of  St.  Joseph. 
The  Annunciation. 
St.      Andrew      adoring      the 

Cross. 
The  Almighty,  with  a  cluster 

of  Angels  (fresco). 

!•  The  Crucifixion. 

[  St.  Michael  and  the  Dragon. 


[  The  Trinity. 
I 


Stuttgart. 
Turin. 


Gallery. 
Gallery. 


The  Immaculate  Conception. 

Fortuna. 

Toilet  of  Venus. 

A  Circumcision. 

Collection,  full-length  Figures. 

St.  Sebastian. 

Group  of  Cupids. 


PAINTERS  AND  ENGRAVERS. 


Turin. 

« 

Venice. 
Vienna. 

Weimar. 


Galltry,     St.  John  the  Baptist. 
„  Lucretia. 

,,  Renown. 

Palazzo  San- )  j^^^^j.^  f^om  the  Croiw. 
~'"Tio.  y 


Jjiechtf astein  ) 
Gallery,  j 


John  the  Baptist. 

The  Magdalen. 
,,  St.  Jerome. 

Museum.    Cartoons. 


D.R;M. 


Guido  has  left  a  considerable  number  of  etchings. 
They  are  free  and  bold  in  execution,  and  show  the 
same  qualities  of  grace  that  we  find  in  his  pictures. 
Simone  Contarini,  one  of  Guido's  pupils,  imitated 
his  work  with  the  point  with  skill.  The  following 
are  perhaps  his  best  plates  : 

FBOM    HrS   OWN   DESIGNS. 

The  Bust  of  Pope  Paul  V.,  inscribed  Puuliis  V.  Font. 

&pt.  max. 
The  Holy  Family,  in  which  the  Virgin  is  seated,  with 

her  face  towards  the  Infant  Christ. 
The  Virgin,  with  the  Infant  Jesus  sleeping  on  her  breast. 

(He  has  engraved   this  subject  in  three  different 

manners.) 
The  Virgin  embracing  the  Infant  Christ,  and  holding  a 

book  in  her  baud. 
The  Virgin,  and  Infant  Jesus  giving  His  hand  to  St. 

John. 
The  Holy  Family,  with  two  Angels  scattering  flowers. 

(He  engraved  this  subject  four  times,  with  variations.) 
St.    Christopher    carrying   the    Infant    Jesus   on    his 

shoulders. 
St.  Jerome  praying  in   a  Cave,  with  a  book  and  a 

crucifix. 
The  Virgin  seated  in  the  Clouds,  with  St.  George,  St. 

Francis,  St.  Lawrence,  and  others. 

AFTER   VARIOUS   MASTERS. 

A  Glory  of  Angels  ;  nfter  Luca  CamUaso. 
The  Entombment  of  Christ ;  after  Parmigiano. 
The  Holy  Family ,  with  St.  Clara  ;  after  A .  Carracci. 
The  Virgin  suckling  the  Infant  Jesus  ;  after  the  same. 
The  Charity  of  St.  Koch  ;  after  tite  same.     1610. 

-ff.A. 

KENT,  Lorenzo  del  Signor.    See  Loli. 

RENNOLDSON,  — ,  was  an  engraver,  who  prac- 
tised in  mezzotint  in  London  in  the  middle  of  the 
18th  century.  His  best  known  plate  is  '  The 
Dancing-ilistress,'  after  John  Collet. 

RENODI,  Abraham,  an  obscure  portr.-iit  painter, 
born  at  the  Hague,  practising  in  Holland  at  the 
close  of  the  18th  century. 

RENOU,  Antoine,  a  French  painter,  poet,  and 
actor,  born  in  Paris  in  1731,  w.as  a  scholar  of 
Pierre  and  Vien,  and  passed  some  time  at  the 
court  of  Stanislaus,  King  of  Poland,  as  painter  to 
that  prince  ;  and  at  the  same  time  exercised  his 
talents  as  an  actor  and  writer  of  verses.  On  liis 
return  to  Paris  lie  was  admitted  a  member  of  the 
Academy  of  Painting,  and  was  employed  on  part 
of  the  ceiling  of  the  Apollo  Gallery  in  the  Louvre. 
He  was  the  author  of  a  tragedy  on  the  subject  of 
Tereus  and  Philomela,  and  translated  Dufresnoy's 
poem  on  Painting  from  Latin  into  French.  He 
also  painted  a  picture  of  '  Christ  among  the 
Doctors ;'  '  Agrippina  with  the  Ashes  of  Ger- 
nianicus;'  an  'Annunciation'  for  the  church  of 
St.  Germain-en-Laye,  and  the  ceiling  of  the  Hotel 
de  la  Monnaie  at  Paris.  Kenou  died  in  Paris  in 
1806. 

RENOU,  LoniSE  Antoinette  (nee  Lucas),  the 
wife  of  Antoine  Renou,  was  born  in  Paris  in  1754. 
There  are  by  lier  a  few  plates  engraved  after  the 
modern  French  painters  ;  among  which  is  : 

Alexander  and  his  Physician ;  after  Colin  de  Vermont. 


RENOUF,  Emile,  French  painter  ;  born  in  Paris, 
June  23, 1845  ;  a  pupil  of  Boulanger,  Lefebvre,  and 
Carolus  Duran ;  made  his  delnit  at  the  Salon  in 
1870  with  '  Environs  de  Honflcur,'  a  subject  which 
he  repeatedly  painted.  His  '  Dernier  radoub ' 
was  engraved  and  subsequently  bought  by  the 
State.  Other  famous  pictures  of  his  are :  '  La 
Veuve'  (in  the  Qiiimper  Museum),  'Coup  de 
Main '  (1889),  '  Un  Orage  en  Mer '  (1894),  and  |  Le 
Pilote '  (in  the  Rouen  Museum).  He  visited 
America,  where  he  painted  an  important  picture, 
'  Brooklyn  Bridge,'  now  in  the  Havre  Museum. 
He  was  a  Chevalier  of  the  Legion  of  Honour, 
obtained  a  second-class  medal  in  1880,  and  a  gold 
medal  in  1889,  besides  a  first-class  medal  at  the 
Munich  Academy.    He  died  at  Havre  in  May  1894. 

RENOUX,  Charles  Caius,  a  French  landscape 
painter,  was  born  in  Paris  in  1795,  and  died  there 
in  1846.  He  painted  landscape  and  interiors. 
There  are  by  him  the  following : 

Monks  bearing  a  Coffin. 
Subterranean  Church  at  Basle. 
View  on  the  Durance. 

RENTINCK,  Arent,  or  Aart,  a  Dutch  painter 
of  portraits  and  genre,  was  born  at  Amsterdam  in 
1712.  He  was  a  pupil  of  Arnold  van  Boonen  and 
of  Nicolaas  Verkolje.  Later  on  he  studied  under 
Karel  de  Moor.  He  spent  many  years  at  Berlin, 
and  there  he  died  in  1775.  He  painted  many  good 
copies  from  the  old  masters,  and  also  practised  as 
an  engraver. 

RENTINCK,  Jan,  a  Dutch  painter,  born  at 
Nieuwerbrug,  near  Bodegraven,  in  1789.  He  was 
a  pupil  of  P.  C.  Wonder,  and  of  Jan  van  Ravensz- 
waay,  and  painted  chiefly  interiors  and  still-life. 
He  died  in  1846. 

RENTON,  John,  an  English  portrait  and  land- 
scape painter,  who  exhibited  at  the  Royal  Academy 
from  1799  to  1840.  He  contributed  altogether 
some  forty  pictures,  one  of  which  was  a  '  Charles 
I.  raising  his  Standard  at  Nottingham.'  In  the 
year  1840  he  sent  some  intaglios  to  the  exhibition, 
after  which  all  trace  of  him  is  lost. 

RENTZ,  Michael  Heinrich,  a  German  painter 
and  engraver,  was  born  at  Niiremberg  in  1701, 
where  he  studied  under  Preisler  and  Montalegre. 
He  executed  several  plates  for  books,  some  by 
himself,  others  in  conjunction  with  Montalegre. 
He  settled  in  after  life  at  Kukus  in  Bohemia, 
where  ho  had  been  invited  by  a  Count  Spork, 
whose  portrait  he  had  painted,  and  where  he  died 
in  1758. 

RENTZCH,  (Rensch,  Rentsch,)  Johann  Fried- 
rich  Jakob,  painter,  born  at  Dresden  in  1792, 
studied  under  J.  Schubert,  and  became  professor 
of  drawing  at  the  industrial  school  at  Dresden, 
His  works  are  well  drawu  and  warm  in  colour. 
The  best  known  are  an  altar-piece  for  a  votive 
chapel,  '  Hagar  in  the  Wilderness,'  and  'Gretchen 
at  the  Distaff,'  the  latter  engraved  by  Kiichler. 

RENZI,  Cesario,  an  historical  painter  of  little 
note,  born  at  San  Ginesio  in  Italy.  He  was  a 
pupil  of  Guido,  and  practised  late  in  the  17th 
century. 

REQUENA,  ViNCENTE,  a  Spanish  painter  of  the 
16th  century,  bom  at  Concentayna.  In  1590  he 
was  practising  at  Valencia.  He  painted  the  '  Con- 
ception,' and  the  '  SS.  Jerome  and  Anne,'  in  the 
church  of  the  monastery  of  San  Miguel  de  los 
Reyes.  A  '  St.  Michael '  in  the  convent  of  San 
Domingo  has  also  been  attributed  to  him. 


A   BIOGRAPHICAL  DICTIONARY  OF 


RESANI,  Arcangelo,  was  born  at  Rome  in 
1670,  and  was  a  scholar  of  Gio.  Battista  Boocuore. 
He  chiefly  excelled  in  painting  animals  and  hunt- 
ing-scenes. His  works  were  highly  esteemed  at 
Siena,  Bologna,  and  Venice.  His  portrait,  with 
dead  game  in  the  background,  is  in  the  Florentine 
Gallery.     He  died  about  1740. 

RESCH,  Eknst,  painter,  born  at  Dresden  in 
1808,  painted  portraits  and  landscapes,  and  trained 
excellent  pupils.     He  died  at  Breslau  in  1864. 

RESCH,  Jo.SKF,  German  painter ;  bom  at  Munich 
in  1819  ;  chiefly  painted  landscapes  and  archi- 
tectural exteriors,  such  as  '  Kostthor  mit  dem 
Schuldthurm,'  '  Miinchen,'  '  Marktplatz  von  Pes- 
chiera ' ;  also  portraits  of  Dahn,  the  actor,  and 
King  Maximilian  II.  Died  at  Munich,  April  19, 
1901. 

RESCH,  Wolfgang,  was  a  German  engraver  on 
wood,  who  flourished  at  Niiremberg  about  1530. 
He  executed  the  woodcuts  for  '  Ein  schoner  Dia- 
loguB,  oder  Gesprach  von  zweyen  Schwestem,' 
1533,  a  half-length  portrait  of  Jacob  Fugger,  and 
heads  in  profile  of  the  Emperors  Maximilian  I.  and 
Charles  V.  His  works  are  described  in  Bartsch's 
'  Peintre-Graveur,'  vii.  473,  and  Passavanfs 
'  Peintre-Graveur,'  iii.  252. 

RESCHI,  Pandolfo,  bom  at  Dantzic  in  1643, 
went  to  Italy  when  he  was  young,  and  became  one 
of  the  ablest  scholars  of  Giacomo  Borgognone. 
He  painted  battle-pieces  with  considerable  success, 
and  imitated  cleverly  the  landscapes  of  Salvator 
Rosa.  He  also  excelled  in  painting  perspective 
and  architectural  views,  of  which  there  are  several 
in  the  collections  at  Florence.     He  died  in  1699. 

RESTALLINO,  Carlo,  miniature  painter,  born 
at  Zomasco  (Domo  d'Ossola)  in  1776,  in  early  life 
went  to  Munich,  and  there  studied  engraving 
under  J.  Dorner  and  M.  Klotz.  After  that  he 
visited  Dresden,  Berlin,  and  Italy.  In  1808  he 
was  appointed  court  painter  at  Munich,  and  in 
1820  teacher  to  the  household  of  Maximilian  Joseph. 
There  are  portraits  by  him  of  King  Maximilian 
and  Queen  Caroline.     He  died  at  Munich  in  1864. 

RESTLEIN,  Geokg,  painter  and  engraver,  an 
obscure  German  artist,  who  practised  in  the  17tli 
century,  and  was  born  at  Zwabach,  near  Niirem- 
berg. 

RESTOUT,  Jean,  'the  elder,'  painter,  born  at 
Caen,  1663,  the  son  and  pupil  of  Marc  Restout, 
and  father  of  the  more  famous  Jean  Restout  the 
younger.  He  had  a  fair  reputation  in  his  day  as 
an  historical  painter,  and  his  wife  Catherine,  the 
sister  of  Jean  Jouvenet,  also  practised  painting. 
He  died  in  1702. 

RESTOUT,  Jean,  'the  younger,'  was  bom  .it 
Rouen  in  1692,  and  studied  in  Paris  under  his  uncle, 
Jouvenet,  whose  style  he  followed  with  considerable 
success.  He  was  a  member  of  the  Academj'  of 
Paris,  and  painted  for  his  reception,  '  Venus  getting 
arras  from  Vulcan  for  .31neas,'  and  for  his  admission 
as  Fellow,  '  Arethusa  flying  into  the  arms  of  Diana 
to  escape  from  the  pursuit  of  Alpheus.'  In  1733 
he  was  made  professor,  and  in  1760  a  director 
of  the  Academy.  As  a  technical  artist  he  was 
characterized  by  a  soft,  woolly  touch,  by  design  in 
which  there  was  little  nobilit}',  and  by  drawing  in 
which  there  was  much  mannerism.  His  colour, 
too,  was  poor.  He  died  in  Paris  in  1768.  His 
principal  works  are : 


Nancy. 
Paris. 


Musee.    Portrait  of  the  architect,  Bof- 

rand  (?). 
Lmvre.     Christ  healing  the  paralytic. 
„  St.  Paul  before  the  High  I*riest, 

Ananias. 


i,Ararj,o/6t.  »p^i,j 
Genevieve.     )  ° 


Dijon. 

Lille. 
214 


Musee.    St.  John  the  Baptist  adoring 

Christ. 
Musee.    Christ  on  the  way  to  Emmaus. 


RESTOUT,  Jean  Bernard,  painter,  the  son  of 
Joan  Restout  the  younger,  born  in  Paris,  1732. 
He  was  the  pupil  of  his  father,  to  whom  he  was 
greatly  inferior  in  talent.  He  attained,  however, 
to  a  respectable  proficiency  in  his  art,  gained  the 
'  Prix  de  Rome  '  in  1758,  and  was  made  an  Acade- 
mician in  1769.  He  resigned  his  membership  in 
1771,  in  consequence  of  certain  regulations  which 
were  distasteful  to  him,  and  after  this  time  almost 
abandoned  the  practice  of  his  profession.  Some 
suspicion  having  fallen  upon  him  in  connection 
with  the  affair  of  the  '  Garde-Meuble,'  he  was 
thrown  into  prison,  but  the  events  of  the  9th 
Thermidor  led  to  his  release.  He  died  in  Paris 
in  1797.  There  is  in  Paris  a  '  St.  Bruno'  by  him, 
and  in  the  Museum  at  Toulouse  a  '  Diogenes,'  and 
a  sketch  for  his  reception  picture  at  the  Academy, 
the  '  Philemon  and  Baucis.' 

RESTOUT,  Marc,  painter,  was  bom  at  Caen  in 
1616,  and  was  a  pupil  of  Noel  Jouvenet.  His 
father  was  one  Marguerin  Restout.  He  visited 
Rome  in  company  with  Poussin,  and  acquired  a 
certain  reputation  in  that  city  and  in  Holland.  He 
was  the  first  of  the  Restout  family  of  artists  ;  several 
of  his  ten  children  became  painters.  He  died  at 
Caen  in  1684.  Amongst  his  sons  were :  Eustache, 
bom  at  Caen,  1655.  He  became  Premonstrant  of 
the  abbey  of  Mondaye,  practised  decorative  paint- 
ing, executed  some  fine  ceilings,  and  died  in  1743. 
Jacques,  born  before  1655.  He  was  a  pupil  of  Letel- 
lier  de  Vernon,  and  became  prior  of  the  abbey  of 
Moncel,  near  Vitry.  He  was  a  painter  and  a  writer. 
Jean  (the  elder),  g.  v.  Charles,  the  fifth  son, 
born  at  Caen  in  1668,  became  a  Benedictine  monk. 
He  was  a  good  preacher,  and  painted  ceilings  and 
pictures  for  churches.  Thomas,  bom  at  Caen,  1671, 
visited  Rome  and  Holland  to  study  his  art,  and 
practised  portrait  painting.  He  died  at  Caen  in 
1754. 

RETHEL,  Alfred,  bom  at  Aix-Ia-Chapelle, 
May  15,  1816.  His  precocious  talent  displayed 
itself  in  drawings  made  in  his  childhood,  and  at 
the  age  of  thirteen  he  went  to  study  at  Diissel- 
dorf.  There  he  astonished  his  masters  and  fellow- 
pupils  by  the  vigour  of  his  invention,  especially  on 
the  occasion  of  the  gala  reception  given  to  Schadow 
on  his  return  to  Diisseldorf.  Afterwards,  in  1837, 
being  dissatisfied  with  the  poverty  of  the  technical 
system  there  tauglit,  he  migrated  to  Frankfort, 
where  he  came  under  the  influence  of  Schwind, 
Passavant,  and,  above  all,  of  Philip  Veit.  At 
Frankfort  he  painted  his  '  Daniel,'  his  '  Justitia,' 
and  three  emperor  pictures  for  the  Riimersaal 
(Philip  of  Swabia,  Maximilian  I.  and  II.,  and 
Charles  V.),  besides  making  the  cartoon  for  bis 
'  Resurrection.'  In  1841  his  projet  gained  the 
prize  in  the  competition  for  the  decoration  of  the 
'  Kaisersaal '  at  Aix-la-Chapelle.  It  was  a  series  of 
ambitious  designs  of  much  merit,  representing  in- 
cidents in  the  career  of  Charlemagne.  After  pre- 
paiing  himself  by  a  two  years'  sojourn  in  Italy  for 
their  execution,  he  completed  four  pictures  of  the 
series,  when  his  health  failed,  and  he  was  obliged 
to  relinquish  the  work.  It  was  finally  completed 
by  Kehren.  Whilst  engaged  on  his  frescoes  at  Aix- 
la-Chapelle,Rethel  also  made  some  bizarre  drawings 


PAINTERS   AND  ENGRAVERS. 


for  a  'Dance  of  Death,'  to  which  Reinick  wrote 
verses.  Another  fantastic  composition  was  a  set 
of  water-colour  drawings  ilkistrative  of  Hannibal's 
passage  of  the  Alps.  In  1848  Rethel  went  to 
Dresden,  where  he  remained  a  few  years.  In  1852 
he  made  a  second  pilgrimage  to  Italy,  where  lie 
began  to  show  symptoms  of  mental  disorder. 
After  his  return  to  Dresden  his  malady  made  rapid 
progress,  and  he  ended  his  days  in  an  asylum  at 
Diisseldorf,  where  he  died,  December  1,  1859. 
Among  his  works  we  may  name  : 

Procession  of  the  Longobards. 

Charles  Martel's  Castle. 

Justitia. 

Rudolf  of  Hapsbiirg. 

The  Swiss  in  prayer  before  the  Battle  of  Sempach. 

St.  Boniface.     (Xatioiial  Gallery,  Berlin.) 

Daniel  in  the  Lion's  Den.   {Frankfort,  Stddel  Museum.) 

Nemesis. 

Peter  and  John  healing  the  lame  man.  [Leipsig  Museum.) 

Joshua  crossing  the  Jordan. 

The  Crowning  of  Sophocles. 

The  Burial  of  Frauenlob. 

And  a  set  of  Illustrations  for  Luther's  Hymn, '  Ein' 
feste  Burg.' 

Five  of  the  cartoons  for  the  Charlemagne  series 
are  in  the  Berlin  National  Gallery,  also  the  cartoon 
for  the  altar-piece,  '  The  Resurrection,'  in  the 
Nicolaikirche  at  Frankfort.  Rethel  also  etched, 
and  drew  much  on  the  wood.  He  wished  to  breathe 
new  life  into  the  latter  art,  on  the  hnes  followed 
by  Diirer. 

RETZSCH,  Adgust,  brother  of  Moritz  Eetzsch, 
bom  in  1777,  was  a  pupil  of  Klengel,  and  painted 
\vinter  landscapes.     He  died  in  1835. 

RETZSCH,  Fbiedrich  August  Mokitz,  a  German 
draughtsman  and  painter,  born  at  Dresden,  Decem- 
ber 9,  1779.  He  studied  in  the  Dresden  Academy, 
which  he  entered  in  1798,  and  of  which  he  was 
elected  a  member  in  1816,  and  professor  in  1824. 
It  was  not  till  he  was  about  twenty  years  of  age 
that  he  applied  himself  seriously  to  the  study  of 
painting ;  for  though  he  had  previously  some  skill 
as  a  designer,  he  disliked  all  restraint,  and  would 
have  preferred  following  the  bent  of  his  genius  as 
a  haunter  of  the  forests,  and  as  a  student  of  nature 
in  solitude.  His  fame  does  not  rest  on  his  work 
with  the  brush,  but  on  his  illustrations  to  the 
German  poets  and  to  Shakespeare,  which  he  inter- 
preted with  extraordinary  vigour  and  sympathy. 
As  a  portrait  painter  he  was  successful,  especially 
with  liis  likenesses  ;  one  of  his  best  is  a  portrait  of 
King  Friedrioh  August  of  Saxony.  The  Dresden 
Gallery  possesses  a  portrait  of  a  lady  by  him. 
Retzsch  died  at  Hoflossnitz,  near  Dresden,  June  11, 
1857.     His  principal  engraved  works  are  : 

Twenty-six  illustrations  to  Goethe's  '  Faust.'    (1828.) 

Sixteen  „  „  Schiller's '  Fight    with    the 

Dragon.' 

Eight  ,.  „         .,        'Fridolin.' 

Forty-three        ,,  „         ,,        '  Song  of  the  Bell.' 

Eighteen  „  „         „        '  Pegasus  in  Har- 

ness.' 

Eighty  ,,  „  Shakespeare.     1827—1846. 

Fifteen  ,.  „  Biirger's  Ballads. 

Eight  •  Fantasien  und  Wahrheiten.' 

The  Chess-nlayer. 

The  Goblet; 

Faust  and  Margaret.     (Ttco  lithographs.) 

REUTER,  WiLLiBALD  Alfrki),  German  genre 
painter  ;  born  at  Chemnitz  in  1808  ;  pupil  of 
Pauwels  at  Dresden  ;  obtained  gold  medal  at 
Dresden  Fine  Art  Exhibition  in  1888,  and  the 
large  ditto  in  1889.  Among  his  best-known  can- 
vases    are     '  Strassenleben,'     '  Sonatagsmorgen,' 


■  Mondschein,'  and  a  portrait  of  King  Albert  of 
Siixony.     He  died  at  Dresden  in  1898. 

REUTER.     See  Rkiter,  also  Redeb. 

REUTERN,  Gerhard  CHBi.sTornoEOwnscH  vok, 
painter  and  etcher,  born  at  Rosthof  in  Livonia  in 
1791.  He  entered  the  Alexandei  regiment  of 
Hussars,  and  at  Leipsic  in  181.3  lost  his  right  arm. 
He  had  made  his  first  essay  in  drawing  in  1814, 
while  in  1817  he  .studied  in  Berlin,  in  1819  in 
Heidelberg,  in  1821  in  Dorpat.  In  1827  he  devoted 
himself  entirely  to  art,  and  painted  in  water-colours 
scenes  of  Hessian  peasant  life.  In  1834  he  went 
to  Diisseldorf,  where  he  studied  under  Schadow 
and  Hildebrand.  After\vards  he  painted  historical 
scenes,  landscapes,  and  genre  pictures,  and  in  1835 
became  Russian  court  painter.  He  died  at  Frank- 
fort (where  he  had  settled  in  1844)  in  1865.  His 
principal  works  are : 

The  Sacrifice  of  Isaac.  (In  the  Hermitage  at  St.  Peters- 
burg.) 

St.  George. 

A  Madonna. 

Three  Singers.     (Palace  of  Tsarskoe-Selo.) 

Girl  Knitting. 

The  Infant  School. 

Family  Devotion.  {In  tlie  collection  of  the  German 
Empresi.) 

He  also  etched  eleven  plates,  mostly  of  animals. 

REUTLIMANN,  Rcidiman,  (or  Reuttiman,) 
JoHANN  Conrad,  is  mentioned  by  Strutt  as  the 
engraver  of  some  plates  of  foliage,  and  other  orna- 
mental designs,  published  at  Augsburg :  he  was  a 
goldsmith,  and  lived  in  the  first  half  of  the  17th 
centurv. 

REUVEN,  Pieter,  bom  at  Leyden  in  1650, 
studied  at  Antwerp  in  the  school  of  Jacob  Jordaens. 
He  painted  history  and  allegorical  subjects,  and 
was  employed  to  design  the  triumphal  arches  for 
the  reception  of  William  III.  at  the  Hague,  by 
which  he  acquired  some  celebrity  ;  and  he  was  after- 
wards engaged  to  ornament  some  of  the  principal 
apartments  in  the  palace  at  Loo,  in  which  he 
showed  a  fertile  invention,  and  great  facility  of 
execution.  One  of  his  best  productions  was  a 
ceiling  in  the  hotel  of  M.  de  La  Court  Vandervoort, 
at  Leydan;  it  is  an  ingenious  composition,  and 
the  colouring  possesses  much  of  the  brilliancy 
which  is  found  in  the  productions  of  the  best 
painters  of  the  Flemish  school.     He  died  in  1716. 

KEUVER,  Theodore  de,  born  at  Utrecht  in 
1761,  imitated  the  old  masters  and  painted  land- 
scapes.    He  died  in  1808. 

REUWICH,  Erhard,  a  painter  of  Utrecht,  prac- 
tising in  the  15th  century,  and  known  only  as 
having  accompanied  Breydenbach  on  his  travels 
from  1474  to  1483,  and  having  executed  all  the 
designs  in  illustration  of  the  various  editions  of  the 
narrative  published  by  the  latter. 

REVE,  Jean  Hubert,  French  painter  :  born  in 
1805  at  Boiirgogne  (Marne) ;  a  pupil  of  Perseval. 
Held  a  professorship  at  the  Reims  Lyoce.  Excelled 
as  a  portrait  painter.  The  Reims  Museum  pos- 
sesses most  of  his  best  work.  lie  died  at  Reims, 
September  2.3,  1871. 

RliVElL,  fiTiENNE  AcHlLLE,  a  Frcncli  engraver 
and  draughtsman,  born  in  Paris  in  IhOO,  was  a  pupil 
of  Gros,  Girodet-'Trioson,  and  Abel  de  Pujol.  He 
made  drawings  from  many  famous  pictures  and 
statues,  and  engraved  them  in  outline  for  various 
publications.  Examples  of  his  work  are  to  be 
found  iu  the  '  Mus^e  de  Peinture  et  de  Sculpture,' 
the  'Galerie  des  Arts  et  de  I'Histoire,'  and  the 

215 


A  BIOGRAPHICAL  DICTIONARY  OF 


'  Mas^e  de  Versailles.'     He  also  engraved  in  outline 
the  works  of  Ingres,  published  by  Didot. 

REVEL,  Alfred,  a  French  engraver,  was  a 
native  of  Paris,  and  exhibited  at  the  Salon  from 
1831  to  1852.  He  died  in  1865.  He  was  largely 
employed  upon  vignettes  for  books,  but  also  en- 
graved the  following  plates  : 

Paul  Potter  sketching  from  Nature  in  the  environs  of 
the  Hague  ;  after  Le  Poittevin. 

The  Broken  Pitcher  ;  after  Greuze. 

St.  Catharine  ;  after  Ch.  LandelU. 

REVEL,  Gabeiel,  painter,  born  at  ChSteau- 
Thierry,  1643,  was  a  pupil  of  Charles  Le  Brun, 
and  an  artist  of  some  reputation  in  his  day.  He 
became  a  member  of  the  Academy  in  1683.  He 
assisted  in  the  decoration  of  Versailles,  and  finally 
settled  at  Dijon,  where  he  died  1712,  and  where 
are  to  be  found  the  following : 

Portrait  of  Pierre  Lenet,  procureur  g^n^ral  du  Parle- 
ment  de  Dijon.     16-11. 

Portrait  of  Jean  Dubois,  the  sculptor  of  Dijon. 

His  son  Jean,  born  in  Paris,  1684,  was  a  skilful 
designer  of  patterns  for  the  siik-maiiufacture,  and 
died  at  Lyons  1751. 

REVELLO,  Giovanni  Battista,  called  II  Mos- 
TACCHI,  a  Genoese  painter,  born  in  1672,  studied 
under  Antonio  Haffner,  and  formed  a  close  friend- 
ship with  Francesco  Costa.  For  twenty  years  these 
two  in  concert  executed  landscape  and  other  ac- 
cessories for  historical  painters.  Their  master- 
piece is  said  to  be  at  Pegii  in  the  Palazzo  Grillo, 
consisting  of  the  decorations  of  a  set  of  rooms. 
He  died  in  1732. 

REVERDINO,  Cesare,  was  an  Italian  engraver, 
who  flourished  from  1531  to  1564.  His  figures 
are  very  indifferently  drawn,  and  his  plates  have 
little  to  recommend  them,  except  their  neatness. 
He  sometimes  marked  his  plates  with  the  mono- 
gram @p.  The  following  prints  by  him  are 
apparently  from  his  own  designs  : 

Moses  striking  the  Eock.     1531. 

The  Wise  Men's  Offering. 

A  small  Frieze,  representing  a  Bacchanalian  subject. 

156-1. 
Venus  coming  to  Vulcan  for  the  arms  of  .Sneas. 

Those  that  are  marked  with  his  name  in  full, 
and  are  undoubtedly  his  work,  are  in  a  style 
between  that  of  Giulio  Bonasone  and  Agostino 
Veneziano,  and  seem  to  prove  that  he  was  of  the 
school  of  Marc-Antonio.  A  descriptive  catalogue 
of  his  engravings  will  be  found  in  Passavant's 
'  Peintre-Graveur,'  vi.  107 — 117. 

REVEST,  CoENifiLiE  Louise,  painter  of  genre 
pictures  and  of  portraits,  born  at  Amsterdam,  1795, 
studied  in  Paris  under  Strangely  and  VaflSard. 
By  her: 

Magdalen  at  the  feet  of  Christ.  {In  the  Marseilles 
Ga/ftiy.) 

The  Toilet  of  Psyche. 

REVETT,  Nicholas,  an  architect  and  painter, 
born  in  Suffolk  in  1720,  went  in  1742  to  Italy, 
and  studied  under  Benefial  in  Rome.  While  he 
was  there  practising  as  a  painter  he  formed  a 
fiiendship  with  'Athenian'  Stuart,  and  in  1748 
went  to  Naples  and  Greece  to  study  Greek  monu- 
ments. He  arrived  at  Athens  in  1751,  and  was 
there  till  1754,  but  on  going  to  other  parts  of 
Greece  he  was  seized  by  corsairs,  to  whom  he 
paid  a  ransom  of  six  hundred  dollars  for  his  re- 
lease. He  then  continued  his  researches,  but  under 
great  difficulties,  till  1755,  when  he  returned  to 
216 


London.  In  1764  he  visited  Ionia  with  Dr.  Chand- 
ler and  William  Pars,  A.R.A.,  where  he  remained 
for  two  years.  He  published  the  fruits  of  his  travels 
under  the  headings  of  '  The  Antiquities  of  Athens,' 
and  'Ionian  Antiquities.'  He  also  published  a 
work  entitled  '  Baalbeo  and  Palmyra.'  He  died  in 
London  in  1804. 

REVOIL,  Pierre  Henbi,  a  French  historical 
and  subject  painter,  born  at  Lyons  in  1776.  He 
came  to  Paris  and  studied  under  David.  His 
works  first  appeared  at  the  Salon  in  1804.  In 
early  life  he  was  content  to  shine  in  his  native 
province.  He  returned  to  his  native  city  in  1809. 
as  professor  of  painting  in  the  Royal  Academy  of 
Lyons.  He  belonged  to  the  school  which  formed 
the  transition  between  the  Classicism  of  David 
and  tlie  Romanticism  of  the  fourth  decade  of  the 
century.  The  cross  of  the  Legion  of  Honour  was 
awarded  to  him  in  1814,  and  he  was  elected  a 
correspondent  of  the  Institute  in  1825.  His  works 
are  bold  but  mannered,  and  frequently  over- 
weighted by  the  accessories.  He  died  in  Paris  in 
1842.     The  following  are  some  of  his  pictures : 

Aix.  Museum.    Release  of  Christian  Captives. 

Fontainebleau.  „  Jeanne  d'Albret.     1819. 

Lyons.  Museum.     The  Tournament.     1812. 

Versailles.  Palace.    Philip    Augustus    raising    the 

Oriflamme. 
„  „  Tancred  at  Bethlehem.     1840. 

The  Chevalier  Bayard  at  Brescia. 

Mary  Stuart  led  to  Execution. 

Francis  I.  arming  his  grandson  Francis  II. 

Louis  XTT.  at  Plessis-les-Tours. 

REWICH.    See  Reuwich. 

REXMON.     See  Raymond. 

REY,  Etienn'e,  landscape  painter,  born  at  Lyons, 
1789,  was  a  pupil  of  Pillement  and  of  Cogel.  He 
died  in  1867.     By  him  : 

Bnins  of  a  Boman  Portico. 

REYERS,  Nicolas,  painter,  bom  at  Leyden, 
1719.  An  artist  of  little  note,  who  was  a  pupil 
of  Jerome  Van  der  My,  and  painted  portraits  and 
genre  pictures. 

REYHER,  Robert,  an  engraver,  born  in  Berlin, 
in  1838,  entered  the  Academy  in  that  city,  and 
studied  under  Mandel.  He  engraved  portraits  of 
Beethoven,  Goethe,  Liszt,  Chopin,  Schiller,  Raphael, 
and  Cary.  His  best  works  are,  Maria  Mancini, 
after  Mignard  ;  and  the  Countess  Potocka,  after 
Tonci.  He  died  in  1877,  through  falling  into  the 
Havel 

REYN,  Jan  de.     See  De  Retn. 

REYNA,  Francisco  de,  painter,  a  native  of 
Seville,  was  a  disciple  of  Francisco  de  Herrera, 
the  elder.  He  had  given  proof  of  most  promising 
talents,  in  a  picture  of  the  '  Souls  in  Purgatory,'  in 
the  church  of  All  Saints,  at  Seville,  when  he  died, 
in  the  bloom  of  life,  in  1659. 

REYNELL,  Thomas,  (Rennell,)  portrait  painter, 
bom  near  Chudleigh  in  Devonshire,  in  1718,  was 
educated  at  the  Exeter  Grammar  School,  but  was 
afterwards  sent  to  London,  where  he  became  a 
pupil  of  Hudson.  He  then  returned  to  Exeter, 
where  he  settled  as  a  painter.  The  Duke  of  King- 
ston offered  him  assistance  to  go  to  London  again, 
but  he  refused.  He  painted  portraits,  and  was  a 
musician  ;  but  his  habits  were  so  idle  and  improvi- 
dent that  he  fell  very  low  in  the  world.  He  lived 
at  Dartmouth  in  a  state  of  the  most  abject  poverty 
till  an  asylum  was  provided  for  him  by  the  kindness 
of  a  friend.     He  died  at  Dartmouth  in  1788. 


Or^eureJf(ffifsia4n^iy.u^>i'^- 


PAINTERS  AND  ENGRAVERS. 


REYNOLDS,  Frances,  the  sister  of  Sir  Joshua 
Reynolds,  whose  house  she  kept  for  many  years  in 
Leicester  Fields,  was  born  at  Plympton  in  1729. 
She  practised  as  a  miniaturist,  and  made  many 
copies  of  her  brother's  pictures.  Frequent  mention 
is  made  of  her  in  the  literary  and  artistic  history 
of  the  time.  On  her  brother's  death  she  took  a 
large  house  in  Queen  S(juare,  Westminster,  where 
she  exhibited  her  own  works,  and  where  she  died 
in  1807. 

REYNOLDS,  Sir  Joshua,  P.R.A.  This  greatest 
of  all  English  portrait  painters  was  born  July  IG, 
1723,  at  Plympton,  in  Devonshire ;  his  father 
was  the  Rev.  Samuel  Reynolds,  the  master  of 
the  Grammar  School  of  Plympton,  and  his  mother 
Theophila,  the  daughter  of  Matthew  Potter,  who 
was  one  of  the  Potters  of  Iddesleigh,  Devon. 
The  families  of  both  his  father  and  mother  were 
distinguished  for  their  learning.  He  was  educated 
by  his  father,  and  was  intended  for  the  medical 
profession,  but  a  love  of  art  having  shown  itself 
at  an  early  age,  he  was  sent  to  London  in  1740, 
and  placed  under  Thomas  Hudson,  the  best-known 
portrait  painter  of  the  time.  That  his  father  did 
not  at  first  approve  of  this  course  is  shown  bj-  a 
drawing  in  the  possession  of  Lady  Colomb,  on 
which  he  has  written,  "This  is  drawn  by  Joshua 
in  school  out  of  pure  idleness."  Before  it  was 
decided  that  he  should  go  to  London  he  had 
already  drawn  many  portraits  of  his  friends  and 
relations,  and  had  made  his  first  attempts  at  oil 
painting  in  a  portrait  of  the  Rev.  Thomas  Smart, 
painted  from  a  sketch  taken  in  church  on  his 
thumbnail.  The  picture  was  painted  in  a  boat- 
house  on  Cremyll  beach  on  a  piece  of  sail  canvas, 
with  ordinary  ship's  paint.  This,  his  earliest- 
known  picture,  belongs  now  to  Deeble  Boger  at 
Walsdon,  having  been  for  some  time  in  the 
Edgcumbe  family  ;  the  artist  was  a  great  friend 
of  Dick  Edgcumbe,  who  befriended  him  after  he 
left  Hudson,  which  he  did  in  1743.  On  his  return 
to  Plymouth  he  is  said  to  have  painted  about 
seventy  portraits,  including  Philip  Vanbrugh,  the 
Commissioner  of  the  Dockyard  from  1739  to  1753, 
a  series  of  seven  portraits  of  the  Kendall  family, 
for  which  he  received  about  three  pounds  each, 
one  of  Richard,  first  Lord  Edgcumbe,  and  Coun- 
cillor Bury  and  his  wife.  Reynolds  returned  to 
London  in  1744,  but  continued  his  friendship  with 
the  Edgcumbe  family,  in  whose  house  he  was 
introduced  in  1749  to  Commodore  Keppel,  who 
ofi'ered  to  take  him  to  Rome  in  the  'Centurion,' 
which  was  under  his  command.  Tliis  offer  Rey- 
nolds accepted,  and  they  sailed  for  Lisbon  on 
May  11,  calling  at  different  ports  afterwanls. 
He  is  said  to  have  painted  all  the  officers  of  the 
garrison  at  Port  Mahon  ;  if  he  did,  these  portraits 
have  all  been  lost.  It  was  during  this  voyage 
that  he  received  the  injury  to  his  lip  that  appears 
in  his  subsequent  portraits  ;  his  horse  is  said  to 
have  fallen  down  a  precipice  with  him  at  Minorca. 
After  his  recovery  he  visited  Florence  and  Leg- 
horn, and  finally  settled  at  Rome  for  two  years. 
While  there  he  copied  many  old  master  pictures, 
and  during  this  time  he  painted  several  caricatures, 
which  practice  he  afterwards  abandoned,  since,  as 
Northcote  says,  "it  must  corrupt  his  taste  as  a 
portrait  painter."  While  at  Rome  he  met  many 
English  artists,  such  as  Wilson  and  Astley,  as  well 
as  most  of  tlie  connoisseurs  there,  who  afterwards 
became  his  friends  and  patrons.  The  note-books 
of  this  period  are  most  interesting,  and  show  how 


this  visit  influenced  his  future  career  as  an  artist. 
They  were  printed  in  full  by  William  Cotton  in 
1858. 

Reynolds  left  Rome  on  May  3,  1752,  and  after 
visiting  the  principal  cities  in  Italy,  he  reached 
Paris,  where  he  painted  the  well-known  portrait 
of  Mrs.  Chambers,  the  wife  of  the  famous  archi- 
tect ;  he  then  returned  to  London,  where  he 
arrived  on  October  16,  1752 — Cosmo  Monkhouse 
says :  "  Greatly  developed  as  a  man  and  an 
artist,  but  with  two  permanent  physical  defects, 
the  scar  on  his  lip  from  the  accident  at  Minorca, 
and  deafness  contracted  from  the  cold  of  the 
Vatican  while  copying  Raphael."  On  his  re- 
turn he  visited  Devonshire  for  three  months, 
when  he  painted  the  portrait  of  Dr.  John  Mudge 
for  five  guineas,  as  well  as  other  portraits. 
He  then  took  a  portion  of  Sir  James  Thornhill's 
old  house  at  104,  St.  Martin's  Lane,  where  his 
youngest  sister  Frances  lived  with  him.  He  did 
not  remain  there  very  long,  and  moved  to  5,  Great 
Newport  Street,  where  he  remained  until  1760. 
It  was  in  this  house  that  he  first  commenced  his 
diary  of  sitters  in  1755.  These  diaries,  most  of 
which  are  now  in  the  possession  of  the  Royal 
Academy,  have  been  invaluable  to  students  of 
this  artist's  works.  Unfortunately  there  are  eight 
missing  (1756,  '63,  '74,  '75,  '76,  '78,  '83,  '85)  ;  it  is 
to  be  hoped  that  they  are  hidden  away  somewhere, 
and  will  some  day  be  discovered. 

Reynolds'  first  picture  after  he  settled  in  London 
was  that  of  Giuseppe  Marchi,  who  came  to  England 
with  him,  and  who  remained  with  him  until  his 
death.  This  pupil  became  a  painter  and  a  very 
good  engraver,  mostly  of  his  master's  works.  At 
this  time  Reynolds  painted  the  fine  full-length 
portrait  of  his  friend  Keppel,  and  this  portrait  is 
said  to  have  tended  most  to  establish  the  artist's 
reputation.  This  picture  was  probably  presented 
to  the  Commodore  in  recognition  of  the  great 
services  he  had  rendered  the  artist  at  the  critical 
period  of  his  life  ;  it  remained  in  the  family  until 
it  was  purchased  by  the  Earl  of  Rosebery. 

Reynolds  about  this  time  raised  the  price  of  a 
whole-length  portrait  to  sixty  guineas,  and  his 
sitters  included  all  the  most  wealthj'  society 
people,  as  well  as  many  members  of  the  Royal 
Family.  At  tliis  time  his  commissions  so  increased 
that  he  was  compelled  to  employ  other  pupils  as 
well  as  Marchi,  Peter  Toms  and  Thomas  Beach 
being  the  best  known  amongst  them.  His  income 
now  readied  about  six  thousand  a  year,  a  good 
deal  of  which  he  spent  on  forming  the  splendid  col- 
lection of  old  masters  that  was  sold  after  his  death. 

The  diaries  show  that  he  was  as  much  sought 
after  in  society  as  he  was  professionally ;  all  his 
early  friends  remained  true  to  him,  such  as  the 
Edgcumbes  and  the  Keppels,  and  he  now  com- 
menced his  literary  friendships  with  Dr.  Johnson, 
Goldsmith,  Murphy,  Dr.  Hawksworth,  and  others, 
not  forgetting  David  Garrick,  with  whom  his 
intimacy  lasted,  as  it  did  with  the  others,  until 
tlieir  deaths.  Mr.  Claude  Phillips,  in  his  'Life  of 
Sir  Joshua  Reynolds,'  says:  "Sir  Joshua  sought 
somewhat  less  than  might  have  been  expected 
the  society  of  his  brother  artists  and  his  own 
kind.  He  by  no  means  shunned  or  slighted  them, 
but  he  evidently  preferred  the  invigorating  com- 
panionship of  the  brilliant  contemporaries  with 
whom  we  have  seen  him  associating  in  loving 
intimacy  throughout  the  forty  years  of  his  great 
career." 

217 


A  BIOGRAPHICAL  DICTIONARY  OF 


In  1760  Reynolds  removed  to  47,  Leicester 
Fields,  where  he  continued  to  reside  until  his 
death,  and  it  was  in  this  year  that  he  commenced 
what  are  called  his  ledgers,  and  which  he  carried 
on  in  his  own  handwriting  until  the  end.  These 
two  volumes  have  been  of  even  more  value  to  the 
student  of  his  works  than  the  diaries,  as  they 
contain  a  pretty  perfect  list  of  all  his  commissions, 
with  the  prices  he  received.  These  volumes  do 
not  contain  records  of  any  portraits  he  presented 
to  his  friends,  or  of  his  own  portraits,  or  those 
of  any  of  his  family,  and  he  does  not  seem  to  have 
charged  for  any  of  the  numerous  portraits  of  him- 
self. He  probably  kept  another  series  of  books 
containing  a  list  of  what  was  owing  to  him,  but  if 
80,  they  have  been  entirely  lost  sight  of.  They 
were  probably  used  by  his  exe'.-iitors  or  their 
solicitors,  and  may  still  he  reposing  in  Lincoln's 
Inn.  The  house  in  Leicester  Fields  is  still  in 
existence,  and  with  the  exception  of  the  studios 
at  the  back,  has  been  verj'  little  altered  since 
Reynolds  resided  there.  In  the  year  he  moved 
there,  the  first  Exhibition  of  the  Incorporated 
Society  of  Artists,  of  which  Society  Reynolds 
was  one  of  the  first  members,  was  held ;  he 
sent  four  pictures,  including  the  two  fine  whole- 
lengths  of  Lady  Elizabeth  Keppel  and  the 
Duchess  of  Hamilton.  To  these  Exhibitions  lie 
continued  to  contribute  until  1768,  when  he  se- 
ceded with  other  well-known  artists  on  the  forma- 
tion of  the  lioyal  Academy,  of  which  he  was 
elected  the  first  President,  and  the  honour  of 
knighthood  was  conferred  upon  him.  For  the 
next  twenty-one  years  he  was  a  prolific  exhibitor 
at  the  Roj-al  Academy,  often  sending  as  many  as 
sixteen  works,  including,  during  later  years,  many 
of  his  most  famous  fancy  subjects.  It  would  be 
impossible  in  this  short  article  to  enumerate  the 
portraits  shown  during  this  period,  but  at  the  end 
will  be  found  a  list  of  what  the  writer  considers 
the  finest  and  most  important  works  painted  by 
this  prolific  artist,  so  arranged  as  to  illustrate  the 
progress  of  his  art. 

In  1765  Reynolds  was  introduced  to  the  Thrales 
at  Streatham,  for  which  place  he  painted  the 
splendid  series  of  portraits  that  were  dispersed  in 
1816,  and  the  following  year  he  was  elected  a 
member  of  the  Dilettanti  Club,  and  succeeded 
"  Athenian  "  Stuart  as  the  jminter  to  the  Society 
in  1769.  In  earlier  years  it  was  the  custom  for 
each  membar  to  present  his  portrait  to  the  Society, 
but  Sir  .Joshua  preferred  to  paint  his  contemporaries 
in  groups,  resulting  in  the  splendid  pair  of  pictures 
now  the  property  of  the  Society.  The  honorary 
degree  of  D.C.L.  was  conferred  upon  Sir  Joshua 
by  the  University  of  Oxford  in  July  1773,  and  in 
most  of  the  portraits  of  the  artist  of  this  period 
he  has  represented  himself  in  the  D.C.L.  robes. 

Sir  Joshua,  after  being  elected  President,  was 
most  energetic  in  organizing  the  Royal  Academy, 
together  with  the  schools  attached  to  it,  and  de- 
livered his  first  discourse  on  January  2,  1769  ; 
he  founded  the  annual  Academy  banquet,  and 
advised  the  inviting  as  guests  the  most  eminent 
men  of  the  day,  and  he  suggested  the  appointment 
of  the  honorary  officers,  which  resulted  in  the 
election  of  Dr.  Johnson,  Oliver  Goldsmith,  and 
other  famous  men.  There  is  no  doubt  that  the 
great  amount  of  time  he  devoted  to  his  work  as 
President  was  the  cause  of  the  perceptible  diminu- 
tion in  the  number  of  his  sitters,  but  as  they 
decreased  his  fancy  subjects  continued  to  increase 

218 


more  and  more  towards  the  end  of  his  life.  Mr. 
Monkhouse  remarks  ''that  in  one  way  or  another 
his  life  was  now  probably  fuller  of  work  than 
ever,  and  it  also  seeras  to  have  been  fuller  of 
pleasures."  He  attended  the  Literary  Club  at  the 
Turk's  Head  constantly,  as  well  as  the  Thursday 
Night  Club,  the  Shilling  Rubber  Club,  the  Devon- 
shire, and  tlie  Dilettanti,  and  he  was  often  at 
assemblies,  masquerades,  at  Almack's,  operas, 
theatres,  Marylebone  Gardens,  Vauxliall,  and 
Ranelngh,  as  well  as  innumerable  dinner-parties 
at  his  own  house  and  at  those  of  his  friends.  He 
had  also  a  villa  at  Richmond,  where  he  gave 
dinners  on  Sunday,  when  he  was  not  dining  with 
his  friend  Owen  Cambridge  (whose  name  so  often 
appears  in  the  diaries)  and  other  friends  in  the 
neighbourhood.  In  1770  he  paid  another  visit  to 
Devonshire,  and  brought  back  with  him  his  niece 
Offy  Palmer,  who  lived  in  his  house  until  her 
marriage  to  Mr.  Gwatkin  in  1781.  In  1779  Sir 
.Joshua  painted  the  full-length  portrait  of  George 
III.  and  Queen  Charlotte,  now  in  the  Royal 
Academy.  This  pair  of  portraits,  after  the  death 
of  Allan  Ramsay  the  Court  painter,  became  the 
official  portraits  for  presentation  to  ambassadors, 
and  he  seems  to  have  painted  over  a  dozen 
pairs  before  1789  ;  nine  had  then  been  sent 
home,  and  there  is  a  note  in  the  artist's  writing 
that  he  still  had  seven  kings  and  five  queens  on 
hand  either  at  the  Royal  Academy  or  in  Leicester 
Fields.  In  1771  James  Northcote  became  a  pupil 
of  Reynolds,  and  remained  with  him  for  several 
years ;  he  afterwards  became  his  biographer. 
In  1773  he  was  elected  Mayor  of  Plympton, 
which  gave  the  artist  great  pleasure  ;  he  cele- 
brated the  event  by  presenting  the  Corporation 
with  his  portrait. 

The  rivalry  between  Reynolds,  Gainsborough, 
and  Romney  commenced  in  1775,  and  Reynolds 
is  said  to  have  spoken  of  the  latter  as  "  the  man 
in  Cavendish  Square."  He  made  up  the  quarrel 
with  Gainsborough  on  the  latter's  death-bed,  but 
never  completed  the  portrait  he  had  commenced 
of  him.  In  1776  the  artist  painted  and  sent  to 
Florence  his  portrait,  now  in  the  Uffizi  Gallery  ; 
the  letter  he  sent  with  it  is  very  interesting. 
The  great  work  connected  with  the  designs  for 
the  Oxford  window  was  commenced  in  1778,  and 
continued  for  several  years  afterwards ;  some  of 
the  designs  were  exhibited  at  the  Roj'al  Academy. 
In  1778  the  Royal  Academy  moved  to  Somerset 
House,  and  Reynolds  painted  a  picture  of  'Design' 
for  the  ceiling  of  the  library.  In  1783  Sir  Joshua 
was  seized  with  a  paralj-tic  attack  that  caused 
great  anxiety  at  the  time,  but  a  visit  to  Bath  soon 
restored  him  to  his  usual  health.  Dr.  Johnson's 
death  in  178-t  was  a  great  blow  to  the  artist,  who 
had  been  his  intimate  friend  for  thirty  years. 
About  1788  Sir  Joshua  undertook  to  paint  several 
Shakespeare  subjects  for  Alderman  Boydell,  as 
well  as  the  large  'Infant  Hercules'  for  the  Empress 
Catherine  of  Russia  ;  these  pictures  were  not 
suited  to  his  style  of  painting,  and  have  not 
added  much  to  his  reputation.  The  end  of  his 
career  in  art  was  now  drawing  to  a  close,  for  on 
July  13,  1789,  his  eyesight  sudderdy  failed,  and 
from  that  time  he  practically  ceased  painting. 
He,  however,  still  continued  his  interest  in  the 
Royal  Academy,  but  resigned  the  Presidency  in 
February  1790,  in  consequence  of  a  dispute  con- 
cerning the  election  of  Joseph  Bonomi  as  Professor 
of  Perspective,  but  was  persuaded  to  resume  it  in 


SIR  JOSHUA  REYNOLDS 


Hanfiliingl  fhoto\  i.Wilional  GalUiy 

LADY  COCICBURN  ANU  HER  CHILDREN 


PAINTERS  AND  ENGRAVERS. 


the  following  month.  In  December  of  that  year 
he  delivered  his  fifteenth  and  last  discourse,  on 
which  occasion  a  portion  of  the  floor  gave  way. 
Sir  Joshua  did  not  move  from  his  seat,  and  con- 
tinued his  discourse  as  soon  as  order  was  restored. 
He  offered  his  collection  of  old  masters  to  the 
Royal  Academy  at  a  very  low  price,  and  on  the 
ofEer  being  refused,  he  exhibited  them  in  the 
Haymarket  for  the  benefit  of  his  old  servant, 
Ralph  Kirkley,  calling  it  "Ralph's  Exhibition."  At 
the  end  of  1791  he  became  much  depressed  from 
a  fear  of  total  blindness,  and  gradually  became 
seriously  ill ;  he  died  on  Thursday  evening, 
February  23,  1792.  Sir  Joshua  was  buried  in  the 
crypt  of  St.  Paul's  Cathedral  on  March  3,  the  pall- 
bearers being  his  old  friends  among  the  nobility. 
He  left  the  bulk  of  his  fortune  to  his  niece,  Mary 
Palmer,  who  married  the  Earl  of  Inchiquin  the 
same  year;  she  afterwards  ijecame  Marchioness  of 
Thomond.  The  executors  of  his  will  were  Edmund 
Burke,  Edmond  Malone,  and  Philip  Metcalf,  all 
old  friends.  The  first  sale  of  the  contents  of  his 
studio  took  place  on  April  16,  1792,  the  auctioneer 
being  Mr.  Greenwood.  This  was  followed  by  the 
sale  of  the  old-master  collection  by  ilr.  Christie 
in. March  1795  ;  the  remainder  of  his  own  pictures 
were  sold  by  Mr.  Greenwood  in  April  1796.  His 
old-master  drawings  took  eighteen  days  to  disperse 
in  March  1798,  by  Mr.  H.  Phillips,  and  the  balance 
of  oil  paintings  were  sold  by  the  same  auctioneer 
in  May  1798.  Those  pictures  that  were  not  sold 
were  retained  by  the  Marchioness  of  Thomond 
until  her  death  in  1821,  when  they  were  sold  at 
Christie's,  very  high  prices  being  realized. 

So  much  has  been  written  concerning  the  art  of 
Sir  Joshua  Reynolds,  that  it  would  be  superfluous 
to  enter  into  it  here  at  any  length.  In  his  earlier 
manner  up  to  1760  his  pictures  were  very  carefully 
painted  in  a  blue  tone,  glazed  afterwards  with 
warm,  transparent  colours ;  these  have  often  faded, 
or  the  glaze  has  been  removed  by  injudicious 
cleaning.  During  the  second  period  up  to  1775 
they  are  painted  in  colours  that  do  not  as  a  rule 
crack,  and  they  have  not  faded  very  much.  It  is 
in  the  final  stage  of  his  painting  that  most  of  the 
cracking  is  noticeable ;  this  is  probably  from  the 
many  experiments  he  tried  with  the  object  of 
getting  more  brilliancy.  Engravings  after  Sir 
Joshua  by  the  greatest  engravers  of  the  eighteenth 
century,  published  at  small  prices,  have  risen 
enormously  in  value,  one  having  reached  over 
£1200.  S.  W.  Reynolds  engraved  a  series  of 
small  plates  which  has  since  been  carried  on  by 
different  engravers,  working  after  the  artist's  death, 
to  the  total  number  of  over  800  plates. 

The  first  Loan  Exhibition  of  the  works  of  Sir 
Joshua  Reynolds  was  held  at  the  British  Institu- 
tion in  1813,  and  from  that  date  until  its  close  in 
1867  there  were  mostly  some  fine  specimens  at 
their  annual  Old-.Master  Exhibitions.  This  has 
been  continued  by  the  Royal  Academy  from 
1871  to  the  present  day.  In  the  winter  of 
1883-4  an  Exhibition  of  231  pictures  by  Sir 
Joshua  was  held  at  the  Grosvenor  Gallery,  at 
which  most  of  the  more  notable  pictures  in  this  list 
were  hung. 

About  700  large  contemporary  plates  were  en- 
graved after  Reynolds,  by  McArdell,  J.  R.  Smith, 
Valentine  Green,  J.  Watson,  T.  Watson,  E.  Fisher, 
J.  Dixon,  R.  Houston,  W.  Dickenson,  J.  Joues,  G. 
Marchi,  Sharp,  Doughty,  Haward,  Sherwin,  and 
other  engravers  of  the  eighteenth  century.    In  1873 


Samuel  Cousins  commenced  engraving  large  plates 
after  Sir  Joshua,  which  he  continued  until  shortly 
before  his  death  in  1887. 

Following  is  a  list  of  over  250  of  Sir  Joshua's 
most  important  works,  of  which  the  date  of  paint- 
ing is  known — arranged  in  chronological  order  so 
as  to  show  where  the  best  pictures  of  any  year  may 
now  be  found — only  a  few  fancy  subjects  included, 
as  the  dates  are  unknown  in  many  instances.  It 
is  satisfactory  to  observe  how  few  of  the  finer 
pictures  have  left  the  countrj-. 

1746.  Richard  Ehot  and  Family.  (Earl  of  St.  Germans.) 
1748.    Mrs.  Fiekl.     {Sir  Robert  EJi/cumbe.) 

Sir  Joshua  Reynolds.    (National  Portrait  Gallery.) 
1750.   Captain   Hon.  John  Hamilton.     (Duke  of  Aber- 
corn.) 

1753.  A<}miral  Keppel.     (Earl  of  Rosebery .) 
William,  third  Di^e  of  Devonshire.    (Duke   of 

Devonshire.) 

1754.  Lady  Anne  Dawson.     (Late  J.  S.  Morgan.) 
Mrs.  Bonfoy.     (Earl  of  St.  Germans.) 
Catherine,  Lady  Chambers.    (Ashcr  Wertheimtr.) 

1755.  Admiral  Boscawen.     (Gnemcich  Hospital.) 
Jane,  Lady  Cathcart,  and  Child.     (Earl  Catlicart.) 
George,  Lord  Anson.     (Earl  of  Lichfield.) 
Colonel  Charles  Churchill.     (Lady  Michel.) 
Frances,  Countess  of  Essex.     (Earl  of  Essex.) 

1756.  William,  Earl  of  Bath.     (Rer.G.Ley  fVooltcombe.) 

1757.  Horace  Walpole.     (Marquess  of  Lansdoicne.) 
Master  Jacob  Bouverie.     (Earl  of  Radnor.) 

1758.  Lady  Mary  Coke.     (Duke  of  Fife.) 

Lady  Betty  Hamilton.     (Earl  of  Xornuinton.) 
Master  Mudge.     (Rev.  D.  Fox.) 
Mrs.  Homeck.     (C.  J.  JJ'titheimer.) 

1759.  Anne,  Countess  of  Albemarle.  (Sational GalUry.) 
Gertrude,  Duchess  of  Bedford.  (Duke  of  Bedford. ) 
Richard,  Lord  Boyle  (Earl  of  Shannon).    (Mrs.  C. 

Mortand  Aynew.) 

1760.  Miss  Greville  and  Brother.     (Earl  of  Creve.) 
Elizabeth,  Duchess  of  Hamilton.    (Duke  of  Hamil- 
ton.) 

Lord  Ligonier.    (National  Gallery^ 
Nelly  O'Brien.     (Wallace  Collection.) 
Lawrence  Sterne.     (Marquess  of  Lansdoicne.) 

1761.  Miss  Charlotte  Fish.     (H.  L.  Dischofsheim.) 
■\Villiam,  Earl  of  Bath.     (National  Fortrait  Gal- 
lery.) 

Charles  J.  Fox  and  Ladies.     (Earl  of  lichester.) 
Garrick   between    Tragedy  and  Comedy.    (Lord 

Rothschild.) 
Miss  Jacobs.     (C.  TVIntney,  New  York.) 
Captain  Orme.     (National  Gallery.) 
Maria,  Countess  Waldegrave.     (Earl  Waldecprave.) 
Ladies  Amabel  and  Mary  Yorke.     (Earl  Coicper. ) 

1762.  Emma,   Lady   Edgciuube.     (Earl   of  Mount-Edg- 

cumhe.) 
Miss  Phyllis  Hurrell.    (C.  J.  JTeriheimer.) 
Lady  Elizabeth  Keppel  (Lady  Tavistock).  (Duke  of 

JJedfortl.) 

1763.  Mrs  La-scelles  and  Child.     (Earl  of  Harewood.) 
James,  Earl  of  ErroU.     (Earl  of  Enroll.) 

Sir  Philip  Ainslie.     (Earl  nf  Moray.) 

John,  Earl  of  Bute,  and  Secretary.     (Marriuess  of 

Jiute.)  ,       ^       ^ 

Charles  James  Fox.     (Provost  s  Lodne,  Eton.) 

17C4     Miss  Kitty  Fisher.     (.Miss  A.  de  Rothschild.) 

William,  Duke  of  Cumberland.     (Uis  .Majesty.) 
Anne,  Duchess  of  Grafton.     (Duke  of  Grafton.) 
Mrs.  Hale.     (Earl  of  Ilartirood.] 
Barbara,  Countess  of  Coventry.     (Agneic,  1896.) 

1765.  Dorothv,  Countess  of  Fife.     (Duke  of  Fife.) 
Lady  Sarah  Bunbury.   (C.  J.  Werthnmer.) 
Mrs.  Abmgton.     (Sliss  A .  de  Rothschild.) 
Alexander,  Earl  of  Eglinton.     (His  Majesty.) 
Caroline,  Duchess    of    Marlborough,  and   Child. 

(Duke  of  MarU'orough.) 
Mary,  Duchess  of  Ancaster.     (Marquess  of  Chol- 

mondeley.) 
Charles,  Lord  Camden.     (Guildhall,  London.)  _ 

1766.  Hon.  Henry  Fane   and    Guardians.    (-Veio  York 

Museum. ) 
Oliver  Goldsmith.    (Duke  of  Bedford.) 


A  BIOGRAPHICAL  DICTIONARY   OF 


1766.  John.  Marquess  of  Grauby.     (His  Majesty.) 
Mrs.  Hoare  and  Child.     (  Walluce  Collection.) 
Sir  Jfffery  Amherst.     (Earl  Amherst.) 

1767.  Mi.ss  He.sUr  Cholmondeley.     {Mrs.  Thiraites.) 
Miss  Theophila  Palmer.     (Earl  of  Rosehery.) 
Lord  Maiden  and  Sister.     (J.  P.  Morgan.^ 

1768.  Caroline,  Duchess  of  Marlborough.     (G.  J.  Gould, 

Xew  y'lirk.) 

1769.  Anuabella,  Lady  Blake.     (C.  J.  TTertheimer.) 
Jlrs.  Bouverie  and  Mrs.  Crewe.     (Earl  of  Vreire.) 
Duchess  of  Manchester  and  Son.     (Duke  of  Man- 

che.<ter.) 
Miss  Morris  (Hope  nursing  Love.)     {Marquess  of 

Lansdotrne.) 
Mary,  Lady  Broughton.     (Lord  Iveagh.) 

1770.  Lord  Sydney  and  Co).  Acland.    {Earl  of  Carnar- 

von.) 
Hon.     Mrs.    Bouverie    and    Child.      (Earl     of 

Bad  nor.) 
Miss  Sarah  Price.     {Marquess  of  Salisbury.) 
Sliss  Crewe.     (Earl  of  Crewe.) 

1771.  Mrs.  Abiugton  as  Miss  Prue.     (Lord  Hillingdon.) 
Mrs.  Hartley  and  Child.     (Xational  Gallery.) 
Miss  Polly  Kennedy.     (W.   Waldorf  Aitor.) 
Mrs.  Trecothick.     (Earl  of  Ellesmere.) 

Lady  Harriet  Acland.     (Sir  Thomas  Di/ke  Acland, 
Bart.) 

1772.  Elizabeth,  Duchess  of  Buccleuch,  and  Child.  (Duke 

of  Bucclench.) 
Margaret,  Countess  of  Carlisle.   (Earl  of  Carlisle.) 
Mrs.  Crewe.     (Earl  of  Creve.) 
Dr.  Johnson,     (yational  Gallery.) 
Elizabeth,  Countess  of  Pembroke.     (Earl  of  Fem- 

hroh.) 

1773.  Miss  Child.     (Earl  of  Jersey.) 

Hon.  Kichard  Edgcumbe.     (Earl  of  Mount-Edg- 

cujnl<e.) 
Hon.  Mrs.  Parker.     (Earl  of  Mori ey.) 
I^ady  Jlclboiirne  and  Child.     (Earl  Coieper.) 
Sir  Joshua  Reynolds.     (Xational  Gallery.) 
A""e,    Duchess    of    Cumberland,     (Miss    A.    de 

Rothschild.) 
l^golino  (fancy  subject).     (Lord  Sachville.) 
Mrs.  Henry  Bunbiu-y.     {IV.  Waldorf  A. ^t or.) 
Henry,  Duke  of  Cumberland.     (His  Majesty.) 

1774.  Dr.  James  Beattie.     (University  of  Aberdeen.) 
Elizabeth,  Lady  Carysfort.     (Earl  of  Carysfort.) 
Kobert  Child.     (Earl  of  Jersey.) 

Lady  Cockbum  and  Children.     {Alfred Beit.) 
ilaria.  Duchess  of  Gloucester.     (His  Majesty.) 
Princess  Sophia  of  Gloucester.     (His  Majesty.) 
Mrs.  Morris.     {Lord  Burton.) 
Mrs.   Pelham  feeding  Chickens.    (Earl  of  Yar- 

horough.) 
Lady  Townshend  and  Sisters.    (National  Gallery.) 
Charles,    Earl   of   Bellamont.      (Irish    National 

Gallery.) 

1775.  .Tane,  Duchess  of  Gordon.     (Duke  of  Fife.) 

Miss  J.ine  Fleming,  Countess  of  Harrington.  (Earl 

of  Hareicoofl.) 
Miss  Mary  Homeck.     (W.  Waldorf  Astor.) 
EmeUa,  Duchess  of  Leinster.     (Duke  of  Leinster.) 
Dr.  Kobiuson,  Archbishop  of  Armagh.   ("Sir  Gerald 

Robinson,  Bart.) 
Mrs.  Sheridan.     (Mi.'S  A.  de  Rothschild.) 
Lord  Henry   Spencer  and    Sister.     (Sir  Charles 

Tennant,  'Bart.) 
Lady  Ann  Fitzpatrick.     (Hon.  Greville  Verrwn.) 

1776.  Miss  Bowles.     ( Wallace  Collection.) 
Master  Crewe.     (Earl  of  Creve.) 

Georgiana,  Duchess  of  Devonshire.   (Earl Spencer.) 
Lady  Frances  Marsham.     (Lord  Burton.) 
Mrs.  Montagu.     {Mnr'/uess  of  Winchester.) 
The   Strawberry  Girl   (fancy  subject).    (Wallace 

Collection.) 
George  John,  Lord  Althorp.     (Earl  Spencer.) 

1777.  Infant    Samuel   (fancy  subject).    (National  Gal- 

lery.) 
Lady  Bamfylde.     (Miss  A.  de  Rotlischild.) 
The  Bedford  Family.     (Earl  of  Jersey.) 
Lady  Betty  Delme.     (C.  J.  Wertheimer.) 
Elizabeth,  Countess  of  Derby.     (Destroyed.) 
Lady  Elizabeth  Herbert  and  Son.    (Earl  of  Cter- 

nanon.) 

220 


1777.  Rev.  G.  Huddesford  and  Mr.  Bamfylde.    (National 

Galiery.) 

Mrs.  Lloyd.     (Lord  Rothschild.) 

Mrs.  Mathew.     (J.  B.  Robinson.) 

Miss  Frances  Molesworth  (Lady  Camden).  (Earl 
Spencer. ) 

Hon.  Mary  Monckton.     (E.  D.  Stern.) 

Lady  Caroline  Montagu  (Winter).  (Duke  of  Buc- 
cleuch.) 

Mrs.  Poyvys  and  Daughter.     (C.  J.  Wertheimer.) 

Hon.  Miss  Sackville  (Lady  Crosbie).  (Sir  Charles 
Tennant,  Bart.) 

1778.  Mrs.  C;u:nac.     ( Wallace  Collection.) 

Miss  Sarah  Campbell.     (Lord  Hillingdon.) 
Mrs.  Payne  Gallwey.     (J.  P.  Morgan.) 
Mrs.  Hardinge.     (.Marquess  of  Clanricarde.) 
The  Marlborough  Family.    (Duke  of  Marlborough.) 
Mrs.  Musters.     (Lord  Leconfield.) 
Colonel  St.  Leger.     (Miss  A.  de  Rothschild.) 
Fortune  Teller  (fancy  subject).     (Miss  A .  de  Roths- 
child.) 

1779.  Dilettanti  Society,  No.  1.  (Dilettanti  Society.) 
Dilettanti  Society,  No.  2.  (Dilettanti  Society.) 
Lady  Gertrude  Fitzpatrick  as  CoUina.    (^'I'r  dhatjles 

Tennant,  Bart.) 
Edward  Gibbon.     (Earl  of  Rosehery.) 
Miss  Jane  Fleming.     (Earl  of  Harrington.) 
George  III.      (Royal  Academy.) 
Queen  Charlotte.     (Roi/al  Academy.) 
Admiral  Keppel.     (National  Portrait  Gallery.) 
Kobert   Smith,   M.P.    (Lord    Carrington).     (Ectrl 

Carrington.) 
Mary,  Countess  Temple,   and   Son.     (R.  Neville 

Grenville.  \ 
The  O.fford  Window,  Thirteen  Pictures.     (Earl  of 

Normanton  and  others.)     Commenced  1779. 
Mary,  Countess  of  Bute.    (Man/uess  of  Bute.) 
Lady  Caroline  Howard.     (Earl  of  Carlisle.) 
Puke  and  Ducliess  of  Hamilton. "  (Lord  Iieagh.) 

1780.  Lady  Jane  Halliday.     (.Miss  A.  de  Rothschild.) 
Sir  William  Chambers,  R.A.     (Royal  Academy.) 
Prince  William  of  Gloucester.    (Trinity  College, 

Cambridge.) 
John,  Marquess  of  Orauby,  and  Sister.     (Duke  of 

Rutland.) 
Admiral  Keppel.     (National  Gallery.) 
Sir  Joshua  Reynolds,  P.R.A.     (Royal  Academy.) 
Lady  Worsley.     (Earl  of  Harexrood.) 
17S1.    Master  Bunbury.     (SirHenry  Bunbuiy,  Bart.) 
Lord  Kichard  Cavendish,     (lluke  of  Devonshire.) 
Lady  Catherine  Clinton.     (Earl  of  Radnor.) 
Lord  and  Lady  Ely.     (Jules  I'orges,  Paris.) 
Miss  Pott  as  Thias.     (.Miss  A.  de  Rothschild.) 
Mary,  Duchess  of   Rutland.     (Burnt   at   Belvoir 

Castle.) 
Mary,  Countess  of  Salisbury.     (Marquess  of  Salis- 
bury.) 
The  Lailies  Waldegrave.     (Mrs.  Thrcaites.) 
Death  of  Dido  (fancy  subject).     (His  Majesty.) 
Isabella,  Lady  Beauchamp.     (Hon.  Mrs.  Meynett 
Ingram.) 

1782.  Miss  Eliza  Falconer   (Mrs.  Stanhope).     (Earl  of 

Normanton.) 
Col.  George  Coussmaker.    (In  America.) 
Mrs.  Baldwin.     (Marquess  of  Lansdowne.) 
Mrs.  Peter  Beckford.     (Duke  of  Hamilton.) 
Lady  Elizabeth  Compton.     (Lord  Chesham.) 
Miss  Keppel  (Mrs.  Meyrick).  (University  Galleries, 

Oxford. ) 
Colonel  Tarleton.    (A.  H.  Tarleton.) 
George,   Earl    Temple,  and    Family.      (Milltoum 

Collection.) 
Louisa,  Countess  of  Aylesford.     (Earl  of  Ayles- 

ford.) 

1783.  Sir  Abraham  Hume.     (National  Gallery.) 
Charles,  Earl  of  Dalkeith.     (Duke  of  Buccleuch.) 
The  Angerstein  Children.     ( W.  A  ngerstein. ) 
Alexander,  Duke  of  Hamilton.     (Duke  of  Hamil- 
ton.) 

The  Slasters  Brummell.   (Lord  Iveagh.) 

1784.  Sir  WiUiam  Hamilton.     (National  Portrait  Gal- 

lery.) 
Emma,    Lady  Hamilton.     (Tankerville    Chamber- 
layne.) 


SIR  JOSHUA  REYNOLDS 


Han/sldiigl  fholo]  [JVaiional  Gallery 

THE  AGE  OF  INNOCENCE 


SIR  JOSHUA   REYNOLDS 


HauJsUiiigl  plwto\  ^Motional  Gallery 

PORTRAITS  OF  TWO  GENTLEMEN 


PAINTERS  AND  ENGRAVERS. 


1784.  Master  William  Cavendish.    {Lord.  Cliesham.) 
Charles  James  Fox.     (Earl  of  Leicester.) 
Frances,    Countess    of    Lincoln.      ( H'allace    Col- 
lection.) 

Mrs.  Mary  Robinson.     (  Wallace  Collection.) 
Mrs.  SiddoDS  as  the  Tragic  Muse.     (Duke  of  West- 
minster.) 
Miss  Elizabeth  Darby.     (Lord  Leconfeld.) 
Lavinia,     Countess    Spencer,    and    Son.      (Earl 

Spencer.) 
The  Snake  in  the  Gras.s  (fancy  subject).   (ICatiomtl 

Gallery.) 
Mrs.  Abington  as  Roxalana.     (Duke  of  Fife.) 

1785.  William,  Lord  Mansfield.     (Earl  of  Mansfield.) 
Latiy  Wynn  and   Children,     (Sir  Herbert    Wt/nn, 

Bart.) 
Muscipula  (fancy  subject).     (^Earl  of  Ilchester.) 
Venus  and  Cupid  (fancy  subject).     (Lord  Castle- 

tuicn.) 

1786.  John  Hunter,  M.D.     (Royal  College  of  Surgeons.) 
Hon.  Miss  Anne  Bingham.     (Earl  Spencer.) 
Georgiana,    Duchess   of    Devonshire,  and    Child. 

(Duke  of  Devonshire.) 
Sophia,  Lady  de  Clifford.     (Sir  William  Agnew, 

Bart.) 
Lord  Althorp.     (Earl  Spencer.) 
Lady  St.  Asaph  and  Son.     (Earl  of  Askliurnham.) 
Dorothea,  Lady  Sunderlin.     (Lord  Burton.) 
Mrs.  Scott  of  Dauesfield.    (Miss  A.  de  Rothschild.) 

1787.  Jane,    Countess    of    Harrington,    and    Children. 

(Countess  of  Harrington.) 
Lord  Heathfield.     (Xational  Gallery.) 
John,  Lord  Burghersh.     (Earl  of  Jersey.) 
Master  Bradyll.     (Lord  Rothschild. ) 
Lord  Ashburton  and  Others.    (Earl  of  Northbrook.) 
James  Boswell.     (Xationitl  Gallery.) 
Lady    Gertrude    Fitzpatrick    as    Sylvia.     (James 

Ross.) 
Lady  Betty  Foster.     (Duke  of  Devonshire.) 
Hon.    Peniston    Lambe    and     Brothers.       (Earl 

Cowper.} 
Selina,  Lady  Skipwith.    (Sir  Grey  Skipicith,  Bart.) 
Lady  Smith  and  Children.    (C  P.  Huntiju/donyXew 

York.) 
Frances,  Viscountess  Bayham.     (Earl  Camden.) 
Miss  Frances  Gordon  (Angels'  Heads).     (National 

Gallery.) 

1788.  Dr.  John  Ash.     (Birmingham  Hospital.) 
Miss  Penelope  Boothby.     (Mrs.  Thwaites.) 
Ijord  Grantham  and  Brothers.     (Earl  Cowper.) 
Sir  Joshua  Reynolds  in  Spectacles.    (His  Majesty.) 
Mrs.  Drummond  Smith.  (Marquess  of  Northampton.) 
Hon.  Leicester  Stanhope.    (Countess  of  Harrington.) 
Age    of    Innocence    (fancy    subject).      (National 

Gallery.) 
Felina  (fancy  subject).     (Earl  of  Normanion.) 
Holy  Family  (fancy  subject).     (National  Gallery.) 
Infant  Hercules  (fancy  subject).     (The  Hermitagej 

St.  Petersburg.) 

1789.  Master  Hare.     (New  York  Museum.) 
Miss  Francis  Harris.     (Earl  of  Damley.) 
The  Bradyll  Family.     (Lord  'Roth.ichild.) 
Mrs.  Bradyll.     (Wallace  Collection.) 
Mary,  Lady  de  Clifford.     (Earl  of  Mayo.) 

Miss  Theopbila  Gwatkin  as  Simplicity.     (Miss  A, 

de  Rothschild.) 
Mrs.  Watson  (Lady  Sondes).     (In  America.) 
Continence  of  Scipio  (fancy  subject).    (Th^  3er* 

milage,  St.  Petersburg.) 
Cupid    and    Psyche    (fancy    subject).     (Baroness 

BurJett  Coutts.) 
Cymon     and    Ipbigenia    (fancy    subject).      (His 

Majesty. ) 
Macbeth  (fancy  subject).     (Lord  Leconjield.) 
Puck  (fancy  subject).     (G.  W.  Fit:tcillian).) 
Mrs.  Billington  as  St.  Cecilia.     (Lennox  Gallery, 

Nef  Yo7-k.) 
Francis,   Lord    Kawdon   (Earl    of    Moira).     (His 

Majesty.) 

BIDLIOGR.VPHY. 
S.  Fulton,  '  Testimonies  of  the  Genius  and  Memory 

of  Sir  Joshua  Reynolds.'    1792. 
Edmond  Malone,  'Works  of  Sir  Joshua  Reynolds.'  1794. 


James  Northcote,  K.A., '  Memoirs  of  Sir  Joshua  Rey- 
nolds.'    1813-15. 
Sir   M.   A.   Shee,  P.R.A.,  'The   Commemoration  of 

Reynolds.'     1814. 
J.  Farington,  R.A., '  Memoir  of  Sir  Joshua  Reynolds.' 

1819. 
Allan    Cunningham,    '  Lives    of    the    Most    Eminent 

British  Painters,  &c.'     1830. 
H.   W.    Beechey,  'Literary    Works    of    Sir    Joshua 

Reynolds.'     1835. 
J.  Burnet,  'Memoirs  of  Sir  Joshua  Reynolds. '     1856. 
William  Cotton, '  Sir  Joshua  Reynolds  and  his  Works.' 

1856. 
Ditto,    'Catalogue    of    the  Portraits   of   Sir   Joshua 

Reynolds.'     1S57. 
Ditto, '  Sir  Joshua  Reynolds,  Notes  and  Observations 

on  his  Pictures.'     1858. 
C.  R.  Leslie,  R.A.,  and  Tom  Taylor,  'Life  and  Times 

of  Sir  Joshua  Reynolds.'     1865. 
3.  Pulling,  M.A., '  Sir  Joshua  Reynolds.'     1880. 
Edward  Hamilton,  M.D.,  'A  Catalogue   Raisonn6  of 

the  Engraved  Works  of  Sir  Joshua  Reynolds.'     1884. 
Claude  Phillips,  '  Sir  Joshua  Reynolds.'     1894. 
Algernon    Graves    and    W.   V.    Cronin,    'History  of 

the    Works    of    Sir    Joshua    Reynolds.'      3    vols. 

1899. 
Sir  Walter  Armstrong,  'Sir  Joshua   Reynolds,  First 

President  of  the  Royal  Academy.'     1900. 
Algernon  Graves,  F.S.A.,  and  Wilham  Vine  Cronin, 

Supplemental  Volume.     Vol.  4.     1901. 
Lord  Ronald  Sutherland  Gower, '  Sir  Joshua  Reynolds. ' 

1902.  A.  G) 

REYNOLDS,  Samuel  William,  mezzotinter  and 
landscape  painter,  was  born  in  London  in  the  year 
1773.  His  grandfather  was  a  West  Indian  planter, 
and  his  father  was  also  a  West  Indian.  His  earliest 
mezzotinted  plate,  a  portrait  of  George,  Prince  of 
Wales,  is  dated  1794,  and  is  inscribed  :  "  Engraved 
by  S.  W.  Reynolds,  late  pupil  to  C[harles]  H[oward] 
Hodges."  He  is  also  believed  to  have  studied 
under  John  Raphael  Smith.  Being  a  painter  as 
well  as  a  mezzotinter,  his  engraved  work,  in 
common  with  that  of  other  English  mezzotinters, 
bears  the  impress  of  high  artistic  excellence,  as 
well  as  of  trained  technical  skill.  He  was  also 
expert  as  an  etcher,  and  employed  etched  work 
liberally  in  the  early  stages  of  his  mezzotint 
plates,  and  by  the  adroit  introduction  of  strong- 
bitten  lines  added  to  the  effects  he  desired  to  pro- 
duce. He  was  also  an  accomplished  stipple  and 
aquatint  engraver,  and  was  accustomed  to  com- 
bine several  styles  of  work  in  one  plate.  Therefore 
very  few,  if  any,  of  his  engravings  are  in  pure 
mezzotint,  almost  all  being  in  the  "mixed  method."' 
Reynolds  was  made  drawing-master  to  the 
daughters  of  George  III.,  but  excused  himself 
from  a  knighthood  that  was  otiered  him.  In  1797 
he  exhibited  his  first  picture  at  the  Royal  Academy, 
and  though  he  was  a  regular  contributor  until 
about  1827  (except  between  the  years  1811  and 
1818),  he  never  exhibited  a  print.  He  lived  chiefly 
at  Poland  Street,  Oxford  Street,  .ind  Ivy  Cottage, 
Bayswater,  and  from  these  two  addresses  published 
a  great  number  of  his  plates.  Many  of  his  finest 
works  were  engraved  by  about  the  year  1804,  but 
ho  did  much  excellent  mezzotinting  until  nearly 
the  close  of  his  life.  He  was  a  most  rapid  worker, 
and  engraved  in  mezzotint  nearly  three  hundred 
and  fifty  portraits,  and  a  great  variety  of  subject 
pieces,  besides  executing  a  number  of  plates  in 
etching  and  stipple.  Among  his  plates  are  many 
from  the  canvases  of  Von  Breda,  Edridge,  Hopp- 
ner,  Jackson,  Lawrence,  Lonsdale,  Northcote, 
Opie,  Owen,  Phillips,  and  Sir  J.  Reynolds.  S.  W. 
Reynolds  also  produced  the  series  of  three  hundred 
and   fifty-seven   small   mezzotints   (portraits  and 

221 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bubjects),  after  all  the  then  acceseiblo  paintings  of 
Sir  J.  Reynolds,  which  were  issued  in  four  folio 
volumes.     This  work  involved  a  vast  amount  of 
labour  travelling  about  the  country  to  make  copies 
of  the  paintings,  us  well  as  engraving  the  plates. 
Though  Reynolds  engraved  many  of  his  mezzotints 
on  steel— which  metal  was  introduced  about  1820 
by  W.  Say  and  T.  Lupton— only  two  of  them  are 
80  lettered  :  the  |)ortrait  of  Lady  Georgiana  Agar- 
Ellis,  and  '  Distant  View  of  Rome.'     In  1809  Rey- 
nolds paid  his  hrst  visit  to  Paris,  and  exhibited  at 
the  Salons  of  1810  and  1812.     In  1814  he  received 
Samuel  Cousins  as  a  pupil  at  Poland  Street,  and 
in  1823  David  Lucas  was  apprenticed  to  him  at 
Bayswater.     Cousins   claimed  to   have  engraved 
between  eighty  and  ninety  plates  of  the  Sir  Joshua 
Reynolds  series.     In  1825  S.  W.  Reynolds  went  a 
second  time  to  Paris,  and  remained  some  consider- 
able time  painting  and  engraving.     He  exerted  a 
strong  influence  on  the  French  artists  of  the  day, 
who  were  astonished  at  his  work,  and  he  mezzo- 
tinted   many    subject    pieces    after    the    French 
painters:     P.   Delaroche,    U.    Vemet,    G^ricault, 
Danloux,  Dubufe,  Haudebourt  (Lescot),  Charlet, 
and  others.     His  chief  pupil  in  Paris  was  Georges 
Maile.     Although  Reynolds  at  times  painted  por- 
traits, his  work  with  the  brush  was  mainly  con- 
fined to  landscapes,  and  specimens  of  his  water- 
colours  are  to  be  seen  at  the  Victoria  and  Albert, 
and   British   Museums.     He  died  of  paralysis  at 
Bayswater,  August  13, 1835,  leaving  two  sons  and 
four  daughters,  several  of  whom,  to  some  degree, 
inherited    their   father's   artistic    talent.     Among 
Reynolds'  most  important  plates  are  : 

MALE  POBTKAITS. 
Sir  Joseph  Banks ;  afUr  T.  Phillips. 
Thomas  Burgess,  D.D.  ;  after  IK  Owen. 
Thomas  Cauipbell ;  after  J.  Lonsdale. 
Sir  William  Chambers  ;  after  A'ir  J.  Reynolds. 
Sir  Humphrey  Davy  ;  after  H.  Howard. 
Charles  James  Fox  ;  after  J.  Opie. 

•1  „  „     ;  after  J.  R.  Smith. 

David  Garrick,  as  "  Richard  III." ;  after  N.  Dance. 

«  «  „  "  Abel  Drugger";  after  J.  Zoffany. 

George  III.  (several  portrait*). 
Thomas  Girtin ;  after  J.  Opie. 
Sir  "William  Grant ;  after  G.  H.  Hnrlow. 
Reginald  Heber,  D.D. ;  aft^r  T.  rhiltips. 
Richard,  Earl  Howe  ;  after  H.  Simjleton. 
John   Philip  Kemble   (two  portraits) ;    after  Sir   T. 

Lairrence. 
Samuel  Lysons  ;  after  the  same. 
Napoleon  (several  portraits). 
"William  Pitt ;  after  Sir  T.  Lawrence. 
Sir    Joshua    Reynolds  (when  young) ;    after  Sir  J. 

Reynolds. 

FEMALE   PORTRAITS. 


Lady  Georgiana  Agar-Ellis ;  after  J.  Jackson. 

Mrs.  Arbuthnot ;  after  •/.  Hoppner. 

Georgiana,  Duchess  of  Bedford ;  after  the  same. 

Marguerite,  Countess  of  Blessiiigton ;  after  Sir  T. 
Lamrence. 

Elizabeth,  Duchess  of  Buccleuch ;  after  W.  Owen. 

Miss  Chester  ;  after  J.  Jackson. 

Elizabeth,  Marchioness  of  Exeter ;  after  Sir  T.  Law- 
rence. 

Mary,  Countess  Harcourt ;  after  Sir  J.  Reynolds. 

Mary,  Lady  Hood;  after  Sir  T.  Lawrence. 

(T(.tirgiana,  Duchess  of  Newcastle. 

Jane,  Countess  of  Oxford  ;  after  J.  Hoppner. 

Louisa,  Marchioness  of  Sligo ;  after  J.  Opie, 

Mis.  "Wliitbread ;  after  J.  Hoppner. 

SUBJECTS. 
The  Furze  Cutter  ;  after  J.  Barney. 
Anne  Page  and  Slender — and  other  subjects ;  after  R. 

P.  Bonington, 
222 


the  Opening  of  the  Lock  ;   after  J. 


after  J. 
-and  several  animal  subjects  ;  after 


Canal  Scene: 

Constahle. 
Les  Enfans  surpris  par  I'Orage ;  after  P.  Delaroche. 
Souvenirs,  Regrets— and  other  subjects;   after  C.  JW. 

Duhufe. 
"Wreck  of  the  Medusa ;  after  J.  Giricault. 
La  Bonne  Fille,  Le  Voleur  de  Raisin— and  other  sub- 
jects ;  after  Haudebourt  (Lescot). 
Battle  of  Navarino  ;  after  C.  Langlois. 
The  Land  Storm— and  other  subjects ;  after  G.  Mor- 

land. 
The  Falconer  (Samuel  Northcote,  junior) ; 

^'orthcote. 
Vulture  and  Snake- 

J.  Northcote. 
Death  of  Captain  Hood — and  other  subjects ;  after  J. 

Northcote. 
Cupid  seated  on  Clouds  ;  after  TV.  Owen. 
Rembrandt's  Mill ;  after  Remhrandt. 
Le  Chapcau  de  Paille  ;  after  Rubens. 
La  Bohemienne  ;  after  t.  Tayler. 

Ea,st  Gate,  "Winche'lsea.  r  From  the  ■)     -.       .    ,,    „, 
Christ  and  the  Woman-J       Liber      yj'^''  "'•  ^^-    ^• 

of  Samaria.  (StudiorumJ      ■'""«'■• 

Mazeppa;  after  H.  J'ernct.  j^  tf,; 

REYNOLDS,  Samuel  William,  junior,  eldest 
son  of  the  preceding,  was  born  January  25,  1794, 
and  died  July  7,  1872.  He  studied  portrait  paint- 
ing under  William  Owen,  and  exhibited  at  the 
Royal  Academy  from  1820  to  1845.  Several  of  his 
portrait  paintings  were  engraved  in  mezzotint  by 
his  father.  He  learnt  mezzotinting  from  his 
father,  whom  he  assisted  during  his  declining 
years.  Upon  his  father's  death  he  adopted  mezzo- 
tinting as  a  profession,  and  altogether  engraved 
about  a  hundred  plates.  For  a  number  of  years 
he  resided  and  worked  at  15,  Holland  Road, 
Kensing-ton.  .  vp 

REYNOSA,  Antonio  Garcia.    See  Garcia  Ret- 

NOSA. 

REYNOUART,  Edouabd,  a  French  landscape 
painter,  born  at  Lille  in  1802.  He  was  a  pupil 
of  Li6nard  and  Souchon.  In  1842  he  was  appointed 
Director  of  the  Lille  Museum,  in  the  administration 
of  which  he  displayed  great  ability.  He  was 
an  oflScer  of  the  Legion  of  Honour.  His  works 
appeared  but  seldom  at  the  Salon.  He  died  at 
Lille,  from  the  results  of  an  accident,  in  1879. 

REYS,  Jenny  Augustine  (nee  Allais),  bom 
in  Paris,  1798,  a  pupil  of  her  mother  and  of  Van 
Spaendonck,  practised  fruit  and  flower  painting. 

RE  YSSCHOOT,  Anne  Marie  van,  born  at  Ghent, 
1758,  the  daughter  of  Emmanuel  Reysschoot,  and 
pupil  of  her  brother  Pieter  Norbert.  She  married 
Egide  Deginant,  and  practised  to  a  very  advanced 
age,  painting  genre  pictures  and  bas-reliefs. 

REYSSCHOOT,  Emmanuel  Pieter  van,  painter, 
born  at  Ghent,  1713.  In  1739  he  became  a  member 
of  the  Corporation  of  Painters,  and  on  the  occasion 
of  the  sixth  jubilee  of  St.  Bernard,  celebrated  at 
the  Abbey  of  Bandeloo,  near  Ghent,  in  1753,  he 
painted  fourteen  large  pictures  representing  Christ, 
the  Virgin,  and  the  Twelve  Apostles.  He  died  in 
1772. 

REYSSCHOOT,  F.  van,  a  Dutch  engraver  of  the 
18th  century,  was  probably  related  to  the  artists 
of  the  same  name  at  Ghent.  He  engraved  some 
small  prints  after  Teniers,  which  are  executed  in 
a  very  neat  and  spirited  manner. 

REYSSCHOOT,  Pieter  Jan  van,  the  brother  of 
Emmanuel  Reysschoot,  was  bom  at  Ghent  He 
painted  portraits  and  historical  pictures,  and  visited 
England,  where  he  remained  for  some  time,  from 
which  circumstance  he  was  known  at  home  as 
'The  Englishman.'    At  Ghent,  in  the  Augustine 


S.  W.  REYNOLDS 


From  the  mezsotint  after  ike  fainting  by  Hopfner] 

THE  COUNTESS  OF  OXFORD 


PAINTERS  AND  ENGRAVERS. 


churcli,  there  are  twelve  '  Apostles '  by  him.  He 
died  at  Ghent  in  1772. 

REYSSCHOOT,  Pieter  Norbert  van,  painter, 
eon  of  Emmanuel  Pieter  Reysschoot,  born  at  Ghent, 
1738,  the  pupil  of  his  father  and  of  liis  uncle,  and 
first  professor  of  perspective  and  architecture  at 
the  Academy  at  Ghent  in  1770.  Throughout  East 
Flanders  works  by  him  are  to  be  found  in  various 
churches  and  convents.  In  the  church  of  St. 
Bavon,  at  Ghent,  there  are  eleven  paintings  by 
him  in  imitation  of  bas-reliefs  in  white  marble. 
He  died  in  1795. 

REYTER.     See  Reiter. 

RHEEN,  Theodorus  Jdstinds,  painter,  an 
obscure  artist,  who  practised  at  Amsterdam  during 
the  first  half  of  the  18th  century.  When  young 
he  studied  in  Italy  under  Trevisani.  He  obtained 
a  civil  appointment  in  India,  where  he  died. 

RHEIN,  Nicolas,  engraver  and  painter,  bom  in 
1767  at  Vienna,  was  a  pupil  of  Jacobe.  He  exe- 
cuted several  good  works  in  mezzotint,  principally 
animal  pieces ;  such  as,  '  The  Lion  lying  in  wait,' 
after  a  picture  of  his  own ;  '  The  Mad  Bull,'  after 
Casanova;  'The  Eagle,'  after  Hamilton  ;  'The 
Tigress,'  after  Rubens ;  '  Hercules  killing  the 
Lion,'  after  Rubens  ;  and  '  The  Waterfall,'  after 
J.  Veniet.     He  died  in  Vienna  in  1819. 

RHELINGER,  Welser,  a  native  of  Germany, 
executed  a  hundred  and  twenty  wood-cuts,  for 
a  German  book  entitled,  '  Patricium  Stirpium, 
Augustanarura  Vindelicum,  et  earundem  sodali- 
tatis  insignia.'  The  principal  figures  are  all  repre- 
sented on  horseback,  completely  armed,  with  the 
arms  of  their  respective  families  on  their  shields. 

RHENI,  Rejii  van,  a  history  painter,  born  at 
Brussels  in  1560,  travelled  through  Germany,  and 
then  became  a  pensioner  of  the  Count  de  Volfes. 
He  died  in  1619. 

RHODEN,  Johann  Martin  von,  landscape 
painter,  born  at  Caesel  in  1778  (1782),  went  to 
Rome  in  very  early  life,  but  returned  in  1827  to 
his  own  country  as  court  painter.  After  a  stay  of 
six  years  he  returned  to  Rome,  where  he  remained 
for  the  rest  of  his  life.  In  his  landscapes  of  Italian 
scenery  he  portrayed  the  vegetation  in  its  full 
splendour.  He  also  painted  '  The  Villa  of  Hadrian  ' 
and  '  The  Cloister  of  St.  Benedict.'  He  died  at 
Rome  in  1868. 

RHODES,  John  N.,  landscape  and  animal  painter, 
bom  at  Leeds  in  1809,  son  of  Joseph  Rhodes,  a 
self-taught  artist,  who  died  in  1854.  He  was 
brought  up  by  his  father,  and  painted  rustic  scenes 
and  groups  of  cattle.  He  went  to  London,  where 
he  settled  and,  between  1832  and  1842,  exhibited 
at  the  Royal  Academy  and  the  British  Institution, 
but  sufi'ering  from  ill  health,  he  returned  to  Leeds, 
■where  he  died  in  December,  1842. 

RHODES,  Richard,  an  English  line-engraver, 
born  in  1765.  He  worked  for  many  years  for 
Charles  Heath,  and  died  in  London  in  1838.  Speci- 
mens of  his  work  are  to  be  found  in  '  Ancient  Terra- 
Cottas  in  the  British  Museum  '  (1810). 

RHOMBERG,  Hanno,  still-life  painter,  bom  at 
Munich  in  1820,  was  the  son  of  the  historical 
painter,  Joseph  Anton  Rhomberg,  and  received 
his  first  instruction  from  his  father.  He  then  entered 
the  Munich  Academy,  and  studied  under  Julius 
Schnorr.  He  did  not  remain  there  long,  but  took 
to  painting  portraits  under  Bernhardt,  until  a 
fourth  master,  Enluiber,  induced  him  to  try  genre 
painting.  The  following  pictures  by  him  may  be 
cited — '  The  Watchmaker,'  in  the  Berlin  National 


Gallery  ;  '  The  Boys  going  to  School,'  '  The  Tight 
Boot;'  and  in  the  Pinakothek  at  Munich,  ''The 
Sledge-Maker,'  '  Two  Boys  trying  to  Smoke,'  '  A 
Boy  purchasing  a  Bird.'    He  died  in  1869. 

RHO.MBERG,  Joseph  Anton,  an  historical 
painter,  born  at  Dornbirn  in  the  Tyrol  in  1786. 
Till  he  was  twenty-two  years  of  age  he  was 
employed  in  farming,  but  in  1808  he  went  to  the 
Academy  at  Munich,  and  studied  under  Langer.  In 
1814,  with  his  picture  of  'The  Sacrifice  of  Noah  ' 
he  gained  the  first  prize.  He  settled  in  Munich,  and 
in  1827  was  appointed  professor  of  drawing  at  the 
Polytechnic  School.  His  works  show  very  plainly 
the  infiuenco  of  Langer.  Among  them  may  be 
named,  'Rebecca  at  the  Well,'  'Abraham  enter- 
taining the  Angels,'  '  The  Zither-Player.'  He  died 
at  Munich  in  1853. 

EIBALTA,  Francisco  de,  a  Spanish  painter, 
born  at  Castellon  de  la  Plana  between  1550  and 
1560,  was  one  of  the  greatest  historical  painters 
of  Spain.  He  studied  first  in  Valencia.  His  life 
affords  a  parallel  to  the  courtship  of  Quentin  Matsys. 
While  a  student  he  fell  in  love  with  his  master's 
daughter,  and  demanded  her  in  marriage,  but  her 
father  refused  his  consent,  alleging  that  he  was 
not  sufficiently  advanced  in  his  profession.  Eibalta 
and  his  mistress,  however,  agreed  privately  to 
wait  three  or  four  years,  and  he  immediately 
departed  for  Italy,  with  the  determination  of  per- 
fecting himself  by  the  study  of  the  works  of  the 
great  masters  there.  He  applied  himself  with 
great  assiduity  to  those  of  Raphael,  Sebastiano  del 
Piombo,  and  the  Carracci,  and  copied  many  of  their 
pictures,  particularly  those  of  Sebastiano.  He 
returned  to  his  own  country  after  an  absence  of 
three  years,  and  the  first  place  he  visited  was 
the  atelier  of  his  former  master,  the  father  of  his 
mistress.  Finding  the  sketch  of  a  picture  on  the 
easel,  he  finished  it  and  withdrew.  On  the  return 
of  the  old  painter  he  expressed  much  surprise  at 
the  excellence  of  the  performance,  and  said  to  his 
daughter,  "  How  readily  would  I  give  you  to  a 
painter  of  such  ability  as  this,  instead  of  that 
dauber  Ribalta."  "My  father,"  replied  the  lady, 
"it  isRibaha  that  did  it." 

Ribalta  acquired  great  reputation  not  only  in 
Valencia,  where  his  best  works  are  to  be  found, 
but  all  over  Spain.  The  College  of  Corpus  Christi 
is  a  perfect  Museum  of  Ribaltas,  the  gem  of  which 
is  a  '  Last  Supper.'  Ribalta  also  painted  largely  for 
the  different  churches  and  museums  throughout 
Valencia.  The  Madrid  Museum  possesses  by  hmi 
'The  Body  of  Jesus  Christ  borne  by  two  angels,' 
and  a  '  San  Francisco  de  Assisi,'  Besides  these  we 
may  cite  a  '  Crucifixion,'  the  altar-piece  in  the 
chapel  of  Magdalen  College,  Oxford,  a  'Concep- 
tion' in  S.  Felipe  Neri,  and  '  S.  Antonms.'  He 
died  at  Valencia  in  1628. 

RIBALTA,  Juan  dk,  the  son  of  Francisco 
Ribalta,  born  at  Valencia  in  1597,  was  instructed 
by  his  father,  and  at  the  age  of  eighteen  he  pamted 
a  'Crucifixion'  which  hein.scribed  •'Joannes  Jiibalta 
pingebat  et  inveiiit  18  (ctalis  siuv  anno  1615," 
a  tine  picture  in  composition,  drawing,  and  colour. 
He  painted  for  Don  Diego  de  Vich  above  thirty 
portraits  of  illustrious  persons  in  Valencia,  which 
De  Vich  at  his  death  bequeathed  to  the  Monastery 
of  St.  Jerome.  Of  his  other  works  we  may  name, 
a  '  St.  Cecilia '  for  the  Monastery  of  La  Murta.  a 
'  Christ  on  tho  Cross '  for  the  Dominicans  of  S. 
Catalina  de  Sena  in  Valencia.  The  Madrid  .Museum 
possesses  pictures  of  SS.  John,  Matthew,  Mark. 


A  BIOGRAPHICAL  DICTIONARY  OP 


and  Luke,  and  a  '  Singer  with  Music  in  his  hand.' 
Juan  di  Hibalta  died  in  1628,  the  same  year  as 
his  father. 

RIBAULT,  Athame,  was  bom  in  Paris  1781. 
She  was  a  pupil  of  Latitte,  and  practised  portrait 
painting. 

KIBAULT,  JoLiE,  was  born  at  Fresnay,  France, 
in  1789,  and  was  a  pupil  of  Lafitte.  She 
painted  portraits  and  genre  pictures,  among  which 
we  may  mention  :  '  Mignard  painting  Madame 
lie  Maintenon,'  '  Piron  at  the  Porte  d'Auteuil.' 

RIBAULT,  J F— — ,  an  historical  engraver, 

was  bom  in  Paris  in  1767.  He  was  a  scholar  of 
Ingouf,  and  engraved  'Christ  crowned  with  Thorns,' 
after  Titian  :  '  Marcus  Sextus,'  after  Guerin  ;  also 
'  Paris  and  CEnone,'  after  Vander-Werff ;  '  A  Young 
Lady  playing  on  the  Guitar,'  after  Metzu,  besides 
several  other  plates  for  the  '  Collection  du  Museo 
Napoleon,'  published  by  Laurent  and  Robillard. 
He  also  engraved  the  heads  of  Bernardin  de  St. 
Pierre,  the  poet  Le  Brun,  the  Empress  Marie 
Louise  ;  and  a  set  of  the  costumes  of  the  grand  func- 
tionaries of  the  French  court.     Ribault  died  in  1 820. 

RIBERA,  Lniz  A.,  painter,  was  practising  at 
Seville  in  the  second  part  of  the  17th  century. 
He  was  one  of  the  artists  who  contributed  in  1668 
to  the  formation  of  the  Seville  Academy. 

RIBERA  y  FERNANDEZ,  D.  Jdan  Antonio, 
painter,  born  at  Madrid  in  1779,  first  studied  under 
Bayeu,  and  in  the  Academy  of  S.  Fernando,  but 
afterwards  went  to  Paris  and  become  the  pupil  of 
David.  There  he  painted  his  '  Cincinnatus,'  wliich 
is  now  in  the  Museum  at  Madrid.  In  course  of 
time  he  went  to  Rome,  and  in  1811  was  appointed 
painter  to  Carlos  IV.,  and  member  of  the  Academy 
of  St.  Luke ;  and  in  1820  honorary  member  of 
the  Academy  of  S.  Fernando.  In  1838  he  was 
made  professor,  and  two  years  afterwards  Director 
of  the  Madrid  Museum.  He  died  at  Madrid  in 
1860.  Of  his  pictures  we  may  cite  : 
Aranjuez.  Palace.    Christ  crowned  with  Thorns. 

„  „        The  Resurrection. 

Madrid.  Gallery.    Wamba. 

„  „  Allegory  of  Summer. 

„  „  Allegory  of  Autumn. 

„  „  Afternoon. 

„  „  Night. 

„  Palace.     S.    Fernando    surrounded     by 

distinguished  Spaniards  (ceil- 
ing}. 
Toledo.  Cathedral.    Portrait  of  Cardinal  Ingranzo. 

RIBERA,  Josef  or  Jdsepe  de,  called  Lo  Spag- 
NOLETTO,  painter  and  engraver,  born  January  12, 
1588,  at  Xativa  (now  San  Felipe),  near  Valencia, 
was  the  son  of  Luiz  Kibera  and  of  his  wife  Mar- 
garita. The  Italians  have  claimed  him  as  a  com- 
patriot, stating  him  to  have  been  a  native  of  Lecce 
in  the  kingdom  of  Naples.  The  fact  of  his  true 
nationality  has,  however,  long  been  established. 
On  the  '  Bacchus,'  one  of  the  finest  of  the  few 
engravings  by  him  still  extant,  is  the  following 
inscription  :  Joseph  &  Eibera,  Hispan'-  Valenti' 
Setah.  f.  Partenop :  1628.  His  parents  designed 
him  for  the  profession  of  letters,  and  with  this  idea 
sent  him  to  Valencia  to  acquire  classical  learning, 
but  he  there  became  acquainted  with  Francisco 
Ribalta,  and  abandoning  all  less  congenial  pursuits, 
devoted  himself  to  the  study  of  art  under  that 
master,  with  whom  he  made  rapid  progress.  He 
then  determined  to  visit  Italy,  and  to  become 
acquainted  with  the  works  of  the  great  Italians. 
He  arrived  in  Rome  entirely  without  resources, 
and  for  a  time  endured  many  hardships,  but  was 
224 


fortunate  enough  to  attract  the  attention  of  a 
cardinal,  who,  admiring  his  talent,  received  him 
into  his  house.  At  Rome  Ribera  remained  for 
some  time  studying  under  Caravaggio,  whose 
system  of  chiaroscuro  had  peculiar  attractions  for 
him,  and  became  one  of  the  most  distinguished 
disciples  of  that  master.  A  rupture  with  his  patron 
caused  him  to  quit  Rome,  and  he  is  said  to  have 
become  a  soldier,  and  to  have  experienced  many 
strange  vicissitudes,  amongst  others  a  period  of 
captivity  as  a  galley-slave  in  Algeria.  At  Parma 
he  studied  for  some  time,  and  in  bis  early  works 
we  may  distinctly  trace  the  influence  of  Correggio, 
and  of  other  northern  masters  ;  but  the  rugged 
naturalism  of  Caravaggio  was  the  element  in  which 
he  truly  delighted,  and,  abandoning  the  softer 
manner  of  his  early  efforts,  he  finally  become  the 
leader  of  the  '  Naturalisti,'  the  eccentric  school  of 
realistic  painters  most  sharply  opposed  to  the 
graceful  eclecticism  of  the  Carracci. 

From  Rome  and  Parma  Ribera  passed  to  Naples, 
the  scene  of  his  greatest  activity  and  of  his  highest 
fortunes.  He  became  acquainted  with  a  rich  picture- 
dealer  of  the  city,  whose  daughter  he  married,  and 
thus  he  found  himself  relieved  from  all  pecuniary 
embarrassments.  At  this  period  the  '  Naturalisti ' 
enjoyed  an  almost  undisputed  supremacy  in  Naples, 
would  tolerate  no  intruders  in  their  stronghold, 
and  waged  war  against  every  follower  of  the 
Carracci  who  came  within  their  reach.  Ribera,  to 
his  discredit,  took  an  active  part  in  the  persecution 
with  which  his  party  assailed  the  eclectics,  Guido 
Reni,  Domenico,  and  Gessi,  resulting  in  the  expul- 
sion of  these  artists  from  the  city.  The  rulers  of 
Naples  in  the  early  part  of  the  17th  century  being 
Spanish,  Ribera  naturally  enjoyed  a  large  share 
of  favour ;  he  was  appointed  court  painter  to  the 
Viceroy,  the  Duke  of  Osuna,  and,  on  a  second  visit, 
was  patronized  by  his  successor,  the  Count  de 
Monterey,  who  recommended  him  to  Philip  IV. 
In  1630  he  became  a  member  of  the  Academy  of 
St.  Luke,  and  in  1644  he  received  the  decoration 
of  the  Order  of  Christ  from  the  Pope. 

The  final  abandonment  of  his  early  style  may 
be  broadly  said  to  date  from  his  establishment 
at  Naples.  His  conceptions  became  gradually 
more  and  more  marked  by  a  wild  extravagance 
of  fancy  and  by  a  stern  vigour  of  execution.  His 
skill  in  manaj;ing  violent  contrasts  of  light  and 
shade  is  very  remarkable,  but  as  a  colourist  he 
is  forceful  rather  than  fine.  His  large  historical 
pictures,  in  spite  of  great  merits  in  execution,  are 
generally  terrible  and  repulsive,  and  his  rendering 
of  mythological  subjects  is  deficient  in  beauty 
and  dignity.  He  delighted  in  the  delineation  of 
emaciated  figures,  of  flayings  and  scourgings,  of 
scenes  of  torture  and  death.  He  was  much  patron- 
ized by  the  clergy,  especially  by  the  Jesuits,  and 
painted  many  important  works  for  churches  and 
religious  houses.  The  Madrid  Gallery  contains 
a  large  number  of  his  works,  and  there  are  good 
examples  in  the  most  important  public  collections, 
the  '  Pieta  '  in  the  National  Gallery  being  excellent 
in  quality.  His  colour  darkens  very  much  with 
age.  Rihera  had  many  pupils,  among  the  more 
famous  of  whom  are  Salvator  Rosa,  Giordano,  Fal- 
cone, and  Giovanni  Do.  His  daughter,  Maria 
Blaxca,  who  was  frequently  his  model,  also  prac- 
tised painting.  It  has  been  asserted  that  her  father's 
death  was  caused  by  grief  at  her  seduction  by 
Don  John  of  Austria,  but  there  seems  to  be  no 
solid  ground  for  the  statement.     Ribera  died   at 


JOSEF  DE  RIBERA, 


LO    SPAGNOLETTO 


AN  OLD  WOMAN  WITH  A  HEN 


[J///«;t//  iiLij^irry 


PAINTERS  AND  ENGRAVERS. 


Naples  in  1656. 
principal  works  : 


The  following  is  a  list   of  his 


Berlin. 


Museum. 


Dresden.  Gallery. 


Dublin.  Xat.  Gal. 

Dulwich.  Galleri/. 

Edinburgh.    Xat.  Gal. 
Florence.  Uffi:>. 

J'itli. 


Glasgow.  Gallery. 

Hamptou  Court. 
London.  iVat.  Gal. 


tladrid. 


Gallery. 


St.    erome. 

A  Holy  Family. 

St.  Sebastian. 

Martyrdom  of  St.  Bartholomew. 

St.  Mary  of  Egypt  at  prayer  be- 
fore her  own  grave  ;  an  Angel 
winding  her  shroud  about  her. 

The  Deliverance  of  St.  Peter. 

St.  Francis  of  Assisi  lying  naked 
on  a  bed  of  Thorns  ;  an  Angel 
appearing  to  him. 

Martyrdom  of  St.  Bartholomew. 

Martyrdom  of  St.  Lawrence. 

The  Hermit  Paul  fed  by  the 
Raven. 

St.  Andrew. 

The  Hermit  Paul  with  a  Cross. 

St.  Jerome. 

Jacob  tending  Laban's  Sheep. 

Diogenes  with  a  Lantern. 

A  Philosopher  in  deep  medita- 
tion. 

Portrait  of  a  man  in  black  clothes. 

St.  Joseph. 

A  Locksmith. 

A  Mathematician. 

St.  Jerome. 

St.  Bartholomew. 

St.  Francis. 

Portrait  of  Simone  Pagauucci 

Portrait  of  an  Old  Man. 

Duns  .Scotus  writiner. 

A  PietA.  The  Dead  Christ  and 
the  Virgin,  with  St.  John  and 
Mary  Magdalene. 

Shepherd  with  a  Lamb. 

The  Martyrdom  of  St.  Bartholo- 
mew. 

Mary  Magdalen. 

St.  Mary  of  Egypt. 

St.  Paul  the  Hermit. 

St.  Jerome  praying. 

Jacob's  Ladder. 

Prometheus. 

St.  Sebastian. 

A  Priest  of  Bacchus. 

Head  of  a  Sibyl. 

The  Conception. 

The  Holy  Trinity. 

The  Sa\'iour. 

The  Twelve  Apostles. 

An  Anchorite. 

The  Blind  Man. 

St.  Eoch. 

St.  Francis  of  Assisi  in  ecstasy. 

St.  Christopher. 

St.  Joseph  and  the  Child  Jesus. 

Isaac's  Blessing. 

Ixion. 

Archimedes. 

St.  Augustine. 

■\Vomen  fighting  in  a  Circus. 

Deposition  of  St.  Andrew. 

The  Dying  Seneca. 

The  Penitent  Peter. 

St.  Bartholomew. 

St.  Onuphrius. 
jlnd  tico  more. 

Adoration  of  the  Shepherd.s. 

Christ  in  the  Tomb. 

St.  Paul  the  Hermit. 

Martyrdom  of  St.  Seba.stian. 

St.  Jerome  in  the  Desert. 

St.  Procopius. 
And  three  more. 

Christ  disputing  with  the  Doc- 
tors. 
„  „  Christ  on  the  way  to  Calvary. 

„  „  The  Penitent  Peter. 

And  two  more. 

RIBERA,  Juan  Vicente,   a    Spanish    painter, 

VOL.  IV.  Q 


Munich.  Gallery. 

>i  »' 

»  >♦ 

»»  j» 

«  »t 

Paris.  Louvre. 

»»  )» 
Petersburg.  Hermitaye. 

»»  »» 

Vienna.  Gallery. 


practising  at  Madrid  in  the  early  part  of  the  18th 
century.  He  was  one  of  the  artists  appointed 
by  the  Council  of  Castile  in  1725  to  tax  pictures. 
He  painted  the  pendentives  of  the  cupola  in  the 
church  of  S.  Felipe  el  Real,  and  is  further  known 
by  two  scenes  from  the  life  of  S.  Francis  de  Paul 
in  the  church  of  la  Victoria,  and  a  '  Martyrdom  of 
S.  Justus.' 

RIBET,  Jean  Constantin,  marine  painter, 
practised  in  France  in  the  early  part  of  tlie  19th 
century.  He  was  a  pupil  of  Forestier.  There  is 
by  him  a  picture  representing  the  taking  of  the 
two  English  frigates  the  '  Fox '  and  the  '  Pied- 
montese '  by  the  French  vessels  '  Venus '  and 
'  Bellona.' 

RIBOLT,  WiLHELM  WiLKEN,  a  Danish  painter, 
practising  in  Germany  about  1700.  At  Copen- 
hagen there  is  by  him  a  '  Group  of  Warriors  seated 
and  preparing  to  drink.' 

RIBON,  Fk.  M.,  painter,  was  bom  in  Paris, 
1790.  He  was  a  pupil  of  Baltz,  and  painted  prin- 
cipally upon  china. 

EIBOT,  AuGUSTiN  Th^odule,  French  painter 
and  engraver;  born  at  Breteuil  (Eure),  August  8, 
1823;  reached  Paris  in  1851  ;  was  a  pupil  of  Glaize 
the  elder;  began  to  copy  Watteaus  in  the  Louvre 
and  in  private  collections.  Francois  Bouvin  be- 
friended him,  but  for  a  long  wliile  the  Salon 
refused  to  recognize  his  talent.  His  cUbut  there 
in  1861  was  with  the 'Cuisiniers,' which,  like  his 
'  Grande  Douleur,'  has  been  admirably  etched  and 
still  maintains  its  reputation.  Several  of  his 
pictures  are  in  the  Luxembourg,  including  '  Jesus 
et  les  Docteurs,'  '  St.  Sebastien,'  and  '  Le  Bon 
Samaritain.'  In  1870  he  left  Paris  for  Brittany ; 
during  the  siege  his  studio  was  burned  and  almost 
all  his  property  destroyed.  He  then  retired  to 
Colombes,  where  he  continued  to  work  until  his 
death.  He  obtained  medals  in  1864  and  1865,  and  a 
medal  at  the  Exhibition  of  1878,  when  he  became 
a  Chevalier  of  the  Legion  of  Honour.  His  style 
earned  for  him  the  title  of  the  French  Ribera.  He 
died  at  Colombes,  September  11,  1891. 

RICAMATORE,  II.     See  Naxni. 

RICARD,  Louis  Gustave,  portrait  painter,  was 
born  at  Marseilles  in  1824,  studied  at  Marseilles 
under  Auber  until  1844,  but  afterwards  in  Paris 
under  Coignet.  In  the  same  year  he  exhibited  a 
portrait  of  Mme.  Sabatier  at  the  Salon,  which 
made  a  considerable  sensation.  He  copied  much 
in  the  Louvre.  In  1847  he  visited  Rome,  Florence, 
and  Venice,  where  he  studied  and  copied  Titian. 
Later  on  he  came  to  England.  In  1850  ho 
painted  a  '  Gipsy  Giri  with  a  Cat,'  which  attracted 
attention  at  the  Salon,  and  for  the  next  nine  years 
Ricard  was  a  constant  exhibitor.  After  1861,  how- 
ever, he  appeared  no  more  until  1872,  when  he 
sent  a  portrait  of  Paul  de  Musset.  His  art,  how- 
ever, was  unfitted  to  the  crowd  and  glare  of  the 
Salon.  Quiet  and  refined  in  effect,  almost  to  excess, 
it  had  much  affinity,  technically,  with  that  of 
Prud'hon.  His  portraits  were  popular.  In  1863 
the  Cross  of  the  Legion  was  offered  him;  "It  is 
too  late,"  he  replied,  and  remained  undecorated 
till  his  death,  which  took  place  in  1873,  in  Paris. 
Among  his  works  we  may  name : 
Paris.  Lttxemloury.    Portrait  of  Paul  de  Musset. 

i>  .,  n        »  himself. 

Portrait  of  Mme.  Szarvady. 
„        „  Mme.  Paul  Boul. 
„         „  M.  Heilbuth  (painter). 
„        „  M.  Anatole  de  la  Forge 
„        „  M.  Ziem  {painter). 

225 


A  BIOGRAPHICAL  DICTIONARY  OF 


\ 


Portrait  of  M.  Chaplin  (do). 

„        „  Eugene  Fromentin  {do). 

„        „  M.  Chenavard. 

„        „  Mme.  von  Kalergis. 

„        „  Mme.  de  Calonne. 
The  German  Student. 

RICCA,  Bernardo,  painter,  a  native  of  Cremona, 
where  lie  was  painting  in  the  cathedral  about  1512. 
RICCARDI,  LniGi,  a  marine  painter,  born  in 
1807,  whose  pictures  were  painted  rather  for  arti- 
ficial effects  tlian  with  a  due  regard  for  truth  to 
nature.  He  was  a  professor  at  the  Brera.  He 
died  at  Milan  in  1877. 

RICCHI,  PiETRO,  called  II  Lucchese,  painter, 
born  at  Lucca  in  1606,  was  first  a  scholar  of  Pas- 
signano,  but  afterwards  studied  under  Guide  Reni. 
He  imitated  the  grace  of  the  latter,  though  his 
colouring  resembles  that  of  Passignano.  In  the 
church  of  St.  Francesco,  at  Lucca,  there  are  two 
altar-pieces,  which  evince  the  fertility  of  his  in- 
vention and  his  readiness  of  hand.  He  also  painted 
several  pictures  for  the  churches  at  Udine.  There 
is  a  picture  of  his  in  the  Dresden  Gallery  repre- 
senting the  '  Mystic  Marriage  of  St.  Catherine.' 
He  painted  in  France,  and  in  the  Milanese  and 
Venetian  states,  and  was  very  rapid  and  inde- 
fatigable in  execution.  Kicchi  died  at  Udine  in 
1675. 

RICCHIEDEO,  Marco,  was  born  at  Brescia, 
but  it  is  not  known  in  what  year,  nor  under  whom 
he  studied.  He  was,  however,  a  very  reputable 
historical  painter.  In  the  church  of  St.  Thomas, 
in  his  native  city,  there  is  a  fine  picture  of  the 
Incredulity  of  that  saint  by  him. 

RICCHINO,  Francesco,  painter,  a  native  of 
Brescia.  He  flourished  about  1568.  He  imitated 
the  style  of  Moretto,  but  was  also  greatly  in- 
fluenced  by  Titian. 

RICCI,  Antonio,  called  Basbahtnga,  painter, 
born  at  Messina  in  1600,  studied  under  Domenico 
Zampieri,  and  was  reckoned  among  the  best  painters 
of  his  country.  Among  his  pictures  are,  '  St. 
Gregory,'  in  San  Gregorio,  and  an  'Assumption,' 
in  S.  Michele  in  Messina,  and  an  altar-piece  in 
the  church  of  S.  Sylvestro  in  Capite  in  Rome. 
He  died  at  Messina  in  1649. 

RICCI,  Camillo,  bom  at  Ferrara  in  1580,  was 
the  best  pupil  of  Ippolito  Scarsella,  called  Lo 
Scarsellino.  Such  was  his  progress  that  Barufialdi 
reports  Scarsellino  to  have  declared  that  if  Camillo 
had  preceded  him  in  the  art,  he  would  have  chosen 
him  for  his  instructor.  The  style  of  Ricci  is  very 
like  that  of  his  master,  but  with  less  freedom  and 
breadth.  In  the  general  harmony  of  his  colouring, 
however,  he  has  perhaps  surpassed  him.  The 
churches  of  Ferrara  abound  in  his  works,  of 
which  Barotti  gives  a  particular  account  in  his 
'  Pitture  di  Ferrara.'  His  best  productions  are  his 
'  S.  Vincenzo '  and  '  S.  Margherita,'  in  the  cathe- 
dral ;  an  '  Annunciation,'  in  Spirito  Santo  ;  and  his 
ceiling  in  the  church  of  S.  Niccolo,  representing, 
in  eighty-four  compartments,  the  life  and  miracles 
of  that  saint.  Ricci  died  at  Ferrara  in  1618. 
RICCI,  Domenico  del.  See  Del  Riccio. 
RICCI,  Felice  del.  See  Del  Riccio. 
RICCI,  Giovanni  Batista,  called  da  Novarra, 
born  at  Novarra  in  1545,  went  to  Rome  when 
young,  and  became  a  scholar  and  imitator  of 
Raffaellino  da  Reggio.  According  to  Baglione,  he 
was  employed  by  Sixtus  V.  in  the  palace  of  S. 
Giovanni  Laterano,  and  in  the  library  of  the 
Vatican.  He  was  afterwards  appointed  by  that 
226 


pontiff  superintendent  of  paintings  in  the  palace 
of  Monte  Cavallo.  He  was  also  much  employed 
by  Clement  VIII.  Of  his  own  productions  in  the 
public  edifices  of  Rome,  the  following  are  the  most 
considerable : — in  the  nave  of  the  church  of  S. 
Maria  Maggiore,  he  painted  in  fresco  the  '  Visita- 
tion,' the  'Ascension,'  and  the  '  Assumption  of  the 
Virgin'  ;  in  S.  Marcello,  a  series  of  frescoes  from 
the  Life  of  the  Virgin  and  the  Passion  of  our 
Saviour;  but  his  best  work  is  the  'Consecration 
of  the  Basilica  of  San  Giovanni  Laterano  by  S. 
Silvestro,'  in  that  church.  Giambattista  Ricci  is 
mentioned  in  the  Abecedario  by  Orlandi,  as  an 
engraver,  but  none  of  his  works  are  specified.  He 
died  in  1620. 

RICCI,  Marco,  the  nephew  of  Sebastiano  Ricci, 
was  bom  at  Belluno  in  1680.  After  receiving  his 
first  instruction  in  art  from  his  uncle,  he  visited 
Rome,  where  he  was  for  some  years  occupied  in 
drawing  the  most  picturesque  views  in  the  neigh- 
bourhood, and  the  most  remarkable  fragments  of 
ancient  architecture.  From  these  designs  he 
painted  perspective  views,  which  were  greatly 
admired.  In  1710  he  came  to  England,  and  his 
talents  soon  excited  attention.  His  landscapes, 
with  ruins  and  architecture,  are  to  be  found  in 
many  collections.  There  are  several  landscapes 
of  his  in  the  Dresden  Gallery.  Marco  Ricci 
etched  several  plates  from  his  own  designs,  con- 
sisting of  views  and  landscapes,  with  ruins  and 
figures,  of  which  the  most  deserving  of  notice  are 
those  in  a  set  of  twenty-three  prints,  entitled 
'  Varia  Marci  Ricci  Pictoris  priestautissimi  cxperi- 
menta  ab  ipsomet  auctore  inventa,  delineata  atque 
incisa,  et  a  me  Carolo  Orsolini  Veneto  incisore  in 
unum  coUecta,  &c.     Anno  1730,  Venetiis.' 

RICCI,  Natale,  painter,  a  pupil  of  Maratti, 
and  a  native  of  Fermo.  He  practised  in  Italy  in 
the  18th  century. 

RICCI,  Pietro,  painter  of  portraits  and  historical 
pictures,  a  pupil  of  Leonardo  da  Vinci.  He  prac- 
tised at  Milan  in  the  16th  century. 

RICCI,  Sebastiano,  (Rizzi,)  born  at  Belluno,  in 
the  Venetian  state,  in  1662,  was  placed  when  he 
was  young  under  Federigo  Cervelli,  at  Venice, 
with  whom  he  studied  till  he  was  twenty  years  of 
age.  On  leaving  that  master  he  went  to  Bologna, 
where  he  resided  a  short  time,  and  was  taken 
under  the  protection  of  the  Duke  of  Parma,  who 
employed  him  for  some  time  at  Piacenza,  and  then 
sent  him  to  Rome  for  improvement.  On  the  death 
of  his  patron  Ricci  left  Rome,  and  visited  Florence, 
Modena,  and  Parma,  studying  the  great  masters 
of  the  Lombard  school.  He  was  soon  afterwards 
invited  to  the  court  of  Vienna  by  the  King  of 
Rome,  where  he  was  employed  in  decorating  the 
imperial  palace  of  Sehoenbrunn.  On  his  return 
to  Venice  from  Germany,  his  nephew,  Marco  Ricci, 
who  was  at  that  time  in  London,  encouraged  him 
to  visit  England,  wliich  he  did,  and  met  with  the 
most  flattering  encouragement.  He  painted  the 
chapel  at  Bulstrode,  for  the  Duke  of  Portland  ;  and 
in  the  altar-piece,  representing  the  Last  Supper, 
he  introduced  his  own  portrait  in  modern  dress. 
Tlie  hall  of  Burlington  House,  and  some  of  the 
ceilings,  and  the  altar-piece  in  the  chapel  of  Chelsea 
Hospital,  were  also  painted  by  him.  During  a 
residence  of  ten  years  in  this  country,  he  executed 
several  other  considerable  works  for  the  mansions 
of  the  nobility,  and  is  said  to  have  left  England  in 
disgust,  on  finding  that  it  was  determined  that  Sir 
James  Thomhill   should  paint  the  cupola  of  St. 


PAINTERS  AND  ENGRAVERS. 


Paul's.  Like  Luca  Giordano,  Ricci  had  a  great 
facility  in  imitating  the  styles  of  other  masters. 
His  picture  of  the  'Apostles  adoring  the  Sacrament,' 
in  the  church  of  S.  Giustina,  at  Padua,  is  painted 
in  imitation  of  the  cupola  of  S.  Giovanni,  at  Parma, 
by  Correggio  ;  and  his  '  S.  Gregorio,'  in  S.  Ales- 
sandro,  at  Bergamo,  recalls  the  works  of  Guercino. 
But  his  most  successful  imitations  were  those  of 
Paolo  Veronese,  many  of  which  he  is  said  to  have 
sold  as  by  that  master.  He  is  said  to  have  de- 
ceived the  French  painter,  La  Fosse,  who  avenged 
himself  by  the  sarcastic  rebuke  :  "  For  the  future," 
said  he,  "take  my  advice,  paint  no  more  Riccis.'' 
Sebastiano  possessed  a  fertile  invention,  and  a 
commanding  facility.  Although  his  design  is  often 
incorrect,  his  figures  are  graceful,  and  his  colour, 
though  sometimes  feeble  and  cold,  is  often  silvery 
and  agreeable.  Some  of  his  very  best  productions 
are  at  Hampton  Court.  He  died  at  Belluno  in 
1734.     The  following  are  his  best  pictures : 

Bordeaux.  Jilustum.     Love  and  Fidelity. 

Dresden.  Gallery.     The  Ascension. 

„  „  A  Sacrifice. 

Florence.  Ujfizi.     His  own  Portrait. 

Hampton  Court.  Palace.     The  Continence  of  Scipio. 

„  „  „  The  Dinner  at  Simon's  House. 

London.  J^^at.  Gall.     VeuusandSatyr9(w«importa/*/i. 

Modena.  The    taking    down   from    the 

Cross. 
Paris.  Louvre.    AJlegorical  subject.    France  as 

Minerva  trampling  Ignorance 
'■  underfoot. 
„  „        The  Delivery  of  the  Keys. 

n  „         Polyiena     sacrificed     to     the 

Manes  of  Achilles. 
„  „        The  Continence  of  Scipio. 

Venice.  Due  I'al.     The  Venetian  Magistrates  re- 

vering the  Body  of  St.  Mark. 

RICCI,  Ubaldo,  an  historical  painter  of  some 
merit,  a  native  of  Femio,  practising  in  Italy  in 
the  18th  century.     He  was  a  pupil  of  C.  Maratti. 

RICCIANTI,  Antonio,  an  obscure  Italian  his- 
torical painter  of  the  17th  century.  He  practised 
in  Florence  and  its  neighbourhood,  and  was  a  pupil 
of  V.  Dandini. 

RICCIARDELLI,  Gabriels,  marine  and  land- 
scape painter,  practising  in  Italy  about  1743.  He 
was  a  pupil  of  J.  F.  Van  Bloemen  (called  Oriz- 
zonte),  and  was  employed  at  Naples,  at  the  court 
of  Charles  de  Bourbon. 

RICCIARELLI,  Daniele,  commonly  called 
Daniele  da  Volterra,  bom  at  Volterra  in  1509. 
was  first  a  pupil  of  Giovanni  Antonio  Bazzi,  called 
II  Sodoma,  but  afterwards  studied  under  Baldas- 
eare  Peruzzi.  Not  meeting  with  the  encourage- 
ment he  expected  in  his  native  city,  he  went  to 
Rome,  and  at  first  found  employment  as  assistant  to 
Pierino  del  Vaga,  in  the  Vatican,  and  in  the  Capella 
Massimi,  in  the  church  of  La  Trinitk  de  Monti. 
He  was,  however,  chiefly  indebted  for  the  reputa- 
tion he  afterwards  acquired  to  the  friendship  and 
instruction  of  Michelangelo  Buonarroti,  who  assisted 
him  with  designs  for  work  he  executed  for  Agos- 
tino  Chigi,  in  the  Farnesina,  and  for  others  of  his 
more  important  productions.  But  the  chief  sup- 
port of  his  fame  is  the  series  of  frescoes  in  the 
Capella  Orsini,  in  the  Trinita  de  Monti,  which 
occupied  him  seven  years.  In  these  he  was 
also  aided  by  Buonarroti.  The  principal  picture 
of  the  series  is  the  famous  '  Descent  from  the 
Cross,'  which  used  to  be  considered  the  finest 
picture  in  Rome  after  Raphael's  '  Transfiguration ' 
and  Domenichino's  '  St.  Jerome.'  In  another  chapel 
of  the  same  church  are  the  '  Assumption  of  the  Vir- 
Q  2 


gin '  and  the  'Presentation  in  the  Temple;'  painted 
from  the  designs  of  Ricciarelli  by  his  disciples 
Gio.  Paolo  Rossetti  and  Michele  Alberti.  After 
the  death  of  Pierino  del  Vaga,  in  1547,  Daniele 
was  appointed  by  Pope  Paul  III.,  on  the  recom- 
mendation of  Michelangelo,  Superintendent  over 
the  works  at  the  Vatican,  and  commissioned  to 
finish  the  ornaments  of  the  Sala  Regia,  which  had 
been  begun  by  Pierino.  His  last  great  work  as  a 
painter  was  his  '  Murder  of  the  Innocents,'  for  the 
church  of  St.  Peter,  at  Volterra,  which  was  after- 
wards purcha.sed  by  the  Grand  Duke  Leopold,  and 
placed  in  the  tribune  at  Florence.  On  the  death 
of  Pope  Paul  III.,  in  1549,  Julius  III.  deprived 
Daniele  of  his  post  as  Superintendent  and  of  his 
pension,  and  it  appears  that  the  latter  part  of  his 
life  was  chiefly  devoted  to  sculpture.  Daniele 
earned  the  nickname  of  II  Bragghetone,  or  the 
Breeches-maker,  through  being  employed  by  Pope 
Paul  IV.  to  put  draperies  on  some  of  the  nude 
figures  in  Michelangelo's  'Last  Judgment.' 
Daniele  died  at  Rome  in  1566.  His  principal 
pictures  are : 

Florence.  Vfizi  Gall.    Massacre  of  the  Innocents. 

Lucca.  Duonw.     S.  Petronilla.     (A  graceful 

figure,  ascribed  to  Riccia- 
relli in  his  first  maturity.) 
P.iris.  Louvre.    David's  Victory  over  Go- 

liath. (A  double  picture, 
on  the  two  sides  of  a  slate  ; 
it  was  long  ascribed  to 
Michelangelo.) 
Kome.  iS.  Triniti  (fe*  Monti.  Scenes  from  the  Life  of 
the  Virgin. 
„  „  The     Descent     from    the 

Cross.     {Fresco  transfer- 
red to  canvas.) 
,,  Farnesina.    The  Triumph  of  Bacchus. 

„  „  Frescoes.   The  Pimic  Wars. 

„    St.  Pietro  in  Montorio.    The  Baptism  of  Christ. 

RICCIO,  Antonello,  the  son,  and  probably  the 
pupil,  ofMariano  Riccio,  whose  manner  he  followed. 
He  was  still  living  in  1576. 

RICCIO  (BRnsAsoBci).    See  Del  Riccio. 

RICCIO,  II.     See  Neroni. 

RICCIO,  Mariano,  historical  painter,  bom  at 
Messina,  1510.  He  was  a  pupil  of  Franco,  and 
afterivards  of  Polidoro,  whose  style  he  successfully 
imitated. 

RICCIO,  Pietro.    See  Pedkini,  Giovanni. 

RICCIOLINI,  Niccola,  painter,  bom  at  Rome. 
1637,  was  a  pupil  of  P.  de  Cortona.  He  competed 
against  Franceschini  with  cartoons  for  the  Vatican 
mosaics.  At  Rome  there  are  by  him  a '  Crucifixion 
of  St.  Peter '  (in  mosaic)  and  a  '  Descent  from  the 
Cross.' 

RICCIOLINO,  Michelangelo,  was  born  at  Rome 
in  1654,  and  is  noticed  by  Abate  Titi,  who  mentions 
some  of  his  works  in  the  public  places  at  Rome, 
particularly  in  the  church  of  S.  Lorenzo  in  Pisci- 
bus,  and  a  ceiling  in  S.  Maria  in  Campitelli.  His 
portrait  painted  by  himself  is  in  the  Florentine 
Gallery.     He  died  at  Rome  in  1715. 

RICCO,  Bernardo.    See  Ricca,  Bernardo. 

RICHARD,  Charlotte  Josephine,  a  painter  of 
portraits  and  subject  pictures,  born  in  Paris,  1791, 
was  a  pupil  of  Chaudet  and  of  Ducq. 

RICHARD,  Ernst,  German  painter  ;  born 
February  28,  1819,  at  Carlsruhe  ;  studied  here, 
and  also  at  Mannheim  and  at  Munich ;  appointed 
Baden  Court  painter  in  1846,  and  in  1893  Director 
of  the  Carlsruhe  Gallery.  Painted  genre  subjects, 
such  as  '  Der  Ruhende  Ackersraann,'  '  Morgen  anf 
einer  Hochalpe,'  &c     Obtained  the   Kitterkrenz 

227 


A   BIOGRAPHICAL  DICTIONARY  OF 


of  the  first  class.  Died  at  Carlsrulie,  June  12, 
1899. 

RICHARD,  Fleury  FBANgois,  painter  of  his- 
torical and  genre  pictures,  bom  at  Lyons,  25th 
Febraary,  1777,  was  a  pupil  of  David,  and  after- 
wards founded  a  school  of  liis  own  at  Lyons,  where 
he  died,  1842.     By  him  we  have  the  following: 

Vert-vert  (in  the  Museum  of  Lyons). 

Valentina  of  Milan  bewailing  the  Death  of  her  Husband. 

King   Francis   and    bis  Sister,   Margaret   of    Navarre 

{engraved  fnj  Boucher  Desnoi/ei-). 
Charles  VII.  writing  his  last  Farewell  to  Agnes  Sorel. 
Tasso  in  Prison. 

RICHARD,  Monsieur.     See  TAnRiNi. 

RICHARD, ,  painter  upon  glass,  executed, 

in  1270,  the  fine  paintings  upon  glass  for  the  choir 
of  the  cathedral  at  Tours. 

RICHARD,  Theodore,  landscape  painter,  bom 
at  Milhau,  1782,  was  a  pupil  of  Victor  Bertin.  He 
was  appointed  chief  of  the  lands  department  in 
Cantal  in  1802,  and  filled  similar  offices  until  1819, 
in  which  year  he  was  at  Bordeaux.  There  he  made 
the  acquaintance  of  the  young  Brascassat,  and 
painted  in  his  company  with  such  success  that  in 
1823  he  resigned  his  appointments  as  an  engineer, 
and  set  up  as  a  painter  at  Toulouse.  Thence  he 
sent  his  pictures  yearly  to  the  Salon.  He  passed 
through  the  various  degrees  of  honour  up  to  the 
Cross  of  the  Legion.  He  died  in  1859  at  Toulouse, 
where  the  following  works  by  him  are  to  be  found 
in  the  Museum  : 

View  of  the  Pic  du  Midi. 

The  "Woodcutters. 
The  Drinking  Place. 
A  Study  of  Oaks. 

RICHARDS,  John  Inigo,  an  English  landscape 
painter,  born  in  the  first  half  of  the  18th  century. 
On  the  foundation  of  the  Royal  Academy,  he  be- 
came one  of  the  original  members,  and  in  1788  was 
appointed  its  secretary.  He  contributed  to  its  ex- 
hibitions from  1769  to  1809.  His  pictures  were 
chiefly  representations  of  English  mediaeval  ruins. 
He  was  best  known  as  a  scene-painter,  working  at 
Covent  Garden  Theatre,  and  in  this  branch  of  art 
he  obtained  a  great  reputation.  Hearne  and 
McArdell  both  worked  after  him,  and  one  of  his 
scenes  for  the  '  Maid  of  the  Mill  '  was  engraved  by 
WooUett,  and  won  great  popularity.  Richards 
repaired  the  famous  cartoon  of  a  '  Holy  Family,' 
by  Leonardo  da  Vinci,  which  belongs  to  the  Royal 
Academy.  He  died  in  his  rooms  at  the  Academy 
in  1810. 

RICHARDSON,  Charles  .Iames,  architect  and 
draughtsman,  was  born  in  1806.  He  was  a  pupil 
of  Sir  J.  Soane,  and  interested  himself  specially  in 
architecture  of  the  Elizabethan  period.  He  was  a 
skilful  draughtsman,  and  his  work  is  characterized 
by  singular  accuracy  and  taste.  He  was  the 
author  of  several  important  architectural  works, 
illustrated  with  engravings  after  his  own  drawings. 
Among  these  may  be  mentioned  :  '  Pencil  Rubbings 
of  Old  English  Ornament,'  1830-58  ;  '  Observations 
on  the  Arcliitecture  of  England  during  the  reigns 
of  Queen  Elizabeth  and  James  I.,'  1837;  'A 
popular  Treatise  on  the  Warming  and  Ventilation 
of  Buildings,'  18.37  ;  '  Architectural  Remains  of 
the  reigns  of  Elizabeth  and  James  I.,'  1840 ; 
'  Workman's  Guide  to  the  study  of  Old  English 
Architecture,'  1845 ;  '  Studies  from  Old  English 
Mansions,'  1841^8  ;  '  Studies  in  Ornament,'  1848  ; 
'Studies  of  Ornamental  Design,'  1851;  'Design 
for  economically  and  effectually  raising  Holbom 

228 


Valley,'  1863;  'The  Englishman's  House  from  a 
Cottage  to  a  Mansion,'  and  '  Picturesijue  Designs 
for  Mansions,  Villas,  &c.,'  both  in  1870.  Richard- 
eon  died  in  London  on  November  20,  1871.    M.  H. 

RICHARDSON,  Jonathan,  portrait  painter,  born 
in  1665.  His  father  dying  when  he  was  only  five 
years  of  age,  his  mother  married  a  second  time,  and 
lie  was,  contrary  to  his  inclination,  articled  to  his 
father-in-law,  who  was  a  scrivener  ;  but  the  death 
iif  the  latter  enabled  him,  in  the  sixth  year  of  his 
apprenticeship,  to  indulge  an  inclination  he  had 
long  felt  for  painting,  and  to  become  a  pupil  of 
John  Riley,  under  whom  he  studied  four  years. 
Having  made  considerable  progress  in  art,  he 
married  the  niece  of  his  instructor,  and  established 
himself  as  a  portrait  painter.  Though  Kneller 
and  Dahl  were  then  in  great  vogue,  Richardson 
possessed  sufficient  merit  to  secure  a  share  of  the 
public  favour  even  during  their  lives,  and  after 
their  death  he  was  considered  at  the  head  of  his 
profession.  He  continued  in  enjoyment  of  his  popu- 
larity for  many  years,  and  was  enabled  to  retire 
long  before  his  death.  But  Richardson  is  best 
known  as  a  writer  upon  art.  He  published  the 
following  works:  1.  '  The  Theory  of  Painting.' 
2.  'The  Connoisseur,  an  Essay  on  the  whole  Art 
of  Criticism,  as  it  relates  to  Painting.'  And,  3. 
'An  account  of  some  of  the  Statues,  Bas-reliefs, 
Drawings,  and  Pictures  in  Italy,  &c.,  with  remarks 
by  Mr.  Richardson,  sen.  and  jun.'  The  son  made 
the  journey,  and  from  his  notes,  letters,  and  observ- 
ations the  two,  on  his  return,  compiled  the  work. 
In  1734  they  also  published  '  Explanatory  Notes 
and  Remarks  on  Milton's  Paradise  Lost,  with  the 
Life  of  the  Author,  and  a  Discourse  on  the  Poem.' 
Richardson  died  in  London  in  1745.  His  pictures 
are  of  the  solid,  steady-going,  heavy-handed  kind, 
and  scarcely  deserve  the  oblivion  into  which  they 
have  sunk.  A  head,  apparently  of  Gay,  in  the 
National  Gallery,  seems  to  be  a  more  than  usually 
excellent  work  by  Richardson.     Works : 

London.  JVai.  Port.  Gall.  Portrait  of  Mr.  Oldfield. 

,,                      „  ..         „  Alexander  Pope. 

,,                     ,.  „         „  Matthew  Prior. 

,.                     ,.  „         „  Sir  R.  Steele. 

..                    „  ..        „  Lord        Chancellor 

Talbot. 

„                   „  „        „  George  Vertue. 

RICHARDSON,  Jonatuan,  the  only  son  of  the 
last  named,  was  horn  in  1694.  He  painted  only  as 
an  amateur,  but,  having  been  blessed  with  a  good 
education,  he  assisted  his  father  in  his  literary 
productions.  His  portrait  of  Matthew  Prior  has 
been  engraved.     He  died  in  London  in  1771. 

RICHARDSON,  Thomas  Miles,  an  English 
landscape  painter  in  oil  and  water-colours,  born  at 
Newcastle-on-Tyne  in  1784.  His  father  w.as 
master  of  the  St.  Andrew's  Grammar  School.  His 
early  years  were  passed  in  a  variety  of  occupations  : 
engraving,  cabinet-making,  and  teaching  (in  1806 
he  was  named  successor  to  his  father  at  the  school) 
occupied  him  successively  till  1813,  when  he  de- 
voted himself  entirely  to  art.  In  the  following 
year  he  commenced  exhibiting  at  the  Academy, 
and  his  works  also  appeared  at  the  British  Institu- 
tion. Subsequently  he  joined  the  New  Water- 
Colour  Society.  The  subjects  of  his  pictures  were 
mainly  taken  from  the  northern  counties,  and  won 
him  a  wide  reputation.  In  1816  he  began  to  pub- 
lish, in  conjunction  with  a  partner,  a  work  on 
Newcastle  and  its  neighbourhood,  with  illustrations 
in  aquatint,  but  only  a  few  numbers  were  issued. 


JONATHAN    RICHARDSON 


[XitUonal  Foi trait  Ci.u.ci y 
THE  ARTIST,  BV  HIMSELF^ 


PAINTERS  AND  ENGRAVERS. 


In  1833  he  began,  in  partnersliip  with  his  brother, 
the  publication  of  'Tlie  Castles  of  the  English  and 
Scottieh  Borders,'  with  mezzotint  plates  engraved 
by  himself.  This  enterprise  also  stopped  short  of 
completion.  His  work  in  water-colour  shows  very 
great  talent.  His  life  was  chiefly  spent  at  New- 
castle, where  he  died  in  1848.  Amongst  his  works 
are: 

Dublin.        National  Gallery.     River  Scene. 
Liverpool.    Corporation  Gall,    Scene  between  Cbamouni 
and  the  Tt-te  Noire. 
„  ..        Lago  Magfriore. 

Newcastle.  Town  JJall.     View  of  Newcastle. 

South  Kensington.     Miueum.     Ben  Lomond. 

RICHARDSON,  Thomas  Miles,  jun.,  son  of  the 
above,  was  born  at  Newcastle  in  1813,  and 
becoming  a  painter,  worked  for  a  time  with  his 
father  at  53,  Blackett  Street.  Between  1832  and 
1848  he  used  oils  as  well  as  water-colour,  exhibit- 
ing six  works  at  the  Royal  Academy,  three  at  the 
British  Institution,  and  five  at  Suffolk  Street. 
In  1837  he  published  '  Sketches  in  Italy,  Switzer- 
land, France,  &c.,'  with  twenty-si.TC  plates,  eleven 
lithographed  by  himself;  and  in  1839,  along  with 
his  father, '  Sketches  at  Sliotley  Bridge  Spa  and  on 
the  Derwent,'  seven  plates,  two  lithographed  by 
himself,  three  by  his  father,  and  two  by  G.  Richard- 
son. He  became  an  Associate  of  the  Old  Water- 
Colour  Society  in  1843,  and  was  elected  a  member 
on  June  9,  1851.  He  was  married  at  Frankfort  to 
Miss  JIary  Green  in  1845,  and  came  to  live  in 
London,  residing  from  1856  till  his  death  at  12, 
Porchester  Terrace,  Bayswater.  From  the  time  of 
his  becoming  an  Associate  there  was  no  summer  or 
^vinter  Exhibition  of  the  Water-Colour  Society  at 
which  he  was  unrepresented,  the  number  of  his 
exhibits  from  1843  to  his  deatli  exceeding  the  large 
total  of  eight  hundred.  The  majority  of  these  were 
Scotch  and  Italian  landscapes,  with  occasional 
views  in  the  northern  counties  of  England  and  in 
Switzerland.  "The  works  of  T.  M.  Richardson," 
writes  Mr.  Roget,  "  are  specially  characterized  by 
clever  drawing  and  workmanlike  skill  in  manipu- 
lation of  material.  They  are  rendered  attractive 
by  bright  contrasts  of  colour,  and  a  deftness  of 
handling  which  is  particularly  apparent  in  his 
sketches.  As  might  be  expected  from  so  prolific 
a  painter,  there  is  much  similarity  of  treatnjent  in 
his  many  landscapes.  In  his  finished  drawings 
the  pictorial  arrangement  conforms  to  a  settled 
system  of  construction,  the  effort  being  commonly 
enhanced  by  the  introduction  of  telling  groups 
of  figures  and  cattle  in  the  foreground."  After 
some  years  of  feeble  health,  Richardson  died  on 
•Jan.  5,  1890,  his  remaining  drawings  and  sketches 
being  sold  at  Christie's  in  .June  of  the  same 
year.  M.  H. 

RICHART.    See  Dk  la  Make-Richart. 

RICHARTE,  Antonio,  born  at  Yecla  in  1690, 
was  educated  for  a  learned  profession,  but  he  pre- 
ferred painting,  which  he  studied  under  Senen  Vila 
at  Morcia,  and  afterwards  at  Madrid  with  one  of 
the  Menendez.  He  was  very  popular  at  Valencia, 
where  he  was  much  employed  in  painting  pro- 
cessional banners  for  the  Guild  of  that  city.  He 
died  in  1764. 

RICHAUD,  Joseph,  French  painter;  born  in 
1812atAix;  studied  in  Paris  with  Paul  Delaroche; 
painted  historical  subjects  and  portraits  ;  also 
religious  subjects ;  obtained  second-class  medal 
in  1848.     He  died  in  Paris,  December  1869. 

RICHE,  Adele,  born  in  Paris,  1791.    She  was  a 


pupil  of  G.  Van  Spaendonck  and  of  Van  Daei,  and 
painted  flowers  in  water-colour. 

RICHE,    ,    probably    Reniek    La    Riche, 

a  French  painter,  practising  at  the  Hague  at  the 
beginning  of  the  18th  century.  He  was  a  pupil 
of  Th.  Van  der  Schuur. 

RICHIEPv,  DiDiER,  or  Didier  de  Vie,  painter, 
practising  in  Lorraine  in  the  latter  part  of  the  16th 
century.  He  studied  in  Italy,  and  finally  established 
himself  at  Nancy,  where  he  became  known  chiefly 
as  a  skilful  painter  of  armour.  His  son,  Pierre, 
was  also  a  painter. 

RICHIERI,  Antonio,  a  native  of  Ferrara,  born 
in  1600,  was  brought  up  in  the  school  of  Giovanni 
Lanfranco.  According  to  Passeri,  he  followed  that 
master  to  Naples  and  Rome,  and  painted  some 
frescoes  at  the  Teatini  from  the  designs  of  Lan- 
franco. He  is  said  to  have  etched  some  plates 
from  the  designs  of  his  master. 

RICHMANS.     See  Rykman. 

RICHMOND,  George,  R.A.,  LL.D.,  D.C.L.,  was 
born  on  March  28,  1809,  at  what  was  at  that  time 
the  suburban  village  of  Bronipton.  His  father, 
Thomas,  was  a  well-known  miniature  painter,  ami 
a  frequent  contributor  to  the  Exhibitions  of  the 
Royal  Academy,  and  from  him  George  Richmond 
obtained  his  first  lessons  in  art.  In  1824  he 
obtained  admission  to  the  Royal  Academy  schools, 
where  he  worked  under  that  extraordinary  artist 
Fuseli,  whowas  Keeper  at  that  period,  and  in  1825 
he  exhibited  for  the  first  time  at  the  Royal  Academy, 
'Abel.'  About  the  same  time  he  made  the  ac- 
quaintance of  the  still  more  eccentric  genius 
William  Blake,  and  became  one  of  a  small  circle 
of  devoted  admirers  and  followers  which  was  only 
broken  up  by  the  death  of  its  hero  in  1827.  His 
influence  on  Richmond,  though  brief,  was  strong, 
and  is  clearly  marked  in  his  picture,  '  Christ  and 
the  Woman  of  Samaria,'  which  was  exhibited  at 
the  Royal  Academy  in  1828,  and  is  now  in  the 
Tate  Gallerj-.  In  1830  he  was  represented  by 
two  more  subject  pictures,  and  in  1831  by  one, 
but  thenceforward  for  many  years  his  contribu- 
tions were  portraits,  either  in  oil,  water-colours,  or 
crayons.  His  sitters  at  this  period  already  in- 
cluded men  of  note,  William  Wilberforce  (1833), 
Viscount  Sidmouth,  and  the  Bishop  of  Chester 
(1834),  being  among  them.  In  1831  he  married 
Miss  'Tatham,  and  in  1837  went  to  Italy,  his  health 
having  broken  down,  where  he  spent  two  years  in 
Florence,  Venice,  and  Rome.  Another  of  his  rare 
religious  subjects, '  Our  Saviour  and  two  Disciples,' 
was  exhibited  in  1840,  and  a  portrait,  among 
others,  of  John  Rnskin,  junior,  in  1842.  In  1847 
he  was  appointed  by  Mr.  Gladstone  a  member 
of  the  council  of  tlie  Government  Schools  of  Design, 
and  in  1856,  by  Sir  G.  Cornwall  Lewis,  one  of  a 
Royal  Commission  for  arranging  various  matters 
in  connection  with  the  National  Gallery,  while  in 
1857  he  was  elected  an  Associate  of  the  Royal 
Academy.  He  was  engaged  in  1860  to  execute  a 
monument  to  Bishop  Blomfield  in  St.  Paul's 
Cathedral,  which  was  completed  in  1865.  Two 
years  later  the  University  of  Oxford  conferred 
upon  him  the  honorary  degree  of  D.C.L.  In  the 
meantime,  at  irregular  intervals,  he  contributed 
portraits  to  the  Academy,  including  many  people 
of  importance,  and  in  especial  a  notable  number  of 
dignitaries  of  the  Church.  His  name  first  appears 
among  the  Royal  Academicians  in  1867,  and  the 
following  year  he  exhibited  as  his  diploma  pictuie 
a  portrait  of  the  then  Bishop  of  Oxford,  who  was 

229 


A  BIOGRAPHICAL  DICTIONARY  OF 


chaplain  to  that  body.  The  last  oil-paintings  ex- 
hibited by  him  were  portraits  of  the  Archl)ishop 
of  Canterbury  and  Canon  Liddon  in  1880,  though 
he  was  represented  by  a  marble  bust  of  Pusey  in 
1884,  and  remained  a  full  member  of  the  Academy 
till  1887,  in  which  year  his  name  ajipears  among 
the  retired  members.  His  profound  knowledge  of 
the  liistory  of  art  had  secured  for  him  on  the  death 
of  Sir  William  Boxall  an  offer  of  the  Directorship 
of  the  National  Gallery  from  Mr.  Gladstone,  which, 
however,  owing  perhaps  to  his  advanced  age,  he 
declined.  In  1890  he  received  the  honorary  degree 
of  LL.D.  from  Cambridge  University,  an  honour 
which  he  enjoyed  for  six  years,  dying  in  London 
on  March  19,  1896,  at  the  age  of  87.  m.B. 

EICHMOND,  Thomas,  an  English  miniature 
painter,  born  at  Kew  in  1771.  He  studied  under 
G.  Engleheart,  and  at  the  St.  Martin's  Lane 
Academy.  Many  of  his  works  appeared  at  the 
Koyal  Academy  between  1795  and  1825,  and  were 
held  in  some  repute.  He  died  in  London  in  1837. 
He  was  the  father  of  Mr.  George  Kichmond,  R.A., 
and  of  Thomas  Richmond,  junior. 

RICHMOND,  TuoMAs,  the  son  of  the  last-named, 
was  born  in  London,  16th  September,  1802.  He 
acquired  the  rudiments  of  art  from  his  father,  and 
in  1820  entered  as  a  student  of  the  Royal  Academy, 
where  he  distinguished  himself  by  the  refinement 
of  his  drawings  from  the  antique.  After  a  period 
of  study  in  Paris  he  established  himself  as  a 
portraitist  in  oil  and  water-colour  in  the  north  of 
England.  In  1841  he  went  to  Rome,  where  he 
became  tlie  close  friend  of  Joseph  Severn  and  John 
Ruskin.  Iteturning  to  England,  he  continued  to 
paint  portraits  for  a  time  in  London,  but  finally 
migrated  to  Cumberland,  where  he  purchased  a 
small  property.  He  died  at  Keswick  on  November 
13th,  1874.  From  1822  to  1860  he  was  an  exhibitor 
at  the  Academy  and  with  the  Society  of  British 
Artists. 

RICHOMME,  Joseph  Theodore,  a  very  eminent 
engraver,  was  born  in  Paris  in  1785,  and  was  first 
a  scholar  of  Regnault,  the  painter,  and  afterwards 
of  J.  J.  Coiny,  the  engraver.  He  obtained  the 
grand  prix  of  the  Institute  for  the  best  engraving 
in  1806,  and  his  later  career  did  not  falsify  the 
promise  then  given.  Richomme  died  in  1849.  His 
works  class  with  those  of  the  best  modem  engravers 
of  Italy.     Among  them  may  be  specified. 

The  Triumph  of  Galatea ;  afur  Raphael 

The  Five  Saints  ;  after  the  same. 

The  Holy  Family  ;  after  the  same. 

Adam  auil  Eve  ;  aftr-r  the  same. 

Neptune  and  Ampbitrite  ;  after  Ginlio  Romano. 

Venus  at  the  Bath  ;  after  the  antique. 

Andromache ;  after  GahHn. 

Thetis  crowning  Vasco  de  Gama ;  after  Gerard. 

RICHOMME,  Jdles.  Tliis  artist  was  born  in 
Paris  in  1818.  He  was  the  son  of  a  well-known 
engraver,  Joseph  Theodore  Richomme.  He  studied 
under  Drolling,  and  first  exhibited  at  the  Salon  in 
1833.  For  many  years  he  was  a  constant  exhibitor 
of  portraits  and  of  pictures  inspired  by  Biblical 
subjects.  To  the  Salon  of  1902  he  sent  two  works, 
'  L'Attente  '  and  '  Jeune  Femme  regardant  des 
Estampes.'  One  of  his  pictures,  'Saint  Pierre 
d' Alcantara  gudrissant  un  Enfant  Malade,'  is  in 
the  Luxembourg  ;  and  another,  '  La  Decollation  de 
Saint  Jean  Baptiste,'  is  at  Besangon.  He  assisted 
in  the  artistic  decoration  of  several  French  churches, 
and  died  in  1903. 

RICHTER,  Adolph,  painter,  born  at  Thorn  in 

230 


1816,  studied  at  the  Academy  in  Diisseldorf  from 
1835  to  1843,  in  which  city  he  established  himself. 
His  paintings  are  simple,  but  show  the  effects  of 
careful  study.  The  best  are,  '  Christmas  Eve,' 
'  The  Return  of  the  Reservist,'  '  The  Village  School.' 
He  died  at  Diisseldorf  in  1852. 

RICHTER,  Adrian  Ludwio,  painter  and  en- 
graver, was  born  at  Dresden,  September  28,  1803. 
His  education  in  art  was  received  from  his  father, 
Karl  August,  who  meant  his  son  to  be  an  engraver, 
like  himself.  Adrian's  inclination  towards  painting 
was,  however,  vei-y  strong,  and  he  would  have 
indulged  it  from  the  first  had  his  domestic  sur- 
roundings been  less  unfavourable.  He  was  also 
much  attracted  by  the  works  of  Cliodowiecki, 
wliich  had  some  influence  on  his  after  practice. 
He  helped  his  father  for  a  time  in  his  engraving, 
particularly  on  a  series  of  views  in  Dresden  and  the 
neighbourhood  ;  but  a  wider  horizon  was  opened 
to  him  by  his  acquaintance  with  Dahl,  Friedrich, 
and  Carus,  and  by  a  journey  through  France  to 
Nice,  in  company  with  Prince  Narischkin,  in  1820. 
Shortly  afterwards  he  made  a  tour  among  the  Alps, 
and  with  the  money  he  obtained  from  the  resulting 
sketches,  he  contrived  to  visit  Italy.  This  was  in 
1823.  In  Rome  he  made  many  useful  friends,  and 
painted  his  first  oil  picture.  In  1826  he  was  again 
at  Dresden,  and  soon  after  became  a  master  in  the 
drawing  school  attached  to  the  porcelain  factory 
at  Meissen.  In  1836  ho  was  appointed  professor 
at  the  Dresden  'Academic,'  where  he  introduced 
the  fashion  of  combining  genre  with  landscape. 
The  first  thing  to  make  his  name  popular,  however, 
was  the  series  of  illustrations  from  German  life, 
scenery,  and  literature,  which  he  furnished  to  the 
wood  engravers  from  1835  onwards.  During  his 
later  years  he  was  troubled  by  a  weakness  of  the 
eyes,  and  in  1876  he  retired  from  his  official  duties, 
being  granted  a  pension  by  the  emperor.  Richter 
died  at  Dresden,  June  19,  1884.  His  oil  pictures 
are  few,  and  mostly  belong  to  his  early  period. 
The  following  may  be  named  : 

Berlin.  Museum.     Landscape  (Riesengebirge). 

Dresden.  Gallery.     Landscape  with  a  \\^edding. 

Leipsic.  Museum.     Five  landscapes. 

Ho  produced  many  water-colour  drawings  and 
designs  for  illustration  ;  he  also  etched  no  less 
than  238  plates,  among  which  a  series  of  70  views 
in  the  neighbourhood  of  Dresden  may  be  named 
as  perhaps  the  best. 

RICHTER,  Albert,  German  animal  painter ; 
born  July  29,  1845,  at  Dresden  ;  studied  at  the 
Dresden  Academy,  and  subsequently  under  A. 
Zimmermann  at  Vienna  and  Munich.  His  studies 
of  stags  and  horses,  such  as  '  Abgekiimpft '  and 
'Schreiender  Hirsch,'  became  popular  by  means  of 
reproductions  ;  a  great  traveller  and  an  enthusiastic 
sportsman.  He  died  at  Langebrtick  near  Dresden, 
Juue  2.3,  1898. 

RICHTER,  August,  painter,  bom  at  Dresden, 
1801.  In  1824  he  was  practising  at  Diisseldorf, 
and  associated  himself  with  Cornelius,  one  of 
whose  designs  he  carried  out  in  fresco  at  Helldorf. 
Towards  the  end  of  his  life  he  became  insane.  He 
died  at  Pima  in  1873.  His  best-known  works  are 
engraved,  and  represent  Biblical  subjects. 

RICHTER,  Carolink  Tiierese,  flower  and  genre 
painter,  bom  at  Dresden  in  1777,  was  a  pupil  of 
Caroline  Friedrich.  In  the  Dresden  Gallery  are  two 
pictures  by  her  :  '  A  Carp  with  a  Vase  of  Flowers,' 
and  'Two  Squirrels,  a  branch  of  a  Nut  Tree, 
Stag's  Horns,'  &c.    She  died  at  Dresden  in  1865. 


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PAINTERS  AND  ENGRAVERS. 


RICHTER,  Christian,  was  a  native  of  Stock- 
nolm,  and  came  to  England  in  1702,  where  he 
painted  portraits  both  iu  oil  and  in  miniature ; 
chiefly  studying  tlie  works  of  Michael  Dahl,  from 
which  he  learned  a  vigorous  manner  of  colouring. 
In  tlie  latter  part  of  his  life  he  turned  to  enamel- 
ling, but  died  in  1732  before  he  had  made  much 
progress  in  that  branch  of  art. 

RICHTER,  David,  a  Swedish  painter,  bom  1661. 
He  practised  at  Vienna.  There  are  two  landscapes 
by  him  in  the  Gallery  of  that  city,  and  at  Stock- 
holm a  portrait  of  the  sculptor  Casanova  (?).  He 
died  1735. 

RICHTER,  Bmil  Theodor,  landscape  painter, 
born  at  Berlin  in  1801,  painted  landscapes,  ill- 
drawn  but  bright  in  colour,  among  which  were  a 
'  Woodland  Scene  with  Deer,'  and  pictures  of  Italian 
scenery.     He  died  at  Munich  in  1878. 

RICHTER  GCSTAV,  painter,  born  at  Berlin, 
August  31,  1823.  He  studied  first  at  Berlin,  and 
in  1844 — 1846  was  the  pupil  of  Cogniet  in  Paris. 
He  made  numerous  journeys  to  France  and  Italy, 
and  in  1861  was  commissioned  by  the  King  of 
Bavaria  to  visit  Egypt,  to  make  sketches  for 
pictures  of  the  Pyramids,  which  were  destined  for 
the  '  Maxirailianeum '  at  Munich.  He  had  pre- 
viously to  this  attracted  considerable  attention  by 
his  'Raising  of  Jairus'  Daughter'  (1856),  and  by 
his  decoration  in  stereo-chrome,  at  the  New 
Museum  of  Berlin,  '  Baldur  and  the  Valkyri.'  He 
was  member,  and  later  professor,  of  the  Berlin 
Academy,  and  member  of  the  Academies  of  Munich 
and  Vienna,  and  received  medals  at  Berlin,  Vienna, 
Paris,  Brussels,  and  Philadelphia.  His  works, 
which  are  very  popular,  have  become  widely 
known  both  in  Europe  and  America,  by  chromes. 
He  executed  a  few  lithographs.  He  died  on  April 
3,  1884.  The  following  are  good  examples  of  his 
art: 

.Tairus'  Daughter.    {Berlin  National  Gallery.)     1856. 

The  Egyptian  Maideu. 

The  Odalisque. 

The  Neapolitan  Fisher-Boy. 

Gipsies  of  the  Crimea. 

Two  portraits  of  the  Emperor  William.     1877. 

Portrait  of  the  Empress  Augusta.     1873. 

Portrait  of  the  Princess  Karolath.     1872. 

Portrait  of  Queen  Louisa  of  Prussia.    [Painted  in  1879 

for  the  Cologne  Museum) 
Portrait  of  the  Duchess  of  Edinburgh. 
Portrait  of  Sultan  Abdid  Jledschid. 
His  own  Family. 

RICHTER,  Henry  J.,  a 'subject  painter  in  water- 
colours,  born  in  1772.  Ho  was  of  German  extrac- 
tion, and  practised  in  London,  where  he  occasion- 
ally exhibited  at  the  Academy  from  1788.  His 
works  chiefly  appeared  at  the  Water-Colour  Society, 
of  which  he  was  a  member,  intermittently,  from 
1813  to  his  deatli.  In  1813  his  picture  of  '  Christ 
giving  sight  to  the  Blind '  was  bought  by  the 
British  Institution  for  500  guineas.  He  published 
a  work  on  the  application  to  art  of  Kant's  philo- 
sophy ;  it  was  entitled  'Daylight,  a  Recent  Dis- 
covery in  the  Art  of  Painting,  with  hints  on  the 
Philosophy  of  the  Fine  Arts  and  on  that  of  the 
Human  Mind,  as  first  dissected  by  Emamiel  Kant.' 
He  died  in  London  in  1857.  Some  of  his  pictures 
attained  considerable  popularity.  Amongst  them 
were: 

The  Rod. 
The  Tight  Shoe. 
School  in  an  Uproar. 
A  Brute  of  a  Husband. 


RICHTER,  JoHANN  Heinrich,  painter,  bom  at 
Coblentz,  1803.  He  began  his  career  as  a  gold- 
smith, but  soon  devoted  himself  to  painting,  and 
after  studying  in  Paris  under  Girodet-Trioson  and 
Gerard,  be  established  himself  as  a  portrait  painter 
at  Munich.  In  1832  he  went  to  Italy,  where  he 
remained  for  three  years,  and  during  that  period 
painted  several  scenes  from  Italian  life.  Returning 
to  Munich  ho  resumed  the  practice  of  portrait 
painting.  He  died  at  Coblentz  in  1845.  Among 
his  works  we  may  mention  : 

Portrait  of  King  Otho  of  Greece. 

Portrait  of  the  Hereditary  Grand  Duchess  Matilda  of 

Darmstadt. 
Boman  Girl  in  a  Landscape. 

RICHTER,  Karl  August,  a  German  draughts- 
man and  engraver,  was  born  at  Dresden  in  1776. 
He  was  a  pupil  of  Zingg,  whose  style  he  followed 
faithfully.  Many  of  Hichter's  productions  were 
published  un<ler  Zingg's  name,  when  the  latter 
became  enfeebled  by  age,  and  unable  to  fulfil  his 
commissions.  Richter  was  the  first  teacher  of  his 
son,  Adrian  Ludwig.  Among  his  works  we  may 
name: 

Landscape ;  after  Ruisdael. 
Landscape  ;  after  Stvanevelt. 
Dresden  from  the  Bautzener  Strasse. 

„  „     Moreau's  Monument. 

A  Series  of  Views  in  the  Neighbourhood  of  Dresden. 

RICKARDS,  Samuel,  a  miniature  painter,  who 
practised  in  London  in  the  latter  part  of  the  18th 
century,  and  exhibited  with  the  Society  of  Artists, 
the  Free  Society,  and  the  Royal  Academy  between 
1768  and  1781. 

RICKE.     See  Rycke,  Van. 

RICO,  Andrea,  a  Greek  painter,  of  the  island  of 
Caudia,  practising  in  the  first  years  of  the  12th 
century.  He  was  one  of  the  first  artists  who  sent 
works  into  Italy.  At  Florence,  in  the  Uflizi,  there 
is  a  '  Virgin  and  Infant  Christ  surrounded  by 
Angels  holding  the  Emblems  of  the  Passion,'  by 
him.    It  is  signed  Andreas  Rico  di  Candia  pinxit 

RICOIS,  Franqois  Edme,  painter,  bom  at 
Courtalin.  He  was  a  pupil  of  J.  V.  Bertin,  and 
painted  landscapes  in  the  early  years  of  the 
present  century,  amongst  which  we  may  mention 
a  '  View  in  the  Bernese  Oberland,'  and  a  '  View  of 
Montreuil.' 

KIDINGER,  JoHAN  Elias,  (Riedinger,)  animal 
painter  and  engraver,  born  at  Ulm  in  Suabia  in 
1695  or  1698,  received  his  first  instruction  from 
Christopher  Resell,  in  Ulm,  and  then  studied  under 
Falk  and  Rugendas  in  Augsburg.  He  had  been 
brought  up  a  huntsman,  and  applied  himself  to 
the  illustration  of  animal  life  and  of  the  modes 
of  the  chase.  In  1759  he  became  director  of 
the  Art  Academy  in  Augsburg,  where  he  estab- 
lished himself.  His  works  as  a  painter  are  few, 
and  but  little  known  ;  but  in  his  etchings  from 
his  own  pictures  he  displays  ability  of  an  un- 
common kind.  His  sons,  Martin  Elias  and  Jo- 
iiANN  Jakoh,  assisted  him  in  his  work.  The 
number  of  his  prints  is  very  great ;  they  are  very 
unequal  in  quality.  Ho  died  at  Augsburg  in 
1767.  The  following  are  among  the  best  of  his 
plates : 

A  set  of  twelve  plates  of  the  Creation. 

A  set  of  Heads  of  Wolves  and  Foxes. 

Four  plates  of  Boar-liuuts. 

.\  set  of  sixteen  plates  representing  the  mode  of  hunting 

ditfereiit  animals  in  Germany,  with  inscriptions  iu 

German  and  French. 

231 


A   BIOGRAPHICAL  DICTIONARY  OP 


Eighteen  plates  of  Horsemanship. 

Thirteen  plates  of  various  Wild  Beasts. 

A  Lion-hunt ;  after  Ruhens  ;  for  the  Dresden  Gallery. 

RIDLEY,  Matthew  White,  landscape  painter 
and  etcher.  He  exhibited  frequently  with  the 
Society  of  British  Artists,  the  British  Institution, 
and  the  Royal  Academy,  between  1857  and  1880. 
He  died  June  2,  1888. 

RIDLEY,  William,  an  English  engraver,  bom 
in  1764.  He  had  a  considerable  practice  in  illus- 
trations for  books,  and  some  of  his  best  work  is 
to  be  found  in  the  '  Evangelical  Magazine.'  He 
retired  to  Addlestone,  where  he  died  in  1838. 

RIDOLFI,  Cavaliere  Carlo,  bom  at  Vicenza 
in  1602,  was  instructed  in  art  by  Antonio  Vassil- 
acchi,  called  I'Aliense,  but  after\vard8  studied  the 
works  of  the  best  masters  at  Verona  and  Vicenza. 
Little  is  known  of  his  work  as  a  painter,  but 
Lanzi  mentions,  as  his  best  performance,  the 
'  Visitation  of  the  Virgin '  in  the  church  of  the 
Ognissanti  at  Venice.  He  also  painted  portraits 
and  easel  pictures  for  private  collections.  He  is 
more  distinguished  as  a  \vriter  on  art  than  as  a 
painter,  and  was  the  author  of  the  well-known  two 
volumes,  published  at  Venice  in  1648,  entitled, '  Le 
Maraviglie  dell'  arte,  ovvero  le  Vite  degl'  illustri 
pittori  V'eneti,  e  dello  Stato.'  These  are  written 
with  a  directness  and  simplicity  which  was  very 
rare  in  the  literature  of  the  time,  and  form  a 
valuable  contribution  to  art  history.  The  good 
sense  and  freedom  from  manner  they  display- 
were  also  the  ruling  notes  of  Ridolfi's  works  as  a 
painter.  He  died  in  1658,  according  to  an  epitaph 
quoted  by  Zanetti  in  his  '  Guide  to  Venice '  (1723), 
but  1660  is  the  date  more  usually  given. 

RIDOLFI,  Claudio,  was  born  at  Verona  in  1560, 
and  was  for  some  time  a  scholar  of  Dario  Pozzo,  a 
painter  of  little  celebrity  ;  but  he  afterivards  entered 
the  school  of  Paolo  Veronese.  As  Venice  was  at 
that  time  the  residence  of  a  great  number  of  eminent 
artists,  he  went  to  Rome  in  search  of  emploj-ment. 
Not  meeting  with  the  success  he  expected  in  that 
capital,  he  visited  Urbino,  where  the  works  of  Fede- 
rigo  Baroccio  were  then  held  in  the  highest  estima- 
tion. He  fomied  an  intimacy  with  that  artist,  and, 
with  tlie  advantage  of  his  instruction  and  advice, 
acquired  the  graceful  style  by  which  he  was  after- 
wards distinguisheil.  Kidolfi  resided  several  years 
at  Corinaldo,  in  the  March  of  Ancona,  where  he 
painted  many  pictures  for  the  churches  of  that 
town  and  its  vicinity.  Of  his  works  at  Urbino,  the 
most  esteemed  are  the  '  Birth  of  St.  John  the  Bap- 
tist,' in  S.  Lucia ;  and  the  '  Presentation  in  the 
Temple,'  in  Spirito  Santo.  At  Rimini  there  is  a 
fine  '  Deposition  from  the  Cross '  by  Ridolfi.  He 
also  painted  portraits.     He  died  in  1644. 

RIDOLFI,  Michele,  painter,  bom  in  Lucca  in 
1795.  Studied  in  Rome  in  1813  and  following 
years,  helped  and  encouraged  by  the  German 
artists,  principally  Comelius  and  Overbeck,  who 
taught  him  to  respect  the  masters  of  the  15th 
century,  as  well  as  the  works  of  Raphael.  His 
principal  picture,  the  '  First  Council  of  the  Apostles 
under  the  Presidency  of  St.  Peter,'  shows  much 
breadth  and  power  of  characterization.  For  his 
'  Enthroned  Madonna'  he  received  two  gold  medals 
and  a  crown  of  laurel  from  the  Pope.  He  restored 
Aspertini's  frescoes  in  a  chapel  of  S.  Frediano  at 
Lucca  with  great  skill.  Ridolfi  was  an  honorary 
member  of  the  Dresden  Academy.  He  died  at 
Lucca  in  1854. 

RIDOLFI,  PiiTBO,   an   Italian   engraver,   who 

232 


Hounshed  about  the  year  1710,  is  known  for  a  fron- 
tispiece which  he  engraved  from  a  design  by  C.  N. 
Lamparel,  a£Sxed  to  a  volume  containing  views  of 
ancient  and  modem  Rome,  published  at  Venice  in 
1716.  It  is  executed  in  a  style  resembling  that 
of  Cornelis  Bloemaert,  though  very  inferior  in 
merit. 

RIEBENSTEIN.    See  Rubinstein. 

RIEDEL,  Anton  Heinbich,  painter,  eon  of 
Johann  Anton  Riedel,  was  bom  at  Dresden  in 
1763.  He  painted  portraits,  and  was  also,  like  his 
father,  an  engraver.     Died  after  1809. 

RIEDEL,  August  Heisrich,  (or  Joseph,)  painter, 
bom  atBayreuth,  Dec.  27,  1802.  His  father,  Kakl 
Christian,  was  an  architect,  who,  however,  occa- 
sionally practised  painting.  The  younger  Riedel 
studied  for  a  time  under  Langer,  at  the  Munich 
Academy,  but  in  1828  he  went  to  Rome,  where 
he  settled,  and  became  a  member  of  the  Academy 
of  St.  Luke.  From  this  time  he  adopted  a  very 
different  style  of  painting.  He  was  one  of  the 
first  of  the  modern  Germans  to  concern  himself 
with  colour.  His  works  are  also  distinguished  by 
various  effects  of  light  and  sunshine,  with  which 
he  was  very  successful.  Riedel  died  at  Rome  on 
the  8th  of  August,  1883.  The  following  are  among 
his  best-known  pictures : 

Sakuntala,  A  Roman  Woman  (in  the  pos^fssion  of  the 
King  of  Wurtemberg) ;  Women  of  Albano,  Girls  Battling 
{Berlin  National  Gallery)  \  Judith,  A  Mother  and 
Daughter,  Mariuccia  Joli,  Felice  Beraldi,  Pellegrini  the 
Singer,  Signora  Pellegrini,  Neapolitan  Fisher-Family, 
The  Fortune-Teller,  Nazarena  Trombetti  {all  in  the  J\>U7 
Pinacotkek,  Munich) ;  Medea  {in  the  Stuttgart  Gallery). 

Many  of  the  above  have  been  rendered  popular 
by  engravings  and  lithographs. 

RIEDEL,  Gottfried  Friedbich,  bom  at  Dres- 
den, 1724.  Painted  portraits  and  history,  and 
engraved  a  few  plates.  He  was  the  son  of  Johann 
Gottfried  Riedel.     He  died  at  Augsburg  in  1784. 

RIEDEL,  Johann-  Anton,  a  German  designer 
and  engraver,  son  of  Johann  Gottfried  Riedel,  born 
at  Prague  in  1733,  was  keeper  of  the  Dresden 
Gallery,  and  engraved  several  plates  after  pictures 
in  that  collection,  in  which  he  imitated  the  style 
of  Rembrandt.  Among  them  we  may  name  the 
following : 

The  Virj^n  and  Infant  Christ ;  after  Baneeio. 
The  Seven  Sacraments  ;  after  Gio.  Maria  Crespi. 
A  Portrait  of  Kembrandt ;  after  Rembrandt. 
A  Warrior,  with  a  cap  and  feather ;  after  the  same. 
Sixteen  other  plates  ;  after  the  same. 
A  Portrait  of  a  Lady  holding  a  Letter ;  after  Vandyck. 
Twenty-one   Portraits;    after  Both,  Dietrich,   Flinek, 
Grehber,  &c. 

Riedel  died  at  Dresden  in  1816. 

RIEDEL,  Johann  Gottfried,  painter  and 
engraver,  bom  at  Talken  in  Bohemia  in  1691, 
was  a  pupil  of  Mannl  in  Vienna,  and  afterwards  of 
Solimena.  He  went  in  1739  as  court  painter  to 
Dresden,  and  in  1742  he  was  appointed  keeper 
of  the  Dresden  Gallery.  He  died  at  Dresden  in 
1755. 

RIEDER,  Geobg,  an  obscure  historical  painter 
of  Ulm,  who  was  received  into  the  freedom  of  that 
city  in  1550.     He  was  still  living  in  1570. 

RIEDER,  Wilhelm  August,  painter,  bom  at 
Doblins  in  1796.  In  1825  he  became  professor  of 
figure-drawing  at  the  Academy  of  Vienna.  In  1835 
he  went  to  Italy  to  study,  and  on  his  return  to 
Vienna  in   1857  was  made  keeper  of  the  Belve- 


PAINTERS  AND  ENGRAVERS. 


<]ere  Gallery.  His  works  are  mainly  religious,  but 
he  occasionally  painted  portraits  in  water-colour, 
of  which  we  may  mention  that  of  Franz  Schubert ; 
and  he  made  some  drawings  for  the  Archduke 
Ludwig,  and  the  Archduchess  Maria  Elizabeth. 
His  best  known  works  in  oil  are : 

Christ  on  the  Mount  of  Olives. 

Saint  Rosalie. 

Portraits  of  Prince  Ferdinand  and  of  Prince  Angnstns 

of  Saxe-Coburg. 
Portrait  of  the  Frau  von  Sonnenfels. 
Effie  Deans  in  Prison.     (  Vienna.) 

Rieder  died  at  Vienna  in  1880. 

KIEDINGER.     See  Eidinger. 

RIEFSTAHL,  Lddwig  Friedrich  Wilhelm, 
landscape  and  genre  painter,  was  bom  the  15th 
of  August,  1827,  at  Neu-Strelitz.  Failing  to  be- 
come the  pupil  of  Gropius  and  Gerst,  as  he  had 
wished,  he  studied  under  W.  Schirmer  at  the 
Berlin  Academy.  In  1848  he  made  the  archi- 
tectural illustrations  for  Kugler's  '  History  of  Art.' 
This  commission  started  him  in  life.  He  travelled 
through  the  most  picturesque  parts  of  Germany, 
and  the  impressions  he  received  had  a  strong 
influence  upon  his  after  work.  In  1869  he  visited 
Rome,  and  a  year  later  became  professor  at  the 
art  school  in  Carlsruhe.  This  post  he  resigned 
in  order  to  reWsit  Rome,  but  two  years  afterwards, 
in  1875,  he  was  appointed  director  of  the  school 
in  question.  His  works  are  mainly  landscapes 
with  figures.     He  died  in  1878.     Works : 

Berlin.  iVaiional  Gallery.    Passeyer  Shepherds  at  Praver. 
1864. 
.,  „  AM    Souls'    Day    at    Eregenz. 

1869. 
Procession  of  Mourners,  Eregenz. 
A  Northern  Heath. 
Seashore  at  Riigen. 
Village  Church  in  "Westphalia. 
Procession  of  Capuchin  Monks. 
Bridal  Procession  in  the  Passeyer  Thai. 
The  Return  from  the  Baptism. 
Funeral  Procession  before  the  Pantheon. 
Funeral  at  Appenzel. 
In  the  Refectory. 

RIEPENHAUSEN,  Erxst  Ludwig,  draughts- 
man and  engraver,  born  at  Giittingen,  1765.  He 
engraved  a  number  of  plates  in  the  manner  of 
Chodowiecki,  but  is  best  known  as  the  author  of 
some  engravings  after  Hogarth  in  the  '  Gottingen 
Almanack,'  and  as  the  father  of  Franz  and  Johann 
Riepenhausen.  He  died  at  Gottingen,  28th  January, 
1840. 

RIEPENHAUSEN,  Franz  and  Johann,  born 
at  Gottingen  ;  Franz  in  1786,  and  Johann  in  1789. 
They  first  learned  engraving  from  their  father, 
Ernst  Ludwig.  In  1804  they  studied  in  Cassel 
under  Tischbein,  and  the  following  year  in  Dresden. 
In  1807  they  both  went  to  Rome  to  study  tlie  old 
masters,  and  till  the  death  of  Franz  they  worked 
so  well  together  that  it  was  impossible  to  dis- 
tinguisli  their  hands.  Franz  died  in  Rome  in  1831, 
and  Johann  in  the  same  city  in  1860.     Works : 

Der  Siinger  (in  illustration  of  Goethe's  poem). 

Madchen  aus  der  Fremde  (in  illustration  of  Schiller's 
poem). 

Hagar.     1820. 

View  of  Rome.    1820. 

Legend  of  St.  Elizabeth  (painted  for  the  Duke  of  Cam- 
bridge).    1822. 

Copy  of  Raph.iel's  '  Transfiguration.' 

C'ouradin  receiving  sentence  of  death. 

Earbarossa  protected  by  Henry  the  Lion  as  he  left  St. 
Peter's  (in  the  Guelfen  Saal,  Hanover). 


PAINTED  BY  JOHANN  ALONE  AFTER  THE  DEATH 

OF    FRANZ. 
Eric  of  Bnmswick. 
Amor  listening  to  Music. 
A  '  Madonna. ' 
Christus  Consolator. 
The  Destruction  of  the  Cenci  Family.    1839. 

In  1810  the  brothers  published  the  '  History  of 
Painting  in  Italy  '  ('  Die  Geschichte  der  Malerei  in 
Italien  nach  ihrer  Entwickelung '),  with  twelve 
plates  by  themselves.  They  also  made  a  series  of 
designs  for  Goethe's  'Faust,'  for  Schiller's  'Taucher,' 
and  for  a  life  of  Charlemagne.  They  also  etched 
115  plates,  among  which  we  may  name  : 

Thirteen  plates  from  the  Life  of  Raphael. 

Sixteen  plates  from  '  Polygnotns  at  Delphi.' 

Fourteen  plates  from  Tieck's  '  Genovefa.' 

Sixteen  plates  after  ancient  classical  monuments. 

RIESENER,  Henri  Francois,  painter,  bom  in 
Paris  in  1767,  studied  under  Vincent  and  David. 
Ilis  father  was  the  famous  cabinet-maker  to  Louis 
XVI.  On  the  outbreak  of  the  Revolution  he 
abandoned  his  artistic  career  for  that  of  a  soldier. 
On  resuming  his  brush,  he  employed  it  in  paint- 
ing portraits.  A  portrait  of  Napoleon  I.  was  so 
successful  that  he  had  to  supply  more  than  fifty 
replicas.  From  1816  to  1823  he  worked  in  Russia, 
both  in  Moscow  and  Petersburg,  where  he  was 
patronized  by  the  Grand  Duke  Constantine  and 
tlie  Empress-mother,  and  painted  portraits  of  the 
Emperor  Alexander  and  other  notabilities.  He 
contributed  to  the  Salons  between  1793  and  1827. 
In  1823  he  returned  to  Paris,  where  he  died  in 
1828.  In  the  Louvre  there  is  a  portrait  of  M. 
Ravrio  by  him. 

RIESENEK,  Louis  Antoine  L^on,  a  French 
historical  and  decorative  painter,  born  in  Paris  in 
1808.  He  was  the  son  of  Henri  Fran9ois  Eiesener. 
Though  he  studied  under  Gros,  he  was  a  great 
admirer  and  follower  of  Delacroix.  He  painted 
many  studies  from  the  nude,  of  a  rather  voluptuous 
character,  but  excellent  in  technique.  His  attention 
was  largely  devoted  to  decoration,  and  there  are 
works  by  him  in  the  Luxembourg  Palace,  in  St. 
Eustache,  and  at  the  Charenton  Hospital.  Those 
in  the  old  Hotel  de  Ville  perished  when  the  build- 
ing was  burnt  by  the  commune.  His  daughter 
is  a  successful  portrait  painter.  Riesener  died  in 
1878.     Amongst  his  chief  pictures  we  may  name  • 

Juno. 

Leda.     1841. 

A  Nymph. 

Venus. 

A  Bacchante  playing  with  a  Panther. 

Egyptian  Child  and  Nurse. 

Erigone.    1864.     (Paris;  Lvxemtourg  Gallery.) 

RIETER,  Heinrich,  painter  and  etcher,  bom 
at  Winterthur  in  1751,  learned  his  art  of  Schellen- 
burg,  and  afterwards  studied  under  Graf  in  Dresden, 
also  landscape  painting  in  Bern  under  Staberli. 
On  the  death  of  the  latter  he  inherited  his  plates, 
and  added  to  the  series  with  plates  of  his  o\vii. 
These  were  superior  to  those  of  his  master.  His 
best  plates  are,  '  The  Waterfall  of  Reichenbach,' 
'  The  Giessbach,'  '  The  Peak  of  the  Jungfrau.'  Of 
his  oil  paintings  the  chief  were  landscape  views 
of  Italian  and  Swiss  scenery.  Rieter  died  in  1818 
at  Bern,  where  he  had  taught  drawing  at  the 
6cole  Publique  for  thirty-seven  years. 

RIETHOORN,  Jean"  Albertz  van  den.  See 
Van  den  Riethoorn. 

RIETSCHOOF,  Hendrik,  the  son  and  pupil  of 
Jan  Claasze  Rietschoof,  was  bom  at  Hoorn  in  1678. 

233 


A  BIOGRAPHICAL  DICTIONARY  OP 


He  painted  similar  subjects  to  those  of  his  father, 
whose  skill,  however,  he  failed  to  rival.  He  died 
at  Koog,  a  village  ia  North  Holland,  about  1746. 

RIETSCHOOF,  Jan  Claesz,  (perhaps  Claes 
Jansz),  born  at  Hoorn  in  1652,  was  a  scholar  of 
Abr.  Liedts  and  Ludolf  Backhuysen,  under  whose 
tuition  he  became  an  eminent  artist,  and  painted 
sea-pieces  and  storms  so  much  in  the  style  of  his 
instructor,  that  his  pictures  are  sometimes  mistaken 
for  those  of  Backhuysen.  He  particularly  excelled 
in  painting  storms,  wliieh  he  reproduced  with  much 
fidelity.     He  died  in  1719.     Works : 

Amsterdam.     R.  Museum.    A  Calm. 
„  „  A  Storm. 

RIETSTAP,  Anthonis  R.,  a  Dutch  landscape 
painter,  born  at  the  Hague,  1814.  He  was  a  pupil 
of  A.  Schelfout.     He  died  in  1837. 

RIEUE,  Jehan,  (Driedx,  Dreox,)  a  native  of 
Bruges,  who  worked  as  an  illuminator  in  the  l5th 
century.  In  1439  he  illuminated  a  '  Book  of 
Hours '  for  the  Duke  of  Burgundy,  and  in  1449-50 
he  was  attached  to  Philippe-Ie-Bon  as  valet-de 
chambre  and  illuminator.  He  was  still  alive  in 
1455. 

RIFFLAERT,  Alexandre  Victor,  a  Belgian 
painter  of  little  note,  born  at  Brussels.  He  painted 
historical  and  genre  pictures,  and  was  still  alive  in 
1829. 

RIGA,  Jean,  a  Belgian  painter,  probably  of  the 
same  family  as  N.  J.  Riga.  He  was  born  at  Lifege 
in  1680,  and  was  employed  at  the  Hotel  de  Ville. 
He  also  painted  sacred  subjects  for  the  churches  of 
his  native  town,  but  none  of  his  works  have  been 
preserved.     lie  died  in  1725. 

RIGA,  MiJLLER  vo.v.  See  MiJLLER,  Johann 
Jakob. 

RIGA,  N.  J.,  a  Belgian  painter,  born  in  1653,  at 
Lifege.  There  are  pictures  by  him  in  several 
churches  of  his  native  town.     He  died  in  1717. 

RIGAUD,  Gaspard,  portrait  painter,  was  a 
younger  brother  of  the  famous  Hyacinthe  Rigaud, 
but  of  greatly  inferior  talent.  He  was  appointed 
one  of  the  painters  to  the  king,  and  became  an 
associate  of  the  Academy  in  1701.  He  died  in 
1705. 

RIGAUD-Y-ROS,  Hyacinthe  Franqois  Ho- 
NORAT  Mathias  Pierre-le-Martyr  Andre  Jean, 
a  French  portrait  painter,  was  born  at  Perpignan 
the  20th  of  July,  1659.  Both  his  fatlier,  whom  he 
lost  when  he  was  but  eight  years  old,  and  his 
grandfather,  were  artists.  At  the  early  age  of 
fourteen,  his  mother,  for  whom  he  had  a  great 
aSection,  sent  him  to  study  at  Montpellier.  Here 
he  received  instruction  for  some  time  from  the 
local  painters  Pezet,  Verdier,  and  Banc.  After  a 
stay  of  four  years  at  Montpellier,  he  migrated  to 
Lyons,  and  afterwards  to  Paris,  where  he  arrived 
in  1681,  and  began  to  study  in  the  Academy. 
In  the  following  j'ear  he  gained  the  first  prize 
for  painting  for  his  version  of  '  Cain  building  the 
city  of  Enoch.'  At  this  critical  period  of  his 
career  he  attracted  the  notice  of  Le  Brun,  who 
strongly  advised  him  to  continue  the  work  at 
portraits,  which  he  had  already  commenced,  and 
to  abandon  the  idea  of  studying  in  Italy.  Rigaud 
took  this  advice,  and,  to  improve  his  style, 
applied  himself  to  a  diligent  study  of  the  works 
of  Van  Dyck,  whose  disciple  he  always  pro- 
fessed to  be.  At  first  his  sitters  came  from 
the  bourgeoisie.  His  firm  establishment  as  the 
fashionable  painter  of  the  upper  classes  may 
be  said  to  date  from  1688,  when  the  brother  of 

234 


Louis  XIV.  sat  to  him.  Notwithstanding  that  his 
career  was  thus  definitely  marked  out,  he  had  the 
ambition,  not  uncommon  amongst  French  artists, 
of  being  received  into  the  Academy  in  the  highest 
class,  that  of  historical  painters.  With  this  view 
he  submitted  a  '  Nativity '  as  his  reception  picture 
in  1687.  But  the  Academy  was  obdurate,  and  he 
was  only  admitted  as  a  portrait  painter.  It  was 
not  till  1700,  when  he  had  risen  to  the  first  rank 
in  his  profession,  that  he  was  received  as  an  his- 
torical painter,  on  the  completion  of '  St.  Andrew,' 
now  in  the  Louvre.  He  became  assistant  professor 
in  the  Academy  in  1702,  professor  in  1710,  and 
assistant  rector  and  rector  in  1733.  Other  honours 
were  freely  bestowed  on  him  :  he  was  ennobled  in 
1709,  and  as  he  had  the  misfortune  to  lose  his 
savings  through  the  schemes  of  Law,  the  king 
granted  him  a  pension.  There  are  but  few  other 
events  in  his  career  to  record.  His  large  practice, 
and  the  industry  with  which  he  worked,  left  iiim 
but  little  time  for  any  pursuit  but  that  of  art. 
From  a  list  which  he  kept,  specifying  each  portrait 
which  he  painted  and  the  sum  received  for  it,  it 
appears  that  he  produced,  on  an  average,  between 
thirty  and  forty  portraits  per  annum.  It  is  said, 
too,  that  Rigaud  did  not  intrust  the  accessories 
to  other  hands,  but  painted  them  himself.  After 
a  long  and  prosperous  career — he  was  practising 
for  no  less  than  sixty-two  years — Rigaud  died  in 
Paris  in  1743.  He  painted  five  kings,  all  the 
French  Princes  of  the  Blood,  and  most  of  the 
distinguished  men  of  his  time. 

There  are  many  portraits  by  Rigaud  in  the 
French  provincial  galleries  and  private  collections. 
The  following  is  a  list  of  his  paintings  in  the  chief 
public  galleries  in  Europe  : 

B;ile.  Museum.    Chevalier  Luke  Schaab. 

Berlin.  Museum.     The  Sculptor  ISogaert. 

Cassel.  dnl/eri/.     Portrait  of  himself. 

Dresden.  (liilleri/.     Augustus  III.  of  Poland.  1715. 

Florence.  Uffizi.    Bossuet. 

,,  „         Portrait  of  himself. 

Geneva.     Bath  3fuseum.     Duchess  of  Orleans. 
Karlsruhe.  Gallery.    Louis  XIV. 

,.  „  Portrait  of  himself. 

.,  „  Male  portrait. 

Lausanne.  A.rtaud  \  Augustus  II.  of  Poland. 

Museum,  j  Augustus  III.  of  Poland. 
,.  „  Portrait  of  himself. 

,.  „  Two  other  portraits. 

Lisbon.  Academy.     Cardinal  Polignac. 

„  „  Portrait  of  a  Cardinal. 

London.  N'at.  Gal.     Cardinal  Fleury. 

„         Nat.  For.  Gal.    Viscount  Boliagbroke. 

Dulwich  Gallery.     Louis  XIV. 
,.  „  Boileau. 

Bladrid.  Museum.     Louis  XTV. 

Munich.         Pinakotlie};.    Duke  Christian  III.,  of  Zwei- 

briicken. 
Paris.  Louvre.    The     Presentation      in      tba 

Temple. 
„  „  St.  Andrew.     1700. 

„  „  Philip  V.  of  Spain. 

Louis  XIV.     1701. 
„  „  Bossuet. 

„  „  Maria     Serre,    the     Painter's 

Mother  {a  double  portrait). 
„  „  The  Sculptor  Martin  van  dea 

Bogaert  (Desjardinsi. 
„  „  Le  Brun  and  Mignard. 

„  „  The  Architect  J.  H.  Mansart. 

Two      unidentified       portrait 
Groups. 
Petersburg.    Hermitage.    Fontenelle. 
Stockholm.  Gallery.    Charles  XII.  of  Sweden. 

„  „  Cardinal  Fleury. 

Versailles.  Gallery.    Miguard. 

,,  „  Boileau. 


PAINTERS  AND  ENGRAVERS. 


Versailles. 

GaUery. 

Portrait  of  himself. 
Louis  XV. 

", 

,, 

The  Dauphin  Louis,  kc.,kc. 

Vienna. 

GaUery. 

Duches.s  Elizabeth  Caroline  of 
Lorraine. 

»i 

>» 

An  Ecclesiastic. 

O.J.D. 

RIGAUD,  John  Francis,  an  historical  and  por- 
trait painter,  bom  at  Turin  in  1742,  was  descended 
from  a  French  Protestant  family.  He,  however, 
came  in  1772  to  England,  after  travelling  through 
Italy  and  France,  where  he  practised  his  art.  He 
was  elected  an  Associate  of  the  Royal  Academy  in 
1772,  and  in  1784  a  full  member.  His  admission 
picture,  which  represented  '  Samson  breaking  his 
bonds,'  was  much  admired.  He  was  employed  by 
Boydell  for  the  Shakespeare  Gallery,  and  he  also 
painted  several  sacred  and  historical  subjects.  But 
besides  this  he  decorated  several  ceilings,  among 
which  was  that  of  the  Court  Room  in  the  Trinity 
House,  Tower  Hill.  He  also  painted  two  altar- 
pieces,  one  for  the  parish  church  at  Packing^on, 
and  another  for  the  church  of  St.  Martin-Outwich 
in  London.  He  translated  into  English  and  pub- 
lished Leonardo  da  Vinci's  •  Treatise  on  Painting,' 
with  illustrative  copper  plates.  He  was  found 
dead  in  his  bed  at  Packington  Hall,  the  residence 
of  Lord  Aylesford,  his  patron,  on  December  6th, 
1810. 

RIGAUD,  Jean,  a  relation  of  Hyacinthe  Rigaud, 
Dom  in  Paris  about  the  year  1700,  painted  land- 
scapes, which,  if  we  may  judge  by  his  prints, 
must  have  possessed  considerable  merit.  He 
appears  to  have  passed  some  time  in  England,  as 
he  has  etched  some  views  in  the  environs  of 
London.  We  have  several  plates  by  him,  executed 
in  a  spirited  and  masterly  style,  and  the  figures 
correctly  and  neatly  drawn.  The  following  are 
his  principal  prints  : 

-V  pair  of  Views  of  Marseilles,  at  the  time  of  the  Plague 

in  1720. 
A  set  of  six  Views  of  the  Chateau  and  Gardens  of  Marly. 
The  Garden  of  the  Tuilleries. 
A  View  of  the  Palace  of  the  Luxembourg. 
A  View  of  Hampton  Court. 
St.  James's  Park. 
Greenwich  Park. 
Greenwich  Hospital. 
A  set  of  six  Landscapes,  with  figures. 
.A.  set  of  six  Views  in  France,  with  rural  amusements. 
Twelve  marine  subjects. 

He  had  a  son,  Jean  Baptiste  Rigaud,  who 
engraved  a  view  of  the  Palais  Bourbon,  after  hi.s 
father. 

RIGAUD,  Stephen  Francis  D.,  son  of  John 
Francis  Rigaud,  and  an  English  water-colour 
painter,  was  born  in  1777.  He  studied  in  the 
schools  of  the  Academy,  where  he  first  exhibited  in 
1797,  and  in  1801  gained  the  gold  medal  by  his 
'  Clytemnestra  and  Agamemnon.'  In  1804  he 
became  one  of  the  original  members  of  the  Water- 
Colour  Society,  where  he  exhibited  till  1813,  when 
he,  Chalon,  aiid  others  seceded.  But  little  is  known 
of  his  subsequent  life,  though  it  appears  that  he 
exhibited  at  the  Society  of  I5ritish  Artists  as  late 
as  1851,  and  died  in  1861.  There  is  a  water-colour 
picture  by  him  at  the  Kensington  Museum  of 
'Telemachus  discovering  the  Priest  of  Apollo.' 
We  may  also  name  : 

Satan  in  the  Bower  of  Adam  and  Eve.     1805. 

Martha  and  Mary.     1306. 

Sin  and  Death.     1807. 

Invasion  of  France  in  1813.     1814. 

David  sallying  out  against  Goliath.     1815. 


RIGHETTI,  Mario.  This  painter  was  born  at 
Bologna  about  the  year  1590,  and  was  a  scholar  of 
Lucio  Massari.  He  painted  several  pictures  for  the 
churches  of  his  native  city,  which  are  noticed  in 
'  Le  Pitture  di  Bologna.'  The  best  are  the  follow- 
ing :  'The  Archangel  Michael,'  in  the  church  of 
S.  Gnglielmo  ;  '  Christ  appearing  to  the  Magdalen,' 
in  S.  Giacomo  Maggiore  ;  '  The  Adoration  of  the 
Magi,'  in  S.  Agnese  ;  and  the  '  Nativity,'  in  S. 
Lucia. 

RIGOT,  Jean,  a  friar  of  the  Abbey  of  St.  Pierre 
de  Melun,  was  an  illuminator  and  miniaturist  of 
the  15th  century.  In  the  '  Bibhothferiue  Nationale  ' 
there  is  a  Latin  missal  of  the  year  1489  attributed 
to  liini. 

RIGOULDTS,  or  Righolz.     See  Thielen. 

KIJCKAERT,  David,  the  first,  was  born  in  1560, 
and  died  about  1607.  He  was  received  into  the 
Antwerp  Academy  of  St.  Luke  in  1585,  and  in 
1589  was  married  to  one  Catherine  Rem.  He  was 
mostly  employed  in  painting  figures  in  the  pictures 
of  other  men. 

RIJCKAERT,  David,  the  second,  son  of  David 
tlie  first,  was  bom  at  Antwerp,  1589.     He  excelled 
in  painting  mountain  scenery.    His  eldest  daughter 
married  Gonzalez  Coques.     He  died  in  1642. 
Vienna.  Frtyherg,    A  kitchen  with  three  persons, 

and  still-life.  {Sign&l  D.R.) 

RIJCKAERT,  David,  the  third,  the  son  of  David 
Rijckaert  the  second,  was  born  at  Antwerp  in  1612, 
and  instructed  in  landscape  painting  by  his  father  ; 
but  the  high  estimation  in  which  the  works  of 
Brouwer  and  Teniers  were  then  held,  induced  him 
to  attempt  similar  subjects,  in  which  he  was  soon 
very  successful.  The  Archduke  Leopold,  a  great 
encourager  of  art,  favoured  him  with  his  particular 
protection.  In  1651  he  was  appointed  director  of 
the  Academy  at  Antwerp,  and  his  pictures  were  so 
much  admired,  that  it  was  with  difiiculty  he  could 
keep  pace  with  the  demand  for  his  works.  He 
usually  painted  assemblies  of  peasants  regaling, 
musical  parties,  and  the  interiors  of  chemists'  labor- 
atories ;  though  he  occasionally  attempted  subjects 
of  a  more  elevated  character.  Towards  the  latter 
part  of  his  life  he  represented  grotesque  subjects, 
which  were  very  common  at  that  time.  His  prin- 
cipal pictures  are:  'A  Family  Concert,'  in  the 
Liechtenstein  Gallery  at  Vienna;  'A  Peasant's 
dwelling,'  at  Berlin;  'A  Shoemaker,'  at  Amster- 
dam. He  died  in  1661.  He  left  a  son,  an  obscure 
painter  and  a  fourth  David  Eijckaebt,  who  was 
bom  in  1649,  and  died  after  1698. 

RIJCKAERT,  Friedrik,  painter,  was  a  member 
of  the  Guild  of  St.  Luke  at  Antwerp,  1550.  About 
1570  he  painted  a  large  altar-piece  for  the  church 
of  St.  Jacques. 

RIJCKAERT, Martin,  painter,  son  of  David  the 
first,  was  born  at  Antwerp  in  1587,  and  was  for  a 
time  a  disciple  of  Tobias  Verhaecht,  an  artist  of 
considerable  celebrity.  Martin  had  only  one  arm. 
On  leaving  Verhaecht  he  went  to  Italy,  where  he 
studied  several  years,  and  returned  to  his  native 
country  with  a  great  variety  of  drawings  from  the 
most  remarkable  views  in  the  vicinity  of  Rome. 
With  these  resources,  he  distinguished  himself  as 
one  of  the  ablest  landscape  painters  of  his  time. 
He  was  fond  of  ruins,  rocks,  mountains,  and  water- 
falls. His  works  are  occasionally  decorated  with 
figures  by  Jan  Brueghel.  He  lived  in  habits  of 
intimacy  with  Vandyck,  who  painted  his  portrait 
in  his  series  of  eminent  artists.  Rijckaert  died  at 
Antwerp  in  1031  or  1632. 

235 


A  BIOGRAPHICAL  DICTIONARY  OF 


Floreuce.  VM:i.    'Waterfall  near  Tivoli.    1610. 

(Siyned.) 
Hanover.  Galleri/.     Moiintain    Landscajie.     1624. 

Madrid.  Prado.    The  Alchemist.  1616.  (5(>»e<?.) 

There  is  a  portrait  of  liiiu  by  Van  Dyck  at 
Madrid  in  the  Padro  Gallery. 

KIJCKAEKT,  Padl,  painter,  born  at  Antwerp, 
1592,  another  son  of  David  Rijckaert  the  first 
Nothinfi;  is  known  of  his  life  or  works. 

lilJN,  Rembrandt  Harmensz  van,  was  certainly 
bom  at  Leyden,  and  on  July  15,  but  the  exact  year 
is  still  a  matter  of  debate.  Orlers,  a  burgomaster 
of  the  town,  writing  in  1641,  states  that  the  year 
was  1606.  Various  documents,  however,discovered 
of  late  years,  have  been  utilized  to  throw  doubt  on 
his  assertion,  but  as  these  are  inconsistent  with 
one  another,  indicating  respectively  1603,  1604, 
1605,  1606  or  1607,  too  much  reliance  cannot  be 
placed  on  them,  and  as  Orlers  was  indisputably  in 
a  position  to  know  the  facts,  there  seems  no  good 
reason  for  discrediting  his  authority.  He  was  the 
son  of  a  miller  named  Harmen  or  Hermann  Ger- 
ritsz,  who  assumed  the  affix  van  Rijn,  and  of  his 
wife  Neeltje,  the  daughter  of  a  baker,  Willems  of 
Suydthroeck.  The  paternal  home  stood  close  to 
the  "  Wliite,"  the  western,  gate  of  Leyden,  and 
immediately  behind  the  mill  of  which  Rembrandt's 
father  was  half  owner.  In  Vosmaer's  '  Life  of 
Rembrandt '  the  details  of  his  family  tree  and  of 
his  parents'  condition  in  the  world  are  elaborately 
set  out.  He  was  the  fifth  of  six  children,  but  his 
parents  were  comfortably  off,  and,  determined  that 
lie  should  have  a  good  education,  entered  him  on 
May  25,  1620,  as  a  student  in  the  Faculty  of 
Letters  at  the  Leyden  University,  in  order  that,  as 
Orlers  puts  it,  "  he  might  in  the  fulness  of  time  be 
able  to  serve  his  native  city  and  the  Republic  with 
his  knowledge."  But  such  studies  as  these  were 
not  at  all  to  the  boy's  tastes,  and,  before  he  had 
been  long  aiix  prises  with  Latin,  his  father  became 
convinced  that  his  inclination  for  art  would  have 
to  be  allowed  its  way.  The  lad  was  accordingly 
placed  in  the  studio  of  Jacob  von  Swanenburch,  a 
respectable  painter  and  a  member  of  an  old  Leyden 
family.  With  him  Rembrandt  stayed  three  years, 
and ,  made  good  progress,  giving  such  promise  of 
future  excellence  that  in  1624  he  was  allowed  to 
remove  to  the  more  famous  studio  of  Pieter  Last- 
man  at  Amsterdam.  This  step  was  probably  due 
to  the  suggestion  of  Jan  Lievensz,  a  fellow-aspirant 
to  art,  and  an  intimate  friend  of  Rembrandt's,  who 
had  already  spent  two  years  under  Lastman.  Six 
months  of  his  instruction,  however,  proved  more 
than  enough  for  Rembrandt.  His  new  teacher 
had  visited  Rome,  and  acquired  the  artificial 
Italianate  manner  with  which  Rembrandt,  the 
earnest  seeker  after  truth  in  nature,  could  have  no 
sympathy.  In  the  course  of  the  same  year  he 
returned  to  Leyden  and  set  himself  "  to  study  and 
practise  painting  alone  and  in  his  own  way,''  ac- 
cording to  Orlers.  His  earliest  known  pictures 
date  from  three  years  later,  '  St.  Paul  in  Prison,'  at 
Stiittgart,  signed  both  Remhrand  fecit  and  R.  f. 
1627,  and  the  'Money-changer,'  at  Berlin,  signed 
R.  H.  1627.  In  1628  Rembrandt  received  Gerard 
Dou  as  his  pupil,  who  remained  -with  him  until  in 
1631  he  migrated  to  Amsterdam,  where  he  lived 
for  the  rest  of  his  life.  There,  in  the  following 
year,  he  painted  his  first  corporation  picture,  the 
famous  'Lesson  in  Anatomy,'  and  on  June  22, 
1634,  be  married  at  t'Bildt,  Saskia  van  Uylenborch. 

236 


The  Uylenborchs  were  a  good  Friesland  family, 
one  or  two  of  whose  members  had  already  married 
into  art  and  literature.  At  the  time  of  her  mar- 
riage Saskia  was  twenty-two  years  of  age,  and  her 
husband  twenty-seven.  In  1635  their  first  child, 
a  son,  christened  Rombertus,  was  bom,  but  did 
not  long  survive,  and  a  daughter  Cornelia,  bom  in 
1638,  was  equally  short-lived,  as  was  a  second 
daughter,  also  named  Cornelia,  who  was  born  in 
July,  but  died   in  August   1640.     In   September 

1641  their  last  child,  Titus,  was  born,  and  in  June 

1642  Saskia  died,  and  was  buried  on  the  19th  in 
the  Oudekerk.  By  her  will  this  son  Titus  was 
made  ostensibly  her  heir,  but  the  absolute  com- 
mand of  her  property  was  secured  to  Rembrandt 
during  his  life,  unless  he  married  again.  In  that 
case  half  of  the  joint  estate  at  the  time  of  her 
death  was  to  be  placed  in  trust  for  Titus,  though 
Rembrandt  was  still  to  enjoy  the  interest.  The 
will  also  directed  that  if  Rembrandt  became  owner 
through  the  decease  of  his  son,  and  should  then 
marry  again,  he  should  cede  one  half  of  Saskia's 
property  to  her  sister  Hiskia.  For  the  due  per- 
formance of  these  provisions  Saskia  expressly 
forbade  any  legal  security  to  be  taken  from  Rem- 
brandt, '■  because  she  had  confidence  that  he  would 
behave  in  the  matter  in  exact  obedience  to  his 
conscience."  The  same  year  saw  the  completion 
of '  The  Night  Watch,'  as  the  sortie  of  the  Company 
of  Banning  Cocq  has  long  been  called,  and  about 
the  same  time,  probably,  began  the  friendship 
between  the  painter  and  Jan  Six,  afterwards,  but 
not  until  Rembrandt  had  been  twenty-two  years  in 
his  grave,  Burgomaster  of  Amsterdam.  Six  was 
born  in  1618,  and  was  therefore  twenty-four  in  1642. 
He  acquired  some  repute  as  a  savant  and  poet  at 
a  very  early  age,  and  married  the  daughter  of 
Nicholas  Tulp,  the  central  figure  in  '  The  Anatomy 
Lesson.'  His  friendship  for  Rembrandt  remained 
unshaken  till  the  latter's  death.  In  1645  the  artist 
did  the  etching  from  the  window  of  his  country 
house  known  as 'Six's  Bridi;e,' in  1647  he  etched 
the  celebrated  dry-point  '  Portrait  of  Six,'  and  in 
1656  he  began,  but  never  finished,  a  portrait  of  him 
in  oils.  With  the  deatli  of  Saskia  and  the  failure 
of  the  'Night  Watch'  to  satisfy  the  subscribers, 
Rembrandt's  prosperity  began  to  wane.  In  1647 
Saskia's  relations  deemed  it  necessary  to  have  the 
value  of  the  estate  at  her  death  put  on  record,  and 
thenceforward  financial  and  domestic  troubles 
thickened  around  the  unfortunate  artist.  In  1649 
one  Geertje  Dircz,  who  had  been  acting  as  nurse 
to  the  infant  Titus,  brought  against  him  the 
equivalent  of  an  action  for  breach  of  promise  of 
marriage,  though  without  success.  Between  1650 
and  1652  he  found  himself  reduced  to  the  necessity 
of  selling  a  pearl  necklace  which  had  been  Saskia's, 
and  in  1653  be  was  borrowing  money  right  and 
left.  In  1654  his  servant,  Hendrickje  Stoffels,  who 
had  already  borne  him  a  child  in  1652,  was  sum- 
moned before  the  Consistory  of  her  church  and 
severely  reprimanded  on  account  of  her  notorious 
relations  with  him.  Soon  afterwards  a  second 
child  was  born,  and  christened  Cornelia,  and  from 
this  and  other  circumstances,  slight  in  themselves, 
there  is  some  faint  reason  to  infer  that  he  may 
have  married  Hendrickje  about  that  time,  though 
this  remains  at  present  mere  conjecture.  On  May 
17,  1656,  another  guardian  to  Titus  was  legally 
appointed  in  Rembrandt's  place,  and  this  was 
speedily  followed  by  the  declaration  of  his  bank- 
ruptcy, and  the  making  of  an  inventory  of  all  his 


REMBRANDT  H.  VAN   RIJN 


HanJsUin^l  flwlo^ 


PORTRAIT  OF  THE  ARTIST,  1640 


L-.iiw 


PAINTERS  AND  ENGRAVERS. 


possessions,  and  in  September  1658  these  were 
sold  by  auction.  His  patrons  in  the  meantime 
seem  to  a  large  extent  to  have  deserted  him, 
although  in  1661  he  painted  one  of  his  finest  works, 
'  The  Syndics  of  the  Drapers,'  at  Amsterdam.  In  or 
about  1662  died  Hendrickje  Stoffels,  who,  whether 
his  wife  or  no,  had  done  all  that  lay  in  her  power 
to  avert  his  ruin,  and  when,  in  spite  of  her  eflforts, 
that  was  accomplished,  remained  faithful  to  him 
in  adversity.  The  lawyers  all  this  time  had  been 
busy  with  his  affairs,  but  it  was  not  until  1665 
that  the  courts  finallj-  decided  that  Titus  was 
entitled  to  take  possession  of  his  share  of  the 
estate,  of  which,  however,  less  than  one-third 
remained  available.  The  house  in  the  Breestraat 
which,  in  his  days  of  prosperity,  he  had  bought, 
had  been  sold  long  before,  and  after  residing  for  a 
time  in  the  Bloemgracht  he  had  removed  to  the 
Lauriergracht.  The  settlement  of  his  affairs 
probably  facilitated  his  return  to  the  Rozengracht. 
In  1668  Titus  married  his  cousin  Magdalena,  but 
his  happiness  was  brief,  for  on  September  4  of  the 
same  year  his  burial  in  the  Westerkerk  is  recorded. 
In  March  of  the  following  year  his  widow  gave 
birth  to  a  daughter  who  was  christened  Titia,  and 
in  October  we  find  the  last  fact  of  Eembrandt's 
troubled  career  in  tlie  Doelboek,  or  registry  of 
deaths,  of  the  Westerkerk — "  Tuesday,  October  8, 
1669,  Rembrandt  van  Rijn,  painter,  on  the  Rozen- 
gracht, opposite  the  Doolhof.  Leaves  two  children." 
To  whom  these  last  words  apply  has  been  made 
the  subject  of  a  somewhat  unnecessary  discussion. 
It  has  even  been  suggested  that  they  were  the 
offspring  of  an  entirely  imaginary  marriage  with 
a  Catherina  van  Wijck,  but  there  can  be  no 
reasonable  doubt  that  one  was  his  daughter 
Cornelia,  while  in  all  probability  his  daughter-in- 
law  was  meant  by  the  second. 

Rembrandt's  pupils  were  numerous.  In  his  early 
period  they  included  Gerard  Dou,  Ferdinand  Bol, 
Flinck,  Backer,  De  Wet,  and  De  Poorter.  Some 
few  years  later  this  list  was  increased  by  the  names 
of  Victors,  Van  den  Eeckhout,  and  Philips  de 
Koninck.  About  1840  Lavecq,  Ovens,  Paudiss, 
Verdoel,  Heerschop,  Drost,  Carel  Fabritius,  and 
Hoogstraten  were  the  principal  occupants  of  the 
little  rooms  at  the  top  of  the  house  in  the  Bree- 
straat which  the  painter  filled  with  his  scholars. 
Later  still  their  places  were  taken  by  Maes, 
Renesse,  Dullaert,  Willemans,  Mayr,  Wulfliagen, 
Uylenborch,  and,  last  of  all,  Aert  de  Gelder. 
Rembrandt  was  the  greatest  artistic  individuality 
of  the  17th  century.  He  excelled  in  every  branch 
of  painting  to  which  he  seriously  turned  his  hand, 
while  he  took  up  an  art,  that  of  etching,  which 
before  his  time  had  been  humble  and  insignificant, 
and  set  it  upon  a  pedestal  round  which  artists  have 
been  crowding,  in  hopeless  emulation,  ever  since. 
As  a  painter  he  was  equally  great  in  conception 
and  execution  ;  his  hand  was  the  skilful,  sym- 
pathetic servant  of  a  commanding  imagination. 
It  is  the  same  with  his  etchings.  Technically  they 
are  still  unapproached,  while  in  vigorous  dramatic 
expression  no  man  has  yet  surpassed  tliem.  Yet 
we  find  Rembrandt  often  at  liis  most  characteristic, 
sometimes  at  his  best  in  the  numberless  marvellous 
drawings,  sketches,  and  studies  which  he  left 
behind.  The  following  list  of  his  chief  dated 
pictures,  arranged  in  chronological  order,  has  been 
compiled  from  the  best  authorities. 
1625 '/  Portrait  of  a  Young  Girl.  (Signed  rem"''.) 
1627.   The  Money-changer.    (Signed  u.B.)     Berlin. 


St.  Paul  in  Prison.    (Signed  Remhrand  fecit  Rf.) 
Stattyart. 

1628.  Samson    captured    by  the   Philistines.      (Signed 

B.  H.  L.)     Jierlin. 
The  Denial  of  St.  Peter.    (Signed  a.  u.  L.)  Private. 

1629.  Portrait  of  himself.     (Signed  E.  H.  L.)     Gotha. 
163U.    Portrait  of  Maurice  Huyghens.     (Signed  B.  H.  L.) 

Hamburff. 
Portrait  of  himself.     (Signed.)     Private. 
Portrait  of  himself.    (Signed  r.  h.  l.)    Private. 
Portrait  of  an  Old  Man.     (Signed  s.  H.  L.)     Cassel. 
Portrait  of   his   Father,  called   Fhilon   the  Jew. 

(Signed  E.  H.  L.)     Innsbruck. 
Joseph  interpreting  his  Dreams.     (Signed  Rem- 
brandt.)    Six  Collection,  Amsterdam. 
A  Philosopher  in   Meditation.     (Signed  B.  H.  l.) 

Private. 

1631.  A  Bust  of  his  Father.     (.'Signed  R.  H.  L.)    Private. 
Portrait  of  a  Young  Man  (?  Gerard  Dou.)    (Signed 

E.  H.  L.)      Windsirr  Castle. 
St.  Anastasius.     (Signed  Rembrant.)     Stockholm. 
The     Holy     Family.      (Signed     Rembrandt    /.) 

Jfunick. 
The  Presentation  in  the  Temple.    (Signed  R.  H.) 

The  Haque. 
Portrait  of  an  Old  'Woman,  called  the  Prophetess 

Anna,     (■'iiyntd  R.  H.  L.)     Oldenburg. 
Portrait  of  a  Merchant.      (Signed   E.  H.  L.)     St. 

Petersburg. 
St.  Peter  in  Prison.    (Signed  E.  H.  i.)    Private. 
Portrait  of  Nicholas Euts.  {Signed  s.B.i..)  Private. 
Portrait  of  himself.     (Signed.)     Private. 
Portrait  called  Hugo  Grotius.     (Signed  Rembrandt 

fee.)     Brunswick. 

1632.  Portrait  of  a  Young  Woman.     (Signed  a.  H.  L.) 

I'ienna. 
Portrait  of  Saskia.  (Signed  R.  van  Rijn.)  Liechten- 
stein Collection,  Vienna. 
The    Jewish    Fianc^.      (Signed    Rembrandt  f.) 

Liechtenstein  Collection,  J'ienna. 
Portrait  of  a  Jew.     (Signed  Remlirandt.)     Private. 
Portrait  of  a  Young  Man.     (Signed  R.  H.  L.  van 

Rijnf.)     Dutu-ich  College. 
Portrait    of    Martin    Looten.      (Signed    B.  H.  l.) 

Private. 
Portrait  of   Rembrandt's  Mother.     (Signed   Rem- 
brandt.)    Wallace  Collection. 
Portrait  of  himself.     (Signed  R.  H.  L.  van  Rijn.) 

Private. 
Portrait  of  his  sister  ?  (Signed  R.  H.  L.  van  Rijn.) 

Private. 
Portrait  of  Lysbeth  van  Rijn.     (Signed  Rembrandt 

H.  L.  van  Rijn.)     Private. 
Portrait  of  a  Man.    (Sigaei  Rembrandt  f.)   Private. 
Portrait  of  an  Old  Woman.    (Signed  R.  van  Rijn.) 

Private. 
Head  of  an  Old  Man.     (Signed  B.  H.  L.)     Cassel. 
Study  of  an  Old  Man.    (Signed  R.  H.  L.  van  Rijn.) 

Cassel. 
Portrait  of  an  Old  Man.     (Signed  if.  H.  L.  van 

Rijn.)     Oldenhurg. 
The  Anatomy  Lesson.    (Signed    Retubrandt  fe.) 

The  Hague. 
Portrait  of  a  Young  Woman.    (Signed  R.  H.  L.  van 

Rijn.)     Milan. 
Portrait  of  Saskia.     (Signed  R.  H.  L.  van  Rijn.) 

Stockholm. 
Study  of  an  Old  Man.    (Signed  R.  H.  L.  tan  Rijn.) 

Stockholm. 
Portrait  of  a  Young  Man.    (Signed  R.  H.  L.  van 

Rijn.)     Private. 
Portrait  of  Beeresteyn.     (Signed  E.  H.)     Private. 
Portrait  of  bis  Wife.     (Signed  r.  H.)     Private. 
St.  John.     (Signeil  Rembrandt  f.)     Private. 
Portrait     called     Matthys     Kalkoen.       (Signed.) 

Private. 
Portrait  of  Joris  de  Caulery.    (Signed  R.  H.  L.  van 

Rijn.)     Private. 
Portrait  of  a  Young  Man  called  Tulp.     (Signed 

H.  H.  L.)     Private. 

1633.  Portrait  of  Saskia.    (Signed  Rembrandt f.)  Private. 
Portrait  of  Sa.<kia.    (Signed  Rembrandt.)     Private. 
The    Shipbuilder    and   his   Wife.     (Signed   Rem- 
brandt f.)     Buckingham  Palace. 

237 


A   BIOGRAPHICAL  DICTIONARY  OF 


Portrait  of  a  Lady  and  Gentleman.     (Signed  Rem- 
brandt f.)    Frivate. 
Portrait  of  a  Boy.    (Signed  Rembrandt  f. )    Wallace 

CoiUctioH, 
Portrait  of  bis  Sister,  or  Saakia.     {Si</»ed  B.  H.  L.) 

J'rivate. 
A  Philosopher  in  Meditation.    (Signed  X.van  Rijn.) 

Louvre. 
Portrait  of  Rembrandt.     (Signed  Rembrandt  /.) 

Louvre. 
Portrait  of  Cornelia  Pronck.  (Signed  Rembrandt  f.) 

Private. 
Portrait  of  a  Young  Man  rising  from  a  Chair. 

(Signed  Rembrandt  J'.)     Private. 
Portrait  of  a  Boy.    (Signed  Rembrandt  f.)   Private. 
Portrait  of  himself  laughing.     (Signed  Rembrandt 

f. )     Private. 
Portrait    of    a   Woman.     (Signed    Rembrandt  /.) 

Brunsirick. 
Portrait  of  Jan  Herman  Krul.     (Signed.)     CasseL 
Portrait  of  Sa.skia.  (Signed  JJeWwandf//.)  Dresden. 
Portrait   of  Willem   Burchgraeff.     (Signed   Rem- 
brandt f— it.)     Drtiden. 
Portrait  of  Margaretha  van  Biderbeecq.     (Signed 

Rembrandt  fct.)     Frankfort, 
Study  of  an  Old  Man.  (Signed  Rembrandt f.)  Met:. 
Portrait    of     a    Turk.       (Signed     Rembrandt  /.) 

.Munich. 
Head  of  a  Child.     (Signed  Rembrandt.)     Private. 
ISa.    Portrait  of  a  Young  Woman.     (Signed.)     Private. 
Portrait  of  an  Old  Woman.    (Signed  Rembrandt /.) 

Xational  (ialleri/. 
Head  of  a  Boy     (Signed  Rembrandt  ft.)     Private. 
Portrait  of  himself.   {^Signed  Rembrandt  f.)  Louvre. 
Portrait  of  Martin  Daey.     (Signed  Rembrandt  ft.) 

Private. 
Portrait  of  Machteld  van  Doom.  (Signed.)  Private. 
Portrait  of  Hans  Alenson.     (Signed  Rembrandt.) 

Private. 
Portrait  of  his  Wife.  (Signed  Rembrandt.)   Private. 
Portrait  of  himself.   (Signed  Rem/trandtf.)  Berlin. 
Portrait  of  himself.    (Signed  Rembrandt  f.)    Ousel. 
Portrait  of  himself.     Turin. 
The  Dc'sctnt  from  the  Cross.     (Signed  Rembrandt 

/)     St.  Petersburg. 
The  Incredulity  of  St.   Thomas.     (Signed  Rctn- 

brandtf.)     St.  Petersburg. 
The    Jewish    Bride.      (Signed    Rembrandt.)    St. 

Petersburg. 
Portrait  of  a  Young  Man.     (Signed  Rembrandt  f. ) 

St.  Peterflwrg. 
Queen  Artemisia  viewing  the  ashes  of  Mausolns. 

(Signed  Rembrandt  f.)     Madrid. 
Portrait  of  a  Young  Woman.     (Signed.)     Private. 
Portrait  of  Saskia.     (Signed.)     Private. 
1635.    .\n  Old  Man.     (S\gaed  Rembrandt f.)     Private. 

I'ortrait  of  himself.     (Signed  Rembrandt.)     Liech- 
tenstein Collection. 
Portrait  of  a  Kabbi.    (Signed  Rembrandt.)  Private. 
Portrait  of  an  Old  Woman.    (Signed  Rembrandt  f.) 

Private. 
Portrait  of  a  Rabbi.  (Signed  Rembrandt.)  Hampton 

Court. 
Portrait    of    Rembrandt.      (Signed     Rembrandt.) 

Private. 
The  Ship  of  St.  Peter.     (Signed   Rembrandt  ft.) 

Private. 
Portrait  of  an  Old  Man.     (Signed  Rembrandt  f.) 

Private. 
Portrait  of  an  Old  Woman.     (Signed.)    Private. 
Portraitof  aMan.    (Signed  Rembrandt  f.)  National 

Gallery. 
Portrait  of  a  Lady .   (Signed  J?«m4ron<it/.)   Private. 
Portraitof  Anthoni  Copal.    (S.gned  Rembrandt f.) 

Private. 
Portrait  of  Saskia.    (Signed  Rembrandt  f.)  Private. 
Diana,  Act«on,  and  Callisto.     (Signed  Rembrandt 

fc.)     Private. 
Samson  threatening  his  father-in-law.     (Signed 

Rembrandt  ft.)     Berlin. 
The  Capture  of  Ganymede.  (Signed  Rembrandt  fc.) 

Dresden. 
Portrait    of    a    Lady.      (Signed    Stmbrandt   f.) 

Private. 
238 


The  Sacrifice  of  Isaac.    (Signed  Rembrandt f.)    St. 
Petersburg. 
1636.    Portrait  of  a  Man.     (Signed.)     Liechtenstein  Col- 
lection. 

Samson  captured  by  the  Philistines.  (Signed 
Rembrandt  f.)     Private. 

Portrait  of  a  Woman.  (Signed  Rembrandt  f.) 
Liechtenstein  Collection. 

Portrait  of  a  Young  Woman.     (Signed.)     Private. 

The  Ascension.     (Signed  Rembrandt  f.)     Munich. 

Portraitof  Sa,<ikia.   (Signed Rembramft f.)   Private. 
1637-    Portrait  of  Henry  Swalm.     (Signed  Rembrandt.) 
Antteerp. 

St.  Francis  Praying.  (Signed  Rembrandt  /.  i 
Priveite. 

Portrait  of  a  Burgomaster.  (Signed  Rembrandt  f.) 
Private. 

Portrait  of  himself.   (Signed  Rembrandt.)   Private. 

Portrait  of  himself .   (Signed  Rembrandt  f.)  Louvre. 

Susannah  at  the  Bath.  (Signed  Rembrandt  J.) 
The  Hague. 

Portrait  of  a  Man,  called  Sobieski.  (Signed  Rem- 
brandt f.)     St.  Petersburg. 

The  Parable  of  the  Master  of  the  Vineyartl. 
(Signed  Rembrandt f.)     St.  Petersburg. 

Susannah  and  the  Elders.  (Signed  Rembrandt. 
Doubtful.)     Private. 

1638.  A  Mountain  Landscape.     (Signed  B.)     Private. 
Landscape  with  Good  Samaritan.     (Signed  Rem- 
brandt f.)     Cracoir. 

Christ  and  Mary  Magdalen  at  the  Tomb.  (Signed 
Rembrandt  f.)     Buckingham  Palace. 

Portrait  of  an  Old  Man.  (Signed  Rembrandt.) 
Louvre. 

Portraitof  aMan.  (Signed  if«iniran<ft/.)  Bruns- 
wick. 

Samson  propounding  his  Riddle  to  the  Philistines. 
(Signed  Rembrandt  f.)     Dresden. 

1639.  A  slaughtered  Ox.     (Signed  b.)     Private. 
Portrait  of  his  Mother.     (Signed.)     I'ienna. 
Portrait  of  Alotte  Adriaans.     (Signed  Rembrandt 
_f.)     Private. 

The  Good  Samaritan.  (Signed  Rembrandt.  Forged?) 

Private. 
Portrait  of  a  Man.    (Signed  Rembrandt  f.)    Ceissel. 
The  Man  with  the  Bittern.    (Signed  Rembrandt  ft.) 

Dresden. 
The  Resurrection.   (Signed  Rembrandt  f.)  Mumeh. 
The    Lady    of    Utrecht.      (Signed     Rembrandt.) 

Amsterdam. 
1610.   Abraham  dismissing  Hagar.     (Signed  Rembrandt 

f.)     Victoria  and  Albert  Museum. 
Portrait  of  himself.     (Signed  Rembrandt  f.  eon- 

terfeyct.)     National  Gallery. 
The  Salutation.     (Signed  Rembrandt.)     Private. 
The  Carpenter's  Home.     (Signed  Rembrandt  f.) 

Louvre. 
The  Peace  of  the  Country.     (Signed  Rembrandt.) 

Rotterdam. 
Portrait  of  Paulus  Doomer : '  The  Gilder.'  (Signed. ) 

Private. 
Portrait  of  an  Old  Woman.     (Signed.)     Private. 

The  last  figure  may  be  6. 

1641.  Portraitof  aMan.   (Signed  i?*»iJran<f«/)  Brussels. 
Portrait  of  liis  Wife.   (Signed  Rembrandt  f.)  Buck- 
ingham Palace. 

Portrait  of  the  Minister  Anslo.      (Signed  Sem- 

Irrandt.)     Berlin. 
Saskia  holding  a   Pink.     (Signed  Rembrandt  f.) 

Dresden. 
The  Sacrifice  of  Manoah.     (Signed  Rembrandt/.) 

Zhresden. 
Portraitof  Anna Vymer.     (Signed  Rembrandt f.) 

Six  Collection. 

1642.  Portrait    of    an    Old    Man.      (Signed.)     Budu- 

Pesth. 
Portrait    of  a  Woman.     (Signed    Rembrandt  /.,> 

Priveae. 
Portrait    of    a    Rabbi.      (Signed    Rembrandt  f.) 

Private. 
The  Sortie  of  the  Company  of  Banning  Cocq. 

( Signed  Rembrandt  f. )     A  msterdam . 
The  Reconciliation  of  David  and  Absalom.  (Signed 

Rembrandt  f.)     St.  Petersburg. 


PAINTERS  AND  ENGRAVERS. 


1643.  Portrait  of  a  Gentleman  with  a  Hawk.     (Signed 

litmbrandt  f.)     I^rtiate. 
Portrait  of  a  Lady  with  a  Fan.    (Signed  Jicmbrandt 

f.)     JPrivale. 
Portrait  of  an  Old  Man.     (Signed  Rembrandt  /.) 

I'rivate. 
Portrait  of  Saskia  ?  (Signed  Rembrandt .)     Berlin. 
An   Old  "Woman  weighing  Gold.     (Signed  jRem- 

brandt.    Forgedi')     Jjre^den. 
Portrait  of  a  Young  Man.     (Signed  Rembrandt  f.) 

Drtsden. 
Portrait  of  himself .  (Sigaei  Rembrandt  f.)  Wtimar. 
Portrait    of    Rembrandt.      (Signed    Rembrandt.) 

Private, 
The  Toilet  of  Bathsheba.    (Signed  Rembrandt  /.) 

The  Uaaue. 
Rembrandt's  Mother  ?   (Signed  Rembrandt/.)    St. 

Petersburg. 
Portrait  of  a  Man.     (Signed.)    Private. 
Portrait  called     the  Dutch  Admiral.     (Signed.) 

Private. 
Portrait  of  his  Wife.     (Signed.)     Private. 

1644.  A  Man  with  a  Sword.     (Signed  Rembrandt  ft.) 

Private. 

The  Woman  taken  in  Adultery.  (Signed  Rem- 
brandt.)    National  Gallery. 

Portrait  of  a  Man.    (Signed  Rembrandt.)    Private. 

Portrait     called      the     Constable     of      Bourbon. 
(Signed  Rembrandt.)     Private. 
1G45.    A  Young  Girl  at  a  Window.     (Signed  Rembrandt 
f.)     Duhcich  College. 

The  Tribute  Money.  (Signed  Rembrandt  /.). 
Private. 

Portrait  of  a  Rabbi.   (Siineii  Rembrandt  f.)  Jierlin. 

The  Wife  of  Tobit  with  the  Goat.  (Sigued  Rem- 
brandt/.)    Berlin. 

Joseph's  Dream.     (Signed  Rembrandt/.)     Berlin. 

Portrait  of  Sylvius.    (H'lgned  Rembrandt.)   Private. 

The  Holy  Family.  (Signed  Rembrandt).  St. 
Petersburg. 

Portrait  called  Manasseh  ben  Israel.  (/.  and  date 
alone  left.)     St.  Petersburg. 

An  Orphan  Girl  of  Amsterdam.  (Sianed.)  Private. 

1646.  Portrait  of  a  Young  Man.     {Signea  Rembrandt /.) 

Private. 

The  Adoration  of  the  Shepherds.  (Signed  Rem- 
brandt/.)    A'ational  Gallery. 

A  Winter  Landscape.  (Signed  Rembrandt  /.) 
Cassel. 

The  Woodchopper.  (Signed  Rembrandt  /t.) 
Cassel. 

The  Adoration  of  the  Shepherds.  (Signed  — ndt . ) 
Munich. 

1647.  Portrait  of  Nicholas  Berchem.      (Signed    Rem- 

brandt/)   Private. 
Portrait  of  his  Wife.      (Signed    Rembrandt  /.) 

Private. 
Shepherds    reposing    at    night.      (Signed    Rem- 
brandt /.)     Ihthlin. 
Portrait  of  an  Old  Man.     (Signed.)    Private. 
Susannah  and  the  Elders.    (Signed   Rembrandt.) 

Berlin. 
1C48.    Hannah    teaching  the  infant    Samuel  to  read. 

(Signed.)     Private. 
Christ    at    Emmaus.       (Signed    Rembrandt   /.) 

Louvre. 
The    Good     Samaritan.       (Signed     Rembrandt.) 

Louvre. 
Christ  at  Emmaus.     (Signed.)     Private. 
Christ  at  Emmaus.     (Signed.)     Copenhagen. 
1650.    Portrait  of  himself.     (Signed.)     Cambridge. 

The  Deposition.     (Signea  Rembrandt.)     Ifublin. 
Tobit     and    his    Wife.        (Signed    Rembrandt.) 

Private. 
Portrait  called  Rembrandt's    Brother.      (Signed 

Rembrandt.)     The  Hague. 
16.31.    Portrait  of  an  Old  Man.      (Signed  Rembrandt.) 

Private. 
The  Man  with  a  Baton.    (Signed  Rembrandt.)    T)ie 

Louvre. 
Noli-me-tangere.    (Signed  Rembrandt /.)    Bruns- 
wick. 
Portrait    of    himsell.      (Signed    Rembrandt   /.) 

Private. 


(Signed  Rembrandt  /. ) 

(Signed  Rembrandt  /.) 

(Signed  Rembrandt  /.) 

(Signed.) 


Titus.       (Signed     Rembrandt 


Titus.      (Signed      Rembrandt 


(Signed    Rembrandt 


/■) 
/■> 
(Signed 


The  Girl  with  a  Broom. 
St.  Petersburg. 

1652.  Portrait  of  an  Old  Man. 

Private. 
Portrait  of  Bruyningh. 
Cassel. 

1653.  Portrait  of  a  Man  called  Van  der  Hooft. 

Private. 

1654.  Portrait  of  an  Old  Woman.    (Signed  Rembrandt. 

Forged  ?  )  Brussels. 
Tlie    Woman    bathing.      (Signed    Rembrandt  /.) 

yatiohal  Gallery. 
Bathsheba.     (Signed  Rembrandt /ecit.)     Louvre. 
Portrait  of  an  Old  Man  with  a  Beard.     (SigniJ 

Rembrandt  f. )     Bresden. 
Portrait  of  an  Old  Woman.    (Signed  Rembrandt  /.) 

St.  Petersburg. 
Portrait  of  an  Old  woman.     (Signed  Rembrandt  /. ) 

St.  Petersburg. 
Studyof  anOld  Jew.     (Sigaei  Rembrandt /.)    St. 

Petersburg. 
Portrait  of  an  Old  Man.     (Signed  Rembrandt  f.) 

St.  Petersburg. 
The  Young  Servant.     (Signed. )     Stockholm. 

1655.  A    Man    in    Armour.       (Signed    Rembrandt  /.) 

Glasgow. 

Portrait     of 
Private. 

Portrait     of 
Private. 

The    Slaughter-house. 
Louvre. 

Joseph    accused    by    Potiphar's  Wife. 
Rembrandt  /.)     Berlin. 

A  Man  in  Armour.     (Signed  Rembrandt.)     Cassel. 

Joseph  accused  by  Potiphar's  Wife.  (Signed  Rem- 
brandt/.)    St.  Petersburg. 

Portrait  of  an  Old  Man.     (Signed.)     Stockholm. 

Portrait  of  an  Old  Woman.    (Signed.)    Stockholm. 

1656.  Portrait  of  a  Young  Woman.      (Signed.)      Copen- 

hagen. 
Portrait  of  Arnold  Tholinx.   (Signed  Rembrandt/.) 

Private. 
St.  John  the  Baptist  preaching.     (Signed  Rem- 
brandt.)    Btrliii. 
Portrait  of    an  .-Vrchitect.      (Signed.      Forged?) 

Casiil. 
Jacob  blessing  Joseph's  Sons.   (Signed  Rembrandt. ) 

Cassel. 
The  Parable  of  the  Labourers  in  the  Vineyanl. 

(Siijned  Rembrandt  /.)     Frank/ort. 
The  Anatomy  Lesson  of  Dr.  Deyman.    A  Fragment. 

i.Signed  Rembrandt /.)     Amsterdam. 

1657.  The  Adoration  of  the  Magi.    (Signed  RenUirandt.) 

Bucfcingham  Palace. 
Portrait  of  Latrina  Hoogh.    (Signed  Rembrandt/.) 

Private. 
Portrait  of  a  Rabbi.     (Signed  Rembrandt.    Date 

obscure.)     Sational  Gallery. 
Portraitof  an  Old  Woman.    (Signed  Rembrandt/.) 

Private. 
Portrait     of     himself.        (Signed      Rembrandt.) 

JJresden. 
Portrait  of  a  Young  Woman  trying  on  an  Earring. 

(Signed  Rembrandt/.)     St.  Petersburg. 

1658.  Portrait     of     himself.        (Signed     Rembrandt.) 

Private. 

An  Old  Woman  cutting  her  Nails.  (Signed  Rem- 
brandt/.)    Private. 

Portrait  of  a  Young  Man.  (Signed  Rembrandt.) 
Louvre. 

Philemon  and  Baucis.     (Siirned.)     Private. 

1659.  Portrait     of    himself.      (Signed     Rembrandt    f.) 

Private. 

Portrait  of  a  Merchant.  (Signed  Rembrandt /.) 
Private. 

Portrait  of  an  Old  Man.  (Signed  Rembrandt.) 
National  Gallrrg. 

A  Man  in  a  Red  Cloak.  (Signed  Rendmin.) 
Private. 

Moses  breaking  the  Tables  of  the  Law.  (Signed 
Rembrand  f.)     Berlin. 

Jacob  wrestling  with  the  Angel.  (Signed  Rem- 
brandt/.)   Berlin, 

239 


A   BIOGRAPHICAL   DICTIONARY  OF 


(Signed    Rembrandt.) 
(Signed  Bembrandt  f.) 


(Signed  Rembrandt  f.) 
Darin- 


Portrait  ofa  very  Old  Woman.    (Signed.)   Private. 
1660.    Portrait     of    himself.       (Signed     Rembrandt   f.) 

Private. 
A  Monk  reading.     (Siyned.)     Private. 
Portrait  of  himself .     (AVyneii  REM. /.)     Louvre. 
Portrait  of  a  Young  Man.     (Signed  Rembrandt.) 

Private. 
Portrait  of  a  Young  Monk.    (Signed.)    Private. 
1601.    Portrait    called    Cornelius    Jausenius.      (Signed 

Rembrandt.     Forged  ? )     Private. 
Portrait  called  Rembrandt's  Cook.     (Signed  Rem- 
brandt f.)     Private. 
Portrait  of  an  Old  Woman.   (Signed  Rembrandt  f.) 

Prirate. 
Portrait  of  an  Old  Woman.    (Signed.)    Kpinal. 
St.  Matthew.     (Signed  Rembrandt  f.)     Louvre. 
The  risen   Christ.      (Signed   Remlrrandt  /.)      As- 

ckaj^enbourg. 
A    Pilgrim    at    Prayer.       (Signed    Rembrandt.) 

Private. 
Christ.     (Signed  Rembrandt  f.)     Private. 
The  Syndics  of  the  Drapers.   (Signed  Rembrandt  f.) 

Amsterdam. 
Portrait    of    himself.      (Signed    Rembrandt  f.) 

Private. 

1663.  Homer  reciting  his  Poems.       (Signed  — andt  f.) 

The  Hague. 

1664.  The  Death  of  Lucretia.     (Signed.)     Private. 

1665.  Portrait  of  an  Old  Man.     (Signed.)     Xew  York 

1666.  Portrait    of     a    Youth. 

Private. 

Portrait    of  a  Woman. 
National  Gallery. 

Portrait  of  Jeremias  de  Decker.     (Signed  Rem- 
brandt/.) 

1667.  Portrait  of  an  Old  Man, 

Private. 

1668.  The   Flagellation.      (Signed  Rembrandt.) 

stadt. 

The  dates  in  the  following  list  of  pictures  are 
more  or  less  conjectural,  though,  in  those  casus 
where  a  definite  year  is  recorded,  there  is  strong 
outside  evidence  for  believing  that  it  is  the  correct 
one. 

Before  1630. 

Portrait  of  himself.    About  1627.     Cassel. 

A  Philo.sopher  reading  by  Candlelight.   About  1627. 

Private. 
Portrait  of  his  Father.     About  1628.    Nantes. 
Portrait  of  a  Boy.     (Signed  e.  h.  l.)    About  1628. 

Private. 
Portrait  of  his  Mother.    About  1628.     Private. 
Judas  with  the  price  of  the  Betrayal.     1628  or  1629. 

Private. 
The  raising  of  Lazarus.    About  162S.    Private. 
Portrait  of  his  Father.     1628.     Tours. 
Portrait  of  his  Mother.     About  1628.     The  Hague. 
Portrait  of  his  Father.     About  1628.     The  Hague. 
Study  of  himself.     About  1629.     Private. 
Portrait  of  himself.     About  1629.     Private. 
Christ  at  Emmaus.     (Signed  E.  H.)     About  1629. 

Private. 
Portrait  of  a  Young  Man.    (Signed.)    About  1629. 

Private. 
Portrait  of  himself.    About  1629.     Nuremberg. 
St.  Paul.     About  1629.     Nuremberg. 
Portrait  of  his  Father.     (Signature  and  date,  1641, 

forged.)     About  1629.     Amsterdam. 
Portrait  of  himself.     About  1629.      Vie  Hague. 
Portrait  of  a  Man  laughing.     1629  or  1630.     The 

Hague. 
Head  of  a  Boy.    About  1629.     Private. 
Portrait  of  a  Young  Girl.    Between  1628  and  1830. 

Stoekhohn. 
1630  Study  of  his  Father.     About  1630.     Private. 
to     Portrait  of  a  Man.     1630  or  1632.     Vienna. 
16*4  Portrait  of  a  Woman.     ie'30  or  1632.     Vienna. 
inclu-  Portrait  of  a  Young  Man.    1630  or  1631.     Dublin. 
sive.  Portrait  of  his  Mother.     About  1630.     Private. 
Portrait  of  an  Old  Man.     About  1630.     Private. 
Portrait  of  the  Painter's  Sister.    (Signed  R.  H.  L. 

Van  Rijn.)    Private. 
240 


(Signed  a.)    About  1630. 
(Signed  R.  H.)    About 


Portrait  of  his  Father.    About  1630.     St.  Peters- 
burg. 
Portrait  of  his  Father. 

Rotterdam. 
Portrait  of  a  Young  Girl. 

1630.     The  Hague. 
Portrait  of  his  Sister.    About  1630.    Private. 
Portrait  of  an  Old  Man.    (Signed  R.  a.  L.)   About 

1630.     Schwerin. 
Presentation  in  the  Temple.    About  1630.    Private. 
Diana  bathing.     About  1631.     Private. 
Judith.     (Signed  s.)     About  1631.     Berlin. 
Portrait  of  a  Young  Girl.     Between  1630and  1634. 

Private. 
An  Old  Woman  reading.    (Signed  Rembrandt  ft.) 

About  1631.     Private. 
Portrait  of  an  Old  Woman.   About  1631.     Windsor. 
Zachariah  receiring  the  prophecy  of  the  birth  of 

John  the  Baptist.    (Signed  Rembrandt  /.)    1631 

or  1632.     Private. 
Portrait  of  his  Father.     About  1632.     Private. 
Portrait  of  Burgoma.ster  PtUicorne  and  his  Son. 

(Signed    Rembrandt.)      About    1632.      Wallace 

Collection. 
Portrait  of  his  Wife  and  Daughter.     (Signed  Rem- 
brandt, 16—.)    About  1632.     Wallace  Collection. 
The    Good    Samaritan.      About    1632.      JVallace 

Collection. 
Portrait  of  an  Old  Man.     About  1632.     Private. 
The  Rape  of  Proserpine.    About  1632.     Berlin. 
Portrait  called  Coppenol.      (Signed  R.  H.  L.   van 

Rijn.)     About  1632.     Cassel. 
Portrait  of  an  Old  Man.     About  1632.     Private. 
The  Descent  from  the  Cross.  (Signed  Rembrandt f. ) 

1633.     Munich. 
The  Elevation  of  the  Cross.     1633.     Munich. 
Portrait  of  an  Old  Man.      (Signed  Rembrandt  /.) 

About  1633.     St.  Petersburg. 
A  Philosopher  in  Meditation.     1633.     Louvre. 
Portrait     of     himself.       (Signed     Rembrandt    f.) 

Between  1633  and  1635.      K'allace  Collection. 
The  Entombment.     1633  or  1634.     Glasqow. 
Petitioners   to  a   Biblical   King.      1633  or   1634. 

Private. 
Portrait  of  an  Old  Man.     About  1633.     Private 
Portrait  of  Saskia.     About  1633.     Private. 
Tobit  curing  his  Father's  Blindness.     (Signed  and 

(ia(e<i  1634  0)1636.)     Private. 
Portrait  of  Saskia.     About  1634.     Private. 
Portrait  of  himself.     About  1634.     Berlin. 
Portrait  of  Saskia.    About  1634.     Cassel. 
Portrait  of  Rembrandt  as  an  Officer.     About  1634. 

The  Hague. 
Portrait  of  a  Young  Man  putting  on  bis  Armour. 

About  1634.     Private. 
The  Prodigal  Son.     About  1634.     Private. 
1635  Portrait  of  a  Man.     About  1635.     Private. 
to     Portrait  of  a  Young  Woman.  About  1635.  Private. 
1639  The  Burgomaster  Pancras  and  his  Wife.     About 
inclu-      1635.     Buckingham  Palace. 
sive.  A  Kabbi.     About  1635.     Private. 

Portrait  of  himself.     (Signed  Rembrandt  1635  or 

1638.)     Private. 
Portrait  of  himself. 
Portrait  of  a  Saint. 

Private. 
St.  Paul  in  Meditation. 
Portrait    of    a    Young 

Cassel. 
Rembrandt  and  Saskia.     (Signed  Rembrandt  fee. ) 

About  1635.     Dresden. 
Portrait  of  himself.    About  1635.     Florence. 
Portrait  of  a  Rabbi.     About  1635.     Private. 
The  finding  of  Moses.     About  1635.     Private. 
St.  Paul.    About  1636.      Vienna. 
The  Feast  of  Belshazzar.     About  1636.     Private. 
Portrait  of  Saskia.     About  1636.     Private. 
Ecce  Homo.     1636.     National  Gallery. 
The  Standard-bearer.     (Signed  Eerribrandt  163-. ) 

About  1636.     Private. 
Portrait  of  an  Oriental.     (S,\gaei.  Rembrandt  ft .) 

About  1636.     St.  Petersburg. 
Danae.    (Sigaei  Rembrandt -6-6.)    Probably  1636. 

St.  Petersburg. 


About  1635.     Private. 
(Signed  R.f.)    About  1635. 


About  1635.     Private. 
Woman.      About    1635. 


PAINTERS  AND  ENGRAVERS. 


The  Flight  into  Egypt.     (Signed  Rembrandt/.) 

About  1636.     Tile  Hayue. 
Portrait  of  an  OM  Lady.     1636  or  1637.     Private. 
Portrait  of  an  Old  Man.     About  1637.     Private. 
The    Entombment.      Between    1636    and    1638. 

Munich. 
The  Angel  quitting  Tobit  and  his  Family.     1637. 

Mouvre. 
A  Woman  at  her  Toilet.   (Signed  Rem — .)    About 

1637.     The  Hai/ue. 
1640  Portrait  of  himself.    About  1640.     Private. 
to     Dead    Peacocks.     (Signed    Rembrandt.)     About 
16U       1640.     Private. 
indu-  Landscape.     About  1640.     Private. 
sJTe.  Portrait  of  a  Young  Negro.  About  1640.    Wallace 

Collection. 
Landscape.     About  1640.      Wallace  Collection. 
Portrait  of  himself.     1640.      Wallace  Collection. 
Portrait  of  an  Old  Woman.    About  1640.    Private. 
Stormy  Landscape.    (Signed  BemArajirft/.)  About 

1640.     Brunswick. 
The  Good  Samaritan.    About  1640.     Private. 
Portrait  of  Elizabeth  Bas.     About  1640.     Amster- 
dam. 
Portrait  of  an  Old  Woman.     fSigned  Rembrandt.) 

Between  1640  and  1643.     St.  Petersburg. 
Portrait  of  Dr.  Bonus.    (Signed  Rembrandt,  164-.) 

Probably  1642.     Private. 
Portrait    of   himself.    Between    1640  and   1645. 

Private. 
Portrait  of  a  Young  Man.  Between  1640  and  1645. 

Private. 
Portrait  of  an  Old  Woman.     (Signed  and  dated 

l«40ffrl646.)     Private. 
Portrait  of  a  Man.    About  1640.     A^ew  York. 
The  Cradle.     Between  1643  and  1645.     Private. 
1645  Portrait   of  an   Old   Man.     (Signed  Rembrandt.) 
to         About  1645.     Private. 

1649  Portrait  of  himself.     (Signed  Rembrandt,  164-.) 
inclu-      About  1645.     Buckingham  Palace. 

»ive.  Portrait  of  a  Lady  called  the  Wife  of  Sylvius. 

About  1645.     Private. 
Man  reading.     About  1645.     Copenhagen. 
Landscape  with  Swans.     About  1645.    Private. 
Portrait  of  himself.     (Signed  Re—.)     About  1645. 

Carlsruhe. 
Portrait  of  an  Old  Man.     About  1645.    Dresden. 
Landscape.     About  1645.     Oldenburg. 
Christ  at  the  Column.     About  1646.     Private. 
Portrait  of  Ephraim  Bonus.    Probably  1647.     iSi'j: 

Collection. 
A  Woman  bathing.    1647.    Louvre. 
Susannah.     About  1647.     Private. 
Joseph's  Coat.     About  1647.     Private. 
Christ  on  the  Cross.    About  1648.     Private. 
Portrait    of    a  Young   Artist   drawing.     (Signed 

Rembrandt,  164-.)     About  1648.     Private. 
Portrait  of  Marshal  Turenne.     1649.     Private. 
An  Old  Woman  meditating  over  a  Book.    About 

1649.     Private. 

1650  Study    of    a    Rabbi.    Between    1650  and    1655. 
to        Private. 

16.54  A  Young  Woman  in  Bed.     (Signed  Rembrandt, 
inclu-      16 — .)     About  1650.     Edinburt/h. 
sive.  The  Slaughter-house.     (Signed  Rembrandt,  16 — .) 

About  1650.     Gla.yow. 
Portrait  of  Coppenol.    About  1650.    Private. 
Portrait  of  a  Girl.     About  1650.     Private. 
Tasters  in  a  Cellar.     About  1650.     Private. 
Portrait  of  an  Old  Man.     About  1650.     Private. 
Portrait  of   Rembrandt's  Brother.     About   1650. 

Private. 
Portrait  of  a  Woman  holding  a  Book.  About  1650. 

Private. 
Portrait  of  Rembrandt's  Brother.    About  1650. 

Berlin. 
Daniel's  Vision.    About  1650.     Berlin. 
The    Ruin.     (Signed    Rembrandt.)    About    1650. 

Cassel. 
Portrait  of  an  Old  Man.    About  1650.    Strasburg. 
Karcissus.     About  1650.     Amsterdam. 
Abraham  receiving  the  Angels.    About  1650.    St. 

Petersburg. 
The  Sous  of  Jacob  showing  him  Joseph's  blood- 
VOL.  IV.  B 


stained  Coat.    (Signed  Rembrandt.)  About  1650. 
St.  Petersburg. 

The   Disgrace  of    Haman.     (Signed  Rembrandt.) 
About  1650.     St.  Petersburg. 

Pallas.     About  1650.    St.  Petersburg. 

The  Prophetess  Hannah  teacliiug  the  infant  Samuel 
to  read.     About  1650.     St.  Petersburg. 

Young    Gipsy    holding    a    Medal.    About    1650. 
Private. 

Head  of  Christ.     About  1652.     Private. 

Portrait    of    Hendrickje    Stoffels.    About    1652. 
Louvre. 

Portrait   of   himself.    Between   1652    and    1654. 
Leip~i(f. 

The  Mill'.    About  1654.    Private. 

Tobit  and  the  Angel.     About  1654.     Glasgow. 

Portrait  of  an  Old  Woman.    About  1654.   Private. 

Study  of  a  Young  Boy.     About  1654.     Private. 

A  Woman  praying.     About  1654.     The  Hague. 

Portrait  of  an   Old  Woman.     1654.    St.  Peters- 
burg. 

Portrait  of  an  Old  Man.    About  1654.    St.  Peters- 
burg. 

Portrait  of  an  Old  Man.     (Signed  Rembrandt  /., 
16—.)     About  1654.     St.  Petersburg. 

Portrait  of  a  Eabbi.     Between  1654  and  1658. 
Private. 
1655  The  Repose  of  the  Holy   Family.    About   1655. 

to         Buda-Pesth. 
1659  Portrait   of   a   Polish   Horseman.    About   1655. 
inclu-      Private. 
sive.  Study  of  an  Angel.    About  1655.    Private. 

Study  of  an  Old  Man.     About  1655.     Private. 

Portrait  of  an  Old  Woman.    (Signed  BE.)    About 

1655.  Private. 

Portrait    of     Burgomaster     Six.       About     1655. 

Private. 
Portrait  of  his  Wife.     (Signed  Rembrandt.)     Pro- 
bably 1655.     Private. 
Portrait  of  an  Old  Man.    About  1655.      Wallace 

Collection. 
Portrait  of  a  Young  Man.    About  1655.     Wallace 

Collection, 
Portrait  of  a  Rabbi.     About  1655.     Private. 
Portrait  of  a  Woman  called  Rembrandt's  Cook. 

About  1655.     Private. 
Portrait  of  a  Rabbi.     About  1655.     Private. 
Portrait  of  a  Man.     About  16.55.     Louvre. 
Study  of  an  Old  Man.     About  1655.     Berlin. 
Portrait  of  an  Old  Man.     About  1655.     Cassel. 
Portrait  of  an  Old  Man.    Between  1655  and  1657. 

Cassel. 
Portrait  of  a  Young  Girl.     About  1655.     Cologne. 
Portrait  of  himself.     About  1655.     Florence. 
Portrait    of    a    Boy.     Between    1655    and    1660. 

Private, 
Portrait  of  himself.    (Signed  Rembrandt.)    About 

1656.  Private. 

Portrait  of  a  Young  Man.     (Signed.)   About  1656. 

Copenhagen. 
Head  of  Christ.     About  1656.     Private. 
Pilate  washing  his  Hands.    About  1656.    Private. 
Portrait  of  a  Man.     About  1656.     Dresden. 
Portrait  of  an  Old  Man.    About  1656.     Schirerin. 
St.    Peter's    Denial.     (Signed    — mbr — .)     About 

1656.     St.  Petersburg, 
Portrait  of  himself.    About  1658.     Vienna. 
Portrait  of  a  Young  Man  singing.    About  1658. 

Vienna. 
St.  Paul.    (Signed.)    About  1658.    Private. 
Portrait  of  himself.     About  1658.     Private. 
Portrait  of  Burgomaster  Six.    Between  1658  and 

1660.     Six  Collection. 
Portrait  of  an  Old  Man.    (Signed  Rembrandt,  16 — .) 

About  1658.      Florence. 
Christ.     Between  1658  and  1660.     Private. 
Portrait  of  an  Admiral.     About  1658.     Private. 
Portrait   of    himself.     (Signed  and  dated  165-.) 

About  1659.     Private. 
Portrait  of  himself.     (Signed  Rembrandt,  165-.) 

About  1659.     Cassel. 
Henrietta  Stoffels   looking  through  the  curtains 

she  is  drawing  aside.    (Dated  165-).  Edinburgh, 

National  Gallery.    Bought  in  1892. 

241 


A  BIOGRAPHICAL  DICTIONARY  OF 


1660  Portrait  of  a  Woman.   (Signed  Rembrandt.)  About 
to         1660.     Private. 

1664  A  Woman  with  Flowers.     About  1660.     Private. 
inclu-  Portrait  of  a  Man.     About  1660.     Private. 

sive.  Portrait  of  a  Young  Man.  About  1660.  Private. 
Portrait  of  a  Young  Man.  About  1660.  Private. 
Portrait  of  a  Lady  with  an  Ostrich  Feather.  About 

1660.     Private. 
Portrait  of  Titus.     About  1660.    Private. 
Portrait  of  a  Monk.   About  1660.   National  Gallery. 
Portrait  of  an  Old  Man.     About  1660.     Private. 
Portrait    of    a    Young  Man.     About   1660.     St. 

Petersburg, 
The  Standard-bearer.     Between  1660  and  1662. 

Private. 
The  Circumcision.    About  1661.    Private. 
Venus  and  Cupid.     About  1661.     Louvre. 
Portrait   of   a  Man.     (Signed   Rembrandt,    166-.) 

About  1661.     St.  Petersburg. 
The  Conspiracy  of  Claudius  Civilis.    1661.    Stock- 
holm. 
Portrait    of    Hendrickje    Stoffels.    About    1662. 

Berlin. 
Portrait  of  himself.  About  1664.  National  Gallery. 
The  Unmerciful  Servant.     About  1664.      Wallace 

Collection. 
David  playing  before  Saul.     Between  1660  and 

1665.     Private. 
Portrait  of    himself.    Between    1660   and  1665. 

Private. 

1665  Portrait  of  a  Young  Woman.  (Signed  Eembrandt.) 
to         About  1665.     Private. 

1669  Portrait  of  himself.    About  1665.    Private. 
inclu-  The    Jewish   Bride.     (Signed  Rembrandt,   166-.) 
sive.       About  1665.     Amsterdam. 

Portrait  of  an  Old  Man.     About  1666.     Dresden. 
Portrait  of  himself.    (Signed.)    Between  1666  and 

1668.     Vienna. 
Portrait    of    a    Man.    Between    1666   and  1668. 

Private. 
Portrait  of  a  Young  Woman.     Between  1666  and 

1668.     Private. 
Portrait  of  liimself.    About  1666.     Florence. 
Portrait  of  a  Family.   (Signed  Rembrandt.)  About 

1668.     Brunswick. 
Esther,    Ilaman,    and    Ahasuerus.    About    1668. 

Private. 
The  Prodigal  Son.     (Signed  R.  V.  Rijnf.)    1666 

or  1668.     St.  Petersburg. 

The  dates  of  the  following  pictures  are  quite 
uncertain. 

Portrait  of  Saskia.    Antwerp. 

Portrait  of  an  old  Jew.     Antwerp. 

Portrait  of  Rembrandt's  Mother.    Private, 

Isaac  and  Esau.     Private. 

Landscape.     Private. 

Portrait  of  an  Old  Woman.     Private. 

Tlie  Holy  Family.     Private. 

Portrait  of    an    Old  Man.     (Signed  Rembrandt.) 
Jhiblin. 

Abraham  receiving  the  Angels.     Private. 

The  Painter's  Studio.     Glasgow. 

Jeremiah  mourning  over  the  destruction  of  Jeru- 
salem.     Glasgow. 

Study  of  an  Old  Man.     Glasgow. 

Portrait  of  himself.     Glasgow. 

Portrait  of  a  Burgomaster.    (Signed  Rembrandt/.) 
Private. 

Portrait  of  Rembrandt's  Sister.    Private. 

A  Jewish  Kabbi.     Buckingham  Palace. 

A  man-at-arms.    Private. 

Portrait  of  Rembrandt's  Mother.     Private. 

A  Jew  Merchant.     National  Gallery. 

Landscape.     National  Gallery. 

Christ    taken  down    from    the  Cross.    National 
Gallery. 

Portrait  of  a  Burgomaster.     National  Gallery. 

Portrait  of  an  Old  Lady.     National  Gallery. 

Portrait  of  an  Orator.     Private. 

Landscape.     Private. 

Portrait  of  a  Man.    Private. 

Rembrandt's  Father's  Mill.     Private. 

Portrait  of  a  Man.    Private. 
242 


The  Angel  departing  from  Tobit.    Private. 

The  dismissal  of  Hagar.     Private. 

Portrait  of  himself.    Private. 

Landscape.     Private 

Portrait  of  a  Man.    Private. 

Portrait  of  a  Lady.    Private. 

Head  of  a  Man.     Private. 

A  Girl   with  a   Rose-bud.    (Signed  Rembrandt.) 

Private. 
Study  of  an  Old  Man.    Private. 
Portrait  of  a  Lady.    Private. 
Landscape.     Private. 
Jan  Six  at  a  Window.    Private. 
Portrait  of  a  Man.     Private. 
Portrait  of  an  Old  Man.     Private. 
Head  of  an  Old  Man.    Private. 
David  playing  before  Saul.     Frankfort. 
Study  of  an  Old  Man.    Private. 
Portrait  of  an  Old  Man.     Turin. 
Portrait    of   an    old  Jew.     {Signed  ET.  /.)    St. 

Petersburg. 
An  Accountant  standing  by  a  Table.     Private. 
Head  of  a  Young  Man.     Private.  ■ 

Portrait  called  Six.    Private. 
Portrait  called  his  Wife.     Private. 
The  Mills.     New  York. 

The  Adoration  of  the  Shepherds.     Nev>  York. 
Portrait  of  himself.     Private. 
Portrait  of  a  Boy.     Private. 
Portrait  called  Six.     (Signed.)     Private. 

The  following   are   the   authentic   etchings   of 
known  date. 

1628.  Rembrandt's  Mother.     (Signed  B.  H.  L.) 

1629.  A  Bust  of  himself.     (Signed  K.  H.  L.) 

1630.  Rembrandt    with   an    air    of   grimace.      (Signed 

R.  H.  x.) 
Eembrandt  with  his  mouth  open.    (Signed  R.  H.  L.) 
Rembrandt  in  a  fur  cap  and  light  dreas.     (Signed 

B.  H.  L.) 

Rembrandt   with   curly  hair  rising  into  a  tuft. 

('Signed  R.  H.  L.) 
The    Presentation,    with    the    Angel.      (Signed 

H.  H.  L.) 

Two  Beggars,  a  Man  and  a  Woman,  conversing. 

{Signed  r.  h.  l.) 
A  Beggar  sitting  on  a  Hillock.     (Signed  R.  H.  i,.) 
A  Man  standing.     (Signed  B.  H.  L.) 
Profile  of    a    bald  Man  with  a  jewelled  chain. 

(Signed  R.  H.  L.) 
Prolile  of  a  bald  Man.     (Signed  E.  H.  L.) 
An  Old  Man  with  a  large  beard.     (Signed  E.  H.  L.) 
Rembrandt  laughing.     (Signed  E.  H.  L.) 
Rembrandt  with  haggard  eyes.     (Signed  E.  H.  L.) 
An  Old  Man  sitting  in  a  chair  and  wearing  a  high 

c.'ip.     (Signed  ET.) 
And  Old  Man  with  a  large  square  beard.    (Signed 

R.  H.  L.) 

1631.  Rembrandt  with  a  broad  hat  and  mantle.    (Sigjud 

ET.) 

Rembrandt  with  a  round  fur  cap,  full  face.  (Signed 

B.  H.    L.) 

The  Blind  Fiddler.     (Signed  e.  h.  l.) 

The  little  Polander.     (Signed  R.  H.  L.) 

A  Woman  beneath  a  Tree.     (Signed  E.  H.  L.) 

A  Man  with  a  short  beard  and  embroidered  cloak. 

(Signed  R.  H.  L.) 
An   Old    Man    with    a    pointed   beard.     (Signed 

R.  H.  L.) 
Rembrandt's    Mother,  her   hand   resting  on  her 

breast.     (Signed  R.  H.  L.) 
Rembrandt's  Mother.     (Signed  et.) 

1632.  St.  Jerome  kneeling.    An  arched  print.    (Signed 

Rembrandt/.) 
The  Rat-killer.     (Signed  E.  H.  l.) 
The  Persian.     (Signed  R.  s.  L.) 

1633.  Rembrandt  with  a  scarf  round  his  neck.     (Signed 

Rembrandt  /.) 

The  Descent  from  the  Cross.  (Signed  Rem- 
brandt/.) 

An  Old  Woman,  etched  no  lower  than  the  chin. 
(Signed  Rembrandt /.) 

1634.  Rembrandt  with  a   drawn  sword  held   upright. 

(Signed  Rembrandt/.) 


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PAINTERS  AND  ENGRAVERS. 


Portrait  of  an  nnknown  Man  with  a  sabre.  (Signed 

Rembrandt  f.) 
Joseph  and  PotiphaHB  Wife.  (Signed  Rembrandt  f.) 
Christ  and  the   Dinciplee   at   Emmaus.     (Signed 

Rt'inbrandt  f.) 
A  Young  Woman  reading.     (Signed  Rembrandt  /.) 
Saskia   with  pearls  in  her   hair.     (Signed  ij«n- 

brandt  f. ) 
Jesus  driving  out   the  Money-lenders.     (Signed 

Rembrandt  f.) 
The   Martyrdom  of  St.   Stephen.     (Signed  Rem- 
brandt f.) 
St.  Jerome  kneeling.     (Signed  Rembrandt  f.) 
Tlte  Pancake  Woman,     (.Signed  Remljrandt  f.) 
The  Mountebank.     (Signed  Rembrandt  f.) 
Portrait    of    Johannes    Uijtenbogaerd.     (Signed 

Rembrandt  f.) 
Rembrandt  and  his  Wife.     (Signed  Rembrandt  f.) 
The  Prodigal  Son.     (Signed  Rembrandt  f.) 
Portrait  of  Manasseh  ben  Lsrael.     (Signed   Rem- 
brandt f.) 
Rembrandt's  Wife,  and  five  other  heads.     (Signed 

Rembrandt  f.) 
Abraham     sending    away    Hagar    and    IshmaeL 

(Signed  Remlrrandt  f. ) 
A  Young  Man  seatetl.     (Signed  Rembrandt  f.) 
An  Old  Man  wearing  a  rich  velvet  cap.     (Signed 

Rembrandt  J",) 
Three  Heads  of  Women,  one  asleep.  (Signed  Rem- 
brandt.) 
Rembrandt    with    a    Mezetin    cap    and    feather. 

(Signed  Rembrandt  f.) 
Adam  and  Eve.     (Signed  Rembrandt  f.) 
The  little  Jewish  Bride.     (Signed  Rembrandt  f.) 
Rembrandt  leaning  upon  a  stone  ledge.     (Signed 

Rembrandt  /,) 
The  Death  of  the  Virgin.     (Signed  Rembrandt  f.) 
A  Jew  with  a  high  cap.     (Signed  Rembrandt  f.) 
The  Beheading  of  St.  John  the  Baptist.     (Signed 

Rembrandt  /.) 
An  Old  Man  with  a  square  beard  and  divided  fur 

cap.     (Signed  Retnbrandl  f.) 
The  Angel  d.-parting  from  Tobit  and  his  Family. 

(Signed  Rnnbrandt  J".) 
The   Virgin  and  Child  in  the  clouds.     (Signed 

Rembrandt  f.) 
The  Baptism  of  the  Eunuch.  (Signed  Rembrandt/.) 
The  large  Lion-hunt.     (Signed  Rembrandt  f.) 
Jacob  and  Laban.     (Signed  Rembrandt  f.) 
The  School-master.     (Signed  Rtmbrandt  f.) 
The  Card-player.     (Signed  Rembrandt  f.) 
Landscape  with  a  Cottage  and  Hay-barn.    (Signed 

Rembrandt  f.) 
Landscape  with  a  Mill-sail    (Signed  Rembrandtf.) 
Rembrandt's  Mill.     (Signed  Rembrandt  f.) 
Portrait  of  a  Man  vrith  a  chain  and  cross.    (Signed 

Rembrandt  f.) 
Portrait  of  Corneliez  Claes  Anslo.     (Signed  Rem- 
brandt /.) 
The  Raising  of  Lazarus.     (Signed  Rembrandtf.) 
The    Descent    from    the    Cross.     (Signed    Rem- 
brandtf.) 
St.  Jerome.  In  Rembrandt's  dark  maimer.  (Signed 

Rembrandt  f.) 
A  Man  in  an  Arbour,     (Signed  Rembrandt  f.) 
The  Hog.     (Signed  Rembrandt  f.) 
The  three  Trees.     (Signed  Rembrandt  f.) 
The    Shepherd    and    his   Family.     (Signed  Rem- 
brandtf.) 
Abraham   conversing  with   Isaac.     (Signed   Rem- 
brandtf.) 
Repose  in  Egypt.    (Signed  fiemfrandt /.) 
Six's  Bridge.     (Signed  Rembrandt  f.) 
"View  of  Omval,  near  Amsterdam.     (Signed  Rem- 
brandtf.) 
Boat-house,    called    the    Grotto.     (Signed   Rem- 
brandtf.) 
.    An  aged  Beggar.     (Signed  iffm^antft/.) 
Ledikant.     (Signed  Rtmbrandt  f.) 
A   Man   seated  on    the   Ground.     (Signed   Rem- 
brandt f.) 
.    Ephraim  Bonus.     (Signed  Rembrandtf.) 

Jan  Six.     (Signed  Rembrandt  f.) 
.   Rembrandt  drawing.     (Signed  Rembrandt  f.) 
B  2 


Medea,  or  the  Marriage  of  Jason  and  Creusa. 

(Signed  Rembrandt  f.) 
A  Jew's  Synagogue.     (Signed  Rembrandt  f.) 
Beggars  at  the  Door  of  a  House.     (Signed  Rem- 
brandtf.) 

1650.  Jesus  appearing  to  the  Disciples.     (Signed  Rem- 

brandt.) 
The  Shell,  or  the  Damier.     (Signed  Rembrandtf.) 
The  three  Cottages.     (Signed  Rembrandt  f.) 
A   Village  with  a  square  Tower.     (Signed  Rewt- 

brandt  f.) 
Landscape   with  a  Village  and  Swans.     (Signed 

Rembrandt.) 
Landscape  with  a  Canal  and  large  Boat.     (Signed 

Rem/>rajidt  f.) 

1651.  The  Flight  into  Egypt.     {Sigaed  Rembrandt  f.) 
The  Gold-weigher's  Field.     (Signed  Rembrandt.) 
Clement  de  Jonghe.     (Signed  Rembrandt  f.) 

1652.  Jesus  disputing  with  the  Doctors.     (Signed  Rem- 

brandt  f.) 
Landscape  with  a  vista.     (Signed  Rembrandt  f.) 

1654.  The  Circumcision,  with  the  Cask  and  Net.  (Signed 

Rembrandt  f.) 

The  Flight  into  Egypt ;  the  Holy  Family  crossing  a 
Rill.     (Signed  Rembrandtf.) 

Jesus  and  His  Parents  returning  from  Jerusalem. 
(Signed  Rembrandt  f.) 

The  Holy  Family  with  the  Serpent.  (Signed  Rem- 
brandtf.) 

Jesus  disputing  with  the  Doctors.  (Signed  Rem- 
brandtf.) 

The  Descent  from  the  Cross.  (Signed  Rembrandtf.) 

Christ  at  Emmaus.     (Signed  Rembrandt  f.) 

The  G^me  of  Golf.     (Signed  Rembrandtf.) 

1655.  Abraham's  Sacrifice.     (Signed  Rembrandt  f.) 
Four  prints  for  '  Piedra  Gloriosa.'     (Signed  Rtm- 
brandt.) 

Christ  before  Pilate.     (Signed  Rembrandt  f.) 
Thomas  Jacobsz  Hariug.     (Signed  Rembrandt  f.) 

1656.  Abraham  entertaining  the  Angels.     (Signed  Rem- 

brandtf.) 
Johannes  Lutma.     (Signed  Remltrandt  f.) 
16.57.    St.  Francis  praying.     (Signed  Rembrandt  f.) 

1653.  A  Woman  preparing  to  dress  after  bathing,  (Signed 

Rembrandtf.) 
A  Woman  with  her  feet  in  the  water.     (Signed 

Rembrandt  f.) 
A  Negress.     (Signed  Rembrandt  f.) 
1659.    St.  Peter  and  St.  John  at  the  Gate  of  the  Temple. 
(Signed  Rembrandt  f.) 
Antiope  and  Jupiter.     (Signed  Rembrandt  f) 
1661.    The    Woman    with    an    Arrow.      (Signed    Rem- 
brandtf.) 

The  following  etchings   are    of   more   or   less 
uncertain  date. 

Sketch  of  a  Beggar.    About  1629. 

Two  Beggars,  a  Man  and  a  Woman,  coming  from 

behind  a  bank.     (Signed  e.  h.  l.)    16J9  or  1630. 
Three  profiles  of  Old  Men.     1629  or  1630. 
A  Beggar  sitting.    (Sii/ned  r.  h.  l.  1630  or  1635.) 
Rembrandt.    A  small  head  stooping.     About  1630. 
Rembrandt  with  a  broad  nose.     1630  or  1631. 
An  Old  Man  with  a  bald  head  and  large  be.ird. 

1630  or  1631. 
A  Man  on  Horseback.     1630  or  1632. 
An  Old  Man  with  a  short  beard.     1630  or  1632. 
The  Circumcision.     1630  or  1636. 
Jesus   disputing  with  the   Doctors.     (Signed  et. 

1630  or  1636.) 
Sketches,  with  a  head  of  Rembrandt.    (Signed  bt. 

1630  or  1650.) 
The  Flight  into  Egypt.    1630,  or  between  1632  and 

1640. 
A  Beggar  with  a  wooden  leg.    About   1630,  or 

between  1632  and  1640. 
A  Beggar  leaning  upon  a  stick.  1630.   About  1631 

or  1641. 
Rembrandt  with  bushy  hair.    About  1631. 
A  Beggar  sitting  in  an  elbow-chair.    About  1631. 
A  ragged  Peasant.     About  1631. 
Diana  bathing.     {Signed  RT.  f.)    About  1631. 
Danae  and  Jupiter.     (Higned  BT.)     About  1631. 

243 


A  BIOGRAPHICAL  DICTIONARY  OP 


244 


Bast  of  an  Old  Mao  with  a  large  beard.     About 

1631. 
The  Man  with  three  moustaches.     About  1631. 
Rembrandt's  Mother  seated,  looking  to  the  right. 

(Signed  E.  H.  L.  /.)     About  1631. 
Sketches,  with  a  head  of  Kembrandt.  About  1631. 
A  Beggar  walking  towards  the  left.     About  1631, 

or  between  163:3  and  1640. 
A  Woman  sitting  upon  a  hillock.     1631  or  1635. 
An  Old  Man  with  a  short  beard.     1631  or  1635. 
A  Turkish  Slave.     1631  or  1635. 
Bust  of  an  Old  Man.     1631  or  1635. 
Bust  of  an  Old  Man.     1631  or  1635. 
A  sheet  of  sketches,  afterwards  divided  into  five. 

1631  or  1635. 
The  Bathers.   (Signed  Rembrandt  f.,  1631  or  1651.) 
An  Old  Man  with  a  large  white  beard  aud  fur  cap. 

(Siipud  K.  H.  L.  /.)     1632  or  1635. 
Small  grotesque  head.     1632  or  1635. 
Holy  Family  :  the  Virgin  with  the  Linen.    (Signed 

ET.)     1632  or  1640. 
An  Old  Man  Uf  ting  his  hand  to  his  cap.   1632-1640 

or  1639. 
Two  Women  in  separate  Beds.    1632-1640  or  1639. 
The  Shepherds  in  a  Wood.     1632-1640  or  1641. 
The  Cottage  with  the  white  pales.     (Signed  Rem- 
brandt f.)     1632,  1635,  1642,  or  1645-9. 
Jesus  Christ's  body  carried  to  the  Tomb.     (Signed 

Remlirandt.)     1632  or  about  1645. 
The   Best    in  Egypt.     1632-1640,  1641-1642,  or 

1647. 
Landscape  with  a  cow   drinking.     1632-1640  or 

1649. 
An  arched  Landscape  with  an  Obelisk.    1632-1640 

or  1650. 
Portrait  of  Coppenol.     1632  or  about  1651. 
The  Adoration  of  the  Shepherds.     1632-1640,  or 

about  1652. 
A  Polander  walking  towards  the  right.    About 

1633  or  1635. 
Rembrandt    with    moustache    and    small    beard. 

About  1634. 
The  Crucifi.\ion.    About  1634  or  1635. 
Three  heads  of  women  :  Saskia  at  the  top.     1635 

or  1636. 
Feasant  carrying  Milk-pails.    1636  or  about  1650. 
An    arched    Landscape    with    a   Flock    of  Sheep. 

(Signed  Rembrandt  /.,  1636  or  1650.) 
Rembrandt  in  a  flat  cap  and  slashed  vest.    About 

1638. 
Abraham  caressing  Isaac.     1638  or  1639. 
A  Physician  feeling  the  Pulse  of  a  Patient.  About 

1639. 
Sketch  of  a  Tree.     1638-1640  or  1643. 
The  Presentation   in  the   vaulted  Temple.     1639 

or  1641. 
A  large  Tree  by  a  House.     About  1640. 
The  Flute-player.     (Signed  Rembrandt /.,  1640  or 

1641.) 
A  view  of  Amsterdam.     1640  or  1641. 
A  Young  Woman  with  a  Basket.     1640  or  about 

1642. 
The  Crucifixion.     1640  or  1648. 
The  Triumph  of  Mordecai.     16 10  or  1648-16.50. 
The  Bull.     (Signed  Rembrandt/.,  164-.)     1640  or 

1649. 
The  Canal.     1640  or  1652. 

A  small  Lion-hunt  witli  a  Lioness.    About  1&41. 
A  Lion-hunt.     About  1641. 
A  Battle-scene.     About  1641. 
The  Draughtsman.     About  1641. 
Portrait  of  a  Boy.    (Signed  Rembrandt  /.,  164-.) 

About  1641. 
The  Star  of  the  Kings.     1641  or  about  1652. 
A  Woman  in  a  large  cap.     About  1642. 
The  Spanish  Gipsy.     1642  or  about  1647. 
St.  Jerome.     (Signed  Rembrandt/.,  1642  or  1648.) 
A  Village,  with  a  river  and  sailing  vessel.     About 

1645. 
An  old  Man  resting  his  hands  on  a  book.     1645  or 

1646. 
Landscape  with  a  Man  sketching.    1645  or  1646. 
Jan  ComeUs  Sylvius.    (Signed  JUmirandt,  1645  or 

1646.) 


St.  Peter.     (Signed  Rembrandt/.,  1645  or  1655.) 

Academical  figures  of  two  Men.     About  1646. 

Portrait  of  Jan  Asselyn.  (Siuned  ebmbea,  /,, 
164-.)    1647  or  1648. 

A  Landscape  with  a  ruined  Tower.    1848  or  1650. 

Dr.  Fau.stu8.     1648  or  1651. 

Allegorical  piece.  (Signed  Rembrandt/.,  1648  or 
1658.) 

Jesus  Christ  healing  the  Sick.     1649  or  1650. 

The  Sportsman.     1G.W  or  1653. 

King  David  on  his  Knees.  (Signed  Rembrandt/., 
1651  or  1652.) 

Tobit  blind,  with  the  Dog.  (Signed  Rembrandt  /., 
1651  or  1652.) 

A  woman  sitting  before  a  Dutch  Stove.  (Signed 
Rembrandt/.,  165-.)     1651,  1657,  or  1658. 

Jesus  Christ  preaching.     About  1652. 

Portrait  of  Titus.     1652  or  1654. 

Jesus  Christ  entombed.     1652  or  1654. 

The  three  Crosses.  (Signed  Rembrandt  /.,  1653  or 
1655.) 

The  Presentation  in  the  Temple.  1653, 1654,  or 
1657.) 

The  Nativity.  (Signed  Rembrandt  /.)  About 
1654. 

The  little  Goldsmith.  (Signed  Rembrandt,  1654  or 
1C55.) 

Jacob  Haring.     About  1655. 

Abraham  Franceu .     1(355  or  1656. 

Dr.  Arnoldus  Tholini.     1655  or  1656. 

Christ  in  the  Garden  of  Olives.  (Signed  Rem- 
brandt, 165-.)     1655  or  1657. 

Jesus  and  the  Samaritan  Woman.  (Signed  Rem- 
brandt/., 1657  or  1658.) 

Coppenol.    1652  or  1661. 

There  is,  furthermore,  a  large  number  of  etchings, 
signed  or  unsigned,  each  of  which  is  rejected  by 
one  or  more  of  the  authorities  though  accepted, 
sometimes  with  enthusiastic  eulogies,  by  others ; 
of  these  the  following  are  some  of  the  most 
important. 

Profile  of  a  bald  Man.    (Signed  R.  H.  L.  1630.) 

A  Man  in  full  face.     (Signed  B.  H.  L.  1630.) 

A  Philosopher  with  an  hour-glass.   (Signed  e.h.  l. 

1630.) 
A  Man  in  a  broad  hat.    (Signed  ET.  1630  or  1638.) 
Rembrandt  with  a  mantle  and  cap.    (Signed  e.  h.  l. 

1631.) 
Rembrandt  with  curly  hair.     (Signed  et.  1631.) 
A  Peasant  with  his  hands  behind  him.     (Signed 

Rembrandt,  1631.) 
An  Old  Man  without  a  beard.    (Signed  e.  h.  l. 

1631.) 
A  Beggar  in  a  tattered  cloak.     (Signed  et.  1631.) 
Lazarus   Klap,   or    the    Diimb    Beggar.     (Signed 

R.  H.  L,  1631.) 
An  Old  Beggar  seated  with  a  dog  by  his  side. 

(Signed  h.  h.  l.  1631.) 
An  Old  Man  with  a  large  beard.     (Signed  E.  H.  L. 

1631.) 
An    Old    Man  with  a  beard.     (Signed  b.  h.  t. 

1631.) 
A  bald  Old  Man  with  his  mouth  open.     (Signed 

E.  H.  L.  1631.) 
A  Man   in  a  round    fnr  cap.      (Signed  B.  E.  I.. 

1631.) 
An  Old  Man  with  a  square  beard  and  cap.    (Signed 

E.  H.  L.  1631.) 
An  Old  Man  with  a  straight  beard.    (Signed  B.  h. 

1631.) 
A  head  wearing  a  cap.     (Signed  et.  1631.) 
An  Old  Man  with  a  bald  head.     (Signed  E.  H.  L. 

1631.) 
Bust  of  a  Man  with  curly  hair.    (Signed  et.  1631.) 
Rembrandt's  Mother  in  a  widow's  dress.     (Signed 

Rembrandt/.) 
An   Old   Woman  in  a  black  veil.     (Signed  et. 

1631.) 
Jacob  mourning  for  Joseph.     (Signed  Rembrandt 

tanRijn,  1632  or  1633.) 
The  Raising  of  Lazarus.    (Signed  R.  H.  L.  Rijn/.) 


J.   RILEY 


1 1  iiikcr  and  Cockcrcll  photo ^  Sational  Portrait  Gallery 

JAMES  II. 


PAINTERS  AND  ENGRAVERS. 


The  Descent  from  the  Cross.  (Signed  Rembrandt 
f.  cumprivil.,  1633.) 

The  Good  Samaritan.  (Signed  Rembrandt  inventor 
et  fecit,  1633.) 

Adverse  Fortune.     (Signed  Rembrandt/.,  1633.) 

Portrait  of  Jan  Coruelis  Sylvius.  (Signed  Rem- 
brandt, 1633,  1034,  or  1036.) 

The  Angel  appearing  to  the  Shepherds.  (Signed 
Rembrandt/.,  1634.) 

The  Samaritan  Woman  at  the  Ruins.  (Signed  Rem- 
brandt/., 1634.) 

The  Landscape  with  a  Cow.    (Signed  s.  H.  I..  1634.) 

The  Gold-weigher,  or  Uijtenbogaerd.  (Signed 
Rembrandt  /.,  1635.) 

Ecce  Homo.     {Rembrandt/.  1636  cum  privile.) 

Joseph  telling  his  Dreams.  (Signed  Rembrandt  /., 
1638.) 

Eembrandt  etching  a  plate.  (Signed  Rembrandt/., 
1643.) 

A  nude  Man  seated,  called  the  Prodigal  Son. 
(Signed  Remlirandt/.,  1648.) 

St.  Jerome.     Unfinished. 

A  Peasant  with  Wife  and  Child.  M.  B. 

BIBLIOGRArHT. 

C.  Vosmaer, '  Kembrandt,  sa  vie  et  ses  ceuvres*  (1877). 
J.  Burnet,  '  Kembrandt  and  his  Works '  (1849,  folio ; 

1859.  8vo). 
P.  A'chfltema, '  Eedevoering  over  het  leven  en  de  ver- 

diensten  van  Kembrandt  van  Rijn.' 
Z>.  Daitlby, '  A  Catalogue  of  the  Works  of  Eembrandt ' 

(1796). 

E.  F.  Gersaint,  '  Catalogue  raisonne  de  toutes  les  es- 
tampes  qui  ferment  I'oeuvre  de  Eembrandt '  (last 
edition,  1880). 

J.  Janitsch  and  A.  SichtwarTc, '  Stiche  und  Eadirungen 

von  Rembrandt'  (1885). 
C.  H.  Mildletim, '  A  Description  of  the  Etched  Work 

of  Eembrandt  van  Kijn  '  (1878). 

F.  Seymour  Haden, '  The  Etched  Work  of  Eembrandt: 
a  monograph  '  (1879). 

M.  E.  Dutuit, '  L'ceuvre  complet  de  Eembrandt :  d&rit, 

et  reproduit  a  I'aide  de  I'h^liogravure '  (1881). 
Ch.  Blanc, '  L'ceuvre  complet  de  Eembrandt,  d&rit  et 

comments,  &c.  (1873,  4to  ;  1880,  foHo). 
H.    Dalton,   'Rembrandt   und  seine   Gemiilde   in  der 

Kaiserlichen  Eremitage  zu  Petersburg  '  (1876). 
'  Catalogue  of  the  Etched  Work  of  Eembrandt '  (Bur- 
lington Fine  Arts  Club,  1877). 
Malcolm  Bell,  'Eembrandt  and  his  Work.'    (Bells, 

1899.) 
Ditto, '  Rembrandt  van  Rijn.'  (Bells,  IPOl.) 
RILEY,  John,  born  in  London  in  1646,  received 
instructions  from  Isaac  Fuller  and  Gerard  Zoust. 
He  was  little  noticed  till  after  the  death  of  Sir 
Peter  Lely,  though  he  is  justly  described  by 
Walpole  as  one  of  the  best  native  painters  that 
had  then  flourished  in  England.  His  talents  were 
obscured  by  the  fame,  rather  than  the  merit,  of  Sir 
Godfrey  Kneller,  and  have  been  since  depressed 
through  his  best  works  being  ascribed  to  Lely.  Riley 
was  of  an  amiable  and  rather  diffident  character,  and 
was  easily  put  out  of  conceit  with  his  own  works. 
Charles  II.  sat  to  him,  but  almost  frightened  tlie 
poor  artist  out  of  the  profession  by  crying,  when 
he  saw  the  picture,  '  Is  this  like  me  ?  Then, 
odd's  fish,  I'm  an  ugly  fellow.'  James  II.  and  his 
queen  also  sat  to  him,  as  did  their  successors, 
William  and  Mary,  who  appointed  him  their  painter. 
Among  his  portraits  may  also  be  named  those 
of  Lord  Keeper  North  and  Bishop  Saundersou. 
Jonathan  Richardson  was  married  to  a  near  relation 
of  Riley,  and  profited  by  his  will.  Riley  died  in 
London  in  1691,  and  was  buried  in  Bishopsgate 
Church.  The  following  portraits  by  him  are  in  the 
National  Portrait  Gallery : 

Bishop  Burnet. 

James  IX. 

WiUiam,  Lord  EusseU. 


Edmund  Waller. 

Lord  Crewe,  Bishop  of  Durham. 

RILLAERT,  Jan  van,  the  elder,  painter,  waa  a 
native  of  Louvain,  where  he  was  working  in  1528. 
In  1547  he  became  painter  to  the  corporation,  and 
director  of  the  'Omgang.'  In  1549  he  designed 
the  principal  decorations  for  the  '  Joyeuse  Entree' 
of  Philip  II.,  and  he  was  also  employed  upon  the 
blazons  for  the  funeral  service  of  the  Emperor 
Cliarles  V.  In  1560  he  decorated  the  sheriffs' 
room  in  the  town-hall.  He  also  executed  numerous 
works  for  churches  and  convents  in  his  native 
town.  He  practised  engraving,  and  several  plates 
still  exist,  engraved  upon  copper,  and  signed  with 
his  initials.  By  his  wife,  Madeleine  du  Vivier, 
he  had  one  son,  Jan,  q.  v.  He  died  in  1568. 
Among  his  works  are  the  following: 
Louvain.  Hdtel  de  Ville.  Four  Panels  painted  on  both 
sides  as  follows : 

1.  The  Fall  of  Simon  Magus. 
Saint  Margaret  and  the  Dragon. 

2.  Defeat  of  the  Mahometans. 
The  Deliverance  of  St.  Peter. 

3.  The  Miraculous  Draught  of 
Fishes. 

Christ  bearing  His  Cross. 

4.  Decapitation  of  St.  Catharine. 
Calvary. 

liOuva,m.Ck.o/St. Pierre.    Consecration   of  St.  Evartius, 

Bishop  of  Orleans. 
Vienna.  The  Assumption. 

RILLAERT,  Jan  van,  the  younger,  was  the  son 
of  the  last-named,  and  probably  his  pupil.  He 
married  a  rich  wife,  Marie  Claes,  and  after  a 
sojourn  in  Denmark  returned  to  Louvain  and 
settled  there.  The  dates  of  his  birth  and  death 
are  uncertain.  No  mention  of  him  occurs  in  the 
town  archives  after  1591.  In  1588  he  was  com- 
missioned, jointly  with  the  painter  Leonard  van 
Marienbergh,  to  determine  the  value  of  the  painting 
by  Mabuse,  which  the  town  of  Louvain  wished  to 
buy  from  the  Augustine  Order  for  presentation  to 
the  King  of  Spain.  In  the  church  of  St.  Pierre,  at 
Louvain,  there  is  a  '  Resurrection  '  by  him. 

RIMINALDI,  GiROLAMo,  painter,  brother  of 
Orazio,  practised  at  Pisa  in  the  early  part  of  the 
17th  century.  He  survived  his  brother,  whose  last 
work  he  comnleted.  As  a  painter  he  was  greatly 
inferior  to  0  azio. 

RIMINAIjDI,  Orazio,  born  at  Pisa  in  1598,  was 
first  a  scholar  of  Aurelio  Lomi,  but  afterwards 
studied  at  Rome  under  Orazio  Lomi,  called  Gentil- 
eschi.  During  a  residence  of  some  years  at  Rome, 
he  studied  from  the  great  Roman  masters,  and  also 
from  the  antique.  On  his  return  to  Pisa  he  distin- 
guished himself  as  one  of  the  most  promising  artists 
of  his  time.  He  followed,  in  the  early  part  of  his 
life,  the  principles  of  Michel-angclo  Caravaggio, 
which  he  soon  after  abandoned  for  those  of 
Domenichino.  He  painted  several  pictures  for 
the  churches  of  Pisa,  one  of  which,  'The  Martyr- 
dom of  St.  Cecilia,'  has  since  been  placed  in 
tlie  Florentine  Gallery.  In  the  cathedral  are  two 
Scripture  subjects  by  him,  representing  the 
'Brazen  Serpent,'  and  'Samson  destroying  the 
Philistines.'  His  last  work  was  an  'Assumption  of 
tlie  Virgin,'  which  he  did  not  live  to  finish.  Rimi- 
naldi  died  of  the  plague  in  1630. 

RIMINI,  PiETRO  L>A,  lived  in  the  early  part  of 
the  14th  century,  and  is  the  author  of  a  '  Cruci- 
tixion '  at  Urbania,  near  Urbino.  Paintings  in  S. 
Maria  Portofuori  in  Ravenna  are  attributed  to 
him. 

246 


A  BIOGRAPHICAL  DICTIONARY  OF 


RIMMER,  Alfred,  black-and-white  artist  and 
antiquary  ;  born  August  9,  1829,  at  Liverpool ; 
worked  for  some  time  in  Canada;  subsequently 
settled  in  England  (Chester) ;  published  a  number 
of  illustrated  works  on  English  topography,  such 
as  '  Ancient  Streets  and  Homesteads  of  England,' 
'  Pleasant  Spots  about  Oxford,'  '  Rambles  about 
Eton  and  Harrow,' '  About  England  with  Dickons,' 
&c.     He  died  at  Chester,  October  27,  1893. 

RINALDO,  DoMENico,  painter,  called  Rinaldo 
Mantovano,  practised  at  Mantua,  about  1650,  and 
was  a  pupil  of  Giulio  Komano.  His  works  show 
great  promise,  but  his  career  was  cut  short  by  a 
premature  death.  At  Vienna  there  is  a  'Triumph 
of  Julius  Ctesar'by  him,  and  two  pictures  in  the 
National  Gallery,  'The  Capture  of  Carthagena  and 
Continence  of  Scipio,'  and  the  '  Rape  of  the  Siibine 
Women,  with  the  subsequent  reconciliation  between 
the  Romans  and  Sabines,'  are  now  ascribed  to  him 
instead  of  to  his  master. 

RINALDI,  Santo,  called  IlTeomba,  an  excellent 
painter  of  battles,  landscapes,  and  architecture, 
born  at  Florence  about  1620,  was  a  scholar  of 
Furini.  Though  he  painted  nmch,  and  was  eminent 
in  his  day,  very  little  of  his  liistory  is  recorded. 
It  is  supposed  that  he  died  in  1676. 

RINCON,  Antonio  del.    See  Del  Rincon. 

RINCON,  Fernando  del.     See  Del  Rincon. 

RING,  Herman  Tom,  the  son  and  pupil  of 
Ludwig  Ring,  the  elder,  Dom  at  Mijnster  in  1521. 
Like  his  father,  he  is  chiefly  known  by  one  work — 
a  '  Resurrection  of  Lazarus,'  which  was  painted  in 
1546  for  the  cathedral  at  Munster ;  in  it  the  traces 
of  Italian  influence  are  plainly  marked.  It  is  good 
in  colour  and  highly  finished.  Of  his  other  works 
we  may  name  :  'Christ  on  the  Cross,'  '  Christ  heul- 
ing  the  Sick,'  'Christ  on  the  Cross,  with  Mary, 
Joseph,  and  donors,'  '  St.  Luke  and  St.  John,' 
'  Christ  in  Gethsemane,'  '  Christ  and  the  Apostles,' 
which  are  in  Miinster,  and  twelve  Prophets  and 
Sibyls  in  the  Gallery  of  Augsburg.  He  died  in 
1599. 

RING,  LnDGEK  Tom,  the  elder,  the  founder  of  a 
family  of  Westphalian  artists,  who  flourished  in 
the  16th  century,  was  bom  at  Miinster  in  1496. 
He  is  chiefly  known  by  an  '  Intercession  of  Christ 
and  the  Virgin  (with  the  donor  by  their  side)  for 
the  world,  which  is  about  to  be  destroyed  by 
God.'  It  is  dated  1538,  and  executed  in  a  simple 
and  dignified  manner,  in  the  style  of  the  early 
German  painters.  In  the  Museum  at  Munster 
there  are  also, '  A  Man  and  his  Wife,'  a  half-length 
'  Portrait  of  a  Man,'  and  a  '  Madonna.'  He  died  in 
1547. 

RING,  LuDGER  Tom,  called  the  younger,  to  dis- 
tinguish him  from  his  grandfather  Ludwig  Ring 
the  elder,  bom  at  Miinster  in  1522,  was  the  son 
of  Herman  Ring,  and  painted  homely  domestic 
subjects,  but  he  has  also  left  some  portraits,  and 
in  the  Berlin  Museum  is  a  '  Marriage  at  Cana,' 
dated  1562.     Ring  died  in  1583. 

RING,  Pietek  de,  an  admirable  painter  of  sub- 
jects of  still-life,  flourished  about  the  middle  of 
the  17th  century.  If  not  a  native  of  Holland,  he 
practised  his  art  there,  as  most  of  his  pictures  are, 
or  were,  confined  to  that  country,  though  the 
Dutch  writers  seem  to  know  nothing  of  his  history. 
In  1648-9  he  was  inscribed  on  the  registers  of  the 
Leyden  guild  of  St.  Luke,  and  was  still  painting  in 
that  town  in  1660.  In  the  Museum  at  Amsterdam 
there  is  a  picture  by  him,  representing  a  table 
covered  with  blue  velvet,  on  which  are  various 

246 


kinds  of  fruit,  oysters,  and  other  shell-fish.  He 
was  a  successful  follower  of  Jan  D.  de  Ileem.  He 
generally  introduced  a  ring  as  his  signature.  In 
the  Berlin  Museum  there  is  a  picture  by  him, 
signed  with  his  name  and  dated  1650,  representing 
a  globe,  a  book  in  which  is  the  picture  of  a  man 
blowing  soap-bubbles,  an  hour-glass,  dice,  musical 
instruments,  &c. 

RINGE,  Chkistoph  Gottfried,  painter,  bom  at 
Bernburg,  1713.  He  died  mad  in  1797.  His 
pictures,  which  are  rare,  betray  his  mental  dis- 
ease. 

RINGLY,  Gotthard,  or  Gottfried,  (Ringqli,) 
painter  and  engraver,  was  born  at  Zurich  in  1575. 
All  that  is  known  of  his  life  is,  that  he  was  employed 
by  the  authorities  of  Berne  to  paint  some  pictures 
relative  to  the  history  of  that  city,  and  that  the 
Painters'  Guild  ineffectually  attempted  to  prevent 
him  painting.  Of  his  etchings,  '  David  playing  the 
Harp,'  and  his  illustrations  of  Joshua  Maler's 
'  Gutjahr  fiir  alle  Christen,'  are  well  known.  They 
are  marked  with  a  cipher  composed  of  the  letters 
G.  Ji.     Ringly  died  iu  1635. 

RIOU,  EoonARD,  French  painter,  bom  December 
2,  1833,  at  Saint  Servan  (Ille  et  Vilaiue) ;  devoted 
himself  to  landscape  ;  painted  various  scenes  from 
the  Fontainebleau  district ;  produced  successful 
pastels  of  Egyptian  scenery.  He  was  well  known 
as  an  illustrator  of  Jules  Verne's  tales.  He  died  in 
Paris,  January  27,  1900. 

RIOULT,  Louis  Edouard,  painter,born  at  Mont- 
didier,  October  26,  1780.  He  was  a  pupil  of 
Regnault  and  of  David,  and  painted  classical  and 
historical  subjects,  but  he  was  particularly  suc- 
cessful in  studies  of  girls  bathing,  &c.,  of  which 
he  painted  a  large  number.  Among  his  works  are 
the  following : 

Girl  playing  with  a  Zephyr. 

Siege  of  Ostend.    {At  Venaillet.) 

Leda. 

Diana. 

The  Death  of  d'Assas. 

A  Scholar  giving  his  breakfast  to  a  poor  man. 

He  died  in  1855. 

RIPANDA,  GiACOMO,  an  obscure  painter  of  the 
15th  century.  He  studied  in  Rome,  and  practised 
portrait  painting  towards  the  close  of  the  century. 

RIPOSO,  Felice.    See  Ficherelli. 

RIPPINGILLE,  Edward  Villiers,  an  English 
subject  painter,  born  at  King's  Lynn  in  1798.     He 
was  self-taught  as  an  artist,  and  first  practised  at 
Bristol,  exhibiting  at  the   Royal   Academy   from 
1819.      His    subjects   were    taken    from    English 
rural  life  until  he  visited  Italy  in  1837,  when  for 
some  years  his  inspiration  was  Italian.     In  1841 
he   paid    a   second   visit  to   Italy.     He  delivered 
lectures  on  art,  and   devoted   much   attention  to 
literature,  contributing  to  various  periodicals.     He 
died  suddenly  at  Swan  village  railway  station,  near 
Birmingham,  in  1859.     Amongst  his  pictures  are: 
Liverpool.      Corporation  Gall.    Portrait  of  Dr.  Raffles. 
London.     Bridyewater  House.    A  Brigand's  Wife. 
South  Kensington.    Museum.    Mendicants  of  the  0am- 

pagna. 

Enlisting. 

Scene  in  a  Gaming-hoa«e. 

A  Country  Post-oflice. 

A  Recruiting  Party. 

Going  to  the  Fair. 

Stage-coach  Breakfa.st. 

Progress  of  Drunkenness.     [A  series  of  six  pictures.) 

RIQUIER,  L.,  a  Flemish  subject  painter,  born 
in  1795  at  Antwerp,  where  he  studied  under  Van 


PAINTERS  AND  ENGRAVERS. 


Bree.     After  visiting   Italy   he   nettled   in  Paris. 
Amongst  his  works  are  : 
Braesels.     Museum.    A  Family  of  Brigands. 
Haaxlem.    Museum.    Eubens  presentiug  Adrian  Bronwer 
to  his  Wife. 

RISING,  John,  an  English  subject  and  portrait 
painter,  born  about  the  middle  of  the  18tli  century. 
He  practised  in  London,  and  exhibited  at  the 
Academy  from  1785  to  1814.  Amongst  his  works 
are  : 
Herts.  Hatfield  House.    Portrait  of  First  Marquis  of 

Downshire. 
Oxford,    Bodleian  Library.    Portrait  of  Sir  W.  Black- 
stone.    1781. 
RISLER,  AuQUSTE  Charles,   French   painter; 
born  at  Cemay  (now  Seniiheim),  Alsace,  in  1819  ; 
a   pupil  of  Paul   Delaroche  ;  completed  his  art- 
studies  by  travel  in  Italy.     His  chief  successes 
obtained   by  portraits ;    of  these  we   may   cite : 
'  Portrait  de  M.  Meunier,'  '  Portrait  de  Mme.  T.,' 
'  La  Belle  Alsacienne,'    &c.     He   died  in  Paris, 
AprU  13,  1899. 

RISS,  Fkanoois,  painter,  born  .at  Moscow  in 
1804.  He  was  a  pupil  of  Gros,  and  practised  in 
France.  He  exhibited  at  the  Salon  between  1831 
and  1866.  At  Versailles  there  is  a  portrait  of 
Henri  Francois  D'Aguesseau,  Chancelierde  France, 
by  him  ;  and  at  the  Ministry  of  the  Interior  a  '  St. 
Vincent  de  Paul  at  Marseilles,'  and  '  Feast  in  the 
house  of  Simon  the  Pharisee.'  His  wife,  Pauline, 
was  also  a  painter. 

RIST,  Gottfried,  engraver,  a  native  of  Stutt- 
gart, was  a  pupil  of  Johann  Gotthard  MUller  in 
the  early  part  of  this  century,  and  engraved  the 
following  plates  : 

Death  of  Raphael  ;  after  Uiepcnhausen. 

Apollo  among  the  Herds,  and  Abraham's   Sacrifice; 

after  Schick. 
Ariadne  ;  after  DanyiecJcer. 
Job ;  after  Wdckter. 

King  Frederick  of  Wiirtemburg  ;  after  Seele. 
Queen  Charlotte  Matilda  of  'Wiirtembarg  ;  after  Siirn- 
brand. 

RIST,  Johann  Christoph,  a  landscape  painter, 
bom  in  Stuttgart  in  1790,  was  first  a  confectioner 
in  Stuttgart  and  Vienna,  in  which  latter  city  he 
entered  the  Academy.  In  1816,  and  again  in 
1823,  he  was  premiated.  The  death  of  his  brother 
Gottfried  caused  him  to  leave  Italy,  and  go  to 
Augsburg.  From  1830  to  1840  he  worked  in 
Munich,  and  gave  drawing  lessons ;  later  on  he 
became  the  head  of  the  drawing  school  at  Augs- 
burg.    He  died  at  Augsburg  in  1886. 

RISVENNO,  GiDSEFFO,  (or  Risueno,  Josef,)  a 
Spanish  painter,  bom  at  Granada  about  the  year 
1640.  He  was  a  scholar  of  Alonso  Cano,  under 
whom  he  studied  both  painting  .and  sculpture.  He 
painted  history  with  some  reputation  ;  and  there 
are  several  of  his  works  in  the  churches  of  his 
native  city.  The  most  important  is  the  decoration 
of  the  cupola  of  the  Carthusians.  Risvenno  died 
at  Gr.-inada  in  1721. 

RITRATI,  Francesco  de'.    See  Negri,  G. 

RITT,  Adqustin,  a  Russian  painter,  born  at  St 
Petersburg.  He  studied  at  Antwerp,  under  De 
Quertemont,  and  practised  in  Russia  in  the  18th 
century. 

BITTER,  Abraham  de,  amateur,  born  at  Haar- 
lem in  1668,  devoted  himself  chiefly  to  water- 
colour  sketches  and  studies  of  rustic  life.  He 
died  in  1738. 

RITTER,  Eduabd,  still-life  and  genre  painter, 
Dorn  at  Vienna  in  1808,  where  he  was  a  pupil  of 


the  Academy.  Among  his  works  we  may  name : 
'In  the  Wine-cellar,'  'The  Workman,'  'The  Last 
Farthing,'  '  The  Farewell  of  the  Journeyman.'  He 
died  at  Vienna  in  1853. 

RITTER,  G.  N.,  p,iinter,  bom  at  Heilbronn,  in 
1748.  He  settled  at  Amsterdam,  where  he  prac- 
tised miniature  and  portrait  painting.  He  died  at 
Amsterdam  in  1809. 

RITTER,  Henry,  painter,  born  at  Montreal  in 
Canada  in  1816,  went  when  young  to  Hamburg, 
where  he  received  some  instruction  from  Grbger. 
In  1836  he  entered  the  Academy  at  Diisseldorf 
under  Sohn,  and  studied  under  Jordan.  He  died 
at  Diisseldorf  in  1853. 

RITTER,  Louisa  Charlotte,  the  daughter  of 
G.  N.  Ritter,  practised  in  the  manner  of  her  father 
with  some  success.     She  died  in  1813. 

RITTI6,  Peter,  painter,  bom  at  Coblentz  in 
1789,  studied  at  Paris  under  David,  but  afterwards 
went  to  Rome  to  work  under  Overbeck.  His 
pictures  show  talent  and  sobriety  of  judgment. 
He  died  at  Rome  in  1840.     Works  : 

A  Madonna  with  Angels. 

Allegory  of  the  96th  Psalm. 

The  Visit  of  Pope  Paul  III.  to  Michel-angelo, 

RITDS,  Michael.  This  name  is  affixed  to  an 
etching  representing  the  Virgin  Mary  and  the 
Infant  Christ ;  after  A.  Caracci,  dated  1647. 

RIVALZ,  Antoine,  bom  at  Toulouse  in  1667, 
was  the  son  of  Jean  Pierre  Rivalz,  a  painter  and 
architect  of  some  celebrity,  by  whom  he  was 
instructed  in  the  rudiments  of  art.  He  after- 
wards visited  Paris,  where  he  did  not  remain  long, 
but  went  to  Rome  in  search  of  improvement. 
During  liis  residence  in  that  capital  he  was  the 
successful  candidate  for  the  prize  given  by  the 
Academy  of  St.  Luke,  for  a  '  Fall  of  the  Rebel 
Angels.'  After  studying  the  works  of  the  best 
masters,  he  returned  to  Toulouse,  where  he  passed 
the  remainder  of  his  life.  He  possessed  an  extra- 
ordinary talent  for  copying  the  works  of  Italism 
masters.  As  he  lived  so  far  from  the  capital,  few 
of  his  works  are  to  be  met  with  in  Paris.  His 
pictures  are  chiefly  confined  to  Toulouse,  where 
he  died  in  1735.  He  left  a  great  number  of  draw- 
ings, which  are  executed  with  great  freedom,  in  a 
style  resembling  that  of  Raymond  de  la  Fage ; 
also  a  few  spirited  etchings,  among  which  are  the 
following : 

The  Martyrdom  of  St.  Symphorianus. 

An  Allegory  of  Vice  driven  away  by  Truth  ;  in  memory 
of  N.  Foussin. 

Four  Allegorical  plates  for  a  treatise  on  Painting,  by 
Dupuy  du  Grez. 

RIVALZ,  Barth^lemy,  the  nephew  and  pupil 
of  Antoine  Rivalz,  bom  at  Toulouse  in  1724.  We 
have  by  him  a  few  etchings,  among  which  are  the 
following  : 

The  Fall  of  the  Rebel  Angels  ;  after  Ant.  Rivalz. 

Judith  and  Holofernes  ;  after  the  samt. 

Joseph  and  Potiphar's  Wife  ;  after  the  same. 

The  Death  of  Mary  Magdalene ;  after  Benedetto  Luti. 

RIVALZ,  Jean  Pierre,  the  elder,  painter  and 
architect,  was  born  at  Bastide-d'Anjou,  in  Lan- 
guedoc,  in  1625.  He  was  a  pupil  of  Anibroise 
Frideau,  and  the  father  of  Antoine  Rivalz.  He 
died  in  1706. 

RIVALZ,  Jean  Pierre,  the  younger,  painter, 
was  the  son  and  pupil  of  Antoine  Rivalz.  He 
practised  historical  painting  in  France,  and  also 
visited  Italy.     He  died  in  1785. 

RIVAROLA,  Alponso,  called  II  Chenda,  born 

2-17 


A  BIOGRAPHICAL  DICTIONARY  OF 


at  Ferrara  in  1607,  was  the  most  liislinguislied 
scholar  of  Carlo  Bononi.  On  the  death  of  that 
master  he  was  engaged  to  finish  the  picture  of  the 
'  Marriage  of  the  Virgin,'  in  the  church  of  S. 
Maria  del  Vado.  There  are  several  pictures  of  his 
own  composition  in  the  churclies  at  Ferrara,  which 
do  honour  to  the  school  in  which  he  was  educated. 
Such  are  his  '  Baptism  of  St.  Agostino,'  in  the 
church  dedicated  to  that  saint,  which  he  has  em- 
bellished with  magnificent  architecture;  the  'Re- 
surrection,'at  the  Teutini  ;  'the  Brazen  Serpent,' 
m  S.  Niccolo  ;  and  the  'Martyrdom  of  S.  Ciiterina,' 
in  S.  Guglielmo.  This  promising  young  painter  had 
acquired  a  reputation  as  one  of  the  ablest  artists  of 
Ferrara,  when  he  died  in  1640. 

RIVE,  PiBRnE  Louis,  or  de  la  Rive,  landscape 
painter,  bom  at  Geneva  in  1753.  His  father  de- 
signed him  for  the  church  or  the  law,  but  at  last 
consented  to  his  following  his  o\\'ti  inclination.  He 
studied  at  Geneva  uuder  the  Chevalier  de  Fassin,  a 
painter  of  Liege.  He  then  visited  Dresden,  where 
he  received  some  instruction  from  Casanova,  and  in 
1784  went  to  Italy  for  two  years.  He  returned  to 
Geneva,  and  during  the  disturbances  in  his  native 
town,  travelled  in  Switzerland  and  Savoy,  painting 
heroic  landscape.  His  washed  drawings  have 
much  merit.     He  died  in  1815. 

RIVELLI,  Galeazzo,  called  Della  Babba,  an 
unimportant  i>ainter  of  Cremona,  who  flourished  in 
the  14th  century. 

RIVERA,  J.  A.,  a  Spanish  historical  painter  of 
the  19th  century.  He  became  Director  of  the 
Museum  and  of  tlie  Academy  at  Madrid,  where  he 
died  in  1860.  His  best  known  work,  painted  in 
1836,  is  '  The  Oath  of  the  Prince  of  the  Asturias.' 

RIVERDITI,  Mabcantonio,  a  native  of  Ales- 
sandria della  Paglia,  who  received  his  education  in 
art  at  Bologna,  where  he  painted  some  pictures  for 
the  churches,  in  which  he  imitated  the  style  of 
Guido  Reni.  He  also  painted  portraits  with  con- 
siderable success.  Of  his  historical  works,  the 
most  worthy  of  notice  are  his  pictures  of  the  '  Con- 
ception,' in  the  church  of  the  Padri  Caraaldolesi ; 
and  of  '  S.  Francesco  di  Paola,'  in  S.  Maria  de  Fos- 
cherari.     He  died  at  Bologna  in  1744. 

RIVEY,  AbsSne  Hippoltte, French  painter;  born 
1845  at  Caen  ;  was  a  pupil  of  Picot,  Couture,  and 
Bonnat  ;  a  successful  portrait  painter  whose  work 
was  constantly  seen  in  the  Salon.  In  1880  he  ob- 
tained a  third-class  medal.  He  died  in  Paris  in  1901. 
RIVIERE,  Charles  Philippe  de  la.  See 
Lariviere. 

RIVIERE,  Henry  Parsons,  water-colour  painter, 
was  a  student  of  the  Royal  Academy,  and  first 
exhibited  in  London  in  1832,  when  he  sent  two  pic- 
tures to  the  Suffolk  Street  Gallery.  He  was  after- 
wards a  frequent  exhibitor  there,  and  also  at  the 
Royal  Academy  and  the  British  Institution.  In 
1834  he  became  a  member  of  the  New  Society  of 
Painters  in  Water-Colours,  and  in  1852  was  elected 
an  Associate  of  the  Old  Society.  He  painted  chiefly 
history  and  genre,  either  English  or  Italinn  in 
subject.  In  1867  he  went  to  Rome,  where  he  lived 
for  many  years.  He  died  at  his  house  in  St.  John's 
Wood,  in  1888. 

RIVIERE,  William,  an  English  painter,  bom 
in  London  in  1806.  He  studied  in  the  schools 
of  the  Academy,  where  also  he  first  exhibited  in 
1833.  A  cartoon  by  him  was  sent  to  the  first  West- 
minster Hall  competition.  From  1849  his  time  was 
devoted  to  teaching,  first  at  Cheltenham,  where  he 
was  drawing-master  to  the  College  from  1849  to 
248 


185'J,  and  then  at  Oxford,  where  he  died  in  1876. 
He  was  the  father  of  Mr.  Briton  Riviere,  R.A. 

RIVIERE,  FRANgois,  a  painter  of  French  birth, 
who  settled  at  Leghorn,  in  Italy,  in  the  first  part 
of  the  18th  century.  He  painted  many  Turkish 
subjects,  consisting  of  dances  and  public  cere- 
monials. He  painted  much  for  the  churches  of 
Leghorn  and  Pisa,  and  at  one  time  his  reputation 
was  very  considerable  in  Italy.  He  died  at 
Leghorn  at  a  very  advanced  age. 

RIVOLA,  Giuseppe,  an  Italian  painter  of  little 
note,  who  was  a  pupil  of  Ph.  Abbiati,  and  died  in 
1740. 

RIXMONT.    See  Raymond. 

RIZI,  Fkancisco,  a  Spanish  painter,  bom  at 
Madrid  in  1608,  was  the  son  of  Antonio  Rizi,  a 
native  of  Bologna,  who  had  accompanied  Federigo 
Zuccaro  into  Spain,  but  was  instructed  in  the  prin- 
ciples of  art  by  Vincencio  Carducho.  He  was 
the  Spanish  Fa  presto.  As  he  lived  at  a  time,  and 
in  a  court,  when  and  where  the  great  merit  of  an 
artist  was  to  improvise,  he  was  celebrated  and 
patronized  as  one  of  first-rate  talent ;  and  in  con- 
sequence he  became  painter  to  Philip  IV.  in  1656, 
which  office  he  continued  to  hold  under  Charles 
II.,  who  added  to  it  the  deputy-keepership  of  the 
royal  keys.  A  few  years  before  he  had  been 
appointed  painter  to  the  cathedral  of  Toledo,  a 
post  of  more  importance  to  an  artist,  in  a  pecuniary 
point  of  view,  than  that  of  painter  to  the  king,  as 
it  gave  him  the  charge  of  all  the  existing  works  in 
the  cathedral,  and  insured  to  him  the  execution  of 
the  greater  part  of  what  might  be  undertaken  in 
his  time.  His  empty  cleverness  is  responsible  to 
no  slight  extent  for  the  decline  of  Spanish  art. 
Rizi  died  at  the  Escorial  in  1685  Among  his 
works  are  : 

The   decoration,  in   1648,  with  Pedro  Nunez,  of  the 

Theatre  in  the  Alcazar  of  Madrid. 
Religious  Scenes  in  the  Oiapel  of  Antonio. 
Scenery  for  the  Tbeatre  of  the  Retire. 
Sketch  for  an  altar-piece  in  the  Sacristy  of  the  Escorial. 
The  Auto-da-1'6  of  1680.     (In  the  Madrid  Musmm.) 
A  Portrait  of  a  General  of  Artillery. 
The  Annunciation. 
The  Adoration  of  the  Maf;^. 
The  Presentation  in  the  'Temple. 

RIZI,  Fray  Juan,  painter,  born  at  Madrid  in 
1595,  was  a  brother  of  Francisco  Rizi,  and  a  pupil 
of  Mayno.  In  1628  he  entered  the  Benedictine 
Order,  studied  in  Salamanca,  and  became  Abbot 
of  the  Medina  del  Campo  in  Madrid.  He  painted 
several  works  for  St.  Juan  Bautista  in  Burgos,  St, 
Martin  in  Madrid,  and  Monte  Cassino  in  Italy.  In 
the  Madrid  Museum  is  a  'St.  Francis  of  Assisi '  by 
him.  He  afterwards  went  to  Rome,  where  he  was 
made  an  Archbishop  by  Pope  Clement  X.  He 
died  at  Monte  Cassino  in  1675. 

RIZO.  Francesco,  (Rizzo).    See  Santa  Croce. 

RIZZI.     See  Ricci. 

ROBART,  ,  said  to  have  been  a  scholar  of 

Jan  Van  Huysum,  painted  fruit,  flowers,  dead 
game,  and  landscapes  :  he  flourished  about  the 
vear  1770. 

EOBATTO,  Giovanni  Stefano,  bom  at  Savona 
in  1G49,  studied  at  Rome  in  the  school  of  Carlo 
Maratti.  He  for  some  time  painted  historical 
subjects  with  considerable  reputation,  and  was 
employed  for  some  of  the  churches  at  Genoa. 
One  of  his  best  works  is  '  St.  Francis  receiving 
the  Stigmata,'  at  the  Cappucini.  He  afterwards 
abandoned  himself  to  a  fatal  passion  for  gaming, 


PAINTERS  AND  ENGRAVERS. 


and  his  latter  performances  are  hasty  and  careless. 
He  died  in  1733. 

KOBELOT,  Pierre,  painter,  bom  in  1802.  A 
native  of  Lorraine,  and  pupil  of  Mansion.  He 
practised  miniature  painting  in  the  first  part  of 
the  19th  century. 

ROBERT,  Alexandre,  a  Belgian  painter,  bom 
at  Trazegnies,  February  17,  1817  ;  a  pupil  of  the 
Brussels  Academy  and  of  Navez  ;  after  study  in 
Italy  he  settled  at  Brussels,  where  he  became  a 
professor  and  a  member  of  the  Academy.  He  painted 
portraits  and  genre  subjects.  His  '  Luca  Signor- 
elli '  is  in  the  Brussels  Museum,  also  the  '  Sack  of 
a  Carmelite  Cloister.'  He  obtained  a  Brussels 
gold  medal  in  1848,  a  Paris  medal  in  1855,  the 
Leopold  Order,  «&c.  He  died  at  Brussels  in  1890. 
ROBERT,  AURELE,  (Aureho,)  architectural  and 
genre  painter,  born  at  La-Chaux-de-Fonds  in  1815, 
was  originally  a  watch  engraver,  but  in  1822  he 
joined  his  brother  Leopold  at  Rome,  and  became 
his  pupil.  In  1828  and  1829  he  travelled  with 
L4opold  ;  and  though  they  were  separated  for  a 
short  time  in  1831,  they  met  again  in  Paris,  and 
AurMe  followed  his  brother  to  Venice  in  1833. 
After  the  suicide  of  Leopold  he  returned  to  Paris, 
where  he  stayed  for  some  time  copying  his 
brother's  pictures.  In  1838  he  returned  to  Venice, 
where  he  stayed  for  five  J'ears,  and  then  went  to 
Switzerland.  There  is  a  picture  by  him,  in  the 
Berlin  Gallery,  of  the  '  Baptistery  of  St.  Mark's, 
Venice.'     He  died  at  Berne  in  1871. 

ROBERT,  Charles,  a  Scotch  engraver,  bom  at 
Edinburgh  in  1806.  He  learned  his  art  in  the 
Trustees  Academy.  His  early  works  were  chiefly 
vignette  portraits,  but  he  was  employed  by  the 
London  Art  Union  on  its  foundation,  and  produced 
several  excellent  plates  for  its  subscribers.  He 
died  at  Edinburgh  in  1872.  Amongst  his  plates 
we  may  also  name  '  The  Expected  Penny,'  '  The 
Piush-plaiters,'  and  'Th«  Widow.' 

ROBERT,  Fanny,  painter,  a  native  of  Paris,  and 
a  pupil  of  Girodet.  She  flourished  about  1825,  and 
painted  portraits  and  historical  subjects. 

ROBERT,  Felicitas,  MadamOj^ painter.  She 
practised  in  Germany  in  the  early  years  of  the 
19th  century,  and  was  the  daughter  of  the  Belgian 
painter  and  engraver,  Philip  Tassaert,  who  died 
in  England  in  1803.  Her  work  was  chiefly  in 
pastel.  In  the  Dresden  Gallery  there  are  two 
pictures  by  her,  a  '  Visitation,'  after  Rubens,  and  a 
portrait  of  'An  Old  Cook.' 

ROBERT,  Hubert,  generally  called  Robert  des 
RuiNtS,  a  painter  and  engraver,  born  in  Paris  in 
1733.  After  learning  the  rudiments  of  design  in 
his  native  city,  he  went  to  Rome,  where  he  passed 
several  years,  and  made  accurate  drawings  from 
the  remains  of  ancient  architecture.  On  his  return 
to  Paris  he  was  made  a  member  of  the  Academy, 
and  Ids  pictures  were  held  in  high  estimation.  He 
has  also  left  a  series  of  eighteen  spirited  etchings, 
among  them  a  set  of  ten  views,  with  buildings, 
entitled  '  Les  Soirees  de  Rome.'  In  the  French 
Revolution  he  was  deprived  of  his  position,  and 
imprisoned  for  ten  months ;  but  that  did  not 
prevent  his  painting,  and  be  produced  a  'Taking 
of  the  Prisoners  by  Torchlight  in  open  Carts  from 
St.  Pelagie  to  St.  Lazare.'  He  obtained  his  freedom 
through  a  mistake  of  his  gaoler,  another  prisoner 
of  the  same  name  being  sent  to  the  guillotine 
instead  of  him.  He  died  in  Paris  in  1808.  The 
Louvre  possesses  seven  good  examples  of  his 
work. 


ROBERT,  Jean,  was  a  pupil  of  J.  C.  le  Blond. 
He  has  left  some  prints  in  colour,  which  possess 
considerable  merit.  They  are  carried  out,  like 
those  of  his  master,  by  the  use  of  four  plates. 

ROBERT,  LE  Long,  generally  called  Fiamingo, 
a  native  of  Brussels,  went  to  Piacenza,  where  he 
visited  the  school  of  Bonisoli,  and  later  on  took 
Massarotti  as  his  model  Of  his  works  we  find 
'  Scenes  from  the  life  of  St.  Theresa,'  in  St. 
Sigismondo,  near  Cremona,  in  the  style  of  Guido 
Reni  ;  '  St.  Anthony  the  Martyr  ; '  and  '  The  Death 
of  St.  Xavier,'  in  the  cathedral  of  Piacenza,  which 
is  the  best  of  his  works.  He  died  at  Piacenza 
in  1709. 

ROBERT,  Louis  LfiopoLD,  painter,  bom  at  La- 
Chaux-de-Fonds,  in  the  canton  of  Neufchatel,  in 
1794,  at  first  entered  a  house  of  business,  but  his 
love  of  art  induced  him  to  follow  Charles  Girardet, 
the  engraver,  to  Paris  in  1810;  from  him  he 
learned  engraving,  and  then  entered  the  studio  of 
David.  The  cession  in  1815  of  Neufchatel  pre- 
vented him  from  obtaining  the  Grand  Prix 
de  Rome,  as  it  is  only  awarded  to  those  who 
are  natives  of  France,  and  under  the  French 
Government.  In  1814  he  obtained  a  second  prize 
for  engraving.  Disappointed  at  his  want  of  good 
fortune,  he  returned  home,  and  supported  himself 
by  portrait  painting,  till  a  friend  made  it  possible 
for  him  to  go  to  Rome,  which  he  did  in  1818.  In 
1831  he  returned  to  Paris,  but  soon  went  back  to 
Italy  ;  this  time  to  Florence,  where  an  unfortunate 
passion  for  Princess  Charlotte  Bonaparte  kept 
him,  and  on  his  return  to  Venice  in  1835  he 
committed  suicide  in  a  fit  of  despondency.  Pic- 
tures : 

Berlin.iVirfioMaZ  Gallery.     Sleeping  Virgin. 
Munich.        Pinakothek.    'Womau  of  Procida  and  child. 
Paris.  Louvre.    Keturn   from   the  Festival  of 

the  Madonna  dell'  Arco. 
„  „        Reapers      in      the      Pontine 

Marshes. 
„  „         The  Fisherman  of  Lngano. 

„  „        Peasant  Woman  of  the  Cam- 

pagna. 

ROBERT,  Nicolas,  bom  at  Langres  in  1610, 
excelled  in  painting  animals,  insects,  and  plants,  in 
miniature,  and  was  employed  by  Gaston,  Duke  of 
Orleans,  in  painting  the  most  curious  beasts  and 
birds  in  the  royal  menagerie.  The  results  are 
preserved  in  the  National  Library,  Paris,  in  the 
Recueil  des  Valins.  He  was  also  commissioned  to 
engrave  his  own  drawings,  in  which  he  was  assisted 
by  Abraham  Bosse  and  Louis  do  Chatillon.  In 
collaboration  with  Girard  Andran,  he  engraved 
several  plates  of  ornaments,  from  the  designs  of 
G.  Charmetton.  See  the  Ahecedario  de  Mariette, 
vol.  iv.  pp.  408 — 411.     He  died  in  Paris  in  1684. 

ROBERT,  Paul  Ponce  Antoine,  called  Robert 
DE  Seri,  or  R.  DE  Seis,  a  French  painter  and  en- 
graver, born  in  Paris  about  the  year  1680,  was  a 
scholar  of  Pierre  Jacques  Cazes,  and  afterwards 
studied  in  Italy.  On  his  return  to  Paris  he  painted 
an  altar-piece  for  the  church  of  the  Capuchins, 
representing  the  '  Martyrdom  of  St.  Fidelis,'  which 
is  considered  his  principal  work  as  a  painter.  He 
etched  several  of  the  svibjects  executed  in  chiaro- 
scuro, by  Nicolas  le  Sueur,  for  the  Crozat  Col- 
lection. 

ROBERT-FLEURY,  Joseph  Nicfolas,  painter, 
was  born  at  Cologne,  1797,  but  was  brought  to 
Paris  by  bis  parents  at  the  age  of  seven,  and 
received  his  education  in  that  city,  studying  for 

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A  BIOGRAPHICAL  DICTIONARY  OF 


a  time  under  Horace  Vernet,  and  later  under 
Girodet.  After  a  terra  of  study  in  Rome,  he 
finally  settled  in  Paris,  where  he  produced  hia 
most  important  works.  He  was  first  brought 
prominently  before  the  public  by  a  picture  ex- 
hibited in  1833,  the  subject  of  which  was  a  scene 
from  the  Massacre  of  St.  Bartholomew.  He  sub- 
sequentlj'  painted  a  good  many  pictures  of  the 
same  kind,  showing  an  inclination  to  depict  scenes 
of  horror  and  bloodshed  ;  but  later  his  art  took  a 
simpler  and  less  tragic  direction,  with  increased 
success  in  result.  In  1864  he  was  commissioned 
to  paint  four  pictures  for  the  hall  of  the  Tribunal 
de  Commerce  in  Paris,  namely  :  '  The  Installation 
of  the  Judges,  1563 ; '  '  The  Proclamation  of  the 
Trade  Statutes  of  1673;'  'The  Granting  of  the 
Laws  of  Commerce  by  Napoleon  I.;'  and  'The 
Visit  of  Napoleon  III.  to  the  new  Tribunal  de 
Commerce.'  Other  well-known  works  by  him 
are  : 

The  Conference  at  Poissy.  1561.  {Mus.X'at.Luxemlourg.) 

Clovis  entering  Tours.     (Versailles.) 

Baldwin  of  Flanders  before  Edessa.     (  Versailles.) 

The  Marriage  of  Napoleon  III.     {Senate  House.) 

Benvenuto  Cellini  in  his  atelier. 

The  Death  of  Titian.     (Academy  of  Antwerp.) 

Columbus. 

Charles  V.  at  S.  Tuste. 

Fire  in  the  Ghetto.    (Luxemlourg.) 

Louis  XIV. 

Jane  Shore.     (Mus.  Nat.  du  Ltaemlmirg.) 

He  also  painted  several  portraits  of  much  merit 
He  was  member  of  various  foreign  Academies  of 
Arts,  and  received  many  decorations  and  medals, 
both  in  France  and  in  other  continental  countries. 
He  died  in  Paris  in  May  1890. 

ROBERTI,  Albert,  painter,  bom  at  Brussels, 
1811.  He  was  a  pupil  of  Navez,  and  painted 
portraits  and  historical  subjects.  There  are  by 
him,  amongst  other  things,  a  '  Baptism  of  Christ ' 
and  a  '  Review  of  a  Chapter  of  the  Golden  Fleece 
by  Charies  V.'     He  died  in  1864. 

ROBERTI,  DoMENico,  painter,  bom  at  Rome, 
1690.  The  details  of  his  life  are  unknown,  but 
there  are  in  the  Dresden  Gallery  four  pictures  of 
ruins  by  him. 

ROBERTS,  David,  a  Scottish  painter,  bom  at 
Stockbridge,  Edinburgh,  October  2nd,  1796.  His 
parents  were  in  poor  circumstances,  but  his  father, 
a  shoemaker,  remarking  his  strong  artistic  pre- 
dilections, determined  to  give  him  a  trade  in 
which  his  gift  might  have  opportunities  of  develop- 
ment. He  was  accordingly  placed  with  one  Beugo, 
a  house-painter  and  decorator,  and,  after  a  seven 
years'  apprenticeship,  he  turned  his  attention  to 
scene-painting.  He  was  first  employed  by  a 
travelling  company  at  Carlisle,  and  subsequently 
obtained  more  regular  work  at  the  theatres  of 
Glasgow  and  Edinburgh.  In  1822,  whilst  scene- 
painter  at  the  Theatre  Royal,  Edinburgh,  he  sent 
several  architectural  pieces  to  the  Edinburgh  Ex- 
hibition, and  in  the  same  year  was  engaged  as 
scene-painter  to  Drury  Lane  Theatre,  and  settled 
in  London.  He  afterwards  left  Drury  Lane  for  the 
rival  house,  Covent  Garden,  and  in  1824  he  became 
a  member  of  the  Society  of  British  Artists,  and 
exhibited  at  the  Suffolk  Street  Gallery.  A  first 
visit  to  the  continent  took  place  about  this  time, 
and  his  wanderings  amongst  the  picturesque  old 
towns  of  Normandy  resulted  in  his  painting  various 
pictures  during  the  next  two  years,  introducing 
some  of  the  finest  of  their  Gothic  remains.      In 

250 


1826  he  sent  his  first  picture  to  the  Royal  Academy, 
'  Rouen  Cathedral,'  but  for  some  years  after  this 
exhibited  only  at  the  Suffolk  Street  Gallery,  until, 
in  1836,  he  resigned  his  membership.  His  in- 
creasing reputation  now  entitled  him  to  seek  the 
honours  of  the  Academy,  and  in  1839  he  became 
A.  R.  A.,  receiving  the  higher  dignity  two  years 
later.  His  journeyings  in  quest  of  subjects  for  his 
art  were  very  extensive,  and  he  wandered  through 
most  of  the  Western  countries  of  Europe,  also 
visiting  Syria  and  Egypt  in  1838.  Italy  and 
Austria  he  first  saw  in  1851.  Towards  the  close 
of  his  life  he  remained  in  England  and  painted 
English  scenes,  his  last  work  being  a  series  of 
views  on  the  Thames,  of  which  he  had  completed 
six  before  his  death.  His  productions  divide  them- 
selves into  three  classes,  identical  with  tlio  various 
influences  under  which  he  came.  The  pictures 
dealing  with  scenes  from  Western  Europe,  and 
painted  before  1838,  are  after  the  Dutch  manner, 
broad  in  treatment  and  luminous  in  colour.  After 
his  visit  to  the  East  he  adopted  a  colder  and 
thinner  style,  and  in  his  latest  work  these  defects 
were  aggravated  by  an  unpleasant  blackness  of 
tone.  His  strength  lies  in  his  fine  feeling  for 
architectural  effect,  artistic  composition,  and  good 
drawing  of  detail.  His  pictures  were  at  one  time 
very  popular,  and  in  addition  to  his  paintings  he 
made  considerable  sums  by  his  published  works, 
of  which  the  best  known  are  his  lithographed 
'  Picturesque  Sketches  in  Spain,'  'Sketches  in  the 
Holy  Land  and  Syria,'  and  his  '  Italy :  Classical, 
Historical,  and  Picturesque.'  For  some  years  he 
also  contributed  drawings  to  the  '  Landscape 
Annual.'  He  was  a  member  of  various  foreign 
Academies,  and  was  appointed  one  of  the  Com- 
missioners for  the  Great  Exhibition  of  1851.  On 
November  26th,  1864,  he  had  an  apoplectic  seizure 
in  the  street,  and  died  in  the  evening  of  the  same 
day.  His  Life  has  been  written  by  James  Ballantine. 
Among  his  numerous  works  in  oil  and  water-colour 
we  may  mention : 

London.      Nat.  Gallery.    Interior     of     the     Cathedral, 

Burgos. 
„  „  Chancel     of     the     Collegiate 

Church      of      St.     Paul     at 

Antwerp. 
„     South  Kensington.    Entrance  to  the  Crypt,  KosUn 

Chapel 
„  „  Old  Buildings  on  the  Darro, 

Granada. 
„  „  The  Gate  at  Cairo  called  '  Bab- 

el-Mutawellee.' 
„  „  Interior  of  Milan  Cathedral. 

„  „  The   Porch  at  Ruslin.     1845. 

(  Water-colour.) 
„  „  Sketch    of   the  opening  cere- 

monial of  the  International 

Kxhibition  of  1851.     (Do.) 
„  „  Great  Temple  of  Edfou,  Upper 

Egypt.     1838.     (Do.) 
„  „  The  Pyramids,  from  the  Nile. 

1845.     (iJo.) 
„  „  Gateway,  Spain.     (Do.) 

„  „  Alcazar  of  Carraoua,  Andalusia. 

1833.     (Do.) 
„  „  Castle  of  Ischia.     (Do.) 

„  „  Isola   Bella,    Lago    Maggiore. 

(So.) 
„  „  Interior    of     Roslin    Chapel. 

1830.    (Do.) 
„  „  Fontarabia,  Spain.   1836.    (Do.) 

„  „  Church   of    St.   Pierre,  Caen. 

1831  ?     (Do.) 
„  „  March6     an     B16,    Abbeville. 

1825.     (Do.) 


t)AVlD  ROBERTS 


[Ta/e  Gallery 


INTERIOR  OF  THE  CHURCH  OF  ST.   PAUL  AT  ANTWERP 


PAINTERS  AND  ENGRAVERa 


London.   Sovth  Kensint)-  \  Interior  of   the  Capilla  de  los 
ion.         J      Reyes   in    the   Cathedral   of 
Granada.     (Do) 
„  City  Gallery.    Antwerp  Cathedral. 

„  „  Interior     of     St.     Stephen's, 

Vienna. 
Kdinborgh.  Nat.  Gallery.    Eome.    Sunset  from  the  Con- 
vent of  San  Onofrio. 

The  following  works  are  in  private  collections : 
Eouen  Cathedral. 
Church  of  St.  Germain,  Amiens. 
Interior  of  Milan  Cathedral.     (Dan.  Tkicaites^  Esg.) 
Chapel  in  the  Cathedral  of  Dixmade,  West  Flanders. 

(Ovmer  unknown,  once  in  Fender  Collection,) 
Baalbek.     ( JT.  H.  Jiouldsworth,  Esq.  M.P.) 
Ruins  of  Baalbek.     [R.  Bncklehank,  Esq.) 
Temple  of  the  Sun. 
Destruction  of  Jerusalem. 
Jerusalem  from  Mount  Olivet. 
Rome.    The  Tiber. 
Paestum.    (N.  Eckersley,  Esq.) 
New  Palace  of  Westminster.     (C.  Zjicas,  Esq.) 
The  Thames  at  Greenwich.     (Ho.) 

ROBERTS,  Edward  John,  an  English  engraver, 
bom  in  1797.  He  studied  under  Charles  Heath, 
with  whom  he  worked  many  years,  on  the  '  Annuals.' 
His  name  does  not  often  occur,  as  be  was  chiefly 
engaged  in  etching  the  engraver's  plates.  He  died 
in  1865.    Specimens  of  his  art  are  to  be  found  in  : 

Prout's  '  Continental  Annual.'     1832. 

Roberts'  '  Pilgrims  of  the  Rhine.' 

Birket  Foster's  '  Rhine.' 

ROBERTS,  Henry,  an  English  engraver,  bom 
about  1710.  There  are  some  humorous  prints, 
large  landscapes,  &c.  by  him.  One  of  his  land- 
scape plates,  after  T.  Smith,  of  Derby,  is  dated 
1743.  He  was  a  print-seller  in  Hand  Court,  Drury 
Lane,  and  mostly  confined  his  attention  to  plates 
for  which  he  might  hope  to  find  a  ready  sale  at 
small  prices.     He  died  before  1790. 

ROBERTS,  James,  an  English  engraver,  was 
bom  in  Devonshire  in  1725.  He  engraved  several 
landscapes  and  views  from  the  pictures  of  Richard 
Wilson,  George  Barret  the  elder,  Smith  of  Chiches- 
ter, and  others  ;  also  '  Fox  Hunting,'  in  four  plates, 
after  James  Seymour.  Two  small  marine  views 
after  Pillement.     He  died  in  London  in  1799. 

ROBERTS,  James,  son  of  the  last-named,  was 
bom  at  Westminster  about  the  middle  of  the  18th 
century.  He  was  awarded  a  prize  at  the  Society  of 
Arts  in  1766,  and  first  exhibited  at  the  Academy 
in  1783.  After  practising  some  years  at  Oxford, 
he  settled  at  Westminster  about  1794,  and  subse- 
quently held  the  appointment  of  portrait  painter 
to  the  Duke  of  Clarence.  In  1809  he  published 
some  '  Lessons  in  Water-colour  Painting,'  which 
LB  the  last  trace  we  have  of  hira.  Amongst  his 
works  are : 

London.       Garrick  Club.    Mrs.  Abingdon  in  the  '  School 
for  Scandal.' 

„       British  Museum.    A  series  of  elaborate  Water- 
colour  Drawings. 
Oxford.  Bodleian.    Portrait  of  Sir  John  Hawkins. 

1785. 

ROBERTS,  TnoMAS,  an  Irish  landscape  painter, 
born  at  Waterford  about  the  middle  of  the  18tli 
century.  He  studied  under  George  Mullens,  and 
was  patronized  by  the  Duke  of  Leinster  and  by 
Viscount  Powerscourt.  He  died  at  Lisbon,  where 
he  had  gone  for  his  health.  His  sister,  a  landscape 
painter  of  some  skill,  was  employed  as  scene-painter 
in  the  Waterford  theatre. 

ROBERTS,  Thomas  Sautelle,  an  Irish  landscape 
painter,  born  in  the  latter  half  of  the  18th  century. 
He  was  the  younger  brother  of  Thomas  Roberts, 


the  landscape  painter,  and  at  first  studied  as  an 
architect.  Devoting  himself  to  landscape  painting, 
he  settled  in  London,  and  exhibited  at  the  Royal 
Academy  from  1789  to  1818.  Returning  to  Ireland, 
he  took  a  leading  part,  in  1823,  in  forming  the 
Incorporation  of  Artists  in  Dublin.  There  is  at 
the  Kensington  Museum  a  water-colour  drawing 
by  him  of  St.  John's  Abbey,  Kilkenny.  He  died  in 
1826. 

ROBERTSON,  Alexander,  a  Scottish  land- 
scape and  miniature  painter,  fourth  son  of  William 
Robertson  of  Drumnahoy,  parish  of  Cluny,  near 
Monymusk,  Aberdeenshire,  and  Jean,  his  wife, 
daughter  of  Alexander  Ross  of  Balnagowan,  was 
born  at  Aberdeen,  13th  M.-iy,  1772.  He  received 
instruction  in  art  from  his  eldest  brother  Archibald 
(q.v.).  Inl791  hewentto  London.where  he  attended 
the  schools  of  the  Royal  Academy,  and  studied 
miniature  painting  under  Samuel  Shelley.  In 
1792  he  joined  his  brother  Archibald  in  New 
York,  where  they  at  once  opened  the  Columbian 
Academy,  which  flourished  for  many  years  at  79, 
Liberty  Street.  In  1799  he  went  to  the  Lakes 
and  Canada  ;  there  he  painted  a  great  deal,  and 
many  of  his  landscapes  were  engraved.  He  was 
eminent  as  a  teacher,  and  so  fully  occupied  that 
after  1802  he  painted  but  little.  He  was  Secretary 
of  the  American  Academy  of  Fine  Arts  under  the 
Presidency  of  John  Trumbull.  Alexander  felt 
keen  interest  in  the  improvement  of  f-neral 
education,  and  was  one  of  the  original  incor- 
porators of  what  afterwards  became  the  gigantic 
public  school  system  of  New  York  City.  He  was 
a  studious,  hard-working,  and  gentle-natured 
man  of  retiring  disposition.  He  died  in  New  York 
in  1841.  The  artistic  talent  of  the  three  Robert- 
son brothers  was  probably  inherited  from  the 
mother's  side,  as  the  farm  of  Drumnahoy  was 
carried  on,  from  father  to  son,  by  the  Robertson 
family  for  nearly  200  years.  jr. 

ROBERTSON,  Andrew,  miniature  painter, 
youngest  son  of  William  Robertson  of  Drumnahoy, 
and  Jean  Ross,  his  wife,  was  bom  at  Aberdeen, 
14th  October,  1777.  From  childhood  he  evinced  a 
thirst  for  knowledge,  with  versatility  of  talent 
and  earnestness  of  purpose.  When  his  brothers 
Archibald  and  Alexander  {q.  v.)  went  to  America 
he  was  at  college,  intended  for  the  medical  profes- 
sion. His  father's  failing  health  and  straitened 
circumstances  showed  that  the  charge  of  the  family 
would  devolve  upon  him,  two  delicate  sisters 
and  a  brother  of  weak  intellect  being  unable  to 
assist.  He  at  once  relinquished  his  studies,  and 
took  up  the  pencil  in  their  behalf  Having  made 
diligent  use  of  his  brothers'  instruction  for  some 
years,  he  was  able  to  start  a  drawing-class  and 
private  teaching  without  delay.  He  painted  what- 
ever offered,  from  scenery  for  the  theatre,  and  flags 
for  processions,  to  miniatures.  Through  the 
kindness  of  Mr.  John  Ewen,  Andrew  had  six 
months'  instruction  at  Edinburgli  from  Alexander 
Nasmyth  and  Henry  Raebum,  who  allowed  him 
to  copy  several  portraits.  In  1794  he  was  engaged 
to  teach  drawing  at  Gordon's  Hospital.  His  con- 
nection increased  year  by  year:  he  made  excursions 
to  paint  at  Banff,  Peterhead,  «c.,  and  worked  six- 
teen hours  a  day  for  months  together,  yet  he  found 
time  for  study,  and  took  the  A.iL  degree  at 
Marischal  College.  His  musical  abilities  brought 
him  into  notice,  as  he  was  for  some  years  Director 
of  the  Aberdeen  concerts,  of  which  Mr.  Ewen 
managed  the  business  matters.    From  1797  he  was 

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A  BIOGRAPHICAL  DICTIONARY  OF 


fully  employed  in  miniature  painting,  but  he  felt 
the  need  of  further  study,  and  decided  to  go  to 
London  for  a  year.  He  arranged  with  a  clever 
young  man  named  Wilson,  from  Edinburgh,  to 
carry  on  his  drawing-school  and  private  teaching, 
and  arrived  at  Woolwich,  2nd  June,  1801,  after 
four  days'  passage  from  Leith.  He  took  lodgings 
at  26,  Surrey  Street,  Strand,  and  Mr.  Ewen  having 
given  him  a  letter  to  William  Hamilton,  R.A.,  he 
was  kindly  received,  and  enabled  to  begin  at  once 
to  draw  for  permission  to  study  at  the  Koyal 
Academy.  He  was  soon  introduced  to  Northcote, 
who  approved  of  his  work,  and  gave  him  a  letter 
to  the  Keeper,  Mr.  Wilton,  who  allowed  him  to 
draw  there  for  admission  as  a  student.  He  worked 
hard,  and  obtained  his  ticket  23rd  October.  He 
had  also  been  busy  painting  small  miniatures, 
following  the  instructions  contained  in  a  treatise 
written  for  him  in  1800  by  his  eldest  brother, 
Archibald.  He  now  made  a  copy  of  Van  Dyck's 
'  Gevarlius '  and  Titian's  '  Danae,'  the  ivory  of  each 
measuring  eight  inches  by  seven,  and  the  heads 
three  inches.  He  aimed  at  producing  the  richness 
of  oil-painting  with  the  delicacy  of  water-colour. 
He  then  painted  a  portrait  of  himself,  and  one  of 
Peter  Coxe,  author  of  'The  Social  Day,'  in  the 
same  style.  He  attended  classes  for  dissecting 
and  lectures  on  comparative  anatomy,  and  was 
admitted  to  the  Life  Academy,  22nd  March,  1802. 
At  the  Hoyal  Academy  his  own  likeness  and  that 
of  Coxe  were  placed  in  the  centre  of  the  minia- 
tures, and  attracted  attention.  Robertson's  cabinet 
portraits  on  ivory  were  a  novelty  and  a  surprise  to 
the  artists,  most  of  all  to  the  great  miniaturists, 
Cosway  and  Humphrey,  who,  to  his  amazement, 
asked  how  they  were  done,  and,  like  West  and 
Shee,  pronounced  them  "a  new  style,"  prais- 
ing their  brilliancy  and  softness.  Humphrey 
compared  the  correctness  of  drawing  with  that 
of  Holbein.  Robertson  made  a  second  copy  of 
'Gevartius,'  smaller,  which  he  sent  to  America, 
also  one  of  '  Danae,'  having  lost  the  first  from  his 
portfolio.  The  labour  of  these  large  heads  was 
very  great  and  his  eyes  felt  the  strain.  In  the 
autumn  of  1802  it  became  necessary  for  him  to 
go  to  Scotland  ;  he  had  been  in  London  longer 
than  the  j'ear  intended,  and  the  family  at  Aberdeen 
were  getting  into  debt.  He  sailed  for  Leith  9lh 
December,  and  remained  in  Scotland  for  three 
months.  He  painted  eight  miniatures  besides 
several  portraits  in  oils,  one  of  Baillie  Littlejohn, 
and  one  of  Mi.ss  Charlotte  Lnmsden^  a  child, full- 
length,  with  skipping-rope  (thirty  guineas).  In 
1803  Robertson  exhibited  three  large  miniatures, 
viz.  Benjan>in  West,  P. R.A.  (eight  inches  by  six), 
Mr.  Peter  Warren,  and  a  female  head,  entered  as 
'  Jennj'.'  These  were  placed  in  the  centre  with  the 
miniatures,  although,  contrary  to  rule,  they  were 
in  massive  gilt  frames,  like  oil  paintings.  lie  was 
now  copying  Titian's  '  Venus,'  '  Jlars,'  and  'Cupid  ' 
for  Mr.  Coxe,  through  whose  kindness  he  had 
permission  to  copy  the  '  Gevartius,'  then  in 
Angerstein's  collection.  In  the  summer  of  1803 
Robertson  joined  the  corps  of  Loyal  North  Britons. 
He  had  been  fugleman  in  the  Aberdeen  Corps  of 
Volunteers,  and  was  soon  made  lieutenant,  with 
command  of  a  company  (3rd  October)  under  Lord 
Reay,  who  sat  to  him  for  a  large  miniature  which 
lie  exhibited  in  1804  with  one  of  Dr.  Barrington, 
Bishop  of  Durham  (engraved),  also  Captain  Drum- 
mund,  Mrs.  Ferguson,  and  Mrs.  Mackenzie.  This 
year  he  painted  the  Volunteer  Colonels  of  London, 
252 


to  be  engraved,  they  were  Birch,  Canning,  Combe, 
Cox,  Erskine,  Hankey,  Kensington,  Reader,  Shaw, 
and  Smith.  In  1805  six  Colonels  were  cxliihited, 
also  Mr.  Pitt,  Captain  Skene,  Miss  Purt,  Miss 
Dickson,  <fec.,  altogether  fourteen,  some  at  British 
Institution.  Lord  Huntly  sat  for  a  large  miniature, 
of  which  there  were  two  replicas.  It  was  engraved, 
as  were  also  the  portraits  of  West  and  Bishop 
Barrington.  He  was  now  a  member  of  the  High- 
land Society  of  London,  and  took  an  active  part 
in  the  execution  of  the  medal  given  to  the  42nd 
Regiment,  designed  by  West. 

H.R.H.  the  Duke  of  Sussex  had  succeeded  Lord 
Reay  as  Colonel  of  the  Loyal  North  Britons,  and 
Robertson  had  the  command  of  two  rifle  com- 
panies ;  he  was  appointed  Miniature  Painter  to 
H.R.H.  in  December  1805.  Hitherto  he  had  lived 
in  apartments  in  Cecil  Street ;  he  now  leased  a 
house,  32,  Gerrard  Street,  Soho,  looking  up  Dean 
Street,  where  he  resided  for  twenty-five  years.  In 
1806  he  exhibited  three  large  miniatures — H.R.H. 
the  Duke  of  Sussex,  Lord  Huntly,  Colonel  of  the 
42nd  Regiment,  afterwards  last  Duke  of  Gordon, 
and  Mrs.  Murray,  also  three  Colonels  and  Mrs. 
Stephenson.  In  February  1807  he  was  commanded 
to  attend  at  Windsor  Castle,  and  remained  for  a 
month,  taking  daily  sittings  from  the  Princesses 
Augusta,  Elizabeth,  Sophia,  Mary  and  Amelia ; 
the  latter  was  engraved,  and  after  her  death  he 
made  copies  for  all  the  Royal  Family.  In  July 
he  painted  the  Prince  of  Wales  at  Carlton  House. 
This  year  he  took  a  leading  part  in  forming  the 
Society  of  Associated  Artists  in  Water-Colours, 
and  was  appointed  Secretary,  but  pressure  of  work 
obliged  him  to  resign  the  following  year.  He 
now  recommenced  attending  the  Royal  Academy 
in  the  evenings,  and  practised  oil  painting  under 
Sir  William  Beechey  ;  he  also  attended  a  course 
of  lectures  on  chemistry  in  relation  to  colours. 
In  March  1808  he  went  to  Windsor  and  finished 
the  miniatures  of  the  Princesses  ;  they  were  of 
an  intermediate  size,  but  similar  in  style  to  the 
large  ones.  Robertson  had  now  formed  his  own 
method,  and  described  it  in  a  treatise  written  this 
year,  and  sent  to  his  brothers  in  New  York.  In 
this  he  omitted  all  that  he  had  retained  of  his 
brother  Archibald's  directions,  which  had  been  so 
helpful  to  him.  Andrew  Robertson  had  no  rival 
in  his  cabinet  portraits,  his  contemporary,  the 
gifted  A.  E.  Chalon,  developed  a  style  of  his  own. 
The  rising  miniaturists  followed  Robertson's  lead, 
and  were  nearly  all  more  or  less  his  pupils  (W.  C. 
Ross  from  the  age  of  fourteen).  A  large  miniature 
of  Mrs.  Mary  Anne  Clarke  was  finished  in  1809 
(and  a  replica)  to  be  engraved  for  her  memoirs. 
In  1811  he  painted  the  last  of  his  largi^st  heads, 
measuring  three  inches  ;  this  picture,  'The  Gipsy 
Mother,'  was  afterwards  engraved  for  the  '  Book 
of  Gems.'  The  ivory  was  about  nine  inches  by 
seven.  He  painted  others  as  large,  some  full- 
lengths,  the  head  smaller.  In  1812  Robertson 
attended  a  levee  with  the  other  Captains  of  the 
Loyal  North  Britons.  The  Prince  Regent  sat  the 
same  year  for  a  small  miniature  (oval)  of  which 
a  replica  was  painted.  A  large  miniature  of 
Mrs.  Dingwall  was  exhibited,  also  a  drawing  of 
seven  children  of  Mr.  W.  Bell,  full-lengths  (a 
hundred  guineas).  During  the  autumn  Robertson 
spent  two  months  in  Paris,  and  wrote  an  interest- 
ing diary  relating  to  artistic  and  military  matters. 
He  continued  to  have  great  pressure  of  work,  and 
in  1819  he  raised  his  prices  for  the  third  and  last 


ANDREW  ROBERTSON 


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\ColUctiim  of  Miss  K.  Robertson 


THE  ARTIST  BY  HIMSELF 


PAINTERS  AND  ENGRAVERS. 


time.  The  best  work  of  his  riper  years  was 
executed  from  this  time  to  1830,  after  wliich  he 
painted  no  large  miniatures.  Lockets,  brooclies 
and  bracelets  had  again  become  fashionable.  In 
1830  he  removed  to  19,  Berners  Street,  where  he 
resided  until  he  retired  in  1841.  In  his  sixtieth 
year  he  painted  a  very  minute  likeness  of  George 
IV.  for  a  ring,  the  ivory  measuring  less  than 
three-eighths  of  an  inch  square.  In  1838  he 
attended  a  levee  in  Highland  dress,  wishing  to 
do  homage  to  the  young  Queen.  About  this 
time  he  wrote  some  papers  on  '  The  Perception 
of  Beauty,'  and  on  '  Light  and  Shade.'  In  1841 
he  visited  Scotland  for  the  last  time.  The  troubled 
state  of  the  Church  distressed  him,  and  on  his  return 
he  wrote  a  long  paper  on  the  subject.  In  1842  he 
had  a  fall  which  seriously  injured  the  muscles  of 
the  neck,  and  his  health  declined  from  that  time. 
In  1844  he  wrote  a  short  history  of  miniature 
painting,  in  which  he  referred  to  the  remark  of  Sir 
Martin  Shee,  P.R.A.,  that  it  had  become  "a  new  art." 
Very  large  miniatures  were  then  in  demand,  far 
too  large  for  work  on  ivory,  and  too  laborious  to 
repay  the  artist.  Andrew  Robertson  desired  only 
that  portrait  miniatures  should  be  of  such  size 
and  quality  as  would  render  them  equal  in  com- 
position and  colouring  to  good  oil-paintings  ;  he 
was  regarded  by  the  profession  as  the  father  of 
this  style.  He  died  at  Hampstead,  5th  December, 
1845.  In  his  private  life  he  was  a  good  son  and 
brother,  a  devoted  husband  and  father.  His 
interest  in  many  subjects,  and  his  ability  to  take 
part  in  quartet-playing  and  glees,  made  him 
popular  in  society.  Andrew  Robertson's  patriotism 
and  philanthropic  spirit  led  him  into  much  arduous 
labour  outside  his  profession,  and  several  times 
his  health  broke  down  from  overwork.  He  took 
a  very  active  part  in  founding  the  Artists'  Benevo- 
lent Fund  in  1810,  and  its  branch,  the  Artists' 
General  Benevolent  Institution,  of  which  he  was 
Deputy  Chairman  in  1818,  and  Hon.  Secretary 
until  1833,  also  Vice-President.  The  work  was, 
at  times,  overwhelming.  In  1818  he  was  a 
Director  of  the  Highland  Society  of  London, 
and  for  many  years  actively  zealous  in  promoting 
its  objects,  including  his  arduous  work  for  the 
establishment  of  the  Caledonian  Asylum  during 
ten  years  ;  he  was  Treasurer  from  1813  to  1822, 
Convener  of  Committees,  Director,  &c.  The  West- 
minster General  Dispensary,  then  located  next 
door  to  his  house  in  Gerrard  Street,  was  greatly 
in  need  of  help  in  the  management ;  the  physicians 
being  personal  friends,  his  sympathies  were  roused, 
and  from  1814  he  devoted  much  time  for  the 
benefit  of  the  suffering  poor.  These  charitable 
objects  he  brought  under  the  notice  of  the  Royal 
Dukes  successfully  ;  for  thirty  years  before  he 
retired  they  occupied  his  pen  by  night  and  his 
thoughts  by  day  in  disinterested  beneficence. 

Andrew  Robertson's  large  and  intermediate- 
sized  miniatures  included  a  replica  of  H.K.H.  the 
Duke  of  Sussex,  of  the  Marquis  of  Huntly,  and 
Sir  Henry  Rivers,  Bart.  (1807),  Colonel  Sibthorpe 
and  family  (1808),  Mr.  and  Mrs.  Brooke,  Miss 
Fawcett,  Henry  and  James  in  one  picture,  Mrs. 
P.  Wyatt,  Mr.  Ilanbury  Tracy,  senior  (copy  after 
Gardiner),  David  Wilkie  (1811),  the  Duchess  of 
Gordon,  from  corpse  (1812),  Mr.  and  Mrs.  Forbes  of 
Lockiel  (1813),  Master  and  Miss  Stephenson  (1814), 
Mrs.  W.  Bell,  Miss  Thomas  (1816),  the  Marquis 
of  Wellesley,  Mr.  Johnston,  Mr.  E.  Johnston,  Miss 
Sinclair  of  Belfast,  a  copy  (1817),  Mrs.  Attersale, 


Lady  Burdett,  Mrs.  Bowen  and  child  (1818),  Lord 
Weymouth,  full-length,  and  a  replica,  Mrs.  Leslie, 
Mrs.  Leigh,  Mr.  Alexander  Murray  of  Broughton, 
and  a  replica  (1819),  Mrs.  Johnston  (1820),  Lady 
Sitwell,  Mr.  Charles  Russell,  Archdeacon  Coxe 
(1821),  Captain  Barnard  (1822),  the  Marquis  of 
Wellesley,  full-length,  in  robes  as  Lord  Lieutenant 
of  Ireland  (1823),  Lady  Louisa  Macdonnell  (copy 
after  Jackson),  Mr.  E.  J.  Johnston,  with  dog, 
Miss  Schuyler  (Mrs.  Johnston),  JEneaa  Macdonnell 
of  Glengarry,  full-length,  and  a  replica,  with 
deer-hound  and  dead  stag  (1824),  the  Marchioness 
of  Wellesley,  three-quarter-length  (also  a  replica), 
engraved  (1825),  Mrs.  Howell  (1826),  Sir  George 
Abercrombie  Robinson,  Provost  Brown  of  Aber- 
deen, the  Recorder  of  London  (Knowles)  in  robes, 
engraved  (1827),  Sir  Francis  Chantrey,  with  bust 
of  George  IV.  (1829),  Mr.  II.  Mackenzie  (1833), 
Mr.  Chalmers  of  Aberdeen,  the  Duke  and 
Duchess  of  Roxburgh  (1836),  Mrs.  Lovibond, 
Mr.  Macgillivray  (1837).  Many  miniatures  were 
engraved,  also  several  water-colour  drawings,  e.  g. 
Rev.  Edward  Irving,  Rev.  Hugh  Macneile, 
D.D.,  the  Duchess  of  Roxburgh,  &c. 

Andrew  Robertson  painted  in  oils  from  time  to 
time,  e.  g.  Rev.  Dr.  Lindsay  (engraved),  and  Mr. 
Simon  Macgillivray  (1820).  Copies  after  Van 
Dyck,  head  of  old  beggarman,  &c.  Smaller 
miniatures  included  the  Duke  of  Gordon  (1801), 
the  Marquis  of  Uuntly  (1805),  Lady  Mary  Erskine 
(1806),  H.R.H.  the  Duke  of  Sussex  (1807,  1808, 
1817),  Lord  St.  John  (1807),  Lord  and  Lady 
Bernard  (1809),  Lord  Ljrttleton,  self  for  brooch 
(1811),  H.R.H.  the  Duke  of  Clarence,  and  replica, 
Sir  George  and  Lady  Hoste,  Lady  and  Miss  Lacon 
(1812),  Lord  Kennedy  (1814),  Lady  Sitwell,  Bishop 
Skinner  (engraved),  Sir  WilUam  Paxton  (1815), 
the  Marquis  of  Wellesley,  Sir  John  Sinclair 
(engraved),  Colonel  John  'Trumbull  (1817),  the 
Earl  of  Denbigh,  Lord  Weymouth  (1818),  Lord 
King  (1819),  Archdeacon  Coxe,  Lady  and  Miss 
Hunter  (1821),  Lady  Denbigh  (1822),  Lady  King 
(182.3),  Kev.  E.  Bickersteth,  Lady  Smith  (1826), 
Lady  Gore  Booth,  Miss  and  Master  Ainslie,  very 
small  (1828),  Lady  Hamilton,  Sir  Robert  Gore 
Booth,  for  bracelet.  Lady  Gore  Booth  (engraved), 
three  children  of  Mrs.  Ainslie,  for  lockets  (1830), 
Hon.  Mrs.  Ramsay,  Lady  North  (both  engraved) 
(1832),  Lord  Viscount  Beresford,  Judge  Barton 
(1833),  Sir  C.  LesHe  (1834),  Hon.  Captain  Maule 
(1835),  Lord  Strangford,  Mrs.  Gore  Booth  (1836), 
self  for  bracelet  (1837),  Lady  W.  Gordon  (1839). 
Over  1000  miniatures  were  painted  in  London. 

E.R; 
ROBERTSON,  Archibald,  portrait  painter  in 
oils  and  miniature,  eldest  son  of  William  Robert- 
son of  Drumnahoy,  and  Jean  Ross,  his  wife,  was 
bom  at  Monymusk,  May  8,  1765.  His  parents 
removed  to  Aberdeen  when  he  was  a  child,  and 
he  had  a  good  education  at  King's  College.  In 
early  youth  he  manifested  general  talent,  and 
marked  aptitude  for  the  fine  arts.  In  1782  he 
went  to  Edinburgh  for  study,  and  received  instruc- 
tion in  oil  and  water-colour  painting.  His  first 
teacher  in  miniature  work  was  a  deaf  mute, 
probably  Charles  Sheriff  of  Bath.  In  1784  he 
returned  to  Aberdeen,  and  in  1786  he  went  to 
London,  where  he  studied  at  the  Royal  Academy. 
Sir  William  Chambers,  the  architect,  introduced 
him  to  Sir  Joshua  Reynolds,  who  at  once  admitted 
him  to  his  studio  as  a  pupil.  While  here  he  copied 
at  least  two  of  Reynolds'  well-known  pictures,  viz. 

253 


A  BIOGRAPHICAL  DICTIONARY  OF 


his  own  likeness  and  that  of  Doctor  Beattie,  both 
represented  in  the  scarlet  gown  of  Doctor  of  Laws, 
tlie  latter  with  allegorical  treatment  in  reference 
to  Dr.  Beattie 's  '  Essay  on  Truth,'  the  exquisite 
figure  of  the  angel   being  beautifully  reproduced 
by  Robertson.     Both  copies  were  in  miniature,  on 
ivory.     His  father's  failing  health  obliged  hira  to 
return  to  Aberdeen,  where  he  worked  diligently 
for  the  support  of  the  family,  and  instructed  his 
younger    brothers,    Alexander    and    Andrew,   in 
drawing.     In  1791  he  was  urgently  invited  to  go 
to    New    York,   through   Dr.    Gordon   of  King's 
College,  Aberdeen.    The  Earl  of  Buchan  gave  him 
a  letter  of  introduction  to  President  Washington, 
with  a  request  for  his  portrait  in  oils  painted  by 
Robertson.     He  arrived  at  New  York,  October  2, 
1791,  and  proceeded  to  Philadelphia  to  deliver  the 
letter  and  the  Earl's  present  of  a  silver-mounted 
box  made  of  the  oak  which  sheltered  Sir  William 
Wallace  after  the  battle  of  Falkirk.      Robertson 
was  cordially  received  and  entertained  by  Wash- 
ington, who  introduced  him  to  his  wife  and  family. 
The  portrait  for  the  Earl  of  Buchan  was  painted, 
and  received  his;h  commendation.     Robertson  also 
painted    a    second,    on    marble,   in    water-colour, 
measuring   12  by  9   inches,  and   two  small   oval 
miniatures  of  General  and  Mrs.  Washington  on 
ivory,  which  remain  as   heirlooms  in  his  family. 
Meeting     with     immediate      encouragement     in 
New    York,   Robertson    decided    to  settle   there, 
and    soon    planned     the     establishment     of    the 
Columbian   Academy   of    Fine   Arts,   which   was 
eminently  successful  for  many  years,  and  greatly 
helped      by     the     co-operation     of    his     brother 
Alexander,  who  followed  him  to  New  York  within 
a  year.     As  a  teacher,  Archibald  Robertson  was 
talented  and  painstaking;  not  only  did  he  carefully 
explain  principles,  but  he  wrote  instructions  to  be 
studied  by  his  pupils.     His  treatise  on  the  '  Ele- 
ments of  the  Graphic  Arts '  was  printed  in  1802  for 
their  use.    In  miniature  painting  he  aimed  at  more 
important  works  than  those  of  the  period,  and  he 
had  evidently  been  encouraged  by  Reynolds   to 
copy  large  oil-paintings,  in  miniature,  on  ivory. 
Richness  of  colouring  and  breadth  of  treatment 
would   be   needed   for  these   works.       Robertson 
painted   a   likeness   of   Alexander    Himilton    on 
marble,  as  a  companion  to  the  one  of  Washington, 
and  also  a  large  miniature  portrait  of  Commodore 
Truxton,  commander  of  the  '  Constellation,'  which 
was  engraved.    Otherwise  he  seems  to  have  painted 
the  usual  oval  miniatures  for  the  general  public. 
In  1800  he  wrote  for  hisyounger  brother,  Andrew, 
then  in  Aberdeen,  a  treatise  on  the  technique  of  the 
artjgiving  minute  details  as  to  method  and  colour- 
ing.    This  seems  to  be  the  only  existing  record 
from   the    pen    of    a   contemporary    of    Cosway, 
Humphrey,  Shelley,  G.  Engleheart,  &c.,  when  they 
were  at  their  best.     In  1802  Robertson  was  called 
upon  to  advise  on  the  subject  of  a  contemplated 
Art  Union  in  New  York,  but  the  American  Academy 
of  Arts  was  not  incorporated  until  about  six  years 
later.     Of  this  Robertson  was  a  director  for  many 
years.    The  last  public  enterprise  in  which  he  took 
part  was  on  the  formal  opening  of  the  Erie  Canal. 
For  this  he  designed  the  badge  worn  by  the  guests, 
and   afterwards  adapted   for  the  commemoration 
medal.     He  also  supplied  a  drawing  of  the  fleet 
preparing  to  form  in  line,  and  two  maps,  showing 
the  course  of  the  canal  and  its  connection  with  the 
water-courses  of  the  Northern  Continent,  for  C.  D. 
Colden's  Memoir  of  the  event,  a  handsome  quarto 
254 


volume.  For  these,  and  for  his  able  supervision 
of  the  Department  of  the  Fine  Arts,  the  city  cor- 
poration tendered  him  their  thanks,  and  awarded 
him  a  silver  medal,  a  maple  box,  and  a  copy  of 
Colden's  Memoir.  Robertson  was  a  prolific  painter, 
his  scope  was  varied,  and  he  was  very  exact  in 
minute  details.  This  characteristic  addsvalue  tohis 
early  maps  of  New  York  City.  He  was  among 
those  who  offered  designs  for  the  City  Hall  and 
other  public  buildings.  He  greatly  encouraged 
the  introduction  of  lithography  in  America  by 
Anthony  Imbert.  Languages  and  literature  were 
his  hobby  through  life.  During  the  last  few  years 
his  eyesight  failed.     He  died  in  1835.  jj  r 

ROBERTSON,  Charles,  an  Irish  miniature 
painter,  the  younger  brother  of  '  Irish  Robertson,' 
who  practised  in  Dublin  about  the  end  of  the  18th 
century.  Coming  to  London,  he  exhibited  at  the 
Royal  Academy  for  some  years  from  1806  onwards. 
Returning  to  Ireland,  he  took  a  prominent  part  in 
the  movement  which  led  to  the  foundation  of 
the  Royal  Hibernian  Academy. 

ROBERTSON,  George,  born  in  London  about 
the  year  1742,  was  instructed  in  design  in  Shipley's 
drawing-school.  His  father,  a  wine  merchant, 
brought  up  his  son  to  the  same  business.  At 
an  early  age,  however,  he  went  to  Italy  with 
Beckford,  where  he  chiefly  studied  landscape 
painting,  and  produced  some  pictures  which  pos- 
sessed considerable  merit.  He  afterwards  visited 
the  island  of  Jamaica,  where  he  made  several 
drawings  and  pictures  of  views  of  that  country, 
some  of  which  were  exhibited  in  1775.  Not 
meeting  with  the  encouragement  he  expected,  he 
adopted  the  profession  of  a  drawing-master,  in 
which  he  was  more  successful.  He  died  in  1788. 
We  have  a  few  landscape  etchings  by  him  from 
his  own  designs. 

ROBERTSON,  Mrs.  J.,  an  English  miniature 
painter,  and  niece  of  George  Saunders.  She  had  a 
good  practice  in  London,  and  exhibited  at  the  Royal 
Academy  from  1824  to  1844.  She  then  migrated 
to  Russia,  when  she  was  elected  a  member  of  the 
St.  Petersburg  Academy. 

r.OBERTSON,  Walter,  an  Irish  miniature 
painter,  known  as  '  Irish  Robertson,'  who  prac- 
tised in  Dublin  about  the  end  of  the  18th  century. 
In  1793  he  departed  to  America  with  Gilbert  Stuart, 
after  which  he  went  to  the  East  Indies,  where  he 
died. 

ROBERTUS  DI  ODERISIO.  See  Oderisio. 
ROBETTA,  engraver,  who  flourished  in  Florence 
from  about  1490  to  1520,  worked  after  Filippo 
Lippi  and  Sandro  Botticelli.  His  history  is 
wrapped  in  the  greatest  obscurity,  but  it  appears 
that  twelve  artists  formed  a  club  under  the 
appellation  of  La  Compagnia  del  Pajuola  (the 
company  of  the  Stock-pot),  and  had  pic-nic 
suppers  alternately  at  each  other's  lodgings.  The 
names  of  these  associates  were  Gianfrancesco 
Riistici  (the  founder) ;  Andrea  del  Sarto  ;  Spillo, 
Pittore  ;  Domenico  Puligo ;  II  Eobetta,  Orafo  ; 
Aristotile  da  San  Gallo ;  Francesco  di  Pellegrino  ; 
Nicolo  Boni  ;  Domenico  Baccelli  (who  played  and 
sang  excellently)  ;  II  Solosmeo,  Scultore  ;  Lorenzo 
detto  Guazzetto  ;  and  Roberto  di  Filippo  Lippi, 
Pittore.  By  his  being  admitted  a  member  of  a 
select  club  of  eminent  artists,  it  may  be  supposed 
that  he  was  of  some  celebrity  before  1512.  He  is 
called  Orafo  in  the  list  of  names,  that  word  being 
then  used  for  Orefice,  goldsmith ;  but  engraving 
was  part  of  a  goldsmith's  business  in  those  days. 


PAINTERS  AND  ENGRAVERS. 


and  ranked  him  among  artiste.  Robetta  had  an  ex- 
cellent fancy  and  composed  with  facility,  but  his 
technic  is  poor.  In  some  of  his  backgrounds  borrow- 
ings from  Diirer  may  be  recognized.  The  follow- 
ing is  a  hst  of  his  prints : 

SUBJECTS    FROM   THE   OLD  TESTAMENT. 

1.  The  Creation  of  Eve.     Not  signed. 

2.  Adam  and  Eve  driven  from  Paradise.    Not  signed. 

3.  Adam  and  Eve,  with  Cain  and  Abel.  Signed  KBTA. 

4.  Adam  and  Eve,  with  Cain  and  Abel.    No  mark. 

5.  Adam  and  Eve,  with  Cain  and  Abel.    No  mark. 

SUBJECTS   FROM   THE   NEW   TESTAMENT. 

6.  The  Adoration  of  the  Kings.     Siyned  ROBETTA. 

7.  The  Nativity.  Not  signed,  but  undoubtedly  his  work. 

8.  Jesus  Christ  baptized  in  the  river  Jordan.    Signed 
RBTA. 

9.  Jesus  Christ  taking  leave  of  His  Mother.    Signed 
RBTA. 

10.  The  Resurrection  of  Christ.     -Signed  RBTA. 

11.  The  Virgin  giving  the  breast  to  the  Infant.    Signed 
ROBTA. 

12.  The  Virgin  seated  in  a  landscape,  &c.  Signed  RBTA. 

13.  The  Virgin  with  Angels,  &c.    Not  signed. 

14.  St.  Sebastian  and  St.  Roch.     Not  signed. 

15.  Faith  and   Charity  with   their   attributes.     Signed 
RBTA. 

MYTHOLOGICAL  SUBJECTS. 

16.  Ceres    with    two    goat-footed    Children.      Signed 
RBTA. 

17.  A  yoimg  Man  tied  to  a  Tree,  &c.     Signed  RBTA. 

18.  Venus  surrounded  by   Cupids.     Some  traces   of  a 
signature  may  be  seen  in  a  dark  shadow. 

19.  Apollo  and  Marsyas.     Signe:/  RBTA. 

20.  Hercules  between  Virtue  and  Vice.  Not  signed. 

21.  Hercules  kilhng  the  Hydra.    Signed  RBTA. 

22.  Hercules  and  Antseus.     Not  signed. 

23.  The  Lyrist.     Signed  RBTA. 

24.  An  old  Woman  and  two  amorous  Couples,  &c.     Not 
signed. 

25.  A  Man  tied  to  a  Tree  by  Cupid,  &c.    On  a  tablet 
RORETTA  {sic). 

26.  Mutius  Scaevola.    Signed  RBTA. 

The  following  six  prints,  the  first  five  of  which 
are  in  the  British  Museum,  are  presumed  to  be  by 
Robetta,  although  they  are  without  his  mark. 

The  Sacrifice  of  Cain  and  Abel. 

The  Death  of  Abel. 

Jupiter  and  Leda. 

The  Virgin  and  Child  attended  by  St.  Sebastian  and  the 

Magdalene. 
A  Riposo.     Formerly  in  the  Duke  of  Buckingham's 

Collection. 
St.  Jerome  kneeling  before  a  Crucifix. 

ROBIE,  Louis,  Belgian  painter ;  bom  January 
1837  at  Brussels;  achieved  considerable  reputation 
as  a  painter  of  animals  and  of  still-life.  Some 
examples  of  his  works  are  to  be  seen  at  the 
Ghent  Museum.  He  died  at  Brussels  in  May 
1887. 

ROBINEAU,  C,  a  French  portrait  painter, 
born  about  the  middle  of  the  18th  century.  He 
practised  in  Paris,  where  he  afterwards  held  the 
appointment  of  Inspector  of  Drawing  Schoi'ls. 
There  is  a  portrait  by  him  of  Abel,  the  musician, 
at  Hampton  Court,  and  one  of  George  IV.  when 
Prince  of  Wales,  in  the  Royal  Collections.  Both 
are  small  full-Kngths. 

ROBINS,  Thomas  S.  In  1839  he  was  nominated 
one  of  the  original  members  of  the  Institute  of 
Painters  in  Water-Colours,  but  resigned  in  1866. 
His  marine  and  landscape  pictures  were  long  a 
feature  of  the  exhibitions.  He  died  in  1880. 
Works : 


London.  S.  Kensington.  Calais  Harbour. 

„  „  Shipping — a  Iresh  Breeie. 

„  „  Hay  Barges  off  Reculver. 

„  „  Coast  at  Brille. 

„  „  Stormy  Sky  and  a  Trawler. 

ROBINS,  William,  an  English  engraver  in 
mezzotinto,  who  flourished  about  the  year  1730, 
by  whom  we  have  a  few  portraits  ;  among  others, 
that  of 

William  Warren,  LL.D. ;  after  ffeimi. 

ROBINSON,  Hugh,  an  English  painter  of  the 
18th  century,  was  bom  about  1755.  He  painted 
vigorous  portraits,  somewhat  after  the  style  of 
Reynolds.  He  exhibited  at  the  Academy  in  1780- 
81-82.  About  1782  he  went  to  Rome,  where  he 
painted  for  eight  years.  In  1790  he  started  to 
return  home  by  sea,  but  the  ship  was  wrecked  ; 
Robinson  was  drowned,  and  the  work  of  liis  eight 
years  lost.  Pictures  by  him  were  at  the  "Old 
Masters"  in  1881-85-87. 

ROBINSON,  John,  portrait  painter,  bom  at  Bath 
in  1715,  came  to  London  when  he  was  young,  and 
entered  the  studio  of  John  Vanderbank,  under 
whose  tuition  he  reached  considerable  proficiency. 
He  afterwards  distinguished  himself  as  a  por- 
trait painter,  and  succeeded  Jervas  in  his  house 
in  Cleveland  Court.  For  a  time  he  was  extensively 
employed,  though  his  colouring  was  faint  and 
feeble.  He  was  accustomed  to  dress  his  sitters 
in  Vandyck  costume.     He  died  in  1745. 

ROBINSON,  John  Henry,  an  English  en- 
graver, born  at  Bolton  in  1796.  He  came  to 
London  when  young,  and  studied  under  James 
Heath.  His  early  practice  included  book  illustra- 
tion ;  his  best  work  in  this  line  was  for  Rogers' 
'  Italy.'  He  attained  great  excellence  in  his  pro- 
fession, and  was  prominent  in  the  agitation  for  the 
admission  of  engravers  to  the  Academy,  of  which 
he  was  elected  an  associate  in  1856,  and  a  full 
member  in  1867.  His  method  was  line,  in  which 
he  contrived  to  get  peculiar  richness.  He  married 
a  lady  of  property,  and  retired  to  Petworth,  where 
he  died  in  1871.     Amongst  his  best  plates  are: 

The  Flower  Girl ;  after  Murillo. 

The  Emperor  Theodosius  refused  admission  to  Milan 
Cathedral  by  Archbishop  Ambrose  ;  after  Van  Dyek. 

The  Countess  of  Bedford ;  after  the  same. 

The  Mother  and  Child ;  aftt'r  Leslie. 

H.  M.  the  Queen  ;  after  Partridge. 

Napoleon  and  Pius  Vll. ;  after  ff'ilkie. 

The  Wolf  and  the  Lamb  ;  after  MuSready. 

Little  Red  Riding-Hood  ;  after  Landaeer. 

ROBINSON,  R.,  an  English  mezzotint  engraver, 
who  practised  in  the  latter  half  of  the  17th 
century.  He  chiefly  engraved  after  his  own  designs, 
and  his  works  have  much  merit  He  died  or  re- 
tired from  practice  about  1690.  Amongst  his 
plates  are  : 

Charles  I. ;  after  Van  Dyck. 

The  Seven  Bishops ;  on  one  sheet,  each  io  a  small  ovaL 

Charlotte,  Countess  of  Lichfield. 

James,  Duke  of  Monmouth. 

William,  Prince  of  Oranje. 

Frances,  Duchess  of  Richmond. 

Sir  James  Worsley. 

Diana  and  Actseou. 

ROBINSON,  Thomas,  an  English  portrait  painter 
who  practised  in  London  early  in  the  18th  century. 
He  lived  in  Golden  Square.  He  studied  for  some 
time  in  Italy,  where  he  became  a  master  of 
Italian  and  a  good  musician.  In  his  later  years 
he  was  afflicted   with  blindness,  and  was  mainly 

255 


A   BIOGRAPHICAL  DICTIONARY  OF 


supported  by  the  talents  of  his  daughter,  the 
famous  singer,  Anastasia  Robinson,  who  married 
Lord  Peterborough.     Robinson  died  in  1755. 

ROBINSON,  Thomas,  an  English  portrait  painter, 
born  at  Windermere,  about  the  middle  of  the  18th 
century.  He  studied  under  Romney,  with  whom 
he  lived  for  some  years.  Migrating  to  Ireland,  he 
practised  at  Belfast  from  1801  to  1808,  and  was 
patronized  by  Dr.  Percy,  Bishop  of  Dromore. 
He  tlien  removed  to  Dublin,  where  he  became 
President  of  the  Society  of  Artists,  and  died  in 
1810.  There  is  a  'Procession  in  honour  of  Lord 
Nelson  '  by  him  at  the  Harbour  Office,  Belfast. 
Other  works  are : 

Encounter  between  the  King's  Troops  and  Feasants  at 

Ballynahinch. 
The  Giant's  Causeway. 

ROBINSON,  William,  an  English  portrait 
painter,  born  at  Leeds  in  1799.  He  had  to  over- 
come parental  opposition  and  many  difficulties, 
before  he  could  make  his  way  to  London  and 
enter  first  the  studio  of  Sir  Thomas  Lawrence  and 
then  the  schools  of  the  Academy.  Returning  to 
his  native  town  in  1823,  be  obtained  a  good  local 
practice,  his  chief  patron  being  Earl  de  Grey. 
He  painted  for  the  United  Service  Club,  portraits 
of  the  Duke  of  Wellington,  Lord  Nelson,  George 
III.,  and  Sir  John  Moore.  He  died  at  Leeds  in 
1839. 

ROBIONOI,  De.,  a  Flemish  artist,  who  flourished 
in  the  middle  of  the  16th  century.  The  only 
known  works  of  this  painter  are  three  pictures  at 
Verviers,  which  seem  to  belong  to  the  school  of 
Lambert  Lombard.  One  of  these  is  signed  and 
dated  15G0. 

ROBSON,  George  Fennel,  an  eminent  land- 
scape painter  in  water-colours,  and  native  of  Dur- 
ham, was  born  in  1788.  His  taste  for  drawing 
displayed  itself  at  a  very  early  age,  and  Bewick's 
book  of  'Quadrupeds,'  then  lately  published,  be- 
came, after  nature,  the  favourite  subject  of  his 
study.  It  seems  that  he  never  received  any 
regular  instruction  in  the  rules  of  art,  but  that 
all  his  knowledge  was  derived  from  observing 
artists  who  came  down  to  Durham  to  sketch  the 
scenery  in  its  vicinity.  At  the  age  of  sixteen, 
with  only  five  pounds  in  money,  he  left  his  father's 
house  and  travelled  to  London.  There  he  made 
drawings,  which  he  exposed  in  the  shop  window 
of  a  carver  and  gilder,  and  sold  for  small  sums. 
By  these  means  he  not  only  supported  himself  for 
twelve  months,  but  was  enabled  to  return  tlie  five 
pounds  he  had  received  from  his  father.  He  now 
published  a  view  of  his  native  city,  and  the  funds 
derived  from  the  speculation  enabled  him  to  visit 
the  Higlilands  of  Scotland.  He  dressed  himself  as 
a  shepherd,  and  with  his  wallet  at  his  back,  and 
Scott's  '  Lay  of  the  Last  Minstrel '  in  his  pocket, 
he  wandered  over  the  mountains  in  all  seasons. 
He  left  many  transcripts  of  the  beautiful  scenery 
of  Loch  Katrine  and  its  neighbourhood.  Though 
especially  inspired  by  the  grandeur  of  the  High- 
lands, he  did  not  confine  himself  to  Scotland,  but 
visited  the  Lakes  of  Cumberland  and  Westmore- 
land, made  himself  familiar  with  North  Wales,  and 
crossed  over  to  Ireland  to  depict  the  beauties  of 
Killarney.  He  was  a  constant  exhibitor  with 
the  Water-colour  Society  ;  on  one  occasion  he 
contributed  no  less  than  thirty-eight  drawings. 
Robert  Hills,  who  lived  for  a  time  in  the  same 
house,  inserted  animals,  especially  deer,  in  some 
of  his  drawings.  Robson  died  in  London,  Sep- 
256 


tember  8,  1«33.  It  was  supposed  that  his  death 
was  caused  by  somethiug  poisonous  in  the  food  on 
the  'James  Watt'  steamship,  in  which  ho  liad 
travelled  from  London  to  Stockton-on-Tees  in  the 
last  days  of  August.     Works: 

London.  &  Kensington.  Charlton,  Kent. 

„  „  Loch  Achray. 

„  „  Loch  Coruisk,  Skye. 

„  „  CoDisborougli  Castle,  Yorks. 

„  „  Trees  at  Diugwall. 

„  „  Rural  Landscape. 

„  „  Mountainous  Ijandscapes,  with 

Figures  and  Uonts. 

„  „  AVoodeil  Gorge,  Llauberis. 

Besides  the  '  Views  of  Durham,'  Robson  published 
'  Outlines  of  the  Grampians,'  and  '  Scenery  of 
the  Grampian  Mountains.'  Britton  also  published 
from  his  drawings  '  Picturesque  Views  of  the 
British  Cities.' 

ROBUSTI,  DoMENico,  son  and  disciple  of  Jacopo 
Robusti,  was  born  at  Venice  in  1562.  He  followed 
in  the  footsteps  of  his  father  at  a  very  respectful 
distance.  His  principal  works  are  in  the  Sala  di 
Consiglio,  and  in  the  Scuola  di  S.  Marco  at  Venice  ; 
in  some  of  these  he  is  said  to  have  been  much 
assisted  by  his  father.  He  was  more  successful  in 
portraits  than  in  history,  and  painted  many  of 
the  principal  personages  of  his  time.  He  died  in 
1637. 

ROBUSTI,  Jacopo,  called  II  Tintoretto,  "  the 
little  dyer,"  on  account  of  his  father's  trade,  was 
born  presumably  at  Venice,  in  the  early  part  of  the 
sixteenth  century.  1512  is  the  date  according  to 
Ridolfi,  and  1518  that  in  the  death  records  in  S. 
Marcilian  and  the  State  archives.  He  may  be 
considered  the  culminating  genius  of  the  Venetian 
School,  combining  in  himself  the  several  excellen- 
cies of  his  contemporaries.  He  is  said  to  have 
shown  his  inclination  for  art  almost  from  his 
infancy,  and  to  have  covered  the  walls  of  his 
father's  house  with  childish  sketches.  There  is 
reason  to  suppose  that  he  studied  for  an  inappreci- 
able amount  of  time  under  Titian.  But  the  jealousy 
of  the  latter  was  roused  by  the  vigour  and  promise 
of  the  newcomer's  drawings,  and  Robusti  only  re- 
mained for  a  few  days  before  he  was  dismissed. 
In  the  main,  if  not  entirely,  he  was  his  own  master, 
and  his  indefatigable  industry  and  lofty  ideal  of 
purpose  is  well  borne  out  by  wh.it  Ridolfi  tells  us 
of  his  training.  "  Knowing  Titian's  worth,  and 
the  many  distinctions  he  had  gained,  he  studied 
his  works  with  care  and  also  the  reliefs  of  Michael 
Angelo  .  .  .  and  in  order  not  to  depart  from  this 
resolution  he  wrote  on  the  wall  of  his  studio  these 
words : — 'II  disegno  di  Michel  Angelo  e  '1  colorito 
di  Titiano.' "  This  does  not  mean  that  he  intended 
to  combine  the  particular  styles  of  the  two  masters, 
as  may  easily  be  seen  from  his  work.  It  was  rather 
his  aim  to  be  pre-eminent  both  in  form  and  colour, 
in  which  these  two  artists  had  respectively  attained 
the  highest  excellence.  Left  to  his  own  devices, 
we  find  that  the  first  thing  that  Tintoretto  did  was 
to  procure  chalk  drawings  from  the  antique.  He 
was  even  at  pains  to  obtain  models  by  Daniello  da 
Volterra  of  the  famous  figures  by  Michelangelo 
from  the  Medici  tombs — 'Dawn,'  'Twihght,' 
'Night  and  Day.'  These  he  carefully  studied, 
using  for  the  most  part  artificial  light  in  order  to 
obtain  a  bold  chiaroscuro  ;  and  he  thus  acquired 
an  extraordinary  facility  in  dealing  with  objects  in 
relief  Besides  working  from  these  reliefs  he  made 
careful  studies  from  the  life,  and  dissected  bodies 


JACOPO    ROBUSTI, 

CALLED ' 

TINTORETTO 


Untikin.inn  photo\ 


ST.   MiCHAKL  OVERCOMING  LUCIFER 


{^Dresden  Galiery 


PAINTERS  AND  ENGRAVERS. 


in  order  to  obtain  a  correct  anatomical  knowledge. 
Further  he  made  models  in  wax  and  clay,  draped 
them,  and  set  them  in  small  houses,  so  that  he 
could  light  them  by  little  windows,  and  thus  gain 
a  command  over  his  lights  and  shadows.  It  is 
also  said  that  he  hung  them  up  in  his  studio  in 
order  to  learn  the  correct  perspective  of  flying 
figures  seen  from  below.  To  this  capacity  for 
taking  pains  he  united  a  genius  which  Vasari  has 
described  as  "  terrible " — an  extraordinary  range 
and  wildness  of  imagination,  and  a  facility  and 
dispatch  in  execution,  which  appeared  to  his 
contemporaries  little  short  of  miraculous.  It  was 
this  which  earned  him  his  nickname  of  "  II 
Furioso."  A  good  story  illustrative  of  the  speed 
at  wliich  Tintoretto  could  work  is  told  of  the 
picture  in  the  refectory  of  S.  Kocco.  The  brother- 
hood of  S.  Rocoo  resolved  to  have  a  great  picture 
painted  on  the  ceiling,  and  invited  the  artists  of 
the  city  to  compete  and  st-nd  in  preliminary 
sketches.  When  on  the  appointed  day  Veronese, 
Schiavone,  Salviati,  Zuccaro,  and  Tintoretto  came 
to  show  their  designs,  Tintoretto  uncovered  his 
canvas,  which  had  been  hidden  with  a  cartoon, 
and  sliowed  them  a  finished  picture.  The  aston- 
ished competitors,  lost  in  amazement  at  this  feat, 
immediately  withdrew  their  own  designs. 

The  impetuosity  of  his  genius  and  his  deliberate 
boldness  of  execution  were  hardly  understood  by 
his  contemporaries,  and  even  toward  the  close  of 
his  life  we  find  his  critics  asking  why  he  did  not 
paint  slowly  and  carefully  like  Bellini  and  Titian. 
The  truth  and  freshness  of  his  colour  when  seen  at 
the  proper  distance  is  far  greater  than  that  of  the 
elaborately-finished  surface  of  earlier  masters,  while 
the  character  and  feeling  of  line  is  increased  ten- 
fold. But  his  unusual  readiness  and  dispatch  did 
sometimes  result  in  the  production  of  works  un- 
worthy of  his  powers  that  more  or  less  justify  the 
witticism  of  Annibale  Carracci,  that — ''  Tintoretto 
was  sometimes  equal  to  Titian,  and  often  inferior 
to  Tintoretto."  Tintoretto  was  himself  a  great 
humorist,  and  was  always  more  than  a  match 
for  his  critics.  Pietro  Aretino,  one  of  the  most 
spiteful  men  of  his  day,  who  began  by  criticizing 
his  speed  of  execution,  at  length  became  a  nuisance. 
One  day  Tintoretto  met  him  and  invited  him  into 
his  house  as  though  he  wished  to  paint  his  portrait. 
When  indoors  the  host  produced  a  pistol  and  pro- 
ceeded, much  to  the  dismay  of  Aretino,  who  was 
a  great  coward,  to  measure  him  with  the  weapon. 
"  You  are  just  two  pistols  and  a  half,"  he  observed, 
as  if  this  was  the  usual  preliminary  of  the  portrait 
painter.  Aretino  seems  to  have  taken  the  hint 
and  troubled  him  no  more. 

In  order  to  gain  a  correct  idea  of  this  master's 
genius  it  is  necessary  to  see  the  works  that  still 
remain  at  Venice.  Unlike  most  of  the  other  great 
Italiatis,  he  is  poorly  represented  in  the  Galleries  of 
Europe.  The  pictures  in  the  National  Gallery, 
London,  'St.  George  and  the  Dragon,'  'The  Origin 
of  the  Milky  Way,'  and  'The Washing  of  the  Feet,' 
together  with  the  '  Nine  Muses,'  and  '  Esther  before 
Ahasuerus,'  lent  by  the  King,  and  at  present 
hanging  there,  give  a  better  idea  of  him  than  any 
other  collection  outside  Venice.  But  it  is  such  a 
picture  as  'The  Crucifixion'  in  S.  Rocco,  Venice, 
that  really  shows  the  stupendous  imagination  and 
conception  of  this  master.  As  a  colour  scheme  it 
is  of  surpassing  beauty,  a  strange  silvery  light 
emanating  from  the  cross,  so  that  the  scene  shines 
out  from  the  gathering  darkness  which  overwhelms 

VOL.  IV.  B 


the  guilty  city.  It  is  full  of  the  most  vigorous 
drawing  and  the  most  varied  types  of  humanity, 
from  the  beautiful  ideals  in  the  group  below  the 
cross  to  the  sturdy  figures  of  the  workmen  engaged 
in  their  several  tasks.  There  is  a  mighty  concourse 
of  people  decked  here  and  there  with  many  a  gay 
colour,  but  the  sense  of  composition  is  never  lost, 
and  the  eye  is  led  on  and  returns  to  rest  on  the 
figure  which  stands  out  alone  against  the  sky,  and 
we  cannot  but  feel  that  loneliness  amid  the  multi- 
tude which  has  befallen  the  Saviour  of  mankind. 
Others  of  his  finest  pictures  are  the  famous  quat- 
rain in  the  Doge's  Palace,  '  Bacchus  and  Ariadne,' 
'  Mercury  and  the  Graces,'  '  Mars  and  Minerva,' 
and  '  The  Forge  of  Vulcan,'  wliere  he  has  given  us 
a  delicacy  of  finish  that  vies  with  that  of  any  other 
pictures  in  the  world.  Or  one  may  search  among 
the  numerous  works  in  S.  Rocco,  now  in  a  very 
bad  condition  owing  to  the  dust  and  dirt,  and  yet 
more  the  ignorant  restorer.  And  here  will  be 
found  examples  of  the  boldest  impressionism  com- 
bined with  a  most  vigorous  and  masterly  technique. 
He  was  perhaps  the  most  prolific  painter  that  the 
world  has  seen,  and  many  of  his  works  are  of 
colossal  size.  His  '  Paradise'  in  the  Doge's  Palace 
is  the  largest  picture  in  existence,measuring  eighty- 
four  feet  by  thirty-four.  It  was  almost  the  last 
thing  he  produced,  yet  it  shows  no  sign  of  abating 
power.  Of  another  kind  altogether  are  his  '  Adam 
and  Eve '  and  '  Cain  and  Abel,'  which  hang  on 
either  side  of  his  large  picture,  '  The  Miracle  of 
St.  Mark,'  in  the  Academy  at  Venice.  Their 
beautiful  and  quiet  colour  forms  a  strange  yet 
delightful  contrast  to  the  other,  and  the  extra- 
ordinary rendering  of  modelling  in  the  figure  of 
Adam  has  probably  never  been  surpassed,  unless 
Mr.  Crawshay's  'Adam  and  Eve,'  by  the  same 
hand,  shows  something  more  subtle  in  the  figure 
of  a  woman. 

As  a  portrait  painter  Tintoretto  is  in  the  very 
front  rank,  although  there  is  a  frequent  hardness 
in  this  class  of  work  which  seems  to  betoken  a 
want  of  sympathy.  To  those  who  know  Tintoretto's 
imaginative  conception  this  is  not  surprising,  nor 
on  the  other  hand  are  they  surprised  when  some 
special  interest  in  his  model  has  enabled  him  to 
produce  a  work  unique  among  portraits.  Such  an 
one  is  that  in  the  library  at  Christ  Church,  Oxford, 
and  it  does  not  necessitate  a  journey  to  Venice. 
His  influence  on  Velasquez,  wlio  copied  several  of 
his  works,  is  quite  easy  to  trace,  and  modern  art 
owes  more  to  Tintoretto  than  is  perhaps  generally 
recognized.  It  is  difficult  to  assess  him  at  his 
true  value ;  his  extraordinary  excellence  in  every 
department  of  his  work  is  the  reason  for  many 
critics  assigning  him  the  topmost  place  in  the 
world  of  art.  'This  displeases  those  who  thus  see 
some  favourite  displaced,  who  in  his  own  particular 
department  perhaps  equals  or  even  surpasses 
Tintoretto.  "The  most  important  of  his  followers 
were  his  own  son  Uomenico,  his  daughter  Marietta, 
Domenico  Theotocopuli  and  Antonio  Vasilacchi, 
called  respectively  II  Greco  and  Aliense.  Tin- 
toretto died  at  Venice  on  31st  May,  1594. 

In  the  following  list  of  works  those  are  marked 
with  an  asterisk  which  the  writer  has  seen,  or  for 
whose  existence  the  evidence  is  unquestionable. 

J.B.S.H, 

Augsbcrg.         GaUery.    *Christ,  Martha  and  Mary. 
Belluno.    Private  Coll.    "Adoration  of  the  Shepherds. 
Bergamo.  A  Lady  dressed  as  a  Queen. 

Berlin.  Jfuseum.    *Luna  and  the  Hours. 

267 


A  BIOGRAPHICAL  DICTIONARY  OF 


Berlin.  Museum.    *Portrait  of  a  Procoiator  of  St. 

Mark. 
_  *Portrait  of  a  Procurator  of  St. 

Mark. 
_  „  *The  Virgin  with  the  ChilJ  in 

Glory. 
^  „  'Portrait  of  a  Middle-aged  Man. 

y,  „  'Three  portraits  on  one  canvas, 

„  ,,  *St.  Mark  and  Senators. 

„  „  *Annunciation. 

'Portrait  of  a  Young  Man. 
'Portrait  of  an  Old  Alan. 
•Portrait. 

Nobleman  with  Two  Sons. 
'Visitation. 
'Portrait  of  a  Man. 
,,  „  'Christ  on  the  Cross, 

Boston,  U.S A.  Art  Mu3.  The  Nativity. 

„  „  Last       Supper       (Preparatory 

Sketch    for    picture     in     .V. 
Giorgio  magyiore,  Venice). 
„  „  Adoration  of  the  Magi. 

Portrait  of  a  Doge. 


„  Kaufman  Gallery. 

„  Count  F.  Pourtale^. 
Besan^on.  Villemot  JIus. 
Bologna.  Gallery, 


Mr.  George  | 

Harris,  j 

itr.  Quincy  \ 

A..  Sliaw. ) 


Brescia.  Gallery. 

Brunswick.       Gallery. 


Brussels. 


Gallery. 


BudaPesth 

it 
Caen. 

Cambridge, 
Prof  C. 
Cassel. 
Darmsta<lt. 

Gallery. 
Rath.  Gall. 

Museum. 
U.S.A.        ) 
E.  Morton,  f 

Gallery. 

Gallery. 

Dessau. 

Gallery. 

Dresden. 

Galhry. 

Dublin.    Nat.  Gall  o/) 

Ireland,  y 

Edinburgh.  ?>'at.  Gall.  \ 

-~     ■     d.i 


Miracle  of  St.  Mark  {Sketch). 

'Adoration  of  the  Shepherds. 

'Portrait. 
'Transfiguration. 

Portrait  of  an  Old  Man. 
'Last  Supper. 

The  Lute  Player. 

Christ's  Entry  into  Jerusalem 
(probably  vrrongly  attributed 
to  Tintoretto). 

Martyrdom  of  St.  Mark. 

Portrait  of  a  Man. 

Portrait  of  a  Man. 

Portrait. 

Portrait. 

Deposition. 

Two  Portraits. 

Portrait  of  a  Young  Man. 
Bust  Portrait  of  an  Old  Man 

in  a  Black  Dress. 
A  Man  with  a  Grey  Beard. 
Martyrdom  of  Two  Saints. 
'Portrait  of  an  Admiral. 
'Head  of  a  Man. 
♦Virgin    and    Child    with    St. 

Catherine. 
'The  Rescue. 

*Luciferovercome  bySt. Michael. 
'Two  Portraits. 
'The    Muses    and    Graces    on 

Parnassus. 
'■Women  with   Musical   Instru- 
ments. 
•Christ  and  the  Adulteress. 
'Lady  dressed  in  Mourning. 
'Susanna     preparing     for    the 

Bath. 
Virgin    and    Child    with    SS. 

Barbara,  Catherine. 
SS.     John     Chrysostom     and 
Augustine. 


of  Scotland. 


Ferrara.  Gallery. 

Florence.      Pitti  Pal. 


'Portrait  of  a  Gentleman. 

'Head  of  a  Venetian  Nobleman. 

'The  Seasons  (three  Pictures). 
'Portrait  of  a  Venetian  Senator. 

Madonna  of  the  Rosary. 
♦Venus,  Vulcan,  and  Cupid. 
♦Portrait  of  a  Man. 
'Portrait  of  Vicenzo  Zeno. 
'Descent  from  the  Cross. 
•The  Resurrection. 
♦Virgin  and  Child. 
•Portrait  of  a  Man  with  long 

white  beard. 
•Portrait    of    a     Man     holding 

model  of  a  hor«e. 


Florence.       Pitti  Pal.    •Portrait  of  a  Man,  short  hair, 
vest  trimmed  with  fur. 

„  „  •Portrait   of    a  Man,  inscribM 

Anno  iEtatis  Suae  XXIV. 

,,  ,,  Study  for  a  Last  Supper, 

,,  Uffizi.     'Portrait  of  Himself. 

„  ,,        •Christ  entering  Jerusalem. 

„  „        •Portrait  of  Admiral  Veniero. 

„  „        'Portrait  of  an  Old  Man  seated. 

„  „         'Wedding  at  Cana. 

„  „        'Portrait  of  Sansovino. 

„  „        •Portrait    on     wood    inscribed 

Anno  wStati  XXX. 

„  „        •Portrait.    Bust  only. 

„  „         •Leda. 

„  „        *Vision  of  St.  Augustine. 

„  „  Abraham's  Sacritice. 

„  „  Crucifixion  (a  Sketch), 

„         Corsini  Gal.     'Portrait  of  a  Man. 
♦Portrait. 


Genoa.     Pal.  Brignole  \ 
Sale.i 

„         Pal.  Durazzo. 

,,  Ch.of  St.  Francis. 

„     Spinola  Gallery. 

„  Cathedral. 

Graz.     Parish  Church. 
Hamburg.  Consul  \ 

Weber.  J 
Hampton  Court, 


Tjverpool.         B.  Inst. 
London.  National  Gal. 


'Portrait  of  a  Doge. 

'Portrait. 
Annunciation. 
'Portrait. 
'Last  Supper. 
♦Coronation  of  the  Virgin. 

Ottariano  Famese. 

Portrait  of  a  Knight  of  Malta. 
Portrait  of  a  Dominican, 
jj  The  Expulsion  of  Heresy. 

„  Portrait  of  a  Venetian  Gentle- 

man. 
„  Portrait  of  a  Man  in  a  Fur 

Mantle. 
^  Male  Portrait,  called  Ignatius 

Loyola. 
„  Christ  before  Pilate  (Study). 

„  St.  Koch  curing  the  Plague. 

„  St.  George  and  Princess  Cleodo- 

linda. 
„  Labyrinth  in  a  Garden. 

Innsbruck.  JVnuMwfinfum  .'Legend. 
'Portrait. 

Sketch  for  the  *  Paradise.' 
'St.  George  and  the  Dragon, 
„  „  'Washing  of  Feet. 

„  'Origin  of  the  Milky  Way. 

„  „  'Ganymede    (possibly    by    Da- 

miano  Mazza). 
„  „  'Esther  before  Aha.suerus, 

„  .,  'Nine  Muses. 

Lucca.  Gallery.     'Portrait  of  a  Senator. 

„  „  *Portrait  of  a  Man. 

Madrid.  Prado.     'Battle  on  Land  and  Sea. 

„  ,,         'Joseph  and  Potiphar's  Wife. 

,  „  'Solomon    and    the    Queen   of 

Sheba. 
,j  ^  "Susanna  and  the  Elders. 

„  „  'Finding  of  Moses. 

„  „  'Esther  before  Ahasuerug. 

„  „  'Judith  and  Holofernes. 

„  „  'Portrait  of  Sebastiano  Veniern 

,j  ,,  •Mo.'^es  and  the  Purification  of 

the  Woman  of  Midian. 
^  „  *Portrait  :  half-length,   drciseil 

in  black,  gold  chain. 
^  „  •Venus  and  Minerva, 

„  „         •Christ  and  the  Woman  taken 

in  Adultery. 
„  „  •Portrait :    Prelate,  bust  only. 

,_  „  ♦Portrait:  Young  Jesuit,   black 

beard. 
„  „  •Portrait:  Young    Lady,   bu.st, 

low  neck,  bare  bosom,  lace 
scarf. 
^  „         ♦Portrait:  Bust,  Man  in  Armour 

(doubtful). 
^  „  •Portrait:  half-length.    Elderly 

Man. 
„  „  •Baptism  of  Christ. 

„  „  'Portrait :  Bust,  Senator,  white 

beard. 


258 


c 

H 
2: 


PAINTERS  AND  ENGRAVERS. 


Maiirid.  Prado.    'Paradise  (Stmly). 

„  'Portrait :    Young     Man     with 

paper  in  left  hand. 

,.  „  'Portrait :  Bust  of  a  Man. 

,.  „  'Portrait,  Uust  of  a  Man  (doubt- 

ful). 

„  „  "Portrait :  Bust  of  a  Man. 

„  „  'Portrait :  Eeplica  of  above  (Jiy 

Domenlco?), 

„  „  *Portrait :  Bust  of  a  Man. 

„  „  'Death  of  Holoftrnes. 

„  „  'Judith  and  Holofernes. 

„  „  'Portrait  :    Bust    of     Man     in 

Armour. 

„  „  'Bust  of  Young  Venetian  Lady. 

Possibly  Marietta  Robusti. 

„  „  'Portrait :  A  Woman,  her  right 

breast  exposed. 

„  „  'Portrait :  A  Venetian  Girl. 

„  „  'Rape  of  Lucretia  by  Tarquinius. 

„  „  'Portrait :  Venetian  Girl  in  red 

scarf,  with  pearls. 

rt  .,  Allegory  of  Venus. 

„  E^corial.     'Christ  washing  the  Feet. 

„  „  *Conversion  of  St.  Mary  Magda- 

lene. 

n  „  'Feast  of  Simon  the  Pharisee. 

„  „  'Esther  and  Aliasuerus. 

„  , ,  'Christ  as  the  Man  of  Sorrows. 

Milan.  Brera.     'St.  Helena  and  Three  Donors. 

„  „  'Finding  the  Body  of  St.  Mark. 

,,  »  Pieta. 

„  „  Portrait  of  Old  Man. 

„  Arclhishof'i  Pal.       Christ  and  tho  Adulteress. 

„         Miisco  Chrico.       Bust  of  Procurator. 
Modena.  Gallery.     *Eighteen   Scenes   from   Ovid's 

'  Metamorphoses,'  on  ceiling 
in  the  Gallery. 

„  „  'Madonna  with  Saints. 

Munich.  Gallery.     'Portrait  Group. 

„  „  Birth  of  Christ. 

„  ,,  Ecce  Homo. 

„  n  Mary         Magdalene        wiping 

Christ's  Feet. 
'Portrait  of  an  Artist. 
'Deposition. 
""Danae. 


Stockholm.  Gallery. 
Strassburg.  Gallery. 
Stuttgart.         Gallery, 


'Portrait. 


Parma.  Poyal  Gallery, 


,,     Theatinnkirche. 
Naples.  Museum, 

Newport,    Mr.  Davis.  \  , 

U.S.A.  j 

Oxford.      Merton  Coll,     'Crucifixion. 

„    Ch,  Ch.  Library,    'Portrait  of  a  Nobleman. 
„  Ashmolean,    *.A.  Drawing. 

Padua.     Museo  C'vtco,     'Senator. 
Palermo.  Sordenaro  Gall.*M\rRcle  of  the  Loaves. 
Paris.  The  Louvre.       Portrait  of  Himself  as  Old  Man. 

^,  ^  Christ  and  Two  Angels. 

^^  „  'Susanna  and  the  Elders. 

„  „  'Study  for  the  *  Paradise.' 

„  'Portrait  of  a  Man. 

Entombment. 
Purgatory. 

'\^^'"    ^Seri;!  1  *Ho.y  Spirit  and  Founder. 
„  „  Perseus  and  Andromeda. 

„  „  The  Resurrection. 

„  „  The  Nativity  of  St.  John  the 

Baptist. 
,,  „  St.  George  and  the  Dragon. 

„  „  Portrait  of  a  Venetian  Noble- 

man. 
„  „  Male  Portrait. 

Bome.  Capitol.       The  Baptism. 

„  „  Ecce  Homo. 

„  „  The  Flagellation. 

^  Colonna,       Three     "Women    and     a    Man 

adoring  the  Holy  Spirit. 
„  yj  Old  Man  playing  a  Spinet. 

„  „  Portrait  :  Man     with    pointed 

Beard. 
„  „  Portrait :  A  Young  Man. 

*Hylas  or  Narcissus. 

Portrait. 
'Two  Crucifixions. 
'Portrait :  Sebastiano  Veniero. 


Turin. 
Venice. 


,,  Doria  Gallery. 
Sohleissheim.  Gallery. 
Schwerin.         Gallery. 


Gallery. 
Scuola  di  S.  ) 
Hocco.  § 
Lower  Mall. 


On  CeiliTUf. 

Staircase. 

Upper  Hall. 


On  Ceilinrj. 


Refectory. 


On  Ceiling. 


Academia, 


"     Ceiling  of  Small 
"  Room, 


Academia, 


S2 


♦Portrait ;  G.  Pesaro. 
'Descent  from  the  Cross. 
'Immaculate  Conception. 
♦Crucifixion  ia  Sketch), 
♦The  Holy  Trinity. 

'Annunciation. 

'Adoration  of  the  Magi. 

'Flight  into  Egypt. 

'Massacre  of  the  Innocents. 

•The  Magdalene. 

'.St.  Mary  in  Egypt. 

'Presentation  of  .Jesus. 

'Assumption  of  Virgin. 

'Elijah  Ascending  to  Heaven. 

'Visitation. 

'Adoration  of  the  Shepherds. 

'B:iptism  of  Christ. 

'The  Resurrection. 

'The  Agony  in  Gethsemane. 

'The  Last  Supper. 

*.S.  Rocco  in  Heaven. 

'Miracle  of  Loaves  and  Fishes. 

'Raising  of  Lazarus. 

'Ascension. 

'Pool  of  Bethe.sda. 

'Temptation  on  the  Mountain. 

'S.  Rocco. 

'S.  Sebastian. 

'Portrait  of  Himself. 

'Adam  and  Eve. 

'Elijah. 

'Moses. 

'.Joshua. 

'.Jonah  and  the  Whale. 

'Ezekiel's  Vision. 

'Plague  of  Serpents. 

'.Jacob's  Dream. 

'Sacrifice  of  Isaae. 

♦Elijiih  and  the  Angel. 

'Fall  of  Manna. 

'Elisha  Feeding  the  People. 

'Paschal  Feast. 

♦The  Great  Crticifixion. 

'Christ  before  Pilate. 
'Way  to  Golgotha. 
'Ecce  Homo. 

'S.  Rocco  in  Heaven. 
'Putti  (four  Panels). 

'Eleven  beautiful  panels,  good 
examples  of  Tintoretto's 
simple  composition,  most  of 
them  single  figures. 

♦Death  of  Abel. 

'Miracle  of  St.  Mark. 

'Adam  and  Eve. 

'Risen  Christ  Blessing  three 
Senators. 

'Madonna  and  Three  Portraits. 

'Crucifi.xion. 

'Resurrection. 

'Scourging  of  Christ. 

'Magna  Peccatrix. 

'Deposition. 

'Madonna,  Three  Saints,  and 
Three  Donors. 

'Madonna  and  Child  in  Glory. 

•Assumption. 

'Virgin  and    Child,   and    Four 
Senators. 
I  'Prodigal  Son. 

'Faith. 

'.Justice. 

'Strength  and  Good  Works. 

'Knowledge  (?). 

'Madonna  on  the  Pedestal . 

♦St.  Justinian  and  Three 
Treasurers. 

'Portniit    of    Doge    Nicola    da 

Ponte. 
'Portrait  of  Antonio  Capello. 
'Portrait  of  Procurator. 
'Portrait  of  Melchiore  Michiele. 
♦St.  Mark.  .,^,j 


A   BIOGRAPHICAL  DICTIONARY  OF 


Dogt^s  Palace. 

Consiglio. 
»» 

>» 
Ceiling. 


Collegia. 


Venice.         Acadimia.    *Portrait  of  Dominican  Monk. 

^  „  "Portrait  of  a  Man. 

„  „  "Portrait  of  a  Young  Man. 

^  „  'Portrait  of  a  Man. 

^  „  "Portrait  of  a  Senator. 

^  „  "Portrait  of  Cardinal  Morosini. 

„  „  "Portrait  of  Battiuta  Morosini. 

^  „  "Portrait  of  Procurator. 

„  „  "Portrait  of  Andrea  Dandolo. 

„  „  "Portrait  of  Andrea  Capello. 

^  „  "Portrait  of  Marco  Grimani. 

„  ,,  "Portrait  of  Doge   Alvise   Mo- 

cenigo. 

„  „  "Portrait  as  an  Evangelist,  with 

book  in  hand. 

„  ,,  "Portrait  as  an  EvangeUst,  writ- 

ing in  book. 

„  „  "Portrait  of  Senator,  Pasqualerr'). 

„  „  "Portrait  of  Senator,  Cicogna  (V). 

"Portrait  of  Jacopo  Sorauzo. 
"Paradise. 

V- 

§       Frederick  I.  at  Pavia. 
*Battle  of  Pirano  and  Capture 

of  Otho. 
*Capture  of  Zara. 
*Conquest  of  Coustantinople. 
*Capture  of  Riva  on  Lago  di 
Garda. 
„  „  *Vittorio  Sorenzo  defeating  tlie 

Estensi. 
I,  „  *Brescia  defended    against   the 

Visconti. 
„  „  *Capture  of  Gallipoli. 

„  „  *Vemce  with  the  Gods  and  Doge. 

„  „  *Nicolo  da  Poute. 

„  SalladeUo  Scruttnio.*Ca.ptuTe  of  Zara. 
*Two  Portraits. 
*St.    Mark     introducing    Doge 

Moceuigo  to  Christ. 
*FigurfS  in  grisaille  around  the 

clock. 
*Doge     da    Ponte    before    the 

Virgin. 
*Marriage  of  St.  Catherine  and 

Doge  Dona. 
*Doge  Pietro  Ijoredan  imploring 

Aid  for  Venice. 
*Tnith. 
*Eloquence. 
•Lorenzo  Amelio. 
*.fUessandro  Bono. 
*Tommaso  Contariui, 
*Vicenzo  Morosini. 
•Portrait  of  Old  Man. 
•Portrait  of  Old  Man. 
•Portrait  of  Nicolo  Priuli. 
•Justice  presenting  a  sword  to 
Doge  PriiUi. 
„  „  *Putti.     Four  beautiful  Panels. 

„  „  •Four  long  pictures    in  mono* 

„  n  chrome. 

„  Passage  to  Council  j  ,^^^^^^  Delphino. 

,,  ,,               "Federigo  Contarini. 

„  „                "Resurrection. 

„  Collegia.     "Doge  Griti  before  the  Virgin. 

„  AnU-Collegio.     "Mercury  and  the  Three  Graces. 

,^  „                "Vulcan's  Forge. 

„  „                "Bacchus  and  Ariadne. 

„  „               "Minerva  repulsing  Mars. 

„  Anteroom  of^  *SS.     Margaret,     George,    and 
Chapel.  >       Louis  (called  St.  George  and 

„  >,            J        th^  Princess). 

„  „                *SS.  Andrea  and  Jerome. 

„  Senate.     "The  Descent  from  the  Cross. 

„  On  Ceiling.     "Venice,  Queen  of  the  Sea. 
,,  Solo  delle  Quattro  )  "Zeus  giving  Venice  the  Empire 

Porte.  Ceiling,  ji        of  the  Sea. 

„  ,,                "Venice  Freed. 

„  „               "Hera  surrounded  by  Nymphs. 

„  „                "Padua. 

„  „                "Brescia, 

„  „               *Istria. 
260 


Ceiling. 
Entrance. 


On  Ceiling. 


Venice.  Salo  delle  Quat-  ) 
tro  Porte.  Ceiling,  j 
„  Ch.ofthe) 

Abbazia.j 
„  *S.  Angeli. 

„       Santi  ApostoU. 
„  S.  Cassiano. 


„  Orociferi. 

»»  I, 

„  5.  Felice. 

,,  "S.  Francesco  della  ) 
Vigna.  j 


*Treviao. 
*Triuli. 

Adoration  of  the  Magi. 

Finding  of  the  Body  of  St.  Mark. 

St.  Lucia. 
"Orucifi.xion. 
"Christ  in  Hades. 
"Hesurrection. 
"Three  Leiifmls  below  the  Organ 

(doubtful). 
"Presentation  of  the  Virgin. 
"Christ  Scourged. 
*S.  Demetrius  in  Armour. 

Entombment. 


„  5.?.  Gervasio  e  Pro- 
taiio  {S.  Trovaso) 


:} 


,,        Ch.  of  Gesuiti. 
„  S.  Giorgio  Maggiore. 


„        S,  Giuseppe  di  \ 

Casteflo.  j 

„  Chapel  of  the  \ 

Hostpital.  J 

„  S.  Marco. 

„  S.  Mareuola  } 

{S.  Krmagora).  § 

»»  »» 

„  S.  Maria  del  ) 

Carmine,  y 

„  S.  Maria  dei  \ 

Frari.  | 

„     S.  Maria  Mater  \ 

Domini,  j 

„  S.Maria  deW  Orto. 


,  S.  3 f aria  del  \ 

Rosario  (Gtsuati).  j 

,  *S'.  Maria  \ 

Z  benigo.  J 

,  S.  Marziale. 


S.  Moise. 

S.  Paolo. 

S.  Pietro  Mar-\ 

tire  {Murano).  j 

S.  Pietro  in  \ 

Castello.  J 

Redentore. 

11 

Ch.  of  the  Scuola  \ 

di  .y.  Rocco.  j 


On  the  Ceiling. 


Last  Supper. 

•Temptation  of  St.  Anfchony. 
•Christ   washing   the   Apostles' 

Feet. 
•Adoration  of  tlie  Magi. 
•Betrayal  of  Joachim. 
•Assumption  of  the  Virgin. 
•Presfntation  of  Christ. 
.•The  Last  Supper. 
•The  Gathering  of  Manna. 
•.Martyrdom  of  various  Saints. 
•Resurrection. 
•Coronation  of  the  Virgin. 
•Entombment. 

•St.  Michael  overcoming  Lucifer. 

•St.  Ursula  and  the  Virgins. 

•Mosaics  from  Tintoretto's  Car- 
toons. 

•Last  Supper. 

•Washing  Feet. 

•Presentation. 

•Massacre  of  the  Innocents. 

•Finding  of  the  True  Cross. 

•Last  Judgment. 

•Tablets  of  the  Law  and  Golden 

Calf. 
•Martyrdom  of  St.  Agnes. 
•Presentation  of  the  Virgin. 
•Martyrdom  of  St.  Christopher, 
*St.  Peter  and  the  Cross. 

•Crucifixion. 

•Ascension. 

•Glory  of  S.  Marziale. 

•Ascension. 

•Angel     of    the     Annunciation 

appearing  to  Mary. 
*St.  Mary  receiving  the  Angel. 
•Christ   washing   the  Apostles' 

Feet. 
•Last  Supper. 
•Assumption. 

•Baptism  of  Christ. 

^Mosaic  from  Cartoon  (?). 

•Scourging  of  Christ. 
•Ascension. 

•Annunciation. 

*S.  Rocco  and  the  Pope. 

•Pool  of  Bethesda. 

•S.    Rocco  in  the  Campo  d'Ar- 

mata. 
*S.  Rocco  healing  the  Sick. 
•Death  of  S.  Rocco. 
*S.  Rocco  and  the  Beasts  of  the 

Field. 
*S.  Rocco  and  many  figures. 
*Our  Lady  in  the  Garden. 


PAINTERS  AND  ENGRAVERS. 


falazzo  Utah. 
Library. 

In  Other  Roams. 


Venice.  Madonna  delta  1  »,,  ,  „ 

„  S.  Silvestro.  'Baptism  of  Christ. 

„  S.  Seiastiano.  *The  Brazen  Serpent. 

„  S.  Sttphano.  *Last  Supper. 

„  „  'Washing  of  Feet. 

„  ,.  "Agony  in  the  Garden. 

era«rfe.j^*  Supper. 

S.  Zaccariu.     *Birth  of  St.  John  {doubtful). 
•Transportation  of  the  Body  of 

St.  Mark. 
*St.    Mark    rescuing    a    Ship- 
wrecked Saracen. 
•Seven  Figures  of  Philosophers 
(between  the  windows). 
S.  Rocco. 

„  „  *Young  Martyr. 

„  „  *Four   Portrait  Pictures,   with 

Three  Procurators  in  each. 
},  „  *Gathering    of     Manna     {most 

doubtful). 
n  n  *Miracle     of    the     Loaves   and 

Fishes  {most  doubtful). 
„   Talaeeof  Prince  )  .j,„«.le  Piece 
Giovanelli.j   «aWle  i-iece. 

f,  ,,  •&.  Sebastian  {most  doubtful). 

,t  ,,  'Eight   Portraits   (0/  uncertain 

authenticity). 
„       Palace  of  Gius- )  'Departure  of  Queen    Comaro 

tiniani  Recanati.  /        from  Cyjirus. 
,1  „  'Portrait  of   a   Philosopher    of 

the  Family  of  Reconati. 
„  „  •Portrait.     Supposed    to    be    a 

youthful  portrait  of  himself. 
„   Count  Semaqintto  >,,,  ,„      -itz-io 

(Sckiavone  ti.dl.).  \  ^^^  ^^^  Eve  m  the  Garden. 

„   Collection  of  Italo)  ^,r^^,„■ar^„      .   ,       •     ,  j  i^ 
"  Brass   i    ■^''^  "  Oman  taken  m  Adultery. 

Vicenza.  Gallery.       St.     Augustine      healing     the 

Plague-Stricken. 
Vienna.  Imperial  Gal-  )  .g^  Jerome. 
Itry  and  Academy,  y 

•Susanna  and  the  Elders. 
'Sebastiano  Veniero. 
•Portrait :  Officer  in  Armour. 
'Old  Man  and  Boy. 
♦Portrait    of    Doge,    Girolamo 

Priuli. 
Two  Portraits  of  Doge,  Nicolo 

da  Ponte. 
Three  Portraits  of  Procurators 

of  St.  Mark 
Three  Portraits  of  Senators. 
Thirteen  other  Male  Portraits. 
'Lucretia. 

'Apollo  and  the  Muses. 
•Hercules  and  Omphale. 
Fiuding  of  Moses. 
Pieta. 

Christ  bearing  the  Cross. 
II  Bravo. 
Christ        blessing       Venetian 

Senators. 
Adoration  of  the  Magi. 
Gathering  of  Manna. 
Descent  from  the  Cross, 
Mucins  Scaevola. 
'Doge :  M.  A.  Trevisan. 
*Ales.sandro      Contarini       and 

Pietro  Grimani. 
'SS.  iTerome,  Louis,  and  Andrew 
{doubtful). 
Portrait    of    a  Doge:   Andrea 
Griti. 
•Nicole  da  Ponte. 
•Jacopo  Soranzo. 
Holy  Family  with  Saint. 


„      demini's  Gall. 

Anihraser  Coll. 
»»  »» 

Windsor  Castle. 


PBITATB   OWNEKS   IN   BBITAIN. 


Duke  of  Abtrcorn. 


•Portrait  of  a  Senator.  Head 
to  right.  Architectural  back- 
ground. 


Duke  of  Abercon. 


Mr.  Ralph  Bankes. 
Lord  Barrymore. 


Duke  of  Bedford. 


Mr.  W.  Bromley  Daven- 
port. 
Earl  Brownlow, 


The  Baroness  Burdett- 

Coutts. 
The  Marjuis  of  Bute. 

n 

Mr.  Oias.  Butler. 
The  Earl  of  Carlisle. 


Mr.   W.  G.  Cavendish 
Bentinck. 


The  Earl  of  Chesterfield. 
Sir  Fredk.  Cook,  Bart. 


The  Hon.  Mrs.  Corbet. 
Earl  Cowper. 
Mr.  R.  Cravshay. 
Duke  of  Devonshire. 


Mr.  Chas.  Doane. 
The  Earl  of  Dudley. 
The  Earl  of  Ellesmere. 


The  Marquis  of  Exeter, 
Sir  W.  J.  Farrer. 


J.  P.  Heseltine,  Esq. 
Captain  Holford. 


Kord  Kinnaird. 
Lord  Leoonfield. 
Mr.  F.  B.  Leyland. 


Mr.  G.  D.  Leslie,  S.A. 

The  Countess  of  Lindsay. 
Captain  R.  A.  Markham. 
Lord  Methuen, 


•Portrait     of     Senator.    Head 

to  left.     Dark  background. 
•Portrait  of  Senator.    Head  to 

left. 
•Apollo  and  the  Muses. 
•Portrait    of    Admiral    Barba- 

ro.s.sa. 
♦Full-length     Figure     of     St. 

Mark. 
♦Diogenes  in  his  Tub. 
♦Portrait  of  Veselius  the  Anato- 
mist. 
Three-quarter   length    Portrait 
of  Himself  as  a  Young  Man. 

>  ♦Apollo  and  Marsyas. 

•Christ  curing  the  Paralytic. 
•Portraits    of    Aretino    and    a 

General  of  Charles  V.   (on 

same  canvas). 
♦Portrait  of  a  Senator. 
•Portrait    of    Doge,    Francesco 

Donato. 
•Removal  of  Body  of  St.  Mark. 

I  •Miracle  of  St.  Mark  (Sketch). 

•A  Doge  of  Venice. 
•Allegorical  Subject. 

* 

♦Moses  striking  the  Rock. 
'Two  Dukes  of  Ferrara. 
'.•Sacrifice  of  Isaac. 
'Temptation  of  Christ. 
•Adoration  of  Shepherds. 

I  •Portrait  of  a  Naval  Officer. 

•Portraits :    Gentleman,    Lady, 

Child,  and  Page. 
•Portrait:  Venetian  Naval  Officer 

of  Family  of  Capello. 
•Portrait :  Venetian  Gentleman 

of  FamUy  of  Contarini. 
•Portrait  of  Cardinal  Lorraine. 
•The  Ascension  (a  Sketch). 
St.  John  the  Baptist. 
Portrait  of  a  Senator. 
♦Portrait. 
Portrait  of  a  Man. 
•Adam  and  Eve. 
Portrait. 
Christ    and     the    Woman    of 

Samaria. 
•Portrait  of  Venetian  Noble. 
Christ  delivered  to  the  Jews. 
•Portrait :  Man  with  Book. 
•Portrait :  Venetian  Senator. 
•Entombment. 

•Portrait :  Venetian  Nobleman. 
♦Presentation  in  the  Temple. 
The  Entombment. 
•The  Resurrection. 
•The  Annunciation. 
♦The  Raising  of  Lazarus. 
•Last  Judgment. 
•Christ  led  to  Judgment. 
♦Portrait :  Man   in  black,  right 

arm  on  window-sill. 
Portrait :  A  Procurator  of  St. 

Mark. 
Portrait :  A  member  of  Foscari 

Family. 
Conversation    Piece  of    Three 

Figures. 
Rsisiug  of  Lazarus. 
♦Conversion  of  St.  Paul. 

Portrait  of  a  Man. 
♦Portrait:    Said    to    be   Pietro 

Aretino. 
♦Portrait  of  a  Senator. 
♦Pharaoh's   Daughter   and   the 

Infant  Moses. 
•.\doriition  of  the  Shepherds. 
•Riptism  of  Christ. 
•Sketch. 

261 


A  BIOGRAPHICAL  DICTIONARY  OF 


Mr.  H.  Bingham  Mild- 

titay. 
Doctor  Lvdwig  Mond. 


Mr.  Lionel   B.   C.   L. 
MuirUead. 

The    i)uke    of  North- 
umberland, 


Vi$count  Powerscourt. 
Vie  Earl  of  Radnor. 


Sir    W.  B.  Richmond, 

R.A. 
Mr.  William  Russell. 
Mr.  O.  Salting. 
Mrs,  Arthur  Severn. 


The  Duke  of  Sutherland. 


Mr.  B.C.  Vernon-Went- 

worth. 
The  Earl  of  ff'emyss. 


The  Earl  ofYarborough 


The  Exors.  of  the  laU 
Lord  Leightmi. 


[  *rortrait  of  a  Venetian  Admiral. 

•Galleys  at  Sea. 
•Portrait :  Giovanni  Griti, 
•Portrait :  A  Touug  Man. 

{■  *Crucifixion. 

•Supper  at  Bethany. 

>  'Portrait :  Young  Man  in  dark, 
j        fur-trimmed  dress. 

Portrait  of  Atimiral  in  Armour. 
Ecce  Homo. 
•St.  Mark  preaching. 
•Portrait :     Half-Ieugih,     right 

hand  on  bust  of  Lucretia. 
•Portrait :  Venetian  Nobleman. 
I  *Portrait :    A     Man    holding    a 
J        l.tter. 

Portrait  of  a  Doge. 
Portrait  of  Ottavio  di  Stri. 
•Diana. 

•The  Doge  in  Prayer. 
•Annunciation. 
•Annunciation. 
A  Pope  with  a  large  number  of 

Cardinals  and  BTonks. 
A  Landscape,  in  which  are  many 

figures. 
Portrait  of  Venetian  Senator. 
Portrait. 
Removal  of  Body  from  Cross. 

>  Portrait  of  a  Monk. 

•Portrait  of  a  Senator. 
•Portrait  of  Himself. 
•Marriage  Feast. 
•Adoration  of  the  Magi. 
•A  Venetian  Nobleman. 
•The  Creation  of  Eve. 
•Consecration  of  a  Bishop. 
•Descent  from  the  Cross. 

I  *A  Portrait  of  Paolo  Parute. 


ROBUSTI,  Marieita,  the  daughter  of  Jacopo 
Robueti,  born  at  Venice  in  1560,  was  instructed 
in  art  by  her  father,  and  devoting  herself  to 
portrait  painting  as  an  art  suited  to  her  sex,  she 
acquired  considerable  reputation.  She  painted 
many  of  the  principal  personages  at  Venice,  but 
her  celebrity  was  not  confined  to  her  native 
country.  She  was  invited  to  the  court  of  the 
Emperor  Maximilian  and  to  that  of  King  Philip  II. 
of  Spain;  but  her  father's  affection  prevented  an 
acceptance  of  either  invitation.     She  died  in  1590. 

ROCCA,  Antonio,  painter,  practising  in  Italy 
about  the  middle  of  the  17th  century.  The  de- 
tails of  his  life  and  works  are  unknown,  but  he 
is  mentioned  by  various  writers  of  his  age  as  a 
foreign  artist  of  much  excellence,  working  in  Rome 
and  in  Piedmont.  He  is  said  to  have  been  a  monk, 
and  to  have  died  at  Rome  about  1660. 

ROCCA,  Daniele  Jacopo,  painter,  bom  at  Rome. 
He  was  a  pupil  of  Daniele  da  Volterra,  and  was  an 
artist  of  mediocre  talent.  He  died  at  Rome  in 
1600,  at  a  very  advanced  age. 

ROCCA,  MlCHELE,  called  also  PAEMiaiANO  the 
younger  and  Michele  da  Parma,  was  born  at 
Parma  in  1671.  He  practised  in  Rome,  and  died 
some  time  after  1751.  He  was  gifted  with  some 
talent,  and  worked  in  the  manner  of  P.  da  Cortona. 
In  the  Munich  Gallery  there  is  an  'Adoration  of 
the  Shepherds  '  by  him. 

ROCCADIRAME,  Angelo,  painter,  born  at 
Naples  in  1396.  Several  of  his  works  are  to  be 
found  in  the  churches  of  his  native  city,  among 
the  best  is  an  'Archangel  Raphael'  in  SS.  Severino 
e  Sosio.' 
262 


ROCHARD,  FRANgois  T.,  a  miniature  painter, 
born  in  France  in  17'J8.  Ho  studied  in  the  Paris 
Academy,  and  about  1820  migrated  to  London, 
where  he  exhibited  for  many  years  at  the  Royal 
Academy.     He  died  at  Netting  Hill  in  1858. 

ROCHAUU,  Simon  Jacques,  a  French  miniature 
painter,  the  elder  brother  of  F.  Koohard,  was  bom 
in  Paris  in  1788.  He  entered  the  ficole  des  Beaux 
Arts  in  181,3,  and  studied  under  Merimdo  an<l 
Isabey.  After  practising  in  Paris  he  settled  in 
England,  where  he  obtained  a  largo  and  fashionable 
connection.  Ho  exhibited  at  the  Royal  Academy 
for  many  years,  but  in  1850  retired  to  Brussels, 
where  he  died  in  1872.  He  was  nicknamed 
"Mahogany  Rochard,"  from  the  curious  dull  red 
flesh  colour  he  so  often  used. 

ROCHE,  Benedict,  painter,  bom  at  Valencia. 
He  was  a  pupil  of  Gaspar  do  la  Iluerta,  and  it  is 
said  that  his  works  were  sometimes  mistaken  for 
those  of  his  master.     He  died  in  1785. 

ROCHE,  Jean,  (or  Broche,)  a  French  painter, 
born  at  Carcassonne.  In  1365  he  painted  several 
pictures  for  the  '  figlise  des  Domes '  at  Avignon. 

ROCHE,  Sampson  Towqood,  miniature  painter, 
practised  at  Bath  early  in  the  19th  century.  He 
exhibited  at  the  Academy  in  1817,  but  his  practice 
seems  to  have  been  purely  local. 

ROCHEBRUNE,  Octave  Gdillaume  de,  a 
French  engraver  and  etcher,  bom  April  1,  1824, 
at  Fontenay-le-Comte  (Vendue);  was  a  pupil  of  J. 
Ouvri^  and  J.  L.  Petit ;  as  an  etcher  he  was  self- 
tauglit ;  one  of  the  most  notable  architectural 
etchers  on  a  large  scale,  his  '  Notre  Dame,'  '  Palais 
de  Justice,  Rouen,'  '  Chenonceaux,'  and  other 
plates  being  well  known.  He  obtained  medals  in 
1865  and  1868,  a  second-class  medal  in  1872,  and 
the  Legion  of  Honour  in  1874.  He  died  at  Fon- 
tenay,  July  1,  1900. 

ROCHERS,  Etienne  des.    See  Desrochers. 

ROCHETET,  Michel,  a  French  painter  of  por- 
traits and  historical  subjects,  who  flourished  in  the 
16th  century,  and  worked  at  the  decoration  of  the 
Louvre,  and  of  tlie  palace  at  Fontainebleau,  under 
the  direction  of  Priniaticcio. 

ROCHETTI.    See  Faenza,  Marco  Antonio  di. 

ROCHFOHD,  P.  de,  a  native  of  France,  flourished 
about  the  year  1720.  He  engraved  several  of  the 
plates  for  the  large  folio  collection  of  '  Views  of  the 
Palace  and  Gardens  of  Versailles,'  published  by 
P.  Menant.  He  also  engraved  some  prints  from 
the  pictures  of  Jean  Baptiste  Santerre,  and  other 
painters.  He  resided  some  time  in  Portugal,  where 
he  died. 

ROCHIENNE,  Pierre,  a  French  engraver  on 
wood,  who  flourished  about  the  year  1551.  In 
conjunction  witli  J.  Ferlato,  he  executed  a  set  of 
very  indifferent  wood-cuts  for  the  New  Testament, 
in  Latin,  published  in  1551.  He  also  engraved  some 
cuts  for  the  '  Legende  dor^e,'  published  in  1557. 

ROCHUSSEN,  Karel,  Dutch  painter  and  en- 
graver ;  born  at  Rotterdam,  August  1,  1814 ;  a 
pupil  of  W.  J.  J.  Nuijen  and  Waldorp  ;  excelled  as 
a  painter  of  battle-scenes ;  won  distinction  as  an 
illustrator,  notably  of  Munchausen.  His  '  Bataille 
de  Malplaquet,'  '  Gueux  de  Mer  devant  Leyde,' 
'Bataille  de  Castricum,'  and  'Comte  Florens 
combattant  les  Frisons '  are  among  his  most  im- 
portant works.  He  was  a  Knight  of  the  Lion  of 
the  Netherlands,  and  a  Chevalier  of  the  Legion  of 
Honour.  He  died  at  Rotterdam,  September  24, 
1894. 

ROCQUE,  J.,  was  probably  a  native  of  France, 


PAINTERS  AND  ENGRAVERS. 


but  about  1750  he  resided  in  England,  where  he 
graved  maps  and  a  few  views  from  his  own  de- 
signs. Among  these  are  two  large  views  of 
Wanstead  House,  Essex.  Vivaret  engraved  a  view 
of  Kensington  Palace  after  a  drawing  by  Rocque. 

RODAKOWSKI,  IIeinrich,  Polish  painter ;  born 
at  Lemberg  (Austrian  Galicia),  June  9,  1823 ; 
began  his  art  studies  at  Vieima,  and  in  1846  came 
to  Paris,  where  he  settled  ;  remained  for  five  years 
in  Cogniet's  studio  ;  made  his  (Ubut  at  the  Salon  in 
1852  with  his  'Portrait  du  G^ndral  Dembinski'; 
chiefly  earned  distinction  as  a  portrait-painter, 
though  some  of  his  historical  canvases  won  high 
praise ;  in  1893  he  returned  to  Cracow,  being 
appointed  President  of  the  Academic  des  Arta  ;  he 
gained  a  first-class  medal  in  1852 ;  a  third-class 
one  at  the  Universal  Exhibition  of  1855 ;  the 
Legion  of  Honour  in  1861,  and  the  Belgian  Order 
of  Leopold  ia  1873.  He  died  at  Cracow,  December 
28,  1894. 

RODDELSTET,  (or  Rudestedt,)  Peter.     See 

GOTTLANDT,  PeTER. 

JiODE,  Christian  Bernhaed,  painter  and  en- 
graver, was  born  in  Berlin  in  1725.  Having  learned 
the  rudiments  of  his  art  in  his  native  city,  he  went 
to  Paris,  where  he  studied  for  a  time  under  Charles 
Vanloo  and  Pesne.  He  afterwards  travelled  to 
Italy,  and  on  his  return  to  Berlin  met  with  very 
flattering  encouragement  as  a  painter  of  history 
and  portraits.  He  painted  several  altar-pieces  for 
the  churches  at  Berlin  and  the  other  towns  in 
Prussia,  and  was  employed  by  the  king  in  em- 
bellishing the  palace  of  Sans  Souci.  In  1783  he 
became  Director  of  the  Academy  at  Berlin.  He 
etched  a  great  number  of  plates  from  his  own 
designs  and  those  of  others.  There  is  a  MS. 
catalogue  of  309  plates  by  him  in  the  British 
Museum  Print  Room.  The  following  are  his 
principal  works : 

The  ceilings  in  the  New  Palace,  Sans  Souci. 
A  Desceut  from  the  Cross.     {Marienkirche,  Berlin. ) 
The  Agony  in  the  Garden.    {Marienkirche ^  Berlin.) 
The  Ascension.    {Sostock.) 

ENQBAVINGS. 
A  Head  of  Christ. 
The  Maskers  ;  after  Schliiter. 
Plates  for  Gessner's  '  Idylls '  and  Gellert's  '  Fables.' 

RODE,  Johann  Heinrich,  the  younger  brother 
of  Christian  Bemhard  Rode,  born  at  Berlin  in  1727, 
was  brought  up  to  the  profession  of  a  goldsmith, 
but  abandoned  that  pursuit  to  devote  himself  to 
engraving.  Having  executed  some  plates  at  Berlin 
with  considerable  success,  he  went  to  Paris,  where 
he  became  a  pupil  of  Juhann  Georg  Wille.  During 
his  residence  in  that  city  he  engraved  a  few  plates 
in  the  finished  style  of  his  instructor,  and  on  his 
return  to  Berlin  published  several  prints  from  the 
designs  of  his  brother.  He  had  acquired  a  reputa- 
tion, wlien  his  career  was  cut  short  by  his  death 
in  1759.  Among  others,  we  have  the  following 
prints  by  him  : 

The  Portrait  of  Johann  Georg  'Wille ;  after  Schmidt. 
A  Head  of  Epicurus  ;  after  J.  M.  Preisler. 
Jacob  wrestling  with  the  Angel ;  after  C.  B.  Rode. 
An  Ecce  Homo  ;  after  the  satne. 
A  Sacrifice  of  the  Vestals  ;  after  the  same. 

RODE,  (or  Roode,)  Niels,  Nelis,  or  Cornelis, 
painter,  born  at  Copenhagen  in  1743.  He  came  to 
Holland,  and  studied  at  the  Hague  under  the 
portrait-painter  J.  G.  Ziesenis.  In  1776  he  became 
a  member  of  the  '  I'ictura '  Society  at  the  Hague, 
and  finally  established  himself  at  Leyden.      He 


died  in  1794.  There  is  a  portrait  group  by  him 
in  the  Town  Hall  at  the  Hague. 

RODEN,  Mathts,  a  Flemish  painter  of  the  15th 
century,  who  practised  at  Ghent,  and  became  a 
member  of  the  Corporation  in  1475.  In  1477  he 
designed  some  allegorical  figures  for  the  fete  in 
honour  of  the  entry  of  Duke  Maximilian.  No 
record  of  his  works  later  than  1483  has  come 
down  to  us. 

RODEN,  William  T.,  the  well-known  Birming- 
ham portrait-painter,  was  born  in  Bradford  Street 
in  1817,  and  was  apprenticed  to  an  engraver 
named  Dew,  at  the  close  of  his  association  with 
whom  ho  engraved  for  Messrs.  Hogarth,  publishers, 
his  most  noteworthy  work  being  a  plate  of  '  John 
Knox  preaching  at  the  Court  of  Queen  Mary.' 
After  following  the  art  of  engraving  for  about  ten 
years  he  took  to  portrait-painting,  and  attained  a 
considerable  measure  of  success,  his  services  being 
in  great  request  for  presentation  portraits.  Besides 
those  in  the  Art  Gallery  and  at  Aston  Hall,  there 
are  portraits  by  him  in  the  Board  Room  of  the 
General  Hospital,  at  Saltley  College,  in  the  board 
rooms  of  banks  and  other  institutions,  and  in  the 
hands  of  private  persons  throughout  the  Midlands. 
Lord  Palmerston  sat  three  times  to  him.  Mr. 
Roden  co-operated  with  others  in  founding  the  old 
Birmingham  Art  Gallery,  and  was  for  many  years 
an  active  member  of  the  Royal  Society  of  Artists. 
He  continued  to  paint  until  a  few  years  previous  to 
his  death,  but  on  Christmas  Day  1890  he  sutfered 
from  a  stroke,  which  left  him  much  weakened,  and 
on  the  third  anniversary  of  the  attack  he  died  a  hia 
sister's  house  at  Handsworth,  1892.  A.  B.  C. 

EODERIGO.    See  RoDeiqoez. 

RODERMONT,  (or  Rottermondt,)  called  RoT- 
EEMANS,  was  a  native  of  Holland,  and  flourished 
about  the  year  1640.  From  the  style  of  his  etching 
he  appears  to  have  been  a  painter,  and  to  have 
imitated  Rembrandt  with  success.  He  engraved 
a  few  portraits,  now  become  scarce,  among  which 
are : 

Sir  William  Waller,  Serjeant  Major-general  to  the  Par- 
liament, with  a  iiattle  in  the  background ;  after  C. 
Jans^en. 

Joannes  Secundus,  a  Latin  Poet  of  the  Hague ;  signed 
Rodermont,  fecit. 

RODRIGUEZ,  Alfonso,  a  painter  of  Spanish 
extraction,  born  at  Messina  in  1578,  studied  the 
works  of  Titian,  Raphael,  and  Michael  Angelo. 
His  best  works  are  to  be  found  at  Jlessina :  '  The 
Impotent  Man  at  Bethesda,'  in  S.  Cosimo  de' 
Medici;  'The  Murder  of  the  Innocents,'  in  S. 
Elena  de  Constantino  ;  '  Madonna  with  St.  John, 
and  St.  Nicholas,'  in  S.  Filippo  Neri.  He  died  at 
Messina  in  1648. 

RODRIGUEZ,  Domingo,  a  Portuguese  painter 
and  Augustine  monk,  was  living  at  Salamanca  in 
1682.  He  painted  many  pictures  of  saints  and 
martyrs  for  the  convent  of  his  order  in  that  city. 

RODRIGUEZ,  Frate  Adrian.     See  Dierix. 

RODRIGUEZ,  Giovanni  Bernardino,  called  Ii, 
Pittor  Santo,  the  son  of  Alfonso,  and  nephew  and 
pupil  of  Luigi  Rodriguez.  After  his  uncle's  death 
he  formed  a  close  connection  with  Domenichino, 
which  continued  until  the  latter  was  driven  from 
Naples.  Rodriguez  has  much  of  the  tenderness 
of  Domenichino.  He  died  in  1667  at  Naples, 
where  the  following  works  of  his  are  to  be  seen : 
'  The  Virgin  with  the  Child  rescuing  a  Soul  from 
Satan,'  altar-piece  for  the  church  of  the  Madonna 
del  Soccorso ;  '  S.  Carlo  in  glory,  with  angels  sing 

263 


A  BIOGRAPHICAL  DICTIONARY  OF 


ing  and  playing,'  in  a  chapel  of  the  church  of  Oesii 
Nuovo. 

RODRIGUEZ,  Joan,  of  Bejar,  was  employed 
in  1476  by  the  Duke  of  Alva  to  execute  '  ara- 
besques '  in  his  palace  of  Barco  di  Avila. 

RODRIGUEZ,  LniGi,  brother  of  Alfonzo  Rodri- 
guez, bom  at  Messina  in  1585,  studied  at  Rome 
and  Naples.  In  the  latter  city  he  painted  for 
some  time  with  Bellisario  Corenzio.  On  his  return 
to  Messina  he  executed  twelve  scenes  from  the 
Trojan  War,  in  monochrome.  There  is  a  tradition 
that  he  was  poisoned  at  Naples  by  Corenzio 

RODRIGUEZ  DE  MIRANDA,  Francisco  and 
Nicolas,  painters,  the  less  famous  brothers  of 
Pedro.  Francisco  was  born  in  1701,  and  was 
appointed  painter  to  the  Master  of  the  Horse.  In 
1746  he  painted  twelve  large  pictures,  representing 
incidents  in  the  life  of  S.  Peter,  for  the  convent  of 
San  Gil  at  Madrid.  He  died  in  1751.  Nicolas 
distinguished  himself  as  a  landscape-painter,  and 
died  at  Madrid  shortly  before  Francisco. 

RODRIGUEZ  DE  MIRANDA,  Pedro,  born  at 
Madrid  in  1696,  was  the  nephew  and  scholar  of  the 
elder  Juan  Garcia  de  Miranda.  (See  Garcia  de 
Miranda.)  Under  the  auspices  of  Father  Aller, 
confessor  of  the  Infant  Don  Philip,  fourth  son  of 
Philip  v.,  he  painted  an  Immaculate  Conception 
so  pleasing  to  the  prince  that  he  insisted  on 
its  being  inscribed  with  the  artist's  name.  He 
executed  a  half-length  portrait  of  Aller,  and 
various  religious  subjects  for  the  Bare-footed 
Carmelites.  He  chiefly  distinguished  himself, 
however,  by  landscapes  and  scenes  of  low  life, 
as  well  as  panels  of  coaches,  which  were  sufficiently 
prized  to  be  preserved  when  the  coaches  them- 
selves were  worn  out  or  disused.  He  succeeded 
his  uncle  as  painter  to  the  King,  and  died  in  1766. 

RODRIGUEZ  DE  RIBERA,  Isidro,  was  court 
painter  at  Madrid  in  the  early  part  of  the  18th 
century,  and  in  1725  was  appointed  Valuer  of 
Antique  Pictures  by  royal  letters  patent. 

RODRIGUEZ,  Simon,  a  Spanish  painter  of  some 
talent,  who  flourished  in  the  16th  century.  The 
details  of  his  life  are  unknown,  but  at  the  monas- 
tery of  Belem,  on  the  Tagus,  there  is  a  '  Nativity ' 
of  much  merit  by  him. 

RODRIGUEZ-BLANES,  Benito,  painter,  born 
at  Granada  in  1650,  was  an  imitator  of  the  style  of 
Alonzo  Cano.  He  took  orders,  and  gained  a  high 
reputation  both  for  his  talent  as  a  painter  and  for 
the  blamelessness  of  his  life.  Among  the  works 
he  is  known  to  have  executed  were :  '  A  Madonna,' 
for  the  staircase  of  the  Archbishop's  palace  at 
Granada,  and  other  paintings  for  the  church  of 
Nuestra  Senora  de  las  Angustias,  for  the  church 
of  the  Augustine  order,  and  for  that  of  the  Bare- 
footed Carmelites.  In  the  Munich  Gallery  there 
is  a  portrait  of  a  naval  officer  by  him.  He  died  at 
Granada  in  1737. 

ROECKEL,  WiLHELM,  historical  painter,  born 
at  Schleissheim  in  1801,  where  his  father  was  a 
glazier.  After  studying  in  the  Munich  Academy 
under  Langer,  he  went  to  Diisseldorf  On  his 
return  to  Munich  in  1827  he  took  up  glass 
painting.  In  the  Auerkirche  at  Munich  is  a 
picture  of  the  '  Marriage  of  Cana '  by  him.  He 
died  at  Munich  in  1843. 

ROED,  Holger  Peter,  was  the  son  of  Jorgen 
RoED,  a  living  Danish  painter,  and  was  born  at 
Copenhagen  in  1846.  He  studied  at  first  under  his 
father,  but  in  1861  entered  the  Academy,  where 
he  received  a  gold  medal  for  a  '  Scene  from  the 

264 


Deluge.'  In  1870  he  went  to  Paris,  Rome,  and 
Naples,  but  returned  home  after  two  years'  absence. 
He  died  prematurely  in  1874. 

ROEDER,  JcLins  Siegmcnd,  the  son  of  poor 
parents,  was  born  at  Berlin,  1829,  entered  the  studio 
of  Dr.  Herbig  at  the  age  of  fifteen,  and  the 
Academy  a  few  years  later.  He  had  great  difficulty 
in  maintaining  himself,  and  was  obliged  to  curtail 
travels  undertaken  to  complete  his  art  education. 
A  fortunate  marriage  improved  his  prospects, 
but  his  wife  soon  died,  and  he  left  Weimar, 
where  he  had  been  living  with  her.  His  picture 
'  The  last  Blessing '  (in  the  possession  of  the 
Emperor  of  Germany)  was  exhibited  in  1850. 
His  'Grape  Seller'  is  now  in  the  Berlin  Gallery. 
He  died  in  1860. 

ROEDIG,  J.  C,  a  painter  of  fruit  and  flower 
pieces,  was  bom  at  the  Hague  in  1751.  He  was 
a  pupil  of  Van  der  Aa,  and  became  secretary  to 
the  School  of  Art  at  the  Hague  in  1794.  He  died 
in  1802. 

ROEHN,  Adolphe  EuofeuE,  born  in  Paris  in 
1780,  belonged  to  the  school  of  the  Restoration. 
He  began  his  career  with  a  'Market  Scene,'  and 
a  '  Halt  of  Spanish  Soldiers,'  and  in  1866  he  ex- 
hibited his  '  Dancing  Bear.'  Ho  was  professor  of 
drawing  in  the  College  Louis  le-Grand.  He  died 
at  Vannes  in  1867. 

ROEHN,  Jean  Alphonse,  the  son  of  Adolphe 
Roehn,  born  in  Paris  in  1799,  was  a  pupil  of 
Regnault  and  Gros.  He  entered  the  Kcole  des 
Beaux  Arts  in  1813,  and  afterwards  became  a 
colleague  of  his  father  at  the  College  Louis-le- 
Grand.  His  works  were  rather  in  the  style  of 
the  18th  century.     He  died  in  Paris  in  1864. 

ROELAS.     See  De  las  Roblas. 

ROELFSEMA.     See  Oever. 

ROELOFS,  WiLLEM,  Dutch  painter  and  etcher ; 
bom  March  10,  1822,  at  Amsterdam ;  was  a  pupil 
of  Sande  Bakhuyzeii  and  De  Winter.  For  a  time 
he  resided  at  the  Hague,  and  also  (since  1848)  at 
Brussels.  His  works  include  '  Vaclies  au  bord  de 
la  Fleuve,'  '  Bois  en  Automne '  (in  the  Louvain 
Museum),  '  P.iysage  k  la  Haye'  (in  Amsterdam 
Museum),  and  others.  Of  his  etcliings  we  may 
mention  '  Le  Marais,'  '  Le  Ruisseau,'  &c.  He 
obtained  a  medal  at  Brussels  in  1848 ;  also  the 
Orders  of  Leopold  and  of  Francis  Joseph,  and  he 
was  appointed  Officer  of  the  Order  of  the  Oak 
Crown.  He  died  at  Berchem,  near  Antwerp,  May 
14,  1897. 

ROELOFSWAART,  Adolf,  painter,  born  at  the 
Hague.  He  practised  towards  the  close  of  the 
18th  century,  painting  historical  subjects  and 
portraits,  and  was  a  pupil  of  Abraham  Verkolje,  of 
Amsterdam.  He  lived  for  some  time  at  Delft,  and 
finally  settled  at  Ryswick,  near  the  Hague. 

ROEPEL,  CoNRAED,  (KoENRAAD,)  an  eminent 
Dutch  painter  of  flowers  and  fruit,  born  at  the 
Hague  in  1679.  He  was  placed  for  some  time 
under  the  care  of  Constantino  Netscher,  with  the 
intention  of  becoming  a  portrait  painter ;  but  the 
delicacy  of  his  constitution  made  it  necessary  for 
him  to  quit  the  Hague,  and  to  reside  at  a  country- 
house  of  his  father's,  where  he  amused  himself  in 
cultivating  flowers.  This  occupation  led  him  to 
an  attempt  to  paint  the  objects  of  his  care.  Some 
of  his  pictures  were  bought  by  a  florist  at  the 
Hague,  who  afterwards  kept  him  supplied  with 
flowers.  In  1716  he  was  invited  to  the  court  of 
the  Elector  Palatine,  at  Diisseldorf.  On  the  death 
of  his  patron  he  returned  to  the  Hague,  where  he 


PAINTERS  AND   ENGRAVERS. 


painted  some  pictures  for  Prince  William  of  Hesse, 
and  the  families  of  Fager  and  Lormier.  There 
are  specimens  of  his  art  in  the  Berlin  and  Cassel 
Galleries.  In  1718  he  was  received  into  the  Pic- 
tura  Society,  of  which  he  was  the  Director  at  the 
time  of  his  death  in  1748. 
ROER,  Jakob  van  der.  See  Van  deb  Roer. 
ROERBYE,  Christian  Martin,  Norwegian 
painter;  born  May  17,  1803,  at  Drammen  ;  studied 
at  the  Copenhagen  School  of  Art,  and  became  a 
pupil  of  Eckersberg ;  travelled  in  Italy,  Turkey, 
and  Greece.  On  his  return  was  elected  a  member 
of  the  Copenhagen  Academy  ;  his  pictures  include 
'Turkish  Wedding,'  'Skagen,'  'Oriental  Life,' 
'  Market  at  Amalti,'  and  sundry  portraits.  He 
died  at  Copenhagen,  August  29,  1848. 

BOESTRAETEN,  Pieteb,  portrait  and  still-life 
painter,  born  at  Haarlem  in  lt;"i7,  was  brought  up 
under  Frans  Hals,  whose  daughter  he  married,  and 
whose  style  in  portrait  painting  he  followed  for 
some  time  with  success.  Attracted  by  the  fame  of 
Sir  Peter  Lely's  good  fortune  in  England,  he  visited 
this  country  in  the  reign  of  Charles  II.  He  was 
received  by  Lely  with  great  kindness,  and  intro- 
duced to  the  king  ;  but  it  does  not  appear  that  he 
met  with  much  encouragement  at  Court,  as  none 
of  his  pictures  are  to  be  found  in  the  palaces,  or 
in  the  royal  catalogues.  The  story  of  Lely's 
jealousy  of  Roestraeten  seems  to  be  unfounded, 
fioestraeten  painted  with  great  success  vases  of 
gold  and  silver,  bas-reliefs,  musical  instruments, 
&c.,  which  he  designed  witli  precision.  His 
pictures  were  well  coloured,  and  touched  both  with 
delicacy  and  freedom.  The  exact  date  of  his  visit 
to  England  is  not  ascertained  ;  but  he  must  have 
resided  here  many  years,  as  he  met  with  an 
accident  at  the  fire  of  London,  and  was  lame  for 
the  rest  of  his  life.     He  died  in  London  in  1700. 

ROETING,  .Idlius,  German  painter ;  born 
September  7,  1821,  at  Dresden  ;  studied  at  Dresden 
Academy  under  Bendemann  ;  subsequently  ap- 
pointed Professor  at  the  Dlisseldorf  Academy, 
becoming  an  Associate  of  the  Berlin  and  Vienna 
Academies.  Among  his  principal  works  are : 
•Columbus  at  Salamanca'  and  'The  Entombment 
of  Christ ' ;  also  notable  portraits  of  W.  von 
Schadow  and  K.  F.  Lessing,  which  are  in  the 
Dlisseldorf  Gallery.  In  1855  in  Paris  he  gained 
a  third-class  medal,  and  a  gold  medal  at  Berlin. 
He  died  at  Dlisseldorf,  May  22,  1896. 

ROETTIERS,  FRANgois,  was  born  in  Paris  in 
1702,  of  a  Flemish  family.  His  ancestors  had 
for  many  years  been  medallists  to  the  French 
mint.  He  was  probably  a  scholar  of  Nicholas  de 
Largillifere,  from  whose  designs  he  etched  the 
following  plates  : 
Christ  bearing  His  Cross. 
The  Crucifixion. 

There  are  a  few  others  by  him  of  less  importance. 
He  died  in  1770. 

ROFFE,.ToH.N,'an  English  engraver,born  in  1769. 
His  practice  was  chiefly  confined  to  architectural 
plates.  He  died  at  Holloway  in  1850.  Specimens 
of  his  work  are  to  be  found  in  : 

The  Marbles  in  the  British  Museum.     1812. 

Murphy's  Arabian  Antiquities  of  Spain.     1816. 

BOGEL,  JoHANK,  an  engraver  on  wood,  practised 
at  Augsburg  about  the  year  1567. 

ROQEL,  Maestro.  See  Van  deb  Wkyden, 
Roger. 

ROGER,  Adolphe,  a  French  historical  painter. 


bom  at  Palaiseau  in  1797.  He  studied  under  Gros, 
and  obtained  honours  in  1822,  1831,  and  1841.  He 
had  considerable  practice  as  a  decorative  painter, 
and  executed  works  at  the  churches  of  St.  Elizabeth, 
St.  Roch,  and  Notre  Dame  de  Lorette,  in  Paris. 
He  died  in  1880.  Amongst  his  works  we  may  also 
name : 

Versailles.       Gallery.    Battle  of  Civ-itella.  1842. 

„  Trianon,    Charles  V.  eotering  the  Louvre. 

1835. 
„  „  Taking  the  Veil. 

„  „  Ordination  of  Africans. 

ROGER  DE  Bruges.  See  Van  der  Weyden, 
Roger. 

ROGER,  Eogene,  a  French  historical  and  portrait 
painter,  born  at  Sens  in  1807.  He  studied  under 
Hersent,  and  obtained  the  second  jrrix  de  Borne  in 
1827.  Six  years  after  he  obtained  the  coveted 
grand  prix.  He  died  in  Paris  in  1840.  Amongst 
his  works  are : 

Nancy.  Museum.    Fmding  the  body  of  Charles  the 

Bold. 
Versailles.       Gallery.    Charlemagne  crossing  the  Alps, 

1837. 
„  „  Kaisiag    the   Siege   of    Salerno. 

183LI. 

ROGERS,  George,  amateur,  painted  landscapes 
of  some  merit,  and  was  an  exhibitor  at  the  Spring 
Gardens  Exhibition  in  1761  and  1762.  He  married 
a  daughter  of  Jonathan  Tyers,  the  proprietor  of 
Vauxhall,  and  settled  in  the  Isle  of  Wight.  He 
died  about  1786. 

ROGERS,  Philip  Hutchins,  an  English  land- 
scape painter,  born  at  Plymouth  in  1794.  His 
works  were  chiefly  inspired  by  Devonshire  scenery, 
and  occasionally  appeared  at  the  Academy  up  to 
1835.  During  his  latter  years  he  resided  in  Ger- 
many, and  died  at  Lichtenthal,  near  Baden-Baden, 
in  1853.     Amongst  his  works  are  : 

Karlsruhe.       Gallery.  View  of  Plymouth  Harbour. 

„  „  View  of  Baden. 

Saltram  House.  Two  views  of  Saltram. 

Strasbourg,    iluieum.  Entrance  to  Plymouth  Harbour. 

ROGERS,  William,  an  English  engraver,  bom 
in  London  about  the  year  1545.  It  has  not  been 
ascertained  from  whom  he  learned  the  art  of 
engraving,  but  he  worked  with  the  burin  in  a  neat 
though  stiff  style.  He  engraved  a  few  portraits,  and 
several  frontispieces,  and  other  book  ornaments. 
He  was  one  of  the  earliest  English  engravers  to 
practise  the  art  as  a  profession.  He  usually 
marked  his  plates  with   the   cipher   "IVZ? 

We  have  the  following  prints  by  him : 

portraits. 

Queen  Elizabeth  ;  a  small  upright  plate. 

Henry  IV.  of  France  ;  a  whole  length. 

The  Emperor  Ma-ximilian  ;  a  whole  leogth. 

The  Earl  of  Essex,  Earl  Marshal  of  England. 

The  Earl  of  Cumberland. 

Thomas  Howard.  Duke  of  Norfolk. 

Sir  John  Harrington  ;  the  title  to  his '  Orlando  Furioso.' 

Thomas    Moffat;   a   frontispiece  to  his    'Theatre  of 

Insects.' 
John  Gerarde,  Surgeon  ;  frontispiece  to  his  '  Herbal.' 

ROGERSON,  R.,  portrait  painter,  who  lis-ed  in 
the  middle  of  the  17th  century.  He  painted  a 
room  in  the  Pope's  Head  Tavem,  in  London,  in 
1688  (Pepys). 

ROGEKY,  Roger  de,  a  French  artist,  who, 
about  1570,  painted  a  series  of  pictures  at  Foo- 
tainebleau,  from  the  legend  of  Hercules. 

265 


A  BIOGRAPHICAL  DICTIONARY  OF 


R06HMAN,  Geertrutdt,  the  daughter  of  Roe- 
laad  Roghman,  engraved  after  her  father.  Bartsoh 
has  described  Le  Chateau  de  Zuylen,  engraved  by 
her  after  her  father's  design,  and  there  are  also 
by  her  a  '  Massacre  of  the  Innocents,'  after 
Tintoretto,  and  about  twenty  plates  more  of  less 
importance. 

ROGHMAN,  Hr.  Lmr.,  and  P.  H.  ROGHMAN. 
These  names  are  signed  to  two  or  three  engraved 
portraits.  The  first  appears  on  a  portrait  of  M. 
Barent  Jansz,  aet.  53,  1627 — E.  L.  Roghman 
scidpsit — the  H.  L.  and  R.  forming  a  cipher ;  the 
second  on  a  portrait  of  A.  I.  Roscius  in  an  oval — 
P.  H.  Eoghman,  sculjisit.  The  latter  signature 
is  also  affixed  to  a  print  after  Rubens,  and  to  a 
portrait  of  Erasmus. 

ROGHMAN,  (or  Roqman,)  Roeland,  a  Dutch 
painter  and  engraver,  was  born  at  Amsterdam  in 
1697.  It  is  not  known  by  whom  he  was  instructed 
in  art,  but  he  was  a  good  painter  of  landscapes. 
His  pictures  usually  represent  views  in  HoUiind, 
and  on  the  borders  of  Germany.  They  exhibit  a 
close  attention  to  nature  in  the  forms,  but  liis  colour 
is  dark  and  disagreeable.  He  has  left  several 
landscape  etchings.  His  landscapes  have  a  strong 
resemblance  to  those  of  Rembrandt,  with  whom 
he  was  on  terms  of  intimacy.  He  sometimes 
painted  distances  to  the  figures  of  Lingelbach. 
His  drawings  with  the  pen  are  very  free  and 
spirited,  and  prove  that  he  was  an  artist  of  much 
talent.  They  are  very  numerous.  The  Rotterdam 
Museum  possesses  a  collection  of  twenty-five  of 
the  best.  His  etchings,  like  his  drawing.s,  re- 
present views  of  chateaux  and  ruined  buildings. 
Several  of  the  plates  have  been  re-bitten,  and  these 
appear  scratchy  and  crude.  His  prints  are  thirty- 
nine  in  number  ;  six,  published  by  Peter  Nolpe 
with  the  title  of  '  Views  in  the  Wood  at  the  Hague,' 
are  retouched  and  finished  with  the  graver  by 
Nolpe  himself.  It  is  supposed  that  Roghman 
died  in  the  workhouse  at  Amsterdam  about  1685. 

ROGIER,  NicoLAUS,  called  also  Katnoot  Ru- 
GIEBO,  a  Flemish  landscape  painter,  who  flourished 
from  1520  to  about  1540,  and  is  said  to  have 
painted  in  the  style  of  Joachim  Patinir. 

ROHDB,  Karl,  German  painter  ;  bom  in  1840 
at  Coblentz.  He  was  a  pupil  of  Neher  and  Rustige 
at  the  Stuttgart  Art  School ;  in  1864  he  settled  at 
Munich  ;  painted  market-scenes  and  animals  with 
success.     He  died  at  Munich,  August  23,  1891. 

ROHDE,  Niels,  Danish  painter;  born  at 
Copenhagen  in  June  1816  ;  at  first  studied  with 
his  father  and  subsequently  at  the  Art  Academy  ; 
well  known  in  Denmark  as  a  landscape  painter  • 
died  at  Copenhagen,  July  14,  1886. 

ROKERZ,  Hendbick,  an  obscure  Dutch  engraver, 
by  whom  we  have  a  few  portraits,  very  iiidiflierently 
executed  ;  among  them  that  of 
William  Henry,  Prince  of  Orange,  on  Horseback ;  after 
I'.  Jansc. 

ROKES,  Hendrick.    See  Sorgh. 

ROLAN,  Fangoerbe,  a  Spanish  painter,  who 
practised  in  the  neighbourhood  of  Seville,  and  in 
1653  painted  a  picture  of  the  Virgin  and  St.  Francis, 
which  was  bought  by  the  Tribunal  of  Indian 
Commerce  for  4533  maravedis. 

ROLI,  Gidseppe  Maria,  (Rolli,)  bom  at  Bo- 
logna in  1654,  was  a  scholar  of  Domenico  Maria 
Canuti.  There  are  several  of  his  frescoes  in  the 
churches  of  his  native  city.  We  have  also  some 
etchings  by  him  after  the  principal  Bolognese 
painters,  among  which  are  the  following : 

266 


Charity ;  after  Lodovico  Carracci. 

A  Sibyl ;  after  Loremo  Paainelli. 

Lucrctitt  in  the  act  of  stabbing  herself ;  after  Camiti, 

The  art  of  Drawing ;  after  Pasinelli. 

His  brother  Antonio.  born  at  Bologna  in  1643, 
is  mentioned  by  Crespi  as  a  decorative  painter  of 
much  merit,  and  the  pupil  and  assistant  of  Angiol 
Michele  Colonna.     He  died  in  1696. 

ROLLAND,  AuGDSTE,  painter,  architectural 
draughtsman,  and  modeller,  born  at  Metz  in  1797. 
He  had  much  versatility  in  his  art,  painting 
landscape,  genre  pictures,  and  still-life.  Hia 
travels  in  Switzerland  and  the  Pyrenees  furnished 
him  with  many  subjects.  He  died  in  1859.  By 
him: 

Metz.  Musie.    Oow-stable  in  the  Pyrenees. 

„  „         L'fitang  de  Bouligny. 

„  ,,         Cows  crossing  a  Stream. 

ROLLAND  DE  LA  PORTE,  Henri  Horact,  a 
French  painter  of  fruit,  flowers,  still-life,  and  feigned 
bas-reliefs,  was  bom  iu  Paris  in  1724.  Between  the 
years  1760  and  1789  he  frequently  exhibited  at  the 
Salon.  In  1763  he  was  received  into  the  Academy. 
He  died  in  1793. 

ROLLE,  Karl,  German  painter ;  bom  August 
15,  1814,  at  Reichenau-bei-Zittau  ;  studied  at  the 
Dresden  Academy  with  Rentsoh  and  Arnold  ;  also 
with  Schnorr  and  Cornelius  at  the  Munich 
Academy  ;  in  1839  came  under  the  influence  of 
Semper  at  Dresden,  and  subsequently  visited 
Paris.  He  decorated  several  rooms  in  Dresden 
public  buildings,  also  Semper's  Villa  Rosa,  the 
Opera  House  (burnt  down  in  1869),  and  many 
other  buildings  of  beauty  and  grandeur.  He  died 
June  18,  1862,  at  Reichenau. 

ROLLER,  Jean,  painter,  born  in  Paris  in  1798. 
He  began  life  as  a  piano-maker,  but  afterwards 
set  up  as  a  portrait  painter,  and  was  also  a  sculp- 
tor. He  was  a  pupil  of  Gantherot.  He  died  in 
1866.     Works : 

Portrait  of  M.  OorioUs  {Acadhnie  des  Sneiu:e$). 
Portrait  of  M.  Domas,  president  of  the  Acadimie  des 
Sciences. 

ROLLIN,  J.,  a  French  painter  of  little  notei 
who  painted  at  Avignon  at  the  beginning  of  the 
17th  century,  and  whose  works  had  some  local 
popularity. 

ROLLMANN,  Julius,  landscape  painter,  bom 
in  1827,  was  originally  apprenticed  to  a  decoratire 
painter  at  Diisseldorf,  and  at  the  same  time  worked 
at  the  Academy.  Thence  he  went  to  the  Berlin 
Academy.  After  travelling  in  the  Bavarian  moun- 
tains he  settled  in  Munich,  but  returned  again  to 
Diisseldorf,  and  in  1858  he  was  in  Italy.  His 
studies  in  Bavaria,  the  Tyrol,  and  Venice,  displayed 
great  originality.  In  the  National  Gallery  at 
Berlin  there  is  a  '  Mountain  Scenery,  Bavaria,' 
by  him.     He  died  at  Diisseldorf  in  1865. 

ROLLO,    ,    a    painter    of    whom   nothing 

is  known,  except  tliat  the  name  appears  on  an 
'  Ecce  Homo,'  in  the  manner  of  Guido.  The  sig- 
nature is  Rollo  Gallois,  F. 

ROLLOS,  Pieter,  a  German  engraver,  who 
resided  at  Frankfort  about  the  year  1620.  He 
engraved  a  frontispiece  to  a  book  of  Emblems,  by 
G.  de  Montenay,  published  in  that  city  in  1619. 
He  executed  a  few  other  book  plates,  in  a  very 
indifferent  stj'le.  He  sometimes  signed  his  prints 
P.  ROL.  F. 

ROLLS,  Charles,  draughtsman  and  engraver, 
born    1800.       He   assisted    the   Findens   in   their 


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'Gallery  of  British  Art,'  and  also  exhibited  some 
fruit  and  flower  pieces  at  the  British  Institution 
between  1855  and  1857. 

ROMA,  Spiridonk,  an  Italian  portrait  painter 
and  decorator,  who  practised  in  England  in  the 
18th  century.  His  works  appeared  at  the  Academy 
from  1774  to  1778,  and  he  painted  a  ceiling  at  the 
old  East  India  Hou.se.     He  died  in  1787. 

ROMAGNESI,  Joseph  A.ntoine,  lithographer, 
bom  in  Paris,  1776.  He  is  best  knoivn  as  a 
sculptor,  but  also  published  various  prints  for 
illustration,  among  which  were  a  set  for  '  Les 
Aventures  de  Sappho  '  (1818).  He  died  in  1852. 
Two  more  artists  of  the  same  name  and  family 
were  at  work  at  the  same  time. 

ROMAIN,  DE  LA  Rue,  painted  landscapes 

in  the  manner  of  Jan  Asselyn,  Swaneveldt,  and 
Jan  Both.  No  details  of  his  life  are  known,  but 
excellent  pictures  by  him  occasionally  appear,  and 
pass  for  the  work  of  one  or  other  of  those  masters. 

EOMAIN,  Le.    See  Mignabd,  Pieter. 

ROMAKO,  Anton,  Hungarian  painter,  bom 
October  20,  1834,  at  Atzgersdorp,  near  Vienna  ; 
studied  at  the  Vienna  Academy,  and  with  Bahl  ; 
settled  at  Rome  after  a  long  period  of  study  at 
Munich  and  Venice.  Among  his  works  are:  'Louis 
XV.,'  Sevillanerin  (1851),  '  Pio  Nono,'  '  Ristori 
as  Phfedre,'  '  Romeo  and  Juliet,'  &c.  Obtained 
medals  in  1869  and  1872,  and  the  Legion  of 
Honour  in  1882.  He  died  at  Vienna,  March  8, 
1889. 

ROMAN,  BartolomS,  a  Spanish  painter,  born  at 
Madrid  in  1596.  He  was  first  a  scholar  of  Vin- 
cenzio  Carducci,  but  finished  his  education  in  the 
school  of  Velazquez.  He  was  an  eminent  painter 
of  history,  and  executed  several  considerable  works 
for  the  church  of  the  Franciscans  at  Alcala  de  Los 
Henares.  In  the  sacristy  of  the  Padres  Cayetanos, 
at  Madrid,  there  are  some  pictures  by  him,  which 
his  biographer.  Palomino,  compares  to  those  of 
Rubens.     He  died  at  Madrid  in  1659. 

ROMANELLI,  Giovanni  Francesco,  bom  at 
Viterbo  in  1610.  Having  shown  an  early  inclina- 
tion for  art,  his  father  sent  him  to  Rome,  where 
he  had  the  good  fortune  of  being  taken  under 
the  protection  of  Cardinal  Barberini,  by  whom 
he  was  placed  in  the  school  of  Pietro  da  Cortona. 
His  indefatigable  application  to  his  studies  under 
that  master  rendered  him  in  a  few  years  one 
of  the  most  promising  young  men  in  Rome  ; 
and  he  was  left  by  his  master  to  finish,  during 
his  absence  in  Lombardy,  some  paintings  he  had 
commenced  in  the  Palazzo  Barberini.  On  leaving 
the  school  of  P.  da  Cortona,  he  altered  his  style, 
and  adopted  one  distinguished  by  more  elegance 
but  less  vigour.  He  painted  a  '  Deposition  from 
the  Cross,'  for  the  church  of  S.  Ambrogio,  which 
was  so  nmch  applauded,  that  Pietro,  alarmed  for 
his  own  reputation,  painted  a  '  Stoning  of  Stephen,' 
in  which  even  Bernini  admitted  his  superiority. 
Romanelli  painted  for  the  church  of  St.  Peter  the 
'Presentation  in  the  Temple,'  which  has  been  exe- 
cuted in  mosaic,  and  the  original  placed  at  the 
Certosa.  On  the  death  of  Urban  VIII.,  and  the 
succession  of  Innocent  to  the  papal  chair,  Cardinal 
Barberini  left  Rome  for  Paris,  where  he  recom- 
mended the  talents  of  Romanelli  to  Mazarin. 
Romanelli  was  engaged  to  decorate  some  apart- 
ments in  the  Palais  Mazarin  and  in  the  Louvre, 
where  he  painted  a  series  of  subjects  from  the 
'.^neid.'  On  liis  return  to  Rome  ho  was  employed 
in  several  important  works,  and  was  preparing  for 


a  second  journey  to  France,  when   he  died    at 
Viterbo  in  1662.     Works : 


Hampton  Court. 
Uunicb.     Pinakothek. 


Paris. 


£ibtiotheque ' 

National,   j 

Louvre. 


Rome. 


Viterbo. 


S.  M.  dei/li 

Anyeli. 
S.  Aijostino. 
S.  Amhrogio. 
Cathedral. 


Copy  of  Guldo's  '  Triumph    of 

Bacchus.' 
Herodia-s  with  the  head  of  John 

the  Baptist. 
A  scries  of  Classical  Frescoes  in 

the  Galerie  Mazarine. 
Veuus  and  ^neas. 
Venus  and  Adonis. 
Israelites  gathering  Manna. 
A  series  of  Classical  frescoes  in 

the  Musee  des    Antiques,  the 

6'alles  des  Saiions,  de  la  Paix, 

de  Septime  Severe,  and  des  Art- 

tonins. 


I  Presentation  in  the  Temple. 

S.  Thomas  of  Villanuova. 
Descent  from  the  Cross. 
Glory  of  S.  Lorenzo. 


ROMANELLI,  Urbano,  the  son  of  Giovanni 
Francesco  Romanelli,  born  at  Viterbo  about  the 
year  1645,  was  instmcted  by  his  father,  after 
whose  death  he  became  a  disciple  of  Ciro  Ferri. 
There  are  some  of  his  works  in  the  churches  at 
Velletri  and  Viterbo.     He  died  young,  in  1682. 

ROMANET,  Antoine  Lodis,  a  French  engraver, 
born  in  Paris  in  1748.  He  was  a  pupil  of  J.  G. 
Wille,  and  afterwards  resided  at  Basle,  where  he 
engraved  several  plates  under  the  direction  of 
Christian  de  Meohel.  He  was  one  of  the  engravers 
employed  on  the  plates  in  the  '  Galerie  du  Palais 
Royal,'  the  '  Galerie  d'Orleans,'  the  '  Cabinet  Le 
Brun,'  'Picturesi:iue  Views  in  Switzerland,'  and 
other  works  of  a  like  kind.  He  also  engraved  many 
detached  pieces  after  Italian,  Dutch,  and  French 
painters.  He  died  in  1807.  The  best  plates, 
perhaps,  are  : 

portraits. 

Charles  Theodore,  Elector  of  Bavaria ;  after  P.  Battani 
Louis  Francis  de  Bourbon,  Prince  of  Conti :  after  L 

Tellier. 
John  Grimoux,  Painter ;  after  a  picture  by  himself. 

VARIOUS  SUBJECTS. 

The  Death  of  Adonis ;  after  Kupetzky. 
The  Village  Printseller ;  after  Heekatt. 
The  Ballad  Singer  ;  after  the  same. 

ROMANINO,  Girolamo,  was  bom  about  1485 
at  Brescia,  and  is  said  to  have  first  been  the  pupil 
of  Stefano  Rizzi.  His  family  came  from  the  small 
town  of  Romano,  on  the  Serio,  whence  they  took  a 
surname  which  was  already  two  generations  old 
when  it  came  to  Girolamo.  He  was  free  of  the 
Brescian  Guild  of  Painters  previous  to  1510,  in 
which  year  he  finished  and  signed  a  '  Pietk  '  for  the 
church  of  St.  Lorenzo,  which  is  now  in  Lord 
Wimborne's  collection.  One  of  his  earliest  existing 
altar-pieces  is  that  of  the  church  of  S.  Francesco, 
at  Brescia,  representing  the  '  Virgin  and  Child  be- 
tween St.  Francis  and  St.  Anthony,  and  four  kneel- 
ing Saints,'  which  was  probably  finished  before 
1512.  In  that  year  Romanino  went  to  Padua  to 
avoid  the  troubles  in  which  Brescia  was  involved 
by  the  wars  between  the  Venetians  and  the 
French.  When  at  Padua,  Romanino  found  a  home 
with  the  Benedictine  Monks  of  Santa  Giustina, 
and  painted  for  them  an  altar-piece  of  the  '  Virgin 
and  Child,  attended  by  St.  Benedict,  St.  Justina, 
St,  Monica,  and  St.  Prosdocimo.'  He  also  decor- 
ated  their   refectory  with   a  '  Last  Supper,'    and 

267 


A   BIOGRAPHICAL  DICTIONAHY  OF 


finished   an    'Enthroned   Virgin   and    Child   with 
Saints.'     All  three  pictures  are  now  in  the  Gallery 
at    Padua.      In    1517    he    returned     to    Brescia, 
having  paid  a  short  visit  to  Cremona,  where  on 
his  second  visit  in  1519-20  he  painted  four  large 
frescoes    in    the    cathedral,   representing    '  Christ 
before  Pilate,'  the  '  Scourging,'  the  '  Crowning  with 
Thorns,'  and  'Christ  delivered  to  the  Jews.'     On 
his  return,  finding  Moretto  established  in  Brescia, 
he  entered  into  a  friendly  rivalry  with  that  artist, 
and  in  1521  joined  him  in  a  contract  to  embellish 
the  chapel  of  the  Corpus  Christi  in  S.  Giovanni ; 
Komanino's  part  being  the   frescoes   representing 
the  '  Adoration  of  the  Eucharist,' '  Two  Evangelists,' 
and    the    '  Prophets ' ;     also    two    canvases    with 
the  '  Resurrection  of  Lazarus,'  and  the  '  Magdalen 
anointing  the  Saviour's  Feet.'     His  next  work  was 
on   the   frescoes   from   scenes   in   the   life   of  St. 
Domenic  for  the  convent  of  his  order  in  Brescia ; 
the    decoration    of   the   Town-hall   with    various 
subjects  ;   and   the   frescoes   in   tlie   church   of  S. 
Salvatore.     After  this  he  painted  a  fresco  in  the 
castle     of    Malpaga,    representing    Bartoloinmeo 
Colleoni  invested  with  the  command  of  the  Cru- 
saders   in    the    presence    of    the   Pope    and   his 
Cardinals.     In  1534  he  painted  a  series  of  frescoes 
for   the   village    church    of    the    Madonna,    near 
Pisogne,  which,  although  much  injured,  still  shows 
his  great  powers.     His  nest  undertaking  was   a 
series  of  scenes  from  the  life  of  the  Madonna,  in 
fresco,  at  Vieno.     This  was  followed  by  a  series 
from   the   life   of  a   Saint  for  tlie   church   of  St 
Antonio  at  Breno,  which  are  now  much  defaced. 
About  1540  Romanino,  by  the  order  of  Cardinal 
Madruzzo,   painted   several   subjects    taken    from 
sacred  and  profane  history,  in  fresco,  in  the  Cas- 
tello  of  Trent,  and,  the  same   year,  four  scenes 
from  the  life  of  St.  George  in  the  church  of  that 
Saint  at  Verona.    About  1541  he  finished  the  organ 
shutters  of  the  Duorao   in  Brescia,  representing 
the  Birth  and  the  Visitation  of  the  Virgin.     His 
last  known  work  was  a  picture  of  '  Christ's  Sermon 
on    the   Mount,'   painted   for  the  Benedictines  of 
Modena  in  1557.     His  death  is  believed  to  have 
occurred  in  1666.     Many  of  the  private  collections 
and  churches  in  Brescia  contain  examples  by  this 
master.     Amongst  those  most  worthy  of  note  is 
'The  Communion  of  St.  ApoUonins,'  in  the  church 
of  St.   Maria  Calchera,  and    a  'Nativity'    and   a 
'  Pieta '  in  St.  Guiseppe.     Also  : 

Berlin.  Gallery.    Madonna  with  Saints  and  Angels. 

„  „  Judith. 

„  A  Pieti. 

Brescia.  „  The  Supper  at  Emmaus. 

„  „  Magdalen  in  Simon's  Hoose. 

„  „  Christ  carrying  His  Cross. 

„  „  Two  Portraits. 

Oanford.     Lord  Wim- ),„.,, 
borne.        JAPieti. 

London.       Aat.  Gall.     Nativity  with  Four  Saints. 
Vienna.  Gallery.    A  Female  Portrait. 

ROMANO,  GiuLio.     See  Dei  Giannuzzi. 

ROMANO,  II.    See  Catalani,  Antonio. 

ROMANO,  II.     See  Tkevisano,  Francesco. 

ROMANO,  ViNCENZO.     See  Akiemolo. 

ROMBERG,  Arthur  George.  This  clever 
Austrian  artist  was  born  at  Vienna  in  1819,  and 
was  educated  at  Munich,  where  afterwards  he 
became  Professor  of  Painting.  He  studied  for  a 
while  also  at  the  Academy  of  Dresden  and  under 
Hvibner.  Most  of  his  notable  works  were  executed 
at  Munich  and  at  the  Wartburg  in  the  part  where 
Luther  had  lived,  and  were  in  the  form  of  decor- 

268 


ative  frescoes.  He  also  painted  many  genre  paint- 
ings in  oil,  especially  delighting  in  scenes  of 
merriment  and  frolic  after  the  Bt3'le  of  the  old 
Dutch  masters,  whose  works  he  greatly  admired. 
He  was  a  correct  draughtsman  and  a  fine  colourist. 
He  (lied  in  1875. 

ROMBORGH, ,  a  painter  of  Nimeguen,  who 

was  living  at  the  commencement  of  the  last 
century.  He  studied  landscape  paintin;^  at  Rome, 
but  chiefly  in  the  works  of  the  old  masters.  In  his 
style  he  resembled  Fr6d^ric  Moucheron. 

ROMBOUTS,  Jan,  (or  Rombodts,)  of  the  same 
family  with  Salomon  Rombouts.  He  painted  in 
Friesland  about  1660,  and  is  the  author  of  several 
works  attributed  to  Ruysdael  and  Ilobbema.  In  the 
Berlin  Museum  there  is  by  him  a  '  Wooded  Land- 
scape'; in  thcStadel  Institute  at  Frankfurt,  a 'Park'; 
several  works  in  the  Bnmswick  Museum  ;  and  in 
the  Dresden  Gallery  a  picture  of  a  '  Dutch  Village.' 
There  is  a  woody  landscape  in  the  Amsterdam 
Museum  signed  V.  Rombouts.  It  is  probable  that 
he  is  the  artist  mentioned  in  the  Haarlem  archives 
under  the  name  of  Gilles  (Jilles)  Rombouts  (1661- 
1663).  Some  writers  have  denied  his  existence 
altogether,  holding  that  landscapes  attributed  to 
him  are  by  Salomon  Rombouts,  and  that  the 
signature  S.  h.as  been  misread  J. 

ROMBOUTS,  Salomon,  was  a  follower  of  Ruis- 
dael.  He  painted  principally  landscapes  and 
marine  views.  In  the  Hamburg  Gallery  is  a 
winter  landscape  ;  in  the  Leipzic  Museum  a  sea- 
shore at  Scheveningen  ;  and  at  Schleissheim  two 
landscapes.  The  dates  of  his  birth  and  death  are 
not  recorded,  but  he  died  in  Haarlem  before  1702. 

ROMBOUTS,  Theodore,  born  at  Antwerp  in 
1597,  was  a  scholar  of  Abraham  Janssens.  under 
whom  he  studied  until  he  was  twenty  years  of  age. 
In  1617  he  travelled  to  Italy,  and  it  was  not  long 
before  his  talents  distinguished  him  as  one  of  the 
most  promising  young  artists  at  Rome.  His  works 
were  sufficiently  esteemed  to  secure  him  constant 
occu|)ation  ;  and  after  a  residence  of  a  few  years 
in  the  capital  of  art,  he  had  arrived  at  sufiBcient 
celebrity  to  be  invited  to  visit  Florence  by  the 
Grand  Duke,  who  employed  him  in  some  consider- 
able works  for  the  Ducal  Palace.  After  an  absence 
of  eight  years  he  returned  to  Antwerp,  whither 
the  reputation  he  had  acquired  in  Italy  had  pre- 
ceded him,  and  he  painted  some  pictures  for  the 
churches,  which  excited  such  general  admiration 
that  his  vanity  led  him  to  believe  his  abilities  equal, 
if  not  superior,  to  those  of  Rubens,  who  was  at 
that  time  in  full  possession  of  his  powers.  This 
vanity  incited  him  to  more  arduous  exertions, 
and  his  happiest  productions  were  conceived  and 
executed  under  the  feelings  of  emulation.  Rombouts 
possessed  a  ready  invention,  and  an  uncommon 
facility  of  touch.  He  received  the  freedom  of  St. 
Luke  in  1625.  On  the  17th  September,  1627,  he 
received  a  permit  from  the  Burgomaster  of  Ant- 
werp which  allowed  him  to  spend  his  wedding 
night  outside  the  city  without  losing  his  right  as  a 
citizen,  and  he  then  married  Anne,  a  member  of 
the  noble  family  of  Van  Thielen.  By  her  he  had 
one  child,  a  daughter.  Of  his  works,  the  most 
remarkable  are  the  following:  'The  Descent 
from  the  Cross,'  in  the  cathedral  at  Ghent ;  '  St. 
Francis  receiving  the  Stigmata,'  and  '  The  Angel 
appearing  to  Joseph  in  his  Dream,'  in  the  church 
of  the  Recolets  ;  and  '  Themis  with  the  Attributes 
of  Justice,'  in  the  Town-house.  Rombouts  died 
at  Antwerp  the  14th  September,  1637.     The  year 


Jin.  3il'Ju'rfrr/  -  ^/ie^J(<iuij/th^    Jhiftu 


GEORGE  ROMNEY 


1 1  \ilk,r  aud  Cockerel!  fheto]  [Xational  Portrait  Gallery 

THE  ARTIST,  BV  HIMSELF 


PAINTERS  AND  ENGRAVERS. 


1640  has  also  been  given,  but  that  is  a  mistake. 
He  was  interred  in  tlie  Carmelite  church. 

ROMEGIALLO,  Giovanni  Pietbo,  born  at  Mor- 
begno,  in  the  Valteline,  in  1739,  learned  the  rudi- 
ments of  art  from  G.  F.  Cotta,  an  obscure  painter 
of  his  native  city,  but  afterwards  went  to  Rome, 
where  he  became  the  pupil  of  Agostino  Masucci. 
He  was  much  occupied  in  copying  the  works  of 
Guercino,  Guido,  and  P.  da  Cortona.  His  pictures 
are  in  the  collections  at  Como,  and  in  the  churches 
of  the  Valteline. 

ROMEO,  Don  Josfe,  a  Spanish  painter,  born  at 
Cervera,  in  the  kingdom  of  Arragou,  in  1701,  went 
to  Italy  when  he  was  young,  and  studied  at  Rome 
under  Agostino  Masucci.  On  his  return  to  Spain 
he  resided  for  some  time  at  Barcelona,  where  he 
painted  some  pictures  for  the  church  of  the  Mer- 
cenarios  Calzados.  He  afterwards  visited  Madrid, 
wiiere  he  was  taken  into  the  service  of  Philip  V. 
He  died  at  Madrid  in  1772. 

ROMERSWALE,  Van.     See  Marinds. 

ROMEYN,  WiLLEM  van,  (Romun,)  a  Dutch 
painter  of  landscapes,  with  cattle  and  figures, 
bom  at  Haarlem  in  1624,  was  a  pupil  of  Berchem, 
to  whose  pictures  those  of  Romeyn  bear  a  great 
resemblance.  They  also  show  points  of  similarity 
with  those  of  Karel  du  Jardin  and  Adrian  van  de 
Velde.  They  are  generally  small,  well  drawn  and 
composed,  and  harmonious  in  colour.  His  pictures 
are  in  all  the  principal  galleries  of  Europe,  but  are 
frequently  attributed  to  one  or  other  of  the  above- 
named  masters.  It  may  be  added  that  some  of  his 
landscapes  have  a  slight  resemblance  to  those  of 
Jan  Both :  it  is  probable  that  he  had  visited  Italy. 
He  died  at  Haarlem  in  1693.     Works: 

Amsterdam.   Mussum.  Two     landscapes    with     Cattle, 
signed    //'.  liomijit. 

„  „  Two  ditto,  signed   /('.  Romeijn. 

„  „  One  ditto,  signed  ?F.  R. 

Berlin.  Museum.  Italian  Landscape  ;    W.  Ramijn. 

Dresden.  Gallery.  Rocky  Landscape  ;    W.  Romeijn. 

London.  Dulwich  Gal.  Two  Cattle  pieces  ;    W.  Romtijn. 

ROMNEY,  George,  painter,  was  born  at  Walton- 
le-Furness,  Lancashire,  on  the  15th  December  (Old 
Style  =  December  26,  according  to  present  reckon- 
ing), 1734.  He  belonged  to  a  respectable  yeoman 
family,  whose  original  home  had  been  near  Appleby, 
but  the  painter's  grandfather  had,  during  the 
troubles  of  the  Civil  War,  been  obliged  to  move 
further  south.  At  Dalton  he  married  at  the  age  of 
sixty,  and  had  several  children.  His  son  John,  a 
cabinet-maker,  married,  in  1730,  Anne  Simpson,  of 
Sladebank  in  Cumberland,  and  had  by  her  a 
daughter  and  ten  sons,  of  whom  the  second  wa.s 
the  artist.  George  Romney  did  not  in  his  school 
life  show  any  special  aptitude  for  anything,  and 
to  the  end  of  his  life  his  spelling  was,  if  possible, 
one  degree  worse  than  his  handwritinir.  He 
worked  with  his  father  from  about  1744  to  1751. 
He  soon  developed  a  great  fancy  for  mechanics, 
and  employed  his  leisure  in  carving  small  figures 
in  wood,  and  in  the  construction  of  experimental 
violins,  a  passion  for  music  leading  him  to  this 
last  pursuit.  Whilst  in  his  father's  shop  he  was 
in  the  habit  of  making  sketches  of  liis  fellow- 
workmen,  and  he  obtained  a  copy  of  Leonardo's 
'Treatise  on  Painting,"  which  he  read  with  deep 
interest,  making  copies  of  the  engravings,  and 
another  book,  '  Art's  Masterpiece,'  which  contained 
some  practical  hints  on  oil  painting.  Other  sketches 
and  likenesses  done  at  this  time  showed  so  much 


talent  that  John  Romney  was  persuaded  to  take 
Ills  son  to  Kendal,  and  to  there  apprentice  him 
(for  four  years,  at  a  premium  of  £21)  to  an  eccentric 
painter,  Christopher  Steele,  whose  love  of  dress 
and  afi'ectation  of  French  manners  and  tastes 
had  gained  for  him  the  nickname  of  "Count" 
Steele.  Steele  had  studied  in  Paris  under  Vanloo, 
was  not  without  talent,  but  was  idle  and  extrava- 
gant. Romney's  indenture  is  dated  March  20, 
1755.  Steele  neglected  his  pupil,  employing  him 
as  a  mere  studio  drudge.  Romney  admitted,  how- 
ever, that  he  gained  experience  even  under  these 
unfavourable  conditions.  Steele,  finding  that  his 
practice  as  a  portrait  painter  was  an  insufiBcient 
source  of  income,  resolved  to  carry  off  a  young 
lady  of  fortune,  whose  affections  he  had  gained, 
and  aided  by  Romney,  he  succeeded  in  marrying 
her  at  Gretna  Green.  The  excitement  and  anxiety 
caused  by  this  affair  is  said  to  have  thrown  Romney 
into  a  fever,  through  which  (according  to  tradition) 
he  was  nursed  by  Mary  Abbot,  a  good  and  attrac- 
tive girl,  wlio  lived  with  a  widowed  mother  and  a 
sister  at  Kendal.  Between  her  and  the  painter  an 
attachment  sprung  up,  and  on  his  recovery  he 
married  her,  on  the  14th  October,  1756,  Romney 
being  nearly  twenty-two  years  old.  His  wife  was 
devoted  to  him,  and  at  first  even  kept  him  supplied 
with  money,  sending  small  sums  concealed  under 
the  seals  of  her  letters  while  he  was  on  his  profes- 
sional tours  with  Steele.  In  1757  Romney,  who 
had  grown  weary  of  his  apprenticeship,  induced 
Steele  to  cancel  the  articles,  and  as  a  set-off  con- 
sented to  remit  a  debt  of  ten  pounds,  borrowed  at 
various  times  by  his  master.  Romney's  first  work 
on  his  own  account  was  a  sign  for  the  post-oflSce 
at  Kendal — a  hand  holding  a  letter,  which  long 
remained  in  the  window.  He  practised  at  Kendal 
for  five  years,  making  a  living  by  portrait  paint- 
ing at  very  modest  prices — two  guineas  being  his 
usual  charge  for  a  half-length.  "The  Westmoreland 
people  gave  him  commissions  in  plenty,  and 
among  his  productions  of  this  period  are  the 
portraits  of  Walter  Strickland  of  Sizergh  and 
his  wife,  Charles  Strickland,  and  others  of  the 
family,  many  of  which  still  hang  on  the  walls  at 
Sizergh,  Colonel  Wilson  of  Abbothall,  and  Mor- 
land  of  Cappelthwaite,  besides  a  few  original  com- 
positions— '  Lear  awakened  by  Cordelia,'  '  Lear  in 
the  Storm,'  '  A  Shandean  Piece,'  '  A  Tooth  drawn 
by  Candel-Iight,'  '  A  Landscape  with  figures,'  &c. 
Twenty  of  these  he  exhibited  in  the  Town  Hall  at 
Kendal,  and  disposed  of  them  by  a  lotterj',  which 
brought  in  the  sum  of  £40. 

As  Romney's  local  fame  increased  his  ambition 
took  a  wider  range,  and  he  determined  to  try  his 
fortune  in  the  capital,  leaving  his  wife  and  two 
children  behind  him.  Romney's  so-called  desertion 
of  his  wife  has  for  the  past  century  called  forth  a 
vast  amount  of  cheap  and  foolish  sentiment,  cul- 
minating in  Tennyson's  poem  entitled  '  Romney's 
Remorse.'  As  a  matter  of  fact  there  is  nothing 
whatever  to  show  that  Romney's  wife  was  dis- 
satisfied with  her  lot  ;  all  her  friends  and  relations 
were  at  Kendal,  and  she  probably  had  no  desire 
to  go  to  London.  Romney  regularly  remitted 
very  considerable  sums  to  her,  as  his  bank  pass- 
books prove  ;  his  only  son,  John,  was  educated 
at  Cambridge,  and  for  many  years  spent  his 
holidays  with  his  father.  The  son  was  devoted 
to  his  mother,  and  if  the  "neglect"  was  so 
scandalous     as    is    sometimes    made    out,    John 

269 


A  BIOGRAPHICAL  DICTIONARY  OF 


Romney  would  have  shown  some  resentment; 
but  neither  his  'Memoirs'  of  his  father  nor  his 
letters  show  any  trace  of  this.  The  arrangement 
was  clearly  a  mutual  affair.  In  1762,  on  the  14th 
March,  Romney  started  for  London.  By  rapid 
and  continuous  work  at  portrait  painting  he  had 
raised  a  sum  of  nearly  £100.  Taking  £30  for 
his  own  expenses,  and  leaving  the  surplus  to 
his  wife,  he  arrived  in  the  capital,  where  he  almost 
immediately  formed  (or  probably  renewed)  friend- 
ships with  Daniel  Braithwaite  of  the  post-ofBce,  a 
native  of  the  Kendal  district,  and  Stephenson  the 
banker,  whose  wife  was  also  a  native  of  Kendal. 
He  established  himself  in  a  small  studio  in  Dove 
Court,  near  the  Mansion  House,  whence  he  re- 
moved in  August  to  Bearbinder's  Lane.  The 
moment  was  favourable,  and  there  was  much 
truth  in  Fuseli's  remark,  that  "  Romney  was  made 
for  his  times,  and  his  times  for  him.''  In  1763  he 
painted  a  '  Death  of  General  Wolfe,'  to  which  the 
Society  of  Arts  awarded  him  a  prize  of  twenty-five 
guineas.  Tradition  states  that,  departing  from  the 
accepted  convention  of  the  day,  Romney  painted 
his  warriors  in  their  actual  costume,  and  the  critics 
fell  foul  of  his  work,  contending  that  the  event 
represented  was  too  recent  to  be  strictly  called  a 
"  historical "  subject,  and  taking  great  exception 
to  the  cocked  hats,  cross-belts,  and  bayonets  of 
what  was  contemptuously  described  as  the  "  coat 
and  waistco:it  style."  Mortimer,  the  historical 
painter,  had  also  competed,  with  his  '  Edward  the 
Confessor  seizing  the  Treasure  of  his  Mother,'  and 
the  upshot  of  the  controversy  was  the  reversal  of 
the  Society's  decision,  the  award  of  the  fifty  pounds 
to  Mortimer,  and  of  a  gratuity  of  twenty-five 
pounds  to  Romney.  There  is  no  proof  of  this, 
any  more  than  for  the  theory  that  this  reversal 
was  chiefly  due  to  the  intervention  of  Reynolds. 
However  this  may  be,  a  coldness  always  existed 
between  the  two  artists.  It  was  not  until  about 
1775  that  he  divided  the  patronage  of  the  fashion- 
able world  with  his  two  great  rivals,  Reynolds  and 
Gainsborough.  Lord  Thurlow  declared  that  the 
whole  town  was  divided  into  two — the  Romney 
and  the  Reynolds — factions,  adding  :  "  And  I  am 
of  the  Romney  faction."  Such  comment  irritated 
Reynolds,  who,  later  in  Romney's  career,  is  said  to 
have  habitually  called  him  "the  man  in  Cavendish 
Square."  In  1764  Romney  paid  a  short  \nsit  to 
France,  where  he  met  Joseph  Vernet,  and  a  j-ear 
later  he  won  the  first  prize  of  the  Society  of  Arts 
with  his  '  Death  of  King  Edward.'  From  1763  to 
1772  he  exhibited  twenty-five  pictures  at  the  Free 
Society  of  Artists,  and  at  the  Society  of  Artists 
in  Spring  Gardens,  and  never  afterwards  sent  a 
picture  to  a  public  Exhibition.  It  was  not  indeed 
until  1817  that  any  work  of  his  was  publicly  ex- 
hibited, excepting  at  the  artist's  sales  at  Christie's 
in  1804,  1807,  and  1810.  In  1773  he  set  out  for 
Rome  in  company  with  his  friend  Ozias  Humphry, 
the  miniature  painter,  bearing  a  recommendation 
to  the  Pope,  who  allowed  him  to  erect  scaffolds  in 
the  Vatican  in  order  to  make  copies  from  Raphael. 
He  stayed  two  years  in  Italy,  and  returned  to 
London  on  July  1,  1775.  He  took  rooms  in  Gray's 
Inn,  and  at  the  end  of  the  year  removed  to  32, 
Cavendish  Square,  left  vacant  by  the  death  of 
Cotes,  and  afterwards  to  be  tenanted  by  Sir  Martin 
Archer  Shee.  One  of  his  first  and  most  influential 
patrons  was  the  Duke  of  Richmond,  and  for  the 
next  twenty  years  Romney  may  be  described  as 
270 


being  overwhelmed  with  sitters.  His  income  from 
portrait  painting  alone  sometimes  amounted  to 
between  three  and  four  thousand  a  year.  He 
worked  indefatigably,  often  sitting  at  his  easel 
for  thirteen  hours,  and  having  five  or  six  sitters  a 
day,  a  month's  annual  holiday,  which  he  spent 
with  the  egregious  Hayley  at  Eartham,  being  his 
only  relaxation.  Whilst  in  Cavendish  Square  he 
painted  over  2000  portraits  and  fancy  pictures  ;  the 
record  of  each  sitting  was  most  scrupulously  kept 
by  Romney  for  twenty  years,  and  further  records 
of  prices  paid  are  preserved  in  ledgers  and  cash- 
books,  which  remained  in  the  possession  of  the 
Romney  family  until  1894,  when  they  were  pur- 
chased at  Christie's  by  Mr.  T.  Humphry  Ward  ; 
upon  these  exhaustive  data  a  new  Life  and  Cata- 
logue raisonn^  by  Mr.  Ward  and  the  writer  of 
these  lines  is  announced  for  publication  in  1904. 
Early  in  1782  Romney  became  acquainted  vdih  Lady 
Hamilton,  then  calling  herself  Mrs.  Harte.  Both 
Hayley  and  Romney  were  bewitched  by  her,  the 
one  celebrating  her  charms  in  verse,  the  other  in 
paint  She  was  at  the  time  living  imder  the 
"  protection  "  of  the  Hon.  C.  F.  Greville,  and  there 
can  be  no  question  that  she  inspired  Romney  as 
no  other  sitter  did.  His  first  portrait  of  her  is 
now  absurdly  known  as  '  Nature,'  and  is  that  in 
which  she  is  represented  with  a  little  spaniel 
under  her  arm.  The  Rev.  J.  Romney  in  his 
'  Memoirs '  enumerates  twenty-four  pictures  of 
her  in  various  characters,  but  the  real  number, 
with  a  great  variety  of  rapid  sketches  which 
Romney  at  various  times  made,  run  into  several 
scores,  although  many  of  the  so-called  '  Lady 
Hamiltons '  have  no  claim  to  that  title.  Some  of 
the  rapid  sketches  are  of  great  loveliness.  The 
friendship  with  this  sitter  lasted  up  to  the  close  of 
the  artist's  career,  but  the  statement  that  "  he 
reduced  the  number  of  his  sitters  to  devote  more 
time  "  to  her  hiis  no  foundation  in  fact.  He  speaks 
of  her  as  "  the  divine  lady,"  but  after  1791  he 
saw  little  or  nothing  of  her. 

In  Boydell's  '  Shakespeare  Gallery '  Romney 
warmly  co-operated,  claiming  indeed  the  merit 
of  having  originated  the  idea.  Two  of  his  best 
historical  efforts,  the  'Infant  Shakespeare'  and 
the  'Tempest'  (in  which  Hayley  sat  for  Prospero), 
were  contributions  to  the  undertaking.  In  1797 
Romney  removed  from  Cavendish  Square  to  a 
house  he  had  built  at  Hampstead,  in  order  to  get 
more  room  in  which  to  carry  out  some  conceptions 
he  had  thus  described  in  a  letter  to  his  son  :  "  I 
have  made  many  grand  designs ;  I  have  formed 
a  system  of  original  subjects,  moral  and  my  own, 
and  I  think  one  of  the  grandest  that  has  been 
thought  of— but  nobody  knows  it  Hence  it  is 
my  view  to  wrap  myself  in  retirement  and  pursue 
these  plans,  as  I  begin  to  feel  I  cannot  bear 
trouble  of  any  kind."  The  last  words  point  to 
early  symptoms  of  the  mental  disorder  which  was 
to  shadow  the  close  of  his  career.  Always  hypo- 
chondriacal, he  began,  soon  after  his  removal  to 
Hampstead,  to  fail  rapidly,  both  in  mind  and 
body.  He  gave  up  painting,  and  in  the  summer 
of  1799  he  set  out  for  Kendal.  His  wife  tended 
him  till  his  death  with  the  greatest  devotion.  He 
did  no  more  work,  but  made  frequent  excursions 
in  the  neighbourhood,  and  purchased  the  estate  of 
Whitestock  Hall,  Diversion,  where  his  family 
remained  for  nearly  a  century.  He  at  last  sank 
into  a  state  of  mental  paralysis,  and  died  on  the 


GEORGE  ROMNEY 


H 'oodbuiy  Co. photo ^  [.Xalio/iji  Gallery 

MRS.  MARK  CURRIE 


GEORGE  ROMNEY 


VVooMun'  Co.  /■Ao/o]  [Na/iona/  Gallery 

THE  PARSON'S  DAUGHTER 


PAINTERS  AND  ENGRAVERS. 


15th  November,  1802,  aged  not  quite  sixty-eight 
years.     He  was  buried  at  Dalton. 

Taken  all  round,  Romney  may  be  ranked  as  the 
third  great  artist  of  the  Early  English  School,  the 
honours  of  the  first  and  second  places  indisputably 
belong  to  Reynolds  and  Gainsborough.  Romney's 
portraiture  was  of  a  more  poetical  type  than 
either  of  these  two  ;  simplicity  too  was  one  of 
his  chief  characteristics.  In  his  greatest  composi- 
tions there  is  nothing  of  the  "  stagey  "  element  of 
Reynolds,  nor  of  the  showy  dexterity  of  Gains- 
borough ;  as  a  draughtsman  he  ranks  high  among 
his  contemporaries,  and  must  for  ever  remain  one 
of  the  chief  glories  of  English  painting.  Enjoy- 
ing during  his  lifetime  an  almost  unparalleled 
popularity,  for  nearly  three-quarters  of  a  century 
after  his  death  his  merits  were  almost  universally 
ignored.  The  Exhibitions  at  the  British  Institution 
and  at  the  Rojal  Academy  winter  shows  quickly 
rescued  him  from  obhvion,  and  to-day  his  fint-r 
works  excite  the  keenest  competition.  His  charges 
were  extremely  moderate,  being  at  the  height 
of  his  fame,  25  guineas  for  a  portrait  30  in.  by 
25  in. ;  30  guineas  for  one  35  in.  by  27  in. ;  50 
guineas  for  one  50  in.  by  40  in. ;  and  80  guineas 
for  a  whole-length,  93  in.  by  57  in.  The  market 
value  of  a  good  whole-length  now  varies  from 
10,000  guineas  to  25,000  guineas.  The  Fitzwilliam 
Museum,  Cambridge,  contains  a  series  of  forty- 
seven  pictorial  designs  and  studies  by  Roraney, 
presented  by  his  son  in  1817  ;  these  are  described 
at  length  in  the  son's  '  Memoirs '  of  his  father 
(pp.  257-266) ;  whilst  eighteen  cartoons  were 
presented  by  the  same  donor  in  1823  to  the  Royal 
Institution  at  Liverpool.  The  National  Gallery 
contains  seven  examples  of  his  work — Lady  Hamil- 
ton as  a  Bacchante,  and  a  sketch  of  the  same  sitter, 
a  work  with  the  fancy  name  of  '  The  Parson's 
Daughter,'  a  life-size  group  of  Mr.  and  Mrs. 
William  Lindow  (an  early  picture),  Mrs.  Mark 
Currie  (painted  in  1789),  a  lady  with  a  child, 
and  one  of  two  versions  of  Lady  Craven.  The 
National  Portrait  Gallery  contains  eight — R. 
Cumberland,  Flaxman  modelling  the  bust  of  \V. 
Hayley,  Lady  Hamilton,  James  Harris,  Thomas 
Paine,  the  artist  himself,  the  family  of  Adam 
Walker,  and  an  inditferent  portrait  catalogued 
as  William  Cowper,  to  whom  it  bears  no  resem- 
blance. The  Print  Room,  British  Museum,  contains 
a  number  of  sketches  and  studies  for  pictures. 
The  engraved  picture  of  '  Titania,  Puck,  and  the 
Changeling,'  is  in  the  National  Gallery  of  Ireland, 
whilst  the  portrait  of  Mrs.  Ker  of  Blackshiels, 
which  for  many  years  hung  on  loan  in  the  National 
Gallery  of  Scotland,  was  recently  purchased  by 
Messrs.  Agnew.  The  Wallace  Collection  contains 
the  beautiful  portrait  of  Mrs.  Robinson  ('Perdita'); 
a  whole-length  of  Sir  John  Stanley  was  acquired 
for  the  Louvre,  Paris,  in  1897.  At  Christ  Church 
College,  Oxford,  there  are  portraits  of  Dr.  Euseby 
Cleaner,  John  Wesley,  Archbishop  Agar,  Lord 
Chief  Baron  Maedonald,  Viscount  Stormont,  and 
Bishop  Sraallwell  ;  several  are  at  Cambridge  (see 
T.  D.  Atkinson's  '  Cambridge  Described,'  1897). 
and  a  number  are  at  Eton  College.  Many  of 
Romney's  more  important  pictures  have  been  lent 
to  the  various  Old  Master  Exhibitions  during  the 
last  thirty  years  ;  others  have  been  seen  at  the  New 
Gallery, the  Guildliall,  London,  and  more  especially 
at  the  two  Romney  Exhibitions  at  the  Grafton  Gal- 
lery, 1900-1901,  and  elsewhere  in  London,  and  in 
the  provinces.     Sir  Herbert  Maxwell's  excellent 


little  volume  on  Romney  contains  fairly  exhaustive 
lists  of  Romney's  pictures  and  of  his  engraved 
works.  The  following  list  contains  some  of  the 
more  important  examples  in  private  hands,    -^y,  i>_ 

Acton,  N.  Lee,  and  his  first  and  second  wives.    {Lady 

de  ^umarez.) 
L' Allegro  and  D  Penseroso.     (Lord  Boltcm.) 
Auspach,     Margrave    and    Margravine    (two    whole- 
lengths).     (Fishmonqer»'  Co.) 
Bankes,  Mrs.     {Mr.  JV.  R.  Bankea.) 
Beaucbamp,  Lady  Mary.     {Lord  Burton.) 
Bosanquet,  Mrs.,  and  Children.     (Rev.  G.  Bosanquet.) 
Broughton,     Lady     (whole-length).      {Sir    P.     Grty- 

Eyerton.) 
Carwardine,  Mrs.,  and  Child.     {Lord  Uillingdon.) 
Cavendish  Beutinck,  Lady  Ed.     (Lord  Hillini/don.) 
Chaplin,  Mr.  and  Mrs.     {Mr.  Hy.  Chaplin,  M.P.) 
Child,  Mr.  and  Mrs.     (Earl  of  Jersey.) 
CUfden,  Lady,  and  liuly  E.   Spencer.     (J/r.    Arthur 

Davis.) 
Clive,  Hon.  Charlotte.     (Earl  of  Poms.) 
Curwen,  Mr.  and  Mrs.  Christian.    (Mr.  S.  T.  Cunaen.) 
Davenport,  Mrs.    (Mr.  W.  Bromley-Davenport.) 
Derby,  Countess  of.     (Sir  C.  Tennant.) 
Dundas  family  portraits.     (Sir  J.  Dundas.) 
Fagniani,  Mile.     (Earl  of  Carlisle.) 
Fortescue,  the  Sisters.     (Mr.  J.  B,  Fortescue.) 
Gordon,  Duchess  of,  and  Son.     (Mr.  A.  ffertheimer.) 
Gower  Children,  the.     (Duke  of  Sutherland.) 
Hamilton,  Emma,  Lady,  readmg  a  newspaper.     (Mr. 
J.  P.  Morgan.) 
„  „  as  a  Bacchante.     {3fr.    T. 

Chamberlayne.) 
„  „  as   a  Bacchante,  leading  a 

goat.   (ifr.  T.  Chamber- 
layne, but  lately  sold.) 
„  „  as      Cassandra.      (Mr.     T. 

Chambtrlayne.) 

„  „  &s  Comedy  in  Shakespeare. 

„  „  nursed  by  Comedy  and 

Tragedy.        (Mr.       T. 

Chamberlayne.) 

„  „  engraved  as  Emma.     (Mr. 

Alfred  de  Rotliscliild.) 
„  „  as  Joan  of  Arc.     (Mr.  J.  C. 

Parr.) 
„  „  as  Nature.     {Mr.  Fawkes, 

but  now  in  Paris. ) 
„  „  as  Sensibility.     (Lord  Bur- 

ton.) 
„  „  as  Ariadne.     (Baron  L.  de 

Rothschild.) 
„  „  attheSpinniug-wheel.(£ari 

of  Nomianton.) 
„  n  as    Circe.     (Hon.     H.    C. 

Gibbs.) 
Hamilton,  Lady  Isabella.     (Messrs.  Agneu).) 
Hardy,  Admiral  Sir  C.     (Greenwich  Hospital.) 
Humphry.  Ozias.     (Lord  Sackville.) 
Jordan,  Mrs.,  in  '  The  Country  Girl.'    {Lord  Botht- 

child.) 
Legge,  Lady  Charlotte.     {Earl  of  Dartmouth.) 
Lushington,  Master.     (iSiV  C.  Tennant.) 
Marlborough,  Duke  and  Duchess  of.     {Duke  of  Ifarl- 

borouqh. ) 
Milnes  family  portraits.     (Earl  of  Crewe.) 
Pitt,  Miss.     (Lord  Burton.) 
Peirse,  Miss.     (Mr.  A.  Davis.) 
R^imus,  the  Misses.     (Bon.  JV.  F.  Smith,  M.P.) 
Russell  family  portraits.     (Sir  Geo.  Russell.) 
Siddons,  Mrs.     (The  late  Judge  Martineau.) 
Smith,  Mrs.  Drummond.     {.Varquis  of  ICorthampton.) 
Sneyd,  Miss,  as  Serena.     (Mr.  H.  T.  Curtcen.) 
Thurlow,  Lord.     (Duke  of  Sutherland.) 
Towneley-Ward,  Mrs.     (Lord  A  Idenham.) 
Trench,  Mrs.     (.^f.  C.  Stdtlmeyer.) 
Vernon,  Miss,  as  the  Seamstress.     {Mr.  Vemon-Went- 

worth.) 
Warwick,  Countess  of,  and  Children.     {Earl  of  War- 

vnck.) 
Wilson,  Sir  John.     (Corporation  of  Kendal.) 
Wortley  Montagu,  Ed.     (Earl  of  Warwick.) 

ill 


A  BIOGRAPHICAL  DICTIONARY  OF 


ROMNET,  John,  an  English  engraver,  born  in 
1786.  He  died  at  Chester  in  1863.  Specimens  of 
his  work  are  to  be  found  in : 

Smirke's  illustrations  to  Shakespeare. 

The  Ancient  Marbles  in  the  British  Museum. 

Views  of  Ancieot  Buildings  in  Chester.     1851. 

Amongst  his  separate  plates  are  : 

The  Orphan  Ballad  Singer ;  afttr  Gill. 
Sunday  Morning — the  Toilette  ;  after  Farrier. 

ROMNEY,  Peter,  an  English  portrait  painter, 
the  brother  of  George  Romney.  He  practised  at 
Ipswich  and  Cambridge.  He  fell  into  difficulties, 
was  imprisoned  for  debt  in  1774,  and  died  early. 

ROMSTEDT,  Christian,  an  obscure  German 
engraver,  who  resided  at  Leipsic  about  the  year 
1670.  He  engraved  a  few  portraits,  which  are 
very  indifferently  executed.  His  plates  are  marked 
with  a  cipher  composed  of  a  C.  and  an  R.  It 
would  seem  that  there  were  two  engravers  of  this 
name,  probably  father  and  son,  and  that  they 
worked  between  1630  to  1720 ;  the  younger  died  in 
1725.  They  not  only  engraved  portraits,  but  some 
plates  after  the  pictures  of  A.  Carracci  in  the 
Farnese  Palace. 

ROMULO,  Diego,  painter,  the  eldest  son  of 
an  obscure  painter  named  Cincinato  Romdlo,  was 
bom  at  Madrid,  where  he  studied  under  his  father, 
and  was  much  esteemed.  He  was  favoured  by  Philip 
IV.,  and  was  sent  to  Rome  in  the  suite  of  the 
Spanish  ambassador.  Here  he  painted  tlie  portrait 
of  Pope  Urban  VIII.  with  so  much  success  that 
the  Pope  conferred  on  him  the  title  of  Cavaliere  of 
the  order  of  Christ  of  Portugal.  He  did  not  long 
enjoy  his  honours,  for  he  died  at  Rome  a  few  days 
after  his  investiture,  in  the  year  1625,  and  was 
buried  in  the  church  of  San  Lorenzo. 

ROMULO,  Francisco,  painter,  the  second  son  of 
Cincinato  Romulo,  was  born  at  Madrid,  and  studied 
under  his  father.  In  consideration  of  his  brother's 
untimely  death.  Urban  VIII.  conferred  on  him  the 
title  Diego  had  enjoyed  for  so  brief  a  time,  and  he 
accordingly  went  to  Rome,  where  he  practised  with 
some  success  until  his  death  in  1635. 

RONCALLI,  Cristoforo,  called  dalle  Pomar- 
ance,  bom  at  Pomarance,  in  the  diocese  of  Vol- 
terra,  in  1552,  studied  at  Rome  under  Niccolo 
Circignani,  also  called  dalle  Pomarance.  He 
was  employed  by  Paul  V.  in  the  embellishment 
of  the  Capella  Clementina,  where  he  represented 
the  '  Death  of  Ananias  and  Sapphira '  ;  and  in  the 
Basilica  of  S.  John  Lateran,  he  painted  a  large 
picture  of  the  '  Baptism  of  Constantine.'  He  exe- 
cuted several  other  important  works  in  the  public 
edifices  at  Rome.  In  the  church  of  S.  Giovanni 
Decollato,  is  a  fine  picture  by  him,  representing 
the  '  Visitation  of  the  Virgin  to  St.  Elisabeth ' ;  and 
in  S.  Andrea  della  Valle,  an  altar-piece,  represent- 
ing 'St.  Michael  discomfiting  the  Evil  Spirits.' 
One  of  his  most  satisfactory  works  is  the  Cupola 
of  La  Santa  Casa  di  Loreto,  in  which  he  was  em- 
ployed through  the  influence  of  Cardinal  Crescenzi. 
At  Naples,  in  the  church  of  San  Filippo  Neri, 
there  is  one  of  his  best  productions,  a  '  Nativity.' 
The  pictures  of  Roncalli  exhibit  a  mixture  of 
Roman  with  Tuscan  characteristics.  In  his  fres- 
coes his  colouring  is  cheerful  and  brilliant ;  in  his 
oil  pictures,  on  the  contrary,  his  tints  are  subdued 
to  a  generally  quiet  tone.  He  was  fond  of  intro- 
ducing landscape  backgrounds,  which  he  treated 
well.     He  died  at  Rome  in  1626. 

RONCELLI,  Giuseppe,  painter,  bom  at  Bergamo 
272 


in  1677.  He  became  known  for  his  skill  in  paint- 
ing nocturnal  conflagrations,  the  figures  in  which 
were  added  b}-  Celesti.     He  died  in  1729. 

RONCO,  MiCHELE  DI,  a  native  of  Milan,  who 
flourished  in  the  latter  part  of  the  14th  century. 
He  painted  in  the  Duomo  of  Bergamo  between 
1375  and  1377. 

RONDANI,  Francesco  Maria,  bom  at  Parma 
about  the  year  1505,  was  brought  up  in  the  school 
of  Correggio,  whom  he  assisted  in  his  great  work 
of  the  dome  of  S.  Giovanni.  In  the  church  of  St. 
Mary  Magdalene,  at  Panna,  is  a  fine  '  Virgin  and 
Infant  Jesus,'  which  has  been  sometimes  mistaken 
for  the  work  of  Correggio.  His  talents  were,  how- 
ever, confined  to  compositions  of  a  few  figures. 
One  of  his  most  considerable  works  is  a  '  St. 
Augustine  and  St.  Jerome,'  in  the  Eremitani. 
Pimgileone  often  mentions  him  in  connection  with 
Allegri ;  and  at  the  death  of  the  latter,  Rondani 
inherited  the  drawings  and  many  of  the  cartoons 
from  which  he  had  worked  in  the  Cupola  at  Parma. 
Lanzi  says  that  he  had  seen  one  of  his  Madonnas, 
in  the  possession  of  the  Marquis  Scarani,  at 
Bologna,  Mary  bearing  a  swallow  in  her  hand,  in 
allusion  to  the  painter's  name.  Rondani's  known 
works  are  rare.  He  died  at  Parma  about  the 
year  1548. 

RONDELET,  Jean  and  GniLLAtraE,  brothers, 
flourished  in  France  in  the  16th  century.  In  1552 
they  were  engaged  on  the  decorations  of  the 
palace  of  Fontainebleau. 

RONDINELLO,  NiccoLO,  flourished  at  Ravenna 
and  Forli  in  the  last  quarter  of  the  15th  century.  He 
is  described  by  Vasari  as  one  of  Giovanni  Bellini's 
most  industrious  pupils.  He  spent  his  early  years 
at  Venice,  and  produced  pictures  that  are  often 
thought  to  be  Bellini's  own  works.  In  the  Doria 
Gallery,  Rome,  is  a  '  Virgin  and  Child  with  St. 
John  the  Baptist,'  signed  by  Rondinello,  that  is 
an  exact  counterpart  of  the  same  subject  painted 
and  signed  by  Bellini  in  the  same  Gallery.  The 
identity  is  so  great  as  to  lead  Crowe  and  Caval- 
caselle  to  conjecture,  that,  while  Rondinello 
painted  the  whole  of  the  picture  which  bears  his 
name,  he  also  painted  a  great  part  of  that  signed 
Bellini,  the  latter  being  content  to  finish  his  pupil's 
work  and  sign  it  as  his  own.  The  Gallery  of 
Forli  possesses  a  half-length  '  Virgin  and  Child," 
painted  by  Rondinello  after  he  left  Venice ;  a  por- 
trait of  a  young  man  in  the  same  Gallery  is  now 
also  assigned  to  him.  The  Duomo  of  Forli  has  a 
'  S.  Sebastian  '  by  him,  in  the  style  of  Palraezzano, 
whom  he  seems  to  have  copied  in  his  later  years. 
In  the  Brera,  Milan,  a  '  St.  John  the  Evangelist 
censing  a  kneeling  female  figure  wearing  a  crown, 
with  angels  ministering  on  each  side  of  the  altar, 
over  which  hangs  a  picture  of  the  Virgin  and 
Child,'  is  rightly  assigned  to  this  artist.  Many 
of  the  churches  in  Ravenna  contain  paintings  by 
Rondinello.  No  dates  are  known  of  either  his 
birth  or  death,  but  he  was  still  alive  in  the  first 
years  of  the  16th  century.  He  usually  signed 
thus :  Nicolaus  Rondinelo. 

RONDINOSI,Zaccabia,  a  painter  of  the  Floren- 
tine school,  working  at  Pisa  between  1665  and 
1680.  He  was  mainly  occupied  with  ornament, 
and  when  he  died  in  1680  he  was  buried  in  the 
Carapo  Santo  by  the  Pisans,  who  there  put  up  a 
tablet  to  his  memory. 

RONDOLINO  II.    See  Terenzi. 

RONJON,  Louis  Adgu.ste,  a  French  historical 
painter,  bom  in  Paris  in  1809.     He  studied  under 


NICCOLO  RONDINELLO 


Dixon  photo ^  [Doi<iUi/er  Hon 

PORTRAIT  OF  A  YOUTH 


PAINTERS  AND  ENGRAVERS. 


J.  M.  Langlois,  and  obtained  a  medal  ia  1834. 
Durinoc  his  later  years  he  gave  up  painting,  and 
devoted  himself  to  teaching.  He  died  in  Paris  in 
1876.     His  best  known  pictures  are  : 

The  Assassination  of  the  Duke  of  Guise. 
An  Incident  in  the  Life  of  Richelieu. 

RONMY,  GoiLLAUME  Frj^d^ric,  painter,  wae 
born  at  Bouen  in  1786.  He  was  a  pupil  of  Vien 
and  of  Taiinay,  and  for  many  years  was  a  frequent 
and  successful  exliibitor  at  the  Salon.  He  colla- 
borated with  Prdvost  in  his  panoramas,  notably 
those  of  Rio  Janeiro  and  Constantinople.  He  died 
at  Passy  in  ISS'l.  Among  bis  principal  works  we 
may  name  :  'The  Temple  of  the  Sybil  at  Tivoli,' 
'Henry  IV.  at  the  Siege  of  Paris,'  'A  Camp  of 
Laplanders,'  and  a  '  View  of  Constantinople.' 

KONOT,  Charles,  French  painter ;  born  at 
Dijon  in  1821  ;  for  many  years  occupied  the  post 
of  Director  of  the  Art  School  at  Dijon ;  here  he 
died,  January  18,  1895. 

BONSE,  Philippe,  a  French  artist  of  the  17th 
century,  who,  in  conjunction  with  Pauvert  and 
Vespr6,  painted  in  the  cathedral  of  Chartres.  He 
died  in  1645. 

RONSERAY.    See  De  Lorme. 

RONTBOUT,  J ,  a  Dutch  landscape  painter, 

whose  pictures  at  first  view  have  a  slight  resem- 
blance to  those  of  Hobbema  and  Ruysdael.  They 
are  generally  of  a  email  size,  always  on  panel,  and 
represent  wooded  scenery.  The  figures  are  of  the 
same  character  as  those  in  Ilobbema's  pictures 
when  painted  by  himself.  They  are  signed  with 
the  name  in  full,  or  with  a  monogram,  somewhat  in 
the  manner  of  Jakob  Ruysdael,  which  has  deceived 
many  into  the  belief  that  they  are  by  that  artist. 

RONZELLI,  Fabio,  painter,  probably  the  son  of 
Piero  Ronzulli.  He  flourished  at  Bergamo  shortly 
after  1627,  and  is  known  by  the  '  Martyrdom  of 
San  Alessandro,'  which  he  painted  for  the  church 
of  Santa  Grata,  at  Bergamo. 

RONZELLI,  PlERO,  practised  at  Bergamo  about 
1600,  and  became  known  as  a  skilful  painter  of 
portraits. 

ROODE,  Theodob,  (or  De  Roode,)  painter  and 
engraver,  bom  at  Rotterdam  in  1736.  He  travelled 
through  Belgium  and  Germany  in  1756,  and  settled 
for  a  time  in  Vienna,  where  he  was  appointed 
painter  in  ordinary  to  the  Archduke  Charles  of 
Austria.  He  returned  to  Rotterdam  in  1771,  and 
died  in  1791. 

ROOKER,  Edward,  an  English  draughtsman  and 
engraver,  born  in  London  about  the  year  1712, 
was  a  pupil  of  Henry  Roberts.  He  died  in  1774. 
He  possessed  an  admirable  talent  for  engraving 
architectural  views,  of  which  he  has  given  an 
excellent  example  in  his  large  plate  of  the  Section 
of  St.  Paul's  Cathedral,  from  a  dra^ving  by  Gwyn, 
the  figures  by  Wale.  The  plates  in  Sir  W. 
Chambers's  '  Civil  Architecture,'  several  of  the 
plates  in  Stuart's  '  Athens,'  and  Adams'  '  Dio- 
cletian's Palace  at  Spalatro,'  are  by  him.  We  have 
also  the  following  views  : 

Four  Views  in  Italy ;  after  R.  Wilson. 

Six  Views  in  London  ;  after  P.  Sandbi/. 

Twelve  Views  in  England  ;  after  the  same. 

ROOKER,  Michael  Angelo,  the  son  of  Edward 
Rooker,  born  in  London  in  1743,  was  first  instructed 
by  his  father  in  engraving,  but  was  after  placed 
under  the  tuition  of  Paul  Sandby,  to  be  in- 
structed in  drawing  and  landscape  painting.  In 
1772  he  painted  and  exhibited  a  view  of  Temple 

VOL.  IV,  T 


Bar,  which  possessed  considerable  merit,  and  was 
much  admired.  For  several  years  he  was  the 
principal  scene  painter  to  the  "theatre  in  the  Hay- 
market.''  As  an  engraver  he  acquired  considerable 
celebrity,  and  for  many  years  engraved  the  head- 
pieces to  the  Oxford  Almanacks.  They  were  exe- 
cuted from  his  own  drawings.  Rooker  was  one  of 
the  first  Associates  of  the  Royal  Academy.  About 
1788  he  began  a  series  of  autumn  tours  on  foot, 
and  made  many  drawings  from  picturesque  ruins 
in  Norfolk,  Suffolk,  Somerset,  Warwick,  and  other 
counties.  He  contributed  some  of  the  illustrations 
to  an  edition  of  Sterne,  published  in  1772.  He 
died  in  London  in  1801. 

ROOM,  Henry,  portrait  painter,  practised  chiefly 
at  Birmingham,  and  enjoyed  a  reputation  there. 
He  was  residing  at  Pentonville  in  1826,  and  ex- 
hibited a  portrait  at  the  Academy,  and  in  1827-28 
sent  portraits  from  Birmingham  for  exhibition. 
In  1830  he  went  to  London,  and  continued  to  ex- 
hibit his  portraits,  and,  while  practising  there, 
painted  'The  Interview  of  Queen  Adelaide  with 
the  Madagascar  Princes  at  Windsor,'  and  'The 
Caffre  Chiefs  Examination  before  the  House  of 
Commons'  Committee.'  Many  of  his  portraits  were 
engraved  for  the  '  Evangelical  Magazine.'  He  did 
not  exhibit  at  the  Academy  between  1840-47,  bat 
in  1848  sent  his  last  work.  He  died  August  27th, 
1850,  aged  48.  ABC 

ROOS,  Cajetak,  (Gaetano,)  son  of  Philipp  Peter 
Roos  (Rosa  da  Tivoli),  was  an  animal  and  landscape 
painter,  and  practised  at  Vienna  towards  the  middle 
of  the  18th  century. 

ROOS,  Jacob,  a  son  of  Philipp  Peter,  commonly 
called  Rosa  da  Napoli,  was  born  at  Tivoli  in  1680, 
and  painted  in  Naples  in  the  style  of  his  father. 

ROOS,  Jan,  a  Dutch  landscape  and  portrait 
painter,  born  at  Amsterdam  towards  the  close  of 
the  18th  century.  After  a  sojourn  at  Dresden  he 
went  to  Italy,  and  was  practising  his  art  at  Rome 
about  1820. 

ROOS,  Jan,  painter,  bom  at  Antwerp  in  1591. 
He  was  a  pupil  of  Snyders,  and  went  to  study  in 
Italy  in  1615.  He  was  for  some  time  at  Rome,  and 
became  famous  for  his  painting  of  animals.  It  is 
said  that  dogs  were  deceived  by  the  hares  he 
painted.  From  his  choice  of  subjects  he  has  been 
occasionally  confounded  with  Philipp  Peter  Roos 
(Rosa  da  Tivoli).  He  settled  later  at  Genoa,  where 
his  works  enjoyed  a  high  reputation.  He  there 
became  acquainted  with  his  great  countryman, 
Vandyck,  and  was  one  of  the  artists  who  frequented 
the  salon  of  Sofonisba  Anguisciola.  The  many 
commissions  which  he  received  caused  him  to 
work  so  unceasingly  that  his  health  gave  way,  and 
he  died  at  Genoa  in  1638.  In  the  church  of  SS. 
Cosmus  and  Damianus  at  Genoa  there  is  an 
'  Entombment '  by  him. 

ROOS,  Johann  Heinbich,  painter  and  engraver, 
was  born  in  1631,  the  son  of  a  poor  weaver,  by 
whom  he  was  apprenticed  to  a  painter  of  little  note 
at  Amsterdam,  named  Julian  du  Jatdin,  for  the 
term  of  seven  years.  Under  this  master  he  made 
little  progress.  At  the  end  of  his  time  he  studied 
under  Adriaan  de  Bie ;  and  it  was  not  long 
before  he  discovered  an  extraordinary  talent  for 
painting  horses,  cows,  sheep,  goats,  &c. ;  not  only 
surpassing  his  instructor,  but  becoming  one  of  the 
most  celebrated  animal  painters  of  his  time.  He 
frequently  placed  them  in  the  most  singular  and 
diflScult  attitudes,  but  always  drew  them  with  the 
correctness  of  character  for  which  he  is  remark- 

273 


A  BIOGRAPHICAL  DICTION ABY  OP 


Berlin. 
Dresden. 


Manioh. 


able.  He  was  invited  to  tlie  court  of  the  Elector 
Palatine,  where  he  painted  the  portrait  of  that 
prince,  and  those  of  his  principal  courtiers,  for 
which  he  was  munificently  rewarded.  He  was 
employed  at  several  other  German  courts,  but 
established  himself  at  Frankfort  in  1671,  where  he 
painted  his  favourite  subjects  with  great  success. 
His  works  were  purchased  with  avidity,  and  he 
received  commissions  from  almost  every  court  in 
Europe.  A  catastrophe  interrupted  his  career.  In 
1685  a  great  conflagration  broke  out  in  the  night, 
and  the  house  of  Koos  was  situated  in  the  quarter 
in  which  the  flames  raged  with  the  greatest  violence. 
Anxious  to  save  some  valuable  objects,  he  re- 
entered his  house,  which  was  already  burning 
fiercely,  and  perished.  He  signed  his  pictures  J. 
H.  Roos,  the  initials  being  welded  into  a  monogram. 
Works : 

Museum.    Italian  landscape  with  Cattle. 
Gallery.    Cattle,  Sheep,  and  Goats  in  a 
landscape. 
„  Cattle  and   old  "Woman  in  a 

landscape. 
„  Landscape    nith     Sheep    and 

Shepherd. 
Gallery.    Nine  Landscapes,  with  Cattle. 

J.  H.  Roos  has  left  a  series  of  excellent  etchings ; 
the  following  are  the  best : 

A  set  of  eight  Plates  of  Animals ;  dated  1665. 
A  set  of  twelve  Plates  of  domestic  Animals. 
Two  large  Landscapes,  with  Ruins  and  Animals. 
A  Shepherd  sleeping  at  the  foot  of  a  Monument,  near 
his  Flock. 

ROOS,  JoHANN  Melchior,  the  younger  son  of 
Johann  Heinrich  Roos,  was  born  at  Frankfort  in 
1659.  After  being  taught  some  time  by  his  father 
he  travelled  to  Italy,  where  he  studied  a  few  years, 
and  on  his  return  to  Germany  settled  at  Nurem- 
berg, where  he  met  with  considerable  encourage- 
ment as  a  painter  of  history  and  portraits,  but  his 
inclination  leading  him  to  paint  landscapes  and 
animals  in  the  style  of  his  brother,  in  the  latter 
part  of  his  life  he  devoted  himself  entirely  to  that 
branch,  in  which,  although  he  never  reached  the 
excellence  of  Rosa  da  Tivoli.his  pictures  possessed 
suiEcient  merit  to  win  him  the  patronage  of  the 
Landgrave  of  Hesse  Cassel.  He  died  in  1731. 
Works : 

Dresden.  Gallery.    Stags  under  an  Oak.    Signed 

J.  M.  Roos  fecit  1714,  the  J 
and  M  interwoven. 
Hampton  Court.  Cattle  at  a  Fountain. 

There  is  only  one  etching  known  by  this  artist. 
It  represents  a  Bull  standing,  seen  in  front ;  it  is 
inscribed  J.  M.  Roos,  fee.  1685. 

KOOS,  Joseph,  the  son  of  Cajetan  Roos,  was 
born  at  Vienna  in  1728.  He  painted  landscapes 
and  cattle  with  considerable  success,  and  was 
much  employed  by  the  Elector  of  Saxony.  He 
was  a  member  of  the  Dresden  Academy,  and  was 
afterwards  keeper  of  the  Imperial  Gallery  at  Vienna. 
His  principal  works  are  at  Schoenbrun.  We  may 
also  name  : 

Dresden.  Gallery.    Landscape    with    Sheep    and 

Shepherd.      Signed    Joseph 
Roosf.  1765. 

We  have  a  few  etchings  by  this  artist,  among 
them  the  following : 

A  set  of  six  Plates  of  various  Animals ;  inscribed  Joseph 

Roos,  inv.  et  fecit,  aquaforti.     1754. 
Ten  Plates  of  Sheep  and  Ooats. 

274 


ROOS,  Philipp  Peter,  called  Rosa  da  Tivoli  and 
Mercdrius,  was  the  son  of  Johann  Heinrich  Roos, 
and  was  bom  at  Frankfort  in  1657.  Endowed 
with  genius  by  nature,  and  assisted  by  his  excellent 
father,  he  gave  early  proofs  of  capacity,  and  was 
noticed  by  the  Landgrave  of  Hesse,  in  whose 
service  his  father  at  that  time  was.  He  took  him 
under  his  protection,  and  to  promote  his  improve- 
ment sent  Lira  to  Italy,  with  an  allowance  suHicient 
for  his  support.  On  his  arrival  at  Rome  his  appli- 
cation was  so  exemplary  that  he  was  regarded  as 
the  most  laborious  young  artist  of  his  time.  He 
designed  every  object  from  nature,  and  to  facilitate 
this  practice  established  himself  at  Tivoli,  where 
he  kept  a  kind  of  menagerie,  for  the  purpose  of 
drawing  animals  with  the  greater  correctness.  His 
pictures  are  painted  with  equal  vigour  and  pre- 
cision. His  colour,  though  it  has  darkened  much 
with  time,  is  good.  It  is  in  inability  to  compose 
that  he  betrays  his  chief  defect  as  an  artist.  As  a 
man,  he  was  given  up  to  dissipation.  Rosa  da 
Tivoli  died  at  Rome  in  1705.  His  few  etchings 
of  pastoral  subjects  are  very  scarce.      Works  : 

Dresden.  Gallery.  Seven  landscapes  with  Cattle. 

„  „  Noah      smrrounded      by      the 

Animals. 

Florence.  Uffizi.  Cattle  on  the  Roman  Campagna, 

„  „  Cattle  at  Pasture. 

Paris.  Louvre.  Wolf  devouring  a  Sheep. 

"Vienna. LiechtensteinCol.  Sheep  and  Shepherd. 

ROOS,  Theodor,  the  younger  brother  of  Johann 
Heinrich  Roos,  born  at  Wezel  in  1638.  He  was 
first  a  scholar  of  Adriaan  de  Bie,  but  afterwards 
was  instructed  by  his  brother.  In  1659  he  was 
invited  to  the  court  of  Mannheim,  where  he  was 
taken  into  the  service  of  the  Elector.  His  first 
performance  was  a  group  of  portraits  of  the 
principal  magistrates,  still  preserved  in  the  council 
chamber.  He  afterwards  visited  ■svith  success 
several  other  courts  of  Germany.  The  Duke  of 
Wiirtemburg  employed  him  in  several  historical 
works,  and  appointed  him  his  principal  painter. 
He  was  present  in  Strasburg  when  it  was  taken  in 
1681  by  the  French,  by  whom  he  was  treated  with 
great  courtesy.  The  pictures  of  this  Roos  are 
chiefly  confined  to  Germany.  His  touch  is  firm 
and  facile,  his  drawing  w^eak,  his  colouring  vigor- 
ous and  clear.  Theodor  Roos  has  left  a  set  of  six 
etchings,  small  upright  landscapes,  with  ruins, 
dated  1667.     He  died  in  1698. 

ROOSE,  NicoLAES.     See  De  Liemaker. 

ROOSMALE,  (or  Roozmale).     See  Rosemale. 

ROOSTER,  Adriaan,  (or  De  Rooster,)  landscape 
painter,  bom  at  Mechlin.  He  was  a  pupil  of 
Gaspard  Pous8in,and  practised  in  Italy  in  the  17th 
century. 

ROOTIDS,  Jan  Albeetz,  (or  Rootseus,)  bom 
at  Hoorn  about  1615,  was  a  disciple  of  Pieter 
Lastman,  under  whose  instruction  he  became 
eminent  as  a  portrait  painter.  Some  of  his  pic- 
tures in  the  hall  of  the  Archer's  Guild,  in  his 
native  town,  prove  him  to  have  been  an  artist  of 
considerable  ability.  They  consist  of  three  large 
groups  of  portraits  of  the  members.  Rootius 
died  in  1674.  In  the  Amsterdam  Museum  there 
are  by  him : 

Portrait  of  Vice-Admiral  Jan   Com.  Meppel,   signed 

J.  A.  Rootius,  1661. 
Portrait  of  a  Child.  Same  signature,  and  the  date  1652. 

ROOTIUS,  Jakob,  (or  Rootseus,)  a  younger 
brother   of  Jan   Rootius,   bom   in    1619,   was   a 


PAINTERS  AND  ENGRAVERS. 


scholar  of  J.  D.  de  Heem,  and  painted  in  his 
manner  ;  and,  it  is  said,  approached  liirn  closely  in 
excellence.     He  died  in  1681. 

ROPER, ,  an  English  artist  mentioned  by 

Edwards  as  a  painter  of  sporting  pieces,  race- 
horses, dogs,  and  dead  game.  Some  of  his  pictures 
were  in  the  exhibitions  in  Spring  Gardens  in  1761 
and  1762,  dates  he  did  not  long  survive. 

ROPS,  F£licien,  French  painter  and  etcher  ; 
bom  .July  10,  1833,  at  Namur ;  was  of  Hungarian 
extraction  ;  educated  at  Bnissels  ;  inherited  a 
considerable  fortune  which  he  soon  squandered, 
and  was  then  obliged  to  choose  art  as  a  means  of 
livelihood  ;  he  was  self-taught ;  began  with  cynical 
caricatures  and  lithographs  published  in  '  Uglen- 
spiegel,'  a  politico-satirical  journal  ;  his  draughts- 
manship was  marvellously  accurate  ;  many  of  his 
subjects  were  frankly  and  offensively  pornographic, 
displaying  biting  cynicism  and  brilliant  technique. 
He  died  at  Essonnes,  August  23,  1898. 

ROQUEPLAN,  Camille  Joseph  Etienne,  (or 
RocoPLAN,)  a  French  genre,  landscape,  and  marine 
painter,  born  at  Mallemart  (Bouches-du-Rhone) 
in  1800.  He  entered  the  Ecole  des  Beaux  Arts  in 
1818,  and  studied  under  Gros  and  Abel  de  Pujol. 
Notwithstanding  this  training  amongst  the  "  classic- 
ists "  he  won  fame  as  a  "romanticist,"  and  gained 
great  reputation  by  his  works  founded  on  subjects 
from  Sir  Walter  Scott.  In  his  latter  years  he 
suffered  much  from  illness.  He  died  in  Paris  in 
1855.  The  following  is  a  list  of  his  more  important 
works  : 


Bordeaux. 

Museum. 

Valentine  and  Eaoul. 

Chartres. 

Child  playing  with  Cat. 

Grenoble. 

Coast  View. 

Havre. 

Sea  Piece. 

Leipsic. 

The  Harbour  of  Boulogne. 

Lille. 

Death  of  the  Spy,  Morris  ('  Eob 
Roy'). 

Paris. 

Louvre. 

View  on  the  Coast  of  Normandy. 
1831. 

Versailles. 

Gallery. 

Battle  of  Elchingen.     1837. 

,, 

Battle  of  Kocoux. 

" 

)» 

Portrait  of  the  Marshal,  Marquis 
de  Chastellux. 

ROQUES,  Gdillaume,  or  Joseph,  painter,  born 
at  Toulouse  on  the  1st  October,  1754,  was  the  son 
of  a  respectable  workman  of  that  city,  and  showed 
such  an  early  inclination  for  art,  that  at  eleven 
years  old  he  entered  the  ^cole  des  Beaux  Arts  of 
Toulouse,  then  directed  by  Rivalz.  His  talent  and 
industry  enabled  him  to  distinguish  himself  in  all 
competitions,  and  a  youtlif  ul  picture  of  '  Amyntas  ' 
was  pronounced  to  be  a  work  of  precocious  promise. 
The  young  painter  ardently  wished  to  visit  Italy, 
and,  provided  with  a  little  store  of  money  which 
his  mother  had  saved,  he  set  out  for  Rome  when 
about  22  years  old.  Here  he  was  kindly  received 
by  Vien  and  David,  and  formed  a  friendship  with 
the  latter,  who  assisted  him  in  many  ways.  His 
Italian  studies  proved  of  great  service,  and  on  his 
return  to  his  native  place  ho  was  overwhelmed 
with  commissions.  Among  his  pupils  was  Ingres, 
in  whose  development  he  took  a  special  interest, 
and  with  whom  he  always  remained  on  terms  of 
affectionate  intimacy.  After  the  Revolution  Roqucs 
was  appointed  director  of  the  Art  School  at  Mont- 
pellier,  but  his  affection  for  his  native  town 
induced  him  to  resign  his  post  for  a  Professor- 
ship at  the  Ecole  des  Beaux  Arts  at  Toulouse, 
and  there  he  remained  until  his  death  in  1847, 
at  the  age  of  91.  His  best  known  works  are  the 
following : 

T  2 


Portrait  of  his  Mother.  (Toulmise  Museum.) 
The  Tomb  of  Amyntas.  (Toulouse  Museum.) 
The  Communion  of  the  Duke  of  Angoulcme.    ( Toulouse 

Museum.) 
Shepherds    of    the    Valley    of    Campan.      (Toulouse 

Museum.) 
Marat  in  the  Bath. 
The  Death  of  Lucretia. 
Cupid  and  Psyche.     (A  lamplight  effect.) 

RORBYE,  Martin  Christian  Wesseltoft, 
painter,  born  at  Drammen  in  Norway,  in  1803, 
entered  the  Academy  at  Copenhagen  in  1819,  and 
learned  drawing  under  Eckersberg.  From  1834 
to  1837  he  was  travelling  through  Italy,  Greece, 
and  Turkey.  On  his  return  home  he  received  the 
Thor\valdsen  medal  for  his  picture  of  a  'Turkish 
Notary  settling  the  Marriage  Articles,'  and  then, 
with  his  '  Life  in  the  East,'  he  won  the  Fellowship 
of  the  Academy.  In  1839  he  went  to  Italy,  where 
he  painted  his  '  Market  in  Amalfi.'  He  died  in 
Copenhagen  in  1848.  The  Copenhagen  Gallery 
possesses  the  following  pictures  by  him  : 

Chapel  of  St.  Benedict  at  Subiaco. 

Oriental  Chess-players. 

A  Holiday  at  Cape  Skagen. 

Arcade  of  the  Town-hall  of  Copenhagen. 

RORE,  (RoRus,)  Jacques.    See  De  Roore. 

ROSA,  Aniella  di.    See  Beltrano. 

ROSA  DA  Napoli.    See  Rods,  Jakob. 

ROSA  DA  TivoLi.     See  Roos,  Philipp  Peter. 

ROSA,  Ckistofobo,  bom  at  Brescia  about  the 
year  1520,  excelled  in  painting  perspectives, 
and  lived  in  habits  of  intimacy  with  Titian,  by 
whom  he  was  occasionally  employed  to  paint  the 
architecture  in  some  of  his  pictures.  There  are 
several  of  his  works  at  Brescia  and  at  Venice, 
particularly  in  the  antechamber  to  the  library  of 
St.  Mark,  in  the  latter  city.  He  died  of  the  plague 
in  1576. 

ROSA,  Francesco  di,  called  Pacicco,  painter, 
bom  at  Naples  about  the  year  1600,  was  brought 
up  in  the  school  of  Massimo  Stanzioni.  His  easel 
pictures  are  frequently  found  in  private  collections 
at  Naples,  and  he  painted  some  altar-pieces  for  the 
churches,  of  which  the  best,  perhaps,  are  his  St. 
Thomas  Aquinas,  in  the  Sanita ;  and  the  Baptism 
of  S.  Candida,  in  S.  Pietro  d'Aram.  He  died  at 
Naples  in  1654. 

ROSA,  Pietro,  son  of  Cristoforo  Rosa,  was  bom 
about  1550.  From  the  friendship  that  existed 
between  his  father  and  Titian,  he  was  received 
into  the  school  of  that  great  painter,  of  whom  he 
became  a  favoured  disciple.  His  best  works  are 
in  the  cathedral  and  the  churches  of  S.  Francesco 
and  le  Grazie  at  Brescia.  This  promising  young 
artist  died  of  the  plague,  in  the  same  year  with 
his  father  and  his  master,  Titian. 

ROSA,  Salvatore,  born  at  Renella  near  Naples, 
in  1615,  was  the  son  of  Vito  Antonio  (an  archi- 
tect and  land  surveyor)  and  Giulia  Grecca  Rosa. 
His  parents  intended  him  for  the  Church ;  with 
that  view  he  was  sent  to  the  College  of  the  Con- 
grcgazione  Somasca  at  Naples.  His  impetuous 
character  and  temperament  seem  to  have  brought 
him  into  great  trouble,  and  he  left  before  his 
education  was  completed.  He  returned  home,  and 
as  his  sister  meanwhile  had  been  married  to  Fran- 
cesco Francanzani,  an  artist  of  the  Spagnoletto 
school,  the  lad  was  often  found  in  the  work-room 
of  his  brother-in-law.  There  he  first  displayed  his 
talent,   and    encouraged    by    Francesco,   he    was 

275 


A  BIOGRAPHICAL  DICTIONARY  OF 


enabled  to  earn  enough  to  procure  himself  clothes 
and  sustenance.  Impatient,  however,  of  restraint, 
in  his  eighteenth  year  he  left  Naples,  and  after 
wandering  about  he  joined  himself  to  a  body  of 
banditti,  who  infested  the  Abruzzi ;  to  this  sojourn 
may  be  traced  many  of  those  robber  pictures 
which  so  especially  distinguish  this  artist.  Under 
what  circumstances  Salvator  returned  to  Naples  is 
unknown,  but  it  is  certain  that  he  did  so  during 
the  residence  of  Lanfnmro  in  that  city.  A  few 
days  after  his  return  liis  father  died,  bequeathing 
to  the  care  of  his  son  a  poverty-stricken  family. 
Oppressed  by  want  and  privation,  he  used  to  expose 
his  pictures  for  sale  in  the  street,  till  one  day 
Lanfranco  happening  to  be  attracted  by  a  '  Hagar  ' 
thus  exposed  for  Kale,  purchased  it.  It  is  asserted 
by  some  that  Lanfranco  sought  Salvator's  acquaint- 
ance, and  assisted  him,  though  the  fact  of  his 
continued  poverty  seems  to  be  in  strong  disproof 
of  this  idea.  But  the  bare  circumstance  of  being 
brought  into  notice,  though  it  exposed  him  to 
much  envy  and  hatred  from  less  favoured  rivals, 
acted  as  a  spur  on  his  drooping  spirits,  and  was 
the  means  also  of  gaining  for  him  the  friendship 
of  Aniello  Falcone,  one  of  the  best  pupils  of 
Spagnoletto,  who  may  be  looked  upon  as  the 
first  painter  of  battles.  In  1634  poverty  made 
him  resolve  to  leave  Naples  and  visit  Rome.  There 
he  maintained  himself  by  his  sketches  for  some 
time,  but  under  the  influence  of  malaria  his  mental 
energy  gave  way,  and  he  returned  to  Naples,  de- 
prived of  hope  and  strength.  Soon  after  his 
return,  however,  he  agreed  to  accompany  his 
fellow-student  Girolamo  Mercuri,  who  had  been 
appointed  Chamberlain  to  Cardinal  Brancaccia, 
back  to  Rome.  This  led  to  his  being  commis- 
sioned to  paint  the  portico  and  loggia  of  the 
Cardinal's  palace  at  Viterbo,  and  also  an  altar- 
piece  for  the  Chiesa  della  Morte,  in  the  same 
city.  After  a  year's  residence  in  the  Episcopal 
Palace  of  Viterbo,  S.ilvator  returned  to  Naples, 
from  whence  he  sent  to  Rome  his  great  picture, 
'  Prometheus,'  which  gained  him  such  reputation 
as  to  induce  him  to  return  there.  Belonging, 
however,  to  no  school,  he  was  unable  to  win  for 
him.self  the  footing  he  wished,  till  the  Carnival 
of  1639,  when,  flinging  aside  his  palette,  he  came 
forth  as  a  poet,  singer,  and  actor,  and  found  all 
Rome  at  his  feet.  After  this  outburst  he  applied 
himself  with  increasing  success  to  painting.  From 
1639  to  1647  he  produced  numbers  of  gloomy 
forests,  rocky  defiles,  and  storms  at  sea,  as  well 
as  subject  pictures  and  a  few  altar-pieces  for  the 
churches  of  Lorabardj-.  In  1647,  hearing  of  the 
approaching  revolution  in  Naples,  he  shut  up  his 
house  in  Rome,  and  hastening  to  his  native  city, 
joined  himself  to  Masaniello,  together  with  his  old 
friend  Aniello  Falcone  and  his  pupils.  After  the 
death  of  Masaniello,  Falcone  fled  to  France,  where 
he  spent  the  rest  of  his  life,  and  Salvator  returned 
to  Rome,  where  he  painted  his  '  La  Fortuna  '  and 
'  L'Dmana  Fragiliti,'  for  which  he  was  threatened 
by  the  Inquisition,  to  escape  which  he  fled  in  the 
train  of  Prince  Giovanni  Carlo  de'  Medici  to 
Florence,  where  he  was  received  in  triumph. 
■While  at  Florence  he  formed  a  great  friendship 
with  Lorenzo  Lippi,  himself  a  poet  and  painter, 
whom  he  assisted  in  his  pictures.  After  a  re- 
sidence of  five  years  in  the  Tuscan  capital,  he  left 
it  in  1652  to  return  to  Rome,  where  he  established 
himself  in  a  house  on  the  Monte  Pincio.  During 
this  period  he  painted  his  'Jonas  preaching  at 
276 


Nineveh,'  for  the  King  of  Denmark,  and  was  chosen 
to  paint  a  picture  as  an  offering  from  the  Court  of 
Rome  to  King  Louis  XIV.  of  France,  which  resulted 
in  the  battle-piece  now  in  the  Louvre.  In  1661, 
on  the  occasion  of  the  marriage  of  the  Heir 
Apparent  of  Tuscany  to  Marguerite  d'Orleans,  he 
again  visited  Florence,  but  soon  returned  to  Rome, 
where,  in  1668,  he  alone  of  living  artists  was 
allowed  to  exhibit  his  pictures,  and  the  works 
then  shown  were  his  '  Triumph  of  St.  George,' 
and  'Saul  and  the  Witch  of  Endor.'  His  last  work 
of  any  importance  was  a  '  S.  Turpin,'  finished  in 
1670,  after  which  his  faculties  began  to  fail,  and 
in  1673  he  died  at  Rome.  His  principal  pictures 
are  : 


Dublin.    Nat. Gallery. 
Dulwich.  Gallery, 


Diisseldorf.     Gallerv. 
Edinburgh.  Nat.  Gail. 


Florence.         Gallery. 


Pitti. 


Genoa.  Cataneo  Palace. 


Glasgow;         Gallery. 
London.       Nat.  Gall. 


Baptism  of  Christ  (?). 

Soldiers  Gaming  (study  for  the 

Hermitage  picture). 
Pool  with  Monks  Fishing, 
The  Entombment. 
Landscape. 
Kocky  Landscape. 
Two  Studies  of  Men  in  Armour. 

(Also  etched  by  Salvator.) 
Landscape,    with    Figures    and 

Cattle. 
Landscape. 
The  Leucadian  Leap. 
Woi>d  Scenery. 
Portrait  of  Himself. 
Battle-piece. 
Two  Sea- Views. 
Fear. 

Temptation  of  S.  Anthony. 
Justice. 

Jonah  at  Nineveh. 
Hagar  in  the  Desert. 
The  Catihne  Conspiracy. 
Fall  of  the  Giants. 
Christ  clearing  the  Temple. 
Jeremiah  restored  to  Liberty. 
Pythagoras. 

Landscape,  with  'Waterfall. 
A  Landscape  with  the  fable  of 

Mercury  and  the  Woodman. 
Forest  Scene,   with  Tobias  and 

the  Angel. 
River  Scene. 
Landscape  with  Figures. 

\  A  Holy  Family. 

Jacob  attending  his  Flock. 
The  Soothsayers. 

J  Assumption. 

Purgatory. 

I  Landscapes. 

.St.  Nicolas  of  Bari. 

Saul  and  the  'W'itch  of  Endor. 

Large  Battle-piece. 

The  Pro.ligal  Son. 

Nausicaa  and  Ulysses. 

Democritus  and  Protagoras. 

Soldiers  Gaming. 

Three  Portraits. 

Four  Landscapes. 

St.  John  Preaching. 

St.  John  in  the  Desert. 

Two  Landscapes. 

Prometheus. 

St.  Jerome  in  the  Desert. 

Four  Landscapes.. 

Sear  View. 

Salvator  was  a  free  and  excellent  etcher  ;  he  has 
left  40  plates,  of  which  the  following  are  perhaps 
the  best: 

St.  'William,  the  Hermit. 
Plato,  and  his  Scholars. 


,, 

Stafford 

House. 

)» 

)» 

,, 

jy 

Milan. 

Chiesa  della 

Vittoria. 

}} 

Brer  a. 

Naples. 

Gallery  Ahp. 

Tarentum. 

„  at. 

San  Martttw. 

Paris. 

Louvre. 

Petersburg.flermi'ta^e. 


Rome. 


Pal.  Colonna. 

CoTsini. 

Barherini. 

Spada. 

Rospigliosi. 


■T. 

c 


< 


■-f) 


u 


PAINTERS  AND  ENGRAVERS. 


Battle  of  Tritons. 
Soldier  sitting  on  a  Hill. 

ROSA,  SiQiSMONDO,  an  Italian  painter  of  the 
18th  century,  and  a  pupil  of  Giu.seppe  Chiari.  He 
practised  in  Rome,  but  never  attained  to  much 
excellence  in  his  art. 

ROSA,  SiSTO.    See  Badalocchio. 

ROSA,  Stefano,  painter,  a  native  of  Brescia, 
the  brother  of  Cristoforo  Rosa,  with  wlioin  he  was 
associated  in  decorative  and  architectural  painting. 
He  also  painted  portraits  and  historical  subjects. 
He  was  working  at  Brescia  about  1570. 

ROSALBA.     See  Carkiera. 

ROSALES,  Eduardo,  painter,  bom  at  Madrid  in 
18.37.  He  studied  at  the  Academy  of  Madrid  under 
Ferrant  and  Madrazo,  and  completed  his  education 
at  Rome,  where  the  works  of  the  old  masters 
exercised  a  strong  influence  on  his  art.  Returning 
to  Spain  he  worked  for  a  time  in  Mureia,  occupying 
himself  principally  with  subjects  from  Arab  life. 
His  first  exhibited  work  of  importance  was  the 
'  Isabella  dictating  her  Will,'  for  which  he  gained 
honours  at  the  Paris  Exposition  of  18G7.  He  was 
appointed  Director  of  the  Spanisli  Academy  at 
Rome,  and  died  there  on  the  13th  September, 
1873.     Among  his  pictures  we  may  also  name: 

St.  Joseph,     (/n  the  church  at  Vercjara.) 
Don  John  of  Austria  at  S.  Yuste. 
Xing  Amadeo's  entry  into  Madrid. 
Death  of  Lucretia. 
Portrait  of  Don  Garcia  Aznar. 

The  two  Evangelists,  St.  John  and  St  Matthew.     [For 
the  church  of  S.  Tomis  at  Madrid.) 

ROSALIBA,  Antonello,  a  painter  of  Messina, 
who  flourished  in  the  first  years  of  the  16th  cen- 
tury. He  was  one  of  the  latest  artists  of  the 
insular  school,  before  it  became  fused  in  that  of 
Italy.  His  works  have  now  disappeared  from  his 
native  island.  A  '  Virgin  and  Child,'  painted  for 
the  village  church  of  Postunina,  was  one  of  the 
last  to  remain  in  Sicily. 

ROSASPINA,  Francesco,  engraver,  bom  at 
Rimini  in  1762,  was  a  pupil  of  Bartolozzi,  and  at 
first  worked  in  the  dot  manner.  Afterwards,  how- 
ever, he  produced  plates  in  line  and  aquatint,  and 
made  drawings  in  sepia.  He  was  a  member  of 
the  National  Institute,  and  a  professor  of  the 
Bologna  Academy.  He  died  in  that  city  in  1841. 
Among  his  best  plates  we  may  name : 

Dance  of  Cupids ;  after  Alhano. 
Cupid  bending  his  Bow  ;  after  Franceschini. 
St.  Francis  of  Assisi ;  after  Domenichirw. 
Dead  Christ ;  after  Corretfgio. 
liOve ;  after  Guercino. 
Mary  Magdalen  ;  after  Cagnacci. 
A  series  of  Napoleonic  Battles  ;  after  Appiani. 
A  series  of  twenty-five  plates  in  the  chalk  manner; 
after  Farmiyiano. 

He  also  superintended  the  engraving  and  pub- 
lication of  the  work  entitled  '  La  Pinacoteca,'  con- 
sisting of  about  seventy-two  of  the  best  paintings 
in  the  Academy  of  the  Fine  Arts  at  Bologna.  He 
signed  his  plates  sometimes  with  his  full  name, 
sometimes  with  his  initials  separately,  and  some- 
times with  a  monogram. 

ROSCH.     See  Resch. 

ROSE,  Nicholas.     See  De  Liemakek. 

ROSE,  Sdsan  Penelope,  miniature  painter,  was 
the  daughter  of  Richard  Gibson,  the  Dwarf,  by 
whom  she  was  probably  instructed  in  the  rudiments 
of  her  art     She  was  the  wife  of  a  jeweller,  and 


painted  portraits  in  water-colours  with  g^eat 
freedom.  Her  miniatures  were  of  a  larger  size 
than  usual,  and  possessed  considerable  merit.  She 
died  in  1700. 

ROSE,  William,  landscape  painter,  was  bom  in 
1810.  He  exhibited  frequently  at  the  Royal 
Academy,  and  with  the  Society  of  British  Artists, 
views  taken  from  the  rural  scenes  of  the  Home 
Counties,  such  as  '  Kentish  Heath  Scene,'  '  Clover 
Time,'  '  Ashdown  Forest,'  &c.  He  died  at  Eden- 
bridge  in  1873. 

ROSEL,  AnonsT  Johann  von  Rosenhof,  painter 
and  engraver,  born  at  Augustenberg  in  Arnstadt, 
in  1705,  was  a  pupil  and  cousin  of  the  fresco  and 
animal  painter,  Wilhelm  Rosel,  and  studied  in  the 
Academy  at  Niiremberg.  At  first  he  devoted  him- 
self to  architectural  painting,  but  afterwards  to 
natural  history,  especially  insects.  He  died  at 
Niiremberg  in  1759. 

rOSEL,  von  Rosenhof  Fbanz,  (Rosleb,  Rose- 
lids,  RoosHOFF,)  an  animal  painter  of  Nuremberg, 
who  hved  in  the  17th  century.  In  the  Munich 
Pinakothek  is  a  picture  of  a  '  Wolf  Devouring  a 
Lamb,'  which  formed  the  subject  of  a  contest 
between  Rosel  and  Paudiss,  in  which  the  former 
was  victorious,  while  the  latter,  if  we  may  believe 
Descamps,  died  of  grief  at  having  lost.  In  the 
Augsburg  Gallery  there  are  a  'Fox  devouring  a 
Hen,'  and  'A  Cock,'  by  him. 

ROSELLI,  Matted,  (Rosselli,)  born  at  Florence 
in  1578,  was  first  a  pupil  of  Gregorio  Pagan!,  and 
afterwards  of  Passignano,  witli  whom  he  visited 
Rome,  and  improved  his  style  by  studying  the 
works  of  Raphael  and  Polidoro  da  Caravaggio. 
On  finishing  his  studies  at  Rome  he  returned  to 
Florence,  where  he  resided  for  the  remainder  of  his 
life,  and  his  works  are  little  known  out  of  that 
city.  He  was  much  employed  by  the  Grand  Duke 
Cosimo  II.,  and  embelhshed  the  Poggio  Imperiale 
with  several  frescoes,  representing  the  history  of 
the  Medici  family.  He  sometimes  emulated  the 
style  of  Lodovico  Cardi,  called  Cigoli,  as  particularly 
appears  in  his  picture  of  the  'Nativity,'  in  the 
church  of  S.  Gaetano,  which  is  considered  liis  finest 
work,  and  in  the  '  Martyrdom  of  S.  Andrea,'  at  the 
Ognissanti.  RoseUi  excelled  in  fresco  painting,  in 
which  his  works  still  retain  their  pristine  purity 
and  freshness.  Roselli  founded  a  school,  in  which 
Manozzi,  Voltorrano  the  younger,  and  others  were 
scholars.     He  died  in  1651. 

Florence.  &S.  ^n«u«- )  Pope   Alexander  VI.   approving 
ziata.   J      the  Statutes  of  the  Servites. 

„  Ognissaiiti.     Martyrdom  of  S.  Andrew. 

„  S.  Gaetano.     The  NatiWty. 

„  Pitti.     The  Triumph  of  David. 

„  Vffizi.    His  own  Portrait. 

„  Academy.     Adoration  of  the  Magi. 

"  "va^ale^  \  ■'^•"'Sorical  history  of  the  Medici. 

ROSELLI,  NiccoLO,  of  Ferrara,  flourished  about  the 
year  1568.  He  is  supposed  to  have  been  brought 
up  in  the  school  of  the  Dossi  ;  though  in  some  of 
his  works  in  the  Ferrara  Certosa  he  appears  to 
have  imitated  tlie  style  of  Benvenuto  Garofalo. 
He  painted  several  pictures  for  the  churches  in  his 
native  city,  among  which  are  an  altar-piece  in  the 
cathedral,  representing  the  'Virgin  and  Infant  in 
the  clouds,  beneath,  St.  John  the  Evangelist  and  St. 
Anthony  ; '  and  a  '  Purification,'  in  tne  church  of 
S.  Maria  Bianca. 

ROSEMALE, ,  a  Dutch  painter  of  the  17th 

century,  who  painted  views  of  towns  and  intoriors 

277 


A  BIOGRAPHICAL   DICTIONARY  OF 


in  the  manner  of  Emanuel  de  Witte.  The  town  of 
Utrecht  possesses  a  picture  by  him,  representing 
the  church  of  St  Peter  of  that  place  in  ruins,  after 
the  hurricane  of  1674. 

ROSENBERG,  Friedrich,  an  obscure  painter 
and  engraver,  bom  at  Dantzic  in  1758.  He  Uved 
for  some  time  in  Switzerland  and  in  Holland,  and 
finally  settled  at  Altona.     He  died  after  1830. 

ROSENBERG,  George  F.,  a  water-colour  painter, 
wag  bom  in  1825.  He  practised  at  Bath,  and  from 
1849,  in  which  year  be  was  elected  an  Associate  of 
the  Old  Water-Oolour  Society,  exhibited  landscapes, 
chiefly  mountain  scenery  fromScotlandandNorway, 
painted  with  much  ability.  He  died  at  Bath  in 
1869. 

ROSENBERG,  Johann  Georo,  a  painter,  born  at 
BerUn  in  1739,  w^as  a  cousin  of  Johann  Karl  Wil- 
helm  Rosenberg.  He  was  principally  employed  on 
theatrical  scenery,  though  he  also  painted  portraits 
and  views  of  Berlin. 

ROSENBERG,  Johann  Karl  Wilhelm,  painter 
and  engraver,  born  at  Berlin  in  1737,  was  mainly 
a  scene  painter.  But  he  engraved  a  few  plates, 
among  them  a  Head  after  the  style  of  Rembrandt. 
He  died  in  1809. 

ROSENBRUN.   See  Rottmayr  Von  Rosenbrun. 

R0SEND.4AL,  Nicholas,  jiainter,  born  at  Enk- 
huizen,  in  Holland,  in  1636.  He  accompanied 
Jakob  Torenvliet  to  Rome  in  1670,  and  died  in 
168H. 

ROSENFELDER,  Karl  Ludwiq  Julids,  born 
on  the  18th  July,  1813,  at  Breslau.  He  began  his 
art  studies  in  18.32  as  a  pupil  of  Hensel,  at  the 
Berlin  Academy,  of  which  he  subsequently  became 
a  member.  In  1845  he  was  appointed  Director  of 
the  Art  School  at  Konigsberg,  and  held  that  post 
until  his  retirement  upon  a  pension  in  1874.  A 
visit  to  Italy  occupied  him  in  1851-1852,  and  in 
1865  he  was  engaged  in  painting  the  hall  of  the 
Konigsberg  University  with  pictures  having  refer- 
ence to  the  Faculties.  After  his  retirement  he 
continued  to  live  at  Kongisberg,  and  died  there 
in  1881.  Among  his  works  we  may  mention: 
Airest  of  Philip  of  Hesse  by  order  of  Alva. 
Rienzi's  Impri.soument  at  Avignon. 
The  Electress  of  Brandenburg  receiving  the  Sacrament 

according  to  Protestant  rites. 
Occupation  of  the  Marienburg  bj  the  Mercenaries  of 

the  Teutonic  Knights  in  1457. 
Charles  I.  taking  leave  of  his  Children. 
Mourners  praying  at  the  Bier  of  Henry  IV.     {Cologne 
Jfuseuni.) 

ROSENHAGEN,  Nicolaas,  a  Dutch  still-life 
painter  of  the  17th  century,  who  worked  in  the 
style  of  J.  De  Heem.  The  details  of  his  life  are 
unknown.  In  the  Hague  Museum  there  is  a  picture 
of  fruit  by  him. 

ROSENTHALER,  Kaspar,  Johann,  and  Jakob, 
tliree  brothers,  natives  of  Niiremberg,  who 
flourished  at  the  beginning  of  the  16th  century, 
and  estabhshed  themselves  at  Schwaz,  in  the 
Tyrol.  Kaspar  was  an  architect  and  wood- 
engraver,  and  is  known  by  two  extant  wood-cuts, 
'Legend  des  heiligen  Vatters  Francisci '  (Legend 
of  St.  Francis),  and  '  Leben  unseres  eriedigers  Jesu 
Christi '  (Life  of  our  Redeemer).  He  built  the 
church  and  cloister  of  the  Franciscans  at  Schwaz, 
and  his  brothers  decorated  the  walls  with  paintings 
representing  scenes  from  the  Passion.  Kaspar 
died  in  1514. 

ROSER,  EDMfi  M.  B.,  (or  Roeser,)  born  at 
Heidelberg  about  1737.  He  was  a  pupil  of 
Loutherbourg,    and    in    1765    settled    in    Paris, 

278 


where  he  gained  a  reputation  as  a  skilful  restorer 
and  copyist.  He  restored  several  of  the  pictures 
in  the  Louvre.     He  died  in  1804. 

ROSETTI.    See  Rovere. 

ROSETTI,  DoMENico,  bora  at  Venice  in  the  last 
half  of  the  17th  century,  painted  architectural  per- 
spectives with  some  success,  but  is  chiefly  known 
as  an  engraver.  He  was  invited  by  the  Elector 
Palatine  to  Diisseldorf,  where  he  engraved  twelve 
large  plates  of  scenes  from  the  history  of  Alex- 
ander, after  Gerard  Lairesse,  which  are  now  very 
scarce,  as  few  impressions  were  taken.  He  exe- 
cuted several  plates  for  the  collection  of  prints 
after  some  of  the  most  celebrated  pictures  at 
Venice,  published  in  that  city  by  Domenico  Louisa 
in  1720.  He  engraved  the  prints  for  a  '  History  of 
the  Bible,'  printed  at  Venice  in  1696  ;  and  several 
single  plates  after  Palma  Vecchio,  the  Bassani, 
Tintoretto,  P.  Liberi,  and  others.  Zani  says  he 
was  at  work  as  early  as  1675.  The  year  of  his 
death  is  not  known. 

ROSEX,  Nicola,  (or  Nicoletto,)  called  also 
NicoLETTO  DA  MoDENA,  an  Italian  engraver  and 
goldsmith  of  the  16th  century,  was  bom  in  Modena. 
Two  only  of  his  works  are  dated  ;  these  bear  the 
years  1500  and  1512  upon  them.  At  various  stages 
his  style  changed  from  the  imitation  of  Mantegna 
to  that  of  Schongauer,  Albrecht  Diirer,  and  finally 
Marc-Antonio.  His  execution  was  rude,  and  his 
plates  vary  greatly  in  appearance  and  merit. 
Those  which  may  be  given  to  him  with  confid- 
ence are  between  seventy  and  eighty  in  number, 
a  total  which  would  be  greatly  increased  if  we 
accepted  the  early  prints  ascribed  to  him  by 
Bartsch.      His    must  frequent  monograms   were 

the    two    here    given,    Jft'Or  Ji^.t    but    he 

marked  his  plates  in  a  great  variety  of  ways, 
seldom,  however,  omitting  to  sign  them  altogether. 
His  better  plates,  perhaps,  are  the  following : 

The  Adoration  of  the  Shepherds,  with  his  name. 

St.  Sebastian,  marked  A'iccolleto,  on  a  tablet. 

Another  St.  Sebastian ;  inscribed  Ora  pro  nobis  Sanett 

'Sehastiane. 
St.  Jerome  Heading;  with  the  monogram. 
St.  George,  with  his  name. 
St.  Martin  ;  inscribed  Dho  Marti ;  with  his  name  on  a 

tablet. 
A  Triton  embracing  a  Syren;   marked  N.  M.  on  a 

tablet. 
A  whole-length  Figure  of  Christ  standing  on  a  pave- 
ment of  square  stones,  &c.     Monogram. 
St.  Sebastian,  his  arms  tied  over  his  head  to  a  column, 

pierced  with  six  arrows.    Name  at  full  length  on  a 

step. 
St.  Sebastian,  his  arms  tied  over  his  bead  to  a  column, 

and  is  pierced  with  three  arrows.    Monogram. 
St.  George  in  complete  armour,  standing  in  the  centre 

of  the  print.    Name  at  fiill  length  on  the  frieze  of  a 

triumphal  arch.     {British  Museum.) 
St.  Catherine  standing,  holding  a  palm  branch  in  her 

left  hand,  &c.     Name  at  fall  length  on  the  base  of  a 

pillar  on  the  right. 
Mars  in  Armour,  standing  in  the  middle  of  the  print, 

companion  to  the  St.  George.     Name  on  a  tablet 

hung  to  a  tree  on  the  left. 
Three  Children  ;  one  kneeling  in  the  centre,  one  on 

the  left  raising  his  left  hand,  and  one  on  the  right 

raising  his  right  hand.    Name  at  full  length  on  a 

scroll. 
A  Female  wearing  a  Helmet,  &c.,  pouring  inoenre  on 

an  Altar.    No  mark. 
Perseus  and  Pegasus.    Perseus  holding  the  bridle  of 

the  horse  with  both  hands. 
The  Nativity,  in  a  richly  decorated  mined  Stable. 
St.  Cecilia  standing. 


PAINTERS  AND  ENGRAVERS. 


Christ  crowned  with  Thorns ;  beneath,  a  Bishop  and  a 

King,  with  their  attendants,  kneeling. 
St.  Jerome  in  Penitence. 

Group  of  Four  'Women.    Copy  from  AUirecht  DUrer. 
Hercules  and  the  Cretan  Bull, 
Two  whole-length  Figures  on  one  plate. 
Two  winged  Boys  supporting  a   Standard.     (British 

Museum.) 
St.  Roch,  with  a  long  staff  in  his  right  hand,  sitting  in 

an  arched  building.     Landscape  with  the  sun  rising 

in  the  distance. 
A  Marine  Monster  holding  a  Sea-horse ;  a  Boy  with  a 

Torch  and  Olive-branch  sitting  on  its  tail.      N.  M. 

on  a  tablet. 
A  Man  crowned  with  Laurel  looking  at  some  geometri- 
cal figures:  '  Appeles  Poeta,' &o.     (British  Museum.) 
David  holding  the  Head  of  Goliath.    The  monogram 

at  bottom  on  the  left. 
St.  Anthony  standing  amidst  Ruins,  turned  to  the  left, 

holding  a  book  in  his  right  hand  to  his  breast,  and  in 

his  left  band  a  crutch  and  a  bell ;  landscape  in  the 

distance,  and  the  pig  is  partly  seen  on   the  left. 

Monogram  at  bottom  on  the  right. 
A  Saint,  with  a  large  bag  on  his  back,  running  towards 

the  left.    In  the  background  a  landscape  with  ruins. 

The  monogram  on  a  stone. 
Lazarus,  with  two  Dogs  licking  his  Sores.    Monogram. 
Victory.     A  winged  Female  Figure  standing   on   the 

ruins  of  a  large  building,  holding  a  lance  in  one  hand, 

and  a  laurel  wreath  in  the  other.     On  a  pillar  on  the 

right,  ViCTOEiA,  and  above,  N  R. 
Fame     A   winged  Female   sitting    on    some    armour 

writing  Fama  Volat  on   a  shield.     N  M  on  a  pillar 

to  the  right. 
Neptune  holding  a  Trident,  sitting  turned  to  the  left ; 

his  left  band  is  on  an  urn  from  which  water  flows  ; 

on  the  right  is  a  niche  with  an  altar,  and  a  tablet 

with  the  letters  OXRM.     On  Neptune's  chair,  Nep- 

TCNI  SlMOLACBOS. 

Mercury  standing,  the  winged  cap  on  his  head  and  the 
caduceus  in  his  right  hand.  On  the  pedestal  of  a 
piUar  NJ.  RO. 

Mercury  standing,  caduceus  in  his  left  hand,  a  flute  in 
his  right ;  head  three-quarters  turned  to  the  right. 
On  the  pedestal  of  a  pillar,  MEEcraio.  At  bottom 
in  front,  N.  E.  at  the  side  of  a  vase. 

Four  Children  round  a  Tree.  One  on  the  right  sits  on 
a  round  pedestal ;  the  second  leans  its  head  on  the 
knee  of  the  first ;  the  third  is  on  horseback  ;  and  the 
fourth  standing.  In  the  centre  is  a  tree  with  a  tablet 
suspended,  on  which  is  inscribed,  Opus  Nicoletti 

DE  MCTINA. 

The  Vestal  Tuccia  carrying  Water  in  a  Sieve,  to  prove 

her  virginity.     At  top  on  a  scroll  hangs  a  tablet  with 

the  artist's  monogram. 
Goldsmith's  Ornament.    A  Vase  surrounded  by  four 

Wreaths  of  Roses.     The  letters  N.  E.  are  by  the  side 

of  a  smaller  Vase  with  pointed  top. 
A  similar  Ornament  with  the  letters  N.  R.,  but  without 

the  smaller  Vase. 
Saint  Dominic. 
The  Deceitful  Tongue. 
Vulcan  and  Cupid. 
Christ  with  a  Globe  in  His  Hand.    (British  Museum.) 

ROSHOFF.    See  Rosel,  August  Johann. 

ROSI,  Alessandro,  said  to  have  been  born  at 
Florence  in  16"27,  was  a  scholar  of  Cesare  Dandini, 
under  whose  tuition  he  became  a  reputable  painter 
of  history.  There  are  many  of  liis  pictures  in  the 
churches  and  private  collections  at  Florence.  The 
cathedral  at  Prato  possesses  a  '  S.  Francesco  di 
Paolo  '  by  him  ;  and  two  good  Bacchanalian  sub- 
jects used  to  be  in  the  collection  of  the  Grand 
Duke.     He  died  at  Florence  in  1697. 

ROSI,  Giovanni,  a  Florentine  painter  of  the 
17th  century.  He  was  one  of  tlie  artists  who 
formed  an  early  school  of  landscape  painting  in 
Italy  before  the  time  of  Salvator  Rosa.  He  was 
working  about  16"20. 

ROSI,  Zanobi,  painter,  a  native  of  Florence.  He 
was  one  of  the  pupils  of  Christofano  AUori,  and 


completed  some  of  the  pictures  left  unfinished  by 
his  master,  so  that  he  was  still  living  in  1621, 
the  year  of  Allori's  death. 

ROSITI,  Giovanni  Battista,  an  artist  of  Forli, 
mentioned  by  Lanzi  as  a  contemporary  of  Palme- 
giani,  was  the  author  of  a  '  Virgin  and  Child '  of 
much  merit  in  the  church  of  S.  Maria  dell'  Orto  at 
Velletri,  bearing  the  following  inscription:  "Jo. 
Baptista  de  Rositis  de  Forlivio  pinzit,  I.  S.  0.  0.  de 
Mense  Martii." 

ROSLANEY,  Wells,  ornamental  painter  and 
designer,  practising  in  London  in  the  second  half 
of  the  18th  century.  He  died  October  1,  1776, 
and  his  wife  is  said  to  have  starved  herself  to 
death  from  grief  at  his  loss. 

ROSLER,  Johann  Karl,  (or  Rossleb,)  portrait 
painter,  born  at  Gorlitz  on  the  18th  May,  1775. 
He  began  life  as  a  smith,  but  at  the  age  of  twenty 
determined  to  become  an  artist.  He  worked  in- 
dustriously at  the  Dresden  Academy,  and  gained 
further  knowledge  by  studies  in  Italy.  In  1810 
he  became  a  member  of  the  Dresden  Academy, 
and  five  years  later  was  appointed  Professor.  He 
died  at  Dresden  in  1845.  Among  his  best  works 
are: 

The  Marys  at  the  Sepulchre. 

The   Elector   Maurice  of  Sazony  after  the  Battle  of 
Sievershausen. 

Portrait  of  the  Baroness  %on  der  Recke. 

Portrait  of  King  Anthony  of  Saxony. 

Portrait  of  the  Actor  and  Entomologist  Ochsenheimer. 
(In  the  Dresden  G alien/.) 

ROSLER,  Michael,  an  obscure  German  engraver, 
who  resided  at  Nuremberg  about  the  year  16'26. 
He  engraved  several  portraits  for  a  folio  volume, 
published  in  that  city,  entitled  '  Icones  BibUopo- 
larum  et  Typographorum.'  Zani  mentions  a 
Michael  Rosier  as  a  German  engraver  who  flour- 
ished about  1728  ;  and  Nagler  a  Rossler  of  Nurem- 
berg, as  living  in  the  first  half  of  the  18th  century. 
ROSLIN,  Alexander,  a  native  of  Sweden,  bom 
at  Malmoe  in  1718,  worked  in  Paris  as  a  portrait- 
painter,  and  in  1753  became  a  member  of  the 
Academy.  In  1765  he  gained  a  prize  in  competition 
with  Greuze  for  a  family  portrait  for  the  Duke 
of  Rochefoucauld.  He  married  Mdlle.  Giroust,  a 
French  artist,  and  after  her  death  returned  for  a 
time  to  Sweden.  He  subsequently  painted  for  a 
time  in  Russia.  His  portrait  of  the  Duchess  Marie 
Christine  of  Saxony  was  engraved  by  Bartolozzi. 
Roslin  died  in  1793.  The  following  are  among  his 
best  known  works : 
Paris.  Louvre.     Portrait  of  a  Lady.    (La  Coze 

Collection.) 

Stockholm.  Gallery.    Portrait  of  Gustavus  III.  and 

his  brothers,  Prince  Charles 

and  Prince  Frederick.    1771. 

„  „  Bust  Portrait  of  Gustavus  III. 

1775. 
„  „  Portrait    of    Duke    Frederick 

Adolphus,  brother  of  Gusta- 
vus Adolphus.     1770. 
„  „  Portrait  of  the  Painter's  Wife. 

1763. 
ROSLIN,  Marie  Suzanne,  {nee  Giroust,)  the 
wife  of  Alexander  Roslin,  the  Swedish  painter, 
was  born  in  France  in  1735.  She  practised  in 
pastel  at  Paris  with  so  much  success  that  in 
1770  she  was.elected  an  Associate  of  the  Academy. 
She  died  in  Paris  in  1772. 

BOSS,  F.  W.  R.,  an  English  natural  history 
draughtsman,  bom  in  1792.  He  was  an  officer  in 
the  Royal  Navy,  and  practised  art  as  a  pastime. 
He  applied  himself  chiefly  to  drawings  in  illustra- 

279 


A  BIOGRAPHICAL   DICTIONARY  OF 


tion  of  natural  history,  particularly  excelling  in 
the  rendering  of  birds,  which  he  treated  with 
much  delicacy  and  finish  of  draughtsmanship,  and 
brilliancy  of  colour.  Ilis  later  years  were  passed 
at  Topshain  (Devon),  where  he  died  in  1860. 

ROSS,  H.,  miniature  painter,  a  Scottish  artist, 
whose  father  was  a  gardener  in  the  service  of  the 
Duke  of  Marlborough,  and  who  gained  a  certain 
celebrity  by  the  portraits  and  portrait  groups  in 
miniature,  which  he  exhibited  at  the  Koyal 
Academy  in  the  early  years  of  the  present  centu-ry. 
He  was  the  father  of  Sir  W.  Roes. 

ROSS,  James,  an  English  engraver,  born  in 
1745,  was  a  pupil  of  R.  Hancock.  We  have  by 
him  several  views  of  the  city  of  Hereford,  very 
neatly  engraved  ;  they  are  small  plates,  and 
are  taken  from  drawings  by  G.  Powle.  He  also 
executed  some  plates  in  illustration  of  Green's 
'  City  of  Worcester,'  and  of  a  '  History  of  Tewkes- 
bury.'    He  died  at  Worcester,  1S21. 

ROSS,  Joseph  THORBnRN,  the  son  of  Robert 
Thorburn  Ross,  R.S.A.,  was  bom  at  Berwick-on- 
Tweed  in  1858.  Although  brought  up  in  an 
artistic  household  and  with  an  early-shown  love 
of  art,  he  entered  a  merchant's  office  with  a  view  of 
following  a  commercial  career.  But  he  found  art 
too  absorbing  as  a  pastime,  and,  renouncing  com- 
merce, entered  the  classes  at  the  Royal  Institution, 
Edinburgh,  under  Mr.  Hodder,  and  gained_  the 
gold  medal  for  his  drawings  from  the  antique. 
From  1877  to  1880  he  studied  in  the  Life  School 
of  the  Royal  Scottish  Academy,  and  was  a  Stuart 
prizeman  in  1879  for  composition  and  design. 
Since  then  he  was  a  regular  exhibitor  at  the  Royal 
Scottish  Academy  Exhibitions,  and  also  exhibited 
at  the  Society  of  Scottish  Artists,  the  Glasgow 
Institute  of  the  Fine  Arts,  the  Royal  Academy,  and 
the  Paris  Salon.  He  was  elected  an  Associate  of 
the  Royal  Scottish  Academy  in  1896.  He  travelled 
much  on  the  Continent,  and,  not  being  dependent 
on  his  art,  was  able  to  follow  out,  untrammelled, 
his  artistic  ideas.  Among  his  more  important 
works  may  be  mentioned  :  'The  Girl  I  left  behind 
Me'  (1890);  'Where  do  Fairies  dwell?'  (1891); 
and  'A  I'oppy  Field'  (1894).  His  work,  strong 
and  individual,  if  sometimes  glaring  in  colour,  is 
marked  by  frankness  and  sincerity.  His  genial 
and  generous  nature  won  him  universal  esteem. 
He  died  at  Edinburgh,  by  accident,  in  1903. 

J.H.W.L. 

ROSS,  Kabl,  a  painter,  born  at  Altekoppel,  in 
Holstein,  in  1816.     After  studying  from  1832  to 

1836  in  the  Academy  of  Copenhagen  he  went  in 

1837  to  Greece,  where  he  worked  at  landscape 
painting  for  two  years,  and  then  went  to  Munich. 
From  1842  to  1843  he  lived  in  Rome;  in  1846  he 
was  in  Paris;  in  1850  in  Rome  again.  Among 
his  works  we  may  name,  '  Naxos,'  'Temple  of 
Phigalia  in  Arcadia,'  and  a  'Forest  Party.'  He 
died  at  Munich  in  1857. 

ROSS,  Mrs.  Maria,  an  English  portrait  painter, 
born  in  1766.  She  was  the  sister  of  Anker  Smith, 
the  engraver,  the  wife  of  H.  Ross,  miniature  painter, 
and  the  mother  of  Sir  W.  C.  Ross,  R.A.  She 
sometimes  exhibited  at  the  Academy,  commencing 
in  1811,  and  occasionally  painted  history.  She 
died  in  London  in  1836. 

ROSS,  Robert  TnoREnRN,  a  Scottish  subject 
painter,  born  at  Edinburgh  in  1816.  He  was  a 
pupil  of  Simson  and  Sir  W.Allen.  In  early  life 
he  practised  as  a  portrait  painter  in  pastel,  but 
became  better  known  as  a  painter  of  genre.     Hia 

280 


pictures  have  an  echo  of  the  pastellist  about  them. 
His  works  first  appeared  in  1845  at  the  Scottish 
Academy,  of  which  he  became  an  Associate  in 
1852,  and  a  full  member  in  1869.  He  died  in  1876. 
Amongst  his  chief  pictures  were  : 


Highland  Pets. 
The  Broken  Pitcher. 
TVha'B  at  the  Window? 


The  Thorn  in  the  Foot. 
The  Spinning-wheel. 
Cottage  Children. 

ROSS,  Sir  William  Charles,  an  English  minia- 
ture painter,  born  in  London  in  1794.  He  was 
the  son  of  H.  and  Maria  Ross.  Both  his  parents 
being  artists,  he  at  a  very  early  age  showed  a 
predilection  for  art.  He  entered  the  schools  of 
the  Academy  in  1808,  and  made  distinguished 
progress,  and  winning  many  prizes.  He  was  also 
awarded  by  the  Society  of  Arts  no  less  than  seven 
premiums  between  1807  and  1821.  His  two  chief 
works  at  this  time  were  '  The  Judgment  of  Brutus,' 
and  '  Christ  casting  out  Devils  among  the  Tombs.' 
His  name  first  appeared  in  the  Academy  Cata- 
logues in  1809,  when  he  was  scarcely  sixteen 
years  of  age,  and  for  several  years  he  exhibited 
historical  works,  to  which  he  devoted  much  atten- 
tion. But  in  1814  he  became  an  assistant  to 
Andrew  Robertson,  a  miniature  painter  on  ivory, 
to  which  branch  of  art  he  at  length  wholly 
applied  himself.  He  obtained  a  large  practice 
in  the  highest  circles.  The  Queen,  the  Prince 
Consort,  and  their  family  sat  to  him,  as  well  as 
the  King  and  Queen  of  the  Belgians,  the  King 
and  Queen  of  Portugal,  Napoleon  III.,  &c.  It  is 
said  that  the  total  number  of  his  miniatures  exceeds 
2200.  In  1838  he  was  elected  an  Associate  of  the 
Royal  Academy,  becoming  a  full  member  in  the 
following  year,  V/hen  he  also  received  knighthood. 
In  the  cartoon  competition  of  1843  he  won  a  pre- 
mium of  £100  with  an  '  Angel  Raphael  Discoursing 
with  Eve.'  He  continued  in  full  practice,  holding 
the  first  rank  in  his  art,  until  1857,  when  he  was 
struck  by  paralysis.  After  a  period  of  consider- 
able suffering  he  died,  unmarried,  on  January 
20th,  1860. 

ROSSELL,  Josef,  a  Spanish  painter  and  mem- 
ber of  the  Academy  of  St.  Barbara  at  Valencia, 
who  is  known  as  the  author  of  a  'St.  Luke'  on 
linen,  presented  to  the  Academy  in  1754. 

ROSSELLI,Cosimo(di  Lorenzo  di  Filippo  Ros- 
selli),  born  at  Florence  in  1439,  was  a  pupil  of  Neri 
de  Bicci  from  1453  to  1456,  and  is  then  thought 
to  have  won  the  friendship  of  Benozzo  Gozzoli. 
At  some  period  of  his  life  he  visited  Lucca,  for  a 
fresco  by  him  can  be  seen  above  the  portal  of  the 
church  of  S.  Martino,  besides  other  paintings  in  that 
city.  In  the  court  of  the  SS.  Annunziata,  Florence, ' 
is  a  fresco  representing  '  Beato  Filippo  receiving  the 
Habit  of  the  Servites  from  the  Virgin,'  which  is 
said  to  have  been  painted  in  1476.  In  1480  Ros- 
selli  was  invited  to  Rome  by  Sixtus  IV.  to  compete 
with  Ghirlandaio,  Signorelli,  and  Perugino,  in  the 
decoration  of  the  Sixtine  Chapel  ;  and  according 
to  Vasari  gained  the  Pope's  approbation  over  his 
rivals  through  the  immense  quantity  of  gold  and 
ultramarine  used  by  him  in  his  pictures.  His  sub- 
jects were  the  '  Passage  of  the  Red  Sea,'  '  Moses 
delivering  the  Tables  of  the  Law,'  'The  Sermon 
on  the  Mount,'  and  'The  Last  Supper.'  Rosselli'a 
masterpiece  is  a  fresco  in  the  chapel  of  the  S. 
Sacrament  in  S.  Ambrogio,  Florence,  which  repre- 
sents 'The  Exhibition  of  a  Miracle-working  Chalice.' 
Amongst  his  pupils  and  assistants  were  Piero  di 
Cosimo  and  Fra  Bartolommeo.  In  1496  he  valued 
Baldovinetti's  frescoes  at  S.  Trinita,  Florence,  and 


SIR  VV.  C.  ROSS 


[  Victoria  and  Albert  Museum 


THK   ARTIST,   BY  HIMSELF 


PAINTERS  AND  ENGRAVERS. 


he  died  in  1507,  in  which  year  he  made  hia  will. 
Pictures  by  this  artist  are  to  be  found  in  the  churche's 
of  S.  Ambrogio  and  S.  Maria  de'  Pazzi,  Florence, 
also  in : 

Berlin.      The  Galltry. 


Florence.  S.  Ambrogio. 


„     S.  M.  Madda- 

Itita, 
yy    3.  A.nnunziata. 

,t  Academy. 

London.       Nat.  Gall. 


Lucca.        S.  Martina. 
Paris.  Louvre. 

Kome.  Sistine  Chapel. 


The  Virgin  in  Glory. 
Christ  in  the  Tomb. 
Ma-ssacre  of  the  Innocents. 
Procession    of     the     Miraculouj 

Chalice. 
The  Assumption. 

>  Coronation  of  the  Virgin. 
The  Virgin  delivering  to  St.  Philip 
Benizzi  the  garb  of  the  Servites. 
St.  Barbara  Triumphing. 
St.  Jerome  and  Saints  (from  the 
Kucceliai  chapel  in  the  Eremiti 
di  S.  Girolamu  at  Fiesole). 
Christ  taken  down  from  the  Cross. 
Virgin  Glori6ed. 
Passage  of  the  Ked  Sea. 
it  ,»  Sermon  on  the  Mount, 

M  »  The  Last  Supper. 

ROSSET,  — ,  a  French  landscape  painter  of  the 
18th  century  of  some  talent,  who  was  employed  at 
Sevres  to  paint  landscapes  on  porcelain. 

ROSSETTI,  Cesabe,  an  Italian  painter  of  the 
17th  century,  the  pupil  and  assistant  of  theCavaliere 
d'Arpino,  under  whom  he  worked  at  the  decoration 
of  San  Giovanni  Laterano  during  the  pontificate  of 
Clement  VIII. 

ROSSETTI,  Gabriel  Charles  Dante,— better 
known  as  Dante  Gabriel — was  bom  on  May  12, 
1828,  at  No.  38,  Charlotte  Street,  Portland  Place. 
His  father,  Gabriele  Rossetti,  known  for  his  com- 
mentaries on  Dante,  was  an  Italian  patriot  from 
Vasto,  in  the  Abruzzi,wlio  had  fled  on  the  occupa- 
tion of  Naples  by  King  Ferdinand  in  1821,  and 
settled  in  London  as  professor  of  languages  at 
King's  Collefre.  His  mother  was  Italian  also  on 
her  father's  side  (she  was  a  daughter  of  Gaetano 
Polidori,  Count  Alfieri's  secretary),  but  English  on 
her  mother's.  He  was  the  second  of  four  children, 
all  more  or  less  distinguished  in  literature,  the 
eldest  being  Maria,  and  the  other  two  Christina, 
the  poetess,  and  William  Michael,  the  literary 
critic.  As  it  is  Rossetti  the  painter  that  is  under 
consideration  here,  one  may  pass  over  his  youthful 
literary  proclivities,  merely  noting  that  whereas  in 
painting  he  did  not  accomplish  anything  before  he 
was  twenty,  he  had  completed  the  greater  portion 
of  his  remarkable  poetical  works  before  he  was 
nineteen.  They  were  not  published,  however, 
until  many  years  later. 

Rossetti's  art  training  was  of  the  sketchiest 
character.  After  four  years'  desultory  work  at 
Cass's  private  academy,  he  was  admitted  to  the 
Royal  Academy  Antique  School,  only  to  quit  it 
shortly  afterwards  in  disgust ;  and  it  was  this 
experience  of  the  commonplace,  rule-of-tliumb 
methods  which  prevailed  amongst  art  teachers  of 
the  time  which  drove  him  into  revolt  against 
authority,  and  led  to  the  formation  of  that  famous 
band  of  youthful  enthusiasts,  the  pre-Raphaelite 
Brotherhood.  Previous  to  this,  Rossetti  under- 
went a  short  pupilage  in  the  studio  of  Ford 
Madox  Brown  (q.  v.),  whose  strong  original  work 
he  much  admired  ;  and  Brown  continued  to  furnish 
advice  and  instruction  for  some  time  after  he  left 
him,  in  1848,  to  share  a  studio  with  Mr.  Holraan 
Hunt,  then  a  student  of  similar  aims  and  views. 
The  Brotherhood  grew  out  of  this  attticljinent. 
It  was  formed  by  the  addition  of  J.  E.  Millais 
(g.  V.)    and    four    other    members,    ■viz.    Thomas 


Woolner,  F.  G.  Stephens,  James  Collinson,  and 
W.  M.  Rossetti,  under  whose  editorship  was 
launched  'The  Germ,'  that  rare  little  periodical 
intended  to  illustrate  the  creed  of  the  young 
painters.  Four  numbers  only  of  '  the  Germ ' 
appeared,  and  the  Brotherhood  itself  practically 
ceased  to  exist  within  a  couple  of  years  of  its 
foundation  ;  but  the  interest  and  outcry  it  oc- 
casioned, and  the  vehement  partisanship  of  Buskin, 
thein  in  his  zenith  as  a  critic,  drew  down  upon  the 
artists  an  amount  of  public  attention  which,  though 
mainly  antagonistic  at  the  time,  proved  eventually 
to  have  had  its  value.  It  is  easy  to  exaggerate 
the  scope  and  influence  of  the  original  pre- 
Raphaelite  Movement,  which  was  not  so  much  a 
protest  against  the  worship  of  Raphael  as  against 
the  extreme  lengths  to  wljich  it  was  carried.  "The 
Movement  itself  might  have  passed  into  oblivion 
but  for  the  strong  personality  of  its  three  chief 
promoters,  Rossetti,  Millais,  and  Holman  Hunt, 
whose  individual  fame  kept  its  memory  green. 

In  1852,  after  one  or  two  changes  of  residence, 
Rossetti  settled  down  in  rooms  at  No.  14,  Chatham 
Place,  Blackfriars,  now  destroyed,  where  much  of 
his  finest  earlier  work  was  produced.  Here,  in 
1860,  he  brought  his  wife,  the  remarkable  Miss 
Siddal,  whose  acquaintance  he  had  made  about 
five  years  earlier  through  a  happy  accident.  Walter 
Deverell,  a  young  painter  connected  with  the 
pre-Raphaelite  gjoup,  had  encountered  her  in  a 
milliner's  shop,  and  had  persuaded  her  to  give 
sittings  to  him  and  to  some  of  his  friends.  She 
was  the  original  of  Millais's  'Ophelia,'  and  of 
many  of  Rossetti's  pictures  also,  notably  of  '  Beata 
Beatrix,'  which  was  painted  from  memory  after 
her  death.  Under  Rossetti's  tuition  she  developed 
some  talent  for  painting  and  drawing,  but  her 
health  was  very  delicate,  and  in  1862,  two  years 
after  their  marriage,  she  died,  to  Rossetti's  incon- 
solable grief.  The  story  has  often  been  told  how, 
in  a  moment  of  strong  emotion,  he  caused  to  be 
buried  in  her  coflin  the  manuscripts  of  all  his  early 
poems. 

An  interesting  feature  of  Rossetti's  life  at  this 
period  was  the  friendship  which  grew  up  between 
Buskin  and  himself,  many  intimate  details  of 
which  have  been  published  in  the  form  of  corre- 
spondence. Ruskin's  means  enabled  him  to  play 
the  part  of  a  generous  patron  to  the  young  painter, 
and  also  to  Miss  Siddal  ;  but  his  frank  and  some- 
times domineering  criticism  caused  an  eventual 
estrangement,  which  the  gradual  development  of 
Rossetti's  work  on  his  own  lines  contributed  to 
make  permanent.  Ruskin's  help  at  a  critical  point 
was,  however,  of  material  value  to  Rossetti,  and 
from  that  time  he  rarely  wanted  purcliascrs  for  hia 
work,  generally  having  one  or  more  patrons  at  a 
time  who  took  everything  he  produced.  The  prices 
he  received  at  first  were  very  small,  but  gradually 
he  became  an  astute  man  of  business,  and  hia 
transactions  with  wealthy  patrons  command  the 
envy  of  later  painters,  if  not  always  their  entire 
admiration.  Another  interesting  connection  of 
these  early  days  was  the  acquaintance  formed, 
through  Bnme-Jones  (q.  v.),  with  William  Morris 
and  his  group  of  Oxford  friends.  The  acquaintance 
began  in  1855,  and  was  continued  at  the  rooms  in 
Red  Lion  Square  which  Morris  and  Burne-Jones 
afterwards  occupied.  The  designing  of  furniture 
for  these  rooms,  in  which  Rossetti  took  part,  was 
the  beginning  of  the  Morris  Decorative  Art  Move- 
ment, which  was  formally  started  in  1861,  Rossetti, 

281 


A  BIOGRAPHICAL  DICTIONARY  OF 


Madox  Brown,  Burne-Jones,  and  otlier  artists 
being  all  jointly  interested  at  first  as  partners  in 
tlie  venture.  An  earlier  partnership  had  come 
about  in  1857  over  the  painting  of  a  series  of 
frescoes  in  the  bays  of  the  Oxford  Union  debating- 
hall.  The  idea  was  Kossetti's,  and  was  carried 
out  by  him  in  association  with  six  otlicr  artists, 
including  Morris  and  Burne-Jones.  As  an  episode 
in  English  art  the  experiment  is  full  of  interest, 
but  as  a  practical  effort  it  resulted  in  failure,  the 
preparation  of  the  walls  not  having  been  properly 
carried  out,  so  that  within  a  few  years,  even  before 
they  were  finished,  the  pictures  had  begun  to 
perish.  The  subjects  chosen  were  from  Malory's 
'  Mort  D' Arthur,'  and  Rossetti's  contribution  repre- 
sented Lancelot  asleep  before  the  shrine  of  the 
Grail,  seeing  in  a  vision  Guinevere.  He  had 
intended  first  to  paint  the  Guinevere  from  Miss 
Siddal,  but  whilst  he  was  at  Oxford  he  met  the 
lady  who  afterwards  became  Mrs.  William  Morris, 
and  substituted  her  features  instead.  This  was 
the  beginning  of  a  long  relationship  as  painter  and 
sitter,  evidenced  by  many  of  Rossetti's  most  im- 
portant pictures  and  by  an  innumerable  series  of 
chalk  drawings  and  studies  ;  but  it  is  an  error  to 
suppose,  as  many  do,  that  all  Rossetti's  pictures 
represent  Mrs.  Morris.  His  earlier  ones  are  mostly 
from  his  wife,  and  of  his  later  ones  many  are  from 
models,  or  from  different  well-known  sitters.  Like 
Sir  Edward  Burne-Jones,  he  doubtless  tended  to 
assimilate  the  different  types  to  his  own  ideal. 

In  1862,  after  the  death  of  his  wife,  Rossetti 
took  the  large  house  overlooking  the  river  at 
Chelsea,  No.  16,  Cheyne  Walk,  where,  as  the  gloom 
of  his  bereavement  wore  off,  he  became  tlie  centre 
of  a  large  literary  and  artistic  circle.  The  house 
was  sliared  at  first  with  Mr.  George  Meredith  and 
Mr.  Swinburne,  the  latter  of  whom  published  from 
there  his  first  series  of  '  Poems  and  Ballads,'  as 
well  as  '  Atalanta  in  Calydon '  and  'Chastelard.' 
Here  Rossetti  amassed  a  great  collection  of  rare 
blue  china  and  old  furniture,  for  both  of  which  he 
set  the  fashionable  craze  which  followed.  He 
also  collected  quantities  of  curious  jewellery, 
combs,  draperies,  and  vessels  which  appear  and 
reappear  among  the  sumptuous  accessories  of  his 
pictures.  His  instinct  for  rare  and  beautiful  objects, 
at  a  time  when  taste  in  such  matters  was  at  a  low 
ebb,  forms  a  marked  characteristic  of  Rossetti's 
genius ;  and  it  may  be  claimed  for  him  that  he  did 
nmch  to  elevate  popular  taste  in  this  direction, 
just  as  at  an  earher  date  he  had  been  instrumental 
in  reviving  the  love  of  old  romantic  and  ballad 
literature. 

Rossetti's  activity  and  social  habits  began  to 
undergo  a  change  about  1867,  when  he  developed 
insomnia,  and  his  eyes  also  showed  signs  of  being 
overstrained.  In  1869  a  rest  was  advised,  and  he 
paid  the  first  of  a  series  of  visits  to  Scotland, 
staying  at  Penkill  Castle,  Ayrshire.  This  visit  is 
memorable  from  the  fact  that  he  took  up  again  the 
habit  of  writing  poetry  as  a  relaxation  for  his 
mind,  and  even  began  to  think  of  publishing  his 
early  poems,  which,  as  has  been  said,  were  buried 
in  his  wife's  grave.  At  the  request  of  friends  he 
consented  to  have  them  exhumed,  and  in  1870 
appeared  the  volume  called  '  Poems.'  Rossetti's 
fame  as  a  painter  ensured  its  success,  but  one 
critic,  the  late  Mr.  Buchanan,  attacked  it  fiercely 
on  moral  grounds,  and  the  controversy  which 
followed  had  an  injurious  effect  on  Rossetti's 
health.     He  became  the  victim  of  nervous  fancies 

282 


and  of  pronounced  melancholia,  which  was  increased 
by  the  use  of  chloral,  the  depressing  properties  of 
which  were  then  little  understood.  He  made 
frequent  visits  in  pursuit  of  change,  and  for  two 
years,  1872-1874,  abandoned  Chelsea  entirely  and 
lived  at  the  old  manor-house  of  Kelmscott,  in 
Gloucestershire,  which  he  shared  with  William 
Morris.  Shortly  after  his  return  to  London  the 
Morris  firm  was  dissolved,  and  there  was  some 
friction  between  the  partners,  in  which  Rossetti 
became  involved,  so  that  from  that  time  his  relations 
with  Mr.  Morris  were  strained.  The  state  of  his 
liealth,  moreover,  cut  him  off  from  his  friends, 
although  he  continued  to  paint  actively  on  large 
canvases.  In  1877  he  had  a  fresh  and  severe 
attack  of  illness,  after  which  his  output  of  work 
became  less,  and  with  a  few  notable  exceptions 
inferior  in  quality.  He  was  still  able  to  take 
refuge  in  poetry,  however,  and  produced  material 
enough  for  a  second  volume,  '  Poems  and  Ballads,' 
the  reception  of  which  was  unequivocal.  Finally, 
in  1881,  he  was  seized  with  partial  paralysis  of  the 
limbs, and  was  removed  to  a  cottage  atBirchington- 
on-Sea,  where  he  died  on  April  10,  1882.  During 
the  clouded  years  of  his  later  life  a  devoted  band 
of  friends  watched  over  him,  amongst  whom  may 
be  mentioned  his  brother,  Mr.  Theodore  Watts 
(now  Mr.  Watts-Dunton),  Ford  Madox  Brown, 
and  William  Bell  Scott.  To  sum  up  Rossetti's 
qualities  as  an  artist  would  be  too  long  a  matter. 
His  chief  distinguishing  characteristic  was  a 
mediaeval  cast  of  thought  which  derived  alike  from 
his  nationality  and  liis  reading.  Of  robust  and 
almost  brutal  frankness,  so  far  as  tho  externals  of 
life  were  concerned,  he  lived  an  inner  life  of 
mystical,  many-coloured  romance.  It  was  no 
straining  after  effect  that  led  him  to  his  choice  of 
subjects.  Tliey  came  naturally  as  the  fruit  of  his 
ideas.  Many  who  tried  to  follow  him  have 
acquired  this  tone  of  thought  artificially,  or  without 
full  perception,  and  have  failed  in  consequence. 
For  this  reason  there  is  no  real  Rossetti  School, 
such  as  most  original  painters  leave  behind  them. 
Those  who  came  genuinely  under  his  influence 
had  to  apply  it  in  different  lines  of  their  own. 

Works: — Rossetti  painted  two  pictures,  and 
two  only,  in  oil  during  his  pre-Raphaelite  days. 
These  were  'The  Girlhood  of  Mary  Virgin'  (1849) 
and  '  Ecce  Ancilla  Domini '  (1850),  the  latter  of 
which  is  now  in  the  Tate  Gallery.  Both  were 
attempts  to  realize,  by  simple  symbolic  imagery, 
the  inner  mystical  life  of  the  Virgin  ;  but  the 
outcry  against  pre-Raphaelite  work,  in  which 
the  '  Ecce  Ancilla '  specially  shared,  deterred  )iim 
from  further  efforts  in  this  direction,  and  for 
several  years  his  output  consisted  of  pen-and-ink 
drawings  or  small,  brilliantly-coloured  water- 
colours,  mostly  from  romantic  subjects  and  from 
Browning's  poems.  Of  these  the  most  memorable 
were  :  '  The  Laboratory '  (1849) ;  '  Borgia,'  a  picture 
of  two  children  dancing  before  the  famous  Lucrezia; 
'  Beatrice  denying  her  salutation  at  the  Wedding 
Feast,'  and  '  How  they  met  Themselves,'  from 
the  legend  of  the  Doppelganger  (1850) ;  '  Giotto 
painting  Dante '  and  '  The  Meeting  of  Dante  and 
Beatrice'  (1851)  ;  'King  Arthur's  Tomb'  (1854); 
'  The  Annunciation '  and  '  Dante's  Vision  of  Rachel ' 
(1865)  ;  '  Fra  Pace'  and  'Dante's  Dream,'  a  small 
and  very  poetical  version  of  the  later  large  picture 
(1856);  'The  Blue  Closet,'  'The  Wedding  of  St. 
George,'  and  '  A  Christmas  Carol  '  (1857)  ;  '  Mary 
in  the  House  of  St.  John,'  '  Before  the  Battle,'  and 


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PAINTERS  AND  ENGRAVERS. 


'My  Lady  Greensleeves '  (1858);  '  Bonifazio's 
MistresB,'  '  Dr.  Johnson  at  the  Mitre,'  '  Liicrezia 
Borgia  poisoning  her  Husband'  (1859);  'Roman 
d'^  la  Rose,'  '  Monna  Pomona,'  and  '  The  Madness 
of  Ophelia'  (1864);  and  'The  Merciless  Lady' 
(1865).  His  pen-and-ink  drawings  included 
'Genevieve,'  a  sketch  from  Coleridge  (1848); 
'Taurello's  First  Sight  of  Fortune,' from  Browning's 
'  Sordello,' '  Dante  drawing  the  Angel,'  and  the  first 
design  for  the  diptych  of  'II  SaUito  di  Beatrice' 
(1849);  'Hesterna  Rosa'  (1853);  'Hamlet  and 
Ophelia,'  and  one  of  the  finest  of  all  his  works, 
'  Mary  Magdalene  at  the  Door  of  Simon  the 
Pharisee'  (1858).  Amongst  his  earlier  work  should 
also  be  included  the  drawings  for  woodcuts  to 
illustrate  Moxon's  'Tennyson'  (1857),  the  de- 
signs for  Allingham's  '  Elfen  Mere,'  (1855),  and  for 
Christina  Rossetti's  'Goblin  Market'  (1861).  Of 
chalk  drawings  and  studies,  first  from  Miss  Siddal 
and  later  from  Mrs.  Morris,  a  very  great  number 
exist ;  and  throughout  his  career  Rossetti  made 
finished  chalk  drawings  for  his  pictures  which  are 
highly  prized.  His  early  record  in  oil  painting  is 
small.  In  185.5,  after  a  failure  with  a  large  com- 
position from  Browning's  '  Pippa  Passes,'  he  began 
the  important  picture  of  '  Found,'  representing  a 
countryman  taking  a  calf  to  market,  and  recogniz- 
ing in  a  fainting  woman  of  the  streets  his  former 
love.  This  picture  occupied  Rossetti  at  intervals 
to  the  end  of  his  life,  and  was  commissioned  succes- 
sively by  many  patrons,  but  never  reached  com- 
pletion. After  his  death  Sir  Edward  Burne-Jones 
put  some  finishing  touches  to  it,  and  it  was  sold, 
hut  changed  hands  later  and  is  now  in  America. 
■  In  1860  Rossetti  completed  a  triptych  in  oil  for 
LlandafT  Cathedral,  the  subject  being  the  Nativity 
of  Christ,  with  figures  of  King  David  on  either 
side.  In  1861  and  1862  he  painted  some  unim- 
portant oil  pictures,  and  in  1863  he  began  the 
series  of  his  greater  works  with  '  Beata  Beatrix,' 
now  in  the  National  Collection.  This  was  followed 
in  1864  by  '  Lady  Lilith  '  (since  altered  and  much 
impaired)  and  'Venus  Verticordia' ;  by  'The 
Blue  Bower'  (1865);  'The  Beloved'  (from  The 
Song  of  Solomon),  'Monna  Vanna,'  and  'Sibylla 
Palmifera '  (the  most  perfect  trio  of  his  works,  and 
jointly  and  severally  his  highest  attainment  in 
painting),  all  finished  or  delivered  in  1866  ;  '  A 
Christmas  Carol,'  'Monna  Rosa,'  and  'The  Loving 
Cup'  (1867);  the  portrait  of  Mrs.  Morris,  lent  to 
the  Tate  Gallery  (1868)  ;  'Mariana,'  a  companion 
portrait  to  the  last,  but  made  into  a  picture  by  the 
addition  of  a  singing  page  (1870);  'Pandora' 
(1871) ;  '  Veronica  Veronese  '  and  '  Proserpine  ' 
(1872);  'La  Ghirlandata'  (1873);  'The  Roman 
Widow,' '  The  Blessed  Damozel,' and  '  Marigolds' 
(1874);  'La  Bella  Mano '  (1875):  'Mnemosyne' 
(1876);  'Astarte  Syriaca'  and  'The  Sea-Spell' 
(1877);  'Fiammetta'  (1878);  'La  Donna  Delia 
Finestra'  (1879);  'The  Day-Dream'  and  some 
unfinished  pictures  (1880);  'Dante's  Dream,'  in 
the  Liverpool  Corporation  Art  Gallery  (completed 
1881). 

In  addition  to  these,  mention  might  be  made  of 
the  large  number  of  replicas  produced  of  some  of 
the  more  important  or  popular  pictures,  such  as 
'  Lilith,'  '  Proserpine,'  'Tlie  Loving  Cup,'  '  Dante's 
Dream,' 'Venus  Verticordia,'  'Beata  Beatrix,' and 
'  The  Blessed  Damozel.'  A  subject  not  given  in 
the  above  list,  '  Joan  of  Arc,'  was  also  repeated 
more  than  once.  Some  of  these  replicas  are  in 
themselves  important   works,  but  many  are  the 


reverse,  and  bear  unmistakable  signs  of  an  as- 
sistant's hand.  It  was  Rossetti's  habit,  especially 
early  in  life,  to  repeat  his  subject  in  more  than  one 
medium  ;  thus  of  the  pen-and-ink  design  '  Dante 
painting  the  Angel'  a  later  water-colour  version 
exists,  which  is  in  the  Taylorian  Museum  at  Oxford. 
The  'Saluto  di  Beatrice'  subject,  a  pair  of  designs 
rejiresenting  Dante  meeting  Beatrice  in  Florence 
and  in  Paradise,  was  repeated  in  water-colour,  and 
also  in  oil  on  the  doors  of  a  cabinet  made  for  Mr. 
William  Morris's  house  at  Upton.  For  the  Morris 
firm  Rossetti  designed  several  stained-glass 
windows,  which  may  be  seen  at  St.  Martin's 
Church,  Scarborough,  and  elsewhere.  He  also 
designed  some  of  the  panels  for  the  '  Seddon 
Cabinet.'  His  portraits  in  oil,  water-colour,  and 
crayon,  would  furnish  in  themselves  a  formidable 
list,  and  include,  besides  the  members  of  his 
family,  Robert  IJrowning  (1855),  Algernon  C. 
Swinburne  and  John  Ruskiu  (1861),  Miss  Herbert 
(1863),  Mrs.  Vernon  Lushington  (1865),  F.  Madox 
Bro\vn  (1867),  Mr.  and  Mrs.  Stillman  (1869-70), 
the  Misses  Morris  (1871),  and  Mr.  Watts-Dunton 
(1874).  Of  studies  which  never  reached  the  stage 
of  pictures,  but  remain  either  in  pen-and-ink  or 
crayon,  may  be  mentioned :  '  The  Boat  of  Love, 
a  grisaille  now  in  the  Birmingham  Corporation 
Gallery;  'Cassandra  warning  Hector' ;  'Silence  ; 
'  Michael  Scott's  Wooing ' ;  '  The  Death  of  Lady 
Macbeth';  '  Aspecta  Medusa  ' ;  '  Madonna  Pietra' 
(from  Dante) ;  '  The  Sphinx  '  (finished  in  pencil)  ; 
'  Domizia  Scaligera';  and  '  Gretchen,  or  Risen  at 
Dawn.' 

The  dispersal  of  Rossetti's  pictures  since  the 
sales  of  the  great  collections  formed  by  Mr.  F.  J. 
Leyland  and  Mr.  WiUiam  Graham,  not  to  mention 
others,  and  their  frequent  appearance  singly  in 
auction-rooms,  makes  the  compilation  of  a  list  with 
owners'  names  attached  specially  difficult.  A 
large  number  have  come  into  the  possession  of 
Mr.  Charles  Fairfax  Murray,  and  may  eventually 
find  a  home  in  the  Birmingham  Corporation  Art 
Gallery,  to  which  one  section,  the  black-and-white 
drawings,  have  already  been  consigned.  The 
chronological  list  attached  to  the  present  writer's 
'Dante  Gabriel  Rossetti,  A  Memorial  of  his  Art 
and  Life '  (George  Bell  &  Sons,  1899),  was  prac- 
tic;dly  correct  at  the  time  it  was  compiled,  and  in 
the  main  is  probably  still  so.  The  following 
selection,  at  any  rate,  may  be  accepted  as  accurate : 

The  Girlliood  of  Mary  Virgin  (oil).     Lady  Jekyll. 

Kcce  Ancilla  Domini  {(ji7).     Tate  Gallery. 

Taurello's  First  Sight  of  Fortune  (pen-and-ink).    F.  G. 

Stephens. 
Hesterna  Rosa  {pen-and-ink).    F.  G.  Stephens. 
Dante  drawing  the  Angel  (j>en-and-ink).     C.  F.  Murray 

(sent  to  Birmini/htini). 
The  Laboratory  (nater-colour).     C.  F.  Murray. 
Dante  drawing  the  Angel  {water-colour).    Taylorian 

Museum. 
Borgia  (water-cohiir).     L.  Hacon  (?). 
"Hist,"   sail!  Kate  the  Queen  {oil).     C.  B.   Spring 

Kice. 
Giotto  painting  Dante  {water-colour).    Sir  John  Aird, 

MP. 
Arthur's  Tomb  (irater-foloiir).     S.  Tepys  Cockerell. 
The  Aununciation  (irater-colour).     Mrs.  Boyce. 
Rachel  and  Leah  (water-colour).     Beresfonl  Heaton. 
Dante's  Dream  (wattr-cotmir).     Boresford  Heaton. 
Fra  Pace  (water-colour).     Lady  Jekyll. 
The   Chapel   before    the    Lists   (wattr-colour).     Mrs. 

George  Itae. 
The    Tune    of    Seven    Towers    (water-colour).     Mrs. 

George  Rae. 
The  Blue  Closet  (water-colour).    Mrs.  George  E«e. 

283 


A  BIOGRAPHICAL  DICTIONARY  OF 


The    TVcdding   of   St.    George    (icater-eolouT).    Mrs. 

George  Kae. 
A  Christmas  Carol  (water-colour).     C.  F.  Murray. 
Hamlet  and   Ophelia  {v>ater-colour).     C.   F.  Murray 

(sent  to  Birmiiu/kam). 
Mary  Magdalene  at  the  Door  of  Simon  (pen-and-ink). 

Charles  Kicketts. 
Before  the  Battle  (vxtter-colour) .  Prof.  Charles  Norton. 
Bocca  Biiciata  (oil).     C.  F.  Murray. 
Salutation  of  Beatrice  (paneb) .     F.  J.  Tennant. 
Bonifazio's  Mistress  (joater-colour).     C.  F.  Murray. 
Dr.  Johnson  at  the  Mitre  (water-cohur).  C.  F.  Murray. 
Lucrezia  BoTgia.l(water-colour).     Mrs.  George  Rae. 
The  Seed  of  David  (triptych  ;  oil).   Llandaff  Cathedral. 
I'aolo  and  Francesca  (water-colour).     W.  B.  Moss. 
Cassandra  (pen-and-ink).     Col.  Gillum. 
Beata  Beatrix  (oil).    Tate  Gallery. 
Fazio's  Mistress  (oil).     Mrs.  George  Bae. 
Found  (oil).     S.  Bancroft,  junr. 
Lady  Liiith  (oil).    S.  Bancroft,  junr. 
Venus  Verticordia  (oil).     (?). 

"Venus  Verticordia  (water-colour).    Mrs.  George  Rae. 
The  Blue  Bower  (oil).     Exors.  of  J.  Dyson  Perrin. 
The  Merciless  Lady  (water-colour).     C.  F.  Murray. 
The  Beloved  (oil).    Mrs.  George  Kae. 
Monna  Vanna  (oil).     Mrs.  George  Kae. 
Sibylla  Palmifera  (oil).     Mrs.  George  Bae. 
A  Christmas  Carol  (oil).     Mrs.  George  Rae. 
The  Loving  Cup  (oil).     Mrs.  Ismay. 
KetuTH  of    TibuUus  to  Delia   (water-colour).    0.   F. 

Murray. 
Mariana  (oil).     F.  W.  Buxton. 
Pandora  (oil).     Chas.  Butler. 
Proserpine  (oil).     Chas.  Butler. 
Fiamnietta  (oil).     Chas.  Butler. 
The  Bower  Meadow  (oil).    William  Dunlop  (?). 
Veronica  Veronese  (oil).     W.  Imrie. 
The  Roman  Widow  (oil).     T.  Brocklebank. 
Jlarigolds  (oil).     Lord  Davey. 
La  Bella  Mano  (oil).     Sir  Cuthbcrt  Quilter. 
The  Sphinx  (pencil).     C.  F.  Murray. 
Astarte  Syriaca  (oil).    Manchester  Corporation. 
The  Sea-Spell  (oil).     (?). 
La  Donna  Delia  Finestra  (oil).     W.  R.  Moss. 
The  Blessed  Damozel  (oil).     Exors.  of  J.  D.  Perrin. 
Dante's  Dream  (oil).     Liverpool  Corporation. 
Dante's  Dream  (oil,  smaller).     W.  Lmrie. 
The    Day-Dream    (oil),     lonides    Collection,    South 

Kensington. 
La  Pia  (oil).    Russell  Rea.  H;  Ci  M, 

ROSSETTI,  Giovanni  Paolo,  painter,  a  native 
of  Volterra,  flourished  about  the  year  1568.  He 
was  a  nephew  of  Daniele  Ricciarelli,  called  di 
Volterra,  under  whom  he  studied  at  Rome,  ;ind 
is  said  to  have  painted  history  with  considerable 
success.  After  the  death  of  his  uncle  he  left 
Rome,  and  returned  to  Volterra,  where  he  executed 
some  altar-pieces  for  the  churches,  of  which  one 
of  the  most  esteemed  w.-is  a  '  Descent  from  the 
Cross,'  in  S.  Dalmazio.  He  is  said  to  have  been 
still  alive  in  1600. 

ROSSETTI,  LocY  Madox.  This  clever  painter 
was  the  only  daughter  of  Ford  Madox  Brown  by 
his  first  wife,  and  was  born  in  1843.  She  was  in- 
structed in  art  by  her  father,  and  exhibited  several 
pictures,  notably  '  Apris  le  Bal '  (1870),  '  Romeo 
and  Juliet  in  the  Vault '  (1871),  '  The  Fair  Gerald- 
ine'  (1872.),  'Ferdinand  and  Miranda  playing 
Chess  '  (1872),  and  '  Margaret  Roper  receiving  the 
head  of  her  father'  (1875).  She  married  Mr.  W. 
M.  Rossetti  in  1874,  and  died  in  the  Riviera  in 
1894.  She  was  a  very  talented  artist,  inheriting 
much  of  her  father's  gre.it  genius.  She  was  also 
distinguisljed  in  literature,  and  her  essays  and 
poems  are  of  remarkable  merit. 

ROSSI  (or  Rosso),  Antonio,  the  elder,  painter, 
bom  at  Zoldo  in  Cadore,  in  the  second  part  of  the 
15tb  century.  He  is  said  by  Lanzi  to  have  been 
the  first  master  of  his  great  compatriot  Titian,  and 

284  o  i-  . 


painted  numerous  works  in  tempera,  in  an  archaic 
and  angular  style.  His  period  of  greatest  activity 
extends  from  1472  to  1507.  Numerous  works  of 
his  now  lost  or  obliterated  are  mentioned  in 
ancient  records.     Of  those  still  extant  there  are : 

Altar-piece  in  the  church  of  San  Lorenzo,  at  Selva  in 
Cadore;  painted  in  1472, and  signed  Anlonius  Rubeua 
de  Cadubrio  pirucit. 

Fresco  of  Christ  and  the  Twelve  Apostles,  in  the  church 
of  San  Silvestro  sulla  Costa,  near  Serravalle ;  signed 
Anto  Jioso  de  Cadore. 

Altar-piece  (St.  Martin  sharing  his  Cloak)  in  the  church 
of  Vigo  di  Cadore.     (1492.) 

Virgin  and  Child  with  SS.  Bartholomew  and  Sylvester, 
formerly  in  the  church  of  Nabiii,  now  in  tlie  posses- 
sion of  Signor  Righetti  of  Venice.  This  last  picture 
is  signed  Antonius  Zaudanus  (Antonio  of  Zoldo). 

Altar-piece  lately  in  the  possession  of  Signora  Lando- 
nelli,  at  Venice ;  signed  and  dated  1494. 

Virgin  with  Saints  ;  signed  and  dated  1494.  Formerly 
in  the  church  of  Liban,  near  BcUuno. 

Virgin  with  St.  Sebastian  and  a  Bishop;  signed;  Fonzaso, 
near  Feltro. 

See  Croip*  and  CavaleaselU, '  Painting  in  N.  Italy,'  voL 
ii.  pp.  172-3. 

ROSSI,  Andkea,  an  Italian  engraver,  born  about 
1726.  There  are  several  heads  of  popes  engraved 
by  him,  and  subjects  after  Carracci,  Novelli,  Frezza, 
and  others.  He  died  in  1790.  The  following 
prints  may  be  named : 

Portraits  of  Joseph  II.  and  the  Archduke  Leopold ; 

after  Pompeo  liattoni. 
A  iSust  of  the  Virgin ;  after  Carlo  Dolei. 
St.  Margaret  of  Cortooa  kneeling  before   a  Crucifix ; 

after  I'ietro  da  Cortona. 

ROSSI,  Aqnolo,  a  Genoese  painter,  born  in 
1694.  He  was  a  priest,  and  the  best-known  pupil 
of  Domenico  Parodi.  In  style  he  was  a  disciple 
of  Maratti,  but  he  also  treated  humorous  subjects 
with  success.     He  died  in  1765. 

ROSSI,  Aniello,  painter,  bom  at  Naples  about 
1660.  He  was  one  of  the  favourite  scholars  of 
Luca  Giordano,  and,  with  Matteo  Pacelli,  accom- 
panied his  master  to  Spain,  and  remained  with 
him  as  his  assistant  during  his  long  sojourn  at 
the  court  of  Charles  II.  and  Philip  V.  His  services 
were  rewarded  by  a  handsome  pension,  and  return- 
ing to  Italy  with  his  master  in  1702,  he  settled  at 
Venice,  where  he  lived  in  ease  and  independence 
till  his  death  in  1719. 

ROSSI,  Antonio,  born  at  Bologna  in  1697  (1700), 
was  educated  in  the  school  of  Cavaliere  Marc  An- 
tonio Franceschini,  of  whom  he  was  a  favourite 
disciple,  and  who  recommended  him,  in  preference 
to  his  other  pupils,  to  execute  the  commissions  he 
himself  was  incapable  of  undertaking.  Of  the 
numerous  pictures  he  painted  for  the  public  edifices 
at  Bologna,  his  '  Martyrdom  of  S.  Andrea,'  in  the 
church  of  S.  Domenico,  is  perhaps  the  best.  He 
was  much  employed  in  painting  figures  in  the  archi- 
tectural views  of  Orlandi  and  F.  Brizzi.  He  died 
in  1750  or  1753. 

ROSSI,  Bernardino  de.    See  Dei  Rossi. 

ROSSI,  Carlantonio,  a  Milanese  painter,  bom 
about  1581.  He  painted  a  'San  Siro'  for  the 
cathedral  of  Pavia,  in  the  manner  of  the  Procac- 
cini,  and  is  said  to  have  been  the  master  of  Carlo 
Sacchi.     He  died  in  1648. 

ROSSI,  Enea,  a  Bolognese  painter  of  the  17th 
century,  mentioned  by  Malvasia  as  a  pupil  of  the 
Carracci,  and  an  artist  of  some  merit.  He  painted 
numerous  works  for  the  churches  of  Bologna  and 
its  neighbourhood. 

ROSSI,  Feancesco  del    See  Dei  Rossi. 


DANTE  G.  ROSSETTI 


LADY   LILITII 


{CotUiliim  of  II  illiam  A'ussel/i,  £si/. 


PAINTERS  AND  ENGRAVERS. 


ROSSI,  Giovanni  Battista,  an  engraver,  to 
whom  is  attributed  a  set  of  perspective  views  of 
Rome,  published  in  1640. 

ROSSI,  Giovanni  Battista,  painter,  a  native  of 
Rovigo,  bom  about  1627.  He  was  a  pupil  of  Dario 
Varotari,  and  practised  for  a  time  at  Padua,  where 
he  painted  a  picture  for  tlie  church  of  San  Clemente. 
He  settled  later  at  Venice,  where  he  was  still 
living  in  1680. 

ROSSI,  Giovanni  Battista,  called  II  Gobeino, 
(the  little  hunchback,)  a  Veronese  painter  of  the 
17th  century.  He  was  one  of  the  best  known  of 
the  disciples  of  Alessandro  Turchi,  and  practised 
with  credit  for  many  years  at  Verona. 

ROSSI,  GiBOLAMo,  called  de  Rdbeis  the  elder, 
born  at  Rome  about  the  year  1630,  was  brought 
up  at  Bologna,  under  Simone  Cantarini.  His 
instinct  led  him  more  to  engraving  than  painting, 
and  he  has  left  several  plates  after  Bolognese 
painters,  which  possess  considerable  merit ;  among 
them  are  the  following : 

The  Portrait  of  Pope  Pius  V.  ;  after  Scipiane  Gaetano. 

Two  Cupids  playing  ;  a/ttr  Guerdno, 

The  Virgin  aud  Child,  with  St.  Jeromo  and  St.  Francis ; 

after    Lodovico    Carracci,  inscribed,   Hteronimus    de 

liubeh  pictor,  delineavit,  incidit. 
S.  Carlo  Borromeo   kneeling  before  a  Crucifix ;  after 

An,  Carracci. 
A  half-length  figure  of  the  Virgin. 
St.  John  the  Baptist ;  after  Guido. 
Two  Children  ;  after  the  same. 

ROSSI,  GiROLAMO,  called  de  Rcbeis  the  yodnqer, 
eon  of  Girolamo  Rossi,  was  born  at  Rome  about  the 
year  1680,  and  chiefly  resided  in  his  native  city, 
where  he  engraved  a  variety  of  plates  after  the 
Italian  painters.  He  also  executed  several  portraits 
of  the  cardinals  of  his  time,  for  a  series  which  was 
afterwards  continued  by  Pazzi  and  others.  They 
are  feebly  engraved.  We  have  also  by  him  the 
following  prints : 

The  Virgin  and  Infant  Jesus  ;  after  Corregyio. 
The  Martyrdom  of  St.  Agapita ;  after  Gio.  Odazzi. 

Nagler  gives  a  list  of  twenty-one  prints  by  the 
younger  Rossi,  among  which  he  enumerates  those 
of  Pope  Pius  v.,  and  of  S.  Carlo  Borromeo  kneel- 
ing, attributed  above  to  his  father.  According  to 
Zani,  he  was  at  work  as  late  as  1749,  but  none  of 
the  dates  quoted  by  Nagler  come  near  to  that 
period. 

ROSSI,  Giuseppe,  engraver  and  draughtsman. 
He  practised  at  Florence  in  the  first  half  of  the 
19th  century,  and  his  drawings  and  engravings, 
particularly  some  of  the  'Campo  Santo'  at  Pisa, 
show  considerable  talent,  but  his  promise  was  cut 
short  by  his  death  in  1848,  while  still  a  young  man. 

ROSSI,  Lorenzo,  an  Italian  painter  of  the  Floren- 
tine school,  a  pupil  of  Pier  Dandini.  He  imitated 
the  manner  of  the  Flemish  artist,  Lieven  Mehus. 
and  painted  small  pictures  of  much  delicacy  and 
elegance.     He  died  in  1702. 

ROSSI,  Loretto  d'Ugolino,  painter.  Of  this 
artist  nothing  is  known,  but  a  '  Crucifixion '  at 
Berlin  bears  the  following  inscription  :  "  Questa 
tavola  sefatte  fare  per  Loretto  d'Ugolino  de  Rossi 
la  quale  a  fatteta  fare  beltrame  distoldo  de  Rossi, 
1475." 

ROSSI,  Mozio,  painter,  was  born  at  Naples  in 
1626,  and  was  for  some  time  the  disciple  of  Massimo 
Stanzioni.  From  the  school  of  that  master  he  went 
to  Bologna,  where  he  frequented  the  academy  of 
Guido,  and  at  the  age  of  eighteen  was  sufficiently 
advanced  to  compete  with  the  ablest  artists  of  liis 


time.  An  altar-piece  for  the  Certosa,  a  '  Nativity," 
was  considered  a  marvel  of  precocity.  On  his 
return  to  Naples,  he  was  engaged  to  paint  the 
tribune  of  S.  Pietro  in  Majella,  which  he  had  not 
entirely  finished  when  his  career  was  cut  short  by 
his  death,  in  1651,  at  the  age  of  25. 

ROSSI,  Niccol6  Maria,  painter,  was  bom  about 
1645,  at  Naples.  He  was  a  pupil  of  Luca  Giordano, 
and  a  successful  imitator  of  his  style.  In  some 
of  his  more  important  works  his  master  furnished 
him  with  designs,  for  the  paintings  in  the  Chapel 
Royal  at  Naples,  for  instance.  He  was  much 
esteemed  for  his  life-like  rendering  of  animals. 
He  died  in  1700. 

ROSSI,  Pasquale,  called  Pasqualino,  bom  at 
Vicenza  in  1641.  Without  the  instruction  of  a 
master,  he  is  said  to  have  reached  a  respectable  rank 
as  an  historical  painter  by  studying  and  copying 
the  best  works  of  the  Venetian  and  Roman  schools. 
Of  his  pictures  in  the  churches  at  Rome,  the  best 
are  :  '  Christ  praying  in  the  Garden,'  in  S.  Carlo  al 
Corso  ;  and  the  '  Baptism  of  Christ,'  in  S.  Maria  del 
Popolo.  In  the  church  of  the  Silvestrini,  at  Fabri- 
ano,  there  is  a  'Madonna'  by  him;  but  perhaps 
his  best  production  is  an  altar-piece  in  the  cathedral 
at  Matelica,  representing  St.  Gregory  interceding 
for  the  souls  in  Purgatory.  He  also  painted  gallant 
assemblies,  musical  parties,  &c.  He  died  in  1700. 
His  death  has  been  put  as  late  as  1725. 

ROSSI,  Pbopebtia,  a  lady  of  Bologna,  best 
known  as  a  sculptor  and  carver,  but  who  also 
engraved  upon  copper,  and  leamt  drawing  and 
design  from  Marc  Antonio.  She  is  said  to  have 
been  remarkable  for  her  beauty,  virtues,  and  talents, 
and  to  have  died  at  an  early  age  in  1530,  in  conse- 
quence of  unrequited  love.  Her  last  work  was  a 
bas-relief  of  Joseph  and  Potiphar's  wife  1 

ROSSIGNOLI,  Jacopo,  painter,  a  native  of  Leg- 
horn, who,  towards  the  close  of  the  16th  century, 
settled  in  Piedmont,  and  was  appointed  painter  to 
the  Court  of  Savoy.  He  was  a  contemporary  of 
Ardente  and  Giorgio  Soleri,  and  a  successful  imitator 
of  the  style  of  Perino  del  Vaga,  in  his  painting  of 
grotteschi.  He  died  probably  in  1604,  for  a  Latin 
epitaph  on  his  tomb  at  San  Toraraaso  in  Turin 
bears  that  date. 

ROSSIGNON,  Louis  Joseph  Toussaint,  historical 
painter  and  portraitist  in  pastel,  was  born  at 
Avesnes,  on  the  last  day  of  1781.  He  was  a  pupil 
of  Vincent  and  of  the  Ecole  des  Beaux  Arts. 
Among  his  works  we  may  mention : 

The  Siege  of  Missolonghi. 
Zenobia  greeted  by  Sbepherds. 
Death  of  General  Sowinski. 

He  sent  his  last  picture  to  the  Salon  in  1850. 

ROSSITER,  Thomas,  was  born  in  1818,  at  New 
Haven,  Connecticut,  where  he  made  his  first  art 
studies,  and  where,  in  1838,  he  began  his  career  as 
a  portrait  painter.  Two  years  later  he  came  to 
Europe,  visiting  London,  Paris,  and  Rome,  where 
he  lived  for  five  years.  On  his  return  to  New  York 
in  1846,  he  became  known  chiefly  as  a  painter  of 
historical  and  Scriptural  subjects,  and  in  1849  he 
was  elected  Member  of  the  National  Academy,  his 
Associateship  dating  from  1840.  After  a  second 
European  sojourn,  he  settled  at  Coldspring,  on  the 
Hudson,  in  1860.  He  died  during  a  visit  to  Rome, 
in  1871.  Some  of  his  works  have  been  engraved. 
They  are  carefully  and  conscientiously  executed, 
but  are  deficient  in  life  and  animation.  Among  the 
best  known  are : 

285 


A   BIOGRAPHICAL  DICTIONARY  OF 


The  Last  Hours  of  Tasso. 

Captive  Jews  in  Babylon. 

The  Wise  and  Foolish  Virgins. 

The  Ascension. 

^ya8hington  in  his  Library. 

"Washington's  First  Cabinet. 

The  Prince  of  Wales  at  Washington's  Tomb. 

ROSSLER,  JoHANN  Kaul.     See  Rosler. 

ROSSMAESSLER,  Joiiann  August,  was  bom  at 
Leipsio  in  1752,  and  was  instructed  in  design  by 
Frederick  Oeser.  He  engraved  a  great  variety  of 
vignettes  and  other  plates  for  books,  and  also  a 
few  views  in  the  environs  of  Leipsic.  He  died  at 
Leipsic  iti  17S.S. 

ROSSMAESSLER,  Johann  Friedrich,  an  en- 
graver, born  at  Leipsic  in  1775,  engraved  plates 
for  Sir  Walter  Scott's  novels  after  Westall  and 
Leslie,  and  also  plates  for  Biilwer  Lj-tton's  '  Pilgrims 
of  the  Rhine.'     He  died  at  Leipsic  in  1858. 

ROSSO,  AntOxNio.    See  Rossi. 

ROSSO,  II  (MaJtre  Roux).    See  Dei  Rossi. 

ROSSUM,  J.  VAN,  was  a  Dutch  painter  of  the  17th 
century.  He  worked  in  the  style  of  Metsu.  Tliere 
is  a  picture  by  hira  in  the  gallery  at  Vienna  of 
an  old  gentleman  walking  in  a  park.  In  1654  he 
painted  a  portrait  of  the  priest,  J.  A.  Husinga, 
which  was  engraved  by  Matham. 

ROSWORM, ,  a  painter,  of  whom  scarcely 

anything  is  known.  He  was  in  England  about 
the  year  1665,  and  copied  some  of  Sir  Peter  Lely's 
pictures  in  small. 

ROTA,  Martin,  an  eminent  engraver,  born  at 
Sebenico,  in  Dalmatia,  about  the  year  1540,  but  who 
chiefly  resided  at  Rome  and  Venice.  By  whom  he 
was  instructed  in  the  art  of  engraving  is  not  ascer- 
tained. His  plates  are  executed  entirely  with  the 
graver,  and  though  not  very  highly  finished,  they 
are  wrought  in  a  neat,  clear  style.  His  print 
after  Michelangelo's  '  Last  Judgment '  is  con- 
sidered his  masterpiece.  This  fine  print,  which  is 
inscribed  Martinus  Eota,  1569,  has  been  copied 
by  Leonard  Gaultier,  but  his  version  may  easily  be 
distinguished  from  the  original,  not  only  by  its 
inferiority,  but  by  the  fact  that  the  head  in  the 
portrait  of  M.  Angelo  in  a  small  oval  at  the  top,  is 
turned  towards  his  right  shoulder  in  the  original, 
while  in  the  copy  it  is  towards  the  left.  There  is 
another  copy  by  J.  Wierix.  Rota  engraved  some 
plates  from  his  own  designs.  He  usually  signed 
his  plates  with  his  name,  but  sometimes  marked 
them  with  a  monogram,  consisting  of  an  M.  and 

a  wheel  (rota)  by  the  side  of  it,  M.^Q  .     The 

following  are  his  principal  plates : 

portraits. 
Maximilian  II.,  Bom.  Imper.    1575. 
The  Emperor  Rudolph  II.    1592  ;  with  the  cipher. 
Ferdinand  I.  in  the  costume  of  his  time.     1575. 
Henry  IV.,  King  of  France. 
Albert  a  Lasko. 

SUBJECTS. 

The  Eesurrectiou  ;  dated  1577.     (From  his  own  desuin.  i 
The  same  subject,  differently  treated.     (From  his  'own 

design.) 
The  Murder  of  the  Innocents.    (From  his  own  desiqn.) 
The  Last  Judgment ;  dedicated  to  Rudolph  II.     1573. 
Another  print  of  the  Last  Judgment.     This  plate  was 

left   imperfect   at   liis   death,  and   was   finished    by 

another  hand.     (From  his  own  desii/n.) 
The  Scourging  of  Christ.    1568.    (From  his  own  design.) 
The  Martyrdom  of  St.  Peter ;  after  Titian. 
Mary  Magdalene  penitent ;  after  the  same. 
Prometheus  chained  to  the  Rock  ;  after  the  same. 
Christ  appearing  to  St.  Peter ;  after  Raffaelle.    1568. 

286 


ROTARI,  PiETRO.    See  Dei  Rotari. 

ROTENBECK,  Georqe  Daniel,  bom  at  Nurem- 
berg  in  1645,  was  a  historical  and  portrait  painter 
of  some  merit,  and  also  a  good  draughtsman  and 
modeller.     He  died  about  1705. 

ROTERMANS.     See  Rodermont. 

ROTERMUND,  Julius  Wilhelm  Louis,  a  Ger- 
man historical  i)ainter,  born  at  Hanover  in  1826. 
He  studied  under  Bendemann,  who  at  his  early 
death — ho  died  at  Salzbrunn,  Silesia,  in  1859 — 
finished  his  last  work,  '  The  Dead  Christ,'  which  is 
now  in  the  Dresden  Gallery. 

ROTH,  Peter,  painter,  practised  at  Cologne, 
where  he  became  well  known  as  a  skilful  restorer 
of  old  pictures,  and  also  as  a  portrait  painter  of 
some  merit.     He  died  in  1866. 

ROTH,  William,  an  English  portrait  and 
miniature  painter,  in  the  second  half  of  the  18th 
century.  He  exhibited  at  the  Incorporated  Society 
in  1768,  and  for  some  time  after  practised  at 
Reading. 

ROTHBART,  Ferdinand,  German  painter  ;  born 
October  ,S,  1823,  at  Roth-am-Sand  ;  began  his  art 
studies  at  Stuttgart  and  Munich  ;  won  the  Wagner 
Italian-travel  scholarship,  and  subsequently  settled 
at  Munich,  being  for  a  time  Curator  of  the  Museum 
of  Prints  and  Engravings  there.  He  painted  genre 
pictures  and  many  water-cdlours,  besides  illustrat- 
ing works  by  Schiller  and  Hebel.  He  died  at 
Munich,  F.hruary  1,  1899. 

ROTHEKMEL,  Peter  F.,  American  painter; 
born  July  18,  1817,  at  Lucerne  (Pa.,  U.S.A.). 
From  1847  to  1855  was  one  of  the  Directors  of  the 
Philadelphia  Academy  ;  subsequently  travelled  in 
Europe  and  studied  at  Munich  ;  painted  historical 
scenes  and  illustrations  to  Shakspere's  '  King  Lear' ; 
was  a  number  of  several  Art  Academies.  He  died 
in  September  1895,  near  Philadelphia. 

ROTHWELL,  Richard,  an  Irish  portrait  and 
subject  painter,  born  at  Atldone  in  1800.  In  1815 
he  commenced  his  studies  in  the  Dublin  Society's 
school.  He  practised  in  the  Irish  metropolis  for 
a  few  years,  and  was  elected  a  member  of  the 
Hibernian  Academy.  Coming  to  London  Le 
assisted  Sir  Thomas  Lawrence,  and  occasionally 
exhibited  at  the  Royal  Academy  from  1830  on- 
wards. But  success  did  not  wait  upon  him,  and 
he  migrated  to  Dublin,  Leamington,  Paris,  and 
finally  to  Rome,  where  he  died  in  1868.     Works: 

The  Little  Roamer.    (South  Kensington.) 

Noviciate  Mendicants.     (The  same.) 

The  Very  Picture  of  Idleness.     (The  same.) 

Portrait   of  Huskisson.     (National  Portrait  Gallery 

London.) 
Field-Marshal  Lord  Beresford.     (The  same.) 

ROTHWELL,  Thomas,  an  obscure  engraver. 
He  was  born  in  1742,  and  died  at  Birmingham 
in  1807. 

ROTTENBAMER,  Thomas,  painter,  practised  in 
Germany  in  the  16th  century.  An  artist  of  this 
name  was  employed  in  connection  with  the  ducal 
stables  at  Munich. 

ROTTENHAMMER,  Johann,  bom  at  Munich  in 
1564,  was  instructed  in  the  rudiments  of  design  by 
an  artist  named  Donauer.  At  an  early  period  of 
his  life  he  went  to  Rome,  where  it  was  not  long 
before  he  distinguished  himself  by  painting  small 
pictures  of  historical  subjects,  which,  though  they 
retained  somewhat  of  the  German  taste,  were  in- 
geniously composed,  and  handled  with  neatness 
and  spirit.     He  had  acquired  some  reputation  by 


PAINl'ERS  AND  ENGRAVERS. 


Berlin. 

Dresden. 

Glasgow. 

London. 
Munich. 


Museum. 

Gallery. 

Gallery. 

Nat.  GalUnj. 
Galltry. 


Paris.  Louvre. 

Petersburg.     Hermiiaye. 


his  easel  pictures,  when  he  was  commissioned  to 
paint  an  altar-piece  for  one  of  the  churches  at 
Rome,  and  discovered  unexpected  ability.  A 
desire  to  better  hi.s  colour  prompted  him  to 
visit  Veoice,  where  he  particularly  devoted  him- 
self to  studying  the  works  of  Tintoretto,  in  the 
Scuola  di  S.  Rooco,  and  he  appears  to  have  imitated 
the  style  of  that  master  with  some  success.  During 
his  stay  at  Venice  he  painted  a  few  pictures  for  the 
churches.  Ferdinand,  Duke  of  Mantua,  employed 
him  in  several  considerable  works.  After  a  resid- 
ence of  many  years  in  Italy  he  returned  to  his 
native  country,  and  established  himself  at  Augs- 
burg, where  he  met  with  g^eat  encouragement. 
He  was  patronized  by  the  Emperor  Rudolph  II., 
for  whom  he  painted  a  capital  '  Feast  of  the  Gods.' 
His  cabinet  pictures  are  by  no  means  uncommon. 
The  backgrounds  are  frequently  painted  by  Jan 
Breughel,  and  sometimes  by  Paul  Brill.  He  was 
fond  of  decorating  his  compositions  with  rich  and 
splendid  accessories,  and  of  introducing  nude 
figures.  Rottenhammer  died  at  Augsburg  in  1623. 
Works  : 

The  Arts:  Poetry, Music,  Paint- 
ing, and  Architecture. 

Virgin  and  Child,  with  Angels 
bringing  fruit  and  flowers. 

Banquet  of  the  Gods. 

Adoration  of  the  Shepherds. 

Pan  and  Syrinx. 

Judgment  of  Paris.     1605. 

The  Last  Judgment. 

Diana  and  Actaeon. 

Holy  Family  ;  in  a  landscape 
by  J,  Brueghel. 

Death  of  Adonis. 

Holy  Family. 

Two  '  Banquets  of  the  Gods.' 

ROTTERMONDT.    See  Rodermont. 

ROTTMANX,  Friedrich,  painter  and  draughts- 
man, born  at  Handschuhsheim,  near  Heidelberg, 
a  self-taught  artist,  known  chiefly  by  his  water- 
colour  sketches  of  military  life.  He  became  teacher 
of  drawing  at  the  University,  and  was  commissioned 
to  make  sketches  of  local  scenery  by  the  Duke  of 
Nassau.  He  died  in  1817.  By  him  are  the  follow- 
ing pictures,  which  he  also  etched : 

The  Fight  for  the  Neckar  Bridge. 
Battle  near  Handschuhsheim. 
Storming  of  the  Bridge  at  Heidelberg. 

ROTTMANN,  Karl,  son  of  Friedrich  Rott- 
mann,  was  born  at  Handschuhsheim,  near  Heidel- 
berg, in  1797.  He  studied  for  a  short  time  under 
Xeller.  and  first  brought  himself  into  notice  by 
his  '  Heidelburg  at  Sunset'  (a  water-colour),  and 
his  'Castle  Elz.'  In  1822  he  settled  at  Munich, 
and  devoted  himself  to  the  delineation  of  Bavarian 
scenery.  Later  he  spent  much  of  his  time  in 
Italy  and  Greece,  and  the  scenes  of  classic  an- 
tiquity furnished  him  with  many  subjects.  He 
was  appointed  painter  to  the  Bavarian  court,  and 
was  commissioned  by  Louis  I.  to  paint  a  series  of 
Greek  landscapes,  twenty-three  in  number,  which 
now  hang  in  a  room  by  themselves,  known  as  the 
'  Rottmann  Saal,'  in  the  New  Pinacothek.  Several 
of  these  were  executed  by  an  encaustic  process. 
He  also  painted  the  arcades  of  the  '  Hofgarten'  at 
Munich  with  a  set  of  twenty-eight  Italian  land- 
scapes in  fresco.  He  died  at  Munich  in  1850. 
The  following  are  some  of  his  works : 

Berlin.        Nat.  Gallery.    The  Amner  Lake. 
Frankfort.     Stadel  Mus.    Eeggio  and  Etna.     1829. 


Karlsrohe.  Gallery.  Landscape  in  Greece. 

,,  „  The  Island  of  Egina. 

Lcipsic.  Museum.  View  of  Corfu. 

„  „  The  Copais  Lake:  two  pictures. 

HamcYi.  New  Pinakothek.  Three  Views  in  the  Bavarian 
Highlands. 

„  „  The  Acropolis  at  Corinth. 

„  „  The  Island  of  Ischia. 

„  „  Monreale,  near  Palermo. 

„  „  Corfu. 

,1  „  Etna  from  Taonnina. 

„  „  The  Grave  of  Archimedes  at 

Syracuse. 

ROTTMANN,  Leopold,  landscape  painter,  bom 
at  Heidelberg  in  1813,  was  a  brother  of  Kari  Rott- 
mann, and  a  painter  of  some  popularity.  He  was 
patronized  by  King  Max  of  Bavaria.  Many  of  his 
works  are  more  topographical  than  pictorial.  He 
died  in  1881. 

ROTTMAYR  von  ROSENBRUN,  Joha>jn  Franz 
Michael,  (Rothmeter,)  a  painter,  born  at  Laufen, 
near  Salzburg,  in  1652,  studied  under  Kari  Loth  in 
Venice,  but  afterwards  returned  to  Salzburg,  where 
he  painted  several  pictures  for  the  churches  in  that 
city.  He  then  went  to  Vienna,  and  became  court- 
painter  to  the  Emperors  Joseph  I.  and  Charles  VL, 
and  was  made  a  baron.  The  ceiling  of  the  large 
hall  in  Pommersfeld  is  his  most  important  work. 
He  died  at  Vienna  in  1730. 

ROUBAUD,  Benjamin,  painter,  was  bom  at 
Roquevaire,  Bouehes-du-Rhone,  in  1811.  He  was 
a  pupil  of  Hersent,  and  was  chiefly  occupied  in 
making  drawings  for  '  L'lllustration.'  He  died  at 
Algiers  in  1847. 

ROUCHIER,  Mabie  Mabguebite  Franqoisb, 
(nee  Jaser,)  a  French  miniature  painter,  was 
bora  at  Nancy  in  1782.  She  was  the  pupil  success- 
ively of  Isabey,  Aubry,  and  Regnault.  She  ex- 
hibited at  the  Salon  regularly  down  to  1844, 
winning  a  medal  in  1835.     She  died  in  1873. 

RODCHON,    ,   miniaturist,    a    Benedictine 

monk  of  the  16th  century,  who  illuminated  a 
beautiful  breviary  for  the  church  of  S.  Jacqiies  de 
la  Boucherie,  in  Paris,  a  work  on  which  he  is  said 
to  have  spent  some  twenty-two  years. 

RODGEMONT,  Emilie,  {nee  Gohin,)  a  portrait 
painter,  born  in  France  in  1821,  was  a  pupil  of 
L^on  Cogniet.     She  died  in  1859. 

ROUGERON,  Jean,  a  French  painter,  born  at 
Gevray-Chambertin,  Cote  d'Or,  in  1841.  He 
worked  principally  in  Spain,  and  was  the  friend 
of  Henri  Regnault,  whose  picture  of '  Les  Lances,' 
left  unfinished  at  Regnault's  death  during  the  siege 
of  Paris,  he  completed.    He  died  in  1880.    Works : 

The  Spanish  Letter-writer. 

Dance  of  Gypsies. 

Wedding  in  a  Spanish  Village. 

Brawl  in  a  Posada. 

Child's  Funeral  in  Andalusia. 

Taking  the  Habit  at  the  Carmelites. 

Departure  of  the  Torrero  for  the  BuU-fight. 

ROUGET,  Georges,  French  painter  ;  bom  May 
2,  1784,  in  Paris;  was  a  pupil  of  David  and  of 
Garnierl  Won  the  second  Prix  de  Rome  in  1803 
with  his '  jEneas  and  Anchises.'  His  works  include 
'  Les  Princes  fran9ais  viennent  presenter  leurs 
hommages  au  Roi  de  Rome'  (1812),  'Portrait  du 
Due  de  Coigny,'  and  many  others.  He  often  helped 
David  in  the  completion  of  his  more  important 
canvases.  He  obtained  a  second-class  medal  in 
1814,  the  Legion  d'Honneur  in  1822,  and  a  first- 
class  medal  in  1855.  He  died  in  Paris,  April  9, 
1869.     Of  his  portraits  we  have  : 

287 


A  BIOGRAPHICAL  DICTIONARY  OP 


Lonis  Darid. 
Louis  XVIII. 
Charles  X. 
Napoleon. 

Soult. 


Eugene  Beauharoais. 

Victor  Kellennan. 

Marmout. 

St.  Cyr. 

OlauseL 


HISTORICAL  SUBJECTS  PAINTED  FOB  VERSAILLES. 

St.  Louis  receiTing  the  Envoy  of  the  Old  Man  of  the 

Mountain,  at  Ptolemais,  1251. 
The  Death  of  St.  Louis. 
Francis  I.  at  Rochelle. 
Henry  IV.  before  Paris. 
Henry  IV.  and  his  Children. 
Henry  IV.  abjuring  the  Roman  Catholic  Faith. 
The  Marriage  of  Napoleon  with  Marie  Louise. 
The  Death  of  Napoleon  I. 

Besides  these  pictures  there  were  also  several  on 
religious  and  mythological  subjects  : 

CEdipus  and  Antigone. 

Ii>.ce  Homo. 

Christ  on  the  Mount  of  Olives. 

At  Fontainebleau  there  are  several  tapestries 
executed  at  the  Gobelins  after  designs  by  Rouget. 

RODILLABD,  FiuNgoisE  Jot-ie  Aldoveandine, 
(nee  Lenoir,)  born  in  Paris  in  1801,  a  pupil  of 
Saint,  of  Delacluze,  and  of  her  husband,  Jean 
Sebastien  Eouillard.  She  won  honours  at  the 
Salon,  where  her  works  were  exhibited  between 
1819  and  1833.     She  died  of  cholera  in  1832. 

ROUILLARD,  Jean  Sebastien,  painter,  bom  in 
Paris  in  1789.  He  was  a  pupil  of  David,  and 
painted  historical  subjects  and  many  portraits.  His 
works  appeared  at  the  Salon  between  1817  and 
1850 ;  he  was  often  premiated.  He  died  in  Paris 
in  1852.     Works : 

Air.  Mxuee.    Portrait   of   Charles  X.  in  his 

coronation  robes. 
Amiens.  Musee.    Portrait  of  Marshal  Grouchy. 

Versailles.  Musee.    Portrait  of  Marshal  Schomberg. 

„  „  „        The      Marquis      de 

Bellefonds. 
„  „  „        General  Vandamme. 

„  „  „         Camille  Desmoulins. 

_  „  „        General  Marbot. 


ROULLET,  Jean  Louis,  an  engraver,  bom  at 
Aries,  in  Provence,  in  1645,  was  first  instructed  in 
the  art  of  engraving  by  Jean  Lenfant,  but  he  after- 
wards became  a  pupil  of  Frangois  de  Poilly,  and 
was  the  ablest  of  his  schol.irs.  On  leaving  that 
master  he  went  to  Italy,  where  he  passed  ten  years, 
and  acquired  a  purity  and  correctness  of  drawing 
which  enabled  him  to  engrave  with  success  after 
the  great  masters  of  the  Itahan  school.  His  plate 
of  the  '  Marys  with  the  dead  Christ,'  after  the 
picture  by  Annibale  Carracci,  formerly  in  the 
Orleans  Collection  now  in  the  posRession  of  the 
Earl  of  Carhsle,  is  admirable.  He  became  an 
agree  of  the  Academie  Royale  in  1698,  and  died 
iii  Paris  in  1609.  The  following  are  his  principal 
works : 

PORTRAITS. 

Louis  XIV. ;  a  half-length. 

Francois  de  Poilly,  Engraver  to  the  King,  ad  vivum.  1680. 

Jean  Baptirte  Lully,  Musician  to  the  King ;  after  Mig- 

nard. 
Ascanius  Philamarinus,  Cardinal  Archbishop  of  Naples. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  three    Marys,  with  the  dead  Christ ;  after  An- 

Carracci. 
The  Virgin  and  Infant  Jesus ;  after  the  same. 
Tivo  pendentives  of  the  dome  of  the  Jesuit's  church  at 

Naples,  representing  St.  Matthew  and  St.  Luke ;  afttr 
288 


Lanfraneo.  The  two  other  pendentives,  with  St. 
Mark  and  St.  John,  are  engraved  by  F.  de  Louvemont. 

The  Visitation  of  the  Virgin  to  St.  Elisabeth ;  after 
Mignard. 

The  Virgin,  with  the  Infant  Jesus  in  her  arms,  who  is 
holding  a  Bunch  of  Grapes ;  after  the  samey  and  in- 
scribed to  tiadame  de  Mainteuou. 

See  Mariette,  vol.  v.  pp.  41 — 61. 

ROULLI^RE,  La.    See  La  RoulliJirk. 

RODQUET,  Jean  Andb^,  enamel  painter,  bom  at 
Geneva  about  1702.  He  came  to  London,  where  he 
practised  for  many  years  in  the  manner  of  Zincke, 
and  was  well  known  in  literary  and  artistic 
circles  in  the  reign  of  George  II.  He  afterwards 
settled  in  Paris,  where  he  became  a  member  of  the 
Academy  of  Painting,  in  1763,  by  the  special  order 
of  the  king,  and  in  spite  of  his  Protestant  prin- 
ciples. He  interested  himself  much  in  researches 
concerning  the  processes  of  his  art,  and  was  the 
author  of  some  works  on  painting.  In  1746  he 
published  in  Paris  a  '  Lettre  de  M.  .  . .  4  un  de  ses 
amis  pour  lui  expliquer  les  estampes  d'Hogarth,' 
and  in  1756, a  very  laudatory  work  on  British  Art, 
called,  '  L'Etat  des  Arts  en  Angleterre,'  a  trans- 
lation of  which  appeared  subsequently  in  London, 
and  in  the  same  year  a  satire  suggested  by  Diderot's 
'  Peinture  en  Cire,'  entitled  '  L'Art  nouveau  de  la 
peinture  en  froniage,  ou  ramequin,  invent^  pour 
suivre  le  louable  projet  de  trouver  graduellement 
des  fa^ons  de  peindre  inf^rieures  i  celles  qui 
eiistent.'  Eouquet  had  rooms  assigned  to  him  in 
the  Louvre,  but,  becoming  insane,  was  removed 
to  Charenton,  where  he  died  in  1769. 

ROUSSEAU,  Antoine,  a  French  painter  of  the 
17th  century,  and  friend  of  Philippe  de  Champagne, 
was  in  1645  painter  in  ordinary  at  the  French 
Court. 

ROUSSEAU,  Edm6,  a  French  miniature  painter 
of  little  note,  the  pupil  of  Augustin,  born  in  1816. 
He  died  in  Paris  in  1858,  and  a  notice  of  his  life 
appeared  in  '  Le  Monde  Dramatique'  for  the  28th 
January,  in  that  year. 

ROUSSEAU,  Jacques,  landscape  painter,  was 
bom  in  Paris  in  1630.  After  being  instructed  in 
the  elements  of  design  in  his  native  city  he  went 
to  Rome,  where  he  applied  himself  to  the  study  of 
perspective  and  landscape,  and  drew  the  most  re- 
markable scenes  in  the  vicinity.  He  formed  a 
friendship  with  Herman  Swaneveldt,  whose  sister  he 
married,  and,  assisted  by  his  advice  and  instruction, 
became  an  able  painter  of  landscapes  and  architec- 
tural views.  On  his  return  to  Paris  he  met  with 
a  favourable  reception.  He  was  employed  by 
Louis  XIV.  at  Marly  and  St.  Germain-en-Laye, 
and  was  made  a  member  of  the  Academy.  He 
was  at  the  height  of  his  reputation  at  the  Revocation 
of  the  Edict  of  Nantes,  when,  as  a  Protestant,  he 
fled  to  Switzerland,  whence  Louis  XIV.  invited  him 
to  return.  He  however  preferred  to  go  to  Holland, 
whence  he  was  invited  to  England  by  the  Duke  of 
Montague,  and  was  employed,  in  conjunction  with 
Charles  de  la  Fosse  and  John  Baptist  Monnoyer,  in 
decorating  Montague  House.  He  was  afterwards 
employed  to  paint  several  landscapes  and  per- 
spective views  for  the  palace  of  Hampton  Court. 
The  landscapes  of  Rousseau  generally  represent 
classic  scenery,  embellished  with  magnificent  archi- 
tecture. In  this  he  appears  to  have  taken  Nicholas 
Poussin  for  his  model.  He  etched  nineteen  plates, 
of  much  merit,  which  are  now  very  rare.  He  died 
in  London  in  1693. 

ROUSSEAU,  Jean  Franqois,  a  French  engraver, 


PAINTEKS  AND  ENGRAVERS. 


who  resided  in  Paris  about  the  year  1760.  He  has 
engraved  a  great  number  of  vignettes  and  other 
ornaments  for  books,  after  the  designs  of  Gravelot 
and  others.  We  have  also  the  following  separate 
plates  by  him : 

The  Virgin  and  Infant  Christ ;  after  Vander  JFerf. 
St.  Jerome ;  after  P.  F.  Mola. 

ROUSSEAU,  Philippe,  was  bom  in  Paris  on 
the  22nd  February,  1816.  He  was  a  pupil  of  Gros 
and  of  Bertin,  and  made  his  d^but  at  the  Salon  of 
1834,  with  a  '  View  in  Normandy,'  but  about  ten 
years  later  turned  his  attention  to  those  still-life 
subjects  in  which  he  made  his  reputation.  He 
won  the  orthodox  honours  at  the  Salon,  culminating 
in  the  officership  of  the  Legion  of  Honour  in  1870. 
He  died  in  1887.     Works : 

St.  Martin,  Gisors.    1838. 

Interior  of  a  Farm.    1850. 

The  Intruder.     1850.     {3[usie  du  Luxemiourg.) 

Storks  taking  a  Siesta.     1855.    (The  same.) 

Kid  eating  Flowers.    1855.    (The  same.) 

The  Gala  Day.     1859. 

The    Monkey    Photographer.     (Exors.    of    Princess 

MathildeS 
Flowers.     (The  same.) 
The  Wolf  and  the  Lamb.     1875. 
O  ma  tendre  Musette!     1877. 
La  Tite  Dieu.     1877. 
The  Two  Friends.     18S3. 

ROUSSEAU,  Pierre  ^^tienne  Theodore,  a  land- 
scape painter,  born  in  Paris  in  1812,  was  the  son  of 
a  tailor,  and,  in  boyhood,  was  placed  in  some 
humble  capacity  with  a  relative  who  had  a  steam 
saw-mill  in  Tranche  Comt^.  He  studied  under  Pau 
de  St.  Martin,  Remond,  and  Guillon-Lethiere.  In 
1834,  1835,  and  1838  he  exhibited  at  the  Salon, 
betraying  in  his  work  a  disregard  for  convention 
which  was  then  quite  new.  After  that  time  his 
works  were  rejected  by  the  Paris  Salon  on  the 
groimd  that  they  were  not  classical ;  and  it  was 
not  till  1848,  when  the  Jury  of  Members  of  the 
Institute  fell,  that  his  struggles  against  adverse 
fortune  came  to  an  end.  Meanwhile  Rousseau 
had  taken  refuge  in  the  forest  of  Fontainebkau, 
in  that  village  of  Barbison  which  he  has  done 
almost  as  much  as  Millet  to  immortalize.  There 
he  lived  until,  with  opening  fortunes,  ho  added  to 
his  retreat  a  home  in  Paris.  In  1849  his  pictures 
were  again  admitted  to  the  Salon,  and  won  a  medal 
of  the  first  class.  In  1852  he  received  the  cross 
of  the  Legion  of  Honour,  at  the  1855  exhibition 
a  first-class  medal,  and  in  1867  a  m^daille  d'hon- 
neur  and  the  higher  grade  of  the  Legion  of  Honour. 
Rousseau  did  not  show  the  courage  and  magna- 
nimity of  Millet,  and  his  failure  to  win  acceptance  is 
said  to  have  shortened  his  life.  The  credit  of  an 
early  appreciation  of  Rousseau's  genius  belongs 
to  the  Americans.  He  died  at  Barbison  on  the 
22nd  December,  1867.  Of  his  works  we  may 
cite: 

A  Glade  in  a  wood,  Compiegne.    1834. 

The  Forest  of  Fontainebleau,  at  sunset.    1849. 

Hoar  Frost. 

Group  of  Oaks. 

A  Group  of  Oaks  in  a  hollow. 

Huts  under  the  Trees. 

A  Swamp  in  the  Landes,  the  Basses-Pyrdn^es  in  the 

distance.    1853. 
Entrance  to  Bas-Breau,  Fontainebleau.    1851. 
Spring  at  Barbison.    1851. 

Eiit  from  the  Forest  of  Fontainebleau ;  sunset.  {Louvre.) 
Spring  on  the  Loire.     1857. 

'  Carrefour  de  I'Epine,'  Bas-Brten,  Fontainebleau.  1858 
'  Gorges  d'Apremont,'  Fontainebleau.     1860. 
•  The  Stone  Oak  '  Foutainebleau.    1861. 


The  End  of  October,  Sologne.    1867. 

Sunlight  through  Storm.     1867. 

Evening  after  Rain,  Berry.    1867. 

Farm  on  the  Oise.    1867. 

AVater-colour  Landscape.    (Havre  Museum.) 

Water  Meadows.     (Nantes  .lluseum.) 

Cows  at  the  Drinking  Place.    ( The  same.) 

Cows  in  a  Meadow,  Fontainebleau.    (Montpellier  J/iu.) 

ROUSSE.\U,  Theodore  Acgoste,  a  French 
painter,  was  bom  at  Saumur  about  1825.  He  was 
a  pupil  of  Leon  Cogniet,  and  went  to  California, 
where  he  died.  Examples  of  his  work  are  to  be 
found  at  Versailles  and  in  the  musee  of  Saumur. 

ROUSSEAUX,  .:6mile  Alfred,  a  French  en- 
graver, bom  at  Abbeville  in  1831.  His  studies 
were  directed  by  Henriquel-Dupont,  and  he  was 
awarded  medals  at  the  Salons  of  1863  and  1867. 
He  died  in  Paris  in  1874.  Amongst  his  best  plates 
are : 

Fame  and  Truth ;  after  Correggio. 
Portrait  of  a  Man  (Louvre) ;  after  Francia. 
The  Christian  Martyr ;  after  Ddaroche. 
Christ  and  St.  John  ;  after  Ary  Scheffer. 
The  Virgin  and  the  Infant  Jesus ;  after  Hibert. 
The  Marquis  de  S^vign^ ;  after  JS'anteuil. 

He  also  sent  to  the  Salon  portraits  in  chalk  of 
M.  Victorien  Sardou  and  M.  Lerminier. 

ROUSSELET,  Gilles,  was  bom  in  Paris  in 
1610.  It  is  not  known  under  whom  he  learned  the 
art  of  engraving,  but  his  style  resembles  that  of 
Bloemaert.  He  was  received  into  the  Academy 
in  1663.  His  drawing  is  correct,  and  his  plates 
possess  considerable  merit,  though  in  some  the 
lights  are  too  much  covered.  He  was  closely 
allied  with  Le  Brun.  He  died  blind  in  Paris  in 
1686.  The  number  of  his  plates  is  considerable ; 
the  following  are  the  most  esteemed : 

Charles  de  Valois,  Dnke  of  Angoul^me. 

Pierre  Seguier,  Chancellor  of  France  ;  after  Le  Brun. 

Richard  de  Belleval,  Chancellor  of  the  University ;  after 
the  same. 

The  Frontispiece  to  the  Polyglot  Bible ;  after  S.  Bourdon. 

The  Holy  Family ;  with  St.  Elisabeth  and  St.  John  pre- 
senting the  Infant  Jesus  with  a  Bird  ;  after  Saffaelle. 

La  Belle  Jardiniere  ;  after  the  same. 

The  Holy  Family,  with  St.  Elisabeth,  St.  John,  and  two 
Angels  ;  after  the  same. 

St.  Michael  overcoming  Satan ;  after  the  same. 

The  Annunciation  ;  after  Guido. 

Four  plates  representing  three  of  the  Labours  of  Her- 
cules and  his  Death  ;  after  the  same. 

David  playing  on  the  Harp  ;  after  Domeniehino. 

The  Entombment  of  Christ ;  after  Titian. 

The  Four  Evangelists  ;  after  Valentin  (four  plates). 

Elierer  meeting  Rebecca  ;  after  JV.  Poussin. 

Moses  saved  from  the  Nile  ;  after  the  same. 

The  Holy  Family  ;  after  S.  Bourdon. 

St.  Johnthe  Evangelist ;  after  the  same. 

The  Crucifixion  ;  after  Le  Brun. 

A  Pieta  ;  after  the  same. 

The  Dead  Christ  supported  by  an  Angel ;  after  the  same. 

The  Holy  Family  ;  after  the  same. 

The  Penitent  Magdalene ;  after  the  same. 

St.  Bernard  kneeling  before  the  Virgin ;  after  the  tame. 

St.  Theresa  in  contemplation  ;  after  the  tame, 

ROUSSELET,  Marie  Anne,  was  the  wife  of 
Pierre  Tardieu,  the  engraver,  and  was  probably  a 
relative  of  Gilles  Rousselet.  She  engraved  several 
plates  for  Bufifon's  'Natural  History,'  and  'St. 
John  in  the  Desert,'  after  Vanloo.  She  also  en- 
graved some  sea-pieces  after  Backhuysen,  W. 
Van  de  Velde,  and  J.  Vernct.  She  flourished 
about  1765. 

ROUSSI^RE,  Francois  de  la.  See  Db  la 
BonssiiRE, 

289 


A  BIOGRAPHICAL  DICTIONARY  OP 


ROUVlfeRE,  PniLiDERT,  painter  and  actor,  was 
born  at  Niines  in  1805.  He  was  a  pupil  of  GroB, 
entering  the  ficole  ties  Beaux  Arts  in  1828.  He 
exhibited  occasionally  at  the  Salon  between  1831 
and  18G4.  He  died  in  Paris  in  1865.  As  an  actor 
lie  played  '  Lear,'  '  Macbeth,'  and  the  '  Duke  of 
Alva'  at  the  Odeon,  and  "created"  the  role  of 
'  Maitre  Favilla.' 

ROD  V  HOY,  Marie  VON,  German  portrait  painter; 
born  July  19,  1826,  at  Dresden  ;  a  pupil  of  Scholz 
and  of  Grosse  at  Dresden  ;  also  studied  with 
Bottcher  at  Diisseldorf.  Died  at  Dresden,  July 
21,  189.3. 

ROUX,  Carl,  German  painter  :  born  at  Heidel- 
berg, August  14,  1826;  a  pupil  of  K.  Htibner; 
studied  at  Diisseldorf,  Munich,  Antwerp,  and  Paris ; 
lived  at  Munich  and  Carlsruhe  until  he  was  ap- 
pointed Director  of  the  Mannheim  Art  Gallery  in 
1882.  He  painted  historical  and  genre  pictures  ; 
also  animals.  His  'Pillaging  a  Town'  is  in  the 
Carlsruhe  Gallery.  Obtained  several  decorations 
and  a  medal  at  Melbourne.  He  died  at  Mannheim, 
July  21,  1894. 

ROUX,  Jakob  Wilhelm  Christian,  a  painter 
and  engraver,  born  at  Jena  in  1771,  studied  first  in 
his  own  city  and  then  at  Dresden.  His  '  Falls  of 
the  Rhine  at  Sohaffhausen'  is  a  careful  production, 
and  his  illustrations  to  Tiedemann's  work  on  the 
arteries  are  good.  His  attempts  to  make  use  of 
wax  as  a  vehicle  were  finally  successful,  and  in 
this  manner  he  painted  a  '  Head  of  Venus,'  after 
Titian,  and  a  portrait  of  the  Councillor  Paulus.  He 
etched  the  'Student  Riot  at  Jena  of  1792,'  and  a 
'  Painter's  Journey  down  the  Rhine  from  the  Vosges 
to  the  Siebengebirge.'  He  died  at  Heidelberg  in 
1831. 

RODX,  Louis  Prosper,  French  painter  ;  bom  in 
Paris,  Feb.  13,  1817  ;  a  pupil  of  Delaroche  ;  gained 
the  second  Grand  Prix  de  Rome ;  made  his  d^it 
at  the  Salon  of  1839  with  a  remarkable  portrait ; 
in  1846  the  Ministry  of  the  Interior  bought  his 
picture  of  '  St.  Roch  priant  pourles  Pestifferes,' now 
in  the  Luxembourg ;  this  gained  him  a  third-class 
medal  at  the  Salon  ;  he  decorated  many  churches, 
notabl}'  the  Ste.  Madeleine  of  Rouen,  where  twenty- 
four  of  his  paintings  are  to  be  seen  ;  the  diversity 
of  his  style  is  noteworthy,  for  he  could  paint  the 
elegant  'Salon  de  Mme.  Epinay'  or  the  heroic 
'Mortdu  Prince  Adam  Gzartoriscky' ;  his  portraits 
of  Mme.  Aubry  and  the  Vicomtess  Delaborde 
are  considered  excellent.  In  1857  he  obtained  a 
second-class  medal  for  '  L'atelier  de  Rembrandt' 
(in  the  St.  Petersburg  Academy)  ;  in  1859  urappd 
for  '  Episode  de  la  Fronde  '  and  '  L'atelier  de  Paul 
Delaroche,'  the  last-named  being  a  tribute  to  the 
memory  of  his  old  master.  He  died  in  Paris, 
April  6,  1903. 

ROUX,  MaItbe.  See  Dei  Rossi,  Qiovambattista. 

ROUX,  PoMPBTO,  was  an  engraver  of  religious 
prints  at  Barcelona  in  the  17th  century. 

ROVERE,  Giambattista  and  Marco,  the  two 
brothers  of  Giovanni  Maubo  Rovere.  They 
assisted  him  in  his  works,  and  executed  a  large 
number  of  paintings,  both  in  fresco  and  oil,  for 
the  city  of  Milan.  The  three  brothers  were  also 
called  Rossetti,  and  more  generally  still  Fiammin- 
ghini,  from  their  father. 

ROVERE,  Giovanni  Battista,  an  artist  of  the 
17th  century  at  Turin,  the  only  record  of  whom 
was  a  curious  painting  which  he  left  in  the  convent 
of  St.  Francis  at  Turin.  The  subject  was  '  Death,' 
and  the  Figures  of  Adam  and  Eve  were  introduced 

290 


in  company  with  those  of  the  three  Fates.  It  was 
inscribed:  "Jo.  Bapt.  a  Ruore  Taur,  f.  1627."  An 
artist  of  the  same  surname  was  employed  at  Turin 
in  connection  with  the  court  collection  of  pictures 
from  1626  and  onwards,  but  his  Christian  name 
was  GiROt.AMO. 

ROVERE,  Giovanni  Maubo,  called  Fiammin- 
OHINO,  (FlAMiNGO,)  painter  and  engraver,  was  born 
at  Milan  in  1570,  of  parents  of  Flemish  origin. 
He  was  brought  up  under  the  Procaccini,  whose 
style  he  followed,  jiarticularly  that  of  Giulio  Cesare. 
He  painted  history  with  some  success.  His  altar- 
piece,  the  '  Last  Supper,'  in  the  church  of  S.  Angelo 
nt  Milan,  is  a  good  picture,  and  so  are  his  battle- 
pieces  and  landscapes  with  animals.  Some  en- 
gravings by  him  of  such  subjects,  after  his  own 
designs,  are  marked  J.  M.  K.  F.  Giovanni  Battista 
Rovere,  brother  of  Giovanni  Mauro  Rovero,  painted 
architectural  perspectives,  and  showed  consider- 
able talent.  He  died  in  1640.  Several  others  of 
the  same  family  practised  painting. 

ROVERIO,  Bartolommeo,  a  Milanese  painter 
of  the  17th  century,  seems  to  have  been  identical 
with  Marco  Genovesini,  who  has  been  sometimes 
confused  with  Calcia,  called  II  Genovesino,  a 
painter  of  the  same  epoch  (q.  v.).  He  practised 
in  the  manner  of  the  "  Machmisti."  Oretti  men- 
tions a  picture  by  him  in  the  church  of  the 
Certosa,  Carignano,  signed  Bartol.  Jioverio.  D. 
Genovesino,  and  dated  1626,  and  a  '  Crucifixion ' 
in  the  refectory,  dated  1614,  and  he  painted 
numerous  works  in  Milan,  notably  for  the  Augus- 
tines,  among  them  a  genealogical  tree  of  the 
order. 

ROVIGO.    See  Urbino. 

ROVIRA  Y  BROCANDEL,  Hir6LiT0,  a  Spanish 
painter  and  engraver,  was  bom  at  Valencia  in  1693. 
It  is  not  known  under  what  master  he  first  studied, 
but  it  is  certain  that  he  assisted  in  the  studio  of 
Evaristo  Munoz,  where,  solely  by  application, 
he  became  an  excellent  engraver.  In  his  30th 
year  he  started  for  Rome.  On  his  arrival  there  he 
devoted  himself  to  study  with  such  ardour  that  he 
passed  days  and  nights  without  other  sustenance 
than  bread  and  water.  He  never  undressed  ;  and 
his  enthusiasm  was  so  great  that  his  boast  wab 
that  he  had  copied  every  picture  which  had  given 
him  pleasure.  But  his  privations  had  their  effect 
on  his  faculties,  and  on  his  return  from  Rome 
his  work  was  not  equal  to  what  he  had  done 
before  his  departure  thither.  He  had  there,  how- 
ever, painted  the  portrait  of  the  General  of  the 
Dominicans  ;  and  on  Rovira's  return  to  Madrid 
the  reverend  father  was  at  the  court.  The  queen, 
Isabel  Faruese,  was  desirous  of  having  a  portrait 
of  Luis  I.,  and  the  General  spoke  so  highly  of  the 
talent  of  Rovira,  that  he  was  sent  for  to  execute 
the  work.  After  beginning  well,  mental  disturb- 
ance led  him  to  spoil  his  picture,  and  he  fled  to 
Valencia  in  complete  destitution.  Here  the  Mar- 
quis de  Dos  Aguas  took  him  into  his  house,  and 
got  him  a  commission  to  paint  in  fresco  the  vault 
of  the  sanctuary  of  S.  Luis,  which  he  finished 
without  exhibiting  the  least  aberration  of  mind. 
It  was  at  last,  however,  found  necessary  to  place 
him  in  an  asylum,  the  Casa  de  Misericordia, 
where  he  died  in  1765.  In  the  first  volume  of  the 
'  Museo  Pictdrico '  of  Palomino,  there  are  several 
prints  by  him,  which  show  his  talent  as  an  engraver. 

ROWBOTHAM,  Thomas  Leeson  C,  an  English 
landscape  painter  in  water-colours,  born  at  Dublin 
in  1823.     His  father  was  an  artist,  and  by  him  he 


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PAINTERS  AND  ENGRAVERS. 


was  taught.  From  shortly  after  his  birth  until  he 
was  twelve  he  lived  at  Bristol.  He  made  several 
sketching  tours,  beginning  in  1847,  through  Wales, 
Scotland,  Normandy,  and  Italy.  From  the  latter 
country  many  of  his  subjects  were  taken.  Suc- 
ceeding his  father,  he  taught  drawing  at  the  naval 
school  at  New  Cross.  He  joined  the  Water-Colour 
Institute  in  1858.  In  his  later  years  he  restricted 
himself  practically  to  Italian  subjects,  and  as  a 
rule  to  those  with  sea  or  a  lake  in  them.  His  style 
was  sunny,  but  florid,  decorative,  and  non-natural. 
He  died  at  Kensington  in  1875,  leaving  his  family 
ill-provided  for.  Two  of  his  drawings  are  in  the 
Kensington  Museum. 

ROWLANDSON,  Thomas,  a  celebrated  designer 
and  etcher  of  caricatures  and  humorous  subjects, 
was  born  in  the  Old  .lewry,  London,  in  July  1756; 
the  same  year  as  Isaac  Cruiksliank,  six  years  after 
Buiibury,  and  a  year  before  Gillray.  He  attended 
Dr.  Barrow's  Academy  in  Soho  Square  along  with 
Jack  Bannister  and  Henry  Angelo,  and  even  at 
this  early  period  gave  presage  of  his  innate  talent 
for  caricature  by  making  humorous  sketches  of  his 
schoolmaster  and  fellow-scholars  on  the  marfrfn  of 
his  books.  In  his  sixteenth  year  he  went  to  Paris 
at  the  invitation  of  his  widowed  aunt,  a  French 
lady  (Chattelier,  her  maiden  name)  who  had 
married  his  uncle  Thomas.  He  entered  as  a 
student  in  one  of  the  drawing-schools  there,  and 
made  rapid  advances  in  the  study  of  the  human 
figure.  On  his  return  to  London  he  resumed  his 
studies  at  the  Royal  Academy,  where  he  had  been 
admitted  a  student  before  his  visit  to  Paris.  In 
1775  he  exhibited  at  the  Academy  '  Delilah  paying 
Samson  a  visit  while  in  prison  at  Gaza.'  In  1777 
he  settled  at  Wardour  Street,  and  devoted  himself 
to  painting  portraits,  which  he  exhibited  at  the 
Academy  from  1778  till  1781.  At  this  time  he 
seems  to  have  begun  to  forsake  the  pursuit  of 
serious  art  for  caricature,  and  his  exhibits  in  1784 
— '  An  Italian  Family,'  '  Vauxhall,'  and  '  The 
Serpentine  River' — were  signs  of  the  change. 
He  showed  four  similar  works  in  1786  and  1787 
respectively,  and  then  his  name  disappears  from 
the  catalogues.  During  this  time  his  father,  who 
was  a  city  tradesman,  became  embarrassed  from 
injudicious  speculation,  and  young  Eowlandson 
would  have  been  without  support  but  for  the 
liberality  of  his  aunt  in  Paris.  This  lady  amply 
supplied  him  with  money,  and  to  this  indulgence, 
perhaps, may  be  traced  those  careless  habits  which 
attended  his  early  career,  and  for  which  he  was 
remarkable  through  life.  At  her  decease  she  left 
liim  seven  thousand  pounds,  besides  other  valuable 
property.  He  then  gave  way  to  his  bent  towards 
dissipation.  In  Paris  he  had  imbibed  a  love  for 
gaming  ;  and  he  now  frequented  the  most  fashion- 
able playhouses  in  London,  where  he  alternately 
won  and  lost  without  emotion,  until  he  had  dis- 
sipated more  than  one  valuable  legacy.  It  is  said 
that  he  once  sat  uninterruptedly  at  the  card-table 
for  thirty-six  hours.  He  has  been  known,  after 
having  lost  all  he  had.  to  sit  down  coolly  to  his 
work,  and  exclaim,  "  I've  played  the  fool,  but 
(holding  up  his  pencils)  here  is  my  resource." 
From  about  1782  Rowlandson  found  a  ready 
market  for  his  caricatures  with  Fores,  Tegg, 
Ackermann,  and  other  printsellers.  The  excite- 
ment of  the  famous  Westminster  election  of  1784 
carried  him  into  political  satire,  and  he  found 
similar  inspiration  in  the  career  of  Napoleon,  and 
thft  "  inquiry  into  the  corrupt  practices  of  the 
n  2 


Commander-in-Chief  in  1813.     He  was  a  prolific 
worker,  and  during  this  "  delicate  investigation '' 
frequently  drew   and    saw   published    two   fresh 
caricatures   a   day.     The  '  Aliseries   of  Life,'   the 
•Comforts   of  Bath,'  and   the  'Cries  of  London' 
were  all  series  extending  over  a  year  or  two,  and 
published  later  in  a  collected  form.    Coarse,  hasty, 
and  slight  as  were  the  generality  of  his  humorous 
de.signs,  his  early  works  were  wrought  with  care  ; 
and    his  'Academies'  of  the  human  figure  were 
scarcely  inferior  to  those  for  which  Mortimer  was 
famous.     His   style,  which  was  purely  his  own, 
was  quite  original     He  drew  a  bold  outhne  with 
the  reed  pen,  in  a  tint  composed  of  vennilion  and 
Indian  ink,  washed  in  the  general  effect  in  chiaroe- 
curo,  and  then  slightly  tinted  the  whole  with  the 
proper  local  colours.     His  caricatures  were  issued 
by  hundreds  with  cheap,  garish  colouring,  hastily 
applied-  but  the  case  is  quite  different  with  the 
splendid    coloured    aquatints    issued    under    the 
direction  of  Ackermann.     Wlien  Rowlandson  was 
too  idle  to  invent  subjects  or  seek  employment, 
Ackermann  was  his  best  friend  and  adviser,  supply- 
ing him  with  ideas  for  the  exercise  of  his  talent 
Tiie  'Tour  of  Dr.  Syntax  in  search  of  the  Pic- 
turesque '  appeared  first  in  Ackermann's  '  Poetical 
Magazine,'  with  text  by  W.  Combe,  in  1809.     Re- 
published in  1812,  it  was  followed  by  a  magnificent 
series  of  books  with  coloured  plates,  which  formed 
Rowlandson's  principal  work  till  his  death  in  1827. 
For  all  these  illustrations  he  supplied  the  original 
water-colour,  and  etched  the  outline  on  the  copper 
plate,  the  aquatint  and  colour  being  applied  after- 
wards in  imitation  of  his  drawing.     Some  of  his 
water-colours,  and  a  few  of  the  original  dramngs 
for  '  Dr.  Syntax,'  are  in  the  Victoria  and  Albert 
Museum.     The  following  are  the  principal  books 
containing  his  coloured  plates  : — 

Hungarian  and  Highland  Broadsword  Exercise.     1799. 

The  Loyal  Volunteers  of  London.     1799. 

The  Microcosm  of  London.     1808. 

Tour  of  Dr.  Syntax  in  search  of  the  Picturesque.    1812. 

Poetical  Sketches  of  Scarborough.     1813. 

The  Military  Adventures  of  Johnny  Newcome.    1815. 

Naples  and  the  Oampagna  Felice.     1815. 

The  Grand    Master,  or   Adventures   of   Qui    Hi   in 

Hindostan.     1815. 
The  English  Dance  of  Death     1816. 
The  Dance  of  Life.    1817. 

Tour  of  Dr.  Syntax  in  search  of  Consolation.    1830. 
Tour  of  Dr.  Syntax  in  search  of  a,  Wife.     1821. 
The  Vicar  of  Wakefield.     1821. 
History  of  Johimy  Quib  Genus.    1822.  ]f  g_ 

ROWLETT,  Thomas,  an  etcher  and  draughts- 
man, practising  in  London  about  the  middle  of  the 
18th  century.  He  has  left  an  etching  after  a 
portrait  of  William  Dobson,  the  painter. 

ROXAS  y  VELASCO,  Salvador,  a  gentleman  of 
Seville,  who  practised  painting  as  an  amateur,  and 
actively  contributed  to  the  foundation  and  support 
of  the  Academy  in  the  years  1670-73. 

ROY,  Jeak  Baptiste  de,  commonly  called  Dk 
Roy  of  Brussels,  a  landscape  and  cattle  painter, 
was  born  at  Brussels  in  1759.  From  his  early 
childhood  he  showed  a  great  disposition  for  draw- 
ing, and  his  father  took  him  to  Holland  that  he 
might  have  the  opportunity  of  studying  the  cele- 
brated Dutchmen.  These  and  nature  were  his 
only  teachers ;  but  by  assiduous  attention  to  both 
he  soon  attained  to  considerable  eminence  as  a 
painter.  The  pictures  of  Paul  Potter,  Cuyp,  and 
Berchem,  decided  his  choice  of  subject ;  but  the 
style  he  adopted  differs  from  theirs,  and  is  more 

291 


A  BIOGRAPHICAL  DICTIONARY  OF 


like  that  of  Ommeganck.  His  subjects  are  gener- 
ally horned  cattle  standing  in  groups,  or  grazing 
in  meadows.  In  the  Brussels  Museum  there  is  a 
good  picture  by  him.     He  died  in  1839. 

ROY,  Joseph,  a  French  painter  of  the  17th  cen- 
tury, employed  at  a  fixed  salary  by  the  to^vn  of 
Bordeaux  in  1611.  He  painted  the  portraits  of 
many  of  the  municipal  authorities. 

ROY,  Le.    See  Le  Roy,  Pierre  Fbanijois. 

ROY,  SiMOS,  a  French  painter  of  the  16th  cen- 
tury, the  friend  of  Clouet.  He  was  one  of  the 
artists  employed  in  1648  in  the  decoration  of 
Fontuinebleau. 

ROYEN,  WiLLEM  F.  VAN,  a  Dutch  painter  of 
still-life,  born  at  Haarlem  in  1654.  In  1689  he 
settled  at  Berlin,  and  became  painter  to  the  court, 
working  at  Berlin  and  at  Potsdam  for  many  years. 
Nagler  states  that  he  received  a  considerable 
pension  from  the  Prussian  court.    He  died  in  1723. 

ROYER.    See  Le  Royeb. 

ROYER,  Pierre,  a  painter  and  architect,  work- 
ing towards  the  end  of  the  18th  century.  He  was 
of  French  birth,  but  seems  to  have  worked  chiefly 
in  London.  He  exhibited  at  the  Royal  Academy 
between  1774  and  1778,  and  at  the  Salon  down  to 
1796.  Most  of  his  subjects  were  taken  from  London 
and  its  neighbourhood.  Among  them  were  a 
'View  of  Garrick's  Villa,  at  Hampton,'  'Hyde 
Park  Corner,'  '  Chelsea  and  Battersea  Bridge.' 

ROYMERSWALEN.     See  Marinds. 

ROYNARD,  Vincent,  a  French  artist  of  the  17th 
century.  In  1642  he  received  commissions  for  vari- 
ous portraits  and  pictures  from  Anne  of  Austria. 

ROZIER,  Dominique  Hiibebt,  a  French  painter, 
was  bom  in  Paris,  May  6,  1840.  He  made  his 
(Ubut  at  the  Salon  in  1869,  and  from  that  date 
onward  he  was  a  regular  exhibitor  of  pictures 
representing  fruit  and  flowers,  such  as  'Panier 
d'Isabelle  la  Bouquetifere,' '  Le  Bouquet  de  Violettes,' 
&c.  He  gained  a  third-class  medal  in  1876,  and  a 
second-class  medal  in  1880 ;  also  a  bronze  medal 
at  the  Universal  Exhibition  of  1889.  He  died  in 
Paris  in  May  1901. 

ROZZOLONE,  Peter,  1484—1525.  His  earliest 
authenticated  painting  is  a  'Christ  on  a  Cross'  in 
the  church  at  "rermini.  Other  works  at  Palermo, 
Chiusi,  and  Alcamo. 

RUBfi,  AuQCSTE  Alfred,  a  French  painter,  was 
born  in  Paris  in  1815;  became  a  pupil  of  Ciceri; 
chiefly  famous  for  his  theatrical  work  ;  painted 
act-drops  for  the  Paris  Grand  Op6ra  and  the  Op(5ra 
Comique ;  also  some  effective  landscapes  :  obtained 
the  Legion  of  Honour  in  1869.  He  diea  in  Paris, 
April  13,  1899. 

RUBEN,  Chbistian,  a  painter,  born  at  Treves 
in  1805.  His  first  master  was  Cornelius,  at  Diissel- 
dorf,  but  he  afterwards  studied  at  Munich.  In 
the  summer  of  1835  he  produced  an  '  Ave  Maria ' 
and  '  Scenes  from  Monastic  Life,'  also  a  series  of 
cartoons  for  the  cathedral  of  Ratisbon.  In  1848 
he  was  appointed  Director  of  the  Art  Academy 
at  Prague,  in  which  year  he  also  produced  some 
cartoons  for  the  Belvedere  at  Vienna,  of  which 
he  was  made  Director.  His  last  works  were  ten 
cartoons  from  Bohemian  history.  He  died  in  an 
asylum  near  Vienna  in  1875. 

RUBENS,  A.,  an  obscure  artist,  who  practised 
at  Brussels,  and  died  in  distressed  circumstances 
about  1824. 

RUBENS,  Peteb  Paul,  was  thus  christened 
because  he  was  bom  at  Siegen  in  W^estphalia  on 
the  day  dedicated  to  those  two  saints,  June  28,  in 
the  year  1577.     His  father,  Jan  Rubens,  a  lawyer, 

292 


was  an  alderman  of  Antwerp,  who,  in  the  time  of 
the  religious  persecution,  had  been  very  deservedly 
denounced  as  a  Calvinist,  and  fled  to  Cologne  just 
in  time  to  avoid  the  consequences  of  being  pro- 
scribed by  the  Spanish  Governor,  the  Duke  of  Alba. 
There  he  entered  the  service  of  Prince  William  of 
Orange,  called  the  Silent,  but,  after  two  troubled 
years,  became  involved  in  an  intrigue  with  the 
Princess  Anne  of  Saxony,  bis  patron's  second 
wife,  and,  after  narrowly  escaping  the  capital 
punishment  provided  by  German  law,  was  im- 
prisoned firstly  at  Siegen  and  later  in  the  Castle  of 
Dillenburg.  At  the  end  of  five  years  of  rigorous 
captivity  he  was  released  on  a  bail  of  6000  thalers, 
chiefly  owing  to  the  unremitting  exertions  of  his 
injured  wife,  and  permitted  to  live,  under  a  very 
strict  surveillance  and  subject  to  constant  oppres- 
sion by  the  Nassau  family.  In  1578  the  family 
were  at  last  allowed  to  return  to  Cologne,  where 
they  lived  in  a  small  house  in  the  Steeren-Gasse 
for  the  following  nine  years,  and  where  Peter  Paul 
began  his  education  at  the  Jesuits'  school.  In 
1587  the  father  died,  and  on  March  1  of  that  year 
his  widow,  having  re-embraced  the  Catholic  faith, 
was  allowed  to  betake  herself  and  family  to  Ant- 
werp. The  endless  exactions  of  the  revengeful 
Nassaus  had  reduced  them  to  extreme  poverty, 
but  the  mother,  Maria  PypeUnx,  was  a  woman  of 
character  and  determination,  and  managed  to 
obtain  for  her  son  a  sound  education  at  a  school 
behind  the  Cathedral,  kept  by  Rombout  Verdonck, 
a  learned  and  pious  man,  from  whom,  and  from 
his  mother,  he  acquired  the  profoundly  religious 
spirit  which  marked  his  career.  It  was  seemingly 
owing  to  the  family  indigence  that,  when  his 
schooling  was  ended,  he  entered  as  a  page  the 
household  of  a  princess  of  the  family  of  Ligne,  the 
widow  of  Count  Antoine  van  Lalaing,  formerly 
Governor  of  Antwerp,  but  it  was  doubtless  to  this 
servitude  that  he  owed  the  courtliness  and  grace 
of  manner  which  proved  so  invaluable  to  him  in 
after  life,  and  for  which  he  was  distinguished 
above  his  compeers.  This  experience  was,  how- 
ever, brief,  for  he  was  only  thirteen  years  of  ajje 
when  he  entered  upon  the  serious  study  of  art 
under  Tobias  Verhsecht,  a  landscape  painter  of 
considerable  reputation  at  the  time,  who  was 
probably  selected  because  he  was  a  kinsman  of 
Rubens'  mother.  But  landscape  work,  though  he 
fell  back  upon  it  in  his  later  years,  was  not  enough 
to  satisfy  the  ambitions  of  the  young  student,  who 
was  already  dreaming  of  great  historical  pictures, 
and  he  remained,  therefore,  only  a  short  time  with 
his  first  instructor,  removing  to  the  studio  of  Adam 
van  Noort,  where,  in  the  company  of  Jordaens 
and  others,  he  studied  for  four  years.  Great  im- 
portance has  been  attached  to  the  influence  of  Van 
Noort  upon  Rubens  and  Jordaens,  and  through 
them  and  his  other  pupils,  of  whom  thirty- two  are 
mentioned  in  the  archives  of  the  Painters'  Guild, 
upon  the  whole  Flemish  art  of  the  period  ;  but,  as 
no  work  assuredly  by  him  is  known,  the  credit 
bestowed  on  him  rests  on  slender  foundations.  At 
the  age  of  nineteen  Rubens  was  transferred  to  the 
studio  of  Otto  van  Veen — often  called  Otho  Venius 
— a  man  descended  illegitimately  from  a  noble 
family,  who  had  been  military  engineer  to  Alexander 
Farnese,  and,  after  studying  under  Zucchero  at 
Rome,  had  been  appointed  Court  painter  to  the 
Archduke  Albert  and  the  Infanta  Isabella.  lie 
imbued  his  promising  pupil  with  a  desire  to  visit 
Italy,  while  he  was  able  to  forward  his  wish  ^ 
through  the  favour  of  the  Archduke.     On  May  a, 


•  ///•     J  f.httit  /rein   f//<  hrrJ.i 

'  h,-iii  //if  piiinti/ui  /-ii  ■'  Aii/r/i.l  i/i  .    1/itirri-f.i  lui/Aft/rnf. 


PAINTERS  AND  ENGRAVERS. 


1600,  consequently,  having  been  made  free  of  tlie 
Guild  in  151)8,  Uubens  set  out  for  Italy.  Notliing 
is  on  record  of  the  incidents  of  ids  journey  or  of 
his  arrival,  beyond  the  circumstance  that  at  Venice 
he  became  known  to  the  magnificent  Vincenzo 
Gonzaga,  the  reigning  Duke  of  Mantua,  who  at 
once  became  his  patron  and  protector,  carrying 
him  first  to  Florence — whither  he  was  journeying 
to  attend  the  marriage  of  Marie  de'  RIedici  with 
Henry  IV.  of  France — and  subsequently  to  Genoa. 
In  July  ICOl  he  sent  him  to  Rome  to  make  copies 
of  famous  pictures,  and  while  there  Rubens  came 
under  the  influence  of  Caravaggio,  and  painted 
the  three  pictures  for  the  altar  of  St.  Uelena  in 
the  church  of  Santa  Croce  di  Geru.salemme  which 
are  now  in  the  Municipal  Hospital  at  Grasse.  He 
was  recalled  to  Mantua  in  1G02,  but  on  March  5 
in  the  following  year  started  for  Spain,  whither 
he  was  sent  by  the  Duke,  on  a  partly  artistic, 
partly  diplomatic  mission,  in  charge  of  presents 
for  the  King  and  others,  including  a  collection  of 
pictures  for  the  minister,  the  Duke  of  Lerma. 
These  last,  during  the  delays  and  difficulties  of  the 
journey,  were  seriously  injured  by  damp,  but 
Rubens,  owing  to  a  fortunate  hitch  in  the  arrange- 
ments for  the  presentation,  was  enabled  not  only 
to  restore  them  but  to  paint  an  original  work  to 
add  to  them  which  gave  great  satisfaction.  On 
his  return  to  Mantua  after  nearly  a  year's  absence 
he  began  to  receive  a  fixed  salary  of  400  ducatoons 
a  year  from  the  Duke,  but  returned  to  his  studies 
at  Rome  in  1605,  and  remained  there,  with  the 
exception  of  a  short  visit  to  Mantua  in  1607  at  the 
express  command  of  the  Duke,  until  1608,  when 
the  news  of  his  mother's  severe  illness  drew  him 
homewards,  to  be  met  on  his  journey  by  the 
aimouncement  of  her  death.  He  then  settled  at 
Antwerp,  where  his  brother  PhiMp  was  town  secre- 
tary, and  on  October  3,  1609,  married  Isabella 
Brant,  the  niece  of  his  brother's  wife.  He  was 
nominated  Court  painter  to  the  Archduke,  and  in 
the  same  year  admitted  into  the  Romanist  Guild 
of  St.  Peter  and  St.  Paul.  On  March  21,  1611,  his 
eldest  cliild,  a  daughter,  christened  Clara  Serena, 
was  born,  and  in  the  samej'car  he  purchased  a  plot 
of  land  and  a  house,  which  he  altered  and  rebuilt 
in  the  Italian  style,  assisting  personally  in  its 
decoration,  so  lavishly  that  it  is  s;ud  to  have  cost 
him  60,000  florins,  exclusive  of  the  princely  collec- 
tion of  art  treasures  installed  in  it,  and  was  not 
finished  until  1618.  In  the  same  year  (1611)  his 
brother  Philip  died,  leaving  two  children,  and 
Rubens  became  the  representative  of  the  family. 
In  1614  his  first  son  was  born,  and  on  June  5  was 
christened  Albert,  after  the  Archduke,  who  stood 
godfather  to  the  boy  ;  while  four  years  later,  on 
March  23,  1618,  a  second  son,  Nicholas,  was  born. 
It  was  during  this  period  that  some  of  Rubens' 
finest  pictures  were  painted.  He  valued  his  work 
at  lOO  guilders,  or  about  £10,  a  day,  and  the 
amount  that  he  produced  was  enormous.  His 
process  was  to  sketch  out  his  subjects  on  a  small 
scale,  and  have  them  transferred  to  canvas  by  his 
pupils  under  hi.s  own  close  supervision,  finally 
completing  them  liimself  with  the  vigorous  finish- 
ing-touches which  distinguish  his  work.  There 
■was  no  concealment  about  this  co-operation.  In  a 
list  of  his  pictures  sent  to  Sir  Dudley  Carleton  he 
carefully  distinguishes  between  those  which  were 
all  his  own  and  those  which  were  only  his  in  part, 
as  "  Daniel  among  many  lions.  Painted  from  life. 
Original  by  my  hand  ; ''  or  "  A  Susannah,  painted 


by  one  of  my  pupils,  but  entirely  retouched  by  my 
hand,"  and  he  carefully  calls  attention  to  the  fact 
that  the  retouched  pieces  are  cheaper.  Amongst 
these  pupils  or  collaborators  were  Justus  von 
Egmont,  Peter  van  Mol,  Cornelis  Schut,  Jan  van 
der  Iloecke,  Simon  de  Vos,  Deodato  van  der  Mont 
or  Delmont,  Nicholas  van  der  Horst,  Jan  VVildens, 
Jakob  Moermans,  Willem  van  Panneels,  Peter 
Soutinanns,  Erasmus  Quellin,  David  Teniers  the 
younger,  Theodore  van  Thulden,  Abraham  van 
Diepenbeeck,  Frans  Wouters,  Gerard  van  Herp, 
Jean  Thomas,  Matthew  van  den  Berg,  Samuel 
Hoffman,  Jan  van  der  Stock,  Penneinakers,  and  Jan 
Victor  Wolfvoet ;  but  those  who  did  him  the  best 
service  were  Anthony  van  Dyck,  Jacob  Jordaens, 
and  Frans  Snyders.  In  the  beginning  of  1622  he 
was  called  to  Paris  at  the  request  of  the  Queen, 
Marie  de'  Medici,  who  entrusted  to  him  the  decora- 
tion of  the  great  gallery  in  the  Palace  of  the 
Luxembourg.  The  work  was  carried  on  at  Ant- 
werp with  such  energy  that  in  August  1623  he 
was  able  to  deliver  some  of  it  in  person,  and  in 
1625  to  revisit  Paris  with  the  remainder.  In  the 
course  of  this  last  visit  he  became  known  to  the 
Duke  of  Buckingham,  who  had  come  to  France  to 
escort  Henrietta  Maria  to  her  husband,  Charles  I. 
of  England,  and  painted  his  portrait,  chiefly  as  a 
veil  for  diplomatic  interviews  ;  while  in  the  follow- 
ing year  he  completed  the  transfer  to  the  Duke  of 
his  own  fine  collection  of  statues,  pictures,  and 
other  works  of  art  for  the  sum  of  10J,000  florins. 
His  daughter  Clara  had  died  in  1623,  and  on  June 
20,  1626,  he  lost  his  wife,  Isabella  Brant,  to  whom 
he  had  been  happily  united  for  sixteen  }'ears.  He 
was  not,  however,  permitted  to  nurse  his  grief  in 
idleness,  even  if  he  had  desired  to  do  so.  The 
Infanta  Isabella,  who  on  the  death  of  her  husband 
had  become  Governor  of  the  Spanish  Netherlands, 
had  long  appreciated  the  honesty  and  discretion 
of  her  Court  painter,  and  had  realized  the  ad- 
vantage of  employing  the  services  of  so  apparently 
innocent  an  agent.  She  kept  him  constantly 
engaged,  either  openly  or  secretly,  in  the  delicate 
intrigues  going  on  between  Spain,  France,  and 
England,  and  finally,  in  1628,  sent  him  to  Madrid 
in  response  to  a  somewhat  grudging  invitation 
extended  to  him  by  Philip  IV.  at  her  urgent 
suggestion.  The  King's  Spanish  pride  could  ill 
brook  so  ignoble  an  intermediary,  but  Rubens  had 
not  been  long  at  the  Court  before  his  infinite  tact 
and  exquisite  charm  of  manner  had  entirely  won 
the  reluctant  autocrat.  He  w.is  specially  recom- 
mended to  the  attention  of  Velazquez,  the  Court 
painter,  given  a  painting-room  in  the  Palace,  and 
frequently  visited  by  the  King,  who  also  sat  to 
him  for  his  portrait.  Nevertheless,  the  negotiations, 
in  which  he  was  chiefly  concerned,  progressed 
slowly,  and  though  he  occupied  himself  by  making 
full-sized  copies  of  the  Titians  in  the  royal  galleries, 
besides  painting  portraits  and  a  few  original  works, 
he  began  to  weary  for  his  home.  The  assassination 
of  Buckingham  in  1628  further  complicated  matters, 
and  in  the  spring  of  1629  the  minister  Olivares 
determined  to  dispatch  Rubens  as  an  envoy  to 
London,  and,  having  been  nominated  Secretary  to 
the  Privy  Council  of  the  Netherlands,  he  left 
Madrid  on  April  29,  1629,  with  full  instructions, 
for  Brussels,  reaching  Paris  on  May  10,  and  London, 
after  a  brief  pause  of  two  or  three  days  only  at 
Antwerp,  on  June  5.  There  he  was  received  with 
great  honour  and  cordiality,  had  frequent  inter- 
views with  the  King,  and   finally  brought   to   a 

293 


A   BIOGRAPHICAL  DICTIONARY  OF 


Buccessful  issue  the  intricate  and  delicate  com- 
missioiiH  witli  wliich  lie  liad  been  charged.  Am- 
bassadors were  exchanged  between  England  and 
Spain,  and  Rubens,  who  had  three  days  previously 
received  Icnighthood  at  Whitehall,  left  London  on 
March  6,  1630,  and  returned  to  the  Netherlands. 
Among  the  works  that  he  painted  during  liis  nine 
months'  sojourn  in  Enghmd  were  the  ceiling  at 
Whitehall  and  '  Peace  and  War,'  now  in  the 
National  Gallery.  On  December  6,  1630,  Rubens, 
being  then  fifty-three  j-ears  old,  married  his  second 
wife,  Helena  Fourment,  the  daughter  of  his  deceased 
wife's  sister.  She  was  a  girl  of  sixteen,  and  her 
pleasing  appearance  is  familiar  to  the  world  in  a 
great  number  of  her  husband's  pictures.  In  1633 
the  Infanta  Clara  Eugenia  Isabella  again  employed 
him  in  a  diplomatic  mission  to  the  States-General 
of  Holland,  but  he  was  badly,  even  insultingly  re- 
ceived, and  her  death  in  the  last  month  of  the 
year  brought  the  affair  to  an  end.  His  health 
now  began  to  fail.  He  suffered  much  from  gout, 
and  in  1635,  in  order  to  escape  from  the  constant 
interruptions  of  a  city  life,  he  purchased  the 
Ch&teau  de  Steen,  between  Vilvorde  and  Mechlin, 
where  he  subsequently  passed  the  summers,  em- 
ploying himself  in  painting  landscapes.  In  the 
winter  of  the  same  year  he  was  engaged  to  arrange 
for  the  triumphal  entry  into  Antwerp  of  Archduke 
Ferdinand,  the  new  Spanish  Governor  of  the 
Catholic  provinces,  and  his  designs  for  the  pageant 
were  afterwards  engraved  and  published  with  a 
written  description  by  Gervaerts  in  1642.  In  1636 
he  was  made  Court  painter  fo  Ferdinand,  and 
designed  a  number  of  decorations  for  the  Torre 
della  Parada,  a  hunting-box  which  the  Spanish 
King  had  built  for  himself  near  Madrid.  His 
health  continued,  however,  to  get  worse  and  worse, 
and  his  letters  became  full  of  excuses  for  the  con- 
sequent unavoidable  delay  in  the  execution  of  his 
commissions.  His  latest  completed  work,  for 
example,  the  altar-piece  for  the  church  of  St.  Peter 
at  Cologne,  which  in  his  prime  he  could  have 
finished  in  sixteen  days,  was  several  years  in  hand, 
and  even  then  was  largely  carried  out  by  pupils. 
He  died  on  May  30,  1640,  and  was  temporarily 
interred  in  the  vault  of  the  Fourment  family,  but 
two  years  later  his  body  was  removed  to  a  special 
chapel  built  out  from  the  church  of  St.  Jacques  at 
Antwerp  for  its  reception.  A  catalogue  was  made 
of  the  works  of  art  in  his  possession,  which  sold 
for  the  then  enormous  sum  of  £25,000.  His 
oldest  son,  who  was  a  distinguished  scholar  and 
antiquarian,  succeeded  to  his  office  of  Secretary  to 
the  Privy  Council,  but  died  at  an  early  age.  In 
addition  to  his  paintings,  Rubens  etched  a  few 
plates,  made  some  designs  for  silversmiths,  and 
many  for  printers  like  Moretus,  for  whom  he 
sketched  numerous  titles  and  culs-de-lampe,  as  well 
as  eight  illustrations  for  a  history  of  cameos  to  be 
written  by  his  friend  Peiresc,  which  was  never 
published.  He  furthermore  made  designs  for 
several  sets  of  tapestry,  of  which  'The  Life  of 
Achilles,'  in  eight  pieces,  'The  History  of  Constan- 
tine,'  in  twelve  (Garde-Meuble,  Paris),  and  two 
'Triumphs  of  the  Church,'  one  in  seven,  and  the 
other  in  fifteen  pieces  (Carmelites,  Madrid),  are  the 
most  important.  The  amount  of  his  pictorial  work 
was  prodigious.  A  list,  drawn  up  by  the  Com- 
mission ativersoise  chargie  de  rdunir  Vceuvre  de 
Rubens  en  gravures  oit  en  photographies,  and 
probably  incomplete,  records  no  fewer  than  2,253, 
exclusive  of  484  drawings.  The  Munich  Gallery 
294 


alone  contains  77  canvases  catalogued  under  his 
name,  and  the  Louvre  54,  while  there  is  scarcely 
a  collection  of  any  importance,  public  or  private, 
which  does  not  include  at  least  one  of  his  works. 
Under  these  circumstances  it  is  clearly  impossible 
to  attempt  giving  anything  like  a  complete  list  of 
them  here,  and  the  following,  tlierefore,  only 
mentions  some  of  the  more  remarkable  at  those 
which  are  easily  accessible.  M,  B. 


Antwerp. 

Cathedral. 

Eaising   of  the   Cross.      (Fine 
sketch  for  it  in  Capt.  Ho!  ford's 
Collection,  Dorchester  House.) 

11 

^j 

Descent  from  the  Cross. 

It 

Assumption  of  tlie  Virgin. 

Tlie  Resurrection. 

ti 

S.  Jacques. 

Ador-ition  of  St.  Bonaventura. 

»» 

Museum. 

The  Crucifixion,     (ie  Coup  de 
Lance.) 

•  i 

tt 

Adoration  of  the  Magi. 

f> 

« 

Communion  of  St.  Francis   of 

Assisi. 

)» 

The  Education  of  the  Virgin. 
Christ  i  la  Paille. 

»» 

i» 

Triptycli  of  Nicolas  Eockoi. 

n 

»» 

St.  Tliores.i. 

Tiie  Virgiu  with  the  Parrot. 

Berlin. 

Museiim. 

Coronation  of  the  Virgin. 

Diana  at  the  Chase. 

T* 

)} 

Neptune  and  Aniphitrite. 

t* 

ft 

Portrait  of  Hokna  Fourment. 

The  Itesurrection  of  Lazarus. 

t1 

11 

Perseus  and  Andromeda. 

The  Garden  of  the  HesperiJes. 

Blenheim, 

Palace. 

Venus  and  Adonis. 

Brussels. 

Museum. 

Christ  carrying  his  Cross. 

»t 

M 

The  Virgin   beseecldng  Mercy 
for  the  World  from  Christ. 

^, 

Vt 

APiefcl. 

,^ 

it 

Coron:ition  of  the  Virgiu. 

,, 

Adoration  of  the  Magi. 

y 

») 

Martyrdom  of  St.  Li^vin. 

»» 

11 

Portraits  of  Jean   Cliarles   de 

Cordes  and  his  Wife. 
Portraits  of   Archduke  Albert 

and  his  Wife. 

Cologne.  Ck 

.  ofSt.Peter. 

Martyrdom  of  St.  Peter. 

Darmstadt. 

Museum. 

Disma  and  her  Nymphs. 

Dresden. 

Gallery. 

Diana  and  her  Nymphs. 

>) 

^, 

A  Lion  Hunt. 

« 

,, 

The  drunken  Hercules. 

w 

» 

'  Quos    Ego ' ;    Neptune    com- 
manding the  winds  to  be  still. 

»» 

» 

Victory  Crowning  a  Hero,  whs 
sets  his  foot  on  the  neck  of 
Silenus. 

»» 

»> 

Bathsheba. 
The  Boar  Hunt. 

M 

»» 

Tigress  with  Young. 

n 

11 

Daughter  of  Herodiaa. 

»» 

»» 

Mercury  and  Argus. 

'» 

Portraits  of  his  Sons. 
The  Garden  of  Love. 

Dublin.      iVai.  Gallery. 

St.  Francis  receiving  the  Stig- 

mata. 

»f 

»» 

St.     Peter    and    the    Tribu 
Money. 

Florence. 

UJfizi. 

Henry  IV.  at  Ivry. 

» 

,, 

Venus  and  Adonis. 

1} 

Hercules. 

>» 

)» 

The  Graces. 

Portrait  of  Isabella  Brant. 

'*          Vitti  Fa/ace. 

Landscape:  Uly.ssea. 

n 

« 

Rubens  and  his  Brother  with 

Lipsius  and  Grotiua. 
St.  Francis. 

ft 

,, 

The  Horrors  of  War. 

»» 

« 

A  Holy  Family. 

Portrait  of  the  Duke  of  Buck- 
ingham. 

Frankfort. 

Stadel  Inst. 

Portrait  of  a  Child. 

„ 

») 

David  harping. 

1* 

** 

Diogenes. 

PETER  PAUL  RUBENS 


Haiijit.ni:<i  [ho:o\ 


L1-;  ClIAPEAU   UE   l>OIL 


^Satioital  GalUry 


PAINTERS  AND   ENGRAVERS. 


Glasgow.  Gallery. 

LodUuq,     JVat,  Galltry. 


Dulmeh  Gall. 


Wallace  Coll. 


„  Bridgtwateriiouse. 

imt'ehall. 
„      Gr.ySvenor  house. 


Madrid. 


Galh  ry. 


Himicb. 


Galh  ry. 


The  Many-breasted  Goddess. 

A  Boar  HiiDt. 

The  Kape  of  the  Sabines. 

Peace  and  War. 

The  Brazen  Serpent. 

Judgment  of  Paris. 

The  Triumph  of  Julius  Caesar. 

{A  free  c&py  from  Mantecjna.) 
The  Horrors  of  War.     (Skttch 

for  the  large  picture  in  the 

I'itti  Palace.) 
The  Triumph  of  Silenus. 
The  Conversion  of  St.  Bavon. 
Apotheosis    of     William    the 

Silent. 
The      '  Chapeau     de      Faille.' 

(Foil.) 
Tlie  Birth  of  V'enus.  (Grisaille.) 
Holy  Family,  with  St.  George 

and  other  Saints. 
Landscape,  with  a  View  of  the 

Chateau  de  Steen. 
Landscape,  sunset. 
Landscape  sketch. 
ThreeWomen  with  Cornucopia. 
Portrait  of  Helena  Fourment. 
St.    Barbara  flying    from    her 

Father. 
The  Three  Graces  dancing. 
Venus,  Mars,  ami  Cupid. 
Portrait  of  Isabella  Brant. 
The  Rainbow. 
The  Crucifixion. 
The  Holy  Family. 
Mercury  and  Hebe. 
St.  Theresa. 

Apotheosisof  Jamesl.  (Ceiling.) 
Triumph     of      the     Catholic 

Church. 
Ixiou  and  the  Cloud. 
Abraham  dismissing  Hagar. 
The  Brazen  Serpent. 
The  Adoration  of  the  Magi. 
Holy  Family. 
A  Pietd. 

The  Supper  at  Emuiaus. 
St.  George  and  the  Dragon. 
Eleven  figures  of  the  Apostles. 
The  Centaurs  and  the  Lapithse. 
Kape  of  l*roserpine, 
Achilles  and  Ulysses. 
Perseus  and  Andromeda. 
Orpheus  and  Eurydice. 
The  Creation  of  the  Milky  Way. 
The  Judgment  of  Paris. 
The  Three  Graces. 
Diana  and  Calisto. 
Pan  and  Ceres. 
Mercury  and  Argus. 
Nine  figures  of  Gods  and  Olassio 

Celebrities. 
The  Garden  of  Love. 
Adam  and  Eve. 
llape  of  Europa. 
Dance  of  Peasants, 
Portrait     of      the    Archduke 

Albert. 
Portrait  of  Philip  II. 
Portrait  of  the  Infanta  Isabella, 

Clara  Eugenia. 
Portrait  of  Marie  de'  Medicis, 
Portrait  of  Don  Ferdinand  of 

Austria. 
Portrait  of  Sir  Thomas  More. 

(Copy  after  Holbein.) 
De.atn  of  Seneca. 
Virtue  victorious  over  Licence. 
Martyrdom  of  St.  Laurence. 
The  Eape  of  the  Daughters  of 

Leucippns. 
The  Fruit  Garland. 
The  Flower  Garland. 
Diana    Sleeping,    watched    by 

Satyrs. 
Diana  Kesting. 


Munich. 


Gallery. 


Paris. 


Louvre. 


Petersburg.    Hermitage. 


Defeat  of  Sennacherib. 

Conversion  of  St.  Paul. 

Lion  Hunt. 

Christ  Enthroned  on  the 
Clouds,  among  Saints  and 
Angels. 

The  Fall  of  the  Rebel  Angels. 

The  large  '  Fall  of  the 
Damned.' 

The  small '  Fall  of  the  Damned.' 

The  Woman  of  the  Apocalypse. 

The  Nativity. 

Descent  of  the  Holy  Ghost. 

The  Battle  of  the  Amazons. 

Samson  taken  by  Philistines. 

Susaimah  and  the  Elders. 

Christ  and  the  Penitent  Sinners. 

Christ  on  the  Cross. 

Seconciliation  of  the  Romans 
and  Sabines. 

Silenus. 

War  and  Peace. 

The  Massacre  of  the  Innocents. 

Pastoral :  portraits  of  Rubens 
and  his  second  wife. 

St.  Christopher. 

Sixteen  sketches  for  the  His- 
tory of  Marie  de'  Medicis  in 
the  Louvre. 

Portrait  Group  of  Rubens  and 
his  first  Wife. 

Portrait  of  Philip  Rubens. 

Portrait  Group  of  Thomas 
Earl  of  Arundel  and  his  Wife, 
with  their  Dwarf  and  Jester. 

Portrait  of  Philip  IV.  of  Spain. 

Portrait  of  Elizabeth  of  Bour- 
bon, wife  of  Philip  PV. 

Portrait  of  Don  Ferdinand  of 
Austria. 

Portrait  of  an  Old  Woman. 

Portrait  of  a  Young  Girl. 

Three  portraits  of  Helena  Four- 
ment. 

Portrait  of  Helena  Fourment 
with  her  little  naked  son. 

Rubens  and  Helena  Fourment 
in  a  Garden. 

Portrait  of  a  Scholar. 

Portrait  of  Dr.  van  Thulden. 

The  Flight  of  Lot. 

Elijah  in  the  Desert. 

The  Adoration  of  the  Magi, 

A  Tournament. 

The  Virgin  with  the  Innocents. 

Tbomyris,  and  the  head  of 
Cyrus. 

History  of  Marie  de'  Medici. 
(Twenty-one  pictures,  painted 
by  his  pupils,  but  animated  by 
his  encnjinishitig  touches.) 

Portrait  of  Helena  Fourment 
and  two  of  her  Children. 

'  Kermesse '  iu  a  Flemish 
Village. 

Two  Landscapes. 

Five  portraits  of  Members  of 
the  French  Royal  Family. 

Abraham  dismissing  Hagar. 

Christ  in  the  House  of  Simon 
the  Pharisee. 

Ecce  Homo. 

Coronation  of  the  Virgin. 

Venus  and  Atlonis. 

Two  '  Bacchanals  ' ;  one  iden- 
tical with  the  picture  at 
Munich  known  as  '  Silenus.' 

Perseus  and  Autlromeda. 

Rape  of  the  Sabines. 

Portrait  of  Philip  IV. 

Triumphs  of  the  Cardinal  In- 
fante Ferdinand. 

Four  Sketches  for  Pictures  iu 
Medici  series. 

The  City  of  Antwerp  (o/^tvoi^). 
296 


A  BIOGRAPHICAL  DICTIONARY  OK 


Petersburg.     Hermitage.    The  Temple  of  Janus. 

„  „  Two  Sketches  for  the  White- 

ball  ceiling. 
„  „  Portrait  of  Helena  Fourmeut, 

with    an    Ostrich    Feather. 
{Fromthe  Walpole  ColUctioit.) 
„  „  Fourteen  other  Portraits. 

„  „  Two  Lions  and  a  Lioness. 

Vienna.  Gallery.    Votive  picture  of  the  Brother- 

hood of  San  Ildcfonso. 

„  „  Holy  Family  under  an  Apple- 

tree. 

„  ,.  St.  Ignatius  Loyola. 

„  „  St.  Francis  Xavier  preaching. 

„  „  The  Assumptiou  of  the  Virgin. 

n  »  The     Temptation    of     Christ ; 

signtd  P.  P.  Kcbens  F.  1.6.1.4. 

n  I,  The  Penitent  Magdalen. 

»  „  Ambrosius   repulsing  Tbeodo- 

sius  from  the  Church  door. 

„  „  Meeting  between  Ferdinand  of 

Hungary  and  Prince  Oharles 
Ferdinand  of  Spain,  at  Nord- 
lingen,  in  1634. 

„  »  The  Feast  of  Venus. 

,,  „  Oymon  and  Ipbigenia. 

»  „  Jupiter  and  Mercury  with  Phi- 

lemou  and  Baucis. 

n  „  The  Hermit  and  the  Sleeping 

Angelica. 

ft  „  A    Stormy     Landscape,    with 

Jupiter,  Mercury,  Philemon 
and  Baucis. 

t,  „  Portrait  of  Maximilian  I. 

n  „  Charles    the    Bold,    Duke    of 

Burgundy. 

«g  „  St.   Pipin,   Duke   uf  Brabant, 

with  his  Daughter,  St.  Bega. 

I,  „  His  own  Portrait ;  signed  P.  P. 

ECBINS. 

f,  „  Portrait  of  Helena  Fournient, 

nude,  making  for  her  Bath. 
„  „  Eleven    portraits    and    Single 

Figure  studies. 
„      Liechtenstein  Col.    The   Story  of    the    Death  of 
Decius  Mus.      {A   series  of 
six  pictures.) 
„  „  The  Triumph  of  Rome. 

n  »  Assumption  of  the  Virgin. 

n  „  Krecthouius  and  the  Daughter 

of  Cecrops. 
f,  f,  The  Two  Sons  of  Rubens. 

„  „  The  Toilet  of  Venus. 

„  „  Ajax  and  Cas.saudra. 

Windsor  Oastle.  Landscape  ;  going  to  Market. 

»  His  own  Portrait. 

n  St.  George  and  the  Dragon. 

„  Farm  at  Laeken. 

»  Landscape ;  snowstorm. 

BIBLIOQEAPHY. 

J.  F.  Michel,  '  Histoire  de  la  vie   de  P.  P.  Rubens.' 

Brussels,  1771. 
A.  Van  Hasselt, '  Histoire  de  P.  P.  Rubens.'    Brussels, 

1840. 
Alf .  Michiels, '  Rubens  et  I'&ole  d'Anvers.'   Paris,  1877. 
Paul  Mautz, '  Rubens.'    Gazette  des  Beaux  Arts,  1881- 

1883. 
M.  Rooses,  *  Geschiendeuis  der  Antwerpsche  Schilder- 

school,'  pp.  247-94.     Ghent,  1879. 
O.  F.  Waagen, '  Peter  Paul  Rubens,  his  Life  and  Genius.' 

London,  1840. 
F.  Von  Ravensburg, '  Rubens  und  die  Antike.'    Jena, 

1882. 
A.  Baschet, '  Pierre-Paul  Rubens,  peintre  de  Vincent 

de  Gonzague,  due  de  Mantoue  .  .  .  d'apr^s  ses  lettres 

et  autres  documents  in^dits.'    Gazette  des  Beaux 

Arts,  1866-1868. 
Qachard,  '  Histoire    politique  et  diplomatique,   P.  P. 

Rubens.'    Brussels,  1877. 
E.  Gachet   '  P.  P.  Rubens.    Lettres  inedites  publiies 

d'apres  ses  autographes.'    Brussels,  1840. 
W.  N.  Saiusbury,*  Original  unpublished  papers  illustra- 
tive of  the  Life  of  Sir  P.  P.  Rubens.'    London,  1S59. 
296 


Villaamil, '  Rubens  diplomatico  Espanol.'  Mailrid,  1S74. 
Oh.  Kuelens, '  P.  P.  Kabens.    Documents  et  Lettres. ' 

Brussels,  1877. 
Eugene  Fromentin,  '  Les  maitres  d'autrofois,'  pp.  27- 

125.     Paris,  1877  [3rd  Ed.]. 
'  Lo  Bulletin-Rubens.'    Antwerp,  1882,  1897. 
Max  Rooses,  '  L'oouvre  de  P.  P.  Rubeus.'    1886. 
Catalogue  of  the  Tercentenary  Exhibition  at  Antwerp 

in  1877.     ('  L'cBuvro  de  P.  P.  Rubens.') 
A.  J.  AVauters,  '  Flemish  School  of  Painting,'  p.  379. 

London, 1885. 
E.  Michel, '  Rubens,  his  Life,  his  Work,  and  his  Time.' 

English  translation,  London,  1899. 

RUBENSTEIN,  (or  Rikbenstein,)  drapery  and 
portrait  painter,  who  resided  in  England  many 
years.  He  painted  dead  game  and  still-life,  and 
sometimes  portraits,  but  his  chief  occupation  was 
painting  draperies  in  the  pictures  of  others.  He 
was  a  member  of  the  St.  Martin's  Lane  Academy, 
and  died  in  London  about  the  year  1763. 

RUBERTIS.     See  Grandi,  Ercole  di  Robeuto. 

RUBIALES,  Pedro  de,  was  a  native  of  Estre- 
madura,  and  flourislied  about  the  year  1545.  Little 
is  known  of  his  works  in  Spain,  as  he  resided  the 
greater  part  of  Iiis  life  at  Rome  and  Florence, 
where  he  studied  under  Francesco  Salviati,  whom 
he  assisted  in  many  of  his  works.  He  was  also  at 
one  time  a  coadjutor  of  Giorgio  Vasari.  Rubiales 
painted  as  late  as  1560,  but  the  date  of  his  death 
is  not  known. 

RQBINI,  an  Italian  painter  of  little  note,  who 
practised  at  Treviso  about  1650. 

RUBIO,  Antonio,  a  Spanish  painter  and  pupil 
of  Antonio  Pizarro.  He  was  appointed  painter  to 
the  chapter  of  Toledo  in  1645,  and  died  in  1653. 

RUBIRA,  Andres  de,  a  Spanish  painter,  was 
born  at  Escacena  del  Canipo,  and  was  a  scholar 
of  Domingo  Martinez,  at-  Seville.  His  application 
and  activity  were  very  useful  to  his  master  in  the 
different  works  which  he  was  commissioned  to 
paint ;  for,  it  ia  said,  he  sketched  the  greater  part 
of  the  pictures  in  the  ancient  chapel  of  the  Cathe- 
dral, which  were  completed  by  Martinez.  On  his 
return  to  Seville,  from  a  visit  to  Lisbon,  he  was 
soon  employed  on  works  of  great  importance,  such 
as  the  pictures  in  the  chapel  of  the  Holy  Sacrament, 
in  the  college  of  San  Salvador,  a  great  part  of 
those  in  the  college  of  S.  Alberto,  and  most  of 
those  that  decorate  the  cloister  del  Carmen  calzado. 
He  also  occasionally  painted  conversation  pieces, 
and  bambocciati.     Rubira  died  at  Seville  in  1760. 

RUBIRA,  Josef  de,  son  of  Andres  de  Riibira, 
was  bom  at  Seville  in  1747.  Though  only  thirteen 
at  his  father's  death,  he  would  not  submit  to  be 
instructed  by  another  master.  He  was  an  excellent 
copyist  of  the  works  of  Murillo.     He  died  in  1787. 

RUCHOLLE,  Pierre,  an  indifferent  French  en- 
graver, who  flourished  about  the  year  1690.  He 
engraved  a  few  portraits,  amongst  which  we  have 
those  of: 

Charles  Emanuel,  Duke  of  Savoy ;  after  Vandyck;  with 

the  address  of  J.  Meyssens. 
Louis  XIV. ;  after  H.  Rigaud. 

RUDDER,  Louis  Henry  de,  historical  painter, 
was  born  in  Paris,  October  17,  1807  ;  he  was  a 
pupil  of  Gros  and  of  Cliarlet,  entering  the  ficole 
des  Beaux  Arts  in  1827.  He  exhibited  regularly 
at  the  Salon  between  1834  and  1880,  and  was 
much  employed  on  decorative  work  for  America. 
He  lithographed  forty  plates  for  Prince  Soltykoff's 
'  Voyage  dans  L'Inde,'  and  a  great  many  for 
Cuvier's  '  Anatomie  Compar^e.'  He  died  in  Paris 
in  May  1886.     Pictures  : 


PAINTERS  AND   ENGRAVERS. 


The  Divine  Message.    (.Winistere  de  Vlntirieur,  Paris.) 

Women  Bathing.     {The  same.) 

Ecce  Homo.     {Ministere  de  VEtat.) 

Christ  in  the  Garden  of  Olives.     (The  same.) 

The  Alchemist,  Nicholas  Flamel.     (Luxembourr/ .) 

Ecce  Homo.     (Museum,  St.  Elienne.) 

Portrait  of  E.  Pasquier.     (Versailles.) 

RUDE,  Sophie,  (ne'e  Fr]6miet,)  was  born  at  Dijon 
in  1797.  She  was  a  pupil  of  David,  and  paiTitod 
historical  and  still-life  pictures,  and  portraits.  Sin 
married  Fran9oi8  Kude,  the  sculptor,  and  died  in 
Paris  in  1867.     Of  her  pictures  we  may  name  : 

The  Sleep  of  the  Virgin.     (Dijon  Muse'im.) 

Charles  I.  parting  from  his  Children.     (Ministere  de 

Vlntirieur. ) 
The   Duchess   of  Burgundy  stopped  at  the  gate   (if 

Bruges.     (Dijon  Museum.) 
Faith,  Hope,  and  Charity.   (Chapel  of  Ml.  St.  Michel.) 

RUDELL,  Peter  Edward,  German  painter ; 
born  in  1854  ;  mainly  a  painter  of  pleasing  land- 
scapes, and  for  a  time  worked  in  New  York.  He 
died  June  20,  1899. 

RUDOLF,  Samuel,  portrait  painter,  bom  in 
Germany,  1639,  practised  at  Nuremberg  and  at 
Erlangen.     He  died  in  1713. 

RUDOLFI,  Claudio.    See  Ridolfi. 

RUDOLPH  D'ANVERS,  painter,  practising  at 
Antwerp  in  the  middle  of  the  16th  century.  In 
1553  he  painted  an  altar-piece  for  the  church  of 
Saint- Victor,  at  Xanten. 

RUE,  DE  LA.     See  Van  Straaten. 

RUE,  P.  B.  DE  LA.    See  De  la  Rue. 

RUEL,  Gabriel  de,  a  Spanish  historical  painter, 
resided  at  Granada  at  the  commencement  of  the 
17th  century.  There  are  sei'eral  pictures  by  him 
in  that  city.  He  was  appointed  painter  to  the 
cathedral  of  Toledo  in  1633.  He  died  on  Christmas 
Eve,  in  1641. 

RUEL,  JoHANN  Baptist,  painter,  bom  at  Ant- 
werp in  1634,  went  as  a  singer  to  the  cathedral 
at  Mayenoe,  and  there  studied  under  Johann 
Thomas,  called  Ipenaer.  He  practised  as  an  his- 
torical and  portrait  painter,  visited  Vienna,  where 
lie  painted  altar-pictures  and  portraits,  and  died 
at  Antwerp  about  the  beginning  of  the  18th 
century. 

RUELLE,  Claude  de  la.     See  De  la  Rhelle. 

RUET,  De.     See  Der  Vet. 

RUFO,  Josef  Martik,  an  historical  and  portrait 
painter,  born  at  the  Escurial,  and  educated  at  the 
academy  of  S.  Fernando.  He  flourished  in  the 
second  half  of  the  18tli  century. 

RUQENDAS,  Christian,  the  son  of  Georg 
Philipp  Rugendas,  by  whom  we  have  a  great 
number  of  prints  in  mezzotint,  after  the  designs  of 
his  father,  representing  marches,  halts,  battles,  &c. 
He  engraved  about  sixty  of  his  father's  designs  ; 
and  there  are  by  him  about  thirty  etchings  from  his 
own,  which  are  much  esteemed.  He  died  at  Augs- 
burg in  1781,  at  the  age  of  seventy-three. 

RUGENDAS,  Georq  Philipp,  painter  and  en- 
graver, born  at  Augsburg  in  1666,  and  first  in- 
structed in  design  by  Isaac  Fischer,  a  painter  of 
history  ;  but  his  genius  leading  him  to  paint  battles 
and  skirmishes  of  cavalry,  he  formed  his  style  by 
studying  the  works  of  Borgognone,  and  the  prints 
of  Tempesta.  He  had  acquired  considerable  reput- 
ation by  his  pictures  of  that  description,  when  In- 
resolved  to  visit  Italy,  and,  1692,  went  to  Venice, 
where  he  passed  some  time,  and  was  assisted  i'l 
his  studies  by  Giovanni  Battista  Molinari.  From 
Venice  he  went  to  Rome,  where  it  was  not  long 


before  his  talents  became  known,  and  he  met  with 
such  flattering  encouragement  in  that  metropolis, 
that  he  had  thought  of  establishing  himself  there  ; 
but  the  death  of  his  father  obliged  him  to  return  to 
Augsburg,  and  he  quitted  Italy  with  regret  in 
1695.  In  a  few  years  after  his  return  to  Augsburg, 
the  war  of  the  Succession  broke  out,  when  Rugendas 
had  an  opportunity  of  personally  witnessing  those 
scenes  of  slaughter  and  desolation  which  his  ima- 
gination had  so  frequently  enabled  him  to  trace 
with  his  pencil.  During  the  siege,  bombardment, 
and  pillage  of  Augsburg,  by  the  Frencli  and  Bava- 
rians, in  1703,  he  exposed  himself  to  the  most 
imminent  danger,  to  study  the  attacks  of  the  be- 
siegers, which  he  drew  with  sang-froid,  surrounded 
on  all  sides  with  carnage  and  destruction.  He 
afterwards  published  a  set  of  etchings  from  the 
drawings  thus  made. 

Rugendas  died  at  Augsburg  in  1742.  He  de- 
voted a  considerable  portion  of  his  time  to  engrav- 
ing, and  has  executed  a  great  number  of  plates, 
both  etchings  and  in  mezzotint ;  among  them  the 
following  : 

ETCHINGS. 
A  set  of  six  Plates ;  entitled,  Capricci  di  Giorgio  Filippo 

Rugendas.     1698. 
Eight  Plates;  ftntMei,  Diversi  Pensieri fatto per  Gior- 
gio Filippo  Sui/endas,  Pittore.     1699. 
A  set  of  eight  Plates,  representing  horsemen. 
Six  Plates  of  Cavalry  marching. 

The  Military  operations  of  the  French  and   Bavarian 
armies  at  the  siege  of  Augsburg ;  in  six  Plates.    1704. 

MEZZOTINTS. 

Four  Plates  of  Skirmishes  between  the  Prussian  and 

Hungarian  Hussars. 
Four  Plates  of  Lion  and  Tiger  Hunts,  &c. 

RUGENDAS,  Johann  Lorenz,  a  German  battle 
painter,  born  in  1775,  at  Augsburg,  where  he  be- 
came Director  of  the  Academy.  He  was  the  great- 
grandson  of  G.  P.  Rugendas.  There  are  some 
etchings  and  aquatint  engravings  by  him.  He 
died  in  1826. 

RUGENDAS,  Johann  MoRiTZ,aGennan  draughts- 
man, the  son  of  J.  L.  Rugendas,  was  born  at  Augs- 
burg in  1802.  He  studied  under  his  father,  and 
also  at  Munich.  In  1821,  he  set  out  on  a  series  of 
travels  in  Brazil  with  General  Langsdorf.  These 
were  afterwards  extended  to  Mexico,  Peru,  and 
other  American  States.  The  sketches  he  made  in 
these  wanderings  were  published  in  : 

'  Malerische  Eeise  in  Brasilien.'    Paris.     1835. 
'  Mexico,'  by  0.  Sartorius.     London.     1855-8. 

KUGGEHI,  GuiDO,  a  native  of  Bologna,  who 
flourished  about  the  year  1550.  He  was  a  disciple 
of  Francesco  liaibolini,  called  II  Francia,  and  ac- 
companied Primaticcio  to  France,  where  he  assisted 
that  master  in  his  great  work  at  Fontainebleau.  He 
is,  however,  more  known  as  an  engraver  than  as  n 
painter.  Heengraved  several  plates  from  thedesigns 
of  Primaticcio,  which  are  executed  in  a  style  re- 
sembling that  of  Marco  da  Ravenna  ;  and  it  is  not 
improbable  that  he  learned  engraving  in  the  school 
of  Marc  Antonio  Raimondi.  His  plates  were  usually 
marked  with  a  monogram  composed  of  a  G.  and 
an  H.  joined  together,  with  an  F.  for  fecit.  The 
etchings  attributed  to  this  master  partake  of  tlie 
manners  of  Giulio  Bonasone,  Caraglio,  and  Giorgio 
Ghisi  ;  but  there  is  great  uncertainty  respecting 
them. 

KUGGIERI,  Ebcole,  called  del  Gesri,  the 
brother  of  Giovanni  Ruggieri,  was  also  educated 

297 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  the  school  of  Francesco  Gessi,  whose  style  he 
followed  with  so  much  success,  that  his  works  are 
ivith  difficulty  distinguished  from  those  of  his 
master.  Sucli  are  liis  picture  of  the  '  Death  of  St. 
Joseph,'  in  the  cljurch  of  S.  Cristina  di  Pictra- 
lata,  at  Bologna  ;  and  the  '  Virgin  and  Infant  Jesus, 
with  St.  Catlierine,  and  other  saints,'  at  the  Strvi. 

RUGGIEKI,  Giovanni  Battista,  called  del 
Gessi,  a  native  of  Bologna,  was  bom  in  1606,  and 
for  some  time  a  discijile  of  Domenichino.  He 
afterwards  became  a  scholar  of  Francesco  Gessi, 
whom  he  accompanied  to  Naples,  and  assisted  in 
some  of  his  principal  works  in  that  city,  and  at 
Bologna.  He  visited  Rome  in  the  pontificate  of 
Urban  VIII.,  when  he  was  patronized  by  the  Mar- 
chese  Giustiniani,  and  painted  some  pictures  for 
the  churches  and  palaces.  His  principal  works  at 
Bologna  are,  three  altar-pieces  in  the  church  of  S. 
Barbaziano.     Ruggieri  died  at  Rome  in  1640. 

RUGGIERI,  GiROLAMO,  painter,  born  at  Vicenza, 
1662.  Practised  at  Verona,  and  painted  landscape 
and  battle-pieces.     Died  1717. 

RUHL,  LUDWIQ  SiGlSMUND,  painter  and  en- 
graver, born  atCassel  1794,  son  of  Johann Christian 
Ruhl,  the  sculptor.  He  studied  in  Germany  and 
Italy,  and  first  brought  himself  into  notice  by  his 
picture  of  'The  Three  Kings'  (Magi),  a  clever 
imitation  of  the  manner  of  the  old  masters.  His 
designs  for  '  Shakespeare's  Plays,'  and  Biirtrer's 
'  Lenore,'  are  well  drawn,  and  show  much  t.ilent. 
He  was  Director  of  the  Cassel  Gallery.  His  best 
known  pictures  are : 

Louis  XIV.  and  James  II. 

Van  Dyck's  Studio. 

Sleighing  by  Night. 

RUIDIMANN.    See  Reutlimann. 

EUINA,  Gasparo,  an  indifferent  engraver  on 
wood,  by  whom  we  have  a  cut  representing  the 
'  Creation  of  Adam,'  which  is  evidently  taken  from 
the  painting  by  Michelangelo,  in  the  Vatican, 
though  it  is  inscribed,  Hieronymo  de  6-randi, 
pinxit.  Gaspar  Euina,  fecit.  Zani  and  Brulliot 
say  he  was  the  engraver  who  marked  his  prints 
with  three  darts  crossed,  sometimes  accompanied 
with  the  letter  G.  There  are  several  historical, 
mythological,  and  allegorical  prints  by  him,  signed 
Gasparo,  f;  or  Gasparo  Ituina,f. 

RUINARTde  BRIMONT, Jules,  French  painter ; 
born  in  1838  at  Coblenz  ;  studied  at  the  Diisseldorf 
Academy  under  Achenbach.  After  extensive  travel 
he  came  to  Paris  in  1870,  and  his  picture  of  '  Paris 
in  the  Future'  took  the  first  prize  in  an  art  com- 
petition. He  painted  portraits,  and  also  historical 
and  genre  pictures.  He  died  at  Rilly  la  Montaigne, 
near' Reims,  May  26,  1898. 

RDINES,  Robert  des.    See  Robert,  Hubert. 

RUISCH.     See  Ruysch. 

RUISDAEL,  Isaac  van,  the  brother  of  Solomon 
and  Jacob  van  Ruisdael,  lived  at  Haarlem.  He 
combined  the  trade  of  picture-dealing  and  the  pro- 
fession of  painting.  His  works,  which  are  mostly 
landscapes,  are  found  in  a  few  German  galleries. 
He  died  at  Haarlem  in  1677. 

RUISDAEL,  Jakob  van,  landscape  painter,  was 
born  at  Haarlem  about  1630.  He  was  the  son 
of  Izaak  Ruisdael,  a  frame-maker,  and  a  pupil  of 
Everdingen.  In  1648  he  entered  the  Guild  of 
Haarlem,  but  in  1659  went  to  Amsterdam,  where 
his  co-religionists,  the  Mennonites,  took  him  into 
their  almshouse.  It  is  not  known  under  whom  he 
studied,  but  Houbraken  informs  us  that,  although 
he  had  given  proof  of  extraordinary  ability  at  the 

298 


early  age  of  fourteen,  he  did  not  at  first  follow 
painting  as  a  profession,  but  for  some  years  applied 
himself  to  the  study  and  practice  of  surgery.  He 
.ifterwards  Uved  in  habits  of  intimacy  with  Nicholas 
Berghem,  and  he  is  said  to  have  been  advised  by 
that  artist  to  devote  his  attention  entirely  to  paint- 
ing. His  success  warranted  the  recommendation 
of  his  friend ;  his  pictures  were  purchased  with 
avidity,  and  he  soon  became  one  of  the  most  popular 
painters  of  his  time. 

In  the  pictures  of  Ruisdael,  it  is  evident  that  he 
designed  everything  from  nature,  and  he  is  un- 
usually happy  in  his  selection  of  it  His  trees  and 
broken  grounds  are  pleasing  in  form,  and  bis  skies 
light  and  floating.  The  talents  of  Ruisdael  were 
not  confined  to  landscape  proper,  he  painted  sea- 
piecea  with  equal  success,  and  his  pictures  of  fresh 
breezes  and  gales  of  wind  are  equal  to  those  of 
any  other  painter  of  his  time.  Ruisdael's  pictures 
are  sometimes  provided  with  figures  by  Adriaan 
Van  der  Velde,  or  Philips  Wouwerman. 

It  is  said  that  Ruisdael  visited  Italy,  but  the 
assertion  rests  on  no  sure  foundation  ;  there  is  more 
probability  that  he  lived  for  some  time  on  the 
borders  of  Germany,  and  there  found  those  valleys 
between  ranges  of  mountains,  with  the  remains  of 
ancient  chSteaux,  the  solemn  woods  and  groves, 
or  impetuous  waterfalls  he  so  often  painted.  Some 
have  made  him  a  student  of  the  wild  scenery  of 
Norway  ;  but  with  no  authority  beyond  the  subject 
of  his  pictures.  In  spite  of  his  fondness  for  paint- 
ing the  wilder  appearances  of  nature,  it  is  scarcely 
too  much  to  say,  that  the  comparatively  uneventful 
pictures  from  the  neighbourhood  of  Haarlem  are 
those  in  which  he  clianns  us  most.  Smith's  Cata- 
logue describes  four  hundred  and  forty-eight  pic- 
tures by  Ruisdael,  leaving  out  those  that  properly 
belong  to  Everdingen,  and  a  few  duplicates  or 
copies.  Ruisdael  has  left  a  few  slight  but  effect- 
ive etchings.  He  died  at  Haarlem  in  1682.  Of 
his  pictures  we  may  name : 


Amsterdam.       Museum. 


Antwerp.  Museum. 

Bru8>«ls.  Museum. 

Castle  Howard. 
Dresden.  Gallery. 


Dublin.  Nat.  Gall. 

Edinburgh.     X'at.  Gall. 


Glasgow.     Gallery,  878. 


London. 


n 

879. 
8S0. 

»» 

881. 

X-at. 

Gall. 

The  'Waterfall. 
The  Ca«tle  of  Bentheim. 
"Winter  Landscape. 
Wooded  Landscape. 
View  from  Haarlem. 
Landscape. 
Three  Landscapes. 
Sea-pieces. 

The  Jewish  Burial  Ground. 
A  Landscape:  with  figures  by 

Van  de  Welde. 
A  Stream   running  through  a 

Valley. 
A  Waterfall ;    and  nine  other 

landscapes  of  a  similar  kind. 
The  Wind-mill. 
A  Woody  Landscape. 
Wood  scene  on  the  banks  of  a 

river ;  identical  with  picture 

at  Glasgow. 
Landscape  with  6gures  by  Ber- 

chem    (not   Wouwermann)  ; 

an  early  work. 
View  across   Katwijk,  of  the 

North  Sea. 
Landscape  and  figures. 
Landscape     with     ruins    and 

figures. 
Wood  Scene  on  the  banks  of 

a  river ;  as  at  Edinburgh. 
A  Landscape  with  Huins  (Bre- 

derode  Castle). 
Forest  Scene. 
Two  Watermills. 
Rock  Landscape  with  Torrent. 


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JAKOB  VAN    RUISDAEL 


LANDSCAPE  WITH  WATERFALL 


{^National  Gallery 


PAINTERS  AND  ENGRAVERS. 


X/>ndon,  Nat.  Gall.    Watermills  and  Bleachers. 

„  „  Ad  Old  Oak. 

„  „  The  Broken  Tree. 

„  „  The   Plain  of  Holland,  from 

Brederode  Castle. 

yf  „  Four  I^Lndscapes  with  "Water- 

falls. 

„     Dulicich  Gallery.    TwoWindmillsnearaPathway. 

„  „  A  'Waterfall. 

„  „  The  Edge  of  a  Wood. 

„    Bridgexcaier  Gall.     Six  Landscapes. 

M        Si.  John^s  Lodge  \  Interior  of  a  church  at  Amster- 
{Marquiaqf  Bute).]     dam. 
Madrid.  Museum.    Two  Landscapes 

Munich.  Putakothek.     A  Waterfall. 

„  „  A  Torrent. 

„  „  Seven  Landscapes. 

Oxford.      Jf'orcesier^  Col- 1  ^^^^^^  Landscai  e. 

Paris.  Louvre.    The  Storm. 

„  „  Forest,  with  Cattle. 

„  „  Landscape  known  as  '  Le  Buis- 

son.' 
„  „  Landscape  known  as '  Le  Coup 

de  Soleil." 
„  „  Two  more  Landscapes. 

Petersburg.    Hermitage.    Mountain,  with  still  water. 
The  Hagtie.        Museum.    A  View  of  Haarlem. 
„  „  A  Waterfall. 

BUISDAEL,  Jakob  van,  a  cousin  of  the  cele- 
brated painter  of  the  same  name,  is  recorded  as  a 
painter  by  Van  der  Willigen.  He  was  Master  of 
the  Haarlem  Guild  in  1664.  Other  details  of  his 
life  are  unknown,  as  also  are  his  works.  He  died 
at  Haarlem  in  1681. 

RUISDAEL,  Solomon  van,  the  uncle  of  Jakob 
van  Ruisdael,  was  bom  at  Haarlem  at  the  com- 
mencement of  the  17th  century.  He  painted  land- 
scapes and  views  of  rivers  in  Holland,  in  which  he 
modelled  himself  on  Van  Goyen.  He  was  par- 
ticularly successful  in  the  representation  of  water. 
In  1648  he  was  Dean  of  the  Haarlem  Corporation. 
He  died  in  1670.     Works  : 

Amsterdam.       Museum.    The  Halt. 

„  „  The  Village  Inn. 

Antwerp.  Museum.     Calm  at  Sea. 

Berlin.  Museum.    Five  Landscapes. 

Brussels.  Museum.    The  Ferry. 

„  ,,  Landscape. 

Dresden.  Gallery.    Three  Landscapes. 

Dublin.        Nat.  Gallery.    View  of  Alkmaar  in  Winter. 
Munich.  Gallery.     Three  Landscapes. 

Rotterdam.        Museum.    The  Maas  at  Dordrecht. 

RUISSCHER,  J.,  engraver,  practised  in  Holland 
about  the  middle  of  the  17th  century.  He  en- 
graved landscape,  and  frequently  treated  subjects 
introducing  cascades  and  rushing  water. 
RUIZ,  Antonio  Gonzalez.  See  Gonzalez  Rdiz. 
RUIZ,  DK  la  IGLESIA,  Francisco  Ignacio,  was 
bom  in  Madrid  about  the  middle  of  the  17th  cen- 
tury. He  was  the  pupil  of  Francisco  Camilo  and 
of  Juan  Carreno.  He  died  at  Madrid  in  1704. 
Works  : 

Madrid.         ^o-'f'"'"^*  I  Frescoes. 
Montserrate.  j 
„  Sto.  Tomas.    Assumption  and  Coronation  of 

the  Virgin. 

RUIZ-GONZALEZ,  Pedro,  was  bom  at  Madrid 
in  1633.  He  studied  under  Juan  Antonio  Escalante 
and  Juan  Carreno.  Three  of  his  best  pictures  were 
burnt  with  the  church  of  S.  Millan  in  1720,  in 
which  church  he  himself  had  been  interred  eleven 
years  before,  in  1709. 

RUIZ  GIXON,  Juan  Carlos,  lived  at  Seville, 
about  the  year  1677.  It  would  seem  that  he  had 
practised  under  Herrera  the  younger,  as  his  style 
entirely  resembles  that  master's.     This  is  particu- 


larly observable  in  a  picture  of  the  Immaculate 
Conception,  surrounded  by  numerous  angels,  in  the 
cathedral  at  Seville,  to  which  Ruiz  has  signed  bis 
name. 

RUIZ,  Juan  Saltadore,  painter,  was  a  member 
of  the  Academy  of  Seville  in  1671. 

RUIZ-SARIONO,  Juan,  painter,  born  at  Higuera 
de  Aracena,  1701,  was  a  pupil  of  his  cousin,  A.  M.  de 
Tobar.  He  practised  at  Seville,  painting  historical 
subjects,  but  without  much  skill,  and  died  in  that 
city  in  1763. 

RULE,  William  Harris.  This  remarkable 
linguist  deserves  mention  in  these  pages,  as  he  was 
for  some  years  a  portrait  painter  in  the  west  of 
England.  He  was  bom  in  1802,  the  son  of  an 
army  surgeon,  who  turned  him  out-of-doors  at  the 
age  of  seventeen  when  in  a  fit  of  passion.  Rule  was 
educated  in  languages  at  Falmouth  by  the  rector  of 
the  place,  and  in  art  by  a  strolling  painter,  and  he 
worked  very  hard  at  his  profession  in  Devonport, 
Plymouth,  and  Exeter.  In  1822  he  came  to  London, 
became  a  school -master,  then  a  Wesleyan  preacher, 
and  eventually  an  important  writer.  He  was 
master  of  fourteen  languages,  and  a  very  eloquent 
and  scholarly  preacher.     He  died  in  1890. 

RULLMANN,  painter,  born  at  Bremen  in  1765, 
first  studied  at  the  Ac.idemy  in  Dresden,  and  then 
went  to  Paris,  where  his  portraits  gained  him  con- 
siderable reputation.  His  studies  from  the  old 
masters  in  religious  and  historical  subjects  show 
considerable  talent.     He  died  in  1822. 

RUMEAU,  Jean  Claude,  a  French  painter, 
pupil  of  Da^nd  and  of  Isabey,  practised  in  Paris 
early  in  the  19th  century.  There  are  by  him, 
'  Charlemagne  receiving  the  Ambassadors  of 
Haroun-al-Raschid,'  '  Blue-Beard,'  &c.  His  last 
appearance  at  the  Salon  was  in  1822. 

RUMILLY,  ViCTORiNE  Ang^liqoe  Am^lie,  {nee 
Geneve,)  Madame,  bom  at  Grenoble,  1799,  was  a 
pupil  of  Regnault,  and  painted  portraits  and  genre 
pictures.  There  are  by  her,  '  Venus  and  Cupid,' 
'  Holy  Family,'  &c.  She  exhibited  at  the  Salon 
from  1808  to  1839,  and  died  in  1849. 

RUMMEN,  (or  Ruremonde,)  Jan  van,  a  Flemish 
painter,  who  in  1486  painted  a  picture  and  a  re- 
table  for  the  church  of  L^au. 

RUMP,  Christian  Gottfried,  who  was  bom  in 
1816  at  Hillerod,  in  Denmark,  studied  art  under 
Sund  at  Copenhagen.  He  began  his  career  as  an 
historical  painter,  and  executed  the  '  Presentation 
in  the  Temple '  for  the  church  of  Gronholt,  but  in 
1846  he  turned  his  attention  towards  landscape 
painting,  and  won  for  himself  a  name  high  among 
the  artists  of  Denmark.  In  1855-56  he  travelled 
in  Norway,  and  the  two  following  j'ears  were  spent 
in  Germany  and  Italy.  In  1866  he  was  made  a 
member  of  the  Academy  of  Copenhagen,  and  in 
1874  a  Professor.  He  died  at  Frederiksborg  in 
1880.     The  following  are  among  his  best  works : 

Copenhagen.   Nat.  Gall.  View  near  Frederiksborg. 

„  „  I>andscape,  Morning. 

„  „  View  in  Scebygaard  Forest. 

„  „  View  near  Skjoergsarden. 

„  „  Woodmen,  Frederiksborg. 

„  Moltke  Coll.  The  Four  Seasons  (a  series). 

RUMPF,  Peter  Philipp,  German  painter  and 
etcher  ;  born  December  19,  1821,  at  Frankfort-on- 
the-Main  ;  a  pupil  of  Rustige  and  Becker  ;  studied 
at  Dresden,  Italy,  and  Paris  ;  much  influenced  by 
Courbet's  work  ;  painted  genre  pictures,  such  as 
'  Rendezvous '  and  '  Girls  at  Work ' ;  also  water- 
colours,   and    executed    some    etchings   that   be- 

299 


A   BIOGRAPHICAL  DICTIONARY   OF 


came   popular.     He  died   at   Frankfort,  January 

16,  1896. 

KUNCIMAN,  Alexander,  historical  painter,  was 
born  at  Edinburgh  in  1736.  He  is  said  to  have 
served  his  apprenticeship  to  a  coach-painter,  and 
by  dint  of  mere  practice  to  have  acquired  facility  of 
hand  and  a  considerable  intelligence  in  colouring, 
tliough  ho  was  still  uninstructed  in  drawing  the 
figure.  He  travelled  to  Italy,  where  he  studied  for 
five  years,  and  painted  a  '  Nausicaa  at  play  with 
her  Maidens.'  On  his  return  he  lodged  for  a  time 
with  Hogarth's  widow  in  Leicester  Square,  and 
exhibited  some  pictures  in  1772.  The  next  year 
he  settled  at  Edinburgh,  where  he  conducted  the 
recently  established  Academy  of  Arts,  and  painted 
some  historical  pictures,  among  which  was  an  altar- 
piece  for  the  episcopal  chapel  in  the  Cowgate.  He 
was  patronized  by  Sir  James  Clerk,  who  employed 
him  to  decorate  his  mansion  at  Pennj'cuick  with 
some  subjects  from  Ossian.  He  died  suddenly  in 
1785.  There  are  a  few  etchings  by  Runciman  from 
his  own  designs,  among  which  are  the  following : 
Sigismunda  weeping  over  the  Heart  of  Tancred. 
A  View  of  the  Netherbow  Port,  Edinburgh. 

RUNCIMAN,  JoBN,  a  Scotch  historical  painter, 
and  brother  of  Alexander  Runciman,  was  born  at 
Edinburgh  in  1744.  He  executed  few  works  during 
his  short  career,  in  which  he  showed  very  high 
promise.  About  1766  he  accompanied  his  brother 
to  Rome  for  the  purpose  of  study,  but  his  health 
gave  way,  and  he  died  at  Naples  in  1768.  There 
is  a  monument  to  him  in  the  Canongate  Church, 
Edinburgh.     Among  his  works  are  : 

Christ  and  the  Disciples  on  the  road  to  Emmaus. 
(National  Gallery,  KJinhurgh.) 

King  Lear  in  the  Storm.     (The  same.) 

Portrait  of  himself.     (The  same.) 

Judith  and  Holofernes. 

RUNtiALDIER,  Igkaz,  engraver  and  miniature 
painter,  the  son  of  a  silver  worker,  born  at  Gratz  in 
1799,  had  his  earliest  lessons  from  Kauperz,  and 
in  1816  entered  the  Vienna  Academy.  His  best 
plates  are:  'Ossian,'  after  Krafft ;  'Jupiter  and 
Thetis,'  after  FUger  ;  '  St.  Sebastian,'  after  Guide 
r.eni  ;  '  Madonna,'  after  Kadlik ;  a  portrait  of 
Fiiger  the  younger,  after  Fiiger.  He  also  became 
very  successful  in  portrait  painting  in  miniature. 
He  died  at  Gratz  in  1876. 

RUNGE,  Philipp  Orro,  a  painter,  born  at 
Wolgast  in  Poraerania  in  1776,  studied  first  at 
Copenhagen  under  Abildgaard  and  Juel,  and  then 
in  Dresden.  He  made  himself  a  name  by  an 
allegorical  representation  of  the  'Four  Seasons,' 
painted  at  Hamburg,  and  was  afterwards  much 
employed  in  wall  painting.  He  died  at  Hamburg 
in  1810. 

RUNK,  Ferdinakd,  a  German  landscape  painter, 
born  at  Fribourg,  Brisgau,  in  1764.  He  acquired 
a  reputation  by  his  '  Twenty-four  Views  in  the 
Tyrol,'  aquatinted  by  Piringer,  and  by  a  series  of 
eight  pictures  of  'Nature, from  the  sea-coast  to  the 
mountain-tops.'  He  died  at  Vienna  in  1834. 
There  is  a  '  Tyrolese  Landscape '  by  him  in  the 
Vienna  Gallerj'. 

RUOPPOLI,  Giuseppe,  a  painter  of  flowers  and 
fruit,  who  particularly  excelled  in  the  representation 
of  grapes,  was  born  at  Naples  in  1600,  and  died 
there  in  1659. 

RUPERT,  Prince,  the  third  son  of  the  Elector 
Palatine  of  the  Rhine  and  Princess  EUzabeth  of 
England,  who  plaj'ed  so  considerable  a  part  in 
our  Civil  War  as  leader  of   his  uncle,  the  king's, 

300 


cavalry,  was  born  at  Prague  in  1619.  At  one  time 
he  was  looked  upon  as  the  inventor  of  the  art  of 
mezzotint  engraving,  but  it  has  been  shown  that 
he  learned  it  of  Ludwig  von  Siegen,  a  Lieut.- 
Colonel  in  the  service  of  the  Landgrave  of  Hesse, 
and  introduced  it  into  England.  He  died  in  London 
in  1682.  The  following  is  a  list  of  those  prints  in 
mezzotint  which  can  be  assigned  with  some  con- 
fidence to  '  Prince  Rupert  of  the  Rhine.'     He  made 

use  of  the  annexed  monogram  : 


1.  A  Magdalene  in  contemplation ;  after  M.  ilerian. 

2.  An  Executioner  holding  a  Sword  in  one  hand  and  a 

Head  in  the  other,  after  Spagnoletto,  known  as  '  The 
Great  Executioner/ 

3.  The  Executioner's  bead,  known  as  '  The  Little  Exe- 

cutioner,' done  for  Evelyn's  ■Sculptura,  who  informs 
us  that  it  was  presented  to  him  by  the  Prince  him- 
self, as  a  specimen  of  the  newly  invented  art. 

4.  A  Standard-Bearer  (three-quarter  length  Jigure). 

5.  The  same  Figure  to  the  shoulders. 

6.  Bust  of   an  Old  Man  with  bald   head  and  flowing 

beard, 

7.  Portrait  of  a  Young  Man,  leaning  on  his  left  arm. 

8.  Head  of  an  Old  Man  with  moustache  (right  profile), 

9.  A  Woman's  Head,  looking  down, 

10.  Boy    with     basket    of    fish,    on    sea-shore;     after 

Teniers  (?), 

11.  Magdalen,  turned  to  our  right,  her  bands  crossed  on 

her  bosom, 

12.  Boy  with  hghted  candle ;  after  SchcUeken  (?), 

He  is  also  credited  with  the  following  etchings  : 

1.  A  Mendicant  Friar,  with  rosary;   in  the  manner  cf 

Callot. 

2.  A  Beggar  singing ;  Do. 

S,  Landscape  with  man  driving  a  waggon. 
i.  (?)  Old  Be^'gar  resting  on  staff. 

5.  (':*)   A    Man   with    a    basket    on   a   stick  over    his 

shoulders. 

6.  Scene  on  Sea-shore,  a  man  carrying  a  sack  in  the 

foreground, 

RUPP,  Ladislaus,  a  Viennese  architect  and 
engraver,  was  born  in  1790.  He  was  a  pupil  of 
the  Academy  in  his  native  town,  but  also  studied 
in  Italy.  The  date  of  his  death  has  escaped 
research. 

RUPPRECHT,  Friedrich  Carl,  landscape 
painter,  etcher,  engraver  on  wood,  and  architect, 
was  born  at  Oberzeun,  near  Anspach,  in  1779. 
After  receiving  some  preliminary  instruction  at 
Nuremberg,  he  went  to  Dresden  and  improved 
himself  by  copying  the  pictures  of  Claude,  Titian, 
Paul  Potter,  and  other  old  masters ;  and  also  turned 
his  attention  to  arcliitecture  and  perspective ;  ac- 
quiring considerable  knowledge  of  both.  In  1802 
he  made  a  tour  through  tlie  south  of  Germany  to 
study  l.indscape,  but  it  being  war  time  he  met 
with  much  interruption,  and,  to  support  himself, 
was  compelled  to  have  recourse  to  portrait  paint- 
ing. He  became  acquainted  with  General  Drouet, 
whose  portrait  he  painted,  and  those  of  several  of 
his  officers,  and  for  some  time  accompanied  the 
former  through  Germany  as  his  interpreter.  Rup- 
precht's  water-colour  landscapes  are  drawn  with 
great  minuteness,  and  finished  like  miniatures. 
He  is,  however,  better  known  by  his  etchings ;  he 
also  did  a  few  woodcuts  and  a  lithograph.  As  an 
architect  Rupprecht  was  employed  to  restore  the 
old  cathedral  of  Bamberg  to  its  primitive  state, 
and  he  prepared  the  plans,  models,  and  drawings 
for  that  purpose,  and  for  some  years  superintended 
the  work,  but  did  not  live  to  witness  the  com- 
pletion.   The  cathedral  possesses  about  a  hundred 


PAINTERS  AND  ENGRAVEliS. 


and  thirty  of  his  drawings,  some  of  which  are 
interestiog  to  the  antiquary,  as  representing  curious 
objects  of  ancient  date  discovered  during  the 
restorations.  In  other  respects,  Rupprecht  pos- 
sessed much  knowledge,  particularly  of  history, 
and  showed  much  critical  sagacity  in  matters  con- 
nected with  the  fine  arts.  An  enlarged  account  of 
his  life  and  works  was  puhlished  at  Bamberg  in 
1843,  by  J.  Heller,  and  there  is  a  portrait  of  him 
after  Klein.     He  died  at  Bamberg  in  1831. 

ETCHINGS. 

1.  Portrait   of    E.  T.  A.   Hoffmann,   for   that   writer's 

'  Phantasiestucken,'  published  in  1819. 

2.  Cover  for  '  Germany's  Celebration  of  the  Battle  of 

Leipsic,'  by  K.  W.  Fasser.     1815. 

3.  A  Peasant  counting  Money ;  signed  and  dated  IS  14. 

4.  The  Chapel  in  the  Wunderbnrg,  near  Bamberg.   1815. 

5.  The  same  subject  with  variations.     1&15. 

6.  Mary  with  the  Child,  and  two  Angels. 

7.  The  Chapel  of  St.  Elizabeth,  at  Bamberg. 

8.  The  Altenberg.     1816. 

9.  The  Monument  of  Count  Adelbert  von  Babenberg. 

10.  View  of  the  Euins  of  the  Castle  of  Babenberg. 

11.  Monument  of  Adelbert  in  the  wood  near  Altenburg. 

12.  Title  to  B.  v.  Homthal's  '  Deutsche  Fruhlingskranzen.' 

1816. 

13.  Bamberg,  from  the  north  side.     1817. 

14.  View  of  Capuchin  Church,  Bamberg.    1817. 

15.  The  same,  with  variations. 

16.  Church  of  the  Carmelites,  and  Convent  of  St.  Theo- 

dore, in   Bamberg,  with   Russi:in    carriages,   and 
Cossacks  on  horseback.    1818. 
17  and  18.  Views  of  the  town  of  Hochstadt  on  the  Aisch. 
1819. 

19.  Two  Views  of  the  Town-hall  of  Bamberg. 

20.  Two  Views  of  the  Cathedral  of  Bamberg.    1821. 

21  and  22.  Visiting  Cards  of  Count  Ton  lamberg  and  of 
the  artist. 

RUPRECHT,  JoHAira  Christian,  (Rotert,;  a 
German  painter,  was  bom  at  Nuremberg  in  1600. 
He  copied  the  works  of  A.  Diirer  and  several  other 
masters  with  great  talent.  He  also  produced 
several  original  compositions,  among  which  was 
the  '  Raising  of  Lazarus,'  in  the  church  of  Se- 
bald  at  Nuremberg.  The  Emperor  Ferdinand  III. 
carried  him  to  Vienna,  where  he  died  in  1654. 

RDSCA,  Francesco  Carlo,  a  painter,  was  bom  at 
Lugano  in  1701.  He  studied  law,  but  abandoned 
it  for  art,  -which  he  studied  at  Turin  under  Amiconi ; 
and  at  Venice  from  the  works  of  Titian  and  Veronese. 
From  Venice  he  travelled  through  Switzerland, 
Hanover,  Berlin,  and  came  also  to  England.  He 
died  at  Milan  in  1769.  He  painted  several  portraits, 
among  which  were  : 

The  Countess  Schulenburg. 

The  Doge  of  Venice. 

Charles  I.  of  Brunswick.    (Brunswick  Gallery.) 

RUSCHEWEYH,  Ferdinand,  a  designer,  en- 
graver, and  lithographer,  who  distinguished  himself 
by  his  engravings  after  Cornelius,  Overbeck,  Steinle, 
and  other  artists  of  the  same  school ;  also  after  Fra 
Ancelico,  Raphael,  Giulio  Romano,  Michel-Angelo, 
and"  Thorwaldsen.  He  was  born  at  Neustrelitz  in 
1785,  and  commenced  his  studies  at  Berlin  about 
1803.  He  passed  some  time  at  Vienna,  and  in  1808 
went  to  Rome.  His  enthusiasm  for  the  older  Italian 
masters,  and  his  desire  to  emulate  Marc-Antonio, 
made  him  the  natural  interpreter  of  those  painters 
who  wished  to  restore  the  ancient  simplicity  and 
religious  feeling  of  art.  Ruscheweyh's  engravings 
did  much  to  ditfase  the  knowledge  of  these  artists 
ttironahout  Europe.  While  at  Rome  he  engraved 
u.e   '.beautiful  illustrations  to  Goethe's  Faust  by 


Cornelius,  many  sacred  and  classical  subjects  by 
Overbeck,  in  addition  to  a  long  list  of  plates  after 
the  old  Italians.  On  his  return  to  his  native 
country  in  1832  he  engraved  the  '  Jews  in  Exile,' 
after  Bendcmann  ;  '  Christ  in  the  Temple,'  and 
'Ruth  and  Boaz,'  after  Overbeck.  He  died  in 
1845. 

RUSKIX,  John,  English  Art  Reformer,  born  in 
London    of   Scotch   parents,   February  8,    1819. 
He  was  the  author  of  some  eighty  distinct  works 
upon  Natural  Scenery,  its  artistic  expression  and 
the  effects  of  it  on  Art — upon  Architecture,  Sculp- 
ture, Painting,  and  their  subsidiary  arts,  upon  the 
history   and   evolution  of  Art  from  Pheidias   to 
Turner,  and  lastly,  upon   the   moral   and   social 
functions  of  the  true  artist,  and  the  due  training 
of  the  Art  faculty.     These  works  date  from  1843 
to   1889.     Besides   all   these  books  he    was    an 
indefatigable  draughtsman,  showing  work  of  rare 
quality   within   definite  limits.     He   was   also    a 
practical  teacher  of  drawing,  gave  an  immense 
series  of  Lectures  on  Art,  and  was  Slade  Professor 
of  Art  in  the  University  of  Oxford,  1869-1884. 
His  life   and   works,   spoken   and   written,   were 
devoted,  in  almost  equal  degree,  half  to  Art — half 
to  social,  political,  moral,  and  religious  problems, 
all  of  which  he  insisted  were  inextricably  mixed 
with  Art,  and  reacted  upon  all  forms  of  Art.     In 
this'notice  an  attempt  will  be  made  to  deal  only 
with  his  Art  work,    wherein  he  was  always  an 
inspiring  influence,  if  not  an  authoritative  master. 
In  his  seventeenth  year  Ruskin  wrote  an  ardent 
defence   of   the   painter  Turner.      This    led   him 
on  to  his  first  great  book,   'Modem  Painters,'  5 
vols.,  issued  between  1843  and  1860.     This  noble 
work,  composed  with   a  splendour  of  eloquence 
and  poetic  fervour  such  as  had  never  been  found 
in   any  Art   criticism,  opened  with  an  elaborate 
vindication  of  the  methods  of  Turner  and  of  other 
British   painters.    This    led    on    to    a    study  of 
mountains,  sky,  sea,  and  natural  objects,  uniting; 
scientific  observation  with  pictorial  insight.     He 
next  took  up  the  cause  of  the  early  Italian  painters, 
especially   with   reference   to  their  spiritual   and 
devotional  power.    The  three   latter  volumes  of 
'  Modern   Painters '   burst   out   into   an   immense 
variety  of  topics  which  has  been  well  called  "  a 
sustained  rhap.sody  on  the  beauty  and  wonder  of 
Nature,  the  di^mity  of  Art,  and  the  solemnity  and 
mystery  of  Life."     All  these  volumes  were  illus- 
trated with  exquisite  engravings  from  the  author's 
own   drawings,  full   of  a   peculiar  grace  and   a 
marvellous  observation  of  nature.    Before  '  Modern 
Painters'  was  completed  Ruskin  turned  to  Archi- 
tecture. 'The  Seven  Lamps  of  Architecture' (1849) 
— "  sacrifice,  truth,  power,  beauty,  life,  memory, 
and  obedience  " — applied  to  building  the  same  prin- 
ciples of  truth  and  sincerity  which  he  had  already 
applied  to  painting.     It  contains  some  of  his  most 
fervid  eloquence  and  some  of  his  most  masterly 
drawings.      A    second    book     on     Architecture, 
the  'Stones  of  Venice,'  3  vols.  (1851-1853),  also 
illustrated  with  rare  studies  and  superb  engravings, 
was  not  only  a  profound  essay  on  Venetian  Archi- 
tecture, but   also  an  impassioned  sketch  of  the 
history,  civilization,  and  decay  of  Venice.     The 
three  volumes  of  the  '  Stones  of  Venice '  treat,  io 
turn,  the  early  Byzantine  work,  the  Gothic  in  its 
perfection,  and  the  Renaissance  in  its  degeneration. 
The  book  opens  with  a  subtle  analysis  of  all  the 
elements    of    Venetian    buildings,    secular    and 
ecclesiastical     It  then  treats  of  its  decorative  and 

301 


A  BIOGRAPHICAL  DICTIONARY  OF 


constructive  system.  And  it  illustrates  by  ingeni- 
ous comparisons  the  contrast  between  the  power 
and  the  decay  of  the  Art  of  Venice.  All  the 
principal  edifices  of  Venice  are  examined  in  detail 
from  the  side,  first,  of  construction,  and  then  of 
ornament,  with  special  reference  to  St.  Mark's,  the 
Doge's  Palace,  Murano,  and  Torcello.  The  book, 
though  ostensibly  on  the  Architecture  of  a  single 
city,  deals  incidentally  with  painting,  especially 
with  the  great  Venetians,  Titian,  Veronese,  and 
Tintoretto,  and  even  with  the  history  of  Northern 
Italy,  and  the  moral  and  intellectual  character  of 
the  Middle  Ages. 

These  three  books — '  Modern  Painters,'  '  Seven 
Lamps,'  and  'Stones  of  Venice' — are  the  most 
important  and  the  best-known  of  Riiskiu's  Art 
work.  They  all  belong  to  the  first  half  of  his 
career,  the  more  specially  artistic  half  (1843- 
1860),  when  the  author  hud  completed  forty  years 
of  life.  In  them  all.  Architecture,  Painting,  Sculp- 
ture, and  all  the  decorative  arts,  are  inextricably 
intermingled,  alonjj  with  history,  poetry,  moral, 
and  even  religious  exhortation.  Ruskin  would 
never  separate  one  art  from  the  rest,  nor  all  true 
Art  from  ethical  and  spiritual  roots.  His  object, 
he  said,  had  been  to  show  that  all  human  work 
depends  for  its  beauty  on  the  happy  life  of  the 
workman  :  and  all  three  books  are,  what  Carlyle 
called  the  '  Stones  of  Venice,'  "  sermons  in  stones." 
From  this  time  forth  Ruskin  devoted  his  eloquence 
and  his  wealth  mainly  to  a  moral  and  social  gospel, 
a  subject  which  lies  outside  the  scope  of  this  work. 
Although  after  1860  Rnskin  threw  himself  with 
fervour  into  an  economic  and  social  propaganda, 
he  was  inevitably  drawn  back  to  the  Art  studies 
with  which  he  began.  They  were  of  an  extra- 
ordinarily miscellaneous  kind,  for  a  list  of  which 
the  reader  is  referred  to  the  '  Bibliography '  by 
Thomas  J.  Wise  (1889-1893).  He  eageriy  cham- 
pioned the  new  movement  of  pre-Raphaelitism — for 
which  see  under  Holman  Hunt,  Rossetti,  Millais. 
For  manj' years  he  issued  criticisms  on  the  pictures 
exhibited  by  the  Royal  Academy  (1854-1859).  At 
this  epoch  Ruskin  was  widely  recognized  as  a 
leading  authority  on  painting.  The  sincerity  of 
purpose,  and  the  resolute  aim  to  follow  nature  in 
the  new  school,  aroused  Ruskin's  enthusiastic 
support ;  but  he  was  not  blind  to  its  limitations, 
and  he  gave  no  countenance  to  the  perversities  of 
its  feeble  imitators.  The  two  ideas  on  which  pre- 
Raphaelitism  was  based — earnestness  of  conception 
and  delicate  observation  of  real  facts  in  nature — 
were  the  germs  of  a  great  development  of  manliness 
and  realism  in  a  large  number  of  painters,  both  of 
landscape  and  of  figare  subjects,  by  men  who  were 
in  no  sense  bigoted  adherents  of  the  pre-Raphaelite 
Brethren.  In  1859  the  'Academy  Notes,'  which 
bad  obtained  a  great  circulation,  were  discontinued, 
owing  to  the  vehement  controversies  they  aroused 
and  the  personal  troubles  they  caused  to  the  nation. 
But  there  is  no  question  that  these  frank  and  keen 
criticisms,  continued  over  six  years,  had  influenced 
for  good,  British  art  in  many  directions.  His 
volumes  on  'Giotto  at  Padua,'  on  the  '  Harbours  of 
England '  (Turner's  drawings),  on  the  '  Drawings 
of  'Turner,'  presented  to  the  nation,  were  master- 
pieces of  critical  analysis  and  artistic  insight — 
for  which  see  article  on  Turner.  His  little  book, 
the  'Elements  of  Drawing'  (1857),  had  immense 
success,  but  it  met  with  vigorous  attacks.  He 
began  public  lectures  on  Art  at  Edinburgh,  in 
1853-1854  ;  and  these  were  followed  by  others  at 

302 


Manchester,  Bradford,  Oxford,  Cambridge,  London, 
Dublin,  and  many  other  cities. 

In  1869  Ruskin  was  elected  Slade  Professor  of 
Art  at  Oxford,  and,  with  intervals,  he  continued  to 
lecture  to  the  students  there  until  1884.  These 
lectures,  since  published,  many  of  them  with 
beautiful  illustrations,  like  his  books  range  over  an 
immense  field  of  subjects,  alternately  treating  the 
various  arts  of  Painting,  Sculpture,  Architecture, 
and  Engraving,  poetry,  history,  morals,  and  the 
education  of  the  artist.  Their  versatility,  subtlety, 
learning,  and  fascination,  cannot  be  described  in 
anything  less  than  a  volume.  They  range  over 
almost  every  era  of  art  from  Greek  coins  to  the 
Royal  Academy,  the  temples  of  Athens,  Italy, 
France,  and  England,  and  almost  every  important 
artist  from  Pheidias  to  Biirne-Jones.  The  last 
work  of  any  importance  was  '  Fors  Clavigera' 
(1871-1881),  a  series  of  desultory  'Letters'  on 
all  things  in  heaven  and  on  earth,  as  varied,  as 
fascinating,  and  as  stimulating  as  anything  he 
ever  wrote.  A  long  life  devoted  to  encyclopaedic 
study  of  Art  in  all  its  forms  and  of  all  ages,  com- 
bined with  a  passionate  fervour  to  reform  the 
world,  expressed  in  torrents  of  sonorous  eloquence, 
created  a  profound  impression  on  the  public  and 
on  artists  during  the  nineteenth  century.  The 
most  signal  evidence  of  RusUin'a  influence  over 
the  ideas  of  his  age  will  be  found  in  the  contrast 
between  theestimate  of  the  Italian  painters  common 
in  the  world  of  taste  during  the  eighteenth  century 
and  that  current  in  the  second  half  of  the  nineteenth 
century.  Until  Ruskin  had  poured  out  his  impas- 
.sioned  eulo;;ies  of  the  early  religious  painters  of 
Florence,  Siena,  and  Venice — of  Giotto,  Fra  Ange- 
lico,  Orcagiia,  Duccio,  Bellini,  Cimada  Conegliano, 
and  their  contemporaries — the  general  public  (in 
spite  of  some  excellent  judges  of  the  higher  kind) 
continued  to  believe  in  the  Bologna  and  classical 
schools,  and  admired  Guido,  Domenichino,  Carlo 
Dolci,  and  the  Carracci ;  and  though  Titian  and 
Veronese  had  always  stood  high  in  the  estimate  of 
real  amateurs,  it  was  Ruskin  who  revealed  their 
full  glory,  and  added  to  these  supreme  Venetians 
the  great  name  of  Tintoretto.  If  Claude  and 
Canaletto  began  "to  take  a  lower  place,"  if 
Velazquez  was  not  placed  below  Murillo,  nor 
Rembrandt  placed  below  Teniers,  in  the  opinion 
of  the  public,  it  is  largely  owing  to  the  influence 
of  Ruskin.  No  better  proof  of  its  effect  could 
be  found  than  in  comparing  the  acquisitions 
added  to  our  National  Gallery  before  1850  with 
those  added  to  it  since  that  date.  Criticism 
so  trenchant  as  his,  diatribes  so  dogmatic,  and 
studies  so  miscellaneous  and  unsystematic,  in- 
evitably invited  vigorous  opposition.  As  a  recon- 
structive legislator  in  Art,  Ruskin  has  not  been 
generally  accepted — at  least  not  yet.  As  a  re- 
former, as  an  inspiring  influence,  as  a  noble  teacher 
of  Truth  and  Beauty,  John  Ruskin  holds  a  foremost 
place  in  English  literature.  He  died  at  Brantwood, 
Coniston,  his  retreat  for  thirty  years,  in  1900,  and 
is  buried  in  Coniston  churchyard.  F.  H. 

RUSS,  Karl,  painter  and  engraver,  born  at 
Vienna  in  1779,  was  a  pupil  of  Schmitzer  and 
Maurer.  In  1800  he  was  appointed  guardian  of  the 
Belvedere  Gallery  at  Vienna.  In  1822  he  exhibited 
a  series  of  pictures,  thirty-seven  in  number,  repre- 
senting scenes  taken  from  the  history  of  the  House 
of  Hapsburg.     He  died  in  1843. 

RUSS,  Leander,  painter,  born  at  Vienna  iu  1809, 
was  a  pupil  of  the  Academy  in  that  city,  and  painted 


PAINTERS  AND   ENGRAVERS. 


military  subjects  in  water-colours,  such  as  the 
Battles  of  'Kolin,'  'Caldiero,'  and  '  Liepzic '  ; 
and  'Charles  XII.  at  Poltawa.'  He  also  worked 
much  in  Indian-ink.     He  died  at  Vienna  in  1864. 

RUSSPjL,  Antony,  an  English  portrait  painter, 
the  son  of  Theodore  Russel,  born  about  16C0.  He 
is  supposed  to  have  studied  under  Riley.  Many  of 
his  works  were  engraved  by  J.  Smith  and  Vertue. 
He  died  in  174,3. 

RUSSEL,  Theodork,  a  Flemish  portrait  painter 
and  copyist,  born  at  Bruges  in  1614.  He  learned 
his  art  under  his  uncle,  Cornelius  Jansen,  and  Van 
Dyck,  with  whom  he  lived  in  England.  His  chief 
patrons  were  Lord  Essex  and  Lord  Holland.  He 
found  much  employment  as  a  copyist,  especially  of 
Van  Dyck's  portraits.  He  died  in  1869.  The 
following  are  some  of  his  works  : 

Hampton  Court.  Copy  of  Eubens' '  Thomyris  re- 

ceiving the  head  of  Cyrus.' 
Holyrood  Palace.  Chirles  II. 

„  James  II. 

London.    Nat.  Portrait  \  Sir  John  Suckling  ;  after  Van 

Gallery,      j      Dyclc. 
■Wobum  Abbey.  Several  portraits. 

RUSSELL,  John,  was  born  March  29th,  1745, 
at  Guildford,  the  county  town  of  Surrev.  His 
father,  .John  Russell  the  elder  (1711-1804),  was 
a  man  of  note  in  Guildford  at  that  time.  His  father, 
also  a  John  Russell,  had  been  Mayor  in  1723,  and 
in  later  days  he  himself  succeeded  four  times  to 
the  same  honourable  position,  occupying  the  civic 
chair  in  1779,  1789,  1791  and  1797.  The  family 
had  been  connected  with  Guildford  since  1509,  and 
the  artist's  father  had  succeeded  his  father  in  the 
family  business,  that  of  book  and  print  dealers, 
carried  on  at  32,  High  Street. 

At  an  early  age  John  was  sent  to  the  Grammar 
School  in  the  High  Street.  He  does  not  appear 
to  have  received  any  other  education  than  he  ob- 
tained there,  but  was  a  man  who  persistently 
through  life  was  steadily  educating  himself  and 
widening  and  deepening  his  store  of  information. 
When  about  thirteen  the  lad  was  very  much  at- 
tracted by  the  etching  of  a  man  by  VVormald  that  he 
espied  in  the  window  of  a  print  shop  in  Long  Acre. 
The  friend  procured  and  presented  to  him  this  etch- 
ing, and  he  copied  it  over  and  over  again  with  great 
accuracy  and  evident  care,  and  from  this  circum- 
stance can  be  traced  his  early  aspirations  toward 
art.  The  artistic  temperament  was  already  resident 
in  the  family.  John  Russell,  the  father,  was 
responsible  for  an  interesting  and  valuable  view 
of  his  native  town,  entitled  '  The  North-West 
Prospect  of  Guildford,'  which  was  engraved,  and 
which  he  published  in  1759,  and  also  for  another 
view  of  the  town  taken  from  the  north-west  and 
published  in  1782. 

At  an  early  age  John  was  placed  by  his  father 
under  the  tuition  of  Francis  Cotes,  R.A.,  one 
of  the  founders  and  first  Academicians  of  the 
Royal  Academy  in  1768.  When  first  he  went 
to  Cotes  is  not  known,  nor  how  long  he  re- 
mained in  his  studio,  but  in  1767  he  was 
practising  on  his  own  account,  although  very 
often  visiting  his  master,  Cotes.  After  coming 
to  London  the  whole  life  of  John  Russell  was 
altered  by  the  religious  convictions  that  seized  him 
and  which  actuated  the  remainder  of  his  career. 
The  religious  side  of  his  character  is  the  prin- 
cipal phase  of  his  life  presented  in  his  private 
diary,  and  so  emphatic  were  his  opinions  that  they 
tinged  every  aspect  of  his  life.     The  diary  was 


commenced  upon  July  6th,  1766,  and  in  it  is  the 
following  inscription:  "John  Russell  converted 
September  30,  1764,  astat.  19,  at  about  half-an- 
hour  after  seven  in  the  evening."  Thus  was 
struck  the  keynote  of  his  life,  and  very  early  in 
his  career  his  strong  religious  views  got  him  into 
difficulty.  Cotes  did  not  agree  at  all  with  his 
pupil's  opinions,  and  being,  as  was  the  custom  of 
the  day,  a  man  in  constant  use  of  strong  and  forc- 
ible language,  and  lacking  in  sympathy  toward 
the  motif  of  Russell's  life,  resented  very  warmly 
his  profes.sions.  He  ajipears  to  have  left  Cotes 
without  coming  to  a  full  settlement  of  some 
financial  claim  that  he  had  upon  his  master,  for 
being  in  Guildford  at  his  father's  house  in  June 
1767,  he  wrote  on  the  20th :—"  Returned  to  town 
as  Cotes  had  offered  me  to  settle  with  me."  On 
leaving  Cotes,  Russell  took  lodgings  in  London  at 
Mr.  Haley's,  watchmaker,  John  Street,  Portland 
Street,  Cavendish  Square,  not  far  from  his  old 
master's  house.  He  was  out  of  his  time,  he  wrote, 
on  "  October  8th,  1767,  altho'  the  Indentures  were 
not  given  up  ;  "  but  he  remained  in  London  a  very 
short  time,  and  spent  a  few  days  at  his  father's  house 
at  Guildford  before  starting  upon  his  first  country 
commission  at  Cowdray  House,  near  Midhurst. 
The  pictures  that  he  painted  at  this  his  first 
artistic  commission  cannot  be  traced,  nor  is  it 
distinctly  known  whom  they  represented.  Miss 
Brown  and  Miss  Mackworth  lie  certainly  painted, 
and  probably  both  Lord  and  Lady  Montague,  but 
it  is  probable  that  all  the  pictures  perished,  with 
many  others,  in  the  great  fire.  He  then  returned  to 
London  by  coach,  and  entered  upon  steady  work  in 
portraiture,  and  liis  art  seems  very  quickly  to  have 
become  known  and  appreciated.  He  was  residing 
at  John  Street,  and  had  become  very  intimately 
acquainted  with  a  family  of  the  name  of  Faden. 
The  father  kept  a  print  and  map  shop  at  Charing 
Cross,  and  the  eldest  son  was  afterwards  appointed 
Geographer  to  the  King.  There  were  two  daugh- 
ters, Judith  and  Hannah,  and  it  was  to  Hannah 
that  Russell  was  specially  attracted,  and  they  were 
married  in  1770.  On  May  11th,  1768,  Whitfield 
sat  to  him  for  his  picture,  and  it  is  curious  that 
although  this  portrait  and  that  of  Wesley,  who  had 
an  appointment  later  on  in  1773,  were  engraved,  and 
commanded  an  immediate  and  steady  sale,  yet  neither 
of  the  originals,  despite  all  mquiries,  can  be  found. 
Another  great  divine  whose  acquaintance  Russell 
made  at  this  time  was  Dr.  Dodd.  It  was  probably 
through  Dodd's  introduction  that  Russell  made  the 
acquaintance  of  the  celebrated  Earl  of  Chesterfield, 
the  godfather  of  young  Stanhope,  who  afterwards 
succeeded  him  in  the  title.  Philip  Stanhope,  the 
pu|>il,  was  at  that  time  about  thirteen  years  old, 
and  Lord  Chesterfield,  writing  to  him  in  1769,  men- 
tions Russell.  "I  have  bespoke," said  Lord  Chester- 
field, "of  Mr.  Russell  a  picture  of  you  singly  in 
the  same  dress,  but  with  the  attributes  of  a  man  of 
learning  and  taste.  Anacreon,  Horace,  and  Cicero 
lye  {sic)  upon  your  table,  and  you  have  a  Shake- 
spear  in  your  hand  to  suit  with  your  dress." 
This  portrait  represents  the  lad  as  the  letter 
describes.  He  is  in  a  fancy  costume,  probably 
worn  at  some  amateur  theatricals  in  which  his 
godfather  had  seen  him.  He  has  red  rosettes  on 
his  shoes,  and  on  the  background,  above  his  head, 
is  the  remarkable  word  "ERIS"  (thou  shalt  be). 
The  picture  is  dated  1769,  and  now  belongs  to  the 
Earl  of  Carn.arvon,  and  hangs  at  Bretby.  In 
February  1769  the   Ladies  Ann  and   Isabel  Ers- 

303 


A   BIOGRAPHICAL  DICTIONARY  OF 


kine  sat  to  Russell,  and  on  the  24th  he  went  to 
the  house  of  their  mother,  the  Countess  of  Buch.in, 
and  painted  her  portrait  also.  Russell  exhibited 
in  1768  on  April  8th  for  the  first  time.  It  was 
at  an  Exhibition  held  by  the  Society  of  Artists 
in  their  great  room  in  Spring  Gardens,  Charing 
Cross,  and  he  sent  three  pictures :  142.  Young 
Lady,  in  crayon.  143.  Young  Lady,  in  oil.  144. 
Clergyman,  in  oil.  At  this  time  he  was  living  in 
John  Street.  On  .Tanuary  2nd,  1770,  he  took  a 
house  in  Mortimer  Street,  Cavendish  Square,  No.  7. 
After  his  marriage  lie  continued,  while  carrying 
on  his  profession,  to  give  much  time  to  artistic 
study,  and  records  the  arrangements  he  made  for 
the  winter's  study  at  the  Royal  Academy,  where 
in  December  he  obtained  the  gold  medal  for  figure 
drawing.  Russell  never  neglected  the  study  of 
anatomy,  so  pre-eminently  important  to  him  in  his 
profession  ;  but,  in  later  life,  so  anxious  was  he  to 
avoid  any  pedantic  display  of  such  knowledge  in 
drawing,  that  his  advice  to  young  artists  was, 
"  Learn  anatomy  thorouyhly  and  then  forget  all 
about  it."  Hunter's  lectures  on  anatomy  were 
regularly  attended  by  Russell,  and  he  profited  by 
the  instruction  he  so  gained.  He  exhibited  at  the 
Academy  from  its  commencement,  and  year  after 
year,  down  to  that  of  his  death  in  ISOti,  he  sent 
pictures  to  its  Exhibitions.  In  1771  came  the  first 
recognition  of  his  talent.  On  January  12tli,  1771, 
he  tlms  wrote  : — "  Received  honours  at  the  R.A. 
We  are  removed  this  day  from  Pall  Mall  to  Somerset 
Palace."  It  is  not  easy  to  say  what  the  honour  was, 
but  it  was  probably  only  a  formal  recognition  of 
the  beauty  of  some  picture,  or  else  some  personal 
praise  from  the  President  or  Council.  It  em- 
boldened Russell  to  take  some  steps  in  obtaining 
his  Associateship ;  but  he  was  no  favourite  at  the 
Academy,  where  his  too  frequent  religious  argu- 
ments had  made  him  many  enemies.  On  April  18th 
he  referred  to  "  oppressive  treatment  at  the  Royal 
Academy";  and  again,  on  August  14th,  thus 
writes: — "Received  a  cheek  from  the  R.A.  for 
applying  for  votes,  hut  thought  that  the  custom 
was  80  common  that  it  could  give  no  offence." 
Offence  was  given,  however,  for  on  August  27th,  at 
the  election,  he  lost  his  Associateship  by  one  vote. 
On  November  3rd,  1772,  he  was  elected  A.R.A. 
On  February  6th,  1774,  Russell  dined  with  the 
Dilettanti  Society,  and  Sir  Joshua  was  in  the  cliair. 
Russell's  companion  was  on  that  occasion  Sir 
Thomas  Banks,  who  was  for  many  years  Secretary 
to  the  Society.  Four  years  afterwards,  in  1778, 
Russell  was  again  at  the  Dilettanti  Society's 
dinner,  "this  time  with  Reynolds  and  the  Duke." 

In  1770  Russell  went  to  visit  Mrs.  Wilberforce 
at  Wimbledon,  and  while  there  he  met  her  talented 
nephew,  the  then  youthfid  William  Wilberforce, 
At  this  time  he  painted  a  cabinet  portrait  of 
the  lad  in  oil,  very  small,  but  exquisitely  finished, 
almost  in  the  style  of  a  miniature,  and  this 
portrait  is  one  of  the  treasures  of  the  National 
Portrait  Gallery,  by  whom  it  was  acquired  in 
1887  by  bequest  of  his  son-in-law,  the  Rev.  John 
James.  It  is  a  picture  11^  x  9i,  representing  Wil- 
berforce as  a  child  of  eleven,  in  a  blue  costume, 
slashed  and  puffed  with  white,  and  wearing  also  a 
large  lace  collar.  In  1801  Russell  painted  Wilber- 
force again,  and  the  philanthropist  in  his  diary  of 
that  year,  under  date  July  31st,  makes  mention 
of  both  portraits  in  these  words: — "Mr.  Russell 
painted  my  picture  for  W.  Hey.  He  painted  me 
above  thirty  years  before.     A  very  religious  man, 

304 


very  high  church  indeed."  Samuel  Wesley,  the 
composer,  Nevill  Maskelyne,  the  Astronomer-Royal 
and  his  wife,  and  Mr.  Richard  Russell,  a  wool- 
stapler  of  Bermondsey,  who  left  his  picture  and 
some  £15,000  to  the  Female  Orphan  Asylum  at 
Beddington,  were  also  amongst  those  who  sat  to 
him  for  their  portraits.  On  October  20th,  1772, 
Lady  Huntingdon  sat  to  Russell  for  her  portrait. 
In  September  1772  Russell  went  to  Lord  Hard- 
wicke's,  Wimpole  Hall,  Cambridge,  but  no  trace 
can  at  present  be  found  of  the  portraits  he  painted 
at  either  place.  At  a  later  period  he  again  visited 
Brighton,  and  did  considerable  work  there.  In 
1777  his  circumstances  improved,  and  on  Novem- 
ber 28th,  resuming  his  diary,  he  writes,  "  had 
returned  from  a  month's  visit  to  Guildford,  and  was 
blessed  beyond  expectation  in  temporal  things." 
In  the  following  year  he  was  for  three  months  at 
Kidderminster,  and  then  at  Shrewsbury,  places  that 
he  probably  re-visited  in  the  succeeding  decade  of 
his  life.  He  returned  to  London  in  April  1779,  and 
then  two  years  occur  of  despondence  and  difficulty, 
the  last  two  of  such  severe  trial  in  his  experience. 
Afterwards  the  tide  turned,  and  notes  of  trouble 
occur  no  more  in  the  diary. 

Russell  records  dining  with  the  Royal  Academy 
on  April  29th,  1780,  "  being  the  first  day  of  open- 
ing our  new  rooms  in  the  Strand."  And  then,  in 
1780,  he  set  out  for  Worcester,  and  from  there 
passed  on  to  Bridgnorth,  and  thence  by  water  to 
Shrewsbury.  Either  in  this  journey  or  in  the 
following  year  he  probably  visited  the  Vale  of 
Neath  in  South  Wales,  as  two  of  the  very  few 
landscapes  he  ever  painted  are  dated  1781,  and 
represent  scenes  in  that  part  of  the  country.  On 
July  29th  he  was  at  Worcester.  During  his  tour 
Russell  visited  Malvern,  Kidderminster,  and  Dale, 
and  then  passed  on  to  Oxford.  Whde  at  Oxford, 
on  January  7th,  1781,  Russell  heard  of  the  death 
of  a  cousin  (Sharp)  who  had  bequeathed  him  a 
small  freehold  estate  in  Dorking,  and  this  steady 
income  njade  all  the  difference  to  his  life.  For 
four  months  Russell  was  at  Oxford  and  Blenheim. 
Then  he  returned  liome,  and  in  1785  records 
that  he  is  "full  of  business,"  and  in  1786  "still 
blessed  in  temporals."  He  had  now  seven  children, 
an  income  of  £600  a  year,  and  was  prosperous. 
On  May  7th,  1785,  he  first  met  John  Bacon,  and 
commenced  the  closest  friendship  of  hie  life. 
On  April  16th,  1786,  he  was  asked  by  Bacon,  if 
he  were  elected  an  R.A.,  would  he  conform  to  the 
Academy  rules?  and  he  prob.aHy  complied  with 
the  request,  but  it  was  not  until  1788  that  he  be- 
came a  full  R.A.,  and  in  1789  the  King's  Painter. 
Russell's  removal  to  No.  21,  Newman  Street, 
which  took  place  in  1789,  gave  him  a  larger  house, 
a  most  advantageous  position,  and  a  closer  proxi- 
mity to  his  friend  Bacon,  who  was  from  this  time 
united  with  him  in  bonds  of  very  intimate  friend- 
ship. His  next  door  neighbour  was  Copley,  father 
of  Lord  Lyndhurst.  In  the  diary  reference  is 
made  to  his  altered  position  in  these  words : 
"In  outward  things  the  goodness  of  the  Lord 
has  been  very  great.  I  have  now  been  received 
as  an  Academician  and  King's  Painter.  Though 
large  my  family,  I  have  been  able  to  support 
them  with  plenty.  My  income  is  above  £1,000 
a  year,  and  probably  on  the  increase."  Pros- 
perity is  attained  at  last,  and  continues  steadily 
from  that  time  down  to  the  artist's  death  in 
1806. 

His  Royal  appointments  were  made  in  1790  and 


'Jhriii  l/if  pru/r/  /■u.'JeAti  f'Aii.ue// 
ui  f/if  fottrefion  cf\  f/rfVr/-/-  at  '((imi'ttifoii 


PAINTERS  AND  ENGRAVERS. 


1792.  In  1790  the  principal  picture  he  exhibited 
at  the  Royal  Academy  was  No.  25,  '  Her  Majesty 
the  Queen,'  and  in  that  year  he  was  styled  "Painter 
to  the  King  and  Prince  of  Wales,"  while  in  1792 
he  was  called  "Painter  to  the  King  and  Prince 
of  Wales,  and  also  to  the  Duke  of  York."  The 
first  portrait  Russell  painted  for  the  Royal  Family 
in  London  was  one  of  Dr.  Willis,  the  celebrated 
physician.  The  King  thereupon  gave  instruc- 
tions for  portraits  of  the  Queen  and  the  Prince 
of  Wales.  In  1796  he  received  Royal  com- 
mands to  execute  a  portrait  of  the  Princess  of 
Wales,  with  the  infant  Princess  Charlotte  on 
her  knees,  and  this  portrait,  the  first  likeness  of 
Princess  Charlotte  taken  in  this  kingdom,  was  sent 
as  a  present  to  the  Duchess  of  Brunswick.  In 
her  turn  the  portrait  was  executed  of  Augusta, 
Duchess  of  Brunswick  ;  and  the  Prince  of  Wales 
was  again  painted  in  his  costume  as  President  of 
the  Royal  Kentish  Bowmen,  and  this  portrait  was 
exhibited  in  the  Academy  in  1792.  In  addition 
to  these,  Frederick,  Duke  of  York,  was  painted 
four  times,  and  all  four  portraits,  together  with 
the  one  of  the  Duchess  of  Brunswick,  all  being 
in  pastel,  are  still  the  property  of  the  Crown. 
One  of  the  Duke  of  York  is  at  Claremont,  the 
others  being  at  Buckingham  Palace.  For  the 
Prince  Regent,  when  at  Brighton,  Russell  did 
several  pictures,  and  the  Prince  had  the  portraits 
painted  of  two  Brighton  celebrities,  Martha  Gunn 
and  Old  Smoaker.  Another  picture  which  Russell 
did  for  the  Prince  at  Brighton  was  of  Mrs.  Fitz- 
herbert.  It  is  one  of  his  very  finest  and  most  perfect 
works.  Exquisite  in  its  drawing,  subdued  and  rich 
in  colouring,  it  contains  evidently  the  artist's  very- 
finest  work.  This  portrait  belongs  now  to  Mr.  Basil 
Fitzherbert.  A  great  portion  of  Russell's  later  life 
was  spent  away  from  London,  and  lengthened  so- 
journs were  made  in  Yorkshire,  especially  at  Leeds, 
York,  and  Stamford,  where  he  painted  a  great 
number  of  pictures.  Early  in  1801  he  was  painting 
for  Earl  Fitzwilliam  at  Woodhouse,  and  then,  on 
September  1st  of  that  year,  his  labours  were  sud- 
denly arrested  by  an  accident.  He  caught  his 
forefinger  in  a  steel  trap  and  seriou-sly  injured  it,  so 
much  so  as  to  prevent  his  working  for  some  weeks. 
In  Hull  another  accident  befell  the  artist,  as  he 
injured  himself  by  a  fall  through  a  broken  cellar- 
flap  on  December  23rd,  1800,  and  on  January  4th 
of  the  following  year  his  diary  comes  to  an  abrupt 
end.  Russell  in  180-1  had  become  deaf,  and  in 
his  trouble  consulted  his  good  friend  Hey,  of 
Leeds,  whose  nephew  Jowett,  Ann  Russell,  his 
daughter,  had  married.  An  attack  of  cholera  had 
come  on  in  1803,  and  his  deafness  had  ensued 
from  that.  Hey  gave  him  a  little  relief,  and 
early  in  1806  he  left  on  his  last  journey  for  Hull. 
He  went  into  lodgings  at  a  Mr.  Benson's,  in  Story 
Street,  and  there  had  a  visit  from  Kirke  White. 
In  April  1806  he  was  taken  ill  with  typhus  fever, 
which  made  rapid  progress,  and  on  April  20th, 
1806,  he  died,  in  the  sixty-third  year  of  his  age. 
His  body  was  interred  in  Holy  Trinity  Church, 
Hull,  in  the  middle  aisle  of  the  choir,  and  a  tablet 
was  erected  to  his  memory,  which  is,  however, 
now  covered  by  the  wooden  floor  of  the  choir 
stalls.  Three  pictures  by  his  hand  appeared  that 
year  in  the  Academy,  one  of  which,  that  of  Miss 
Constable,  of  Burton  Constable,  was  unfinished  as 
he  left  it. 

John  Russell,  R.A.,  is  undoubtedly  one  of  the 
most  fascinating  portrait  painters  of  the  later  por- 

VOL.  IV.  X 


tion  of  the  eighteenth  century.  Although  he 
worked  almost  wholly  in  pastels,  his  portraits  have 
a  charm  and  an  individuality  that  place  them  on  a 
but  slighter  artistic  level  than  the  far-famed  por- 
traits by  that  great  trio  of  English  artists,  Rey- 
nolds, Gainsborough,  and  Romney.  John  Bacon, 
in  writing  of  Russell,  says:  "Our  neighbour  in 
Newman  Street  was  certainly  the  finest  painter 
in  crayons  this  country  ever  produced;"  and 
Redgrave  styles  him  "  the  prince  of  crayon  por- 
trait painters."  His  work  must  be  viewed  from 
the  standpoint  of  pastel  art,  because,  though  he 
did  some  pictures  in  oil,  and  executed  a  few  in 
water-colour,  and  though  the  tool  of  the  engraver 
was  not  unfamiliar  to  his  hand,  yet  it  was  by  his 
works  in  crayon  that  his  reputation  was  made, 
and  from  their  beauty  that  his  name  will  survive. 
Russell's  work  is  distinguished  in  its  early  days 
by  a  very  florid  colouring.  He  loved  colour  for 
its  own  sake,  and  revelled  in  powerful  notes  of 
vigorous  and  somewhat  crude  colour.  Toward  the 
close  of  his  life  this  fault  of  too  great  prominence 
in  colour  became  much  less  marked,  and  greater 
care  was  given  to  the  careful  delineation  of  the 
lace  and  gauze  draperies  of  his  figures.  Still,  even 
to  the  very  last,  his  portraits  are  noticeable  for  a 
brilliant  and  luminous  colour,  and  he  delighted  in 
the  deep  blues,  purples,  and  reddish-browns  of  the 
velvet  in  which  the  men  of  his  time  were  clothed. 
He  was  a  good  chemist,  and  his  pastels  were  pure 
in  their  pigments,  and  made  by  himself,  and  hav- 
ing  no  oil  or  resin  to  yellow  or  darken  them,  have 
continued  to  this  day  fresh  as  when  first  applied. 
"  The  intimate  commixture  of  chalk  with  the  pure 
colour,"  says  Professor  Church,  "is  the  very  means 
of  their  preservation  from  the  destructive  agencies 
that  attack  other  pigments."  Cotes's  pictures  had 
frequently  a  white  and  chalky  texture,  but  so  well 
did  Russell  make  his  crayons,  that  the  chalky 
note  is  absent  from  his  work,  and  the  tones  are 
so  carefully  blended  as  to  melt  into  one  another 
with  a  delicate  cadence  that  is  characteristic  of 
the  master's  hand.  The  main  attraction  of  Rus-' 
sell's  work  is,  however,  the  power  he  possessed  of 
seizing  the  salient  points  of  individuality  of  his 
sitters,  and  making  the  figures  portraits  in  every, 
sense  and  interesting.  The  colours  were  sweet- 
ened, to  use  Russell's  own  phrase,  with  the  finger. 
They  were  softened  in  outHne  and  united,  colour 
to  colour,  by  lightly  passing  the  finger  over  them, 
keeping  the  finger  free  from  each  separate  colour 
by  constantly  wiping  it.  He  was  very  cautious, 
however,  not  to  produce  a  thin  or  scanty  surface 
by  sweetening,  but  with  a  body  of  colour  aimed 
at  producing  a  rich  effect.  It  was  in  this  rub- 
bing-in  that  the  great  difference  existed  between 
Russell's  crayons  and  those  of  his  contempor- 
ary, Ozias  Humphreys,  R.A.  "  Russell  blended  his 
crayons,"  says  Bacon,  "  rubbing  them  in  ;  but  in 
Humphreys'  pictures  you  could  perceive  the 
marks  of  the  crayon  as  first  touched  in  by  the 
hand  of  the  artist."  So  closely  do  the  colours 
lay  to  the  material,  and  so  well  are  they,  in  por- 
tions of  the  pictures,  rubbed  in  by  the  fingers,  that 
they  adhere  with  remarkable  tenacity  to  their 
groundwork,  and  Russell's,  better  than  any  other 
pastels,  withstand  removal  from  place  to  place,  and 
often  change  of  position.  In  oil  he  was  not  so 
successful.  Traces  of  the  pastel  method  are  notice- 
able. Colour  overlays  colour  and  gleams  through. 
His  surfaces  are  dull  and  neat,  and  the  dark  masses 
of  his  backgrounds  stubborn  and  solid.    In  flesh 

305 


A   BIOGRAPHICAL  DICTIONARY  OF 


work  and  in  draperies,  however,  liis  band  has  fuller 
play,  and  the  delicate,  dainty  treatment  of  flesh 
tiniB  80  characteristic  in  his  pastel,  is  equally 
noticeable  when  he  works  in  oil.  Russell  was  a 
great  friend  of  Sir  William  Herschell,  and  no  mean 
mathematician  himself,  acquired  a  great  love  of 
astronomy  from  his  friend.  He  invented  a  com- 
plicated piece  of  mechanism  called  the  seleno- 
graphia,  for  exhibiting  the  phenomena  of  the 
moon,  published  a  pamphlet  explaining  his  ma- 
chine, and  prepared  a  great  map  of  the  surface 
of  the  moon,  from  which  he  engraved  a  series  of 
plates  to  form  a  globe  showing  the  seven-twelfths 
of  the  surface  of  tliat  planet  which  is  visible 
from  the  earth.  After  his  decease  a  still  further 
pamphlet  was  issued  by  his  son,  descriptive  of  the 
work  which  the  artist  had  never  been  able  to  com- 
plete. His  lunar  work  was  marked  by  great  abi- 
lity, and  was  the  subject  of  much  praise,  but  it  was 
never  taken  up  by  the  public,  to  whom  abstruse 
astronomical  problems  had  very  slight  attraction. 
Russell  wrote  an  important  book  called  '  Elements 
of  Painting  with  Crayons,'  which  he  published 
in  1772,  and  dedicated  to  the  Duke  of  Chandos. 
It  ran  into  two  editions.  He  also  wrote  an  '  Essay 
on  Oil-Colours,'  one  on  '  Prosaic  Numbers,'  and  one 
on  '  Taste,'  and  contributed  many  articles  to  a 
religious  magazine  called  '  The  Evangelical  Maga- 
zine.' He  taught  himself  shorthand  on  the  Byrom 
system,  and  left  behind  him  a  number  in  a  great 
many  volumes  written  in  this  complex  system  of 
stenography.  From  this  diary  the  facts  in  the 
foregoing  biography  are  taken,  and  for  fuller  de- 
tails as  to  the  life  and  works  of  the  artist,  the 
student  is  referred  to  the  writer's  richly  illus- 
trated biography  of  Russell,  published  by  Bell  in 

RUSSELL,  William,  an  English  portrait  and 
subject  painter,  born  in  the  latter  part  of  the  18th 
century.  He  was  the  son  of  John  Russell,  R.A. 
He  practised  in  London,  and  exhibited  at  the 
Academy  from  1805  to  1809,  after  which  year  no 
trace  of  him  can  be  discovered. 

RUSSI,  GiovAMNi,  or  Franco,  de',  miniature 
painter,  a  native  of  Mantua.  In  1455-61  he  illumin- 
ated the  '  Este '  Bible  for  Borso,  Duke  of  Modena, 
in  conjunction  with  Taddeo  Crivelli. 

RUSSO,  Giovanni  Pietro,  a  painter  of  Capua,  of 
some  local  celebrit3',  who  lived  in  the  17th  century. 

RUSTICI,  Cristoforo,  painter,  the  son  of  II 
RusTico,  practised  in  Italy  in  the  16th  century,  and 
imitated  the  style  of  his  father. 

RUSTICI,  Francesco,  (Rustichino,)  bom  at  Siena 
about  the  year  1595,  was  a  pupil  of  Francesco 
Vanni.  He  for  some  time  imitated  the  style  of 
Michel-angelo  Caravaggio,  while  his  subjects  re- 
semble those  of  Gerard  Honthorst.  He  studied 
at  Rome  the  works  of  Annibale  Caracoi  and  Guido, 
and  painted  some  pictures  there  for  the  public 
edifices  and  private  collections.  His  best  picture 
is  an  '  Annimciation,'  at  Siena.  In  the  Pitti  Gallery 
there  is  a  fine  '  expiring  Magdalene '  ;  and  in  the 
Palazzo  Borghese  at  Rome,  there  is  a  '  St.  Sebastian  ' 
by  Rustioi.     He  died  in  the  prime  of  life,  in  1625. 

RUSTICI,  ViCENZO,  painter,  practising  in  Italy 
in  the  17th  century,  was  a  member  of  the  artist 
family  of  Rustici,  but  less  famous  than  the  rest. 
He  was  a  pupil  of  Casolano. 

RUSTICO,  II,  painter,  practised  at  Siena  in 
the  16th  century,  and  was  a  pupil  of  Sodoma. 
He  devoted  himself  mainly  to  the  treatment  of 
grotesque  subjects. 

306 


RUSTIGE,  Heinrich  Franz  Gaudenz  von, 
German  painter  ;  born  April  11,  1810,  at  Werl 
(Westphalia) ;  studied  at  the  Diisseldorf  Academy  ; 
also  at  Frankfort ;  travelled  in  England,  Italy, 
and  the  Netherlands  ;  after  a  stay  in  Paris  he 
accepted  the  post  of  Art  Director  at  the  Stuttgart 
Gallery.  His  '  Gebet  beim  Gewitter'  is  in  the 
Berlin  National  Gallery.  He  obtained  the  grand 
gold  medal  and  various  other  decorations.  He 
(lied  at  Stuttgart,  January  12,  1900. 

RUSUTl.FiLlPPO,  (RusERUTi,)  wasthe  author  of 
some  mosaics  in  the  church  of  Santa  Maria  Mag- 
giore,  Rome,  which  were  executed  about  the  year 
1380,  and  represent  Christ  in  the  act  of  benediction, 
various  Saints,  and  the  legend  of  the  Church's 
foundation. 

RUTA,  Clementi,  painter,  bom  at  Parma,  1668, 
a  pupil  of  Spolverini  and  of  C.  Cignani,  came  to 
Naples  in  the  train  of  Charles  de  Bourbon.  He 
became  blind  towards  the  close  of  his  life,  and  died 
in  1767. 

RUTGERS, ,  called  Old  Rdtgers,  was  an 

excellent  designer  of  landscapes  with  the  pen  and 
in  water-colours,  of  whose  life  there  is  no  account. 
His  manner  is  broad  and  vigorous,  and  his  figures 
well  grouped. 

RUTHART,  Karl,  (Rdtharts,)  a  German 
animal  painter  who  is  known  to  have  been  in 
Italy  from  about  1660  to  1680,  and  to  have  staj'ed 
some  time  in  Venice :  further  details  of  his  life 
are  entirely  wanting.  His  pictures,  representing 
stag  and  bear  hunts,  are  found  in  most  German 
galleries.  In  the  Dresden  Gallery  are  four  pictures 
signed  with  his  name:  'Ulysses  and  Circe;'  'Stags;' 
'  Stags  pursued  by  Dogs  ; '  and  a  picture  of  large 
dogs  used  in  bear  hunts.  In  the  Louyre  there  is 
also  a  'Bear  Hunt.' 

RUTTEN,  Jan,  painter  of  interiors,  was  bom 
at  Dordrecht  in  1809.  He  was  a  pupil  of  A.  Van 
Stry,  whose  granddaughter  he  married,  and  of  G. 
A.  Schmidt. 

RUVIALE,  Francesco,  called  II  Polidorino. 
According  to  Dominici,  this  painter  was  a  native  of 
Spain,  though  he  was  brought  up  at  Naples,  where 
he  flourished  about  the  year  1540.  Having  seen 
some  of  the  works  of  Polidoro  da  Caravaggio  at 
Naples,  whither  he  had  fled  from  the  sacliing  of 
Rome,  he  became  his  disciple,  and  followed  the 
style  of  that  artist  with  so  much  success,  that  he 
acquired  the  name  of  II  Polidorino.  His  principal 
works  at  Naples  are  a  'Dead  Christ,  with  the  Virgin 
Mary  and  St.  John,'  in  the  chapel  of  the  Courts  of 
Justice  ;  and  the  '  Descent  from  the  Cross,'  in  that 
of  the  Vicaria  Criminale. 

RUWERSMA,  Wessel  Pieter,  born  at  Kollum, 
Friesland,  in  1750,  was  a  self-educated  painter  of 
portraits  and  landscape.  He  died  at  Buitenpost  in 
1827. 

RDYSCH,  Anna,  a  painter  of  flowers  and  fruits, 
after  the  manner  of  Rachel  Ruysoh,  to  whom  she 
is  supposed  to  have  been  related.  She  practised  in 
Holland  towards  the  end  of  the  17th  century. 

RU  YSCH,  Rachel,  (Ruisch,)  flower  painter,  bom 
at  Amsterdam  in  1664,  was  the  daughter  of  Fred- 
erick Ruysch,  a  celebrated  professor  of  anatomy. 
At  a  very  early  age,  without  the  instruction  of  a 
master,  or  any  other  assistance  than  that  of  copying 
the  prints  that  accidentally  fell  in  her  way,  she 
gave  such  proofs  of  an  unusual  gift  for  art,  that 
her  father  placed  her  with  William  van  Aelst,  an 
eminent  flower  painter.  She  soon  surpassed  her 
instructor,  and  being  recommended  by  her  extra- 


JOHX   RL'SSELL,   R.A. 


C,::cclioii  of  I-i\uik  II.   \VcH\  Ei^. 
THK  VOLXG  ARTISTS 


PAINTERS  AND    ENGRAVERS. 


ordinary  talents  was  appointed  paintress  to  the 
Elector  Palatine.  She  married,  when  young,  a 
portrait  painter,  Jiiri.m  Pool,  and  is  sometimes  called 
by  his  name.  They  lived  together  about  fifty  years, 
and  had  ten  children,  yet  she  always  signed  her 
pictures  with  her  maiden  name.  She  was  more 
successful  in  painting  flowers  than  fruit,  and  she 
chose  exotics  in  preference  to  those  that  were 
indigenous  to  her  country.  She  is  admirable  in 
her  manner  of  grouping  as  well  as  in  pencilling; 
and  each  flower  is  relieved  by  its  neiglibour,  and 
all  kept  in  perfect  harmony.  With  great  taste  and 
judgment  she  introduced  among  her  flowers  the 
insects  peculiar  to  the  country  whence  they  were 
derived  ;  and  these  she  depicted  with  microscopic 
accuracy.  The  labour  she  bestowed  on  her  works 
prevented  their  being  numerous ;  two,  a  flower 
and  a  fruit  piece,  are  said  to  have  occupied  her  for 
seven  years  ;  and  these  she  bestowed  on  one  of  her 
daugliters  as  a  marriage  portion.  Rachel  Ruysch 
continued  the  exercise  of  her  talent  until  she  had 
reached  a  very  advanced  age,  and  died  at  Amster- 
dam in  1750.     Works : 


Amsterdam.      Museum. 


Berliu. 

Brussels. 

Dresden. 

Glasgow. 

Hague. 
Munich. 

Rotterdam. 

Vienua. 


Musfum. 
Ml'.SfUhl. 

GalUry. 

Gallery, 

t, 

Museum. 
Museum. 

Museum. 

Gallery. 

Liechtenstein 

Gallery. 


Flowers. 

A  Bouquet. 

Flowers. 

A  Bouquet. 

Flowers  and  Fruit. 

Three  pictures  of  Flowers  and 
Fruit. 

Flowers  in  a  Vase. 

Flowers  and  Insects. 

Two  Flower  Pictures. 

Five  pictures  of  Flowers  and 
Fruit. 

Flowers. 

Large  Flower-piece. 
I  Two   pictures  of  Flowers  aud 
j      Fruit. 


RUYTEN,  Joannes  Michael,  painter,  bom  at 
Antwerp,  1813.  He  first  studied  under  Regeniorter, 
then  in  Holland  under  W.  J.  Nuyen.  He  painted 
chiefly  views  of  towns  and  coast  scenery,  into 
which  lie  introduced  figures ;  and  he  was  fond  of 
trying  efi"ects  of  light,  wliich  were  not  always 
happy  in  execution.  Ue  also  etched  a  few  plates. 
He  died  in  1881. 

KUYTENSCHILDT,  Abraham,  painter,  born  at 
Amsterdam,  1778,  a  pupil  of  J.  Andriessen  and  of 
P.  Barbiers,  painted  landscape  and  genre  pictures. 
He  died  in  1841. 

RUYVEN,  PiETEB  VAN,  bom  at  Leyden,  1651, 
was  a  pupil  of  Jakob  Jordaens,  and  an  historical 
painter  of  talent.  He  painted  the  triumphal  arch 
for  the  entry  of  William  of  Orange,  King  of  Eng- 
land, into  tlie  Hague.     He  died  in  1716. 

RUZULONE,  PlETRO,  living  at  Palermo  in  the 
15th  century,  was  the  contemporary,  and  probably 
the  pupil,  of  Vigilia.  The  Duomo  of  Termini 
possesses  a  'Crucifixion'  by  this  artist,  where  the 
Virgin,  Evangelists,  and  Mary  Magdalene,  the 
Pelican  and  Serpent,  are  on  one  side ;  with  the 
Resurrection,  and  the  symbols  of  the  Evangelists, 
on  the  other;  it  was  painted  in  1484.  He  is  known 
to  have  been  living  up  to  1517,  but  the  dates  of 
his  birth  and  death  are  alike  uncertain. 

RV.     See  Danckerts. 

RYALL,  Henry  Thomas,  an  English  engraver, 
born  at  Fronie  in  1811.  He  was  a  pupil  of  Sam. 
Reynolds,  and  practised  on  copper  aud  steel, 
adopting  a  combination  of  the  line  and  stipple 
manners.  His  works  won  him  a  considerable  reput- 
ation, and  he  was  appointed  historical  engraver  to 
X  2 


See     De 


engraver, 
From  his 


the  Queen.  Specimen  works  are  to  be  fonnd  in 
'Eminent  Conservative  Statesmen  '  (1836-46),  and 
in  Lodge's  Portraits.  He  died  at  Cookham  in  1867. 
Amongst  his  best  single  plates  are: 

Columbus  at  La  Rabida  ;  after  Wilkie. 
Coronation  of  Queen  Victoria ;  after  Hauler. 
There's  Life  in  the  Old  Dog  yet ;  aft<r  Laniuer. 
Christening  of  the  Princess  Royal ;  after  Leslie. 
The  Holy  Well ;  after  Burton. 

Portraits  of  the  Queen  and  the  Prince  Consort ;  after 
miniatures  by  Sir  William  Ross. 

RYCK,  PiETER  COKNELISZEN  VAN,  painter,  born 
at  Delft  in  1566,  was  first  placed  under  the  tuition 
of  Jacob  Wittemeszen,  but  he  afterwards  became 
a  scholar  of  Hubrecht  Jacobszen.  On  leaving  that 
master  he  went  to  Italy,  and  passed  some  years  at 
Venice,  where  he  formed  his  style  by  studying  the 
works  of  Giacomo  Bassano.  He  painted  history 
and  pastoral  subjects,  which  were  esteemed  in  his 
time.     He  died  at  Delft  in  1628. 

RYCKE,  Bernard,  painter,  bom  at  Courtrai, 
was  made  a  member  of  the  Guild  of  St.  Luke  at 
Antwerp  in  1561.  At  the  church  of  St.  Martin  at 
Courtrai  there  are  two  pictures  by  him:  'Christ 
bearing  the  Cross,'  and  tlie  '  Beheading  of  St. 
Matthew.'  In  1589  he  was  chosen  by  Raphael  van 
Coxcie  as  one  of  the  experts  who  were  to  decide 
upon  the  merits  of  the  '  Last  Judgment,'  painted 
by  that  artist  for  the  town  of  Ghent.  He  died  at 
Antwerp. 

RVCKE,  Daniel.    See  De  Rtckk. 

RYCKE,     Willem     or     William. 
Rycke. 

RYCKER.    See  De  Rtckeb. 

RYCKMAN,  Nicholas,  a  Flemish 
born  at  Antwerp  about  the  year  1620. 
style,  it  is  probable  that  he  was  a  pupil  of  Paul 
Pontius.  His  plates  are  executed  with  the  graver 
in  a  neat,  formal  manner,  and  his  drawing  is 
generally  incorrect.  We  have,  among  others,  the 
following  prints  by  him  : 

The  Adoration  of  the  Magi ;  after  Subens.    The  best 

impressions  are  before  the  address  of  either  Gas. 

Huberti,  or  Corn,  van  Merlen. 
The  Entombment ;  after  the  same. 
Tlie  Holy  Family  ;  after  the  same. 
Christ  and  the  Twelve  Apostles  ;  after  the  same  ;  thirteen 

plates.     The  best  impressions  are  before  the  address 

of  E.  Coniuck. 
Achilles  discovered  by  Ulysses  at  the  Court  of  Lyco- 

medes ;  after  the  same. 

RYCX,  Jan,  born  at  Bruges,  in  1585.  Of  his  life 
and  works  there  is  no  record.  He  was  the  father 
of  three  sons,  Paul  {q.  v.),  Mathias,  and  Nicolas 
{q.  v.),  whose  names  are  all  found  in  registers  of 
the  painters  of  the  period.     Died  1643. 

RYCX,  Nicholas,  (Ryckx,)  the  son  of  Jan,  was 
born  at  Bruges  in  16.37.  It  is  not  said  by  whom 
he  was  instructed;  but  having  learned  the  rudiments 
of  design,  he  embarked  in  a  vessel  bound  for  the 
Levant,  and  travelled  through  Palestine,  where  he 
made  designs  of  the  most  remarkable  views  in  the 
vicinity  of  Jerusalem,  and  delineated  with  great 
precision  the  customs  aud  costumes  of  the  Orientals, 
their  caravans,  camels,  and  modes  of  travelling. 
On  his  return  to  Flanders  he  painted  pictures  of 
those  subjects,  which  were  much  esteemed.  In 
1667  he  was  received  into  the  Academy  at  Bruges, 
where  he  died  after  1695. 

RYCX,  Paul,  the  elder,  son  of  Jan  Rycx,  born  at 
Bruges,  1612,  was  a  historical  painter,  and  became 
a  member  of  the  Corporation  of  Bruges  in  1635. 

307 


A   BIOGRAPHICAL  DICTIONARY  OF 


In  the  Eglise  S.  Sauveur  at  Bruges  tnere  is  a  S. 
Jerome  by  him,  signed  P.  ryczy/i.,  1644. 

RYCX,  Paul,  the  younger,  born  at  Bruges,  1649, 
was  an  active  member  of  the  Corporation  of 
Painters  at  Bruges  between  1672-77.     Died,  1690. 

RYDER,  Thomas,  an  English  engraver,  born  in 
London  in  1746,  was  one  of  the  artists  employed 
by  Boydell  to  engrave  the  Shakespeare  Gallery, 
for  which  he  executed  eight  of  the  large  plates. 
They  are  among  the  best,  and  are  after  Fuseli, 
Stothard,  Smirke,  Northcote,  Ramherg,  Dumo, 
Hamilton,  and  J.  F.  Kigaiid.  He  also  engraved 
after  Angelica  Kaufmann,  Shelley,  and  others.  He 
executed  several  plates  in  the  dotted  manner, 
which  possess  great  merit  Among  others,  are  the 
following : 

The  Captive ;  after  J.  Wright. 
The  Last  Supper  ;  after  ffest. 
The  Murder  of  James  I.  King  of  Scotland ;  after  Opte. 

RYE,  Egidius  de.    See  De  Rye. 

RYLAND,  William  Wynne,  an  eminent  English 
engraver,  born  in  London  in  1732,  was  a  pupil  of 
Simon  Francois  Ravenet,  who  was  at  that  time 
established  in  England.  On  leaving  that  master 
he  went  to  Paris,  where  he  studied  design  for  some 
time  under  Roubillac,  and  received  the  instruction 
of  J.  P.  le  Bas  in  engraving.  After  a  residence  of 
five  years  in  Paris,  where  he  engraved  several 
plates,  he  returned  to  England,  and  was  soon  after- 
wards appointed  engraver  to  the  king.  He  en- 
graved two  whole-lengths  of  his  Majesty,  after 
Ramsay,  and  a  portrait  of  the  Queen,  after  Cotes. 
In  the  hitter  part  of  his  life  he  applied  himself  to 
engraving  in  the  chalk  manner,  partly  after  draw- 
ings by  the  old  masters,  but  principally  from  the 
pictures  of  Angelica  Kauffmann.  This  style  he 
is  said  to  have  first  introduced  into  England,  and 
he  certainly  improved  it.  In  the  work  entitled 
'  A  Collection  of  Prints  in  Imitation  of  Drawings,' 
published  by  Charles  Rogers,  iu  2  vols,  folio,  there 
are  fifty-seven  by  Ryland,  besides  the  admirable 
mezzotint  portrait  of  Rogers  at  the  commence- 
ment. These,  with  few  exceptions,  are  after  the 
old  masters,  chiefly  the  Italian.  Ryland  held  the 
appointment  of  engraver  to  George  III.,  with  a 
pension  of  £200  per  annum  ;  and  he  carried  on  an 
extensive  business  as  a  printseller.  Towards  the 
end  of  his  life  he  entered  into  a  liaison  with  a  young 
woman,  who  involved  him  in  great  expenses,  to 
provide  for  which  lie  stepped  from  the  path  of 
honesty.  In  1783  he  was  tried  on  a  charge  of 
forgery,  condemned,  and,  in  spite  of  the  efforts  of 
his  friends,  hanged.  His  brother  had  very  narrowly 
escaped  the  same  fate  the  year  before,  on  conviction 
of  highway  robbery.  A  short  memoir  of  William 
Ryland  was  published  in  1784.  The  following  are 
perhaps  the  best  of  his  200  plates  : 

George  III. ;  after  Ramsay. 

Queen  Charlotte  ;  after  Cotes. 

John  Stuart,  Earl  of  Bute  ;  after  Ramsay. 

The  Last  Supper  ;  after  Leonardo  da  Vinci. 

God  the  Father  enthroned  on  clouds ;  after  Raphael. 

Antiochus  and  Stratonice ;  after  F.  da  Cortena. 

Jupiter  and  Leda ;  after  F.  Boucher. 

The  Graces  bathing ;  after  the  same. 

Charity ;  after  I'andyck. 

Four  plates  representing  the  Muses,  Urania,  Thalia, 

Erato,  and  Clio  ;  after  Cipriani. 
King  John  siguing  Magna  Cnarta;  after  Mortimer :  this 

plate  was  left  unfinished,  and  completed  by  Bartolozzi 

for  the  benefit  of  Ryland's  widow. 
Fourteen  plates  engraved  for  the  edition  of  Walton's 

Angler  published  by  Sir  John  Hawkins  in  1760. 

308 


The  following  are  all  after  Angelica  Kaiiffmann  : 

Patience;  oval. 

Perseverance;  oval. 

Maria,  from  Sterne's  Sentimental  Journey. 

Telemachus  recognized  at  the  court  of  Sparta. 

Achilles  lamenting  the  Death  of  Patroclus. 

Penelope  awakened  by  Euryclea. 

Eleanor  sucking  the  Poison  from  the  VTound  of  Edward. 

Lady  Elizabeth  Grey  before  Edward  IV. 

The  Judgment  of  Paris. 

Venus  on  her  Car. 

The  Flight  of  Paris  and  Helen. 

Veuus  presenting  Helen  to  Paris. 

Juno  borrowing  the  Cestus  of  Venus. 

A  Sacrifice  to  Pan. 

Cupid  bound,  with  Nymphs  breaking  his  Bow. 

Cupid  asleep,  with  Nymphs  awakening  him. 

Cymon  and  Iphigenia. 

The  Interview  between  Edgar  and  Elfrida  after  her 
marriage  with  Athelwold.  This  plate  was  left  im- 
perfect, and  was  finished  by  Sharp  for  the  benefit  of 
Ryland's  widow. 

RYLEY,  Charles  Reuben,  an  English  historical 
painter,  born  in  London  in  1752,  was  the  son  of  a 
private  in  the  Life  Guards.  For  some  time  he 
worked  with  the  graver,  and  obtained  a  prize  at 
the  Society  of  Arts  in  1767.  Aiming  at  higher 
things,  he  studied  under  J.  H.  Mortimer.  In  1778 
he  obtained  the  gold  medal  of  the  Academy,  where 
he  began  to  exhibit  in  1780.  He  lapsed  into  dis- 
sipated habits,  and  his  works  failed  to  fulfil  their 
early  promise.  He  was  employed  by  the  Duke  of 
Richmond  in  the  decoration  of  Goodwood  House. 
He  also  taught  drawing,  and  illustrated  books.  He 
died  in  London  in  1798. 

RYMSDYCK.     See  Remsijyke. 

RYNE,  John  van,  a  Dutch  engraver,  was  bom  in 
Holland  in  1712.  He  came  to  London,  where  he 
resided  about  the  year  1750.  He  engraved  a 
variety  of  views  in  England,  the  East  Indies,  &c. 
He  died  in  1760. 

RYNVICSH,  C,  a  landscape  painter,  practising 
in  Holland  about  1640,  in  the  style  of  Velvet 
Brueghel. 

RYSBRACK,  Pieter  Andkies,  (or  Rysbreots,) 
born  at  Antwerp  in  1655,  was  a  scholar  of  Francois 
Millet,  whom  he  accompanied  to  Paris.  Followmg 
the  example  of  his  instructor,  he  set  himself  to 
the  study  of  the  landscapes  of  G.  Poussin.  Hie 
pictures  were  much  admired  in  France,  and  en- 
deavours were  made  to  detain  him  in  Paris  ;  but 
attachment  to  his  couutry  prevailed,  and  he  returned 
to  Antwerp,  where  he  was  made  director  of  the 
Academy  in  1713.  The  landscapes  of  Rysbrack 
are  distinguished  by  a  grandeur,  which,  though 
founded  on  Gaspar  Poussin,  lias  sufficient  originality 
to  raise  him  above  the  rank  of  a  mere  plagiarist. 
Rysbrack  etched  six  landscapes.  At  the  bottom 
of  each,  on  tlie  left,  is  inscribed  F.  Rysbrack,  pinx. 
fecit  et  excudit.  They  are  named  from  the  figures 
in  them:  'Diana  at  the  Bath,'  'The  Woman  in  a 
Veil,'  '  The  Fishermen,'  '  Sun-rise,'  '  Conversation 
on  the  Road,'  '  The  Woman  with  the  naked  back.' 
Rysbrack  died  at  Brussels  in  1729. 

RYSBRACK,  Pieter  Andries,  the  younger,  son 
of  the  last  named,  practised  in  Flanders  early  in 
the  18th  century.  He  was  a  member  of  the  Guild 
of  St.  Luke  at  Antwerp  in  1709. 

RYSBROECK,  (or  Reesbroucq,)  Jakob  van, 
engraver,  a  member  of  the  Guild  of  St.  Luke  at 
Antwerp  in  1642.  He  settled  at  Hoogstraeten, 
and  died  there  in  1704. 

RYSEN,  Warnard,  (or  Werner,)  van,  painter, 
born  at  Bommel  about  the  year  1600,  was  a  scholar 


PAINTEBS  AND  ENGRAVERS. 


of  Cornelius  Poelemburg.  He  resided  some  time 
in  Italy,  and  on  his  return  to  Holland  painted  land- 
scapes, T\-ith  historical  figures,  in  the  style  of  his 
instructor,  which  were  held  in  consideration.  He 
is  said  to  have  abandoned  painting,  to  hecome  a 
dealer  in  diamonds. 

RYSZ,  PiETER,  portrait  painter,  practised  at  the 
Hague  in  the  second  half  of  the  i7th  century,  and 
finally  settled  in  England,  where  he  died.  He  -was 
a  pupil  of  J.  de  Baan. 

RYTHER,  Augustine,  an  English  engraver  and 
printseller,  who  flourished  in  London  in  1590.  He 
engraved  some  plates  of  the  Spanish  Invasion ;  a 
curious  map  of  Yorkshire,  with  views  of  York  and 
Hull  in  the  comers ;  and  large  plans  of  London 
and  Westminster  on  wood ;  of  Cambridge  and  of 


Oxford  on  metal,  dated  1578.  The  well-known 
plates  of  the  Spanish  fleets,  with  some  plans  of  forti- 
fications and  batteries  on  the  river  Thames  for  the 
protection  of  London,  are  now  looked  upon  as 
having  been  executed  by  him.  The  map  of  York- 
shire was  one  of  a  complete  series  of  the  counties, 
engraved  under  the  superintendence  of  Christopher 
Saxton,  (who  lived  at  Bingley,  near  Leeds,  between 
1573  and  1579.)  and  published  at  London  in  a  folio 
volume  in  the  latter  year.  Though  the  greater 
number  were  the  work  of  Flemish  engravers, 
eight  at  least  were  by  two  Englishmen,  one  of 
whom  was  Ryther.  The  name  •'  Augustinus  Ryther, 
Anglus,''  occurs  on  the  maps  of  Westmoreland, 
Cumberland,  Gloucestershire,  and  Yorkshire. 


END  OF  VOL.   IV. 


EiCHARD  Clay  k  Sons,  Limited, 

BREAD  STREET  HILL,  E.O.,  AND 
BUNGAY,    SUFFOLK. 


(JA        .{JA, 


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Return  this  material  to  the  library  from  which  it  was  borrowed. 


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