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Bryan,  Michael 
^,j  Bryan's  dictionarv 

of  painters  and 

1185088 
J  REV.  ED,  VOL.  2 


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BRYAN'S    DICTIONARY 


OF 


PAINTERS    AND    ENGRAVERS 


IN   FIVE   VOLUMES 


\m>' 


CAMBRIDGE  :  DEIGHTON,  BELL  &  CO. 
NEW  TORK  :  THE  MACMILLAN  CO. 
BOMBAY  :     A.     H.     WHEELER    &    CO. 


^' 


> 


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    II.     D-G 


THE     MACMILLAN     COMPANY 

LONDON  :  GEORGE    BELL    AND    SONS 

I  903 
A II  rights  reserved 


mh 


NOTE   TO  VOL.   II 

Amongst  English  artists  who  have  died  since  the  issue  of  the  last  edition,  and 
whose  lives  appear  in  this  volume,  should  be  mentioned  those  of  Du  Maurier,  written 
by  Mr.  F.  W.  Whyte ;  Kate  Greenaway,  by  Mr.  G.  Somes  Layard ;  Charles  Green,  by 
Mr.  Clifford  Smith ;  A.  D.  Fripp,  G.  A.  Fripp,  George  D.  Davidson,  Sir  W.  Fettes  Douglas 
and  Walter  Goodall,  all  by  Dr.  Laing ;  Sir  John  Gilbert,  Birket  Foster,  Louis  Fagan, 
Thomas  Faed,  W.  H.  Deverell,  E.  U.  Eddis  and  others.  Of  Old  Masters  whose  lives 
have  been  re-written  in  the  light  of  modern  research,  we  would  direct  special  atten- 
tion to  the  long  biography  of  Giorgione,  the  work  of  Julia  Cartwright  (Mrs.  H.  Ady) ; 
the  important  article  on  Foppa,  written  by  Miss  Constance  Jocelyn  Ffoulkes,  and 
those  of  Downman,  Engleheart,  Fragonard,  Etienne,  De  Caylus,  R.  and  N.  Delaunay 
and  others. 

Many  of  the  existing  biographies  have  been  carefully  examined  and  corrected  by 
the  leading  experts  of  the  day,  so  as  to  embody  in  them  the  latest  information 
without  violating  the  settled  plan  of  the  work.  In  this  way  Mr.  Campbell  Dodgson 
has  corrected  the  life  of  Dtirer ;  Professor  Langton  Douglas  those  of  Benozzo  Gozzoli 
and  Fra  Angelico ;  Mr.  Weale  those  of  Gheeraert  David,  Hubert,  Jan,  Lambert  and 
Margaret  Van  Eyck ;  also  Daret  and  Gossart ;  Mr.  L.  Binyon  those  of  Claude  and 
Girtin ;  Miss  Streeter  that  of  Filipepi  (Botticelli) ;  Mr.  C.  Holroyd  those  of  Duccio 
and  Finiguerra,  almost  re- writing  the  last ;  and  Mr.  Lionel  Cust  that  of  Sir  Anthony 
Van  Dyck. 

In  addition  to  this  there  are  in  this  volume  new  biographies  of  the  following 
artists — Ricliard  Dadd,  Eduard  Daege,  Michael  Dahl,  J.  E.  Dantan,  E.  Dardoize, 
M.  Darby,  William  Daniell,  E.  T.  Daniell,  J.  M.  Donald,  W.  C.  T.  Dobson,  Thomas 
Doughty,  V.  Deroche,  Thomas  Danby,  J.  B.  E.  Detaille,  Sophie  Desaux,  M.  G. 
Desboutin,  N.  Dixon,  George  T.  Doo,  Thomas  Dove,  L.  De  Deyster,  Richard  Doyle, 
A.  Dedreux,  Amaury  Duval,  Jean  Duvet,  F.  De  Braekeleer,  J.  L.  Demarne,  J.  A. 
Duvaux,  J.  L.  Dyckraans,  Jules  Dupre,  F.  J.  and  N.  B.  Dequevauviller,  Mark  Dessurne, 
G.  Den  Duyts,  Karl  Ebert,  C.  D.  Eisen,  Charles  Escot,  Edwin  Ellis,  Henri  Evenepoel, 
Otto  Faber  du  Faur,  John  Faed,  James  Fahey,  E.  F.  Feron,  Eugene  Fichel, 
W.  H.  Fisk,  J.  P.  Flandrin,  Lucien  Falize,  J.  A.  J.  Falquiere,  Leon  Faure,  J.  E. 
Freeman,  C.  T.  Frere,  P.  E.  Frere,  E.  Feyen-Perrin,  Giacomo  Favretto,  C.  F.  Felou, 

F.  Ferramola,  Luis  Falero,  E.  J.  Forster,  F.  L.  FranQais,  A.  Fraser,  Otto  FrbhUcher, 

G.  Fouace,  G.  F.  Gaillard,  P.  T.  and  C.  Galle,  and  the  younger  members  of  that 


vi  NOTE  TO  VOL.  11. 

family,  P.  V.  Galland,  A.  Gastaldi,  E.  Gaujean,  Karl  Gehrts,  W.  H.  L.  Gruner,  Noel 
Gamier,  B.  Galofre,  Wilhelm  Gentz,  A.  Geyer,  T.  Gide,  J.^Gigoux,  A.  Gill,  E.  Gill, 
Margaret  Gillies,  David  De5  Granges,  E.  G.  Giran,  P.  Girardet,  R.  Gleichauf,  James 
W.  Glass,  B.  Goddard,  N.  Goeneutte,  William  Gosling,*  Charles  Gosselin,  —  Gouge, 
T.  R.  Gould,  J.  A.  Goupil,  H.  P.  Gray,  N.  E.  Green,  J.  B.  Greuze,  J.  E.  Gridel,  W. 
H.  L.  Grimes,  H.  C.  Guerard,  0.  E.  Gunther,  L.  Gurlitt,  J.  P.  Gulich,  and  P.  L.  N. 
Grolleron. 

There  are  thus  some  130  new  biographies,  17  have  been  corrected,  added  to, 
and  amended,  and  about  500  separate  corrections  have  been  made  throughout  the 
volume. 


LIST  OF  ILLUSTRATIONS 


ALESSANDRO  FILIPEPI,  called  BOTTICELLI 

The  Magnificat  (Pliotogravure  Plate)    .        .        .      Uffizi  Gallery,  Florence        Frontispiece 

GIROLAMO  DAI  LIBRI 

Madonna  and  Child  with  St.  Anne      ....        Natiorud  GcMery    To  face  p.      2 

C.  F.   DAUBIGNY 

The  Geape-gathekers  of  Burgundy Louvre  „  12 

Spring Louvre  „  12 

GHEERAERT  DAVID 

A  Canon  and  his  Patron  Saint National  Gallery  „  14 

WILLIAM  DAVIS 

View  near  Hale Coltm-t  Collection  „  16 

HENRY  DAWSON 

St.  Paul's  from  the  River Birmingham  Art  Gallery  „  16 

A.   G.   DECAMPS 

Released  from  School Wallace  Gallery  „  22 

The  Watering-place Wallace  Gallery  „  22 

LUCAS   DE    HEERE 

Mary  Tddor •  »  28 

PIETER  DE   HOOCH 

Courtyard  of  a  Dutch  House National  Gallery  „  30 

An  Interior Natioiud  Gallery  „  30 

PIETRO   DEI   FRANCESCHI,  called   PIERO   DELLA   FRANCESCA 

Sigismondo  Malatesta  kneeling  before  St.  Sigismund 

Malaf<'sta  Temple  {San  Francesco),  Rimini  „  32 

The  Madonna  and  Child  with  Angels  and  Saints  and  Federigo,  Poke 

OF  Urbino Brera  Gallery,  Milan  „  32 

PAUL  DELAROCHE 

The  Death  of  Queen  Elizabeth Luucre  „  42 

ANTONIO  DEL  POLLAJUOLO 

St.  Sebastian Pittl  Palace,  Florence  „  54 

Portrait  of  a  Geniteman Corsini  Gallery,  Florence  „  64 

ANDREA  DEL  VERROCCIIIO 

The  Baptism  of  Christ Accackmia,  Florence  „  66 

WALTER   HOWELL   DEVERELL 

Scene  from  'Twelfth  Night'      .        .  Mrs.  A.  Steele  Roberts' Collection  „  64 

NATHANIEL  DIXON 

The  Duke  OF  Gbafton  AS  A  Boy  .        .        .        .   Montagu  House  Collection  „  76 


viii  LIST  OF  ILLUSTRATIONS. 

WILLIAM  DOBSON 

PoETEAiT  OF  Endymion  Poeteb National  Gallery    To  face  p.    76 

CARLO  DOLCI 

Madonna  and  Child PUti  Palace,  Florence  „  78 

PAOLO  DI  BONO,  called  PAOLO  UCCELLO 

The  Battle National  Gallery  „  80 

GIOVANNI   DOSSI,  called   DOSSO   DOSSI 

The  Archangel  Michael Dresden  Gallery  „  84 

GERARD   DOU 

The  Poulterer's  Shop National  Gallery  ,,  84 

The  Grocer's  Shop Buckingimm  Palace  „  84 

SIR  W.  FETTES  DOUGLAS 

The  Curiosity  Shop,  Rome      ....     Mr.  John  Wordie's  Collection  „  8G 

PIERRE   IMBERT   DREVET 

Bishop   Bossdet  (After  H.  Eigrmd) ,,  88 

FRANgOIS  HUBERT  DROUAIS 

Amelia,  ninth  Baroness  Conyers  .       Collection  of  the  Countess  of  Yarborovgh  „  90 

A  Lady South  Kensington  „  90 

DUCCIO 

The  Madonna  and  Child  with  Angels  and  Saints     .         National  Gallery  „  92 

KAREL  du  jardin 

Landscape  with  Cattle  reposing  ....         National  Gallery  „  98 

Mountain  Pasture  Scene  with  Cattle         .        .        .    Buckingham  Palace  „  98 

ALBRECHT   DURER 

Portrait  of  Hieeonymus  Holzschuher  (Pliotogravure  Plate)    Berlin  Gallery  „  104 

The  Munich  Altar-piece Munich  Gallery  „  106 

The  Flight  into  Egypt  (Woodcut) „  106 

ANTHONY   VAN   DYCK 

Philip  Lord  Wharton  {Photogravure  Plate)  .        .        .        .St.  Petersburg  „  108 

Charles  I Louvre  „  110 

Thomas  Wentworth,  Earl  of  Strafford,  and  his  Secretary  Sir  Philip 

MAmv/Amtia  [Photogravure  Plate)    .        .    Wentworth  Woodhouse  Gallery  „  112 

SIR  CHARLES  L.  EASTLAKE 

Christ  lamenting  over  Jerusalem        ....         Natiotial  Gallery  ,.  1 IG 

GfiRARD   EDELINCK 

John  Dryden  [After  Kneller) „  118 

AUGUSTUS   L.    EGG 

Beateix  knighting  Esmond National  Gallery  ,,  120 

GEORGE    EXGLEHEART 

Miss  Bedingfeli) UTr- J.  P.  Morgan's  Colledion  \ 

Miss  Ann  Pritchard Mr.  George  Mackey's  Collection  f  -,^ 

A  Giel  (name  unknown)  .....  „  „  T  ' 

Miss  Hestee  Woolley „  „  ' 

WILLIAM   ETTY 

Youth  at  the  Prow  and  Pleasure  at  the  Helm       .  National  Gallery  „  132 

JAN  VAN  EYCK 

Jan  Arnolfini  and  his  Wife  [Photogravure  Plate)       .         N<(tioiial  Gallery  „  1.3G 

Man  with  a  Pink Berlin  Gallery  „  1.3G 

The  Adoration  of  the  Lamb St.  Bavon,  Glient  ,,  1.3(j 


LIST  OF  ILLUSTRATIONS. 

JOHAN  FABER  THE  ELDER 

James  I Mr.  De  Pass'  Collection    To  face  p.  138 

THOMAS   FAED 

Faults  on  both  Sides Tate  Gallery  „  140 

In  Time  of  War Liverpool  Gallery  „  142 

WILLIAM  FAITHORNE 

Barbara  Villiers,  Dochess  of  Cleveland,  wife  of  Roger  Earl  of  Castle- 

MAiNE  ........  Montagu  House  Collection  „  144 

Prince  Rupert  {After  Van  Dtjck) „  144 

GAUDENZIO   FERRAEI 

The  Choir  of  Angels Saronno  „  156 

The  Martyrdom  of  St.  Catharine         .        .        .         Brera  Gallery,  MUan  „         156 

A.  V.  COPLEY  FIELDING 

View  in  Sussex Tate  Gallery  „  160 

GIOVANNI   DA   FIESOLE,   called    FRA  ANGELICO 

The  Great  Crucifixion  (Photogravure  Plate)  .  San  Marco,  Florence  „  162 

The  Assumption  and  Dormition  of  the  Virgin    .         .  Mrs.  J.  L.  Gardner's 

Collection  „  162 

Christ  as  a  Pilgrim  met  by  two  Dominicans       .  San  Marco,  Florence  „  1C2 

ALESSANDRO  FILIPEPI,  called   BOTTICELLI 

Madonna    and    Child    with   Angel   (Chigi   Madonna)   (Photogravure  Plate) 

Mrs.  J.  L.  Gardner's  Collection  „  164 

EDWARD  FISHER 

Gaurick  between  Tragedy  and  Comedy  (After  Beynolds)     ....  „         168 

Lady  Sarah  Bunbury  (After  Reynolds) .  „  168 

THOMAS   FLATMAN 

John  Lord  Somers,  Lord  High  Chancellor.     Dr.  G.  C.  Williamson's  Collection  \ 

Sir  Thomas  Henshaw,  Ambassador  to  Denmark  and  Norway  |         „  170 

Portrait  of  the  Artist         ....      Victoria  and  Albert  Museum  J 

VINCENZO  FOPPA 

The  Adoration  of  the  Magi National  Gallery  „  178 

MARIANO  FORTUNY  Y  CARB6 

Portrait  of  a  Boy .  „         180 

The  Spanish  Marriage  (La  Vicaria)      .  Marquis  de  Carcano's  Collection  „         182 

J.    H.   FRAGONAED 

La  Foire  de  St.  Cloud   .         .         .        .    M.  Leopold  Goldschmidtfs  Collection  „  184 

TADDEO  GADDI 

Christ  Deposited  in  the  Sepulchre      ....    Accademia,  Florence  „  206 

St.  Peter  walking  on  the  Sea.     Spanish  Chapel,  Sta.  Maria  Novella,  Florence  „         206 

THOMAS  GAINSBOROUGH 

Master  Buttall  (The  Blue  Boy)  (Photogravure  Plate)  Duke  of  Vf^estminster's 

Collection  „  208 

TuE  Parish  Clerk National  Gallery  „  208 

CLAUDE  GELLfiE,  called  CLAUDE  DE  LORRAINE 

Embarkation  of  the  Queen  of  Sheba          .        .         .  National  Gallery  „  224 

Cephalus  and  Procris National  Gallery  „  224 

SIR  JOHN  GILBERT 

Richard  II.  resigning  the  Crown  to  Bolingbroke     .         Liverpool  Gallery  „         240 


\v 


LIST  OF  ILLUSTRATIONS. 

LUCA  GIORDANO 

The  Judgment  of  Paris Berlin  Gallery    To  face  p.  244 

GIORGIONB 

The  Jodgment  of  Solomon     ....      Mr.  Ralph  Banked  Collection  „  24G 

The  Concert  Pitti  Palace,  Florence  „  2-18 

GOYA  Y  LUCIENTES 

A  Lady „  264 

JAN  VAN  GOYEN 

A  River  Scene Amsterdam  Gallery  „  266 

Scene  keab  Amsterdam Amsterdam  Gallery  „  266 

BENOZZO  GOZZOLI 

The  Arrival  of  the  Three  Kings        .        .      Palazzo  Biccardi,  Florence  „  266 

Paradise Palazzo  Biccardi,  Florence  „  266 

VALENTINE  GREEN 

Mart  Isabella,  Ddchess  of  Rutland  {After  Beynolds)        ....  „  274 

Lady  Betty  DelmiS  and  her  Children  {After  Beynolds)     ....  „  274 

J.  B.  GKEUZE 

L'Accokd^e  de  Village Louvre  „  278 

Innocence Wallace  Gallery  „  278 

FRANCESCO  GUARDI 

Sak  Giorgio  Maggiore National  Gallery  „  284 

TOMMASO  GUIDI,  called  MASACCIO 

Adam  and  Eve  driven  from  Paradise  .         .         Carmine  Church,  Florence  „  288 

An  Old  Man UJfizi  Galler%j,  Florence  „  288 


BIOGRIPHICAL    DICTIONARY 


OF 


PAINTERS   AND   ENGRAYERS 


DA,  Abraham,  an  engraver,  was  probably  a 
native  of  Germany,  as  be  appears  to  have  imitated 
the  style  of  Theodor  De  Bry.  There  is  a  plate  by 
him  of  '  The  Last  Supper,'  executed  with  the  graver 
in  a  neat  but  stiff  style,  and  inscribed  Abraham 
Da  fecit ;  from  which  it  may  be  presumed  that  it 
is  from  his  own  design. 

DA  ANNUNCIAgAO,  Thomas  Jose,  who  was 
born  at  Ajuda  near  Lisbon,  in  1821,  learned  his 
art  in  the  Academy  of  that  city,  and  afterwards 
travelled  through  Spain  and  France.  He  was  prin- 
cipally an  animal  painter,  and  was  considered  the 
best  artist  in  that  branch  of  art  in  the  Peninsula ; 
but  he  occasionally  executed  genre  pictures.  He 
was  Director  of  the  Academy  of  Fine  Arts  at 
Lisbon,  where  he  died  in  1879.  The  following  are 
some  of  his  most  noteworthy  works  : 

Lisbon.    Gahria  Nacianal.   View  of  Amora. 

„  „  Two  Women  at  a  Fountain. 

„  „  View  of  the  Penhade  Franca. 

„  ,,  Oxen  treading  out  Cora  at 

Ribatejo, 
„  „  After  Pasture — View  on  the 

Tagus. 
„  „  The  Sliepherd's  Rest.    1852. 

DA  BOS,  Laurent,  a  painter  of  portraits  and 
of  historical  and  genre  subjects,  who  was  born  at 
Toulouse  in  17G1,  was  instructed  by  Francois  An- 
dr^  Vincent,  and  first  exhibited  at  the  Exposition 
de  la  Jeunesse  in  1788.  Among  his  works  may  be 
mentioned  :  '  Mary  of  England,  Queen  of  France, 
lamenting  the  death  of  her  husband,  Louis  XII.,' 
'  The  Return  of  the  Grande  Arm^e,'  and  '  Louis 
XVI.  writing  his  Will,'  a  picture  painted  in  the 
Temple  during  the  captivity  of  the  royal  family. 
Besides  these  he  painted  from  life  the  portrait  of 
the  Dauphin  (Louis  XVII.).  He  died  in  Paris  in 
1835.  His  wife,  Jeanne  Bernard,  who  was  a  pupil 
of  Madame  Guyard,  also  painted  genre  subjects. 
She  was  born  at  Luneville  in  1763,  and  died  in 
1842. 

DAGH,  Jean.    See  Aachen,  Johann  von. 

DACHBRETT,  Peter.     See  TAfiPRET. 

DA  CUNHA  TABORDA,  Jos£,  a  Portuguese 
painter  and  architect,  was  born  at  Fundao,  in  the 
diocese  of  Guarda,  in  1766.  After  studying  paint- 
ing under  Joaquim  Manoel  da  Rocha,  he  went  in 
1788  to  Rome,  where  he  placed  himself  under  the 

VOL.  II.  B 


tuition  of  Antonio  Cavallucci,  and  gained  reputation 
by  a  picture  of  '  The  Summoning  of  Cincinnatus 
to  the  Dictatorship.'  After  his  return  to  Portugal 
he  was  in  1799  appointed  professor  at  the  Lisbon 
Academy,  and  in  1803  court  painter,  in  which 
capacity  he  painted  in  the  royal  palace  of  Ajuda 
and  the  hall  of  the  Cortes.  There  is  no  mention  of 
the  date  of  his  death. 

DADD,  Richard,  the  son  of  a  chemist  at  Chat- 
ham, was  born  in  that  town  in  1817.  On  the 
removal  of  his  father  to  London  to  take  over  the 
business  of  a  dealer  in  art  objects,  Dadd  joined 
the  schools  of  the  Royal  Academy,  and  started  as 
a  painter  of  genre  pictures.  In  IBiiS  he  contributed 
for  the  first  time  to  the  Royal  Academy,  exhibiting 
a  picture  entitled  '  Antfling.'  Then  followed 
'Study  of  a  Head'  (1839),  'Alfred  the  Great  in 
Disguise  of  a  Peasant'  (1840),  and  in  1841  a  suc- 
cessful work,  'Titania  Sleeping,'  which  attracted 
some  attention.  At  the  exhibitions  of  the  Society 
of  British  Artists  he  exhibited,  among  other 
pictures,  the  following  in  oils  and  water-colours — 
'  Head  of  a  Man  '  (1837), '  Scene  in  Whitsand  Bay  ' 
and  'Coast  Scene,  Hastings'  (1838),  'Don 
Quixote'  and  'Boy  Reading'  (1839),  'Scene  from 
"As  you  like  it"'  (1840),  and  'When  I  speak, 
let  no  Dog  bark'  (1841).  His  most  important 
work  was  a  series  of  upwards  of  a  hundred  pic- 
tures with  subjects  chosen  from  Byron's  '  Man- 
fred '  and  Tasso's  '  Jerusalem  DeHvered,'  which  he 
painted  for  Lord  Foley.  In  1842,  for  Hall's  '  Book 
of  British  Ballads,'  he  illustrated  the  ballad  '  Robin 
Qoodfellow.'  In  the  summer  of  the  same  year,  in 
company  with  Sir  Thomas  Philips,  to  whom  he 
had  been  introduced  by  his  friend  David  Roberts, 
he  left  London  on  a  journey  to  Egypt,  travelling 
through  Italy,  Greece,  and  Asia  Minor.  Dadd, 
who  had  already  showed  signs  of  weakness  of  the 
brain,  appears  to  have  suilered  from  sunstroke  in 
Egypt,  and  on  his  way  home  suddenly  left  his 
friend,  and  returned  to  London  in  the  spring  of 
1843.  During  the  journey  and  the  months  suc- 
ceeding his  return  he  produced  some  excellent 
work  in  water-colours,  including  'Tombs  of  the 
Khalifs,  Cairo,'  '  Entrance  to  an  Egyptian  Tomb,' 
and  '  Eastern  Scene,  Rocky  Landscape,'  and  con- 
tributed to  a  Liverpool  exhibition  a  scene  entitled 
'  Arabs.'     The  cartoon,  however,  which  he  sent  to 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  Westminster  Hall  competition  proved  the 
unsound  condition  of  his  mind.  Towards  the 
autumn  of  the  same  year  his  mind  became  seriously 
unhinged,  and  he  was  constantly  watched  by  his 
father.  On  the  28th  of  October  he  accompanied 
his  father  to  Cobham  Park,  Surrey,  and  there 
murdered  him,  and  fled  to  France.  Near  Fontaine- 
bleau  his  attack  upon  a  fellow-traveller  led  to  his 
capture  and  identification.  He  was  acquitted  on 
the  plea  of  insanity,  and  sentenced  to  imprison- 
ment for  life  in  Bethlehem  Hospital.  During  his 
confinement  he  was  allowed  to  follow  his  profes- 
sion, and  produced  several  highly-finished  but 
eccentric  works  in  water-colours,  of  which  '  Christ 
rescuing  St.  Peter  from  the  Waves'  (185-J), 
'  Sketch  to  illustrate  the  Passions— Patriotism  ' 
(1857),  and  'Leonidas  with  the  Wood-cutters' 
(1873),  are  in  the  Victoria  and  Albert  Museum, 
South  Kensington.     He  died  in  1887. 

DADDI,  Bernardo,  a  Florentine  painter,  was 
the  contemporary  and  colleague  of  Jacopo  Landini 
di  Caeentino  in  the  formation  of  the  Academy  of 
St.  Luke  at  Florence  in  1349.  He  was  born  towards 
the  close  of  the  13th  century,  and  was  one  of  the 
most  able  of  the  pupils  of  Giotto.  He  painted  in 
fresco  the  histories  of  St.  Lawrence  and  St.  Stephen 
in  the  Berardi  chapel  in  Santa  Croce,  and  also  the 
gates  of  the  old  city  of  Florence ;  but  the  only 
frescoes  which  remain  are  those  representing  the 
Martyrdoms  of  St.  Stephen  and  St.  Lawrence.  In 
1346-7  he  painted  his  best  work,  the  miracle- 
working  picture  of  the  Virgin,  which  is  still  in 
Or  San  Michele  at  Florence.  His  death  took 
place  in  1360. 

Besides  the  above-mentioned,  the  following 
works  by  Daddi  are  extant : 

England.  The  Crucifixion  {formerly  in  the 

church  of  St.  George  at  Riihalla). 
1348. 
Florence.  Accademia.  Virgin  enthroned,  with  two  Saints 
{central  portion  of  a  small  trip- 
tych, erroneously  ascribed  in  the 
cataloyueto  Bernardo  Orcayna). 
1332? 
„  Ognissanti.     Virgin  and  Child,  with  St.  Mat- 

thew and  St.  Nicholas.     1328. 
Pisa.        Campo  Santo.     Frescoes  of  the  Tri\imph  of  Death, 
the   Last  Judgment,  and  the 
Inferno. 
Siena.  Istituto  di  \  Virgin  and  Child,  with  Saints  (o 

Belle  Arti.]     small  triptych).     1336. 
^j  „  Virgin  and  Child,  with  a  corona 

of  Saints  in  adoration  {central 
portion  of  a  triptych). 

DADDI,  CosiMO,  was  a  native  of  Florence,  who 
flourished  about  the  year  1614.  He  was  a  scholar 
of  Battista  Naldini,  and  painted  historical  subjects 
with  much  skill ;  but  he  is  better  known  as  having 
been  the  master  of  Volterrano.  Several  of  his 
works  are  noticed  by  Baldinucci,  particularly  a 
picture  of  the  '  Visitation  of  the  Virgin  to  St.  Eliza- 
beth,' and  some  subjects  from  the  Life  of  the 
Virgin,  at  the  monastery  of  San  Lino,  at  Florence. 
In  the  church  of  Or  San  Michele  is  an  altar-piece, 
representing  the  Archangel  discomfiting  the  rebel 
Angels.  Daddi  died  of  the  plague  in  1630.  Zani 
says  that  his  name  was  Dati,  and  that  he  painted 
in  1588. 

DADURE,  Marie  Michel  Alphonse,  a  French 
portrait  and  historical  painter,  who  was  a  pupil  of 
Ingres,  was  bom  in  Paris  in  1804,  and  died  there 
in  1868.  His  best  work  is  the  '  Pilgrimage  of  St. 
Helena,  Queen  of  Sweden.' 

DAEGE,  Eduard.  This  artist  was  born  in  Berlin 
2 


in  1805,  and  was  a  pupil  of  Niedlich  and  Wach. 
He  became  a  member  of  the  Academy  of  Berlin 
and  eventually  Professor  of  the  same  school, 
where  as  a  lad  he  had  taken  many  prizes.  He 
went  to  Italy  in  1832,  and  this  journey  and  the 
long  time  which  he  spent  in  the  country  had  a 
marked  effect  upon  his  painting.  At  the  National 
Gallery  of  Berlin  there  are  two  of  his  best  works, 
'  The  Old  Sacristan,'  and  '  The  Invention  of  Paint- 
ing.'    He  died  in  1883. 

DAEHLING,  Heinrich  Anton,  a  historical  and 
genre  painter,  was  bora  at  Hanover  in  1 773.  In 
1794  he  went  to  Berlin,  where  he  was  engaged  in 
miniature  painting  and  as  a  teacher  of  drawing. 
In  1802  he  visited  Paris,  and  the  study  of  the 
galleries  there  first  induced  him  to  attempt  paint- 
ing in  oil.  From  1811  until  his  death  he  was  a 
member  of  the  Berlin  Academy,  and  professor  at 
the  same  from  1814  onwards.  He  died  at  Pots- 
dam in  1850.  One  of  his  most  famous  pictures  is 
'  The  Descent  from  the  Cross,'  the  altar-piece  at  the 
Garrison  Church  in  Potsdam.  In  the  Berlin  Gal- 
lery is  a  '  State  Entry,'  painted  by  him. 

DAEL,  Jan  Frans  van,  an  excellent  painter  of 
fruit  and  flowers,  was  born  at  Antwerp  in  1764,  but 
went  early  to  Paris  and  settled  there.  He  was 
self-instructed  in  art,  but  made  such  progress  that 
he  soon  distinguished  himself  at  the  exhibitions, 
on  one  occasion  obtaining  the  prize  of  4000  francs, 
and  on  two  others,  the  large  gold  medal.  His 
stj'le  is  in  the  manner  of  Van  Huysum  and  Van 
Spaendonck,  although  he  did  not  confine  himself 
strictly  to  fruit  and  flowers,  but  painted  other  sub- 
jects, in  which  such  objects  might  with  propriety  be 
introduced.  Two  of  his  pictures,  which  he  painted 
for  the  Empress  Josephine,  represent  '  An  Offering 
to  Flora,'  and  '  The  Tomb  of  Julia '  ;  the  latter  is 
now  in  the  Louvre.  His  master-piece,  known  as 
'  La  Croisee,'  the  fruit  of  three  years'  labour,  was 
likewise  purchased  by  the  Empress  Josephine,  and 
is  now  in  a  private  collection  at  Liege.  He  was 
also  patronized  by  the  Empress  Marie  Louise,  who 
took  one  of  his  pictures  with  her  to  Parma.  He 
died  in  Paris  in  1^40,  and  was  buried  in  the  ceme- 
tery of  Pere  Lachaise  by  the  side  of  his  friend  Van 
Spaendonck.  The  Louvre  has  also  by  him  three 
pictures  of  '  Flowers  '  and  one  of  '  Fruit.' 

DAELE.  Jan  van,  a  Flemish  landscape  painter, 
who  was  born  at  Antwerp  in  1530,  and  died  in 
1601,  excelled  in  representing  mountainous  and 
rocky  scenery.  Balkema  erroneously  names  him 
Cornells. 

DAELENS,  Dirk  van.  See  Deelen. 
DAERINGER,  Johann  Georg,  an  Austrian  his- 
torical painter,  was  born  at  Ried  in  1759.  He 
painted  many  altar  pictures,  and  held  the  post  of 
corrector  of  the  Academy  at  Vienna,  where  he 
died  in  1809. 

DAFFINGER,  MoRiz  Michael,  a  distinguished 
miniature  painter,  who  has  been  called  the  Austrian 
Isabey,  was  born  at  Vienna  in  1790.  While 
studying  at  the  Academy  under  Fiiger  he  showed 
considerable  talent  for  portrait  painting,  which  he 
improved  at  a  later  period  by  a  study  of  the 
manner  of  Lawrence,  who  visited  Vienna  during 
the  Congress  of  1814.  DafiEnger  painted  portraits 
of  the  Duke  of  Reichstadt  and  many  of  the 
nobility  of  the  court  of  Vienna,  and  etched  four 
plates,  one  of  which  was  his  own  portrait.  He 
died  at  Vienna  in  1849. 

DA'  FKDTTI,  II  Gobbo.     See  Bonzi. 

DAGIU,   Francbsco,   called   II   Capella,   who 


GIROLAMO  DAI   LIBRI 


Hanfstangl  plioto\ 


\_Ndtional  Gallery 


MADONNA  AND  CHILD  WITH  ST.   ANNE 


PAINTERS  AND   ENGRAVERS. 


was  born  at  Venice  in  1714,  was  a  scholar  of 
Giovanni  Battista  Piazzetta.  He  painted  history, 
and  was  chiefly  employed  for  the  churches  at  Ber- 
gamo, and  by  the  state.  One  of  his  best  pictures 
is  '  St.  George  and  the  Dragon,'  in  the  church  of 
San  Bonate.     He  died  in  1784. 

DAGLEY,  Richard,  an  English  subject 
painter,  was  born  in  the  latter  half  of  the  18th 
century.  He  was  brought  up  at  Christ's  Hospital, 
and  at  first  made  designs  for  jewellery.  From  1784 
to  1806  he  exhibited  domestic  subjects  at  the 
Royal  Academy.  He  then  turned  his  attention  to 
teaching  drawing,  but  again  appeared  at  the  Aca- 
demy from  1815  to  1833.  As  a  medallist  he  obtained 
some  success,  and  he  published  works  on  Gems  in 
1804  and  1822.  His  life  was  a  continued  struggle 
against  poverty.     He  died  in  London  in  1841. 

DAGLI  OCCHIALI,Gabriele.  SeeFERRANTiNi. 

DAGLI  OCCHIALI,  Gasparo.     See  Wittel. 

DAGNAN,  Isidore,  a  French  landscape  painter, 
was  born  at  Marseilles  in  1794,  and  died  in  Paris 
in  1873.  Among  his  pictures,  which  consist 
chiefly  of  views  in  Southern  France,  Italy,  and 
Switzerland,  are  the  following  : 

Fontainebleau.        Palace.       View  of  Lausanne.     1822. 
„  „  View  in  Dauphin^.     1827. 

Versailles.  Trianon.    Lake  of  Geneva.     1822. 

„  „  View  of  Paris  from  the  Quai 

de  la  Cit6, 1831  (one  of  his 

best  works). 
„  „         Banks  of    the    Vigne    near 

Vaucluse. 
„  „  Valley  of  the  Lauterbrunnen. 

1841. 
„  „  Petrarch's  House. 

„  „  Old  Beeches  in  the  Forest  of 

Fontainebleau. 

D'AGOTY,  Gauthier.     See  Gaitthier  d'Agoty. 

DAGUERRE,  Lonis  Jacques  MandS,  a  French 
scene-painter,  was  born  at  Cormeilles-en-Parisis  in 
Normandy  in  1787.  He  studied  under  Degoti,  and 
very  soon  surpassed  all  other  masters  in  the  art  of 
theatrical  decoration.  In  1822,  in  conjunction  with 
Bouton,  he  founded  at  Paris  the  Diorama,  which 
enjoyed  great  popularity  until  its  destruction  by 
fire  in  1839.  But  the  great  event  of  Daguerre's 
life  was  his  discovery  of  the  art  of  photography, 
or,  as  it  was  named  after  him,  the  Daguerreotype. 
His  first  experiments  were  made  in  1826,  and  in 
1829  he  associated  himself  with  Niepce,  who  had 
since  the  year  1814  been  endeavouring  to  solve  the 
problem  of  fixing  the  image  formed  in  the  camera 
obscura.  The  discovery  was  ceded  to  the  public 
in  1839,  when  Daguerre  received  a  pension  of 
6000  francs.  He  died  suddenly  at  Petit-Bry-sur- 
Marne,  near  Paris,  in  1851. 

DAHL,  Johan  Christian  Clausen,  a  Norwegian 
landscape  painter,  was  born  at  Bergen  in  1788. 
His  parents  wished  him  to  enter  the  Church,  but 
lie  speedily  followed  his  own  inclination  for  art. 
In  1811  he  attended  the  Academy  of  Copenhagen, 
and  in  1818  went  to  Dresden.  Later  on,  he  travelled 
in  the  Tyrol  and  Germany,  and  repeatedly  visited 
his  native  country,  whose  coasts  and  fiords,  lakes 
and  towns,  he  painted  with  loving  exactitude,  but 
with  a  singular  dryness.  He  likewise  etched  four 
plates.  Dahl  died  at  Dresden  in  1857.  His  '  Storm 
at  Sea,'  in  the  Berlin  Gallery,  and  his  '  Winter 
Landscape,'  in  the  Munich  Pinakothek,  are  paintings 
worthy  of  mention. 

DAHL,  Michael,  a  Swedish  portrait  painter, 
was  born  at  Stockholm  in  1656,  and  received  some 
instruction  from  Ehrenstral,  an  esteemed  Swedish 


artist.  At  the  age  of  twenty-two  he  came  to 
England,  but  did  not  at  that  time  remain  longer 
than  a  year ;  he  continued  his  travels  in  search  of 
improvement  through  France  to  Italy,  where  he 
studied  for  some  years,  and  whilst  at  Rome  painted 
the  portrait  of  the  celebrated  Queen  Christina  of 
Sweden.  In  1688  he  returned  to  England,  where 
he  found  Sir  Godfrey  Kneller  rising  to  the  head  of 
his  profession  ;  but  Dahl  possessed  sufficient  merit 
to  distinguish  himself  as  no  mean  competitor. 
Queen  Anne  and  Prince  George  of  Denmark  both 
sat  to  him.  He  died  in  London  in  1743.  Amongst 
his  more  notable  portraits  should  be  mentioned  : 

Equestrian  portrait  of  Charles  XI.  of  Sweden  (  Wind- 
sor). Full-length  portrait  of  Queen  Anne  and  her 
son  {National  Portrait  Gallertj).  Portraits  of  Lady 
Anne  Harvey,  Barbara  Lady  Longueville,  Racln'l 
Duchess  of  Devonshire,  the  Duchess  of  Ormond, 
Anne  Countess  of  Carlisle,  Margaret  Countess  of 
Pembroke,  Juliana  Lady  Howe,  and  Jane  Countess 
of  Portland  {all  at  Petworth  Park).  Mr.  Arthur 
Vausittart  and  Anne  Lady  Coleraine  {North  Cray 
Park,  Kent). 

DAHLEN,  Reiner,  who  was  born  at  Cologne  in 
1836,  was  originally  brought  up  as  a  saddler,  but 
chose  to  devote  himself  to  art,  and  studied  at  the 
Academy  of  Diisseldorf.  He  visited  England, 
North  America,  and  Paris.  His  works  mostly 
represent  horses,  carriages,  hunting  parties,  and 
so  forth.  Although  there  is  a  study  of  nature 
exhibited  in  his  paintings,  his  peculiarly  original 
style  did  not  meet  with  much  approbation.  He 
died  at  Diisseldorf  in  1874. 

DAHLSTEIN,  Adgustin,  a  German  painter  who 
flourished  in  the  middle  of  the  18th  century,  was  a 
native  of  Cassel.  He  visited  Sweden  and  Russia, 
and  etched  a  series  of  50  plates  of  the  '  Cries  of 
St.  Petersburg  and  Moscow.' 

DAIGREMONT,  M.,  was  a  French  engraver, 
who  flourished  from  about  1670  to  about  1700. 
He  engraved  some  of  the  plates  for  Berain's 
'  Ornemens,'  and  several  views  of  Versailles. 

DAI  LIBRI,  Francesco,  the  elder,  born  at  Ve- 
rona in  1452,  was  the  son  of  Stefano  dai  Libri,  an 
illuminator  of  books.  He  was  the  father  of  Giro- 
lamo  dai  Libri,  and  is  known  as  an  illuminator  of 
choir  books  for  the  churches  of  his  native  city. 

DAI  LIBRI,  Francesco,  the  younger,  the  grand- 
son of  the  above  and  son  of  Girolamo  dai  Libri, 
was  born  in  1500,  and  lived  chiefly  at  Venice  and 
at  Padua.  He  was  at  first  a  painter  of  miniatures, 
but  afterwards  a  painter  in  oil  and  an  architect. 

DAI  LIBRI,  Girolamo,  the  eon  of  Francesco 
dai  Libri,  was  born  at  Verona  in  1474.  He  was 
brought  up  by  his  father  to  his  own  profession 
of  a  miniature  painter  and  illuminator  of  books, 
but  he  soon  abandoned  its  pursuit.  His  earlier 
style  inclines  to  that  of  Andrea  Mantegna.  His 
first  picture,  painted  when  he  was  only  sixteen,  is 
in  the  church  of  Malcesine,  on  the  Lake  of  Garda, 
and  represents  the  '  Deposition  from  the  Cross,  with 
the  Virgin  and  Saints.'  In  the  Museum  of  Verona 
is  a  painting  representing  '  The  Virgin,  St.  Joseph, 
St.  John  the  Baptist,  and  St.  Jerome,  adoring  the 
Infant  Christ ' ;  and  at  Sant'  Anastasia  in  the 
same  city,  is  a  '  Madonna  and  Child  with  Saints, 
which  is  one  of  his  earliest  productions.  In  1515 
he  and  Francesco  Morone  painted  the  organ  shutters 
of  Santa  Maria  in  Organo,  which  are  now  at  Mal- 
cesine. In  1526  he  finished  his  masterpiece,  the 
'  Virgin  and  Child  enthroned,  between  Lorenzo 
Giustiniani  and  St.  Zeno,'  at  San  Giorgio  Maggiore 

3 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  Verona ;  and  of  about  the  same  period  is  tlie 
'  Virgin  and  Cliild,  with  SS.  Anne  and  Joachim  and 
two  donors,'  in  the  church  of  San  Paolo  in  the 
same  city.  In  1530  were  executed  the  'Virgin 
and  Saints,'  for  the  church  of  the  Vittoria  Nuova, 
and  the  'Virgin  in  Glory,  with  SS.  Andrew  and 
Peter,'  for  Sant  Andrea;  both  pictures  are  now 
in  the  Gallery  of  Verona.  Girolamo  died  at  Ve- 
rona in  1556.  Guilio  Clovio  and  his  son,  Francesco 
dai  Libri,  were  his  pupils.  He  never  painted  in 
fresco,  and  his  works  are  rare  out  of  his  native  city. 
Pictures  by  him  are  in  the  foUowng  collections : 

Berlin.         Gallery.  Virgin  and  Child,  between  SS- 

Bartliolomew  and  Zeno. 

London.  Nat.  Gallery.  Madonna  and  Child,  with  Saint 
Anne. 

Paris.  Louvre.  Virgin  and  Child. 

DAIWAILLB,  Jean  AnousTiN,  a  Dutch  portrait 
painter,  was  born  at  Cologne  in  1786,  and  went 
when  young  to  Amsterdam  where  he  studied  under 
A.  De  Lelie,  and  was  director  of  the  Academy 
from  1820  to  1826.  After  that  time  he  resided  at 
Rotterdam,  where  he  was  very  successful  in 
painting  portraits,  and  where  he  died  in  1850. 
There  is  by  him  one  etching,  which  is  scarce. 

DAL  COLLE,  Raffaello,  or  E  affaellino,  called 
also  Raffaellino  dal  Borgo  San  Sepolcro,  was 
born  at  Borgo  San  Sepolcro,  about  the  year  1490. 
He  was  first  a  disciple  of  Raphael,  but  after  the 
death  of  that  master  he   became   the   scholar  of 
Giulio  Romano,  whom  he  assisted  in  his  principal 
works  at  Rome,  and   in  the  Palazzo  del   Te,   at 
Mantua.    Of  his  own  compositions,  the  principal  are 
two  pictures  at  Borgo  San  Sepolcro,  one  of  which, 
representing  the  '  Resurrection,'  in  the  choir  of  the 
cathedral,  exhibits  a  grandeur  not  unworthy  of  the 
great  school  in  which  he  had  been  educated.     The 
figure  of  Christ  is  dignified  and  majestic,  and  the 
terror  of  the  guards  of  the  sepulchre  is  admirably 
expressed.    The  other  is  in  the  church  of  the  Con- 
ventuali,  and  represents  the  '  Assumption  of  the 
Virgin.'     It  is  a  graceful  and  impressive  composi- 
tion ;  and  being  placed  near  one  of  the  best  pic- 
tures of  Giorgio  Vasari,  establishes  its  merit  by  its 
decided  superiority.     Raffaellino  dal  Colle  was  one 
of  the  artists  employed  by  Raphael  in  the  decora- 
tions of  the  Loggie  of  the  Vatican,  and  painted 
one  of  the  small  cupolas  in  the  roof  with  a  portion 
of  the  history  of  Moses.      In  Citta  di  Castello  is 
an  '  Annunciation '  by  him,  which  is  a  very  grace- 
ful composition.     An  '  Entombment,'  in  the  Servi, 
is  another  beautiful  picture.     A  picture  of  'The 
Virgin   attended  by  St.  Sebastian  and  St.  Roch, 
was  in  the  church  of  San  Francesco  at  Cagli,  the 
figures  and  landscape  of  which  much  resembled 
the  manner  of  Raphael.     In  one  of  the  chapels  of 
the  Olivet  monks  at  Gubbio  there  are  pictures  by 
him,  in  one  of  which  he  has  introduced  a  figure  of 
Virtue,  who  seems  to  be  a  sister  to  Raphael's  Sibyls. 
He  assisted   Bronzino  and  Vasari  in  their  decor- 
ations and  cartoons— the  latter  upon  the  occasion 
of  the  visit  of  Charles  V.  to  Florence.     He  had 
many  scholars  who  proved  able  artists,  but  few 
equalled  him  in  grace  and  high  finish  ;  Cristofano 
Gherardi  and  Giovanni  de'  Vecchi  are  noticeable 
amongst  them. 

DALEN,  CoENELis  van,  a  Flemish  engraver,  was 
born  at  Antwerp  about  the  year  1620.  He  was 
called  '  the  younger,'  to  distinguish  him  from  his 
father,  who  was  likewise  an  engraver,  and  whose 
works  it  is  not  easy  to  distinguish  from  those 
of  hia  son.     He  was  instructed  in  engraving  by 


his  father,  and  also  by  Cornells  Visscher,  whose 
style  he  followed  for  some  time.  His  prints  occa- 
sionally resemble  those  of  A.  Blooteling,  and  at 
other  times  those  of  Pontius  and  Bolswert.  He 
worked  entirely  with  the  graver,  which  he  handled 
in  a  bold  and  free  manner,  and  with  considerable 
taste.  He  usually  marked  his  plates  with  the 
initials  G-  D.  We  have  by  him  several  portraits, 
and  a  few  historical  subjects. 

POETBAITS. 
Catharine  de'  Medici ;  in  the  back-ground  the  City  of 

Amsterdam. 
Charles  II.,  King  of  England  ;  after  P.  Nason. 
James,  Duke  of  York;  after  S.  Luttichuys. 
Henry,  Duke  of  Gloucester ;  after  the  same. 
Wilham  III. 
Mary  II.,  his  Queen. 

Algernon  Percy,  Earl  of  Northumberland. 
John  Maurice,  Prince  of  Nassau ;  after  G.  Flink. 
Pietro  Aretino,  with  a  book  ;  after  Titian. 
Giovanni  Boccaccio  ;  after  the  same. 
Giorgio  BarbareUi,  called  Giorgione ;  after  the  same. 
Sebastiano  del  Piombo;  after  Tintoretto.    (The  four  la-st 

are  thought  by  Kramm  to  be  the  work  of  Cornells 

van  Dalen,  the  elder.) 
Anna  Maria  Schurman,  painter  ;  after  C.  Jansseixs. 
Old  Parr,  aged  152  years. 

SUBJECTS   AFTER   VAEIOUS   MASTERS. 
The  Adoration  of  the  Shepherds. 
The  Yirgin,  with  the  Infant  Jesus. 
The  Four  Fathers  of  the  Church ;  after  Rubens  ;  in  the 

style  of  Pontius. 
Nature  adorned  by  the  Graces ;  after  the  same ;  m  the 

manner  of  Bolswert. 
A  Shepherd  and  Shepherdess ;  after  Casteleyn. 
The  Virgin  suckling  the  Infant  Saviour  ;  after  G.  Flink. 
Venus  and  Cupid ;  after  the  same. 
The  Four  Elements,  represented  by  Children  ;  after  A. 

Diepenheck. 
The   Concert;    after  Giorgione;   for  the   'Cabinet  de 

Reynst.' 
The  Monument  of  Admiral  CDrnelis  Tromp. 

DALENS,  Dirk,  a  Dutch  landscape  painter,  was 
born  at  Amsterdam  in  1659.  He  was  the  son  of 
WiUem  Dalens,  an  artist  of  little  celebrity,  who 
taught  him  the  first  lessons  in  the  art.  The  prin- 
cipal works  of  Dalens  are  large  landscapes,  painted 
with  a  free  and  firm  touch,  and  very  agreeably 
coloured,  which  decorate  the  saloons  of  some  of 
the  principal  houses  in  Amsterdam.  He  also  painted 
some  cabinet  pictures  of  landscapes,  with  figures, 
which  are  deemed  worthy  of  being  placed  in  the 
best  collections  in  Holland.     He  died  in  1688. 

DALENS,  Dirk,  called  '  the  younger,'  the  post- 
humous son  of  the  preceding,  was  bom  at  Amster- 
dam in  1688.  He  was  instructed  by  Theodoor  van 
Pee,  and  became  a  painter  of  landscapes  with  cattle 
and  figures,  enriched  with  ruins,  in  the  manner  of 
Pynacker,  which  are  executed  with  great  ability. 
He  died  in  1753. 

DA'  LIBRL     See  Dai  Libri. 

DALIPHARD,  Edouard,  a  French  landscape 
painter,  was  born  at  Rouen  in  1833.  He  studied 
under  Gustave  Morin,  the  Director  of  the  Rouen 
Museum,  and  spent  a  considerable  time  in  the  East, 
where  he  made  a  good  collection  of  water-colour 
sketches.  His  works  appeared  at  the  Salon  from 
1864  to  1876,  and  he  also  contributed  to  the  French 
journal,  '  L'Art'  He  died  at  Rouen  after  a  long 
and  painful  illness  in  1877.  Amongst  his  best  pro- 
ductions are : 

The  Sun  appearing  after  a  Storm.     1866. 

Souvenir  of  the  Forest  of  Eu.     1873. 

The  flooded  Farm,  Poissy.     1873. 

Melancholy.     1875. 


PAINTEES  AND  ENGBAVERS. 


DALL,  Nicholas  Thomas,  was  a  native  of  Den- 
mark, who  settled  in  London  as  a  landscape  painter, 
about  the  year  1760.  He  painted  some  excellent 
Bcenes  for  Covent  Garden  Theatre,  and  his  engage- 
ments in  that  branch  of  art  prevented  him  from 
painting  many  pictures.  In  1768  he  obtained  the 
first  premium  given  by  the  Society  for  the  En- 
couragement of  Arts  for  the  best  landscape.  He 
■was  chosen  an  Associate  of  the  Hoyal  Academy  in 
1771,  and  died  in  London  in  1777.  " 

DALL'  ACQUA,  Ckistoforo,  who  was  born  at 
Vicenza  in  1734,  engraved,  principally  for  the 
booksellers,  plates  of  various  subjects,  portraits, 
history,  genre,  landscapes,  and  architecture. 
Among  his  works  may  be  noticed  a  portrait  of 
Frederick  the  Great,  King  of  Prussia,  and  an 
allegory  of  '  Merit  crowned  by  Apollo,'  after 
Andrea  Sacchi,  as  well  as  numerous  plates  after 
the  works  of  Cipriani,  Houel,  Joseph  Vernet,  and 
others.     He  died  at  Vicenza  in  1787. 

DALLAMANO,  Giuseppe,  born  at  Modena  in 
1679,  is  a  remarkable  instance  of  the  progress  that 
nntutored  genius  has  sometimes  made  in  the  art 
without  the  help  of  a  master.  Dallamano  is  stated 
by  Lanzi  to  have  been  hardly  removed  from  an 
idiot;  ignorant  even  of  the  alphabet,  and  unaided  by 
professional  instruction,  he  nevertheless  reached  an 
excellence  in  painting  architectural  views  which 
surprised  the  most  intelligent  judges.  His  best 
works  are  in  the  royal  palace  at  Turin.  He  died 
in  1768. 

DALL'  AQUILA,  Pompeo,  is  stated  in  the  '  Abe- 
cedario  Pittorico  '  of  Orlandi,  to  have  been  a  good 
historical  painter,  both  in  oil  and  in  fresco.  He 
flourished  in  the  latter  part  of  the  16th  century. 
There  is  a  fine  picture  by  him  in  the  church  of 
Santo  Spirito  in  Sassia  at  Rome,  representing  the 
'  Descent  from  the  Cross,'  which  was  engraved  by 
Orazio  de  Santis  in  1572.  Several  considerable 
works  by  him  in  fresco  are  to  be  seen  at  Aquila, 
where  he  was  born. 

DALL'  ARGENTO,  Antonio.  See  Aleotti. 
DALL'  ARZERE,  Stefano,  who,  according  to 
Ridolfi  and  others,  was  a  native  of  Padua,  painted 
numerous  altar-pieces  for  the  churches  and  con- 
Tents  of  that  city.  In  the  Chiesa  degli  Eremitani, 
he  painted  some  subjects  from  the  Old  Testament, 
and  two  pictures  of  '  St.  Peter'  and  '  St.  Paul,'  and 
in  the  church  of  the  Servite  monastery  the  prin- 
cipal altar-piece  is  by  him.  He  flourished  in  the 
16th  century. 
DALLE  FACCIATE,  Bernardino.    See  Barba- 

TELLI. 

DALLE  GROTTESCHE,  Bernardino.  See 
Barbatelli. 

LMLLE  MADONNE,  Lippo.    See  Scannabeccbi. 

DALLEMAGNE,  Virginie  Polyxene  Augustine 
Philippe,  a  French  miniature  painter,  whose  maiden 
name  was  Decagny,  was  a  native  of  Beauvais.  She 
was  a  pupil  of  Madame  de  Mirbel,  and  showed 
much  talent  in  the  execution  of  portraits  in  minia- 
ture and  in  crayons.  She  married  Adolphe  Dalle- 
magne,  a  landscape  painter,  and  died  at  Corbeil  in 
1876. 

DALLE  MUSE,  Bernardino.    See  Barbatelli. 

DALLE  NINFE,  Cesaee,  who  flourished  from 
about  1690  to  1600,  was  a  Venetian,  whom  we  find 
mentioned  by  Zanetti  among  the  imitators  of  Tinto- 
retto. He  possessed  the  readiness  of  invention,  and 
the  facility  of  hand,  for  which  that  painter  was  re- 
markable, and  was  an  excellent  colourist,  though 
deficient  in  drawing. 


DALLE  NOTTI,  Gerardo.     See  Honthobst. 
DALLE  PROSPETTIVE,  Agostino.    See  Agos- 

TINO. 

DALLE  PROSPETTIVE,  Mirandolese.  See 
Paltronieri. 

DALLE  TESTE,  II  Borgognone.  See  Giac- 
cHiNETTi  Gonzalez. 

DALLEVIA,  A.,  was  an  Italian  engraver,  who 
resided  at  Venice  about  the  year  1686.  Among 
other  prints,  he  engraved  a  set  of  plates  represent- 
ing triumphal  processions,  entitled,  'Giiiochi 
Festivi  e  Militari,'  and  pubUshed  at  Venice  in  1686. 
They  are  executed  in  a  coarse,  indifferent  style. 

DALLIKER,  Johann  Rudolph,  a  Swiss  portrait 
painter,  was  born  at  Zurich  in  1694.  He  visited 
successively  Magdeburg,  Brunswick,  Cassel,  Leipsic, 
Berne,  and  Paris,  where  he  made  the  acquaintance 
of  Largilliere  and  Rigaud.  He  resided  at  St.  Gall, 
but  died  at  SchafEhausen  in  1769.  Most  of  the 
celebrated  persons  of  his  country  sat  to  him. 

DALLINGER,  Franz  Theodor,  an  Austrian 
painter  of  landscapes,  fruit,  and  animals,  was  bom 
at  Linz  in  1710,  and  died  at  Prague  in  1771. 

DALLINGER  von  DALLING,  Alkxander  Jo- 
hann, a  son  of  Johann  Dallinger  von  Dalling,  the 
elder,  was  born  at  Vienna  in  1783.  He  studied 
under  his  father,  and  became  a  landscape  and 
animal  painter,  as  well  as  an  engraver  and  a 
restorer  of  old  pictures.  In  the  Belvedere,  at 
Vienna,  there  is  a  picture  by  him  representing  '  A 
Herdsman  driving  Cows  across  a  Brook.'  He  died 
at  Vienna  in  1844. 

DALLINGER  von  DALLING,  Johann,  an 
Austrian  painter,  was  born  at  Vienna  in  1741,  and 
distinguislied  himself  as  director  of  the  Liech- 
tenstein Gallery.  He  painted  animals,  historical 
subjects,  and  large  altar-pieces,  most  of  which  are 
in  Russia  and  Poland.     He  died  in  1806. 

DALLINGER  von  DALLING,  Johann,  a  son 
of  the  preceding,  was  born  in  Vienna  in  1782,  and 
painted  landscapes  and  animals  in  the  old  Dutch 
style,  as  well  as  portraits  and  conversation-pieces. 
Some  of  his  works  are  in  the  Belvedere  and 
Liechtenstein  Galleries.  He  died  at  Vienna  in 
1868. 

DALLWIG,  Heinrich,  a  landscape  painter,  was 
born  at  Cassel  in  1811,  and  died  at  Munich  in  1857. 
He  had  been  settled  in  the  latter  city  since  1839, 
but  undertook  frequent  tours  in  search  of  scenery 
for  his  brush. 
DALMASIO,  Lippo  di.  See  Scannabeccbi. 
DALMATIA,  II   Federighetto  di.     See  Bf.n- 

COVICH. 

DALMAU,  LoDOVico.  A 'Virgin  and  Child '  by 
this  artist  is  in  the  church  of  San  Miguel  at  Barce- 
lona ;  it  is  painted  in  the  style  of  Van  Eyck,  and 
dated  1445. 

DAL  PERON,  SiMONB.    See  Cdsighe. 

DAL  POZZO,  Isabella.  In  the  '  Nuova  Guida 
di  Torino,' this  lady  is  mentioned  as  having  painted 
a  picture  in  the  church  of  San  Francesco  at  Turin, 
representing  the  '  Virgin  and  Child,  with  St.  Blaise 
and  other  Saints,'  which  is  signed,  and  dated  1666. 
According  to  Lanzi,  few  of  her  contemporaries  in 
that  city  could  have  produced  a  more  creditable 
performance. 

DAL  SOLE,  Giovanni  Antonio  Maria,  was  born 
at  Bologna  in  1606,  and  was  brought  up  in  the 
school  of  Francesco  Albani.  He  excelled  in  paint- 
ing landscapes,  which  he  decorated  with  groups  of 
figures,  gracefully  designed  in  the  style  of  Albani. 
He  always  worked  with  his  left  hand,  and  thus 

5 


A  BIOGRAPHICAL  DICTIONARY  OF 


acquired  the  appellation  of  '  II  Jlonchino  dai 
Paesi.'     He  died  in  1684. 

DAL  SOLE,  Giovanni  Giuseppe,  the  son  of 
Antonio  dal  Sole,  was  bom  at  Bologna  in  1654, 
and  was  instructed  in  the  first  principles  of  design 
by  his  father,  but  he  afterwards  became  a  disciple 
of  Domenico  Maria  Canuti,  and  ultimately  studied 
under  Lorenzo  Pasinelli.  Following  the  example 
of  his  last  instructor,  he  based  his  system  of  colour- 
ing upon  the  study  of  the  works  of  the  best  masters 
of  the  Venetian  School.  He  imitated  the  agree- 
able style  of  Pasinelli  with  great  success,  and  his 
compositior.s  are  embellished  with  landscape  and 
architecture,  which  he  introduced  with  admirable 
taste.  In  many  particulars,  as  in  the  hair  and 
plumes  of  the  angels,  and  in  the  accessories,  such 
as  veils,  bracelets,  crowns,  and  armour,  he  dis- 
plays exquisite  grace.  He  seems  to  have  been 
inclined  to  treat  lofty  themes,  and  was  more  ob- 
servant of  costume,  more  methodical  in  compo- 
sition, and  better  informed  in  architecture  and 
landscape,  than  his  master,  PasinellL  In  these, 
indeed,  he  is  almost  unique.  The  most  beautiful 
specimens,  perhaps,  are  to  be  seen  at  the  Casa 
Zappi  in  Imola,  representing  Evening,  Night,  and 
Morning,  all  harmonized  with  the  sober  tints  be- 
longing to  the  subjects.  There  are  several  of  the 
works  of  this  eminent  artist  in  the  public  edifices 
at  Bologna.  Among  the  most  esteemed  are  '  The 
Incredulity  of  St.  Thomas,'  in  the  church  of  La 
Madonna  di  Galiera ;  '  The  Annunciation,'  in  San 
Gabrielle  ;  and  some  frescoes  in  San  Biagio,  which 
are  accounted  his  finest  works.  For  the  Giusti 
family  at  Verona  he  executed  several  Scriptural 
and  mythological  subjects,  truly  beautiful.  One, 
of  '  Bacchus  and  Ariadne,'  which  occupied  but  a 
week  of  his  time,  was  pronounced  by  artists  ex- 
cellent ;  yet  he  cancelled  almost  the  whole,  to 
remodel  it  according  to  his  own  idea,  declaring 
that  it  was  enough  to  have  shown  his  rapidity  of 
hand  to  satisfy  others,  but  that  it  became  his  duty, 
by  additional  accuracy,  to  satisfy  himself  also. 
For  executing  his  altar-pieces,  which  are  few  and 
valuable,  as  well  as  his  pictures  for  private  col- 
lections, which  are  very  numerous,  he  demanded 
high  remuneration,  persevering  in  his  determination 
to  paint  only  with  care.  In  his  works  two  manners 
are  observable ;  the  second  partakes  of  that  of 
Guido.  A  large  portion  of  his  pictures  nearly 
approach  the  style  of  that  master ;  so  that  the 
Bumame  of  '  The  Modem  Guido,'  conferred  on  him 
by  80  many,  has  not  been  granted  as  a  favour,  but 
as  his  desert.  Bartsch  describes  three  etchings  by 
him ;  an  allegorical  representation  of  Envy,  a 
Group  of  Angels,  after  a  design  for  a  ceiling  by 
Pasinelli,  and  another  of  Olympus,  after  the  same. 
Gori  mentions  one  of  St.  Francis  Xavier  confuting, 
or  rather  confounding,  by  his  holy  doctrine,  the 
satraps  of  Japan,  also  after  Pasinelli.  Several 
portraits  were  etched  by  him  in  1674,  which  were 
intended  for  the  '  Felsina  Pittrice,'  but  are  not  found 
in  that  work.     He  died  at  Bologna  in  1719. 

DALTON,  Richard,  an  engraver  and  draughts- 
man, was  born  in  Cumberland  about  1720.  After 
passing  some  time  in  Italy  and  Greece,  he  became 
librarian  to  the  Prince  of  Wales,  then  keeper  of 
the  royal  drawings  and  medals,  and  finally,  in 
1778,  survej'or  of  the  royal  pictures.  He  made 
some  engravings  from  the  Holbein  drawings,  and 
after  antique  statues.  He  also  published  '  Manners 
and  Customs  of  the  Present  Inhabitants  of  Egypt,' 
1781.     His  name  is  to  be  found  in  connection  with 

6 


some  of  the  art  societies  which  preceded  the  Royal 
Academy.     He  died  at  St.  James's  Palace  in  1791. 

DAM,  Anthony  van,  bom  at  Middelburg, 
painted  marine  subjects  of  large  dimensions.  He 
flourished  in  the  latter  half  of  the  last  century. 

DAM,  WotrxER,  bom  at  Dort  in  1726,  was  a 
scholar  of  Aart  Schouman,  whose  manner  he  fol- 
lowed for  some  time,  but  ultimately  became  an 
imitator  and  cop3'ist  of  Cuyp  and  Bakhuisen.  He 
died  at  Dort  in  1785  or  1786. 

DAM  A  ME  DEMAKTRAIS,  Michel  FRiNgois, 
a  French  painter  and  engraver,  was  born  in  Paris 
in  1763.  After  having  studied  in  the  school  of 
David,  he  went  to  Russia,  where  he  resided  for 
some  years.  On  his  return  to  France  he  engraved 
and  published  '  Vues  des  principales  villes  de 
Russie,  costumes  et  usages  des  habitants  de  cet 
empire,'  1813-14;  'Collection  de  Costumes  du 
royaume  de  Naples,'  1818  :  '  Paris  et  ses  alentours,' 
1819.  His  most  important  picture  was  'The  Great 
Sanhedrim  of  the  Jews  of  France  and  Italy,'  ex- 
hibited at  the  Salon  of  1810.  He  died  in  Paris  in 
1827. 

DAMBRUN,  Jean,  a  French  line-engraver,  was 
bom  in  Paris  in  1741.  He  was  one  of  the  small 
band  of  artists  to  whom  are  due  the  vignettes  which 
adorn  many  of  the  books  issued  towards  the  close 
of  the  last  century  which  have  of  late  become  of 
such  fabulous  value.  His  best  works  are  '  La 
Partie  de  Wisch,'  after  Moreau,  for  the  '  Monument 
de  Costume,'  and  '  Le  Calendrier  des  Vieillards,' 
after  Fragonard,  for  the  '  Contes  '  of  La  Fontaine. 
He  also  engraved  with  much  delicacy  Qu^verdo'a 
illustrations  to  the  remarkable  series  of  Almanacs 
which  appeared  in  Paris  just  before  the  outbreak 
of  the  French  Revolution.  There  is  no  record  of 
Dambrun  after  1808. 

DAME,  Giles  la.     See  La  Dame. 

DAMERY,  Jacob,  the  brother  of  Walter  Damery, 
was  a  good  painter  of  flowers,  of  fruit,  and 
especially  of  vases.  He  was  born  at  Li^ge  in 
1619,  but  went  to  Rome  when  young,  and  remained 
there  until  his  death,  which  occurred  in  1685.  He 
executed  some  etchings,  among  them  a  series  of 
twelve  vases,  dated  1657. 

DAMERY,  Simon,  a  Flemish  historical  painter, 
was  bom  at  Liege  in  1604.  He  was  a  pupil  of 
Jean  Taulier,  who  married  his  sister,  but  while  yet 
very  yoimg  he  ran  away  from  his  master  and  went 
to  Italy.  He  af  terward.s  settled  at  Milan,  where  he 
died  of  the  plague  in  1640. 

DAMERY,  Walter,  the  brother  of  Jacob  Damery, 
was  born  at  Liege  in  1614.  He  learned  the  rudi- 
ments of  art  in  his  native  city,  but  in  1636  ha 
came  to  England,  and  remained  here  several  years, 
during  which  he  painted  a  large  number  of  por- 
traits. He  afterwards  went  to  France  and  then  to 
Italy,  where  he  became  a  scholar  of  Pietro  da  Cor- 
tona.  Subsequently  he  returned  to  Paris,  where  he 
painted  for  the  Carmelite  church  his  masterpiece, 
'The  Ascension  of  Elijah.'  His  productions  are 
distinguished  for  their  beautiful  backgrounds  and 
also  for  the  nude  figures  of  the  children,  in  the 
depicting  of  which  he  exhibited  great  skill.  He 
died  at  Liege  in  1678. 

DAMIANI,  Felice,  was  a  native  of  Gubbio,  who 
flourished  from  the  year  1584  until  1606.  He  is  by 
some  supposed  to  have  been  educated  in  the 
Venetian  school,  and  his  picture  of  the  'Circum- 
cision,'in  San  Domenico,  partakes  of  that  style: 
but  in  general  his  works  evince  more  of  the  Roman 
taste,  which  he  probably  acquired  under  Benedetto 


PAINTERS  AND  ENGRAVERS. 


Niicci.  One  of  his  best  works  is  '  The  Decolla- 
tion of  St.  Paul,'  at  the  Castel  Nuovo  in  Recanati; 
the  expression  in  the  head  of  the  martyr  is  admir- 
able, the  drawing  correct,  and  the  colouring  brilliant 
and  harmonious.  It  is  dated  1584.  About  twelve 
years  afterwards  he  decorated  two  chapels  in  the 
church  of  La  Madonna  de'  Lumi,  at  San  Severino, 
with  pictures  representing  the  Life  of  the  Virgin 
and  the  Infancy  of  Christ.  But  his  most  admired 
production  is  the  'Baptism  of  St.  Augustine,' 
painted  in  1594  for  the  church  dedicated  to  that 
saint  at  Gubbio  ;  a  grand  composition  of  many 
figures,  finely  grouped,  with  an  admirable  expres- 
sion of  piety  in  the  heads,  and  enriched  with  noble 
architecture.     He  was  still  living  in  1616. 

DAMINI,  Giorgio,  a  brother  of  Pietro  Damini, 
was  an  excellent  painter  of  portraits,  and  of  his- 
torical subjects  of  a  small  size.  Like  his  brother,  he 
was  carried  off  by  the  plague  at  Venice  in  1631. 

DAMINI,  PlETRO,  was  born  at  Castelfranco  in 
1592,  and,  according  to  Ridolfi,  was  a  scholar  of 
Giovanni  Battista  Novelli,  who  had  been  educated 
in  the  school  of  Palma.  Such  was  the  extraordinary 
expectation  occasioned  by  the  early  display  of  his 
talents,  that  some  writers  have  not  hesitated  to 
a£5rm  that  he  would  have  equalled  Titian  if  he  had 
not  died  young,  an  assertion,  which,  as  Lanzi  ob- 
serves, may  be  regarded  as  a  hyperbole.  There 
are  many  of  his  works  at  Castelfranco,  Vicenza, 
Crema,  and  particulariy  at  Padua,  where,  in  the 
church  of  San  Clemente,  is  his  picture  of  '  Christ 
giving  the  Keys  to  St.  Peter,'  and  in  the  church 
of  II  Santo,  his  most  celebrated  work,  'The 
Crucifixion,  with  the  Virgin  Mary  and  St.  John,'  a 
jiicture  of  extraordinary  beauty,  and  of  the  most 
harmonious  colour.  In  the  cloister  of  the  Padri 
Serviti,  at  Vicenza,  he  painted  several  pictures  of 
the  Life  of  St.  Philip,  the  founder  of  their  order. 
The  style  of  Damini  is  vague  and  elegant,  but  he 
is  by  no  means  uniform.  He  appears  to  have 
frequently  changed  his  manner,  in  search  of  greater 
perfection  ;  and  his  last  works  are  evidently  his 
best.  He  had  acquired  a  distinguished  reputation 
when  he  fell  a  victim  to  the  plague  in  Venice  in 
1631. 

DAMINI,  ViNCENZO,  was  an  excellent  portrait 
painter  who  resided  in  London  from  1720  to  1730. 
He  is  said  to  have  been  a  native  of  Venice  and  a 
pupil  of  Pellegrini. 

DAMIS,  Amedee  Gustave  Francois,  a  Belgian 
painter  of  flowers  and  fruit,  was  bom  at  Bruges  in 
1811.  While  still  young  he  went  to  Paris  and 
became  a  pupil  of  Redouts.  He  was  likewise  a 
sculptor,  and  he  decorated  many  of  the  ecclesias- 
tical edifices  of  Paris.  In  1848  he  returned  to 
Bruges,  and  died  there  in  1851. 

DAMISSEN,  Lucas.     See  De  Hoet. 
DAMOPHILOS,  a  Greek  painter  and  modeller 
in  terra-cotta,  worked  in  conjunction  with  Gorgasos 
in   the   Temple   of    Ceres  at   Rome   in   B.C.   493. 
Zeuxis  is  said  to  have  been  his  pupiL 

DANBY,  Francis,  who  was  born  near  Wexford, 
Ireland,  in  1793,  learned  the  first  principles  of  his 
art  under  a  landscape  painter  named  O'Connor,  in 
Dublin,  where  his  first  picture,  a  landscape  view 
called  '  Evening,'  was  exhibited  in  1812.  In  the 
following  year,  master  and  pupil,  accompanied  by 
George  Petrie,  set  off  together  to  seek  their  fortunes 
in  London,  but  their  funds  becoming  exhausted 
before  they  reached  the  metropolis,  they  stopped 
at  Bristol.  Here  Danby  managed  to  sell  some 
drawings,  and  with  the  proceeds  paid  O'Connor's 


expenses  to  Dublin,  but  he  himself  remained  in 
Bristol,  and  for  a  few  years  supported  himself  by 
giving  lessons  in  water-colour  painting,  now  and 
then  sending  a  picture  to  the  Royal  Academy.  In 
1825  his  '  Delivery  of  Israel  out  of  Egypt '  gained 
him  the  Associateship  of  the  Academy,  and  he  then 
went  to  live  in  London.  In  1830,  a  quarrel  with 
that  body  drove  him  from  England,  and  for  the 
next  eleven  years  he  lived  in  Switzerland,  giving 
up  his  time  to  boat-building,  yachting,  and  the 
painting  of  unimportant  pictures  on  commission. 
Two  works  only  appeared  at  the  annual  London 
Exhibitions  during  this  long  interval,  the  '  Golden 
Age  '  and  '  Rich  and  Rare  were  the  Gems  she  wore.' 
In  1841  he  returned  to  England,  took  up  his 
residence  at  Lewisham,  and  began  painting  large 
subjects  for  exhibition  at  the  British  Institution  and 
the  Royal  Academy  with  all  his  old  enthusiasm. 
He  died  in  1861  atExmouth,  where  he  had  resided 
since  1847.  The  following  are  some  of  his  best 
works : 

The  Upas,  or  Poison-tree  of  Java  (at  South  Kensimiton). 
Disappointed  Love.  Sunset  at  Sea  after  a  Storm. 
The  Delivery  of  Israel  out  of  Kgypt  (Stafford  House). 
The  Opening  of  the  Sixth  Seal.  The  Golden  Age. 
Rich  and  Eare  were  the  Gems  she  wore.  The  Fisher- 
man's Home,  Sunrise,  1846  {National  Gallery).  The 
Evening  Gun. 

DANBY,  James  Francis,  an  English  landscape 
painter,  the  son  of  Francis  Danby,  A.R.A.,  was 
born  at  Bristol  in  1816.  His  works  appeared  at 
the  Royal  Academy,  and  at  the  Society  of  British 
Artists,  of  which  latter  he  was  a  member.  He  died 
of  apoplexy  in  London  in  1875.  He  excelled  in 
depicting  sunrise  and  sunset.  Amongst  his  best 
works  are  : 

Loch  Lomond.  Dover,  from  the  Canterbury  Road, 
1849.  Dumharton  Eock,  1854.  Morning  on  the 
Thames,  1860.  Wreck  on  Exmouth  Bar,  1861. 
Carrickfergus  Castle,  1867.  North  Shields  :  Sunrise, 
1S69. 

DANBY,  Thomas,  marine  painter,  was  the  son 
of  Francis  Danby,  A.R.A.,  and  was  born  in  Ireland, 
but  spent  his  early  youth  chiefly  at  Bristol,  where 
his  father  practised  and  taught  drawing.  He  first 
exhibited  in  London  in  1841,  when  he  sent  a  small 
oil  picture,  'The  Wreck,'  to  the  British  Institution, 
and  in  1843  he  appeared  at  the  Royal  Academy 
with  an  illustration  of  one  of  Wordsworth's  poems. 
He  was  elected  an  Associate  of  the  Society  of 
Painters  in  Water-Colours  in  1867,  and  became  a 
full  member  in  1870.  He  died  March  25,  1886. 
DANCE,  Nathaniel.  See  Holland. 
DANCKERTS,  Danckert,  the  son  of  Cornelis 
Danckerts  de  Ry,  was  born  at  Antwerp  about  the 
year  1600.  He  succeeded  his  father  in  his  busi- 
ness as  a  printseller,  and  surpassed  him  in  his 
talent  as  an  engraver.  His  plates  are  sometimes 
only  etched,  but  more  frequently  finished  with  the 
graver.  We  have  by  him  a  considerable  number 
of  plates  after  Berchem,  Wouwerman,  and  other 
painters.  He  also  engraved  some  portraits  and 
other  subjects  from  various  masters,  among  which 
are  : 

Charles  II.;  Departure  of  Charles  II.  for  England; 
Venus  and  Cupid,  with  a  Satyr;  after  Titian. 
Hawking,  called  Het  I'inJcehaantJe.  A  Stag  Hunt, 
called  De  Ha  rtenjagt.  Four  Landscapes  and  Figures ; 
all  after  Berchem.  Four  plates,  of  Landscapes  and 
Figures.  Six  plates,  the  title  having  a  Shepherd 
riding  on  an  Ox  and  playing  on  the  Flute,  and  a 


A  BIOGRAPHICAL  DICTIONARY  OF 


Shepherdess  dancing.  Four  Landscapes ;  on  the 
title  print  is  inscribed,  Danckert  X>anckeris  fee.  et 
exc.     Etchings  ;  after  H'ouweriJian. 

DANCKERTS,  Hexdmk,  a  son  of  Justus  Danck- 
erts,  was  born  at  the  Hague  about  the  year  1630. 
He  was  brought  up  as  an  engraver,  and  made  copies 
of  the  works  of  Titian  and  Pahna,  but  afterwards 
was  recommended  to  study  painting,  and  went  to 
Italy  for  improvement.  On  his  return  to  Holland 
he  acquired  some  reputation  as  a  landscape  painter, 
and  was  invited  to  England  by  Charles  II.,  who 
employed  him  in  painting  views  of  the  royal  palaces, 
and  of  the  sea-ports  of  England  aud  Wales.  In 
the  collection  of  James  II.  there  were  twenty-eight 
landscapes  and  views  by  this  master.  He  died  at 
Amsterdam  about  1678.  He  engraved  a  few  plates, 
as  follow  ; 

Charles  II. ;  after  A.  Ilcmneman.  View  of  Amsterdam 
and  the  Y,  with  Shipping ;  in  three  sheets.  Views 
of  Palaces  and  Sea-ports  in  England. 

DANCKERTS,  Johannes,  a  son  of  Justus  Danck- 
erts,  resided  at  Amsterdam  about  the  year  1660. 
He  painted  historical  subjects  with  some  skill,  and 
etched  a  few  plates,  among  which  is  one  after 
Titian,  representing  '  Venus  reclining  on  a  Couch.' 

DANCKERTS,  Justus,  was  a  Dutch  engraver 
who  worked  at  Amsterdam.  We  have  the  following 
plates  by  him : 

William  III.,  Prince  of  Orange,  afterwards  King  of 
England. 

Oasimir,  King  of  Poland. 

Seven  plates  of  the  Gates  of  Amsterdam. 

DANCKERTS  DE  RY,  Cobnelis,  a  Dutch  archi- 
tect and  engraver,  was  born  at  Amsterdam  in  1561. 
He  established  himself  at  Antwerp  as  a  printseller, 
where  he  engraved  several  plates  of  portraits  and 
other  subjects,  which  are  not  without  consider- 
able merit.  He  was  still  living  in  1634.  Among 
others,  we  have  the  following  by  him : 

Gustavus  Adolphus,  King  of  Sweden. 

Jacob  Wassenaer,  Lord  of  Obsdam. 

Oomelis  de  Wit,  with  a  battle  in  the  background. 

Jean  Calvin  ;  oval. 

John  Casimir,  Count  of  Nassau. 

Four  Figures  on   Horseback,  called   the   Monarchies ; 

representing   Ninus,   Cyrus,  Alexander,  and  Csesar, 

with  emblematical  ornaments. 
Seven,  of  the  Planets,  with  Emblems. 
The  Seven  Wonders  of  the  World,  with  the  same. 
Twelve,  of  the  Sibyls  ;  full-length. 
Twelve,  of  Animals  and  Birds. 
Sixteen  Views  in  Holland. 
One  hundred  Subjects  from  the  Old  Testament ;  four 

on  each  plate. 
A  set  of  Views  of  the  Euins  of  Rome. 
Meleager  and  Atalanta ;  an  etching ;  after  li.  Picon. 

DANCKERTS  DE  RY,  Pieter,  a  celebrated  por- 
trait and  genre  painter,  who  is  supposed  to  have 
been  the  son  of  Cornells  Daiickerts  de  Ry,  was 
bom  at  Amsterdam  in  1605.  Several  of  his  paint- 
ings have  been  engraved  by  W.  Hondius.  He 
went  to  Sweden,  and  died  at  Stockholm  in  1659. 
There  are  by  him  in  the  Brussels  Gallery  portraits 
of  Cornells  Danckerts  de  Ry  and  his  wife. 

DANDINI,  Cesabe,  was  born  at  Florence  about 
the  year  1595.  He  was  first  a  scholar  of  Francesco 
Curradi,  but  afterwards  studied  under  Domenico 
Cresti,  called  Passignano,  and  Cristofano  Allori. 
Under  these  masters  he  acquired  a  tolerable  cor- 
rectness of  design,  and  an  agreeable  tone  of  colour- 
ing.    One  of  his  best  works  is  a  picture  of  St. 

8 


Charles,  with  other  Saints,  in  one  of  the  churches  at 
Ancona.  He  also  painted  easel  and  cabinet  pic- 
tures, which  were  admired  for  their  neatness  and 
finish.     He  died  in  1658. 

DANDINI,  OttAviano,  was  the  son  of  Pietro 
Dandini,  and  painted  history  in  the  style  of  his 
father.  Some  fresco  paintings  in  the  cloister  of 
San  Spirito,  a  picture  of  several  Saints  in  San 
Lorenzo,  and  his  works  in  the  church  of  the  Mag- 
dalene at  Pescia,  evince  the  respectability  of  his 
talent.  He  afterwards  entered  the  Society  of  Jesus, 
and  died  about  1750. 

DANDINI,  PiKTRO,  the  nephew  of  Vincenzo 
Dandini,  was  born  about  1646.  Having  lost  his 
father  when  he  was  only  four  years  of  age,  he 
was  taken  under  the  protection  of  his  uncle,  who 
instructed  him  in  the  principles  he  had  himself 
adopted  of  the  style  of  Cortona.  He  afterwards 
travelled  through  great  part  of  Italy,  and  improved 
himself  by  studying  the  great  masters  of  the 
Venetian  and  Lombard  schools.  On  his  return  to 
Florence  he  was  patronized  by  the  Grand  Duke 
Cosmo  III.,  for  whom  he  painted  many  works  in 
oil  and  in  fresco.  It  is  to  be  lamented  that  tlie 
avarice  of  this  artist  led  him  into  a  slight  and  neg- 
ligent manner  of  finishing  his  works ;  a  habit  to 
which  he  was  the  more  easily  tempted  by  the  pos- 
session of  uncommon  facility  of  execution.  Lanzi 
mentions,  as  one  of  his  most  important  works,  the 
cupola  of  Santa  Maria  Maddalena,  at  Florence.  In 
the  church  of  Santa  Maria  Maggiore  is  a  picture 
of  St.  Francis  ;  and  in  the  church  of  the  Servites 
is  an  altar-piece  representing  a  saint  of  that  order 
officiating  at  the  altar.     He  died  in  1712. 

DANDINI,  Vincenzo,  the  brother  of  Cesare 
Dandini,  was  born  at  Florence  in  1607.  After  re- 
ceiving some  instruction  from  his  brother,  he  went 
to  Rome,  where  he  studied  some  time  under  Pietro 
da  Cortona,  whose  style  he  followed.  He  was  an 
eminent  painter  of  histor}',  and,  according  to  Or- 
landi,  was  made  principal  of  the  Academy  at  Rome, 
on  succeeding  to  which  appointment  he  painted  a 
large  picture  which  gained  him  great  reputation. 
He  returned  to  Florence,  where  he  executed  several 
works  for  the  churches.  In  the  church  of  Ognis- 
santi  is  an  admired  picture  of  'The  Conception.' 
He  was  employed  in  the  palaces  of  the  Grand- 
Duke  ;  in  one  of  which  he  painted  a  ceiling,  repre- 
senting '  Aurora  with  the  Hours,'  much  in  the  style 
of  Pietro  da  Cortona.    He  died  at  Florence  in  1675. 

DANDRE-BARDON,  Michel  FBANgois.  See 
Andre- Bardon. 

DANDRIDGE,  Bartholomew,  a  portrait  painter, 
was  born  in  the  early  part  of  the  18th  century.  He 
obtained  a  considerable  practice  in  the  reign  of 
George  II.,  but  died  young,  soon  after  the  middle 
of  the  century.  His  portrait  of  Hook,  the  his- 
torian, is  in  the  National  Portrait  Gallery. 

DANDRILLON,  Pieere  Charles,  a  French  land- 
scape painter,  was  born  in  Paris  in  1757.  He  was 
a  pupil  of  De  Machy,  and  in  1807  became  professor 
of  perspective  in  the  Ecole  des  Beaux-Arts.  He 
died  in  Paris  in  1812. 

DANEDI,  GiosEFFO,  or  Giuseppe,  called  Mont- 
alto,  was  the  younger  brother  of  Stefano  Danedi, 
and  was  born  at  Treviglio  in  1618.  When  young 
he  went  to  Bologna,  where  he  entered  the  school 
of  Guido  Reni.  On  leaving  that  master  he  settled 
at  Turin,  where  he  executed  some  works  for  the 
public  edifices.  Towards  the  latter  part  of  Iiis  life 
he  joined  his  brother  at  Milan,  where  he  was  much 
employed.     In  the  church  of  San  Sebastiano  is  a 


PAINTERS  AND  ENGRAVERS. 


fine  picture  by  this  master  of  '  Tlie  Massacre  of  the 
Innocents,'  and  in  the  Dresden  Gallery  is  one  of 
'  St.  Anthony  of  Padua  caressing  the  Infant  Jesus.' 
He  died  in  1688. 

DANEDI,  Stefano,  called  Montalto,  was  born 
at  Treviglio,  in  the  Milanese,  in  1608,  and  was  a 
scholar  of  Cavaliere  Morazzone.  During  a  long 
residence  at  Milan,  he  painted  a  great  number  of 
pictures  for  the  churches  of  that  city,  and  in  tlie 
State.  One  of  his  best  works  is  'The  Martyrdom 
of  St.  Justina,'  in  Santa  Maria  in  Pedone.  He 
died  at  Milan  1689. 

DANET,  Jean.     See  Ddvet. 

DANHAUER,  — ,  (or  Donader,)  a  German  minia- 
ture painter,  was  a  native  of  Swabia.  He  was  the 
Bon  of  a  watchmaker,  and  was  brought  up  to  his 
father's  trade  ;  he  afterwards  went  to  Italy  and 
studied  painting  under  S.  Bombelli,  but  this  art 
he  in  turn  abandoned  for  that  of  sculpture.  He 
resided  for  many  years  in  Russia,  and  died  at  St. 
Petersburg  in  1733. 

DANHAUSEK,  Joseph,  born  at  Vienna  in  1805, 
followed  the  principles  of  Peter  Krafft.  He  visited 
Venice,  and  after  his  return  painted  genre  pieces, 
which  he  executed  in  a  pleasing  and  popular  man- 
ner. From  1838  to  1844  he  was  corrector  at  the 
Academy  at  Vienna,  where  he  died  in  1845.  Among 
his  works  the  following  are  worthy  of  mention  : 

The  Eioter. 

FraDZ  Liszt  at  the  Piano. 

The  Little  Virtuoso. 

The  Oculist. 

The  Reasoner  in  the  Public-house. 

DANIELE,  Battista  da  San.  See  San  Daniele. 
DANIELE,  II  Cavaliere.     See  Syder. 
DANIELE,    Pellegeino    da    San.      See    San 

Daniele. 

DANIELL,  Abraham,  a  miniature  painter,  was 

a  native  of  Bath.   He  possessed  considerable  ability, 

and  died  in  1803. 

DANIELL,  Edward  Thomas,  was  born  in  London 
in  1804,  but  was  bred  at  Norwich,  learned  drawing 
at  the  Grammar  School  there  under  Crome,  and 
became  one  of  the  most  original  and  interesting 
artists  of  the  so-called  Norwich  school.  In  1823  he 
entered  Balliol  College,  Oxford,  and  after  leaving 
the  University  spent  some  years  in  travelling. 
His  etchings  of  English  landscape  executed  during 
this  period  are  full  of  the  true  etching  spirit,  with 
fine  qualities  of  light  and  shadow,  among  the  beet 
being  his  '  Burough  Bridge.'  With  Crome  and 
Cotman,  Wilkie  and  Ged<les,  he  may  claim  the 
honour  of  anticipating  the  modern  revival  of 
etching — associated  witli  the  names  of  Whistler 
and  Seymour  Haden.  In  London  he  was  on  terms 
of  intimate  friendship  with  Linnell,  Turner,  David 
Roberts,  Dyce,  and  Stanfield.  In  1840-41,  fired 
by  Roberts'  sketches,  Daniell  travelled  in  Greece, 
Egypt,  and  Syria.  At  Smyrna  he  joined  tlie 
expedition  sent  by  the  Government  to  bring  home 
the  antiquities  discovered  by  Sir  Charles  Fellowes 
at  Xanthus.  Remaining  with  two  other  members 
of  the  party,  he  made  a  thorough  survey  of  Asia 
Minor,  and  brought  home  a  series  of  sixty-four 
water-colour  drawings,  now  in  the  British  Museum. 
Two  of  his  landscapes  in  oil  are  in  the  gallery  uf 
the  Norwich  Museum.  In  1842  he  rashly  under- 
took a  solitary  expedition  into  Pisidia  at  the  hottest 
season  of  the  year,  and  falling  ill  at  Adalia,  died 
there  on  Sept.  23,  at  the  age  of  thirty-eight,  if.  H. 

DANIELL,  James,  a  mezzotint  engraver,  flour- 
ished in  England  towards  the  close  of  the  18th  and 


'  the  beginning  of  the  19th  century.    The  following 
works  are  by  him  : 

Nelson  at  the  Battle  of  Cape  St.  Vincent ;  after  Sin- 
gleton. 
The  Death  of  Captain  Alexander  Hood ;  after  Singleton. 
The  Capture  of  Admiral  Winter  ;  after  Singleton. 
Samuel  and  Eli ;  after  Copley. 

DANIELL,  Samuel,  a  landscape  painter,  the 
brother  of  William,  and  the  nephew  of  Thomas 
Daniell,  was  born  in  1775.  He  studied  under 
Medland,  and  first  exhibited  at  the  lioyal  Academy 
in  1792.  He  passed  several  years  in  Africa,  return- 
ing to  England  in  1804.  About  a  year  after,  he 
went  to  Ceylon,  where  he  died  in  1811.  He  made 
numerous  drawings  of  tropical  scenery,  and  pub- 
lished works  on  '  African  Scenery  and  Animals,' 
1804-5,  and  '  The  Scenery,  Animals,  and  Native 
Inhabitants  of  Ceylon,'  1808.  At  the  South  Ken- 
sington Museum  is  a  water-colour  drawing  by  him  : 
'  r)eer  and  Birds  in  a  Tropical  Landscape.' 

DANIELL,  THOMAs,was  born  at  Kingston-upon- 
Thames  in  1749,  and  commenced  his  artistic  career 
as  a  painter  of  English  landscape  scenery,  with 
some  attempts  at  poetical  composition.  In  1784 
he  went  to  India  with  his  nephew,  William  Daniell ; 
they  were  absent  about  ten  years,  gathering  ma- 
terials for  their  great  work  on  '  Oriental  Scenery,' 
which  was  published  between  the  years  1796  and 
1815,  in  six  volumes,  the  whole  of  which,  with  the 
exception  of  the  volume  of  '  Excavations,'  was 
executed  by  William.  He  seldom  painted  any  but 
Indian  subjects.  In  1796  he  was  elected  an  A.s- 
sociate  of  the  Royal  Academy,  and  in  1799  an 
Academician.  He  died  in  London  in  1840.  The 
works  of  William  Daniell  are  so  blended  with 
those  of  his  uncle  Thomas,  that  they  may  be  con- 
sidered, artistically,  as  one,  though  some  give  the 
preference  to  the  latter. 

DANIELL,  William,  a  landscape  painter,  was 
born  in  1769.  In  1784  he  went  to  India  with  liis 
uncle,  Thomas  Daniell,  and  assisted  him  in  his 
drawings  and  sketches;  he  also  engraved  the  views 
for  the  greater  part  of  their  '  Oriental  Scenery.' 
He  first  exhibited  at  the  Royal  Academy  in  1795, 
and  entered  the  Academy  Schools  in  1799.  He 
was  elected  an  Associate  in  1807,  and  an  Aca- 
demician in  1822.  The  British  Institution  awarded 
him  a  prize  of  £100  in  1826  for  his  '  Battle  of 
Trafalgar.'  In  his  later  years  he  painted  several 
panoramic  views  of  India.  He  died  in  London  in 
1837.     Amongst  the  works  which  he  published  are  : 

A  Picturesque  Voyage  to  India.     1810. 

Animated  Nature.     18U9. 

Views  of  London.     1812. 

Views  of  Windsor  Castle,  Eton,  and  Virginia  Water 

A  Voyage  round  Great  Britain.     1814-25. 

Illustrations  of  the  Isl%nd  of  Staffa.     1818. 

The  Oriental  Annual.     1834-39. 

Mention  should  also  be  made  of  the  following 
pictures  by  him : 

View  of  the  Long  Walk,  Windsor  {Royal  Collection). 
Castel  Nuovo  {South  Kertsini/tmi  Bfuseum). 
Durham  Cathedral.    1805.   '{.South  Kensington  Museum.) 
Benares  {South  Kensington  Museum). 

DANIELS,  William,  painter,  born  about  1812, 
was  the  son  of  a  brickmaker  at  Liverpool.  He 
studied  drawing  at  the  Liverpool  Institution,  and 
was  then  apprenticed  to  an  engraver  ou  wood. 
At  the  close  of  his  apprenticeship  he  set  up 
as  a  painter  in  his  native  town,  and  might  have 
risen  to  eminence  in  his  art  but  for  his  fondness 
for  drink  and  for  jovial  company.     He  died  in 

9 


A  BIOGRAPHICAL  DICTIONARY  OF 


Liverpool,  October  13,  1880.  There  are  five 
portraits  by  him  at  South  Kensington,  among 
them  those  of  George  Stephenson,  and  Charles 
Kean  as  Hamlet.  See  'Magazine  of  Art,'  June 
1882. 

DANIELSKI,  Jan  Nepomucen,  a  Polish  painter 
of  portraits  in  oil  and  in  miniature,  was  a  native  of 
Cracow.  He  was  a  pupil  of  Dominik  Estreicher, 
and  also  painted  some  frescoes.  He  died  at  Cracow 
in  1844. 

DANKERTS.  See  Danckerts. 
DANKS,  Frans,  surnamed  'the  Tortoise,'  was 
born  about  1660  at  Amsterdam,  where  he  died  in 
1703.  He  painted  historical  subjects  and  portraits, 
and  showed  considerable  talent  in  modelling  and 
sculpture. 

DANLOUX,  Henei  Pierre,  a  French  painter, 
born  in  Paris  in  1753,  was  a  pupil  of  J.  B.  L^picii^ 
and  of  Vien.  On  the  outbreak  of  the  French 
Revolution  he  came  to  England  and  remained  here 
for  ten  years,  gaining  a  high  reputation  for  his 
portraits,  many  of  which  were  in  chalk.  The 
Fitzwilliam  Museum  at  Cambridge  has  by  him  the 
portrait  of  Louis  XVIII.  After  liis  return  to 
France,  he  exhibited  at  the  Salon  of  1802  '  Le 
Supplice  d'une  Vestale,'  a  picture  which  met  with 
much  praise.  His  best  work  is  a  full-length  por- 
trait of  the  Abbi  Delille,  now  at  Versailles. 
Danloux  died  in  Paris  in  1809. 

DANNECKER  (or  Danneker).  See  De  Necker. 
DANNOOT,  PiETER,  was  a  Flemish  engraver, 
who  flourished  about  the  year  1690.  He  engraved 
a  plate  representing  the  '  Head  of  Christ  crowned 
with  Thorns,'  after  Rubens,  and  a  '  Portrait  of  Pfere 
Mastrille.' 

DANTAN,  Joseph  Edward,  French  painter,  son 
of  the  sculptor  Jean  Pierre  Dantan,  and  nephew  of 
the  sculptor  Antoine  Laurent  Dantan,  born  iu  Paris, 
August  20, 1848.  Became  pupil  of  Pilo  for  historical, 
and  of  Henri  Lehmann  for  portrait  painting. 
His  first  picture  exliibited  at  the  Salon  of  1869 
was  entitled  'An  Episode  in  the  Destruction  of 
Pompeii.'  He  executed  a  great  picture  of  'The 
Holy  Trinity'  for  the  Bezin  chapel  at  Marnes. 
He  was  decorated  with  the  Legion  of  Honour  in 
1880,  and  was  killed  in  a  carriage  accident  near 
Trouville  in  1897. 

DANTE,  GiROLAMO,  called  Girolamo  di  Tiziano 
(from  having  been  a  scholar  of  Titian  and  an 
assistant  to  him  in  some  of  his  less  important 
works),  flourished  at  Venice  from  1550  to  1580. 
It  is  said  that  in  copying  the  originals  of  his 
master,  he  attained  so  higli  a  degree  of  excellence, 
that  such  of  his  pieces  as  were  retouched  by  Titian 
hid  defiance  often  to  the  judgment  of  the  most 
expert  connoisseurs.  He  also  produced  works  of 
his  own  design  ;  the  altar-piece  attributed  to  him 
at  San  Giovanni  Nuovo,  representing  '  SS.  Cosmo 
and  Damianus,'  reflects  credit  on  the  school  to 
which  he  belonged. 

DANTI,  Girolamo,  the  younger  brother  of  Vin- 
eenzio  and  Ignazio  Danti,  was  born  at  Perugia  in 
1547.  He  painted  frescoes  in  the  style  of  Vasari, 
and  gave  promise  of  becoming  a  great  painter 
when  his  career  was  prematurely  terminated  by 
his  death  at  Perugia  in  1580. 

DANTI,  Ignazio,  Bishop  of  Alatri,  whose  secu- 
lar name  was  Pellegrino,  a  Dominican  monk  and 
cosmographer,  was  born  st  Perugia  in  1536.  He 
was  a  brother  of  Vincenzio  Danti,  tlie  sculptor, 
and  was  instructed  by  his  father,  Giulio  Danti,  a 
goldsmith,  and  his  aunt  Teodora.  At  Florence  he 
10 


painted  the '  Tables  of  Ptolemy,'  in  57  oil-pictures, 
and  also  produced  a  number  of  maps.  Subsequently 
he  was  employed  by  Pope  Gregory  XIII.  to  de- 
corate the  walls  of  the  Vatican  with  geographic  a  1 
delineations  of  ancient  and  modern  Italy.  The 
Pope  having  determined  to  complete  the  continu- 
ation of  the  Gallery  of  Raphael  in  conformity  with 
the  original  plan,  and  to  paint  four  subjects  in  every 
arcade  of  the  gallery,  all  from  the  New  Testament, 
Danti  was  employed  by  him  to  superintend  the 
work  ;  the  entire  abandonment  of  a  design  to  the 
direction  of  practical  artists  being  found  by  experi- 
ence to  be  injurious  to  its  execution,  owing  to 
the  choice  of  their  inferior  assistants  beiug  liable 
to  be  governed  by  influence,  avarice,  or  jealousy. 
The  selection,  therefore,  was  reserved  to  Danti, 
who,  to  an  excellent  practical  knowledge  of  the 
art  of  design,  united  moral  qualities  that  ensured 
success ;  and  under  his  direction  the  whole  work 
was  regulated  and  conducted  in  such  a  manner 
that  the  spirit  of  Raphael  seemed  to  be  resuscitated 
in  the  precincts  of  the  Vatican.  He  was  conse- 
crated Bishop  of  Alatri  in  1583,  and  died  at  Rome 
in  1586. 

DANTI,  Teodora,  the  aunt  of  Vincenzio  and 
Ignazio  Danti,  is  mentioned  in  the'Vite  de'  Pittori 
Perugini,'  by  Lione  Pascoli,  who  states  that  she 
was  born  at  Perugia  in  1498.  She  painted  small 
pictures,  in  imitation  of  the  style  of  Pietro  Peru- 
gino,  and  died  in  1573. 

DANTI,  Vincenzio,  an  Italian  sculptor,  architect, 
and  poet,  was  born  at  Perugia  in  1530.  In  1555 
he  cast  in  bronze  the  statue  of  Pope  Julius  III., 
which  is  still  to  be  seen  at  Perugia,  and  is  con- 
sidered to  be  his  masterpiece.  He  afterwards 
went  to  Florence,  where  he  was  employed  by 
the  Grand-Duke  Cosmo,  and  made  many  designs 
for  the  Escorial  which  were  sent  to  Spain.  He 
also  painted  historical  subjects,  which  are  but 
seldom  mentioned,  and  died  in  1576. 

DANUS,  Miguel,  a  Spanish  historical  painter, 
who  flourished  about  1700,  was  a  native  of  Ma- 
jorca. He  studied  first  at  Valencia,  and  afterwards 
in  Italy  in  the  school  of  Carlo  Maratti.  After  an 
absence  of  several  years  he  returned  to  his  own 
country,  where  he  painted,  in  the  manner  of  his 
master,  the  pictures  in  the  cloisters  of  the  convent 
of  tlie  Socorro  at  Palma ;  and  others  which  are  to 
be  found  in  private  collections  in  the  island  of 
Majorca. 

DANVIN,  Victor  Marie  F^lix,  a  French 
landscape  painter,  was  born  in  Paris  in  1802. 
He  studied  successively  under  Lethiere,  Gu^rin, 
Watelet,  and  Remond,  and  died  in  Paris  in  1842. 
His  wife,  whose  maiden  name  was  Constance 
Am^lie  Lambert,  was  born  at  Lille  in  1810,  and 
also  painted  landscapes. 

DANZEL,  Jacques  Claude,  a  French  engraver, 
was  born  at  Abbeville  in  1735.  He  was  a  pupil  of 
Beauvarlet,  and  engraved  several  plates  in  a  firm, 
neat  style.  He  died  at  Abbeville  in  1809.  We 
have  by  him  the  following  prints  : 
An  old  Man,  half-length  ;  after  Eemh-andt. 
Ciiresus  sacrificing  himself  for  love  of  Callirrhoe  ;  after 

Fnujonard  ;  his  chef-d"c8uvre. 
Le  Iloi  boit,  Le  Gateau  des  Kois  ;   two  plates ;   after 

Ttll'Ojyh. 
Venus  and  Adonis ;  after  J.  Bethon. 
Venus  and  .ffineas  ;  after  A.  Boi:ot. 
Alexander  giving  Campaspe  to  Apelles  ;  after  Lagrenee. 
Socrates  pronouncing  his  Discourse  on  the  Immortality 

of  the  Soul ;  after  Sane. 
Roman  Charity  ;  after  N.  N.  Coypel. 


PAINTERS  AND  ENGRAVERS. 


Vulcan  presenting  to  Venus  the  arms  of  .ffineas ;  afttr 

Boucher. 
Neptune  aud  Amymone ;  after  the  same. 
The  Washerwoman  ;  after  Greuze. 
The  Rape  of  Proserpine;  after  Vien. 

DANZICA,  Salomons  di,  is  known  by  works 
which  are  finely  and  laboriously  executed,  and 
generally  represent  jocose  subjects.  His  portrait 
by  C.  Gregori  is  in  the  Museo  Fiorentino.  He  is 
said  to  have  been  brouglit  up  in  Dantzic,  from 
whence  in  1695  he  went  to  Italy.  He  died  at 
Milan. 

DAPPER.    See  Tamm,  Franz  Werner. 

DARBY,  Matthew,  engraver  and  caricaturist, 
practised  in  London  and  at  Bath  in  the  second  half 
of  the  18th  century.  He  kept  a  shop  in  the  Strand 
for  the  sale  of  artists'  materials,  and  advertised 
liimself  as  a  teacher  of  engraving.  Anthony 
Pasquin  was  one  of  his  pupils.  He  also  published 
comic  drawings,  among  them  some  of  H.  W.  Bun- 
bury's  early  works,  and  a  series  of  '  Caricatures  '  by 
various  hands.  He  himself  is  said  to  have  produced 
about  three  hundred  caricatures. 

DAKCIS,  J.  Louis,  was  a  French  engraver,  who 
died  in  Paris  in  1801.     His  best  works  are : 

Les  Incroyables  ;  after  Carle  Vernet. 

Les  Merveilleuses  ;  after  the  same. 

L'Anglomaue  ;   after  the  same. 

La  Course  de  Chevaux ;  after  the  same. 

Marius  at  Minturnse  ;  after  Drouais  the  younger. 

La  Brouille  ;  after  Guerin. 

Le  Raccommodement ;  after  the  same. 

DARDANI,  Antonio,  an  Italiaji  historical 
painter,  was  born  at  Bologna  in  1677,  and  was  a 
pupil  of  M.  A.  Toni  and  of  J.  Viani.  He  died  in 
1735. 

DARDEL,  Robert  Guilladme,  a  French  sculp- 
tor, and  pupil  of  Pajou,  was  born  in  Paris  in  1749> 
and  died  there  in  1821.  He  engraved  a  '  Diana ' 
and  an  '  Endymion.'  His  wife  engraved  after  hira 
'  La  Danse  '  and  '  La  Musique.' 

DARDOIZE,  Emile,  French  landscape  painter 
of  note,  born  in  Paris  in  1826.  Though  it  was 
his  boast  that  he  was  a  pupil  of  no  master,  he  kept 
pretty  closely  to  French  traditions,  and  deserves 
to  be  ranked  with  Harpignies  or  Pelouse.  His 
interpretation  of  Nature  was  perhaps  wanting  in 
breadth,  but  his  work  had  the  merit  of  sincerity, 
his  colour  being  most  fresh  and  agreeable.  Among 
his  best-known  works  we  may  mention  '  Solitude ' 
(in  the  Salon  of  1869), 'Soleil  Couchant'  (1874), 
'  Nuit  Verte  '  (1880),  '  La  Source '  (1882),  '  Le  Bois 
des  Rossignols,'  '  Le  Bois  Pierre'  (1894),  'Les 
Tourterelles'  (1895).  He  also  contributed  freijuently 
to  some  of  the  Paris  illustrated  publications  such 
as  'L'lUustration,'  '  Le  Tour  du  Monde,'  &c.  His 
death  occurred  in  Paris  on  October  30,  1901. 

P.  P. 

DARET,  Daniel,  pupil  of  his  brother  James, 
was  admitted  free  master  into  the  Guild  of  Saint 
Luke  at  Tournay,  February  10,  1440.  In  1449  he 
was  appointed  court  painter  by  Philip  Duke  of 
Burgundy,  in  succession  to  John  van  Eyck,  since 
whose  death  the  office  had  remained  vacant. 

DAKET,  James,  native  of  Tournay,  member  of 
a  family  of  artists,  learned  his  art  under  Robert 
Campin,  to  whom  he  was  apprenticed  on  April  12, 
1427;  he  was  admittted  free  master  into  the  Guild 
of  Saint  Luke  on  October  18,  1432,  seven  weeks 
after  his  fellow-apprentice,  Roger  De  la  Pasture. 
On  the  same  day  he  was  elected  provost  of  the 
confraternity  of  Saint  Luke.    In  1441  he  moved  to 


Arras,  where  he  resided  until  1448  ;  there  he 
was  chiefly  employed  in  making  designs  for 
metal-work  and  tapestry.  Amongst  others  he 
painted  a  cartoon  in  distemper  of  the  Resurrec- 
tion, which  occupied  thirty-six  yards  of  canvas. 
In  1454  he  worked  during  nineteen  daj's  on  the 
decorations  for  the  festival  held  at  Lille,  known  as 
the  Vwu  du  Faisan ;  he  received  as  wage  8s.  a  day. 
In  October  1459  he  was  back  at  Tournay.  In  1468 
he  was  called  to  Bruges  to  design  decorations  of 
the  palace  for  the  marriage  of  Cliarles  the  Bold 
and  Margaret  of  York  ;  on  this  occasion  he  received 
the  high  wage  of  27s.  a  day.  He  returned  again 
to  Tournay  and  died  shortly  after.  A  large  num- 
ber of  paintings,  formerly  attributed  to  Roger  De 
la  Pasture,  are  now  supposed  to  be  by  Daret.  The 
chief  of  these  are  some  life-size  figures  in  the 
Staedel  Institute,  Frankfort,  of  the  Most  Holy 
Trinity,  the  Blessed  Virgin,  Saint  Veronica  (the 
original  design  of  this  is  in  the  Fitzwilliain  Mu- 
seum, Cambridge),  and  one  wing  of  a  Calvary 
triptych  formerly  in  the  priory  church  of  FMmalle. 
An  early  copy  of  the  triptych,  with  tlie  added 
portrait  of  a  donor,  and  figures  in  grisaille  on  the 
exterior,  of  SS.  John  Baptist  and  Julian,  formerly 
in  the  Hospice  of  Saint  Julian  at  Bruges,  is  now 
in  the  museum  at  Liverpool. 

Bibliography :  De  la  Grange  and  Cloquet, 
'Etudes  sur  I'Art  a  Tournai.'     1888. 

W.  H.  J.  W. 

DARET,  Jean,  a  Flemish  painter,  was  born  at 
Brussels  in  1613.  He  went  to  Italy,  whence  lie 
returned  in  1638,  and  settled  at  Aix  in  Provence, 
where  he  painted  many  Scriptural  subjects  for  the 
churches  and  convents  of  that  city.  He  also 
painted  portraits,  and  engraved  a  set  of  plates 
representing  the  Virtues.  He  died  at  Aix  in  1668. 
There  is  an  excellent  portrait  of  a  Magistrate  by 
him  in  the  Museum  of  Marseilles.  His  sons, 
Michel  and  Jean  Baftiste,  were  painters  who 
worked  together. 

DARET  DE  CAZENEUVE,  Piekre,  a  French 
portrait  painter  and  engraver,  was  born  in  Paris  in 
1604.  After  receiving  some  instruction  in  engrav- 
ing, lie  went  to  Rome  in  search  of  improvement, 
and  there  passed  a  considerable  time.  He  was 
received  into  the  Academy  of  Painting  in  1663, 
and  died  at  the  chateau  of  La  Luque,  near  Dax 
(Landes)  in  1678.  Mariette  sa3's  that  this  artist 
began  and  finished  his  career  with  painting.  He 
engraved  upwards  of  four  hundred  plates,  not 
without  merit,  but  very  deficient  in  taste  and  cor- 
rectness of  drawing.  They  are  frequently  marked 
and  among  them  are  the  following  : 


D 


POR'J  RAITS. 


Bust  of  Alexander  the  Great. 

Pc)pe  Alexander  YU. 

Cliarles  I.,  King  of  Great  Britain. 

Henri  de  Bourbon,  Prince  of  Conde. 

Charlotte   Marguerite   de    Montmorency,  Princess  of 

Conde. 
Marguerite  Gaston,  Duchess  of  Orleans. 
Vladislas  IV.,  King  of  Poland. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
St.  .Tohn  sittmg  in  the  Desert  with  his  Lamb ;  after 

Guido. 
The  Virgin  sucliling  the  Infant ;  after  A.  Carracci. 
St.  Peter  delivered  from  Prison  ;  after  Domenichino, 
The  Eutombmeut  of  Christ ;  after  Barocci. 
A  Holy  Family,  with  Angel  presenting  fruit   to  th" 

Infant  Jesus  ;  after  K  Vouet. 
The  Dead  Christ,  with  the  Marys ;  after  the  same. 
St.  Jerome;  half-length;  after  Blanchari. 

11 


A    BIOGRAPHICAL   DICTIONARY  OF 


Thetis  ordering  Vulcan  to  forge  arms  for  Acliilles 

after  the  same. 
A  Charity  with  five  Children  ;  after  the  same. 
The  "Visitation  of  the  Virgin  to  St.  Elizaheth  ;  after 

Corneitle. 
The  Virgin  and  Infant ;  after  Sarazin. 

He  also  engraved  one  hundred  small  plates  for  a 
work  entitled,  '  La  Doctrine  des  Moeurs,'  after  the 
designs  of  Otto  van  Veen,  1646  ;  and  a  great  num- 
ber of  portraits  for  a  publication  entitled,  'Tableaux 
historiques,  oil  sont  graves  les  illustres  Franfois  et 
Etrangers  de  I'un  et  1' autre  sexe  ;  par  Pierre  Daret, 
Louis  Boisscvin,  et  B.  Moncornet,'  published  in 
1652  and  1656. 

There  was  also  a  Pierre  Daret,  a  painter  upon 
vellum  and  in  water-colours,  who  was  living  in 
1664. 

DARGENT,  Michel, a  Flemish  miniature  painter, 
wag  born  at  Li^ge  in  1761,  and  died  in  1824.  He 
possessed  talent  which  was  still  more  remarkable 
in  his  son,  who  was  born  at  Liege  in  1794,  and  died 
in  the  flower  of  youth  in  1812.  His  daughter, 
Marie  Josephe,  who  was  born  at  Li^ge  in  1789 
and  died  in  186)5,  likewise  painted  miniatures. 

D'ARGENVILLE,  Antoine  Joseph  Desallier. 
See  Derallier  d'Argenvili.e. 

DARIO  DA  TREVIGI.     See  Trevigi. 

DaRJOU,  Henri  Alfred,  a  French  painter  and 
draughtsman,  born  in  Paris  in  1832,  was  the  son 
of  Victor  Darjou,  a  portrait  painter  of  some  abiHty. 
He  studied  under  his  father  and  under  L^on 
Cogniet,  and  exhibited  first  at  the  Salon  of  1853, 
from  wliich  time  onwards  he  almost  every  year 
sent  pictures  which  were  for  the  most  part  of  genre 
subjects.  The  paintings  of  Darjou  have,  however, 
done  less  for  his  reputation  than  the  numerous 
designs  which  he  made  for  the  '  Illustration '  and 
the  '  Monde  illustre.'     He  died  in  Paris  in  1874. 

DARLY,  Jean  Baptiste,  was  a  French  portrait 
painter,  who  flourished  at  Tours  about  1530.  He 
had  a  great  reputation,  and  many  persons  came 
from  distant  parts  in  order  to  have  their  portraits 
painted  by  him. 

DARNSTADT,  Johann  Adolf,  a  German  line- 
engraver,  who  was  born  at  Auma,  near  Dippoldis- 
waida  in  Saxony,  in  1768,  was  a  scholar  of  Schulze 
and  of  Zingg.  Amongst  his  works  are  an  engrav- 
ing of  Dresden  after  Hammer  and  Thurmayer,  and 
some  book  illustrations.  For  his  plates  of  'Th<? 
Magi '  and  '  The  Magi  among  the  Shepherds,'  after 
Dietrich,  he  obtained  the  gold  medal  at  Milan. 
He  resided  at  Dresden,  and  died  there  in  1844. 

DASSONNEVILLE,  Jacques,  a  French  en- 
graver, was  born  in  the  harbour  of  St.  Ouen  near 
Rouen,  in  1619.  We  have  by  this  artist  about  fifty 
etchings,  in  the  style  of  A.  van  Ostade,  which, 
although  by  no  means  equal  to  the  playful  point  of 
that  m;iBter,  are  not  without  considerable  merit. 

DASSY,  Jean  Joseph,  a  French  historical  and 
portrait  painter,  and  lithographer,  was  born  at 
Marseilles  in  1796.  He  studied  under  Goubaud 
and  Girodet-Trioson,  and  commenced  exhibiting  at 
the  Paris  Salon  in  1819.  There  are  several  pictures 
by  him  at  Versailles,  among  which  are  'The  Battle 
of  Saucourt'  and  'Charibert.'  He  died  at  Mar- 
seilles in  1865. 

DASVELT,  Jan,  a  Dutch  landscape  painter, 
was  born  at  Amsterdam  in  1770.  He  was  a  pujiil 
of  Hendrik  Stukvisch,  and,  although  at  first  only 
an  amateur,  he  soon  acquired  the  reputation  of 
being  a  good  artist.  He  excelled  especially  in  the 
manner  in  which  he  painted  the  dogs  which  he 

12 


introduced  into  his  pictures.  He  died  at  Amster- 
dam in  1855. 

DATHAN,  Georg,  was  born  at  Mannheim  in 
1703.  He  excelled  in  painting  portraits  and  his- 
torical subjects.  One  of  his  best  works,  an  'Allegory 
upon  the  marriage  of  the  Dauphin,  son  of  Louis 
XV.,  with  the  Princess  Marie  Josephine  of  Poland,' 
is  in  the  Dresden  Gallery. 

DATI,  CosiMo.     See  Daddi. 

DATTI,  Natalis,  was  an  Italian  engraver,  who 
flourished  at  Ravenna  in  the  early  part  of  the  16th 
century,  to  whom  Zani,  without  giving  any  proof, 
assigns  the  very  few  plates  which  bear  the  signa- 
ture NA.  DAT.  and  the  device  of  a  rat-trap,  on 
account  of  which  the  artist  is  often  called,  The 
Master  of  the  Rat-trap.  The  prints  thus  marked 
are  small  and  executed  entirely  with  the  graver. 
From  the  resemblance  of  the  stylo  of  Dati  to  that 
afterwards  adopted  by  Theodor  De  Bry,  it  is  pro- 
bable that  the  latter  was  his  pupil.  Bartsch  and 
Passavant  mention  the  following  prints  by  him  : 

The  Virgin  and  Child,  with  St.  Anne  ;  in  an  arch  to 
the  right  is  the  Angel  appearing  to  St.  Joseph,  and 
to  the  left  an  Angel  appearing  to  St.  Joachim. 

The  Battle  of  Ravenna.     1512. 

Two  Monstrous  Children  joined  back  to  back. 

DAUBIGNY,  Charles  Francois,  one  of  the  most 
distinguished  French  landscape  painters  and  etch- 
ers of  recent  years,  was  born  in  Paris  in  1817.  He 
was  the  son  of  Edme  Francois  Daubigny,  under 
whose  tuition  he  painted  boxes,  clock-cases,  and 
other  articles  of  commerce.  At  the  age  of  eighteen 
he  visited  Italy,  and  on  his  return  to  France  in  the 
following  year  he  entered  the  studio  of  Paul  Dela- 
roche.  He  first  exhibited  at  the  Salon  of  1838,  and 
obtained  medals  in  1848  and  1853,  besides  medals 
at  the  Paris  Universal  Exhibitions  of  1855  and 
1867.  His  etchings  are  characterized  by  their 
purity  and  effect.  Several  of  them  appeared  in 
Curmer's  '  Jardin  desPlantes'  and  'Beaux  Arts,' 
and  in  the  '  Artiste  ; '  but  the  best  are  '  Le  Buisson  ' 
and  '  Le  Coup  de  Soleil,'  after  the  pictures  of  Ruis- 
dael  in  the  Louvre.  Daubigny  died  in  Paris  in 
1878.  He  excelled  in  river  scenes,  which  he  often 
painted  from  a  barge  fitted  up  as  a  floating  studio. 
Amongst  his  best  works  are  : 

The  Seine  at  Bezons.    1840. 
The  Harvest.     1852. 
Sunrise.    (In  the  Lille  Museum.) 
The  Pool  of  Gylien.     18<i3. 

Sluice  in  the  Valley  of  Optevoz.     1855.    (In  the  Luxem- 
bourg Gallery.) 
The  Banks  of  the  Oise.     1861. 

The  Vintage.     1863.     (In  the  Luxembourg  Gallery.) 
Windmills  at  Dordrecht.     1872. 
Moonrise.     1877. 

Fuller  details  respecting  this  artist  may  be  found 
in  Henriet's  '  C.  Daubigny  et  son  oeuvre  grave,' 
Paris,  1875,  8vo. 

DAUBIGNY,  Edme  Fran(;'OIS,  a  French  land- 
scape painter,  was  a  pupil  of  Victor  Berlin.  He 
was  born  in  Paris  in  1789,  and  died  there  in  1843. 
His  favourite  subjects  were  views  in  Italy  and  in 
the  environs  of  Paris. 

DAUBIGNY,  Karl  Pierre,  the  son  of  the 
famous  landscape  painter,  was  a  pupil  and  imitator 
of  his  father,  and  painted  the  same  class  of  subjects. 
Born  in  Paris  in  1846,  he  gained  medals  in  1868 
and  1874,  and  died  in  May  1886. 

DAUBIGNY,  PlERRE,aFrenchminiature  painter, 
was  the  brother  of  Edme  Frangois  Daubigny,  and 
a  pupil  of  Aubry.     He  was  born  in  Paris  in  1793, 


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PAINTERS  AND  ENGRAVEKS. 


and  died  there  in  1868.  His  wife,  Amelie  Dautel, 
was  likewise  a  miniature  painter,  and  a  pupil  of 
Aubry  and  of  Granger.  She  was  born  in  1796  in 
Paris,  where  she  died  in  1861. 

DAUDET,  Robert,  a  French  engraver  of  land- 
scapes in  line,  was  born  at  Lyons  in  1737.  He 
was  the  son  of  Robert  Daudet,  an  engraver  and 
printseller,  who  in  1766  sent  him  to  Paris,  whtre 
he  studied  under  Balechou,  and  afterwards  became 
the  favourite  pupil  of  J.  G.  Wille.  He  died  in 
1824.     His  best  works  are  as  follow : 

Two  LandscapeSjWith Figures  and  Cattle;  after Berchem. 

An  Italian  Landscape,  with  Figures  and  Cattle ;  after 
Both  and  Berchem. 

Going  out  to  the  Chase;  after  A.  van  Ostade  and 
Hacke)'t. 

A  Stag-Hunt ;  after  Wmiwerman. 

Italian  Ruins  ;  after  C.  Poelemburg. 

Ruins  of  Palmyra ;  after  Cassas. 

Combat  ot  Horsemen  ;  after  fan  der  Meulen. 

The  Corsican  Fishermen  ;  after  Joseph  Vernet. 

The  Young  "Washerwomen  ;  after  the  same. 

Roman  Ruins ;  two  plates,  after  IHetrich. 

Evening  ;  after  the  same. 

Two  Views  of  Pirna,  in  Saxony. 

DAULLE,  Jean,  a  French  engraver,  was  born 
at  Abbeville  in  1703.  He  received  his  first  lessons 
in  engraving  from  Doni  Robart,  a  monk  of  the 
priory  of  St.  Peter  at  Abbeville,  and  afterwards 
went  to  Paris,  where  his  fellow-citizen,  Robert 
Hecquet,  taught  him  what  little  he  himself  knew. 
His  merit  did  not  remain  long  unnoticed,  and  he 
was  received  into  the  Academy  in  1742.  He  died 
in  Paris  in  1763.  After  his  death  some  of  his 
engravings  were  published  by  his  widow  as  his 
'CEuvre.'  He  engraved  several  portraits  and  plates 
of  historical  and  other  subjects,  which  are  chiefly 
executed  with  the  graver  in  a  clear  and  firm  style, 
which  entitles  him  to  rank  with  the  ablest  artists 
of  his  time.  He  marked  his  works  J.  D.  The 
following  are  his  principal  plates  : 

PORTRAITS. 
Catherine,  Countess  of  Feuquieres,  daughter  of  Pierre 

Mignard ;  after  Mifinard. 
Hyacinthe  Rigaud,  painter  ;   after  Rujaiid ;    engraved 

for  his  reception  at  the  Academy  in  1742. 
Marguerite  de  Valois,  Countess  of  Caylus  ;   after  the 

same. 
Charles  Edward  Stuart,  son  of  the  Pretender. 
Clementina,  Princess    of    Poland,   his    consort ;    after 

David. 
Mad.^me   Favart,  in   the   part   ot    '  Bastienne  ; '    after 

Carle  van  Loo. 
Claude  Deshayes  Gendron,  oculist ;  after  Rigaud. 
Jean  Baptists  Rousseau  ;  after  Aved. 
Jean  Mariette,  engraver  ;  after  Pesne. 

SUBJECTS   AFTER    VARIOUS   MASTERS. 

The  Magdalen ;    after   Correggio ;    for    the   Dresden 

Gallery. 
Diogenes  with  his  Lantern ;  after  Spagnoletto  ;  for  the 

same. 
Quos  Ego  ;  after  Rubens. 
The  Two   Sons  of   Rubens;  after  the  same;  for  the 

Dresden  Gallery. 
Neptune  appeasing  the  Tempest ;  after  the  same. 
Charity  with  Three  Children  ;  after  Albam, 
The  Triumph  of  Venus  ;  after  Boucher. 
Latona  ;  after  J.  Jout-enet. 
Four  Marine  subjects ;  after  Joseph  Vernet. 
The  Bath  of  Venus  ;  after  Raoux. 
Two  subjects  ;  after  G.  Metsu. 
Jupiter  and  Calisto ;  after  N.  Poussin. 
St.  Margaret ;  after  Correggio. 
Child  playing  with  Cupid ;  after  Van  JDgck. 

A  detailed  account  of  this  artist's  works  is 
contained  in  Deligniere's  '  Catalogue  raisonne  de 


rCEuvre  grave  de  Jean  DaulI6  d' Abbeville,'  1872, 
8vo. 

DAUMIER,  HoNOR^,  a  French  caricaturist  and 
painter,  was  born  at  Marseilles  in  1808.  His  most 
celebrated  work  was  the  series  of  '  Robert  Macaire,' 
published  in  the  '  Charivari.'  No  one  ever  repre- 
sented with  greater  truth  the  varied  types  of 
Parisian  character.  He  became  blind  in  1877,  and 
died  in  1879  at  Valmondois  ( Seine- et-Oise)  in  a 
house  given  him  by  Corot,  the  landscape  painter. 

DAUPHIN,  Charles  Claude,  (or  Dofin.)  called 
in  Italian  Delkino,  a  French  painter  of  historical 
subjects  and  portraits,  was  the  son  of  Olivier 
Dauphin.  He  went  to  Turin  about  the  year  1664, 
and  worked  there  for  the  Prince  of  Carignaiio. 
He  was  also  employed  for  the  churches,  but  his 
works  are  in  no  great  estimation,  abounding  as 
they  do  with  the  most  ridiculous  absurdities.  In 
the  church  of  San  Carlo  is  an  altar-piece  by  him, 
described  by  Lanzi  as  a  most  ludicrous  composi- 
tion.    He  died  in  1677. 

DAUPHIN,  FRANgois  Gustave,  a  French  his- 
torical painter,  was  born  at  Belfort  in  1804.  He 
was  a  pupil  of  Hersent,  and  executed  Scriptural 
subjects,  and  occasionally  portraits.  He  died  in 
Paris  in  1859. 

DAUPHIN,  Olivier,  (or  Dofin,)  called  in  Italian 
Delfino,  a  French  painter  and  engraver,  was  born 
in  Lorraine  in  the  early  part  of  the  17th  century. 
He  was  instructed  by  Simon  Vouet,  and  worked, 
in  particular,  at  the  court  of  Modena.  He  etched 
several  plates  after  the  Carracci  and  other  masters, 
but  nothing  is  known  of  his  works  as  a  painter. 
He  died  at  Bologna  in  1693. 

DAUPHIN  DE  BEAUVAIS,  Charles  Nicolas, 
the  son  of  Nicolas  Dauphin  de  Beauvais,  was  borir 
in  Paris  in  1730,  and  was  instructed  in  the  art  of 
engraving  by  his  father.  He  died  in  1783. 
Amongst  other  plates  he  engraved  the  following : 

Portrait  of  Just  Aurele  Meissonnier,  architect. 
Le  Sommeil  iuterrompu  ;  after  F.  Boucher. 
Map  of  the  Empire  of  Alexander. 

DAUPHIN  DE  BEAUVAIS,  Jacques  Philippe, 
the  eldest  son  of  Nicolas  Dauphin  de  Beauvais, 
was  a  sculptor,  who  engraved  three  '  Livres  de 
Vases  '  and  some  views  of  Venice.  He  was  born 
in  1738,  and  died  in  Paris  in  1781. 

DAUPHIN  DE  BEAUVAIS,  Nicolas,  was  bom 
in  Paris  in  1687.  He  learned  the  art  of  engraving 
under  Jean  Audran,  and  his  works  are  held  in 
considerable  estimation.  It  is  probable  that  he 
passed  some  time  in  England,  as  he  engraved  a 
part  of  the  frescoes  of  tlie  dome  of  St.  Paul's,  after 
Sir  James  Thornhill.  He  died  in  Paris  in  1753. 
We  have  also  by  him  : 

The  Descent  of  the  Holy  Ghost ;  after  J.  Andre. 

All  Saints  ;  after  the  same. 

The  Resurrection  ;  after  P.  J.  Cazes. 

The  Four  Seasons  ;  after  the  same ;  four  plates,  en- 
graved conjointly  with  Besplaces. 

The  Madonna  of  St.  George  ;  after  Correggio ;  for  the 
Dresden  Gallery. 

St.  Jerome  ;  after  Van  Dyck  ;  for  the  same. 

The  Burning  of  jEneas's  Ships,  and  their  Metamorphosis 
into  Nymphs  ;  after  Coi/pel. 

The  Companion,  a  subject  from  the  Life  of  .Sneas  ; 
after  the  same. 

Monument   of  William,  Earl  Cowper. 

Cupid  stealing  Jupiter's  Thunderbolts  ;  after  Le  Sueur. 

St.  Mary  Magdalen  in  the  Desert;  afterB.Luti;  for 
the  Orozat  Collection. 

The  Triumph  of  Bacchus  and  Ariadne  ;  after  A'.  Poussin. 

DAUTEL,  Amelie.    See  Daubigny. 

13 


A  BIOGRAPHICAL  DICTIONARY  OF 


DAUZATS,  Adkien,  a  French  landscape  and 
genre  painter,  was  born  at  Bordeaux  in  180-t.  He 
became  a  pupil  of  Gu6,  and  afterwards  travelled  in 
France,  Spain,  Egypt,  and  Palestine,  for  the  purpose 
of  making  illustrations  for  Baron  Taylor's  '  Voy- 
ages pittoresques  et  romantiques  de  rancieniie 
France,'  1820-63;  'Voyage  pittoresque  en  Es- 
pagne,  en  Portugal,  et  sur  la  cote  d'Afrique,  de 
Tanger  a  Tetouan,'  1826-32  ;  '  La  Syrie,  I'Egypte, 
la  Palestine  et  la  Judee,'  1835-39,  and  other  books. 
He  was  a  frequent  exhibitor  at  the  Salon  of  genre 
subjects  and  interiors  of  churches,  and  was  also  a 
lithographer.     He  died  in  Paris  in  1868. 

DAVENPORT,  Samdel,  an  English  engraver, 
was  born  at  Bedford  in  1783.  He  was  articled  to 
Charles  Warren,  and  worked  much  at  book  illustra- 
tion, after  Shenton,  Corbould,  and  others.  He 
also  engraved  many  portraits,  and  was  one  of  the 
first  to  practise  engraving  on  steel.  He  died  in 
1867. 
DA  VENT,  Leonard.  See  Thiky. 
DAVID,  Charles,  a  French  engraver,  was  born 
in  Paris  about  1600.  It  is  not  ascertained  by  whom 
he  was  instructed,  but  he  ranks  as  an  estimable 
artist  among  the  engravers  of  his  time.  The  exact 
date  of  his  death  is  not  known,  but  it  was  neither 
earlier  than  1636,  nor  later  than  1638.  His  plates 
are  executed  with  the  graver  in  a  clear,  firm  man- 
ner, and  his  drawing  is  tolerably  correct.  His 
prints  are  held  in  considerable  estimation.  He 
usually  marked  his  plates  C-  D.  or  C.  D.  F.  The 
following  are  by  him  : 

Ecce  Homo,  or  Christ  shown  to  the  People  by  Pilate. 

The  Virgin  and  Infant  with  Angels ;  after  J.  B.-  de 
Champaigne. 

The  Virgin  with  St.  Bernard  ;  after  P.  de  Chamjmiyne. 

Wisdom  awaking  a  Man  sleeping ;  after  the  same, 

A  Nurse  carrying  a  Child  ;  with  six  verses. 

The  Eonian  Charity. 

Twelve  plates  of  the  Labours  of  Hercules  ;  after  Frans 
Floris. 

Sixteen  plates  of  the  Cries  of  Eome ;  after  Villamena  ; 
copied  with  such  exactness  that  they  may  easily  be 
mistaken  for  the  originals. 

A  set  of  Landscapes;  after  Ttf.  and  P.  BriL 

A  Man  with  a  Snail  on  his  Finger,  with  a  Goat  wearing 
a  Crown  of  Snails  on  its  Head  ;  after  Calloi. 

DAVID,  Charles,  a  French  miniature  painter, 
was  born  at  Avignon  in  1798.  He  was  the  brother 
of  the  eminent  composer  F^licien  David,  and  was 
also  a  musician.     He  died  at  Avignon  in  1869. 

DAVID,  Claude,  a  French  sculptor  and  engraver, 
was  a  native  of  Franche-Comt^.  He  was  in  Eng- 
land in  1720,  and  is  noticed  by  Vertue  as  having 
engraved  a  plate  from  a  model  of  a  fountain 
intended  to  have  been  erected  at  the  conduit  in 
Cheapside,  and  comprising  statues  of  Queen  Anne 
and  the  Duke  of  Marlborough  on  horseback,  with 
River  Gods. 

DAVID,  Franqois  Anne,  a  French  line-engraver, 
was  born  in  Paris  in  1741,  and  died  in  the  same 
city  in  1824.  He  was  a  pupil  of  Le  Bas,  and  en- 
graved several  portraits  and  other  subjects  in  a 
neat,  finished  style  ;  among  them  are  the  following  : 

PORTRAITS. 
Louis   Stanislas    Savier,    Monsieur,   afterwards    Louis 

XVIII. ;  after  llrouais. 
Louis  XVIli. ;  full-length,  in  his  robes  ;  after  himself. 
Denis  Diderot ;  after  L.  M.  ran  Loo. 
Cesar  Gabriel  de  Choiseul.  Due  de  Praslin  ;  after  Hofliii. 
Catharine  II.,  Empress  of  Kussia ;  after  Mile.  Lurameau. 
Gaspard  Netscher,  painter,  his  AYife  and  Son;   after 

Netscher. 
Charles  I.  of   England  with  his  Family;    after    Van 

Dyck.  I 

14 


SnBJECTS    AF]EB    VARIOUS   MASTERS. 
Adam  and  Eve  in  Paradise ;  after  Santerre. 
Christ  crowned  with  thorns ;  after  Titian. 
St.  Cecilia ;  after  Raphael. 
The  Dutch  Sportsman  ;  after  G.  Metsu. 
The  Green-Market  at  Amsterdam  ;  after  the  same. 
The  Quack  Doctor  ;  after  Earel  Du  Jardin. 
The  Bull ;  after  Paul' Potter. 

Two  Views  of  the  Gulf  of  Venice  ;  after  Joseph  Vernet. 
Two  Views  near  Dunkirk  ;  after  the  same. 

DAVID,  Gheeraert.     Although   the  name   of 
this  painter  appears  to  have  been  known  to  Guioci- 
ardini,  Sanderus,  and  otlier  early   writers,  it  was 
completely   lost  in   later  times   until    1860.     Re- 
searches  in   the  archives  of  Bruges  proved  that 
this  'Gerard,  son  of  John,  son  of  David,"  was  a 
native  of  Oudewater   in  South  Holland  ;  that  he 
settled  in    Bruges   in    1483,    and   on   the  14th  of 
January,  1484,  was  admitted  as  master-painter  into 
the  Guild  of  Saint  Luke,  and  paid  the  usual  entrance 
fee  of  £6.     David  soon  acquired  a  good  position 
in  Bruges,  for  in  1488  we  find  him  fourth  'vinder' 
of  his  guild,  in  1495  and  1498  first '  vinder,'  and  in 
1501  '  dean,"  a  proof  that  he  then  stood  at  the  top 
of  his   profession  in  Bruges.      In    1496,  or   very 
shortly   after,   he    married  Cornelia,  daughter   of 
James  Cnoop,  dean    of  the  Guild   of  Goldsmiths. 
David  was  also  a  miniaturist,  and  as  such  a  member 
of  the  Booksellers'  Guild.    He  was  also  a  member  of 
the  confraternity  of  '  Our  Lady  of  the  Dry  Tree.' 
He  was  a  pious  and  charitable  man,  and  attained 
a  great  reputation  both  as  painter  and  miniaturist. 
He   was  in   good  circumstances,  for   besides  the 
house  in  which  he  lived,  he  rented  three  others  as 
workshops.     In  1509  he  completed  the  picture  now 
in  the  Museum  of  Rouen,  and  presented  it  as  a 
gift  to  the  convent  of  the  Carmelites  of  Sion  at 
Bruges.     This  beautiful  altar-piece  represents  the 
Virgin  and  Cliild  seated  in  the  midst  of  angels  and 
a  cornpany  of  virgin  saints.     In  the  background  to 
the  right  the  painter  has  introduced  his  own  figure, 
while  his  wife  stands  similarly  placed  on  the  left. 
The   convent   was   suppressed    by  the    Emperor 
Joseph  in  1783,  and  the  altar-piece  sold ;  it  after- 
wards  passed  into   tlie   Rouen    Museum.     David 
died  on  the  13th  of  August,  1523,  as  certified  by 
the  register  of  his  burial  in  Notre-Dame  at  Bruges, 
where  he  was  laid  to  rest  beneath  the  tower,  his 
gravestone  bearing  escutcheons  charged  with  his 
own  and  his  wife's  arms. 

It  is  not  known  where  Gerard  learned  his  art, 
but  most  probably  at  Haarlem,  or  under  Dirk 
Bouts,  hut  the  composition  and  colouring  of  his 
earliest  known  pictures  show  that  before  settling 
in  Bruges  he  had  travelled  in  Italy  and  come 
under  the  influence  of  the  Venetian  school,  prob- 
ably of  Carpaccio.  Certain  details  such  as  the 
amorini,  the  garlands  of  fruit  and  flowers,  and  the 
Medicean  cameos  reproduced  in  these  prove  hini 
to  have  visited  Florence.  His  works  were  formerly 
often  attributed  to  Memlinc,  with  whose  style  they 
have  a  certain  affinity.  David  lived  in  Bruges  for 
forty  years,  and  received  many  commissions  not 
only  from  the  magistrates  and  citizens  of  that  city, 
but  also  from  France,  Italy,  Spain,  and  Portugal. 
He  is  reckoned  among  the  most  esteemed  Nether- 
landish painters,  remarkable  among  other  qualities 
for  his  careful  and  truthful  painting  of  land- 
scape. Some  critics  suppose  indeed  that  his 
landscape  backgrounds  were  executed  by  Joachim 
Patenir.  His  best  authenticated  works  are  as 
follow  : 


GHEERARDT  DAVID 


lianfstan^^i  photo'^ 


\_Naliottal  GalUty,  London 


A  CANON  AND  HIS  PATRON  SAINTS 


PAINTERS   AND   ENGRAVERS. 


The  Judgment  of  Cambyses,  and  the  Punishment  of 
Sisamnes ;  commissioned  by  the  Magistrates  of  Bruges 
in  1488  and  completed  in  1498  («o«.-  in  the  Museum 
of  Bruges). 

The  Blessed  Virgin  and  Child,  SS.  Barbara,  Mary 
Magdalene,  and  Katherine,  and  Richard  De  Visch 
Van  der  Capelle,  cantor  of  the  collegiate  church  of  S. 
Donatian.  It  was  painted  in  1501  for  the  altar  of  S. 
Katherine  in  that  church. 

A  Canon  protected  by  three  Saints  {now  in  the  National 
Gallery).  This  painting  was  formerly  the  right  wing 
of  an  altar-piece  in  the  church  of  S.  Donatian  at 
Bruges.  It  was  completed  in  1501-2  for  a  certain 
Bemardin  de  Salviatis,  the  illegitimate  son  of  a  rich 
Florentine  merchant,  who  held  the  office  of  Canon  in 
the  church,  and  is  represented  with  three  patron 
saints— SS.  Donatian,  Bernardine  of  Siena,  and 
Martin  of  Tours.  The  landscape  background  in  this 
picture  is  a  good  example  of  his  treatment ;  indeed, 
the  picture  altogether  afford.s  English  students  an 
excellent  opportunity  of  judging  this  master,  for  it 
is  a  characteristic  work,  and  well  preserved. 

The  Baptism  of  Christ ;  a  fine  triptych,  containing 
portraits  of  the  donor's  family.  1501-8  (in  the 
Museum  of  Brutjes). 

The  Assumption  of  the  Blessed  Virgin,  S.  Andrew,  and 
S.  Katherine  (at  Grancey  le  Chdtean  ;  Cute  d'Or). 

The  Virgin  and  Child,  with  Saints  (altar-piece,  in  the 
Rouen  Museum). 

S.  Michael  expelling  the  fallen  angels  from  heaven; 
SS.  Jerome,  Anthony  of  Padua,  Sebastian,  Julitta, 
and  Cyriacus  (Imperial  Gallery,  Henna). 

Six  panels  representing  three  scenes  in  the  life  of  S. 
Nicholas,  and  three  in  that  of  S.  Anthony  of  Padua; 
formerly  in  the  possession  of  Cardinal  Despuig,  at 
Palma,  in  Majorca  (now  in  the  possession  of  Lady 
Wantage). 

The  Blesised  Virgin  and  Child  enthroned ;  S.  Jerome 
and  S.  Benedict  (Municipal  Palace,  Genoa). 

The  Carriage  of  the  Cross  and  the  Resurrection  ;  on 
the  reverse,  the  Annunciation,  in  grisaille  (in  the 
possession  of  M.  R.  Kann,  Paris). 

The  Deposition  from  the  Cross;  a  triptych  in  the 
church  of  S.  Basil  at  Bruges  (authenticity  contested). 

These  are  about  the  only  paintings  that  can  with 
certainty  be  attributed  to  David,  although  many 
others  are  now  assigned  to  him  by  critics. 

Bibliography:  Weale  :  '  Le  Beffroi,'  vols,  i.,  ii.. 
and  iii. ;  'Gazette  des  Beaux  Arts,'  vols.  xx.  and 
xxi. ;  'Gerard  David,  Painter  and  Illuminator,' 
London,  1895.  W.  H.  J.  W. 

DAVID,  Jacques  Louis,  an  eminent  French  his- 
torical painter,  was  born  at  Pari.s  in  1748.  His  father 
lost  his  life  in  a  duel,  and  the  care  of  his  early  years 
devolved  on  his  mother,  who  intended  that  he 
should  follow  the  profession  of  an  architect.  By 
the  advice,  however,  of  his  uncle  Boucher,  from 
whom  he  received  his  first  instruction,  he  became 
a  pupil  of  Vien  at  the  age  of  twenty-one.  His 
master  does  not  appear  to  have  behaved  altogether 
well  to  him,  for,  owing  to  pique,  he  prevented  his 
obtaining  the  'prix  de  Rome'  in  1771.  In  the  two 
following  years  he  competed  unsucces.sfully,  and 
it  was  not  till  1774  that  lie  obtained  the  blue  ribbon 
of  French  art.  In  the  next  year  he  set  out  for 
Rome,  accompanying  Vien,  who  had  just  been  ap- 
pointed director  of  the  French  Academy  in  that 
city.  While  in  Italy  he  painted  but  few  pictures, 
directing  his  attention  sedulously  to  drawing  from 
the  antique.  He  returned  to  France  in  1780,  and 
his '  Belisarius '  procured  his  election  at  the  Academy, 
for  his  admission  into  which,  in  1783,  he  painted  the 
'  Death  of  Hector.'  Shortly  afterwards  he  married, 
and  again  visited  Italy,  and  also  Flanders.  It  wag 
during  this  period  that  he  painted  'The  Oath  of 
the  Horatii,'  '  Brutus,'  and  other  works  of  a  similar 
character,  which  were  the  first  steps  in  the  classic 
movement  of  which  he  was  the  prophet,  and  which 


exercised  an  influence,  not  only  on  the  politics, 
but  even  on  the  furniture  and  passing  fashions 
of  the_  day.  Elected  in  1792  a  representative  of 
Paris  in  the  Convention,  he  sided  with  the  extreme 
party  of  Robespierre,  after  whose  fall  he  was  twice 
thrown  into  prison,  and  narrowly  escaped  with 
his  life.  On  his  release,  in  1795,  he  considered 
it  prudent  to  abandon  politics,  and  to  devote  him- 
self to  art.  He  was  one  of  the  original  members 
of  the  Institute,  in  connection  with  which  he  be- 
came acquainted  with  the  first  Napoleon,  who  ever 
proved  himself  his  warm  friend  and  patron.  He 
made  David  his  first  painter,  and  gave  him  many 
important  commissions,  such  as  the  pictures  of  his 
'  Coronation,'  the  '  Distribution  of  the  Eagles,'  &c. 
This  friendship  effected  a  strange  metamorphosis 
in  the  politics  of  the  painter,  for  from  an  ardent 
republican  he  became  an  equally  staTTch  imperialist, 
80  that,  on  the  restoration  of  the  Bourbons,  he 
Bought  refuge  at  Brussels.  In  this  city  he  remained, 
notwithstanding  an  offer  from  the  King  of  Prussia 
of  the  directorship  of  Fine  Arts  at  Berlin,  until  his 
death  in  1825.  The  influence  of  David  on  the 
French  school  was  very  great.  He  rescued  it  from 
the  littleness  and  trivialities  to  which  it  had  been 
reduced  by  the  followers  of  the  Watteau  school ; 
but,  on  the  other  hand,  he  established  a  despotism, 
which  in  several  respects  was  baneful  to  the  pro- 
gress of  art.  For  many  years  he  reigned  with  an 
absolute  supremacy,  and  amongst  his  pupils  and 
disciples  were  Girodet,  Gros,  Gerard,  the  elder 
Isabey,  Leopold  Robert,  Abel  de  Pujol,  and  Ingres. 
It  was  not  until  the  rise  of  the  Romantic  school, 
under  the  leadership  of  Giricault  and  Delacroix, 
that  any  real  opposition  was  offered  to  the  all- 
prevalent  classicism.  David's  chief  excellence  is 
in  the  correctness  of  his  drawing,  which,  however, 
it  must  be  said,  frequently  becomes  hard  and 
statuesque,  whilst  his  weakness  is  most  apparent 
in  his  treatment  of  light  and  in  his  colouring,  which 
is  monotonous  and  frequently  unpleasant.  The 
following  is  a  list  of  his  chief  works : 

Avignon,  Museum,  Death  of  Joseph  Barra.  Cher- 
bourg, Museum,  Philoctetes  in  the  Island  of  Lemnos. 
DubUn,  National  Gallery,  Death  of  Milo.  Lille, 
Museum,  Belisarius  asking  alms,  1780.  Montpellier, 
Museum,  Portrait  of  Alphonse  Leroy ;  Portrait  of 
M.  de  Joubert  (sketch)  ;  Three  studies.  Nantes, 
Museum,  Death  of  Cleonice  (sketch).  Paris,  Louvre, 
Leonidas  at  Thermopylae,  1814  ;  The  Sabine  Women, 
1799 ;  The  Oath  of  the  Horatii,  1784  ;  Brutus,  1789  ; 
Belisarius  asking  alms,  1784  ;  Combat  of  Minerva  and 
Mars,  1711;  The  Loves  of  Paris  and  Helen,  1788; 
Academic  figure,  1779;  Portrait  of  himself  when 
young  (sketch);  Portrait  of  M.  Pecoul,  1783 ;  Portrait 
of  Madame  Pecoul ;  Portrait  of  Pope  Pius  VII.,  1805 ; 
Portrait  of  Madame  R&amier  (sketch) ;  Portrait  of 
Bailly  (sketch);  Comedie  Franr,aise,  Portrait  of 
Mademoiselle  Joly.  Rouen,  Museum,  Portrait  of 
Mme.  Vigee  Le  Brun.  Valence,  Museum,  Ugohno. 
Versailles,  Jtuseutn,  Bonaparte  crossing  Mount  St. 
Bernard,  1805;  The  Coronation  of  Napoleon  I.  and 
the  Empress  Josephine,  1808 ;  The  Oath  of  the 
Army  at  the  Champ  de  Mars,  1810;  Portrait  of 
Barere  (unfinished),  1190;  Portrait  of  Pius  VII.  (a 
replica  of  the  Louvre  picture).  Warwick,  Castle, 
Portrait  of  Napoleon  I.  0.  J.  D. 

DAVID,  Jean  Louis,  a  French  painter  in  water- 
colours,  was  born  in  Paris  in  1791.  He  executed 
chiefly  military  subjects  and  landscapes,  and  died 
in  Paris  in  1868. 

DAVID,  JEROME,  a  French  engraver,  brother  to 
Charles  David,  was  born  in  Paris  about  the  year 
1638,  and  died  at  Rome  about  1670.  He  engraved 
a  considerable  number  of  plates  in  the  same  style 

15 


A  BIOGRAPHICAL  DICTIONARY  OF 


as  his  brother,  many  of  them  being  portraits.  The 
work  o£  the  two  brothers  consists  of  about  two 
hundred  and  twenty  prints.  Jerome  marked  his 
plates  either  with  the  letters  H.  D.  F.,  or  with  the 

cipher    r-W^  O""  [=[0)      ^^  have  by  him  : 

Charles  I.,  King  of  England,  on  horseback.  Henrietta 
Maria,  his  Queen,  on  horseback.  Anne,  Queen  of 
France.  Gaston,  Duke  of  Orleans.  CarJinal 
Richelieu.  Giovanni  Battista  Montano,  sculptor, 
1621.  The  Heads  of  the  Philosophers,  thirty-sis 
plates  from  his  own  designs.  Adam  and  Eve  driven 
from  Paradise ;  after  himself.  Christ  bearing  the 
Cross ;  after  Ercole  Ferrata,  1630.  Ecce  Homo ; 
after  Guercino.  The  Virgin  of  the  Rosary  ;  after 
Guido,  1633.  The  Assumption  of  the  Virgin  ;  after 
Camillo  Procaccino.  St.  Francis  of  Paolo ;  after 
Hobert  Picou, 

DAVID,  LoDOVico  Antonio,  was  born  at  Liisjano 
in  1648.  After  studying  for  some  time  at  Milan, 
under  the  Cavaliere  Cairo  and  Ercole  Procaccini,  he 
went  to  Bologna,  where  he  entered  the  school  of 
Carlo  Cignani.  In  the  church  of  San  Silvestro,  in 
Venice,  is  a  picture  by  him  of  the  Nativity. 

DAVID,  LooiS,  a  French  engraver,  was  a  native 
of  Avignon,  who  worked  there  and  at 
Rome  from  1665  to  1706.     We  have  by 
him  an  upright  plate  of  the  '  Descent 
from  the  Cross,'  marked  with  the  cipher 

DAVID,  Maxime,  a  French  miniature  painter, 
was  born  at  ChSlons-sur-Mame  in  1798.  He  was 
a  pupil  of  Madame  de  Mirbel,  and  died  at  Passy  in 
1870.  Three  portraits  of  Abd-el-Kader  by  him  are 
in  the  Luxembourg. 

DAVIDSON,  George  Dutch,  the  only  child  of 
Dundee  parents,  was  born  in  1879.  A  severe  ill- 
ness in  his  seventeenth  year  left  him  an  invalid, 
and  for  amusement  he  attended  drawing  classes. 
Enthusiastic  in  his  new  interest,  he  worked  as 
hard  as  strength  permitted,  drawing  from  the 
antique  and  from  life,  and,  in  1898,  completed  in 
water-colour  his  first  symbolical  design,  '  Envy.' 
He  studied  Celtic  ornament,  and  its  spirit  appears 
in  several  designs.  In  1899  he  visited  London, 
where  the  early  Italian  masters  and  the  Greek 
lyases  most  impressed  him.  After  a  short  resi- 
dence in  Antwerp  he  went  to  Italy  and  remained 
some  months,  chietly  in  Florence.  Ciniabue,  Gaddi, 
Memmi,  Giotto,  and  Angelico  were  his  constant 
study.  On  his  return  he  took  a  studio  in  Dundee, 
and  worked  happily  for  a  few  months  until,  quite 
suddenly,  he  died,  early  in  January  1901.  His 
character  was  one  of  great  sweetness,  and  his  work 
corresponds.  Refined  and  delicate  pen  drawings, 
a  few  lovely  water-colours  instinct  with  the  early 
Italian  spirit,  and  designs  for  embroidery  make  up 
a  life-work  of  rare  accomplishment  and  yet 
rarer  promise.  Ancient  stories  and  beliefs,  Omar 
Khayyim,  and  Celtic  romance  furnished  his  chief 
subjects.  A  memorial  volume  with  collotype  re- 
productions of  his  works  was  published  in  Dundee 
in  1902.  J.  H.  W.  L 

DAVIDSON,  Jeremiah,  a  Scottish  portrait 
painter,  was  bom  in  England,  of  Scotch  parentage, 
about  1695.  He  had  a  large  practice  both  in  Edin- 
burgh and  in  London,  and  died  in  1745.  A  por- 
trait of  Richard  Cooper,  the  engraver,  by  him,  is 
in  the  National  Gallery  of  Scotland,  and  a  por- 
trait of  Admiral  Byng  is  in  Greenwich  Hospital. 
Roubiliac's  statue  of  President  Forbes  in  the 
Parliament  House,  Edinburgh,  is  after  a  portrait 
by  him. 

DAVIN,  C^SABiNE  Henbiette  Flore,  a  French 

16 


painter  of  portraits  and  miniatures,  whose  maiden 
name  was  Mirvault,  was  born  in  Paris  in  1773. 
She  studied  under  Suv^e,  David,  and  Augustin, 
and  afterwards  established  a  school  of  drawing 
;ind  painting,  in  which  she  had  many  pupils. 
Madame  Davin  died  in  Paris  in  1844. 

DAVIS,  Edward  le.     See  Le  Davis. 

DAVIS,  J.  P.,  a  portrait  and  subject  painter, 
first  exhibited  at  the  Royal  Academy  in  1811.  In 
1824  he  went  to  Rome,  and  painted  'The  Talbot 
Family  receiving  the  Papal  Benediction : '  whence 
his  cognomen  of  '  Pope  Davis.'  He  next  year 
received  a  prize  of  £50  from  the  British  Institution. 
With  his  friend  Haydon,  he  was  a  great  opponent 
of  the  Academy,  where  he  did  not  exhibit  after 
1843.  He  died  in  1862,  and  after  his  death  was 
published  his  '  Thoughts  on  Great  Painters.'  His 
best-known  work  is  '  The  Love-Letter,'  exhibited 
at  the  British  Institution  in  1826. 

DAVIS,  John  Scarlett,  a  subject  painter,  was 
born  at  Hereford  in  the  beginning  of  the  19th 
century.  He  studied  and  spent  much  time  abroad. 
He  first  exhibited  at  the  Royal  Academy  in  1825 
with  '  My  Den,'  and  his  views  of  the  interiors  of 
public  buildings  had  considerable  success  ;  but  he 
fell  into  dissipated  habits,  and  died  soon  after  1841. 
At  the  South  Kensington  Museum  is  a  water-colour 
drawing  by  him  of  the  '  Porte  St.  Martin,  Paris.' 

DAVIS,  Richard  Barrett,  an  animal  and  land- 
scape painter,  was  born  at  Watford  in  1782.  He 
studied  under  Evans  of  Eton,  under  Beechey, 
and  in  the  schools  of  the  Royal  Academy,  where 
he  first  exhibited  in  1802.  He  joined  the  Society 
of  British  Artists  in  1829,  and  was  appointed 
animal  painter  to  William  IV.  in  1831.  He  died 
in  1854.     Amongst  his  works  are  : 

Mares  and  Foals  from  the  Royal  Stud,  1806.  Going 
to  Market,  1814.  Horse  Fair,  1821.  Travellers 
attacked  by  "Wolves,  1831.  Near  Virginia  Water 
{South  Kensington). 

DAVIS,  William,  a  landscape  painter,  was  born 
at  Dublin  in  1812.  Having  studied  at  the  Dublin 
Academy  of  Arts,  he  afterwards  came  to  Liverpool, 
where  he  at  first  practised  as  a  portrait-painter. 
After  some  time  he  was  elected  a  member  of  the 
Liverpool  Academy,  in  which  institution  he  was 
appointed  Professor  of  Painting,  having  by  this 
date  almost  entirely  devoted  himself  to  landscape. 
He  exhibited  at  the  Royal  Academy  in  1851,  and 
was  from  that  time  an  occasional  contributor.  A 
picture  by  him  called  '  Harrowing '  was  also  in  the 
international  Exhibition  of  1862.  His  landscapes 
show  a  trutlif ul  feeling  for  nature,  and  are  highly 
finished,  though  somewhat  varying  in  merit.  He 
died  in  London  in  1873. 

DAWE,  George,  a  portrait  painter,  was  born  in 
London  in  1781.  He  was  the  son  of  Philip  Dawe, 
the  mezzotint-engraver,  by  whom  he  was  brought 
up  to  his  own  branch  of  art,  but  he  abandoned  it 
for  painting,  after  having  executed  a  few  plates  of 
great  merit.  In  1819  he  went  to  Russia,  where 
lie  painted  for  the  Emperor  about  400  portraits 
of  the  chiefs  of  the  Russian  army,  who  had,  with 
the  assistance  of  the  snow,  vanquished  Napoleon. 
He  became  an  Associate  of  the  Royal  Academy  in 
1809,  and  an  Academician  in  1814.  He  made 
much  money  by  his  expedition  to  Russia,  but  did 
not  live  to  enjoy  it  ;  for  he  died  six  weeks  after 
his  return  to  England  in  1829,  and  was  buried  in 
St.  Paul's  Cathedral.  His  portraits  are  reckoned 
good  likenesses  of  the  persons,  but  not  expressive 
of  character. 


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PAINTERS  AND   ENGRAVERS. 


DA  WE,  Henry,  an  engraver  and  subject  painter, 
was  bom  at  Kentish  Town,  near  London,  in  1790. 
He  was  taught  by  his  father,  Philip  Dawe,  the 
engraver,  and  he  also  studied  in  the  schools  of  the 
Roy.-il  Academy.  He  assisted  Turner  in  the  '  Liber 
Studiorum,'  and  mezzotinted  many  of  his  brother's 
portraits.  As  a  painter,  he  exhibited  at  the  Society 
of  British  Artists,  of  which  he  was  elected  a  membeV 
in  1830.     He  died  at  Windsor  in  1848. 

DAWE,  Philip,  an  engraver  in  mezzotint,  worked 
under  Hogarth  about  1760,  and  must  have  died 
about  the  end  of  the  century.  He  engraved  several 
subjects  after  George  Heury  Norland,  and  among 
other  portraits  by  him  we  have  those  of  Mrs. 
Yates,  in  the  character  of  Electra,  after  Cotes,  and 
Admiral  Sir  Charles  Hardy,  after  Hudson. 

DAWSON,  Henry,  a  landscape  painter,  was 
born  in  Hull  in  1811,  but  came  with  his  parents 
to  Nottingham  when  an  infant,  so  that  he  always 
regarded  the  latter  as  his  native  town.  His  parents 
were  poor,  and  he  began  life  in  a  Nottingham  lace 
factory.  But  even  while  engaged  in  lace-making 
he  continued  to  find  time  for  art,  and  used  to  paint 
small  pictures,  which  he  sold  at  first  for  about  half- 
a-crown  each.  In  1835  he  gave  up  the  lace  trade 
and  set  up  as  an  artist,  his  earliest  patron  being 
a  hairdresser  in  Nottingham,  who  possessed  a  taste 
for  art.  In  1844  he  removed  to  Liverpool,  where 
after  a  time  he  got  into  greater  repute,  and  received 
higher  prices  for  his  works.  In  1849  he  came  with 
his  family  to  London,  and  settled  at  Croydon,  where 
BOme  of  his  best  pictures  were  painted.  Among 
these  may  be  reckoned  '  The  Wooden  Walls  of  Old 
England,'  exhibited  at  the  British  Institution  in 
1853, 'The  Rainbow,'  'The  Rainbow  at  Sea,'  'London 
Bridge,'  and  '  London  at  Sunrise. '  With  the  ex- 
ception of  six  lessons  from  Pyne  received  in  1838, 
Henry  Dawson  was  entirely  a  self-taught  artist,  and 
his  art  shows  much  originality  and  careful  realism. 
He  studied  nature  for  himself,  but  he  seems  in 
later  life  to  have  been  moved  by  Turner's  influence 
to  try  more  brilliant  effects  than  he  had  before 
dared.  Many  of  his  works  indeed  are  very  Tumer- 
esque  in  treatment,  though  he  can  scarcely  be  called 
an  imitator  of  Turner,  for  he  had  a  distinct  style  of 
his  own.  Henry  Dawson,  though  painting  much, 
and  selling  his  pictures  for  high  prices  in  his  later 
life,  remained,  strange  to  say,  very  little  known 
except  to  artists  and  connoisseurs  until  the  large 
and  very  interesting  collection  of  his  works  that 
was  made  for  the  Nottingham  Exhibition  in  1878 
brought  him  wider  fame.  This  exhibition  showed 
him  to  be  a  genuine  English  landscape  painter,  of 
no  great  imaginative  or  intellectual  power,  but 
who  delighted  in  nature,  and  represented  her  faith- 
fully to  the  best  of  his  ability.  He  died  in  Decem- 
ber, 1878,  at  Chiswick,  where  he  had  for  some  time 
resided.  M.M.H. 

DAX,  Paul,  was  born  in  1503,  in  the  Tyrol.  He 
led  a  very  unsteady  life,  and  after  having  gained 
reputation  as  a  painter,  he  gave  up  art,  and  entered 
the  army,  engaging  in  several  campaigns  and 
the  sieges  of  Naples,  Florence,  and  Vienna.  In 
1530  he  devoted  himself  to  glass-painting,  and  his 
works,  which  are  of  considerable  merit,  are  now  in 
the  court-house  of  Innsbruck,  and  in  the  town-hall 
at  Ensisheim,  Alsace.  He  also  published  several 
maps  of  his  country.  His  death  occurred  in  1561. 
Day,  Alexander,  a  miniature  painter,  was  born 
in  1772.  He  resided  for  several  years  in  Rome, 
whence  he  brought  with  him  on  his  return  to  Eng- 
land in  1800  many  fine  works  by  the  old  masters, 
VOL.  IL  C 


\yhich  passed  into  the  Angerstein  and  other  collec- 
tions. Among  these  were  Titian's  '  Rape  of  Gany- 
mede 'and  'Venus  and  Adonis,'  Raphael's  '  St  Catha- 
nne'  and  'Madonna.  Infant  Christ,  and  St.  John' 
(the  Garvagh  Raphael),  Leonardo  da  Vinci's  '  Christ 
disputing  with  the  Doctors,'  Domenichino's  'St 
Jerome  and  the  Angel,'  Annibale  Carracci's  '  Christ 
appearing  to  Simon  Peter  after  his  Resurrection,' 
and  Gaspard  Poussin's  'Landscape  with  Abraham 
and  Isaac,'  which  are  now  in  the  National  Gallery. 
His  miniatures  of  ladies  are  particularly  graceful 
He  died  at  Chelsea  in  1841. 

DAY,  Thomas,  a  miniature  painter,  exhibited  at 
the  Royal  Academy  between  the  years  1772  and 
1778.  He  also  painted  water-colour  landscapes  and 
drew  crayon  portraits. 

DAYES,  Edward,  a  water-colour  painter,  was 

born  m  1763.     He  studied  under  W.  Pether,  and 

first  exhibited  at  the  Royal  Academy  in  1786.    His 

works  are  topographical,  drawn  in  Indian  ink,  and 

tinted,  with  figures  introduced.     He  also  painted 

mmiatures,  and  engraved  in  mezzotint.     He  died 

by  his  own  hand  in  1804.    Amongst  his  works  are  : 

The  Royal  Proce.ssion  to  St.  Paul's  in  1789.     The  Trial 

of  Warren  Ha.stings.    Buckingham  House,  1790.    Ely 

Oatlir(lnil,1792.    Windermere.  Keswick  Lake.  View 

of  Bath  l^all  at  South  Kensington). 

His  wife,  wiio  exhibited  repeatedly  at  the  Royal 

Academy,  was  also  a  painter  of  miniatures. 

DEAN,  Hugh  Primrose,  a  landscape  painter, 
was  born  in  Ireland  towards  the  middle  of  the 
18th  century,  and  was  known  as  the  '  Irish  Claude.' 
Assisted  by  Lord  Palmerston,  he  spent  several 
years  in  Italy,  returning  in  1779.  He  was  of  un- 
principled character,  and  in  his  latter  years  his  art 
failed  him.  He  died  about  1784.  Amongst  the 
\yorks  he  exhibited  at  the  Spring  Gardens  Exhibi- 
tion and  at  the  Royal  Academy  were  : 

View   of   the   Danube,  1768.     View  of   Naples,  1775. 

Morning,  1778.     Evening,  1778.     Eruption  of  Mount 

Vesuvius,  1779.     The   Banks  of  the  Tiber,  1780. 

DEAN,  John,  an  engraver  in  mezzotint,  was  a 

pupil   of  Valentine   Green.     He   scraped    several 

plates   of  portraits  and  other  subjects  in  a  very 

respectable  style,  and  died  in  London  in  1798.    The 

following  are  among  his  best  works  : 

James,  Earl  of  Abercorn  ;  George,  Lord  Vernon  ;  after 
Gaiiisboroi(i/h.  James  Caulfiekl,  Earl  of  Charlemont ; 
after  Liiesi/.  The  son  of  Sir  Watkin  Williams 
Wynne,  when  a  child,  as  St.  John ;  Lady  Elizabeth 
Herbert,  afterwards  Countess  of  Carnarvon,  with 
her  son ;  Lady  Gertrude  Fitzpatrick ;  after  Sir 
Joshua  Reynolds.  Elizabeth  Hamilton,  Countess  of 
Derby  ;  after  Romney.  The  Four  Evangelists  ;  after 
Rubens  andJordaens.  St.  Anthony  of  Padua;  after 
Murillo. 

DEANE,  William  Wood,  an  architectural  water- 
colour  painter,  was  born  at  Islington  in  1825.  He 
entered  the  schools  of  the  Royal  Academy  in  1844, 
where  he  gained  the  silver  medal  of  that  year. 
He  was  at  the  same  time  a  member  of  the  Insti- 
tute of  British  Architects,  from  which  association 
he  received  two  premiums.  Having  travelled  in 
Italy,  he  exhibited  at  the  Royal  Academy  in  1853 
a  view  of  '  St.  Peter's,  Rome,'  and  continued  for 
many  years  an  occasional  contributor  of  archi- 
tectural subjects  treated  in  a  pictorial  manner.  In 
1863  he  relinquished  the  profession  of  an  architect, 
which  he  had  pursued,  not  very  successfully,  and 
became  an  Associate  of  the  Institute  of  Painters  in 
Water-Colours,  of  which  in  1867  he  was  made  a 
member.  Here  he  exhibited  until  1870,  when  he 
resigned,   and  in  the  following  year   became   an 

17 


A  BIOGRAPHICAL  DICTIONARY  OF 


Aeaociate  of  the  old  '  Society  of  Painters  in  Water- 
Colours.'  He  died  in  1873.  His  pictures  display 
individuality  and  sympathetic  blending  of  colours. 

DEARMAN,  Thomas,  a  landscape  and  cattle 
painter,  exhibited  at  the  Royal  Academy  between 
1842  and  1856.  He  lived  at  Shere,  near  Guildford, 
and  died  young  about  1857. 

DE  BAAN.     See  De  Baen. 

DE  BACKER,  Frans,  was  a  painter  of  historical 
subjects  and  portraits,  who  practised  in  Italy  and 
Germany  as  a  portrait  painter  and  engraver  from 
about  1704  to  1752,  but  it  is  uncertain  whether  he 
belonged  to  the  Dutch  or  Flemish  families  of  this 
name.  There  are  a  '  Death  of  Abel,'  after  Schoon- 
jans,  and  a  portrait  of  William  V.,  Prince  of  Orange, 
after  A.  Rotterdam,  engraved  by  him.  His  own 
Portrait,  painted  by  himself  at  Rome  in  1721,  is 
in  the  Uffizi  at  Florence. 

DE  BACKER,  Jaques,  a  Flemish  historical  paint- 
er, who  was  bom  at  Antwerp  in  1530,  was  the  son 
of  an  artist  of  no  great  celebrity,  from  whom  he 
received  his  instruction  in  art.  His  father  dying 
when  he  was  young,  he  was  taken  into  the  employ- 
ment of  a  dealer  in  pictures,  named  Palermo  ;  on 
which  account  he  was  sometimes  called  Jacopo 
Palermo.  Whilst  in  the  employment  of  this  person, 
he  gained  a  great  facility  of  handling,  and,  from 
the  practice  of  copying  the  works  of  the  great 
masters,  became  an  excellent  colourist.  He,  how- 
ever, painted  several  historical  pictures  from  his 
own  designs,  which  are  highly  praised  by  Van 
Mander,  who  states  him  to  have  been  one  of  the 
most  promising  young  painters  of  his  time.  Three 
works,  which  he  particularly  commends,  represent 
'  Adam  and  Eve,'  a  '  Charity,'  and  the  '  Crucifixion.' 
The  altar-piece  of  the  chapel  of  the  Plantin  f  amilj-, 
in  the  cathedral  at  Antwerp,  was  painted  by  this 
artist ;  it  represents  the  '  Last  Judgment,'  and  is 
a  grand  composition,  correctly  drawn,  and  finely 
coloured.     He  died  at  Antwerp  in  1560. 

DE  BACKER,  Nicolaas,  who  was  born  at 
Antwerp  in  1648,  came  to  England,  and  was  em- 
ployed by  Kneller  as  an  assistant.  He  also  painted 
perspective  views  of  English  churches.  He  died 
in  London  in  1689. 

DEBACQ,  Charles  Alexandre,  a  French  his- 
torical and  portrait  painter,  was  born  in  Paris  in 
1804.  He  became  a  pupil  of  Gros,  and  was  greatly 
appreciated  in  his  own  countrj'.  There  are  several 
pictures  by  him  at  Versailles.  He  died  in  Paris  in 
1853. 

DE  BAEN,  Jacobus,  the  son  and  scholar  of  Jan 
De  Baen,  was  born  at  the  Hague  in  1673.  When 
he  was  twenty  years  of  age  he  came  to  England, 
amongst  the  attendants  of  King  William.  The 
celebrity  of  his  father,  and  the  favour  of  the 
court,  procured  him  immediate  employment,  and 
he  painted  the  portraits  of  the  Duke  of  Gloucester 
and  several  of  the  nobility.  Notwithstanding  this 
flattering  encouragement,  his  desire  of  seeing  Italy 
induced  liim  to  leave  England  ;  and  on  his  way 
to  Rome  he  visited  Florence,  and  was  favoured 
with  the  patronage  of  the  grand-duke.  On  his 
arrival  at  Rome  he  applied  himself  with  much 
diligence  to  the  study  of  the  works  of  the  great 
masters,  and  painted  some  portraits  and  conversa- 
tion pieces,  which  were  much  esteemed.  He  gave 
promise  of  surpassing  his  father  in  the  art,  but 
died  at  Vienna  at  the  early  age  of  twenty-seven, 
in  1700.  From  his  gigantic  build  he  was  called 
by  his  comrades  '  Gladiator.' 

DE  BAEN,  Jan,  a  Dutch  portrait  painter,  was 

18 


bom  at  Haarlem  in  1633.  After  receiving  some 
instruction  from  an  uncle  named  Piemans,  he  was 
sent  to  Amsterdam,  and  placed  under  the  care  of 
Jacob  Backer,  with  whom  he  remained  until  he 
was  eighteen  years  of  age.  His  success  in  por- 
trait painting  was  so  great  that  he  paid  but  little 
attention  to  the  other  branches  of  the  art.  King 
Charles  II.,  who  had  become  acquainted  with  his 
talents  during  his  residence  on  the  Continent,  in- 
vited him  to  England,  where  he  had  the  honour  of 
painting  that  monarch,  and  several  of  the  nobility. 
He  died  at  the  Hague  in  1702.  Jan  De  Baen  was 
a  great  admirer  of  the  works  of  Van  Dyck,  whose 
style  he  imitated  in  his  pictures.  He  painted 
many  portraits  of  distinguished  persons  of  the 
time,  some  of  which  are  not  inferior  to  those  of 
Van  Dyck.  One  of  his  best  is  that  of  John  Maurice, 
Prince  of  Nassau,  in  the  Gallery  of  the  Hague. 
Louis  XIV.,  after  conquering  part  of  Holland,  was 
desirous  of  having  his  portrait  painted  by  De 
Baen,  and  sent  for  him  to  Utrecht  for  that  purpose  ; 
but  the  painter  excused  himself  by  observing,  that 
while  his  country  was  in  mourning,  he  could  not 
think  it  proper  for  him  to  trace  the  features  of  her 
conqueror. 

DE  BAETS,  Engel,  a  Belgian  painter  of  por- 
traits and  architectural  subjects,  was  born  at 
Everghem  in  1794.  He  executed  a  great  number 
of  pictures,  most  of  them  views  in  Ghent  and  its 
environs,  which  are  much  esteemed.  He  died  at 
Ghent  in  1855. 

DE  BAILLIU,  Barend,  a  Flemish  engraver,  was 
bom  at  Antwerp  about  the  year  1625.  He  spent 
some  time  in  Rome,  but  returned  to  Flanders, 
where  he  died,  although  the  place  and  the  date  are 
not  recorded.  His  plates,  which  consist  chiefly  of 
portraits,  with  some  historical  subjects,  are  entirely 
executed  with  the  graver.  He  engraved  four  of 
the  plates  for  the  collection  of  portraits  of  Car- 
dinals created  by  Innocent  XI.  (1676-1689),  en- 
titled '  Eifigies  Cardinalium  nunc  viventium,'  pub- 
lished at  Rome ;  as  well  as  the  following  prints,  on 
which  his  name  occurs  spelled  in  various  ways : 

The  Saviour  between  St.  Peter  of  Alcantara  and  St. 

Mary  Magdalen  of  Pazzi ;  after  Lazzaro  Baldi. 
St.  Peter  of  Alcantara  visited  in  his  cell  by  the  Virgin 

and  Child  ;  after  the  same. 
St.  Mary  Magdfalen  of  Pazzi,  with  the  Virgin   raising 

her  Veil ;  after  the  same. 
St.  Louis  Bertrand;  after  Q.  B.  Gaulli. 
Pope  Clement  X. 
The  Five  Saints  canonized  by  Clement  S.  in  1671 ;  after 

Ciro  Ferri. 

DE  BAILLIU,  Pieter,  a  Flemish  engraver,  was 
born  at  Antwerp  in  1613.  After  having  learned 
the  first  principles  of  engraving  in  his  own 
country,  he  visited  Italy  for  improvement,  and 
there  engraved  some  plates.  He  returned  to  Ant- 
werp after  1637,  and  from  1640  to  1660  engraved 
several  of  the  works  of  the  most  celebrated  of 
the  Flemish  masters,  particularly  Rubens  and 
Van  Dyck.  Although  by  no  means  equal  to  Vor- 
sterman.  Bolswert,  or  Pontius,  his  prints  are  held 
in  considerable  estimation.  Meyer's  '  Kiinstler- 
Lexikon'  gives  a  list  of  103  of  his  engravings,  on 
which  his  name  is  found  spelled  in  a  variety  of 
ways.     The  following  are  his  principal  works  : 

P0BTRAIT8. 

Lodovico  Pereira  de   Castro,  Envoy  at  the  Peace  of 

Miinster. 
Claude  de  Chabot,  Envoy  to  Miinster. 


PAINTERS  AND  ENGRAVERS. 


Johann  Leuber,  Eavoy  to  Miinster. 

Pope  Urban  VIII. 

Jacob  Backer,  Dutch  painter ;  after  Backer. 

Jan  Bylert,  painter,  of  Utrecht ;  after  Bylert. 

Albert,  Prince  of  Arenberg  ;  after  Van  Dyck. 

Lucy,  Countess  of  Carhsle ;  after  the  same. 

Antoine  de  Bourbon,  Comte  de  Morel,  after  the  same. 

Eonore  d'Urf^,  Comte  de  Chiiteauneuf ;  after  the  same. 

SUBJECTS   AFTEE   VAEIOnS   MASTEES. 

Heliodorus  driven  from  the  Temple ;  from  a  drawing 
by  I',  van  Lint,  after  Raphael. 

A  Pieta  ;  after  .Annibale  Carracei. 

St.  Michael  vanquishing  the  Devil ;  after  Guido. 

The  Reconciliation  of  Jacob  and  Esau  ;  after  Mubens. 

Christ  praying  in  the  Garden  ;  after  the  same. 

The  Dying  Magdalen ;  after  the  same. 

The  Combat  of  the  Lapithse ;  after  the  same. 

The  Holy  Family;  after  Theodoor  Eombouts. 

The  Crucifixion ;  after  Van  Dyck. 

The  Virgin  in  the  Clouds  ;  after  the  same. 

Rinaldo  and  Armida ;  after  the  same. 

Susanna  and  the  Elders  ;  after  Marten  Pepyn. 

The  Scourging  of  Christ ;  after  Diepenbeeck. 

Christ  crowned  with  Thorns  ;  after  the  same. 

The  Discovery  of  the  true  Cross  by  St.  Helena ;  after 
P.  van  Lint. 

Theodosius  carrying  the  true  Cross  before  St.  Ambrose ; 
after  the  same. 

Christ  bound  to  the  Pillar,  with  Angels  holding  the  In- 
struments of  the  Passion  ;  after  J.  Thomas. 

St.  Anastasius  reading;  after  Rembrandt. 

DE  BAST,  DoMiNicns,  a  Belgian  amateur  marine 
painter,  was  bom  at  Ghent  in  1781,  and  died  there 
in  184'-'.  Ahhough  not  an  artist  by  prof  ession,  his 
works  are  highly  appreciated  by  connoisseurs. 

DEBAY,  Adgdste  Htacinthe,  a  son  of  the 
eminent  sculptor  Jean  Baptiste  Joseph  Debay, 
though  really  a  sculptor,  began  life  as  an  histori- 
cal painter.  He  was  born  at  Nantes  in  1804,  and 
in  1817,  when  only  thirteen  years  of  age,  sent  his 
first  portraits  to  the  Salon.  After  studying  under 
GroB,  he  obtained  the  '  Prix  de  Rome  '  in  1823.  Soon 
after  this  he  gave  up  painting  for  sculpture,  which 
he  studied  under  his  father,  and  in  which  he  was 
very  successful.  His  death  occurred  in  Paris  in 
1865.  Some  of  his  liistorical  paintings  are  at 
Versailles. 

DE  BEER,  Aart,  a  Flemish  painter  of  his- 
torical subjects  and  portraits,  was  a  son  of  Jan 
De  Beer.  He  was  born  at  Antwerp  in  1490,  and 
admitted  into  the  Guild  of  St.  Luke  in  1529.  Re- 
ligious subjects  and  designs  for  glass-painting 
were  his  special  pursuits.  He  died  at  Antwerp  in 
1542. 

DE  BEER,  CoRNELis,  was  a  Flemish  painter, 
who  went  to  Spain  about  1630,  and  who  painted 
easel  pictures  of  considerable  merit.  In  the  Capu- 
chin church  at  Murcia  is  preserved  his  '  Triumph 
of  the  Holy  Sacrament,'  a  composition  of  many 
figures  with  a  landscape  background.  His  daugh- 
ter, Maria  Eugenia,  practised  the  art  of  engraving 
at  Madrid,  in  the  middle  of  the  17th  century,  with 
considerable  success.  Besides  an  excellent  frontis- 
piece for  Basilio  Varen's  '  Guerra  de  Flandes,'  ehe 
executed  a  good  portrait  of  Prince  Baltasar  Carlos, 
and  the  plates  for  the  work  of  Don  Gregorio  de 
Tapia  y  Salcedo  on  '  Horsemanship.' 

DE  BEER,  JooST,  was  a  native  of  Utrecht,  who 
studied  under  Frans  Floris.  He  painted  historical 
pictures  with  some  success,  and  was  patronized  by 
the  Bishop  of  Tournai.  He  entered  the  Utrecht 
Guild  in  1550,  and  died  in  1596. 

DE  BEIJER,  Jan,  who  was  born  at  Aarau  in 
Switzerland  in  1705,  went  whilst  young  to  Amster- 
dam and  studied  under  C.  Pronk  and  J.  M.  Quink- 
C2 


hard.  He  painted  many  excellent  pictures  of  Dutch 
towns,  some  of  which  have  been  engraved  by  H. 
Spilman,  P.  van  Liender,  and  others.  He  was 
still  living  in  1768. 

DE  BIE,  Adriaen,  a  Flemish  painter,  was  born 
at  Lierre,  near  Antwerp,  in  1594.  He  received  his 
first  instruction  in  art  from  an  obscure  artist  named 
Wouter  Abts.  At  eighteen  years  of  age  he  went 
to  Paris,  where  he  studied  for  some  time  under 
Rudolf  Sohoof,  a  Fleming,  who  was  painter  to 
Louis  XIII.  He  aftersvards  visited  Rome,  where 
he  remained  eight  years.  In  1623,  he  returned 
to  Flanders,  and  was  much  employed  for  the 
churches  and  in  painting  portraits.  His  most 
esteemed  work  was  a  picture  of  St.  Eloy,  in  the 
collegiate  church  of  St.  Gomarus  at  Lierre.  He 
died  after  1661.  He  was  the  father  of  Cornelis 
De  Bie,  who  has  celebrated  the  works  of  the 
painters  of  his  country  in  Flemish  verse,  under 
the  title  of  '  Het  Gulden  Kabinet  van  de  edele  vrye 
Schilderkonst.'  His  works  are  usually  marked  with 
one  or  other  of  the  accompanying  TivN  ^7r\ 
monograms.  ^  _^  ^ 

DE  BIE,  Jacob  and  Marcus.     See  De  Bye. 

DE  BISSCHOP,  Jan,  a  designer  and  engraver, 
who  was  born  at  the  Hague,  in  1646,  was  brought 
up  to  the  law ;  and,  according  to  Houbraken, 
practised  in  the  courts  in  Holland.  His  favourite 
amusement  was  drawing,  and  his  performances 
excited  the  admiration  of  the  artists  of  his  time. 
He  excelled  in  copying  the  pictures  of  the  most 
esteemed  masters,  in  small  coloured  drawings,  very 
well  drawn  and  highly  finished.  As  an  engraver, 
he  is  more  deserving  of  notice,  and  he  has  left  a 
great  number  of  plates,  principally  etched,  and  har- 
monized with  the  graver,  in  a  free  and  pleasing 
manner.  There  is  great  relief  and  richness  of 
effect  in  his  prints.  His  most  important  work  was 
a  series  of  157  engravings  from  celebrated  antique 
statues  and  sketches  by  eminent  painters,  entitled, 
'  Paradigmata  graphices  variorum  Artificum,'  pub- 
lished at  the  Hague  in  1671.  This  engraver 
Latinized    his   name   into   Episcopius,  for   which 

reason  he  marked  his  plates  with  the 


cipher^. 


He   died    at  Amsterdam,   in    1686.     Other   good 
prints  by  him  are : 

A  Bacchanalian  subject. 

Christ   and  the   Samaritan   Woman ;    after   Annibale 

Carracei. 
Joseph  distributing  Corn  to  the  Egyptians ;    after  B. 

Breenbergh. 
The  Martyrdom  of  St.  Lawrence  ;  after  the  same. 

DE  BLOIS,  Abraham,  a  Dutch  engraver,  who 
flourished  from  the  year  1690  to  1720.  He  worked 
chiefly  for  the  booksellers,  by  whom  he  was  much 
employed.  Among  other  portraits,  he  engraved 
that  of  Anthony  van  Leeuwenhoek,  the  celebrated 
physician,  which  was  prefixed  to  his  works  pub- 
lished in  1695,  and  which  is  executed  in  a  neat  but 
formal  style.  He  also  executed  part  of  the  plates 
for  the  '  Figures  de  !a  Bible,'  from  the  designs  of 
Picart  and  others,  published  at  Amsterdam  in  1720. 

DE  BLOOT,  PiETER.  a  native  of  Holland,  flour- 
ished about  1650.  He  painted  droll  scenes, 
drunken  frolics,  and  the  quarrels  of  the  peasantry, 
with  much  truth  to  nature.  His  works,  which  are 
somewhat  rare,  are  much  prized  in  Holland.  De 
Bloot  died  at  Antwerp  in  1667. 

DEBON,  FEANgois  Hippolyte,  a  French  histori- 
cal  painter,  was  the  son  of  Madame  Sophie  Debon, 


A  BIOGRAPHICAL  DICTIONARY  OF 


an  artist  upon  porcelain,  who  was  born  in  Paris  in 
1787,  and  died  tliere  in  1838.  He  was  born  in 
Paris  in  1807,  and  studied  first  under  Grus  and 
afterwards  under  Abel  de  Pujol.  One  of  his  most 
important  works  was  'The  Entrance  of  William 
the  Conqueror  into  London,'  which  was  exliibited 
at  the  Salon  of  1855,  and  afterwards  placed  in  the 
Luxembourg  Gallery.  His  death  occurred  in  Paris 
in  1872. 

DB  BRAEKELEER,  Ferdinandus,  historical 
painter,  was  born  at  Antwerp  in  1792.  He  was  the 
son  of  Jean  Ferdinand  Joseph  de  Braekeleer  and 
of  Jeanne  Bernardine  Antoinette  Seghers.  He 
studied  at  the  Antwerp  Academy,  and  under  M. 
J.  van  Bree.  In  1819  he  won  the  grand  prize  of 
the  Academy,  with  the  pension  for  Rome.  He 
spent  three  years  in  Italy,  painting  historicid 
pictures  (' Healing  of  Tobias,' '  Esau  and  Isaac') 
in  the  manner  of  David.  After  his  return  to 
Antwerp  he  perfected  a  manner  of  his  own,  in 
which  he  painted  genre  subjects,  scenes  from 
Belgian  history,  &c.  He  died  in  1883,  at  Antwerp. 
Among  his  pupils  were  Leys,  Jacobs,  De  Block, 
and  others.  Pictures  by  him  are  in  the  Galleries 
of  Antwerp,  Berlin,  and  Munich. 

DE  BRAEKELEER,  Ferdinandds,  son  of  the 
last  named,  was  born  at  Antwerp  in  1829,  and  had 
shown  some  promise  as  a  genre  painter  when  he 
died  at  the  age  of  twenty-eiRht  in  1857.  Another 
brother,  Henri,  born  in  1840  at  Antwerp,  was  a 
painter  of  genre,  and  died  in  1888. 

DE  BRAUWBRE,  Paschatids,  was  an  engraver 
of  whom  little  is  known.  Brulliot  describes  the 
only  etching  by  him  known  ;  it  is,  he  says,  in  the 
manner  of  Guido,  and  represents  the  executioner 
placing  the  head  of  John  the  Baptist  in  a  dish 
held  by  the  servant  of  Herodias  ;  these  two  figures 
occupy  the  foreground,  and  Herodias  is  behind 
them.     It  bears  the  date  1631. 

DE  BRAY,  Dirk,  a  painter  and  wood-engraver, 
was  born  at  Haarlem  in  1640,  and  specially  depicted, 
flowers,  birds,  and  portraits.  Tliere  is  a  small 
woodcut  of  the  portrait  of  his  father,  Salomon  De 
Bray,  by  this  artist,  dated  1664,  which  is  very 
spiritedly  executed.  He  also  engraved  12  prints 
of  fishes,  poultry,  hogs,  &c.,  dated  1672,  and  16  of 
birds,  flowers,  and  figures,  dated  1660.  He  was 
still  living  in  1675. 

DE  BRAY,  Jacob,  a  Dutch  painter,  was  born  at 
Haarlem  about  the  year  1625.  He  was  the  son  of 
Salomon  De  Bray,  an  obscure  portrait  painter,  by 
whom  he  was  instructed.  Van  Mander  mentions 
him  as  a  reputable  historical  painter,  and  extols  a 
picture  by  him  at  Amsterdam,  representing  '  David 
playing  on  the  Harp,  with  a  number  of  Priests  and 
Levites.'  He  excelled  in  drawing  on  paper  with 
black  and  red  chalk,  and  his  works  of  that  descrip- 
tion were  much  esteemed  by  collectors.  ^ 
They  are  often  signed  with  this  monogram,  ^J3vi 
Jacob  De  Bray  died  in  1680.  Writers, 
however,  differ  very  much  respecting  the  dates  in 
the  lives  of  this  artist  and  of  his  son  of  the  same 
names. 

DE  BRAY,  Jan,  an  historical  painter  and  etcher, 
was  a  brother  of  Dirk  De  Bray,  and,  like  him,  born 
at  Haarlem.  Two  pictures  by  him,  the  '  Reception 
of  the  Orphans '  and  '  Prince  Frederick  Henry  in 
the  Town  Hall,'  are  preserved  at  the  Haarlem 
Orphanage,  and  others  are  in  the  Museums  of  that 
city  and  of  Amsterdam.  Of  his  etchings,  mention 
is  made  of  'John  the  Baptist  in  the  Wilderness.' 
He  died  in  1697. 
20 


DE  BRAY,  Salomon,  a  poet  and  architect  as 
well  as  a  painter,  was  born  at  Haarlem  in  1597,  and 
died  at  the  same  place  in  1664.  He  has  left  some 
paintings  in  the  Orange  Hall  of  the  palace  called 
the  '  House  in  the  Wood,'  at  the  Hague. 

DEBRET,  Jean  Baptiste,  was  born  in  Paris  in 
1768,  and  was  instructed  by  David.  He  painted 
historical  subjects,  and  completed  his  studies  at 
Rome.  He  then  returned  to  France,  where  he  lived 
some  years,  and  afterwards  went  to  Brazil  and 
became  professor  at  the  Academy  at  Rio  de  Janeiro. 
His  works  chiefly  represent  scenes  in  the  life  of 
Napoleon.  In  1836  he  published  a  '  Voyage  pitto- 
resque  et  historique  du  Br^sil.'  He  died  in  Paris 
in  1848. 

DE  BRIE.     See  De  Bey. 

DE  BROEN,  Gerrit,  a  Dutch  engraver,  flour- 
ished about  the  year  1720.  He  was  principally 
employed  in  engraving  portraits  for  the  booksellers. 
Among  others,  we  have  the  portrait  of  Pieter  Poicet, 
after  Nicolaas  Verkolje. 

DE  BRUIN,  CoRNELls,  called  at  Rome  Adonis,  a 
Dutch  portrait  painter,  was  born  at  the  Hague  in 
1652,  and  was  instructed  by  Theodoor  van  der 
Schuur.  His  passion  for  travelling  led  him  when 
he  was  young  to  Italy,  where  he  passed  some 
time  at  Rome  with  Robert  Duval ;  he  afterwards 
went  to  Venice,  where  he  studied  for  some  years 
under  Johann  Karl  Loth.  He  painted  portraits 
with  success  ;  but  is  more  distinguished  by  the 
publication  of  his  travels  through  Persia,  India, 
and  other  countries,  with  plates  from  his  own 
designs.  He  died  at  Zijde-Balen,  near  Utrecht,  in 
1726  or  1727. 

DE  BRUYN,  Abraham,  a  Flemish  engraver,  was 
born  at  Antwerp  in  1538.  He  established  himself 
at  Cologne  about  the  year  1577,  and  died  there  very 
old.  He  is  ranked  among  the  Little  Masters,  on 
account  of  his  plates  being  usually  very  small.  He 
engraved  in  the  manner  of  Wierix,  and  worked 
entirely  with  the  graver,  in  a  neat  and  formal 
style,  but  his  drawing  is  far  from  correct.  It 
is  believed  that  he  worked  also  as  a  goldsmith. 
He  usually  marked  his  plates  with  one  of  these 

ciphers,  _^5^5"  V^H  °'"  ,^^'  ^"'""S 
his  portraits,  and  prints  of  small  friezes  of  hunting, 
hawking,  &c.,  which  are  esteemed  for  their  neatness, 
may  be  mentioned  : 

Philip  Louis,  Elector  Palatine.  Anne,  his  consort. 
Albert  Frederick,  Dnke  of  Prussia,  Eleonora,  his 
Duchees.  ^yi^iam,  Duke  of  Juliers.  Mary,  his 
Duchess.  John  Sambucus,  physician ;  a  woodcut. 
Charles  LS.,  Kiug  of  France.  Anna,  daughter  of  the 
Emperor  Charles  V.  Moses  and  the  Burning  Bush. 
Four  plates  of  the  Evangelists,  1578.  Christ  and 
the  Samaritan  Woman.  A  Philosopher.  The  Seven 
Planets,  1569.  The  Five  Senses.  A  set  of  one  hun- 
dred plates,  entitled  '  Imperii  ae  Sacerdotii  Omatus. 
Diversarum  item  Gentium  peculiaris  Vestitus.*  1577- 
78.  (His  h€St  vork.)  Reissued,  with  some  addi- 
tional plates,  and  entitled  *  Omnium  pene  EnropEe, 
Asiie,  Aphric^  atque  Americse  Gentium  Habitus,' 
1581.  Seventy-six  plates  of  Horsemen,  1575.  A  set 
of  small  friezes  of  Hunting  and  Hawking,  1565.  A 
set  of  twelve  plates  of  Animals,  1583.  A  set  of 
Arabesque  Patterns.  Pyramus  and  Thisbe;  after 
Frans  Floris.  The  Resurection  of  Lazarus ;  after 
Crispen  van  den  Broeck. 

DB  BRUYN,  Nicolaes,  was  the  son  of  Abra- 
ham De  Bruyn,  and  was  born  at  Antwerp  about 
1570.  Although  he  was  instructed  by  his  father 
in  engraving,  he  did  not  follow  his  example, 
either  in  the  style  of  his  execution,  or  in  the  size 


PAINTERS  AND  ENGRAVERS. 


of  his  plates.  He  appears  to  have  studied  and  to 
have  formed  his  manner  from  tlie  works  of  Lucas 
van  Leyden.  His  compositions  are  abundant,  but 
he  wanted  taste  in  the  selection  of  his  forms. 
He  finished  his  plates  very  neatly  with  the  graver  ; 
but  there  is  not  much  efEect  in  his  prints,  from  his 
ignorance  of  the  management  of  the  chiaroscuro. 
Notwithstanding  this  defect,  which  was  very  gen- 
eral at  the  time  in  which  he  lived,  his  works  possess 
considerable  merit.  He  died  at  Amsterdam  in  1656. 
H-e  signed  his  plates  sometimes  with  his  initials 
iV^.  de  £.,  and  sometimes  with  one  of  the  following 


monograms. 


MiPINX.^,ABa,fB. 


m  M 


The  following  are  his  principal  works  : 

SUBJECTS    FROM    HIS    OWN    DESIGNS. 

Adam  and  Eve  ia  Paradise.     1600. 

Adam  aud  Eve  standing  under  the  Tree  of  the  Forbidden 

Fruit.     1631. 
The  Israelites  with  the  Daughters  of  Madian. 
The  great  Festival  of  the  Jews  after  six  years'  bondage. 

1617. 
King  Balak  speaking  to  the  Prophet  Balaam. 
The  Prophet  Jeremiah,  with  a  Lion.     1603. 
The  Vision  of  Ezekiel.     1600. 
David  and  Goliath.     1609. 
David  meeting  Abigail.     1608. 
The  Queen  of  Sheba  before  Solomon.     1621. 
The  Idolatry  of  Solomon.     1606. 
Nebuchatlnezzar's  Dream. 
Daniel  in  the  Lions'  Den. 
Susannah  accused  by  the  Elders. 
Susannah's  Accpiittal. 
The  Stoning  of  the  Two  Elders. 
The  Nativity  of  Christ.     1621. 
The  Adoration  of  the  Magi.     1608. 
The  Repose  in  Egypt.     1621. 
The  Murder  of  the  Innocents.     1644. 
St.  John  preaching  in  the  "NVUdemess. 
Christ  preaching  on  the  Mount. 
The  Centurion  imploring  Christ. 
Christ's  Entrance  into  Jerusalem. 
Christ  bearing  his  Cross.     1617. 
The  Crucifixion.     1610. 
The  Resurrection.     1631. 
St.  Paul  preaching.     1621. 
St.  Hubert.     1614. 

Orpheus  playing,  surrounded  by  Animals. 
A  Family  of  Peasants. 

A  Landscape,  with  Lions,  Tigers,  and  Stags. 
A  Spanish  Assembly  in  a  Forest. 
A  set  of  six  Patterns  for  Goldsmiths. 
A  set  of  twelve  of  Quadrupeds.     1621. 
A  set  of  twelve  of  Birds. 
A  set  of  thirteen  of  Fishes. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

St.  John  preaching  in  the  Wilderness ;  after  Lucas  van 
Lei/den. 

A  Miracle  wrought  at  the  Tomb  of  St.  James  ;  after  the 
same.     1600. 

The  Golden  Age  ;   after  A.  Bloemaert. 

Four  Landscapes,  with  historical  figures ;  after  O.  van 
Coninxlo. 

Three  Landscapes,  with  figures  ;  after  D.  Vinckebooms. 

A  Landscape,  with  a  Stag-hunt ;  after  Jan  Briiei/hel. 

A  Landscape,  with  Moses  defending  the  Daughters  of 
Jethro  ;  after  J.  Bol. 

Four  of  the  "Seasons  ;  after  M.  De  Vos. 

St.  Cecilia  ;  after  Eapfiael. 

A  Knight  on  Horseback,  accompanied  by  Time,  and  fol- 
lowed by  the  Devil  ;  after  A.  Diirer.     1618. 

DE  BRY,  Dirk,  or  Theodobus,  a  German  en- 
graver, was  born  at  Li^ge  in  1528.  He  resided 
chiefly  at  Frankfort,  where  he  carried  on  the  busi- 


ness of  a  print  and  bookseller.  It  is  not  known 
by  whom  he  was  instructed  in  the  art  of  engraving, 
but  from  his  style  he  appears  to  have  paid  par- 
ticular attention  to  the  works  of  Hans  Sebald 
Beham.  About  the  year  1587  he  visited  England, 
and  at  the  suggestion  of  the  great  cosmographer 
Richard  Hakluyt,  who  procured  him  many  designs 
after  nature,  he  published  a  large  collection  of 
voyages  and  travels  in  French,  German,  and  Latin 
He  died  at  Frankfort  in  1598.  This  laborious 
artist  worked  almost  wholly  with  the  graver,  in  a 
neat,  free  style,  well  adapted  to  the  subjects  of 
which  he  made  choice,  such  as  processions  and 
ceremonials,  containing  a  great  number  of  figures, 
which  he  drew  correctly,  and  to  whioli  he  gave 
great  spirit  and  expression.      He  usually  marked 

his  plates    T.  B.,  or  with  the  cipher  R^.      He 

engraved  the  plates  for  the  four  first  volumes  of 
Boissard's  '  Romans  urbis  Topographia  et  An- 
tiquitates,'  1597-98;  the  two  last  volumes  were 
completed  by  his  sons,  Johannes  Theodorus  and 
Johannes  Israel  De  Bry.  We  have  also  the  follow- 
ing prints  by  him : 

St.  John  in  the  Wilderness  ;  an  etching  ;  very  scarce. 

A  Dance  of  Cavabers  and  Ladies. 

A  Dance  of  Men  and  Women  Peasants. 

A  Design  for  a  Saucer,  a  Head  representing  Pride  and 
Folly,  surrounded  with  grotesque  subjects  ;  a  circular 
plate ;  scarce. 

Another  Design  for  a  Saucer,  a  Head  of  the  Duke  of 
Alva,  with  the  Mask  of  Folly,  with  grotesque  sub- 
jects ;  circular ;  scarce. 

Another  Design  for  a  Saucer,  the  Head  of  William  of 
Nassau,  with  grotesque  figures,  indicative  of  Pru- 
dence ;  circular  ;  scarce. 

A  Medallion  of  Scanderbeg. 

The  companion  ;  Donice  Scanderbegi  Uxor. 

The  Nine  Muses. 

'  The  Procession  at  the  Obsequies  of  Sir  Philip  Sidney  ; 
drawn  and  invented  by  Tfhomas]  L[ant],  Gent.,  and 
engraven  on  copper  by  Derick  Theodore  de  Brie, 
in  the  city  of  London,'  1587  ;  thirty-four  plates. 

The  Procession  of  the  Knights  of  the  Garter  in  1576  ; 
twelve  plates,  dated  1578. 

A  set  of  Portraits,  entitled  *  Icones  Virorum  illustrium  ' 
1597-99. 

The  plates  for  Hariot's  *  A  briefe  and  true  report  of  the 
new  found  land  of  Virginia,'  published  at  Frankfort 
in  1590. 

The  plates  for  Las  Casas'  narrative  of  the  cruelties  of 
the  Spaniards  in  America ;  entitled  '  Narratio  Regio- 
num  ludicarum  per  Hispauos  quosdam  devastatarum 
verissima.'     1598. 

The  plates  for  his  great  work,  entitled, '  CoUectiones 
Peregrinationum  in  Indiam  Orieutalem  et  Indiam 
Occidentalem,'  in  twenty-five  parts,  folio.  1590 — 1634. 

Eighty-five  plates  of  '  Emblemata.'     1592. 

DE  BRY,  Johannes  Theodorus,  the  elder  son 
and  pupil  of  Dirk  De  Bry,  was  born  at  Liege  in 
1561.  He  greatly  assisted  his  father  in  the  im- 
portant works  in  which  he  was  engaged,  as, 
for  instance,  the  '  Florilegium  novum,'  which  was 
published  at  Frankfort  in  1612,  and  with  the 
assistance  of  his  brother  Johannes  Israel,  he  com- 
pleted the  two  volumes  of  Boissard's  '  RomaniB 
urbis  Topographia  et  Antiquitates,' which  were  left 
unfinished  at  his  father's  death.  He  also  published 
'  Emblemata  secularia,'  1596,  and  added  consider- 
ably to  the  collection  of  Portraits  of  Illustrious 
Persons,  begun  by  bis  father.  He  died  at  Frank- 
fort in  1623.  His  prints  are  signed  with  the  initials 
J.  T.  B.,  or  with 
one  of  these  mono- 
grams, 


h  A 


21 


A  BIOGRAPHICAL  DICTIONARY  OF 


We  have  also  the  following  prints  by  him : 

Portrait  of  Gerard  Mercator,  geographer. 

Portrait  of  Daniel  Specklin. 

Four  plates  of  the  Elements  ;  J.  T  de  Bry,  inv.  et  fee. 

The  Marriage  of  Eebekah  ;  after  Baldassare  Peruzzi. 

A  March  of  Soldiers ;  a  frieze  ;  after  Titian. 

Another  March  of  Soldiers,  conducting  Prisoners,  with 

Death    riding   on   a     Horse ;    a    frieze,   called    the 

Triumph  of  Death  ;  after  the  same. 
The  Little  Village  Fair  ;  after  H.  S^.  Beham. 
The  Fountain  of  Youth  ;  after  the  same. 
The  Triumph  of  Bacchus  ;  after  Giulio  Romano. 
The  Venetian  Ball ;  after  Theodore  Bernard  ;  a  circular 

plate. 
The  Golden  Age ;   from  the  print  engraved  by  N.  De 

Bruyn  ;  after  A .  Bloemaert. 

Johannes  Israel  De  Bry,  of  whom  mention  is 
made  in  the  two  preceding  articles,  is  recorded  as 
having  died  in  1611. 

DEBUCOURT,  Philibert  Louis.    See  Bdcourt. 

DE'  BUONL     See  Dei  Bdoni. 

DE  BUYTENWEG,  Willem,  (or  Buttewech,) 
a  Dutch  painter  and  engraver,  was  bom  at  Rotter- 
dam about  the  year  1600,  but  lived  at  Haarlem, 
and  was  instructed  by  H.  Maartensz.  He  painted 
conversation-pieces  and  landscapes  in  a  style 
which  gained  him  much  reputation.  Houbraken 
designates  him  '  Geestige  Willem'  (William  the 
Gay),  and  under  this  appellation  he  is  to  be  found 
in  the  collection  of  Catalogues  of  Pictures  by  Hoet 
and  Terwesten,  as  a  painter  of  conversations  and 
familiar  scenes.  He  died  in  1640.  Some  of  his 
pictures  have  been  engraved  by  G.  H.  Scheyndel 
and  E.  van  de  Velde.  His  principal  work,  as  a 
painter,  was  'The  Triumph  of  William,  Prince 
of  Orange,'  1623,  engraved  by  C.  Kittenstein.  He 
etched  some  plates  from  his  own  designs,  in  a 
pleasing  style,  among  which  are  the  following : 

Two  of  Women  going  to  Market,  one  with  Vegetables, 

the  other  with  Fowls. 
Seven  of  Dresses  of  Noblemen. 
Six  of  Dresses  of  Ladies. 
Ten  of  Landscapes,  with  Ruins  and  Figures. 

DE  BYE,  Jacob,  (or  De  Bie,)  a  Flemish  en- 
graver, was  born  in  1581  at  Antwerp,  where  he 
followed  the  profession  of  a  picture-dealer  and 
antiquary.  From  the  style  of  his  plates,  it  is  not 
improbable  that  he  learned  the  art  of  engraving  in 
the  school  of  the  Collaerts.  He  worked  wholly 
with  the  graver ;  his  execution  is  neat  and  firm, 
and  his  drawing  tolerably  correct.  In  conjunction 
with  the  Collaerts,  he  engraved  some  of  the  set 
of  fifty  plates  of  the  '  Life,  Passion,  and  Resur- 
rection of  Christ.'  after  the  designs  of  Martin  De 
Vos.  Several  of  the  plates  in  the  'Life  of  the 
Virgin,'  from  the  designs  of  the  same  painter,  were 
executed  by  this  artist,  together  with  Philip  and 
Theodoor  Galle.  He  died  in  Paris  about  1650. 
The  following  are  his  principal  prints : 

The  Medals  of  the  Eoman  Emperors,  in  the  collection 
of  the  Duke  d'Arschot.     1617. 

The  Portraits  of  the  Kings  of  France,  for  Mezeray's 
History ;  fifty-eight  plates. 

The  Descendants  of  the  House  of  De  Croy  ;  about  sixty 
plates. 

Portrait  of  Francis  I. ;  after  M.  De  Vos. 

Christ  healing  Peter's  Wife's  Mother  ;  fine  ;  for  Col- 
laert's  set. 

The  Resurrection  of  Lazarus ;  fine ;  for  the  same  set. 

DE  BYE,  Marcus,  (or  De  Bie,)  a  Dutch  painter 
and  engraver,  was  horn  at  the  Hague  in  1612.  He 
was  instructed  in  painting  by  J.  van  der  Does,  and 
produced  some  landscapes,  with  animals,  in  the  style 

22 


of  that  master,  which  are  not  without  merit ;  but 
he  is  chiefly  deserving  of  notice  for  the  excellent 
etchings  he  has  left  us  of  animals,  after  the  designs 
of  Paulus  Potter  and  Markus  Gerard.  He  died  in 
1670.     We  have  by  him: 

The  fat  Spitzhund. 

The  Mule-driver. 

Three  sets,  of  eight  ea«h,  of  Cows  and  Oxen ;  after  Potter. 

A  set  of  sixteen  of  Sheep  ;  after  the  same. 

A  set  of  sixteen  of  Goats ;  after  the  same. 

A  set  of  sixteen  of  Lions,  Leopards,  Wolves,  Bears,  ic. ; 

after  the  same. 
A  set  of  sixteen  of  the  Natural  History  of  the  Bear  ; 

after  Markus  Gerard.     1664. 

DECAGNY,  Virginie  Polyxene  Adgustinb 
Philippe.     See  Dallemagnb. 

DE  CAISNB,  Henri,  a  Belgian  historical  and 
portrait  painter,  was  bom  at  Brussels  in  1799. 
As  early  as  1814  he  began  to  study  painting  under 
Franfois,  and  in  1818  upon  the  advice  of  David  he 
went  to  Paris  and  entered  the  studio  of  Girodet, 
whence  he  removed  to  that  of  Gros.  Several 
pictures  by  him  are  at  Versailles  ;  among  them  are 
the  'Entry  of  Charles  VII.  into  Rouen'  (1838), 
and  the  '  Institution  of  the  Order  of  St.  John  of 
Jerusalem'  (1842).  In  1839  he  completed  his 
colossal  work,  '  Les  Beiges  Illustres.'  He  died  in 
Paris  in  1852.     Among  his  best  works  are : 

Portraits. 

The  Queen  of  the  Belgians.    1835. 

The  Duke  of  Orleans.     1833. 

The  Princess  Clementina  of  Orleans.     1833. 

Madame  Malibran  as  Desdemona.     1831. 

Victor  Schoelcher.     1833. 

Alphonse  de  Lamartine.    1839. 

historical  and  other  subjects. 

An  Indian  Family  in  Exile.     1824. 

Milton  dictating '  Paradise  Lost '  to  his  Daughter.    1827. 

Charles  I.  taking  leave  of  his  Children.     1827. 

Cromwell  and  his  Daughter.     1829. 

Mater  Dolorosa.     1835. 

Hagar  in  the  Desert.     1836. 

The  Guardian  Angel.     1836.     {His  lest  work.) 

Charity.     1839. 

The  Adoration  of  the  Shepherds.     1841. 

DECAMPS,  Alexandre  Gabriel,  a  French  his- 
torical, landscape,  animal,  and  genre  painter,  was 
born  in  Paris  in  1803.  When  a  child,  he  was  sent 
into  a  retired  part  of  Picardy,  and  for  three  years 
ran  wild  in  the  society  of  peasants.  He  thus  acquired 
a  distaste  for  serious  study,  which  subsequently 
proved  a  great  hindrance  to  his  artistic  develop- 
ment, and  he  contracted  an  aversion  to  discipline 
and  to  the  ordinary  Jiabits  of  polite  society.  He 
subsequently  studied  desultorily  in  the  studios  of 
Bouchot,  Abel  de  Pujol,  David,  and  Ingres,  and 
about  this  period  produced  many  small  genre 
works,  pictures  of  dogs,  horses,  cattle,  &c.  To  a 
man  of  his  disposition,  travel  had  a  great  charm, 
and  he  spent  some  j'ears  in  the  south  of  France,  in 
Switzerland,  in  Italy,  and  in  the  Levant.  It  was 
in  the  East  that  he  found  the  subjects  most  suited 
to  his  genius,  and  his  oriental  pictures  were  the 
first  of  a  class  in  which  there  have  been  many 
followers.  Decamps'  constant  aim,  however,  was 
to  obtain  fame  by  historical  painting.  In  1834  he 
produced  a  '  Defeat  of  the  Cimbri  by  Marius,'  and 
in  1845  a  series  of  designs  illustrating  the  life  of 
Samson.  But  he  met  with  no  encouragement,  and 
he  complained  bitterly  of  his  disappointment. 
He  was  awarded  medals  at  the  Salon  in  1831 
and   again  in   1834;   but   his  works  were  subee- 


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PAINTERS  AND  ENGRAVERS. 


qnently  seldom  exhibited,  and  they  were  generally 
Bold  without  appearing  in  public.  He  died  in 
1860,  through  a  fall  from  his  horse  while  hunting 
at  Fontainebleaii.  Decamps  was  a  thorougli 
member  of  the  Romantic  school.  His  rebellion 
against  systematic  training  in  his  youth  precluded 
him  from  obtaining  success  in  historic  art.  The 
representation  of  wild  scenery  and  objects  was  his 
fcrrte,  and  in  this  he  was  aided  in  a  marked  degree 
by  his  great  mastery  of  light  and  shade.  Amongst 
his  chief  works  are  : 

Soldier  of  the  Vizier's  Guard.  1827.  [Hertford  Smse.) 

Turkish  Patrol,  Smyrna.     1831.    (Hertford  House.) 
Turkish     Children     near    a    fountain.     1833.     (Duke 

d'Aumale.) 
Bertrand  and  Raton.     {Ihike  d'Aumale.) 
The  Finding  of  Moses.     1837. 
Joseph  sold  by  his  Brethren.     1839. 
Tiu-kish  Execution.     1839.    (Hertford  House.) 
Chikhen  with  Turtles.     1839. 
Village  Street  in  the  Papal  States.    1839. 
Joshua  commanding  the  Sun. 
The  Guardians  of  the  Sepulchre. 

The  Miraculous  Draught  of  Fishes.    (Hertford  House.) 
Turkish  School.  I^g^g      (Fodor  Museum, 

The  Shepherds  Return  \  Amsterdam.) 

Souvenir  of  Turkey  m  Asia.  }  ' 

The  Little  Pastry-Cooks. 
Avenue  in  a  Park.     (Marseilles  Museum.) 
EHezer  and  Rebecca.     1851. 
Towing-Horses.     1842.     (Louvre,  Paris.) 
The  Caravan,  a  sketch.     (Louvre,  Faris.) 
Huntsman  and  Dogs  at  fault.     (Fodor  Museum,  Amster- 
dam.) O.J.D. 

DE  CAUWER,  Emil,  was  a  painter  of  archi- 
tectural subjects,  born  at  Ghent  in  1828.  He  was 
a  pupil  of  his  father,  Joseph  De  Cauwer.  His 
pictures  are  characterized  by  truth  and  very  care- 
ful execution,  but  the}'  are  lacking  in  artistic  effect. 
Amongst  them  may  be  noted  the  '  Church  of  St. 
Martin  at  Oudenarde,'  the  'Town  Hall  at  Oude- 
narde,'  and  the  '  New  Synagogue  at  Berlin.'  He 
died  at  Berlin  in  187.S. 

DE  CAUWER,  Joseph,  a  Belgian  painter,  was 
born  at  Beveren-Waes  in  1779.  He  studied  at  the 
Academies  of  Antwerp  and  Ghent,  at  the  latter  of 
which  he  became  eventually  a  professor.  He 
painted  portraits  and  historical  subjects,  and  many 
of  his  pupils  rose  to  eminence.  His  '  Prometheus,' 
dated  1832,  is  in  the  gallery  at  Ghent,  his  '  Death  of 
Our  Lord,"  in  the  church  of  St.  Bavon,  and  a 
'  Descent  from  the  Cross,'  in  that  of  St.  Nicolas. 
He  died  at  Ghent  in  1854. 

DB  CAYLUS,  Anne  Claude  Philippe,  Comte, 

(de  TnBIERES,  DE  GRIMOARD,  DE  PeSTELS,  DE  LEVI,) 

engraver,  painter,  writer,  and  collector.  He  was 
born  October  31,  1692.  His  mother  was  the  cele- 
brated beauty,  the  Marquise  de  Caylus,  cousin  of 
Madame  de  Maintenon.  When  a  mere  lad  he  was 
thrown  into  contact  with  artists,  and  learned  to 
appreciate  matters  of  art.  His  life-long  intimacy 
with  Watteau  began  in  1711,  at  M.  De  Crozat's. 
He  was  sent  on  foreign  service,  and  was  present 
at  the  siege  of  Freiburg  in  1713.  In  1714  he  was 
in  Rome.  The  following  year  he  journeyed  to  the 
East,  and  did  not  return  to  Paris  till  1717.  His 
travels  gave  him  the  opportunity  for  studying  the 
treasures  of  art  in  the  great  galleries  and  churches. 
He  became  an  enthusiastic  collector  of  antiquities, 
medals,  curios  of  all  kinds,  and  drawings.  The 
latter  he  copied  with  great  care,  and  was  speedily 
distinguished  as  a  draughtsman.  He  turned  his 
attention  next  to  engraving,  and  gained  great 
facility  and  success  in  that  art.     Mariette  speaks 


of  his  "vivacity  of  manner."  He  had,  as  wag 
usual  among  the  protectors  of  artists,  his  little 
c6terie  of  good  fellows,  including  Bouchardon, 
Duolos,  Fagan,  Coll^,  C.  Coypel,  and  Watteau.  He 
was  elected  Honorary  Councillor-Amateur  at  the 
Academy  on  November  24,  1731.  In  1732  he  was 
at  Florence  with  Qaburri,  who  spoke  in  the  very 
highest  terms  of  him  and  of  his  skill.  He  exercised 
a  great  influence  upon  the  art  of  his  time  by  his 
talent,  his  example,  and  his  personality.  His  en- 
gravings are  marked  by  truthfulness  of  design  and 
fineness  in  the  earlier  stages  of  work.  His  coloured 
drawings  and  oil  paintings  were  careful  copies,  or 
adaptations,  of  the  work  of  the  painters  of  the 
Fetes  Galantes.  He  had  also  great  admiration  for 
the  style  of  Bouchardon.  As  a  writer,  in  addition 
to  the  biography  of  Watteau  (1748),  he  wrote  the 
lives  of  C.  Coypel,  Mignard,  Le  Moyne,  and  other 
painters  (1715-1757),  and  of  Bouchardon  (1762). 
He  died  in  Paris  September  5,  1765.  Among  his 
engravings  were  the  following  : 

More  than  two  hundred  plates ;  after  the  best  pictures 

in  the  Royal  Galleries. 
Collection  of  Heads ;   after  drawings  hy  Rubens  and 

Van  Dyck,  in  the  Crozat  Gallery. 
Suite  of  Heads  ;  after  draicings  by  Leonardo  da  Vinci, 

in  M.  Mariette^s  Cabinet. 
Six  plates,  History  of  Joseph ;  after  Rembrandt. 
Several  plates.  Life  of  Christ ;  after  Raphael. 
Twenty-four  plates;  after  '  Caricatures  '  by  C.  Gillot. 
Love  the  Teacher,  and  Goddess  in  Clouds ;    after  C, 

Coypel. 
Venus  wounded  by  Love,  Venus  and  Cupid,  Acis  and 

Galatea,  Le  Medecin,  and  others ;   after    Watteau. 

(Sixty-eight  plates.) 
Fifty-eight  plates ;  after  Boucher. 
Venus  restraining  Cupid,  Five  Senses,  F^tes  Galantes, 

and  others ;  after  Bouchardon. 
Plates  after  Baccio  BandineUi,  Guercino,  Titian,  the 

three  Carracci,  Zuccari,  J.  Ct-sari,  Lafage,  and  others. 

More  than  three  hundred  heads  from  antique  gems, 

and    many    reproductions    of    coloured    drawings, 

ancient  and  modern,  in  the  Royal  Galleries. 
(Many  examples  are  in  the  Louvre.) 

DECKER,  C,  was  a  German  engraver,  who, 
about  the  middle  of  the  17th  century,  went  from 
Nuremberg  to  Amsterdam,  and  there  learned  the  art 
from  Romeyn  De  Hooghe.  He  appears  to  have  been 
much  employed  by  the  booksellers,  and  his  plates 
are  often  executed  in  a  coarse,  harsh  style.  They 
are  principally  executed  from  his  own  designs ; 
and  among  his  best  are  those  engraved  for  Kircher's 
'  Turris  Babel,'  published  at  Amsterdam  in  1679. 
He  marked  his  plates  vrith  his  name  or  with  the 

cipher  ^, 

DECKER,  I.  De.    See  De  Decker. 

DECKER,  JoHANN  Stephan,  a  French  painter, 
was  born  at  Colmar  in  1784.  At  the  age  of  twenty 
he  went  to  Paris,  where  he  studied  under  David 
and  Krapf,  but  at  the  end  of  seven  years  he 
returned  to  his  native  city.  In  1821  he  settled  at 
Vienna,  and  was  much  employed  at  the  court  in 
teaching  drawing  and  in  the  execution  of  miniatures 
and  water-colour  paintings.  He  died  at  Vienna 
in  1844. 

DECKER,  Paul,  an  architect  and  engraver,  who 
was  born  at  Nuremberg  in  1677,  designed  and 
engraved  for  Andreas  Schliiter  in  Berlin,  and  was 
by  him  instructed  in  architecture.  He  died  in 
1713.  His  son,  Paul  Decker,  excelled  in  painting 
history  and  portraits,  and  was  for  three  years 
director  of  the  Academy  at  Nuremberg.     He  died 

in  1742. 

23 


A  BIOGRAPHICAL  DICTIONARY  OF 


DE  CLfi,  CoRNELis,  a  Flemish  historical  painter, 
who  was  a  native  of  Antwerp,  was  received  into 
the  guild  of  St.  Luke  in  that  city  in  1660-1661. 
In  1690  he  painted  for  the  '  Sodalite  des  Horaaie.s 
marids,'  a  picture  representing  the  'Mount  of 
Olives,'  as  well  as  the  figures  of  Christ  and  Pilate. 
He  died  in  1724. 

DE  CLERCK,  Hendrik,  who  was  born  at 
Brussels  about  1570,  was  a  pupil  of  Marten  De 
Vos,  and  imitated  that  master.  He  painted  his- 
torical subjects,  of  which  there  are  several  in  the 
churches  of  the  Netherlands  ;  but  his  small  pictures, 
in  which  he  may  be  compared  to  Rottenhammer 
and  Van  Balen,  are  more  esteemed.  He  died  about 
1629.     Among  his  best  works  are : 

Brussels.  Museum.  Holy  Family  (triptych). 

„  „  Christ  caUiug   little  Children  to 

Him. 
„        St.  James.  Crucifixion. 

„       Notre-lJame.     Holy  Family. 
„  ,,  Resurrectiou. 

Vienna.    Gallery.  Cephalus     and     Procris    (in     a 

Forest   Landscape    by   Alsloot). 
1608. 

DE  COCK,  Fbans,  a  Flemish  ecclesiastic,  was 
born  at  Antwerp  in  1643.  His  love  for  art  led  him 
to  visit  Rome,  and  after  his  return  to  Antwerp  in 
1662,  all  his  leisure  time  was  devoted  to  drawing 
and  painting.  Although  but  an  amateur,  his  por- 
traits were  very  successful.     He  died  in  1709. 

DE  COCK,  Jan  Claus,  a  Flemish  engraver, 
flourished  about  the  year  1660.  His  name  is  affixed 
to  an  etching  representing  the  '  Martyrdom  of  a 
Saint.'  It  is  executed  in  a  bold  masterly  style, 
and  appears  to  be  the  production  of  a  painter. 

DE  COCKQ,  Paul  Joseph,  a  Flemish  historical 
painter,  was  born  at  Bruges  in  1724.  He  was  a 
pupil  of  Matthias  De  Visch,  and  became  Director 
of  the  Academy  at  Bruges  in  1775.  He  died  in 
his  native  city  in  1801.  The  following  works  by 
him  are  in  the  Bruges  Academy  : 

The  Holy  Trinity. 

Apollo  crowning  Poetry  and  Music. 

Landscape  with  old  Monuments ;  after  Canaletto. 

DE  COENE,  Jean  Henri,  a  Belgian  painter  of 
genre  and  historical  subjects,  was  bom  at  Neder- 
brakel  in  1798.  He  was  a  pupil  of  David  and  of 
Paelinck,  and  became  professor  in  the  Brussels 
Academy.  He  died  in  that  city  in  1866.  His 
picture  of  the  '  Incredulity  of  St.  Thomas  '  gained 
him  the  prize  in  1827. 

DE  CONINCK  (or  Coninqh).   See  De  Koninck. 

DE'  CONTI,  Bernardino.     See  Dei  Conti. 

DE  CORT,  Hendrik,  a  Flemish  landscape  painter, 
was  born  in  1742  at  Antwerp,  where  he  studied. 
He  settled  in  England,  and,  from  1790,  exhibited 
many  works  at  the  Royal  Academy.  He  died  in 
London  in  1810.  His  landscapes,  previous  to  his 
settling  in  England,  were  embellished  with  figures 
and  animals  painted  by  Ommeganck  and  P.  van 
Regemorter.  They  are  much  in  the  Italian  tasfe, 
with  views  of  cities  and  ancient  ruins,  pleasingly 
coloured  and  neatly  finished.  In  the  Belvedere  at 
Vienna  there  is  by  him  a  '  View  of  the  old  Castle 
of  Temsch  on  the  Scheldt  at  Antwerp  '  (1774). 

DE  COSTER,  Adam,  was  a  native  of  Antwerp, 
and  is  supposed  to  have  been  a  disciple  of  Theodoor 
Rombouts.  He  painted  historical  subjects  and  por- 
traits with  considerable  skill ;  but  he  particularly 
excelled  in  depicting  gallant  assemblies  and  festi- 
vals, which  are  ingeniously  composed,  and  coloured 

24 


with  great  force  and  vigour.  We  have  a  fine  print 
of  a  '  Concert,'  engraved  by  L.  Vorsterman,  after  a 
painting  by  this  artist. 

DE  COSTER,  DoMiNicus,  the  son  of  the  painter 
and  poet  Pieter  Balten,  was  born  at  Antwerp  in 
1560.  At  an  early  period  of  his  life  he  settled  at 
Augsburg,  where  he  assumed  the  name  of  De 
Coster  or  Gustos,  and  formed  a  considerable  estab- 
lishment as  a  print-seller.  He  died  in  that  city  in 
1612.  He  engraved  several  plates  in  a  neat  but 
somewhat  formal  style.     Among  them  are  : 

A  set  of  the  effigies  of  the  German  Emperors.   1601. 
Fourteen  Plates,  entitled  '  Effigies  piorum  ac  doctorum 

aliquot  virorum.'     1594. 
Twenty-eight  Plates,  entitled   '  Tirolensium  principum 

comitum  genuiuie  Icones.'    1599. 
Sixty-four  Portraits  of  the  Fugger  Family.     1593. 
Edward  VI. 

Marco  Bragadini ;  after  J.  von  Aachen.     1591. 
Charles  111.,  Duke  of  Lorraine.     1597. 
Dorothea,  Duchess  of  Lorraine. 
Pope  Sixtus  V. 
Bust  of   Sigismund,  Prince  of  Moldavia  ;  after  J  ton 

A achen. 
Maria  Christina  Carolina,  his  consort. 
Cosmo  de'  Medici.     1609. 
Rudolph  II.,  Emperor  of  Germany. 
Four  Plates  of  the  Prodigal  Sou  ;  D.  Custodis  inv.  etfec. 
Judith   with   the   Head   of   Holofernes ;    after  J.  von 

Aachen. 
Christoph  Fugger  ;  after  the  same. 
Georg  Basta ;  after  the  same. 

His  three  sons,  Raphael,  David,  and  Jakob,  were 
also  engravers  ;  but  the  first  only  obtained  any 
celebrity. 

DE  COSTER,  Pieter,  a  painter  and  engraver  of 
Antwerp,  is  usually  known  as  Balthazar,  or  Bal- 
ten, or  Baltens  (the  shortened  form  of  Baltens- 
sone,  i.e.  the  son  of  Balfen,  Balthazar).  His  father 
was  Balten  Janssone  de  Coster,  a  painter.  Pieter 
entered  the  Guild  of  St.  Luke  at  Antwerp  in  1540, 
and  became  its  Dean  in  1569.  He  died  about  1598. 
He  painted  landscapes,  village  festivals,  and  fairs, 
in  the  style  of  Pieter  Brueghel.  His  small  figures 
are  correctly  drawn  and  neatly  touched,  and  his 
landscapes  are  painted  with  great  precision.  He 
engraved  portraits,  and  also  a  sacred  piece,  '  Suffer 
Little  Children  to  come  unto  Me,'  after  Ambrosiua 
Francken. 

DE  CRAEYER,  Gaspab,  a  Flemish  painter,  was 
born  at  Antwerp  in  1582.  He  was  first  instructed  in 
the  art  by  Raphael  van  Coxie  of  Brussels,  an  artist 
of  little  repute,  whom  he  soon  surpassed.  Taking 
for  his  guide  the  works  of  the  able  artists  of  his 
country,  and  indefatigable  in  his  study  of  nature,  he 
gave  early  proof  of  his  ability  in  some  public  works, 
so  that  he  was  received  a  member  of  the  Guild  in 
1607.  His  paintings  also  attracted  the  notice  of  the 
court  of  Brussels,  and  he  was  engaged  to  paint  the 
portrait  of  the  Cardinal-Infant  Don  Ferdinand,  the 
Governor  of  the  Low-Countries,  to  be  sent  to  his 
brother,  the  King  of  Spain.  This  work  gave  so 
much  satisfaction,  that  he  was  appointed  painter 
to  the  court,  with  a  considerable  pension,  and  was 
also  employed  in  the  churches  and  public  edifices. 
If  De  Craeyer  had  only  looked  for  emolument,  this 
flattering  patronage,  and  the  applause  of  the  great, 
would  have  satisfied  his  ambition,  and  secured  his 
fortune  by  fixing  him  at  the  court.  But  intent 
solely  on  excelling  in  his  art,  and  desirous  of  that 
repose  and  tranquillity  so  essential  to  his  work,  he 
resigned  his  situation  at  Brussels,  and  sought  the 
retirement  he  longed  for,  by  removing  to  Ghent. 
This  retreat  did   not  diminish  the  reputation  he 


PAINTERS  AND  ENGRAVERS. 


had  acquired,  and  he  continued  to  receive  com- 
missions from  every  part  of  the  country.  It  was 
at  this  time  that  he  painted  his  fine  picture  for  the 
refectory  of  the  abbey  of  AfBeghem,  whicli  is  one 
of  his  most  celebrated  works.  It  represents  the 
'  Centurion  dismounting  from  his  horse  to  prostrate 
himself  before  Christ.'  It  was  this  admirable  pic- 
ture that  procured  for  him  the  flattering  homage  of 
Rubens,  who,  on  beholding  it,  exclaimed  aloud, 
"  Craeyer,  nobody  will  surpass  you."  The  churches 
of  the  principal  cities  in  Flanders  and  Brabant  are 
decorated  with  a  surprising  number  of  the  works 
of  this  master,  who  spent  a  long  life  in  unremitting 
labour.  The  biographers  of  the  Flemish  painters 
have  not  hesitated  to  place  De  Craeyer  on  a  level 
with  Rubens  and  Van  Dyck.  Although  this  high 
compliment  may  be  rather  strained,  he  is  un- 
doubtedly entitled  to  rank  next  after  them  among 
the  ablest  artists  of  that  school. 

His  compositions  are  learned  and  judicious  ;  re- 
jecting all  superfluity  and  ostentation,  he  aimed  at 
the  higher  qualities  of  correctness  and  simplicity. 
Less  daring  than  Rubens,  he  is  always  correct ;  and, 
although  he  never  soared  to  the  height  of  that 
aspiring  genius,  his  works  possess  both  grandeur 
and  dignity.  His  colouring  is  chaste  and  tender, 
resembling  in  its  carnations  the  clear  tinting  of 
Van  Dyck.  He  died  at  Ghent  in  1669.  The  fol- 
lowing are  the  principal  among  his  numerous 
works,  in  which  the  landscapes  are  painted  by  De 
Vadder  and  L.  Achtschellinck : 


Amsterdam.  Museum. 

Antwerp.  Museuiii. 

Berlin.  Gallery. 

Brussels.  Museum. 


Ghent. 

LiUe. 

Madrid. 

Miuiich. 

Nancy. 

Paris. 


S.  Michael. 
Museum. 

Museum. 

Gallery. 

Gnlh-ry. 
Museum. 
Louvre. 


Petersburg.     Sermitnge 
Rotterdam.      Museum. 
Valenciennes.  Gallery. 
Vienna.  Gallery. 


The  Taking  down  from  the  Cross. 

Elijah  in  the  Desert. 

Christ  at  Emmaus. 

The  Miraculous  Draught  of 
Fishes. 

St.  Paul  and  St.  Anthony  as 
Hermits. 

The  Blessed  Virgin  as  Pro- 
tectress of  the  'Graud-Seor- 
ment  de  VArbalete.' 

Ascension  of  St.  Catharine. 

Judgment  of  Solomon. 

Martyrdom  of  St.  Blaise. 

Martyrdom  of  a  Man  by  burying 
alive. 

The  Death  of  the  Virgin.  (Hii 
principal  work.) 

Virgin  and  Child  with  Saints. 

The  Plague  at  Milan. 

Virgin    and    Child    adored   by 
Saints. 

St.  Augustine. 

Portrait  of  the  Cardinal-Infant 
Don  Ferdinand  of  Spain,  on 
horseback. 
.  Pan  and  Syrinx. 

The  Descent  from  the  Cross. 

The  Penitent  Magdalen. 

The  Holy  Family. 


Some  recent  writers  ascribe  to  him  a  woodcut 
representing  St.  Sebastian.  Van  Dyck  painted  his 
portrait,   which   Paulus    Pontius    engraved.      His 


monogram  is  annexed  :   TTj 


DE  CRITZ,  John,  Emmanuel,  and  Thomas,  were 
decorative  painters  in  England  in  the  first  half  of 
the  17th  century.  John,  who  had  the  greatest 
reputation  of  the  three  brothers,  was  serjeant- 
painter  to  James  I.  and  Charles  I.,  in  which  office 
he  was  succeeded  by  Emmanuel.  They  painted 
scenery,  ceilings,  &c.  John  bought  many  pictures 
at  the  sale  of  the  collection  of  Charles  I.  He  died 
after  1657. 


DE  CKOOCK,  Hubert,  a  Flemish  typographer 
;ind  engraver  on  wood,  was  born  at  Bruges  in  1490. 
His  name  is  afiSxed  to  a  large  out,  representing  the 
Trinity,  which  is  neatly  executed,  but  in  a  stiff, 
formal  style.  Albrecht  Diirer  engraved  the  same 
subject,  but  in  so  superior  a  manner,  that  the  print 
by  De  Croock  may  be  presumed  to  be  a  copy  coeval 
with  the  original.     Besides  the  name,  it  is  marked 

with  the  monogram  ^. 

DE  CUYPERE,  Andries.     See  Stevens. 

DE  DECKER,  I.,  is  mentioned  by  Strutt  as  the 
engraver  of  a  small  copy  of  the  print  representing 
the  '  Treaty  of  Miinster,'  engraved  by  Suyderhoef , 
after  Terburg,  in  which  he  attempted  to  imitate  the 
style  of  the  original,  but  with  no  great  success. 

DE  DEYSTER,  Louis,  born  at  Bruges  in  1656, 
was  a  pupil  of  John  Maes.  He  travelled  in  Italy 
during  six  years,  chiefly  spent  at  Venice  and  in 
Rome  with  Anthony  Van  den  Eeckhout,  whose 
sister  he  married.  He  was  admitted  as  free  master 
into  the  Guild  of  S.  Luke  on  March  4,  1688.  His 
pictures  are  well  composed,  the  hands  and  feet 
well  modelled  ;  colour  in  the  style  of  A.  van  Dyck. 
His  etchings,  which  are  rare,  are  remarkable.  He 
died  December  18,  1711.  His  j'ounger  daughter, 
Anne,  1690-1747,  was  also  a  painter.  Many  of 
their  paintings  are  preserved  in  the  churclies  and 
convents  of  Bruges. 

Bruges.        Museum.      Moses  defending  the  Daughters 
of  Jethro. 

Bihliogrnphy :  Weale,  'Catalogue  du  Mus^e  de 
Bruges,'  1861  ;  '  Bruges  et  ses  Environs,'  1884. 

DEDREUX,  Alfred,  a  French  historical  and 
portrait  painter,  was  born  in  Paris  in  1812.  He 
was  the  son  of  the  architect  Pierre  Anne  Dedreux, 
and  nephew  of  P.  J.  Dedreux-Dorcy.  He  studied 
under  L6on  Cogniet,  and  painted  animals  as  well 
as  portraits.     He  died  in  Paris  in  1860. 

DEDREUX-DORCY,  Pierre  Joseph,  a  French 
genre  painter,  was  born  in  Paris  in  1789.  He 
studied  for  some  time  under  Guerin.  His  paint- 
ings, one  of  which,  called  '  Bajazet  et  le  Berger,'  is 
in  the  Museum  of  Bordeaux,  are  in  the  style  of 
Greuze.  He  also  painted,  together  with  G^ricault, 
a  picture  called  '  La  Baigneuse.'  He  died  at  Belle- 
vue  in  1874.  His  surname  was  Dedreux,  but  he 
was  usually  called  Dorcy. 

DEELEN,  Dirk  van,  (or  Delen,)  a  Dutch  painter, 
was  born  at  Heusden  in  1605.  He  afterwards  settled 
at  Arnemuiden  in  Zealand,  of  which  town  he  be- 
came burgomaster.  He  possessed  not  only  an 
extraordinary  talent  in  representing  Italian  archi- 
tecture, but  was  also  thoroughly  acquainted  with 
linear  and  aerial  perspective.  He  particularly  de- 
voted himself  to  the  production  of  views  of  churches 
and  other  buildings,  and  the  figures  in  his  paintings 
are  mostly  by  Van  Herp,  PalameJes,  Stevens,  and 
Wouverman.  He  died  at  Arnemuiden  in  1671. 
The  following  are  his  most  important  works : 


Berlin. 

Gallery. 

The  Court  of  a  Palace. 

Hague. 

Museum. 

Thfi  Hall  of  the  Biunenhof 
at  the  Hague. 

Lille. 

Museum. 

The  Interior  of  a  Castle. 

Paris. 

Louvre. 

Players  at  Ball. 

Rotterdam 

Museum. 

A  Musical  Party. 

Vienna. 

Gallery. 

A  building  with  columns. 

DE'  FASOLI,  Lorenzo.     See  Fasolo. 

DE'  FERRARI.     See  Dei  Ferrari. 

DE  FOUR,  PiETER,  called  De  Salzea,  a  native 
of  Liege,  who  flourished  at  the  end  of  the  16th 
and  beginning  of  the  17th  centuries,  was  a  scholar 

25 


A  BIOGRAPHICAL  DICTIONARY  OF 


of  Lambert  Lombardus.  There  were  by  him  in  the 
cathedral  at  Liege  two  excellent  altar-pieces  dated 
1578  and  1580,  and  in  the  church  of  St.  Bartholo- 
mew, a  'St.  Michael,'  and  a  'Descent  from  the 
Cross,' dated  1610. 

DEFRANCE,  Leonard,  born  at  Liege  in  1735, 
was  a  scholar  of  J.  B.  Coders.  He  painted  his- 
torical pieces  of  large  and  small  dimensions,  also 
landscapes,  game,  fruit,  flowers,  and  architecture. 
He  was  the  first  professor  of  design  at  the  Academy 
of  Liege,  established  by  the  Prince  Velbruck,  and 
afterwards  filled  the  s.irae  post  in  the  school  of  the 
central  department  of  Ourthe.  He  died  at  Lifee 
in  1805. 

DE'  FRANCESCHI.     See  Dei  Franceschi. 

DE  FREY,  Anna,  a  sister  of  Johannes  De  Frey, 
executed  a  large  number  of  drawings  from  paint- 
ings by  old  masters,  such  as  Jan  Steen,  Metsu, 
and  Mieris.  She  was  instructed  by  her  brother-in- 
law.  Jacobus  Johannes  Lauwers,  and  afterwards 
became  herself  a  teacher  of  dra^ving  at  Mannheim, 
in  which  town  she  was  married,  and  where  she  died 
in  1808.    She  also  painted  in  oil. 

DE  FREY,  Johannes,  an  engraver  and  etcher  of 
distinction,  was  born  at  Amsterdam  about  1760, 
.ind  was  instructed  in  the  art  by  Jacobus  Johannes 
Lauwers.  Deprived  by  nature  of  the  use  of  his  right 
hand,  he  had  the  courage  to  pursue  the  art  with  his 
left,  and  by  industrious  application  surmounted 
every  difficulty.  He  became  distinguished  in  his 
profession  as  an  able  designer,  and  for  the  bold- 
ness of  his  graver.  He  engraved  many  prints 
after  Rembrandt,  Flink,  G.  Dou,  and  other  masters 
of  that  school,  which  are  held  in  estimation.  He 
settled  in  Paris  in  1814,  and  died  there  in  1834. 
Among  his  best  plates  are  : 

The  Anatomical  Demonstration  of  Tulp ;  after  Rem- 
brandt.   1798. 

The  Magistrates  ;  after  the  same.     1799. 

The  Ship-builder  and  his  Wife  ;  after  the  same. 

The  Family  of  Tobias  ;  after  the  same. 

Portrait  of  Eembrandt ;  after  the  same. 

Portrait  of  Eembrandt's  Mother ;  after  the  same. 

The  Presentation  in  the  Temple  ;  after  the  same. 

Isaac  blessing  his  son  Jacob  ;  after' G.  Flink.     1798. 

The  Family  of  G.  Dou  ;  after  G.  Bon.     1798. 

The  Philosopher  ;  after  Brelcelenkamp.     1796. 

The  Hermit  in  a  Cavern  reading  ;  after  the  same. 

Portrait  of  Admiral  Marten  Harpertz  Tromp ;  after 
Lievens.     1801. 

Portrait  of  G.  A.  Brederode  ;  after  Baillie. 

DE  FROMANTIOU,  Hendrik,  was  a  painter 
who  excelled  in  flowers,  birds,  and  objects  of  still- 
life.  He  was  born  at  Nymegen  in  1630,  and  was 
living  in  1680.  In  the  Gallery  at  Salzthalen  is  a 
beautiful  flower-piece  by  him.  It  is  also  said  that 
he  painted  in  the  manner  of  Rembrandt ;  and  that 
Wouverman  gave  him  his  daughter  in  marriage, 
with  a  large  dowry.  This  last  circumstance,  if 
authentic,  would  be  confirmatory  of  his  artistic 
talent ;  but  the  fact  may  be  doubted,  as  Wouver- 
man never  became  rich  by  his  profession,  and 
died  of  chagrin  at  finding  his  works  so  much 
neglected. 

DE  GAST,  Michel,  a  Flemish  landscape  painter, 
was  born  at  Antwerp  in  1509,  and  became  a  mem- 
ber of  the  Guild  of  St.  Luke  in  1558.  He  appears 
to  have  passed  the  greater  part  of  his  life  in  Italy, 
and  most  of  his  pictures  represent  the  ruins  of 
ancient  Rome  and  its  environs.     He  died  in  1564. 

DE  GEEST,  Wtbrand,  called  'De  Friesche 
Adelaar  '  (The  Frisian  Eagle),  was  bom,  probably  at 
Antwerp,  about  the  year  1691.   He  travelled  to  Italy 

26 


when  young,  and  resided  there  several  years, 
chiefly  at  Rome,  where  he  made  drawings  from  the 
principal  statues  and  pictures ;  and  on  his  return 
to  Holland  painted  historical  subjects  with  con- 
siderable skill.  He  died  at  Antwerp  in  1643.  The 
plates  in  the  book  entitled  '  Cabinet  des  Statues,' 
published  at  Amsterdam  in  1702,  are  from  the 
designs  of  his  grandson,  who  bore  the  same  names. 

DE  GELDEK,  Arent,  or  Aart,  a  Dutch  painter, 
was  born  at  Dordrecht  in  1645.  After  studying 
for  some  time  in  his  native  town,  under  Samuel 
van  Hoogstraeten,  he  went  to  Amsterdam,  where 
he  entered  the  school  of  Rembrandt,  and  became 
one  of  the  ablest  imitators  of  the  style  of  that 
master.  Like  him  he  painted  portraits  and  his- 
torical subjects,  in  which  he  exhibits  the  same 
imcouth  choice  of  forms,  with  the  same  fascinating 
charm  of  colour ;  the  same  eccentricities  and  de- 
fects, with  his  admirable  conduct  of  light  and 
shade,  and  the  richness  and  spirit  of  his  brush. 
In  his  historical  pictures,  he  also  equally  set  at 
nought  propriety  of  costume,  and  elevation  of 
sentiment.  His  works  still  captivate  by  their 
surprising  effects.  He  painted  from  nature  all 
the  accompanying  objects  in  his  pictures,  and 
his  painting-room,  crowded  with  armour,  old 
draperies,  flags,  and  sabres,  resembled  rather  the 
interior  of  a  broker's  shop  than  the  studio  of  an 
artist.  He  was  most  successful  in  his  portraits, 
some  of  which  are  not  unworthy  of  Rembrandt, 
and  have  been  frequently  attributed  to  that  master. 
He  died  at  Amsterdam  in  1727.  Among  his  por- 
traits is  that  of  '  Peter  the  Great  of  Russia,'  while 
his  principal  historical  works  are  '  Simeon  in  the 
Temple,'  '  Pilate  binding  Christ,'  and  '  Judah  and 
Tamar.' 

DE  GEMPT,B.,a  Dutch  animal  painter,  who  died 
by  his  own  hand  in  1879.  Amongst  his  works  are 
'  A  Congress  of  Dogs,'  and  '  The  Miser's  Death-bed.' 

DE  GHENDT,  Emmanuel  Jean  NepomucJinb, 
a  French  engraver,  was  born  at  St.  Nicholas  in 
Flanders  in  1738.  He  was  a  pupil  of  J.  Aliamet, 
and  has  engraved  several  plates  in  a  neat,  pleasing 
style.  He  executed  many  ot  the  prints  and  vignettes 
for  the  '  Voyage  d'ltalie '  of  the  Abb6  de  Saint- 
Non.  He  died  in  Paris  in  1815.  We  have  also, 
among  others,  the  following  prints  by  him  : 

L' Amour  Asiatique  ;  after  Ch.  Eisen. 

Les  Moissonneurs  dans  les  Champs  ;  after  the  same. 

La  pleine  Mois.son  ;  after  Isaac  Moucheron. 

A  View  of  the  Fountain  of  Arethusa  at  Syracuse  ;  after 

Chatelet. 
The  Four  Times  of  the  Day  ;  after  Baudouin. 

DE  GHEYN,  Jakob,  (or  De  Ghein,)  '  the  elder,' 
a  Flemish  designer  and  engraver,  was  born  at 
Antwerp  in  1565.  He  was  instructed  in  drawing 
by  his  father,  who  was  a  glass-painter,  and  learned 
engraving  under  Hendrik  Goltzius.  He  imitated 
the  style  of  that  master,  and  his  plates  evince  a 
great  command  of  the  graver.  They  are  executed 
in  a  bold,  free  style,  and  his  drawing  is  correct,  and 
not  without  taste.  He  died  at  Antwerp,  or  else- 
where, about  1625.  He  engraved  a  great  number  of 
plates,  both  from  his  own  designs  and  after  other 
masters,  and  his  prints  are  highly  esteemed.  He 
generally  used  the  cipher  Tjj,  The  following  are 
his  principal  works  :  Xl«" 

portraits. 

Tycho  Brahe,  the  Astronomer. 

Abraham  Gokevius,  antiquary,  of  Amsterdam. 

Hugo  Grotius. 

Phihp  de  Marniz,  the  disciple  of  Calvin. 


PAINTERS  AND  ENGRAVERS. 


Cosmo  de'  Medici. 

Sigismondo  Malatesta ;  circular. 

Ivan  ly.  VasUevich,  Czar  of  Muscovy  ;  circular. 

SUBJECTS   AFTER   HIS    OWN   DESIGNS. 
Vanity  ;  represented  as  a  Woman  at  her  toilet. 
Tlie  Penitent  Magdalen  ;  a  small  oval. 
Mars  and  Venus  ;  two  small  medallions. 
A  Gipsy  telling  a  Girl  her  fortune. 
The  Statue  of  the  Laocoon. 
A  Lion,  in  a  landscape  ;  very  scarce. 
A  set  of  ten  plates,  called  the  Masks  ;  very  scarce. 
The  Twelve  Roman  Emperors  ;  circular  ;  line. 

SUBJECTS   AFTER    VARIOUS    AUTHORS. 

The  Life  and  Passion  of  Christ ;  fourteen  plates ;  en- 
graved by  J.  De  Gheyn  and  Z.  Dolendo,  after  G.  van 
Mander. 

The  Twelve  Tribes  of  Israel ;  twelve  plates  ;  after  the 
same. 

The  Four  Evangelists ;  after  Hendrik  Goltzius. 

The  Confusion  of  Tongues  at  the  building  of  the  Tower 
of  Babel ;  after  C.  van  Mander. 

The  Adoration  of  the  Trinity  ;  after  the  same. 

The  Judgmeut  of  Midas ;  after  the  same. 

The  Prodigal  Sou  ;  in  two  sheets  ;  after  the  same. 

The  Oruciiixion  ;  after  Crispin  van  den  Broeck. 

The  Assembly  of  the  Gods  ;  after  the  same.     1589. 

The  Empire  of  Neptune  ;  afte'r  W.  Telrho.     1587. 

Twelve  plates  of  Soldiers  of  the  Guard  of  Rudolph 
II. ;  after  H.  Goltzius. 

The  Annunciation  ;  after  A.  Bloemaert. 

A  Repose  in  Egypt ;  after  the  same. 

Christ  preaching  to  the  Jews  ;  after  the  same. 

The  Miracle  of  the  Loaves ;  after  the  same. 

Daniel  in  the  Lions'  Den  ;  after  T.  Bernard. 

Diana  and  Actzeon  ;  after  the  same. 

Polyphemus,  with  Acis  and  Galatea ;  after  C.  van 
Haarlem. 

A  small  Landscape ;  an  etching ;  after  J.  Brueghel. 

DE  GHEYN,  Jakob,  (or  De  Ghein,)  'the 
younger,'  son  of  the  elder  Jakob  De  Gheyn,  was 
born  at  Antwerp  about  the  year  1595.  He  is  sup- 
posed to  have  studied  in  Italy,  under  A.  Tempesta, 
from  the  resemblance  in  their  style.  In  conjunc- 
tion with  Cornells  Boel,  he  executed  eight  plates 
for  '  Les  Exploits  de  Charles-Quint  pendant  la 
Guerre  d'ltalie,'  from  designs  by  Tempesta. 

DE  GHEYN,  Willem,  (or  De  Ghein,)  a  Flemish 
engraver,  probably  related  to  Jakob  De  Gheyn, 
was  born  at  Antwerp,  and  worked  in  the  middle  of 
the  17th  century  in  Holland  and  in  Paris.  Jointly 
with  Jeremiah  Falck,  he  engraved  the  Four  Seasons, 
represented  by  French  ladies,  attired  in  the  cos- 
tume of  the  time  of  Louis  XII.  We  have  also  by 
him  the  following  plates  : 

The  Visitation  ;  after  Guido  Bent. 
Louis  XIV.,  when  a  boy,  on  horseback. 
Bernard,  Duke  of  Weimar,  on  horseback. 

DEGL'  AVANZI.     See  Degli  Avanzi. 

DE  GLEN,  Jan,  was  a  printer  and  wood-en- 
graver, who  was  born  in  the  middle  of  the  16th 
century.  He  cut  the  blocks  for  the  portraits  of  the 
Popes  in  the  '  Vitse  Romanorum  Pontificum  '  of 
his  brother  J.  B.  De  Glen,  which  was  printed  in 
1597  ;  and  also  prepared;  from  his  own  designs,  the 
cuts  to  a  work  published  at  Liege  in  1601,  entitled 
'  Des  Habits,  Mo;urs,  Ceremonies  et  Faf  one  de 
f aire  anciennes  et  modernes,'  and  to  '  Les  Merveilles 
de  la  Ville  de  Rome '  (Liege,  1631),  and  '  Europa, 
sive  Primariarum  Europje  Provinciarum  Ritibus, 
Cffiremoniis  etVestibus.'    He  was  still  living  in  1631. 

DEGLER,  Franz,  an  Austrian  historical  and 
portrait  painter,  was  born  at  Klausen  in  tne  Tyrol 
in  1706.  Among  his  works  may  be  mentioned  the 
portraits   of  the   Emperor  Charles  VII.  and  his 


Empress,  and  of  other  high  personages  who  were 
at  Frankfort-on-the-Main  at  the  time  of  their  coro- 
nation, and  the  ten  pictures  of  the  Passion  painted 
for  the  Capuchin  church  in  that  city,  where  he 
died  in  1736. 

DEGLER,  JoHANN,  an  Austrian  painter,  was 
born  at  Lazfons  in  the  Tyrol  about  the  year  1800. 
He  was  a  pupil  of  Denifle,  and  had  already  given 
evidence  of  the  possession  of  great  talent  when  he 
died  at  Brixen  in  1829.  In  the  Ferdinandeum  at 
Innsbruok  there  are  by  hira  two  pictures,  and  a 
chalk  drawing  of  the  '  Raising  of  Lazarus.' 

DEGLI  AFFLITTI,  Nunzio.     See  Ferrajuoli. 

DEGLI  AMBROSI,  Marco,  commonly  called 
Melozzo  da  Forli,  was  born  at  Forli  in  1438.  He 
is  said  to  have  been  iirst  instructed  by  Ansovino  of 
Forli,  who  assisted  Mantegna  in  several  works,  but 
he  afterwards  adopted  much  of  the  style  of  Piero 
della  Francesca  and  Giovanni  Santi  of  Urbino. 
Such  was  his  desire  of  learning  the  best  principles 
of  the  art,  that,  though  of  a  noble  and  affluent 
family,  he  submitted  to  the  menial  duties  of  a 
domestic  servant  and  colour-grinder  to  some  of 
the  principal  painters  of  his  time.  To  this  vener- 
able artist  is  attributed  the  first  invention  of  fore- 
shortening, which  was  afterwards  carried  to  such 
perfection  by  Correggio.  In  the  study  of  per- 
spective, considerable  progress  had  been  made  by 
Piero  della  Francesca,  since  its  alleged  invention 
by  Paolo  Uccello,  the  Florentine  ;  but  the  merit  of 
first  painting  figures  in  perspective,  on  vaults  and 
ceilings,  by  which  the  illusion  is  rendered  com- 
pletely effective,  was  reserved  for  Melozzo.  He 
was  patronized  by  the  Count  Girolamo  Riario,  with 
whom  he  visited  Rome  in  1472,  and  painted  the 
tribune  of  SS.  Apostoli  with  the  'Ascension'  in 
fresco,  the  perspective  of  which  was  of  surprising 
effect.  In  1711,  when  the  chapel  was  taken  down 
and  rebuilt,  the  greater  part  of  this  painting  dis- 
appeared, but  the  figure  of  Christ  is  still  preserved 
in  the  Quirinal.  Melozzo  was  a  member  of  the 
Academy  of  St.  Luke  at  Rome.  He  died  at  Forli 
in  1494.     Other  paintings  by  him  are  : 

London.   JVat.  Gall.  Two  Allegorical  Figures :    Rhetoric, 

and  Music. 
Paris.        Louvre.        Fourteen   Portraits,  painted  for  the 
Duke  of  Urbino.     {Ascribed  also  to 
Justus  van  Ghent.) 
Rome.       Barherini    Fourteen  Portraits  belonging  to  the 
Palace.  same  series  as  those  in  the  Louvre. 

„  Vatican.      Sixtus  IV.  giving  the  cu.stody  of  the 

Vatican  Library  to  Platiua. 

DEGLI  ANTONJ,  Antonello.    See  Antonio. 

DEGLI  AVANZI,  Jacopo,  a  Bolognese  painter 
of  the  later  years  of  the  14th  century,  is  cliiefly 
known  by  a  '  Crucifixion,'  in  the  Colonna  Gallery 
at  Rome.  There  are  three  pictures  in  the  Bologna 
Gallery  also  by  this  master.  He  painted,  in  con- 
junction with  artists  of  no  great  importance,  fres- 
coes in  the  church  of  the  Madonna  di  Mezzarata, 
near  Bologna,  which  Malvasia  says  were  praised 
by  Michelangelo  and  the  Carr.Tcci ;  they  have, 
however,  been  whitewashed  and  afterwards  re- 
stored, and  only  fragments  of  them  remain. 
Vasari  says  they  were  completed  in  1404. 

DEGLI  AVANZL  Simone.     See  Bologna. 

DEGLI  INNOCENTI,  Battista.     See  Naldini. 

DEGLI  STEFANL  Tommaso.  Dominici,  in  his 
'  Lives  of  the  Neapolitan  Painters,'  attempts  to 
prove  that  the  art  was  practised  at  Naples  by  this 
master  before  the  time  of  Cimabue,  and  that  it 
had,  at  that  early  period,  reached  a  more  improved 

27 


A  BIOGRAPHICAL  DICTIONARY  OF 


state  at  Naples  than  it  had  at  Florence.  Whatever' 
may  be  allowed  for  the  partiality  with  which  the 
Italian  writers  speak  of  their  particular  country- 
men, Dominici  appears  to  have  established  the 
authenticity  of  his  statement.  This  venerable 
artist  was  born  at  Naples  in  1231.  He  grounded 
himself  upon  the  remains  of  Grecian  art  which 
had  been  preserved  in  the  temples  and  public 
edifices  at  Naples,  and  had  painted  several  pictures 
for  the  churches  of  San  Francesco  and  Santa  Maria 
delle  Grazie  previous  to  the  year  1260,  at  which 
time  he  was  employed  by  the  Archbishop  of  Naples 
to  ornament  tlie  chapel  of  his  palace.  Several 
other  works  hj-  him  are  particularly  described  by 
Dominici.  He  died  in  1310.  He  had  a  brother, 
PlETRO  DEGLi  Stefani,  who  also  was  a  painter,  but 
was  more  celebrated  as  a  sculptor. 

DE  GRAEF,  TiMOTHEDS,  was  a  Dutch  landscape 
painter,  who  flourished  at  the  close  of  the  17th 
century.  The  dates  of  his  birth  and  death  are  not 
recorded  ;  but  Jacob  Appel,  of  Amsterdam,  was 
his  pupil.  The  Sale  Catalogues  of  Hoet  ami 
Terwesten  mention  many  of  his  pictures,  par- 
ticularly landscapes  and  views  in  the  vicinity  of 
Amsterdam. 

DE  GREBBER,  Frans  Pietersz,  was  born  at 
Haarlem  in  1579 ;  he  was  a  scholar  of  Rolam! 
Savery,  and  obtained  honourable  mention  as  an 
artist.  He  also  made  copies  of  his  master's  works, 
and  those  of  Velvet  Brueghel.     He  died  in  1649. 

DE  GREBBER.  Pieter  Fransz,  a  Dutch  painter, 
was  born  at  Haarlem  in  1600.  He  was  the  son  of 
Frans  Pietersz  De  Grebber,  who  instructed  him  in 
the  elements  of  design  ;  but  he  after%vards  became 
a  scholar  of  Hendrik  Goltzius.  He  died  after 
1665.  He  chiefly  painted  easel  pictures,  of  which 
there  are  many  in  the  collections  in  Holland.  The 
Museum  at  Haarlem  has,  amongst  others,  '  The 
Emperor  Barbarossa  '  and  '  The  Patriarch  of  Haar- 
lem,' which  are  quite  in  Rubens's  style ;  also 
'  Jacob's  Sons  bringing  to  him  Joseph's  Coat.'  The 
Dresden  Gallery  also  contains  examples  of  his  art. 
He  has  also  left  several  engravings,  and  an  etching 
in  Rembrandt's  style  of  '  Christ  and  the  Woman  of 
Samaria.'  He  had  a  sister,  Maria  De  Grebber, 
who  excelled  in  painting  perspective  and  archi- 
tectural views. 

DE  GROOS,  Gerhard  and  Geoeg,  probably  two 
brothers,  were  working  together  as  engravers  at 
Prague  about  the  year  1647.  They  produced  a 
large  number  of  portraits  and  pictures  of  Saints. 

DE  GROOT,  Jan,  a  painter  and  engraver  in 
mezzotint,  was  bom  at  Flushing  in  1650.  He 
was  first  instructed  by  Adriaan  Verdoel.  and  after 
1666  by  Adriaan  van  Ostade.  The  date  of  his 
death  is  not  recorded.  Some  of  his  plates  are 
marked  J.  G.  fee.  or  /.  G.  inc.  The  best  of  those 
in  mezzotint  are : 

Portrait  of  Desiderius  Erasmus  ;  after  Holbein. 
Portrait  of  Abr.^ham  vau  der  Eyk ;  after  J'an  der  F.uk. 
Boy  singiug,  with  a  cup  of  wine  ;  after  Van  Dyek. 

DE  HAAN,  David,  was  born  at  Rotterdam  in 
1602.  He  studied  in  Italy,  and  became  a  good 
historical  painter,  excelling  especially  in  battle- 
pieces.  He  also  painted  game  with  great  truth- 
fulness to  nature.     He  died  at  Rome  in  1659. 

DE  HAAS,  William  Frederick,  who  was  born 
at  Rotterdam  in  1830,  studied  in  the  Academy  of 
his  native  city,  and  at  the  Hague  under  Johannes 
Bosboom.  He  went  in  1854  to  New  York,  where  he 
became  known  as  a  painter  of  coast  scenery.     He 

28 


died  at  Fayal  in  1880.     The  following  are  some  of 
his  best  works : 

Sunrise  on  the  Susquehanna.     1S67. 

Fishing  Boats  off  Mount  Desert.     1874. 

Midsummer  Noon,  Bideford  Beach,  Coast  of   Maine. 

1875. 
Narragausett  Pier.     1877. 

DE  HAEN,  Abraham,  a  Dutch  painter,  born  at 
Amsterdam  in  1710,  was  a  disciple  of  Cornells 
Pronk.  He  painted  portraits  and  architectural 
subjects,  and  a  picture  of  '  Game '  by  him  is  in 
the  Gallery  at  Christiania.     He  died  in  1750. 

DE  HANGEST,  Egbert  Marinus  Frederik,  (or 
D'Hangest,)  an  amateur  painter,  was  born  at 
Utrecht  in  1746.  While  studying  the  law  he  took 
lessons  in  painting  of  "Verstegh.  After  finishing 
his  legal  studies,  he  set  out  on  his  travels  as  an 
artist,  painting  landscapes  in  the  manner  of  Zaft- 
leven ;  views  on  the  Rhine,  and  rocky  scenery ; 
landscapes,  with  lakes  and  rivers  ;  and  sunsets  and 
moonlights,  in  which  he  was  very  successful.  His 
pencilling  is  vigorous  and  free,  and  his  pictures 
would  not  discredit  a  professional  artist.  He  died 
in  1810. 

DE  HEEM,  CoRNELis,  the  son  and  scholar  of 
Jan  Davidsz  De  Heem,  was  born  at  Utrecht  in 
1630.  Like  his  father  he  painted  still-life,  but 
his  productions  are  inferior.  He  died  at  the 
Hague  after  1692. 

DE  HEEM,  David,  who  was  born  at  Utrecht  in 
1570,  was  an  excellent  painter  of  fruit,  fiowers, 
plate,  crystal  vessels,  and  other  objects  of  still-life. 
There  is  a  '  Group  of  Flowers '  by  him  in  the 
Museum  at  Brussels.     He  died  at  Utrecht  in  1632. 

DE  HEEM,  David  Davidsz,  a  son  and  pupil  of 
David  De  Heem,  was  a  fruit  painter  of  Utrecht  in 
the  17th  century.  A  picture  by  him,  dated  1668,  is 
in  the  gallery  of  that  city,  and  one  dated  1649  is 
at  Amsterdam. 

DE  HEEM,  Jan,  a  supposed  nephew  of  David 
De  Heem,  is  stated  to  have  been  born  at  Amsterdam 
in  1603.  He  studied  under  his  uncle  and  followed 
his  manner  exactl}'.  There  is  a  picture  of  still-life 
ascribed  to  him  in  the  Museum  at  Amsterdam. 
His  death  is  set  down  in  1650.  There  is,  however, 
some  confusion  between  this  artist  and  Jan  Davidsz 
De  Heem,  to  whom  the  catalogues  of  Berlin, 
Brunswick,  Munich,  and  Vienna  assign  the  pictures 
marked  J.  De  Heem. 

DE  HEEM,  Jan  Davidsz,  was  born  at  Utrecht 
after  1600.  He  was  the  son  of  David  De  Heem, 
the  flower  painter,  by  whom  he  was  instructed. 
His  pictures  bear  date  from  1640  to  1669,  and  repre- 
sent fruit,  flowers,  vases  and  ornaments  of  gold  and 
silver,  musical  instruments,  and  similar  objects  of 
still-life.  He  was  a  perfect  master  of  chiaroscuro. 
He  particularly  excelled  in  imitating  the  transparent 
clearness  of  glass  and  crystal,  which  he  was  fond 
of  introducing  into  his  pictures.  His  paintings 
were  so  superior  to  those  of  every  artist  that  had 
preceded  him,  in  similar  subjects,  that  they  were 
anxiously  sought  after  by  the  most  distinguished 
persons  of  his  time,  and  were  purchased  at  large 
prices.  They  are  still  held  in  high  estimation. 
Being  obliged  to  leave  Utrecht  during  the  troubles 
which  took  place  in  Holland  in  1671,  he  took 
refuge  at  Antwerp,  where  he  died  in  1674. 

DE  HEERE,  Lucas,  a  Flemish  historical  and 
portrait  painter,  who  was  bom  at  Ghent  in  1534, 
was  the  son  of  Jan  De  Heere,  a  sculptor  and 
architect,  and  of  Anna  De  Smytere,  an  excellent 
painter  of  miniatures.     He  studied  for  some  time 


LUCAS  DE   HEERE 


MARY  TUDOR 


PAINTERS  AND  ENGRAVERS. 


under  his  parents,  and  afterwards  under  Frans 
Floris  at  Antwerp.  On  leaving  the  studio  of  the 
latter  he  went  to  France,  and  was  employed  at 
Fontainebleau  by  the  Queen-Mother,  Catharine 
de'  Medici,  in  mailing  designs  for  tapestries  for 
the  royal  residences.  The  time  of  his  tirst  visit 
to  England  is  uncertain,  but  he  must  have  been 
here  in  1554,  when  he  painted  the  fine  portrait  of 
Queen  Mary  which  is  in  the  collection  of  the 
Society  of  Antiquaries.  On  his  return  to  Ghent 
he  painted,  among  other  portraits,  that  of  a  wealthy 
young  Protestant  lady,  named  Eleonora  Carboniers, 
the  daughter  of  the  burgomaster  of  Vere,  in  Zealand. 
Her  beauty  and  learning  captivated  the  painter, 
but  it  was  only  after  great  perseverance  that  he 
won  her  as  his  wife.  To  her  he  addressed  many 
amorous  verses,  for  Lucas  De  Heere  was  a  poet  as 
well  as  a  painter,  and  these  he  published  in  1565, 
under  the  title,  '  Den  Hof  en  de  Boomgaerd  der 
Poesien.'  His  marriage  led  to  a  change  in  his 
religion,  and  when  the  Duke  of  Alva  arrived  in  the 
Netherlands  in  1567,  and  Ghent  was  occupied  by 
a  Spanish  garrison,  the  adherents  of  tlie  new 
faith  had  to  flee  from  their  homes.  De  Heere  fled 
to  England,  and  appears  to  liave  remained  here 
until  1577,  when  the  edict  known  as  the  Pacifica- 
tion of  Ghent  enabled  him  to  return  to  his  native 
city.  During  this  second  visit  he  painted,  in 
1569,  the  remarkable  allegorical  portrait  of  Queen 
Elizabeth,  with  Juno,  Venus,  and  Pallas  apparently 
fleeing  before  her,  which  is  now  at  Hampton 
Court.  Other  fine  examples  of  his  art  which  exist 
in  England  are  the  portraits  of  Lord  Darnley  and 
his  brother,  Charles  Stuart,  dated  1563,  also  at 
Hampton  Court,  and  the  small  full-length  portrait 
of  Queen  Elizabeth,  in  the  possession  of  the  Duke 
of  Portland,  one  of  his  most  charming  works. 
His  abilities  as  an  historical  painter  are  best  repre- 
sented by  a  '  Crucifixion,'  painted  by  him  in  1565 
for  the  church  of  the  village  of  Saint-Paul,  in  the 
Pays  de  Waes.  This  altar-piece  fully  justifies  the 
renown  which  his  portraits  have  gained  for  him  in 
England.  Besides  his  paintings  in  oil,  he  com- 
pleted, in  1576,  a  large  collection  of  water-colour 
drawings  of  costumes,  which  he  entitled  '  Theatre 
de  tons  les  Peuples  et  Nations  de  la  Terre.'  This 
valuable  work  is  now  among  the  archives  of  Ghent. 
He  also  translated  into  Flemish  verse  the  Psalms 
of  David,  and  wrote,  or  at  least  began  to  write,  the 
lives  of  the  Flemish  painters,  in  rhyme.  Lucas 
De  Heere  died  in  1584  in  Paris,  where  he  had 
taken  refuge  after  the  assassination  of  William 
the  Taciturn.  R.E.G. 

DE  HEUR,  CoRNELis  Joseph,  (or  D'Heur,)  a 
Flemish  painter  of  historical  subjects  and  interiors, 
was  born  at  Antwerp  in  1707.  He  studied  success- 
ively under  Gaspard  van  Opstal  the  younger,  J.  J. 
Hermans  the  elder,  and  Peeter  Snyers.  In  1730, 
he  went  to  Paris,  and  on  his  return  to  Antwerp 
became  one  of  the  directors  of  the  Academy.  He 
died  in  1762  at  Antwerp,  where  there  are  in  the 
Museum  several  works  by  him  in  grisaille. 

DE  HEUSCH,  Abraham,  was  born  at  Utrecht 
in  1650,  and  was  probably  related  to  Jakob  and 
Willem  De  Heusch.  He  excelled  in  painting  plants, 
insects,  and  reptiles  ;  which  he  designed  and  exe- 
cuted with  surprising  patience  and  labour.  His 
pictures  of  that  description  are  not  inferior,  in 
the  delicate  polish  of  their  finishing,  to  the  highly- 
wrought  productions  of  Gerard  Dou  or  Mieris. 
There  are  a  few  etchings  of  landscapes  by  Abraham 
De  Heusch,  from  his  own  designs. 


DE  HEUSCH,  Jakob,  called  Affdruck,  the 
nephew  of  Willem  De  Heusch,  was  born  at  Utrecht 
in  1657.  He  was  instructed  in  art  by  his  uncle, 
and  acquired  his  surname  from  his  faithful  imita- 
tion of  his  uncle's  style.  Having  made  consider- 
able progress,  he  was  recommended  to  visit  Italy, 
where  he  passed  several  years.  He  met  with  very 
flattering  encouragement  at  Rome,  his  pictures 
being  much  admired.  He  particularly  attached 
himself  to  the  study  of  the  works  of  Salvator 
Rosa,  whose  picturesque  style  he  imitated  with 
considerable  success.  His  pictures  represent  the 
most  select  views  in  the  environs  of  Rome,  en- 
riched with  groups  of  charming  figures,  correctly 
drawn  and  vigorously  touched.  We  have  a  few 
etchings  by  him  of  landscapes,  from  his  own 
designs,  executed  in  a  neat  but  slight  style.  He 
died  at  Amsterdam  in  1701. 

DE  HEUSCH,  Willem,  was  born  at  Utrecht 
in  1638.  In  1656,  or  1659,  he  was  in  Italy  as  a 
pupil  of  Jan  Both,  whose  style  ne  copied.  He 
died  at  Utrecht  in  1712.  One  of  his  landscapes 
in  the  Louvre  is  very  finely  executed,  but  a  better 
specimen  of  his  art  is  in  the  Belvedere  at  Vienna, 
a  'Landscape  at  Sunset.'  Landscapes  from  his 
brush  are  in  the  galleries  of  Stockholm,  Copen- 
hagen, Frankfort,  Brunswick,  Amsterdam,  Rotter- 
dam, and  the  Hague.  He  also  engraved  several 
Landscapes,  which  have  become  very  rare. 

DEHNE,  J.  C,  was  a  German  engraver,  who 
flourished  in  the  first  half  of  the  18tli  century. 
He  engraved  several  portraits  for  the  work  entitled 
'  Icones  Bibliopolarum  et  Typographorum,'  pub- 
lished at  Nuremberg  in  1726-42.  We  have  also  by 
him  a  great  number  of  plates,  representing,  in  the 
most  ludicrous  manner,  the  gods  and  heroes  of 
antiquity. 

DEHODENCQ,  Edme  Alexis  Alfred,  a  French 
genre  painter,  was  born  in  Paris  in  1822.  He 
was  a  pupil  of  Leon  Cogniet,  and  first  attracted 
notice  by  his  picture  of  '  St.  Cecilia '  at  the  Salon 
of  1844.  He  travelled  much  in  Spain  and  Northern 
Africa,  and  from  these  countries  derived  many  of 
his  subjects,  which  are  painted  with  great  truthful- 
ness and  richness  of  colour.  He  died  in  1882. 
Among  his  best  works  are ; 

Virginia  found  dead  on  the  sea-shore.     1849. 

A  Spanish  Bull-Fight.     1850.     {Luxemloury  Gallery.) 

The  Arrest  of  Charlotte  Corday.     1868. 

Othello.     1873. 

A  Moorish  Story-Teller.     1877. 

DE  HOEY,  Jan,  (or  De  Hooy,)  a  Dutch  painter, 
was  born  at  Leyden  in  1545.  Van  Mander  says 
that  he  was  a  grandson  of  Lucas  van  Leyden  and 
brother  of  Lucas  Damissen,  under  whom  he  studied 
painting.  He  travelled  in  Italy  and  France,  and 
made  himself  so  acceptable  at  the  court  of  Henry 
IV.  that  he  was  appointed  keeper  of  the  royal 
collections.  He  died  at  Fontainebleau  in  1615. 
Lucas  De  Hoey,  or  Damissen,  his  brother,  who  was 
born  at  Leyden  in  15.33,  resided  at  Utrecht,  and 
died  there  in  1604.  Claude  De  Hoey,  or  Doue, 
the  son  of  Jan,  who  was  also  a  painter,  died  in  1660. 
He  had  the  care  of  the  pictures  at  Fontainebleau 
from  the  time  of  his  father's  death  until  1635, 
when  he  resigned  in  favour  of  his  nephew,  Jean 
Dubois. 

DE  HOND,  (or  De  Hoxdt).     See  Hond. 

DE  HONDECOETER,  Melchior,  (or  D'Hon- 
DECOETER,  as  he  invariably  signed  his  name,)  a 
member  of  a  noble  family  of  Brabant,  was  born  at 
Utrecht  in  1636.    He  first  studied  under  his  father, 

29 


A   BIOGRAPHICAL   DICTIONARY  OF 


Gysbert  D'Hondecoeter,  and  then  with  his  uncle, 
Jan  Baptista  Weenix,  and  became  famous  for  his 
pictures  of  birds  of  rare  plumage,  live  fowl,  game, 
and  similar  subjects.  In  this  branch  of  art  he 
stands  unrivalled.  He  also  painted  a  few  marine 
pieces,  and  engraved  a  few  prints. 

From  1659  to  1663  he  is  mentioned  in  the  '  Pic- 
tura'  Society  of  the  Hague.  He  then  removed 
(in  what  year  is  not  known)  to  Amsterdam,  where 
he  received  the  rights  of  citizenship  in  1688,  and 
where  he  died  in  1695.  His  works  are  frequently 
met  with  in  public  galleries  ;  the  following  are 
some  of  the  principal : 
Amsterdam.  Museum.      Dead  Birds. 

„  „  Animals  and  Plants. 

„  „  The  Philosophical  Magpie. 

„  „  The  Menagerie. 

„  „  Tlie  Floating  Feather. 

Berlin.  Gallen/.      Foreign  Water-fowl  in  a  Park. 

Brunswick.      Gallery.      Animals  of  the  Ark. 
Brussels.        Museum.      Peacock  and  Poultry  in  a  Park. 
1672. 

„  „  Cock  crowing. 

Casfiel.  Gallery.       Cocks  fighting. 

„  „  Poultry. 

Dresden.  Gallery.       Hen   and  Chicken,  and   Bird  of 

Prey. 

„  „  A  white  Hen  and  Chicken. 

„  „  A  Concert  of  Birds. 

„  Wild  Fowl. 

Florence.      Pitti  Pal.      Poultry. 
Frankfort.         Stddd.      Poultry. 

Hague.  Museum.      The  Crow  stripped  of  his  bor- 

rowed feathers. 

„  „  The  Menagerie  of  William  III. 

at  the  Chateau  of  Loo. 

„  „  Geese  and  Ducks. 

„  „  Fowl  and  Ducks. 

Liverpool.  Institution.     Poultry. 
Loudon.         A'at.  Gall.     Domestic  Poultry. 

„  „  Geese  and  Ducks. 

Munich.  Gallery.       A  Park  with  Poultry. 

Paris.  Louvre.      Birds  in  a  Park. 

Petersburg.  Hermitaye.     Fight    between   a   Cock   and   a 
Turkey. 

„  „  Trophies  of  the  Chase. 

Venice.         Academy.       Poultry. 
Vienna.  Gallery.      A  Cock  and  two  Hens. 

„         Liechtenstein   \   t>„„u...„ 
Collection.  J   ^O""-^- 

DE  HONT,  H.,  (or  De  Hondt,)  is  said  to  have 
been  a  scholar  of  David  Teniers.  His  pictures 
represent  similar  scenes  to  those  of  that  master, 
and  sometimes  approach  very  closely  to  his  manner. 

DE  HOOCH,  PiETER,  was  born  at  Rotterdam, 
probably  in  1632.  His  style  was  formed  from  a 
study  of  the  works  of  Karel  Fubritius  and  of 
Rembrandt.  He  worked  at  Delft  and  at  Haarlem, 
where  he  died,  it  is  said,  in  1681.  He  painted 
interiors  and  portraits ;  and  his  works  are  dis- 
tinguished for  their  brilliant  effects  of  light,  and 
admirable  colour.  His  name  has  been  written  in 
a  variety  of  ways — De  Hooche,  Hoogh,  Hooghe, 
and  Hooge.  Out  of  Holland,  De  Hooch's  paintings 
are  extremely  scarce  ;  and  even  in  that  country 
they  are  among  the  rarest  art-treasures  in  the 
public  and  private  galleries.  The  following  are 
the  principal : 

Amsterdam.     Museum.     Portrait  of  Himself  at  the  age 
of  19. 
„  „  The  Buttery-hatch. 

^'""'^,,  1  Morning  ToUet. 
Soo^  Coll.  j  ° 

„  Stx  Coll.  The  Linen-Press. 

Berlin.  Gallery.  A  Dutch  Interior. 

Copenhagen.  Gallery.  Persons  Playing  and  Dancing. 

„  „  A  Family  Concert. 

„  „  An  Interior. 

30 


Frankfort.  Stddel.      A  Lady  at  her  Writing-table. 

Hague.         Steenyracht  |  ^  jj^^j^^j  p^^^ 

London.     Nat.  Gallery.    The     Courtyard    of    a     Dutch 

House.     1665. 
„  „  An    Interior;     two     gentlemen 

conversing  with  a  lady. 
„  „  Courtyard   of   a   Dutch  House, 

paved  with  bricks.     1658. 
„  Apsley  House.  A  Lady  at  her  Toilet. 

„         Ashburton  Coll.  A  Woman  and  a  Child  walking 

in  a  street  of  Utrecht. 
„      Buckingham  Pal.   A  Courtyard. 
„  „  Three  Gentleman  and  a  Lady 

Playing  Cards.     1653. 
„  Noi'thbrook )  .     t  x    • 

Coll.      j  An  Interior. 

Munich.  Gallery.     Dutch     Interior ;      a     Woman 

Reading. 
Paris.  Louvre.     Dutch    luterior ;    two    Women 

and  a  Child,  with  a  meal  pre- 
pared on  the  table. 
„  „  Dutch  Interior ;  Card  Players. 

Petersburg.  Hermitage.    A  Lady  seated  at  a  door. 

„  „  Dutch   Interior;    a  Lady   play- 

ing   the     lute    and    singing, 
whilst  a  cavaUer  accompanies 
her  in  the  song. 
„  „  The  Lace-maker. 

Vienna.       Czernin  Coll.  A  Painter  in  his  Studio. 

DE  HOOGHE,  Rometn,  a  Dutch  designer  and 
engraver,  born  at  the  Hague  about  the  year  1646, 
was  a  nephew  of  Pieter  De  Hooch.  Several  of  his 
compositions  show  him  to  have  been  a  man  of 
great  genius  and  readiness  of  invention.  Few 
artists  have  handled  the  point  with  more  spirit  and 
facility  than  Romeyn  De  Hooghe,  and  his  small 
figures  and  distances  are  executed  with  great  deli- 
cacy and  neatness.  His  foregrounds  and  principal 
figures  are  less  happy,  and  there  is  a  want  of 
harmony  in  the  effect,  and  in  the  management  of 
the  chiaroscuro.  He  founded  a  school  of  design  at 
Haarlem,  where  he  died  in  1708.  The  number  of 
his  prints  is  very  considerable,  but  the  following 
are  the  principal : 

The  Portrait  of  Michael  Adriaensz  De  Euyter,  Admiral- 
General  of  Holland  ;  very  fine. 
An  Allegorical  Subject,  in  honour  of  Leopold  II. 
Another,  in  honour  of  William,  Prince  of  Orange. 
The  Marriage  of  William,  Prince  of  Orange,  with  the 

Princess  Mary  of  England. 
The  Entry  of  the  Prince  of  Orange  into  London. 
The  Coronation  of  William  and  Mary. 
The  Army  of  Wilham  HI.  iu  order  of  battle,  on  the 

banks  of  the  Boyue  ;  with  medallions  of  Eling  William 

and  Queen  Mary. 
The  Siege  of  Vienna  by  the  Turks.     1683. 
The  Triumphal  Entry  of  John  III.,  King  of  Poland,  into 

Warsaw,  after  raising  the  siege  of  Vierma. 
Constantinople  taken  by  the  Turks. 
A  set  of  plates  representing  the  Excesses  committed  by 

the  French  in  Holland.     1672,  1673. 
The  Deluge  of  Coerverden. 
The  Massacre  of  the  two  De  Witts.     1672. 
The  Defeat  of  the  French  at  Hochstadt  in  1704  ;  with 

medallions  of  the  Duke  of  Marlborough  and  Prince 

Eugene. 
The  Taking  of  Narva  by  Charles  XII. 
The  Battle  of  St.  Denys,  near  Mons  ;  in  two  sheets. 
The  Jewish  Synagogue  at  Amsterdam. 
The  Entry  of  Louis  XIV.  into  Dunkirk ;  two  sheets ; 

after  Van  der  Meuleii. 
Charles  II.  of  Spain,  descending  from  his  carriage  to  pay 

homage  to  the  Host. 
Six  Emblematical  Subjects,  relative  to  the  abuses  of  the 

clergy  of  the  Romish  Church.     1679. 
The  Fair  at  Arnheim. 
Twelve  Figures  habited  in  the  mode  of  the  end  of  the 

17th  century. 


PIETER  DE   HOOCH 


Woodbury  Co.  photo\ 


COURTYARD  OF  A  DUTCH  HOUSE 


[National  Calle>y 


PIETER   DE   HOOCH 


Hanfstangl  photo'^ 


AN  INTERIOR 


[National  Gallery 


PAINTERS  AND   ENGRAVERS. 


DE  HULST,  Fbans,  a  Dutch  landscape  painter, 
was  admitted  in  1631  into  the  Guild  of  St.  Luke 
at  Haarlem,  where  he  died  in  1661.  There  is  by 
him  in  the  Berlin  Gallery  a  view  of  a  town  in 
Holland.  He  painted  in  the  style  of  Ruisdael  and 
Van  Goyen,  but  his  works  are  seldom  met  with. 

DEI,  Maiteo  di  Giovanni,  was  one  of  the  most 
celebrated  of  the  goldsmiths  and  workers  in  niello 
who  flourished  at  Florence  in  the  middle  of  the 
15th  century.  He  executed  in  1455  for  the  church 
of  San  Giovanni  a  pax  which  represented  the 
'  Crucifixion  of  Our  Lord.'  He  also  engraved  for 
a  pax  for  the  confraternity  of  St.  Paul  a  silver 
plate,  representing  the  '  Conversion  of  St.  Paul,' 
which  is  preserved  in  the  Florence  Gallery.  It  has 
never  been  filled  in  with  enamel,  and  modern 
impressions  have  been  taken  from  it. 

DEI  BDONI,  BnoNO,  was  born  at  Naples,  and, 
according  to  Dominici,  flourished  about  the  year 
1430.  He  was  a  disciple  of  an  old  Neapolitan 
painter  called  Colantonio  del  Fiore,  whom  he  as- 
sisted in  several  of  his  works,  and  after  whose  death 
he  became  one  of  the  most  reputable  artists  of  his 
time.  There  are  many  of  his  works  in  the  churches 
at  Naples  ;  one  of  the  most  esteemed  is  a  painting 
in  the  church  of  the  Restituta  representing  '  St. 
Francis  receiving  the  Stigmata.'  He  died  about 
the  year  1465. 

DEI  BUONI,  SiLVESTRO,  the  son  of  Buono  de' 
Buoni,  was  born  at  Naples  about  the  year  1420. 
After  studying  for  some  time  under  his  father,  he 
had  the  advantage  of  being  instructed  by  Antonio 
Solario.  Under  that  master  he  became  an  eminent 
painter  of  historical  subjects,  and  was  employed 
in  some  considerable  works  for  the  churches  and 
public  edifices  of  Naples.  He  died  about  1480. 
The  following  are  his  best  works  : 

Naples.  S.  Caterina.  Christ    appearing     after     his 

Resurrection. 
„        S.  Restituta.  Virgin    and    Child,    with    SS. 

Restituta  and  Michael. 
„         S.  Pi»tro  Martire.  Death  of  the  Virgin. 
„  „  Virgin  and  Ctiild  between  two 

Saints. 
„         Monte  Oliveto.       Ascension. 

DEI  CONTI,  Bernardino,  an  Italian  painter,  is 
said  to  have  been  born  at  Pavia  in  the  latter  part 
of  the  15th  century.  He  died  in  1525.  He  was  a 
follower  of  Zenale,  but  little  is  known  of  his  life 
or  works.  The  following  paintings,  however,  are 
preserved : 

Bergamo.      Lochis-Carrara     Madonna  and  Child  {signed). 

Gallery.  1501. 

Berlin.  Gallery.  Profile  of  a  Prelate.     1499. 

DEI  CROCIFISSI,  SiMONE.    See  Bologna. 

DEI  FASOLI,  Lorenzo.     See  Fasolo. 

DEI  FERRARI,  Giovanni  Ajjdrea,  was  born  at 
Genoa  in  1598.  He  was  first  a  scholar  of  Bernardo 
Castello,  but  he  afterwards  studied  under  Bernardo 
Strozzi.  His  principal  historical  works  are  his 
picture  of  '  Theodosius,'  in  the  style  of  Castello,  in 
the  Jesuit  church  at  Genoa  ;  '  The  Nativity,'  in  the 
cathedral  of  the  same  city ;  and  in  a  church  at 
Voltri,  the  '  Birth  of  the  Virgin,'  his  most  esteemed 
production,  a  composition  of  many  figures ;  the 
two  last  pictures  are  in  the  style  of  Strozzi.  He 
died  at  Genoa  in  1669. 

DEI  FERRARI,  Gregorio,  a  Genoese  painter, 
was  born  at  Porto  Maurizio  in  1644.  He  was  a 
disciple  of  Domenico  Fiasella,  called  II  Sarzana, 
whose  manner  was  not  conformable  to  the  genius 
of  his  scholar,  which  aimed  at  a  style  more  grand 


and  free.  He  went  to  Parma,  where  he  studied 
with  attention  the  works  of  Correggio,  and  made  a 
faithful  copy  of  the  great  cupola.  He  was  also 
much  employed  at  Turin  and  Marseilles.  He  died 
at  Genoa  in  1726.  Of  his  works  the  most  esteemed 
are  his  '  St.  Michael,'  in  the  Madonna  delle  Vigne 
at  Genoa,  and  his  '  Apollo  and  the  Muses '  and 
'  Plato  and  Aristotle '  in  the  University.  The 
Palazzo  Balbi,  also  in  the  same  city,  contains  some 
pictures  by  him. 

DEI  FERRARI,  Lorenzo,  the  son  of  Gregorio 
de'  Ferrari,  was  born  at  Genoa  in  1680.  He  was 
instructed  by  his  father,  and,  like  him,  he  imitated 
the  grace  and  suavity  of  Correggio.  He  assisted 
his  father  in  some  of  his  works,  but  surpassed 
him  in  foreshortening  and  correctness  of  drawing. 
He  excelled  in  painting  in  fresco,  but  he  also 
painted  many  pictures  in  oil  for  churches.  In  his 
works  in  the  Doria  Palace,  he  has  emulated  the 
vigour  of  the  Carloni,  and  is  little  inferior  to  them. 
In  the  Carega  Palace  is  a  gallery  of  subjects  from 
the  MiXieii,  which  were  his  last  works.  He  died 
at  Genoa  in  1744. 

DEI  FERRARI,  Orazio,  was  born  at  Voltri  in 
1606,  and  was  a  scholar  of  Andrea  Ansaldo,  under 
whom  he  became  an  able  painter  of  historical 
subjects  in  oil  and  fresco.  His  merit  recommended 
him  to  the  patronage  of  the  Prince  of  Monaco, 
who  employed  him  for  some  years.  His  '  Last 
Supper,'  in  the  Oratory  of  the  church  of  San  Siro 
at  Genoa,  is  alone  sufficient  to  establish  his 
reputation.  This  artist  was  high  in  the  pubhc 
esteem  when  Genoa  was  visited  in  1657  by  the 
plague,  which  carried  off  a  great  number  of  the 
inhabitants,  with  this  painter  and  all  his  family. 

DEI  FIORI,  Gaspako.     See  Lopez. 

DEI  FIORI,  Mario.     See  Ndzzi. 

DEI  FRANCESGHI,  Domenico,  who  flourished 
at  Venice  in  the  latter  half  of  the  16th  century, 
was  a  type-cutter  and  printseller.  The  following 
two  excellent  prints  are  by  him : 

The  Procession  of  Corpus  Christi  at  Venice.     1565. 
The  Parade  of  the  Emperor  Solyman  I.  at  Constanti- 
nople.   1565.    A  very  rare  plate. 

DEI  FRANCESGHI,  Pietro  di  Benedetto, 
called  PiERO  della  Francesca,  and  also  Piero 
BoRGHESE,  was  born  at  Borgo  San  Sepolcro  in 
Umbria  about  the  year  1416.  It  is  not  known 
by  whom  he  was  instructed  in  the  art  of  paint- 
ing, but  in  1438  he  made  the  acquaintance  of 
Domenico  Veneziano,  and  was  employed  by  him  on 
the  frescoes  of  Sant'  Egidio  at  Florence,  whicli 
were  executed  between  the  years  1439  and  1450. 
He  was  a  complete  master  of  linear  perspective 
and  thoroughly  understood  all  its  laws,  as  also  the 
true  art  of  projecting  shadows,  and  thus  giving  an 
additional  charm  to  his  pictures.  The  majority 
of  his  pictures  were  painted  in  oil,  then  a  com- 
paratively new  medium  for  colours,  and  he  carried 
out  many  improvements  in  the  usage  of  this  vehicle. 
Between  the  years  1447  and  1452  it  is  thought  that 
both  Domenico  and  Piero  were  at  Loretto,  where 
the  ceiling  of  the  sacristy  was  commenced  by 
them  ;  and  it  was  probably  at  about  this  period  that 
Piero  left  Domenico  and  went  to  Rome,  where,  in 
conjunction  with  Bramantino,  he  painted  two  fres- 
coes in  the  Vatican  by  order  of  Pope  Nicholas  V. 
These  frescoes  were  afterwards  removed  by  com- 
mand of  Julius  II.  in  order  to  make  room  foi 
Raphael's  frescoes  of  the  '  Deliverance  of  St.  Peter 
from  Prison,'  and  the '  Mass  of  Bolsena.'   After  1451 

31 


A  BIOGRAPHICAL  DICTIONARY  OF 


Piero  entered  the  service  of  Sigismondo  Pandolfo 
Malatesta,  Duke  of  Rimini,  and  adorned  for  liiin 
the  chapel  of  the  Relic  in  the  church  of  San 
Francesco  with  a  picture  representing  '  Malatesta 
kneeling  before  the  enthroned  St.  Sigismund  of 
Burgundy.'  Soon  afterwards  he  commenced  the 
cycle  of  frescoes  illustrating  the  Legend  of  the 
Cross  in  the  church  of  San  Francesco  at  Arezzo. 
This  immense  series  commences  with  the  Death  and 
Burial  of  Adam,  and  follows  the  legend  up  to  the 
Finding  of  the  Cross  by  St.  Helena.  They  are 
wonderful  alike  by  the  reality  of  their  effects  of 
light  and  shade,  and  their  harmony  of  colour.  They 
were  finished  about  1454.  In  1445  he  painted 
for  the  Compasrnia  della  Misericordia  the  altar- 
piece  of  the  'Virgin  of  Mercy,'  with  Saints  and 
scenes  from  the  Passion,  now  in  the  Hospital  at 
Borgo  San  Sepolcro.  Whilst  in  his  native  city 
he  executed  many  commissions  for  altar-pieces 
and  banners,  some  of  which  still  remain  in  its 
gallery  and  churches.  From  there  he  went  to 
Urbino,  where  in  1469  he  entered  the  service  of 
the  Duke  Federigo,  and  also  made  the  acquaint- 
ance of  Giovanni  Santi,  the  father  of  Raphael.  He 
painted  for  the  duke  a  'Flagellation,'  which  is 
preserved  in  the  sacristy  of  the  cathedral,  and  an 
'  Apotheosis,'  containing  the  portraits  of  Federigo 
da  Montefeltro,  and  Batista  Sforza,  his  wife.  The 
last-mentioned  picture  is  now  in  the  Gallery  of 
the  UfBzi  at  Florence.  He  is  also  known  to  have 
gone  to  Ferrara,  where  he  was  employed  by  Duke 
Borso  in  the  decorations  of  his  palace  called 
"Schifanoja,"  which  means  "  Begone,  dull  care." 
The  frescoes  executed  there  by  Piero  have  been 
destroyed,  but  the  remains  of  others  have  been 
recovered,  which  clearly  indicate  the  great  in- 
fluence possessed  by  this  artist  over  other  painters 
of  his  time.  The  statement  that  he  became  blind 
in  1458  is  clearly  incorrect,  for  he  was  still  work- 
ing in  1478,  and  it  is  probable  that  age  alone  at 
last  incapacitated  him  from  further  work.  Piero 
della  Francesca  died  at  Borgo  San  Sepolcro  in 
1492.  Luca  Signorelli,  Melozzo  da  Forli,  Barto- 
lommeo  della  Gatta,  and  Perugino  were  among 
his  pupils.  He  wrote  a  treatise  on  Perspective,  of 
which  there  are  copies  in  the  Vatican  Library  and 
in  the  Ambrosian  Library  at  Milan.  Amongst  his 
paintings  may  be  mentioned  : 

Arezzo.  S.Francesco.  The  Legend  of  the  Holy  Cross,  with 
the  Vision  of  Constantino. 

The  Resurrection. 

Portrait  of  a  laily.    (Douhtfid.) 

The  Baptism  of  Christ. 

Portrait,  said   to  be   that   of    the 
Contessa  Palma.     (Doubtful.) 

The  Nativity. 

St.  Michael. 

Madonna  with  Saints,  and  Portrait 
of  Federigo  of  Urbino. 

Virgin  and  Child  enthroned,  with 
Saints. 

Rimini.  S.  Francesco.  St.    Sigismund   (Sigismondo    Pan- 
dolfo Malatesta). 
Urbmo.  Cathedral.      The  Flagellation. 
Venice.  Academy.       St.  Jerome  in  the  Desert. 

DEI  GIANNUZZI,  Giulio,  often  called  GlULio 
Pippi,  but  more  commonly  GlULlo  RoMASO,  was 
born  at  Rome  in  1492.  He  was  apprenticed  to 
Raphael  when  quite  young,  and  assisted  him  in 
the  Vatican;  and  he  is  generally  considered 
Raphael's  best  pupil.  He  copied  several  of  his 
masters  Madonnas,  and  executed  some  few  from 
his  designs.  While  in  Rome  he  painted  mythical 
frescoes  in  the  Villa  Lanti,  the  Villa  Madama,  the 
32 


Borgo  S.  Sepolcro. 
London.  Aat.  Gall. 


Milan,    Brera. 
Perugia.  Acadtmy. 


Farnese  Palace,  and  the  church  of  Santa  Trinita 
de'  Monti.  By  his  will,  Raphael  bequeathed  his 
implements  and  works  of  art  to  his  joint-executors, 
Giulio  Romano  and  Gianfrancesco  Penni,  and 
entrusted  to  them  the  completion  of  his  unfinished 
frescoes  in  the  Sala  di  Costantino  in  the  Vatican. 
In  1524  Giulio  went  to  Mantua  and  entered  the 
service  of  Duke  Federigo  Gonzaga.  He  was  there 
architect  for  the  Palazzo  del  T&,  and,  assisted  by 
numerous  pupils  (of  whom  the  chief  were  Bene- 
detto Pagni,  Rinaldo  Mantuano,  and  Primaticcio), 
decorated  the  interior  with  frescoes  representing 
the  '  Defeat  of  the  Giants,'  his  greatest  work,  and 
with  scenes  from  the  '  History  of  Cupid  and  Psyche.' 
He  also  painted  at  Mantua,  in  the  Ducal  Palace, 
frescoes  representing  'Diana  hunting,'  and  the 
'  History  of  the  Trojan  War,'  as  well  as  frescoes  in 
the  cathedral  and  other  churches.  Those  in  the 
cathedral,  however,  he  was  not  able  to  complete, 
for  having  accepted  the  post  of  architect  to  St. 
Peter's  at  Rome,  in  succession  to  San  Gallo,  he  was 
about  to  set  out  for  that  city  when  he  died  at 
Mantua  in  1546.  Of  his  easel  pictures  the  following 
are  the  most  famous  : 


Dresden. 
Florence. 


Gallery. 


Pitti  Palace. 


Genoa.  San  Stefano. 

London.       Nat.  Gallery. 
Naples.  Museum. 


Paris. 


Louvre. 


Eome.  S.  Peter's  (Sacristy). 
„  &  Prassede  (Sacristy) 
„  Porghese  Pal. 

.,  Colonna  Pal. 

Vienna.  Gallery. 


La  Madonna  del  Catino. 

His  own  Portrait. 

Madonna  and  Child. 

Portrait  of  Cardinal  Accolti. 

Dance  of  Apollo  and  the 
Muses. 

The  Virgin  with  the  Lizard. 

Martyrdom  of  St.  Stephen 
(one  of  his  best  works). 

The  Infancy  of  Jupiter. 

La  Madonna  della  Gatta  (a 
variation  of  RaphaeVs 
'Perla'). 

The  Nativity. 

The  Holy  Family. 

Triumph  of  Titus  and  Ves- 
pasian. 

Venus  and  Vulcan. 

Portrait  of  a  Man. 

Madonna. 

The  Flagellation. 

Madonna  and  CbUd. 

Madonna  and  Child. 

Allegory. 

St.  Margaret  and  the  Dragon. 

His  son  and  pupil,  Raffaello  Pippi  de'  Giannuzzi, 
died  in  1562,  at  the  age  of  thirty. 

DEI  INGANNATI,  Piero.     See  BissoLO. 

DEI  MEDICI,  Maria.     See  Mary. 

DEI  MICHIELI,  Andrea,  known  as  Andrea 
ViCENTiNO,  or  simply  Vicentino,  was  born  at  Venice 
in  1539,  and  was  a  scholar  of  the  elder  Palma.  He 
painted  historical  subjects  in  the  style  of  his  in- 
structor, and  was  employed  in  several  works, 
representing  subjects  from  the  history  of  the 
Republic,  in  the  Sala  del  Gran  Consiglio,  in  the 
Palace  of  St.  Mark.  He  also  painted  easel  pictures 
for  private  collections,  of  which  there  is  one  in 
the  Florence  Gallery,  representing  the  'Anointing 
of  Solomon,  King  of  Israel.'     He  died  in  1614. 

DEI  MOTTI,  Jacopo,  was  a  Milanese  painter  in 
oil,  in  fresco,  and  on  glass,  who,  between  1485 
and  1490,  painted  several  windows  in  the  Certosa 
at  Pavia,  and  in  the  succeeding  years  decorated 
with  frescoes  several  of  its  chapels.  He  died  at 
Milan  in  1505. 

Cristoforo  de'  Motti  also  practised  as  a  painter 
in  fresco  and  on  glass  at  Genoa,  Milan,  and  Pavia, 
between  the  years  1468  and  1514. 

DEI  PAESI,  Girolamo.     See  Muziano. 


PIETRO  DEI  FRANCHESCHI 


PIERO    DELLA    FRANCESCA 


AlDtari  pih.>to\ 


{Brera  Gallery,  Milan 


THE   MADONNA  AND  CHILD,  WITH  ANGELS  AND  SAINTS,   AND 
FEDEKIGO,  DUKE  OF  URBINO 


PAINTERS  AND  ENGRAVERS. 


DEI  PICCINELLI,  Raffaef-lo  and  Andrea, 
known  as  the  Brescianini  of  Siena,  were  tlje  sons 
of  a  dancing-master  at  Siena,  where  they  flourished 
from  1507  to  1525.  They  were  the  pupils  of  a 
Sienese  painter,  named  Giovan  Battista  Giusi,  and 
they  together  painted  an  altar-piece,  representing 
the  '  Virgin  and  Child,  with  Saints,'  which  is  in  the 
Siena  Academy,  and  in  1524  the  '  Baptism  of 
Christ,'  for  the  baptistery  of  the  cathedral  of  the 
same  city.  In  1525  they  went  to  Florence,  and  in 
the  same  year  Andrea,  and  probably  RafEaello  also, 
was  registered  in  the  Painters'  Guild.  A  '  Holy 
Family  '  by  Andrea,  who  was  the  better  artist  of 
the  two,  is  in  the  UfBzi  Gallery  at  Florence,  and 
another  '  Holy  Family,'  ascribed  to  him,  is  in  the 
Berlin  Gallery.  The  beautiful  altar-piece,  a  '  Holy 
Family,'  of  the  church  of  Torre  di  Bibiano,  long 
attributed  to  Baldassare  Peruzzi,  is  also  supposed 
to  be  by  him.  The  brothers  appear  to  have  worked 
under  the  influence  of  Fra  Bartolorameo.  Rafiaello 
died  at  Florence  in  1545. 

DEI  RITRATTI,  Francesco.    See  Negri. 

DEI  ROSSI,  Bernardino,  who  worked  at  Pavia, 
was  one  of  the  artists  called  to  Milan  in  1490  to 
decorate  the  Porta  Giovia  Palace  of  Lodovico 
Sforza.  In  the  church  of  Santa  Maria  della  Pusterla, 
Pavia,  is  a  picture  of  the  '  Virgin,  with  Saints  and 
Donors,'  signed  and  dated  by  him  in  1491.  Between 
the  years  1498  and  1508  he  decorated  the  Certosa 
of  Pavia  with  wall  paintings,  of  which  the  frescoes 
of  the  '  Eternal,'  the  '  Prophets,'  and  the  '  Virgin 
Annunciate'  still  remain.  In  1511  he  executed 
some  frescoes  for  the  church  at  Vigano,  belonging 
to  the  Carthusians  of  Pavia,  which  have  now  dis- 
appeared. No  certain  dates  can  be  given  of  his 
birth  or  death. 

DEI  ROSSI,  Francesco,  called  II  Cecchino  del 
Salviati,  or  II  Salviati,  (which  appellation  he 
acquired  from  the  favour  and  protection  he 
experienced  from  the  cardinal  of  that  name,)  and 
also  Fhanzchen,  was  the  son  of  Michelangelo 
de'  Rossi,  a  weaver  of  velvets,  and  was  born  at 
Florence  in  1510.  He  was  a  fellow-student  with 
Giorgio  Vasari,  first  under  Andrea  del  Sarto,  and 
afterwards  under  Baccio  Bandinelli.  The  two 
young  friends  pursued  their  studies  at  Rome  with 
the  same  intimacy,  and  in  the  church  of  Santa  Maria 
della  Pace  Salviati  painted  the  'Annunciation'  and 
'Christ  speaking  to  St.  Philip,'  by  which  he  gained 
considerable  reputation.  He  also  embellished  the 
chapel  of  his  patron,  Cardinal  Salviati,  with  a 
series  of  frescoes,  representing  the  '  Life  of  St. 
John  the  Baptist.'  He  was  employed  by  Pier 
Luigi  Farnese  to  make  designs  for  Flemish  tapes- 
tries for  his  palace,  in  which  he  represented  the 
'  History  of  Alexander.'  In  conjunction  with  Vasari 
he  ornamented  the  apartments  of  the  Cancellaria 
with  several  paintings  in  fresco.  From  Rome  he 
went  to  Venice,  where  he  painted  several  pictures 
for  the  public  edifices  and  private  collections,  par- 
ticularly the  '  History  of  Psyche,'  in  a  saloon  of 
the  Palazzo  Grimaldi,  which  Vasari,  with  marked 
partiality  for  his  fellow-countryman  and  co-dis 
ciple,  calls  the  finest  painting  in  all  Venice.  He 
afterwards  visited  Florence,  and  was  employed  by 
the  Grand-Duke  Cosmo  to  ornament  one  of  the 
saloons  of  the  Palazzo  Vecchio,  where  he  repre- 
sented the  'Triumph  and  Exploits  of  Furius 
Camillus,'  composed  and  painted  with  great  genius 
and  spirit,  and  with  an  accuracy  in  the  delineation  of 
the  arms,  habiliments,  and  costume  of  ancient  Rome, 
which  is  worthy  of  the  most  learned  antiquary. 
VOL.  II.  D 


The  restless  and  unsettled  disposition  of  Salviati 
did  not  permit  him  to  reside  long  in  one  place,  and 
he  readily  complied  vntli  the  invitation  of  the 
Cardinal  de  Lorraine  to  accompany  him  to  Prance, 
where  Francis  I.  had  engaged  some  of  the  ablest 
artists  of  Italy  in  the  decoration  of  the  palace  of 
Fontainebleau.  He  was  received  with  distinction, 
and  was  treated  with  great  kindness  by  Prima- 
ticcio,  the  superintendent  of  the  works  ;  but  the 
jealousy  and  turbulence  of  his  nature  returned 
these  good  offices  with  ingratitude  and  malevo- 
lence. During  his  stay  in  France  he  painted 
for  the  church  of  the  Celestines  at  Paris  a  fine 
picture,  representing  the  '  Taking  down  from  the 
Cross.'  The  '  Incredulity  of  St.  Thomas,'  by  him, 
is  now  in  the  Louvre.  Dissatisfied  with  his  situa- 
tion in  France,  he  returned  to  Rome,  where  he  fell 
into  new  difficulties  and  disputes  with  Daniele  da 
Volterra  and  Pietro  Ligorio.  The  continual  agita- 
tion of  his  mind  brought  on  a  fever,  of  which  he 
died,  at  Florence,  in  1563. 

DEI  ROSSI,  Giovambattista,  called  II  Rosso, 
and  in  France  MaItre  Roux,  was  born  at  Florence 
in  1494.  Although  he  was  not  a  disciple  of 
Andrea  del  Sarto,  he  was  at  first  an  admirer  of  his 
manner,  and  afterwards  improved  his  powers  by 
studying  the  works  of  Michelangelo  and  Parmi- 
giano.  Endowed  with  a  ready  and  inventive 
genius,  he  scorned  to  be  the  servile  imitator  even 
of  Buonarroti,  and  at  an  early  age  he  ventured  to 
compete  with  the  ablest  of  liis  contemporaries  in 
the  cloister  of  the  Annunziata,  where  he  painted 
a  large  fresco  of  the  '  Assumption  of  the  Virgin,' 
in  which  he  displayed  both  originality  and 
taste.  After  painting  several  other  pictures  for 
the  churches  at  Florence,  particularly  the '  Marriage 
of  the  Virgin,'  in  San  Lorenzo,  he  went  to  Rome, 
where  his  talents  were  alreadj  known.  There, 
among  other  works,  he  painted  an  altar-piece  for 
Santa  Maria  della  Pace  ;  and  had  acquired  con- 
siderable celebrity  when  Rome  was  taken  and 
plundered  in  1527.  Rosso  was  taken  prisoner 
by  the  Germans,  and  very  badly  treated,  but  he 
at  length  escaped,  and  took  refuge  at  Volterra, 
where  he  painted  for  the  cathedral  a  fine  picture 
of  the  '  Deposition  from  the  Cross.'  He  after- 
wards went  to  Venice,  but  not  meeting  with  the 
success  he  expected  in  Italy,  he  resolved,  about 
1530,  on  visiting  the  court  of  Francis  I.  of  France, 
who  was  at  that  time  the  great  encourager  of  art. 
He  was  very  favourably  received  by  that  monarch, 
who  immediately  engaged  him  in  his  service,  and 
appointed  him  superintendent  of  the  great  works 
upon  which  he  was  then  engaged  at  the  palace  of 
Fontainebleau.  As  Rosso  was  not  less  eminent 
as  an  architect  than  as  a  painter,  he  undertook  the 
building  of  the  great  gallery  in  that  palace,  which 
was  executed  from  his  design,  and  which  he  decor- 
ated with  several  paintings  and  with  ornaments  in 
stucco,  some  of  which  were  afterwards  destroyed 
by  his  rival  and  competitor,  Primaticcio,  to  make 
way  for  his  own  works.  Thirteen  frescoes,  allusive 
to  the  life  of  Francis  I.,  still  remain,  but  have  been 
restored  by  MM.  Couder  and  Alaux. 

The  style  of  Rosso,  though  singular,  is  grand. 
He  displayed  a  dignity  of  character,  a  lively  ex- 
pression in  his  heads,  a  tasteful  arrangement  of 
his  draperies,  an  effective  management  of  his 
light  and  shadow,  and  a  daring  execution  ;  though 
these  excellences  were  accompanied  by  a  wildness 
and  extravagance,  too  frequently  attached  to  a 
fertile  and  exuberant  imagination.     This  able  artist 

33 


A   BIOGBAPHICAL   DICTIONARY   OF 


was  well  versed  in  literature,  and  had  a  taste  for 
poetry  and  music.  His  conversation  was  agree- 
able, and  his  manners  polished.  The  possession  of 
such  accomplishments  secured  him  the  regard  and 
good  graces  of  Francis  I.  He  was  in  the  full 
possession  of  royal  favour,  and  of  the  public 
estimation,  when  he  sacrificed  these  advantages 
to  a  mean  and  unfounded  suspicion.  He  had  con- 
tracted a  friendship  with  Francesco  Pellegrini,  a 
Florentine  painter,  who  was  in  the  habit  of  visiting 
him  frequently,  when  his  house  was  robbed  of  a 
considerable  sum.  He  rashly  suspected  Pellegrini 
to  be  the  robber,  and  brought  a  formal  accusation 
against  him.  Pellegrini  was  in  consequence  of  the 
charge  put  to  the  torture,  and,  after  suffering  the 
most  horrible  torments,  was  declared  innocent.  The 
remorse  of  having  so  unjustly  exposed  an  innocent 
person  to  so  dreadful  a  trial,  preyed  upon  his 
mind,  and  he  put  an  end  to  his  existence  by  poison, 
at  Fontainebleau,  in  1541.  The  principal  works  of 
Rosso  which  exist  are  as  follow  : 
Berlin  Gallery.         The  Four  Seasons. 

Cittadi  Castello.  Cathedral,  The  Transfiguration. 
Florence.  SS.  Anmtnziata.  The  Assumption  of  the  Virgin 
{fresco). 
„  S.  Lorenzo.       The  Marriage  of  the  Virgin. 

„  Fitti  Palace.      The  Virgin  enthroned,  with  St. 

Sebastian,  St.  Mary  Magda- 
len, and  other  Saints. 
„  Uffizi,  Moses  driving  away  the  Madi- 

anite  Shepherds. 

„  „  The    Virgin    enthroned,  with 

the  Infant    Jesus,  and   SS. 

Jerome  and  Francis. 

Fontainebleau.    Palace.     Francis  I.  crowned  by  Victory. 

„  „  A  Sacrifice  and  Thanksgiving 

for  the  King. 
„  „  Jupiter  and  Europa. 

„  „  Neptune  and  Amphitrite. 

4,  „  Alexander  cutting  the  Gordian 

Knot. 
„  „  Francis  I.  in  Roman  costume, 

holding  a  grenade. 
„  .,  The  Burning  of  Troy. 

„  „  A  Hurricane,  m  allusion  to  the 

Battle  of  Pavia. 
.,  „  The  Triumph  of  Venus. 

„  „  Chiron  and  Achilles. 

„  „  .^sculapius  at  Rome. 

„  „  Cupid  and  Psyche. 

„  „  The  Battle  of  the  Lapithse  and 

the  Centaurs. 
Paris.  Louvre.         A  Pieta. 

„  „  The  Challenge  of  the  Pierides. 

„  „  Mars  and  Venus  (pen-and-in^ 

drawing). 
„  „  Design  for  a  Coffer  (^e?i-rtnd-/HA- 

drawiiKj). 
Petersburg.    Hermitage.    The  Virgin  and  Child,  with  St. 
John  the  Baptist. 
„  „  The  Madonna  in  glory. 

DEI  ROTARI,  Conte  Pieteo,  who  was  of  a  noble 
family  of  Verona,  was  born  in  1707.  For  some 
time  he  merely  practised  painting  as  an  amuse- 
ment, but  his  progress  was  so  flattering,  that  he 
at  length  resolved  to  adopt  it  as  a  profession, 
and  he  became  a  scholar  of  Antonio  Balestra, 
under  whom  he  studied  until  he  was  eighteen 
years  of  age.  He  afterwards  visited  Venice, 
where  he  passed  two  years  in  studying  the  works 
of  the  best  masters  of  that  distinguished  school 
of  colouring.  In  1727  he  went  to  Rome,  where 
he  entered  the  school  of  Francesco  Trevisani,  and 
spent  four  years  in  studying  the  great  works  of 
art  in  that  city.  By  the  advantages  of  travel, 
and  an  assiduous  application  to  his  pursuit,  he 
became  a  correct  and  graceful  designer,  and  joined 

34 


to  the  expressive  airs  of  his  heads  an  elegance  of 
contour,  and  a  tasteful  disposition  of  his  draperies, 
in  which  he  was  not  surpassed  by  any  artist 
of  his  time.  His  principal  works  in  Italy  are  his 
picture  of  the 'Annunciation,'  at  Guastalla ;  and 
the  '  Birth  of  the  Virgin,'  in  the  church  of  San 
Giovanni,  at  Padua.  He  afterwards  visited  the 
courts  of  Vienna  and  Dresden,  where  he  met  with 
the  most  flattering  encouragement ;  and  in  1756 
was  invited  to  St.  Petersburg  by  the  Empress  of 
Russia,  who  appointed  him  her  principal  painter, 
in  which  capacity  he  died,  in  1762.  We  have 
several  slight  but  spirited  etchings  by  this  artist, 
some  of  which  are  from  his  own  compositions,  and 
others  after  the  works  of  Balestra.  Among  them 
are  the  following : 

The  Portrait  of  Filippo  Baldinucci.     1726. 

St.  Francis  kneeling  before  a  Crucifix ;  from  his  own 

design. 
The  Education  of  the  Virgin  ;  the  same. 
Abraham  and  the  Angels  ;  after  A.  Balestra. 
David  with  the  Head  of  Goliath  ;  after  the  same. 
St.  Jerome  ;  half-length  ;  after  the  same. 
Venus  and  .^neas  ;  after  the  same. 

DEI  SALVIATI,  II  Cecchino.  See  Dei  Rossi, 
Francesco, 

DEI  SERAFINI,  Serafino,  who  was  living  in 
Modena  in  the  14th  century,  is  known  by  a  '  Coro- 
nation of  the  Virgin '  and  other  subjects  in  the 
cathedral  of  that  city.  It  bears  the  inscription 
"  Seraphinus  de  Seraphinis  pinxit  1385  die  Jovis 
x.x. I.I.I.  Marcii."  Although  there  is  but  little 
recorded  of  this  artist,  we  may  conclude  that  he  was 
probably  of  some  importance  in  his  time,  from 
the  following  inscription  in  a  chapel,  not  named, 
painted  by  him  : 

Mille  trecento  con  septanta  sei 
Erano  corso  gli  anni  del  Siguore 
E'l  quarto  entrava  quando  a  so  honore 
Questa  Capella  al  nobel  fin  minei. 
Et  io.  che  tutta  in  si  la  storiei 
Fui  Serafln  da  Mutina  Pittore. 

DEI  SERVI,  Constantino,  was  an  architect  and 
painter  who  was  living  at  Florence  at  the  beginning 
of  the  17th  century.  After  studying  awhile  under 
Santi  di  Tito,  he  went  to  Germany,  where  he  painted 
in  the  manner  of  Pourhus.  His  Florentine  mosaics 
earned  him  much  renown,  and  he  also  worked  as 
an  architect  and  engineer  for  the  Sliah  of  Persia, 
the  Prince  of  Wales,  and  the  Emperor  Rudolph  II. 
He  died  in  1622. 

DEI  VECCHI,  Giovanni,  was  born  at  Borgo  San 
Sepolcro  about  the  year  1536.  He  went  to  Rome 
when  he  was  young,  where  he  first  became  a  dis- 
ciple of  Raffaellino  dal  Colle,  but  he  afterwards 
studied  under  Taddeo  Zuccheri,  who  was  at  that 
time  employed  by  Cardinal  Alessandro  Farnese  in 
the  embellishment  of  his  palace  of  Caprarola,  where, 
in  conjunction  with  his  instructor,  he  executed 
several  considerable  works.  There  are  many  of 
his  pictures  in  the  churches  at  Rome,  of  which  a 
particular  description  is  given  by  Baglione.  In 
San  Lorenzo  in  Damaso  is  one  of  his  most  esteemed 
productions,  representing  the  '  Martyrdom  of  St. 
Lawrence ' ;  in  the  cupola  of  the  Chiesa  del  Gesii 
is  a  fresco  of  the  '  Four  Doctors  of  the  Church ' ; 
and  in  Santa  Maria  in  Araceli  are  several  pictures 
from  the  life  of  St.  Jerome.  He  died  at  Rome 
in  1614. 

DEI  ZAGANELLI,  Francesco,  called  Fran- 
cesco da  Cotignola,  was  born  in  the  latter  part  of 
the   15th  century  at  Cotignola,  in  the  Duchy  of 


PAINTERS  AND  ENGRAVERS. 


Ferrara.  He  afterwards  lived  at  Ravenna,  and 
learned  liis  art  under  Rondinello.  At  the  Brera, 
Milan,  is  a  '  Virgin  and  Child,  between  SS.  Francis 
and  Nicholas,  and  a  kneeling  patron,'  signed  by 
him  in  1505  ;  another  similar  subject,  in  which  his 
brother  Bernardino  is  said  to  have  assisted  him, 
is  in  the  same  gallery.  In  1509  he  painted  the 
'  Infant  Christ,'  now  in  the  Dublin  National  Gallery. 
The  Costabili  Collection,  in  Ferrara,  possesses  a 
'  St.  Sebastian,'  painted  in  1613 ;  and  of  about 
that  time  is  the  altar-piece  now  in  the  gallery  of 
Forli,  representing  the  '  Eternal  in  Glory,  adored 
by  the  Saints  on  earth.'  His  celebrated  picture 
of  the  '  Resurrection,'  at  Classe,  and  his  esteemed 
work  of  the  '  Baptism  of  Christ,'  at  Faenza,  are 
productions  that  do  honour  to  his  country.  He 
also  painted,  in  1518,  an  admirable  picture  of  the 
'  Madonna  surrounded  by  Saints,'  at  the  Osservanti 
at  Parma,  in  which  he  was  assisted  by  his  brother 
Bernardino,  who  was  an  artist  of  considerable 
ability.  Others  of  his  most  important  works  are 
the  '  Virgin  and  Child,  with  SS.  John  the  Baptist, 
John  the  Evangelist,  and  Bernardino';  and  the  two 
portraits  of  the  Pallavic.ini  family,  painted  in  1518, 
in  the  church  of  the  Nunziata,  outside  the  Porta 
Nuova  of  Parma.  Signor  Federico  Mylius,  of 
Genoa,  possesses  a  bust  of  the  Saviour  executed 
by  Francesco  and  his  brother  Bernardino.  Of  the 
latter 's  own  work  only  a  single  example  is  known, 
viz.,  a  '  St.  Sebastian,'  belonging  to  Signor  Frizzoni, 
of  Bellaggio.  Many  other  paintings  by  Francesco 
are  to  be  met  with  in  the  galleries  and  churches  of 
Ravenna.  The  date  of  his  death  is  uncertain,  but 
after  1518  all  traces  of  him  are  lost. 

DE  JAGER,  Gerard,  a  native  of  Dordrecht, 
flourished  about  1646.  He  painted  marine  sub- 
jects, and  particularly  excelled  in  the  representation 
of  still  water.     He  was  still  hving  in  1663. 

DE  JODE,  Arnold,  the  son  of  Pieter  De  Jode, 
the  younger,  was  born  at  Antwerp  in  1638.  He 
was  instructed  in  engraving  by  his  father,  but  he 
never  rose  above  mediocrity.  He  worked  in  the 
Netherlands  and  in  Spain,  and  was  in  England  in 

1666,  the  year  of  the  great  fire  in  London,  and  in 

1667.  His  best  prints  are  portraits,  though  they 
are  but  indifferent.  Among  other  plates,  the  fol- 
lowing are  by  him : 

PORTRAITS. 
Cardinal  Pallavicini ;  after  Titian. 
Catharine  Howard,  Duchess  of  Lennox;  after  VanSvck 
Sir  Peter  Lely  ;  after  Lelij. 

Alexander  Browne  ;  preliied  to  his  '  Ars  Pictoria'  ;  after 
Huysmans, 

VARIOUS    SUBJECTS. 

The  Education  of  Cupid  ;  after  Corregyio.     1667. 

The  Magdalen  ;  oval ;  after  Van  Dyck. 

The  Infant  Christ  embracing  St.  John  ;  after  the  same  ; 

inscribed  Arnoldus   de   Jode,  sculp.  Londini,  tempore 

tncendii  maximi. 
A  Landscape  ;  after  L.  De  T  adder.     1658. 
Some  other  Landscapes ;  after  Jacques  Fouqui'eres. 

DE  JODE,  Gerrit,  a  Flemish  engraver  and 
printseller,  appears  to  have  been  born  at  Antwerp 
in  1521.  He  was  the  head  of  a  family  greatly  dis- 
tinguished in  the  art  of  engraving.  He  executed 
several  plates  of  historical  and  geographical  sub- 
jects, in  which  his  style  appears  to  have  been  an 
imitation  of  that  of  Comelis  Cort.  He  died  at 
Antwerp  in  1591.  The  following  are  some  of  his 
principal  prints : 

A  set  of  twenty-nine  Portraits  of  the  Popes.    1585. 
D2 


A  Roman  Triumph,  in  twelve  sheets ;  after  M.  Eeenic- 

kerk. 
The  Crucifixion  ;  a  large  print,  in  three  sheets  ;  afttr 

Michelangelo  Buonarroti,  but  without  the  name  of 

the  painter. 
St.  Jerome  m  meditation  ;  after  Titian.     1565. 

DE  JODE,  Pieter,  '  the  elder,'  the  son  of  Gerrit  De 
Jode,  was  born  at  Antwerp  in  1570.  After  being 
taught  the  rudiments  of  design  by  his  fat  her,  he  was 
instructed  in  engraving  by  Hendrik  Goltzius.  He 
afterwards  went  to  Italy  for  improvement,  par- 
ticidarly  in  drawing,  and  engraved  several  plates 
from  the  works  of  the  great  masters.  About  the 
year  1601  he  returned  to  Antwerp,  where  he  dis- 
tinguished himself  by  producing  various  prints 
after  the  principal  Flemish  painters.  He  and  his 
son  were  in  1631  in  Paris,  where  they  worked  for 
some  time.  His  drawing  is  very  correct;  and 
tliough  his  command  of  the  graver  is  less  daring 
and  bold  than  that  of  his  instructor,  he  is  less 
mannered  and  extravagant.  He  died  at  Antwerp 
in  163-1.  He  engraved  about  a  hundred  plates,  of 
which  the  following  are  the  principal  : 

portraits. 

Erycius  Puteanus,  (Hendrik  van  der  Putte,)  a  Dutch 

savant. 
Giovanni  Boccaccio ;  after  Titian. 
Ferdinand,  Count  Palatine  of  the  Rhine ;  oval ;  after 

Rubens. 
Phihp  III.,  King  of  Spain  ;  oval ;  after  the  same. 
Francisco  de  Mello,  Count  d'Azumar. 
Ambrogio  Spinola. 

various  subjects. 

Tlie  Five  Senses  ;  apparently  from  his  own  desiyns. 
The  Life  and  Miracles  of  St.  Cfatharine  of  Siena ;   twelve 

plates  ;  after  Francesco  Vanni.     1606. 
The  Life  of  Christ ;  thirty-six  plates. 
Costumes  of  the  People  of  Europe  ;  after  S.  Francken. 
The  Virgin  and  Child  ;  after  Titian. 
The  Marriage  of  St.  Catharine  ;  after  the  same. 
The  Holy  Family  ;  after  the  same. 
The  Adoration  of  the  Shepherds;  after  A.  van  OoH. 
Christ  and  Nicodomus  ;  after  the  same. 
The  Beheading  of  St.  John  the  Baptist ;  after  Eubeni. 
Christ  giving  the  Keys  to  St.  Peter  ;  afltr  the  same. 
The  Virgin  fainting  at  the  sight  of  Christ  crowned 

with  thorns  ;  after  F.  Vanni. 
The  Coronation  of  St.  Catharine ;  after  the  same. 
The  Last  Judgment ;    after  Jean  Cousin ;   on   twelve 

plates  ;  one  of  the  largest  prints  known. 

DE  JODE,  Pieter,  'the  younger,'  the  son  of 
the  elder  artist  of  the  same  names,  was  born  at 
Antwerp  in  1606,  and  was  instructed  by  his  father, 
whom  he  surpassed  in  the  taste  and  facility  with 
which  he  handled  the  graver.  He  engraved  up- 
wards of  three  hundred  plates,  but  they  are  very 
unequal.  His  best  works  are  his  portraits,  several 
of  which  he  engraved  after  Van  Dyck.  The  date 
of  his  death  is  unknown.  The  following  are  his 
most  esteemed  prints : 

PORTRAITS   after   VAN   DYCK. 
Charles  I. 

Henrietta  Maria,  his  Queen. 
Tliomas  AVentworth,  Earl  of  Strafford. 
Prince  Rupert. 

Catharine,  Countess  of  Newburgh. 
Pieter  De  Jode,  the  younger. 
Jacob  Jordaens,  painter,  of  Antwerp. 
Cornells  van  Poeleubnrg,  painter,  of  Utrecht. 
Jan  Snellinck,  painter,  of  Antwerp. 
Daniel  Mytens,  painter. 
Adam  De  Coster,  painter,  of  Mechlin. 
Andreas  Colyns  de  Nole,  sculptor,  of  Antwerp. 
Hendrik  Liberti,  organist. 
Albert,  Duke  of  Friedland,  Count  of  Wallenstein. 

35 


A  BIOGRAPHICAL  DICTIONARY  OF 


Genevieve  d'Urfe,  Duchess  de  Croj. 
Jeanne  de  Blois. 

Jean  de  Tserclaes,  Count  de  Tilly. 
Diodorus  van  Tulden,  professor  at  Louvain. 
Anthony  Trieste,  Bishop  of  Ghent. 

PORTRAITS   AFTER    OTHER   MASTERS. 

Karl  Heiiirich,  Baron  von  Mettemich  ;    after  A.  vim 

Hulle. 
August  Adolph,  Baron  von  Trautdorf  ;  after  the  same. 
Thomas  Eicciardi ;  after  Simon  T'ouei. 
Ernest,  Count  d'lsembcurg  ;  after  J.  JVillelorts  Bosch- 

aert. 
Petrus   de   Francavilla,  sculptor  and  architect ;    after 

Bunel. 

SDBJECTS    AFTER    VARIOUS    MASTERS. 

St.  Augustine,  crowned  by  Religion  ;  P.  de  Jode,fec. 
St.  Francis  kneeling  before  a  Crucifix ;  after  Baroccio. 
The  Holy  Family ;  after  Titian. 
The  Visitation  of  the  Virgin  to  St.  Elizabeth  ;   after 

Ruhens. 
The  Three  Graces  ;  after  the  same. 
Venus  rising  from  the  Sea  ;  after  the  same. 
Cybele  and  Neptune  ;  after  the  same. 
St.  Francis  and  St.  Clara  adoring  the  Infant  Jesus  ;  after 

Gerard  Se(jers. 
Christ  with  Nicodemus  ;  after  the  same. 
The  Nativity  ;  after  J.  jordaens. 
The  Miracle  of  St.  Martin  of  Tours  ;  after  the  same. 
Folly  and  Ignorance  ;  after  the  same. 
St.  Augustine  supported  by  Angels  ;  after  T'an  Dj/ck. 
St.  Augustine  adoriug  the  Mystery  of  the  Holy  Trinity ; 

after  the  same.    (His  best  vvrk.) 
Riualdo  and  Armida  ;  after  the  same. 
The  Holy  Family,  with  St.  Anne  ;  after  A.  van  Viepen- 

heek. 
An  Allegory  of  Peace  ;  after  the  same. 
St.  John  the  Baptist  in  the  Desert ;  after  P.  van  Mot. 

DE  JONG,  LuDOLF,  (De  Jongh,  or  De  Jonge,) 
was  born  at  Overschie,  a  village  near  Rotterdam, 
in  1616.  He  was  the  son  of  a  shoemaker,  who 
intended  bringing  him  up  to  the  same  business, 
but  from  his  aversion  to  the  work  and  strong 
disposition  for  art,  he  was  placed  under  Cornells 
Sachtleven,  with  whom  he  passed  two  years.  He 
afterwards  studied  successively  under  Anthony 
Palaraedes  of  Delft,  and  Jan  Bijlert  of  Utrecht. 
He  subsequently  went  to  France,  and  passed 
seven  years  at  Paris,  where  he  met  with  encour- 
agement as  a  portrait  painter,  in  which  branch 
of  art  he  chieflj'  excelled.  He  also  painted  easel 
pictures  of  hunting-parties  and  battles,  which  are 
ingeniously  composed  and  touched  with  spirit  and 
vigour.  On  his  return  to  Holland  he  settled  at 
Rotterdam,  where  he  was  much  employed.  His 
most  considerable  work  is  a  large  picture  in  the 
'  Salle  des  Princes  '  in  that  city,  containing  the  por- 
traits of  the  officers  of  the  Company  of  Burghers. 
He  died  at  Hillegersberg  in  1697. 

DE  JONGHE,  Jean  Baptiste,  a  Belgian  land- 
scape painter,  was  born  at  Courtrai  in  1785.  He 
studied  under  Ommeganck,  and  travelled  in  Hol- 
land, France,  and  England.  He  finally  settled  at 
Brussels,  where  he  had  many  pupils  and  followers. 
He  exhibited  his  works  at  Paris,  Lyons,  Brussels, 
Amsterdam,  the  Hague,  Vienna,  &c.,  and  obtained 
various  medals.  He  died  at  Antwerp  in  1844. 
Amongst  his  best  productions  are  : 

Environs  of  Tournai  (Brussels  Museum). 
Stream  with  Cattle  (Ghent  Academy). 
View  near  Courtrai  {Ghent  Academy). 
Interior  of  a  Farm  {Haarlem  Museum). 
Travellers  Resting  (Haarlem  Museum). 
Flock  of  Sheep  ;  sandy  road  {Tournai  Museum). 

DEJUINNE,  Franijois  Lonis,  was  born  in  Paris 
in  1786,  and  learned   the  art  of   painting  under 
36 


Girodet.  He  visited  Rome,  where  he  studied  the 
works  of  Titian,  Paolo  Veronese,  and  other  great 
masters.  He  died  in  Paris  in  1844.  His  paintings 
were  mostly  historical  ;  among  them  are  the 
'  Ascension  of  the  Virgin '  and  '  St.  Genevieve  '  for 
Notre-Dame  de  Lorette,  and  '  The  Four  Seasons ' 
for  the  Trianon  Palace. 

DE  KEMPENEER,  Pieter,  better  known  by 
his  Spanish  name  of  Pedro  Campana,  which  has 
been  translated  into  French  as  Champaigne,  and 
into  Flemish  as  Van  de  Velde,  was  a  painter  boni 
at  Brussels  in  1503,  although  from  the  character  of 
his  works  and  his  subsequent  life  he  should  be 
classed  with  the  Spanish  school.  He  visited  Italy 
early  in  life,  and  there  studied  the  masterpieces  of 
Raphael  and  Michelangelo.  On  his  journey  to 
Rome  in  1530  he  painted  the  triumphal  arch  which 
was  erected  at  Bologna  for  the  coronation  of 
Charles  V.  He  afterwards  went  to  Spain,  and 
subsequently  to  1548  painted  numerous  devotional 
pictures  for  the  churches  of  Seville.  His  master- 
piece is  the  '  Descent  from  the  Cross,'  which  he 
painted  about  1548  for  the  church  of  Santa  Cruz, 
and  wliich,  when  that  church  fell  into  ruins,  was 
removed  to  the  cathedral  of  Seville.  This  work 
compares  favourably  with  the  productions  of 
Albrecht  Durer.  Such  was  at  one  time  its  life- 
like awful  character  that  Murillo  used  to  stand 
watching,  as  he  said,  until  these  holy  men  should 
have  finished  taking  down  the  Saviour.  A  '  Puri- 
fication of  the  Virgin '  and  a  '  Resurrection '  by 
him,  also  in  the  cathedral,  by  the  beauty  of  their 
ilesign  and  the  luminous  character  of  their  colour- 
ing are  suggestive  of  the  highest  period  of  Italian 
art.  The  parish  churches  of  Triana  and  of  Santa 
Maria  at  Carmoiia  possess  paintings  by  this 
master.  De  Kempeneer  returned  to  Brussels  not 
later  than  1563,  and  died  in  that  city  in  1580. 
Besides  the  above-named  works  he  has  left  the 
following  : 

Seville,  5.  Isidoro,  St.  Paul  the  Hermit ;  St.  Anthony, 
Abbot.  5.  Pedrn,  Christ  bound  to  the  Pillar;  St. 
Sebastian  ;  St.  Jerome  enthroned.  S.  Catalina^  St. 
Jerome  enthroned,  with  Saints.  ^.  Juan  de  la  Palma^ 
Crucifixion,  with  the  Virgin  and  St.  John.  {An 
early  work.) 

DE  KEYSER,  Nicai.se,  a  Flemish  painter,  was 
born  at  Santvliet,  near  Antwerp,  in  1813.  He  was 
a  pupil  of  J.  Jacops  and  of  Van  Br^e,  and  distin- 
guished himself  by  his  battle-pieces,  &o.,  in  the 
manner  of  Wappers  and  the  reactionaries  of  1830. 
In  1855  he  became  director  of  the  Academy  of 
Antwerp.     He  died  in  1887. 

DE  KEYSER,  Thomas,  (until  recently,  named  in 
error  Theodoor,)  was  born  at  Amsterdam  about 
the  year  1595.  In  the  Gallery  at  tke  Hague 
is  a  fine  picture  by  this  Dutch  painter,  represent- 
ing the  Four  Burgomasters  of  Amsterdam  deliber- 
ating on  the  honours  to  be  paid  to  Marie  de 
M(5dicis,  on  her  entrance  into  tliat  city  in  1638. 
The  heads  are  admirabl_v  painted,  and  with  a  rich- 
ness of  colouring  nearly  approaching  to  Rembrandt. 
The  portraits  of  Rombout  Hoogerbeets,  his  wife, 
and  family,  and  two  other  pictures,  now  in  the 
Museum  at  Amsterdam,  were  also  painted  by  him. 
There  is  also  a  picture  by  him  in  the  National 
Gallery,  representing  'A  Merchant  and  his  Clerk.' 
He  died  at  Amsterdam  in  1679.  Some  of  '  I  • 
his  works  are  signed  with  the  accompanying  17^ 
monogram :  rs/ 

DE  KEYSER,  Willem,  (or  De  Keysar,)  was 
born   at  Antwerp  about  the  year  1647.     He  was 


PAINTERS  AND  ENGRAVERS. 


brought  up  as  a  jeweller,  in  which  profession  he 
became  very  eminent,  but  having  been  well  edu- 
cated, and  taught  to  draw,  he  had  a  strong  inclina- 
tion for  painting,  and  employed  all  his  leisure  hours 
in  practising  in  miniature,  enamel,  and  oil-colours. 
Haying  painted  some  altar-pieces  at  Antwerp,  his 
business  called  him  to  Dunkirk,  where  he  painted  a 
picture  for  the  chapel  of  the  English  nuns,  who 
were  so  pleased  with  it,  that  they  persuaded  De 
Keyser  to  go  to  England,  and  gave  him  letters  of 
recommendation  to  Lord  Melfort,  then  in  favour 
with  James  II.  The  enthusiastic  painter  could  not 
resist  the  proposal ;  he  embarked  on  board  an 
Eng:lish  vessel,  and,  unknown  to  his  wife  or 
family,  sailed  for  England.  His  reception  was 
equal  to  his  wishes.  He  was  introduced  to  the 
king,  who  promised  to  countenance  him,  and 
several  persons  of  rank,  who  had  known  him  at 
Antwerp,  encouraged  him  in  his  new  vocation. 
Transported  with  this  prospect  he  sent  for  his 
wife,  ordering  her  to  dismiss  his  workmen,  and 
convert  his  effects  into  money.  Within  half  a 
year  the  bubble  burst ;  the  Revolution  happened, 
De  Keyser's  friends  could  no  longer  be  Ids  pro- 
tectors, his  business  decreased,  and  the  pursuit  of 
the  philosopher's  stone,  to  which  he  had  recourse 
in  his  despair,  completed  his  ruin.  He  died  at 
the  age  of  forty-five,  about  the  year  1692.  He 
left  a  daughter,  whom  he  had  taken  great  pains 
to  instruct,  and  with  success.  She  painted  small 
portraits  in  oil,  and  copied  well. 

DEKKER  (or  Decker).  There  are  several 
artists  of  this  name,  either  German  or  Dutch, 
enumerated  by  different  writers,  with  admirable 
confusion  in  apportioning  their  respective  works. 
Some  call  Cornelis  Gerrits,  the  landscape  painter, 
Coenraet,  others  Karel,  or  Hendrik,  each  saying 
that  hie  pictures  resemble  those  of  Kuisdael ;  Cus- 
tos,_like  Frans,  is  said  to  have  painted  grotesijue 
subjects  ;  Adriaen,to  have  been  a  scholar  of  Ever- 
dingen  ;  Jan,  a  painter  of  interiors,  conversations, 
and  landscapes  in  the  manner  of  Murant;  Hans 
was  a  sculptor;  the  others  occur  in  the  following 
articles.  The  Dekker  whose  works  are  best 
known  in  England  is  Frans,  who  painted  views, 
similar  to  Ruisdael's,  on  a  small  scale,  and  also 
weavers'  workshops.  Brulliot,  following  Hei- 
necken,  says  that  Karel  was  an  engraver,  who 
flourished  about  the  commencement  of  the  18th 
century. 

DEKKER,  Cornelis  Gerrits  (often  incorrectly 
called  Coenraet  Decker),  who  was  born  in  the 
earlier  half  of  the  17th  century,  is  supposed  to 
have  studied  under  Solomon  Ruisdael.  He  died  in 
poverty  at  Hnarlem  in  1678.  A  good  example  of 
his  style  is  a  '  Wooded  Landscape,'  in  the  Rotter- 
dam Museum.  There  are  likewise  two  Landscapes 
by  him  in  the  Louvre.  He  was  of  the  same  period 
and  of  the  same  school  of  landscape  art  as  Ruis- 
dael, to  whom  his  works  were  for  a  long  time 
attributed.  Adriaan  van  Ostade  and  Adriaan  van 
de  Velde  painted  figures  of  men  and  animals  in  his 
pictures. 

_  DEKKER,  Frans,  is  a  painter  of  whom  but 
little  is  known,  although  his  pictures  possess  great 
merit,  and  are  to  be  met  with  in  almost  every  col- 
lection. He  is  stated  to  have  been  born  at  Haarlem 
in  1684,  and  to  have  died  at  the  same  place  in  1751, 
having  been  a  pupil  of  Romeyn  De  Hooghe  and  of 
Bartholomeus  Engels.  He  painted  landscapes  in  a 
very  pleasing  and  natural  style,  resembling  the 
charming  productions  of  Ruisdael,  but  without  the 


servnity  of  an  imitator.     He  also  excelled  in  cari- 

DE  koNINCK,  David,  (De  Koning,  De  Koningh, 
or  De  C'oninck,)  called  Rammelaar,  was  born  at 
Antwerp  in  1636.  After  studying  for  some  time 
in  his  native  country  under  Jan  Fyt,  he  travelled 
in  Germany,  France,  and  subsequently  in  Italy. 
He  settled  at  Rome,  and  eventually  died  there  in 
1687.  His  works,  which  are  not  numerous,  repre- 
sent chiefly  landscapes  ornamented  with  animals 
of  all  descriptions,  and  in  every  respect  are  nearly 
as  good  as  those  of  his  master,  Jan  Fyt.  At 
Ghent  there  is  a '  Garden  with  domestic  animals  '  by 
De  Koninck ;  and  in  the  Museum  of  Amsterdam 
there  are  a  '  Stag-hunt '  and  a  '  Bear-hunt.' 

DE  KONINCK,  Philip,  (De  Koning,  De  Koningh, 
or  De  Con"inck,)  was  born  at  Amsterdam  in  1619, 
and  was  one  of  the  ablest  scholars  of  Rembrandt. 
He  painted  historical  subjects  and  portraits,  but 
was  particularly  eminent  in  the  latter,  in  which  he 
was  one  of  the  most  distinguished  artists  of  his 
time.  His  colouring,  though  rich  and  harmonious, 
is  clearer  than  that  of  Rembrandt,  and  partakes  of 
the  chaste  and  tender  tinting  of  Van  Dyck.  There 
is  an  uncommon  appearance  of  truth  and  nature  in 
his  heads,  with  a  more  tasteful  arrangement  of  the 
attitudes  and  habiliments  than  is  usual  in  the 
portraiture  of  the  artists  of  his  country.  There  is  a 
fine  portrait  of  De  Koninck,  by  himself,  in  the  Ufiizi 
at  Florence.  He  died  at  Amsterdam  in  1689.  In 
the  Museum  of  that  city  there  is  a  '  Landscape 
■with  Animals  '  by  him  ;  another  landscape  is  in  the 
Museum  at  the  Hague,  a  replica  of  which  is  in  the 
National  Gallery ;  another  is  in  the  Rotterdam 
Museum ;  and  another,  which  is  assigned  to 
Rembrandt,  is  in  the  Uffizi  at  Florence.  A  '  View 
in  the  Environs  of  Scheveningen '  is  in  the  Brussels 
Gallery. 

DE  KONINGH,  Leendert,  a  Dutch  marine  and 
landscape  painter,  was  born  at  Dordrecht  in  1777. 
He  was  instructed  by  A.Vermeulen  and  M.Versteeg, 
and  in  1801  came  to  England,  but  was  soon  com- 
pelled to  leave  this  country  on  account  of  the 
war.  He  then  went  to  Paris,  and  studied  under 
David.  Thence  he  returned  home  by  way  of 
Germany,  and  afterwards  paid  a  second  visit  to 
England,  where  he  remained  till  after  the  fall  of 
Napoleon.     He  died  at  Dordrecht  in  1849. 

DE  LA  BAER,  Johannes,  (or  De  La  Barre,)  a 
Flemish  painter  upon  glass,  who  has  been  often 
confounded  with  Jan  Barra,  a  Dutch  engraver,  was 
a  native  of  Bois-le-Duc,  and  was  received  as  a 
master  into  the  Guild  of  St.  Luke  at  Antwerp  in 
1625.  He  was  an  artist  of  real  merit,  and  belonged 
entirely  to  the  school  of  Rubens.  The  windows  uf 
the  chapel  of  the  Virgin  in  the  cliurch  of  St. 
Gudule  at  Brussels,  which  were  for  a  long  time 
attributed  to  Rubens,  are  known  now  to  have  been 
executed  from  his  designs.  He  also  engraved  a 
plate  of  the  fa9ade  of  the  Jesuit  church  at  Antwerp. 

DE  LA  BERGE,  Charles  Auguste,  a  French 
landscape  painter,  was  born  in  Paris  in  1805.  In 
1824  he  entered  the  studio  of  Berlin,  the  landscape 
painter,  and  in  1827  that  of  Picot,  the  historical 
painter.  He  first  exhibited  at  the  Salon  of  1831, 
and  in  the  years  1837-,S9  painted  entirely  from 
nature,  and  at  the  time  of  day  which  it  represents, 
a  '  Landscape  at  sunset,'  which  is  in  the  Louvre. 
He  died  in  Paris  in  1842. 

DE  LA  BOISSIERE,  Simon,  was  a  French  engi- 
neer, who  also  distinguished  himself  as  an  engraver. 
He  was  born  in    Paris  about  1637,  and  executed 

37 


A  BIOGRAPHICAL  DICTIONARY  OF 


Beveral   plates  from  liis   own  designs,  and   after 
Sebastien  Le  Clerc.     There  are  by  him : 

The  Death  of  a  Prince,  surrounded  by  his  Court. 
Several    plates    of    Medals    for    Molinet's    '  Historia 

Pontificum,'  1679. 
A  View  of  the  Palais  Royal ;  iu  two  sheets. 
Several    plates    for    Desgodets'    'Traits   des    Edifices 

Antiques  de  Eome,'  Paris,  1682. 

DE  LA  CALLEJA,  Andreas,  a  Spanish  painter, 
was  born  at  Rioja  in  1705.  He  was  a  pupil  of 
G.  A.  Ezquerra,  and  was  so  successful  in  his  early 
efforts  that  he  was  soon  appointed  by  King  Philip  V. 
to  a  post  of  honour.  Philip  VI.  in  1752  made  him 
first  Director  of  the  newly-founded  Academy  at 
Madrid,  and  he  established  a  school  of  some  repute. 
But  we  are  told  that  the  principal  occupation  of 
his  latter  years  was  that  of  restoring  the  ancient 
pictures  belonging  to  the  king  I  It  would  be  un- 
just to  visit  on  him  all  the  iniquities  that  have 
been  perpetrated  on  pictures  in  Spain  by  the  pro- 
cess of  restoring  ;  for  to  such  an  extent  has  it  been 
carried,  that  very  few  of  them,  really  worth  pre- 
serving, have  escaped.  His  best  works  are  in  the 
churches  of  Santa  Cruz  and  of  San  Felipe  el  Real 
at  Madrid.     He  died  in  that  city  in  1785. 

DELACAZETTE,  Sophie  Clemence,  a  French 
miniature  painter,  was  born  at  Lyons  in  1774.  She 
was  a  pupil  of  Regnault  and  of  Augustin,  and 
exhibited  annually  at  the  Salon  from  1806  to  1838. 
In  1808  she  sent  a  portrait  of  Mile.  Barilli,  which 
has  been  engraved  by  Masquelier.  She  died  in 
Paris  in  1854. 

DE  LA  CHAPELLE,  George,  a  painter  born  at 
Caen,  visited  the  Levant  in  the  early  part  of  the  17th 
century.  His  work  is  known  to  us  by  a  series  of 
engravings  executed  probablv  by  Nicolas  Cochin. 

DE  LA  CORTE,  Gabriel,  the  son  of  Juan  de  La 
Corte,  was  born  at  Madrid  in  1648.  Without  the  aid 
of  a  master  he  practised  flower-painting  by  copying 
the  works  of  Mario  and  Arellano.  He  arrived  at 
such  a  degree  of  excellence  that  Antonio  de  Cas- 
trejon  and  Matias  de  Torres  employed  him  to  paint 
garlands  of  flowers  to  surround  their  mythological 
subjects.     He  died  at  Madrid  in  1694. 

DE  LA  CORTE,  JtJAN.  a  Spanish  painter,  was  born 
at  Madrid  in  1597.  He  was  instructed  by  Velaz- 
quez, and  painted  portraits  and  history,  but  chiefly 
excelled  in  battle-pieces  and  perspective  views.  He 
also  painted  small  pictures  of  subjects  from  sacred 
history.  He  was  painter  to  Philip  III.,  and  was 
continued  in  that  situation  by  his  successor,  Philip 
IV.  There  are  several  of  his  pictures  in  the  palace 
of  Buen  Retiro.     He  died  at  Madrid  in  1660. 

DE  LA  CROCE,  Johann  NEPoiinK,  an  Austrian 
painter,  was  born  at  Pressano,  in  the  T3'rol,  in  1736. 
He  studied  under  Lorenzoni,  and  after  travelling 
in  Italy,  Germany,  Hungary,  and  France,  he  settled 
at  Burghausen.  The  portraits  which  he  painted 
are  estimated  by  Lipowski  at  the  immense  number 
of  5000,  and  his  historical  pictures  at  200.  There 
are  many  altar-pieces  by  him  in  the  churches  of 
Bavaria.  He  died  in  1819.  His  son,  Clemens  de 
La  Croce,  who  was  also  a  painter,  was  born  at 
Burghausen  in  1783,  and  died  in  1823. 

DELACROIX,  AuGUSTE,  a  French  marine  painter, 
was  born  at  Boulogne  in  1809,  and  died  there  in 
1868.  He  produced  some  elegant  sea-pieces  taken 
on  the  French  and  North  African  coasts,  and  also 
painted  some  African  genre  pictures. 

DELACROIX,  Ferdinand  Victor  Eugene,  a 
French  historical  painter,  was  bom  at  Charenton 
St.  Maurice,  near  Paris,  in  1798.     His  father  held 

38 


high  oflice  under  the  Republic  and  First  Empire, 
being  successively  deputy  in  the  Convention, 
minister  under  the  Directory,  and  prefect  of  Mar- 
seilles, and  subsequently  of  Bordeaux.  Young 
Delacroix  received  his  first  instruction  in  the 
Lyc^e  Imperial ;  but  on  the  death  of  his  father, 
he  had  to  make  his  own  way  in  life,  almost 
unaided.  In  1817  he  entered  the  studio  of  Gudrin, 
where  amongst  his  fellow-pupils  were  G^ricault, 
Ary  SchefEer,  Henriquel-Dupont,  and  Cogniet.  His 
first  exhibited  work,  'Dante  and  Virgil,'  appeared 
in  1822,  and  achieved  a  great  success.  Through 
it  he  spent  some  time  in  the  studio  of  Baron  Gros, 
and  might  have  obtained  great  academic  honours 
but  for  his  divergence  from  the  prevalent  classicism. 
This  breach  widened,  and  Delacroix,  G^ricault, 
and  others,  became  the  recognized  leaders  of  the 
Romantic  School.  The  conflict  between  the  rival 
schools  was  very  bitter,  and  it  was  not  till  after  the 
Revolution  of  1830  that  Delacroix  and  the  Roman- 
ticists began  to  receive  a  share  of  the  state  patron- 
age which  exercises  so  great  an  influence  on  art  in 
France,  iln  1831  he  visited  Spain,  Morocco,  and 
Algiers,  and  several  important  works  were  the 
result  of  this  journey.  In  1832,  through  the 
influence  of  Thiers,  although  not  without  great 
opposition,  he  received  his  first  public  commission/ 
Between  th.at  year  and  1855  he  executed  decorative 
works  for  the  Chamber  of  Deputies,  the  Library 
of  the  Luxembourg,  the  Galerie  d'Apollon  in  the 
Louvre,  the  Salon  de  la  Paix  in  the  Hotel  de  Ville, 
and  the  Church  of  St.  Sulpice.  He  was  elected  at 
the  Academ)'  in  1857.  He  last  exhibited  at  the 
Salon  in  1859,  and  died  in  Paris  in  1863.  Person- 
ally, Delacroix  was  a  nervous  man,  objecting  to 
visitors  in  his  studio,  although  he  was  not  deficient 
in  those  traits  which  render  a  man  agreeable  in 
society.  His  works  show  the  attraction  which  the 
darker  side  of  human  nature  had  for  him,  and  it  was 
in  the  depiction  of  scenes  of  passion  and  of  blood 
that  he  achieved  his  greatest  successes,  to  which 
his  excellence  as  a  colourist  no  little  contributed. 
Besides  the  decorative  works  already  mentioned, 
the  following  are  amongst  his  chief  productions : 


Arras.  Jlfnsettm. 

Bordeaux.  Museum. 


Chantilly.         Dule 

d^Anmale. 
),  », 

Grenoble.   Museum. 
Lille.  Museum. 

Loudon.H  crtford  Ilou> 


Lyons. 


Museum. 


Melun.        Museum. 
Montpellier.  Museum. 


Nancy.  Museum. 
Nantfcs.  Museum. 
Paris.  L(Mvre. 


Martyrdom  of  St.  Stephen.  1853. 
Greece  expiriug  on  the  ruins  of 

Mis.solonghi.     1827. 
Lion  Hunting.    1854.    {Destroyed 

hi/ Jin  ill  1870.) 

[  The  Two  Foscari.     1855. 

A  Moorish  Guard. 
St.  George. 
Medea.     1838. 
'.Death  of  Marino  Faliero.     1827. 
Faust  and  Mephistopheles. 
The    Last     "\Yords    of      Marcus 

Aurehus.     1845. 
Head  of  Actaion. 
A  Mulatto  Woman. 
Charge  of  Arab  Cavalry.     1832. 
Algerian  ATomen  at  home. 
Daniel  in  the  Lions'  Den.     1853. 
Michelangelo  in  his  studio.    1853. 
Portrait  of  Himself.     1829. 
Portrait  of  M.  Bruyas.     1853. 
Battle  of  Nancy.     1834. 
The  Halt.     1837. 
Dante  and  Virgil.     1822. 
The  Massacre  of  Scio.     1824. 
The  28th  of  July,  1830.     1330. 
Algerian  Women.     1834. 
Portrait  of  Himself.     1837. 
Jewish    Wedding    iu    Morocco. 
1841. 


PAINTERS  AND  ENGRAVERS. 


Boaen.       Museum. 
Toulouse,  ifuseum. 


Toois.         Museum. 
Versailles.  Museum. 


Paris.  St.  Paul.        Christ  in  the  Garden  of  Geth- 

semane.    1S27. 
The  Justice  of  Trajan.     1840. 
Moley-abd-el-Rahmann, Sultan  of 

Morocco,  leaving  his  palace  at 

Mequinez.     1S45. 
Arab  Musicians.     1848. 
Battle  of  TaiUebourg.    1537. 
Taking  of  Ckjnstautiuople  by  the 

Crusaders.     1841. 
Portrait  of  Marshal  de  Tourrille. 

1835. 

OJ.D. 

Delacroix  also  executed  a  considerable  number 
of  etchings,  engravings,  and  lithographs,  a  list  of 
which  is  to  be  found  in  Moreau's  •  E.  Delacroix 
et  son  cEuvre,'  Paris,  1873,  8vo.  He  likewise  wrote 
some  articles  on  paiBters  and  sculptors  in  the 
'Revue  des  Deux-Mondes.'  His  'Lettres'  were 
published  by  M.  Burty  in  1878,  and  again,  with 
additions,  in  1880. 

DE  LA  CRUZ,  JuAX  Paxtoja.    See  Paxtoja 

DE  LA  CeUZ. 

DE  LA  CRUZ,  Makuel,  a  Spanish  painter,  was 
bom  at  Madrid  in  1750,  and  died  in  the  same  city 
in  1792.  He  distinguished  himself  by  his  pictures 
in  the  cathedral  of  Carthagena  and  in  the  monastery 
of  San  Francisco  el  Grande  at  Madrid.  In  the 
Gallery  of  the  latter  city  there  is  a  painting  by 
him  of  'The  Annual  Fair  at  Madrid.'  He  also 
etched  a  few  plates  of  Heads  of  strongly-marked 
character. 

DE  LA  CRUZ,  Miguel,  a  Spanish  painter  of 
promise  who  died  young,  was  employed  in  1633 
by  Charles  I.  of  England  to  make  copies  of  the 
remarkable  pictures  in  the  Alcazar  of  Madrid. 

DE  LA  FAGE,  Nicolas,  a  French  painter  and 
etcher  of  the  first  half  of  the  17th  century,  was  a 
native  of  Aries  in  Provence.  Robert-Dumesnil 
mentions  nine  plates  by  him,  among  which  are : 

The  Virgin  and  Child;  after  Annibale  Carracci. 

Anne  of  Austria,  Queen  of  France.     1648. 

Louisa  Mary  Gonzaga,  Queen  of  Poland. 

Francois  de  Yendome,  Duke  of  Beaufort.    1649. 

DE  LA  FAGE.  Ratmokd,  a  French  draughts- 
man, was  bom  at  L'Isle  en  Albigeois  in  1656.  He 
studied  under  Jean  Pierre  Rivalz  at  Toulouse,  but 
soon  left  his  master  and  went  to  Rome,  where  he  | 
resided  three  years.  He  afterwards  went  to  Paris, 
where  his  wonderfully  facile  pen-and-ink  sketches 
found  many  admirers.  Crozat  possessed  no  less 
than  three  hundred  of  them,  and  the  Louvre  has 
now  about  seventy.  He  died  at  Lyons  in  1684. 
Robert-Dumesnil  mentions  tiventy-five  etchings 
by  him. 

DE  LA  FERTE,  M.,  was  a  French  amateur, 
who,  according  to  Basan,  etched  several  small 
plates  of  landscapes,  from  the  designs  of  Boucher 
and  other  masters. 

DE  LA  FLEUR,  Nicolas  Guillaoie,  who  was 
bom  in  Lorraine  about  1608,  was  a  painter  of 
flowers  in  miniature  and  an  etcher.  He  was  work- 
ing at  Rome  in  1638,  and  in  Paris  in  1644.  He  died 
in  Rome  in  1670.  His  etchings,  which  are  very  rare, 
are  executed  with  the  point,  and  are  very  effective 
and  tasteful.     The  principal  of  them  are : 

Thirteen  plates  of  Flowers ;  copied  by  Danckerts.    1638. 

Twelve  plates  of  Flowers.     1639. 

DE  LA  FOSSE,  Charles,  an  eminent  French 
painter,  was  bom  in  Paris  in  1636.  He  was 
educated  imder  Franyois  Chauveau  and  afterwards 
under  Charles  Le  Brun.  At  the  age  of  twenty-two 
he  went  to  Italy,  where  he  made  such  satisfactory 


progress  that  Colbert  obtained  for  him  the  pension 
of  the  King,  in  order  that  he  might  be  able  to 
continue  his   studies.     He  passed  two   years   at 
Rome,  and  then  went  for  three  years  to  Venice  to 
study  the  works  of  the  great  colourists.   He  appears 
to  have  been  less  sensible  to  the  sublime  beauties 
of  the  Roman  School,  than  to  the  seductive  colour- 
ing of  the  Venetian,  and  he  returned  to  Paris  one 
of  the  most  accomplished  colourists  of  the  French 
School.    He  was  immediately  taken  into  the  service 
of  Louis  XIV..  and  was  first  employed  in  painting 
four  pictures  for  the  apartments  in  the  Tuileries. 
His  next  work  was  the  marriage  chapel  in   St. 
Eustache,  where  he  painted  in  fresco  '  Adam  and 
Eve '  and  the  '  Marriage  of  the  Virgin.'    He  painted 
for  Versailles   the   'Sacrifice   of    Iphigenia'    and 
■  Moses  saved  from  the  Waters ' ;   in  the   chapel 
of    the    palace   the  'Resurrection';    and    at    the 
Trianon, '  Apollo  and  Thetis.'  At  Marly,  he  painted 
a  picture  of  '  Bacchus  and  Ariadne.'    These  works 
brought  him  into  great  repute  ;  and  he  was  received 
into  the  Academy  in  1673,  on  which  occasion  he 
painted  the  '  Rape  of  Proserpine.'  which  is  now  in 
the  Louvre.     La  Fosse  visited  England  in  1689, 
and  again  in  1690,  when  he  remained  upwards  of 
two  years,  during  which  time  he  was  employed  in 
decorating  the  mansion  of  the  Duke  of  Montagu, 
afterwards  the  British  Museum,  in  which  he  painted 
two  ceilings,  representing  the  '  Apotheosis  of  Isis ' 
and  an  'Assembly  of  the  Gods.'     His   principal 
work  at  Paris  is  "the  fresco  in  the  dome  of  the 
Invalides,  which  is  fifty-sis  feet  in  diameter,  and 
represents  '  St.  Louis  placing  his  crown  and  sword 
in  the  hands  of  Christ,  who  is  accompanied  by  the 
Virgin,  and  by  Angels  who  bear  the  instruments 
of  °he   Passion'  :    in  the   angles    are   the   Four 
Evangelists.     This  immense  work  was  finished  in 
1705,  and  did  great  honour  to  the  artist.     In  the 
choir  of  Notre-Dame  he  painted  the  '  Nativity'  and 
the  '  Adoration  of  the  Magi.'    Although  the  gemus 
of  La  Fosse  was  equal  to  great  and  copious  com- 
positions,  his   drawing  was   neither  elegant  nor 
correct;  and  though  he  is   considered  to  be  one 
of  the  best  colourists  among  his  countrymen,  he 
is  very  far  distant  from  Titian  or  Paolo  Veronese. 
He  died  in  Paris  in  1716.     Besides  the  '  Rape  of 
Proserpine,'  the  Louvre  has  by  him  '  Moses  saved 
from  the  Waters,'  the  '  Annunciation  of  the  Virgin,' 
the   '  Marriage  of  the  Virgin,'  the  '  Triumph  of 
Bacchus,'  and  the  '  Sacrifice  of  Iphigenia.' 

DE  LA  FOSSE,  Jeak  Baptiste  Joseph,  a  French 
engraver,  was  bom  in  Paris  in  1721.   He  was  a  pupil 
of  Etienne  Fessard,  and  engraved  a  large  number 
of    book-plates   and   vignettes    after    Eisen    and 
Gravelot.     He  died  in  Paris  about  1775.     We  have 
also  several  portraits  by  him  after  the  drawings  of 
Carmontelle,  among  which  are  the  following : 
The  Duke  of  Orleans  on  horseback. 
The  same,  with  his  Son,  the  Duke  of  Chartres. 
M.  Kameau. 

The  Abbe  de  ChauveHn.     ' 
The  unfortunate  Calas  Family. 

DE  LA  FOSSE.  Jeax  Chables,  a  French  architect 
and  draughtsman,  was  one  of  the  best  designers  of 
ornaments,  decorations,  and  fumiture  of  the  reign 
of  Louis  XVI.  In  1768  was  published  his  '  Icon- 
ologie  Histori^ue,'  in  which  many  of  the  plates 
were  engraved  by  himself. 

DE  LA  FDENTE,  Juan  Leandbo,  was  a  Spanish 
painter,  who  flourished  at  Granada  from  1630  to 
1640.  Although  not  mentioned  by  Palomino  or  by 
Pons,  he  was  an  artist  of  distinguished  merit.     He 


A   BIOGRAPHICAL   DICTIONARY   OF 


followed  the  manner  of  Bassano  both  in  subject 
and  treatment,  and  his  colouring  is  quite  of  the 
Venetian  School.  His  pictures  are  to  be  found  at 
Granada,  Seville,  and  Madrid. 

DE  LA  FUENTE  DEL  SAZ,  Julian,  was  a 
Hieronymite  rnonk,  who  painted  miniatures  at  the 
Escorial.  He  is  known  to  have  been  living  from 
1627  to  1598. 

DE  LA  GOURDAINE,  Jean  Pierre  Norblin. 
See  Norblin  de  La  Gourdaine. 

DE  LA  GUERTl^RE,  Francois,  a  French  his- 
torical painter,  was  born  in  1624.  He  etched 
seventeen  plates  of  the  Grotesques  by  Raphael  in 
the  Vatican. 

DEL  AGUILA,  Francisco,  was  a  Spanish  fresco 
painter,  who  resided  at  Murcia  in  the  latter  part 
of  the  16th  century.  In  1570  he  painted  and 
gilded  the  beautiful  tomb  of  Alfonso  the  Wise, 
in  the  cathedral  of  that  city. 

DEL  AGUILA,  Miguel,  a  Spanish  historical 
painter,  was  a  native  of  Seville,  wliere  he  died  in 
1736.  His  pictures  are  valued  for  their  near 
approach  to  the  style  of  Murillo. 

DE  LA  HAYE,  Charles,  a  French  engraver, 
was  born  at  Fontainebleau  in  1641.  He  went 
to  Italy,  where  he  engraved,  witli  C.  Bloeraaert, 
Spierre,  Blondeau,  and  others,  the  paintings  by 
Pietro  da  Cortona  in  the  Palazzo  Pitti  at  Florence. 
His  style  of  engraving  resembles  that  of  Cornelis 
Bloemaert ;  and  though  his  plates  want  harmony, 
they  possess  considerable  merit.  The  following  are 
among  the  best : 

The  Virgin   and  Child,  with  St.  Catharine  and  other 

Saints ;  after  Clro  Ferri, 
St.  Philip  Neri  kneeling  before  the  Virgin ;  after  the 

same. 
Coriolanus  refusing  to  see  the  Roman  Ambassadors ; 

after  the  same. 
The  Grecian  Philosophers  in  the  Gardens  of  Academus  ; 

after  Romaiielli. 

DE  LA  HAYE,  Claude,  was  a  French  portrait 
painter,  who  flourished  at  Lyons  in  1564,  and  was 
patronized  by  Cliarles  IX.  Catharine  de'  Medici 
visited  his  studio,  and  sat  to  liiin  for  her  portrait. 

DE  LA  HAYE,  Reynier,  a  Dutch  painter,  was 
a  native  of  the  Hague,  and  there  entered  the  Guild 
named  '  Pictura  '  in  1662.  In  1669  he  removed  to 
Utrecht,  and  was  admitted  into  the  Guild  of  St. 
Luke.  He  painted  scenes  of  private  life,  in  the 
manner  of  Terboroh  and  of  Metsu ;  but  his  style 
is  not  so  large  or  so  light,  his  colouring  is  less 
vigorous,  and  Ins  chiaroscuro  defective. 

DE  LA  HELE,  Isaak,  a  Flemish  historical 
painter,  was  born  at  Antwerp  about  1536.  He  was 
the  younger  son  of  Ysbrant  de  La  Hele,  a  sculptor, 
and  left  his  native  city  early  in  life,  but  whether 
he  went  to  Italy  and  studied  under  Michelangelo 
is  uncertain.  Prom  1562  to  156H  he  was  employed 
upon  work  for  the  cathedral  of  Toledo,  and  painted 
a  capital  picture  of  '  St.  Nicasius,'  which  Pons 
mistook  for  the  work  of  Berruguete,  a  certain  proof 
of  its  merits.  He  returned  to  Antwerp  probably 
in  1571,  and  was  still  living  there  in  1573.  Abra- 
HAM_  DE  La  Hele,  his  elder  brother,  was  likewise 
a  painter.  He  was  born  in  1534  at  Antwerp,  where 
he  was  still  living  in  1564,  but  in  1572  we  lose 
sight  of  him  in  Augsburg. 

DE  LA  HIRE,  Laurent,  (or  De  La  Hyre,)  a 
French  historical  and  portrait  painter,  was  born  in 
Paris  in  1606.  He  was  the  son  of  Etienne  de  La 
Hire,  an  historical  painter,  who  had  acquired  some 
reputation  in  Poland.  He  studied  under  him,  and 
from  the  pictures  at  Fontainebleau,  aiming  especi- 

40 


ally  at  the  style  of  Primaticcio.  On  his  return  to 
Paris  he  spent  some  time  in  the  school  of  Lallemand, 
then  in  great  reputation.  His  colouring  was  some- 
what cloudy,  but  otherwise  his  execution  was  good, 
although  he  inclined  to  mannerism.  One  of  his 
earliest  and  best  pictures,  '  The  Martyrdom  of  St. 
Bartholomew,'  is  in  the  church  of  St.  Jacques. 
In  the  Louvre  are  ten  of  his  works,  including  '  St. 
Peter  healing  the  Sick,'  a  '  mai '  painted  for  the 
cathedral  of  Notre-Dame  in  1635,  and  in  the  Belve- 
dere is  an  '  Ascension  of  the  Virgin.'  In  1637  he 
painted  another  'mai '  for  the  cathedral  of  Notre- 
Dame,  the  'Conversion  of  St.  Paul.'  He  painted 
also  a  large  number  of  portraits,  but  in  the  later 
years  of  his  life  he  confined  himself  to  landscapes 
and  small  easel  pictures.  La  Hire  was  one  of 
the  twelve  artists  who  in  1648  founded  the  Royal 
Academy  of  Painting  and  Sculpture.  He  died  in 
Paris  in  1656.  He  engraved  forty-six  religious 
and  mythological  subjects  and  landscapes,  many 
of  which  were  from  pictures  by  himself  which 
perished  during  the  troubles  of  1793  and  1794. 
Among  them  are  the  following  : 

The  Holy  Family,  with  St.  .Tohn  kissing  the  foot  of  the 

Infant  Jesus. 
The  Holy  Family  reposing,  surrounded  by  Angels. 
The  Holy  Family,  with  the  Palm-branch. 
The  Repose  in  Egypt. 
The    Crucifixion,  with  the  Virgin,  Magdalen,  and   St. 

John.     1639. 
The  Conversion  of  St.  Paul. 
The  Judgment  of  Paris. 
Venus  and  Adonis. 

DE  LA  HIRE,  Philippe,  the  son  of  Laurent  de 
La  Hire,  was  born  in  Paris  in  1640.  He  at  first 
devoted  himself  to  landscape  painting,  and  painted 
several  pictures  in  the  style  of  Watteau,  but 
afterwards  studied  astronomy,  and  attained  some 
eminence  in  that  branch  of  science.  He  died  in 
1719. 

DE  LA  HUERTA,  Caspar,  was  born  at  Cam- 
pillo  de  Altobuey  in  Cuenca  in  1645.  At  an  early 
age,  seeking  instruction  in  Valencia,  he  fell  into  the 
hands  of  Jesualda  Sanchez,  the  bustling  widow  of 
Pedro  Infant,  a  third-rate  painter,  who  continued  on 
her  own  account  her  husband's  school  for  the  manu- 
facture of  religious  pictures.  La  Huerta,  never- 
theless, attained  some  skill  as  a  draughtsman  and 
colourist,  and  married  the  widow's  well-dowered 
daughter.  Working  for  moderate  prices  he  found 
abundant  employment  in  the  neighbouring  churches 
and  convents.  For  the  Franciscans  he  painted  the 
'  Jubilee  of  the  Porciuncula,'  and  for  the  Domini- 
cans the  picture  which  long  served  as  a  veil  to  the 
wondrous  image  of  '  Our  Lady  of  the  Forsaken.' 
He  died  at  Valencia  in  1714.  The  Museum  of 
Valencia  possesses  a  pleasing  picture  of  '  Christ  and 
the  Virgin  enthroned,'  the  latter  with  the  bright 
complexion  peculiar  to  Valencian  beauty. 

DE  LA  HUERTA,  Manuel,  a  Spanish  monk, 
who  flourished  at  the  beginning  of  the  18th  century, 
produced  some  excellent  miniature  paintings  in  the 
monastery  of  La  Merced  Calziida  at  Valladolid. 

DE  LA  HYRE.     See  De  La  Hire. 

DE  LA  IGLESIA,  Francisco  Ignacio  Euiz. 
See  Kdiz  de  La  Iglesia. 

DE  LA  JOUE,  Jacques,  a  French  architectural 
painter,  was  born  in  1687.  He  became  a  member 
of  the  Academy  in  1721,  and  is  noticed  for  a 
'Perspective'  which  he  executed  in  1732  at  the 
Library  of  St.  Genevieve.  He  also  designed  the 
title-page  to  the  works  of  Wouwerman.     Etchings 


PAINTERS  AND  ENGRAVEKS. 


have  been  made  after  him  by  Cochin,  Tardieu,  and 
others.     He  died  in  Paris  in  1761. 

DE  LA  LIVE  DE  JULLY,  Angb  Laurent, 
Marquis  de  Removille,  a  French  amateur  en- 
graver, etched  several  subjects  after  Bouclier  and 
Greuze  ;  a  set  of  caricatures,  after  Saly  ;  and  some 
portraits.  He  was  born  in  Paris  in  1725,  and  died 
in  the  same  city  in  1779.  He  formed  a  fine  col- 
lection of  works  of  art  of  the  French  School,  but 
this  was  dispersed  in  1770,  in  consequence  of  its 
owner  having  lost  bis  reason. 

DELAMAIN,  Paul,  a  French  painter  of  Algerian 
subjects,  was  born  in  Paris  in  1821.  He  was  a 
pupil  of  Leblanc  and  of  Drolling,  but,  fascinated 
with  a  desire  to  visit  the  East,  he  left  the  studio  of 
the  latter  to  enlist  in  the  cavalry  for  service  in 
Algeria.  In  after  years,  when  he  could  escape  for 
a  time  from  Paris,  he  went  for  a  year  or  two  to  his 
favourite  haunts,  and  lived  on  horseback  and  under 
canvas.  Algeria  has  inspired  many  painters,  but 
not  one  of  them  has  represented  the  sentiment  of 
Arab  life  more  faithfully  than  Delamain.  He  died 
at  Ornans  in  1882. 

DE  LA  MAISON,  Nicolas.     See  Della  Casa. 

DE  LA  MARE-RICHART,  Flobent  I.,  a  French 
portrait  painter  and  engraver,  was  born  at  Bayeux 
in  1638,  became  an  academician  in  1677,  and  died 
at  Versailles  in  1718.  His  prints  have  a  resem- 
blance to  those  of  Lutma  and  Morin.  Robert- 
Dumesnil  has  described  twenty-one  prints  by  him, 
including  '  St.  Jerome,'  after  L.  de  La  Hire  ;  and 
two,  an  •  Ecce  Homo,'  and  the  Virgin,  after  his 
own  designs.  The  rest  are  fancy  heads  in  the 
style  of  Livens,  the  scholar  of  Rembrandt. 

DE  LA  MONCE,  Raimond  Ferdinand,  an  archi- 
tect and  designer,  was  born  at  Munich  in  1678,  and 
died  at  Lyons  in  1753.  He  is  chiefly  known  by  his 
architectural  works,  but  he  also  designed  the  plates 
for  the  beautiful  French  edition  of  Pope' s  '  Essay 
on  Man.' 

DELAMOTTE,  William,  a  landscape  painter 
in  water-colours,  was  born  in  1775.  He  studied 
for  a  time  in  the  schools  of  the  Academy,  and 
under  West.  His  works  appeared  at  the  Academy 
from  1796  to  1848,  and  also  at  the  Water- 
Colour  Society  from  1806  to  1808.  In  1803  he 
became  drawing-master  at  the  military  school  at 
Great  Marlow.  He  died  in  1863  at  Oxford,  where 
he  spent  the  greater  part  of  his  life.  His  works 
are  chiefly  outlined  with  the  pen  and  tinted.  At 
the  South  Kensington  Museum  there  are  by  him  : 

Bruges.     1819. 

On  the  Scheldt,  Antwerp  in  the  distance.     1819. 

Li^ge,  the  Bridge  of  Arches. 

Christ  Church,  Oxford,  from  Hinksey  Meadows. 

Canterbury.     1844. 

DE  LANE,  Solomon,  a  Scotch  landscape  painter, 
was  bom  at  Edinburgh  in  1727.  He  was  self- 
taught,  and  travelled  much  in  France,  Italy,  and 
Germany.  Several  of  his  pictures  appeared  at  the 
Royal  Academy  between  1771  and  1784,  after 
which  date  there  is  no  further  trace  of  him. 

DELANY,  Mary.     See  Granville. 

DE  LA  PEIGNE,  Hyacinthe,  (H.  Pegna,  or 
Peigna,)  a  painter  of  battles  and  an  etcher,  was 
born  at  Brussels  about  the  year  1700.  He  was  at 
first  engaged  in  the  French  service  as  an  engineer's 
artist  and  military  painter,  but  subsequently  he 
served  the  Sardinian,  and  lastly  the  Austrian 
Government.  He  was  living  at  Rome  when  in 
advanced  years,  and  died  later  than  1766.  The 
Imperial  Gallery  at  Vienna  possesses  two  '  Views 


of  the  Pont-Neuf  at  Paris '  by  him.  He  also 
engraved  an  '  Attack  of  the  French  upon  Col 
d'Assiette  in  Piedmont ; '  and  pictures  of  his  have 
been  engraved  by  C.  Franjois  and  A.  Tischler. 

DE  LA  PESTA,  Juan  Fernandez.  See  Fer- 
nandez DE  La  Pena. 

DE  LA  PENA,  Narcisse  Virgile  Diaz.  See 
Diaz  de  La  Pena. 

DE  LA  POINTE,  F.,  was  a  native  of  France, 
who  flourished  about  the  year  1678.  He  engraved 
a  plan  of  the  environs  of  Paris,  in  nine  sheets,  as 
well  as  some  views  of  the  palace  of  Versailles,  the 
latter  in  conjunction  with  Israel  Silvestre. 

DE  LA  PORTE,  Henri  Horace  Rolland.  See 
Eolland  de  La  Porte. 

DE  LA  QUEWELLERIE,  Guillaume,  a  native 
of  France,  was  probably  a  goldsmith.  He  engraved 
a  set  of  very  small  plates,  representing  ornamental 
crosses,  and  other  designs  for  jewellery.  They 
are  neatly  executed  with  dark  backgrounds,  and 
dated  1680. 

DELARAM,  Francis,  an  English  engraver,  was 
born  in  1590,  and  died  in  1627.  He  was  contem- 
porary with  Elstracke  and  the  Van  de  Passes,  and 
engraved  several  plates  in  the  neat  but  formal 
style  which  was  prevalent  at  that  time.  His 
portraits  are  his  best  works,  and  among  them  are 
the  following : 

King  Henry  VIII. 

Queen  Mary. 

Queen  Elizabeth. 

James  I.,  on  horseback,  with  a  view  of  London. 

Charles  I.,  when  Prince  of  Wales,  with  Richmond 
Palace  iu  the  background. 

Henry,  Prince  of  Wales. 

Frances,  Duchess  of  Richmond  and  Lennox. 

Henry  Percy,  Earl  of  Northumberland. 

James  Montagu,  Bishop  of  Winchester. 

John  Williams,  Bishop  of  Lincoln  (afterwards  Arch- 
bishop of  York),  with  Angels  playing  on  Musical 
In,struments. 

Sir  Henry  Montagu,  Chief  Justice  of  the  King's  Bench. 

Sir  Horatio  Vere,  with  an  armed  Soldier  on  each  side. 

Robert  Abbot,  Bishop  of  Salisbury. 

Sir  William  Segar,  Garter  King  at  Arms. 

Sir  Thomas  Gresham,  holding  a  Globe. 

George  Withers,  poet.     1622. 

DEL  ARCO,  Alonso,  born  at  Madrid  in  1625, 
was  a  disciple  of  Antonio  Pereda.  He  was  deaf 
and  dumb  from  his  birth,  and  was  called  '  El 
Sordillo  de  Pereda.'  He  was  an  eminent  painter, 
both  of  history  and  portraits.  Several  of  his 
pictures  are  mentioned  by  Palomino,  particularly 
the  '  Miraculous  Conception,'  and  the  '  Assumption 
of  the  Virgin,'  in  the  cloister  of  the  Trinitarios 
Descalzos  at  Madrid,  and  in  the  church  of  San 
Salvador  is  a  fine  picture  of  Santa  Teresa.  Cean 
Bermudez  enumerates  a  great  number  of  his  works 
in  the  churches  at  Madrid,  and  in  other  public 
buildings  throughout  Spain.  He  died  at  Madrid 
in  1700. 

DE  LA  RIVIERE,  Charles  Philippe  Auguste. 
See  Lariviere. 

DELAROCHE,  Hippolyte,  (or,  as  he  usually 
called  himself,  Paul,)  an  eminent  French  painter, 
was  born  in  Paris,  on  the  17th  of  July,  1797. 
He  devoted  himself  first  to  landscape  painting 
under  Watelet,  but  afterwards  took  to  history, 
and  entered  the  studio  of  Gros,  under  whom  for 
four  years  he  applied  himself  to  the  human  figure, 
and  soon  became  distinguished  by  the  rapid  pro- 
gress which  he  made.  He  soon  began  to  evince 
the  possession  of  original  views,  declaring  his 
dissent  from  the  hitherto  prevalent  "  classicism  " 

41 


A  BIOGRAPHICAL  DICTIONARY  OF 


of  the  French  School,  which  was  then  yielding 
to  the  Renaissance,  but  taking  up  a  position 
between  the  classic  and  the  romantic,  and 
labouring  to  create  a  style  in  harmony  with  the 
temper  and  habits  of  his  time.  It  was  in  1819 
that  Delaroche  exhibited  his  first  picture,  '  Naph- 
thali  in  the  Desert,'  which  he  painted  at  the  age 
of  twenty-two,  but  it  attracted  no  attention ; 
another,  exhibited  in  1822,  the  subject  of  which 
was  '  Jehoash  rescued  by  Jehoshabeath,'  was  more 
fortunate,  and  sufficiently  indicated  those  powers 
which  Delaroche  subsequently  developed  and  so 
judiciously  tempered.  In  1824  he  produced  three 
pictures,  which  won  for  him  a  gold  medal.  The 
first  represented  '  St.  Vincent  de  Paul  preaching  in 
the  presence  of  the  Court  of  Louis  XIII.  '  ;  the 
second,  '  Joan  of  Arc  examined  in  Prison  by  the 
Cardinal  of  Winchester '  ;  the  third,  '  Saint  Se- 
bastian.' The  first  and  second  of  these  works 
have  been  engraved,  the  second  being  almost  as 
well  known  in  England  as  in  France.  In  1827 
'  The  Capture  of  the  Trocadero '  appeared,  in 
a  work  which  had  been  commissioned  by  the 
Government,  and  for  which  he  received  the  cross  of 
the  Legion  of  Honour.  During  some  years  after 
this  period,  Delaroche  painted  only  what  our 
neighbours  call  "moyenSge"  subjects,  although 
the  tenn  is  scarcely  suitable,  as  comprehending 
even  those  that  come  within  a  century  or  two  of  our 
own  time.  In  1830  he  produced  '  The  Princes  in 
the  Tower,'  which  has  been  so  often  engraved  and 
lithographed,  and  which  induced  M.  Delavigne  to 
compose  his  tragedy  on  the  same  subject.  Another 
highly  successful  picture  was  '  Richeli'eu  on  the 
Rhone,  with  Cinq-iVIars  and  De  Thou ; '  as  also 
was  that  representing  'Cardinal  Mazarin  presiding, 
while  dying,  at  a  game  of  lansquenet.'  In  1831 
he  exhibited  the  most  impressive,  perhaps,  of  all 
his  works,  '  Cromwell  contemplating  the  remains 
of  Charles  I.,'  a  subject  well  known  by  the  en- 
graving. In  1832  he  became  a  member  of 
the  Institute.  In  1833,  under  the  ministry  of 
M.  Thiers,  Delaroche  was  commissioned  to  de- 
corate the  church  of  the  Madeleine,  for  which  a 
vote  of  public  money  had  been  passed,  but  on 
hearing  that  the  Administration  had  confided  part 
of  the  work  to  another  artist  he,  thinking  that  it 
should  be  by  one  hand  only,  returned  the  money 
advanced  and  resigned  the  task.  In  the  same  year 
he  was  appointed  a  professor  at  the  Ecole  des 
Beaux- Arts.  In  1834,  Delaroche  proceederl  to 
Italy,  and  at  Rome,  in  1835,  he  married  Anne  Elisa- 
beth Louise,  the  only  daughter  of  Horace  Vernet, 
who  was  then  director  of  the  French  Academy 
in  that  city.  This  lady  died  in  1843.  Delaroche 
was  amply  compensated  for  his  disappointment 
with  respect  to  the  Madeleine,  by  having  confided  to 
him  the  adornment  of  the  Amphitheatre  of  the  Ecole 
des  Beaux-Arts,  a  task  to  which  he  devoted  four 
years  of  assiduous  labour,  and  completed  in  1841. 
In  this  work  he  displayed  great  originality  of  con- 
ception, and  obtained  a  great  and  imposing  result  by 
very  simple  means.  Dramatic  in  his  general  tend- 
encies, with  a  mind  forming  images  the  most 
vividly  true  of  the  stirring  incidents  of  the  past, 
and  embodying  them  by  his  art  with  an  utter 
independence  of  preconceived  systems  of  painting, 
though  with  a  practical  perfection  arising  from 
earnest  study  of  previous  works,  we  are  not  sur- 
prised that,  where  others  would  have  rushed  into 
allegory,  he  seized  upon  the  real.  How  has  he 
accomplished  his  mission  ?  By  summoning,  at 
42 


his  potent  will,  the  chiefs  of  the  arts  in  past 
ages,  to  witness  the  triumphs  of  the  labourers 
in  this.  How  engrossingl}'  the  artist's  heart 
was  in  this  work  may  be  judged  by  some  cir- 
cumstances related  of  it.  Delaroche,  it  is  said, 
received  the  order  from  the  Minister  of  the 
Interior  to  paint  a  work  consisting  of  twenty-four 
figures,  for  which  he  was  to  receive  the  sum  of 
£3000.  He  supplied  the  sketch,  in  conformity 
with  this  agreement:  it  was  approved,  and  it 
was  arranged  that  lie  should  finish  the  picture  in  a 
year.  Subsequently  he  so  completely  altered,  or 
rather  enlarged,  his  plan,  that  he  introduced  into 
the  work  no  fewer  than  seventy-five  figures  :  and 
in  executing  it  he  occupied  no  less  than  four 
years  of  his  life.  It  would  have  been  only  just 
and  reasonable  that  his  pecuniary  recompense 
should  have  been  augmented  in  proportion  ;  but 
upon  a  proposal  to  that  effect  being  intimated 
to  the  painter,  it  was  immediately  declined. 
"  No,"  said  he,  "  of  my  own  will  I  did  what 
I  have  done ;  and  I  will  receive  nothing  beyond 
the  stipulated  sum."  He  added,  "and  I  shall  be 
amply  paid  for  my  labour,  inasmuch  as  I  have 
learned  more  from  the  execution  of  this  work, 
than  by  all  my  studies  that  preceded  it."  This 
was,  indeed,  true  patriotism — the  example  of  a 
great  mind.  This  work  may  be  divided  into  three 
portions.  In  the  centre,  elevated  on  a  throne,  are 
the  three  great  artists  of  antiquity — Apelles, 
Ictinus,  and  Pheidias.  Beneath  and  around  them 
are  the  Genius  of  the  Arts,  and  allegoric  figures  of 
Gothic  Art  (said  to  be  a  portrait  of  the  painter's 
wife),  Greek  Art,  Roman  Art,  and  the  Renaissanse. 
Upon  their  right  are  grouped  the  sculptors  and 
the  colourists, — Claude  Lorrain,  Ruisdael,  Potter, 
Titian,  Velazquez,  Rubens,  and  Rembrandt,  and 
further  on,  Paolo  Veronese,  Correggio,  Murillo,  and 
Antonello  da  Messina.  Upon  their  left  are  the 
architects  and  the  greatest  masters  of  Italian  and 
German  Art, — Michelangelo,  Raphael,  Leonardo, 
Holbein,  and  Diirer,  with  Poussin  at  the  extreme 
edge.  All  branches  of  art  find  representatives  in 
this  mighty  work.  It  is  a  mass  of  picturesque 
groups  and  yet  a  uniform  whole.  It  may  not  be 
uninteresting  to  give  a  complete  list  of  all  the 
figures  which  go  to  make  up  this  work  :  they  are 
named  in  order,  beginning  at  the  spectator's  left. 
Corregffio  J<^an  Goujon 

Taolo  Veronese  Celliui 

Antonello  da  Messina  Germain  Piloa 

Murillo  Puget 

Van  Eyck  Giovanni  da  Bologna 

Titian  Allegoric  figures  of  Gothic 

Terborch  Art,  Greek    Art,  Roman 

Rembrandt  Art,  and  the  Renaissance 

Van  der  Heist  Ictinus 

Rubens  Apelles 

Velazquez  Pheidias 

Van  Dyck  Delormo 

Michelangelo  da  Caravaggio     Peruzzi 
Giovanni  Bellini  Erwin  von  Steinbach 

Giorgione  Sansovino 

Ruisdael  Robert  de  Luzarches 

Potter  Palladio 

Claude  Lorrain  Brunellescbi 

Gaspard  Poussin  Inigo  Jones 

Vischer  Arnolfo  di  Cambio 

Pierre  Bonteins  Pierre  Lescot 

Luca  della  Robbia  Bramante 

Benedetto  da  Majano  Mansart 

Giovanni  Pisano  Vignola 

Baccio  Bandinelli  Fra  Angelico 

Donatello  Marc  Antonio 

Ghiberti  Edelinck 

Palissy  Holbein 


HIPPOLYTE  (OR  PAUL)  DELAROCHE 


[Louvre,  Paris 


THE  DEATH  OF  QUEEN  ELIZABETH 


PAINTERS  AND  KNGRAVERS. 


Le  Sueur 

Sebastiano  del  Piombo 

Orcagna 

Albrecbt  Diirer 

Leonardo  da  Vinci 

Domenicliino 

Fra  Bartolommeo 

Mantegna 

Giulio  Eomano 


Baphael 
Perugino 
Michelangelo 
Masaccio 
Nicolas  Pouasin 
Audrea  del  Sarto 
Cimabue 
Giotto 


The  '  Hemicycle '  has  been  finely  engraved  by 
Henriquel-Dupont.  During  its  painting,  Delaroche 
made  a  rapid  journey  to  Rome,  which  he  visited 
again  for  the  last  time  in  1843,  when  he  passed 
a  twelvemonth  there.  After  the  Revolution  of 
1848,  he  declined,  from  generous  scruples,  to 
accept  commissions  on  liberal  terms  for  certain 
proposed  works  at  Versailles,  the  Louvre,  the 
Invalides,  the  Palais  de  Justice,  and  other  public 
edifices,  refusing  alone  to  enjoy  the  emoluments  of 
his  profession,  whilst  his  comrades  in  art  were  neg- 
lected and  starving.  On  the  16th  of  December, 
1855,  a  disaster  occurred,  which  nearly  obliterated 
for  ever  the  greatest  work  of  this  noble  painter. 
On  the  day  appointed  for  the  distribution  of  the 
medals  in  the  Ecole  des  Beaux-Arts,  the  stage 
erected  for  the  ceremony  took  fire,  and  the  famous 
'  Hemicycle '  was,  it  seemed  at  first,  hopelessly 
destroyed.  Delaroche  contemplated  restoring  it 
himself,  but  he  was  prevented  by  his  death,  which 
occurred  in  Paris  on  the  4th  of  November,  1856.  It 
was  afterwards  restored  by  Robert-Fleury.  Besides 
historical  subjects  Delaroche  executed  many  por- 
traits of  great  merit.  During  his  life-time  two  only 
(the  Duke  of  Angouleme  and  Mdlle.  Sontag)  had 
been  publicly  shown.  When,  after  his  death,  his 
collected  works  were  exhibited,  none  excited  more 
praise  than  his  portraits.  The  most  famous  are 
those  of  M.de  R^musat,  the  Duke  of  Noailles,  Prince 
Adam  Czartoryski,  M.  de  Salvandy,  and  M.  Thiers. 
As  the  head  of  a  school  Delaroche  exercised  an 
important  influence  on  art — not  only  in  his  own 
country,  but  likewise  abroad.  He  numbered  among 
his  pupils  several  Englishmen,  including  Mr. 
Edward  Armitage,  R.A.,  and  other  foreigners. 

Delaroche  did  not  exhibit  at  the  Salon  after 
1837.  The  following  is  a  list  of  his  principal 
works  arranged  in  the  chronological  order  of  their 
execution  : 

1822.  Jehoash  saved  by  Jehoshabeath.     {Louvre,  but  not 

exhibited.) 
„      Filippo  Lippi. 

1823.  St.  Vincent  de  Paul  preaching  before  Louis  XIII. 

1824.  Joan  of  Arc. 

1825.  Children  surpri.sed  by  a  Storm. 

1826.  The  Death  of  Ago.stino  Carracci. 

„  The  Massacre  of  St.  Bartholomew :  Young  Caumont 
de  La  Force  saved  by  Du  Verdelet.  {Konigsbery 
Museum.) 

„      Flora  Macdonald. 

1827.  The  Death  of  President  Duranti.     (Painted  for  the 

Conseil  d^Etat.) 
„      The  Death  of  Queen  Elizabeth.     {Louvre.) 
„      The  Capture  of  the  Trocadero. 
1829.  Cardinal  Richelieu  on  the  Rhone,  with  Cinq-Mars 

and  De  Thou.     {Hertford  House. ) 
1330.  Cardinal    Mazarin   on   his   death-bed.     {Hertford 
House.) 
„      The  Children  of  Edward  IV.     {iMtvre.) 
1831.  Cromwell  opening  the  coffin  of  Charles  I.    {Nismes 
Museum.) 

1834.  The  Execution  of  Lady  Jane  Grey.    {Lord  Cheyles- 

more.) 
„      Galileo. 

1835.  The  Assassination  of  the  Duke  of  Guise.     (Duke 

d'A  umale.) 
„      The  Earl  of  Strafford  on  his  way  to  execution. 
{Duke  of  Sutherland.) 


1842 


1843. 


1853. 


1854. 
1855. 


1836.  Charles  I.  insulted  by  the  soldiers  ot   Cromwell. 

{Bridyewater  Gallery.) 

1837.  Napoleon  in  his  Study.     (Countess  of  Sandwich.) 

1838.  Portrait  of  Peter  the  .Great. 

1838-41.  The  Hemicycle.  (Ecole  des  Eeaux-Arts,  Paris.) 

1839.  The  Conquerors  of  the  Bastille  in  front  of  the  Hotel 

de  Ville.     (Destroyed  by  fire  at  the  Hdtel  de  Ville, 

Paris,  ill  1871.) 
La  Vierge  a  la  vigne.     (Destroyed    by  fire  at  Mr. 

Thomas  Baring^ s  in  1853.) 
The  Childhood  of  Pico  della  Mirandola.     {A'antes 

Museum.) 
Pilgrims  at  Rome. 

A  Mother's  Joys.     (Luxembourg  Museum.) 
„      Herodias. 

1844.  Portrait  of  Pope  Gregory  XVI.    (Versailles.) 
„      The  Little  Beggar. 

1845.  Napoleon  at  Fontainebleau.    (Leipsic  Museum.) 
„      The  Swing.     (Nantes  Museum.) 

1847.  Charlemagne  crossing  the  Alps.     ( Versailles.) 

1848.  Bonaparte  crossing  the  Alps. 

1851.  Marie  Antoinette  after  her  Condemnation. 

1852.  Napoleon  at  St.  Helena.    (Edward  VIL) 

„      The  Last  Prayer  of  the  Children  of  Edward  IV. 
„      Mater  Dolorosa.     (Liege  Museum.) 

Moses  exposed  on  the  Nile. 

The  Entombment  of  Christ. 

The  Last  Communion  of  Mary  Stuart. 

Beatrice  Cenci  going  to  E-xecution. 

Christ  in  the  Garden  of  Gethsemane. 
.,      A  Martyr  in  the  time  of  Diocletian. 

1856.  The  Girondists. 

„      The  Return  from  Golgotha. 
„       The  Virgin  in  Contemplation. 

1857.  The  Virgin  with  the  Holy  Women. 

The  '  (Euvre  de  Paul  Delaroche,'  published  in 
folio  in  1868,  with  a  biographical  notice  by  the 
Vicomte  Henri  Delaborde,  consists  of  a  series  of 
eighty-six  photographs  from  his  chief  paintings 
and  drawings,  with  a  descriptive  account  of  them 
by  Jules  Godd^.  An  exhibition  of  his  works  was 
held  in  the  Palais  des  Beaux-Arts  in  1858. 

DE  LA  ROSE,  Jean  Baptiste,  a  native  probably 
of  Aix  in  Provence,  was  a  marine  painter  who  in 
his  day  enjoyed  a  considerable  reputation.  He  was 
master-painter  at  the  port  of  Toulon  from  about 
the  year  1665  until  his  death,  which  appears  to 
have  taken  place  in  1687.  He  was  succeeded  as 
master-painter  by  his  son,  Pascal  de  La  Rose, 
who  died  at  Toulon  in  1746,  at  about  eighty  years 
of  age,  after  having  resigned  his  office  in  1731  to 
his  son,  Jean  Baftiste  de  La  Rose,  who  died  before 
him  at  Toulon  in  1740. 

DE  LA  ROUSSIERE,  Francois,  was  a  French 
engraver,  who  flourished  about  the  middle  of  the 
17th  century.  A  portrait  of  Michel  de  Castelnau, 
Ambassador  from  France  to  England  in  the  reign 
of  Elizabeth,  is  attributed  to  him  by  Le  Long. 

DE  LA  RUE,  Philibert  BenoIt,  a  French 
painter  and  etcher,  who  was  born  in  Paris  in  1718, 
was  a  pupil  of  Charles  Parrocel.  His  subjects  were 
battles,  landscapes,  genre  pictures,  and  portraits  of 
the  chief  persons  of  his  day.  He  also  etched  a 
large  number  of  plates,  principally  of  military 
scenes.  His  brother,  Louis  Felix  de  La  Rde,  who 
was  born  in  Paris  in  1720,  and  died  in  the  same 
city  in  1765,  was  a  sculptor,  who  also  designed 
and  etched  six  plates  of  Bacchanalian  subjects. 
The  two  brothers  are  often  confounded.  Both 
signed  their  works  D.  L. 

DE  LA  RUELLE,  Claude,  was  a  painter  and 
designer,  who  lived  at  Nancy  about  1611,  and  was 
court-painter  to  the  Dukes  of  Lorraine.  He  is  best 
known  by  his  drawings,  with  groups  of  figures,  for 
the  engravings  illustrative  of  the  funeral  ceremonies 
of  Charles  III.  and  the  accession  of  Henry  II. 

43 


A  BIOGRAPHICAL  DICTIONARY  OF 


DE  LAS  CUEVAS,  Eugenio,  the  son  and  scholar 
of  Pedro  de  Las  Cuevas,  and  the  half-brother  of 
Francisco  Canailo,  was  bom  at  Madrid  in  1613. 
He  was  chiefly  employed  in  painting  small  por- 
traits, by  which  he  gained  great  reputation  at  the 
Court  of  Spain,  and  was  appointed  by  Philip  IV. 
to  instruct  his  son  Don  John  of  Austria  in  drawing. 
He  died  at  Madrid  in  1667.  He  was  not  only 
a  painter,  but  also  a  poet  and  a  musician. 

DE  LAS  CUEVAS,  Pedro,  a  Spanish  painter,  was 
born  at  Madrid  in  1568.  According  to  Palomino, 
he  painted  several  pictures  for  private  collections, 
for  which  he  was  more  employed  than  for  public 
edifices.  He  gained,  however,  more  celebrity  by 
hia  academy  than  by  his  own  works.  Some 
of  the  most  distinguished  painters  of  the  time, 
such  as  Josef  Leonardo,  Antonio  Pereda,  Antonio 
Anias,  and  Juan  Careno,  were  educated  in  his 
school,  called  the  School  of  Madrid,  which  was 
distinguished  for  its  extraordinary  and  masterly 
colouring.     He  died  at  Madrid  in  1636. 

DE  LAS  MARINAS,  Henrique,  a  Spanish 
marine  painter,  whose  family  name  is  unknown, 
was  born  at  Cadiz  in  1620.  He  was  celebrated  for 
his  representations  of  scenes  of  embarkation  in  the 
bay  of  his  native  city,  which  he  executed  with  so 
much  truth  and  beauty  that  he  pleased  both  artists 
and  seamen.  He  is  praised  for  the  transparency 
of  his  water  and  his  aerial  gradations.  He  realized 
a  large  fortune,  and  indulged  himself  in  travelling; 
but  having  arrived  at  Rome  he  never  quitted  it, 
dying  there  in  1680.  His  pictures  are  still  sought 
after  by  amateurs,  but  it  is  uncertain  under  what 
name  they  are  sold  in  Italy. 

DE   LAS   ROELAS,  Jcan,  called  El  Clerigo 
BoELAS  and  El  Licenciado  Jdan,  and  by  Palomino 
Doctor  Pablo,  was  descended  from  a  noble  family, 
of   Flemish  origin.     He  was  born  at  Seville  be- 
tween the  years  1558  and  1560,  and  was  brought 
up  to  the  profession  of  physic,  in  which  he  had 
already  taken  a  degree,  when  an  inclination  for 
the  art  of  painting,  which  he  had  manifested  in 
the  early  part  of  his  life,  induced  him  to  devote 
himself  to  its  study,  and  he  travelled  to  Italy  for 
the  purpose  of  improvement.     He  went  to  Venice, 
where  he  studied  for  some  years.     Palomino  says 
that  he  was    a  scholar  of    Titian,  but  as  Titian 
died  in  1576,  when  Roelas  was  only  sixteen  years 
of  age,  it  is  more  probable  that  he  received  his 
instruction  from  a  disciple  of  that  great  master. 
On    his    return    to    Seville,   he   was    much    em- 
ployed in  the  churches  of  that  city,  where  there 
are  many  pictures  by  him,  which  have  been  com- 
pared to  the  works  of  Palma  and  Tintoretto.     To 
rich   and   harmonious   colouring,   which    he    had 
acquired  in  the  Venetian  School,  he  added  correct 
drawing  and  perfect  acquaintance  with  the  anatomy 
of  the  human  figure.     One  of  his  most  admired 
works  is  the  '  Martyrdom  of  St.  Andrew,'  in  the 
College  of  St.  Thomas.     He  went  as  a  canon  to 
Olivares  in  1624,  but  whether  he  ever  practised  as 
a  physician  is  not  stated.     His  pictures  are  very 
numerous    in    Seville.      His    masterpiece    is   the 
'  Death  of  St.  Isidore,'  in  the  church  of  San  Isidore ; 
another  fine   picture  by  him  is  the  '  St.  James,' 
in  the  chapel  of  that  saint  in  the  cathedral,  in 
which  the   saint   is   represented  riding   over   the 
Moors.     Cean   Bermudez  says   it   is  full  of  fire, 
majesty,    and    decorum.      Ford,    however,    says 
that  it  is  surpassed  by  the  picture  of  the  '  Con- 
ception,'  in   the  Academy,   and  by  three  in  the 
chapel  of  the  University  at  Seville.     Roelas  has 
44 


been  compared  with  Tintoretto  and  Carracci,  and  is 
certainly  the  best  of  the  Andalusian  painters.  It 
is  a  subject  of  regret  that  none  of  his  fine  works 
have  been  engraved,  as  he  excelled  in  design  and 
composition,  and  displayed  a  grandeur  of  form  and 
character  which  belong  only  to  the  greatest  masters. 
He  died  at  Olivares  in  1625. 

DELATOUCHE,  Jacqdes  Ignace,  a  French 
painter  of  miniatures  and  portraits,  was  born  at 
Ch41ons-6ur-Marne  about  the  commencement  of 
the  18th  century.  The  beautifully  executed  canons 
for  the  altar  of  the  church  of  Notre-Dame  at 
ChMons  are  almost  the  only  examples  of  his  work 
which  have  not  disappeared.  The  Chevalier  Dela- 
touche,  who  was  also  a  poet,  died  at  ChSlons  in 
1781. 

DE  LA  TOUR,  Elisabeth  M.  {nee  Simons),  was 
born  at  Brussels  in  1780.      She  painted  portraits 
and  scenes  from  popular  life,  and  in  1817  received 
the  prize  of  the  Antwerp  Society  for  the  Encourage- 
ment of  the  Fine  Arts.   She  was  still  living  in  1830. 
DE  LA  TOUR,  Maurice  Qcentin,  the  best  of 
French  artists  in  crayons,  was  born  at  St.  Quentin  in 
1704.     He  became  a  pupil  of  Spoede,  but  he  soon 
abandoned  painting  in  oil  for  drawing  in  crayons. 
Early  in  his  career  he  visited  London,  and  upon 
his    return   to    Paris    he    set   up    as   an   English 
portrait    painter.     The   first   works   "  en   pastel " 
which  he  sent  to  the  Salon  were  the  portraits  of 
Madame  Boucher  and  of  himself,  in  1737.     These 
created  a  great  sensation,  and  the  reputation  of 
the  artist  increased  with  each    succeeding  Salon. 
Joseph  Vernet  alone  shared  with  him  the  favour 
of  the  public.     Diderot  styled  him  a  magician,  and 
MM.  de  Goncourt  call  his  work  a  mngic  mirror, 
in  which  is  seen  all  the  talent  and  all  the  glory,  all 
the  wit  and  all  the  grace,  of  the  reign  of  Louis 
XV.     But  his  genius  shines  more  brilliantly  in  the 
Museum  of  his  native  town  than  in  the  Louvre. 
He  acquired  by  the  exercise  of  his  profession  a 
large  fortune,  which   he  employed  chiefly  in  the 
advancement  of  art.     La  Tour  became  an  acade- 
mician in  1746,  when  he  presented  a  portrait  of 
Restout,   and    subsequently    one    of    Dumont    le 
Remain.    Tluit  of  Restout  he  afterwards  retouched 
and  ruined.      Some   of  his   best  works   shared   a 
like  fate  when  age  liad  dimmed   his  sight  and  en- 
feeblf'd  his  hand.     He  exhibited  for  the  last  time  at 
the  Salon  of  1773.     Towards  the  close  of  his  life 
his  reason  left  him,  and  he  returned  in  1784  to  St. 
Quentin,  where  he  died  in  1788.    La  Tour  executed 
several  portraits  of  Louis  XV.  and  of  his  Queen, 
Marie  Leszczynska,  of  the  Dauphin  at  different 
ages,  and,  at  a  later   period,  of  the  Dauphiness. 
His  likenesses  were  considered  to  be  so  true  that 
when   Carle   van   Loo   painted   in    1747   the   fine 
portrait  of   Marie  Leszczynska,  which   is  now  in 
the  Louvre,  he  consented  to  spare  the  Queen  the 
trouble  of   sitting  by  painting   the  head   from  a 
drawing  by  La  Tour.     Some  of  his  works  were 
of  large  dimensions,  but  his  masterpiece  was  the 
magnificent  drawing  of   Madame  de  Pompadour, 
which  adorned  the  Salon  of  1755,  and  is  now  the 
chief  ornament  of  the  collection  of  crayon  drawings 
in  the  Louvre.     He  received  for  it  the  large  sum 
of  24,000  francs. 

The  Museum  of  St.  Quentin  possesses  eighty-five 
of  La  Tours  works,  among  which  are  some  of 
the  highest  quality.  There  are  fifteen  of  his  draw- 
ings in  the  Louvre,  and  others  in  the  Dresden 
(Tallery,  and  in  the  Museums  of  Dijon  and  Valen- 
ciennes.    An  excellent  monograph  on  him  is  con- 


PAINTERS  AND  ENGRAVERS. 


tained  in  MM.  de  Goncourt's  'Art  du  xviiime 
eiecle.  A  statue  by  Langlet  has  been  erected  in 
luB  honour  at  St.  Quentin.  R.E  G. 

DE  LA  TRAVERSE, Charles  Francois,  a  French 
painter,  born  in  Paris,  waa  a  schohir  of  Boucher. 
He  was  sent  to  Rome  with  a  pension  from  the 
Crown  to  pursue  his  studies  for  six  years,  and 
afterwards  went  to  Naples  to  explore  the  excava- 
tions at  Herculaneum.  From  thence  he  went  with 
the  Marquis  of  Osuna  to  Madrid,  and  resided  there 
for  many  years.  He  was  not  employed  on  any  public 
work,  but  painted  many  small  pictures  for  indi- 
viduals. These  consisted  of  landscapes  and  flower- 
pieces,  which  he  painted  more  in  accordance  with 
the  style  of  the  Flemish  than  of  the  Spanish  School, 
especially  in  colour.  He  painted  an  allegory  in 
honour  of  the  birth  of  an  Infanta  of  Spain,  which 
was  engraved  by  Carniona.  but  it  did  not  procure 
him  any  royal  favour.  He  returned  to  Paris,  where 
he  died  .in  1778. 

DELATRE,  Jean  Marie,  a  French  engraver,  was 
born  at  Abbeville  in  1746.  He  came  to  England 
in  1770,  and  worked  under  Bartolozzi.  He  en- 
graved in  the  chalk  style  after  Angelica  KaufEmann, 
Wheatley,  Stothnrd,  and  Hamilton.  He  also  fur- 
nished illustrations  for  Bell's  'British  Poets,' and 
there  is  a  good  plate  by  him  after  Guercino's  '  St. 
Cecilia.'  He  went  to  law  with  Copley  in  1801,  and 
gained  a  verdict  for  600  guineas.  He  died  in 
reduced  circumstances  at  Fulham  in  1845,  within  a 
ifw  months  of  completing  his  hundredth  year. 
'  DELAUNAY,  (or  De  Ladnay,)  Nicolas,  "the 
engraver  par  excellence  of  the  French  School  of 
the  eighteenth  century."  Born  in  Paris  1739. 
His  first  master  was  L.  Lempereur.  He  married 
in  1768 ;  his  wife  died  in  giving  birth  to  his  only 
child,  a  daughter,  in  1770.  After  her  death  he 
went  to  La  Havre,  and  there  worked  under  the 
name  of  De  Valnay.  He  was  received  at  the 
Academy  on  August  28,  1789,  his  reception  works 
being  portraits  of  S(5bastien  le  Clerc,  fils,  and  J.  B. 
F.  de  Troy.  He  was  also  elected  a  member  of  the 
Royal  Danish  Academy.  He  had  many  pupils, 
one  of  them,  F.  Huot,  has  left  a  profile  likeness  of 
his  master.  He  died  March  22,  1792.  It  has 
been  said  of  him,  "  None  drew  better,  none 
interpreted  better,  no  one  prepared  his  plates  with 
greater  care,  nor  worked  them  up  with  greater 
brilliance,  nor  finished  them  with  more  perfect 
harmony."  His  larger  plates  and  his  elegant 
vignettes  are  equally  admirable.  He  is  chiefly 
remarkable  as  the  interpreter  of  Fragonard, 
Badouin,  and  Lavreince.  Bachaumont  says,  "His 
graver  was  as  fertile  as  it  was  extended  and  gay." 
Among  his  works  were  : 

March  of  Silenus  ;  after  Ruhens.     1777. 
Le  Cocu  Imagiuaire ;  after  3Ioreau.     1773. 
Happiness  of    the   Home   (1779),   and  The  Beloved 

Child  (1785)  ;  after  Le  Prince. 
Portraits  engraved  for  the  Caziu  Collection :  Boileau, 

La  Fontaine,  Voltaire,  J.  B.  Rousseau,  Rabelais,  and 

others;  after  Murilfhr.     1791. 
The  Pleasure  Party;  after  H'emix.     1783. 
Les  Soins  tardifs  ^ 

La  Sentinelle  en  defaut  I      .^^^  Badouin.     1785-88. 
L  Epouse  indiscrete  C    -^ 

Le  Carquois  6puis6  / 

Le  Billet  doux  -v 

La  Consolation  de  I'Absence  Ufler  Lavreirice.  1785-88. 
L  Heureux  Moment  Y  •' 

Qu'eu  dit  I'Abbe  I 

Le  S^ducteur  ■' 

Le  Petit  Joiir ;  after  Freud enherg.     1780. 
Portrait  of  Louis  XV. ;  after  Moreau. 


after  Fragonard. 
1787-91. 


Le  Chiffre  d' Amour 

Le  Serment  d'Amour 

La  Bonne  Mere 

Les  Hasards    Heureux    (*The 

Swing,'  IVallace  Collection) 
L'Education  fait  tout 

And  Jive  others. 

His  vignettes,  which  are  most  striking  for 
delicacy  and  high  finish,  were  : 

For  '  Chefs  d'CEuvre  d'AntiquitS,'  3Tarmontel,  1773. 

Le  Triomphe  de  Bacchus  et  d'Erigone  ;  after  Cochin. 

L'Abeille  Jiistifiee     '\ 

La  Fause  Pudeur      V  after  C.  D.  J.  Eisen. 

Les  Jaloux  Trompes  j 

DELAUNAY,  (or  De  Launay,)  Robert,  brother 
and  pupil  of  Nicolas  Delaunay.  Born  in  Paris 
1754.  He  was  appointed  engraver  to  the  Galleries 
of  the  Palais  Royal.  His  work  lacks  the  brilliance 
and  perfection  of  his  brother's.  He  died  in  Paris 
April  20,  1814.     Among  iiis  works  are  : 

Les  Adieux  de  la  Nourrice,  and  four  others ;  after  Auhry. 

Les  Soins  Merites  (washing  a  pet  dog !) ;  after  Lavreince, 

Le  Malheur  imprevu  ;  after  Grettze. 

Les  Adieux  ;  after  Moreau.     \111. 

J'y  passerai ;  after  Borel.     1785. 

Many  portraits ;  the  best,  J.  J.  Rousseau. 

Many  vignettes,  including  '  Ex  Libris  Duch6'  (1779),  and 
'  Hero  et  Li5andre'  (1784). 

DELAUNE,  firiENNB,  (Deladlne,  or  Da  Ladne,) 
e  French  engraver,  was  born  in  Paris,  or  more 
probably  at  Orleans,  in  1518.  He  commenced  his 
career  as  an  engraver  of  medals,  and  is  said  to 
have  been  helped  by  Benvenuto  Cellini,  who  was 
at  that  time  living  in  Paris.  He  afterwards  en- 
graved many  prints  after  Raphael,  and  the  Italian 
masters  of  Fontainebleau,  and  still  more  after  the 
designs  of  his  son  Jean,  with  whom  he  passed  the 
greater  part  of  his  life  at  Strassburg.  His  style  was 
formed  upon  that  of  the  Little  Masters  of  Germany. 
He  died  at  Strassburg  in  1595.  I*;tienne  Delaune 
waa  one  of  the  most  famous  designers  of  gold- 
smith's work  of  his  time.  There  are  six  of  his 
designs  in  the  Louvre  ;  two  of  them  are  for  circular 
dishes  representing  the  Histories  of  Moses  and  of 
Samson.  His  prints,  which  are  generally  small, 
are  very  numerous :  they  are  executed  entirely 
with  the  graver,  with  great  dexterity  of  handhng, 
anil  are  very  highly  finished.  He  copied  some  of 
the  prints  of  Marc  Antonio  with  success.  He  usually 
marked  his  prints  with  the  initial  of  his  Christian 
name,  S.,  or  S.  F.,  or  S-  fecit,  but  sometimes 
Stephanus,  fecit.  His  works  are  described  in 
Robert-Dumesnil's  '  Peintre-Graveur,' vol.  ix.  The 
following  are  the  principal : 

A  set  of  thirty  Subjects  from  the  Old  Testament. 

A  set  of  eighteen  Mythological  Subjects ;  oval,  very- 
small. 

The  Twelve  Months  of  the  Year  ;  circular. 

Jupiter,  Neptune,  Mercury,  and  Ceres  ;  four  circular 
plates. 

Four  Subjects  from  Ancient  History  ;  oval. 

The  Four  Monarchies  ;  oval. 

Four  plates  of  Rural  Occupations  ;  oval. 

The  Three  Graces. 

David  and  Goliath  ;  after  Marc  Antonio. 

The  Murder  of  the  Innocents  ;  after  the  same. 

The  Martyrdom  of  St.  Felicitas  ;  after  the  same. 

The  Rape  of  Helen  ;  after  the  same. 

The  Brazen  Serpent ;  after  Jean  Cousin.  This  is  one  of 
his  largest  prints. 

DE  LA  VALLBE,  Etienne,  a  French  historica. 
painter,  was  born  at  Rouen  in  1740,  and  became  al 
Paris  a  pupil  of  Descamps  and  of  Pierre.  He  went 
to  Rome,  where  he  assumed  the  name  of  LavallAe- 

45 


A   BIOGRAPHICAL   DICTIONARY   OF 


PoussiN,  and  produced  landscapes  in  Poussin's  style. 
He  became  a  member  of  the  Academy  in  1789, 
and  died  in  Paris  in  1793.  Some  of  his  works  are 
in  the  Museum  of  Alen^on.  Guyot  engraved  after 
him  some  plates  of  Arabesques  for  the  decoration 
of  rooms. 

DE  LA  VILLA-AMIL,  Geronimo  Pekez.  See 
Pbrez  de  i.a  Vili,a-Amil. 

DEL  BARBIERE,  Alkssandro.     See  Fei. 

DEL  BARBIERE,  Domenico,  called  Domenico 
FlORENTiNO,  a  painter,  sculptor,  and  engraver,  was 
born  at  Florence,  about  tlie  year  1506.  French 
documents  mention  bim  by  the  surname  of  Ricoveri. 
He  was  a  disciple  of  Rosso,  whom  he  followed  to 
France,  when  that  master  was  invited  by  Francis 
I.  to  decorate  the  palaces  of  Fontainebleau  and 
Meudon,  in  which  works  Domenico  gave  him  much 
assistance.  Vasari  says  that  he  was  the  best  of  all 
the  pupils  of  Rosso.  He  was  also  employed  after 
the  death  of  Primaticcio  to  execute  some  frescoes 
after  the  designs  of  that  master.  Subsequently  to 
1562  he  retired  to  Troyes,  where  he  painted  works 
for  the  churches,  and  there  he  was  buried  in  St. 
Pantaleon.  Domenico  del  Barbiere  has  also  left  us 
some  excellent  engravings.  He  has  sometimes 
been  confounded  with  the  French  engraver  Domin- 
ique Barriere,  who  lived  about  a  century  later  ;  but 
the  style  of  the  latter  is  so  different  from  that  of 
Barbiere,  that  the  mistake  will  easily  be  discovered. 
He  sometimes  signed  his  plates  with  his  name, 
Domenico  del  Barbiere;  sometimes  with  Domen- 
ico Fiorentino  ;  and  sometimes  marked  them  witli 
the  initials  D.  F.  We  have  the  following  prints 
by  him : 

'  Gl oria,'  standing  on  a  Globe,  and  holding  two  Trumpets ; 

after  Rosso. 
The  Holy  Family. 

The  Penitent  Magdalen  ;  after  Titian. 
Cleopatra. 

The  Martyrdom  of  St.  Stephen. 
AmphiarauB  with  hie  horses  and  chariot  swallowed  up 

in  the  earth  ;  after  Jiosso. 
Venus,  Mars,  and  Cupid  ;  after  the  same. 
An   ornamental    Cartouche,   in   which    is   represented 

Soldiers  leaving  a  camp  ;  an  etching;  after  the  same. 
Two  Anatomical  Figures,  and  two  Skeletons ;  after  the 

same. 
A  Banquet ;  after  Frimatiecio. 
A   Group  of   Saints  ;    from   the   '  Last  Judgment '  of 

Mtcheiauf/elo. 
A  Group  of  Angels  ;  from  the  same. 

DEL  BARCO,  Alonso,  a  Spanish  landscape 
painter,  was  born  at  Madrid  in  1645.  He  was  a 
scholar  of  Antolinez,  and,  according  to  Palomino, 
painted  landscapes  with  great  success.  Many  of 
his  works  were  in  the  palaces  and  private  collections 
at  Madrid,  in  which  city  he  died  in  1685. 

DEL  BARCO,  Garcia,  a  Spanish  painter  of 
Avila,  was  employed  in  1476,  with  Juan  Rodriguez, 
by  the  Duke  of  Alva,  to  execute  '  Obra  Morisca,'  or 
Moorish  stucco-work,  in  his  palace  of  Barco  de 
Avila. 

DEL  BARRANCO,  Bernardo  Martinez.  See 
Martinez  del  Barranco. 

DEL  BASTARO,  Giuseppe,  was  a  native  of 
Rome,  who,  according  to  Baglione,  flourished  dur- 
ing the  pontificate  of  Urban  VIII.  (1623—1644). 
He  painted  for  the  churcli  of  Santa  Maria  Maggiore 
an  'Assumption  of  the  Virgin,'  and  for  San  Giro- 
lamo,  a  '  Descent  from  the  Cross,'  and  the  '  Death 
of  St.  Jerome.' 

DEL  BRESCIANINO,  Raffaello  and  Andrea. 
See  Dei  Piccinelli. 

46 


DEL  BRIZIO,  Menichino.    See  Ambrogi. 

DEL  CAIRO,  II  Cavaliere.    See  Cairo. 

DEL  CASTAGNO,  Andrea.     See  Castagno. 

DEL  CASTILLO,  Agustin,  a  Spanish  painter 
in  oil  and  fresco,  was  born  at  Seville  in  1565.  He 
was  instructed  there  by  Luis  Fernandez,  but  after- 
wards took  up  his  residence  at  Cordova,  where  he 
died  in  1626.  In  the  cathedral  at  Cadiz  is  his 
'  Adoration  of  the  Kings,'  which  is  said  to  be  his 
finest  work. 

DEL  CASTILLO,  Fernando,  the  younger  brother 
of  Josef  del  Castillo,  was  born  at  Madrid  in  1740, 
and  studied  sculpture  with  Felipe  de  Castro.  He 
afterwards  studied  painting  in  the  school  of  Cor- 
rado  Giacuinto,  and  gained  a  prize  in  the  Academy 
in  1757.  Subsequently  he  was  appointed  painter 
to  the  royal  porcelain  manufactory  at  Buenretiro. 
He  died  at  Madrid  in  1777. 

DEL  CASTILLO,  Josef,  a  Spanish  painter  and 
engraver,  was  born  at  Madrid  in  1737.  His 
early  promise  of  excellence  in  the  art  of  paint- 
ing, under  Josef  Romeo,  induced  the  Minister  of 
State,  Josef  Carvajal,  to  send  him  to  Rome,  at 
his  own  expense,  to  study  the  great  masters  there 
under  Corrado  Giacuinto,  with  wlioin  he  returned 
to  Madrid  in  1753.  He  visited  Rome  a  second 
time  in  1758,  and  became  a  disciple  of  Preciado. 
On  his  return  to  his  native  city  in  1764,  the  king 
ordered  his  principal  painter,  Mengs,  to  give  work 
to  the  young  artist.  Mengs  did  so,  by  employing 
him  on  designs  for  the  royal  tapestries,  and  in 
painting  devotional  pictures  for  the  cells  of  the 
Royal  Convent  of  Salesas,  as  well  as  two  portraits 
of  Charles  III.  Castillo  made  drawings  for  the 
edition  of  '  Don  Quixote,'  published  by  the  Madrid 
Academy  ;  lie  etched  the  '  Supper  at  Emmaus,' 
after  Cerezo,  the  'Flight  into  Egypt,'  and  other 
works,  after  Luca  Giordano,  and  made  for  the  en- 
gravers small  copies  of  the  frescoes  in  the  Retiro. 
His  productions  are  to  be  met  with  in  Madrid,  at 
the  Eacorial,  and  in  various  churches,  convents,  and 
hospitals.     He  died  at  Madrid  in  1793. 

DEL  CASTILLO,  Jdan,  the  brother  of  Agustin 
del  Castillo,  was  born  at  Seville  in  1584.  He 
had  the  advantage  of  being  educated  under  Luis 
de  Vargas,  by  whose  instructions,  joined  to  his 
own  natural  ability,  he  rose  to  be  a  distinguished 
historical  painter.  His  principal  works  are  at 
Seville  and  Granada.  He  enjoys  the  reputation 
of  having  been  the  instructor  of  Mnrillo,  Alonso 
Cano,  and  Pedro  de  Moya.  He  died  at  Cadiz  iu  1640. 

DEL  CASTILLO  Y  SAAVEDRA,  Antonio,  a 
Spanish  portrait  painter,  was  born  at  Cordova  in 
1603.  He  was  the  son  of  Agustin  del  Castillo, 
from  whom  he  received  his  first  instruction  in 
art.  At  his  father's  death  he  became  the  pupil  of 
Francisco  Zurbaran,  who  was  at  that  time  in  high 
repute.  The  cathedral  of  Cordova  possesses  many 
paintings  by  him,  which  bear  ample  testimony 
to  his  merit ;  and  had  his  colouring  been  equal  to 
his  composition  and  design,  few  artists  of  his  own 
country  would  have  surpassed  him,  as  may  be  judged 
from  his  jiaintings  of  the  '  Assumption  of  the 
Virgin,'  and  'SS.  Peter  and  Paul.'  The  convent 
of  St.  Francis  at  Cordova  possesses  a  painting 
taken  from  llie  life  of  that  saint,  which  Castillo 
painted  in  competition  with  Juan  de  Alfaro,  under 
whose  name  in  this  work  will  be  found  the  story 
of  the  incident  which  led  to  its  execution.  In  1666 
he  revisited  Seville  at  the  time  when  Murillo  was 
at  the  zenith  of  his  fame.  On  seeing  the  pictures 
of  that  great  master  Castillo  was  so  struck  with 


PAINTERS   AND   ENGRAVERS. 


their  excellence  and  his  own  inferiority,  that  he 
cried  "  Ya  muri6  Castillo  I  "  and  from  that  time 
sank  into  a  state  of  despondency  that  hastened  his 
death,  which  took  place  at  Cordova  in  1667. 

DEL  CERAJUOLO,  Antonio,  a  painter  of 
Florence,  who  flourished  in  the  early  part  of  the 
16th  century,  was  a  pupil  of  Lorenzo  di  Credi,  and 
subsequently  an  assistant  of  Ridolfo  Ghirlandajo. 
He  executed  church  pictures,  amongst  which  was 
a  '  Crucifixion,  with  St.  Mary  Magdalen  and  St. 
Francis,'  now  in  the  Pitti  Palace ;  but  he  was 
especially  celebrated  for  his  portraits. 

DELCLOCHB,  Paul  Joseph,  a  Flemish  painter 
of  interiors  and  battle-pieces,  was  born  at  Namur 
in  1716.  He  was  the  son  of  Pierre  Delcloche,  an 
almost  unknown  painter,  from  whom  he  received 
his  first  lessons  in  art.  Whilst  still  very  young  he 
went  to  Paris,  but  returned  in  1747  to  Liege,  where 
he  painted  some  pictures  for  the  Salle  des  Etats 
and  the  churches.  His  small  pictures  are  full  of 
life  and  spirit,  but  his  larger  works  are  much  less 
successful.     He  died  about  1752. 

DEL  CONTE,  Jacopo,  a  Florentine  painter,  was 
bom  in  1510.  He  was  brought  up  in  tlie  school 
of  Andrea  del  Sarto.  Few  of  his  works  are  to  be 
met  with  in  Florence,  as  he  went  to  Rome  when 
he  was  young,  and  resided  there  until  hia  death. 
He  was  a  respectable  painter  of  history ;  but  is 
more  distinguished  for  his  excellence  in  portraits, 
of  which  he  painted  a  greater  number,  and  of  more 
distinguished  personages,  than  any  artist  of  his 
time.  He  visited  Rome  during  the  time  of  Paul 
IIL,  and  he  painted  his  portrait,  and  that  of  each 
succeeding  pontiff  until  Clement  VIIL,  in  whose 
pontificate  he  died.  His  principal  historical 
works  at  Rome  are,  '  St.  John  preaching,'  and  the 
'  Deposition  from  the  Cross,'  in  San  Giovanni 
DecoUato,  the  church  of  the  Florentines  ;  the 
'Dead  Christ,' with  several  figures,  in  the  Madonna 
del  Popolo ;  and  at  the  Cappuccini  on  Monte 
Cavallo,  a'Pieta,'  and  'St.  Francis  receiving  the 
Stigmata.'  He  also  painted  a  portrait  of  Michel- 
angelo.    He  died  at  Rome  in  1598. 

DELCOUR,  Jan  Gillis,  a  Flemish  painter  of 
religious  subjects,  was  born  at  Hamoir,  near  Liege, 
in  1632.  He  was  a  scholar  of  Geraert  Douffet, 
but  went  to  Rome  and  there  studied  for  a  long 
time  under  Andrea  Sacchi  and  Carlo  Maratti.  He 
made  excellent  copies  of  some  of  Raphael's  most 
celebrated  works,  which  still  exist  at  Li^ge,  where 
there  are  also  some  original  pictures  by  him  in  the 
churches.     He  died  at  Liege  in  1694. 

DEL  CROCIFISSAJO,  Girolamo.     See  Macchi- 

ETTI. 

DE  LEEUW,  Jan,  a  Dutch  engraver,  was  born 
at  the  Hague  in  1660.  In  conjunction  with  Jan 
Lamsveld,  he  engraved  the  portraits  for  Le  Yas- 
ser's '  Histoire  du  Regne  de  Louis  XIII.,'  published 
at  Amsterdam  in  1701.  We  have  also  by  him  the 
following  portraits : 

Carolus  Niellius,  D.  Theol. 
Jacob  Wilhelm  Imhof ,  Senator  of  Nuremberg. 
Joseph  Justus  Scaliger. 
John,  Duke  of  Marlborough. 

Abraham  Cowley;  for  the  edition  of  his  works  published 
in  1700. 

DE  LEEUW,  Thomas,  (or  De  Led,)  a  native 
of  Flanders,  was  in  France  from  1560  to  1612. 
He  was  a  pupil  of  Jean  Rabel,  and  afterwards  of 
Antoine  Caron,  whose  daughter  he  married.  He 
engraved  at  first  after  Cornells  Cort,  Sadeler,  and 
Wierix,  in   a   dry   manner,   but   devoted   himself 


afterwards  to  portraiture,  in  which  he  became 
one  of  the  most  distinguished  artists  of  his  time. 
He  is  supposed  to  have  died  about  1620.  M. 
Duplessis  has  described  the  works  of  this  engraver 
in  vols.  X.  and  xi.  of  Robert-Dumesnil's  '  Peintre- 
Graveur.'  They  amount  in  number  to  512,  of  which 
213  are  portraits,  and  are  generally  signed  with 
his  name.     Among  others  are  the  following: 

foktp.aits. 

Henry  III.,  King  of  France  and  Poland. 

Louise  de  Lorraine,  his  Queen. 

Henri  de  Bourbon,  Prince  of  Conde,  at  the  age  of  nine 

years. 
Cesar,  Duke  of  Vendnme,  aged  four  years. 
Bust  of  Henry  IV. ;  after  Bunel. 
Henry  IV. ;  after  Qnesnel, 
Marie  de  Medicis  ;  after  the  same. 
Mary,  Queen  of  Scotland  and  France. 
Charles  de  Bourbon,  Coiuit  of  Soissons. 
FraD9ois  de  Bourbon,  Prince  of  Couti. 
Charles  de  Lorraine,  Duke  of  Mayenue. 
Henri  de  Savoie,  Duke  of  Nemours. 
Henri  de  Montmorency,  Constable  of  France. 
Anne,  Duke  de  Joyeuse,  Admiral  of  France. 
Ch.arles  de  Gontaut,  Duke  of  Biron,  Marshal  of  France. 

SUPJECTS. 

The  Ecce  Homo,  with  Angels  bearing  the  Instruments 

of  the  Passion. 
Eighteen  plates  of  the  Life  of  the  Virgin. 
The  Twelve  Sibyls  ;  from  his  own  designs. 
Justice  rewarding  the  Labours  of  the  Husbandman; 

after  F.  Zuccheri. 
The  Coronation  of  Louis  XIII. ;  after  Qucsnel. 

DE  LEEUW,  WiLLEM,  a  Flemish  engraver,  was 
born  at  Antwerp  in  1610.  He  was  a  disciple  of  Pieter 
Soutniiin,  but  instead  of  following  the  neat,  finished 
style  of  that  artist,  his  etching  is  bold  and^  free. 
There  is  a  coarseness  and  want  of  harmony  in  his 
prints,  except  in  those  after  Nieulant,  where  he 
handled  the  point  with  the  greatest  fineness ; 
otherwise  liis  manner  is  well  adapted  to  some^  of 
the  subjects  he  engraved,  particulariy  his  hunting 
pieces  after  Rubens.  He  died  about  1665_.  The 
following  are  his  most  esteemed  prints,  which  are 
sometimes  signed  with  his  name,  and  sometimes 

marked  with  the  cipher  ^^^. 

Lot  and  his  Daughters;  after  Ruben). 

Daniel  in  the  Lions'  Den ;  after  the  same. 

The  Virgin,  supported  by  Angels ;  called  '  Mater 
Dolorosa';  after  the  same. 

The  Martyrdom  of  St.  Catharine;  after  the  same;  fine 
and  scarce. 

Four  large  plates  of  Hunting  scenes;  after  the  same. 
The  same  subjects,  viz.  the  Lion-hunt,  the  Boar-hunt, 
Hunting  the  Wolf,  and  the  Crocodile  and  Hippo- 
potamus, have  been  engr.aved  by  F.  Souiman. 

Tobit  and  his  Wife  ;  after  Rembrandt. 

David  playing  on  the  Harp  before  Saul ;  after  the  same. 

Rembrandt's  Wife  ;  after  the  same. 

A  Female  with  a  Veil;  inscribed  'Marianne  ;  halt- 
length  ;  after  the  same. 

St.  Francis  in  Meditation  ;  after  J.  Lievens. 

A  set  of  four  large  -LunAsciipes;  after  AdrtaenNieidani 
These  prints  are  in  a  more  finished  style  than  is  usual 
with  De  Leeuw,  and  are  scarce. 

DELEGORGUE-CORDIER,  John,  a  French  line- 
engraver,  was  bom  at  Abbeville  in  1781.  He 
engrav2d  the  'Toilet  of  Venus'  after  Albano, 
'.fflneas  and  Anchises,'  after  Domenichino,  and 
portraits  of  Napoleon  and  Josephine  after  Lebel, 
and  Madame  de  Sevigne  after  Nanteuil. 

DELEIDI,  LuiGl,  an  Italian  painter,  who  was 
bora  in  the  Bergamese  in  1774,  painted  landscapes 

47 


A  BIOGRAPHICAL   DICTIONARY  OF 


and  ornaments  which  are  particularly  happy  in 
their  grouping  and  colouring.  He  died  at  Bergamo 
ia  1853. 

DE  LELIE,  Adriaan,  was  born  at  Tilburg  in 
1755,  and  was  a  scholar  of  Peeters,  a  painter  of 
tapestries  and  ornaments,  and  afterwards  of  Quer- 
tenmont  at  Antwerp.  He  made  copies  of  man}' 
of  the  portraits  by  Rubens  and  Van  Dyck  at 
Diisseldorf,  and  also  of  historical  pictures  by 
Italian  and  Dutch  masters.  By  tlie  advice  of  Pro- 
fessor Camper,  he  established  himself  at  Amster- 
dam, where  he  painted  a  great  number  of  portraits 
and  cabinet  pictures  ;  among  the  latter  is  one  of 
the  celebrated  amateur  Jan  Gildemeester  showing 
his  collection  to  a  party  of  ladies  and  gentlemen, 
in  which  the  principal  pictures  are  readily  recog- 
nised. One  of  his  best  works  is  that  representing 
the  'Drawing  Academy'  of  the  Felix  Meritis 
Society  at  Amsterdam.  His  pictures  are  highly 
esteemed  in  Holland  and  Germany,  where  they 
are  to  be  met  with  in  the  best  collections.  He 
died  at  Amsterdam  in  1820. 

DE  LELIE,  Jan  Adriaan  Antonib,  who  was 
born  at  Amsterdam  in  1788,  was  instructed  in  art 
by  his  father,  Adriaan  De  Lelie,  and  by  Haan.  He 
excelled  in  painting  fruit-pieces  and  genre  pictures; 
and  also  practised  picture  restoring.  He  died  at 
Amsterdam  in  1845. 

DELEN.     See  Deeles. 

DE  LE  PASTURE,  Rogier.  See  Van  der 
Weyden. 

DELESTRE,  Jean  Baptists,  a  French  artist  and 
writer  upon  art,  was  born  at  Lyons  in  1800.  He  was 
a  pupil  of  Gros,  and  studied  also  water-colour  paint- 
ing and  sculpture,  but  after  a  time  he  forsook  the 
practice  of  art,  and  devoted  himself  to  its  history 
and  criticism.  He  was  a  radical  in  politics,  and 
took  an  active  part  in  the  revolution  of  1848.  He 
died  in  Paris  in  1871.  A  'Scene  during  the  erup- 
tion of  Vesuvius,'  by  him,  is  in  the  Museum  of 
Nantes.  His  principal  writings  were  '  Etudes  pro- 
gressives des  tetes  du  Cenacle  peint  a  Milan  par 
Leonard  de  Vinci,'  1827,  and  'Gros  et  ees  ouv- 
rnges,'  1867. 

DE  LETH,  Henprik,  was  a  Dutch  engraver, 
who  lived  at  Amsterdam,  where  he  published  in 
1729  a  series  of  views  of  Kennemerland,  which 
are  very  poorly  executed. 

DE  LEU.     See  De  Leeuw. 

DELF,  Coppin,  a  French  historical  painter,  wlio 
flourislied  in  the  15th  century,  and  became  painter 
in  ordinary  to  King  ReniJ  and  King  Louis  XI.  He 
executed  the  mural  paintings  in  the  churches  of 
St.  Martin  at  Tours,  St.  Maurice  at  Angers,  and 
St.  Peter  at  Saumur,  between  1456  and  1482. 

DELFF,  Jacob  Willemszoon,  'the  elder,'  a  por- 
trait painter  of  Delft,  is  known  by  a  picture  of  an 
'Archery-feast'  in  the  Hotel  de  Ville  at  Delft, 
dated  1592  ;  and  by  a  '  Reconciliation  of  Esau  and 
Jacob,'  in  the  Belvedere  at  Vienna,  bearing  the 
date  1584.  He  also  painted  '  The  Sportsman's 
Dinner,'  and  a  portrait  group  of  his  family.  Delif 
died  at  Delft  in  1611.  His  works  display  good 
conception  and  execution,  but  are  somewhat  heavy 
in  colouring. 

Jacob  Delff  had  three  sons,  Cornells,  Rochus,  and 
Willem.  CORNELIS  Dklff,  born  in  1571,  was  a 
pupil  of  Cornells  van  Haarlem,  and  distinguished 
himself  by  very  fine  pictures  of  still  life.  He  died 
in  1645.  Rochus  Delff  was  a  portrait  painter, 
and  a  pupil  of  his  father.  Willem  Delff  is 
noticed  below. 

48 


DELFF,  Jacob  Willemszoon,  '  the  younger,'  the 
son  of  Willem  Jacobszoon  Delff,  and  grandson  of 
the  elder  artist  of  the  same  names,  was  born  in 
1619  at  Delft,  where  he  afterwards  resided.  He 
was  highly  esteemed  and  much  patronized  by 
many  celebrated  personages  of  his  country.  He 
also  held,  with  great  credit  to  himself,  several 
important  civic  posts,  and  at  his  death,  which 
occurred  at  Delft  in  1661,  a  marble  monument  was 
erected  to  his  memory.  He  followed  the  style  of 
Rembrandt.  A  Man's  Portrait,  by  him,  is  in  the 
Rotterdam  Museum  ;  a  Female  Portrait  is  in  the 
Stadel  Institute  at  Frankfort ;  and  the  figure  of  a 
Boy  is  in  the  Liechtenstein  Gallery  at  Vienna. 

DELFF,  Willem  Jacobszoon,  was  a  Dutch  por- 
trait painter,  but  was  more  celebrated  as  an  en- 
graver. He  was  born  at  Delft  in  1580,  and  received 
his  instruction  in  design  from  his  father,  Jacob 
Willemszoon  DelfE.  He  practised  for  some  time 
in  the  style  of  his  father,  but  having  attempted  to 
engrave  some  plates  after  the  portraits  of  Miereveld, 
whose  daughter  he  married  in  1618,  his  success  was 
such  as  to  induce  him  to  abandon  painting,  and 
devote  himself  entirely  to  the  graver,  which  he 
handled  with  uncommon  freedom  and  precision. 
The  plates  he  executed  in  the  earlier  part  of  his 
life  are  more  neatly  finished  than  those  he  after- 
wards produced,  but  the  latter  are  engraved  in  a 
bold  open  style,  producing  a  fine  efiect,  and  the 
heads  are  finely  drawn.  His  plates  are  some- 
times signed  with  his  name,  but  at  other  times 

are  marked  with  the  cipher 


d)"'^ 


Delff  died  at  Delft  in  1638.  A  full  account  of  his 
works  will  be  found  in  Franken's  '  (Euvre  de 
Willem  Jacobszoon  Delff,' published  at  Amsterdam 
in  1872.    The  following  are  his  principal  portraits  : 

Charles  I.  of  England  ;  after  I).  3[yiens. 
Henrietta  Maria,  his  Queen  ;  afttr  the  same. 
Michiel  Miereveld,  painter  ;  ajter  Van  Dyck. 

PORTRAITS   AFTER   MIEREVELD. 

George  Villiers,  Duke  of  Buckingham. 

Jacob  Cats,  poet  and  philosopher. 

Hugo  Grotius,  Syndic  of  Rotterdam  ;  fine. 

Three  fine  Heads  of   William,   Maurice,   and  Henry, 

Princes  of  Orange. 
Gustavus  Adolphus.  King  of  Sweden. 
Frederick,  King  of  Bohemia,  Elector  Palatine.     1632. 
Elizabeth,  Queen  of  Bohemia.     1630. 
Wolfgang  William,  Duke  of  Bavaria. 
Ga^par,  Count  de  Coligni.     1631. 
Louise,  Countess  de  Coligni.     1627. 
Florent,  Count  of  Culenborch.     1627. 
Catharine,  Comitess  of  Culenborch.     1636. 
Philip  William,  Prince  of  Orange.     1628. 
Marco  Antonio  de  Dominis,  Archbishop  of  Spalatro. 
Sir  Dudley  Carleton,  Ambassador  at  the  Hague. 
Jan  Olden  Barnevelt.     1617. 
Abraham  van  der  Meer. 
Hans  De  Eies. 

Jacobus  Triglandus,  Professor  at  Leyden.     1636. 
Felix  De  Sambix,  writing-master  of  Antwerp. 

DELFINO,  Carlo  Claddio.     See  Dadphin. 

DEL  FIORE,  CoLANTONio.  See  Tomasi,  Niccola. 

DEL  FIORE,  Jacobello  or  Jacomello,  flour- 
ished between  1385  and  1439.  He  was  the  son  of 
Francesco  del  Fiore,  the  president  of  the  Venetian 
Guild  of  Painters.  His  early  paintings  have  disap- 
peared from  the  churches  of  Pesaro.  Jacobello 
was  elected  president  of  his  Guild  in  1415,  and 
held  that  position  until  1436.  In  1415  he  painted 
the  '  Winged  Lion  of  St.  Mark,'  now  in  the  Ducal 
Palace  ;  and  in  1421  he  was  commissioned  to  paint 


PAINTERS  AND  ENGRAVERS. 


for  the  Tribunal  of  the  "  Proprio  "  the  subject  of 
'Justice,  between  SS.  Michael  and  Gabriel.'  The 
'  Coronation  of  the  Virgin,'  ordered  in  1438  for  the 
cathedral  of  Ceneda,  is  still  there,  and  in  the  church 
of  the  Hospital  of  San  Lorenzo,  at  Sarravalle,  are 
frescoes  representing  scenes  from  the  lives  of  SS. 
Lawrence  and  Stephen,  though  now  much  injured 
by  time.  The  Venice  Academy  possesses  a 
'  Virgin,'  signed  by  Jacobello  in  1436,  and  many 
other  paintings  by  him  exist  in  the  private  and 
public  galleries  of  Venice. 

DELFOS,  Abraham,  a  Dutch  engraver,  was  born 
at  Leyden  in  1731.  He  engraved  after  Berchem, 
Teniers,  and  Brouwer,  but  his  works  are  very 
scarce.     We  have  by  him  : 

A  Landscape,  with  Figures  and  Animals ;  after  Berchem. 

A  Sea-port,  with  Shipping  ;  after  the  same. 

Several  Views  in  Flanders,  with  Boors  ;  after  D.  Teniers. 

DEL  FKATE,  Cecchino,  was  a  disciple  of  Era 
Bartolommeo,  but  no  painting  can  with  certainty 
be  attributed  to  him. 

DELGADO,  JnAN,  a  Spanish  painter,  was  estab- 
lished at  Madrid  about  the  commencement  of  the 
18th  century.  He  painted  a  picture  of  '  St.  Francis 
Xavier,'  in  the  Hermitage  of  Our  Lady,  near  the 
bridge  of  Segovia,  which  was  well  coloured,  but 
somewhat  mannered. 

DELGADO,  Pedro,  a  Spanish  painter,  was  born 
at  Orgaz,  where  he  painted  in  1529  for  the  Hermit- 
age of  the  Conception  two  large  pictures,  the  one 
representing  the  '  Virgin  surrounded  by  Saints,' 
and  the  other  the  '  Descent  from  the  Cross  ' :  they 
are  both  in  the  style  of  the  15th  century. 

DEL  GARBO,  Raffaellino.     See  Capponi. 

DEL  GESSI,  Ercolino.     See  Ruggieri. 

DEL  GOBBO,  Andrea.     See  Solario. 

DEL  GRANO,  Giorgio.     See  Gandini. 

DEL  GUASTA,  Ben VENUTO,  called  Benvenutgda 
Siena,  who  was  born  at  Siena  in  1436,  painted  much 
in  that  city.  His  earliest  knovim  work  is  an  '  Annun- 
ciation '  signed  '  Opus  Benvenuti  Joannis  de  Senis.' 
It  was  painted  in  1466,  and  is  in  the  church  of  St. 
Girolamo  at  Volterra.  Frescoes  by  Benvenuto  are 
in  the  Baptistery  of  Siena,  and  there  are  in  the 
Gallery  of  that  city  three  paintings  by  him.  The 
National  Gallery  has  a  '  Madonna  and  Child  en- 
throned,' with  side  panels.  The  date  of  his  death 
is  not  recorded,  but  he  was  still  living  in  1517,  for 
in  that  year  he  painted  the  baldacchino  of  the 
cathedral  of  Siena,  on  the  occasion  of  a  visit  of 
Pope  Leo  X.  to  that  city. 

DEL  GUASTA,  Girolamo,  the  son  of  Benvenuto 
del  Guasta,  was  born  in  1470.  He  painted  in  1508 
a  '  Virgin  of  the  Snow,'  which  is  now  in  the 
Oratory  of  St.  Catharine  in  San  Domenico  at  Siena, 
and  in  the  Academy  of  that  city  are  two  or  three 
other  pictures  by  him.  But  little  else  remains  of 
this  artist,  who  died  in  1524. 

DEL  HELE,  Isaak.     See  De  La  HiiLE. 

DELIEMAKER,NicoLAES,(orDeLiEMAECKERE,) 
surnamed  RoosE,  and  sometimes  called  Nicolaes 
RoosE,  a  Flemish  historical  painter,  was  born  at 
Ghent  in  1601.  He  was  the  son  of  Jacob  De 
Liemaker,  a  painter  upon  glass,  and  is  said  by 
Descamps  to  have  been  a  pupil  of  Markus  Geeraerts 
the  younger,  but  as  the  latter  joined  his  father  in 
London  in  1580,  it  is  most  likely  that  he  studied 
under  Otto  van  Veen  at  Antwerp.  He  attained  a 
high  rank  in  his  profession,  and  in  1625  returned 
to  Ghent,  where  he  died  in  1646.  The  Museum  of 
Ghent  and  the  churches  of  that  city  and  of  other 
towns  of  Flanders  possess  a  great  number  of  his 
VOU  II.  E 


works.  His  best  picture  is  the  '  Consecration  of 
St.  Nicholas,  Bishop  of  Myra,'  which  is  above  the 
high  altar  of  the  church  of  St.  Nicholas  at  Ghent. 

DELIGNON,  Jean  Louis,  a  French  engraver, 
was  born  in  1755.  He  executed  a  considerable 
number  of  book-plates  after  Moreau  and  others,  as 
well  as  some  plates  for  the  '  Galerie  du  Palais- 
Royal.'  His  best  work,  '  Le  Seigneur  chez  son 
Fermier,'  is  to  be  found  in  the  'Monument  du 
Costume.'     He  died  in  1804. 

DELIN,  Joannes  Josephus,  a  Flemish  historical 
and  portrait  painter,  was  born  at  Antwerp  in 
1774.  He  first  visited  the  Academies  of  Brussels 
and  Antwerp,  and  afterwards  continued  his  studies 
under  Vincent  in  Paris.  In  the  old  church  of  the 
Jesuits  at  Antwerp  there  is  a  picture  by  him 
representing  the  '  Purification  of  the  Virgin,'  and 
in  the  church  of  St.  Charles  Borromeo,  '  Simeon  in 
the  Temple.'     He  died  in  Paris  in  1811. 

DELL'  ABBATE  FAMILY. 

Olovanni  (?— 1569). 

Nlccola  (1612— 1671).       Pietro  Paolo  (?— 1676'). 

, \ : , 

Olullo  Camillo  (fl.  about  1660).         Cri«toforo  Camillo 

(fl.  about  1668).  (fl.  about  1670). 

Ercole  (1563?— 1613). 

Pietro  Paolo  (1592—1630). 

DELL'  ABBATE,  Ercole,  the  eldest  son  of 
Giulio  Camillo  dell'  Abbate,  and  grandson  of 
Niocolo,  was  born  at  Modena  about  the  year  1563. 
He  possessed  an  extraordinary  genius  for  the  arts, 
which  he  disgraced  by  the  depravity  and  intem- 
perance of  his  conduct.  Like  most  artists  of  that 
character,  his  works  were  the  productions  of  negli- 
gence and  haste.  He  painted,  in  concurrence  with 
Bartolommeo  Schedone,  some  pictures  representing 
scenes  in  the  Life  of  Hercules,  in  the  Council-hall 
at  Modena.  He  died  at  Modena  in  1613.  The 
Modena  Gallery  has  three  works  by  this  artist — an 
'Annunciation,'  a  '  Presentation  in  the  Temple,' 
and  a '  Birth  of  St.  John  the  Baptist.'  A  '  Marriage 
of  the  Virgin,'  in  the  same  gallery,  is  by  some 
attributed  to  Ercole  dell'  Abbate,  and  by  others  to 
his  son,  Pietro  Piiolo,  the  younger. 

DELL'  ABBATE,  Niccol6,  was  called  by  the 
Italians  Messer  Niccol6  or  Nicoolino.  He  was 
bom  at  Modena  in  1512,  and  is  said  to  have  studied 
under  his  father,  Giovanni  dell'  Abbate,  who  was 
a  modeller  in  stucco,  as  well  as  a  painter,  and  in 
the  school  of  Antonio  Begarelli,  an  able  sculptor, 
but  these  statements  are  destitute  of  any  proof ;  it 
is,  however,  supposed  by  many  that  he  had  the 
advantage  of  being  instructed  by  Correggio,  which 
supposition  is  supported  by  his  superior  knowledge 
of  foreshortening,  and  the  boldness  of  his  relief. 
Certain  it  is  that  the  works  of  Correggio  and 
Parmigiano  produced  a  great  effect  on  his  style. 
One  of  the  first  performances  which  brought  him 
into  notice  was  his  picture  of  the  '  Martyrdom  of 
St.  Peter  and  St.  Paul,'  painted  in  1547  for  San 
Pietro  at  Modena,  of  which  celebrated  work 
Vasari  takes  no  further  notice  than  to  remark, 
that  one  of  the  executioners  is  taken  from  a 
picture  of  Correggio  at  Parma  (the  '  Martyrdom  of 
SS.  Placidus  and  Flavia,'  now  in  the  Gallery  of 
that  city).  Dell'  Abbate's  '  Martyrdom  '  is  now  in 
the  Dresden  Gallery,  and  has  been  engraved  by 
Folkema.  He  afterwards  painted  twelve  pictures 
from  the  twelve  books  of  the  .dSneid,  formerly  in 
the  castle  of  Scandiano,  nine  of  which  are  now  in 

49 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  Modena  Gallery,  three  having  perished  by  fire 
in  1815,  and  they  are  alone  sufficient  to  establish 
his  reputation.  Lanzi,  who  was  well  acquainted 
with  their  merit,  says  "  that  in  the  correctness  of 
the  figures,  the  beauty  of  the  landscapes,  the 
architecture,  and  the  animals,  they  merit  every 
praise  that  can  be  bestowed  on  a  distinguished 
follower  of  the  style  of  Raphael."  Whilst  in  the 
prime  of  life,  Dell'  Abbate  went  to  Bologna,  where 
he  painted  in  a  portico  of  the  Leoni  Palace,  now 
the  Marchesino,  in  fresco,  an  '  Adoration  of  the 
Shepherds,'  and  in  the  Poggi  Palace,  now  the 
Instituto,  a  frieze,  representing  an  'Assembly  of 
young  Men  and  Women,'  which  was  perhaps  more 
suited  to  his  genius.  This  was  composed  and 
drawn  with  admirable  taste  and  elegance,  and  has 
been  engraved  by  Crivellari.  These  works  were 
the  admiration,  and  became  the  models,  of  the 
Carracci ;  and  Agostino  wrote  a  sonnet  in  honour 
of  the  painter,  in  which,  in  the  flowery  language  of 
poetry,  he  attributes  to  him  "the  symmetry  of 
Raphael,  the  sublimity  of  Michelangelo,  the  truth 
of  Titian,  the  greatness  of  Correggio,  and  the  grace 
of  Parmigiano."  Such  was  the  excellence  of  his 
work  in  fresco-painting,  that  he  is  said  never  to 
have  had  occasion  to  retouch  it  when  dry ; 
this  gave  an  uncommon  splendour  and  purity  to 
his  colouring.  In  1552  Priraaticcio  prevailed  on 
Deir  Abbate  to  accompany  him  to  the  court  of 
France,  as  the  most  efficient  coadjutor  he  could  find 
to  assist  in  the  important  works  he  was  about  to 
undertake.  Dell'  Abbate,  in  fact,  painted  most  of 
the  frescoes  from  the  designs  of  Primaticoio  in  the 
magnificent  gallery  at  Fontainebleau,  of  which 
more  particular  notice  will  be  found  in  the  account 
of  that  master.  After  the  death  of  Primaticcio,  he 
continued  to  be  employed  by  the  court  of  France, 
and  died  in  Paris  in  1571.  Of  his  numerous  fresco 
paintings,  but  few,  comparatively,  are  extant.  His 
oil  pictures  also  are  extremely  rare.  The  '  Rape  of 
Proserpine,'  formerly  in  the  Orleans  Gallery,  but 
now  in  the  collection  of  the  Duke  of  Sutherland,  is 
a  favourable  specimen  of  his  skill  in  landscape 
painting.  A  '  Holy  Family '  is  in  the  possession  of 
Lord  Scarsdale  at  Kedleston  Hall. 

Niccolo  deir  Abbate  had  three  sons,  Gitjlio 
Camillo,  Cristoforo,  and  Camillo,  all  of  whom 
followed  liim  to  France,  and  assisted  him  in  his 
work  at  Fontainebleau.  The  first-mentioned  worked 
about  1560-61;  the  second  from  1568  to  1570; 
and  Camillo,  who  waa  the  principal  assistant  of 
his  father,  about  1570. 

DELL'  ABBATE,  Pietho  Paolo,  'the  elder,' the 
brother  of  Niccolo,  was  a  native  of  Modena,  where 
he  lived  all  his  life  and  died  about  1575.  He  excelled 
in  painting  battle  pieces,  and  was  considered  un- 
equalled, in  his  time,  for  the  spirit  and  animation 
with  which  he  designed  horses  and  the  attacks  of 
combatants.  Some  of  the  works  of  this  painter 
are  in  the  Gallery  at  Modena. 

DELL'  ABBATE,  Pietro  Paolo,  'the  younger,' 
the  son  of  Ercole,  was  born  at  Modena  in  1592, 
and  died  there  in  1630.  He  painted  for  the  churches 
at  Modena  several  pictures,  which  are  spoken  of 
with  commendation.  The  Modena  Gallery  has  a 
'  Christ  in  the  Temple '  by  him. 

DELLA  BELLA,  Stefano,  an  Italian  engraver, 
called  in  France  Etienne  de  La  Belle,  was  born 
at  Florence  in  1610.  He  was  the  son  of  a  gold- 
smith, and  is  said  to  have  been  intended  for  his 
father's  profession,  but  having  shown  a  genius  for 
drawing,  he  was  placed  under  Cesare  Dandini  to 
50 


learn  painting.  Subsequently,  a  decided  inclination 
for  the  art  of  engraving  induced  his  father  to 
permit  him  to  become  a  pupil  of  Canta  Gallina, 
who  was  also  the  master  of  Callot.  He  at  first 
imitated  the  manner  of  Callot,  but  soon  abandoned 
it,  and  adopted  a  style  of  his  own.  No  artist  has 
handled  the  point  with  more  facility  and  finesse 
than  Delia  Bella.  His  execution  is  admirable,  and 
his  touch  spirited  and  picturesque.  He  designed  his 
subjects  with  infinite  taste,  and  his  plates  produce 
a  clear  and  brilliant  effect.  It  is  not  surprising 
that  some  of  his  prints  are  but  slightly  etched, 
when  we  consider  that  the  number  of  them 
exceeded  one  thousand  four  hundred.  He  visited 
Paris  in  1640,  where  he  engraved  some  plates  for 
Henriet,  the  uncle  of  Israel  Silvestre.  Cardinal 
Richelieu  employed  him  to  make  drawings  of  the 
siege  and  taking  of  the  towns  of  Arras  and  La 
Rochelle,  which  he  afterwards  engraved.  On  his 
return  to  Florence,  about  1650,  he  was  appointed 
by  the  Grand-Duke  instructor  in  drawing  to  his 
son  Cosmo.  He  died  at  Florence  in  1664.  The 
following  is  a  list  of  his  principal  works  : 

various  subjects. 

Portrait  of  Stefano  della  Bella,  in  a  Persian  costume  ; 

after  his  own  design. 
Sigismondo  Boldoni,  of  Milan. 
Mont-Joie  St.  Denis,  King  at  Arms  ;  very  scarce. 
Horatius  Gonzales  ;  oval ;  very  scarce. 
Ferdinand  II.,  Emperor  of  Germany. 
Bernardo  Eicci,  Buffoon  to  Ferdinand  II.,  on  horseback 

1637. 
St.  Anthony,  Archbishop  of  Florence.     (His  first  plate.) 
St.  Anthony  of  Padua,  mounted  on  a  monster  with  two 

heads. 
Jacob  and  Rachel  leaWng  Laban. 
Jacob's  Journey  to  Egypt. 
Battle  of  the  Amalekites. 
St.  John  the  Baptist,  with  a  lamb. 
St.  John  the  Baptist  getting  water  with  his  cup. 
The  Virgin,  with  the  Infant  Jesus  on  her  knee. 
The  Virgin,  with  the  Infant  Jesus  standing  on  her  knee. 
The  Virgin  suckHng  the  Infant  Jesus. 
The  Virgin  suckling  the  Infant  Jesus,  with  St.  EUzabeth 

and  St.  John. 
The  Virgin  sitting,  with  the  Infant  standing  on  her 

knee ;  oval. 
The  Virgin  suclding  the  Infant ;  after  Carracci. 
A  small  plate  of  the  Flight  into  Egypt,  St.  Joseph  lead- 
ing the  Ass. 
A  round  plate  of  the  Flight  into  Egypt,  with  the  heads 

of  Angels. 
The  Repose  ui  Egypt ;  a  round  plate. 
The  Repose  in  Egypt,  with  St.  Joseph  reading,  leaning 

against  a  tree. 
The  Holy  Family,  with  St.  John  and  St.  EHzabeth,  with 

a  flowerpot. 
The   Infant   Jesus  explaining  the   Scriptures   to   the 

Virgin  and  St.  Joseph  ;  very  rare. 
Effigie  del  glorioso  Martyre  Sto.  Benedetto ;  very  scarce. 
The  finding  of  the  miraculous  Image  of  our  Lady,  near 

Florence.     1633. 
The  Triumph  of  the  Church. 

St,  Prospero  descending  from  Heaven  ;  very  scarce. 
The  Tyrant  Phalaris  ordering  Perillus  to  be  put  into  the 

Brazen  Bull ;  after  Folidoro  da  Caravagijio.     1634, 
A  basso-reUevo,  antique  ;  after  the  same. 
Lucretia ;  after  Parmigiano. 

Three  Children  carrying  a  plateau  ;  after  Giddo  Rem. 
A  basso-rehevo,  antique,  a  woman  stopping  a  bull, 
Clovis  on  horseback,  carrying  off  Clotilda  ;  scarce, 
A  Seaman,  of  whom  a  beggar  is  asking  charity, 
A  Seaman,  with  his  hand  on  the  head  of  his  dog,  and 

other  figures, 
A  Child  teaching  a  dog  to  sit  up. 
Four  Turks,  half-length  figures. 
Three  Turks,  with  a  boy  and  a  negro, 
A  Pole,  with  his  battle-axe. 
A  Soldier,  and  s  Woman  on  horseback,  with  a  child. 


PAINTERS  AND  ENGRAVERS. 


A  Florentine  Sportsman,  with  liis  gun,  and  a  Girl 
spinning. 

A  Lady  holding  a  dog. 

Mount  Parnassus  ;  very  fine. 

An  Eagle  devouring  a  fowl,  with  its  wings  extended, 
and  below  two  horses,  and  a  number  of  spectators. 

The  Eock  of  the  Philosophers  ;  fine  and  scarce. 

The  Fair,  representing  a  Festival  on  the  Amo ;  oval. 
This  plate  was  long  attributed  to  Callot. 

Perspective  View  of  the  Catafalque  of  the  Emperor  Fer- 
dinand II.,  with  the  Arms  of  the  Medici. 

A  ThesisjOn  the  Canonization  of  Francesco  Solano.  1639. 

Plan  of  the  Siege  of  La  Eochelle. 

Plan  of  the  Siege  of  Arras. 

The  Eeposoir,  or  Fite  Dieu. 

View  of  the  Pont-Neuf  at  Paris.  (His  chef-d'mivre.) 
The  first  impressions  of  this  plate  are  without  the 
weathercock  on  the  tower  of  St.  Germain  I'Auxerrois. 

View  of  the  Castle  of  Sant'  Angelo. 

SETS    OF    PRINTS. 

Two  Landscapes ;  in  one,  a  peasant  carrying  a  basket  at 
the  end  of  a  stick  ;  in  the  other,  a  peasant  carrying 
a  package  on  his  head. 

Two  Landscapes ;  one  with  a  man  leading  dogs  ;  the 
other  with  a  man  leading  a  horse  laden  with  sheep. 

Six  Views  of  the  Port  of  Leghorn.     IGbo. 

The  Four  Seasons  ;  allegorical  figures  in  ovals. 

The  Four  Elements ;  Landscapes  and  Marines. 

Eight  Marine  Subjects,  in  the  style  of  Callot. 

Six  Plates  of  Vases. 

Six  Landscapes  ;  circular.     1656. 

Four  charming  Landscapes,  with  Figures. 

Four  Views  of  Eoman  Euins. 

Three  Battle-pieces  ;  large  plates.     1622,  1627,  1641. 

Eleven  Plates  of  Moors,  Hungarians,  Asiatics,  and 
Africans. 

Sixteen  small  square  plates :  Soldiers,  Hunters,  Fisher- 
men, Peasants,  Children,  &c.  (attributed,  by  some, 
to  Callot). 

Eighteen  ;  entitled  RaccoHa  di  varii  Capricci.     1646. 

Twenty-four  Views  of  Edifices ;  pubUshed  by  Israel 
Silvesire. 

Twenty-two  sketches,  &c.,  by  Stefano  della  Bella. 

The  Five  Deaths  ;  ovals.     (His  last  works.) 

The  Sixth  Death,  plate  begun  by  Della  Bella,  and 
finished  after  his  death  by  G.  B.  Galestrucci,  his 
scholar. 

DELLA  CASA,  Niccol6,  (or  Nicolas  de  La 
Maison,)  was  an  engraver  who  flourished  towards 
the  end  of  the  16th  century.  From  an  in- 
Bcription  on  one  of  his  plates,  he  appears  to  have 
been  a  native  of  Lorraine.  He  worked  entirely 
with  the  graver,  his  productions  being  after  the 
style  of  the  school  of  Marc  Antonio,  but  they  are 
not  of  a  high  class.     We  have  by  him  : 

Portrait  of  the  Emperor  Charles  V. ;  oval,  with  a  border 
copied  from  Enea  Vico  ;  inscribed  N.  D.  la  Casa 
Lotaringus,  fecit. 

Portrait  of  Baccio  BandinelU. 

Portrait  of  Henry  II.  of  France.     1547. 

Portrait  of  Cosmo  de'  Medici. 

A  plate  in  eleven  pieces  of  the  *  Last  Judgment '  by 
Michelangelo.  1543.  This  plate  is  supposed  to  be 
copied  from  a  work  of  Beatrizet.  an  artist  of  Lorraine, 
who  was  engraving  at  Eome  at  that  time. 

DELLA  CASA,  Pier  Antonio.     See  Bernabei. 

DELLA  CHIESE,  Giovanni,  who  was  living  at 
Lodi  in  the  15th  century,  was  one  of  the  artists 
called  by  Lodovico  Sforza  in  1490  to  decorate 
his  palace  of  the  Porta  Giovia  at  MUan.  No 
dates  are  known  of  his  birth  or  death.  He  and 
his  brother  Matteo  are  the  authors  of  the  '  Corona- 
tion of  the  Virgin,'  the  organ  screen,  and  other 
paintings  in  the  church  of  the  Incoronata,  Lodi. 
The  church  of  San  Lorenzo,  in  the  same  town,  also 
possesses  some  fragments  of  frescoes  by  Giovanni 
representing  the  'Nativity,'  &c. 


DELLA  CORNA,  Antonio,  who  lived  in  the 
15th  and  16th  centuries,  was  one  of  the  artists 
called  by  Lodovico  Sforza  to  decorate  the  Porta 
Giovia  Palace  at  Milan  in  1490.  No  dates  are  known 
of  his  birth  or  death.  The  Bignami  Collection, 
near  Cassal  Maggiore,  contains  a  picture  represent- 
ing a  murder  taken  from  the  Legend  of  St.  Julian, 
signed  by  Antonio  in  1478. 

DELL'  ACQUA,  Bernardino,  commonly  known 
as  Del  Aoua,  a  painter  of  Venice,  went  in  1587 
with  Pellegrino  Tibaldi  to  Spain,  and  executed 
under  his  direction  frescoes  in  the  Convent  of  the 
Escorial.  Carducho  mentions  Dell'  Acqua  as  an 
excellent  designer  and  a  clever  fresco  painter. 

DELLA  CROCK,  Teodoro.     See  Verkruys. 

DELLA  FRANCESCA,  Piero.  See  Dei 
Franceschi. 

DELLA  FRATTA,  Flori,  who  flourished  about 
1540,  and  died  young,  is  said  to  have  painted  the 
'  Last  Supper '  in  San  Bernardino  at  Fratta,  which 
is  executed  in  the  style  of  the  best  masters. 

DELLA  GATTA,  Bartolommeo,  was  probably 
born  at  Florence  in  1408,  and  died  in  1481.  He 
was  a  friar  of  the  Camaldolese  Convent  of  the 
Angeli,  at  Florence,  and  afterwards  became  abbot 
at  Arezzo,  where  he  covered  the  walls  of  the  monas- 
tery with  frescoes,  and  also  invented  an  organ  of 
pasteboard,  which  yielded  soft  and  perfect  tones. 
He  assisted  Signorelli  and  Perugino  in  their  paint- 
ings in  the  Sistine  Chapel  between  1479  and  1486. 
His  miniatures  on  vellum  are  considered  valuable, 
but  his  paintings  show  want  of  skill  as  a  colourist, 
although  clever  in  details  and  in  landscape.  The 
following  paintings  by  him  still  exist : 

Arezzo.  To^cn  Hall.     Two  panels   represent- 

ing  scenes  from  the 
Life  of  St.  Eoch. 

Castiglione  Fiorentino.  Colle-\^  7^^^^  ^^f  ^^'^\' 
oiata   r     ''"  Peter.  Paul, 

"        '  j      Julian,  and  Michael. 

Cortona.  S.  Domenico.  The  Assumption  of  the 

Virgin. 

DELL'  ALTISSIMO,  Cristofano.    See  Papi. 

DELLA  MARCA,  Giovanni  Battista,  called 
also  Lombardelli  and  II  Montano,  was  born  at 
Montenuovo  in  1532.  He  was  first  a  scholar  of 
Marco  da  Faenza,  and,  according  to  Baglione, 
visited  Rome  in  the  Pontificate  of  Gregory  XIIL, 
and  there  devoted  himself  to  an  imitation  of  the 
works  of  Raffaellino  da  Reggio,  whom  he  assisted 
in  some  fresco  paintings  in  the  Vatican.  In  the 
church  of  San  Pietro  Montorio  he  painted  a  series 
of  pictures  of  the  '  Life  of  St.  Francis ' ;  and  in 
Santa  Maria  de'  Monti,  the  '  Resurrection.'  There 
are  several  of  his  works  in  the  churches  at  Mon- 
tenuovo.    He  died  in  1587. 

DELL'  AMATRICE,  Cola.    See  Filotesio. 

DELLA  PORTA,  Bartolommeo.  See  Barto- 
lommeo. 

DELL'  ARCA,  Leonardo,  was  an  Italian  en- 
graver, who  flourished  about  the  year  1600.  He 
engraved  some  plates  of  ornaments  and  grotesque 
figures. 

DELL'  ASTA,  Andrea,  was  bom  at  Bagnuoli, 
near  Naples,  in  1673,  and  was  brought  up  in 
the  school  of  Francesco  Solimena.  After  passing 
several  years  under  that  master  he  went  to  Rome, 
where  he  studied  for  some  time,  and  introduced  into 
the  style  of  his  country  somewhat  of  an  imitation 
of  the  works  of  Raphael.  Amongst  his  best 
pictures,  executed  on  his  return  to  Naples,  were 
the  '  Nativity,'  and  the  '  Adoration  of  the  Magi,' 

51 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  the  church  of  Sant'  Agostino  de'  Scalzi.  He 
died  at  Naples  in  1721. 

BELLA  STRADA,  Giovanni.  See  Van  der 
Straet. 

DELLA  VECCHIA,  Pietko,  was  born  at  Venice 
in  1605,  and  was  brought  up  in  the  school  of  Ales- 
eandro  Varotari,  called  II  Padovanino.  He  did  not, 
however,  adopt  the  style  of  that  master,  but  applied 
himself  to  an  imitation  of  the  works  of  Giorgione 
and  Pordenone,  in  which  he  was  so  successful, 
that  some  of  his  pictures  have  been  mistaken  for 
the  productions  of  those  masters.  His  powers  were 
better  adapted  to  familiar  and  fancy  subjects  than 
to  the  dignity  of  history,  and  his  best  pictures  re- 
present armed  soldiers,  banditti,  and  corps-de-garde, 
which  he  painted  with  great  vigour  and  eilect.  His 
talent  in  imitating  the  works  of  the  old  masters  in- 
duced the  doge  and  senate  of  Venice  to  employ 
him  to  copy  in  oil  the  historical  works  in  mosaic 
which  are  in  the  church  of  St.  Mark,  wliich  he  did 
with  great  ability.  He  also  painted  for  the  same 
church  two  altar-pieces  of  his  own  composition, 
representing  the  '  Crucifixion,'  and  '  Our  Saviour 
driving  the  Money-Changers  out  of  the  Temple.' 
His  colouring  was  warm  and  tender,  and  he  was 
well  versed  in  the  principles  of  chiaroscuro.  He 
died  in  1678. 

DELLA  VIA,  Alessasdko,  was  an  Italian  en- 
graver, who  resided  at  Venice  about  the  year  17,S0. 
He  engraved  several  portraits,  which  are  very  in- 
differently executed,  and  a  plate,  representing  the 
'  Virgin  and  Infant  Christ,  with  St.  Sebastian  and 
other  Saints,'  after  Paolo  Veronese. 

DELLA  VITE,  Giovanni.     See  Miel. 

DELLA  VITE,  Timoteo,  called  by  Vasari 
Timoteo  da  Urbino,  was  the  son  of  Bartolommeo 
della  Vite  and  Calliope,  the  daughter  of  the  painter 
Antonio  Alberti  of  Ferrara,  in  which  city  he  was 
born  in  1469,  and  was  brought  up  as  a  gold- 
smith. From  1490  to  1495  he  was  in  Francia's 
workshop,  where  he  also  learned  to  paint,  and  then 
returned  as  master  to  Urbino,  where  he  practised 
his  art  for  fifteen  years.  In  1504,  at  the  instance 
of  Giampietro  Arrivabene,  Bishop  of  Urbino,  he 
painted  the  altar-piece  for  the  chapel  of  St.  Martin 
in  the  cathedral  of  that  city.  It  represents  Bishop 
Arrivabene  and  Guidobaldo  II.,  Duke  of  Urbino, 
kneeling  at  an  altar,  and  above  them  St.  Thomas  a 
Becket  and  St.  Martin.  For  the  cathedral  he  also 
painted,  about  the  year  1608,  a 'Magdalen,'  which 
is  now  in  the  Pinacoteca  of  Bologna  ;  and  for  the 
church  of  Sant'  Agata  the  'Virgin  Annunciate, 
between  SS.  John  the  Baptist  and  Sebastian,'  now 
in  the  Brera,  Milan.  In  1518  he  painted  the  'Noli 
me  tangere,'  for  the  Brotherhood  of  Sant'  Angelo 
Minore,  at  Cagli.  About  1519  he  went  to  Rome, 
where  he  worked  by  the  side  of  Raphael,  and  is 
thought  by  Passavant  to  have  executed  the  irescoes 
of  the  prophets  Daniel,  Jonah,  and  Hosea,  above 
the  Sybils,  in  the  church  of  Santa  Maria  della 
Pace,  and  is  said  by  Vasari  to  have  assisted  even 
with  the  Sybils.  In  the  Academy  of  St.  Luke  at 
Rome  is  a  panel  representing  '  St.  Luke  painting 
the  Virgin  and  Child  in  the  presence  of  a  Youth,' 
that  has  been  assigned  by  Messrs.  Crowe  and  Caval- 
caselle  to  Timoteo.  The  Berlin  Gallery  possesses 
a  '  Madonna  and  Child,  with  Saints,'  and  a  '  St. 
Jerome'  by  him.  He  died  at  Urbino  in  1523, 
leaving  a  son,  Pietro  della  Vite,  who  was  a 
painter  of  some  note. 

DELLE  BATTAGLIE,  II  Brescianino.  See 
Monti,  Francesco. 

52 


DELLE  BATTAGLIE, L'Obacolo.  See  Falcone. 

DELLE  BATTAGLIE,  Michelangelo.  See 
Cerqdozzi. 

DELLE  GIRANDOLE,  Bernardo.  See  Bdon- 
talenti. 

DELLE  GRECCHE,  Domenico.  See  Theoto- 
copdli. 

DELLE  LAME,  Biagio.     See  Pdpini. 

DELLE  MADONNE,  Cakluccio.   See  Maratti. 

DELLE  MADONNE,  Vitale.     See  Cavalli. 

DELLERA,  Giovanni,  an  Italian  historical 
painter,  was  born  at  Treviglio  in  1765.  He  was 
the  son  of  a  brazier,  but  his  predilection  for  art 
induced  him  to  go  to  Bergamo  and  become  a  pupil 
of  Francesco  Dagiii,  called  Capella.  In  1785  he 
went  to  Rome,  and  there  became  intimate  with 
Angelica  Kauffmann,  with  whom  he  painted  several 
pictures.  He  died  at  Florence  in  1798.  His  best 
work  is  the  '  Fainting  of  Queen  Esther,'  in  the 
church  of  Alzano  Mnggiore,  near  Bergamo. 

DELLE  VITI,  Giovanni.     See  Miel. 

DELLE,  Dello,  (an  abbreviation  of  Daniello,) 
the  son  of  Niccolo  Delli,  a  doublet-maker,  was  born 
at  Florence  about  1404.  In  1424  his  father  was 
condemned  to  death  for  high  treason,  and  fled  with 
his  sons  to  Siena,  from  whence,  about  1427,  they 
went  to  Venice,  wliere  they  remained  for  some 
time.  Dello's  name  was  registered  at  the  Painters' 
Guild  of  Florence  in  1433,  in  which  year  he  went 
to  Spain,  where  he  acquired  so  great  a  reputation 
by  the  practice  of  sculpture  and  painting  that 
he  attained  to  great  wealth  and  honour.  In 
1446  he  returned  to  Florence,  and  obtained  the 
recognition  of  his  title  of  Cavaliere,  and  in  the 
following  year  painted  some  of  the  stories  from 
Genesis  in  the  cloister  of  Santa  Maria  Novella. 
About  1448  he  went  back  to  Spain,  and  is  known 
to  have  been  still  living  between  the  years  1464 
and  1466.  He  was  a  personal  friend  of  Paolo 
Uccello,  who  painted  his  portrait  as  Shera  in  the 
fresco  of  the  '  Inebriety  of  Noah,'  in  the  cloister  of 
Santa  Maria  Novella. 

DELL'  OKTOLANO,  Giovanni.  See  Benvenuto. 

DEL   LUPINO.     See  Ldini. 

DEL  MAGRO,  Guglielmo.     See  Giraldi. 

DEL  MAZO  MARTINEZ,  Juan  Bautista.  a 
Spanish  painter,  was  born  at  Madrid  about  1610. 
He  was  educated  in  the  school  of  Velazquez,  whose 
daughter  he  afterwards  married,  and  whom  he 
succeeded  as  court  painter  to  Philip  IV.  He  is 
said  by  Palomino  to  have  excelled  equally  in 
history,  portraits,  and  landscapes ;  he  also  painted 
sea  pieces  and  views  of  towns,  but  hunting  pieces 
and  landscapes  were  his  best  works.  He  possessed 
extraordinary  talent  in  copying  the  works  of  his 
master,  as  well  as  those  of  Raphael,  Titian,  Tinto- 
retto, and  Paolo  Veronese:  and  was  much  employed 
by  Philip  IV.  in  copying  the  celebrated  Venetian 
pictures  in  the  royal  collection,  which  task  he  so 
skilfully  executed  that  his  copies  could  with  diffi- 
culty be  distinguished  from  the  originals.  He  died 
at  Madrid  in  1687.  There  are  two  portraits,  a  view 
of  Saragossa,  and  several  landscapes  by  him  in  the 
Madrid  Gallery. 

DEL  MONTE,  Deodato.     See  Van  der  Mont. 

DEL  MORO,  Angolo.     See  Angolo. 

DEL  MORO,  Giovanni  Battista.     See  MoRO. 

DEL  NERO,  Durante.     See  Alberti. 

DE  LOOSE,  Joannes  JosEPHDS,a  Belgian  painter 
and  writer  on  art,  who  was  born  at  Zele  in  1770, 
was  a  scholar  at  the  Ghent  Academy,  where  in 
1794  he  obtained  the  first  prize  for  drawing  from 


PAINTERS  AND   ENGRAVERS. 


the  model.  He  afterwards  studied  under  ITerreyns 
at  Mechlin,  and  painted  Scriptural  scenes  for  the 
churches  of  Ghent  and  other  places.  He  has  also 
left  a  number  of  portraits.  In  1812  the  Literary 
Society  at  Ghent  awarded  him  a  prize  for  his 
writings,  and  in  1820  he  received  a  medal  from 
the  Royal  Society  of  the  Fine  Arts  in  the  same 
city  for  his  '  Treatise  on  the  present  Position  of 
Painting.'     He  died  at  St.  Nicolas  in  1849. 

DELORME,  Antoine,  a  French  designer  and 
etcher  of  free  subjects,  was  born  in  Paris  in  1653, 
and  died  miserably  in  prison  in  1723. 

DE  LORME,  Anton,  who  was  born  at  Rotterdam 
in  the  17th  century,  and  was  still  living  in  1660, 
was  an  architectural  painter,  who  specially  devoted 
himself  to  the  interiors  of  churches  and  other  public 
edifices,  in  some  of  which  Terborch  painted  the 
figures.  His  works  are  very  rare,  and  excel  for  the 
perspective  and  the  illumination.  A  '  Church  In- 
terior by  candlelight'  (1645)  is  in  Warwick  Castle, 
and  other  'Church  Interiors'  are  in  the  Berlin, 
Munich,  and  Stuttgart  Galleries,  and  in  the  New 
York  Museum. 

DELORME,  Pierre  Claude  FRAN901S,  who  was 
born  in  Paris  in  1783,  studied  in  the  school  of 
Girodet,  and  afterwards  at  Rome.  He  distin- 
guished himself  as  a  painter  of  history,  and 
finished  the  paintings  in  the  chapel  of  the  Virgin 
in  St.  Gervais,  as  well  as  those  in  Notre-Dame  de 
Lorette,  in  Paris.  He  painted  in  the  style  of 
Girodet.      He  died  in  Paris  in  1859. 

DELORME  DU  RONCERAY,  Marguerite 
Louise  AmSlie,  a  French  amateur  engraver,  was 
born  in  Paris  in  1730.  We  have  some  neat  and 
spirited  etchings  by  her,  after  Bouchardon  and 
other  French  painters  ;  among  them  the  following : 

Venus  rising  from  the  Sea;  after Bauckardon;  finished 

with  the  graver  by  fit.  AuUn. 
The  Fountain  of  Grenelle,  at  Paris ;  six  plates ;  after 

the  same.     These  were  afterwards  finished  with  the 

graver  by  Tilliard  and  St.  Aubin. 
Head  of  St.  Paul ;  larger  than  life ;  after  the  cartoon 

by  Pierre,  for  the  church  of  St.  Eoch  at  Paris. 
View  of  the  Tower  of  Palmeraux ;  after  Cochin. 
A  Sultan  and  Sultana ;  after  S.  Picart. 

DEL  PACCHIA,  Gibolamo,  who  was  born  at 
Siena  in  1477,  was  the  son  of  a  Croatian  cannon- 
founder,  Giovanni  '  delle  Bombarde.'  After  study- 
ing in  his  native  city  and  in  Florence,  he  went  about 
1500  to  Rome,  and  a  few  years  afterwards  painted 
an  altar-piece,  which  has  since  perished,  for  the 
Ponrignano  Monastery.  He  returned  to  Siena 
about  1508,  and  executed  a  'Coronation  of  the 
Virgin,'  in  the  style  of  Raphael,  for  Santo  Spirito, 
and  a  'Virgin  and  Child,  between  SS.  Paul  and 
Bernard'  in  San  Cristoforo.  In  1518  he  executed 
an  'Annunciation'  in  Santo  Spirito,  as  well  as 
frescoes  in  the  manner  of  Bigi  for  the  Brother- 
hood of  San  Bernardino,  and  three  scenes  from  the 
'  Life  of  St.  Catharine '  in  the  Oratorio  dell'  Oca.  He 
worked  much  in  conjunction  with  Pacchiarotti,  with 
whom  he  produced  the  '  Ascension  '  at  the  Academy 
of  Siena  ;  but  he  was  induced  by  him  to  enter  the 
dangerous  club  of  the  Bardotti,  which  in  1535  was 
dispersed,  upon  which  the  two  artists  betook  them- 
selves to  France,  and  painted  for  Charies  VHI.  in 
the  castle  of  Gaillon.  The  date  of  Del  Pacehia's 
death  is  not  known.  Among  his  existing  paintings 
are  the  following : 

London.  Ifat.  Gallery.      Virgin    and    Child  {assigned   to 
Pacchiarotti). 


London.   Duke  of  West- }  Holy  Family  {assigned  to   Fra 

minster.      j     Bartotommeo). 
Munich.       Gallery.  St.  Bernard. 

1.  ,1  Virgin   and   Child   {assigned    to 

Pacchiarotti). 
Siena.      Academy.  Holy  Family,  with  St.  Anthony 

of  Padua. 

DEL  PELLICCIAIO,  Gtacomo,  (or  Giacomo  di 
MiNO,)  a  Sienese  who  lived  in  the  14th  century, 
was  the  contemporary  of  Lippo  Vanni  and  Luca 
Thom^,  being  in  1373  appointed  to  value  one  of  the 
latter's  pictures.  His  name  appears  in  the  Sienese 
records  from  1362  to  1389.  In  1367  he  aided  Bartolo 
di  Maestro  Fredi  at  Siena  cathedral.  He  is  known 
to  have  painted  hook-covers  for  the  Biccherna,  and 
was  several  times  a  member  of  the  Grand  Council  of 
Siena.  The  dates  of  his  birth  and  death  are  alike 
uncertain.    There  exist  the  following  works  by  him  : 

Siena.      Academy.        Coronation  of  St.  Catharine.    1362. 
„      Chiesa  dei  Servi.  Virgin  and   Child,  known  as  the 
'  Madonna  del  Verde.'    1363. 

DEL  PIOMBO,  Sebastiano.     See  Luciani. 

DEL  PO,  Giacomo,  the  son  of  Pietro  del  Po, 
was  bom  in  1664,  according  to  some  accounts  at 
Palermo,  but  according  to  others  at  Rome  or 
at  Naples,  and  was  first  instructed  in  art  by  his 
father,  but  afterwards  by  Nicolas  Poussin.  He  was 
chiefly  occupied  in  decorating  the  mansions  of  the 
Neapolitan  nobility  with  emblematical  and  alle- 
gorical subjects,  for  which  his  inventive  genius 
and  extraordinary  facility  particularly  qualified 
him.  As  is  usual  ^vith  the  majority  of  mechanists, 
despatch  and  confidence  led  him  into  the  negligence 
and  incorrectness  of  a  mannerist.  Rome  possesses 
only  two  of  his  pictures,  one  in  the  church  of  Sant' 
Angelo  in  Pescheria,  and  the  other  in  Santa  Marta; 
but  his  talents  are  seen  to  greater  advantage  in  his 
frescoes  in  the  gallery  of  the  Marquis  of  Genzano, 
and  particularly  in  the  palace  of  the  Prince  of 
Avellino  at  Naples.     He  died  at  Naples  in  1726. 

DEL  PO,  PlETEO,  was  born  at  Palermo  in  1610, 
and  studied  under  Domenichino  at  Naples,  during 
that  celebrated  painter's  residence  in  that  city. 
He  painted  some  pictures  for  the  churches  at 
Palermo,  and  afterwards  visited  Rome,  where, 
among  other  works,  he  painted  a  picture  of  St. 
Leo,  for  La  Madonna  di  Costantinopoli.  He 
was,  however,  more  successful  in  easel  pictures 
than  in  those  of  larger  dimensions,  and  he  was 
more  distinguished  as  an  engraver  than  as  a  painter. 
He  died  at  Naples  in  1692.  There  are  several 
etchings  by  this  artist,  some  of  which  are  finished 
with  the  graver.  They  are  not  so  correctly  designed 
as  might  have  been  expected  from  the  school  in 
which  he  was  educated.  Among  others  are  the 
following : 

St.  John  in  the  TVildemess  ;  after  Annibale  Carracci. 
The  Woman  of  Canaan  before  Christ ;  after  the  same. 
The  Dead  Christ  on  the  Lap  of  the  Virgin  ;  after  the 

same. 
The  Virgin  seated  on  a  Throne  with  the  Infant,  and  a 

choir  of  Angels  ;  after  Domenichino. 
The  four  Cardinal  Virtues,  with  their  attributes ;  after 

the  same. 
St.  Jerome  kneeling,  with  an  Angel ;  after  the  same. 
The  Annunciation  ;  after  N.  Poussin. 
The  Flight  into  Egypt ;  after  the  same. 

DEL  PO,  Teresa,  was  the  daughter  of  Pietro 
del  Po.  She  is  said  to  have  painted  in  oil  and  in 
miniature,  and  has  etched  a  few  plates  in  the  style 
of  her  father  ;  among  which  is  '  Susannah  and  the 
Elders,'  after  Carracci.     Bartsch  says  she  engraved 

53 


A  BIOGEAPHICAL  DICTIONAEY  OF 


in  the  manner  of  her  father  so  closely,  that  it  is 
difficult  to  distinguish  their  works.  He  describes 
sixteen  prints  by  her,  and  enumerates  six  more 
mentioned  by  Fussli.  The  date  of  her  birth  is  not 
known ;  but  she  was  a  member  of  the  Academy  of 
St.  Luke  at  Rome,  and  died  at  Naples  in  1716. 

DEL  POGGIO,  Giovanni.  See  Giovanni  di 
Paolo. 

DEL  POLLAJUOLO,  Antonio,  an  Italian  gold- 
smith and  painter,  born  at  Florence  in  1429,  was 
the  son  of  Jacopo  d'Antonio  de'  Benci,  a  poulterer, 
for  which  reason  Antonio  and  his  brother  Piero 
and  their  descendants  took  the  name  of  '  Del 
PoUajuolo.'  He  was  apprenticed  to  Bartoluccio 
Ghiberti,  a  goldsmith,  whom  he  left  in  1459  and 
opened  a  shop  of  his  own  as  goldsmith,  sculptor, 
and  engraver.  He  was  considered  one  of  the  most 
eminent  goldsmiths  of  his  time,  and  excelled  in  all 
the  branches  of  that  art.  Soon  after  1489  he  went  to 
Rome,  where  he  cast  and  carved  the  Funeral  Monu- 
ments of  the  Popes  Sixtus  IV.  and  Innocent  VIII., 
and  executed  several  commissions  for  the  Cardinals 
Benevento  and  Ascanio.  He  next  turned  his  at- 
tention to  painting,  and,  in  conjunction  with  his 
younger  brother  Piero,  produced  many  paintings 
celebrated  for  their  design,  knowledge  of  anatomy, 
and  power  of  colour.  He  also  executed  in  niello 
several  paxes  for  the  church  of  San  Giovanni  at 
Florence.  One  only  of  these  now  remains:  it 
represents  the  '  Deposition  from  the  Cross,'  and  is 
in  the  Florence  Gallery.  Antonio  died  at  Rome  in 
1498. 

Vasari  states  that  Antonio  was  the  better  artist 
of  the  two  Pollajuoli ;  but,  judging  from  their 
early  education,  Piero  had  gained  the  greater  ex- 
perience in  painting,  before  they  entered  into 
partnership.  I 

The  following  are  their  best  works :  Mr.  Berensen 
is  of  opinion  that  the  two  '  Hercules '  pictures  in 
the  Uftizi  are  by  Antonio,  and  the  others  by  Piero: 
other  authorities  dilfer. 

Berlin.  Museum.       The  Annunciation. 

*}  ,,  David. 

Florence.  Uffizi.  Hercules  and  Antfeus. 

^  „  Hercules  and  the  Hydra. 

jj  „  Vmdence  (one  of  the 'Virtues' 

painted  for  the  Mercatanzia, 
Florence). 
„  „  Profile  of  a  Lady. 

^  „  St.JaineswithSS.Eustaceand 

Vincent    {^formerly   in    San 
Miniato  al  Monte,  Florence). 
London.         yat.  Gall.         The  Martyrdom  of  St.  Sebas- 
tian  {a  masterpiece  J    1475, 
fonnerly  in  San  Sebastiano 
de'  Servi,  Florence). 
,,  ,,  Apollo  and  Daphne. 

S.  Gemignano.  Church.         Coronation    of     the    Virgin. 

1483. 
Turin.  Gallery.       The  Archangel  and  Tobit. 

Vasari  states  that  this  artist  executed  several 
engravings,  but  Bartsch  mentions  only  three,  and 
these  are  now  very  rare.     They  are  as  follow  : 

The  Gladiators. 

Hercules  strangling  Antseus. 

Hercules  fighting  the  Giants. 

DEL  POLLAJUOLO,  Pieko,  who  was  born  at 
Florence  in  1443,  was  a  younger  brother  of  Antonio 
del  PoUajuolo.  He  studied  painting  for  a  short 
time  under  Andrea  del  Castagno,  and  then  entered 
the  workshop  of  his  brother,  in  conjunction  with 
whom  he  worked  much.  It  is  very  difficult  to 
assign  to  each  his  share  in  these  jointly-executed 

54 


productions,  but  it  is  thought  that  those  in  which 
traces  of  the  sculptor's  art  are  plainly  discernible 
are  by  the  hand  of  Antonio,  and  that  those  of 
greater  pictorial  excellence  owe  their  origin  to 
Piero.  Piero  was  dead  when  his  elder  brother 
made  his  will  in  1496. 

DEL  PORTO,  Giovanni  Battista,  was  an  en- 
graver who  flourished  about  the  year  1503,  and  was 
commonly  known  by  the  name  of  '  The  Master  of 
the  Bird,'  from  his  practice  of  marking  his  prints 
with  a  bird  after  the  initials  /.  £.  Amongst  them 
there  are : 

St.  Sebastian  on  the  Tree. 
Leda  with  the  Swan. 
The  Rape  of  Europa. 

He  also  executed  the  designs  for  the  following 
woodcuts  : 

St.  Jerome  with  the  Lions. 
Diana  and  Actseon. 
The  Three  Graces. 
The  Eape  of  Ganymede. 

DEL  POZZO,  Matteo,  was  a  pupil  of  Squaroi- 
one,  who  lived  in  the  middle  of  the  16th  century. 
He  worked  during  the  years  1469  to  1471  at  the 
decorations  of  the  Cappella  Gattamelata  in  the  Santo 
of  Padua,  where  he  painted  a  '  St,  Francis.'  He 
died  in  1472. 

DEL  PRADO,  Blas,  (or  De  Prado,)  was  a 
Spanish  painter,  who  was  born  in  the  vicinity  of 
Toledo,  about  1540,  and  was  a  scholar  of  Alonso 
Berruguete.  There  are  some  of  his  works  in  the 
chapel  of  St.  Bias  at  Toledo,  but  they  are  much 
injured  by  time  and  the  dampness  of  the  situation. 
At  Madrid  there  are  also  some  pictures  by  this 
artist,  particularly  an  altar-piece  in  the  church  of 
San  Pedro,  representing  the  '  Descent  from  the 
Cross,'  which  is  evidently  the  work  of  a  great 
master.  In  the  early  part  of  his  life  Prado  wa.) 
invited  to  visit  the  court  of  the  Emperor  of 
Morocco,  to  paint  a  portrait  of  his  daughter,  and 
returned  to  Spain  amply  rewarded  for  his  labour. 
Whilst  at  Fez  he  painted  the  portraits  of  the 
Princesses  of  the  Harem.  He  died  at  Madrid 
about  1600. 

DEL  RICCIO,  DoMENico,  called  Brusasorci, 
was  born  at  Verona  in  1494,  and  was  a  disciple 
of  Giulio  Romano.  His  greatest  improvement, 
however,  was  derived  from  an  attentive  study 
of  the  works  of  Giorgione  and  Titian,  at  Venice. 
His  picture  of  '  St.  Roch,'  in  the  church  of  the 
Augustinians  at  Verona,  is  entirely  in  the  style 
of  the  latter,  as  well  as  some  pictures  of  fabulous 
subjects  in  private  collections.  His  genius  did 
not  confine  itself  to  the  style  of  any  individual 
master ;  and  his  works  at  Mantua  partake  of  the 
depth  of  colouring  of  Giorgione,  and_  of  the 
graceful  design  of  Parmigiano.  His  picture  of 
'Phaeton,'  in  the  ducal  palace,  though  somewhat 
damaged  by  time,  still  charms  by  the  ingenuity  of 
the  composition,  the  hannony  of  the  colour,  and  the 
admirable  fore-shortening.  Brusasorci' s  greatest 
merit  was  in  fresco  painting ;  and  in  the  many 
admirable  works  with  which  he  embellished  the 
public  edifices  and  palaces,  he  united  the  erudition 
of  the  poet  to  the  skill  of  the  painter.  His  best 
historical  work  was  the  '  Cavalcade  of  Clement 
VIII.  and  Charles  V.  on  their  entry  into  Bologna,' 
in  the  saloon  of  the  Casa  Ridolfi,  a  grand  com- 
position, which  is  spoken  of  by  Lanzi  in  terms  of 
the  highest  praise.  He  died  in  1567.  '  Brusasorci,' 
which  signifies  a  '  burner  of  rats,'  was  a  nickname 
given  to  his  father  because  of  his  inflicting  that 


ANTONIO   DEL  POLLAJUOLO 


Aliiiuri photo]  [Pilli  Palace,  Florence 

ST,  SEBASTIA 


ANTONIO  DEL  POLLAJUOLO 


Alinaii  photo] 


[Corsiiii  Gallery,  Florence 


PORTRAIT  OF  A  GENTLEMAN 


PAINTERS  AND  ENGRAVERS. 


cruel  punishment  on  all  the  rats  caught  in  his 
house. 

DEL  RICCIO,  Felice,  called  Brusasoeci  'the 
younger,'  the  son  of  Domenico  del  Riccio,  was  bom 
at  Verona  about  the  year  1540,  and  was  first  in- 
structed by  his  father,  after  whose  death  he  con- 
tinued his  studies  at  Florence,  under  Jacopo  Ligozzi. 
He  painted  for  the  private  collections  at  Verona 
several  pictures  of  Holy  Families  and  Madonnas, 
with  angels,  which  were  admired  for  their  grace  and 
beauty  of  expression.  His  picture  of  the  '  Forge 
of  Vulcan,  with  the  Cyclops,'  in  the  collection  of 
Count  Gazzola,  is  designed  in  the  best  style  of  the 
Florentine  school,  and  vigorously  coloured.  There 
are  also  some  altar-pieces  by  him  in  the  churches  at 
Verona,  of  which  the  most  admired  is  his  picture 
of  '  St.  Helena,'  in  the  church  dedicated  to  that  saint. 
He  died  in  1605. 

DEL  RINCON,  Antonio,  was  born  at  Guada- 
laxara  in  1446,  and  may  be  considered  as  the  father 
of  the  Spanish  School.  He  studied  at  Rome,  and 
on  his  return  to  Spain  was  taken  into  the  service 
of  Ferdinand  the  Catholic,  who  appointed  him  his 
painter,  bestowed  on  him  the  order  of  Santiago, 
and  made  him  groom  of  his  chamber.  Among  the 
few  of  his  works  that  remain  are  the  altar-piece 
in  the  church  of  Robledo  de  Chabela,  a  town  in  the 
archbishopric  of  Toledo,  and  two  portraits  of 
Ferdinand  and  Isabella,  in  the  church  of  San 
Juan  de  los  Reyes,  at  Toledo.  Several  of  his  works 
perished  in  the  fire  that  destroyed  the  palace  of 
the  Pardo  in  1608.     He  died  in  1500. 

DEL  RINCON,  Fernando,  was  the  son  and 
scholar  of  Antonio  del  Rincon.  He  assisted  Juan 
de  Borgofia  in  various  works  in  Toledo  Cathedral, 
about  1511-14,  and  his  name  appears  in  the  archives 
of  the  College  of  St.  Ildefonso  at  Alcala  in  1518, 
when  he  received  600  maravedis  for  polishing  the 
medallion  of  Cardinal  Cisneros. 

DEL  SANTISIMO  SACRAMENTO,  JnAN.  See 
Guzman. 

DEL  SARTO,  Andrea.    See  Andrea  d'Agnolo. 

DEL  SAZ,  Julian  de  La  Fuente.  See  De  La 
Fuente  del  Saz. 

DELSENBACH,  Johann  Adam,  a  German  en- 
graver, was  bom  at  Nuremberg  in  1687.  He 
worked  for  some  years  in  Vienna,  but  died  in  his 
native  city  in  1765.  He  engraved  a  series  of  forty- 
nine  views  in  Nuremberg,  between  the  years  1713 
and  1716,  and  several  portraits  for  Roth-Scholtz's 
'  Icones  Bibliopolarum  et  Typographorum,'  pub- 
lished at  Nuremberg  in  1726-42.  He  also  engraved 
some  plates  for  Scbeuchzer's  Bible,  as  well  as 
twenty-eight  views  in  Vienna. 

DEL  SERO,  Guccio.     See  Aghinetti. 

DEL  SIGNORACCIO,  Paolo,  called  Fea  Pao- 
LiNO  DA  PiSTOJA,  and  II  Pistojese,  was  born  at 
Pistoja  in  1490,  and  died  there  from  the  effects  of 
a  sunstroke  in  1547.  He  received  his  first  instruc- 
tions from  his  father,  Bernardino  d'Antonio  Detti, 
called  Signoraccio,  an  inferior  artist,  by  whom 
some  works  still  remain  at  Pistoja.  Fra  Paolino 
entered  the  Dominican  Order  at  an  early  age,  and 
studied  under  Fra  Bartolommeo,  after  whose  death 
he  finished  many  of  his  pictures.  A  '  Virgin  and 
Child  enthroned,  with  Saints,'  by  him,  dated  1528, 
is  in  San  Paolo  at  Pistoja  ;  a  '  Crucifixion,'  dated 
1516,  is  in  Santo  Spirito  in  Siena  ;  and  in  the 
Belvedere  in  Vienna  is  a  '  Virgin  and  Child  en- 
throned, surrounded  by  six  Saints,'  dated  1510. 

DEL  SIGNOR  GUIDO,  Pietro.  See  Gallinari. 

DEL  VAGA,  Peking.     See  Buonaccorsi. 


DELVAUX,  Edouard,  a  Flemish  landscape 
pamter,  was  born  at  Brussels  in  1806.  He  studied 
under  Van  Assche,  and  afterwards  became  director 
of  the  Academy  at  Spa,  where  he  died  in  1862. 
He  loved  to  represent  wooded  scenery,  and  de- 
lighted particularly  in  enormous  trees.  Amongst 
his  works  are : 

View  OD  the  Senne  near  Fozest. 

Hilly  Country ;  Windy  Weather  (Snissels  Museum). 

View  near  the  Sambre  (Haarlem  Museum). 

DELVAUX,  Ferdinand  Marie,  a  Belgian  his- 
torical and  genre  painter,  was  born  at  Brussels  in 
1782.  He  studied  under  Andries  Lens,  and  twice 
visited  Italy.  On  his  way  back  to  hie  native 
country  he  was  seized  with  fever,  and  died  at 
Bologna  in  1816.     Amongst  his  best  works  are : 

Brussels.     Franciscan  >  Martyrdom  of  St.  Stephen. 
Convent.  / 
„  Museum.        Interior  of  the  Cloistera  of  the 

Chartreuse,  Rome. 
„  ,>  Interior  of  a  Nunnery  at  Rome. 

Ghent.        Academy.       Saul  and  David. 

DELVAUX,  Remi  Henri  Joseph,  a  French  en- 
graver, was  born  in  Paris  in  1748,  according  to  some 
authorities,  or  at  Lille  in  1750,  according  to  others. 
He  engraved  several  plates  for  the  '  Cabinet 
Choiseul '  and  the  '  Galerie  du  Palais-Royal,'  but 
the  chief  occupation  of  his  life  was  to  reproduce 
the  designs  of  Moreau,  whose  illustrations  to  '  Les 
Amours  de  Psyche  et  de  Cupidon '  are  Delvaux's 
most  important  work.  He  also  engraved  '  The 
Miraculous  Draught  of  Fishes,'  after  Rubens  ;  '  The 
Hunter,'  after  Metsu,  and  several  portraits.  He 
died  in  Paris  in  1823.  Marie  Adgustb  Delvaux, 
his  daughter,  born  in  1786,  learned  the  art  of 
engraving  from  him. 

DEL  VERROCCHIO,  Andrea,  was  the  son  of 
Domenico  di  Miohele  de'  Cioni,  and  was  born  at 
Florence  in  1432.  He  is  said  to  have  been  a  pupil 
of  Donatello,  and  like  his  contemporaries  the 
Pollajuoli  kept  a  goldsmith's  shop.  Vasari  says  of 
him,  "  He  was  a  goldsmith,  a  master  of  perspective, 
a  sculptor  and  carver,  a  painter,  and  a  musician." 
He  is  chiefly  celebrated  for  his  works  in  bronze, 
and  notably  for  the  '  David '  now  in  the  UfBzi 
Gallery  at  Florence;  for  the '  St.  Thomas  examining 
the  Wounds  of  Christ '  in  Or  San  Michele  in  the 
same  city ;  and  for  the  model  for  the  equestrian 
statue  of  Colleoni,  at  Venice.  He  has  left  but  one 
authentic  example  of  his  powers  as  a  painter — 
namely,  the  '  Baptism  of  Christ,'  now  in  the 
Florence  Academy,  in  respect  to  which  Vasari 
states  that  he  received  the  aid  of  his  pupil,  Leonardo 
da  Vinci.  Verrocchio  has  also  the  credit  of  having 
taught  Pietro  Perugino.  He  died  at  Venice  in 
1488. 

DEL  VISO,  Cristobal,  a  painter,  and  a  monk 
of  the  order  of  St.  Francis,  died  at  the  end  of  the 
17th  century  at  Madrid,  where  he  resided  in  quality 
of  commissary-general  of  the  Indies.  All  the  Saints 
of  his  order  which  are  to  be  seen  in  the  chapter- 
house of  the  convent  of  San  Francisco  at  Cordova, 
are  by  him,  and  show  his  talent. 

DEL  ZUCCA,  Jacopo,  (or  Jacopo  Zdcchi,)  was 
born  at  Florence  about  the  year  1541.  He  was  a 
disciple  of  Giorgio  Vasari,  and  assisted  that  master 
in  several  of  his  works.  According  to  Baglione, 
he  visited  Rome  when  young,  in  the  pontificate  of 
Gregory  XIII.,  where  he  was  favoured  with  the 
patronage  of  Cardinal  Ferdinando  de'  Medici,  who 
employed  him  in  some  considerable  fresco  works 

55 


A  BIOGRAPHICAL  DICTIONARY  OF 


for  his  palace.  There  are'  also  several  altar-pieces 
by  him  in  the  public  edifices  at  Rome,  of  which 
the  most  worthy  of  notice  are  the  '  Nativity  of  St. 
John,'  in  the  church  of  San  Giovanni  DecoUato, 
and  the  '  Descent  of  the  Holy  Ghost,'  in  San  Spirito 
in  Borgo.     He  died  about  1604. 

DE  MAN,  CoRNELis,  a  Dutch  painter,  was  born 
at  Delft  in  1621.  He  travelled  through  Lyons  to 
Lombardy,  and  stayed  two  years  at  Florence  and 
three  in  Rome.  He  afterwards  went  to  Venice, 
where  the  works  of  Titian,  particularly  his  portraits, 
were  the  chief  objects  of  his  attention.  After  an 
absence  of  nine  years  he  returned  to  Holland,  and 
established  himself  in  his  native  city.  One  of 
the  most  admired  paintings  at  Delft  is  a  large 
picture  by  him,  containing  the  portraits  of  the 
most  eminent  medical  men  of  his  time,  painted  for 
the  hall  of  the  surgeons,  which  has  more  of  the 
attributes  of  the  Venetian  than  of  the  Dutch  school. 
De  Man  died  at  Delft  in  1706.  There  is  by  him  in 
the  Rotterdam  Museum  a  '  Village  Interior ' ;  in 
the  Darmstadt  Gallery  an  'Interior  of  a  Gothic 
Church' ;  and  in  the  Cassel  Gallery  another  'Church 
Interior.'  There  exist  also  four  portraits  etched 
by  him. 

DE  MAN,  J.,  was  a  Dutch  painter  who  flourished 
in  the  17th  century.  The  Hague  Gallery  has  a 
'  Peasant  Wedding '  signed  with  his  name. 

DE  MARE,  PlETEE,  a  Dutch  engraver,  was  born 
at  Leyden  in  1757,  and  died  in  the  same  town  in 
1796.  He  was  a  pupil  of  Abraham  Delfos.  Be- 
sides the  '  Great  Fire  of  Rotterdam,'  after  Haas- 
broek,  the  'Last  Judgment,'  after  Lucas  van 
Leyden,  and  some  Heads  after  Teniers,  he  executed 
a  large  number  of  plates  after  the  works  of  Berchem, 
Frans  van  Mieris,  and  Cornells  de  Visscher. 

DEMARNE,  Jean  Louis  De  Marnette,  painter 
and  etcher,  born  at  Brussels  in  1754,  was  the  son 
of  a  Belgian  officer,  and  of  his  wife,  the  Baroness 
Anschiitz.  When  only  twelve  years  old  he  was 
sent  to  Paris,  and  studied  in  the  atelier  of  Gabriel 
Briard.  He  became  a  successful  painter  of  land- 
scapes with  figures  or  cattle,  in  the  manner  of 
Berchem  and  Karel  Dujardin.  He  also  etched 
thirty-eight  plates  of  similar  subjects.  In  1783  he 
became  a  member  of  the  Academic  des  Beaux 
Arts.  He  was  long  employed  as  painter  to  the 
Sevres  porcelain  factory.  He  died  at  BatignoUes 
in  1829.  In  the  Hermitage  there  are  five  of  his 
pictures,  and  several  were  in  the  San  Donatu 
Collection  at  Florence. 

DE'  MEDICI,  Maria.     See  Mary. 

DEMER,  Jacob.     See  Domer. 

DE  MEULEMEESTER,  Joseph  Karel,  a  Belgian 
engraver,  was  born  at  Bruges  in  1771.  Hewasapupil 
of  Bervic  in  Paris,  and  afterwards  studied  in  the 
French  school  of  engraving  at  Rome.  After  twenty- 
two  years'  absence  he  returned  to  Belgium  in  1820, 
and  settled  at  Antwerp,  where  he  died  in  1836. 
His  most  important  work  was  the  series  of  draw- 
ings which  he  made  from  the  fifty -two  compositions 
which  form  the  '  Bible  of  Raphael '  in  the  Loggie  of 
the  Vatican.  These  copies  of  the  frescoes  occupied 
his  whole  time  for  twelve  years,  and  after  his 
return  home  he  undertook  their  reproduction,  both 
by  means  of  engraving  and  of  water-colour,  on  a 
scale  of  one-ninth  of  the  originals.  Thirty-six 
were  completed  in  water-colours,  but  twelve  plates 
only  were  engraved  at  the  time  of  his  death.  All, 
however,  existed  in  outline,  and  these  were  finished, 
and  the  entire  work  published  with  text  by  the 
Baron  de  Reififenberg,  between  the  years  1844  and 

56 


1853.  He  also  engraved  the  '  Virgin  and  Child,' 
after  Andrea  Solario,  '  Cupid  triumphant,'  after 
Domenichino,  and  the  portraits  of  Rubens  and 
Michelangelo. 

DE  MEYER,  H.,  was  a  Dutch  landscape  painter, 
who  flourished  about  the  middle  of  the  17th  century. 
There  are  by  him  in  the  Amsterdam  Museum,  the 
'  Surrender  of  the  town  of  Hulst,'  and  the  '  Departure 
of  Charles  II.  of  England  from  Scheveningen.' 

DE'  MICHIELL     See  Dei  Michieli. 

DE  MOMPER,  Feans,  a  Flemish  landscape 
painter,  who  was  a  native  of  Antwerp,  is  inscribed 
in  the  '  Liggere '  of  the  Guild  of  St.  Luke  in  that 
city  in  1629-30.  He  died  at  Antwerp  in  1660-61. 
There  are  by  him  in  the  Augsburg  Gallery,  'St. 
Philip  baptizing  the  Eunuch,'  and  a  '  Rocky  Scene,' 
in  which  the  figures  are  by  F.  Francken  and  the 
animals  by  J.  Brueghel. 

DE  MOMPER,  JoDOCUS,  called  at  Rome  Eer- 
vrught,  a  painter  and  etcher,  was  born  at  Antwerp 
about  1559.  He  was  the  son  of  Bartholomeus  De 
Momper,  a  dealer  in  pictures,  who  is  believed  also 
to  have  painted  landscapes,  and  to  have  instructed 
his  son  in  the  rudiments  of  the  art.  He  entered 
the  Guild  of  St.  Luke  in  1581,  and  became  its  dean 
in  1611.  His  pictures  are  frequently  decorated 
with  figures  by  the  elder  Teniers,  Jan  Brueghel,  F. 
Francken,  and  II.  van  Balen.  Van  Dyek  painted 
his  portrait  among  the  celebrated  artists  of  his 
country,  and  etched  a  plate  of  it  himself.  De 
Momper  etched  a  few  plates  of  landscapes  from 
his  own  designs,  which  are  scarce.  He  died  at 
Antwerp  in  1634  or  1635.  J.  Visscher,  E.  van 
Panderen,  and  Th.  Galle  have  engraved  landscapes 
after  him.  His  works  are  to  be  seen  in  the 
Galleries  of  Amsterdam,  Bordeaux,  Brunswick, 
Copenhagen,  Darmstadt,  Dresden,  Madrid,  and 
Venice,  and  as  follow  : 


Antwerp. 

GalUi-y. 

The     Archduke     Maximilian    of 
Austria  hunting. 

)» 

Cathedral 

The  Repose  in  Egypt. 

Berlin. 

Museum. 

Rocky  Landscape. 
Forest  of  Oaks. 

»» 

" 

Hermits. 

A  Flemish  Village. 

Bruges. 

A  cademy. 

Horsemen  attacked  by  Brigands. 

Brunswick 

.  Gallery. 

The  Four  Seasons. 

Cassel. 

Gallery. 

The  Tower  of  Babel. 

Dresden. 

Gallery. 

Rocky  Landscape  with  Travellers 
on  horseback. 

Petersburf 

;.  Hermitage 

.  Landscape. 

DE  MOMPER.     See  Momper. 

DE  MONI,  Lodowyck,  who  was  bom  at  Breda  in 
1698,  was  a  scholar  of  Van  Kessel,  of  J.  B.  Biset, 
and  of  Philip  van  Dyk  at  the  Hague.  He  studied 
the  works  of  Gerard  Dou,  and  imitated  the  manner 
of  Mieris.  He  accompanied  Philip  van  Dyk  to 
Cassel,  and  afterwards  settled  at  Leyden,  where 
he  died  in  1771.  His  paintings  consist  of  por- 
traits and  genre  pieces  of  a  simple  and  pleasing 
character,  though  cold  in  colouring.  There  are 
by  him  : 

Amsterdam.     Museum.      A  Woman  watering  Flowers. 
Hague.  Gallery.       The  Lacemaker.     1742. 

Paris.  Louvre.        A  Family  Scene. 

Petersburg.      Hermitage.  A  Fish-Woman. 

The  Bon  Vivant.     1723. 
Rotterdam.      Museum.      A  Fish-Seller. 

DE  MOOR,  Karel,  the  elder,  a  Dutch  painter 
and  etcher,  was  born  at  Leyden  in  1656.  He  was 
intended  by  his  parents  for  one  of  the  learned 
professions,  but  a  decided   inclination  for  art  in- 


ANDREA  DEL  VERROCCHIO 


Brogi  photo] 


[Accademia,  Florence 


THE  BAPTISM  OF  CHRIST 


PAINTERS  AND  ENGRAVERS. 


duced  his  father  to  place  him  under  the  care  of 
Gerard  Dou.  After  a  while  he  was  sent  to  Am- 
sterdam, where  he  became  a  scholar  of  Abraham 
van  den  Tempel.  The  death  of  that  painter,  when 
De  Moor  was  only  sixteen  years  of  age,  obliged 
him  to  attach  himself  to  other  artists,  and  it  was 
by  Frans  van  Mieris  and  Godfried  Schalcken  that 
he  was  chiefly  influenced.  He  painted  in  the 
town-hall  at  Leyden  the  terrible  subject  of  '  Brutus 
condemning  his  two  Sons  to  Death,'  which  he  repre- 
sented in  the  most  awful  and  impressive  manner. 
The  celebrity  of  Karel  De  Moor  reached  Italy,  and 
the  Grand  Duke  of  Tuscany  expressed  a  desire  to 
place  his  portrait,  painted  by  himself,  among  the 
illustrious  artists  in  the  UfBzi  Gallery.  It  was  ac- 
cordingly sent  to  Florence  in  1702,  and  the  painter 
was  honoured  in  return  with  a  gold  medal  and 
chain.  He  was  also  commissioned  by  the  Emperor 
of  Germany  to  paint  the  portraits  of  Prince  Eugene 
and  the  Duke  of  Marlborough,  and  these  he  executed 
so  much  to  the  satisfaction  of  that  monarch,  that 
he  conferred  on  the  artist  the  order  of  knighthood. 
One  of  his  best  works  is  in  tlie  hall  of  the  magis- 
trates at  the  Hague,  representing  the  Burgomasters 
and  Eschevins  in  the  year  1719.  The  pictures  of  De 
Moor  are  cleverly  composed,  his  figures  are  correctly 
drawn,  and  his  colouring  is  clear  and  transparent. 
In  some  of  his  larger  portraits  he  seems  to  have 
aimed  at  a  style  combining  the  chaste  delicacy  of 
Van  Dyck  with  soiuewhat  of  the  vigour  of  Rem- 
brandt. Although  his  works  are  always  very 
highly  finished,  his  touch  is  firm  and  free.  De 
Moor  died  at  Warmond  in  1738.  He  etched  a  few 
portraits,  from  his  own  designs,  among  which  are 
those  of  Gerard  Dou,  Jan  van  Goyen,  Frans  van 
Mieris,  and  himself.  The  following  are  some  of 
his  principal  works : 

Antwerp.       GalleTy.       A  Lady  with  a  Bouquet.     {Thi? 
picture  hears  the  forged  sit/ua- 
tureofG.Metsu.) 
Dresden.       Gallery.        A  Hermit  praying. 
Florence.       Vffizi.  His  own  Portrait. 

Petersburg.  Hermitage,    Ecce  Homo. 

„  „  A  Hermit.     1730. 

DE'  MOTTI,  Jacopo.     See  Dei  Motti. 

DE  MOUCHERON,  Fredeeik.   See  Moucheron. 

DENANTO,  Francesco,  of  Savoy,  a  painter 
and  engraver  on  wood,  worked  at  Venice  from 
1440  to  1450,  and  is  said  to  have  been  a  disciple 
of  Titian.  Among  other  wood-cuts  by  him,  there 
is  a  large  one  representing  'Christ  healing  the  Lame 
Man.'  It  is  executed  in  a  spirited,  taste 
ful  style,  and,  being  inscribed,  Francis- 
cus  Denanto  de  Sabaudia,  /.,  is  probably 
from  a  design  of  his  own.  The  annexed 
monogram  is  stated  to  be  his  : 

DENBY,  William,  an  English  painter,  was  born 
at  Great  Bookham,  in  Surrey,  in  1819.  He  studied 
under  Dyce  in  the  School  of  Design  at  Somerset 
House,  of  which  he  became  an  assistant  master  in 
1847.  He  subsequently  superintended  the  Antique 
Department  in  the  South  Kensington  School  till 
his  death  in  1875,  which  was  occasioned  by  ill- 
ness contracted  at  Rome  a  few  years  previously. 
Amongst  the  few  works  which  he  exhibited  at  the 
Royal  Academy  may  be  mentioned :  '  The  Infant 
St.  John,'  'A  Girl  reading,'  and  '  St.  Peter  and  Rhoda.' 

DEN  DUYTS,  Gustave,  a  Belgian  landscape 
painter  of  great  skill,  and  not  only  well  known 
and  esteemed  in  his  own  country,  but  also  abroad. 
He  is  represented  at  the  Luxembourg  in  Paris,  but 
he  will   be   best   remembered   as   a   designer    of 


'A 


Sageants.  He  had  actually  prepared  a  set  of 
rawings  for  the  cars  and  groups  for  the  "  cortfege 
des  cloches,"  one  of  the  attractions  of  the  Inter- 
national Exhibition  at  Brussels,  when  he  died  in 
1895. 

DE  NECKER,  Jobst,  who  also  signed  his  name 
De  Negkee  and  Dieneckeb,  a  most  skilful  wood- 
engraver,  was  a  native  of  Antwerp.  He  settled  at 
Augsburg  about  1510,  and,  in  conjunction  with 
several  other  artists,  executed  the  wood-cuts  of 
Burgkmair's  and  Schauflein's  designs.  He  en- 
graved the  designs  which  the  latter  made  to 
illustrate  the  allegorical  poem  of  '  Theuerdanck,' 
and  also  some  of  those  which  Burgkmair  made  for 
the  '  Triumph  '  of  the  Emperor  Maximilian.  He 
was  the  inventor  of  chiaroscuro  in  three  tints,  of 
which  the  best  example  is  the  fine  portrait  of 
Hans  Baumgartner,  dated  1512,  after  the  design 
of  Burgkmair.  His  chief  work  is  the  '  Prodigal 
Son,'  which  appears  to  be  likewise  after  Burgkmair. 
There  is  also  by  him  an  enlarged  copy  of  Holbein's 
'  Dance  of  Death,'  dated  1544.  He  died  probably 
before  1561. 

David  De  Neckeb  and  Samson  De  Neckbe,  who 
were  wood-engravers  and  natives  of  Augsburg, 
were  probably  his  sons,  and  Hercules  De  Neckee, 
another  engraver  on  wood,  is  said  to  have  been  a 
son  of  David  De  Necker. 

DE  NEVE,  Frans,  was  born  at  Antwerp  about 
the  year  1627,  and  for  some  time  studied  the  works 
of  Rubens  and  Van  Dyck.  He  afterwards  visited 
Rome,  where  he  resided  for  some  years,  and  on  his 
return  to  his  native  country  gave  proof  of  con- 
siderable ability  as  a  painter  of  historical  subjects ; 
but  he  afterwards  distinguished  himself  more  as  a 
painter  of  what  are  called  heroic  landscapes,  witli 
subjects  from  history  or  fable,  in  which  he  exhibited 
the  fertility  of  his  genius  and  the  refinement  of  his 
taste.     There  are  the  following  paintings  by  him : 

Vienna.  Gallery.      The  Archduke  Leopold  WUliam 

of  the  Netherlands. 
,j  „  Charles  II.  of  Spain. 

„    Liechtenstein  Gal.  The  Judgment  of  Solomon. 
„  „  The  Murder  of  the  Innocents. 

De  Neve  likewise  executed  several  etchings  in  a 
slight  but  very  masterlystyle.  They  are  embellished 
with  figures,  correctly  drawn  and  cleverly  grouped. 
Among  them  are : 

Narcissus. 

A  Shepherdess  playing  the  Tambourine. 

DE  NEYN,  Pieter,  who  was  born  at  Leyden  in 
1597,  studied  for  some  time  under  Esajas  van  de 
Velde,  and  gave  promise  of  becoming  a  good 
landscape  painter,  in  tlie  manner  of  his  master; 
but  he  afterwards  applied  liis  talents  to  archi- 
tecture, in  which  he  succeeded  so  well  that  he  was 
appointed  architect  to  his  native  city,  Leyden, 
where  he  died  in  1639. 

DENIS,  Simon  Alexandee  Clement,  called  '  den 
Schelen,'  was  born  at  Antwerp  in  1755.  After 
studying  for  some  time  under  Antonissen,  he 
went,  in  1786,  to  Italy,  and  there  married  a 
Roman  lady.  He  afterwards  settled  at  Naples, 
wliere  he  became  painter  to  the  king,  and  died  in 
1813.  Denis's  pictures,  which  are  for  the  most 
part  landscapes,  are  executed  in  an  Italian  manner, 
and,  with  the  exception  of  colour,  are  good  in 
every  respect.  The  Antwerp  Museum  contains 
three  specimens  of  his  art,  and  the  Louvre  one. 

DENNEL,  Antoine  FEANgois,  a  French  en- 
graver, possibly  a  brother  of  Louis  Dennel,  was  a 

57 


A  BIOGRAPHICAL  DICTIONARY  OF 


pupil  of  Wille.  He  worked  in  Paris  from  1760 
to  1815,  and  engraved  several  plates  for  Filhol's 
'  Mus^e  Fran9ais,'  but  his  best  works  are  the  '  Essai 
du  Corset,'  and  the  '  Dedicace  d'un  Poeme  6pique,' 
after  P.  A.  Wille. 

DENNEL,  Louis,  a  French  engraver,  was  born 
at  Abbeville  in  1741,  and  died  in  Paris  in  1806. 
He  was  a  pupil  of  Beauvarlet,  in  whose  style  he 
engraved  several  plates,  among  which  are  the 
following : 

The  Triumph  of  Galatea  ;  after  Luca  Giordano. 
Pygmalion  enamoured  of  his  Statue ;  after  Lagrenee. 
The  Triumph  of  Painting ;  after  the  same. 
Painting  cherished  by  the  Graces ;  after  the  same. 

DENNER,  Balthasak,  a  German  painter,  whose 
works  surprise  by  the  toilsome  servility  of  their 
finish,  as  much  as  they  disgust  by  a  total  absence 
of  all  that  is  estimable  in  the  art,  was  bom 
at  Hamburg  in  1685.  After  being  instructed  in 
drawing  by  an  obscure  painter  of  that  town,  he 
went  to  Berlin  in  1707,  where  his  works  were 
admired  by  Frederick  II.  The  Duchess  of  Bruns- 
wick-Wolfenbiittel  invited  him  to  her  court  in 
1720,  where  he  painted  her  portrait ;  and  from 
thence  he  went  to  Hanover,  where  he  met  with 
so  much  encouragement  that  he  came  to  London 
in  1721,  and  remained  here  until  1728.  The  only 
productions  of  this  mechanic  in  the  art,  that  have 
any  claim  to  notice,  are  his  heads  of  old  men  and 
women,  which  still  find  collectors  among  the  ad- 
mirers of  patient  and  persevering  precision.  There 
are  examples  of  these  at  Hampton  Court  and  in 
the  Louvre,  as  well  as  in  the  Galleries  of  Beriin, 
Cassel,  Copenhagen,  Dresden,  Florence,  Munich, 
St.  Petersburg,  and  Vienna.  He  died  at  Rostock 
in  1749. 

Brulliot  mentions  a  B.  Denner,  an  engraver, 
who  executed  some  views  on  the  Tiber  after  Cor- 
nells Meyer  for  a  work  published  in  1683,  but  he 
gives  no  particulars  of  the  artist. 

DENNING,  Stephen  Poyntz,  an  English  mini- 
ature and  portrait  painter,  was  bom  in  1795.  He 
was  a  pupil  of  John  Wright,  and  exhibited  at  the 
Royal  Academy  from  1814  to  1851,  but  he  employed 
liimself  chiefly  in  copying  the  works  of  other  artists. 
In  1821,  he  became  curator  of  the  Dulwich  Gallery, 
and  resided  at  tlie  college  until  his  death  in  1864. 
There  is  in  the  National  Portrait  Gallery  a  vignette 
sketch  in  water-colours  by  him  of  James  Hogg, 
the  Ettrick  Shepherd.  He  also  painted  portraits 
of  Isaac  D' Israeli  and  Sir  Matthew  Wood,  Lord 
Mayor  of  London. 

DENON,  Baron  Dominique  Vivant,  (or  De 
NoN,)  born  at  Chalons  on  the  Saone  in  1747,  was 
one  of  the  train  of  artists  and  literary  and  scientific 
men  who  accompanied  Napoleon  Bonaparte  to 
Egypt ;  where  he  wielded  alternately  the  pen  and 
the  sword,  it  is  said  with  equal  dexterity.  His 
great  work  on  the  Egyptian,  expedition,  the  '  Voy- 
age de  la  Haute  et  Basse  Egypte,'  the  numerous 
drawings  for  which  were  made  by  himself,  is  alone 
,  sufScient  to  immortalize  his  name.  Napoleon  was 
warmly  attached  to  him,  made  him  Director-General 
of  the  Museums,  and  consulted  him  on  all  matters 
connected  with  the  fine  arts.  He  took  but  little 
interest  in  politics,  his  tlioughts  being  principally 
occupied  by  engraving,  and  by  the  fair  sex,  many 
of  whose  portraits  he  drew  and  etched  during  his 
diplomatic  travels.  He  also  etched  the  celebrated 
collection  of  painters'  portraits  in  the  Ufiizi  Gallery 
at  Florence,  but  his  most  remarkable  works  were 
58 


his  reproductions  of  Rembrandt's  etchings,  espe- 
cially those  of  the  '  Resurrection  of  Lazarus,'  the 
'  Death  of  the  Virgin, '  and  the  painter's  own  portrait. 
His  large  etching  of  Luca  Giordano's  '  Adoration 
of  the  Shepherds  '  opened  to  him  in  1787  the  doors 
of  the  Academy.  One  of  his  best-known  portraits  is 
that  of  Benjamin  de  La  Borde,  which  was  engraved 
by  Masquelier  and  published  in  his  'Chansons.' 
Denon  died  in  Paris  in  1825,  universally  beloved 
for  his  good  qualities,  and  admired  for  his  talents 
and  the  purity  of  his  taste.  He  resembled  Voltaire, 
as  well  in  his  wit  as  in  his  features. 

DE  NOTER,  Hermanus  August,  the  son  of  Pieter 
Francois  De  Noter,  was  born  at  Ghent  in  1806. 
He  was  instructed  by  his  father,  and  gave  early 
promise  of  success.  He  painted  landscapes, 
winter  scenes,  marine  views,  and  subjects  in  the 
manner  of  Wouwerman.    He  died  at  Ghent  in  1837. 

DB  NOTER,  PiETER  Francois,  a  Flemish  painter 
of  landscapes  and  interiors,  was  bom  at  Waelhem, 
near  Mechlin,  in  1779.  He  became  a  professor  in  the 
Academy  of  Ghent  and  developed  into  an  eminent 
painter  of  landscapes,  marine  subjects,  winter 
scenes,  views  of  the  interiors  of  cities,  and 
cathedrals.  His  most  esteemed  pictures  are  his 
views  of  cities  and  winter  scenes ;  and  during 
the  latter  part  of  his  career  he  confined  his 
talents  almost  exclusively  to  the  representation  of 
such  subjects.  His  pencilling  was  delicate  ;  and  in 
this  respect  he  may  be  considered  as  belonging  to 
the  Dutch  school.  His  pictures  are  numerous  and 
varied,  and  are  to  be  found  in  the  cabinets  of 
Belgium,  Holland,  and  tlie  north  of  France.  He 
also  engraved  a  collection  of  landscapes,  several 
of  which  are  after  Hobbema.  He  died  at  Ghent 
in  1842.  Amongst  his  works,  which  show  great 
minuteness  of  detail,  are  : 
Brussels.         Museum. 


Ghent.  Academy. 


View  at  Bruges. 
View  from  Pont  Neuf,  Ghent. 
Abbey  of  St.  Pierre,  Ghent. 
Winter  view  of  Ghent. 


DENTE,  Marco,  called  Marco  da  Ravenna,  an 
Italian  engraver,  born  in  the  latter  part  of  the  15th 
century,  was  one  of  the  most  eminent  pupils  of 
Marc- Antonio's  school.  His  best  works,  remark- 
able for  their  purity  and  care  of  execution,  are 
copies  after  Baccio  Bandinelli,  Giulio  Romano,  Ra- 
phael, and  more  especially  Marc-Antonio,  whom 
he  imitated  in  a  most  .|.«y  <"S<0  l.  T3 
deceptive  manner.  He  a|  7^  ^!fy  -U  ^ 
generally    used     the     ac-  ^ 

companying  monogram : 

DENTONE,  II.     See  Curti,  Girolamo. 

DEN  TYN,  Lambertus,  was  born  at  Antwerp 
in  1770.  He  was  a  scholar  of  P.  van  Regemorter, 
and  painted  interiors  by  candle-light,  and  land- 
scapes by  moonlight.     He  died  in  1816. 

DENUELLE,  Alexandre  Dominique,  a  French 
decorative  painter  and  architect,  was  born  in  Paris 
in  1818.  He  studied  under  Delaroche,  and  after- 
wards served  on  the  Commission  for  Historical 
Monuments.  He  died  at  Florence  in  1879.  He 
was  largely  engaged  in  mural  paintings  for 
churches,  and  specimens  of  his  art  will  be  found 
in  the  Abbey  of  St.  Denis,  in  St.  Paul  at  Nimes, 
St.  Polycarp  at  Lyons,  the  Oratory  at  Birmingham, 
the  Church  of  the  Celestines  at  Avignon,  and  in 
Strassburg  Cathedral. 

DEN  UYL,  Jan  (Uil,  or  Vtl),  is  probably  the 
artist  by  whom  there  are  many  drawings  to  be 
found  in  Holland,  signed  /.  den  Uil,  or  /.  den 
Uyl.     There  are  only  five  of  his  etchings  described : 


PAINTERS  AND  ENGRAVERS. 


an  Ox  and  a  Sheep,  a  Bull,  two  Oxen,  a  Dog,  and 
a  Buffalo.  In  style  they  approach  those  of  Nicolaes 
Moojaert,  but  do  not  equal  them  in  merit.  They 
appear  to  have  been  executed  about  the  end  of  the 
16th  century. 

DENY,  Jeanne,  was  a  French  engraver  of 
merit,  who  flourished  in  the  last  quarter  of  the 
18th  century.  She  executed  some  of  Monnet's 
and  Marillier's  illustrations  to  the  '  Romans  et 
Contes'  of  Voltaire,  of  Desrais's  designs  for  the 
'  Contes '  of  La  Fontaine,  and  several  of  the 
plates  for  the  '  Cabinet  Choiseul '  and  the  '  Cos- 
tumes Franjais.' 

Martial  Deny,  her  brother,  likewise  engraved 
subjects  for  the  same  works.  The  one  or  the  other 
engraved  also  '  Le  Restaurant '  after  Lavreince. 

DENYS,  Fbans,  a  Flemish  painter  of  portraits, 
who  may  be  ranked  amongst  the  first  artists 
of  his  time,  is  very  often  confounded  with  his 
son  Jacob,  a  painter  of  less  account.  Frans 
was  a  native  of  Antwerp,  and  was  received  into 
the  Guild  of  St.  Luke  in  1631,  but  the  dates  of 
hie  birth  and  death  are  not  known. 

DENYS,  Jacob,  a  Flemish  painter,  the  son  of 
Frans  Denys,  was  born  at  Antwerp  in  1644,  and 
received  into  the  Guild  of  St.  Luke  in  1664.  He 
was  a  scholar  of  Erasmus  Quellinus,  the  elder, 
but  at  an  early  age  he  went  to  Italy,  where  he 
passed  the  greater  part  of  his  life.  His  merit 
recommended  him  to  the  patronage  of  the  Duke  of 
Mantua,  in  whose  employment  he  passed  several 
years.  He  afterwards  was  invited  to  Florence, 
where  he  painted  for  the  Palazzo  Pitti  several  his- 
torical pictures,  and  the  portrait  of  the  Grand-Duke, 
with  those  of  the  principal  personages  of  the  court. 
After  fourteen  years'  absence,  he  returned  to  his 
native  country,  and  died  at  Antwerp  in  1708. 
The  style  of  Denys,  both  in  his  historical  works 
and  in  his  portraits,  resembles  that  of  Van  Dyck, 
with  something  more  of  the  Italian  taste,  though 
with  less  purity  of  colouring.  There  are  in  the 
Antwerp  Gallery  two  works  by  him,  a  portrait  of 
Gregorius  Martens,  head-man  of  the  corporation  of 
St.  Luke  (dated  1694),  and  a  'Study  from  the 
Living  Model. ' 

DENYS,  Simon  Alexandre  Clement.  See  Denis. 

DEODATE,  — .  The  name  of  this  engraver  is 
afBxed  to  a  portrait  of  Sir  Theodore  Mayerne, 
physician  to  James  I.  and  Charles  I. 

DEODATO.     See  Oelandi. 

DE'  PA  ESI,  GiEOLAMO.     See  Muziano. 

DE  PAPE,  Abraham,  a  Dutch  painter,  who  lived 
probably  at  Leyden  in  the  middle  of  the  17th 
century,  is  said  to  have  been  a  scholar  of  Gerard 
Dou.  Balkema,  who  is  the  only  writer  who  notices 
him,  says  that  in  the  sale  of  Cornells  van  Dyck's 
collection  of  pictures  in  1713,  there  was  a  picture 
by  De  Pape  representing  a  '  Kitchen  with  a  Woman 
paring  Turnips '  ;  and  in  Gerrit  Muller's  collection 
sold  at  Amsterdam  in  1827,  another  of  a  '  Kitchen 
■with  a  Woman  plucking  a  Fowl.'  The  latter,  he 
says,  is  more  in  the  manner  of  Brekelenkam  than 
of  Gerard  Dou.  It  is  now  in  the  Hague  Gallery. 
He  gives  no  particulars  relative  to  his  birth,  place 
of  residence,  or  death,  though  he  says  he  was 
worthy  of  the  school  whence  he  proceeded.  In 
the  Marquis  of  Bute's  collection  is  a  picture  signed 
by  him  of  a  'Woman  paring  Apples,'  and  in  the 
'Exposition  retrospective'  held  at  Brussels  in 
1873,  was  a  painting  by  him,  dated  1648,  lent  by 
the  Comte  G.  Du  Chastel. 

DE  PASSE.    See  Van  de  Passe. 


DE  PATINIR,  Joachim,  (or  De  Patenier,)  was 
bom  at  Dinant  about  the  year  1490.  He  resided 
chiefly  at  Antwerp,  where  he  acquired  considerable 
reputation  as  a  landscape  painter,  and  was  admitted 
a  master  of  the  Guild  of  St.  Luke  in  1515.  He 
was  one  of  the  earliest  Flemish  painters  who  painted 
landscapes  independent  of  historj'.  Many  of  his 
works  exist,  and,  considering  them  as  the  earliest 
productions  of  their  class,  they  fully  justify  the 
praise  of  Van  Mander.  In  most  of  them  is  found 
a  small  clownish  figure  indecently  exhibited.  He 
also  painted  hunting  scenes  and  battles,  which,  at 
that  early  period,  were  held  in  considerable  estima- 
tion. Some  historical  pictures  also  are  attributed 
to  him.  Those  which  are,  perhaps,  least  liable  to 
doubt  are  in  the  Gallery  at  Vienna.  Albrecht 
Diirer  found  De  Patinir  to  be  the  most  agreeable 
of  all  the  Flemish  artists,  and  formed  with  him  a 
close  intimacy ;  he  also  painted  his  portrait.  De 
Patinir  died  at  Antwerp  in  1524.  The  following 
paintings  by  him  may  be  mentioned  : 

Antwerp.  Museum.  The  Flight  into  Egypt. 

„  ,,  The  Adoration  of  the  Magi. 

Berlin  Gallery.  The  Conversion  of  St.  Hubert. 

„  „  The  Re.st  on  the  Flight  into  Egypt. 

Brussels.  Museum.  Mater  Dolorosa. 

London.  A'at.  Gall.  The  Crucifixion, 

,,  „  St.  Christopher. 

Madrid.  Gallery.  The  Temptation  of  St.  Anthony. 

Vienna.  Academy.  The  Entombment. 

„  „  Christ  bewailed  under  the  Cross. 

„  Gallery.  St.  John  the  Baptist  preaching. 

DEPAULIS,  Alexis  Joseph,  a  French  engraver, 
was  born  in  Paris  in  1792,  and  died  there  in  1867. 

DE  PAULIS,  Andreas.    See  Padli. 

DE  PAY,  Johann,  was  born  at  Riedlingen  in 
Swabia  in  1609,  and' died  at  Munich  in  1660.  His 
own  portrait,  by  himself,  dated  1655,  is  in  the 
Munich  Gallery. 

DE  PETERS,  Anton,  a  painter  and  etcher,  was 
born  at  Cologne  in  1723,  and  studied  in  Paris  under 
Greuze.  He  was  raised  to  the  rank  of  a  noble  by 
the  king  of  France,  and  appointed  court  painter 
by  the  Danish  king.  Christian  IV.,  as  well  as  by 
Prince  Charles  of  Lorraine.  The  Revolution  drove 
him  back  to  his  native  country,  where  he  lived  in 
poverty,  and  died  at  Cologne  in  1795.  There  are 
by  him : 

PAINTINGS. 

Death  of  Cleopatra  {in  miniature  upon  ivory). 
A  Girl  leaving  the  Bath  {Herr  Merlo,  Coloyne). 
The  Girl  with  the  Carp. 

ETCHINGS. 

Virgin  and  Child,  in  a  landscape. 

Holy  Family  on  the  Fhght  to  Egypt  {after  Eemhrandt). 

DE  POORTER,  Willem,  a  narive  of  Haariem, 
who  flourished  from  1630  to  1645,  was  a  pupil  of 
Rembrandt,  and  his  works,  executed  after  that 
master,  display  considerable  merit,  and  are  some- 
what rare.  He  usually  painted  historical  subjects, 
but  sometimes  undertook  interiors.  His  chef- 
d'oeuvre  is  'Solomon  worshipping  false  Gods,' in 
the  possession  of  M.  Coster  in  Paris.  Besides  this, 
there  are  in  public  galleries  the  following  works 
by  him : 

BerUn.         Gallery.  Samson  and  DeUlah. 

Brussels.  Arenberg  Coll.  An  Interior. 
Cassel.         Gallery.  The  Circumcision. 

Copenhagen.  Gallery.     Mercury  and  Proserpine. 

„  „  Peace.     1643. 

Dresden.  Gallery.     Ahasuerus  and  Esther.     1645. 

„  The  Woman  taken  in  Adultery. 

59 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dresden.  Gallery.  The  Virgin  and  Child,  with  St. 
Joseph  and  St.  Simeon ;  after 
Rembrandt. 

Botterdam.  Museum.  An  Allegory  of  Human  Insta- 
bility.    1630. 

DEQUEVAUVILLER,  Francois  JAConES,  son 
of  Nicolas  Dequevauviller.  Born  in  Paris  in  1783  ; 
pupil  of  his  father  and  of  Desnoyers.  Among  his 
works  are : 

Episode  in  the  Life  of  Fenelon  ;  after  Hersent. 
Portraits  of  Cardinal  de  BeaussetS 

„  Due  de  Berry  \.  after  S.  Sigaud, 

„  M.  de  Daigrefeuille.  j 

Child  playing  a  Flute,  and  Jason  ;  after  antiques. 

DEQUEVAUVILLER,  Nicolas  Barth^lemi 
Franqois,  a  French  engraver.  Born  at  Abbeville 
in  1745,  he  became  a  pupil  of  J.  DaulM.  He  made 
extensive  travels  in  Italy,  along  the  Mediterranean, 
and  in  Palestine,  1781-86.  His  chief  plates  are 
distinguished  by  good  distribution  of  light.  The 
figures  and  furniture  are  well  executed.  The 
ensemble  is  charming,  full  of  j-outh  and  pleasure. 
His  grading  of  the  different  parts  of  his  compo- 
sitions is  admirable.  He  died  in  Paris  in  1807. 
Among  his  works  are : 

The  Assembly,  The   Concert,  and  Le   Contretemps ; 

after  Lavreince.     1783. 
Bed-time,  Rising,  and  The  Dancing  School ;  after  the 

same.     1784. 
Plates  for  '  Paris  Bridges,'  and  '  Travels  in  Syria  and 

Palestine.' 
Views  at  Auserre,  Nimes,  etc.     1780. 
Temptation  of  St.  Anthony  :  after  Salvator  Rosa. 
Noon  and  Evening  ;  after  C.  Bertfhem. 
Illustrations  for  *  An  Itinerary  in  France,'   published 

by  Reville  et  Lavall^e,  Paris,  1816. 
The  Travellers  ;  after  Jan  Both.     ( Uffizi,  Florence.) 
The  Flemish  Nvu-se,  and  Flemish  Girls  bathing  ;  after 

C.  Poelenihourg. 

DE  RAM,  Jan,  a  Dutch  engraver,  was  bom 
about  1680.  He  was  a  scholar  of  Romeyn  Da 
Hooghe,  but  was  more  free  and  correct  than  his 
instructor.  He  worked  for  the  booksellers,  and 
also  engraved  in  mezzotint,  of  which  style  there 
is  a  specimen  in  a  portrait  of  Christian  V. , 
King  of  Denmark.  The  date  of  his  death  is  not 
known. 

DERBY,  Alfred  Thomas,  a  water-colour  painter, 
was  born  in  1821.  He  was  the  eldest  son  of  the 
miniature  painter,  William  Derby.  After  having 
studied  at  the  Royal  Academy,  bis  first  attempts 
were  in  oil,  but  be  afterwards  painted  in  water- 
colour,  assisting  his  father  in  his  copies  of  pictures 
by  well-known  modern  artists.  After  bis  father's 
death  he  still  continued  in  the  same  line,  painting 
many  exact  and  carefully-finished  copies,  besides 
some  original  works.  He  frequently  exhibited  por- 
traits at  the  Royal  Academy.  He  died  at  Hammer- 
smith in  1873. 

DERBY,  William,  an  English  miniature  painter 
and  copyist,  was  born  in  1786,  at  Birmingham,  where 
he  received  instruction  from  Joseph  Barker.  In 
1808  he  came  to  London  and  executed  drawings 
for  the  '  Stafford  Gallery,'  and  in  1825  for  Lodge's 
'  Portraits.'  He  also  made  copies  of  ancestral  por- 
traits for  Lord  Derby.  In  1838  he  was  struck  with 
paralysis,  but  was  able  to  pursue  his  avocations 
till  his  death  in  1847.  There  are  two  water- 
colour  drawings  by  him  in  the  South  Kensington 
Museum:  'A  Fisherman,' and  'A  Man  holding  a 
book.' 

DE  REYN,  Jan,  was  born  at  Dunkirk  about 
the  year  1610,  and  went  when  he  was  young  to 

GO 


.\ntwerp,  where  he  became  a  scholar  of  Van  Dyck. 
His  principal  works  for  the  churches  at  Dunkirk 
were  the  '  Death  of  the  four  Royal  Martyrs,'  for 
the  church  of  St.  Eloi ;  and  the  '  Baptism  of  Totila,' 
for  the  church  of  the  English  convent.  There 
are  many  of  his  portraits  in  private  collections, 
which  are  little  inferior  to  those  of  Van  Dyck. 
The  principal  altar-piece  in  the  parochial  church 
of  St.  Martin,  at  Bergues  St.  Vinox,  near  Dunkirk, 
is  by  this  master  :  it  represents  '  Herodias  bringing 
the  Head  of  St.  John  to  Herod.'  De  Reyn  died  at 
Dunkirk  in  1678.  The  Brussels  Museum  has  a 
Female  Portrait  by  him,  dated  1637. 

DE'  RITRATTI,  Francesco.     See  Negri. 

DEROCHE,  Victor,  a  French  landscape  painter 
of  some  note,  was  born  at  Lyons  in  1824  (?).  He 
was  a  frequent  exhibitor  at  the  Salon  of  pictures 
illustrating  the  beauties  of  tlie  Seine,  and  generally 
somewhat  melancholy  in  sentiment.  He  lived  for 
many  years  at  Montigny,  near  Vernon-sur-Seine, 
and  died  in  1886. 

DE  ROORE,  Jacques,  was  born  at  Antwerp  in 
1686.  He  was  the  son  of  a  goldsmith,  who  in- 
tended to  bring  him  up  to  his  own  profession,  but 
his  father  died  when  he  was  very  young,  and  his 
mother  permitted  him  to  indulge  the  inclination  he 
had  shown  for  art.  He  was  at  first  placed  under 
the  care  of  Louis  van  der  Bosch,  under  whom 
he  studied  for  two  years,  and  then  entered  the 
school  of  Caspar  Jacobus  van  Opstal.  He  painted 
historical  subjects  and  conversations ;  in  the  for- 
mer, he  adopted  the  style  of  Richard  van  Orley, 
and  in  the  latter  imitated  that  of  the  younger 
Teniers.  His  works  were  held  in  the  highest  esti- 
mation, and  he  was  loaded  with  commissions,  not 
only  for  the  collections  of  Brabant  and  Flanders, 
but  also  for  those  of  Holland.  When  not  more 
than  twenty  years  of  age  he  was  received  into  the 
Academy  at  Antwerp,  and  was  considered  one  of 
the  ablest  artists  of  his  time.  He  was  much  em- 
ployed in  embellishing  the  saloons  of  the  principal 
mansions,  and  in  painting  the  ceilings  of  the  public 
edifices.  One  of  his  most  admired  performances 
was  a  saloon  and  ceiling,  representing  the  '  History 
of  Pandora,'  painted  for  the  family  of  Hasselaer,  in 
1740.     He  died  at  Antwerp  in  1747. 

DE'  ROSSI.     See  Dei  Rossi. 

DE'  ROTARI,  PiETRO.     See  Dei  Rotabl 

DERSON,  N.,  a  French  engraver,  appears  from 
the  inscription  on  one  of  his  prints  to  have  been  of 
Reims  in  Champagne.  We  have  by  this  artist  a 
plate  of  the  stately  fa9ade  of  the  cathedral  of 
Notre-Dame  at  Reims,  neatly  etched  and  finished 
with  the  graver,  with  several  figures  spiritedly 
touched  in  the  style  of  Callot,  and  dated  1625. 

DERTINGER,  Ernst,  who  was  born  in  1816, 
engraved  after  Von  der  Embde,  T.  Schiitz,  W. 
Kaulbach,  and  other  artists.  He  died  at  Stuttgart 
in  1865. 

DE  RUEL,  Johan  Baptist,  was  born  at  Ant- 
werp in  1634.  He  was  introduced  as  a  singer  to 
the  court  of  the  Elector  of  Mayence,  and  was 
there  instructed  in  painting  by  Jan  Thomas.  He 
afterwards  settled  at  Wiirzburg,  where  he  exe- 
cuted altar-pieces  and  portraits.  A  portrait  by 
him  is  in  the  Munich  Gallery.  He  died  in  1685, 
or,  according  to  others,  in  1715. 

DERUET,  Claude,  a  painter  and  engraver,  was 
born  at  Nancy,  in  Lorraine,  in  1588,  and  died  in 
the  same  town  in  1660.  He  was  a  scholar  of 
Claude  Henriet,  and  living  in  habits  of  intimacy 
with  his  fellow-citizen  Callot,  he  adopted  the  style 


PAINTERS  AND  ENGRAVERS. 


of  that  master,  and  engraved  in  it  a  few  plates,  of 
which  the  best  are : 

Charles  IV.,  Duke  of  Lorraine,  on  Horseback.     1628. 
The  Carriere,  or  Rue  Neuve,  at  Nancy. 
The  Ducal  Palace  at  Nancy. 

DE  EUYTER,  Jan,  was  a  Dutch  painter  of 
Bcenes  from  every-day  life,  who  was  still  living  in 
1822.  A  '  Cook  in  a  Kitchen '  by  him,  in  the 
Amsterdam  Gallery,  is  dated  1820. 

DE  RUYTER,  N.,  was  a  Flemish  engraver,  who 
flourished  about  the  year  1688.  He  appears  to 
have  imitated  the  style  of  Paulus  Pontius,  but  with- 
out much  success.  Among  others,  we  have  a  plate 
by  him  representing  '  Diana  reposing  after  the 
Chase,'  after  Gerard  Valck. 

DE  RY,  Danckerts.     See  Danckerts  de  Ry. 

DE  RYCKE,  Daniel,  a  Flemish  painter,  was  a 
native  of  Ghent,  who  flourished  there  and  at 
Bruges  between  the  years  1462  and  1469.  His 
mural  and  decorative  paintings  and  portraits  caused 
him  to  be  thought  one  of  the  most  distinguished 
painters  of  his  time,  but  his  works  have  unfor- 
tunately perished  by  the  hands  of  the  Iconoclasts. 

DE  RYCKE,  WiLLEM,  (De  Reyck,  or  De  Kyke,) 
a  Flemish  painter,  was  born  at  Antwerp  in  1635. 
He  was  brought  up  a  goldsmith,  but  quitted  that 
business  to  study  painting,  and  made  some  pro- 
ficiency in  history  and  portraits,  though  he  never 
reached  any  eminence.  He  visited  England  in  the 
reign  of  King  William  III.,  and  died  in  London 
in  1697.  He  is  also  known  as  an  engraver,  and 
among  his  plates  are  the  following  : 

Susanna  surprised  by  the  Elders. 
St.  Catharine  before  her  Judges. 
Mars  and  Venus.     16S3. 

His  daughter,  Cathamna  De  RycKE,was  a  talented 
artist. 

DE  RYCKER,  A.,  was  a  Flemish  painter,  who 
in  1591  executed  for  the  church  of  St.  Jacques  at 
Antwerp  a  triptych,  the  centre  panel  of  which, 
representing  '  Christ  on  the  Cross,  between  the 
two  Thieves,'  has  since  disappeared.  The  wings, 
however,  which  contain  the  portraits  of  the  donor, 
Jan  Doncker,  and  his  wife,  are  sufficient  to  place 
the  painter  among  the  most  distinguished  masters 
of  his  time.  There  are  in  the  Antwerp  Gallery 
the  two  wings  of  another  triptych  which  are 
ascribed  to  him,  but  the  archives  of  the  Guild  of  St. 
Luke  fail  to  afford  any  information  about  this  artist. 

DE  RYE,  Aegidids,  was  a  painter  who  flourished 
in  the  Netherlands  about  1597,  which  date  is  on  a 
'  Burial  of  St.  Catharine '  by  him  in  the  Vienna 
Gallery. 

DE  RY'NG,  PlETER,  a  Flemish  painter  of  sub- 
jects of  still-life,  flourished  about  the  middle  of 
the  17th  century.  In  the  Museum  at  Amsterdam 
there  is  a  picture  by  him,  representing  a  table 
covered  with  blue  velvet,  on  which  are  various 
kinds  of  fruit,  oysters,  and  other  shell-fish.  There 
is  in  the  Antwerp  Museum  a  fruit  piece  by  him, 
dated  1651,  and  in  the  Dresden  Gallery  is  a  picture 
of  shell-fish  and  fruit  with  his  monogram — a  ring 
with  a  diamond.  Some  twenty  or  thirty  years  ago 
several  of  his  works  were  brought  to  England  by 
dealers ;  but  it  is  apprehended  that  they  have 
changed  their  name,  and  assumed  that  of  Jan 
Davidsz  De  Heem. 

DESALLIER-D'ARGENVILLE,  Antoine  Jo- 
seph, a  French  amateur  and  writer  on  art,  was 
bom  in  Paris  in  1680.  He  etched  several  plates 
of  subjects  and  landscapes  from  his  own  designs, 


and  was  the  author  of  the  well-known  '  Abrcge  de 
la  Vie  des  plus  fameux  Peintres,'  published  first 
in  1745-52.  He  died  in  Paris  in  1765. 
DE  SALZEA,  Pietee.  See  De  Fodr. 
DE  SAN,  Gerard,  was  born  at  Bruges  in  1754, 
and  studied  under  Legillon  at  the  Academy  of 
that  city.  In  1781  he  travelled  about  France  and 
to  Rome,  where  he  painted  for  four  years,  and 
received  in  1782  a  silver  medal  from  the  Papal 
Academy  for  drawing  from  the  nude.  He  further 
received  two  gold  medals  from  the  Academy  of 
Parma.  On  returning  home  he  devoted  himself 
to  the  painting  of  portraits,  and  in  1790  was  made 
director  of  the  Bruges  Academy.  After  five  years, 
however,  the  Revolution  caused  him  to  proceed  to 
Groningen,  and  in  1798  he  became  president  of 
the  newly-founded  Academy  in  that  town.  He 
died  at  Groningen  in  1829. 

DESANGIVES,  Nicolas,  a  French  painter  on 
glass,  who  acquired  a  great  reputation  early  in  the 
16th  century  for  his  windows  in  the  church  of  St. 
Genevieve,  and  in  the  charnel-house  of  the  church 
of  St.  Paul,  in  Paris. 

DESANI,  Pietro,  was  born  at  Bologna,  accord- 
ing to  Malvasia,  in  1595,  and  was  a  disciple  of 
Lionello  Spada,  under  whom  he  became  a  very 
fair  painter  of  history.  He  resided  chiefly  at 
Reggio,  where  there  was  scarcely  a  church  or  a 
public  edifice  that  did  not  contain  some  of  his 
works.  Among  the  most  esteemed  were  the 
'Crucifixion,'  with  the  Virgin  Mary,  the  Mag- 
dalen, and  St.  John,  in  the  Chiesa  del  Corpo  di 
Christo,  and  '  St.  Francis  receiving  the  Stigmata,' 
in  the  church  of  the  Padri  Zoccolanti.  The  com- 
positions of  Desani  are  masterly,  and  his  drawing 
correct ;  but  there  is  a  crudity  and  hardness  in  his 
colouring  that  give  to  his  pictures  a  disagreeable 
effect.     He  died  in  1657. 

DESAUX,  (Henriette  Browne,)  Sophie,  for- 
merly BOUTEILLIER,  was  born  in  1829  in  Paris, 
where  she  studied  under  Chaplin.  She  received 
medals  of  the  third  class  in  1855,  1857,  and  1859, 
of  the  second  class  in  1801,  and  of  the  third  class 
for  engraving  in  1863.  Of  her  pictures,  which  fre- 
quently represent  oriental  and  North  African  scenes, 
the  most  important  are :  '  The  Poor  School  at  Aix,' 
'  Sisters  of  Charitj','  'An  Apothecary's'  (1859),  'The 
Toilette,'  'A  Woman  of  Eleusis  '  (1861),  '  Oranges 
in  Upper  Egypt'  (1870),  and  'The  Coptic  Poet' 
(1874).     She  died  in  1901. 

DES  BATAILLES,  Martin.  See  Martin,  Jean 
Baptiste. 

DESBOIS,  Martial,  who  was  bom  in  Paris  in 
1630,  and  died  there  in  1700,  was  an  excellent 
engraver  in  mezzotint.  He  engraved  'Moses  strik- 
ing the  Rock,'  after  Ciro  Ferri,  and  other  plates 
after  I^aolo  Veronese,  Guercino,  N.  Poussin,  &c. 

DBSBOUTIN,  Marcellin  Gilbert,  distin- 
guished peintre-grareur,  born  at  Cevilly  in  1823. 
After  preUminary  study  he  became  a  pupil  of 
Couture,  whose  studio  he  entered  in  his  twenty- 
fourth  year.  After  eighteen  years  spent  in  Italy 
he  made  his  debut  in  Paris  as  a  portrait-painter, 
and  the  quality  of  his  work  at  once  attracted  atten- 
tion. Among  the  best  known  of  his  portraits  we 
may  mention:  'Leclerc,  the  painter' (1876),  'Dailly, 
the  actor,  in  the  rule  of  Mes  Bottes'  (1878),  '  M. 
Hyacinthe  Loison  and  family  en  triptyque  '  (1880), 
'  Ari-stide  Bruant'(1892),  'MissMaudGonne'(1894), 
'  Puvis  de  Chavanncs  '  (1896),  '  Portrait  de  I'Auteur,' 
now  at  the  Luxembourg,  and  'La  Femme  au 
Chapeau,'  which  was   purchased  in  1883   by  the 

61 


A  BIOGRAPHICAL  DICTIONARY  OF 


State.  The  Luxembourg  also  possesses  sixteen 
dry-paint  engravings  by  bim,  in  which  manner  lie 
was  particularly  successful,  as  his  etched  portraits 
of  Zola,  Rochefort,  Monet,  Edmond  de  Goncourt 
and  other  celebrities  attest.  His  various  accom- 
plishments included  the  writing  of  poetry  and 
dramatic  pieces.  Desboutin  obtained  an  Honour- 
able Mention  in  1883 ;  he  was  made  a  Knight  of 
the  Legion  of  Honour  in  1893,  and  his  brilliant 
artistic  career  was  fittingly  crowned  by  tlie  Grand 
Prix  at  the  Universal  Exhibition  in  1900.  After 
that  date  he  retired  to  Nice,  where  his  death 
occurred  on  the  23rd  February,  1902. 

DESCAMPS,  GniLLADME  D^sie^  Joseph,  a 
painter  and  engraver,  was  born  at  Lille  in  1779. 
He  was  a  pupil  of  Vincent,  but,  obtaining  the 
"  prix  de  Rome,"  he  improved  himself  by  travel- 
ling in  Italy,  and  became  court-painter  of  Murat  in 
Naples.  He  died  in  Paris  in  1858.  The  following 
paintings  were  executed  by  him : 

The  Women  of  Sparta  (in  the  Lille  Museum).     1808. 

The  Martyrdom  of  St.  Andrew  (in  St.  Andre,  Lille). 

Murat  on  board  the  Ceres  distributing  Kewards  (en- 
graved by  himself). 

The  Conversion  of  St.  Augustine  (in  St.  Eustacke,  Paris). 

The  Apotheosis  of  Cardinal  Tommasi  (in  San  Martino  cli 
Monti,  Rome). 

The  Neapolitan  Troops  marching  out  against  Capri. 

As  an  engraver  he  also  produced  six  plates  from 
the  'Fable  of  Psyche.' 

DESCAMPS,  Jean  Baptiste,  a  French  historical 
and  subject  painter,  was  born  at  Dunkirk  in 
1706.  He  studied  under  D'Ulin  and  LargiUiere, 
and  painted  several  pictures  for  Louis  XV.,  illus- 
trating that  monarch's  coronation  and  visits  to 
Havre.  In  1764  he  was  received  into  the  Academy, 
on  which  occasion  he  painted  his  best  known  work, 
'  A  Mother  in  a  Kitchen  with  her  two  Children,' 
which  is  now  in  the  Louvre.  His  latter  years  were 
chiefly  spent  at  Rouen,  where  he  was  director  of  a 
School  of  Design,  which  he  had  been  instrumental 
in  founding.  In  1753-64  he  published,  '  La  Vie 
des  Peintres  Flamands,  Allemands,  et  Hollandois,' 
and  in  1769  his  'Voyage  pittoresque  de  la  Flandre 
et  du  Brabant.'     He  died  at  Rouen  in  1791. 

DESCOMBES,  Le  Chevalier,  a  French  painter, 
was  a  disciple  of  LargiUiere,  of  whom  he  painted 
a  portrait,  which  has  been  engraved  by  Petit. 

DES  COUDRES,  Lddwig,  an  historical,  portrait, 
and  genre  painter,  was  born  at  Cassel  in  1820,  and 
pursued  his  first  studies  under  J.  von  Schnorr,  at 
the  Academy  of  Munich.  He  travelled  in  Italy  in 
1844-5,  and  placed  himself  in  1848-9  under  Karl 
Sohn  at  Diisseldorf,  where  for  a  time  he  settled, 
but  in  1855  he  was  appointed  professor  in  the  School 
of  Arts  at  Carlsruhe,  in  which  city  he  died  in  1878. 
Among  his  best  pictures  we  find  : 

Francesca  da  Eimini.     1850. 

The  "Weeping  Magdalen.     1852. 

The  Lamentation  before  the  Burial  (Carlsruhe  Gallery). 
1855. 

The  Adoration  of  the  Shepherds  (in  possession  of  the 
G^'and-Duke  of  Baden).     1857- 

The  Holy  Women  before  the  Cross  (in  St.  Nicholas, 
Hamburg).     1863. 

Iphigeueia  (in  possession  of  the  Grand-J>uke  of  Baden). 
1865. 

Under  the  Eed  Cross.    1872. 

Psyche  and  Pan. 

Happy  Existence — a  child's  picture. 

DESCOURTIS,   Charles   Melchioe,   a   French 

engraver,  was  bom  in   Paris  in  1753,  and  died  in 

the  same  city  in  1820.    He  was  a  pupil  of  Janinet, 

and  engraved  in  colour  after  his  style .   He  executed 

62 


views  in  Paris  and  in  Rome  after  De  Machy,  but  his 
best  works  are  a  '  Village  Fair,'  a  'Village  Wedding,' 
'  The  Quarrel,'  and  '  The  Tambourine,'  after  Taunay. 

DE  SEEUW,  Maeinds.     See  Roymeeswalen. 

DESENNE,Alexandre  Joseph,  was  born  in  Paris 
in  1785,  and  showed  at  an  early  age  a  taste  for  art. 
He  was  in  his  time  the  most  celebrated  designer  of 
vignettes,  and  illustrated  the  works  of  no  less  than 
twenty-seven  authors.     He  died  in  Paris  in  1827. 

DE'  SERAFINI,  Serafino.     See  Dei  Serafini. 

DES  GODETS,  Antoine,  a  French  designer  and 
ens^raver,  as  well  as  architect,  was  born  in  Paris  in 
1653,  and  died  in  the  same  city  in  1728.  He  pub- 
lished in  1682  a  folio  volume  of  plates,  entitled, '  Lea 
Edifices  antiques  de  Rome,'  engraved  from  his  own 
designs  ;  and  he  etched  the  frontispiece  himself. 

DESGOFFE,  Alexandre,  a  French  landscape 
painter,  was  born  in  Paris  in  1805.  He  studied 
under  Ingres,  and  travelled  in  Italy  from  1837  to 
1842.  He  usually  introduced  into  his  landscapes 
historical  or  mythological  incidents,  and  he  also 
painted  some  Biblical  subjects.  The  Luxembourg 
Gallery  has  his  '  Fury  of  Orestes,'  and  the  Museum 
of  Lyons  his  'Cyclops.'  He  decorated  the  Salle 
des  Etudes  of  the  Bibliothfeque  Nationale  in  1868, 
and  died  in  Paris  in  1882. 

DES  GRANGES,  D.,  a  miniature  painter,  said  to 
have  been  the  pupil  of  Peter  Oliver.  Of  his  history 
nothing  is  known,  save  that  he  is  said  to  have  fled 
to  England  on  account  of  his  holding  the  Catholic 
faith.  Some  of  his  best  works  are  at  Ham  House, 
and  there  are  others  at  Windsor  Castle  and  Welbeck 
Abbey. 

DESHAYS  DE  COLLBVILLE,  Jean  Baptiste 
Henri,  a  French  historical  painter,  was  born  at 
Rouen  in  1729.  He  was  first  instructed  by  his 
father,  and  afterwards  became  a  pupil  of  Boucher, 
whose  daughter  he  married.  He  also  visited  Italy, 
and  was  received  into  the  Academy  in  1759.  He 
excelled  particularly  in  painting  altar-pieces,  one 
of  the  best  of  which  is  a  '  St.  Jerome,'  in  the  church 
of  Le  Plessis-Piquet  (Seine).  Deshays  died  in 
Paris  in  1765.  He  had  a  younger  brother,  Franqois 
Bedno  Deshays  de  Colleville,  who  painted  por- 
traits, but  had  not  a  spark  of  genius. 

DESJOBERT,  Louis  Remy  Eugene,  a  French 
landscape  painter,  was  born  at  Chateauroux  in  1817, 
and  died  in  Paris  in  1863.  As  a  specimen  of  his 
painting  may  be  mentioned  '  St.  Ouen's  Bay, 
Jersey.' 

DESMAISONS,  Pierre  Emile,  a  French  litho- 
grapher, died  in  1880,  aged  68,  at  Montlignon  (Seine- 
et-Oise).  Amongst  his  most  successful  works  are 
his  reproductions  of  paintings  by  Vidal  and  i^douard 
Frere. 

DESMARAIS,  Jean  Baptiste,  a  French  his- 
torical painter,  was  born  in  Paris  in  the  latter  part 
of  the  18th  century.  He  studied  at  Rome  from 
1786  to  1790,  and  subsequently  became  professor 
and  vice-president  of  the  Academy  at  Carrara, 
where  he  died  in  1814. 

DESMAREES,  Georo,  (or  Des  Maeees,)  a 
portrait  painter,  was  born  in  1697  at  Stockholm, 
where  he  was  instructed  in  painting  by  Peter 
Martin  van  Meytens,  whose  assistant  he  afterwards 
became.  In  1724  he  made  a  stay  in  Amsterdam, 
and  in  the  following  year  in  Nuremberg  and  then 
in  Venice,  where  he  received  further  tuition  from 
Piazzetta.  In  1731  he  settled  in  Munich,  where  he 
became  court  painter,  and  where  he  continued  to 
reside  till  his  death  in  1776.  A  portrait  of  him- 
self and  one  of  his  daughter  are,  with  a  third    in 


PAINTERS  AND  ENGRAVERS. 


the  Munich  Gallery,  and  other  portraits  by  him  are 
at  Augsburg-. 

DESMARQUfiTS,  Pauline.    See  Auzou. 

DESMOLES,  Arnaud,  a  French  painter  on 
glass,  flourished  about  1510.  He  executed  some 
windows  in  the  cathedral  at  Audi,  between  the 
years  1509  and  1513,  by  order  of  the  Cardinal  de 
Sourdis. 

DESNOYERS,  AucnsxE  Gaspard  Louis  Bou- 
cher, Baron.     See  Bodchee-Desnoyers. 

DESPERRIERES,  Madame,  a  French  portrait 
painter,  exhibited  at  the  Salon  from  1812  to  1819. 
A  portrait  of  the  Duchess  of  Angouleme  by  her  is 
in  the  Bordeaux  Museum. 

DESPLACES,  Louis,  a  French  engraver,  was 
born  in  Paris  in  1682.  He  engraved  a  considerable 
number  of  plates,  possessing  great  merit,  some  of 
which  are  in  the  style  of  Gerard  Audran,  and 
though  he  was  unequal  to  that  distinguished  artist, 
his  drawing  is  correct,  and  his  works  evince  ex- 
cellent taste.  His  best  prints  are  those  after 
Jouvenet.  He  worked  with  the  point  and  the 
graver.  He  died  in  Paris  in  1739.  The  following 
are  his  principal  works  : 

SUBJECTS   ENGRAVED   FOR   THE   CBOZAT    COLLECTION. 

Jupiter  and  Danae  ;  after  Titian. 

Paolo  Veronese  between  Virtue  and  Vice ;  after  Paolo 

Veronese, 
Wisdom  accompanying  Hercules  ;  after  the  same. 
Christ  washing  the  Disciples'  Feet ;  after  G.  Muziano. 
The  Adoration  of  the  Magi  ;  after  Giulio  Ilomano. 
The  Triumph  of  Titus  and  Vespasian  ;  after  the  same. 
The  Crucifixion  ;  after  Annibale  Carracci. 

SUBJECTS   AFTER    VARIOUS    MASTERS. 

The  Martyrdom  of  St.  Peter  ;  after  Jl  Calabrese. 

The  Purification  ;  after  Tintoretto. 

Diana  and  Actseon  ;  after  Carlo  Maratti. 

The  Rape  of  Helen  ;  after  Gvido. 

The  Birth  of  Adonis ;  after  C.  Cignani. 

The  Gallery  of  the  President  Lambert  ;  after  Le  Sueur. 

The  Roman  Charity  ;  after  Le  £run. 

Hercules  combating  the  Centaurs  ;  after  the  same. 

Christ  healing  the  Sick  ;  after  Jouvenet. 

The  Elevation  of  the  Cross  ;  after  the  same. 

The  Descent  from  the  Cross  ;  after  the  same. 

St.  Bruno  praying  ;  after  the  same. 

Venus  prevailing  on  Vulcan  to  forge  Arms  for  JJneas  ; 

after  the  same. 
The  Triumph  of  Venus ;  after  Antaine  Coypel. 
Cupid  taking  refuge  with  Anacreon  ;  after  the  same. 
jEneas  saving  his  Family  from  the  Burning  of  Troy  ; 

after  the  same. 

PORTRAITS. 

Mile.  Duclos  as  Ariana ;  after  Largilliere. 
Evrard  Titon  du  Tillet ;  after  the  same. 
Marguerite  B&aille,  veuve  Titon  ;  after  the  same. 
The  Abb6  de  RancS  ;  after  Riyaud. 
Charles  Francois  Silvestre  ;  after  Herav.lt. 

DESPORTES,  Alexandre  Franqois,  a  French 
painter  of  hunting  scenes  and  animals,  was  born  at 
Champigneul,  in  Champagne,  in  1661.  He  was  a 
scholar  of  Nicasius  Bernaert,  a  Flemish  painter 
then  resident  in  Paris,  who  had  studied  under 
Snyders,  but  who  died  before  his  pupil  had  made 
any  great  progress  in  the  art.  Without  further  in- 
struction, he  applied  himself  with  great  assiduity 
to  the  study  of  nature,  not  only  in  animals  and 
landscape,  but  in  perfecting  himself  in  the  draw- 
ing of  the  figure  after  the  Academy  model.  Des- 
portes  was  not  satisfied,  as  is  frequently  the  case 
with  artists  in  that  branch,  with  painting  the 
animals,  and  leaving  to  others  the  more  important 
part  of  the  picture.  He  painted  the  hunters,  as 
well  as  their  game,  and  his  figures  are  well  drawn 


and  full  of  character.  He  was  much  employed  by 
Louis  XIV.  in  the  palaces  of  Versailles,  Fontaine- 
bleau,  and  Meudon,  and  was  made  painter  to  the 
king.  In  1699  he  became  a  member  of  the 
Academy  in  Paris.  Walpole  does  not  mention 
him  in  the  'Anecdotes,'  but  in  1713  he  accom- 
panied the  Duke  of  Aumont  in  his  embassy  to 
England,  and  here  painted  several  pictures.  He 
died  in  Paris  in  1743.  There  are  twenty-seven  of 
his  works  in  the  Louvre.  Among  them  is  his  own 
portrait,  painted  for  his  reception  at  the  Academy 
in  1699. 

DESPORTES,  Claude  Franqois,  an  animal 
painter,  and  the  son  of  Alexandre  Francois  Des- 
portes,  was  born  in  Paris  in  1695,  and  died  there 
in  1774.  A  large  picture  of  'Still  Life'  by  him  is 
in  the  Louvre  ;  it  constituted  his  reception  painting 
on  his  entry  into  the  Academy  in  1723. 

DESPORTES,  Nicolas,  a  nephew  and  pupi!  of 
Alexandre  Francois  Desportes,  was  born  in  1718. 
He  at  first  painted  animals,  but  afterwards,  under 
the  tuition  of  H.  Rigaud,  devoted  himself  to  por- 
trait painting.  He  was  received  into  the  Academy 
in  1757  with  a  picture  of  'A  Wild  Boar  pursued 
by  a  Dog.'     He  died  in  1787 

DES  PREZ,  F.,  was  a  French  engraver  on  wood, 
who  resided  in  Paris  about  the  year  1573.  He 
executed  a  large  plan  of  the  town  of  Roohelle, 
with  the  additional  fortifications  made  at  the  time 
it  was  besieged  in  the  civil  wars  in  1573.  It  is 
inscribed,  A  Paris,  par  F.  des  Prez,  rue  Mont- 
orgueil  au  bon  pasteur. 

DESPREZ,  Lonis  Jean,  a  French  historical 
painter  and  architect,  was  born  at  Lyons  in  1740. 
He  produced  some  works  in  Paris,  and  then  went 
to  Rome,  where  he  assisted  in  the  production  of 
the  'Voyage  pittoresque  de  Naples.'  He  was 
patronized  by  Gustavus  III.,  with  whom  he  went 
to  Sweden,  and  for  whom  he  painted  decorations, 
battle-pieces,  &o.  He  died  at  Stockholm  in 
1804.  His  '  Costumes  of  Swedeir '  have  been 
published. 

DESROCHERS,  Etienne  Johandiek,  a  French 
engraver,  was  born  at  Lyons  about  1661.  He 
engraved  and  published  upwards  of  600  portraits, 
which  must  have  had  in  their  day  some  popularity, 
for  in  1723  he  was  elected  a  member  of  the  Aca- 
demy.    He  died  in  Paris  in  1741. 

DES  RUINES,  Robert.     See  Robert,  Hubert. 

DESSURNE,  Mark,  painter,  born  in  1825,  was 
a  student  and  frequent  exhibitor  at  the  Royal 
Acadeujy.  He  also  contributed  to  the  Sufl'olk 
Street  and  British  Institution  Galleries  between 
1840  and  1870,  and  held  an  art  mastership  in 
connection  with  the  Glasgow  school  of  design  for 
many  years.     He  died  Slay  4,  1885. 

DESTOUCHES,  Paul  Emile.     See  Detouche. 

DES  TUILERIES,  Bernard.     See  Palissy. 

DE  SUBLEO,  Miohele,  (or  De  Sobleo,)  was  a 
native  of  Flanders,  who  went  when  young  to 
Bologna.  He  was  educated  in  the  scliool  of  Guido 
Reni.  He  painted  some  pictures  for  the  churches 
at  Bologna,  especially  for  that  of  Gesii  e  Maria, 
which  partake  of  the  style  of  his  master,  with 
something  of  the  vigour  of  Guercino.  He  resided 
during  a  great  part  of  his  life  at  Venice,  where 
there  are  several  of  his  works,  the  most  esteemed 
of  which  is  an  altar-piece  in  the  church  of  the 
Carmelites,  representing  some  Saints  of  that  order. 
In  the  Bologna  Gallery  are  four  works  by  him  : 
a  '  St.  Agnes,'  a  '  Virgin,'  '  The  Apparition  of  the 
Virgin   to    St.  Augustine   and   others '  (from   the 

63 


A  BIOGRAPHICAL  DICTIONARY   OF 


church  of  Gesii  e  Maria),  and  '  St.  John  the  Baptist 
preaching.' 

DETAILLE,  Jean  Baptists  Edouard,  French 
painter  born  in  Paris,  October  5,  1848.  Iq  early 
childhood  he  showed  great  talent  for  drawing  ; 
and  fortunately  this  was  encouraged  by  his  family. 
When  his  term  of  schooling  came  to  an  end  he 
entered  the  studio  of  Meissonnier,  whose  favourite 
pupil  he  soon  became.  He  sent  in  his  first  contri- 
bution to  the  Salon  of  1867.  It  was  entitled  'A 
Corner  of  the  Studio  '  (Meissonnier's  studio),  which 
received  but  scant  notice.  But  the  following  year 
the  critics  spoke  in  terms  of  high  praise  concerning 
his  '  Halt  of  tlie  Drums,'  and  their  eulogy  was  con- 
firmed in  1869  by  tlie  marked  advance  in  his  art 
made  by  the  young  painter,  his  'Repose  during 
the  Manoeuvres '  being,  in  fact,  the  success  of  that 
year's  Salon.  On  tbe  other  hand  his  '  Engagement 
between  Cossacks  and  Guards,  1814,'  exhibited  at 
the  Salon  in  1870,  did  not  meet  with  such  favour- 
able notice.  Called  to  serve  with  the  colours  during 
the  Franco-German  war,  Detaille  acted  as  secretary 
to  General  Pajol,  and  later  to  General  Appert,  a 
post  whicli  gave  him  ample  opportunity  to  study 
military  life.  The  jury  were  obliged  to  reject  his 
picture,  '  Les  Vainqueurs,'  submitted  to  the  Salon 
in  1872,  but  nevertheless  they  accorded  it  a 
recompense.  His  remarkable  canvas,  '  Charge  of 
the  1st  Hussars,  1807,'  was  acquired  for  the  Musde 
d«  Luxembourg.  M.  Detaille,  who,  for  military 
subjects,  stands  in  the  very  first  ranic,  gained  two 
medals  in  1869  and  1870 ;  a  second-class  medal  in 
1872  ;  a  medal  of  honour  in  1888,  a  Grand  Prix 
at  the  Universal  Exhibition  of  1889.  He  was 
decorated  with  the  Legion  of  Honour  on  November 
3,  1873,  being  promoted  to  the  rank  of  olEcer 
on  July  13,  1881.  He  published  an  album  for 
children,  '  Les  bonnes  id^es  de  Mile.  Lili'  ■  and  a 
number  of  his  designs  and  sketches  have  been 
reproduced  by  different  modern  processes.  Two 
large  folio  volumes,  '  L'arm^e  franfaise :  Tj'pes  et 
Uniformes,'  a  sumptuous  work,  were  illustrated  by 
him  in  1885-8.  He  painted  with  Alphonse  de 
Neuville  the  '  Panorama  de  Champigny '  and  the 
'  Panorama  de  R^zonville.'  He  has  been  since 
1892  a  member  of  the  Acad&nie  des  Beaux  Arts, 
President  of  the  Society  of  French  Artists,  but 
has  entirely  given  up  painting. 

P.P. 

DETOUCHE,  Paul  Emile,  called  Destouches,  a 
pupil  of  David,  Gu^rin,  Gros,  and  Girodet,  was  bom 
at  Dampierre  in  1794,  and  was  a  painter  of  history 
and  portraits,  but  distinguished  himself  more  in 
genre  pieces.  His  pleasing  scenes  of  family  life 
are  spirited  and  carefully  executed.  'The  Orphan,' 
'  The  Young  Conscript, '  and  '  The  Wounded  Student ' 
are  considered  his  best  paintings.  He  died  in 
Paris,  in  1874. 

DETREZ,  Ambeoise,  who  was  born  in  Paris  in 
1811,  studied  at  Lille,  and  subsequently  became 
Director  of  the  Painting  School  at  Valenciennes, 
where  he  died  in  1863.  In  the  Lille  Museum  are 
a  '  Presentation  in  the  Temple  '  and  two  Landscapes 
by  him. 

DETROY.    See  Trot. 

DEUERLEIN,  Johann  Hierontmus,  was  a 
painter  of  Wiirzburg,  who  in  1619  became  a  pupil 
of  Biiler,  and  was  admitted  in  1624  into  the  Brother- 
hood of  St.  Luke.  He  painted  the  '  Triumph  of 
Death '  in  the  choir  of  St.  Peter's  Church  at  Wiirz- 
burg, and  a  votive  picture  in  the  cloister  of  the 
Cathedral. 
64 


DEUREN,  0.  VAN,  is  only  known  by  his  signa- 
ture, and  the  date  1624,  on  a  picture  of  a  '  Hermit' 
now  in  the  Dresden  Gallery. 

DE  URER,  Lddwig,  a  son  of  Peter  F.  Deurer,  was 
born  at  Mannheim  in  1806,  and  studied  at  Nurem- 
berg, Munich,  and  Rome.  He  was  an  excellent 
painler  of  historical  subjects,  and  painted  'The 
Knights  of  Malta  before  Jerusalem.'  He  died  in 
1847. 

DEURER,  Peter  Ferdinand,  a  painter  of  history 
and  portraits,  who  was  born  at  Mannheim  in  1779, 
studied  art  at  Diisseldorf  and  Cassel.  For  saving 
the  pictures  of  the  gallery  of  his  native  town,  during 
tlie  siege  by  the  French,  he  was  made  director  of  it 
and  professor  at  the  Academy.  In  1826  he  went 
to  Rome  and  made  a  copy  of  Raphael's  '  Burial  of 
Christ,'  which  copy  is  now  in  the  Art  Hall  at 
Carlsruhe.     He  died  at  Kissingen  in  1844. 

DEUTSCH,  Manuel.     See  Manuel. 

DE  VADDER,  Lodewijk,  was  born  at  Brussels 
about  1660.  It  is  not  known  by  whom  he  was 
instructed,  but  he  may  be  ranked  amongst  the 
ablest  landscape  painters  of  his  country.  From 
the  grandeur  of  his  style,  and  the  picturesque 
beauty  of  his  scenery,  it  is  probable  that  he 
resided  some  time  in  Italy,  where  he  appears 
to  have  made  the  works  of  Titian  the  particular 
objects  of  his  study,  as  his  best  productions  bear 
a  striking  resemblance  to  the  landscapes  of  that 
master.  The  forms  of  his  rocks  and  trees  are 
noble  and  select,  and  his  distances  are  distinguished 
by  a  vapoury  degradation.  The  pictures  of  De 
Vadder  are  deservedly  esteemed  in  his  native 
country,  where  they  are  found  in  the  choicest 
collections.  His  merit  would  have  been  more 
generally  known  in  England,  had  not  his  works 
been  frequently  imposed  upon  the  public  under 
borrowed  names.  He  is  said  to  have  died  at  Brus- 
sels about  1623,  but  his  death  occurred  probably 
earlier.  A  '  Landscape '  by  him  is  in  the  Darm- 
stadt Gallery.  There  are  a  few  spirited  etchings 
of  landscapes  by  this  artist,  executed  in  the  style 
of  Lucas  van  Uden. 

DE  VALCK.     See  Valck. 

DE'  VECCHI,  Giovanni.    See  Dei  Vecchi. 

DEVEMY,  Louis,  who  was  born  at  Lille  in  1808, 
first  practised  as  an  advocate.  He  adopted  art  as  a 
profession  in  1845,  and  established  himself  in  Paris 
in  1852.  He  died  there  in  1874.  A  picture  of  '  Still 
Life '  by  him  is  in  the  Museum  of  his  native  city. 

DEVERELL,  Walter  Howell.  This  artist  was 
the  son  of  the  secretary  of  the  Schools  of  Design 
(now  enlarged  into  the  Science  and  Art  Depart- 
ment), and  was  an  artist  of  the  greatest  promise, 
who  died  in  1854  at  the  very  early  age  of  twenty- 
six.  He  was  associated  with  the  Pre-Rapliaelites  ; 
a  great  friend  of  Rossetti,  and  nominated  for  the 
place  in  the  B.R.P.  left  vacant  by  the  resignation 
of  Collinson.  It  was  Deverell  who  introduced 
Rossetti  to  Miss  Siddal,  who  was  at  that  time 
sitting  to  him  for  '  Viola,'  and  who  afterwards 
became  Mrs.  Rossetti.  His  notable  works  were  : 
'  A  Scene  from  "  Twelfth  Night " ' ;  '  A  Lady  with  a 
Bird-cage,'  at  one  time  in  the  Leathart  Collection ; 
'A  Scene  from  "As  you  Like  It,'"  which  Rossetti 
finished  after  the  death  of  the  artist ;  and  '  The 
Doctor's  Last  Visit,'  on  which  Deverell  was  work- 
ing when  he  died,  and  which  he  was  only  just  able 
to  complete.  He  was  a  remarkably  good-looking 
man,  very  genial,  clever,  and  popular,  and  would 
have  greatly  distinguished  himself  had  he  lived. 

DEVERIA,  Eugene  FRAN901S  Marie  Joseph, 


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PAINTERS  AND  ENGRAVERS. 


who  was  born  in  Paris  in  1805,  was  a  brother  of 
Achille  Deveria ;  he  frequented  the  school  of 
Girodet.  Besides  several  historical  pieces,  he 
painted  for  the  Museum  at  Versailles,  the  ceilings 
in  the  Louvre,  the  Palais  Royal,  and  Notre-Dame 
de  Lorette.  His  portraits  of  Marshals  Brissac  and 
Crevecceur  are  at  Versailles.  His  own  is  in  the 
Uffizi ;  and  the  Louvre  possesses  his  '  Birth  of 
Henri  IV.' (1827).  His  'Death  of  Joan  of  Arc 'is 
in  the  Museum  at  Angers.    He  died  at  Pau  in  1865. 

DEVERIA,  Jacques  Jean  Marie  Achille,  born 
in  Paris  in  1810,  was  a  painter  and  lithographer. 
He  was  a  pupil  of  Lafitte  and  of  Girodet.  His 
subjects  were  mostly  of  a  religious  character,  and 
painted  in  a  pleasing  manner.  He  died  in  Paris 
in  1857.  His  best  claim  to  notice,  however,  rests 
upon  his  successful  administration  of  the  depart- 
ment of  engravings  in  the  Bibliotheque  Nationale, 
to  the  direction  of  which  he  was  appointed  in  1849. 
Before  that  date  chaos  had  reigned  supreme,  and 
it  was  due  to  Iiis  patient  labour,  as  well  as  to  his 
refined  taste  and  sound  learning,  that  order  by 
degrees  took  its  place. 

DEVIGNE.     See  Vigne. 

DEVIS,  Antony  T.,  an  English  landscape 
painter,  the  brother  of  Arthur  Devis,  was  bom  in 
1729.  He  exhibited  a  few  times  at  the  Society  of 
Arts  and  at  the  Royal  Academy.  During  the  latter 
part  of  his  life  he  lived  at  Albury,  in  Surrey, 
where  he  died  in  1817.  His  works  are  in  the 
early  manner  of  water-colour  drawings.  There  is 
a  Landscape  by  him,  dated  1772,  in  the  South 
Kensington  Museum. 

DEVlS,  Arthuk,  was  bom  at  Preston  in  Lanca- 
shire, about  the  year  1711,  and  was  the  pupil  of 
Peter  Tillemans.  He  painted  in  a  variety  of 
ways,  sometimes  portraits,  but  mostly  small  whole- 
lengths  and  conversation  pieces.  He  was  an  ex- 
hibitor at  the  Society's  Rooms,  in  the  Strand,  in 
1761,  but  never  joined  either  the  Chartered  Society 
or  the  Royal  Academy.  He  died  at  Brighton  in 
1787. 

DEVIS,  Arthur  William,  a  portrait  and  his- 
torical painter,  was  born  in  London  in  1763,  and 
received  his  first  instruction  in  art  from  his  father, 
Arthur  Devis.  He  made  rapid  progress,  and  ob- 
tained, at  an  earlier  age  than  is  usual,  a  silver  medal 
from  the  Royal  Academy,  and,  what  was  of  more 
■  importance,  the  good  opinion  of  Sir  Joshua  Rey- 
nolds. In  his  twentieth  year  he  was  appointed 
by  the  East  India  Company  draughtsman  to 
accompany  Captain  Wilson  in  the  '  Antelope  '  in  a 
voyage  round  the  world.  He  afterwards  went 
to  Bengal,  where  he  continued  the  exercise  of 
his  art,  but  returned  to  England  in  1795,  and 
painted  for  Mr.  Alexander  Davison  some  his- 
torical pictures.  His  life  was  one  of  vicissitudes 
and  difficulties,  and  was  terminated  by  a  stroke  of 
apoplexy  in  1822.  Devis,  as  an  historical  painter, 
was  equal,  if  not  superior,  to  any  of  his  day,  but 
circumstances  did  not  conduce  to  bring  his  powers 
into  action.  His  picture  of  the  '  Detection  of  Babing- 
ton's  Conspiracy '  was  painted  in  competition  with 
some  of  the  most  eminent  members  of  the  Royal 
Academy,  West,  Northcote,  Copley,  Smirke,  Wilkie, 
and  others;  and,  unquestionably,  was  the  best  in 
composition,  delineation  of  character,  truth  of 
colour,  and  management  of  chiaroscuro.  His  own 
portrait  is  in  the  composition.  The  National  Por- 
trait Gallery  possesses  his  portrait  of  Governor 
Herbert,  painted  at  Calcutta  in  1791. 

DE  VISCH,  Matthias,  was  bom  at  the  village 
vol.  II.  F 


of  Reningen,  in  1702.  He  studied  under  Joseph 
van  den  Kerkhove  at  Bruges,  became  a  student  of 
the  Academy,  and  obtained  the  first  prize  in  1721. 
He  went  to  Paris  in  1723 ;  thence  to  Italy,  where 
he  remained  nine  years.  On  his  return  to  Bruges 
he  painted  the  picture  of  '  Hagar  and  Ishmael  in 
the  Desert '  for  the  church  of  St.  James,  and  opened 
a  school  of  design ;  and  he  is  remembered  more 
for  his  zeal  in  furthering  the  knowledge  of  paint- 
ing among  the  youth  uf  Bruges  than  for  any 
superior  talent  shown  by  him  in  the  practice  of  it. 
He  painted  the  portrait  of  Maria  Theresa  for  the 
city  of  Bruges,  and  several  for  other  communities 
of  Flanders.  He  collected  materials  for  a  history 
of  painting  in  Belgium,  which  he  gave  to 
Descamps,  who  made  use  of  them  for  his  '  Lives 
of  the  Flemish  Painters.'  De  Visch  died  in  1765, 
it  is  said  from  over-exertion  in  endeavouring  to 
make  the  students  of  his  own  Academy  rival  those 
of  that  of  Antwerp,  upon  the  restoration  of  the 
former  after  its  destruction  by  fire  in  1755. 

DE  VLAMYNCK,  Pierre  Jean,  a  Belgian  en- 
graver, was  born  at  Bruges  in  1795.  He  received 
his  first  instruction  in  drawing  in  the  studio  of 
Odevaere,  after  whose  'Narcisse'  he  executed  in 
1820  his  first  plate.  Having  obtained  from  the 
King  of  the  Netherlands  a  pension  for  four  years, 
he  went  to  Paris,  and  there,  under  the  supervision 
of  Dien,  he  engraved  the  'Battle  of  Nieuport.' 
His  chief  work  was  the  '  Ascension,'  after  Rubens, 
upon  which  he  was  engaged  for  many  years.  He 
also  engraved  portraits  of  Raphael,  Rembrandt, 
Odevaere  (after  Diez),  and  Count  Frederic  de 
Merode.  There  are  likewise  many  drawings  in 
black  chalk  and  several  lithographic  portraits  by 
him.  Besides  these  he  executed  in  lithography 
some  of  the  masterpieces  of  Flemish  art  which 
adorn  his  native  city — Memlinc's  '  Shrine  of  St. 
Ursula,'  the  triptych  of  the  '  Mystic  Marriage  of 
St.  Catharine,'  the  '  Adoration  of  the  Magi,'  and  the 
'  Vierge  a  la  porame.'     He  died  at  Bruges  in  1850. 

DE  VLIEGER,  Simon,  was  born  at  Rotterdam 
about  1600,  and  acquired  a  considerable  reputation 
as  a  painter  of  sea-pieces  and  landscapes,  although 
it  is  not  known  by  whom  he  was  instructed.  He 
had  the  credit  of  being  the  master  of  Willem  van 
de  Velde,  the  younger,  and,  though  his  merit  was 
eclipsed  by  the  brilliant  talents  of  his  disciple,  his 
pictures  are  deservedly  placed  in  the  choicest  col- 
lections. In  1634  he  entered  the  Guild  at  Delft, 
and  in  1643  became  a  citizen  of  Amsterdam.  He 
was  still  living  in  1656,  but  died  probably  at  Am- 
sterdam shortly  before  1660.  This  painter  deserves 
more  notice  than  has  been  bestowed  on  him.  His 
selections  are  picturesque,  his  compositions  are  not 
crowded  with  unnecessary  objects,  his  execution 
is  remarkably  free,  and  in  the  representation  of  the 
effects  of  a  gale,  or  fresh  breeze,  he  approaches  the 
grandeur  of  Ruisdael.  Unfortunately  his  colours, 
in  many  instances,  have  faded,  or  vanished  alto- 
gether, particularly  in  the  sky,  so  that  his  pictures 
appear  cold  or  murky ;  still  a  master  mind  and  hand 
may  be  discerned.  He  etched  about  twenty  plates. 
The  following  are  some  of  his  principal  works : 
Amsterdam.  Museum.  The  Regatta.  1655. 
Antwerp.  Ilustum.  A  Calm  Sea. 
Berlin.  Gallery.  A  Sea-piece. 

Dresden.  Gallery.  Storm  at  Sea. 

Munich.  Gallery.  Storm  at  Sea, 

Petersburg.  Hermitage.  The   Arrival    of    the    Prince    of 

Orange  at  Flushing. 
Vienna.  Gallery.  Calm   Sea,  with  many  Ships  (o 

masterpiece). 

65 


A  BIOGRAPHICAL  DICTIONARY  OF 


DE  VLIEGHER,  Sebafyn,  a  Belgian  painter,  was 
born  at  Eecloo  in  1806.  He  was  at  first  a  pupil  of 
Antoon  De  Poorter,  afterwards  of  Geimaert,  and 
finally  a  student  of  the  Academy  at  Ghent.  He 
painted  genre  subjects  and  portraits,  and  became 
director  of  the  Academy  at  Alost,  where  he  died 
in  1848. 

DE  VOIS,  Adriaan,  or  Aet,  was  born  at  Leyden 
in  1641.  His  father  was  a  celebrated  organist,  and 
was  desirous  of  bringing  his  son  up  to  the  same 
profession  ;  but  the  latter  had  so  little  taste  for 
music,  and  so  decided  a  disposition  for  painting, 
that  he  was  induced  to  place  him  under  the  tuition 
of  Nicolaes  Knupfer,  a  painter  of  some  repute  at 
Utrecht,  with  whom  he  continued  two  years,  when 
he  returned  to  Leyden,  and  there  became  a  disciple 
of  Abraham  van  den  Tempel.  De  Vois,  however, 
did  not  adopt  the  manner  of  either  of  his  instruct- 
ors ;  he  formed  an  intimacy  with  Pieter  van 
Slingeland,  who  had  been  a  disciple  of  Gerard 
Dou,  whose  highly-finished  style  he  followed  with 
the  greatest  success.  Although  he  occasionally 
attempted  history  on  a  small  scale,  his  best  pro- 
ductions are  portraits,  conversations,  and  domestic 
subjects,  which  are  little  inferior  to  the  works 
of  Metsu  or  of  Mieris.  His  drawing  is  very  cor- 
rect, and  his  colouring  clear  and  transparent,  with 
a  perfect  intelligence  of  the  chiaroscuro.  The 
pictures  of  this  artist  are  extremely  scarce,  as  they 
were  very  carefully  finished,  and  therefore  few ; 
and  he  is  said  to  have  passed  several  years  of  his 
life  in  idleness  and  dissipation,  in  consequence  of 
his  having  married  a  lady  of  considerable  fortune. 
He  died  at  Leyden  ;  Balkema  says  in  1698.  The 
following  are  some  of  his  principal  works  : 


Antwerp.      Museum. 


Amsterdam. 

Museum. 

The  Fish  Merchant. 

») 

?) 

The  Violin  Player. 

»» 

A  Lady. 

Antwerp. 

Museum, 

An  Old  "Woman. 

Berlin. 

Gallery. 

Venus  and  Adonis.     1678. 

Oassel. 

Gallery. 

A  Man  smoking  and  drinking. 

Dresden. 

Gallery. 

Landscape  with  Women  bathing. 
1666. 

„ 

» 

A  Man  iu  a  grey  hat. 

» 

« 

A  Shepherdess. 

Frankfort. 

Stddel. 

Head  of  an  old  Man. 

Hague. 

Gallery. 

Portrait  of  a  Huntsman. 

Munich. 

Gallery. 

A  Drinker. 

, 

A  Smoker. 

Paris. 

Louvre. 

Portrait  of  a  Man  seated  at  his 
bureau. 

DE  VOLLER,  Aertgen.     See  Claessoon. 

DE  VOS.  There  were  several  painters  of  this 
name,  nearly  contemporaries,  but  of  different  fami- 
lies. As  most  of  them  painted  landscapes,  por- 
traits, and  animals,  their  names  and  works  have 
been  confounded.  Among  them,  in  addition  to 
those  in  the  following  articles,  are,  a  second  Pieter, 
a  second  Willem,  a  Hendrik,  and  other  baptismal 
names,  but  there  is  very  little  information  to  enable 
the  inquirer  to  distinguish  their  works.  A  race 
of  painters  of  the  name  continues  in  Holland  to 
this  day. 

DE  VOS,  CORNELIS,  was  born  at  Hulst  about 
1585,  and  became  master  in  the  Guild  of  St.  Luke 
at  Antwerp  in  1608,  having  been  mentioned  in 
1599  in  the  '  Liggeren  '  as  a  pupil  of  Remeeus  ;  he 
was  dean  of  the  Guild  in  1619-20.  He  pamted 
historical  pictures  and  portraits,  the  latter  some- 
what in  the  style  of  Rubens.  He  died  in  1651. 
He  was  a  friend  of  Van  Dyck,  who  painted  his 
portrait.  The  following  are  some  of  his  principal 
works : 
66 


Berlin. 

J) 
Brussels. 

Cassel. 

Madrid. 


Munich. 
Petersburg. 
Eotterdam. 
Vienna. 


Portrait  of    Abraham  Grapheus, 
Messenger  of    the   Corporation 
of  St.  Luke.     1620. 
Triptych — Adoration  of  the  Magi. 

{From  the  Cathedral,  Antwerp.) 
Portrait  of  a  Geutleman  and  his 

Wife.     1629. 
Portrait  of  his  Daughter. 
Portrait   of    the    Artist   and    his 

Family. 
Portrait  of  a  Man. 
Portrait  of  Salomon  Cock. 
Venus  rising  from  the  Sea, 
Triumph  of  Bacchus. 
„  Apollo  and  the  Python. 

Gallery.      Family  Picture. 
Hermitaye.  Family  Picture. 
Museum.      An  Allegory. 
Gallery.     Baptism  of  Cloris. 


Gallery. 

Museum. 
Gallery. 
Gallery. 


DE  VOS,  CoENELis,  a  painter  of  accessories  in 
other  artists'  productions,  was,  in  1633-34,  received 
into  the  Guild  of  St.  Luke  at  Antwerp,  as  a  master's 
son.  He  is  no  relation  to  the  celebrated  Cornells 
De  Vos. 

DE  VOS,  Jan,  lived  at  Antwerp  in  the  middle  of 
the  17th  century.  A  portrait  of  a  Man  by  him  is  in 
the  Rotterdam  Museum. 

DE  VOS,  Lambertus,  a  native  of  Mechlin,  who 
entered  the  Guild  of  St.  Luke  in  that  city  in  1563, 
went  to  Constantinople,  and  there  executed  in  1574 
a  volume  of  drawings  of '  Oriental  Costumes,'  which 
is  preserved  in  the  Library  at  Bremen. 

DE  VOS,  Marten,  an  eminent  Flemish  painter, 
was  born  at  Antwerp  in  1531.  He  was  the  son  of 
Pieter  De  Vos,  an  artist  of  sufficient  ability  to  be 
received  into  the  Academy  at  Antwerp  in  1519, 
and  from  whom  he  received  bis  first  instruction  in 
painting.  He  had  afterwards  the  advantage  of 
frequenting  the  school  of  Frans  Floris,  under 
whom  he  studied  until  he  was  twenty-three  years 
of  age,  when  he  determined  to  visit  Italy,  and 
passed  some  years  at  Rome,  where  he  improved 
his  style  of  design  by  studying  with  attention 
the  works  of  the  great  painters  of  the  Roman 
school.  The  charm  of  Venetian  colouring  led 
him  to  visit  Venice,  where  he  had  the  good 
fortune  to  win  the  esteem  and  friendship  of  Tin- 
toretto, who  not  only  instructed  him  in  the  best 
principles  of  colouring,  but  employed  him  as  a 
coadjutor  to  paint  the  landscapes  in  his  pictures. 
With  the  aid  of  such  advice  and  assistance,  De 
Vos  became  an  admirable  colourist,  and  gained 
such  reputation,  that  he  was  employed  in  painting 
the  portraits  of  several  of  the  illustrious  family  of 
the  Medici,  as  well  as  some  historical  subjects 
which  added  to  his  fame. 

After  an  absence  of  eight  years,  De  Vos  returned 
to  Flanders,  where  the  celebrity  he  had  acquired 
in  Italy  excited  public  curiosity,  and  he  was  com- 
missioned to  paint  several  altar-pieces  for  the 
churches  at  Antwerp  and  other  cities  of  the  Nether- 
lands. He  was  also  much  employed  as  a  portrait 
painter,  and  there  is  an  appearance  of  nature  in 
his  heads  which  was  unequalled  at  the  period  at 
which  he  lived.  He  was  received  into  the  Guild 
of  St.  Luke  at  Antwerp  in  1559,  and  died  in  his 
native  city  in  1603.  The  following  are  some  of  his 
principal  works : 

Antwerp.  Mus.  Christ  on  the  Cross. 

„  „     A  Triptych :— The  Triumph  of  "| 

Christ.     1590.      Formerly 
„  „      A  Triptych : — lacredulity    of  i-      in  the 

St.  Thomas.        Cathedral. 
1574.  J 


PAINTERS  AND   ENGRAVERS. 


Antwerp.  Afus.  Birth  of  Christ.     (From  the  church  of  the 
Capuchins  at  Mechlin.) 
„  „      A    Triptych :— The   Tribute   Money,   &c. 

1601.    (From  the  church  of  St.  Andrew  at 
Antwerp.) 
„  „      A  Triptych : — St.  Luke  painting  the  por- 

trait of  the  Virgin,  &c.    1602.     (Parts 
of  the  wings  are  bi/  Otho  van  Veen  and 
Marten  Fepyn.     From  the  altar  of  the 
Guild  of  St.  Luke  in  the  cathedral.) 
„  „      Polyptych: — St.  Francis  of  Assisi  receiv- 

ing the  Stigmata,  &c.    (From  the  church 
of  the  Recollets,  Antwerp.) 
„  „      Temptation  of  St.  Anthony.   1591.    (Form- 

erly the  centre-piece  of  a  triptych  over  the 
altar  of  St.  A  nthony  in  the  cathedral.) 
Bru.ssels.  Mus.  The  Wings  of   a  Triptych.  (Portraits  of 

the  Donor  and  his  Wife.) 
Florence.  Uffizi.  His  own  Portrait. 

„  „     Crucifixion. 

Madrid.     Gall.  Raising  of  Lazarus. 
„  „      Samson  and  Delilah. 

Seville.     Mus.  The  Last  Judgment. 

The  works  of  Marten  De  Vos  had  considerable 
influence  on  art  in  his  time  ;  but  many  of  them 
were  destroyed  by  the  Iconoclasts. 

His  son,  Marten  De  Vos,  who  was  also  a  painter, 
was  born  at  Antwerp  in  1576.  He  was  admitted 
into  the  Guild  of  St.  Luke  at  Antwerp  in  1607,  and 
died  in  1613. 

DE  VOS,  Paulds,  the  brother  of  Cornells  De 
Vos,  was  born  at  Hulst,  about  the  year  1600,  and 
studied  under  Remeeus.  From  the  subjects  and 
style  of  his  pictures,  it  is  probable  that  he  was  a 
disciple  of  Frans  Snyders.  He  painted  animals  and 
hunting  scenes  with  great  ability,  and  his  works 
are  little,  if  at  all,  inferior  to  those  of  that  dis- 
tinguished artist.  His  animals,  particularly  his 
dogs,  are  drawn  with  correctness  and  spirit,  and 
his  colouring  is  clear  and  harmonious.  He  died 
in  1654.  There  are  in  the  Madrid  Gallery  no  leas 
than  fifteen  of  his  works,  and  in  the  Hermitage 
at  St.  Petersburg  there  are  five. 

De  vos,  Pieter,  the  elder,  a  Flemish  painter, 
went  to  Antwerp  from  Holland,  but  whether  from 
Gouda  or  Leyden  is  uncertain.  His  name  occurs 
in  the  archives  of  the  Guild  of  St.  Luke  in  1519, 
and  he  was  dean  of  the  Guild  in  1536.  He  is 
believed  to  have  died  in  1566.  He  was  the  father 
of  Marten  De  Vos. 

DE  VOS,  PiETEB,  the  younger,  the  brother  of 
Marten  De  Vos,  was  a  native  of  Antwerp.  He 
entered  the  Guild  of  St.  Luke  in  1554,  and  is 
said  to  have  been  still  living  in  1590.  He 
painted  historical  subjects,  but  his  works  are  little 
known. 

DE  VOS,  Simon,  was  born  at  Antwerp  in  1603, 
and  entered  the  Guild  of  St.  Luke  in  1620.  He 
had  the  advantage  of  studying  in  the  school  of 
Rubens,  under  whom  he  became  a  very  eminent 
painter  of  history  and  portraits.  There  are  some 
altar-pieces  by  him  in  the  churches  at  Antwerp, 
which  have  been  sometimes  mistaken  for  the  works 
of  his  illustrious  instructor.  Such  are  his  picture 
of  the  '  Resurrection,'  in  the  cathedral ;  the  '  De- 
scent from  the  Cross,'  in  the  church  of  St.  Andrew  ; 
and  '  St.  Norbert  receiving  the  Sacrament,'  in  the 
abbey  of  St.  Michael.  Sir  Joshua  Reynolds  com- 
mends this  picture,  and  speaks  of  him  as  a  portrait 
painter  in  the  following  terms:  ''De  Vos  was 
particularly  excellent  in  portraits.  There  is  at 
Antwerp  his  own  portrait,  painted  by  himself,  in 
black,  leaning  on  the  back  of  a  chair,  with  a  scroll 
of  blue  paper  in  his  hand,  so  highly  finished,  in  the 
broad  style  of  Correggio,  that  nothing  can  exceed 
F  2 


it."     He  died  in  1676.     Besides  the  above  works 
the  following  may  be  noticed : 

Berlin.  Gallery.        The  Chastisement  of  Love. 

Rotterdam.  Museum.       Portrait  of  a  Man.     1640. 
„  „  Portrait  of  a  Man.     1645. 

DE  VOS,  WiLi.EM,  the  son  of  Pieter  De  Vos,  the 
younger,  and  nephew  and  scholar  of  Marten  De 
Vos,  painted  historical  subjects  in  the  style  of  his 
instructor,  acquiring  therein  considerable  reputa- 
tion. He  was  born  probably  at  Antwerp,  and  in 
1593  entered  the  Guild  of  St.  Luke,  of  which  he 
became  dean  in  1600.  His  portrait  was  painted 
and  etched  by  Van  Dyck  among  those  of  the  dis- 
tinguished artists  of  his  time. 

DEVOSGE,  Anatole,  the  son  of  Fran9ois  De- 
vosge,  was  born  at  Dijon  in  1770,  and  painted,  after 
the  manner  of  his  master,  David,  several  pictures, 
the  subjects  of  which  were  taken  from  the  Old 
Testament,  and  from  mythology  and  Greek  and 
Roman  history.  He  succeeded  hia  father  as  director 
of  the  School  of  Art  at  Dijon,  where  he  died  in  1850. 

DEVOSGE,  FRANgois,  was  a  French  historical 
painter,  founder  of  the  School  of  Design,  Painting, 
and  Sculpture  at  Dijon.  He  was  born  at  Gray  in 
1732,  and  taught  by  hia  father,  Coustou,  and  Des- 
hays,  the  painter ;  his  principal  works  are,  '  The 
Nativity,'  '  St.  Angela,'  'St.  Peter,  kneeling,'  'The 
Assumption  of  the  Virgin,'  '  The  Martyrdom  of 
St.  Marcel,'  &c.   He  died  at  Dijon  in  1811. 

DE  VOUW,  Johannes,  was  a  Dutch  landscape 
painter,  of  whom  nothing  more  is  known  than  that 
he  lived  in  Rotterdam,  and  died  not  later  than 
1691.  He  painted  landscapes  with  trees  and  build- 
ings, and  also  drew  maps  and  plans. 

DE  VREE,  Nicolaas,  a  flower  painter,  born  at 
Utrecht  about  the  year  1650,  was  celebrated  in 
his  day  for  the  lightness  of  his  pencil,  and  the  fresh 
and  natural  brilliancy  of  his  colours  ;  his  works, 
however,  are  but  little  known  out  of  Holland.  He 
died  at  Alkmaar  in  1702.  In  the  Hermitage  at 
St.  Petersburg  is  a  '  Park,'  by  him,  dated  1677. 

DE  VRIENT,  Frans,  commonly  known  as  Frans 
Floris  (the  name  of  Floris  having  been  borne  by 
his  great-grandfather,  re-assumed  by  his  father, 
and  used  by  himself  in  signing  his  paintings),  was 
born  at  Antwerp  about  1517,  and,  until  he  was 
twenty  years  of  age,  studied  sculpture  under  his 
uncle  Claudius  De  Vrient.  His  love  of  painting 
induced  him  to  change  the  chisel  for  the  palette,  and 
he  became  a  scholar  of  Lambert  Lombard,  from 
whose  instruction  he  derived  great  advantage.  He 
afterwards  visited  Italy,  where  he  studied  atten- 
tively the  works  of  Michelangelo  and  the  antique. 
After  passing  some  years  at  Rome,  he  returned  to 
Flanders,  with  an  ample  collection  of  drawings  he 
had  made  from  the  objects  most  worthy  of  admira- 
tion. His  first  productions  exhibited  a  grander 
and  more  correct  design,  and  a  superior  style  of 
composition  to  what  had  before  been  witnessed  by 
his  countrymen,  and  he  acquired  the  appellation 
of  the  'Flemish  Raphael.'  He  was  patronized 
by  the  Counts  of  Hoom  and  Egmont,  and  was 
received  as  a  master  into  the  Guild  of  St.  Luke 
at  Antwerp  in  1540.  When  the  Emperor  Charles 
V.  made  his  entry  into  Antwerp,  in  1549,  Floris 
was  engaged  to  paint  the  triumphal  arches ;  and 
he  is  said  to  have  finished  seven  figures  as  large 
as  life,  with  different  attributes,  in  one  day.  On 
a  similar  occasion,  when  Phihp  II.  visited  the 
Low  Countries,  he  painted  in  a  few  hours  a  large 
picture  representing  '  Victory,'  with  several  figures 
of  slaves,  and  the  attributes  of  War  and  Peace. 

67 


A  BIOGRAPHICAL  DICTIONARY  OF 


Of  this  subject  he  etched  a  plate,  dated  1552.     HiB 
death  occurred  at  Antwerp  in  1570. 

Frans  Floris  was  the  founder  of  a  large  school. 
He  usually  signed  his  paintings  in  full,  or  with  a 
monogram  composed  of  three  Fs  (Frans  Floris 
Fecit).    Among  his  extant  works  are  the  following : 

Amsterdam.   3Iuseum.   The  Nine  Muses. 

„  „  Christ  and  the  Little  Children. 

„  „  A  "Water  Wedding  at  Middelburg. 

Antwerp.         Museum.   The  Fall  ot   Lucifer   (painted  in 
1554 /(?r  the  altar  of  the  Fejwers 
in  the  cathedral  of  Antwerp  ;  his 
best  work). 
„  „  The  Adoration  of  the  Shepherds. 

^,  „  Ityckaert  Aertsz,  the  painter,  as 

St.  Luke. 
Berlin.  Gallery.  Vulcan     ensnaring      Mars     and 

Venus.     1547. 
J,  „  Venus  and  Cupid. 

„  „  Lot  and  his  Daughters. 

Brussels.         Museum.  The  Last  Judgment  (painted  for 
JVotre-J>ame     des    Victoires   au 
Sablon  at  Brussels').     1566. 
„  „  The  Adoration  of  the  Magi.    (A 

triptych,  which  was  probably  his 
last  work,  and  was  finished   In/ 
Hieronymus  Francken  in  1571.) 
Copenhagen.  Gallery.    Cain  and  Abel. 
Dresden.         Gallery.     Adoration  of  the  Shepherds. 
„  „  The  Emperor  Vitellius. 

„  „  The  Laughing  Maiden. 

„  ,,  Lot  and  his  Daugihters. 

„  „  Christ  carrying  his  Cross. 

Florence.  lffi:i.      Adam  and  Eve.     1560. 

Hague.  Gallery.    Venus  and  Adonis. 

Madrid.  Gallery.    The  Deluge. 

„  „  Two  Portraits. 

Petersburg.  Hermitage.  The  Three  Ages  of  Man. 
Vienna.  Gallery.    Adam  and  Eve  under  the  Tree  of 

Knowledge. 
„  „  Adam    and    Eve    driven  out   of 

Paradise. 
„  „  The  Holy  Family. 

As  an  etcher  Frans  Floris  executed,  among  other 
plates,  'Victory,'  and  'Christ  washing  the  Dis- 
ciples' Feet ' :  both  from  his  own  designs.  His 
two  sons,  Jan  Baptista  and  Frans  De  Vkient, 
were  both  painters.  The  first  was  assassinated  at 
Brussels  by  the  Spaniards ;  the  second,  who  was 
born  at  Antwerp  about  1545,  settled  at  Rome,  and 
became  noted  for  his  easel  pictures.  They  were 
both  living  in  1579. 

DE  VRIES,  Adbiaan,  a  Flemish  portrait  painter, 
was  admitted  as  a  master  into  the  Guild  of  St. 
Luke  at  Antwerp  in  1634-35.  His  works  possess 
considerable  merit,  and  have  been  attributed  to 
Ferdinand  Bol,  to  Van  Dyck,  and  to  Rembrandt. 
He  died  subsequently  to  1650.  In  the  Dresden 
Gallery  is  a  male  portrait  by  him,  dated  1639. 
In  the  Rotterdam  Museum  is  his  portrait  of 
Adriaen  Adriaensz  Vroesen  of  Rotterdam,  dated 
1639,  and  in  the  Berlin  Gallery  is  a  Man's  por- 
trait ascribed  to  him. 

Some  confusion  appears  to  exist  between  the 
works  of  this  artist  and  those  of  Abraham  De 
Vries,  who  was  admitted  into  the  Guild  of  St. 
Luke  at  the  Hague  in  1644,  and  died  before  1662. 

DE  VRIES,  Jan  (or  Hans)  Vredeman,  was 
born  at  Leeuwarden,  in  East  Friesland,  in  1527. 
He  was  sent,  when  young,  to  Amsterdam,  where 
he  became  a  scholar  of  Reyer  Gerritsz,  under  whom 
he  continued  five  years,  and  applied  himself  with 
great  assiduity  to  the  study  of  perspective.  In 
1549  he  went  to  Antwerp,  where  he  was  employed, 
with  others,  in  painting  the  triumphal  arches  which 
were  erected  on  the  public  entry  of  the  Emperor 
Charles  V.  and  his  son  Philip  into  that  city ;  on 

G8 


which  occasion  he  proved  himself  an  artist  of 
considerable  ability.  He  was  much  employed  in 
decorating  the  saloons  of  the  principal  mansions 
with  perspective  views,  which  he  designed  with 
such  truth  and  effect  that  the  illusion  was  com- 
plete. He  travelled  through  Germany  and  Italy, 
and  he  everywhere  met  with  encouragement  and 
employment.  After  his  return  to  Antwerp,  the 
latter  part  of  his  life  was  principally  occupied  in 
making  designs  of  architectural  and  other  subjects 
for  the  print-sellers,  particularly  Hieronimus  Cock, 
who  published  a  great  variety  of  prints  from  his 
designs.  We  have  a  book  of  monuments  by  him, 
entitled  '  Cajnotaphiorum,  tumulorum  et  mortuorum 
monumentorum  vari*  formse,"  published  at  Ant- 
werp in  1563.  The  plates  are  etched  and  finished 
with  the  graver,  with  considerable  intelligence.  In 
the  Vienna  Gallery  is  the  '  Interior  of  a  Church'  by 
him  ;  and  the  Bordeaux  Museum  has  a  Landscape. 

DE  VRIES,  PAnLDS,  the  eldest  son  of  Jan 
Vredeman  De  Vries,  was  born  at  Antwerp  in  1554, 
and  died  in  1598.  He  was  specially  employed 
at  Prague  in  the  service  of  the  Emperor. 

DE  VRIES,  RoELOF,  was  a  Dutch  landscape 
painter,  who  flourished  at  Haarlem  from  about 
1643  to  about  1669.  Buildings  are  often  seen  in 
his  works.     There  are  by  him  : 


Berlin.  Gallery. 

Frankfort.        Stadel  Inst. 
Vienna,      Liechtenstein  Gall. 
,.  Czernin  Gall. 


Three  Landscapes. 
Four  Landscapes. 
Landscape. 
Landscape. 


DE  VRIES,  Salomon,  born  at  Antwerp  in  1556, 
was  the  second  son  of  Jan  Vredeman  De  Vries,  by 
whom  he  was  instructed.  He  painted  landscapes 
ornamented  with  ruins,  which  are  not  badly  com- 
posed, but  their  colouring  has  become  dark,  pro- 
ducing an  unpleasant  effect,  and  diminishing  their 
value.  He  died  at  the  Hague  in  1604.  His  son, 
PiETER  De  Vries,  who  was  born  in  1587,  was  also 
a  landscape  painter. 

DE  VRIES,  Simon,  (or  Simon  Frisius,)  a  Dutch 
engraver,  was  apparently  of  the  same  family  as 
Jan  Vredeman  De  Vries.  He  was  born  at  Leeu- 
warden, in  1580,  and  is  regarded  as  one  of  the 
first  who  brought  etching  to  perfection.  Abraham 
Bosse,  in  his  treatise  on  the  art  of  engraving, 
observes,  that  the  first  artist  to  whom  he  was 
indebted  for  intelligence  vvas  Simon  Frisius,  whom 
he  thinks  entitled  to  great  credit,  as  being  one  of 
the  first  that  handled  the  point  with  freedom  and 
facility.  His  etchings  are  bold  and  masterly  ;  and 
in  his  hatchings  he  approaches  the  neatness  and 
strength  of  the  graver.  The  prints  of  De  Vries 
are  scarce,  and  are  much  esteemed.  The  small 
figures  which  he  occasionally  introduces  into  his 
landscapes  are  correctly  drawn.  lie  frequently 
marked  his  plates  S.  F.  fecit,  but  sometimes  with 
the  woxA  fecit  only.  The  following  are  his  prin- 
cipal works  : 

A  set  of  twelve  small  heads  of  female  Saints  and  Sibyls ; 

after  his  own  designs. 
A  set  of  Portraits  ;  after  Hendrik  Hondius. 
A  set  of  twelve  plaiies  of  Birds  and  Butterflies ;  after 

Marcus  Geerarts. 
Twenty-five    Views   and  Landscapes ;    entitled,    Typo- 

graphia  variarum  Regionum  ;  after  Matthys  Bril.  1611. 
A   mountainous    Landscape   on    the    Sea-coast,    with 

figures  ;  after  HendHk  Goltzius. 
A  Landscape,  with  a  Tower  ;  after  the  same.     1608. 
A  Landscape,  with  the  story  of  Tobit  and  the  Angel ; 

after  P.  Lastntan. 
A  Landscape,  with  the  Flight  into  Egjrpt ;   after   H 

Hondius. 


PAINTERS  AND  ENGRAVERS. 


A  Landscape,  with  two  pastoral  figures ;  highly  finished, 
and  very  scarce. 

DE  WAAL.  See  De  Wael. 
DE  WAARD,  Antonie,  born  at  the  Hague  in 
1689,  was  a  scholar  of  Simon  van  der  Does;  he 
afterwards  studied  in  Paris.  He  is  mentioned  as 
a  painter  of  historical  subjects,  portraits,  land- 
scapes, and  animals,  and  also  as  a  decorator  of 
the  interiors  of  apartments.  Of  his  life  nothing 
further  is  recorded,  and  his  works  are  scarcely 
known  out  of  Holland,  but  it  is  said  that  they  are 
esteemed  there,  and  obtain  high  prices.  He  died 
at  the  Hague  in  1751. 

DE  WAEL,  CoRNELis,  (or  De  Waal,)  a  younger 
son  of  the  elder  Jan  Baptist  De  Wael,  was  bom  at 
Antwerp  in  1594.  He  received  his  first  instruc- 
tion in  the  art  from  big  father  ;  but  he  afterwards 
accompanied  his  brother,  Lucas  De  Wael,  to  Italy, 
and  resided  some  time  at  Genoa,  where  he  painted 
some  pictures  for  the  churches,  but  he  chiefly 
excelled  in  painting  battles,  marches,  skirmishes 
of  cavalry,  and  processions,  in  which  he  gained  a 
distinguished  reputation.  He  was  much  employed 
by  the  Duke  of  Arschot,  and  painted  several  of 
his  best  pictures  for  Philip  III.,  King  of  Spain,  by 
whom  they  were  held  in  the  highest  estimation. 
He  died  at  Genoa  in  1 662.  In  the  Vienna  Gallery  is 
a  '  Passage  of  the  Red  Sea  '  by  him,  and  in  the  Cassel 
Gallery  is  a  '  Venetian  Market  Crier. '  We  have  by 
this  artist  several  very  spirited  etchings  from  his 
own  compositions,  among  which  are  the  following  : 

The  Blind;  \2  plates. 

The  Market  Sellers ;  IQ  plates. 

Domestic  Interiors  ;  20  plates. 

The  Four  Seasons. 

The  Five  Senses  ;  5  plates. 

The  Slaves ;  12  plates. 

DE  WAEL,  Jan  Baptist,  (or  De  Waal,)  was 
born  at  Antwerp  in  1557,  and  was  a  disciple  of 
Frans  Francken  the  elder.  He  painted  historical 
subjects  in  the  style  of  his  master,  and  acquired 
sufficient  celebrity  to  be  received  a  member  of  the 
Academy  in  his  native  city,  where  he  died  in  1633. 
Van  Dyok  painted  his  portrait.  His  pictures  are 
very  rare. 

DE  WAEL,  Jan  Baptist,  (or  De  Waal,)  a 
younger  artist  of  the  name,  is  stated  to  have  been 
either  the  son  or  nephew  of  Cornells  De  Wael.  We 
have  by  him  some  slight  etchings,  among  which  is 
a  set  of  eight  prints,  representing  the  '  History  of 
the  Prodigal  Son,'  from  the  designs  of  Cornells 
De  Wael,  executed  in  1658. 

DE  WAEL,  Ldcas  Ja.\szen,  (or  De  Waal,) 
the  son  of  the  elder  Jan  Baptist  De  Wael,  was 
bom  at  Antwerp  in  1591,  and  first  instructed  in 
art  by  his  father ;  but,  as  his  genius  led  him  to 
landscape,  he  was  afterwards  placed  under  the 
tuition  of  Jan  Brueghel.  He  followed  the  style 
of  his  preceptor  with  great  success,  and,  on  leaving 
that  master,  he  travelled  to  Italy,  and  passed  some 
time  at  Genoa,  where  his  works  were  highly 
esteemed,  and  he  met  with  very  flattering  en- 
couragement. Although  his  pictures  occasionally 
represent  battles  and  attacks  of  cavalry,  which  are 
well  composed,  and  touched  with  great  spirit  and 
animation,  his  most  esteemed  works  are  his  moun- 
tainous landscapes  and  waterfalls,  in  which  the 
scenery  is  extremely  picturesque.  He  died  at 
Antwerp  in  1676. 

DE  WEDIG,  GoTTHARDT,  a  painter  of  still-life 
subjects,  flourished  at  Cologne  about  1630.  An 
example  of  his  art  is  in  the  Darmstadt  Gallery. 


DE  WEERT,  Adeiaen,  was  born,  according  to 
Descamps,  at  Brussels  about  1536,  and  studied  at 
Antwerp  under  Christiaen  van  de  Queborn,  a  land- 
scape painter  little  known.  He  aftenvards  visited 
Italy,  where  he  passed  some  years,  and  applied 
himself  especially  to  the  study  of  the  works  of 
Parmigiano.  On  his  return  to  Flanders,  he  exe- 
cuted several  pictures  in  the  graceful  style  of  that 
master,  particulariy  a  series  of  the  'Life  of  the 
Virgin,'  and  had  acquired  great  reputation,  when  the 
troubles  in  the  Low  Countries  obliged  him,  in  1566, 
to  quit  Brussels  and  take  refuge  at  Cologne,  where 
he  died  soon  afterwards.  All  the  notices  of  this 
artist  are  however  unsatisfactory. 

DE  WEERT,  Jacob,  who  flourished  about  the  year 
1605,  was  probably  a  native  of  the  Low  Countries, 
though  he  chiefly  resided  in  Paris.  He  was  prin- 
cipally employed  by  the  booksellers,  and  engraved 
several  frontispieces  and  other  book  omamentg  in 
a  neat,  though  tasteless  style.  We  have  also  by 
him  a  set  of  prints  from  his  own  designs,  repre- 
senting the  '  Life  and  Passion  of  Christ,'  published 
by  Jean  Le  Clerc,  with  French  verses  to  each  print. 
DE  WETT.  See  also  Duwett. 
DE  WETT,  Jacob,  was  a  Dutch  painter,  who 
worked  at  Holyrood  Palace  between  1674  and  1686, 
and  there  painted  the  series  of  apocryphal  portraits 
of  the  Scottish  kings. 

DE  WETTE,  Frans,  to  whom  are  assigned,  in 
Dr.  Waagen's  edition  of  Kugler,  two  pictures  in 
the  Schleissheim  Gallery, — '  The  Three  Young  Men 
in  the  Fiery  Furnace '  and  '  The  Raising  of  Lazarus,' 
— may  perhaps  be  identical  with  Jacob  Willemsx 
De  Wet,  who  was  established  at  Haarlem  in  1636, 
was  master  in  the  Guild  at  Alkmaar  in  1637,  and 
was  living  in  that  town  as  late  as  1671.  He 
executed  Biblical  and  mythological  scenes  in  the 
manner  of  Rembrandt,  among  which  are : 

The  Adulteress  before  Christ  {Augsburg  Galleiy). 
Christ  in  the  Temple.  1635.     {Brunswick  Jfuseum). 
The  Burning  of  Troy. 

DE  WILDE,  Frans,  was  a  Dutch  engraver,  who 
was  born  about  the  year  1680.  He  resided  at 
Amsterdam,  where  he  etched  a  few  very  small 
plates,  which  are  executed  with  great  neatness  and 
spirit,  apparently  from  his  own  designs.  Among 
others  are  the  following: 

The  Angel  appearing  to  Abraham.     1705. 

Venus  rising  from  the  Sea. 

The  Fable  of  the  "Wolf  and  the  Dog  ;  circular.     1704. 

A  View  of  the  City  of  Chalons. 

A  View  of  a  Sea-port. 

A  Landscape,  with  figures. 

DE  WILDE,  Maria,  was  probably  a  relation  of 
Frans  De  Wilde.  She  engraved  a  set  of  fifty 
plates  from  antique  gems,  which  were  published 
at  Amsterdam  in  1703. 

DE  WILDE,  Samdel,  an  English  portrait  painter, 
was  born  in  1747.  He  painted  both  in  oil  and 
water-colour,  and  exhibited  dramatic  portraits  at 
the  Royal  Academy  between  1788  and  1821.  He 
died  in  1832.  Several  of  his  portraits  are  at  the 
Garrick  Club,  and  amongst  his  other  works  are : 

William  Farren. 
John  Emery. 

Harley  as  Kent  iu  '  Kiag  Lear.'    1794.  {South  Kensing- 
ton Museum.) 

DE  WINT,  Peter,  a  water-colour  painter,  was 
born  at  Stone,  in  Stafl:ordshire,  in  1784.  He  wa.s 
descended  from  a  Dutch  family  which  had  settled 
in  America.  Although  intended  for  his  father's 
profession  —  that   of   a   physician — he   preferred 

69 


A  BIOGRAPHICAL  DICTIONARY  OF 


to  follow  art,  and  studied  under  John  Eaplmel 
Smith,  the  engraver,  in  whose  studio  he  became 
friendly  with  Hilton,  the  historical  painter,  and 
brother  of  his  future  wife.  In  1807  he  entered 
the  schools  of  the  Royal  Academy,  where  he  occa- 
sionally exhibited  up  to  1828.  He  joined  the 
Water-Colour  Society  as  an  Associate  in  1810, 
becoming  a  full  member  in  1812,  and  it  was  here 
thatmost  of  his  works  appeared.  He  rarely  quitted 
his  native  country,  which  furnished  the  subjects  of 
thegreaterportion  of  his  works,  and  the  level  country 
of  Lincolnshire  had  a  great  charm  for  him.  He 
occasionally  painted  in  oils,  and  four  specimens 
of  his  work  in  this  medium,  besides  a  large  col- 
lection of  his  water-colour  drawings,  are  in  the 
South  Kensington  Museum.  He  died  in  London 
in  1849,  and  was  buried  at  the  Savoy  Chapel. 

Twenty-three  drawings  by  De  Wint  were  be- 
queathed to  the  National  Gallery  by  Mr.  Henderson 
in  1880,  and  among  them  are  : 

Lincola  Catliedral. 
Bray  on  the  Thames. 
KuiDS  of  Lincoln  Castle. 
Harvest  Time,  Lancashire. 

The  water-colour  drawings  in  the  South  Ken- 
sington Museum  include : 

Thorubury  Castle. 

Gateway  at  Lincoln. 

The  Cricketers. 

Nottingham. 

Waltou-on-Thames. 

Hay  Harvest. 

Mountain  Tarn. 

Ferry  on  the  Severn.    1840. 

Haddon  Hall.     1839. 

Shap  Fells,  Westmoreland. 

"Wilsford,  Lincolnshire. 

Rick  Making,  near  Lincoln, 

Tutbury  Castle. 

View  near  Salt  Hill,  Bucks. 

Lincoln  Cathedral. 

Torksey  Castle. 

Cowes  Castle. 

DE  WINTER,  JiLLls,  was  born  at  Leeuwarden 
in  1650,  and  was  a  scholar  of  Richard  Brakenburg, 
whose  style  he  imitated  with  considerable  success. 
He  painted  subjects  similar  to  those  of  his  master, 
representing  Dutch  boors  regaling,  and  the  recrea- 
tions of  the  cabaret.  His  pictures  are  little  known, 
except  in  Holland,  and  even  there  are  not  held  in 
much  estimation.     He  died  at  Amsterdam  in  1720. 

DE  WIT,  Jakob,  was  born  at  Amsterdam  in 
1695,  and  when  fourteen  years  of  age  was  placed 
under  the  tuition  of  Albert  van  Spiers,  an  historical 
painter  of  some  eminence,  under  whom  he  studied 
three  years.  The  desire  of  contemplating  the  pro- 
ductions of  Rubens  and  Van  Dyck,  and  the  other 
distinguished  masters  of  the  Flemish  school,  which 
embellished  the  public  edifices  at  Antwerp,  in- 
duced him  to  visit  that  city,  where  he  became  a 
scholar  of  Jacob  van  Hal,  a  painter  of  little 
celebrity,  under  whom  he  did  not  continue  longer 
than  two  years,  when  he  devoted  himself  entirely 
to  the  study  of  the  works  of  Rubens  and  Van 
Dyck.  In  1712  and  1713  he  made  drawings  from 
the  paintings  by  Rubens  in  the  four  ceiUngs  of  the 
Jesuits'  church,  in  thirty-six  compartments,  which 
were  destroyed  by  lightning  in  1718,  and  we  are 
indebted  to  De  Wit  for  the  preservation  of  these 
admirable  compositions,  which  were  afterwards 
engraved  from  his  copies  by  Jan  Punt.  He  was 
principally  employed  in  painting  ceilings,  and  the 
decorations  of  splendid  apartments,  consisting  of 

70 


emblematical  and  allegorical  subjects,  which  he 
composed  with  great  ingenuity.  He  was  particu- 
larly successful  in  the  representation  of  children, 
whom  he  was  fond  of  introducing  into  his  pic- 
tures, generally  at  their  play,  and  painted  in 
chiaroscuro. 

In  1736  he  was  employed  by  the  magistrates  of 
Amsterdam  in  the  embellishment  of  their  great 
Council -chamber  with  subjects  from  the  Old  Testa- 
ment. He  likewise  painted  several  altar-pieces 
for  the  catholic  churches  in  Holland,  which  are 
very  creditable  performances,  and  are  held  in  con- 
siderable estimation.  He  died  at  Amsterdam  in 
1764.  In  the  Cassel  Gallery  are  four  pictures 
of  the  '  Four  Seasons '  (represented  by  Children) 
signed  and  dated  1751  and  1752,  and  also  two 
decorative  subjects  of  children.  In  the  Dresden 
Gallery  is  a  painting  (in  imitation  of  bas-relief)  of 
'  Children  with  the  attributes  of  the  chase,'  dated 
1753.  The  Rotterdam  Museum  possesses  two  pic- 
tures by  him,  '  Minerva  and  four  Children '  and 
'  Faith,  Hope,  and  Charity,'  in  grisaille,  dated 
1743. 

DE  WITTE.  There  are  several  other  artists 
of  this  name,  in  addition  to  those  cited  below,  such 
as  Frans,  and  Anthonie,  who  were  painters  ;  and 
others  who  were  engravers :  but  the  accounts  are 
much  confused. 

DE  WITTE,  CoRNELis,  (or  De  Wit,)  a  landscape 
painter  of  the  16th  century,  was  a  brother  of  Pieter 
De  Witte,  called  Pietro  Candido. 

DE  WITTE,  Emandel,  was  born  at  Alkmaar  in 
1607,  and  was  a  scholar  of  Evert  van  Aelst,  a 
painter  of  still-life.  He  did  not,  however,  adopt 
the  style  of  his  instructor,  but  for  some  time 
applied  himself  to  portrait  painting.  Not  meeting 
with  the  encouragement  he  expected,  he  studied 
perspective  and  architecture,  and  became  one  of 
the  most  eminent  artists  of  his  country  in  painting- 
interior  views  of  churches  and  temples,  which  he 
embellished  with  figures  correctly  drawn,  and 
touched  with  great  spirit.  His  best  pictures 
represent  the  interiors  of  churches  at  Amsterdam, 
with  groups  of  figures,  habited  in  the  dresses  of 
the  time.  He  died  at  Amsterdam  in  1692.  The 
following  works  are  by  him  : 

Amsterdam.     Museum.     Interior  of  a  Church. 
Berlin.  Museum.     Interior  of  a  Church.     1667. 

„  „  Interior  of  the  Nieuwekerk,  Am- 

sterdam. 
„  „  Interior  of  the  Synagogue,  Am- 

sterdam.    1680. 
Brussels.  Museum.     Interior  of  the  Church  at  Delft. 

„  „  Interior  of  a  Church.     1685. 

Rotterdam.     Jfuscum.      The  Fish  Merchant.     1672. 

DE  WITTE,  Gaspab,  was  bom  at  Antwerp  in 
1618.  He  visited  Italy,  where  he  remained  several 
years,  and  on  his  return  acquired  considerable  re- 
putation in  painting  small  landscapes  very  highly 
finished,  in  which  he  generally  introduced  archi- 
tectural ruins,  of  which  he  had  made  sketches 
during  his  residence  in  Italy.  He  died  at  Ant- 
werp in  1680  or  1681.  In  the  Antwerp  Museum 
are  two  Landscapes  by  him — one  with  a  '  Fortune- 
felling'  for  subject,  dated  1667,  and  another  with 
'  Christ  healing  the  Blind  Man,'  dated  1671.  In 
the  Vienna  Gallery  is  a  '  Landscape  with  Ruins  of 
an  Aqueduct.' 

DE  WITTE,  LiEVEN,  known  also  as  LiviENO 
DA  Anveesa,  was  a  painter  and  architect,  who 
practised  at  Ghent  in  the  15th  century.  He  de- 
voted himself  to  buildings  and  other  perspective 


PAINTERS  AND  ENGRAVERS. 


subjects,  but  also  produced  historical  pictures.  The 
windows  of  the  cathedral  of  St.  Bavon  in  Ghent 
were  painted  from  his  designs,  and  he  is  said  to 
have  worked  at  the  miniatures  in  the  Grimani 
Breviary  now  in  the  library  of  St.  Mark  at  Venice. 

DE  WITTE,  PiETER,  called  Pieter  Candid,  or 
PlETRO  Candido,  was  born  at  Bruges  in  1648.  It 
is  not  known  under  whom  he  studied,  but  he 
travelled  to  Italy  when  he  was  young,  and  there 
formed  an  intimacy  with  Giorgio  Vasari,  whom 
he  assisted  in  the  works  upon  which  he  was 
employed  in  the  Vatican.  He  painted  with  equal 
success  in  oil  and  in  fresco,  and  was  employed 
by  the  Grand-Duke  of  Tuscany  in  several  con- 
siderable works  in  the  palace  at  Florence,  and 
designed  some  cartoons  for  tapestry.  Maximilian, 
Elector  of  Bavaria,  invited  him  to  Munich,  where 
he  passed  the  remainder  of  his  life.  Jan  Sadeler 
has  engraved  several  prints  from  the  works  of 
this  master,  among  which  are  the  '  Annunciation,' 
'  Christ  with  the  Disciples  at  Emmaus,'  the  '  Holy 
Women  at  the  Tomb  of  the  Saviour,'  and  the 
'Last  Supper.'  He  died  at  Munich  in  1628.  In 
the  Vienna  Gallery  are  the  '  Death  of  St.  Ursula,' 
and  a  '  Holy  Family   and  St.  Stephen,'  by  him. 

DE  WITTE,  PiETER,  who  was  well  known  in 
Rome  as  Petrus  Albus,  was  born  at  Antwerp  in 
1620,  and  died  at  Rome  in  1669.  He  painted 
landscapes  in  the  style  of  Claude  Lorrain. 

DEYNUM,  J.  B.  VAN,  ft  Flemish  painter,  was 
born  at  Antwerp  in  1620,  and  died  in  1669.  He 
excelled  in  painting  historical  subjects  and  land- 
scapes in  distemper,  and  was  an  eminent  miniature 
portrait  painter. 

DEYSTER,  LoDEWTK  de.     See  De  Detster. 

DE'  ZAGANELLI,  Francesco.  See  Dei  Zaga- 
nelli. 

DEZALLIER  D'ARGENVILLE,  Antoine  Jo- 
seph.    See  Desallier  d'Argenville. 

DE  ZE,  —  ,  is  the  name  affixed  to  a  small  print 
representing  '  Christ  dead  in  the  Tomb,  attended 
by  an  Angel.'  It  is  executed  entirely  with  the 
graver,  in  a  style  resembling  that  of  Jan  Sadeler, 
and  is  apparently  from  the  artist's  own  design. 

DE  ZEEUW,  Marinus.     See  Roymerswalen. 

DE  ZETTER,  Paul,  was  a  native  of  Hanover, 
who  flourished  about  the  year  1630.  He  was 
chiefly  employed  in  engraving  portraits,  from  his 
own  designs,  which  are  executed  with  sufiSoient 
neatness,  but  in  a  stiff,  tasteless  style.  He  en- 
graved several  plates  for  Boissard's  collection  of 
portraits.  His  prints  are  sometimes  marked  P. 
D.  Z.  fee,  and  sometimes  with  the  accom-  T)_ 
panying  monogram :  *^ 

D'  HANGEST,  Egbert  Marinus  Frederik.  See 
De  Hangest. 

D'  HEUR,  CoRNELis  Joseph.    See  De  Heus. 

D'  HONDECOETER,  Melchior.  See  De  Hon- 
decoeter. 

DIAMAER,  Hendrik  Fraks,  was  a  Flemish 
engraver,  who  flourished  in  the  early  part  of  the 
18t!i  century.  There  are  by  him  a  set  of  Biblical 
subjects  etched  in  the  manner  of  Sebastian  Le 
Clerc,  and  also  a  few  portraits,  among  which  is 
that  of  Aubert  Lemire,  after  Van  Dyck. 

DIAMANTE,  Fra,  was  the  pupil  and  assistant 
of  Fra  Filippo  Lippi,  and  like  him  had  been  a 
novice  in  the  Carmine  of  Florence.  He  survived 
his  master,  and  became  the  guardian  of  Filippino 
Lippi.  He  seems  to  have  been  at  Prato  with  Fra 
Filippo,  and  is  said  to  have  aided  him  in  the  decor- 
ations of  the  choir  of  its  cathedral.     In  1463  he 


was  confined  in  his  convent  at  Florence  by  order 
of  his  superior,  and  letters  remain  to  prove  that 
the  '  comune  '  of  Prato  demanded  his  liberty.  He 
afterwards  went  to  Spoleto,  and  assisted  Fra  Filippo 
in  the  frescoes  of  the  Duomo,  and  received  two 
hundred  ducats  for  their  completion  in  1470  after 
liis  master's  death.  From  there  he  returned  to 
Prato,  where  in  1470  he  executed  the  portrait  of 
the  Podestd,  Cesare  Petrucci,  in  the  portico  of  the 
palace.  This  work  has  now  been  destroyed,  and 
it  is  very  difiBcult  to  tell  where  Fra  Diamante's 
work  begins  in  any  of  the  frescoes  still  remaining 
where  the  two  friars  worked  together.  The  dates 
of  his  birth  and  death  are  unknown. 

DIAMANTINI,  Giuseppe,  a  painter  who  was 
more  eminent  as  an  engraver,  was  born  at  Fossom- 
brone  in  1660.  He  resided  chiefly  at  Venice, 
where  he  distinguished  himself  both  as  a  painter 
and  as  an  engraver.  In  the  church  of  San  Moise 
is  a  picture  by  him  of  the  '  Adoration  of  the  Magi,' 
but  he  was  more  employed  for  private  collections 
than  for  the  churches,  and  must  have  devoted  a 
great  part  of  his  time  to  engraving,  as  he  has  left 
a  considerable  number  of  plates,  of  which  the 
greater  part  are  etchings.  They  are  executed  in  a 
free  style,  with  considerable  taste,  and  his  design 
is  graceful,  and  tolerably  correct.  He  died  at 
Venice  in  1708.  The  following  are  his  principal 
prints,  which  are  frequently  marked  Eques  Dia- 
mantinus,  in.  f. 

The  Holy  Family,  with  St.  John  holding  a  Cross. 

Hagar  in  the  Desert ;  oval. 

The  Marriage  at  Cana  ;  after  Paolo  Veronese. 

The  Dead  Christ,  supported  by  an  Angel. 

The  Death  of  Dido  ;  octagon. 

"Venus,  Ceres,  and  Apollo. 

Mercury  and  Flora. 

The  Fall  of  Phaeton. 

Mercury  and  Argus  ;  octagon. 

Venus  and  Adonis. 

DIANA.     See  Ghisi,  Diana. 

DIANA,  Benedetto,  was  a  companion  of  Car- 
paccio  and  Mansueti,  who  lived  in  the  latter  part 
of  the  15tli  and  early  part  of  the  16th  centuries. 
He  was  an  inferior  artist,  and  worked  both  in 
tempera  and  oils.  He  painted  '  The  Brethren 
distributing  Alms,'  in  San  Giovanni  Evangelista, 
Venice  ;  and  he  assisted  Lazzaro  Bastiani  in  paint- 
ing the  standards  on  the  Piazza  of  San  Marco. 
Many  galleries  in  Venice  possess  paintings  by 
him.  In  the  Academy,  besides  other  paintings, 
are  the  '  Virgin  and  Child,'  formerly  in  Santa  Lucia 
at  Padua,  and  a  'Transtiguration.'  The  church  of 
Santa  Maria  della  Croce,  Crema,  has  an  altar-piece 
representing  the  'Gift  of  the  Miraculous  Girdle 
to  St.  Thomas.'  No  dates  can  be  given  of  his 
birth  or  death. 

DIAS,  Gaspar,  a  Portuguese  painter,  studied 
at  Rome  under  Raphael  and  Michelangelo,  and  on 
his  return  home  devoted  himself  to  the  produc- 
tion of  church  pictures.   He  died  at  Lisbon  in  1571. 

DIAS,  Manoel,  an  historical  painter,  was  born 
at  San  Sebastian  in  Brazil,  and  studied  at  Rome 
under  Cavallucci  towards  the  end  of  the  18th  cen- 
tury. After  his  return  to  South  America  he  became 
professor  of  drawing  at  Rio  Janeiro. 

DIAZ,  Diego  Valentin,  a  Spanish  historical 
painter,  and  a  familiar  of  the  Holy  Office,  was  a 
native  of  Valladolid.  He  painted  many  important 
pictures  for  churches  and  monasteries,  especially 
for  the  church  of  San  Benito,  now  a  barrack,  and 
the  convents  of  St.  Jerome  and  of  St.  Francis,  of 

71 


A  BIOGRAPHICAL  DICTIONARY  OF 


which  the  'Juhilee  of  the  Porciimcula '  in  the 
latter  house  was  one  of  the  most  esteemed.  His 
'  Holy  Family,'  painted  for  San  Benito,  is  now  in 
the  Museum  at  Valladolid  ;  but  his  best  work  was 
the  altar-piece  representing  the  '  Annunciation  of 
the  Virgin,'  painted  for  the  Hospital  for  Orphan 
Girls  which  he  founded  at  Valladolid.  The  archi- 
tecture and  perspective  are  in  the  finest  style,  and 
the  statues  introduced  are  admirably  executed. 
Diaz  died  at  Valladolid  in  1660.  He  accumulated 
considerable  wealth,  the  greater  part  of  which  he 
left  for  the  support  of  this  hospital,  where  he  was 
buried,  and  where  are  preserved  the  portraits  of 
the  munificent  artist  and  of  his  wife — "  he  a  grey- 
haired  sharp  old  man,  she  a  dark-eyed  dame." 

DIAZ,  GoNZALO,  a  Spanish  painter,  was  a  scholar 
of  Sanchez  Castro.  He  executed  in  1499  some 
small  paintings  for  the  altar  of  the  Magdalen  in 
the  cathedral  of  Seville. 

DIAZ  DE  LA  PENA,  Naroisse  Virgile,  a  French 
landscape  painter,  was  born  in  1809,  at  Bordeaux, 
where  his  parents,  who  were  of  Spanish  extraction, 
had  taken  up  their  abode.  Having  been  left  an 
orphan  at  the  age  of  ten,  he  was  adopted  by  a 
Protestant  clergyman  at  Bellevue,  and  from  his 
earliest  years  he  studied  nature  in  the  woods,  the 
loss  of  his  left  leg  being  caused  by  sleeping  on 
the  grass.  At  the  age  of  fifteen  he  was  placed 
with  a  porcelain  manufacturer,  but  left  him  in  order 
to  study  under  Sigalon.  He  then  tried  historical 
and  genre  subjects,  but  without  success,  and  for 
several  years  endured  great  poverty.  At  length 
his  landscapes  won  for  him  fame.  He  last  exhibited 
at  the  Salon  in  1859,  and  died  at  Mentone  from  the 
bite  of  a  viper  in  1876.  Amongst  his  chief  works 
are: 

The  Nymphs  in  the  Grotto  of  Calypso.     1840. 

The  Dream.     1841. 

Gipsies  going  to  a  F&te.     1844. 

Interior  of  a  Forest.     1846. 

Dogs  in  a  Forest.     1847. 

The  Promenade.     1848. 

Diana  setting  out  for  the  Chase.     1848. 

A  Bather  tormented  by  Cupids.     1851. 

The  Last  Tears.     1855. 

The  Close  of  a  fine  Day.     1855. 

La  Eivale.     1855. 

Galatea.     1859. 

The  following  works  by  him  are  in  public  galleries ; 
Girl  with  Dogs  {South  Kensington). 
The  Forest  of  Foutainebleau  (Bordeaux  Museum). 
Four  Studies  {Luxembourg  Gallery). 

His  eldest  son,  Emile  Diaz,  who  was  also  a  painter, 
died  in  1860;  at  the  early  age  of  25. 

DIBDIN,  Charles,  the  well-known  song-writer, 
who  was  born  at  Southampton  in  1745,  and  died  in 
London  in  1814,  occasionally  practised  art  as  an 
amateur.  John  Hill  engraved  in  aquatint  some 
views  of  Lake  Scenery  after  him.  Dibdin  also, 
it  is  said,  executed  some  scene-painting. 

DICEY,  Frank,  an  English  painter  of  portraits, 
and  of  genre  subjects  of  a  somewhat  ambitious 
class,  exhibited  at  the  Academy  and  with  the 
British  Artists  between  1865  and  1880.  A  portrait 
by  him  of  the  Prince  of  Wales  was  engraved  by 
Scott.     Dicey  died  in  May  1888. 

DICHTL,  Martin,  (or  DOchtl,)  a  German  painter 
and  engraver  in  mezzotint,  practised  at  Nuremberg 
from  1623  to  1680.  In  the  Gallery  at  Stockholm 
is  a  work  by  him  called  '  A  Kitchen.' 

DICKINSON,  William,  an  English  engraver, 
was  born  in  London  in  1746.  He  obtained  a  pre- 
mium from  the  Society  of  Arts  in  1767.  His  works 
72 


were  published  by  a  firm  of  which  he  was  a  mem- 
ber. In  his  later  years  he  lived  in  France,  still 
pursuing  his  profession,  and  he  died  in  Paris  in 
1823.     Amongst  his  engravings  are  : 

Sir  Joseph  Banks ;  after  Sir  Joshua  Reynolds.     1774. 
Dr.  Percy,  Dean  of  Carlisle  ;  after  the  same.     1775. 
Viscountess  Crosbie  ;  after  the  same.     1779. 
Elizabeth  Hamilton,  Countess  of  Derby  ;  after  the  same. 

1780. 
Lady  Taylor  ;  after  the  same.     1783. 
Miss    Bamus,   afterwards    Lady    Day ;    after   Romncy. 

1779. 
Admiral  Lord  Keppel ;  after  the  same.     1779. 
Sir  Charles  Hardy  ;  after  the  same.     1781. 
Lord  Grantham  ;  after  the  same.     1783. 
John,  Duke  of  Argyll ;  after  Gainsborough. 
Lord  Auckland  ;  after  iSir  T.  Lawrence      1796. 
Napoleon  1.  ;  after  Gerard.     1815. 
Sir  E.  Peel ;  after  NoHhcote.    1818. 

DICKSON,  J.,  an  English  engraver,  resided  at 
Oxford  about  the  year  1660.  He  engraved  a  por- 
trait of  Edward  Parry,  Bishop  of  Killaloe,  prefixed 
to  his  '  Antidote  against  the  Prosperity  of  the 
Wicked,  and  the  Afflictions  of  the  Just,'  published 
in  1660. 

DIDAY,  Franqois,  a  Swiss  landscape  painter, 
was  born  at  Geneva  in  1812.  He  studied  in  Paris 
and  travelled  in  Italy,  but  chiefly  lived  in  his  native 
country.  He,  however,  frequently  exhibited  in  the 
Paris  Salon,  where  he  obtained  medals  in  1840 
and  1841.  He  died  in  1877,  at  Geneva,  to  wliich 
city  he  bequeathed  his  property,  valued  at  400,000 
francs.     The  following  are  among  his  best  works: 

Glacier  of  Bosenthal.  {Lausanne  Museum^ 
The  Oak  and  the  Reed.  {Geneva  Museum.) 
The    Faulhorn    in    Switzerland.       {Neue    finakothek, 

Munich.) 
Mont  Saleve.  )     {London  International  Exhibition, 

Storm  in  a  Forest.  J       1862.) 

DIEGO,  — ,  a  Spanish  engraver,  who  in  1548 
executed  at  Saragossa  the  frontispiece  for  Zurita's 
'  Anales  de  Aragon,'  printed  in  1562. 

DIELAI,  Giovanni  Francesco.    See  Surchi. 

DIEN,  Claude  Marie  FRAN90IS,  a  French  en- 
graver and  painter,  was  born  in  Paris  in  1787.  He 
was  instructed  by  Reboul  and  by  Audouin,  and 
died  in  Paris  in  1865.  The  following  works  by  him 
may  be  mentioned : 

The  Sibyls  ;  after  Raphael. 

Raphael  and  Perugino  ;  after  the  same. 

The  Holy  Family  ;  after  the  same. 

The  Madonna ;  after  Murillo. 

The  Death  of  Demosthenes  ;  after  Boisselier. 

St.  Scolastica ;  after  Lesueur. 

The  Battle  of  Austerlitz ;  after  Gerard. 

DIENECKER.     See  De  Neoker. 

DIEPENBEECK,  Abraham  van,  was  born  at 
Bois-le-Duo  in  1599,  but  most  likely  went  to 
Antwerp  about  1629.  With  the  advantage  of  a 
classical  education,  and  the  tuition  of  Rubens,  he 
was  nurtured  in  a  genial  soil,  and,  like  his  great 
instructor,  he  treated  with  equal  success  subjects 
of  history  and  fable.  His  first  pursuit  in  art  was 
painting  on  glass,  and  he  produced  some  works 
in  that  branch  which  are  highly  esteemed,  par- 
ticularly the  windows  in  a  chapel  in  the  cathedral 
of  Antwerp,  where  he  represented  the  'Acts  of 
Mercy,'  and  some  others  i.  the  church  of  the 
Dominicans,  in  which  he  depicted  the  '  Life  of  St. 
Paul.'  He  abandoned  glass  painting  soon  after  his 
return  from  Italy,  whither  he  had  been  for  im- 
provement, and  devoted  himself  to  oil  painting 
and  designing.    His  inventive  genius,  and  his  rare 


PAINTERS  AND  ENGRAVERS. 


facility  of  execution,  caused  him  to  be  much  em- 
ployed in  designs  for  the  publications  of  his  time, 
particularly  for  the  Abb^  de  Marolles's  '  Tableaux 
du  Temple  des  Muses,'  published  at  Paris  in  1655, 
the  plates  for  which  were  engraved  by  Cornelis 
Bloemaert.  In  the  church  of  the  Carmelites  at 
Antwerp  is  a  tine  picture  by  this  master,  repre- 
senting the  '  Virgin  in  the  Clouds,  with  St.  Ely ' ; 
and  at  the  Recollets  there  were  some  pictures  by 
him  which  are  said  by  Descamps  to  be  equal  to 
those  of  Van  Dyck.  This  painter  was  in  England 
in  the  reign  of  Charles  I.,  and  was  much  employed 
by  the  Duke  of  Newcastle,  for  whom  he  made  the 
designs  for  his  book  on  '  Horsemanship.'  He  died 
at  Antwerp  in  1675.  The  following  are  some  of 
his  best  works  : 


Antwerp.     Ifuseum. 

„         Cathedral. 

Berlin.  Gallery. 

Bordeaux.  3Tuseutn. 
Brussels.      Museum. 


Deorne. 

Dresden. 
Frankfort. 

Mtmich. 
Paris. 


Church. 

Gallery. 
Stadel. 

Gallery. 
Louvre. 


Vienna.         Gallery. 


The  Ecstasy  of  St.  Bonaventura. 

St.  Norbert. 

The  Marriage  of  St.  Catharine. 

The  FUght  of  Cloelia. 

The  Rape  of  Ganymede. 

St.    Francis    adoriug    the    Holy 

Sacrament. 
St.  Norbert  and  the  first  Abbot  of 

St.  Michel. 
Neptune  and  Amphitrite. 
Portrait  of  a  Young  Man.     1665. 
I'ortrait  of  a  Young  Woman. 
Abraham  and  the  three  Angels. 
The  Flight  of  Cloelia. 
Portraits  of  a  Man  and  Woman. 
An  Allegory  of  Mortality. 
A  Pieta. 


There  is  an  etching  of  a  '  Peasant  and  his  Ass,' 
by  Van  Diepenbeeck,  which  is  very  rare. 

DIEPRAAM,  Abraham,  a  Dutch  painter  of  the 
17th  century,  painted  drolleries  and  drunken  frolics. 
He  was  a  scholar  of  Hendrik  Martin  Kokes,  called 
Sorgh,  although  he  did  not  follow  the  style  of  that 
master,  but  imitated  the  works  of  Adriaan  Brouwer, 
in  which  he  was  not  very  successful. 

DIERIX,  Adeiaen,  known  as  Brooder  Adriaen 
Rodriguez,  of  the  Society  of  Jesus,  was  born  at 
Antwerp  in  1618,  and  died  at  Madrid  in  1669.  He 
went  to  Spain  when  he  was  about  thirty,  and  entered 
the  Imperial  College  at  Madrid,  where  he  entered 
the  Society  of  Jesus,  and  changed  his  name  from 
Dierix  to  Rodriguez,  for  the  sake  of  euphony. 
He  painted  in  the  Flemish  manner,  for  the  refec- 
tory of  the  above-mentioned  college,  '  Abraham 
entertaining  the  three  Angels,'  the  '  Marriage  at 
Cana,'  the  '  Holy  Family,'  '  Christ  at  Emmaus,' 
and  the  '  Banquet  at  the  house  of  the  Pliarisee, 
with  the  Magdalen  anointing  Christ.' 

DIES,  Albert  Christoph,  born  at  Hanover  in 
1765,  acquired  the  rudiments  of  art  under  a  painter 
in  that  town.  He  afterwards  studied  under  Pigage 
at  Mannheim  and  under  Mechel  at  Basle,  and  then 
visited  Rome  and  Naples.  At  Rome  he  executed 
some  landscapes  in  water-colour  for  Volpato. 
Among  his  works  may  be  mentioned  the  twenty- 
four  etchings  of  Italy,  contributed  to  the  'Collection 
de  Vues  pittoresques  de  I'ltalie '  (1799),  of  which 
those  of  Tivoli  are  very  fine.  In  the  Belvedere  at 
Vienna  there  are  by  him  two  landscapes  in  oil,  both 
views  near  Salzburg,  dated  1796  and  1797  ;  these, 
however,  are  of  le.ss  importance  than  his  water- 
colours.     He  died  a.-'Vienna  in  1822. 

DIEST,  Adriaan  van,  was  born  at  the  Hague  in 
1655.  He  was  the  son  of  a  painter  of  sea-pieces, 
by  whom  he  was  instructed  in  the  art.  When  he 
was  seventeen  years  of  age  he  came  to  London, 
and  was  employed  by  Granville,  Earl  of  Bath,  for 


whom  he  painted  several  views  and  ruins  in  the 
west  of  England.  He  also  painted  portraits,  but 
did  not  meet  with  much  encouragement,  although 
his  pictures,  particularly  his  landscapes,  possess 
considerable  merit ;  as  a  proof  of  which  Horace 
Walpole  states  that  there  were  seven  pictures  by 
Van  Diest  in  Sir  Peter  Lely's  collection.  He 
etched  several  landscapes  from  his  own  designs,  in 
a  slight,  masterly  style.  Van  Diest  died  in  Lon- 
don in  1704.  Unfortunately  for  his  reputation,  he 
is  generally  known  by  his  worst  pictures,  which 
are  frequently  found  in  old  houses,  on  wainscots, 
or  over  doors,  and  are  executed  in  a  hasty  manner, 
with  much  mountainous  background.  His  better 
pictures  have  changed  their  name. 

DIETEL,  Christoph  and  Franz  Ambros.  These 
artists,  who  were  brothers,  resided  at  Vienna  in 
the  early  part  of  the  18th  century.  They  engraved 
conjointly  a  set  of  plates,  representing  the  principal 
fountains  at  Rome.  Franz  Ambros  Dietel  died  at 
Vienna  in  1730. 

DIETERLEIN.     See  Dietterlin. 

DIETISALVI.     See  Diotisalvi. 

DIETLER,  JoHANN  Friedrich,  was  born  at 
Solothurn,  in  Switzerland,  in  1804,  and  was  in- 
structed in  the  rudiments  of  art  by  German,  a 
drawing-master  of  that  town.  He  distinguished 
himself  as  a  portrait  painter,  and  visited  Paris  and 
Italy,  remaining  also  some  time  at  Geneva;  but 
he  finally  settled  at  Berne,  where  he  died  in  1874. 
He  painted  for  the  town  of  Solothurn  '  The  Burgo- 
master Wengi  before  the  Cannon.' 

DIETRICH,  Christian  Wilhelm  Ernst,  (after- 
wards called  Dietrici,  or  Dietricy,)  a  German 
artist^  was  born  at  Weimar  in  1712.  He  learnt 
the  principles  of  art  from  his  father,  Johann 
Georg  Dietrich,  who  was  court-painter  at  Weimar, 
and  was  afterwards  a  scholar  of  Thiele,  tlie  land- 
scape painter.  He  established  himself  at  Dresden, 
where  he  was  patronized  by  the  court,  and  was 
in  1729  appointed  court-painter  to  Augustus  II., 
king  of  Poland  ;  and  in  1741  he  received  the  same 
appointment  with  a  yearly  salary  of  400  thalers, 
for  which  he  was  to  produce  yearly  four  cabinet 
pictures,  for  Augustus  III.,  who  sent  him  in  1742 
to  Italy,  where  he  passed  some  time  at  Rome  and 
Venice.  His  studies  in  Italy  do  not  appear  to 
have  had  much  influence  on  his  style,  which  re- 
mained entirely  German.  His  chief  talent  consisted 
in  a  successful  imitation  of  the  works  of  Rembrandt, 
Ostade,  Poelenborch,  Salvator  Rosa,  &c.,  particu- 
larly as  a  colourist,  in  which  he  greatly  excelled. 
In  1746  he  became  keeper  of  the  Dresden  Gallery, 
in  which  he  is  very  fully  represented.  He  was 
also  Professor  in  the  Academy  of  Arts  at  Dresden, 
and  Director  of  the  Painting  School  at  the  Meissen 
Porcelain  Factory.  Dietrich  also  executed,  after 
his  own  compositions,  a  large  number  of  etchings, 
in  which  he  imitated  successfully  the  manner  of 
Rembrandt  and  of  Ostade.  He  died  at  Dresden  in 
1774.  The  following  are  some  of  the  best  of  his 
paintings : 
Bordeaux.     Museum.      Holy  Family. 

„  „  Landscapes  (Jive). 

Brussels.       3Iuseum.      His  own  Portrait. 
Cassel.  Gallery.      Two  Landscapes. 

Darmstadt.   Gallery.      The  Parable  of  the  AYoman  and 
the  Lost  Penny. 
„  The  Parable  of  the  Blind  leading 

the  Blind. 
„  „  Evening  Landscape. 

Dresden.        Gallery.      Fifty-four  Pictures  (bearing  dates 
from  1739  to  1766). 

73 


A  BIOGRAPHICAL  DICTIONARY  OP 


Hampton  Court.  Pal.     Nymphs  in  a  landscape  batliing.       ' 
„  „         „        The  "Woman  taken  in  Adultery. 

„  „         „         The  Tribute  Money. 

London.  Nat.  Gallery.  The  Itinerant  Musicians.     1745. 
Milan.  Brera.  Landscape. 

Paris.  Ixmvre.         The   Woman   taken  in   Adultery. 

1753. 
Petersburg.  Hermitage.  Eepose  in  Egypt.    1757. 
„  „  The  Entombment.    1759. 

„  „  The  Squirrel. 

„  ,,  A  Camera  Obscura. 

„  „  Views  in  Italy  {two). 

Vienna.         Gallery.      Angelappeariug  to  the  Shepherds. 
„  „  Adoration  of  the  Shepherds.  1760. 

Dietrich's  etched  work  extends  to  nearly  two  hun- 
dred prints,  several  of  which  are  very  scarce,  as  he 
frequently  destroyed  the  plate,  after  having  taken 
ofE  a  certain  number  of  impressions.  His  earlier 
works  are  marked  with  a  monogram,  composed  of 
a  C.  and  a  B.,  but  he  afterwards  signed  them  with 
his  name,  or  with  his  initials,  G.  W.  E.  Z>.,  or 
with  D.  only.  The  following  are  his  principal 
prints: 

SACRED  SUBJECTS. 
Lot  and  his  Daughters  ;  scarce. 
Abraham  going  to  sacrifice  Isaac  ;  scarce.     1730. 
The  same  subject  differently  composed ;  very  scarce. 
The  Nativity.     1740. 
St.  Philip  baptizing  the  Eunuch. 
The  Adoration  of  the  Shepherds  ;  in  the  style  of  Eem- 

branilt. 
The  Circumcision. 
The  Flight  into  Egypt. 

Another  of  the  same  subject,  differently  composed. 
The  Eepose  in  Egypt;  scarce.     1732. 
Another  Eepose  in  Egypt.     1734. 
The  Eeturn  from  Egypt. 

Christ  found  disputing  with  the  Doctors.     1731. 
Our  Saviour  heahng  the  Sick. 
The  Prodigal  Son. 

The  Eesurrection  of  Lazarus  ;  in  the  style  of  Remln-amlt. 
The   Descent   from   the    Cross ;    in    the    same    style ; 

scarce.    1730. 
Another  of  the  same  subject,  differently  treated  ;  also 

in  the  style  of  Rembrandt.     1742. 
The  Disciples  at  Emmaus  ;  extremely  rare ;  the  plate 

destroyed. 
Christ  appearing  to  the  Magdalen ;  unfinished.     1760. 
The  Preaching  of  St.  James.     1740. 
St.  Jerome  writing.    1731. 

VARIOUS   SUBJECTS. 
Famine  and  Pestilence  ;  very  scarce.     1731. 
Nero  on  his  Death-bed,  tormented  by  Furies  and  the 

Shade  of  his  Mother  ;  .scarce. 
Jupiter  and  Antiope ;  one  of  his  best  etchings  ;  scarce. 

1735. 
The  Artist  in  his  Painting  Eoom.     1730. 
The  same  subject  with  variations.     1732. 
The  Quack  Doctor  ;  in  the  style  of  Tenters.     1732. 
The  Hungarian  Quack  Doctor.    1757. 
The  Itineraut  Musicians  ;  in  the  style  of  Ostade.     The 

picture  by  Dietrich  is  in  the  National  Gallery. 
The  Alchemist  in  his  Laboratory  ;  in  the  style  of  Eem- 

brandt ;  scarce.     1731. 
Twenty  plates  of  Busts  and  Heads  ;  chiefly  in  the  man- 
ner of  Rembrandt. 
About  thirty-six  plates  of  Landscapes,  in  the  styles  of 

B&i'chem,   Breenbertj.,  Claude  Lorrain,   Ruisdael,   and 

Salvator  Rosa,  and  in  his  own  manner. 

DIETRICH,  JoHANN  FRiEDRicn,  a  painter  of 
historical  subjects,  was  born  at  Biberaoh  in  1789, 
and  learned  painting  of  Seele  and  HeideloS  at 
Stuttgart.  In  1820  he  went  to  Rome,  where  he 
studied  the  works  of  the  great  masters,  and  executed 
several  paintings,  as  well  as  copies,  of  considerable 
merit.  After  his  return  home,  he  was  employed  in 
the  Hall  of  the  Estates  at  Rosenstein,  and  painted 
in  fresco  for  several  churches.     He  was  Professor 

74 


in  the  Academy  at  Stuttgart,  where  he   died  in 
1846.     His  best  works  are  : 
The  Resurrection  of  Christ  (in  Stuttyart  Cathedral). 
The   Visitation,  the   Nativity,  the  Adoration  of    the 
Magi,  Christ  on  the  Mount  of  Olives,  the  Crucifixion, 
the    Entombment,    and    the    Resurrection    (in    the 
Church  at  Bu/uch,  near  Carlsruhe). 
Abraham  entering  the  Promised   Land  {in  the  Royal 

Palacey  Stuttyart). 
An  Adoration  of  the  Shepherds.  )        {Stuttyart 

Christ  with  the  Disciples  at  Emmaus.  J        Gallery.) 
The  Madouna  di  Foliguo  ;  after  Raphael  {in  the  Church 

at  Dotternhausen). 
HeUos  with  the  Hours. )  ,  .,^  ^^^  Zandhuus  of  Rosenstein.) 
Luna  with  Herse.  J  ^  -^ 

Christ  on  the  Mount  of  Olives  {in  the  Church  of  Ravens- 
bury).     His  last  and  best  work. 

DIETTEKLIN,  Bartholomaus,  (orDiETEELEiN,) 
a  painter  and  engraver,  who  flourished  in  the  early 
part  of  the  17th  century,  was  the  son  of  a  painter 
named  Hilarius  Dietterlin,  of  Strassburg.  By 
him  are  known  a  very  scarce  plate — the  '  Ascension 
of  Christ ' — and  a  Landscape. 

DIETTEKLIN,  Wendel,  (Dieterlein,  or  Dix- 
TERLEIN,)  who  was  born  at  Strassburg  in  1650,  was 
the  grandfatlier  of  Bartholomaus  Dietterlin.  On 
the  ceilings  of  the  Lusthaus  at  Stuttgart  there  are 
paintings  by  him  repre.senting  the  '  Creation,'  the 
'  Fall  of  Man,'  and  the  '  Last  Judgment,'  and  in  the 
Belvedere  at  Vienna  is  the '  Calling  of  Matthew.' 
He  also  etched  several  portraits,  and  twelve  spirited 
grotesques,  and  published  a  work  on  Architectural 
Design,  with  209  engravings.  There  are  176  ori- 
ginal designs  by  him  in  the  Academy  at  Dresden. 
He  died   in  1699.     Some  of   his  works  have  the 

monogram  annexed  : 

DIETZ,  Feodor,  a  German  historical  painter, 
born  at  Neunstetten,  near  Krautheim,  Baden,  in 
1813,  was  instructed  in  the  principles  of  art  by 
Kuntz  at  Carlsruhe.  Alter  studying  in  the  Academy 
at  Municli,  and  at  Paris  under  Horace  Vernet  and 
Alaux,  he  returned  to  Germany  and  there  com- 
menced his  career.  In  1839  he  became  painter 
at  the  court  of  Baden,  in  1862  professor  at  the 
Academy  at  Carlsruhe,  and  later  on  President  of 
the  German  Artistic  Society.  He  made  several 
tours,  and  died  in  the  course  of  one  in  1870  at 
Gray,  France.  The  following  are  some  of  his  best 
paintings : 

The  Destruction  of  Heidelberg  by  Melac  {Carlsruhe 
Gallery). 

The  Death  of  Piccolomini. 

The  Death  of  Pappeuheim. 

Gustavus  Adolphus  at  Liitzen, 

The  Night  Review  of  Napoleon. 

The  Guard  of  Bailen  before  Paris. 

Napoleon  at  Wagram. 

Blucher  crossing  the  Rhine. 

Bliicher  at  La  Rothiere. 

Bliicher's  March  on  Paris.     1814.     {Berlin  Museum.) 

The  Elector  Max  Eraauuel  of  Bavaria  storming  Bel- 
grade in  16SS  {Neue  Fmakothek,  Munich). 

DIETZSCH,  Johann  Albert,  the  younger  brother 
of  Johann  Christoph  Dietzsch,  was  born  in  1720, 
and  died  in  1782.  He  engraved  about  twenty 
plates  of  views  of  Nuremberg  and  its  vicinity, 
published  in  1760.  He  also  painted  battle-pieces, 
landscapes,  fruit,  flowers,  and  portraits.  Some  of 
his  landscapes  have  been  engraved  by  Prestel. 

DIETZSCH,  Johann  Christoph,  a  German  painter 
in  water-colours,  especially  of  landscapes,  flowers, 
and  fruit,  was  born  at  Nuremberg  in  1710.  He  has 
left  some  plates  of  landscapes  etched  in  the  style 


PAINTERS  AND  ENGRAVERS. 


of  Waterloo,  which,  though  more  finished,  are 
very  inferior  to  the  works  of  that  master  in 
picturesque  simpHcity.  He  died  in  his  native  city 
in  1769.     There  are  by  him  the  following  plates : 

Portrait  of  Correggio. 
Portrait  of  Raphael. 

Sixteen   Landscapes   in   the  manner   of  Ruisdael  and 
fVaterloo. 

DIEU,  Antoine,  a  French  painter,  born  in 
Paris  about  1661,  was  a  son  of  Edouard  Dieu,  an 
engraver,  who  died  in  Paris  in  1703.  He  was 
instructed  by  Lebrun,  and  painted  historical  sub- 
jects and  portraits  in  the  style  of  his  master,  and 
not  without  merit.  The  '  Duke  of  Burgundy  before 
the  King,'  and  the  '  Marriage  of  the  l3uke  of  Bur- 
gundy,' are  in  the  Museum  at  Versailles,  but  his 
best  work  is  the  portrait  of  '  Louis  XlV.  on  his 
Throne,'  which  was  engraved  by  Nicolas  Arnoult. 
He  was  received  at  the  Academy  in  1722,  and  died 
in  Paris  in  1727.  His  brothers,  Jean  Died  and 
Jean  Baptistb  Dieu,  were  engravers  ;  the  former 
was  born  about  1658,  and  died  in  Paris  in  1714. 

DIEU,  Jean,  called  Died  de  Saint-Jean,  father 
and  son,  were  French  painters  who  flourished  in 
the  17th  century.  Jean  Dieu,  the  elder,  was  also  an 
etcher.  Jean  Dieu,  the  younger,  who  was  a  por- 
trait painter,  was  born  about  the  year  1655,  and 
died  in  Paris  in  1696. 

DIGHTON,  Denis,  an  English  painter  of  battle 
scenes,  the  son  of  Dighton  the  caricaturist,  was 
born  in  London  in  1792.  He  studied  in  the  Eoyal 
Academy,  but  obtained  through  the  Prince  of 
Wales  a  commission  in  the  army.  Resigning 
this,  however,  and  marrying,  he  settled  in  London, 
and  devoted  himself  to  art,  exhibiting  at  the 
Royal  Academy  from  1811  to  1825.  Loss  of  the 
royal  patronage,  together  with  other  causes,  affected 
his  reason,  and  he  retired  to  Brittany,  where  he 
died  at  St.  Servan  in  1827.  Amongst  his  works 
are  : 

Death  of  Nelson  [Bridgewater  Collection). 
Defeat  of  the  Turks  at  Klissura. 
Cavalry  skirmishing  {Smith  Kensington) . 
Battle  of  Waterloo  {Her  Majesty's  Collection). 

His  wife  was  Fruit  and  Flower  Painter  to  Queen 
Adelaide,  and  exhibited  at  the  Royal  Academy 
between  1824  and  1835. 

DIGHTON,  Robert,  an  English  portrait  painter 
and  caricaturist,  was  born  in  1752.  He  exhibited 
occasionally  at  the  Free  Society  of  Artists  and  at 
the  Royal  Academy.  In  1799  he  brought  out  a 
'  Book  of  Heads,'  and  thenceforth  devoted  himself 
chiefly  to  caricature.     He  died  in  London  in  1814. 

DIGHTON,  William  Edward,  a  landscape 
painter,  was  a  pupil  of  William  Miiller,  and  after- 
wards of  Frederick  Goodall.  He  exhibited  Eng- 
lish landscape  scenery  at  the  British  Institution 
and  Royal  Academy  from  1844  to  1851,  after 
which  he  visited  the  East,  and  in  1863  sent  to  the 
Royal  Academy  two  pictures,  '  The  Ruins  of  the 
Temple  of  Luxor'  and  '  Bethany.'  Dighton  died 
at  Hampstead  in  1863,  aged  31.  Had  he  lived,  he 
would  doubtless  have  made  a  name  in  the  world  of 
art.  He  left  behind  him  many  fine  works,  which 
are  for  the  most  part  in  private  collections  in 
Liverpool. 

DILLENS,  Adolf,  a  Belgian  genre-painter,  was 
born  at  Ghent  in  1821,  and  received  instruction 
from  his  elder  brother  Hendrik  Dillens.  His  first 
works  were  of  an  historical  nature,  but  he  after- 
wards  devoted    himself    to    pictures  illustrating 


Zealand  peasant  life.     He  died  in  1877.     Amongst 
his  best  works  are  : 

The  Gossip  at  the  Window. 

Taking  Toll  at  the  Bridge  {of  this  picture  he  painted 
three  versions). 

Asking  in  Marriage. 

A  Fair  at  West  Capelle  {at  Paris  International  Ex- 
hibition, 1855). 

A  Ball  at  Goes  {at  the  same). 

The  Juggler  {at  London  International  Exhibition,  1862). 

Skaters  {in  Brussels  Mttseujn). 

Recruiting :  Austrian  Soldiers  halting  at  a  Tavern  {in 
the  same). 

DILLENS,  Hendrik,  a  Belgian  genre  painter, 
vra.s  born  at  Ghent  in  1812,  and  died  at  Brussels  in 
1872.  He  executed  several  pleasing  and  spirited 
paintings,  among  the  best  of  which  are  : 

The  French  Trooper  caressing  his  Child. 

The  Capture  of  the  Maid  of  Orleans. 

An  Old  Man  giving  Counsel  to  Two  Youths. 

Consecration  of  a  Church  (with  over  200  figures). 

DILLIS,  Ignaz,  a  brother  and  pupil  of  Johann 
Georg  von  Dillis,  was  born  at  Griingiebing  in  1772, 
and  died  at  Munich  in  1808.  He  etched  some 
landscapes  containing  figures  and  animals,  but 
abandoned  art  for  the  science  of  forestry. 

DILLIS,  Johann  Cantius,  a  Bavarian  landscape 
painter  and  etcher,  was  born  at  Griingiebing  in 
1779.  He  was  the  youngest  brother  of  Johann 
Georg  von  Dillis,  by  whom  he  was  instructed,  and 
with  whom  he  went,  in  1805,  to  Italy,  where  he 
stayed  two  years.  His  best  pictures  are  a  '  View 
in  the  Environs  of  Grotta  Ferrata,'  dated  1809,  in 
the  Schleissheim  Gallery,  and  a  '  View  of  the  Alps 
near  Reselau,'  and  '  Stone  Bridges  near  the  Mills 
at  Audorf,'  in  the  Leuchtenberg  Gallery.  He  died 
at  Munich  in  1866.  He  etched  twelve  plates,  among 
which  may  be  mentioned,  a  '  View  of  the  Castle 
of  Harlaching,'  'A  Rocky  Country  with  Mills,'  and 
'  A  Farm  Cottage  hidden  in  Trees.' 

DILLIS,  Johann  Georg  von,  a  Bavarian  painter, 
was  born  at  Griingiebing  in  1759,  and  studied  at 
the  Academy  of  Munich  and  under  Oefele.  He 
afterwards  paid  frequent  visits  to  Switzerland, 
Italy,  Sicily,  France,  and  Spain.  He  painted  por- 
traits and  landscapes,  but  his  engagements  as 
director  of  several  picture  galleries  in  Germany 
occupied  the  greater  part  of  his  time,  so  that  his 
works  are  not  numerous.  He  died  at  Munich  in 
1841.  In  the  Modern  Gallery  of  that  city  there 
are  by  him  a  '  Landscape  at  Grotta  Ferrata,'  and  a 
'  View  of  the  Tegernsee,'  and  in  the  Schleissheim 
Gallery  is  an  'Autumnal  Picnic'  He  also  etched 
62  landscapes. 

DINGLINGER,  Sophie  Friederike,  who  was 
born  in  1736  at  Dresden,  and  died  in  the  same  city 
in  1791,  practised  as  a  miniature  painter.  The 
Dresden  Gallery  possesses  seven  portraits  by  her 
of  members  of  the  Dinglinger  family — amongst 
them  her  own. 

DIOLAI,  Giovanni  Francesco.     See  Surchi. 

DIONISIO  FIAMMINGO.     See  Calvaert. 

DIONYSIUS,  of  Colophon,  who  flourished  about 
the  middle  of  the  6th  century  B.  c,  was  a  con- 
temporary of  Polygnotus,  whom  he  in  part  imitated 
and  almost  rivalled.  The  subjects  which  he  chose 
to  treat  were  less  important;  but,  according  to 
.ffilian,  "his  works  exhibited  the  same  expressive 
character,  the  same  choice  of  attitudes,  a  similar 
attention  to  propriety,  and  the  same  elegant  arrange- 
ment of  his  draperies ;  but  he  represented  the 
objects  in  a  smaller  proportion."    By  these  expres- 

75 


A   BIOGRAPHICAL   DICTIONARY  OF 


sions  iElian  has  been  supposed  to  explain  more 
clearly  a  passage  in  the  '  Poetics  '  of  Aristotle  ;  and 
it  has  been  thought  to  result  from  his  suggestion, 
that  Polygnotus  designed  his  figures  larger  than 
life,  Dionysius  the  size  of  life,  and  Pauson  smaller 
than  life.  Winckelmann,  however,  interprets  this 
in  another  manner.  According  to  that  writer, 
Polygnotus  painted  his  figures  better,  that  is  to  say, 
he  stamped  them  with  grandeur  above  the  scale 
and  conformation  of  man,  and  as  he  usually  cliose 
his  subjects  from  mythology,  or  from  heroic  his- 
tory, his  figures  resembled  heroes,  and  represented 
nature  in  the  most  perfect  form  of  ideal  beauty. 
Pauson  gave  to  his  figures  a  more  common  and 
familiar  air.  In  the  opinion  of  Winckelmann, 
Aristotle  meant  to  say  that  the  pictures  of  Poly- 
gnotus were  in  painting  what  tragedy  is  in  poetry, 
and  that  the  figures  of  Pauson  resembled  the 
characters  in  a  comedy,  which  are  represented 
more  than  ordinarily  ridiculous,  to  render  the  effect 
more  ludicrous.  Dionysius,  whom  Pliny  places 
amongst  the  most  famous  painters,  held  a  sober 
medium  between  Polj'gnotus  and  Pauson,  and  may 
be  said  to  have  been,  with  respect  to  Polygnotus, 
what  Euripides  was  to  Sophocles  ;  the  latter  repre- 
sented his  heroines  as  they  ought  to  be,  the  former 
as  they  were.  This  characteristic  procured  for 
Dionysius  the  appellation  of  dvOfjuiicoypdipoe,  or  the 
'  painter  of  mankind.' 

DIOTISALVI,  (or  Dietisalvi,)  was  a  contem- 
porary of  Duccio,  who  from  1259  painted  miniatures 
at  Siena,  some  of  which  are  still  preserved  in  the 
Academy  of  that  city.  He  also  produced  some 
larger  pictures,  among  which  is  a  '  Madonna '  in 
the  church  of  the  Servi,  dated  1281. 

DIOTTI,  GiDSEPPE,  who  was  born  at  Casal 
Maggiore  in  1779,  was  instructed  in  the  Academy 
at  Parma,  and  later  by  Camuocini  at  Rome.  He 
painted  in  fresco  as  well  as  in  oil,  distinguishing 
himself  as  a  painter  of  historical  subjects,  and 
became  a  professor  in  the  Academy  at  Carrara, 
and  also  in  that  at  Bergamo,  where  he  died  in  1846. 
In  the  Belvedere  at  Vienna  is  a  picture  by  him 
representing  'The  Kiss  of  Judas,'  and  in  the 
Milan  Gallery  is  the  '  Congress  of  Pontida.'  Other 
noteworthy  works  by  him  are,  '  Leonardo  da  Vinci 
and  Lodovico  Sforza,'  and 'Tobias  receiving  his 
Sight.'  His  own  portrait,  dated  1821,  is  in  the 
Ufiizi. 

DIRCKS,  August,  a  German  painter  of  genre 
pieces  and  a  lithographer,  was  born  at  Emden  in 
East  Friesland  in  1806,  and  studied  at  the  Academy 
of  Dusseldorf .  '  The  Decorated  Schoolmaster,'  a 
creditable  work  by  him,  is  in  the  Gallery  of  that 
town.     He  died  at  Diisseldorf  in  1871. 

DIRICKSEN,  DiRiCK,  a  German  engraver,  worked 
at  Hamburg  in  tbe  earlier  part  of  the  17th  century, 
and  was  still  living  in  1647.  He  was  principally 
employed  by  the  booksellers,  and  engraved  some 
portraits  in  a  neat  style,  resembling  that  of  the  Van 
de  Passes. 

DISCEPOLI,  Giovanni  Battista,  was  born  at 
Lugano  in  1590.  He  was  usually  called  '  Lo  Zoppo 
di  Lugano,'  from  his  being  a  cripple.  Although 
be  was  for  some  time  a  scholar  of  Camillo  Pro- 
caccini,  he  did  not  adopt  the  style  of  that  master. 
Lanzi  states  that  he  was  one  of  the  best  and 
most  chaste  colourists  of  his  time.  Several  of  his 
works  are  in  the  churches  at  Milan ;  his  pic- 
ture of  '  Purgatory '  in  San  Carlo  is  particularly 
esteemed.  In  the  Brera  is  an  '  Adoration  of  the 
Magi'  from  San  Marcellinoin  Milaa      Lugano  and 

76 


Como  also  possess  some  of  his  works ;  in  the 
church  of  Santa  Teresa,  in  the  latter  place,  is  a 
picture  of  that  Saint,  which  is  much  admired. 
He  died  in  1660. 

DISTELI,  Martin,  was  born  at  Olten,  in  Switzer- 
land, in  1802.  In  early  life  he  studied  art,  intend- 
ing to  become  a  painter,  but  afterwards  gained 
some  celebrity  by  drawing  caricatures,  which 
were  published  in  the  '  Distelikalender.'  His  Swiss 
battle-pieces  indicate  a  strong  patriotic  feeling. 
He  died  at  Solothurn  in  1844. 

DITMAR,  Henrik,  (or  Dittmarz,)  was  a  German 
portrait  painter  who  flourished  in  Hamburg  and  in 
Denmark  in  the  latter  half  of  the  seventeenth  cen- 
tury. In  the  Copenhagen  gallery  there  is  by  him 
a  '  Hermit  in  his  Cell,'  dated  1665.  He  died  in 
Denmark  late  in  1677  or  early  in  1678. 

DITMAR,  Jan,  (or  Ditmer,)  a  Flemish  engraver, 
was  born  in  the  Netherlands  about  1538,  and  was 
admitted  into  the  Guild  of  St.  Luke  at  Antwerp  in 
1574.  He  engraved  some  plates  after  Martin  De 
Vos,  and  other  Flemish  masters,  among  which  is 
a  print  after  Michiel  Coxcie,  representing  '  Christ 
seated  in  the  Clouds,  surrounded  by  Angels  holding 
the  Instruments  of  the  Passion  and  the  Symbols 
of  the  Four  Evangelists,'  dated  1574. 

DITTENBERGER,  Johann  Gustav,  an  historical 
and  portrait  painter,  was  born  at  Neuenweg,  in 
Baden,  in  1799.  He  was  at  first  a  pupil  of  Rott- 
mann  and  Rous  at  Heidelberg,  but  in  1821  he 
entered  the  Munich  Academy.  After  this  he  worked 
for  a  while  in  the  studio  of  Baron  Gros  at  Paris, 
and  then  removed  to  Rome.  He  returned  to 
Vienna  in  1831,  and  died  in  1879.  He  executed  a 
number  of  church  pictures,  among  which  we  find 
'The  Annunciation,'  'St.  Andrew  converting  the 
Russians,'  '  St.  Severinus  blessing  the  Land  of 
Austria,'  'The  Angelic  Salutation'  (for  Olmiitz 
Cathedral),  and  two  allegorical  pictures  of  '  Ger- 
many '  and  '  Schleswig-Holstein  '  (1850).  He  also 
etched  a  number  of  illustrations  to  Schiller's  poems. 
He  frequently  marked  his  works  with  the  annexed 


monogram : 


DITTERLELN.     See  Dietterlin. 

DITTMARZ,  Henrik.     See  Ditmar. 

DIXON,  John,  an  English  miniature,  crayon,  ai;d 
water-colour  painter,  was  a  pupil  of  Lely.  He  ex- 
celled in  nymphs,  satyrs,  cupids,  &c.  He  was  under 
William  III.  keeper  of  the  King's  picture  closet, 
but  in  his  later  years  he  became  impoverished, 
and  retired  to  Bungay,  where  he  died  in  1716. 

DIXON,  John,  an  engraver  in  mezzotint,  was  born 
at  Dublin  about  1740,  and  died  in  London  in  1780. 
He  studied  under  West  in  his  native  city,  and  be- 
came in  1766  a  member  of  the  Incorporated  Society 
of  Artists.  There  are  several  fine  portraits  engraved 
by  him  after  Sir  Joshua  Reynolds  and  other  masters. 

DIXON,  Nathaniel.  Nothing  whatever  is 
known  as  to  this  artist,  although  he  has  been 
called  by  some  writers  the  brother  of  John  Dixon. 
No  one  can  identify  the  works  of  John  Dixon, 
unless  they  are  those  signed  with  a  D  only,  which 
are  usually  attributed  to  Nathaniel  Dixon  ;  but 
miniatures  signed  N.  D.  are  frequently  to  be 
found,  and  two  contemporary  letters  in  the  Wel- 
beck  Collection  mention  casually  "  Nathaniel  Dixon 
the  limner."  Several  of  his  portraits,  one  very 
large  in  size,  are  at  Montagu  House  ;  there  are 
also  some  at  Ham,  and  a  few  very  important  ones 
in  tlie  Madresfield  Collection,  whilst  one  beauty  is 


NATHANIEL  DIXON 


THE  DUKE  OF  GRAFTON  AS  A  BOY 


\_Montagu  House  Cuiicition 


WILLIAM  DOBSON 


Hanfstdngl  photo ) 


National  Caltcry,  London 


PORTRAIT  OF  ENDVMION  PORTER 


PAINTEES  AND  ENGRAVERS. 


to  be  found  at  Goodwood.  His  work  is  strong, 
well  planned,  and  well  coloured,  and  allied  to  the 
masterful  portraits  of  Cooper.  He  flourished  during 
the  reigns  of  James  II.  and  William  III.     G.C.W. 

DIXON,  Robert,  a  landscape  painter,  was  born 
in  1780.  He  published,  in  1810-11,  thirty-six  views 
of  '  Norfolk  Scenery.'  Some  of  his  works  appeared 
at  the  Norwich  Exhibitions.  At  the  South  Ken- 
sington Museum  is  a  '  FaiTn  Yard '  by  him  in  water- 
colours.     He  died  in  1815. 

DIZIANI,  Gasparo,  an  Italian  caricaturist,  was 
a  pupil  of  Bastiano  Eicci.  He  died  at  Venice  in 
1767.  In  the  Dresden  Gallery  is  a  '  Painter  painting 
a  portrait  from  life,'  by  him. 

DOBIASCHOFSKY,  Franz,  was  born  at  Vienna 
in  1818,  and  was  instructed  by  Fiihrich  and  Kuppel- 
wieser.  He  excelled  in  painting  historical  subjects 
and  portraits,  which  have  been  praised  for  their 
good  design  and  poetic  feeling.  He  was  a  pro- 
fessor at  the  Academy  at  Vienna,  where  he  died 
in  1867.  Among  his  best  works  maybe  mentioned 
two  in  the  Belvedere  at  Vienna,  viz.,  '  A  young  Man 
and  Woman  in  a  Garden,'  and  '  Cimburgis  saved 
from  the  bear  by  Duke  Ernest  Ironside'  (1860). 

DOBROVOLSKY,  Vasily  Stefanovitch,  a 
Russian  painter,  was  born  in  1786.  He  was  a 
member  of  the  Academy  of  Arts,  and  one  of  the 
founders  of  the  School  for  Painting  and  Sculpture 
at  Moscow,  in  which  city  he  died  in  1855. 

DOBSON,  William,  a  portrait  painter,  was 
born  in  London  in  1610.  He  was  placed  as  an 
apprentice  to  Robert  Peake,  a  portrait  painter 
and  picture  dealer,  who  was  afterwards  knighted 
by  Charles  I.  From  this  master's  instruction  he 
was  not  likely  to  profit  much,  but  he  procured  him 
the  means  of  copying  some  pictures  by  Titian  and 
Van  Dyck,  by  which  he  acquired  an  excellent  prin- 
ciple of  colouring,  and  great  freedom  of  hand. 
On  leaving  his  master,  Dobson  appears  to  have 
lived  in  indigence  and  obscurity,  until  Van  Dyck, 
passing  a  shop  on  Snow  Hill,  perceived  a  picture 
exposed  in  the  window  for  sale,  which  had  suffi- 
cient merit  to  excite  his  curiosity  to  discover  the 
painter,  whom  he  found  at  work  in  a  miserable 
garret.  The  well-known  liberality  of  Van  Dyck 
soon  released  him  from  his  wretched  situaiion  ;  he 
afterwards  introduced  him  to  the  king,  and- zeal- 
ously recommended  him  to  his  Majesty's  protection. 
On  the  death  of  Van  Dyck,  Dobson  was  appointed 
serjeant-painter  to  the  king,  whom  he  accompanied 
to  Oxford,  where  he  painted  his  portrait,  as  well  as 
those  of  Prince  Rupert  and  several  of  the  nobility. 
The  melancholy  fate  of  the  king  was  followed  by 
the  overthrow  of  the  arts  and  elegance,  and  Dobson, 
who  was  imprudent  and  extravagant,  became  in- 
volved in  debt,  and  was  thrown  into  prison.  He 
was  released  by  a  patron,  but  not  long  aftenvards 
he  died  in  London  in  1646.  Of  the  painters 
of  his  time,  Dobson  appears  to  have  approached 
nearest  to  the  excellence  of  Van  Dyck. '  His  por- 
traits are  faithful  transcripts  of  nature,  and  although 
he  was  not  equally  successful  in  his  historical  pic- 
tures, the  few  which  he  painted  are  not  without 
considerable  merit.  One  of  his  best  works  in  his- 
tory is  '  Tlie  Decollation  of  St.  John,'  at  Wilton. 
King  Charles  I.  styled  Dobson  the  '  English  Tinto- 
retto,' but  very  absurdly,  as  his  manner  of  paint 
ing  bears  no  resemblance  to  that  of  the  Venetian 
master.  There  are  in  the  National  Portrait  Gallery 
paintings  by  Dobson  of  Himself,  Sir  Harry  Vane 
the  younger,  Francis  Quarles  the  poet,  and  Endy- 
mion  Porter;  and  at  Hampton  Court  there  are  a 


picture  of  Himself  and  his  Wife,  and  portraits  of 
two  Gentlemen. 

DOBSON,  William  Charles  Thomas,  was  bom 
at  Hamburg  in  1817.  His  father  was  an  English 
merchant  in  that  city,  and  came  to  London  in 
1825.  Dobson  in  1836  entered  the  Royal  Academy 
Schools,  and  in  1843  received  an  appointment  at 
the  Government  School  of  Design,  then  at  Somerset 
House.  In  1843  he  became  headmaster  of  the 
School  of  Design  at  Birmingham,  but  resigned  the 
post  in  1845  and  went  to  Italy.  From  there  he 
went  to  Germany,  where  he  remained  several 
years.  On  his  return  he  exhibited  pictures  on 
scriptural  and  other  subjects,  at  first  in  oil,  and 
afterwards  in  water-colour  ;  the  principal  of  which 
were:  'Tobias  and  the  Angel'  (1853),  'The  Charity 
of  Dorcas'  (1854),  'The  Almsdeeds  of  Dorcas' 
(1855), '  The  Prosperous  Days  of  Job  '  (1856),  'The 
Child  Jesus  going  to  Nazareth  with  His  Parents,' 
and  'Reading  the  Psalms'  (1857),  'The  Holy 
Innocents'  (1858),  'The  Good  Shepherd'  (1865), 
and  '  St.  Paul  at  Philippi,'  deposited  in  the  Diploma 
Gallery  (1873) ;  and  among  secular  subjects,  'The 
Picture  Book'  (International  Exhibition,  1862), 
'A  Venetian  Girl'  (1879),'  Mignon'  and  'lone' 
(1880).  His  water-colour  drawings  included  'Tlie 
Young Nurse,"The  Camellia'  (1873),  and  'Nursery 
Tales '  (1874).  Dobson  was  elected  Associate  of 
the  Royal  Academy  in  1867,  and  an  Academician 
in  1872.  In  1870  he  was  elected  Associate  of  the 
Royal  Water-Colour  Society,  of  which,  in  1875,  he 
became  a  full  member.    He  died  at  Ventnor  in  1898. 

DOCENO.    See  Gherardi,  Cristofano. 

DOCHARTY,  James,  a  Scotch  landscape  painter, 
was  born  at  Bonhill,  near  Dumbarton,  in  1829.  He 
was  at  first  engaged  with  his  father  in  calico 
manufacture,  and  did  not  turn  to  art  till  1862. 
His  works  appeared  at  the  Edinburgh  Academy, 
the  Glasgow  Institution,  and  the  Royal  Academy. 
In  1876  failing  health  caused  him  to  visit  the 
Continent  and  the  East,  but  he  died  on  his  return 
to  Glasgow  in  1878.  He  was  elected  an  Associate 
of  the  Royal  Scottish  Academy  in  1877.  Amongst 
his  best  works  are  : 

The  Haunt  of  the  Red  Deer.     1S69. 

The  Head  of  Loch  Lomoud.     1873. 

Glencoe.     1874. 

The  Eirer  Achray.     1876. 

A  Good  Fishing  Day.     1877. 

DODD,  Daniel,  was  an  English  miniature  and 
subject  painter  in  the  latter  half  of  the  18th 
century.  He  was  a  member  of  the  Free  Society 
of  Artists  in  1763,  where  he  exhibited.  His  chief 
works  are : 

The  Royal  Procession  to  St.  Paul's. 
Representation  of  the  Royal  Academy. 

DODD,  Robert,  a  marine  painter,  flourished  in 
the  latter  part  of  the  18th  century.  His  pictures 
are  chiefly  illustrative  of  the  doings  of  the  British 
navy.  He  also  represented  storms  at  sea  very 
successfully.  Redgrave  has  been  unable  to  trace 
his  name  later  than  1809  in  the  books  of  the  Royal 
Academy.     Among  his  works  are  : 

Admiral  Parker's  Victory.     1781. 

The  Loss  of  the  '  Centaur.'     17S5. 

Lord  Rodney's  Victory.     1785. 

The  British  Fleet  at  Spithead  escaping  from  the  burning 

'Boyle.'    1796. 
Commencement  of  the  Battle  of  Trafalgar.    1806. 

DODGSON,  George  Haydock,  who  was  born  at 
Liverpool   in    1811,    was   at  first    apprenticed  to 


A  BIOGRAPHICAL  DICTIONARY  OP 


George  Stephenson,  the  engineer.     His  duties  in 

that  capacity  increased  an  innate  love  of  art, 
and  in  1836  was  published  a  volume,  illustrated 
by  him,  descriptive  of  the  scenery  of  the  Whitby 
and  Pickering  Railway.  Giving  up  engineering, 
Dodgson  went  to  London,  where  lie  was  for  some 
time  employed  by  architects  and  several  illus- 
trated newspapers  to  make  drawings.  After  a 
connection  of  some  years  with  the  New  Society 
of  Painters  in  Water-Colours,  he  was  elected  in 
1848  an  Associate-Exhibitor  of  the  Society  of 
Painters  in  Water-Colours,  and  became  a  full 
member  four  years  later.  His  contributions  to 
that  society  were  usually  landscapes.  He  was 
especially  fond  of  painting  beech  trees.  Dodgson 
died  in  London  in  1880. 
DOERBECK,  Fkanz  Burchaed.    See  Borchard 

DOERBECK. 

DOERR,  Otto  Erich  Friedrich  AnonsT,  was 
born  at  Ludwigslust  in  Mecklenburg-Schwerin  in 
1831,  and  died  at  Dresden  in  1868.  In  the  Dresden 
Gallery  is  the  '  Interior  of  a  Parisian  Studio '  by  him. 

DOES.     See  Van  der  Does. 

DOESBURGH,  F.,  a  Dutch  engraver,  flourished 
from  about  1680  to  1714.  He  engraved  a  plate 
representing  'Admiral  van  Tromp  engaging  the 
English  Fleet'  We  have  also  by  him  several 
prints  of  the  old  Roman  customs ;  they  are  etched 
and  finished  with  the  graver  in  a  very  indifferent 
style. 

DOETECUM.     See  Duetecum. 

DOFIN.     See  Dadphin. 

DOIX,  FRANgois  Joseph  Aloyse,  a  French  land- 
scape painter,  was  born  in  Paris  in  1777.  The 
Museum  of  Tours  possesses  some  works  by  this 
artist,  the  date  of  whose  death  is  unknown. 

DOLCE,  Luzio,  (or  Dor,Cl,)  of  Castel  Durante  in 
the  state  of  Urbino,  who  flourished  in  1689,  is 
commended  for  his  altar-pieces  and  other  pictures 
in  the  churches  there.  It  is  said  that  he  was 
employed  by  the  Duke  of  Urbino  to  paint  at  the 
Imperiale.  He  executed  many  works  at  Rome,  as 
well  as  at  Castel  Durante,  and  resided  in  the 
former  city  for  some  time.  There  are  few  par- 
ticulars recorded  of  liim,  though  he  is  often 
mentioned  with  high  commendation. 

DOLCI,  Agnese,  was  the  daughter  of  Carlo 
Dolci,  and  arrived  at  some  degree  of  excellence  in 
copying  the  works  of  her  father.  She  also  painted 
some  pictures  of  her  own  composition,  but  never 
approached  the  merit  of  Carlo.  She  died  in  1686. 
Among  her  own  works  are  : 

Modena.     Gallery.      The  Virgin  adoring  the  Infant  Jesus. 
Paris.         Louvre.       The  Consecration  of  the  Bread  and 

Wine. 
Siena.       Institute.    Virgin  and  Child,  with  St.  Joseph. 

DOLCI,  Carlo,  or  Carlino,  who  was  born  at 
Florence  in  1616,  was  a  scholar  of  Jacopo  Vignali. 
Without  the  possession  of  much  genius  or  inven- 
tion, he  excited  considerable  interest  by  a  number 
of  pleasing  and  highly-finished  pictures,  chiefly 
confined  to  devout  subjects,  and  most  frequently 
representing  heads  of  our  Saviour,  and  of  the 
Virgin.  These  are  not  so  much  admired  for  par- 
ticular beauty  of  character,  as  for  a  soft  and 
tranquil  expression  of  devotion  in  the  patient  suf- 
fering of  Christ,  the  plaintive  sorrow  of  the  Mater 
Dolorosa,  or  the  compunction  of  a  Saint  in  peni- 
tence. Subjects  of  that  description  he  treated 
with  great  delicacy  and  tenderness.  The  general 
tone  of  his  colouring  is  well  appropriated  to  the 
character    of   his   subjects,  nothing   is   harsh    or 


obstrusive,  all  is  modest,  placid,  and  harmonious. 
He  generally  painted  in  a  small  size,  though  there 
are  at  Florence  some  pictures  by  him  as  large  as 
life.  His  small  pictures  of  heads  of  the  Madonna 
are  more  numerous,  and  are  highly  valued  by  the 
admirers  of  polished  and  laborious  finishing.  He 
died  at  Florence  in  1686.  There  are  many  repe- 
titions of  his  small  pictures  by  his  pupils,  Loma 
and  Mancini,  and  his  daughter  Agnese.  Many  of 
his  pictures  are  in  England.  The  following  are 
some  of  his  best  works  : 


Berlin. 

Galleiy. 

St.  John  the  Evangelist. 

Burgh  ley 
House. 

Marquis  of " 
Exeter,      i 

Christ  breaking  the  Bread. 

Cassel. 

Gallery. 

St.  CeciUa. 

Copenhagen 

.      Gallery. 

Christ. 

T» 

,j 

The  Madonna. 

Darmstadt. 

Gallery. 

St.  Dorothea  and  an  Angel. 

Dresden. 

Gallery. 

The  Daughter  of  Herodias  with 
the   Head   of    St.   John    the 
Baptist. 

1* 

)» 

St.  Ceciha  (paintedforthe  Grand- 
Duke  Cosmo  III.). 

5) 

" 

Christ  blessing  the  Bread  and 
Wine. 

St.  Catharine  of  Siena. 

Dulwich. 

College. 

3J 

,, 

St.  Veronica. 

Florence. 

Fitti  Pal. 

His  own  Portrait  when  young. 

,. 

»» 

Sleeping  St.  John. 

»» 

>» 

Madonna  and  Child. 

tf 

w 

The    Duchess    Vittoria     della 
Rovere. 

r 

Diogenes. 
St.  Peter  weeping. 
St.  Rosa.     1668. 
Moses. 

St.  John  the  EvangeUst. 
St.  Margaret.     1664. 
St.  Andrew  before    the  Cross. 
1646. 

" 

" 

St.  Charles  Borromeo. 
St.  Francis  Xavier. 

" 

St.  Nicholas  of  Tolentino. 
Christ  in  the  Garden. 
Ecce  Homo. 

" 

1» 

55 

St.  Casimir  of  Poland. 
St.  Dominic. 

»' 

Vision   of   St.  John  the  Evan- 
gehst. 

Corsini  Pal. 

St.  Sebastian. 

»» 

Uffid. 

Madonna  and  Child,   with  St. 
Salome. 

») 

)T 

St.  Mary  Magdalen. 

„ 

St.  Galla  Placidia.     1675. 

»» 
n 

His  own  Portrait.     1674. 

St.  Lucia. 

The  Saviour  seated,  with  Saints. 

St.  Peter. 

St.  Simon. 

Glasgow. 

Gallei-y. 

Adoration  of  the  Magi. 

It 

Madonna  and  Child. 

Loudon.    National  Gall. 

Virgin  and  Child. 

Munich. 

Gallery. 

Madonna  &  Child  with  Flowers. 
Virgin  with  a  Lamb. 
Penitent  Magdalen. 
Infant  Christ. 

„ 

)» 

St.  Agnes. 

»T 

Ecce  Homo. 

Petersburg 

Hermitage. 

Mater  Dolorosa. 

)» 

j» 

Magdalen. 

») 

St.  Anthony. 
St.  Catharine. 
St.  Cecilia. 

Rome. 

Corsini  Pal. 

St.  ApoUonia. 

Vienna. 

Gallery. 

Madonna  and  Child. 

»' 

,» 

Sincerity. 
Mater  Dolorosa. 

DOLENDO,  BARTHOLOMEns,  a  Dutch  engraver, 
was  born  at  Leyden  about  the  year  1560,  and  is 
presumed  to  have  been  instructed  in  engraving  by 
Hendrik  Goltzius.     He  worked  entirely  with  the 


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PAINTERS  AND  ENGRAVERS. 


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graver,  in  an  open,  clear  style.  There  are  by  him 
several  plates,  some  of  which  are  from  his  own 
designs.  He  occasionally  marked  his  prints  with  his 
name,  but  more  frequently  with  one  of  these  ciphers. 

Among  other  engrav- 
ings by  him  are  the 
following : 

Jonah  in  the  Sea,  swallowed  by  the  'Whale  ;  circular. 
Jonah  thrown  back  on  the  Sea-shore  ;  the  same. 
A  Dutch  Merry-making ;  after  kis  own  design. 
Adam  and  Eve  taking  the  Forbidden  Fruit;  after  C. 

van  3Iander. 
Christ  appearing  to  the  Magdalen  ;   B,  Dolendo,  inv,  et 

fee. 
The  Holy  Family  ;  after  M.  Come. 
St.  John  preaching  in  the  Wilderness. 
Pyramus  and  Thisbe  ;  after  Crispin  van  den  Broeck. 
Jupiter  and  Ceres ;   an  allegorical  subject ;   after  B. 

iSpranye}'. 
The  Assumption  of  the  Virgin. 

DOLENDO,  Z.iCHARiAs,  was  a  brother  of  Bar- 
tholomeus  Dolendo,  whom  he  surpassed  both  in 
style  and  in  correctness.  He  was  born  at  Leyden 
in  1661,  and  is  said  by  Huber  to  have  been  a 
disciple  of  Jacob  De  Ghein.  There  are  some  por- 
traits by  this  master,  which  are  not  inferior  in 
neatness  to  those  by  J.  Wierix ;  his  plates  are 
frequently  marked  with  this  cipher  S^  There  are 
by  him :  ±J. 

■William,  Prince  of  Orange;   half-length,  m  armour. 

1581. 
Andromeda  chained  to  the  Rock  ;  finely  drawn  ;  after 

his  own  design. 
Adam   and   Eve   embracing,   whilst   Eve   receives   the 

Apple  from  the  Serpent ;  after  B.  Spranger. 
St.  Martin  dividing  his  Cloak  with  two  Beggars ;  after 

the  same. 
The  Continence  of  Scipio ;  after  A .  Bloemaert. 
The  Virgin  aud  Infant,  with  two  Angels;  after  J.  De 

Ghein. 
The  Crucifixion ;  after  the  same. 
A  Set  of  small  Plates  of  the  Gods  aud  Goddesses ; 

copied  from  the  larger  ones  by  H.  Goltzius. 

DOLIVAR,  Juan,  is  said  by  Huber  to  have  been 
born  at  Saragossa  in  1641.  He  studied  engraving 
in  Paris,  and  engraved  some  of  the  plates  of 
ornamental  and  decorative  subjects  for  Berain's 
'Ornemens.'  He  was  also  employed  in  the  set  of 
the  '  Little  Conquests  '  of  Louis  XIV.  His  works 
are  inferior  to  those  of  Le  Pautre  and  Chauveau. 

DOLLE,  William,  an  English  engraver,  was 
born  in  London  about  1600.  He  was  chiefly 
employed  on  portraits  for  the  booksellers.  These 
are  sought  after  rather  on  account  of  their  scarcity 
than  their  merit  as  engravings.  Among  them  are 
the  following  : 

Sir  Henry  Wotton,  Provost  of  Eton. 

Mark  Frank,  Master  of  Pembroke  Hall,  Cambridge. 

John  Cosin,  Bishop  of  Durham. 

George  Villiers,  Duke  of  Buckingham. 

Robert  Sanderson,  Bishop  of  Lincoln. 

John  Milton. 

Robert,  Earl  of  Essex. 

Samuel  Botley,  Short-hand  Writer. 

DOLOBELLA,  Tommaso,  a  native  of  Belluno, 
who  was  born  about  the  year  1580,  and  flourished 
about  1630,  was  according  to  Ridolfi  a  scholar  of 
Antonio  Vassilacchi,  called  Aliense.  He  excelled  in 
painting  portraits,  and  was  invited  to  the  court  of 
Poland  by  Sigismund  III.,  where  he  painted  the 
royal  family  and  several  of  the  nobility,  and  was 
favoured  with  the  particular  protection  of  that 
monarch.  He  painted  a  few  historical  subjects, 
but  is  more  celebrated  as  a  portrait  painter.     In 


the  Sala  del  Senate  in  the  Ducal  Palace,  Venice, 
is   a  representation   by  him   of  'The   Doge   and 

Procurators  adoring  the  Host.' 

DOMENCHIN  DE  CHAVANNE,  Pierre  Salo- 
mon, a  French  landscape  painter,  who  was  born  in 
Paris,  in  1672.  He  was  received  into  the  Academy 
in  1709,  the  picture  which  he  painted  upon  the  occa- 
sion, '  Les  Pasteurs,'  being  now  in  the  Louvre.  He 
was  an  artist  of  moderate  ability,  and  was  employed 
in  the  Gobelins  manufactory,  where  he  died  in  1744. 

DOMENECH,  Antonio,  a  painter  of  Valencia, 
who  flourished  in  the  latter  half  of  the  16th  century 
and  devoted  himself  to  Scriptural  subjects,  was  a 
scholar  of  Nicolas  Borras,  whom  he  assisted  in 
several  of  his  works,  and  whose  manner  he  so 
closely  imitated,  that  even  at  Valencia,  where  the 
productions  of  Borras  may  be  supposed  to  be 
well  known,  the  works  of  Domenech  are  attributed 
to  him. 

DOMENICHINO.    See  Zampieri. 

DOMENICO,  Francesco,  who  was  born  at  Tre- 
viso  in  1488,  studied  under  Giorgione.  His  own 
portrait,  dated  1512,  is  in  the  Hermitage  at  St. 
Petersburg. 

DOMENICO,  Sano  di.    See  Sang  di  Pietro. 

DOMENICO  DI  BARTOLO.     See  Gherzo. 

DOMENICO  di  MICHELINO,  who  Uved  in  the 
15th  century,  was  the  pupil  of  Fra  Angelico.  He 
]iainted  the  portrait  of  Dante  from  a  design  by 
Baldovinetti,  in  the  Church  of  Santa  Maria  del  Fiore 
at  Florence.  The  dates  of  his  birth  and  death  are 
alike  unknown. 

DOMENICO  DI  PACE.     See  Beccafdmi. 

DOMENICO  FIORENTINO.  See  Del  Barbiere. 

DOMENICO  VENEZIANO.     See  Veneziano. 

DOMENIQUE,  Jean,  was  a  native  of  France, 
who  resided  chiefly  at  Rome,  where  he  died  in 
1684.  He  was  a  scholar  of  Claude  Lorrain,  and 
was  a  successful  copyist  and  imitator  of  the  works 
of  that  master. 

DOMER,  Jaques,  (Doomer,  or  Demer,)  a  Dutch 
artist,  was  born  in  1647,  and  flourished  about  1680. 
He  is  better  known  by  his  drawings  than  by  his 
pictures  in  oil.  His  manner  approximates  to  that 
of  Rembrandt,  and  it  may  be  believed  that  his 
dark  landscapes  have  been  ascribed  to  the  latter. 
His  compositions  are  simple,  but  strikingly  true. 

DOMINGO,  Luis,  a  Spanisii  painter  and  sculptor, 
born  at  Valencia  in  1718,  was  a  scholar  of  Hipolito 
Robira  in  painting,  and  of  Bautista  Balaguer  in 
sculpture.  The  Dominican  convent  at  Valencia 
possessed  several  pictures  by  him,  among  which 
was  one  of  St.  Louis  Bertran.  Domingo  died  at 
Valencia  in  1767.  His  works  in  sculpture  are  to 
be  seen  in  several  churches  of  that  city. 

DOMINICI,  Bernardo,  a  Neapolitan  painter 
and  writer  on  art,  flourished  about  the  year  1740. 
He  studied  landscape  painting  under  Joachim 
Franz  Beiscb,  a  German  artist,  who  passed  some 
time  at  Naples,  and  attached  himself  to  the  clear 
and  hnished  style  of  that  master.  He  also  painted 
what  are  called  'bambocciate.'  In  1742  and  1743, 
he  published  at  Naples,  in  two  volumes,  '  Vite  de' 
Pittori,  Scultori,  ed  Architetti  Napolitaiii.' 

DOMINICI,  Francesco,  a  native  of  Treviso,  was 
a  pupil  of  Paris  Bordone.  Ridolfi  commends  a 
work  by  him  in  the  dome  of  the  Banca  della  Com- 
pagnia  della  Madonna  at  Treviso,  representing  a 
'  Procession  of  a  Bishop  and  several  Canons,'  which 
is  dated  1672.  Dominici  also  excelled  as  a  portrait 
painter,  but  did  not  survive  his  tliirty-fifth  year. 

DONADO,  Adriano,    a   Spanish   monk  of  the 

79 


A   BIOGRAPHICAL  DICTIONARY  OF 


order  of  Barefooted  Carmelites  at  Cordova,  painted 
some  excellent  works  for  his  convent.  He  died  at 
a  great  age  in  1630.  The  Lille  Museum  has  a 
'  Flagellation  of  Christ '  by  him. 

DONALD,  John  Milne,  a  Scotch  artist  born  at 
Nairn  in  1819.  He  began  the  study  of  art  in 
Glasgow  at  a  very  early  age,  having  from  a  child 
shown  great  desire  to  become  an  artist.  In  1840 
he  went  to  Paris,  and  was  there  for  some  years,  and 
then  he  settled  down  in  London,  where  for  four 
years  he  painted,  and  his  works  were  very  higlily 
esteemed.  Amongst  his  patrons  and  constant 
admirers  was  the  poet-banker  Rogers.  After- 
wards he  returned  to  his  native  land,  and  is  never 
known  to  have  visited  England  again,  whilst  all 
his  exhibits  were  confined  to  Scottisli  Galleries. 
He  died  in  Scotland  in  1866,  and  three  of  his 
finest  works, '  A  Highland  Stream,'  'Bowling  Bay,' 
and  '  Loch  Guil,'  were  exhibited  at  Glasgow  in  1878. 
DONALDSON,  Andrew,  a  Scotch  landscape 
painter  in  water-colours,  was  born  at  Comber,  near 
Belfast.  Taken  by  his  father,  an  operative  weaver, 
to  Glasgow,  he  met  with  an  accident,  which  event- 
ually led  to  his  devoting  himself  entirely  to  art,  in 
the  pursuit  of  which  he  visited  many  parts  of  the 
United  Kingdom.  He  died  in  1846  at  Glasgow, 
where  he  had  obtained  a  large  teaching  connection. 
In  the  Glasgow  Corporation  Galleries  there  are  by 
him  the  '  Old  Theatre  Royal,  Glasgow,  after  the 
fire  in  1829,'  and  a  '  Scotch  Highland  Village.' 

DONALDSON,  John,  was  born  at  Edinburgh  in 
1737,  and  distinguished  himself  as  a  miniature 
painter,  both  in  enamel  and  water-colours.  In  the 
year  1764,  and  again  in  1768,  he  obtained  the 
premium  given  by  the  Society  of  Arts  for  the  best 
picture  in  enamel.  He  occasionally  amused  him- 
self with  the  point,  and  etched  several  plates  of 
beggars,  after  Rembrandt,  which  possess  consider- 
able merit.     He  died  in  London  in  1801. 

DONATO,  of  Pavia,  flourished  at  the  close  of  the 
fifteenth  century,  and  is  the  author  of  a  '  Christ 
crucified,  between  the  Virgin  and  St.  John,'  in  the 
hospital  of  Savona ;  also  of  a  '  Virgin  in  Glory 
with  Saints'  (signed  in  1507),  in  the  Louvre  at  Paris. 
DONATO  VENEZIANO.  See  Veneziano. 
DONAUER,  LoRENZ,  was  an  obscure  German 
engraver,  by  whom  there  is  only  known  a  work 
representing  '  St.  Anthony,'  after  Albrecht  Diirer, 
which  he  executed  about  the  year  1539. 

DONDUCCI,  Giovanni  Andrea,  called  II  Mas- 
TELLETTA,  was  born  at  Bologna  in  1575.  He 
was  at  first  a  scholar  of  the  Carracci,  but  did  not 
long  remain  under  their  tuition.  His  impetuous 
disposition  disdaining  the  control  of  academic  pre- 
cision, he  attempted  to  establish  a  new  style, 
founded  on  a  spirited  and  graceful  design,  in 
imitation  of  the  works  of  Parmigiano  and  Tiarini, 
which  he  particularly  admired,  and  a  promptness 
of  execution  which  was  natural  to  him.  The  novel 
manner  of  Donducci  was  not  without  its  admirers  ; 
and  he  was  employed  in  a  great  number  of  works 
for  the  public  edifices  at  Bologna,  where  are  his 
principal  works.  He  also  painted  landscapes,  which 
were  entirely  in  the  style  of  the  Carracci,  and  were 
much  esteemed,  particularly  at  Rome.  Annibale 
advised  him  to  establish  himself  in  that  city,  and 
to  devote  himself  to  those  subjects ;  a  counsel  by 
no  means  agreeable  to  Donducci.  His  most  admired 
performance  is  his  '  St.  Irene  drawing  the  Arrow 
from  the  Breast  of  St.  Sebastian,'  at  the  church  of 
the  Celestines.  He  died  at  Bologna  in  1665.  The 
following  of  his  works  are  also  preserved  : 
80 


Bologna.    S.  Domenico 


„  &  Salvatore. 

„  S.  Francesco. 

„  /  MeTidicantl. 

„  S.  I-aolo. 

„        I'inacoteca. 
Florence.       Vffizi. 
Modena.       Museum. 


Paris. 


Louvre. 


St.  Dominic  restoring  to  life  the 
Man  killed  by  the  furious 
Horse. 

The  Storm. 

The  Eesurrectiou  of  Christ. 

The  Last  Supper. 

The  Flight  into  Egypt. 

Christ  in  the  Garden. 

Christ  bearing  the  Cross. 

Christ  surrounded  by  Angels. 

Charity. 

Abraham  and  the  Three  Angels. 

Elias  sleeping. 

Portrait  of  a  Painter. 

Finding  of  Moses. 

St.  John  baptizing. 

Christ  and  the  Virgin  appearing 
to  St.  Francis  of  Assisi. 

DONELLI,  Carlo,  called  Carlo  Vimercati,  who 
was  born  at  Milan  in  1660,  was  a  scholar  of  the 
Procaccini.  He  exhibited  but  few  of  his  pictures 
at  Milan  ;  he  painted  more  at  Codogno,  and  in  his 
best  manner.     He  died  in  1715. 

DONGEN,  DiONYS  van,  born  at  Dort  in  1748, 
was  a  scholar  of  J.  Xavery,  at  the  Hague.  He 
painted  landscapes  and  cattle  in  the  manner  of 
his  master  for  some  time  ;  but  having  removed 
with  his  parents  to  Rotterdam,  he  studied  the 
works  of  Paul  Potter,  Cuj'p,  Wynants,  and  other 
masters,  which,  with  a  constant  attention  to  nature, 
caused  a  sensible  alteration  in  his  style.  His 
works  found  ready  purchasers  among  the  English, 
French,  and  Germans,  as  well  as  among  his  own 
countrymen.  He  died  at  Rotterdam  in  1819.  In 
the  Stadel  Gallery  at  Frankfort  is  a  '  Cattle-piece ' 
by  him. 

DONI,  Adone,  (or  DoNO  dbi  Don:,)  who  was 
bom  at  Assisi,  early  in  the  16lh  century,  is  said  to 
have  been  a  disciple  of  Pietro  Perugino.  His  style 
retained  but  little  of  the  Gothic  manner  of  that 
master,  and  in  his  later  years  he  abandoned  the 
style  of  the  school  of  Raphael,  and  adopted  that  of 
Michelangelo.  He  worked  chiefly  at  Assisi,  and 
after  that  city  most  at  Fuligno,  but  all  trace  of 
hi£  work  at  the  latter  place  has  disappeared.  He 
also  painted  in  Perugia,  and  throughout  Unibria. 
In  the  church  of  San  Francesco,  at  Perugia,  is  a 
picture  by  this  master  of  the  '  Last  Judgment ;  ' 
and  one  of  the  'Adoration  of  the  Kings'  is  in 
San  Pietro  in  the  same  city.  There  are  in  the 
Lower  Church  of  the  Franciscan  Convent  at 
Assisi  frescoes  by  him  representing  the  '  Preach- 
ing and  Martyrdom  of  St.  Stephen,'  and  in  the 
small  refectory  is  the  '  Last  Supper,'  painted  in 
1573,  which  was  probably  his  last  work.  Doni 
died  at  Assisi  in  1675.  Vasari  is  wrong  in  stating 
that  he  was  a  nephew  of  Taddeo  Bartoli.  In  the 
Berlin  Gallery  there  is  by  him  a  '  Madonna  with  the 
Infant  Jesus,'  who  is  represented  as  reaching  after 
a  book  which  is  in  the  Virgin's  hand. 

DONNE,  W.,  a  Dutch  engraver,  flourished  about 
the  year  1680.  Among  other  prints,  he  engraved 
a  plate  representing  '  Venus  and  Cupid,'  in  a  land- 
scape, with  other  figures  in  the  distance,  after  A. 
Elsheimer.     It  is  etched  in  a  slight,  poor  style. 

DONNEKER.     See  De  Necebr. 

DONNET,  S.  This  artist  is  mentioned  by  Strutt 
as  the  engraver  of  a  very  indifferent  print  repre- 
senting a  '  Man  seated,  reading  a  book.' 

DONNINI,  GiROLAMO,  was  born  at  Correggio  in 
1681,  and  studied  first  at  Modena  under  Francesco 
Stringa,  afterwards  under  Giovanni  Giuseppe  dal 
Sole  at  Bologna,  and  ultimately  at  Forli,  under 
Carlo  Cignani.     He  was  chiefly  employed  in  easel 


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PAINTERS   AND   ENGRAVERS. 


pictures,  although  he  occasionally  painted  larger 
works  for  churches.  In  the  Madonna  di  Galiera,  at 
Bologna,  is  an  altar-piece  representing  'St.  Anthony 
of  Padua.'  There  are  some  of  his  works  in  tlie 
churches  of  the  Romagna,  and  at  Turin,  which  are 
not  unworthy  of  a  scholar  of  Cignani.  In  the 
Modena  Gallery  are  two  pictures  by  him  of  the 
'  Birth  of  Christ.' 

DONO,  Paolo  di,  called  Paolo  Uccello,  from 
his  love  of  painting  birds,  was  born  at  Florence  in 
1397,  and  in  early  youth  was  apprenticed  to  Lorenzo 
Ghiberti,  the  founder  of  the  famous  bronze  gates 
of  the  Baptistery  of  that  city.  It  is  doubtful  from 
whom  he  learned  to  paint,  or  from  whom  he  acquired 
the  laws  of  perspective  for  which  he  became  so 
famous,  although  it  is  known  that  Manetti  taught 
him  geometry.  Vasari  says  that  he  wasted  so 
much  of  his  time  over  the  study  of  perspective 
"  that  he  became  more  needy  than  famous."  Four 
paintings  of  battle-scenes  executed  by  him  for 
the  Bartolini  family,  at  Gualfonda,  near  Florence, 
are  wonderful  specimens  of  this  artist's  thorough 
knowledge  of  foreshortening  and  perspective. 
Of  these  designs  one  is  in  the  National  Gallery, 
another  is  in  the  UiEzi,  a  third  is  in  the  Louvre, 
and  the  fourth  is  still  in  private  hands  in  Flor- 
ence. The  Louvre  also  possesses  a  panel  by 
this  artist  which  contains  the  portraits  of  Giotto, 
Donatello,  Brunelleschi,  Giovanni  Manetti,  and 
himself,  as  the  representatives  of  painting,  sculp- 
ture, architecture,  mathematics,  and  perspective. 
It  is  certain  that  he  lived  in  Florence  nearly  all 
his  life,  although  during  some  short  period  in  it 
he  may  have  been  at  Padua,  since  Morelli  states 
that  the  frescoes  of  the  palace  of  the  Vitaliani 
were  executed  by  him.  About  the  year  1436  he 
painted  in  the  cathedral  at  Florence  the  colossal 
equestrian  portrait  of  Sir  John  Hawkwood,  the 
adventurer  and  soldier.  This  chiaroscuro  painting, 
which  is  in  terra  verde,  displays  a  wonderful  power 
of  foreshortening  and  proportion,  and  is  intended 
to  imitate  a  stone  statue  seen  aloft  standing  out 
from  the  wall  of  the  church.  His  masterpieces  are 
the  series  of  frescoes  imitating  bas-reliefs  painted 
from  about  1446  to  1448  in  the  cloisters  of  Santa 
Maria  Novella.  These  paintings  represent  the 
'  Creation  of  Animals,'  the  '  Creation  of  Man,'  the 
'Temptation  of  Eve,'  the  'Expulsion  from  Eden,' 
'  Adam  and  Eve  labouring  by  the  sweat  of  their 
brow,'  the  'Sacrifice  and  Death  of  Abel,'  the 
'  Building  of  the  Ark,'  the  '  Entry  of  the  Animals,' 
the  'Deluge,'  'Noah's  Sacrifice,'  and  the  'Inebriety 
of  Noah.'  Genuine  paintings  by  this  master  are 
very  rare,  although  records  prove  that  he  executed 
several  altar-pieces  for  churches  in  Florence  and 
in  Urbino.  Paolo  died  at  Florence  in  1475.  The 
Scolopi  College,  near  the  church  of  Sant'  Agata,  at 
Urbino,  possesses  a  predella  with  six  subjects  relat- 
ing to  the  theft  of  a  pax,  which  Messrs.  Crowe  and 
Cavalcaselle  consider  to  be  a  genuine  production  by 
Paolo  Uccello.     His  principal  paintings  are  : 

Florence.  Cathedral.  Equestrian  Statue  of  Sir  John 
Hawkwood  (Captain-General  of 
the  Florentines,  known  in  Italy 
as  Giovanni  AcutoJ. — Fresco  exe- 
cuted in  terra  verde. 
(Subjects  from  the  Book  of  Genesis : 
the  Creation, the  Fall, the  Deluge, 
Noah's  Sacrifice,  &c. — Frescoes 
in  terra  verde  in  the  cloister  ;  most 
of  them  in  part  destroyed. 
Battle-piece. 


U3zi. 


vol.  II. 


London.      Nat.  Gall.    The  Battle. 

Paris.  Louvre.        Bust   portraits  of    Giotto,  Dona- 

tello,      Brunelleschi,     Giovanni 
Manetti,  and  himself. 
„  „  Battle-piece. 

Urbino.  Scolopi  College.  Legend  of  the  Theft  of  a  Pax. 

DONOSO,  Josef  Ximenez.   See  Ximenez  Donoso. 

DONVE,  Jean  FRANgois,  a  French  painter,  was 
born  at  Saint-Amand  in  1736.  He  was  a  pupil  of 
Louis  Watteau,  and  of  Greuze,  and  so  closely 
imitated  the  style  of  the  latter  that  many  of  his 
pictures  have  been  sold  as  those  of  his  master.  The 
Museum  of  Lille  has  three  portraits  by  him,  one 
being  that  of  Sauvage,  the  enamel  painter,  and  the 
other  two  portraits  of  himself.  He  died  at  Lille 
in  1799. 

DONZELLO,  PiERO  and  Ippolito,  (or  Del  Don- 
ZELLO,)  were  two  brothers,  the  sons  by  different 
mothers  of  Francesco  d' Antonio  di  Jacopo,  bailiff 
('  donzello  ')  of  the  Signoria  of  Florence,  and  were 
both  born  in  that  city — Piero  in  1451,  and  Ippolito 
in  1455.  The  teacher  of  Piero  is  unknown.  Ip- 
pohto  was  the  pupil  of  Neri  di  Bicci  from  1469 
to  1471,  and  the  brothers  were  companions  in  the 
'  Studio  '  at  Florence  up  to  1480.  In  1481,  or  soon 
after,  they  went  to  Naples  to  decorate  the  palace 
of  Poggio  Reale,  which  was  tlien  being  built  for 
Alfonso  I.,  from  the  designs  of  Giuliano  da  Majano, 
and  it  is  not  unlikely  that  Ippolito  died  in  that 
city.  Piero  died  at  Florence  in  1509 ;  but  the 
death  of  Ippolito  is  not  registered.  They  both 
assisted  Antonio  Sulario,  called  II  Zingaro,  in  the 
frescoes  in  the  cloisters  of  the  monastery  of  San 
Severino  at  Naples,  and  in  the  Museum  of  that  city 
may  be  seen  two  '  Crucifixions,'  a  '  Virgin  and  Child 
with  Saints,'  and  other  paintings  assigned  to  them, 

DOO,  George  Thomas,  an  English  engraver, 
was  born  in  January  1800.  He  studied  under 
Charles  Heath,  and  published  his  first  plate,  a 
portrait  of  the  Duke  of  York,  after  Lawrence,  in 
1824.  In  18'25  he  visited  Paris,  and  spent  some 
time  in  the  ateliers  of  the  French  engravers.  On 
his  return  to  London  he  opened  a  school  in  the 
Savoy,  for  study  both  from  life  and  from  the 
antique.  He  also  lectured  upon  painting.  In  1836 
he  was  ap|ioirited  engraver  in  ordinary  to  William 
IV.,  and  in  1842  to  Queen  Victoria.  In  1856  he  was 
elected  an  Associate  of  the  Royal  Academy,  and  in 
1857  a  full  nieniber.  In  1861  Doo  became  President 
of  the  Artis's'  Annuity  Fund,  and  in  1863  he  was 
a  witness  before  the  Royal  Academy  Commission 
at  Westminster.  He  died  at  Sutton,  Surrey, 
November  13,  1886.     Among  his  best  plates  are  : 

The  Infant  Christ ;  after  Raphael.  EcceHomo;  after 
Correfffiio.  The  Combat;  after  Etti/.  John  Knox 
preaching  ;  after  H'ilkie.  Pilgrims  in  sight  of  Kome ; 
after  Eastlake.  The  Raising  of  Lazarus  ;  after  Seh. 
del  Fiomho.  St.  Augustine  and  St.  Monit-a  ;  after 
Ary  Sch/'^'er.  Yorick  and  the  Grisette  ;  after  Newton. 
Gevartius  (Cornelius  van  der  Geest) ;  after  Vattdyrk. 
The  Calmady  Children;  after  Laurence.  Sis  platea 
for  the  '  Elgin  Marbles,*  published  by  the  trustees 
of  the  British  Museum.  Several  plates  in  Jones's 
'  N  tional  Gallery.' 

DOOMER,  Jaqdes.     See  Domer. 

DOOMS,  Caspar,  an  engraver  in  mezzotint, 
worked  at  Prague  from  1644  to  1675,  and  after- 
u'aids  at  Vii-nna  and  Mayence.  His  best  known 
plate  is  an  '  Ecce  Homo,'  after  AlOreuht  Diirer, 
now  very  rare. 

DOORNIK,  Jan  van,  a  painter  of  Leyden,  is 
said  to  have  produced  pictures  in  the  manner  of 

81 


A  BIOGRAPHICAL  DICTIONARY  OF 


Wouwerman.  He  also  painted  historical  subjects 
and  portraits.  It  is  not  known  exactly  at  what 
period  he  lived. 

DOORT,  P.  VAN,  was  a  Dutch  engraver,  who 
worked  entirely  with  the  graver,  and  was  a  humble 
imitator  of  the  style  of  Cornelis  Cort.  Among 
other  prints  by  him,  is  one  after  Bernardino  Pas- 
sari,  representing  the  '  Holy  Family,'  in  which  St. 
Elizabeth  is  presenting  an  aj^ple  to  the  Infant  Christ. 

DORBAY,  — ,  a  French  engraver,  flourished  to- 
wards the  end  of  the  17th  century.  He  en- 
graved, among  other  plates,  some  views  of  the 
Royal  Palaces  in  France. 

DORCY,  PiERKE  Joseph  Dedeeux.    See   Ded- 

REUX-DORCy. 

D0R6,  LoDis  Christophe  Gustave  Paul,  a 
French  historical  painter  and  illustrator  of  books, 
was  born  at  Strassburg  in  1833.  His  name  was 
originally  Dorer,  a  not  unfrequent  German  name, 
which  he  modified  into  the  French  equivalent  by 
which  he  became  so  widely  known.  In  1848,  when 
but  fifteen  years  of  age,  he  began  to  exhibit  at  the 
Salon  landscape  sketches  in  pen  and  ink  which 
showed  considerable  ability,  and  in  the  same  year 
he  became  one  of  the  regular  contributors  to  the 
'  Journal  pour  rire.'  He  also  contributed  a  large 
number  of  designs  to  the  'Journal  pour  tons.' 
His  earliest  exhibited  works  were  the  '  Battle  of 
the  Alma,'  in  the  Salon  of  1855,  and  the  '  Battle  of 
Inkermann,'  in  the  Salon  of  1857,  but  his  best  pic- 
ture, and  that  which  first  brought  him  into  notice 
as  a  painter,  was  '  Paolo  and  Francesca  da  Rimini,' 
exhibited  in  1863.  This  was  followed,  among 
others,  by  '  The  Titans,'  a  drawing  heightened 
with  white,  in  1866,  and  '  The  Neophyte  '  in  1868. 
Dora's  ambition  was  to  win  fame  as  an  historical 
painter,  but  in  this  he  failed.  Although  gifted  with 
marvellous  fertility  of  imagination  and  wonderful 
facility  of  execution,  he  nevertheless  possessed 
grave  defects.  Nowhere  are  his  faults  of  composi- 
tion and  drawing  more  manifest  than  on  the  enor- 
mous canvases  exhibited  in  the  Dor^  Gallery  in 
London.  '  Christ  leaving  the  Prjetorium  '  (1867-72) 
and  'Christ's  Entry  into  Jerusalem'  (1876),  each 
measuring  twenty  feet  in  height  and  thirty  feet  in 
length,  are  works  to  which  he  devoted  his  utmost 
energy,  but  which  add  nothing  to  his  reputation. 
Besides  these  his  most  ambitious  works  were  his 
'  Ecce  Homo  1  '  (1877),  and  '  Moses  before  Pharaoh  ' 
(1878-80).  His  '  Tobit  and  the  Angel,'  painted  in 
1865,  is  in  the  Luxembourg  Gallery. 

It  is,  however,  as  a  designer  of  illustrations  for 
books  that  the  wonderful  versatility  of  his  genius 
becomes  most  apparent.  The  designs  for  the 
'Contes  drolatiques  '  of  Balzac,  published  in  1856, 
are  masterpieces  of  caricature,  which  breathe  the 
true  mediseval  spirit.  They  were  preceded  by 
the  illustrations  to  '  Rabelais,'  issued  in  1854,  among 
which  that  of  the  '  Monks  of  Seville '  is  inimitable 
in  its  humour,  and  by  those  to  the  '  Legend  of  the 
Wandering  Jew,'  issued  in  1856.  The  '  Contes 
drolatiques '  and  '  Rabelais  '  are  unsurpassed  even 
by  the  designs  for  Dante's  '  Inferno,'  terrible  as 
are  the  latter  in  their  weird  imagination.  These 
were  published  in  1861,  accompanied  by  a  blank- 
verse  translation  of  the  text  by  W.  M.  Rossetti, 
and  were  followed  in  the  same  year  by  the  illustra- 
tions to  the  '  Contes '  of  Perrault,  and  in  1863  by  a 
series  of  designs  for '  Don  Quixote,'  which  are  care- 
ful studies  of  Spanish  life.  The  '  Purgatorio '  and 
'  Paradiso  '  of  Dante,  completing  the  '  Divina  Corn- 
media,'  were  not  published  until  1868.  The  designs 

82 


for  the  '  Bible  '  (1865-66),  Milton's  'Paradise  Lest' 
(1866),  Tennyson's  'Idyls  of  the  King'  (1867-68), 
La  Fontaine's  'Fables'  (1867),  Hood's  'Poems' 
(1870),  Baron  Davillier's  'Espagne'  (1873),  Cole- 
ridge's 'Ancient  Mariner'  (1876),  Louis  Enault's 
'  Londres  '  (1877),  the  '  Orlando  Furioso  '  of  Ariosto 
(1879),  and  Poe's  '  Raven  '  (1883)— the  last  work 
on  which  he  was  engaged — marked  the  grades  in  a 
constantly  descending  scale  of  genius  and  of  power. 

Dore's  reputation  as  an  artist  does  not  rest  ex- 
clusively on  his  paintings  and  designs.  He  pos- 
sessed also  considerable  ability  as  a  sculptor,  and 
was  engaged  upon  the  nxmument  to  the  elder 
Dumas  when  death  struck  him  down.  A  colossal 
vase  decorated  with  groups  of  figures  was  sent  by 
him  to  the  Exposition  Universelle  at  Paris  in  1878. 

Gustave  Dor6  died  in  Paris  in  1883.  He  left 
unfinished  a  series  of  illustrations  to  Shakespeare, 
and  unaccomplished  the  intention  to  execute  a 
statue  of  the  great  dramatist.  The  following  are 
his  most  important  pictures: 

The  Battle  of  the  Alma.     {Salon,  1855.) 

The  Battle  of  Inkermann.     (Salon,  1857.) 

Paolo  and  Francesca  da  Rimini.     {Salon,  1863.) 

Tobit  and  the  Angel.     1865.     {Luxembourg  Gallery^ 

The  Neophyte.     {Salon,  1868.) 

The  Mountebank's  Family.     {Salon,  1868.) 

Andromeda.     1868. 

The  Triumph  of  Christianity  over  Paganism.     1S63. 

Christian  Martyrs.     1871. 

Christ  leaving  the  Prsetorium.     1867-72. 

The  Massacre  of  the  Innocents.     1869-72. 

The  Night  of  the  Crucifixion.     1872-73. 

The  Dream  of  Pilate's  'Wife.     1873-74. 

Christ's  Entry  into  Jerusalem.     1876. 

Ecce  Homo!    1877. 

The  Ascension.     1879. 

Moses  before  Pharaoh.     1878-80. 

A  Day  Dream.     1882. 

The  Vale  of  Tears.     1882.  E-E-G. 

DORFMEISTER,  Johann  Evangelist,  an  Aus- 
trian landscape  painter,  was  born  in  1741,  and  died 
in  1765.  A  '  Forest  Party  '  by  him  is  in  the  Vienna 
Gallery. 

DORIGNY,  LoDis,  a  French  historical  painter 
and  engraver,  was  a  son  of  Michel  Dorigny,  and 
was  born  in  Paris  in  1654.  His  father  died  when 
he  was  only  ten  years  of  age,  and  he  was  placed 
under  the  tuition  of  Charles  Le  Brun.  On  leaving 
that  master  he  studied  for  four  years  at  Rome, 
visited  Gubbio  and  Foligno,  and  fiom  thence  went 
to  Venice,  where  he  resided  for  ten  years,  and 
executed  many  decorative  paintings.  He  then 
went  to  Verona,  where  he  passed  the  rest  of  his 
life,  and  gave  proof  of  his  ability  as  a  painter 
both  in  oil  and  in  fresco.  In  1704  he  visited  Paris 
and  became  a  candidate  for  admission  into  the 
Academy,  but  was  excluded  through  the  influence 
of  the  architect  Mansard.  In  1711  he  was  sum- 
moned to  Vienna  by  Prince  Eugene,  in  whose 
palace  he  painted  the  ceilings  of  the  grand  stair- 
case and  of  some  other  apartments.  He  died  at 
Verona  in  1742.  His  '  Susannah  and  the  Elders  ' 
is  in  the  Bordeaux  Museum.  He  executed  some 
etchings  in  a  free,  painter-like  style,  among  which 
are  the  following: 

A  set  of  tliirty-two  vignettes,  with  the  title,  from  his 

own  designs,  for  an  Italian  edition  of  the  '  Pens6es 

Chretiennes'  of  Pere  Bouhours. 
Six  subjects  from  Ovid's  Metamorphoses. 
Five  Emblems  of  Horace ;  the  designs  for  three  of  these 

are  in  the  Lou\Te. 
A  View  of  the  Amphitheatre  at  Verona. 
The  Descent  of  the  Saracens  at  the  Port  of  Ostia ;  ajter 

Saphael. 


PAINTERS  AND  ENGRAVERS. 


DORIGNY,  Michel,  a  French  painter  and  en- 
graver, was  born  at  St.  Quentin  in  1617,  and  was 
brought  up  under  Simon  Vouet,  whose  daughter 
he  married.  He  painted  historical  subjects  in  the 
style  of  his  master  ;  and  some  of  his  pictures  are  in 
the  chateau  of  Vincennes.  His  '  Flora  and  Zephyr  ' 
is  now  in  the  Louvre,  and  an  '  Allegory '  by  him 
is  in  the  Madrid  Gallery.  He  is,  however,  better 
known  as  the  engraver  of  several  plates  etched  in 
a  bold,  spirited  style,  but  with  a  considerable 
degree  of  harshness  in  the  effect  which  is  very 
disagreeable.  Dorigny  died  in  Paris  in  1665.  The 
following  are  his  principal  plates,  all  of  which  are 
after  the  pictures  of  Simon  Vouet : 

The  Holy  Family.     1649. 

The  Nativity. 

The  Adoration  of  the    Magi ;   in  four  sheets,  in  the 

manner  of  a  frieze. 
Jupiter  giving  Apollo  the  conduct  of  the  Chariot  of  the 

Sun. 
ApoUo  killing  the  Python. 
Peace  descending  on  the  Earth. 
Venus  at  her  Toilet. 
Venus,  Cupid,  and  Hope,  plucking  Feathers  from  the 

"Wings  of  Time. 
Mercury  and  the  Graces. 
Iris  cutting  the  hair  of  Dido. 
The  Eape  of  Europa. 

He  also  engraved  from  his  own  designs  : 

A  set  of  Six  Bacchanalian  subjects. 
A  Caricature  of  the  architect  Mansard,  entitled  '  La 
Mansarde.* 

DORIGNY,  Sir  Nicolas,  a  French  engraver,  was 
the  youngest  son  of  Michel  Dorigny,  and  was  born 
in  Paris  in  1658.  He  was  brought  up  to  the  bar,  and 
followed  that  profession  until  he  was  thirty  years  of 
age,  when,  in  consequence  of  deafness,  he  turned 
his  thoughts  to  the  arts,  and  visited  Italy,  where 
he  remained  twenty-eight  years.  His  first  plates 
were  executed  with  the  point ;  and  if  we  were  to 
judge  of  his  talent  by  his  early  prints,  his  reputa- 
tion would  be  very  short  of  that  which  he  acquired 
by  a  union  of  the  point  and  the  graver  in  his  later 
productions.  He  took  for  his  model  the  admirable 
works  of  Gerard  Audran ;  and  although  he  by  no 
means  equalled  that  celebrated  artist,  either  in  the 
style  of  his  drawing,  or  in  the  picturesque  effect 
of  his  light  and  shade,  his  prints  will  always  be 
esteemed  both  for  their  merit  as  engravings  and 
for  the  importance  of  the  subjects  of  which  he 
made  choice.  In  1711  he  was  invited  to  England 
by  Queen  Anne  to  engrave  the  Cartoons  of  Raphael 
at  Hampton  Court,  which  he  finished  in  1719, 
and  in  the  following  year  he  was  knighted  by  King 
George  I.  Whilst  he  was  in  England  he  painted 
some  portraits  of  the  nobility,  but  with  no  great 
success.  He  returned  to  France  in  1725,  and  was 
received  into  the  Academy  in  the  same  year.  He 
exhibited  some  pictures  of  sacred  subjects  at  the 
Salon  from  1739  to  1743,  and  died  in  Paris  in  1746. 
The  following  are  his  principal  prints  : 

Nine  plates  of  the  Seven  Planets,  and  the  Creation  of 

the  Sun  and  Moon  ;  after  the  paintings  by  Raphael 

in  the  Chigi  Chapel  in  La  Madonna  del  Popolo. 
The  Cartoons  at  Hampton  Court ;  after  t'he  same  ;  eight 

plates,  including  the  title. 
The  Transfiguration  ;  after  the  same. 
The  History  of  Cupid  and  Psyche,  and  the  Triumph 

of  Galatea,  twelve  plates,  including  the  title  ;  after 

the  paintings    from  the  designs  of   Raphael,  in  the 

Farnesina. 
The  Descent  from  the  Cross  ;  after  Danielle  da  Volterra. 
St.  Peter  and  St.  John  healing  the  Lame  Man  at  the 

Gate  of  the  Temple ;  after  L.  Cirjoli. 

G2 


The  Martyrdom  of  St.  Sebastian  ;  after  Domenichino. 

The  Martyrdom  of  St.  Petrouilla  ;  after  Guerciuo. 

St.  Francis  kneeling  before  the  Virgin  and  Child ;  after 

A.  Carracci. 
St.  Catharine  in  Meditation  ;  after  Carlo  Cignani. 
St.  Peter  walking  on  the  Sea  ;  after  Lavfranco. 
The  Virgin  and  Child,  with  St.  Charles  Borromeo  and 

St.  Liborius  ;  after  B.  Lamlerti. 
The  Trinity  ;  after  Guido  Reni. 
The  Birth  of  the  Virgin  ;  after  Carlo  Maratti. 
The  Adoration  of  the  Magi ;  after  the  same. 
The  Virgin  and  Child,  with  St.  Charles  Borromeo  and  St. 

Ignatius  ;  after  the  same. 
Eight  plates  of  the  paintings  in  the  Cupola  of  St.  Agnes  ; 

after  Ciro  Ferri. 

DORN,  Joseph,  was  born  at  Gratz-Sambach, 
near  Pomraersfelden  in  1759,  and  studied  in  the 
galleries  of  Munich,  Vienna,  and  Diisseldorf.  He 
copied  to  deception  the  cabinet  pictures  of  Frans 
van  Mieris,  Gerard  Dou,  Terborch,  Van  der  VVerfE, 
and  others,  and  was  particularly  celebrated  for 
his  skill  in  restoring  old  paintings.  He  died  at 
Bamberg  in  1841.  His  wife,  Rosalie  Dorn,  ex- 
celled in  portrait  painting ;  she  was  the  daughter 
of  the  historical  painter  Treu. 

DORNER,  Johann  Jakob,  the  elder,  who  was 
born  at  Ehrenstetten,  near  Freiburg  in  Breisgau,  in 
1741,  was  at  first  a  pupil  of  Rosch  at  Freiburg  and 
of  Ignaz  Bauer  at  Augsburg.  He  afterwards  visited 
Italy,  the  Netherlands,  and  Paris  ;  and  excelled  as  a 
painter  of  historical  and  genre  subjects.  He  was  a 
professor  and  director  of  the  Gallery  at  Munich  in 
1770,  and  died  in  that  city  in  1813.  In  the  Darm- 
stadt Gallery  is  a  picture  of  '  Two  Soldiers  and  a 
Maiden  '  by  him  ;  and  in  the  Pinakothek  at  Munich, 
a  '  Linen  Draper,'  which  is  a  portrait  of  his  wife, 
dated  1775. 

DORNER,  Johann  Jakob,  a  Bavarian  landscape 
painter,  the  son  of  Johann  Jakob  Dorner  the  elder, 
was  born  at  Munich  in  1775.  He  was  instructed 
in  art  by  his  father  and  by  Mannhch,  but  he 
afterwards  studied  the  works  of  Claude  Lorrain 
and  Karel  Du  Jardin.  He  travelled  by  himself 
through  the  picturesque  regions  of  Bavaria,  Switz- 
erland, and  France.  His  works  are  distinguished 
for  spirited  composition  and  taste  in  their  execu- 
tion. In  1803  he  became  Restorer,  and  in  1808 
Inspector  of  the  Royal  Gallery  at  Munich,  and 
was  subsequently  elected  a  member  of  the  Aca- 
demies of  Hanau,  Vienna,  Berlin,  and  Munich. 
He  died  at  Munich  in  1852.  The  following  works 
by  him  are  in  public  collections  : 

Berlin.  Gallery.        A  Forest  Koad.     1817. 

Cassel.  Gallery.        Two  "Waterfalls. 

Munich,     fituikothek.     View  of  the  "W^alchensee,  in  the 
Mountains  of  Upper  Bavaria. 
„  „  "Waterfall,  with  a  Huntsman. 

„  „  Landscape  and  Mill  near  Pasing. 

„  „  Landscape  in  the  Tyrol  during  a 

Thunderstorm. 

DORNER,  Johann  Konrad,  an  Austrian  painter, 
was  born  at  Egg,  near  Bregenz,  in  1810,  and 
studied  historical  painting  under  Cornelius.  In 
1835  he  went  to  St.  Petersburg,  and  there  painted 
many  portraits  and  altarpieces.  He  afterwards 
returned  to  Munich,  and  in  1860  went  to  Rome, 
where  he  died  in  1866.  He  executed  his  best 
works  whilst  in  Rome  ;  they  are  mostly  of  a  re- 
ligious character.  A  '  Madonna  and  Child,  with 
St.  John,'  and  the  'Infant  Christ'  are  in  the 
Pinakothek  at  Munich. 

DORRELL,  Edmund,  an  English  water-colour 
landscape  painter,  was  bom  at  Warwick  in  1778. 

83 


A   BIOGRAPHICAL   DICTIONARY   OF 


He  exhibited  at  the  Royal  Academy  from  1807  to 
1828,  and  at  the  Water-Colour  Society  from  1809  to 
1818.  He  died  in  London  in  1857.  There  are  by 
him  at  the  South  Kensington  Museum : 

On  the  Thames. 

Landscape,  with  cottage,  church,  figures,  &c. 

Fisherman  and  Boats,  Mount  Edgcumbe. 

Crowhurst,  near  Hastings. 

View  from  Box  Hill. 

DORSTE,  I.  V.  This  signature  appears  on  a 
profile  portrait  of  a  Man,  in  the  Dresden  Gallery, 
which  by  Vosmaer  is  ascribed  to  Geraert  Drost. 

DOSSI,  Battista,  was  an  Italian  painter  of 
landscapes  and  caricatures,  who  was  a  scholar 
of  Lorenzo  Costa,  and  worked  mostly  in  conjunc- 
tion with  his  brother  Giovanni.  In  the  Costabili 
Gallery  at  Ferrara  are  four  landscapes  by  him  ; 
and  in  San  Pietro  at  Modeiia  are  other  works  by 
him.  He  also  executed  two  fantastic  landscapes 
which  are  in  the  Palazzo  Borghese  at  Rome,  and 
assisted  Raphael  for  a  short  time  in  1520.  He 
died  in  1548.  The  UfEzi,  Florence,  has  a  '  Female 
Saint'  by  him. 

DOSSI,  Giovanni,  commonly  called  Dosso  Dossi, 
and  sometimes  Giovanni  di  Nicol6  di  LnTERO, 
appears  to  have  been  born  about  the  year  1479  in 
the  vicinity  of  Ferrara.  His  surname  is  supposed 
to  have  been  derived  from  the  village  of  Dosso,  in 
the  province  of  Ferrara.  He  was  in  1512  a  disciple 
of  Lorenzo  Costa  in  Mantua.  He  afterwards,  with 
his  brother  Battista,  visited  Rome  and  VenicBj  and 
they  there  passed  eleven  years,  studying  the  works  of 
Giorgione  and  Titian,  till  they  formed  a  style  which 
may  be  called  their  own,  and  which,  although  not 
totally  divested  of  the  Gothic,  is  distinguished  by 
originahty  ofinvention,and  great  harmony  of  colour. 
Giovanni  excelled  in  painting  figures,  in  which  Bat- 
tista was  less  successful ;  but  Battista  distinguished 
himself  as  a  painter  of  landscape,  in  which  Lomazzo 
considers  him  little  inferior  to  Gaudenzio  Ferrari, 
Pordenone,  and  even  Titian.  The  brothers  were 
much  employed  by  Alfonso  I.,  Duke  of  Ferrara,  and 
by  his  successor,  Ercole  II.  They  painted  the 
cartoons  for  the  tapestries  in  the  cathedral  at 
Ferrara,  and  for  those  in  the  church  of  San  Fran- 
cesco, and  in  the  ducal  palace  at  Modena.  Several 
of  Dosso  Dossi's  frescoes  are  still  to  be  seen  in 
the  ducal  palace  at  Ferrara,  but  others  were 
destroyed  by  fire  in  1718.  He  excelled  in  portraits 
as  well  as  historical  subjects,  and  painted  that 
of  Ariosto,  who  employed  him  to  make  designs 
for  his  'Orlando  Furioso.'  The  poet  has  cele- 
brated the  names  of  the  Dossi  by 
enrolling  them  with  those  of  Leon- 
ardo da  Vinci,  Michelangelo,  Raphael, 
and  Titian.  Dosso  Dossi  died  at  Ferrara  in  1542. 
The  following  paintings  by  him  are  known  : 

Berlin.  Gallery.    The  Fathers  of  the  Church  in 

meditation  on  the  Mystery  of 
the  Immaculate  Conception  of 
the  Virgin. 
Bergamo.        Museum.    Portrait  of  a  Man. 
Dresden.  Gallery.     The  Virgin  and  God  the  Father 

in    one  Glory,   with  the  Four 
Doctors  of  the  Church  below. 
Ferrara.  Certosa.     The  Virgin  and  Child,  with  St. 

John  and  two  other  Saints. 
„  (S  Agostino.    The  Crucifixion,  with  the  Virgin, 

St.  John,  and  St.  Augustine. 
„  Museum.    The   Virgin   enthroned,  crowned 

by  Angels. 
„  „  St.  John  at  Patmos. 

„  „  The  Annunciation. 

84 


Ferrara.  Museum.    Madonna  with  Saints.    {A  very 

large  picture  in  Jive  compart- 
ments, from  S.  Andrea.) 
„         Ducal  Pal.     Decorative  paintings  with   three 

Bacchanals. 
„  ,,  The  Hours  of  the  Day. 

Florence.  Vffizi.    Massacre  of  the  Innocents. 

„  „        His  own  Portrait. 

„  Fitti  Pal.    Repose  in  Egypt. 

London.         J^^at.  Gal.    Adoration  of  the  Magi. 
Milan.  Brera.    A  Sainted  Bishop  with  two  Angels. 

1536. 
„        Amlrosiana.     Mary  Magdalen  washing  Christ's 
feet. 
Modena.        Cathedral.    Virgin  in  Glory  adored  by  Saints. 
15-22. 
„  Carmine.    A  Dominican  Saint  and  a  Woman 

{alU'iforical). 
„  S.  Pietro.    Assumption  of  the  Virgin. 

„  Gallery.    The  Nati%-ity. 

„  „  Virgjin  adored  by  SS.  George  and 

Michael. 
„  „  Several    Portraits,  among   them 

that   of    Alfonso  I.  of  Ferrara 
(in  the  style  of  Titian). 
Paris,  Louvre.    Holy  Family. 

„  „  St.  Jerome. 

Rome.     Borghese  Pal.     Circe. 

„  Doria  Pal.     Vanossa. 

Vienna.  Gallery.     St.  Jerome 

DOSSIER,  JIiCHEL,  a  French  engraver,  was  bora 
in  Paris  in  1684,  and  died  in  the  same  city  in  1750. 
He  was  a  pupil  of  Pierre  Drevet,  and  engraved 
but  a  very  few  plates,  the  best  known  of  which  is 
'  Vertumnus  and  Pomona,'  after  Rigaud,  the  figure 
of  Pomona  being  a  portrait  of  Anne  Varice  de 
Valliere,  wife  of  Jean  Neyret  de  La  Ravoye.  The 
following  may  also  be  mentioned: 

The  Marriage  of  the  Virgin  ;  after  Jouvenet 

Christ   healing  the  two  Blind  Men  at  Jericho  ;  after 

Colombel. 
Christ  driving  the  Money-Changers  out  of  the  Temple ; 

after  the  same. 
The  Supper  at  the  house  of  Simon  the  Pharisee ;  after 

the  same. 
Jean  Baptiste  Colbert,  Marquis  of  Torcy ;  after  Rigaud. 

DOU,  Gerard,  was  bom  at  Leyden  in  1613,  in 
the  same  year  and  the  same  city  which  had  the 
glory  of  claiming  Rembrandt  as  citizen.  His  father, 
Douwe  Janszoon  de  Vries  van  Arentsvelt,  who  was  a 
glazier,  allowed  his  son  to  follow  the  path  to  which 
the  boy's  instincts  led  him,  and  apprenticed  him, 
in  1622,  to  the  studio  of  the  engraver,  Bartholo- 
meus  Dolendo.  Here  young  Gerard  spent  some 
time  in  mastering  the  art  of  drawing.  After  quit- 
ting the  engraver's  desk  he  went,  in  1624,  into  the 
workshop  of  Pieter  Kouwenhoven,  a  painter  on 
glass,  and  in  1628  he  entered  the  studio  of  the 
great  Rembrandt  van  Ryn,  but  he  borrowed  little 
of  his  master's  style  and  manner.  Don's  talent 
was  all  his  own  ;  his  pictures,  though  small,  are 
superb  specimens  of  the  art,  finished  with  care,  and 
true  to  nature. 

After  setting  up  for  himself,  Dou  is  reported  to 
have  worked  at  portrait  painting  ;  but  his  manner 
was  too  slow  and  laboured  to  please  his  sitters,  and 
he  then  took  as  subjects  for  his  paintings  the 
scenes  of  humble  industry  that  the  neighbouring 
market-place  aiforded,  and  interiors  graced  by 
buxom  maids. 

No  details  have  been  handed  down  to  us  of  Don's 
life.  It  was  probabl)'  passed  happily  and  quietly 
at  his  work.  He  resided — with  the  exception  of 
two  gaps,  from  1651  to  1657,  and  again  from 
1GG8  to  1672— in  his  native  city.  That  he  was 
a   prosperous    man    is   to   be   inferred    from    the 


GIOVANNI    UOSSI 

CALLED 

DOSSO  DOSSI 


Brockmann  photo]  [Dresden  Gallery 

THE  ARCHANGEL  MICHAEL 


GERARD  DOU 


Uanfitangl  photo\  \_Nationcil  Gallerv 

THE  POULTERER'S  SHOP 


GERARD   DOU 


Hanfstdngl photol  Jiuckmgkam  Palace 

THE  GROCER'S  SHOP 


PAINTERS   AND   ENGRAVERS. 


large  sums  for  which  he  sold  his  paintings.  The 
wealthy  connoisseur  Van  Spiring  gave  Dou  an 
annual  donation  of  a  thousand  florins  merely  to  be 
allowed  to  have  the  first  choice  of  the  pictures 
that  the  artist  had  completed  at  the  close  of  every 
year.  Besides  this  annual  grant,  Van  Spiring  paid 
the  ordinary  price  like  any  other  purchaser  for  the 
pictures  which  he  chose. 

Gerard  Dou  died  at  Leyden  in  1675,  and  was 
buried  in  the  church  of  St.  Peter.  Among  his 
pupils  and  followers  were  Frans  van  Mieris, 
Schalcken,  Gabriel  Metsu,  and  Van  Slingeland. 
The  following  are  his  principal  works : 

Amsterdam.   Musmm.     Portrait  of  Himself. 
Tlie  Night  School. 
„  „  The  Hermit. 

„  „  Curiosity. 

„  „  Portraits  of  Pieter  van  der  Werf, 

Burgomaster   of   Leyden,   and 
,   his  "Wife.      (TJie  portraits   are 
hi/  Dou,  the  landscape  hy  Claes 
Pietcrsz  Berchein.) 
„  Six  Coll.        The  Dentist. 

„  „  A  Girl  at  a  'Window.     1667. 

A  Candle-light  Effect. 
„    Van  der  Hoop  C.  A  Fish-woman. 
■Berlin.  Gallery.      The  Penitent  Magdalen.     1656. 

„  „  Portrait  of  an  Old  Woman. 

„  „  The  Store-room. 

Tissels.         Gallery.      Portrait  of  Himself. 
„  Arenherg  Coll.  An  Old  \yoman  sitting  at  a  table 

covered  with  Gold. 
Jassel.  Gallery.      Bust  Portrait  of  an  Old  Man,  with 

a  blue  feather  in  his  hat. 
Copenhagen.  Gallery.      A  Doctor. 

„  „  A  Maid.     1658? 

„  „  Bust  Portrait  of  a  "Woman. 

Oresden.         Gallery.      Portrait  of  Himself.     1647. 

>i  „  A  Grey  Cat  on  a  "Window-sill ;  in 

the   back-ground,   Dou   before 
his  easel.     1657. 
n  II  A    Girl    plucking    Grapes   at   a 

"Window.     1658. 
n  „  Gerard  Dou  playing  the  "V"iolin. 

1665. 
n  »  A    School-master    mending   his 

Pen.     1671. 
■*  n  The  Dentist,  with  a  Boy,  whose 

tooth    he  has  just  extracted. 
1672. 
i>  „  A  Hermit  praying. 

And  nine  others. 
T)ulwich.        Gallery.      A  Ladv  playing  on  the  "Virginal. 
"loreuce.        Ujfizi.  Portrait  of  Himself.     1618. 

The  Pan-cake  Seller. 
Hague.  Gallery.        The   Young    Tailoress  (or.    The 

Young  Mother).     1658. 
n  „  A    Yoimg    "Woman    holding    a 

Lamp. 
London.         Nat.  Gal.     Portr.^it  of  Himself. 
„  „  Portrait  of  his  "Wife. 

>>  „  The  Poulterer's  Shop. 

„    Buckingham  Tal.  An  Old  Man. 
I,  „  A  Kitehen-Maid.     1646. 

„     JBridgewater  Ho.  The  VioUn  Player.      1637. 
)i  „  Portrait  of  Himself. 

„      Korthhrook  Coll.  A  Lady  playing  the  Spinet. 
„        Bute  Collection.  An  Old  Man  reading. 
Mimich.  Gallery.      A  Beggar  asking  Alms  of  an  Old 

"Woman  selling  Vegetables. 
)t  „  The  Eakeress. 

„  „  Portrait  of  Himself.    1663. 

And  eleven  others. 
Paris.       Louwe.  The  Dropsical  "Woman.     1663. 

j»  ),  A  Silver  Ewer  and  Salver.  (Fainted 

on  the  shutter  of  an  ebony  iox 
which    formerly    contained    the 
painting  of '  The  Dropsical  Wo- 
man.') 
»  „  The  Village  Grocer.    1647. 

j»  ..  The  Trumpeter. 

»  „  The  Dutch  Cook. 


Paris.       Louvre,  A  "Woman  hanging  up  a  Cock  at 

a  "Window.     1650. 
„  „  The  Gold-weigher.     1664. 

„  „  The  Dentist. 

„  „  Keading  the  Bible.     {The  old  man 

and  woman  represented  are  said 
to  be  portraits  of  Gerard  Dou's 
father  and  mother.) 
„  „  Portrait  of  Himself,  at  a  "Window, 

holding  his  Palette  andBrushes. 
„  „  Portrait  of  an  Old  Woman  read- 

ing at  a  Table. 
Petersburg.  Sermitage.   A  Doctor  and  an  Old  Woman. 
„  „  The  Herring-seUer. 

„  „  Portrait  of  Himself.     1665. 

„  „  A   Young  Peasant  Woman  pre- 

paring to  bathe. 
„  „  A  Young    Soldier    preparing  to 

bathe. 
„  „  A  Young  AVoman  combing  her 

hair  by  the  side  of  a  river. 
And  si.v  others. 
Vienna.  Gallery.    The  Doctor  and  an  Old  Woman. 

1653. 
„  „  An  Old  Woman  watering  Flowers. 

„  Czernin  Coll.    Portrait  of  Himself. 

„  „  A  Party  playing  at  Cards. 

„        Liechtenstein  C.   Portrait  of  Himself. 

DOUDYNS,  WiLLEM,  a  Dutch  painter,  was  born 
at  the  Hague  in  1630.  He  was  of  a  distinguished 
family,  and  followed  the  art  rather  as  an  amateur 
than  a  professor ;  but  with  a  zeal  that  enabled  him 
to  reach  a  reputable  rank  among  the  painters  of 
his  country.  After  receiving  some  instruction 
from  an  obscure  artist,  named  Alexander  Petit, 
he  travelled  to  Italy,  where  he  passed  twelve  years 
studying  the  best  productions  of  the  art,  and  ac- 
quired a  correctness  of  design  and  an  elevation  of 
taste,  which  distinguish  his  works.  On  his  return 
to  Holland,  he  executed  several  fresco  paintings, 
particularly  decorations  for  ceilings,  in  which,  from 
his  perfect  knowledge  of  foreshortening,  he  ex- 
celled. Some  of  his  works  of  that  description  are 
in  the  town-hall  at  the  Hague.  Two  of  his  most 
admired  easel  pictures  were  in  the  possession  of 
M.  Van  Heteren,  representing  '  Time  discovering 
Truth,'  and  '  Wisdom  triumphing  over  Vice  and 
Intemperance.'  Doudyns  was  one  of  the  founders 
of  the  Academy  at  the  Hague,  of  which  he  was 
appointed  the  director.     He  died  in  1697. 

DOUE,  Claude  and  Jean.     See  De  Hoey. 

DOUET,  — ,  a  French  engraver  on  wood,  flour- 
ished about  the  year  1530.  Papillon  notices  a 
woodcut  executed  by  him,  representing  the  '  Virgin 
M;iry  and  the  Infant  Christ,'  after  Andrea  del 
Sarto. 

DOUFFET,  Geeaert,  (Doufeet,  or  Duffeit,) 
was  born  at  Li^ge  in  1594,  and  studied  for  some 
time  at  Antwerp  in  the  school  of  Rubens,  and 
afterwards  in  Italy.  He  composed  and  designed 
witli  good  taste,  and  his  historical  pictures  are 
much  esteemed.  '  Pope  Nicholas  V.  at  the  Tomb 
of  St.  Francis  of  Assisi '  (painted  in  1627),  'St. 
Helena  and  the  true  Cross'  (painted  for  the  Abbey 
of  St.  Lawrence,  Liege),  and  two  male  portraits 
(one  dated  1624),  are  in  the  Munich  Gallery.  He 
died  at  Liege  in  1660. 

DOUGHTY,  Thomas.  This  clever  landscape 
artist  was  born  at  Philadelphia  in  1793,  but  did 
not  adopt  the  artist's  calling  until  he  was  nearly 
thirty  years  old,  passing  the  earlier  years  of  his  life 
in  mercantile  pursuits.  He  worked  for  a  long 
time  in  Paris,  where  he  painted  many  of  his  most 
popular  works,  but  for  a  sliort  time  he  resided  in 
London,  finding  in  the  suburbs  of  the  great  city 
scenes  adapted  to  his  pencil  and  brush.     He  then 

85 


A   BIOGRAPHICAL   DICTIONARY  OF 


returned  to  America,  and  there  he  died  in  185G. 
His  pictures  have  steadily  increased  in  value,  and 
year  by  year  their  charm  has  been  more  readily 
recognized.  Some  of  the  more  delightful  scenes, 
which  he  depicted  with  silvery  tone,  grey  light 
and  soft  harmonious  colouring,  were  taken  from 
the  banks  of  the  Susquehanna  and  amongst  the 
Catskill  Mountains.  Doughty  was  one  of  the 
earliest  American  landscape  artists  who  gained  a 
European  celebrity,  and  his  pictures  being  few  in 
number  and  executed  with  the  utmost  skill  and 
great  poetic  feeling,  wiU  always  be  admired  and 
valued. 

DOUGHTY,  William,  apainterandengraver,  was 
a  native  of  York  In  1775  he  became  a  pupil  of  Sir 
Joshua  Reynolds,  and  after  an  unsuccessful  attempt 
as  a  portrait  painter  in  Ireland,  he  in  1779  settled 
down  in  London ;  but  in  the  following  year  he  set 
sail  for  Bengal,  having  just  married  a  servant  girl 
from  Reynolds's  house.  His  ship,  however,  was 
captured  by  the  French  and  Spaniards,  by  whom 
he  was  brought  to  Lisbon,  where  he  died  in  1782. 
Two  paintings  which  he  exhibited  were  a  '  Circe  ' 
and  a  portrait  of  Sir  Joshua  Reynolds ;  but  he  was 
more  successful  with  his  etchings  and  mezzotint 
portraits,  among  which  are  the  following: 

Thomas  Beckwith,  the  Antiquary  of  York. 
Thomas  Gray,  the  Poet. 
Admiral  Keppel ;  after  Sir  Joshua  Eeyjiolds. 
William  Mason,  the  Poet ;  after  the  same. 
Mary  Palmer,  the  niece  of  Sir  Joshua  Reynolds,  after- 
wards Marchioness  of  Thomond  ;  after  the  same. 
Dr.  Samuel  Johnson  ;  after  the  same. 

DOUGLAS,  Sir  William  Fettes,  was  born  at 
Edinburgh  in  1822.  After  ten  years  of  business  life, 
whose  leisure  hours  were  devoted  to  art,  his  father, 
an  accomplished  amateur  water-colour  painter,  con- 
sented to  his  following  his  bent  and  studying  at  the 
Academy.  He  had,  however,  only  a  few  months' 
regular  training.  His  pictures  at  the  Royal  Scottish 
Academy  Exhibitions  soon  attracted  attention,  and 
he  was  elected  an  Associate  of  the  Royal  Scottish 
Academy  in  1851,  and  Royal  Scottish  Academician 
in  1854.  He  visited  Italy  in  1857.  He  first  sent 
to  the  Academy  in  London  in  1862.  In  1869  he 
was  secretary  to  the  Royal  Scottish  Academy  for  a 
short  time,  and  in  1877  he  was  appointed  curator 
of  the  Scottish  National  Gallery,  succeeding  Sir 
Daniel  Macnee  as  President  of  the  Royal  Scottish 
Academy  in  1882.  In  th;it  year  he  was  knighted, 
and  in  1884  he  received  the  honour  of  LL.D. 
from  Edinburgh  University.  He  died  at  Newburgh, 
Fife,  in  1891.  He  was  early  attracted  to  romantic, 
antiquarian  and  occult  subjects,  as  the  titles  of  his 
works  indicate.  Of  these  perhaps  the  best  are : 
'  The  Astrologer,'  '  The  Bibliopolists '  (now  in 
Soutb  Kensington), '  In  the  Scriptorium,' '  Vesalius,' 
'The  Old  Curiosity  Shop,  Rome,'  'The  Alchemist 
on  the  Verge  of  a  Discovery,'  '  The  Spell,'  and  '  The 
Summons  to  the  Secret  Tribunal.'  He  painted  also 
genre  and  historical  subjects,  a  few  landscapes  in 
oil,  and,  late  in  life,  some  charming  landscapes  in 
water-colour.  He  has  been  termed  the  greatest 
Scottish  painter  of  still  life  ;  and  the  care  and  skill 
with  which  he  painted  old  ivories,  time-stained 
parchments,  rich  bindings,  and  old  furniture,  and 
harmonized  their  mellow  colours,  justify  the  title. 
His  draughtsmanship  was  masterly,  his  colour  at 
its  best  rich  and  glowing,  and  his  composition 
varied  and  agreeable.  He  was,  besides,  a  man  of 
rare  accomplishment,  a  learned  antiquarian  and 
historian.     An  illustrated  monograph  on  him  was 

86 


published  by  the  Society  for  the  Promotion  of  the 
Fine  Arts  in  Scotland.  j.  H.  W.  L: 

DOUVEN,  Johannes  Pbanciscus  van,  was  born 
at  Roermond,  in  the  Duchy  of  Guelders,  in  1656. 
His  father  dying  when  he  was  young,  he  was 
placed  under  the  care  of  a  painter  of  Li^ge,  named 
Gabriel  Lambertin,  who  had  studied  in  Italy,  and 
had  formed  a  collection  of  studies  and  drawings, 
which  were  of  great  utility  to  the  progress  of  his 
pupil.  On  leaving  that  master  he  was  taken  into 
favour  by  a  Spanish  nobleman  residing  at  Roermond, 
who  possessed  a  valuable  collection  of  the  Italian 
school.  He  was  permitted  to  copy  and  study 
these,  and  they  were  a  mine  of  instruction  to  the 
young  artist.  His  first  essays  were  in  historical 
painting;  and  he  would  probably  have  distin- 
guished himself  in  that  branch,  had  not  the  flatter- 
ing invitation  he  received  from  the  Elector  induced 
him  to  visit  Diisseldorf,  where  he  painted  the 
portraits  of  that  prince  and  the  principal  personages 
of  his  court,  and  was  appointed  principal  painter  to 
the  elector.  This  success  seems  to  have  inclined 
his  future  course  chiefly  to  portrait  painting ;  and 
his  talents  were  employed  at  almost  every  court  in 
Germany,  where  he  received  many  honourable 
marks  of  favour  and  distinction.  He  was  also 
patronized  at  the  court  of  Tuscany,  where  the 
Grand  Duke  placed  his  portrait  in  the  Florentine 
Gallery.  He  occasionally  painted  easel  pictures  of 
historical  subjects,  which  were  correctly  drawn  and 
well  composed.  Douven  died  at  Diisseldorf  in 
1727.     The  following  pictures  are  by  him : 


Cassel. 


1725. 


Florence. 


Gallery.    Susannah  and  the  Elders. 
„  Eathsheba  bathing. 

„  Clement  Augustus,  Elector  of  Co- 

logne. 
Uffizi.     Portrait  of  Elizabeth  Haurey. 
„  „        Portrait  of  Himself. 

„  „         St.  Anne  teaching  the  Virgin. 

„  „        Portrait  of  Maria  Luisa  de'  Medici. 

Munich.         Gallery.    Portrait  of  the  Elector   Palatine, 
John  WilUam. 
„  „  Portrait  of  a  young  Elector  Pala- 

tine. 

His  son,  Bartholomeus  van  Douven,  born  at 
Diisseldorf  in  1688,  painted  in  the  manner  of  A. 
van  der  WerfE.  He  was  employed  at  the  court  of 
the  Elector  of  Cologne,  and  excelled  in  the  execution 
of  portraits.  The  Cassel  Gallery  has  a  picture  of 
the  '  Three  Graces '  by  him,  and  in  the  palace  at 
Cassel  is  a  '  Holy  Family,'  known  as  '  La  Vierge 
aux  cerises,'  which  was  taken  to  Paris  by  the 
French,  but  returned  in  1815.  There  is  by  him  in 
the  Uffizi  Gallery  at  Florence  a  picture  containing 
medallion  portraits  of  the  Elector  Palatine  John 
William,  and  his  wife  Maria  Luisa  de'  Medici, 
copied  from  the  original  by  Van  der  Werfi:  in  the 
Munich  Gallery. 

DOUW,  Simon  van,  flourished  at  Antwerp,  where 
he  was  free  of  the  Guild  of  St.  Luke  in  1653-54. 
In  the  Lille  Museum  is  a  'Landscape  with  figures' 
by  him,  signed  and  dated  1677. 

DOVE,  Thomas,  marine  painter,  began  life  as  a 
house  painter,  but  later  entered  the  studio  of 
George  Chambers,  with  whom  he  worked  for  some 
time.  His  pictures  were  chiefly  scenes  from 
Liverpool  or  its  neighbourhood,  and  he  became 
well  known  in  the  north  of  England.  Reduced  to 
poverty  in  his  old  age,  he  died  in  the  Whitby 
workhouse  in  January  1887. 

DOW,  Gerard.     See  Don. 

DOWNES,  Bernard,  an  English  portrait  painter, 
flourished  in  the  latter  half  of  the  18lh  century. 


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He  exhibited  at  the  Royal  Academy  from  1770  to 
1775,  and  at  the  Incorporated  Society  of  Artists, 
of  which  he  was  a  member.  He  died  before  1780. 
DOWNMAN,  John.  It  is  not  known  for  certain 
where  this  artist  was  bom.  His  birthplace  has 
usually  been  given  as  in  Devonshire,  but  there  is 
better  reason  for  assuming  him  to  have  been  a 
Welshman,  and  to  have  been  born  close  to  Wrex- 
ham, where  he  died.  He  was  certainly  born  in 
1750,  and  died  at  Wrexham  on  December  24, 
1824,  aged  seventy-four  years.  He  was  a  student 
of  the  Royal  Academy  Schools  in  1769,  and  be- 
came an  Associate  in  1795.  He  studied  under 
Benjamin  West,  P.R.A.,  and  painted  a  clever 
portrait  of  his  master  which  is  still  in  existence. 
He  practised  portrait  painting  in  Cambridge  in 
1777,  visited  Plymouth  in  1806;  and  in  1807-8 
was  working  in  Exeter.  He  then  returned  to 
London  and  resided  there  for  many  years,  after- 
wards removing  to  Chester,  and  finally  taking  up 
his  abode  as  already  stated  at  Wrexham,  where 
his  daughter  had  married,  and  where  she  also  died 
in  1840.  Downman  married  the  daughter  of 
William  Jackson  of  Exeter,  the  musical  composer, 
who  was  organist  of  Exeter  Cathedral.  He  painted 
subject  pictures  in  water-colour  and  oil,  notable 
amongst  which  are : 

A  LaAj  at  Work.    1770. 

The  Death  of  Lucretia.    1773. 

Rosahnd.    {Painted  for  the  Shakespeare  Gallery.) 

The  Priestess  of  Bacchus. 

The  Keturn  of  Orestes. 

Tobias. 

Miss  Farren  and  Mr.  King  in  character. 

His  greatest  works,  however,  were  his  portraits 
in  pencil  and  colour,  which  he  painted  in  the 
country  houses  of  England,  and  in  the  towns  where 
he  worked  for  a  time.  They  are  extremely  clever 
pieces  of  portraiture,  lightly  and  gracefully  sketched 
and  tinged  with  very  charming  colour.  Upon 
almost  all  of  them  the  artist  made  some  pencil 
notes  which  greatly  add  to  their  value.  He 
generally  gave  the  name  of  his  sitter,  the  date 
when  the  picture  was  painted,  and  in  many  cases 
the  name  of  the  place  where  it  was  done,  or  some 
description  of  the  person,  his  occupation,  char- 
acteristics, position,  dignity  or  style.  In  some 
cases  he  made  comments  upon  the  way  in  which 
the  sitter  behaved  himself,  or  the  number  of  times 
■which  he  painted  the  same  person,  or  alluded  to 
some  interesting  circumstance  as  to  himself  or  his 
sitter,  and  all  these  notes  make  his  works  of 
peculiar  interest  in  the  present  day.  Many  of  his 
portraits  were  engraved,  and  of  this  fact  he  also 
makes  one  aware  by  his  notes.  He  painted  in  this 
sketchy  manner  all  the  great  ladies  of  his  day, 
the  noblemen,  actors,  and  notable  personages  as 
well  as  many  members  of  the  Royal  families  both 
of  England  and  Prussia.  Hardly  any  family  of 
quality  in  England  has  not  had  some  of  its 
members  painted  by  this  hardworking  and  most 
popular  artist,  and  his  portraits  are  singularly 
attractive,  full  of  character  and  expression,  and 
those  of  ladies  and  children  remarkable  for  their 
grace  and  charm.  The  largest  collections  of  his 
portraits  are  to  be  found  at  the  Manor  House, 
Witley,  and  at  Butleigh  Court,  Glastonbury.  An 
important  work  on  the  artist  is  now  in  course  of 
compilation,  and  will  be  issued  by  the  publishers 
of  this  work.  (j  (;_  ^ff 

DOYEN,  Gabriel  FEAxgois,  a  French  historical 


painter,  was  born  in  Paris  in  1726.  Before  he  had 
attained  his  twelfth  year  he  entered  the  studio  of 
Carle  van  Loo,  and  in  1746  obtained  the  'grand 
prix  de  Rome.'  On  his  return  to  Paris  m  1755,  he 
at  once  established  his  reputation  by  his  '  Death  of 
Virginia,'  exhibited  at  the  Salon  of  1759,  in  which 
year  he  was  received  into  the  Academy  upon  his 
picture  of  '  Jupiter  attended  by  Hebe.'  He  became 
a  professor  in  1776,  and  about  this  time  he  was 
employed  to  decorate  tlie  chapel  of  St.  Gr^goire  at 
the  Invalides.  In  1791  he  went  to  Russia,  where 
he  was  greatly  honoured  by  Catharine  II.  and  Paul 
I.,  for  whom  he  executed  many  ceilings  and  other 
works.  He  was  also  appointed  director  of  the 
Academy  at  St.  Petersburg,  in  which  city  he  died 
in  1806.  His  best  works  are  'The  Triumph  of 
Amphitrite,'  now  in  the  Louvre,  and  '  The  Descent 
of  the  Holy  Spirit,'  in  the  chapel  of  St.  Genevieve 
in  the  church  of  St.  Roch  in  Paris.  The  sketch 
for  the  latter  is  in  the  Louvre.  The  Darmstadt 
Gallery  possesses  his  'Adoration  of  the  Kings.' 
DOYEN,  Le.  See  Le  Doyen. 
DOYEN,  Pierre  Gabriel,  a  French  painter, 
was  bom  in  Paris  in  1723,  and  died  there  in  1799. 
He  was  a  member  of  the  Academy  of  St.  Luke, 
and  may  therefore  be  presumed  to  have  been  not 
entirely  devoid  of  talent. 

DOYLE,  John,  a  caricaturist,  well-known  as 
'H.B.,'  was  born  in  Dublin  in  1797.  At  an  early 
age  he  studied  under  an  Italian  landscape  painter 
named  Gabrielli,  and  also  became  a  student  in  the 
Dublin  Society's  Drawing  Academy  and  a  pupil  of 
Comerford.  About  1822  he  came  to  London,  where, 
not  succeeding  very  well  as  a  portrait  painter,  he 
produced  by  lithography,  and  published,  likenesses 
of  the  leading  men  of  the  day ;  among  others  the 
Duke  of  Wellington  on  a  white  charger,  and  the 
Duke  of  York.  From  this  time  he  chiefly  em- 
ployed himself  in  producing  caricatures  of  leading 
members  of  Parliament,  under  the  initials  '  H.B.' 
His  death  occurred  in  London  in  1868.  His  political 
portraits,  though  caricatures,  were  always  treated 
with  a  gentlemanly  feeling,  never  descending  to 
coarseness  or  vulgarity.  The  original  sketches  for 
610  out  of  the  917  to  which  they  amounted  are 
in  the  British  Museum.  A  portrait  of  Christopher 
Moore  by  Doyle  is  in  the  National  Gallery  of 
Ireland. 

DOYLE,  Richard,  draughtsman  and  caricaturist, 
was  born  in  London,  September  1824.  He  was 
the  second  son  of  John  Doyle  (H.B.),  who  taught 
him  from  early  childhood,  and  to  such  purpose 
that  at  the  age  of  sixteen  the  boy  was  already  an 
accomplished  draughtsman.  A  remarkable  speci- 
men of  his  early  powers  is  preserved  in  the  British 
Museum.  It  is  a  MS.  Journal,  illustrated  with  a 
large  number  of  humorous  and  fanciful  sketches. 
(This  work  was  published  in  facsimile  by  Smith, 
Elder  and  Co.  in  1885.)  Other  productions  of 
about  the  same  date  were,  'The  Eglinton  Tourna- 
ment,' and  '  A  Grand  Historical,  Allegorical,  and 
Classical  Procession.'  In  1843,  two  years  after  the 
establishment  of  'Punch,'  Doyle,  then  nineteen 
years  old,  was  permanently  engaged  on  the  staff. 
He  soon  attracted  attention  by  his  cartoons  of  lead- 
ing statesmen,  and  later  by  a  series  of  humorous 
designs  called  '  Manners  and  Customs  of  ye  Eng- 
lyshe,  drawn  from  ye  Quick  by  Richard  Doyle.' 
Akin  to  these  were  the  '  Bird's-eye  Views  of  Society,' 
contributed  to  the  '  Comhill  Magazine.'  One  of  hia 
happiest  contributions  to  '  Punch '  was  the  now 
familiar  cover.     Besides  work  of  this  importance, 

87 


A  BIOGRAPHICAL  DICTIONARY  OF 


Doyle  further  contributed  to  '  Punch  '  innumerable 
small  drawings,  initials,  and  culs  de  lampe.  His 
connection  witli  the  periodical  came  to  an  end  in 
1850,  when  conscientious  scruples  caused  him  to 
resign  his  post.  A  sincere  Roman  Catholic,  he 
felt  it  unseemly  to  associate  himself  with  attacks 
directed  against  Papal  aggression.  Henceforward 
he  worked  as  an  illustrator  of  books,  and  as  a 
painter  in  water-colours.  His  original  drawings 
were  chiefly  of  Welsh  and  Devon  scenery,  into 
which  he  loved  to  introduce  gracefully-fantastic 
figures  of  fairies,  gnomes,  and  pixies.  Among  such 
the  most  important  examples  are : 

The  Triumphant  Entry,  a  Fairy  Pageant.     (iVai.  Gal., 

Ireland.) 
The  "Witch's  Home.     (Tuv  Drawiniis.) 
The  Manners  and  Customs  of  Monkeys.     (Both  in  the 

South  Kensington  Museum.) 

Doyle  was  seized  with  apoplexy  at  the  Athenaeum 
Club,  December  10,  1883,  and  died  on  the  next 
day.     Among  the  books  illustrated  by  him  are  : 

Thackeray's  *  Rebecca  and  Rowena.'     1850. 

Ruskin's  '  King  of  the  Golden  River.'     1851. 

'  The  Foreign  Tour  of  Brown,  Jones,  and  Robinson.' 

1854.     (Begun  in  '  Punch.') 
Thackeray's  '  Newcomes.'     1853-5. 
'In  Fairy  Land,'     Elfin  scenes,   with  verses  by  Mr. 

William  Allingham.     1870. 
Dickens'  '  Battle  of  Life.' 
Leigh  Hunt's  '  Jar  of  Honey  from  Mount  Hybla.' 

A  number  of  his  miscellaneous  sketches  are  pre- 
served in  the  British  Museum,  and  in_the  Fitz- 
william  Museum  at  Cambridge. 

DRAEGER,  Joseph  Anton,  an  historical  painter, 
was  born  atTrevesin  1800,  and  died  at  Romein  1833. 
He  studied  under  Kiigelgen  in  Dresden,  but  went 
in  1823  to  Italy  and  took  up  his  quarters  in  Rome, 
where  he  followed,  as  a  nondescript  in  life  and  art, 
his  own  peculiar  style  of  colouring.  In  his  desire 
to  attain  the  charm  of  the  colours  of  the  great 
Venetians,  a  very  faded  picture  of  that  school  led 
him  to  the  conviction  that  they  painted  their  pic- 
tures entirely  in  grey  before  putting  on  the  bright 
colours.  Working  in  this  way  he  obtained  an 
extraordinary  clearness  of  colour,  a  good  example 
of  which  is  seen  in  his  '  Moses  protecting  the 
Daughters  of  Jethro,'  in  the  Berlin  Gallery. 

DKAGHI,  Giovanni  Battista,  was  born  at 
Genoa  in  1657.  He  was  a  scholar  of  Domenico 
Piola,  whose  promptness  and  facility  he  imitated 
and  acquired.  He  resided  at  Parma  and  Piacenza, 
where  there  are  several  of  his  works.  They  evince 
something  of  the  design  of  the  Bolognese  school, 
with  the  taste  of  Parmigiano.  In  the  church  of 
San  Francesco  il  Grande  at  Piacenza,  is  a  picture 
by  him  of  the  'Martyrdom  of  St.  James.'  The 
dome  of  Sant'  Agnese,  in  the  same  city,  is  by  this 
master ;  and  in  the  church  of  San  Lorenzo,  a  pic- 
ture of  the  titular  Saint.  At  Genoa  there  are  some 
of  his  easel  pictures  in  private  collections.  He 
died  at  Piacenza  in  1712. 

DRAKE,  Nathan,  a  portrait  painter,  flourished 
at  York  and  Lincoln  in  the  middle  of  the  18th 
century.  He  occasionally  painted  views,  and  was 
a  member  of  the  Society  of  Artists,  with  whom  he 
exhibited  from  1760  to  1780. 

DRAPENTIERE,  John,  an  engraver,  was  pro- 
bably from  his  name  a  native  of  France.     He  was 
in  England  about  the  year  1691,  and  was  employed 
by  the  publishers  in  some  plates  of  portraits  and  ' 
frontispieces,  which  are  executed  with  the  graver 


in   a  neat,  but    tasteless  style.      The    following 
portraits  are  by  him . 

■\Yilliam  and  Mary,  when  Prince  and  Princess  of  Orange. 

John  Graham,  Viscount  Dimdee. 

Tliomas  White,  Bishop  of  Peterborough. 

Benjamin  Calamy,  Prebendary  of  St.  Paul's. 

Henry  Cuttes,  of  the  Middle  Temple. 

Sir  James  Dyer,  Chief  Justice  of  the  Common  Pleas. 

Peter  Perkins,  Mathematician. 

Daniel  Burgess,  Dissenting  Minister.     1691. 

Benjamin  Keach,  Anabaptist  Minister. 

Elias  Keach. 

John  Todd,  A.M. 

He  also  engraved  a  satirical  print  of  a  lady 
shaving  a  gentleman;  inscribed,' Le  Beau  Service.' 

DREBER,  Heinrich,  (called  Feanz-Deeber,) 
a  German  landscape  painter,  was  born  at  Dresden 
in  1822.  Living  in  the  house  of  a  relation 
whose  name  Franz  he  adopted,  he  frequented  the 
Academy  of  his  native  city,  and  afterwards  the 
studio  of  Ludwig  Richter.  After  he  had  gained 
the  gold  medal,  he  resided  for  some  time  in 
Munich,  and  in  the  spring  of  1843  went  as  exhibi- 
tioner of  the  Dresden  Academy  to  Rome,  where 
he  became  a  member  of  the  Academy  of  St.  Luke, 
and  spent  almost  the  entire  remainder  of  his  life. 
His  study  of  Italian  nature  had  the  greatest  influ- 
ence on  his  works,  and  at  the  same  time  the 
impression  made  upon  him  bj'  modern  French  land- 
scape painters  increased  his  desire  to  obtain  a  soft 
fusion  of  colours.  He  died  in  Anticoli  di  Campagna, 
near  Rome,  in  1875.  His  pictures,  which  were 
exhibited  together  in  1876  in  the  National  Gallery 
at  Berlin,  are  with  few  exceptions  in  the  hands  of 
private  persons ;  there  are  two  in  the  Berhn  Gal- 
ler3' — a  '  Landscape,  with  the  Hunting  of  Diana,' 
and  'An  Autumn  Morning  in  the  Sabine  Mountains.' 

DRECHSLER,  Johann,  a  painter  of  flowers,  was 
born  at  Vienna  in  1756,  and  became  a  professor 
at  the  Academy  of  that  city.  He  died  at  Vienna 
in  1811.  He  painted  fruit  and  flower  pieces  in 
imitation  of  Van  Huysum.  There  are  examples  of 
his  work  in  the  Hermitage  at  St.  Petersburg,  and 
in  the  Vienna  Gallery. 

DREUX,  Alfred  de,  was  born  in  Paris  in  1808. 
He  was  a  pupil  of  Leon  Cogniet,  and  became  a 
fashionable  painter  of  race-horses  and  of  equestrian 
portraits.  Manj-  of  his  pictures  have  been  engraved. 
Among  the  best  known  are:  'The  Postilion' 
(1836),  'The  Imperial  Guard'  (1855),  'Equestrian 
Portrait  of  the  Due  de  Nemours '  (1844),  and  several 
large  hunting-pieces.     He  died  in  I860. 

]5rEVER,  Adriaan  van,  a  Dutch  landscape 
and  marine  painter,  flourished  about  1673,  and 
passed  the  greater  part  of  his  artistic  life  in  Eng- 
land. In  the  Vienna  Gallery  there  is  a  '  Winter 
Landscape '  by  him. 

DREVET,  Claude,  a  French  engraver,  the 
nephew  of  Pierre  Drevet,  was  born  probably  at 
Lyons  about  1705.  He  was  instructed  by  his 
uncle,  and  engraved  some  portraits  in  a  highly 
finished  style,  which  renders  them  of  considerable 
merit.  He  died  in  Paris  in  1781.  The  following 
portraits  are  by  him  : 

Henri  Oswald,  Cardinal  d'Auvergne ;  after  Rigaud. 
Charles  Gaspard  Guillaume  de  VintimiUe,  Archbishop 

of  Paris ;  after  the  same. 
Philippe  Louis,  Count  de  Zinzendorf  ;  after  the  same. 
Mme.  Le  Bret,  in  the  character  of  Ceres  ;  after  the  same. 
Pierre  Calvairac,  Abbot  of  Pontignan ;  after  A.  Le  Prieur, 

DREVET,  Pierre,  an  eminent  French  engraver, 
was  born  at  Loire  in  the  Lyonnais  in  1663.  He  was 
first   a   pupil  of   Germain   Audran  at  Lyons,  but 


PIERRE   IMBERT  DREVET 


After  H.  Rigaud,  1723] 


BISHOP  BOSSUET 


PAINTERS  AND  ENGRAVERS. 


afterwards  finished  his  studies  in  Paris  under  Gerard 
Audran.  In  1696  he  became  court  engraver,  and 
in  1707  was  made  an  Academician,  and  for  his 
reception  he  engraved,  although  not  until  1722,  the 
portrait  of  Robert  de  Cotte.  He  died  in  Paris  in 
1738.  His  works,  which  are  chiefly  portraits,  are 
well  drawn  and  very  highly  finished.  The  following 
prints  are  by  him  : 

SACRED   SUBJECTS. 
Abrabam*s  Sacrifice  ;  after  A.  Coj/pel. 
The  Aunuuciation  ;  after  the  same. 
The  same  subject ;  smaller. 
The  Crucifixion  ;  in  two  sheets  ;  after  the  same. 
The  Adoration  of  the  Shepherds ;  after  H.  Rigaud. 

PORTBAITS. 

Charles  II.,  King  of  Great  Britain. 

James  Francis  Edward  Stnart,  called  the  Old  Pretender. 

James  Fitzjames,  Duke  of  Berwick. 

Oliver  Cromwell. 

Louis  Xiy.,  full-length  ;  after  Eigaiid. 

Louis  XV.,  seated  on  his  Throne  ;  after  the  same, 

Philip  v.,  King  of  Spain  ;  after  the  same. 

Louis,  Dauphin  of  France  ;  after  the  same. 

Frederick  Augustus,  King  of  Poland  ;  after  F.  de  Troy. 

Francois  Louis,  Prince  of  Conde  ;  after  Rigaud. 

Louis  Alexandre,  Count  of  Toulouse,  with  the  Glove. 

The  same  Portrait,  without  the  Glove. 

Ren6  Francois  de  Eeauveau,  Archbishop  of  Narbonne ; 

after  Rigaud. 
Andre  Hercule,  Cardinal  de  Fleury  ;  after  the  same. 
Warie  de  Neufchatel,  Duchess  de  Nemoius ;  after  the 

same. 
Louis  Antoine,  Duke  de  Noailles  ;  after  the  same. 
Louis  Hector,  Duke  de  ViUars,  Marshal  of  France;  after 

the  same. 
Ernest  Augustus,  Duke  of  Brunswick-Luneburg. 
Andr6  F61ibien  ;  after  Le  Brun. 
Nicolas  Boileau  Despr^aux ;  after  De  Piles. 
Hyacinthe  Rigaud  ;  from  a  picture  by  himself. 
Marie  de  Serre,  mother  of  Eigaud  ;  after  Rigaud. 
Robert  de  Cotte,  architect ;  after  the  same. 
Nicolas  Pierre  Camus  de  Pontcarre,  first  President  of 

the  Parliament  of  Rouen  ;  after  Jouvenet. 
Jean  Forest,  painter ;  after  N.  de  Largilliere, 

DREVET,  Pierre  Imbert,  the  son  of  Pierre 
Drevet,  was  horn  in  Paris  in  1697.  He  had  the 
advantage  of  his  father's  instruction,  and  at  a  very 
early  age  was  distinguished  by  the  talent  which  he 
displayed.  The  works  of  this  excellent  artist  may 
have  been  surpassed  in  boldness  and  freedom,  but 
have  hardly  been  equalled  in  the  exquisite  finish 
and  clearness  of  his  stroke.  His  celebrated  por- 
trait of  Bossuet,  engraved  in  1723,  is  one  of  the 
finest  line-engravings  which  has  ever  been  executed, 
whilst  that  of  Samuel  Bernard  is  scarcely  less 
admirable.  About  1730  he  became  insane,  but 
engraved  until  the  year  of  his  death,  in  which  he 
executed  the  portrait  of  Ren6  Pucelle.  He  died  in 
Paris  in  1739.  The followingarehisprinoipal  works: 

SACRED   SUBJECTS. 

Adam  and  Eve  after  their  Transgression;  after  A.  Coypel. 
The  same  subject ;  smaller  ;  very  highly  finished. 
Eebekah  receiving  from  Eliezer  Abraham's  presents; 

after  the  same. 
The  Presentation  of  the  Virgin  in  the  Temple  ;  after 

Le  Brun.     The  first  work  of  the  engraver. 
The  Holy  Family ;  after  A  ntoine  Dieu. 
The  Presentation  in"the  Temple  ;  after  Louis  de  Bout- 

longne.     The  engraver's  chef-d'oeuvre. 
Christ  in  the  Garden  of  Ohves,  with  Angels ;  after  J. 

Restout. 
The  Resurrection  ;  after  J.  Andre. 
St.  Theresa  ;  after  J.  Lingre. 

PORTRAITS. 

Louis  XIV.,  when  young,  conducted  by  Minerva  to  the 
Temple  of  Glory  ;  after  A.  Coypel. 


Louis,  Duke  of  Orleans  ;  after  Charles  Coypel. 

Mary  Clementina  Sobieska,  wife  of  the  Old  Pretender ; 

after  Davids. 
Francois  de  La  Mothe  F^nelon,  Archbishop  of  Cambrai ; 

after  Vivien. 
Fran(;ois  Paul  de  Villory,  Archbishop  of  Lyons  ;  after 

Santerre. 
Claude  Le  Blanc,  Minister  of  War ;  after  Le  Frieur. 
Cardinal  Dubois,  Archbishop  of  Cambrai ;  after  Rigaud. 
3.  B.  Bossuet,  Bishop  of  Meaux ;  f uU-length  ;  after  the 

same. 
Samuel  Bernard  ;  after  the  same. 
Isaac  Jacques  de  Vertamont,  Bishop  of  Conferans  ;  after 

De  Troy. 
Rene  Pucelle,  Abb^  and  Counsellor  of  the  Parliament ; 

after  Rigaud.     His  last  work,     1739. 
Adrienne   Lecouvreur,  in   the   character  of   Cornelia ; 

after  Charles  Coypel. 

Full  particulars  of  the  works  of  Pierre,  Pierre 
Imbert,  and  Claude  Drevet,  are  to  be  found  in  M.  A. 
Firmin-Didot's  work '  Les  Drevet,'  Paris,  1876,  8vo. 

DREW,  J.  P.,  a  portrait  and  figure  painter, 
worked  in  London  during  the  first  half  of  the  19th 
century.  He  exhibited  at  the  Royal  Academy 
until  1852. 

DREYER,  Dankvart  Christian  Magnus,  a 
Danish  landscape  painter,  was  born  in  1816  at 
Assens,  where  lie  died  in  1852.  The  Copenhagen 
Gallery  has  a  '  Landscape  '  by  him,  dated  1839. 

DRIELST,  Egbert  van,  born  at  Groningen  in 
1746,  practised  under  several  masters ;  the  last 
were  H.  Meyer  of  Haarlem,  and  J.  Cats  of  Am- 
sterdam. He  particularly  studied  the  works  of 
Hobbema,  Ruisdael,  and  Wynants,  and  compared 
them  with  nature.  By  this  course  his  pictures 
approached  nearer  to  the  manner  and  taste  of  the 
great  masters  of  the  preceding  century  than  to 
tliose  of  his  own  time.  The  subjects  he  represented 
were  well-wooded  landscapes,  with  farms  and 
cottages,  which  he  ornamented  with  figures  and 
animals,  correctly  designed.  He  was  fond  of  the 
picturesque  effects  of  ruined  hovels,  old  broken 
and  uprooted  trees,  and  barren  heaths.  These  he 
depicted  with  a  thorough  knowledge  of  light  and 
shade,  and  with  a  colour  suited  to  the  objects. 
Sometimes,  however,  there  is  a  certain  degree  of 
negligence  or  inattention  to  be  observed  in  his 
pictures ;  and  here  and  there  he  appears  to  be  a 
mannerist.  He  died  in  1818.  His  son,  Jan  Vuuring 
van  Drielst,  an  artist  of  much  promise,  was  born 
in  1790,  and  studied  under  his  father,  but  died  in 
181.3. 

DRILLENBURG,  Willem,  a  Dutch  landscape 
painter,  was  born  at  Utrecht  in  1625.  He  was  for 
some  time  a  scholar  of  Abraham  Bloemaert,  but 
abandoned  the  style  of  that  painter  in  order  to 
imitate  the  charming  landscapes  of  Jan  Both. 
Although  he  never  approached  the  excellence  of 
that  master,  his  pictures  are  said  by  Houbraken, 
who  was  his  scholar,  to  possess  great  merit. 

DROECH  SLOOT,  Joost  Cornblisz.  See 
Drooch  Sloot. 

DROESHOUT,  Jan,  an  engraver,  was  perhaps, 
from  the  date  at  which  he  flourished,  a  relation  of 
Marten  Droeshout.  There  are  by  him  a  few  portraits, 
frontispieces,  and  other  works  for  the  booksellers, 
among  which  are : 

The  Portrait  of  Richard  Elton ;  prefixed  to  his '  Compleat 
Body  of  the  Art  Military,'  1650. 

The  Portrait  of  John  Danes  ;  engraved  for  his  '  Para- 
lipomena  Orthographiae,'  1638. 

Two  plates  for  Heywood's '  Hierarchie  of  the  blessed 
Angels,'  1635. 

DROESHOUT,  Marten,  an  engraver,  who  was 
probably  a  Dutchman,  resided  in  England  about  the 

89 


A  BIOGRAPHICAL  DICTIONARY  OF 


year  1623.  He  was  chiefly  employed  by  the  book- 
sellers, and  engraved  some  portraits,  which,  if  they 
cannot  be  admired  for  the  beauty  of  their  execution, 
are  valued  for  their  scarcity.  His  best  known  por- 
trait is  that  prefixed  to  the  first  folio  edition  of 
'  Mr.  William  Shakespeares  Comedies,  Histories, 
&  Tragedies,'  published  in  1623.  The  excellence 
of  this  likeness  of  the  great  dramatist  is  attested 
by  the  following  verses  of  Ben  Jonson,  which  are 
printed  opposite  to  it : 

To  the  Reader. 
This  Fignre,  that  thou  here  seest  put, 

It  was  tor  gentle  Shakespeare  cut ; 
Wherein  the  Grauer  had  a  strife 

"With  Nature,  to  out-doo  the  hfe  : 
O,  could  he  but  haue  drawne  his  wit 

As  well  in  brasse,  as  he  hath  hit 
His  face  ;  the  Print  would  then  surpafise 

All,  that  was  euer  writ  in  brasse. 
But,  since  he  cannot,  Reader,  looke 

Not  on  his  Picture,  but  his  Booke. 

B.I. 

Other  portraits  by  Droeshout  are : 

James,  Marquis  of  Hamilton. 

Thomas,  Lord  Coventry. 

John  Donne,  Dean  of  St.  Paul's. 

Helkiah  Crooke,  M.D. 

John  Fox,  the  Martyrologist. 

John  Howson,  Bishop  of  Durham. 

Lord  Mountjoy  Blount,  afterwards  Earl  of  Newport. 

DROLLING,  Martin,  a  native  of  Oberbergheim, 
near  Colmar,  was  born  in  1752.  He  received  his 
first  lessons  in  art  from  an  obscure  painter  of 
Schlestadt,  but  afterwards  went  to  Paris  and  entered 
the  Bcole  des  Beaux-Arts.  He  gained  a  momentary 
celebrity  by  his  '  Interior  of  a  Kitchen,'  painted 
in  1815,  exhibited  at  the  Salon  of  1817,  and  now 
in  the  Louvre.  He  usually  painted  interiors  and 
familiar  subjects  of  general  interest.  Although 
faulty  in  drawing  and  never  above  mediocritj',  his 
works  were  popular  during  his  lifetime,  and  many 
of  them  were  engraved  and  lithographed.  He  died 
in  Paris  in  1827.  The  Louvre  has  by  him  a 
'  Woman  at  a  window  '  and  a  '  Violin-Player.' 

DROLLING,  Michel  Martin,  a  French  his- 
torical and  portrait  painter,  was  born  in  Paris  in 
1786.  He  studied  under  his  father,  Martin  Drolling, 
and  under  David,  and  obtained  the  '  grand  prix  da 
Rome  '  in  1810.  In  1833  he  was  elected  a  member 
of  the  Institute,  and  in  1837  became  a  professor  of 
the  ltco]e  des  Beaux-Arts.  He  died  in  Paris  in 
1851.  Amongst  his  best  works,  which  are  all 
conceived  in  the  classical  spirit  in  which  he  was 
brought  up,  are: 

Orpheus  and  Eurydice.     1817. 

Ulysses  carrying  off  Polyxeua.     1S27. 

The  Good  Samaritan.     1822.     In  the  Lyons  Museum. 

The  Death  of  Cardinal  RicheHeu.     1831. 

Christ  disputing  with  the  Doctors :  in  the  church  of 
Notre-Dame  de  Lorette,  Paris. 

The  Communion  of  Marie  Antoinette :  tn  the  chapel  of 
the  Conciergerie, 

DROOCH  SLOOT,  Joost  Cornelisz,  (Drooo- 
SLOOT  or  Droech  Sloot,)  a  landscape  and  his- 
torical painter  of  Utrecht,  flourished  from  1616  to 
1660.  In  1616  he  was  admitted  into  the  Guild  of 
St.  Luke  at  Utrecht,  and  in  1623-24  he  became 
its  dean.  He  gave  to  the  hospital  of  St.  Job,  at 
Utrecht,  in  1628,  a  picture  of  '  Job  and  his  Friends,' 
the  landscape  part  of  which  is  said  to  be  very 
beautiful  :  in  1638  he  was  named  regent  of  the 
nospital.  There  is  a  portrait  of  him,  painted  by 
himself,   in  the    manner  of   old  Teniers ;    he    is 

90 


Madrid.  Gallery. 
Modena.  Gallery. 
Paris.  Louvre. 

Petersburg.  Hermitage, 
Rotterdam.  Museuvt. 
Vienna.         Gallery. 


seated  at  his  easel,  and  his  studio  is  furnished 
with  pictures  :  it  bears  date  1630,  and  he  appears 
about  50  years  of  age.  Some  of  his  works  are 
signed  with  the  annexed  monogram  :  '7.^5^ 
As  he  is  classed  with  very  respectable  Jlx> 
painters  of  the  period,  by  writers  on  whose  judgment 
reliance  may  be  placed,  he  must  not  be  confounded 
with  Nicolaas  Drooch  Sloot,  whose  works  of  a  like 
nature  are  known  in  England,  and  rank  among  the 
lowest  of  his  country.  The  following  pictures  by 
Joost  Drooch  Sloot  are  in  public  galleries  : 

Oafieel.         Gallery.  View  of  a  \^Ilage. 

Dresden.      Gallery.         View  of  a  Village  Street. 
Hague.         Museum.        A  Kermesse.     1652. 

A  Dutch  Village.     1652. 

Skaters. 

Peasants. 

Troops  passing  through  a  Village. 

1645. 
A  frozen  Canal  in  Holland. 
A  Village  Fete.     1649. 
Duel   between   the   Dutch   Ger- 
hards  and  the  French  Briant^s, 
1600.    (Painted  in  1630.) 

DROOCH  SLOOT,  Nicolaas,  was  born  at  Dor- 
drecht in  1 650,  and  is  supposed  to  have  been  a  scholar 
of  Hendrik  Mommers.  He  painted  village  wakes 
and  rural  assembhes,  which  are  distinguished  by  a 
disgusting  vulgarity  of  character,  which  is  not 
compensated  by  the  agreeable  tone  of  his  colouring, 
or  the  spirit  of  his  pencil.     He  died  in  1702. 

DROSSAART,  ,  a  Dutch  painter  of  land- 
scapes with  ruins  and  stag-hunts,  lived  in  the  17th 
century. 

DROST,  Geraert,  a  Dutch  painter,  was  born  at 
Amsterdam  about  the  year  1638.  He  was  brought 
up  in  the  school  of  Rembrandt,  and  afterwards 
visited  Italy,  where  he  improved  his  style  of  design, 
by  studying  the  works  of  the  great  masters  of  the 
Roman  school.  He  died  in  1690.  The  Cassel 
Gallery  possesses  a  '  Christ  and  the  Magdalen  after 
the  Resurrection,'  by  him ;  and  the  Amsterdam 
Museum  has  a'  Daughter  of  Herodias  receiving  the 
Head  of  John  the  Baptist.'  His  works  have  occa- 
sionally been  mistaken  for  those  of  Rembrandt. 
In  the  Dresden  Gallery  there  is  a  profile  portrait 
of  a  man  in  a  large  hat,  signed  '  I.  V.  Doeste,' 
supposed  to  be  by  Drost ;  tliere  are  also  in  the 
same  gallery,  an  '  Old  Man  teaching  a  Boy  to 
read,'  and  '  Argus  and  Mercury ' — both  of  which 
are  ascribed  to  the  same  master. 

DROUAIS,  FiiANgois  Hubert,  a  French  portrait 
painter,  was  born  in  Paris  in  1727.  He  studied  at 
first  under  his  father,  Hubert  Drouais,  and  then 
became  a  pupil  successively  of  Nonotte,  Carle  Van 
Loo,  Natoire,  and  Boucher.  He  was  received  as 
an  Academician  in  1758  upon  his  portraits  of  the 
sculptors  Coustou  and  Bouchardon,  the  former 
of  which  is  now  at  Versailles,  and  the  latter  in  the 
6cole  des  Beaux-Arts.  These  led  to  his  intro- 
duction to  the  court,  where  he  painted  portraits  of 
the  whole  of  the  Royal  Family,  and  of  most  of 
the  celebrities  and  beauties  of  the  period.  He  ex- 
hibited at  the  Salon  from  1755  to  1775,  in  which 
year  he  died  in  Paris.  The  Louvre  has  by  him  a 
picture  containing  the  portraits  of  the  Comte 
d'Artois,  afterwards  Charles  X.,  and  his  sister, 
Madame  Clotilde,  afterwards  Queen  of  Sardinia, 
when  children.  The  Museum  of  Orleans  possesses 
his  charming  portrait  of  Madame  de  Pompadour. 

DROUAIS,  Hubert,  a  French  portrait  painter, 
was  born  at  La  Roque,  near  Pont-Audemer  in 
Normandy,  in  1699.     He  at  first  studied  at  Rouen, 


FRANCOIS   HUBERT  DROUAIS 


\Collection  of  the  Countess  of  Varborough  (Baroness  Conyers) 
AMELIA,  NINTH  BARONESS  CONYERS 


FRANCOIS  HUBERT  DROUAIS 


A  LADY 


[Sout/i  KensingtoH 


PAINTERS  AND  ENGRAVERS. 


but  subsequently  came  to  Paris,  and  entered  the 
studio  of  l)e  Troy,  after  wliose  death  he  was  em- 
ployed by  J.  B.  Van  Loo,  A.  S.  Belle,  Oudry,  and 
Nattier.  Besides  painting  portraits  in  oil,  and  in 
water-colours,  he  gained  much  celebrity  by  his 
miniatures.  He  was  received  into  the  Academy 
in  1730,  and  died  in  Paris  in  1767. 

DROUAIS,  Jean  Germain,  the  younger  son  of 
Francois  Hubert  Drouais,  was  born  in  Paris  in 
1763.  He  studied  under  his  father  and  under 
Brenet,  and  then  entered  the  school  of  David.  In 
1784  he  astonished  the  Academy  by  his  picture  of 
'  Christ  and  the  Woman  of  Canaan,'  which  gained 
the  first  prize,  and  is  now  in  the  Louvre.  The 
next  year  he  accompanied  David  to  Rome,  where 
he  studied  the  works  of  Raphael  and  the  antique, 
sending  to  Paris  a  study  of  a  '  Wounded  Gladiator,' 
'  Marius  at  Minturnae,'  now  in  the  Louvre,  and 
'  Philoctetes  breathing  forth  imprecations  against 
the  Gods,'  which  was  his  last  work.  He  died  of 
fever  at  Rome  in  1788. 

DRUEFKEN,  — ,  a  German  engraver  on  wood, 
who  usually  marked  his  prints  with  a  cluster  of 
grapes,  is  mentioned  by  Evelyn  in  his  '  Sculptura.' 
Among  other  cuts,  he  executed  one  representing 
the  King  of  the  Boors  in  Hungary  eaten  alive  by 
the  rebels  whom  he  had  duped. 

DRUIVESTEYN,  Aart  Jansze,  an  amateur 
Dutch  painter,  was  born  at  Haarlem  in  1564. 
Van  Mander  speaks  in  very  favourable  terms  of 
his  talent  as  a  painter  of  landscapes  with  figures, 
although,  being  of  an  opulent  and  distinguished 
family,  he  practised  the  art  only  for  his  amuse- 
ment.    He  died  in  1617. 

DRUMMOND,  James,  a  Scotch  historical  and 
genre  painter,  was  born  in  Edinburgh  in  1816.  He 
studied  under  Sir  William  Allan,  and  first  exhibited 
at  the  Scottish  Academy  in  1835,  of  which  body  he 
became  an  Associate  in  1846,  and  an  Academician 
in  1852.  He  became  curator  of  the  Edinburph 
National  Gallery  in  1868,  and  died  at  Edinburgh 
in  1877.  He  studied  archaeology  closely,  and  his 
works  show  great  care  for  antiquarian  details. 
Amongst  the  best  are : 

The  Return  of  Mary,  Queen  of  Scots,  " 

to  Edinburgh  after  her  surrender 

at  Oarberry  Hill.  [In  JVafional 

King  James  I.  of  Scotland  seeing  his   J-       Galle'ry  of 

future  wife  at  Windsor.  &cotlaiid.) 

The  Porteous  Mob. 
Montrose  on  his  way  to  execution. 

War     f    (^^^"^ff'^y  '"  '''*  Queen.) 
Old  kortalHy. 
Cromwell  in  Edinburgh. 

DRUMMOND,  Samuel,  an  English  portrait  and 
historical  painter,  was  born  in  London  in  1765. 
He  studied  in  the  Royal  Academy,  of  which  he 
became  an  Associate  in  1808,  and  afterwards 
curator  of  the  Painting  School.  He  died  in  1844. 
Amongst  his  works  are  : 

Battle  of  Trafalgar. 

Death  of  Nelson. 

Admiral  Duncan   receiving  the  sword  of  Admiral  De 

Winter  (Greenwich  Hospital). 
Charles  Mathews,  the  elder. 
Richard  Parker,  leader  of  the  Nore  Mutiny. 
Sir  Isambard  Brunei  (National  Portrait  GallerT/). 
Mrs.  Fry  (Natioiud  Fortrait  Gallery). 

DUBBELS,  Hendrik  and  Dirk,  are  men- 
tioned by  Balkema,  as  being  found  in  the  cata- 
logues of  Hoet  and  Terwesten,  but  without  any 
information  as  to  their  family,  or  the  time  at  which 


they  lived.  He  speaks  of  a  '  River-scene  '  pamted 
in  the  manner  of  Willem  van  de  Velde,  of  a  '  Winter- 
piece  with  Skaters,'  which  was  sold  in  1773  under 
the  name  of  Pieter  Dubbels,  and  of  another,  sold 
in  Van  der  Linden  Slingelandt's  sale,  by  Hendrik 
Dubbels.  This  is  all  he  could  collect  among  his 
countrymen,  respecting  artiste  who  may  claim  rank 
with  the  best  of  their  school  as  marine  painters. 
In  the  incidental  notices  that  occur  of  Hendrik 
Dubbels,  he  is  by  some  called  the  master  of  Bak- 
huisen  ;  by  others,  the  scholar  ;  the  probability  is 
in  favour  of  the  former.  His  works  bear  little  or 
no  resemblance  to  those  of  Bakhuisen  or  Van  de 
Velde,  except  in  their  subjects;  they  are  more 
analogous  to  those  of  Van  de  Capelle.  In  the  Van 
der  Hoop  Collection  at  Amsterdam  is  one  of  great 
excellence,  and  many  others  are  to  be  found  in  rich 
collections  in  this  country,  which  fact  proves  that 
his  merit  has  been  appreciated,  though,  unfortu- 
nately for  his  reputation,  it  has  been  under  a  differ- 
ent name.  There  is  by  him  in  the  Amsterdam 
Museum  a  '  River  Scene,'  and  in  the  Copenhagen 
Gallery  is  a  '  Sea-piece.' 

DUBBELS,  Jan,  a  scholar  of  Bakhuisen,  painted 
marine  subjects  in  the  manner  of  his  master ;  he 
was  living  in  1715.  A  'Sea-piece'  in  the  Pitti 
Palace,  Florence,  and  a  '  Calm  Sea  '  in  the  Cassel 
Gallery  are  ascribed  to  him.  It  is  not  unlikely 
that  he  is  identical  with  Hendrili  Dubbels. 

DUBOIS,  Ambroise,  was  born  at  Antwerp  in 
1543.  Going  in  1568  to  Paris,  he  was  employed  at 
Fontainebleau  and  in  the  Louvre,  made  painter  in 
ordinary  and  '  varlet  de  chambre  '  to  the  king,  and 
naturalized  in  1601.  Having  been  appointed  painter 
to  Mary  de'  Medici  in  1606,  he  worked  at  the 
Luxembourg  during  her  regency.  Of  his  numerous 
works  at  Fontainebleau,  only  tho.se  in  the  chapel  of 
St.  Saturnin,  the  series  of  fifteen  pictures  of  the 
'  Loves  of  Theagenes  and  Chariclea  '  (one  of  which 
is  now  in  the  Louvre),  some  of  the  eight  subjects 
of  'Tancred  and  Clorinda,'  painted  for  the  bed- 
chamber of  Mary  de'  Medici  (one  of  which,  the 
'  Baptism  of  Clorinda,'  is  now  in  the  Louvre),  and 
a  few  fragments  on  canvas,  re-painted  in  the  time 
of  Louis  Philippe,  now  remain.  He  died  at  Fon- 
tainebleau in  1614.  Among  his  pupils  were  his  two 
sons,  Jean  and  Louis. 

DUBOIS,  B.,  (or  Dn  Bois,)  a  French  painter  of 
landscapes  and  an  etcher,  was  born  about  1620, 
and  from  his  etchings  is  supposed  to  have  been  a 
scholar  of  Claude  Lorrain.  Of  his  works,  which 
are  rare,  may  be  mentioned,  a  '  Landscape  with 
cattle,'  another  with  a  storm,  and  a  third  with  a 
shepherd  and  a  shepherdess. 

DUBOIS,  Charles,  a  French  painter  of  historical 
landscapes,  flourished  in  the  early  part  of  the  18th 
century.  He  was  a  native  of  Valenciennes,  and 
executed  some  works  for  the  church  of  St.  Gery  in 
that  city.  In  1734  he  sent  two  landscapes  to  the 
'  Exposition  de  la  Jeunesse  '  at  Paris. 

DUBOIS,  Edhard,  born  at  Antwerp  in  1622, 
was  a  scholar  of  an  obscure  artist  named  Groen- 
wegen.  He  afterwards  went  to  Italy,  and  was  for 
some  time  in  the  employment  of  Charles  Emmanuel, 
Duke  of  Savoy.  In  the  reign  of  William  III.  he 
came  to  England,  and  painted  landscapes  and 
portraits,  with  little  success.  He  died  in  London 
in  1699. 

DU  BOIS,  Elias,  a  native  of  France,  was  chiefly 
employed  in  engraving  portraits.  Among  others, 
he  engraved  one  of  the  Duke  of  Sully,  which  bears 
the  date  of  1614. 

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PAINTERS  AND  ENGRAVERS. 


the  novels  of  Sir  Walter  Scott,  and  of  several  other 
works.     He  died  in  Paris  in  1870. 

DUBOURG,  LODEWTK  FABEicins,  an  historical 
painter,  and  an  engraver,  was  born  at  Amsterdam 
in  1693,  and  died  there  in  1745.  He  was  a  scholar 
of  De  Lairesse  and  Jacob  van  Huysum.  After 
producing  several  beautiful  pictures,  some  of  which 
may  be  seen  at  the  Westerkerk,  and  the  New 
Church  at  Amsterdam,  he  exchanged  the  brush  for 
the  graver,  and  executed  some  pretty  vignettes 
and  other  small  compositions,  and  also  etched  a 
number  of  plates  from  his  own  designs.  His 
collection  of  pictures  and  drawings  was  sold  at 
Amsterdam  in  1776. 

DU  BOYS,  Heinrich,  an  historical  painter  of 
the  school  of  Rubens,  was  working  at  Cologne  up 
till  his  death  in  1628.  Several  of  the  churches  in 
that  city  possess  pictures  from  his  hand,  as  the 
'  Ascension  of  the  Virgin,'  '  St.  Mary  at  the  Capi- 
tol,' together  with  four  smaller  ones  fixed  to  the 
pillars  opposite  the  high  altar ;  the  '  Angel  of  the 
Annunciation,'  and  two  small  Saints,  in  the  church 
of  the  Holy  Virgin ;  and  the  'Taking  down  from 
the  Cross'  (1623)  in  that  of  the  Greater  St.  Martin. 

DU  BREUIL,  TonssAiNT,  a  French  painter  and 
pupil  of  Freminet  the  elder,  was  born  in  Paris  in 
1561.  He  painted  at  Fontainebleau  in  the  Pavilion 
des  Poesies,  '  Mars  and  Venus,'  and  fourteen  pic- 
tures representing  the  '  History  of  Hercules,'  and  in 
the  Galerie  des  Cerfs,  thirteen  bird's-eye  views 
of  royal  residences.  He  likewise  decorated  the 
Galerie  des  Rois  in  the  Louvre,  but  this  was  de- 
stroyed by  fire  in  1661.  There  are  many  drawings 
by  Du  Breuil  in  the  Louvre,  but  all  his  pictures 
seem  to  have  perished.     He  died  in  Paris  in  1602. 

DUBUFE,  Claude  Marie,  a  French  historical 
and  portrait  painter,  was  born  in  Paris  in  1790, 
and  studied  under  David.  His  subjects  were  at 
first  classical,  and  then  scriptural,  but  his  reputa- 
tion rests  chiefly  on  his  portraits,  of  which  be 
produced  a  large  number.  Dubufe,  who  was  the 
last  representative  of  the  school  of  David,  died 
at  Selle-Saint-Cloud  in  1864.  Amongst  his  chief 
works  are : 

A  Roman  suffering  starvation  with  his  family  rather 
than  touch  a  sum  of  money  entrusted  to  him.     1810. 

Christ  allaying  the  tempest.     1819. 

Apollo  and  Cyparissa.     1822. 

The  Birth  of  the  Duke  of  Bordeaux.    1824.    (Orleans 
Museum.) 

The  Passage  of  the  Bidassoa.     1824. 

Four  frescoes  representing  '  Egypt,'  &c.  {Conseil  (TEtat, 
Fans.) 

The  Surprise.    1828.     {National  Gallery,  London.) 

Portrait  of  Louis  PhiHppe. 

„        „  General  Montesquiou-Fezenzac  ( Versailles). 
.,        „   Nicholas  Koechlin.     1841. 
„        „   the  Queen  of  the  Belgians. 

DUBUFE,  LoDis  Edodaed,  a  French  portrait 
painter,  the  son  of  Claude  Marie  Dubufe,  was  bom 
in  Paris  in  1820.  He  was  a  pupil  of  his  father 
and  of  Paul  Delaroche,  and  made  his  d^but  at  the 
Salon  of  1839,  with  an  '  Annunciation,'  and  a 
'Huntress.'  His  earlier  works  were  mostly  of  a 
religious  character,  the  chief  of  them  being  '  Christ's 
Entry  into  Jerusalem'  (1845),  and  two  scenes  from 
'Clarissa  Harlowe '  (1847),  but  from  1848  he  de- 
voted himself  almost  exclusively  to  portraiture, 
for  which  he  possessed  a  talent  like  that  of  his 
father.  Among  his  best  known  portraits  are  those 
of  the  Empress  Eugenie,  the  Princess  Mathilde, 
Madame  Roul  ler,  the  Princess  Ghika,  General  Fleury, 
the  Count  of  Nieuwerkerke,  M.  Gounod,  Jules  Ja- 
niu,  Alexandre  Dumas  the  younger,  Emile  Augier, 


and  Philippe  Rousseau,  the  painter.  His  large 
picture  of  the  'Congress  of  Paris  in  1856,'  now  at 
Versailles,  the  '  Prodigal  Son,'  exhibited  in  the 
Salon  of  1866,  and  the  '  Death  of  Adonis,'  in  that  of 
1877,  are  the  most  important  of  his  otlier  works. 
He  died  at  Versailles  in  1883. 

DUG,  Anton,  who  flourished  in  the  middle  of  the 
17th  century,  would,  but  for  two  or  three  works  by 
him  which  are  known,  have  remained  in  obscurity. 
One  signed  A.  Doc  is  in  the  Vienna  Gallery ;  it 
represents  a  '  Lady  and  Gentleman  asking  mercy 
of  some  infantry  ofiBcers,  who  are  plundering  their 
house.'  Another,  of  a  similar  character,  is  in  the 
Dresden  Gallery ;  it  bears  the  monogram  L.  D. 
(interlaced),  and  represents  a '  Peasant  and  his  Wife 
begging  for  mercy  of  a  soldier  who  threatens  the 
life  of  the  husband.'  The  Marquis  of  Bute  pos- 
sesses a  third:  a  'Guard- Room,  with  ladies  and 
ofBcers  playing  trio-trac'  These  works  are  well 
executed  in  the  style  of  Palamedes. 

DUC,  Jacob.    See  Ddck. 

DUCCI,  ViRGiLio,  a  scholar  of  Albani,  flourished 
about  1660  ;  he  imitated  the  manner  of  his  master, 
and  painted  in  the  cathedral  of  Citta  di  Castello 
two  pictures  of  Tobias,  which  are  said  to  be 
executed  in  an  elegant  style. 

DUCCIO,  the  son  of  Buoninsegna,  was  the  first 
of  the  Sienese  painters  who  abandoned  the  Byzan- 
tine manner.  He  is  said  to  have  been  born  about 
1260,  but  the  earliest  mention  of  him  is  in  1282. 
He  is  also  reported  to  have  been  a  pupil  of  Segna 
di  Buenaventura,  but  the  works  of  the  latter,  and 
their  dates,  which  are  between  1305  and  1326, 
show  him  to  have  been,  on  the  contrary,  Duccio's 
scholar.  In  1285  he  made  a  contract  with  the 
Fraternity  of  Santa  Maria  in  Florence  to  paint  an 
altar-piece  of  the  'Virgin  and  Child,  with  Saints,' 
for  their  chapel  in  Santa  Maria  Novella,  but  this 
picture  and  the  '  Annunciation,'  which  he  painted 
for  Santa  Triniti  in  Florence,  no  longer  exist. 
In  1302  he  painted  a  '  Madonna '  for  the  chapel  of 
the  Palazzo  Pubblico  of  Siena,  which  is  now  lost. 
In  1308  he  commenced  his  famous  altar-piece  for 
the  high  altar  of  the  cathedral  of  Siena,  which  was 
finished  and  carried  to  its  place  with  great  cere- 
mony in  1311.  For  this  painting  he  had  agreed 
to  be  paid  at  the  daily  rate  of  sixteen  soldi,  but, 
owing  to  the  enormous  amount  of  gold  and  ultra- 
marine expended  on  it,  the  cost  mounted  up  to 
2000,or,;as  others  say,  3000  gold  florins.  This  picture 
was  fourteen  feet  long,  by  seven  feet  high,  and 
was  painted  on  both  sides — the  front  showing  the 
'  Virgin  and  Child,  surrounded  by  various  Saints 
and  Angels '  ;  and  the  back  twenty-seven  subjects 
from  the  life  of  Christ.  These  latter  designs  were 
paid  for  by  a  separate  contract,  which  is  likewise 
preserved,  at  the  rate  of  two  and  a  half  gold  florins 
each.  It  has  now  been  moved  from  its  original 
position,  and  the  two  portions  of  which  it  consisted 
have  been  separated  and  hung  "in  the  Gallery  of  the 
Opera  del  Duomo"  of  the  cathedral.  It  is  the  only 
undoubted  work  by  Duccio  which  remains.  Th& 
date  of  Duccio's  death  is  unknown,  but  it  was  pro- 
bably soon  after  1339.  His  pupils  were  Segna, 
IMartini,  the  two  Lorenzetti,  and  perhaps  Ugolino.^ 
The  following  paintings  are  also  ascribed  to  him : 

Cologne.   Bamhoux  Coll.  St.  John  the  Baptist  preaching. 
Two  panels :  St.  Peter  and  St. 

London.    National  Gall.  The  Madonna  and  Child,  with 
Angels  ;  and  David  with  six 
Prophets  above;  SS.  Dominic 
93 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  Catharine  on    the   doors. 
(A  triptych.) 
Siena.       Academy.         Triptych — The  Virgin,  Child,  and 
Saints. 
„  „  Virgin    and    Child,    with    four 

Saints. 
„   Hospital  of  Santa    Triptych— The  Flagellation,  The 
Maria  delta  Scala,      Crucifixion,  The    Entombment 
{spoiled  hy  restoration). 
Windsor.         Castle.        An  Altar-piece:    the  Virgin  aud 
Child,  the  Crucifixion,  and  other 
subjects. 

DUCERCEAU,  Jacques  Androuet.     See  An- 

DROUET-DUCEECEAU. 

DUCHANGE,  Gaspard,  a  French  engraver, 
was  born  in  Paris  in  1662.  He  was  a  pupil 
first  of  Guillaume  Vallet  and  afterwards  of  Jean 
Audran,  and  was  received  into  the  Academy  in 
1707.  He  died  in  Paris  in  1757.  Duchange  may 
be  ranked  among  the  ablest  artists  of  his  country, 
particularly  for  the  mellowness  and  harmony  with 
which  he  has  combined  his  etching  with  a  taste- 
ful management  of  the  graver.  His  plates  after 
Correggio  are  peculiarly  expressive  of  the  admir- 
able style  of  that  painter.  The  number  of  his 
works  is  considerable  ;  the  following  are  the  most 
esteemed : 

portkaits. 

Fran9ois  Girardon ;   after  Rigaud ;  presented  for  his 
reception  into  the  Academy  in  1707. 

Charles  de  La  Fosse,  painter ;  after  the  same  ;  presented 
upon  the  same  occasion. 

Antoiue  Coypel,  with  his  Son ;  after  a  picture  by  him- 
self. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

Jupiter  and  lo ;  after  Correggio. 

Jupiter  and  Danae  ;  after  tin  same. 

Jupiter  and  Leda ;  after  the  same. 

[The  best  impressions  of  the  above  fine  prints  are  before 

the  name  of  Sornique,  who  retouched  the  plates,  and 

added  draperies.] 
The  Entombment  of  Christ :  after  Paolo  Veronese. 
Mary  Magdalen  washing  the    Feet  of  Christ     after 

Jouvenet. 
Christ  driving  the  Buyers  and  Sellers  from  the  Temple ; 

after  the  same. 
The  Sacrifice  of  Jephtha  ;  after  A.  Coypel. 
Tobit  recovering  his  Sight ;  after  the  same. 
Venus  sleeping,  with  three  Loves  and  a  Satyr ;  after  the 

same. 
The  Death  of  Dido ;  after  the  same. 
The  Bath  of  Diana  ;  after  the  same. 
Solon  explaining  his  Laws  to  the  Athenians ;  after  iV. 

Coypel. 
Trajan  dispensing  Justice  to  the  People;  after  the  same. 
Diana  disarming  Cupid  ;  after  Desormeaux. 
The  Birth  of  Mary  de'  Medici ;  after  Ruhens. 
The  Landing  of  Mary  de'  Medici  at  MarseUles ;  after 

the  same. 
The  Marriage  of  Henry  IV.  and  Mary  de'  Medici ;  after 

the  same. 
The  Apotheosis  of  Henry  IV.  and  Kegeucy  of  Mary  de' 

Medici ;  after  the  same. 
The  Interview  of  Mary  de'  Medici  and  her  son,  Louis 

XIU. ;  after  the  same. 
The  five  last  plates  were  engraved  for  the  Luxembourg 
Gallery. 

DUCHATEL,  FRANgois,  (or  Du  Chastel,)  a 
Flemish  painter,  born  at  Brussels  in  1616,  is  said 
to  have  been  a  pupil  of  David  Teniers  the  younger, 
whose  style  he  followed  in  some  of  his  pictures, 
representing  village  festivals ;  but  he  is  more  known 
for  his  small  family  portraits  and  conversations 
in  the  manner  of  Gonzales  Coques,  and  his 
pictures  are  not  unfrequently  taken  for  those  of 
that  master.    He  is  said  to  have  worked  also  in 

94 


Paris  in  conjunction  with  Van  der  Meulen.  His 
most  considerable  work  is  a  large  picture  in  the 
Museum  at  Ghent,  representing  '  The  Inaugura- 
tion of  Charles  II.,  King  of  Spain,  as  Count  of 
Flanders,  in  1666,  in  the  Marche  au  Vendredi  at 
Ghent;  '  it  is  dated  1668,  and  has  been  engraved 
by  Lucas  Vorsterman.  Duchatel's  works  are  very 
rare :  there  is  in  the  Louvre  '  A  Cavalier  and  two 
other  persons  ; '  in  the  Museum  at  Avignon,  '  The 
Interior  of  a  Guard-House;'  in  the  Brussels  Gallery, 
'  Portraits  of  two  little  Girls ; '  and  in  the  Copen- 
hagen Gallery, '  Tric-Trac  Players.'  The  '  Panorama 
of  Valenciennes,'  in  the  Antwerp  Gallery,  though 
ascribed  to  Teniers,  is  set  down  by  some  critics  to 
Duchatel.     He  died  in  1694. 

DUCHEMIN,  Catherine,  a  French  flower  and 
fruit  painter,  was  born  in  Paris  in  1630,  and  died 
there  in  1698.  She  married,  in  1657,  the  sculptor 
Girardon,  and  in  16G3  was  received  into  the  Aca- 
demy, being  the  first  lady  on  whom  this  honour 
had  been  conferred. 

DUCHESNE,  Jean  Baptiste  Joseph,  known  as 
Duchesne  de  Gisors,  a  French  painter  of  minia- 
tures and  enamels,  was  born  at  Gisors  in  1770.  He 
was  the  son  of  Jean  Baptiste  Duchesne,  a  sculptor, 
and  a  pupil  of  Vincent.  He  exhibited  at  first  under 
the  name  of  Duchesne,  afterwards  under  that  of 
Duchesne  des  Arqilleus,  and  finally,  from  1833 
until  his  death,  under  that  of  Duchesne  de  Gisors. 
He  died  at  Gisors  in  1856. 

DUCHESNE,  Nicolas,  who  was  first  painter  to 
the  Queen  Mother,  Mary  de'  Medici,  was  a  mediocre 
painter  in  all  but  the  direction  of  others.  He  was 
superintendent  of  the  decorative  works  at  Fon- 
tainebleau,  where  he  maltreated  all  the  artists  in 
his  charge.     He  died  in  1627. 

DUCHINO.     See  Landriani. 

DUCHTL,  Martin.     See  Dichtl. 

DUCIS,  Louis,  born  in  Paris  in  1773,  was  in- 
structed by  David,  whom  he  partly  imitated  in  his 
liistorical  pieces,  besides  which  he  devoted  himself 
also  to  genre  and  portrait  painting.  His  'Mary 
Stuart '  and  '  The  D6but  of  'Talma  '  were  formerly 
in  the  Luxembourg  Gallery.     He  died  in  1847. 

DUCK,  Jacob,  a  Dutch  genre  painter,  entered 
the  Guild  of  St.  Luke  at  Utrecht  in  1626.  He 
gave  a  picture,  representing  a  musical  reunion,  to 
the  hospital  of  St.  Job  in  that  city.  He  painted 
military  conversation  pieces  in  the  taste  of  Jan  Le 
Ducq,  but  with  less  delicacy  of  touch  and  finish ; 
they  are  nevertheless  of  great  beauty.  His  paint- 
ings are  to  be  met  with  at  Vienna,  at  Dresden,  and 
at  Christiania,  where  there  is  also  an  etching  by 
him  of  the  '  Adoration  of  the  Kings.'  Many  writers 
state  that  this  artist  was  the  father  of  Jan  Le 
Ducq,  but  this  is  extremely  doubtful,  as  well  by 
reason  of  the  variation  in  the  name,  as  by  the  fact 
that  Jan  Le  Ducq  is  known  to  have  been  born  at 
Haarlem  in  1636,  whereas  Jacob  Duck  resided 
constantly  at  Utrecht  from  1626  to  1646. 

pUCORNET,  Louis  CiSsar  Joseph,  a  French  his- 
torical painter,  was  born  of  poor  parentage  at  LiUe, 
in  1806.  He  was  deformed  from  his  birth,  having 
neither  arms  nor  thighs,  and  only  four  toes  to  his 
right  foot.  While  still  a  child,  he  used  to  pick  up 
pieces  of  charcoal  from  the  floor  with  his  toes,  and 
made  rough  sketches  on  the  wall,  which  evinced  so 
much  promise  that  he  received  some  local  in- 
struction. By  the  help  of  the  municipality  of 
Lille,  he  was  sent  to  Paris,  studied  under  Letliiere 
and  Gerard,  and  for  a  time  received  a  pension.  He 
died  in  Paris  in  1856.     His  chief  pictures  are : 


PAINTERS  AND  ENGRAVERS. 


Repentance.    1828. 

The  Parting  of  Hector  and  Andromache.  {Lille Museum.) 

St.  Louis  admiuistoring  Justice.     {Lille  Museum.) 

Death  of  Mary  Magdalen.     1840.     {St.  Andre,  Lille.) 

The  Repose  in  Egypt.     1841. 

Christ  in  the  Sepulchre.     1843. 

Edith  finding  the  body  of  Harold.     1855. 

DUCORRON,  Jdles,  a  Belgian  landscape  painter, 
was  born  at  Ath  in  1770.  At  the  age  of  thirty-two, 
he  devoted  himself  to  the  art  of  painting  under  the 
direction  of  Ommeganck,  and  made  marvellous 
progress  as  a  landscape  painter,  obtaining  several 
gold  medals.  He  was  afterwards  director  of  the 
Academy  at  Ath,  where  he  died  in  1848.  The 
Brussels  Museum  has  by  him  a  '  View  in  tlie  neigh- 
bourhood of  Irclionwelz,  near  Chievres,  Hainault,' 
and  a  '  Gale  of  Wind  at  Sunset.' 
DUCQ,  Jan  Le.  See  Le  Ddcq. 
DUCQ,  JosEPHDS  Feancisods,  a  Flemish  historical 
and  portrait  painter,  was  born  at  Ledeghem  in 
1763.  He  studied  at  Bruges,  and  then  under  Suv^e 
in  Paris,  where  he  obtained  the  second  grand 
prize  in  1800,  and  a  medal  in  1810.  He  also  spent 
a  considerable  time  in  Italy,  but  returned  to  Bruges 
in  1815,  and  became  a  professor  in  the  Academy. 
He  died  at  Bruges  in  1829.  Amongst  his  chief 
works  are : 

Meleager.     1804. 

Devotion  of  a  Scythian.     1810. 

Marriage  of  Angelica  and  Medora.     1812. 

Venus  emerging  from  the  Sea.    {Brussels  Museum.) 

"WilJiam  I.,  King  of  the  Netherlands.  {Bruyes  Academy.) 

Van  Gierdergom.     {Bruges  Academy.) 

DDCREUX,  Joseph,  a  French  portrait  painter, 
was  born  at  Nancy  in  1737.  He  engraved  his  own 
portrait  in  three  different  characters,  which  were 
published  in  London  in  1791,  but  he  died  in  Paris 
in  the  same  year. 

DUCROS,  PiEEBE,  a  Swiss  landscape  painter  in 
oil  and  water-colours,  and  an  engraver,  was  born 
in  1748.  He  lived  for  a  considerable  time  at  Rome, 
and  painted  views  of  that  city  and  its  environs.  He 
executed  in  a  masterly  manner  twenty-four  views 
of  Sicily  and  Malta,  besides  numerous  drawings 
made  during  his  sojourn  in  Italy,  some  of  which 
are  of  large  dimensions.  He  died  at  Lausanne  in 
1810. 

DUDERSTADT,  Heinrich  von,  is  said  to  have 
painted  in  the  church  of  the  Paulines  at  Gottingen, 
in  1424,  the  large  altar-piece  which  is  now  in  the 
library  of  that  church.  It  represents  scenes  from 
the  life  of  the  Virgin  and  the  Passion,  and  is 
signed,  frater  Ms.  Dudstadens. 

DUDLEY,  Thomas,  an  Enghsh  engraver,  was 
born  about  the  year  1634.  He  was  a  pupil  of 
Hollar,  and  though  greatly  inferior  to  that  cele- 
brated artist,  his  prints  are  not  without  consider- 
able merit.  He  engraved  a  set  of  twenty-seven 
plates  for  Barlow's  '  Life  of  .ffisop,'  published  in 
1687,  as  well  as  the  following  portraits : 

Richard  Russell,  Bishop  of  Portalegre. 
James  Sharpe,  Bishop  of  St.  Andrew's. 
Titus  Oates. 

DUETECUM,  Baptista,  (or  Doetechum,)  who 
flourished  from  about  1614  to  1646,  was  probably 
a  son  of  either  Joannes  or  Lucas  van  Duetecum. 
He  engraved  a  set  of  plates  representing  the 
various  habits  and  manners  of  the  Indians.  They 
are  executed  entirely  with  the  graver,  in  a  stiff, 
indifferent  style. 

DUETECUM,  Joannes  and  Lucas  van,  (or 
DOETECHDM,)  who  flourished  respectively  from 
about  1659  to   1585  and  1596,  were   natives   of 


Holland,  and  are  supposed  to  have  been  brothers. 
They  etched  conjointly,  in  a  bold  masterly  manner, 
several  large  prints,  representing  the  pompous 
funeral  of  the  Emperor  Charles  V. 

DU  FAUR,  Cheistian  Wilhelm  von  Fabeb. 
See  Faber  nn  Faur. 

DUFFEIT,  Geraert.     See  Douffet. 

DUFFIELD,  William,  a  painter  of  flowers, 
fruit,  and  still-life,  was  born  at  Bath  in  1816.  He 
studied  under  George  Lance,  and  afterwards  in 
the  schools  of  the  Royal  Academy,  and  under 
Wappers  at  Antwerp.  His  early  works  were 
portraits,  but  in  1849  he  sent  to  the  Royal 
Academy  a  fruit-piece,  his  first  exhibited  work, 
and  continued  to  exhibit  there  and  at  the  Society 
of  British  Artists  a  number  of  pictures  of  a  very 
high  degree  of  excellence.  He  settled  in  London 
in  1857,  and  died  there  in  1863.  He  married,  in 
1850,  Mary  Elizabeth  Rosenberg,  of  Bath,  who 
is  well  known  as  a  water-colour  painter  of  flowers, 
birds'  nests,  and  fish. 

DUFLOS,  Claude,  a  French  engraver,  was  born 
in  Paris  about  1662,  and  died  in  the  same  city 
in  1727.  It  is  not  known  by  whom  he  was  in- 
structed, but  his  style  resembles  that  of  Fran9ois 
Poilly.  We  have  by  this  artist  a  great  number 
of  plates,  executed  principally  with  the  graver, 
and  very  neatly  finished.  The  following  are  the 
most  deserving  of  notice  : 

PORTRAITS. 

Philip,  Duke  of  Orleans ;  after  R.  Tournieres. 
Jean  Francois  Paul  de  Gondy,  Cardinal  de  Retz. 
Denis  Francois  de  Chavigny,  Bishop  of  Troyes. 
Nicolas  Lyon,  Procureur  du  Roi ;  after  Herluyson. 
Jean  Jacques  Gaudart,  Conseiller  du  Roi ;  after  Largil- 

liere. 
Marc  Rene  de  Voyer ;  after  Hyacinthe  Rigaud, 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Entombment  of  Christ ;  after  P.  Feruyino  ;  tor  the 

Crozat  Collection. 
The  same  subject ;  after  Raphael. 
St.  Michael  discomfiting  the  Evil  Spirit ;  after  the  same; 

for  the  Crozat  Collection. 
Christ   with  the  Disciples   at   Emmaus;    after   Faolo 

J'eronese;  for  the  Crozat  Collection. 
The  Adulteress  before  Christ ;  after  JV.  Colomhel. 
Christ  at  table  with  the  Disciples  ;  after  Titian. 
Bust  of  the  Virgin  ;  after  Guido. 
The  Annunciation  ;  after  Allani. 
Christ  appearing  to  Mary  Magdalen  ;  after  the  same. 
St.  CecUia ;  after  P.  Miynard. 
The  Presentation  in  the  Temple';  after  Le  Sueur. 
The  Descent  from  the  Cross  ;  after  the  same. 
The  Murder  of  the  Innocents  ;  after  Le  Brun. 
Christ  on  the  Mount  of  Olives ;  after  the  same. 
The  Crucifixion  ;  after  the  same. 
The  same  subject;  after  the  same;  from  the  print  Dy 

£delinck. 
The  Dead  Christ,  with  the  Virgin  and  St.  John ;  after 

the  same. 
The  Descent  of  the  Holy  Ghost ;  after  the  same. 
The  Assumption  of  the  Virgin ;  after  the  same. 
The  Penitent  Magdalen  ;  after  the  same. 
The  Annunciation  ;  after  A.  Coy  pel. 
The  Crucifixion  ;  after  the  same. 

The  Magdalen  at  the  foot  of  the  Cross ;  after  the  same, 
A  Concert ;  after  Domenichino. 
The  Triumph  of  Galatea  ;  after  the  same, 
Cupid  stung  by  a  Bee  ;  after  the  same. 
The  same  subject ;  smaller  and  circular. 
Bacchus  and  Ariadne  ;  after  the  same. 
The  Triumph  of  Bacchus ;  after  C.  Naioire. 
The  Triumph  of  Amphitrite ;  after  the  same. 

DUFLOS,  Claude  Augustin,  the  son  of  Claude 
Duflos,  and,  like  his  father,  an  engraver,  was  born 

96 


A  BIOGRAPHICAL  DICTIONARY  OF 


in  1700.  He  is  supposed  to  have  died  in  1784  or 
1785. 

DUFLOS,  Francois  Philoth^e,  a  painter  and 
engraver,  was  born  in  Paris  about  1710.  He 
studied  under  De  Troy,  gained  the  '  prix  de 
Rome'  in  1729,  lived  for  some  time  in  Italy,  and 
in  1740  painted  his  own  portrait  for  the  Uffizi. 
He  died  at  Lyons  in  1746. 

DU  FOUR,  N.,  was  a  native  of  France,  who 
flourished  about  the  year  1760.  Among  other 
prints,  he  engraved  several  small  plates  after 
Weirotter  and  other  masters. 

DU  FRESNE,  Charles,  a  French  engraver, 
executed  some  copies  of  the  works  of  Callot  and 
Albrecht  Diirer,  besides  a  few  other  plates,  among 
which  was  'The  Interview  between  St.  Nilus  and 
the  Emperor  Otho  III.,'  after  Domenichino.  He 
flourished  from  about  1791  to  the  early  years  of 
the  19th  century. 

DU  FRESNOY,  Charles  Alphonse,  is  perhaps 
more  celebrated  for  his  poem  on  the  art,  than  for 
his  merit  as  a  painter.  Born  in  Paris  in  1611,  he 
was  destined  by  his  father,  who  was  an  apothecary, 
to  the  practice  of  physic,  and,  with  that  intention, 
he  received  the  best  education  possible.  Bis 
progress  in  his  studies  was  more  than  usually 
promising ;  he  soon  became  well  versed  in  the 
classics,  and  at  an  early  period  of  his  life  showed 
a  marked  genius  for  poetry.  His  love  of  paint- 
ing was  not  less  conspicuous ;  and  when  he  was 
eighteen  years  of  age  he  placed  himself  under 
the  tuition  of  Fran9ois  Perrier,  and  afterwards 
entered  the  school  of  Simon  Vouet.  After  study- 
ing under  these  masters  for  about  three  years,  he 
formed  the  project  of  visiting  Italy,  although 
without  any  other  resources  than  what  he  could 
derive  from  the  exercise  of  his  talent.  On  his 
arrival  at  Rome,  his  first  attempts  were  views 
of  the  buildings  and  architectural  ruins  in  the 
vicinity  of  that  city,  which,  though  not  without 
merit,  he  had  great  difiSculty  in  introducing  to 
public  notice.  He  languished  at  Rome  for  two 
years,  in  indigence  and  obscurity,  when  Pierre 
Mignard,  who  had  been  his  fellow-student  under 
Vouet,  arrived  there.  The  meeting  of  the  young 
friends  was  most  cordial,  and  from  that  moment 
an  attachment  sprang  up  which  existed  during  the 
remainder  of  their  lives.  Mignard,  who  was  the 
more  successful,  divided  with  his  friend  his  earn- 
ings ;  and  although  he  possessed  greater  facility 
than  Du  Fresnoy,  he  was  frequently  assisted  by  the 
counsels  of  his  friend,  and  his  perfect  acquaintance 
with  the  theory  of  the  art,  of  which  he  has  given 
ample  proof  in  his  poem,  '  De  Arte  Graphica.' 
The  Cardinal  of  Lyons  employed  them  in  copying 
the  works  of  Annibale  Carracci,  in  the  Farnese 
gallery ;  and  they  were  most  assiduous  in  their 
studies  after  Raphael  and  the  antique.  Felibien 
has  given  a  particular  account  of  his  works  at 
Rome,  of  which  the  following  are  the  principal : 
'The  Ruins  of  Campo  Vaccino  ; '  'A  young  Athe- 
nian visiting  the  Tomb  of  her  Lover  ; '  '  The  filial 
Piety  of  .lEneas  ; '  '  Mars  finding  Lavinia  sleeping 
on  the  Banks  of  the  Tiber,'  one  of  his  best  pictures; 
'  The  Birth  of  Venus,'  and  '  The  Birth  of  Cupid.'  In 
1653  he  left  Rome  to  return  to  France,  by  way  of 
Venice,  where  he  was  so  struck  with  the  works  of 
Titian,  that  he  wrote  to  his  friend  to  rejoin  him  in 
tliat  city,  and  there  he  remained  eighteen  months, 
profiting  greatly  by  his  studies.  In  1656  he 
returned  to  Paris,  where  he  painted,  among  other 
works,  a  picture  of  '  St.  Margaret,'  for  the  church 

96 


dedicated  to  that  saint,  a  saloon  in  the  ChSteau 
Raincy,  and  four  landscapes  in  the  Hotel  d'Hervart, 
afterwards  the  Hotel  des  Postes,  in  which  the  figures 
were  painted  by  Mignard.  The  remainder  of  his 
life  was  employed  in  preparing  for  publication  his 
poem,  which,  however,  did  not  appear  until  three 
years  after  his  death.  He  died  at  Villiers-le-Bel, 
near  Paris,  in  1665.  There  are  in  public  galleries 
the  following  paintings  by  him : 

Paris.  Louvre.     St.  Margaret. 

„  „  Naiads. 

Vienua.     Czemin  Coll.    The  Vision  of  Alcmene. 

DUGGAN,  Peter  Paul,  a  native  of  Ireland,  went 
while  quite  young  to  America.  He  afterwards  re- 
turned to  England,  and  resided  for  some  years  near 
London,  but  died  in  Paris  in  1861.  He  painted 
portraits  in  oil,  but  more  often  worked  in  crayons. 

DUGHET,  Gaspard,  (commonly  called  Gaspard 
PonssiN,  or  Le  Guasfre,)  was  born  at  Rome  in 
1613.  His  parents  Were  French  subjects,  who  had 
settled  in  the  Eternal  City.  They  appear  to  have 
been  people  of  a  kindly  disposition,  for  about  1629 
they  received  into  their  house  their  fellow-country- 
man, Nicolas  Poussin,  then  a  lonely  and  friendless 
student  in  Rome,  and  nursed  him  tenderly  through 
a  dangerous  illness.  This  friendship  brought 
about  the  great  painter's  marriage  with  a  daughter 
of  his  hosts.  Nay  more,  Poussin,  seeing  the  in- 
clination of  the  young  Gaspard  towards  art,  took 
him  as  his  pupil,  and  for  three  years  carefully 
superintended  his  instruction.  Dughet  owed  much 
to  the  solid  foundation  thus  laid  by  his  brother-in- 
law,  and  he  ever  proved  himself  a  most  devoted 
disciple.  He  was  fond  of  hunting,  fishing,  and 
out-door  sports,  and  did  not  fail  to  profit  by  the 
opportunities  thus  afforded  him  of  studying  nature, 
and  enriching  his  knowledge  of  her  ever-changing 
aspects.  After  leaving  Poussin's  studio,  his'inde- 
pendent  nature  led  him,  though  scarcely  yet  twenty, 
to  set  up  for  himself  ;  and  the  progress  he  made  in 
his  art  soon  brought  patronage. 

He  spent  a  year  at  Perugia  and  Castiglione  with 
the  Duke  della  Cornia,  who  treated  him  with  great 
consideration,  and  escorted  him  back  to  Rome  at 
the  conclusion  of  his  visit.  With  another  patron 
he  made  a  trip  to  Milan,  and  after  a  severe  illness 
the  Duke  della  Cornia  took  him  away  again  for  the 
recovery  of  his  health,  and  procured  him  many 
commissions.  This  trip  was  followed  by  visits  to 
Florence,  where  he  painted  some  decorative  works 
at  the  Pitti  Palace,  and  to  Naples,  before  he  once 
more  settled  down  in  Rome. 

This  point  may  be  said  to  mark  the  conclusion  of 
the  first  period  of  Dughet's  art,  during  which  the 
works  produced  by  him  are  to  be  distinguished  by 
a  coldness  and  certain  want  of  freedom.  He  now 
came  under  the  influence  of  Claude  Lorrain,  at 
this  time  in  the  zenith  of  his  fame  at  Rome.  The 
study  of  his  works  had  a  most  beneficial  effect  on 
Dughet,  and  to  it  is  due  the  warmth  and  mastery 
over  light  and  air  observable  in  the  works  of 
his  maturer  period.  He  never  married,  and  with 
the  exception  of  time  given  to  sport  and  social 
pleasures — he  was  not  a  hermit-bachelor,  but  loved 
the  society  of  genial  spirits — his  life  was  devoted 
to  the  pursuit  of  his  art.  The  better  to  enable 
him  to  study  the  scenery  of  Rome  and  his  loved 
Campagna,  from  which  the  subjects  of  the  majority 
of  his  pictures  were  taken,  he  had  four  houses  at 
which  he  spent  his  time :  two  in  elevated  situa- 
tions in  Rome  itself,  one  at  Tivoli,  and  another  at 
Frascati.      The  facility   of    execution  which   he 


PAINTERS  AND  ENGRAVERS. 


acquired  was  marvellous,  and  he  is  said  to  have 
required  only  one  day  to  finish  a  large  picture. 
Hence  his  works  are  almost  innumerable,  and 
specimens  are  found  in  nearly  all  the  public  and 
private  collections  of  Europe.  Besides  easel  works, 
he  found  time  also  to  execute  in  fresco  subjects 
from  the  life  of  the  prophet  Elias  at  the  Carmelite 
Church  of  San  Martino  ai  Monti  at  Rome.  His 
finest  works  are  in  the  Doria  Palace,  and  others  are 
in  the  Colonna  and  Borghese  Palaces.  It  should 
not  be  forgotten  that  he  received  much  assistance 
from  his  brother-in-law,  from  Pietro  da  Cortona, 
from  Filippo  Lauri,  and  from  many  others,  in  the 
figures  introduced  into  his  compositions ;  but  this 
consideration  is  in  no  way  sufficient  to  remove 
the  feeling  of  surprise  at  his  wonderful  fertility. 
Amongst  bis  pupils,  the  chief  names  are  those  of 
Crescenzio  di  Onofrio,  Vincentio,  and  Jacques  De 
Rooster  of  Mechlin.  During  his  life  he  had  saved 
30,000  Roman  crowns;  but  his  generous  habits,  and 
an  illness  of  two  years  before  his  death,  which  took 
place  at  Rome  in  1675,  did  not  leave  more  than 
sufficient  to  provide  for  his  honourable  burial. 

In  a  brief  summary  of  Dughet's  characteristics, 
his  partiality  for  quiet  lights  should  first  be  men- 
tioned. He  excels  in  the  representation  of  effects 
before  sunrise,  and  in  the  reproduction  of  the 
peaceful  tones  of  evening.  But  his  great  strength 
lies  in  the  portrayal  of  tempests.  D'Argenville 
observes  that  no  painter  before  him  had  been  able 
to  reproduce  the  effects  of  wind  and  storm  in 
his  pictures:  the  leaves  seem  to  move,  and  the 
trees  cease  to  be  inanimate  objects  under  his  brush. 
His  works  now  convey  an  impression  of  great 
grandeur  and  solemnity,  and  this  sombreness  has 
probably  increased  in  the  course  of  years  by  his 
predilection  for  painting  on  a  dark  ground. 

The  drawings  which  he  left  are  very  finished  in 
execution:  some  are  outlined  with  the  pen,  and 
tinted  with  bistre  or  Indian  ink :  others  are  drawn 
with  the  pencil  and  touched  up  with  white,  or 
occasionally  with  black.  There  are  also  eight 
etchings  by  him,  four  of  which  are  oval,  inscribed 
with  the  Italian  form  of  his  name,  Gasparo 
Duche  inv.  sc,  Bomae,  or  G.D.s.-,  or  Gasp.  Dughet 
sculpsit. 

Tlie  following  is  a  list  of  some  of  the  pictures  by 
which  he  is  represented  in  the  chief  collections  of 
Europe : 


Bel  voir  Castle. 

if  )» 

Brocklesby  Park. 
Cambridge 


ENGLISH   GALLERIES. 

Christ  and  the  Disciples  going  to 

Emmaus. 
Two  other  Landscapes. 
St.  Jerome. 
Five  other  Landscapes. 


icilliam  >  Landscape. 


Museum.} 
Castle  Howard.  Three  Landscapes. 

Chatsworth  House.  ~' 

Clumber  Park. 
Corsham  House. 
Dulwich.  Gallery. 


Five  Landscapes. 
Three  Landscapes. 
Landscape,  Storm. 
Destruction  of  Niobe. 
Conversion  of  St.  Paul. 
Three  other  Landscapes. 
Land  Storm. 
Hampton  Court.  Palace.  Christ's  Agony  in  the  Garden. 
,»  „         The   Angels    appearing    to    the 

Shepherds. 
Two  Landscapes. 
Two  Landscapes. 
Abraham  and  Isaac. 
Dido  and  jEneas. 
Four  other  Landscapes. 


Edinburgh.    Nat.  Gal, 


Isleworth.  Sion  House. 
Knowsley  Hall. 
London.  National  Gal. 


London.    Bridgewater ) 
House.  ] 

„         Buckingham } 
Palace.     } 
„  Grosvenor 

House. 

jy  )» 

„  Dorchester  \ 

House,   J 

„      Stafford  House. 

„    Hertford  House. 

„  Bath  House. 

Longford  Castle. 
Osterley  Park. 
Panshanger  House. 
Petworth  House. 
Wardonr  Castle. 
"We  I  beck  Abbey. 
Wilton  House. 
"Windsor.  Castle. 


A  Storm. 

Three  other  Landscapes. 

Landscape. 

View  of  Tivoli  and  the  Temple  of 

the  Sybil. 
Two  other  Landscapes. 

Four  Landscapes. 

Landscape. 
View  of  Tivoh. 
Landscape. 
Two  Landsc-apes. 
Four  Landscapes. 
Two  Landscapes, 
One  Landscape. 
Two  Landscapes. 
Landscape. 
Landscape. 

Jonah  {Jiyures  hy  N.  Poussin). 
Landscape,  known  as  "  Solitude." 
„  „  Two  other  Landscapes. 

Wobuni  Abbey.  Four  Landscapes. 

FOREIGN    GALLERIES. 


Ajaccio. 

Avignon. 

Basle. 

Berlin. 

Bordeaux. 

Cassel. 

Cherbourg. 

Dijon. 


Museum. 
Museum. 
Museum. 

Gallery. 
Museum. 

Gallery. 
3fiiseu7n. 
Museum. 


Dresden.  Gallery. 

)»  »» 

Florence.  Uffizz. 

Pita  Pal. 
Gotia.  Gallery, 

Hague.  Museum. 

Lausanne.  Arlaud  Mus 
Lille.  Museum. 

Lyons.  Museum. 

Madrid.  Gallery. 


Milan.  Pinacoteca. 

Montpellier.    Museum, 


Munich.  Gallery. 


Nantes. 
Nar  bonne. 
Nismes. 
Oldenburg. 
Paris. 


Museum. 
Museum. 
Museum. 

Gallery. 

Louvre. 


Petersburg.  Hermitage. 
Puy.  Mu^eu77i. 

Quimper.        Museum, 

Rome.  Barberini 

Palace. 

„  Borghese  Pal. 

„  Colonna  Pal. 

M  Corsini  Pal. 

„  Doria  Palace. 


Stockholm.      Gallery. 


Turin.  Gallery. 

Venice.  A  cademy. 

Vienna.  Gallery. 


VOL.  II. 


H 


Two  Landscapes. 

Four  Landscapes. 

Three  Landscapes. 

Italian  Landscape. 

Two  Landscapes. 

Three  Landscapes. 

One  Landscape. 

Alpheus  and  Arethnsa. 

Apollo  and  the  CumEean  Sybil. 

View  on  a  Lake. 

Three  other  Landscapes. 

The  Fishermen. 

Several  Landscapes. 

Landscape. 

Landscape. 

Three  Landscapes. 

One  Landscape. 

Hagar. 

St.  Jerome. 

St.   Mary   Magdalen   before    the 

Cross. 
Five  other  Landscapes. 
St.  John  the  Baptist  as  a  child. 
Apollo  and  Daphne. 
Temple  of  the  Sybil  at  Tivoli. 
Nine  other  Landscapes. 
Temple  of  the  Sybil  at  Tivoli. 
Mountainous  Landscape. 
One  other  Landscape. 
Three  Landscapes. 
Landscape. 
Landscape. 
Landscape. 
A  Landscape. 
Five  Landscapes. 
Flight  into  Egypt. 
Oiie  other  Landscape. 
Finding  of  Moses. 

[■  Three  Landscapes. 

Several  Landscapes. 

Several  Landscapes. 

Several  Landscapes, 

St.  Mary  of  Egypt. 

Mercury. 

A  Forest. 

The  Flight  mto  Egypt. 

St.  Augustine   on   the  sea-shore 

with  an  Angel. 
Death  of  Adonis. 
Temple  of  the  Sybil  at  Tivoli. 
View  of  Nemi. 
Seven  other  Landscapes. 
The  Cascades  of  TivolL 
Landscapes. 

The  Tomb  of  Caecilia  Metella 
A  Landscape. 
A  Wooded  Landscape. 

97 


A  BIOGRAPHICAL  DICTIONARY  OF 


Vienna.  Anhdulce)  t     j 

Alhrecht's  Gal.  \  I^^ndscape. 
„  Liechtenstein^  mi,        t      j 

Gallery,      j  ^^"""^  Landscapea. 
1,         Harrach  Gallery.      Landscape. 
„  Czernin  Gallery.      Two  Landscapes.         Q.  J.  D. 

DUGHET,  Jean,  a  brother  of  Gaspard  Dughet, 
was  bom  at  Rome  in  1614,  and  studied  under 
Nicolas  Poussin,  after  whose  works  he  engraved. 
He  died  in  1676.  Of  his  prints  the  following  are 
the  most  worthy  of  notice  : 

The  Seven  Sacraments ;  from  the  pictures  painted  by 
Nicolas  Poussin  for  the  Cavaliere  del  Pozzo,  differing 
from  those  formerly  in  the  Orleans  collection. 

Mount  Parnassus ;  after  the  same. 

The  Birth  of  Bacchus  ;  after  the  same. 

The  Judgment  of  Solomon ;  after  the  same. 

DU  GUERNIER  FAMILY. 

Louis  (1660— ab.  1620). 
Alexandre  (fl.  ab.  1600). 


Louis  (1614—1659).   Aleiaudre  (d.  1666).   Pierre  (1624—1674). 

DU  GUERNIER,  Alexandre,  the  elder,  son  of 
Louis  Du  Guernier  the  elder,  and  like  him  a  painter 
of  portraits  and  miniatures,  flourished  about  the  year 
1600.  His  portraits,  equal  to  those  of  his  father, 
are  rare  and  much  sought  after.  Being  a  Protest- 
ant, he  went  abroad  in  consequence  of  the  revo- 
cation of  the  Edict  of  Nantes,  and  died  in  exile. 

DU  GUERNIER,  Alexandre,  the  younger,  a 
landscape  painter,  was  a  younger  son  of  Alexandre 
Du  Guernier  the  elder.  He  died  in  Paris  in  1655, 
being  cut  short  in  a  career  of  great  promise. 

_DU  GUERNIER,  LoDis,  the  elder,  a  French 
miniature  painter,  born  in  1550,  executed  numerous 
drawings  for  books  of  hours  and  breviaries,  as  well 
as  portraits  of  many  of  the  most  noted  persons  of 
his  time.  He  painted  for  the  Duke  of  Guise  a  book 
of  prayers,  in  which  the  ladies  of  the  court  were 
represented  with  the  attributes  usually  given  to 
the  saints.  He  ordinarily  worked  on  vellum,  stip- 
pling without  making  use  of  white.  He  died  about 
1620. 

DU  GUERNIER,  Louis,  the  younger,  the  eldest 
Bon  of  Alexandre  Du  Guernier  the  elder,  was  born 
in  Paris  in  1614.  He  was  added  to  the  foundation 
members  of  the  Royal  Academy  of  Painting  in 
1651,  became  professor  in  1655,  and  died  in  Paris 
in  1659.  His  sister,  Susanne,  married  the  cele- 
brated historical  painter,  S^bastien  Bourdon. 

DU  GUERNIER,  Louis,  a  French  engraver,  was 
born  in  Paris  in  1677,  and  came  to  England  in 
1708.  He  assisted  Du  Bosc  in  engraving  the 
battles  of  the  Duke  of  Marlborough,  and  executed 
some  illustrations  to  the  works  of  Spenser  and 
Gay.     He  died  in  1716. 

DU  GUERNIER,  Pierre,  who  was  considered 
the  best  enamel  painter  of  his  day,  was  a  younger 
son  of  Alexandre  Du  Guernier  the  elder.  He 
was  born  in  Paris  in  1624,  became  an  acade- 
mician in  1663,  and  died  in  Paris  in  1674.  His 
portraits  are  distinguished  by  a  freshness  and 
brilliancy  of  colour,  afterwards  surpassed  by 
Petitot  alone. 

DUGY,   ,   a    French    engraver,  flourished 

about  the  year  1760.  He  engraved  several  slight 
prints,  after  the  works  of  Francois  Boucher  and 
other  masters. 

DU  HAMEEL,  Alart,  a  goldsmith  and  engraver 
of  the  15th  centurj-,  is  known  by  a  plate  of  '  The 
Last  Judgment,'  after  Jerom  Bosch,  and  a  '  Church 
Tabernacle." 

98 


DU  HAMEL,  A.  B.,  a  French  engraver,  flour- 
ished about  1760.  He  resided  in  Paris,  and  was 
employed  chiefly  by  the  booksellers  in  engraving 
book-plates  and  portraits,  among  the  latter  being 
those  of  Jolyot  de  Crebillon  and  Jean  Jacques 
Rousseau. 

DUIVEN,  Jan,  born  at  Gouda  in  1600,  was  a 
scliolar  of  WouterCrabeth,  and  had  a  great  reputa- 
tion as  a  portrait  painter.     He  died  in  1640. 

DU  JARDIN,  Karel,  was  born  probably  at 
Amsterdam  about  1625.  He  was  a  pupil  of 
Nicolaas  Berchem,  and  was  unquestionably  the 
ablest  scholar  of  that  celebrated  master.  His 
progress  was  extraordinary,  and  to  perfect  him- 
self he  travelled  to  Italy  when  he  was  still  very 
young.  On  his  arrival  at  Rome  he  was  received 
into  the  Bentevogel  Society,  where  the  title  of 
'  Barbe  de  Bouc '  was  conferred  on  him.  His 
studies  were  assiduous  and  constant,  and  his 
pictures  acquired  estimation  in  Rome,  where  they 
were  admired  beyond  those  of  any  artist  of  his 
country.  After  a  residence  of  several  years  at 
Rome  he  returned  to  Holland,  where  his  pictures 
were  not  less  admired  than  they  had  been  in  Italy, 
and  he  met  with  great  success.  Notwithstand- 
ing this  flattering  encouragement,  his  desire  of 
revisiting  Italy  was  so  great  that  he  left  home  for 
Venice,  where  he  died  in  1678.  The  pictures  of 
Du  Jardin  are  more  conformable  to  the  taste  of 
Italy  than  to  that  of  Holland,  and  they  generally 
exhibit  a  warmth  and  brilliancy  of  atmosphere, 
with  clear  and  sparkling  skies.  His  landscapes 
are  always  pleasing  in  their  scenery,  and  they  are 
decorated  with  charming  figures  and  animals,  in 
which,  to  the  truth  and  finish  of  Paul  Potter,  he 
unites  a  taste  which  is  not  found  in  the  works  of 
that  celebrated  cattle  painter.  As  he  died  young, 
and  his  pictures  are  highly  wrought  up,  they  are 
scarce,  and  very  valuable.  The  following  are 
some  of  the  best: 

Young  man  tasting  wine.    1664. 

Ereninl' }  ^'"^^  Landscapes. 

Landscape  and  Animals. 

The  Advance  Guard.     1652. 

The  Betum  to  the  shed. 

Charlatans. 

Allegory.     1663. 

Diogenes  and  the  Boy  who  drinks 

with  his  hand. 
Maid  milking  a  Goat. 
Ox  and  Goats  in  a  Landscape. 
Smith  shoeing  an  Ox. 
Peasants  in  a  Landscape. 
Halt  of  Horsemen. 
Farrier's  Shop. 
Cascade  in  Italy.    16T3. 
The  Spinner. 
Pasturage. 
Fording  a  Stream. 
Tobit  and  the  Angel. 
Calvary.     1661. 
Italian  Charlatans.     1657. 
The  Ford. 
The  Pasturage. 
The  Grove.    1646. 
Landscape  and  Animals.    1660. 
Portrait  of  a  Man.     1657. 
Seven  Landscapes. 
Herdsman  and  Cattle. 

He  left  about  fifty-two  admirable  etchings  of 
landscapes,  figures,  and  animals,  which  are  exe- 
cuted with  uncommon  taste  and  spirit.  They  are 
sometimes  signed  with  his  name  at  length,  at 
other  times  with  his  initials  or  with  a  monogram. 


Berlin. 

Museum. 

Bordeaux. 
Brussels. 

Museum. 
Museum, 

Cassel. 

Copenhagen 
Dresden. 

Gallery. 

.  Gallert/. 

Gallery. 

Dulwich. 

Gallery. 

Edinburgh. 

Gallery. 

Hague. 

Gallery. 

Lille. 
London. 

Museum. 
Bute  Coll. 

Paris. 


Louvre. 


Petersburg.  Hermitage. 
Vienna.  Gallery. 


KAREL  DU  JARDIN 


Woodbury  Co.  photo\ 


LANDSCAI'E  WITH  CATTLE  REPOSING 


{National  Gallery 


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PAINTERS  AND  ENGRAVERS. 


DUJARDIN,  Louis,  a  Frencli  engraver  on  wood, 
was  born  at  Rouen  in  1808,  and  died  in  Paris  in 
1859.  He  executed  some  of  the  illustrations  to 
Charles  Blanc's  '  Histoire  des  Peintres.' 

DULIN,  Pierre.     See  Ulin,  Pierre  d'. 

DULLAERT,  Heinman,  a  Dutch  painter,  was 
born  at  Rotterdam  in  1636.  He  was  the  son 
of  a  dealer  in  pictures,  and  having  shown  an 
early  inclination  for  art,  he  was  placed  in  the 
school  of  Rembrandt.  Under  that  able  instructor 
his  progress  was  such,  that  in  a  few  years 
some  of  his  small  pictures  were  painted  so  much 
in  the  style  of  his  master  as  to  be  mistaken  for 
Rembrandt's  own.  He  generally  painted  cabinet 
pictures  of  historical  subjects  and  portraits,  which 
were  deservedly  admired  for  harmony  of  colour,  a 
vigorous  touch,  and  a  masterly  effect  of  light  and 
shade.     He  died  at  Rotterdam  in  1684. 

DULONG,  Jean  Lcdis,  a  French  historical  and 
portrait  painter,  was  born  at  Astaifort  (Lot-et- 
Garonne)  in  1800.  He  was  a  pupil  of  Gros  and 
of  Abel  de  Pujol,  and  died  in  Paris  in  1868. 

DU  MAURIER,  George  Louis  Palmella  Bus- 
son,  humorous  artist,  was  born  in  Paris  in  1831. 
His  mother  was  English,  and  his  father,  a  son  of 
French  emigres  settled  in  London,  was  a  natural- 
ized British  subject.  Charming  memories  of  his 
childhood  and  boyhood,  spent  chiefly  at  Passy  with 
his  parents,  and  at  a  Paris  school,  are  to  be  found, 
charmingly  illustrated,  in  the  three  novels,  '  Peter 
Ibbetson,'  '  Trilby,'  and  '  The  Martian,'  which  won 
him  an  entirely  new  kind  of  fame  in  the  closing 
years  of  his  life.  At  the  age  of  twenty  he  began 
the  study  of  chemistry  at  University  College, 
London,  setting  up  shortly  afterwards  as  an  ana- 
lytical chemist  in  Biicklersbury.  But  he  had 
found  his  true  vocation  in  1856,  and  after  some 
years  of  study  in  the  Latin  Quarter,  and  at 
Antwerp,  in  the  studio  of  Van  Lerius  (where  he 
gradually  lost  the  use  of  his  left  eye,  a  lifelong 
misfortune),  he  returned  to  London,  and  in  I860 
submitted  a  sketch  to  '  Punch,'  which  immediately 
won  him  the  favour  of  its  editor,  Mark  Lemon. 
Critics  are  agreed  that  Du  Maurier's  art  was  at 
its  best  during  the  next  ten  years.  Excellent 
specimens  of  his  work  for  '  Once  a  Week '  and 
'  The  Cornhill,'  to  both  of  which  periodicals  he 
was  a  regular  contributor  during  this  period,  are 
given  by  Mr.  Gleoson  White  in  his  'English 
Illustrators  of  the  Sixties.'  Many  of  his  most 
characteristic  drawings  were  done  for  books,  be- 
ginning with  an  edition  of  '  Fox's  Book  of  Martyrs,' 
published  in  1865.  In  1866  he  illustrated  Mrs. 
Gaskell's  '  Wives  and  Daughters ' ;  in  1867,  Jer- 
rold's  '  Story  of  a  Feather' ;  in  1868,  Owen  Mere- 
dith's '  Lucile,' '  The  Book  of  Drawing-Room  Plays,' 
by  H.  Dalton,  and  '  Sooner  or  Later,'  by  C.  A.  G. 
Brooke;  and  in  1869,  Thackeray's  'Esmond,'  to 
which  he  added  some  additional  vignettes  ten 
years  later,  when  he  also  illustrated  Thackeray's 
'  Ballads.'  He  attained  his  highest  level  perhaps  in 
some  of  his  drawings  for  '  Esmond ' ;  but  whatever 
must  be  admitted  in  regard  to  his  work  for  '  Punch,' 
there  is  little  appreciable  falling-off  in  his  book 
illustrations  in  the  seventies  and  eighties.  In 
1874  he  illustrated  Mr.  C.  W.  Scott's  'Round 
about  our  Islands,'  and  Mr.  G.  E.  Sargent's  '  Hur- 
lock  Chase'  ;  in  1876,  'Songs  of  many  Seasons,' 
by  J.  Brown  ;  in  1877,  '  The  Ingoldsby  Legends  ' 
(in  collaboration),  and  '  Pegasus  Re-saddled,'  by 
H.  C.  Pennell;  in  1882,  'Prudence,'  by  L.  C. 
Lillie  ;  in  1889,  'As  in  a  Looking-glass,'  by  F.  C. 
n  2 


Phillips;  and  in  1891,  'Luke  Ashleigh,'  by  A. 
Elwes.  '  Peter  Ibbetson,'  '  Trilby,'  and  '  The  Mar- 
tian,' after  appearing  serially  in  '  Harper's,'  were 
published  in  volume  form,  respectively,  in  1892, 
1894,  1897.  In  the  same  year,  a  collection  of  full- 
page  drawings  which  he  had  contributed  to  '  Har- 
per's' month  by  month,  was  republished  under  the 
title  '  English  Society,'  with  an  appreciative  intro- 
duction by  Mr.  W.  H.  Howells. 

It  was  in  1865  that  Du  Maiirier  joined  the  staff 
of  '  Punch '  regularly  as  Leech's  successor  in  the 
field  of  social  satire,  devoting  himself  chiefly,  by 
Mark  Lemon's  advice,  to  the  "  light  and  graceful 
business,"  hut  with  occasional  excursions  into  the 
fields  (outside  Leech's  province)  of  the  macabre 
and  the  grotesque.  In  temperament,  if  not  in 
technique,  the  two  artists  had  much  in  common. 
While  Charles  Keene's  mirth-provoking  characters 
seldom  arouse  in  one  feelings  either  of  love  or 
hate — hardly  even  of  like  or  dislike — Leech's 
pages,  as  Du  Maurier  himself  remarked,  "teem 
with  winning,  graceful,  loveable  types "  ;  with 
"  here  and  there  a  hateful  one  to  give  relief"  This 
is  equally  true  of  Du  Maurier's  own  work.  There 
is  feeling  as  well  as  fun  in  it ;  sympathy  as  well  as 
satire.  To  a  far  greater  degree  than  Leech,  he  is 
a  critic,  not  merely  a  spectator,  of  life  ;  the  philoso- 
pher is  as  strong  in  him  as  the  artist.  It  would 
be  an  injustice  to  him,  therefore,  to  write  only 
of  his  craftsmanship.  Undoubtedly  his  '  Punch ' 
drawings,  in  course  of  time,  lost  something  of 
their  first  freshness  and  simplicity,  and  became 
mannered  and  machine-made,  but,  at  his  worst,  one 
may  fairly  apply  to  him  another  of  his  own  judg- 
ments upon  Leech  :  "  If  he  shines  more  by  what 
he  has  to  say  than  by  his  manner  of  saying  it, 
perhaps  that  is  the  better  thing  of  the  two  to 
shine  by  if  you  cannot  shine  by  both."  There  may 
be  too  much  crofs-hatching  in  the  representation 
of  Sir  Pompey  Bedell's  dress-clothes,  but  Sir  Pom- 
pey  himself,  and  Sir  Gorgius  Midas,  and  Mrs. 
Ponsonhy  de  Tomkyns,  will  live  for  ever.  The 
flaws  in  Du  Maurier's  craftsmanship  are  flaws, 
moreover,  that  are  visible  to  experts  alone.  They 
are  like  the  solecisms  of  construction  and  slips  of 
grammar  which  for  the  too  sensitive  literary  critic 
mar  the  masterpieces  of  Thackeray  and  Sir  Walter 
Scott. 

As  a  bachelor  Du  Maurier  lived  in  lodgings  in 
Bloomsbury  with  his  friend  Lionel  Henley,  after- 
wards A.R.A.  In  1862  he  married  Miss  Emma 
Wightwick,  and  settled  down  in  a  house  near 
Hampstead  Heath.  His  'Punch'  drawings  reflect 
pleasantly  the  nature  of  his  life — his  active  par- 
ticipation in  all  the  functions  of  London  Society, 
his  own  happy  home  and  his  holidays  at  Whitby 
and  Scarborough,  Boulogne  and  Dieppe.  His 
faculty  for  hitting  ofiE  the  characteristics  of  racial 
types,  one  of  his  most  distinctive  gifts  as  an 
artist,  is  particularly  noticeable  in  his  various 
representations  of  life  abroad  ;  his  Americans  are 
almost  his  only  failures.  In  1881  he  was  elected 
a  member  of  the  Royal  Society  of  Painters  in 
Water-Colours,  to  whose  exhibitions  he  had  been 
contributing  from  time  to  time.  In  1885  took 
place  the  first  exhibition  of  his  works  at  the  Fine 
Arts  Society.  He  died  on  October  8,  1896,  and 
was  buried  in  the  Hampstead  Cemetery.  (See  also 
under  Keene.)  F.  W,  W. 

DU  MESNIL,  Louis  Michel,  a  French  his- 
torical painter,  became  in  1750  professor  at  the 
Academy  of  St.  Luke  at  Rome.     He  painted  the 

99 


A    BIOGRAPHICAL    DICTIONARY    OF 


'  Visitation  of  the  Virgin '  for  the  church  of  St. 
Jean-en-Greve  at  Paris,  and  one  of  the  '  Beatitudes  ' 
in  the  chapel  of  M.  Turgot.  A  picture  of  his, 
'  Belle,  quel  est  votre  dessein  ?  '  was  engraved  by 
C.  Dupuis.  His  son,  Pierbe  Louis  Dd  Mesnil, 
who  was  born  in  1698,  and  died  in  Paris  in  1781, 
was  also  professor  at  the  Academy  of  St.  Luke,  of 
which  he  became  rector.  He  usually  painted  sub- 
jects of  every-day  life,  some  of  which  have  been 
engraved. 

DU  MONSTIER,  Daniel,  (Dn  Moustier,  or  Du 
Moutier),  the  best  known  of  his  family,  was  born 
in  Paris  in  157-1.  He  was  the  son  of  Cosme  and 
grandson  of  GeofEroy  Du  Monstier,  and  worked  in 
crayons  and  pastels  at  the  courts  of  Francis  I., 
Henry  IV.,  and  Louis  XIII.,  executing  portraits  of 
fjl  the  most  distinguished  personages  of  his  time. 
His  master  is  unknown,  but  as  his  style  resembles 
that  of  Primaticcio,  he  probably  studied  under  one 
of  the  Italians  at  the  court  of  Francis  I.  He 
died  in  Paris  in  1646.  Nicolas  Du  Monstier,  a 
son  of  Daniel,  followed  in  his  father's  footsteps. 
He  was  born  in  Paris  in  1612,  was  received  into 
the  Academy  in  1665,  and  died  in  1667. 

DU  MONSTIER,  Geoffroy,  a  French  miniature 
painter,  born  early  in  the  16th  century,  and  still 
living  in  1547,  was  much  employed  at  Fontaine- 
bleau  by  II  Rosso.  He  likewise  painted  upon 
glass,  and  etched  several  plates  which  are  described 
in  Robert-Dumesnil's  '  Peintre-Graveur  Franpais,' 
vol.  v.  He  is  supposed  to  have  painted  in 
grisaille  the  following  miniatures  in  manu- 
scripts :  '  Francis  I.  conversing  with  Julius  Caesar,' 
in  the  British  Museum,  and  '  The  Triumph  of 
Petrarch,'  in  the  Library  of  the  Arsenal  at  Paris. 

DUMONT,  Jacques,  called  Le  Romain,  on  ac- 
count of  a  long  sojourn  which  he  made  at  Rome, 
was  bom  about  1700.  He  was  an  historical  and 
genre  painter,  whose  best  work  was  his  picture  of 
'  Hercules  and  Omphale,'  which  he  painted  for  his 
reception  at  the  Academy  in  1728,  but  he  had  more 
reputation  than  talent.  Some  of  his  works  were 
engraved  by  his  contemporaries.  His  drawing  and 
composition  are  good,  but  his  colour  is  mediocre. 
He  died  in  Paris  in  1781. 

DD  MOUSTIER.    See  Du  Monstier. 

DUNCAN,  Edward,  a  water-colour  painter,  was 
born  in  London  in  1803.  He  was  articled  to  Robert 
Havell,  the  aquatint  engraver,  and  was  thus  afforded 
frequent  opportunities  of  studying,  and  occasionally 
of  copying,  the  works  of  William  Havell.  These 
developed  his  taste  for  drawing  and  the  use  of 
colour,  and  in  1831  he  became  a  member  of  the 
New  Society  of  Painters  in  Water-Colours,  but  he 
afterwards  withdrew,  and  in  1849  was  elected  an 
Associate  of  the  Society  of  Painters  in  Water- 
Colours,  and  a  full  member  in  the  following  year. 
He  died  in  London  in  1882.  His  drawings  com- 
prise a  wide  range  of  subjects,  treated  with  much 
grace  and  great  truthfulness  to  nature,  but  his 
larger  and  more  important  works  are  chiefly  coast 
scenery,  with  shipping  and  craft  admirably  charac- 
terized.   Among  the  best  of  them  are  the  following : 

The  Shipwreck.  1859. 
The  Life-Boat.  1860. 
Blue  Lights. 

Oyster  Dredgers — Swansea  Bay. 
Landiug  Fish  on  the  Sauds  afc  Whitby. 
Fishing  Boats  making  for  the  Harbour  of  Boulogne — 
early  morning. 

DUNCAN,  TnoiiAS,  was  bom  in  1807,  at  Kin- 
claven,  in  Perthshire,  but  was  educated  at  Perth, 
100 


whither  his  parents  had  removed  shortly  after  his 
birth.  He  showed  very  early  signs  of  a  pecuhar 
faculty  by  employing  every  moment  in  drawing 
such  objects  as  struck  his  fancy,  especially  the 
portrait,s  of  his  young  companions  ;  and  while  still 
at  school  he  painted  the  whole  of  the  scenery  for 
a  dramatic  representation  of  '  Rob  Roy,'  which  he 
and  his  schoolfellows  performed  in  a  stable-loft. 
His  parents,  however,  considered  this  use  of  his 
pencil  an  unprofitable  waste  of  time,  and  placed 
him  in  the  office  of  a  law-writer.  Released  in 
time  from  the  drudgery  of  the  desk,  and  more 
than  ever  desirous  of  accomplishing  his  favourite 
object,  he  at  length  procured  the  consent  of  his 
father  to  his  visiting  Edinburgh,  where  he  was 
placed  under  the  able  instruction  of  Sir  William 
Allan,  then  master  of  the  Trustees'  Academy  for 
the  study  of  art,  an  establishment  endowed  by 
Government.  Duncan's  talent,  fostered  and  di- 
rected by  such  a  master,  speedily  developed  itself, 
and  he  made  rapid  progress  in  the  drawing  of  the 
human  figure.  The  first  picture  which  brought 
him  into  general  notice  was  his  '  Milkmaid  ' ;  and 
shortly  after  he  exhibited  his  '  Old  Mortality  '  and 
'  The  Bra'  Wooer.'  He  was  appointed,  at  an  un- 
usually early  age,  to  one  of  the  professorships — that 
of  colour — at  the  newly-established  Royal  Scottish 
Academy,  and  subsequently,  on  the  deatli  of  Allan, 
to  the  well-endowed  mastership  of  the  Trustees' 
Academy.  In  1840  he  sent  to  the  Royal  Academy 
his  fine  work,  '  Prince  Charles  Edward  and  the 
Highlanders  entering  Edinburgh  after  the  Battle 
of  Preston  Pans.'  This  picture  brought  the  painter 
at  once  into  most  favourable  notice.  In  1841 
Duncan  exhibited  a  most  touching  picture  from 
the  ballad  of  'Auld  Robin  Gray,'  termed  'The 
Waef u'  Heart '  (now  in  the  Sheepshanks  Collec- 
tion in  the  South  Kensington  Museum) ;  in  the 
following  year,  '  Deer-stalking ' ;  and  in  1843, 
'  Charles  Edward  asleep  after  the  Battle  of  Cullo- 
den,  protected  by  Flora  MacDonald.'  In  1844 
Duncan  exhibited  '  Cupid,'  and  '  The  Martyrdom  of 
John  Brown  of  Priesthill,  in  1685.'  This,  which  is 
now  in  the  Corporation  Galleries  at  Glasgow,  was  the 
last  picture  by  the  artist  exhibited  in  London,  ex- 
cepting a  portrait  of  himself,  which,  to  the  honour 
of  his  Scottish  professional  brethren,  was  purchased 
by  subscription,  and  presented  by  them  to  the  Royal 
Scottish  Academy.  Duncan  was  elected  an 
Academician  of  the  Royal  Scottish  Academy  in 
1830,  and  an  Associate  of  the  Royal  Academy  in 
1843,  but  he  did  not  long  survive  the  latter  honour, 
as  he  died  at  Edinburgh  in  1845.  Had  his  life 
been  prolonged,  there  is  no  question  but  that  he 
would  have  achieved  a  lofty  position  in  historical 
painting ;  as  a  colourist,  indeed,  he  had  few 
superiors.  His  portraits  deserve  mention  as  being 
faithfully  and  skilfully  rendered. 

The  following  works  by  him  are  in  the  National 
Gallery  of  Scotland  : 

Thomas  Duncan. 

Anne  Page  inviting  Slender  to  dinner. 

Jeannie  Deans  and  the  Bobbers. 

Portrait  of  Lady  Stuart  of  AJlanbank. 

John  M'Neill  of  Colonsay. 

Lord  Colonsay. 

Bpan — a  celebrated  Scottish  Deerhound. 

The  two  Friends,  Child  and  Dog. 

DUNKARTON,  Robert,  a  mezzotint  engravei, 
was  born  in  London  in  1744.  He  was  a  pupil  of 
Pether,  and  painted  a  few  portraits,  some  of  which, 
as  also  some  portraits  in  crayons,  were  exhibited 


PAINTERS  AND  EXGRAVERS. 


at  the  Royal  Academy  and  at  Spring  Gardens  until 
1779.  But  his  greatest  success  was  gained  as  a 
mezzotint  engraver.  His  plates  are  dated  from  1770 
to  1811,  after  which  year  there  is  no  record  of  him. 
He  engraved  in  a  clear,  finished  style  several  por- 
traits and  historical  subjects,  of  which  the  follow- 
ing are  the  principal: 

PORTRAITS. 
George,  Lord  Lyttelton  ;  after  TVest. 
Jonas  Hanw.iy  ;  after  E.  J-jlirards. 
Dr.  Arne  ;  after   O.  Humphrey. 
Miss  Homeck ;  after  Sir  Joshua  Reynolds. 
John  Elliot ;  after  N.  Dance. 
Miss  Bamfylde  ;  after  W.  Peters. 
James  Brindley,  engineer ;  after  Parsons. 
Miss   Catley,  in   the   character  of   Euphrosyne ;  after 
Lawrenson, 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
Lot  and  his  Daughters  ;  after  A.  de  Gelder. 
Christ  and  the  Disciples  at  Emmaus ;  after  Guercino. 
Four  subjects  from  the  Life  of  Joseph  ;  aftei-  the  same. 

DUNKER,  Balthasar  Anton,  a  landscape 
painter  and  etcher,  was  born  at  Saal,  near  Stralsund, 
in  1746.  He  was  a  pupil  of  Jakob  Philipp 
Hackert  and  of  Vien,  and  was  more  distinguished 
as  an  etcher  than  as  a  painter.  His  works  are  after 
Roos,  Van  der  Does,  Hackert,  and  Schutz,  and 
consist  of  costumes  and  manners  of  the  French 
before  the  Revolution,  illustrations  of  books,  and 
other  miscellaneous  subjects.  Among  them  were 
some  excellent  landscapes,  as  the  '  Environs  of 
Berne,'  and  views  of  Leghorn.  He  died  at  Berne 
in  1807. 

DUNKER,  Philip  Heinrich,  son  of  Balthasar 
A.  Dunker,  was  also  an  engraver,  and  a  painter  in 
water-colours.  In  both  pursuits  it  seems  that  he 
was  a  copyist,  as  his  drawings  are  after  Kobell, 
Roos,  Weenix,  and  others,  and  his  engraving  after 
a  picture  by  Demarne  is  traced  to  one  by  Geisler. 
He  died  in  1836. 

D'UNKER-HENNING-LUTZOW,  Karl  Hin- 
DRICK,  a  genre-painter,  was  born  at  Stockholm  in 
1829.  Up  to  1851  he  was  an  officer  in  the  Swedish 
Guards  ;  he  afterwards  studied  at  the  Dijsseldorf 
Academy  under  K.  Sohn,  and  visited  Paris  and 
Amsterdam.  Having  by  an  accident  lost  the  use 
of  his  right  arm,  he  quickly  learnt  to  paint  with 
his  left,  but  he  soon  after  succumbed  to  a  chest 
disease,  and  died  at  Diisseldorf  in  1866.  He  was 
Swedish  court  painter,  and  a  professor  and  honor- 
ary member  of  the  Royal  Academj'  at  Stock- 
holm. The  Berlin  National  Gallery  possesses  an 
'Announcement  of  Arrest '  by  him. 

DUNLAP,  William,  an  American  painter,  was 
bom  at  Perth  Amboy,  in  New  Jersey,  in  1766. 
When  only  seventeen  he  painted  a  portrait  of 
Washington.  A  group  of  himself  and  his  parents, 
done  in  1788,  is  in  the  collection  of  the  New  York 
Historical  Society.  He  published  in  1834  his 
'  History  of  the  Arts  of  Design  in  the  United 
States,'  and  died  in  New  York  in  1839. 

DUNOUY,  Alexandre  Hyacinthe,  a  landscape 
painter,  born  in  Paris  in  1767,  was  a  pupil  of  Briand. 
He  exhibited  at  the  Mus^e  Royal  in  1800  'Plusieurs 
6tudes  d'apres  la  nature  prises  a  Villers-Paul  et 
Hyeres,'  and  during  succeeding  years  many  land- 
scapes and  views ;  in  1830  at  the  Luxembourg  he 
exhibited  '  Etudes  d'apres  nature  a  Montmorency : 
Autres  prises  a  Jouy.'  He  also  engraved  a  series 
of  thirty  landscapes  from  his  own  compositions, 
and  some  views  in  Italy  and  in  the  environs  of 
Paris.     He  died  in  1843. 


DUNSTALL,  John,  who  lived  in  London  aboui 
the  year  1660,  engraved  a  few  portraits  and  other 
plates,  which  are  etched  and  finished  with  the 
graver  in  imitation  of  the  style  of  Hollar.  In 
1662  he  published  a  book  of  birds,  beasts,  flowers, 
fruit,  &c.,  from  his  own  designs.  Among  other 
portraits  we  have  the  following  by  him : 

Mary,  Queen  of  James  II. 

King  William  and  Queen  Mary. 

Samuel  Clarke,  prefixed  to  his  '  Puritan  DiWnes.' 

James  XJssher,  Archbishop  of  Armagh. 

DUNTHORNE,  John,  father  and  son,  were  two 
painters  who  practised  at  Colcliester  in  the  latter 
part  of  the  _18th  century.  The  father  painted 
portraits,  whilst  the  son  painted  genre  subjects, 
several  of  which  appeared  at  the  Royal  Academy 
between  1783  and  1794. 

DUNWEGE,  Victor  and  Heinrich,  who  were 
brothers,  and  painters  of  the  school  of  Westphalia, 
executed  conjointly  a  large  altar-piece  for  the 
parish  church  of  Dortmund.  Though  painted  in 
the  year  1523,  it  recalls  the  art  of  the  15th 
century,  having  a  gold  background,  and  being 
symmetrical  in  composition,  but  somewhat  crude 
in  colouring.  It  represents,  in  the  centre,  'The 
Crucifixion ' ;  on  the  interior  of  the  wings,  '  The 
Adoration  of  the  Kings,'  the  '  Infant  Jesus,'  the 
'Virgin  and  several  of  her  kindred;'  and  on  the 
exterior  '  The  Donor  kneeling  before  Christ,'  who 
is  surrounded  by  Saints.  Similar  in  character 
to  this  altar-piece  are  a  '  Holy  Family '  in  the 
Antwerp  Gallery  (formerly  in  the  church  of 
Calcar),  and  a  '  Crucifixion '  in  the  Berlin  Gal- 
lery (not  now  exhibited),  which  are  ascribed  to 
the  brothers  Dunwege.  The  '  Adoration  of  the 
Kings,'  dated  1512,  in  the  Naples  Museum,  is 
by  a  Westphalian  master,  resembling  these  artists 
in  style. 

pUP^RAC,  IItienne,  (or  Du  P^eac,)  a  French 
painter,  architect,  and  engraver,  was  born  at  Bor- 
deaux about  1525.  He  studied  at  Rome,  and  en- 
graved the  '  Last  Judgment,'  after  Michelangelo, 
and  the 'Judgment  of  Paris,'  after  Raphael.  He 
etched  in  the  manner  of  Fontana  forty  plates, 
entitled  'I  Vestigj  dell'  Antichita.  di  Roma,'  and 
published  in  Rome  in  1575.  Henry  IV.  appointed 
Dup^rac  architect  at  Fontainebleau,  where  he 
painted  the  bath-room  with  '  Marine  Deities '  and 
the  '  Loves  of  Jupiter  and  Calisto,'  but  these  works 
were  destroyed  by  fire  in  1697.  He  died  in  Paris 
in  1604. 

DUPERREUX,  Alexandre  Louis  Robert 
MiLLiN.     See  Millin  Dupereeux. 

DUPLESSI  -  BERTAUX,  Jean,  a  French 
draughtsman  and  engraver,  was  bom  in  Paris  in 
1747.  He  engraved  many  plates  for  the  'Voyage 
k  Naples  et  dans  les  Deux-Siciles  '  of  the  Abb6  de 
Saint-Non,  and  for  the  '  Voyage  en  Grice '  of 
Choiseul-Gouffier,  and  etched  some  of  the  plates  of 
the  '  Galerie  du  Palais-Royal.'  His  best-known 
works,  however,  are  those  which  he  executed  for 
the  '  Tableaux  historiques  de  la  Revolution,'  some 
of  which  are  from  his  own  designs,  and  the 
'  Campagnes  d'ltalie,'  after  the  drawings  of  Carle 
Vernet.  There  are  also  plates  by  him  in  Denon's 
'  Voyage  en  !^gypte,'  the  '  Musee  Fran^ais,'  and  the 
'  Mus^e  Filhol.'     He  died  in  1818  or  1819. 

DUPLESSIS,  Joseph  Sifrede,  a  French  portrait 
painter,  was  bom  at  Carpentras,  near  Avignon,  in 
1725.  He  was  destined  for  the  priesthood,  but  at 
an  early  age  he  showed  his  inclination  for  the  arts. 
He  was  taught  by  his  father,  Duplessis  the  elder, 

101 


A  BIOGRAPHICAL  DICTIONARY  OF 


and  afterwards  by  Frfere  Imbert.  He  visited  Rome 
in  1745,  and  studied  there  under  Subleyras ;  and 
on  his  return  home,  after  a  short  stay  ax,  Lyons, 
he  established  himself  in  Paris,  and  was  received 
into  the  Academy  in  1774.  Losing  his  fortune  in 
the  Revolution,  he  accepted  the  post  of  conservator 
of  the  Museum  of  Versailles,  where  he  died  in  1802. 
He  possessed  a  high  reputation  for  his  portraits, 
among  which  are  those  of  Gluck  (now  in  the 
Vienna  Gallery),  Franklin,  Marmontel,  the  Abh^ 
Bossuet,  and  M.  and  Mme.  Necker. 

DUPLONICH,  Vedastus,  a  Dutch  engraver, 
flourished  about  the  year  1660.  Among  other 
prints,  we  have  a  few  plates  by  him  representing 
views  in  Holland,  which  are  neatly  engraved. 

DUPONCHEL,  Chakles  EuGi;NE,  a  French  en- 
graver, born  at  Abbeville  in  1748,  was  a  scholar 
of  Jacques  Tardieu.  He  resided  in  England  about 
the  year  1779,  and  among  other  prints  engraved  a 
view  of  Waterford,  from  a  drawing  by  Paul  Sandby, 
the  'Madonna  della  Seggiola'  of  Raphael,  a  'Holy 
Family '  after  Andrea  del  Sarto,  and  several  other 
historical  subjects  and  portraits.  He  was  living 
in  1804. 

DUPONT,  Francois  L^Sonard,  called  Dupont 
Watteau,  a  French  painter,  was  born  at  Moorsel  in 
1756,  and  studied  at  Lille  under  Louis  Watteau, 
whose  daughter  he  married  in  1782.  In  1798  he 
gave  up  art  for  mechanics,  mth  the  study  of 
which  he  had  begun  life.  He  died  at  Lille  in  1824. 
During  the  years  devoted  to  art,  Dupont  painted 
in  all  mediums  and  all  subjects — portraits,  genre 
subjects,  &c.  In  the  Lille  Museum  is  a  picture  by 
him,  dated  1785,  of  the  '  Attributes  of  the  Fine 
Arts,'  and  in  the  Glasgow  Corporation  Galleries  is 
'  The  Vintage.' 

DUPONT,  Gainsbokough,  the  nephew  and  pupil 
of  Thomas  Gainsborough,  R.A.,  was  born  in  1767. 
He  painted  portraits  and  landscapes  in  imitation  of 
the  style  of  his  uncle,  and  also  landscapes  with 
architectural  ruins,  in  which  he  imitated  Nicolas 
Poussin.  His  principal  work  is  a  large  picture 
containing  the  portraits  of  the  Trinity  Masters, 
which  is  in  their  court-room  on  Tower  Hill.  He 
is,  however,  more  distinguished  as  an  engraver  in 
mezzotinto,  and  his  engravings  of  some  of  Gains- 
borough's portraits  are  imbued  with  the  very  spirit 
of  the  painter.  He  died  in  London  in  1797.  The 
following  are  his  best  plates : 

George  III.,  full  length  ;  after  Gainsborough. 
Queen  Charlotte,  fiill  length  ;  after  the  same. 
The  Princess  Royal,  and  the  Princesses  Augusta  and 

Elizabeth,  full  length  ;  after  the  same. 
George,  Lord  Rodney,  full  length ;  after  the  same. 
General  Conway, full  length;  after  Ihe  same. 
Colonel  St.  Leger,  full  length  ;  after  the  same. 
Rev.  Sir  Henry  Bate  Dudley,  Bart.,  full  length  ;  after 

the  same. 
Bev.  Richard  Graves,  half-length,  oval ;  after  the  sam,e. 

DU  PONT,  Nicolas,  who  was  bom  at  Brussels  in 
1660,  painted  landscapes  and  architecture.  The 
figures  in  his  landscapes  are  attributed  to  Pieter 
Bout,  the  coadjutor  of  Bodewyns,  in  conjunction 
with  whom  lie  painted  the  perspective  of  a  grand 
palace,  now  in  the  Museum  at  Ghent.  He  died  at 
Brussels  in  1712. 

DU  PONT,  Paulds  (better  known  as  Paulds 
Pontius),  an  eminent  Flemish  engraver,  was  born 
at  Antwerp  in  1603,  and  was  instructed  in  the 
art  of  engraving  by  Lucas  Vorsterman ;  but  he 
improved  his  designs  by  the  advice  and  friendship 
of  Rubens,  from  whose  works  he  engraved  many 
admirable  olates.     Few  artists  have  equalled  him 

102 


in  the  correct  and  faithful  delineation  of  his  model  ; 
and  in  the  character  and  expression  of  his  figures 
he  appears  to  have  possessed  himself  of  the  mind 
of  Rubens.  He  was  not  less  successful  in  the  fine 
portraits  he  engraved  after  Van  Dyck,  in  which 
he  seems  to  have  adapted  his  style  to  the  particular 
character  of  the  person  represented.  His  plates 
are  executed  with  the  graver  in  a  clear,  bold  style  ; 
and,  though  he  did  not  possess  the  facihty  of 
Bolswert,  or  the  delicacy  of  Vorsterman,  his  plates 
will  ever  be  esteemed  among  the  ablest  pro- 
ductions of  Flemish  art.  He  died  in  1658.  The 
following  are  his  principal  works  : 

POETRAITS   AFTER   VAN   DTCR. 

Paulus  Du  Pont,  or  Pontius,  Engraver. 

Peter  Paul  Eubens. 

Jacob  De  Breuck,  Architect. 

Jan  Wildens,  Painter,  of  Antwerp. 

Jan  van  Ravesteyu,  Painter,  of  the  Hague. 

Palamedes  Palamdesz,  Dutch  Painter. 

Theodoor  van  Loo,  Painter,  of  Louvain. 

Theodoor  Rombouts,  Painter,  of  Antwerp. 

(Jornelis  van  der  Geest,  celebrated  Connoisseur. 

Gerard  Honthorst,  Painter,  of  the  Hague. 

Hendrik  van  Balen,  Painter,  of  Antwerp. 

Adriaen  Stalbent,  Painter,  of  Antwerp. 

Daniel  Mytens,  Painter,  of  Holland. 

Gerard  Seghers,  Painter,  of  Antwerp. 

Simon  De  Vos,  Painter,  of  Antwerp. 

Gaspar  De  Craeyer,  Painter,  of  Ghent. 

Hendrik  Steenwyck,  Painter,  of  Antwerp. 

Gaspar  Gevartius,  Jurisconsult,  of  Antwerp. 

Nioolaas  Rockox,  Magistrate,  of  Antwerp. 

Jan  van  den  Wouwer,  Counsellor  of  State. 

Cffisar  Alexander  Scaglia,  Abbot  of  Stophard. 

Gustavus  Adolphus,  King  of  Sweden. 

Mary  de'  Medici,  Queen  of  France. 

Francis  Thomas,  of  Savoy,  Prince  of  Carignan. 

John,  Count  of  Nassau. 

Don  Alvarez,  Marquis  of  Santa  Cruz. 

Don  Carlos  de  Colonna,  Spanish  General. 

Don  Diego  FeUpe  de  Guzman,  Marquis  de  Leganez. 

Mary,  Princess  of  Aremberg. 

Henry,  Count  de  Berghe,  in  armour. 

Sir  Balthasar  Gerbier. 

Frederick  Henry,  Prince  of  Orange. 

PORTRAITS  AFTER  RUBENS. 

Philip  IV.,  King  of  Spain.     1632. 

Elizabeth  of  Bourbon,  his  Queen. 

Isabella  Clara  Eugenia,  Infanta  of  Spain. 

Ferdinand,  Infant  of  Spain,  on  horseback. 

Gasparo  Guzman,  Duke  of  Olivarez. 

Cristoval,  Marquis  of  Castel  Kodrigo. 

Manuel    de    Moura     Cortereal,    Marquis    of     Castel 

Rodrigo. 
The  Mother  of  Manuel,  Marquis  of  Castel  Eodrigo. 

VARIOUS   SUBJECTS   AFTER   EUBENS. 

Susannah  and  the  Elders.  1624. 
The  Adoration  of  the  Shepherds. 
The  Murder  of  the  Innocents.    In  two  sheets.    1643. 

Very  fine. 
The  Presentation  in  the  Temple. 
Christ  bearing  His  Cross. 
The  Cruciiision,  with  Angels,  one  of  whom  is  overcoming 

Sin  and  Death. 
The    Dead    Christ    supported    by    the   Virgin,   with 

Mary  Magdalen,  St.  Francis,  and  other  figures  ;  very 

fine. 
The  Descent  of  the  Holy  Ghost. 
The  Assumption  of  the  Virgin. 
The  Virgin  suckling  the  Infant  Christ. 
St.  Roch  interceding  with  Christ  for  the  Plague-stricken ; 

very  fine. 
Thomyris  causing  the  Head  of  Cyrus  to  be  put  into  a 

Vessel  of  Blood. 

SUBJECTS   AFTER   VARIOUS  MASTERS. 

The  Flight  into  Egypt ;  after  Jordaens. 
Twelfth-Night ;  after  the  same. 


PAINTERS   AND   ENGRAVERS. 


The  Adoration  of  the  Magi ;  after  G.  Seyhers. 

The  Virgin  with  the  Infant  Christ  and  St.  Anne ;  after 

the  same. 
St.  Francis  Xavier  kneeling  before  the   Virgin  and 

Child  ;  after  the  same. 
St.  Sebastian,  with  an  Angel  drawing  an  Arrow  from 

his  breast ;  after  the  same. 
A  Dead  Christ,  supported  by  the  Virgin ;  after  Van 

Iiyck. 
St.  Kosalia,  receiving  a  Crown  from  the  Infant  Jesus ; 

after  the  same. 
The  Holy  Family  ;  after  J.  van  Hoeck. 
The  Entombment  of'  Christ ;  afier  Titian. 

DUPONT,  Pierre,  a  French  engraver,  was  born 
in  Paris  in  1730.  He  is  often  confounded  with 
Gainsborough  Dupont. 

DUPPA,  Richard,  was  an  English  copyist,  who 
flourished  in  the  latter  half  of  the  18th  and  in 
the  beginning  of  the  19th  century.  He  studied 
for  some  time  in  Rome,  and  published  two  works 
containing  copies  of  heads  by  Michelangelo  and 
Raphael ;  but  he  is  chiefly  known  by  his  lives  of 
these  two  painters,  published  in  1807  and  1816 
respectively. 

DUPRAT,  ,  a  French  painter  of  the  18th 

century,  is  known  by  a  portrait  of  the  Princess 
of  Asturias,  Dona  Maria  Barbara,  wife  of  Ferdi- 
nand VI.,  in  the  Madrid  Gallery.  No  dates  are 
known  in  connection  with  his  life. 

DUPSfi,  Jules,  French  painter,  bom  at  Nantes 
in  the  year  1811.  He  learnt  the  rudiments  of  his 
art  whilst  assisting  his  father,  a  manufacturer  of 
porcelain  (in  the  village  of  Parmain,  facing  L' Isle- 
Adam),  in  decorating  his  pottery.  He  practically 
taught  himself,  wandering  through  the  neighbour- 
ing country,  whence  he  brought  home  studies 
painted  on  the  spot  with  simple  fidelity.  Un- 
trammelled by  any  school  traditions,  young  Dupri 
came  to  Paris,  and  at  the  age  of  twenty  exhibited 
for  the  first  time  three  pictures  in  the  Salon  of 
1831.  Two  of  these,  both  forest  scenes,  were 
painted  direct  from  nature  in  La  Creuse,  where  his 
father  had  undertaken  the  management  of  a  china 
factory  belonging  to  the  Marquis  de  Bonneval. 
He  exhibited  up  to  1837,  and  sent  seven  landscapes 
to  the  Salon  of  1839.  After  this  for  thirteen  years 
he  did  not  contribute  to  the  Salon,  but  reappeared 
for  the  last  time,  in  1852,  with  three  pictures : 
'  Pastures,'  '  The  Outskirts  of  a  VOlage  in  the 
Landes,'  and  '  A  Sunset.'  He  sent  a  dozen  works 
to  the  Universal  Exhibition  of  1867,  which  may  be 
regarded  as  so  many  masterpieces,  though  he  was 
only  awarded  a  second-class  medal.  He  had  previ- 
ously obtained  one  at  the  Salon  of  1833.  His 
'  View  of  the  Fields  near  Southampton,'  in  1835, 
had  brought  him  congratulations  from  the  most 
celebrated  painters  of  the  Romantic  school.  Eugene 
Delacroix  was  never  tired  of  seeing  and  studying 
this  picture.  Dupr6  was  passionately  interested 
in  the  works  of  Constable,  and  assisted  Theodore 
Rousseau  to  become  known,  even  taking  a  studio 
for,  and  working  with  him.  He  endeavoured  to 
paint  on  the  system  of  etchers,  merging  the  trees 
and  background  into  the  sky  so  as  to  represent 
the  depth  of  air  and  space.  At  the  Centenary 
Exhibition  in  the  Champ  de  Mars,  a  fine  collection 
of  his  works,  with  some  of  his  most  powerful  sea- 
pieces  were  shovim.  These  were  mostly  painted 
during  the  siege  of  Paris,  when  he  was  shut  up 
in  his  house  at  Cayeux-sur-Mer.  He  was  the  last 
painter  of  the  Romantic  school  of  landscape,  and 
died  on  October  6,  1889,  at  L'Isle-Adam. 

DDPRfi,   L^ON    Victor,    a    French    landscape 


painter,  was  bom  at  Limoges  in  1816,  and  studied 
under  his  brother,  Jules  Dupr^.  He  died  in  1879, 
after  a  long  and  painful  illness.  Amongst  Ids 
works  are  : 

Meadows  in  Berry. 

Environs  of  St.  Junien. 

Cows  Drinking.    1855.    {South  Kensington  Museum.) 

View  at  Argentan.    1861. 

Landscape  in  the  Indre.    1864. 

DUPREEL,  ,  was   a   French  engraver   of 

whom  no  particulars  are  related,  but  whose  works 
are  to  be  found  in  the  'Mus^e  Franjais,'  the 
'Galerie  de  Florence,'  and  other  publications  of 
the  close  of  the  18th  and  commencement  of  the 
19th  centuries. 

DUPRESSOIR,  Joseph  FEANgois,  a  French  land- 
scape painter,  was  born  in  Paris  in  1800.  He 
painted  chiefly  views  in  the  south  of  Prance,  but 
sometimes  ventured  on  historical  subjects,  as  the 
'  Battle  of  R^thel '  in  the  galleries  at  Versailles. 
He  died  in  Paris  in  1859. 

DUPUIS,  Charles,  (or  Du  Puis,)  a  French  en- 
graver, was  born  in  Paris  in  1685.  He  was  a  pupil 
of  Gaspard  Duchange,  and  engraved  several  plates 
of  portraits  and  historical  subjects.  They  are  etched 
with  taste,  and  finished  with  the  graver  in  a  free, 
masterly  style.  His  drawing  is  correct,  and  his 
heads  are  full  of  expression  and  character.  He 
was  a  member  of  the  Frengh  Academy,  and  died  in 
Paris  in  1742.  The  following  are  his  plates  most 
worthy  of  notice : 

PORTRAITS. 
Louis  XV. ;  after  Banc. 

Henry  of  Lorraine,  Duke  of  Guise  ;  after  Du  Monstier. 
Nicolas  Coustou,  sculptor  ;  after  Le  Gros. 
Nicolas  de  LargiUiere,  painter  ;  after  Gueulain. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
St.  John  preaching  in  the  Wilderness ;  after  C.  Maratti. 
The  Marriage  of  the  Virgin  ;  after  Carle  van  Loo. 
Alexander  Severus  giving  Corn  to  the  Romans ;  after 

Noel  Coypel. 
Ptolemy  giving  Liberty  to  the  Jews ;  after  the  same. 
Two  of  the  Elements,  Earth  and  Air;  after  Louis  de 

Boidlonyne. 
Cupid  triumphing  over  Pan  ;  after  A  ntoine  Coypel. 
Diana  reposing,  with  her  Nymphs  ;  after  the  same. 
Kinaldo  and  Armida  ;  after  the  same. 
The  Passage  of  the  Ehine  ;  after  Le  Brun. 

DUPUIS,  Nicolas  Gabriel,  the  younger  brother 
of  Charles  Dupuis,  was  born  in  Paris  in  1696,  and 
was  instructed  in  the  art  of  engraving  by  Gaspard 
Duchange.  Although  not  equal  to  his  brother,  he 
possessed  great  merit,  and  was  admitted  a  member 
of  the  Academy  in  1754.  He  engraved  several 
portraits  and  historical  subiects,  in  the  style  of  his 
brother.  He  died  in  Paris  in  1771.  There  are  by 
him  the  following  prints  : 

PORTRAITS. 

The  Equestrian  Statue  of  Louis  XV.  erected  at  Bor- 
deaux ;  after  Le  Moine. 

The  same,  from  that  erected  at  Eennes  ;  after  the  same. 

C.  F.  Paul  de  Normand  de  Tournehem,  Director  General 
of  the  Arts  ;  after  L.  Tocque. 

Philips  "Wouwerman,  painter  ;  after  C.  J).  I'lsscher. 

Gaspard  Duchange  ;  after  Van  Loo. 

Jean  de  Betzkoy,  Russian  general ;  after  Roslin. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Guardian  Angel ;   after  Domenico  Feti ;   for  th{ 

Crozat  Collection. 
The  Adoration  of  the  Magi ;  after  Paclo  Veronese  ;  for 

the  same. 
The  Holy  Family;  after  Annilale  Carracci ;  for  the 

Dresden  Gallery. 

103 


A  BIOGRAPHICAL  DICTIONARY  OF 


St.  Sebastian ;  after  L.  Carracci. 

St.  Nicholas  and  St.  Francis  ;  after  Pierre. 

Amusement  of  a  Pastoral  life;  after  Giorgione ;  for 

the  Crozat  Collection. 
The  Death  of  Lucretia ;  after  Guido. 
^neas  saving  his  Father  Anchises ;  after  Carle  van  Loo. 
Nymph  and  Satyrs  ;  after  L.  Chiron. 

DUPUIS,  Pierre  Franqois,  an  etcher  and  en- 
graver in  mezzotint,  worked  in  Paris  in  the  early 
part  of  the  18th  century.  His  best  plate  is  the  por- 
trait of  his  grandfather,  Pierre  Dhpuis,  the  flower 
painter,  who  was  born  in  1610,  and  died  in  1682. 

DUQUE  CORNEJO,  Pedro,  a  Spanish  sculptor 
and  painter,  was  born  at  Seville  in  1677.  He  was 
a  pupil  of  Pedro  Roldan  for  sculpture,  but  it  is  not 
known  by  whom  he  was  instructed  in  painting. 
The  pictures  which  he  painted  in  oil  for  the  Car- 
thusian priory  of  Santa  Maria  de  las  Cuevas,  repre- 
senting St.  Bruno  and  other  monks  of  the  order, 
and  those  which  he  painted  in  fresco  for  the  monas- 
tery of  San  Geronimo  de  Buenavista,  are  not  with- 
out merit.  He  had  a  ready  invention,  and  produced 
numerous  designs,  which  are  much  esteemed  at 
Seville.  He  died  at  Cordova  in  1757,  and  was 
buried  with  great  pomp  in  the  cathedral  of  that 
city.  His  works,  as  a  sculptor  and  carver  in  wood, 
are  to  be  seen  in  the  cathedrals  and  churches  of 
Seville,  Cordova,  Granada,  and  elsewhere. 

DUQDEYLAR,  Paol,  a  French  historical  painter, 
born  at  Digne  in  1771,  was  a  scholar  of  David.  Most 
of  the  subjects  painted  by  him  are  taken  from  the 
classic  poets  and  ancient  historians,  and  are  of  an 
elevated  character.  The  '  Judgment  of  Minos,'  and 
'  Belisarius,'  both  painted  at  Rome  in  1804,  are 
described  by  Kotzebue  in  his  'Souvenirs  d'ltalie.' 
He  was  still  living  in  1831. 

DURAMEAU,  Lonis  Jacques,  a  French  historical 
painter,  was  born  in  Paris  in  1733.  He  was 
painter  to  the  king,  and  keeper  of  the  pictures  at 
Versailles,  and  was  received  into  the  Academy  in 
1774  upon  his  painting  of  '  Summer  '  on  the  ceiling 
of  the  Gallery  of  Apollo  in  the  Louvre.  He  also 
painted  the  ceiling  of  the  theatre  in  the  palace  of 
Versailles  with  the  subject  of  '  Apollo.'  There  are 
pictures  by  him  in  the  Museums  of  Alen^on  and 
Besanfon,  and  some  of  his  historical  subjects  have 
been  engraved  by  Levasseur.  He  died  at  Versailles 
in  1796. 

DUEAND,  Ctrile,  a  French  genre  painter,  was 
born  at  Bordeaux  in  1790,  and  died  there  in  1840. 
An  '  Interior '  by  him  is  in  the  Museum  of  his 
native  city. 

DURAND-BRAGER,  Jean  Baptiste  Henri,  a 
French  marine  painter,  was  born  at  Dol  in  1814. 
He  studied  under  Gudin  and  Eugene  Isabey,  and 
in  1840  accompanied  the  fleet  which  brought 
Napoleon's  remains  from  St.  Helena,  which  island 
afforded  him  subjects  for  various  pictures.  He 
spent  much  of  his  time  in  travelling;  he  went 
to  Buenos  Ayres  with  the  squadron,  and  explored 
Uruguay  and  Brazil ;  he  accompanied  the  ex- 
peditions to  Tangiers  and  Mogador,  and  to  Mada- 
gascar, and  he  was  in  the  Crimea  during  the 
war  with  Russia.  He  painted  views  of  the  places 
he  visited,  and  also  naval  combats  and  sea-pieces. 
He  died  in  1879.  There  are  several  of  his  works 
in  the  galleries  of  Versailles. 

DURANT,  Jean  Lonis,  a  French  portrait  painter 
and  engraver,  was  a  native  of  Orleans.  He  worked 
at  Geneva  about  1670,  but  came  to  London  about 
the  year  1690.  He  was  a  very  inf^ifierent  en- 
graver, and  was  chiefly  employed  by  the  book- 

104 


sellers,  for  whom  he  engraved  a  variety  of  book 
ornaments  and  portraits.  Among  the  latter  is  that 
of  Queen  Mary  II.,  after  Kneller. 

DURANTE,  Conte  Giorgio,  an  Italian  painter 
of  flowers  and  birds,  was  born  at  Brescia  in  1683, 
and  died  in  1755.  His  works  were  eagerly  sought 
after,  no  less  for  their  exact  imitation  than  for 
their  tasteful  composition.  They  are  rarely  met 
with  out  of  Brescia,  though  several  noble  Venetian 
families  possess  a  few  specimens,  and  the  best  are 
to  be  seen  in  the  royal  collection  at  Turin. 

DURELLO,  Simon,  a  German  engraver,  exe- 
cuted some  of  the  portraits  for  the  work  entitled, 
'  Istoria  di  Leopoldo  Cesare,'  published  at  Vienna 
in  1674, 

DURER,  Albrbcht,  the  great  representative 
artist  of  Germany,  was  of  Hungarian  descent,  and 
perhaps  connected  with  a  Hungarian  family  of  the 
name  of  Ajt6s,  who  had  lived  for  many  gener- 
ations in  a  little  village  of  the  same  name,  (Eytas, 
as  Diirer  writes  it,)  near  Gyula.  This  name  of 
Ajt6s,  derived  from  "  ajt6  "  (a  door),  signifies  the 
same  as  the  German  Thiirer  or  Diirer,  which  was 
probably  a  translation  of  it,  and  it  is  significant 
that  Diirer  bore  the  same  arms — viz.  the  open  door 
under  a  pent-house  roof — that  were  borne  by  this 
family.  Durer's  ancestors  lived,  as  he  himself  tells 
us,  "  by  tending  oxen  and  horses."  Albrecht  Diirer 
the  elder,  however,  deserted  this  patriarchal  call- 
ing, and  became  a  goldsmith,  and  after  passing 
some  time  with  the  great  masters  of  that  craft  in 
the  Netherlands,  he  came  to  Nuremberg  in  1455, 
where  he  engaged  himself  to  a  master  goldsmith, 
named  Hieronymus  Helper  (not  Haller),  whose 
young  daughter  Barbara  he  married  in  1467, 
taking  up  about  the  same  time  his  rights  as 
burgher  and  master  goldsmith  in  the  city. 
Albrecht  Diirer  was  the  third  of  eighteen  children, 
most  of  whom  died  in  infancy.  His  birth  took 
place  on  May  21st,  1471,  and  Anton  Koberger,  the 
celebrated  printer,  was  his  godfather.  "  When  I 
had  learnt  to  write  and  read,"  says  Diirer,  in  a 
brief  family  chronicle  of  his  own  compiling,  "my 
father  took  me  from  school  and  taught  me  the 
goldsmith's  work."  But  he  continues,  "  my  inclin- 
ation carried  nie  more  towards  painting."  There- 
fore, his  father,  giving  in  to  his  desire,  bound  him 
apprentice  in  1486  to  the  best  Nuremberg  painter 
of  his  time — Michel  Wolgemut — to  serve  with  him 
for  three  years.  "  During  this  time,"  writes  Diirer, 
"  God  gave  me  diligence  so  that  I  learnt  well. 
And  when  I  had  served  my  time,  my  father  sent 
me  away,  and  I  was  absent  four  j-ears,  until  13' 
father  required  me  back,  and  as  Isetoutin  1490  after 
Easter,  so  I  returned  in  1494  after  Whitsuntide." 
This  is  all  Diirer  tells  us  concerning  his  "  Lehr-und 
Wandorjahre,"  nor  have  we  much  other  record 
concerning  them.  A  portrait  he  drew  of  himself 
in  the  looking-glass  in  1484  is,  however,  still  pre- 
served in  the  Albertina  at  Vienna,  and  a  careful 
pen-drawing  of  the '  Virgin  and  two  Angels,'  dated 
1485,  is  to  be  found  in  the  Berlin  Museum ;  but 
this  may  be  a  copy  from  some  earlier  master. 
Where  Diirerjwent  during  his  four  "  Wanderjahre" 
is  not  certain.  Christoph  Scheurl  expressly  states 
in  one  place  that  he  made  a  tour  through  Germany, 
and  both  he  and  NeudorfEer  afRrm  that  he  was  in 
Colmar  in  1492,  where  he  was  entertained  by 
Martin  Schongauer's  three  brothers,  as  also  by  a 
fourth  brother  at  Basle.  The  inscription  on  two 
portraits  from  which  it  has  been  argued  that  ha 
was  at  Strassburg  in  1494  is  open  to  another  inter- 


&<Sffflz(/ .  pAof'C 


.Ju'OA  u^t/nr  ntiarat'ia^  C 


A   BIOGRAPHICAL   DICTIONARY   OF 


Diirer  are  the  '  Holy  Familywith  the  Locust' (B.  44), 
and  the  'Love  Offer'  (B.  93),  about  1495.  'The 
Ravisher '  (B.  92)  may  be  some  years  earlier. 
His  noblest  conceptions  belong  to  a  later  date. 
Among  these  may  be  named,  '  The  Prodigal  Son  '  ; 
'The  Arms  of  Death'  (1503)  ; 'Adam  and  Eve' 
(1504);  'The  Nativity'  (1504);  'The  Knight, 
Death,  and  the  Devil '  (1513)  ;  '  Melancholia ' 
(1514);  'St.  Jerome  in  his  Chamber'  (1514); 
'The  Great  Fortune,'  and  the  '  St.  Eustace '(or 
'  St.  Hubert ').  The  two  last  are  large  plates  of 
early  date.  The  beautiful  series  known  as  the 
'Passion  in  Copper'  bears  dates  from  1508  to  1513. 

Diirer  produced  six  etchings  during  the  years 
1515-18,  and  four  dry-point  plates,  one  of  whicli 
is  dated  1510  and  two  1512 ;  all  the  rest  were  en- 
graved with  the  burin. 

Diirer's  connection  with  the  Emperor  Maxi- 
milian I.  began  in  1512,  and  continued  till  bis 
patron's  death  in  1519.  The  principal  works 
which  he  executed  for  him  are  the  marginal 
drawings  in  an  incomplete  copy  (at  Munich)  of  a 
printed  prayer-book  intended  for  the  use  of  the 
Orderof  St.  George(1515);  theimmense'Triumphal 
Arch,'  composed  of  ninety-two  blocks,  dated 
1515,  designed  by  Diirer  but  carried  out  in  a  large 
measure  by  his  pupils  ;  the  small  Triumphal  Car 
with  the  Burgundian  Marriage  in  the  '  Triumphal 
Procession,'  and  the  large  'Triumphal  Car,' 
designed  in  1518  but  not  published  as  a  woodcut 
till  1522.  Diirer  drew  the  Emperor's  portrait 
at  the  Diet  of  Augsburg  in  1518,  and  made  both  a 
picture  and  a  woodcut  from  the  drawing. 

In  1520-21  Diirer,  accompanied  by  his  wife, 
undertook  a  journey  to  the  Netherlands,  of  which 
he  has  left  us  a  detailed  account  in  a  journal  he 
kept  during  his  travels.  This  journal,  with  the 
letters  written  from  Venice,  and  other  correspond- 
ence and  memoranda  by  Diirer,  has  been  published 
in  full  in  '  Diirer's  Schriftlicher  Nachlass,' edited  by 
Lange  and  Fuhse,  1893.  It  is  translated  into 
English  in  the  lives  of  Diirer  by  W.  B.  Scott  and 
Mrs.  Heaton.  After  his  return  from  this  journey, 
which  appears  to  have  been  chiefly  undertaken  in 
order  to  get  a  ratification  from  the  Emperor 
Charles  V.  of  a  pension  that  had  been  granted  him 
by  Maximilian,  Diirer  remained  quietly  working 
in  Nuremberg  until  his  death,  which  took  place 
on  April  6th,  1528.  His  last  great  work  had 
been  the  painting  of  the  '  Four  Apostles,'  grandly- 
conceived  figures  of  SS.  Peter,  John,  Paul  and 
Mark,  typifying  the  Four  Temperaments,  which  he 
presented  to  his  native  city  in  1526.  They  are 
now  in  the  Munich  Gallery. 

Besides  his  artistic  works  Diirer  wrote  several 
treatises — the  most  important  being-,  '  The  Art  of 
Mensuration' (1525) ;  'Instruction  on  the  Fortifi- 
cation of  Towns,  Castles,  and  Places  '  (1527)  ;  and 
the  '  Treatise  on  Proportion,'  published  after  his 
death  in  1628.  The  plastic  works  attributed  to 
him  are  probably  without  exception  apocryphal. 

Diirer's  art  is  essentially  German  in  character, 
and  tliose  who  only  admire  the  Italian  ideal  find 
nothing  in  it  to  desire.  It  is  the  lament  of  many 
writers  that  he  did  not  receive  Italian  training ; 
but  those  who  truly  appreciate  his  art  rejoice  that, 
in  spite  of  various  influences  that  might  have 
affected  it,  his  style  remained  thoroughly  individual 
and  German.  "  In  creative  richness  of  fancy,  in 
extensive  power  of  thought,  and  in  moral  energy 
and  earnest  striving,  Diirer,"  writes  Ltibke,  "must 
be  called  the  first  of  all  German  masters;  and  as 

106 


regards  artistic  gifts,  need  fear  no  comparison  with 
any  master  in  the  world,  not  even  with  Raphael 
and  Michelangelo.  Notwithstanding,  in  all  that 
concerns  the  true  means  of  expression — the  cloth- 
ing of  the  idea  in  the  garment  of  exquisite  form — 
he  lies  so  deeply  fettered  within  the  bonds  of  his 
own  limited  world  that  he  rarely  rises  to  the  same 
height  of  thought  or  expression." 

This  is  no  doubt  true  to  some  extent.  We  do 
not  find  in  Diirer's  art  the  classic  ideal  of  the  per- 
fection of  man's  physical  nature,  nor  the  spiritual 
ideal  of  the  early  religious  painters,  nor  the  calm 
dignity  and  rich  sensuous  beauty  of  the  great 
masters  of  the  Italian  Renaissance,  but  in  it  we 
find  a  noble  expression  of  the  German  mind,  with 
its  high  intellectual  powers,  its  daring  speculative 
philosophy,  its  deep-seated  reverence,  its  patient 
laboriousness,  and  its  love  for  the  weird  and 
grotesque.  Diirer  was  the  companion  of  some  of 
the  most  learned  and  thoughtful  men  of  his  day. 
Luther  and  Melanchthon  were  among  the  number 
of  his  friends,  and  there  is  no  doubt  but  the  reform- 
ing spirit  of  the  age  was  powerfully  at  work  witiiin 
him,  affecting  his  thought  and  art.  Melanchthon 
bears  testimony  to  his  rare  worth  as  a  man  by 
saying,  "His  least  merit  was  his  art.'' 

BIBLIOGRAPHY. 

Neudorffer, '  Nachrichten  von  den  vomehmsten  Kiinst- 

lern  und  Werkleuten  so  innerhalb  hundert  Jahren 

iu     Niirnberg     gelebt     habea.*      Niimberg,     1547. 

(Edited  by  Lochner,  1875.     The  earliest  account  we 

have  of  Diirer.) 
Vasari,  '  Vite  de'  piu  eccellenti  Pittori,'  &c.  (Edited  by 

Milanesi.)     1878-82. 
Carel  van  Ma7ider, '  Het  Schilder-Boeck.'    1604. 
Sandrart, '  Teutsche  Academie.'     1675-79. 
Friedrich  Cavtpe,  *  Reliquien  von  Albrecht  Diirer '  (con- 
taining his  letters  and  journal).     1828. 
Joseph  Heller,  'Das  Leben  und  die  Werke  Albrecht 

Diirer's.'     1827.     (Only  the  second  vol.  of  this  work, 

containing  descriptive  catalogues,  was  published.) 
August  von  Eye, '  Leben  und  Wirken  Albrecht  Diirer's.' 

1869. 
W.  B.  Scott,  'Albert  Diirer:   his  Life  and  Works.' 

1869. 
Mrs.  Heaton, '  Life  of  Albrecht  Diirer.'  1869.   (Second 

edition,  1881.) 
Lochner,   'Die   Personen-Namen  in  Albrecht   Diirer's 

Briefen  aus  Venedig.'     1870. 
Moritz   Thausincj,  '  Diirer's   Brief e,   Tagebiicher,   und 

Eeime.'     1872. 
Moritz   Thausing,  '  Durer,  Geschichte  seines    Lebens 

und  seiner  Kunst.'     1876.     (Second  edition,  1884.) 
Moritz  Thausing,  '  Albert  Diirer,  his  Life  and  Works.' 

Edited  by  F.  A.  Eaton.'     1882. 
Charles  Ephrussi,  '  Albert  Diirer  et  ses  dessins.'    1882. 
W.   M,    Conway,  '  Literary   Kemains   of    A.    Diirer,* 

1889. 
Anton  Springer,  'Albrecht  Diirer.'     1892. 
Hanid  L'urrkhardt,  'Albrecht  Diirer's  Aufentbalt  in 

Basel.'     1892. 
Gabriel  von  Terey,  'Albrecht   Diirer's  Venetianischer 

Aufentbalt.'     1892. 
Ijxniie    und   Fuhse,   '  Diirer's    Schriftlicher  Nachlass.' 

1893. 
E.  Knackfuss,  '  Diirer.'  (Editions  3-6, 1895-99,  English 

Translation,  1900.) 
Lionel    Cust,  '  A.  Diirer.    A  study  of    his   Life   and 

Works.'     1897. 
>S.  R.  Koehler, '  Chronological  Catalogue  of  the  Engrav- 
ings, etc.,  of  Albert  Diirer.'     1897. 
J/.  ZMcter, 'Albrecht  Diirer.'     1900. 
Ludufig  Justi,  '  Konstruirte  Figuren  und  Kopfe  unter 

den  Werken  A.  Diirer's.'     1902. 
'  Studien  zur  Deutschen  Kunstgeschichte,'  nos.  6, 19, 23, 

27,  38,  39,  41.     No.  41,  '  Versuch  einer  Diirer-Biblio- 

graphie,'  by  H.  W.  Singer,  enumerates  about  1300 

books  and  articles  relating  to  Diirer. 


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ALBRECHT  DURER 


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THE  FLIGHT  INTO  EGYPT 


PAINTERS   AND   ENGRAVERS. 


PRINCIPAL  PAINTINGS. 
Virgin  and  Child  with   SS.  Antony  and  Sebastian. 

{Dresden.) 
Adoration  of  the  Magi.     1504.     (  Uffizi,  Florence.) 
Feast   of  the   Rose-Garlands.     1506.     (Monasteri/   of 

Strahou;  near  Prague.) 
Virgin  crowned  by  two  Angels.     1506.     {Berlin). 
Crucifixion.     1506.     (Dresden). 

Martyrdom  of  the  Ten  Thousand.     1508.     ( Vienjia.) 
Adoration  of  the  Trinity.     1511.     (Vienna.) 
Figures  of  the  Four  Apostles.     1526.     (Ifumch.) 
Madonnas  at  Augsburg,  Berlin,  and  Vienna. 

POBTKAITS. 

Portrait  of  Himself.     1493.    (Late  in  the  Felix  Collec- 
tion, Leipzig.) 
„  „  149S.     (Madrid,  copy  at   Flor- 

€71C€,) 

„  „  1508?     (JIunich.) 

Albrecht  Diirer  the  Elder.    1494.     (Uffizi.) 

,,  ,,  1497.     (three  replicas  at 

Frankfort,  Sehleissheim,  and  Sion  House.) 
A      Young    Man ;    probably    Hans     Diirer.      1500. 

(Munich.) 
Oswald  Krell.     1499.     {Munich.) 
Michel  Wolgemut.     1516.     (Munich.) 
A  man  unknown  (Hans  Irahof  ?).    (Madrid.) 
Bernard  van  Orley.     1521.     (Dresden.) 
Hieronymus  Holzschuher.     1526.     (Berlin.) 
Jacob  Muffel.    1526.    (Berlin.) 

DBAWIXGS. 

The  richest  collections  are  tbose  of  the  Albertina, 
Vienna,  the  Koyal  Print  Cabinet  at  Berlin,  and  the 
Print  Room  at  the  British  Museum.  Other  import- 
ant drawings  are  at  Bremen,  Hamburg,  Florence, 
Milan,  The  Louvre,  Windsor  Castle,  Chatsworth,  the 
Blasius  Collection  at  Brunswick,  the  Bonnat  Collec- 
tion at  Paris,  etc.  Reproductions  of  nearly  all  the 
drawings  have  been  pubUshed  by  Dr.  Lippmann, 
('  Zeichnungen  von  A.  D.,'  Bd.  i.-iv.,  1883-96,)  with 
the  exception  of  the  Albertina  drawings,  which  have 
appeared  in  Schcinbrunner  and  Meder's  '  Handzeich- 
nungen  aus  der  Albertina  und  anderen  Sammlungen ' 
(Vienna).  M.M.H.  (CD.) 

DURER,  Hans,  a  younger  brother  of  Albrecht 
Durer,  was  born  at  Nuremberg  in  1490.  When, 
in  1502,  they  lost  their  father,  Albrecht  took  the 
young  Hans,  a  boy  of  twelve,  under  his  protection, 
and  gave  him  instruction  in  art.  He  afterwards 
became  court  painter  to  the  King  of  Poland,  at 
Cracow.  His  death  is  not  recorded,  though  it  is 
thought  that  he  may  have  been  dead  in  16.38,  for 
in  that  year  his  brother  Andreas  went  from  Nurem- 
berg to  Cracow  to  collect  debts.  A  few  old  German 
paintings  with  the  initials  H.  D.  and  a  drawing  of 
the  Crucifixion  in  the  British  Museum  are  attributed 
to  Hans  Diirer,  but  his  most  certain  works^  are  a 
part  of  the  marginal  drawings  in  that  portion  of 
the  so-called  Prayer-Book  of  Maximilian  I.  which 
is  preserved  at  Besanyon. 

DURET,  Pierre,  a  French  engraver,  who  was 
li\nng  in  Paris  in  1 767.  He  engraved  several  plates 
of  landscapes,  principally  after  the  Dutch  masters, 
among  which  are  the  following  : 

A  View  in  Holland  ;  after  Ruisdael. 
Two  Moonlight  subjects  ;  after  Van  ier  Neer. 
The  Country  Blacksmith ;  after  Ph.  Wouicerman. 
An  Italian  Sea-port ;  after  Vernet. 

DURINGER,  Daniel,  a  Swiss  painter,  born  at 
Steckborn,  in  Thurgau,  in  1720,  studied  at  Zurich, 
and  distinguished  himself  as  an  excellent  painter 
and  etcher  of  animals.     He  died  in  1786. 

DURMER,  Franz  Valentin,  an  Austrian  en- 
graver and  draughtsman,  was  born  at  Vienna  in 


1766.  He  studied  at  the  Academy  of  that  city, 
and  executed  after  Guido  Reni  the  '  Four  Seasons,' 
and  after  Poelenborch  the  '  Nativity,'  which  are 
two  of  his  best  plates.     He  was  still  living  in  1835. 

DURNO,  James,  an  historical  painter,  was  born 
about  the  year  1752.  He  studied  first  under  An- 
drea Casali,  and  afterwards  under  West,  and 
painted  two  pictures  for  Boydell's  Shakespeare 
Gallery.  The  early  productions  of  this  artist  gave 
promise  of  great  ability,  which  was  not,  however, 
fulfilled.  He  went  to  Italy  in  1774,  and  died  there 
in  1795. 

DU  RONCERAY,  Marguerite  Louise  Am£lie 
Delorme.     See  Delormb  du  Roncebay. 

DURR,  John,  a  native  of  Germany,  flourished 
about  the  year  1625.  He  was  an  engraver  of 
little  repute,  and  worked  chiefly  for  the  booksellers, 
for  whom,  among  other  book-plates,  he  eiiK'rai'ed 
some  portraits,  particularly  those  of  H.  J.  Ernest 
and  his  family,  and  J.  Zimmer. 

DUSART,  "Cornelis,  the  elder,  flourished  in 
Holland  in  the  17th  century.  In  the  Amsterdam 
Museum  is  a  '  Fish  Market '  by  him,  signed  and 
dated  1653. 

DUSART,  Cornelis,  (or  Du  Sart,)  a  Dutch 
painter  and  engraver,  was  born  at  Haarlem  in  1660. 
He  entered  the  guild  of  that  city  in  1679,  and  died 
there  in  1704.  He  was  a  pupil  of  Adriaan  van 
Ostade,  whose  style  he  imitated  with  considerable 
success.  His  works,  like  those  of  Ostade,  repre- 
sent-Dutch  peasants  regaling  and  merry-making. 
Although  not  equal  to  his  master  in  the  richness 
of  his  tones  and  the  harmony  of  his  effect,_his 
colouring  is  clear  and  agreeable,  his  corapositioiis 
are  ingenious,  and  his  touch  very  spirited.  There  is 
great  inequality  in  the  works  of  Dusart ;  but  some 
of  his  best  pictures  are  in  the  following  galleries : 

Amsterdam.  Museum.  Fish  Market.    1683. 

„  „  The  Ambulant  Musicians. 

„  „  A  Village  Fair. 

„  „  A  Village  Inn. 

Antwerp.        Museum.     Interior  with  Peasants. 
Brussels.        Museum.    A  Dutch  Kermesse. 
Dresden.         Gallery.     AYoman  and  Child.    1679  (his  ear- 
liest kyioicn  tr07'k). 

„  „  Peasants  Fighting.    1697. 

„  „  Nine-pins  Players.    1688. 

Dulwich.         Gallerv.     A  Peasant  Famdy. 
Frankfort.  Stadel  Inst.  A  Dutch  Inu.    1687. 
Glasgow.         Gallery.     The  Musicians. 
Hague.  Museum.     Interior  of  an  Inn. 

London.   ^«-^^*™''^-|  FamUy  Scene. 
„  Bute  Coll.    Boors  drinking. 

Petersburg.  -2>"«'<- 1  a  Donkey.     1681. 

^^  „  Interior  of  a  Grocer's  Shop. 

„  A  Peasant  Family. 

Vieima.  Gallery.     Peasants  before  an  Inn. 

Dusart  executed  some  very  spirited  etcliings, 
and  a  few  plates  in  mezzotint,  which  are  full  of 
humorous  character.      The  following  are  his  best 

prints : 

plates  in  mezzotint. 

An  old  Man  playing  on  the  Violin. 

A  Girl  confessing  to  a  Monk.  ,,_,,.  ^  ^, 

A  Dutch  Boor  reading  a  Paper,  and  holding  a  Bottle. 

Monkeys  regaling. 

An  Indian  dancing  with  a  Girl. 

A  Girl  dancing  with  a  Tea-Pot  in  her  Hand. 

Twelve  plates  of  the  Months  of  the  Year. 

The  Five  Senses. 

etchings. 
The  Interior  of  an  Alehouse,  with  Boors  regaling. 
The  Great  Fair.     1685. 

107 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Little  Fair.    1685. 

The  Amorous  Cobbler. 

The  Village  Surgeon.     1695. 

The  Village  Physician.     1695. 

The  Inside  of  a  Dutch  Alehouse. 

A  Village  Festival ;  after  himself. 

DDSCHER.     See  TiJscHER. 

DUSIGN, ,  a  portrait  painter,  was  a  son  of 

Colonel  Dusign.  He  was  a  pupil  of  Sir  Joshua 
Reynolds,  and  practised  for  a  few  years  at  Bath, 
where  his  family  resided.  He  died  at  Rome  in 
1770. 

DUTILLEUX,  Henri  Joseph  Constant,  a 
French  landscape  painter,  who  painted  also  a  few 
portraits,  was  born  at  Douai_  in  1807.  He  studied 
under  Hersent  and  at  the  Ecole  des  Beaux-Arts, 
and  worked  at  Arras  from  1830  until  1860,  in 
which  year  he  removed  to  Paris,  where  he  died  in 
1865.  There  are  Landscapes  by  him  in  the 
Museums  of  Lille  and  of  Douai. 

DUTTENHOPER,  Christian  Peiedrich,  a  Ger- 
man engraver,  was  born  at  Gronau  in  Wurtemberg 
in  1778.  He  studied  under. Klengel  at  Dresden, 
and  is  chiefly  known  by  his  landscapes  after  Claude, 
Poussin,  Annibale  Carracci,  P.  Bril,  and  various 
views  in  the  Tyrol.  He  also  copied  Woollett's 
print  of  '  Solitude,'  after  Wilson,  and  was  one  of 
tlie  artists  employed  on  the  '  Musee  Napoldon.' 
He  died  at  Heilbronn  in  1846.  His  son,  Anton 
DnxTENHOFER,  who  was  likewise  an  engraver, 
and  was  a  pupil  of  his  father,  died  at  Stuttgart  in 
1843,  at  the  age  of  31. 

DUVAL,  Amadry,  painter,  was  born  at  Mont- 
rouge,  Paris,  in  1808.  In  1826  he  entered  the 
atelier  of  Ingres,  and  afterwards  travelled  in 
Greece,  where  he  made  numerous  studies  and 
sketches.  In  1834  he  exhibited  at  the  Salon  his 
'Greek  Shepherd  discovering  a  Bas-relief,'  and 
soon  becamn  favourably  known  as  an  able  exponent 
of  his  master's  traditions.  His  portrait  of  '  Rachel 
as  the  Tragic  Muse,'  contributed  to  the  Exhibition 
of  1855,  attracted  considerable  attention.  He 
painted  various  pictures  for  Parisian  churches, 
and  executed  some  decorations  in  St.  Germain 
I'Auxerrois.     He  died  in  December  1885. 

DU  VAL,  Charles  Allen,  a  portrait  and  subject 
painter,  was  born  in  1808.  He  practised  at  Man- 
chester, and  exhibited  at  the  Royal  Academy  from 
1836  till  his  death  in  1872.    Among  his  works  are  : 


The  Giaoiu-.     1842. 
Columbus  in  chains.     1855. 
The  Dedication  of  Samuel. 
The  Morning  "Walk.     1861. 


1858. 


DUVAL,  Marc,  called  Bertin,  after  his  brother- 
in-law,  and  also  '  Le  Sourd  de  Charles  IX.,'  a 
painter  and  wood-engraver,  was  bom  at  Le  Mans, 
and  became  court  painter  of  Charles  IX.  of  France. 
Among  his  engravings,  which  are  very  rare,  may 
be  mentioned  the  Brothers  Coligni  and  Catharine 
de'  Medici.     He  died  in  Paris  in  1581. 

DUVAL,  Nicolaas.    See  Du  Val,  Robert. 

DUVAL,  Philippe,  a  French  painter,  flourished 
about  the  year  1672.  He  was  first  a  scholar  of 
Charles  Le  Brun,  and  afterwards  studied  at  Venice. 
He  came  to  England  in  the  reign  of  Charles  II., 
and  painted  some  historical  and  mythological 
subjects,  one  of  which,  dated  1672,  represented 
'  Venus  receiving  from  Vulcan  the  Arms  of  .tineas.' 
He  died  in  London  in  1709. 

DU  VAL,  Robert,  a  Dutch  painter,  who  has 
often  been  called  in  error  Nicolaas  Duval,  was 
born   at  the   Hague    in    1644.      After    studying 

108 


under  Nicolaas  Wieling  he  went  to  Italy,  and  be- 
came an  imitator  of  Pietro  da  Cortona.  On  his 
return  to  Holland  he  was  employed  by  William, 
Prince  of  Orange,  afterwards  king  of  England.  It 
is  said  that  he  was  sent  to  Hampton  Court  to  put 
in  order  the  Cartoons  of  Raphael ;  but  whether  to 
repaint,  or,  in  modern  phrase,  to  restore  them,  is  not 
stated.  He  was  appointed  director  of  the  Academy 
at  the  Hague,  and  died  there  in  1732. 

DU  VAL,  S.  This  artist  is  mentioned  by  Pa- 
pillon  as  an  engraver  on  wood,  who  flourished 
about  the  year  1650,  and  was  remarkable  for  the 
neatness  and  dehcacy  of  his  execution.  There  are 
twenty  cuts  by  him  for  the  '  Histoire  miraculeuse 
de  Notre-Dame  de  Liesse.'  His  other  prints  are 
chiefly  from  the  designs  of  Jacques  Stella  and  N. 
Cochin.  S.  Du  Val  is  sometimes  mentioned  as 
Sebastiano,  and  sometimes  as  Stefano  Du  Val  ; 
but  there  is  a  degree  of  mystification  about  him 
which  requires  elucidation.  He  must  not  be  con- 
founded with  Sebastiano  D'  Vl,  or  D'Val,  who 
lived  a  century  earlier. 

DUVA_L-LE-CAMUS,  Jules  Alexandre,  a 
French  historical  and  scriptural  painter,  the  son  of 
Pierre  Duval-le-Camus,  was  born  in  Paris  in  1817. 
He  studied  under  his  father,  to  whose  style  his  own 
has  considerable  afiinity,  and  under  Drolling  and 
Delaroche.  He  died  in  1878.  Amongst  his  chief 
works  are : 

Tobit  and  the  Angel. 

Petits  Dejeuners  de  Marly. 

Kousseau  writing  '  Heloise.*     1846. 

The  Bear-Hunters.     1853. 

Macbeth  and  the  Witches.  1855. 

The  Flight  into  Egypt.     1857. 

Jacques  Clement.    1861.    {Luxembourg  Gallery.) 

St.  Elizabeth  of  Hungary.     1863. 

Martyrdom  of  St.  Laurence.     18674 

DUVAL-LE-CAMUS,  Pierre,  a  French  genre 
and  portrait  painter,  was  born  at  Lisieux  in  1790. 
He  studied  under  David,  and  became  painter-in- 
ordinary  to  the  Duchess  of  Berry.  He  died  at  St. 
Cloud  in  1854.     Amongst  his  works  are: 

The  Baptism.     1819. 

The  Brothers  of  the  Christian  Doctrine.    1822. 

Interior  of  a  Kitchen.     1824. 

Eunui.     1827. 

Labourer's  Family  returning  from  school.     1827. 

Halt  of  Huntsmen.     1837. 

Wolf-Hunting.     1838. 

The  Blessing  of  Orphans.     {Louvre.) 

The  First  Gatherings  of  Harvest.     {Louvre.) 

Pifferaro  teaching  his  Son.     {Louvre.) 

An  Interior.     {Bordeaux  Museum.) 

DUVAUX,  Jules  Antoine,  painter  and  etcher, 
bom  at  Bordeaux  in  1818,  was  a  pupil  of  Charlet, 
and  a  painter  of  battles  and  military  subjects 
generally.  Several  of  his  pictures  are  in  the  Ver- 
sailles Museum.  He  also  worked  much  as  an 
illustrative  draughtsman  and  etcher  for  various 
publications.     He  died  in  1884. 

DUVEAU,  Lunis  Jean  Noel,  a  French  painter, 
who  was  born  at  St.  Malo  in  1818,  studied  history 
and  genre  painting  under  L6on  Cogniet  in  Paris, 
and  afterwards  visited  Italy.  He  was  successful 
in  representing  scenes  of  fisher-life  in  his  native 
country.  He  died  in  Paris  in  1867.  In  the  Lille 
Museum  is  his  '  Perseus  and  Andromeda,'  painted 
in  1865. 

DUVENEDE,  Marcts  van,  a  Flemish  painter, 
was  born  at  Bruges  about  1674.  He  went  to  Rome 
when  he  was  very  young,  and  became  a  scholar  of 
Carlo  Maratti,  in  whose  academy  he  studied  four 


yy  ^/eAJ^^iLtO'. 


i 


PAINTERS   AND   ENGRAVERS. 


years.  There  are  several  of  his  pictures  in  the 
churches  and  convents  of  his  native  city,  of  which 
tlje  most  esteemed  is  the  '  Martyrdom  of  St. 
Laurence'  in  the  cliapel  of  St.  Christopher.  He 
died  at  Bruges  in  1730. 

DUVET,  Jean,  (Master  of  the  Unicom,)  a  French 
engraver,  was  born  in  1481  at  Langres,  and  died 
after  1561.  Goldsmith  to  Francis  I.  and  Henry 
II.  of  France  ;  engraved  over  sixty  plates,  among 
them  the  'Apocalypse,'  the  '  Annunciation,'  a  series 
of  animals,  and  several  allegorical  subjects,  in 
which  the  unicorn  is  introduced. 
DU  VIVIER,  G.  See  Vivieb,  G.  de. 
DU  VIVIER,  Ignaz,  a  painter  born  at  Rians  in 
1768,  was  instructed  by  Casanova,  and  executed 
battle-scenes  in  the  style  of  his  master.  He  after- 
wards removed  to  Vienna  and  turned  his  attention 
chieily  to  landscapes  ;  a  '  Waterfall '  by  him  is  in 
the  Vienna  Gallery.  He  also  etched  a  large  number 
of  landscapes  and  genre  pictures.  He  died  in  Paris 
in  1832. 

DUVIVIER,  Jean  Bernard,  a  native  of  Bruges, 
was  a  painter  of  historical  subjects  and  professor 
at  the  Normal  School  in  Paris.  After  having  been 
instructed  by  Hubert,  Paul  de  Kock,  and  Suvee, 
he  studied  for  six  years  in  Italy,  and  his  style  is 
distinguished  for  beautiful  composition,  correct 
drawing,  and  bright  colouring.  He  died  in  Paris 
in  1837. 

DU  VIVIER,  Louise.  See  under  Tardieu, 
Jacques  Nicolas. 

DUWETT,  Gerrit,  (often  called  De  Wett,  De 
Wet,  De  Weth,  orDE  Weet,)  was  bom  at  Amster- 
dam in  1616,  and  died  there  in  1679.  He  was  a 
scholar  of  Rembrandt,  whose  manner  he  imitated  ; 
he  also  painted  landscapes,  and  was  accounted  a 
good  colourist.  Tliere  is  in  the  Copenhagen 
Gallery  '  Jephthah's  Daughter'  by  him. 

DUWETT,  Jacob,  (or  De  Wet,)  was  probably 
a  son  of  Jan  Diiwett.  In  1677  he  entered  the 
Guild  of  St.  Luke  at  Cologne,  where  he  flourished 
for  many  years. 

DUWETT,  Jan,  (De  Wet,  De  Wette,  or  De 
Weth,)  is  said  to  have  been  bom  at  Hamburg  in 
1617,  but  the  date  of  his  birth  was  probably  earlier. 
While  quite  young  he  entered  the  school  of  Rem- 
brandt at  Amsterdam,  and  his  style  partakes  of 
that  of  his  master  and  also  of  that  of  Gerard  Dou. 
He  produced  a  large  number  of  biblical  and  mjdho- 
logical  pictures,  many  of  which  have  been  sold  as 
Rembrandt's.  He  afterwards  settled  in  Hamburg, 
but  the  date  of  his  death  is  not  recorded.  The 
'  Raising  of  Lazarus '  by  him,  dated  1633,  is  in  the 
Darmstadt  Gallery,  and  '  Christ  in  tlie  Temple  ' 
(1635)  and  the  '  Burning  of  Troy '  are  at  Bruns- 
wick :  other  pictures  by  him  are  at  Kiel  and 
Copenhagen.  His  brother,  Emanuel  Duwett,  (or 
De  Wett,)  a  native  of  Hamburg,  who  was  likewise 
a  pupil  of  Rembrandt,  painted  landscapes  in  the 
style  of  Uytenbrouck. 

DUYNEN,  Isaac  van,  was  a  native  of  Antwerp, 
who  went  in  1664  to  the  Hague,  where  he  became 
a  pupil  of  Van  Beyeren,  and  painted  sea  and  river 
fish  very  successfully.  He  died  at  the  Hague  in 
1688  or  1689.  There  is  a  picture  of  '  Cod-fish  '  by 
him  in  the  Lille  Museum. 

DUYSTER,  W.  C,  a  Netherlandish  painter, 
was  the  author  of  a  painting  representing  '  Soldiers 
playing  at  Tric-trac  '  in  the  Hermitage  at  St.  Peters- 
burg. 

DYCE,  William,  a  Scottish  historical  painter, 
was  bom  at  Aberdeen  in  1806,  and  educated  at 


Marischal  College,  where  he  graduated  at  the  age 
of  sixteen.  He  then  studied  art  at  the  Royal 
Academies  of  Edinburgh  and  London.  After  two 
prolonged  visits  to  Rome,  which  may  be  said  to 
have  formed  his  style,  he  settled  at  Edinburgh  in 
1830.  Here,  for  the  next  few  years,  he  painted 
portraits,  and  was  elected  an  Associate  of  the  Royal 
Scottish  Academy  in  1835.  The  year  1837  saw 
the  publication  of  his  pamphlet  on  art  education, 
which  led  to  his  being  placed  at  the  head  of  the 
government  Schools  of  Design  throughout  the 
country.  He  entered  into  the  Westminster  Hall 
competitions,  and  produced  for  the  decoration  of 
the  Houses  of  Parliament  '  The  Baptism  of  Ethel- 
bert,'  and  the  series  of  frescoes  illustrating  the 
history  of  King  Arthur.  He  also  painted  frescoes 
for  the  church  of  All  Saints,  Margaret  Street, 
London,  and  executed  decorative  works  for  the 
Queen  at  Osborne  and  Buckingham  Palace.  He 
was  elected  an  Associate  of  the  Royal  Academy  in 
1844,  and  an  Academician  in  1848.  He  died  in 
London  in  1864.  The  following  are  some  of  the 
chief  works  exhibited  by  him  : 

Bacchus  nursed  by  the  Nymphs.     1827. 

The  Infant  Hercules.     1830.  ~] 

The  Judgment   of  Solomon.     {A         ^-rational  Gallery 

cartoon.)     1836.  r       of  Scotland. 

Francesca  da  Kimmi.     1837. 
James  Hamilton,  M.D.  J 

Piety  and  i'aith.    Sir  Galahad  and  his  Companions. 
Mercy. 

The  Descent  of  Venus.     1836. 
St.  Dunstan  separating  Edwy  and  Elgiva.     1839. 
The  Christian  Yoke.     1841. 

Joash  shooting  the  Arrow  of  Deliverance.     1844. 
Jacob  and  Rachel.     1853. 
Titian's  First  Essay  in  Colour.     1S57. 
St.  John  leading  home  the  Vkgin.     1860. 
George  Herbert  at  Bemerton.     ISCl. 

DYCK,  Anthonis  van,  the  eminent  portrait 
painter,  was  born  of  good  family  at  Antwerp,  on 
the  22nd  of  March,  1599.  He  was  the  seventh 
child  of  a  family  of  twelve  ;  his  father,  Frans  van 
Dyck,  was  a  silk  merchant,  and  his  mother,  Maria 
Cuypers,  was  skilled  in  embroidery  and  other  arts. 
Van  Dyck  was  apprenticed  to  Hendrik  van  Balen 
when  he  was  but  ten  years  old,  and  in  1615  entered 
the  academy  of  the  great  painter  Rubens,  with 
whom  he  remained  till  1620  as  his  assistant.  In 
1618  Van  Dyck  was  admitted  into  the  Guild  of 
St.  Luke  at  Antwerp.  In  1620  he  paid  a  short 
visit  to  England,  and  worked  in  the  service  of 
James  I.,  from  whom  he  received  £100  for  special 
services.  In  1621  he  was  back  in  Antwerp,  and 
by  the  advice  of  Rubens,  set  out  for  Italy,  where 
he  arrived  in  November  1621,  and  executed  many 
important  works.  He  stayed  chiefly  at  Genoa,  but 
also  visited  Rome,  Venice,  and  Palermo.  On  his 
return  to  Antwerp  in  1626,  Van  Dyck  at  once 
became  famous  as  a  painter  both  of  historical 
subjects  and  of  portraits.  Among  tlie  chief  his- 
torical works  which  he  then  executed  were  a 
'Crucifi.xion'  for  the  church  of  St.  Michael  at 
Ghent,  and  a  '  St.  Augustine '  for  the  church  of 
the  Augustines  at  Antwerp.  He  was  nowloaded 
with  commissions,  and   became  even  a  rival   to 

Rubens.  .     ,    ,      tt  i,-ii 

In  1630  Van  Dyck  visited  the  Hague— whither 
he  had  been  invited  by  the  Prince  of  Orange— and 
is  said  to  have  gone  to  London,  but,  as  he  did  not 
meet  with  the  encouragement  which  he  had  been 
led  to  believe  he  should  receive  from  the  English 
monarch,  to  have  returned  to  Antwerp.    Charles  I., 


A  BIOGRAPHICAL  DICTIONARY  OF 


on  seeing  a  portrait  of  the  musician,  Nicholas 
Laniere,  in  1632  invited  the  painter  to  return. 
Van  Dyck  was  most  graciously  received  by  Charles, 
■who  gave  him  apartments  at  Blackfriars,  where  he 
was  often  honoured  with  a  visit  from  the  king, 
who  frequently  sat  to  him.  He  was  styled  "  Prin- 
cipal Painter  in  Ordinary  to  their  Majesties  at  St. 
James's,'  and  on  the  5th  of  July,  1632,  he  received 
the  honour  of  knighthood.  In  the  same  month  he 
received  £280  for  "  diverse  pictures  by  him  made 
for  his  Majestye,"  and  in  the  following  year  he  was 
granted  an  annual  salary  of  £200.  From  this  time 
Van  Dyck  became  the  favourite  painter  in  England  : 
not  only  the  monarch,  and  his  wife  and  children, 
but  all  the  court  sat  to  him.  He  was  wont  to 
receive,  Walpole  tells  us,  £60  for  a  full-length,  and 
£40  for  a  half-length  portrait.  "  He  was  inde- 
fatigable," adds  that  author,  "  and,  keeping  a  great 
table,  often  detained  the  persons  who  sat  to  him, 
for  an  opportunity  of  studying  their  countenances, 
and  of  retouching  their  pictures  again  in  the  after- 
noon." In  the  State  Paper  Office  there  is  preserved 
a  document  which  shows  that  Van  Dyck  charged 
Charles  I.  on  an  average  about  £50  for  a  portrait. 
He  lived  in  a  grand  and  almost  regal  manner,  in 
the  summer  at  Eltham,  and  in  the  winter  at  Black- 
friars. In  1634-5  Van  Dyck  visited  Brussels  and 
executed  some  of  his  finest  paintings.  After  the 
death  of  Rubens  in  1640  Van  Dyck  returned 
to  Antwerp,  but  went  to  Paris  in  the  hope  of  a 
royal  commission  there.  Disappointed  in  this,  and 
broken  in  health,  he  returned  to  England. 

Van  Dyck  died  in  Blackfriars,  London,  December 
9,  1641.  Two  days  afterwards  he  was  buried  in  the 
old  cathedral  of  St.  Paul,  near  the  tomb  of  John  of 
Gaunt.  He  bequeathed  to  his  wife,  Mary  Ruthven, 
a  grand-daughter  of  William,  first  Earl  of  Gowrie, 
and  to  his  daughter  Justiniana,  all  his  goods,  eifects, 
and  moneys  due  to  him  in  England  from  King 
Charles,  the  nobility,  and  all  other  persons  what- 
ever, to  be  equally  divided  between  them.  He  also 
left  other  legacies  to  his  executors,  to  his  trustees,  to 
his  daughter,  to  his  sisters,  to  his  natural  daughter 
Maria  Theresa,  to  his  servants,  and  to  the  poor  of 
St.  Paul's  and  St.  Anne's,  Blackfriars.  Lady  Van 
Dyck  married,  as  her  second  husband,  Sir  Richard 
Pryse,  Bart. 

In  the  Museum  of  Antwerp  the  precious  tables 
are  still  preserved  in  which  the  names  of  the  Deans 
of  the  Corporation  of  Painters  were  successively 
inscribed  from  its  foundation  in  1454  until  its 
extinction  in  1778.  Two  names  only  in  this  long 
list  are  inscribed  in  capital  letters — that  of  Rubens, 
under  the  date  1631,  and  that  of  Van  Dyck,  under 
the  date  1634. 

It  is,  perhaps,  without  example  in  the  history  of 
the  art,  that  a  painter,  cut  off  in  the  vigour  of  his 
life,  should  have  left  such  a  multiplicity  of  works, 
the  number  of  which  is  perhaps  not  exceeded  by 
those  of  Rubens.  If  we  cannot,  in  a  general  view, 
place  him  on  an  equality  with  Rubens  as  an  his- 
torical painter,  it  will  be  allowed  that  he  surpassed 
him  in  the  correctness  of  his  design,  in  the  delicate 
expression  of  his  heads,  in  the  truth  and  purity  of 
his  colouring,  and  in  the  tender  blending  of  his 
tones.  If  he  had  less  boldness  of  conception,  and 
less  fecundity  of  invention,  his  compositions  are 
regulated  by  judgment  and  propriety,  and  it  may 
be  reasonably  presumed,  that  if,  like  his  illustrious 
instructor,  he  had  devoted  himself  to  tliat  branch, 
and  had  not  been  chiefly  engaged  in  portrait-paint- 
ing, he  possessed  the  genius,  as  well  as  every  other 

no 


requisite,  to  have  reached  the  highest  rank  among 
the  painters  of  history. 

In  portraiture  Van  Dyck  will  not  be  denied  the 
most  honourable  place  after  Titian,  and  it  will  even 
then  be  admitted  that  Titian  is  superior  only  in 
the  heads  of  his  portraits,  but  that  in  the  hands 
and  accessories  he  is  inferior  to  Van  Dyck,  both  in 
correctness  and  in  elegance.  Van  Dyck's  attitudes 
are  easy  and  natural,  and  they  captivate  by  an  air 
of  unafiected  simplicity  for  which  his  portraits  are 
singularly  remarkable.  His  heads  are  full  of  life 
and  expression,  without  anything  of  the  coldness 
and  insipidity  which  are  frequently  found  in  the 
productions  of  the  portrait  painter.  Tlie  pictures 
which  he  painted  in  Italy  have  more  of  the 
Venetian  colouring  than  those  of  a  subsequent 
period.  The  influence  of  Titian  is  paramount, 
and  at  this  period  even  stronger  than  that  of 
Rubens.  On  his  return  to  Antwerp  he  recurred  to 
the  Flemish  mode,  although  he  occasionally  blended 
the  two.  The  earlier  portraits  which  he  painted 
in  England  are  brilliantly  coloured  and  carefully 
finished  in  all  their  parts  ;  but  as  business  in- 
creased they  were  executed  with  more  despatch, 
and  much  of  the  subordinate  portion  was  left  to  be 
completed  by  his  pupils  or  assistants,  the  head  only 
being  painted  by  the  master.  Besides  the  many 
admirable  pictures  which  he  painted  of  the  king 
and  the  royal  family,  there  are  in  England  many 
fine  portraits  of  distinguished  personages,  which 
are  among  the  chief  ornaments  of  the  mansions  of 
the  nobility. 

There  were  no  less  than  seventy-two  portraits  of 
tlie  English  nobility  attributed  to  Van  Dyck  exhi- 
bited in  the  National  Portrait  Exhibition  of  1866, 
and  Smith,  in  his  '  Catalogue  Raisonn^,'  gives  a  list 
of  upwards  of  nine  hundred  and  fifty  works  by 
this  painter.  There  are  many  unnamed  portraits 
in  the  public  galleries  of  Europe  as  well  as  in 
private  collections  which  are  not  mentioned  in  the 
following  list.  Many  of  these  portraits,  however, 
are  only  the  work  of  his  pupils  and  assistants. 

PORTRAITS    BY   VAN   DYCK. 

Arundel,      Thomas       Howard, 

Earl  of,    and    his    grandson 

Thomas      (afterwards       5th 

Duke  of  Norfolk) 
Balbi  Children 
Baltimore,      Anne      Arundell, 

Lady.     Bust 
Basset,   Admiral    Sir    Francis. 

Full  length     .... 
Bedford,  Ann  Carr,  Countess  of 
Bentivoglio,  Cardinal 
Berg,  Count  Henry  de 
Bolingbroke,     Family    of    the 

first   Earl  of.       Seven    half- 
length  portraits  in  a  garden    . 
Brignole,  La  Marchesa  de,  and 

Child.    Full  length 
Brignole  Family 
Bristol,     George     Digby,    Earl 

of,     and    William     Earl    of 

Bedford.     Full  length    . 
Brueghel,  Jan   .... 


Duke  of  Norfolk. 
Barl  Cowper. 
Lord  Arundell  of  War- 
dour. 

Mr.  J.  F.  Bassett. 
Duke  of  Bedford. 
Pitti  Palace,  Florence. 
Madrid  Gallery. 


Earl  of  Morley. 

Earl  of  "Warwick. 
Palazzo  Brignoli,Genoa. 


Buckingham,  George  Villiers, 
Duke  of,  and  liis  Brother 
Francis,  as  boys.     Full  length 

Burlington,  Kichard  Boyle, 
first  Earl  of  ... 

Cante  Croix,  Beatrice  de  Cu- 
sance.  Princess  de 

Carew,  Thomas,  the  poet,  and 
Sir  William  Killigrew  . 


Earl  Spencer. 
Hermitage,  St.  Peters- 
burg. 


Windsor  Castle. 
Duke  of  Devonshire. 

Windsor  Castle, 
Windsor  Castle. 


SIR  ANTHONY  VAN   DYCK 


CHARLES  I. 


[  The  Louvye,  Paris 


PAINTERS  AND  ENGRAVERS. 


Carignan,  Thomas  Francois  de, 

PriQce  of  Savoy     . 
Carignan,   Prince    Thomas    of, 

on  karseback  .... 
Carlisle,  Countess  of 
Carlisle,  James  Hay,   Earl  of. 

Full  length    .... 
Chaloner,  Thomas 

Charles  I.  Full  length,  with 
horse  and  attendants 

Charles  I.  Full  length,  icear- 
ing  the  collar  and  badge  of 
the  Order  of  the  Garter. 
Dated  1636    .... 

Charles  I.     Full  length     . 

Charles  I.  in  armour,  mounted 
on  a  dun-coloured  horse,  his 
equerry.  Sir  Thomas  Morton, 
holdiyig  the  king's  helmet 

Charles  I.  in  armour.  For  the 
picture  at  Blenheim 

Charles  I.  Equestrian  portrait. 
M.  St.  Antoine,  bearing ^  the 
king's  helmet,  is  on  foot  hy 
his  side  ..... 

Charles  I.  Equestrian  portrait. 
(A  replica  of  the  Windsor 
picture.)         .... 

Charles  I.  Half  length,  full 
face,  with  baton,  helmet,  and 
crown     ..... 

Charles  I.  Three  heads  in 
di^erent  positions,  painted 
for  Bernini's    bust 

Charles  I.,  standing,  in  armour. 

Charles  I.  .... 

Charles   I.    and   Queen   Henri- 
etta Maria     .... 
Charles   I.   and  Queen  Henri- 
etta Maria,  with  their  sons, 
Charles  and  James 
Charles  I.  and  Queen  Henrietta 

Maria 

Queen   Henrietta  Maria.     Full 

length     ..... 

Charles  I.,  Three  Children  of    . 

Charles,  Prince  of  "Wales,  with 

the      Princesses       Elizabeth, 

Mary,  and  Anne,  and  James, 

Duke  of  York.     Dated  1637  . 

Charles,     Prince     of     Wales, 

Princess   Mary,    and    James, 

Duke     of    York,    with    two 

spaniels  seated  at  their  feet  . 

Charles  II.,  when  a  boy     . 

The  same,  when  a  boy 

Charles  V.,  on  a  white  horse 

Charles    Louis,    Prince     (elder 

brother  of  Prince  Rupert) 
Charles  Louis,  Prince,  and  his 

brother  Prince  Rupert  . 
Chesterfield,Catharine,Countess 

of.     (Painted  about  1636.) 

Clanbrazil,  Countess  of.  (Painted 

in  1636.)  .... 

Cleveland,  Thomas  Wentworth, 

.  first    Earl    of.     Full    length. 

Dated  1636     .... 

Cleveland,  Thomas  Wentworth, 

first  Earl  of,  with  his  wife 

and  daughter 

Cranfield,  Lady   Frances,  wife 

of    Richard,     fifth    Earl    of 

Dorset    ..... 

Craven,  William,  first  Earl  of. 

Full  length     .... 

Danby,    Henry    Danvers,   Earl 

of.     Full  length     . 
Dauby,  Henry  Danvers,  Earl  of. 

Delawarr,    Isabella    Edmunds, 
Lady.    Full  length 


Berlin  Gallery. 

Pinacoteca,  Turin. 
Lord  Leconfield. 

Lord  Lyttelton. 
Hermitage,  St.  Peters- 
burg. 

Louvre,  Paris. 


The  King. 

Louisa  Lady  Ashburton. 


National  Gallery. 
Buckingham  Palace. 

Windsor  Castle. 
Hampton  Court. 
Duke  of  Norfolk. 


Wind.sor  Castle. 
Hermitage,  St.  Peters- 
burg. 
Dresden  Gallery. 

Duke  of  Grafton. 


Windsor  Castle. 

Pitti  Palace,  Florence. 
Hermitage,  St.  Peters- 
burg. 
Turin  Gallery. 


Windsor  Castle. 


Windsor  Castle. 
Windsor  Castle. 
Duke  of  Portland. 
XJfiizi,  Florence. 

Vienna  Gallery. 

Louvre  Palace. 

Earl  of  Radnor. 

Earl  of  Denbigh. 

Earl  of  Verulam. 

Earl  of  Strafford. 

Lord  Sackville. 

Earl  of  Craven. 

Mr.  F.  V.  Wentworth. 
Hermitage,    St.  Peters- 
burg. 

E;irl  Delawarr. 


Dellafaille,    Alexander,   magis- 
trate of  Antwerp    . 
Denbigh,  William  Fielding,  first 

Earl  of Duke  of  Hamilton. 

Derby,  James  Stanley,  seventh 

Earl  of,  his  wife,  Charlotte  de 

la  Tr^mouille,  and  daughter. 

Lady  Katharine  Stanley 
Derby,    James    Stanley    (Lord 

Strange),    seventh    Earl    of. 

Full  length     .... 
Devonshire,  Christian,  Countess 

of    .        .        ... 
De  Wael,  Jan  and  his  wife 
De  Wael,  Lucas  and  Cornells    . 
Digby,    Lady   Venetia,   wife  of 


Brussels  Gallery. 


Earl  of  Clarendon. 


Earl  of  Derby. 
Duke  of  Northumber- 
land. 
Munich  Gallery. 
Capitol  Gallery,  Rome. 


Sir  Kenelm  Digby 
Digby,   Lady  Venetia,    on   her 

death-bed.  Bust  . 
Digby,    Lady  Venetia,    on  her 

death-bed.  Bust  . 
Digby,  Sir  Kenelm  . 
Digby,     Sir     Kenelm.       Salf 

length  ..... 
Digby,  Sir  Kenelm,  and  Family. 

Half  lenqth,  figures  seated  . 
Doria  Family  .... 
Dorset,       Frances       Cranfield, 

Countess  of     . 
Dorset,        Edward      Sackville, 

fourth  Earl  of       .         .         . 
Dyck,  Sir  Anthou  van.     Bust  . 
Dyck,  Sir  Antliou  van 
Dyck,  Sir  Anthon  van,  and  the 

Earl  of  Bristol 
Dyck,  Sir  Anthon  van 
Dyck,   Sir  Anthou  van,   when 

young  .  .  .  .  ■ 
Elizabeth,    The    Princess,   and 

Duke  of  Gloucester,  children 

of   Charles   I.     (A  study    of 

heads)  .  .  .  .  . 
ErtveltjAndries  van,  the  marine 

painter  .  .  .  - 
Fernando,  Don,  of  Austria 
Frederick    Henry    of    Nassau, 

Prince  of  Orange  . 
Grandison,  William       Villiers, 

Viscount.  Full  length  . 
Hamilton,    Mary,    Duchess   of, 

daughter    of    William,     first 

Earl  of  Denbigh  . 
Hamilton,  James,  first  Duke  of. 
Hamilton,  James,  first  Duke  of. 
Henrietta  Maria,  Queen    . 


Windsor  College. 

Dulwich  Gallery. 

Earl  Spencer, 
Windsor  Castle. 

National  Portrait  Gal. 

Mr.  Wingfield  Digby. 
Duke  of  Abercorn. 

Windsor  Castle. 

Lord  Sackville. 
National  Portrait  GaL 
Louvre,  Paris. 

Madrid  Gallery. 
Windsor  Castle. 

Munich  Gallery. 


Lord  Chesham. 

Augsburg  Gallery. 
Madrid  Gallery. 

Madrid  Gallery. 

Earl  of  Clarendon. 


Earl  of  Denbigh. 
Earl  of  Denbigh, 
Duke  of  Hamilton. 
Ambrosian  Library, 
Milan. 


Pro- 
Full 


Full 


Henrietta  Maria,  Queen.    Full 

face Windsor  Castle 

Henrietta  Maria,  Queen.  Three- 
quarter  face  . 
Henrietta  Maria,  Queen. 

file  ... 

Henrietta  Maria,  Queen. 

length     . 
Henrietta  Maria,  Queen. 

length      .         .  •         . 

Henrietta,        Maria,       Queen. 

Standing  by  a  table 
Henrietta  Maria,  Queen    .     _    . 
Henrietta  Maria,   Queen,   with 

her      dwarf.      Sir      Geoffrey 

Hudson  .... 

Henrietta  M.aria,  Queen.   Signed 

"J/.i?.  1632" 
Hontsum   Zeger  van,  canon   of 

Antwerp  Cathedral 
Huntly,  George  Gordon,  second 

Marquis  of.     Full  length 
Isabella  Clara  Eugenia,  Infanta 

of  Spain  .... 

Isabella  Clara  Eugenia,  Infanta 

of  Spain,  in  her  widow's  dress. 
Isabella  Clara  Eugenia,  Infanta 

of  Spain,  in  her  widow's  dress.    Louvre,  Paris. 


Windsor  Castle. 

Windsor  Castle. 

Earl  of  Clarendon. 

Louisa, Lady  Ashburton. 
Hermitage,  St.  Peters- 
burg. 
Dresden  Gallery, 


Earl  of  Northbrook. 
Earl  of  Radnor. 
Buckingham  Palace. 
Duke  of  Buccleuch. 
Louvre,  Paris. 
Duke  of  Buccleuch. 


Ill 


A  BIOGRAPHICAL  DICTIONARY  OP 


Isabella  Clara  Eugenia,  Infanta 

of  Spain  ....    Marquis  of  Linlithgow. 

Jones  Inigo        ....    Hermitage,  St.   Peters- 
burg. 
Killigrew,  Thonaas,  and  Thomas 
Carew.     Signed,    and    dated 

1628 Windsor  Castle. 

{See  Carew.) 
Killigrew,  Mrs.  Cecilia  Crofts. 

Bast Mr.  R.  H.  Cheney. 

Kirk,  Madame  ....     Earl  Cowper. 
Laud,   William,   Archbishop  of 
Canterbury.       Mulf     lenyth. 
Dated  IdZi     ....     Lambeth  Palace. 
Laud,  Archbishop.    (Replica.)  .     Hermitage,  St.  Peters- 
burg. 
Laud,  Archbishop      .         .         .     Earl  Fitzwilliam. 
Leers,     Burgomaster     van,     of 
Antwerp,  his  wife  and  their 

son Cassel  Gallery. 

Leicester,  Countess  of,  and 
Countess  of  Carlisle,  daugh- 
ters of  Henry  Percy,  ninth 
Earl  of  Northumberland. 
Half  lengths,    seated   near   a 

fountain         ....     Mrs.  Charles  Morrison. 
Leicester,       Dorothy       Percy, 

Countess  of  .         .         .         .     Earl  Spencer. 
Lemon,  Mrs.  Margaret      .         .     Hampton  Court. 
Lady       Aubigny,        Catharine 

Howard  ....    Windsor  Castle. 

Le   Koy,   Philippe.      Inscribed 

"  JEtatis  sua  34.     1630 "      .     Wallace  Collection. 
Le  Eoy,  the  wife  of  Philippe. 

Inscribed  "  Et.  sua  IG.   1631 "     Wallace  Collection. 
Liberti,    Hendrik,     organist   of 

Anticerp  ....  Madrid  Gallery. 
Liberti,  Hendrik  .  .  .  Munich  Gallery. 
Lflmellini  Family      .         .         .     National  Gallery  of 

Scotland. 
Malderus,  Jan,  Bishop  of  Ant- 
werp        Antwerp  Gallery. 

Mallery,  Karel  van,  the  en- 
graver     Munich  Gallery. 

Manchester,    Lord  K-imbolton, 

second  Earl  of.     Half  length     Duke  of  Manchester. 
Mary    de'    Medici,    Queen    of 

France Lille  Museum. 

Mary  de'  Medici         .         .         .     Munich  Gallery. 
Meerstraeteu,  Justus  van .         .     Cassel  Gallery. 
Moncada,    Francisco,    Marquis 

de Vienna  Gallery. 

Moncada.  Francisco  de,  on  horse- 
back. (A  study  of  this,  a 
bust,  is  also  in  the  Louvre.)  Louvre  Palace. 

Monmouth,  the  Countess  of  .  Earl  of  Radnor. 
Montfort,  Johann  van  .  .  Uffizi,  Florence. 
Montfort,  John  .         .         .     Vienna  Gallery. 

Morton,    Anne,    Countess     of 

Half  length     ....     Eail  Spencer. 
Mowbray       and       Maltravers, 
Henry     Frederick     Howard, 

Lord Duke  of  Norfolk. 

Nassau,  John,  Count  of    .         .     Munich  Gallery. 
Nassau,  John,  Count  of     .         .    Lord  Ashburton. 
Nassau,    John,    Count  of,    his 
wife,  son,  and  three   daugh- 
ters.    Dated  1634  .         .         .     Earl  Cowper. 
Naunton,  Lady  Penelope  .         .     Dulwich  Gallery. 
Neuburg,       Duke       Wolfgang 

Wilhelm  von  .         .         .     Munich  Gallery. 

Newcastle,  William  Cavendish, 

Duke  of.     Fnll  length    .         .     Earl  Spencer. 
The  same.     Full  length     .         .     Duke  of  Portland. 
Newport,      Mountjoy     Blount, 

Earl  of.     Full  length     .         .     Earl  of  Northcote. 
Nole,  Andreas  Colyns  de  .         .     Munich  Gailery. 
Nole,  Andreas  Colyns  de,  wife 

q{ Munich  Gallery. 

Northumberland,  Henry  Percy, 

ninth  Earl  of.     Bust      .         .     Earl  of  Denbigh. 
Northumberland,  Henry  Percy, 
ninth   Earl  of.     Full  length, 

seated Lord  Leconfield. 

112 


Northumberland,  Algernon 

Percy,  tenth  Earl   of.     Full 
length     ..... 

Northumberland,  Algernon 
Percy,  Earl  of,  his  Countess, 
and  their  Child.  Half  lengths 

Odescalchi,  Don  Livio,  nephew 
of  Pope  Innocent  IX.,  standi 
ing  ..... 

Orleans,  Gaston,  Duke  of 

Oxford,  The  Countess  of  . 

Parr,  Thomas,  in  his  151st  year 

Pembroke,  Philip  Herbert,  fifth 
Earl  of,  with  his  family 

Pembroke,  Philip  Herbert,  fifth 
Earl  of.     Half  length     . 

Pembroke  and  Montgomery, 
Philip,  fourth  Earl  of.  Half 
length    ..... 

Peterborough,  The  first  Coun- 
tess of     .         .         .         .         . 

Peterborough,  John,  Earl  of, 
standing  .... 

Phalsburg,  Henrietta  of  Lor- 
raine, Princess  of.  Fitll 
length 

Portland, 
length 

Portland, 
Earl  of. 


Countess  of.      Full 

Richard     Weston, 
Full  length 

Life  size. 


Rich,  Lady  Isabella 

standing  .... 

Richardot,  Jean    Grusset,    and 

his  son 

Richmond,     The    Duchess    of, 

represented  in  the  character  of 

St.  Agnes         .... 

Richmond  and  Lennox,  Frances 

Howard,  Duchess   of.      Full 

length.     Dated  Zondem,  1633 

Richmond,  Mary,  Duchess  of, 

daughter  of  George  Villiers, 

Duke  of  Buckingham,   with 

the  dwarf,  Mrs.  Gibson 

Richmond,     The     Duke      of, 

standing         .... 

Richmond  and  Lennox,  James 

Stuart,  Duke  of  .  . 
Richmond  and  Lennox,  James 
Stuart,  Duke  of,  with  the 
dog  which  saved  his  life 
Richmond  and  Lennox.  James 
Stuart,  Duke  of.  Full  length, 
standing  .... 

Richmond  and  Leimox,  James 
Stuart,  Duke  of.     Life  si:e, 
standing,  with  dog 
Rubens,  Sir  Peter   Paul,  cm  a 
horse  given  him  by  Van  Dyck 
Rupert,    Prince,    when    twelve 
years  old        .... 
Rupert,  Prince  .... 
Eutliven,    Mary    (Van    Dyck's 
wife),  as    Herminia   putting 
ou  Clorinda's  armour     . 
Hyc^^i^rt,  tlte  painter 
Ryckaert,  Martin,  the  -painter  . 
Scaglia,  Cesare  Alessandro 
Simons,  Quentyn 
Snayers,  Pieter,  the  painter 
Sny'ders,  Frans 
Suyders,  Frans,  and  wife 
Snyders,  Frans,  Wife  of  . 
Scribani,  Carolius 
Solms,    Amalia   von    {wife    of 
Fringe   Henry   Frederick   of 
Orange).         .         .         .        ^ 
Solnis,  Emilie  von     . 
Southampton,  Elizabeth,  Coun- 
tess of    . 
Southampton,     Rachael,     first 

Couutess  of  . 
Spinola,     Andrea,     Doge      of 
Genoa.    Full  length,  seated  . 


Duke   of    Northumber- 
land. 


Marquis  of  Salisbury. 

Sir  H.H.Campbell,  Bart. 
Earl  of  Radnor. 
Madrid  Gallery. 
Dresden  Gallery. 

Wilton  House. 

Dulwich  Gallery. 

Earl  of  Carnarvon. 
Mrs.  Elkington  Bisset. 
Mrs.  Elkington  Bisset. 

Lord  Iveagh. 
Lord  Lyttelton. 
Mr.  Ralph  Bankes. 
Lady  Elizabeth  Pringle. 
Louvre,  Paris. 

Windsor  Castle. 

Marquis  of  Bath. 

Earl  of  Denbigh. 
Louvre,  Paris. 
Duke  of  Buccleuch. 

Earl  of  Denbigh. 

Earl  of  Leicester. 

Marquand  College,  New 
Tork. 

Earl  of  Radnor. 

Vienna  Gallery. 
Earl  of  Craven. 


Mr.  J.  E.  Hartford. 
Madrid  Gallery. 
Dresden  Gallery. 
Captain  Holford. 
Hague  Gallery, 
Munich  Gallery. 
Earl  of  Carlisle. 
Cassel  Gallery. 
Earl  of  Warwick. 
Vienna  Gallery. 


Vienna  Gallery. 
Madrid  Gallery. 

Earl  Cowper. 

Earl  Cowper. 

Mr.  Hey  wood-Lonsdale. 


PAINTERS  AND  ENGRAVERS, 


Spinola,  The  Marquis.  Full 
tcinjth    ..... 

Sjjinola,  Polixena,  Marchioness 
of  Legani'S     .... 

Strafford,  Thomas  Wentworth, 
first  Earl  of.  Full  length,  in 
half  armour    .... 

Strafford,  Thomas,  first  Earl 
of,  and  his  secretary,  Sir 
Fliilip  Mainwaring.  Half 
length,  seated. 

Strafford,  Thomas,  Earl  of 

Stuart,  Lord  John,  and  Lord 
Bernard,  sons  of  the  Duke  of 
Lenncx  ..... 

Sunderland,  Dorothy  Sidney, 
Countess  of.     Half  length 

Sunderland,  Dorothy  Sidney, 
Countess  of.     Half  length     . 

Trie.st,  Anthonius,  Bishop  of 
Ghent    .         .         .         .         . 

Van  den  "Wouver  (Waverius), 
Jan        ...'.. 

Van  der  Borcht,  Burgomaster 
of  Antwerp    .... 

Van  der  Geest,  Cornells.  For- 
merlg  supposed  to  represent 
Gevartuts       .... 

Villiers,  George  and  Francis, 
sons  of  the  JJuke  of  Bucking- 
ham       ..... 

Wandesford,  Sir  Rowland. 

Warwick,  Earl  of,  in  armour    . 
Wemmel,       Engelbert       Taie, 
Baron  of         ...         . 
Wentworth,  Lady  Arabella 
■\VTiarton  Philip,  Lord 

"WTiarton,  Lady 

Gary  Family     .... 

■\ybarton.  Sir  Thomas 

William,  Prince  of  Orange, 
and  his  fancee,  the  Princens 
Mary,  Daughter  of  Charles  I. 

Worce.ster,  Erlward  Somerset, 
second  Marquis  of.  Half 
length    ..... 


Marquis  of  Linlithgow. 
Madrid  Gallery. 

Earl  of  Home. 


Earl  B'itzwilliam. 
Earl  Fitzwilliam. 


Earl  of  Damley. 
Lord     De     L'Isle    and 
Dudley. 

Earl  Spencer. 

Hermitage,  St.  Peters- 
burg. 

Hermitage,  St.  Peters- 
burg. 

Amsterdam  Museom. 


National  Gallery. 


Windsor  Castle. 
Hermitage,  St.  Peters- 
burg, 
Earl  of  Leicester. 

Dresden  Gallery. 

Earl  Fitzwilliam. 

Hermitage,  St.  Peters- 
burg, 

Hermitage,  St.  Peters- 
burg, 

Hermitage,  St,  Peters- 
burg, 

Hermitage,  St.  Peters- 
burg. 


Amsterdam  Museum. 


Duke  of  Beaufort. 


SACKED  SUBJECTS. 


Betrayal  of  Christ    . 
Betrayal  of  Christ    . 
Christ  Bound     .... 
Christ  on  the  Cross  . 
Cfirist  on  the  Cross  . 
Christ  on  the  Cross  .  1629 
Christ  on  the  Cross  . 
Christ  healing  the  Paralytic 
Christ  and  the  Pharisee    . 
Christ  crowned  with   Thorns. 

{An  altered  copy  of  Titian! s 

picture  at  Munich^) 
Crucifixion,  The 
Crucifixion,  The 
Crucifixion,  The 
Crucifixion, The,  (Study.) 

Dead  Christ.     (Small.)     . 
Descent  of  the  Holy  Ghost 
Descent  from  the  Cross    . 
Ecce  Homo        .... 
Entombment,  The     . 
Entombment,  The.     (Study.)  . 

Flight  into  Egypt     . 

Flight  into  Egypt      .         .      •  . 

Four  Repentant  Sinners  before 

Christ 

VOL.  II.  I 


Madrid  Gallery. 
Lord  Methuen. 
Vienna  Gallery, 
Vienna  Gallery. 
Munich  Gallery. 
Antwerp  Gallery. 
Lille  Museum. 
Buckingham  Palace. ' 
Palazzo  Brignoli,Genoa. 


Madrid  Gallery. 

St.  Jacques,  Antwerp. 

Notre-Dame,  Courtray. 

Cathedral,  Mechlin. 

Hermitage,  St.  Peteis- 
burg. 

Louvre,  Paris. 

Berlin  Gallery. 

Antwerp  Gallery. 

Marquis  of  Linlithgow. 

.Vntwerp  Gallery. 

Hermitage,  St.  Peters- 
burg. 

Munich  Gallery. 

Pitti  Palace,  Florence. 


Incredulity  of  St.  Thomas 

Infant  Saviour  embracing  St. 
.John      ..... 

Infant  C^lrist  and  St.  John 

Ma<lonna  and  SS,  Peter,  Paul, 
anil  l{<j«alia,     1629 

Madonna  and  Child  . 

Mad<;nna  and  Child,  (A  replica 
of  the  Jiridgewater  Gallery 
picture.)         .... 

Madonna,  The  .... 

Madonna,  as  Queen  of  Heaven  . 

Madonna  and  Child,  with 
Saints    ..... 

Madonna  and  Child  . 

Madtjnna,  Tlie,     Life  size. 

Madonna,  The,     Life  size. 

Miidonna  and  Donor. 

Madonna  and  Donors 

Madonna  and  St,  Anthony 

Madonna  and  Child  . 

Madonna  and  Child  . 

M;idoniia  and  Child,  with  St. 
Catharine       .... 

St.  Mary  Magdalen  . 

Magdalen,  The  Penitent  . 

Holy  Family      .... 

Holy  Family     .... 

Hfjly  Family,  with  the  par- 
tridges, {lieplicas  are  in  the 
Pitti  Palace  and  in  the  Mu' 
seams  of  Nantes  and  Tours.) 

Holy  Family     .... 

Holy  Family     .... 

Holy  Family     .... 

Last  Supper       .... 

Marriage  of  St.  Catharine 
Miraculous  Draught  of  Fishes. 

(A  study  after  Rvhens.) 
Mocking  of  Christ,  The     . 

Pieta 

Pieta  ..... 

Pieta 

Pieta 

St.  Anthony  of  Fadoa,  holding 

the  Infant  Saviour 
St.  Augu-stine  in  Ecstasy  . 

St.  Francis  in  Ecstasy      .         , 
St.  Francis  in  Ecstasy 
St,  .Jerome         .... 
St.  Jerome        .... 
St,  John  the  Evangelist  and 

St,  John  the  Baptist 
A   Dying  Saint,     (A  sketch  in 

grisaille.) 
St.  Martin  dividing  his  Cloak. 

St.  Peter 

St.  Peter,  Martyrdom  of  . 

St.  Sebastian     .... 

St.  Sebastian     .         .         .         . 

St.  Sebastian.    iA  sketch.) 

St.  Sebastian,  Martyrdom  of     . 

St.  Sebastian,  Martyrdom  of    . 

St.  Stephen,  Martyrdom  of 
Samson  and  Delilah 
Susannah  and  the  Elders  .        . 


Hermitage,  St.  Peters- 
burg. 

Windsor  Castle. 
Mrs.  Morrison. 

Vienna  Gallery. 
Bridgcwater  House. 


Dulwich  Gallery. 
Brunswick  Gallery. 
Dresden  Gallery. 

Louvre,  Paris. 
Buckingham  Palace. 
Buckingham  Palace. 
TJfbzi,  Florence. 
Vienna  Gallery. 
Louvre,  Paris. 
Brera,  Mi  an. 
Lord  Ashburton. 
Mimich  Gallery. 

Duke  of  Westminster. 
Vienna  Gallery. 
Amsterdam  Museum. 
Acad.of  St,  Luke,Uorae. 
Vienna  Gallery. 


Hermitage,  St.  Peters- 
burg. 

Munieli  Gallery. 

Pinacoteca,  Turin. 

Miss  de  Rothschild. 

Hermitage,  St.  Peters- 
burg. 

Buckingham  Palace. 

National  Gallery. 
B<frlin  Gallery. 
I'frlin  Gallery. 
Munich  (iallery. 
Vienna  Gallery. 
Louvre,  Paris. 

Brussels  Gallery. 
St.   Augustine's,    Ant- 
werp. 
Brussels  Gallery. 
Madrid  Gallery. 
Dresden  Gallery. 
Madrid  Gallery. 

Berlin  Gallery. 

Hampton  Court. 

Saventhem,  Belgium. 

Berlin  Gallery. 

Brussels  Gallery. 

JjOMvre,  Paris. 

Munich  Gallery. 

Earl  of  Warwick. 

National  Gallery  of 
Scotland. 

Hermitage,  St.  Peters- 
burg. 

LordEgcrton  of  Tatton. 

Vienna  Gallery. 

Munich  Gallery. 


Augsburg  Gallery. 


MISCELLANEOUS    SUB'ECTS. 
Boys  blowing  Soap  Bubbles 

(Study 


Child's       Head. 

crayrm.) 
Cupid  and  Psyche    . 
Danae  and  the  Golden  Shower. 
Da;<lalu8  and  Icarus  . 
Diana  and  Endymion        . 


Hermitage,  St.  Peters- 
burg. 

Academy  of  St.  Luke, 
Rome. 

Hampton  Court. 

Dresden  Gallery. 

Earl  Si«n'  er. 

Madrid  Gallery. 

113 


A  BIOGRAPHICAL  DICTIONARY  OF 


Emperor  Theodosiiis  refused 
admission  into  the  Church 
by  St.  Ambrose.  (Copy,  with 
slight  alterations,  of  Bulieiis's 
picture  in  the  Vienna  Gallery.) 

Greenwich  Palace,  with  Jiijures 
in  the  foreground,  aitiong  which 
are  portraits  of  Charles  I., 
Henrietta  Maria,  Lord  A  run- 
dell,  and  others 

Horses.     (A  study.) 

Rinaldo  and  Armida 

Eiualdo  and  Armida 

Silenus 

Sileuus      ..... 

Study  of  three  Horses,  with 
their  Riders .... 

Study  of  a  Man  on  Horseback  . 

Venus  and  Vulcan    . 

Venus  and  Vulcan    , 


National  Gallery. 


Buckingham  Palace. 
National  Gallery. 
Louvre,  Paris. 
Duke  of  Newcastle. 
Dresden  Gallery. 
Brussels  Gallery. 

Buckingham  Palace. 
Augsburg  Gallery. 
Vienna  Gallery. 
Louvre,  Paris, 


This  distinguished  painter  occasionally  occupied 
himself  with  the  point,  and  has  etched  several 
plates,  which  are  executed  with  a  spirit  and  fire 
bordering  on  enthusiasm.  They  consist  chiefiy  of 
portraits  of  the  most  eminent  artists  of  his  time, 
from  his  own  designs,  animated  with  a  vigour 
and  energy  which  are  perhaps  without  example. 
The  following  are  his  principal  works : 

Christ  crowned  with  Thorns;  A.  Van  Dyck,  inv. 
A  Holy  Family. 

PORTRAITS. 

Adam  van  Oort,  Painter. 

Justus  Suttermans,  Painter,  of  Antwerp. 

Pieter  Brueghel,  Painter. 

Lucas  Vorsterman,  Engraver. 

Jodocus  De  Momper,  Paiuter, 

Paulus  Pontius,  Eugraver. 

Jan  Brueghel,  Paiuter. 

Frans  Fraijck,  Painter. 

Jan  De  Wael,  Painter. 

Jan  Snelliux,  Painter. 

Titian,  with  his  Mistress,  who  is  leaning  on  a  casket, 

with  a  skull ;  after  Titian. 
Antonis  Corneliasen,  Amateur. 
Desiderius  Erasmus. 
Sir  Anthonius  van  Dyck. 
Philippe  Le  Roy. 
Frans  Snyders,  Painter. 
Anthonius  Triest,  Bishop  of  Ghent, 
William  De  Vos,  Painter. 
Paulus  De  Vos,  Painter. 
Jan  van  den  Wouwer. 

There  are  several  other  plates  attributed  to  Van 
Dyck,  but  being  doubtful  they  are  here  omitted. 

These  portraits  form  part  of  a  series  intended 
to  represent  the  leading  statesmen,  warriors,  and 
artists  of  the  age.  They  appear  to  have  been 
drawn  originally  in  pencil  by  Van  Dyck  himself, 
then  copied  in  grisiiille,  in  some  cases  perhaps 
by  Van  Dyck,  and  then  engraved  by  the  best 
engravers.  The  first  edition  was  published  after 
Van  Dyck's  death  by  Martin  van  der  Enden,  the 
second  in  1645  by  G.  Hending. 

The  works  of  Van  Dyck  are  best  studied  in  the 
great  picture-galleries  of  Europe,  such  as  the 
Louvre,  Antwerp,  Munich,  Dresden,  Cassel,  Madrid, 
and  St.  Petersburg.  In  England  Van  Dyck  is  but 
scantily  represented  in  the  National  collections, 
most  of  the  finest  specimens  of  his  work  being  in 
the  hands  of  private  owners,  or  in  the  royal  collec- 
tions at  Windsor  Castle  and  Buckingham  Palace. 
A  fine  set  of  his  etchings  and  the  other  plates  to  the 
'  Iconographie  '  is  in  the  Print-Eoom  at  the  British 
Museum.     Many  of  his  finest  paintings  at  Genoa 

114 


remain  in  their  original  positions  in  the  palaces 
there,  and  in  Belgium  many  of  his  altar-pieces 
remain  in  the  churches  at  Mechlin,  Ghent,  and 
Antwerp,  though  in  most  cases  seriously  damaged 
by  damp  and  neglect.  Original  sketches  by  Van 
Dyck,  showing  the  variety  of  his  ideas,  are  to  be 
met  with  in  all  the  great  collections  of  drawings. 
The  sketch-book  used  by  him  in  Italy  is  in  the  pos- 
session of  the  Duke  of  Devonshire  at  Chatsworth. 


BIBLIOGRAPHY. 

Lionel  Oust,  'Anthony  van  Dyck, an  Historical  Study.' 

London,  I3ell,  1900.     {The  chief  work  on  this  artist.) 
Lionel    Cust,    '  The    Chatsworth    Sketch-Book,'   with 

Notes.     London,  Bell,  1902. 
Lionel  Cust, '  Van  Dyck.'     London,  Unicorn  Press,  2 

vols.,  1903. 
TF.  H.  Carpenter, '  Pictorial  Notices  :    consisting  of  a 

Memoir  of   Sir  Anthony  van  Dyck,  &c.'    London, 

1844,  4to. 
Alfred  Michiels,  '  Rubens  et  I'Ecole  d'Anvers.'     Paris, 

1854,  8vo. 
Georges  Vuplessis,  *  Eaux-fortes  de  Antoine  van  Dyck, 

reproduites  par  Amand-Durand.'     Paris,  1874,  foUo. 
Carl  Lemcke, '  Anton  van  Dyck.'     Leipzig,  1875,  8vo. 
Fr.  TFibiral,  *  Iconographie  d'Antoine  van  Dyck,  d'apres 

les  recherches  de  H.  Weber.'     Leipzig,  1877,  8vo. 
Alfred  Michiels, '  Van  Dyck  et  ses  Aleves.'    Paris,  1881, 

8vo. 
Jules  Guiffrey, '  AxAoine  van  Dyck,  sa  vie  et  son  oeuvre.' 

Paris,  1882,  folio.;  j,.  c. 

DYCK,  Daniel  van  den.    See  Van  den  Dyck. 

DYCK,  Hermann,  a  Bavarian  painter,  born  at 
Wiirzburg  in  1812,  studied  architectural  and  genre 
painting  at  Munich.  His  works  are  original  and 
of  great  humour,  and  are  neatly  and  carefully 
executed.  The  satirical  designs  for  the  '  Fliegende 
Blatter,'  in  reference  to  the  rage  for  monuments, 
are  incomparable.  He  was  director  of  the  Art 
Schools  at  Munich,  where  he  died  in  1874. 

DYCKMANS,  Josef  Laurens,  a  Flemish  painter, 
was  bom  at  Lierre  in  1811.  He  was  a  pupil  of 
Tielemans  and  Wappers.  He  painted  genre  pic- 
tures, portraits  in  small,  &c.,  in  a  style  of  the 
minutest  finish.  He  was  Professor  in  the  Antwerp 
Academy,  and  died  in  1888.     Pictures  : 

The  Blind  Beggar.     {National  Gallery.) 
Portrait  Group.     (South  Kensington  Museum.) 

DYK,  Floris  van,  (or  Due,)  a  Dutch  painter, 
was  bom  probably  in  1577.  After  residing  some 
time  in  Italy,  he  entered  the  Guild  at  Haarlem  in 
1610,  and  became  its  dean  in  1637.  His  death 
occurred  probably  in  1651.  He  executed  historical 
pictures,  but  is  better  known  as  a  painter  of  fruit 
and  flowers,  in  which  he  excelled. 

DYK,  Philip  van,  (or  Dijk,)  called  'The  Little 
Van  Dyck,'  a  Dutch  portrait  painter,  was  born  at 
Amsterdam  in  1680.  He  was  instructed  by  Arnold 
Boonen,  and  painted  small  portraits  in  the  style  of 
his  master,  but  was  more  successfully  employed  in 
painting  subjects  similar  to  those  of  Mieris  and 
Metsu,  representing  conversations,  ladies  at  their 
toilets,  and  gallant  assemblies.  In  1710  he  estab- 
lished himself  at  Middleburg,  but  was  afterwards 
invited  to  the  Hague,  where  he  painted  some  of 
his  best  pictures.  The  reputation  he  had  acquired 
recommended  him  to  the  notice  of  Prince  William, 
afterwards  Landgrave  of  Hesse,  who  not  only 
engaged  him  to  paint  several  pictures,  but  com- 
missioned him  to  purchase  the  choicest  works  of 
art  he  could  meet  with  in  Holland  and  Flanders, 
for  the   rich  collection  he  was   then   forming  at 


PAINTERS  AND  ENORAVERS. 


Cassel.  On  his  return  to  the  Hague  he  painted  the 
portraits  of  the  Stadtholder  and  his  family,  as  well 
as  several  pictures  for  the  cabinet  of  that  prince. 
He  died  at  the  Hague  in  1752.  The  following 
works  by  him  are  in  public  galleries : 

Berlin.  Gallery.       The  Lute-player. 

»  V  The  Drawing  Lesson. 

Brussels.         Gallery.      A  Young  Woman  at  her  toilet. 

1726. 
Cassel.  Gallery.       The  Landgrave  Charles  of  Hesse 

and  his  Family. 
„  „  The  Penitent  Magdalen. 

Hague.  Gallery.      Judith.     1726. 

„  „  A  Young  Woman   playing   the 

lute. 
»  „  A  Young  Woman  at  her  toilet. 

,,  „  The  Book-keeper. 

Paris.  Louvre.        Sarah  presenting  Hagar  to  Abra- 

ham. 
»  „  Abraham  sending  away   Hagar 

and  Isbmael. 

DYXHOORN,  PiETER  Aenout,  a  Dutch  marine 
painter,  was  born  at  Rotterdam  in  1810.  He  was 
a  scholar  of  M.  Schouman  and  of  J.  C.  Schotel, 
and  painted  marine  subjects  and  river  scenes  in 
an  able  manner.     He  died  at  Rotterdam  in  1839. 


E 

EARLE,  Augustus,  a  painter  of  historical  and 
marine  subjects,  who,  on  account  of  his  roving  dis- 
position, was  known  as  "  the  wandering  artist," 
was  the  son  of  Ralph  Earle,  the  American  portrait 
painter,  who  married  when  studying  in  London, 
and  left  his  wife  and  children  here  when  he 
returned  home.  Augustus  Earle  was  the  intimate 
friend  of  Leslie  and  of  Morse,  and  their  fellow- 
student  at  the  Royal  Academy  in  1813.  Many 
years  afterwards,  Morse  inquired  of  Leslie  for 
their  old  companion  Earle.  "  He  had  visited  every 
part  of  the  Mediterranean,"  said  Leslie,  "  roamed 
in  Africa — rambled  in  the  United  States — sketched 
in  South  America — attempted  to  go  to  the  Cape  of 
Good  Hope  in  a  worn-out  Margate  hoy,  and  was 
shipwrecked  on  Tristan  d'Acunha,  where  he  passed 
six  months  with  some  old  tars  who  hutted  there 
— at  length  a  vessel  touched  the  desolate  place 
and  released  him.  He  then  visited  Van  Diemen's 
Land,  New  South  Wales,  and  New  Zealand,  where 
he  drew  from  the  naked  figure,  and  saw  the  finest 
forms  in  the  world  addicted  to  cannibalism.  Re- 
turning to  Sydney,  he,  by  way  of  variety,  proceeded 
to  the  Caroline  Islands — stopped  at  the  Ladrones — 
looked  in  upon  Manilla,  and  finally  settled  himself 
at  Madras,  and  made  money  as  a  portrait  painter. 
Not  content,  he  went  to  Pondicherry,  and  there 
embarked  for  France,  but  stopped  at  the  Mauritius, 
and  after  some  few  more  calls  at  various  places, 
found  his  way  home. "  Besides  a  series  of  views 
in  New  South  Wales,  he  pubHshed  with  illustrations 
in  1832,  '  A  Narrative  of  a  nine  months'  residence 
in  New  Zealand,  in  1827  ;  together  with  a  Journal 
of  a  residence  in  Tristan  d'Acunha.'  He  exhibited 
at  the  Royal  Academy  between  the  years  1806  and 
1815,  and  again  in  1837  and  1838,  after  having 
■  accompanied  Captain  Fitzroy  in  the  '  Beagle '  to 
South  America.  The  following  were  among  his 
exhibited  works  : 

The  Judgment  of  Midas.     1806. 
The  Battle  of  Poictiers.     1803. 
Banditti.     1811  and  1812. 

A  Man-of-war's  BoatscuttingoutaFrenchBarque.  1814 
View  of  the  Harbour  and  Town  of  Calais.     1815. 
I  2 


Life  on  the  Ocean.     1837. 

Divine  Service  on  board  a  Man-of-war.     18.37. 

A  Bivouac  of  Travellers  in  AustraUa.    1838. 

EARLE,  James,  an  American  portrait  painter, 
was  probably  a  brother  of  Ralph  Earle.  He  was 
a  native  of  Leicester,  Massachusetts,  and  died  of 
yellow  fever  at  Charleston  in  1796. 

EARLE,  Ralph,  an  American  portrait  and  his- 
torical painter,  was  born  at  Leicester,  Massa- 
chusetts, in  1751.  He  painted  in  1775  four  scenes 
in  the  battle  of  Lexington,  which  are  believed  to 
be  the  first  historical  paintings  ever  executed  by 
an  American  artist.  After  the  peace  he  came  over 
to  England  and  studied  under  West,  but  he  returned 
to  America  in  1786,  and  died  at  Bolton,  Connecticut, 
in  1801.  He  was  of  intemperate  habits,  and  left 
his  wife  and  children  in  London  when  he  returned 
to  his  native  country.  Among  his  works  are  a 
large  picture  of  the  '  Falls  of  Niagara,'  and  por- 
traits of  King  George  III.,  Dr.  Dwight,  President 
of  Yale  College,  and  Governor  Strong. 

EARLOM,  Richard,  a  mezzotint  engraver,  was 
born  in  London  in  1743.  He  was  a  pupil  of  Cipriani, 
and  was  the  first  artist  who  made  use  of  the  point 
in  mezzotint  work.  He  first  engraved  for  Boydell, 
who  in  1777  brought  out  the  '  Liber  Veritatis,'  com- 
prising two  hundred  plates,  executed  by  Earlom 
in  the  style  of  the  original  drawings  by  Claude 
Lorrain,  which  are  for  the  most  part  in  the  pos- 
session of  the  Duke  of  Devonshire.  He  is  especi- 
ally known  for  his  groups  of  flowers  after  Van 
Huysum  and  Van  Os.  He  also  executed  some 
etchings,  as  well  as  some  plates  in  the  chalk 
style.  Earlom  died  in  London  in  1822.  The  fol- 
lowing are  his  principal  plates  : 

ETCHINGS. 
Portrait  of  Rembrandt ;  after  Memhrandt. 
Banditti  and  Travellers  ;  after  Salvator  Eoaa. 
Jacob  wrestUng  with  the  Angel ;  after  the  same. 
David  and  Gohath ;  after  the  same. 
Venus  and  Adonis  ;  after  N.  Foussin. 
The  Death  of  Abel :  after  A.  Sacchi. 
J!neas  saving  Anchises  from  the  Buins  of  Troy  ;  after 

Tintoretto, 
The  Holy  Family  ;  after  Guercino. 
Cupid  bound ;  after  Ouido. 

PORTRAITS   IN   MEZZOTINT. 

William  Henry,  Duke  of  Gloucester;  after  Hamilton. 

Thomag  Newton,  Bishop  of  Bristol ;  after  West. 

Sir  Edward  Astley,  Bart. ;  after  the  same. 

George  Augustus  EUott,  Lord  Heathfield  ;  after  Sir  J. 

Meynolds. 
James  Stuart,  Duke  of  Eichmond  ;  after  Van  Dyck. 
The  Duke  of  Aremberg  on  horseback ;  after  the  same. 
Rubens's  Wife  ;  after  Rubens. 
Portrait  of  Rembrandt ;  after  Rembrandt. 
Rembrandt's  Wife  ;  after  the  same. 
Admiral  Kempenfelt ;  after  T,  Kettle. 
James  Mac  Ardell,  engraver. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 

The  Repose,  called  '  La  Zingara  ; '  after  Correggio. 

The  Virgin  and  Infant ;  after  Guercino. 

The  Virgin  and  Infant,  with  St.  John;   after  Carlo 

Dolci. 
Salvator  Mundi ;  after  the  same. 
The  Virgin  and  Infant ;  after  Cantarini. 
The  Infant  Jesus  sleeping  ;  after  Domeniehino. 
Simeon  receiving  the  Infant  Jesus  ;  after  Ouido. 
Christ  curing  the  Blind  ;  after  AnnibaU  Carracci. 
Galatea;  after  Liica  Giordano. 
The  Judgment  of  Paris  ;  after  the  same. 
The  Misers ;  after  Quentin  Massys. 
The  Holy  Family ;  after  Rubens. 
Mary  Magdalen  washing  the  Feet  of  Christ ;  after  the 

same. 

115 


A    BIOGRAPHICAL   DICTIONARY  OF 


Nymphs  nnd  Satyrs  ;  after  the  same. 

Meleager  and  Atalanta  ;  after  the  same. 

The  Death  of  Hippolytus  ;  after  the  same. 

Eubens's  Son  and  his  Nurse ;  after  tJie  same. 

Elijah  restoring  to  Life  the  Widow's  Son  ;  after  Sem- 

brandt. 
The  Presentation  in  the  Temple  ;  after  the  same. 
Susannah  and  the  Elders  ;  after  the  same, 
A  Boar  attacked  by  a  Lion  ;  after  Snyders. 
The  Fruit-Market;  after  Snyders  and  Jan  van  Bockhortt. 
The  Fish-Market ;  after  the  same. 
The  Vegetable-Market ;  after  the  same. 
A   Fruit-piece,   and    a  Flower-piece ;    after    Jan    van 

Uuysum ;  two  plates  ;  extremely  fine. 
David  and  Bathsheba ;    after  ji..  van  der   Werff;  very 

fine. 
The  Enchantress  ;  after  D.  Tenters. 
The  Singing  Master  ;  after  G.  SehalJien. 
The  Interview  between  Augustus  and  Cleopatra  ;  after 

R.  Mengs, 
The  Royal  Family  of  England  ;  after  Zoffany. 
The  Eoyal  Academy  ;  after  the  same. 
Angelica  and  Medora  ;  after  West, 
Cupid  stung  by  a  Bee  ;  after  the  same. 
Meleager  aud  Atalanta;  after  Richard  Wilson. 
Apollo  and  the  Nymphs  ;  after  the  same. 
A  Blacksmith's  Shop ;  after  Joseph  Wright. 
An  Iron  Forge ;  after  the  same. 

William  Earlom,  his  son,  who  was  evincing 
decided  talent  as  an  artist,  was  cut  off  in  1789,  when 
only  seventeen  years  of  age. 

BASTLAKE,  Sir  Charles  Lock,  the  youngest 
son  of  George  Eastlake,  solicitor  to  the  Admiralty 
and  Judge- Advocate  at  Plymouth,  was  born  in  that 
town,  November  17,  1793.  He  was  educated  at 
the  Plympton  Grammar  School,  where  Sir  Joshua 
Reynolds  had  previously  studied,  and  he  was  one 
of  the  first  pupils  of  Prout,  also  a  native  of  Ply- 
mouth, whom  he  occasionally  accompanied  on  his 
excursions  into  the  country  to  study  nature.  When 
fourteen  years  of  age,  he  was  sent  to  the  Charter- 
house School,  London,  but  he  left  in  1808  in  order 
to  study  art  under  Haydon,  his  fellow-townsman. 
In  1809  he  became  a  student  in  the  Royal  Academy 
Schools,  and  in  1814  visited  Paris  for  a  tevj  months. 
In  1816,  while  Eastlake  was  employed  painting 
portraits  in  his  native  town,  Napoleon  arrived 
there  on  board  the  '  Bellerophon,'  and  the  young 
artist  took  advantage  of  every  glimpse  he  could 
obtain  of  the  ex-Emperor  to  make  studies  of  him, 
by  the  aid  of  which  he  painted  a  life-size  picture 
of  Napoleon,  standing  at  the  gangway  of  the  sliip, 
attended  by  his  officers.  This  work,  which  is  now 
the  property  of  the  Marquis  of  Lansdowne,  attracted 
great  attention,  and  was  so  well  sold  as  to  enable 
the  painter  to  visit  Italy  in  1817.  He  then,  in  1819, 
proceeded  to  Greece,  on  a  commission  from  Mr. 
Harmau,  his  first  patron,  to  make  sketches  of  the 
architectural  remains  and  the  scenery  of  that  classic 
soil.  In  some  of  these  journeys  he  was  accom- 
panied by  Brockedon,  the  painter,  and  Sir  Charles 
Barry,  the  architect.  On  his  return,  after  nearly  a 
year's  absence,  and  having  visited  Malta  and  Sicily 
in  the  course  of  his  tour,  Eastlake  painted  a  life- 
size  picture  of  '  Mercury  bringing  the  Golden  Apple 
to  Paris.'  Shortly  after  the  death  of  his  father, 
which  had  brouglit  him  back  to  England  in  1820, 
he  returned  to  Rome,  and  became  much  occupied  in 
paintina:  subjects  illustrative  of  the  local  features, 
inhabitants,  and  customs  of  modern  Italy.  He 
resided  in  Italy  altogether  fourteen  years,  chiefly  in 
Rome  and  in  Ferrara.  He  first  exhibited  at  the 
Royal  Academy  in  1823,  his  earliest  contributions 
being  scenes  in  which  public  buildings,  such  as 
the  Castle  of  St.  Angelo,  St.  Peter's,  &c.,  were  a 

116 


principal  feature.  These  were  followed  by  subjects 
taken  from  Italian  life  in  the  neighbourhood  of 
Rome,  subjects  of  banditti  life,  &c.  Commissioned 
by  the  Duke  of  Devon.shire,  he  painted,  in  1827,  a 
picture  representing  the  story  related  by  Plutarch 
of  '  The  Spartan  Isidas,'  who,  appearing  in  battle 
naked,  and  armed  with  sword  and  spear,  was 
mistaken  for  a  god.  This  picture,  consisting 
of  numerous  figures,  and  of  medium  gallery  size, 
occupied  the  painter  nearly  two  years,  and  pro- 
duced considerable  sensation  amongst  the  artists 
and  dilettanti  at  Rome.  In  England  it  was  not 
so  generally  appreciated  ;  but  its  merit  was  ac- 
knowledged by  the  Royal  Academy,  of  which  body 
he  was  elected  an  Associate  in  1827,  the  year 
of  its  exhibition.  About  this  time,  captivated  by 
Venetian  colouring,  he  painted  some  subjects  of 
half- figures,  life-size,  sometimes  of  chivalrous 
character,  sometimes  taken  from  the  picturesque 
peasantry  of  Italy.  He  was,  in  1830,  elected  a 
Royal  Academician.  In  the  same  year  he  returned 
to  England,  and  established  himself  in  London. 
The  subjects  now  treated  by  him  were  undertaken 
chiefly  in  order  to  turn  to  account  his  materials 
from  the  costume  and  scenery  of  modern  Greece. 
He  varied  his  studies  at  this  time  by  portrait- 
painting,  and  by  his  favourite  half-figures  in  the 
Venetian  style.  He  also  occasionally  treated  small 
fancy  subjects,  and  historic  and  modern  Italian 
subjects.  But  henceforth  his  time  was  devoted  to 
the  service  of  art,  by  advice  and  by  writing,  rather 
than  by  any  practical  work.  He  exhibited  but 
five  pictures  at  the  Royal  Academy  after  his  election 
as  president. 

In  the  year  1841  Eastlake  was  appointed  secre- 
tary to  the  Royal  Commission  for  decorating  the 
new  Houses  of  Parliament  and  for  the  promotion 
of  the  Fine  Arts,  and  he  conducted  the  business  of 
that  commission  until  its  dissolution  after  the  death 
of  its  president,  the  Prince  Consort.  In  1842  he 
was  made  librarian  of  the  Royal  Academy,  and  in 
the  following  year  he  became  keeper  of  the 
National  Gallery,  which  ofBce,  however,  he  resigned 
in  1847.  On  the  death  of  Sir  Martin  Shee,  in  1850, 
he  was  elected  president  of  the  Royal  Academy 
and  received  the  customary  honour  of  knight- 
hood. He  also  became  a  trustee  of  the  National 
Gallery,  of  which  he  was,  in  1856,  made  director 
for  a  period  of  five  years.  This  appointment  was 
renewed  in  1860,  and  again  in  1865,  and  during  his 
tenure  of  office  he  was  instrumental  in  obtaining  for 
the  nation  many  of  its  greatest  treasures. 

His  literary  productions  were  all  connected  with 
art;  he  edited,  in  1842,  a  translation  of  Kugler's 
'  Italian  Schools  of  Painting '  (subsequently  re- 
edited  by  his  widow)  ;  but  his  chief  works  were 
his  '  Materials  for  a  History  of  Oil-Painting ' 
(1847),  and  '  Contributions  to  the  Literature  of  the 
Fine  Arts  '  (1848). 

In  August,  1865,  Sir  Charles  Eastlake  left  Eng- 
land, exceedingly  unwell,  for  his  usual  annual  tour 
on  the  continent,  taken  with  a  view  of  acquiring 
further  examples  for  the  National  Gallery.  At 
Milan  he  became  seriously  ill,  but  rallying  slightly, 
pushed  on  to  Pisa,  where  he  died  December  24, 
1865.  He  was  buried  first  in  the  English  cemetery 
at  Florence,  but  was  subsequently  re-interred  at 
Kensal  Green.  The  following  are  some  of  his 
principal  paintings : 

The  Raising  of  Jairus's  Daughter.  Brutus  exhorting 
the  Romans  to  revenge  tlie  Death  of  Lucretia.  An 
Italian  Ooutadina  and  her  children.     (Aow  at  South 


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PAINTERS  AND  ENGRAVERS. 


Kensington.)  Girl  of  Albano"  leading  a  Blind  Man 
to  Mass.  1825.  Mercury  bringing  the  Golden  Apple 
to  Paris.  Lord  Byron's  Dream.  (Fainted  at  Some 
in  1827,  now  in  the  National  Gallery.)  Pilgrims 
ai'riviug  in  sight  of  Rome.  {Royal  Academy,  1823  : 
repeated  in  1835,  and  again  in  ISiJU.)  Una  delivering 
the  Red  Cross  Knight.  1830.  Haidee,  a  Greek 
Girl.  {Royal  Academy,  1831 :  now  in  the  National 
Gallery.)  A  Peasant  Woman  fainting  from  the 
Bite  of  a  Serpent.  {Royal  Academy,  1831 :  now  at 
South  Kensington.)  Greek  Fugitives.  {Royal  Academy^ 
1833. )  Escape  of  the  Carrara  Family  from  the 
pursuit  of  the  Duke  of  Milan,  1389.  (Royal  Academy, 
1834:  a  replica,  of  the  year  1850,  is  in  the  National 
Gallery.)  An  Arab  selling  bis  Captives,  Monks 
endeavouring  to  ransom  them.  1837.  Gastun  de 
Foil  before  the  Battle  of  Ravenna.  1838.  Christ 
blessing  Little  Children.  (Royal  Academy,  1840.) 
Christ  lamenting  over  Jerusalem.  {Royal  Academy, 
1841 :  a  replica  is  in  the  Natioruil  Gallery.)  Hagar 
and  Ishmael.  (Royal  Academy,  1843;  his  diploma 
picture.) 

EATON,  Joseph  0.,  an  American  painter  of 
portraits  and  figure  subjects,  both  in  oil  and  in 
water-colours,  was  bom  in  1829.  He  died  at 
Yonkers  on  the  Hudson  in  1875.  Among  his 
exhibited  works  were : 

Landscape :  View  on  the  Hudson.     1868. 

Greek  Water-Carrier.     1872. 

Lady  Godiva.     1874. 

Looking  through  the  Kaleidoscope.     1875. 

His  own  Portrait.    1875.    (National  Academy  of  Design.) 

EBERHARD,  Konrad,  a  German  historical 
painter,  better  known  as  a  sculptor,  was  one  of 
the  foremost  artists  of  the  so-called  Nazarene 
School,  which  at  one  time  gathered  round  Overbeck 
in  Rome.  He  was  born  in  1768  at  Hindelang  in 
Algau,  where  his  father  and  grandfather  were 
sculptors  and  carvers.  The  Elector  of  Treves  and 
Bishop  of  Augsburg,  Clement  Wenceslas,  often  had 
occasion  to  go  to  Hindelang,  where  he  made  the 
acquaintance  of  Eberhard,  and  induced  him  to 
visit  the  Academy  of  Munich  in  1798  to  work 
under  his  fellow-countryman  Boos.  In  1816 
he  was  appointed  professor  of  sculpture  at  the 
Academy.  Several  pictures  by  him  exist,  one  of 
which,  '  The  Adoration  of  the  Magi,'  is  especially 
beautiful.  He  died  at  Munich  in  1859.  In  most 
of  his  works  lie  was  assisted  by  his  elder  brother, 
Fbanz  Eberhard,  an  excellent  sculptor,  who  was 
born  at  Hindelang  in  1767,  and  died  of  cholera  at 
Munich  in  1836. 

EBERLE,  Adam,  one  of  the  earliest  and  most 
gifted  pupils  of  Cornelius,  was  born  at  Aix-la- 
Chapelle  in  1805.  He  studied  painting  at  the 
Diisseldorf  Academy,  and  afterwards  went  with  Cor- 
nelius to  Munich.  After  commencing  his  career 
at  Diisseldorf  by  painting  'The  Entombment  of 
Christ,'  and  'St.  Helena  with  two  Angels,'  be  exe- 
cuted the  large  fresco-painting  on  the  ceiling  of  the 
Odeon,  representing  '  Apollo  among  the  Shepherds.' 
In  1829  he  went  to  Rome,  where  he  died  in  1832. 

EBERLE,  RoBEET,  a  Gennan  animal  painter, 
was  born  at  Meersburg  in  1815.  He  was  first 
instructed  by  Bidermann  at  Constance,  and  after- 
wards went  to  Munich,  where  he  studied  from 
nature  and  the  works  of  Van  de  Velde  and  Du 
Jardin.  He  especially  excelled  in  painting  sheep, 
and  there  is  a  '  Shepherdess'  by  him  in  the  Modern 
Gallery  at  Munich.  He  died,  through  the  discharge 
of  a  pistol,  at  Eberfing,  near  Munich,  in  1859. 

EBERLEIN,  Christian  Nicolaus,  a  German 
historical  painter,  was  born  at  Rudolstadt  in  1720. 
He  worked  in  Gottingen,  Wolfenbiittel,  and  Salz- 
dahlum,    and    in    1775    became   inspector   of    the 


gallery  in  the  last-named  town,  and  made  good 
copies  of  many  of  the  pictures  therein.  He  died 
at  Salzdahlum  in  1788.  His  son.  Christian  Eber- 
hard Eberlein,  who  was  also  a  painter,  was  born 
at  Wolfenbiittel  in  1749,  and  died  at  Gottingen  iu 
1804. 

EBERLEIN,  Johann  Christian,  was  born  at 
Gottingen  about  1770,  and  died  there  in  1815.  An 
'  Italian  Landscape  '  by  him  is  in  the  Modern  Gallery 
at  Munich. 

EBERMAYR,  Johann  Eberhard,  a  German  Ids- 
torical  painter,  was  born  at  Nuremberg  in  1659. 
He  studied  under  Johann  Murrer,  and  afterwards 
at  Venice.     He  died  in  his  native  city  in  1692. 

EBERT,  Karl,  landscape  painter,  was  born  at 
Stuttgart  in  1821,  and  studied  there  under  Stein- 
kopf,  as  well  as  at  Munich.  He  died  in  1885.  In 
the  Stuttgart  Gallery  there  are  two  pictures  by 
him. 

ECCARDT,  Johann  ^gidids.    See  Eckhaedt. 

ECHION.     See  Abtion. 

ECHTER,  Michael,  a  German  historical  and 
fresco  painter,  was  born  in  1810.  He  studied  under 
Kaulhach,  whom  he  assisted  in  decorating  the 
staircase  of  the  New  Museum  at  Berlin.  He  died 
at  Munich  in  1879. 

ECKARD,  Johann  Chhistoph,  an  engraver,  was 
born  in  1767  at  Lauilen  on  the  Neckar,  and  after 
studying  architecture  for  a  while,  placed  himself 
under  Guibat  and  J.  G.  von  Miiller  in  the  line 
which  he  afterwards  adopted.  He  engraved  por- 
traits and  historical  pictures,  and  worked  for  some 
time  at  Diisseldorf  in  the  illustration  of  various 
works;  but  in  1809  he  obtained  an  engagement 
at  Munich  as  an  engraver  upon  lithographic  stones 
of  crests  and  ornamental  writing.  He  died  at 
Munich  after  1832. 

ECKEMANN-ALESSON.LoEENZ.  See  Ekemann- 
Alesson. 

ECKERSBERG,  Christoffeb  Vilhelm,  a  Danish 
painter  of  historical  and  genre  subjects,  sea-pieces, 
and  portraits,  was  bom  at  Blaakrog,  Varnas,  in 
South  Jutland,  in  1783.  He  studied  first  in 
Aabenraa  and  in  Flensburg;  and  in  1803  entered 
the  Academy  at  Copenhagen,  where  he  won  the 
gold  medal  in  1809  with  his  '  Death  of  Jacob.'  In 
the  following  year  he  went  to  Paris  and  entered 
David's  studio,  and  in  1813  he  visited  Rome. 
Returning  to  Copenhagen,  he  was  elected  in  1817 
a  member  of  the  Academy,  to  which  he  presented 
'The  Death  of  Balder.'  In  the  following  year  he 
became  one  of  its  professors,  and  devoted  much 
care,  with  great  success,  to  tlie  improvement  of 
the  talents  of  rising  artists.  In  1827  he  was  made 
Director  of  the  Academy.  Between  the  years  1818 
and  1828  he  executed  a  series  of  historical  pictures 
relating  to  the  House  of  Oldenburg  in  the  palace  nf 
Christiansborg.  He  died  at  Copenhagen  in  1853. 
Amongst  his  works  are  : 

Loke  and  Sigyn.    1810.     {Copenhagen  Gallery.) 

Portrait  of  Thorwaldsen.     1815. 

The  Israelites  crossing  the  Red  Sea.    1815.  {Copenhagen 

Gallery. ) 
Axel  and  "Walburg. 
Christ  in  Gethsemane.     1824. 
A  Swedish  Fishing  Boat.     1833. 
The  Sermon  on  the  Mount.     1834. 
Portrait  of  the  Princess  Vilhelmiue.    ^ 
A  Russian  Ship.     1828.  (Ccpenhagm 

A  Danish  Boat.     183d.  \  ^  /v„;/,„A 

Vessels  in  the  Sound.    1848.  i^auery.) 

Sea-piece.     1848.  J 

ECKERSBERG,  Johan  Fredeeik,  a  landscape 

117 


A   BIOGBAPHICAL   DICTIONARY  OF 


painter,  was  born  at  Drammen  in  Norway  in  1822. 
He  was  placed  in  a  mercantile  o£Bce  in  Christiania 
at  the  age  of  eighteen,  but  having  previously  been 
in  Holland  for  several  years,  and  visited  Amster- 
dam, he  had  there  imbibed  a  taste  for  art,  so  that 
after  two  years,  against  his  father's  wish,  he 
relinquished  his  post,  and  entered  the  technical 
drawing-school  at  Christiania.  Rapidly  developing 
his  talent  for  painting,  he  m  1824  obtained  one  of 
the  Government  stipends  for  young  artists,  and 
■went  to  Diisseldorf,  where  he  studied  landscape 
painting  under  Professor  Schirmer.  He  returned 
to  Christiania  in  1848,  where  his  works  commanded 
a  very  fair  sale.  He  married  in  1850,  hut  two 
years  later  he  was  obliged  to  visit  Madeira  for 
his  health,  where,  having  iirst  devoted  his  time  to 
portrait  painting  to  increase  his  rather  slender 
funds,  he  travelled  over  the  island,  making  sketches, 
from  which  he  afterwards  painted  his  magnificent 
series  of  pictures  of  Madeira.  He  returned  to 
Christiania  in  1854,  and  in  1859  founded  in  that 
city  an  Academy  of  Painting,  which  was  soon  after 
taken  under  Government  patronage.  Every  summer 
from  the  date  of  his  return  to  Norway  he  visited 
the  most  grand  and  picturesque  spots  in  his  native 
country,  making  sketches  from  which  he  after- 
wards elaborated  his  pictures.  Eckersberg  died  at 
Sandvigen,  near  Christiania,  in  1870.  His  '  Grand 
Panoramic  Scene  from  a  Norwegian  Plateau  '  was 
exhibited  at  the  Paris  Exhibition  of  1867. 

ECKERT,  Heinrich  Ambros,  a  German  painter 
of  battle-pieces,  was  born  at  Wiirzburg  in  1807, 
and  was  at  first  instructed  by  Fessel.  In  1825 
he  attended  the  Academy  at  Municli,  and  after- 
wards visited  the  Tyrol  and  France.  Between  1835 
and  1840,  in  conjunction  with  Monten  and  Schelver, 
he  published  a  work  upon  the  German  federal  army, 
with  two  hundred  coloured  lithographic  plates  ; 
and  another  illustrating  the  return  of  the  Russian 
troops  to  their  homes.  He  died  at  Munich  in  1840, 
while  engaged  upon  a  picture  of  the  great  review 
near  that  city  before  the  Emperor  of  Russia. 
Besides  genre  subjects  and  battle-pieces  he  painted 
marine  views. 

ECKHARDT,  Geoeg  Ludwig,  a  German  portrait 
painter,  was  born  at  Hamburg  in  1770,  and  died  in 
1794.  He  was  an  artist  of  great  promise,  and 
wrote  the  '  Hamburgische  Kiinstlernachrichten,' 
published  in  1794. 

ECKHARDT,  Johann  ^gidids,  (or  Eccardt,) 
was  a  native  of  Germany,  who  visited  England 
about  the  year  1740,  and  became  a  pupil  of  Jan 
Baptist  van  Loo.  He  was  much  employed  as 
a  portrait  painter,  about  the  time  that  Sir  Joshua 
Reynolds  returned  from  Italy.  There  is  a  print 
of  Peg  WofBngton,  the  actress,  engraved  by  Faber, 
and  another  of  Dr.  Conyers  Middleton,  engraved 
by  the  same  artist,  from  pictures  by  this  painter. 
He  died  at  Chelsea  in  1779. 

ECKMAN,  Eddard,  a  Flemish  wood-engraver, 
was  born  at  Mechlin  about  the  year  1610.  He 
engraved  some  wood-cuts,  which  are  admired  for 
the  neatness  of  their  execution  and  the  correct 
drawing  of  the  small  figures.  He  appears  to  have 
taken  the  prints  of  Callot  for  his  model,  and  has 
copied  some  of  them  in  wood-cuts  with  surprising 
delicacy  and  spirit,  particularly  the  plate  of  the 
'  Fireworks  on  the  River  Arno.'  He  also  engraved 
after  Businck  and  Abraham  Bosse.  The  work  of 
Eckman  consists  of  upwards  of  a  hundred  prints. 

ECKSTEIN,  JoHANN,  a  German  modeller  and 
painter,  lived  in   the   18th  century,  and  studied 

118 


at  the  Royal  Academy  in  London,  where  he  spent 
the  greater  part  of  his  life.  He  stayed  some  time 
at  Potsdam,  and  was  practising  in  Birmingham  in 
1792.  In  1796  he  painted  'The  Soldier's  Return,' 
and  a  '  Family  Gathering.'  The  Berlin  Museum 
has  two  beautiful  rehefs,  signed  J.  E.,  which  are 
said  to  be  by  this  artist.  He  died  in  London  in,  or 
soon  after,  the  year  1798. 

ECKSTEYN,  Georg  David,  a  German  engraver, 
resided  at  Nuremberg  about  the  year  1721.  He 
engraved  some  of  the  portraits  for  the  'Icones 
Bibliopolarum  et  Typographorum,'  published  by 
Roth-Scholtz  at  Nuremberg  in  1726-42. 

ECLECTICS.  A  name  given  to  the  Carracci 
Family. 

ECMAN,  Jean,  a  French  miniature  painter,  was 
born  about  1641.  He  was  received  into  the  Academy 
in  1675,  and  died  in  Paris  in  1677. 

EDDELIEN,  Matthias  Heinrich  Elias,  was 
born  at  Greifswalde  in  1803,  and  in  1819  went  as 
a  journeyman  painter  to  Copenhagen,  where  he 
attended  the  Academy,  and  executed  works  in  gri- 
saille for  Christiansborg.  In  1837  he  won  the  large 
gold  medal  for  his  picture  of  '  David  amusing  Saul 
by  playing  on  the  Harp,'  and  afterwards  obtained  a 
travelling  allowance  for  a  competitive  painting  of 
'  Christ  making  Himself  known  to  His  Disciples.' 
In  1839  he  went  to  Rome,  and  while  there  painted 
for  the  church  at  Kronborg  '  Christ  blessing  Little 
Children.'  After  his  return  he  executed  his  chef 
(Taeitvre,  consisting  of  the  frescoes  in  the  chapel 
of  Cliristian  IV.,  in  the  cathedral  of  Roskilde  ; 
but  becoming  paralysed  he  was  unable  to  com- 
plete them.  He  died  in  1852.  There  is  in  the 
Copenhagen  Gallery  a  '  Faun  plucking  Grapes,' 
dated  1830. 

EDDIS,  Eden  Upton,  was  a  portrait  painter,  a 
fellow-student  and  life-long  companion  of  George 
Richmond,  and  divided,  at  one  time,  the  world  of 
fashion  with  his  friend.  He  was  a  pupil  of  Sass, 
and  afterwards  at  the  Royal  Academy  Schools, 
and  one  of  the  medallists.  At  one  time  he  was 
disposed  to  take  up  landscape  work,  but  was 
persuaded  to  try  portraiture,  and  so  quickly 
obtained  a  success  in  that  branch  of  art,  that  he 
relinquished  all  other  work  in  its  favour.  His 
cleverest  works  were  portraits  of  children,  but 
amongst  notable  men  whom  he  painted  were  Sydney 
Smith,  Theodore  Hook,  and  Macaulay.  He  was 
remarkable  also  for  his  pencil  portraits,  which 
were  of  great  refinement  and  beauty.  The  last 
fifteen  years  of  his  life  were  passed  at  Shalford 
near  Guildford,  where  he  died  in  1901  at  the  age 
of  eighty-nine.  He  became  very  deaf  as  he  grew 
old,  and  this  deafness  was  one  of  the  reasons  for 
his  retirement,  but  he  was  very  popular  as  a 
raconteur  down  to  the  end  of  his  life,  as  he  had 
a  wealth  of  anecdote,  and  a  charming  wit  at  his 
disposal,  and  was  one  of  the  kindest  and  most 
generous  of  men  to  children,  and  was  always  a 
great  favourite  with  them.  G.C.W. 

EDELINCK,  Gaspard  Fran(;'OIS,  the  youngest 
brother  of  Gerard  Edelinck,  was  born  at  Antwerp 
in  1652.  He  was  instructed  by  his  brothers,  Gerard 
and  Jean,  but  did  not  long  pursue  the  art  of  en- 
graving. He  died  in  Paris  in  1722,  leaving  behind 
him  no  work  of  note,  except  the  plate  of  '  The 
Deluge,'  after  Alessandro  Veronese,  which  had  been 
commenced  by  his  brother  Jean,  and  was  finished 
by  him  under  the  direction  of  Gerard  Edelinck. 

EDELINCK,  GERARD,  a  French  engraver,  was 
born  at  Antwerp  in  1640,  and  received  his  instruc- 


GfiRARD   EDELINCK 


After  Kneller] 


JOHN  DKVDEN 


PAINTERS  AND  ENGRAVERS. 


tion  from  Cornelis  Galle.  In  1666  he  went  to 
Paris,  where  he  entered  the  studio  of  Frangois  de 
Poilly,  and  was  taken  into  the  service  of  Lonis 
XIV.,  who  settled  a  pension  on  him,  with  apart- 
ments at  the  Gobelins.  In  1675  he  received  letters 
of  naturalization,  and  in  1677  he  was  received 
into  the  Academy,  and  was  soon  after  knighted  by 
the  King.  He  worked  entirely  with  the  graver  ; 
and  his  execution  is  at  the  same  time  both  bold 
and  finished.  His  style  is  more  delicate  than 
that  of  Bolswert  and  Pontius,  without  being  less 
picturesque.  His  plates,  though  exquisitely  fin- 
ished, display  nothing  of  labour  or  littleness.  The 
size  and  the  number  of  his  prints  evince  the  most 
surprising  facility.  The  pictures  of  Le  Brun,  under 
the  graver  of  Edelinck  and  Gerard  Audran,  appear 
to  have  been  the  works  of  an  accomplished  colour- 
ist,  and  assume  qualities  in  which  they  were  really 
deficient.  Edelinck  died  in  Paris  in  1707.  Robert- 
Dumesnil,  in  his  '  Peintre-Graveur  Fran^ais,'  vii. 
169 — 336,  describes  339  engravings  by  him,  of 
which  200  are  portraits:  the  following  are  his 
principal  works. 

PORTEAITS. 
Louis  XIV.,  bust  on  a  pedestal ;  after  J.  B.  Corneille. 
Louis  XrV.,  an  equestrian  statue,  with  a  group  of  the 

eminent  men  of  his  reign ;  after  Bonet. 
Louis  XIV.  on  horseback,  with   Providence   hovering 
over  him,  and  his  Enemies  overthrown  at  his  feet ; 
in  two  sheets  ;  very  fine  ;  after  Le  Brun. 
Louis  XIV.,  bust  on  a  sliield  borne  by  Eeligion  seated 
in  a  triumphal  car  drawn  by  the  Four  Evangelists, 
called  the  '  Triumph  of  the  Church,'  or  the  '  Extirpa- 
tion of  Calvinism ; '  in  two  sheets ;  fine  and  scarce ; 
after  Le  Brun. 
Louis  XIV.  giving  peace  to  Europe ;  in  two  sheets ; 

after  Le  Brun. 
Louis  XrV.,  half-length  ;  after  J.  de  La  Haye. 
Louis,  Duke  of  Burgundy  ;  after  F.  de  Tray. 
E.sprit  Fluchier,  Bishop  of  Nimes  ;  after  Rigaud. 
Charles  Perrault ;  after  Tortebat. 
Paul  Fontanier  de  Pelhsson. 
Jean  de  La  Fontaine  ;  after  Riyavd. 
Jean  Racine. 

Blaise  Pascal ;  after  L.  Q.  V. 
Pieter  van  Bouc. 
Nathanael  Dilgerus.     1683. 
Titian. 

Abraham  Teniers  ;  after  a  picture  iy  himself. 
Albrecht  Diirer. 
Jean  Cousin. 
Gilles  Sadeler,  engraver. 
Abraham  Bloemaert. 

Jacques  Blanch.ard  ;  after  a  picture  iy  himself. 
Francois  Tortebat,  Painter  to  the  King ;  after  De  Piles. 
Israel  Silvestre,  engraver  ;  after  Le  Brun. 
Pierre  Simon,  engraver  ;  after  F.  Ernou. 
Frau(^ois  Chauveau,  engraver  ;  after  C.  Le  Fevre. 
Marten  van  den  Bogaert,  sculptor  ;  after  Rigaud. 
Hyacinthe  Rigaud,  painter;  after  a  picture  by  himielf. 
Jules  Hardouin  Mansart,  architect ;  after  Riyaud. 
Charles  Le  Brun  ;  after  N.  de  I,argilliere. 
Philippe  de   Champaigne  ;   after  a  picture  by  himself; 

very  fine. 
Charles  d'Hozier,  Genealogist  of  France  ;  after  Rigaud, 
Frederic  Leonard,  Printer  to  the  King  ;  after  the  sajne. 
Jean  Charles  Parent ;  after  Tortebat. 
Madame  Helyot,  with  a  crucifix  ;  after  Galliot. 
Francois  Michel  Le  Tellier,  Marquis  de  Louvois,  bust, 
with  Mars  and  Minerva  as  supporters ;  after  Le  Brun. 
Andre  Hameau,  Doctor  of  the  Sorbonne  ;  after  Vivien. 
Nicolas  de  Blampignon,  Doctor  of  the  Sorbonne ;  after 

the  same. 
Jean  Rouille,  Count  of  Meslay  ;  after  Nanteuil. 
Charles  Mouton,  Musician  to  Louis  XIV. ;  after  De  Troy. 

SUBJECTS    AFTER   VARIOUS   MASTERS. 

The  Holy  Family,  with  St.  Joseph,  St.  EUzabeth,  St. 
John,  and  two  Angels  ;  after  the  picture  by  Raphael 
in  the  Louvre,  presented  to  Francis  I.  by  Pope  Leo  X. ; 


very  fine.  The  first  impressions  are  before  the  arms 
of  Colbert,  the  second  are  with  the  arms,  and  the 
third  have  the  arms  effaced,  while  the  frame  in  which 
they  were  inserted  remains. 

The  Virgin  Mary  sewing,  with  the  Infant  sleeping  in  a 
Cradle,  surrounded  by  Angels,  called  '  La  Couseuse;' 
after  Guido  ;  fine. 

The  Holy  Family,  with  St.  Joseph  presenting  Flowers 
to  the  Infant  Jesus ;  after  C.  Maratti. 

The  Holy  Family,  called  the  '  Benedicite  ; '  after  Le  Brun. 

A  Female  Saint,  holding  a  Lily,  and  kneeling  before  the 
Virgin  and  Infant  seated  on  a  Throne,  to  whom  she 
presents  a  Book  ;  after  Fietro  da  Cortona. 

The  Penitent  Magdalen  renouncing  the  Vanities  of  the 
World  ;  after  the  picture  by  Le  Brun,  now  ia  the 
Louvre  at  Paris.  The  portrait  is  that  of  Madame  de 
La  Valliere.  The  first  impressions  are  without  the 
inscription,  and  are  very  scarce  ;  the  next  best  are 
without  the  border. 

St.  Louis  prostrating  himself  before  a  Crucifix ;  after  Le 
Brun. 

St.  Charles  Borromeo  kneeling ;  afte/r  the  same. 

The  Crucifixion,  surrounded  with  Angels ;  on  two 
sheets  ;  after  the  same. 

Moses  holding  the  tables  of  the  Law  ;  after  Fhilippe  de 
Champaigne  ;  commenced  by  Nanteuil,  and  finished 
after  his  death  by  Edehnck. 

Christ  and  the  Woman  of  Samaria ;  af^er  the  same. 

The  Virgin  at  the  foot  of  the  Cross  ;  after  the  same. 

St.  Jerome  ;  after  the  same. 

St.  Ambrose  ;  half-length  ;  after  J.  B.  de  Cliampaigne. 

St.  Basil  and  St.  Gregory  ;  half-length ;  after  the  same. 

A  Combat  of  Cavalry,  four  Horsemen  fighting  for  a 
Standard,  with  three  dead  Figures  on  the  ground ; 
after  the  celebrated  cartoon  by  Leonardo  da  I  inci. 

Alexander,  accompanied  by  Hephiestion,  entering  the 
Tent  of  Darius  ;  on  two  sheets  ;  after  Le  Brun.  The 
first  impressions  have  the  name  of  Goyton  at  the  bot- 
tom. This  print  completes  the  set  of  the  *  Battles  of 
Alexander '  engraved  by  Gerard  Audran  after  Le  Brun. 

Alexander  entering  the  Tent  of  Darius  ;  after  Mignard  ; 
Edelinck's  last  work,  finished  after  bis  death  by  F. 
Drevet. 

EDELINCK,  Jean,  a  brother  of  Gerard  Edelinck, 
and  probably  younger  than  the  latter,  was  born  at 
Antwerp,  but  in  what  year  is  not  known.  He 
preceded  his  brother  to  Paris,  and  there  engraved 
several  plates  in  imitation  of  his  style.  Although 
very  unequal  to  the  works  of  his  brother,  his  prints 
are  not  without  considerable  merit.  He  died  in 
Paris  in  1680.  He  engraved  several  of  the  statues  in 
the  gardens  at  Versailles,  and  there  are  also  by  him  : 

The  Portrait  of  Isbrandus  de  Diemerbroeck,  a  famous 
anatomist ;  after  Romeyn  De  Hooghe. 

The  Deluge  ;  after  Alessandro  Turchi.  This  plate  was 
finished  after  his  death  by  his  youngest  brother, 
Gaspard  Francois  Edehnck. 

EDELINCK,  Nicolas,  the  son  of  Gerard  Ede- 
linck, was  born  in  Paris  about  1680.  Although  he 
had  the  advantage  of  his  father's  instruction,  and  of 
studying  in  Italy,  he  never  rose  above  mediocrity. 
He  engraved  some  portraits,  and  a  few  plates  for 
the  Crozat  Collection.  He  died  in  Paris  in  1730. 
Among  other  prints  by  him  are  the  following  : 

Gerard  Edelinck  ;  after  Tortebat. 
Cardinal  Giulio  de'  Medici ;  after  Raphael. 
Count  Baldassare  Castiglione  ;  after  the  same. 
Philip,  Duke  of  Orleans,  Regent  of  France,  on  horse- 
back ;  after  J.  Ranc. 
Adrien  Baillet. 
John  Dryden  ;  after  Kneller. 
The  Virgin  and  Infant ;  after  Correggio. 
Vertumnus  and  Pomona  ;  after  J.  Ranc. 

EDEMA,  Gerard,  was  born  in  Friesland  (or 
according  to  others,  at  Amsterdam),  in  1652.  He 
was  a  scholar  of  AUart  van  Everdingen,  and,  like 
his  master,  painted  landscapes  with  rocks  and 
waterfalls,  chiefly  from  views  in  Norway.     At  the 

119 


A  BIOGRAPHICAL  DICTIONARY  OF 


age  of  eighteen  he  came  to  England,  •sphere  he  met 
with  encouragement,  and  made  voyages  to  Norway 
and  Ne\vfoundland,  to  collect  subjects  for  his  pic- 
tures among  those  wild  scenes  of  nature,  for  which 
he  had  a  romantic  predilection.  The  figures  in 
his  landscapes  are  generally  painted  by  Th.  Wyck. 
Although  the  pictures  by  Edema  are  painted  with 
spirit,  they  possess  little  of  the  chaste  and  simple 
colouring,  and  the  picturesque  touch,  which  dis- 
tinguish the  landscapes  of  Van  Everdingen.  He 
died  at  Richmond  in  1700.  At  Hampton  Court  are 
a  '  River  Scene  "  and  a  '  Landscape '  by  him. 

EDEMA,  NicoLAES,  born  in  Friesland  in  1666, 
went  to  Surinam  to  paint  the  landscapes,  plants, 
and  insects  of  that  country.  He  became  a  good 
landscape  painter,  as  his  views  are  after  nature, 
with  a  good  tone  of  colour,  and  a  spirited  touch. 
He  died  in  London  in  1722. 

EDENBERGER,  J.  N.,  a  German  miniature 
painter,  was  a  native  of  Baden-Durlach.  He 
possessed  considerable  talent,  and  was  living  in 
1773  at  the  Hague,  whence  he  came  to  England, 
but  returned  thither  in  1776. 

EDLINGER,  Johann  Georq,  a  portrait  painter, 
was  born  at  Graz  in  1741.  He  was  a  pupil  of 
Desmar^es,  and  became  court  painter  at  Munich, 
where  he  died  in  1819.  His  portraits  are  well 
painted,  and  show  a  leaning  towards  the  works  of 
Rembrandt.  Some  of  his  portraits  of  eminent 
Bavarians,  engraved  by  Friedrich  John,  appeared 
in  1821  under  the  title  '  Sammlung  von  Bildnissen 
denkwiirdiger  Manner.' 

EDLINGER,  KLiRL  Franz,  a  Saxon  painter,  was 
born  at  Dresden  in  1785,  and  died  there  in  1823. 
He  painted  portraits,  especially  miniatures,  but  only 
one  historical  picture  by  him  is  known,  '  Ariadne 
in  Naxos.'  His  son,  Johann  Moritz  Ellinger, 
who  was  born  at  Dresden  in  1823,  and  died  in  1847, 
was  a  portrait  painter  and  etcher. 

EDMONDS,  John  W.,  an  American  painter  of 
genre  subjects,  was  born  at  Hudson,  New  York, 
in  1806.  Engaged  during  the  greater  part  of  his 
life  as  a  cashier  in  a  bank,  he  devoted  his  morn- 
ings and  evenings  to  painting ;  but  this  constant 
toil  weakened  his  health  so  much  that  in  1840  he 
came  to  Europe  for  rest.  He  first  exhibited  at  the 
New  York  Academy  in  1836,  under  an  assumed 
name,  'Sammy  the  Tailor.'  This  was  followed, 
among  other  works,  by  '  Dominie  Sampson '  in 
1837,  the  'Penny  Paper'  in  1839,  'Sparking'  in 
1840,  'Stealing  Milk'  in  1843,  'Vesuvius'  and 
'Florence'  in  1844,  'Bargaining'  in  1858,  and 
'The  New  Bonnet'  in  1869.  In  1838  he  was 
elected  an  Associate  of  the  National  Academy,  and 
in  1840  an  Academician.  He  died  at  his  residence 
on  the  Bronx  River  in  1863. 

EDMONSTONE,  Robert,  a  Scottish  subject 
painter,  was  born  at  Kelso  in  1795.  He  pursued 
the  study  of  art  under  many  difficulties,  but  at  last 
became  a  student  in  the  Royal  Academy,  London, 
where  he  first  exhibited  in  1818.  He  then  went  to 
the  continent,  and  studied  for  a  few  years  in  Italy. 
Returning,  he  practised  portrait  painting  in  London 
from  about  1824  to  1831,  when  he  paid  a  second 
visit  to  Italy.  He  died  at  his  native  place  in  1834, 
from  the  effects  of  fever  contracted  at  Rome.  His 
forte  lay  in  works  in  which  he  introduced  children. 
Amongst  the  pictures  he  exhibited  were : 

Italian  Boys  playing  at  Cards.     1830. 
Venetian  Water-Carriers.     1S33. 
Kissing  the  cliains  of  St.  Peter 
The  ^Ybite  Mouse.     [His  last  work) 
120 


Water- 
Colaur. 


EDRIDGE,  Henry,  a  miniature  painter,  was 
born  at  Paddington  in  1769.  He  was  apprenticed 
to  Pether,  the  mezzotint  engraver  and  landscape 
painter,  but  his  chief  excellence  lay  in  miniature 
portraits,  which  he  executed  in  black  lead  and 
Indian  ink,  and  subsequently  in  water-colours. 
In  178G  he  exhibited  at  the  Academy  'The  Weary 
Traveller,'  and  in  1803  portraits  of  King  George 
III.  and  Queen  Charlotte.  He  was  elected  an 
Associate  of  the  Royal  Academy  in  1820,  and  died 
in  London  in  1821.  The  following  are  among  his 
works : 

National  Portrait  Gallery  ; 

Miirquis  of  Anglesey.     180S. 

Lord  Auckland.     1809. 

Eobert  Southey.     1804. 

National  Gallery  of  Scotland  : 
Coast  Scene,  with  Figures. 

South  Keyisington 

Chenies  House,  near  Brambletye. 

Kick  Yard,  Ashford. 

Farm-House,  Buckinghamshire.    1814. 

View  near  Bromley. 

Brighton  Beach. 

Pont  Neuf ,  Paris. 

Portrait  of  a  Military  Officer. 
EDWARDS,  Edward,  an  historical  painter,  bom 
in  London  in  1738,  was  employed  by  Boydell 
to  make  drawings  from  the  old  masters  for  his 
publications,  and  by  the  Society  of  Antiquaries  for 
the  same  purpose.  He  painted  for  Boydell's 
Shakespeare  a  subject  from  the  '  Two  Gentlemen 
of  Verona  ; '  he  painted  also  arabesques,  and  pub- 
lished 52  etchings.  He  never  arrived  at  distinction, 
except  that  he  was  appointed  teacher  of  perspective 
in  the  Royal  Academy  in  1788,  which  situation  he 
held  until  his  death.  He  was  elected  an  Associate 
of  the  Royal  Academy  in  1773,  and  sent  pictures 
to  its  exhibitions  pretty  constantly  from  1771  till 
the  end  of  his  life.  He  published  in  1808  the 
'  Anecdotes  of  Painters,'  intended  as  a  supplement 
to  Walpole  ;  but  in  his  facts  he  was  too  accurate 
to  please  his  contemporaries,  and  consequently  the 
work  and  its  author  were  much  decried.  He  died 
in  1806.  A  water-colour  drawing  by  him,  entitled 
'North  Dean,  Castle  Eden,  Durham,'  is  at  South 
Kensington. 

EDWARDS,  Edwin,  a  landscape  painter  in 
water-colours  and  an  etcher,  was  born  at  Framling- 
liam  in  1823.  He  was  originally  brought  up  for  the 
law  and  practised  as  a  proctor  for  many  years.  He 
commenced  water-colour  painting  after  a  journey 
in  the  Tyrol,  and  through  meeting  the  French  artist 
Legros,  in  1861,  was  induced  to  take  up  etching, 
on  which  his  reputation  chiefly  rests.  His  works 
appeared  at  the  Royal  Academy,  and  at  the  Dudley 
Gallery.  Amongst  his  best  productions  may  be 
cited  a  series  of  etchings  of  English  Inns.  He 
died  in  London  in  1879. 

EDWARDS,  George,  a  natural  history  draughts- 
man, was  born  at  Stratford,  in  Essex,  in  1694. 
From  1716  to  1731  he  travelled  much  in  Holland, 
Norway,  Belgium,  and  France  in  pursuit  of  his  art. 
In  1733  he  was  appointed  librarian  to  the  College 
of  Physicians.  In  1747-51  he  published  '  A  Natural 
History  of  uncommon  Birds  and  Animals,'  and 
in  1758-64  'Gleanings  of  Natural  History.'  He 
retired  to  Plaistow,  where  he  died  in  1773. 

ED  WARDS,  Sydenham,  a  draughtsman  of  animals 
and  flowers,  was  born  about  1768.  He  exhibited 
at  the  Royal  Academy  from  1792  to  1813.  He  pub- 
lished '  Cynogrnphia  Britannica,'  1800,  the  'New 
Flora  Britannica,'  1812,  and  founded  the '  Botanical 


'Si 


O 
S 


■5^ 


PAINTERS   AND   ENGRAVERS. 


Hegister'  in  1815.  He  also  made  drawings  for 
Rees's  'Cyclopaedia,'  the  'Flora  Londinensis,'  the 
'  Botanical  Magazine,'  and  the  '  Sportsman's  Maga- 
zine.'    He  died  at  Brompton  in  1819. 

EDWIN,  David,  an  American  engraver,  was 
born  at  Bath,  in  England,  in  1776.  He  was  the 
son  of  John  Edwin,  a  celebrated  comic  actor,  and 
was  apprenticed  to  an  engraver,  but  he  ran  away 
to  sea,  and  reached  America  in  1797.  There  he 
was  employed  by  Edward  Savage,  the  portrait 
painter,  and  soon  gained  much  reputation  by  his 
portraits.  After  twenty  years'  work  his  sight 
failed,  and  he  was  compelled  to  resort  to  various 
means  in  order  to  obtain  a  livelihood.  He  died  at 
Philadelphia  in  1841. 

EBCKB,  (alias  Eeckele,)  Jan  van.  He  settled 
in  Bruges  in  1534,  and  was  admitted  as  master 
paintej  into  the  Guild  of  Saint  Luke  in  September 
of  that  year.  He  held  the  office  of  "vinder"  in 
1542-3,  1548-9,  1551-2  and  1557-8.  He  died  in 
November  1561,  and  was  buried  in  the  church  of 
Saint  James.  Only  two  paintings  are  known  to  be 
by  him  ;  both  are  signed  with  his  cipher. 

1.  Mater  dolorosa,  acopy  of  apaintinganteriortol492,  a 
woodcut  after  which  adorns  'Ghedenckenisse  van  den 
YII.  Weeden  Onser  Liever  Vrouwen,'  printed  at 
Antwerpby  Gerard  Leeu  in  1492.  [Bruties:  Cathedral.) 

2.  The  Vision  of  Saint  Bernard,  and  other  episodes  of  his 
life.     {Toumai :  Museum.) 

EECKHOUT,  Jacob  Joseph,  was  bom  at  Ant- 
werp in  1793,  and  studied  first  at  the  Academy  of 
that  city.  He  painted  historical  and  genre  subjects, 
and  portraits,  and  in  1829  he  was  elected  a  member 
of  the  Academies  of  Amsterdam,  Antwerp,  Brus- 
sels, and  Rotterdam.  He  settled  at  the  Hague  in 
1831,  and  in  1839  became  director  of  the  Academy 
in  that  city,  and  after  staying  at  Mechlin  and  Brussels 
he  went  to  live  in  Paris  in  1859.  He  imitated 
Rembrandt  with  some  skill,  and  may  be  considered 
one  of  the  most  distinguished  painters  of  the 
modern  Dutch  school.  His  compositions  are  ex- 
pressive and  lively,  and  the  colouring  vigorous. 
Beckhout  died  in  Paris  in  1861.     His  best  works 


The  Death  of  William  the  Silent. 
Peter  the  Great  at  Zaandam. 
The  Departure  of  the  Recruits  of  Scheveningen. 
Collection  de  Portraits  d'Artistes  modernes,  n^s  dans 
le  royaume  des  Pays-Bas.     1822. 

EECKHOUT,  Van  den.  See  Van  den  Eeckhout. 

EECKHOUT,  Victor,  a  genre  painter,  the  son 
of  Jacob  Joseph  Eeckhout,  was  born  at  Antwerp 
in  1821.  He  studied  under  his  father,  and  went  to 
the  East.     He  died  in  1879. 

EELKAMA,  Eelke  Jelles,  a  painter  of  land- 
scapes, flowers,  and  fruit,  was  born  at  Leeuwarden 
in  1788.  On  account  of  his  deafness,  which  was 
brought  on  by  an  illness  at  the  age  of  seven,  he 
was  educated  in  the  institution  for  the  deaf  and 
dumb  at  Groningen,  where  he  was  instnicted  in 
the  art  of  painting  by  G.  Do  San.  In  1804,  he 
obtained  the  first  prize  of  the  Academy,  and  his 
works  were  highly  praised.  He  visited  Paris  and 
London,  travelled  in  France  and  Switzerland,  and 
afterwards  painted  at  Haarlem  and  Amsterdam.  He 
afterwards  lost  his  sight,  and  died  at  Leeuwarden 
in  1839. 

EERVRUGHT.     See  De  Momper,  Jodocus. 

EGAN,  James,  an  Irish  mezzotint  engraver,  was 
born  at  Roscommon  in  1799.  He  was  employed 
in  the  lowest  capacities  by  S.  W.  Reynolds,  and, 
notwithstanding  great  difficulties  and  privations, 


persevered  in  the  pursuit  of  his  art.  He  died  in 
London  in  1842.  His  last  and  best  plate  is  after 
Cattermole's  '  English  Hospitality  in  the  Olden 
Time.' 

EGERTON,  D.  T.,  a  landscape  painter,  was  one 
of  the  original  members  of  the  Society  of  British 
Artists,  where  he  exhibited  in  the  years  1824  to  1829, 
and  in  1838  to  1840.  In  the  latter  years  of  his  life 
he  travelled  much  in  America,  obtaining  thus  the 
subjects  for  several  pictures,  notably  one  of 
'  Niagara.'     He  was  murdered  in  Mexico  in  1842. 

EGG,  Augustus  Leopold,  the  son  of  the  eminent 
gunmaker  of  Piccadilly,  was  born  in  London  in 
1816.  Though  he  took  to  the  pencil  and  brush 
whilst  at  school,  he  does  not  appear  to  have  thought 
of  adopting  the  arts  as  a  profession  till  about  the 
year  1834,  when  he  went  to  Sass's  Art  School,  and 
shortly  afterwards,  in  1835,  be  was  admitted  a 
student  at  the  Royal  Academy.  Even  thus  early 
he  had  commenced  painting  pictures  of  Italian 
subjects,  though  a  stranger  to  Italy,  as  well  as 
scenes  from  the  pages  of  Scott ;  but  his  first  work 
of  importance  was  '  The  Victim,'  from  '  Le  Diable 
Boiteux '  of  Le  Sage,  which  was  exhibited  at  the 
Liverpool  Academy  of  Arts.  To  this  he  after- 
wards, in  1844,  painted  a  companion  picture.  Egg 
then  exhibited  in  London,  and  in  1836,  and  the 
following  years,  we  find  his  works  on  the  walls 
of  the  Society  of  British  Artists,  the  British  Insti- 
tution, and  the  Royal  Academy;  but  owing  to 
his  having  inherited  a  considerable  fortune  from 
his  father,  he  was  independent  of  his  art  for 
support  and  accordingly  did  not  exhibit,  as  a  rule, 
more  than  one  work  each  year  at  the  Royal 
Academy,  to  the  exhibitions  of  which  he  sent,  in 
all,  twenty-eight  pictures.  Of  these,  seven  are 
taken  from  Shakespeare,  five  are  founded  on  scenes 
in  well-known  works  of  fiction,  and  of  the  re- 
mainder nine  are  from  familiar  incidents  in  history. 
He  was  elected  an  Associate  of  the  Royal  Academy 
in  1848,  and  an  Academician  in  1860.  His  pictures 
are  comparatively  few  for  one  who  had  won  the 
highest  honours  of  his  profession,  but  he  was  pre- 
vented from  doing  more  in  his  art  by  delicate 
health,  which  compelled  him  to  resort  to  the  mild 
climate  of  Italy  and  the  South  of  France,  and 
latterly  to  Algiers,  where  he  died  and  was  buried 
in  1863. 

Egg's  talent  was  exercised  in  a  rather  peculiar 
field  of  study,  comprising  strictly  historical  in- 
cidents, and  passages  from  classic  fable.  In  the 
former  class  of  subjects  he  stands  quite  alone  ;  in 
the  latter,  he,  in  some  sense,  occupied  the  same 
ground  as  that  in  which  Newton  and  Leslie  fre- 
quently laboured  ;  but  his  treatment  of  the  latter 
class  of  subjects  is  more  fanciful  than  that  of 
either  of  those  artists,  whilst  in  subjects  more 
properly  considered  as  inventive,  a  philosophic 
spirit,  somewhat  melancholy  in  tinge,  is  observable, 
which  they  do  not  display.   His  principal  works  are : 

A  Spanish  Girl.     1838. 

Tjaugh  when  you  can.     1839. 

Scene  from  "  Henry  IV."     1840. 

Scene   from  "  Le   Diable  Boiteux."      1844.     {National 

Gallerti. ) 
Buckingham  rebuffed.     1846. 
The  Wooing  of  Katbariua.     ("  Taming  of  the  Shrew.") 

1847. 
Luceutio  and  Bianca.    ("  Taming  of  the  Shrew.")    1847. 
Queen    Elizabeth   discovers   she   is   no   longer  young. 

1848. 
Henrietta  Maria  in  distress   relieved   by  Cardinal   de 

Ketz.     1849. 

121 


A  BIOGEAPHICAL  DICTIONARY  OF 


Peter  the  Great  sees  Catharine,  his  future  Empress,  for 

the  first  time.     1850. 
Pepys's  Introduction  to  Nell  Gwynne.     1851. 
The  Life  and  Death  of  Buckingham.     {Ttco  pictures.) 

1855. 
The  Knighting  of  Esmond.     1858. 
Past  and  Present.     (Three pictures.)     1858. 
The  Night  before  Naseby.     1859. 
Madame  do  Maintenon  and  Searron.     1859. 
The  Taming  of  the  Shrew :  Dinner  scene :  Katharine 

and  Petruchio.     (His  last  picture. )     1860 

EGGERS,  JoHANN  Karl,  a  German  historical 
painter,  born  at  Neu  Strelitz  in  1790,  was  in- 
structed by  Matthai  at  Dresden.  He  discovered 
the  old  mode  of  fresco-painting,  and  was  em- 
ployed in  the  Vatican  at  Rome,  where  he  painted 
in  the  Braccio  Nuovo.  Subsequently  he  painted 
under  the  direction  of  Cornelius  in  the  Museum 
at  Berlin.  Some  of  his  oil-paintings  are  of  con- 
siderable merit.  He  died  in  bis  native  town  in 
1863. 

EGGERT,  Fkanz  Xaver,  a  German  painter  upon 
glass,  was  born  at  Hocbstiidt  on  the  Danube  in 
1802,  and  studied  decorative  painting  at  Augsburg 
and  Munich  ;  but  he  afterwards  devoted  himself  en- 
tirely to  glass-painting,  in  conjunction  with  Ain- 
miiller,  Hammerl,  and  Kirchmair,  and  endeavoured 
to  raise  that  art  from  its  long  decline.  He  especi- 
ally distinguished  himself  by  the  magnificence  of 
his  ornamentation.  His  best  works  are  in  the  new 
church  of  the  suburb  Au  at  Munich,  in  the 
cathedrals  of  Cologne  and  Ratisbon,  and  in  several 
churches  at  Basle,  Constance,  &c.  He  died  at 
Munich  in  1876. 

EGINTON,  Francis,  an  English  painter  upon 
glass,  was  born  in  1737.  He  was  brought  up  at 
Handsworth,  near  Birmingham,  and  from  1784  to 
1805  he  contributed  greatly  to  the  advancement  of 
the  art.  Among  his  best  works  are  to  be  noted  the 
'  Resurrection  '  in  Salisbury  Cathedral  and  in  Lich- 
field Cathedral;  the  ' Conversion  of  St.  Paul'  in  St. 
Paul's,  Birmingham;  'Christ  bearing  the  Cross' 
in  Wanstead  Church ;  and  '  Solomon  and  the  Queen 
of  Sheba '  at  Arundel  Castle.  Besides  these  there 
are  windows  by  him  in  St.  Asaph  Cathedral, 
Fonthill  Abbey,  and  Magdalen  and  All  Souls' 
Colleges  in  Oxford.  He  died  at  Handsworth  in 
1805. 

EGLEY,  William,  a  miniature  painter,  was  born 
at  Doncaster  in  1798.  His  first  employment  was 
in  a  publisher's  olBce  in  London,  in  the  course  of 
which  occupation  he  found  time  to  practise  paint- 
ing, of  which  he  had  been  fond  from  an  early  age. 
After  a  short  time  he  determined  to  follow  portrait 
painting  as  a  profession,  and  in  1824  two  of  his 
pictures  were  exhibited  at  the  Royal  Academy, 
one  of  them  being  the  portrait  of  Yates,  the  actor. 
From  this  time  he  was  a  very  constant  exhibitor, 
painting  a  great  many  portraits  of  members  of  well- 
known  English  families,  besides  several  foreigners 
of  distinction.  One  of  his  latest  works  was  a  por- 
trait of  Foley  the  sculptor,  which  was  exhibited  at 
the  Royal  Academy  in  1868.  His  death  occurred 
in  London  in  1870.  His  miniatures  were  very 
carefully  finished  and  pure  in  colour;  and  he  was 
especially  successful  in  his  treatment  of  children. 

EGLOFFSTEIN,  Julie  von,  Countess,  canonesB 
of  Hildesheim,  born  in  1792,  was  an  amateur  artist 
of  much  ability.  She  was  one  of  the  most  beau- 
tiful and  gifted  women  at  the  court  of  Weimar, 
and  many  of  Goethe's  poems  bear  witness  to  the 
lively  interest  which  he  took  in  her  artistic  develop- 
ment.     She  painted  several  portraits,  including 

122 


those  of  the  Grand-Duchess  of  Saxe- Weimar  and 
of  Queen  Theresa  of  Bavaria.  Among  works  of 
different  character  are  '  Shepherds  in  the  Roman 
Campagna,'  painted  in  1835,  '  Hagar  in  the  Wilder- 
ness,' 'The  Exposure  of  Moses,'  '  Italian  Popular 
Life,'  and  others,  some  of  which  are  in  the  posses- 
sion of  the  Emperor  of  Russia  and  of  Queen 
Victoria.     She  died  in  1869. 

EGMONT,  Justus  van,  was  born  at  Leyden  in 
1602.  He  was  in  1615  a  pupil  of  Gaspar  van  den 
Hoeck,  but  was  afterwards  sent  to  Antwerp  to  be 
educated  in  the  school  of  Rubens,  whom  he  assisted 
in  several  of  his  works,  particularly  those  relating 
to  the  life  of  Mary  de'  Medici,  which  he  painted 
for  the  Luxembourg  Palace.  On  leaving  the 
academy  of  Rubens  he  went  to  Paris,  where  he 
was  appointed  painter  to  Louis  XIII.  and  after- 
wards to  Louis  XIV.,  and  executed  several  con- 
siderable works  in  conjunction  with  Simon  Vouet. 
Van  Egmont  was  one  of  the  twelve  elders  at  the 
establishment  of  the  French  Academy  of  Painting 
and  Sculpture,  in  1648.  He  died  at  Antwerp  in 
1674.  In  the  Vienna  Gallery  there  is  a  portrait 
by  him  of  the  Archduke  Leopold  Wilhelm,  and 
two  others  of  Philip  IV.  of  Spain.  The  Hague 
Gallery  has  a  portrait  of  Louis  XIV.  by  him. 
Portraits  of  Algernon  Sydney  by  him  are  in  the 
National  Portrait  Gallery,  and  at  Penshurst,  the 
latter  painted  at  Brussels  in  1663. 

EGOGNI,  Ambrogio.     See  Stefani  da  Fossano. 

EGOROV,  Aleksyei  Egorovich,  a  Russian 
painter,  was  born  in  the  steppes  of  the  Kalmyks 
about  1776,  and  died  at  St.  Petersburg  in  1851.  A 
'Holy  Family'  and  the  'Scourging  of  Christ'  by 
him  are  in  the  Hermitage  at  St.  Petersburg. 

EHEMANT,  Fhiedrich  Joseph,  a  German  land- 
scape painter,  was  born  at  Frankfort  in  1804,  and 
studied  under  Schirraer  at  the  Dusseldorf  Academy. 
He  died  at  Munich  in  1842. 

EHNLE,  Adriaen  Jan,  a  Dutch  painter  of  his- 
torical and  genre  subjects,  was  born  at  the  Hague 
in  1819,  and  studied  under  C.  Kruseman.  He  died 
in  1863.  Among  his  works  are  'Cornells  de  Witt 
at  Dordrecht '  and  '  The  Reception  of  a  Child  at  the 
Orphan  House  at  Haarlem.' 

EHRENBERG.WiLLEM  Schubert  VAN,  a  Flemish 
architectural  painter,  was  born  at  Antwerp  in  1630. 
He  was  received  into  the  Guild  of  St.  Luke  in 
1662,  under  the  name  of  Van  Aerdenberch.  It 
has  also  been  written  Hardenberg,  Eerdenborch, 
Aerdenborch,  Aremberch,  &c.  He  probably  died 
about  1675.  He  painted  the  architecture  in 
a  picture  by  H.  van  Minderhout,  representing 
'  Caricina  before  tlje  King  of  Ethiopia,'  which  was 
presented  by  Van  Ehrenberg  in  1666  to  the  Guild 
of  St.  Luke,  and  is  now  in  the  Antwerp  Museum, 
and  in  another  by  Biset,  of  'William  Tell,' 
formerly  in  the  possession  of  the  Guild  of  St. 
Sebastian  at  Antwerp,  but  now  in  the  Brussels 
Gallery.  The  landscape  part  is  by  Hemelraet. 
In  the  Munich  Gallery  is  an  '  Interior  of  an  Art- 
Collector's  Gallery,'  in  which  the  architecture  is 
by  Van  Ehrenberg,  the  figures  by  Gonzales  Cocx 
and  Jordaens,  and  in  the  Vienna  Gallery  is  the 
'  Interior  of  a  Church  '  by  him.  dated  1664.  Van 
Ehrenberg  added  the  architecture  to  the  large 
picture  in  the  Hague  Gallery  of  the  '  Interior  of  a 
Picture  Gallery,'  in  which  Gonzales  Cocx  put  the 
figures  and  accessories,  and  the  paintings  are  by 
the  hands  of  various  artists. 

EHRENSTRAL,  David  Kloecker  von.  See 
Kloecker. 


PAINTERS  AND  ENGRAVERS. 


EHRET,  Geokg  Diontsios,  a  German  botanical 
draughtsman  and  engraver,  was  born  at  Baden 
in  1710.  After  working  for  Jussieu  in  France,  he 
settled  in  England  in  1740,  and  supplied  the  illus- 
trations for  Trew's  '  Plantje  Select®,'  and  Brown's 
'  History  of  Jamaica.'  He  also  painted  a  large 
botanical  collection  for  the  Duchess  of  Portland. 
He  died  in  1770. 

EIBNER,  Friedrich,  a  German  painter  of  archi- 
tectural subjects,  was  born  at  Hilpoltstein  in  1826. 
He  studied  after  the  works  of  Heinrich  Schonfeld, 
and  travelled  in  Bavaria,  and  afterwards  in  Ger- 
many, France,  Upper  Italy,  and  Spain,  making  a 
large  number  of  water-colour  drawings  of  the 
places  he  visited.  The  Album  for  the  Prince 
Metschersky,  with  whom  he  travelled  in  Spain  in 
1860-61,  may  be  considered  his  best  work.  He 
died  at  Munich  in  1877. 

r^i  EICHENS,  Friedrioh  Eduaed,  a  German  en- 
graver, was  born  at  Berlin  in  1804.  He  studied 
engraving  first  under  Buchhorn  ;  and  then  went, 
in  1827,  with  a  grant  from  the  government,  to 
Paris,  where  he  received  instruction  from  Forster, 
and  later  to  Parma,  where  he  studied  for  three 
years  under  Toschi.  He  subsequently  visited  Flor- 
ence, Rome,  Naples,  Venice,  and  Milan.  On  his 
return  in  1833  he  became  a  drawing-master  in 
a  government  school.  He  died  at  Berlin  in  1877. 
Eichens  engraved  some  of  Kaulbach's  frescoes  in 
the  Berlin  Museum,  and  also  his  '  Shakespeare 
Gallery.'     Among  his  prints  are  the  following : 

M&donna.;  after  Steinbruck.     1833. 

Adoration  of  the  Kings  ;  after  Raphael.     1836. 

The  Magdalen  ;  after  Domenichino.     1837. 

Madonna ;  after  Eajfaelliiio  del  Garbo.     1839. 

Portrait  of  Mendelssohn  ;  after  Hildebrandt.     1840. 

The  Vision  of  Ezechiel ;  after  Raphael.     1841. 

Frederick  the  Great  as  Crown  Prince;   after  Fesne. 

1846. 
'  Come  here ' ;  after  Begas.     1847. 
The  Woman  taken  in  adultery  ;  after  Fordenone. 

EICHHORN,  Albert,  an  architectural  and  land- 
scape painter,  was  born  at  Freienwalde-on-the-Oder 
in  1811,  and  studied  under  Terapeltei  and  Biermann 
at  Berlin.  In  1840  he  visited  Italy  and  Greece, 
where  he  made  numerous  sketches,  which  after- 
wards served  him  for  the  subjects  of  his  paintings. 
Among  his  works,  which  are  cliiefly  in  the  posses- 
sion of  the  German  Emperor,  may  be  mentioned, 
'  Taygetus,'  '  The  Temple  of  Plieigalia,'  '  St.  Peter's 
at  Rome,'  'The  Temple  of  Corinth,'  'The  Cam- 
pagna,'  &c.  He  died  by  suicide  at  Potsdam  in 
1851. 

EICHHORN,  Hans,  a  printer  and  wood- 
engraver  of  the  16th  century,  was  employed  by 
the  Elector  Joachim  II.  He  died  at  Frankfort 
in  1583. 

EICHLER,  Gottfried,  an  historical  and  por- 
trait painter,  was  born  at  Augsburg  in  1677.  He 
studied  under  Johann  Heiss,  but  went  afterwards 
to  Rome  to  improve  under  Carlo  Maratti.  His 
'Last  Supper,'  in  the  church  of  the  Franciscans  at 
Augsburg,  gives  ample  proof  of  his  talent.  He 
died  in  1759. 

His  son,  Johann  Gottfried  Eichler,  born  at 
Augsburg  in  1715,  was  a  portrait  painter  and 
engraver  in  line  and  mezzotint.  He  died  in  1770, 
leaving  a  son,  Matuias  Gottfried  Eichler,  also 
an  engraver,  who  was  born  at  Erlangen  in  1748, 
and  died  at  Augsburg  in  1818. 

EICK,  Martin  van,  a  Dutch  painter,  was  a 
native  of  Remerswaal  in  Zealand.     He  flourished 


during  the  first  half  of  the  16th  century,  and  was 
a  contemporary  of  Pieter  Aartsen. 

EIGNER,  Andreas,  who  was  born  at  Diedldorf, 
Upper  Palatinate,  in  1801,  distinguished  himself 
as  a  painter  and  a  restorer  of  old  pictures.  He 
successfully  employed  alcoholic  vapours,  and  a 
varnish  of  his  own  invention,  to  protect  paintings 
against  the  destructive  influence  of  the  atmo- 
sphere. He  was  chiefly  employed  in  the  Galleries 
of  Munich,  Augsburg,  Stuttgart,  Carlsruhe,  Basle, 
and  Solothurn.     He  died  at  Augsburg  in  1870. 

EIMBECK,  Johann  Raphon  von,  was  an  early 
German  painter,  about  whom  we  have  no  details. 
There  is  by  him  in  the  cathedral  of  Ilalberstadt  a 
triptych,  representing  the  '  Crucifixion,'  dated  1508. 

EIMMART,  Georg  Christoph,  the  elder,  a  Ger- 
man painter  and  engraver,  born  at  Ratisbon  in 
1597,  painted  portraits,  landscapes,  still-life,  and 
historical  subjects.    He  died  at  Nuremberg  in  1660. 

EIMMART,  Georg  Christoph,  the  younger,  a 
German  draughtsman  and  engraver,  was  born  at 
Ratisbon  in  1638.  He  was  instructed  by  Ids  father, 
and  resided  at  Nuremberg,  where  he  died  in  1705. 
He  engraved  some  plates  for  Sandrart's  '  Academia,' 
and  some  small  etchings  of  ruins,  buildings,  and 
vases,  ornamented  with  figures,  which  have  con- 
siderable merit.  He  was  also  a  mathematician  and 
astronomer,  and  published  in  1701  '  loonographia 
nova  contemplationum  de  Sole.' 

EIMMART,  Maria  Clara,  a  daughter  of  Georg 
Christoph  Eiminart  the  younger,  was  a  designer 
and  engraver.  She  was  born  in  1676,  and  usually 
worked  with  her  father.  She  married  the  astrono- 
mer, J.  H.  Muller,  and  died  at  Altdorf  in  1707. 

EINSLE,  Anton,  an  Austrian  portrait  painter, 
was  born  at  Vienna  in  1801.  He  studied  at  the 
Academy  of  that  city,  and  was  largely  patronized 
by  the  court  and  nobility.     He  died  in  1871. 

EISEN,  Charles  Domeniqde  Joseph,  French 
draughtsman,  painter  and  engraver.  He  was  born 
at  Valenciennes  on  August  7,  1720.  His  father, 
Frans  Eisen,  and  his  mother.  Marguerite  Guisne, 
had  eight  children, — Charles  was  the  third.  The 
boy's  first  drawing-master  was  his  father,  who 
greatly  developed  his  son's  talent  for  designing 
and  his  taste  for  engraving.  In  1741  he  went  to 
Paris,  and  in  the  following  year  entered  the  studio 
of  Le  Bas.  His  talent  and  his  sparkling  wit  gained 
him  admission  to  the  court,  where  he  became 
painter  and  draughtsman  to  the  King,  and  drawing- 
master  to  Madame  de  Pompadour.  The  King 
appointed  him  Court  painter.  He  worked  assidu- 
oush',  and  with  marked  success,  taking  his  in- 
spirations direct  from  nature,  but  adding  some- 
thing of  the  ideal,  after  the  manner  of  Watteau 
and  Boucher.  His  work  was  as  various  in  kind 
as  it  was  attractive  in  quality.  Large  compositions, 
decorative  panels,  copies  of  statues  and  fountains, 
studies  of  the  nude  and  portraits,  exercised  his  brush, 
his  pencil,  and  his  graver;  as  well  as  lovely 
designs  for  furniture,  costumes,  and  all  sorts  of'' 
pretty  things  d  la  mode.  His  vignettes  were 
marked  by  unusual  delicacy  and  grace.  Almost 
all  the  more  important  books  published  in  France 
in  his  time  contain  his  exquisite  plates  ;  and  their 
bindings  testify  to  his  good  taste.  Baudicour 
relates  that  "  he  engraved  with  a  light  point  and 
with  striking  originality."  He  was  never  received 
at  the  Royal  Academy,  but  the  Academy  of  St. 
Luke  opened  wide  its  doors  to  him,  and  from  1751 
to  1774  he  passed  through  the  various  grades  of 
member,  Professor,   Councillor  and   Rector.     He 

123 


A  BIOGRAPHICAL  DICTIONARY  OF 


was  also  a  member  of  the  Academy  of  Fine 
Arts  at  Rouen.  In  1777  he  quitted  Paris  suddenly, 
having  displeased  Mme.  de  Pompadour,  as  some 
say,  and  settled  at  Brussels  with  his  wife  ;  and 
he  died  there  on  January  4,  1778.  Among  his 
pictures  were  : 

Icarus  and  Daedalus;  Salon,  1751  (piece  de  reception). 
The  Swing  (^ie/ned  and  dated  1771) ;  Bourg  Museum. 
Shepherd  and  Shepherdess ;  The  Bird's  Nest ; 
ViUagers  dancing ;  Villagers  resting ;  Bordeaux 
Museum. 

The  last  four  are  in  Lancret's  manner,  and  were 
in  the  La  Gaze  Collection  till  1829.  The  Museums 
at  Alen9on  and  Bourg  also  have  pictures  by  Eisen. 
Of  his  etchings  and  designs  the  following  were 
most  remarkable  : 

Sixty-eight  designs  in  black  and  red  for '  Tales  from  La 

Fontaine.' 
Dlnstrations  for  an  edition  de  luxe  for  *  Les  Fermiers 

Gen6raux/  in  black  chalk  on  vellum  (published  at 

Amsterdam  in  1762,  oriijinally  in  the  collection  of  the 

Due  d*Aumale). 
Henri  IV.  et  Gabrielle  d'Estr^es,  black  chalk  and  quill 

pen,  engraved  by  Mouchy,  and  exhibited  in  1779  at 

L'35cole  des  Beaux  Arts  in  Paris ;  perhaps  Eisen's 

ckef-d^oeuvre. 
Bacchus  arriving  at  Nasos,  and  other  mythological 

subjects. 
Saint  Mary  nourishing  Christ,  and  St.  Jerome.     , 
St.  Eloy  preaching  (now  in  the  church  of  St.  Esprit, 

Paris). 
Military  Exercises.     1754. 

Illustrations  to  Ovid's  '  Metamorphoses.*     1767-70. 
Illustrations  to  Voltaire's  *  Henriade."     1771. 
{These  are  exquisite  vignettes  in  red  chalk  on  cream 

paper.) 
Diana  and  Endymion.  "i 
Aurora.  \Salon,  1774. 

Holy  Family.  J 

At  the  British  Museum  and  at  the  Victoria  and 
Albert  Museum  are  many  drawings,  etchings  by, 
and  prints  after,  C.  D.  J.  Eisen. 

EISEN,  Franz,  Belgian-French  painter  and 
engraver.  Born  at  Brussels  1695.  His  first  art 
lessons  were  learned  in  the  churches  and  galleries 
of  his  native  city.  He  had  a  natural  talent  for 
historical  and  genre  painting.  In  1714  he  settled 
at  Valenciennes,  where  his  talent  was  speedily 
recognized.  He  painted  important  pictures  for 
the  church  of  the  Brigitines,  for  the  high  altar 
of  the  Bdguinage,  and  for  the  refectory  of  the 
monastery  of  Vicoigne,  and  executed  other  similar 
commissions  in  that  city.  He  married  Marguerite 
6uisne,and  liad  eight  children — Charles  Domenique 
Joseph  being  the  third.  In  1731  he  married  for  a 
second  time  Marie  Frangoise  Joseph  Bulo,  who 
also  bore  him  a  child.  Professional  jealousies 
arose  which  caused  him  to  leave  Valenciennes, 
and  he  bent  his  steps  to  Paris,  where  he  arrived  in 
1745.  At  the  age  of  eighty-two  he  and  his  vrife 
were  admitted  into  the  Hospital  for  Incurables, 
where  he  died  in  1777. 

EISENHOUT,  Antonie,  a  Dutch  painter  and 
engraver,  flourished  at  Rome  about  1590.  He  was 
a  native  of  Varnbourg,  and  was  still  livina:  in  1619. 
It  appears  that  he  has  been  miscalled  'Eisenhart' 
by  Christ,  and  that  some  of  his  works  have  been 
ascribed  to  other  masters.  Brulliot  refers  to  some 
attributed  to  Luca  Cianiberlano  by  Bartsch,  which 
he  conjectures  should  be  given  to  Eisenhout. 

EISMANN,  JoHANN  Anton,  sometimes  errone- 
ously called  Leismann,  Lismann,  or  Luismon,  a 
German  painter  of  landscapes  and  battles,  was  born 

124 


at  Salzburg  in  1634.  Without  the  help  of  a  master 
he  had  acquired  some  ability  in  drawing,  by  copying 
the  prints  and  pictures  to  which  he  had  access, 
when  he  resolved  to  visit  Italy  for  improvement, 
and  went  to  Venice,  where  his  natural  talent,  as- 
sisted by  the  study  of  the  works  of  the  best  masters 
of  that  school,  soon  asserted  itself.  Although  he 
painted  battle-pieces  and  portraits,  he  was  more 
celebrated  for  his  landscapes  and  seaports,  which  he 
embellished  with  architecture,  somewhat  in  the 
style  of  Salvator  Rosa.  He  died  at  Venice  in  1698. 
There  are  in  the  Dresden  Gallery  two  '  Landscapes 
with  Ruins,'  which  are  by  him,  and  in  the  Vienna 
Gallery  is  a  '  Landscape  with  a  Combat  of  Cavalry.' 
He  adopted  his  pupil.  Carlo  Briseghella,  who  took 
the  name  of  Eismann,  and  painted  the  same  class 
of  subjects  as  his  master.  Hence  there  is  somo 
confusion  in  the  accounts  of  both. 

EISMANN  BRISEGHELLA,  Carlo,  born  at 
Venice  in  1679,  the  pupil  and  adopted  son  of 
Johann  Anton  Eismann  —  who  at  Venice  had 
formed  a  friendship  with  his  father,  Mattia  Brise- 
ghella— painted  landscapes,  sea-pieces,  and  battles 
in  tlie  style  of  his  master.  The  Dresden  Gallery 
contains  three  cavalry  tights  and  a  battle-piece  by 
him.  After  the  death  of  Eismann  he  appears  to 
have  settled  at  Ferrara.  He  published  in  1706  an 
account  of  the  paintings  in  the  churches  of  that  city. 

EISSNER,  Joseph,  an  Austrian  engraver,  was 
born  at  Vienna  in  1788.  He  studied  under  Schmut- 
zer  and  afterwards  under  Leybold,  and  practised  on 
his  own  account  from  1814.  From  1822  he  was 
drawing-master  at  the  Academy  in  the  Neustadt  at 
Vienna,  where  he  died  in  1861.  He  etched  a  number 
of  plates,  and  engraved,  along  with  other  historical 
subjects  and  portraits,  the  following  works : 

La  Madonna  della  Sedia ;  after  Raphael. 

The  Praying  Madonna ;  after  Sassof errata. 

Eembrandt's  Mother ;  after  Rembrandt. 

The  Fall  of  the  Angels ;  after  Luca  Giordano. 

EKELS,  Jan,  the  elder,  born  at  Amsterdam  in 
1724,  was  a  scholar  of  Dirk  Dalens,  the  younger. 
He  painted  views  of  cities  in  the  manner  of  Jan 
ten  Compe.  His  pictures  are  generally  of  a  small 
size,  and  are  highly  finished,  with  a  good  effect  of 
light^and  shade.     He  died  at  Amsterdam  in  1781. 

EKELS,  Jan,  the  younger,  a  Dutch  painter  of 
genre  pieces  and  an  imitator  of  the  old  masters, 
especially  of  J.  Molenaer,  was  born  at  Amsterdam 
in  1759.  Two  pictures  by  him,  one  representing 
'  A  young  Man  drawing,'  and  the  other  '  A  Peasant 
lighting  a  Pipe,'  are  in  the  Stiidel  Gallery  at  Frank- 
fort.    He  died  in  1793. 

EKEMANN-ALESSON,  Lorenz,  (or  Eckemann- 
Alesson,  )  a  lithographic  artist,  was  born  in 
Sweden  in  1791.  He  studied  and  practised  his 
art  at  Vienna,  Munich,  and  Augsburg,  but  was 
afterwards  appointed  by  the  King  of  Wiirtemberg 
to  be  professor  and  director  of  the  newly  estab- 
lished Lithographic  Institute  at  Stuttgart.  He 
chiefly  executed  landscapes  and  architectural  views 
after  Adam,  P.  Hess,  and  Wagenbauer  ;  but  his 
best  plates  are  '  A  Forest  Scene,'  after  Waterloo  ; 
a  'Landscape,'  after  Wynants  ;  and  '  Wurtemberg 
Stallions,'  after  R.  Kunz.  He  produced  some  other 
animal  pieces,  and  also  painted  landscapes  with 
animals.     He  died  at  Stuttgart  in  1821. 

EKMAN,  Robert  Wilhelm,  a  genre  painter,  was 
born  at  Nystad  in  Finland  in  1808,  and  died  at 
Helsingfors  in  1873.  He  was  educated  at  the 
Stockholm  Academy  under  Sandberg;  and  travelled 
much,  especially  in  Italy.     His  pictures  consist  of 


PAINTERS  AND  ENGRAVERS. 


scenes  from  northern  life, — christenings,  peasants' 
cottages,  forest  scenes,  &c.   Amongst  them  are : 

An  old  'Woman  with  a  Bible. 
A  Dutch  Sailor  Fatoily. 
Kobber  Scene. 

ELBURG,  Hansje  tan,  (Elbotgh,  Elbdroh, 
Elbuecht,  or  Elbrucht,)  called  Hanskin,  or 
Kleyn  Hansken  ('  Little  John '),  an  historical 
painter,  was  born  at  Elburg,  near  Campen,  in 
1500.  He  represented  the  figures  in  the  manner 
of  Frans  Floris,  and  also  excelled  in  landscapes 
and  storms  at  sea.  In  Antwerp  cathedral  is  his 
picture  of  'The  Miraculous  Draught  of  Fishes.' 
In  1536  he  was  admitted  into  the  Guild  of  St.  Luke 
at  Antwerp.     He  died  in  that  city  in  1551. 

ELDER,  Charles,  an  historical  painter,  was  born 
in  1821.  He  exhibited  at  the  Royal  Academy 
from  1845  till  his  death,  which  took  place  in 
London  in  1851.     Amongst  his  works  are: 

Sappho.     1845. 

Florimel  imprisoned.     1846. 

The  Death  of  Mark  Anthony.     1847. 

Euth  gleaning.     1848. 

Kosahnd.     1850. 

Weary  Travellers.     1851. 

ELDER,  William,  a  Scottish  engraver,  resided 
in  London  about  the  year  1680.  He  was  one  of 
those  wlio  were  employed  by  the  booksellers ; 
and  we  have  a  few  portraits  by  him,  among  which 
are  the  following: 

His  own  Portrait,  with  a  fur  cap. 

The  same,  with  a  wig. 

William  Sancroft.,  Archbishop  of  Canterbury, 

John  Pearson,  Bishop  of  Chester. 

Ben  Jonson,  prefiied  to  his  '  Works,'  1692. 

Sir  Theodore  de  Mayeme,  Physician. 

Admiral  Russell. 

Sir   Henry  PoUerien,  Chief  Justice  of  the  Common 

Pleas. 
John  Eay,  Naturalist. 
Richard  Morton,  M.D. 
George  Parker,  Astrologer. 
Charles  Snell,  Writing-master. 

ELFORD,  Sir  William,  Bart.,  an  amateur  land- 
scape painter,  was  bom  in  Devonshire  in  1747. 
From  1784  he  occasionally  exhibited  at  the  Royal 
Academy,  contributing  landscapes,  often  with 
effects  of  sunset  and  of  shower.  He  was  made  a 
baronet  in  1800,  and  died  at  Totnes  in  1837. 
There  is  a  landscape  by  him  at  Windsor  Castle. 

ELIAERTS,  Jean  FRANgois,  a  Flemish  painter 
of  animals,  flowers,  and  fruit,  was  born  in  1761  at 
Deurne-Borgerhout,  near  Antwerp,  in  the  Academy 
of  which  city  he  studied.  He  passed  his  life  in 
France,  but  died  at  Antwerp  in  1848.  In  the 
Antwerp  Museum  is  a  flower-piece  by  him. 

ELIAS,  Mathied,  (Elyas,  or  Elie,)  was  born  at 
Peena,  near  Cassel,  in  1658.  His  parents  were 
extremely  poor,  and  he  was  employed  when  a  boy 
in  attending  cattle,  in  which  humble  situation  he 
was  noticed  by  a  painter  of  Dunkirk, named  Philippe 
Decorbehem,  tracing  objects  on  the  ground.  The 
artist,  struck  with  the  singularity  of  the  circum- 
stance and  the  evident  disposition  of  the  boy,  pre- 
vailed on  his  mother  to  intrust  him  to  his  care. 
After  instructing  him  for  some  time  he  sent  him 
to  Paris  for  improvement,  where  he  met  with  em- 
ployment, and  resided  several  years.  On  the  death 
of  Decorbehem,  he  settled  at  Dunkirk,  and  painted 
some  altar-pieces  for  the  churches  in  that  town  and 
its  neighbourhood.     He  died  at  Dunkirk  in  1741. 

ELIZABETH,  Princess,  the  third  daughter  of 


George  III.,  was  bom  in  London  in  1770.  She 
married,  in  1818,  Frederick  William  Louis,  Land- 
grave of  Hesse-Homburg,  and  died  at  Frankfort 
in  1840.  She  was  much  attached  to  the  arts  of 
design,  and  several  of  the  productions  of  her  pencil 
were  published,  accompanied  by  the  poetical 
effusions  of  the  minor  bards  of  the  day,  under  the 
following  titles : 

The  Birth  and  Triumph  of  Cupid ;  a  poem,  by  Sir  James 

Bland  Surges,  Bart.     1796. 
Cupid  turned  Volunteer;  with  poetical  illustrations  by 

Thomas  Park.     1804. 
The  Power  and  Progress  of  Genius.     1806. 
Six  Poems  illustrative  of  engravings  by  H.  R.  H.  the 

Princess  Elizabeth.     1813. 

_  ELKAN,  David  Levy,  a  lithographer  and  de- 
signer of  arabesques,  born  at  Cologne  in  1808, 
studied  at  Diisseldorf,  and  became  known  by  his 
imitations  and  compositions  in  the  style  of  the 
middle  ages.     He  died  in  his  native  city  in  1866. 

ELLENRIEDER,  Marie,  the  best  German  female 
painter  of  the  first  half  of  the  19th  century, 
was  bom  at  Constance  in  1791.  She  learned  the 
rudiments  of  art  from  the  miniature  painter  Einsle, 
and  in  1813  went  to  Munich,  and  studied  under 
Langer  in  the  Academy  there  until  1820.  After 
having  twice  visited  Rome,  she  became  acquainted 
with  Overbeck,  whose  art-teaching  she  afterwards 
followed.  Soon  after  her  return  from  Rome  she 
painted  the  '  Virgin  and  Child,'  which  is  considered 
her  best  work.  Subsequently  she  painted  altar- 
pieces  and  portraits,  and  etched  twenty-four  plates 
after  Langer,  Overbeck,  Rembrandt,  and  Titian. 
She  died  at  Constance  in  1863.  A  '  St.  Felicitas  ' 
by  her  is  in  the  possession  of  the  Queen. 

ELLIGER,  Anthonie,  the  son  and  pupil  of  the 
younger  Ottomar  Elliger,  was  born  at  Amsterdam 
iri  1701,  and  died  at  Ede  in  1781.  He  painted 
historical,  mythological,  and  allegorical  pictures 
upon  ceilings  and  walls.  His  daughter,  Christina 
Maria  Elliger,  was  a  portrait  painter. 

ELLIGER,  Ottomar,  the  elder,  born  at  Gothen- 
burg in  1633,  was  the  son  of  a  physician,  who, 
finding  in  him  a  strong  inclination  for  art,  sent  him 
to  Antwerp,  at  that  time  the  residence  of  so  many 
able  artists,  where  he  became  a  scholar  of  Daniel 
Seghers.  He  painted  flowers  and  fruit  in  the 
highly-finished  style  of  his  master,  and  attained 
RuflBcient  ability  to  be  invited  to  the  court  of 
Berlin,  where  he  was  appointed  painter  to  William 
Frederick,  Elector  of  Brandenburg.  The  pictures 
of  this  artist  are  almost  entirely  confined  to 
Germany,  where  they  are  held  in  considerable  esti- 
mation. Examples  are  in  the  Dresden  Gallery  and 
in  the  Stadel  Gallery  at  Frankfort.  He  died  at 
Berlin  in  1679. 

ELLIGER,  Ottomar,  the  younger,  the  son  of 
Ottomar  Elliger  the  elder,  was  bom  at  Hamburg  in 
1666.  After  being  instructed  in  the  first  elements 
of  the  art  by  his  father,  he  was  sent  to  Amsterdam, 
where  he  became  a  scholar  of  Michiel  van  Musscher, 
a  painter  of  small  portraits  and  conversations,  under 
whom  he  studied  a  short  time,  but  being  ambitious 
of  distinguishing  himself  in  a  higher  walk  of  art, 
and  the  works  of  Gerard  de  Lairesse  being  then  in 
high  reputation,  he  entered  the  school  of  that 
eminent  master,  whose  instruction  enabled  him  in 
a  few  years  to  dispense  with  further  assistance 
Elliger  painted  historical  subjects  in  the  style  ot 
De  Lairesse,  which  were  judiciously  composed 
and  correctly  drawn.  Like  his  instructor,  he  was 
particularly  attentive  to  propriety  of  costume,  and 


A  BIOGBAPHICAL  DICTIONARY  OF 


Btyle  of  architecture.  He  was  employed  by  the  | 
Elector  of  Mayence,  for  whom  he  painted  the 
'  Death  of  Alexander,'  and  the  '  filarriage  of  Peleus 
and  Thetis.'  His  principal  works  are  at  Amster- 
dam, where  he  died  in  1732.  In  the  Vienna 
Gallery  is  a  '  Woman  with  Fruit ; '  in  the  Cassel 
Gallery  are  'The  Feast  of  Cleopatra,'  and  'The 
Daughter  of  Herodias  dancing;'  and  in  the  Bor- 
deaux Museum  is  an  '  Allegory,'  all  of  which  are 
by  him. 

ELLINGER,  Abbot  of  Tegernsee  (1017—1048), 
is  stated  to  have  illustrated  a  manuscript  of  Pliny 
the  Elder  with  figures  of  the  animals  described  in 
the  text ;  and  in  like  manner  the  writings  of  other 
authors.  In  the  Munich  Library  there  is  an  Evan- 
geliarium  with  paintings  by  him. 

ELLIOT,  William,  an  engraver,  was  born  at 
Hampton  Court  in  1727.  He  engraved  several 
landscapes,  which  were  admired  for  their  taste 
and  freedom,  and  of  which  the  best  are  from  the 
paintings  of  the  brothers  Smith,  of  Chichester. 
He  died  in  London  in  1766.  We  have  by  him 
the  following  plates : 

A  Landscape  with  Cattle  ;  after  Rosa  de  Tivoli. 

A  View  near  Maastricht,  with  Cittle  ;  after  A.  Cuyp. 

A  Landscape  with  the  Flight  into  Egyjit ;  after  Poelen- 
horch. 

A  large  Landscape  ;  after  G.  Smith. 

A  set  of  four  Landscapes ;  after  G.  and  T.  Smith. 

A  set  of  six  plates  of  Horses  ;  after  T.  Smith. 

Two    Landscapes,    Spring    and    Summer ;    after    Van 
Goyen. 

Portrait  of  Helena  Formau,  the  second  wife  of  Eubens ; 
after  Rubens. 

ELLIOT,  William,  a  marine  painter,  flourished 
in  the  latter  part  of  the  18th  century.  Amongst 
his  works  are  two  pictures  of  the  'British  Fleet' 
(one  dated  1790)  at  Hampton  Court,  and  'The 
Loss  of  the  Andromeda.' 

ELLIOTT,  Chables  Loring,  an  American  por- 
trait painter,  was  born  at  Scipio,  New  York,  in 
1812.  He  began  life  as  a  clerk  at  Syracuse,  but 
devoted  all  his  leisure  time  to  drawing  and  paint- 
ing, and  about  183-t  went  to  New  York,  where  he 
became  a  pupil  of  Trumbull.  After  practising  for 
about  ten  years  in  the  western  parts  of  the  State  he 
Bottled  in  New  York,  and  is  said  to  have  painted 
more  than  seven  hundred  portraits  of  eminerit 
people.  His  likenesses  are  remarkable  for  their 
vigour  and  truth;  indeed,  that  of  Fletcher  Harper 
was  sent  to  the  Paris  International  Exhibition  of 
1867  as  a  typical  example  of  American  portraiture. 
Among  his  best  portraits  are  also  those  of  Fitz- 
Ealleok  Greene,  the  poet,  James  Fenimore  Cooper, 
Matthew  Vassar,  the  painters  Church  and  Durand, 
Governor  Morgan,  and  Colonel  Colt.  _  There  are 
among  other  works  by  him,  '  Don  Quixote,'  ^'  Fal- 
Btafif,'  '  Andrew  van  Corlear  the  Trumpeter,'  and 
'  The  Head  of  Skaneateles  Lake,'  which  is  said  to 
have  been  the  only  landscape  he  ever  painted. 
Elliott  died  at  Albany  in  1868. 

ELLIOTT,  Captain  Robert,  R.  N.,  an  amateur 
marine  painter,  lived  in  the  latter  part  of  the  18th 
and  the  beginning  of  the  19th  century.  He  made 
many  sketches  during  his  travels,  from  which 
Prout  and  Stanfield  made  drawings,  and  which 
were  published  in  1830.  Amongst  the  works  he 
exhibited  at  the  Royal  Academy  between  1784 
and  1789  were : 

The  Fleet  in  Port  Royal  Harbour.    1785. 

View  of  the  City  of  Quebec.     1786. 

Breaking  the  French  Line,  Lord  Rodney's  Action.   1787 

Fire  at  Kingston,  Jamaica.     1783. 

126 


ELLIS,  Edwin,  a  well-known  landscape  and 
marine  painter.  He  was  a  native  of  Nottingham, 
where  he  was  born  in  the  year  1841.  As  a  lad  of 
fifteen  he  worked  in  a  lace  factory  there  for  five 
years  at  lace-designing,  but  the  occupation  proved 
utterly  uncongenial  to  him,  and  his  life-efl'orts  were 
subsequently  devoted  to  art.  He  had  the  benefit 
of  whatever  instruction  Henry  Dawson  could  give 
him,  and  afterwards  went  to  France  to  complete 
his  artistic  education.  The  principal  part  of  his 
canvases  were  seascapes  ;  and  the  power  of  his 
brush  in  depicting  these  was  universally  acknow- 
ledged. He  became  a  member  of  the  Society  of 
Royal  British  Artists  and  exhibited  the  utmost 
industry ;  and  his  sudden  death  on  April  19, 
1895,  cut  short  a  career  that  had  as  yet  never 
realized  its  full  promise.  One  of  his  early  water- 
colours,  full  of  power,  was  the  picture  entitled  '  Off 
Flamborough  Head,'  which  showed  the  wreck  of 
a  schooner  in  an  easterly  gale.  This  canvas  is 
now  in  the  collection  of  Mr.  Gilbert  Moss,  at 
Aigburth,  near  Liverpool ;  and  some  eighty-four  of 
his  pictures  were  exhibited  at  the  Nottingham  Art 
Museum  in  1893;  amongst  them,  'After  Three 
Days'  Gale,'  with  its  turbulent  sea  and  flying  clouds ; 
and  also  his  '  Full  Summer,'  showing  the  great 
wliite  Yorkshire  cliffs  glistening  in  the  sunlight. 

ELLIS,  Joseph  F.,  a  marine  painter,  bom  in 
Ireland  about  1780,  came  to  London  about  1818, 
and  exhibited  a  few  pictures  at  the  Royal  Academy 
and  the  British  Institution.  He  is,  however,  chiefly 
to  be  remembered  by  his  clever  imitations  of 
Canaletto's  works,  which  were  palmed  o£E  on  the 
public  as  originals  by  an  unscrupulous  picture- 
dealer,  into  whose  hands,  through  misfortunes,  he 
fell.     He  died  at  Richmond,  in  Surrey,  in  1848. 

ELLIS,  William,  a  landscape  engraver,  was  bom 
in  London  in  1747.  He  executed  some  plates  in 
conjunction  with  William  Woollett,  whose  pupil  he 
had  been ;  and  there  are  several  charming  prints, 
mostly  landscapes,  by  him  from  the  designs  of 
Paul  Sandhy  and  Thomas  Heame,  as  well  as  five 
views  of  the  '  Battle  of  the  Nile,'  in  aquatint,  after 
William  Anderson,  published  in  1800.  The  year  of 
his  death  is  unknown. 

ELLYS,  John,  a  portrait  painter,  was  bom  in 
1701.  He  studied  under  Thornhill  and  Schmutz, 
and  was  a  follower  of  Van  der  Banck,  to  whose 
house  and  connection  he  succeeded.  Besides  hav- 
ing a  large  practice,  he  held  the  two  crown  appoint- 
ments of  tapestry-weaver  and  keeper  of  the  lions. 
In  1755  he  was  a  member  of  the  committee  for 
the  foundation  of  an  Academy.  Amongst  his 
portraits  are  : 

Lord  Whitworth,  the  diplomatist.     {At  Knole  Park.) 
Figg,  "  the  mighty  combatant." 

ELMER,  Stephen,  a  painter  of  dead  game  and 
objects  of  still-life,  was  elected  an  Associate  of 
the  Royal  Academy  in  1772,  the  year  of  his  first 
exhibition,  and  resided  principally  at  Farnham  in 
Surrey,  where  he  died  in  1796.  He  represented 
subjects  of  still-life  with  great  fidelity,  and  with  a 
very  spirited  pencil.  His  son  practised  in  Ireland 
at  the  close  of  the  century. 

ELMORE,  Alfred,  an  historical  and  genre 
painter,  was  born  at  Clonakilty,  in  the  county  of 
Cork,  on  the  day  of  the  battle  of  Waterloo,  June 
18th,  1815.  His  father  was  a  retired  army  surgeon, 
who  when  his  son  was  about  twelve  years  of  age 
removed  to  London,  where  J'oung  Elmore  began 
his  career  by  drawing  from  the  antique  in  the 
British  Museum.     In  1832  he  entered  the  schools 


PAINTERS  AND   ENGRAVERS. 


of  the  Royal  Academy,  and  in  1834  exhibited 
there  his  first  picture,  a  '  Subject  from  an  Old 
Play.'  After  this  he  went  abroad,  visiting  Paris, 
Munich,  Venice,  Bologna,  Florence,  and  ultimately 
Rome,  ■where  he  remained  for  two  years.  He 
returned  home  in  1844,  and  in  that  year  exhibited 
his  '  Rienzi  in  the  Forum,'  which  attracted  much 
notice,  and  with  'The  Origin  of  tlie  Guelph  and 
Ghibeiine  Quarrel  in  Florence,'  exliibited  in  1845, 
secured  his  election  as  an  Associate  in  the  latter 
year.  His  next  popular  picture  was  '  The  Inven- 
tion of  the  Stocking  Loom,'  exhibited  in  1847, 
and  engraved  for  the  Art  Union  of  London.  In 
1857  Elmore  was  elected  a  Royal  Academician,  and 
painted  as  his  diploma  work  a  subject  from  the 
"  Two  Gentlemen  of  Verona."  But  the  best  picture 
which  he  ever  painted  was  that  which  he  exhibited 
in  1860  of  'The  Tuileries,  20th  June,  1792,'  repre- 
senting the  terrible  scene  of  Marie  Antoinette  as- 
sailed in  her  own  palace  by  the  revolutionary  mob. 
One  of  the  most  impressive  pictures  which  he  ex- 
hibited after  this  was  '  Within  the  Convent  Walls,' 
in  the  Academy  Exhibition  of  1864.  He  painted 
chiefly  pictures  of  romantic  incident,  the  subjects  of 
which  were  occasionally  drawn  from  his  own  fancy, 
but  oftener  derived  from  fiction  or  poetry.  His 
greatest  successes,  however,  were  won  in  historical 
painting.  Elmore  died  at  Kensington,  January 
24th,  1881,  and  was  buried  in  Kensal  Green  Ceme- 
tery. Besides  the  pictures  above  mentioned,  the 
following  are  his  principal  works: 

The  Martyrdom  of  St.  Thomas  i  Becket.  1840.  Fainted 
for  Daniel  O^Connell^  ayid  now  in  St.  Andrew^s  Soman 
Catholic  Church,  Dublin. 

The  Novice.     1843. 

The  Fainting  of  Hero.     1846. 

The  Deathbed  of  Eobert,  King  of  Naples.     1848. 

Kehgious  Coutroversy  in  the  time  of  Louis  XIV.   1849. 

Griselda.     1850. 

The  Emperor  Charles  V.  at  Yuste.     1856. 

An  Incident  in  the  life  of  Dante.     185S. 

Marie  Antoinette  iu  the  Temple.     1861. 

The  Invention  of  the  Combing  Machine.     1862. 

Lucrezia  Borgia.     1863. 

On  the  Brink.     1865. 

After  the  E.xpulsion.     1873. 

Mary,  Queen  of  Scots,  and  Darnley,  at  Jedburgh. 
1877. 

Lenore.    1871. 

ELSASSER,  Fbiedrich  August,  a  painter  of 
landscapes  and  architectural  views,  was  born  at 
Berlin  in  1810,  and  studied  at  the  Academy  of  that 
city  under  Blechen,  whose  influence  on  art  was  at 
that  time  very  great.  In  1831  he  went  to  Italy, 
and  in  1834  and  1835  he  visited  Sicily.  Among 
his  choicest  works  are  ;  '  The  Forest  of  Calabria, 
'  The  Interior  of  a  Church  at  Palermo,'  '  A  View  of 
the  Ruins  at  Rome,'  &o.  The  King  of  Prussia 
sent  him  the  Order  of  the  Red  Eagle,  and  granted 
him  a  pension  for  life,  which  he  did  not  long  enjoy, 
as  he  died  at  Rome  in  1845.  His  brothers,  Heinrich 
and  Julius  Elsasser,  were  also  landscape  painters. 
The  latter  was  bom  at  Berlin  in  1815,  and  died  at 
Rome  in  1859. 

ELSEVIER,  Aernout,  a  Dutch  painter  of  land- 
scapes and  conflagrations,  was  born  about  1575  at 
Douai,  but  his  parents  removed  to  Leyden  in  1580. 
He  died  after  1629. 

His  son,  Louis  Elsevier,  who  was  also  a  painter, 
was  born  at  Leyden  in  1615,  and  died  at  Delft  in 
1676. 

ELSHEIMER,ADAM,(ELSHAIMEB,OrELZHEIMEE,) 

a  German  painter,  was  probably  born  at  Frankfort 
in  1574,  but  the  dates  of  his  career  are  differently 


reported.  He  was  the  son  of  a  tailor,  and  was 
placed  at  an  early  age  under  the  care  of  Philipp 
Uffenbach,  who,  though  a  reputable  artist,  was 
soon  surpassed  by  his  disciple.  Finding  no 
further  means  of  improvement  in  his  own  country, 
Elsheimer  went  to  Rome,  where  he  studied  the 
works  of  the  great  masters,  and  in  a  short  time 
his  pictures,  which  were  very  distinct  from  the 
works  of  all  of  his  contemporaries,  were  held  in 
general  estimation.  He  was  fond  of  landscapes 
with  figures  of  such  importance  that  the  land- 
scape iuterest  is  subordinated  to  that  of  the  in- 
cident represented.  His  pictures  were  small  and 
finished  with  the  greatest  perfection  and  detail, 
a  quality  then  entirely  new  in  Italy,  especially 
when  studied  with  extreme  fidelity  to  nature.  His 
power  over  light  and  shade  was  nearly  as  great  as 
that  of  Rembrandt,  who,  in  the  next  generation, 
followed  out  the  same  characteristic  of  intense 
chiaro-scuro.  Elsheimer  delighted  in  torchlight, 
moonlight,  and  the  dusk  of  evening,  all  of  which 
effects  he  represented  with  greater  excellence  than 
had  before  been  accomplished.  He  possessed  so 
extraordinary  a  memory,  that  it  was  sufScient  for 
him  to  have  looked  at  an  object  or  scene  once 
to  draw  it  with  the  most  surprising  precision. 
The  extreme  patience  and  labour  with  which  he 
finished  his  pictures  was  such,  that  the  prices  he 
received  for  them  never  sufficiently  repaid  him  for 
the  time  spent  upon  them.  If  the  unfortunate 
painter  had  been  paid  for  them  a  fourth  part  of 
what  they  have  since  produced,  he  might  have 
lived  in  affluence  instead  of  the  state  of  indigence 
and  distress  in  which  he  passed  the  greater  part 
of  his  life.  As  it  was,  he  was  cast  into  prison, 
although  a  man  of  irreproachable  habits,  and  this 
preyed  upon  his  mind.  His  only  benefactor  was 
Count  Goudt,  who  purchased  some  of  his  choicest 
pictures,  and  has  engraved  seven  of  them  in  a 
highly-finished  manner,  well  adapted  to  their  style. 
Elsheimer  is  perhaps  better  known  by  these  en- 
gravings than  by  his  own  pictures.  '  Ceres  drink- 
ing from  the  Witch's  Goblet,'  '  Jupiter  and  Mer- 
cury in  the  home  of  Baucis,'  '  The  Flight  into 
Egypt,'  '  Tobit  and  the  Angel  going  home,'  are 
among  the  number.  The  copperplate  of  the  last 
named  fell  into  the  hands  of  Rembrandt,  and  was 
partly  erased  and  altered  by  him  into  another 
subject.  The  elder  Teniers,  as  well  as  Rembrandt, 
studied  carefully  the  works  of  Elsheimer.  He  died 
in  Rome  in  1620.  The  following  works  by  him 
are  in  public  galleries  : 

Oassel.  Gallery.       Meeting  of  EUas  and  Obadiah. 

Dresden.        Gallery.       Fhght  into  Egypt. 
Dulwich.         College.       Susannah  and  the  Elders. 
Florence.         Uffizi.  His  own  Portrait. 

„  „  Apostles. 

„  „  Saints. 

_^  „  Two  Landscapes. 

Frankfort.       Stddel.         Paul  and  Barnabas  at  Lystra. 

„  Bacchus  and  the  Nymphs  of  Nysa. 

Hague.  Museum.       Two  Italian  Land.'icapes. 

London.      Nat.  Gallery.  Martyrdom  of  St.  Lawrence. 
Madrid.  Gallery.       Ceres  in  the  house  of  Becubus. 

Munich.  Galler'u.       Martyrdom  of  St.  Lawrence. 

„    "         Triumph  of  Christianity. 

',  „  Burning  of  Troy. 

\,  „  Flight  into  Egypt. 

„  St.  John  the  Baptist  preachmg. 

Paris.  Louvre.      The  FUght  into  Egypt. 

„  The  Good  Samaritan. 

Petersburg.  Hermitage.  St.  John  tne  Baptist  in  the  Desert. 

„  „  A  Forest. 

Rome.         Sciarra  Pal.   Eeturn  of  the  Prodigal  Son. 
Vienna.  Gallery.       Kest  on  the  Fhght  into  Egypt. 

127 


A  BIOGRAPHICAL  DICTIONARY  OF 


ELSHEIMEK,  Johann,  a  brother  of  Adam 
Elsheimer,  was  bom  at  Frankfort  in  1593,  and  died 
previous  to  1636.  About  1632  be  painted  'The 
Story  of  Virginia,'  now  on  the  Imperial  Staircase 
in  the  Roraer  at  Franlifort. 

ELSHOLTZ,  Lddwig,  a  German  painter  of 
genre  Bubjects  and  battles,  bom  at  Berlin  in  1805, 
studied  in  the  Academy  of  bia  native  city,  and 
afterwards  in  the  studio  of  Franz  Kriiger,  the 
painter  of  horses.  His  best  work  is  '  The  Battle  of 
Leipsic,'  painted  in  1833,  and  now  in  the  posses- 
sion of  the  German  Emperor.  He  died  at  Berlin 
in  1850.  In  the  Berlin  National  Gallery  is  '  The 
Beginning  of  the  Fight,'  dated  1834. 

ELST,  PiETER  VAN  DER.     See  Van  der  Elst. 

ELSTER,  Gottfried  Rudolf,  an  historical 
painter  who  worked  for  some  time  at  Diisseldorf, 
executed  a  number  of  religious  pictures,  among 
which  are  a  '  Holy  Family,'  in  the  possession  of  the 
Prince  of  Hohenzollern,  and  some  cartoons  for  the 
Zionskirche  at  Berlin.     He  died  in  that  city  in  1872. 

ELSTRACKE,  Reginald,  an  engraver  who 
flourished  in  England  about  the  year  1620,  worked 
chiefly  for  the  booksellers,  and  his  plates  are  almost 
entirely  confined  to  portraits.  These  are  more 
sought  after  for  their  scarcity  and  their  connection 
with  English  history,  than  for  their  merit  as  en- 
gravings. He  also  engraved  the  title-page  and 
several  of  the  portraits  for  Holland's  '  Baziliwlogia. 
A  Booke  of  Kings.  Beeing  the  true  and  liuely 
Efligies  of  all  our  English  Kings  from  the  Con- 
quest vntill  this  present.'  The  following  portraits 
are  by  him : 

JameB  I. 

Queen  Elizabeth. 

Mary,  Queen  of  Scots.     One  of  his  best  prints. 

The  same,  with  Lord  Daruley. 

Thomas  Howard,  Earl  of  Suffolk. 

Robert  Devereux,  Earl  of  Essex. 

Gervase  Babiugton,  Bishop  of  Worcester. 

Sir  Julius  Cassar,  Master  of  the  EoUs. 

Sir  Thomas  More. 

Sir  Philip  Sidney. 

Thomas  Sutton,  founder  of  the  Charter  House. 

Edmund,  Lord  Sheffield. 

John,  Lord  Harrington. 

■William  Knollys,  Viscount  Wallingford. 

■William  Cecil,  Lord  Burghley. 

Gustavus  Adolpbus,  King  of  Sweden. 

Eichard  Whittington. 

ELTZ,  Johann  Friedrich  von,  born  in  1632,  was 
one  of  the  first  artists  who  worked  in  mezzotint. 
His  works  are  now  rare  ;  examples  of  them  are  an 
'  Ecce  Homo,'  after  Albrecht  Dtirer,  and  a  portrait 
of  Johann  Philipp  von  Schonborn,  Elector  of 
Mayence,  after  Th.  C.  von  Fiirstenberg.  He  died 
at  Mavenee  in  1686. 

ELVEN,  Te-i  ar  van.     See  Tetar  van  Elven. 

ELYAS,  Mathied.     See  Elias. 

ELZHEIMER,  Adam.     See  Elsheimer. 

E.MBDE,  Von  der.     See  Von  dee  Embde. 

EMELKAET,  Philippds  Augustus.  See 
Hemklraet. 

EMES,  John,  a  water-colour  landscape  painter, 
practised  about  the  end  of  the  18th  century,  and  ex- 
hibited at  the  Royal  Academy  in  1790  and  1791. 
He  also  engraved  Jefl^ereys'  '  Destruction  of  the 
Spanish  Batteries  before  Gibraltar.' 

EMLER,  Bonaventura,  an  Austrian  artist,  was 
born  in  1831,  and  studied  at  the  Academy  of 
Vienna.  He  became  celebrated  by  his  illustrations 
to  the  'Divina  Commedia'  of  Dante,  and  died  in 
1862. 

128 


EMMANUEL,  a  Greek  priest  and  painter,  is  the 
author  of  a  picture  in  the  Byzantine  style  in  the 
National  Gallery,  London.  It  represents  '  St. 
Cosmo  and  St.  Damian  receiving  the  Divine  Bless- 
ing,' and  is  signed  x^^p  'Efi^tavovt1\  itpttoQ  tov  TK<^vt 
('the  hand  of  Emmanuel,  priest  of  Tzane').  It  is 
suggested,  in  the  catalogue,  that  this  Emmanuel 
may  be  identical  with  the  Emmanuel  mentioned 
by  Lanzi,  who  lived  at  Venice  in  the  17tb  century, 
and  executed  a  painting  dated  1660. 

EMMANDELLO  da  COMO,  Era.     See  CoMO. 

EMMETT,  William,  an  engraver  who  flourished 
about  the  year  1710,  among  other  prints  engraved 
a  large  view  of  the  interior  of  St.  Paul's  Cathedral, 
which  is  executed  in  a  neat,  clear  style ;  as  well 
as  three  exterior  views  of  the  same  edifice. 

EMPIS,  Catherine  EDMis  Simonis.  See  Simonis- 
Empis. 

EMPOLI,  Jagopo  da.    See  Chimenti. 

ENDER,  Johann  Nepomuk,  an  Austrian  historical 
and  portrait  painter,  was  born  at  Vienna  in  1793. 
In  1829  he  became  a  professor  in  the  Academy  of 
his  native  city,  where  he  died  in  1854.  He  is  dis- 
tinguished for  his  oil-paintings  and  water-colour 
drawings,  and  a  '  Madonna  and  Child  '  by  him  is  in 
the  Vienna  Gallery.  His  son,  Eduard  Ender,  is  a 
well-known  Viennese  painter  of  historical  and 
genre  subjects, 

ENDER,  Thomas,  an  Austrian  landscape  painter, 
the  twin  brother  of  Johann  Nepomuk  Ender,  was 
born  at  Vienna  in  1793.  From  the  age  of  twelve 
he  studied  in  the  Academy  of  Vienna,  where,  in 

1816,  he  obtained  the  grand  prize  for  painting. 
In  1836  he  was  appointed  a  tutor,  and  afterwards 
professor  of  landscape  in  the  Academy.  Through 
the  patronage  of  the  Archduke  John  and  Prince 
Metternich,  he  accompanied,  as  draughtsman,  the 
scientific  expedition  sent  by  Austria  to  Brazil  in 

1817,  and  made  a  collection  of  seven  hundred  draw- 
ings, wliicli  are  now  at  Vienna.  Three  views  by 
him  are  in  the  Vienna  Gallery.  He  died  in  Vienna 
in  1875.  In  the  Berlin  National  Gallery  is  his 
'  Italian  'Wood  Chapel.' 

ENDLICH,  Philip,  a  Dutch  engraver,  was  born 
at  Amsterdam  about  the  year  1700.  He  was  a 
pupil  of  Bernard  Picart,  and  was  chiefly  occupied 
on  portraits,  among  which  are  the  following : 

Hendrik,  Count  of  Moens. 

John  Taylor,  a  celebrated  oculist.     1735. 

Juan  Felipe  d'Almeria,  Governor  of  the  Isle  of  St. 
Martin. 

Jan  Gosewyn  B.  Alstein,  ecclesiastic  of  Amsterdam. 
1738. 

Jan  Noordbeck  ;  the  same. 

Pieter  Hollebeck ;  the  same. 

Leonard  Beels ;  the  same. 

ENDRES,  Bernhard,  was  bom  at  Owingen,  in 
Baden,  in  1805,  and  studied  genre  and  historical 
painting  at  the  Academy  of  Munich.  Two  of  his 
works  are  in  the  Gallery  at  Carlsruhe,  the  portrait 
of  Pope  Julius  II.,  after  Raphael,  and  'Christ 
bearing  the  Cross.'     Ho  died  in  1874. 

ENDTER,  SnsANNA  Maria.     See  Sandeart. 

ENGEL,  Karl,  a  German  painter,  was  born  in 
1817  at  Londorf,  and  died  in  1870  at  Rodelsheini. 
The  Darmstadt  Gallery  has  a  '  View  of  the  Studio 
of  the  Sculptor  Sclioll,'  by  him. 

ENGELBRECHT,  Christian  and  Martin,  two 
printsellers  and  engravers,  who  resided  at  Augs- 
burg, flourished  about  the  year  1721.  Christian 
Engelbreclit,  conjointly  with  J.  A.  PfefEel,  engraved 
some  ornamental  works  for  goldsmiths,  after  A. 
Morrison ;    and  some  views  for  the  '  History  of 


GEORGE  ENGLEHEART 


[Collection  of  J.  P.  Morgan,  Esq. 
MISS  BEDINGFELD 


{Collection  of  Mr.  George  Mackey 
MISS  ANN  PRITCHARU 


[Collection  of  Mr.  George  Mackey 

A  GIRL 

(NAME   UNKNOWN) 


[Collection  of  Mr.  George  Mackey 
MISS   HESTER  WOOLLEY 


PAINTERS  AND   ENGRAVERS. 


t 


Architecture,'  published  in  1721  by  J.  Hernhard. 
Martin  Engelbrecht  engraved  some  plates  after 
Rugendas  and  other  masters,  and  some  illustrations 
for  Ovid's  '  Metamorphoses.' 

ENGELBRECHTSEN,  Coenelis,  (or  Engel- 
BERTS,)  the  son  of  a  wood-engraver,  was  bom  at 
Leyden  in  1468.  The  pictures  of  Jan  van  Eyek, 
the  alleged  inventor  of  oil-painting,  being  at 
that  time  the  object  of  curiosity  and  admiration, 
Engelbrechtsen  applied  himself  to  study  the  works 
of  that  master,  and  is  said  by  Van  Mander  to  have 
been  the  first  artist  of  his  country  that  painted  in 
oil.  The  paintings  by  this  master  which  escaped 
the  troubles  of  that  country  were  preserved  with 
great  care  in  the  church  of  Our  Lady  at  Leyden. 
They  represented  the  'Crucifixion,'  the  'Descent 
from  the  Cross,'  '  Abraham  sacrificing  Isaac,'  with 
some  small  pictures  of  the  '  Life  of  the  Virgin '  : 
these  were  well  composed,  and  of  a  less 
Gothic  style  of  design  than  was  usual  at 
the  early  period  at  which  he  lived.  They 
sometimes  bear  the  accompanying  mark. 
His  principal  work  was  an  altar-piece, 
painted  for  the  Epitaph  of  the  family  of  Lock- 
horst,  in  the  church  of  St.  Peter  at  Leyden,  and 
composed  of  a  great  number  of  figures  represent- 
ing the  'Adoration  of  the  Lamb.'  The  National 
Gallery  has  a  '  Madonna  and  Child  '  by  him.  The 
Antwerp  Museum  has  two  double  pictures  by  him: 
the  one,  '  St.  Leonard  delivering  prisoners,'  and 
'St.  George;'  the  other,  scenes  from  the  life  of 
St.  Hubert.  A  '  Crucifixion '  by  him  is  in  the 
Munich  Gallery.  Engelbrechtsen  died  at  Leyden 
in  1633.  He  is  thought  to  be  identical  with  the 
"Cornelis  de  HoUandere"  who  was  free  of  the 
Guild  of  St.  Luke  at  Antwerp  in  1492. 

ENGELMANN,  Gottfried,  a  German  litho- 
grapher, who  also  painted  in  water-colours,  was 
born  at  Miihlhausen  in  1788,  and  died  there  in 
1839.  He  was  a  pupil  of  Sennefelder,  the  inventor 
of  lithography,  and  of  C.  von  Mannlich,  and  he 
introduced  the  art  into  France. 

ENGELKAMS,  Corxelis,  (or  Enghelrams,)  a 
Flemish  painter,  born  at  Mechlin  in  1537,  excelled 
in  painting  historical  subjects  in  distemper.  His 
best  work,  representing  the  '  Seven  Works  of 
Mercy,'  is  in  the  cathedral  of  St.  Rombout  at 
Mechlin.  There  are  several  of  his  pictures  in 
Germany,  where  he  passed  some  years.  At  Ham- 
burg, in  the  church  of  St.  Catharine,  is  a  large 
altar-piece  by  him  of  the  '  Conversion  of  St.  Paul.' 
He  died  at  Mechlin  in  1583. 

ENGERTH,  Erasmus,  an  Austrian  artist,  who 
was  born  at  Vienna  in  1796,  studied  at  the 
Academy  of  his  native  city,  and  afterwards  in 
Italy.  On  his  return  home  he  painted  portraits 
and  historical  pictures,  and  also  made  successful 
copies  from  the  great  masters,  but  he  subsequently 
devoted  himself  exclusively  to  the  art  of  restoring 
paintings.  He  was  keeper  of  the  picture  gallery 
of  the  Belvedere,  and  died  at  Vienna  in  1871. 

ENGHELSZEN,  Coenelis.    See  Verspronk. 

ENGLEHEART,  Francis,  a  line-engraver,  bom 
in  London  in  1775,  was  a  brother  to  George 
Engleheart,  the  miniature  painter.  He  learned 
the  art  as  an  apprentice  to  Joseph  Collyer,  and 
as  an  assistant  to  James  Heath.  His  first  inde- 
pendent works  were  the  illustrations  to  Akenside, 
after  Stothard,  whose  '  Canterbury  Pilgrims'  he  had 
a  large  share  in  engraving,  and  the  illustrations 
to  Homer  after  Cook.  He  also  engraved  some  of 
Smirke's  drawings  for  '  Don  Quixote,'  and  several 
VOL.  IL  K 


plates  for  the  'Literary  Souvenir,'  'Amulet,' 
'  Gem,'  and  other  Annuals,  among  which  is  the  last 
portrait  of  Lord  Byron,  after  \V.  E.  West.  He 
died  in  1849.  Besides  the  works  already  named, 
his  best  plates  are  : 

Duncan  Gray ;  after  Sir  David  Wilkie. 
The  Only  Daughter  ;  after  the  same. 
The  Castle  ;  after  Cook. 
Sir  Calepine  rescuing  Serena ;  after  Hilton. 

ENGLEHEART,  George,  miniature  painter  to 
George  III.,  and  brother  to  Francis  Engleheart, 
was  born  at  Kew  in  1750.  As  a  lad  he  was  sent 
first  to  the  studio  of  George  Barret,  R.A.,  but  did 
not  long  remain  with  him,  and  soon  became  a 
pupil  to  Sir  Joshua  Reynolds,  many  of  whose 
works  he  copied  in  miniature.  In  1775  he  com- 
menced to  practise  for  himself,  and  from  that 
time  down  to  1813  continued  in  constant  work, 
painting  4853  portraits  of  the  notable  persons  of 
his  time,  and  exhibiting  many  at  the  Royal  Academy. 
In  1813  he  retired  with  a  comfortable  fortune,  and 
left  Hertford  Street,  Mayfair,  where  he  had  pur- 
chased considerable  property,  for  his  country  home 
at  Bedfont.  Later  on  he  resided  with  his  son  at 
Blackheath,  and  there  he  died  in  1829.  His  minia- 
tures were  of  great  beauty  and  are  very  highly 
esteemed.  He  left  behind  him  a  Fee  Book  which 
mentions  the  names  of  every  person  whom  he 
painted  between  1775  and  1813. 

See  '  George  Engleheart,'  by  G.  G.  Williamson, 
London,  1902. 

ENGLEHEART,  Henry,  son  of  George  Engle- 
heart, born  1801,  died  1885,  a  clever  artist  in 
water-colour  and  in  pencil.  His  architectural 
drawings,  mainly  of  foreign  cathedrals,  are  of 
great  beauty  and  refinement,  and  resemble  the 
work  of  Prout. 

ENGLEHEART,  John  Cos  Dillman,  nephew 
of  George  Engleheart  and  his  pupil,  was  born  in 
1783.  He  was  a  very  popular  artist,  and  exhibited 
157  works  at  the  Royal  Academy,  and  many 
others  at  different  exhibitions.  His  health  failed 
when  he  was  forty-four  years  of  age,  and  he  left 
England  for  Italy.  On  his  return,  being  in  pos- 
session of  an  ample  fortune,  he  retired  from  his 
profession,  and  settled  first  at  East  Acton  and 
then  at  Tunbridge  Wells,  where  he  died  in  1862. 
His  works  are  notable  for  their  brilliant  colouring 
and  gorgeous  effect,  but  some  of  his  simpler  por- 
traits are  of  supreme  beauty  and  full  of  character. 

See  '  George  Engleheart,'  by  G.  C.  Williamson, 
London,  1902. 

ENGLEHEART,  Thomas,  was  a  brother  of 
Francis  Engleheart  the  engraver,  and  was  chiefly 
known  for  his  wonderful  sculpture  in  wax,  many 
examples  of  which  he  exhibited  at  the  Royal 
Academy.  He  was  also,  however,  an  expert 
draughtsman,  working  with  Flaxman  for  Josiah 
Wedgwood,  and  his  pencil  drawings  are  of  great 
beauty  and  refinement.  He  was  born  in  1745,  and 
liad  two  sons,  Timothy  and  Jonathan,  both  en- 
gravers.    He  died  in  1786. 

ENGLEHEART,  Timothy  Stansfeld,  a  line- 
engraver,  a  son  of  Francis  Engleheart,  was  born 
in  London  in  1803,  and  died  there  in  1879.  He 
engraved  several  plates  for  the  '  Literary  Souvenir,' 
'  Forget  me  not,'  and  other  Annuals. 

ENGLISH,  JosiAS,  was  an  amateur  engraver, 
who  resided  at  Mortlake,  where  he  died  in  1718. 
He  executed  an  etching  of  '  Christ  with  the  Two 
Disciples  at  Emmaus,'  after  Titian,  and  in  1654  a 

129 


A  BIOGRAPHICAL  DICTIONARY  OF 


Bet  of  email  upright  plates  of  the  '  Goda  and  Demi- 
gods.'  His  best  work  is  a  spirited  etching  of  a 
half-length  of  a  '  Man  regaling,'  after  F.  Cleyn. 

ENGSTROM,  Wilhelm  Oscar,  a  Swedish  animal 
painter,  was  born  in  1831,  and  died  at  Diisseldorf 
in  1877. 

ENHDBER,  Karl  von,  a  genre  painter,  was  born 
at  Hof,  in  Voigtland,  in  1811.  He  was  the  son  of 
a  civil  officer,  who  when  his  son  was  eighteen 
months  old  removed  to  Nordlingen.  After  study- 
ing at  the  Munich  Academy,  he  was  at  first 
an  animal  painter ;  he  then  worked  at  represent- 
ations of  the  Thirty  Years'  War  ;  and  only  through 
the  study  of  the  works  of  Metsu  and  Terborch 
did  he  discover  his  true  talent.  He  was  admitted  a 
member  of  the  Munich  Academy  in  1858,  and  died 
at  Munich  in  1867.  He  excelled  in  characterizing 
middle-class  home  life,  with  its  pleasures  and 
troubles,  and  was  gifted  with  natural  humour, 
which  was  the  foundation  of  his  delicate  deline- 
ation of  character.  To  be  mentioned  amongst  his 
works  are : 

Berlin.  Gallery.     Return  of  the  Munich  Guards- 

man.    1844. 

Darmstadt.        Gallery.     Sessions  Day  in  Bavaria. 

Munich.  Gallery.     A     Grandfather    watching     his 

Grandson    at    play    with    toy 
Soldiers. 
„  „  A  Carver  in  his  Workshop. 

ENNIS,  W.,  an  Irish  historical  and  portrait 
painter,  was  born  in  tlie  first  half  of  the  18th  cen- 
tury. He  studied  at  Dublin  under  Robert  West, 
and  afterwards  in  Italy,  and  subsequently  became 
a  master  in  the  Dublin  Art  School.  He  died, 
through  a  fall  from  his  horse,  in  the  county  of 
Wicklow,  in  1771. 

ENS,  GIOSEFFO.     See  Heins. 

ENSLEN,  JoHANN  Karl,  a  German  landscape 
painter,  who  was  born  in  1759  and  died  in  1849, 
was  well  known  in  his  time  for  his  panoramas, 
which  were  the  first  introduced  into  Germany. 

ENSLEN,  Karl  Georg,  an  Austrian  painter, 
born  at  Vienna  in  1792,  studied  in  the  Academy  of 
Berlin.  He  travelled  in  Italy,  Sweden,  Norway, 
and  Denmark,  and  his  panoramas  give  proof  of  a 
knowledge  of  excellent  Hnear  and  aerial  perspec- 
tive. He  died  at  Lille  in  1866.  There  is  a  view 
of  the  '  Bay  of  Naples '  by  him  in  water-colours  in 
the  Lille  Museum. 

ENSO,  GiosEFFo.     See  Heins. 

ENSOM,  William,  a  line-engraver,  was  bom  in 
1796,  and  died  at  Wandsworth  in  1832.  He  en- 
graved 'Christ  blessingthe  Bread,'  afterCarlo  Dolci, 
'St.  John  in  the  Wilderness,'  after  Carlo  Cignani, 
and  several  plates  for  the  Annuals,  of  which  the 
best  are  those  in  the  '  Bijou '  of  George  IV.  and 
Lady  Wallscourt,  after  Sir  Thomas  Lawrence. 

EPINAT,  Fledrv,  a  painter  of  historical  sub- 
jects and  landscapes,  bom  at  Montbrison  in  1764, 
imitated  his  master  David,  with  whom  he  went  to 
Rome.     He  died  at  Pierre-Seise  in  1830. 

EPISCOPIUS,  Joannes.     See  De  Bisschop. 

ERASMUS,  Desiderius,  the  eminent  scholar, 
born  at  Rotterdam  in  1467,  painted  in  1484  a  picture 
representing  '  Christ  on  the  Cross,  with  Mary  and 
St.  John.'  This  work,  which  is  little  known,  is  in 
the  style  of  the  old  Dutch  masters,  and  is  in  the 
convent  of  Emaus,  called  Steyne,  near  Gouda.  He 
died  at  Basle  in  1536. 

ERBETTE,  Filipfo  dall'.    See  Mazztola. 

ERCOLE  Di  GIULIO.     See  Grand:. 

ERCOLE  M  ROBERTO.     See  Grandl 

130 


ERCOLINO  DI  GUIDO  RENI,  (or  Ebcole  di 
Maria).    See  San  Giovanni. 

EREDI,  Benedetto,  an  Italian  engraver,  was 
born  at  Florence  in  1750.  He  engraved,  in  con- 
junction with  J.  B.  Cecchi,  nine  plates  of  the 
Monument  of  Dante,  with  his  portrait.  There  are 
also  by  him  the  following  plates  : 

portraits. 

Luca   Cambiaso,  Geuoese  painter ;    after  a  picture  by 

himself. 
Federigo  Zucchero  ;  after  himself. 
Angelo  Bronzino  ;  Florentine  painter. 
Annibale  Carracci. 

SUBJECTS. 
The  Transfiguration  ;  after  Raphael. 
The  Adulteress  before  Christ ;  after  Angelo  Bromino. 
The  Death  of  Lucretia  ;  after  Luca  Giordano. 

EREMITA  DI  MONTE  SENARIO.  See  Ste- 
faneschi. 

ERHARD,  Johann  Chri.stoph,  who  was  born  at 
Nuremberg  in  1795,  was  instructed  by  Zwinger  and 
Gabler,  and  afterwards  went  to  Vienna  and  Rome. 
Among  the  hundred  and  eighty-five  plates  which  he 
etched  are  several  landscapes  and  views  of  con- 
siderable merit.  He  committed  suicide  at  Rome  in 
1822. 

ERLINGER,GEORG,a  printerand  wood-engraver, 
was  working  at  Augsburg  in  1516,  and  at  Bamberg 
from  1519  till  his  death  in  1542.  Among  his  wood- 
cuts, which  are  very  scarce,  is  one  of  '  Christ  on 
the  Cross.' 

ERMELS,  JoHANN  Franz,  a  German  painter  and 
engraver,  a  pupil  of  Holtznian,  was  bom  near 
Cologne  in  164L  He  resided  at  Nuremberg,  and 
painted  for  the  church  of  St.  Sebald  in  that  city 
a  picture  of  the  '  Resurrection  ' ;  he  was  more  suc- 
cessful, however,  as  a  painter  of  landscapes,  in 
which  he  imitated  the  style  of  Jan  Both.  He  died 
at  Nuremberg  in  1699.  In  the  Stadel  Gallery  at 
Frankfort  is  a  '  Landscape '  by  him,  with  figures 
by  J.  H.  Roos  ;  and  in  the  Vienna  Gallery  is  a 
'Landscape  with  Fishermen'  by  him.  A  'Land- 
scape '  is  also  in  the  Milan  Gallery.  There  are  by 
him  a  few  etchings  of  landscapes,  after  Waterloo, 
Breenbergh,  &c.,  executed  with  spirit  and  taste. 

ERRANTE,  Giuseppe,  bom  at  Trapani,  in  Sicily, 
in  1760,  studied  at  Palermo  and  Rome,  and  was 
employed  in  the  Caserta  Palace,  Naples.  On 
account  of  his  political  opinions  he  was  obliged  to 
remove  to  Milan,  and  afterwards  established  him- 
self at  Rome  in  1810.  Besides  historical  subjects, 
he  painted  portraits,  in  which  he  was  especially 
successful.     He  died  at  Rome  in  1821. 

ERKAR,  (or  Ebrard,)  Johan,  an  artist,  who 
flourished  at  Li^ge  about  1670,  etched  landscapes 
after  Waterloo. 

ERRARD,  Charles,  a  French  painter  and  archi- 
tect, was  born  at  Nantes  about  1601,  and  is  better 
known  as  one  of  the  chief  founders  and  directors 
of  the  Academy  at  Paris  than  as  a  painter  and 
engraver.  He  studied  in  Italy,  where  he  also  spent 
the  greater  part  of  his  life.  In  1 635  he  was  admitted 
a  member  of  the  Academy  of  St.  Luke,  and  in  1665 
was  made  director  of  the  French  Academy  at  Rome, 
where  he  died  in  1689. 

ERRI,  Cammillo,  of  Modena,  is  known  only  by 
a  picture  of  '  St.  John  the  Baptist  Preaching,'  with 
the  date  1577,  in  the  Modena  Gallery. 

ERSKINE,  Henry  David,  Earl  of  Bochan. 
See  BucHAN. 

ERTINGER,  Franz,  a  German  engraver,  is  said 
by  some  to  have  been  bom  at  Colmar,  by  others 


PAINTERS  AND  ENGRAVERS. 


at  Wyl  in  Swabia,  in  the  year  1640.  He  resided 
chiefly  at  Paris,  where  he  engraved  several  plates, 
which  are  not  without  merit,  and  where  he  died  in 
1700.     His  best  prints  are  the  follo^ving: 

PORTRAITS. 
J.  F.  de  Beughem,  Bishop  of  Antwerp. 
Niccolo  Macchiavelli. 
Gabriel  du  Pinau. 

VARIOUS   SUBJECTS. 

The  History  of  Achilles,  in  eight  Plates ;  afte)-  Buiens  ; 

the  same  subjects  have  been  since  engraved  by  Baron. 
Twelve  Prints  from  the  Metamorphoses  of  Ovid ;  after 

the  miniatures  of  Joseph  JVerner. 
Ten  Plates  of  the  History  of  the  Counts  of  Toulouse ; 

after  Raymond  de  La  Fage. 
The  Marriage  at  Cana  in  Galilee  ;  after  the  same. 
A  set  of  Friezes  of  Bacchanalian  subjects  ;  after  the  same. 
Several  Views  of  Towns  ;  after  Van  der  ileulen  ;  some 

of  them  in  the  manner  of  Callot. 

ERVEST,  Jakob,  a  scholar  of  Adam  Elsheimer 
painted  marine  subjects,  and  naval  combats. 

ES,  Jacob  van,  (or  Essen,)  a  Flemish  painter, 
was  born  at  Antwerp  in  1606.  He  was  very  suc- 
cessful in  the  art  of  reproducing  still-life,  but 
more  especially  fish,  which  he  painted  with  an 
almost  deceptive  similarity  to  nature.  His  master- 
pieces are  two  'Fish  Markets,'  in  the  Vienna 
Gallery,  with  figures  by  Jordaens.  The  Madrid 
Gallery  also  has  two  pictures  of  fish  and  a  fruit 
and  flower  piece  by  Van  Es.  The  Stadel  Gallery 
at  Frankfort  has  a  fish-piece  by  him.  In  the  Ant- 
werp Museum  is  a  good  example  of  his  still-life 
subjects,  formerly  in  the  Episcopal  Palace,  and  in 
the  Lille  Museum  is  a  picture  of  'Oysters  and 
Fruit,'  which  was  formerly  in  the  Abbey  of  Cysoing. 
He  died  at  Antwerp  in  1665-66. 

ESBRAT,  NoiiL  Kaymond,  a  landscape  and 
animal  painter,  was  born  in  Paris  in  1809,  and 
died  there  in  1856.  He  was  a  pupil  of  Guillon- 
Lethiere  and  of  Watelet,  and  from  1844  sent 
pictures  to  various  exhibitions. 

ESCALANTE,  Juan  Antonio,  a  Spanish  painter, 
born  at  Cordova  in  1630,  was  a  scholar  of  Francisco 
Rizi,  but  he  adopted  the  style  of  Tintoretto,  as 
well  in  colouring  as  in  composition.  Several  of 
his  works  in  the  churches  of  Madrid  are  highly 
commended  by  Palomino.  In  the  church  of  San 
Miguel  is  a  graceful  picture  of  '  St.  Catharine '  ; 
»nd  in  the  church  of  the  Espiritii  Santo  is  an 
altar-piece  of  the  '  Dead  Christ,'  with  other  figures, 
painted  in  the  style  of  Titian.  A  similar  picture 
in  the  Dresden  Gallery  is  ascribed  to  him.  The 
Hague  Gallery  has  a  '  Gipsy  Woman  telling  an 
Officer's  fortune.'  In  the  Madrid  Gallery  are  two 
works  by  him,  'A  Holy  Family,'  and  'The  Infant 
Christ  and  St.  John  ;  '  and  in  the  Hermitage,  St. 
Petersburg,  '  St.  Joseph  and  the  Infant  Christ.'  He 
died  at  Madrid  in  1670. 

ESCALANTE,  Juan  de  Sevilla  Romero  t.  See 
Sevilla. 

ESCHINI,  Angelo  Maria,  a  painter  and  engraver, 
flourished  at  Modena  in  the  17th  century:  by  him 
more  than  one  excellent  plate  representing  the 
'  Virgin  '  is  known. 

ESCLAVO,  El.     See  Pareja. 

ESCOT,  Charles,  French  painter  and  pastel- 
liste  ;  born  1836.  Excelled  as  a  portrait  painter, 
and  has  left  a  large  number  of  portraits  that  show 
breadth  and  vigour  of  draughtsmanship  and  vivid 
intensity  of  colouring.  His  house  at  Gaillac  was 
a  veritable  museum,  the  main  attraction  in  this 
being  some  thirty  copies  of  '  La  Tour.'  Escot  had 
k2 


delayed  his  intention  of  bequeathing  this  interesting 
collection  to  the  Museum  of  Albi,  but  his  death 
occurred  at  Gaillac  (Tarn)  on  May  5th,  1902, 
before  he  had  been  able  to  express  his  wish  in 
proper  legal  form. 

ESKILSSON,  Peter,  a  Swedish  genre  painter, 
was  bom  in  1820,  in  the  Billeberga  parish,  Schonen. 
He  was  at  first  an  under-ofScer  in  the  Gota  artillery 
regiment,  and  then  a  book-keeper  at  Goteborg; 
but  by  the  assistance  of  a  friend  he  was  enabled  in 
1853  to  go  to  Diisseldorf,  where  he  studied  under 
Tidemand.  In  1859  he  was  compelled  for  a  time 
to  become  a  photographer  at  Stockholm,  but  he 
afterwards  illustrated  Bellman,  depicting  the 
Swedish  popular  life  with  great  humour.  He 
became  an  associate  of  the  Academy  in  1866,  and 
died  at  Bremo,  near  Sigtuna,  in  1872. 

ESPAGNOLETTO.    See  Ribera. 

ESPARa,  Juan  de,  or  Juan  el  Espanol.  See 
Giovanni  di  Pietro. 

ESPINAL,  Juan  de,  a  Spanish  historical  pamter, 
was  a  native  of  Seville.  He  was  the  son  and  pupil 
of  Gregorio  Espinal,  who  was  also  a  painter,  but 
he  afterwards  entered  the  school  of  Domingo 
Martinez,  whose  daughter  he  married.  He  was 
chosen  director  of  the  School  of  Design  which 
Cean  Bermudez  and  other  lovers  of  art  established 
at  Seville.  Cean  Bermudez  says  that  he  possessed 
more  genius  than  any  of  his  contemporaries,  and 
but  for  his  bad  training  and  indolence  would  have 
been  the  best  painter  whom  Seville  had  produced 
since  the  time  of  Murillo.  A  visit  to  Madrid  late 
in  life  made  apparent  his  misspent  time,  and  he 
returned  saddened  and  abashed  to  Seville,  where 
he  died  in  1783.  His  chief  works  were  scenes 
from  the  life  of  St.  Jerome,  painted  for  the  monas- 
tery of  San  Geronimo  de  Buenavista,  and  now  in 
the  Seville  Museum,  and  some  frescoes  in  the 
collegiate  church  of  San  Salvador. 

ESPIN6S,  Benito,  a  Spanish  flower  painter,  the 
son  of  Josef  Espin6s,  was  a  native  of  Valencia. 
He  was  appointed  director  of  the  Royal  Academy 
of  San  Carlos  in  Valencia  in  1787,  and  died  about 
1817.  Nine  of  his  flower-pieces  are  in  the  Madrid 
Gallery,  whilst  others  are  in  the  Museum  of 
Valencia,  and  in  the  Escorial. 

ESPIN6S,  Josef,  a  Spanish  painter  and  engraver, 
bom  at  Valencia  in  1721,  studied  painting  under 
Luis  Martinez  and  Evaristo  Muiioz.  He  painted 
for  the  convent  of  the  Servites  of  the  Foot  of 
the  Cross,  in  Valencia,  pictures  of  '  Our  Lady  of 
Sorrows '  and  of  the  founders  of  that  order.  He 
engraved  in  line  several  prints  of  saints,  and  died 
at  Valencia  in  1784,  leaving  a  choice  collection  of 
prints,  drawings,  and  books. 

ESPINOSA,  Alonso  and  Andres  de,  Spanish 
historical  painters,  who  dwelt  at  Burgos  in  the 
early  part  of  the  16th  century,  were  brothers,  who 
usually  worked  together.  In  1524,  together  with 
Cristobal  de  Herrera,  they  gilded  and  decorated 
with  paintings  the  Lady  chapel  of  the  cathedral  at 
Palencia. 

ESPINOSA,  Geronimo  RonRiGUEZ  de,  a  Spanish 
painter,  bom  at  Valladolid  in  1562,  was  the  father 
of  Jacinto  Geronimo  de  Espinosa.  He  married 
in  1596  Aldonza  Lle6,  at  the  Valencian  town  of 
Cocentayna,  where  he  resided  for  many  years. 
In  1600  he  painted  pictures  of  '  St.  Lawrence '  and 
'St.  Hippolitus,'  and  in  the  following  year  'SS. 
Sebastian  and  Roch,'for  the  church  of  Cocentayna. 
These  works  were  afterwards  displaced,  and  passed 
into  the  hands  of  one  Andreas  Cister,  a  scrivener. 

131 


A   BIOGEAPHICAL  DICTIONARY   OF 


Dresden. 
Madrid. 


Valencia. 


In  1604-7  he  executed,  in  conjunction  with  a  certain 
Jayme  Terol,  a  scholar  of  Fray  Nicolas  Borras, 
the  pictures  for  the  high  altar  of  St.  John  the 
Baptist's  Church,  at  the  town  of  Muro.  Finally 
taking  up  his  ahode  at  Valencia,  he  died  there 
about  1630. 

ESPINOSA,  Jacinto  Geronimo  de,  a  son  and 
scholar  of  Geronimo  Rodriguez  de  Espinosa,  was 
born  at  Cocentayna,  in  Valencia,  in  1600.  He 
studied  also  under  Francisco  Eibalta,  and  went 
afterwards  to  Italy,  where  he  acquired  a  boldness 
of  design  and  a  vigour  of  colouring  that  resemble 
the  style  of  Guercino.  His  best  pictures  are  in  the 
churches  at  Valencia,  particularly  in  San  Esteban, 
and  in  the  chapel  of  San  Luis  Bertran  in  Santo 
Domingo.  The  principal  altar-piece  in  the  church 
of  the  Carmelites  is  by  this  master,  representing 
the  '  Transfiguration.'  He  died  at  Valencia  in  1680. 
Among  his  works  are  the  following : 

Gallery.    St.  Francis  of  Assisi. 
Gallery.    Mary  Magdalen  praying. 
„  Christ  at  the  column. 

„  St.  John  the  Baptist. 

Museum.    Christ  appearing  to  St.  Ignatius 
Loyola. 
„  „  The    Communion    of    St.    Mary 

Magdalen. 
„  „  St.  Louis  Bertrand  on  his  bier. 

ESPINOSA,  Juan  de,  bom  at  Puente  de  la 
Reyna,  in  Navarre,  was  employed  in  1663  to  paint 
twenty-four  scenes  from  the  life  of  St.  Millan, 
for  the  monastery  of  St.  Millan  de  la  Cogolla.  He 
executed  twelve  with  some  skill,  and  after  his 
death  the  work  was  completed  by  Fray  Juan  Rizi. 

ESPINOSA,  Juan  de,  a  Spanish  painter  of  fruit 
pieces,  flourished  towards  the  end  of  the  17th  and 
the  beginning  of  the  18th  century.  Nothing  is 
known  of  his  life.  Two  examples  of  his  art  are  in 
the  Madrid  Gallery. 

ESPINOSA,  MiGDEL  DE,  of  Saragossa,  a  painter 
of  good  repute,  was  invited  in  1654  by  the 
Benedictine  fathers,  to  paint  for  their  monastery 
of  St.  Millan  de  la  Cogolla.  Amongst  his  works 
executed  at  the  expense  of  the  brotherhood  were 
pictures  of  the  'Miracle  of  the  Water  turned 
into  Wine,'  and  the  '  Miracle  of  the  Loaves  and 
Fishes.' 

ESQUARTE,  Pablo,  a  Spanish  painter  of  the 
latter  part  of  the  16th  century,  who  studied  at 
Valencia,  but  afterwards  went  to  Venice  and  be- 
came a  disciple  of  Titian.  He  had  a  great  talent 
for  portrait  painting,  and  perhaps  excelled  in  other 
departments,  as  the  Duke  of  Villa  Hermosa  em- 
ployed him  to  ornament  his  palace  and  country 
residence. 

ESSELENS,  Jacob,  a  painter  of  Amsterdam  in 
the  17th  century,  is  said  to  have  been  a  pupil  of 
Rembrandt,  but  his  works  do  not  corroborate  the 
assertion.  His  pictures  represent  villages  on  the 
banks  of  rivers,  woody  landscapes,  buildings  with 
magnificent  fountains,  stag-hunts,  and  shipping 
pieces,  painted  in  a  clear  tone  of  colour,  and  with 
figures  spiritedly  touched.  The  dates  of  his  birth 
and  death  are  not  recorded.  A  picture  of  '  Figures 
by  a  River,'  signed  with  his  name,  is  in  the 
Rotterdam  Museum  ;  a  '  Fishing  Piece  '  is  in  the 
Copenhagen  Gallery  ;  and  in  the  Glasgow  Corpora- 
tion Galleries  is  a  '  Rendezvous  of  a  Hunting 
Party.' 

ESSEN,  Hans  von.     See  Ladenspelder. 

ESSEN,  Jacob  van.     See  Es. 

ESSENBECK,  J.  van,  was  born  at  Rotterdam  in 

132 


1627,  and  died  in  1678 ;  but  no  further  details  of 
his  life  are  recorded.  In  the  Glasgow  Corporation 
Galleries  is  a  '  Hawking  Party '  attributed  to  him. 
ESSEX,  Richard  Hamilton,  an  architectural 
water-colour  painter,  was  born  in  1802.  He 
became  in  1823  an  associate  of  the  Water-Colour 
Society,  where  he  exhibited  till  1836.  His  works 
also  appeared  at  the  Royal  Academy.  He  died 
at  Bow  in  1855. 

ESSEX,  William,  a  clever  copyist  in  enamel 
of  landscape  and  figure  subjects,  both  by  old  and 
modern  masters,  first  exhibited  at  the  Royal  Aca- 
demy in  1818,  and  for  the  last  time  in  1862,  having 
been  appointed  miniature  painter  to  the  Queen  in 
1839.  Towards  the  end  of  his  life  he  painted  a 
few  miniature  enamels  from  the  life.  His  death 
occurred  at  Brighton,  in  1869,  at  the  age  of  85.  His 
son,  William  B.  Essex,  wlio  was  a  portrait  painter, 
died  at  Birmingham  in  1852,  aged  29. 

ESTEBAN,  Rodrigo,  was  painter  to  Sancho  the 
Brave,  King  of  Castile.  No  work  of  his  is  known 
to  exist,  but  an  account  of  a  payment  of  one 
hundred  maravedis  from  the  privy  purse  in  1291- 
92  is  to  be  found  in  a  MS.  book  of  accounts  in  the 
Royal  Library  at  Madrid. 

ESTENSE,  Baldassare,  of  Reggio,  who  was 
born  about  1443,  has  been  supposed  to  have  been 
an  illegitimate  scion  of  the  house  of  Este,  since  no 
mention  of  his  father's  name  ever  occurs  in  con- 
temporary records,  whilst  he  was  called  '  Estensis,' 
and  received  unusual  promotion  and  rewards  from 
the  Dukes  of  Ferrara.  He  was  a  pupil  of  Cosimo 
Tura,  and  was  also  a  medallist.  In  1469  he  painted 
the  hkencss  of  Borso  I. ,  and  was  ordered  to  present 
it  in  person  to  the  Duke  of  Milan.  From  1471  to 
1504  he  was  a  salaried  officer  at  the  court  of 
Ferrara,  living  first  in  Castel  Nuovo,  for  which  he 
painted  a  canvas  that  has  perished,  and  after- 
wards in  Castel  Tedaldo,  of  which  he  was  the 
governor.  In  1483  he  painted  the  portrait  of  Tito 
Strozzi,  now  in  the  Costabili  Gallery  at  Ferrara. 
His  will,  dated  1500,  is  in  the  archives  of  Ferrara, 
but  the  exact  date  of  his  death  is  unknown. 

ESTORGES,  J.,  a  French  engraver  of  the  17th 
century,  who  etched  a  plate  in  the  style  of  Pietro 
del  Po  representing  '  Christ  on  the  Mount  of 
Olives.' 

ESTRADA,  Jos^  Maria,  an  historical  and  genre 
painter  of  Valencia,  who  died  at  Madrid  in  1873. 
He  has  left,  among  other  pictures,  '  Diana  observ- 
ing the  sleeping  Endymion,'  '  An  Eating-house,' 
and  the  portrait  of  Count  Villalobos. 

ESTRADA,  Juan  and  Ignacio,  were  two  brothers, 
who  worked  together  as  painters,  though  Ignacio 
was  also  a  sculptor.  They  were  born  at  Badajoz, 
Juan  in  1717,  and  Ignacio  in  1724,  and  were 
instructed  by  their  father,  Manuel  Estrada,  but 
Juan  received  three  years'  further  tuition  from 
Pablo  Pernicharo,  at  Madrid.  Many  of  their  pic- 
tures are  still  to  be  seen  in  the  churches  of  Valencia, 
Ignacio  having  furnished  the  designs,  and  Juan 
carried  out  the  execution.  Juan  died  at  Badajoz 
in  1792,  and  Ignacio  in  1790. 

ETHENARD  t  ABARCA,  Feancisco  Antonio, 
a  painter  and  engraver,  the  son  of  a  German 
father,  was  born  at  Madrid.  He  served  in  the 
German  body-guard  under  Charles  II.,  and  until  it 
was  disbanded  in  1701  by  Philip  V.,  upon  which 
he  devoted  himself  entirely  to  the  above  branches 
of  art,  which  he  had  already  pursued  as  an  amateur. 
He  died  at  Madrid  in  1710.  He  published  a '  Philo- 
sophy of  War'  in   1675,   and    'The  Italian   and 


WILLIAM  ETTY 


Ha/j/siiinql pkoto]  {^National  Gallery^  London 

YOUTH  ON  THE  PROW  AND  PLEASURE  AT  THE  HELM 


PAINTERS  AND  ENGRAVERS. 


Spanish  Fencing-Master '  in  1697,  and  both  of  these 
he  illustrated  with  engravings. 

ETLINGER,  Georq,  was  a  German  engraver  on 
wood,  who  resided  at  Bamberg.  There  is  by  him 
a  wood-cut  representing  Bishop  Blaize,  enclosed 
in  a  border  ornamented  with  symbols  of  the  Gospel, 
and  executed  with  great  spirit. 

ETTY,  William,  the  eminent  painter,  was  bom 
at  York,  March  10,1787.  "Like  Rembrandt  and 
Constable,"  writes  Etty,  in  an  autobiography  pub- 
lished in  the  '  Art  Journal '  in  1849,  "  my  father 
also  was  a  miller."  In  1798  he  was  apprenticed 
to  Robert  Peck,  a  letter-press  printer  at  Hull,  as 
a  compositor,  "  to  which  business,"  he  says,  "  I 
served  seven  full  years  faithfully  and  truly,  and 
worked  at  it  three  weeks  as  journeyman ;  but 
I  had  such  a  busy  desire  to  be  a  painter,  that 
the  last  years  of  my  servitude  dragged  on  most 
heavily.  I  counted  the  years,  days,  weeks,  and 
hours,  till  liberty  should  break  my  chains  and  set 
my  struggling  spirit  free."  In  1806  he  was  invited 
to  London  by  his  uncle,  William  Etty,  of  the  firm 
of  Bodley,  Etty,  and  Bod  ley,  of  Lombard  Street. 
William  Etty  was  himself  "  a  beautiful  dranghtsman 
in  pen  and  ink,"  and  saw  promise  in  the  crude  per- 
formances of  his  young  kinsman,  and  besides  help- 
ing him  during  life,  left  him  a  sufficient  sum  after 
his  death  to  enable  him  to  pursue  his  studies. 
Arrived  in  town,  he  tells  us  : — "  I  drew  from  prints 
or  from  nature,  or  from  anything  I  could  ;  I  was 
made  at  home  at  my  uncle's,  I  was  furnished  with 
cash  by  my  brother.  My  first  academy  was  in  a 
plaster-cast  shop,  kept  by  Gianelli,  in  that  lane 
near  to  Smithfield,  immortalised  by  Dr.  Johnson's 
visit  to  see  '  The  Ghost '  there."  He  soon  received 
a  letter  of  introduction  to  Opie,  who  introduced 
him  to  Fuseli,  by  whom  he  was  admitted  as  a  pro- 
bationer in  Somerset  House.  He  entered  the  schools 
of  the  Royal  Academy  in  the  same  week  as  Collins  ; 
and  Hilton  and  Haydon  were  amongst  his  fellow- 
students.  By  his  uncle's  generosity,  who  paid  one 
hundred  guineas  for  him,  Etty,  in  July,  1808,  be- 
came an  in-door  pupil  of  Sir  Thomas  Lawrence, 
then  residing  in  Greek  Street,  Soho.  Lawrence 
frequently  employed  him  to  make  copies  of  his 
portraits,  but  had  little  leisure  to  give  substantial 
assistance  to  his  pupil  in  his  studies.  When  his 
year  of  study  under  Lawrence  was  expired,  Etty 
painted  from  nature,  and  copied  the  old  masters 
in  the  British  Gallery  :  this,  he  says,  he  found 
easy,  after  copying  Lawrence.  He  was  also  a 
constant  student  in  the  Life  School  of  the  Royal 
Academy,  where  his  industry  was  indefatigable, 
yet  he  never  gained  a  medal.  He  ventured  at  one 
time  to  send  six  pictures  to  the  Academy  exhibition, 
but  all  were  rejected  ;  this  happened  year  after  year 
at  the  Academy,  and  at  the  British  Gallery,  but  by 
discovering  his  defects,  and  by  great  industry 
in  endeavouring  to  correct  them,  he  at  last  con- 
quered his  bad  fortune.  In  1811  he  was  comforted 
by  finding  one  of  his  pictures,  'Telemachus  rescuing 
Antiope,'  hung  at  the  Royal  Academy,  and  from 
that  time  forward  he  always  obtained  an  entrance 
for  some  of  his  works  at  the  Academy  or  the 
British  Institution.  He  painted  portraits  also  at 
this  time,  but  chiefly  occupied  himself  on  classical 
subjects.  In  1816  he  visited  Paris  and  Florence, 
but  returned  home  in  less  than  three  months.  In 
1822  he  went  to  Italy,  visiting  Venice,  Florence, 
Rome,  and  Naples,  but  it  was  in  Venice  that  he 
found  the  greatest  attractions: — "Venice,  the 
birth-place  and  cradle  of  colour,  the  hope  and  idol 


of  my  professional  life."  He  studied  in  the  aca- 
demy there,  and  was  elected  one  of  its  honorary 
members.  He  returned  to  London  early  in  1824, 
and  in  the  same  year  exhibited  '  Pandora  formed 
by  Vulcan,  and  crowned  by  the  Seasons,'  which  was 
bought  by  Lawrence,  and  secured  his  election  as 
an  Associate  of  the  Royal  Academy.  He  became 
an  Academician  in  1828,  and  it  was  then  suggested 
to  him  that  he  should  discontinue  his  practice  in 
the  Life  School,  where  he  had  been  accustomed  for 
years  to  attend  every  evening  during  the  session  to 
paint  studies  in  oil  from  the  living  models,  as  it 
was  considered  incompatible  with  the  dignity  of  an 
Academician  to  continue  to  take  his  place  amongst 
the  students  ;  but  he  said  he  would  rather  decline 
the  honour  of  membership  than  give  up  his  studies. 
He  resided  in  London  from  1826  till  1848,  when, 
owing  to  faihng  health,  he  retired  to  his  native  city 
York,  where  he  died  November  13,  1849.  An  ex- 
hibition of  Etty's  works  was  held  in  the  summer  of 
1849  at  the  Society  of  Arts,  and  his  'Life'  by 
Alexander  Gilchrist  was  published  in  1855.  In 
his  autobiography  Etty  has  himself  pointed  out 
what  he  considered  his  greatest  works.  "  My 
aim  in  all  my  great  pictures  lias  been  to  paint 
some  great  moral  on  the  heart :  '  The  Combat,' 
the  beauty  of  mercy  ;  the  three  '  Judith '  pictures, 
patriotism,  and  self-devotion  to  her  country,  her 
people,  and  her  God ;  '  Benaiah,  David's  chief  cap- 
tain,' valour  ;  '  Ulysses  and  the  Syrens,'  the  import- 
ance of  resisting  sensual  delights,  or  an  Homeric 
paraphrase  on  the  '  Wages  of  Sin  is  Death  ' ;  the 
three  pictures  of  '  Joan  of  Arc,'  Religion,  Valour, 
Loyalty  and  Patriotism,  like  the  modern  Judith ; 
these,  in  all,  make  nine  colossal  pictures,  as  it  was 
my  desire  to  paint  three  times  three."  Besides  the 
above-mentioned  the  following  are  his  principal 
works  : 

Sappho.    1811. 

The  Coral  Finders.     1820. 

Cleopatra's  Arrival  at  Cicilia.     1821. 

The  Judgment  of  Paris. 

Venns  attired  by  the  Graces. 

The  Wise  and  Foolish  Virgins. 

Hylas  and  the  Nymphs. 

The  Dance  described  in  Homer's  Shield. 

The  Prodigal  Son. 

The  Bevy  of  Fair  Women.     (Milton.) 

The  Bridge  of  Sighs,  Venice. 

The  Destruction  of  the  Temple  of  Vice. 

The  Rape  of  Proserpine. 

La  Fleur  de  Lis. 

Adam  and  Eve  at  their  Morning  Orisons. 

The  Prodigal  in  the  depth  of  his  Misery. 

The  Prodigal's  return  to  his  Father  and  Mother. 

The  Origin  of  Marriage.     (Milton.)     Stafford  House. 

Pandora. 

The  Parting  of  Hero  and  Leander. 

The  Death  of  Hero  and  Leander. 

Diana  and  Endymion. 

The  Graces :  Psyche  and  Cupid. 

Amoret  freed  by  Britomart  from  the   power  of   the 
Enchantress. 

Zephyr  and  Aurora. 

Robinson   Crusoe   returning  thanks  to  God    for    hia 
deliverance. 

In  the  National  Gallery. 

The  Imprudence  of  Candaules,  King  of  Lydia.     1830. 

Window  in  Venice,  during  a  Festa.     1831. 

Youth  on  the  Prow  and  Pleasure  at  the  Helm.    1832. 

The  Lute-Player.     1833. 

The  Dangerous  Playmate.     1833. 

Study  of  a  Man  in  Persiau  Costume.     1834. 

Christ  appearing  to  Mary  Magdalen  after  His  Resurrec- 
tion.    1834. 

II  Duetto.    1333. 

133 


A   BIOGRAPHICAL  DICTIONARY  OF 


Female  Bathers  surprised  by  a  Swan.    1841. 
The  Magdalen.     1842. 

The  Bather  '  at  the  doubtful  breeze  alarmed.'     1844. 
Study  for  a  Head  of  Christ. 

At  South  Kensington. 
Head  of  a  Cardinal.     1844. 
Cupid  sheltering  Psyche.     1823. 
The  Deluge  (a  nude  female  figure).    1815. 

In  the  National  Gallery  of  Scotland. 
Series  of  three  pictures  illustrating  the  Deliverance  of 

Bethulia  by  Judith.     1827-31. 
Benaiah,  one  of  David's  Mighty  Men. 
The  Combat — Woman    pleading  for  the  Vanquished. 

1825.     Exhibited  in  1844. 

In  th^  Boyal  Iiistitution,  Manchester. 
Ulysses  and  the  Sirens. 

ETZDORF,  Christian  Feiedrich,  a  landscape 
painter,  and  the  younger  brother  of  Johann  Chris- 
tian Etzdorf,  was  born  at  Posneck,  in  the  duchy  oi 
Saxe-Meiningen,  in  1807.  He  was  educated  in  art  at 
the  Munich  Academy,  and  at  first  practised  porcelain 
painting,  but  afterwards  devoted  himself  to  land- 
scapes, in  whicli  he  followed  much  the  same  style 
as  hie  brother,  producing  forest  scenes,  rocky 
valleys,  and  winter  pieces.  After  his  brother's 
death  he  returned  for  a  while  to  Posneck,  but 
afterwards  took  to  the  business  of  tanning,  and 
settled  first  in  Kissingen  and  finally  in  Wiirzburg, 
where  he  died  in  1858.  Besides  his  paintings  he 
has  left  eighteen  etchings  of  landscapes,  mostly 
after  his  brother,  and  one  lithograph. 

ETZDORF,  Johann  Christian  Michel,  a  German 
landscape  painter,  was  born  at  Posneck,  in  the 
duchy  of  Saxe-Meiningen,  in  1801.  He  studied 
landscape  painting  in  Munich  and  its  environs,  and 
displayed  an  especial  talent  in  representing  gloomy 
forests,  taking  as  his  models  the  works  of  Ruisdael 
and  Van  Everdingen.  He  visited  Norway,  the 
North  Cape,  Sweden,  Iceland,  and  England.  One 
of  his  best  paintings  is  in  the  Modern  Gallery  at 
Munich ;  it  represents  a  '  Forge  by  the  side  of  a 
Waterfall.'     He  died  at  Munich  in  1851. 

EUMARDS,  of  Athens,  the  foremost  of  the  early 
Greek  painters,  flourished  about  B.C.  540-500.  He 
appears  to  have  introduced  a  degree  of  chiaro- 
scuro into  his  pictures,  which  would  seem  to  have 
been  not  all  monochrome.  It  is  stated  that  he  was 
also  the  first  to  distinguish  the  male  from  the  female 
figure,  and  to  denote  age  and  disposition  in  the 
depicting  of  his  characters. 

EUPHRANOR,  who  was  born  on  the  Isthmus  of 
Corinth,  but  resided  at  Athens,  is  stated  to  have 
lived  from  B.C.  375  to  335,  and  to  have  studied 
painting  in  the  school  of  Aristeides.  His  chief 
works  were  in  a  porch  in  the  Cerameicus  at  Athens. 
On  the  one  side  were  the  'Twelve  Gods,'  and  on 
the  opposite  side,  'Theseus,  with  Democracy  and 
Demos,'  in  which  picture  Theseus  was  represented 
as  the  founder  of  the  equal  polity  of  Athens.  In 
the  same  place  was  his  picture  of  the  '  Battle  be- 
tween the  Athenian  and  Boeotian  Cavalry  at 
Mantineia,'  containing  portraits  of  Epaminondas 
and  of  Gryllus,  the  son  of  Xenophon.  He  also 
excelled  as  a  statuary,  both  in  marble  and  metals. 
He  gave  a  peculiar  dignity  to  his  heroes,  and  Pliny 
extols  him  for  an  exact  symmetry  in  his  pro- 
portions. His  picture  of  Theseus  so  satisfied  him 
that  in  comparing  it  with  one  of  the  same  hero 
painted  by  Parrhasius,  he  exultingly  observed,  that 
"  the  Theseus  of  Parrhasius  appeared  to  have  been 
fed  on  roses,  and  his  with  flesh." 

EDPOMPDS,  who  flourished  about  B.C.  400-380, 
134 


founded  the  school  of  Sicyon  upon  his  own  princi- 
ples as  opposed  to  the  softness  of  the  Ionian  school. 
The  'Victor  in  the  Gymnastic  Combat'  is  one  of 
his  best  works.  Pamphilus,  the  master  of  Apelles, 
was  his  pupil. 

EUSEBIO  Di  SAN  GIORGIO,  a  painter  of  Perugia 
in  the  early  part  of  the  16th  century,  was  a  scholar 
of  Perugino,  and  painted  for  churches.  His  works 
are  imitations  or  copies  after  Raphael.  A  fresco 
of  the  Archangel  Michael,  formerly  in  the  Palazzo 
Gualtieri  at  Orvieto,  and  now  in  the  Leipsic 
Museum,  and  which  has  been  ascribed  to  Signor- 
elli,  is  probably  by  Eusebio. 

EDXENIDAS,  an  ancient  Theban  painter,  who 
flourished  about  B.C.  400  or  380,  was  the  master  of 
Aristeides,  but  little  else  is  recorded  respecting 
him. 

EVANS,  George,  a  portrait  painter,  who  flourished 
about  the  middle  of  the  18th  century,  was  a  mem- 
ber of  the  Incorporated  Society  of  Artists,  where 
he  exhibited.     He  died  before  1770. 

EVANS,  Richard,  a  copyist,  was  employed  for 
some  time  by  Sir  Thomas  Lawrence  to  fill  in  the 
background  and  draperies  of  his  pictures.  He  for 
many  years  resided  in  Rome,  where  he  copied  pic- 
tures by  the  old  masters,  besides  painting  some 
original  portraits,  and  also  attempting  fresco- 
painting.  He  died  at  Southampton  in  1871,  aged 
87.  The  copies  in  the  South  Kensington  Museum 
of  the  Raphael  arabesques  are  by  him  ;  as  are  also 
the  following  portraits  in  the  National  Portrait 
Gallery : 

Sir  Tliomas  Lawrence  ;  after  La^crence. 
Lord  Thurlow  ;  after  the  same. 
Thomas  Taylor,  the  Platonist. 

EVANS,  William,  known  as  "  Evans  of  Eton," 
a  landscape  painter  in  water-colours,  was  born 
at  Eton  in  1798,  and  succeeded  his  father  as 
professor  of  drawing  at  Eton  College  in  1818.  In 
1828  he  was  elected  an  associate,  and  in  1830  a 
member,  of  the  Water-Colour  Society,  where  he 
continued  to  exhibit  till  1875.  In  his  later  years 
he  Bufiered  much-  from  a  fractured  jaw,  and  died 
at  Eton  in  1877.     Amongst  his  best  works  are  : 

Llanberis.     1828. 

Barmouth.     1828. 

Ferry  on  the  Tay. 

Burnham  Beeches. 

Doune  Castle. 

The  Gleam  of  Hope. 

Mill  at  Droxford.    (South  Kensington  Muieum.) 

EVANS,  William,  an  engraver  and  draughts- 
man, who  flourished  in  the  early  years  of  the  19th 
century,  assisted  Benjamin  Smith,  and  made  draw- 
ings for  Cadell's  and  Boydell's  publications.  He 
drew  for  Cadell's  '  Gallery  of  Contemporary  Por- 
traits'  (1822),  and  engraved  some  plates  for  the 
Dilettanti  Society's  '  Specimens  of  Antient  Sculp- 
ture.' His  portrait  of  James  Barry,  R.A.  (drawn 
in  chalk  for  the  'Gallery  of  Contemporary  Por- 
traits ')  is  in  the  National  Portrait  Gallery. 

EVANS,  William,  a  landscape  painter  in  water- 
colours,  known  as  "  Evans  of  Bristol,"  was  born 
in  1811.  He  lived  for  many  years  at  an  isolated 
spot  in  North  Wales,  where  he  had  abimdant 
opportunity  of  depicting  the  rough  mountain 
scenery  in  which  he  excelled.  He  became  in 
1845  an  Associate  of  the  Water-Colour  Society, 
and  after  1852  he  spent  much  time  in  Italy.  He 
died  in  London  in  1858. 

EVELYN,  John,  who  was  born  at  Wotton,  in 
Surrey,  in  1620,  was  an  English  gentleman  who 


PAINTERS  AND   ENGRAVERS. 


claims  a  place  among  tlie  amateur  artists  of  his 
country,  as  the  engraver  of  five  small  platea  of  his 
journey  from  Eome  to  Naples,  which  were 
etched  in  Paris  in  the  year  1649.  They  bear 
the  annexed  monogram.  He  etched  likewise 
a  view  of  his  own  seat  at  Wotton,  and  another 
of  Putney.  Evelyn  was  the  author  of  one  of  the 
earliest  English  publications  on  the  subject  of 
engraving,  entitled  '  Sculptura,'  published  in  1662. 
He  died  in  London  in  1706. 

EVENEPOEL,  Henri,  a  young  Belgian  artist, 
whose  early  death  at  Paris  in  his  twenty-seventh 
year  cut  short  a  career  of  great  promise.  The  son 
of  a  musician,  Evenepoel  studied  at  first  ^  in 
Brussels,  and  subsequently  in  Paris,  his  debut 
being  made  at  the  Salon  in  1895,  with  certain 
portraits  which  created  a  positive  sensation  in  the 
Parisian  art  world  by  their  vigour  and  their  almost 
brutal  sincerity  of  touch.  The  young  artist's  work, 
however,  with  each  succeeding  year  lost  those 
qualities  of  exaggeration  and  grossness  which 
detracted  from  its  merit,  as  his  later  portraits, 
exhibited  at  the  Salon,  amply  proved.  Passing 
from  portraiture  to  the  presentment  of  figures 
either  in  natural  or  artificial  light,  the  artist  pro- 
duced several  important  works,  such  as  his  '  Moulin 
Rouge,'  'Folies  Bergferes,'  'Fete  des  Invalides,' 
&c.     He  died  in  Paris,  December  30,  1899.     p.  p. 

EVENOR,  an  eminent  painter  of  Ephesus.  who 
flourished  about  B.C.  420,  was  the  father  and 
instructor  of  Parrhasius. 

EVERDINGEN,  Allart  van,  the  younger 
brother  of  Cesar  van  Everdingen,  was  born  at 
Alkmaar  in  1612.  He  studied  successively  under 
Roeland  Savery  and  Pieter  Molyn,  both  of  whom  he 
greatly  surpassed,  and  excelled  in  painting  rocky 
landscapes.  The  talents  of  Van  Everdingen  were 
not,  however,  confined  to  subjects  of  that  descrip- 
tion ;  he  painted  sea-pieces  and  storms  with  sur- 
prising effect,  and  represented  the  tempest-tossed 
waves  with  awful  and  terrific  fidelity.  In  a  voyage 
which  he  made  to  the  Baltic,  he  was  shipwrecked 
on  the  coast  of  Norway,  where  he  was  under  the 
necessity  of  remaining  some  time,  until  the  vessel 
was  repaired.  He  employed  this  interval  in  making 
sketches  of  the  romantic  wilds  of  that  uncultivated 
country,  which  furnished  him  with  admirable  sub- 
jects for  his  pictures,  in  which  the  grand  forms  of 
his  rocks,  and  the  picturesque  efiect  of  his  water- 
falls, are  drawn  with  a  taste,  and  painted  with 
a  spirit,  that  entitled  him  to  the  appellation  of 
'The  Salvator  Rosa  of  the  North.'  His  colouring 
is  simple  and  pure,  his  touch  broad  and  facile,  and 
it  is  evident  that  every  object  in  his  pictures  was 
studied  immediately  from  nature.  The  small 
figures  with  which  he  embellished  his  landscapes 
are  correctly  drawn,  and  very  neatly  touched.  The 
admirers  of  etchings  are  indebted  to  this  excellent 
artist  for  a  number  of  plates  executed  in  a  free  and 
masterly  style.  His  prints  of  landscapes  amount 
to  about  a  hundred,  of  which  eight  of  the  largest 
and  most  finished  are  very  fine.  He  also  engraved 
a  set  of  fifty-seven  small  prints  for  Gottsched's 
translation  of  '  Reynard  the  Fox,'  published  in 
1752.  He  sometimes  signed  his  plates  with  his 
name,  sometimes  with  the  initials  A.  V-  -r-^-r 
£.,  and  at  other  times  with  the  annexed  A\» 
monogram  ""  '■'"■^  "*■  i'"=+o"'->"^  ir. -i- ^^ 
1675. 


He   died   at   Amsterdam   in 


Amsterdam.    Museum. 


Berlin. 


Gallery. 


Norwegian  Landscape. 
Landscape. 
Norwegian  Waterfall. 


Berlin.  Gallery.      Norwegian  Hilly  Landscape. 

„  „  A  Castle  by  a  Eiver. 

Cassel.  Gallery.     Woody  Landscape. 

Copenhagen.  Gallery.     Rocky  Landscape.     1648. 
„  „  River  and  Eocks.    1647. 

„  „  And  three  others. 

Darmstadt.      Gallery.     Waterfall. 

„  „  A  Rocky  Valley. 

Dresden.  Gallery.     Stag-hunt.     1643. 

„  „  Four  Landscapes. 

Frankfort.  Stddii  Jnst.     Stormy  Sea. 

„  „  Landscape  with  Mill. 

.,  „  Northern  Landscape. 

Lille.  Museum.    Cascade.     1660. 

London.       Bute  Coll.     View  in  Norway. 
Munich.  Gallery.     Landscape  with  Waterfall.     1656. 

„  „  Stormy  Sea-coast. 

Paris.  Louvre.      Landscape. 

„  „  Landscape. 

EVERDINGEN,  Cesar  van,  born   at  Alkmaar 
in  1606,  was  a  scholar  of  Jan  van  Bronkhorst.    He 
painted  historical  subjects  and  portraits,  and  was 
also  an  eminent  architect.     In  1632  he  became  a 
member  of  the  Guild  at  his  native  place,  and  in 
1651    of    that   at    Haarlem.       One   of    his   most 
esteemed  works  was  in  the  principal  church   of 
Alkmaar,  representing   the   'Triumph   of   David. 
He  gained  great  reputation  by  a  picture  he  painted 
of  the  Portraits  of  the  Company  of  Archers,  for 
their  hall  of  assembly.     He  died  in  1679. 
His  works   are   signed  with   the  initials    (viy^ 
G.  V.  jE.,or  with  the  monogram  annexed,    ^i—' 
An  important  work  by  him  (signed  with  his  mono- 
gram and  dated  1652)  is  in  the  Hague  Gallery.     It 
represents  '  Diogenes  in  the  market-place  of  Haar- 
lem seeking  an  honest  man,'  and  contains  portraits 
of  the  Steyn  family  of  Haarlem. 

EVERDINGEN,  Jan  van,  the  youngest  of  the 
three  brothers  of  the  name,  was  born  in  1625,  and 
died  in  1656.  He  was  instructed  by  his  brother 
Cesar,  but  painted  only  for  amusement,  being  by 
profession  an  advocate. 

EVERITT,  Allen  Edward,  a  clever  archee- 
ologist,  who  executed  water-colour  drawings  of 
medicBval  remains  both  in  England  and  on  the 
Continent.  He  was  Hon.  Sec.  of  the  Royal  Society 
of  Artists  of  Birmingham  from  1858  to  1882,  and 
died  in  that  year,  aged  fifty-eight. 

EVERSDYCK,  Cornelis  Willemsz,  was  a  por- 
trait painter  of  Goes,  who  died  there  in  1649.  In 
the  Rotterdam  Museum  are  three  pictures  by  him, 
representing  OfBcers  and  Members  of  the  Company 
of  Archers,  called  "  Edele  Voethoog,"  at  Goes ;  two 
of  which  are  dated  1616  and  1624. 

EVERSDYCK,  Willem,  the  son  of  Cornelis 
Eversdyck,  flourished  at  Goes  about  the  year  1660. 
He  was  a  portrait  painter,  and  several  of  his  por- 
traits were  engraved  by  Houbraken.  A  picture  of 
Officers  and  Members  of  the  Company  of  Archers, 
called  "  Edele  Voethoog,"  at  Goes,  by  him,  is  in 
the  Rotterdam  Museum. 

EVRARD,  Perpete,  a  painter  of  portraits  and 
miniatures,  was  born  at  Dinant  about  the  middle 
of  the  17th  century,  and  was  employed  at  several 
foreign  courts.     He  died  at  the  Hague  in  1727. 

EWBANK,  John  Wilson,  a  landscape  pointer, 
was  born  at  Darhngton  in  1799.  Intended  for  the 
Roman  Catholic  priesthood,  he  was  sent  to  Ushaw 
College,  but,  absconding,  he  apprenticed  himself 
to  a  house-painter  in  Newcastle,  whence  he  was 
taken  to  Edinburgh  by  Coulson,  a  decorator  of 
considerable  ability:  he  afterwards  received  in- 
struction from  Alexander  Nasmyth.  He  became 
one  of  the  foundation  members  of  the  Royal 
Scottish  Academy  in  1826,  and  about  that  time 

135 


A  BIOGRAPHICAL  DICTIONARY  OF 


produced  some  works  of  a  larger  character,  such 
as  '  George  IV.  at  Edinburgh  Castle,'  '  The  Entry 
of  Alexander  the  Great  into  Babylon,'  '  Hannibal 
crossing  the  Alps,'  '  View  of  Edinburgh  from 
Inchkeith,'  &c.  He  passed  the  last  ten  or  twelve 
years  of  his  life  in  Sunderland,  where  through 
intemperance  he  fell  into  great  misery  and  want, 
and  died  in  1847.  His  sea  and  shore  views  were 
admirable  in  their  simplicity,  while  their  aerial 
effect  has  seldom  been  surpassed.  A  '  Canal  Scene 
with  Shipping'  is  in  the  National  Gallery  of 
Scotland. 

EWODTZOON,  Jan,  a  Dutch  wood-engraver, 
who  flourished  at  Amsterdam  in  the  first  half  of 
the  16th  century,  executed  many  of  the  designs 
of  Cornelis  Teunisse  or  Antoniszoon,  of  which 
'  Mucins  Scsevola,'  a  '  Woman  mounted  upon  an 
Ass,'  and  an  '  Allegory  upon  the  Flight  of  Time,' 
bear  his  signature,  and  the  two  last  the  dates  1536 
and  1537. 

EXIMENO,  JOAQDIN,  a  Spanish  artist,  born  at 
Valencia  in  1674,  painted  fruit,  flowers,  birds, 
fish,  and  objects  of  still-life,  which  he  repre- 
sented with  great  fidelity.  He  died  in  1754.  His 
works  are  classed  by  Cean  Bermudez  with  those 
of  his  father,  who  bore  the  same  Christian  name, 
and  in  conjunction  with  whom  he  painted.  Their 
pictures  were  much  esteemed  by  amateurs  of  the 
time,  and  four  of  large  size  are  in  the  church  of 
Our  Lady  of  the  Pillar  at  Valencia. 

EXSHAW,  Charles,  an  historical  painter  and 
engraver,  was  born  at  DubUn  in  the  early  part  of 
the  18th  century.  He  studied  at  Rome,  Amsterdam, 
and  probably  in  Paris,  and  engraved  portraits  of 
the  Van  Loo  family,  but  about  1768  he  came  to 
London  and  endeavoured  to  start  a  drawing  aca- 
demy. He  died  in  1771.  His  prints  are  chiefly 
imitations  of  the  works  of  Rembrandt,  and  are  not 
without  merit.  Among  other  plates  the  following 
are  by  him  : 

A  Bust  of  an  old  Man,  with  a  round  hat ;  after  Eem- 

brandt.     1758. 
A  Head  of  an  old  Man,  with  a  beard ;  after  the  same. 

1758. 
Joseph  and  Potiphar's  Wife  ;  after  the  same. 
St.  Peter's  Bark  in  the  Storm  ;  after  the  same. 
A  Girl  carrying  a  Basket  of  Cherries,  with  two  Boys, 

each  having  a  Gun ;  after  Rubens. 

E  YBEL,  Adolf,  a  German  painterof  historical  and 
genre  subjects  and  of  portraits,  was  born  at  Berlin 
in  1808.  He  studied  at  the  Berhn  Academy,  and 
under  Professor  Kolbe,  as  well  as  in  Paris  under 
Delaroche.  One  of  his  most  noted  pictures  repre- 
sents '  Richard  Coeur-de-Lion  with  his  Court  listen- 
ing to  Blondel's  Song.'  He  died  at  Berlin  in  1882. 
The  following  works  by  him  may  also  be  men- 
tioned : 

A  Gleaner. 

The  Battle  of  Fehrbellin. 

Scene  from  Sir  Walter  Scott's  '  Woodstock.' 

Scene  from  '  Faust.' 

A  Wine  Party. 

EYBL,  Fbanz,  an  Austrian  portrait  and  genre 
painter,  was  born  at  Vienna  in  1806,  studied  in  the 
Academy  of  his  native  city,  and  became  a  member 
of  it  in  1843.  He  died  in  1880.  He  was  for  some 
time  custodian  of  the  Belvedere  Gallery,  which 
possesses  two  characteristic  works  by  him : 

An    old    Austrian  Peasant    Woman  leaving  Church. 

1847. 
An  old  Beggar,  in  a  mountainous  landscape.    1856. 

EYCK,  Gaspar  van,  a  Flemish  painter  of  marine 
130 


subjects  and  sea-fights,  was  born  at  Antwerp  about 
the  commencement  of  the  17th  century,  and  was 
received  into  the  Guild  of  St.  Luke  in  1632.  He 
died  in  1673.  Three  pictures  by  him  are  in  the 
Madrid  Gallery. 

EYCK,  Hubert  van,  if  not  the  greatest,  at  least 
one  of  the  greatest  artists  that  ever  lived,  was  the 
eldest  of  three  brothers,  born,  according  to  Van 
Mander,  at  Maaseyck  in  the  Duchy  of  Limburg, 
about  the  year  1366.  Very  little  is  known  of  liis 
history.  He  probably  learned  his  art  at  Maas- 
tricht ;  having  served  his  apprenticeship,  he  appears 
to  have  travelled  and  to  have  visited  the  borders 
of  the  Mediterranean  and  the  north  of  Italy  be- 
fore settling  in  Ghent  early  in  the  15th  centurj'. 
The  treasurers  of  the  municipality  in  1424—5  paid 
him  6s.  for  a  couple  of  sketches  he  made  by  order 
of  the  magistrates,  who  in  the  following  year 
visited  his  works  and  tipped  his  apprentices.  He 
died  on  September  18,  1426,  and  was  buried  in 
the  church  of  St.  John — now  the  cathedral.  His 
brothers,  who  were  not  burghers  of  Ghent,  had  as 
strangers  to  pay  duties  to  the  town  on  his  pro- 
perties which  they  inherited.  Bequests  of  paint- 
ings by  Hubert  occur  in  wills  of  the  years  1413 
and  1426.  The  following  pictures  are  admitted  by 
competent  critics  to  be  by  him  : 

1.  The  three  Marys  at  the  Sepulchre.  Richmond,  Sir 
F.  Cook. 

2.  Christ  on  the  Cross,  the  Blessed  Virgin  and  Saint 
John.     Berlin  Museujn. 

3.  The  Blessed  Virgin  and  Child,  Saint  Anne  and  F. 
Herman  Steenken,  vicar  of  the  Charterhouse  of 
Saint  Anne  ter  Woestine.  near  Bruges,  from  1402  to 
1404,  and  from  1406  until  his  death,  April  23,  1428. 
Paris,  Baron  G.  Rothschild. 

4.  The  Blessed  Virgin  and  C  hild  standing  before  a  hedge 
of  roses ;  lost.  A  fifteenth-century  copy  in  the 
Berlin  Museum. 

5.  The  Fountain  of  living  waters ;  lost.  A  late  fifteenth- 
century  copy  in  the  Pi  ado  Museum,  Madrid. 

G.  Portrait  of  a  young  man.     Herrniannstadt. 

7.  The  Vision  of  Saint  Francis  of  Assisi.  Pennsylvania, 
J.  G.  Johnson,  Esq.  An  enlarged  copy  in  the  Turin 
Gallery. 

8.  Eobert  Poortier  protected  by  Saint  Anthony;  the 
angel  Gabriel  on  the  outer  side.  Dexter  shutter 
of  an  altar-piece.     Copenhagen  Museum. 

9.  The  polyptych  of  the  Adoration  of  the  Lamb,  painted 
for  Jodoc  Vyt,  with  the  exception  of  the  panels,  on 
the  face  of  which  are  the  figures  of  Adam  and  Eve. 
Ghent  Cathedral,  and  Berlin  Museum. 

The  cypress,  the  stone  pine,  the  great  palm,  the  olive 
and  the  orange  are  all  found  in  No.  9  ;  the  two  first 
in  No.  2  ;  the  cj-press,  the  great  palm  and  the  orange 
in  No.  4 ;  the  palmetto  in  1,  2, 7  and  8.  The  landscapes 
in  Nos.  1,  2,  3,  8  and  9  are  artificially  composed,  not 
realistic  renderings  of  nature.  The  architecture  in 
3,  5  and  1  is  scenic,  not  constructive;  and  in  1,  2  and 
3  Southern,  not  Netherlandish.  \V.  H.  J.  W. 

EYCK,  Jan  van,  born  at  Maaseyck  after  1380, 
is  said  by  Van  Mander  to  have  been  about  twenty 
years  younger  than  his  brother  Hubert  ;  his  state- 
ment to  this  efi'ect,  however,  was  probably  only 
founded  on  their  two  portraits  on  one  of  the  side- 
panels  of  the  Glient  altar-piece.  In  these  portraits 
Hubert  looks  almost  an  old  man,  and  Jan  quite 
young.  The  Duchy  of  Limburg  seems  to  hare  had 
an  early  repute  as  a  seat  of  art,  and  one  Pol  van 
Limburg,  who  was  in  the  service  of  Jean  de 
Berri  from  1400  to  1416,  is  known  to  us  as  an 
excellent  iniuiatiirist.  According  to  tradition  the 
Van  Eycks  sprang  from  an  artistic  family,  but 
nothing  is  known  of  their  father.  It  is  probable 
that  it  was  while  Jan  was  living  with  his  brother 
that  the  new  method  of  oil-painting  was  invented, 


.Jiha/a^j'na/-.  pJinU^ 


JAN   VAN   EYCK 


Han/std«gl  pkota]  \.Be,-lin  Gallery 

MAN  WITH  A  PINK 


u 

> 

> 


PAINTERS  AND   ENGRAVERS. 


or  rather,  it  should  be  said,  tliat  the  unsatisfactory 
methods  of  oil-painting  pre\'iously  known  were 
brouglit  to  perfection  by  them.  It  is  difficult  to 
determine  exactly  in  what  the  Van  Eyck  discovery 
really  consisted,  for  it  is  certain  that  a  process  of 
mixing  oil  with  colour  was  known  at  a  much 
earlier  date.  It  was  even  described  by  the  monk 
Theophilus  in  his  treatise,  'tractatus  Lombardicus 
qualiter  temperantur  colores,'  written  in  the  11th 
centur}',  and  sculptured  reliefs  and  statues  were 
constantly  painted  with  oil-colours  in  the  Nether- 
lands long  before  the  15th  century.  But  the 
process  invented  by  the  Van  Eycks  must  evidently 
have  solved  some  liifticulty  that  had  hitherto  pre- 
vented the  successful  application  of  oil-colour  to 
panel-painting,  for  their  discovery  was  at  once 
eagerly  welcomed  by  artists,  and  the  greatest 
anxiety  evinced  by  the  painters  of  Italy,  as  well 
as  by  those  of  the  Netherlands,  to  learn  the  secret 
of  their  success.  Vasari  gives  a  grapliic  account 
of  the  manner  of  the  discovery,  whicli  in  his  first 
edition  he  attributes  solely  to  Jan,  the  name  of 
Hubert  not  being  then  known  to  him — he  just 
mentions  Hubert  in  the  next  edition  ;  other  early 
writers  agree  in  ascribing  the  discovery  to  both 
brothers,  Hubert  being  at  the  time  about  forty 
years  of  age,  and  Jan  about  twenty.  With  regard 
to  the  discovery  itself,  it  seems  to  have  consisted 
firstly  in  a  varnish  that  was  siccative  without 
being  dark,  and  secondly  in  a  liquid  and  colourless 
medium  that  could  be  mixed  with  the  colours,  and 
so  do  away  with  the  necessity  of  using  the  old 
coloured  viscous  varnisli. 

It  is  generally  said  tliat  Van  Eyck  was  in  the 
service  of  John  of  Bavaria,  prince  bishop  of  Li^ge; 
if  so,  after  1390  and  before  1418,  when  that  prince 
resigned  the  bishopric,  and  seized  the  country  of 
Holland ;  but  of  this  there  is  no  proof.  The  earliest 
mention  of  him  is  in  the  accounts  of  the  treasurers 
of  Holland,  which  show  that  he  was  engaged  in 
painting  at  the  palace  of  the  Hague  from  October 
25,  1422,  until  September  11,  1424.  John  of 
Bavaria  died  January  6,  1425,  and  on  the  19th  of 
May  following  Van  Eyck  entered  the  service  of 
Philip  duke  of  Burgundy  at  Bruges,  by  whom 
he  was  appointed  court  painter  and  "varlet  de 
chambre,"  with  a  salary  of  one  hundred  pounds 
per  annum,  and  all  the  "  honours,  prerogatives, 
franchises,  liberties,  rights,  profits,  and  emolu- 
ments thereunto  appertaining."  In  August  he 
removed  with  his  goods  and  chattels  to  Lille, 
where  he  was  no  doubt  employed  on  work  for 
the  chapel  of  the  duke's  castle  which  had  just  been 
restored.  He  took  up  his  abode  in  a  house  be- 
longing to  Michael  Ravary,  clerk  of  the  works  of 
the  castle,  where  he  resided  until  Midsummer  1428, 
except  when  absent  on  secret  journeys  undertaken 
at  the  duke's  bidding.  We  are  not  told  whither 
he  went,  but  for  the  two  first  he  was  paid  £91  5s., 
and  £360.  On  October  19, 1428,  he  sailed  for  Lisbon 
with  the  embassy  to  the  King  of  Portugal,  his 
mission  being  to  paint  the  Infanta  Isabella;  during 
his  absence,  besides  stopping  at  Sandwich  from 
October  20  to  November  13,  and  at  Falmouth  from 
November  20  to  December  2,  he  visited  Lisbon, 
Arrayollos,  Aviz,  Compostella,  Arjona  and  Cintra. 
It  is  probable  that  he  was  sent  on  other  journeys, 
of  which,  owing  to  the  destruction  of  the  accounts 
of  expenditure  during  several  years,  we  have  only 
mention  of  two  :  one,  to  Hesdin  in  1431  ;  the 
other,  a  secret  journey  to  foreign  parts,  for  the 
expenses  of  which  he  received  £360.    In  addition 


to  his  yearly  salary  he  also  received  considerable 
sums  as  gratuities.  One  of  these  was  probably 
connected  with  a  transaction  of  a  delicate  nature 
relative  to  a  lady  who  became  the  mother  of  one 
of  the  duke's  many  illegitimate  children.  In  1431 
John  bought  a  house  and  settled  in  Bruges.  On 
July  17  in  that  year  the  two  burgomasters  and 
some  other  members  of  the  town  council  went  to 
see  certain  of  his  works,  when  they  gave  his 
servants  a  gratuity  of  5s.g.  About  this  time  Van 
Eyck  took  to  himself  a  wife  ;  to  their  daughter 
Livina,  bornia  1434,  the  duke  stood  godfather,  and 
gave  her  as  a  present  six  silver  cups  weighing 
12  marks  which  cost  £96  l'2s.g.  In  1435  John 
polychromed  six  of  the  statues  adorning  the  front 
of  the  Town-house,  together  with  the  tabernacles 
in  which  they  stood ;  for  this  work  he  received 
£28  l'2s.g.  He  kept  his  office  of  Court  painter 
until  his  death,  which  took  place  at  Bruges  on 
July  9,  1440.  He  was  buried  in  the  churchyard 
of  Saint  Donatian,  but  bj'  request  of  his  brother 
Lambert,  on  March  21, 1442,  his  body  was  removed 
into  the  church  and  reinterred  in  the  baptistery. 
The  following  is  a  chronological  list  of  paintings' 
by  Jan  : 

1421,  October  30.  Enthronement  of  S.  Thoma.s  of  Can- 
terbury ;  entirely  overpainted.     C'hatsworth. 

1432.  Nicholas  Albergati,  Cardinal  of  Saiut  Cross. 
T^ienna. 

1432.  The  B.  Virgin  and  Child.    Ince  Hall. 

1432,  October  10.    Timotheus.    National  Gallery. 

1432,  October21.   Portrait  of  a  man.  National  Gallery. 

1434.  John  Arnolfini  and  wife.     National  Galhnj. 

1436.  The  B.  Virgin  and  Child,  S.  Donatian  and  Canon 
G.  de  Pala,  protected  by  S.  George.     Bruges. 

1436.  Jan  De  Leeuw,  goklsmitli.     T'ienita. 

1437.  S.  Barbara.     Antwerp. 

1439,  January  31.     Head  of  Christ.     Berlin. 
1439,  June  17.     Portrait  of  his  wife.     Bruges. 

1439.  The  Virgin  and  Child  by  a  fountain.     Antiverp. 

1440.  N.  de  Maelbeka,  Provost  of  S.  Martin's,  Ipres, 
kneeling  before  the  B.  Virgin  and  Child ;  ujtjinished. 
Kessel-Loo,  near  Louvain. 

The  Annunciation  {Saint  Petersburg),  the  B.  Virgin 
and  Child  enthroned  (Frankfort),  a  portrait  of  Bald- 
win de  Lannoy  (Berlin),  and  the  B.  Vir^'iu  and 
Cliild,  S.  Katherine,  the  donor  protected  by  S. 
Michael,  and  the  Annunciation  (Dresden),  are  also 
certainly  by  John. 

Port)  aits  of  a  man  wearing  a  tau  cross  and  hokling 
pinks  (Berlin),  and  of  Chancellor  Rolin  kneeUng 
before  the  Virgin  and  Child  (Paris),  are  attributed 
by  some  to  Jan,  by  others  to  Hubert. 

Crowe  and  Cav^lcaselle,  'The  Early  Flemish  Painters,' 
1872  ;  O.  Set  .-k,  '  Kriti.sche  Betrachtungen  liber  den 
Genter  Altar,'  1889 ;  L.  Kaemmerer,  'Hubert  und  .Jan 
van  Eyck,'  1890;  O.  Seeck,  '  Die  charakteristischen 
XJnterschiede  der  Briider  van  Eyck,'  1899 ;  Voll,  '  Die 
Werke  des  Jan  van  Eyck,'  1900.  The  above  are  the 
latest  volumes  on  the  Van  Eycks.  There  have  been 
articles  since  in  the  'Revue  de  I'Ai-t  Chri5tien,' 
'Zeitschrift  fiir  bildende  Kunst,'  'Nineteenth  Cen- 
tury,' '  Gazette  des  Beaux  Arts,'  and  'Athenaium.' 

V.H.J.W. 

EYCK,  Lambeet  van.  The  name  of  Lambert 
van  Eyck  occurs  in  the  accounts  of  the  Duke  of 
Burgundy  ;  he  was  a  brother  of  Hubert  and  Jan. 

EYCK,  Margaret  van.  It  is  known  that  the 
Van  Eyck  brothers  had  a  sister  nnmeil  Margaret, 
who  is  said  by  old  writers  to  have  been  an  excellent 
painter  ;  but  no  works  can  with  any  certamty  be 
assigned  to  her,  though  her  name  is  often  to  be 
met  with  in  catalogues.     She  died  before  Jan.  and 


A   BIOGRAPHICAL   DICTIONARY  OF 


was  buried,  like  her  brother  Hubert,  in  St.  Bavon 
at  Ghent. 

EYCK,NlC0LAAS  VAN,  who  was  born  at  Antwerp 
in  1627,  and  died  in  1677,  painted  cavalry  en- 
counters and  camp  scenes.  In  the  Vienna  Gallery 
is  a  picture  by  him  of  'Troops  quartered  in  a 
Village,'  and  in  the  Lille  Museum  is  an  equestrian 
portrait.  He  is  presumed  to  have  been  a  brother 
of  Gaspar  van  Eyck. 

EYCKEN,  Jean  Baptists  van,  a  Belgian  his- 
torical painter,  was  born  at  Brussels  in  1809,  and 
studied  under  Navez,  obtaining  the  first  prize 
at  the  Brussels  Academy  in  1835.  He  died  at 
Schaerbeek,  near  Brussels,  in  1853.  Amongst  his 
works  are  the  following : 

Abundance.     (In  the  possession  of  the  Queen.) 

St.  Sebastian. 

The  Crown  of  Thorns. 

Parmegiano  at  the  Sacking  of  Rome.     (Brussels  Mio- 

seum.) 
Descent  from  the  Cross.     (Brussels  Museum.) 
Tobit  restoring  his  Father's  Sight. 
St.  Cecilia. 

EYCKENS.     See  Ykens. 

EYDEN,  Jeremias  van  der.  See  Van  der 
Etden. 
EYK,  Abraham  van  der.  See  Van  der  Etk. 
EYNDEN,  Frans  van,  born  at  Nymegen  in 
1694,  studied  under  Elias  van  Nymegen  at  Rotter- 
dam. Aided  by  the  counsels  of  Chevalier  Van  der 
Werf,  he  painted  Arcadian  scenes,  which  he  exe- 
cuted in  the  manner  of  Jan  van  Huysum,  but  not 
with  equal  perfection.  His  skies  and  distances  are 
serene  and  delicate,  and  the  clouds  illumined  by 
the  sun  are  pleasingly  reflected  in  the  waters.  His 
scenes  are  skilfully  varied,  and  the  different  kinds 
of  trees  characterized  with  a  neat  and  masterly 
touch  ;  his  figures  also  are  well  painted,  and  dis- 
posed with  judgment.  He  seldom  signed  his  pic- 
tures, unless  required  to  do  so  by  the  purchaser. 
He  died  at  Nymegen  in  1742. 

EYNDEN,  Jacobds  van,  a  nephew  of  Frans  van 
Eynden,  born  at  Nymegen  in  1733,  studied  art 
under  his  father,  and  painted  principally  water- 
colour  pictures  of  flowers,  fruit,  animals,  and 
views  of  towns.  He,  however,  devoted  a  large 
portion  of  his  time  to  science.  He  died  at 
Nymegen  in  1824. 

EYNDEN,  RoELAND  van,  the  younger  brother  of 
Jacobus  van  Eynden,  was  bom  at  Nymegen  in 
1747,  and  died  at  Dordrecht  in  1819.  Like  his 
brother  he  devoted  but  a  portion  of  his  time  to 
painting,  and  is  principally  known  by  his  works 
on  art  and  artists,  of  which  the  most  important  is 
the  '  Geschiedenis  der  Vaderlandsche  Schilder- 
kunst,'  written  in  conjuncrion  with  Van  der 
Willigen,  and  published  in  1816-1842. 

EYNHOUDTS,  Remoldds,  or  Romeout,  a  Flemish 
painter  and  engraver,  was  born  at  Antwerp  in  1605, 
and  died  there  in  1679.  He  was  a  pupil  of  Adam 
van  Oort,  and  painted  portraits ;  but  he  is  better 
known  as  an  engraver.  He  executed  several  plates 
after  Rubens,  CorneUs  Schut,  and  other  painters  of 
the  Flemish  school;  and  some  of  the  prints  for 
the  Teniers  Gallery.  They  are  engraved  in  a  slight, 
dark  style ;  and  his  drawing,  though  not  very  cor- 
rect, is  bold  and  masterly.  Among  other  prints  by 
him  are  the  following  ; 

bDBJECTS   AFTER   RUBENS. 
The  Adoration  of  the  Magi. 
The  Resurrection. 
138 


The  Virgin  and  Child,  with  St.  Bonaventnre  and  Enbene 

as  St.  George. 
St.  Gregory,  surrounded  with  emblematical  figures. 
The  Four  Doctors  of  the  Church,  with  St.  Clara  holding 

the  Sacrament. 
St.  Christopher. 

The  Virgin  with  the  Infant  Christ,  seated  in  a  bower. 
St.  Peter  and  St.  Paul. 
The  Judgment  of  Cambyses. 
Peace  and  Prosperity. 

SUBJECTS   AFTER   VARIOn.S    MASTERS. 
The  Assumption  of  the  Virgin ;  after  CorneUs  Sehut. 
The  Trinity  ;  after  the  same. 
The  Martyrdom  of  St.  George  ;  after  the  same. 
St.  Anne  ;  after  the  same. 
The  Risen  Saviour ;  after  the  elder  Palma. 
St  John  the  Baptist ;  after  the  same. 
The  Dead  Christ ;  after  the  younger  Palma. 
The  Ascension ;  after  the  same. 

EYRE,  James,  a  landscape  painter,  was  bom  at 
Derby  in  1802.  and  received  instruction  from 
Creswick  and  De  Wint.     He  died  in  1829. 

EZPELETA,  — ,  a  painter  of  Aragon,  who  ex- 
celled in  miniatures  and  illumination,  was  born  at 
Alagon,  and  died,  aged  60,  about  the  middle  of  the 
16th  century,  at  Saragossa,  where  he  illuminated 
with  great  delicacy  many  choir-books  for  the 
cathedral. 

EZQUERRA,  Geeonimo  Antonio  de,  who  was 
a  scholar  of  Antonio  Palomino,  flourished  in  the 
eariy  years  of  the  18th  century.  A  specimen  of 
his  skill  in  landscape  is  in  the  Madrid  Gallery; 
it  represents  '  Neptune  with  Tritons  and  Nereids,' 
on  a  wooded  sea-shore.  He  produced  a  series  of 
Saints  for  the  church  of  San  Felipe  Neri  at  Madrid, 
and  various  works  for  the  palace  of  Buenretiro. 


F 


FABER,  Frederic  Theodore,  a  Belgian  land- 
scape and  genre  painter,  born  at  Brussels  in  1782, 
was  first  instructed  by  his  father,  but  in  1799  he 
went  to  Antwerp,  and  studied  under  Ommeganck. 
He  afterwards  established  at  Brussels  a  china 
manufactory,  and  abandoned  painting  on  canvas 
for  painting  on  porcelain.  He  also  etched  upwards 
of  a  hundred  plates  of  landscapes  and  animals, 
some  after  his  own  designs,  and  others  after  Om- 
meganck, De  Roy,  and  Van  Assche.  He  died  in 
1844. 

FABER,  JoHAN,  the  elder,  was  one  of  the  first 
artists  who  worked  in  mezzotint.  He  was  born 
at  the  Hague  about  the  year  1660,  and  came  to 
London  about  1687,  where  he  executed  a  consider- 
able number  of  plates  after  his  own  designs.  He 
died  at  Bristol  in  1721.  The  following  are  his  best 
works : 

The  Portraits  of  the  Founders  of  Colleges  at  Oxford 

and  Cambridge. 
The  Heads  of  the  Philosophers  ;  after  Ptibens. 
Dr.  John  Wallis,  the  mathematician  ;  after  Kneller, 
Humphrey  Lloyd,  of  Denbigh,  antiquary.     1717. 

FABER,  JoHAN,  the  younger,  who  was  bom 
in  Holland  in  1684,  was  instructed  by  his  father, 
Johan  Faber  the  elder,  and  by  J.  van  der  Banck. 
He  greatly  surpassed  his  father  as  a  mezzotint 
engraver,  and  was  esteemed  the  ablest  artist  of  his 
time  in  that  branch  of  art,  after  John  Smith.  He 
died  in  London  in  1756.  Among  his  165  plates, 
which  are  executed  in  a  bold  and  free  manner, 
there  are . 


JOHAN   FABER  THE   ELDER 


III  Indian  ink  anj pencil]  [De  Pass  Collection 

DRAWING  OF  JAMES  I. 


PAINTERS  AND  ENGRAVERS. 


The  Beauties  of  Hampton  Court ;  after  Kneller. 

The  Forty-eight  Portraits  of  the  Members  of  the  Kit- 

Cat  Club  ;  after  the  same. 
Charles  II.  in  his  robes,  seated  ;  after  Lely.     1750. 
Edmund  HaUey  ;  after  Murray.     1722. 
A  Man  playing  the  Guitar  ;  after  F.  Hals.     1754. 
Ignatius  Loyola  ;  after  Titian.     1756. 
The  Children  of    Frederick,  Prince  of   Wales;    after 

Du  Pan. 
Caroline,  Queen  of  George  II. ;  after  J.  van  der  Banck. 
Sir  Isaac  Newton  ;  after  the  same.     1726. 
Michael  Rysbrack,  sculptor  ;  after  the  same. 
Enoch  Seeman,  painter  ;  after  the  same. 
George  Ijambert,  landscape  painter ;  after  the  same. 

FABER,  JoHANN,  a  landscape  painter,  was  born 
at  Hamburg  in  1778,  and  died  in  the  same  city  in 
1846.  He  worked  originally  at  historical  subjects, 
and  painted  the  altar-piece,  '  Suffer  Little  Children 
to  come  unto  Me,'  for  St.  Catharine's  Church  at 
Hamburg.  On  his  journey  to  Italy  in  company 
with  J.  A.  Koch  and  Reinhardt,  lie  was  induced  to 
adopt  landscape  painting,  in  which  line  he  is  best 
known.  The  Berlin  Gallery  contains  a  '  View  of 
the  Capuchin  Monastery,  near  Naples,'  by  him 
(1830). 

FABER,  JoHANN  Theodor  Eusebius,  a  landscape 
painter,  was  bora  at  Gottleube  in  1772,  and  died 
at  Dresden  in  1852.  There  are  two  landscapes  by 
him  in  the  Dresden  Gallery,  one  in  the  Harz 
mountains,  and  the  other  in  the  Tyrol. 

FABER,  Pierre,  a  French  engraver,  who  resided 
at  Lyons  about  the  year  1621.  He  was  chiefly 
employed  by  the  booksellers,  for  whom  he  engraved 
several  plates,  in  a  neat  style,  but  without  much 

FABER  DU  FAUR,  Christian  Wilhelm  von, 
a  German  painter,  was  born  at  Stuttgart  in  1780. 
He  first  devoted  himself  to  painting,  but  subse- 
quently became  a  soldier,  and  as  a  lieutenant 
served  in  the  Russian  campaign,  which  he  after- 
wards illustrated  by  his  sketches  in  a  work  en- 
titled, '  Blatter  aus  meinem  Portefeuille  im  Laufe 
des  Feldzugs  1812,'  published  in  1831-44.  His 
most  noteworthy  paintings  are,  '  The  Passage  of 
the  Beresina,'  a  work  of  great  merit,  and  '  The 
Coffee-House  at  Wilna.'  He  died  at  Stuttgart  in 
1857. 

FABER  DU  FAUR,  Otto,  di-stinguished  German 
painter  of  battle-scenes,  was  born  at  Ludwigsbiirg, 
in  1828,  his  father  being  a  general  in  the  Wiirtem- 
berg  army  with  considerable  artistic  talent.  This 
the  son  inherited  to  the  full,  and  after  a  brief  term 
of  service,  resigned  his  commission  in  order  to 
devote  himself  entirely  to  art.  He  studied  at  first 
with  Max  de  Kotzebue  in  Munich,  and  subse- 
quently in  Paris  with  Yoon,  completing  his  train- 
ing with  Piloty,  the  famous  historical  painter. 
He  was  soon  destined  to  take  a  foremost  place 
among  German  artists.  At  the  outset  he  took 
Piloty  as  his  pattern,  and  produced  historical 
pictures  such  as  the  'Departure  of  Frederick  V. 
from  Prague,'  but  soon  felt  the  fascination  of 
scenes  from  the  career  of  the  great  Napoleon. 
The  retreat  from  Russia  provided  him  with  numer- 
ous episodes  for  historical  treatment ;  an  interest- 
ing example  in  water-colour  is  now  in  the  Luxem- 
bourg, representing  'The  Passage  of  the  Beresina.' 
The  Franco-German  war  of  1870  also  furnished 
him  with  subjects  ;  and  his  '  Battle  of  Champigny,' 
'  Battle  of  Woerth '  (at  Hamburg),  and  above  all 
his  'Ambulance  behind  a  Barricade'  may  rank 
among  his  best  and  most  representative  work. 
The  charm  of  the  East  was  not  lost  upon  Faber 


du  Faur,  who,  as  the  result  of  his  travels  in  Spain 
and  Morocco,  brought  back  with  him  many  vigorous 
sketches  of  Oriental  life,  a  curious  example  of 
which  was  exhibited  at  the  Salon  in  1899,  entitled 
'La  Razzia.'  His  death  occurred  at  Munich  on 
August  17,  1901.  p.p. 

H'ABIO,  Pio,  a  painter  of  Udine,  studied  at 
Rome,  and  in  1678  became  a  member  of  the 
Academy  of  St.  Luke.  He  afterwards  returned  to 
his  native  place,  where  he  painted  several  altar- 
pieces. 

FABIUS,  called  Pictor,  a  Roman  artist,  de- 
scended from  the  celebrated  family  of  the  Fabii, 
painted  principally  at  Rome,  and  in  B.C.  304 
decorated  the  Temple  of  Salus  on  the  Qnirinal 
Hill,  with  a  representation  probably  of  the  battle 
gained  by  Bubulus  over  the  Samnites.  His  paint- 
ings were  preserved  until  the  reign  of  the  Emperor 
Claudius,  when  the  above  temple  was  destroyed 
by  fire.  They  were  probably  held  in  little  estima- 
tion, as  Pliny,  to  whom  they  must  have  been  known, 
neither  acquaints  us  with  the  subjects,  nor  com- 
mends the  execution.  The  art  of  painting  in  its 
rude  and  early  forms  was  general  in  Italy,  but  was 
founded  on  the  Etruscan  style,  which  never  ad- 
vanced beyond  a  flat  polychromatic  treatment.  In 
the  fine  arts  Rome  owes  all  to  Greece,  and  in  paint- 
ing never  acquired  the  individuality  which  she  did 
in  the  other  arts.  That  painting  was  then  little 
respected  by  the  Romans,  and  that  the  title  of 
'  pictor '  was  not  considered  as  an  honourable  dis- 
tinction, but  rather  intended  to  stigmatize  the 
illustrious  character  who  had  degraded  his  dignity 
by  the  practice  of  an  art  which  was  held  in  no 
consideration,  may  be  inferred  from  a  passage  of 
Cicero,  in  the  first  book  of  his  '  Tusculan  Disputa- 
tions ' :  "  An  censemus  si  Fabio  nobilissimo  homini 
laudatum  esset  quod  pingeret,  non  multos  etiam 
apud  nos  Polycletos  et  Parrhasios  fuisse."  No 
tradition  of  Roman  painting  exists  earlier  than  the 
time  of  Fabius,  nor  does  his  example  appear  to  have 
been  followed  by  any  of  his  contemporaries ;  for 
an  interval  of  nearly  a  hundred  and  fifty  years 
occurs  before  any  mention  is  made  of  another 
Roman  painter. 

FABRE,  Francois  Xavier,  a  French  painter  ot 
historical  subjects,  portraits,  and  landscapes,  was 
born  at  Montpellier  in  1766.  He  studied  under 
Jean  Coustou  and  under  David,  and  obtained  the 
'  grand  prix  '  in  1787.  He  was  at  Rome  in  1793, 
and  afterwards  went  to  Naples  and  to  Florence, 
where  he  resided  for  some  j'ears,  becoming  a 
professor  in  the  academy,  and  marrying  secretly 
(it  is  said)  the  Countess  of  Albany,  after  the  death 
of  Alfieri.  He  returned,  to  Montpellier  in  1826, 
and  there  founded  the  Ecole  des  Beaux-Arts,  of 
which  he  became  director.  He  was  created  a 
baron  in  1830.  He  died  in  1837  at  Montpellier, 
bequeathing  to  that  city  the  collections  of  pictures, 
engravings,  cameos,  and  books  which  form  the 
Museum  which  bears  his  name.  Amongst  his  chief 
works  are : 

Philoctetes  at  Lemnos. 

Saul  pursued  by  the  Shade  of  Samuel. 

The  Judgment  of  Paris. 

The  Death  of  Milo. 

Portrait  of  Alfieri.     (ZTffizi,  Florence.) 

Portrait  of  the  Countess  of  Albany.     ( Uffizi,  Florence.) 

Neoptolemus  and  Ulysses  taking  from  Philoctetes  the 

arrows  of  Hercules.     (Louvre.) 
The  Death  of  Abel.     (Musee  Fabre,  Montpellier.) 
The  Holy  Family.     {Musee  Fabre,  Montpellier.) 
The  Death  of  Narcissus.     {Musee  Fabre,  Montpellier.) 

139 


A   BIOGRAPHICAL   DICTIONARY  OF 


The  Family  of  the  Kings  of  Etruria,  Dukes  of  Parma. 
1804.     (Madrid  GaUirry.) 

FABRE,  Pierre,  an  engraver,  was  a  native  of 
Lyons,  where  he  worked  about  1620.  He  executed 
the  engravings  for  some  works  published  at  Lyons, 
representing  the  decorations  erected  in  that  city 
for  the  reception  of  Louis  XIII.  in  1622. 

FABRI,  Aloisio,  an  engraver,  was  born  at 
Rome  in  1778,  and  died  there  in  1835.  Amongst 
his  many  works  may  be  mentioned  four  plates  after 
Raphael's  frescoes  in  the  Vatican,  in  continuation 
of  a  set  of  engravings  commenced  by  Volpato 
and  Morghen,  '  Constantine  presenting  Rome  to 
the  Pope,'  '  The  Oath  of  Leo  III.,'  '  The  Coronation 
of  Charlemagne,'  and  '  Charlemagne's  Victory  over 
the  Saracens';  and  eleven  plates  after  the  paintings 
of  Michelangelo  in  the  Sistine  Chapel,  in  continua- 
tion of  a  set  of  engravings  commenced  by  Cunego : 
these  represent  '  David  and  Goliath,'  the  '  Brazen 
Serpent,"  Judith  and  Holophernes,'  the  prophets 
Isaiah,  Daniel,  Jonah,  and  Zachariah,  and  the 
Cumsan,  Delphic,  Libyan,  and  Persian  Sibyls 
He  also  engraved  'The  Magi,'  after  Andrea  del 
Sarto. 

FABRI,  Giovanni,  an  Italian  engraver,  who 
worked  at  Bologna  in  the  middle  of  the  18th 
century,  and  died  probably  about  1790,  executed 
some  plates  in  a  neat  but  formal  style,  among 
which  are  : 

St.  Mary  Magdalen  ;  after  Pasinelli. 
Virgin  and  Child  ;  after  Guido  Eeni. 
St.  Jerome  ;  after  Carracci. 

FABRIANO,  Allegretto  (or  Gritto)  da.  See 
Nnzi. 

FABRIANO,  Antonio  da,  flourished  in  the  15th 
century,  but  the  dates  of  his  birth  and  death  are 
alike  uncertain.  A  '  Coronation  of  the  Virgin '  in 
the  Casa  Morichi  is  attributed  to  him  ;  and  also  a 
'St.  Jerome,'  with  the  date  1451,  in  the  Fomari 
Gallery  at  Fabriano.  He  was  a  feeble  assistant  of 
Gentile  da  Fabriano. 

FABRIANO,  Francesco  di  Gentile  da.  It  is 
uncertain  whether  this  artist  was  the  son  or  merely 
pupil  of  Gentile.  He  lived  in  the  15th  century,  and 
his  paintings  are  of  no  very  great  merit.  The  fol- 
lowing works  by  him  may,  however,  be  mentioned  : 
Fermo.  iS.  Domenico.  Ave  Maria. 
Kome.  J'aiican.     The  Virgin  and  Child. 

FABRIANO,  Gentile  da.    See  Massi,  Gentile. 

FABKIQUE,  Nicolas  la.     See  La  FABBiQnE. 

FABRITIUS,  Bernhard,  a  Dutch  portrait 
painter,  who  flourished  from  about  1650  to  1672, 
was  a  disciple  of  Rembrandt,  whose  eminence 
he  sometimes  almost  reached.  His  paintings, 
however,  are  not  all  executed  with  the  same  care, 
some  of  them  being  faulty  in  drawing  and  colour- 
ing, whilst  others  are  bold  and  broad  in  style.  The 
following  works  may  be  noted  : 

Brunswick.       Gallery.     St.  Peter  in  the  house  of  Cor- 
nelius.    1659. 
Brussels.        Camber!yn\„   ,.  ,,       ,„,„ 
Collection.\^°^^^^-    1658. 
„  „  Joan  of  Arc,     1657. 

Copenhagen.    Gallery.    The  Presentation  in  the  Temple. 

1668. 
VnrMoTt.  Stddel  Inst.     Portrait  of  a  Young  Man.     1650. 
„  „  The  Birth  of  St.  John  the  Baptist. 

1669. 
Vienna.  Academy.    Head  of  a  Man. 

FABRITIUS,  Karel,  a  Dutch  painter,  bom  at 
Delft  about  1624,  was  a  pupil  of  Rembrandt.  He 
painted  portraits  and  perspective  views,  and  had 

140 


acquired  considerable  reputation,  when  he  was 
killed  by  the  blowing  up  of  the  powder  magazine 
at  Delft  in  1654.  A  fine  '  Head  of  a  Man,'  by  him, 
in  the  Rotterdam  Museum,  was  for  a  long  time 
ascribed  to  Rembrandt.  Fabritius  was  the  in- 
structor of  Jan  ver  Meer  of  Delft.  Besides  the 
above  work  by  him  there  are  : 

Amsterdam.     Museum.    Herodias  with  the  Head  of  St. 
John  the  Baptist.     {Asmbed 
in  the  catalogue  to  Drost.) 
Berlin.  Gallery.    Head  of  a  Man. 

Cologne.  Wallraf-  "i 

Richartz  VA  Portrait. 
Museum,  j 

FABRITIUS,  Kilian,  was  a  German  landscape 
painter,  who  from  1633  to  1680  worked  at  the 
court  of  the  Elector  John  George  II.  of  Saxony. 
Many  of  his  paintings  are  to  be  met  with  at 
Darmstadt,  where  there  is  in  the  Museum  a  Land- 
scape by  him.  At  Stockholm  there  is  '  The  Expul- 
sion of  Hagar,'  painted  in  1650 ;  and  in  the  Vienna 
Gallery  is  a  '  Pastoral  Landscape.'  The  following 
etchings,  which  are  very  rare,  are  also  by  him : 

Christ  at  the  House  of  Nieodemus. 

The  Holy  Family.     1633. 

A  Hunting  Scene,  with  the  Elector  John  George  II. 

FABRIZZI,  Antonio  Maria,  was  born  at  Perugia 
in  1594.  He  went  to  Rome  when  he  was  very 
young ;  and  is  said  by  Pascoli  to  have  commenced 
his  studies  under  Annibale  Carracci,  of  whose  in- 
struction he  was  deprived  by  the  death  of  that  great 
master,  when  he  was  only  fifteen  years  of  age  ;  and 
it  does  not  appear  that  he  sought  the  aid  of  any 
other  instructor.  His  works  evince  ingenuity  in 
composition,  and  great  freedom  of  hand.  He  died 
at  Perugia  in  1649. 

FABULLUS.     See  Amulius. 

FACCENDA,  Francesco,  who  worked  at  Perugia 
from  1760  to  1770,  executed  the  plates  of  emblems 
for  the  edition  of  Cesare  Ripa's  'Iconologia,' 
published  at  Perugia  in  1764-67. 

FACCHETTI,  Pietro,  a  painter  and  engraver, 
born  at  Mantua  in  1535,  was  instructed  by  Girolamo 
and  Ippolito  Costa.  He  visited  Rome  in  the  pontifi- 
cate of  Gregory  XIII.,  and  died  in  that  city  in  1613. 
Although  his  first  essays  in  historical  painting  were 
not  without  merit,  he  abandoned  that  line  for  the 
painting  of  portraits ;  and  his  portraits  of  some  of 
the  nobility  were  so  much  admired,  that  there  was 
scarcely  a  person  of  distinction  at  Rome,  of  either 
sex,  whose  likeness  he  did  not  paint.  His  pictures 
had  not  only  the  merit  of  perfect  resemblance,  but 
were  designed  in  a  grand  style,  and  admirably 
coloured.  Facchetti  was  also  an  engraver,  and 
there  are  two  etchings  by  him,  which  are  distin- 
guished for  their  skilful  and  pure  design  ;  they 
represent  a  '  Holy  Family '  after  Raphael,  and 
'  Christ  bearing  the  Cross.' 

FACCHINETTI,  Giuseppe,  a  native  of  Ferrara, 
flourished  in  the  18th  century.  He  was  instructed 
by  A.  F.  Ferrari,  and  was  one  of  the  pupils  who 
chiefly  helped  to  build  up  the  name  of  the  school 
to  which  he  belonged.  He  painted  in  a  vigorous 
and  yet_  tender  style,  and  achieved  most  of  his 
success  in  historical,  architectural,  and  perspective 
paintings.  His  works  are  to  be  found  in  Santa 
Caterina  da  Siena  at  Ferrara,  and  in  other  churches 
in  that  neighbourhood. 

FACCI,  Francesco,  a  painter  of  Verona,  was  a 
pupil  of  F.  Ricci.     He  died  in  1621. 

FACCINI,  Bartolommeo,  a  native  of  Ferrara, 
painted  portraits  and  architectural   pieces   in   the 


THOMAS   FAED 


Mansell j/i  /-  j 


[r.ife  Gallery,  Luiui^>?i 


FAULTS  ON  BOTH  SIDES 


PAINTERS  AND  ENGRAVERS. 


style  of  Girolamo  da  Carpi.  He  was  killed  by 
falling  from  a  scafEold  in  1577.  There  is  a  picture 
attributed  to  this  artist  in  the  Museum  at  Lille : 
it  represents  the  '  Martyrdom  of  St.  Agnes.'  In 
many  of  his  works  he  was  assisted  by  his  brother, 
Girolamo  Faccini. 

FACCINI,  PiETRO,  (or  Pacini,)  was  born  at 
Bologna  in  1560.  He  did  not  display  any  genius, 
or  disposition  for  art,  until  he  had  arrived  at  the 
age  of  maturity  ;  and  it  is  told  by  Malvasia,  that 
being  in  the  habit  of  visiting  the  academy  of  the 
Carracci,  though  not  for  the  purpose  of  study,  one 
of  the  pupils  drew  a  caricature  of  him,  which 
excited  the  mirth  and  ridicule  of  his  fellow- 
students.  On  the  drawing  being  shown  to  Faccini, 
he  took  a  piece  of  charcoal,  and,  without  any  pre- 
vious instruction  or  practice,  sketched  a  satirical 
likeness  of  the  person  who  had  ridiculed  him, 
which  astonished  every  one  present,  particularly 
Annibale  Carracci,  who  persuaded  him  to  study 
art,  and  took  him  under  his  particular  tuition.  His 
assiduity  was  so  great  that  he  practised  drawing 
from  the  skeleton  at  night,  and  it  is  related  that 
on  one  of  these  occasions  Annibale,  for  a  prac- 
tical joke,  slily  pulled  the  cord  and  caused  the 
skeleton  to  move,  which  so  offended  Faccini  that 
he  left  their  school.  He  met  immediately  with 
employment  and  applause  from  the  public,  and 
even  established  an  academy  in  opposition  to 
that  of  the  Carracci,  which  for  a  short  time  was 
respectably  frequented.  The  delusion  did  not, 
however,  last  long  :  it  was  soon  discovered  that 
Faccini's  design  was  neither  correct  nor  tasteful, 
that  his  figures  were  uncouth  and  disproportioned, 
and  the  character  of  his  heads  without  expression 
or  beauty.  His  colouring  was  admirable,  resembling 
the  freshness  of  Tintoretto,  and  this  caused  Anni- 
bale to  declare,  on  seeing  his  picture  of  the  '  Mar- 
tyrdom of  St.  Lawrence,'  in  San  Giovanni  in  Monte, 
that  in  his  carnations  he  seemed  to  have  worked 
human  flesh  into  his  colours.  He  died  in  1C02. 
The  principal  works  of  Faccini  are  : 

Bologna.       Finacoieca.     The  Marri.ige  of  St.  Catharine. 
„  „  The  Guardi.-m  Saints  of  Bologna. 

„  .,  The  Virgin  and  Child. 

"  ■  jir.„/.      (The  Martyrdom  of  St.  Lawrence. 

„  S.  Domenico.  The    Virgin    appearing    to    St. 
Francis. 

„  *?.  Taolo.  The  Crucifixion  of  St.  Andrew. 

„  <S.  Mattia.  The  Adoration  of  the  Magi. 

Dresden.  Gallery.  The  Marriage  of  St.  Catharine. 

„  „  The  Virgin  and  Child  with  Saints. 

Modena.  Estense  Gall.  Study  of  a.  Man. 

He  etched   also  some   plates,  which  are  signed 

with  the  annexed  monogram   atti  .^ 
St.  Francis  of  Assiei. 

Two  Blind  Beggars  ;  after  Annibale  Carracci. 
A  Boy  in  a  Chimney  Corner. 
A  Dog  in  a  landscape. 

FACHEEIS,  Agostino,  a  painter  of  Bergamo,  is 
noticed  by  Tassi  in  his  '  Lives  of  the  Bergamese 
Painters,'  where  he  describes  a  picture  by  him  in 
the  Church  of  the  Trinity  at  Borgo  Sant'  Antonio, 
representing  '  St.  Augustine  with  two  Angels,'  and 
dated  1528. 

PACINI,  PiETEO.     See  Faccini. 

FACIUS,  Geoeg  Sigmund  and  Johann  Gott- 
lieb, who  were  brothers  and  engravers,  were  born 
at  Ratisbon,  about  1750.  Both  studied  at  Brussels, 
where  their  father  held  the  office  of  Russian  consul. 
In  the  year  1776  they  proceeded  to  London,  in  order 


to  work  for  Alderman  Boydell,  and  for  whom  they 
completed  a  great  number  of  plates.  They  worked 
chiefly  as  etchers,  and  the  impressions  from  their 
plates  are  either  black  or  brown,  or  in  colours. 
Tliey  were  both  living  in  1802.  Among  their  best 
works  are: 

Benjamin  West  and  his  Family  ;  after  West.    1777. 
Apollo  and  the  Muses ;  after  C.  Maratti.     1784. 
Apollo  with  the  Muses  on  Parnassus  ;  after  L.  Gutten- 

hrunn.     1794. 
Hector  and  Paris  ;  after  Ancielica  Kavfmann. 
Abraham  entertaining  the  three  Angels  ;  after  Murillo. 
The  Young  BuU  ;  after  Paulas  Potter. 

FACKLER,  Joseph,  born  at  Salzburg  in  1698, 
painted  a  picture  of  '  St.  Rupert,'  in  the  church  of 
St.  Peter  in  his  native  city.     He  died  in  1745. 

FACTOR,  Pedko  Nicolas,  a  Spanish  painter, 
was  born  at  Valencia  in  1520.  The  early  part 
of  his  life  was  devoted  to  study,  and  he  is 
said  to  have  distinguished  himself  as  a  poet  as 
well  as  a  painter.  In  1537  he  entered  the  Fran- 
ciscan monastery  of  Santa  Maria  de  Jesus,  where 
he  painted  many  of  his  pictures,  the  best  of  which 
is  said  to  have  been  '  St.  Michael  triumphing  over 
Lucifer.'  None  of  his  works  are  known  to  exist, 
but  Cean  Bermudez  says  that  they  displayed  con- 
siderable skill  in  drawing,  although  somewhat  poor 
in  colouring.  He  also  painted  miniatures  for  the 
choir-books  of  his  convent.  Factor  died  at  Valen- 
cia in  1683,  and  in  1786  was  declared  by  Pope 
Pius  VI.  a  "  beato,"  or  saint  of  the  second  order. 
Spain  has  produced  many  devout  artists,  but  to 
Factor  alone  have  the  honours  of  canonization  been 
accorded. 

FADING,  IL.     See  Aleni. 

FAED,  John,  was  born  at  Hurley  Mill,  Kirkcud- 
bright, in  1820.  His  bent  was  early  shown,  and 
the  self-taught  boy  of  twelve  practised  as  a 
miniaturist  until  he  went  to  Edinburgh  in  1841. 
There  he  soon  achieved  great  success  in  miniature 
painting.  From  1841  he  regularly  exhibited  at 
the  Royal  Scottish  Academy,  gradually  aliandoning 
miniature  for  genre  subjects.  In  1847  he  was 
elected  A.R.S.A.,  and  in  1851  became  full  Academi- 
cian. He  removed  to  London  in  1862,  residing 
there  for  eighteen  years,  and  exhibiting  at  the 
Royal  Academy.  Then  he  retired  to  his  native 
place,  and  died  at  Gatehouse  in  1902.  Thomas 
Faed,  the  well-known  Scottish  Academician,  and 
James  Faed,  the  line-engraver,  were  his  younger 
brothers.  For  subjects  he  went  to  the  Bible  and 
Shakespeare,  and  especially  to  Scottish  history, 
poetry,  and  romance.  Among  his  best  pictures 
are  '  The  Cottar's  Saturday  Night,'  '  Olivia  and 
Viola,' '  Catherine  Ley  ton,' '  John  Anderson  my  Jo,' 
'Auld  Mare  Maggie,'  'Annie's  Tryst,'  and  'The 
Poet's  Dream.'  These  last  two  hang  in  the  Scottish 
National  Gallery.  He  was  a  good  draughtsman, 
and  had  much  command  of  pathos  and  humour, 
but  was  somewhat  deficient  in  sense  of  colour,  and 
his  pictures  often  lack  coherence  and  atmosphere. 
His  careful  and  precise  finish  throughout  showed 
the  influence  of  miniature. 

FAED,  THOMAS,  was  born  on  June  8,  1826,  at 
Gatehouse  of  Fleet,  in  Kirkcudbright,  Scotland, 
and  was  the  son  of  a  millwright.  The  village 
where  he  lived  was  a  very  small  one,  Burley 
Mill,  in  which  the  lad  was  born,  being  the  only 
important  house  in  it,  the  rest  being  very  small 
cottages.  His  parents  were  poor  but  very  hard- 
working people,  very  fond  of  reading,  and  of  a 
degree  of  culture  above  that  of  their  neighbours. 

141 


A   BIOGRAPHICAL  DICTIONARY  OF 


Aq  uncle  of  the  lad  had  been  an  engraver,  and 
many  of  his  productions  hung  in  the  mill-house, 
and   were   very  attractive   to   the   boy  from    liis 
earliest  days.     There  was  one  elder  brother  who, 
like  Thomas,  was  of  an  artistic  temperament,  and 
he  left  home  early  for  Edinburgh  to  take  lessons 
in  the  art  which  he  loved.     On  the  death  of  their 
father  he  recommended  Thomas,  who  from  tlie  lirst 
days  of  boyhood  had  been  devoted  to  sketching, 
and  had  neglected  all  other  lessons  and  occupa- 
tions for  the  practice  of  drawing,  to  come  up  to 
Edinburgh  and  join  him  in  his  humble  lodgings, 
and  thither  Thomas  Faed  made  his  way.     He  got 
into   the  Art   School   at  the   age   of  fifteen,  and 
amongst  his  fellow-students  was  Orchardson.     He 
commenced  very  quickly  in   the  special   field  of 
work  which  he  so  particularly  made  his  own,  that 
of  representing  scenes   of  pathos  and   character 
taken   from  the  life  of  the  Scotch  peasant,  but 
although    he   gained   admission   to    the   Scottish 
Academy  as  Associate  at  the  age  of  twenty-three, 
he  was  not  satisfied  with   the  small   measure  of 
success  which  his  labours  realized,  and  determined 
to  seek  wider  fields  of  action  in   London.      He 
came  up  in  1852,  and  in  1855  exhibited  at  Trafalgar 
Square  the  first  of  his  important  pictures,  called 
'  The  Mitherless  Bairn.'     From  that  moment  the 
artist  never  looked  back,  and,  what  was  of  peculiar 
interest,  never  rejected  the  class  of  subject  which 
had   brought   him   his   first   renown,  and   to   the 
end   of  his   life  was   faithful   to   the   delineation 
of  simple  homely  Scotch  life  witli  all  its  mingled 
pathos,  dry  humour,  and  with  all  the  force  of  its 
somewhat  melancholy  characteristics  represented 
with  unbending  truth  and  realism.     Some  of  his 
notable  works  may  be  mentioned :  '  Only  Herself,' 
'A  Wee  Bit  Fractious,'  'From  Hand  to  Mouth,' 
'  His  Only  Pair,' '  From  Dawn  to  Sunset,' '  Evange- 
line,' '  Worn  Out,' '  The  First  Break  in  the  Family,' 
'  Lucy's  Flittin',' '  The  School  Board  in  the  Cottage,' 
'  In  Time  of  War,'  and  most  notable  perhaps  of  all, 
the  picture  now  in  the  Tate  Gallery  called  '  Faults 
on  Both  Sides,'  in  which  the  artist  has  with  rare 
sense  for  beauty  painted  the  face  of  the  woman  full 
of  dehcate  refinement  and  wonderful  grace,  and 
represented  the  touching  scene  with  a  mingling  of 
pathos,  reserve  and  humour  which  are  most  dexter- 
ously depicted.     Faed's  work   was   brilliant   and 
harmonious,  full  of  rich  jewel-like  colours  marvel- 
lously combined.      His   technique  was   sure  and 
definite,  his  handling  was  broad,  and  the  quality 
of  his  work  excellent  throughout  his  long  career. 
He  outlived  his  popularity,  as  the  scenes  which  he 
always  adopted  were  no  longer  attractive  to  the 
public,  but  from  an  artist's  point  of  view  there  is 
little  that  can  be  said  against  the  pictures  which 
he   painted,  so   sound   and  wholesome   are   their 
subjects,  so  refreshing  are  their  candour  and  truth, 
and  so  honestly  are  they  painted  that  they  seem  able 
to  last  in  their  pristine  excellence  for  ever.     His 
work  is,  above  all,  virile,  strong  and  direct.     In 
1893  the    artist    was    compelled    to    resign    his 
membership  of  the  Royal  Academy,  into  which  he 
had   been    admitted    as   Royal   Academician,    by 
reason   of  failing  sight,  and  soon  afterwards  the 
sight  which  he  had  so  strained  in  the  production 
of  his  many  works  with  all  their  minute  painting 
failed  him  altogether,  and  for  the  seven  last  years 
of  his  hfe  he  was  a  blind  man.     He  died  August 
17,  1900.  G.  C.  W. 

FAENZA,  Giovanni  Battista  DA,  called  Bkktucci 
(the  Monkey),  who  painted  in  the  style  of  Perugino 
142 


and  Pinturicchio,  flourished  in  the  early  part  of 
the  16th  century  at  Faenza.  In  the  Pinacoteca 
of  that  city  there  are  various  works  ascribed  to 
him,  of  which  the  most  remarkable  is  a  '  Majesty,' 
signed  by  him  and  bearing  the  date  1506.  Crowe 
and  Cavalcaselle  also  claim  for  Bertucci  an  '  Adora- 
tion_  of  the  Magi '  in  the  Berlin  Gallery,  there 
ascribed  to  Pinturicchio,  and  a  'Glorification  of 
the  Virgin  '  in  the  National  Gallery,  given  in  the 
catalogue  to  Lo  Spagna,  who  was  a  pupil  of 
Perugino. 

FAENZA,  jAforo.N'E  da.    See  Beet0cci. 

FAENZA,  Marco  da.     See  Maechbtti. 

FAENZA,  Marco  Antonio  da,  called  also  Marco 
Antonio  Rocchetti,  an  Italian  painter  of  the  earlier 
part  of  the  17th  century,  is  probably  the  artist  men- 
tioned by  Vasari  with  the  surname  Figurino,  who 
was  one  of  the  best  disciples  of  Giulio  Romano. 
His  early  paintings  are  of  a  small  size,  often  repre- 
senting scenes  in  the  life  of  St.  Sebastian.  The 
following  works  are  also  by  him  : 

Faenza.    Pinacoteca.    The  MadonDa  of  the  Angela. 
„  S.  Kocco.    St.  Eoch.    1634. 

FAENZA,  Ottaviano  da,  an  Italian  painter  of 
the  14th  century,  who  was  instructed  by  Giotto, 
spent  the  greater  part  of  his  life  at  Faenza, 
where  he  died.  There  are  several  paintings  at- 
tributed to  him  to  be  found  in  the  neighbourhood 
of  Faenza,  and  at  Bologna. 

FAENZA,  Pace  da,  an  Italian  painter,  who 
flourished  during  the  14th  century,  was  a  pupil 
of  Giotto,  and  is  said  to  have  executed  some 
decorations  in  fresco  on  the  exterior  of  San  Gio- 
vanni at  Bologna.  He  had  a  particular  talent  for 
representing  small  figures.  About  the  year  1574 
the  following  works  by  him  existed  at  Forii : 

The  Holy  Cross. 

A  small  picture  in  tempera,  representing  the  Passion. 

Four  Scenes  from  the  Life  of  the  Virgin. 

FAENZONE,  Ferrad.     See  Fanzone. 

FAES,  PlETER,  a  painter  of  flowers  and  fruit 
in  the  manner  of  Van  Huysum,  was  born  at  Meir, 
near  Hoogstraten,  in  the  province  of  Antwerp,  in 
1750.  His  pictures  are  tastefully  composed  and 
delicately  pencilled,  but  are  somewhat  deficient  in 
vigour  and  chiaroscuro.  Many  of  his  works  were 
transferred  from  Laeken  to  Vienna.  He  died  at 
Antwerp  in  1814. 

FAES,  PiETEK  VAN  DER.     See  Van  der  Faes. 

FAGAN,  Lonis,  the  late  sub-director  of  the 
Print-room  at  the  British  Museum,  and  the  man 
who  certainly  by  merit  ought  to  have  been  head 
of  that  department,  merits  a  place  in  this  work  on 
account  of  his  own  excellent  artistic  work  no  less 
than  for  his  literary  work  on  Art  subjects.  He 
was  born  in  1846,  the  son  of  the  British  Minister 
at  the  Court  of  the  Two  Sicilies,  and  his  birthplace 
was  Naples.  His  sympathies  were  always  very 
strongly  with  the  Italian  people,  whose  tongue  he 
spoke  with  the  most  perfect  accuracy,  and  much 
of  his  life  was  spent  in  Italy,  and  there  it  was  that 
he  died  in  January  1903,  in  his  own  house  in 
Florence.  He  had  travelled  far  and  wide,  as  at 
one  time  when  in  the  Foreign  OfBce  he  was  with 
his  father  in  Venezuela,  and  his  knowledge  of 
Spanish  and  of  Spanish  manners  rendered  him  a 
valuable  assistant  in  the  settlement,  for  the  time, 
of  the  boundary  questions.  At  another  time  he 
was  in  France,  and  yet  again  in  Sweden,  but 
eventually  at  the  desire  of  his  close  friend  Antony 
Panizzi  he  took  office  in   the  British  Museum  in 


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PAINTERS   AND   ENGRAVERS. 


order  to  be  near  his  old  companion  and  under  his 
wing,  and  lie  then  relinquished  lor  good  his  duties 
in  diplomacy.  Few  men  took  a  greater  interest 
in  the  work  of  his  department  than  did  Fagan, 
and  few  worked  harder  to  render  it  available  to 
students  and  useful  to  the  public.  His  lectures  on 
the  treasures  of  his  beloved  museum  were  received 
with  the  greatest  acclamation  and  were  most 
popular,  whilst  his  writings  on  prints  and  draw- 
ings, his  valuable  catalogues,  and  his  history  of 
the  Reform  Club  and  of  the  British  Museum,  and 
his  excellent  hfe  of  Panizzi  proved  the  brilliance 
of  his  power  and  the  ability  with  which  he  devoted 
himself  to  his  work.  He  will  be  especially  remem- 
bered by  artists  for  his  volumes  on  the  works  of 
Correggio,  the  art  of  Michael  Angelo,  the  en- 
gravings of  Faitliorne,  and  the  works  of  Wollett 
and  Bartolozzi.  He  also  wrote  a  '  History  of 
Engraving,'  and  an  important  treatise  on  the 
Sonnets  of  Raffael.  His  water-colour  drawings 
done  to  amuse  himself  during  periods  of  ill-health 
were  of  much  more  than  average  excellence, 
whilst  his  drawings  in  pencil  were  of  the  utmost 
refinement  and  beauty.  His  love  of  Italy,  his 
strong  friendship  for  most  of  her  greatest  writers 
and  skilful  artists,  and  his  passionate  interest  in 
her  future,  did  not  render  him  the  more  popular 
with  certain  persons  who  were  narrow  enough  to 
resent  any  affection  that  was  not  devoted  to 
British  interests,  and  neither  Panizzi  nor  Fagan 
were  really  appreciated  at  the  Museum  for  this 
very  reason.  To  those,  however,  who  knew  him, 
and  who  had  sounded  the  vast  depths  of  his 
knowledge  and  the  intensity  of  his  affection,  he 
was  a  man  greatly  beloved,  and  a  public  demon- 
stration of  mourning  took  place  on  the  occasion  of 
his  decease  in  Florence.  A  brilliant  and  profound 
scholar  and  one  of  the  kindest-hearted  of  men,  he 
was  neglected  by  his  own  countrymen  and  ignored 
by  his  old  colleagues  in  London,  but  his  artistic 
and  literary  works  will  keep  alive  his  memory  for 
many  a  generation,  and  insure  a  remembrance  of 
his  life's  work. 

FAGAN,  Robert,  a  portrait  painter,  who  resided 
for  some  time  in  Rome,  flourished  towards  the 
close  of  the  18th  century. 

FAGE,  Nicolas  de  la.    See  De  La  Fage. 

FAGE,  Raymond  de  la.    See  De  La  Fage. 

FAGERPLAN,  Axel  Johan,  a  Swedish  artist, 
born  in  West  Gothland  in  1788,  was  an  historical 
and  fruit  painter  of  some  renown.    He  died  in  1865. 

FAGIVOLI,  GiROLAMO,  an  engraver  who  worked 
at  Bologna  about  1560,  published  several  prints 
after  Correggio, Cecchino  de'Salviati,  and  Francesco 
Mazzuola. 

FAHEY,  James,  painter,  was  born  at  Paddington 
April  16,  1804.  He  was  intended  for  an  engraver, 
and  studied  for  a  time  under  Swaine,  who  was  his 
uncle.  He  afterwards  worked  at  Munich  and 
Paris,  where  he  was  employed  as  a  surgical 
draughtsman.  He  exhibited  a  portrait  at  the 
Academy  in  1825,  but  shortly  afterwards  devoted 
himself  to  landscape  in  water-colours.  In  1834  he 
joined  the  short-hved  Associated  Painters  in  Water- 
Colours,  and  in  the  following  year  he,  with  other 
leading  members  of  that  body,  formed  the  New 
Society,  now  the  Institute  of  Painters  in  Water- 
Colours.  He  was  for  more  than  forty  years 
secretary  to  the  society.  In  1856  he  was  appointed 
drawing-master  at  Merchant  Taylors'  School, 
whence,  after  twenty-seven  years,  he  retired  on  a 
pension.     He  died  December  19,  1885. 


FAHLCRANTZ,  Karl  Johan,  a  Swedish  land- 
scape painter,  was  born  in  Dalecarlia  in  1774.  He 
was  instructed  by  P.  Ljung,  a  sculptor  and  painter, 
and  depicted  Northern  scenery  with  a  masterly 
touch,  his  twilight  and  moonlight  scenes  being 
particularly  efiective.  He  died  at  Stockholm  in 
1861.  Among  his  best  known  works  are : 
The  Legend  of  Frithiof. 

Several  Views  of  Stockholm,  Christiania,  and  Sparre- 
holm,  the  Fortress  of  Bohns,  the  Hills  of  Smedje- 
bakken,  Cape  Framuas,  the  Balestrand,  and  the 
"Waterfall  of  Donare. 

FAIRAM,  John.    See  Fayram. 

FAIRFIELD,  Charles,  a  painter  who  died  at 
Brompton  in  1804,  at  the  age  of  about  forty-five,  is 
chiefly  known  by  his  excellent  copies  of  Dutch 
paintings. 

FAIRHOLT,  Frederick  William,  a  draughts- 
man, was  born  in  1818,  in  London,  where  his  father, 
a  native  of  Prussia,  had  settled  as  a  tobacco  manu- 
facturer. His  first  attempts  in  art  were  as  a  drawing- 
master  and  scene-painter.  He  was  next  employed 
by  Charles  Knight  in  making  designs  for  the 
'Pictorial  History  of  England,'  'Pictorial  Shake- 
speare,' and  other  works.  From  the  commencement 
of  the  '  Art  Journal,'  in  1839,  he  was  a  constant 
contributor,  both  as  author  and  as  artist,  and  about 
the  same  time  he  seems  to  have  begun  to  take  an 
interest  in  antiquities.  He  wrote  several  books  on 
the  pageants  and  costume  of  medieval  England, 
of  which  the  best  are  '  Costume  in  England,'  1846, 
'A  Dictionary  of  Terms  in  Art,'  1854,  and  'Ram- 
bles of  an  Archaeologist,'  1871,  and  he  left  to  the 
Society  of  Antiquaries  a  collection  of  works  on 
these  subjects.     He  died  in  London  in  1866. 

FAIRLAND,  Thomas,  an  engraver  and  litho- 
graphic artist,  was  born  in  1804  After  having 
studied  under  Fuseli  in  the  Academy,  where  he 
gained  a  silver  medal  for  drawing  from  the  an- 
tique, he  became  a  pupil  of  Charles  Heath,  but 
he  afterwards  gave  up  line-engraving  for  litho- 
graphic drawing,  and  eventually  devoted  himself 
to  portraiture,  in  which  he  was  very  successful. 
His  reproductions  of  the  works  of  Landseer  and 
Hunt,  as  well  as  '  The  Recruit ;  or.  Who'll  serve 
the  King  ? '  and  '  Left  Leg  foremost,'  obtained 
great  popularity.  He  executed  many  private  por- 
traits for  the  Queen,  whose  personal  regard  he 
enjoyed  until  his  death  in  1852.  Among  other 
lithographs  by  him  may  be  mentioned  : 

The  Poacher's  Confederate  ,•  after  Hancock. 

The  Eat-catcher  ;  after  A.  Cooper. 

The  Deserter. 

Mrs.  Chisholm;  after  A.  C.  Sayter. 

FAIRLESS,  Thomas  Kerr,  a  landscape  painter, 
was  born  at  Hexham  in  1823.  He  first  practised 
wood-engraving  under  Nicholson  of  Newcastle,  and 
then  came  to  London,  exhibiting  landscapes  at  the 
Royal  Academy  from  1848  to  1851.  He  died  at 
Hexham  in  1853. 

FAIRMAN,  Richard,  David,  and  Gideon,  were 
engravers  of  Philadelphia,  who  died  respectively  in 
the  years  1821,  1815,  and  1827. 

FAISTENAUEK,  Andreas.     See  Feistenauer. 

FAISTENBERGER.     See  Feistenberger. 

FAITHORNE,  William,  the  elder,  an  eminent 
engraver,  was  born  in  London  in  1616.  He  was 
a  pupil  of  Robert  Peake,  a  painter  and  print- 
seller,  who  was  afterwards  knighted  by  Charles  I., 
and  under  him  he  worked  three  or  four  years,  until 
the  breaking  out  of  the  Civil  War,  when  Peake 
took  up  arms  for  the  king,  and  Faithome  was 
^  143 


A   BIOGRAPHICAL   DICTIONARY   OF 


persuaded  by  liis  master  to  accompany  him  into 
the  service.  At  the  taking  of  Basing  House, 
where  Peake  had  the  rank  of  lieutenant-colonel, 
Faithorne  was  made  a  prisoner,  and  was  for  some 
time  confined  in  Aldersgate,  during  which  period 
he  resumed  his  profession,  and,  among  other  plates, 
engraved  a  small  head  of  Villiers,  Duke  of  Buck- 
ingham. With  much  difficulty  the  solicitation  of 
his  friends  procured  his  release,  on  condition  that 
he  left  the  country.  He  retired  to  Prance,  where 
he  became  acquainted  with  Robert  Nanteuil,  under 
whose  instruction  he  made  great  improvement. 
After  the  year  1650,  he  was  permitted  to  return  to 
England,  and  he  established  himself  as  an  engraver 
and  printseller  near  Temple  Bar,  where  he  carried 
on  a  considerable  trade  in  Italian,  Dutch,  and 
English  prints.  In  1680,  however,  he  quitted  his 
shop,  and  retired  to  a  more  private  life  in  Printing- 
house  Yard,  Blackfriars,  where  he  continued  to 
engrave,  and  to  draw  portraits  in  craj'ons,  an  art 
which  he  had  learned  in  Paris.  He  died  in 
1691. 

The  works  of  this  excellent  engraver  consist 
chiefly  of  portraits,  in  which  he  specially  excelled. 
Many  of  them  are  of  an  admirable  execution,  clear, 
brilliant,  and  full  of  colour.  Previous  to  his  journey 
to  Paris,  he  had  adopted  the  Flemish  and  Dutch 
mode  of  engraving;  but  on  his  return  from  France 
his  style  was  greatly  improved.  In  his  historical 
prints  he  shows  a  deficiency  and  incorrectness  of 
drawing ;  and  it  is  not,  certiiinly,  from  these  that 
a  just  estimate  can  be  formed  of  his  great  ability. 
His  plates  are  extremely  numerous,  some  of  them 
exceedingly  scarce,  and  very  valuable.  When  he  did 
not  &x  his  name  to  them,  he  marked  them  with  a 

cipher  composed  of  two  Fs.  'ff'  iff  The  follow- 
ing are  his  best  portraits ;  a  more  complete  list 
will  be  found  in  Fagan's  '  Descriptive  Catalogue  of 
the  Engraved  Works  of  William  Faithorne,"  1888. 

Sir  'William  Paston,  Bart.  ;  1659  ;  extremely  fine. 
Lady  Paston  ;  afler  Van  Dyck  ;  1649  ;  very  fine. 
Margaret  Smith,  afterwards  Lady  Herbert ;    after   the 

same. 
Montagu  Bertie,  Earl  of  Lindsey  ;  after  the  same. 
William  Sanderson ;  after  Z oust.     1658. 
Anne  Bridges,  Countess  of  Exeter  ;  after  Van  Dyck. 
Samuel  Collins,  M.D. ;   TV,  Faithorne  ad  vivum  del.  et 

sculp. 
John  Kersey,  mathematician  ;  after  Zoust.     1672. 
John  La  Motte,  Citizen  of  London. 
John,  Viscount  Mordaunt. 
Thomas,  Earl  of  Elgin.     1662. 
Mary,  Lady  Langham. 
Henry  Oary,  Earl  of  Monmouth. 
Thomas  Killigrew,  with  a  Dog  ;  after  TV.  Skeppard. 
Thomas  Stanley  ;  aftrr  Leli/. 

Robert  Bayfield ;  set.  25  ;  with  a  large  hat.     1654. 
Robert  Bayfield  ;  set.  27  ;  without  a  hat. 
Francis  Rous,  Provost  of  Eton.     1656. 
Sir  Henry  Spelman. 
Thomas  Hobbes. 
Samuel  Leigh.     1661. 
Queen  Henrietta  Maria,  with  a  Veil ;  in  the  manner  of 

Mellan. 
Thomas  Mace;  after  Cooke;  prefixed  to  his  'Musicks 

Monument,'  1676. 
Sir  Orlando  Bridgman. 
Sir  John  Fortescue. 
Robert  Boyle ;  oval. 
Ehas  Ashmole  ;  bust,  in  a  niche. 
William  Oughtred ;  in  the  style  of  Hollar 
William  Harvey. 
Henry  Lawes. 
John  Milton ;  drawn  and  engraved  from  life  in  1670, 

as  a  frontispiece  to  Milton's  '  History  of  Britain.' 
144 


John  Wallis,  D.D.,  prefixed  to  his  '  Mechanica.' 

Sir  Francis  Englefield,  Bart. ;  oval ;  extremely  scarce. 

Oliver   Cromwell,   whole    length,   in   armour,  a   large 

emblematical  Print,  with  various  deviees  and  mottos ; 

very  scarce. 

SUBJECTS  AFTER  MASTERS,  &C. 

The  Holy  Family ;  after  Laurent  de  La  Hire. 

The  Repose  in  Egypt ;  after  Simon  T'ouet. 

Tjandscape,  with  a  waggon  ;  after  Rul'ens. 

Tlie  Fall  of  Phaeton  ;  after  Viepenheeck . 

Title-page  and  ten  plates  for  Bi.shop  Jeremy  Taylor's 

'  Great  Exemplar,'  or  Life  of  Christ,  1653. 
jEueas  and   the  Golden    Branch,  and  ^neas   killing 

Turnus;    after    F.    Cleyn;    engraved    for    Ogilby's 

translation  of  Virgil,  1654. 

FAITHORNE,  William,  the  younger,  a  son  of 
William  Faithorne  the  elder,  was  born  in  1656. 
He  was  insti-ucted  in  the  elementary  principles  of 
design  by  his  father,  but  practised  a  different  branch 
of  engraving,  being  chiefly  engaged  in  scraping 
portraits  in  mezzotint.  His  merit  in  that  line  would 
have  secured  to  him  both  profit  and  reputation  ;  but 
neglecting  his  business,  he  fell  into  distress,  which 
occasioned  his  father  much  sorrow.  He  died  not 
earlier  than  1701.  The  following  are  esteemed  his 
best  portraits  : 

Thomas  Flatman,  poet  and  painter. 

Mary,  Princess  of  Orange  ;  after  Hanneman. 

Sir  WiUiam  Reade,  ocuhst  to  Queen  Mary. 

Queen  Anne,  when  Princess  of  Denmark. 

George,  Prince  of  Denmark. 

Frederick,  Duke  of  Schomberg ;  after  Dahl. 

John  Dryden  ;  after  Clostermann. 

Sir  Richard  Haddock ;  after  the  same. 

John  Moore,  Bishop  of  Ely. 

Sophia,  Electress  of  Hanover. 

Sophia  Dorothea,  Princess  of  Hanover. 

Charles  XII.  of  Sweden ;  after  Ehrenstrahl. 

Mrs.  Plowden  ;  after  Clostermann.  * 

FALBE,  Joachim  Martin,  a  portrait  painter, 
born  at  Berlin  in  1739,  was  instructed  by  Harper 
and  A.  Pesne.  Several  etchings  after  Rembrandt, 
or  in  the  style  of  that  master,  which  are  attributed 
to  him,  and  some  of  which  are  signed  with  Falbe's 
monogram,  are  in  existence.  In  1764  he  was 
elected  a  member  of  the  Academy  at  Berlin,  in 
which  city  he  died  in  1782. 

FALCH,  Johann,  an  animal  painter,  was  bom  at 
Augsburg  in  1687,  and  died  in  1727._  In  the 
Hermitage  at  St.  Petersburg  are  two  pictures  by 
him  of  insects  and  reptiles. 

FALCIERI,  BiAGio,  was  bom  at  Brentonico  in 
1628,  and  studied  at  Verona  under  Locatelli,  and  at 
Venice  under  Cavaliere  Pietro  Liberi.  Among  his 
works  there  is  in  the  church  of  the  Dominicans  at 
Verona,  a  large  picture  of  '  The  Council  of  Trent ' ; 
in  the  upper  part  of  which  he  has  represented  '  St. 
Thomas  vanquishing  the  heretics.'  There  exists 
also  an  etching  by  him,  executed  with  great  spirit, 
representing  '  St.  Jerome  in  the  Wilderness.'  He 
died  in  1703. 

FALCINI,  DoMENico,  an  Italian  engraver, 
flourished  at  Siena  in  the  latter  part  of  the  16th 
century.  There  are  by  him  some  woodcuts  after 
Raphael  and  other  masters,  which  are  executed  on 
three  separate  blocks,  one  for  the  outline,  another 
for  the  half-tint,  and  the  third  for  the  dark 
shadows.  He  also  engraved  on  metal. 
He  marked  his  prints  with  the  annexed 
cipher,  but  he  has  left  one  plate  with  a 
monogram  composed  of  the  letters  D.F.F. 

FALCK,  Jeremias,  a  designer  and  engraver,  was 
born  at  Dantzic  about  1619.  He  passed  some  time 
in  Paris,  and  from  the  resemblance  of  his  style 


A, 


WILLIAM   FAITHORNE  THE   ELDER 


Large  miniature  after  the  picture  by  Leiy\  \_Montagu  House 

BARBARA   \ILLIERS,  LADY  CASTLEMAINE,   DUCHESS  OE  CLEVELAND 


WILLIAM  FAITHORNE 


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PRINCE  RUPERT 


PAINTERS  AND  ENGRAVERS. 


to  that  of  Cornelia  Bloemaert,  would  appear  to 
have  studied  the  engravings  of  that  master.  On 
leaving  France  he  went  in  succession  to  Copen- 
hagen, Stockholm,  and  Amsterdam,  where  he 
executed  several  plates  for  the  celebrated  cabinet 
of  Reynst.  Subsequently  he  worked  ai  Hamburg, 
and  it  is  probable  that  he  died  there  about  1663. 
His  plates  are  distinguished  for  the  splendour  of 
their  effect,  and  he  engraved  with  equal  success 
portraits  and  historical  subjects,  both  of  which 
have  great  merit.  The  following  are  among  his 
best  works : 

PORTRAITS. 
Louis  XIII.  of  France  ;  after  Justus  van  Egmont.    1643. 

This  is  considered  his  best  work. 
Christina,  Queen  of  Sweden  ;  after  D,  Beck. 
Peter  Gembichi,  Bishop  of  Croatia  ;  after  the  same. 
Leonard,  Count  of  Torstenson  ;  after  the  same.     1649. 
Axel,  Count  of  Osenstjern  ;  after  the  same.     1653. 
Adolphus  John,  Prince  Palatine  ;  after  the  same. 
Charles  Gustavus,  Prince  of  Sweden ;  after  the  same. 
Nell  Gwynne  ;  after  Lcty. 
Karl  Gustav  Wrangel ;  after  D.  Kloclcer. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Large  Crucifixion  ;  after  Van  Dych. 
Christ  with  the  Crown  of  Thorns  ;  after  the  same. 
The  Concert ;  after  Giorgione. 

Esau  selling  his  Birthright ;  after  Tintoretto.    1663. 
Hunters  with  Hares  ;  after  the  same. 
The  House  of  Pleasure  ;  after  Kuheyts. 
Pallas  with  the  Shield  and  Lance ;  after  A.  Bloemaert. 

1656. 
St.  John  preaching  in  the  'Wilderness ;  after  the  same. 

1661. 
Satyr  and  Ceres  ;  after  F.  Snayers. 
The  Virgin  with  the  Infant  uttering  Blessings  ;  after 

Justus  van  Egmont. 
The  Virgin  with  the  Infant ;  after  J.  Stella, 
Semiramia  ;  after  Giiercino. 
The  Cyclops  ;  after  Michelangelo  da  Caravaggio, 

FALCKEISEN,  Theodor,  a  Swiss  designer  and 
engraver,  born  at  Basle  in  1765,  was  instructed 
by  Holzhall  and  Karl  Guttenberg.  Amongst  his 
works  is  an  excellent  plate  after  Benjamin  West's 
'  Death  of  General  Wolfe.' 

FALCKENBURG,  Friedrioh  von,  a  German 
landscape  and  historical  painter,  etched  a  few  por- 
traits, and  other  subjects,  in  a  slight,  scratchy  style ; 
they  are  marked  F.  V-F,  He  lived  at  Nuremberg, 
and  died  in  1623. 

FALCO,  Agnolo.  The  name  of  this  artist  is 
afiBxed  to  a  rude,  coarse  etching,  representing  a 
landscape,  into  which  is  introduced  the  story  of 
Apollo  and  Daphne.  Though  it  is  incorrectly  drawn 
and  very  indilferently  executed,  it  appears  to  have 
been  the  work  of  a  painter,  and  is  from  his  own 
design. 

FALCO,  Juan  Conchillos.  See  Conchillos 
Faloo. 

FALCONE,  Aniello,  called  L'Oeacolo  delle 
Battaglie,  was  born  at  Naples  in  1600,  and  was 
a  scholar  of  Giuseppe  Ribera,  called  Spagnoletto. 
He  spent  some  years  in  France,  where  may  still  be 
met  with  several  of  his  paintings,  which  are  rare 
and  highly  valued.  He  distinguished  himself  as 
a  painter  of  battles  and  skirmishes  of  cavalry, 
which  he  composed  and  designed  with  great  fire 
and  animation.  He  was  equally  correct  in  the 
drawing  of  his  figures  and  horses,  and  their  various 
movements  are  expressed  with  the  most  character- 
istic propriety.  His  touch  is  bold  and  free,  and 
his  colouring  vigorous  and  effective.  He  was 
not  less  successful  in  his  easel  pictures  than  in 
those  of  a  larger  size  ;  and  his  best  works  were 
VOL.  IL  L 


esteemed  little  inferior  to  the  admirable  productions 
of  Borgognone.  Aniello  Falcone  was  the  founder 
of  a  large  school  in  his  native  city,  and  was  one  of 
the  masters  of  Salvator  Rosa.  He  died  at  Naples 
in  1665.     Among  his  paintings  are  the  following: 

Madrid.     Gallery.    A  Fight  between  Bomans  and  Ear. 
barians. 
„  „  A  Fight  between  Turkish  and  Chris- 

tian Cavalry.     1631. 
Paris.       Zouvre.       A  Fight  between  Turksand Christians. 

Falcone  was  also  an  etcher,  and  there  are  by  hira 
twenty  prints,  in  which  he  shows  lively  imagina- 
tion and  bold  and  intelligent  design ;  they  some- 
what resemble  the  works  of  Parmigiano,  and  are 
executed  with  a  light  and  spirited  point.  Among 
his  etchings  may  be  mentioned  : 

A  battle  between  naked  Men  on  foot  and  on  horseback. 

1618. 
ApoUo  and  Marsyas ;  after  Parmeggiano. 
Four  plates  of  Apostles :   James  the  Less,  James  the 

Greater,  John  the  Evaugelist,  and  Matthew. 
A  young  Woman  sleeping  and  suckling  a  Child. 
The  Adoration  of  the  Magi  ;  after  Raphael, 

FALCONET,  Pierre  Etiennb,  was  the  .son  of 
the  eminent  sculptor,  Etienne  Maurice  Falconet, 
who  executed  the  equestrian  statue  of  Peter  the 
Great  at  St.  Petersburg.  He  was  born  in  Paris  in 
1741,  and  about  1766  came  to  London,  where 
he  became  a  member  of  the  Incorporated  Society 
of  Artists,  and  painted  a  great  number  of  portraits 
until  1773,  about  which  time  he  returned  to  Paris, 
where  he  died  in  1791.  Among  his  works  may  be 
mentioned  the  portraits  of  twelve  of  the  foremost 
artists  in  London,  the  decorations  in  the  Chinese 
Temple  at  the  seat  of  the  Baroness  De  Grey  in 
Bedfordshire,  and  several  extravagant  historical 
pieces.  Earlom  and  others  have  engraved  some  of 
his  works. 

FALCONETTO,  Giovanni  Antonio,  was  born 
at  Verona  in  the  15th  century.  He  was  instructed 
by  his  father,  Jacopo  Falconetto,  and  excelled  in 
painting  animals  and  fruit.  Many  of  his  works  are 
in  Verona  and  its  environs.     He  died  at  Roveredo. 

FALCONETTO,  Giovanni  Maria,  the  brother 
of  Giovanni  Antonio  Falconetto,  born  in  1458 
at  Verona,  was  both  a  painter  and  an  architect,  and 
seems  to  have  devoted  himself  more  during  his 
long  life  to  the  latter  profession  than  to  the 
former.  He  learned  the  elements  of  painting  from 
his  father,  Jacopo  Falconetto,  and  is  said  to  have 
spent  twelve  years  of  his  early  life  in  Rome,  measur- 
ing and  studying  the  ancient  edifices  of  that  city. 
He  was  a  follower  of  Liberale  and  an  imitator  of 
Melozzo  da  Forii,  and  he  painted  largely  in  the 
churches  of  Verona.  In  1493  he  decorated,  in 
monochrome,  the  cupola  of  the  chapel  of  San 
Biagio  in  SS.  Nazzaro  e  Celso,  and  displayed  a 
profound  knowledge  of  perspective  effect  in  his 
arrangement  of  its  various  subjects.  His  finest 
works  are  the  religious  allegories  which  he  executed 
from  1609  to  1516,  in  the  church  of  San  Pietro 
Martire  at  Verona.  Of  his  panel  pictures  there 
remain  a  '  Virgin  and  Child,  between  SS. 
Augustine  and  Joseph,'  painted  in  1523,  at  San 
Giuseppe,  Verona;  an  'Annunciation,'  above  the 
altar  of  the  Emilii  Chapel  in  San  Zeno,  Verona ; 
an  '  Augustus  and  the  Sibyl,'  in  the  Museum  of 
that  city ;  and  an  '  Assumption  of  the  Virgin,'  in 
the  Berlin  Gallery.  The  latter  years  of  his  life 
were  devoted  to  architecture,  and  his  death  occurred 
at  Padua  in  1534. 

145 


A  BIOGRAPHICAL  DICTIONARY  OF 


FALDA,  Giovanni  Battista,  an  Italian  archi- 
tect and  etcher,  was  bom  at  Valduggia,  in  the 
Milanese,  in  1648.  It  is  not  said  by  whom  he  was 
instructed ;  but  his  style  bears  a  great  resenablance 
to  that  of  Israel  Silvestre.  He  was  at  Rome  from 
1669  to  1691,  and  there  are  by  him  several  designs 
and  engravings  of  the  churches,  gardens,  fountains, 
and  public  buildings  of  that  city,  distingLushed  for 
their  good  perspective,  and  embellished  with  figures 
neatly  drawn.  The  date  of  his  death  is  not  known. 
The  following  are  among  his  best  works: 

Two  Views  of  the  Piazza  Navona. 

Two  Views  in  Rome ;  the  Basilica  of  St.  Peter's,  and  the 

Fountain  of  St.  Peter's. 
A  large  plate  of  St.  Peter's,  and  the  Buildings  round  it. 
A  View  of  the  Interior  of  St.  Peter's,  on  the  occasion  of 

the  Canonization  of  St.  Francis  of  Sales. 
A  View  of  the  Castle  of  St.  Angelo ;   after  Bernini, 
The  Fountains  of  Eome  ;  31  plates. 
The  Gardens  of  Eome  ;  19  plates. 

FALDONI,  Antonio,  an  Italian  painter  and 
engraver,  born  at  Ascoli,  in  the  Marca  di  Trevisano, 
about  the  year  1687,  first  studied  landscape  paint- 
ing under  Antonio  Luciano ;  but  his  pictures  are 
little  known.  He  afterwards  applied  himself  to 
engraving,  and  imitated  first  the  style  of  Gilles 
Sadeler,  and  afterwards  that  of  Mellan,  in  which 
he  was  very  successful ;  and  several  of  his  prints 
are  deservedly  admired.  He  engraved  a  set  of 
portraits  of  the  Doges  of  Venice,  and  the  Pro- 
curators of  St.  Mark ;  besides  which,  there  are  the 
following  prints  by  him : 

PORTRAITS. 
Marco  Eicci,  painter  ;  after  Eosalha  Carriera. 
Antonio  Maria  Zanetti,  engraver ;  after  the  sa/w, 
Luca  Carlevariis,  painter  and  engraver. 
Sebastiano  Eicci,  painter. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
A  Holy  Family,  with  Angels ;  after  Selastiano  Eicci. 
The  Conception  ;  after  the  same. 
The  Nativity  ;  after  Pietro  da  CuHona. 
David  playing  on  the  harp  before  Saul ;  after  G.  Ca- 

merata. 
David  flying  from  the  wrath  of  Saul ;  after  the  same. 
Part  of  the  Drawings  by  Farmigiano  for  the  collection 

published  by  Zanetti. 

FALENS,  Charles  van.    See  Valens. 

FALERI,  Domenico,  was  a  painter  of  the  school  of 
Siena,  where  he  was  born  in  159.5.  In  the  church 
of  the  Hospital  of  Monagnese  in  Siena  is  a  picture 
of  the  '  Nativity,'  and  other  pictures  are  in  a  Bene- 
dictine priory  in  the  neighbourhood.     He  died  in 

FALERO,  Lnis,  born  in  Toledo  in  1851,  was 
originally  in  the  Spanish  navy.  He  studied  in 
Paris,  and  ultimately  came  over  to  London,  where 
he  died  in  1896.  He  was  well  versed  in  astronomy, 
on  which  subject  he  executed  several  allegorical 
pictures,  the  most  important  being  'The  Marri- 
age of  a  Comet,'  '  Double  Stars,'  '  Le  Conchemar,' 
'The    Dream    of    Faust,'    and   'Unto    a    Better 

World.' 

FALGANLGaspake,  anitalian  landscape  pamter, 

was  born  at  Florence  in  the  beginning  of  the  17th 

century.     He  was  a   pupil  of  Valerio  Marucelli, 

and  devoted  himself  entirely  to  landscape  painting, 

of  which  specimens  are  to  be  found  in  various 

Italian  galleries. 

FALIZE,  LnciEN,  celebrated  French  artist  and 
goldsmith.  Born  in  1838,  he  was  sent  to  England 
to  be  educated,  where,  as  a  boy,  his  talent  attracted 
the  notice  of  Sir  John  Bennett.     He  subsequently 

146 


became  a  partner  of  M.  Bapst,  the  Crown  Jeweller 
of  the  Empire,  whom  he  succeeded  as  official  gold- 
smith to  the  French  government,  and  his  work 
earned  for  him  a  world-wide  reputation.  His 
work  is  characterized  by  intense  refinement,  sim- 
plicity and  purity  of  form.  He  exerted  a  genuine 
influence,  both  through  his  writings  and  through 
the  artists  with  whom  he  collaborated,  amongst 
whom  we  may  mention  Merson,  Roty,  Grand- 
homme,  Galld  and  Barrias.  He  was  trained  by 
his  father,  an  accomplished  chaser,  and  influenced 
by  such  masters  as  Moret-Ladessil  and  D(5sir6 
Attorge.  He  travelled  much,  studying  antique 
art  throughout  Italy,  and  frequently  visited 
England,  where  he  knew  the  treasures  of  the  South 
Kensington  and  British  Museums  by  heart.  His 
papers  on  '  Enamelling '  in  the  '  Gazette  des  Beaus 
Arts'  will  remain  admirable  essays  on  the  subject 
of  the  goldsmith's  craft.  As  a  member  of  the 
Central  Union  for  Decorative  Art  he  struggled 
energetically  to  reanimate  it  and  infuse  new  ideas ; 
and  in  1879  succeeded  in  obtaining  regular  techno- 
logical exhibitions,  which  were  most  successfuh 
He  attentively  watched  the  development  of  modern 
English  art,  admiring  the  revival  of  decorative 
work  here,  and  he  never  missed  an  exhibition  of 
Arts  and  Crafts  in  London.  Amongst  his  best- 
known  creations  is  the  magnificent  toilet-set  made 
for  the  Princess  Letitia  Bonaparte  on  the  occasion 
of  her  marriage,  where  he  has  cleverly  introduced 
certain  features,  such  as  the  Imperial  Eagle,  in  a 
design  of  Louis  XV.  style,  which  it  would  have 
seemed  almost  impossible  to  have  assimilated 
successfully.  His  bust  of  'Gallia'  in  ivory  and 
c;old,  set  with  topazes,  is  in  the  Luxembourg. 
The  '  Sassanide  Vase,'  the  '  Urania  Clock,'  the 
bas-reliefs  of  Marguerite  de  Foix  and  Anne  de 
Bretagne,  and  above  all  his  gold  cup,  now  in 
the  Mus^e  des  Arts  Decoratifs,  adhere  to  the 
classical  traditions  of  the  early  masters  of  the  17th 
century.  The  latter  work,  worthy  of  Benvenuto 
Cellini  at  his  best,  was  one  of  his  last  creations, 
though  the  last  official  work  his  skilful  hands 
accomplished  was  an  olive  branch  in  beaten  gold, 
which  was  laid  on  the  tomb  of  the  Emperor 
Alexander  III.  of  Russia,  by  the  President  of  the 
French  Republic.  He  left  a  large  number  of 
sketches  for  jewels,  diadems  and  medallions,  drawn 
with-consummate  knowledge,  to  his  son  and  pupil, 
Andr6  Falize.  He  died  from  an  attack  of  apoplexy 
in  the  latter  part  of  1897. 

FALLARO,  Jacopo,  an  Italian  painter  of  the 
16th  century,  was  a  contemporary  with  Titian. 
According  to  Vasari,  there  is  in  the  church  of  the 
Jesuits  at  Venice,  on  the  door  of  the  organ,  a  paint- 
ing by  this  artist  of  '  Giovanni  Colombini  receiving 
from  the  Pope  the  cloak  of  the  Order.' 

FALOCCO,  Niccol6,  a  painter  and  native  of 
Ortina,  who  flourished  about  1740,  was  instructed 
by  Francesco  Solimena,  whose  works  he  copied 
with  great  success. 

FALOT,  Nicolas,  a  French  historical  painter, 
flourished  between  the  years  1576  and  1627.  The 
dates  of  his, birth  and  death  are  unknown. 

FALQUIERE,  Jean  Alexandre  Joseph,  famous 
French  sculptor,  was  born  at  Toulouse  on  September 
7,  1831.  He  was  a  pupil  of  Jouffroy,  and  won  the 
"  prix  de  Rome"  in  1859.  One  of  his  earliest  suc- 
cesses was '  Le  Vainqueur  au  combat  des  Coqs,'  now 
in  the  Luxembourg.  Among  his  most  notable  works 
are,  '  Tarcisius,  the  Martyr,'  '  Ophelia,'  '  Pierre  Cor- 
neille'  (a  marble  statue  for  the  Thdatre-Frangais), 


PAINTERS  AND  ENGRAVERS. 


'Lamartine,'  'Diana,'  'Gambetta,'  the  'Woman 
with  a  Peacock,'  'A  Dancing  Girl,'  'Balzac,'  the 
artist  being  commissioned  to  execute  this  last- 
named  work  after  the  rejection  by  the  Soci^t6  des 
gens  de  Lettres  of  Rodin's  statue.  Falquifere  also 
completed  an  important  statue  (for  Washington) 
of  Lafayette  ;  and  it  was  his  imprudence  in  deter- 
mining to  assist  at  the  public  unveiling  atNimes  of 
his  statue  of  Alphonse  Daudet,  when  already  ail- 
ing, that  brought  his  malady  to  a  fatal  conclusion. 
Palquifere  had  also  won  some  distinction  as  a 
painter,  gaining  a  medal  at  the  Salon  in  1875,  his 
'  Wrestlers '  and  '  Cain  and  Abel '  receiving  special 
regard.  In  1870  he  was  decorated  with  the  Legion 
of  Honour,  being  promoted  to  the  rank  of  orticer 
in  1878,  at  the  close  of  the  Universal  Exhibition, 
and  Commander  in  1889.  He  was  appointed  pro- 
fessor at  the  School  of  Fine  Arts  in  1882,  being 
elected  a  member  of  the  Academy  of  Fine  Arts  in 
the  November  of  that  year  in  succession  to  his 
master,  Jouffroy.  His  death  occurred,  as  the 
immediate  result  of  a  serious  operation,  on  April 
19, 1900. 

FALZAGALLONI.    See  Ferkara,  Stefano  da. 

FANCELLI,  PiETRO,  was  born  at  Bologna  in 
1764,  and  painted  in  oil  and  tempera  in  the  Vene- 
tian style  for  churches  and  castles,  as  well  as 
scenes  for  theatres.     He  died  in  1850. 

FANO,  Baktolommeo  and  Pompeo  da,  father  and 
son,  who  were  both  painters,  flourished  at  Fano  about 
the  year  1530.  According  to  Lanzi,  they  painted  in 
conjunction  for  the  church  of  San  Miohele,  in  that 
city,  a  picture  of  the  '  Raising  of  Lazarus,'  dated 
1534,  on  which  he  remarks  that  it  is  surprising 
to  observe  how  little  they  had  attended  to  the 
reformation  and  improvement  which  had  almost 
generally  been  adopted  by  other  artists  of  their 
time.  It  is  painted  in  the  Gothic  style  of  the 
middle  of  the  preceding  century.  Pompeo,  how- 
ever, after  the  death  of  his  father,  attempted  the 
more  modern  taste,  and  painted  some  pictures 
which  gained  for  him  considerable  reputation. 
Pompeo  da  Fano  was  the  first  instructor  of  Taddeo 
Zucchero. 

FANOLI,  MiCHELE,  an  Italian  lithographer  and 
engraver,  who  was  born  at  Cittadella  about  1807, 
studied  in  the  Venice  Academy,  and  under  Cicog- 
nara.  He  spent  many  years  in  Paris,  whence  in 
1860  he  was  recalled  by  the  Italian  government  to 
found  a  school  of  lithography  at  Milan,  which  he 
directed  till  his  death  in  that  city  in  1876.  He 
died  poor,  leaving  a  collection  of  sketches  to  the 
Venice  Academy.    Amongst  his  reproductions  are : 

Orpheus;  after  Jalabert.  TheHoIyWomenattheTomb; 
Our  Lord  and  SS.  Peter  and  John;  after  Landelle. 

FANSAGA,  CosiMo,  (or  Fanzaoa,)  a  painter, 
sculptor,  and  architect,  was  born  at  Bergamo  in 
1591,  and  was  a  scholar  of  Pietro  Bernini  at  Rome. 
Most  of  his  works  were  executed  at  Naples,  where 
he  erected  a  number  of  edifices,  and  in  some  in- 
stances decorated  them  with  statues  and  pictures 
of  his  own  production.     He  died  in  1678. 

FANSHAWE,  Catharine  Maria,  an  amateur 
etcher,  was  born  in  London  about  1775,  and  died 
about  1834.  She  etched  a  few  historical  and  figure 
subjects  with  considerable  ability. 

FANTETTI,  Cesare,  a  designer  and  etcher, 
was  born  at  Florence  about  the  year  1660.  He 
resided  chiefly  at  Rome,  where  he  engraved  several 
plates,  after  his  own  designs  and  those  of  other 
masters.  Conjointly  with  Pietro  Aquila,  he  en- 
graved the  plates  from  the  paintings  by  Raphael 


in  the  Vatican,  called  Raphael's  Bible,  thirty-seven 
of  the  series  being  executed  by  Fantetti,  and  the 
remainder  by  Aquila.  He  also  engraved  the  fol- 
lowing prints : 

Agrippina  with  the  Ashes  of  her  Husband ;  after  Franc. 

Eosa. 
Christ  praying  in  the  Garden  ;  after  L.  Carracci. 
A     Charity,    with     three    Chil'dren ;    after    Annihale 

Carracci. 
Latona  insulted  by  Niobe ;  after  the  $ame. 
Flora  surrounded  by  Cupids  ;  after  Ciro  Ferri, 
The  Death  of  St.  Anne ;  after  Andrea  Sacchi. 
Some  Friezes,  and  other  subjects,  from  various  Italian 

masters. 

FANTI,  Ercole  Gaetano,  born  at  Bologna  in 
1687,  was  a  pupil  of  M.  A.  Chiarini.  He  first 
painted  in  Italy  stage  decorations,  but  afterwards 
went  to  Vienna,  where  he  was  made  Superintendent 
of  the  Liechtenstein  Gallery.  He  died  at  Vienna 
in  1759. 

FANTI,  ViNCENZo,  the  son  of  Ercole  Gaetano 
Fanti,  studied  first  under  Altomonte,  and  then  went 
to  Rome  and  Turin,  and  eventually  in  1744  to 
Vienna,  where  he  succeeded  his  father  as  Super- 
intendent of  the  Liechtenstein  Gallery.  The  dates 
of  his  birth  and  death  are  not  known.  His  portrait 
is  in  the  Ufiizi,  Florence. 

FANTONE,  Francesoa,  a  painter  of  the  Bolog- 
nese  School,  who  flourished  in  1760,  was  the  niece 
and  pupil  of.Gian  GiosefEo  dal  Sole,  but  she  after- 
wards studied  under  Cavazzoni.  She  died  about 
1772. 

FANTUZZI,  Antonio.    See  Trento,  Antonio  da. 

FANZAGA,  Cosmo.     See  Fansaga. 

FANZONE,  Ferrad,  (or  Faenzonb,)  was  born  at 
Faenza  in  1562,  and,  according  to  the  Abbate  Titi, 
studied  at  Rome  under  the  Cavaliere  Vanni,  where 
he  painted  several  frescoes  in  San  Giovanni  in 
Laterano,  the  Scala  Santa,  and  the  church  of 
Santa  Maria  Maggiore.  There  are,  however,  some 
pictures  at  Ravenna,  particularly  a  '  Deposition 
from  the  Cross,'  in  the  church  of  the  Dominicans, 
and  a  '  Probatica,'  at  the  Confraternita  di  San  Gio- 
vanni, which  partake  so  much  of  the  fine  style  of 
Lodovico  Carracci,  that  Fanzone  has  been  supposed 
to  have  been  educated  in  hia  academy.  His  de- 
sign is  grand  and  correct,  with  great  amenity  in 
his  colouring,  and  a  fine  impasto.    He  died  in  1645. 

FA  PRESTO.    See  Giordano,  Ldca. 

FARELLI,  GlACOMO,  a  Neapolitan  painter,  was 
born  in  1624,  and  brought  up  under  Andrea  Vac- 
caro,  whose  style  he  at  first  followed,  but  he  after- 
wards imitated  with  more  success  that  of  Guide. 
He  died  in  1706.  Of  his  productions  there  remam 
in  Santa  Maria  Maggiore  at  Naples,  '  The  Fall  of 
the  Angels,'  and  '  The  Ascension  '  ;  others  are  in 
SS.  Apostoli  and  Redenzione  dei  Cattivi. 

FARFUSOLA,  Bartolommeo,  a  painter  bom  at 
Verona,  flourished  in  the  year  1640.  He  has  left 
several  pictures  in  the  churches  of  Verona,  among 
others  a  '  St.  Ursula '  in  the  church  dedicated  to 
that  saint. 

FARGUE.     See  La  Fargde. 

FARINA,  Pier  Francesco,  an  Italian  painter 
who  lived  in  the  latter  half  of  the  17th  century, 
and  was  employed  in  decorating  the  palace  of 
Carlsruhe  and  several  churches  of  Bologna. 

FARINATI,  Giovanni  Battista,  called  by 
Vasari  Battista  da  Verona,  and  .by  others  in 
error  Battista  Zelotti  and  Battista^  Fontana, 
was  born  at  Verona  in  1532,  and  is  said  to  have 
been  instructed  by  Paolo,  his  uncle,  or,  according 
to  others,  by  Antonio  Badile.     He  was  the  fellow- 

147 


A  BIOGRAPHICAL  DICTIONARY  OF 


Btudent  and  friend  of  Paolo  Veronese,  with  ■whom 
he  co-operated  in  several  important  works  in  the 
public  edifices  at  Venice,  as  well  as  in  the  Villa 
Soranza  at  Castelf  ranco.  He  is  numbered  by  Vasari 
among  the  disciples  of  Titian.  His  picture  of  the 
'  Holy  Family,'  in  the  Lochis-Carrara  Gallery  at 
Bergamo,  is  painted  entirely  in  the  style  of  that 
master,  and  it  is  to  his  studies  in  that  school  that  he 
was  indebted  for  tlie  warmth  and  harmony  of  his 
colouring.  His  style  is  marked  by  its  grandeur, 
though  inferior  in  grace  to  that  of  Paolo  Veronese. 
As  a  fresco-painter  he  possessed  especial  ability. 
He  died  in  1592.  The  following  paintings  are  by 
him: 

Venice.     Palazzo  Eeale.     The  Virtues  and  Study. 
Vicenza.  Monte  d.  Pieta.    The  Decoration  of  the  ra9ade. 

„  Cathedral.      The  Conversion  of  St.  Taul. 

„  „  The    Miraculous    Draught  of 

Fishes. 

FARINATI,  Orazio,  the  son  and  disciple  of 
Paolo  Farinati,  was  an  historical  painter  and 
etcher  who  was  living  at  Verona  in  1607.  During 
his  short  career  he  gave  proof  of  uncommon 
ability,  and  promised  to  reach  an  elevated  rank 
among  the  artists  of  his  country,  when  he  died 
in  the  prime  of  life.  He  etched  a  few  plates 
from  the  designs  of  his  father,  which  are  fre- 
quently confounded  with  those  of  the  latter.  There 
exist  the  following  paintings  by  him : 

Verona.         S.  Paolo.         The  Descent  from   the  Cross 
(a  copy  after  his  father). 
„  S.  Maria  del}  ^.    t.™^,      irm 

Paradiso.    )  St.  James.     1607. 

„  „  Pope  Gregory.    1607. 

„  8.  Stejfano,        Descent    of    the    Holy   Ghost 

{considered  his  best  work). 

Both  father  and  son  signed  their  paintings  with 
a  snail,  and  their  prints,  in  addition  to  the  snail, 
with  their  initials  or  full  names. 

Orazio  Farinati's  best  plates  are  : 

The   Descent   from    the  Cross ;  after  Paolo  Farinati. 

1593. 
The  Finding  of  the  Cross,  with  St.  Francis  and  other 

figures  ;  after  the  same. 
The  Destruction  of  Pharaoh's  Host;  after  the  same. 

1599. 
The  Holy  Family,  with  St.  John. 

FARINATI,  Paolo,  of  the  family  of  the  Uberti, 
was  bom  at  Verona  in  1522.  He  was  a  pupil  of 
Niccol6  Giolfino  and  A.  Badile,  but  studied  also 
the  works  of  Parmigiano,  and  soon  surpassed  his 
instructors.  To  judge  from  the  large  style  of  his 
design,  it  would  be  thought  that  he  had  been 
brought  up  in  the  school  of  Giulio  Romano ;  and 
it  is  certain  that  he  studied  for  some  time  at  Mantua 
the  works  of  that  master.  His  death  occurred  in 
1606.    Among  his  works  there  are  : 

A  Presentation  in  the  Temple. 
Venus  seated,  and  two  Loves. 
St.  Martin. 
Angels     playing    a    Trumpet 

(water'Colotir). 
Adoration  of  the  Magi. 
Presentation  in  the  Temple. 

The  Four  Evangelists. 

The  Multiplication  of  the 
Loaves  { painted  in  his  ^9th 
year). 

The  Murder  of  the  Innocents. 

The  Emperor  Constantine   or* 
daring  a  number  of  Children 
to  be  murdered. 
„  „  Christ  walking  on  the  Sea. 

148 


Berlin.  Gallery. 

Bordeaux.  Museum. 

Mantna.  Cathedral. 

Modena.  Estense  Gall. 

Petersburg.    Hermitage. 

Venice.        SS.  Cosimo  e  ] 

Pamiano.  J 

Verona.  S.  Giorgio. 

„        S.  M.  in  Organo. 


Verona.  S.  M.  in  Organo.  St.  Gregory  feeding  the  Poor. 

„   S.  Giovanni  in  Fonte.  The  Baptism  of  Christ. 

„  Gallery.    Christ  before  the  People. 

„     SS.  Nazzaro  e  Celso.    Frescoes. 
Vienna.  Gallery,    A  Heathen  Sacrifice. 

There  are  several  etchings  by  Paolo  Farinati 
executed  in  a  free,  bold,  and  masterly  style.  Like 
his  paintings  he  frequently  marked  them 
with  the  accompanying  device  of  a  snail ; 
but  he  sometimes  signed  them  with  his  name,  or 
with  the  initials  P.  F.  or  P.  V.  F.  The  following 
are  from  his  own  designs : 

St  John.    1567. 

St.  Jerome  kneeling,  leaning  on  a  Bank. 

Mary  Magdalen  seated,  with  a  Book  and  a  Crucifix. 

The  Virgin,  with  the  Infant  Jesus  and  St.  John. 

Angels  holding  the  Instruments  of  the  Passion. 

Venus  and  Cupid.     1566. 

A  Charity,  with  three  Children. 

Venus  and  Cupid  at  the  Forge  of  Vulcan. 

FARINGTON,  George,  a  painter  of  historical 
subjects,  was  born  in  1754  at  Warrington,  of  which 
place  his  father  was  rector.  He  was  educated 
under  West,  and  in  1780  obtained  the  gold  medal 
at  the  Royal  Academy  for  his  '  Macbeth.'  This 
promising  artist  afterwards  went  to  the  East 
Indies,  where  he  would  undoubtedly  have  acquired 
both  fame  and  fortune,  had  he  not  died  in  the 
prime  of  life  in  1788. 

FARINGTON,  Joseph,  a  landscape  painter,  the 
elder  brother  of  George  Farington,  was  born  in 
1747  at  Leigh,  in  Lancashire.  He  was  a  scholar 
of  Richard  Wilson,  and  from  1778  to  1813  he 
exhibited  constantly  at  the  Royal  Academy,  where 
he  was  elected  an  Associate  in  1783,  and  an 
Academician  in  1785.  He  was  also  a  member  of 
the  Incorporated  Society  of  Artists.  His  works 
are  chiefly  views  of  the  scenery  of  Westmoreland 
and  Cumberland,  which  have  been  engraved  by 
Byrne,  Pouncey,  Medland,  and  others.  In  1794 
he  published  seventy-six  views  of  the  river  Thames. 
He  died  in  1821.  The  South  Kensington  Museum 
possesses  two  water-colour  drawings  by  him. 

FARJAT,  BenoIt,  a  French  engraver,  was  bom 
at  Lyons  in  1646.  He  was  taught  the  elements 
of  the  art  by  Guillaume  Chasteau,  whose  manner 
he  at  first  adopted  ;  but  he  afterwards  went  to 
Rome,  and  acquired  a  greater  command  of  the 
graver,  and  a  better  style  of  design,  though  he 
is  not  always  correct.  He  died  in  Rome  about 
1720.  There  are  by  him  some  portraits,  and 
various  subjects  from  the  Italian  masters  ;  the 
following  are  the  most  esteemed : 

rOBTRAITS. 
Cardinal  Federigo  Coccia ;  after  L.  David. 
Cardinal  Comaro ;  after  tht  same.     1697. 
Cardinal  Tommaso  Ferrari ;  after  the  same.    1695. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Holy  Family,  with  St.  John  ;  after  Alhani. 
The  Holy  Family,  with  St.  John  presenting  a  Cross; 

after  Pietro  da  Cortona. 
The  Marriage,  or,  according  to  others,  the  Coronation,  of 

St.  Catharine  ;  after  Agostino  Carraca. 
The  Virgin  and  Infant  Jesus,  with  St.  John  presenting 

some  fruit ;  after  Annihale  Carracci. 
The  Temptation  of  St.  Anthony  ;  after  the  same. 
The  Communion  of  St.  Jerome  ;  after  Pomenichino. 
The  Death  of  St.  Francis  Xavier  ;  after  G.  B.  Gaulli. 
The  Marriage  of  the  Virgin  ;  after  C.  Maratti. 
The  Nativity  of  Christ ;  after  the  same. 
The  Kace  of  Atalanta ;  after  P.  Locatelli. 

FARNBOROUGH,  Amelia  Long,  Baroness,  who 
was  born  in  1772,  and  died  in  1837,  was  a  very  clever 


PAINTERS   AND   ENGRAVERS. 


amateur  water-colour  painter.  She  exhibited  as 
an  honorary  exhibitor  many  drawings  at  the  Royal 
Academy.  She  was  a  daughter  of  Sir  Abraham 
Hume,  Bart.,  and  in  1793  married  Sir  Charles 
Long,  afterwards  Lord  Farnborough. 

FARRER,  Nicholas,  a  portrait  painter,  born  at 
Sunderland  in  1750,  was  a  pupil  of  Pine,  and  a 
friend  of  Sir  Joshua  Reynolds  and  Northcote.  His 
portraits,  without  being  imitations,  bear  a  strong 
resemblance  to  Sir  Joshua's  manner,  and  have 
sometimes  been  mistaken  for  that  master's  work. 
He  painted  the  portraits  of  the  Duke  of  Richmond 
and  family.     He  died  in  1805. 

FARRIER,  Robert,  a  little-known  painter  of 
miniature  portraits,  domestic  subjects,  and  scenes 
from  school-boy  life.  He  was  born  in  1796,  ex- 
hibited at  the  Academy  after  1818,  and  died  in  1879. 

FARUFFINI,  Fedeeico,  a  native  of  Sesto,  who 
was  distinguished  as  a  painter  and  engraver, 
studied  at  Rome.  His  altar-pieces  and  other  his- 
torical subjects  are  original  in  conception,  but  of 
especial  merit  is  his  '  Maochiavelli  and  Borgia,' 
which  he  both  painted  and  engraved,  and  for  which 
he  obtained  a  medal  in  1866.     He  died  at  Milan. 

FASOLO,  Bernardino,  the  son  of  Lorenzo 
Fasolo,  was  living  in  the  16th  century  at  Pavia. 
He  is  known  to  have  been  a  member  of  the 
council  of  the  Guild  of  Genoa  in  1520,  but  no 
dates  can  be  given  of  his  birth  or  death.  The 
following  pictures  are  by  him; 

Berlin.  GalleTy.    A  Holy  Family. 

Dresden.         Gallery.     Portrait  of  a  Venetian  Lady 

Paris.  Louvre.    Virgin  and  Child.     1518. 

FASOLO,  GiovANANTONio,  who  was  bom  at 
Vicenza  in  1528,  first  studied  under  Battista 
Zelotti ;  but  the  brilliant  reputation  of  Paolo  Vero- 
nese induced  him  to  enter  the  school  of  that  dis- 
tinguished master,  under  whom  he  became  a  good 
historical  painter.  In  the  church  of  San  Rocco  at 
Vicenza  is  a  fine  picture  by  Fasolo,  representing  the 
'  Pool  of  Bethesda,'  a  grand  composition,  executed 
in  a  style  that  would  not  have  disgraced  Paolo 
Veronese  ;  in  the  church  of  the  Padri  Servi  is 
another  fine  picture  by  this  master,  the  '  Adora- 
tion of  the  Magi.'  In  the  residence  of  the  Prefect 
of  that  town  there  are  also  by  him  three  pictures 
of  subjects  from  Roman  history,  representing 
'  Mutius  Scsevola  before  Porsena,' '  Horatius  defend- 
ing the  Bridge,'  and  'Marcus  CurtiuB  leaping  into 
the  Gulf     He  died  in  1572. 

FASOLO,  Lorenzo,  called  Lorenzo  di  Pavia, 
was  a  Lombard  painter  living  in  the  early  part  of 
the  16th  century,  who  went  from  Pavia  to  Genoa, 
and  was  one  of  the  artists  employed  by  Lodovico 
Sforza  in  1490  in  the  decorations  of  the  Porta 
Giovia  Palace  at  Milan.  His  chief  work  is  an 
altar-piece  representing  '  The  Deposition  from  the 
Cross,'  which  he  painted  in  1508,  for  the  nuns  of 
Santa  Chiara,  at  Chiavari,  where  it  still  remains. 
The  Louvre  has  by  him  '  The  Family  of  the  Vir- 
gin,' dated  1513.  His  death  occurred  before  1520. 
FASSETTI,  Giovanni  Battista,  born  at  Reggio 
in  1681  of  poor  parents,  entered  the  studio  of 
Giuseppe  Dallamano  as  a  colour  mixer,  and  it  was 
not  till  he  was  eighteen  years  of  age  that  he  made 
his  tirst  attempt  at  art.  He  entered  the  studio  of 
Francesco  da  Bibiena,  and  became  one  of  the  best 
decorative  painters  of  his  day.  He  died  after  1772. 
FASSIN,  Nicolas  Henri  Joseph  de,  a  Belgian 
landscape  painter,  was  born  at  Li^ge  in  1728. 
Early  in  life  he  served  in  the  French  army,  and  it 


was  not  until  he  was  thirty-four  years  of  age  that 
lie  commenced  the  study  of  art  in  the  Academy 
at  Antwerp.  He  afterwards  visited  Italy  and 
Switzerland,  and  resided  for  some  time  at  Geneva. 
He  painted  a  landscape  for  the  Empress  of  Russia, 
for  which  he  was  handsomely  rewarded,  and  many 
others  are  to  be  found  at  Liege,  and  in  Germany 
and  England.  He  died  in  his  native  city  in  1811. 
His  biography,  with  a  list  of  his  pictures,  was 
published  by  Van  Hust  in  1837. 

FATIO,  Antoine  LSon  Morel.  See  Mobkl- 
Fatio. 

FATTORE  II.     See  Pennl 

FAUCCI,  Carlo,  an  Italian  engraver,  was  bom 
at  Florence  in  1729.  He  was  a  pupil  of  Carlo 
Gregori,  and  engraved  portraits  and  historical 
pieces  with  ability.  On  leaving  that  artist,  he 
engraved  several  plates  for  the  collection  of  the 
gallery  of  the  Marquis  Gerini,  and  afterwards 
visited  England,  where  he  engraved  some  plates 
for  Boydell.  He  died  at  Florence  in  1784.  Among 
others,  the  following  prints  are  by  him  : 

The  Birth  of  the  Virgin ;  after  Pietro  da  Cortona. 

The  Adoration  of  the  Shepherds  ;  after  the  same. 

The  Martyrdom  of  St.  Andrew ;  after  Carlo  Dolci. 

The  Coronation  of  the  Virgin  ;  after  Ellens. 

A  Bacchanalian  subject ;  after  the  satiie. 

Cupid ;  after  Guido. 

Hadouna  and  Child ;  after  the  same. 

Raimondo  Faucci,  his  nephew,  assisted  him  in  the 
execution  of  many  of  his  plates. 

FAUCHERY,  Augustin,  a  French  painter  and 
engraver,  was  born  in  Paris  in  1800,  and  was  in- 
structed by  Gu^rin  and  Regnault.  One  of  his  best 
engravings  is  a  plate  of  '  Mona  Lisa,'  after  Leonardo 
da  Vinci.     He  died  in  Paris  in  1843. 

FAUCHIER,  Laurent,  a  French  portrait  painter, 
was  a  pupil  of  Pierre  Mignard.  He  flourished  in 
the  second  half  of  the  17th  century. 

FAUCUS,  George.    See  Focus. 

FAULKNER,  Benjamin  Rawunson,  a  portrait 
painter,  was  born  at  Manchester  in  1787,  and  until 
1813  pursued  a  commercial  life  at  Gibraltar.  Then, 
returning  to  England  on  account  of  an  attack  of 
the  plague,  he  devoted  himself  to  art,  receiving  his 
first  instruction  from  his  brother.  After  some 
study  in  London,  he  began  exhibiting  at  the  Royal 
Academy  in  1821  ;  but  his  practice  was  chiefly  in 
i  Manchester.  HediedatFulham  in  1849.  Amongst 
his  works  are : 

John  Dalton,  the  chemist.  1841.  {Royal  Society,  London. 
John  McCulloch,the  geologist.  (Royal  Society,  London^ 
Kev.  Dr.  Eafiles.    {Lancashire  Independent  College.) 

FAULKNER,  Joshua  Wilson,  a  portrait  painter, 
the  brother  of  Benjamin  Faulkner,  was  born  in  the 
latter  part  of  the  18th  century.  He  was  a  native  of 
Manchester,  where  he  spent  the  greater  part  of 
his  life,  but  he  exhibited  at  the  Liverpool  Institution, 
and  occasionally  at  the  Royal  Academy.  He  died 
soon  after  1820.  There  is  a  portrait  of  Sir  John 
Ross,  the  Arctic  discoverer,  by  him. 

FAUR,  Christian  Wilhelm  von  Faber  du.  Sea 
Faber  du  Faub. 

FAURAY,  Antoine  de.    See  Favray. 

FAURE,  Eugene,  a  French  painter  of  allegories, 
mythological  subjects,  and  portraits,  was  born  at 
Seyssinet,  near  Grenoble,  in  1822.  He  studied 
under  David  d'Angers  and  Rude,  and  his  first  work, 
a  landscape,  now  in  the  Grenoble  Museum,  appeared 
at  the  Salon  in  1847.  He  died  in  Paris  in  1879. 
The  following  are  his  chief  works  : 

149 


A  BIOGRAPHICAL  DICTIONARY  OF 


Dreams  of  Youth.     1857. 
First  Steps  in  Love.     18C1. 
Confidence.     1863. 
Eve.     1864. 
La  Source.     1878. 

FAUEE,  L^ON,  a  French  painter,  and  pupil  of 
Eugene  Delacroix,  was  a  native  of  Toulouse.  His 
first  contribution  to  the  Salon  was  a  picture  called 
'  L'Offrande,'  exhibited  in  1857.  He  was  for  man 3' 
years  Professor  at  the  Art  School  of  his  native 
town,  where  he  died  in  1887. 

FAVA,  GiANGiACOMO,  commonly  known  as  Mac- 
EINO  d'Alba,  was  a  painter  of  the  old  Lombard 
school,  who  worked  from  about  1496  to  1508. 
One  of  his  best  pictures,  a 'Madonna  ancl  Child,'  is 
in  a  chapel  of  the  Certosa,  near  Pavia.  The  Stadel 
Institute  at  Frankfort  possesses  a  '  Madonna '  by 
him,  with  side-pictures  from  the  history  of  St. 
Joachim  and  St.  Anne. 

FAVA,  PiETRO  DA,  Count,  a  Bolognese  nobleman, 
who  distinguished  himself  not  only  as  a  patron  of 
art,  but  also  as  an  amateur,  was  born  at  Bologna  in 
1667.  He  studied  art  under  L  PasinelH,  and  was 
the  protector  and  friend  of  Donato  Creti  and  Ercole 
Graziani.  He  chiefly  studied  the  works  of  the 
Carracci,  whose  style  he  preferred  to  every  other. 
In  the  church  of  San  Tommaso  dal  Mercato  at 
Bologna  is  an  altar-piece  by  him  of  the  'Virgin 
and  Infant,  with  St.  Albert,  St.  Paul,  and  other 
Saints ' ;  and  at  Ancona,  in  the  cathedral,  are  the 
'Adoration  of  the  Magi,'  and  the  'Resurrection.' 
He  was  a  member  of  the  Clementine  Academy, 
and  died  in  1744. 

FAVANNB,  Henri  de,  (or  Favannes,)  a  painter 
of  historical  subjects,  was  horn  in  London  in  1668. 
and  was  instructed  by  Bene  Houasse.  He  travelled 
through  England,  and  afterwards  lived  ten  years 
in  Spain.  He  then  went  to  Paris,  where  he  was 
elected  rector  of  the  Academy,  and  died  in  1752. 

FAVANNE,  Jacques  de,  (or  Favannes,)  the 
son  of  Henri  de  Favanne,  was  at  tirst  an  en- 
graver, and  was  instructed  by  H.  F.  Thomassin, 
but  he  afterwards  took  to  painting,  and  executed 
principally  sea-pieces.  He  was  residing  in  Pari.s 
about  1760.  He  is  mentioned  by  Basan  as  the  en- 
graver of  a  plate  after  Watteau  of  '  The  Pleasures 
of  Summer.' 

FAVRAY,  Chevalier  Antoine  de,  (or  Faubat,) 
bom  in  1706,  was  a  pupil  of  Jean  Francois  deTroy, 
the  younger,  whom  he  accompanied  to  Rome  when 
the  latter  was  appointed  Director  of  the  Academy 
in  that  city.  At  Malta,  in  the  service  of  the 
Knights  of  the  Order,  he  executed  several  repre- 
sentations of  Maltese  manners  and  customs,  one 
of  which  in  the  Louvre  served  for  his  reception 
into  the  Academy  in  1762.  A  picture  of  the 
'Annual  Thanksgiving  of  the  Knights  of  St. 
John,  in  the  church  of  their  patron  saint,  for 
their  deliverance  from  the  Turks,'  was  sent  with 
the  above  to  Paris.  In  1762  he  went  with  the 
French  ambassador,  the  Chevalier  de  Vergennes,  to 
Constantinople,  where  he  remained  till  1771,  when, 
on  war  breaking  out  between  Turkey  and  Russia, 
he  returned  to  Malta.  From  this  time  all  further 
details  of  his  life  are  unknown,  though  he  seems  to 
have  been  alive  in  1789,  and  probably  in  1791.  In 
the  La  Caze  collection  in  the  Louvre  is  a  picture  of 
'  Maltese  Ladies  paying  a  visit.'  His  portrait  is  in 
the  Uffizi,  Florence. 

FAVRETTO,   Giacomo,   painter,   was   born    at 
Venice  in  1849.     He  was  one  of  the  ablest  of  the 
little  knot  of  Venetian  painters  whose  practice  is 
150 


founded  more  or  less  on  the  water-colours  of  Lud- 
wig  Passini.  His  pictures  are  generally  market- 
scenes,  and  are  notable  for  the  skill  with  which 
positive  greens  are  employed.  Towards  the  end 
of  his  life  his  works  became  popular  in  London. 
The  best  perhaps  is  '  A  Clothes  Market  in  Venice.' 
He  died  at  Venice  in  1887. 

FAXARDO,  Juan  Antonio,  a  Spanish  painter, 
was  a  native  of  Seville,  to  whom  Alonzo  Miguel  de 
Tobar  was  sent  when  a  boy  to  learn  painting. 

FAY,  Joseph,  a  German  painter,  born  at  Cologne 
in  1813,  attended  from  1833  to  1841  the  Academy 
at  Diisseldorf,  and  afterwards  studied  at  Munich, 
and  at  Paris  under  Paul  Delaroche.  He  first 
painted  historical  subjects,  and  had  a  happy  talent 
in  representing  scenes  from  the  life  and  manners 
of  the  old  Germans,  but  not  meeting  with  sufficient 
encouragement,  he  changed  his  style  for  genre 
painting,  for  which  purpose  he  visited  Italy.  He 
died  at  Diisseldorf  in  1875.  The  following  are 
among  his  best  works  : 

Samson  and  Delilah.     1839.    {Cologne  Museum.) 

Cleopatra. 

A  large  Frieze.     {Ellerfeld  Court-house.)      This    has 

perished,  but  some  cartoons  of  it  still  exist. 
Thisbe  listening. 
Borneo  and  Juliet.     1846. 
Gretchen  in  Prison.     1847. 

FAYERMANN,  Anne  Charlotte.  See  Bar- 
tholomew. 

FAYBAM,  John,  a  portrait  and  landscape  painter, 
practised  in  London  about  the  year  1740.  There 
are  by  him  some  slight,  coarse  etchings  of  views 
in  the  neighbourhood  of  Chelsea  and  Battersea, 
and  also  one  of  the  Hermitage  in  Kew  Gardens. 

FEARNLEY,  Thomas,  a  landscape  painter  of 
English  parentage,  was  born  at  Fredrichshall  in 
Norway  in  1802.  After  spending  a  short  time  in 
his  uncle's  business,  he  entered  the  Copenhagen 
Academy,  and  was  patronized  by  the  Crown 
Prince  Oscar,  for  whom  he  painted  a  '  View  of 
Copenhagen.'  In  1828  he  set  out  on  his  travels 
through  Europe,  and  did  not  return  to  Norway  till 
1836.  He  afterwards  spent  some  time  in  England, 
and  exliibited  at  the  British  Institution  a  'Nor- 
wegian Cascade.'  He  died  at  Munich  in  1842. 
Amongst  his  most  noticeable  works  are  : 

The  Blue  Grotto  of  Capri. 

The  Glacier  of  the  Grindelwald  [repeated  several  times). 

Labrofos  Waterfall.     (Christiania  National  Gallery.) 

FEARY,  John,  a  landscape  painter,  exhibited 
at  the  Royal  Academy  from  1772  to  1788.  He 
obtained  a  premium  at  the  Society  of  Arts  in  1775. 

FEBRE,  Valentin  le.     See  Le  Febbe. 

FEBURE,  Claude  le.     See  Lefebure. 

FEBURE,  Francois  le.     See  Le  Fi;vEE. 

FECHHELM,  Christian  Gottlieb,  a  portrait  and 
historical  painter,  born  at  Dresden  in  1732,  studied 
under  Mengs,  Manjocky,  and  Hutin,  first  portrait 
painting,  and  then  miniature.  In  the  Seven  Years' 
War  Maria  Theresa  commissioned  him  to  paint  the 
portraits  of  the  generals  engaged  in  that  campaign 
for  the  Military  School  at  Vienna.  He  died  at 
Dresden  in  1816.  His  son,  Karl  Christian,  who 
was  born  at  Dresden  in  1770,  and  died  in  1826, 
was  likewise  a  painter, 

FECHHELM,  Karl  Friedeich,  who  was  horn 
at  Dresden  about  1728,  studied  under  Midler  at 
Prague,  and  was  engaged  at  Berlin,  in  the  palace 
and  other  public  places,  in  painting  frescoes  and 
architectural  decorations.  He  died  in  1785.  There 
are  some  views  of  Berlin  etched  by  him. 


PAINTERS   AND  ENGRAVERS. 


FECHNER,  Eduaed  Clemeks,  who  was  born  at 
Gross-Sarchen,  near  Moscow,  in  1799,  was  a  portrait 
painter  and  an  etcher,  who  studied  in  1814  at 
Dresden  under  Grassi  and  Retsch.  In  1820  he 
went  to  Munich,  where  he  improved  his  style  under 
Stieler.  He  worked  some  time  for  the  Duke  of 
Leuchtenherg,  and  visited  Paris  in  1825.  He  ex- 
celled in  painting  portraits  of  ladies  and  children  ; 
he  also  executed  eleven  etchings  in  a  spirited 
manner.     He  died  in  Paris  in  1861. 

FEDDESjPieteb,  called  Pietervan  Haelikgen, 
from  the  place  of  his  birth,  was  born  in  1588,  and 
distinguished  himself  as  a  painter  on  glass.  He 
also  etched  portraits,  conversation  and  historical 
pieces,  with  a  broad  and  spirited  point.  There  are 
by  him  119  plates,  among  which  the  most  important 
are  the  following : 

Johannes  Bogerman,  the  President  of  the  Synod  at 
Dordrecht.    1620. 

Martinus  Hamconius. 

Charity,  or  Love. 

Fifty-two  portraits  of  the  Princes  and  Dukes  of  Fries- 
land,  for  Hamconius's  Frisia  (Franeker,  1620). 

The  Portraits  in  'Winsemius's  Crovycken  van  VHesland 
(Franeker,  1622). 

His  plates  are  signed  P.  Harlingensis,  although 
not  always  in  full.     He  died  in  1634. 

FEDERIGHETTO  di  DALMATIA,  II.  See 
Bencovich. 

FEGATELLI,  Giuseppe  Maeia,  a  native  of  Bo 
logna,  and  pupil  of  C.  Gennari,  flourished  in  the 
latter  half  of  the  17th  century,  and  painted  pictures 
for  the  churches  of  his  native  city. 

FEHLING,  Heinbich  Cueistoph,  a  German 
painter,  born  at  Sangerhausen,  in  Thuringia,  in 
1663,  was  instructed  by  Bottschildt,  to  whom  he 
was  related.  After  having  lived  several  years  in 
Italy,  he  was  appointed  court-painter  to  the  Elector 
John  George  IV.,  and  became  director  of  the 
Academy  and  inspector  of  the  Art  Galleries  at 
Dresden,  where  he  died  in  1725.  In  the  Dresden 
Gallery  is  a  portrait  by  him  of  Colonel  Kaspar  von 
Klengel,  and  a  number  of  painted  ceiHngs  remain 
as  specimens  of  his  art  in  the  palaces  of  that  city. 

FEI,  Alessandro  di  Vincenzio,  called  Alessan- 
DRO  DEL  Barbiere,  an  historical  painter,  was  born 
at  Florence  in  1543,  and  was  a  pupil  iirst  of 
Ghirlandajo,  afterwards  of  Piero  Francia,  and 
lastly  of  Maso  da  San  Frediano.  His  invention 
was  fertile  and  prompt,  adapted  to  the  great  works 
which  he  executed  in  fresco,  and  embellished  with 
architecture  in  a  grand  style.  Ha  was  fond  of 
introducing  buildings  and  grotesque  tigures  into 
his  paintings.  His  works  are  to  be  found  in  the 
churches  and  public  edifices  at  Florence,  Pistoja, 
and  Messina.  One  of  his  most  esteemed  pictures 
is  the  '  Flagellation,'  in  the  church  of  Santa  Groce  at 
Florence,  in  which  city  he  died  in  1592. 

FEID,  Joseph,  an  Austrian  landscape  painter,  was 
born  at  Vienna  in  1807.  He  possessed  a  great 
talent  in  depicting  foliage  and  forest  life,  and  died 
at  Weidling,  near  Vienna,  in  1870.  The  following 
works  by  him  are  in  the  Vienna  Gallery : 

A  Scene  in  a  Wood,  with  Nymphs  bathing.     1828. 
A  Study  of  the  Schneeberg. 
A  Forest  Landscape,  with  a  large  Oak.     1841. 
A  Landscape  with  an  approaching  Storm. 

FEIGL,  JoHANN,  an  engraver,  who  flourished  at 
Vienna  in  the  last  quarter  of  the  18th  century,  was 
a  pupil  of  Schmutzer  and  of  Wille.  His  best  known 
work  is,  'An  old  Woman  washing  the  Head  of  a 
Boy,'  after  G.  Dou.  1776 


FEISTBNAUER,  Andreas,  (or  Faistenauer,) 
a  native  of  Rosenheim,  in  Bavaria,  studied  at  Vienna 
under  StoU.  He  afterwards  went  to  Munich,  where 
he  painted  several  pictures  for  the  churches,  and 
in  1658  was  appointed  court-painter  to  the  Elector 
of  Bavaria.     The  date  of  his  death  is  not  known. 

FEISTENBERGER,  Anton,  was  born  at  Inns- 
bruck, in  the  Tyrol,  in  1678.  -He  had  no  abler 
instructor  than  an  obscure  artist,  named  Bouritzsch, 
who  lived  at  Salzburg,  or  Passau ;  but  he  had  an 
opportunity  of  studying  some  of  the  works  of 
Gaspard  Poussin,  by  which  he  formed  for  himself 
so  grand  a  style  of  painting  landscape,  that  on 
seeing  his  pictures,  it  would  be  supposed  that  he 
had  visited  Rome.  His  landscapes  are  embellished 
with  architectural  ruins,  and  refreshed  with  water- 
falls ;  the  forms  of  his  trees  are  grand  and  pic- 
turesque, and  his  foliage  is  light  and  spirited.  He 
was  invited  to  Vienna  by  the  Emperor  of  Germany, 
by  whom  he  was  employed  for  several  years,  and 
many  of  his  best  works  are  in  the  Imperial  and 
Liechtenstein  Galleries  in  that  city.  Other  land- 
scapes by  him  are  in  the  Dresden  Gallery  and  at 
Weimar.  He  was  not  successful  in  drawing  the 
figure,  but  was  assisted  in  that  branch  by  Hans 
Graf  and  Van  Bredael.  He  died  at  Vienna  in 
1736. 

FEISTENBERGER,  Joseph,  born  at  Innsbruck 
in  1684,  was  the  brother  of  Anton  Feistenberger, 
by  whom  he  was  instructed,  and  whom  he  assisted 
in  some  of  his  works.  There  are  two  landscapes 
by  this  artist  in  the  Vienna  Gallery.  He  died  at 
Vienna  in  1735. 

FEKE,  Robert,  one  of  the  earliest  American 
colonial  painters,  was  descended  from  a  Dutch 
family,  who  settled  at  Oyster  Bay,  Long  Island. 
It  is  said  that  having  been  taken  prisoner  and 
carried  to  Spain,  he  there  learned  to  paint,  and  on 
his  return  home  settled  at  Newport,  Rhode  Island, 
where,  among  other  portraits,  he  painted  that  of 
the  beautiful  wife  of  Governor  Wanton,  now  in 
the  Redwood  Library.  He  worked  also  at  New 
York,  and  in  1746  at  Philadelphia,  where  his  por- 
traits were  considered  the  best  after  those  of  West. 
He  subsequently  went  to  Bermuda  for  his  health, 
and  died  there  at  the  age  of  about  forty-four. 

FELICE,  Simone,  was  an  Italian  engraver  of  the 
17th  century,  who,  in  conjunction  with  Giovanni 
Battista  Falda.  engraved  a  collection  of  prints, 
entitled  '  Le  Giardini  di  Roma.'  Felice's  plates 
are  very  neatly  executed,  with  small  figures, 
spiritedly  designed,  and  are  in  no  way  inferior 
to  the  productions  of  Falda. 

FELICIATI,  Lorenzo,  an  Italian  painter,  was 
bom  at  Siena  in  1732,  and  died  in  1779.  Several 
pictures  by  this  artist  are  to  be  found  in  the 
churches  of  Siena  and  its  neighbourhood. 

FELIPE,  Fray,  was  a  Spanish  miniature  painter 
of  the  early  part  of  the  16th  century,  who,  in  con- 
junction with  Bernardino  C'anderron  and  Alonso 
Vazquez,  between  1514  and  1518  decorated  a  missal 
for  the  cathedral  of  Toledo. 

FELLINI,  GlULio  Cesabe,  born  about  1600,  was 
a  pupil  of  Gabriele  Ferrantini  and  of  Annibale 
Carracci.  He  excelled  in  painting  horses  and 
figures,  and  was  assisted  by  his  son  Marcantonio 
Fellini. 

FELLNER,  Ferdinand,  a  designer  and  painter, 
was  born  at  Frankfort  in  1799.  After  receiving 
a  high-class  education  he  went  to  Munich  to  study 
art,  and  remained  there  from  1825  to  1831,  but  later 
on  he  establiahed  himself  at  Stuttgart  and  pub- 

151 


A   BIOGRAPHICAL   DICTIONARY  OF 


lislied  a  number  of  illustrations.  As  a  painter  his 
works  are  less  meritorious.  He  died  at  Stuttgart 
in  1859.  Some  of  the  most  remarkable  of  his 
designs  for  books  are : 

The  Illustrations  of  the  '  Seven  Swabians.' 

Sixteen  Illustrations  of  '  Don  Quixote.' 

The  Illustrations  of  '  Faust.' 

Five  Illustrations  of  '  Wilhelm  TeU.' 

Illustrations  of  '  Wallenstein,'  '  The  Maid  of  Orleans/ 

'  Macbeth,'  '  Romeo  and  Juliet,'  Burger's  '  Lenore,' 

'  Oberon,' '  Robert,' '  Gudrun,'  kc. 


His  paintings  bear  the  accompanying  1 1__|  i 
monogram,  and  among  them  are  the  Y*p  J 
following : 


Burgberg. 
Frankfort. 


Church. 
Emperor's  Saloon. 


The  Holy  Family  {partly 

painted  by  Filgram). 
Conrad  I. 
Frederic  the  Beautiful. 


FELLOWES,  James,  a  portrait  painter,  prac- 
tised in  the  first  half  of  the  18th  century.  He 
was  reputed  to  be  the  painter  of  a  picture,  once 
well  known,  of  '  The  Last  Supper,'  at  St.  Mary's, 
Whitechapel. 

FELOU,  Charles  FEANgois,  the  Belgian  arm- 
less painter.  He  first  saw  the  light  at  Waermaede 
in  the  year  1830,  being  born  without  any  arms.  He 
did  not  follow  an  artistic  career  until  comparatively 
late  in  life,  for  it  was  not  until  he  had  passed  his 
twenty-fifth  year  that  he  seriously  commenced 
work  as  an  artist.  He  worked  entirely  with  his 
feet,  holding  his  palette  with  his  left,  and  using 
his  brushes  with  the  other  foot.  He  died  at 
Brussels  in  the  seventieth  year  of  his  age. 

FELSENTHAL,  Wolfgang,  Edler  von.  See 
Kopp. 

FELSING,  Georg  Jakob,  a  German  line-engraver, 
was  born  at  Darmstadt  in  1802.  He  was  first  in- 
structed by  his  father,  Johann  Konrad  Felsing,  but 
he  afterwards  visited  Italy  and  studied  at  Milan 
under  Longhi,  and  at  Florence  the  style  of  Rafia- 
ello  Morghen.  After  residing  some  time  at  Naples 
he  revisited  Florence,  and  became  a  professor  in 
the  Academy  of  that  city,  and  a  member  of  the 
Academy  of  Milan.  He  returned  to  Darmstadt  in 
1832,  when  he  was  elected  professor,  and  appointed 
engraver  to  the  Court.  During  a  stay  in  Paris 
he  was  influenced  by  the  style  of  Desnoyers,  and 
at  Munich  by  the  principles  of  the  artists  there. 
Felsing's  plates  show  the  talent  of  a  great  artist, 
and  he  worked  with  the  graver  in  a  clear  and 
vigorous  manner.  He  was  also  a  member  of  the 
Academies  of  St.  Petersburg,  Berlin,  and  Vienna, 
and  of  the  Institute  of  France.  He  died  at  Darm- 
stadt in  1883.     His  most  important  works  are: 

Christ  on  the  Mount   of   Olives;    after  Carlo  Sold. 

1838. 
Tbe  Madonna  enthroned  ;  after  Andrea  del  Sarto.    1830. 
The  Marriage  of  St.  Catharine ;  after  Correggio.     1831. 
The  VioUnist ;  after  Raphael.     1833. 
Girl  at  the  Fountain ;  after  Bendemann.     1835. 
The  Virgin  with  the  Infant,  St.  Elizabeth,  and  St. 

John ;  after  Overbeck.     1839. 
St.  Genevieve  in  the  Forest ;  after  Steinlriick. 
The  Saviour;  after  Leonardo  da  Vinci.     1844. 
Christ  with  the  Doctors  ;  after  the  same.     1847. 
Hagar  and  Ishmael ;  after  Kohler.     1843. 
Moses  in  the  Bulrushes  ;  after  the  same.     1849-52. 
The  Lorelei ;  after  Kohler  the  younqer.     1854. 
The  Betrayal  of  Christ ;  after  Hofmann.     1861. 
St.  Cecilia  ;  after  the  same. 
Christ  with  the  Cross  ;  after  Crespi. 
FELSING,  JoHANN  Konead,  a  German  engraver, 
was   born  at  Giessen  in  1766,   and  learned  the 
152 


elements  of  his  art  in  Darmstadt.  He  engraved 
many  portraits  in  the  dotted  manner,  but  was 
more  particularly  distinguished  by  his  topogra- 
phical works,  of  which  the  last  and  best  was  the 
military  plan  of  Mayence.  He  died  at  Darmstadt 
in  1819.  He  was  the  father  of  Johann  Heineich 
Felsing,  a  celebrated  copper-plate  printer,  who 
died  in  1875,  and  of  Geokg  Jakob  Felsing,  the 
eminent  engraver. 

FELTRE,  MoRTO  da.     See  Luzzi. 

FELTRINI,  Andrea,  called  also  Andrea  di 
CosiMO,  was  a  Florentine  painter  who  excelled  in 
grotesques.  He  was  born  about  1490,  and  died  about 
1554.  His  works  are  to  be  met  with  at  Florence 
on  the  fronts  of  houses,  on  walls,  and  on  ceilings. 
He  is  called  by  the  first  name,  from  his  having 
been  a  scholar  of  Morto  da  Feltre,  and  by  the 
second  from  his  having  studied  art  under  Cosimo 
Roselli. 

FEMINIA,  Gabriel,  a  Spanish  painter,  who 
flourished  at  the  commencement  of  the  18th  cen- 
tury. He  had  the  reputation  of  being  the  best 
landscape  painter  of  his  time  in  Spain. 

FENDI,  Peter,  a  German  genre  and  water- 
colour  painter,  engraver,  lithographer,  and  de- 
signer, was  born  in  1796  at  Vienna,  in  the  academy 
of  which  city  he  studied.  In  1818  he  became 
draughtsman  to  the  Cabinet  of  Antiquities,  and 
in  1821  he  went  to  Venice,  and  obtained  a  gold 
medal  for  his  picture  of  '  The  Grotto.'  He  pro- 
duced pictures  on  various  subjects  of  German 
history  and  poetry,  and  also  designed  illustrations 
for  Dibdin's  '  Bibliographical  Tour  in  France  and 
Germany,'  and  for  Hormayr's  '  History  of  Vienna.' 
He  died  in  1842.  His  '  Young  Girl  watching  a 
Lottery  '  is  in  the  Vienna  Gallery,  and  his  '  Bride ' 
appeared  at  the  London  International  Exhibition 
of  1862. 

FENIS,  Barthelemi,  was  an  engraver  who 
worked  at  Modena  from  1653  to  1669,  and  etched 
several  plates  in  the  style  of  Callot. 

FENNITZER,  Geoeg,  who  worked  at  Nuremberg 
towards  the  end  of  the  17th  century,  was  an  en- 
graver in  chiaroscuro,  especially  of  portraits.  His 
plates  are  signed  O.  F.,  O.  Fenn.,  G.  Feni.,  or  G. 
Fenitz.     Among  his  portraits  are  : 

Matthaus  Miiller. 

Johann  Conrad  Gotz.     1690. 

Fetrus  Ihselburg. 

Andreas  Bergmann.     1693. 

FENNITZER,  Michael,  who  was  evidently  a 
relation  of  Georg  Fennitzer,  was  born  at  Nurem- 
berg in  1641,  and  died  there  at  the  close  of  the  cen- 
tury. He  also  was  an  engraver  in  mezzotint,  and 
his  best  plates  are  '  The  Last  Supper,'  after  Adam 
Kraft's  relief  in  the  Church  of  St.  Sebaldus  at 
Nuremberg,  and  two  or  three  portraits  of  local 
celebrities.  He  marked  his  productions  with  either 
his  entire  name  or  his  initials. 

FENOLLO,  Paolo,  an  Italian  painter,  is  known 
by  a  '  Bacchic  Scene  '  in  the  Madrid  Gallery. 

FENTZEL,  Geegor,  an  engraver,  was  a  native 
of  Nuremberg,  who  worked  in  that  city  about 
1650.  He  engraved  the  '  Battle  of  King  Alphonso 
and  the  Moors,'  after  Antonio  Tempesta,  and  the 
portrait  of  General  Don  Balthasar  Marradas,  after 
F.  Cleyn,  as  well  as  portraits  and  other  illustrations 
'  in  the  style  of  Jan  Sadeler,  mostly  for  the  books 
of  Paulus  Fiirst  of  Nuremberg. 

FERA,  Bernardino,  who  flourished  about  1700, 
was  a  pupil  of  Solimena,  and  was  known  for  hia 
frescoes  and  distempers. 


PAINTERS  AND  ENGRAVERS. 


FERABOSCO,  Girolamo.    See  Febrabosco. 
'    FERABOSCO,  Martino,  a  native  of  Italy,  who 
resided  at  Rome,  engraved  the  plates  for  the  work 
entitled  '  Architettura  della  Basilica  di  San  Pietro 
in  Vaticano,'  published  at  Rome  in  1620. 

FERABOSCO,  Pietro,  an  Itahan  painter,  who 
flourished  about  1616,  spent  the  greater  part  of 
his  life  in  Portugal,  where  his  works  are  mostly 
to  be  found. 

FERDINAND,  Louis  Elle,  the  elder,  a  French 
painter  of  portraits,  and  an  engraver,  was  born  in 
Paris  about  1612.  He  was  the  son  and  pupil  of 
the  painter  Ferdinand  Elle,  a  native  of  Mechlin, 
who  settled  in  France,  and  was  one  of  the  in- 
structors of  Nicolas  Poussin.  Ferdinand  Elle  was 
known  best  by  his  baptismal  name  alone,  and  for 
this  reason  his  sons,  Louis  and  Pierre,  appear  to 
have  adopted  it  as  a  surname.  Independently  of 
his  talent  as  a  painter,  he  etched  several  plates,  in 
a  spirited  and  tasteful  style,  and  the  prints  for  a 
book,  entitled  '  Le  Livre  original  de  la  Portraiture,' 
printed  at  Paris  in  1644.  He  was  one  of  the 
foundation  members  of  the  Academy  in  1648,  and 
died  in  Paris  in  1682.  There  are  also  by  htm  the 
following  plates : 

Portrait  of  a  Lady ;  after  Van  Di/ck, 
Nicolas  Poussin  ;  F.  E.pi}ixit. 
A  set  of  six  Friezes  ;  ajter  L.  Testelin. 
A  set  of  six  groups  of  Children  ;  after  the  same. 
Several  allegorical    and   mythological  subjects;  after 
Frimaticcio. 

FERDINAND,  Louis  Elle,  the  younger,  the 
eon  and  pupil  of  Louis  Elle  Ferdinand  the  elder, 
was  born  in  Paris  in  1648.  He  painted  portraits 
with  great  reputation,  and  became  a  member  of 
the  French  Academy,  his  reception  pictures  being 
a  portrait  of  Samuel  Bernard,  the  miniature  painter, 
now  in  the  Louvre,  and  a  portrait  of  Regnaudin, 
now  in  the  Ecole  des  Beaux-Arts.  In  the  National 
Portrait  Gallery  is  a  likeness  by  him  of  Dr.  Thomas 
Burnet,  dated  1675.  He  died  at  Reims  in  1717. 
His  brother,  Pierre  Elle  Ferdinand,  etched  a  few 
plates,  including  'St.  Potentiana,'  after  Correggio, 
and  died  in  Paris  in  1G65. 

FERDINANDI,  Francesco,  (or  Febnandi,) 
called  Imperiali,  an  Italian  painter,  worked  at 
Rome  in  1780.  There  are  two  works  by  him  at 
Rome,  one  is  the  '  Martyrdom  of  St.  Eustache,'  in 
the  church  dedicated  to  that  saint,  and  the  other 
is  the  '  Death  of  St.  Eomuald.' 

FERG,  Franz  de  Padla,  a  painter  and  etcher, 
was  bom  at  Vienna  in  1689.  He  was  instructed  first 
by  his  father,  Pancrazius  Ferg,  and  afterwards  by 
J.  Orient  in  landscape  painting,  and  by  Hans  Graf 
in  the  drawing  of  figures.  His  reputation  soon 
spread  through  Germany,  and  he  was  invited  to 
the  court  of  Dresden,  where  he  passed  some  years. 
In  1718  he  went  from  Brunswick  to  London,  where 
he  passed  twenty  years,  and  might  have  lived  in 
afSuenoe  and  respectability,  had  not  an  imprudent 
marriage  involved  him  in  difficulties,  and  kept  him 
in  continual  indigence.  He  is  reported  to  have 
been  found  dead  in  the  street,  near  the  door  of  his 
lodging,  in  1740.  The  landscapes  of  Ferg  are  of 
very  agreeable  scenery,  enriched  with  architectural 
ruins  in  a  very  picturesque  style,  and  bear  some 
resemblance  to  the  works  of  Poelenborch:  his 
scenes  from  common  life  resemble  those  of  Ostade. 
His  compositions,  which  are  happily  arranged,  show 
great  diligence  in  the  execution,  and  bear  the  an- 
nexed monogram  -yL/r*  The  following  are  among 
his  paintings 


Brunswick.     Gallery.     The  Four  Seasons. 


,, 

A  Market  Scene. 

", 

A  Rural  Feast. 

Cassel. 

Gallery. 

Sea  View. 

Dresden. 

Gallery. 

Six    Landscapes   with    ruins   and 
figures. 

Florence. 

Uffizi. 

Two  small  Landscapes. 

Hampton 

Ct.  Palace. 

Small  Tiandscape. 

Vienna. 

Gallery. 

A  Fair. 

w 


There  is  a  set  of  eight  neat  and  spirited  etchings 
by  Ferg  of  ruins  and  figures,  called  '  Capricci  fatti 
per  F.  P.  F.' 

FERGIONE,  Bernardino,  a  painter  of  marine 
views  and  sea-ports,  is  stated  by  Lanzi  to  have 
flourished  at  Rome  about  the  year  1718.  Claude 
Joseph  Vernet  studied  in  Fergione's  atelier  on  his 
arrival  in  Rome  in  1732. 

FERGUSON,  James,  the  Scottish  astronomer, 
born  near  Keith,  in  Banffshire,  in  1710,  was  a  self- 
taught  man.  Though  better  known  as  an  astro- 
nomer, he  gained  a  living  in  Edinburgh  and  in 
England,  for  several  years,  by  drawing  miniature 
portraits  in  black  lead.     He  died  in  1776. 

FERGUSON,  William  Gow,  was  a  native  of 
Scotland,  who  after  learning  the  first  rudiments  of 
art  in  his  own  country,  passed  some  years  on  the 
continent.  On  his  return  to  his  native  country, 
he  acquired  some  reputation  in  painting  dead  game 
and  still-hfe.  He  died  in  London  about  the  year 
1695.  Some  of  his  smaller  pictures  are  so  excellent 
that  they  are  frequently  attributed  to  Weenix,  to 
whose  works  they  bear  strong  resemblance.  In 
the  Berlin  Gallery  is  a  picture  of  still-life,  a  dead 
partridge,  and  in  the  National  Gallery  of  Scotland 
is  one  of  '  Sculptured  Ruins  and  Figures.' 

FERNANDEZ,  Alexeo,  (or  Hernandez,)  was  a 
Spanish  artist  of  considerable  skill,  who  at  the 
beginning  of  the  16th  century  painted  for  the 
convent  of  St.  Jerome  at  Cordova  several  altar- 
pieces  from  the  lives  of  Christ  and  the  patron  Saint, 
which  were  considered  equal  in  execution  to  any 
contemporary  productions.  In  1508  he  was  em- 
ployed to  paint  and  gild  the  noble  reredos  of  the 
high-altar  of  Seville  Cathedral,  designed  at  the 
close  of  the  previous  century  by  the  Flemish  archi- 
tect Daneart.  Fernandez  remained  at  Seville  until 
1525.  A  '  Madonna  with  Angels,'  in  the  church  of 
Santa  Ana  in  Seville,  is  by  his  hand. 

FERNANDEZ,  Antonio  Arias.  See  Arias 
Fernandez. 

FERNANDEZ,  Francisco,  who  was  born  at 
Madrid  in  1605,  and  brought  up  in  the  school  of 
Vincenzo  Carducho,  was  one  of  the  most  ingenious 
artists  of  his  time,  and  his  talent  gained  great 
reputation  for  him  at  an  early  age.  He  was  em- 
ployed by  Philip  IV.  in  the  palaces  at  Madrid,  and 
in  the  convent  of  La  Victoria  are  pictures  by  him 
of  the  'Death  of  St.  Francis  of  Paola,'  and  'St. 
Joachim  and  St.  Anne. '  He  also  etched  five  spirited 
plates  of  allegories  for  Carducho's  '  Dialogos  de  la 
Pintura,'  1633.  He  was  killed  in  a  quarrel  by 
Francisco  de  Baras  in  1646. 
FERNANDEZ,  Juan  Antonio  Ribera  t.    See 

RiBERA. 

FERNANDEZ,  Luis,  (the  elder  of  the  name,) 
was  a  painter  in  tempera  of  Seville,  who  about  the 
year  1580  was  the  instructor  of  the  elder  Herrera, 
Juan  and  Augustin  del  Castillo,  and  Francisco 
Pacheco. 

FERNANDEZ,  Luis,  a  Spanish  historical  painter, 
both  in  oil  and  in  fresco,  born  at  Madrid  in  1594, 
was  a  pupil  of  Eugenio  Caxes.  There  are  by 
him  in  the  cross-walk  of  the  convent  of  La  Merced 

153 


A   BIOGEAPHICAL   DICTIONARY   OF 


Calzada  scenes  from  the  life  of  St.  Eamon,  painted 
in  1625,  and  in  Santa  Cruz  were  several  frescoes 
and  oil  paintings,  which  perished,  however,  by  fire 
in  the  17th  century.  His  works,  executed  in  the 
style  of  his  master,  are  distinguished  for  correct- 
ness of  design  and  beauty  of  colouring.  He  died 
at  Madrid  in  1654. 

FERNANDEZ.  Vasco,  commonly  known  as 
Grak  Vasco,  or  (5rao  Vasco,  ('Vasco  the  Great,') 
was  a  Portuguese  painter,  who  has  been  variously 
cited  as  '  Ferdinand  de  Vizeu,'  '  Gran  Vasco  de 
Vizeu,'  '  Fernandez  Vasco  de  Cazal,'  or  simply 
'  Vasco  Pereira,'  or '  Vasco  Fernandez.'  If  reliance 
can  be  placed  on  Portuguese  testimony,  or  rather 
assertion,  he  was  the  greatest  painter  that  ever 
lived  ;  not  only  are  his  pictures  the  most'excellent, 
but  the  most  numerous.  All  in  Portugal  that  have 
not  secured  a  name  are  by  Gran  Vasco.  Zani 
notices  Vasco  Pereira,  a  Portuguese  painter,  who 
worked  in  1594  ;  and  Cean  Bermudez  has  given  an 
account  of  him  among  the  Spanish  artists.  Count 
Raczynski,  who  was  desirous  of  identifying  Vasco 
Pereira  with  Gran  Vasco,  and  who  examined  a 
small  picture  by  the  former,  with  the  date  1575, 
abandoned  that  idea,  and  left  the  elucidation  of  the 
subject  to  his  friend  M.  J.  Berardo.  The  conclu- 
sions at  which  the  latter  arrived  in  1844,  and  which 
do  not  appear  to  have  been  subsequently  shaken, 
were  that  Gran  Vasco  is  identical  with  a  certain 
Vasco  Fernandez,  whose  baptismal  register  shows 
him  to  have  been  the  son  of  a  painter  named 
Francisco  Fernandez,  and  to  have  been  born  in 
1552,  and  baptized  in  the  church  of  Vizeu,  though 
it  is  uncertain  whether  he  was  born  within  that 
town  or  in  a  mill  in  its  vicinity.  He  flourished 
during  the  reign  of  Dom  Sebastian.  One  of  his 
paintings  probably  is  the  '  Christ  on  the  Cross '  in 
the  Misericordia  at  Oporto,  which  is  ascribed  to 
Holbein. 

FERNANDEZ  de  CASTRO,  Antonio,  was  a 
canon  of  Cordova,  who  painted  two  pictures  of 
'  St.  Ferdinand,'  and  the  '  Virgin  of  the  Immaculate 
Conception,'  for  the  chapter-room  of  his  cathedral. 
He  died  in  1739. 

FERNANDEZ  de  GUADALUPE,  Pedro,  a 
Spanish  artist,  painted  in  1509-12  a  number  of 
wooden  figures  for  Seville  Cathedral,  and  in  1527 
executed  for  the  same  edifice  a  '  Descent  from  the 
Cross,'  with  the  body  of  the  Saviour  lying  upontha 
knees  of  Mary,  as  well  as  some  other  pictures,  ono 
of  which  represented  the  '  Repentance  of  St.  Peter.' 

FERNANDEZ  Dfi  LAREDO,  Juan,  one  of  the 
best  fresco  painters  of  his  time,  was  born  at 
Madrid  in  1632,  and  studied  under  Francisco  Rizi, 
whom  he  assisted  in  his  works  at  the  Retiro.  He 
painted  many  pictures  for  the  churches  at  Madrid, 
where  he  was  killed  by  a  fall  in  his  own  studio  in 
1692. 

FERNANDEZ  NAVARRETE,  Juan,  commonly 
called  El  Mudo,  from  having  been  deaf  and  dumb, 
was  born  at  Logrono  about  1526.  An  acute  malady 
at  the  age  of  three  years  deprived  him  of  the  sense 
of  hearing,  and  consequently  of  the  power  of  learn- 
ing to  speak.  He  received  his  first  instruction  in 
art  from  Fray  Vicente  de  Santo  Domingo,  a  monk 
of  the  order  of  St.  Jerome,  but  subsequently  went 
to  Italy  and  studied  at  Venice  under  Titian.  His 
sojourn  in  Italy  lasted  for  at  least  twenty  j'ears,  and 
whilst  there  he  availed  himself  of  the  opportunity 
of  visiting  the  studios  of  the  most  renowned  masters. 
Although  there  is  no  account  of  any  production  of 
importance  by  him  during  his  stay  in  that  country, 

154 


yet  it  is  certain  that  he  obtained  a  great  reputation 
among  the  artists,  which  no  doubt  was  augmented 
by  the  circumstance  of  his  infirmity.  The  fame  of 
El  Mudo,  by  which  name  he  was  known  in  Italy, 
reached  Philip  II.,  who  was  commencing  the  decor- 
ations of  the  Escorial,  and  he  was  commanded  to 
attend  at  Madrid  for  the  purpose  of  being  em- 
ployed on  that  work.  He  arrived  there  in  1568, 
and  was  appointed  painter  to  the  king,  with  an 
annual  pension  of  200  ducats,  in  addition  to  the 
price  of  his  works.  He  had  scarcely  commenced 
his  labours,  when  a  serious  malady  compelled  him 
to  retire  to  tlie  country  for  the  benefit  of  air,  and 
he  remained  for  three  years  in  his  native  place, 
Logrofio,  on  leave  of  absence,  but  receiving  his 
pension  as  painter  to  the  king.  In  1571  he 
returned  to  the  Escorial,  bringing  with  him  four 
large  pictures  which  had  been  commanded,  and  for 
which  he  received  500  ducats.  These  were  an 
'Assumption,'  the  'Martyrdom  of  St.  James  the 
Great,'  a  '  St.  Philip,'  and  a  '  St.  Jerome.'  It  is 
believed  that  in  the  first  the  face  of  the  Virgin  was 
the  portrait  of  his  mother,  Catalina  Ximenes,  who 
in  her  youth  had  been  very  beautiful.  In  ad- 
dition to  these  four  pictures  he  painted  for  the 
Escorial  '  The  Nativity,'  '  Christ  at  the  Pillar,'  a 
'  Holy  Family,'  and  '  St.  John  writing  the  Apoca- 
lypse ' :  these  he  finished  in  1575,  and  for  them  he 
received  800  ducats.  These  eight  pictures  were 
Navarrete's  principal  works  :  unhappily  three  of 
them,  the  '  Assumption,'  '  St.  Philip,'  and  '  St.  John,' 
were  destroyed  by  fire  ;  the  other  five  were  saved 
and  placed  in  the  principal  cloister  of  the  monastery. 
Besides  their  unquestionable  merit,  each  picture  is 
remarkable  for  some  peculiar  circumstance.  Thus 
the  '  Martyrdom  of  St.  James '  and  the  '  St.  Jerome' 
are  most  minutely  finished  ;  a  manner  which  he 
did  not  continue  in  his  other  compositions.  The 
'  Christ  at  the  Pillar,'  seen  in  front,  is  an  admirable 
head,  which,  by  its  meekness  and  beauty,  contrasts 
marvellously  with  the  ignoble  features  of  the 
flagellators.  In  the  '  Holy  Family  '  the  heads  are 
equally  beautiful  and  expressive ;  but,  by  a  strange 
caprice,  the  painter  has  placed  on  one  side  of  the 
fore-ground  of  the  picture  a  partridge,  and  on  the 
other,  a  dog  and  cat  contending  for  a  bone,  with 
such  comical  contortions  that  it  is  impossible  to 
regard  them  without  laughing.  In  '  The  Nativity,' 
El  Mudo  essayed  to  vanquish  a  formidable  difficulty 
in  painting.  He  has  introduced  three  lights  in  the 
picture :  the  effluence  from  the  holy  Infant ;  that 
which  proceeds  from  the  glory  above,  and  which 
extends  over  the  whole  composition ;  and  that 
emitted  from  the  torch  which  Joseph  holds  in  his 
hand.  The  group  of  shepherds  is  the  best  part  of 
the  picture.  It  is  related  that  Pellegrino  Tibaldi, 
on  seeing  it,  cried  out  in  raptures,  "  Oh  I  gli  belli 
pastori  I  "  This  exclamation  gave  its  name  to  the 
picture,  and  it  continues  to  be  known  as  'The 
Beautiful  Shepherds.'  In  1576  El  Mudo  painted 
his  famous  picture  of  'Abraham  and  the  three 
Angels,'  for  which  he  received  600  ducats,  and  about 
this  time  he  entered  into  a  contract  with  the  prior, 
inspector,  and  treasurer  of  the  Escorial,  to  paint 
thirty-two  pictures,  which  he  engaged  to  deliver 
within  four  years.  Twenty-seven  of  these  pictures 
were  to  be  seven  feet  and  a  half  in  height  and 
seven  feet  and  a  quarter  in  breadth,  and  the  other 
five  thirteen  feet  high  and  nine  feet  broad.  In  the 
contract,  which  is  preserved  in  the  archives  of  the 
monastery,  all  the  details  are  specified :  for  example, 
the  canvas  of  each  is  to  be  of  one  piece  without 


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Aliiiari  photo]  [Byera,  Milan 

THE  MARTYRDOM  OF  ST.  CATHARINE 


PAINTERS  AND   ENGRAVERS. 


seam ;  the  work  is  to  be  entirely  by  the  hand  of  Juan 
Fernandez  Navarrete,  and  to  be  done  either  at  the 
convent,  at  Madrid,  or  at  Logroiio ;  the  figures  are  to 
be  just  six  feet  and  a  quarter  in  height ;  if  the  same 
Saint  is  repeated  several  times  in  the  pictures  he  is 
always  to  have  the  same  visage  and  the  same  vest- 
ments ;  the  painter  is  not  to  put  in  the  pictures 
either  cat,  or  dog,  or  any  immodest  figure.  He 
did  not,  however,  live  to  complete  this  vast  under- 
taking ;  he  painted  in  1577  and  1578  the  eight 
which  represent  the  Apostles,  the  Evangelists,  St. 
Paul,  and  St.  Barnabas;  the  rest  were  finished  in 
the  following  years  by  Alonso  Sanchez  Coello  and 
Luis  de  Caravajal.  El  Mudo's  health  had  always 
been  delicate,  and  he  died  at  Toledo  in  1679.  In 
the  Madrid  Gallery  there  are  by  him  a  'Baptism  of 
Christ,'  'St.  Peter,'  and  'St.  Paul.' 
EERNANDI,  Eranoesco.  See  Ferdinandi. 
EERNELEY,  J.  E.,  an  English  animal  painter, 
was  born  in  1781,  and  died  in  1860.  He  exhibited 
hunting  pictures  at  the  Royal  Academy  from  1818 
to  1849. 

FERON,  FiRMiN  Eloi,  a  pupil  of  Gros,  born  in 
Paris  in  1802.  He  gained  the  grand  prize  in 
painting  at  I'Ecole  des  Beaux  Arts  in  1825,  and 
went  on  soon  after  that  to  Rome,  where  he  studied 
with  great  earnestness  for  some  considerable  time. 
On  his  return  he  executed  several  pictures  for  the 
Gallery  at  Versailles,  amongst  which  may  specially 
be  named,  '  The  Battles  of  Arsur,'  '  Fornous,' 
'Guntersdorff,'  and  '  Hollabrun.'  He  also  painted 
'The  taking  of  Rhodes,'  'The  entrance  of  Charhs 
VIII.  into  Naples,'  'The  arrival  of  the  Duke  of 
Orleans  at  the  Hotel  de  Ville,  July,  1830,'  and 
some  fine  portraits  of  the  statesmen  of  his  time. 
He  died  in  1876. 

FERRABOSCO,  Gibolamo,  (Ferabosco,  or  Fora- 
Bosco,)  a  native  of  Padua,  painted  at  Venice  from 
'631  to  1659.  He  was  a  contemporary  of  Boschini, 
who  gives  to  this  master,  and  to  the  Cavaliere 
Liberi,  the  first  rank  among  the  Venetian  painters 
of  the  time.  He  was  more  employed  for  private 
collections  than  for  the  churclies,  and  was  nnioli 
engaged  in  portrait  painting,  in  which  he  particu- 
larly excelled.  Ferrabosco  possessed  a  noble  and 
penetrating  genius,  and  united  suavity  with  finish, 
and  elegance  with  force  ;  his  works  were  studied 
in  every  part,  particularly  in  the  heads.  He  was 
still  living  in  1660.  In  the  Dresden  Gallery  is  a 
picture  of  '  A  Young  Woman  snatched  from  the 
hand  of  Death.' 

FERRACUTI,  Giovanni  Domenico,  who,  accord- 
ing to  Lanzi,  was  a  native  of  Macerata,  flourished 
about  the  middle  of  the  17th  century.  He  chiefly 
painted  landscapes,  particularly  winter-pieces, 
which  were  much  esteemed  in  his  time. 

FERRADO,  Cristobal,  a  Spanish  painter,  was 
bom  at  Anieva,  in  the  principality  of  the  Asturias, 
in  1620.  He  had  acquired  some  ability  from  the 
instruction  of  an  unknown  artist,  and  afterwards 
developed  into  an  accomplished  painter  from  his 
own  unaided  practice.  In  1640  he  became  a  monk 
of  the  order  of  Santa  Maria  de  las  Cuevas,  near 
Seville.  He  continued,  however,  to  exercise  his 
art,  and  painted  some  pictures  for  the  altars  of  his 
monastery.  Several  of  his  productions  are  in  the 
cloister  of  San  Miguel  at  Seville,  and  otht-rs 
have  been  removed  to  the  Alcazar.  Towards  the 
end  of  his  life  he  was  made  rector  of  the  Car- 
thusian Monastery  of  Cazaller.  He  died  at  Seville 
in  1673. 


FERRAJUOLI,  Nonzio,  called  Ndnzio  degli 
Afflitti,  was  born  at  Nocera  de'  Pagani,  in  the 
Neapolitan  territory,  in  1660.  After  studying 
some  time  under  Luca  Giordano,  he  went  to 
Bologna,  where  he  became  a  scholar  of  Giuseppe 
dal  Sole.  His  first  eS'orts  were  in  historical  paint- 
ing ;  but  his  genius  decidedly  led  him  to  land- 
scape in  oil  and  fresco.  He  died  at  Bologna  in 
1735. 

FERRAMOLA,  Floriano,  or  Fioravante,  a 
native  of  Brescia,  born  before  1480,  the  son  of  a 
carpenter  named  Lorenzo  Ferramola  and  the 
master  of  Alessandro  Bonvicini  (Moretto).  Rossi 
relates  of  him  that  when  Brescia  was  sacked  by 
Gaston  de  Foix  in  1512,  he  remained  calmly 
working  at  his  easel,  and  being  there  found  by  a 
gang  of  plunderers  who  demanded  ransom,  he, 
without  discontinuing  his  labours,  told  them  to 
help  themselves,  which  they  quickly  did,  and  left 
his  studio  an  empty  wreck.  Happily  for  the  artist 
his  talents  gained  for  him  the  protection  of  Gaston 
de  Foix,  who  ordered  him  to  paint  his  portrait, 
and  indemnified  him  for  his  losses.  He  was  much 
employed  as  a  fresco-painter  in  the  churches  and 
palaces  of  Brescia,  though  very  little  by  him  now 
remains  there.  In  1514  he  painted  half-lengths  of 
Apostles  on  the  spandrels  of  the  arches  in  the 
nave  of  S.  Maria  at  Lovere,  and  between  1516-1518 
decorated  the  organ  shutters  in  the  old  cathedral 
of  Brescia,  which  were  later  removed  to  S. 
Faustino  Maggiore  and  eventually  to  S.  Maria  at 
Lovere,  where  they  are  still  preserved.  His 
frescoes  in  St.  Giulia  at  Brescia,  executed  in  com- 
pany with  a  painter  named  '  Paolo,'  were  finished 
in  1527,  and  in  that  year  he  was  painting  in  the 
chapel  of  the  Holy  Cross  in  the  cathedral  at 
Brescia  assisted  by  his  pupil  Moretto,  but  he  died 
before  the  completion  of  the  work,  in  1528.  Soma 
critics  attribute  to  him  certain  of  the  frescoes  in 
S.  Giulia,  those  in  an  oratory  at  the  back  of  the 
choir  in  the  church  of  the  Carmine,  an  altar-piece 
in  S.  Maria  delle  Grazie,  and  other  paintings  at 
Brescia.  The  following  may  be  ascribed  to  him 
with  certainty  : 

Berlin.  Gallery.    Madonna  and  Saints,  dated 

1513. 
Brescia.  Carmine.  Lunette  'i 

fresco  over  W.  >The  Annunciation. 
door.  J 

Lovere.  *S'.  Maria,      Frescoes,  dated  1514. 

„  „  The     Annunciation     {outer 

shutters     of    the     organ), 
dated  1518.  C.  J.  Ff. 

FERRAND,  Jacques  Philippe,  who  was  born  at 
Joigny  in  Burgundy  hi  1653,  was  a  miniaturist 
and  painter  in  enamel.  He  was  the  son  of  a  phy- 
sician to  Louis  XIII.,  and  studied  under  Mignard 
and  Samuel  Bernard.  In  1690  he  was  received 
into  the  Academy,  on  which  occasion  he  painted  a 
portrait  of  Louis  XIV.  He  excelled  in  his  art,  and 
pubhshed  in  1721  a  work  entitled,  '  L'Art  du  feu, 
ou  maniere  de  peindre  en  ^mail.'  He  travelled  in 
Italy,  England,  and  Germany,  and  died  in  Paris  in 
1732. 

FERRANDINI,  Claudio,  an  engraver,  worked  in 
Paris  and  Toulon  in  the  latter  part  of  the  18th 
century.  He  engraved  landscapes,  sea-pieces,  and 
views  after  Claude,  Fontaine,  J.  Vernet,  S.  R.Vialy, 
Teniers,  &c.     He  died  about  1790. 

FERRANTE,  Giovanni  Francesco,  who  was 
born  at  Bologna  about  1600   was  a  pupU  of  Gessi. 

155 


A  BIOGRAPHICAL  DICTIONARY  OF 


He  executed  several  works  in  oil  and  fresco  at 
Bolo^a  and  at  Piacenza,  where  he  died  in  1652. 

FERRANTI,  Decio  and  Agosto,  father  and  son, 
were  painters  who  flourished  about  1500.  Both  of 
them  painted  miniatures  exquisitely,  and  in  the 
cathedral  of  Vigevano  is  an  Evangeliarium  and  a 
Missal  richly  embellished  by  them. 

FERRANTINI,  Gabmele,  called  Gabriele 
DAGLl  OCCHIALI,  from  his  wearing  spectacles,  was 
bom  at  Bologna  about  1550,  and  was  instructed 
in  the  school  of  DionysiuB  Calvaert.  He  painted 
historical  subjects,  both  in  oil  and  fresco,  in  a 
pleasing  and  tasteful  manner.  Several  of  his 
works  are  in  the  churches  at  Bologna,  of  which 
the  following  are  the  most  esteemed :  in  San 
Benedetto,  '  St.  Francis  of  Paola '  ;  in  San  Mattia, 
a  fine  picture  of  '  St.  Jerome '  ;  in  La  Carita,  '  St. 
Francis  receiving  the  Stigmata '  ;  and  in  the 
church  of  the  Servites,  the  '  Descent  from  the 
Cross  '  and  the  '  Birth  of  the  Virgin.' 

FERRANTINI,  Ippolito,  a  brother  of  Gabriele 
Ferrantini,  was  instructed  by  the  Carracci,  whom 
he  imitated  with  success.  He  was  a  member  of  the 
Accademia  degli  Incaminati.  In  the  church  of  San 
Mattia  in  Bologna  is  a  picture  representing  '  St 
Michael.' 

FERRARA,  Bono  da, (or  Bono  Feerarese,)  lived 
in  the  15th  centur}',  and  seems  to  have  been  the 
pupil  of  both  Pisano  and  Squarcione.  He  was 
employed  bj'  the  Dukes  of  Ferrara  to  decorate 
their  castles  at  Migliaro  and  Belfiore,  in  1450  and 
1452.  He  also  painted  a  'St.  Christopher'  in 
the  chapel  of  the  Eremitani  at  Padua,  and  he  is 
said  to  have  assisted  in  the  decorations  of  the 
Cathedral  of  Siena  in  1461.  The  National  Gallery 
possesses  a  '  St.  Jerome  in  the  Desert,'  by  him, 
■The  'Anonimo  Morelliano'  refers  to  his  work  at 
Padua,  and  says  that  he  painted  part  of  the 
chapel,  and  that  the  remaining  parts  were  done 
by  Mantegna  and  by  Ansuino  da  Forli.  His  style 
partakes  of  that  of  his  master  Squarcione,  and  also 
of  that  of  his  fellow-pupil  Mantegna.  Of  his  birth 
or  death  no  dates  can  be  given. 

FERRARA,  Cosme  da.     See  Tdra. 

FERRARA,  Ercole  da.     See  Grandi. 

FERRARESINO,  II.     See  Berlinghieri,  Ca- 

MILLO. 

FERRARI,  Antonio  Felice,  the  son  of  Fran- 
cesco Ferrari,  was  born  at  Ferrara  in  1668.  He 
was  a  painter  of  architecture,  and  distinguished 
himself  by  the  grandeur  of  his  style  in  the  paint- 
ings for  the  palaces  at  Ferrara,  Venice,  Padua,  and 
Ravenna.    He  died  in  1720. 

FERRARI,  Bernardino,  who  was  born  at 
Vigevano  about  1540,  painted  at  that  place  the 
chapels  of  San  Jacopo  and  San  Filippo.  He 
imitated  the  style  of  Gaudenzio  Ferrari. 

FERRARI,  Difendente,  a  contemporary  of 
Macrino,  was  a  painter  of  numerous  pictures,  chief 
of  which  are  a  '  Pieta '  in  the  cathedral  of  Chivasso, 
altar-pieces  in  the  cathedral  of  Ivrea  (1519-1521), 
and  a  '  Nativity,  with  Saints '  (1531)  in  the  church 
of  Ranverso. 

FERRARI,  Francesco,  born  at  Castello  della 
Fratta,  near  Rovigo,  in  1634,  was  a  painter  of  his- 
torical subjects,  architecture,  and  landscapes.  He 
was  first  employed  in  figure-painting,  but  after- 
wards studied  decoration  and  scenery  under 
Gabriele  Rossi.  He  painted  for  the  Marchese  degli 
Obizzi,  among  other  works,  the  theatre  at  San 
Lorenzo  in  1650.  Subsequently  he  was  engaged 
upon  theatre-decorations  at  Vienna,  and  painted  in 
156 


San  Francesco,  the  Gesii,  San  Giorgio,  and  the 
Bucci  Mansion  at  Ferrara,  and  San  Petronio  at 
Bologna,  where  he  executed  'The  Martyrdom  of 
St.  Sebastian.'     He  died  in  1708. 

FERRARI,  Francesco  Bianchi,  called  II  Feari, 
an  excellent  artist,  born  in  1447,  executed  many 
paintings  at  Modena,  but  a  great  number  of  his 
productions  have  perished.  A  fine  picture  by  him 
in  the  Louvre  at  Paris,  representing  '  The  Madonna 
enthroned,  with  Saints  and  Angels,'  bears  bo 
striking  a  resemblance  to  Correggio's  '  St.  Francis  ' 
in  the  Dresden  Gallery,  that  it  has  much  strength- 
ened the  supposition  that  Correggio  was  Ferrari's 
pupil.     He  died  in  1510. 

FERRARI,  Gaudenzio,  called  by  Vasari  Gau- 
denzio Milanese,  a  painter  and  sculptor  of  the 
Lombard  school,  was  born  at  Valduggia,  near 
Novara,  most  probably  in  the  year  1484.  Nothing 
is  known  of  his  early  years,  or  as  to  who  was  his 
first  master,  though  he  seems  at  one  time  to  have 
been  a  pupil  of  Luini.  That  he  was  instructed  in 
the  principles  of  art  by  Girolamo  Giovenone  at 
Vercelli  is  a  supposition  devoid  of  foundation,  but 
he  studied  under  Stefano  Scotto,  a  painter  of  ara- 
besques, at  Milan.  His  greatest  advance  was,  how- 
ever, derived  from  an  attentive  study  of  the  works 
of  Leonardo  da  Vinci.  There  is  no  proof  that  he 
was  acquainted  with  Perugino  or  Raphael,  or  that 
he  was  at  Rome,  and  painted  in  conjunction  with 
the  latter  in  the  Farnesina  and  in  the  Vatican  in 
1519  and  1520.  This  devotion  to  the  study  of  such 
models  developed  his  great  talent  so  rapidly  as  to 
cause  him  so  early  as  in  1504  to  be  appointed  for 
the  execution  of  a  considerable  work  in  the  Cappella 
del  Sacro  Monte  at  Varallo,  representing  the  '  Sacri- 
fice of  Christ.'  In  1508  he  was  at  Vercelli.  In 
1510  he  painted  for  the  commune  of  Arena  a 
picture  in  six  compartments,  the  subject  of  the 
principal  one  being  '  The  Virgin  adoring  the  In- 
fant.' This,  and  others  of  his  early  works,  was 
signed  '  Gaudenzio  di  Vincio.'  At  Varallo  he 
displayed  great  activity,  and  executed  a  con- 
siderable number  of  paintings  and  sculptures. 
He  was  also  the  instructor  of  many  artists,  as, 
Andrea  Solario,  Bernardino  Lanini,  Firmo  Stello, 
Cesare  Luini,  and  Antonio  Zanotti.  From  1527 
until  his  death  at  Milan,  where  he  left  unfinished 
a  'Last  Supper'  in  Santa  Maria  della  Passione, 
he  painted  in  oil  and  fresco  in  several  churches 
in  that  city  and  its  neighbourhood.  There  exists 
a  great  number  of  frescoes  by  Gaudenzio,  which 
are  scarcely  inferior  to  those  of  his  pupil  Luini, 
with  whom  he  painted  from  1532  to  1535  in  San 
Cristoforo  at  Vercelli.  The  latest  mention  of 
him  is  in  1545,  and  it  is  probable  that  he  died 
at  Milan  in  1549  or  1550.  The  different  styles 
of  the  great  masters  after  whom  he  studied 
are  very  discernible  in  his  works,  while  here  and 
there  he  becomes  fantastical  and  odd.  He  un- 
doubtedly possessed  an  extraordinary  fertility  of 
invention,  together  with  an  elevation  of  style,  and 
these  characteristics  have  caused  him  to  be  con- 
sidered one  of  the  first  painters  of  his  time.  Eia 
works  are  not  so  distinguishable  for  a  correct 
delineation  of  muscular  anatomy  as  for  a  choice 
of  diificult  and  uncommon  attitudes,  which  are 
bold  and  striking  where  the  subject  admits.  The 
following  is  a  list  of  several  of  his  works  : 


Arona. 
Berlin. 

Busto  Arsizio, 
near  Milan. 


Church, 
Gallery, 

Church, 


Madonna  and  Child. 
The  Annunciation. 

Several  frescoes. 


PAINTERS  AND  ENGRAVERS. 


Cannobbio.Lagol  c^^^^j_ 

Maggiore.  j 

Oomo.  Cathedral. 


London. 
Milan. 


3Ir.  Solford. 
Brera, 


,,  S.  Amhrotjio. 

„  '    S.  M.  delle  Grazie. 

»  »» 

,,    S.  31.  della  Fasstone. 

„    S.M.presso  S.  Celso. 

Novara.  Cathedral. 

„  S.  Gaudenzio. 


Paris. 


Louvre. 


Saronno,  near  Filffrimac/e't 

Milan.  Church,  j 

Turin.  Gallery. 


Varallo. 


Cappella  del  \ 

Sacro  Mo7tte. } 

Colleyiata. 


Christ  bearing  the  Cross. 

Marriage  of  Mary  and  Jo- 
seph. 

The  Flight  into  Egypt  {in 
tempera). 

The  Virgin  and  Angels  ador- 
ing the  Infant. 

Martyrdom  of  St.  Catha- 
rine. 

Scenes  in  the  Life  of  the 
Virgin ;  in  fresco.  {For- 
merly in  Santa  Maria  della 
Pace.) 

Adoration  of  the  Magi. 

An  Angel  with  a  Harp. 

An  Angel  with  a  Lute. 

Presentation  in  the  Temple. 

Virgin  and  Saints. 

The  Flagellation  of  Christ. 

The  Crucifixion.     1542. 

The  Last  Supper.  Unjinished. 
1543. 

Baptism  of  Christ. 

An  Altar-piece.     1524. 

The  Virgin  enthroned,  sur- 
rounded by  Saints. 

The  Apostle  Paul.  1543. 
(Formerly  in  Santa  Maria 
delle  Grazie^  Milan.) 

A  Glory  of  Angels ;  in  the 
cupola.     1535. 

Christ  bewailed. 

St.  Peter._ 

St.  Joachim  driven  from  the 
Temple. 

Meeting  of  the  Virgin  and 
St.  Elizabeth. 

The  Sacrifice  of  Christ.  1504. 

Marriage  of  St.  Catharine. 

The     Procession      of      the 
Magi. 
S.  M.  delUGrazie.  Vieia..    UOi. 

,,  Scenes  in  the  Life  of  Christ. 

Adoration  of  the  Infant. 

The  Birth  of  Mary,  The  An- 
nunciation,The  Visitation, 
The  Adoration  of  the  Magi 
and  the  Shepherds,  The 
Crucifixion,  The  Ascension 
of  the  Virgin,  Madonna 
with  Angels  and  Saints. 
1532-1534. 
S.  Paolo.  The  Last  Supper. 


FERRARI,  Giovanni  Andeea,  Geegoeio,  LO' 
RENzo,  and  Oeazio  del     See  Dei  Feeeaei. 

FERRARI,  Leonardo,  called  Lonaedino,  was  a 
native  of  Bologna,  and  a  scholar  of  Lucio  Massari. 
Although  he  is  chiefly  noticed  by  Malvasia  as  a 
painter  of  drolleries  and  carnival  festivals,  he 
acquired  no  little  reputation  by  his  historical  works, 
of  -which  there  are  several  in  the  churches  at 
Bologna.  In  SS.  Gervasio  e  Protasio  is  a  picture 
of  the  '  Virgin  of  the  Rosary,  with  Mary  Magda- 
len, and  other  Saints '  ;  in  San  Francesco,  the 
'  Death  of  St.  Joseph '  ;  and  in  La  Madonna  della 
Neve,  '  St.  Anthony  of  Padua. 

FERRARI,  LucA,  called  LucA  da  Reggio,  was 
born  at  Reggio  in  1603.  He  had  the  advantage  of 
studying  under  Guide  Reni ;  and  in  the  airs  of  his 
heads,  and  the  elegant  movement  of  his  figures, 
he  approaches  the  graceful  style  of  his  instructor. 
One  of  his  most  esteemed  works  is  a  '  Pieti,'  in 
the  chureh  of  Sant'  Antonio  at  Padua  ;  it  is  full  of 
character  and  expression,  and  admirably  coloured. 
In  compositions  which  require  a  multiplicity  of 
figures  he   is  less   successful,  as   appears   in   his 


„  S.  M.  di  Loretto. 

Vercelli.         S.  Cristoforo. 


picture  of  '  The  Plague,'  at  the  Dominicans,  painted 
in  1630.  He  was  the  instructor  of  Minorello  and 
Cirello,  the  former  of  whom  is  often  confounded 
with  Luca,  from  the  great  resemblance  of  his  works 
to  those  of  his  master.  Luca  da  Reggio  died  at 
Padua  in  1652.  In  the  Estense  Gallery  at  Modena 
are  a  'Magdalen,'  'The  Death  of  Cleopatra,'  and 
'  Tomyrie,  Queen  of  the  Massagetae,  placing  the 
head  of  Cyrus,  King  of  the  Persians,  in  a  bottle 
filled  with  blood,'  and  in  the  Bordeaux  Museum  ia 
'  Painting  crowned  by  Fame.' 

FERRARI,  PiETRO,  a  native  of  Parma,  was 
instructed  by  Giuseppe  Baldrighi.  He  was  a  pro- 
fessor of  the  Academy  of  his  native  city,  and 
imitated  the  old  masters  of  that  school  rather  than 
his  instructor.     He  died  in  1787. 

FERRARO,  Feancesco  del  Biancho.  See  Bi- 
anchi. 

FERRER,  Garcia,  the  Licentiate,  an  ecclesiastic 
and  painter  of  some  reputation  at  Valencia,  exe- 
cuted some  pictures  for  the  altar  of  San  Vicente 
Ferrer  in  the  convent  of  San  Domingo,  and  practised 
his  art  at  Madrid.  Cean  Bermudez  mentions  a 
'  Crucifixion '  by  him,  dated  1632,  then  in  the 
possession  of  Don  Mariano  Ferrer,  secretary  of 
the  Academy  of  San  Carlos. 

FERRERS,  Benjamin,  a  portrait  painter,  flour- 
ished about  the  middle  of  the  18th  century.  He 
was  deaf  and  dumb.  Amongst  his  works  are 
portraits  of  Bishop  Hoadly  and  Bishop  Beveridge  ; 
the  latter  is  in  the  Bodleian  Library,  Oxford. 

FERRETTI,  Giovanni  Domenico,  called  Gio- 
vanni Domenico  da  Imola,  was  born  at  Florence  in 
1692.  He  was  a  scholar  of  Giovanni  Gioseffo  dal 
Sole,  and  painted  historical  subjects,  both  in  oil 
and  fresco,  with  considerable  success.  His  works 
are  principally  in  the  palaces  and  churches  of 
Imola,  Leghorn,  Siena,  Florence,  and  Pisa,  He 
also  painted  the  cupola  of  the  Filippini,  at  Pistoja. 
One  of  his  best  pictures  is  '  Tlie  Martyrdom  of  St. 
Bartholomew,'  in  the  church  dedicated  to  that 
apostle  at  Pisa. 

FERRI,  Giro,  an  Italian  historical  painter,  was 
born  at  Rome  in  1634.  He  was  the  most  dis- 
tinguished scholar  of  Pietro  da  Cortona,  with 
wliom  he  executed  many  paintings,  and  whose 
style  he  imitated  with  a  servility  that  renders  it 
sometimes  difiBcult  to  distinguish  his  works  from 
those  of  his  instructor,  from  which  they  only  differ 
in  their  inferiority.  He  was  patronized  and  em- 
ployed by  Prince  Borghese  and  Pope  Alexander 
VII. ,  for  whom  he  executed  several  works.  The 
Grand-Duke  Cosmo  III.  invited  him  to  Florence 
to  finish  the  great  fresco  works  which  were  left 
imperfect  by  Pietro  da  Cortona,  and  in  this  he 
was  so  successful,  that  they  appeared  to  be  the 
production  of  one  hand.  Ferri  died  in  1689.  The 
following  are  his  most  important  paintings  : 
Amsterdam.     Museum.     Marriage  of  the  Virgin. 

S.  Maria  \  Scenes    from    the    Bible.      Sis 
Maggiore.  J      largest  work. 
Gallery.     David  refusing  the  Armour. 
~  '"  The  Rape  of  Helen. 

Dido  and  .fflneas. 
Dido  dying  on  the  funeral  pile. 
Florence.        Pitti  Pal.    Frescoes  {commenced  by  Pietro  da 
Cortona). 
Christ  on  the  Cross. 
Alexander  ou  his  couch  reading 

Homer. 
Triumph  of  Bacchus. 
Coriolanus  besought  by  his  family 

not  to  besiege  Rome. 
A  Roman  Warrior. 

157 


Bergamo. 

Copenhagen 

Darmstadt. 

Dresden. 


Gallery. 
Gallery. 


Uffizi. 


Hampton  Court.    Pal. 
Modena.     Estense  Gall. 


A   BIOGRAPHICAL   DICTIONARY  OF 


Mnnich. 


Nuremberg.   Landauer 
Briiderhaus. 


Petersburg.  Hermitage. 

Rome.  *S'.  Amhrogio 

della  Massima. 

„  S.  Agnese. 

,>  Vatican. 


Vienna. 


Gallery.    The  Rest  on  the  Flight  to  Egypt. 
Madonna  and  Child. 

I  The  Holy  Family. 

Rebekah  and  Elieser  at  the 
"WeU. 

Vision  of  St.  Catharine  of  Siena. 

St.  Ambrose  healing  a  sick  per- 
son.     His  best  work. 

The  Cupola  {finished  by  Cor- 
hellini). 

Designs  for  the  mosaics  in  the 
cupola  of  the  right  nave  in 
St.  Peter's. 

Christ  appearing  to  Mary  Mag- 
dalen. 


Gallery. 


FBRRI,  Gesdaldo,  born  at  San  Miniato  in  1728, 
was  still  living  in  1776.  He  was  a  pupil  of  Pompeo 
Batoni,  and  liis  works  are  to  be  found  in  Florence 
and  other  places.  Among  them  is  an  '  Exaltation ' 
in  the  Carmine  Church  in  Florence. 

FERRIERE,  F.  and  L.,  father  and  son,  of  Swiss 
extraction,  were  miniature  painters,  who  practised 
in  London.  The  former  exhibited  at  the  Royal 
Academy  from  1793  to  1822,  and  the  latter  from 
1817  to  1828. 

FERRONI,  GiROLAMO,  a  painter  and  etcher,  was 
born  at  Milan  in  1687.  It  is  not  stated  who  was 
his  first  instructor  in  art ;  but  at  an  early  period  of 
his  life  he  painted  the  'Death  of  St.  Joseph,'  for 
the  church  of  Sant'  Eustorgio,  at  Milan  ;  and  after- 
wards visited  Rome,  where  he  entered  the  school  of 
Carlo  Maratti.  He  died  about  1730.  There  are 
some  spirited  and  tasteful  etcliings  by  this  artist, 
after  C.  Maratti,  including  the  following : 

Joshua  stopping  the  course  of  the  Sun. 

Deborah  celebrating  the  Victory  over  Sisera. 

Jael  slaying  Sisera. 

The  Chastity  of  Joseph. 

Judith  with  the  Head  of  Holofernes. 

St.  Charles  Borromeo ;  after  S.  Cantarini. 

FERRUCCI,  NicoDEMO,  was  a  native  of  Fiesole, 
and  the  favourite  disciple  and  friend  of  Domenico 
Passignano,  whose  spirited  style  and  facility  of 
execution  he  emulated.  He  accompanied  that 
master  to  Rome,  and  assisted  him  in  his  most  im- 
portant undertakings.  He  chiefly  excelled  as  a 
fresco  painter ;  and  many  of  his  works  are  in  the 
public  edifices  at  Florence  and  Fiesole,  as  well 
as  in  the  neighbourhood  of  Rome.  He  died  in 
1650. 

FERT^,  M.  DB  LA.     See  De  la  Feet^. 

FESEL,  Christoph,  bom  at  Ochsenfurt  in  1737, 
distinguished  himself  as  a  painter  of  historical  sub- 
jects and  portraits.  After  having  studied  some 
time  under  Mengs  and  Battoni  at  Rome,  he  returned 
to  Germany,  and  painted  a  number  of  easel-pictures 
for  churches,  besides  frescoes.  All  his  works  are 
of  a  bright  colouring.  He  was  professor  at  the 
Academy  of  St.  Luke  at  Rome,  and  died  at  Wiirz- 
burg,  where  he  was  court-painter  and  inspector  of 
the  Gallery,  in  1805. 

FESELEN,  Melchior,  an  historical  painter,  of 
Passau,  lived  at  the  same  time  as  Altdorfer,  whose 
works  he  imitated  with  assiduity.  Though  he  was 
inferior  to  that  artist,  his  paintings  are  rich  in 
composition,  with  a  great  number  of  figures  highly 
finished,  and  in  a  style  quite  peculiar  to  himself. 
He  died  at  Ingolstadt  in  1538.  Among  his  paint- 
ings (marked  with  the  annexed  monogram)   "\/ri 


there  are : 

Darmstadt. 
Munich. 

158 


Gallery.    The  Crucifixion. 
Gallery.    The  Siege  of  Rome  by  Porsena. 
1529. 


Munich.  Gallery.    Caesar    conquering    the   town 

Alesia  in  Gaul.     1533. 
Nuremberg.       Museum.    The  Adoration   of    the   Magi. 

1531. 
Ratisbon.  Sist.  Soc.    St.  Mary  of  Egypt. 

FESSARD,  Etienne,  a  French  engraver,  was 
born  in  Paris  in  1714.  He  was  a  pupil  of  Edme 
Jeaurat,  and  proved  an  artist  of  sufficient  merit  to 
be  appointed  one  of  the  engravers  to  the  king. 
He  died  in  Paris  in  1774.  He  executed  a  con- 
siderable number  of  plates,  among  which  are  the 
following : 

PORTRAITS. 

Hortensia  Mancini,  Duchess  of  Mazarin ;  after  Fer- 
dinand. 

Marie  Madeleine  de  Lavergne,  Countess  de  La  Fayette ; 
after  ike  same. 

J.  P.  de  Bougainville,  of  the  French  Academy :  after 
C.  N.  Cochin. 

The  Marquis  de  Mirabeau  ;  after  Van  Loo. 

The  Duke  de  Choiseul ;  after  the  tame. 

SUBJECTS    AFTER   VARIOUS   MASTERS. 

Diana  and  Actaeon;  after   Giacomo  Massano ;  for  the 

Crozat  Collection. 
The  Virgin  enthroned,  with    SS.  Francis,  John,   and 

Catharine  ;  after  Correggio. 
The  Holy  Family,  with  St.  Charles  Borromeo ;    after 

Scarsellino. 
The  Four  Liberal  Arts,  personified  by  Children ;  four 

plates ;  after  0.  van  Loo. 
Jupiter  and  Antiope ;  after  the  same.     1758. 
Herminia  armed  as  Clorinda  ;  after  J.  B.  Pierre. 
The  Birth  of  Venus ;  after  F.  de  Troy. 
Jupiter  and  Leda ;  after  the  same. 
The  Triumph  of  Galatea  ;  after  Bouchardon  ;  etched  by 

Count  de  Caylus,  and  finished  by  Fessard. 
The  Triumph  of  Bacchus ;  after  the  same ;  etched  by 

Count  de  Caylus^  and  finished  by  Fessard, 
The  Nativity  ;  after  Boucher. 
A  Flemish  Festival ;  after  Rubens.     1762. 
Psyche  abandoned  by  Cupid  ;  after  Le  Maine. 

FETI,  Domenico,  born  at  Rome  in  1589,  was 
a  scholar  of  Lodovico  Cardi,  called  Cigoli.  While 
still  very  young  he  went  to  Mantua  with  Cardinal 
Ferdinando  Gonzaga,  afterwards  Duke  of  Mantua, 
by  whom  he  was  much  patronized,  and  who  sub- 
sequently appointed  him  his  principal  painter.  In 
this  city  he  studied  the  works  of  Giulio  Romano, 
and  at  Venice,  to  which  city  he  went  afterwards, 
the  masters  of  the  Venetian  school.  He  represented 
scenes  from  the  Bible  and  from  mytholog}',  as  well 
as  from  life  ;  but  his  oil  paintings  are  superior  to 
his  frescoes.  This  able  artist  was  unfortunately 
addicted  to  intemperance  and  excess,  to  which  he 
fell  a  victim,  at  Venice,  in  1624.  The  following 
are  among  his  principal  works  : 


Berlin. 

Gallery 

Elijah  in  the  'Wildemess. 

Brunswick. 

Museum. 

The  Expulsion  of  Hagar. 

»» 

»» 

The  Return  of  the  Prodigal. 

Dresden, 

Gallery 

The  Martyrdom  of  St.  Agnes. 

n 

yt 

David  with  the  Head  of  Goliath. 

»» 

)» 

The  Return  of  the  Prodigal. 

)» 

>» 

Young  Tobias  pulling  the  Fish 
out  of  the  Water. 

»» 

jy 

Several  Parables. 

Edinburgh. 

Nat.  Gall 

The  Beheading  of  St.  John  the 

Baptist. 
Christ  praying  in  the  Garden. 

Florence. 

Corsini  Pal. 

»j 

»j 

Christ  presented  to  the  People 
by  Pontius  Pilate. 

»» 

„ 

The  Cpowning  with  Thorns. 

« 

»» 

The  Entombment. 

tt 

FiUi  Pal 

The  Labourers  in  the  Vineyard. 

>j 

,, 

The  Lost  Coin. 

„      »• 

Uffizi. 

Artemisia. 

Frankfort. 

Stddel. 

The  Visitation. 

n 

f» 

The  FUght  into  Egypt. 

PAINTERS  AND  ENGRAVERS. 


Hampton  Court.  Palace. 
Mantua.  Academy. 

„  Cathedral, 

Modena.       Estense  Gall. 
Munich.  Galleiy. 


Paris. 


Louvre. 


Petersburg.    Hermitage. 


Venice. 
Vienna. 


Academy. 
Gallery. 


David  witli  the  Head  of  Goliath. 

The  Miracle  of  the  Loaves. 

Frescots. 

The  Virgin  enthroned. 

Herminia. 

St.  Peter. 

Tancred  lying  wounded   in    the 
arms  of  his  Esquire. 

Nero. 

Kural  Life. 

Melancholy. 

The  Guardian  Angel. 

The  Adoration  of  the  Shepherds. 

Portrait  of  a  Comedian. 

David. 

The  Conception. 

The  Young  Tobias  healing  his 
Father. 

Daedalus  and  Icarus. 

Melancholy. 

A  Market-place. 

The  Flight  into  Egypt. 
„  „  The  dead  Leander. 

„  „  Moses  and  the  burning  Bush. 

„  „  The  Marriage  of  St.  Catharine. 

„  „  The  Triumph  of  Galatea. 

„  „  St.  Margaret. 

FEUERBACH,  Anselm,  a  German  historical 
painter,  the  son  of  a  -vvell-known  arch«ologist, 
was  born  at  Spires  in  1829,  and  after  his  father's 
removal  to  Freiburg,  lie  went,  when  seventeen 
years  of  age,  to  Diisseldorf,  and  there  first  studied 
art  under  the  tuition  of  Schadow.  But  the  religious 
sentiment  of  that  school  being  little  to  his  taste,  he 
left  Diisseldorf  in  1848,  and  went  to  Munich, 
where,  as  a  pupil  of  Genelli,  he  first  disclosed  that 
classical  taste  which  afterwards  gave  him  his  high 
position  in  the  ranks  of  art.  In  1850  he  betook 
himself  to  the  Antwerp  Academy,  and  in  the  fol- 
lowing year  to  Paris,  where  he  first  worked  under 
Couture,  but  afterwards  quite  independently.  He 
did  not,  however,  remain  long  in  that  city,  for  in 
1853  we  find  him  removing  to  Carlsruhe,  in  1854 
to  Venice,  and  in  1855  to  Rome. 

The  earliest  of  Feuerbach's  productions  of 
which  we  find  mention  is  his  'Sea  Nymph,' 
painted  while  studying  under  Genelli  at  Munich. 
Then  in  1852,  at  Paris,  he  executed  his  grace- 
ful and  natural  '  Hafis  at  the  Fountain '  ; 
at  Carlsruhe,  in  1853,  his  '  Death  _  of  Pietro 
Aretlno,'  which  proved  a  most  striking  picture 
through  the  strong  individualities  of  the  characters, 
and  the  grandeur  and  comprehensiveness  of  _  the 
design.  At  Venice  he  copied  Titian's  '  Ascension,' 
and  also  painted  poetical  subjects,  in  which  he  de- 
veloped a  further  advance  in  the  direction  of  his 
previous  picture.  At  Rome,  in  1857,  appeared  his 
'Dante  with  the  noble  Ladies  of  Ravenna,'  now 
in  the  Carlsruhe  Gallery,  a  production  characterized 
by  loftiness  of  conception  together  with  depth  of 
thought;  in  1861,  his  '  Iphigenia  in  Tauris,'  and 
'  Francesca'da  Rimini ' ;  and  in  1862,  a  magnificent 
and  solemn  '  Pieti.'  At  Vienna  he  painted  upon 
the  ceiHng  of  the  Museum  of  Modelling  a  powerful 
original  design  of  '  The  Titans.'  His  death  occurred 
at  Venice  in  1880.  Among  his  other  works  are  the 
following : 

Medea. 

Orpheus  and  Eurydice. 

Petrarch  and  Laura. 

Ariosto  in  the  Park  of  Ferrara. 

The  Boy  Musicians.     1865. 

The  Banquet  of  Plato.     1869. 

Medea  going  into  Exile.    1870. 

The  Judgment  of  Paris.     1871. 

The  Battle  of  the  Amazons.    1872. 


Iphigenia.   {Stuttgart  Gallery.) 

Komeo  and  Juliet. 

Melancholy. 

The  Fall  of  the  Titans. 

FEURLEIN,  JoHANN  Peter,  who  was  born  at 
Boxberg  in  1668,  was  instructed  in  painting  by 
Oswald  Oiighers,  and  visited  Vienna  and  Venice. 
He  died  at  Anspach  in  1728.  He  was  an  excellent 
painter  of  portraits  and  historical  pieces,  among 
which  may  be  mentioned : 

The  portrait  of  the  Emperor  Joseph  I. 
The  paintings  in  the  Castles   of  the  Duke  of   Saxe- 
Hildburghausen  and  the  Margrave  of  Anspach. 

FilVRE,  Robert  le.    See  Lef^vee. 

F:feVRE,  Claude  le.    See  Lefebure. 

F^VRE,  FRANgois  le.    See  Le  Fevre. 

FilVRE,  Roland  le.    See  LefJivre. 

F^fcVRE,  Valentin  le.    See  Lb  Fi;BRE. 

FEYEN-PERRIN,  Franqois  Nicolas  Adgustin, 
painter,  was  born  in  1829  at  Bey-sur-Seille  (Meurthe 
et  Moselle).  As  a  child  he  displayed  a  precocious 
artistic  gift,  and  after  a  short  period  of  study  at 
Nancy,  he  entered  the  ficole  des  Beaux  Arts  in 
Paris,  and  became  the  pupil  of  Cogniet  and  of 
Yvon.  His  first  works  were  scenes  for  the  Theatre 
Italien  ;  he  then  devoted  himself  to  history,  but  his 
narrow  means  forced  him  to  turn  his  attention  to 
portraiture  and  studies  of  peasant  life,  in  which  he 
achieved  great  excellence.  His  best  works  are 
perhaps  his  '  Return  from  Oyster  Fishing '  (in  the 
Luxembourg), '  La  Vanneuse '  (painted  1867), '  Les 
Cancalaises,'  'The  Road  to  the  Market,'  a  portrait 
of  M.  Alphonse  Daudet,  and  a  '  Death  of  Orpheus.' 
He  was  also  an  etcher  of  some  ability.  He  died 
in  1888. 

FEYERABEND,  Sigmund,  born  in  1527  or  1528, 
was  a  bookseller  at  Frankfort.  To  him  are  at- 
tributed the  woodcuts  from  the  designs  of  Virgil 
Solis  in  a  German  Bible  printed  at  Frankfort  in 
1561,  and  the  portraits  of  the  Doges  of  Venice 
in  Kellner's  '  Chronica,'  also  printed  at  Frankfort 
in  1674.  He  died  after  the  year  1585.  He  signed 
his  cuts  with  SF  or  a  monogram.  Several  of  his 
relations  also  were  wood-engravers,  and  one  of 
them,  M.  Feyerabend,  who  worked  about  1578, 
executed  several  figures  after  Melchior  Lorch. 

FIACCO,  Orlando,  (or  Flacco,)  a  native  of 
Verona,  who  flourished  about  1560,  was  instructed 
by  Francesco  Torbido,  called  II  Moro.  His  style 
much  resembles  that  of  Badile.  Vasari  praises  his 
portraits,  and  Lanzi  says  that  his  forms  resemble 
those  of  Caravaggio.  There  are  by  him  at  Verona, 
in  San  Nazario,  a  '  Crucifixion '  and  an '  Ecce  Homo.' 

FIALETTI,  Odoardo,  was  born  at  Bologna  in 
1573.  After  studying  for  some  time  under  Gio- 
vanni Battista  Cremonini,  at  Bologna,  he  went  to 
Rome,  and  afterwards  to  Venice,  where  he  entered 
the  school  of  Tintoretto.  He  died  at  Venice  in 
1638.  His  principal  paintings  are  in  San  Marco 
and  Sant'  Andrea  at  Murano.  Boschini  mentions 
thirty-eight  pictures  by  this  painter,  in  the  different 
churches  at  Venice.  At  Hampton  Court  Palace 
are  '  Senators  of  Venice  in  the  Senate  House,'  and 
'  Four  Doges  of  Venice,'  both  of  which  were 
brought  direct  from  Venice  by  Sir  Henry  Wotton, 
and  by  him  bequeathed  to  Charles  I.  He  also 
etched  243  plates  from  his  own  designs,  and  after 
other  masters.     These   are   usually   marked  with 

the  cipher  /XVi  and  among  them  are  the  following: 


6 


159 


A  BIOGEAPHICAL  DICTIONARY  OF 


•  A  long  frieze,  with  Tritons,  Sirens,  &c. 
Venus  and  Cupid,  Diana  hunting,  the  god  Pan,  and  a 

Man  holding  a  Vase  ;  after  Pordenone. 
The  Pastimes  of  Love,  twenty  plates,  entitled  '  Scherzi 

d'Amore.'     1617. 
A  set  of  plates  of  the  Costumes  of  different  Nations, 

and  of  the  different  Religious  Orders.    1626. 
The  Marriage  at  Cana  ;  after  Tintoretto. 
St.  Sebastian  ;  after  the  same. 
Designs  of  all  the  parts  of  the  Human  Body. 
Designs  for  Sieges 
A  Book  on  Fortification  and  Instructions  for  Fighting, 

in  forty-three  plates.    1628. 

flAMMINGHmO,  GiAMBATTisTA,  Giovanni 
Maueo,  and  ILarco.     See  Roveee. 

FIAMMINGO  (FiAMiNGO,  Fiammingho,  or  Flam- 
MINGO).  This  is  a  general  name  given  by  the 
Italians  to  Flemish  artists,  but  tbey  are  so  numerous 
that  it  is  difficult  to  distinguish  the  Fiamminghi  in 
the  Italian  writers.  Zani  names  no  less  than 
sixty-four. 

FIAMMINQO,  Anselmo,  -who  flourished  about 
1680,  was  instructed  by  Luca  Giordano.  He  was 
a  most  successful  copyist  of  his  master. 

FIAMMINGO,  Arrigo,  probably  a  native  of 
Mechlin,  was  bom  about  1523.  His  family  name 
is  not  known;  but  he  is  called  by  the  Italians 
Fiammingo  (Fleming),  on  account  of  his  nationahty. 
He  visited  Rome  in  the  time  of  Gregory  XIIL,  and 
was  employed  by  that  pontitf  in  the  Vatican.  In 
the  Sistine  Chapel  of  the  basilica  of  Santa  Maria 
Maggiore  there  is  a  '  Resurrection  of  Christ ' 
restored  by  him  from  the  original  of  Domenico 
Ghirlandajo,  but  it  has  lost  all  trace  of  the  style 
of  that  master.  In  La  Madonna  degli  Angeli  is 
a  picture  by  this  master  of  '  Christ  and  Mary 
Magdalen  in  the  house  of  the  Pharisee,'  a  grand 
composition,  of  many  figures  ;  and  in  the  same 
church  is  a  fine  picture  of  '  St.  Michael  discomfiting 
the  rebel  Angels,'  designed  in  a  grand  and  noble 
style.  Many  other  works  of  this  painter,  in  oil  and 
fresco,  are  in  the  public  edifices  at  Rome,  where 
he  died  in  1601. 

FIAMMINGO,  CoRNELio.    See  Cort. 

FIAMMINGO,  DiONisio.     See  Calvaeet. 

FIAMMINGO,  Enrico,  first  studied  under  Giu- 
seppe Ribera,  called  Spagnoletto,  but  was  after- 
wards a  scholar  of  Guide.  There  are  some  works 
by  this  artist,  in  the  style  of  Guido,  in  the  church 
of  San  Barbaziano,  at  Bologna. 

FIAMMINGO,  Giovanni  Madro.    See  Roveee. 

FIAMMINGO,  GuALTlEEl  and  Giorgio.  These 
two  artists  painted  for  the  churches  of  Florence  a 
great  number  of  windows  after  the  desigTis  of 
Vasari.  It  is  supposed  that  these  glass-painters, 
mentioned  by  Vasari,  are  identical  with  Dirk  and 
Wouter  Crabeth  of  Gouda. 

FIAMMINGO,  Gdglielmo,  a  scholar  of  Fran- 
cesco Albani,  painted  in  the  style  of  that  master  at 
Bologna  about  1660.  His  productions  are  remark- 
able for  the  landscapes. 

FIAMMINGO,  Paolo.    See  Feanceschi. 

FIAMMINGO,  RoBEETO.     See  Robert  le  Lonqe. 

FIASELLA,  Domenico,  called  II  Saezana  (or 
Sarazana),  was  born  at  Sarzana,  in  the  Genoese 
state,  about  1589.  After  passing  some  time  in  the 
school  of  Giovanni  Battista  Paggi,  he  went  to 
Rome,  where  he  studied  attentively  the  works  of 
Raphael.  During  a  residence  of  ten  years  at 
Rome  he  was  employed  in  several  works  conjointly 
with  Passignano  and  the  Cavaliere  d'Arpino.  On 
his  return  to  Genoa  he  painted  a  great  number 
of  pictures  for  the  churches  in  that  city.     His 

160 


powers  were  best  adapted  to  the  depicting  of  tragic 
scenes.  As  a  colourist  he  is  superior  to  the  gener- 
ality of  the  Genoese  painters.  He  distinguished 
himself  also  as  a  portrait  painter,  and  died  in 
1669.     His  principal  works  are  : 

Genoa.  S.  Selastiano.  St.  Anthony  finding  the  dead 

body  of  St.  Paid  the  Hermit. 
„  S,  Agostino.  St.  Thomas  of  Villanuova. 

Piacenza.  S.  T  incenzo.  St.  Bernard  (m  the  manner  of 
Kaphael). 

Sarzana  Cathedral.  The  Murder  of  tie  Innocents. 

FICAROLO,  II  Muto  di.     See  Sarti. 

FICATELLI,  Stefano,  who  was  born  at  Cento 
about  1630,  and  died  at  the  beginning  of  the  18th 
century,  was  a  pupil  of  Guercino.  He  executed 
some  pictures  for  the  churches  in  Ferrara,  but  hia 
chief  works  are  his  copies  after  Guercino. 

FICHEL,  Eugene,  French  genre  painter  of 
distinction ;  born  1826 ;  as  a  lad  entered  the 
studio  of  Paul  Delaroche ;  began  as  a  historical 
painter,  but  soon  preferred  to  devote  himself  to 
genre,  taking  the  famous  leader  of  this  school, 
Meisonnier,  as  his  model.  He  obtained  a  medal 
at  the  Salon  of  1857,  and  continued  to  exhibit  up 
to  the  date  of  his  death  small  canvases,  executed 
with  the  utmost  finesse,  dealing  with  eighteenth- 
century  life.  Of  his  pictures  the  best  known  are, 
'  Le  Cabaret  de  Pamponneau,'  '  La  Partie  aux 
Cartes,'  '  Soldats  et  Grisettes,'  '  La  Forge  de  Louis 
XVI.,'  '  La  Carte  i,  Payer,'  '  Diderot  et  le  neveu  de 
Rameau,'  '  Bufibn  ^crivant  son  Histoire  Naturelle,' 
&c.  Fichel  was  a  Chevalier  of  the  Legion  of 
Honour.  He  died  in  Paris,  aged  69,  in  February 
1895. 

FICHERELLI,  Felice,  called  Felice  Riposo, 
bom  at  San  Gimignano  in  1605,  was  a  pupil  of 
Jacopo  da  Empoli.  He  acquired  the  name  of  Felice 
Riposo  from  his  singular  taciturnity,  for  which  he 
was  not  more  remarkable  than  for  his  uncommon 
indolence.  This  inertness  is  more  to  be  regretted, 
as  the  few  works  he  has  left  are  distinguished  by 
an  elegance  of  design,  a  '  morbidezza,'  a  truth  to 
nature,  and  a  harmony  of  colour  that  charm. 
Such  is  his  picture  of  'Adam  and  Eve  driven  from 
Paradise,'  in  the  Rinuocini  Palace,  and  his  '  St. 
Anthony,'  in  the  church  of  Santa  Maria  Nuova,  at 
Florence.  His  copies  after  Perugino,  Andrea  del 
Sarto,  and  others,  have  been  mistaken  for  the  works 
of  those  masters.  He  died  in  1660.  In  the  Dres- 
den Gallery  is  a  '  Lucretia  and  Tarquinius  '  by  him. 

FICQUET,  Etienne,  a  French  engraver,  was 
born  in  Paris  in  1719,  and  was  instructed  by  G.  F. 
Schmidt  and  Le  Bas.  He  acquired  great  reputa- 
tion by  a  set  of  small  portraits  which  he  engraved 
of  distinguished  literary  characters  of  France. 
They  are  executed  with  extraordinary  neatness 
and  delicacy,  and  are  very  correctly  drawn.  One 
of  his  best  plates  is  a  portrait  of  Madame  de 
Maintenon,  after  Mignard,  now  become  very  scarce. 
He  engraved  also  several  of  the  plates  for 
Descamps'  '  Vie  des  Peintres  Flamands  et  Hol- 
landais,'  of  which  those  of  Rubens  and  Van  Dyck 
are  very  highly  finished.  He  died  in  Paris  in 
1794.     The  following  are  among  his  best  prints  : 

Fran^oise  d'Aubign^  ;  after  P.  Mignard. 

J.  de  La  Fontaine  ;  aftei^  Biyaud. 

J.  F.  Regnard  ;  after  the  same. 

3.  3.  Rousseau  ;  after  Be  La  Tour.     1763. 

F.  M.  Arouet  de  Voltaire  ;  after  the  same.     1762 

Pierre  CorneUle  ;  after  Le  Brun. 

J.  de  Crebillon  ;  after  Aved. 

3.  B.  P.  de  Moliere  ;  after  Coypel. 

Een6  Descartes  ;  after  F.  Hals. 


PAINTERS  AND  ENGRAVERS. 


M.  Montaigne  ;  after  Dumonstier.    1772. 
De  La  Mothe  Le  Vayer  ;  after  Nanteuil. 
F.  de   La  Mothe  F&^Ion  ;  afttr  Vivien. 
J.  J.  Vad^  ;  after  Richard. 
P.  P.  Rubens  ;  after  fan  Dt/cJc. 
Anton  Van  Dyck  ;  after  the  same. 

FICTOORS,  Jan.     See  Victoors. 

FIDANI,  Or.-izio,  a  native  of  Florence,  was  born 
about  1610,  and  died  shortly  after  1642.  He  was 
a  pupil  of  Giovanni  Biliverti,  whose  style  he  imi- 
tated. Several  of  his  pictures  are  to  be  found  in 
Florence,  among  which  may  be  named  'The  Four 
Doctors  '  and  'The  Four  Evangelists  '  in  the  church 
of  the  Chartreuse.  The  Corsini  Gallery  possesses 
two  portraits. 

FIDANZA,  FiLippo,  born  at  Sabina  in  1720,  was 
instructed  in  painting  by  Marco  Benefial  at  Rome. 
Subsequently  he  studied  and  imitated  the  great 
masters,  and  many  works  by  him  of  that  descrip- 
tion are  still  to  be  met  with  at  Rome.  He  died 
in  1790. 

FIDANZA,  Francesco,  the  son  of  Filippo 
Fidanza,  was  born  at  Milan  in  1749.  He  studied 
under  Vemet  and  Lacroix,  and  excelled  in  land- 
scape painting.  For  Eugene  Beauharnaia  he 
painted  the  Italian  Harbours,  two  of  which, 
Ancona  and  Malamocco,  with  a  landscape,  are  in 
the  Brera  at  Milan.     He  died  at  Milan  in  1819. 

FIDANZA,  Gregorio,  brother  of  Francesco 
Fidanza,  was  a  disciple  of  Claude  Lorrain  and 
Salvator  Rosa,  whom  he  imitated  with  success  in 
his  landscapes.     He  died  in  1820. 

FIDANZA,  Paolo,  an  Italian  painter  and  en- 
graver, of  Rome,  was  born  at  Carnerino  in  1731, 
and  studied  after  the  great  masters  at  Rome,  from 
whose  paintings  he  executed  a  series  of  heads. 
There  are  by  him  several  plates  after  Raphael, 
Annibale  Carracci,  and  Guido  Reni,  but  very  indif- 
ferently executed ;  among  them  are  the  following : 

Mount  Parnassus ;  after  Saphael. 
The  Mass  of  Bolsena  ;  after  the  same. 
The  Descent  from  the  Cross  ;  after  A  nnibale  Carracci. 
St.  Peter  and  St.  Paul  appearing  to  St.  Francis ;  after 
the  same. 

FIEBIGER,  Julius,  a  Saxon  landscape  painter, 
was  born  at  Bautzen  in  1813,  and  died  at  Dresden 
in  1883.  There  is  a  landscape  by  this  painter  in 
the  Dresden  Gallery. 

FIEDLER,  JoHANN  Christian,  bom  at  Pima  in 
1697,  was  a  painter  of  portraits,  who  studied  in 
Paris  under  Rigaud  and  Largilli^re.  As  court- 
painter  at  Darmstadt,  where  he  died  in  1768,  he 
executed  the  portraits  of  a  number  of  distinguished 
personages.  Among  his  productions  in  the  Gallery 
of  that  town  are  'The  Burial  of  Christ,'  'The 
Seasons,'  some  portraits,  among  which  is  the  artist 
himself,  and  some  fruit  and  fish  pieces. 

FIELDING,  Anthony  Vandtke  Coplet,  an 
eminent  water-colour  landscape  painter,  was  born 
m  1787.  He  was  the  second  son  of  Theodore 
Nathan  Fielding,  and  studied  under  John  Varley. 
In  1810  he  became  an  Associate  of  the  Water- 
Colour  Society,  to  the  exhibitions  of  which  he  was 
a  very  large  contributor.  He  became  a  full  mem- 
ber of  the  Society  in  1813,  treasurer  in  1817,  secre- 
tary in  1818,  and  was  president  from  1831  until  his 
death.  He  was  awarded  a  gold  medal  at  the  Paris 
Salon  of  1824.  The  public  appreciation  of  his  art, 
and  a  large  teaching  connection,  enabled  him  to 
amass  a  considerable  fortune,  and  in  his  later 
years  he  retired  to  Brighton.  He  died  at  Hove, 
and  was  buried  in  the  parish  churchyard  there  in 
VOL.  II.  M 


1855.  His  works  are  clever,  although  the  rapidity 
with  which  they  are  executed—he  frequently 
exhibited  more  than  forty  in  one  year  at  the 
Water-Colour  Society — renders  them  slight.  He 
is  seen  at  his  best  in  his  sea-pieces  and  aerial 
effects.  He  occasionally  painted  in  oil,  and  some 
of  his  works  in  this  medium  appeared  at  the  Royal 
Academy.  There  is  a  lar^e  collection  of  his 
water-colour  drawings  in  the  South  Kensington 
Museum. 

FIELDING,  John,  an  engraver,  was  bom  about 
1758.  He  studied  under  Bartolozzi  and  Ryland, 
for  the  latter  of  whom  he  worked  much,  so  that 
few  plates  bear  his  own  name  ;  of  these  are  '  Jacob 
and  Rachael,'  after  Stothard,  and  'Moses  saved  by 
Pharaoh's  Daughter.' 

FIELDING,  Newton,  a  water-colour  painter 
and  an  engraver,  was  the  youngest  son  of 
Theodore  Nathan  Fielding.  He  painted  animals, 
but  he  is  chiefly  known  as  an  engraver  and  litho- 
grapher. His  practice  was  large  in  France,  where 
he  had  a  considerable  reputation.    He  died  in  1856. 

FIELDING,  Thales,  a  water-colour  painter', 
born  in  1793,  was  a  younger  son  of  Theodore 
Nathan  Fielding.  He  painted  landscapes,  with 
cattle  and  figures,  and  became  drawing-master  at 
the  Woolwich  Military  Academy.  He  died  in 
London  in  1837.  At  the  South  Kensington  Museum 
is  a  water-colour  drawing,  '  Greenwich  Hill,'  by 
him. 

FIELDING,  Theodore  Henry  Adolphus,  a 
water-colour  painter,  the  eldest  son  of  Theodore 
Nathan  Fielding,  was  born  in  1781.  He  exhibited 
occasionally  at  the  Royal  Academy,  and  became 
drawing  master  at  Addiscombe  Military  College. 
He  also  wrote  several  works  on  the  theory  and 
practice  of  painting,  engraving,  and  perspective. 
He  died  at  Croydon  in  1851.  At  the  South 
Kensington  Museum  is  a  water-colour  drawing  of. 
'  Manorbeer  Castle '  by  him.  His  wife  was  a 
member  of  the  Water-Colour  Society,  and  from 
1821  till  1835  exhibited  drawings  of  flowers, 
birds,  insects,  &c.  at  its  exhibitions. 

FIELDING,  Theodore  Nathan,  a  portrait  painter, 
had  considerable  practice  in  the  latter  half  of  the 
18th  century  in  Yorkshire  and  Lancashire.  He 
was  the  father  of  the  four  water-colour  painters, 
Theodore,  Copley,  Thales,  and  Newton  Fielding. 

FIELIUS,  Jan.     See  Filicus. 

FIESOLE,  Fra  Benedetto  da,  called  also 
Benedetto  da  Mugello,  who  was  born  at  the 
village  of  Vicohio,  in  the  province  of  Mugello,  was 
a  brother — probably  younger — of  the  celebrated 
Fra  Angelico,  and  with  him  entered  the  convent  of 
San  Doraenico  at  Fiesole,  in  1407,  taking  the  name 
of  '  Frater  Benediotus,'  by  which  he  is  usually 
known.  For  three  years  previous  to  his  death, 
which  occurred  in  1448,  he  held  the  post  of  superior 
of  that  convent.  Fra  Benedetto  was  a  miniaturist 
of  talent.  He  illuminated  the  choral  books  of  San 
Marco,  Florence,  and  also  books  in  the  convent  of 
San  Domenico,  Fiesole.  He  is  supposed  also  to  have 
assisted  Fra  Angelico  in  his  frescoes  in  San  Marco. 
FIESOLE,  Frate  Giovanni  da,  commonly,  from 
the  piety  of  his  life  and  works,  called  Fra  Angelico, 
was  born  at  Vicchio,  in  the  province  of  Mugello,  in 
1387.  His  father's  Christian  name  was  Pietro,  his 
surname  is  unrecorded.  He  was  christened  Guido, 
and  both  he  and  his  brother  Benedetto  entered  the 
Dominican  convent  of  Fiesole,  near  Florence,  in 
1407,  when  Guido  took  the  name  of  Giovanni.  His 
earliest  works,  it  is  believed,  were  illuminations 

101 


A  BIOGRAPHICAL  DICTIONARY  OF 


for  manuscripts.  His  novitiate  was  passed  at 
Cortona,  and  at  Cortona  were  spent  the  early 
years  of  his  life  as  a  religious,  in  consequence  of 
the  fact  that  the  brotherhood  were  driven  from 
Florence  by  the  Archbishop  for  their  allegiance  to 
Gregory  XII.  He  probably  returned  with  the 
Dominicans  to  Fiefole  in  1418,  and  remained  there 
eighteen  years,  during  which  he  executed  many 
paintings  and  frescoes  for  the  convent  and  churches. 
Amongst  them  maybe  mentioned 'The  Madonna 
dei  Linajuoli,'  a  triptych,  painted  in  1433,  and  now 
in  the  Uffizi  Gallery.  About  1436  he  went  to  the 
monastery  of  San  Marco,  at  Florence,  which  owed 
80  much  of  its  splendour  to  the  liberality  of  Cosmo 
de'  Medici  ;  and  in  1439  he  painted  the  altar-piece 
for  the  choir,  which  is  now  in  the  Academy  of 
Arts.  The  numerous  frescoes  with  which  Fra 
Angelico  has  adorned  the  church  and  convent  have 
rendered  it  for  ever  famous,  and  have  so  often 
been  described  and  illustrated  that  it  is  unnecessary 
here  to  enlarge  on  them.  He  was  engaged  on  the 
work  about  six  years.  In  1446  or  early  in  1447 
he  went,  at  the  invitation  of  Pope  Eugenius  IV., 
to  Rome,  and  shortly  afterwards  he  was  offered 
the  Archbishopric  of  Florence,  which  through 
modesty  he  declined.  In  1447  he  visited  Orvieto, 
where  he  painted  'The  Last  Judgment'  in  the 
Cappella  Nuova  of  the  cathedral.  The  subjects 
are  '  The  Saviour  in  the  midst  of  a  glory  of  Angels,' 
and  sixteen  figures  of  Saints  and  Prophets.  He 
only  painted  a  small  portion  of  the  vaulted  roof  of 
this  chapel,  which  was  subsequently  adorned  with 
frescoes  by  Signorelli  in  1499.  On  his  return  to 
Rome  he  was  employed  by  Nicholas  V.  to  decorate 
with  frescoes  the  chapel  in  the  Vatican  which 
bears  his  name  ;  these  illustrate  the  lives  of  St. 
Stephen  and  St.  Lawrence.  Fia  Angelico  died  at 
Rome  in  1455,  and  was  buried  in  the  church  of 
Santa  Maria  sopra  Minerva  in  that  city.  The 
following  are  his  principal  works  : 


Berlin. 


Gallery. 


Boston.     Jfi's.   J-    L. 

Gardnei^s 

Collection. 


Cortona.  San  Domenico. 


„      Baptistery 
{formerly  the 
Oratorio  del  Jesu) 


Dublin.  National  Gall. 
Florence.       Academy. 


162 


The     Last     Judgment    (a    trip- 
tych). 
\  Assumption    and    Dormition    of 
s.     the    Virgin     (a    small    panel, 
)      believed  to  be  one  of  four  reliquary 
pictures  originally  at  S.  Maria 
Novella). 
.   The  Virgin  and  Child,  and  the 
Four  Evangelists  {fresco,  much 
damaged). 
Virgin  and    Child,   with   Saints 
(altar-piece :  the  predella  is  in 
the  Baptistery,  Cortona). 

(Annunciation,  with   scenes  from 
J      the  Life  of  the  Virgin. 

Life  of  St.  'Dormnic  {the  predella 
of  the  altar-piece  in  San  Dome- 
nico, Cortona). 

Miirtyrdom  of  St.  Cosmo  and  St. 
Damian. 

Descent  from  the  Cross  '.{from 
Santa  Trinita,  Florence). 

The  Virgin  and  Child,  with 
Saints  ;  and,  on  the  predella,  a 
Keta  and  Six  Saints  {from  the 
Convent  of  S.  Buonaventura  al 
Bosco  in  the  Muyello). 

The  Virgin  and  Child,  with  Saints 
{frmn  the  Convent  of  San 
Marco). 

The  Virgin  and  Child,  with  Saints 
{from  the  Monastery  of  Anna- 
lena,  Florence). 

Thirty-five  scenes  from  the  Life 
of  Christ  {from  the  Convent  of 


Florence.      Academy. 


Uffizi. 


Convent  of 

San  Marco. 

{Cloisters. 


{Chapter 
Mouse.) 


the  SS.  Annunziata — originally 
panels  to  ornament  the  plate 
cupboards). 

Two  Scenes  from  the  Lives  of 
St.  Cosmo  and  St.  Damian. 

Predella,  with  six  scenes  from  the 
lives  of  St.  Cosmo  and  St. 
Damian  {from  the  Chapel  of 
St.  Lukey  in  the  cloister  of  the 
SS.  Annunziatay  Florence). 

The  Coronation  of  the  Virgin. 

The  Crucifixion. 

The  Eotombment  {formerly  in 
the  Monastery  of  La  Croce  al 
Tempi  o). 

The  Last  Judgment  {formerly  in 
the  Monastery  of  S.  MaHa 
degli  Angelic  Florence). 

Virgin  and  Child,  with  Sainta 
{painted  in  1433  for  the  Cor- 
poration of  the  Linajuoli). 

The  Coronation  of  the  Virgin 
{from  S.  Maria  2Vuova,  Flo- 
rence). 

The  Naming  of  John  the  Baptist. 

The  Preaching  of  St.  Peter,  the 
Adoration  of  the  Magi,  and  the 
Martyrdom  of  St.  Mark  {pre- 
della to  the  above  '  Madonna  dei 
Linajuoli  "*). 

The  Assumption  of  the  Virgin. 

The  Crucifixion, with  St.  Dominic. 

St. Peter  Martyr  enjoining  silence. 

St.  Dominic  with  the  scourge  of 
nine  thongs. 

A  Fieta. 

St.  Thomas  Aquinas. 

Christ  as  a  Pilgrim  welcomed  by 
two  Dominican  Monks. 

The  Crucifixion.  Christ  between 
the  thieves,  surrounded  by  a 
group  of  twenty  Saints;  with 
bust  portraits  of  seventeen 
Dominicans  below. 


{Upper  I  rj^g  Annunciation. 


Floor. )  J 


Fiesole.   i^.  Domenico. 

»»  _»» 

„        Sacristy. 
London.  National  Gall. 


Christ  on  the  Cross,  with  St. 
Dominic. 

Madouna  enthroned,  with  Saints. 

NoU  Me  Tangere. 

The  Entombment. 

The  Annunciation. 

The  Crucifixion. 

The  Nativity. 

The  Transfiguration. 

Christ  at  the  Praetorium. 

The  Resurrection. 

The  Coronation  of  the  Virgin. 

The  Presentation  in  the  Temple, 

The  Descent  to  Limbo. 

The  Agony  in  the  Garden. 

The  Institution  of  the  Eucharist. 

The  Nailing  to  the  Cross. 

The  Crucifixion. 

The  Adoration  of  the  Magi. 

The  Crucifixion. 

Three  Reliquaries.  One  Adorned 
with  '  The  Virgin  and  Child  ' ; 
another  with  the 'Annunciation* 
and  '  Adoration  of  the  Magi ' ; 
and  the  third  with  a '  Corona- 
tion of  the  Virgin  and  Saints ' 
{from  the  Sacristy  of  Santa 
3Iaria  Kovella). 

Madonna  and  Saints  {the  predella 
is  in  the  National  Gallery). 

Crucifixion  {a  fresco). 

Christ,  with  the  Banner  of  the 
Resurrection  in  His  left  hand, 
in  the  midst  of  a  choir  of 
Angels,  and  crowds  of  the 
Blessed.   In  five  compartments 


(N 


GIOVANNI  DA  FIESOLE 

CAl.I.EIl 

FRA  ANGELICO 


[Mfs.  J.  L.  Gardner's  collection 
THE  ASSUMPTION  AND     DORMITION  OF  THK  VIRGIN 


(.loVANNI    DA  FIESOLE 


FRA   AN  GEL  ICO 


Aliiiai'i  p/to/u_ 


'S.iii  Mliico,  Florence 


CHRIST  AS  A  PILGRIM   MET  BV  TWO  DOMINICANS 


PAINTERS  AND  ENGRAVERS. 


Madrid.  Gallery. 

Munich.  Gallery, 


Orvieto.      Cathedral. 


Paris.  Louvre, 


Parma.       Tinacoieca. 
Perugia.     Pinacottca. 


St.  Petersburg.    Gall. 

Pisa.  Gallery. 

Borne.      Vatican. 


{Cappella  di 
Niccolb  V.) 


{formerly  the  predella  to  the 
altar-piece  in  San  Domenico  at 
Fiesole). 

The  Annunciation. 

Three  Scenes  from  the  Lives  of 
St.  Cosmo  and  St.  Damian  {part 
of  a  predella  of  the  altar-piece^ 
painted  in  1438/or  San  Marco, 
Florence). 

Christ,  in  a  glory  of  Angels,  as 
Judge — with  sixteen  Saints 
and  Prophets  to  the  right  {all 
more  or  less  damaged  ;  finished 
hy  Siynorelli  in  1499). 

Coronation  of  the  Virgin :  on  the 
predella,  seven  subjects — six 
scenes  from  the  Life  of  St. 
Dominic,  and  in  the  centre 
Christ  risen  from  the  Tomb 
{formerly  in  San  Domenico, 
Fiesole). 

The  Crucifixion  {from  the  Convent 
of  San  DomenicOy  Fiesole). 

The  Martyrdom  of  St.  Cosmo 
and  St.  Damian  {one  of  the 
pictures  of  the  predella  of  the 
*  Madonna '  in  the  Florence  Aca- 
demy, fonner  I  y  in  the  Convent  of 
San  Marco). 

Madonna  and  four  Saints. 

The  Annunciation  {from  San 
Domenico^  Peruyia). 

Madonna  and  Saints. 

Miracles  of  St.  Nicholas  of  Bari. 

Madonna  and  Saints  (a  fresco, 
ruined). 

Salvator  Mundi  {a  banner). 

(Six  scenes  from  the  Life  of  St. 
j      Stephen. 

Six  scenes  from  the  Life  of  St. 
Lawrence. 

The  Four  Evangelists. 

The  Teachers  of  the  Church. 

St.  Nicholas  of  Bari  {2)urt  of  a 
predella). 

Madonna  and  Angels. 

The  Last  Judgment,  The  Ascen- 
sion, and  Pentecost. 

Two  Angels  kneeling  on  Clouds. 


„  „  {Gallery.) 

n  »» 

„    Corsini  Palace. 

Turin.  Gallery. 

FIESSINGER,  Franz  Gabriel,  a  Jesuit,  bom  at 
OfEenburg  in  Breisgau  in  1752,  studied  without  any 
master  the  art  of  engraving.  He  visited  Munich, 
Vienna,  Friburg  (1786),  Switzerland,  France,  and 
lastly  London,  wliere  he  died  in  1807.  Among  his 
plates  may  be  mentioned : 

Prudence ;  after  M.  A.  Franceschim.    1777. 

Ecce  Homo  ;  after  Giuseppe  Cesari.     1781. 

The  portrait  of  Thaddaus  Kosciuszko  ;  after  J.  Grassi. 

FIGINO,  Ambrogio,  a  native  of  Milan,  was  bom 
about  1550,  and  was  alive  in  the  year  1595.  He 
was  a  pupil  of  Giovanni  Paolo  Lomazzo,  and  not 
only  distinguished  himself  in  portrait  painting  suf- 
ficiently to  be  celebrated  in  the  poetry  of  Marino, 
but  was  eminent  for  his  historical  works.  He  has 
left  in  his  native  city  a  '  St.  Ambrose '  in  Sant' 
Eustorgio,  a  'St.  Matthew'  in  San  RafEaello,  an 
'  Assumption '  in  San  Fedele,  a  '  Conception  '  in 
Sant'  Antonio,  and  (in  the  Brera)  the  portrait  of 
Lucio  Foppa,  and  a  '  Virgin  and  Child.' 

FIGUEROA,  Jdan  Fonseoa  y.    See  Fonseca. 

FIL,  Jan.     See  FiLicns. 

FILHOL,  Antoine  Michel,  a  French  engraver, 
bom  in  Paris  in  1759,  was  instructed  by  F.  D.  Nee. 
He  was  very  successful  in  depicting  landscapes, 
and  published  several  works  on  art,  among  which 
the  most  noted  is  the'Musee  Franjais,'  1804-15. 
He  died  in  Paris  in  1812. 

M  2 


FILICUS,  Jan,(Filius,  Fil,  or  Fielius,)  aDutch 
painter,  was  born  at  Bois-le-Duc  in  1660.  He  was 
a  scholar  of  Pieter  van  Sliiigelandt,  and  painted 
in  the  very  highly-finished  manner  of  his  master. 
His  pictures,  like  those  of  Slingelandt,  represent 
conversations,  or  subjects  taken  from  private  life, 
and  small  portraits.  His  works,  without  possessing 
the  extreme  polish  of  those  of  his  instructor,  have 
great  merit,  and  are  found  in  the  best  collections 
in  Holland.     He  died  in  1719. 

FILIPEPI.Alessandro,  better  known  as  Sandeo 
Botticelli,  the  youngest  son  of  Mariano  Filipepi, 
a  Florentine  tanner,  was  born  at  Florence  in  1447, 
or  somewhat  earlier.  He  was  apprenticed  in  his 
youth  to  a  goldsmith  ;  but  he  soon  abandoned  this 
art  and  devoted  himself  to  painting,  which  he 
studied  first  under  Fra  Filippo  Lippi  and  after- 
wards under  the  brothers  Pollaiuoli.  Amongst  his 
earlier  works  are,  an  allegorical  figure  of '  Fortitude,' 
origiaallj'  in  the  Mercatanzia,  now  in  the  Uffizi  at 
Florence  ;  a  '  St.  Sebastian  '  (now  in  the  Berlin  Gal- 
lery), which  he  painted  to  the  order  of  Lorenzo  dei 
Medici  in  1473  for  the  church  of  Sta.  Maria  Mag- 
giore  at  Florence ;  and  a  beautiful  little  picture  of 
the  'Madonna  and  Child  with  an  Angel,'  formerly 
in  the  possession  of  Prince  Chigi,  but  now  in  Mrs. 
Gardner's  Collection  at  Boston.  His  first  important 
work  was  an  '  Adoration  of  the  Magi,'  painted 
about  the  year  1476,  in  which  he  seems  to  have 
emulated  the  style  of  Dom.  Ghirlandajo.  This 
picture,  formerly  in  the  church  of  Sta.  Maria  No- 
vella, now  in  the  Uffizi  at  Florence,  contains  several 
portraits  of  the  Medici  family,  the  first  Mage 
representing  Cosimo,  Pater  Patrix;  the  second, 
Piero,  Cosimo's  elder  son ;  and  the  third, 
Giovanni,  his  younger  son.  In  1478  Sandro  was 
commissioned  by  Lorenzo  dei  Medici  to  paint  the 
efBgies  of  the  Pazzi  conspirators  on  the  walls  of 
the  Bargello,  or  Public  Palace,  of  Florence.  In 
1480  he  executed  a  fresco  of  St.  Augustine,  in  the 
church  of  Ognissanti,  a  work  of  great  power  and 
depth  of  thought ;  and  in  the  same  year  he  painted 
the  political  allegory  of  '  Pallas  with  a  Centaur,'  a 
very  beautiful  picture  which  for  many  years  was 
completely  lost  sight  of,  and  was  discovered  in  the 
Pitti  Palace  in  1895.  Botticelli  was  the  favourite 
painter  of  Lorenzo  the  Magnificent,  for  whose 
sumptuous  villas  he  painted  the  panel  known  as 
'  Mars  and  Venus '  in  the  National  Gallery,  as  well 
as  his  great  masterpieces  of  the  '  Allegory  of 
Spring '  (now  in  the  Academy  at  Florence),  and  the 
'  Birth  of  Venus  '  (in  the  Uffizi).  These  pictures, 
decorative  in  character  and  poetical  in  subject,  were 
to  a  great  extent  inspired  by  the  classical  imagery 
of  the  poems  of  Lorenzo  the  Magnificent  and  Agnolo 
Poli'lano.  Between  the  years  1481  and  1483,  Bot- 
ticelli, called  to  Rome  by  Pope  Sixtus  IV.,  colla- 
borated with  Ghirlandajo,  Perugino,  Pinturicchio, 
and  Cosimo  Rosselli,  in  the  decoration  of  the 
Sistine  Chapel.  His  work  consisted  of  three 
frescoes  representing  (1)  the  'Purification  of  a 
Leper,'  with  vignettes  of  the  'Temptation  of 
Christ '  ;  (2)  '  Scenes  from  the  Life  of  Moses ' ; 
(3)  '  The  Punishment  of  Core,  Dathun,  and  Abiron ' ; 
and  Vasari  says  that  it  brought  him  great  renown 
"beyond  any  of  his  collaborators."  On  his  return 
to  Florence  he  executed  commissions  for  some  of 
the  leading  Florentine  families ;  and,  about  the 
year  1480,  he  painted  for  his  friend  Antonio  Segni 
his  famous  picture  of  '  Calumny,'  in  imitation  of 
the  lost  masterpiece  of  the  Greek  painter  Apelles, 
as  described  by   Lucian.     Amongst  his  religious 

163 


A   BIOGRAPHICAL  DICTIONARY  OF 


pictures  must  be  mentioned    a    large   altar-piece 

of  the  '  Maiionna  and  Cliild  with  Angels  and 
Saints,'  painted  for  tlie  convent  of  St.  "Barnaba 
(now  in  the  Academy  at  Florence),  and  a  'Corona- 
tion of  the  Virgin,'  painted  for  the  Guild  of  St. 
Marco  (also  in  the  Academy).  Sandro  was  the 
originator  of  the  Tondi,  or  circular  pictures,  of 
the  '  JIadonna  and  Child  with  Angels,'  the  most 
beautiful  of  which  is  the  masterpiece  of  the  '  l[ag- 
niticat'  (now  in  the  Uffizi).  Those  Tondi  became 
very  popular,  and  gave  rise  to  a  large  number  of 
imitative  works  by  his  scholars  and  followers, 
which,  widely  varying  in  merit,  are  now  scattered 
through  the  Galleries  of  Europe,  and  in  some  cases 
have  been  mistakenly  attributed  to  Sandro  himself. 
Botticelli's  pictures  are  generally  distinguished  by 
a  quaint  grace  of  form  combined  with  a  profound 
melancholy  of  sentiment.  His  most  distinctive 
qualities  as  a  painter  lie  in  his  unique  power  of 
conveying  the  sense  of  light,  swift  movement,  and 
in  his  genius  for  lineal  design.  According  to  Vasari, 
he  practised  engraving  to  a  limited  extent  ;  but 
none  of  the  engravings  attributed  to  him  have  as 
yet  been  identified  as  his  work.  There  is  no  doubt 
that  he  furnished  designs  to  some  of  the  engravers 
of  the  period,  especially  to  Baccio  Baldini.  The 
latter's  copper-plate  illustrations  of  the  '  Inferno  ' 
(nineteen  c.inti  in  all)  in  Landini's  edition  of  Dante, 
published  in  1481,  were  executed  after  Botticelli's 
designs.  Later  on  Sandro  himself  illustrated  (in 
silver-point  gone  over  with  pen  and  ink)  a  manu- 
script of  the  'Divina  Commedia '  for  Lorenzo  di  Piero 
Francesco  dei  Medici,  a  work  to  which  Vasari  says 
he  devoted  considerable  time  and  labour.  This 
MS.,  from  which  sevenU  drawings  are  missing,  was 
formerly  in  the  collection  of  the  Duke  of  Hamilton, 
and  is  now  in  the  Berlin  Museum.  Eight  of  the 
missing  drawings  have  since  been  discovered  in 
the  Vatican  Library.  Towards  the  end  of  his 
career  Botticelli  fell  under  the  influence  of  Savon- 
arola ;  and  the  pictures  of  this  period,  though  fewer 
in  number  and  perhaps  less  masterly  in  execution, 
are  far  more  devotional  in  feeling  than  the  works 
of  his  youth  and  maturity.  His  last  picture,  and 
the  only  one  he  ever  signed  or  dated,  was  the  little 
'  Nativity '  in  the  National  Gallery,  which  is  full 
of  fervent,  almost  ecstatic,  religious  feeling.  In 
his  old  age  he  became,  Vasari  says,  infirm  and 
incapacitated  ;  and  during  the  last  ten  years  of  his 
life  he  appears  to  have  entirely  abandoned  painting. 
He  died  in  May  1510,  at  about  the  age  of  sixty- 
five,  and  was  buried  in  the  church  of  Ognissanti, 
at  Florence.  The  following  works  by  Botticelli 
are  in  the  public  and  private  Galleries  of  Europe 
and  America  : 


Bergamo.  Gallerp. 

Berlin.      Museum.  106. 


Boston. 


164 


Story  of  Virginia. 
Madonna  and  Child  with  SS. 
John   Evangelist    and  John 
Baptist    (from     the     Bardi 
Chapel  in  the  GhurcH  of  S. 
Spirito.  Florence.     14S5. 
„  112S.     St.  Sebastian. 
Gallery.        Madonna      and     Child     with 

AngelB  (school-teork). 
Museum.        Madonna  and  Child  with  Seven 
Angels  (schocl-troric). 
„  Venus.     Copied  by  a  follower 

from  a  figure  in  the  Birth  of 
Venus. 
Mrs.  J.L.^  Madonna    and    Child  with  an 
Gardner.  >     Angel    (from  Prince  Chigi's 
J      Coiiection  in  Eome.) 
„  Death  of  Lucretia  (late  work). 


Dresden. 


Florence.  Academy.  73. 
,.         74. 

«         SO. 

«        S5. 


157. 
15S. 
161. 
16-2. 


r^n.  39. 

1154. 

1156. 
„  1158. 

1179. 
11S3. 
1267. 
12S6. 


1289. 


1299. 
.,  „  1303. 

„  1316. 

»»  If  3436. 

„  Pttlaizo  Pitti. 

„      Palazzo  Cappoiii. 

„  Church  of  the 

0(fJiissanti. 

Milan.        Pollii-Pezzoli 

Collection. 

„  Ambrosiana. 

Mimieh.  Soyal  Gallerv. 
1010. 
London.    A'ational  Gal- 
lery.    592. 
„  „  626. 

915. 
1033. 

„         1034. 
226. 


n  n  275. 

„     J/r.  J.  p.  Hesel- 

tine. 

n  Mr.  Ludwig 

Jfond. 

Paris.  Louvre. 


Eome.    Sistine  Chapel. 


„  Prince  Pallavicini. 

St.  Petersburg.        Her- 
mitage, 163. 


Gallery.     Scenes  from  the  Life  of    St. 
Zenobius. 
„  Madonna    and  Child    (school- 

tco7-k). 
Coronation. 

Prede/la  of  above  in  five  com- 
p.irtments. 

Primavera  (Allegory  of  Spring). 
14i  8. 

M.idonna  andChild  with  Angels 
and  Saints  (from  the  Convent 
of  S.  Barnaba). 

Four  panels  which  probably 
formed  predella  to  above,  and 
represent  respectively :  Christ 
rising  from  the  Tomb;  The 
De;ith  of  St.  Ambrose;  Sa- 
lome with  the  Baptist's 
Head ;  and  The  Vision  of 
St.  Augustine. 

The  Birth  of  Venus. 

Portrait  of  Giovanni  di  Cosimo 
dei  Medici. 

Eeturn  of  Judith. 

Holofernes'  Dead  Body  in  his 
Tent. 

St.  Augustine  in  his  Study. 

*  Calumny.' 

his.  Madonna  of  the  Magnificat, 

Adoration  of  the  Magi  (from 
the  Maria  Novella).  About 
1476. 

Madonna  and  Child  with  Angels 
(known  as  the  Madonna  of 
the  Melagrana). 

Fortitude.     1470. 

Madonna  and  Child  (Rosebush 
Madonna). 

Annunziation.     1490. 

Adoration  of  the  Magi  (laid  in 
bv  Botticelli! 

Pallas  with  a  Centaur.     1480. 

Communion  of  St.  Jerome. 

I  St.  Augustine  {fresco).    1480. 

\  Madonna  and  Child. 

Madonna  and  Child  with 
Angels. 

jPieta. 

f  Adoration  of  the   Magi   (early 
}      work). 
Portrait  of  a  Young  Man. 
Mars  and  Venus. 
Adoration  of  the  Magi  (early 

work). 
Nativity.     1500. 
Madonna  and  Child  with  St. 

John  and  an  Angel  (school- 

work). 
Madonna  and  Child  with  John 

and  Angels  {school-irork). 
)  Madonna  and  Child  with  St. 
J      John. 

)  Scenes    from  the    Life  of  St. 
J      Zenobius  (late  work). 
Giovanni      Tornabuoni      with 

Venus  and  the  Graces  (fresco 

from  Villa  Lemmi).    1486. 
Lorenzo  Tornabuoni    and    the 

Liberal    Arts    {fresco    from 

VillaLemmi,  Florence).  14S6. 
Temptation  of  Christ. 
Scenes  from  the  life  i 

Moses.  yi481- 

Fall    of  Core,   Dathan,    14*3. 

and  Abiron.  -' 

Some     Portraits      of      Popes. 

1481. 
La     Derelitta    (the   Outcast). 

(Doubtful.) 

[  Adoration  of  the  Magi. 


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VI 


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^  zOo-bbtaedii.  -in  -tkejiaiileM-um.  o-^^4V?<9arda-^ 


PAINTERS  AND  ENGRAVERS. 


FILIPPI,  Camillo,  was  a  native  of  Ferrara, 
■who  flourished  about  the  middle  of  the  16th  cen- 
tury. He  was  a  disciple  of  Dosso  Dossi,  and 
painted  historical  works  with  some  success.  In 
the  church  of  Santa  Maria  del  Vado,  at  Ferrara,  is 
a  picture  by  this  master  representing  the  '  Anaun- 
ciation '  ;  and  in  that  of  II  Gesii  is  another  of  the 
'  Trinity.'     His  death  took  place  in  1574. 

FILIPPI,  Cesare,  the  younger  son  and  pupil 
of  Camillo  Filippi,  was  born  at  Ferrara  in  1536. 
He  assisted  his  father  and  brother  Sebastiano  in 
their  works,  and  excelled  in  painting  heads  and 
grotesques  in  the  ornamental  style,  although  he 
sometimes  attempted  historical  subjects,  which  are 
very  feeble  imitations  of  the  style  of  his  brother. 
Such  is  his  picture  of  the  '  Crucifixion '  in  the  church 
of  La  Morte.     He  died  after  1602. 

FILIPPI,  GlACOMO,  a  native  of  Ferrara,  studied 
painting  under  Francesco  Ferrari.  His  views  and 
architectural  paintings  are  deservedly  esteemed. 
He  died  in  1743. 

FILIPPI,  Sebastiano,  called  Bastianino,  and 
sometimes  Gratella,  born  at  Ferrara  irw,1532, 
was  the  son  of  Camillo  Filippi.  He  was  first  in- 
structed in  art  by  his  father,  and  when  he  was 
eighteen  years  of  age  he  went  to  Rome,  where  he 
had  the  advantage  of  being  admitted  into  the  school 
of  Michelangelo,  but  on  account  of  the  unhealthy 
climate  of  Rome  he  was  obliged  to  leave  that  city 
and  return  to  Ferrara.  He  was  a  fertile  painter, 
but  negligent  in  the  execution  of  his  works,  which 
are  very  unequal  in  value  and  possess  little  origin- 
ality. Though  his  drawing  is  correct,  his  figures 
are  clumsy.  His  principal  work  is  'The  Last 
Judgment '  (1577-84),  in  the  cathedral  at  Ferrara, 
a  prodigious  performance  in  which  he  imitated  the 
style  of  Michelangelo.  It  has  been  spoiled  by 
restoration.  A  '  Holy  Family  '  and  an  '  Adoration 
of  the  Magi'  are  in  the  Costabili  Gallery  in  the  same 
city,  in  the  churches  of  which  there  are  no  fewer 
than  seven  pictures  of  the  'Annunciation,'  differing 
little  from  each  other  in  composition.  Among  his 
best  works  may  also  be  noticed  his  '  Martyrdom  of 
St.  Catharine,'  in  the  church  dedicated  to  that 
saint ;  in  Santa  Maria  de'  Servi,  the  '  Adoration  of 
the  Magi '  ;  in  the  Certosa,  a  grand  picture  of  St. 
Christopher,  entirely  in  the  lofty  style  of  Michel- 
angelo ;  in  San  Benedetto,  a  '  Dead  Christ  supported 
by  Angels ' ;  and  at  the  Cappuccini,  the  '  Virgin  and 
Infant,  with  St.  John. '  In  the  cathedral  is  a  picture 
of  the  '  Circumcision,'  which  is  supposed  to  have 
been  painted  before  he  went  to  Rome.  Filippi  died 
at  Ferrara  in  1602. 

FILIPPINO  (or  FiLiPPO  Di  Filippo).     See  Lippi, 

FlLIPPINO. 

FILIPPO,  Fra.    See  Lippi,  Filippo. 

FILLEUL,  Gilbert,  was  a  French  engraver, 
who  is  mentioned  by  Basan.  He  flourished  about 
the  end  of  the  17th  century,  and  executed  some 
plates  after  Le  Brun,  Sirapol,  &c. 

FILLEUL,  Pierre,  was  the  son  of  Gilbert  Filleul. 
He  engraved  some  plates  for  the  '  Fables '  of  La  Fon- 
taine ;  as  well  as  the  '  Carriers,'  after  Wouwerman. 

FILLIAN,  John,  an  engraver,  flourished  from 
about  1676  to  1680,  in  which  year  he  died  at  an 
early  age.  He  was  a  pupil  of  the  elder  Faithome, 
and  worked  in  the  style  of  his  instructor.  The 
following  are  by  him  : 

Thomas  Cromwell,  Earl  of  Essex. 

William  Faithome;  after  a  print  hy  Faithome. 

The  Head  of  Paracelsus. 

The  Frontispiece  to  Heylyn's  '  Cosmography.' 


FILGCAMO,  Antonio  and  Paolo,  two  brothers, 
were  natives  of  Messina,  and  are  noticed  by  Hackert 
in  his  '  Memorie  de'  Pittori  Messinesi.'  'They  were 
educated  in  the  school  of  Carlo  Maratti,  at  Rome  ; 
and  on  their  return  to  Messina,  established  an 
academy,  which  was  much  frequented.  They  exe- 
cuted conjointly  several  works,  both  in  oil  and  in 
fresco,  in  the  former  of  which  Antonio  was  very 
superior  to  Paolo.  Their  principal  works  are  in 
the  churches  of  Santa  Caterina  di  Valverde  and 
San  Gregorio,  at  Messina,  where  they  both  died  of 
the  plague  in  1743. 

FILOTESIO,  Niccola,  (Filotteschi,  or  Fila- 
TiCHi,)  usually  called  CoLA  dell'  Amatrice,  and 
sometimes  CoLA  dalla  Matrice,  is  mentioned  hy 
Vasari  in  his  life  of  Calabrese.  He  painted  from 
about  1513  to  1543,  in  Ascoli,  Calavria,  and  Norcia, 
and  was  distinguished  throughout  all  that  province. 
His  manner  was  hard  in  his  earlier  pictures,  but  in 
his  subsequent  works  he  exhibited  a  fulness  of 
design,  and  an  accomplished  modem  style.  His 
'  Last  Supper,'  formerly  in  the  oratory  of  the 
Corpus  Domini,  and  now  in  the  Foundling  Hos- 
pital, is  a  work  of  merit.  Ascoli  possesses,  in 
addition  to  this,  several  of  his  best  works.  A  few 
are  in  Rome — an  '  Ascension  '  is  in  the  Museum  of 
the  Lateran,  and  a  '  Madonna '  in  the  Capitol. 
Cola  died  at  Amatrice,  but  in  what  year  is  not 
known. 

FINCH,  Francis  Oliver,  a  landscape  painter  in 
water-colours,  was  born  in  1802.  In  early  life  he 
studied  under  John  Varley,  and  painted  portraits. 
He  exhibited  regularly  at  the  Water-Colour  Society, 
of  which  he  was  elected  an  associate  in  1822,  and 
a  full  member  in  1827.  His  works  were  generally 
poetic  compositions,  and  he  excelled  in  twilight 
and  moonlight  scenes.  He  died  in  1862.  Several 
of  his  landscapes  are  at  the  South  Kensington 
Museum.  His  '  Memorials '  were  printed  in 
1865. 

FINCKE,  Hans,  a  landscape  and  architectural 
engraver,  was  bom  at  Berlin  in  1800.  He  studied 
under  Buchhorn,  and  in  London  under  Finden,  and 
died  in  1859.  His  best  plates  are  a  view  of  the 
Cathedral  at  Meissen,  after  Schirraer,  and  a  view 
of  Salzburg,  after  Biermann.  He  commenced  also 
a  view  of  the  Convent  of  San  Miniato  near  Florence, 
after  Biermann,  which  was  finished  after  his  death 
by  Drohmer. 

FINDEN,  Edward  Francis,  a  line-engraver, 
was  the  younger  brother  of  William  Finden,  and 
like  him  a  pupil  of  James  Mitan.  He  was  bora  in 
London  in  1792,  and  died  in  the  same  city  in  1857. 
He  worked  chiefly  upon  the  various  publications 
issued  hy  himself  and  his  brother,  but  executed 
also  a  few  plates  for  the  '  Literary  Souvenir,'  as 
well  as  the  following: 

The  Princess  Victoria ;  after  Westall. 

The  Harvest  Waggon  ;  after  Gainsborough. 

Happy  as  a  King  ;  after  Collins. 

Othello  telling  his  exploits  to  Brabantio  and  Desde- 
mona  ;  after  Douglas  Cowper. 

FINDEN,  William,  a  line-engraver,  was  born  in 
1787.  He  was  a  pupil  of  James  Mitan,  and  in 
conjunction  with  his  brother  Edward,  and  a  number 
of  assistants  and  pupils,  he  published  several  ably 
executed  series  of  prints  and  book-illustrations. 
The  principal  of  these  were  as  follow  : 

Landscape  Illustrations  to  the  Life  and  Works  of  Lord 

Byron.  1831—1834. 
The  Gallery  of  the  Graces  ;  after  Chalon,  Landseer,  and 

others.     1832—1834. 

165 


A   BIOGRAPHICAL   DICTIONARY  OF 


Landscape   Illustrations   of  the  Bible;    after   Turner, 

Calcoit,  Sianfield,  and  others.     1834. 
Byron  Beauties.     1834. 
Landscape  Illustrations  to  the  Life  and  Poetical  "Works 

of  George  Crabbe.     1834. 
Portraits  of   the  Female  Aristocracy  of  the  Court  of 

Queen   Victoria;    after  C'halon,  Hayter,  and  others. 

1838-39. 
The  Royal  Gallery  of  British  Art. 
The  Beauties  of  Thomas  Moore. 

Besides  these  independent  worlis,  the  Findens  pro- 
duced the  illustrations  to  the  'Arctic  Voj-agee,'  pub- 
lished by  Murray  ;  to  Brockedon's  'Illustrations  of 
the  Passes  of  the  Alps,'  1827-29  ;  to  Campbell's 
'Poetical  Works,'  1828;  and  some  of  the  plates 
for  Lodge's  '  Portraits  of  Illustrious  Per.sonages 
of  Great  Britain,'  1821-34.  The  '  Koyal  Gallery  of 
British  Art '  and  the  '  Beauties  of  Thomas  Moore  ' 
involved  the  Findens  in  a  great  loss  from  which 
they  never  recovered.  William  Finden  died  in 
London  in  1852.  The  most  important  plates  by 
his  own  hand  are  : 

George   TV.,  full-length,  seated  on  a  sofa;   after  Sir 

Thomas  La^crence. 
The  Highlander's  Eetum  ;  aftn'  Sir  Edxcin  Landseer. 
The  Naughty  Boy  ;  ajter  the  satne. 
Deer-Stalkers  ;  after  the  same. 

The  Interior  of  a  Highlander's  House  ;  after  the  same. 
The  Fisherman's  Daughter ;  after  the  same. 
The  Village  Festival ;  after  Sir  David  Wilkie. 
The  Crucifixion  ;  after  Hilton. 
Returning  from  Market ;  after  Sir  A.  TV,  Calcoit. 
Sickness  aud  Health  ;  after  Webster. 
Lord  Byron  at  the  age  of  nineteen  ;  after  G.  Saunders. 
The  Rivals  ;  after  Leslie.     ('  Literary  Souvenir,'  1826.) 
The  Blackberry  Boy  ;  after  Hamilton.     ('  Anniversary,' 

1829.) 

FINI,  TOMMASO  Di  Ckistoforo,  also  called  Ma- 
SOLINO  DA  Panicale,  was  thesonof  Cristof ore  Fini, 
of  the  quarter  of  Santa  Croce,  at  Florence,  and  was 
born  at  Panicale  in  1383.  He  probably  received  his 
artistic  education  from  Lorenzo  Ghiberti,  and  after- 
wards from  Gberardo  Stamina,  and  was  admitted  into 
the  Guild  of  the  Medici  and  Speziale,  at  Florence, 
in  1423 ;  shortly  afterwards  he  entered  the  service 
of  Philippo  Scolari,  Obergespann  of  Temeswar,  in 
Hungary,  who  is  better  known  as  Pippo  Spanno, 
and  with  whom  he  went  to  Hungary  in  1427.  At 
his  death  Masolino  returned  to  Italy,  and  accepted 
from  Cardinal  Braiida  Castiglione  the  commission 
to  paint  the  choir  of  the  church,  which  tliat  prelate 
had  just  finished  in  Castiglione  di  Olona,  in  1428, 
and  in  which  can  still  be  seen  the  remains  of  a 
double  course  of  frescoes  representing  scenes  from 
the  lives  of  the  Virgin  and  SS.  Stephen  and  Law- 
rence. He  also  decorated  the  whole  of  the  Baptis- 
tery at  Castiglione  with  scenes  drawn  from  the  life 
of  St.  John  the  Baptist,  which  still  remain,  and 
although  much  injured  by  time,  are  worthy  of 
notice.  Very  little  else  that  is  really  authentic 
remains  of  Masolino's  work.  The  date  of  his  death, 
though  somewhat  doubtful,  is  now  set  down  as 
1447.     The  famous  Masaccio  was  one  of  his  pupils. 

FINIGUERRA,  Maso  or  Tommaso,  born  1426; 
died  1464.  Maso  Finignerra  belonged  to  a  family 
that  had  been  long  established  in  Florence,  practis- 
ing various  crafts  ;  his  father  was  a  goldsmith, 
named  Antonio,  living  in  1427  in  the  quarter  of 
Santa  Lucia  d'Ognissanti.  In  an  official  statement 
of  his  possessions  for  that  year,  he  states  that  his 
son  Tommaso  is  one  year  and  five  months  old. 
The  boy  was  brought  up  as  a  goldsmith,  and 
appears  to  have  joined  the  shop  of  the  PoUaiuoli 
on  the  Ponte  Vecchio.     He  was  celebrated  for  his 

166 


works  in  niello,  and  received  an  order  when  in  his 
twenty-fifth  year  from  the  Consuls  of  the  Guild  of 
Merchants  or  Calimala,  for  a  silver  pax  in  niello, 
to  be  presented  to  the  Baptistery  of  San  Giovanni ; 
it  was  delivered  and  paid  for  in  1452.  Tommaso 
married  Piera  di  Domenica  di  Giovanni,  before  the 
year  1457.  He  was  working  as  a  goldsmith  and 
jeweller  in  partnership  with  one  Piero  di  Barto- 
lorameo  di  Sali.  Antonio  Pollaiuolo  was  a 
partner  in  the  same  business.  In  this  year  the  firm 
made  a  pair  of  silver  candlesticks,  probably 
decorated  in  niello,  for  the  altar  of  the  church  of 
San  Jacopo  at  Pistoja.  In  a  manuscript  zibaldone 
begun  in  1459  by  Giovanni  Rucoellai,  Maso 
Finiguerra  is  mentioned  with  Antonio  Pollaiuolo, 
as  a  master  in  drawing,  among  the  artists  with 
whose  work  the  Casa  Ruccellai  is  enriched.  In 
1462  Finiguerra  supplied  open-work  silver 
buckles  decorated  with  niello  to  Cino  di  Fihppo 
Rinuocini,  and  early  in  1463  Alessio  Baldovinetti 
notes  that  he  is  to  receive,  on  February  21,  payment 
from  Giuliano  da  Majano,  for  work  that  he  has 
done  in  colouring  the  beads  of  five  figures  designed 
by  Tommaso  Finiguerra  for  the  inlaid  wood 
panelling  in  the  Sacristy  of  the  Duomo,  to  be 
carried  out  by  the  said  Giuliano.  Finiguerra's 
cartoons  are  specified  as  consisting  of  a  St. 
Zenobio  between  two  deacons  and  a  Virgin  with 
an  angel.  These  intarsias  from  the  designs  of 
Finiguerra  are  still  to  be  seen  in  the  Sacristy  and 
the  Opera  del  Duomo  ;  they  are  perhaps  the  only 
undisputed  works  of  the  masters,  left.  In  1466 
Rinuccini  records  that  he  revisited  the  same  shop 
to  buy  another  buckle,  but  this  time  he  dealt  with 
Tommaso's  younger  brother,  for  our  artist  was  no 
longer  living :  he  was  buried  on  August  24,  1464. 

Although  Finiguerra  has  been  deprived  of  late 
years  of  the  glory  given  to  him  by  Vasari  of  being 
the  inventor  of  printing  from  engraved  metal 
plates,  yet  he  must  be  regarded  as  a  great  master 
in  the  art  of  niello  engraving.  A  '  Crucifixion  '  in 
the  Bargello  is  probably  an  example  of  his  work  in 
this  beautiful  art  ;  the  famous  '  Coronation  of  the 
Virgin '  in  the  same  Museum  often  attributed  to 
him  is  of  another  school.  He  was  one  of  the 
pioneers  of  metal  engraving  in  Italy,  and  Mr. 
Colvin  in  his  monumental  work  on  the  master, 
almost  proves  that  he  is  the  author  of  certain  very 
beautiful  Florentine  prints  and  drawings,  all 
evidently  by  one  hand  and  from  the  workshop  of 
the  PoUaiuoli.  Several  of  these  drawings  are  in  the 
Uffizi,  Florence,  and  were  catalogued  under  his 
name  in  the  eighteenth  century.  They  consist  of 
studies  in  pen  and  wash,  of  boys  and  workmen 
engaged  in  various  crafts.  Several  of  these  were 
used  in  a  modified  form  in  the  series  of  ninety-nine 
drawings,  part  of  a  Picture  Chronicle  bj'  the  same 
hand,  in  the  Print  Room  of  the  British  Museum  ; 
there  are  twenty-two  other  drawings  in  the  col- 
lection of  M.  Bonnat,  Paris.  The  following  famous 
early  Florentine  engravings,  in  what  is  known  as 
the  fine  manner,  are  by  the  same  master: 

The  Series  of  the  Planets. 

„  „         Prophets  and  Sibyls. 

The  Otto  prints,  including  the  J.ason  and  Medea,  the 
Judith  and  Holofernes,  and  several  decorative  designs. 

The  Battle  of  the  Hose. 

The  March  to  Calvary. 

Conversion  of  St.  Paul ;  a  unique  proof  at  Hamburg. 

Two  subjects  of  Ships  at  Sea. 

The  Judgment   Hall  of  Pilate;  prints  at  Gotha  and 
Chatsworth. 

The  Encounter  of  a  Hunting  party  with  a  family  of 
hairy  wild  men. 


PAINTERS  AND  ENGRAVERS. 


The  Story  of  Theseus  and  Ariadne. 

The  Chariot  of  Ariadue  and  Bacchus ;  a  unique  proof  in 

the  British  Museum. 
Some  Arabesques  in  the  form  of  Candelahra. 

There  are  other  engravings  from  the  same 
■worksliop,  but  as  they  were  not  published  until 
after  the  death  of  the  master,  he  cannot  have  had 
much  to  do  with  them.  Such  are  the  engravings 
for  the  Monte  Santo  di  Dio,  1477,  and  those  for 
the  Lundini  Dante,  1481.  C,  H. 

FINK,  Frederick,  an  American  genre  painter, 
was  born  at  Little  Falls,  New  York,  in  1817.  He 
commenced  life  as  a  student  of  medicine,  but 
impelled  by  an  irresistible  love  of  art,  he  went  to 
New  York  and  studied  under  Morse.  In  1840  he 
visited  Europe,  and  made  copies  of  the  works  of 
Titian  and  Murillo.  Among  his  pictures  are  '  An 
Artist's  Studio,'  'The  Shipwrecked  Mariner,'  'The 
Young  Thieves,'  and  'A  Negro  Wood-Sawyer.' 
He  died  in  1849. 

FINKE,  Heinrich  Jonathan,  was  bom  at 
Nuremberg  in  1816.  He  was  instructed  in  the 
principles  of  art  in  that  city,  and  afterwards 
visited  Belgium  and  Holland,  and  settled  in  Alten- 
burg,  where  he  was  mostly  employed  by  the  court. 
He  excelled  in  portraiture,  and  his  productions, 
which  are  entirely  in  the  Dutch  style,  are  executed 
in  a  clear  and  bold  manner.  He  was  professor 
at  Altenburg,  and  died  in  1868. 

FINLAYSON,  John,  an  engraver,  was  bom 
about  the  year  1730,  and  worked  in  London.  In 
1773  he  received  a  premium  from  the  Society  of 
Arts,  and  about  three  years  after  this  he  died.  He 
engraved  in  mezzotint  several  portraits,  and  a  few 
plates  of  historical  subjects,  among  which  are  the 
following : 

PORTRAITS. 

The  Duchess  of  Gloucester ;  after  Sir  Joshua  Beynolds, 

Iiady  Charles  Spencer  ;  after  the  same. 

Lady  Elizabeth  Melbourne  ;  after  the  same. 

The  Earl  of  Buchan  ;  after  the  same. 

Miss  "Wynyard  ;  after  the  same. 

Lady  Broughton  ;  after  Cotes. 

The  Duke  of  Northumberland ;  after  Hamilton. 

Miss  Metcalfe  ;  after  Hone. 

Signora  Zamperini,  in  '  La  Buona  FigUuola ' ;  after  the 

same. 
"William  Drummond,  Scotch  historian ;  after  C.  Janssens. 
Shooter,  Beard,  and  Dunstall,  in  '  Love  in  a  Village ' ; 

after  Zoffany. 

SUBJECTS. 
Oandaules,  King  of  Lydia,  showing  his  Queen  coming 

out  of  the  Bath  to  Us  favourite  Gyges ;  after  his  own 

design. 

FINNEY,  Samuel,  a  miniature  painter,  was  born 
in  Cheshire  in  1721.  He  was  a  member  of  the 
Society  of  Artists,  where  he  exhibited  from  1761 
to  1766.  He  became  portrait  painter  to  Queen 
Charlotte,  and  died  in  1807. 

FINOGLIA,  Paolo  Domenico,  a  native  of  Orta, 
in  the  kingdom  of  Naples,  flourished  about  the 
year  1640.  He  was  brought  up  in  the  academy 
of  Cavaliere  Massimo  Stanzioni,  but  painted  more 
in  the  style  of  Spagnoletto.  He  was  a  correct  and 
expressive  designer,  and  possessed  great  fecundity 
of  invention.  His  principal  works  were  the  vault 
in  the  convent  of  San  Martino  at  Naples,  with 
scenes  from  the  life  of  St.  Martin  (his  best  work), 
and  ten  oil  paintings  in  the  Capitol.  He  died  in 
1656. 

FINSON,  Louis,  or  Alois,  (or  Finsonius,)  was 
bora  at  Bruges  about  1580.     He  went  to  Rome 


about  1600,  where  he  became  a  disciple  of  Cara- 
vaggio.  He  travelled  in  Germany  and  settled  at 
Aix,  but  subsequently  visited  Naples,  and  returned 
to  Aix,  whence  he  removed  in  1614  to  Aries,  where 
he  was  drowned  in  the  Rhone  about  1632.  The 
following  are  among  his  works,  which  are  excellent 
in  colour  but  wanting  in  dignity  : 

Aix.  Museum.  The  IncreduUty  of  St.  Thomas. 

„  „  The  Resurrection.    1613. 

Andenne.  Church.  Massacre  of  the  Innocents. 

Aries.  Museum.  The  Martyrdom  of  St.  Stephen. 

„  „  The  Ador.ition  of  the  Magi.  1614. 

Marseilles.  Museum.  A  dying  Magdalen. 

Naples.  Museum,  The  Annunciation.     1613. 

Rome.      San  Giovanni.  The  Resurrection.     1610. 

FIORAVANTl,  was  an  Italian  painter  of  still- 
life  and  inanimate  objects,  who  excelled  in  painting 
vases,  fruit  and  flowers,  and  musical  instruments, 
which  he  represented  with  great  exactness  and 
fidelity. 

FIORE,  Colantonio  del.    See  Tomasi,  Niccola. 

FIORB,  Federigo.     See  Barocci. 

FIORE,  Jacobello  del.    See  Del  Fiorb. 

FIORBNTINO,  Domenico.    See  Del  Barbiebe. 

FIOKENTINO;    Luca,    a    Florentine   engraver, 
who   flourished   in   the   early  part   of   the    _r\. 
16th     century,    followed    the    manner    of    L 'T 
Robetta.    He  used  the  annexed  monogram  :  XJi. 
The  following  are  some  of  his  best  works  : 

Herodias  with  the  Head  of  St.  John  the  Baptist. 

A  richly-dressed  Woman  seated  on  the  Ground,  with 

two  Children. 
A  Man  with  a  Bow. 

The  Virgin  and  Child,  St.  Anthony,  and  St.  Francis. 
St.  Catharine  and  St.  Lucia. 

FIORENTINO,  Stefano,  called  Stefano  da 
Ponte  Vecchio,  and  Lo  Scimmia  (the  ape),  is 
questionably  stated  to  have  been  the  grandson  and 
the  disciple  of  Giotto.  He  was  born  at  Florence 
in  1301,  and,  according  to  Vasari,  greatly  excelled 
his  instructor  in  every  department  of  the  art.  The 
rales  of  perspective  were  little  known  at  the  early 
period  at  which  he  lived,  and  he  has  the  credit  of 
establishing  them  on  more  regular  principles.  If  he 
was  less  successful  in  his  endeavours  to  overcome 
the  difliculty  of  foreshortening,  he  has  at  least  the 
credit  of  being  the  first  artist  who  attempted  it.  He 
succeeded,  better  than  any  of  his  contemporaries, 
in  giving  expression  to  the  airs  of  his  heads,  and  a 
less  Gothic  turn  to  the  attitudes  of  his  figures.  His 
works  in  the  churches  at  Rome  and  Florence  have 
perished,  and  the  picture  of  the  '  Virgin  and  Infant 
Christ,'  in  the  Campo  Santo  at  Pisa,  which  Lanzi 
mentions  as  the  only  vestige  remaining  of  his 
productions,  is  clearly  a  work  of  the  Sienese 
school.     He  died  in  1350. 

FIORENZO  DI  LORENZO.  Little  is  known  of 
this  painter,  excepting  that  a  contract  was  made 
by  him  to  paint  a  double  altar-piece  in  the  church 
of  Santa  Maria  Nuova,  now  belonging  to  the  Ser- 
vites,  in  Perugia,  in  1472  ;  and  that  in  1621  he 
assisted  Tiberio  d'Assisi  in  the  valuation  of  a 
picture  by  Giannicolo  of  Perugia.  Parts  of  the 
above-mentioned  altar-piece  can  be  still  seen  at  the 
Academy  of  Arts  at  Perugia,  as  also  eight  half- 
lengths  of  saints,  a  'St.  Sebastian,'  and  other 
paintings  of  less  value.     There  are  also  by  him  : 

Berlin.  Gallery.    Virgin    and    Child,  on    a    gold 

ground.     1481. 
Diruta.      S.  Francisco.    An  Eternal  in  a   circular  glory, 

between  SS.  Roman  and  Roch. 

1475. 
Madrid.  Trinidad  Mus.    The  Saviour,  with  four  Saints. 

167 


A  BIOGRAPHICAL  DICTIONARY  OF 


Perugia.  Palazzo  Com-  \  Two  panels,  with  half-lengths  of 
munale.      j      Saints  in  prayer. 

,,  S.  Agostino.    A  half-length  Virgin  and  Child. 

„  S.  Giorgio.    A  Nativity.     1490. 

„  iS.  Maria  Nuoi>a.  The  Adoration  of  the  Magi.  (This 
has  been  attributed  to  Perugino.) 

„  S.  Francesco,    Eight   paintings  of   the  Life  of 

St.  Bernard  {probably  by  this 
artist,  and  rwt  by  Pisanello  and 
Mantegna).     1483. 

„  „  St.  Peter  and  St.  Paul.     14S7. 

FIORI,  Gasparo  DEI.    See  Lopez. 

FIORI,  Mario  del     See  Ndzzi. 

FIORILLO,  JoHANN  DOMINIK,  born  at  Hamburg 
in  1748,  was  a  painter  and  literary  man.  In  1759 
he  began  to  study  at  the  Academy  at  Baireuth,  and 
in  1761  went  to  Rome  and  became  a  scholar  of 
P.  Battoni.  From  1765  to  1769  he  studied  at 
Bologna  under  Vittorio  Bigari,  but  at  the  end  of 
this  term  he  returned  to  Hamburg,  and  was  em- 
ployed at  the  court  at  Brunswick,  where  he  brought 
himself  into  notice.  He  became  superintendent  of 
the  collections  of  engravings  at  Gottingen  in  1784, 
and  in  1799  professor  at  the  University.  He  died 
at  Gottingen  in  1821. 

FIORINI,  Giovanni  Battista,  was  a  native  of 
Bologna.  He  flourished  at  the  close  of  the  16th 
century,  and  died  subsequently  to  1595.  He  is 
chiefly  known  as  a  coadjutor  of  Cesare  Aretusi,  in 
conjunction  with  whom  he  painted  several  pictures 
at  Bologna  and  Brescia,  and  distinguished  himself 
especially  as  a  good  designer  and  a  happy  inventor. 
By  him  there  are  the  following  works  : 

Bologna.         Cathedral.     Christ  giving  the  Keys  to  St. 
Peter. 
San  Giovanni  )  j,,^^  ^j  ^^    y.     . 
tn  Monte,     j  ° 

„        San  Benedetto.     The  Descent  from  the  Cross. 
„  Padri  Servi.     The  Mass  of  St.  Gregory. 

Brescia.  S.  Afra.     The  Birth  of  the  Virgin. 

Eome.  Sala  Regia,  )  ^  ^^^^  pamting  by  Fiorini  alone. 

Tat  lean.   )  f  ti    J 

FIORINO,  Jeeemias  Alexander,  born  at  Cassel 
in  1793,  painted  several  portraits  now  in  the 
Dresden  Gallery.     He  died  at  Dresden  in  1847. 

FIORONI,  Adamo,  an  Italian  engraver,  was  born 
about  1800.  He  was  a  scholar  of  Longhi,  and 
engraved  several  excellent  plates  at  Milan,  amongst 
which  were  : 

The  Virgin  and   Child,  with  St.  John  ;  after  Raphael. 

1829. 
The  Virgin  and  Child,  called '  La  Madonna  del  Adjuto ' ; 

after  B.  Luini.     1822. 

FIRENS,  Pierre,  was  an  indifferent  French 
engraver,  who,  according  to  Basan,  resided  in  Paris 
about  the  year  1640.  He  copied,  in  a  stifE,  clumsy 
manner,  the  '  Hermits,'  after  Sadeler,  and  engraved 
some  portraits,  among  others  that  of  Henry  IV. 
of  France. 

FIRENZB,  Andrea  da  (who  is  distinct  from 
Andrea  de  Florentia),  was  an  artist  living  in  the 
15th  century,  and  known  as  the  author  of  a  large 
altar-piece,  signed  and  dated  1437,  in  a  chapel  of 
the  church  of  Santa  Margareta,  at  Cortona,  which 
represents  the  '  Virgin  taken  to  Paradise  by  six 
Angels,  with  Saints.'  There  is  also,  in  the  Casa 
Kamelli,  at  Gubbio,  a  'Conversion  of  Constantine,' 
signed  by  him.  The  dates  of  his  birth  and  death 
are  not  known. 

FISCHBACH,  JoHANN,  bom  at  Gravenegg,  in 
Lower  Austria,  in  1797,  was  a  painter  of  landscapes 
and  genre-pieces.  He  studied  at  the  Academy  at 
Vienna,  and  his  twenty- eight  crayon -designs, 
representing  forest  trees  in  Germany,  brought  him 

168 


into  much  notice.     He  died  at  Munich  in  1871. 
The  following  are  by  him  : 
Munich.  Gallery.    A  landscape  in  Salzburg. 

Vienna.  Galleny.    A  Farmer's  Boy  disputing  with  a 

Girl  for  a  Bird. 
„  „  A  Widow  in  a  Churchyard. 

FISCHBACH,  Karl.     See  Vittinghoff. 

FISCHER,  A.,  is  the  name  of  an  engraver  who 
executed  a  print  of  the '  Carriers,'  after  Wouwerman. 
The  same  subject  is  engraved  by  Filleul. 

FISCHER,  Anna  Catharina,  a  German  lady, 
excelled  in  painting  flowers  in  distemper  and  in 
oil.     She  was  married  to  Benjamin  Blok  in  1664. 

FISCHER,  Georg  Johann  Paol,  a  miniature 
painter,  was  born  in  1786  at  Hanover,  where  he 
studied  under  Ramberg.  He  came  to  England  in 
1810,  and  exhibited  at  the  Royal  Academy  from 
1811  to  1871.  He  became  miniature  painter  to 
George  IV.,  and  died  in  1875. 

FISCHER,  Hermann.     See  Swanevelt. 

FISCHER,  Isaac,  a  portrait  and  historical 
painter  of  Augsburg,  died  in  1705. 

FISCHER,  Johann,  was  an  engraver  on  wood, 
to  whom  are  attributed  tlie  cuts  for  the  Bible 
printed  at  Strassburg  in  1606. 

FISCHER,  Johann  Georq,  an  historical  painter, 
was  born  at  Augsburg  in  1580.  He  travelled  in 
Italy,  but  became  an  imitator  of  Albrecht  Durer. 
He  died  at  Munich  in  1643.  The  following  are  by 
him : 
Munich.  Gallery.     Christ  carrying  the  Cross. 

„  „         The  Apprehension  of  Christ. 

Nuremberg.  Landauer-  )  The  Apostles  John,  Peter,  Mark, 
Bruderhaus.  J      and  Paul ;  after  Albrecht  Durer, 
M  rit"  1  Ecce    Homo   {supposed   to  be  by 
"  ni.      %   >     him,  hut  by  some   attributed   to 

Chapel,  f     ^«;-,cA<  i««r). 
Pommersfelden.  Gall.    The     Trinity;     after    Albrecht 
Diirer. 

FISCHER,  Joseph,  who  was  born  at  Vienna  in 
1769,  studied  painting  and  engraving  under  Brand 
and  Schmutzer  at  the  Academy  of  that  city.  After 
having  travelled  some  time  he  returned  to  Vienna, 
and  became  a  professor  in  the  Academy.  He  died 
at  Vienna  in  1822.  Among  bis  paintings  in  the 
Gallery  of  that  city  are  a  "iew  of  Vienna  and  a  land- 
scape.   His  best  engraved  works  are  the  following: 

The  Entombment ;  after  Schidone. 
Christ  in  the  Temple ;  after  Ribera.     1793. 
The  Adulteress  before  Christ ;  after  Fiiyer. 
The  Emperor  Francis,  led  by  Minerva  and  Justice,  re- 
ceiving the  homage  of  his  people ;  in  aquatint. 
The  Portrait  of  Correggio. 

His  sister,  Maria  Anna  Fischer,  who  was  bom 
at  Vienna  in  1785,  was  also  an  engraver,  chiefly  of 
landscapes  and  battle-pieces. 

FISCHER,  Joseph  Anton,  born  at  Oberstorf, 
Algau,  in  1814,  was  at  first  a  cow-herd,  but  being 
assisted  by  Ch.  Schraudolf,  he  studied  at  the 
Academy  at  Munich  under  Schlotthauer,  and  visited 
Italy  in  1832  and  1843.  During  this  time  he 
executed  cartoons  under  H.  Hess  for  the  glass- 
paintings  of  the  Auerkirche,  representing  'The 
Flight  into  Egypt,'  '  Death  of  the  Virgin,'  '  Burial 
of  the  Virgin,'  'Christ  in  the  Temple,'  'The  Three 
Kings,' '  The  Angel's  Salutation,'  '  The  Marriage  of 
the  Virgin,'  and  '  The  Prophecy  of  Simeon  in  the 
Temple.'  He  was  a  follower  of  Fra  Angelico,  and 
painted  from  1844  to  1848  the  cartoons  for  eight 
glass-paintings  for  the  cutbedral  at  Cologne,  repre- 
senting '  St.  John  the  Baptist  preaching,'  '  The 
Adoration  of  the  Magi,'  'The  Taking  down  from 
the  Cross,'  'The   Stoning  of  St.   Stephen,'  'The 


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LADY  SAKAH  BUNBUKY 


PAINTERS  AND   ENGRAVERS, 


Descent  of  the  Holy  Ghost,'  'The  Four  Great 
Prophets,'  '  The  Four  Evangelists,'  and  '  The  Four 
Western  Fathers';  for  these  he  obtained  the  gold 
medal  of  Prussia.  Several  beautiful  pen-and-ink 
drawings  by  this  artist  are  in  different  collections, 
especially  in  Munich,  where  he  died  in  1859. 
Among  his  oil  paintings  are  the  following : 

Munich.  Gallery.     The  Flight  into  Egypt.     1841. 

„  „  The    Adoratiion   of    the    Magi. 

1844. 
„  „  The  Visitation.     1845. 

„  _    „  The  Entombment.     1843. 

IVariMMs. }  '''^«  Ascension  of  the  Virgin. 

FISCHER,  ViNCENZ,  an  historical  painter  and 
professor  of  architecture  at  the  Academy  of  Vienna, 
was  born  at  Schmidham,  in  Bavaria,  in  1729,  and 
died  at  Vienna  in  1810.  In  addition  to  some  pen- 
and-ink  drawings,  the  following  works  by  him  are 
worthy  of  mention : 

The  Eestoring  of  the  Young  Man  of  Nain  to  life.    1763. 
The  Raising  of  Lazarus.     1763. 

Moses  when  a  Boy  treading  on  Pharaoh's  Crown  {in  the 
Academy  at  Vienna). 

FISEN,  Enqelbert,  a  Flemish  painter,  bom  at 
Li^ge  in  1665,  was  a  pupil  of  Bertholet  Flemalle. 
When  still  very  young  he  went  to  Italy,  where  he 
studied  under  Carlo  Maratti,  whose  style  be  imi- 
tated. After  eight  years  he  returned  to  his  native 
city,  where  his  principal  pictures  are  a  'Crucifixion,' 
painted  for  the  chapel  of  the  Hotel-de-Ville  ;  and  a 
'  Martyrdom  of  St.  Bartholomew,'  and  a  '  Christ  on 
the  Cross,'  painted  for  the  church  of  St.  Bartholo- 
mew.    He  died  at  Li%e  in  1733. 

FISHER,  Alvan,  an  American  portrait  painter, 
who  was  a  native  of  Needham,  Connecticut,  visited 
Europe  in  1825,  and  studied  for  some  time  in 
Paris.  He  died  at  Dedham,  Massachusetts,  in 
1863,  having  produced  many  satisfactory  and  re- 
fined likenesses,  especially  that  of  Spurzheim. 

FISHER,  Edward,  a  mezzotint  engraver,  was 
born  in  1730  in  Ireland,  but  resided  in  London 
during  the  time  he  was  known  as  an  artist,  and 
died  there  about  the  year  1785.  He  engraved 
a  number  of  portraits,  chiefly  after  Sir  Joshua 
Reynolds,  which  possess  great  merit.  Among 
others  are  the  following  : 

PORTRAITS   AFTER    SIR   JOSHUA    REYNOLpS. 
John,  Earl  of  Bute,  when  Lord  Cardiff. 
The  Marchioness  of  Tavistock  (Lady  Elizabeth  Keppel) ; 

full  length. 
Garrick  between  Tragedy  and  Comedy.    1769. 
Kitty  Fisher  as  Cleopatra. 
Sir  Thomas  Harrison. 
Lady  Sarah  Buubury ;  whole  length. 
The  Marquis  of  Eockingham. 
Hugh,  Earl  of  Northumberland. 
Elizabeth,  Countess  of  Northumberland. 
Granville,  Earl  Gower.     1765. 
George,  Ixird  Edgcumbe,  Vice-Admiral.     1773. 
Viscount  Downe. 
Lady  Elizabeth  Lee  ;  full  length. 
John,  Viscount  Ligonier,  ou  horseback. 
Augustus,  Lord  Keppel.     1759. 
Augustus  Hervey,  afterwards  Earl  of  Bristol. 
Ladies  Amabel  and  Jemima  Yorke,  daughters  of   the 

Earl  of  Hardwicke. 
Hon.  George  Seymour  Conway.     1771. 
Lawrence  Sterne,  Prebendary  of  York. 
John  Armstrong,  M.D. 

PORTRAITS   AFTER   OTHER   PAINTERS. 
George  III. ;  after  Benjamin  West. 
Eon.  Frederick  Comwallis,  Archbishop  of  Canterbury  ; 
after  Sir  N.  Dance. 


Richard  Terrick,  Bishop  of  London ;  after  the  same. 

"William,  Earl  of  Chatham  ;  after  Broinpton. 

Benjamin  Franklin  ;  after  Chamberlin. 

Paul  Sandby,  R.A.  ;  after  F.  Cotes. 

Mark  Akenside ;  after  Pond. 

Eliza  Farren,  actress,  afterwards  Coantess  of  Derby ; 

whole  length ;  after  Zoffany, 
CoUey  Gibber ;  after  Vanloo. 

FISHER,  Jonathan,  an  Irish  landscape  painter, 
was  born  at  Dublin  about  the  middle  of  the  18th 
century.  He  held  a  post  in  the  Stamp  Office, 
but  his  art  was  poor.     He  died  in  1812. 

FISHER,  Thomas,  who  was  born  at  Rochester 
in  1782,  was  a  clerk  in  the  India  Office.  He  prac- 
tised art  as  an  amateur,  and  made  many  drawings 
of  antiquarian  subjects,  which  he  etched  himself. 
He  died  at  Stoke-Newington  in  1836. 

FISK,  William  Henry,  a  portrait  and  historical 
painter,  was  born  in  1797  at  Thorpe-le-Soken, 
Essex.  He  did  not  take  up  art  as  a  profession  till 
he  was  thirty-one  years  of  age,  having  been  for 
the  ten  previous  years  engaged  in  mercantile  em- 
ployment. His  first  picture  exhibited  at  the  Royal 
Academy  was  a  portrait  in  1831,  and  he  continued 
painting  in  the  same  branch  of  art  till  1835;  from 
this  date  his  pictures  were  chiefly  historical. 
Among  these  we  may  mention  '  Leonardo  da  Vinci 
dying  in  the  arms  of  Francis  I.,'  exhibited  at  the 
Royal  Academy  in  1838;  '  Attempted  Assassination 
of  Lorenzo  de'  Medici  in  Florence  in  1478,'  ex- 
hibited in  1839,  and  which  was  awarded  the  gold 
medal  of  the  Manchester  Institution  in  1840  ;  and 
'The  Trial  of  Charles  I.,' exhibited  in  1842,  and 
afterwards  engraved.  His  historical  pictures  are 
well  composed,  and  accurate  as  to  costume.  He 
retired  a  few  years  later  to  a  property  he  had  pur- 
chased in  the  country,  and  from  this  time  almost 
entirely  relinquished  painting.  He  died  at  Danbury, 
near  Chelmsford,  in  1872. 

FISK,  William  Henry,  painter,  was  the  son  and 
pupil  of  William  Fisk,  and  was  born  about  1827. 
He  studied  at  the  Royal  Academy  schools,  and  was 
appointed  anatomical  draughtsman  to  the  Royal 
College  of  Surgeons.  He  continued  at  the  same 
time  to  practise  painting,  and  many  of  liis  pictures 
were  exhibited  at  the  Academy,  the  British  Institu- 
tion, the  Suffolk  Street  Gallery,  and  in  Paris.  He 
also  contributed  numerous  essays  and  articles  on 
art  subjects  to  current  literature,  and  lectured  both 
in  London  and  the  provinces.  His  artistic  powers 
were  very  considerable,  but  he  was  best  known  as 
a  careful  and  able  teacher,  in  which  capacity  he 
worked  for  forty  years  at  University  College 
School,  London.  He  died  at  Hampstead,  Novem- 
ber 13,  1884. 

FITTLER,  James,  a  line-engraver,  was  bom  in 
London  in  1758.  He  entered  the  schools  of  the 
Royal  Academy  in  1778,  and  was  elected  an 
Associate  Engraver  in  1800.  He  distinguished 
himself  by  numerous  works  after  English  and 
foreignmasters,  of  different  subjects  and  character; 
and  book  illustrations  by  him  abound.  His  best 
engravings  are  considered  to  be  '  Lord  Howe's 
Victory,'  and  '  The  Battle  of  the  Nile,'  both  after 
De  Loutherbourg  ;  the  portrait  of  Benjamin  West ; 
the  plates  in  Forster's  'British  Gallery,'  others 
in  Bell's  '  British  Theatre,'  and  the  portraits  in 
Dibdin's  'Aedes  Althorpianse,' published  in  1822, 
after  which  time  he  does  not  appear  to  have  pro- 
duced anything  of  importance.  He  died  at  Turn- 
ham  Green  in  1835. 
FLACCO,  Orlando.    See  Fiacco. 

169 


A  BIOGRAPHICAL  DICTIONARY  OF 


FLAMAEL,  Bertholet.     See  Flemalle. 

FLAMEN,  Aalbert,  (or  Flamand,)  a  Flemish 
painter  and  etcher,  resided  in  Paris  irom  1648  to 
1664.  He  painted  landscapes,  birds,  and  fish,  and 
particularly  excelled  in  representing  the  last  of 
these,  to  which  he  gave  a  surprising  appearance  of 
reality.  He  succeeded  less  in  landscape  painting, 
and  the  forms  of  the  trees,  as  well  as  the  modifica- 
tion in  light  and  shadow,  are  defective.  There  are 
by  this  artist  some  neat  etchings  of  the  above- 
mentioned  subjects,  executed  with  the  dry  point 
and  graver  in  the  style  of  Hollar.  He  Bome- 
times  marked  his  plates  with  his  name,  X) 
and  sometimes  with  the  annexed  cipher.        Xvl* 

There  are  by  him  601  plates,  among  which  may 
be  mentioned  : 

36  plates  of  Sea  Fish. 

24      „  Fresh-water  Fish. 

12  „  Livre  d'Oyseaux. 

13  „  Diuersse  Auium  Species.    1659. 
The  Militia  of  Paris.    1660  and  1662. 

There  exist  also  several  portraits  by  Aalbert 
Flamen,  which  have  been  engraved  by  Poilly  and 
Boulanger. 

FLAMEN,  F.,  probably  of  the  same  family  as 
Aalbert  Flamen,  was  a  native  of  Flanders,  who 
resided  in  Paris  about  the  year  1660.  Among 
other  prints,  he  etched  a  set  of  four  plates  of 
'  Views  on  the  River  Seine,'  after  the  designs  of 
Israel  Silvestre. 

FLAMENCO,  Juan,  (that  is, '  John  the  Fleming,') 
supposed  to  be  identical  with  Jdan  de  Flandes,  is 
mentioned  underthe  f ormername  by  Cean  Bermudez 
as  a  painter  who  resided  in  the  Certosa  di  Mira- 
flores  from  1496  to  1499,  and  painted  the  altar- 
pieces  there,  for  which  he  was  paid  the  sum  of 
53,645  maravedis,  besides  his  maintenance.  On 
the  right-hand,  or  gospel  side  of  the  altar,  he 
represented  various  passages  in  the  life  of  St. 
John  the  Baptist,  which  were  well  treated,  with 
good  colouring  and  much  expression,  in  the  style 
of  Lucas  van  Leyden  ;  the  painting  on  the  left,  or 
epistle  side,  is  much  deteriorated,  and  it  can  only  be 
seen  that  it  represented  '  The  Adoration  of  the  Kings.' 

Under  the  name  of  Juan  de  Flandes,  the  same 
writer  notices  an  artist  who  painted  eleven 
pictures  in  the  cathedral  of  Palencia,  which  he 
began  in  the  year  1509,  under  an  engagement  to 
complete  them  in  three  years,  for  the  sum  of  500 
gold  ducats.  Some  have  supposed  that  Hans 
Memlinc  is  the  painter  intended  by  these  two 
appellations. 

FLAMENGO,  Miguel  el.    See  AMBfeES. 

FLAMMINGO.     See  Fiammingo. 

FLANDES,  Juan  de.    See  Flamenco. 

FLANDIN,  EuGiiNE  Napoli^on,  a  French  land- 
scape painter,  was  born  at  Naples  in  1809.  After 
producing  various  pictures,  which  obtained  con- 
siderable success,  he  was  present  in  1838  through- 
out the  campaign  in  Algeria,  and  reproduced  several 
of  the  scenes  with  his  brush.  In  1839  he  was 
selected  to  pursue  antiquarian  investigations  in 
Persia,  and  on  the  completion  of  this  work  he 
prosecuted  further  researches  in  the  East,  and 
published  several  works  containing  the  fruits  of 
his  labours.  The  most  important  of  these  is  his 
'  Voyage  en  Perse,'  published  in  conjunction  with 
Pascal  Coste,  the  architect,  in  six  folio  volumes, 
Paris,  1843-54  ;  and  '  L'Orient,'  published  at  Paris 
in  folio,  1853-74.  He  did  not  return  to  painting 
till  about  1850  ;  and  he  died  in  1876.  Amongst 
his  chief  works  are  : 
170 


The  Piazzetta  and  Ducal  Palace  at  Venice.    1836. 

The  Bridge  of  Sighs.     1836. 

A  View  of  the  Coast  at  Algiers.     1837. 

The  Breach  at  Constantine.     1839. 

View  of  Stamboul.     1853. 

View  of  the  Royal  Mosque  at  Ispahan.     1853. 

General  View  of  Constantinople.     1855. 

The  Entrance  of  the  Bosphor'Us.     1855. 

View  of  Bagdad.     {Marseilles  JIuseum.) 

FLANDRIN,  Auguste  Ren^,  a  French  painter, 
brother  of  Jean  Hippolyte  Flandrin,  was  born  at 
Lyons  in  1804.  He  was  at  first  employed  in  book 
illustration,  but  in  1832  he  went  to  Paris,  where  he 
worked  for  two  years  under  Ingres.  He  painted 
several  portraits,  and  after  visiting  Italy,  became 
director  of  the  Academy  at  Lyons,  where  he  died 
in  1843.     Amongst  his  works  are: 

Savonarola  preaching  at  Florence. 

Reposing  after  the  Bath. 

Interior  of  San  Miniato,  Florence. 

FLANDRIN,  Jean  Hippolyte,  a  French  his- 
torical and  portrait  painter,  was  born  in  1809  at 
Lyons,  where  his  father  fought  a  hard  battle  against 
poverty  as  a  miniature  painter.  He  was  the  fourth 
son,  and  his  mother,  who  had  seen  much  of  the 
cares  and  necessities  which  follow  the  pursuit  of 
art,  was  resolutely  opposed  to  his  becoming  a 
painter.  She  at  length  relented,  and  in  1821  he 
entered  the  studio  of  the  sculptor  Legendre,  and 
afterwards  studied  under  Revoil  in  the  Lyons 
Academy.  By  dint  of  the  strictest  economy  a 
little  hoard  was  scraped  together  sufficient  to  en- 
able him  and  his  younger  brother  Paul  to  set  out 
for  Paris  in  1829.  To  economize  their  slender 
means,  the  two  brothers  were  obliged  to  travel 
thither  from  Lyons  on  foot.  Arrived  in  the  capital, 
they  became  pupils  of  Ingres,  in  preference  to 
Hersent,  to  whom  they  had  letters  of  introduction. 
The  choice  was  most  fortunate,  for  Ingres  proved 
most  kind  to  his  pupils,  and  Flandrin  to  the  end  of 
his  life  ever  showed  himself  loyal  and  devoted  to 
his  old  master.  The  next  three  years  was  a  period 
of  great  trial  and  privation.  Besides  suffering 
from  cold  and  scanty  food,  he  had  what  was  no 
doubt  a  slight  attack  of  cholera,  then  raging  griev- 
ously in  Paris.  He  was  also  laid  low  by  rheu- 
matism, from  which  he  subsequently  became  a 
great  sufi'erer.  In  1832  he  obtained  the  long- 
wished-f or  '  grand  prix  de  Rome '  with  his ' Theseus 
recognizing  his  Father.'  Early  in  the  following 
year  he  arrived  at  Rome,  and  though  not  over- 
burdened with  means,  he  now  managed  to  send 
frequent  remittances  to  help  the  home  at  Lyons. 
While  studying  here,  he  formed  a  friendship  with 
Ambroise  Thomas,  the  French  musical  composer, 
which  lasted  through  life.  He  returned  to  Paris 
in  1838,  and  soon  obtained  ample  employment  in 
the  mural  decorations  of  churches.  His  first  great 
work  in  the  church  of  St.  S6verin  wan  completed 
in  1841,  in  which  year  he  received  the  cross  of  the 
Legion  of  Honour.  Two  years  later  he  married 
Aimte  Ancelot,  and  their  eldest  son  was  born  in 
1845.  The  history  of  the  remainder  of  Flandrin's 
life  may  be  summarized  in  the  decorative  works 
which  he  executed.  The  chief  of  these  were  :  St. 
Germain-des-Pres — sanctuary  1842-4,  choir  1846-8, 
and  nave  1855-61  ;  St.  Paul,  Nimes,  1847-9  ;  St. 
Vincent-de-Paul,  Paris,  1850-4  ;  the  Conservatoire 
des  Artset  Metiers,  1854  ;  and  the  church  of  Ainay, 
at  Lyons,  in  1855.  He  did  not  lack  appreciation  of 
his  works,  for  he  was  promoted  to  the  rank  of  officer 
of  the  Legion  of  Honour  in  1853,  and  in  the  same 
year  was  elected  to  the  Academy,  becoming  Pro- 


THOMAS  FLATMAN 


\Collectioit  oj  I h- .  ii.  <^.  WilHamson 
JOHN,  LORD  SOMERS,  LORD  HIGH  CHANCELLOR,   16S3 


SIR  THOMAS  HENSHAW,  AMBASSADOR 
TO  DENMARK  AND  NORWAY,   1677 


[Victoria  and  Albert  Museum 

THOMAS  FLATMAN,   1662 
(by  himself) 


PAINTERS  AND  ENGRAVERS. 


f  Louvre,  Puris. 


feasor  of  Painting  in  1857.  The  popularity  of  his 
art  drew  to  him  a  large  connection  as  a  portrait 
painter,  and  he  had  many  eminent  sitters.  Ilis 
health  during  the  last  few  years  had  been  any- 
thing but  good ;  his  sufferings  from  rheumatism, 
aggravated  by  his  work  in  cold,  damp  churches, 
had  been  great ;  and  in  1863  he  undertook  a  leng- 
looked-for  journey  to  Italy,  in  hopes  of  a  restoration 
of  strength.  But  he  was  not  destined  to  return, 
for  he  succumbed  to  an  attack  of  small-pox  at 
Rome,  March  2lBt,  1864.  Besides  the  decorative 
works  already  enumerated,  the  following  are 
amongst  the  chief  of  his  easel  productions : 

Dante  and  Virgil.     1835.    {Lyons  Museum.) 
Euripides.     1835.     [Lyons  Museum.) 
St.  Ckra  healing  the  Blind.     1836.     {Nantes  Cathedral.) 
Christ  blessing  little  Children.    1837.     {Lisieux  Museum.") 
The  Eeverie.     {Nantes  Museum.) 
Mater  Dolorosa.     1844. 

The  Tower  of  Babel.    1861.    (Lille  Museum.) 
Portrait  of  Cherubini ;  after  Ingres. 
Marie  Anne  de  Bourbon,  Duchess  of  Bourbon. 
Marie  Fran^oise  de  Noailles,  Marchioness  of  I  Versailles 
Lavardin.  \  Museum. 

Cardinal  de  Tournon. 
Diana  of  Poitiers. 
Figure  Study.     1855. 
Portrait  of  a  Young  Girl.     1863. 
Portrait  of  Napoleon  III. 

„  Prince  Jerome  Napoleon. 

„  Oomte  Duchatel. 

„  Comtesse  Duchatel. 

„  Comte  Walewsld. 

Flandrin's  '  Lettres  et  Pens^es,'  accompanied  by  a 
biographical  notice  and  a  catalogue  of  his  works, 
were  published  by  the  Count  Delaborde  in  1865. 

0.  J.  B. 

FLANDRIN,  Jean  Padl,  a  well-known  land- 
scape painter,  brother  of  the  famous  historical 
painter,  Hippolyte  Flandrin.  He  was  born  at 
Lyons  on  May  8,  1811.  He  received  lessons  in 
painting  from  Ingres,  and  exliibited  constantly 
at  the  Salon  since  the  year  1839  ;  an  achievement 
probably  exceeded  by  few.  His  early  landscapes, 
painted  in  the  Campagna,  were  almost  wholly 
based  upon  mythological  and  religious  subjects ; 
but  about  the  year  1840  he  turned  his  attention  to 
portraiture.  At  Nantes  are  his  pictures,  '  La  Soli- 
tude,' and  the  portraits  of  Hippolyte  and  Paul 
Flandrin,  and  the  Due  de  Feltre.  Among  his 
more  famous  landscapes  we  may  cite:  '  Au  bord 
de  I'Eau,' '  Ombrages,' '  La  Valine  du  Garden,' '  Pies 
d'Etretat,'  '  Pornic,'  '  Falaises  du  Trdport '  and 
several  scenes  taken  from  Languedoc  and  Beam. 
His  work  is  also  represented  at  Nismes,  Lyons 
and  Langres.  The  font  and  baptismal  chapel  at 
the  church  of  St.  S6verin,  Paris,  are  also  decorated 
by  Flandrin  ;  and  he  also  executed  several  portraits 
and  mural  paintings  at  the  Due  de  Loynes'  chateau 
at  Dampierre.  We  must  regard  him  as  one  of 
the  legitimate  representatives  of  classical  land- 
scape painting  in  France,  and  his  industry  and 
talent  seemed  to  lose  nothing  of  their  vigour 
by  the  passing  of  the  years,  for  even  in  the  last 
Salon  he  was  represented  by  two  canvases.  He 
obtained  two  medals  of  the  Second  Class  in  1839  ; 
a  First  Class  Medal  in  1847  ;  a  bronze  medal 
at  the  Universal  Exhibition  of  1889.  He  was 
also  created  Knight  of  the  Legion  of  Honour  in 
1848.  His  death  occurred  in  Paris  on  March  10, 
1902.  P.  P. 

FLATMAN,  Thomas,  was  born  in  London  in 
1633,  and  was  educated  at  Winchester  school. 
From  thence  he  went  to  New  College,  Oxford ; 


but  leaving  the  vmiversity  without  a  degree,  he 
removed  to  the  Inner  Temple,  where,  in  due  time, 
he  became  a  barrister.  It  does  not  appear  that 
he  ever  followed  the  profession  of  the  law,  but 
having  a  turn  for  the  fine  arts,  he  indulged  his  in- 
clination, and  gained  some  reputation  as  a  poet  and 
a  painter  in  miniature.  Horace  Walpole  mentions 
in  his  '  Anecdotes,'  that  Mr.  Tooke,  Master  of  the 
Charterhouse,  had  a  head  of  his  father  by  Flatman, 
which  was  so  well  painted  that  Vertue  took  it  for 
Cooper's ;  and  Lord  Oxford  had  another  portrait  by 
him,  which  was  so  masterly  that  \'ertue  pronounced 
Flatman  to  be  equal  to  Hoskins  and  next  to  Cooper. 
It  is  certain  that  he  excelled  more  as  a  painter 
than  a  poet,  and  Granger  asserts  that  one  of  his 
heads  is  worth  a  ream  of  his  Pindarics.  He  died 
in  1688. 

_  FLAVITSKY,  Konstantin  Dmiteievich,  a  Rus- 
sian historical  painter,  was  born  in  1829  or  1830, 
and  studied  at  the  Academy  of  St.  Petersburg,  of 
which  he  afterwards  became  a  professor.  .  He 
earned  considerable  praise  in  his  country  for  his 
painting  of  'The  Death  of  the  Princess  Tarakanoff.' 
He  died  at  St.  Petersburg  in  1866. 

FLAXMAN,  Mary  Ann,  a  sister  of  John  Flax- 
rnan,  the  celebrated  sculptor,  with  whom  she  re- 
sided for  some  time,  was  an  occasional  exhibitor 
at  the  Royal  Academy  of  portraits  and  subjects 
taken  from  poems,  as  well  as  domestic  scenes, 
from  1786  till  1819.  She  died  in  1833,  in  her 
66th  year.  Blake  engraved  her  designs  for  Hay- 
ley's  '  Triumphs  of  Temper,'  and  her  illustrations 
to  '  Robin  Goodf  ellow '  were  also  engraved. 
Redgrave  mentions  the  following,  amongst  others, 
of  her  works : 

Turkish  Ladies.     1786. 

Ferdinand  and  Miranda  playing  Chess.     1789. 

Portrait  of  Mrs.  BilUngton.     1802. 

Sappho.     1810. 

Maternal  Piety.     1819. 

FLEGEL,  Georg,  a  painter  of  subjects  of  still- 
life,  was  born  at  Olmiitz  in  Moravia  in  1668,  and 
resided  at  Frankfort,  where  he  died  in  1638.  He 
painted  fruit,  flowers,  fish,  vases,  glasses,  and 
other  inanimate  objects.  The  flowers  and  fruit  in 
the  paintings  of  Martin  van  Valckeiiborch  are  by 
him.  There  are  fruit-pieces  by  this  artist  in  the 
Gallery  at  Cassel  and  the  Museum  at  Darmstadt, 
and  in  the  latter  is  a  portrait  of  himself. 

FLEISCHBERGER,  Johann  Friedrich,  was  a 
German  engraver,  who  worked  for  the  booksellers. 
He  engraved  an  ornamental  frontispiece,  and  a 
portrait  of  the  author,  for  Horst's  '  Opera  Medica,' 
printed  at  Nuremberg  in  1660. 

FLEISCHMANN,  Augdstin  Christian,  was  an 
obscure  German  engraver,  who  was  employed  by 
the  booksellers  at  Nuremberg.  He  engraved  some 
of  the  portraits  for  Roth-Scholtz's  'Icones  Biblio- 
polarum  et  Typograpborum,'  published  in  1726-42. 

FLEISCHMANN,  Frikdrich,  a  painter  and 
engraver,  was  born  at  Nuremberg  in  1791,  and 
was  instructed  by  Ambrosius  Gabler.  He  executed 
many  miniatures  and  portraits  in  oil,  and  engraved 
more  than  1900  plates  with  the  point.  He  died  at 
Munich  in  1834.     His  best  works  are  : 

His  own  Portrait. 

The  Four  Apostles  ;  after  Alhrecht  Diirer. 
Ecce  Homo  ;  said  to  be  after  Leonardo  da  Vinci. 
The  Portrait  of  Van  Dyck. 

FLEMALLE,  Bertholet,  (more  commonly 
Flemael,  and  sometimes  FLAMAEL,)a  son  of  Renier 
Flemalle,  a  glass   painter,  was  born  at  Li^ge  in 

171 


A   BIOGRAPHICAL  DICTIONARY  OF 


1614.  He  was  first  instructed  in  painting  by 
Hendrik  Trippez,  but  afterwards  by  Geraert  Douf- 
fet,  an  historical  painter,  who  had  studied  at  Rome. 
Under  this  master  lie  acquired  sufficient  ability  to 
venture  on  visiting  Italy.  On  his  arrival  at  Rome 
in  1638,  he  was  unremitting  in  his  studies  after 
the  works  of  the  best  masters,  and  it  was  not  long 
before  he  was  noticed  for  the  readiness  of  his  in- 
vention and  the  freedom  of  his  hand.  The  Grand- 
Duke  of  Tuscany  invited  him  to  Florence,  and 
employed  him  in  ornamenting  one  of  the  galleries 
of  his  palace.  After  passing  some  j-ears  in  the 
service  of  that  prince,  he  visited  Paris,  where  he 
was  patronized  by  the  Chancellor  Seguier,  who 
employed  him  in  some  of  the  apartments  at  Ver- 
sailles. In  the  sacristy  of  the  Augustinian  church 
in  Paris  he  painted  the  'Adoration  of  the  Magi.' 
Notwithstanding  this  flattering  encouragement,  he 
quitted  Paris  and  returned  to  his  native  country  in 
1647,  after  an  absence  of  nine  years.  His  first 
work  after  liis  return  was  a  grand  composition  of 
the  '  Crucifixion,'  which  he  is  said  to  have  painted 
for  one  of  the  chapels  of  the  collegiate  church  of 
St  John,  as  well  as  for  the  King  of  Sweden. 
This  performance  gained  him  great  reputation, 
and  he  was  employed  in  several  considerable  works 
for  the  churches  at  Li^ge.  In  1670  he  was  invited 
to  return  to  Paris,  where  he  painted  the  ceiling  of 
the  king's  chamber  of  audience,  in  the  palace  of 
the  Tuileries,  representing  on  emblematical  subject 
of  religion.  He  was  made  a  member,  and  after- 
wards a  professor,  of  the  Boyal  Academy  in  Paris, 
and  was  high  in  the  estimation  of  Louis  XIV.  and 
the  public.  The  love  of  his  native  country  induced 
him,  however,  to  return  to  Li^ge,  where  he  was 
elected  canon  of  the  collegiate  church  of  St.  Paul, 
and  continued  to  exercise  his  talents,  under  the 
protection  of  Henry  Maximilian,  Prince  Bishop  of 
Li^ge.  A  few  years  before  his  death,  which  took 
place  at  Li6ge  in  1675,  be  fell  into  an  extreme 
melancholy  and  gave  up  entirely  all  work.  Bertholet 
Flemalle  possessed  an  inventive  genius,  and  had 
acquired  by  his  studies  in  Italy  a  great  style  of 
composition,  and  a  correctness  of  design  that  par- 
take of  the  grandeur  of  the  Roman  school,  but 
more  especially  the  style  of  Nicolas  Poussin.  His 
forms  are,  however,  too  artificial,  and  his  colouring 
is  weak.  The  following  is  a  list  of  his  most  im- 
portant paintings : 


Brussels. 

Cassel. 

Dresden. 


Florence. 
Li^ge. 


Museum.     The  Chastisement  of  Heliodorus. 
Gallery.     The  Death  of  Lucretia. 

„  Alexander  leaving  for  Asia. 

Galloy.     Pelopidas. 

„  .Sneas    leaving   Troy   with   his 

wife   Creusa,  his    father  An- 
chises,  and  his  sou  Ascanius. 
Several  paintings. 

\  The  Elevation  of  the  Cross. 


Ducal  Pal. 

Dominican 

Church. 


The  Assumption  of  the  Virgin. 
„  Cathedral.    The  Kaising  of  Lazarus. 

Li^ge.  St.  Paul.     The  Conversion  of  St.  Paul. 

„  *S'^.  John.     A  Crucifixion. 

Paris.  Louvre.    Mysteries  of  the  Old  and  New 

Testament. 

FLEMALLE,  Reniek,  (or  Flemael,)  was  a  painter 
on  glass,  to  whom  is  attributed  'The  Adoration  of 
the  Magi,'  in  St.  Paul's  at  Liege.  He  was  the 
father  of  Bertholet  and  Willem  Flemalle ;  and  of 
a  third  son,  Hendrik,  who  was  a  goldsmith. 

FLEMALLE,  Willem,  (or  Flemael,)  who  was 
instructed  by  his  father,  painted  several  excellent 
glass-paintings  for  the  Magdalen  Church  at  Liege. 

172 


FLEMING,  John,  a  Scottish  landscape  painter, 
h'ved  in  the  early  part  of  the  present  century.  He 
is  best  known  from  the  series  of  views  he  painted 
for  Swan's  'Lakes  of  Scotland,'  published  at 
Glasgow  in  1834.  In  the  Glasgow  Corporation 
Galleries  is  a  '  View  of  Greenock,'  painted  by  him 
in  1827. 

FLERS,  Camille,  bom  in  Paris  in  1802,  was  a 
painter  of  landscapes  and  a  scholar  of  Pdris. 
His  '  Views  of  Normandy  '  and  '  The  Banks  of  the 
Marne  and  Eure  '  display  a  great  amount  of  study 
and  power  or  feeling  in  the  colouring.  He  died  at 
Annet  (Seine-et-Marne)  Paris  in  1868.  He  was  the 
instructor  of  Cabats.  In  the  Louvre  is  a  landscape 
by  this  artist  of  the  '  Environs  of  Paris.' 

FLESSHIER,  B.,  is  an  artist  mentioned  by 
Walpole  as  a  painter  of  sea-pieces,  landscapes,  and 
fruit.  His  pictures  may  be  supposed  to  have  pos- 
sessed considerable  merit,  as  some  of  them  were 
thought  worthy  of  being  placed  in  the  collection 
of  King  Charles  the  First,  and  in  that  of  Sir  Peter 
Lely. 

FLETCHER,  Henry,  was  an  English  engraver 
who  flourished  about  the  year  1729.  He  engraved 
a  print  of  '  Bathsheba  and  her  Attendants  at  the 
Bath,'  after  Sebastiano  Conca,  and  some  portraits, 
among  which  is  that  of  Ebenezer  Pemberton, 
minister  of  Boston,  prefixed  to  a  volume  of  bis 
sermons. 

FLETCHER,  Nicolas,  is  mentioned  by  Basan  as 
having  engraved,  about  1760,  some  views  of  Rome, 
after  Canaletto. 

FLEUNER,  Peteb.  There  is  a  woodcut  exe- 
cuted in  a  very  bold,  spirited  style,  representing  an 
emblematical  subject,  apparently  '  The  Procession 
of  Gluttony,'  with  the  name  of  this  artist  at  length, 
and  dated  1549. 

FLEUR,  Nicolas  GniLLAUME  de  la.  See  De 
La  Fleur. 

FLEDRY,  Antoine  Claude,  a  French  historical 
and  portrait  painter,  was  born  about  the  middle  of 
the  18th  century.  He  studied  under  Begnault,  and 
exhibited  at  the  Salon  from  1795  to  1822.  Amongst 
his  works  are : 

The  Abduction  of  Helen  from  the  Temple  of  Diana. 

1800. 
Theseus  going  to  fight  the  Minotaur.     1804. 
The  Doom  of  Orestes.     1806. 
Venus  and  Adonis. 
The  Origin  of  Painting.     1808. 
Cornelia  and  her  Sons.     1810. 
The  Flight  into  Egypt.     1819. 
The  "Widow's  Mite.     1819. 
Portrait  of  Louis  SVIII.     1819. 

FLEURY,  FRANgois  Antoine  L^on,  a  French 
landscape  painter,  was  born  in  Paris  in  1804.  He 
was  the  son  of  Antoine  Claude  Fleury,  under 
whom  he  at  first  studied,  and  then  under  Bertin 
and  Hersent.  Between  1827  and  1830  he  made 
a  sketching  tour  in  France  and  the  neighbour- 
ing countries.  He  occasionally  painted  figure 
subjects,  such  as  '  The  Baptism  of  Christ,'  at  the 
church  of  St.  Marguerite,  and  '  St.  Genevieve,'  at  St. 
Etienne-du-Mont,  Paris.  He  died  in  1858.  Amongst 
his  works  are : 

A  View  of  the  Ponte  Eatto,  Rome.     1831. 

Wood  in  Normandy.     (Bar-le-Luc  Museum.) 

View    on    the   Road  to  Genoa,  near  Nice.     (Amiens 

Museum.) 
Pasturage  in  Normandy,  near  Trouville. 
Water  and  Mill  at  Coutivert. 
View  on  the  Coast  of  Genoa.    {Orleans  Museum.) 

FLICIUS,   Gerbarus,   is   only   known    by  his 


PAmXERS   AND   ENGRAVERS. 


portrait  of  Archbishop  Cranmer,  painted  in  1546, 
now  in  the  National  Portrait  Gallery.  It  has 
been  engraved  in  Thoroton's  'Antiquities  of  Not- 
tinghamshire,' and  in  Lodge's  'Portraits.' 

FLINCH,  Andreas  Christian  Ferdinand,  a 
wood-engraver,  was  bom  at  Copenhagen  in  1813, 
and  studied  at  the  Academy  there  from  1832  to 
1838.  He  had  previously  worked  as  a  gold- 
smith, but  he  afterwards  took  to  wood-engrav- 
ing from  self-tuition,  and  introduced  a  special 
method  of  his  own  into  Denmark,  consisting  in 
drawing  the  outline  upon  the  block  and  working 
out  the  details  with  a  free  hand.  In  1840  he 
settled  down  as  a  lithographer,  and  published  the 
popular  '  Flinchs  Almanak '  with  woodcut  illus- 
trations.    He  died  at  Copenhagen  in  1872. 

FLINCK,  GovERT,  was  born  at  Cleves  in  1615. 
It  was  the  wish  of  his  parents  to  bring  him  up  to 
mercantile  pursuits  ;  but  his  desire  of  becoming  a 
painter  induced  him  to  seek  every  opportunity  of 
becoming  acquainted  with  artists,  and  his  father 
was  at  length  persuaded  to  allow  him  to  follow  a 
profession  for  which  he  had  shown  so  decided  a 
propensity.  He  was  first  a  scholar  of  Lambert 
Jacobsz,  at  Leeuwarden,  and  under  him  he  re- 
mained some  time  ;  but  he  afterwards  entered  the 
school  of  Rembrandt,  and  made  such  progress  that 
after  a  year  his  works  were  scarcely  discernible 
from  those  of  that  master. 

From  1640  to  1650  he  executed  his  best  produc- 
tions of  historical  subjects  and  portraits,  and  in 
both  he  was  one  of  the  most  successful  and  most 
employed  artists  of  his  country.  The  magistrates 
of  Amsterdam  engaged  him  in  many  considerable 
works  for  the  town-hall,  and  he  painted  the 
portraits  of  some  of  the  most  illustrious  personages 
of  his  time.  In  1652  he  became  a  burgher  of 
Amsterdam.  The  Elector  of  Brandenburg  and 
Prince  Maurice  of  Nassau  favoured  him  with 
their  protection,  and  employed  him  in  many  im- 
portant works.  The  burgomaster  of  Amsterdam 
had  commissioned  him  to  paint  twelve  pictures  for 
the  town-hall,  of  which  he  had  finished  the  sketches 
when  he  died  in  1660.  In  the  latter  part  of  his 
life  he  began  to  study  after  the  works  of  the 
Italian  masters.  The  following  is  a  list  of  his  best 
paintings  : 

Aix-la-ChapeUe.    ■5o;(rf^<?«  |  The  Regents.    1642. 

Amsterdam.    Museitm.    FSte  of  the  Civic  Guard  of  Am- 
sterdam, in  celebration  of  the 
Peace  of  Munster.     1648. 
„  „  Isaac  blessing  Jacob.     1638. 

„  Palace.     Marcus   Curius    Dentatus  as    a 

Husbandman. 
„  „  Solomon  praying  for  the  gift  of 

Wisdom. 
„  Town-hall.     The  Archers  of  1642. 

„         Curios.  Cab.    The  Archers  of  1645. 
Antwerp.         Museum.    The    Portraits    of    a   Man    and 

^yoman. 
Berlin.  Gallery.     A  Female  Portrait.     1641. 

„  „  The  Expulsion  of  Hagar. 

Bordeaux.        Museum.    A  Landscape. 
Brunswick.        Gallery.    A  Female  Portrait.     1636. 
„  „  Pyrrhus  and  Fabricius. 

„  „  The  Crowning  of  a  Conqueror. 

Brussels.  Museum.    Portrait  of  a  Woman. 

Cologne.  Museum.     Portrait  of  an  old  Man  reading. 

Copenhagen.    Gallery.    A  Portrait. 

„  „  A  Portrait  Group. 

Darmstadt.      Museum.     A  Woman  and  Child. 
Dresden.  Gallery.     David  and  Uri.ih. 

„  „  Three  Portraits. 

Dublin.  Nat.  Gall.     Bathsheba's  Appeal  to  David. 

Frankfort.  Stiidel  Inst.    A  Female  Portrait. 


Lille. 


London. 
Munich. 

Paris. 


Bute  Coll. 
Gallery. 


Museum.    Solomon  and  the  Queen  of  Sheba. 
{A  joint  picture  with  Dirk  van 
Deelen.) 
Portrait  of  a  Lady.     1648. 
Isaac  blessing  Jacob. 
A  Dutch  Guard-Eoom. 
Louvre.     An  Angel  announcing  the  Birth 
of  Christ  to  the  Shepherds. 
„  „  Portrait  of  a  Girl.     1641. 

Petersburg.  Hermitage.    Jacob  Cats,  the  poet,  and  William 
of  Orange. 
„  „  Portrait  of  a  Jewess. 

Portrait  of  a  Soldier. 
A  Polish  Jew. 

A  Landscape  with  Figures.  1646. 
„  Portraits  of   Dirck   Graswinckel 

and  of  his  Sister.     1646. 
Gallery.     Portrait  of  an  old  Man. 


Pommersfelden.    Gall. 
Rotterdam.     Museum. 


Vienna. 


FLINDT,  Paul,  born  at  Nuremberg  about  1570, 
was  a  goldsmith  and  engraver  on  metals,  and  one 
of  the  first  artists  who  worked  with  the  stamp  or 
swage.     He  died  after  1644. 

FLIPART,  Charles  Joseph,  the  brother  of  Jean 
Jacques  Flipart,  was  born  in  Paris  in  1721,  and  was 
instructed  in  the  rudiments  of  art  by  his  father. 
He  visited  Venice,  and  studied  painting  under 
Tiepolo  and  Amiconi,  and  engraving  under  Wagner. 
After  staying  some  time  at  Rome  he  was  appointed 
court  painter  and  engraver  by  King  Ferdinand  VI. 
of  Spain  in  1770.  His  best  plates  are  the  portraits 
of  the  King  and  the  Queen  of  Spain.  Some  of  his 
paintings  are  in  two  of  the  churches  at  Madrid. 
He  died  in  that  city  in  1797. 

FLIPART,  Jacques  Nicolas,  who  was  born  in 
Paris  in  1724,  was  a  painter  of  no  repute. 

FLIPART,  Jean  Charles,  a  French  engraver, 
was  born  in  Paris  about  the  year  1683.  He  en- 
graved some  plates,  which  are  executed  entirely 
with  the  graver,  in  a  neat,  finished  style,  but  with- 
out much  eifect.  He  died  in  Paris  in  1751. 
Amongst  his  works  are  : 

The  Portrait  of  Een4  Choppin  ;  after  Janet. 

The  Virgin  and  Infant ;  after  Maphael  ;  for  the  Crozat 

Collection. 
Christ  praying  on  the  Mount  of  Olives ;  after  the  same  ; 

for  the  Crozat  Collection. 
The  Penitent  Magdalen  ;  after  Ze  Brun. 
Apollo  and  Daphne  ;  after  E.  Houasse. 

FLIPART,  Jean  Jacques,  the  son  of  Jean  Charles 
Flipart,  born  in  Paris  in  1719,  was  instructed  in 
the  art  of  engraving  by  his  father,  whom  he  soon 
surpassed.  He  afterwards  studied  under  L.  Cars. 
His  plates  are  partly  etched,  and  finished  with  the 
graver,  and  possess  great  merit.  He  died  in  Paris 
in  1782,  leaving  a  considerable  number  of  plates, 
many  of  which  were  after  the  best  masters  of  his 
time.     They  include  the  following: 

Portrait  of  J.  B.  Greuze  ;  after  Greuze. 

A  Sick  Man  surrounded  by  his  Children ;  after  the  same. 

1767. 
Twelfth  Night ;  after  the  same. 
Portrait  of  Jacques  Dumont  le  Romain  ;  after  De  La 

Tour. 
The  Holy  Family  ;  after  Giulio  Romano. 
Adam  and  Eve  ;  after  C.  Natoire. 
Venus  presenting  the  Arms  to  ^neas ;  after  the  same 
A  Sea-storm  at  Night ;  after  Vertiet. 
A  Sea-storm  by  Day  ;  after  the  same. 
Christ  curing  the  Paralytic  ;  after  Dietrich. 
A  Bear-hunt ;  after  C.  van  Loo. 
A  Tiger-hunt;  after  F.  Boucher. 
The  Battle  of  the  Centaurs  and  Lapithie. 

Charles  FRAsgois  Flipart,  the  brother  of 
Jean  Jacques  Flipart,  who  died  in  1773,  executed 
several  plates  after  Fragonard. 

173 


A  BIOGRAPHICAL  DICTIONARY  OF 


FLODINGr,  Pehr,  a  Swedish  designer  and  en- 
graver, was  born  at  Stockliolm  in  1721.  He  was 
instructed  by  Charpentier,  and  resided  chiefly  in 
Paris,  but  finally  returned  to  his  native  city,  where 
he  died  in  1791.  He  engraved  several  plates,  both 
in  line  and  in  aquatint,  among  which  are  the 
following : 

The   Portrait    of    Alexander    Eoslin,    painter ;   after 

Hoslin. 
Apollo  and  Daphne  ;  after  F.  Boucher. 
Soldiers  guarding  a  Prison ;  after  the  same. 
A  Girl  sleeping,  with  a  Dog  by  her ;  after  J.  B.  Deskais. 
Gustavus  III.,  King  of  Sweden ;  after  L.  Pasch. 
A  Battle  ;  after  Casanova. 

FLORKNCE,  William  of,  was  a  monk  who,  in 
the  13th  century,  painted  in  Westminster  Abbey, 
in  the  old  castle  at  Windsor,  and  in  Guildford. 

FLORENTIA,  Andrea  da,  was  an  artist  who 
lived  in  the  14th  century,  and  painted  the  frescoes 
inside  the  east  gate  of  the  Canipo  Santo  of  Pisa, 
which  represent  incidents  in  the  life  of  St.  Ranieri. 
Records  exist  to  prove  that  they  were  executed  by 
order  of  Piero  Gambacorta,  and  that  Andrea 
received  payment  for  them  in  1377.  These  fres- 
coes were  afterwards  completed  by  Antonio  Vene- 
ziano  in  1386.  Crowe  and  Cavalcaselle  have 
assigned  to  this  artist  an  immense  series  of 
frescoes  painted  between  1339  and  1346  in  the 
Cappellone  dei  Spagouoli,  in  the  convent  of  San 
Spiritu,  Florence.  These  frescoes  contain  between 
three  and  four  hundred  life-size  figures,  and  pre- 
sent an  allegorical  representation  of  '  The  Triumph 
and  Power  of  the  Church  Militant  through  the 
efforts  of  St.  Dominic  and  the  members  of  his 
Order.'  On  the  north  wall  of  this  same  chapel  is  a 
fresco  representing  '  Christ  going  to  Calvary,'  and 
'  The  Crucifixion.'  No  dates  are  known  as  to  this 
artist's  birth  or  death. 

FLORENTIA,  Bernardus  de,  is  a  name  found 
on  a  few  pictures,  as  a  triptych  in  the  Academy, 
and  a  '  Virgin  and  Saints  '  in  the  convent  of  the 
Ognissanti  at  Florence.  It  was  atone  time  thought 
that  the  author  might  possibly  be  identical  with 
Leonardo  di  Clone,  the  brother  of  Orcagna. 

FLORENTIA,  Rakfaellino  di.     See  Capponi. 

FLOREZ,  Francisco,  a  painter  of  illuminations 
in  the  service  of  Isabella  of  Spain,  whose  missal 
embellished  by  this  artist  is  now  in  the  Cathedral 
of  Granada. 

FLORI  DELLA  FRATTA.     See  Della  Fratta. 

FLORIANI,  Francesco,  a  native  of  Udine,  who 
flourished  in  the  16th  century,  was  instructed  by 
Pellegrino,  and  displayed  a  great  talent  for  por- 
traiture. Many  of  his  paintings  were  in  the  pos- 
session of  the  Emperor  Maximilian  II.,  by  whom 
he  was  employed.     His  '  Judith  '  lias  great  merit. 

FLORIANO,  Flaminio,  was  a  Venetian  painter, 
who  imitated  the  style  and  copied  the  works  of 
Tintoretto  with  success,  from  which  fact  he  is 
supposed  to  have  been  a  disciple  of  that  master. 
One  of  his  best  works  is  a  picture  of  'St.  Lawrence,' 
in  the  church  of  that  saint. 

FLORIGERIO,  Sebastiano,  who  lived  in  the 
16th  century,  was.  probably  born  about  the  year 
1500  at  Udine.  He  was  a  pupil  of  Pellegrino,  and 
is  thought  to  have  married  his  daughter  Aurelia. 
His  first  altar-piece  was  painted  in  1525  for  the 
church  of  Santa  Maria  di  Villanuova,  and  in  1529 
he  painted,  by  commission,  the  altar-piece  of  '  St. 
George  and  the  Dragon  '  for  the  church  of  San 
Giorgio  of  Udine.  Soon  after  this  he  went  to 
Padua,  where  he  painted  the  portal  of  the  Palazzo 
174 


del  Capitaneo,  and  seems  to  have  remained  in  that 
city  until  1533.  On  his  return  to  Udine  he  un- 
happily killed  a  man  in  a  duel,  and  was  obliged  to 
flee  for  refuge  to  Cividale,  which  he  was  unable  to 
leave  until  1543.  His  death  is  believed  to  have 
occurred  at  Udine  soon  afterwards.  The  following 
are  among  his  extant  paintings : 

Padua.     S.  Bovo.    Deposition  from  the  Cross,  with  Saints. 

„  „  A  Pieti. 

Venice.  Academy,    The  Conception,  between  SS.  Boch  and 
Sebastian. 
„  „  Madonna  and  Child,  with  St.  Augus- 

tine and  St.  Monica  (painted  for  the 
Shoemakers^  Guild  at  Udine), 
),  „  St.  Francis,  St.  Anthony,  and  St.  John 

the  Baptist  (painted  for  San  Bovo 
at  Padua). 
>.  >i  Madonna  and   Child   enthroned,  with 

St.  John,  St.  Anthony,  and  St. 
Monica  (formerly  in  the  Servi  at 
Venice), 

FLORIMI,  Giovanni,  (or  Florini,)  an  engraver, 
who  was  a  pupil  of  Cornells  Galle,  worked  at  Siena 
in  1630.  His  works  consist  principally  of  portraits, 
and  among  them  is  that  of  Francesco  Piccolomini, 
after  F.  Vanni. 

FLORIS,  Frans.     See  De  Vrient. 

FLOS,  Da.     See  Duflos. 

FLUG6EN,  GiSBERT,  a  German  painter,  was 
born  at  Cologne  in  1811,  and  having  there  learned 
the  rudiments  of  painting,  visited  in  1833  the 
Acaderny  at  Diisseldorf,  but  went  soon  afterwards 
to  Munich,  where  he  became  known  for  his  genre 
paintings.  The  characters,  the  expression  of  the 
faces,  and  the  excellent  arrangement  of  his  pictures 
have  a  very  pleasing  effect.  He  was  elected  a 
member  of  the  Academy  at  Munich  in  1853,  and 
died  there  in  1859.  The  following  are  some  of  his 
works : 

Hanover.         Museum,    Jacob  deceiving  Isaac.  1848.  (His 

best  work.) 
Leuchtenberg.     Ducal )  mi     nu  i 

Gall   I  Chess-players. 

T.»-j_=j  Gallery,     The  unlucky  Player.     1841. 

Gallery.     The  Ante-chamber  of  a  Prince. 
(His  last  unfnished  work.) 

FO,  G.  R.,  was  a  native  of  Switzerland,  who 
flourished  about  the  year  1551.  Papillon  speaks  of 
him  as  an  excellent  engraver  on  wood,  and  a  con- 
temporary of  Hans  Holbein.  He  executed  the 
cuts  for  the  '  History  of  Animals,'  by  Conrad 
Gesner,  pubUshed  at  Zurich  in  1651,  and  also  en- 
graved the  coins  and  medals  of  the  '  Roman  Em- 
perors,' for  another  work  by  the  same  author, 
published  in  1559. 

FOCK,  Hermanus,  who  was  born  at  Amsterdam 
in  1766,  and  died  there  in  1822,  was  a  landscape 
painter  as  well  as  an  etcher,  of  whose  works  there 
remain  sixty-five  plates  of  landscapes,  caricatures 
of  Napoleon,  &c. 

FOCOSI,  Alessandro,  who  was  born  in  1839, 
painted  historical  subjects  at  Milan.  His  best 
works  are  '  Catharine  de'  Medici  and  Charles  IX.' 
(1867),  and  'Charles  Emmanuel  throwing  the 
Insignia  of  the  Golden  Fleece  to  the  Ambassador 
of  Spain,'  painted  for  the  Government  of  Italy. 
He  died  in  1869. 

FOCUS,  George,  born  at  Chateaudun  about  1641, 
was  a  painter  of  landscapes  and  an  etcher.  His 
best  plates  are  six  '  Italian  Views,'  after  Nicolas 
Poussin.  He  died  in  Paris  in  1708.  He  is  called 
Faucus  by  F^libien  and  Mariette. 

FOGGO,  George,  who  was  bom  in  1793,  worked 


Madrid. 
Munich. 


PAINTERS  AND  ENGRAVERS. 


■with  his  elder  brother  James  Foggo.  He  litho- 
graphed the  cartoons  of  Raphael,  and  he  was  the 
author  of  several  essaj'S  written  for  the  advance- 
ment of  art.     He  died  in  1869. 

FOGGO,  James,  was  born  in  London  in  1790. 
His  father,  who  was  a  zealous  friend  of  civil  and 
religious  liberty,  having  given  offence  to  the  Tory 
government  at  the  time  when  they  had  suspended 
the  Habeas  Corpus  Act,  proceeded  with  his  family 
to  Paris,  where  his  sons  were  educated  in  the 
Imperial  Academy.  In  1815,  on  the  return  of 
Napoleon  from  Elba,  James  Foggo  hastened  to 
England,  full  of  hope  and  ambition  ;  but  after  his 
long  exile  he  sought  in  vain  the  friends  of  his 
childhood.  Nevertheless,  without  the  encourage- 
ment of  patronage,  he  set  to  work  in  a  humble 
second-floor  room,  and  painted  his  '  Hagar  and 
Ishmael,'  which  was  exhibited  at  the  British  In- 
stitution, where  it  was  favourably  noticed  by  West 
and  other  artists,  yet  did  not  find  a  purchaser. 
In  1819  he  was  joined  by  his  brother  George,  and 
during  the  next  forty  years  the  brothers,  working 
together,  produced  various  historical  pictures, 
generally  of  a  large  size,  which,  however,  were 
doomed  to  remain  on  their  hands  unsold,  their 
slender  means  of  living  being  chiefly  derived  from 
teaching.  In  1821  and  1822  they  painted  their 
large  picture  representing  the  '  Christian  Inhabit- 
ants of  Parga  preparing  to  emigrate  in  presence 
of  the  invading  force  of  All  Pasha.'  This  and 
subsequent  works  obtained  the  approbation  of 
Sir  Thomas  Lawrence,  Fuseli,  Hilton,  Flaxman, 
and  other  artists  of  eminence.  An  '  Entombment 
of  the  Saviour,'  by  them,  forms  the  altar-piece  of 
the  French  Protestant  church  in  St.  Martin's-le- 
Grand.  Amongst  their  other  works  may  be  men- 
tioned '  Napoleon  signing  the  Death-warrant  of  the 
Duke  d'Enghien,  in  spite  of  the  entreaties  of  his 
mother,'  '  General  Williams  amongst  the  inhabit- 
ants of  Kars,'  and  '  Christ  at  the  Pool  of  Bethesda ' 
(1824).  The  Foggos  contributed  also  to  each  of 
the  cartoon  and  fresco  exhibitions  held  in  West- 
minster Hall  in  the  years  1840  to  1843.  James 
Foggo  died  in  London  in  1860. 

FOGOLINO,  Marcello,  was  probably  born  in 
the  Friulan  Provinces  at  the  beginning  of  the 
16th  century.  He  learned  his  art  in  Vicenza,  and 
one  of  his  earliest  paintings  is  a  small  '  Adora- 
tion of  the  Magi,'  in  tempera,  formerly  in  San 
Bartolommeo,  and  now  in  the  Public  Gallery  of 
that  city.  In  1623  he  contracted  with  the  Scuola  di 
San  Biagio,  at  Pordenone,  for  a  '  Virgin  and  Child 
between  SS.  Blaise  and  Apollonia,'  and  a  little 
later  he  executed  the  'Glory  of  St.  Francis  be- 
tween Daniel  and  St.  John  the  Baptist,'  both  of 
which  pictures  are  now  in  the  cathedral  of  Porde- 
none. On  his  return  to  Vicenza  he  painted  a 
'  Madonna  surrounded  by  Angels,'  now  in  Santa 
Corona  ;  and  a  '  Nativity  '  that  is  in  the  possession 
of  Signer  Bernasconi  of  Verona.  According  to  a 
letter  in  his  own  hand,  still  in  existence,  he  was 
at  Trent  in  1536,  having  been  appointed  to  aid  in 
the  decorations  of  that  city  for  the  visit  of  King 
Ferdinand.  In  the  Santissima  Trinita,  Trent, 
is  an  altar-piece  that  may  be  assigned  to  him,  as 
also  other  paintings  and  frescoes  in  the  churches 
and  cathedral  of  that  city.  The  dates  of  his  birth 
and  death  are  uncertain.  Among  his  extant  paint- 
ings are  the  following : 

Berlin.  Gallery.    Madonna  and  Child  with  Saints. 

(Early  work :  formerly  in  San 
Francesco,  Vicenza.) 


Pordenone.   S.  Biayio.     Madonna  with  Saints. 

„  Cathedral.    St.  Francis  between  Daniel  and 

St.  John  tlie  Baptist.     {Much 
hi  the  style  of  Jiaphuel.) 

Vicenza.  Councjl- 1  ^^e  Adoration  of  the  Magi. 

His  engravings,  which  are  executed  with  the 
graver  in  a  free  and  light  manner,  include : 

A  Virgin  and  Child,  in  a  landscape  with  architectural 

ruins,  and  Josepli  tlrawing  water  from  a  well. 
A  naked  Woman  and  a  Ciiild. 
A  Statue  of  Marcus  Aurelius  on  horseback. 
The  Fragment  of  a  Female  Statue. 
A  Nativity. 
Mary  goiug  to  the  Temple. 

FOHR,  Daniel,  born  at  Heidelberg  in  1801,  first 
studied  science,  which  he  afterwards  abandoned 
for  the  art  of  painting.  After  studying  some  time 
by  himself,  he  went  to  Munich  in  1829,  and  then  to 
the  Tyrol.  He  was  court  painter  to  the  Grand- 
Duke  of  Baden,  and  died  at  Baden-Baden  in 
1862.  There  are  by  him  in  the  Gallery  at 
Carlsruhe : 

Mazeppa.     1836. 

A  View  of  the  Konigsee,  near  Berchtesgaden.    1836. 
The  Steinberg,  near  Berchtesgaden.     1837. 
The  Four  Seasons,  representing  four  Epochs  of  (Jerman 
History. 

FOHR,  Karl  Philipp,  a  brother  of  Daniel  Fohr, 
was  born  at  Heidelberg  in  1795,  and  studied  at 
Munich,  chiefly  by  himself  from  nature  and  the  great 
masters.  His  paintings,  which  are  to  be  met  with 
at  Carlsruhe,  Darmstadt,  and  Frankfort,  display 
genius  and  grandeur  of  style.  In  the  Stadel  Insti- 
tute at  Frankfort  are  views  of  Tivoli  and  Heidelberg. 
His  death  occurred  in  1818  at  Rome,  from  bathing 
in  the  Tiber. 

FOKKE,  Simon,  a  Dutch  designer,  etcher, 
and  engraver,  was  born  at  Amsterdam  in  1712. 
He  was  a  pupil  of  J.  C.  Philips,  and  was  chiefly 
employed  for  the  booksellers  on  small  portraits  and 
vignettes,  which  he  executed  with  spirit,  but  for 
the  most  part  superficially.  Tlie  same  must  be 
said  of  the  numerous  drawings  which  he  has  left. 
He  died  at  Amsterdam  in  1784.  There  are  by  him, 
among  others,  the  following  plates  : 

His  own  Portrait ;  after  himself. 

A  View  of  the  Port  of  Leghorn  ;  after  Vernet. 

A  View  near  Narni,  in  Lonibardy  ;  after  the  same. 

Six  plates  of  Dutch  Views,  with   Kivers,   Ships,  and 

Skaters  ;  after  Avercamp. 
Several  Portraits  for  Tycho  Hofman's  '  Portraits  his- 

toriques  des  hommes  illustres  de  Dannemark,'  1746. 
Several    plates    of    his    own    design   for    Wagenaar's 

'  Vaderlandsche  Historie,'  1749-59. 
The  Treaty  of  Peace  at  Miinster  ;  after  Terborch. 
The  Prodigal  Son ;    after  Spac/noletto ;   in  the  Dresden 

Gallery. 
Jacob  keeping  the  Flocks  of  Laban ;   after  the  same ; 

in  the  Dresden  Gallery. 
The  Death  of  Dido,  a  burlesque  ;  after  C.  Troost. 

FOLDSONE,  John,  a  portrait  painter,  was  born 
about  the  middle  of  the  18th  century.  He  ex- 
hibited at  the  Academy  up  to  1783,  soon  after 
which  year  he  died.  He  was  the  father  of  Mrs. 
Mee,  the  miniature  painter. 

FOLER,  Antonio,  was  born  at  Venice  in  1528. 
He  was  a  contemporary  and  friend  of  Paolo 
Veronese,  whose  splendid  style  he  followed  with 
some  success  in  his  colouring,  though  very  de- 
ficient in  his  design,  particularly  in  his  large 
works.  In  his  easel  pictures  this  inferiority  is  less 
discernible,  and  they  possess  considerable  merit. 
Among  other  works  by  this  master,  Ridolfi  notices 

175 


A  BIOGRAPHICAL  DICTIONARY  OF 


the  following :  in  the  church  of  the  Abbey  of  San 
Gregorio,  three  pictures  of  the  '  Assumption  of  the 
Virgin,'  '  The  Scourging  of  Christ,'  and  '  The 
Crucifixion  ';  in  Santa  Barnaba,  '  The  Birth  of  the 
Virgin '  ;  and  in  Santa  Caterina,  '  Christ  praying 
in  the  Garden,'  and  '  The  Resurrection.'  He  died 
in  1616. 

FOLIGNO,  PiETRO  Antonio  da,  a  native  of 
Foligno,  studied  under  Benozzo  Gozzoli.  He 
lived  in  the  15th  century,  but  the  exact  dates  of 
his  birth  and  deatli  are  unknown.  Remains  of 
frescoes  by  him  may  be  seen  in  tlie  convent  of  Sanf 
Anna,  the  monastery  of  Santa  Lucia,  the  monastery 
of  San  Francesco,  where  is  a  '  Virgin  and  Child,' 
dated  1499,  and  in  other  churches  in  Foligno.  At 
SS.  Antonio  e  Jacopo  at  Assisi  is  a  series  of  scenes 
from  the  life  of  St.  James,  probably  painted  by 
him  about  1468. 

FOLKEMA,  Jakob,  a  Dutch  designer  and  en- 
graver, was  born  at  Dokkum,in  Friesland,  in  1692. 
He  was  first  instructed  by  his  father,  Johann  Jakob 
Folkema,  a  goldsmith,  and  studied  afterwards 
under  B.  Picart  at  Amsterdam.  During  that  time 
he  worked  for  Royaumont's  Bible,  1712,  and 
Ruysch's  Anatomy,  1737.  Folkema  was  also  an 
excellent  engraver  in  mezzotint.  He  died  at  Dok- 
kum  in  1767.  He  had  a  sister,  Anna  Folkema, 
who  painted  miniatures,  assisted  her  brother,  and 
engraved  some  few  plates.  She  was  born  in  1695, 
and  died  in  1768.  By  Jakob  Folkema  there  are, 
among  others,  the  following  plates  : 

An  Emblematical  Print  on  the  Death  of  the  Prince  of 

Orange. 
Time  discovering  the  Bust  of  F.  Eabelais,  with  figures 

and  satirical  and  emblematical  attributes. 
The  Martyrdom  of  St.  Peter  and  St.  Paul ;  after  MccoU 

delV  AhhatR. 
Several  plates  for  the  Dresden  Gallery  ;  after  Le  Urun 

and  Niccold  deW  Abhaie. 

PORTRAITS. 

Miguel  Oervantes  de  Saavedra ;  after  C.  Kort. 

Johannes  Ens,  Professor  of  Theology  at  Utrecht ;  after 
Colla. 

Petrus  de  Maestricht,  Professor  of  Theology  at  Frank- 
fort ;  after  the  same. 

Humphrey  Prideaux,  Dean  of  Norwich  ;  nfter  Seeman. 

Suethlagius,  Pastor  at  Amsterdam  ;  after  Anna  Folkema. 

FOLLI,  Sebastiano,  who  is  stated  by  Baldinucci 
to  have  been  a  native  of  Siena,  was  born  in 
1568.  He  was  a  scholar  of  Alessandro  Casolano, 
and  distinguished  himself  by  several  frescoes  in 
the  churches  at  Siena,  particularly  the  cupola  of 
Santa  Marta,  and  some  subjects  from  the  '  Life  of 
St.  Sebastian,'  in  the  church  of  that  saint,  painted 
in  competition  with  Rutilio  Manetti,  to  whose 
pictures  they  are  in  no  way  inferior.  He  visited 
Rome,  and  was  employed  in  some  considerable 
works  for  the  Cardinal  de'  Medici,  afterwards  Leo 
XL     He  died  in  1621. 

FOLO,  Giovanni,  an  Italian  engraver,  was  born  at 
Bassanoinl764.  He  was  first  instructed  byMengardi 
and  Zanotti,  two  painters  at  Bassano,  and  studied 
next  in  Volpato's  school  at  Rome,  but  subsequently 
he  chose  Raffaello  Morghen  as  his  model.  In  his 
earlier  productions  there  appears  something  of  hard- 
ness and  dryness  of  style,  from  which  even  his 
beautiful  engraving  of  the  '  Madonna  de'  Candela- 
bri,'  after  Raphael,  is  not  altogether  free  ;  but  this 
defect  is  wholly  avoided  in  the  'Mater  doloiosa,' 
after  Sassoferrato.  Here  the  engraver  has  succeeded 
in  expressing  the  character  of  the  original  picture, 
and  diffused  over  the  copy  the  same  harmony  of 
light  and  shade,  and  delicate  colouring,  which  are 

176 


the  pleasing  characteristics  of  the  master.  Folo 
merits  the  name  of  a  great  artist ;  he  seeks  rather 
to  preserve  grandeur  of  character  than  to  produce 
a  work  that  is  merely  pleasing  to  the  eye  by 
elaborate  execution.  His  strokes  throughout  are 
powerful  and  firm  ;  yet  in  subjects  requiring 
amenity  of  treatment  he  varies  his  manner  so  as  to 
give  a  corresponding  delicacy,  as  may  be  instanced 
in  his  'Adam  and  Eve,'  after  Titian.  'Christ  rais- 
ing the  Widow's  Son  at  Nain,'  after  Annibale 
Carracci,  is  considered  his  best  work.  Folo's  style 
was  not  suitable  for  small  subjects,  as  may  be  con- 
jectured from  the  medallion  of  Pius  Vll.  ;  his 
productions  are  for  the  most  part  of  a  large  size. 
He  was  a  member  of  the  Academy  of  St.  Luke  at 
Rome,  and  received  in  1807  the  gold  medal  of  the 
Academy  at  Milan  for  '  Time  protecting  Innocence 
against  Evil  and  Envy,'  after  Nicolas  Poussin.  He 
died  at  Rome  in  1836.  Besides  those  above- 
mentioned,  his  most  important  works  are  : 

The  Last  Supper ;  after  Leonardo  da  T'inct. 

The  Virgin  and  Child  ;  after  Raphael. 

The  Marriage  of  the  Virgin  ;  after  the  same. 

Mater  amabilis ;  after  Sassoferrato. 

Danae ;  after  Titian. 

The  Marriage  of  St.  Catharine ;  after  Corregyio. 

The  Archangel  Michael  ;  after  Guido  Beni. 

The  Massacre  of  the  Innocents  ;  after  Nicolas  Poussin. 

Diana,  resting  from  hunting,  found  by  the  Nymphs 

after  B.  Nocchi. 
The  Death  of  Virginia  ;  after  Camuccini. 
The  Triumph  of  Scipio  ;  after  Tierino  del  Vaga. 
St.  Andrew  ;  after  J)omenichino.     1799. 
Christ  on  the  Cross  ;  after  Ilichelangelo. 
Hercules  with  Lichas  ;  after  Canova. 

FOLTZ,  Philip?,  born  at  Bingen  in  1805,  was 
first  instructed  in  art  by  his  father,  the  architect, 
Ludwig  Foltz.  In  1825  he  went  to  Munich,  and 
became  a  scholar  of  Cornelius,  under  whose 
direction  he  executed  several  considerable  works 
in  the  royal  palace.  'The  Founding  of  the 
Academy  of  Sciences  by  the  Elector  Maxi- 
milian III.,'  in  the  arcades  of  the  royal  court 
garden  at  Munich,  is  one  of  his  chief  works. 
With  Lindenschmit  he  decorated  a  saloon  of  the 
palace  with  scenes  from  Schiller's  poems.  After 
having  finished  his  great  work,  '  Otho,  King  of 
Greece,  taking  leave  of  his  paternal  Castle,'  con- 
taining forty-two  portraits,  and  the  nineteen  scenes 
from  Biirger's  poems  for  the  Queen's  apartment 
in  the  new  palace,  he  went  in  1835  to  Italy,  where 
he  con.siderabIy  improved  his  style.  In  1838  he 
returned  to  Munich,  became  in  1865  director  of  the 
Gallery,  and  died  in  that  city  in  1877.  In  many  of 
his  works  he  was  assisted  by  Dietz  and  Wendling. 
Among  his  numerous  paintings  are : 

Armansperg.       Castle  }^^^^^^^^^^^^ 

Vhapet.  j 
Cologne.  Museum.    TheSinger'sCurse  ;yVomCT^anfi's 

ballad. 
Darmstadt.       Gallery.     A  Scene  on  the  Iser  near  Munich. 
Frankfort.    Romersaal.     The  Emperor  Sigmund. 

FONBONNE,  Qdirin,  a  Dutch  engraver,  worked 
at  Paris  from  1720  to  1734.  Among  other  subjects 
he  engraved  some  of  the  plates  for  De  Monicart's 
'  Versailles  immortalis^,'  1720-21. 

FONSECA  Y  FIGUEROA,  Juan,  a  Spaniard  of 
high  descent  in  the  17th  century,  who  was  canon 
and  chancellor  of  the  cathedral  at  Seville,  and 
upper  chamberlain  to  the  court  at  Madrid,  was 
known  in  art  by  the  production  of  some  excellent 
portraits,  but  more  especially  by  his  patronage  of 
other  artists,  in  particular  Velazquez. 


PAINTERS  AND  ENGRAVERS. 


FONTAINE,  E.,  a  French  engraver  on  wood, 
flourished  about  the  year  1681.  Among  other  cuts 
by  him  there  is  a  print  representing  the  figure  of 
Christ,  standing  upon  a  pillar.  It  is  a  very  indif- 
ferent performance. 

FONTAINE,  Jacques  FKANgois  Joseph  Swebach 
DE.     See  Swebach. 

FONTAINE,  Pieeee  Joseph  la.  See  La  Fon- 
taine. 

FONTANA,  Alberto,  was  born  at  Modena  about 
the  year  1537.  He  was  a  fellow-student  with 
Niccolo  dell'  Abbate,  under  Antonio  Begarelli,  and 
in  conjunction  with  his  co-disciple,  painted  the 
panels  of  the  Butchers'  Hall  at  Modena  ;  a  work 
which  is  mostly  executed  in  the  style  of  Niccol6 
deir  Abbate.  There  is  certainly  a  great  similarity  in 
their  styles,  but  although  Alberto  Fontana  resembles 
Niccolo  in  the  airs  of  his  heads,  he  is  always  un- 
equal to  him  in  his  design,  and  there  is  something 
red  and  heavy  in  his  colouring.  He  died  in  1568. 
In  the  Estense  Gallery  at  Modena  are  four  figures 
in  fresco  representing  Vigilance,  Prudence,  Hope, 
and  Faith. 

FONTANA,  Battista.     See  Faeinati. 

FONTANA,  Cesare,  was  a  native  of  Italy,  who 
flourished  about  the  year  1620.  He  engraved 
several  plates  representing  funeral  processions  and 
cavalcades.     Zani  says  he  was  living  in  1660. 

FONTANA,  DoMENico  Maria,  is  stated  to  have 
been  born  at  Parma  about  the  year  1540,  to  have 
learned  the  art  of  engraving  at  Bologna,  and  to 
have  engraved  several  plates  from  his  own  designs, 
as  well  as  after  other  masters.  The  following 
plates  have  been  attributed  to  him  : 

The  Flight  into  Egypt,  with  a  mountainous  Landscape. 
The  Sabine  "Women  making  Peace  between  the  Romans 

and  the  Sabiues. 
St.  John  preaching  in  the  AVildernes.i. 
Mount  Calvary,  with  a  Latin  inscription. 
Christ  going  to  Calvary.    1584. 

There  appear  to  have  been  two  artists  at  Parma 
of  this  name,  the  second  of  whom  was  living  in 
1644,  and  has  left  one  plate,  after  Parmigiano,  of 
'  Moses  with  the  Tables  of  the  Law.' 

FONTANA,  Francesco,  born  in  1843,  was  a 
sculptor  and  painter.  His  water-colour  drawings 
representing  scenes  from  the  Bible  are  highly 
valued.     He  died  at  Milan  in  1876. 

FONTANA,  Giambattista,  born  at  Ala,  in  the 
Tyrol,  in  1525,  was  a  painter,  etcher,  and  engraver. 
He  learned  under  Giovanni  Carotto,  and  subse- 
quently became  court  painter  of  the  Archduke 
Ferdinand  at  Vienna.  He  worked  also  at  Venice 
and  at  Rome.  Though  the  design  of  his  figures 
is  meagre,  his  extremities  and  expressions  of  the 
heads  deficient,  and  his  drapery  mannered,  he  com- 
posed his  productions  in  a  rich  and  masterly  style, 
and  handled  the  point  with  lightness  and  careful- 
ness, and  the  graver  mostly  with  neatness.  He 
died  after  1584.  Among  his  sixty-eight  plates, 
partly  of  his  own  composition  and  partly  after  other 
masters,  the  most  important  are  : 

Christ  bearing  the  Cross. 

The  Crucifixion. 

St.  Martin. 

The  Prophet  Ezekiel.     1579. 

The  Martyrdom  of  St.  Peter ;  after  Titian. 

St.  Agatha  in  Prison  ;  after  Benedetto  Caliari. 

FONTANA,   GiDLio,  was   a  native  of  Verona. 
Only  one  plate  by  him   is  known  ;  it  represents 
'  The  Fight  of  the  Venetians  with   the  Imperial 
Troops  at  Cadore,'  1569,  after  Titian. 
VOL.  II.  N 


FONTANA,  Lavinia,  the  daughter  of  Prospero 
Fontana,  was  born  at  Bologna  in  1552,  and  was 
instructed  in  art  by  her  father.  She  painted  his- 
torical pieces,  which  are  considerably  esteemed. 
Her  greatest  merit  was,  however,  in  portrait  paint- 
ing, which  she  practised  at  Rome  with  much  suc- 
cess. She  first  visited  that  capital  during  the 
pontificate  of  Gregory  XIII.,  whose  portrait  she 
painted,  as  well  as  those  of  many  persons  of  dis- 
tinction ;  and  she  was  considered  one  of  the  ablest 
artists  of  her  time.  She  married  Paolo  Zappi  of 
Imola,  who  painted  the  drapery  of  her  works,  and 
she  died  at  Rome  in  1602.  Her  most  important 
paintings  are  the  following  : 

Bologna.       S.  Trinita.     The  Birth  of  the  Virgin. 

„        3Iadonna  del  \  The      Holy     Family     and      St. 

Baraccano,  J      Joachim. 
„  Mendicanti.     The  Miracle  of  the  Loaves. 

„  S.  Lucia.     The  Crucifixion. 

„  Pieve  di  \  The   Madonna,  with   SS.  Cosmo 

Cento.   J      and  Damian. 
„  „  The  Ascension.     1593. 

„  Pinacoteca.     Louisa  of  France  before  St.  Fran- 

cis of  Paola.     1590. 
„         Gall.  Herco-  )  Virgin  with  Saints  and  Angels  in 
lani.       J      glory. 
Gall.  Zam-  >  rpj^^  q^^^^  ^j  gj,j.j,^_ 
beccan.     j 
Bordeaux.       Museum.     Portrait  of  the  Senator  Orsini. 
Dresden.  Gallery.     The  Holy  Trinity. 

Dublin.         Nat.  Gall.     Visit  of  the  Queen  of  Sheba  to 

Solomon. 
Florence.      Fitti  Pal.     Her  own  Portrait. 
„  „  A  Female  Portrait. 

„  Ifffizi.     Portrait  of  Friar  Pauigarola. 

„  „        Chri-t    aj^pearing  to   the   Mag- 

diilen.     1581. 
Imola.      Signor  Zappi.     Her     own     and     her     Father's 

Portraits. 
Madrid.  Escorinl.     The  Holy  Family  with  St.  John. 

Milan.  Brera.     Seven  Portraits. 

Modena.    E$tense  Gall.    Portrait  of  a  Franciscan. 
Petersburg.  Hermitage.    Venus  and  Cupid. 
Rome.     S.  -P""^/™"'  I  The  Stoning  of  St.  Stephen. 

FONTANA,  PiETRO,  an  Italian  engraver,  born  at 
Bassano  in  1762,  was  first  instructed  in  painting 
by  Mingardi  at  Venice.  He  went  in  1785  to  Rome, 
where  he  devoted  himself  entirely  to  the  art  of 
engraving,  and  became  a  scholar  of  Volpato  and 
Morghen.  He  engraved  in  a  tender  and  clear 
manner,  and  his  style  is  a  mixture  of  the  Italian 
and  English  principles.  He  was  a  member  of  the 
Academies  of  St.  Luke  at  Rome  and  at  Venice.  He 
died  at  Rome  in  1837.  His  best  plates  are  the 
following : 

The  Sibyls  ;  after  Domenichino. 

Judith,  Jupiter,  Semele,  and  the  Entombment ;  all  after 

Correggio. 
Christ  before  Pilate  ;  after  Lodovico  Carracci. 
Christ  healing  the  BUnd  ;  after  the  same. 
The  Four  Evangelists  ;  after  Guercino. 
Ecce  Homo  ;  after  the  same. 
Christ  and  the  Pharisee  ;  after  Guido  Eeni. 
Herodias  ;  after  the  same. 
Aurora  ;  after  the  same. 
Portrait  of  De  Marchi ;  after  the  same. 
The  Death  of  Cajsar  ;  after  Camuccini. 
Lucretia ;  after  the  same. 
Pompey  ;  after  the  same. 
The  Feast  of  the  Gods  ;  after  the  same. 
Hercules,  Ajax,  and  the  Wrestlers ;  after  Canova. 
The  Apostles  ;  after  Thorvaldsen. 

FONTANA,  Peospero,  was  born  at  Bologna  in 
1512,  and  was  a  scholar  of  Innocenzio  da  Imola, 
He  attached  himself,  however,  more  to  the  style 
of   Giorgio  Vasari,  preferring   his  expedition  and 

177 


A  BIOGRAPHICAL  DICTIONARY  OF 


facility  to  the  diligent  and  careful  finishing  of  his 
master.  Prospero  went  to  Rome,  and  was  em- 
ployed by  Pope  Julius  III.  Being  after  this  en- 
gaged by  Primaticcio,  who  was  painting  at  that 
time  at  Fontainebleau,  he  went  there,  but  returned 
to  Genoa,  where  he  painted  for  the  Doria  Gallery. 
After  his  return  to  Bologna  he  became  the  in- 
structor of  Lodovico,  Annibale,  and  Agostino 
Carracci,  Dionysius  Calvaert,  Tiarini,  and  Achille 
Calici.  He  was  several  times  administrator  of  the 
Guild  at  Bologna,  where  he  died  in  1697.  The  fol- 
lowing is  a  list  of  his  most  important  productions  : 

Bologna.    S.Silvestro.    The  Adoration  of  the  Magi.  (His 
best  work.) 
„  S,  Giacomo,     The  Baptism  of  Christ. 

„  „  The  Beneficence  of  St.  Alexius. 

„  Pinacoteca.     The  Entoniliuient. 

„       Gal.  Hercolani.    Judith  and  Holofemes. 
Citt^   di  I  p  .   j^.    jj.  i  The   principal  Achievements  of 
Castello.  J  ■^'"-  *"  ««"■  \      the  Vitelli  Family. 
Dresden.  Gallery.    The  Holy  Family  with  SS.  Cecilia 

and  Catharine. 
Milan.  Brera.     The  Annunciation. 

Modena.  Estense  Gull.    The  Visit  of  St.  Anne  {in  water- 
colour), 

Fontana  was  also  eminent  as  a  portrait  painter, 
doing  better  in  this  branch  than  in  his  historical 
productions,  and  distinguished  himself  at  Rome  in 
the  pontificates  of  Julius  III.  and  his  three  nest 
successors.  The  most  important  of  his  portraits 
are: 

Pope  Julius  ni. 
Ulisse  Aldrovandi. 
Achille  Bocchi. 

FONTANA,  Veronica,  bom  in  1596,  was  the 
daughter  of  the  elder  Domenioo  Maria  Fontana, 
and  was  instructed  in  design  by  her  father  and 
Elizabetta  Sirani.  She  etched  some  plates,  repre- 
senting scenes  in  the  life  of  Mar}-,  and  the  portrait 
of  Andreini,  the  poet,  and  executed  some  woodcuts 
for  a  Latin  Bible,  and  the  portraits  for  Malvasia's 
Felsina  pittrice,'  1678.  Some  writers  attribute  also 
to  her  the  '  OfBce  of  the  Virgin,'  published  at 
Venice  in  1661,  and  some  neat  woodcuts,  principally 
small  portraits. 

FONTANIEU,  M.  de,  was  a  French  amateur  en- 
graver, who  etched  for  his  amusement  a  few  small 
plates  of  animals,  &o.,  some  of  them  dated  1760. 

FONTANUS,  E.,  a  wood  engraver,  was  a  native 
of  Flanders,  who  flourished  about  1625.  His  name 
appears  on  some  engravings  in  a  book,  published  at 
Breda,  entitled  '  Kleynen  gulden  Gebedenboeck  met 
de  figuren  des  Levens  Jesu  Christi  ende  Gebeden 
toegevogt  aen  ceremonien  der  H.  Misse,'  published 
in  1678. 

FONTEBASSO,  Francesco,  was  a  painter  and 
engraver  who  was  born  at  Venice  in  1709.  He 
received  his  first  instruction  in  art  at  Rome,  but 
afterwards  studied  at  Venice,  under  Sebastiano 
Ricci.  He  died  in  1769.  His  works  as  a  painter 
are  little  known,  but  as  an  engraver  he  has  left  the 
following : 

The  Virgin  appearing  to  St.  Gregory,  who  is  praying  for 
the  Delivery  of  the  Souls  in  Purgatory ;  after 
iSebastiano  Micci. 

A  set  of  seven  fantastical  subjects  ;  from  his  own  designs. 

FONTEBUONI,  Anastasio,  a  native  of  Florence, 
was  educated  in  the  school  of  Domenico  Passignano. 
He  visited  Rome  in  the  pontificate  of  Paul  V. 
(1605-21),  and  there  he  painted  some  pictures  for 
the  churches.  In  San  Giovanni  de'  Fiorentini  are 
'  The  Birth  of  the  Virgin'  and  'The  Death  of  the 

178 


Virgin,'  which  are  considered  his  best  works  ;  and 
in  Santa  Maria  in  Selci  is  'The  Annunciation.'  The 
vault  of  San  Giacomo  de'  Spagnuoli  is  painted  by 
him,  and  there  is  a  figure  of  '  St.  John  the  Baptist ' 
in  the  UfEzi.  This  promising  artist  died  young  in 
1626. 

FONTENAY,  Jean  Baptiste  Belin  de.  See 
Belin. 

FONTYN,  PiETER,  was  born  at  Dordrecht  in 
1773,  and  was  instructed  in  art  by  Pieter  Ilofman 
and  Willem  van  Leen.  He  painted  portraits,  in- 
teriors with  figures,  and  scenes  of  joviality  and 
domestic  enjoyment.  He  died  at  Dordrecht  in 
1839. 

FOOTTIT,  Harrison,  was  a  miniature  painter, 
who  practised  in  England  towards  the  close  of  the 
18th  century. 

FOPPA,  ViNCENZO,  was  a  Bresoian  by  birth, 
being  the  son,  according  to  recent  research  in 
local  archives,  of  a  certain  Giovanni  of  Bagnolo,  a 
place  eight  miles  from  Brescia,  and  must  have 
been  born  between  1425  and  1430,  though  the 
exact  date  has  thus  far  not  been  discovered.  It 
has  been  usually  assumed  that  he  was  trained  under 
Squarcione  and  became  a  disciple  of  Mantegna, 
but  this  view  is  scarcely  in  accordance  with  the 
evidence  afforded  by  the  painter's  earliest  known 
works.  In  the  absence  of  all  documentary  proof 
they  are  the  most  important  key  we  at  present 
possess  to  the  history  of  his  training ;  from  them 
it  seems  permissible  to  assume  that  Foppa  was 
to  some  extent  aifected  by  the  early  painters  of 
Verona,  but  that  he  must  have  been  closely  con- 
nected with  Jacopo  Bellini,  who  was  probably  his 
master  either  at  Venice  or  Padua,  and  whose  influence 
was  certainly  the  most  important  factor  in  his 
development.  Foppa's  return  to  Brescia  as  a  finished 
artist  must  have  taken  place  soon  after  1450,  and 
here  he  married  the  daughter  of  a  Brescian  named 
Caylina.  About  1456  he  removed  with  his  wife 
and  family  to  Pavia,  which  became  his  settled  home 
for  over  thirty  years,  and  where,  between  1467 
and  1468,  he  bought  a  house  and  obtained  the 
rights  of  citizenship.  Of  his  first  works  at  Pavia 
we  have  no  record,  but  he  was  probably  one  of 
the  painters  employed  by  Francesco  Sforza  be- 
tween 1459-60  to  decorate  the  Palazzo  dell'Arengo 
at  Milan.  In  1461  he  was  at  Genoa  executing  for 
the  Confraternity  of  St.  John  Baptist  frescoes  in 
their  chapel  in  the  cathedral  of  that  city,  the  Duke 
of  Milan  having  warmly  recommended  him  to  the 
Genoese  as  an  excellent  painter  highly  skilled  in 
his  art.  Having  completed  the  ceiling  of  the 
chapel  he  did  not  fulfil  his  contract  to  paint  the 
walls  also,  but  returned  to  Pavia,  where  a  work 
(now  lost)  in  the  church  of  the  Carmine  bore  his 
signature  and  the  date,  May  1462.  In  these  years 
he  executed  many  works  in  Milan  and  its  neigh- 
bourhood :  episodes  from  the  history  of  Trajan 
and  decorative  paintings  (c.  ?  1463)  in  the  Medici 
Bank,  the  palace  given  by  Francesco  Sforza  to 
Cosimo  de'  Medici,  and  rebuilt  and  decorated  on  a 
scale  of  great  magnificence  under  the  direction  of 
Pigello  Portinari,  the  first  Governor  of  the  Bank  ; 
paintings  in  the  principal  colonnade  of  the  great 
hospital  at  Milan  (?  after  1463),  representing  its 
foundation  by  Francesco  Sforza,  and  other  sub- 
jects ;  figures  of  prophets  in  one  of  the  cloisters 
of  the  Certosa  of  Pavia  (1465),  and  an  altar-piece 
for  the  church  of  S.  M.  delle  Grazie  at  Monza, 
(1466),  all  of  which  have  perished.  Foppa's  name 
has  also  been  connected  with  the  frescoes  in  the 


VINCENZO  FOPPA 


Haiifstdfigl  photo] 


THE  ADORATION   OF  THE  MAGI 


\^Natioji-ai  Gallery 


PAINTERS  AND  ENGRAVERS. 


chapel  of  St.  Peter  Martyr  (church  of  S.  Eustorgio, 
Milan),  probably  coratnissioned  by  Pigello  Portinari, 
and  said  to  have  been  completed  in  1468.  With 
the  exception  of  Padre  Bugati's  brief  notice  refer- 
ring the  execution  of  the  paintings  to  Vincenzo 
Vecchio,  no  documents  relating  to  the  decoration 
of  the  chapel  have  been  discovered,  and  the 
present  aspect  of  the  frescoes,  which  were  covered 
with  whitewash  in  the  17th  century,  from  which 
they  were  only  freed  in  1873,  does  not  justify 
their  attribution  to  Foppa  with  any  certainty. 
In  1469  Vincenzo  endeavoured  to  obtain  employ- 
ment in  the  Campo  Santo  at  Pisa,  but  failing 
in  this,  probably  returned  to  Genoa,  where  we 
find  him  in  1471  receiving  payment  for  further 
work  in  the  chapel  of  St.  John  Baptist.  After 
1474  he  was  actively  employed  atPavia  with  other 
painters  upon  the  great  altar-piece  for  the  chapel 
in  the  Castello,  and  at  this  period  of  his  career 
must  have  executed  many  paintings  for  Milan  and 
other  cities,  some  few  of  which  still  survive. 
During  his  frequent  visits  to  Genoa  he  produced 
among  other  works  an  altar-piece  for  the  Spinola 
family  in  the  church  of  S.  Domenico,  and  another 
for  the  chapel  of  Lazzaro  Doria  in  the  Certosa  of 
Rivarolo  for  which  he  received  payment  in  1489  ; 
but  of  all  his  works  in  Liguria  only  two  have  been 
preserved  :  the  large  altar-piece  commissioned  by 
Ciuliano  della  Rovere  for  the  cathedral  of  Savona 
(now  in  the  oratory  of  S.  M.  di  Castello),  and  a 
much  injured  picture  in  the  Gallery  at  Savona 
■ordered  by  Manfredo  Fornari  for  the  Certosa  of 
Loreto.  In  December  1489  a  petition  was  brought 
before  the  Council  of  Brescia  by  two  of  its 
members  in  which  Vincenzo  Foppa  prayed  to  be 
allowed  to  repatriate  and  to  settle  at  Brescia  and 
teach  painting  and  architecture  there  for  the 
remainder  of  his  life.  The  members  of  the  Council, 
while  unanimously  agreeing  to  engage  Foppa  at  a 
yearly  salary  of  £100  planet,  reserved  to  them- 
selves the  right  to  cancel  the  appointment  when- 
ever they  should  deem  it  desirable.  Foppa's 
engagement  lasted  until  May  1495,  when  for  some 
reason  at  present  unknown  to  us  it  was  cancelled 
and  never  again  renewed.  The  painter  continued 
to  live  at  Brescia  for  many  years,  having  taken 
the  lease  of  a  house  there  in  1502,  though  he 
appears  to  have  been  frequently  absent  at  Milan 
and  Pavia.  He  must  have  died  between  May  1515 
and  October  1516,  when  he  is  spoken  of  as  deceased. 
The  date  1492,  hitherto  accepted  as  that  of  Foppa's 
death,  was  based  on  a  mistaken  interpretation  of 
the  inscription  on  his  tombstone  (now  lost),  and  is 
disproved  by  the  testimony  of  recently  discovered 
documents  ;  the  character  of  some  of  the  painter's 
works,  obviously  later  than  1492,  shows  that  he 
must  still  have  been  actively  employed  in  the  first 
decade  of  the  sixteenth  century.  In  spite  of  his 
long  sojourn  at  Brescia  no  paintings  have  been  pre- 
served there  which  can  be  ascribed  to  him  with 
any  degree  of  certainty.  The  'Anonimo'  and  other 
writers  speak  of  Foppa  as  Vincenzo  Vecchio,  a 
name  doubtless  bestowed  upon  him  on  account  of 
his  great  age,  and  not,  as  has  been  assumed,  in 
order  to  distinguish  him  from  a  younger  Vincenzo 
Foppa,  of  whom  no  trace  has  so  far  been  dis- 
covered in  Brescian  archives.  The  following  is  a 
list  of  the  principal  works  by  Foppa  at  present 
known  : 


3.  il 
i.  ) 


Arcore  (near  Monza). 

Signor  G.  B.   VThe  Annunciation. 

Vittadini. 

N  2 


Arcore  (near  Monza). 
Signor  G.  B. 
Vittadini, 


.The  Annunciation,  Visitation, 
Nativity,    and    Flight    into 
EfeTPt ;  two  Angels  with  in- 
struments   of    the    Passion. 
{Part  of  the  predella  of  an 
altar-piece  from  S.  M.  delle 
I      Grazie     at     Bergamo     (now 
I      Brera.      The  central    panel, 
the  Ecce  Homo^  is  missiftg.) 
Bergamo.       Gallery.      f  ^^I'"'   °°  ^Jf.   ^"^""^  between 

Carrara  Collection.-)      *«  *^°.  'l^'^™^:      .^'H/li'^-- 

t      Vincencius  Brtxiensis  1456. 
„    Lochia  Collection.  St.  Jerome  kneeling  in  a  land- 
scape before  a  crucifix.     In- 
scribed: Opus  Vincentii  Foppa. 
Berlin.  QMery.  Madonna  and  Child. 

„  „         Lament  over  the  Dead  Body  of 

Christ. 
YXox^'o.ze,  Mr. Bernhardt  ■.,    ,  j  ^i..ij 

Bere^ison.  \  Madonna  and  Chdd. 
London.  Nat.  Gall.  Adoration  of  the  IVIagi. 

„         Sir  M.  Conway.  Madonna  and  Child. 
Milan.        S.  Eustorgio.  )  Frescoes.     {Ascribed  to  Foppa 
Portinari  Chapel.  J      and  other  painters.) 
,,  Brera  Gall.  Madonnaand  Child  with  Angels, 

eight  figures  of  Saints,  and 
St.  Francis  in  a  landscape  re- 
ceiving the  stigmata.  {Altar- 
piece  from  S.  M.  delle  Grazie 
at  Bergamo.') 
„  „  St.  Sebastian.    Fresco. 

„  „  Madonna    and  Child    between 

St.  John  and  a  (?)  Prophet. 
Dated  Oct.  14S5.     Fresco. 
„  Castello.       Madonna  and  Child. 

„  „  St.  Sebastian. 

„  ,,  St.  John  Baptist.     Fresco. 

„  „  St.      Francis      receiving      the 

stigmata.     Fresco. 
„  Poldi  Pezzoli  }  Madonna  and  Child.  {Ascribed 

Museum,  ji       to  Foppa. ) 
,., FrivateCollections;  }  Madonnaand  Child.  {Ascribed 

Signor  Crespi.  ^      to  Foppa.) 
„  br.  Frizzoni,  Madonna  and  Child   with  an 

Angel. 
,,      Cav.  Aldo Noseda.  St.  Paul. 

.,       Prince  Trivulzio.  Madonna  and  Child  with  Angels. 
,,  ,,  Madonna  and  Child. 

,,  ,,  Two  Bishops. 

Savuna.  Oratory  of  S.JIf.}A}taT-piece{in  part).  Inscribed: 
di  Citsttilo.  J       Vincencius,  Aug.  5,  1490. 
,,  Gallery.   Madonnaand  Child  with  Saints, 

Inscribed :  April  9,  1489. 
C.  J.  Ff. 
FOPPA,  Vincenzo  the  Younger  (see  Caylina, 
Paolo  the  Younger). 

FORABOSCO,  GiROLAMO.  See  Ferrabosco. 
FORBICINI,  Eliodoro,  who  flourished  from 
1550  to  1570,  was  a  native  of  Verona,  who  excelled 
in  grotesques.  He  decorated  two  rooms  in  the 
Palazzo  Canova,  which  have  been  much  admired. 
FORBIN,  Louis  Nicolas  Philippe  AuonsxE, 
Comte  de,  born  at  La  Roque  d'Antheron  (Bouches- 
du- Rhone)  in  1777,  was  instructed  in  the  rudiments 
of  the  art  by  De  Boissieu.  Whilst  a  soldier  in  the 
Garde  Nationale  at  Nice  and  Toulon,  he  became 
acquainted  with  the  painter  Granet,  who  exercised 
great  influence  over  him.  After  quitting  the  service 
he  studied  at  Paris  under  David,  but  in  1799  was 
again  obliged  to  change  the  artist's  for  the  soldier's 
life,  and  went  through  the  campaigns  in  Portugal 
and  Germany.  In  1809  Forbin,  who  was  then  a 
lieutenant-colonel,  took  leave  of  the  army  and 
went  to  Italy  to  study.  He  stayed  there  five 
years,  and  then  returned  to  Paris,  where  he^  was 
elected  a  member  of  the  Institute,  and  appointed 
director  of  the  Royal  Museums,  and  subsequently 
superintendent  of  the  collections  in  the  Louvre, 
the  Luxembourg,  and  at  Versailles.  In  1817  he 
visited  Syria,  Greece,  and  Egypt,  and  publislied  in 

179 


A  BIOGRAPHICAL  DICTIONARY  OF 


1819  his  '  Voyage  dans  le  Levant,'  an  excellent 
work,  with  eighty  lithographic  plates.  Later  on 
he  went  to  Sicily,  from  whence  he  brought  back  a 
great  number  of  sketches.  He  wrote  also  several 
other  works.  He  died  in  Paris  in  1841.  Among 
his  best  paintings  are  : 

The  Death  of  Pliny  at  the  Eruption  of  Vesuvius. 

The  Death  of  King  Andrew  of  Hungary. 

A  Nun  in  the  Vaults  of  the  Inquisition. 

A  Monk  accused  of  having  helped  a  Nun  to  escape. 

Interior  of  the  Peristyle  of  a  Monastery.  1830.  (Louvre, 

Paris.) 
A  Chapel  in  the  Colosseum  at  Rome.    1834.    (Louvre.) 

FORD,  Michael,  an  Irish  engraver  in  mezzotint, 
was  probably  a  pupil  of  John  Brooks,  to  whose 
business  as  a  printseller  in  Dublin  he  succeeded 
about  1747.  He  is  supposed  to  have  been  lost  at 
sea  in  1758.  There  are  several  portraits  by  him, 
some  of  which  are  after  his  own  paintings.  They 
include  the  following  : 

■William  III. ;  after  Kneller. 
George  II. ;  after  Hudson. 
AVilliam,  Duke  of  Cumberland ;  after  the  same. 
"William  Stanhope,  Earl  of  Harrington  ;  after  Du  Pin. 
Henry  Singleton,  Chief  Justice  of  the  Common  Pleas 
in  Ireland  ;  after  himself. 

FORD,  Richard,  the  author  of  the  'Handbook 
for  Travellers  in  Spain,'  who  was  born  in  London 
in  1796,  practised  art  as  an  amateur.  He  illu.?- 
trated  Lockhart's  'Spanif3h  Ballads,'  and  etched 
several  plates.  He  died  at  Heavitree,  near  Exeter, 
in  1858. 

FORD,  Samuel,  an  Irish  historical  painter,  was 
bom  at  Cork  in  1805.  Although  brought  up  in 
great  poverty,  he  managed  to  study  at  the  Cork 
School,  and  in  1828  became  master  of  the  Cork 
Mechanics'  Institute,  but  he  died  of  consumption 
in  the  same  year.     Amongst  his  works  were : 

The  Genius  of  Tragedy      1827. 
The  Fall  of  the  Angels. 

FORE,  Le.     See  Le  Fore. 

FOREST,  Jean  Baptiste,  a  French  landscape 
painter,  was  born  in  Paris  in  1636.  He  was  in- 
structed in  the  first  rudiments  of  art  by  his  father, 
Pierre  Forest,  an  artist  little  known.  He  went 
afterwards  to  Italy,  and  at  Rome  became  the 
scholar  of  Pietro  Francesco  Mola.  After  studying 
the  works  of  that  master  for  some  time,  he  applied 
himself  to  an  imitation  of  the  grand  landscapes  of 
Titian  and  Giorgione.  On  his  return  to  France  he 
was  esteemed  one  of  the  ablest  landscape  painters 
of  his  country,  and  was  received  into  the  Academy 
in  Paris  in  1674.  From  an  unfortunate  process  he 
made  use  of  in  the  preparation  of  his  colours,  some 
of  his  pictures  have  since  become  dark.  He  died 
in  Paris  in  1712. 

FORESTIER,  Henri  Joseph  de,  born  at  San 
Domingo  in  1790,  was  a  pupil  of  Vincent  and 
David,  and  obtained  in  1813  the  first  prize,  which 
enabled  him  to  go  to  Rome.  There  he  became 
very  favourably  known  through  his  paintings  of 
'Anacreon' and 'Cupid.'  He  died  in  1872.  Among 
his  historical  and  genre  paintings  may  be  men- 
tioned ; 

Christ  healing  the  Demoniac.     1817.     (Louvre,  Paris.) 
The  Funeral  of  ATilliam  the  Conqueror. 

FORGUE,  Apollonie  de.     See  Seydelmann. 

FORLI,  ANsniNo  da,  was  the  painter  of  the 
'Adoration  of  St.  Cliristopher'  in  the  Eremitani 
Chapel,  Padua.  In  the  Correr  Gallery  at  Venice  is 
a  tempera  profile  '  Portrait  of  a  Man,'  which  is 

180 


assigned  to  Ansuino.  No  dates  of  his  birth  or 
death  can  be  given. 

FORLI,  Francesco  da.  See  Minzocchi,  and 
Modiqliani. 

FORLI,  GuGLiELMO  DA,  called  Guglielmo  degli 
Orqani,  who  was  the  earliest  painter  of  Forli, 
flourished  in  the  14th  century.  He  was  a  pupil  of 
Giotto,  and  painted  frescoes  in  the  churches  of  San 
Domenico  and  the  Franciscans  in  his  native  city, 
but  none  of  his  works  are  extant. 

FORLI,  Marco  da.     See  Palmezzano. 

FORLI,  Melozzo  da.    See  Degli  Ambrosi. 

FORMELLO,  Donato  da,  was  a  native  of 
Formello,  in  the  duchy  of  Bracciano.  He  was  a 
disciple  of  Giorgio  Vasari,  and,  according  to 
Baglione,  visited  Rome  early  in  the  pontificate  of 
Gregory  XIII.  He  greatly  surpassed  the  style  of 
his  instructor,  as  is  evident  in  his  fresco  works  on 
a  staircase  in  the  Vatican,  representing  subjects 
from  the  life  of  St.  Peter.     He  died  about  1580. 

FORNARO,  II.     See  Civerchio. 

FORNAVERT,  J.  P.,  was  an  obscure  engraver, 
chiefly  employed  by  the  booksellers.  Strutt  men- 
tions a  frontispiece  to  a  book  of  devotion  by  this 
artist,  representing  '  Moses  and  Aaron,  with  the 
Four  Evangelists.'  It  is  neatly  executed  with  the 
graver,  but  in  a  stiff,  formal  style. 

FORNAZERIS,  Jacques  de,  (probably  the  same 
as  FoRNAZORl,)  was  a  French  engraver,  who 
flourished  from  1594  to  1622.  He  resided  at 
Lyons,  and  appears  to  have  been  principally  em- 
ployed for  the  booksellers,  though  his  plates  are 
executed  in  a  style  very  superior  to  that  of  the 
generality  of  artists  of  that  class.  He  engraved 
portraits  of  historical  personages,  and  also  several 
frontispieces,  which  he  generally  embellished  with 
small  historical  figures,  correctly  drawn.  His  plates 
are  executed  with  the  graver.  Among  his  fifty-six 
engravings  may  be  noticed : 

FORTSAITS. 

Henry  IV.     (Five  plates  ■) 

Mary  de'  Medici.     (Two  plates.) 

Pope  Leo  XI. 

Pope  Paul  V. 

Charles  Emmanuel,  Duke  of  Savoy. 

James  I.,  King  of  Great  Britain. 

Gabrielle  d'Estr^es. 

Louis  XI. 

frontispieces. 

To  the  '  Biblia  Sacra,'  Lyons.     1606 ;  in  quarto. 
To  the  '  Biblia  Sacra,'  Lyons.     1618 ;  in  foUo. 
To  the  '  Tabula  Chronographica,'  Lyons.     1616. 
To  the  '  Praxis  Fori  Poenitentialis,'  Lyons.    1616. 
To  the  '  Commentaries  of  J.  Femandus.'     1622. 

FORRESTER,  Alfred  Henry,  a  caricaturist, 
known  by  the  pseudonym  of  '  Alfred  Crowquill,' 
was  born  in  London  in  1805.  His  family  was 
connected  with  the  Stock  Exchange,  on  wliich  he 
was  himself  more  or  less  engaged  till  1839.  His 
works  were  generally  in  illustration  of  his  own 
letterpress.  He  also  contributed  to  'Bentley's 
Miscellany,'  'The  Illustrated  London  News,'  'The 
Humourist,'  &c.  He  died  in  1872.  Amongst  his 
productions  were : 

Leaves  from  my  Memorandum  Book. 

Eccentric  Tales. 

The  Wanderings  of  a  Pen  and  Pencil. 

The  Comic  English  Grammar. 

Comic  Arithmetic. 

A  Bundle  of  Crowquills. 

FORRESTER,  James,  an  engraver,  flourished 
about  the  year  1760.     He  resided  some  years  in 


MARIANO  FORTUNY  Y  CARBO 


Laurent  p/wtiA 


PORTRAIT  OF  A  BOV 


PAINTERS   AND  ENGRAVERS. 


Italy,  where  he  etched  several  plates  of  land- 
scapes, which  are  executed  in  a  neat,  pleasing 
style. 

FORSELL,  Christian,  bom  in  1777,  studied  first 
at  the  Academy  at  Copenhagen,  and  afterwards 
improved  his  talent  for  art  by  travelling.  He  was 
court  engraver  and  professor  at  the  Academy  at 
Stockholm.  The  following  are  some  of  his  best 
works : 

The  Coronation  of  the  Virgin ;  engraved  after  a  design 
by  Ternite. 

The  Poet  Camoens  ;  after  Gerard. 

Charles  John,  King  of  Sweden  ;  after  the  same. 

Louis  XVIII ;  after  Amjustin. 

'Une  Aiin6e  en  Siiede,'  in  forty-eight  plate.?;  partly 
from  his  own  drawing , partly  after  those  of  Sandberg. 
1837. 

FORSTER,  Ernst  Joachim,  painter  and  writer 
upon  art,  was  born  in  1800,  at  Mnnchergosserstadt, 
on  the  Saale.  After  a  stay  at  the  Universities  of 
Jena  and  Berlin  he  took  up  art  as  his  career,  and 
studied  under  Schadow  at  Berlin,  and  under  Corne- 
lius at  Munich.  In  1824-5  he  was  working  under 
Hermann  on  the  frescoes  in  the  Aula  at  Bonn, 
and  was  afterwards  emplo3'ed  on  those  in  the 
arcades  of  the  Munich  Hofgarten.  He  married 
a  daughter  of  Jean  Paul  Richter,  and  this  con- 
nection led  him  again  in  the  direction  of  literature. 
After  the  death  of  his  father-in-law  he  published 
several  biographical  notices  of  him,  and  edited  his 
literary  remains.  He  was  employed  in  1832  by 
the  then  Crown  Prince  Max  of  Bavaria  to  visit 
Italy,  and  make  a  series  of  drawings  from  the 
antique,  and  his  archaeological  researches  in  con- 
nection with  this  work  were  afterwards  embodied 
in  his  'Material  for  a  new  History  of  Art'  (1835). 
He  also  carried  out  various  decorative  works  in 
the  new  palace  at  Munich.  Of  his  numerous 
literary  productions  in  connection  with  art  the  most 
important  are  :  'A  History  of  German  Art'  (1861- 
60) ;  '  Monuments  of  German  Architecture,  Sculp- 
ture and  Painting'  (1853-69);  'Life  of  Raphael' 
(1867-69);  'History  of  Italian  Art'  (1869-75). 
He  published  the  continuation  of  Schorn's  German 
version  of  Vasari,  and  was  joint  editor  with  Kugler 
of  the  'Eunstblatt'  from  1842-49.  He  died  in 
1885. 

FORSTER,  FRANgois,  a  Swiss  engraver,  bom  at 
Locle  in  1790,  was  instructed  by  P.  G.  Langlois  in 
Paris.  In  1814  he  obtained  the  tirst  prize,  by 
wliich  he  was  sent  to  Rome,  and  after  his  return  he 
soon  gained  a  reputation,  his  numerous  plates  being 
remarkable  for  the  skill  with  which  he  represented 
the  original.  He  handled  the  graver  with  great 
ability,  and  his  faculty  of  imparting  both  vigour 
and  tenderness  in  the  execution  gives  the  whole  a 
beautiful  and  harmonious  effect.  In  1844  Forsfer 
was  elected  a  member  of  the  Institute  of  France 
and  the  Academies  of  Brussels  and  Berhn.  He  died 
in  Paris  in  1872.  The  following  were  his  most 
important  plates : 

The  Disciples  at  Emmaus  ;  after  Paolo  Veronese.     1812. 

The  Portrait  of  a  Woman  ;  after  the  same.     1818. 

Aurora  and  Cephalus  ;  after  Guerin.     1821. 

Dido  and  .^Eneas  ;  after  the  same.     1828. 

The  Portrait  of  Albrecht  Durer  ;  after  Durer.  1823. 

Arthur,  Duke  of  Wellington  ;  after  Gerard. 

La  Vierge  an  Basrelief ;  after  Leonardo  da  Vinci.     1835. 

Titian's  Mistress.;  after  Titian. 

La  Vierge  de  la  Maison  d'OrUans  ;  after  Raphael.     1838. 

La  Vierge  i  la  L6gende  ;  after  the  same.     1846. 

The  Holy  Family  ;  after  the  same.     1854. 

The  Three  Graces ;  after  the  same. 

The  Portrait  of  Raphael ;  after  the  same.    1835. 


Christ  on  the  Cross  ;  after  Sebastiano  del  Piombo.     1850. 
Louis  I.  of  Bavaria  ;  after  Stieler. 
Alexander  von  Humboldt ;  after  Steuben. 
St.  Cecilia  ;  after  Delaroche. 

FORSTER,  Thomas,  an  artist  who  lived  in  the 
early  years  of  the  18th  century,  drew  miniature 
portraits  on  vellum  with  lead  pencil. 

FORSTMAN,  Greqorio.     See  Fosman. 

FORTI,  GiAOOMO,  a  painter  of  the  Bologiiese 
school,  who  flourished  in  1483,  was  a  pupil  of 
Zoppo.  He  assisted  his  master  in  his  frescoes, 
but  in  the  church  of  San  Tommaso  al  Mercato 
in  Bologna,  is  a  fresco  of  the  Virgin,  which  is 
attributed  to  him. 

FORTIER,  Claude  FRANgois,  a  French  engraver, 
was  horn  in  Paris  in  1775,  and  died  in  the  same 
city  in  1835.  His  best  plates  are 'The  Entry  of 
the  French  into  Milan,' after  Gdrard  ;  'A  Virgin 
Forest  in  Brazil,' after  Clarac;  and  '  Morning,' after 
Moucheron. 

FORTIN,  AuQUSTiN  F^lix,  a  French  painter  of 
landscapes,  and  of  genre  and  historical  subjects, 
was  born  in  Paris  in  1763,  and  studied  under  his 
uncle,  the  sculptor  Lecomte.  He  was,  however, 
chiefly  noted  for  his  sculpture,  for  which  he  ob- 
tained the  grand  prize  in  1783.  He  became  a 
member  of  the  Academy  in  1789,  and  died  in  Paris 
in  1832.     Amongst  his  paintings  are: 

Invocation  to  Nature. 

A  Satyr. 

Lesbia. 

FORTIN,  Charles,  a  French  genre  and  land- 
scape painter,  the  son  of  Augustin  Felix  Fortin, 
was  born  in  Paris  in  1815.  He  studied  under 
Beaume  and  Roqueplan,  and  first  exhibited  in 
1835.  He  died  in  Paris  in  1865.  Amongst  his 
works  are  : 

The  Rag-seller. 

The  Return  to  the  Cottage. 

The  Chimney  Corner. 

The  Butcher's  Shop. 

The  Village  Barber. 

Chouans.     1853.     {Lille  Museum.) 

The  Blessing.    {Luxembourg  Gallery.) 

The  Music  Lesson. 

The  Smoker.     1855. 

During  Vespers,  Morbihan.     (Paris  Exhibition,  1855.) 

Rustic  Interior.     1859. 

The  Country  Tailor.     1861. 

Between  two  Halts.     1864. 

FORTNER,  Georq,  who  was  bom  at  Munich 
in  1814,  studied  under  Schlotthauer  and  Heinrich 
Hess.  He  executed  frescoes  for  the  Bavarian 
National  Museum  ;  but  he  is  better  known  for  his 
designs  for  church  windows.  He  died  at  Munich 
in  1879. 

FORTUNY  Y  CARBO,  Mariano,  a  Spanish 
painter  in  oil  and  water-colours,  was  born  of 
humble  parentage  at  Reuss,  near  Barcelona,  in 
1841.  Showing  great  artistic  promise  in  his  child- 
hood, he  was  enabled  by  a  local  magnate  to  study 
at  Barcelona  and  Madrid,  and  he  further  pursued 
his  studies  at  Rome  and  Paris.  He  soon  became 
known,  and  worked  with  great  assiduity  on  the 
commissions  he  received,  many  of  which  were 
from  Goupil  of  Paris.  With  the  exception  of  the 
time  during  which  he  was  on  tlie  staff  of  General 
Prim  in  Morocco,  the  rest  of  his  life  was  passed 
chiefly  at  Rome  and  Paris.  His  death,  which  oc- 
curred at  Rome  in  1874,  was  occasioned  by  an  attack 
of  fever,  contracted  while  sketching  in  damp 
weather  in  the  vicinity  of  Naples.  The  pictures 
remaining  in   his  studio  were  sold  in  Paris,  and 

181 


A  BIOGRAPHICAL  DICTIONARY  OF 


realized  800,000  francs.  He  married  the  daughter 
of  Senor  Madrazo,  the  director  of  tlie  Madrid 
Academy.  The  following  are  amongst  his  chief 
works : 

A  Marriage  in  the  Cathedral  of  Madrid. 

Rehearsal  at  the  Opera  Buifa. 

Snake-charmers. 

Fantasy  of  Morocco.     1866. 

A  Book-lover  in  the  Library  of  Eichelieu.    1869. 

The  Fencing  Lesson. 

The  Tribunal  of  a  Cadi. 

The  Academy  of  the  Arcadians.    1874. 

Baron  Davillier  puhlished  at  Paris  in  1875,  with 
illustrations,  '  Fortuny,  sa  vie,  son  oeuvre,  sa  cor- 
respondance.' 

FOSCHI,  Ferdinando,  was  a  landscape  painter 
who  flourished  at  Bologna  in  the  18th  century. 
There  is  a  landscape  by  him  in  the  Lille  Museum, 
and  a  winter  scene  in  the  Darmstadt  Museum. 

FOSCHI,  SiGiSMONDO,  a  son  of  Antonio  Foschi, 
was  born  at  Faenza,  and  flourished  about  1530. 
There  is  a  '  Madonna  and  Child  '  by  this  artist  in 
the  Brera  at  Milan,  which  came  from  the  church  of 
San  Bartolommeo  in  Faenza. 
_  FOSMAN,  Greqorio,  (or  Fohstman,)  is  con- 
sidered the  best  of  the  Spanish  engravers  of  title- 
pages  during  the  reign  of  Charles  11.  Among  his 
works  are  the  following : 

Title-page  to  a  '  Life  of  St  Domingo  de  Silos.'     1653. 
Title-page  to  Ximena's  '  Catalogue  of  the  Bishops  of 

Jaen.'     1654. 
Title-page    to    Gandara's  'Glory  of    the   Church    in 

Galicia.'    1677. 
The  Auto-da-f6  held  in  the   Plaza-Mayor  of   Madrid, 

30th  June,  1680. 
One  of  the  plates  of  Vera  Tassis's  *  Obsequies  of  Queen 

Maria  Louisa.'     1690. 
St.  Francis  Xavier, 
Portrait  of  Cardinal  Errico  Noris. 

FOSSANO,  Ambrogio  da.    See  Stefani. 

FOSSATI,  Davide  Antonio,  a  painter  and 
etcher,  was  bom  at  Morco,  near  Lugano,  in  1708, 
and  studied  drawing  under  Mariotti  at  Venice,  and 
painting  under  Daniel  Gran,  with  whom  in  1723  he 
went  to  Vienna.  In  1728  he  painted  the  dining- 
hall  in  the  monastery  of  St.  Martinsberg  at  Press- 
burg  ;  but  in  1730  he  returned  to  Venice,  and  in 
the  next  year  executed  the  wall-paintings  in  the 
villa  at  Torre,  near  Este,  as  also  in  tlie  nunnery  of 
Santa  Margaretta,  near  Lauis.  He  afterwards  took 
to  etching,  but  did  not  succeed  at  first.  His  death 
occurred  at  Vienna  about  1780.  His  works  as  a 
painter  are  little  known,  but  he  has  left  among  his 
later  and  happier  efforts  several  etchings  of  land- 
scapes and  historical  subjects  after  various  masters. 
The  following  are  his  plates  most  worthy  of  notice: 

they  are  sometimes  marked  with  the  cipher   yA<) 

Diana  and  Calisto  ;  after  Solimtna, 

The  Family  of  Darius  before  Alexander ;  after  Paolo 

Veronese. 
Jupiter  destroying  the  Vices  ;  after  the  same. 
Rebekah  and  the  Servant  of  Abraham  ;  after  A .  Bellueci. 
The  Calling  of   St.  Peter   to   the  Apostleship ;    after 

the  same. 
A  set  of  twenty-four  Views  of  Venice,  and  Landscapes  ; 

after  Marco  Ricci. 

FOSSATI,  Domenico,  was  born  at  Venice  in  1743, 
and  studied  painting  at  the  Academy  of  that  city. 
He  distinguished  himself  as  a  painter  of  archi- 
tecture and  a  decorator,  and  his  works  are  to  be  met 
with  in  the  theatres  and  palaces  of  Venice,  Padua, 
Vicenza,  Verona,  Udine,  Monza,  and  Gratz,  and  in 
the  Scala  nt  Milan.  He  died  at  Venice  in  1784. 
182 


FOSSATI,  Giorgio,  an  engraver  and  architect, 
who  was  born  at  the  commencement  of  the  18th 
century,  and  died  about  1770,  executed  the  plates 
to  the  '  Raocolta  di  varie  Favole'  (Venice,  1744), 
and  also  made  the  designs  for  the  carving  in  the 
Scuola  di  San  Rocco  at  Venice. 

FOSSE,  De  la.     See  De  La  Fosse. 

FOSSEYEUX,  Jean  Baptiste,  who  was  born  in 
Paris  in  1782,  and  died  there  in  1824,  studied  under 
Delaunay  and  Moreau  the  younger.  He  engraved 
after  Velazquez,  Domenichino,  &c. 

FOSTER,  Mvles  Birket,  was  a  member  of  an 
old  north-country  Quaker  family.  He  was  born  at 
North  Shields  on  P'ebruary  4,  1825,  the  youngest 
but  one  of  seven  children.  His  father  removed  to 
London  when  he  was  but  five  years  of  age,  so 
that  his  early  youth  wag  spent  away  from  the 
district  of  his  birth.  His  grandfather  was  a  naval 
officer  of  renown  who  was  acquainted  with  Thomas 
Bewick  the  engraver,  but  Birket  seems  to  have  been 
the  only  member  of  the  family  who  had  inclinations 
towards  art.  Birket  is  said  to  have  been  able  to 
draw  before  he  could  speak,  but  whether  this  was 
true  or  not  it  is  certain  that  at  very  tender  years 
he  was  able  to  make  quite  a  creditable  sketch,  and 
the  local  renown  of  Bewick,  and  the  traditions  as 
to  his  friendship  with  the  grandfather  of  young 
Foster  helped  to  enkindle  in  the  lad  the  strongest 
desire  tliat  he  too  might  become  a  great  artist. 
At  the  first  schools  to  which  he  went,  those  kept 
by  Quakers  at  Tottenham  and  at  Hitchin,  he  was 
taught  drawing,  and  then  later  on  he  had  special 
lessons  from  an  intelligent  master  named  Parry; 
but  his  education  terminated  before  he  was  six- 
teen, and  the  question  of  a  profession  was  before 
him.  It  was  at  first  decided  that  he  should  be 
sent  to  a  steel  engraver  named  Stone,  hut  as  the 
man  committed  suicide  on  the  day  that  the  articles 
were  signed  that  could  not  be  accomplished,  and 
eventually  Foster  was  sent  to  the  studio  of  Ebenezer 
Landells  the  wood  engraver,  a  man  who  had 
known  Bewick,  and  was  therefore  of  the  greatest 
importance  to  Foster.  Here  he  worked  for  a  good 
many  years  doing  drawings  for  '  Punch,'  '  Punch's 
Almanack,'  the  '  Illustrated  London  News,'  and 
its  'Annual  Almanack,'  and  many  of  the  illus- 
trated books  of  the  day,  notably  one  by  S.  C.  Hall 
on  Ireland.  It  was  very  little  actual  engraving 
that  Foster  did,  as  his  work  in  drawing  on  the 
blocks  was  so  acceptable  that  his  time  was  fully 
occupied  with  it,  and  he  himself  was  always  ready 
to  add  to  his  knowledge  by  steady  work  out-of- 
doore,  or  by  sketching  events  which  took  place  with 
a  view  of  using  them  for  illustrations.  He  left 
Landells  in  1846,  starting  on  his  own  account,  and 
worked  as  a  book  illustrator  for  Vizetelly.  His 
first  great  success  was  in  illustrating  '  Evangeline,' 
and  after  that  he  was  sent  up  the  Rhine  that  he 
might  make  drawings  for  '  Hyperion,'  and  for  a 
book  on  the  famous  river  itself.  From  that  time 
to  1859  he  illustrated  many  of  the  most  notable 
works  of  tlie  day,  especially  of  poetry,  but  at 
length  he  determined  to  give  up  black  and  white 
work  and  take  to  more  congenial  labour  in  colour. 
His  first  work  in  the  Royal  Academy  represented 
a  farm  near  Anmdel,  and  was  hung  in  1859 ;  in 
the  following  year  he  was  an  Associate  of  the  Old 
Water-Colour  Society,  and  attained  full  rank  as  a 
member  two  years  afterwards.  The  death  of  his 
father  in  1861  was  not  altogether  a  loss  to  Foster, 
for  a  confusion  having  arisen  between  his  name 
and  that  of  his  parent  an  obituary  account  of  the 


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PAINTERS  AND  ENGRAVERS. 


artist  ^vaa  issued  praising  him  in  no  measured 
terms,  and  lamenting-  the  loss  caused  to  British 
art  by  so  untimely  a  decease.  This  was  at  once,  of 
course,  contradicted,  but  the  critics  had  already 
spoken,  and  the  reputation  of  Foster  gained  in 
strength  by  this  strange  occurrence.  In  1862 
Foster  settled  down  in  Surrey,  eventually  building 
a  house  at  Witley,  which  became  a  most  popular 
resort  for  his  artist  friends,  aud  in  which  he  resided 
for  many  years.  His  work  was  always  worthy  of 
respect,  conscientious  and  pleasing,  and  although 
it  ever  bore  traces  of  his  earlier  practice  of  black 
and  white  drawing,  and  was  as  elaborate  some- 
times in  its  stippling  as  though  it  was  intended 
for  a  block,  yet  this  fault  gradually  became  less 
and  less,  and  his  work  assumed  a  stronger  and 
broader  character.  He  had  a  great  love  for  the 
rustic  cottage  scenes  of  Surrey,  and  painted  them 
with  a  daintiness  and  loving  skill  which  few  have 
excelled.  His  greatest  triumphs  in  water-colour 
were  obtained  in  the  country  side,  in  the  winding 
lane,  the  hedgerow,  with  its  flowers  ;  the  cottage, 
the  hamlet,  or  the  village,  and  he  painted  all  these 
over  and  over  again  with  a  careful  attention  to 
details,  a  graceful  daintiness  and  a  fresiiness  of 
colour  which  invariably  caused  the  pictures  to  be 
popular  and  attractive.  There  was  a  sweetness 
and  a  gentleness  as  has  been  well  said  about  his 
work  which  redeemed  it,  and  although  it  was 
monotonous  it  never  failed  to  be  pleasant  and 
thoroughly  Enghsh.  His  home  at  Witley  was 
adorned  by  the  work  of  all  his  friends.  Burne 
Jones  painted  on  the  staircase,  Rossetti  adorned 
the  dining-room,  Keene  devised  some  of  the  stained 
glass,  Morris  and  Hunt,  Linnell,  Walker,  Pinwell, 
Houghton  and  Lewis,  all  had  their  share  in  the 
decoration,  and  the  result  was  very  remarkable 
and  of  great  beauty.  Towards  the  close  of  his 
life  Foster  had  to  leave  this  place,  and  settled  in 
failing  health,  and  with  his  mental  powers  at  times 
over-clouded,  at  Weybridge.  There  he  died  March 
27,  1899,  at  the  age  of  seventy-three,  having  made 
a  very  important  name  in  English  water-colour 
art.  He  was  in  earlier  days  fond  of  etching,  and 
produced  some  notable  plates.  He  also  worked  in 
lithography,  and  whatever  he  did  was  marked  by 
the  same  restful  charm,  daintiness  and  grace  which 
are  the  main  characteristics  of  his  well-known 
work  in  colour.  An  'Art  Annual  'respecting  him 
was  written  by  Mr.  Huish,  and  issued  by  the  '  Art 
Journal'  in  1890.  g  q   \\r^ 

FOSTER,  Thomas,  an  Irish  portrait  painter, 
was  born  in  1798.  He  came  to  England  early, 
and  entered  the  schools  of  the  Royal  Academy, 
where  he  exhibited  from  1819  to  1825.  He  died 
by  his  own  hand  in  1826.  Amongst  his  portraits 
are: 

Miss  Tree. 

Eight  Hon.  John  Wilson  Croker. 

Sir  Henry  Bishop,  the  composer. 

FOUACE,  Gdillaume,  a  French  painter  of  still 
life,  born  at  R^ville  (Manche) ;  a  pupil  of  Yvon ; 
exhibited  regularly  with  success  at  the  Salon  des 
Champs  Elys^es,  where  in  1884  he  obtained  an 
honourable  mention,  in  1891  a  medal  of  the  third 
class,  and  in  1893  a  medal  of  the  first  class.  He 
also  showed  much  talent  as  a  sculptor,  and  made 
his  mark  in  this  branch  of  art  in  the  Salon  of  1890. 
His  death  occurred  January  12,  1895. 

FOUGEEL, ,  a  Dutch  landscape  painter  and 

engraver,  flourished  in  the  early  part  of  the  17th 


century.  Three  very  tenderly  executed  plates,  now 
very  rare  are  known  by  him  :  '  The  Group  of 
Trees,  The  Avenue,'  and  ■  The  Terrace  ' 
_  FOUCHER,  Nicolas,  born  in  Paris  in  1650,  was 
mstructed  by  Mignard,  and  painted  portraits  and 
historical  subjects.  He  also  etched  in  a  spirited 
manner  the  portrait  of  'Jaque  Roland,  sieur  de 
1700  *'  "'^"'"'®  chirurgien.'  Foucher  died  about 
FOUCHIER,  Baktram  de,  a  Dutch  painter,  was 
born  at  Bergen-op-Zoom  in  1G09.  He  was  sent  to 
Antwerp  when  very  young,  and  there  became  a 
scholar  of  Van  Dyck,  but  when  that  master  left 
Antwerp  to  visit  England,  Fouchier  returned  to 
Holland,  where  he  studied  under  Jan  Bylert,  at 
Utrecht.  He  afterwards  went  to  Rome,  where  he 
remained  three  years,  and  would  probably  have  ac- 
quired a  distinguished  reputation  if  he  had  not  been 
imphcated  in  a  quarrel,  which  obliged  him  to  quit 
the  city.  The  fame  of  the  Venetian  painters  drew 
him  to  Venice,  where  he  particularly  devoted  him- 
self to  studying  the  works  of  Tintoretto.  After 
an  absence  of  eight  years  he  returned  to  Holland, 
where  he  soon  found  that  neither  the  style  he  had 
acquired  in  Italy,  nor  the  subjects  of  his  pictures, 
were  agreeable  to  tlie  taste  of  his  countrymen.  He 
therefore  abandoned  historical  painting,  and  applied 
himself  to  paint  similar  subjects  to  those  of  Ostade 
and  Brouwer,  representing  assembUes  of  peasants 
and  drunken  fruHcs,  which  were  admired  in  hia 
time,  and  are  still  to  be  found  in  tlje  collections 
in  Holland.     He  died  at  Bergen-op-Zoom  in  1674. 

FOULLON,  Benjamin,  the  son  of  Pierre  Foullon, 
a  native  of  Antwerp,  who  received  letters  of 
naturalization  from  Francis  I.  of  France,  flourished 
in  1583.  By  him  there  are  forty-eight  crayon 
drawings  in  tlie  National  Library  in  Paris,  which 
resemble  in  style  those  of  Franyois  Clouet.  He 
was  painter  at  the  court  of  Henry  IV.  of  France. 

FOUNTAIN.     See  La  Fontaine. 

FOUQUET,  Jean,  (or  Foucquet,)  a  French 
miniature  painter,  was  born  at  Tours  about  1415. 
At  that  time  there  were  two  different  schools  in 
France:  the  one  adopted  tne  principles  of  Van 
Eyck,  the  other  united  the  manner  of  that  artist 
with  the  Italian  style,  and  of  the  hitter  Fouquet 
was  a  great  adherent.  His  first-known  work  is 
dated  1461  ;  his  last,  1475.  He  was  court  painter 
to  Louis  XL,  and  died  in  1483.  Among  his 
miniatures  and  oil  paintings  are  the  following : 

Antwerp.  Gallery.     The   Virgin   and   Child.      {The 

half  of  an  altar-piece  in  oil. ) 

Frankfort.      £rentano-'\  Forty    Mmiatures,    painted    iu 

Laroche    [■     1461    for   Etienne    Chevalier, 

Collection.)     Tre.asurer     of    Charles     VII. 

(Three  more  are  in  other  private 

,  collections.) 

„  „  Etienne   Chevalier,  the    donor, 

and  St.  Stephen.     {The  other 

half  of  the  A  ntwerp  altar-piece. ) 

Munich.  Boyal  Library.  The  Miniatures  iu  a  French 
translation  of  Boccaccio,  by 
Pierre  Faure,  cur6  of  St. 
Denis.     1458. 

Paris.  National  Lihrary.  Eleven  Miniatures  in  a  French 
translation  of  Joseph us's  'His- 
tory of  the  Jews,'  representing 
scenes  in  the  life  of  Joseph. 

Versailles.  Gallery.     The  Portrait  of  Guillaume  Ju- 

venal des  Ursins  {in  oil). 

FOUQUlfcRES,  Jacqdes,  was  horn  at  Antwerp 
in  1680,  where  he  received  some  instruction  from 
Jodocus  De  Momper,  and  afterwards  studied  under 
Jan  Brueghel,  though  he  adopted  a  style  of  land- 

183 


A  BIOGRAPHICAL  DICTIONARY  OF 


scape  painting  very  superior  to  that  of  either  of 
those  masters,  and  in  this  branch  of  art  arrived 
at  an  excellence  that  induced  Rubens  occasionally 
to  employ  him  to  paint  the  backgrounds  of  his 
pictures.  Under  this  master  be  gained  so  high  a 
reputation  that  the  Elector  Palatine  employed  him  at 
his  court  when  still  young.  He  afterwards  visited 
Rome  and  Venice,  where  he  greatly  improved  his 
style  by  studying  the  works  of  Titian,  whose  fine 
landscapes  were  the  particular  objects  of  his  ad- 
miration. In  1621  he  went  to  Paris,  and  was  em- 
ployed by  Louis  XIII.  in  the  great  gallery  of  the 
Louvre.  His  pictures  were  so  much  admired  by 
that  monarch  that  he  conferred  on  him  the  honour 
of  knighthood,  which  mark  of  distinction  is  said 
by  D'Argenville  to  have  rendered  him  so  vain 
and  ridiculous,  that  he  afterwards  never  painted 
without  his  sword  by  his  side.  He  became  so 
proud  and  overbearing  that  his  insolent  conduct  to 
Nicolas  Poussin,  who  was  employed  by  the  king 
at  the  same  time  in  the  Louvre,  was  the  means  of 
depriving  France  of  the  talents  of  that  admirable 
painter,  who  left  Paris  in  disgust,  and  resided  at 
Rome  for  the  remainder  of  his  life.  Fouquieres 
was,  notwithstanding  these  foibles,  a  distinguished 
painter  of  landscapes;  his  pencil  is  free  and  firm, 
and  his  colour,  both  in  oil  and  in  fresco,  is  clear  and 
fresh,  though  occasionally  cold,  and  too  green.  The 
figures  with  which  he  embellished  his  landscapes 
are  correctly  drawn,  and  touched  witli  great  spirit. 
He  fell  into  disgrace,  and  died  in  Paris,  in  poverty, 
in  1659.  There  is  a  small  landscape  by  this  artist 
in  the  Darmstadt  Gallery,  and  another  in  the 
Bordeaux  Museum. 

FOUR,  N.  DD.     See  Dn  Four. 

FOURDRINIER,  Pierre,  was  a  French  engraver, 
who  flourished  for  upwards  of  thirty  years  in 
London.  He  engraved  many  plates  for  the  em- 
bellishment of  books,  plays,  and  pamphlets,  and 
also  executed  some  large  plates  of  architectural 
views,  which  are  his  best  performances.  Some  of 
these  were  for  a  large  folio  volume  of  the  '  Villas 
of  the  Ancients,'  published  by  Robert  Castell  in 
1728.  He  also  engraved  some  of  the  plans  and 
elevations  of  Houghton  Hall.  He  died  in  London 
in  1758. 

FOURMOIS,  Theodore,  a  Belgian  artist,  who 
was  born  at  Presles  in  1814,  first  devoted  himself 
to  pencil  drawing,  afterwards  to  water-colour,  and 
lastly  to  oil  painting.  He  was  a  diligent  and 
tasteful  artist,  and  painted  with  a  bold  brush. 
His  subjects  are  mostly  views  of  Brussels  and  the 
Ardennes.     He  died  at  Brussels  in  1871. 

FOURNIER, ,  a  French  engraver,  executed 

part  of  the  plates  for  a  small  folio  volume,  entitled 
'Les  Tableaux  de  la  Penitence.' 

FOURNIER,  Daniel,  an  a-la-mode  beefseller, 
shoemaker  and  engraver,  was  born  early  in  the 
18th  century.  He  published  in  1764  a  work  on 
Perspective,  and  died  about  1766.  There  is  a  mezzo- 
tint by  him  of  Cuthbert  Mayne,  a  Catholic  priest. 

FOURNIER,  Jacques.     See  Fornazeris. 

FOURNIER,  Jean,  a  native  of  France,  was  a 
scholar  of  F.  de  Troy,  and  gained  the  first  prize 
at  the  Royal  Academy  of  Painting  in  1737  for  a 
picture  of  '  Samson  and  Delilah.'  He  passed  the 
greater  part  of  his  artistic  life  at  the  Hague,  and 
painted  the  portraits  of  many  distinguished  persons 
of  his  time  ;  among  others,  those  of  the  Duke  of 
Cumberland  and  Admiral  Anson.  He  died  at  the 
Hague  in  1765. 

FOURNIER,  Jean  Baptists  FoBTUNfi  DE,born 
184 


at  Ajaccio,  Corsica,  in  1798,  studied  at  the  Poly- 
technic School  at  Naples,  and  was  distinguished  for 
his  water-colour  views  of  interiors,  as  '  The  Saloon 
of  Louis  XIV.  in  the  Tuileries.'  He  died  in  Paris 
in  1864. 

FOUTIN,  J.,  an  engraver  of  Chateaudun,  was        1 
probably  a  goldsmith,  as  the  only  prints  known  by        % 
him  are  some  plates  of  ornamental   foliage,  with 
grotesque  heads,  figures,  &c.,  dated  1619. 

FOWLER,  William,  a  draughtsman  and  en- 
graver, was  brought  up  as  a  carpenter  at  Winterton 
in  Lincolnshire,  where  he  died  in  1832. 

FOWLER,  William,  a  portrait  painter,  was  bom 
in  1796.  His  best  known  work  is  a  portrait  of 
Queen  Victoria,  which  was  engraved  in  mezzotint 
by  J.  R.  Jackson.     He  died  in  London  about  1880. 

FOX,  Charles,  who  was  born  at  Falmouth  in 
1749,  and  who  began  life  as  a  bookseller,  later 
turned  his  attention  to  art,  practising  both  land- 
scape and  portraiture.  He  likewise  published  some 
translations  from  the  Persian,  and  died  at  Bath  in 
1809. 

FOX,  Charles,  was  born  in  1794,  at  Cossey, 
near  Norwich,  where  his  father  was  steward  to 
Lord  Stafford,  of  Cossey  Hall.  Aiiter  a  period  of 
studying  engraving  under  Edwards  at  Bungay, 
he  came  up  to  London,  became  an  inmate  in 
the  studio  of  John  Burnet,  who  was  at  that  time 
engaged  in  engraving  some  of  Wilkie's  prin- 
cipal works,  and  assisted  Burnet  in  their  com- 
pletion. The  engravings  executed  entirely  with 
his  own  burin  are  several  small  plates  after  Wilkie 
for  Cadell's  edition  of  Sir  Walter  Scott's  novels, 
and  various  illustrations  to  the  Annuals  of  the 
day.  His  large  engravings  are  a  whole-length 
portrait  of  Sir  George  Murray,  after  Pickersgill ; 
'  The  First  Council  of  the  Queen,'  and  '  Village 
Recruits,'  after  Wilkie.  His  early  habits  and 
love  of  flowers  never  left  him  ;  and  on  Dr.  Lindley, 
his  fellow-townsman,  being  appointed  secretary 
of  the  Horticultural  Society,  Fox  was  chosen  as 
a  judge  and  arbitrator  for  tlie  various  prizes  ;  and 
during  the  whole  time  gave  the  greatest  satisfac- 
tion, both  on  account  of  his  scientific  skill  and 
his  strict  impartiality.  He  also  executed  all  the 
engravings  for  a  periodical  called  '  The  Florist.' 
At  the  time  of  his  decease,  which  took  place  at 
Leyton  in  1849,  he  was  engaged  upon  a  large  print 
after  Mulready's  picture  of  'The  Fight  interrupted.' 

FRACANZANO,  Cesare,  a  Neapolitan  painter, 
who  flourished  in  the  17tli  century,  was  a  pupil  of 
Spagnoletto.  He  died  in  France  some  years  after 
1657.  His  son,  Michelagnolo  Feacanzano,  who 
was  also  a  painter,  died  in  France  about  1685. 
There  is  in  the  Madrid  Gallery  a  picture  by  the 
latter,  representing  '  Two  Wrestlers.' 

FRACANZANO,  Francesco,  the  brother  of 
Cesare  Fracanzano,  was  a  pupil  of  Spagnoletto  and 
the  master  of  Salvator  Rosa,  whose  sister  he  had 
married.  His  married  life  was  an  unhappy  one,  as 
by  the  instigation  of  his  wife  he  committed  crimes 
for  which  he  suilered  death  at  Naples  in  1657. 

FRACASSI,  Cesare,  (or  Fracassini,)  was  bom 
in  1838.  He  studied  painting  in  Rome,  where  he 
executed  several  frescoes  for  San  Lorenzo.  He 
died  in  1868.  One  of  his  most  important  pictures 
is  'The  Martyrs  of  Gorinchum.' 

FRADELLE,  Henri  Joseph,  an  historical 
painter,  was  born  at  Lille  in  1778,  but  passed  his 
life  in  England.  From  1816  to  1855  he  occasion- 
ally exhibited  at  the  Royal  Academy,  but  his  works 
chiefly  appeared  at   the  British  Institution.      He 


/■■■ 


PAINTERS  AND  ENGRAVERS. 


died  in  1865.   Amongst  his  works  (several  of  which 
were  engraved)  are  : 

Milton  dictating  *  Paradise  Lost.'    1817. 

Mary,  Queen  of  Scots,  and  her  Secretary. 

Rebecca  and  Ivanhoe. 

Belinda  at  her  Toilet. 

The  Earl  of  Leicester  and  Amy  Eobsart. 

Queen  Elizabeth  and  Lady  Paget. 

Lady  Jane  Grey. 

FRAGONARD,  Alexandre  Evaristb,  a  French 
liistoricfil  painter,  was  born  atGrasse  in  1780.  He 
was  a  son  of  Jean  Honors  Fragonard,  and  studied 
under  David.  Besides  painting,  he  devoted  himself 
to  sculpture,  and  to  designs  for  lithography.  He 
died  in  Paris  in  1850.     His  chief  paintings  are : 

Maria  Theresa  and  her  Son. 

Francis  I.  kuighted.     1819.     (Versailles.) 

The   Triumphal  Entry  of   Joan  of  Arc  into  Orleans. 

(Orleans  Museum.) 
The  Burgesses  of  Calais  in  the  Tent  of  Edward  I. 
Francis  I.  receiving  Works  of  Art  brought  from  Italy  by 

Primaticcio. 
Henry  IV.  and  Gabrielle  d'Estr^es. 
Siege  of  Ptolemais.     (  Versailles.) 
Battle  of  Marignan.     1836.     ( Versailles.) 
FRAGONARD,  Hippoltte   Evariste  Etienne, 
a  French  historical  and  genre  painter  and   litho- 
grapher, was  horn  in  Paris  in  1806.     He  was  the 
grandson   of   Jean   Honore    Fragonard,    and   was 
for  many  years  connected  with  the  porcelain  manu- 
factory at  Sevres.    He  died  in  Paris  in  1876.    There 
is  at  Versailles  a  copy  by  him  of  Bronzino's  '  Isa- 
bella  of   Aragon    supplicating    Charles    VIII.    of 
France.' 

FRAGONARD,  Jean  Honors,  was  the  pupil  and 
legitimate  successor  of  Boucher,  and  the  last  of  the 
great  French  decorative  painters  of  the  18th 
century.  Born  at  Grasse  in  1732,  after  a  short 
probation  as  a  notary's  clerk  he  quitted  that  pro- 
fession, and  attended  the  atelier  of  Boucher,  who 
placed  him  under  the  influence  and  teaching  of 
Chardin,  by  whom  he  was  well  instructed  and 
where  he  made  rapid  progress.  He  is  said  to  have 
handled  the  brush  before  he  could  draw  a  line,  and 
obtained  the  Grand  Prix  de  Peinture  in  1752, 
though  he  had  not  yet  been  admitted  to  the 
Academy  course.  The  picture  by  which  he  gained 
the  prize  was  entitled  '  Jeroboam  sacrificing  to 
Idols.'  He  studied  at  Rome,  afterwards  visiting- 
Naples  and  Sicily,  and  many  of  the  drawings  made 
by  him  while  on  this  trip  were  engraved  by  the 
Abbd  de  St.  Non,  who  accompanied  him  and  his 
fellow-traveller,  Hubert  Robert.  He  returned  to 
Paris  in  1763,  and  exhibited  his  'Coresus  and 
Callirrhoe  '  two  years  later.  This  picture  was  given 
by  the  King  to  the  Gobelins  to  be  reproduced  in 
tapestry,  but  the  artist  applied  for  payment  of  his 
work  in  vain.  He  exhibited  once  more  at  the 
Salon  of  1767,  but  soon  deserted  the  classical  style 
of  painting  for  that  in  which  he  came  to  excel, 
exactly  hitting  off  the  corrupt  taste  of  the  time. 
His  famous  life-sized  portrait  of  the  celebrated 
dancer  La  Guimard,  with  whom  it  is  alleged  he 
had  tender  passages,  the  preludes  to  a  violent 
quarrel,  reminds  one  of  his  master  Boucher,  and  is 
in  the  collection  of  M.  Groult.  Fragonard's  work 
shows  great  variety  of  method,  sometimes  paint- 
ing very  rapidly,  with  a  broad  free  brush,  at 
other  times  finishing  hke  a  miniature  or  enamel. 
His  crayons  and  water-colour  drawings  are  char- 
acterized by  a  most  graceful  and  light  touch.  The 
beautiful  'Foire  de  St.  Cloud'  which  hangs  in  the 
dining-room    of   the   Banque    de    France  shows 


genuine  feeling  for  the  charm  and  colour  of  open 
air,  whilst  his  'Gardens  at  Fontainebleau  '  in  the 
Hertford  House  collection,  which  also  contains  'The 
Fountain  of  Pleasure'  and  'Chances  of  the  Swing" 
(this  latter  painted  for  the  Baron  St.  Julien,  and 
afterwards  in  the  possession  of  M.  de  Morny), 
is  much  to  be  admired.  He  again  visited  Italy  ia 
1773  on  the  invitation  of  M.  de  Bergeret,  and  the 
sketches  he  then  executed  are  preserved  at 
Besan^on.  The  year  1789  brought  Fragonard's 
brilliant  career  in  Paris  suddenly  to  a  close,  and 
after  a  brief  period  of  activity,  under  the  protection 
of  his  quondam  fellow-pupil,  the  all-powerful  David, 
during  which  he  was  nominated  one  of  the  Con- 
servateurs  du  Musee  by  the  Assemble  Nationale, 
he  retired  to  Grasse,  his  birthplace,  repeating  in 
an  old  house,  the  Maison  Malvilan,  his  familiar 
themes.  When  he  lied  from  Paris  he  is  said  to  have 
borne  with  him  four  works  which  he  had  begun 
in  1772  for  Madame  Dubarry's  Pavilion  of  Lou- 
veciennes,  and  these  he  adapted  to  the  walls  of 
the  principal  salon  on  the  ground  floor  of  the  house 
he  inhabited,  completing  the  series  by  the  addition 
of  a  fifth  subject.  These  five  paintings  were  sold 
on  February  8,  1898,  for  £50,000,  and  passing 
into  the  possession  of  Mr.  Pierpoint  Morgan,  were 
exhibited  by  him  at  the  Guildhall  in  London  in 
1902.  They  represent  '  The  Lovers'  Progress.'  The 
large  canvas,  'Love  and  the  Maiden,'  begins  the 
series.  The  maiden,  weary  of  wandering  alone, 
rests  and  dreams  at  the  foot  of  a  column  in  the 
shadow  of  alittle  wood,  while  Love,  hovering  above, 
seems  to  beckon  from  afar  the  lover  pictured  by 
the  girl's  fancies.  In  'The  Surprise  of  Love'  the 
lover  appears  and  finds  her  seated  in  her  garden, 
but  she  turns  from  him  in  fear.  '  The  Offering  of 
the  Rose  '  forms  the  third  of  the  series.  In  this  the 
maiden,  thinking  herself  alone  with  her  little  sister, 
is  suddenly  disturbed  by  the  advent  of  her  lover, 
who  propitiates  her  anger  with  a  rose.  In '  The 
Love  Letter'  the  girl  and  boy  read  the  letter 
together  whilst  he  holds  her  closely  embraced. 
Overhead  the  leafy  branches  cut  the  blue  sky  and 
luxuriant  creepers  wind  round  the  feet  of  a  marble 
statue.  The  fifth  panel  shows  'The  Crown  of 
Love '  bestowed  on  the  lover  by  his  mistress.  She 
holds  it  above  his  head,  he  kneels  to  receive  it, 
whilst  in  the  shadow  a  third  figure  sits,  a  youth, 
ready  with  sketch-book  and  pencil  to  immortalize 
the  happiness  of  liis  friend.  These  pictures  were 
engraved  by  Desboutins  and  reproduced  in  De 
Pourtale's  '  Fragonard.'  They  were  his  last  im- 
portant work,  and  breathe  the  air  of  amorous  gaiety 
which  rendered  his  talent  so  delightful  to  the  Paris 
of  his  youth.  He  returned  thitlier  but  found  no 
place  in  the  new  order,  dying  poor  and  obscure  at 
his  lodging  at  the  Louvre  on  August  22,  1806. 
Ilis  wife,  Marie  Anne  Gerard,  to  whom  he  wag 
married  in  1769,  was  distinguished  as  a  miniature 
painter.  She  was  born  at  Grasse  in  1745,  and  died 
in  Paris  in  1823.  An  account  of  Fragonard  and  of 
his  works  will  be  found  in  Lady  Dilke's  '  French 
Painters  of  the  Eighteenth  Century.'  Among  his 
chief  paintings  are  the  following  : 
Besancon.  The  Triumph  of  Bacchus. 

Lille.  Museum.  Adoration  of  the  Shepherds. 

London.    Wallace  Gall.  The  Chances  of  the  Swing. 
„  The  Fountain  of  Pleasure. 

',  „  Garden  of  the  Chiiteau  of  Fon- 

tainebleau. 

••  T,  .«•  1    f  The  entire  decoration  of  a  room, 

J.P.Morgans)      ^^^^^^j  ^^j.   g^^^^j.^  ^^,^  ^^^^ 

""■  V     belonging  to  M.  de  Malvilan. 
185 


Collection. 


A  BIOGRAPHICAL  DICTIONARY  OF 


Paris.  Louvre.  Coresus  and  CallirrhoS. 

„  „  The  Music-Lesson. 

„  „  A  Landscape. 

J,  ,,  The  Shepherd's  Hour. 

„  ,,  The  Bathers. 

„  „  A  Sleeping  Bacchante. 

„  ,,  Music. 

„  „  The  Storm. 

„  „  The  Inspiration. 

„  M.  GrouH.  L'amour  folie. 

^,  ,,  Le  coucher  des  ouvriers. 

„  Baron  G.de  EothschUd.  The  Sermon  of  Love. 

"^^'^         XZfh>ld.\  '^^^  Premeditated  Flight. 

There  are  by  this  artist  several  etchings  from  his 
own  designs,  and  after  various  masters,  among 
which  are  the  following  : 

The  Circumcision ;  after  Tiepolo. 

The  Circumcision  ;  after  Sehastiano  Eicci. 

Christ  with  the  Disciples  at  Emmaus  j  after  th£  sam€. 

The  Last  Supper  ;  after  the  same, 

St.  Eoch  ;  after  Tintoretto. 

The  Conception  ;  after  the  same. 

The  Presentation  ;  after  the  same. 

Four  Bacchanalian  subjects  ;  after  his  ow}i  designs. 

L'Armoire.    1778. 

FRAISINGER,  Kaspar,  a  painter  and  etcher 
of  Ingoldstadt,  in  Bavaria,  died  at  that  town 
in  1600.    The  following  etchings  are  by  him  : 

The  Virgin.     1595. 

The  suffering  Redeemer  attended  by  two  Angels.  1598. 
The  suffering  Redeemer  seated  on  a  Stone.     1599. 
The  Virgin  lamenting  over  the  Dead  Body  of  Christ. 
1599. 

FRANQAIS,  Francois  Louis,  French  painter 
born  at  Plombiferes  (Vosges),  November  17,  1814. 
Commenced  mathematical  studies  which  he  could 
not  continue,  but  at  fifteen  years  of  age  went  to 
Paris,  where  he  became  office  boy  to  a  librarian. 
After  five  years  of  hard  struggle  he  was  able 
to  live  by  his  designs,  executing  wood-cuts  for 
Editions  de  luxe,  and  made  himself  a  name  as  a 
lithographer.  He  then  studied  under  Gigoux  and 
Corot,  and  produced  his  first  landscape  at  the 
Salon  of  1837,  entitled  '  A  Song  under  the  Willows,' 
painted  with  H.  Baron.  He  afterwards  exhibited 
'  Antique  Garden,  Park  of  St.  Cloud,'  with  figures 
by  Meissonier.  His  picture  of  '  An  Italian  Sunset' 
is  in  the  Luxembourg.  Prince  Napoleon  pur- 
chased his  '  View  at  Basmeudon '  in  1863.  An 
occasional  portrait,  such  as  that  of  M.  Ilde- 
fonse  Rousset  in  1874;  and  a  decorative  panel, 
'  L'hiver,'  for  the  Beauvais  Manufactory  in  1888, 
varied  his  long  series  of  landscapes.  He  gained  a 
third  class  medal  in  1841,  and  a  first  class  in  1848. 
He  also  obtained  first  class  medals  at  the  Universal 
Exhibitions  of  1855  and  1867,  also  a  medal  of 
honour  at  that  of  1878,  and  the  medal  of  honour 
at  the  Salon  of  1890.  Chevalier  of  the  Legion  of 
honour  in  July  1853,  he  was  promoted  officer 
June  29,  1867.  Elected  a  member  of  the  Academy 
des  Beaux-Arts,  replacing  Robert  Fleury,  July  6, 
1890,  he  also  became  a  member  of  the  Institute  of 
France.     He  died  in  Paris  in  1897. 

FRANCART,  Gilbert,  a  French  painter,  whose 
only  known  work  is  a  picture  of  '  St.  Sebastian  '  in 
the  church  of  Bazoches-du-Morvand.  It  is  well 
drawn  and  coloured  in  the  style  of  Le  Brun,  and 
dated  1661.     He  was  still  living  in  1692. 

FRANCESCA,  Piero  della.    See  Dei  Fran- 

CESCHI. 

FRANCESCHI,  Paolo,  called  Paolo  Fiammingo, 
was  born   at  Antwerp    in   1540,  but  went  when 
186 


young  to  Venice,  where  he  became  a  scholar  of 
Tintoretto,  and  resided  during  the  remainder  of 
his  life.  He  principally  excelled  in  painting  land- 
scapes, although  he  sometimes  produced  historical 
subjects.  In  the  church  of  San  Niccolo  de'  Frari, 
at  Venice,  are  two  pictures  by  this  master,  of  '  The 
Descent  from  the  Cross,'  and  '  St.  John  preaching 
in  the  Wilderness,'  and  in  the  Munich  Gallery  is 
'The  Dead  Christ  in  the  lap  of  the  Virgin.'  He 
was  employed  by  the  Emperor  Rudolph  II.,  for 
whom  he  painted  several  landscapes  and  other  sub- 
jects. He  died  at  Venice  in  1596. 
FRANCESCHIELLO.  See  La  Mora. 
FRANCESCHINI,  Baldassare,  called  II  Vol- 
TEERANO,  the  son  of  Gasparo  Franceschini,  a 
sculptor,  was  born  at  Volterra  in  1611.  He  was 
called  '  II  Volterrano  giuniore,'  to  distinguish 
him  from  Daniele  Ricciarelli  da  Volterra,  and  first 
studied  under  Matteo  Rosselli,  but  he  afterwards 
became  a  scholar  of  Giovanni  da  San  Giovanni. 
He  is  said  to  have  excited  the  jealousy  of  that 
master,  who,  having  engaged  him  as  his  coadjutor 
in  some  works  in  the  Palazzo  Pitti,  after  witnessing 
his  capacity,  thought  it  prudent  to  dismiss  him. 
He  was  one  of  the  most  distinguished  fresco 
painters  of  his  time,  and  was  more  employed  in 
that  line  than  in  easel  pictures.  He  died  at 
Florence  in  1689.  His  most  important  productions 
are  as  under : 
Bordeaux.         3fuseum.     Moses  before  Pharaoh. 

„  „  Apollo  and  Marsyas. 

„  „  The  Apotheoas  of  Ovid. 

Florence.  S.  Annunziata.     The  Coronation  of   the  Virgin. 
(H/s  best  work.) 

„        Ducal  Palace.    Four  large  paintings,  represent- 
ing the  Deeds  of  the  Medici. 

„  Pitti  Palace.     Venus. 

„  Sleeping  Cupid. 

Ufjizi.     St.  Pet«r.  ^ 

„  „        St.  Catharine  of  Siena. 

„  „         An  Augustinian  Friar. 

„      S.  M.  Maggiore.    The  Ascension  of  Elijah. 

„         .S.  M.  Nuova.     St.  Louis. 

.,         S.  Felicita.         The  Ascension  of  the  Virgin. 
Volterra.       Convent  of  )  ^  ,    ,  .. 

JBadia  di  S.    LSeveral    large    frescoes,  repre- 
Giusto.       J      sentmg  Elijah. 

„  S.  Agostino.     St.  Roch. 

„  „  The  Purification  of  the  Virgin. 

FRANCESCHINI,  Domenico,  was  an  indifi'erent 
Italian  engraver,  by  whom  we  have  a  slight  etching 
o£  the  '  Amphitheatre  of  Flavins,'  dated  1725. 

FRANCESCHINI,  Giacomo,  the  son  and  scholar 
of  Marc  Antonio  Franceschini,  was  born  at  Bologna 
in  1672.  He  painted  historical  pictures  in  the  style 
of  his  father,  and  there  are  some  of  his  works  in  the 
churches  at  Bologna.  In  Santa  Maria  Incoronata 
is  a  picture  of  '  St.  Usualdo,  St.  Margaret,  St. 
Lucy,  and  St.  Cecilia ' ;  in  San  Simone,  '  The 
Crucifixion';  and  in  San  Martino,  'St.  Anne.' 
Franceschini  died  at  Bologna  in  1745. 

FRANCESCHINI,  Cavaliere  Marc  Antonio, 
who  was  the  founder  of  the  Upper  Italian  school, 
and  whose  first  performances  are  to  be  met  with 
at  Imola,  Ozzano,  and  Piacenza,  was  born  at  Bologna 
in  1648.  From  the  Academy  of  Giovanni  Maria 
Galli  he  passed  into  that  of  Carlo  Cignani,  of  whom 
he  became  the  most  assiduous  assistant.  Together 
with  that  master  he  completed  the  works  in  the 
Palazzo  del  Giardino  of  the  Duke  Ranuccio  II.  at 
Parma,  which  were  begun  by  Agostino  Carracci. 
Franceschini  also  painted  under  Cignani  at  Bologna, 
Piacenza,  Modena,  Reggio,  and  other  places,  in 
fresco,  tempera,  and  oil.  Endowed  with  such 
capacities,  Franceschini  met  with  great  encourage- 


PAINTERS  AND  ENGRAVERS. 


Brunswick.  Gallery. 
Copenhagen.  Gallery. 
Dresden,  Gallery. 

)'  )) 

Edinburgh.  Nat.  Gall. 
Florence.  U^zi. 

Modena.  Estense  Gall. 
Petersburg.  Hermitaije. 
Vienna.  Gallery. 


tnent.  In  1702  he  painted  scenes  from  the  history 
of  the  Republic  in  the  Council-paLace  at  Genoa,  and 
in  1711  designed  at  Rome  for  Pope  Clement  XI. 
several  cartoons  for  the  mosaics  in  St.  Peter's,  for 
which  he  was  honoured  with  the  Order  of  Christ. 
On  returning  to  Genoa  in  1714,  he  executed  several 
frescoes  and  paintings  in  the  church  of  the  Padri 
rilippini,and  in  the  Pallavicini  and  Durazzo  palaces. 
After  having  adorned  the  chapel  of  the  Madonna 
del  Carmine  at  Crema,  in  1716,  he  returned  to 
Bologna,  and  did  not  let  his  brush  rest  until  he 
was  nearly  eighty  years  of  age.  He  died  there 
in  1729.  His  principal  works  at  Bologna  are  a 
ceiling  in  the  Palazzo  Ranuzzi ;  a  fine  picture  of 
the  '  Annunciation'  at  the  Pinacoteca;  the  '  Death  of 
St.  Joseph,'  in  the  church  of  Corpus  Domini;  'St. 
John  in  the  Isle  of  Patmos,'  in  La  Carita ;  and  '  St. 
Francia  of  Sales  kneeling  before  the  Virgin  and 
Infant,'  in  La  Madonna  di  Galeria.  At  Rimini,  in 
the  church  of  the  Augustines,  is  a  fine  picture  of 
'  St.  Thomas  of  Villanova  giving  Alms  to  the 
Poor.'  His  picture  of  the  '  Founders  of  the  Order,' 
at  the  Padri  Servi  at  Bologna  ;  and  his  '  Pieti,'  at 
the  Agostini  at  Imola,  painted  when  he  was  near 
eighty,  have  no  appearance  of  feebleness  or  senility. 
Other  paintings  by  him  are : 
Bologna.  Pinacoteca.  Holy  Family. 
^  "  ^  "  Joseph  and  Potiphar's  Wife. 

Diana  as  a  Huntress. 

A  Magdalen. 

Birth  of  Adonis. 

St.  Jerome. 

Oupid. 

Genii  bearing  flowers. 

The  Judgment  of  Paris. 

The  penitent  Magdalen. 
„  „         Charity. 

„  „         St.  Charles  Borromeo  during  the 

Plague  at  Milan.     1576. 
„  „         Venus  and  Cupid. 

„  „         Jacob  and  Ra<.-hel. 

FRANCESCHINI,  Vincenzo,  was  probably  a 
relation  of  Domenico  Franceschini.  He  executed 
part  of  the  plates  for  the  'Museo  Fiorentino,' 
published  in  1748. 

FRANCESCHINO.    See  Caeracci,  Francesco. 

FRANCESCHITTO,  (or  Francisqdito,)  is  stated 
to  have  been  a  native  of  Spain,  bom  at  Valladolid 
in  1681,  and  a  scholar  of  Luca  Giordano,  who  was 
accustomed  to  assert  that  the  disciple  would  surpass 
his  master.  He  accompanied  that  painter  to  Italy, 
on  his  leaving  Madrid,  and  at  Naples  gave  proof  of 
the  prediction  of  Luca,  in  a  picture  which  he 
painted  for  the  church  of  Santa  Maria  del  Monte, 
representing  '  St.  Pasquale,'  with  a  beautiful  choir 
of  angels,  and  a  grand  landscape.  This  promising 
artist  died  at  Naples  in  1705. 

FRANCESCO.    See  Liechtenreiter,  Franz. 

FRANCESCO  d'  ALBERTINO.     See  Ubertini. 

FRANCESCO  da  COTIGNOLA.    See  Dei  Zaga- 

NELLI. 

FRANCESCO  di  CRISTOFANO.     See  Bioi. 

FRANCESCO  di  GENTILE  da  Fabkiano.  See 
Fabriano. 

FRANCESCO  di  GIORGIO,  who  was  bom  at 
Siena  in  1439,  was  more  famous  as  an  architect  and 
an  engineer  than  as  a  painter.  His  paintings  are 
cold  and  unrelieved,  and  the  strange  conceits  in  his 
composition  are  both  surprising  and  unpleasant. 
Six  or  eight  panels  by  him  are  still  in  the  Academy 
of  Siena,  and  tliere  is  an  altar-piece  by  him  with 
scenes  from  the  life  of  '  St.  Benedict '  in  the  Uftizi 
at  Florence.     His  brilliant  successes  in  the  laying 


out  of  fortresses,  and  in  the  invention  of  means 
for  their  attack  and  reduction,  were  only  surpassed 
by  Leonardo  da  Vinci,  whom  he  met  in  1490  at 
Pavia.     He  died  in  1502 

FRANCESCO  di  GIOVANNI,  who  lived  at  Flor- 
ence in  the  15th  century,  is  the  author  of  a  '  Dead 
Christ,'  painted  in  1491,  and  now  in  one  of  the 
chapels  of  the  Pieve  of  that  city.  He  had  a  son 
named  Raffaello,  who  finished  an  altar-piece  ordered 
of  his  father  in  1504  by  the  church  of  Empoli. 
It  represents  the  '  Deposition  from  the  Cross,'  and 
is  now  in  the  UfBzi  Gallery  at  Florence. 

FRANCESCO  di  MARCO.     See  Raibolini. 

FRANCESCO  di  SIMONE.     See  Santa  Croce. 

FRANCESCO  di  STEFANO,  commonly  called 
Pesellino,  to  distinguish  him  from  his  grandfather 
Pesello,  was  born  at  Florence  in  1422.  His  father, 
Stefano,  who  was  a  painter,  died  before  1427,  and 
left  his  widow,  the  daughter  of  Pesello,  in  poor 
circumstances.  It  thus  happened  that  the  young 
Francesco  was  brought  up  by  his  grandfather,  with 
whom  he  remained  till  the  old  man  died,  in  1446, 
when  he  continued  to  carry  on  the  business  in  the 
atelier  till  he  himself  died  young,  in  1457,  at 
Florence.  In  his  works  he,  to  some  extent,  copied 
the  style  of  Filippo  Lippi,  and  the  predella  of  an 
altar-piece  by  that  artist  in  the  Florence  Academy 
is  said  to  be  by  him : 

The  following  are  the  works  usually  ascribed  to 
Pesellino: 

Florence.  Academy.  The  Nativity ;  Miracle  of  St. 
Antliony  of  Padua;  Martyr- 
dom of  St.  Cosmo  and  St. 
Damian.  {Fart  of  the  predella 
of  the  '  Virgin  and  Saints ' 
by  Filippo  Lippi,  also  in  the 
Academy.) 

1  Three  scenes  from  the  Life  of  St. 

J  Nicholas.  {Predella  from  the 
Cappella  Cavalcanti,  in  Santa 
Croce,  FloreTice.) 

\  Meeting  of  David  and  Goliath 

j       [cassone). 
David  Triumphant  (cassone). 

Annunciation. 

Virgin  and  Child. 

St.  Bernardino  preaching  in  the 
Cathedral  at  Florence. 

A  Trinita  {from  the  church  of 
the  Trinita,  Pistoja). 

St.  Francis  receiving  the  Stig- 
mata ;  St.  Cosmo  and  St. 
Damian  healing  a  sick  man. 
{Part  of  the  predella  of  the 
*  Virgin  and  Saints '  by  Filippo 
Lippi,  in  the  Academy,  Flor- 
ence.) 

The  Nativity.  (Ascribed  in  the 
catalogue  to  Filippo  Lippi,  but 
Crowe  and  Cavalcaselle  attri~ 
bute  it  to  Pesellitio.) 

Two  Scenes  from  the  Life  of  St, 
Sylvester. 

FRANCESCO  di  TOLENTINO.  See  Tolentino.' 
FRANCESE,  Claddio.  See  Claude. 
FRANCHI,  Antonio,  an  Italian  historical  painter, 
was  born  at  Lucca  in  1634,  and  settled  at  Florence. 
He  was  a  scholar  of  Baldassare  Franceschini, 
called  II  Volterrano,  though  he  rather  followed  the 
style  of  Pietro  da  Cortona.  His  picture  of  '  St. 
Joseph  of  Calasanzio,'  in  the  church  of  the  Padri 
Scolopi,  is  admired  for  the  correctness  of  its  de- 
sign and  the  vigour  of  its  effect.     His  best  work, 

187 


Buonarroti 
Coll. 


r  Palazzo 

Torriyiani. 

)»  " 

„  Santo  Spirito 

{formerly  the 
sisterhood  of  S. 
Giorgio). 
Frankfort.  Stddel, 

liverpool.  Gallery. 


London. 
Paris. 


Nat.  Gall. 
Louvre. 


Rome,       Doria  Palace. 


A  BIOGRAPHICAL  DICTIONARY  OP 


'  Christ  giving  the  Keys  to  St.  Peter,'  is  in  the 
parochial  church  of  Caporgnano  near  Lucca.  He 
was  employed  by  the  Grand-Duke  of  Tuscany,  for 
whom,  as  well  as  for  private  collections,  he  painted 
several  easel  pictures.  He  wrote  a  book  on  art, 
entitled  '  La  Teorica  della  Pittura,'  printed  at 
Lucca  thirty  years  after  his  death.  He  died  in 
1709.  His  son  and  daughter,  Giuseppe  and  Mab- 
GHERITA,  also  became  artists. 

FRANCHI,  Cesare,  who  gained  repute  by 
painting  figures  of  a  email  size,  was  a  native  of 
Perugia,  and  was  instructed  by  Giulio  Cesare 
Angeli.     Franchi  died  in  1615. 

FRANCHI,  Lorenzo,  was  born  at  Bologna  about 
1563,  and  was  instructed  by  Camillo  Prooaccini ; 
but  after  leaving  that  master  he  attached  himself 
to  the  manner  of  the  Carracci,  whose  works  he 
copied,  or  imitated  in  small.  He  became  eminent 
in  this  way ;  but  the  masters  he  chose  for  his 
models  have  the  credit  of  the  performance,  and 
the  name  of  Lorenzo  Franchi  is  scarcely  recog- 
nized out  of  his  own  country.  He  died  about 
1630. 

FRANCHINI,  Niccol6,  who  was  born  at  Siena 
in  1704,  and  died  in  1783,  was  a  son  of  the  sculptor 
Qiacomo  Franchini.  Among  his  pictures  in  Siena 
are  '  St.  Francis  of  Sales,'  in  the  Baptistery  (now 
San  Giovanni) ;  '  St.  Christopher,'  in  Sant'  Agostino ; 
and  the  '  Death  of  the  Virgin,'  in  San  Giorgio. 
FRANCHOYS,  Lucas.  See  FRANgois. 
FRANCI,  Francesco,  who  was  born  at  Siena  in 
1658,  and  died  there  in  1721,  has  left  in  that  city 
a  number  of  pictures,  among  which  may  be  named 
'  St.  Jerome,'  at  the  church  of  Fonte  Giueta,  and  a 
'Last  Supper'  in  the  refectory  of  the  Osservanti. 

FRANCIA,  DoMENico,  a   painter  and  architect, 
bom  at  Bologna  in  1702,  was  a  son  of  the  engraver 
Francesco   Maria  Domenico  Francia,  and   studied 
under   Ferdinando  Galli   (called    Bibiena),  whom 
he  assisted  in  his  paintings  at  Vienna.     He  was 
afterwards  appointed  builder  to  the  King  of  Sweden, 
and  on  the  expiration  of  this  service  painted  at 
other  European  courts.     He  died  in  1758. 
FRANCIA,  Francesco  Giacomo.    See  Raibolini. 
FRANCIA,  Francois   Louis  Thomas,  a  water- 
colour  ]and.scape   painter,  was  born  at  Calais  in 
1772.     In   early   life   he   settled  in   London,  and 
exhibited  at  the  Royal  Academy  from  1795  to  1822. 
He  attained  considerable  reputation,  and  was  ap- 
pointed water-colour  painter  to  the  Duchess  of  York. 
He  was  an  unsuccessful  candidate  for  the  associate- 
ship  of  the  Academy  in  1816,  and  shortly  after- 
wards returned  to  his  native  place,  where  he  died 
in  1839.     There  are  nine  of  his  works  in  the  South 
Kensington  Museum. 
FRANCIA,  GiDLio.    See  Raibolini. 
FRANCIA,   PiETRO,  was   a  native  of  Florence 
who  painted  for  the  catafalque  of  Michelangelo  a 
work  representing  that  artist  standing  before  Pope 
Pius  IV.,  holding  in  his  hands  the  model  of  the 
cupola  of  St.  Peter's  at  Rome,  1563.     Alessandro 
del  Barbiere  was  his  pupil. 
FRANCIABIGIO.     See  BiGi. 
FRANCIONE,  Pedro,  was  a  Spanish  artist  who 
flourished  about  the  year  1521,  and  whose  works 
are  to  be  found  at  Naples. 
FRANCIOSO.     See  Jaquet. 
FRANCIS.     See  Conscience,  FRANgois  Antoine 
FRANCISCO,  Don.    See  Fbancken,  Fhans,  the 
younger. 

FRANCISQDE.     See  Millet. 
FRANCISQUITO.    See  Franceschitto. 
188 


FRANCK,  FRAKgois.    See  also  Franckkn. 

FRANCK,  Franz  Friedrich,  born  at  Augsburg 
in  1627,  was  instructed  by  his  father,  Hans  Ulrich 
Franck.  He  died  at  Augsburg  in  1687.  The 
following  productions  are  by  him : 

Augsburg.        St.  Anna.     The  History  of  JMob  and  Esau. 

Carlsruhe.      Ducal  Pal.    The  Passage  of  the  Eed  Sea. 

Mannheim.  Gallery.    The  Israelites  after  the  Passage 

through  the  Red  Sea. 
„  „  A  Saloon  of  Pictures  and  An- 

tiquities. 

Eatisbon.  Cathedral.    St.  Francis  dying. 

Vienna.  Gallery.     Portrait  of  a  Man. 

FRANCK,  Hans.     See  LtJTZELBURQER. 

FRANCK,  Hans  Ulrich,  a  German  historical 
painter  and  etcher,  was  born  at  Kaufbeuren,  in 
Swabia,  in  1603.  He  resided  chiefly  at  Augsburg, 
where  he  died  in  1680.  Among  other  engravings 
the  following  are  by  him  : 

Twenty-five  plates  of  scenes  in  Military  Life.     1656. 
The  Meeting  of  David  and  Abigail. 
Alexander  and  the  dying  Darius.     1644. 

FRANCK,  Jan  Willem,  a  Dutch  painter  of 
flowers,  birds,  and  fruit,  was  born  at  the  Hague  in 
1720.  He  copied  after  Berchem,  Potter,  Wynants, 
Van  de  Velde,  Van  Huysum,  &c.,  and  died  at  the 
Hague  in  1761. 

FRANCK,  Johann,  an  engraver,  was  the  son 
of  Hans  Ulrich  Franck.  He  engraved  several 
portraits  for  the  booksellers,  of  which  are  some 
of  those  in  Priorato's  '  Historia  di  Leopoldo  Ce- 
sare,' 1670 ;  and  in  conjunction  with  Susanna 
Sandrart  and  J.  Meyer,  he  engraved  a  set  of  plates 
of  the  gardens  and  fountains  in  the  vicinity  of 
Rome. 

FRANCK,  Joseph,  a  Belgian  line-engraver,  was 
born  at  Brussels  in  1825.  He  was  a  pupil  of  Cala- 
matta,  and  engraved  many  portraits  and  other 
plates  after  ancient  and  modem  masters,  besides 
which  he  completed  the  engraving  of  Rubens's 
'  Descent  from  the  Cross,'  which  had  been  left 
unfinished  by  Erin  Corr.  He  died  in  1883.  His 
principal  works  are : 

The  Virgin  with  the  Lily  ;  after  Leonardo  da  Vinci. 

The  Entombment  of  Christ;  after  Quentin  Massi/s. 

A  Pieta ;  after  Van  Dyck. 

The  Prisoner  ;  after  Gerome. 

Paul  and  Virginia ;  after  Van  Leriiti, 

Ijb.  Glycine  ;  after  Portaels. 

Meditation  ;  after  A .  Robert. 

FRANCKALLS,  Baptist,  an  obscure  engraver, 
is  mentioned  by  Florent  Le  Comte,  who  says  he 
excelled  in  engraving  tournaments,  theatrical 
scenes,  and  magnificent  decorations. 

FRANCKEN  (or,  as  it  is  sometimes  written, 
Franck,)  is  the  name  of  a  numerous  family  of 
Flemish  painters,  whose  works  are  found  in  many 
of  the  public  galleries  of  Europe.  Owing  to  the 
fact  that  they  all  painted  much  in  the  same  style 
as  Frans  Francken  the  elder,  who  was  a  pupil  of 
Frans  Floris,  and  the  chief  of  the  family,  their 
works  have  doubtless  been  ascribed  in  some  cases 
wrongly. 

Nicolaes  Francken 


Hieronymus  I. 
(1510-16101 


|1620?-1696) 

Frans  I. 
11542—1616) 


Ambrosius  I. 
(1614—1618) 


Hieronymus  IL 
(167S-1629) 


Frans  II. 
(1581—1642) 


Frans  III. 
(1607— 16«7) 


Ambrosius  II. 
( ? 1632) 


Hieronymus  III. 
(1611—?) 

Constantinua 
116U-1717) 


PAINTERS  AND  ENGRAVERS. 


Antwerp.         Gallery. 


FBANCKEN,  Ambrosius,  the  elder,  a  younger 
son  of  Nicolaes  Francken,  was  bom  at  Herenthals, 
in  1544.  He  was  instructed  in  the  art  of  painting 
by  Marten  De  Voa,  or,  according  to  other  writers, 
by  Frans  Floris.  About  the  yfear  1570  he  visited 
France,  and  in  1573  became  a  master,  and  in 
1581-82  the  dean  of  the  Guild  of  St.  Luke  at 
Antwerp.  Though  his  productions  are  too  over- 
charged in  every  respect,  Ambrosius  possessed  a 
fecundity  and  warmth  of  invention  which  was 
superior  to  that  of  his  brothers.  He  died  at  Ant- 
werp in  1618.  His  most  important  works  are  the 
following : 

Martyrdom  of    St.   Crispin   and 

St.  Crispinian. 
Scenes     from     the     Lives     and 
Martyrdom  of  St.  Cosmo  and 
St.  Damian.     [The  wings  of  a 
triptych.) 
Scenes    from    the    Life    of    St. 

Sebastian. 
The  Miracle  of  the  Loaves  and 

Fishes.     1598. 
The  Last  Supper.     {A  triptych.) 
The  Disciples  at  Emmaus.     {The 
left  iciji(/  of  the  above  triptych.) 
Melehizedek     sacrificing.        [The 

reverse  of  the  same.) 
The  Ordination  of  St.  Paul  and 
St.  Barnabas.     [The  right  wing 
of  the  above  triptych.) 
Visit  of  the  Angel  to  Elijah.    [The 

reverse  of  the  same.) 
Scenes    from    the    Life    of    St. 
George.     {The  wings  of  a  trip- 
tych.) 
St.  George    and    St.    Margaret. 

{The  reverses  of  the  above.) 
The  Martyrdom  of  St.  Catharine. 
Christ  raising  the  Daughter  of 

Jairus. 
Chri,st  and  the  Adulteress. 
{The  ttoo  laterals  of  an  altar-piece 
painted  in  1600.) 
„  Christ   on  the  Mount  of  Olives 

with  the  Disciples.  {The  reverse 
of  both  wings.) 
Gallery.     Mary,  the  Queen  of  Heaven. 

FRANCKEN,  Ambrosids,  called  the  younger, 
to  distinguish  him  from  his  uncle  of  the  same 
name,  was  bom  at  Antwerp  in  the  latter  part  of 
the  16th  century.  He  studied  under  his  father, 
Frans  Francken  the  elder,  whose  style  he  imi- 
tated. In  1624  he  was  registered  as  a  master  in 
the  Guild  of  St.  Luke  at  Antwerp,  and  he  is  said 
to  have  painted  some  time  in  Louvain.  He  died 
in  1632.     Little  else  is  known  of  him. 

FRANCKEN,  Constantinds,  a  skUful  painter  of 
siege  and  battle  scenes,  born  at  Antwerp  in  1661, 
was  the  son  of  Hieronymus  Francken  the  third, 
and  grandson  of  Frans  Francken  the  younger. 
In  1694  he  became  dean  of  the  Guild  of  St.  Luke. 
'  The  Siege  of  Namur,'  with  William  HI.  and  his 
generals,  is  by  some  considered  his  best  work. 
He  died  at  Antwerp  in  1717. 

FRANCKEN,  Frans,  the  elder,  the  second  son 
of  Nicolaes  Francken,  was  born  at  Herenthals  in 
1542,  and  learned  painting  in  the  school  of  Frans 
Floris.  In  1567  he  received  the  freedom  of  the 
city  of  Antwerp,  and  became  a  master  in  the  Guild 
of  St.  Luke,  of  which  he  was  dean  in  1588-89.  He 
possessed  great  ability  in  design  and  in  colouring, 
but  his  pictures  are  wanting  in  depth  and  spirit. 
After  1697  he  signed  his  paintings  D  o  F.  {den, 
ouden  Frans),  '  the  elder  Francis.'  He  died  at 
Antwerp  in  1616.  His  portrait  has  been  etched 
by  Van  Dyck.     Among  his  pupils  were  his  sons. 


Hieronymus,  Frans,  and  Ambrosius  Francken,  G. 
Goltzius,  Jan  De  Waal,  and  Herman  van  der 
Maest.  The  following  are  among  his  principal 
works  : 


/St.  Jacques. 

St.  Jacques. 


Dresden. 


Amsterdam.    Museum.  The  Holy  Family. 

Antwerp.  Gallery.  Eteocles  and  PolyniceR. 

BerUn.  Gallery.  Christ  on  the  Cross. 

Brunswick.        Gallery.  Overthrow   of    Pharaoh   in   the 
Red  Sea. 

„  ,,  Neptune  and  Galatea. 

„  „  King  Midas. 

„  „  The  Opening  of  Joseph's  CofiSn. 

„  „  The  Adoration  of  the  Magi. 

.,  The  King's  Marriage  Feast. 

Gallery.  Christ  stripped  of  His  Garments. 

„  Esther  before  Ahasuerus. 

Gallery.  Christ  going  to  Calvary.     1597. 

„  The  Flight  into  Egypt. 

„  Innocence  and  Slander. 

„  The  Creation  of  Eve. 

„  The  Creation  of  Animals. 

Nat.  Gall.  St.  Christopher  and  the  Infant 
Christ. 

Gallery.  The  Procession  to  Calvary. 

Museum.  Christ  on  the  Mount  of  Olives. 

Galleiy.  A  Banquet,  with  Musicians. 

Louvre.  Esther   appearing   before  Ahas- 


Darmstadt. 
Dresden. 


Dubhn. 

Glasgow 
Lille. 
Munich 
Paris. 

Pommers- 
felden. 


Gallery.    The  Seven  Works  of  Mercy. 


Stockholm. 
Stuttgart. 

Vienna. 


Museum. 
Gallery. 

Gallery. 


The  Annunciation  to  the  Shep- 
herds. 

The  Sacrifice  at  Lystra. 

Lazarus  and  Dives. 

The  Wise  Men  presenting  their 
Gifts. 

A  Saloon  with  Pictures. 

A  Cavalier  leading  a  Lady  out  to 
Dance. 
„  „  The  Scourging  of  Jesus. 

FRANCKEN,  Frans,  the  younger,  called  Don 
Francisco,  was  a  younger  son  of  Frans  Francken 
the  elder,  and  was  born  at  Antwerp  in  1581.  Ho 
was  instructed  in  the  art  by  his  father,  whose 
style  he  followed  for  some  time.  He  afterwards 
visited  Italy,  and  resided  chiefly  at  Venice,  where 
he  studied  the  works  of  the  great  colourists  of 
that  school.  After  an  absence  of  three  years  he 
returned  to  Antwerp,  and  in  1605  was  received 
into  the  Guild  of  St.  Luke,  of  which  he  was 
dean  in  1614-15.  He  died  at  Antwerp  in  1642. 
His  paintings  represent  scenes  from  the  Bible  and 
mythology,  allegories,  balls,  masquerades,  festi- 
vals, and  landscapes,  with  figures  of  a  small  size. 
The  figures  in  the  works  of  the  younger  De 
Momper,  the  elder  Neefl's,  and  Bartelmees  van 
Bassen  were  inserted  by  him.  He  was  undoubtedly 
superior  in  design,  colouring,  and  expression  to 
his  brothers  Ambrosius  and  Hieronymus,  and 
even  to  his  father.  Before  his  father's  death  he 
signed  Z>.  j-  F.  {dm  jongen  Frans),  but  after- 
wards J),  o.  F.  {den  ouden  Frans),  to  distmguish 
himself  from  his  nephew.  Among  his  works  are 
the  following  : 

Amsterdam.  Museum.    The  Adoration  of  the  Virgin  and 
Child.    1616. 
The  Miracles  at  the  Tomb  of  St. 

Bruno. 
The  Martyrdom  of  the  Four  with 
the  Crowns.     1624. 
The  Works  of  Mercy.     1608. 
Seven     paintings:     Christ    with 
Martha  and  Mary ;  Christ  bear- 
ing the  Cross,  &c. 
„  The  Continence  of  Scipio. 

Berlin!  Gallery.    The  Temptation  of  St.  Anthony. 

„  Christ  washing  the  Apostles' Feet. 

"  ..  Christ  on  the  Mount  of  Olives. 

189 


Antwerp.        Gallery. 


Augsburg.       Gallery. 


A   BIOGRAPHICAL   DICTIONARY  OF 


Brussels. 

Gallery. 

Cassel. 

Gallery. 

?) 

)» 

Dresden. 
Florence. 

Hague. 

Gallery. 

Uffi-> 

Pitti  Pal. 

Museum 

LiUe. 
Munich. 

Museum. 
Gallery. 

Paris. 


Louvre. 


Petersburg.  Hermitage. 
Vienna.  Gallery. 


Berlin.  Gallery.     Solon  and  Crcesus. 

Bordeaux.      Museum.     Christ  at  Calvary. 

»j  u  Different  ways    of    gaining    Im- 

mortaUty. 
CrcESUs,  King  of  Lydia,  showing 

his  treasures  to  Solon. 
A  Holy  Family. 
The  Adoration  of  the  Virgin. 
The  Kiss  of  Judas. 
The  Painter  Apelles. 
The  Adulteress  before  Christ. 
Flight  into  Egypt. 
Christ  on  the  way  to  Calvary. 
Ball  at  the  Court  of  Albert  and 

Isabella  in  1611.    [Seven  figures 

are  by  the  younger  Pourhus.) 
Jesus  going  to  Calvary. 
A  Skirmish  of  Cavalry.     1631. 
The  Works  of  Mercy.     1630. 
Allegorical  Picture. 
Christ  on  the  Cross. 
A  Prince  visiting  a  Church.  1633. 
The  Prodigal  Son.     1633. 
Seven  "Works  of  Mercy. 
The  Witches'  Sabbath.     1607. 
Christ  crucified.     1606. 
„  „  Meeting  of  Christ  and  Nicodemns. 

,i  „  Ctgbsus  and  Solon. 

FEANCKEN,  Fbans,  the  third,  called  'den 
rubenschen  Franoken '  (Rubens's  Francken),  but 
for  what  reason  is  not  known,  was  a  son  of  Frans 
Francken  the  younger.  He  was  born  at  Antwerp 
in  1607,  and  became  dean  of  the  Guild  of  St.  Luke 
in  1656  He  usually  painted  small  figures,  with 
which  he  often  decorated  the  interiors  of  churches 
by  the  younger  Pieter  Neefls.  Before  the  death 
of  his  uncle  he  signed  his  paintings  denjonge,  and 
after  1642,  i^.  J'.  He  died  in  1667.  The  following 
works  by  him  are  known : 

Family  Group  in  a  Picture  Gal- 
lery. 

St.  John  preaching. 

Moses  striking  the  Rock.     1654. 

Interior  of   Antwerp  Cathedral. 
1648. 

Interior  of  a  Cathedral.     (Signed 
by  him  and  Pieter  Neeffs}^ 
FRANCKEN,    Gabriel,    a   son   of    Sebastiaen 
Francken,  of  whom  it  is  only  known  that  he  was 
a  pupU  of  one  Gerard  Schoofe  in  1605,  and  a  mem- 
ber of  the  Guild  of  St.  Luke  at  Antwerp  in  1634. 

FRANCKEN,  Hieronymus,  the  elder,  the  eldest 
son  of  Nicolaes  Francken,  was  born  at  Herenthals, 
near  Antwerp,  in  1540,  and  was  a  disciple  of 
Frans  Floris.  He  afterwards  visited  France  on 
his  way  to  Italy,  and  passed  some  time  in  Paris ; 
he  painted  in  1565  at  Fontainebleau,  and  about 
the  same  time,  in  the  church  of  the  Augustinians 
in  Paris,  a  'Crucifixion.'  He  afterwards  went  to 
Rome,  where  he  studied  for  some  time,  and  then 
returned  to  Paris.  He  was  employed  by  Henry 
III.,  and  was  appointed  portrait  painter  to  the  king. 
In  Flanders  he  established  an  academy,  and  after 
the  death  of  Frans  Floris,  the  scholars  of  that 
master  placed  themselves  under  his  tuition,  and 
even  Abraham  Bloemaert  attended  his  school. 
When  Henry  III.  was  murdered  in  1589,  he  re- 
turned to  Antwerp,  but  being  patronized  by  Henry 
IV.  and  Louis  XIII.,  he  again  took  up  his  residence 
in  Paris  in  1595,  and  died  there  in  1610.  His 
best  productions  are  his  portraits,  which  may  be 
compared  with  those  of  Pourbus.  Among  his 
paintings  may  he  noted  : 

Amsterdam.   Museum.    Allegory  of    the  Abdication  of 

Charles  V.  at  Brussels. 
Antwerp.       Cathedral.    The  Miracles  of  St.  Gomer.  1307. 
190 


Antwerp. 

Gallery. 

Augsburg. 

Gallery. 

Dresden. 

Gallery. 

Hague. 

Gallery. 

Dresden.  Gallery.    The  Beheading  of  St.  John  the 

Baptist. 
Fontainebleau.  Palace.     Several  paintings. 

Museum.     Charles  V.  taking  the  £eligioas 
Dress. 


LUle. 
Paris. 


Stockholm. 


Augustiniaii  i  j^^  Crucifixion. 
JJhurch.     ( 

''ckurch!'  ]  ™^  Nativity  of  Christ.  1586. 


Franciscan 
Church. 
Jfuseum.     Assembly  of  Sea  Gods, 


FRANCKEN,  Hierontmus,  called  the  younger 
to  distinguish  him  from  his  uncle,  was  bom  at 
Antwerp  in  1578.  He  studied  under  his  father, 
Frans  Franoken  the  elder,  and  under  his  uncle 
Ambrosius.  He  was  free  of  the  Guild  of  St.  Luke 
in  1607,  and  died  at  Antwerp  in  1629.  He  was 
especially  successful  in  his  portraits.  In  the 
Antwerp  Gallery  is  a  picture  by  this  artist  of 
•  Horatius  Codes  at  the  Sublician  Bridge,'  painted 
in  1620. 

FRANCKEN,  Jan  Baptist,  the  son  of  Sebas- 
tiaen Francken,  was  horn  at  Antwerp  in  1599. 
He  received  his  first  instruction  from  his  father, 
and  for  some  time  followed  his  style,  which  he 
afterwards  improved  by  an  attentive  study  of 
the  works  of  Rubens  and  Van  Dyck.  His  first 
efforts  were  historical  subjects ;  but  he  adopted 
a  mode  of  representing  the  interiors  of  saloons 
and  galleries,  embellished  with  pictures  and 
statues,  &c.,  with  gallant  assemblies  of  figures 
and  conversations.  His  works  of  that  description 
were  painted  with  great  beauty  of  colouring,  and  a 
very  spirited  touch.  They  were  greatly  sought 
after,  and  were  placed  in  the  choicest  collections. 
He  possessed  a  talent  of  imitating  so  exactly  the 
peculiar  touch  and  style  of  each  master  in  the  small 
pictures  he  introduced  into  his  galleries,  that  it 
was  easy  to  point  out  the  original  painter.  It  was 
the  possession  of  this  talent  that  induced  so  many 
contemporary  artists  to  solicit  his  assistance  to 
decorate  their  pictures  with  small  figures,  both  in 
landscapes  and  interiors.  Many  of  Pieter  Neeffs's 
are  so  ornamented.  He  died  in  1653.  Pictures 
by  him  of  the  '  Beheading  of  St.  John  the  Baptist ' 
are  at  Augsburg  and  Brussels,  and  at  Bruges  there 
is  a  picture  of  '  Christ  among  the  Doctors.' 

FRANCKEN,  Johannes,  called  by  the  Italians 
Giovanni  Franco,  entered  the  school  of  Jacob  van 
Utrecht  in  1512,  and  afterwards  went  to  Italy,  and 
established  himself  at  Naples  in  1550.  In  San 
Francesco,  at  Naples,  the  painting  of  the 'Adoration 
of  the  Magi,'  dated  1556,  is  by  this  artist. 

FRANCKEN,  Laurens,  was  instructed  in  paint- 
ing by  his  uncle,  Gabriel  Francken,  in  1623.  He 
chiefly  excelled  in  historical  and  landscape  subjects. 
About  1660  he  established  himself  in  Paris. 

FRANCKEN,  Nicolaes,  born  at  Herenthals  about 
1520,  is  said  to  have  been  instructed  by  Frans 
Floris,  and  was  the  father  of  Hieronymus,  Frans, 
and  Ambrosius  Francken.  He  died  at  Antwerp 
in  1596. 

FRANCKEN,  P.  H.,  who  flourished  about  the 
middle  of  the  17th  century,  painted  for  the  Car- 
melite Church  at  Antwerp  a  picture  of  '  Elijah  on 
Mount  Carmel,'  which  has  disappeared,  and  for  the 
church  of  the  Recollets,  pictures  of  'St.  Francis 
of  Assisi,'  '  St.  Anthony  of  Padua,'  '  St.  Louis,'  and 
one  called  'The  Poisoned  Blow,'  in  reference  to 
the  attempt  made  on  the  life  of  St.  James,  Arch- 
bishop of  Milan.  These  pictures  are  now  in  the 
Antwerp  Gallery. 

FRANCKEN,  Sebastiaen,  (or  Vkancx,)  was  bom 
at  Antwerp  in  1678.     He  was  a  disciple  of  Adam 


PAINTERS  AND  ENGRAVERS. 


van  Noort,  and  distinguished  himselt  in  painting 
battles  and  cavalry  skirmishes,  also  conversation 
pieces,  hunting  parties,  and  landscapes  with  figures 
and  animals.  He  likewise  executed  several  paint- 
ings in  conjunction  with  his  son,  Jan  Baptist,  and 
adorned  the  works  of  Pieter  Neefis,  De  Momper,  and 
Other  artists,  with  figures.  Several  etchings  were 
also  made  by  him  of  European  costumes.  He 
died  at  Antwerp  in  1647.  His  portrait,  painted 
by  Van  Dyck,  has  been  engraved  by  Hondius. 
Among  his  works,  which  are  sometimes  _< 
signed  with  the  accompanying  monogram,  Vi  T 
are  the  following :  VV' 

Dresden.  Gallery.    Temptation  of  St.  Anthony. 

Lille.  Museum.    A  Virgin.  {Fainted  in  conjunction 

with  Jan  Brueghel.) 
Petersburg.  Hermitage.    Passage  of  the  Red  Sea. 
Rotterdam.      Museum.    A  Pillaged  Village. 
Stockholm.      Museum.    Arrival    of   Mary  de'  Medici  at 

Antwerp. 
Vienna.  Gallery.     Interior  of  the  Church  of  the 

Jesuits  at  Antwerp. 

FRANCO,  Agnolo,  or  Angiolo,  was  a  Neapolitan 
artist  whose  death  occurred  about  1455.  The 
frescoes  in  the  Cappella  Brancaccio  at  San 
Domenico  Maggiore,  Naples,  representing  the 
'  Crucifixion,'  and  scenes  taken  from  the  lives  of 
the  saints  and  martyrs,  are  assigned  to  him. 

FRANCO,  Alfonso,  was  bom  at  Messina  in 
1466,  and  died  there  in  1524.  He  is  the  author  of 
a  '  Pieta,'  dated  1520,  in  the  church  of  San  Francesco 
di  Paola,  Messina. 

FRANCO,  GiACOMO,  an  Italian  designer  and 
engraver,  was  a  relation  of  Giovanni  Battieta 
Franco.  He  was  born  at  Venice  in  1666,  and 
instructed  by  Agostino  Carracci.  He  generally 
signed  his  plates  with  his  name,  but  sometimes 
with  a  monogram.  The  following  prints  are  the 
most  worthy  of  notice : 

Part  of  the  plates  for  an  edition  of  Tasso's  '  Gerusa- 
lemme  liberata,'  published  at  Genoa  in  1690 ;  after 
the  designs  of  Bernardo  Castelli ;  the  rest  were 
engraved  by  Agostino  Carracci. 

Habiti  delle  Donne  Venetiane ;  published  in  1626. 

A  collection  of  portraits  of  Great  Men  ;  dated  1596. 

St.  Jerome  ;  J.  franco  Eomee,  sc. 

The  Crucifixion  ;  signed  Giacomo  Franco^  fee. 

Hercules  between  Virtue  and  Pleasiire;  from  an  antique 
basso-relievo. 

FRANCO,  Giovanni.  See  Francken,  Johannes. 
FRANCO,  Giovanni  Battista,  called  IlSemolei, 
was  born  at  Udine  in  1510,  and  distinguished  him- 
self as  an  historical  painter  and  an  etcher.  He 
went  to  Rome  when  he  was  young,  devoted  himself 
to  an  attentive  study  of  the  works  of  Michel- 
angelo, and  became  one  of  the  ablest  designers  of 
his  time.  He  excelled  especially  in  representing 
mythological  and  allegorical  decorations  of  small 
size,  but  was  less  successful  in  larger  works.  He 
was  engaged  by  several  masters  to  assist  in  the 
execution  of  their  designs.  In  1536  he  painted 
at  the  triumphal  arch  for  the  entry  of  Charles  V. 
into  Borne,  and  went  afterwards  to  Florence  with 
Raffaello  da  Montelupo  for  a  similar  purpose,  and 
executed  with  Vasari  several  works  in  a  palace  for 
Ottaviano  de'  Medici,  where  there  were  also  some  of 
his  own  compositions.  He  executed  for  the  Dukes 
Alexander  and  Cosmo  I.  several  portraits  of  the 
Medici  after  Sebastiano  del  Piombo,  Titian,  and 
Pontormo.  He  was  subsequently  employed  by 
the  Duke  of  Urbino  in  the  majolica  manufactory 
at  Castel  Durante,  and  several  times  at  Rome.  The 
latter  part  of  his  life  he  spent  at  Venice,  where  he 


died  in  1580,  leaving  unfinished  his  works  in  the 
chapel  of  San  Francesco  della  Vigna.  Among  his 
paintings  may  be  mentioned  : 

Florence.  Pitti  Palace.     The  Battle  of  Montemurlo. 
Rome.  Frat.  d.  Miseri-  }  Imprisonment   of    St.   John   the 
cordia.         f      Baptist  (fresco). 

"  '  Minma^"  }  Scenes  from  the  Bible  (fresco). 

Venice.  S.    Francesco  )  rm,    t>     ..■         r  ^i    •  ^ 
della  Vigna.  )  ^^  ^''P''^'°  °f  C:''''"**- 

„        S.  Giobbo.  Madonna  with  Saints. 

There  are  by  him  108  etchings,  which  are  very 
different  in  value  and  in  manner  of  execution. 
It  is  said  that  only  those  are  by  him  which  are 
etched  in  a  broad  style  and  finished  off  with  a  light 
and  spirited  point.  He  handled  the  graver  most 
mechanically.  It  is  not  known  with  certainty  from 
whom  he  learned  this  branch  of  art,  but  it  has 
been  supposed  that  he  was  instructed  by  Marc 
Antonio  ;  and  this  conjecture  is  strengthened  by 
a  near  resemblance  between  his  style  and  that  of 
Giulio  Bonasone,  who  was  unquestionably  a  disciple 
of  Marc  Antonio.  He  generally  marked  his  plates 
B.  F.  V.  F.,  (Battista  Franco  Venet^ts  fecit).  The 
following  are  his  principal  etchings  : 

Moses  striking  the  Rock. 

Abraham  meeting  Melchizedek. 

Abraham  sacriticing  Isaac. 

The  Israelites  gathering  Manna  in  the  Desert. 

The  Captive  Kings  brought  before  Solomon. 

The  Adoration  of  the  Shepherds,  with  Angels  in  the 
Clouds. 

The  Virgin  and  Infant,  with  St.  John. 

St.  John  the  Baptist. 

St.  Jerome  holding  a  skull. 

Christ  disputing  with  the  Doctors. 

Tlie  Entombment  of  Christ. 

Simon  the  Magician  before  the  Apostles. 

The  Cyclops  at  their  Forge. 

Hercules  and  Deianira. 

The  Flagellation  ;  after  Titian. 

The  Raising  of  Lazarus  ;  after  Raphael. 

The  Donation  made  to  the  Church  by  the  Emperor 
Constantine ;  after  the  same. 

The  Last  Judgment ;  after  M.  Rotta. 

Christ  on  the  Cross,  with  two  Angels ;  after  Michel- 
angelo. 

Cupid  and  Psyche  in  the  Bath  ;  after  Giulio  Romano. 

The  Clemency  of  Scipio  ;  after  the  same. 

The  Deluge ;  after  Pietro  da  Caravaqgio. 

FRANCO  BOLOGNESE.     See  Bolognese. 

FRANCOFORTO,  Adamo  da.  See  Elsheimer. 
FRANQOIS,  Alphonse,  one  of  the  most  famous 
of  modern  French  engravers,  was  born  in  Paris  in 
1811.  Left  an  orphan  in  his  childhood,  he  was 
early  thrown  on  his  own  resources,  and  began  life 
as  a  goldsmith's  engraver.  His  skill  and  industry 
soon  insured  him  a  modest  livelihood  in  Paris,  but, 
oppressed  by  the  mechanical  drudgery  of  his  craft, 
he  turned  his  thoughts  to  music,  and  was  even 
engaged  for  a  time  in  the  orchestra  of  the  Con- 
servatoire concerts.  He  next  tried  the  st.ige,  and 
was  fond,  in  after  life,  of  describing  a  memorable 
occasion  on  which  he  played  with  Rachel.  Through 
his  elder  brother,  Jules,  he  was  introduced  at  the 
mature  age  of  twenty-sis  to  Henriquel-Dupont,  the 
engraver.  Henriquel  received  him  kindly,  and 
agreed  to  let  him  work  in  his  atelier.  Though 
absolutely  ignorant  even  of  the  elements  of  draw- 
ing, Frangois  set  to  work,  confident  of  success. 
It  happened  during  the  first  year  of  his  apprentice- 
ship that  he  saw  a  portrait  of  Titian  at  tlie  house 
of  the  well-known  collector,  M.  Chaix  d'Est-Angp, 
and  asked  leave  to  make  a  drawing  of  it.  To  the 
amazement  of  Henriquel,  he  then  announced  hig 
intention  of  engraving  it.     The  result  was  extra- 

191 


A   BIOGRAPHICAL  DICTIONARY  OF 


ordinarily  successful  for  a  first  effort.  With  each 
fresh  undertaking  his  powers  developed.  His  plates 
began  to  attract  attention  at  the  Salon,  where  he 
first  exhibited  in  1842,  and  Paul  Delaroche  per- 
suaded Messrs.  Goupil  to  intrust  one  of  his  own 
pictures  to  the  debutant,  the  '  Napoleon  crossing 
the  Alps.'  This  was  followed  by  numerous  com- 
missions from  the  same  firm,  and  by  plates  after 
Fra  Angelico's  '  Coronation  of  the  Virgin,'  and 
Cabanel's  '  Birth  of  Venus,'  for  the  Chalcographie 
du  Louvre.  Henceforth  commissions  poured  in  on 
him,  and  the  story  of  his  later  years  is  one  of 
uneventful  prosperity,  up  to  the  time  of  his  loss 
of  sight.  Debarred  by  this  calamity  from  the  work 
in  which  he  delighted,  his  health  and  spirits  alike 
gave  way,  and  he  died  in  Paris  July  6,  1888. 
Among  his  later  undertakings  was  a  commission 
from  the  directors  of  the  Dord  Gallery,  in  London, 
to  reproduce  the  pictures  in  their  exhibition.  Tliis 
long  and  laborious  work  was  carried  out  with  the 
help  of  pupils  and  assistants,  the  plates  being 
finally  worked  over  by  Frangois  himself.  Of  his 
finer  plates  after  other  masters  we  may  also 
name  : 

The  Mystic  Marriage  of  St.  Catherine;  after  Memlinc. 

The  Virgin  on  the  Steps ;  after  Titian. 

Marie  Antoinette  leaving  the  Revolutionary  Tribunal ; 
after  Delaroche. 

The  Youth  of  Pico  de  la  Mirandola  ;  after  the  same. 

Psyche ;  after  Jules  Lefebvre. 

FRANQOIS,  Charles  Remt  Jules,  a  French  en- 
graver, was  born  in  Paris  in  1809.  He  was  a 
scholar  of  Henriquel-Dupont,  and  died  in  1861. 
Some  of  his  plates  are : 

Hebe  ;  after  Ary  Schejfer. 

Napoleou  at  Foutainebleau  ;  after  Delaroche.     1830. 

PUgrims  ui  the  Square  o£  St.  Peter's  at  Home ;  after 

the  same.     1847- 
The  Happy  Mother ;  after  the  same.     1853. 
Le  galant  MiUtaire ;  after  Terborch. 

FRANQOIS,  Jean  Charles,  a  French  engraver, 
was  born  at  Nancy  in  1717.  He  is  said  to  have 
been  the  first  who  engraved  in  Paris  in  the  style 
representing  drawings  made  in  crayons,  and  for  this 
he  received  a  pension  of  600  francs  from  the  king, 
and  was  entitled  '  Graveur  des  dessins  du  Cabinet 
du  Roi.'  He  also  executed  some  portraits,  the 
most  important  of  which  are  those  for  the  quarto 
edition  of  Saverien's  '  Histoire  des  Philosophes 
modernes,'  1761-69.  He  died  in  Paris  in  1769. 
Among  other  plates  by  him  are  the  following : 

A  Body  Guard  ;  after  Vanloo* 

The  Virgin  ;  after  Vien. 

Benedetto  Spiuosa  ;  after  Deshays. 

Louis  XV.,  King  of  France. 

Marie  Leszczinska,  Queen  of  France. 

Pierre  Bayle  ;  after  Carle  Vanloo. 

Desiderius  Erasmus ;  after  Holbein. 

Thomas  Hobbes ;  after  Fierre. 

John  Locke  :  after  Vien. 

Nicolas  Malebranche  ;  after  Bachelier. 

The  Dancers  ;  after  F.  Boucher. 

A  March  of  Cavalry  ;  after  Parrocel. 

FRANQOIS,  Lucas,  (or  Franchoys,)  the  elder,  a 
painter  and  engraver,  was  born  at  Mechlin  in  1547. 
It  is  not  mentioned  by  whom  he  was  instructed 
in  art,  but  he  painted  historical  subjects  with  con- 
siderable skill,  and  was  also  much  employed  as  a 
portrait  painter.  He  passed  the  early  part  of  his 
life  at  the  courts  of  France  and  Spain,  hut  after 
an  absence  of  six  years  he  returned  to  Flanders, 
where  he  painted  several  altar-pieces  for  the 
churches,  which  are  deservedly  admired.    He  died 

192 


at  Mechlin  in  1643.     Among  the  productions  of 
Lucas  Francois  are : 

Antwerp.         Gallery.     Education  of  the  Virgin. 

„  „         Apparition   of  the  Virgin  to  St. 

Simon  Stock. 
Mechlin.  St.  Catharine.    Martyrdom  of  St.  Lawrence. 

„  Museum.     Portrait  of  PMhppus  Snoy.    1619. 

„  St.  John.     St.  Agatha. 

Tournai.    ^'j^^^°/ «•  |  St.  Placidus  and  St.  Maurice. 

Among  his  engravings  may  be  mentioned  : 

The  Adoration  of  the  Magi ;  after  Van  Dyck. 
The  portrait  of  an  old  Man ;  after  the  same. 

His  two  sons,  Pieter  and  Lucas,  were  also  success- 
ful painters. 

FRANCOIS,  Lucas,  the  younger,  a  son  of  Lucas 
Fran(;ois  the  elder,  bom  at  Mechlin  in  1616,  was  a 
pupil  of  his  father,  whom  he  assisted  in  his  works. 
He  afterwards  entered  the  studio  of  Rubens,  where 
he  imitated  the  style  of  Bockhorst.  Following  his 
father  and  brother,  he  went  to  France,  but  after 
some  years  he  returned  to  his  native  city,  in  the 
churches  and  Museum  of  which  may  be  found 
several  of  his  works.     He  died  at  Mechlin  in  1681. 

FRAN(,;OIS,  Pierre  Joseph  C^lestin,  a  Flemish 
historical,  genre,  and  miniature  painter,  as  well  as 
an  etcher,  was  born  at  Naraur  in  1769.  He  was  a 
pupil  of  Lens,  and  travelled  in  France,  Italy,  and 
Germany,  but  finally  established  himself  at  Brussels, 
where  he  became  a  professor  in  the  Academy. 
His  pupils  were  very  numerous,  including  Navez, 
Decaisne,  Madou,  and  others.  He  died  in  1851. 
Amongst  his  works  are : 

Marius  sitting  on  the  Ruins  of   Carthage.     (Brussels 

Gallery.) 
A  Physician  consulted  by  two  old  "Women.     (Haarlem 

Museum.) 
The  Assumption.     (Ghent  Academy.) 

FRANQOIS,  Pieter,  the  son  of  Lucas  Frangois 
the  elder,  was  born  at  Mechlin  in  1606.  For  some 
time  he  studied  under  his  father,  and  followed  his 
style  in  his  larger  historical  works  ;  but  he  after- 
wards entered  the  school  of  Gerard  Seghers, 
whose  academy  was  then  in  great  repute,  and 
adopted  a  mode  of  painting  history  and  portraits 
of  a  size  smaller  than  life.  The  Archduke  Leopold 
invited  him  to  his  court,  where  he  was  favoured  with 
the  esteem  and  patronage  of  that  prince.  He  was 
also  solicited  to  visit  Paris,  where  he  met  with  the 
most  flattering  encouragement,  and  rendered  him- 
self extremely  acceptable  to  the  Parisians  by  his 
accomplishments  as  a  man  of  the  world,  and  his 
knowledge  of  music.  After  passing  four  years  in 
France  he  returned  to  Flanders,  where  he  continued 
to  exercise  his  talents  with  great  success.  He  died 
at  Mechlin  in  1654.  Pieter  Francois  was  ingenious 
in  his  compositions,  firm  and  correct  in  his  draw- 
ing, and  clear  and  seductive  in  his  colouring. 
The  Museum  at  Lille  possesses  a  portrait  by  him 
of  Gishert  Mutzarts,  Abbot  of  Tongerloo,  dated 
1645,  and  in  the  Dresden  Gallery  is  a  picture  of 
a  '  Man  in  Armour.'  There  exists  also  an  etching 
by  him,  which  is  very  rare  and  of  great  spirit ;  it 
represents  '  Christ  and  St.  John  as  children,  seated 
under  a  tree  and  kissing  each  other.' 

FRANQOIS,  Simon,  a  French  painter,  was  born 
at  Tours  in  1606.  Without  the  help  of  a  master, 
he  had  made  some  progress  in  the  art,  when  he 
went  to  Italy,  where  he  studied  some  years.  At 
Bologna  he  became  acquainted  with  Guido  Reni, 
who  made  him  a  present  of  his  portrait,  painted  by 
himself.     On  his  return  to  France  he  settled  in 


PAINTERS   AND   ENGRAVERS. 


Paris,  where  he  painted  the  portrait  of  Louis 
XIV.  as  Dauphin,  and  many  other  distinguished 
personages,  so  much  to  the  satisfaction  of  the 
court,  that  he  looked  forward  with  confidence 
to  the  acquisition  of  fortune  and  fame.  In 
these  flattering  expectations  he  was,  however,  dis- 
appointed, for  he  fell  into  disgrace,  and  died  in 
obscurity  in  Paris  in  1671.  He  painted  for  several 
churches,  and  is  said  to  have  etched  a  'Magdalen 
in  a  Cavern,'  and  a  '  St.  Sebastian,'  two  plates  of  a 
good  design  and  a  noble  expression. 

FRANCQUART,  Jaques,  a  Flemish  painter,  was 
born  at  Brussels  in  1577.  He  received  a  liberal 
education  from  his  parents,  who  were  of  good 
position,  and  having  shown  an  early  inclination 
for  art,  he  was  sent  to  Italy  to  study  painting 
and  architecture,  and  remained  there  some  years. 
On  his  return  to  Flanders  he  was  appointed  prin- 
cipal painter  and  architect  to  Albert  and  Isabella, 
then  governors  of  the  Low  Countries.  He  was 
greatly  esteemed  by  those  illustrious  personages, 
who  employed  him  in  several  public  works,  both 
in  painting  and  architecture.  The  church  of  the 
Jesuits,  at  Brussels,  was  built  from  his  designs, 
and  ornamented  with  some  of  his  pictures.  He 
died  at  Brussels  in  1651. 

FRANCUCCI,  Innocenzo,  called  Innocenzo  da 
Imola,  was  born  in  1494  at  Imola,  but  principally 
resided  at  Bologna.  In  1508  he  entered  the 
school  of  Francesco  Francia,  but,  according  to 
Malvasia,  he  afterwards  passed  some  years  at 
Florence,  under  Mariotto  Albertinelli.  His  style 
partakes  of  that  of  Fra  Bartolommeo  and  Andrea 
del  Sarto,  whose  works  he  appears  to  have 
studied  attentively.  His  pictures  are  numerous  in 
the  churches  at  Bologna ;  and  in  some  of  them  he 
approaches  so  near  to  the  beauty  and  simplicity  of 
Raphael,  that  they  appear  to  have  been  painted 
from  his  designs.  Some  of  his  altar-pieces  have 
small  pictures  under  them,  which  are  extremely 
beautiful.  In  the  church  of  San  Giacomo,  under 
his  large  painting  of  the  '  Marriage  of  St.  Catharine,' 
there  is  an  exquisite  little  picture  of  the  '  Nativity '  ; 
and  in  San  Matteo  is  an  altar-piece  of  '  The  Virgin 
and  Infant,  with  several  Saints,'  and  below  five 
small  pictures,  representing  '  Christ  appearing  to 
the  Magdalen  in  the  Gardon,'  'The  Presentation 
in  the  Temple,' '  St.  Peter  Martyr,'  'The  Nativity,' 
and  '  Christ  disputing  with  the  Doctors.'  That  he 
was  well  skilled  in  architecture  Francucci  has 
shown  in  his  immense  fresco  in  the  cathedral  at 
Faenza,  and  in  the  Osservanti  at  Pesaro,  in  which 
his  landscape  and  perspective  are  compared  by 
Lanzi  to  those  of  Leonardo  da  Vinci.  He  died  in 
1550,  according  to  Vasari,  of  a  pestilential  fever. 
Of  his  paintings,  in  addition  to  the  above,  mny  be 
mentioned : 


Berlin. 
Bologna. 


Gallery.     Virgin  and  Child  with  Saints. 
iServi.     Annunciation. 
„        Marriage  of  the  Virgin. 
„  Pinacoteca.     Madonna    glorified,    with    Saints 

{painted    for    San    Michele    in 
Bosco).     1517. 
>i  .>  Madonna   with    SS.   Francis  and 

Clara. 
»  „  The  Virgin  coming  forth  from  a 

Church. 
>'  i>  Madonna  and  Child  with  Saints. 

„  ^.  Michele  }  . 

in  Bosco.  j  ^luociation. 

1)  „  Death   and   Assumption    of    the 

Virgin. 
»  „  The  Four  Evangehsts. 

»  „  The    Virgin    and    Child   in    the 

VOL.  U.  0 


Bologna.  &  Salvatore. 

Frankfort.         Stddel. 

Ijondon.        Solly  Coll. 

Modena.   Estense  Gall. 
Munich.  Gallery. 

Petersburg.  Hermitage. 


Clouds,  and  below  SS.  Michael, 

Peter,    and    Benedict   {in    the 

style  of  Raphael). 
Christ  on  tue  Cross,  with  Saints. 

1549. 
The  Vhgin  Mary  with  St.  John 

the  Baptist  and  St.  Sebastian. 
Virgin    enthroned    {chef-d'oeuvre 

formerly  at  Faenza).     1527. 
A  Virgin  (in  the  style  of  Raphael). 
Virgin  and  Child  with  Saints. 
Virgin  and  Saints. 


FRANGIPANE,  Niccol5,  is  believed  by  some  to 
have  been  a  native  of  Padua,  by  others  of  Udine. 
He  flourished  from  the  year  1565  till  1597,  and 
executed  a  number  of  church  pictures,  but  was 
more  successful  in  mythological  scenes,  particularly 
the  legends  of  Bacchus.  At  Padua,  in  the  church 
of  San  Bartolommeo,  is  a  fine  picture  by  him  of 
'St.  Francis,'  painted  in  1588;  and  at  Pesaro,  an 
altar-piece  in  San  Stefano.  But  his  most  admired 
work  is  an  '  Assumption,'  in  the  church  of  the 
Conventuali,  at  Rimini. 

FRANK,  Michael  Sigismund,  born  at  Nuremberg 
in  1769,  was  instructed  there  in  the  art  of  painting 
on  porcelain  by  Trost.  He  afterwards  painted 
on  glass,  in  which  he  was  very  successful,  and 
helped  to  raise  the  almost  forgotten  art  from  its 
long  decline,  by  discovering  in  1804  the  method 
which  was  formerly  in  use.  He  executed  for  the 
chapel  of  the  Castle  of  Stauffenberg  in  Franconia 
several  devices  of  coats  of  arms,  and  in  1808 
those  for  the  court  of  Bavaria,  for  which  he  was 
highly  praised.  King  Maximilian  I.  gave  him  a 
building  in  which  to  paint  on  glass.  Among  the 
works  of  that  period  executed  on  a  large  scale  are 
a  '  Circumcision '  after  Goltzius,  and  a  '  Nativity 
of  Christ '  after  Bolswert.  From  1814  to  1818  he 
was  employed  by  the  Prince  of  Wallerstein  ;  he 
afterwards  returned  to  Munich,  where  he  was  made 
royal _  glass-painter  for  his  'Treatise  on  Glass- 
Painting.'  In  1827  he  was  appointed  director  of 
the  Institute  founded  by  King  Louis,  and  executed 
the  large  windows  for  the  cathedral  at  Ratisbon, 
which  constituted  his  chief  production.  He  died 
at  Munich  in  1847. 

FRANK,  Pauline.     See  Steinhadser. 

FRANKEN,  Theodor,  a  genre  painter,  was  bom 
at  Geilenkirchen,  near  Aix-la-Cliapelle,  in  1811. 
He  studied  under  Schadow  at  Dusseldorf,  and  pro- 
duced spirited  scenes  of  popular  and  home  life.  He 
died  at  Diisseldorf  in  1876. 

FRANKENBERGER,  Johann,  an  Austrian  por- 
trait painter,  was  born  at  Hadamar  in  Nassau  in 
1807,  and  died  at  Vienna  in  1874. 

FRANKENDORFFER,  Conrad,  a  native  of 
Nuremberg,  flourished  about  1498,  and  was  an 
excellent  miniature  painter. 

FRANKFORT,  Hieronyiids  von.     See  Gbeff. 

FRANQUE,  Jean  Pierre,  a  French  painter,  was 
born  at  Le  Buis  in  1774.  He  studied  under  David, 
and  excelled  in  historical  subjects  and  portraiture, 
imitating  the  style  of  his  master.  He  married 
Lucile  Messageot,  also  an  artist,  who  died  in  1802, 
at  the  age  of  twenty-two  years.  Franque  died  in 
1860,  leaving  among  others  the  following  works : 

Versailles.        Gallery.     The  Passage  of  the  Rhine  ;  after 
I.e  Brun.     1835. 
„  „  The  Siege  of  Lille  ;  after  Van  der 

Meulen  and  Le  Brun.     1836. 
„  „  The  Battle  of  Lens.     1841. 

FRANQUE,  Joseph,  the  twin  brother  of  Jean 
Pierre  Franque,  was  born  at  Le  Buis  in  1774,  and 

193 


A   BIOGRAPHICAL   DICTIONARY   OF 


died  in  1812.  He  also  was  a  painter,  and  there  is 
by  him  at  Versailles  a  picture  of  the  Empress 
Maria  Louisa  and  the  King  of  Rome. 

FRANQUELIN,  Jean  Augustin,  born  m  Paris 
in  1798,  was  instructed  by  Regnault,  and  became 
known  through  his  works,  representing  scenes  in 
public  life,  conversation-pieces,  &c.,  which  have 
often  been  copied.  He  died  in  Paris  in  1839.  The 
painting  of  '  The  Occupation  of  Brissac,'  by  this 
artist,  is  at  Versailles. 

FRANQUINET,  Willem  Hendrik,  born  at 
Maestricht  in  1785,  was  instructed  by  Herreyns  at 
Antwerp.  He  afterwards  visited  Germany,  and  was 
a  drawing-master  at  his  native  town  from  1804  to 
1815.  In  1816  he  settled  in  Paris,  and  in  1821 
painted  the  '  Bacchanal,'  and  in  1822-34  published 
a  '  Galerie  des  Peintres,'  for  which  J.  Chabert  wrote 
the  text.     He  died  at  New  York  in  1864. 

FRANS,  NicoLAES,  was  born  at  Mechlin  in  1539. 
It  is  not  said  under  whom  he  studied  ;  it  ia  only 
kno^vn  that  at  an  early  age  he  entered  the  order  of 
the  Franciscans,  in  which  he  continued  to  exercise 
his  art,  and  became  a  fair  historical  painter.  In 
the  collegiate  church  of  Our  Lady  at  Mechlin  is 
an  altar-piece  by  this  master,  representing  the 
'Flight  into  Egypt';  and  in  the  church  of  Hanswyck, 
near  Mechlin,  are  two  pictures  by  him  of  the  '  Visit- 
ation' and  the  'Annunciation.'  His  drawing  is 
correct,  and  he  was  an  excellent  colourist. 

FRANSSlilRES,  J.  de,  was  a  French  engraver 
of  little  celebrity.  He  engraved  part  of  the  plates 
for  a  set  of  Turkish  costumes,  published  in  Paris  in 
1714,  by  M.  de  Ferriol. 

FRANZ,  C,  who  studied  under  Schwind,  prac- 
tised first  as  an  historical  painter,  but  afterwards 
turned  his  attention  towards  genre  subjects.  He 
died  at  Munich  in  1876. 

FRANZ-DREBER,  Heineich.  See  Dreber. 
FRANZSCHEN.  See  Dei  Rossi,  Francesco. 
FRASER,  Alexander,  a  Scottish  painter,  was 
born  at  Edinburgh  in  1786,  and  commenced 
his  artistic  career  by  studying  at  the  Trustees' 
Academy  in  that  city,  where  he  had  David  Wilkie 
and  Watson  Gordon  for  fellow-students.  He  first 
exhibited  at  the  Royal  Academy  in  1810,  settling  in 
London  three  years  later.  Soon  after  this  Wilkie 
employed  him  to  fill  in  the  minor  details  and  still- 
life  of  his  pictures,  a  practice  which  he  continued 
for  a  good  many  years.  Among  the  works  exhibited 
by  him  at  the  Royal  Academy  may  be  mentioned 
'  The  Village  Sign-Painter,'  '  The  Blackbird  and  his 
Tutor,'  and  'Tapping  the  Ale-barrel.'  He  does 
not  appear  to  have  exhibited  after  1859,  and  during 
the  latter  years  of  his  life  seems  to  have  been  quite 
an  invalid.  His  death  occurred  at  Wood  Green,  near 
London,  in  1865.  A  great  part  of  his  earlier  works 
consisted  of  coast  scenes,  and  at  a  later  date  he 
painted  pictures  in  illustration  of  the  '  Waverley 
Novels,'  some  of  which  have  been  engraved.  He 
became  an  Associate  of  the  Royal  Scottish  Academy 
in  1842.  In  the  National  Gallery  is  the  '  Interior 
of  a  Highland  Cottage'  by  him,  and  in  the  National 
Gallery  of  Scotland  is  a  view  'At  Barncleuth.' 

FRASER,  Alexander,  was  bom  in  1828  at  Wood- 
cockdale,  near  Linlithgow.  Even  as  a  boy  he  was 
employed  in  stippling  in  backgrounds  for  portraits. 
His  father,  an  able  amateur  artist,  sent  him  to  study 
in  Edinburgh.  He  was  first  represented  in  the  Royal 
Scottish  Academy  Exhibition  by  a  figure  subject, 
but  his  true  forte  was  landscape.  He  was  early 
appreciated,  and  was  elected  an  Associate  of  the 
Royal  Scottish  Academy  in  1858.  In  1862  he 
194 


became  Royal  Scottish  Academician,  and  his 
diploma  work  '  At  Barncleuth '  hangs  in  the 
gallery.  Some  of  his  best  landscapes  were  painted 
'in  Surrey  and  in  Cadzovv  Forest.  He  died  in 
Musselburgh  in  1899.  His  principal  works  com- 
prise '  Among  the  Surrey  Hills,'  '  Sunshine  in 
Spring-time,'  '  Glenfalloch,'  'The  Margin  of  the 
Forest,'  and  'A  Trout  Stream  in  the  Highlands.' 
He  depicted  especially  the  brighter  moods  of 
Nature,  dehghting  in  the  changing  lights  on  hill 
and  moor  and  the  rich  colour  of  summer  woodland 
and  autumn  fields  ;  and  the  fine  composition,  sound 
technique,  and  fresh  atmospheric  quality  of  the 
pictures  of  his  best  period  entitle  him  to  an  honour- 
able place  among  our  landscape  painters. 

J.  H.  W.  L 

FRASER,  Charles,  an  artist  bom  at  Charleston 
in  1782,  studied  law,  but  afterwards  devoted  him- 
self to  art.  In  1826  he  painted  the  portrait  of 
Lafayette.  His  talent  was  very  diversified,  and  in 
1857,  at  an  exhibition  of  his  works  at  Charleston, 
there  were  shown  313  miniatures  and  139  land- 
scapes and  other  pieces  by  him.  He  died  at 
Charleston  in  1860. 

FRASSI,  PiETRO,  bom  at  Cremona  in  1706,  was 
a  pupil  of  Angiolo  Massarotti.  He  went  to  Florence, 
but  afterwards  to  Rome,  where  he  died  in  1778. 
His  best  work  was  a  picture  of  'The  Miracle  of  St. 
Vincent  Ferrer,'  painted  for  the  Dominicans  in 
Cremona,  which  caused  him  to  be  made  a  member 
of  the  Academy  of  St.  Luke. 

FRATACCI,  Antonio,  bom  at  Parma  in  the 
beginning  of  the  18th  century,  received  his  first 
lessons  in  art  from  Ilario  Spolverini.  He  after- 
wards entered,  at  Bologna,  the  school  of  Carlo 
Cignani,  whose  style  he  imitated.  There  is  a 
picture  in  the  church  of  San  Giorgio  at  Bologna  of 
'  Christ  healing  St.  Pellegrini  Laziozi,'  and  at  Sant' 
Eustorgio,  at  Milan,  a  '  St.  John '  and  an  '  Adoration 
of  the  Magi.' 

FRATELLINI,  Giovanna,  was  born  at  Florence 
in  1666.  The  early  disposition  she  showed  for 
art  recommended  her  to  the  notice  of  the  Grand- 
Duchess  Victoria,  who  took  her  under  her  pro- 
tection, and  had  her  instructed  by  the  best 
masters  in  drawing  and  music.  She  was  afterwards 
taught  miniature  painting  by  Ippolito  Galantini, 
and  finished  her  studies  under  Antonio  Domeuico 
Gabbiani.  She  painted  historical  subjects  and 
portraits  in  oil,  pastel,  enamel,  miniature,  and 
crayons,  but  chiefly  excelled  in  the  last,  in  which 
she  is  no  way  inferior  to  the  celebrated  Rosalba. 
Her  reputation  spread  throughout  Italy,  and  she 
painted  the  portraits  of  Cosmo  III.  and  his  wife, 
her  patroness,  the  principal  nobility  of  the  court, 
and  the  most  illustrious  personages  of  the  country. 
One  of  her  best  works  is  in  the  Ducal  Gallery  at 
Florence  ;  it  represents  her  painting  the  portrait  of 
her  son.  This  distinguished  lady  died  at  Florence 
in  1731. 

FRATELLINI,  Lorenzo  Mabia,  the  son  of 
Giovanna  Fratellini,  by  whom  he  was  instructed 
in  the  elementary  principles  of  design,  was  born 
at  Florence  in  1690.  He  afterwards  studied  under 
Antonio  Domenico  Gabbiani,  who  had  been  the 
instructor  of  his  mother.  Under  that  master  he 
acquired  a  ready  and  correct  manner  of  designing, 
and  became  a  promising  painter,  both  of  history 
and  of  portraits,  but  he  died  in  the  prime  of  life,  in 
1729. 

FRATREL,  Joseph,  born  at  Epinal  in  1730,  was 
a  scholar  of  Baudouin  in  Paris,  and  distinguished 


PAINTERS  AND  ENGRAVERS. 


himself  as  a  painter  and  etcher.  He  was  court 
painter  of  King  Stanislaus  and  the  Elector-Palatine 
Charles  Theodore  :  in  the  Darmstadt  Museum  is  a 
portrait  of  the  Electress.  He  died  at  Mannheim  in 
1783.     The  following  are  his  best-known  works  : 

Joseph's  Dream ;  after  L.  Krahe. 

The  Miller's  Son. 

St.  Nicholas. 

FRATTA,  DoMENico  Maria,  born  at  Bologna  in 
1696,  studied  under  Giovanni  Viviani,  Carlo  Eam- 
baldi,  and  Donato  Creti.  He  abandoned  the  art  of 
painting,  and  devoted  himself  entirely  to  drawing 
with  the  pen,  in  which  he  acquired  such  perfection 
as  to  give  to  his  productions  a  European  fame. 
He  died  in  1763. 

FREDEAU,  Ambroise,  called  rEi)RE  Feedeau, 
who  flourished  about  the  middle  of  the  17th  century, 
was  a  monk  of  the  Augustinian  order.  He  imitated 
Vouet  in  his  paintings. 

FREDERICH,EDnARD,born  at  Hanover  in  1813, 
attended  the  Academy  at  Diisseldorf  from  1836  to 
1843,  and  studied  in  particular  landscape  and  genre 
painting,  which  he,  however,  changed  afterwards 
for  scenes  of  encampments  and  manoeuvres.  He 
was  court  painter,  and  died  at  Hanover  in  1864. 

FREDI,  Bartolo  di.     See  Bartolo. 

FREEBAIRN,  Alfred  Robert,  an  engraver,  is 
chiefly  known  by  his  engraving  of  Flaxman's 
'  Shield  of  Achilles.'  He  died  in  1846,  in  his  53rd 
year. 

FREEBAIRN,  Robert,  a  landscape  painter,  was 
born  in  1765.  He  was  for  a  short  time  with 
Richard  Wilson,  who  died  before  Freebairn's  educa- 
tion was  completed,  and  afterwards  went  to  Italy, 
where  he  remained  about  ten  years,  but  never  rose 
above  mediocrity.  His  pictures  are  simply  pleas- 
ing, never  striking.  On  his  return  to  England, 
Freebairn  met  with  several  patrons,  and  as  he  was 
slow  in  performance,  it  is  probable  they  were  the 
chief  purchasers  of  his  works.  He  died  in  1808. 
There  are  about  forty  prints  of  Italian  and  English 
scenery  published  by  him. 

FREEMAN,  James  Edward,  painter,  was  a 
native  of  Nova  Scotia,  but  was  educated  in  the 
National  Academy  in  New  York.  He  settled  in 
Rome,  where  he  painted  genre  pictures,  mostly  of 
Italian  subjects.  He  is  known  also  by  his  publica- 
tion, 'A  Portfolio  of  Italian  Sketches.'  He  died 
in  1884. 

FREEMAN,  John,  an  historical  painter,  flourished 
in  the  latter  half  of  the  17th  century.  He  was 
also  scene  painter  to  Covent  Garden  Theatre. 
There  are  five  works  attributed  to  him  in  the 
Louvre. 

FREEMAN,  Samuel,  an  engraver,  was  bom  in 
1773,  and  died  in  1867.    Amongst  his  plates  are  : 

A  Holy  Family  ;  after  Correggio. 
A  Madonna  ;  after  Raphael. 
The  Infant  Christ  and  St.  John ;  after  the  same. 
St.  Ambrose  refusing  admission  to  the  Church  to  Theo- 
dosius  ;  after  Van  Dt/ck. 

FREESE,  Johann  Oskar  Hermann,  a  painter  of 
animals  and  hunting  scenes,  was  born  in  Pom- 
merania  in  1813.  He  was  destined  by  his  father 
to  be  a  farmer,  in  spite  of  his  early  inclination 
to  art,  but  in  his  34th  year  he  devoted  himself, 
after  many  heavy  misfortunes,  to  painting  as  his 
vocation.  He  visited  for  a  short  time  the  atelier 
of  Briicke,  then  that  of  Steffeck  in  Berlin.  In 
1857  his  first  work,  '  Stags  Fighting,'  appeared. 
His  subjects  of  study  were  field  and  wood,  and 
principally  hunting,  which  he  loved  passionately. 
0  2 


He  died  at  Hessenfelde,  near  Fiirstenwald,  in 
1871,  of  brain  fever,  which  he  contracted  whilst 
out  shooting  in  trying  to  cross  a  river  when  in  a 
heated  state.  He  is  very  happy  in  his  bolder 
designs,  but  less  so  in  his  idyllic  representations. 
Among  his  works  are  especially  to  be  mentioned, 
'  Deer  Fleeing,'  '  Stags  attacked  by  Wolves,'  and 
a  'Boar  Hunt,'  all  in  the  Berlin  National  Gallery. 

FREESE,  N.,  a  miniature  painter,  exhibited  at 
the  Royal  Academy  from  1794  to  1814. 

FREESEN,  Johann  Georg,  (or  Freezen,)  a 
portrait  painter,  was  born  at  Palts,  near  Heidel- 
berg, in  1701.  He  first  studied  under  Jan  van 
Nikkelen,  and  afterwards  under  Philip  van  Dyk, 
of  whom  he  became  one  of  the  best  scholars,  and 
with  whom  he  stayed  seven  years  at  the  Hague. 
He  was  patronized  by  the  Duke  of  Hesse,  and  was 
appointed  historical  and  portrait  painter  to  the 
court  of  Cassel.  He  possessed  a  great  knowledge 
of  paintings,  which  he  acquired  in  Germany,  Italy, 
France,  and  in  the  school  of  Philip  van  Dyk — an 
acquisition  which  was  of  the  greatest  use  in  the 
establishment  of  the  Cassel  Gallery.  He  died  at 
Cassel  in  1775. 

FREGEVIZE,  Friedrich,  a  Swiss  landscape 
painter,  was  born  in  Geneva  in  1770,  and  died  there 
in  1849.  He  lived  for  a  long  time  in  Berlin,  where 
he  was  elected  in  1820  a  member  of  the  Academy; 
he  returned  to  Geneva  in  1829,  and  went  to  Dessau 
in  1839.  The  Berlin  National  Gallery  contains 
views  painted  by  him  of  'The  Lake  of  Geneva,' 
and  'The  Valley  of  the  Rhone,  near  Geneva.'' 

FREIDHOFF,  Johann  Joseph,  a  German  mezzo- 
tint engraver,  born  at  Heggen,  in  Westphalia,  in 
1768,  studied  under  J.  G.  Huck.  He  visited  Hol- 
land and  France  for  his  improvement,  and  died  at 
Berlin  in  1818.     There  are  by  him : 

Night;  after  Correggio.     1800. 

The  Death  of  Gennanicus  ;  after  Poussin.     1798. 

Joseph  and  Potiphar's  Wife ;  after  Cignani.     1796. 

Alexander  von  Humboldt ;  after  Weitsch. 

A  Waterfall ;  after  Kuisdael.     179T. 

FREMIET,  Sophie.     See  Rude. 

FREMIET,  Victorine.     See  Van  der  Haert. 

FREMINET,  Martin,  a  French  historical 
painter,  born  in  Paris  in  1567,  received  his  first 
instruction  from  his  father,  a  tapestry  designer. 
He  soon  made  some  progress  in  his  career  in  Paris, 
and  executed  several  commissions,  including  a 
picture  of  '  St.  Sebastian '  for  the  church  of  St. 
Joseph.  But  it  was  to  Italy  that  his  thoughts 
turned,  and  about  1592  he  set  out  thither.  At  this 
time  the  controversies  raised  by  the  Naturalisti 
were  at  their  height,  and  into  them  Fr^minet 
entered  with  ardour.  His  time  was  chiefly  passed 
at  Rome,  Parma,  and  Venice,  and  he  directed  his 
most  serious  attention  to  the  works  of  Parmigiano 
and  Michelangelo,  the  study  of  the  latter  having  a 
great  influence  on  him.  After  an  absence  of  about 
sixteen  years  he  returned  to  his  native  country  by 
way  of  Lombardy  and  Savoy,  and  in  the  latter  he 
painted  some  important  works  for  the  ducal  palace. 
His  fame  had  preceded  him,  for  on  the  death  of 
Toussaint  Du-Breuil  in  1602  he  was  appointed  by 
Henry  IV.  his  principal  painter,  obtaining  at  the 
same  time  by  purchase  a  sinecure  post  about  the 
court.  In  1608  he  commenced  for  the  king  the  de- 
coration of  the  chapel  at  Fontainebleau,  which  was 
executed  in  oil  on  plaster.  In  the  five  compartments 
of  the  ceiling  he  depicted  '  Noah  entering  the  Ark,' 
the  'Fall  of  the  Angels,'  'Our  Lord  in  Glory,'  the 

195 


A  BIOGRAPHICAL  DICTIONARY  OF 


'Angel  Gabriel,'  and  the  'Creation.'  Behind  the 
altar  he  painted  the  'Annunciation,'  and  he  also 
executed  other  frescoes  representing  kings,  pro- 
phets, &c.,  and  scenes  from  the  life  of  Christ. 
This  masterpiece  was  not  finished  until  the  suc- 
ceeding reign,  and  on  its  completion,  in  1615,  he 
received  the  cross  of  the  Order  of  St.  Michael. 
Fr^minet  died  in  Paris  in  1619,  and  was  buried,  in 
accordance  with  his  desire,  in  the  Abbey  of  Bar- 
beaui,  near  Fontainebleau,  for  which  he  had 
painted  several  pictures,  which  were  destroyed 
when  that  Abbey  was  burnt  in  1793.  He  left  a 
son  Louis,  who  followed  in  liis  father's  footsteps  as 
a  painter.  The  poet  Regnier  was  his  friend,  and 
dedicated  to  him  his  tenth  Satire.  Fr^minet  had  a 
good  knowledge  of  architectural  perspective  and  of 
anatomy,  though  his  aspirations  after  the  grandeur 
of  Michelangelo  frequently  led  him  into  exagger- 
ations, and  have  caused  him  to  be  much  decried. 
To  do  him  justice,  however,  it  must  be  owned  that 
he  marks  a  great  advance  in  the  history  of  the 
French  school.  The  works  of  his  predecessor, 
Cousin,  are  no  doubt  the  earliest  which  show  the 
impress  of  Italian  art,  but  it  was  Fr6minet  who 
first  fully  felt  and  evidenced  the  influence  of  the 
great  Italian  masters.  He  is  seen  at  his  best  in 
those  works  in  which  the  spirit  of  Parmigiano  is 
most  apparent.  His  style  of  working  was  singular  : 
he  painted  a  picture  in  separate  portions,  without 
sketching  or  designing  the  rest  of  the  composition. 
The  following  are  some  of  his  existing  works  : 

Liverpool.  Institution.  The  Birth  of  Venus.    (^A  sepia 

drawing.) 

Orleans.  Museum.  St.  Matthew. 

„  „  St.  Mark. 

„  „  St.  Luke. 

n  „  St.  John. 

„  „  St.  Augustine. 

„  „  St.  Ambrose. 

»  „  St.  Gregory. 

„  „  St.  Jerome. 

Paris.  Louvre.  Mercury  ordering  .£neas  to  aban- 
don Dido. 

Tours.  Museum.  The  Last  Judgment  (doubtful). 

A  '  Virgin  and  Child  '  is  the  only  etching  by 
Fr6minet  which  is  known.  O.J.D. 

FRENCH,  Henry,  an  Irish  historical  painter, 
was  born  about  the  end  of  the  17th  century.  He 
studied  at  Rome,  and  gained  a  medal  in  the  Academy 
of  St  Luke.  He  came  to  England,  but  did  not 
meet  with  success.     His  death  took  place  in  1726. 

FRENZEL,  JoHANN  Gottlieb  Abraham,  born 
at  Dresden  in  1782,  was  instructed  by  Darnstedt, 
and  excelled  in  engraving  landscapes.  He  was 
director  of  the  Royal  Collection  of  engravings  at 
Dresden,  and  wrote  several  works  on  his  art.  He 
died  at  Dresden  in  1855.  Among  his  best  plates 
are: 

Ruins ;  after  Ruisdaet. 
Evening  ;  after  the  same. 

A  Landscape  with  Cattle  in  the  Water ;  after  Poelen- 
borch. 

FRl^RE,  Charles  Theodore,  (Bet,)  painter,  was 
born  in  Paris  in  1815.  He  was  a  pupil  of  Koque- 
plan  and  L6on  Cogniet,  and  made  his  debut  at 
the  Salon  in  1834  with  landscapes  from  Northern 
France.  Two  years  later  he  went  to  Algiers,  and 
afterwards  spent  some  time  in  Africa,  whence  lie 
drew  his  subjects  for  the  rest  of  his  life.  He  died 
in  Paris  March  24,  1888. 

FRERE,  Pierre  Edouard,  a  French  genre  painter, 
was  born  in  Paris  January  10,  1819.  He  studied 
under  Delaroche,  and  made  his  debut  at  the  Salon  of 
196 


1843.  His  early  pictures  were  chiefly  interiors  of 
cottages,  workshops,  &c.,  with  cobblers,  coopers, 
cooks,  and  other  industrious  members  of  the  lower 
classes  at  work.  They  were  warm  and  transparent 
in  colour,  and  often  forcible  in  chiaroscuro.  In 
later  years  he  almost  entirely  confined  himself  to 
painting  incidents  of  child  life,  and  became  cold  in 
colour  and  feeble  in  his  light  and  shade.  He 
produced  a  great  number  of  drawings  in  which 
coloured  figures  are  set  against  monochrome  back- 
grounds, generally  sketched  in  black  chalk.  His 
works  are  well  known  in  England,  where  he 
frequently  exhibited,  first  at  the  French  Gallery  in 
1854.  His  first  picture  in  the  Royal  Academy  was 
one  of  his  most  characteristic  works,  the  'Girls 
leaving  School.'  Frere  lived  at  Ecouen,  and  died 
there  May  23,  1886. 

FRERES,  Dirk,  or  Theodorus,  a  Dutch  painter, 
■was  born  at  Enkhuizen  in  1643.  He  was  of  an 
ancient  and  opulent  family,  who  gave  him  an 
education  suited  to  his  birth  ;  and,  among  other 
accomplishments,  he  was  taught  drawing,  for  which 
he  showed  so  strong  a  predilection,  that  his  parents 
acceded  to  his  desire  of  visiting  Italy,  and  he  passed 
several  years  at  Rome,  studying  after  the  antique, 
and  the  best  productions  of  modern  art.  He 
returned  to  Holland  with  a  large  collection  of 
drawings  which  he  had  made  in  Italy,  and  dis- 
tinguished himself  by  several  historical  works  ; 
among  which  were  the  ceiling  of  a  public  hall  at 
Amsterdam,  and  some  pictures  in  one  of  the 
palaces  of  the  Prince  of  Orange.  In  his  studies 
in  Italy  he  appears  to  have  been  more  attentive 
to  purity  and  correctness  of  design  than  to  the 
blandishments  of  colouring,  in  which  he  is  less 
successful.  He  is  said  to  have  been  invited  to 
England  by  Sir  Peter  Leiy,  but  finding  on  his 
arrival  that  the  situation  he  expected  was  filled  by 
Antonio  Verrio,  he  returned  to  Holland.  He  died 
at  Enkhuizen  in  1693. 

FRESNE,  Da.    See  Dn  Fresne. 

FRESNOY,  Dn.     See  Do  Fresnot. 

FREUDENBERGER,  Sigmund,  born  at  Berne  in 
1745,  was  a  painter  and  engraver,  who  was  instructed 
in  the  rudiments  of  art  by  Em.  Handmann.  He 
afterwards  went  to  Paris,  and  improved  himself 
under  Wille,  Boucher,  Greuze,  and  Roslin.  His 
scenes  of  Swiss  life  in  the  Bernese  Oberland  were 
first  engraved  and  afterwards  painted.  In  the 
town-library  at  Berne  tliere  is  a  portrait  of  Haller 
by  this  artist.     He  died  in  1801. 

FREUDWEILER,  Heinrich,  a  Swiss  portrait 
and  genre  painter,  was  born  at  Zurich  in  1755,  and 
was  first  instructed  by  H.  Wiist ;  he  afterwards 
studied  at  the  Academies  at  Diisseldorf  and  Mann- 
heim, and  visited  Dresden  and  Berlin,  where  he 
became  acquainted  with  Graf  and  Chodowiecky. 
In  1785  he  returned  to  Zurich,  and  died  in  1795. 
He  painted  several  historical  scenes  relating  to  his 
country. 

FREY,  Jakob,  a  grandson  of  Johann  Jakob  Frey, 
is  known  by  a  plate  of  Leonardo  da  Vinci's  '  Last 
Supper,'  which,  however,  is  taken  from  the  old 
copy  by  Marco  d'Oggione. 

FREY,  JoHANN  Jakob,  a  Swiss  engraver,  was 
born  at  Lucerne,  in  1681.  After  learning  the 
principles  of  design  he  went,  when  he  was  twenty- 
two  years  of  age,  to  Rome,  where  he  received 
some  instruction  from  Arnold  van  Westerhout, 
and  had  afterwards  the  advantage  of  studying  in 
the  school  of  Carlo  Maratti,  at  the  same  time 
with  Robert  van  Auden-Aerd.     His  progress  was 


PAINTERS  AND  ENGRAVERS. 


rapid,  and  he  was  soon  regarded  as  one  of  the 
ablest  artists  at  Rome.  His  drawing  is  correct 
and  tasteful,  and  he  was  a  perfect  master  of 
harmony  and  effect.  He  etched  his  plates  with 
spirit,  and  worked  over  the  etching  with  a  firm 
and  masterly  hand.  Few  artists  have  approached 
nearer  to  the  style  of  the  painters  from  whom  they 
engraved  than  Frey.  He  died  at  Rome  in  1770. 
His  prints,  which  exceed  the  number  of  one 
hundred,  are  generally  of  a  very  large  size.  The 
following  are  the  principal : 

PORTRAITS. 
Carlo  Maratti ;  aj'ter  a  picture  by  himself. 
Pope  Innocent  AlII. ;  after  A,  Masucci. 
Pope  Benedict  XIII. ;  after  the  same. 
Pope  Gregory  XIII. ;  after  the  marble  by  Camilla  Rus- 

coni. 
Girolamo  Pico  della  Mirandola ;  after  P.  Nelly. 
Mary  Clementina  Sobieska,  wife  of  the  Old  Pretender. 

SUBJECTS   AFTER   VARIODS   MASTERS. 
The  Holy  Family ;  copied  from  Edelinck's  print  after 

Raphael. 
Charity,  with  three  children  ;  after  Albani, 
The  Death  of  St.  Petronilla ;  after  Guercino.     1731. 
The  Coronation  of  the  Virgin  ;  after  A  nnibale  CaiTacci. 
The  Virgin  giving  the  Scapular  to  St.  Simon  Stock ; 

after  >Seb.  Conca. 
The  Adoration  of  the  Shepherds ;  after  the  same. 
St.  Francis  of  Paola  restoring  a  Child  to  life ;  after  £. 

Lamhertini. 
The  Archangel  Michael ;  after  Guido. 
The  Four  Fathers  of  the  Church ;  after  the  same. 
Aurora,  with  the  Hours  dancing  before  the  Chariot  of 

the  Sun  ;  after  the  same  ;  in  two  sheets. 
Bacchus  consoling   Ariadne  after  the  Departure    of 

Theseus  ;  after  the  same  ;  in  two  sheets. 
The  Death  of  St.  Anne  ;  after  A.  Sacchi. 
St.  Romualdus  ;  after  the  same. 
The  Martyrdom  of  St.  Sebastian ;  after  Domenichino. 

1737. 
The  Communion  of  St.  Jerome  ;  after  the  same.    1729. 
The  Four  Angels  of  St.  Carlo  a  Catenari    at  Rome, 
representing    Justice,  Temperance,    Fortitude,    and 
Prudence  ;  after  the  same. 
The  Rape  of  Europa ;  after  Albani. 
St.   Charles    Borromeo    interceding   for    the    Plague- 

strickeu  ;  after  Pittro  da  Cortona.     1744. 
An  allegorical  picture  of  Clemency ;  after  Carlo  Maratti. 
A  Reposo,  with  St.  Joseph  presenting  cherries  to  the 

Infant  Christ ;  after  the  same. 
Augu.stus  shutting  the  Temple  of  Janus ;  after  the  same. 

1738. 
St.  Andrew  kneeling  before  the  Cross ;  after  the  same. 
St.  Bernard  ;  after  the  same. 

FREY,  JoHANN  Michael,  who  was  born  at  Bibe- 
rach  in  1750,  painted  at  Augsburg,  and  excelled 
in  landscapes,  and  also  as  an  engraver.  His  plates 
are  executed  in  the  manner  of  Bega  ;  the  best 
is  a  large  landscape,  after  Euisdael.  He  died  at 
Augsburg  in  1813. 

FREY,  Johannes,  a  Swiss  landscape  painter,  a 
native  of  Basle,  studied  principally  in  Italy,  and 
his  views  of  that  country  are  much  valued.  From 
Egypt,  whither  he  accompanied  Professor  Lepsius, 
hebrought  many  excellent  sketches  of  the  Pyramids, 
Labyrinths,  &c.  It  is  to  be  regretted  that  he  was 
obhged  to  make  but  a  short  stay  on  account  of  his 
health.  His  painting  of  '  Chamsyn  in  the  Desert,' 
in  the  possession  of  the  Emperor  of  Germany,  was 
produced  in  1845,  and  is  greatly  admired.  He  died 
atFrascati,near  Rome,  in  1865.  The  IVIodern  Gallery 
at  Munich  has  his  '  Two  Memnons  near  Thebes.' 
FREY,  Johannes  Pieter  de.  See  De  Fbbt. 
FREY,  Martin,  born  at  Wurzach  in  1769,  was  a 
scholar  of  Johann  Gottheb  von  Miiller  at  Stuttgart, 
and  subsequently  resided  at  Vienna,  where  he  was 
still  living  in  1821.    Among  his  best  etchings  are: 


The  Temptation  of  3t.  Jerome ;  after  Domenichino. 
The  Virgin  with  Jesus  aud  John  ;  after  the  painting  in 

the  Estcrhazy  collection  at  Pesth,  attributed  to  Raphael. 
The  Infant  Christ  on  a  bed,  and  holding  the  Cross; 

after  Albani. 
St.  Justina  ;  after  Pordenone. 
An  Old  Man  ;  after  G.  Maes. 

FREY,  Samuel,  a  Swiss  painter  of  landscapes, 
the  father  of  Johannes  Frey,  was  born  at  Sissach 
in  1785.  He  devoted  himself  first  to  engraving 
under  Von  Mechel,  but  at  Antwerp  he  studied  oil- 
painting.  In  1810  he  returned  to  Basle,  where  he 
died  in  1836. 

FREYBECHKE,  Johann,  a  monk  of  the  convent 
of  Konigsbriick,  in  Alsace,  who  flourished  about 
the  year  1428,  mentions  himself  at  the  end  of  a 
Bible  containing  some  good  miniatures,  as  its 
author.  Whether  he  executed  the  miniatures  is 
considered  by  Dr.  Waagen  to  be  an  open  question. 
The  Bible  is  in  the  Royal  Library  at  Munich. 

FREYBEKG,  Elektrine,  born  at  Strassburg  in 
1797,  was  the  daughter  and  pupil  of  Johann 
Stuntz,  a  painter  of  landscapes,  under  whose  tuition 
she  gave  proof  of  great  ability.  She  visited 
France  and  Italy,  and  stayed  at  Rome  some  time. 
Her  paintings  of  historical  scenes  are  distinguished 
for  a  tender  touch,  and  she  was  not  less  success- 
ful in  portraiture  and  landscape  painting.  One  of 
her  best  works  is  a  '  Holy  Family.'  '  The  Birth 
of  St.  John,'  and  two  landscapes,  in  the  album 
of  King  Louis  of  Bavaria,  are  by  this  artist ;  in 
the  Leuchtenberg  Gallery  '  The  Virgin  and  Child,' 
and  '  The  Three  Maries  at  the  Tomb ' ;  and  in  the 
Munich  Gallery  a  'Holy  Family,'  'The  Naming 
of  St.  John  the  Baptist,'  and  '  A  Boy  playing  the 
flute.'     She  died  at  Munich  in  1847. 

FREZZA,  Giovanni  Girolamo,  an  Italian  en- 
graver, was  born  at  Ganemorto,  nearTivoli,  in  1659, 
and  died  at  Rome  in  1730.  He  was  instructed 
in  engraving  at  Rome  by  Arnold  van  Westerhout. 
His  plates  are  etched  with  care,  and  very  neatly 
finished  with  the  graver,  but  without  much  force 
or  effect.  The  following,  among  others,  are  by 
him : 

The  Gallery  of  the  Verospi  Palace ;  seventeen  plates 

after  the  frescoes  by  F.  Albani. 
A  set  of  ten  plates,  including  the  title,  after  the  nine 
pictures   by   Niccolb   Berrettoni,   in   the    church    of 
Santa  Maria  in  Monte  Santo,  at  Rome. 
The  Virgin  suckling  the  Infant;  after  Lodovico  Carracci. 
The  Holy  Family ;  after  Carlo  Maratti. 
The  Assumption  of  the  Virgin  ;  after  the  same. 
The  Twelve  Months  ;  after  the  same. 
The  -Judgment  of  Paris  ;  after  the  same. 
The  Riposo,  called  the  Zingarella  ;  after  Correggio. 
The  Descent  of  the  Holy  Ghost ;  after  Guido. 
Polyphemus  on  a  Rock,  and  Galatea  and  her  Nymphs 

on  the  Sea  ;  after  Sisto  Badalocchio. 
Polyphemus  hurling  a  Rock  at  Acis  and  Galatea  ;  after 

the  same. 
Venus ;  after    an    antique   painting ;    for   the    Crozat 

Collection. 
Pallas;    after    an   antique   painting;    for    the   Crozat 

Collection. 
FREZZA,  Oeazio,  a  native  of  Naples,  lived  in 
the  17th  century,  and  was  instructed  by  G.  B. 
Benaschi.  He  afterwards  studied  the  \yorks  of 
Lanfranco  and  Domenichino,  whom  he  imitated 
with  some  success. 

FRICK,  J.  F.,  born  in  1774,  was  an  engraver  and 
a  professor  at  the  Academy  of  Berlin,  who  gained 
much  repute  for  his  aquatints.  His  best  work  is 
the  series  of  illustrations  of  'The  Castle  of  Marien- 
burg  in  Prussia,'  in  nineteen  plates,  1799.  He  died 
in  1850.  jg^ 


A   BIOGRAPHICAL  DICTIONARY  OF 


FRIDERICH,  Jacob  Andreas,  a  German  en- 
graver, was  born  in  1683.  He  engraved  some 
plates  of  Hussars  and  other  horsemen,  after 
Rugendas.     He  died  in  1761. 

FRIED,  Heinrich  Jakob,  born  at  Queichheim, 
near  Landau,  in  1802,  studied  at  Stuttgart  and 
Augsburg,  and  from  1822  under  Langer  and 
Cornelius  at  the  Academy  of  Munich.  In  1834  he 
went  to  Rome,  and  afterwards  to  Naples,  and  from 
thence  returned  to  his  native  country  in  1837. 
Being  patronized  by  Prince  Karl  von  Wrede, 
he  settled  at  Munich  in  1842,  and  became  con- 
servator of  the  Artistic  Society  in  1845.  He  died 
at  Munich  in  1870.  Fried  was  a  great  lover  of 
legends,  often  taking  these  and  similar  sources  for 
the  subjects  of  his  best  pictures.  He  also  executed 
a  great  number  of  landscapes,  as  well  as  genre 
and  historical  pieces  and  portraits,  the  best  of 
which  are  : 

A  Hunting  Party  before  the  Castle  of  Trifels. 

The  Blue  Grotto  at  Capri.     {Munich  Gallery.) 

A  View  of  Hohenschwangau. 

The  Wounded  Knight. 

Italian  Flute-Players. 

The  Cloister  of  San  Scolastica. 

Views  of  the  Palaces  of  Italy. 

FRIEDERICI,  Jdlius,  a  painter  of  Trfeves,  who 
was  educated  at  the  Diisseldorf  Academy,  has  left 
two  paintings  of  merit,  '  Adam  and  Eve,'  and  a 
'  Flight  into  Egypt.'  He  died  quite  young  in 
1833. 

FRIEDL.a;NDER,  Jdlius,  a  genre  painter,  was 
born  at  Copenhagen  in  1810,  and  entered  the 
Academy  there  in  1824,  afterwards  studying  under 
Lund.  In  1843-44  he  visited  Paris  and  Italy, 
whence  he  derived  additional  subjects  for  his  art. 
Still  later  he  took  to  depicting  military  and  naval 
life.     He  died  in  1861.     Among  his  pictures  are  : 

Polish  Exiles. 

A  Doctor  by  a  Sick  Bed. 

Rope-Dancers  about  to  perform.  {Copenhagen  Gallery.) 

The  Spanish  Staircase  at  Eome.    (Copenhagen  Gallery.) 

Boys  at  Play  at  Capri. 

Scene  in  a  Children's  Bedroom. 

FRIEDRICH,  Caroline  Friederike,  a  flower 
painter,  was  born  at  Friedrichsstadt  in  1740,  and 
died  at  Dresden  in  1812.  She  was  court  painter 
and  a  member  of  the  Dresden  Academy,  and  pro- 
duced a  number  of  admired  bouquets  in  oil  and 
water-colours. 

FRIEDRICH,  Caspar  David,  bom  at  Greifswald 
in  1774,  studied  first  at  the  Academy  at  Copen- 
hagen under  Quisdorf,  and  went  to  Dresden  in 
1795,  where  he  painted  landscapes.  Subsequently 
he  visited  RUgen,  the  Giant  and  the  Harz  Moun- 
tains, and  Italy.  He  also  etched  several  plates  of 
landscapes  and  trees.  In  1817  he  became  professor 
at  the  Academy  of  Dresden,  and  in  1840  a  member 
of  that  at  Berlin.  He  died  at  Dresden  in  1842. 
His  best  landscapes  are  : 

Berlin.  Castle.  An  Abbey  in  an  Oak  Forest,  on  a 
ATinter  Evening. 

„  „  A  Traveller  on  the  Seashore. 

„  A'«(.  Gall.  Evening  View  in  the  Harz  Forest. 

„  „  The  Moon  rising  over  the  Sea. 

Dresden.  Gallery.  Two  Men  looking  at  the  Moon. 

„  „  A  Giant's  Grave. 

„  „  Best  after  Haymaking. 

FRIEDRICH,  Franz,  (or  Friederich,)  a  designer, 
engraver,  and  carver,  worked  at  Frankfort-on- 
the-Oder  about  the  year  1550.  He  was  employed 
by  the  printer  Eichhom,  and  was  considered  the 
first  engraver  of  his  district  at  that  time.  His 
198 


woodcuts  are  signed  with  two  monograms,  with  the 
addition  of  'Peter  Hille';  this  is  supposed  to  mean 
that  the  design  only  is  by  him.  He  died  after 
1583.  Some  of  his  copper-plates  are  marked  with 
a  different  monogram,  and  are  very  rare.  The 
following  are  perhaps  the  best : 

Portrait  of  the  Elector  Joachim  II. 

Portrait  of  Ludolph  Schrader.     1581. 

Portrait  of  the  Archbishop  Heinrich  Julius  of  Brunswick. 

Portrait  of  Heinrich  Paxmann.     1580. 

FRIES,  Beenhard,  a  German  landscape  painter, 
was  born  at  Heidelberg  in  1820.  He  studied  suc- 
cessively at  Carlsruhe,  Diisseldorf,  and  Munich,  and 
for  many  years  resided  in  Italy,  where  he  produced 
his  most  important  work — a  series  of  forty  ItaUan 
landscapes.     He  died  at  Munich  in  1879. 

FRIES,  Ernst,  a  landscape  painter,  and  brother 
of  Bemhard  Fries,  was  born  at  Heidelberg  in  1801, 
and  died  at  Carlsruhe  in  1833.  He  was  taught 
first  by  the  elder  Rottmann,  and  then  by  K.  Kuntz 
at  Carlsruhe.  The  English  painter  Wallis,  who  was 
then  residing  in  Heidelberg,  made  a  great  impres- 
sion upon  him.  Afterwards  he  went  to  Darm- 
stadt, where  he  studied  architecture  and  perspec- 
tive under  Moller.  In  1821  he  removed  to  Munich, 
where  he  visited  the  Academy.  From  1823  to 
1827  he  lived  in  Italy,  and  returned  to  Munich  and 
Carlsruhe  in  1831,  but  died  in  the  prime  of  his 
activity  in  1833.     Among  his  paintings  are  : 

A  View  of  Tivoli. 

Sorrento  and  the  House  of  Tasso. 

Pozzuoli  and  the  Gulf  of  Baiae. 

Capo  Misene. 

The  'n^aterfaU  of  Liris  at  Isola  di  Sora.  1 833.  {Munich 
Gallerj/.) 

The  Castle  of  Massa. 

A  View  of  Heidelberg. 

Valmontone.     {Berlin  National  Gallery.) 

He  lithographed  six  plates,  representing  views 
of  Heidelberg  Castle,  1820-21,  and  the  '  Death  of 
Siegfried,'  from  the  Nibelungen  Lied,  after  C. 
Qanglof.  With  Thiirmer  he  executed  an  etching 
of  the  Roman  Forum. 

FRIES,  Hans,  a  Swiss  painter,  was  born  at 
Freiburg  in  the  middle  of  the  16th  century.  It  is 
probable  that  he  studied  in  Germany.  He  was  a 
member  of  the  Guild  at  Basle  in  1487-88,  and  at 
Freiburg  in  1501.  He  died  subsequently  to  1518. 
The  following  paintings  are  by  him  : 

Basle.  Museum.    Scenes  from  the  Life  of  the  Virgin 

{painted  for     the    Johanniter- 
Comthurei).    1514. 
„  „  Six  Scenes  from  the  Life  of  the 

Virgin  {painted  for  Berne). 
Freiburg.  Council}  The    Last    Judgment    {now   re- 

Chamber,  j      moved).     1501-6. 
Franciscan  )  ,j,j^g  Legend  of  St.  Anthony. 
Convent.   ) 
,  Arsenal.     Coats   of    Arms    and    seventeen 

Flags.     1506. 
Vienna.  Gallery.     A  young  Man,  with  Death  behind 

him.     1524. 

FRIES,  Karl  Friedrich,  born  at  Winnweiler, 
in  the  Palatinate,  in  1831,  studied  first  at  the 
Academy  at  Munich,  and  afterwards  under  Ber- 
dell6.  He  visited  Vienna,  and  painted  there  under 
Rahl  ;  then  went  to  Venice,  Florence,  and  Calabria, 
where  he  studied  the  old  masters.  He  died  at 
St.  Gall,  Switzerland,  in  1871.  His  style  much 
resembles  that  of  the  Venetian  painters.  The 
following  are  some  of  his  works : 

Wine,  Woman,  and  Song;  in  the  style  of  Paolo  Veronese. 

1862. 
The  Mineral  Bath  in  the  Abrnzzi. 


PAINTERS  AND  ENGKAVERa 


FRIES,  WiLHELM,  a  brother  of  Bernhard  and 
Ernst  Fries,  was  a  landscape  painter,  and  the 
conservator  of  the  Wessenberg  Museum.  He 
was  born  in  1819,  and  died  at  Constance  in 
1878. 

FRIPP,  Alfred  Downing,  younger  brother  of 
George  A.  Fripp  (q-v.),  was  born  in  Bristol  in 
1822.  In  his  early  years  he  was  chiefly  influenced 
by  W.  J.  Miiller,  and  he  soon  (1840)  followed  his 
brother  to  London  where  he  studied  in  the 
Bculpture-galleries  of  the  British  Museum  and  at 
the  Royal  Academy.  Choosing  water-colour  as  a 
medium  he  began  his  career  in  1842  by  sending 
three  drawings  to  the  British  Artists'  Gallery.  In 
1844  he  was  elected  an  Associate  of  the  Royal 
Society  of  Painters  in  Water-colour,  and  thence- 
forward his  reputation  steadily  grew.  In  1846  he 
became  a  full  member  of  the  Society.  He  went 
to  Rome  in  1850  and  remained  in  Italy  till  1859. 
In  1870  he  was  appointed  Secretary  to  the  Old 
Society.  He  visited  Ireland  thrice,  and  found 
there  the  subjects  of  some  of  his  most  charming 
works,  e.  g.  '  Irish  Reapers  meeting  their  Friends 
after  harvesting  in  England.'  He  painted  many 
pictures  of  Italian  life  and  scenery,  of  which 
'Pompeii — the  City  of  the  Dead'  (1853),  is  the 
most  important.  "This  is  one  of  the  few  pictures 
where  figures  are  not  the  leading  motive.  On  his 
return  he  reverted  to  Welsh  and  English  scenes ; 
figure-subjects  with  a  subordinate  but  often 
highly-finished  landscape  setting.  He  died  in 
1895.  He  contributed  to  the  Gallery  about  270 
works.  Two  of  his  pictures — '  Young  England  ' 
and  'The  Irish  Mother ' — are  widely  known  through 
engravings.  He  had  a  delicate  and  tender  touch, 
painting  rather  in  low  tints,  and  his  drawings 
show  a  poetic  refinement,  a  grace  and  an  idyllic 
simplicity  that  never  fail  to  charm. 

J.H.W.L. 
FRIPP,  George  Arthtjr,  the  son  of  a  clergyman 
and  grandson  of  Nicholas  Pocock,  one  of  the 
founders  of  the  old  Water-colour  Society,  was  bom 
in  Bristol  in  1813.  Bristol  was  then  the  head- 
quarters of  a  notable  group  of  painters  ;  and  from 
two  of  these  he  received  his  art-training,  leaining 
oil-painting  from  J.  B.  Pyne,  but  owing  most  to 
Samuel  Jackson,  his  master  in  water-colour.  He 
painted  portraits  in  oil  in  his  native  town  for 
some  years,  maintaining  a  close  friendship  with 
W.  J.  MilUer  with  whom  he  travelled  in  Italy. 
In  1841  he  migrated  to  London,  and  in  the  same 
year  was  elected  an  Associate  of  the  Royal  Society 
of  Painters  in  Water-colour.  A  large  landscape  in 
oils,  '  Mount  Blanc  from  near  Cormayeur,  Val 
d'Aosta,'  which  was  exhibited  at  the  Academy  in 
1848,  elicited  the  praise  of  Turner,  and  was  bought 
and  presented  to  the  Corporation  of  Liverpool,  in 
whose  gallery  it  now  hangs.  He  painted  but  little 
in  oil,  and  soon  devoted  himself  entirely  to  water- 
colour.  In  1845  he  became  full  member  of  the 
Society,  and  in  1848  was  appointed  Secretary,  a 
post  he  retained  till  his  resignation  in  1854.  He 
was  elected  a  member  of  the  Belgian  Society  of 
Painters  in  Water-colour  in  1872  or  1873.  He 
was  a  regular  contributor  to  the  Exhibitions  of  his 
Society  (sending  in  fifty  years  nearly  600  drawings), 
and  was  always  active  and  zealous  in  its  service. 
He  died  in  Hampstead  in  1896  after  a  period  of 
faihng  health.  He  was  an  accomplished  landscape- 
painter.  Early  in  his  career  he  painted  some 
Swiss  and  Italian  scenes,  but  most  of  his  work  was 
done  at  home.     He  particularly  excelled  in  river- 


scenery,  and  his  numerous  views  on  the  Thames 
are  of  high  merit.  Picturesque  ruins,  Scottish 
and  Welsh  mountain  scenery,  rustic  subjects  and 
rooky  coast-pieces  (Dorset,  Cornwall  and  Sark), 
were  treated  by  him  with  firm  draughtsmanship, 
close  fidelity  to  natural  truth,  and  much  feeling 
for  pure  colour  and  tender  atmospheric  eflEect. 
He  painted  in  transparent  colours,  avoiding  the  use 
of  body-colour. 

His  son,  C.  E.  Fripp,  is  an  Associate  of  the 
Royal  Society  of  Painters  in  Water-colour. 

FRIQUET,  Jacques  Claude,  called  F'riquet  de 
Vattx-Rose,  or  Vadroze,  was  born  in  1648.  Little 
is  known  of  this  artist  except  that  he  was  a  scholar 
of  Bourdon,  and  painted,  after  the  drawings  of  his 
master,  the  gallery  of  the  hotel  of  M.  de  Breton- 
viUiers,  president  of  the  Chambre  des  Comptes. 
He  also  painted,  in  1667,  an  allegorical  picture  of 
the  campaign  in  Flanders,  and  another  of  the 
conquest  of  Franche  Comte  in  the  following  year. 
He  was  elected  a  member  and  professor  of  anatomy 
in  the  Academy  of  Paris  in  1670:  his  reception 
work,  'The  Peace  of  Aix-la-Chapelle,'  is  in  the 
Louvre.  He  also  engraved  some  of  the  works  of 
Bourdon.     He  died  in  Paris  in  1716. 

FRISCH,  JoHANN  Christoph,  an  historical  painter, 
was  the  son  of  the  designer  and  engraver,  Ferdi- 
nand Helfreich  Frisch,  and  was  born  at  Berlin 
in  1737.  He  was  a  pupil  of  B.  Rode,  but  after- 
wards studied  further  at  Rome.  He  died  at  Berlin 
in  1815,  while  holding  the  posts  of  court  painter  and 
director  of  the  Academy.  He  painted  numerous 
ceilings  in  the  palaces  at  Berlin,  Potsdam,  and 
Sans  Souci,  with  portraits,  mythological  repre- 
sentations, and  scenes  from  the  life  of  Frederick 
Ae  Great. 

FRISCH,  John  Didrik,  a  Norwegian  landscape 
painter,  was  born  at  Charlottedal,  near  Slagelse,  in 
1835,  and  studied  in  the  Academy  at  Soro  under 
Harder,  and  afterwards  in  that  at  Copenhagen. 
In  1867  he  went  to  Italy  for  further  improvement, 
but  died  at  Florence  in  that  year.  He  was  fond  of 
introducing  animals  into  his  landscapes.  One  of 
his  pictures  is  entitled  '  Two  old  Neighbours  pro- 
curing a  Night's  Lodging.' 

FRISIUS.     See  De  Vries. 

FRISIUS,  Jan  Eillart,  was  very  likely  one  of 
the  De  Vries  family.  He  was  chiefly  employed  by 
the  booksellers,  for  whom  he  engraved  some  plates 
of  portraits  ;  among  others  : 

Henry  IV.,  King  of  France. 
Henry  of  Nassau,  Prince  of  Orange. 

FRISTER,  Karl,  an  Austrian  painter,  was  bom 
at  Vienna  in  1742,  and  died  in  the  same  city  in 
1783. 

FRITS,  Pieter,  a  Dutch  painter,  was  bom  pro- 
bably at  Delft  about  1627.  He  spent  some  time 
in  Italy,  and  was  employed  at  several  European 
courts.  In  1683  he  established  himself  at  Delft.  He 
painted  incantations,  spectres,  and  other  eccentric 
absurdities,  in  the  style  of  Jerom  Bosch  ;  but  not 
meeting  with  sufficient  encouragement  in  this  line, 
he  abandoned  it  for  that  of  a  printseller,  in  which 
he  amassed  a  large  fortune.  He  was  still  living  in 
1702. 

FRITSCH,  Daniel,  a  German  painter,  lived  in 
the  latter  part  of  the  16th  century.  He  copied,  or 
imitated,  the  works  of  Lucas  Cranach,  as  appears 
by  a  picture  in  the  church  at  Tempelhof,  near 
Berlin,  mentioned  by  Kugler,  and  supposed  to  be 
by  Lucas  Cranach,  but  which,  on  cleaning,  was 

199 


A  BIOGRAPHICAL  DICTIONARY  OF 


discovered  to  be  the  work  of  Fritsch,  and  painted 
in  the  year  1696.  Kugler  observes  that  in  power 
of  colouring  it  is  inferior  to  the  later  works  of 
Cranach,  but  is  distinguished  by  the  excellence 
and  individual  truth  of  the  heads. 

FRITZSCH,  Christian,  an  engraver,  was  a 
native  of  Hamburg.  He  was  chiefly  employed  in 
engraving  portraits,  among  which  are : 

Pope  Benedict  XIV. 

John  Churchill,  Dake  of  Marlborough. 

FRITZSCH,  Claudids  Ditlev,  a  Danish  flower 
painter,  was  born  at  Kiel  in  1765,  and  died  at 
Copenhagen  in  1841.  There  are  some  specimens 
of  his  art  in  the  Gallery  of  the  latter  city. 

FROHLICHER,  Oito,  was  born  in  Solothurn, 
Switzerland,  in  1840.  He  studied  in  Munich,  and 
was  influenced  by  Schleich  and  Lier.  In  1868-69 
he  lived  a  year  in  Paris,  and  painted  in  the  forest 
of  Fontainebleau,  receiving  a  powerful  stimulus 
from  Theodore  Rousseau  and  the  Barbizon  painters. 
The  wide  plains  of  Peissenberg,  seen  under 
brooding  rain-clouds,  Alpine  and  Bavarian  land- 
scapes are  the  subjects  of  his  best  pictures.  His 
studies  of  forest  scenery  are  fresh  and  powerful, 
but  the  finished  pictures  less  successful.  He  died 
in  Munich  in  1891.  J  H  W  L. 

FROMANTIOU,   Hendrik  de.      See'Ds   Fro- 

MANTIOn. 

FROMENTIN,  EooiNE,  a  French  painter  ot 
Algerian  subjects,  and  an  art  writer,  was  born  at 
La  Rochelle  in  1820.  He  studied  under  Cabat, 
and  travelled  in  the  East  from  1842  to  1846.  He 
died  at  St.  Maurice,  near  his  birthplace,  in  1876. 
Amongst  the  books  he  wrote  are  '  Les  Maitres 
d'autrefois,'  '  Un  tM  dans  le  Sahara,'  '  Une  Ann^e 
dang  le  Sahel,'  and  a  romance  called  'Dominique.' 
His  chief  paintings  are: 

The  Gorge  of  the  Chiffa. 

Hawking  in  Algeria.     {Luxemhourg  Gallery.) 

Arab  Encampment  (unjinislud).     (Luxembourg  Gallery.) 

The  Simoom.     1859. 

Arabs  attacked  by  a  Lioness.     1868. 

The  Halt  of  Muleteers.     1869. 

Rendezvous  of  Arab  Chiefs. 

A  Souvenir  of  Esneh.     1876. 

The  Nile.    1876. 

A  memoir  of  Fromentin  by  M.  Louis  Gonse  was 
published  in  1881,  and  has  since  been  translated 
into  English. 

FROMMEL,  Kakl  Ludwig,  born  at  Birkenfeld 
in  1789,  was  instructed  in  painting  by  Phihpp  Jakob 
Becker,  and  in  engraving  by  Haldenwang.  He 
afterwards  went  to  Paris  and  Italy  for  improve- 
ment, returned  to  Germany  in  1817,  and  became 
professor  of  painting  and  engraving  at  Carlsruhe. 
He  visited  England  in  1824,  and  founded,  with 
H.  Winkles,  an  atelier  for  engravers  on  steeL 
In  1829  he  was  made  director  of  the  Gallery  at 
Carlsruhe.  He  died  at  Ispringen,  near  Pforzheim, 
in  1863.  Frommel's  landscapes  are  very  spirited 
and  tasteful  compositions.     Among  them  are  : 

Sorrento. 

The  Eruption  of  Vesuvius. 
The  Blue  Grotto  at  Capri, 
Scylla  in  Calabria. 
The  Convent  Garden  at  Sorrento. 
The  Churchyard  at  Salzburg. 
The  Castle  of  Hohenstaufen. 
A  View  of  Eome. 
.^tna  and  Taormina. 
BeUaggio  on  Lake  Como. 
The  House  ot  Tasso  at  Sorrento. 
The  Villa  Serbelloni  on  Lake  Como. 
200 


Among  his  engravings  are  : 
Ariccia,  near  Rome. 
View  of  the  Villa  d'Esta  at  Tivoli. 
A  Landscape  with  Goats  and  Shepherds. 
A  View  of  Vesuvius. 
A  View  of  Mount  .ffitna. 
La  Grotta  deUe  Sirene. 

FRONTIER,  Jean  Charles,  was  bom  in  Paris  in 
1701.  He  was  a  pupil  of  Claude  Guy  Hall^,  and 
took  the  first  prize  at  the  Academy  in  1728,  with 
a  picture  of  '  Ezekiel  abolishing  Idolatry  and  estab- 
lishing the  Worship  of  the  true  God.'  He  was 
received  as  an  academician  in  1744,  with  the  pic- 
ture '  Prometheus  bound  on  Caucasus,'  now  in  the 
Louvre.  He  exhibited  at  the  Salon  from  1743  to 
1751,  and  became  director  of  the  Academy  of 
Lyons,  where  he  died  in  1763. 

FROSNE,  Jean,  a  French  engraver,  was  born  in 
Paris  about  the  year  1630,  and  was  still  living  in 
1676,  He  was  principally  employed  in  engraving 
portraits,  of  which  the  Abb6  de  Marolles  collected 
forty-three.  He  also  engraved  part  of  the  large 
ornamental  plates  for  the  collection  of  views,  &c., 
by  S.  de  Beaulieu.  Among  others,  the  following 
portraits  are  by  him  : 

Claude  Baudry,  Abb^  de  La  Croix ;  after  Le  Bon.    1657. 

Louis  de  Lorraine,  Due  de  Joyeuse. 

Henri  d'0rI6ans,  Due  de  Longueville. 

Nicolas  Dauvet,  Comte  de  Desmarez  ;  after  Streaor. 

Nicolas  Potier,  President  of  the  Parliament. 

M.  Dreux  d'Aubray. 

FROST,  George,  an  English  landscape  painter, 
son  of  a  builder,  was  born  at  Barrow,  in  Suffolk,  in 
1744.  He  was  employed  in  connection  with  the 
Ipswich  coach,  and  only  pursued  art  as  a  pleasure. 
He  was  a  follower  of  Gainsborough,  and  on  friendly 
terms  with  Constable.  He  died  at  Ipswich  in  1821. 
In  the  Glasgow  Gallery  is  a  sketch  by  this  artist 
entitled  '  Courtship.' 

FROST,  William  Edward,  an  English  mytho- 
logical and  allegorical  painter,  was  born  at  Wands- 
worth in  1810.  He  received  his  first  instruction  in 
art  from  an  amateur,  then  at  Sass's  academy,  and 
finally  at  the  schools  of  the  Royal  Academy,  which 
he  entered  in  1829,  and  where,  in  1839,  he  won  the 
gold  medal  with  his  '  Prometheus  bound.'  For  the 
first  fourteen  years  of  his  career  he  painted  por- 
traits, and  then  relinquished  that  branch  of  art  to 
follow  in  the  footsteps  of  Etty,  to  whom  he  had 
been  introduced  at  the  age  of  fifteen,  and  who  had 
given  him  much  advice.  At  the  Westminster  Hall 
competition  in  1843  he  obtained  a  prize  of  £100  for 
his  '  Una  surprised  by  Fauns.'  He  was  elected 
an  Associate  of  the  Royal  Academy  in  1846,  but 
did  not  become  an  Academician  imtil  1871,  when 
he  deposited  as  his  diploma  picture  '  A  Nymph  and 
Cupid.'  He  died  in  London  in  1877.  His  chief 
works  are : 

Sabrina.     1845. 

Diana  surprised  by  Actreon.     1846. 

Una  and  the  Wood  Nymphs.     1847. 

The  Dis.irming  of  Cupid.     1850. 

Ch.astity.    1854. 

Narcissus.     1857.     {International  Exhibition,  1862.) 

The  Syrens.     1860. 

A  Dance.     1861. 

The  Graces  and  Loves.    1863. 

Hylas  and  the  Nymphs.     1867. 

Puck.     1869. 

FROYEN,  — ,  the  name  of  an  obscure  and  very 
indifferent  engraver,  is  affixed  to  a  print  repre- 
senting the  head  of  our  Saviour.  It  is  executed 
entirely  with  the  graver. 


PAINTERS  AND  ENGRAVERS. 


FRUMENTI,  Niccol6,  who  flourished  about  1460, 
was  the  painter  of  a  triptych  in  the  Uffizi  at  Florence, 
representing  the  '  Raising  of  Lazarus,'  dated  1461. 

FRUTET,  Fkancisco.  This  name  appeared  first 
in  the  pages  of  Cean  Bermudez,  whence  it  has 
been  copied  again  and  again  during  the  present 
century.  Cean  Bermudez  appears  to  have  been 
misled  by  certain  documents  in  the  archives  of  the 
convent  of  La  Merced  Calzada  at  Seville,  and  so  to 
have  ascribed  to  an  artist  who  never  existed  the 
triptych  of  the  '  Adoration  of  the  Magi,'  now  in 
the  Brussels  Gallery,  which  was  probably  the  last 
work  of  Frans  Floris.  The  question  has  been  dis- 
cussed by  M.  Fdtis  in  the  '  Bulletin  des  Commissions 
royales  d'Art  et  d'Arch^ologie  '  for  1880. 

FBUTTI,  II  Gobbo  da'.    See  Bonzi. 

FRUYTIERS,  Philippus,  a  Flemish  painter  and 
etcher,  was  born  at  Antwerp  about  the  year  1610. 
He  first  painted  historical  subjects  in  oil,  and  had 
given  proof  of  considerable  ability  in  an  altar-piece 
representing  the  '  Virgin  and  Infant  seated  on  a 
Globe  with  a  Choir  of  Angels,'  painted  for  the 
cathedral,  when  he  quitted  oil-painting  for  dis- 
temper and  miniature,  and  became  the  most  cele- 
brated artist  of  his  time  in  those  branches.  His 
colouring  is  excellent,  and  his  compositions  evince 
a  ready  invention.  His  works  were  greatly  es- 
teemed by  Rubens,  and  it  is  no  slender  proof  of  his 
merit  that  he  was  employed  to  paint  the  portraits 
of  that  great  master  and  his  family,  which  he 
executed  entirely  to  his  satisfaction.  There  is  at 
Windsor  Castle  a  miniature  by  him  of  the  wife  and 
family  of  Rubens.  He  died  at  Antwerp  in  1665. 
Fruytiers  etched  some  plates  in  a  very  masterly 
style;  they  are  principally  portraits.  The  most 
important  are : 

Jacob  Edelheer,  the  Ambassador. 

M.  Ambrosius  van  CapeUe,  Bishop  of  Antwerp. 

Gottfroy  'Wendelinus.     1648. 

Hedwiga  Eleonora,  Queen  of  Sweden. 

Don  Laur.  Eamires  de  Prado,  Eques.     1649. 

Innocens   a  Calatayerone,  head    of   the  Capuchins  in 

Belgium. 
Benj.  Sardagna.     1650. 
St.  Joachim  and  St.  Anna  presenting  the  Child  Mary  to 

the  Trinity. 

FRY,  William  Thomas,  who  was  born  in  1789, 
and  died  in  1843,  practised  engraving  with  some 
success. 

FRYE,  Thomas,  a  portrait  painter  and  engraver 
in  mezzotint,  was  born  in  the  vicinity  of  Dublin 
in  1710,  but  afterwards  resided  in  London,  and 
in  1749  established  a  porcelain  manufactory  at 
Bow,  which  did  not  prove  a  successful  venture. 
He  painted  portraits  with  success,  both  in  oil  and 
in  miniature.  His  portrait  of  Jeremy  Bentham  at 
the  age  of  thirteen  is  in  the  National  Portrait 
Gallery.  He  also  scraped  in  mezzotint  several 
plates  of  portraits,  most  of  which  are  as  large  as 
life.  He  died  in  1762.  Among  his  engravings 
are  the  following  heads  : 

George  III. 

Queen  Charlotte. 

His  own  Portrait. 

Portrait  of  his  Wife. 

Miss  Pond. 

FUCHS,  Adam,  an  engraver  on  copper  and 
wood,  flourished  in  Germany  in  1550-80.  Among 
his  plates,  which  are  marked  with  his  name  or 
initials,  or  with  one  or  other  of 
the  accompanying  monograms, 


are  ; 


?? 


The  Elector  Frederick  the  Wise. 
Martin  Luther  kneeling  before  a  Crucifix.     1568. 
A  Hare  mounted  as  General. 

Twelve    Plates    of    Love-pieces    of    Sea-horses    and 
Monsters. 

FUCHS,  Maximilian  Heineich,  who  was  bom 
in  1767,  became  deservedly  known  for  his  archi- 
tectural design  for  the  cathedral  at  Cologne.  He 
restored  with  ability  the  '  Crucifixion  of  Peter,'  in 
St.  Peter's  church  in  that  city,  and  Stephan's  paint- 
ing in  the  cathedral.  He  died  at  Cologne  in  1848. 
FUCKERAD,  Bernard,  a  Jesuit,  born  in  Thu- 
ringia  in  1601,  executed  a  number  of  paintings  for 
the  Jesuits'  Church  and  that  of  St.  Andrew  at 
Cologne.  He  is  said  to  have  been  so  skilful  in 
copying  the  works  of  other  artists,  that  an  imitation 
by  him  of  a  picture  by  Johann  Hulsman  deceived 
that  painter  into  the  belief  that  it  was  his  own 
production.  He  died  at  Cologne  in  1662. 
FUENTE.  See  De  La  Fuente. 
FUENTES,  Giorgio,  born  at  Milan  in  1756, 
studied  under  Gonzaga,  and  distinguished  himself 
as  a  painter  of  decorations  in  the  Scala  at  Milan,  at 
Frankfort  (1796—1805),  and  in  the  Grand  Opera 
in  Paris.     He  died  at  Milan  in  1821. 

FUERSTENBERG,  Theodor  Caspar  von,  one 
of  the  first  artists  who  worked  in  mezzotint,  is 
said  to  have  been  instructed  by  Ludwig  von 
Siegen.  All  that  is  now  known  of  this  artist  is 
that  he  was  a  prebendary  at  Mayence  in  1624,  and 
provost  in  1673.  He  died  at  that  town  in  1675. 
His  very  rare  and  beautiful  plates  are : 
The  Portrait   of  the  Archduke  Leopold  'WUliam   of 

Austria.     1656. 
Christ   with   the  Crown  of    Thorns;    after  Alhrecht 

D'urer.  ' 

The  Bust  of  a  Prince.     1658. 
The  Head  of  St.  John. 
Herodias  with  the  Head  of  St.  John. 
The  Portrait  of  the  Margrave  Frederick  of  Baden. 
FUES,Friedrich  Christian,  an  historical,  genre, 
and  portrait  painter,  was  born  at  Tijbingen  in  1772, 
and  was  educated  at  Stuttgart  under  Harper  and 
Hetsch.      He   then   found   employment   in    Stob- 
wasser's  varnish  factory  at  Brunswick,  and  after 
that  with  J.  D.  von  Mayr  at  Nuremberg,  in  the 
preparation  of  pictures  for  snufE-boxes  and  orna- 
ments, until  he  was  appointed  professor  of  painting 
in  the  art  school  of  the  latter  city.     He  died  in 
1836.     He   etched  thirteen   plates  of   landscapes, 
and    lithographed    four.      Among    his    paintings 
are : 

The  Minnesingers. 

The  Family  of  an  old  Knight  in  the  Castle  Hall. 

A  Peasant  laughing. 

Summer  and  Winter.     1835. 

Consecration  of  a  Swabian  Church.     1839. 

Nine  Portraits  of  distinguished  Nurembergers.  (Town 
Hall,  Nuremhery.) 

FDESSLY  is  the  name  borne  by  a  numerous 
family  of  artists,  who  flourished  at  Zurich  in  the 
18th  and  19th  centuries.  The  most  important 
member  was  Heinrioh  Fuessly,  better  known  as 
Henry  Fuseli,  R.A.  The  others  painted  portraits, 
flowers,  miniatures,  &c.,  and  some  of  them  wrote 
on  art.  .  , 

FUESSLY,  Heinrich,  or,  as  he  is  commonly 
known  in  England,  Henry  FnsELl,  second  son 
of  Johann  Kaspar  Fuessly,  was  born  at  Zurich  in 
1741.  He  was  originally  intended  for  the  Church, 
and  actually  entered  it,  but  compelled  by  the 
enmity  of  a  magistrate,  whose  dishonesty  he  had 
exDOsed,  to   leave   his   native   town,  he  went   to 

-^        '  201 


A  BIOGRAPHICAL  DICTIONARY  OF 


Berlin,  and  for  some  time  devoted  himself  to 
literature,  in  which  he  was  engaged  at  intervals 
throughout  his  life.  In  1765,  at  the  instigation  of 
the  British  ambassador  at  the  court  of  Berlin,  he 
visited  England,  and  in  1767  an  introduction  to 
Reynolds,  who  praised  his  drawings,  induced  him 
to  become  a  painter,  and  in  the  following  year  he 
went  to  Italy,  where  he  stayed  for  nearly  nine 
years,  studying  the  works  of  Michelangelo ;  but 
he  never  fairly  mastered  the  principles  of  drawing 
or  colouring,  and  his  works  are  esteemed  more  for 
the  powerful  imagination  they  display  than  for  any 
artistic  merit.  He  was  of  most  eccentric  habits  and 
extravagant  ideas,  and  these  ideas  are  everywhere 
apparent  in  his  pictures.  Leaving  Italy  in  1778, 
and  passing  through  Zurich,  he  reached  England 
in  the  following  year,  and  in  1782  produced  his 
famous  picture  of  'The  Nightmare.'  In  1786  he 
became  a  zealous  worker  in  Boydell's  Shakespeare 
Gallery,  for  which  he  executed  nine  paintings. 
In  1788  he  was  elected  an  Associate  of  the  Royal 
Academy,  and  an  Academician  two  years  later,  and 
in  1790,  too,  he  married  one  of  his  models.  In 
1799  he  opened  his  Milton  Gallery,  comprising 
forty-seven  paintings,  tlie  result  of  several  years 
of  labour.  In  the  same  year  he  was  elected 
Lecturer  on  Painting  at  the  Royal  Academy,  and 
in  1804  he  was  made  keeper,  the  bye-laws  being 
altered  to  allow  hira  to  retain  the  lectureship. 
He  died  at  Putney  in  1825.  Fuseli  was  an  artist 
in  mind,  but  devoid  of  technical  knowledge. 
His  most  famous  productions  are,  perhaps,  his 
illustrations  to  Shakespeare. 

FUGER,  Feiedrich  Heinrich,  was  born  at 
Heilbronn  in  1751.  Some  of  hio  works  exhibit 
elegance  of  form  and  an  agreeable  colour ;  but  he 
is  very  unequal,  as  may  be  seen  from  those  in  the 
Vienna  Gallery,  which  are  not  his  best.  He  first 
learned  painting  under  Guibal  at  Stuttgart,  but 
finding  himself  not  yet  apt  enough  for  the  art,  he 
studied  jurisprudence  at  Halle  in  1768.  In  1770 
he  took  up  the  brush  again,  and  painted  under 
Oeser  at  Leipsic.  He  then  went  to  Dresden,  where 
he  executed  several  portraits.  In  1772  he  returned 
to  Stuttgart  in  order  to  study  composition  under 
Guibal.  At  Vienna,  to  which  city  he  went  in  1774, 
he  was  patronized  by  Maria  Theresa,  who  assisted 
him  to  visit  Rome,  in  which  city  he  studied  after 
the  antique  and  the  great  masters,  especially  after 
Mengs  and  Battoni.  After  having  finished  several 
frescoes  in  the  Caserta  Palace,  near  Naples,  in 
1782,  which  represent  'Allegories  upon  the  Origin 
of  the  Sciences,'  he  was  appointed  vice-director 
of  the  Academy  at  Vienna  in  1783.  He  died  at 
Vienna  in  1818.  His  most  important  paintings 
are: 

Bronswick.      Gallery.    The  Portrait  of  Count  Ludolff. 
London,        Nat.  Port.  \  Portrait   of  Nelson   ( painted   at 

Gallery.   J       Vienna  in  1800). 
Munich.  Gallery.     The  Magdalen. 

Vienna.  Gallery.    St.  John  the  Baptist. 

„  „  The  Magdalen. 

„  ,,  Ariadne  at  Naxos. 

„  „  Orpheus  in  the  Lower  'World. 

„  „  Dido  on  the  Funereal  Pile. 

„  „  Adam   and  Eve   lamenting   over 

the  bodj  of  Abel. 

„  „  The  Judgment  of  Brutus. 

„  „  Semiramis. 

„  „  Virginia. 

„  „  The  P'arewell  of  Coriolanus. 

„  Academy.    The  Death  of  Germanicus. 

202 


Other  portraits  by  hira  are  : 
The  Emperor  Joseph. 
The  Elector  of  Mentz. 
General  Loudon. 
The  Princess  of  France. 
The  Countess  Rzewuska  with  her  Children. 

He  illustrated  Klopstock's  'Messiah'  with  twenty 
designs  which  were  engraved  by  Leybold,  and 
likewise  executed  fifteen  etchings  of  portraits  and 
mythological  subjects. 

FUHRICH,  Joseph,  was  bom  at  Kratzau,  in 
Bohemia,  in  1800,  and  studied  first  at  Prague  under 
Bergler,  and  in  1827  at  Vienna,  where  he  designed 
and  painted  several  romantic  scenes.  In  1829  he 
went  to  Rome,  and  executed  three  frescoes  in  the 
Villa  Massimi,  representing  scenes  from  Tasso's 
'  Gerusalemnie  liberata.'  He  afterwards  became 
a  follower  of  Overbeck.  In  1854  he  began  his 
great  works  in  the  Altlerchenfelder  Church  at 
Vienna,  representing  the  '  Raising  of  Lazarus ' 
and  the  'Last  Judgment.'  He  died  at  Vienna  in 
1876.  Though  his  religious  subjects  are  not  free 
from  fault,  they  are  well  conceived,  the  figures 
being  natural  and  the  draperies  simple.  Among 
his  numerous  paintings  and  drawings  may  be 
mentioned : 

Fifteen  drawings  for  Tiecb's  '  Genovefa.* 

Illustrations  to  Goethe's '  Erlkonig.' 

Twelve  drawings  for  Goethe's '  Hermann  and  Dorothea.* 

Jesus  entering  the  Garden. 

Joshua  and  his  army  giving  thanks  on  the  Fall  of  the 
Walls  of  Jericho. 

The  Nativity  of  Christ. 

The  Creator  in  the  Clouds  giving  Moses  the  Command- 
ments,    (  Vienna  Gallery.) 

The  Appearance  of  lighting  Horsemen  in  the  Clouds, 
terrifying  the  inhabitants  of  Jerusalem,  before  the 
occupation  by  Antiochus.    ( Vienna  Gallery.) 

The  Virgin  going  over  the  Mountain.  (  Vienna  Gallery.) 

Fourteen  scenes  from  the  Crucifixion.  (St.  John 
JVepomukj  Vienna,) 

Eight  scenes  in  the  life  of  the  Prodigal  Son. 

Sixteen  scenes  of  the  Spiritual  Rose. 

Fifteen  scenes  of  the  Eesurrection. 

FULCARDS,  Sebastiands.    See  Force. 

FULCO,  Giovanni,  was  bom  at  Messina  in  1615. 
After  having  learned  the  first  principles  of  design 
in  his  native  city,  he  went  to  Naples,  where  he 
entered  the  school  of  Cavaliere  Massimo  Stanzione. 
He  is  said  by  Hakert,  in  his  '  Memorie  de'  Pittori 
Messinese,'  to  have  been  a  firm  and  correct  designer, 
and  to  have  excelled  particularly  in  the  representa- 
tion of  children.  Many  of  his  pictures  have  been 
destroyed  by  the  earthquakes,  to  which  his  country 
is  subject.  Of  those  that  remain  are  his  fresco 
works,  and  a  picture  in  oil  of  the  'Birth  of  the 
Virgin,'  in  the  chapel  of  the  Crucifixion,  at  the 
Nunziata  de'  Teatini,  at  Messina.  He  died  about 
the  year  1680. 

FULIGNO,  Niccol6  da.    See  Liberatore. 

FULI6N0,  Pier  Antonio  di,  flourished  about 
the  middle  of  the  15th  century,  and  executed  the 
frescoes  in  Santa  Cattarina  at  Assisi. 

FULLER,  Isaac,  an  English  painter,  was  born  in 
1606.  Nothing  is  known  of  his  family,  or  of  his 
instructor  in  his  own  country,  but  he  studied  some 
years  under  rran9ois  Perrier,  in  Paris.  He  was 
principally  employed  in  England,  and  especially  at 
Oxford,  in  wall  pieces.  In  the  chapel  at  Wadham 
College  he  painted  the  '  Children  of  Israel  gathering 
Manna,'  and  at  Magdalen  College  an  altar-piece 
which  was  praised  by  Addison.  He  also  painted 
five  pictures  of  the  'Escape  of  Charles  II.  after  the 
battle  of  Worcester,'  which  were  presented  to  the 


PAINTERS  AND  ENGRAVERS. 


Irish  Parliament.  His  own  portrait,  which  is  at 
Queen's  College,  Oxford,  though  eccentric,  is 
touched  with  great  force,  and  full  of  character. 
Fuller  etched  some  plates  for  a  drawing-book, 
called  '  Libro  da  disegnare';  and  in  conjunction 
with  Tempesta  and  Henry  Cooke,  etched  the  plates 
for  the  '  Moral  Emblems,'  by  Cesare  Ripa  ;  they  are 
very  indifferently  executed.  He  died  in  London 
in  1672. 

FULLER,  Richard,  an  American  landscape 
painter,  was  born  at  Bradford,  in  New  Hampshire, 
in  1822.  In  1840  he  was  apprenticed  to  a  cigar 
manufacturer  at  Boston,  and  later  on  he  was  made 
street  inspector  and  night  watchman.  From  1852 
to  1866,  however,  he  made  attempts  at  the  pursuit 
of  art  in  his  leisure  hours,  deriving  his  instruction 
from  the  pictures  which  he  saw  in  shop-windows. 
From  1867  until  his  death  he  was  able  to  devote 
himself  entirely  to  painting,  and  depicted  American 
landscapes  with  much  poetical  feeling.  He  died 
at  Chelsea,  near  Boston,  in  1871,  and  bequeathed 
to  the  art  club  of  that  city  ninety  of  his  paintings, 
which  entitle  him  to  rank  among  the  best  land- 
scape painters  of  his  country. 

FUMACCINI,  Orazio.    See  Samacchini. 

FUMIANI,  Giovanni  Antonio,  was  bom  at 
Venice  in  1643,  and  was  educated  at  Bologna. 
After  acquiring  an  excellent  style  of  design  and 
composition  in  that  school,  he  returned  to  Venice, 
where  he  studied  for  some  time  the  works  of 
Paolo  Veronese.  Lanzi  considers  his  picture  of 
'Christ  disputing  with  the  Doctors,'  in  the  church 
of  La  Cariti,  as  his  best  performance.  Among 
other  things  the  immense  ceiling  painting  in 
San  Pantaleone,  representing  the  '  Glorification 
of  St.  Pantaleon,'  is  remarkable.  He  died  in 
1710. 

FDMICELLI,  LoDOVico,  was  a  native  of  Trevigi, 
who  flourished  about  the  year  1536.  It  is  not 
known  with  certainty  whether  he  was  a  scholar  of 
Titian  or  not ;  but  Lanzi  regards  him  as  one  of  the 
ablest  and  most  memorable  of  his  imitators.  In 
1536  he  painted  the  principal  altar-piece  of  the 
church  of  the  Padri  Eremitani  at  Padua,  represent- 
ing the  '  Virgin  and  Infant  seated  in  the  clouds,  with 
St.  Augustine,  St.  James,  and  St.  Marina  below  '  ; 
which,  according  to  Ridolfi,  is  designed  and  coloured 
in  a  style  worthy  of  the  greatest  masters.  In  the 
church  of  the  Padri  Serviti,  at  Trevigi,  he  painted 
a  picture  of  'St.  Liberale  and  St.  Catharine,'  with 
two  laterals,  representing  '  St.  Sebastian  and  St. 
Philip,'  the  latter  the  founder  of  their  order.  It  is 
to  be  regretted  that  the  offer  of  an  advantageous 
situation  in  the  engineers  tempted  him  to  abandon 
painting. 

FDNGAI,  Bernardino,  was  a  native  of  Siena, 
who  was  born  about  1460,  and  died  in  1516.  He 
was  instructed  in  the  art  of  painting  by  Benvenuto 
del  Guasta.  His  style  retains  something  of  the 
dry,  stiff  manner  which  preceded  him,  though  not 
more  so  than  that  of  many  of  his  contemporaries. 
Among  the  works  of  this  artist,  in  which  he  was 
partly  assisted  by  Pacchiarotti,  the  following  are 
the  most  important : 

Chiusi.  Cathedral.     The  Nativity  of  Christ.     {As- 

shted  by  Facckiarotti.) 
London.  South  Kensing- \The  Virgin  with    the    Child. 
toll  Museum.  )      {Falsely  ascribed  to  Vivarini.) 
Siena.     S.  M.  de'  Servi.     Coronation  of  the  Virgin. 
„  „  Madonna  di  Fontegiusta.  1500. 

„  Carmine.    The   Virgin  and   Child,  with 

Saints.     1512. 


Siena.  Academy.     The  Ascension. 

»  „  Christ  between  St.  Francis  snci 

St.  Jerome. 
»  '.  A  Madonna.     {Assisted  by  Pac- 

chiarotti.) 

FUNK,  Heinrich,  born  at  Herford,  in  West- 
phalia, in  1809,  learned  the  rudiments  of  art  from 
his  father,  and  studied  in  1829  under  Schirmer  at 
the  Academy  at  Diisseldorf.  He  soon  became 
known  as  an  excellent  painter  of  landscapes,  and 
was  employed  at  Frankfort  from  1836  to  1854. 
Subsequently  he  settled  at  Stuttgart,  where  he 
became  professor  of  the  art  school,  and  died 
in  1877.  Funk  was  a  student  of  nature,  who 
possessed  a  fine  taste  for  the  beautiful,  and  painted 
in  a  simple  manner.  The  following  of  his  paintings 
are  noteworthy  : 

Berlin.  Gallery.    A  Summer's  Day  on  the  Rhine. 

>.  n  A  Euin  in  the  Evening  Light. 

Frankfort.  Stadel  Inst.    The  Lower  Valley  of  the  Inn. 

„  „  Landscape. 

Stuttgart.       Gallery.    An  approaching  Thunderstorm  in 
the  Eifel  Mountains. 

FURCK,  Sebastian,  (or  Folcarus,)  a  German 
engraver,  was  bom  at  Alterkulz,  Hundsriick,  about 
1589.  In  the  early  part  of  his  life  he  resided  at 
Rome,  where  he  engraved  some  plates  as  early  as 
1612.  From  1620  to  1630  he  was  established  at 
Frankfort-on-the-Main.  He  engraved  many  por- 
traits and  historical  pieces,  chiefly  for  the  book- 
sellers, among  which  are  those  of  the  Colonna 
family ;  also  some  plates  after  Titian,  and  other 
masters.  He  died  at  Frankfort  in  1666.  He 
worked  principally  with  the  graver,  though  there 
are  a  few  etchings  by  him.  When  he  did  not  sign 
his  plates  with  his  name,  he  marked  them  with 

the  cipher     ^y  .      The   following   prints   are    by 

him : 

The  Last  Judgment ;  after  Michelangelo. 

St.  Sebastian  ;  a  half-length  figure. 

An  ornamental  Frontispiece  to  the  works  of  Gul.  Fabri- 

cius,  dated  1646.    It  is  etched  in  a  very  spirited  style, 

and  is  signed  *S'.  Furck^f. 

FURICH,  Johann  Philipp,  born  at  Strassburg  in 
1655,  studied  under  Johann  Heinrich  Roos  at 
Frankfort,  and  became  so  successful  an  imitator 
of  that  master,  that  his  works  are  often  mistaken 
for  those  of  Roos.     He  died  after  1735. 

FURINI,  Francesco,  who  is  styled  by  Lanzi  the 
Guido  and  Albani  of  the  Florentine  school,  was 
the  son  of  Filippo  Furini,  a  respectable  portrait 
painter,  and  was  born  at  Florence  in  1604.  He 
was  first  instructed  by  his  father,  and  afterwards 
studied  under  Passignano  and  Roselli ;  and  on 
leaving  their  schools,  visited  Rome  and  Venice. 
In  1644  he  was  appointed  curate  at  Mugello,  near 
Borgo  San  Lorenzo,  where  he  painted  some  of 
his  best  pictures.  But  he  acquired  the  high 
reputation  in  which  he  is  held  by  his  admirable 
easel  pictures,  which  are  found  in  the  first  collec- 
tions in  Florence.  He  had  a  preference  for  imi- 
tating the  style  of  Albani,  in  which  he  was  very 
successful.  He  drew  with  elegance  and  correct- 
ness, particularly  the  delicate  forms  of  women  and 
children,  and  he  generally  made  choice  of  those 
subjects  in  which  they  could  be  introduced  with  the 
happiest  effect.  Such  are  his  pictures  of  the  '  Three 
Graces,'  in  the  Palazzo  Strozzi,  and  of  '  Nymphs 
carried  off'  by  Satyrs,'  in  the  Casa  Galli.  Furini  died 
at  Florence  in  1649.  Among  his  paintings  are  the 
following : 

203 


A  BIOGRAPHICAL  DICTIONARY  OF 


P 


Borgo  San         Church.  St.  Francb  receiving  the  Stlg- 
Loreuzo.  mata. 

„  „  The  Ascension  of  the  Virgin. 

Copenhagen,     Gallery.  The  Penitent  Magdalen. 

Darmstadt.      Museum.  A  Female  Saint. 

Dresden.  Galleri/,  St.  Cecilia. 

Edinburgh.   Nat.  Gall.  A  Head  of  St.  Sebastian, 

„  „  A  Poetess. 

Florence.        Pitii  Pal.  Adam  and  Eve  in  Eden, 

„  „  An  Allegorical  Figure. 

Madrid.  Gallery.  Lot  and  his  Daughters. 

Rome.      Pal.  Capponi.  David  and  Abigail. 

„  Pal.  Corsijti.  Mythological  Subjects. 

Vienna.  Gallery.  The  Magdalen. 

FURNIUS,  PlETER  Jalhea,  a  Flemish  designer 
and  engraver,  was  born  in  Flanders  about  1540,  and 
was  residing  at  Antwerp  about  the  year  1570.  He 
■was  a  contemporary  of  the  Galles  and  the  Sadelers, 
who  engraved  some  plates  from  his  designs.  His 
style  of  engraving  bears  a  near  resemblance  to  that 
of  those  artists.  Though  he  drew  the  figure 
correctly,  in  attempting  to  imitate  the  lofty  style 
of  Michelangelo  he  fell  into  affectation  and  ex- 
travagance. He  worked  entirely  with  the  graver 
in  a  slight,  feeble  manner.  The  many  plates  which 
he  engraved  after  M.  Heemskerk,  J.  Stradanus, 
M.  De  Vos,  P.  Brueghel,  M.  van  Coxie,  and  others 
are  signed  with  the  accompanying  monogram 
The  date  of  his  death  is  not  mentioned. 
Among  other  prints  the  following  are  by  him  : 

The  Parable  of  the  Good  Samaritan  :  a  set  of  six  plates. 
The  Martyrdom  of  St.  Felicia;  P.  Furnius  in.  et  fee. 
The  Escape  of  Cloelia ;  P.  Furnius  fecit. 

FURST,  RosiNE  Helens,  was  an  embroiderer 
and  engraver  of  Nuremberg  in  the  17th  century. 
Her  sister,  Magdalene  Forst,  painted  flowers. 

FURSTENBERG,   Theodor  Caspar   von.     See 

FUERSTENBERG. 

FURTMAYR,  Perchthold,  a  miniature  painter 
of  the  Upper  German  School,  flourished  between 
1470  and  1501.  There  are  by  him  in  the  castle 
of  Wallerstein,  Maihingen,  near  Ncirdlingen,  a 
Chronicle  in  two  folio  volumes,  with  a  great  number 
of  miniatures,  and  a  Bible,  with  vignettes  ;  and  at 
Munich,  in  tlie  Royal  Library,  a  Missal  in  five 
foHo  volumes,  with  miniatures,  beautiful  mono- 
grams, and  flowers,  executed  for  the  Archbishop 
Bernhard  of  Salzburg  in  1481. 

FUSELI,  Henry.    See  Foesslt,  Heinrich. 

FUSS,  Hans.    See  Suess,  Hans. 

FUTERER,  Ulrioh,  who  was  born  at  Landshut, 
and  flourished  at  Munich,  is  the  author  of  a  '  Cruci- 
fixion,' painted  in  imitation  of  sculpture,  in  the 
Gallery  at  Schleissheim.  It  was  painted  about  1480, 
and  is  a  specimen  of  very  undeveloped  art.  Fiiterer 
is  better  known  as  a  poet  than  as  a  paiuter, 

FYFE,  William  Baxter  Collier,  a  Scottish 
genre  and  portrait  painter,  was  born  at  Dundee 
about  1836.  He  became  a  student  of  the  Royal 
Scotti.sh  Academy,  and  exhibited  his  first  picture 
of  importance,  '  Queen  Mary  resigning  her  Crown 
at  Loch  Leven  Castle,'  in  the  Exhibition  of  1861 ; 
but  this  was  surpassed  in  later  years  by  '  The  Raid 
of  Ruthven.'  In  1863  he  settled  in  London,  and 
from  that  time  onward  was  busily  engaged  witli 
portraiture,  which  he  varied  with  landscapes  and 
genre  subjects  of  interest  and  merit.  Some  of 
his  most  important  portraits  are  those  of  the 
Earl  and  Countess  of  Duiferin,  Admiral  Grenfell, 
Alderman  Sir  William  McArthur,  Dr.  Lorimer 
and  John  Faed,  R.S.A.  He  died  suddenly  in 
London  in  1882.  His  best-known  genre  pictures 
are: 

204 


On  Household  Cares  intent. 

Wiat  can  a  Young  Lassie  dae  wi'  an  Auld  Man  ? 

FYOLL,  Conrad,  who  flourished  at  Frankfort- 
on-the-Main  from  the  year  1464  to  1476, — the  onlj' 
space  of  time  of  which  record  concerning  him 
has  been  handed  down  to  us, — is  a  painter  whose 
works  display  graceful  drawing  and  subdued 
colouring.  The  chief  picture  ascribed  to  him  is  an 
altar-piece  in  the  Stadel  Institute  at  Frankfort,  It 
represents,  in  the  centre,  '  Christ  on  the  Cross,'  with 
the  donor  and  his  sons  on  the  right  wing,  and  his 
wife  and  daughters  on  the  left  wing.  There  is 
also  a  picture  of  the  '  Family  of  St.  Anne.'  Mention 
may  also  be  made  of  a  triptych  in  the  Berlin 
Gallery  formerly  assigned  to  him,  but  now  thought 
to  be  of  rather  later  date,  representing  the  'Virgin 
and  Child  with  St.  Anna,'  and  '  SS.  Barbara  and 
Catharine  '  and  the  '  Annunciation  '  on  the  wings  ; 
and  of  another  in  the  Antwerp  Museum,  with  the 
'Adoration  of  the  Magi'  in  the  centre,  and  the 
'Nativity  '  and  '  Circumcision  '  on  the  wings. 

FYT,  Jan,  a  Flemish  painter  and  etcher,  was  bom 
at  Antwerp  in  1609.  He  studied  in  the  atelier 
of  Jan  van  Berch  in  that  city  in  1621,  became  a 
master  in  the  Guild  of  St.  Luke  in  1629,  and  after- 
wards visited  Rome.  When  he  returned  to  Antwerp 
he  joined  the  Guild  of  the  Romanists  in  1650,  and 
became  its  dean  in  1652.  He  excelled  in  the  re- 
presentation of  every  species  of  animal,  but  in 
dogs  he  is  perhaps  without  a  rival.  It  is  impossible 
for  art  to  approach  nearer  to  nature  than  in  the 
pictures  of  Fyt  of  that  description.  His  touch  is 
without  manner,  or  the  formality  of  practice  ;  it  is 
loose,  spirited,  and  playful,  but  peculiarly  charac- 
teristic, and  full  of  energy.  Such  was  his  extra- 
ordinary merit,  that  he  was  courted  by  the  greatest 
painters  of  his  time  to  embellish  their  works  with 
the  additional  attraction  of  his  admirable  animals. 
Rubens,  Janssens,  De  Craeyer,  and  Jordaens  em- 
ployed him  in  that  way,  which  was  the  more 
flattering  to  his  talent  as  Rubens  himself  excelled 
in  painting  animals  of  every  description.  His 
works  are  to  be  met  with  at  Antwerp  (the  '  Meal 
of  the  Eagle'  and  the  '  Sleeping  Hound  '),  Augsburg, 
Berlin,  Brunswick,  Dresden,  Cassel,  Munich,  Madrid, 
Paris,  Venice,  and  Vienna.  A  group  of  '  Dead 
Birds  '  is  in  the  National  Gallery.  He  died  at 
Antwerp  in  1661.  There  are  by  Fyt  some  admirable 
etchings,  executed  in  the  bold  and  spirited  style  of 
his  pictures  ;  they  are  as  follow  : 

A  set  of  eight  of  Dogs  and  other  Animals.     1640. 

A  set  of  seven  of  Dogs,  of  different  species,  with  back- 
grounds of  landscapes  ;  dated  1642,  and  inscribed 
Johannes  Fyt,  pins:,  et  fecit. 

A  set  of  eight  small  plates  of  a  Cart,  a  Horse,  a  Dog, 
Foxes,  Goats,  and  three  of  Cows.  These  are  very 
scarce. 

Lanzi  mentions  a  Gio.  Fayt  di  Anversa,  who 
resided  for  sometime  at  Venice,  and  was  employed 
in  the  Casa  Sagredo  and  Casa  Contarini :  this 
statement,  if  correct,  cannot  apply  to  Jan  Fyt 

G 

GAAL,  Barent,  (or  Gael,)  a  Dutch  painter, 
was  born  at  Haarlem  in  1650.  He  was  a  scholar 
of  Philip  Wouwerman,  until  the  death  of  that 
master  in  1668,  when  he  found  himself  capable 
of  dispensing;  with  further  instruction.  He  painted 
hunting  parties,  battles,  horse- fairs,  and  other  sub- 
jects similar  to  those  of  his  instructor,  and  he 
frequently   painted   figures  in  the  landscapes   of 


PAINTERS   AND   ENGRAVERS. 


Isaac  Koene,  a  scholar  of  Jacob  Ruisdael.  He 
died  in  1703.  The  Rotterdam  Museum  has  paint- 
ings by  him  of  'A  Woman  making  Cakes,'  and 
'The  Village  Inn';  and  the  Brunswick  Gallery 
one  of  '  Soldiers  playing  Cards.'  In  the  Hermitage 
at  St.  Petersburg  are  a  '  Coast  Scene '  and  a  land- 
scape, and  in  the  Augsburg  Gallery  is  '  A  Pig 
Market.' 

GAAL,  PiETER,  was  born  at  Middelburg  in  1769, 
and  received  his  first  instructions  from  his  father, 
Thomas  Gaal,  under  whom  he  made  some  progress  ; 
he  afterwards  became  a  pupil  of  Schweickhardt, 
at  the  Hague.  After  visiting  London,  Paris,  and 
several  places  in  Germany,  he  settled  in  his  native 
city,  where  he  painted  portraits,  landscapes,  animals, 
live  and  dead  game,  and  subjects  of  ordinary  life, 
some  of  which  were  of  large  dimensions.  He  died 
at  Middelburg  in  1819. 

GAAL,  Thomas,  a  painter  of  portraits,  birds, 
and  flowers,  was  born  at  Dendermonde  in  1739. 
He  fixed  his  residence  at  Middelburg,  and  was  one 
of  the  founders  and  directors  of  the  Academy  in 
that  town.  J.  Perkois,  J.  H.  Koekkoek,  and  S.  De 
Koster  were  his  pupils.  He  died  at  Middelburg 
in  1817. 

GABBIANI,  Antonio  Domenico,  an  Italian 
painter,  was  bom  at  Florence  in  1652.  After  he  had 
studied  some  time  under  Justus  Sustermans  and  Vin- 
cenzo  Dandini,  the  Grand-Duke  Cosmo  III.,  having 
been  made  acquainted  with  his  promising  talent, 
took  him  under  his  protection,  and  sent  him  to  the 
Florentine  Academy  at  Rome,  where  he  frequented 
the  school  of  Ciro  Ferri.  After  passing  three  years 
at  Rome  he  visited  Venice,  and  improved  his  style 
of  colouring  by  the  study  of  the  great  painters  of 
that  school.  He  was  invited  to  the  court  of  Vienna, 
where  he  painted  the  portrait  of  the  Emperor  and 
some  historical  subjects  for  the  Imperial  Gallery. 
On  his  return  to  Florence  he  painted  several  altar- 
pieces  for  the  churches,  particularly  a  fine  picture 
of  the  'Assumption,'  and  a  'Repose  in  Egypt'  ; 
also  his  celebrated  picture  of  '  St.  Philip.'  in  the 
church  of  the  Padri  dell'  Oratorio.  For  his  easel 
pictures  he  generally  selected  subjects  into  which 
he  could  introduce  children,  in  which  he  excelled. 
He  continued  to  paint  until  he  was  killed  by  a  fall 
from  a  scaffold  at  Florence,  in  1726.  His  principal 
works  in  public  galleries  are  : 

Cambridge.  Fitzmlliam  \  portrait. 

Museum.  ) 
Dresden.  Gallery.    Christ  at  the   house  of  Simon 

the  Pharisee. 
Florence.  Vffizi.    His  own  Portrait. 

„  „        Rape  of  Ganymede. 

„  „        Madonna. 

Munich.  Gallery.    St.  Francis  of  Assisi  performing 

Miracles. 
„  „  St.  Peter  of  Alcantara. 

Four  engravings  by  him  are  known: 

The  Madonna ;  after  Parmigiarw. 
Portrait  of  an  old  Man. 
Portrait  of  a  young  Woman. 
A  Landscape. 

GABBIANI,  Gaetano,  the  nephew  of  Antonio 
Gabbiani,  studied  under  his  uncle,  and  became  a 
meritorious  portrait  painter  in  pastel.  He  worked 
at  Florence,  and  died  about  1750. 

6ABBUGIANI,  BALDAssARE,an  Italian  engraver, 
executed  some  of  the  plates  for  the '  Museo  Fioren- 
tino,'  published  at  Florence  between  the  years  1747 
and  1766. 


GABET,  Charles  Henry  Joseph,  a  French 
painter  of  miniatures  and  of  portraits  in  water- 
colours,  was  bom  at  Courbevoie  in  1793.  He  is 
also  known  as  the  author  of  a  '  Dictionnaire  des 
Artistes  de  I'Eoole  Franjaise  au  xix"  siecle,' 
published  in  1831.     He  died  in  Paris  in  1860. 

GABET,  Franz,  an  Austrian  etcher,  was  bom 
at  Vienna  in  1762,  and  died  in  the  same  city  in 
1847.  He  executed  several  landscapes  after  M. 
Molitor,  as  well  as  some  from  his  own  designs, 
and  six  plates  of  Ruins,  ifec,  after  F.  E.  Weirotter 
(1791). 

GABIOU,  Jeanne  Elizabeth.    See  Chaudet. 

GABLER,  Ambrosids,  a  German  painter  and 
engraver,  born  at  Nuremberg  in  1764,  painted 
beautiful  miniatures.  His  father,  Nikolaus  Gabler, 
painted  in  oils  and  etched. 

GABLER,  JoHANN  Jakob,  an  engraver,  was  a 
native  of  Augsburg.  He  worked  at  Leipsic,  and 
engraved  the  '  Battle  of  Lutzen  '  in  1632. 

GABRIEL,  Georges  Fran90is  Marie,  a  French 
miniature  painter  and  designer,  born  in  Paris  in 
1775,  was  a  pupil  of  Naigeon  and  Regnault. 
Among  his  designs  are  those  ordered  by  the 
French  Government  for  the  great  work  of  the 
Institute  on  Egypt ;  and  among  his  portraits  is 
one  of  Madame  de  Maintenon,  engraved  by  M^cou, 
which  forms  the  frontispiece  to  her  memoirs  by 
Lafont  d'Ausonne.  The  date  of  his  death  is 
unknown. 

GABRIEL,  Paulus  Joseph,  a  painter  and  sculp- 
tor, was  bom  at  Amsterdam  in  1785.  He  learned 
sculpture  from  his  father  and  Canova,  and  devoted 
himself  principally  to  that  branch  of  art;  but  he 
at  first  practised  miniature  painting,  and  in  his 
twentieth  year  proceeded  to  Paris  specially  to 
improve  himself  therein.  In  1820  he  was  made 
a  member  of  the  Institute  at  Amsterdam,  and 
director  of  the  Royal  Academy  there.  He  died  at 
Amsterdam  in  1833. 

GABRIELLI,  Casiillo,  a  native  of  Pisa,  was 
a  scholar  of  Ciro  Ferri.  Lanzi  states  that  he 
was  the  first  who  introduced  the  style  of  Pietro 
da  Cortona  among  his  countrymen.  He  painted 
some  oil  pictures  at  the  Carmelites,  and  for  private 
collections ;  but  he  was  more  distinguished  for 
his  fresco  paintings,  which  were  much  esteemed. 
His  principal  work  was  the  decorations  of  the 
great  saloon  in  the  Palazzo  Allicata.  He  died 
in  1730. 

GABRIELLO,  Onofrio,  was  born  at  Messina  in 
1617.  After  studying  six  years  in  his  native  city, 
under  Antonio  Ricci,  called  Barbalonga,  he  went 
to  Rome,  and  entered  the  school  of  Pietro  da  Cor- 
tona. He  afterwards  visited  Venice,  and  on  his 
return  to  Messina  he  was  much  employed  in  the 
churches,  for  private  collections,  and  in  portrait 
painting.  He  was  in  great  repute  when  the  Revo- 
lution, which  took  place  in  1674,  obliged  him  to 
quit  Sicily,  and  he  settled  at  Padua,  where  he 
resided  several  years,  and  was  usually  called  Onofrio 
da  Messina.  Some  of  his  best  works  are  in  the 
church  of  San  Francesco  di  Paola  at  Messina,  and 
in  the  '  Guida  di  Padova '  are  mentioned  several 
of  his  pictures  in  the  public  edifices  and  private 
collections  of  that  city,  particularly  in  the  Palazzo 
Borromeo.     He  died  in  1706. 

GABRON,  WiLLEM,  born  at  Antwerp  in  1625, 
was  a  good  painter  of  fruit  and  flowers,  and  ex- 
celled in  the  representation  of  gold  and  silver 
vases,  porcelain,  and  ornaments  of  a  like  kind. 
He   spent   several  years    in    Italy,   but   died    at 

205 


A  BIOGRAPHICAL  DICTIONARY  OF 


Antwerp  in  1679.      The  Munich,  Brunswick,  and 
Darmstadt  Galleries  have  works  by  him. 

GADDI,  Agnolo,  the  son  of  Taddeo  Gaddi,  was 
born  at  Florence  apparently  after  1333,  and  at  his 
father's  death  was  left  under  the  joint  tutorship 
of  Giovanni  da  Milano  and  Jacopo  del  Casentino. 
In  the  early  portion  of  his  career  he  painted  the 
'  Resurrection  of  Lazarus,'  in  the  church  of  San 
Jacopo  tra  Fosse,  at  Florence.  The  frescoes  in 
the  Pieve  of  Prato,  representing  the  two  legends 
of  the  Virgin  and  the  Sacred  Girdle,  that  were 
painted  in  his  prime,  and  show  evident  traces 
of  Giotto's  principles,  are  still  to  be  seen  there. 
Unfortunately  they  are  much  damaged  both  by 
time  and  by  repairs,  but  they  still  show  consider- 
able power  and  ability.  Many  other  productions 
from  his  brush  exist  in  Prato.  In  the  choir  of 
Santa  Croce,  at  Florence,  are  eight  frescoes  illus- 
trating the  Legend  of  the  Cross.  Altar-pieces  by 
him  may  also  be  found  in  many  of  the  churches  in 
and  around  Florence.  He  is  said  to  have  lived  for 
some  time  at  Venice,  engaged  in  mercantile  pur- 
suits. He  died  at  Florence  in  1396,  and  was 
buried  in  the  church  of  Santa  Croce.  Among  his 
paintings  are  the  following  : 

Florence.         Academy.    Virgin  and  Child  in  Glory,  sur- 
rounded by  Saints. 
„  „  Evangelists  and  Doctors  of  the 

Church. 
„  „  Sceues  from   the   Lives  of   St. 

John  the  Evangelist,  St.  John 
the  Baptist,  St.  Nicholas,  and 
St.  Anthony. 
„  S.  Croce.    Eight  subjects  from  the  Legend 

of  the  Cross — -frescoes. 
„  „  Figures  of  S<aints. 

The  Annunciation. 
The  Annunciation. 
Thirteen  subjects  from  the  Life 
of  the  Virgin,  and  the  Legend 
of  Dagomari  (who  carried  the 
Holy  Girdle  from  Palestine  to 
Prato). 
„  Museum.    Virgin  and  Saints. 

GADDI,  Gaddo,  the  intimate  friend  and  con- 
temporary of  Cimabue,  was  bom  at  Florence  about 
1260.  From  Tafi,  Gaddo  learned  the  art  of  mosaic, 
and  one  of  his  earliest  works  was  the  figures  of  the 
prophets  beneath  the  windows  in  the  baptistery 
of  San  Giovanni  at  Florence.  The  influence  of 
Cimabue  is  chiefly  shown  in  his  mosaic  inside 
and  above  the  portal  of  Santa  Maria  del  Fiore  at 
Florence,  representing  a 'Coronation  of  the  Virgin, 
with  Saints  and  Angels.'  This  artist  seems  to  have 
visited  Rome,  and  to  have  been  employed  in  mosaic 
work  in  Santa  Maria  Maggiore,  and  in  the  choir 
of  St.  Peter's.  He  also  painted  in  the  upper  church 
of  St.  Francis  at  Assisi,  and  executed  the  mosaics 
of  the  old  Duomo  outside  Arezzo.  His  portrait, 
as  well  as  that  of  Tafi,  was  painted  by  his  son 
Taddeo  Gaddi  in  the  '  Sposalizio '  in  the  Baron- 
celli  Chapel  at  Santa  Croce.  Gaddo  Gnddi  was 
still  living  in  1333,  but  probably  died  about  that 
year,  and  was  buried  in  the  cloisters  of  Santa 
Croce. 

GADDI,  Giovanni,  an  inferior  artist,  was  a  son 
of  Taddeo  Gaddi,  and  a  pupil  of  his  brother  Agnolo. 
He  painted  in  San  Spirito  at  Florence  a  '  Dispute 
of  Christ  with  tlje  Scribes  in  the  Temple,'  and 
some  similar  works,  but  they  were  all  destroyed 
on  the  rebuilding  of  the  church.  He  died  in 
1383. 

GADDI,  Taddeo,  the  son  of  Gaddo  Gaddi,  was 
born   at  Florence  about   1300,  and  was  first  in- 

206 


»» 

Uffizi. 

Paris. 

Louvre. 

Prato. 

Cathedral. 

structed  by  his  father,  but  afterwards  by  his  god- 
father Giotto,  whose  assistant  he  became  for  twenty- 
four  years.  When  Giotto  left  Florence  to  visit 
Naples,  the  Baroncelli  Chapel  in  Santa  Croce  was 
completed,  and  Taddeo,  after  painting  the  '  Virgin 
and  Child  between  four  Prophets '  on  the  funeral 
monument  at  the  entrance,  executed  on  the  walls 
of  the  chapel  itself  scenes  from  the  life  of  the 
Virgin,  and  in  the  diagonals  of  the  double  ceiling 
tlie  Eight  Virtues.  One  of  these  works  was  an 
altar-piece  now  in  the  Berlin  Gallery,  and  inscribed 
"  Anno  Dili  Mcccxxxilll  mensis  septembris  Tadeus 
me  fecit."  The  centre  panel  represents  the  '  Virgin 
and  Child,'  with  the  patrons  kneeling  at  the  foot 
of  the  throne.  On  the  right  wing  is  the  '  Birth 
of  the  Saviour,'  and  a  scene  from  the  life  of  St. 
Nicholas  of  Bari,  and  on  the  left  wing,  beneath 
two  prophets,  is  the  '  Crucified  Saviour,'  with  the 
Magdalen  grasping  the  foot  of  the  cross,  and  the 
Virgin  and  St.  John  on  either  side.  Another  is 
an  altar-piece  in  the  sacristy  of  San  Pietro  at 
Megognano,  near  Poggibonsi,  inscribed  "  Taddeus 
Gaddi  i  Floretia  me  pixit  MCCCLV.,"  representing 
the  '  Virgin  and  Child  enthroned  among  angels.' 
Taddeo's  activity  may  well  be  compared  with  that 
of  his  master,  though  but  few  of  his  works  survive. 
His  frescoes  in  San  Spirito,  the  altar-pieces  in  San 
Stefano  del  Ponte  Vecchio,the  frescoes  in  the  church 
of  the  Serviti,  the  allegories  in  the  tribunal  of  the 
Mercanzia,  have  all  disappeared.  He  laboured  also 
at  Pisa,  where  a  portion  of  his  work  executed  in 
San  Francesco  in  1342  still  remains.  He  afterwards 
worked  in  Arezzo  and  Casentino.  Taddeo  Gaddi 
died  at  Florence  in  1366,  and  was  buried  in  the 
cloisters  of  Santa  Croce. 

Giovanni  da  Milano  and  Jacopo  del  Casentino 
were  his  pupils.  He  was  also  celebrated  as  an 
architect.     The  following  are  among  his  works  : 

Virgin  adored  by  Saints  and 
Donators.     1334. 

History  of  St,  Francis. 

Scenes  from  the  Life  of  Christ. 

Subjects  from  the  History  of 
the  Virgin — -frescoes. 

The  Last  Supper — fresco. 
\  Scenes  from  the  Life  of  Christ — 
J     frescoes. 

The  Triumph  of  St.  Thomas 
Aquinas.  {A  grand  compo- 
siiiony  attributed  to  Gaddiybut 
hearing  all  the  marks  of  the 
Sienese  school.) 

Virgin  surrounded  by  Saints — 
altar-piece. 

Christ. 

Scenes  from  the  Beheading  of 
St.  John  the  Baptist ;  Calvary ; 
Christ  and  Judas  Iscariot ; 
Martyrdom  of  a  Saiut.  (Pre- 
della  in  three  compartments.) 

The     Apostles ;     St.    Francis ; 

several    Saints ;     Allegorical 

Figures     of     the     Virtues. 

Frescoes.     1342. 

)  Virgin  enthroned,  surroimded 

J      by  Saints.     1355. 

History  of  the  Girdle  of  the 
Virgin.    {A  predella.) 

GAEL,  Parent.     See  Gaal. 

GAELEN,  Alexander  van,  who  was  born  at 
Amsterdam  in  1670,  was  the  scholar  of  Jan  van 
Huchtenburgh.  He  went  to  Germany,  and  he 
passed  some  time  at  Cologne,  in  the  employment 
of  the  Elector.  After  a  few  years  he  returned  to 
Holland,  where    he    did    not    long  remain,   but 


Berlin. 

Gallery. 

), 

Academy. 

Florence. 

S.  Croce. 

j» 

S.  Maria 
Novella. 

Gotha. 
Paris. 


Pisa. 


S.  Feliciti. 

Gallery. 
Louvre. 


S.  Francesco. 


Poggibonsi.      S.  Pietro, 

Megognano. 

Prato.  Gallery. 


TADDEO  GADDI 


Alinari  pkoto\ 


[^Accademia,  Florcficc 


CHRIST  DEPOSITED  IN  THE  SEPULCHRE 


TADDEO  GADDI 


Alinari  plioto] 


[Spanish  Chapel,  Sta.  Maria  Novella,  Florence 
ST.  PETER  WALKING  ON  THE  SEA 


PAINTERS  AND  ENGRAVERS. 


determined  to  visit  England.  He  accordingly 
came  to  this  country,  and  is  said  to  have  painted 
a  picture  of  Queen  Anne  in  a  coach  drawn  by 
eight  horses.  He  also  painted  pictures  of  the 
principal  battles  between  the  Royal  Army  and  that 
of  the  Commonwealth,  and  the  '  Battle  of  the 
Boyne.'     He  died  in  1728. 

GAESBEECK,  A.  van,  a  Dutch  painter  of  genre 
subjects  and  portraits,  flourished  from  about  1670 
to  about  1700,  but  no  particulars  of  his  life  are 
known.  His  works,  which  are  rare,  are  in  the 
manner  of  Gerard  Dou  and  Pieter  van  Slingeland. 
The  Berlin  Giillery  possesses  '  The  Seamstress,' 
and  the  Amsterdam  Museum  a  portrait  of  a  young 
Man. 

GAETA,  SciPioNE  DA.    See  Pulzone. 

GAGLIARDI,  Babtolommeo,  born  at  Genoa  in 
1555,  is  said  to  have  been  a  painter  of  some  repu- 
tation. He  executed  works  after  the  manner  of 
Michelangelo.  There  are  also  several  plates  by 
him,  both  etched  and  finished  with  the  graver, 
among  which  is  a  large  print  representing  an 
emblematical  subject,  executed  in  a  style  resem- 
bling that  of  Cherubino  Alberti,  though  very 
inferior.     He  died  in  1620. 

GAGLIARDI,  Bernardino,  was  born  at  Citti 
di  Castello  in  1G09.  He  was  a  scholar  of  Avanzino 
Nucci.  In  the  cathedral  at  Citta  di  Castello,  he 
painted  the  '  Martyrdom  of  St.  Crescentianus,'  but 
his  best  performance  is  his  picture  of  '  St.  Pelle- 
grino,'  in  the  church  of  San  Marcello  at  Rome. 
He  died  in  1660. 

GAGLIARDI,  Filippo,  is  mentioned  as  having 
executed  arcliitectural  paintings  about  the  year 
1640.  The  Madrid  Gallery  possesses  an  '  Interior 
of  St.  Peter's  at  Rome,'  by  him. 

GAGNERAUX,  B^nigne,  born  at  Dijon  in  1756, 
was  first  instructed  in  the  school  at  Dijon  under 
Francois  Devosge,  from  whence  he  proceeded  to 
Rome,  where  he  acquired  a  reputation  by  his 
picture  of  the  '  Meeting  of  Gustavus  III.  of 
Sweden  with  Pope  Pius  VI.,'  which  is  now  at 
Stockholm.  In  Dijon  are  several  of  his  pictures. 
Owing  to  the  disturbances  in  Rome  he  quitted 
that  city,  and  retired  to  Florence,  where  he  died 
in  1795.  In  the  UfBzi  at  Florence  are  his  own 
portrait,  a  '  Battle  Scene,'  and  a  '  Lion  Hunt.' 

GAGNIERES,  Jean.     See  Ganieres. 

GAILLARD,  Claude  Ferdinand,  engraver  and 
painter,  was  born  in  Paris,  January  7,  1834.  He 
entered  the  Ecole  des  Beaux  Arts  in  1850,  and 
worked  under  L^on  Cogniet.  He  won  the  Prix 
de  Rome  as  an  engraver  in  1856,  and  from  1863 
onwards  was  a  constant  contributor  to  the  Salon, 
of  portraits,  classical  and  sacred  subjects,  both 
painted  and  engraved.  He  executed  several 
important  commissions  for  the  Chalcographie  du 
Louvre,  among  them  the  reproduction  of  Leonardo's 
'Mona  Lisa'  and  'Last  Supper,'  and  engraved  a 
number  of  plates  for  the  '  Gazette  des  Beaux 
Arts.'  His  plates  were  principally  after  the  old 
masters,  but  he  also  engraved  occasionally  from 
his  own  pictures,  and  those  of  other  modern 
painters.  His  style,  both  with  paint-brush  and 
burin,  was  a  marvel  of  accurate  minuteness. 
Several  of  his  works  are  in  the  Luxembourg.  He 
died  in  January,  1887. 

GAILLARD,  Robert,  a  French  engraver,  bom 
in  Paris  in  1722,  executed  a  considerable  number 
of  plates  and  portraits,  historical  and  other  sub- 
jects, and  landscapes.  He  died  in  Paris  in  1785. 
The  following  are  his  best  prints  : 


Cardinal  fitienne  Een6  Potier  de  Gesvres;  after 
P.  Batoni.  Clmstophe  de  Beaumont,  Archbishop  of 
Paris  ;  Jean  Joseph  Languet,  Archbishop  of  Sens  ;  afttr 
Chevalier.  The  Queen  of  Sweden ;  after  LantinviUe. 
Venus  and  Cupid ;  Jupiter  and  Oalisto ;  Bacchantes 
sleeping ;  Sylvia  delivered  by  Amyntas ;  Villagers  fish- 
ing; after  Boucher.  The  Cabaret;  The  Russian  Con- 
cert ;  after  Le  Prince.  The  Father's  Malediction  ; 
The  Son's  Punishment;  after  Greuze.  The  Lace-maker; 
A  Girl  spinning ;  after  Schenau. 

GAILLARD  de  LONJUMEAU,  Pierre  Joseph, 
a  French  amateur  engraver,  etched  several  small 
plates  for  his  amusement ;  among  others,  a  set 
of  views  of  the  '  Antiquities  of  Aix,'  dated  1750. 

GAILLOT,  Bernard,  a  French  historical  painter, 
born  at  Versailles  in  1780,  was  a  pupil  of  David. 
He  died  in  Paris  in  1847.  His  principal  pictures 
are  : 

Cornelia,  1817  ;  St.  Martin ;  Conversion  of  St.  Augus- 
tine, 1819 ;  Dream  of  St.  Monica,  1822 ;  St.  Louis 
visiting  the  Holy  Sepulchre ;  St.  Louis  bearing  the 
Crown  of  Thorns,  1834 ;  Holy  Angels,  1824 ;  Dream  of 
St.  Joseph,  1824 ;  The  Assumption,  1827 ;  Christ  bless- 
ing little  Children,  1831. 

GAINSBOROUGH,  Thomas,  who  was  born  at 
Sudbury  in  1727,  was  the  youngest  son  of  John 
Gainsborough,  a  clothier.  He  very  early  discovered 
a  propensity  for  art,  which  was  nursed,  as  he 
loved  to  acknowledge  in  after  j'ears,  by  the  Suifolk 
scenery  with  which  he  was  surrounded.  Before 
he  was  ten  years  old  he  was  sent  to  the  Gran}mar 
School,  of  which  his  uncle,  the  Rev.  Humphrey 
Burroughs,  was  master ;  but  he  does  not  seem  to 
have  made  much  progress,  as  he  employed  himself 
chiefly  in  making  sketches.  At  last,  when  he  was 
in  his  fifteenth  year,  it  was  decided  to  send  him  to 
London,  and  so  in  1741  he  was  intrusted  to  the 
care  of  a  silversmith,  who  introduced  him  to 
Gravelot,  an  engraver  and  teacher  of  drawing, 
from  whom  he  learned  the  art  of  etching.  Grave- 
lot,  recognizing  his  talent,  obtained  for  him  ad- 
mission to  the  Martin's  Lane  Academy,  where  he 
worked  for  three  years  with  Francis  Hayman,  the 
historical  painter,  and  then  set  up  for  himself  in 
Hatton  Garden,  where  he  did  a  little  modelling  and 
produced  a  few  landscapes.  After  a  year's  experi- 
ence of  Hatton  Garden,  he  returned,  in  1745,  to 
Sudbury,  where  he  set  up  as  a  portrait  painter,  and 
in  the  same  year  married  a  young  lady  named 
Margaret  Burr,  whose  brother  was  a  traveller  in 
his  father's  employ.  After  a  brief  residence  at 
Sudbury,  he  removed  to  Ipswich  in  1746,  and 
there  made  tlie  acquaintance  of  Joshua  Kirby, 
which  ripened  into  a  warm  friendship,  and  lasted 
till  the  death  of  the  latter  in  1771.  When  Kirby  left 
Ipswich  for  London,  it  was  Gainsborough's  destiny 
to  become  acquainted  with  Philip  Thicknesse,  who 
had  just  been  appointed  Governor  of  Landguard 
Fort,  Ipswich,  and  who  afterwards  influenced  the 
painter's  career,  and  became  his  first  biographer ; 
for  it  was  at  his  suggestion  that  in  the  year  1760 
he  removed  to  Bath.  There  he  took  apartments  in 
the  newly-erected  Circus  at  the  rent  of  £50  a  year, 
and  business  came  in  so  fast  that  the  price  of  a 
portrait  was  raised  from  five  to  eight  guineas,  and 
eventually  settled  at  forty  guineas  for  a  half-length, 
and  a  hundred  guineas  for  a  whole-length.  On  the 
foundation  of  the  Royal  Academy  in  1768,  Gains- 
borough was  one  of  the  thirty-six  original  members, 
though  he  does  not  seem  to  have  taken  any  part  in 
the  work,  for  which  in  1775  the  Council  moved 
that  "  the  name  of  Mr.  Gainsborough  be  omitted 

207 


A  BIOGRAPHICAL  DICTIONARY  OF 


from  their  lists,"  which  was,  however,  rescinded  at 
the  next  general  meeting.  On  his  original  election 
to  the  Academy  he  contributed  '  A  Romantic  Land- 
scape, with  Slieep  at  a  Fountain.'  In  1774,  owing 
to  a  quarrel  with  the  Thicknesses,  Gainsborough 
left  Bath,  and  for  a  second  time  set  up  in  London, 
taking  up  his  residence  at  Schomberg  House,  a 
noble  mansion  in  Pall  Mall,  where  oomoiissions 
came  in  so  fast  that  he  was  unable  to  keep  up  with 
the  demand  made  on  his  services.  In  1779  he  was 
at  the  very  height  of  his  fame ;  all  the  eminent 
men  of  the  day  sat  to  him,  and  he  was  the  favourite 
painter  of  the  King  and  Royal  Family.  From 
1769  to  1783  (excepting  in  tlie  years  1773  to  1776) 
he  was  a  constant  contributor  of  portraits  and  land- 
scapes to  the  exhibitions  of  the  Royal  Academy ; 
but  in  the  year  1783,  owing  to  a  disagreement  with 
the  Council  about  hanging  the  picture  of  the  three 
Princesses,  he  withdrew  his  pictures,  and  never 
again  contributed  to  the  exhibitions.  In  1787  a 
lump  in  his  neck,  which  he  first  felt  when  present 
at  the  trial  of  Warren  Hastings  in  Westminster 
Hall,  developed  into  a  cancer,  of  which  he  died  in 
the  next  year.  He  was  buried  at  his  own  desire 
in  Kew  churchyard,  where  a  simple  flat  stone 
records  his  name,  age,  and  date  of  death.  Gains- 
borough will  always  occupy  the  highest  place  in 
the  English  school,  whether  as  a  portrait  painter 
or  a  landscape  painter.  In  his  early  landscapes 
he  showed  traces  of  the  influence  of  the  Flemish 
school,  but  as  time  went  on  Nature  alone  became 
his  mistress.  As  a  colourist  he  ranks  with  Rubens, 
and  in  technical  work  Ruskin  says  that  "Turner 
is  a  child  to  him."  In  his  life  and  character 
Northcote  says  that  "he  was  a  natural  gentleman, 
and  with  all  his  simplicity  had  wit  too."  The 
principal  features  in  his  character  were  his  kind- 
ness and  his  passionate  love  of  music.  His  failings 
seem  to  have  been  his  capriciousness  and  infirmity 
of  temper. 

Gainsborough  designed  and  etched  with  much 
spirit  at  least  eighteen  plates,  among  which  are : 

A  plate  for  Kirby's  *  Perspective.* 

An  Oak  Tree,  with  Gipsies. 

A  Man  ploughing. 

The  Watering  Place. 

Efening. 

Eepose. 

Besides  these  he  executed  three  plates  in  aqua- 
tint, one  of  which  is  most  carefully  finished.  His 
life  work  consisted  of  upwards  of  300  paintings, 
of  which  over  220  were  portraits.  George  III.  was 
painted  eight  times,  Pitt  seven  times,  Garrick  five 
times.  Among  other  names  are  those  of  Lord 
Camden,  Sir  William  Blackstone,  Dr.  Johnson, 
Laurence  Sterne,  Richardson,  Cli ve,  Burke,  Sheridan, 
Windham,  Franklin,  Canning,  Mrs.  Graham,  Lady 
Mary  Wortle}'  Montagu,  Lady  Vernon,  Lady  May- 
nard,  Quin,  and  Mrs.  Siddons.  Lists  of  his  works 
are  to  be  found  in  Fulcher's  '  Life  of  Thomas 
Gainsborough,  R.A.,'  London,  1856.  The  follow- 
ing are  some  of  his  most  famous  pictures  in  public 
galleries  and  well-known  private  collections  : 

London,  National  Gallery. 
The  Market  Cart. 
The  Watering-Place. 
Musidora  batliing  her  Feet. 
Woody  Landscape,  Sunset. 
Landscape: — '  Gainsborough's  Forest.' 
Kustic  Children. 

Study  for  a  Portrait  of  Abel  Moysey. 
Portrait  of  Mrs.  Siddons. 
208 


Portrait  of  Ralph  Schomberg,  M.D. 
Portrait  of  Orpin,  Parish  Clerk  of  Bradford,  Wilts. 
Portraits  of  Mr.  J.  Baillie,  Wife,  and  Four  Children. 
Portrait  of  Rev.  Sir  Henry  Bate  Dudley,  Bart. 
And  many  others. 

Dulioich  Gallery. 
Portrait  of  Mrs.  Sheridan  and  Mrs.  Tickell. 
Portrait  of  P.  J.  <ie  Loutherbourg,  E.A. 
Portrait  of  Thomas  Linley. 
Portrait  of  Samuel  Linley,  R.N. 
Portraits  of  Mrs.  Moody  and  her  Children. 

National  Portrait  Gallery. 
Portrait  of  Jeffery,  first  Lord  Amherst. 
Portrait  of  Charles,  first  Marquis  CornwalUs. 
Portrait  of  George  Colman. 

Hampton  Court. 
Portrait  of  Fischer,  the  Musician. 
Portrait  of  Colonel  St.  Leger. 

Grosvenor  House. 
The  Blue  Boy  (Master  Buttall). 
The  Cottage  Door. 

Buckingham  Palace. 
Duke  and  Duchess  of  Cumberland. 


Cambridge. 

Dublin. 
Edinburgh. 
Glasgow. 
Greenwich. 


Fitzwilliam 

Museum. 

Nat.  Gall.  ' 

Nal.  Gall. 

Gallery. 

Hospital, 


London.  Eoyal  Academy. 
Stratford-on-Avon.  Mus. 
Windsor.  Castle. 


Hon.  W.  Fitzwilliam. 

Duke  of  Northumberland. 

Hon.  Mrs.  Graham. 

Donkeys  in  a  Storm. 

Lord  Sandwich. 

Portraits  of  the  Royal  Family, 

His  own  Portrait. 

David  Garrick. 

George  HI.;  full-length. 

Portraits  of  the  Royal  Family, 

GALANINO,  II.     See  Aloisi. 

GALANTINI,  Ippolito,  called  II  Cappdoino, 
and  sometimes  IL  Prete  Genovese,  was  born  at 
Florence  in  1627,  and  was  for  some  time  a  scholar 
of  Padre  Stefaneschi,  through  whose  influence  he 
became  a  monk  of  the  order  of  the  Capuchins, 
whence  the  two  names  by  which  he  is  frequently 
known.  He  was  sent  as  a  missionary  to  India, 
where  he  passed  several  years,  and  on  his  return 
to  Europe  painted  several  pictures  for  the  churches 
of  his  order.  In  the  Dfiizi  is  his  own  portrait.  He 
died  in  1706,  in  the  monastery  of  Montughi,  near 
Florence. 

GALARD,  GusTAVE  de.  Count,  a  French  painter 
ind  designer,  was  born  at  the  chfiteau  of  Lille, 
near  Lectoure,  about  1777,  and  died  at  Bordeaux  in 
1840.  In  the  Bordeaux  Museum  there  is  by  him 
a  '  View  at  La  Teste.'  His  son,  Georges  de  Galard, 
was  bom  at  Bordeaux,  and  died  there  in  1834,  and 
there  is  in  the  Museum  of  that  city  a  '  Study  of 
a  Sweep,'  by  him. 

GALASSI,  Galasso,  (sometimes  called  Galasso 
Alghisi,)  the  son  of  a  shoemaker  of  Ferrara, 
was  born  about  1423.  From  the  account-books 
of  the  House  of  Este,  it  appears  that  he  was 
called  Maestro  Galasso  de  Mattheo  Calegaro, 
and  was  employed  in  the  decorations  of  the 
palace  of  Belreguardo  between  the  years  1450 
and  1453.  In  1455  he  composed  the  'Assump- 
tion,' and  finished  the  portrait  of  Cardinal 
Bessarion,  at  Santa  Maria  in  Monte,  Bologna, 
Amongst  his  early  paintings  were  the  'Trinity,' 
in  the  Museum  of  Ferrara;  and  the  'Entomb- 
ment,' and  a  'Virgin  and  Child,  with  donor  and 
patron  Saint,'  in  the  Costabili  Gallery  in  the 
same  city.  Professor  Saroli  possesses  a  '  Christ 
on  the  Mount  of  Olives,'  and  the  Marquis  Strozzi 
a  'Crucifixion,'  both  in  Ferrara.  Galassi  died 
in  1473. 


^Dle  M^  ^^yj 


THOMAS  GAINSBOROUGH 


Hanfslangl  photo] 


THE  PARISH  CLERK 


[Xational  Galkry 


PAINTERS  AND  ENGRAVERS. 


GALCERAN,  Antonio,  who  was  a  pupil  of  Es- 
qiiarte,  was  brought  from  Italy  to  Zaragoza  in 
1580.  He  painted  in  the  palace  of  tlie  Bishop  of 
Barbastro,  and  enriched  the  cathedral  there  with 
historical  pictures. 

GALCERAN,  Vicente,  a  Spanish  engraver,  was 
born  in  1726,  and  studied  under  Ravanals  and 
Rovira,  executing  a  print  of  St.  Vincent  Ferrer, 
when  only  eleven  years  old.  Leaving  Valencia 
for  Madrid  in  1750,  he  was  soon  after  employed 
by  the  Chapter  of  Toledo  to  retouch  some  plates 
sent  from  Rome  by  Cardinal  Portooarrero.  He 
executed  plates  for  works  on  natural  history  and 
horsemanship,  and  the  portraits  of  the  kings  of 
Spain  for  Berni's  'Titulos  de  la  Castilla,'  printed  at 
Valencia  in  1769,  the  last  but  little  to  his  credit. 
He  returned  to  Valencia  in  1768,  where  he  engraved 
portraits  of  Bishop  Cervera  of  Cadiz,  and  others. 
He  died  at  Valencia  in  1788,  leaving,  it  is  said,  no 
less  than  700  plates,  great  and  small. 

GALEAS,  Fray  Francisco  de,  an  excellent 
Spanish  illuminator  and  miniaturist,  was  born  at 
Seville  in  1567.  He  studied  law  until  1590,  when 
he  entered  the  convent  of  Santa  Maria  de  las 
Cuevas.  He  was  afterwards  promoted  to  the  priory 
of  Cazalla,  but  he  resigned  this  dignity  after  two 
years,  and  returned  to  his  Sevillian  convent,  to  die 
of  vexation  in  1614.  The  convent  possesses  two 
of  his  miniatures,  '  The  Saviour  dead '  and  '  The 
Saviour  rising ' ;  also  some  illuminations  in  books, 
which  display  great  clearness  and  beauty. 

GALEN,  Thyman  van,  a  native  of  Utrecht,  who 
flourished  early  in  the  17th  century,  is  chiefly 
known  by  a  picture  of  the  '  Ruins  of  a  Temple ' 
placed  in  the  Hospital  of  St.  Job  in  Utrecht. 

GALEOTTI,  Sebastiano,  born  at  Florence  in 
1676,  first  studied  under  Alessaudro  Gherardini, 
but  afterwards  went  to  Bologna,  where  he  be- 
came a  scholar  of  Giovanni  Gioseffo  dal  Sole. 
He  possessed  a  ready  invention,  and  was  a  good 
designer ;  and  his  powers  were  well  adapted  to 
fresco  painting,  in  which,  according  to  Ratti,  he 
executed  some  considerable  works  in  the  church 
of  La  Maddalena  at  Genoa.  Few  of  his  works  are 
to  be  found  in  his  native  city,  from  which  it  would 
seem  that  he  was  not  held  in  so  much  reputation 
there  as  in  Upper  Italy;  but  there  are  several  at 
Piacenza  and  Parma,  and  particularly  at  Turin, 
where  he  was  made  director  of  the  Academy.  He 
died  at  Turin  in  1746,  leaving  two  sons,  Giuseppe 
and  Giovanni  Battista,  who  were  also  painters. 

GALESTRUZZI,  Giovanni  Battista,  a  painter 
and  engraver,  was  born  at  Florence  in  1618.  He 
studied  painting  under  Francesco  Furini,  and  after- 
wards went  to  Rome,  where  he  was  received  into 
the  Academy  of  St.  Luke  in  1652.  The  date  of 
his  death  is  uncertain,  but  he  was  still  living  in 
1661.  He  was  the  friend  of  Stefano  della  Bella, 
whose  style  he  imitated,  and,  according  to  Huber, 
finished  some  of  the  plates  left  imperfect  at  his 
death.  He  etched  a  great  number  of  plates,  of 
which  there  is  a  catalogue  by  Giacomo  Rossi. 

GALIMARD,  Claude.     See  Gallimaed. 

GALIMARD,  Nicolas  Auquste,  a  French  his- 
torical, portrait,  and  landscape  painter,  was  bom 
in  Paris  in  1813.  He  studied  under  his  uncle, 
Auguste  Hesse,  and  with  Ingres,  and  soon  became 
known  for  his  pictures,  chiefly  of  Biblical  subjects. 
He  painted  the  'Disciples  at  Emmaus'  for  St 
Germain-l'Auxerrois,  and  mural  decorations  in  St. 
Germain-des-Prfes,  Paris.  His  picture  of  'The 
Ode,'  exhibited  at  the  Salon  in  1846,  is  now  in  the 

VOL.  II.  p 


Luxembourg  Gallery.  Many  of  Galimard's  works 
have  been  engraved  by  Aubry-Lecomte  and  others. 
He  made  several  designs  for  stained-glass  windows, 
and  wrote  treatises  on  the  subject.  He  died  at 
Montigny-les-Cormeilles  (Seine-et-Oise)  in  1880. 

GALINDEZ,  Martin,  a  Spanish  painter,  was 
born  at  Haro  in  Old  Castile,  in  1547.  In  1584  he 
entered  the  Chartreuse  of  Paular,  where  lie  devoted 
his  leisure  to  the  arts  and  to  mechanical  pursuits, 
and  where  he  died  in  1627,  after  executing  a  num- 
ber of  tolerable  devotional  pictures,  and  a  variety 
of  wood-carvings,  sundials,  and  alarums. 

GALIZIA,  Fede,  (or  Gallizi,)  was  a  native  of 
Trento,  in  the  Milanese,  who  flourished  about  the 
3'ear  1616.  She  was  the  daughter  of  Annunzio 
Galizia,  a  miniature  painter,  who  resided  at  Milan, 
from  whom  slie  received  her  instruction  in  art. 
She  painted  historical  subjects  and  landscapes,  in 
a  pleasing  and  finished  style,  resembling  that  of  the 
Bolognese  school  anterior  to  the  Carracci ;  but  she 
excelled  in  small  portraits.  One  of  her  best  his- 
torical pictures  is  '  Christ  appearing  to  Mary  Mag- 
dalen,' in  the  Brera  at  Milan,  from  the  church  of 
La  Maddalena. 

GALLAIT,  Louis,  painter,  was  born  at  Tournay 
in  1810,  and  was  educated  in  his  native  town.  He 
showed  his  artistic  talent  at  a  very  early  age,  and 
gained  a  prize  from  the  Ghent  Academy  while 
still  a  boy.  The  municipal  authorities  of  Tournay 
bought  one  of  his  early  performances,  a  '  Christ 
restoring  sight  to  the  Blind  Man,'  and  presented  it 
to  the  cathedral.  The  city  further  granted  him 
a  sum  of  money  in  1835,  which  enabled  him  to 
study  in  Paris  under  Hennequin.  Henceforth  his 
career  was  one  of  assured  success.  His  ambitious 
and  melodramatic  pictures  were  received  with 
great  favour  by  the  public,  though  condemned  by 
artists  and  connoisseurs.  His  art  had  much  in 
common  with  that  of  his  contemporary,  SchefiEer, 
with  whom  he  was  often  compared,  though  Gallait 
was  a  very  much  more  accomplished  craftsman. 
He  was  a  member  of  the  Institute  of  France,  and 
an  honorary  foreign  Royal  Academician.  Several 
of  his  pictures  were  at  the  International  Exhibition 
of  1862.     He  died  November  20,  1887. 

GALLAND,  Pierre  Victor,  distinguished  deco- 
rative artist,  born  at  Geneva  July  15,  1822.  His 
first  artistic  efEorts  were  devoted  to  metal  work, 
but  he  subsequently  studied  architecture  and  paint- 
ing in  the  studios  of  Labrouste  and  Drolling,  while 
earning  a  livelihood  as  a  decorative  artist.  His  work 
may  be  admired  in  many  of  the  public  and  private 
buildings  not  only  of  Paris,  but  also  of  Madrid,  St. 
Petersburg,  New  York  and  London.  He  filled  the 
post  of  Professor  of  Decorative  Art  at  the  Ecole 
des  Beaux  Arts  in  Paris,  and  was  Director  of  Works 
of  Art  at  the  Gobelins.  In  1883  he  was  appointed 
ofBcerof  the  Legion  of  Honour.  He  died  suddenly 
in  Paris  on  November  30,  1892. 

GALLAHDO,  Mateo,  was  a  Spanish  painter, 
who  resided  at  Madrid  in  1657.  There  is  a  figure 
of  Christ,  signed  with  his  name,  and  several  of  the 
Virgin,  of  the  size  of  life. 

GALLE  Family,  The. 

PHILIP?  GALLE. 
1537—1612. 


Theodore 
(1571-1633). 

Jan  or  JoanneB 
(1600—16761. 


Coroelis  I. 
(1576-1669). 

Com  el  is  n. 
(1616-1678). 

Cornelia  in. 
(1042-1701). 


209 


A  BIOGRAPHICAL  DICTIONARY  OF 


GALLE,  CoRNELis,  the  elder,  a  younger  son  of 
Philipp  Galle,  was  born  at  Antwerp  in  1576,  and 
was  taught  engraving  by  his  father.  He  followed 
the  example  of  his  brother  Theodoor  in  visiting 
Italy,  where  lie  fell  under  the  influence  of  Titian 
and  Palma  Veccliio.  He  resided  several  years  in 
Rome,  and  acquired  a  correctness  of  design,  and  a 
freedom  of  execution,  in  which  he  greatly  surpassed 
both  his  father  and  his  brother.  After  engraving 
several  plates  at  Rome  from  the  Italian  masters, 
he  returned  in  1601  to  Antwerp,  passing  through 
Siena  and  Florence.  He  set  up  in  business  as  a 
printseller  and  collector,  with  so  much  success, 
that  he  came  to  be  regarded  as  the  chief  authority 
on  the  subject  in  the  Netherlands.  He  worked 
also  assiduously  at  his  proper  calling,  and  en- 
graved many  plates  after  the  works  of  his  country- 
men and  his  own  designs.  "  He  equalled,"  say 
Huber  and  Rost,  "  the  most  famous  engravers,  and 
surpassed  all  the  Galles."  He  had  two  styles,  one, 
somewhat  stifi'  and  hard  ;  the  other,  much  more 
easy  and  attractive.  The  first  is  seen  in  his  early 
Antwerp  work  after M.  de  Vos  and  J.  Stradanus ;  the 
second,  with  his  Italian  inspirations,  after  G.  Paggi, 
F.  Vanni,  A.  Carracci,  Salimbeni,  and  Villamena. 
Towards  the  end  of  his  life  Rubens  affected  him 
greatly,  and  his  work  is  marked  by  a  delightful 
freedom.  His  naked  figures  are  beautifully  finished, 
and  his  landscapes  are  done  with  perfection.  His 
work  was  signed  Conielis  Galle  simply ;  and 
consequently  tliere  is  some  confusion  between  him 
and  the  two  others  of  his  family  bearing  the  same 
name.  He  died  in  1656.  Previous  to  going  to 
Italy  he  engraved  these  plates  : 

A  part  of  the  plates  of  the  Life  of  Christ ;  after  Martin 
de  Vos.  A  set  of  plates  of  the  Life  of  the  Virgin 
Mary  ;  A  set  of  plates  of  the  Life  of  St.  John  the 
Baptist;  after  Stradanus. 

The  following  are  some  of  his  best  prints  : 

St.  Ch.'irles  Borromeo,  Cardinal  Archbishop  of  Milan. 
Philipp  Rubens,  the  brother  of  Peter  Paul  Rubens. 
Ferdinand  III.  ;  after  Van  Dyck.  Jan  van  Havre  ; 
after  Rubens.  Charles  I.,  King  of  England;  in  an 
allegorical  border ;  Henrietta  Maria,  Queen  of 
Charles  I . ;  with  a  border  of  flowers  and  figures  ; 
after  Van  der  Horst.  Artus  Wolfart,  painter  ;  after 
Van  Dyck.  Jan  "Wiggers ;  after  H.  de  Smet.  Isa- 
bella of  Arenberg ;  after  Ch.  Wautier.  Abraham 
Ortelius ;  after  H.  Goltzhfs.  Henri  IV.  and  Marie  de 
Medici,  done  at  Siena  in  1600.  Adam  and  Eve ;  The 
Holy  Family  returning  from  Egypt,  with  a  Choir  of 
Angels  ;  Venus  caressing  Cupid  ;  St.  Peter  baptizing 
St.  Priscia  ;  after  Giov.  Batt.  Paggi.  The  Virgin  and 
Infant,  to  whom  St.  Bernard  is  offering  a  Book ;  The 
Crucifixion,  with  the  Virgin,  St.  Francis,  and  St. 
Theresa  ;  after  Francesco  I'anni.  Venus  bound  to  a 
Tree,  and  Minerva  chastising  Cupid  ;  Procne  showing 
the  Head  of  her  sen  Itys  to  her  husband  Tereus  ; 
Seneca  in  the  Bath ;  after  Agostino  Carracci.  The 
Virgm  caressing  the  Infant  Jesus  ;  The  Entombment 
of  Christ ;  after  Raphael.  The  Virgin  Mary,  under 
an  arch,  ornamented  with  flowers  by  Angels  ;  Judith 
cutting  off  the  Head  of  Holofernes ;  The  Four 
Fathers  of  the  Church.  A  Banquet,  with  Musicians. 
Commentaria  Acta  Apostolomm,  1647.  Ten  Plates, 
'  Missale  Romanum,'  1650.  Ecce  Homo  ;  Christ 
and  St.  John  the  Baptist ;  many  Frontispieces  to 
religious  works ;  Judith  ;  after  Rubens.  St.  Martin 
and  the  Beggar  ;  after  Van  Dyck.  Five  scenes  from 
the  Life  of  Christ;  after  A.  Carracci.  Plates  for 
the  Lite  of  St.  Ignatius  Loyola.  Legend  of  St. 
Cecilia;  after  Vanni.  Magdalene  at  Simon's  Feast ; 
after  Cigoli. 

GALLE,  CoRNELis,  the  younger,  the  son  of 
210 


Cornells  Galle  the  elder,  was  born  at  Antwerp  in 
1615,  and  was  instructed  in  the  art  of  engraving 
by  his  father.  It  does  not  appear  that  he  had  the 
advantage  of  studying  in  Italy,  which  may  account 
for  his  drawing  being  less  correct  than  that  of 
his  father  or  his  uncle.  His  elegance  and  his 
facility  have  gained  him  much  renown.  He  some- 
times signed  his  name  Cornells  Galle,  junior; 
but  very  many  plates  undoubtedly  by  him  pass 
muster  as  the  work  of  his  father.  His  portraits 
are  more  meritorious  than  his  larger  pieces.  These 
are  of  great  interest  and  value,  and  form  almost  an 
unique  gallery  of  literary  and  commercial  wortliies 
of  the  period.  The  features,  in  each  case,  are  done 
with  the  greatest  care,  and  the  accessories  are 
characteristic.  Several  of  this  series  are  now  in 
the  celebrated  Plantin  Museum  at  Antwerp.  He 
died  at  Antwerp  in  1678.  The  following  are  his 
most  esteemed  prints. 

The  Emperor  Ferdinand  III.,  1649  ;  Mary  of  Austria, 
his  Empress,  1649 ;  Henrietta  of  Lorraine ;  Jan 
Meysseiis,  painter  and  engraver ;  after  Van  Dyck. 
Jodocus  Christophorus  Kress  de  Kressenstein, 
Senator  of  Hamburg ;  Ottavio  Piccoloraini ;  in  a 
border  of  fruit  and  flowers ;  after  Anselmus  van 
Hulle.  Job  and  his  wife  ;  St.  Dominic  receiving 
the  Rosary  from  the  Virgin ;  Descent  from  the 
Cross ;  The  Crucifixion  ;  Jupiter  and  Mercury,  with 
Baucis  and  Philemon  ;  after  J.  van  den  Hoeck.  The 
Nativity,  with  the  Angels  appearing  to  the  Shep- 
herds ;  after  David,  Teniers  the  elder.  The  Resurrec- 
tion; after  Ga.^par  de  Craet/er.  Venus  suckling  the 
Loves ;  Flight  into  Egypt ;  Clu-ist  in  the  Tomb ; 
after  Rubens.  Christ  at  the  Pharisee's  Table  ;  after 
L.  Cigoli.  Frontispiece,  *  De  Hierarchia  Mariana,' 
1640  ;  Frontispiece, '  Opera  Liutripandi,'  1640  ;  Three 
plates,  '  Legatus  Frederic!  Marselere,'  1666;  after 
Rubens.  Frontispieces,  1647,  1648;  after  A.  Diepen- 
beeck. 

GALLE,  CoRNELis,  the  third,  son  of  Cornelis 
Galle,  the  younger,  was  born  at  Antwerp  in  1642. 
He  learned  his  art  at  the  atelier  of  the  family.  Not 
much  is  known  about  him,  and  the  accident  of  his 
name  makes  identification  of  his  work  difficult. 
There  is,  however,  a  class  of  engravings,  mostly 
humorous,  bearing  the  signature  0.  Galle.  This 
may  differentiate  him  from  the  other  Cornelises, 
who  usually  signed  their  first  names  in  full.  An 
example  exists  at  the  British  Museum,  'A  Feathered 
Parliament.'  His  work  is  marked  by  correctness 
of  composition,  but  there  is  an  absence  of  that  fine 
finish  which  is  such  a  convincing  attribute  of  his 
family.  He  married  a  wealthy  wife,  by  whom  he 
had  three  .sons,  but  none  of  them  followed  the 
family  profession.     He  died  at  Antwerp  in  1701. 

GALLE,  HiERONYMUS.  In  the  UflSzi  Gallery  at 
Florence  is  a  picture  of  a  '  Festoon  of  Flowers,' 
signed  Hieronym^ia  Galle.  f.  A.  1655. 

GALLE,  Jan,  a  son  and  pupil  of  Theodoor  Galle, 
was  born  at  Antwerp  in  1600.  Little  is  known  of 
his  early  training.  He  worked  with  his  father  and 
his  uncle,  and  also  with  the  Wierixes.  Many 
plates  have  his  name  along  with  theirs.  Some  of 
the  most  beautiful  examples  of  his  art  are  to  be 
found  in  a  series  called  a  '  Rosary,'  and  these  bear 
the  following  signature,  Anton  Wierix  fecit  Joan 
Galle  exc}tdit.  His  work  is  marked  by  fine  com- 
position and  freedom  in  execution.  To  him  belongs 
one  of  the  most  lovely  volumes  at  the  British 
Museum,  '  Vita  St.  Joseph  B.V.  Sponsi.'  It  bears 
no  date,  but  its  miniature  plates  are  perfect  speci- 
mens of  what  the  graver  can  do.  He  engraved 
many  subjects  after  Goltzius.     He  was  enrolled  in 


PAINTERS  AND  ENGRAVERS. 


the  Guild  of  St.  Luke  under  the  designation  of 
"  Wynmeester,"  because,  as  was  usual  with  the 
sons  of  Masters  of  the  Guild,  he  had  to  pay  his 
entrance  fee  with  a  present  of  wine  I  Ultimately 
he  became  Master,  and  died,  a  wealthy  man,  in 
1676.    Among  his  plates  are  : 

The  Wise  and  Foolish  Virgins  ;  after  Marten  de  I'os. 
Christ  surrounded  by  the  Instruments  of  His  Passion. 
The  fat  Cook  and  the  thin  Cook  ;  Lubricitas  Vitaa 
Humaute,  1553  ;  after  P.  Brueghel  the  elder. 

GALLE,  Philipp,  a  Dutch  engraver,  was  born 
at  Haarlem  in  1537.  He  studied  at  Amsterdam 
under  Dirk  V.  Cuerenherdt,  the  celebrated  engraver 
and  controversialist.  He  travelled  through  Italy, 
France  and  Germany,  and  settled  at  Antwerp  in 
1570,  where  he  established  a  studio  of  engraving. 
Among  his  better-known  pupils,  in  addition  to  his 
son,  were  his  celebrated  son-in-law  Adrien  Collaert, 
and  Jan  B.  Barb^.  He  was  a  writer  and  historian, 
as  well  as  a  skilful  draughtsman.  He  became  a 
member  of  the  Guild  of  yt.  Luke,  under  the  title 
of  Free  Master  Engraver.  He  took  as  his  model 
the  style  of  Lucas  de  Leyden.  He  drew  very 
correctly,  and  excelled  in  cla'ir  ohsciir;  but  his 
manner  was  somewhat  dry  and  hard.  His  subjects 
were  chiefly  scriptural.  He  engraved  plates  for 
many  books  issued  by  Christopher  Plantin,  the 
first  being  dated  1573.  He  worked  with  great 
rapidity  ;  M.  Mariette  says,  "  II  maniait  le  burin 
avec  facility."  He  did  a  lucrative  business  as  a 
printseller.  He  was  the  founder  of  the  famous 
Galle  family  of  engravers.  He  died  at  Antwerp  in 
1612.  The  number  of  his  prints  is  considerable, 
and  they  are  generally  marked  with  one  of  the 

annexed  ciphers :  '^x    or   ^E,      The    following 

are  his  principal  plates : 

Calvin.  Luther.  Zwingli.  Pirkheimer.  Sir  Thomas 
More.  !  Dante.  Marten  van  Heemskerk.  Willem 
Philander  ;  Duke  of  Alva,  1571.  The  Seasons  ;  The 
Three  Young  Men  in  the  Furnace  ;  Memorabiliores 
Judaicee  Gentis  Clades ;  Acta  Apostolorum ;  His- 
tories of  St.  John,  the  Prodigal  Son,  Samson,  Esther, 
and  Ahasuerus  ;  afler  Marten  van  Heemskerk.  The 
Passion,  Death,  and  Resurrection  ;  The  Battles  of  the 
Tuscans ;  The  Victories  and  Triumphs  of  the  Medici 
Family,  1583 ;  after  Stradanus.  A  set  of  thirty-four 
plates  of  the  Life  and  Miracles  of  St.  Catharine  of 
Siena,  1603.  Ten  plates  of  the  Sibyls  ;  after  A,  van 
Blocklandt.  The  Trinity,  1584;  after  Marten  de 
Vos.  The  Seven  Wonders  of  the  World;  The 
Triumph  of  Death, Fame,  and  Honour;  after  Marten 
van  Heemskerk.  Plates ;  entitled  '  Divinarum  Nup- 
tiarum  conventus  et  acta';  dated  1580.  The  Death  of 
St.  Anne  ;  The  Good  Shepherd  ;  after  Brueghel.  The 
Trinity  ;  large  plate  ;  after  M.  de  Vos  ;  his  best  print. 
Solomon  directing  the  building  of  the  Temple  ;  Abra- 
ham sacrificing  Isaac ;  Lot  and  his  Daughters ; 
Mutius  ScKvola  in  the  Tent  of  Porsena,  1563;  Mas- 
sacre of  the  Innocents ;  large  plate  ;  after  F.  Floris. 
Funeral  Ceremonies  ;  large  plate,  1562.  Frontispiece, 
'  Sapientia  Hominum,'  1572.  Les  Niobides,  1557  ; 
^ter  Jules  Romain.  Christ  at  Emmaus,  1574.  The 
Heavenly  Choir,  1574.  Sea  Gods  and  Nymphs  and 
Naiads,  1587. 

GALLE,  Theodoob,  the  elder  son  of  Philipp 
Galle,  was  born  at  Antwerp  in  1571,  and  was  in- 
structed in  the  use  of  the  graver  by  his  father.  He 
afterwards  went  to  Rome  to  study  the  antique,  and 
whilst  there  he  engraved  several  plates  after  the 
great  masters,  more  especially  Raphael.  His  style 
was  less  conventional  than  Ids  father's.     His  touch 

P2 


was  remarkable  for  delicacy ;  he  was  a  patient 
elaborator  of  detail.  His  work  exhibits  a  distinct 
breaking  away  from  the  bald  fashion  of  the  period. 
He  collaborated  much  with  Jean  Collaert,  his 
nephew.  Their  manner  approached  very  nearly 
that  of  the  Wierixes — a  more  polished  style  than 
that  of  his  father.  He  held  a  commanding  position 
in  his  city,  and  was  Master  of  his  Guild.  He  died 
at  Antwerp  in  1633  or  1634.  The  following  are 
his  principal  works  : 

Justus  Lipsius.  St.  Jerome.  St.  John.  St.  Hildrude 
and  St.  Hildegonde.  Emblematical  subjects,  entitled 
'  Litis  abusus,&c.'  The  Life  of  St.  Norbert.  The  Life 
of  the  Virgin  and  St.  Joseph  (twenty-eight).  Thirteen 
figures,  each  with  a  title  and  explication  ;  entitled 
*  Typus  occasiouis,  &c.' ;  1600.  The  Infant  Jesus  re- 
gardjug  the  Instruments  of  the  Passion.  St.  John.  St. 
Jerome.  Count  Ugoliuo  and  his  Children  ;  Coriola- 
nus  entreated  by  the  Roman  Women  ;  Cornelia,  the 
Mother  of  Gracchi ;  Phaethon  guiding  the  Chariot  of 
the  Sun;  Susannah;  after  Stradanus.  A  Frontispiece 
to  Mascard's  '  Silvarum  libri ' ;  a  Frontispiece  to 
'  Las  Obras  en  Ver.so  '  of  Francisco  de  Boria,  1624  ; 
Frontispiece  to  '  Opera  Senecse,'  2nd  edition,  1615; 
Frontispiece  to  '  Opera  Senecse,'  4th  edition,  1652  ; 
Frontispiece  to  '  Annates  Sacri ' ;  after  Ruhens. 
Eleven  plates  for  '  Studiosai  Juventuti.'  Suite :  New 
Discoveries;  after  J.  Stradanus.  Seven  Deadly  Sins. 
Seven  Conspicuous  Virtues. 

GALLEGOS,  Fernando,  a  Spanish  painter,  was 
born  at  Salamanca  in  1475.  It  is  said  that  he 
studied  under  Albrecht  Diirer,  but  it  is  more  likely 
that  Berruguete  was  his  master  ;  and  he  only  fol- 
lowed the  taste  which  then  prevailed  in  Europe. 
Some  of  his  pictures  bear  so  strong  a  resemblance 
to  those  of  Diirer,  that  acknowledged  connoisseurs 
have  mistaken  them.  His  best  work  is  an  altar- 
piece  in  the  chapel  of  St.  Clement  at  Salamanca. 
Count  Raczynski,  in  his  work  '  Les  Arts  en 
Portugal,'  says  tliere  are  many  of  Gallegos's  pic- 
tures there,  but  neither  Palomino  nor  Cean  Ber- 
mudez  mentions  the  circumstance  of  his  having 
painted  in  Portugal.  He  died  in  1550.  There 
are  six  scriptural  subjects  by  him  in  the  Madrid 
Gallery. 

GALLETTI,  Fra  Filippo  Maria,  a  Florentine 
painter,  was  born  in  1664,  and  died  in  1742.  His 
portrait  is  in  the  Uffizi. 

GALLI,  Alessandro,  called  Alessandro  da 
BiBlENA,  a  painter  and  architect,  was  a  son  of 
Ferdinando  Galli.  He  was  skilful  in  both  oil  and 
fresco  painting,  and  was  employed  at  the  court  of 
the  Elector  Palatine,  in  whose  service  he  died 
about  the  year  1760. 

GALLI,  Antonio,  was  a  brother  of  Alessandro 
Galli,  and,  like  him,  a  painter  and  architect.  He 
was  born  at  Bologna  in  1700,  and  died  at  Milan  in 
1774.     He  painted  theatrical  decorations. 

GALLI,  Carlo,  a  son  of  Giuseppe  Galli,  was, 
like  his  father,  a  painter  and  architect.  He  visited 
the  various  courts  of  Germany,  as  well  as  those  of 
England,  France,  and  Italy,  and  is  known  to  have 
been  still  living  in  1769. 

GALLI,  Ferdinando,  called  Ferdinando  da 
BiBiENA,  the  son  of  Giovanni  Maria  Galli,  was 
born  at  Bologna  in  1657.  His  father  dying  when 
he  was  only  eight  years  of  age,  he  was  placed 
in  the  school  of  Carlo  Cignani,  who,  finding  the 
genius  of  his  pupil  led  him  to  architecture  and 
perspective,  rather  than  the  design  of  the  figure, 
recommended  him  to  devote  himself  to  that  par- 
ticular department,  which  he  thereupon  studied 

211 


A   BIOGRAPHICAL   DICTIONARY  OF 


under  Aldrovandini,  Trogli,  and  Manni,  and  with 
such  Buccees  that  he  became  the  most  distinguished 
master  of  his  time  in  the  ornamental  and  decorative 
branches  of  the  art.  There  was  scarcely  a  sove- 
reign in  Europe  who  did  not  invite  him  to  his 
court.  He  was  much  engaged  for  the  Dukes  of 
Parma  and  Milan,  and  was  invited  to  Vienna  by 
the  Emperor  Charles  VI.  The  public  festivals  on 
all  occasions  of  victories,  the  triumphal  entries  of 
princes,  &c.,  were  celebrated  under  the  direction 
of  Bibiena,  and  were  more  sumptuous  and  mag- 
nificent than  any  before  witnessed  in  Europe.  He 
became  blind,  and  died  at  Bologna  in  1743.  A 
painting  by  him  is  in  the  National  Gallery.  It  is 
entitled  the  'Teatro  Farnese,  Parma,'  and  represents 
the  pit  and  stage  of  a  theatre,  in  which  '  Othello '  is 
being  played.  To  him  the  theatre  is  indebted  for 
verj'  great  improvements  in  its  scenery,  and  the 
illusive  enchantment  of  its  decorations.  But  his 
talents  were  not  confined  to  scene-painting ;  he 
painted  also  many  admirable  architectural  and 
perspective  views,  which  are  placed  in  the  prin- 
cipal galleries  in  Italy.  In  these,  the  figures 
are  usually  painted  by  his  brother  Francesco. 
He  likewise  published  several  works  on  civil 
architecture. 

GALLI,  Francesco,  called  Francesco  da 
Bibiena,  the  younger  brother  of  Ferdinando  Galli, 
was  born  at  Bologna  in  1659.  He  first  studied 
under  Lorenzo  Pasinelli  ;  but  he  was  afterwards 
instructed  in  the  school  of  Carlo  Cignani.  His 
knowledge  of  architecture  and  perspective  was 
considerable ;  but  he  excelled  in  figures.  He 
worked  successively  for  the  Emperors  Leopold  I. 
and  Joseph  I.,  and  was  invited  to  Madrid  by 
Philip  v.,  who  appointed  him  his  principal  archi- 
tect.    He  died  in  1739. 

GALLI,  Giovanni  Makia,  called  Giovanni 
Maria  da  Bibiena,  was  born  at  Bibiena,  in  the 
Bolognese  state,  in  1625.  He  studied  under 
Albani,  and  his  productions  have  often  been  mis- 
taken for  those  of  his  master.  He  died  in  1665. 
Of  his  larger  works  in  the  churches  at  Bologna  the 
following  are  the  most  esteemed:  'The  Ascension,' 
in  the  Certosa ;  'St.  Anne,'  in  La  Carita ;  'St. 
Andrew,'  in  San  Biagio ;  and  '  St.  Francis  of 
Sales,'  at  the  Padri  Servi.  This  artist  was  the 
founder  of  a  family  of  whom  no  fewer  than  nine 
are  known  to  fame,  all  of  whom  bore  the  surname 
of  Bibiena. 

GALLI,  Giuseppe,  a  painter  and  architect,  was 
a  son  of  Ferdinando  Galli,  and  was  born  in  1696. 
After  studying  under  his  father,  he  worked  in 
conjunction  with  him  at  Barcelona  and  Vienna, 
and  afterwards  by  himself  at  several  German 
courts.     He  died  at  Berlin  in  1756. 

GALLI,  Maria  Oeiana,  was  a  daughter  of 
Giovanni  Maria  Galli,  who  studied  painting  under 
Carlo  Cignani  and  Francescbini. 

GALLIARI,  Bernardino,  an  Italian  painter,  was 
bom  at  Andomo  about  1707,  and  died  about  179-4. 
There  is  an  '  Adoration  of  the  Shepherds  '  by  him 
in  the  Brera  at  Milan. 

GALLIARI,  Gaspare,  an  Italian  painter,  was 
born  at  Treviglio  about  1760,  and  died  at  Milan  in 
1818.  In  the  Brera  at  Milan  is  a  view  of  Venice 
by  him. 

GALLIMARD,  Claude,  a  French  engraver, 
was  born  at  Troyes,  in  Champagne,  in  1720.  He 
passed  some  time  at  Rome,  and  on  his  return  to 
France  became  a  member  of  the  Academy  at 
Paris.     We  have  by  him  several  plates  after  De 


Troy,  Subleyras,  and  S^bastien  Bourdon.  He 
also  engraved  a  number  of  ornaments  for  books, 
among  which  are  fourteen  frontispieces  and  vig- 
nettes after  Cochin  the  younger.  The  following 
also  are  by  this  artist : 

The  Bust  of  Nicolas  Vleughels;  after  31.  A.  Slodtz. 

1744. 
The  Queen  of   Sheba  before  Solomon;  after  J.  F.  de 

Troy. 
GALLINA,     Remigio     Canta.       See    Canta- 
Gallina. 

GALLINARI,  Jacopo,  who  was  probably  born 
at  Bologna,  worked  there  in  1676,  and  at  Padua 
in  1685.  He  is  known  by  two  etchings,  'A  Lady,' 
and  '  Venus  and  Cupid.' 

GALLINARI,  Pietro,  called  Pietro  del  Signor 
GuiDO,  was  a  native  of  Bologna,  and  a  favourite 
scholar  of  Guido  Reni.  He  painted  a  few  historical 
pictures,  which  are  said  to  have  been  retouched 
by  Guido.     He  died  young  in  1664. 

GALLIS,  Pieter,  an  amateur  painter  of  flowers, 
fruit,  and  objects  of  stiU-life,  was  born  in  1633, 
and  lived  at  Enkhuysen,  where  he  died  in  1697. 
GALLIZI,  Fede.     See  Galizia. 
GALLO,  II  Prete.     See  Guillaume,  Le  Frere. 
GALLO,  Bernardo  and  Giovanni.   See  Salomon. 
GALLO,  San.     See  Sanoallo. 
GALLOCHB,  Louis,  a  French  painter,  bom  in 
Paris  in  1670,  was  a  scholar   of   Louis  de  Boul- 
longne,  but  afterwards  studied  in  Italy.     Upon  his 
return  to  France  he  founded  a  school,  and  one  of 
bis  first  pupils  was  Francois  Le  Moine.    His  picture 
of  '  Hercules  restoring  Alcestis  to  her  Husband ' 
gained  him  his  election  to  the  Academy  in  1711,  of 
which  he  became  successively  professor  in  1720, 
rector  in  1746,  and  chancellor  in  1754.    He  died  in 
Paris  in  1761.     The  above  painting  is  now  in  the 
Louvre,  while  in  the  cathedral  of  Notre-Dame  in 
Paris  is  a  picture  by  him  of  the  'Departure  of  St. 
Paul   for  Jerusalem.'      His  chief   work  was   the 
'  Removal   of   the  Remains   of    St.  Augustine  to 
Pavia,'  a  picture  which  has  disappeared. 

GALLUS,  Bernardus  and  Joannes.  See 
Salomon. 

GALLUS,,  Ricardus.  See  Taurini. 
GALOFRE,  Baldomero,  a  distinguished  Cata- 
lonian  painter,  was  born  in  1848.  After  years  of 
academical  traininghe visited Italy,where  his  strong 
individuality  soon  asserted  itself.  On  his  return  to 
Spain,  Galofrd  travelled  through  the  country,  ever 
in  search  of  the  picturesque  and  the  characteristic. 
In  bis  feeling  for  colour  and  light  and  joyous 
movement,  GaIofr6  greatly  resembled  Fortuny, 
and  he  delighted  todepict  country  fairs,  processions, 
and  popular  assemblies,  scenes  to  which  he  could 
give  infinite  colour  and  life.  As  a  master  of  tech- 
nique and  a  brilliant  colourist  the  latter-day  art  of 
Spain  can  produce  no  rival  to  him,  as  his  famous 
canvases  'Feria  Andaluza'  and  'Lechera  Asturiana' 
will  show  us.  He  also  produced  numerous  water- 
colours  and  gouaches  having  great  breadth  and  free- 
dom of  style.  He  was  an  indefatigable  worker,  and 
he  had  long  plaimed  a  monumental  work  to  be 
entitled  'Espaiia,'  and  to  this  end  had  made  an 
infinite  variety  of  studies  and  sketches  whilst 
travelling  through  his  native  country.  His  death 
occurred  at  Barcelona  on  July  26,  1902. 

GALOFRfi  Y  COMA,  Jos^,  a  Spanish  histori- 
cal painter,  was  born  at  Barcelona,  and  died  in  the 
same  city  in  1877.  He  studied  in  Rome,  where 
he  became  an  associate  of  Overbeck.  In  1854  he 
painted  for  the  Queen  of  Spain  '  An  Episode  from 


PAINTERS  AND  ENGRAVERS. 


the  Conquest  of  Granada  in  1494.'  He  also  pub- 
lished a  book  on  '  Art  in  Italy  and  other  Countries 
of  Europe.' 

GALVAN,  Juan,  a  Spanish  painter,  was  born 
at  Lucena,  in  the  kingdom  of  Aragon,  in  1598. 
According  to  Palomino,  he  went  to  Rome  for  im- 
provement, where  he  remained  some  time,  and  on 
his  return  to  Spain  in  1624  resided  chiefly  at 
Zaragoza,  where  he  was  named  painter  by  the 
Corporation,  and  executed  various  pictures  for  the 
cathedral  and  Carmelite  convent.  For  the  cathedral 
of  Zaragoza  he  executed  pictures  of  the  '  Nativity,' 
'  Santa  Justa,'  and  '  Santa  Rutina,'  as  well  as  other 
large  works,  which  Cean  Bermudez  praises  for 
their  colouring.  He  painted  the  cupola  of  Santa 
Justa  y  Rutina,  and  a  picture  of  the  '  Trinity '  for 
the  Barefooted  Carmelites  ;  but  his  principal  work 
was  the '  Birth  of  the  Virgin.'  He  died  at  Zaragoza 
in  1658. 

GAMARRA,  JnAN  Cirilo  Magadan  y.  See 
Magadan. 

GAMBARA,  Lattanzio,  born  at  Brescia  in 
1541  or  1542,  was  the  son  of  a  tailor,  who,  driven 
by  necessity  from  his  native  city,  took  refuge 
at  Cremona,  and  supported  himself  and  his  son 
by  the  exercise  of  his  trade,  which  he  destined 
the  latter  to  follow.  The  disposition  of  the  boy 
inclined  to  a  different  pursuit,  and  he  employed 
all  his  leisure  moments  in  sketching,  for  which  he 
was  often  severely  chastised  by  his  father.  These 
quarrels,  and  their  cause,  came  to  the  knowledge 
of  Antonio  Cainpi,  a  painter  of  Cremona,  who  in- 
terested himself  in  favour  of  the  youth ;  and,  on 
examining  his  drawings,  found  in  them  evidence 
of  genius,  and  prevailed  on  his  father  to  entrust 
him  to  his  care.  He  studied  in  the  school  of  the 
Campi  for  six  years  ;  and  when  he  was  eighteen 
years  of  age,  he  was  placed  under  the  tuition  of 
Girolamo  Romanino,  who  entertained  a  high 
opinion  of  his  talents,  and  ultimately  gave  him 
his  daughter  in  marriage.  He  surpassed  his 
father-in-law  both  in  the  correctness  of  his  design, 
and  in  the  grandeur  of  his  compositions.  To  the 
principles  he  had  acquired  under  the  Campi,  he 
added  the  charm  of  Venetian  colouring,  in  which 
he  approached  the  rich  tones  of  Pordenone.  In 
the  Strada  del  Gambaro  at  Brescia  are  several  fine 
fresco  paintings  by  him  of  mythological  and  clas- 
isical  subjects ;  but  these  are  less  surprising  than 
his  admirable  works  in  the  cloisters  of  the  Bene- 
dictine Fathers  of  Sant'  Eufemia  at  Brescia.  They 
represent  '  Moses  and  the  Brazen  Serpent,'  '  Cain 
slaying  Abel,'  '  Samson  and  Delilah,'  '  Judith 
with  the  Head  of  Holofernes,'  '  Jael  and  Sisera,' 
and  a  'Deposition  from  the  Cross.'  In  the  Castello 
at  Brescia  are  frescoes  of  the '  Triumphs  of  Bacchus.' 
The  most  studied  of  his  works  are  his  twelve  frescoes 
in  the  cathedral  at  Parma,  representing  subjects 
from  the  Life  of  our  Saviour,  which  captivate 
even  in  their  close  proximity  to  Correggio's  master- 
pieces. Of  his  oil  pictures,  the  most  admired  are 
the  '  Birth  of  the  Virgin,'  in  the  church  of  San 
Faustino  Maggiore  at  Brescia ;  and  a  '  Pieti,'  in 
San  Pietro  at  Cremona.  In  the  Glasgow  Gallery 
is  the  Head  of  a  Female.  He  died  in  1574,  in 
consequence  of  a  fall  from  a  ladder. 

GAMBARINI,  Giuseppe,  born  at  Bologna  in 
1680,  was  a  scholar  of  Lorenzo  PasinelH,  until 
the  death  of  that  master,  when  he  entered  the 
school  of  Cesare  Gennari,  whose  style  he  fol- 
lowed in  his  colouring,  and  some  of  whose 
works   he  copied.     Finding  himself   unequal  to 


the  dignity  of  historical  painting,  he  abandoned 
it,  and  applied  himself  to  subjects  taken  from 
ordinary  life,  in  which  he  was  more  successful. 
He  died  in  1725.  There  are  some  of  his  works  in 
the  churches  at  Bologna:  in  Santa  Maria  Egiziaca, 
is  a  picture  of  that  Saint ;  and  at  the  Osservanti, 
'  St.  Catharine  Vigri's  Entrance  into  Bologna.' 

GAMBERUCCI,  Cosimo,  a  Florentine  painter, 
flourished  about  the  year  1610,  and  was  a  scholar  of 
Battista  Naldini.  He  did  not  attain  to  great  cele- 
brity in  the  art,  although  some  of  his  works  in  the 
churches  at  Florence,  particularly  his  picture  of 
'  St.  Peter  curing  the  lame  Man,'  in  San  Pietro 
Maggiore,  just  amount  to  respectability.  He  also 
painted  easel  pictures,  which  are  found  in  the 
collections  at  Florence. 

GAMELIN,  Jacques,  a  French  painter,  was 
born  at  Carcassone  in  1739,  and  died  at  Narbonne 
in  1803.  There  are  by  him  in  the  Bordeaux 
.Museum, '  Socrates  drinking  Hemlock,' '  The  Depar- 
ture of  Abradates  for  the  Fight,'  and  'The  Death 
of  Abradates.' 

GAMMON,  James,  was  an  English  engraver  of 
no  great  reputation,  by  whom  there  are  a  few 
portraits,  executed  in  a  stiff,  formal  style.  He 
was  working  in  London  about  1660.  Among 
others,  the  following  are  by  him  : 

Queen  Catharine  of  Braganza. 
Henry.  Duke  of  Gloucester. 
George,  Duke  of  Albemarle. 
Richard  Cromwell. 
Sir  Toby  Matthews. 
Edward  Mascall,  the  painter. 

GAMPERLIN.     See  Graf,  Urs. 

GANDIA,  Juan  de,  was  a  Spanish  painter, 
celebrated  for  his  pictures  of  architecture  and 
perspective  views.     He  lived  about  1720. 

GANDINI,  Antonio,  was  a  native  of  Brescia, 
who  had  the  advantage  of  being  educated  under 
Paolo  Veronese,  whose  style  he  followed,  together 
with  something  of  that  of  Palma.  He  possessed 
a  fertile  invention,  and  was  a  correct  designer,  aa 
is  apparent  in  his  principal  work,  the  'Crucifixion,' 
in  the  old  cathedral  at  Brescia  He  died  in  1630. 
He  left  a  son,  Bernardino  Gandini,  who  was  also 
a  painter,  and  who  died  in  1651. 

GANDINI,  Giorgio,  sometimes  called  Giorgio 
DEL  Gbano,  from  the  family  name  of  his  mother, 
was  a  native  of  Parma,  who  died  in  1538.  Orlandi 
not  only  states  that  he  was  a  disciple  of  Cor- 
reggio,  but  also  asserts  that  his  pictures  were  occa- 
sionally retouched  by  that  master.  The  Padre 
Zapata,  in  his  description  of  the  churches  of 
Parma,  ascribes  to  this  painter  the  great  altar- 
piece  of  San  Michele,  which  had  erroneously  been 
attributed  by  Ruta,  in  his  'Guida  di  Parma,'  to 
Lelio  Orsi.  "Correggio  had  been  engaged  to  paint 
the  tribune  of  the  dome  of  that  church,  but  died 
before  it  was  commenced  ;  and  the  commission 
was  offered  to  Gandini,  who  also  was  prevented  by 
death  from  executing  it.  In  the  Oldenburg  Gallery 
are  pictures  of  a  '  Penitent  Magdalen  '  and  a  '  Holy 
Family.' 

GAISIDOLFI,  Gaetano,  an  Italian  painter  and 
etcher,  was  born  at  San  Matteo  della  Decima,  in 
tlie  Bolognese,  in  1734.  He  first  studied  under  his 
elder  brother,  Ubaldo,  then  he  went  to  Venice,  and 
from  thence  to  Bologna.  He  painted  several  pic- 
tures for  the  churches  at  Bologna,  and  other  cities 
in  Italy,  of  which  the  most  esteemed  are,  'The 
Assumption,'  in  the  ceiling  of  Santa  Maria  della 
Vita,  and  '  The  Marriage  at  Cana,'  in  the  church 

213 


A   BIOGRAPHICAL  DICTIONARY  OF 


of  tlie  Santiasimo  Salvatore,  at  Bologna  ;  '  The  Mar- 
tj'rdom  of  St.  Pantaleone,'  in  the  church  of  the 
Girolimini  at  Naples,  and  his  own  portrait,  in  the 
Pinacoteca.  There  are  likewise  by  this  artist  an 
etching  of  the  '  Adoration  of  the  Shepherds,'  after 
the  picture  by  Niccol6  dell'  Abbate,  in  the  Palazzo 
Leoni  at  Bologna;  also  'St.  Peter  and  St.  Paul' 
after  Guido  Reni.  He  died  at  Bologna  in 
1802. 

GANDOLFI,  Mauro,  an  engraver,  was  bom  at 
Bologna  in  1764,  and  studied  under  his  father, 
Gaetano  Gandolti.  Early  in  life  he  entered  the 
army,  and  came  with  his  regiment  to  Paris,  where 
he  devoted  himself  to  engraving.  He  afterwards 
visited  England,  and  there  studied  under  Sharp 
and  Bartolozzi,  returning  by  way  of  Rome  to 
Bologna,  where  he  for  a  while  pursued  oil  paint- 
ing. His  first  large  engraving  was  '  Diogenes 
before  Alexander'  (1802),  after  his  father.  An 
unpleasant  critique  of  one  of  his  productions 
affected  him  so  much  that  he  left  Europe,  and 
travelled  in  America,  and  afterwards  in  Aiirica. 
In  1821  he  returned  to  Bologna,  engraved  several 
plates  after  Correggio,  and  Raphael's  '  St.  Cecilia,' 
of  which  he  also  made  a  beautiful  copy  in  water- 
colours.  He  also  engraved  '  The  Child  Jesus  sleep- 
ing on  the  Cross,'  '  Judith  with  the  Head  of  Holo- 
fernes,'  and  various  other  subjects.  In  the  Bologna 
Gallery  is  his  portrait  painted  by  himself.  He  died 
in  1834. 

GANDOLFI,  Ubaldo,  the  elder  brother  of 
Gaetano  Gandolfi,  was  born  in  1728.  He  was 
both  a  painter  and  sculptor,  and  studied  under 
Torelli  and  Graziani,  His  principal  works  are 
'The  Prophets'  in  San  Giuliano  at  Bologna,  his 
anatomical  preparations  for  pupils,  and  in  the 
Pinacoteca  a  '  Head  of  a  Girl,'  the  '  Resurrection  of 
Christ,'  and  a  '  Holy  Bishop.'  He  died  at  Bologna 
in  1781. 

GANDY,  James,  a  portrait  painter,  born  at 
Exeter  in  1619,  is  said  to  have  been  instructed 
by  Van  Dyck.  He  went  to  Ireland  under  the 
protection  of  the  Duke  of  Ormond,  and  painted 
many  portraits  of  the  nobility  and  gentry.  He 
died  in  Ireland  in  1689. 

GANDY,  William,  a  portrait  painter,  was  bom 
in  the  second  half  of  the  17th  century.  He 
was  the  son  of  James  Gandy,  and  is  supposed  to 
have  studied  under  Caspar  Smitz.  He  chiefly 
lived  at  Exeter,  and  many  of  his  works  are  to  be 
found  in  Devon  and  Cornwall.  He  died  after 
1715. 

GANGLOFF,  Karl  Wilhelm,  a  designer,  born 
at  Leutkirch  in  1790,  was  one  of  those  artists  by 
nature  who  produce  works  of  great  promise  in  their 
youth  before  they  have  received  any  instruction. 
He  was  originally  employed  as  a  clerk,  but  on 
his  artistic  productions  becoming  in  some  degree 
known,  he  was  induced  in  1813  to  go  to  Stuttgart 
and  study  under  De  Necker.  Unhappily  he  died 
in  1814,  at  Merklingen  in  Wiirtemberg,  but  he  has 
left  several  compositions  from  the  Old  and  New 
Testament  and  the  '  Nibelungen  Lied  '  which  show 
much  originality  and  depth  of  feeling.  Dhland 
has  dedicated  three  sonnets  to  his  memory. 

GANIERES,  Jean,  (or  Gagnieres,)  a  French 
engraver,  flourished  in  Paris  about  the  year  1650. 
He  engraved  a  few  plates  after  Blanchard,  Valen- 
tine, &c.,  but  was  more  employed  on  portraits. 
His  plates  are  executed  with  the  graver  in  a  stiff 
and  tasteless  style.  Among  others,  the  following 
are  by  him : 
214 


The  Penitent  Magdalen  ;  after  J.  Blanchard. 

A  Boy  sleeping,  with  a  skull  near  him.     1640. 

Louis  XIII.  of  France  ;  an  oval,  with  ornaments.     1640. 

Cardinal  Flario  Chigi. 

M.  de  La  MeUeraye.     1679. 

GANSES,  Paul,  was  a  Neapolitan  painter  of 
sea  pieces  and  moon-light  effects,  who  lived  in  the 
17th  century. 

GANTREL,  Etienne,  a  French  engraver,  was 
born  in  Paris  about  the  year  1646,  and  died 
there  in  1706.  There  are  by  this  artist  several 
plates  of  portraits  and  historical  subjects,  executed 
in  a  neat  style,  of  which  the  following  are  tho 
best: 

PORTRAITS. 
Louis  SIV.  of  France  ;  life-size. 
Sebastiano  Pisani,  Bishop  of  Verona. 
Antoine  Bruneau,  President  of  La  Tournelle ;  after  La 

Dame. 
J.  L.  de  La  Bourdonnaye,  Bishop  of  Lyons ;  after  Fon^ 

taine. 
M.  Poncet  de  La  EiviSre.     1682. 
Louis  Berrier,  Coimsellor  to  the  King.    1674. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Eod  of  Moses,  changed  into  a  Serpent,  devouring 

the   Rods  of    the   Magicians  of    Pharaoh;   after  N. 

Foussin. 
The  Israelites  passing  the  Bed  Sea  ;  after  the  same. 
The  Israelites  dancing  round  the  Golden  Calf ;  after 

the  same. 
The  Descent  from  the  Cross  ;  after  the  same. 
St.  Francis  Xavier  restoring  an  Indian  to  life ;    after 

the  same. 
St.  Gervais  and  St.  Protais  before  the  Proconsul ;  after 

Le  Sueur. 
St.  Benedict  kneeling ;  after  Philippe  de  Champagne. 
St.  Francis  in  ecstasy  ;  after  Carracci. 
The  Head  of  Christ ;  after  Le  Brun. 

GANZ,  JoHANN  Philipp,  a  German  engraver, 
born  at  Eisenach  in  1746,  was  appointed  engraver 
to  the  Court  of  Hanover. 

GARAVAGLIA,  Giovita,  an  Italian  engraver, 
was  bom  at  Pa  via  in  1790,  and  studied  under 
Anderloni.  In  1803  he  entered  the  Academy  of 
Milan,  where  in  1813  his  '  Herodias,' after  Luini, 
gained  a  prize,  and  in  1817  another  was  adjudged 
to  him  for  his  '  Holy  Family  in  a  Landscape,'  after 
Raphael.  In  1833  he  was  elected  Professor  of 
Engraving  at  Florence,  where  he  died  in  1835. 
His  principal  works  are  : 

The  Madonna  and  Infant  St.  John  ;  after  Gimignani. 

Hagar  and  Ishmael ;  after  Barocci, 

Jacob  and  Rachel ;  after  Appiani. 

The  Magdalen  ;  after  C.  Dolci. 

The  Ascension  ;  after  Guido  Reni, 

Charles  V. ;  after  the  same. 

GARBIERI,  Carlo,  the  son  and  scholar  of 
Lorenzo  Garbieri,  painted  historical  subjects  in 
the  style  of  his  father.  In  the  church  of  San 
Giovanni  in  Monte,  at  Bologna,  is  a  picture  by 
him  of  the  '  Death  of  St.  Mary  of  Egypt ' ;  and 
in  San  Paolo  is  one  of  '  St.  Paul  taken  up  into 
Heaven.' 

GARBIERI,  Lorenzo,  called  II  Nipote,  was 
born  at  Bologna  in  1580,  and  was  brought  up  in 
the  school  of  Lodorico  Carracci,  of  whose  style  he 
was  one  of  the  most  successful  imitators.  Natur- 
ally of  a  dark  and  gloomy  turn  of  mind,  he  selected 
the  most  austere  and  melancholy  subjects ;  and 
his  pictures  generally  represent  the  most  tragical 
and  terrible  events,  as  massacres,  martyrdoms, 
and  pestilence.  To  the  style  of  the  Carracci,  he 
added  something  of  the  vigorous  light  and  shadow 
of  Caravaggio.     Such  are  his  pictures  in  the  church 


PAINTERS  AND  ENGRAVERS. 


of  Sant'  Antonio  at  Milan,  which  Sant'  Agostino, 
in  his  '  Catalogo,'  has  attributed  to  the  Carracci. 
In  San  Paolo  de'  Barnabiti  at  Bologna  he  painted 
the  '  Plague  of  Milan,'  with  St.  Charles  Borromeo 
communicating  the  diseased  ;  and  a  '  Penitential 
Procession.'  At  the  Filippini  at  Fano  is  an 
admirable  picture  of  '  St.  Paul  raising  Eutychus,' 
painted  with  such  power  and  expression  that  it 
excites  both  terror  and  devotion.  In  San  Maiirizio 
at  Mantua  is  his  celebrated  '  Martyrdom  of  St. 
Felicita  and  the  seven  Virgins.'  At  Bologna,  in 
the  church  of  San  Lodovico,  is  a  fine  picture  of 
the  '  Death  of  St.  Joseph  '  ;  at  the  Cappuccini,  the 
'  Crucifixion '  ;  in  S.  Miohele  in  Bosco,  scenes 
from  the  life  of  St.  Benedict  and  St.  Cecilia  ;  and 
at  the  Pinacoteoa,  '  The  Magician  Circe.'  In  con- 
sequence of  his  marriage  with  a  rich  lady,  he 
abandoned  his  profession  many  years  before  his 
death,  which  took  place  in  1654. 

GARBO,  Raffaellino  del.    See  Capponi. 

GARCIA,  Bernab^,  a  Spanish  painter,  was  bom 
at  Madrid  in  1679,  and  died  in  the  same  city  in 
1731.  He  was  a  scholar  of  Juan  Delgado,  and 
painted  '  The  Four  Doctors  of  the  Church '  for  a 
church  at  Alcala  de  Henares. 

GARCIA,  Ferrer,  ('  the  Licentiate  Don  Pedro ',) 
though  an  ecclesiastic,  exercised  the  profession  of 
a  painter  at  Valencia  and  Madrid,  about  the  middle 
of  the  17th  century,  and  obtained  a  great  reputa- 
tion, especially  in  perspective.  He  painted  Cruci- 
fixions, one  of  which  bears  date  1632,  and  the  usual 
religious  subjects.  Hia  collection  of  pictures  by 
the  great  masters,  as  well  as  his  own  performances, 
was  sold  at  his  death  for  a  large  sum. 

GARCIA,  Francisco,  was  a  Spanish  painter  at 
Murcia,  at  the  commencement  of  the  17th  century, 
as  is  shown  by  the  inscription  on  an  altar-piece  in 
the  chapel  of  Los  Velez,  in  the  cathedral  of  that 
city  ;  it  represents  '  St.  Luke  writing.'  The  artist 
was  in  the  employ  of  the  Marquis  de  los  Velez. 

GARCIA,  Miguel  and  Geronimo,  were  twin 
brothers,  and  canons  of  the  Collegiate  Church  of 
San  Salvador  at  Granada,  one  being  a  painter  and 
the  other  a  sculptor ;  the  first  coloured  the  images 
which  the  second  carved.  They  followed  the 
style,  and  perhaps  profited  by  the  instruction,  of 
Alonso  Cano. 

GARCIA  DE  MIRANDA,  Jdan,  was  born  of 
Asturian  parents  at  Madrid  in  1677,  and  studied 
■painting  under  Juan  Delgado,  producing  chiefly 
devotional  pictures,  particularly  '  Immaculate  Con- 
ceptions,' for  private  patrons.  Born  without  a 
right  hand,  he  made  use  of  the  stump  of  the  arm 
to  hold  pencils,  maulstick,  &c.  He  was  appointed 
to  clean  and  restore  the  pictures  injured  in  the  fire 
at  the  Alcazar,  and  acquitted  himself  so  well  as 
to  be  appointed,  in  1735,  painter-in-ordinary  to 
Philip  V.  He  also  held,  with  Palomino,  from 
1724,  the  post  of  public  valuer  of  pictures.  He 
died  in  1749,  leaving  a  son  Juan,  of  great  promise 
as  a  painter,  who,  however,  died  at  the  age  of 
twenty-one.  His  brother  and  disciple,  Nicolas 
Garcia  de  Miranda,  who  was  born  in  1698,  and 
died  in  1738,  painted  landscapes  with  religious 
figures. 

GARCIA  HIDALGO,  Josef,  was  a  Spanish 
painter,  who  wrote  notes  of  his  life,  but  omitted  to 
state  where  and  when  he  was  born.  From  circum- 
Btances  narrated  by  him  it  is  conjectured  that  he 
was  a  native  of  Murviedro,  in  Murcia,  and  born 
about  1656.  He  was  named  by  the  artists  of  the  day 
'  El  Castellano.'     He  studied  in  the  city  of  Murcia 


under  Mateo  Gilarte  and  Nicolas  de  Villacis.  After 
passing  some  years  under  those  masters  he  went 
to  Italy,  and  at  Rome  became  a  scholar  of  Giacinto 
Brandi,  under  whose  tuition  he  made  considerable 
progress.  Pietro  da  Cortona,  Salvator  Rosa,  and 
Carlo  Maratti  assisted  him  with  their  counsels ; 
but  the  climate  of  Italy  proving  detrimental  to  his 
health,  he  returned  to  Spain,  where  he  attached 
himself  to  Carreno,  and,  though  far  advanced  in 
the  art,  worked  as  a  young  pupil.  In  1674  he 
went  to  Madrid,  and  was  employed  by  Charles  II. 
in  a  series  of  twenty-four  pictures  on  the  life  of 
St.  Augustine,  for  the  cloisters  of  San  Felipe  el 
Real,  which  occupied  him,  with  other  commissions 
from  the  king,  till  1711.  He  was  also  much 
employed  by  Philip  V.,  who  made  him  his  prin- 
cipal painter  in  1703,  and  shortly  after  a  cheva- 
lier of  the  order  of  St.  Michael.  In  the  latter 
part  of  his  life  he  retired  to  the  convent  of  San 
Felipe,  and  died  there  probably  soon  after  1711, 
but  in  what  year  is  not  known.  He  published 
'  Principios  para  estudiar  la  nobilissima  arte  de  la 
Pintura,'  1691,  and  several  other  works  on  anatomy 
and  painting  for  the  benefit  of  students.  His 
productions  are  at  Madrid,  Valencia,  Siguenza,  San 
Jago,  and  Guadalaxara. 

GARCIA  REYNOSO,  Antonio,  a  Spanish  painter, 
was  born  at  Cabra,  in  Andalucia,  in  1623,  and 
studied  under  Sebastian  Martinez,  an  artist  of  some 
eminence,  at  Jaen.  He  painted  landscapes  and 
historical  subjects  ;  and  there  are  several  of  his 
works  noticed  by  Palomino,  particularly  an  altar- 
piece  in  the  church  of  the  Capuchins  at  Andujar, 
representing  the  '  Trinity,'  with  several  Saints. 
There  are  also  some  of  his  pictures  in  the  churches 
and  private  collections  at  Cordova,  in  which  city 
he  died  in  1677. 

GARCIA  SALMERON,  Cristobal,  a  Spanish 
painter,  born  at  Cuenca  in  1603,  was  a  disciple  of 
Pedro  Orrente.  He  was  a  good  painter  of  his- 
torical subjects  and  of  animals,  one  of  his  most 
esteemed  works  being  a  picture  of  the  'Nativity,' 
in  the  church  of  San  Francisco  at  Cuenca.  He 
was  employed  by  Philip  IV.  to  paint  a  bull-fight 
in  honour  of  the  birthday  of  Charles  II.  of  Spain, 
and  he  executed  several  works  for  tlie  cathedral 
at  Cuenca  and  for  the  convent  of  Barefooted 
Carmelites.     He  died  at  Madrid  in  1666. 

GARDELLE,  Robert,  born  at  Geneva  in  1682, 
studied  under  Largilliere  in  Paris,  where  he  dis- 
tinguished himself  as  a  portrait  painter,  producing 
also  etchings  of  portraits  and  of  views  of  Geneva. 
He  died  in  1766. 

GARDELLE,  Theodore,  a  Swiss  miniature 
painter,  was  born  in  1722  at  Geneva,  where  he 
was  apprenticed  to  an  engraver.  He  was  of  dis- 
sipated habits,  and  wandered  about  from  Geneva 
to  Paris,  Brussels,  and  finally  to  London,  where  he 
was  executed  for  murder  in  1761. 

GARDINER,  William  Nelson,  an  Irish  en- 
graver, was  born  at  Dublin  in  1766.  He  studied 
at  the  Dublin  Academy,  and  then  came  to  London, 
where,  after  various  vicissitudes,  he  became  an 
assistant  to  Bartolozzi,  with  whom  he  prepared 
plates  for  Harding's  Shake.speare,  De  Grammont's 
'  Memoirs,'  and  Lady  Diana  Beauclerk's  illustrations 
to  Dryden's  '  Fables.'  He  subsequently  studied  at 
Cambridge,  with  a  view  of  taking  orders,  but  after- 
wards took  to  copying  portraits,  and  finally  became 
a  bookseller.  He  died  by  suicide  in  London  in 
1814. 

GARDNER,  Daniel,  an  English  portrait  painter, 

215 


A  BIOGRAPHICAL  DICTIONARY  OF 


born  at  Kendal  in  1750,  studied  at  the  Eo_yal 
Academy,  and  was  patronized  by  Reynolds.  His 
portraits,  which  were  in  oil  and  crayons,  were  suc- 
cessful, and  he  was  enabled  to  retire  early  from 
practice.     He  died  in  London  in  1805. 

GARDNER,  Thomas,  was  an  English  engraver, 
who  lived  in  the  first  half  of  the  18th  century. 
He  chiefly  worked  for  tlie  booksellers,  and  en- 
graved a  set  of  plates  for  the  '  Book  of  Common 
Prayer,'  paraphrased  by  James  Harris  in  1735. 

GAllDNOR,  Rev.  John,  an  English  landscape 
painter,  was  born  in  1729.  In  1707  he  received 
a  premium  at  tlie  Society  of  Arts,  and  his  works, 
both  in  oil  and  water-colours,  appeared  at  the 
Royal  Academy  from  1782  to  1796.  He  furnished 
illustrations  for  Williams's  '  History  of  Monmouth- 
shire,'and  published  'Views  on  the  Rhine'  in  1788. 
He  was  Vicar  of  Battersea,  where  lie  died  in  1808. 

GARDNOR,  Richard,  nephew  of  above,  ex- 
hibited with  the  Free  Society  and  at  the  Academy, 
178r,-93. 

GAREIS,  Franz,  a  painter,  born  at  Marienthal  in 
177G,  studied  at  Dresden  under  Casanova.  He 
afterwards  went  to  Rome,  where  by  his  picture  of 
'  Orpheus  in  the  Lower  World,'  he  gained  a  con- 
siderable reputation,  but  unfortunately  he  died  at 
Rome  in  1803,  at  the  early  age  of  twenty-seven. 

GAREMYN,  Jan,  a  Flemish  painter  and  engraver, 
was  born  at  Bruges  in  1712,  and  studied  under 
Louis  Roons  and  Matthias  De  Visch.  He  painted 
numerous  altar-pieces  for  the  churches  at  Bruges 
and  Courtrai ;  and  others  for  private  persons  at 
Brussels  and  Ghent.  His  pictures  are  highly  es- 
teemed by  his  countrymen  for  their  warmth  of 
colouring.  He  painted  several  pictures  in  imita- 
tion of  Rembrandt  and  Teniers,  and  designed  and 
executed  several  of  the  plates  for  the  '  Chronicles 
of  Flanders,'  published  in  1736.  He  became  pro- 
fessor in  the  Academy  of  Bruges,  and  died  in  that 
city  in  1799. 

GARGIUOLI,  DoMENico,  called  Micco  Spadaro, 
an  historical  and  landscape  painter,  born  at  Naples 
in  1612,  was  a  fellow-student  with  Salvator  Rosa, 
in  the  school  of  Aniello  Falcone.  He  was  em- 
ployed in  decorating  the  architectural  views  of  liis 
friend  Viviani  Codagora  with  a  number  of  small 
figures  in  the  style  of  Callot  and  Delia  Bella.  He 
died  in  1679.  The  following  paintings  by  him  are 
known : 

Gotha.  Gallery.  Two  Men  playing  at  Cards. 

„  „  Two  Ship  Hoys. 

Naples.  Museum.  Eevoliition  of  1647. 

Paris.  Louvre,  A  Combat  in  the  Crusades. 

GARIBALDO,  Marc  Antonio,  a  Flemish  painter, 
was  born  at  Antwerp  in  1620,  and  in  1661-2 
became  a  member  of  the  Guild  of  St.  Luke.  He 
painted  for  the  Jesuits'  College  at  Antwerp  a 
picture  of  'Tlie  Virgin,  as  the  Queen  of  Martyrs.' 
The  date  of  his  death  is  unknown,  but  he  was 
living  in  1690.     There  are  by  him  : 

Flight  into  Egypt.     {Antwerp  Gallery.) 
St.  Bernard  reproving  William  of  Aquitaine.  (St.  Gilles, 
Bruges.) 

GARIGUE,  — ,  was  a  French  painter  of  the  18th 
century,  by  whom  there  is  a  portrait  of  Charles  de 
Siffredy  de  Mornas  in  the  Avignon  Museum. 

GARNER,  Thomas,  a  line-engraver,  was  bom 
at  Birmingham  in  1789,  where  he  was  apprenticed 
to  a  Mr.  Lines.  In  the  early  part  of  this  century 
he  contributed  many  engravings  to  the  various 
Annuals  that  flourished  at  that   period  ;   he  also 

216 


Boulogne. 
Marseilles. 
Nantes. 


Museum. 
Museum. 
Museum. 


Rochefort.    Museum. 


Rochelle. 
Kouen. 


Museum. 
Museum. 


executed  Beveral  plates  for  the  'Art  Journal,' 
of  which  that  of  '  L' Allegro,'  after  W.  E.  Frost, 
R.A.,  is  considered  one  of  his  best  works.  He 
passed  nearly  all  his  life  in  Birmingham,  where  he 
executed  many  portraits  of  local  celebrities,  and 
died  in  1868. 

GARNERAY,  Ambroisb  Louis,  a  French  marine 
painter,  bom  in  Paris  in  1783,  received  his  first 
instruction  from  his  father,  Jean  Fran9ois  Game- 
ray.  At  the  age  of  thirteen  he  went  to  sea,  and 
after  various  adventures  (of  which  he  subsequently 
published  an  illustrated  history)  was  taken  prisoner 
by  the  English  in  1806.  He  remained  in  England 
till  1814,  and  on  his  return  to  France  was  patronized 
by  Louis  XVIIL  A  '  View  of  the  Port  of  London' 
was  his  first  exhibited  work  in  1816,  and  he 
received  a  gold  medal  in  1819.  In  1833  he  was 
appointed  director  of  the  Rouen  Museum,  and  he 
subsequently  designed  for  the  Sevres  manufactory 
for  six  years.  He  studied  aquatint,  and  designed 
and  engraved  sixty-four  views  of  the  principal 
ports  of  France,  and  forty  views  of  foreign  ports, 
which  were  published  with  text  by  Jouy  in  1821- 
32.  At  the  Paris  Exhibition  of  1855  he  received 
a  medal  for  his  invention  of  a  new  kind  of  artists' 
canvas.  He  died  in  Paris  in  1857.  Amongst  his 
works  are : 

View  of  Sidon :  sun  setting. 

The  Canal  at  Furnes. 

An    Incident    of    the    Battle    of 
Navarino.     1853. 

The  Frigate  'Virginie'  attacking 
an  English  Squadron. 

The  Capture  of  the  '  Kent.' 

Cod  Fishing  off  Newfoundland. 
1839. 

Battle  of  Augusta.     1836. 

Battle  of  Navarino. 
'„  „  The  Return  from  Elba. 

GARNERAY,  Auguste,  the  second  son  of  Jean 
Francois  Gameray,  was  born  in  Paris  in  1785,  and 
died  there  in  1824.  He  studied  under  Isabey,  and 
painted  chiefly  in  water-colours.  Besides  numerous 
portraits,  he  has  produced  several  pictures  from 
tales  of  interest,  as  also  designs  for  vignettes,  and 
for  a  work  on  Egypt. 

GARNERAY,  Jean  Franqois,  a  French  painter 
of  portraits,  architectural  views,  and  fanciful  sub- 
jects, was  born  in  Paris  in  1755,  and  died  at  Auteuil 
in  1837.  He  was  a  pupil  of  David,  and  his  earher 
portraits  are  said  to  be  in  the  Flemish  style. 

GARNIER,  Antoine,  was  a  French  engraver, 
who  flourished  in  Paris  from  about  1625  to  1646. 
He  etched  his  plates  in  a  bold  style,  and  finished 
them  with  the  graver.  He  engraved  some  of  the 
paintings  by  Primaticcio  at  Fontainebleau,  and 
a  set  of  twelve  plates  after  the  pictures  by  the 
same  painter  in  the  chapel  of  Fleury.  He  also 
engraved  some  plates  after  Nicolas  Pou.ssin  and 
Michelangelo  da  Caravaggio,  and  the  following 
after  J.  Blanchard : 

The  Holy  Family. 

Charity. 

St.  John  the  Baptist. 

St.  Sebastian. 

He  usually  marked  his  plates  with  the  cipher  j 

GARNIER,  Etienne  Barthj^lemy,  a  French 
portrait  and  historical  painter,  was  born  in  Paris 
in  1759.  He  was  a  pupil  successively  of  Durameau, 
Doyen,  and  Vien,  and  obtained  the  "  grand  prix  "  in 
1788.  His  subjects  are  chiefly  from  the  ancient 
poets,  or  relating  to  the  popular  monarchs  of 
France,  such  as  Dagobert,  Henry  IV.,  and  Napoleon. 


Versailles.      Gallery. 


r^E. 


PAINTERS  AND  ENGRAVERS. 


In  1828  he  was  an  unsuccessful  competitor  with 
Horace  Vernet  for  the  directorship  of  the  School 
of  Rome.  At  Avignon  is  a  portrait  of  Cardinal 
Maury.     He  died  in  Paris  in  1849. 

GARNIER,  Louis  Hippoltte,  a  painter  and 
lithographer,  excelled  in  miniature  portrait  paint- 
ing. He  was  born  in  Paris  in  1802,  and  died  there 
in  1855.  Among  his  litho.^raphs  are  '  Rebekah,' 
and  'Ruth  and  Boaz,'  after  Chopin;  'On  the 
road  to  Market,'  after  Eugfene  Deveria  ;  and  others 
after  Ary  Scheffer,  Schlesinger,  &c. 

GARNIER,  NoiiL  (Master  of  the  Knot),  a  French 
engraver,  flourished  1520-1540.  He  engraved  two 
Gothic  alphabets  and  other  pieces,  mostly  copies 
after  German  engravings. 

GAROFALO,  Benvencto  da.     See  Tisi. 

GARRARD,  George,  an  animal  painter,  was 
born  in  1760.  He  studied  under  Sawrey  Gilpin, 
and  in  1778  entered  the  schools  of  the  Royal 
Academy,  at  which  he  first  exhibited  in  1781.  He 
practised  largely  in  modelling,  and  in  1800  was 
elected  an  Associate  of  the  Academy.  He  died  at 
Brompton  in  1826.     Amongst  his  works  are : 

View  of  a  Erewhouse  Yard.    1784. 

Sheep  Sheariug,     1793. 

A  Peasant  attacked  by  Wolves  in  the  Snow.     1802. 

An  Agricultural  Show.     (  Wolurn  Abbey.) 

GARRARD,  Marc.     See  Geerarts. 

GARRET,  William,  a  wood-engraver,  prac- 
tised at  Newcastle  in  the  18th  century.  He  pub- 
lished a  series  of  thirteen  small  designs,  the  last 
of  which  is  '  Death  leading  a  Female  to  the 
Grave.' 

GARTNER,  Georg,  the  elder  and  the  younger, 
were  painters  who  lived  at  Nuremberg  in  the  17th 
century,  the  former  dying  in  1640,  and  the  latter 
in  1654.  The  elder  painter  executed  portraits  in 
water-colours,  whilst  the  younger  was  an  imitator 
and  copyist  of  Diirer. 

GARTNER,  Johann  Philipp  Eduard,  an  archi- 
tectural painter,  was  born  at  Berlin  in  1801.  He 
was  taught  painting  when  a  child  by  Muller  at 
Cassel,  and  returned  to  Berlin  when  but  twelve 
years  of  age  to  paint  in  a  porcelain  factory.  In 
1821  he  made  a  student's  tour  to  the  North  Sea, 
and  then  engaged  himself  to  Gropius.  Three 
years'  study  in  Paris  followed,  and  he  then  devoted 
himself  to  architectural  painting.  In  1837-39  he 
worked  in  Russia  for  the  Emperor  Nicholas.  He 
died  at  Berlin  in  1877.  Many  of  his  architectural 
pictures  are  in  the  royal  palaces,  and  one  is  in  the 
National  Gallery  of  that  city.  In  the  Leipsic 
Gallery  is  an  Italian  landscape. 

GARVEY,  Edmund,  a  landscape  painter  in  both 
oil  and  water-colours,  is  supposed,  from  his  con- 
nection, to  have  been  of  an  Irish  family.  In  1770 
he  was  elected  an  Associate  of  the  Royal  Academy, 
and  an  Academician  in  1783.  He  lived  at  Bath 
from  1769  to  1777,  and  died  in  1813.  He  imitated 
Richard  Wilson,  to  a  certain  extent,  in  his  manner 
of  painting. 

GARZl,  LuiGi,  was  born  at  Pistoja  in  1638,  and 
studied  under  S.  Boccali,  in  his  native  city,  until 
he  was  fifteen  years  of  age.  In  1653  he  went 
to  Rome,  to  Andrea  Sacchi,  and  was  the  con- 
temporary and  rival  of  Carlo  Maratta.  After 
having  painted  several  pictures  for  the  public 
edifices  at  Rome,  he  was  invited  to  Naples  to 
paint  in  the  church  of  Santa  Caterina  a  Formello, 
and  in  the  royal  palace.  In  the  cathedral  at 
Pescia  he   painted   an   immense    picture   of   the 


'Assumption,'  which  is  considered  his  best  per- 
formance. Of  his  works  at  Rome,  the  principal 
are  the  cupola  of  the  Cibo  chapel,  in  Santa  Maria 
del  Popolo  ;  '  The  Maries  at  the  Tomb  of  our 
Saviour,'  in  Santa  Marta  ;  and  'The  Prophet  Joel,' 
in  San  Giovanni  in  Laterano.  In  the  Liverpool 
Institution  is  a  landscape  by  Salvator  Rosa,  with 
the  figures  by  Luigi  Garzi,  and  in  the  Munich 
Gallery  is  a  '  Flight  into  Egypt."  He  died  in 
1721. 

GARZI,  Mario,  was  the  son  of  Luigi  Garzi,  by 
whom  he  was  instructed  in  art.  He  was  an  artist 
of  very  promising  talent,  but  died  quite  young. 
Two  of  his  pictures  are  noticed  in  Pascoli's 
'  Guida  di  Roma.' 

GAKZON,  Juan,  a  Spanish  painter,  for  a  short 
time  the  pupil  of  Miirillo,  was  associated  with 
Meneses  Osorio  in  many  of  his  works,  but  none  of 
his  own  are  known  to  survive.  He  died  at  Madrid 
in  1729. 

GARZONI,  GiovANNA,  was  a  native  of  Ascoli, 
who  flourished  about  the  year  1630,  and  resided 
chiefly  at  Rome,  where  she  distinguished  her- 
self as  a  painter  of  flowers,  and  of  portraits  in 
miniature.  At  Florence  she  painted  the  portraits 
of  some  of  the  Medici  and  other  nobility.  She 
died  at  Rome  in  1673,  and  bequeathed  all  her 
property,  which  was  considerable,  to  the  Academy 
of  St.  Luke,  where  a  marble  monument  is  erected 
to  her  memory. 

GASCAR,  Henri,  a  French  portrait  painter,  was 
born  in  Paris  in  1635,  and  visited  England  in  the 
reign  of  Charles  II.  He  was  greatly  patronized 
by  the  Duchess  of  Portsmouth,  and  met  with  so 
much  encouragement,  that  he  is  said  to  have 
realized  above  ten  thousand  pounds  during  a  resi- 
dence of  a  few  years.  He  left  England  about 
1680,  and  died  at  Rome  in  1701.  His  best  portrait 
was  that  of  Philip,  Earl  of  Pembroke.  He  scraped 
a  few  miserable  mezzotints,  after  his  own  pictures. 

GASPARI,  Giovanni  Pietro,  born  at  Venice 
in  1735,  painted  the  decorations  for  the  Court 
Theatre  at  Munich,  and  etched  fourteen  archi- 
tectural plates. 

GASPARINI,  Gaspare,  was  a  native  of  Mace- 
rata,  who  flourished  about  the  year  1585.  He  was 
a  disciple  of  Girolamo  da  Sermoneta,  whose  style 
he  followed,  though  in  a  less  finished  manner  ;  as 
appears  in  his  two  pictures  in  the  church  of  San 
Venanzio  at  Fabriano,  representing  'The  Baptism 
of  Christ '  and  '  The  Last  Supper.'  He  is  seen  to 
more  advantage  in  his  picture  of  'St.  Peter  and 
St.  John  curing  the  Lame  Man,'  in  the  same 
church,  a  grand  composition,  in  which  he  seems 
to  have  imitated  the  style  of  Raphael.  In  the 
church  of  the  Conventual!,  in  his  native  place, 
there  is  a  fine  picture  of  '  St.  Francis  receiving  the 
Stigmata.' 

GASPARINI,  Sebastiano.  In  the  'Descrizione 
delle  Pitture  d'Ascoli,'  by  Orsini,  a  painter  of  this 
name  is  noticed,  who  painted  several  pictures  in 
fresco,  in  a  chapel  in  the  church  of  San  Biagio,  in 
that  city. 

GASPARRI  DI  SPINELLO.     See  Spinelli. 

GASPERS,  Jan  Baptist  (or  Jaspers),  a  native 
of  Antwerp,  was  a  scholar  of  Thomas  Willeborts. 
He  visited  England  during  the  civil  war,  and  was 
much  employed  by  General  Lambert.  After  the 
Restoration  he  became  an  assistant  to  Sir  Peter 
Leiy,  and  afterwards  to  Sir  Godfrey  Kneller.  He 
drew  well,  and  excelled  in  making  designs  for 
tapestry.     The  portrait  of  Charles  II.  in  Painter- 

217 


A  BIOGRAPHICAL  DICTIONARY  OF 


Stainers'  Hall,  and  another  of  tlie  same  king,  in 
the  hall  of  St.  Bartholomew's  Hospital,  were  painted 
by  him.     He  died  in  London  in  1691. 

GASSEL,  Ldcas  van,  called  also,  from  his 
birthplace,  LucAS  VAN  Helmont,  was  a  landscape 
painter,  who  was  born  about  1480.  It  is  sup- 
posed that  he  resided  chiefly  at  Brussels,  where 
he  died  about  1555,  but  certainly  not  later  than 
1560.  His  landscapes  are  very  rare :  they  are 
painted  sometimes  in  oil,  and  sometimes  in  water- 
colours.  There  is  a  picture  by  him  in  the  Vienna 
Gallery  bearing  his  monogram  and  the  date  1648, 
and  there  is  another  in  the  Lille  Museum.  His 
portrait  by  Jacob  Bink  is  in  the  collection  of 
"persons  who  died  before  1572,"  engraved  by 
Jan  Wierix. 

GASSEN,  Fkancisoo,  a  painter  of  Barcelona,  was 
bom  in  1598.  He  executed,  in  conjunction  with 
Pedro  Cuquet,  a  series  of  pictures  on  the  Life  of 
St.  Francis  of  Paola,  for  the  Minimite  convent  in 
his  native  city.     He  died  at  Barcelona  in  1658. 

GASSIES,  Jean  Bruno,  a  French  historical  and 
genre  painter,  was  born  at  Bordeaux  in  1786. 
He  studied  under  Vincent  and  Lacroix,  and  died 
in  Paris  in  1832.  He  chiefly  executed  historical 
subjects  from  the  Old  and  New  Testaments,  or 
from  French  history ;  but  the  pictures  exhibited 
by  him  embrace  a  great  variety  of  subjects — his- 
torical, poetical,  and  allegorical — landscapes,  marine 
views,  interiors  of  churches,  and  striking  scenes 
on  the  coasts  of  England  and  France.  Amongst 
his  works  are : 

Hagar  and  Ishmael.     1811.     (Brussels.) 

Horace  at  the  Tomb  of  Virgil.     1817. 

Portrait  of  Louis  XVllI.     1819.     (Bordeaux.) 

The  Communion  of  St.  Louis.     1819. 

The  Clemency  of  Louis  XII.  1824.  (  Versailles.) 

View  of  the  Church  of  Boulogne.     1826. 

A  Bivouac  of  the  National  Guard.     1831. 

GASSNER,  Simon,  a  painter  and  engraver,  was 
born  at  Steinberg  in  the  Tyrol,  in  1755.  He  studied 
in  Munich  under  Gallrap  and  Demel,  and  excelled 
in  historical  and  landscape  painting.  He  was 
engaged  by  the  Margrave  of  Baden  to  decorate  a 
room  at  Carlsruhe,  but  returned  to  Munich  in  1790, 
and  was  still  Hving  in  1825.  He  also  engraved 
with  the  needle  and  in  the  aquatint  manner,  and 
produced  an  etching  of  the  '  Temple  in  the 
Enghsh  Garden  in  Munich,'  which  bears  his 
monogram. 

GAST,  Michel  de.  See  De  Gast. 
GASTALDI,  Andrea,  Italian  historical  painter, 
bom  at  Turin  in  1810.  He  studied  in  Paris,  where 
he  became  deservedly  popular,  his  wife  being  Mile. 
Leonie  Lescuyer,  herself  an  artist  of  considerable 
talent.  One  of  his  most  dramatic  pictures  is 
'  Frederic  Barbarossa,'  who  is  depicted  escaping 
after  his  rout  at  Les^nano  and  stumbling  over  the 
corpses  of  his  followers.  Gastaldi  was  created  a 
chevalier  of  the  Legion  of  Honour,  and  received 
other  decorations  of  a  like  nature.  He  had  made 
a  special  study  of  the  processes  used  by  the  ancients 
in  wax-painting,  but  his  researches  into  this  subject 
were  never  destined  to  reach  completion.  In  his 
later  years  he  tilled  the  post  of  director  of  the 
Turin  School  of  Art,  and  it  was  here  that  he  died 
in  January,  1889. 

GASTINEAU,  Henry,  a  landscape  painter  in 
water-colours,  was  born  in  1797.  After  studying  in 
the  schools  of  the  Royal  Academy,  he  commenced 
work  as  an  engraver.  He  then  took  to  oil-painting, 
but  finally  joined  the  Water-Colour  Society  as  an 
218 


Associate  in  1818,  being  elected  a  full  member  in 
1824.  He  was  intimately  connected  with  Turner, 
David  Cox,  Copley  Fielding,  and  others  of  the 
English  water-colour  school.  He  died  at  Camber- 
well  in  1876.     Amongst  his  works  are  : 

Penrhyn  Castle.     (South  Kendnyton  JIuseum.) 

Netley  Abbey.     (The  same.) 

The  Pass  of  KUamme,  Styria.     (Paris  Exhibition,  1855.) 

Glenarm,  Antrim.  (London  International  Exhibition, 
1862.) 

Hospice  and  Pass  of  St.  Gothard.     (The  same.) 

The  Pass  of  Killiecrankie.     (Fans  Exhibition,  1867.) 

GASULL,  AousTiN,  an  historical  painter  of 
Valencia,  studied  at  Rome  under  Carlo  Maratti. 
His  'St.  Andrew,'  'St.  Stephen,'  'La  Vierge  de 
I'Esp^ranoe,'  and  '  St.  Joseph,'  which  he  painted  for 
the  church  of  San  Juan  del  Mercado  at  Valencia,  are 
much  admired;  and  there  are  many  pictures  by 
him  in  other  churches  of  the  same  city.  He  died 
at  Valencia  at  the  commencement  of  the  18th 
century. 

GATTA,  Babtolommeo  della.  See  Della 
Gatta. 

GATTI,  Bernardino,  called  II  Sojaro,  or  So- 
GLIARO,  was  born  at  Pavia  in  1495.  He  was  one 
of  the  ablest  disciples  of  Correggio,  and  approached 
nearer  to  the  style  of  his  instructor  than  any  other 
of  his  pupils.  Parma,  Piacenza,  and  Cremona  are 
rich  in  his  works,  among  which  are  a  '  Riposo,'  in  the 
church  of  San  Sigismondo,  and  a  '  Nativity,'  in  San 
Pietro,  at  Cremona  ;  and  a  '  Pieti,'  in  the  church  of 
La  Maddalena  at  Parma.  He  succeeded  Pordenone 
in  the  work  left  unfinished  by  that  master  in  the 
tribune  of  Santa  Maria  di  Campagna  at  Piacenza ; 
where,  according  to  Vasari,  the  whole  appears  to 
be  by  the  same  hand.  One  of  his  most  considerable 
works  is  the  'Assumption,' in  the  cupola  of  the 
Madonna  della  Steccata,  at  Parma,  painted  in  1560, 
in  which  the  Madonna  is  of  the  most  captivating 
beauty.  In  the  refectory  of  the  church  of  San 
Pietro  at  Cremona  is  his  great  work  of  the 
'Miracle  of  the  Multiphcation  of  the  Loaves,' 
painted  in  1552,  a  composition  of  many  figures, 
larger  than  life,  admirably  varied  in  the  heads  and 
attitudes,  and  conducted  with  a  beauty  of  colour, 
and  a  harmony  of  efEect,  which  atone  for  some 
slight  defects  in  the  aerial  perspective.  An  '  Ecce 
Homo '  and  a  '  Crucifixion '  by  him  are  in  the 
Museum  at  Naples.     He  died  at  Parma  in  1575. 

GATTI,  Gervasio,  called  II  Sojaro,  was  a 
native  of  Cremona,  who  flourished  from  the  year 
1571  to  1631.  He  was  the  nephew  of  Bernardino 
Gatti,  under  whom  he  studied,  and  from  whom  he 
learned  to  copy  Correggio,  as  his  early  works 
testify,  whilst  his  later  ones  are  more  in  the  man- 
ner of  the  Carracci.  In  the  church  of  San  Pietro 
at  Cremona  is  a  fine  picture  of  the  '  Death  of  St. 
Cecilia,'  with  a  glory  of  angels,  truly  Correggiesque. 
He  was  also  an  excellent  painter  of  portraits,  upon 
which  he  was  much  employed. 

GATTI,  Girolamo,  was  born  at  Bologna  in  166'2, 
and  was  a  scholar  of  Marc  Antonio  Franceschini, 
whilst  his  colouring  is  after  the  style  of  Cignani. 
Several  of  his  works  are  in  the  churches  and  palaces 
at  Bologna.  In  Santa  Maria  Incoronata  is  a 
picture  of  'St.  Augustine,  St.  Petronius,  and  St. 
Gregory,  interceding  for  the  Souls  in  Purgatory  ' ; 
in  the  church  of  La  Nativita,  the  '  Presentation  in 
the  Temple ' ;  and  in  the  Palazzo  Pubblico, '  Charles 
V.  crowned  by  Pope  Clement  VII.'  He,  however, 
painted  more  works  of  a  smaller  class.  He  died 
in  1726. 


PAINTERS  AND  ENGRAVERS. 


GATTI,  Oliviero,  an  Italian  painter  and  en- 
graver, was  a  native  of  Parma.  He  was  a  scholar 
of  Giovanni  Lodovico  Valesio,  and,  from  thie  re- 
semblance of  his  style,  although  greatly  inferior,  to 
that  of  Agostino  Carracci,  was  probably  instructed  in 
engraving  by  that  master.  His  works  as  a  painter 
are  little  known ;  but  he  engraved  several  plates, 
some  of  which  are  after  his  own  designs,  which 
possess  considerable  merit.  He  was  received  into 
the  Academy  at  Bologna  in  1626,  and  was  working 
in  that  city  up  to  1648.  The  following  prints  are 
by  him : 

St.  Francis  Xavier  kneeling  on  the  sea-shore,  and  taking 
up  a  Crucifix,  which  is  iioating  on  the  water ;  after 
his  own  desiyn. 

The  Virgin  caressing  the  Infant  Christ;  after  Lorenzo 
Garbieri. 

St.  Jerome ;  after  Agostino  Carracci.    1602. 

St.  Eoch.     1605. 

An  emblematical  subject,  representing  an  Armorial 
Bearing,  supported  by  two  River  Gods,  with  an  armed 
figure,  standing  alone,  surroixnded  by  Jupiter,  Her- 
cules, Neptune,  Apollo,  and  Minerva ;  after  L, 
Carracci. 

A  set  of  four  small  plates,  representing  the  Deity 
forming  the  "World,  the  Creation  of  Adam,  the  Sacri- 
fice of  Abraham,  and  Judith  with  the  Head  of 
Holofernes ;  after  Fordenone. 

A  Drawing-book  ;  after  the  designs  of  Guercino, 

GATTI,  ToMMASO,  born  at  Pavia  in  1642,  was 
a  scholar  of  Carlo  Sacchi.  He  aftersvards  went 
to  Venice,  where  he  studied  the  works  of  the 
great  masters  of  that  celebrated  school ;  and  on 
his  return  to  Pavia  he  painted  several  pictures  for 
the  churches. 

GATTI,  Uriele,  called  II  Sojaro,  flourished 
about  the  year  1601,  as  appears  from  the  date 
inscribed  on  a  picture  by  him  of  the  '  Crucifixion,' 
in  the  church  of  San  Sepolcro  at  Piacenza.  Lanzi 
conjectures  that  this  painter  was  a  brother  of 
Gervasio  Gatti. 

GATTY,  Margaret,  an  amateur  etcher,  was  born 
at  Burnham  in  Norfolk  in  1809.  She  was  the 
daughter  of  Dr.  Scott,  Lord  Nelson's  chaplain,  and 
married  the  Rev.  Alfred  Gatty,  D.D.,  vicar  of 
Ecolesfield,  near  Sheffield,  in  1839.  Between  1837 
and  1843  she  etched  several  landscapes,  but  she  is 
best  known  as  an  authoress  of  books  for  children. 
She  died  at  Ecclesfield  in  1873. 

GAUBERT,  Pierre,  a  French  portrait  painter 
who  was  working  in  1701,  was  a  member  of  the 
Academy.  There  is  a  portrait  of  a  lady  by  him  in 
the  Dresden  Gallery. 

GAUCHER,  Charles  foiENNE,  a  French  en.' 
graver,  born  in  Paris  in  1740,  was  first  a  pupil  of 
Basan,  and  afterwards  of  J.  P.  Le  Bas.  He  died 
in  Paris  in  1804.  He  engraved  several  portraits 
and  other  subjects,  of  which  the  following  are  the 
principal : 

PORTRAITS. 

Maria  Cecilia,  Ottoman  Princess,  daughter  of  Achmet 

III. ;  after  his  own  design. 
M.  du  Paty ,  celebrated  Advocate  ;  after  Notte. 
Louis  GiUet, 

Louis  Augustus,  Dauphin  of  France  ;  after  Gautier. 
J.P.TimoltondeCosse.Dukeof  Brissac;  after  St.  Aubin. 
Louis  de  Grimaldi,  Bishop  of  Le  Mans.     1767. 

VARIOUS   SUBJECTS. 

An  allegorical  subject,  to  the  memory  of  J.  P.  Le  Bas ; 

after  Cochin, 
The  Crowning  of  Voltaire  ;  after  Moreau, 
The  Card-players  ;  after  Tilborch. 
Kepose  ;  after  Caspar  Ketscher, 


GAUCHEREL,  Leon,  engraver,  etcher,  and 
painter  in  water-colours,  was  born  in  Paris  in 
1816.  He  was  a  pupil  of  Viollet  le  Due,  with 
whom  he  travelled  in  Italy  and  Sicily.  He  was  a 
constant  exhibitor  at  the  Salon,  where  he  gained 
numerous  ofBoial  honours  from  1853  onwards.  He 
etched  many  plates  for  the  'Gazette  des  Beaux 
Arts,'  for  '  L'Art,'  the  '  Portfolio,'  and  other  pub- 
lications.    He  died  in  Paris  in  1885. 

GAUDENZIO  MILANESE.     See  Ferrari. 

GAUDIN,  Luis  Pascual,  a  Spanish  painter,  was 
born  at  Villafranca  in  Catalonia  in  1556.  He  en- 
tered in  1595  the  Carthusian  monastery  of  Scala 
Dei,  where  he  painted  the  '  Saviour  washing  the 
Disciples'  Feet,' the  'Prayer  in  the  Garden,' and 
two  series  of  Evangelists  and  Apostles.  For  the 
Carthusian  monastery  at  Seville  he  executed  a 
series  of  pictures  from  the  life  of  the  Virgin,  and 
a  '  Last  Supper '  for  Portacoeli,  near  Valencia.  He 
died  in  the  monastery  of  Scala  Dei  in  1621. 

GAUERMANN,  Friedrioh,  a  landscape  and 
animal  painter,  was  born  at  Miesenbach  on  the 
Schneeberg  in  1807.  He  was  the  son  of  Jakob 
Gauerraann,  and,  in  spite  of  his  weak  state  of 
health,  he  showed  talent  very  early,  delighting 
in  the  study  of  animals.  From  1825  to  1846  he 
made  numerous  excursions  in  various  parts  of 
Germany,  and  in  1836  became  a  member  of  the 
Academy  at  Munich.  He  died  at  Vienna  in  1862. 
Amongst  his  works  are : 

A  Peasant  digging.  The  End  of  the  Chase.  Halt  on 
the  Mountain.  A  Bear  Hunt.  Wolves  and  Deer. 
"Wild  Boar  and  Wolf.  The  Harvest  Waggon.  The 
Approach  of  a  Storm.  Styrian  Charcoal  Burners. 
Watering-Place  in  Tyrol ;  Tyrolese  Village  Smithy. 
(Berlin.)  The  Labourer ;  Peasants  reposing. 
( Vienna.)  "Wolves  and  a  Dead  Horse.  (Stddel 
Institute,  Frankfort.) 

GAUERMANN,  Jakob,  a  German  landscape  and 
genre  painter  and  engraver,  was  born  at  Oeffingen, 
near  Canstatt,  in  1773.  He  at  first  worked  as  a 
stone-mason  at  Hohenheim,  but  his  strong  inclina- 
tion for  drawing  brought  him  to  the  knowledge  of 
Duke  Charles  of  Wiirtemberg,  who  enabled  him  to 
receive  an  education  in  art.  He  travelled  for  six 
years  in  Switzerland,  went  to  Vienna,  and  visited 
in  succession  the  Tyrol  and  Styria,  making 
sketches,  which  he  worked  up  into  water-colour 
drawings  and  oil  pictures.  He  died  at  Vienna  in 
1843.  He  also  executed  several  etchings  of 
landscapes. 

GAUFFIER,  Louis,  was  born  at  La  Rochelle  in 
1761.  He  was  a  pupil  of  Hugues  Taraval,  and  he 
won  the  first  prize  for  painting  in  1784.  _  He  ex- 
hibited as  an  Associate  of  the  Academy  in  1789, 
but  his  health  necessitated  a  residence  at  Florence, 
where  he  died  in  1801.  'The  Three  Angels  with 
Abraham  at  Mamre,'  and  '  Cornelia,  the  mother  of 
the  Gracchi,'  represent  Gauffier  in  the  Louvre. 
Among  other  works  are  '  Cleopatra,'  '  Jacob  and 
Laban's  Daughter.'  His  wife,  Pauline  Chatillon, 
to  whom  he  was  married  at  Rome,  was  a  painter  of 
genre  subjects,  and  a  pupil  of  Drouais.  _  Many  of 
her  works  were  engraved  by  Bartolozzi,  and  she 
was  herself  an  exhibitor  at  the  Salon  of  1798. 

GAUGAIN,  Thomas,  an  engraver,  born  at  Abbe- 
ville in  1748,  came  to  England  whil.st  young,  and 
studied  under  Houston.  He  engraved  many  plates 
after  Reynolds,  Morland,  Cosway,  Northcote,  and 
otiiers,  and  died  in  London  about  1805.  The 
following  are  his  principal  works: 


A    BIOGRAPHICAL   DICTIONARY  OF 


The  Snow  Man ;  after  J.  Barney. 

The  Young  Pedlar  ;  after  the  same. 

Maria;  after MiiUer. 

The  Death   of  Prince   Leopold  of  Brunswick ;  after 

Northcote. 
Mary  Stuart  hearing  her  death-warrant ;  after  the  same. 

GAUJEAN,  Eugene,  an  eminent  etcher,  born 
at  Pan  in  1850.  He  was  a  pupil  of  Pile,  Vernet- 
Lecornte,  Martinet  and  Waltner.  He  made  his 
d^hut  at  the  Salon  in  1877  with  an  engraving  of 
Henner's'La  Chaste  Suzanne.'  At  the  Salon  of 
1880  he  was  awarded  a  third-class  medal,  seven 
years  later  a  second-class,  and  at  the  Universal 
Exhibition  of  1889  a  gold  medal.  Amongst  his 
most  important  etchings  are  'The  Blessed  Bread' 
by  Dagiian-Bouveret ;  '  The  Virgin  '  by  Memling  ; 
Gustave  Moreau's  'Apparition';  'St.  Cecilia'  by 
Van  Dyek;  Botticelli's  'Spring';  and  'The 
Virgin  of  the  Rocks '  by  Leonardo'da  Vinci.  Per- 
haps liis  masterpiece  was  '  Flamma  Vestalis '  by 
Sir  E.  Burne-Jones.     He  died  at  the  age  of  fifty. 

P.P. 
GAULLI,  Giovanni  BATTiSTA.called  II  Baciccio, 
was  born  at  Genoa  in  1639.  After  acquiring  the 
first  principles  of  art  in  his  native  city  under  Bor- 
zone,  he  went  to  Rome,  where,  by  studying  the 
works  of  the  best  masters,  aided  by  the  counsel  of 
Bernini,  he  soon  rose  into  repute,  and  established  a 
style  of  his  own.  The  great  vault  of  the  church  of 
the  Gesii,  at  Rome,  representing  '  St.  Francis  Xavier 
taken  up  into  Heaven,'  is  one  of  his  most  consider- 
able works.  In  his  picture  of 'St.  Anne  kneeling 
before  the  Virgin  and  Infant,'  with  a  beautiful 
group  of  angels,  in  the  church  of  San  Francesco  a 
Eipa,  he  exhibits  everything  that  is  cheerful, 
pleasing  and  graceful.  Contrasted  with  this  is  his 
'  Death  of  St_.  Francis  Xavier,'  in  Sant'  Andrea  al 
Quirinale,  which  he  has  treated  in  an  austere  style, 
with  all  the  solemnity  and  pathos  wliich  the  sub- 
ject requires.  In  the  church  of  Sant'  Agnese  he 
painted  the  '  Four  Cardinal  Virtues,'  and  such  is 
their  force  and  brilliancy,  that  the  neighbouring 
works  of  Giro  Ferri  are  nearly  eclipsed  by  them. 
His  best  efforts  were  intended  for  fresco  designs, 
and  he  excelled  more  particularly  in  his  ligures  of 
children.  He  is  stated  by  Pascoli  to  have  painted 
seven  ditferent  pontiffs.  His  own  portrait  is  in  the  I 
Uffizi  at  Florence,  and  '  St.  John  the  Baptist  preach- 
ing'is  in  the  Dijon  Museum.     He  died  in  1709.       I 

GAULT  DE  SAINT  GERMAIN,  Pieere  Marie, 
was  born  in  Paris  in  1754.  He  studied  under 
Dumoreau,  and  died  in  1822,  leaving  a  very  large 
nurnber  of  historical,  landscape,  and  fancy  pictures, 
besides  portraits.  Among  his  portraits  are  those 
of  Voltaire,  Mademoiselle  Clairon,  Cr^billon,  and 
Stanislaus,  King  of  Poland.  He  wrote  accounts  of 
the  lives  andworks  of  Leonardo  da  Vinci  and  Nicolas 
Poussin  ;  a  '  Guide  des  Amateurs  de  Tableaux  pour 
lea  Ecoles  allemande,  flamande  et  liollandaise,' 
1818  ;  and  other  works  relative  to  painting,  in 
which  he  displayed  much  knowledge  and  judgment. 
GAULTIER,  J.,  a  French  engraver  little  known, 
was  probably  from  his  style  a  relation  of  Leonard 
Gaultier.  Among  others,  he  engraved  some  small 
plates  of  emblematical  subjects. 

GAULTIER,  Leonard,  (or,  as  he  sometimes  signs 
himself,  Galter,)  a  French  engraver,  was  born 
at  Mayence  about  1561,  and  died  in  Paris  in  1641. 
His  style  of  work  resembles  that  of  Wierix  and 
Crispyn  van  de  Passe.  His  prints  are  executed  en- 
tirely with  the  graver,  with  great  precision,  but  in 
a  stifT,  formal  manner.  He  must  have  been  very 
220 


laborious,  as  the  Abb^  de  Marolles  possessed  up- 
wards of  eight  hundred  prints  by  him,  many  of 
which  were  after  his  own  designs.  They  consist 
of  portraits,  and  various  subjects,  of  which  the 
following  are  the  most  worthy  of  notice.  They 
are  sometimes  signed  with  his  name,  and  sometimes 

with  the  cipher  ^j^. 

portraits. 
Henry  IV.  of  France. 
Henry,  Duke  of  Montpensier. 
J.  Amyot,  Bi.shop  of  Auxerre. 
Alexandre  Bouchart,  Viscount  de  Blosseville. 
Philip  de  Mornay,  Seigneur  du  Plessis.     1611. 
Charles  de  Gontaut  de  Biron,  Marshal  of  France. 
Etienne  Pasquier. 
Jean  Caron. 

VAEIOnS  SUBJECTS. 
A  set.  of  small  plates  of  subjects  from  the  Old  and  New 

Testament. 
A  set  of  the  Prophets,  Apostles,  and  Evangelists. 
Thirty-two  plates  of  the  History  of  Cupid  and  Psyche  • 

after  Raphael.  ' 

The  Procession  of  the  League ;  a  satirical  print. 
The  Family  of  Henry  IV. ;  nine  figures. 
The  Assassination  of  Henry  IV. 
The  Coronation  of  Mary  de'  Medici.     1610. 
The    Cyclops    forging    the     Thunderbolts;    after    J. 

Cousin.     1581. 
A  Sacrifice  ;  after  M.  Freminet. 
The    Last    Judgment;     copied    from    Martin    Eota's 

engraving  after  Michelani/elo. 

GAULTIER,  Pierre,  a  French  painter  and 
engraver,  flourished  from  about  1730  to  1762,  or 
later,  and  resided  chiefly  at  Naples.  He  etched 
the  following  plates,  after  Francesco  Solimena : 

David  and  Bathsheba. 

Ecce  Homo  ! 

The  Visitation  of  the  Vu-gin  to  St.  Elizabeth. 

St.  Michael  discomfiting  the  Evil  Spirit. 

The  Defeat  of  Darius. 

The  Battle  of  the  Centaurs. 

The  Four  Quarters  of  the  World  ;  small  ovale. 

GAUTHEROT,  Claude,  who  was  born  in  Paris  in 
1769,  and  died  there  in  1825,  was  a  pupil  of  David, 
whose  friendship  involved  him  in  the  troubles  of 
the  Revolution.  He  opened  a  school  of  design 
rt'here  the  most  noted  artists  studied  under  his 
direction.  His  principal  work,  '  Napoleon  har- 
anguing his  troops  on  the  Bridge  of  the  Lech  at 
Augsburg,'  is  at  Versailles. 

GAUTHIER  DAGOTY,  ^douard,  an  engraver, 
the  son  and  pupil  of  Jacques  Fabien  Gauthier 
Dagoty,  was  born  in  Paris  in  1745,  and  died  at 
Florence  in  1785.  In  1780  he  issued  a  series  of 
twelve  plates,  printed  in  colours,  chiefly  from  the 
pictures  in  the  gallery  of  the  Duke  of  Orleans. 
He  has  also  left  plates  after  Correggio,  Raphael, 
Titian,  Van  Dyck,  and  others. 

GAUTHIER  DAGOTY,  Jacques  Fabien,  who 
was  at  the  same  time  a  painter,  engraver,  author, 
anatomist,  and  physical  scientist,  was  born  at  Mar- 
seilles in  1717,  but  came  to  Paris  in  1737,  and  there 
engaged  in  the  business  of  printing  in  colours  from 
several  mezzotint  plates.  He  was  for  a  time  an 
assistant  to  J.  C.  Le  Blond,  the  inventor  of  this  art, 
and  after  his  death,  in  1741,  succeeded  to  the 
privilege  of  his  patent.  He  died  in  Paris  in  1786. 
He  published  a  number  of  coloured  illustrations  of 
anatomy  and  natural  history,  as  also  some  portraits, 
including  those  of  Louis  XV.  and  Cardinal  Fleury. 

GAUW,  G.,  is  mentioned  by  Strutt  as  the 
engraver  of  a  singular  plate  of  the  '  Head  of  Mer- 
cury,' after  J.  Mathan,  engraved  in  imitation  of  a 
pen-drawing. 


PAINTERS  AND  ENGRAVERS. 


GAVARNI.     See  Chevaliek. 

GAVASETTI,  Camillo,  was  a  native  of  Modena, 
■who  flourished  about  the  year  1625.  He  studied 
under  his  father,  Stefano  Gavasetti,  a  miniature 
painter  and  gilder,  but  he  rather  followed  the 
Carracci.  His  principal  works  are  at  Piaceiiza, 
where  he  is  better  known  than  at  Parma  or  Modena. 
He  was  engaged  with  Piarini  in  painting  Scriptural 
subjects,  and  at  the  Presbiterio,  or  parsonage  of 
Sant'  Antonio  at  Piacenza,  is  a  fresco  representing 
a  subject  from  the  Apocalypse,  which  was  esteemed 
by  Guercino  the  finest  work  of  art  in  that  city. 
He  died  young  in  16'28. 

GAVASIO,  Agostino,  was  probably  the  son  of 
Giovanni  Giacomo  Gavasio.  There  is  by  him  in 
the  parish  church  of  Nembro,  near  Bergamo,  an 
altar-piece  of  wood  called  "  di  Tutti  Santi  "  ;  in  San 
Niccoli,  a  repainted  altar-piece  with  '  St.  Augustine 
enthroned  between  St.  Stephen  and  St.  Lawrence  ' ; 
in  San  Sebastiano,  an  altar-piece  with  the  '  Virgin 
and  Child  ; '  and  in  the  court  of  the  Casa  Longhi, 
a  fresco  of  the  'Virgin  and  Child,  with  Saints.' 
Tassi  notices  a  picture  by  this  master  in  the 
parochial  church  of  San  Giacomo  at  Piazzatore,  in 
the  valley  of  Brembana,  of  the  '  Virgin  and  Infant,' 
dated  1527. 

GAVASIO,  Giovanni  Giacomo,  a  native  of  Pos- 
cante,  in  the  valley  of  Brembana,  was  a  Bergamese 
artist  who  flourished  early  in  the  16th  century,  but 
of  whom  no  records  exist.  He  is  the  author  of 
tive  arched  panels  with  figures  of  the  Apostles, 
and  of  three  paintings  in  tempera  of  half-length 
figures  of  Saints  and  Bishops  in  couples,  on  a  gold 
ground,  in  the  Lochis-Carrara  Gallery  in  Bergamo. 
There  is  also  a  painting  by  him  of  '  The  Virgin 
crowned  by  Angels,'  dated  1512,  in  Sant'  Alessandro 
at  Colonna. 

GAVAZZl.    See  Gavasio. 

GAVIN,  Robert,  a  Scottish  landscape  and  genre 
painter,  was  born  at  Leith  in  1827.  He  early 
manifested  a  taste  for  art,  and  when  about  twenty- 
one  years  of  age  he  entered  the  Edinburgh  School 
of  Design.  His  earlier  works  partook  much  of 
the  style  of  Sir  George  Harvey,  and  a  few  of  them, 
as,  for  instance,  his  '  Reaping  Girl '  and  '  Phoebe 
Mayflower,'  were  reproduced  in  chromo-litho- 
graphy,  and  became  very  popular.  Soon  after 
1870  he  made  a  tour  in  America,  and  afterwards 
went  to  the  continent ;  he  then  settled  for  a  time 
at  Tangier,  where  he  painted  numerous  Moorish 
subjects.  He  was  elected  an  Associate  of  the 
Royal  Scottish  Academy  in  1855,  and  an  Aca- 
demician in  1879,  -when  he  painted  as  his  diploma 
picture  '  A  Moorish  Maiden's  First  Love.'  He  died 
at  Newhaven,  near  Edinburgh,  in  1883. 

GAWDIE,  Sir  John,  Bart.,  a  portrait  painter, 
was  born  at  West  Harling  in  Norfolk  in  1639. 
He  was  deaf  and  dumb,  and  studied  under  Lely. 
Succeeding  to  the  baronetcy  on  the  death  of  his 
father  in  1666,  he  pursued  art  only  as  an  amuse- 
ment, but  Evelyn  speaks  of  him  in  commendatory 
terms.     He  died  in  1699. 

GAYWOOD,  Richard,  an  engraver,  was  born 
about  16.30,  and  died  about  1711.  He  was  a  pupil 
of  Hollar,  whose  style  he  imitated.  The  most  in- 
teresting of  bis  works  are  his  portraits,  among 
which  are  the  following  : 

Mary,  Queen  of  Scots,  with  a  Crucifix  in  her  hand. 
Charles  I. ;  oval,  with  a  bat  and  cloak. 
Henrietta  Maria,  his  Queen,  in  mourning. 
Elizabeth,  daughter  of  Charles  I.,  with  an  Angel  draw- 
ing a  veil  from  her  face. 


Charles  II. ;  after  Hanneman. 

Charles  II. ,  on  horseback.     1661. 

The  same,  with  a  hat  and  feather. 

Catharine,  Queen  of  Charles  II. 

Oliver  Cromwell. 

Kichard  Cromwell. 

George  Monck,  Duke  of  Albemarle. 

Jerome  Weston,  Earl  of  Portland. 

The  Countess  of  Portland. 

Sir  Bulstrode  Whitelocke. 

Sir  Peter  Temple,  Bart. 

Sir  George  Croke,  Chief  Justice  of  the  King's  Bench. 

Sir  Keuelm  Digby. 

Sir  Peter  Paul  Rubens. 

Hans  Holbein. 

William  Camden,  historian  and  antiquary. 

WilUam  Fairfax,  General  in  the  Palatinate.     1656. 

Inigo  Jones,  architect. 

Margaret  Lemon  ;  after  Van  Dyck. 

James  Shirley,  poet. 

William  Drummond,  the  Scottish  historian. 

John  Playford,  musician. 

Matthew  Stevenson,  poet. 

John  Evelyn,  antiquary. 

Sir  Anthony  Van  Dyck. 

Lady  Van  Dyck. 

Countess  of  Arundel, 

Countess  of  Carlisle, 

Dr.  Sibbes. 

Axchy,  the  King's  Jester. 

He  also  engraved  the  picture  of '  Venus  reclining, 
with  a  Man  playing  on  the  Organ,'  after  Titian,  as 
well  as : 

A  set  of  eight  plates  of  Birds ;  after  F.  Barlow. 

A  set  of  Animals  ;  after  the  same. 

A  set  of  Lions  and  Leopards  ;  after  Subens. 

A  Hare  ;  after  B.  Poel. 

GAZAN,  Francisco,  was  a  Spanish  engraver  of 
the  18th  century,  who  engraved,  about  1713,  a 
portrait  of  Quevedo,  after  a  drawing  of  Salva 
Jordan. 

GEBAUER,  Christian  David,  an  animal  painter 
and  an  etcher,  was  born  in  1777  at  Neusalz  in 
Silesia,  and  educated  at  the  Copenhagen  Academy 
from  1800  under  Lorentzen.  He  devoted  himself 
to  landscapes  as  well  as  animals,  executing  the 
latter  at  first  in  Indian  ink,  but  afterwards  in  oil. 
In  1813  he  proceeded  to  Dresden,  where  he  took 
to  drawing,  painting,  and  etching  military  scenes, 
and  in  1815  was  received  into  the  Academy  there. 
Later  in  his  life  he  established  a  school  of  design 
at  Aarhus,  where  he  died  in  1831,  His  pictures 
of  horses  and  dogs,  several  of  which  are  in  the 
Copenhagen  Gallery,  are  among  his  best  works. 

GEBHARD,  W.  M.,  a  German  landscape  painter 
and  engraver,  flourished  at  Nuremberg  from  1730 
to  1750.  There  are  by  him  '  The  Sacrifice  of 
Iphigeneia,'  and  two  sets  of  landscapes  with  ruins 
and  waterfalls. 

GEDDES,  Andrew,  a  Scottish  portrait  painter, 
was  born  at  Edinburgh  about  the  year  1789,  He 
was  the  son  of  David  Geddes,  an  auditor  of  excise, 
and  was  educated  at  the  High  School  and  University 
of  Edinburgh,  He  showed  an  early  predilection  for 
the  fine  arts,  but  did  not  commence  his  career  as 
a  professed  artist  until  after  the  death  of  his  father. 
He  entered  the  schools  of  the  Royal  Academy 
in  1807,  about  the  same  time  that  Haydon,  Jack- 
son, and  Wilkie  were  students  there,  and  after 
some  years'  study  he  settled  down  to  practise  in 
Edinburgh.  In  1814  he  took  a  residence  in  London 
for  his  artistic  pursuits,  and  continued  annually 
to  spend  some  months  there.  About  this  time  he 
painted  the  portraits  of  Sir  David  Wilkie,  Henry 
Mackenzie  (the  author  of  '  The  Man  of  Feeling  '), 
Dr,  Chalmers,  and  other  persons  of  note.     The 

221 


A    BIOGRAPHICAL  DICTIONARY  OF 


approbation  which  these  portraits  elicited  induced 
him  to  put  down  his  name  as  a  candidate  for  the 
bonours  of  the  Royal  Academy ;  but  he  was  un- 
successful, and  the  Associateship  was  not  awarded 
him  till  1832.  In  1818  he  painted  a  picture  of 
'The  Discovery  of  the  Regalia  in  Scotland,'  in 
which  he  introduced  the  portraits  of  several  of 
the  most  distinguished  men  of  his  native  city, 
among  them  Sir  Walter  Scott.  In  1828  he  visited 
the  continent,  and  passed  some  time  in  Italy, 
Germany,  and  France.  On  his  return  in  1831  he 
painted  an  altar-piece  for  the  church  of  St.  James, 
Garlick  Hill,  and  a  picture  of  'Christ  and  the 
Woman  of  Samaria.'  He  visited  Holland  in  1839, 
and  he  was  skilful  as  an  etcher  in  the  manner  of 
Rembrandt.  He  died  in  London  in  1844.  His 
principal  works  are : 
Edinborgh.  Nat.  Gallery.     Summer. 

„  „  His  own  Portrait. 

„  „  Hagar. 

„  „  Portrait  of  the  Artist's  Mother. 

„  „  Portrait  of  George  Sanders. 

London.       Nat.  Gallery.     Dull     Reading     (Portraits    of 
Terry  aud  his  Wife). 

"      ^°"')/t:r"'"}AM-Smoking. 

J,  „  A  Study  from  Giorgione. 

GEDDES,  Margaret  Sarah.    See  Carpenter. 

GEEDTS,  Pierre  Joseph,  a  Belgian  historical 
painter,  bom  at  Louvain  in  1770,  studied  at  the 
Antwerp  Academy  under  Herreyns.  In  1800  he 
was  appointed  one  of  the  professors  of  the  new 
Academy  of  Louvain,  which  post  he  held  till  1833, 
when  he  was,  as  he  always  considered,  unjustly 
dismissed.  He  died  at  Louvain  in  1834.  His 
best  works  are  a  '  Calvary,'  and  '  The  Archbishop 
of  Cologne  delivering  a  miraculous  host  to  an 
Augustine  Monk  ; '  the  latter  is  in  the  church  of 
St.  Jacques  at  Louvain. 

GEEDTS,  Pierre  Paul,  the  son  of  Pierre  Joseph 
Geedts,  was  bom  at  Louvain  in  1793,  and  studied 
under  his  father  and  at  the  Louvain  Academy, 
where  he  carried  off  the  principal  prizes.  He  was 
appointed  professor  of  modelling,  but  resigned  on 
his_  father  being  dismissed.  He  was  a  good  por- 
trait painter,  but  there  is  only  known  by  him  one 
historical  picture,  painted  in  1824  for  the  church 
of  St.  Jacques.     He  died  at  Louvain  in  1856. 

GEEFS,  Aloys,  a  Belgian  historical  painter  and 
sculptor,  was  born  at  Antwerp  in  1817,  and  died 
at  Auteuil  near  Paris  in  1841.  '  The  Scourging  of 
Christ '  was  one  of  his  best  paintings. 

GEEL,  JooST  van,  a  Dutch  painter,  was  born  at 
Rotterdam  in  1631,  where  he  died  in  1698.  He 
was  a  scholar  of  Gabriel  Metsu,  whose  polished 
style  he  imitated  so  exactly,  that  it  is  not  always 
easy  to  distinguish  their  works.  He  also  painted 
marines  and  sea-ports,  which  are  highly  finished, 
and  very  agreeably  coloured.  In  the  Am.sterdam 
Museum  is  a  portrait  of  Van  Geel,  by  himself, 
and  in  the  Hermitage,  St.  Petersburg,  '  A  Concert.' 

GEELEN,  Christiaan  van,  a  painter  born  at 
Utrecht  in  1755,  was  a  pupil  of  Jakob  Maurer.  He 
painted  portraits,  family  pieces,  and  landscapes, 
and  died  in  1826.  His  son,  also  named  Christiaan, 
born  in  1794,  showed  great  talent,  but  died  in 
1825  at  the  early  age  of  thirty-one  years. 

GEELKERKEN,  Nicolaas  van,  (or  Geilkerk,) 
was  a  native  of  Holland,  who  flourished  at  Ley- 
den  from  about  1624  to  1654.  He  was  chiefly 
employed  in  engraving  maps,  but  executed  also 
some  portraits,  among  which  is  that  of  Maurice, 
Prince  of  Nassau. 

222 


GEERAERTS,  Martin  Joseph,  a  Flemish  his- 
torical painter,  bom  at  Antwerp  in  1707,  was  in- 
tended for  the  law,  and  studied  in  the  Jesuits' 
College.  Preferring  art,  however,  he  became  a 
pupil  of  Abraham  Godyn,  and  was  made  free  of 
the  Guild  of  St.  Luke  in  1731.  In  1741  he  became 
one  of  the  six  directors  of  the  Academy  of  Antwerp, 
who  filled  that  ofiBce  gratuitously.  He  died  at 
Antwerp  in  1791.  He  excelled  in  grisaille  painting 
in  imitation  of  bas-reliefs,  of  which  there  are  the 
following  examples : 

Antwerp.  Gallery.        The  Fine  Arts.    1760. 

Brussels.  Gallery.        Christ    and  the  Disciples  at 

Emmaus. 
„  „  The  Sarioiir  at  the  House  of 

Simon  the  Pharisee. 
„  ,,  The  Sons  of  Aaron  punished 

by  Fire  from  Heaven. 
„  „  The  "Woman  taken  in  Adul- 

tery. 
„  ,,  Abraham  and  Melchisedeck. 

„  „  The  Sacrifice  of  Abraham. 

„  „  The  Sacrifice  of  Eli. 

Hague.  Museum.         Autumn. 

Lille.  Museu7n.         Children  with  Goat. 

Vienna.  Gallery.         Cupid  and  Psyche. 

GEERARTS,  Marc,  (whose  name  is  found  vari- 
ously written  Gerard,  Geraats,  Gheeraerts, 
Guerards,  &c.,)  the  elder,  a  Flemish  painter  and 
engraver,  bom  at  Bruges  in  the  16th  century,  was 
a  pupil  of  Marten  De  Vos.  During  the  religious 
wars  he  came  to  England,  and  became  painter  to 
Queen  Elizabeth.  He  died  in  this  country  before 
1604,  as  Van  Mander,  in  his  book  published  in 
that  year,  complains  of  not  being  able  to  gain  any 
authentic  date  about  his  death  from  his  son.  He 
was  the  author  of  a  remarkable  plan  of  Bruges 
made  before  1566,  of  which  the  original  is  in  the 
possession  of  the  Corporation  of  that  city.  In  the 
Vienna  Gallery  are  two  portraits,  and  in  the  church 
of  Notre-Dame  in  Bruges  is  a  '  Descent  from  the 
Cross,'  by  some  assigned  to  Frans  Pourbus. 
Geerarts  painted  the  procession  of  Queen  Elizabeth 
to  a  marriage  that  took  place  at  Blackfriars  about 
1600,  which  he  himself  eugraved,  and  which  was 
reproduced  by  Vertue,  who,  in  defiance  of  an  earlier 
and  well-grounded  tradition,  conjectured  that  it 
represented  a  royal  visit  to  Hunsdon  House,  Hert- 
fordshire, in  1571.  He  also  engraved  some  plates 
for  an  edition  of  .aisop's  '  Fables '  published  at 
Bruges  in  1667.  In  the  Burghley  House  collec- 
tion are  portraits  by  him  of  Queen  Elizabeth,  Lord 
Burghley,  and  the  Earl  of  Essex.  There  are  in 
the  National  Portrait  Gallery  portraits  by  him  of 
Mary,  Countess  of  Pembroke,  Lord  Burghley,  and 
William  Camden. 

GEERARTS,  Maec,  the  younger,  a  son  of  Marc 
Geerarts  the  elder,  was  born  at  Bruges,  and  was 
a  pupil  of  Lucas  De  Heere.  The  dates  of  his  birth 
and  death  are  alike  unknown.  He  is  supposed  to 
have  come  to  England,  but  some  confusion  exists 
between  the  works  of  the  father  and  son.  The 
most  important  of  all  the  works  attributed  to  this 
artist  is  the  '  Assembly  of  English,  Spanish,  and 
Austrian  Plenipotentiaries  held  at  Somerset  House 
in  1604,'  recently  acquired  for  the  National  Portrait 
Gallery  at  the  Hamilton  sale,  which  formerly  bore 
the  forged  signature  of  Pantoja  de  La  Cruz.  There 
is  a  picture  of  Elizabeth,  signed  M.  <?.,  belonging 
to  the  Duke  of  Portland,  a  head  of  Camden  in  the 
Bodleian,  a  full-length  portrait  of  Thomas  Cecil, 
first  Earl  of  Exeter,  painted  in  1612,  at  Woburn 
Abbey,  and  other  signed  specimens  at  Barrow 
Green  and  Penshurst. 


PAINTERS   AND  ENGRAVERS. 


GEERTGEN  van  SINT  JANS.  See  Haarlem, 
Gebbit  van. 

GEEST,  CORNELIS  VAN,  was  a  Dutch  engraver, 
by  whom  there  is  a  half-sheet  print  of  Gilbert 
Burnet,  Bishop  of  Salisbury. 

GEEST,  Wybrand  de.     See  De  Geest. 

GEFFELS,  Franz,  was  a  painter,  etcher,  and 
builder  from  the  Netherlands,  who  was  workingat 
Mantua  from  about  1651  to  1671.  He  has  left 
seven  plates  of  buildings  and  ruins. 

GEGENBAUEK,  Joseph  Anton  von,  a  German 
historical  painter,  was  bom  in  1800  at  Wangen 
in  Wiirtemberg.  He  studied  under  Langer  at 
Munich,  and  during  his  stay  there  from  1815 
to  1823  produced  a  'St.  Sebastian,'  an  altar-piece 
for  his  native  town,  and  two  idyllic  pieces  which 
attracted  great  notice.  In  1823  he  went  to  Rome. 
Here  he  produced  'Adam  and  Eve  after  their 
Expulsion  from  Eden,'  and  '  Moses  striking  the 
Rock,'  now  in  the  palace  at  Stuttgart.  Upon  his 
return  home  in  1826  he  was  employed  to  decorate 
the  palace  of  Rosenstein.  He  went  again  to  Rome 
in  1829,  and  was  employed  in  fresco  painting,  and 
afterwards  up  to  the  end  of  his  life  was  occupied 
in  the  same  way  in  Stuttgart.  He  died  at  Rome 
in  1876.  In  addition  to  the  pictures  mentioned 
above,  the  following  are  among  his  works  in  oil: 

A  sleeping  Veuus  and  two  Satyrs.  Leda  and  the 
Swan.  Madonna  and  Child  (an  altar-piece  at 
Wangen).     Several  portraits.     While  in  fresco  are ; 

Scene  from  the  Story  of  Cupid  and  Psyche.  The  four 
Seasons  and  Aurora.  Hercules  and  OmphaJe.  As- 
cension of  the  Virgin.  The  Crncifixion.  Scenes 
from  the  Lite  of  Count  Eberhard  II.  of  ^Ylirtemberg. 

GEHRTS,  Karl,  German  historical  and  genre 
painter ;  born  1853  at  Hamburg.  Studied  at  the 
Art  School  of  Weimar  ;  Professor  at  the  Diisseldorf 
Academy  of  Fine  Arts.  His  most  important  work 
is  the  series  of  frescoes  that  decorate  the  staircase 
of  the  Diisseldorf  Museum,  in  which  the  artist 
makes  a.  resumd  of  the  history  of  art.  Healso 
achieved  considerable  notoriety  by  his  book  illus- 
trations and  drawings  for  '  Fliegende  Blatter.'  His 
quaint,  weird  figures  of  gnomes  (Kobold  and 
Heinzelmiinnchen)  have  made  his  name  familiar 
throughout  Germany.  He  died  at  Endenich,  near 
Bonn,  in  July  1898. 

GEIGER,  Andreas,  a  mezzotint  engraver,  was 
born  at  Vienna  in  1773,  and  died  there  in  1856. 
Among  his  best  plates  are  '  Antiochus  and  his 
Physician  Erasistratus,'  after  Fiiger,  'The  Death 
of  Cato,'  after  Caravaggio,  '  Helen  and  Paris,'  after 
David,  and  '  The  Burial  of  Christ,'  after  Van  der 
Werfi. 

GEIKIE,  Walter,  a  Scottish  subject  pamter, 
was  born  at  Edinburgh  in  1795.  He  became  deaf 
and  dumb,  and  studied  in  the  Trustees'  Academy. 
His  works  first  appeared  in  1815,  and  he  was 
elected  an  Associate  of  the  Royal  Scottish  Academy 
in  1831,  and  an  Academician  in  1834.  He  died  in 
1837.  He  published  a  volume  of  etchings:  and 
there  is  in  the  National  Gallery  of  Scotland  a 
'Cottage  Scene  '  by  him. 

GEILKERK,  Nicolaas  van.    See  Geelkerken. 

GEIRNAERT,  Joseph,  a  Flemish  genre  painter, 
born  at  Eecloo  in  Flanders,  in  1791,  was  a  pupil 
of  Herreyns  and  of  Paelinck.  From  1830  to  1836 
he  practised  at  the  Hague,  but  died  at  Ghent  in 
1859.     Amongst  his  works  are: 

The  Schoolmaster.    (Mechlin  3fuseum.) 

A  Consultation  at  the  Doctor's.     (Brussels  Gallery.) 

Leonardo  da  Vinci  painting  the  Gioconda. 


Moses  saved  from  the  Waters. 

Joseph  and  Potiphar. 

Asking  in  Marriage. 

The  Card  Players. 

The  Little  Marauders. 

The  Return  of  the  Fishermen. 

An  Election. 

Albrecht  Diirer  at  the  tomb  of  Van  Eyck. 

The  Arrest  of  Count  Egmont.     1823. 

The  Lesson  on  the  Harp.    (Ghent  Museum.) 

Giving  a  Pledge.    (Ghent  Museum.) 

The  Visit  of  the  Doctor.    (Haarlem  Museum.) 

GEISSLER,  Johann  Martin  Friedrich,  an  en- 
graver, born  at  Nuremberg  in  1778,  was  first  in- 
structed by  Heinrich  Guttenberg,  but  spent  from 
1803  to  1814  in  further  study  in  Paris,  devoting 
himself  especially  to  architecture  and  landscapes. 
He  died  at  Nuremberg  in  1853.  The  best  of  his 
plates  are  from  his  own  designs,  but  he  also  executed 
views  of  churches,  &o.,  after  Ainmiller  and  others, 
and  '  The  Return  of  the  Herd, '  after  Berchem,  '  The 
Road  through  the  Beech-wood,'  after  Ruisdael,  and 
'A  Landscape  with  an  Oak  and  a  fallen  Beech- 
tree,'  after  Wynants. 

GEIST,  August  Christian,  a  landscape  painter, 
born  at  Wiirzburg  in  1835,  was  at  first  a  pupil  of 
his  father,  Andreas  Geist  (who  died  in  I860), 
under  whom  he  executed  many  landscapes,  archi- 
tectural and  marine  views,  and  heads,  both  in  oil 
and  water-colours.  In  1853  he  proceeded  to 
Munich,  and  improved  himself  in  landscape  work 
by  study  under  Friedrich  Bamberger.  In  1854  he 
travelled  in  the  Rhone  mountains,  and  produced 
therefrom  tsventy-four  Indian  ink  drawings.  He 
then  established  a  studio  of  his  own  ;  but  in  1859 
he  made  a  tour  around  Carlsruhe  with  Schirmer ; 
in  1860  visited  the  Rhine  and  Antwerp ;  in  1862 
the  Highlands  of  Bavaria;  in  1863  Franconian 
Switzerland  ;  and  in  1864  the  Allgau.  The  years 
1865  to  1867  he  spent  in  Rome  on  account  of  his 
health  ;  and  he  died  at  Munich  in  1868.  The 
following  are  some  of  his  best  works: 

Achach  Castle.     1853. 

Pleasure  Party  at  Carlstadt.   1853. 

Winter  Landscape  at  Schaftlarn.     1853. 

Landscape  near  Polling.     1856. 

Festal  Morning  on  a  Mountain  Lake.     1863. 

The  Idyll.     1864. 

Thunderstorm  in  the  Campagna, 

Fountain  near  Ariccia. 

Theatre  of  Tusculum. 
He  also  etched  thirteen  '  Ruins  of  Franconian  For- 
tresses'  for  the  Polytechnic  Association  at  Wiirz- 
burg, for  which  also  the  above  Indian  ink  drawings 
were  executed.  . 

GELASIO  Di  NICCOLO,  a  Ferrarese  pamterof 
the  13th  century,  is  said  to  have  studied  m  Venice 
under  the  Greek  Theophanes,  and  on  his  return  to 
Ferrara,  in  1240,  to  have  executed  various  works 
there  for  the  bishop,  FUippo  Fontana.  The  paint- 
ings usually   ascribed  to   him   belong  to  a  later 

date.  „      T^    /-, 

GELDER,  Arent  DE.  See  De  Gelder._ 
GELDER,  N.  van,  was  an  animal  painter  of 
the  Netherlands,  who  flourished  about  1660.  The 
Vienna  Gallery  contains  one  or  two  pictures  of 
game  by  him,  and  in  the  Fitzwilliam  Museum  at 
Cambridge   is  a    picture   of    'Boors    playing    at 

cards.'  „   ,  ,        -   . 

GELDER,  PiETER,  was  a  Dutch  painter,  sup- 
posed to  have  been  a  scholar  of  Rembrandt,  whose 
manner  he  imitated.     He  was  living  in  1655. 

GELDEBBLOEM,  Laurent,  born  at  Dordrecht 
about  1748,  was  a  pupil  of  Joris  Ponsen.     This 


A  BIOGRAPHICAL  DICTIONARY  OF 


artist  gave  promise   of  considerable  talent,  but 
died  before  reaching  the  age  of  thirty. 

GELDERSMAN,  Vincentius,  a  Flemish  painter, 
was  born  at  Mechlin  about  1539.  It  is  not  known 
under  whom  he  studied,  but  he  painted  historical 
subjects  with  some  success.  Among  his  most 
esteemed  works  may  be  noticed  a  picture  of 
'  Susannah  and  the  Elders,'  and  a  '  Descent  from 
the  Cross,'  in  the  cathedral  at  Mechlin  ;  also  a 
'  Leda  '  and  '  Cleopatra  with  the  Asp.' 

GELDORP,  Georg,  a  portrait  painter,  was  born  at 
the  end  of  the  16th  century,  probably  at  Cologne, 
though  Walpole  calls  him  a  native  of  Antwerp. 
He  certainly  studied  at  Antwerp,  and  then  went  to 
London,  where  he  was  appointed  keeper  of  the 
pictures  to  Charles  I.  Rubens  and  Van  Dyck  were 
successively  his  guests  on  their  arrival  in  England. 
He  died  in  London  about  1658.  Among  his  por- 
traits may  be  named  those  of  the  Duke  of  Lennox 
and  the  Earl  of  Lindsay,  both  of  which  have  been 
engraved,  and  one  of  George  Carew,Earl  of  Totness, 
in  the  National  Portrait  Gallery. 

GELDORP,  GoRTZius,  (or  Ghaldorp,) — some- 
times known  by  his  Christian  name  alone — was  a 
Flemish  painter,  born  at  Louvain  in  1553.  After 
learning  the  rudiments  of  art  in  his  native  city,  he 
went,  at  seventeen  years  of  age,  to  Antwerp,  where 
he  became  a  disciple  of  Frans  Francken  the  elder. 
On  the  death  of  that  master  he  passed  into  the 
school  of  Fians  Pourbus,  under  whom  he  be- 
came one  of  the  best  artists  of  his  time,  particu- 
larly in  portraits,  in  which  he  was  greatly 
employed.  His  talents  were  not,  however,  confined 
to  portraits  :  he  painted  likewise  several  historical 
subjects  for  the  Duke  of  Terra  Nova  at  Cologne. 
Among  his  best  pictures  are  : 
Cologne.   WalWaf-mckart.)^^^  ^^^  ^^^^^^^^^^^ 

Darmstadt.  Gullery.  Two  portraits. 

Gotha.  Gallery,  Four  portraits. 

Milan.  Brera.  Portrait  of  a  Lady. 

Munich.  Gallery.  Portrait  of  a  Man. 

Petersburg.  Hermitage.  Lucretia. 

„  „  Portrait  of  a  Man. 

He  died  at  Cologne  in  1616  or  1618. 

GELDORP,  Melchior,  a  portrait  and  historical 
painter,  was  a  son  and  scholar  of  Gortzius  Geldorp. 
He  was  working  at  Cologne  from  1620  to  1640, 
and  some  works  of  his  are  there  preserved,  among 
which  may  be  named : 

Portrait  of  an  Ecclesiastic.     1615. 
Portrait  of  a  Lady.     1618. 
Portrait  of  a  Child.     1624. 

Portrait  of  Wolfgang  'William,  Count  Palatine  of  the 
Khiue  and  Duke  of  Bavaria. 

GELlllE,  FpANgois  Antoine,  a  French  engraver 
and  lithographer,  was  born  in  Paris  in  1796,  and 
studied  under  Girodet  and  Pauquet.  He  died  in 
Paris  in  1860.     Amongst  his  plates  are  : 

Daphnis  and  Cliloe ;  after  Herserd. 

Justice  and  Divine  Vengeance  pursuing  Crime ;  after 

Prud'hon. 
Venus  and  her  Doves ;  after  Lambert. 
The  Shepherd  of  Virgil ;  after  Bmsselier. 

GELENIDS,  SiGISMUND,  was  a  German  engraver, 
who  flourislied  about  the  year  1576.  Professor 
Christ  attributes  to  him  a  set  of  twelve  small 
woodcuts  of  the  '  Labours  of  Hercules,'  which  are 
executed  with  considerable  spirit. 

GELIBERT,  Jean  Pierre  Paul,  a  French 
animal  painter,  was  born  in  1802,  and  died  at  Bartlie- 
le-Neste,  Hautes  Pyrenees,  in  1883. 

224 


1807. 


1823. 
1834. 


GELISSEN,  Maximilien  Lambert,  a  landscape 
painter,  was  bom  at  Brussels  in  1786.  In  1820 
he  won  the  first  prize  medal  for  a  '  View  of  Ruys- 
broeck,'  now  in  the  Ghent  Museum,  and  later  in 
life  he  travelled  in  England  and  Scotland.  He 
died  at  Brussels  in  1867. 

GELL,  Sir  William,  an  English  topographical 
draughtsman,  was  born  in  1774.  He  studied  in 
the  schools  of  the  Academy,  and  practised  as  an 
architect,  but  is  best  known  by  the  illustrated  books 
he  published  on  the  topography  and  antiquities 
of  Greece  and  Italy,  In  1820  he  settled  in  Italy, 
where  he  acted  as  Chamberlain  to  Caroline,  Princess 
of  Wales.  He  died  at  Naples  in  1836.  Amongst 
the  works  he  published  are : 

Topography  of  Troy.     1804. 
Geography  and  Antiquities  of  Ithaca. 
Itinerary  of  Greece.    1810. 
Attica.    1817. 

Itinerary  of  the  Morea.     1818. 
Pompeiana.     1817-19. 
The  Walls  of  Home.    1820. 
Narrative  of  a  Journey  to  the  Morea. 
Topography  of  Eome  and  its  Vicinity. 

GELLE,  JoHANN,  a  German  engraver,  flourished 
about  the  year  1628,  and  resided  chiefly  at  Cologne. 
He  engraved  some  of  the  plates  for  the  '  Academie  de 
I'Esp^e,'  published  at  Antwerp,  by  Gerard  Thibault, 
in  1628,  as  well  as  a  portrait  of  the  Emperor 
Ferdinand  II.  in  a  border  of  medals,  dated  1619. 
They  are  worked  entirely  with  the  graver,  in  a 
stifT,  formal  style. 

GELLl^E,  Cladde,  commonly  called  Claude  de 
LoRRAiN,  a  French  landscape  painter  and  etcher, 
was  born  in  1600  at  Chamagne,  a  village  on 
the  Moselle  in  the  Vosges  country,  then  in  the 
ancient  province  of  Lorraine.  His  parents,  Jean 
Gell6e  and  Anne  Pedose,  were  in  liumble  cir- 
cumstances, and  had  five  sons,  of  whom  Claude 
was  the  third.  Concerning  his  early  life,  his 
biographers  differ  considerably  ;  their  information 
coming  from  two  sources.  'The  first  is  Joachim 
von  Sandrart,  a  German  painter,  who  resided  for 
some  years  at  Rome,  where  he  became  intimate 
with  Claude,  and  whose  reminiscences  are  included 
in  his  '  Academia  Artis  Pictoris.'  The  other  au- 
thority is  Filippo  Baldinucci,  a  Florentine  artist, 
whose  account  was  derived  from  the  two  grand- 
nephews  of  the  painter. 

According  to  Sandrart,  Claude  showed  so  little 
aptitude  for  study  when  at  school  that  his  parents 
apprenticed  him  to  a  pastry-cook.  He  afterwards 
found  his  way  to  Rome,  in  company  with  some 
other  young  Lorrainers  practising  the  same  voca- 
tion. Here  he  lived  for  some  time  in  the  house  of 
Agostino  Tassi,  a  Perugian  landscape  and  marine 
painter,  who  had  studied  under  Paulus  Bril.  He 
acted  as  the  painter's  factotum :  looked  after  the 
kitchen  and  household  afiairs,  groomed  the  horse, 
ground  the  colours,  and  cleaned  the  palettes  and 
brushes.  While  engaged  on  these  duties  he  applied 
himself,  with  the  help  of  his  master,  to  a  diligent 
study  of  perspective  and  the  ground-work  of  art. 

According  to  Baldinucci,  when  Claude  was 
twelve  years  old  he  became  an  orphan,  and  had 
to  seek  the  shelter  of  his  eldest  brother's  home. 
Jean  had  settled  at  Freiburg,  on  the  opposite  bank 
of  the  Rhine,  where  he  pursued  the  arts  of  wood 
engraving  and  carving.  From  him  Claude,  who 
had  already  shown  a  taste  for  art,  received  his  first 
instruction  in  drawing.  His  stay  in  the  Swabian 
country  was  not  long,  for  about  a  year  after,  a 


CLAUDE  GELLEE 


CLAUDE   DE   LORRAIN 


yfr^>>*--  ,>-v^i.^ffiBE!^5gsg^y^"' 


Hanfstangl  photo\ 


CEPHALUS  AND  PROCRIS 


[National  Gaileiy 


PAINTERS  AND  ENGRAVERS. 


kinsman,  passing  through  Freiburg  on  his  way  to 
Rome  in  pursuit  of  trade  as  a  lace  merchant,  took 
him  with  him  to  the  Eternal  City.  His  relative 
was  soon  compelled  to  leave  him,  and  Claude,  a 
boy  of  fourteen  years,  was  left  alone  in  a  foreign 
land.  For  some  time  he  remained  at  Rome  in 
lodgings  near  the  Pantheon,  eking  out  a  scanty 
subsistence,  and  endeavouring  to  improve  his 
knowledge  of  art  by  such  humble  means  as  lay 
within  his  reach.  Owing  to  the  wars  which  then 
ravaged  Europe,  the  slender  remittances  he  re- 
ceived from  his  friends  at  length  entirely  ceased, 
and  he  had  to  trust  to  his  own  unaided  efforts  to 
maintain  himself.  Nothing  daunted,  he  set  out  for 
Naples  to  obtain  some  instruction  from  Gottfried 
Wals,  a  painter  of  Cologne.  With  this  master  he 
remained  about  two  years,  devoting  his  attention 
to  perspective  and  architecture.  He  then  returned 
to  Rome,  and  gained  admission  to  the  studio  of 
Tassi.  Baldinucoi  states  that  he  lived  in  the 
painter's  house,  and  significantly  admits  that  he 
looked  after  the  household  accounts. 

Comparing  these  two  accounts,  it  will  be  seen 
that  they  are  in  entire  agreement  on  one  point 
only :  tlie  fact  of  Claude  having  passed  some  time 
with  Tassi,  from  whom  he  received  instruction. 
As  to  the  precise  character  of  the  relationship  in 
which  they  stood  to  each  other,  it  is  evident  from 
the  admission  of  Baldinucci  that  Claude  did  not 
enter  Tassi's  house  simply  as  a  pupil,  but  as  some 
sort  of  a  dependent.  As  to  the  time  of  this 
sojourn,  it  appears  that  it  must  have  commenced 
before  1619.  A  deposition  by  Tassi  has  lately 
been  discovered,  in  which  he  speaks  of  Claude  as 
one  of  his  assistants  in  some  decorations  which  he 
was  executing  for  Cardinal  Montalto  in  that  year. 
Thus  far  there  is  certainty.  Less  certain  is  the 
account  of  the  pupilage  at  Naples  under  Wals. 
Still  it  does  not  absolutely  conflict  with  Sandrart, 
and  may  be  accepted  as  supplying  a  link  in  the 
history.  As  regards  the  pastry-cook  incident,  and 
the  manner  in  which  Claude  originally  reached 
Rome,  the  two  accounts  are  entirely  at  variance, 
and  they  must  be  left  thus,  until,  perchance,  further 
research  shall  have  thrown  more  light  on  the  subject. 

In  the  spring  of  1625  Claude  left  Rome,  and  set 
out  on  a  series  of  wanderings.  The  first  point 
aimed  at  was  Venice.  On  his  way  thither,  he 
spent  a  few  days  in  devotion  at  the  well-known 
shrine  of  the  Virgin  at  Loretto.  At  Venice  he 
stayed  some  time  and  executed  several  works. 
He  had  then  intended  to  return  to  Rome,  but,  alter- 
ing his  plans,  he  determined  to  visit  his  native 
country.  Passing  through  Trent  and  Innsbruck, 
he  made  a  short  sojourn  in  Bavaria  at  the  village 
of  Harlaching.  During  the  journey  he  was  laid 
low  by  sickness,  when  he  had  the  misfortune  to  be 
robbed  of  all  his  worldly  possessions.  In  this  for- 
lorn condition  he  returned  to  his  native  place,  and 
after  a  short  stay  there  proceeded  to  Nancy.  Here 
he  again  took  up  the  brush  as  assistant  to  De  Ruet, 
the  court-painter  to  the  Duke  of  Lorraine.  With 
him  he  continued  till  the  summer  of  1627,  employed 
on  various  works,  and  more  especially  on  the  de- 
coration of  the  Carmelite  church  at  Nancy.  His 
desire  to  return  to  Italy  was  quickened  by  an 
accident  to  the  scaifolding  used  in  the  latter  work, 
in  which  he  had  a  narrow  escape,  and  he  set  out 
on  his  return  journey,  making  a  halt  of  a  few  days 
at  Lyons.  On  his  arrival  at  Marseilles  he  was 
seized  by  illness,  and  again  had  the  misfortune  to 
be  robbed  of  his  little  store  of  money.     Before  he 

VOL.  II.  Q 


could  proceed  further  he  was  obliged  to  raise  the 
means  to  continue  his  journey  by  painting  some 
pictures  for  a  local  patron  of  the  arts.  His  troubles 
were  not  even  yet  ended,  for  the  voyage  to  Civitk 
Vecchia  was  so  stormy  that  there  were  grave  doubts 
whether  the  vessel  would  reach  land. 

Claude  arrived  at  Rome  on  the  18th  October, 
1627.  Tlie  years  which  immediately  succeeded  his 
settlement  there  appear  to  have  been  devoted  to  a 
close  and  direct  study  of  nature.  During  this 
period  he  became  acquainted  with  Sandrart,  his 
future  biographer,  to  whose  account  we  are  chiefly 
indebted  for  what  is  known  of  his  mode  of  work- 
ing. He  sketched  indefatigably  in  the  open  air, 
from  the  earliest  dawn  to  nightfall,  so  that  he 
might  be  thoroughly  imbued  with  the  ever-chang- 
ing aspects  of  nature  under  the  varying  conditions 
of  light.  He  mixed  his  colours  while  the  effects 
were  still  before  him,  and  then,  returning  home, 
applied  them  to  the  work  which  he  had  in  hand. 
The  German  mentions  Claude's  weakness  in  draw- 
ing men  and  animals.  He  says  that  though  he 
bestowed  great  attention  on  this  branch  of  art,  and 
for  many  years  studied  diligently  from  statues  and 
living  models  in  the  Academy,  yet  he  was  never 
able  to  remedy  this  failing.  That  he  was  well 
aware  of  it  is  testified  to  by  Baldinucci,  who  re- 
lates that  he  was  accustomed  to  observe  jocularly 
that  he  sold  his  landscapes  but  gave  the  figures. 
Following  the  example  of  many  other  painters,  he 
frequently  had  recourse  to  other  hands  for  the 
groups  which  serve  to  animate  and  give  titles  to 
his  works.  His  chief  assistant  in  this  way  was 
Filippo  Lauri,  the  son  of  a  Flemish  painter  who 
had  settled  at  Rome,  and  he  is  also  said,  though 
perhaps  doubtfully,  to  have  been  assisted  by  J. 
Miel,  F.  AUegrini,  and  the  two  Courtois. 

Sandrart  and  Claude  became  very  friendly ; 
made  sketching  excursions  together,  and  exchanged 
specimens  of  each  other's  art.  This  acquaintance 
is  really  the  only  trace  of  the  Lorrainer  having 
been  intimate  with  his  brother  artists.  He  is 
mentioned  casually,  very  casually,  in  connection 
with  other  painters,  but  he  does  not  seem  to  have 
formed  any  other  close  intimacy.  This  isolation, 
combined  with  the  small  amount  of  information 
which  has  come  down  to  us  concerning  Claude's 
life  subsequent  to  his  settlement  at  Rome,  leads  to 
the  conclusion  that  his  whole  time  and  energies 
were  devoted  to  art.  Whether  in  his  studio  or 
in  the  short  excursions  he  made  into  the  surround- 
ing country,  his  devotion  to  art  never  flagged. 
He  remained  a  bachelor,  and,  to  secure  himself 
against  the  distractions  caused  by  the  care  of  a 
house,  he  induced  a  relative  to  migrate  from 
Lorraine  about  1636,  and  to  take  charge  of  his 
household.  He  carried  his  isolation  so  far  that  his 
name  only  occurs  once  in  connection  with  Nicolas 
Poussin,  the  chief  figure  amongst  the  French 
artists  then  resident  in  Rome,  and  it  is  likewisa 
absent  from  the  biographies  of  the  many  great 
painters  who  were  his  contemporaries.  There  is 
no  trace  of  his  name  in  the  records  of  the  Academy 
of  St.  Luke,  neither  was  he  included  amongst  the 
members  of  the  French  Academy  at  Paris,  which 
was  founded  while  he  was  in  the  heyday  of  his 
reputation. 

Claude  does  not  appear  to  have  at  once  sprung 
into  fame  after  settling  down  at  Rome.  Some  ten 
years  probably  elapsed  before  he  attracted  the 
attention  of  Cardinal  Bentivoglio,  one  of  the  lead- 
ing men  in  the  Papal  Court.     A  commission  which 

225 


A  BIOGRAPHICAL  DICTIONARY  OF 


he  executed  for  thLs  patron  was  so  mnch  appreciated 
that  he  was  introduced  by  him  to  the  reigning 
Pope,  Urban  VIII.  This  Pontifl  ordered  four 
works  from  him,  two  of  which  are  now  in  the 
Louvre,  and  bear  the  date  1639.  Henceforth  his 
position  was  assured,  and  but  few  events  occurred 
to  disturb  the  even  tenor  of  his  career.  The 
chief  facts  of  his  subsequent  life  might  be  included 
in  a  list  of  the  works  he  painted,  and  of  the  patrons 
for  whom  they  were  executed.  It  must  suffice 
within  the  limits  of  this  notice  to  mention  among 
the  latter :  M.  de  Bethune,  French  Ambassador  at 
Rome ;  Cardinal  Giorio ;  Innocent  X.  and  his 
nephew,  Prince  Pamfili ;  the  Due  de  BouUlon ; 
the  King  of  Spain  ;  Cardinal  Giovanni  de'  Medici ; 
Pope  Alexander  VII. ;  the  Bishops  of  Montpellier 
and  of  Ypres ;  Cardinal  Rospigliosi,  afterwards 
Pope  Clement  IX. ;  M.  de  Bourlemont ;  the  Con- 
stable Colonna ;  Cardinal  Massimi ;  Prince  Altieri, 
and  the  Elector  of  Bavaria. 

There  is  an  incident  recorded  by  Baldinucci  of 
the  latter  part  of  Claude's  life  which  must  not  be 
omitted.  In  a  spirit  of  compassion  he  had,  about 
the  middle  of  his  career,  taken  into  his  studio  a 
deformed  and  friendless  boy,  named  Giovanni 
Domenico.  The  lad  grew  up  in  the  master's 
house,  and  remained  with  him  as  pupil  and  as- 
sistant for  twenty-five  years.  Then  the  enemies  of 
Claude  spread  a  report  that  the  works  which  issued 
from  his  studio  were  reaOy  executed  by  Domenico. 
The  ungrateful  assistant  joined  the  cabal,  left  his 
benefactor,  and  brought  an  action  against  him  for 
the  payment  of  a  salary  during  all  the  years  he 
had  spent  with  him.  Without  waiting  for  tlie 
decision  of  the  court,  Claude  at  once  paid  the 
claim,  and  thenceforth  closed  the  door  of  his 
studio  to  all  assistants. 

It  now  remains  to  speak  of  what  is  known  as 
the  "Liber  Veritatis."  This  is  a  collection  of  200 
drawings  of  Claude's  pictures,  executed  in  bistre, 
and  occasionally  touched  up  with  white.  Nearly 
all  bear  inscriptions  giving  details  as  to  when  and 
for  whom  the  pictures  they  represent  were  painted. 
The  volume  which  contains  them  was  bequeathed 
by  the  painter  to  his  nephews  as  an  heirloom,  but 
their  successors  in  the  trust  sold  it.  After  various 
vicissitudes  it  at  length  found  a  resting-place  in 
England  in  the  collection  of  the  Duke  of  Devon- 
shire. Until  of  late  years  it  was  considered,  fol- 
lowing the  account  of  Baldinucci,  that  the  drawings 
were  done  by  Claude  as  a  means  of  identifying  his 
works,  and  of  protecting  himself  against  the  spuri- 
ous productions  which  his  fame  caused  unscrupulous 
contemporary  artists  to  palm  ofE  as  his.  It  is  not 
necessary  to  enter  into  the  details  of  the  controversy, 
as  the  painter's  will,  which  has  recently  been  dis- 
covered, no  longer  leaves  it  open  to  doubt  that  the 
"  Liber  Veritatis  "  was  intended  by  him  as  a  record, 
whether  complete  or  not,  of  his  pictures  and  their 
destination. 

During  the  latter  part  of  his  life  Claude  suf- 
fered much  from  ill-health,  his  chief  foe  being  the 
gout.  A  severe  illness  in  the  early  part  of  1663 
caused  him  to  make  the  will  which  has  just  been 
mentioned.  From  it  we  learn  that,  besides  his 
relative  and  housekeeper,  Jean,  there  was  also 
living  with  him  an  adopted  daughter  named  Agnes, 
then  11  years  old,  whom  he  affectionately  calls 
"mia  zitella."  To  her  he  leaves  for  life  the 
precious  "  Liber  Veritatis,"  and  makes  minute  and 
careful  provision  as  to  the  property  bequeathed  for 
her  maintenance.  After  his  recovery  from  this 
226 


attack,  the  painter  resumed  the  brush.  The  state 
of  his  health  in  the  remaining  years  of  his  career 
probably  precluded  his  working  in  the  open  air  as 
formerly,  but  the  record  of  pictures  executed 
during  this  period  shows  that  he  manfully  per- 
severed, and  produced  many  important  works. 
The  inscriptions  on  two  designs  in  the  "Liber 
Veritatis  "  attest  that  he  painted  pictures  from  them 
as  late  as  1681.  The  end  came  in  the  November  of 
the  following  year,  probably  on  the  23rd,  and  not 
on  the  21st,  as  stated  in  the  inscription  placed 
on  his  grave  by  his  nephews.  He  was  buried, 
according  to  his  desire,  in  the  church  of  the  Triniti 
dei  Monti.  In  1840,  however,  his  remains  were 
removed  to  the  French  church  of  San  Luigi,  where 
a  memorial  was  erected  to  him  by  his  country. 
The  property  which  he  left,  estimated  by  Baldi- 
nucci at  10,000  scudi,  chiefly  consisted  of  obhga- 
tions  in  the  Papal  "  monti."  There  were  twenty- 
two  of  these  "  luoghi,"  of  which  fourteen  were  left, 
either  absolutely  or  for  life,  to  his  adopted  daughter, 
and  eight  to  his  nephew  Jean.  A  codicil  made  in 
1670  somewhat  altered  the  disposition  of  his  posses- 
sions, but  Agnes  and  Jean  still  remained  the  chief 
legatees. 

Claude  devoted  considerable  attention  to  etching, 
and  many  of  his  works  in  this  medium  show  no 
less  than  his  pictures  his  peculiar  excellences. 
Meaume  gives  a  list  of  thirty-two  plates  executed 
by  him,  which  date  from  1630  to  1663.  Besides 
these,  there  is  a  series  of  etchings  of  the  fireworks 
exhibited  at  Rome  on  the  election  of  Ferdinand  III. 
as  King  of  the  Romans  in  1637. 

The  pictures  painted  by  Claude  number  about 
400.  Of  these  the  majority  are  in  England,  where 
the  private  collections  are  very  rich  in  specimens 
of  his  art.  For  many  years  there  was  a  great 
rage  amongst  English  amateurs  for  his  works. 
The  galleries  of  the  Dukes  of  Devonshire,  Rut- 
land, and  Westminster,  Earls  of  Ellesmere,  Leices- 
ter, Northbrook,  and  Yarborough  alone  contain 
nearly  half  a  hundred. 

It  will  be  noticed  that  many  of  his  pictures  bear 
as  a  title  some  scriptural  or  classical  incident.  But 
it  must  not  be  inferred  that  the  incident  occupies 
any  important  part  in  the  composition.  The  figures 
introduced  are  quite  subordinate,  and  frequently 
only  serve  to  give  a  title  to  the  work.  The  interest 
centres  in  the  landscape.  This  is  seldom  an  exact 
reproduction  of  any  particular  view.  It  is  fre- 
quently a  scene,  more  or  less  idealized,  from  the 
neighbourhood  of  Rome.  In  other  cases  it  is  a 
composition  pure  and  simple,  in  which,  however, 
can  often  be  traced  many  existing  features,  such 
as  the  Colosseum,  the  temple  of  the  Sibyl,  and 
other  remains  of  classic  buildings,  the  heights  of 
Tivoli,  &c. 

The  following  is  a  list  of  Claude's  pictures  in  the 
public  galleries  of  Europe : 


Augsburg. 
Berlin. 

Bordeaux. 
Brussels. 

Copenhagen. 
Dresden, 


Gallery. 
Gallery^ 

Museum. 
Gallery. 

Gallery. 
Gallery 


Dulwich.         Gallery. 


Roman  Ruins. 

Landscape  ;   the  Arcadian  Shep- 
herds.    1642. 

Landscape. 

./Eueas  hmtiug  the  stag  on  the 
coast  of  Lybia. 

Sunset. 

Flight  into  Egypt. 

Polyphemus  and  Acis  and  Galatea. 
The  Flight  into  Egypt. 
Jacob  and  Laban. 
Embarkation  of  St.  Paula. 
Seaport. 
Two  Landscapes. 


PAINTERS  AND   ENGRAVERS. 


Florence. 

Gotha. 
Grenoble. 


Uffizx. 

Gallery. 
Museum, 


Hague.  Museum. 

luusbruck.      Museum. 
London.  KationcU  Gal. 


1645. 


Seaport. 

Landscape.     1672. 

Marine  View. 

Seaport. 

Landscape. 

Landscape. 

Two  Landscapes. 

Cephalus  and  Procris 

Seaport.     IB-ll. 

David  at  the  Cave  of  Adullam. 

1658. 
Marriage  of  Isaac  and   Rebecca, 

1643. 
Embarkation  of  the   Queen 

Sheba.     1648. 
Narcissus  and  Echo. 
Embarkation  of  St.  Ursula. 
Death  of  Procris. 
The  Annunciation. 
Anchises  and  jEneas  at  Delos, 
Landscape. 


of 


South  Ktnsiug.  |  Landscape.    1670. 


„  Buckingham  Pal. 

Rape  of  Europa.    1667. 

Madrid. 

Gallei-y. 

Burial  of  St.  Sabiua. 

„ 

i> 

The  Finding  of  Moses. 

Embarkation  of  St.  Paula. 

^ 

11 

Tobit  and  the  Angel. 

n 

M 

Temptation  of  St.  Anthony. 

91 

1) 

The  Magdalen  before  the  Cross. 

91 

1) 

Landscape  with  Hermit. 

The  Ford. 

>i 

» 

Two  Landscapes  'with  Shepherds 
and  Cattle. 

Munich. 

Gallery. 

The  Expulsion  of  Hagar  and 
Ishmael. 

If 

11 

Hagar  in  the  Desert. 

») 

Seaport. 

»» 

» 

Three  Landscapes. 

Naples. 

Museum. 

Marine  "View. 

)» 

J, 

Diana  reposing  after  the  Chase. 

Paris. 

Louvre. 

The  Campo  Vacciuo. 

jj 

1) 

The  Village  Dance.     1639. 

)} 

Samuel  anointing  David.     1647. 

ji 

*t 

The  Ford. 

j» 

» 

Siege  of  La  Eochelle. 

n 

Forcing  the  Pass  of  Susa.     1651. 

» 

n 

Disembarkation  of  Cleopatra  at 
Tarsus. 

ft 

J, 

Ulysses  restoring  Chryseis. 

Six  Marine  Views. 

t» 

»1 

Two  Landscapes. 

Posth. 

Gallet^. 

Landscape. 

Petersburg.  Hermitage. 

Meeting  of  Jacob  and  Rachel. 

»» 

11 

Flight  into  Egypt. 

11 

}i 

Tobit  and  the  Angel. 

1* 

Jacob  wrestling  with  the  Angel. 

n 

i» 

Apollo  and  the  Cumasan  Sibyl. 

»» 

« 

The  Journey  to  Emmaus. 

11 

Apollo  and  Marsyas. 

M 

»» 

Ulysses  and  Diomede  received  by 
Lycomedes. 

1» 

5» 

Landscape. 

Three  Seaports. 

Kenues. 

iV«s?Hm. 

Landscape. 

Stockholm, 

i)/us«um. 

Landscape. 

" 

i» 

Arch  of  Constantine  and  Colos- 
seum. 

Strassburg. 

3fus€um. 

landscape. 

Stuttgart. 

Gallery. 

Two  Landscapes. 

Tarbes, 

Museum. 

Village  Fete. 

Turiu. 

Gallery 

Two  Landscapes. 

Vienna. 

Academy. 

Two  Landscapes. 

Windsor. 

Castle 

Landscape  near  Tivoli. 

»» 

»» 

Landscape :  Claude  sketching. 

J" 

»» 

Landscape. 

9« 

n 

Seaport.     1643. 

y* 

n 

Marine  View. 

BIBLIOGRAPHY. 

J.  von  Sandrart,  *  Academia  Artis  Pictoriffi.'     1683. 

F.   Baidinucciy  *  Notizie   dei   professor!    del   diaegnc' 

1681— 

1728. 

Q  2 


Crnnte  Guillaume  de  L[eppel], '  (Euvre  de  Claude  Gell^.' 

1806. 
J.  P.    Voiart,  '  Eloge    historique  de  Claude  GelMe.' 

1839. 

rtcior  Cows('«,' Sur  Claude  Gellee.'  1853.    (' Journal  du 

Mus^e  Lorrain.') 
C.  Hequet,  '  Essai    biographique   sur  Claude   GelUe.' 

18()3.     ('Journal  de  la  Soci6t6  d'Arch&jlogie  Lor- 
raine.*) 
Sohert-Dumesnil, '  Le  Peintre-Graveur  francais,'  vol.  xi. 

1871.     (Claude  Gellfe,  par  E.  Meaume.) 
F.  del  Tal,  '  Le  Livre  des  Feux  d'artifice  de  Claude 

Lorrain.'      1861.      ('  Gazette     des     Beaux     Arts,' 

vol.  xi.) 
3r.  F.  Sweetser,  '  Claude  Lorrain.'    1878. 
Mrs.    Mark    Pattison    (now    Lady    Dilke),     'Claude 

Lorrain.'     1884. 

O.J.D. 

GELLIG.     See  Gilliq. 
GEMIGNANI.     See  Gimiqnani. 
GEMIGNANO,    Vikcenzo    da    San.      See   Ta- 

MAGNI. 

GEMINUS,  Thomas,  (or  Geminie,)  who  was  an 
engraver,  as  well  as  a  printer,  executed  several 
plates  to  ornament  his  publications.  In  the  year 
1545,  he  pubhshed  a  translation  of  Vesalius's 
'Anatomy,'  which  was  first  printed  at  Padua  in 
1542,  with  woodcuts.  Geminus  copied  them  on 
copper,  and  the  book  was  dedicated  to  Henry 
VIII.,  with  the  title  '  Compendiosa  totius  Anatomie 
Delineatio,  asre  exarata,'  and  published  in  folio  in 
1545.  These  plates,  according  to  Ames,  were 
some  of  the  first  rolling-press  printing  in  England. 
He  afterwards  published  an  English  translation 
of  the  same  work  by  Nicholas  Udal,  in  1552, 
dedicated  to  Edward  VI.  Geminus  lived  in  Black- 
friars,  where  he  published  a  '  Prognostication,'  re- 
hiting  to  the  weather,  the  phenomena  of  the 
Heavens,  &c.,  with  a  number  of  plates,  engraved 
by  himself.  Vertue  states,  that  he  published 
another  small  work  on  Midwifery,  with  copper 
cuts  by  himself. 

QEMMEL,  Hermann,  an  architectural  painter, 
was  born  in  1813  at  Barten  in  Eastern  Prussia.  He 
was  instructed  by  E.  Biermann  and  W.  Schirmer, 
and  afterwards  travelled  in  Italy.  In  1855  he  was 
made  professor  of  perspective  and  architecture  at 
the  Academy  of  Painting  in  Konigsberg,  where  he 
died  in  1868.  Mention  is  made  of  the  following 
works  by  him  : 

Family  Room  in  a  mediaeval  Castle.    1855. 

Chapel  of  Cardinal  Zeno  in  San  Marco. 

Baptistry  in  San  Marco. 

GENAELS,  Abraham.    See  Genoels. 

GENDALL,  John,  an  English  landscape  painter, 
was  born  about  the  year  1789.  He  assisted  in  the 
production  of  many  illustrated  books  of  scenery, 
notably  with  Pugin  in  '  Picturesque  Views  of  the 
Seine,'  1821,  and  with  Westall  and  Shepherd  in 
'  Views  of  Country  Seats,'  1823-28.  Between  1846 
and  1863  he  exhibited  at  the  Royal  Academy  many 
oil  and  water-colour  views  in  Devonshire,  where 
he  lived.     He  died  at  Exeter  in  1865. 

GENDRON,  Ernest  Adgustin,  a  French  his- 
torical painter,  was  born  in  Paris  in  1817.  He 
studied  under  Paul  Delaroche,  and  afterwards  spent 
six  years  in  Italy,  whence  he  sent  to  the  Salon  of 
1844  his  first  exhibited  picture—'  Dante  commented 
on  by  Boccaccio.'  There  also  he  painted  'The 
Willis,'  which  has  been  often  lithographed,  and 
'The  Nereids.'  Among  his  later  works  may  be 
mentioned  '  Sunday :  a  Florentine  Scene  in  the 
Fifteenth  Century '  (1855)  ;  'The  Funeral  of  a  young 

227 


A  BIOGRAPHICAL  DICTIONARY  OF 


Girl  at  Venice  (1859) ;  '  Nymphs  at  the  grave  of 
Adonis'  (1864) ;  and  'Lucretia'  (1869).  He  like- 
wise decorated  the  chapel  of  St.  Catharine  in  the 
church  of  St.  Gervais  in  Paris.     He  died  in  1881. 

GENELLI,  Camiixo,  who  was  born  at  Munich 
in  1840,  was  a  son  of  Buonaventura  Genelli,  and 
while  a  boy  drew  landscapes  under  his  father's 
tuition.  From  1856  to  1859  he  attended  the 
Munich  Academy,  and  went,  in  1864,  to  Vienna, 
where,  under  Eahl,  he  executed  oil  and  sepia 
compositions  from  Grecian  mythology,  among 
which  is  'Ulysses  slaying  the  Suitors.'  In  1865 
he  removed  to  Weimar,  where  he  died  in  1867. 

GENELLI,  Janus,  the  father  of  Buonaventura 
Genelli,  was  born  at  Copenhagen  in  1771,  and 
died  at  Berlin  in  1813.  He  was  instructed  in 
Rome,  and  painted  warmly-coloured  landscapes, 
particularly  from  the  Harz  mountains, 

GENELLI,  Buonaventura,  a  German  historical 
painter,  was  born  at  Berlin  in  1798.  He  was  the 
son  of  the  landscape  painter,  Janus  Genelli,  and 
received  his  first  tuition  from  Bury  and  Hummel, 
and  from  his  uncle,  Hans  Christian  Genelli,  the 
architect,  who  obtained  for  his  pupil  the  assistance 
of  the  Queen  of  the  Netherlands,  who  enabled  him 
to  go  to  Italy  in  1820.  In  1832  he  was  recalled 
to  paint  some  wall-pictures  for  Dr.  Hartel,  and 
in  1836  he  went  to  Munich,  where  he  remained 
until  1859.  He  then  settled  at  Weimar,  where  he 
died  in  1868.  A  '  Rape  of  Europa'  by  him  is  in 
the  Berlin  National  Gallery. 

GENGA,  Bartolommeo,  the  son  of  Girolamo 
Genga,  was  bom  at  Cesena  in  1518.  According  to 
Vasari,  he  painted  some  historical  pictures  in  the 
style  of  his  father,  but  he  is  more  known  as  a 
sculptor  and  an  architect,  than  as  a  painter.  He 
died  at  Malta  in  1558. 

GENGA,  Girolamo,  was  bom  at  Urbino  in  1476, 
and  was  first  a  disciple  of  Luoa  Signorelli,  whom 
he  assisted  in  several  of  his  works,  particularly  at 
Orvieto.  After  some  years  he  entered  the  school 
of  Pietro  Perugino,  at  the  time  when  Raphael  was 
a  student  under  that  master,  and  there  he  re- 
mained three  years  and  became  an  intimate  friend 
of  his  greater  fellow-pupil.  He  then  lived  for  a 
time  at  Florence  and  Siena,  but  returned  to  Urbino 
to  execute  a  commission  for  Duke  Guidobaldo  II. 
He,  however,  worked  as  a  coadjutor  with  Signo- 
relli, and  with  Timoteo  Viti,  and  afterwards  with 
Raffaello  dal  Colle  in  the  Imperiale  at  Pesaro.  His 
services  to  the  Duke  of  Urbino  were  more  in  the 
capacity  of  an  architect  than  a  painter,  though  he 
made  many  designs  for  the  decorations  of  the 
theatre.  He  afterwards  resided  at  Rome,  where  he 
painted  a  fine  picture  of  '  The  Resurrection '  for 
the  church  of  Santa  Cattarina  di  Siena.  About 
1512  he  returned  to  Urbino  at  the  bidding  of  the 
Duke  Francesco  Maria,  whom  he  afterwards  fol- 
lowed into  banishment  to  Cesena,  and  there  painted 
an  altar-piece  representing  '  God  the  Father,  with 
the  Virgin  and  Four  Fathers  of  the  Church,'  which 
is  now  in  the  Brera  at  Milan.  In  the  Pitti  Palace 
at  Florence  is  a  '  Holy  Family '  by  him.  He 
died  at  Urbino  in  1551.  He  was  also  a  sculptor 
and  modeller.  Among  his  pupils  were  Francesco 
Menzocchi,  and  Baldassare  Lancia. 

G^INILLON,  Jean  Baptiste  FBANgois,  a  marine 
painter  of  the  school  of  Joseph  Vernet,  was  born 
about  1749.  His  subjects  are  naval  combats,  ship- 
wrecks, sea-ports,  eruptions  of  Vesuvius  by  moon- 
light, and  conflagrations  at  sea  under  a  similar 
aspect.  He  died  in  Paris  in  1829. 
228 


GENISSON,  Victor  Jules,  a  Flemish  painter, 
was  born  at  St.  Omer  in  1805.  He  studiedat 
Antwerp  under  the  brothers  Van  Bree,  and  died 
at  Bruges  in  1860.  He  excelled  in  painting 
the  interiors  of  churches,  and  amongst  his  works 
are : 
The  Archduke  Albert  and  Archduchess  Isabella  visiting 

Tournai  Cathedral  in  1600.    (Brussels  Gal/en/.) 
luterior  of  the  Chapel   of  the  Holy   Sacrament,  St. 

Gudule,  Brussels.     1835. 
Interior  of  St.  Jacques,  Antwerp.  1836   (Dublin  National 

Gallery.) 
Interior  of  Antwerp  Cathedral.    1837. 
Confessional  in  St.  Paul,  Antwerp. 
Interior  of  Strassburg  Cathedral. 
Interior  of  Amiens  Cathedral. 
GENNARI,  Bartolommeo,  son  of  Benedetto  Gen- 
nari  the  elder,  was  bom  at  Cento  in  1594.    He  was 
nearly  of  the  same  age  with  Guercino,  and  rather 
emulated  his  style  than  copied  him.    In  the  church 
of  Santa  Maria  del  Carobio,  at  Bologna,  is  a  fine 
picture  of  the  '  Assumption '  by  this  master.     He 
died  in  1661. 

GENNARI,  Benedetto,  the  elder,  who  was  born 
at  Cento  in  1570,  and  died  there  in  1610,  was  the 
instructor  of  Guercino,  and  has  left  a  painting 
of  'Christ  at  Emmaus,'  now  in  the  Capuchin 
monastery  at  Cento,  which  has  passed  for  a  work 
of  that  master.  He  also  produced  a  number  of 
portraits. 

GENNARI,  Benedetto,  the  younger,  born  at 
Cento  in  1633,  was  the  nephew  and  the  scholar 
of  Guercino,  with  whom  he  soon  became  associated 
in  his  work.  Finding  that  his  uncle's  productions 
were  highly  valued  by  Louis  XIV.  of  France, 
he  proceeded  to  Paris  in  1672,  where  he  was 
well  received.  Lanzi  states,  that  he  saw  in  the 
Palazzo  Ercolani,  a  picture  of  'Bathsheba'  by 
Guercino,  together  with  a  copy  of  the  same  by 
Gennari,  and  remarks  that  the  former  appeared  to 
be  freshly  painted,  and  the  copy  to  be  the  older 
picture.  He  also  painted  some  pictures  of  his 
own  composition  for  the  churches  at  Bologna  and 
Cento.  He  came  to  England  in  1674,  and  was 
for  some  time  in  the  service  of  Charles  II.  and  of 
James  II.  When  the  latter  was  dethroned  he  re- 
turned to  France,  and  in  1690  went  to  Bologna, 
where  he  died  in  1715.     His  principal  works  are  : 


Bologna.  S.  Domenico. 

S.  Giovanni  in  Monte. 


St.  Rosa. 

St.  Anianus  baptizing  a  Pagan 

King. 
Head  of  St.  Peter. 
St.  Anthony  of  Padua. 
Painting  and  Drawing. 
David. 

St.  Zacharias. 
St.  Jerome. 
St.  Justin. 
St.  Peter. 

Head  of  an  Apostle. 
PhiUp  II. 
St.  Leonard. 
St.  Jerome. 

GENNARI,  CESARE.the  younger  brother  of  Bene- 
detto Gennari,  was  born  at  Cento  in  1637,  and  was 
also  instructed  by  his  uncle  Guercino,  whose  style 
he  followed  with  success.  He  painted  several  pic- 
tures, from  designs  of  his  own,  for  the  churches  at 
Bologna.  In  San  Martino  Maggiore  is  a  picture 
of  '  St.  Mary  Magdalen  of  Pazzi,'  painted  entirely 
in  the  style  of  Guercino  ;  in  San  Niccol6,  '  St. 
Nicholas  kneeling  before  the  Virgin  ; '  at  the  Padn 
Servi, '  St.  Apollonia  ; '  in  San  Bartolommeo, '  Christ 
praying  in  the  Garden,'  and  in  the  Pinacoteca  the 


„ 

Pinacoteca. 

IT 

Dresden. 

Cappuccini. 
Gallery. 

Florence. 

Pitti  Palace. 

Forli. 

Filippini. 
Gallery. 

Madrid. 

Modena. 

Estense  Gallery. 

Osimo. 

Cathedral. 

Vienna. 

Gallery. 

PAINTERS  AND  ENGRAVERS. 


'  Vision  of  the  Virgin  and  Cliild  to  St.  Nicholas.' 
In  the  Pitti  Palace  at  Florence  is  a  '  Madonna  and 
Child.'     He  died  at  Bologna  in  1688. 

GENNARI,  Ercole,  a  son  of  the  elder  Bene- 
detto Gennari,  was  born  at  Cento  in  1597,  and  died 
there  in  1658.  He  was  instructed  by  his  brother- 
in-law  Guercino,  whom  he  closely  imitated  in  his 
works. 

GENNARI,  Giovanni  Battista,  was  a  native  of 
Cento,  who  flourished  about  the  year  1606.  He  is 
stated  by  Lanzi  to  have  been  one  of  the  masters 
of  Guercino,  and  to  have  been  a  successful  historical 
painter.  In  the  '  Guida  di  Bologna '  is  noticed  a 
picture  by  this  master  in  the  church  of  the  Trinita 
representing  the  '  Madonna  in  glory,  with  Saints,' 
painted  in  the  style  of  Procaccini.  It  is  dated  1606. 
GENNARI,  Lorenzo,  was  probably  related  to 
Benedetto  Gennari.  He  was  a  scholar  of  Guercino, 
and  flourished  about  the  year  1650.  One  of  his 
best  pictures  is  at  the  Cappuccini  at  Rimini. 
GENNARO  DI  COLA.  See  Cola. 
GENOD,  Michel  Philibert,  a  French  genre  and 
historical  painter,  was  born  at  Lyons  in  1796,  and 
died  there  in  1862.  He  was  instructed  by  R6voil, 
and  became  one  of  the  most  noted  artists  of  his 
native  city.  '  The  Family  Festival '  (1855)  is  one 
of  his  best  paintings. 

GENOELS,  Abraham,  sometimes  called  Archi- 
medes, was  born  at  Antwerp  in  1640.  When  he 
was  twelve  years  of  age,  he  became  a  pupil  of 
Jacob  Backereel,  with  whom  he  remained  until  be 
was  fifteen.  His  ambition  confined  itself  at  first 
to  portrait  painting ;  but  having  made  some  suc- 
cessful attempts  at  landscapes,  he  attached  him- 
self to  that  branch  of  the  art,  to  which  his  genius 
was  more  adapted.  To  perfect  himself  in  per- 
spective, he  studied  for  some  time  under  Fierlants, 
a  native  of  Bois-le-Duc,  who  resided  at  Antwerp, 
and  who  was  esteemed  the  most  correct  professor 
of  that  science  of  his  time.  His  desire  for  improve- 
ment prompted  him  to  travel ;  and  he  visited  Paris 
at  the  time  when  Poussin,  Mignard,  and  Le  Brun 
were  in  the  zenith  of  their  fame.  It  was  not  long 
before  his  talent  distinguished  itself  in  that  metro- 
polis ;  and  he  was  employed  to  paint  the  cartoons 
for  eight  large  landscapes  to  be  executed  in  tapestry 
for  M.  de  Louvois,  in  which  the  figures  were  painted 
by  De  Seve.  He  was  engaged  by  Le  Brun  to  paint 
the  backgrounds  of  his  '  Battles  of  Alexander  ; '  and 
in  1665  was  made  a  member  of  the  Academy  at 
Paris,  under  the  auspices  of  Le  Brun.  These  flatter- 
ing distinctions  could  not,  however,  detain  him  at 
Paris;  and  after  having  in  1672  beenmade  a  member 
of  the  Guild  of  St.  Luke  in  his  native  city,  lie  pro- 
ceeded to  Rome,  where  he  arrived  in  1674,  and  was 
received  into  the  Bentevogel  Society,  who  conferred 
on  him  tlie  name  of  'Archimedes,'  on  account  of 
his  knowledge  of  mathematics,  and  with  this  title 
he  sometimes  signed  his  etchings.  He  painted 
several  large  pictures  of  views  in  the  vicinity  of 
Rome,  for  Cardinal  Rospigliosi ;  and  after  a  resid- 
ence of  eiglit  years  in  Italy,  he  returned  to  Flanders 
in  1682  with  an  ample  collection  of  drawings 
which  he  had  made  of  the  environs  of  Rome.  He 
died  at  Antwerp  in  1723.  Genoels  may  be  ranked 
among  the  ablest  landscape  painters  of  his  country. 
His  colouring  is  natural  and  vigorous ;  he  pos- 
sessed a  commanding  facility,  and  a  touch  which 
he  could  appropriate  to  the  particular  objects  he 
had  to  represent.  A  painting  by  him  of  'Minerva 
and  the  Muses '  is  in  the  Antwerp  Museum,  and 
two  of  his  landscapes  are  at  Brunswick. 


We  have  by  this  painter  some  masterly  etchings 
of  landscapes,  from  his  own  designs,  executed  in  a 
bold,  free  style,  and  ornamented  with  figures  and 
cattle.     He  sometimes  marked  his  plates  with  the 

cipher  ^^.  among  them  are  the  following : 

A  set  of  four  mountainous  Landscapes,  with  ruins  and 

figures.     1684. 
Two  rocky  Landscapes,  with  figures.     1675. 
Two  grand  Landscapes,  with  ruins  and  figures. 
Four  mountainous  Landscapes,  with  ruins  and  waterfalls. 
Four  views  of  Gardens,  with  figures  and  statues. 
Two  large  Landscapes,  with  waterfalls. 

GENOVA,  LucHETTO  da.    See  Cambiaso,  Luca. 

GENOVESE,  El.  See  Castello,  Giovanni 
Battista. 

GENOVESE,  II  Peete.     See  Galantini. 

GENOVESE,  II  Prete.     See  Strozzi. 

GENOVESINO,  II.     See  Calcia,  Giuseppe. 

GENOVESINO,  II.     See  Miradori. 

GENSLER,  Jakob,  a  genre  painter,  was  bom  at 
Hamburg  in  1808,  and  received  his  first  instruc- 
tion in  that  city  under  Gerold  Hardorf  the  elder. 
In  1824  he  was  placed  under  J.  H.  W.  Tischbein 
at  Eutin,  and  remained  with  him  for  two  years, 
after  which,  in  1828,  he  attended  the  Academy  at 
Munich.  After  a  short  stay  in  the  Tyrol  and 
Salzburg,  he  proceeded  in  1830  to  Vienna  for 
further  study,  and  returned  in  the  following  year 
to  Hamburg,  where  he  settled  down.  He  visited 
Holland  and  Belgium  in  1841,  and  died  at  Ham- 
burg in  1845. 

GENTIL.     See  Alaux,  Jean  Paul. 

GENTILE,  LuiGl.     See  Primo. 

GENTILE  DA  FABRIANO.     See  Massi. 

GENTILESCA,  Sofonisba,  a  French  lady,  illus- 
trious in  art,  is  mentioned  by  Palomino  as  coming 
from  France  in  the  train  of  Queen  Isabella  of  Valois, 
third  wife  to  Phihp  II.  of  Spain.  She  painted  with 
great  skill  miniature  portraits  of  their  M.ijesties, 
the  Infant  Don  Carlos,  and  many  of  the  court 
ladies.     She  died  at  Madrid  in  1587. 

GENTILESCHI,  Artemisia,  the  daughter  and 
the  disciple  of  Orazio  Gentileschi,  was  born  at  Rome 
in  1590.  She  accompanied  her  father  to  England, 
where  she  painted  some  portraits  of  the  nobility, 
and  some  historical  pictures  for  the  king,  the  best 
of  which  was  '  David  with  the  Head  of  Goliath.' 
Her  portrait  by  herself  is  at  Hampton  Court.  But 
she  passed  the  chief  part  of  her  life  at  Naples  and 
Bologna,  where  she  was  much  admired  for  her 
accomplishments  and  her  talents  as  a  painter.  She 
was  favoured  with  the  friendship  and  advice  of 
Guido,  and  studied  attentively  the  works  of  Do- 
menichino.  In  the  Pitti  Gallery  at  Florence  are 
her  best  performances,  representing  '  Judith  with 
the  Head  of  Holofernes,'  and  '  Mary  Magdalen  ; ' 
and  in  the  Madrid  Gallery  tlie  'Birth  of  St.  John 
the  Baptist,'  and  a  Portrait.  She  married  Antonio 
Schiatessi.     She  died  in  1642. 

GENTILESCHI,  Francesco,  who  flourished  in 
the  first  half  of  the  17th  century,  was  the  son  of 
Orazio  Gentileschi,  with  whom  he  came  to  Eng- 
land. He  studied  under  Domenico  Fiasella,  called 
Sarzana,  but  his  pictures,  which  are  said  to  have 
been  historical,  are  little  known. 

GENTILESCHI,  Orazio,  called  Lomi,  after  his 
step-father,  was  born  at  Pisa  in  1562.  He  studied 
under  his  half-brother,  Aurelio  Lomi,  and  his  uncle 
Bacci  Lomi,  and  then  went  to  Rome,  where  he 
improved  his  style  by  studying  the  works  of  the 
best  masters,  and  by  the  advice  and  assistance  of 

229 


A  BIOGRAPHICAL  DICTIONARY  OF 


Agostino  Tassi,  with  whom  he  formed  an  intimate 
friendship,  and  whose  landscapes  he  frequently 
decorated  with  figures.  Several  of  their  joint  works 
are  in  the  Quirinal  and  Rospigliosi  Palaces,  and 
in  other  places  in  Rome.  He  also  painted  his- 
torical subjects  for  the  churches  and  public  edifices, 
particularly  for  La  Pace,  and  a  fine  picture  of  '  St. 
Cecilia  and  St.  Valerian,'  in  the  Palazzo  Borghese. 
Some  of  his  best  works  are  in  the  royal  palace 
at  Turin,  and  at  Genoa.  He  afterwards  visited 
France,  from  whence  hi.s  repute  travelled  to  Eng- 
land, and  caused  Van  Dyck  to  send  for  him  to 
London,  where  he  was  employed  by  Charles  I. 
Nine  pictures  by  Gentileschi  in  the  royal  collection 
were  sold  after  the  king's  death  for  six  hundred 
pounds,  and  are  now  the  ornaments  of  the  hall  at 
Marlborough  House.  He  also  painted  two  pictures 
for  the  Duke  of  Buckingham — a  '  Magdalen,'  and 
the  '  Holy  Family.'  Van  Dyck  painted  an  admir- 
able portrait  of  him,  which  has  been  engraved  by 
Vorsterman.  He  resided  in  England  twelve  years, 
and  died  in  London  in  1647.  The  following  are 
some  of  his  paintings : 

Compi'egne,  Meditation.  Hampton,  Court,  A  Sibyl; 
Joseph  and  Potiphar's  Wife.  Madrid,  Assumption  ; 
Moses  rescued  by  Pharaob's  Daughter,  Milan,  SS. 
Cecilia,  Valerian,  and  Tiburtius,  crowned  by  an 
Angel.  Faris,  Kepose  of  the  Holy  Family.  Vienna, 
The  Penitent  Magdalen. 

GENTSCH,  Andreas,  was  a  German  engraver, 
who  resided  at  Augsburg,  and  flourished  early 
in  the  17th  century.  He  engraved  several  small 
copper-plates  of  grotesque  ornaments,  some  of 
which  are  dated  in  1616.  He  usually  marked  his 
plates  with  the  same  cipher  as  Heinrich  Aldegrever 


/(j»    •  but  they  are  inferior  to  the  works  of  that 

artist,  and  the  date  also  furnishes  a  distinction. 

GENTZ,  WlLHELM,  eminent  German  painter  of 
Oriental  subjects  ;  born  at  Neu-Ruppin,  December 
9,  1822.  He  received  his  early  training  at  the 
Berlin  Academy,  which  was  supplemented  by  a 
long  course  of  study  abroad,  particularly  in  the 
East.  He  chose  Antwerp  as  a  place  in  which  to 
work,  and  subsequently  studied  in  Paris  with 
Gleyre  and  Couture.  His  pictures  represent  life 
and  scenery  in  Spain,  Egypt,  Nubia,  Palestine, 
and  Turkey,  and  his  very  rich  colouring  was  well 
suited  to  the  vivid  scenes  which  he  portrays. 
His  '  Entrance  of  the  Crown  Prince  of  Prussia 
into  Jerusalem  in  1869'  is  in  the  National  Gallery 
of  Berlin,  and  other  notable  works  are  '  The 
Flamingoes,'  '  Evening  on  the  Nile,'  '  Arab  Story- 
tellers at  Cairo,' and  '  Prayer  in  the  Desert.'  He 
died  at  Berlin  on  August  2.3,  1890. 

GEOFFROY,  Charles  Michel,  a  French  en- 
graver, was  born  at  Joinville  in  1819,  and  died  at 
Passy  in  1883.  He  engraved  the  '  Medee '  of 
Delacroix,  the  '  Harem  '  of  Diaz,  the  '  Watermill ' 
of  Ruisdael,  and  several  portraits  of  theatrical 
celebrities. 

GEORGI,  Friedrich  Otto,  a  German  painter, 
was  born  at  Leipsic  in  1819,  and  died  at  Dresden 
in  1874.  There  is  by  him  in  the  Dresden  Gallery 
a  picture  of  '  Jerusalem  and  Mount  Moriah.' 

GERA.     See  Jacopo  di  Michele. 

GERAATS,  Marc.     See  Geerarts. 

GERARD.     See  Grandville. 

GERARD,  Francois  Pascal  Simon,  Baron,  a 
French  historical  and  portrait  painter,  was  born  in 
1770  at  Rome,  where  his  father  was  in  the  service  of 
230 


the  ambassador  of  France.  About  1782,  he  came  to 
Paris,  and  studied  for  eighteen  months  in  an  aristo- 
cratic academy.  He  then  became  a  pupil  of  the 
sculptor  Pajou,  then  of  Brenet,  and  finally,  in 
1786,  of  David,  by  whom  his  style  was  chiefly 
influenced.  In  1789  he  competed  for  the  '  prix  de 
Rome,'  but  only  succeeded  in  obtaining  the  second 
place.  The  following  year  saw  the  death  of  his 
father,  which  caused  him  to  accompany  his  mother, 
who  was  a  native  of  Italy,  back  to  Rome.  On  his 
return  to  Paris,  he  managed  with  some  difficulty  to 
escape  the  whirlpool  of  revolutionary  politics,  and 
to  devote  himself  to  art.  One  of  his  best  works, 
'  Behsarius,'  appeared  in  1795,  and  was  bought  by 
the  Dutch  minister.  His  chief  support,  however, 
for  some  years  was  in  working  for  the  publishers, 
for  whom  he  produced  drawings  illustrating  editions 
of  Virgil  and  Racine.  He  at  length  won  a  position 
by  means  of  his  portraits,  and  was  patronized  suc- 
cessively by  Napoleon  I., 'Talleyrand,  Louis  XVIII., 
the  Emperor  of  Russia,  the  King  of  Prussia,  Charles 
X.,  Louis  Philippe,  and  others.  With  such  patrons 
he  did  not  lack  honours :  he  was  one  of  the  original 
knights  of  the  Legion  of  Honour,  he  was  elected  a 
member  of  the  Institute,  and  in  1819  he  was  created 
a  Baron.  In  his  latter  years  his  house  was  the 
resort  of  many  celebrities,  and  he  attracted  a  large 
circle  of  friends.  During  this  period  he  was  much 
occupied  in  the  completion  of  some  large  decora- 
tive works  at  the  Pantheon,  representing  '  Death,' 
'Patriotism,'  'Justice,'  and  'Glory.'  Gerard  did 
not  keep  an  atelier  for  students  as  is  customary 
with  French  painters,  but  he  was  assisted  in  his 
numerous  works  by  Paulin  Guerin,  Steuben,  and  his 
only  pupil.  Mademoiselle  Godefroid.  He  died  in 
Paris,  after  a  short  illness,  January  11th,  1837. 
It  is  computed  that  Gerard  produced  28  historical 
pictures,  87  full-length,  and  about  200  half-length 
portraits,  besides  a  great  number  of  subject  pic- 
tures. 'The  judgment  of  his  contemporaries  has 
been  ratified  :  Gerard's  historical  and  subject  pic- 
tures lack  that  greatness  of  idea  and  power  of  execu- 
tion which  would  have  entitled  him  to  a  place  in  the 
front  rank  of  painters.  It  is  by  bis  portraits  that 
he  is  to  be  judged,  and,  thanks  to  the  opportunities 
he  enjoyed,  few  portrait  painters  have  had  a  greater 
chance  by  the  distinction  of  their  sitters,  of  trans- 
mitting their  names  to  posterity.  He  may  be  con- 
sidered as  one  of  the  last  of  the  direct  followers 
of  David :  he  did  not  seek  for  any  new  or  striking 
inspirations  which  might  form  a  starting-point  for 
a  new  departure  in  art,  but  adhered  closely  to  the 
canons  of  classicism  as  enunciated  by  his  master. 

Baron  Gerard's  '  CEuvre '  was  published  with 
descriptive  text  by  his  nephew  in  1852-67,  in  three 
folio  volumes,  and  his  '  Correspondance '  with 
artists  and  distinguished  persons  of  his  time  in  1867. 
The  following  is  a  list  of  the  works  by  him  to  be 
found  in  some  of  the  chief  European  collections  : 

historical  and  subject  pictures. 

Joseph     recognized     by    his 

brethren.     1789. 
Achilles  and  Patroclus. 
Sappho.     1810. 

[  Hope.     1829. 

Corinna  at  Misenum.     1819. 
The  Plague  at  Marseilles.  1835 
Belisarius.     1795. 
The  Three  Ages.     1806. 
Christ    descending   on  earth 
and  dispelling  darkuess. 


Angers. 

Museum. 

Caen. 

Museum. 

Frankfort. 

Stadellnst. 

London. 

Lansdowne 

House. 

Lyon  P. 

Museum. 

Marseilles. 

Sayite. 

Munich. 

GalUi-y. 

Naples. 

Museum. 

Orleans. 

Museum 

PAINTERS  AND  ENGRAVERS. 


Paris.  Injirmerie  de  Marie  )  at.  rm. 

Therhe.         j  «*•  Theresa. 

„  Louvre.    Oupid  and  Psyche.     1798. 

n  „         History  and  Poetry. 

),  I,         Daphnis  and  Chloe.    1825. 

,)  „         Victory  and  Renown. 

Tarbes.  Museum.    Achilles  finding  the  body  of 

Patroclus. 
Versailles.  Gallery.    Battle  of  Austerlitz.    1810. 

,f  „  Entry  of  Henry  IV.  into  Paris. 

1817. 
„  „  Philip  V.  called  to  the  throne 

of  Spain.     1824. 
„  „  Coronationof  Charles  X.  1829. 

„  „  Louis  Philippe  at  the  Hotel  de 

Ville.    1836. 

PORTRAITS. 

Ajaccio.      H6tel-de-Vilh.  Louis  Bonaparte. 

,1  ,t  Napoleon  I. 

„  Museum.  Louis  XYIXI. 

Angers.  Museum.  Lareveillere-Lepeaui. 

i»  „  Madame  de  St.  Jean  d'Angely. 

Arras.  Museum.  His  own  Portrait. 

Avignon.  Museum.  Queen  Hortense  as  a  child. 

Dijon.  Museum.  Due  de  Bassauo. 

Dresden.  Gallery.  Napoleon  I. 

Hatfield.  House.  Louis  XVIII. 

Marseilles.  Museum.  Louis  XVIII. 

MontpeUier.         Museum.  Madame  Pasta. 

Nancy.  Museum.  Napoleon  I. 

Paris.  Louvre.  Isabey  and  his  Daughter.  1796. 

J,  „  Antonio  Canova. 

II  „  Charles  X. 

^"/ateiZ.  ^  }  Madame  E^camier. 
Toulouse.  Museum.    Louis  XVIII. 

Versailles.  Gallery.     Madame  Bonaparte. 

ti  „  Empress  Josephine. 

»  ,1  Empress  Marie  Louise,  and  the 

King  of  Eome. 
„  „  Joachim     Murat,     King      of 

Naples. 
II  ,1  Charles  X. 

II  ,1  Duke  of  Berry. 

II  II  Duchess  of  Berry  and  children. 

O.J.D. 
GERARD,  LoDis  Atjguste,  a  French  landscape 
painter,  was  born  at  Versailles  in  1782,  and  studied 
under  Bertin.    He  died  in  Paris  in  1862.    Anjongst 
his  works  are : 

View  of  the  Porte  d'Auteuil.    1819. 

View  of  Rouen.     1822. 

View  of  the  Chapel  of  Betharam.    1827. 

The  Bridge  of  Neuilly. 

View  at  Senlis. 

View  of  Chateau  de  Polignac.    (Narlonne  Museum.) 

GERARD,  Marc.    See  Geerarts. 

GERARD,  Marguerite,  born  at  Grasse  in  1761, 
was  a  pupil  of  Fragonard.  There  are  by  her  in 
the  Bordeaux  Museum  full-length  portraits  of  M. 
Tallien  and  M.  Recamier,  and  at  Fontainebleau  a 
picture  entitled  '  Les  Torterelles.' 

GERARD  OF  ST.  JOHN.    See  Haarlem,  Geerit 

VAN. 

GERARDI,  Amtonio,  is  mentioned  by  Le  Comte 
as  an  engraver  of  funeral  pomps,  monuments,  &c. 

GERARDIN,  Jean,  a  French  engraver,  flour- 
ished about  the  year  1680.  He  worked  entirely 
with  the  graver,  in  a  neat  style,  but  without  taste. 
He  engraved  a  set  of  plates  after  the  pictures  by 
Pietro  da  Cortona,  in  the  palace  at  Florence. 

GERARDINI,  Melchiorre,  (Gherardini,  Giral- 
DINI,  or  GiLARDiNO,)  a  painter  and  engraver,  was, 
according  to  Orlandi,  a  native  of  Milan,  and  was 
a  scholar  of  Giovanni  Battista  Crespi,  called  Cerano. 
After  the  death  of  that  master,  Gerardini  was 
employed  to  finish  the  pictures  he  left  imperfect ; 


and  he  also  painted  for  the  churches  several  altar- 
pieces  of  his  own  composition.  At  San  Celso, 
a  small  town  near  Milan,  is  a  picture  by  him  of 
St,  Catharine  of  Siena,  of  which  Lanzi  speaks  in 
favourable  terms.  He  etched  some  plates  after 
Pietro  da  Cortona,  Guido,  and  others,  as  well  as 
several  from  his  own  designs  in  the  style  of  Callot, 
representing  battles  and  other  subjects,  executed 
with  neatness  and  spirit.     He  died  in  1675 

GERARDS.     See  Zyll,  Geraerd  P.  van. 

GERBIER,  Sir  Balthasab,  Baron  d'Ouvilly, 
was  born  at  Middleburg  in  1692,  and  distinguished 
himself  as  a  miniature  painter,  at  a  period  when 
the  ablest  artists  of  his  country  were  in  their 
greatest  celebrity.  He  came  to  England  as  a 
retainer  of  the  Duke  of  Buckingham  in  1613,  and 
painted  the  portraits  of  the  principal  nobility  of 
the  time.  He  accompanied  the  Duke  of  Bucking- 
ham to  Spain,  where  he  was  sent  to  bring  about 
the  treaty  of  marriage.  Among  the  Harleian 
manuscripts  is  a  letter  from  the  Duchess  of  Buck- 
ingham to  her  lord,  when  in  Spain,  in  which  she 
says,  "  I  pray  you,  if  you  have  an  idle  time,  sit  to 
Gerbier  for  your  picture,  that  I  may  have  it  well 
done  in  little."  The  Earl  of  Denbigh  possesses 
a  portrait  of  Donna  Maria,  Infanta  of  Spain,  by 
Gerbier.  On  it  is  inscribed  :  "  This  is  the  picture  of 
the  Infanta  of  Spain  that  was  brought  over  by  the 
Duke  of  Bucks.  She  was  to  have  married  Bang 
Charles  the  First."  In  the  collection  of  the  Duke 
of  Northumberland  is  a  large  oval  miniature  of  the 
Duke  of  Buckingham  on  horseback,  by  him,  dated 
1618.  The  head  is  well  painted,  and  it  is  finished 
with  great  labour.  The  head  of  the  horse  is  spirited. 
In  a  letter  dated  1628,  it  is  said,  "  That  the  King 
and  Queen  were  entertained  at  supper  at  Gerbier's, 
the  Duke's  painter's  house,  which  could  not  stand 
him  in  less  than  one  thousand  pounds."  In  1641 
he  was  appointed  master  of  the  ceremonies,  and  the 
same  year  was  naturalized  as  an  English  subject, 
and  also  made  successor  to  Inigo  Jones  as  surveyor 
of  the  royal  palaces.  But  falling  into  disfavour  soon 
after,  he  left  England  and  went  to  Surinam,  where 
he  was  seized  as  a  Dutch  subject  and  sent  back 
to  Holland.  He  returned  to  this  country  during 
Cromwell's  Protectorate,  and  founded  an  academy, 
which,  however,  had  but  very  slight  success.  He 
was  employed  on  the  decorations  for  Charles  II.'b 
triumphal  entry  into  London,  and  met  with  con- 
siderable occupation  as  an  architect.  He  died  in 
London  in  1667,  while  engaged  upon  the  building 
of  Lord  Craven's  residence,  Hempstead  Marshall, 
and  there  he  was  buried.  He  published  several 
works,  including  an  '  Encyclopaedia  of  Art.'  Van 
Dyck  painted  a  fine  picture  of  Sir  Balthasar  Gerbier 
and  his  family,  which  is  now  at  Windsor  Castle. 

GERBO,  LoDls,  a  Flemish  painter,  was  bom  at 
Bruges  in  1761,  but  went  to  Paris,  where  he  was 
engaged  as  a  decorative  painter.  In  the  church  of 
St.  Jacques  in  Ghent  is  a  '  Holy  Family,'  and  several 
pictures  are  at  the  chateau  of  St.  Andre  near  Bruges. 
He  died  in  1818 

GERCO,  B.,  a  Dutch  engraver,  executed  some 
plates  in  imitation  of  the  charming  prints  of  Water- 
loo. After  etching  the  plates  he  scratched  upon  them 
with  the  graver,  and  from  not  having  afterwards 
cleared  away  the  barb,  has  left  a  clumsy  eilect. 

GERHARD,  Otto,  a  painter  of  Regensburg, 
flourished  about  the  year  1720.  His  historical 
pictures  and  other  works,  which  are  in  the  style  of 
Bourguignon,  show  considerable  talent. 

GERHARD  van  HAAELEM.     See  Haarlem. 

231 


A  BIOGRAPHICAL  DICTIONARY  OF 


GERICAULT,  Jean  Louis  Andri^  THfoooBE, 
a  French  animal  and  historical  painter,  was  born  at 
Rouen,  September  26th,  1791.     He  was  the  son  of 
an  advocate  in  good  circumstances,  and  was  sent 
to  Paris  to  complete  his  education  at  the  Lycee 
Imperials.     While  still  at  school,  the  bent  of  his 
inclinations  was  plainly  to  be  seen.     His  holidays 
were  spent  at  the  circus,  and  in  the  streets  there 
was  no  greater  attraction  to  him  than  the  horses  in 
a  well-appointed  equipage.      In  1808  he  became 
for  a  short  time  the  pupil  of  Carle  Vemet.     He 
then  studied  under  Gu6rin,  with  whose  academic 
traditions  he  had  but  little  sympathy.      His  art- 
training  was  really  due  to  his  study  of  the  old 
masters  in  the  Louvre,  and  the  works  of  Rubens 
exercised  a  very  powerful  influence  on  him.     His 
family  was  much  opposed  to  his  becoming  a  painter, 
and  his  ardent  spirits,  checked  in  one  direction, 
sought  other  pursuits.     He  became  a  member  of 
the  Jockey  Club,  and  plunged  into  all  the  dissipa- 
tions of  the  'jeunesse  dorie.'  At  length,  in  1812,  he 
was  enabled  to  have  a  studio  of  his  own,  and  the 
first-fruits  of  his  work  in  it  was  the  '  Chasseur  de 
la  Garde,'  now  in  the  Louvre.     On  the  Restoration 
in  1814,  he  served  for  three  months  in  the  Royal 
Musketeers,  and  for  the  next  two  years  he  did  but 
little  painting.    In  1816  he  set  out  for  Italy,  where 
he  occupied  himself  in  making  copies  from  the  old 
masters.      Hitherto  he  had  devoted  his  attention 
chiefly  to  animal  painting,  but  on  his  return  to 
Paris  he  produced  what  is  really  his  only  great 
historical  work,  'The  Raft  of  the  Medusa.'     It  was 
exhibited  at  the  Salon  of  1819,  where  it  evoked  a 
great  storm  of  criticism,  and  its  appearance  may 
be  said  to  mark  the  commencement  of  the  struggle 
between    the    Classic   and    Romantic    schools   in 
France.     G^rioault  shortly  after  visited  England, 
in  company  with  his  friend  Charlet,  and  by  the 
exhibition  of  this  work  in   London   realized  the 
sum  of  £800.     During  his  stay  in  this  country,  he 
practised  the  then  new  art  of   lithography  with 
much  ardour.     Many  of  his  works  in  this  medium 
represent  English  scenes,  amongst  which  mention 
should  be  made  of  'The  Coal  Waggon.'     On  his 
return  to  France,  his  health,  sorely  tried  by  dis- 
sipation, began  to  give  way,  and  his  condition  was 
aggravated  by  a  fall  from  his  horse.     He,  never- 
theless, produced  at  this  time  a  great  number  of 
sketches,  studies,  &c.,  and  also  made   some  pro- 
gress in  sculpture.      His  death  took  place  in  Paris 
on  January  18th,  1824.     The  following  is  a  list  of 
G^ricaulfs  works  in  public  galleries : 


Chalons-      | 
sur-Saone.  J 
Grenoble.       Museum. 
Moutpellier,  Museum. 


Museum.     A  Negro. 


Nantes. 
Paris. 


Eouen. 
w 

282 


Two  Horses  in  a  stable. 
Portrait  of  Lord  Byron. 
Two  Horses  in  a  stable. 
,,  Sketches. 

Museum.    Officer  of  Chasseurs  of  the  Guard. 
{A  study  for  the  Lnuvre  picture.) 
Louvre.    The  Derby  at  Epsom.     1821. 
„  Wounded  Cuirassier  quitting  the 

field.     1814. 
„  Head  of  a  BuU-dog. 

„  Turkish  horse  in  a  stable. 

„  Spanish  horse  in  a  stable. 

„  A  Carabineer. 

„  Stable  with  five  horses. 

,,  The  Lime-kiln. 

„  Officer  of  the  Chasseurs  of  the 

Guard.     1812. 
The  Raft  of  the  Medusa.    1819. 
Museum.     Study  of  a  horse. 

„  Study  of  heads  of  goats. 

O.J.D 


Florence. 


Academy. 


San  Gimignano.     Gallery. 


GERIKE,  Samuel  Theodor,  an  historical  painter, 
waB  born  at  Spandau  in  1665,  and  studied  under 
Romandon.  He  was  court-painter  in  Berlin,  and  is 
also  known  by  two  etchings, '  The  Virgin  kissing  her 
Son's  Body  at  the  Tomb,'  and  '  John  the  Baptist  in 
the  Wilderness.'     He  died  at  Berlin  in  1730. 

GERINI,  Lorenzo  di  Niccol6,  the  son  of  Niccol6 
di  Pietro  Gerini,  flourished  in  the  15th  century. 
In  the  passage  leading  to  the  chapel  of  the 
Medici  in  Santa  Croce  at  Florence  is  a  'Corona- 
tion of  the  Virgin,  with  attendant  Saints, '  painted 
by  him  in  1410;  but  his  principal  work  is  an  altar- 
piece  in  San  Domenico,  Cortona,  representing  the 
'Coronation  of  the  Virgin,'  with  a  predella  con- 
taining the  '  Adoration  of  the  Magi,'  signed  by 
Lorenzo  in  1440.  Little  is  known  about  his  life 
or  death,  but  the  following  works  by  him  are 
preserved : 

Coronation    of    the   Virgin. 
1401.     (The  central  panel  of 
an  altar-piece.) 
Glorification  of  St.  Bartholo- 
mew.    1401. 
„  „  „  Virgin  and  Child. 

„  „  Four  scenes  from  the  lives  of 

SS.  Fina  and  Gregory. 
GERINI,  Niccol6  di  Pietro,  who  flourished  in 
the  closing  years  of  the  14th  century,  probably 
received  his  early  instruction  from  Taddeo  Gaddi, 
but  afterwards  became  the  pupil  and  assistant 
of  Spinello  d'Arezzo.  His  earliest  exisring  work 
is  a  series  of  frescoes  representing  scenes  from 
the  '  Passion,'  with  the  '  Resurrection,'  the  '  Noli 
me  tangere,'  the  '  Ascension,'  and  the  '  Descent 
of  the  Holy  Ghost,'  in  the  convent  of  San  Fran- 
cesco, Pisa,  which  are  signed  by  him  and  dated 
1392.  At  Prato,  in  the  convent  of  San  Fran- 
cesco, is  likewise  a  series  of  frescoes  by  Niccolo, 
representing  scenes  from  the  life  of  St.  Matthew, 
and  other  subjects  from  the  New  Testament. 
At  San  Bonaventura  he  painted  scenes  from  the 
Passion,  of  which  but  fragments  remain.  The 
sacristy  of  the  church  of  Santa  Croce,  Florence, 
contains  frescoes  that  are  assigned  to  this  artist. 
His  latest  known  work  is  dated  1401.  It  is 
the  right  side  of  an  altar-piece  in  three  compart- 
ments, preserved  in  the  Academy  at  Florence,  and 
contains  the  figures  of  'St.  Peter,  St.  John  the 
Evangelist,  St.  James,  and  St.  Benedict.'  The 
central  panel  contains  the  '  Coronation  of  the 
Virgin,'  by  his  son  Lorenzo,  whilst  the  left  side 
consists  of  figures  of  Saints  by  Spinello  Aretino. 
An  'Entombment,'  likewise  in  the  Florence 
Academy,  assigned  to  Taddeo  Gaddi,  is  by  Crowe 
and  Cavalcaselle  ascribed  to  Niccol6  di  Pietro 
Gerini. 

GERINO  DA  PISTOJA,  a  narive  of  Pistoja,  was, 
according  to  Vasari,  a  friend  of  Pinturicchio  and  a 
follower  of  Vannucci.  His  earliest  recorded  work 
was  the  '  Virgin  of  Succour '  at  Sant'  Agosrino  in 
Borgo  San  Sepolcro,  where  also  are  some  frescoes 
by  the  same  artist.  In  1505  he  was  employed  in  the 
cathedral  of  his  native  city,  and  in  1509  he  fur- 
nished for  the  church  of  San  Pietro  Maggiore  an 
altar-piece  of  the  '  Virgin  and  Child,  with  Saints.' 
About  1513  he  was  labouring  in  the  Convent  of  San 
Luchese,  near  Poggibonsi,  and  two  scenes  from  the 
life  of  Christ,  signed  and  dated,  are  preserved  in  a 
refectory.  His  later  works,  a  fresco  of  '  St.  Agatha 
and  St.  Eulalia '  in  San  Paolo,  a  '  Coronation  of  the 
Virgin '  in  the  Palazzo  della  Community,,  Pistoja, 
and  the  '  Virgin  with  Saints,'  of  1529,  originally  in 
the  Convento  di  Sala  at  Pistoja,  and  now  in  the 


PAINTERS  AND  ENGRAVERS. 


DfBzi  Gallery  at  Florence,  are  decidedly  inferior  to 
his  earlier  works. 

GERMAIN,  Louis,  a  French  engraver,  was  horn 
in  Paris  in  1733.  There  are  by  him  some  spirited 
etchings  of  the  'Ruins  of  Pajstum,'  published  in 
1769,  from  the  designs  of  Dumont. 

GERMAN  LLOKENTE,  Bernardo,  a  Spanish 
portrait  painter,  the  son  of  an  obscure  artist, 
was  born  at  Seville  in  1685.  He  studied  under 
Cristobal  Lopez,  whom  he  soon  surpassed ;  and 
upon  Phihp  V.  visiting  Seville,  he  was  made  choice 
of  to  paint  the  portrait  of  the  Infant,  Don  Philip, 
in  the  execution  of  which  he  gave  such  satisfaction, 
that  he  became  the  favourite  painter  of  the  court. 
He,  however,  refused  the  oiler  of  the  post  of  court 
painter,  and  preferred,  though  in  the  prime  of  life, 
to  betake  himself  to  the  seclusion  of  a  hermitage, 
in  which  he  pursued  his  art  in  accordance  with  his 
own  simple  taste.  He  was  called  '  Pintor  de  las 
Pastoras,'  because  he  painted  many  of  his  Virgins 
in  the  attire  of  shepherdesses,  one  of  the  best 
specimens  of  which  adorned  the  chapel  of  St.  John 
Nepomuk  in  the  church  of  San  Ildefonso.  He  gave 
to  his  lieads  so  much  grace,  sweetness,  and  relief, 
that  many  were  sold  as  the  work  of  Murillo,  and 
pass  for  such  out  of  Spain.  At  the  latter  part 
of  his  life,  for  the  purpose  of  increasing  the  force 
of  his  chiaroscuro,  he  darkened  his  pictures  with 
a  kind  of  brown  varnish,  which  was  very  detri- 
mental, as  it  made  them  almost  unintelligible.  He 
died  at  Seville  in  1757.  The  following  works  by 
him  may  be  mentioned  : 

Madrid.  Gallery.    The  Virgin  as  a  Shepherdess. 

„  Merced  Calzada.     The   Virgin   with    the    dead 

Body  of  Christ. 

GERMYN,  Simon,  a  native  of  Dordrecht,  bom 
in  1650,  was  a  scholar  of  G.  Schalcken,  whose 
manner  he  for  some  time  followed  ;  he  afterwards 
studied  under  Ludowyk  Sniits,  called  Hartcamp, 
who  instructed  him  in  his  peculiar  manner  of 
painting  fruit ;  but  his  productions  in  that  way  are 
not  much  esteemed.  He  next  turned  his  attention 
to  landscape  painting,  which  he  practised  till  his 
death,  in  1719. 

GEROLA,  Antonio.    See  Giarola. 

GERON,  Matthias,  a  painter  and  wood-engraver 
of  Lauingen  in  Bavaria,  is  known  by  a  picture  of 
the  'Siege  of  Lauingen  by  Charles V.,'  dated  1551, 
and  also  by  the  large  tapestry  in  Neuburg,  repre- 
senting the  '  Expedition  of  the  Count  Palatine 
Otto,'  and  the  paintings  of  the  '  History  of  Paris  ' 
and  the  '  Destruction  of  Troy,'  executed  in  1540, 
in  the  gallery  of  Duke  Litta.  Some  woodcuts  in 
a  Missal  for  the  use  of  the  diocese  of  Augsburg, 
printed  in  1655,  are  also  attributed  to  him,  and  it 
is  judged  from  them  that  he  was  a  pupil  of  Hans 
Burgkmair.  His  best  wood-cuts  are  '  Christ  on  the 
Cross,'  and  tlie  '  Deposition  from  the  Cross.' 

GERRIT  VAN  HAARLEM.     See  Haarlem. 

GERRIT  VAN  SINT  JANS.  See  David,  Ghee- 
rardt. 

GERST,  JoHANN  Karl  Jakob,  a  painter  of  land- 
scapes and  of  theatrical  scenes,  was  born  at  Berlin 
in  1792,  and  was  in  1818  appointed  royal  decora- 
tive painter  in  that  city,  wliere  he  died  in  1854. 
He  executed  several  of  the  grand  designs  of 
Schinkel,  as  scenes  for  the  '  Zauberflote,'  '  Nur- 
mahal,'  'Fernando  Cortez,'  ifec,  as  well  as  a  host 
of  splendid  original  decorations  for  operas,  ballets, 
and  plaj'S. 

GERTNER,  Johan  Vilhelm,  a  Danish  por- 
trait painter,  etcher,  and  lithographer,  was  born 


at  Nyboder  in  1818.  He  studied  at  Copenhagen, 
but  afterwards  travelled  a  great  deal.  Among 
his  portraits,  which  are  much  esteemed,  are 
those  of  King  Frederick  VII.,  Count  von  Frysen- 
berg,  Thorvaldsen,  Dahl,  Eckersberg,  and  Count 
Moltke.  At  first  Gertner  painted  also  landscapes 
and  interiors,  and  his  earliest  important  work  was 
'  A  Shepherd  driving  a  Flock  of  Sheep,'  painted 
in  1839,  and  now  in  the  Copenhagen  Gallery.  He 
died  at  Copenhagen  in  1819. 

GESELSCHAP,  Eddard,  a  genre  and  historical 
painter,  was  bom  in  1814  at  Amsterdam,  where 
his  parents  had  taken  refuge  from  the  storming 
of  Wesel,  their  native  place.  Upon  their  return  to 
Wesel,  Eduard  obtained  his  first  lessons  in  draw- 
ing from  a  painter  named  Welsch.  In  1831  he 
settled  in  Diisseldorf,  and  attended  the  Academy 
there  from  1834  to  1841,  receiving  the  instructions 
of  Schadow.  He  died  after  many  years'  illness  at 
Diisseldorf  in  1878.  Many  of  his  pictures  have  been 
engraved  by  Martinet,  Fritz  Verner,  and  others. 
Among  them  may  be  named : 

Faust  in  his  Study. 

The  Bride  at  tiie  Grave  of  her  Lover. 

Gotz  von  Berlichingen  before  the  Council. 

Valentine's  Death. 

Romeo  and  Juliet  in  the  Vault. 

The  Burial  of  Christ. 

The  Discovery  of  the  dead  body  of  Gastavus  Adolphua. 
1848. 

The  Eve  of  St.  Nicholas.    1852. 

The  Eve  of  St.  Martin. 

The  Grandmother's  Picture  Bible. 

Old  TVoman  at  the  Spinning  Wheel. 

GESSI,  Ercole   and  Giovanni  Battista  del. 
See  Rdggieri. 

GESSI,  Francesco,  was  born  at  Bologna  in  1588. 
He  studied  under  D.  Calvaert  and  Cremonini,  and 
was  afterwards  one  of  the  ablest  scholars  of  Guido 
Reni,  so  that  he  obtained  the  name  of  a  second 
Guido,  and  was  employed  by  that  master  to  finish 
many  of  his  pictures.  He  possessed  a  vivacity  of 
genius,  and  a  facility  of  execution,  which  are  said 
by  Lanzi  to  have  excited  the  jealousy  of  his  master. 
His  '  Assumption '  in  the  church  of  La  Morte  at 
Bologna ;  his  '  Martyrdom  of  St.  Catharine,'  in 
the  church  of  that  Saint ;  and,  above  all,  his  '  St. 
Francis,'  at  the  Nunziata,  have  frequently  been 
mistaken  for  the  works  of  Guido.  In  later  years 
he  left  Guido,  and  founded  a  school  of  his_  own, 
but  his  want  of  application  impaired  his  genius,  so 
that  his  works  of  this  period  are  very  indifierent. 
There  are,  however,  several  eariy  pictures  by  him 
in  the  churches  at  Bologna,  which  are  greatly 
admired,  such  as  his  picture  of '  St.  Charles  Borromeo 
interceding  for  the  Plague-stricken,'  in  the  church 
of  La  Compagnia  de'  Poven  ;  '  St.  Anthony  of 
Padua,'  in  Santa  Maria  delle  Muratelle ;  and  the 
'  Descent  of  the  Holy  Ghost,'  at  tlie  Cappuccini. 
He  died  at  Bologna  in  1649.  'The  following 
pictures  by  him  are  in  public  galleries : 
Bologna.  Pinacoteca.  St.  Francis  of  Assisi  receiving  the 
Stigmata. 
„  The  Madonna  and  Child. 

']  ',  Christ  pr.iying  to  the  East. 

"  ^  The  HoIyFaniily  with  two  Angels. 

,j  St.  Jionaventura. 

"  J  Madonna  and  Child,  with  Angels. 

Dresden.  Gallery.    A  Magdalen. 

Madrid.  Gallery.     Cupid.  ,„,.,,      .,.   „  .  ^ 

Milan.  Brera.    Madonna  and  Child,  witn  Saints. 

Modena.    Estense  Gal.     St.  Francis. 
Stockholm.      Gallery.     Christ  as  a  Child. 

„  Christ  with  the  Crown  of  Thorns. 

Stuttgart.        Gallery.     Diana  and  Actajon. 
Vienna.  Gallery.    Morpheus  appearing  to  Halcyon. 

233 


A  BIOGRAPHICAL  DICTIONARY  OF 


GESSNER,  KONEAD,  a  painter  and  etcher  of 
horses  and  battle-pieces,  born  at  Zurich  in  1764,  was 
the  elder  son  of  Salomon  Gessner.  After  study- 
ing first  at  home,  and  then  under  Landolt  and  J.  H. 
Wiist,  he  went  in  1784  to  the  Dresden  Academy, 
where  he  received  the  instructions  of  Graff  and 
Zingg,  and  where  he  exhibited  his  first  large 
battle-piece  in  1785.  After  a  brief  term  at  home, 
he  proceeded  in  1787  to  Italy,  but  on  his  father's 
death  in  the  following  year  he  once  more  returned 
to  Zurich,  where  he  remained  till  1796,  when  he 
proceeded  to  England,  and  continued  successfully 
working  here  till  1804.  He  again  returned  home, 
and  prosecuted  his  experiments  in  etching  upon 
stone,  which  he  had  commenced  in  England  with 
Senefelder.  He  died  in  1826.  Among  his  best 
etchings  are  those  of  '  A  Riding  Horse  at  the 
Water-trough,'  'Horses  at  a  Manger,'  and  'A 
Dragoon  leading  a  Horse.'  In  the  South  Kensing- 
ton Museum  are  two  water-colour  drawings  by 
him,  '  Horses  at  a  Pool,'  and  '  Soldiers  playing  at 
Cards  in  a  Stable.' 

GESSNER,  Salomon,  was  born  at  Zurich  in  1730, 
and  died  in  1788.  He  is  well  known  to  the  literary 
world  by  his  '  Death  of  Abel,'  and  other  poetical 
works.  His  paintings,  which  are  mostly  in  water- 
colours,  are  in  various  European  countries.  He 
etched  several  plates  of  ornaments  for  his  '  Death 
of  Abel'  and  his  'Pastorals,'  and  over  three 
hundred  by  him  are  known.  He  practised  art  as 
an  amateur  till  he  was  thirty,  when  he  took  to  it 
as  a  profession,  studying  nature,  and  engravings 
from  the  works  of  Claude  and  Poussin.  He  also 
executed  several  landscapes  in  a  very  pleasing 
and  finished  style. 

GESTELE,  Marcus  van,  a  native  of  the  Nether- 
lands, flourished  in  the  first  half  of  the  15th  cen- 
tury. In  conjunction  with  Van  Coudenberghe  he 
painted  for  the  church  of  Roselede,  and  in  1485  an 
altar-piece  for  the  church  of  St.  Martin  at  Courtrai. 

GEUZENDAM,  G.  J.,  a  native  of  Pekel-A,  a 
village  in  the  province  of  Groningen,  received  his 
education  from  G.  de  San  in  Groningen,  where  he 
established  himself  from  1801  to  1811  as  a  miniature 
portrait  painter.  After  that  time  he  travelled  in 
Russia  for  a  short  time,  and  died  shortly  after  his 
return  to  his  own  country,  either  at  Deventer  or  at 
Zutphen,  after  1815. 

GEYER,  Alexius,  landscape  painter,  was  born 
at  Berlin  in  182t;,  and  studied  in  the  academies 
of  Berlin,  Munich,  and  Dresden.  He  worked  for 
some  years  in  Rome  and  Paris,  and  was  patronized 
by  King  Otho  of  Greece.  He  painted  a  number  of 
large  water-colours  for  the  Archseologioal  Museum 
at  Berlin,  and  also  worked  for  King  Frederick 
William  IV.  of  Prussia.     He  died  in  1883. 

GEYER,  JoHANN,  a  genre  and  historical  painter, 
was  born  at  Augsburg  in  1807,  and  originally 
brought  up  as  a  cartwright.  He,  however,  attended 
the  school  of  the  higher  arts  in  that  city,  and  in 
1826  went  to  the  Munich  Academy,  where  he 
studied  under  Clemens  Zimmermann.  He  then 
travelled  in  Belgium  and  France,  and  in  1833  was 
appointed  professor  of  figure  drawing  at  the  Augs- 
burg Polytechnic  School.  He  died  at  Augsburg  in 
1875.  Among  the  best  of  his  works,  in  which  he 
was  fond  of  introducing  the  costume  of  the  reign 
of  Louis  XIV.,  the  following  may  be  mentioned  : 

The  Night  'Watchman. 

The  Emperor  Louis  committing  himself  to  the  Pro 
tettion  of  Augsburg.     (Augsburg  Town-hall.)     1844. 
Capture  of  a  Patrician.     (Bremen  AH  Coll.)     1863. 
234 


Opening  the  "Will.     {Bremen  Art  Coll.)    1857. 

Keception  of  a  Prince.     {Hanover  Gallery.) 

Gotz  von  Berlichingen  in  Heilbronn.    {Erfurt  Art  Coll.) 

1859. 
Rehearsal  for  a  Concert.    {Leipsie  3fuseum.) 
Interior  of  a  Menagerie.     {The  same.) 
Concilium  Medicum.     {Munich  Gallery.) 
End  of  a  Bal  Masque.     {The  same.) 
Christening  Feast. 
Betrothal. 

GEYN,  G.  D.,  (or  Geijn,)  an  obscure  Flemish 
engraver,  who  flourished  from  1640  to  1650,  was 
principally  employed  in  engraving  book  ornaments 
for  the  booksellers,  in  which  he  attempted  a  humble 
imitation  of  the  style  of  Paul  Pontius.  Among 
other  prints  by  him  is  the  portrait  of  Carolus 
Aleaspinteus. 

GEYSER,  Christian  Gottlieb,  an  engraver, 
was  born  at  Gorlitz  in  1740.  He  executed  several 
plates  for  diHerent  works,  among  which  are  the 
vignettes  in  Heyne's  edition  of  Virgil,  after 
Fiorillo,  and  in  Hinchfeld's  '  Theory  of  Gardening.' 
He  died  at  Leipsie  in  1808.  His  son,  Christian 
Gottlieb,  born  at  Leipsie  in  1772,  was  also  an 
engraver. 

GFALL,  Anton,  was  born  at  Kaunserthal  in  the 
Tyrol,  in  1725,  and  educated  first  at  the  Imperial 
Academy  of  Vienna,  and  afterwards  under  Antonio 
Galli  and  Servandoni.  He  executed  historical 
pictures  in  oil  and  fresco,  but  was  especially 
successful  in  architectural  and  decorative 
painting.     He  died  at  Vienna  in  1770. 

GHANDINI,  Alessandbo,  was  a  wood-engraver, 
who  worked  for  Andrea  Andreani  at  Rome  about 
1610.  One  of  his  productions  (marked  A.  G.)  is 
a  chiaroscuro  of  two  blocks,  representing  'St. 
Catharine.' 

GHEDINI,  Giuseppe,  was  born  at  Ficarolo  in 
1707,   and   was   a   scholar   of   Giacomo    Parolini. 
There  are  several  of  his  works  in  the  churches  at 
Ferrara.     In  Santa  Cattarina  da  Siena  is  a  picture 
by  him    of   '  St.   Lucy ;  '  in  San  Leonardo,  '  The 
Martyrdom  of  St.  Catharine  ; '  in  Corpus  Domini, 
'The    Annunciation,'    and    'The    Death    of     St. 
Joseph  ; '  and  in  the  refectory  of  the  monastery  of 
Santa    Maria  degli    Angeli,   his    principal    work, 
representing  'The  Multiplication  of  the  Loaves,' 
painted  in  1755.     He  died  in  1791. 
GHEERAERTS,  Marc.     See  Geerakts. 
GHEIN,  De.     See  De  Gheyn. 
GHENDT,  Emanuel  Jean  NepomdcIine  de.    See 
De  Ghendt. 

GHENT,  Gerhard  ok,  a  pupil  of  Hans  Memlinc, 
was  engaged  in  1479  in  assisting  his  instructor 
upon  the  miniatures  for  a  large  prayer-book  now 
in  the  Library  of  St.  Mark  at  Venice. 

GHENT,  Josse,  or  Justus  of,  who  was  born 
at  Ghent  in  1410,  and  flourished  up  to  the  last 
quarter  of  the  century,  was  probably  a  scholar  of 
the  Van  Eycks.  He  is  supposed  to  have  assisted 
those  masters  in  some  of  their  most  celebrated 
pictures;  and  Waagen  is  of  opinion  that  'The 
Last  Judgment'  in  the  church  of  St.  Mary  at 
Dantzic  is  by  him,  though  long  held  by  connois- 
seurs to  be  the  work  of  Jan  van  Eyck.  This 
picture  is  ranked  by  Kugler,  who  has  given  a  very 
full  description  of  it,  among  the  greatest  master- 
pieces of  art.  Kugler,  however,  does  not  say  that 
it  is  by  Justus  of  Ghent;  he  speaks  only  of  'The 
Communion  '  in  the  church  of  Sant'  Agata  at 
Urbino,  and  a  small  picture  in  the  collection  of 
M.  van  Huyvetter  at  Ghent,  of  '  The  Finding  of 
the   Cross,   and    its    Verification   by  the    raising 


PAINTERS  AND  ENGRAVERS. 


of  a  dead  woman  to  life.'  The  picture  at  Urbino 
was  probably  finished  in  1475,  as  Justus  was  paid 
in  that  year  the  sum  of  300  florins,  by  the  brother- 
hood of  the  '  Corpo  di  Cristo,'  for  whom  it  was 
orig-inally  painted.  The  series  of  '  Poets,'  '  Philoso- 
phers,' and  '  Doctors '  in  the  library  of  the  Dake 
Eederigo  of  Urbino  are  probably  his,  but  there 
is  much  uncertainty  about  the  painters  of  this 
era.  The  late  Sir  Charles  Eastlake  possessed  a 
picture  by  this  artist  of  '  The  Burial  of  Bishop 
Hubertus  ; '  and  a  '  Last  Supper '  is  in  the  church  of 
the  Lion  at  St.  Petersburg. 

GHERAEDI,  Antonio,  who  was  bom  at  Rieti 
in  1664,  and  died  at  Rome  in  1702,  was  a  pupil  of 
P.  F.  Mola,  and  afterwards  of  Pietro  da  Cortona. 
He  painted  for  various  churches  in  Rome,  and  has 
also  left  six  etchings  of  '  The  Torture  of  St. 
Martina.' 

GHERARDI,  Cristofano,  called  Doceno,  bom 
at  Borgo  San  Sepolcro  in  1500,  was  a  disciple 
of  RaflFaellino  dal  Colle.  He  went  to  Florence, 
where  he  became  acquainted  with  Giorgio  Vasari, 
with  whom  he  remained  on  friendly  terms  until 
his  death.  He  excelled  particularly  in  fresco, 
and  assisted  Vasari  in  many  of  his  most  con- 
siderable works.  There  are  several  grotesque 
subjects  by  him  in  the  Casa  Vitelli.  Of  his  oil 
paintings  the  principal  are,  '  The  Visitation  of  the 
Virgin  to  St.  Elizabeth,'  in  the  church  of  San 
Domenico  at  Citta  di  Castello  ;  and  his  picture  of 
'  Santa  Maria  del  Popolo,'  at  Perugia,  painted  in 
conjunction  with  Lattanzio  della  Marca.  In  1539 
Vasari  induced  him  to  go  to  Bologna,  where  he 
assisted  in  painting  three  altar-pieces  for  San 
Michele  in  Bosoo.  He  also  assisted  Vasari  in  his 
fresco  paintings  for  the  brotherhood  of  the  Scalza 
at  Venice.  He  died  at  Borgo  San  Sepolcro  in 
1556,  whilst  in  the  course  of  an  engagement  for 
assisting  Vasari  with  the  frescoes  for  the  ducal 
palace  at  Florence. 

GHERARDI,  Filippo,  born  at  Lucca  in  1643, 
studied  under  Pietro  da  Cortona,  and  worked  with 
Giovanni  Coli  at  several  large  paintings.  His  work 
is  so  similar  to  that  of  Coli,  that  it  is  hard  to  dis- 
tinguish one  from  the  other.  Pietro  da  Cortona 
invited  him  back  to  Rome,  to  assist  him  in  paint- 
ing the  cupola  of  Santa  Maria  in  Campitelli.  In 
the  Colonna  Gallery  are  two  fine  pictures  by  him 
of  '  The  Battle  of  Lepanto,'  and  '  The  Triumph 
of  Marc  Antonio  Colonna.'  There  are  several 
pictures  by  him  in  the  churches  at  Lucca,  where 
he  died  in  1704. 

GHERARDINI,  Alessandro,  born  at  Florence 
in  1655,  was  a  scholar  of  Alessandro  Rosi.  He 
proved  a  distinguished  painter  of  history,  both  in 
oil  and  in  fresco.  In  the  Monastery  of  the  Augus- 
tines  at  Florence,  is  a  fine  picture  by  this  painter 
of  '  The  Crucifixion  ; '  and  in  the  Casa  Orlandini, 
a  subject  from  the  life  of  Alexander  the  Great. 
He  died  in  1723. 

GHERARDINI,  Melchiorp.e.     See  Geeardini. 

GHERARDINI,  Stefano,  was  a  bamboccia 
painter  of  Bologna,  who  studied  under  Giuseppe 
Gambarini,  and  died  in  1775. 

GHERARDINI,  Tommaso,  born  at  Florence  in 
1715,  was  a  pupil  of  Vincenzo  Meucci.  Three 
masterpieces  by  him  are  in  the  Vienna  Gallery 
— '  An  Offering  in  Honour  of  Pan,'  '  Victory  and 
Fame  upon  a  Triumphal  Car,'  and  a  '  Triumphal  Pro- 
cession of  Ariadne.'     He  died  at  Florence  in  1797. 

GHERARDO,  one  of  the  best  Florentine  minia- 
ture   painters,    was    employed    by    Lorenzo    the 


Magnificent,  for  whom  he  worked  in  mosaic  in 
conjunction  with  Ghirlandaio  in  the  cathedral  of 
Florence,  and  by  Matthias  Corvinus,  King  of 
Hungary,  whose  Bible,  illuminated  by  him,  is  in 
the  library  of  the  Vatican,  and  is  a  lasting  memorial 
of  the  excellence  of  Gherardo's  art.  A  Missal 
of  the  year  1494,  in  the  Laurentian  Library  at 
Florence,  and  a  Breviary  in  the  National  Library 
in  Paris,  are  also  ascribed  to  him.  In  the  Bologna 
Gallery  is  a  picture  of  the  'Marriage  of  St. 
Catharine.' 

GHERINGH,  Antonids,  was  a  Flemish  painter 
of  the  17th  century.  He  decorated  churches  in 
the  Renaissance  style,  and  pictures  of  his  may  be 
seen  in  the  Dresden  and  Vienna  Galleries.  He 
was  made  free  of  the  Guild  of  St.  Luke  in  1662, 
and  died  at  Antwerp  in  1667  or  1668.  In  the 
Munich  Gallery  is  a  picture  of  the  '  Interior  of 
the  Jesuit  Church  at  Antwerp,'  with  the  date  1663. 

GHERWETT,  van,  a  pupil  of  Rembrandt, 

lived  in  the  middle  of  the  17th  century.  In  the 
Munich  Gallery  is  a  picture  by  this  artist  of 
'  Abraham  on  the  point  of  sacrificing  Isaac' 

GHER20,  Domenico,  commonly  known  as 
Domenico  di  Bartolo,  was  born  at  Asciano  in  the 
early  part  of  the  15th  century.  He  belongs  to  the 
decline  of  Sienese  art.  The  frescoes  which  he 
executed,  in  1435-40,  in  the  sacristy  of  the  cathedral 
of  Siena,  have  perished  ;  but  a  weak  production, 
illustrating  various  works  of  mercy  in  connection 
■with  the  institution,  in  the  hospital  of  Santa  Maria 
della  Scala,  Siena,  still  exists,  with  the  exception 
of  the  Angel  of  Mercy.  This  work  was  painted 
between  1440  and  1444,  and  after  that  date  nothing 
further  is  recorded  of  him.  His  death  appears  to 
have  occurred  in  1449.  The  galleries  of  Berlin, 
Bruges,  Perugia,  Rouen,  and  Siena  have  works 
ascribed  to  Domenico  di  Bartolo. 

GHBYN,  De.     See  De  Ghbyn. 

GHEYSELS,  Peetek.     See  Gtsels. 

GHEZZI,  Giuseppe,  son  of  Sebastiano  Ghezzi, 
was  born  in  1634  in  the  Comunanza,  near  Asooli, 
and  was  for  some  time  instructed  by  his  father ; 
but  he  afterwards  went  to  Rome,  where  he  studied 
the  works  of  Pietro  da  Cortona,  whose  style  he 
adopted.  He  was  employed  and  highly  esteemed 
by  Pope  Clement  XL,  and  at  the  time  of  his  death, 
in  1721,  was  secretary  to  the  Academy  of  St.  Luke 
at  Rome. 

GHEZZI,  Pier  Leone,  who  was  born  atRome 
in  1674,  was  the  son  of  Giuseppe  Ghezzi,  and 
studied  under  his  father,  whom  he  surpassed.  In 
conjunction  with  L.  Garzi.  F.  Trevisani,  and  B. 
Luti,  he  was  employed  by  Benedict  XIV.  to  paint 
'  The  Prophets '  in  San  Giovanni  in  Laterano,  and 
in  other  works.  He  was  also  employed  in  several 
considerable  works  by  the  Duke  of  Parma,  who 
conferred  on  him  the  order  of  the  Golden  Spur. 
But  he  was  most  celebrated  for  his  talent  in  carica- 
ture, and  his  works  of  that  description  are  fre- 
quently found  in  the  collections  at  Rome,  where  he 
died  in  1755.  There  are  by  him  a  few  etchmgs, 
executed  in  a  clear,  neat  style,  from  his  own 
designs,  and  after  the  works  of  his  father.  Among 
them  are:  . 

The  Virgin  and  Infant  Jesus ;  after  Giuseppe  Ghezn 
1700. 

Portrait  of  the  Abbate  Pietro  Palatio. 

Portrait  of  Nicola  Zabaglia,  engineer  of  St.  Peter  s. 

GHEZZI,  Sebastiano,  was  bom  in  the  Comu- 
nanza, near  Ascoli,  and  flourished  about  theyear 
1634.     He  was  a  scholar  of  Guercino,  and  pamted 

235 


A  BIOGRAPHICAL  DICTIONARY  OF 


historical  subjects  with  some  success.  At  the 
Barefooted  Augustines  at  Monsammartino,  there  is 
a  fine  picture  by  him  of  '  St.  Francis  receiving  the 
Stigmata.' 

GHEZZO,  GniDONE  da.    See  Siena. 

GHIRLANDAIO.     See  Bigordi. 

GHISI,  Adamo.     See  Sculptoee. 

GHISI,   Diana.     See  Scolptore. 

GHISI,  Giorgio,  called  Giorgio  Mantovano,  was 
born  at  Mantua  in  1520,  and  died  in  the  same  city 
in  1582.  He  was  the  elder  brother  of  Teodoro 
Ghisi,  and  like  him  a  pupil  of  Giulio  Romano.  He 
became  one  of  the  chief  artists  in  damascene  work. 
He  drew  the  nude  very  correctly,  and  excelled 
more  particularly  in  the  depicting  of  hands  and 
feet,  but  his  representations  are  all  very  much 
alike,  and  his  style  is  very  monotonous.  This  defect 
is  particularly  discernible  in  his  immense  print 
of  the  'Last  Judgment,'  after  Michelangelo. 
His  engravings,  especially  those  after  the  works  of 
Raphael  and  Michelangelo,  approach  in  the  excel- 
lence of  their  drawing  and  execution  those  of 
Marc-Antonio.  They  are  generally  signed  with  his 
name,  or  marked  with  the  cipher  >~i  ajti  /vVT^ 
The  following  are  his  principal  '■^-^VT  .IVSL  • 
plates : 

Portrait  of  Pope  Julius  II. ;  after  Raphael. 

The  Holy  Family,  half-lengths ;  after  the  same. 

The  School  of  Athens  ;  after  the  same.     Two  sheets. 

The  Dispute  of  the  Sacrament ;  after  the  same. 

An  emblematical  subject ;  sometimes  called  *  Raphael's 
Dream,'  and  sometimes  '  The  Melancholy  of  Michel- 
angelo.' It  represents  an  old  man  looking  at  a  ship- 
wrecked vessel,  whilst  a  nymph  appears  approaching 
him ;  in  the  background  are  seen  several  horrible 
and  fantastical  figures.  It  is  inscribed  Raphelis 
Vrbinatis  inventum,  ^c.j  and  on  a  tablet,  Georgius 
Ghisi  iVant.  F.     1561. 

The  Prophets  and  Sibyls ;  after  the  paintings  by  Michel- 
anc/elo,  in  the  Sistine  Chapel.     Six  large  plates. 

The  Last  Judgment ;  after  the  same.    Ten  large  plates. 

An  allegorical  subject,  representing  the  Birth  of  a 
Prince  of  the  House  of  Gonzaga ;  after  Giulia  Romano. 
1568. 

Cupid  and  Psyche  crowned  by  Hymen  ;  after  the  same. 

The  Birth  of  Mcmnon  ;  after  the  same  ;  very  fine. 

Cephalus  and  Procris  ;  after  the  same. 

The  Interview  between  Hannibal  and  Scipio  ;  after  the 
same. 

Eegulus  led  to  death  by  the  Carthaginians ;  after  the 
sajiie. 

Eegulus  shut  up  in  the  Tun  ;  after  the  sayjte. 

Venus  in  the  Forge  of  Vulcan,  sharpening  the  Arrows 
of  Cupid  ;  after  Perino  del  J'aya. 

Venus  and  Mars ;  after  Raffaello  Motta. 

An  allegorical  subject,  representing  a  Judge  on  his 
Tribunal,  with  an  Ass's  Ears  ;  after  Luca  Fenni. 

Endymion  carrying  Diana  to  the  Chase  on  his  shoul- 
ders ;  after  the  same. 

Hercules  conquering  the  Hydra ;  after  Giovanni  Bat- 
tista  Sculptore. 

The  Judgment  of  Paris  ;  after  the  same. 

The  Siege  of  Troy ;  ajter  the  same. 

The  Taking  of  Troy  ;  after  the  same. 

A  print  representing  tombs,  skeletons,  &c.,  called 
*  "The  Kesurrection  of  the  Dry  Bones  ; '  after  the  same. 
1554. 

Venus  and  Adonis  ;  after  Teodoro  Ghist. 

Angelica  and  Medora  ;  after  the  savie. 

The  Birth  of  the  Virgin  ;  after  B.  Spranger. 

The  Trinity ;  after  his  men  design.     1576. 

The  Adoration  of  the  Shepherds;  after  Angela  Bron- 
ziixo  ;  in  two  sheets.     1554. 

The  Last  Supper  ;  after  Lambert  Lombard. 

The  Visitation  of  the  Virgin  to  St.  Elizabeth ;  after  his 
own  design. 

The  Crucifixion  ;  after  the  same. 


GHISI,  Giovanni  Battista. 
236 


See  SciTLPTORE. 


GHISI,  Teodoeo,  called  Teodoro  Mantovano, 
was  bom  at  Mantua  in  1536.  He  was  the  younger 
brother  of  Giorgio  Ghisi,  and  had  the  advantage 
of  being  educated  under  Giulio  Romano,  one  of 
the  ablest  of  whose  scholars  he  was.  After  the 
death  of  GiuUo,  he  was  selected  by  the  Duke  of 
Mantua  to  complete  the  works  which  were  left 
uniinished  by  that  great  master.  He  died  at 
Mantua  in  1601. 

GHISLANDI,  DoMENico,  was  a  native  of  Ber- 
gamo, who  flourished  about  the  year  1662.  He 
excelled  in  painting  architectural  and  perspective 
views  in  fresco ;  though  he  occasionally  painted 
historical  subjects.  Tassi  mentions  some  pictures 
of  the  life  and  miracles  of  St.  Francis  of  Paola 
by  him,  in  the  cloisters  of  the  Padri  Minimi  at 
Bergamo;  and  in  the  Palazzo  Terzi  is  a  saloon 
ornamented  with  architecture,  in  which  the  figures 
are  painted  by  Giacomo  Barbella. 

GHISLANDI,  Fra  Vittore,  called  'II  Frate 
Paolotto,'  the  son  of  Domenico  Ghislandi,  was 
born  at  San  Leonardo,  in  the  Bergamese  state,  in 
1655.  He  was  a  scholar  of  Sebastiano  Bombelli, 
but  he  soon  went  to  Venice,  where  he  in  1675  entered 
the  convent  of  St.  Francis  of  Paola,  and  became  a 
most  accomplished  portrait  painter.  He  died  at 
Venice  in  1743.  In  the  Rothan  Gallery  there  is  by 
him  a  lifehko  picture  of  a  young  Bergamese. 

GHISOLFI,  Giovanni,  (or  Grisolfi,)  born  at 
Milan  in  1632,  was  a  pupil  of  Salvator  Rosa.  There 
iire  two  architectural  compositions  of  '  Ruins '  by 
him  in  the  National  Gallery  of  Scotland.  His 
'  Marius  among  the  Ruins  of  Carthage,'  and  several 
of  his  decorative  pictures  are  in  the  Dresden 
Gallery.     He  died  at  Milan  in  1683. 

GHISONI,  Febmo.     See  Guisoni. 

GHISSI,  Francescdccio,  was  living  at  Fabriano 
in  the  14th  century,  and  is  the  author  of  an  altar- 
piece  of  the  '  Virgin  and  Child,'  with  rays  issuing 
from  the  person  of  the  Virgin,  which  illuminate  the 
darkness,  symbolised  by  a  orescent  moon  and  stars 
on  a  dark  blue  background  ;  it  is  dated  1374,  and 
is  now  in  the  Augustine  church  of  San  Salvatore 
at  Monte  Giorgio.  The  Fornari  collection  at 
Fabriano  possesses  a  '  Virgin  and  Child,  between 
two  kneehng  Angels,'  which  is  signed  by  him  in 
1395.  Other  examples  by  this  artist  may  be  seen 
in  the  church  of  San  Domenico  at  Fermo ;  at 
Ascoh  ;  and  in  the  Museo  Cristiano  at  Rome. 

GHISSONI,  Ottavio,  was  a  native  of  Siena, 
who  at  an  early  age  went  to  Rome,  where  he 
studied  several  years,  chiefly  under  Cherubino 
Alberti.  In  1610  he  visited  Genoa,  and  was  for 
some  time  a  scholar  of  Ventura  Salimbeni.  He 
painted  some  pictures  in  fresco  for  the  public 
edifices. 

GHITTI,  Pompeo,  was  born  at  Marone,  a  small 
town  near  Brescia,  in  1631.  He  was  first  a  scholar 
of  Ottavio  Amigoni,  but  afterwards  went  to  Milan, 
where  he  studied  five  years  under  Giovanni  Bat- 
tista Discepoli,  called  '  Lo  Zoppo  di  Lugano,'  to 
whom  _  he  subsequently  became  assistant.  His 
death  is  assigned  to  the  year  1703,  though  it  is 
stated  that  one  of  his  works  bears  the  date  1704. 


and  '  St.  Maunis  healing  the  Sick.' 

GHUENS,  Boddewyn,  (Gheens,  or  Geens,)  a 
Flemish  painter,  born  at  Mechlin  in  1699,  was  a 
son  of  Jan  Ghuens,  called  'Prins.'  He  was  still 
living  in  1672. 


PAINTERS  AND  ENGRAVERS. 


GHtJENS,  Jacob,  a  native  of  Mechlin,  was  a 
painter  who  flourished  about  1558. 

GHUENS,  Jan,  a  native  of  Mechlin,  painted  in 
1528  a  picture  of  '  Christ  on  the  Cross,'  surrounded 
by  different  figures. 

GHUENS,  Jak,  called  '  Prins,'  or '  Peinske  '  (the 
'Little  Prince'),  flourished  at  the  end  of  the  16th 
and  beginning  of  the  17th  century.  The  Museum 
at  Mechlin  has  a  picture  by  this  artist  of  the 
'  Siege  of  Lierre '  in  1595.  In  1596  he  executed  a 
strategical  plan  of  Mechlin  and  its  surroundings. 
He  died  at  Mechlin  after  1617. 

GIACCHINETTI  GONZALEZ,  Juan,  called  II 
BORGOQNONE  DALLE  TESTE,  a  Spanish  portrait 
painter,  was  born  at  Madrid  about  1630.  It  is 
not  known  by  whom  he  was  instructed,  but  his 
best  studies  were  from  the  works  of  Titian.  He 
excelled  in  portrait  painting,  and  from  his  extra- 
ordinary talent  in  that  branch,  acquired  the  name 
of  '  II  Borgognone  dalle  Teste.'  About  the  middle 
of  his  life  he  went  to  Italy,  and  painted  many 
portraits  at  Brescia  and  Bergamo.  He  died  at 
the  latter  city  in  1696. 

GIACHETTO.     See  Jaquet. 

GIALDISI,  Francesco,  or  Giovanni.  According 
to  Zaist,  in  his  'Notizie  de'  Pittori  Cremonesi,' 
this  painter  was  of  Parma,  but  flourished  at  Cre- 
mona about  the  year  1720.  He  excelled  in  painting 
flowers  and  fruit,  and  particularly  in  his  pictures 
of  still-life,  such  as  carpets,  with  musical  instru- 
ments, books,  &c.,  which  he  represented  with  a 
fidelity  of  form  and  a  truth  of  colour  which  are 
admirable. 

GIAMBONO.     See  Boni,  Michelb  Giovanni. 

GIAMPICCOLI,  Gitjliano,  an  Italian  engraver, 
was  born  at  Venice  in  1698.  He  was  the  nephew 
of  Maroo  Ricci,  and  his  style  renders  it  probable 
that  he  was  brought  up  in  the  school  of  Wagner. 
He  was  still  living  in  1765.  He  engraved  several 
plates  after  Marco  Ricci  and  others,  among  which 
are  the  following : 

A  set  of  twelve  Landscapes,  with  a  frontispiece ;  after 

Marco  Ricci, 
A  set  of  four  pretty  Pastoral  Subjects. 
A  set  of   four  Laudscapes;    after  M.  Ricci  and  F. 

Zuccarelli. 

GIANCARLI,  PoLiFiLO.     See  Zancabli. 

GIANNETTI,  Filippo,  was  a  landscape  painter 
of  Messina,  who  studied  under  the  Dutch  painter 
Casembroodt.  He  excelled  his  master  in  the  great- 
ness of  his  designs,  but  was  not  his  equal  in 
execution.  He  painted  so  quickly  that  he  was 
called  '  The  "  Fa  presto  "  of  Landscape  Painters.' 
He  died  at  Naples  in  1702. 

GIANNICOLA  di  PAOLO  MANNI.   See  Manni. 

GIANNUZZI,  GiULio  del     See  Dei  Gianndzzi. 

GIANOLI,  PiETRO  Francesco,  born  at  Camper- 
togno  about  1620,  was  a  pupil  of  Antonio  Rossi. 
His  portrait  is  in  the  Brera  at  Milan,  where  he 
died  about  1690. 

GIAQUINTO,  CoRRADO.    See  Coerado. 

GIAROLA,  Antonio,  (or  Gerola,)  called  '  II 
Cavaliere  Coppa,'  was  born  at  Verona  in  1695,  and 
studied  at  Bologna  under  Guido  and  Albani.  In 
the  church  of  San  Bernardo  at  Bologna  is  a  picture 
by  him  of  '  St.  Maurus  kneeling  before  the  Virgin 
and  Infant ; '  but  he  is  seen  to  more  advantage  in 
his  '  Magdalen  in  the  Desert,'  in  the  church  of 
the  Padri  Servi.  In  the  refectory  of  the  seminary 
at  Verona  is  a  fine  picture  by  Giarola  of  'Clirist 
with  the  Disciples  at  Eramaus.'  His  pictures  are 
crowded  with  figures.     He  died  in  1665. 


GIAROLA,  Giovanni,  a  painter  of  Reggio,  who 
died  in  1557,  is  said  to  have  been  a  pupil  of 
Correggio.  Wall-pictures  of  his  are  still  to  be 
seen  in  the  Donelli  Palace  at  Reggio. 

GIBB,  Robert,  a  Scottish  landscape  painter,  was 
born  at  Dundee  about  the  beginning  of  the  19th 
cantury,  and  on  the  formation  of  the  Royal  Scottish 
Academy  in  1830,  was  elected  one  of  its  first 
members.  He  died  in  1837.  The  following  works 
by  him  are  in  the  National  Gallery  of  Scotland  : 

Craigmillar  Castle.     Borthwick  Castle. 

GIBBON,  Benjamin  Phelps,  a  line-engraver, 
was  born  in  1802.  He  was  the  son  of  the  vicar  of 
Penally,  Pembrokeshire,  and  after  having  been 
educated  at  the  Clergy  Orphan  School,  learned 
engraving  under  Scriven  and  J.  H.  Robinson.  He 
died  in  London  in  1851.  Amongst  his  plates  after 
Sir  Edwin  Landseer  are  : 

The  Twa  Dogs.  Suspense.  Jack  in  Office.  A  Fireside 
Party.  The  Highland  Shepherd's  Home.  The 
Shepherd's  Chief  Mourner.  The  Shepherd's  Grave. 
There's  no  Place  like  Home.     Eoebuck  and  Hounds. 

GIBELIN,  Esprit  Antoine,  a  French  historical 
painter,  was  born  at  Aix  in  1739.  He  studied 
under  Arnulfi  at  Florence,  and  resided  for  a  long 
time  in  Italy,  receiving  in  1768  a  prize  from 
the  Academy  of  Parma.  He  returned  to  France 
in  1771,  and  revived  fresco  painting  in  mono- 
chrome. The  frescoes  decorating  the  School  of 
Medicine  in  Paris  are  by  him.  He  died  at  Aix  in 
1813.  There  is  in  the  Museum  of  Aix  a  picture  by 
him  entitled,  '  Post  equitem  sedet  atra  cura.' 

GIBERTONI,  Paolo,  was  a  native  of  Modena, 
who  flourished  about  the  year  1760.  He  resided 
chiefly  at  Lucca,  and  excelled  in  grotesque  subjects 
in  fresco,  in  which  he  introduced  little  animals  of 
every  description.     He  also  painted  landscapes. 

GIBO  Y, ,  a  French  engraver,  who  flourished 

from  1810  to  1824,  executed  vignettes  for  Tasso's 
'  Gerusalemme  liberata,'  after  Perrenot,  as  well  as 
plates  for  the  work  of  De  Clarac  on  the  Louvre. 
The  following  may  also  be  mentioned : 

Gaspard  I'Avis^  ;  after  Horace  Vernet. 

The  Year,  drawn  by  the  twelve  months  ;  after  Perrenot. 

GIBSON,  David  Cooke,  a  Scottish  genre  painter, 
was  born  at  Edinburgh  in  1827.  He  was  at  first 
taught  by  his  father,  who  died  early.  He  then,  by 
his  own  exertions,  was  enabled  to  enter  the  schools 
of  the  Royal  Scottish  Academy,  and  afterwards  to 
study  in  London,  Belgium,  and  Paris.  His  works 
first  appeared  at  the  Royal  Academy  in  1855,  and 
he  was  showing  much  promise,  when,  after  a  visit 
to  Spain,  he  died  in  London  in  1856.  His  exhibited 
pictures  were  : 

The  Little  Stranger,  1855.  Rustic  Education,  1855. 
Un  CorriUo  Andaluz,  1856.  Gipsies  of  Seville,  1857. 

GIBSON,  Edward,  an  English  portrait  painter  of 
the  17th  century,  was  the  sun,  or  near  relative,  of 
Richard  Gibson  the  Dwarf,  and  was  also  his  pupil. 
He  died  in  his  33rd  year. 

GIBSON,  John,  a  Scottish  portrait  pamter,  who 
died  in  1852  from  the  effects  of  a  fatal  accident.  He 
exhibited  hirgely  at  the  West  of  Scotland  Academy. 

GIBSON,  Patrick,  a  Scottish  landscape  painter, 
was  born  at  Edinburgh  in  1782.  He  received  a 
"•ood  general  education,  and  then  studied  under 
Nasrayth,  and  in  the  Trustees'  Academy.  He  did 
much  literary  work,  contributing  to  the  '  Encyclo- 
psedia  Edinensis,'  the  '  Edinburgh  Encyclopajdia.' 
the  '  Edinburgh  Annual  Register,'  and  the  '  New 
Edinburgh  Review.'  In  1818  he  published  a  volume 
of  etchings  of  Edinburgh.     He  left  Edinburgh  in 


A   BIOGRAPHICAL  DICTIONARY   OF 


1824,  and  settled  as  a  teacher  at  Dollar,  where  he 
died  in  1829.  His  works  are  in  the  classic  style, 
and  there  is  a  characteristic  Landscape  composi- 
tion by  him  in  the  National  Gallery  of  Scotland. 

GIBSON,  Richard,  usually  called  "  The  Dwarf," 
from  his  diminutive  size,  being  only  three  feet  ten 
inches  in  height,  was  born  in  1615,  probably  in 
Cumberland.  He  was,  when  a  boy,  page  to  a  lady 
at  Mortlake,  who,  perceiving  in  him  a  disposition 
for  art,  placed  him  under  the  care  of  Franz  Cleyn, 
under  whom  he  made  considerable  progress.  His 
talent  attracted  the  notice  of  King  Charles  I.,  who 
made  him  one  of  his  pages.  He  was  married 
to  a  little  lady  of  his  own  height,  named  Anne 
Shepherd,  and  their  marriage  was  celebrated  in 
the  presence  of  Charles  I.  and  his  Queen,  who 
ordered  a  diamond  ring  for  the  bride.  The  union 
of  this  diminutive  couple  was  commemorated  by 
Waller  in  one  of  his  prettiest  poems.  After  the 
death  of  the  king  Gibson  was  taken  under  the  pro- 
tection of  Philip,  Earl  of  Pembroke,  and  is  said  to 
have  painted  the  portrait  of  Oliver  Cromwell 
several  times.  When  Sir  Peter  Lely  visited 
England,  Gibson  improved  himself  greatly  by  copy- 
ing the  portraits  of  that  master  ;  and  he  rose  into 
such  repute  that  he  was  sent  to  Holland  to  teach 
the  Princess  Mary  to  draw,  and  had  also  the  honour 
of  instructing  Queen  Anne.  He  lived  to  the  age  of 
75,  and  died  in  1690.  His  widow  died  in  1709,  at 
the  age  of  89.  They  had  nine  children,  five  of 
wliom  lived  to  grow  up  to  the  ordinary  stature  of 
mankind. 

GIBSON,  Susan  Penelope,  a  miniature  painter, 
the  daughter  of  Richard  Gibson  the  Dwarf,  was 
bom  in  1653,  and  died  in  1700.  There  is  a  portrait 
of  Bishop  Burnet  by  her. 

GIBSON,  Thomas,  a  portrait  painter,  was  born 
about  1680.  His  art  was  good,  and  he  had  a 
large  practice.  Highraore  said  that  Thomhill  was 
much  indebted  to  him.  He  retired  to  Oxford  in 
1730,  but  returned  again  to  London,  where  he  died 
in  1751.     Amongst  his  works  are  : 

Flamstead,  the  Dstronomer.     (Royal  Society,  London.) 
Vertue,  the  engraver.    {Society  of  Antiquaries,  London,) 
Archbishop  Wake.     {National  Portrait  Gallery.) 

GIBSON,  William,  a  miniature  painter,  bom  in 
16-14,  was  a  nephew  of  Richard  Gibson  the  Dwarf, 
under  whom  and  Lely  he  studied.  He  made  many 
copies  of  the  latter's  works,  and  purchased  part  of 
his  collection.     He  died  in  1702. 

GIDE,  Th^ophile,  French  painter  ;  bom  in  Paris, 
August  15,  1822  ;  pupil  of  Delaroche  and  Cogniet ; 
devoted  himself  to  historical  and  genre  painting. 
He  excelled  in  the  portrayal  of  Italian  convent 
life,  as  such  pictures  as  '  Le  R^fectoire,'  '  Les 
Adieux  au  Convent,'  'Visite  du  Pape  au  Couvent 
de  Femmes,'  '  Couvent  St.  Barth^lemy  i  Nice,'  and 
others  attest.  Of  his  more  famous  historical  can- 
vases we  may  mention  '  Sully  quittant  la  Cour  de 
Louis  XIII.,' '  Coligny  sortant  du  Louvre,' '  Othello 
raconte  ses  Combats,' '  Louis  XI.  en  priere,'  &c.  In 
1861  M.  Gide  obtained  a  medal  of  the  third  class ; 
also  medals  in  1865  and  1866 ;  and  in  the  last-named 
year  he  received  the  decoration  of  the  Legion  of 
Honour.    He  died  in  Paris,  November  29,  1890. 

GIERYMSKI,  Max,  a  Polish  genre  painter,  was 
born  at  Warsaw  in  1846.  His  father,  a  military 
administrative  officer,  sent  him  to  the  Polytechnic 
School  in  Pulawy  to  learn  mechanics.  In  1863  he 
took  part  in  the  Polish  Revolution,  and  remained 
till  January  1864  an  officer  of  the  national  troops. 
He  visited  the  University  of  Warsaw  after  peace 
238 


had  been  signed,  and  showed  a  great  inclination  for 
music  ;  but  the  Governor,  General  Berg,  persuaded 
liim  to  devote  himself  to  painting,  and  helped  him 
with  an  allowance,  by  which  he  was  enabled  to  visit 
the  University  of  Munich,  where  his  great  talent 
was  developed  under  Alexander  Wagner  and 
Franz  Adam.  In  1870  he  established  a  studio  of 
his  own.  In  1872  he  revisited  his  native  land,  but 
had  to  go  to  Meran  in  1873  on  account  of  his 
health,  which  his  life  as  a  soldier  had  greatly  im- 
paired ;  he  spent  the  summer  at  Reichenhall,  and 
the  winter  at  Rome,  but  returned  to  Reichenhall 
in  a  worse  condition,  and  died  there  "in  1874. 
His  first  picture  was  'An  Attack  by  Cossacks.' 
He  afterwards  devoted  his  time  to  winter  scenes, 
rainy  landscapes,  moonlight  nights,  and  so  forth, 
all  more  or  less  of  a  melancholy  cast.  Other  well- 
known  pictures  by  him  are  : 

A  Polish  Spinning-room. 
Duel  with  Pistols  on  Horseback. 
Jews  at  the  Evening  Prayer. 
A  Visit  by  Moonlight. 
The  Meet  for  the  Hunt. 
Cossacks  in  a  Country  Street. 

Hunting  in  the  reign  of  Louis  XIV.     {Berlin  National 
Gallery.) 

GIESMANN,  Friedrich,  an  historical  painter, 
bom  at  Leipsic  in  1810,  was  the  son  of  a  sculptor 
and  wood-engraver,  and  devoted  himself  to  the 
study  of  sculpture  for  a  while,  but  afterwards 
abandoned  it  for  painting.  He  took  to  the  depict- 
ing of  scenes  from  nature,  and  in  particular  of 
wild  beasts  from  a  menagerie  ;  further  on  he  pro- 
duced portraits.  He  received  the  patronage  of 
the  King  of  Saxony  during  a  two  years'  stay  at 
Dresden,  but  in  1832  he  left  that  city  for  Munich, 
with  the  intention  of  devoting  himself  exclusively 
to  historical  painting.  He  died  there  in  1847.  He 
executed  numerous  wall  paintings,  as  well  as  de- 
corative and  encaustic  work,  and  he  assisted  Schnorr 
von  Karolsfeld  in  adorning  the  halls  of  the  new 
royal  residence  at  Hohenschwangau,  where  he 
painted  from  Schnorr's  cartoons  five  large  wall 
pictures  from  the  lives  of  Charlemagne,  Rudolf  of 
Hapsburg,  and  Frederick  Barbarossa,  as  well  as 
four  friezes  from  his  own  designs.  Of  his  easel 
paintings,  'The  Parable  of  the  Prodigal  Son'  is 
specially  praised. 

GIETLEUGEN,  Josse,  a  painter  and  engraver, 
was  a  native  of  Courtrai,  who  was  living  in  1545. 
His  original  name  was  Van  GuUeghem,  but  he 
changed  it  for  some  unknown  reason.  He  engraved 
the  wood-cuts  for  Hadrianus  Junius's  '  Emble- 
mata,'  printed  at  Antwerp  in  1585. 

GIFFART,  Pierre,  was  bom  in  Paris  in  1638. 
He  engraved  a  considerable  number  of  portraits 
and  book  ornaments,  which  are  neatly  executed 
with  the  graver,  but  without  much  taste,  though 
his  merit  was  sufficient  to  procure  him  admission 
into  the  Academy  in  1682,  and  the  distinction  of 
engraver  to  the  king.  He  died  in  Paris  in  1723. 
The  following  prints  are  by  him  : 

PORTKAITS. 

Marie  Anne  Victoire  of  Bavaria,  Dauphiness  of  France. 
Fran^oise  d'AubigU(5,  Marchioness  de  Maintenon. 
Philip,  son  of  Thomas  XIII.,  Count  of  Savoy. 
Edward,  son  of  Amadeus  XV.,  Count  of  Savoy. 

VARIOUS   SUBJECTS. 
A  set  of  Medals  from  the  French  King's  Cabinet. 
A  set    of  designs  for  Chimney-pieces ;   twenty  plates, 
engraved  in  conjunction  with  Scotin  ;  after  Berain. 


PAINTERS  AND  ENGRAVERS. 


GIFFORD,  George,  an  engraver  of  portraits, 
flourished  about  the  year  1640.  He  was  chiefly 
employed  by  the  booksellers,  and  his  plates  are  very 
indiiferently  executed.  Among  others,  he  engraved 
the  following : 

Hugh  Latimer,  Bishop  of  "Worcester. 

Sir  Edward  Marmion, 

John  Bate ;  prefixed  to  his  '  Mysteries  of  Nature,'  1635. 

GIFFORD,  Sandfobd  Robinson,  an  American 
landscape  painter,  was  born  at  Greenfield,  in  Sara- 
toga county,  New  York,  in  1823.  He  studied  art 
at  Hudson,  New  York,  where  he  was  influenced  by 
the  works  of  Thomas  Cole,  and  in  the  National 
Academy  of  Design,  New  York.  In  1850  he  visited 
England  and  the  Continent,  and  on  his  return,  in 
1851,  he  was  elected  an  Associate  of  the  National 
Academy,  and  became  a  full  member  three  years 
later.  He  subsequently,  in  1860,  started  on  a 
journey  through  parts  of  Europe,  Asia,^nd  Africa, 
and  in  1870  he  visited  the  Rocky  Mountains.  His 
works  bear  ample  proof  of  the  results  of  his  travels. 
He  died  in  New  York  in  1880.  The  following  are 
some  of  his  best  paintings  : 

Mount  Mansfield.     1869. 

Twilight  on  Mount  Hunter.  {Exhibited  at  Paris  in  1867.) 

Morning  in  the  Adirondacks.     1867. 

San  Giorgio,  Venice.   1870.  {Exhibited  at  Paris  in  187&.) 

Fishing  Boats  on  the  Adriatic.     1871. 

Near  Palermo.     1876. 

The  Kuins  of  the  Parthenon.     1880. 

Sunrise  on  the  Matterhom.     1880. 

GIGANTE,  GiACiNTO,  an  Italian  painter,  litho- 
grapher, and  etcher,  born  at  Naples  in  1806,  was 
descended  from  a  family  of  artists.  He  was  at 
first  a  geographer,  but  studied  painting  under 
Pitloo,  and  then  executed  water-colour  drawings 
for  H.  Wolfensberger,  etchings  of  the  '  Bay  of 
Naples,'  along  with  Vianelli,  and  landscape  studies 
in  lithography.  In  1846  he  accompanied  the 
Emperor  and  Empress  of  Russia  to  Sicily,  and 
composed  an  album  of  the  island,  after  which  he 
was  appointed  drawing-mastei  in  the  family  of 
King  Ferdinand  II.  He  died  at  Naples  in  1876. 
He  chiefly  produced  landscapes  and  architectural 
pictures  in  water-colours,  for  which  he  received 
the  principal  prize  at  Brussels.  Two  of  his  best 
works  are :  '  The  Interior  of  the  Treasury  of  St. 
Januarius  on  the  Miracle  Day '  (Gallery  of  Capo- 
dimonte),  and  '  The  Tomb  of  Giovanni  Caracciolo 
at  Garbonara.' 

GIGOLA,  Giovanni  Battista,  was  bom  at 
Brescia  in  1796,  and  after  studying  five  years  in 
Rome,  where  he  painted  numerous  portraits,  and 
further  in  Paris,  became  first  a  miniature,  and  after- 
wards an  enamel  painter.  He  died  at  Milan  in 
1841.  He  executed  miniatures  on  vellum  for  '  Gli 
Amori  di  Dafne  e  Cloe,'  and  Da  Porto's  '  Giulietta 
e  Romeo,'  as  well  as  for  Byron's  '  Corsair.'  The 
Ambrosian  Library  at  Milan  also  contains  several 
admired  miniatures  by  him. 

GIGOUX,  Jean,  French  painter  ;  bom  at  Besan- 
gon  in  January  1806 ;  studied  in  Paris,  and 
exhibited  his  first  pictures  at  the  Salon  in  1833. 
Historical  painting  was  then  in  vogue,  and  it  was 
to  this  that  Gigoux  accordingly  devoted  himself. 
Among  his  most  notable  works  of  this  period 
were,  '  La  Mort  de  Leonard  da  Vinci,'  '  Henri  IV. 
et  Gabrielle  d'Estr^es,'  'Antoine  et  CMopatre,' 
'  Hdloise  et  Ab^Iard,' '  Manon  Lescaut,' '  La  Veillde 
d'Austerlitz,'  &c.  Gigoux  was  a  regular  con- 
tributor to  leading  French  art  exhibitions,  and  at 
the  close  of  his  career  took  up  portrait-painting 


agam,  some  studies  of  giris,  charming  in  their 
freshness  and  grace,  coming  as  a  veritable  surprise 
from  the  brush  of  the  veteran,  as  well  as  sundry 
vigorous  portraits  of  Jules  Simon,  Henner  and 
Bonnat.  Gigoux  left  a  valuable  collection  of 
pictures,  and  embodied  his  art  experiences  in  a 
volume  of  souvenirs  (' Causeriea  sur  les  Artistes  de 
mon  Temps,  1885').  He  ranks  as  the  last  of  the 
romantic  school.     He  died  December  10,  1894 

GIL,  Geeonimo  Antonio,  a  Spanish  painter  and 
engraver,  born  at  Zamora  in  1732,  was  a  pupil  of 
Tomas  Prieto.  His  works  show  correct  drawing 
and  attention  to  technical  detail.  He  died  at 
Madrid  in  1798. 

GILARDI,  PiETRO,  was  born  at  Milan  in  1679, 
and  was  instructed  in  art  by  Federigo  Bianchi,  but 
he  afterwards  went  to  Bologna,  where  he  became 
a  scholar  of  Marc  Antonio  Franceschini  and 
Giovanni  Giosefio  dal  Sole.  He  was  successful  in 
historical  painting,  and  especially  excelled  in  large 
fresco  works,  his  talents  being  particularly  adapted 
to  the  embellishment  of  cupolas,  ceilings,  and  other 
extensive  operations.  Such  are  his  frescoes  in  the 
refectory  of  San  Vittore  at  Milan.  The  year  of 
his  death  is  not  recorded,  but  he  was  in  his  best 
repute  from  1700  to  1718.  Sassi  completed  such 
of  his  works  as  were  left  unfinished  at  his  death. 

GILARDINO,  Melchiorre.     See  Gerardini. 

GILARTE,  Mateo,  a  Spanish  painter,  was  bom 
at  Valencia  about  1648.  He  was  a  scholar  of 
Francisco  Ribalta,  and  proved  an  eminent  painter 
of  history,  both  in  oil  and  in  fresco,  working 
principally  in  Murcia,  where  he  formed  a  great 
friendship  with  Juan  de  Toledo,  the  battle  painter, 
with  whom  he  worked.  In  the  Madrid  Gallery  is 
a  picture  of  the  '  Birth  of  the  Virgin.'  In  the 
church  of  Nuestra  Senora  del  Rosario  are  three 
large  pictures  in  fresco,  representing  '  Esther  before 
Ahasuerus,'  '  Jacob  wrestling  with  the  Angel,'  and 
'  St.  Dominic  with  other  Saints.'  For  the  convent 
of  that  church  he  painted  the  'Miracle  of  the 
Loaves  and  Fishes.'  He  died  at  Murcia  in  1700. 
His  daughter,  Magdalena  Gilarte,  painted  much 
in  his  style  for  the  cloisters  of  Murcia,  Toledo, 
and  Madrid. 

GILBERT,  ABTHnR.     See  Williams. 

GILBERT,  John  Graham.  See  Graham-Gilbert. 

GILBERT,  Joseph  Francis,  a  landscape  painter, 
was  born  in  1792.  He  resided  at  Chichester,  and 
exhibited  at  the  Royal  Academy  and  the  British 
Institution.  He  contributed  to  the  Westminster 
Hall  competition  a  picture  of  '  Edwin  and  Emma.' 
He  died  in  1855.      Amongst  his  works  are : 

View  of  East  Street,  Cliichester. 

Goodwood  Eace-course  :  Priam  winning  the  Gold  Cup. 

View  of  the  Kuins  of  Cowdray. 

GILBERT,  Sir  John  ;  this  eminent  artist  was 
born  at  Blackheath  in  1817.  His  father  was  a 
captain  in  the  Royal  East  London  Militia,  who, 
after  the  disbanding  of  his  regiment,  adopted  the 
calling  of  an  estate  agent,  and  young  Gilbert  was 
brought  up  to  the  same  business.  Early  in  his 
hfe,  after  a  very  scanty  education,  he  was  placed 
with  a  firm  in  Charlotte  Row,  City  of  London,  as 
a  clerk  ;  but  the  work  was  such  a  drudgery  to 
him,  and  his  interests  were  so  completely  on  the 
side  of  art,  that  after  two  years  his  parents  were 
convinced  of  their  error,  and  allowed  him  to  select 
his  profession  and  devote  himself  to  art.  From 
the  very  earliest  years  he  had  sketched  with  more 
than  ordinary  ability,  and  had  taken  off  prizes 
repeatedly  for  his  drawings,  but  he  needed  educa- 

239 


A  BIOGRAPHICAL   DICTIONARY   OF 


tion,  and  on  release  from  the  work  of  the  office  he 
set  about  obtaining  it.  He  failed  in  his  attempt 
to  enter  the  Academy  schools,  greatly  to  his  father's 
disappointment ;  but  he  placed  himself  under 
George  Lance,  who  had  been  a  pupil  of  Haydon, 
and  worked  for  a  while  in  his  studio.  He  also 
attended  evening  classes,  and  filled  up  every  scrap 
of  his  time  by  sketching  and  by  learning  from 
others  wherever  he  could.  At  the  age  of  nineteen 
he  sent  in  his  first  picture  for  exhibition,  a  water- 
colour  of  the  '  Arrest  of  Lord  Hastings,'  which 
was  hung  at  the  Society  of  British  Artists  in  1836. 
Two  years  after  that,  he  was  exhibiting  at  the 
Royal  Academy,  and  there  he  exhibited  till  1851, 
when  a  picture  of  his,  having  been  badly  hung,  he 
declined  to  send  in  on  the  following  year,  and 
continued,  with  the  exception  of  a  single  exhibit 
in  1863,  his  refusal  to  have  anything  to  do  with 
the  Academy.  In  1867,  however,  he  was  persuaded 
to  return  to  the  Gallery,  and  from  that  time  to  the 
date  of  his  death  he  was  a  constant  exhibitor. 
He  became  A.K.A.  in  1872,  and  R.A.  in  1876,  and 
his  works  were  always  great  attractions  to  the 
annual  show  at  Burhngton  House.  He  was  elected 
an  Associate  of  the  Old  Water-Colour  Society  as 
far  back  in  his  career  as  1852,  and  in  the  following 
year  became  a  full  member.  In  1871  he  was 
President,  and  at  that  time  the  honour  of  knight- 
hood was  conferred  upon  him  by  Queen  Victoria. 
Many  of  his  works  he  had  kept  in  his  own  hands, 
refusing  to  part  with  them  on  any  consideration, 
and  his  purpose  in  such  action  was  revealed  in 
1893,  when,  having  gathered  together  a  large 
collection  of  his  pictures,  he  presented  them  to 
the  various  important  art  galleries  of  the  country, 
giving  them  to  the  Guildhall  Gallery  in  London, 
and  to  the  Galleries  of  Birmingham,  Blackburn, 
Liverpool,  and  Manchester.  His  large  collection 
of  sketch-books  he  presented  to  the  Royal  Academy. 
His  gifts  were  received  with  much  acclamation, 
and  the  City  of  London  gave  him  its  freedom,  he 
being  the  first  artist  upon  whom  such  a  signal 
honour  had  been  conferred.  His  most  popular 
work  was  that  of  an  illustrator,  and  it  is  in  this 
department  of  his  labours  that  he  has  earned 
undying  fame.  In  'Punch'  and  the  'Illustrated 
London  News  '  his  best  work  can  be  seen,  whilst 
such  books  as  Mackey's  'Thames,'  Knight's  'Shake- 
speare,' '  Wordsworth,'  '  Scott,'  '  Cowper,'  '  Long- 
fellow,' '  Percy  Tales,'  '  English  Ballads,'  and  the 
'  Proverbs  of  Solomon,'  owe  much  of  their  interest 
and  delight  to  the  charming  and  always  suitable 
illustrations  which  Gilbert  drew  for  them.  The 
extraordinary  feature  of  the  whole  of  his  work  is 
that  it  was  not  drawn  from  models.  He  had  so 
stocked  his  mind  with  figures,  with  ornaments, 
and  with  scenes,  from  his  constant  habit  of  sketch- 
ing upon  every  occasion,  that  he  could  sit  down 
wherever  he  was  and  prepare  a  drawing,  which 
was  wonderful  in  its  accuracy  and  in  its  dramatic 
force.  All  his  armour  according  to  one  credible 
account  was  drawn  from  a  dish-cover  which  he 
kept  in  his  studio,  most  of  his  vestments  from  some 
scraps  of  velvet  and  brocade  which  he  had  by 
him,  and  yet  the  truth  of  the  work  was  quite 
wonderful,  and  his  memory  was  so  extraordinary 
that  his  results  were  seldom  at  fault.  He  is  said 
to  have  painted  nearly  450  pictures,  but  in  addition 
to  those,  to  have  executed  nearly  40,000  drawings, 
so  that  his  total  output  must  have  been  a  tre- 
mendous one,  and  can  only  be  accounted  for  by 
the  fact  that  he  was  never  idle,  and  always  hard  at 
240 


work,  even  up  to  the  last  few  days  of  his  life.  His 
facihty,  as  has  been  well  said,  was  prodigious,  and 
his  work  was  original,  brilliant  and  full  of  verve. 
He  was  supreme  in  composition,  in  depicting 
movement  and  in  a  sense  of  dignity,  and  was  fond 
of  incident  and  of  historical  scenes.  His  colouring 
was  rich  and  robust,  his  drawing  sensitive  and 
charming,  with  a  wonderful  quality  of  beauty 
about  it,  but  there  was  no  repose,  no  poetry,  and 
but  little  grandeur  in  any  of  his  works,  and  they 
were  to  the  last  strangely  sketch-like  and  curiously 
lacking  in  finish.  Their  vigour  is,  however,  un- 
mistakable, and  the  characteristics  of  breadth, 
robust  colour,  spirited  incident,  and  buoyant  life 
are  never  lacking  ;  and  although  he  ignored 
questions  of  "tone"  and  "  value,"  and  the  deeper 
problems  of  atmosphere,  and  was  frankly  pictorial 
and  gloried  in  opulent  colour,  yet  his  pictures  will 
ever  be  popular  and  noteworthy,  and  so  sound  was 
his  craftsmanship  that  they  are  likely  to  perpetuate 
his  fame  for  many  a  long  year  to  come.  He  lived 
beloved  by  all  who  knew  him,  and  died  in  1897. 

See  '  Sir  John  Gilbert,'  by  M.  H.  Spielman,  in 
'Magazine  of  Art,'  and  other  articles  which  appeared 
soon  after  his  death.  G.  C.  W. 

GILES,  James  William,  a  Scottish  landscape 
painter,  the  son  of  an  artist  of  local  reputation  in 
Aberdeen,  was  born  at  Glasgow  in  1801.  After 
having  studied  painting  under  his  father,  he  passed 
a  short  time  in  Italy.  In  1830  he  was  elected  a 
member  of  the  Royal  Scottish  Academy,  and  about 
this  time  sent  several  works  to  the  Royal  Academy. 
His  pictures  chiefly  depict  Highland  scenery, 
especially  fishing,  to  which  sport  he  was  much 
addicted.  A  picture  by  him,  '  The  Weird  Wife,' 
is  in  the  National  Gallery  of  Scotland.  He  died  at 
Aberdeen  in  1870. 

GILFILLAN,  John  A.,  a  Scottish  painter,  was 
in  his  early  life  in  the  Royal  Navy.  He  afterwards 
devoted  himself  to  art,  and  from  1830  to  1840 
held  the  appointment  of  professor  of  painting 
in  the  Andersonian  University  at  Glasgow.  He 
afterwards  emigrated  to  New  Zealand,  where  he 
died.  In  the  Glasgow  Corporation  Galleries  is  a 
picture  of  'Robinson  Crusoe  landing  stores  from 
the  Wreck ;'  and  in  the  South  Kensington  Museum 
is  a  picture  of  a  '  Scotch  Loch.' 

GILIO,  a  native  of  Siena,  painted  a  book-cover, 
preserved  in  the  Academy  of  Arts,  representing  a 
monk  of  St.  Galgano  in  a  white  dress,  seated  in 
profile  on  a  chair,  dated  1257. 

GILIOLI,  GiAciNTO,  a  Bolognese  painter,  born 
in  1584,  was  brought  up  in  the  school  of  the  Car- 
racci.  Of  his  works  at  Bologna,  the  most  esteemed 
are  his  picture  of  the  '  Death  of  St.  Joseph  '  in 
Santa  Mattia,  and  '  David  with  the  Head  of  Goliath  ' 
in  San  Salvatore.     He  died  in  1666. 

GILL,  Akdr£,  a  French  painter  and  political 
caricaturist,  was  bom  in  October  1840.  He  studied 
under  Leloir,  and  at  the  Acad^mie  des  Beaux  Arts. 
He  exhibited  a  few  portraits,  &c.,  at  the  Salon,  but 
was  best  known  by  his  caricatures  of  notabilities 
under  the  Second  Empire.  He  became  insane  about 
five  years  before  his  death,  which  took  place  in 
1885. 

GILL,  Charles,  a  portrait  painter,  was  the  son 
of  a  pastry-cook  at  Bath.  He  became  a  pupil  of 
Sir  Joshua  Reynolds,  and  exhibited  a  few  portraits 
at  the  Royal  Academy  between  1772  and  1819. 

GILL,  Edmdnd,  born  in  Clerkenwell,  November 
29,  1820.  The  son  of  a  japanner,  he  was  at  first 
destined  to  follow  his  father's  trade,  but,  owing  to 


SIR  JOHN  GILBERT 


Haitfitingl  photo\  [Liverpool  Gallery 

RICIIAKD  II.  RESIGNING  THE  CROWN  TO  BOI INGBROKE 


PAINTERS   AND   ENGRAVERS 


his  marked  liking  for  art,  he  became  a  portrait 
painter,  in  which  capacity  he  at  first  established 
himself  with  limited  success  at  Ludlow.  It  would 
not  appear  that  he  received  any  regular  training 
at  the  Academy  or  elsewhere,  but  great  industry 
served  to  help  his  natural  sympathies,  and  he  very 
soon  obtained  considerable  skill  in  the  branches  of 
art  he  had  chosen.  At  Hereford  he  found  so  much 
favour  that  a  ;local  subscription  helped  him  to 
undertake  landscape-painting  in  Wales,  and  after- 
wards to  goto  London.  His  first  picture,  '  View  in 
Croft  Park,'  was  shown  at  the  British  Institution 
in  1842,  and  four  years  later  he  sent  a  '  Storm 
Scene '  to  tlie  Royal  Academy,  and  was  also  repre- 
sented at  the  Suffolk  Street  Galleries.  To  these  last- 
named  he  was  indeed  a  very  frequent  contributor, 
sending  in  over  a  hundred  and  fifty  works.  His 
taste  led  him  to  paint  cascades  (hence  his  nickname 
"  Waterfall  Gill")  and  breaking  seas,  especially  as 
viewed  from  lofty  cliffs.  After  a  brief  illness  he 
died  at  Hackbridge,  Carshalton,  on  May  14,  1894. 

GILLARDINI,  Melchiorre.     See  Geraedini. 

GILLBERG,  Jacob,  a  Swedish  engraver,  was 
born  in  Wermland  in  1724.  He  engraved  several 
portraits  of  distinguished  personages  of  Sweden  ; 
and  afterwards  went  to  Paris,  where  he  executed 
several  plates  in  imitation  of  chalk  drawings ; 
among  which  were  some  heads  after  Raphael,  and 
some  landscapes  engraved  jointly  with  Demarteau. 
He  died  in  1793. 

GILLBERG,  Jacob  Axel,  a  Swedisli  miniature 
painter,  the  elder  son  of  Jacob  Gillberg,  was  bom 
in  Westmanland  in  1769.  He  is  known  by  his 
equestrian  portrait  of  Charles  XIII.,  and  his  por- 
traits of  Charles  XIV.  (Bernadotte)  and  his  Queen, 
after  Gerard.     The  date  of  his  death  is  not  known. 

GILLE,  Jean  Baptiste.     See  Colson. 

GILLEMANS,  Jan  Paulo,  a  fruit  and  flower 
painter,  born  at  Antwerp  in  1650,  was  the  pupil  of 
Georgius  van  Son.  In  1673,  along  with  his  brother, 
Pieter  Matthias,  he  was  made  free  of  the  Guild  of 
St.  Luke.  He  then  went  to  Paris,  and  from  tljere 
in  1713  to  Amsterdam.  He  is  said  to  have  fallen 
into  a  canal  and  been  drowned  about  1742.  Tliere 
are  by  him  a  signed  picture  in  the  Museum  at  Lille, 
and  another  in  the  South  Kensington  Museum. 

GILLEMANS,  Pieter  Matthias,  brother  of 
Jan  Paulo,  was  born  at  Antwerp,  where  he  also 
died  in  1692.  He  had  a  high  reputation  as  a  fruit 
and  flower  painter. 

GILLES  OP  Antwerp.    See  Congnet. 

GILLIES,  Miss  Margaret,  the  daughter  of  a 
Scotch  merchant  settled  in  London,  and  niece  of 
Lord  Gillies  the  judge,  was  born  in  Throgmorton 
Street  in  1803.  Her  father  having  lost  his  fortune, 
she  lived  as  a  girl  under  the  care  of  her  uncle  in 
Edinburgh,  where  she  enjoyed  the  society  of  some 
of  the  most  notable  men  of  the  day,  among  them 
Scott,  Erskine,  and  Jeffrey.  Determined,  however, 
to  earn  an  honourable  livelihood  for  herself,  she 
resolved  to  become  an  artist,  and  went  to  Paris  to 
study,  where  she  made  the  acquaintance  of  the 
Scheffers,  and  worked  more  or  less  under  their 
direction.  She  made  her  debut  as  a  painter  of 
miniatures,  and  afterwards  devoted  herself  to  water- 
colour  drawings  of  domestic  or  romantic  subjects. 
In  1852  she  was  elected  an  associate  of  the  Water- 
Colour  Society,  of  which  she  was  the  first  lady 
member.  With  that  body  she  was  a  constant 
exhibitor,  contributing  down  to  the  year  before  her 
death,  which  took  place  at  her  house  at  Hampstead 
in  the  spring  of  1888. 

VOL.  II.  B 


GILLIG,  Jakob,  (or  Gellig,)  a  Dutch  painter, 
was  born  at  Utrecht  about  the  year  1636,  and 
is  stated  by  Balkema  to  have  died  there  in  1688. 
He  excelled  in  painting  fish,  which  he  represented 
with  great  fidelity.  He  also  painted  portraits,  and 
it  is  said  landscapes.  Several  of  his  works  are  in 
the  Berlin  and  Cassel  Galleries,  and  the  Kunsthalle 
at  Carlsruhe.  He  married  a  daughter  of  Adam 
Willaarts,  the  landscape  painter. 

GILLIG,  Michiel,  a  Dutch  ainter,  flourished 
in  the  latter  part  of  the  17th  century,  and  executed 
a  portrait  of  Gerard  De  Vries  in  1685. 

GILLIS,  F.,  a  painter,  bom  at  Besanfon  at  the 
commencement  of  the  18th  century,  was  a  professor 
of  the  Academy  at  Tournai.  In  the  Museum  of 
that  town  are  a  '  Group  of  dead  Birds,'  a  portrait 
of  Jean  Baptiste  Fauquez,  a  '  Head  of  an  old  Man,' 
and  'St.  Nicholas.'  He  died  at  Froidmont,  near 
Tournai,  in  1790. 

GILLIS,  Herman,  bom  at  Antwerp  in  1733, 
was  a  pupil  of  Geeraerts,  and  painted  portraits  and 
historical  subjects.  In  1768  he  became  a  member 
of  the  Guild  of  St.  Luke,  and  afterwards  travelled 
in  Germany  and  Austria.  At  Vienna  he  painted  a 
portrait  of  the  famous  General  Laudon.  He 
executed  some  pictures  for  the  church  of  Hoog- 
straeten  on  the  legend  of  the  Holy  Blood,  and  in  1773 
was  appointed  Director  of  the  School  of  Design  at 
Louvain.     The  date  of  his  death  is  not  known. 

GILLOT,  Cladde,  a  French  painter  and  engraver, 
was  born  at  Langres  in  1673.  He  was  sent  to 
Paris  when  young,  and  became  a  scholar  of  J.  B. 
Corneille.  He  chiefly  excelled  in  designing  fauns, 
satyrs,  and  grotesques,  in  which  he  acquired  some 
reputation,  and  was  received  into  the  Academy  in 
Paris  in  1715.  Antoine  Watteau  was  his  scliular, 
and  greatly  surpassed  him.  He  died  in  Paris  in 
1722.  His  works  as  a  painter  are  little  regarded; 
but  he  has  left  us  a  considerable  number  of  etch- 
ings, from  his  own  designs,  which  are  executed  in 
a  bold,  free  style.  Including  the  plates  he  en- 
graved for  the  '  Fables '  of  La  Mothe-Houdard, 
Gersaint  makes  his  prints  amount  to  one  hundred 
and  eighty.  Among  others,  the  following  are  by 
him: 

The  Feast  of  Diana  disturbed  by  Satyrs  ;  C'l.  Gillot  fee. 
The  Feast  of  Bacchus  celebrated  by  Satyrs  and  Bac- 
chantes. 
The  Triumph  of  Pan  celebrated  by  Nyraphs  and  Sylvans. 
The  Triumph  of  Fauuus,  the  God  of  the  Forests. 
The  Milk-jug  and  the  Upset  Pot. 

GILLRAY,  James,  the  most  eminent  of  English 
caricaturists,  was  born  in  1757,  and  is  supposed  to 
have  been  of  Irish  descent.  Scarcely  any  particu- 
lars of  his  early  years  are  known.  It  is  said  that 
he  was  the  son  of  a  Chelsea  pensioner,  and  a  person 
of  the  same  name,  who  was  probably  his  fatlier, 
filled  the  office  of  sexton  to  the  Moravian  cemetery 
at  Chelsea  for  forty  years,  and  was  buried  there  in 
1799.  Like  the  illustrious  Hogarth,  and  the  cele- 
brated engraver  Sharp,  he  began  his  career  as  a 
letter  engraver,  though  we  have  been  unable  to  find 
any  specimens  of  his  works  of  that  description. 

Being  disgusted  with  this  monotonous  occupation, 
he  ran  away  from  his  employer,  joined  a  company 
of  strolling  players,  and  after  undergoing  the 
various  hardships  which  this  course  of  life  invari- 
ably entails,  he  returned  to  London,  and  became  a 
student  of  the  Royal  Academy,  where  he  pursued 
most  energetically  his  studies  in  the  art  of  design. 
That  he  must  have  attained  remarkable  proficiency 
is   very  evident    from    several  plates   which   he 

241 


A   BIOGRAPHICAL  DICTIONARY  OF 


engraved  after  his  own  designs,  particularly  two 
subjects  from  Goldsmith's  '  Deserted  Village,'  in- 
scribed 'The  Village  Train' and  'The  Deserted 
Village,'  published  in  1784.  These  are  designed 
in  a  remarkably  free  and  picturesque  manner,  and 
have  some  resemblance  to  the  earlier  works  of 
Stothard.  They  are  exceedingly  well  engraved 
in  the  dotted  manner,  and  though  the  name  of 
his  instructor  in  this  art  is  not  known,  they  so  much 
resemble  the  works  of  the  unfortunate  Ryland, 
that  one  can  have  but  little  hesitation  in  assign- 
ing the  credit  of  the  tuition  to  him.  Among  other 
works  of  this  class,  and  executed  about  the  same 
time,  are,  a  capital  portrait  of  Dr.  Arne,  after 
Bartolozzi ;  '  Colonel  Gardiner's  last  Interview  with 
his  Children  ;  '  '  The  Burning  of  the  Dukeof  Athole 
East  Indiaman,  1785  ;  '  'The  Wreck  of  the  Nancy 
Packet  off  Scilly,  1784 ; '  and  two  portraits  of 
William  Pitt,  all  after  his  own  designs.  The 
two  last,  though  admirable  representations  of  the 
man,  are  nevertheless  somewhat  approaching  to 
caricature.  He  also  engraved  a  few  plates  after 
Lady  Spencer's  drawings.  Either  for  the  pur- 
pose of  amusement  or  of  mystification,  he  occasion- 
ally adopted  fictitious  names.  Thus  the  following 
plates,  which  are  known  to  be  by  him,  have  other 
names  attached  to  them  :  '  The  Nativity,'  after 
Copley,  J.  Hurd  fecit,  1785  ;  'The  Return,' a  child 
with  a  dog  in  a  landscape,  J.  Kent  fecit,  1781  ;  'A 
Storm,'  /.  Penn  fecit,  1786  ;  and,  were  it  necessary, 
many  others  of  his  works  might  be  quoted  bearing 
these  names.  He  also,  on  many  of  his  earlier 
caricatures,  made  use  of  a  monogram  composed  of 
the  letters  J.  S.,  interlaced  in  such  a  manner  as  to 
resemble  that  used  by  Sayer  the  caricaturist,  which 
he  probably  adopted  to  mislead  the  public  as  to 
the  real  author  of  the  publications. 

In  1792  he  engraved  a  droll  representation  of 
'  John  Bull  and  his  family  landing  at  Boulogne  '  for 
his  friend  Banbury,  and  in  the  same  year  he  accom- 
panied De  Loutherbourg  in  his  travels  in  France 
and  Flanders  to  collect  materials  for  the  latter's 
great  picture  of  the  '  Siege  of  Valenciennes.'  The 
memorial  of  this  tour  is  preserved  in  two  groups 
known  as  '  Flemish  Characters.' 

Gillray  appears  to  have  worked  as  an  engraver 
long  after  his  career  as  a  caricaturist  had  com- 
menced, for  he  engraved  in  1792  a  large  plate  after 
Northcote,  representingthe  delivery  of  the  prisoners 
from  the  Bastille,  inscribed,  '  Le  Triomphe  de  la 
Liberie,  ou,  L'filargissement  de  la  Bastille  ;'  and 
in  1794,  '  Marquis  Cornwallis  receiving  the  royal 
Hostages  at  Seringapatam,'  after  the  same  painter: 
probably  the  last  of  his  productions  of  this 
description. 

Admirable  as  many  of  these  works  are,  it  is  as  a 
caricaturist  that  Gillray  is  best  known,  and  upon 
which  his  fame  entirely  rests.  In  this  art  he  has 
no  rival  ;  and  the  exquisite  tact  with  which  he 
seized  upon  points,  both  in  politics  and  manners, 
most  open  to  ridicule,  is  only  equalled  by  the  con- 
summate skill  and  wit  with  which  he  satirized  them. 
His  earlier  works  are  more  carefully  than  spiritedly 
executed,  and  look  like  the  productions  of  an 
engraver  only.  The  earliest  of  his  undoubted 
caricatures,  though  many  others  antecedent  have 
been  with  great  reason  attributed  to  him,  is  dated 
1779  ;  it  is  probably  a  satire  on  the  Irish  Fortune- 
hunter,  and  is  called  '  Paddy  on  Horseback,'  the 
so-called  horse  being  a  bull,  on  which  he  is  riding 
with  his  face  to  the  tail.  But  his  improvement 
was  rapid  and  extraordinary,  and  he  soon  attained 

242 


a  marvellous  freedom  both  of  design  and  in  the 
management  of  the  etching  needle.  It  is  said  that 
he  etched  his  ideas  at  once  upon  the  copper  without 
making  a  previous  drawing,  his  only  guides  being 
sketches  of  the  distinguished  characters  he  intended 
to  introduce  made  on  small  pieces  of  card,  which 
he  always  carried  about  with  him.  His  caricatures 
amount  to  more  than  twelve  hundred,  of  which  the 
following  are  a  few  of  the  more  important,  arranged 
according  to  the  dates  at  which  they  appeared. 

A  i\'ew  ^f'«y  to  p(^y  the  Kational  Debt,  George  III.  and 
his  Queen  are  coming  out  of  the  Treasury  loaded  with 
money,  which  is  overflowing  their  pockets  ;  on  the 
right  is  the  Prince  of  Wales  in  a  very  shabby  condi- 
tion, gratefully  receiving  money  from  the  Duke  of 
Orleans.     April  21,  1786. 

Ancient  Music.  A  caricature  of  the  King  and  Queen  in 
ecstasy  at  a  concert  performed  by  the  ministers. 
May  10,  1787. 

Monstrous  Craws.  A  satire  on  the  grasping  avarice  of 
George  III.  and  Queen  Charlotte.     May  29,  1787. 

March  to  the  Bank.  An  etching,  executed  in  the  most 
masterly  style.     August  22,  1787. 

Market  liay.  Lord  Thurlow,  as  a  grazier,  is  attending 
Smithfieid  Market,  and  examining  the  beasts,  the 
heads  of  which  represent  the  leading  political  charac- 
ters of  the  day.     M.ay  2.  1788. 

Election  Troops  bringing  in  their  Accounts  to  the  Pay 
Table.  A  satire  on  the  means  employed  by  ministers, 
unsuccessfully,  however,  to  frustrate  the  election  of 
Fox  for  Westminster.  This  is  the  first  caricature  on 
which  the  name  of  Gillray  appears.     1788. 

Frying  Sprats,  and  Toasting  Muffins,  Two  small  but 
very  clever  caricatures  on  the  parsimonious  habits  of 
George  III.  and  Queen  Charlotte.     1791. 

Anti-Saccharites,  or  John  Bull  and  his  Family  leaving  off 
the  use  of  Sugar.  The  King  and  Queen,  from  eco- 
nomical motives,  are  enjoying  and  praising  their  tea 
without  sugar,  while  the  Princesses  are  evidently 
very  much  disgusted.  The  Royal  Family,  it  is  said, 
were  highly  delighted  with  this  caricature.     1792. 

A  Connoisseur  examining  a  Cooper.  A  very  bold  and 
happy  idea,  capitally  carried  out.  George  III.  is  re- 
presented almost  purblind,  looking  with  great  atten- 
tion at  a  miniature  of  Oliver  CromweU,  by  Samuel 
Cooper,  which  he  holds  in  one  hand,  while  he  has  a 
caudle  in  the  other.  The  bitterness  of  this  satire  was 
occasioned  by  the  disparaging  observations  the  King 
made  on  the  portraits  Gillray  had  sketched  during  his 
tour  in  Flauders  with  De  Loutherbourg.  The  King 
had  said,  "  I  don't  understand  these  caricatures."  The 
exasperated  artist  made  this  drawing,  and  said,  "  I 
wonder  if  the  royal  connoisseur  will  understand 
this?"    1792. 

Temperance  enjoying  a  frugal  Meal,  and  A  Voluptuary 
under  the  Horrors  of  Digestion.  Two  most  admirable 
productions,  unsurpassed  in  humour,  design,  or 
execution.  The  temperate  habits  of  George  111.  in 
the  former,  and  the  Epicurean  manners  of  the  Prince 
of  Wales  in  the  latter,  are  portrayed  with  the  most 
consummate  ability.     1792. 

Bengal  Levee,  from  an  original  drawing  made  on  the  spot 
li^  an  aynateur.  A  very  large  and  skilfully-executed 
plate.     1792. 

The  Dagger  Scene,  or  the  Plot  discovered.  A  capital 
representation  of  a  well-known  scene  in  the  House  of 
Commons,  in  which  Edmund  Burke  was  the  chief 
performer.     1792. 

Fatigues  of  the  Campaign  in  Flanders.  The  Duke  of 
York  luxuriating  iu  the  company  of  Flemish  women, 
attended  by  his  soldiers,  who  are  bringing  in  large 
bowls  of  punch.     1793. 

The  Loyal  Toast.  The  Duke  of  Norfolk  giving  his 
celebrated  toast,  "  The  majesty  of  the  people,"  at  the 
Crown  and  Anchor  Tavern,  for  which  he  was  dismissed 
from  his  ofhces.     1798. 

The  Consequences  of  a  successful  French  Invasion.  A  set 
of  four  plates,  in  which  the  horrors  to  be  expected 
are  given  with  extraordinary  spirit. 

The  Cow-pock,  or  the  wonderful  effects  of  the  neto  Inocu- 
lation. A  very  humorous  burlesque  on  the  popular 
opinions  respectmg  Jenner's  invaluable  discovery. 


PAINTERS  AND  ENGRAVERS. 


L'Assemblie  Natiovale,  or  a  grand  co-operative  Meeting 
at  St.  Anne's  Hill  (the  residence  of  Charles  James 
Fox),  respectfully  dedicated  to  the  admirers  of  a  Broad- 
iottom'd  Administration.  This  is  undoubtedly  the 
most  talented  caricature  that  has  ever  appeared. 
The  King  is  supposed  to  have  been  executed,  the 
Eepublic  proclaimed,  and  Fox,  as  first  consul,  is  hold- 
ing his  levee  at  his  house  at  St.  Anne's  Hill.  All  the 
leading  Whigs  are  present,  of  whom  the  likenesses 
are  most  admirable,  and  in  the  right  corner  is  seen  a 
portion  of  the  figure  of  the  Prince  of  Wales,  to  whom 
this  caricature  gave  so  much  offence  that  he  offered 
a  large  sum  of  money  for  its  suppression,  which  being 
accepted,  he  ordered  the  plate  to  be  destroyed.  The 
plate,  however,  was  not  destroyed,  but  secreted,  and 
it  still  exists.     1804. 

The  King  of  Brotdinynag  and  Gulliver  (George  III.  and 
Bonaparte) ;  two  plates.     1803  and  1804. 

The  Middlesex  Election.  Sir  Francis  Burdett  dragged  in 
his  carriage  to  the  poll  by  the  Duke  of  Norfolk, 
Charles  James  Fox,  and  other  leading  Whigs.     1804. 

The  Reconciliation  (between  George  III.  and  the  Prince 
of  Wales).     Admirably  treated.    180-4. 

The  Life  of  William  Cobbett,  written  by  himself.  Eight 
satirical  plates.     1809. 

Installation  of  the  Chancellor  of  Oxford  (Lord  Gren- 
ville),  August  8,  1810.  A  large  plate,  and  the  last 
poUtical  engravmg  bearing  Gillray's  name. 

Other  pieces  not  of  a  political  nature,  but  full  of 
Jiumour,  and  sometimes  severely  satirical  on  the 
fashionable  frivolities  of  the  time,  wherein  he  did 
not  spare  the  persons  of  the  prime  leaders  of  society, 
<nay  be  added  : 

A  Pic  Nic  Orchestra.  This  plate  contains  the  poi> 
traits  of  the  Marchionesses  of  Buckingham  and  Salis- 
bury, Lady  Mary  Cholmondeley,  Lord  Edgcumbe,  and 
Charles  Greville. 

Dilettanti  Theatricals.  The  same  characters  are  intro- 
duced as  in  the  preceding  plate. 

Bloicing  up  Pic  Nics.  The  same  parties  assailed  by 
Shendan  in  the  character  of  Harlequin,  assisted  by 
Mrs.  Siddons  and  John  Kemble. 

The  Bulstrode  Siren.  Mrs.  Billington  and  the  Duke  of 
Portland. 

Push-pin.     Duke  of  Queensberry  and  Miss  Vanneck. 

Twopenny  fVhist.  The  party  cousists  of  Betty  Marshall, 
the  assistant  to  Mrs.  Hnm]-vhrpys,  Mrs.  Turner,  Mr. 
Mortimer,  and  a  German  of  the  name  of  Schotter. 
Betty  Marshall  is  showing  the  trump  card. 

Cockney  Sportsmen  ;  four  plates.     1800. 

Elements  of  Skating  ;  four  plates,     1805. 

Hake's  Progress  at  the  Univtrsity  ;  five  plates.     1806. 

Gillray  executed  a  series  of  twenty  stippled 
plates,  usually  printed  in  a  red  colour,  bearing  the 
title  '  Hollandia  Regenerata.'  They  have  Dutch 
inscriptions,  were  published  in  Holland,  and  were 
intended  principally  to  ridicule  the  republican  cos- 
tumes and  appointments.  The  last  plate  published 
during  his  life  was  '  A  Barber's  Shop  in  Assize 
time,'  from  a  drawing  by  Bunbury.  It  is  dated 
January  9th,  1811,  but  was  engraved  much  earlier. 

Gillray  was  unfortunately  another  example  of  the 
imprudence  that  so  frequently  accompanies  genius 
and  great  talent.  His  habits  were  in  the  highest 
■degree  intemperate,  and  for  many  years  he  resided 
in  the  houses  of  his  publisher,  Mrs.  Humphreys, 
in  New  and  Old  Bond  Streets,  and  lastly  in  St. 
James's  Street  By  her  he  was  most  liberally 
supplied  with  every  indulgence,  and  during  his 
residence  with  her  lie  produced  nearly  all  his  most 
celebrated  works,  which  were  bought  up  with 
unparalleled  eagerness,  and  circulated  not  only 
throughout  England,  but  all  over  Europe.  Though 
under  an  engagement  not  to  work  for  any  other 
publisher,  yet,  to  satisfy  his  insatiable  desire  for 
strong  drink,  he  now  and  then  etched  plates  for 

B2 


Mr.  Fores  of  Piccadilly,  disguising,  and  occasion- 
ally very  successfully,  both  his  style  and  handling. 
It  has  been  before  observed,  that  the  last  of  his 
works  is  dated  in  1811  ;  soon  after  this  he  sank 
into  a  state  of  mingled  imbeciUty  and  delirium,  and 
died  in  London  in  1815, 

There  exists  a  specimen  of  his  practice  of  the  art 
of  lithography.  It  represents  a  '  Domestic  Musical 
Party  ; '  the  mother  is  playing  on  the  pianoforte, 
the  husband  stands  behind  her  playing  the  flute, 
the  children  are  singing.  It  exhibits  considerable 
ability,  and  is  excessively  rare.  He  engraved  on 
wood  a  medallion  portrait  of  William  Pitt,  placed 
against  a  rustic  monument  overshadowed  by  the 
branches  of  an  oak,  and  a  few  small  woodcuts, 
among  which  are  '  A  Woman  crying  Fish,'  '  A  Boy 
near  a  Cottage  drinking,'  and  '  A  Beggar  at  a 
Door.' 

GILPIN,  Sawbey,  an  animal  painter,  was  born 
at  Carlisle  in  1733.  He  was  the  son  of  a  captain 
in  the  army,  from  whom  he  received  some  instruc- 
tion in  drawing.  On  his  arrival  in  London,  he 
was  for  some  time  under  a  ship  painter.  His 
genius,  however,  led  him  to  drawing  animals  ; 
and  some  of  his  sketches  having  been  shown  to 
the  Duke  of  Cumberland,  he  took  Gilpin  under  his 
patronage,  and  employed  him  in  painting  the  por- 
traits of  his  favourite  racers,  and  other  subjects,  at 
Newmarket.  He  became  one  of  the  most  correct 
and  spirited  drawers  of  horses  that  the  art  has  pro- 
duced ;  and  that  he  possessed  powers  of  a  superior 
cast,  which  would  have  enabled  him  to  distinguish 
himself  in  the  more  elevated  walk  of  historical 
painting,  is  evident  in  his  pictures  of  the  '  Election 
of  Darius  '  and  the  '  Triumph  of  Camillus,'  Gilpin 
was  elected  an  Associate  of  the  Royal  Academy 
in  1795,  and  at  Academician  in  1797.  He  died 
at  Brompton  in  1807,  The  animals,  particularly 
the  horses,  in  Barret's  pictures,  are  generally  by 
Gilpin  ;  and  the  landscape  part  of  Gilpin's  pictures 
is  by  Barret.  In  the  South  Kensington  Sluseum 
is  a  picture  of  '  Cows  in  a  Landscape ; '  and  in 
water-colours,  '  Sketch  of  a  Lion  and  Lioness,'  and 
A  Mansion  in  process  of  construction.'  There 
are  a  few  very  spirited  etchings  by  this  estimable 
artist ;  among  others,  the  following  : 

A  set  of  Oxen,  Cows,  &c. 
A  small  Book  of  Horses. 

Some  Heads  for  his  brother's,  Rev.  William  Gilpin's, 
*  Lives  of  the  Keformers.*     1809. 

GILPIN,  William,  a  landscape  draughtsman, 
born  in  1724,  near  Carlisle,  was  the  brotherof  Sawrey 
Gilpin.  He  graduated  at  Oxford,  and  was  after- 
wards master  of  Cheam  School,  and  finally 
vicar  of  Boldre,  Hants,  where  he  died  in  1804. 
He  published  a  large  number  of  topographical 
works,  for  which  he  drew  and  engraved  the 
illustrations.  There  are  four  landscapes  in  Indian 
ink  by  him  in  the  South  Kensington  Museum. 

GILPIN,  William  Sawrey,  bom  1762,  a  water- 
colour  painter,  was  the  son  of  Sawrey  Gilpin.  He 
was  the  first  president  of  the  Water-Colour  Society 
(1804 — 1806),  exhibiting  there  till  1814  ;  and  he 
held  the  appointment  of  drawing-master  at  the 
Royal  Military  College  at  Great  Marlow.  He  died 
in  1843. 

GILSON,  Jean  Henri,  called  "  Frhre  Abraham 
d'Orval,"  was  born  at  Habay  la  Vieille  in  1741. 
He  established  himself  in  the  Ardennes  as  a  hermit, 
till  on  the  suppression  of  the  hermits  by  Joseph 
II.  he  entered  the  Abbey  of  Orval.  The  Prior, 
struck  by  his  talent,  made  him  travel  to  Rome, 

243 


A  BIOGRAPHICAL  DICTIONARY  OF 


Antwerp,  Brussels,  and  Paris,  and  then  sent  him  to 
the  Academy  at  Diisseldorf .  There  he  carried  ofi 
the  first  prize  witli  a  picture  of  '  Adam  and  Eve 
lamenting  the  Death  of  Abel.'  On  his  return  to 
the  Abbey  he  set  to  work  to  fill  the  refectory,  halls, 
and  church  of  the  Abbey  with  pictures.  In  1793 
the  Abbey  with  all  its  pictures  was  destroyed  by 
the  French,  and  Gilson  retired  to  Florenville,  where 
he  opened  a  studio,  and  died  in  1809.  He  executed 
a  large  number  of  portraits  and  religious  pictures. 
GILTLINGEB,  Johannes  Gompolt.    See  GtJLT- 

LINGER. 

GIMIGNANI,  GiACiNTO,  (or  Gemignani,)  was 
born  at  Pistoja  in  1611,  but  studied  at  Rome,  first 
under  Nicolas  Poussin,  and  afterwards  in  the  school 
of  Pietro  da  Cortona.  In  his  composition  and 
design  he  followed  the  classic  style  of  his  first 
instructor,  but  in  his  colouring,  and  the  taste  of 
his  architecture,  that  of  the  second.  He  worked 
in  competition  with  Andrea  Camassei  and  Carlo 
Maratti,  in  the  Baptistery  of  San  Giovanni  in  Late- 
rano,  where  he  painted  in  fresco  some  subjects 
from  the  life  of  Constantine.  Several  of  his 
works  are  in  the  Palazzo  Niccolini  at  Florence  ; 
and  a  fine  picture  of  '  Leander,'  in  the  Uffizi,  is  so 
much  in  the  style  of  Guercino,  that  Lanzi  says  it 
was  for  some  time  attributed  to  that  master.  In 
the  church  of  San  Giovanni  at  Pistoja  are  two 
pictures  of  subjects  from  the  life  of  St.  John ; 
in  the  cathedral,  '  St.  Roch  ;  '  and  in  the  Pitti 
Palace  at  Florence,  '  Rebecca  at  the  Well.'  He 
died  in  1681.  There  are  a  few  etchings  by  this 
master,  executed  with  great  spirit,  ~r  and  marked 
with  the  annexed  monogram  :  ll_  Among  them 
are :  j: 

The  Eape  of  the  Sabines.     1649. 

The  Siege  and  Capitiilation  of  Toumai  in  1581. 

A  set  of  twelve  small  plates  of  the  Sports  of  Children. 

Anthony  and  Cleopatra. 

Queen  Semiramis  quelling  a  Revolt. 

GIMIGNANI,  LoDOVico,  (or  Gemignani,)  was 
the  son  of  Giacinto  Gimignani,  and  was  born  at 
Rome  in  1644.  He  chiefly  excelled  in  fresco  ;  and 
there  are  several  of  his  works  in  the  churches  at 
Rome,  as  well  as  others  executed  in  conjunction 
with  his  father.  The  vault  of  Santa  Maria  delle 
Vergini  is  one  of  his  most  admired  performances  ; 
the  principal  altar-piece  of  the  same  church  is  by 
him.     He  died  in  1697. 

GINDERICK,  Theodorich  von,  painted  in  1475 
'  Two  Angels,'  and  a  baldacchino,  for  the  cliapel  of 
St.  Michael  in  the  Victor's  church  at  Xanten. 

GINDTER,  Matha.     See  Gunther. 

GINNASI,  Cattarina,  the  niece  of  Cardinal 
Domenico  Ginnasi,  was  born  at  Rome  in  1590.  She 
was  taught  painting  by  Giovanni  Lanfranco,  after 
whose  designs  she  painted  the  whole  of  the  pictures 
in  the  church  of  the  convent  of  Santa  Lucia  at 
Rome.     She  died  in  1660. 

GIOCCHIO,  Ulisse,  a  painter  of  the  Florentine 
school,  born  at  Monte  San  Savino,  flourished  in  the 
early  part  of  the  17th  century.  In  1616  he  painted 
a  lunette,  representing  '  St.  Dominick  and  a  proces- 
sion of  Corpus  Domini,'  over  the  principal  entrance 
of  the  church  of  Santa  Maria  Novella  in  Florence, 
and  in  the  following  year  decorated  with  frescoes 
the  cloisters  of  San  Lorenzo  in  Pistoja. 

GIOJA,  Gaetano,  a  painter  of  Rimini,  who  lived 
in  the  last  quarter  of  the  18th  century,  studied  at 
Florence  and  Rome,  and  executed  historical  and 
mythological  pictures.    He  was  still  living  in  1824. 

GIOLFINO,  Nicool6   called  by  Vasari  Nicola 

244 


Ursino,  was  a  contemporary  of  Falconetto,  and 
born  at  Verona  about  1465.  His  paintings  are 
chiefly  to  be  seen  in  the  churches  of  his  native 
city.  The  Museum  of  Verona  possesses  two  of  the 
'  Madonna  and  Saints  ; '  and  the  Berlin  Gallery  has 
a  'Virgin  and  Child  between  four  Saints.'  The 
church  of  Santa  Maria  in  Organo,  Verona,  is  especi- 
ally rich  in  frescoes  by  him.  The  National  Gallery, 
London,  possesses  two  panels,  originally  in  one, 
containing  portraits  of  the  Giusti  family.  He  was 
a  friend  of  Mantegna,  and  the  master  of  Paolo 
Farinati,  a  celebrated  fresco  painter  of  Verona. 
The  exact  date  of  his  death  is  unknown,  but  he 
was  alive  in  1518. 

GIOLFINO,  Paolo,  a  painter  of  Verona  in  the 
16th  century,  was  a  brother  and  pupil  of  Niccolo 
Giolfino.  The  Verona  Gallery  contains  a  '  Madonna 
enthroned,'  and  a  '  Resurrection,'  by  liim. 

GIOLITO,  Gabriele,  was  a  native  of  Ferrara, 
who  resided  in  Venice,  where  from  1542  to  1567 
he  carried  on  the  business  of  a  printer,  and  also 
engraved  on  wood  the  illustrations  for  his  edition 
of  the  '  Orlando  Furioso  '  of  Ariosto,  first  issued  in 
1542.     He  died  before  1577. 

GIONCOY,  Michel,  (or  Gioncquoy,)  a  painter, 
was  a  native  of  Tournai,  who  studied  at  Rome.  In 
conjunction  with  B.  Spranger  he  produced  several 
works,  but  died  in  the  year  1600,  in  the  prime  of  life. 

GIONIMO,  Antonio,  born  at  Padua  in  1697, 
was  first  instructed  by  his  father,  Simone  Gionimo, 
and  afterwards  studied  under  Aureliano  Milani 
and  Crespi.  His  principal  residence  was  at 
Bologna,  where  he  painted  some  pictures  for  the 
churches.  Among  his  best  works  are  the  '  Finding 
of  Moses,'  in  the  church  of  Santa  Cristina ;  and 
the  '  Martyrdom  of  St.  Floriano,'  in  Sant'  Agata. 
He  died  at  Bologna  in  1732. 

GIONIMO,  Simone,  the  father  of  Antonio  Gio- 
nimo, was  born  in  Dalmatia  in  1655,  but  after- 
wards removed  to  Vienna.  He  painted  somewhat 
after  the  manner  of  Guercino. 

GIORDANO,  LucA,  called  'Fa  Presto,'  was 
born  at  Naples  in  1632.  He  was  the  son  of 
Antonio  Giordano,  an  obscure  artist,  whom  he 
had  surpassed  when  he  was  only  eight  years  old, 
and  the  astonishment  which  he  created  caused 
the  Viceroy  of  Naples  to  place  him  under  the  care 
of  Giuseppe  Ribera,  called  Lo  Spagnoletto.  Before 
he  was  thirteen  years  of  age  he  had  acquired  a 
fertility  of  invention,  and  a  readiness  of  hand,  that 
are  perhaps  without  example.  Animated  by  the 
report  he  had  heard  of  the  wonders  of  Rome,  he 
withdrew  himself  from  his  father's  house,  and 
made  the  best  of  his  way  to  that  city.  He  there 
habitually  copied  the  works  of  Raphael,  Michel- 
angelo, and  Caravaggio.  His  talents  recommended 
him  to  the  notice  of  Pietro  da  Cortona,  who  em- 
ployed him  to  assist  him  in  the  many  considerable 
works  in  which  he  was  at  that  time  engaged.  The 
brilliant  style  of  this  master  was  particularly  con- 
genial to  the  taste  of  Luca  Giordano  ;  and  he  appears 
to  have  aimed  at  excelling  him  in  the  facility  and 
splendour  of  his  execution.  His  father,  who  had 
lived  in  a  state  of  indigence  and  obscurity,  followed 
him  to  Rome  ;  and  from  the  produce  of  the  talent 
of  his  son,  whose  designs  after  the  works  of  the 
great  masters  were  esteemed  and  sought  after,  he 
received  a  considerable  emolument.  Such  was  the 
demand  for  his  drawings  and  sketches,  that  his 
father  continually  urged  him  to  despatch,  by  repeat- 
ing to  him, '  Luca,  fa  presto,'  ('  Luke,  make  haste,') 
and  hence  he  came  to  be  designated  by  this  chrase. 


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PAINTERS  AND  ENGRAVERS. 


In  the  last  edition  of  Bellori's  '  Vite  de'  Pittori,' 
in  which  is  introduced  the  life  of  Luca  Giordano, 
he  is  said  to  have  made  twelve  different  copies 
of  the  paintings  by  Raphael  in  the  Loggie  of  the 
Vatican,  and  twenty  drawings  after  the  '  Battle  of 
Constantine,' by  Giulio  Romano;  besides  those  from 
Michelangelo,  Caravaggio,  and  others.  The  fruits  of 
his  industry  enabled  him  in  company  with  his  father 
to  make  a  journey  through  Lombardy  to  Venice, 
where  he  studied  the  works  of  Titian  and  Paolo 
Veronese.  He  then  returned  by  way  of  Florence 
and  Leghorn  to  Naples.  His  first  public  works  in 
his  native  city  were  a  picture  of  the  '  Holy  Rosary  ' 
for  the  church  of  San  Potito,  three  small  frescoes 
from  the  life  of  St.  John  the  Baptist  for  the  chapel 
of  San  Giacorao  della  Marca,  and  some  oil  paintings 
for  the  church  of  Santa  Teresa.  In  1655  he  painted 
in  competition  with  Giacomo  FarelIi,for  the  clmrch 
of  Santa  Brigida,  a  picture  of  '  St.  Nicholas  borne 
away  by  Angels,'  which  was  a  work  of  such 
power  as  to  establish  his  reputation  at  the  early 
age  of  twenty-three.  In  1678,  on  peace  being 
established  between  France,  Spain,  and  Holland, 
he  painted  an  immense  picture  to  commemorate 
the  event.  In  1679  he  was  invited  to  Florence  to 
paint  the  chapel  of  Sant'  Andrea  Corsini,  and  was 
overwhelmed  with  kindness  by  the  Grand-Duke 
Cosmo  III.  On  his  way  to  Florence  he  was  received 
by  the  Marquess  of  Heliche,  the  Spanish  Ambassador 
to  Rome,  who  afterwards  became  viceroy  of  Naples, 
by  whom,  as  also  by  his  successor,  the  Count  of 
Santistevan,  he  was  largely  patronized.  By  imitat- 
ing the  style  of  every  distinguished  painter,  he 
formed  one  which  partook  of  the  manner  of  each. 
He  is  compared  by  Bellori  to  the  bee,  that  collects 
honey  from  the  sweets  of  every  flower.  It  would 
have  been  better  for  his  fame  if  he  had  estab- 
lished a  character  of  his  own,  and  if  imitation 
were  not  so  apparent  in  all  his  productions.  Some 
of  his  pictures  having  reached  Spain,  he  was 
invited  to  Madrid  by  Charles  II.,  in  1692,  where 
he  was  appointed  painter  to  the  king.  He  has 
nowhere  left  greater  proofs  of  that  despatch  for 
which  he  is  so  celebrated.  In  the  space  of  two 
years  he  painted  in  fresco  the  immense  ceiling  of 
the  church,  and  the  staircase  of  the  Escorial ;  the 
latter,  representing  the  famous  '  Battle  of  St.  Quen- 
tin,'  and  the  '  Taking  of  Montmorency,'  is  considered 
as  one  of  his  finest  works.  His  next  productions 
included  the  great  saloon  in  the  Buen  Retiro,  the 
sacristry  of  the  cathedral  at  Toledo,  the  chapel 
of  Our  Lady  of  Atocha,  and  the  vault  of  the  Royal 
Chapel  at  Madrid.  After  the  death  of  Charles  II.  he 
was  retained  in  the  service  of  Philip  V.,  and  during 
a  residence  of  ten  years  in  Spain  he  completed  a 
prodigious  number  of  pictures,  which  might  reason- 
ably have  been  supposed  to  have  occupied  a  long 
life  of  the  most  industrious  painter.  In  1702  he 
accompanied  Philip  V.  to  Naples,  where  the  high 
reputation  he  had  acquired  in  Spain  rendered  his 
reception  enthusiastic.  It  was  with  difficulty  that 
even  he  could  keep  pace  with  the  eagerness  of  his 
fellow-citizens  to  possess  his  works.  It  is  reported 
of  him,  that  the  Jesuits,  having  engaged  him  to 
paint  a  picture  of  'St.  Francis  Xavier,'  complained 
to  the  viceroy  that  they  could  not  prevail  on  him 
to  finish  the  picture,  though  it  was  to  be  placed  at 
their  principal  altar  on  the  day  of  the  festival  of 
that  saint.  Luca  Giordano,  finding  himself  pressed 
on  all  sides,  painted  the  picture  in  a  day  and  a 
half.  Perhaps  no  painter  has  left  so  many  pictures, 
without  even  excepting  Tintoretto.     To  such  un- 


common powers  it  would  not  be  reasonable  to 
refuse  the  claim  to  genius ;  but  it  was  certainly 
that  species  of  mechanical  skill  which  produced 
little  that  was  marked  with  depth  and  originality. 
He  died  at  Naples  in  1705.  His  pupils  were  his 
son,  Paolo  de'  Matteis,  Aniello  and  Niccol6  Rossi, 
Pavelli,  Tommaso  Fasano,  Simonelli,  Francisquito, 
and  some  others.  The  following  paintings  by 
him  are  preserved  in  the  galleries  of  Europe : 

Berlin.  Gallery.     The  Judgment  of  Paris. 

Bonieaux.  Museum.     Sleeping  Venue. 

„  „  Hercules  and  Omphale. 

,.  „  Head  of  an  old  Woman. 

Brunswick.  Muieum.     Jacob's  Dream. 

„  „  Moses  and  the  Burning  Bush. 

„  „  The  Sorceress  Circe. 

„  „  Roman  Envoys  to  jEscuIapiua. 

Cassel.  Gallery.    The     Presentation      in     the 

Temple. 
„  „  The  Birth  of  the  Virgin. 

Copenhagen.        Gallery.     The  Judgment  of  Paris. 

„  „  Roman  and  Sabine  Women. 

The  Death  of  Abel. 
„  „         Adam  and  Eve  weeping  orer 

Abel. 
Darmstadt.         Gallery.    The  Rape  of  Europa. 
Dresden.  Gallery.     Hercules  and  Omphale. 

„  „  Perseus    with    the     head    of 

Medusa. 
„  „  Lucretia  and  Tarquinius. 

„  „  The  Rape  of  the  Sabine  Women. 

„  „  The  Death  of  Seneca. 

„  „  Bacchus  and  Ariadne. 

„  „  Abraham  expelling  Hagar. 

„  „  David  with  the  head  of  Goliath. 

,,  „  Jacob  and  Rachel  at  the  Well. 

„  „  The  Slaughter  of  the  Amalek- 

ites. 
„  „         Lot  and  his  Daughters. 

„  „  Susanna. 

„  „  Virgin  and  Child. 

„  „  The  Penitent  Magdalen. 

„  „  Gideon's     slaughter     of     the 

Midianites. 
„  „  Burial  of  St.  Sebastian. 

,  „  Eliezer  giving  presents  to  Re- 

becca. 
„  „  Two  Portraits. 

Florence.  U^zi.     His  own  Portrait. 

„  Pitti  Pal.     The  Conception. 

„  Riccardi  Pal.     Olympus  (frescoes). 

Genoa.  Spinola  Pal.     St.  Anne  and  the  Virgin. 

Hague.  Museum.     The  Musicians. 

Hampton  Court.  Palace.     The  Wise  Men's  Offering. 

,,  „  CupidandPsyche(12^?Wures). 

Lille.  Museum.     Combat  of  Turn  us  and  jEneas. 

„  „  jEneas  healed  by  Venus. 

Liverpool.       Royal  Inst.     Dionysius,  the  Tyrant  of  Syra- 
cuse, as  a  Schoolmaster. 
Madrid.  Gallery.     Twenty  Scenes  from  the  Old 

Testament. 
„  „  Tea    Scenes    from    the    New 

Testament. 
„  „  St.  Jerome. 

„  „  St.  Anthony. 

,^  „  The  Assumption. 

„  „  Battle  of  St.  Quentin. 

„  „  Five  Allegorical  pictures. 

„  „  Flight  of  jjineas  from  Troy. 

„  „  Scenes  in  the  Uves  of  Hercules, 

Andromeda,  Ixion,  Tantalus, 
and  Prometheus. 
^,  „  Taucred  and  Clorinda. 

^^  „  Portrait  of  Charles  II. 

„  „  Portrait  of  a  Cardinal. 

Milan.  Brera.     Virgin  and  Child,  with  Saints 

and  Angels. 
Munich.  Gallery,     The    Massacre   of    the    Inno- 

cents. 
„  „  Christ  raised  on  the  Cross. 

„  „  Portrait  of  the  Artist's  Father. 

_  „  Portrait  of  the  Artist. 

245 


A  BIOGRAPHICAL  DICTIONARY  OF 


Naples.         A  Restituta. 

„  <S  Maria  degli 

Atiyeli, 


Gesu  Nuovo. 

»» 

8,  Martina. 
S.  Filippo  Neri. 

Museum. 


PetersbtiTg.     Hermitage. 


Rome. 


Munich.  Gallery.      Death  of  Liicretia. 

M  „  Christ  blessing  the  Loaves  and 

Fishes. 
n  )»  A  Cynical  Philosopher. 

)>  }«  Archimedes. 

)>  ,1  An  old  Man. 

„  n  Christ  in  the  Wilderness. 

»  „  Christ  at  the  Well. 

Two  Scholars. 

St.   Eestituta  carried    by  the 
Angels. 

\  Birth  of  the  Virgin. 

The  Presentation  in  the  Temple. 

The  Annunciation. 

The  Nativity. 

Virgin  and  Saints. 

St.  Charles  Borromeo. 

The  Triumph  of  Judith. 

Christ  driving  the  Dealers  from 

the  Temple  (  fi-tsco). 
The  Virgin  with  the  Eosary. 
>i  „  A  Pieta. 

»  „  St.   Francis   Xavier  baptizing 

the  Indians. 
»  ,1  Consecration  of  Monte  Cassino. 

H  „  Herodias. 

*i  »  Semiramis, 

)>  „  Marsyas, 

»»  „  Venus  asleep. 

Paris.  Louvre.     Diana's  Hunt. 

1)  „  Marriage  of  the  Virgin. 

)>  ,,  Adoration  of  the  Shepherdtf. 

»»  M  Tarquinius  and  Lucretia. 

»»  „  Death  of  Seneca. 

!>  „  Circle  of  the  Loves. 

Mars  and  Venus. 
Sleep  of  Bacchus. 
M  Mater  Dolorosa. 

„  The  Judgment  of  Paris. 

»,  The  Entombment. 

Capitol.     The  Golden  Fleece. 
Corsini  Fa'.     Jesus  with  the  Doctors. 
Boryhese  Pal.     Death  of  St.  Ignatius. 
Academy.     Descent  from  the  Cross. 
Gallery.     The  Expulsion  of  Hagar. 
)»  It  The  JIassacre  of  the  Innocente. 

»  „  The    Martyrdom    of    St.  Bar- 

tholomew. 
■)  The  Promise  to  St.  Joachim. 

^  ,,  The  Birth  of  the  Virgin. 

•t  ■.  ThePresentationintheTemple. 

>■  ,.  The  Marriage  of  the  Virgin. 

.>  „-         The  Visitation. 

»  »  The  Adoration   of  the  Shep- 

herds. 
>i  .,  The  Dream  of  St.  Joseph. 

,.  .,  The  Death  of  St.  Joseph. 

The  Death  of  the  Virgin. 
V  „  The  Archangel  Michael.    l(i(?6. 

There  are  some  very  spirited  etcliings  by  Luca 
Giordano,  executed  in  a  free,  masterly  style; 
among  them  are : 

Elijah  calling  Fire  from  Heaven  to  destroy  the  Priests 

of  Baal. 
The  Virgin  and  Infant  Jesus. 
St.  Joseph  and  St.  John. 
The  penitent  Magdalen. 
The  Adulteress  before  Christ. 
Christ  disputing  with  the  Doctors. 
St.  Anne  received  into  Heaven  by  the  Virgin. 

GIORDANO,  Sofia,  was  bom  of  poor  parents 
at  Turin  in  1779.  She  was  placed  under  the  tuition 
of  M.  de  Maron,  the  sister  of  Raphael  Mengs,  at 
Rome,  but  she  returned  to  Turin  in  1801,  and 
married  a  surgeon  named  Giordano.  Her  chief 
works  were  in  miniature  and  pastel.  She  died  at 
Turin  in  1829. 

GIORDANO,  Stefano,  was  bom  at  Messina, 
and  is  known  by  a  splendid  picture  of  '  The  Last 
246 


Venice. 
Vienna. 


Supper,'  produced  in  1541,  in  the  cloister  of  Sao 
Gregorio  at  Messina. 

GIORGETTI,  GiACOMO,  born  at  Aseisi  about 
the  year  1610,  was  a  scholar  of  Giovanni  Lan- 
franco.  He  excelled  in  historical  paintings  and 
frescoes,  and  several  of  his  works  are  in  the 
churches  of  his  native  city,  the  most  considerable 
being  the  dome  of  the  principal  church.  In  the 
sacristy  of  the  Conventuali  he  painted  some  pictures 
of  the  '  Life  of  the  Virgin.' 

GIORGIO,  a  miniature  painter  of  the  15th 
century,  was  a  son  of  Alberto  of  Germany.  In 
1441  he  was  employed  by  the  Marquis  Leonello  of 
Ferrara  in  the  preparation  of  breviaries  and  other 
ecclesiastical  work,  which  occupied  him  till  1462. 
He  left  a  son,  who  is  known  in  art  as  Martino  da. 
Modena. 

GIORGIO,  Giovanni,  was  an  Italian  engraver, 
who  was  employed  chiefly  by  the  booksellers.  He 
resided  at  Padua,  where  he  engraved  the  plates 
for  a  work  on  antique  lamps,  published  in  165.S, 
entitled  '  De  Lucernis  Antiquorum  reconditis.' 
He  also  .engraved  a  frontispiece  with  figures  to 
Vesling's  'Anatomy,'  published  at  Padua  in  1647. 
There  is  also  by  him  a  ludicrous  print,  called 
'  The  Bath  of  the  Anabaptists,'  after  Raphael.  He 
died  at  the  age  of  77. 

GIORGIO  DE  FLORENTIA,  flourished  from  1314 
to  1325,  and  was  probably  a  pupil  of  Giotto.  He 
is  supposed  to  have  painted  at  Borghetto  and  at 
the  castle  of  Chamb^ry. 

GIORGIONE,  Big  George,  or  Zorzo  da  Castel- 
FRANCO,  as  he  is  called  by  his  contemporaries,  was 
born  about  the  year  1477  or  1478,  in  this  picturesque 
old  city  of  the  Trevisan  March.  He  was  of  humble 
origin,  being-  tlie  son  of  a  peasant  of  Vedeago,  who 
settled  at  Castelfranco  in  1460,  and  the  fable  of  his 
supposed  connection  with  the  Barbarelli  family 
was  not  invented  for  more  than  a  hundred  years 
after  his  death.  As  a  boy  Giorgione  came  to 
Venice  and  studied  painting  in  the  shop  of  Giovanni 
Bellini,  where  he  had  Titian  and  Palma  for  his 
companions.  Like  Leonardo,  whom  he  resembled 
in  many  ways,  the  young  artist  was  noted  for  his 
personal  beauty  and  musical  tastes.  He  sang  and 
played  the  lute  with  rare  charm,  and  became  a 
welcome  guest  in  the  most  distinguished  circles. 
"But  he  was  none  the  less  ardent  in  his  studies," 
Vasari  tells  us,  "  and  was  so  enamoured  of  beauty 
in  nature,  that  he  only  cared  to  draw  from  life,  and 
represent  all  that  was  fairest  in  the  world  around 
him."  The  originality  of  his  genius  soon  made 
itself  felt.  Tlie  earliest  works  that  we  have  from 
his  hand  are  the  '  Trial  of  Moses,'  and  the  'Judgment  ; 
of  Solomon '  in  the  Uffizi,  probably  painted  when  ■ 
he  was  seventeen  or  eighteen.  These  small  panels 
were  evidently  executed  as  companion  pieces  for 
Giovanni  Bellini's  '  Allegory,'  and,  like  that  curious 
little  picture,  once  adorned  the  Medici  villa  at 
Poggio  Imperiale,  but  the  romantic  treatment  of 
the  Bible  stories,  the  brilliant  colour  and  slender 
grace  of  the  forms  already  reveal  Giorgione's  strong 
individuality.  The  same  bold  conception  and 
lyrical  fancy  meet  us  in  another  early  work,  the 
I  Christ  bearing  the  Cross '  formerly  at  Casa  Loschi 
in  Vicenza,  now  in  Mr.  Gardner's  collection  at 
Boston.  This  Christ  with  the  delicately-modelled 
features  and  dreamy  air  is  quite  unlike  the  common 
traditional  representations  of  the  subject,  and  haunts 
us  with  the  power  of  its  strange  and  mysterious 
pathos.  Another  version  of  the  theme,  a  sadly- 
injured,  but  deeply   impressive   figure   of   Christ 


w 

o 

o 

O 
O 


v, 


o 

'Si 

o 

»>. 

O 
G 


PAINTERS  AND  ENGRAVERS. 


dragged  along  by  a  Jew  on  his  way  to  Calvary, 
wliich  Vandyck  copied  in  his  Chatsworth  Sketch- 
book, may  still  be  seen  in  the  church  of  San  Rocco, 
where  it  was  an  object  of  the  highest  veneration 
and  brought  more  gold  crowns  to  the  confraternity, 
Vasari  tells  us,  than  Giorgione  or  Titian  earned 
during  their  whole  lifetime  !  The  great  altar-piece 
which  Giorgione  painted  in  the  first  years  of  the 
new  century  for  the  Costanzi  chapel  in  the  church 
of  Castelfranco,  marks  a  new  stage  in  his  artistic 
development.  Here  we  see  the  Madonna  raised 
high  above  the  altar,  with  Persian  hangings 
draping  her  throne,  and  the  gallant  soldier-saint 
Liberale,  with  his  banner  in  his  hand,  standing  by 
the  side  of  St.  Francis,  at  her  feet.  The  whole 
conception  is  marked  by  a  freedom  and  novelty 
which  could  only  have  been  inspired  by  a  genius 
of  the  most  daring  type,  and  in  spite  of  its  damaged 
state,  this  famous  work  remains  a  typical  example 
of  the  "modern  manner"  which  was  first  introduced 
by  Giorgione.  The  lovely  oval  of  the  Virgin's 
face  and  the  embroidered  patterns  of  the  dossal 
behind  her  throne  are  repeated  in  the  Madrid  altar- 
piece,  while  the  boldness  and  realism  of  the  con- 
ception is  carried  still  further  in  the  dimpled  Babe, 
and  in  the  vigorous  fonns  and  characteristic 
attitudes  of  the  attendant  saints.  Venice  soon 
awoke  to  a  sense  of  the  young  master  of  Castel- 
franco's  genius,  and  his  contemporaries  hailed  his 
works  with  a  sudden  burst  of  applause.  In  their 
enthusiasm  for  the  wealth  of  his  fancy  and  the 
impassioned  beauty  of  his  creations,  they  felt  the 
old  terms  to  be  inadequate  and  coined  a  new 
phrase — "  il  fuoco  G-iorgionesco."  Early  in  his 
career  Giorgione  attained  great  reputation  as  a 
portrait  painter,  and  Vasari,  who  saw  his  portraits 
of  tlie  Doge  Leonard  Loredano,  of  Caterina  Cornaro 
and  other  noble  personages,  pronounces  him  to  be 
unrivalled  in  this  kind  of  art.  Unfortunately  few 
of  these  "admirably  life-like  paintings"  have 
come  down  to  us.  One  early  work — a  youth  with 
refined  features  and  wavy  locks,  is  in  the  Museum 
of  Berlin  ;  another  portrait  of  a  lady  in  a  quaint 
frilled  head-dress,  standing  at  a  window,  is  at  the 
Villa  Borghese,  while  the  little  Gallery  of  Buda- 
Pesth  contains  the  likeness  of  the  sad-faced  poet, 
Antonio  Brocardo,  laying  his  liand  with  a  speaking 
gesture  on  his  heart,  and  tlie  noble  figure  of  the 
Knight  of  Malta  clad  in  the  gleaming  armour  which 
Giorgione  loved,  is  the  pride  of  the  Uffizi.  To 
these  we  may  add  the  splendid  portrait  of  the  great 
Venetian  lady  in  the  Crespi  collection  at  Milan, 
which,  whether  it  is  an  original  work,  or  as  Mr. 
Berenson  thinks,  only  an  old  copy,  evidently  repre- 
sents the  Queen  of  Cyprus,  Caterina  Cornaro,  that 
illustrious  lady  whose  villa  at  Asolo  lay  close  to 
Giorgione's  native  city,  and  who  was  one  of  his 
first  patrons.  Fresco-painting  was  another  branch 
of  art  in  which  this  master,  we  are  told,  took  great 
pleasure  and  attained  rare  excellence.  He  decor- 
ated the  house  of  Andrea  Loredano,  the  Soranzo 
Palazzo  and  his  own  house  in  the  Campo  di  Si 
Silvestro  with  friezes  of  musicians  and  children, 
and  was  employed  by  the  Signoria  to  adorn  the 
fa9ade  of  the  new  Fondaco  dei  T^deschi,  or  Ex- 
change of  Foreign  Merchants,  with  a  colossal 
figure  of  Justice  and  a  stately  procession  of  horse- 
men. Unfortunately  these  frescoes,  which  were 
finished  in  1507,  have  suffered  grievously  from 
exposure  to  sun  and  sea-air,  and  at  the  present 
time  have  almost  completely  disappeared.  The 
admiration  which  they  excited  led  the  Signoria  to 


give  the  painter  a  commission  for  a  large  picture 
wliich  was  to  hang  in  the  Audience-hall  of  the 
Council,  but  this  work  was  left  unfinished  if,  indeed, 
it  was  ever  begun.  During  the  last  year  of  his 
short  life  Giorgione  devoted  his  attention  chiefly 
to  those  classical  myths  and  fantasie  in  which  the 
scholars  and  great  ladies  of  the  day  took  so  much 
delight,  and  which  were  especially  suited  to  his 
genius.  The  twelve  panels  of  the  story  of  Psyche 
and  the  numerous  subjects  from  Ovid's  '  Metamor- 
phoses'  which  Ridolfi  describes,  have  vanished, 
but  among  the  masterpieces  of  his  ripest  art  we 
have  the  'Sleeping  Venus'  which  Morelli  dis- 
covered in  the  Dresden  Gallery,  the  wonderful 
storm-landscape  of  the  Giovanelli  Palazzo,  in  which 
Professor  Wickhoff  recognized  the  poet  Statiua's 
fable  of  Adrastus  and  Hypsipyle,  the  charming 
panel  of  Apollo  and  Daphne  in  the  Seminary  of 
Venice,  and  the  scene  from  the  '.^neid,'  in  the 
Vienna  Gallery,  in  which  Evander  and  Pallas  meet 
.fineas  at  the  feet  of  the  Tarpeian  rock  and  show 
him  the  future  site  of  Rome.  In  all  of  these  we 
find  the  same  romantic  invention  and  love  of  natural 
beauty,  the  same  delight  in  the  magical  effects  of 
light  and  shade,  of  setting  sun  and  passing  storm- 
cloud,  in  feathery  grasses  and  moss-grown  rocks,  in 
green  meadows  and  running  waters.  To  the  same 
period  we  may  ascribe  the  beautiful  head  of  the 
Shepherd  with  his  flute,  perhaps  the  identical  boy 
with  the  curling  hair  which  Giorgione  painted  for 
his  friend,  the  Patriarch  Grimani,the  graceful  little 
idyll  of  the  Golden  Age  in  the  National  Gallery, 
and  the  lovely  pastoral  of  the  Louvre  which  is  the 
latest  and  most  perfect  expression  of  the  master's 
art.  In  these  later  works  Giorgione  displays  a 
perfection  of  form  and  beauty  of  line  in  which  he 
comes  nearer  to  the  Greeks  than  any  other  master 
of  the  Renaissance,  while  at  the  same  time  he 
reveals  a  sense  of  high  romance,  a  note  of  yearning 
which  the  Greeks  never  knew.  This  mysterious 
feeling  of  passionate  longing  and  infinite  regret 
which  meets  us  in  the  eyes  of  Giorgione's  fairest 
faces  and  divinest  forms,  was  prophetic  of  the 
coming  end.  For  his  brilliant  career  was  brought 
to  a  premature  close,  and  in  the  flower  of  his  age 
and  the  fulness  of  his  powers,  Giorgione  died  of 
the  plague  wliich  carried  off  20,000  citizens  in  one 
fatal  year.  The  exact  date  of  his  death  is  proved 
by  a  letter  of  the  merchant  Taddeo  Albano,  who, 
writing  to  Isabella  d'Este,  Marchioness  of  Mantua, 
on  the  8th  of  November,  1510,  informs  her  that 
Zorzo  da  Castelfranco  has  lately  died,  "  more  of 
exhaustion  than  of  plague."  Among  the  works 
that  remained  unfinished  in  his  shop  were  the 
matchless  'Venus'  of  the  Dresden  Gallery,  which 
was  completed  by  Giorgione's  friend  Titian,  the 
'  Evander  and  ^Eneas '  which  received  the  last 
touches  from  the  hand  of  Sebastiano  del  Pioinbo, 
and  the  magnificent  landscape  of  '  St.  Mark  stilling 
the  Tempest,'  the  most  dramatic  of  all  the  master's 
conceptions,  which  is  said  to  have  been  finished 
by  Paris  Bordone.  The  extraordinary  popularity 
which  Giorgione  enjoyed  in  his  lifetime,  and  the 
immense  demand  that  sprung  up  for  Giorgionesque 
subjects  after  his  death,  proves  how  completely  he 
had  succeeded  in  expressing  tlie  spirit  of  his  age. 
Idyllic  scenes  and  Arcadian  groups,  piping  shep- 
herds and  sleeping  nymphs  became  the  rage. 
There  was  hardly  a  painter  in  Venice  who  did  not 
imitate  his  style  or  try  to  reproduce  his  com- 
positions. Catena,  Palma,  Lotto,  Sebastiano  del 
Piombo,  and  Bonifazio  each  in  turn  fell  under  the 

•247 


A   BIOGRAPHICAL  DICTIONARY  OF 


spell.  Above  all,  Titian  caught  the  fire  from  the 
dead  master's  lips,  and  followed  Giorgione's  style 
so  closely  that,  in  Vasari's  words,  his  pictures 
were  often  taken  for  those  of  the  master  himself. 
One  result  of  this  widespread  fashion  was  that  a 
countless  number  of  inferior  works  were  ascribed 
to  Giorgione's  hand  and  passed  under  his  name. 
The  more  scientitic  spirit  of  modern  criticism  has 
reduced  the  amount  of  the  painter's  genuine  works 
to  a  very  limited  number.  Morelli's  list  includes 
nineteen,  that  of  Mr.  Berenson  only  seventeen.  On 
the  other  hand,  Mr.  Herbert  Cook,  the  painter's 
latest  biographer,  extends  the  number  to  upwards 
of  forty,  and  accepts  several  others  with  reserve. 
The  following  list  includes  the  chief  paintings  that 
are  now  generally  recognized  to  be  Giorgione's  work : 
Berlin.  3Iuseum.  Portrait  of  a  Young  Man. 
Boston,U.S  A.  Mrs.  1  ^^^^  ^^^j^^    ^j^^  g^^^g^ 

Gardner.  J  " 

Buda-Pesth.  Gallei-y.  Portrait  of  Antonio  Brocardo. 
Castelfranco.  Duomo.  Madonna  with  St.  Francis  and  S. 

liberale. 
Dresden.       Gallery.     Sleeping  Venus, 
Florence.      Uffizi.        The  Trial  of  Moses. 

„  „  The  Judgment  of  Solomon. 

„  „  Portrait  of  a  Knight  of  Malta. 

Hampton  Court.  Shepherd. 

Madrid.    Prado  Gall.  Madonna  with   St.  Roch   and  St. 

Anthony  of  Padua. 
Milan.  Siynor  Crespi.  Portrait  of  Oaterina  Cornaro. 
Venice.         St.  Rocco.  Christ  bearing  the  Cross. 

Falazzo  )  j^^^stus  and  Hypsipyle. 
Giovanelh.i  ""^    '^■' 

„  Seminario.  Apollo  and  Daphne. 

„  Accademia.  Storm  at  sea  calmed  by  St.  Mark. 

Vienna.        Gallery.     Evauder  and  Pallas. 
Paris.  Louvre.    Fete  ChampStre. 

London.   Nat.  Gall.     Golden  Age. 
Rome.  Villa  Uorghese,  Portrait  of  a  Lady. 
St.  Petersburg.  »  Judith. 

Hermitnije  Gad.  ) 

This  last-named  picture  was  formerly  ascribed  to 
Moretto,  but  is  now  pronounced  to  be  the  work  of 
GiorgionebyMr.Claude  Phillips  and  severalGerman 
critics  who  have  seen  the  original.  Morelli  and  Mr. 
Berenson,  however,  consider  it  to  be  an  old  copy. 
The  chief  authorities  for  the  Life  and  Works  of 
Giorgione  are  the  following  : 

G.  Vasari.   '  Le  Vite  de'  piu  eccellenti  Pittori,  con  nuove 

annotazioni  di  Gaetano  Milanesi,'  1879. 

C.  Kidolfl.   '  Le  Maraviglie  dell'arte  della  pittura,'  1648. 

Anouimo.   '  Notizia  d'opere  di  diseguo,'  1525,  ed.  by  G. 

Frizzoni,1884,  and  by  Dr.  Williamson  in  English,  1903. 

G.  Morelli.     '  Italian  Painters.'     Translated   by   C.  J. 

Ffoidkes,  1892. 

A.  Conti.     'Giorgione,' 1894. 

B.  Berenson.    '  The  Venetian  Painters  of  the  Renais- 
sance.'    Tliird  edition,  1897. 

Crowe  and  Cavalcaselle.   '  History  of  Painting  in  North 

Italy,'  vol.  ii.,  1871. 
G.  Gronau.    'Korzon  da  Castelfranco,'  1894. 
F.  Wickhoff.    '  Gazette  des  Beaux- Arts,'  1893.    '  Jahr- 

buch  der  preussischen  Kunstsammlungen,'  1895. 
A.  Venturi.     '  L'Arte,'  1900. 
H.  Cook.  'Giorgione  '  ('  The  Great  Masters  in  Painting 

and  Sculpture ').     G.  Bell  &  Sons,  1900.  J.  C. 

GIOTTINO,  whose  real  name  is  not  known  with 
certainty,  is  supposed,  from  late  researches,  to 
have  been  Giotto  di  Maestro  Stefano,  who  lived  in 
the  14th  century,  and  was  evidently  a  careful  and 
conscientious  pupil  of  Giotto ;  another  account 
has  given  his  name  as  Tommaso  di  Stefano.  There 
are  still  in  the  chapel  of  San  Silvestro  in  Santa 
Croce,  at  Florence,  a  series  of  frescoes,  attributed 
to  Giottino,  illustrating  'The  Miracles  of  St. 
Sylvester.'  The  drawing  and  general  composition 
of  these  frescoes  is  admirable,  the  colouring  warm 

248 


and  clear,  and  plainly  show  that  the  maxims  and 
spirit  of  Giotto  aided  and  animated  this  artist. 
The  frescoes  in  the  crypt  chapel  of  the  Strozzi  in 
Santa  Maria  Novella,  which  represent  scenes  from 
the  life  of  Christ,  and  a  '  Pieta,'  formerly  in 
San  Romeo,  but  now  in  the  Uffizi  Gallery,  are 
also  to  be  attributed  to  him.  All  the  above-men- 
tioned works  are  of  the  latter  half  of  the  14th 
century.  The  frescoes  in  the  chapel  of  the  Holy 
Sacrament  at  Assisi,  representing  scenes  from  the 
life  of  St.  Nicholas,  and  now  much  damaged  by 
damp  and  partly  obliterated,  are  considered  by 
many  to  be  by  Giottino.  Nothing  authentic  is 
known  concerning  the  birth  or  death  of  this  artist. 

GIOTTO.     See  Bondone. 

GIOVANI,  Francesco,  (or  Juvanis,)  an  en- 
graver, is  stated  to  have  been  born  in  1635, 
and  to  have  studied  under  Carlo  Maratti.  Plates 
by  him  are  known  of  '  The  Child  Jesus  upon  a 
Cloud  beside  the  Manger,'  'The  Adoration  of  the 
Shepherds,'  after  Maratti,  and  '  Saturn  enthroned.' 

GIOVANNARIA,  a  monk  of  the  Carmelite  order, 
born  at  Brescia  about  1460,  excelled  in  per- 
spective. His  brother,  Giovanni  Antonio,  was 
also  a  painter. 

GIOVANNI,  Maestro.     See  Boccabdi. 

GIOVANNI   BATTISTA    di   FRANCIA.     See 

MOLA. 

GIOVANNI  BATTISTA  di  RAFFAELLO.  See 
Grassi. 

GIOVANNI  di  FRANCESCO.    See  Tossicani. 

GIOVANNI  DI  MARTINI.     See  Martini. 

GIOVANNI  DI  PAOLO,  called  Giovanni  del 
POGQIO,  was  a  contemporary  and  occasional  assistant 
of  Sano  di  Pietro  ;  he  was  already  known  in  1423, 
and  was  on  the  roll  of  the  Guild  at  Siena  in  1428. 
He  died  about  1481.  The  Academy  at  Siena 
possesses  a  '  Last  Judgment'  by  him,  dated  1453, 
and  several  panels  of  his  production  are  in  the  col- 
lection of  M.  Ramboux  of  Cologne.  Giovanni  del 
Poggio  has  also  .some  repute  as  a  miniature  painter. 

GIOVANNI  DI  PIERO,  who  was  born  at  Naples, 
lived  in  the  14th  century  at  Pisa,  where  he  kept  a 
shop,  and  had  as  partner  Martino  Bartolommei,  with 
whom  he  painted  an  altar-piece  for  the  hospital  of 
Santa  Chiara,  Pisa,  in  1402,  for  the  sum  of  ninety- 
live  golden  florins.  This  painting  represents  the 
'  Virgin  and  Child  enthroned  between  four  Saints,' 
with  a  Trinity,  and  SS.  Mark  and  Luke  in  its 
pinnacles.  In  1403  and  1404  he  also  furnished  a 
canvas,  and  did  other  work  in  the  hospital;  and  in 
1405  he  executed  the  '  Crucifixion '  on  canvas 
that  is  now  hanging  in  the  inner  choir  of  the 
church  of  San  Domenico,  Pisa,  with  his  signature 
and  date.  No  dates  can  be  given  of  this  artist's 
birth  or  death. 

GIOVANNI  DI  PIETRO,  who  flourished  in  the 
15th  century,  was  an  occasional  assistant  of  Sano 
di  Pietro,  and  is  of  little  note.  In  the  choir  of 
Santa  Maria  dei  Servi,  at  Siena,  is  a  '  Virgin  of 
Mercy '  by  him.  No  further  details  concerning 
him  are  known. 

GIOVANNI  DI  PIETRO,  called,  from  hie  nation- 
ality, Lo  Spagna,  (or  Giovanni  Spaqnuolo,  also 
Juan  de  Espana  and  Jdan  el  Espanol,)  first 
appears  as  his  own  master  at  Todi  in  1507.  His 
instructors  in  the  art  seem  to  have  been  Perugino 
and  Pinturiccliio  ;  he  was  the  companion  of  Raphael 
at  Perugia,  and  his  style  shows  a  mixture  of  Peru- 
ginesque  and  Raphaelesque,  without  the  higher 
qualities  of  either  school.  His  death  took  place 
at  Spoleto    between    1528   and   1530.      Amongst 


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THE  CONCERT 


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PAINTERS  AND  ENGRAVERS. 


other  paintings   by   him,   the   following  may  be 
cited : 

Assisi.         S.  Francesco.     Virgin  enthroned,  with  Saints. 

1516. 
Berlin.  Gallery.     Adoration  of  the  Magi.     {For- 

merly ascribed  ti  Baphatl.) 
London.    National  Gall.     Virgin  in  Glory. 

„         Stafford  House.     Christ  crowned  with  Thorns. 

"  Maitl'aud.  f  ^''"^t  0"  t^e  Mount  of  Olives. 

„  Earl  Dudley.     Six  Saints  {in  tico  frames). 

t*  ,1  St.  Catharine. 

Paris.  Louvre.    The  Nativity. 

„  „         The  Virgin  and  Child. 

Perugia.  Gallery.     Virgin   and    Child,   with    four 

Saints. 
Petersburg.   Hermitage      Adoration  of  the  Infant  Christ. 
Rome.  Vatican.     The  Nativity. 

„  Colonna  Fal.     St.  Jerome. 

Spoleto.  Falazzo      )  Virgin  and  Child,  with  Saints. 

Comunale.  ]      (Fresco.) 
Todi.  Riformati.     Coronation  of  the  Virgin.   1507. 

Trevi.       Madonnn  delle  \  Deposition    from    the     Cross. 
Lagrime.      jj      (Fresco.) 
»»  r  St.  Catharine. 

„  „  St.  Cecilia. 

GIOVANNINI,  Carlo  Cesare,  a  son  of  Jaoopo 
Maria  Giovannini,  was  born  at  Parma  in  1695,  and 
died  at  Bologna  in  1758,  having  resided  in  the 
latter  city  from  1723.  It  is  not  said  by  whom 
he  was  instructed,  but  he  was  a  good  historical 
painter.  He,  however,  devoted  himself  rather  to 
the  restoration  of  pictures.  Several  of  his  works 
are  in  the  public  edifices  at  Bologna,  the  following 
being  the  most  esteemed :  '  St.  Anne  teaching  the 
Virgin  to  read,'  in  the  church  of  La  Morte  ;  '  Adam 
and  Eve  driven  from  Paradise,'  in  La  Madonna  del 
Piorabo  ;  and  '  Christ  giving  the  Keys  to  St.  Peter,' 
in  San  Giovanni  in  Monte.  He  had  a  sister,  Bianca 
Giovannini,  a  portrait  painter,  who  died  in  17-14. 

GIOVANNINI,  Jacopo  Maria,  (Jovanninus,  or 
JoANNiNDS,)  was  born  at  Bologna  in  1667,  and  died 
at  Parma  in  1717.  He  was  a  scholar  of  Antonio 
Roll.  He  painted  some  pictures  for  the  churches  at 
Bologna ;  one  of  the  most  esteemed  being  that  of 
'  The  Magdalen  worshipping  the  Cross,'  in  the 
church  of  San  Niccolo  degli  Alberi.  He  is  more 
known  as  an  engraver  than  a  painter.  There  are 
by  him  several  plates  after  the  great  masters,  par- 
ticularly after  Correggio  and  the  Carracci,  of  which 
the  following  are  the  principal : 

A  set  of  twenty  large  plates ;  after  the  paintings  by 
Lodovico  Carracci,  and  others,  in  the  cloister '  of  San 
Michele  in  Bosco,  at  Bologna. 

Twelve  prints  from  the  frescoes  by  Correggio,  in  the 
cupola  of  San  Giovanni  at  Parma. 

St.  Jerome  ;  after  Correggio. 

The  Virgin  and  Infant,  with  St.  George  ;  after  Correggio. 

St.  Sebastian  ;  after  Lodovico  Carracci. 

The  Communion  of  the  Apostles ;  after  Mare  A  ntonio 
Franceschini. 

GIOVANNINO  DEL  PIO.     See  Bonatti. 

GIOVENONE,  GiROLAMO,  (or  Gidvenone,)  was 
a  native  of  Vercelli,  who  flourished  at  the  beginning 
of  the  16th  century,  as  appears  from  two  of  his 
pictures  in  the  church  of  San  Paolo  in  that  city, 
dated  1514  and  1516.  At  Vercelli,  in  the  church 
of  the  Augustines,  there  is  a  fine  picture  by  him  of 
the  '  Resurrection,'  with  two  laterals  representing 
St.  Margaret  and  St.  Cecilia.  Other  works  of  his 
are  in  the  same  town  and  in  Bergamo. 

GIOVENONE,  Giuseppe,  a  painter  of  Vercelli, 
appears  to  have  flourished  at  the  end  of  the  15th 
century.  His  pictures  are  peculiar  from  the  con- 
trasts they  exhibit.  One  of  them,  a  representation 
of  '  Christ's  Resurrection,'  is  in  the  Turin  Gallery. 


GIRALDI,  GuGLlELMO,  (called  Maori,  or  Del 
Maqro,)  was  a  painter  of  Ferrara,  who,  between 
1450  and  1477,  painted  miniatures  for  various 
books,  including  a  Missal,  Breviary,  and  Psalter, 
and  the  works  of  Tibullus,  Appian,  and  Petrarch. 

GIRALDINI,  Melchiorre.     See  Gerardini. 

GIRAN,  £mile  Georges,  French  painter  and 
lithographer ;  born  at  Montpellier  in  1870 ;  ex- 
hibited at  the  Soci^t^  Nationale  des  Beaux  Arts  ever 
since  1895  ;  achieved  considerable  success  as 
a  painter  of  popular  scenes  .ind  landscapes,  and 
he  also  did  good  work  as  a  lithographer,  some  of 
his  more  striking  posters  attracting  much  notice. 
He  was  a  brother  of  the  landscape  painter,  Max 
Giran  ;  his  death  occurred,  at  the  age  of  32,  at 
Beauvoisin  in  March  1902. 

GIRANDOLE,  Bernardo  delle.  See  Buonta- 
lenti. 

GIRARD,  Alexis  Francois,  a  French  engraver, 
was  born  atVincennes  in  1789.  He  studied  paint- 
ing under  Regnault,  but  later  on  turned  his  atten- 
tion to  engraving,  in  which  he  achieved  much  suc- 
cess. He  succeeded  in  uniting  together  in  his 
works  the  mezzotint,  roulette,  and  Indian  ink  styles. 
He  died  in  Paris  in  1870.  The  following  are 
among  his  best  plates  : 

The  Virgin  with  the  Fish :  after  Raphael. 

The  Virgin  with  the  Pearl ;  after  the  same. 

Portrait  of  Talma ;  after  Gerard. 

Corinna  ;  after  the  same. 

Louis  XVIII.  in  his  Cabinet ;  after  the  same. 

Cardinal  Mazarin  on  his  Death-bed  ;  after  Delaroche. 

Cardinal  Richelieu  on  the  Rhone ;  after  the  same. 

The  Archangel  Gabriel ;  after  the  same. 

The  Last  Day  of  Pompeii ;  after  C.  Bruloff.     1839. 

Mary  Stuart ;  after  Decaisne. 

The  Happy  Mother ;  after  Prudlion. 

Dolce  far  niente  ;  after  Winterkalter. 

Vintage  at  Naples  ;  after  the  same.     1842. 

Daniel  in  the  Lions'  Den  ;  after  Ziegler.     1839. 

Bonaparte  crossing  the  St.  Bernard  ;  after  Steuben. 

Abduction  of  Rebecca ;  after  Coignet. 

GIRARD,  Jean  Georges,  a  French  painter,  bom 
at  Epinal  in  1635,  was  a  pupil  of  Legrand.  He 
died  at  Nancy  in  1690. 

GIRARD,  RoMAiN,  a  French  engraver,  was  born 
in  Paris  in  1751.  He  engraved  after  Cipriani  'The 
Sacrifice  of  Love,'  and  '  Love  caressing  Beauty  ; ' 
and  after  Greuze,  '  The  Broken  Pitcher  ; '  he  also 
copied  '  The  Death  of  Dido,'  from  Bartolozzi. 

GIRARDET,  Abraham,  an  engraver  and  etcher, 
was  born  at  Locle,  in  the  canton  of  Neufchatel,  in 
1764,  and  when  but  thirteen  years  of  age  engraved 
466  plates  to  a  Biblical  work.  He  then  became  a 
pupil  of  B.  A.  Nicolet  in  Paris,  and  in  1794  sought 
further  improvement  in  Rome.  The  vignettes 
which  he  engraved  for  editions  of  Horace  and  La 
Fontaine  are  his  best  works.  He  died  in  Paris  in 
1823.     The  best  of  his  larger  plates  are : 

The  Transfiguration  ;  after  Raphael.     1806. 

The  Triumph  of   Titus  and   Vespasian  ;    after  Giitlio 

Romano.     1810. 
The  Rape  of  the  Sabine  Women ;  after  Poussin. 
The  Dead  Saviour ;  after  Andrea  del  Sarto. 
The  Supper  ;  after  Philippe  de  Champaigne. 
The  Death  of  Arnold  Winkehied. 

GIRARDET,  Charles  Samuel,  an  engraver  and 
lithographer,  was  born  at  Locle  in  1780.  He 
received  his  first  instruction  from  his  brothers 
Abraham  and  Alexander  Girardet,  and  completed 
his  studies  in  Paris.  At  first  he  engraved  views  of 
Swiss  scenery,  but  executed  'The  Resurrection  of 
Christ,'   after    Le    Brun,   in   1804.      In    1811    he 

249 


A   BIOGRAPHICAL   DICTIONARY  OF 


turned  hia  attention  to  lithography,  and  in  that 
medium  depicted  the  '  Biblical  Narratives,'  after 
Hiibner;  '  The  Transfiguration,' after  Raphael ;  'The 
Battles  of  Alexander,'  after  Le  Brun ;  and  '  The 
Death  of  Eudamidas,'  after  Poussin.  From  1833  to 
1840  he  made  designs  for  the  '  Magasin  Universel.' 
He  died  in  Paris  in  1863. 

GIRARDET,  Edodard  Henri,  a  Swiss  painter 
and  engraver,  was  born  at  NeufchS-tel  in  1819.  He 
studied  art  under  his  father,  Charles  Samuel  Girar- 
det,  and  with  his  brother  Karl,  and  became  famous 
as  a  painter  of  genre  subjects  and  landscapes. 
Journeys' in  Egypt  and  Algiers  resulted  in  several 
good  pictures  representing  those  countries  and  their 
people.  Among  his  most  successful  paintings  of 
Swiss  peasant-Lfe  are  the  following : 

A  Sale  by  Auction  in  a  village. 

A  Dying  Peasant  blessing  his  family. 

A  Young  Mother  dying  in  the  snows  of  the  Great  St. 

Bernard. 
The  Doctor's  Visit. 
The  Little  Apple  Thieves. 

Girardet,  in  the  midst  of  work  such  as  this,  suddenly 
gave  it  up  in  favour  of  engraving,  and  worked  in 
aquatint,  mezzotint,  and  a  mixed  style,  with  as 
much  success  as  he  had  done  in  painting.  The 
following  are  his  best  prints  : 

Divicon ;  after  Gleyre. 

The  Banquet  of  the  Girondins ;  after  Delaroche. 

The  Fainting  of  the  Virgin  ;  after  the  same. 

The  Eetum  from  Golgotha;  after  the  same. 

The   Virgin   in   contemplation   before    the   Crown   of 

Thorns ;  after  the  same. 
The  Cenci ;  aftei-  the  same. 

Moliere  at  the  table  of  Louis  XIV. ;  after  Gerime, 
The  Education  of  a  Prince  ;  after  Zamacois. 
A  Spanish  Wedding ;  after  Fortuny. 
Raphael  in  his  Studio  ;  after  Jalahert. 
The  Marriage  of  Henry  IV. ;  after  Lechevalier-Chevig- 

nard. 

He  died  at  Versailles  in  1880. 

GIRARDET,  Jean,  an  historical  painter,  was 
born  at  Nancy  in  1709.  He  studied  first  in  his 
native  city,  but  more  especially  in  Italy,  and  painted 
for  churches  and  palaces  in  oil  and  fresco.  He 
died  at  Nancy  in  1778.  Some  of  his  work,  of  a 
classical  character,  may  be  seen  in  the  town-hall 
of  that  city. 

GIRARDET,  Karl,  a  genre  and  landscape 
painter,  was  born  at  Locle  in  1810.  He  was  a 
son  of  Charles  Samuel  Girardet,  and  after  being 
instructed  under  L^on  Cogniet  he  travelled  in 
Switzerland,  Germany,  Italy,  Spain,  Egypt,  &c., 
and  from  1836  brought  out  landscapes  and  repre- 
sentations of  the  manners  of  those  countries.  In 
1842  he  excited  much  attention  by  a  picture  of 
'  A  secret  Protestant  Meeting  in  a  cave  attacked 
by  Troops  and  Monks.'  He  succeeded  especially 
with  views  of  Swiss  lakes.  North  Italian  landscapes, 
scenes  from  popular  and  military  life,  children's 
games,  and  so  forth.  He  also  illustrated  Ariosto, 
andThiers's  Histories  of  the  Consulate  and  Empire. 
His  death  occurred  in  Paris  in  1871. 

GIRARDET,  Paul,  famous  French  engraver, 
the  son  and  grandson  of  engravers  of  note ;  born 
at  Neuohatel,  March  8, 1821.  A  pupil  of  his  father, 
whose  talent  and  fame  he  was  soon  to  inherit.  In 
the  Salon  of  1842  he  exhibited  certain  landscapes 
engraved  from  works  by  his  elder  brother,  Karl. 
He  subsequently  published  plates  which  have 
become  famous,  as,  for  instance,  his  engravings  of 
Delaroche's  'Marie  Antoinette  au  Tribunal  rdvolu- 
tionnaire,'  Knauss'  '  Escamoteur  and  Cinquantaine,' 
250 


Brion's  'Noce  en  Alsace,'  Miiller's  'Appel  des 
Condamn^s,'  and  Dubufe's  '  Enfant  Prodigue.' 
He  was  a  chevalier  of  the  Legion  of  Honour,  and 
in  1883  was  appointed  member  of  the  Academie 
des  Beaux  Arts.     Died  in  Paris,  February  26,  1893. 

GIRARDIN,  Alexandre  FRAN901S  Lonis  de. 
Count,  a  French  historical  and  landscape  painter, 
was  born  in  Paris  in  1767,  and  became  a  pupil  of 
Bidault.  He  exhibited  at  the  Salon  of  1822  a 
'View  of  Ermenonville,'  and  various  other  land- 
scapes at  the  subsequent  exhibitions  until  1835, 
after  which  year  there  is  no  further  record  of  him. 

GIRARDON,  Catherine.     See  DncHEJiiN. 

GIRAUD,  Antoine  Cosme,  a  French  engraver, 
born  in  Paris  in  1760,  was  a  pupil  of  Ling^e,  and 
executed  vignettes  and  plates  for  booksellers.  His 
best  works  are  two  plates  after  Borel,  the  one 
representing  '  Two  Young  Women  lying  on  a  bed,' 
the  other  'A  Young  Woman  bathing  her  feet.'  He 
died  after  the  commencement  of  the  19th  century. 

GIRAUD,  Victor,  a  French  genre  painter,  born 
in  Paris  in  1840,  was  a  pupil  of  Picot  and  Eugfene 
Giraud.  His  best  known  picture,  '  The  Slave- 
Market,'  was  formerly  in  the  Luxembourg  Gallery; 
he  also  painted  '  The  Bird-Chariner.'  fie  died  in 
1871,  from  disease  brought  on  by  exposure  on;  the 
fortifications  of  Paris  during  the  siege. 

GIRLING,  Edmund,  an  amateur  etcher,  who 
flourished  in  the  early  part  of  the  19th  century, 
was  a  clerk  in  a  bank  at  Yarmouth.  He  etched 
after  Rembrandt,  Crcme,  and  the  Dutch  masters, 
and  his  works  were  exhibited  at  the  Norwich 
Society. 

GIRODET-DE-ROUSSY-TRIOSON,  Anne  Louis, 
a  French  historical  painter  and  writer,  was  born  at 
Montargis  in  1767.  Having  lost  his  parents  when 
very  young,  he  was  adopted  by  an  army  surgeon, 
M.  Trioson,  whose  name  he  subsequently  added  to 
his  otvn.  After  some  elementary  instruction  from 
a  painter  named  Luquet,  he  entered  the  studio  of 
David  in  1785.  In  1787  and  1788  he  unsuccessfully 
competed  for  the  '  prix  de  Rome,'  but  at  length,  in 
1789,  obtained  the  coveted  distinction  with  a 
picture  of  '  Joseph  making  himself  known  to  his 
brethren.'  He  spent  some  time  in  Rome,  and  there 
painted  the  'Endymion,'  which  first  brought  his 
name  into  notice.  The  political  troubles  of  the 
time  obliged  him  to  fly  to  Naples,  and  thence  to 
Venice,  but  on  his  way  home  he  fell  ill  at  Genoa, 
and  was  carefully  tended  by  Gros.  Once  more 
settled  in  Paris,  he  devoted  himself  assiduously  to 
historical  painting,  and  he  met  with  such  success 
that  at  the  decennial  competition  in  1810,  he  was 
awarded  the  '  grand  prix '  for  his  '  Scene  from  the 
Deluge,'  in  preference  to  David's  'Sabines.'  In  1812 
Girodet's  adopted  father  died,  and  with  the  pro- 
perty bequeathed  to  him  he  was  enabled  to  indulge  a 
taste  for  architecture.  This  amateur  house-building, 
and  his  literary  pursuits — for  he  wrote  a  poem  on 
painting,  and  contributed  freely  to  the  art  literature 
of  the  day — did  not  leave  him  much  leisure  during 
the  next  few  years  for  the  production  of  any  large 
works.  In  fact,  throughout  his  career,  he  painted 
but  few  pictures.  His  time  was  greatly  occupied 
with  studies  and  sketches,  and  he  executed  an  im- 
mense number  of  designs  for  the  illustration  of  the 
classic  authors,  notably  for  editions  of  Anacreon, 
Virgil,  and  Racine.  In  his  latter  years  Girodet 
suffered  nmch  in  health,  and  he  owed  much  to  the 
attention  of  his  friend,  the  great  physician  Larrey. 
He  died  in  Paris  in  1824,  and  previous  to  his 
burial  at  Pere-la-Ghaise,  Louis  XVIII.  ordered  the 


PAINTERS  AND  ENGRAVEKS. 


cross  of  officer  of  the  Legion  of  Honour  to  be 
affixed  to  his  breast.  Like  David  himself,  and 
most  of  his  disciples,  Girodet  lacked  a  mastery 
over  colour.^  His  power  of  drawing  was  liis  forte, 
and  to  this  is  due  the  charm  of  many  of  his  works. 
He  is  seen  at  his  best  in  his  less  ambitious  sub- 
jects, such  as  the  'Atala'  and  the  'Endymion;' 
whilst  in  such  works  as  the  '  Insurrection  at  Cairo  ' 
and  the  '  Deluge,'  he  is  strained,  not  to  say  thea- 
trical. The  following  is  a  hst  of  some  of  his 
works : 

Ajaccio.  Hotel  d«  Ville.  Portrait  of  Charles  Bonaparte. 
Amiens.       Museum.  The  Burial  of  Atala.  (,4  repffca 

of  the  Louvre  picture.) 
Angers.        Museum.  Eomulus  and  Tatius.    1788. 

Avignon.       Museum.  Head  of  a  Turk. 

Cherbourg.  Museum.  Portrait  of  a  Man. 

Compiegne.  Palace.  The  Four  Seasons. 

!)  „  ApoUo. 

II  »  Flora. 

)i,  M  Aurora. 

Lelpsic.  Museum.  Venus. 

Le  Puy.        Museum.  Head  of  a  young  Man. 

Lyons.  Museum.  Head  of  a  young  Woman. 

Orleans.     ^  .Museum.  Erigone. 

Paris.       EcoledeMedecine.  Hippocrates  refusing  the  pre- 
sents of  Artaxerxes.     1792. 
„  Louvre.  Scene  from  the  Deluge.    1810. 

•>  .,  The  Sleep  of  Endymion.  1792. 

„  „  The  Burial  of  Atala.      1808. 

Quimper.      Museum.  Head  of  a  young  Girl. 

Tarbes.         Museum.  Head  of  a  Child. 

Versailles.     Gallery  Napoleon  receiving  the  Keys 

of  Vienna.     1S08. 
„  „  The    Insurrection    at    Cairo. 

1810. 
n  „  Portrait    of    Charles    Bona- 

parte. 
,,  „  Portrait  of  J.  B.  Belley. 

GIROLAMO  DA  TREVIGI.    See  Pennacch?."''^' 

GIROLAMO  DAI  LIBRI.     See  Dai  Libki. 

GIROLAMO  Di  TIZIANO.     See  Dante. 

GIROLAMO  PADOVANO.     See  Sordo. 

GIROUST,  A.  L.  C,  an  historical  and  portrait 
painter,  born  at  Versailles  about  1780,  was  a  pupil 
of  David.     He  was  still  living  in  1835. 

_  GIROUST,  Jean  Antoine  Theodore,  a  French 
historical  painter,  was  born  at  Bussy-Saint-Georges 
(Seine  and  Marne)  in  1753.  He  was  a  pupil  of 
L^pici^,  obtained  the  'grand  pris'  in  1778,  and 
was  received  into  the  Academy  in  1788  upon  his 
'  ffidipus  at  Colonus.'  He  died  at  Mitry-Mory 
(Seine  and  Marne)  in  1817.  He  executed  a  great 
number  of  works,  among  which  were  '  St.  Theresa,' 
in  the  cathedral  of  Boulogne-sur-Mer,  'The  Tor- 
tures of  the  Maccabees,'  '  Eponine  and  Sabinus,' 
and  'St.  Godeliva.' 

GIRSCHER,  Bernhard,  a  landscape  painter, 
■was  bom  at  Rothenburg,  near  Gorlitz,  in  1822. 
He  at  first  studied  medicine,  but  in  1848  turned 
bis  attention  to  art,  and  worked  under  the  portrait 
and  landscape  painter  Resch  at  Breslau.  In  1849 
he  proceeded  to  Munich,  where  he  remained  four 
years,  passing  the  summer  months  in  walking 
through  the  Bavarian  highlands  and  the  Tj'rol. 
He  spent  some  time  at  Liegnitz,  and  then  ia 
1854  removed  to  Berlin,  travelling,  however,  after 
this  in  the  Tyrolese  and  Styrian  Alps.  He  died 
in  1870.  Among  hi.s  best  paintings  are  'Moon- 
light Night  in  the  Tyrolese  Highlands,'  '  Water- 
Mill  in  Silesia,'  and  those  in  which  glaciers  are 
represented. 

GIRTIN,  Thomas,  water-colour  painter,  was  born 
in  Southwark,  Feb.  18,  1775.  His  family  was  of 
French  Huguenot  origin,  the  name  being  Enghshed 


from  "  Guertin."  He  was  apprenticed  to  Edward 
Dayes,  and  afterwards  coloured  prints  for  John 
Rapliael  Smith.  As  a  boy  he  was  a  close  comrade 
of  Turner,  the  two  sketching  together  Thames- 
side  scenes,  and  copying  old  masters  at  Dr. 
Monro's.  He  exhibited  at  the  Royal  Academy 
from  1794  to  1801.  In  the  latter  year  he  sent  an 
oil  picture,  '  Bolton  Bridge,'  which  seems  to  have 
disappeared  ;  his  other  exhibited  works  were  all  in 
water-colour.  Beginning  with  the  topographical 
drawing  then  so  much  in  demand  with  publishers, 
Girtin  soon  developed  a  powerful,  free,  and  masterly 
style  which  was  the  admiration  of  his  contempo- 
raries. His  practice  was  founded  less  on  his  pre- 
decessors in  water-colour  art,  Sandby,  Hearne,  and 
Dayes,  than  on  the  paintings  of  Canaletto,  Rubens, 
and  Wilson.  Many  copies,  chiefly  of  Canaletto, 
made  by  him  in  boj'hood  for  John  Henderson,  who, 
like  Dr.  Monro,  was  an  early  patron  and  friend,  are 
now  in  the  British  Museum.  Girtin  drew  in  many 
parts  of  England,  his  favourite  subjects  being  tlje 
ruined  castles  and  abbeys,  moorlands  and  moun- 
tains of  Yorkshire,  Northumberland,  and  Wales. 
About  1798  he  painted  a  semicircular  panorama  of 
the  Thames  from  Lambeth  and  Westminster  to  the 
City;  and  in  1802  he  made  a  number  of  views  of 
Paris,  twenty  of  which  were  etched  by  him  in  out- 
line and  afterwards  aquatinted  by  other  artists. 
He  had  gone  to  Paris  in  search  of  health  ;  but  the 
visit  failed  to  improve  his  rapidly-declining  con- 
dition, and  he  died  on  November  9  of  the  same  year. 
He  was  only  twenty-seven.  At  the  time  of  his 
death  Girtin  had  admittedly  gone  farther  and 
shown  more  original  power  in  art  than  Turner,  who 
once  said,  "  If  Tom  Girtin  had  lived,  I  should  have 
starved."  Many  of  Girtin's  finest  works,  such  as  the 
beautiful  '  White  House  at  Chelsea,'  or  '  Battersea 
Reach, 'are  in  private  hands ;  but  there  are  more  than 
a  hundred  of  his  drawings  in  the  British  Museum, 
including  some  of  his  best,  a  few  in  the  Victoria 
and  Albert  Museum,  and  some  fine  examples  in  the 
Whitworth  Institute,  Manchester.  S.  W.Reynolds 
engraved  in  mezzotint  on  a  small  scale  a  set  of 
Girtin's  drawings,  which  was  published  under  the 
title  of  '  Liber  Naturae  '  ;  and  David  Lucas  made  a 
larger  mezzotint  from  his  '  Ouse  Bridge,  York,' 
with  greater  sympathy  and  skill.  Roget's  '  History 
of  the  Old  Water-Colour  Society '  contains  a  full 
and  careful  account  of  Girtin's  life  and  times. 

principal   drawings   in   the   BRITISH    MUSEUM. 

Bridgenorth.    1803. 

Cayne  Waterfall,  Wales. 

Denbigh. 

Near  Beddgelert. 

Knaresborough  Castle. 

Set  of  studies  for  the  Loudon  Panorama. 

Kirkstall. 

Great  Hall,  Conway. 

Durham  Cathedral. 

Lindisfame  Abbey.  L  B. 

GISBRANT,  John,  was  an  English  historical 
painter  of  the  17th  century.  He  spent  many  years 
at  Lisbon,  where  he  painted  an  altar-piece  for  the 
church  of  St.  Mary  Magdalen. 

GISELAER,  N.  B.  In  the  Fitzwilliam  Museum 
at  Cambridge  is  a  picture  of  the  '  Interior  of  a  Hall,' 
signed  N.  B.  OUelaer,  fecit  Anno  Dni.  1631. 
The  colouring  and  perspective  are  good,  but  the 
figures  are  too  large,  and  the  animals  bad. 

GISMONDI,  Paolo,  called  Paolo  Peruqino,  was 
a  native  of  Perugia,  but  was  educated  at  Rome 

251 


A   BIOGRAPHICAL   DICTIONARY   OF 


under  Pietro  da  Cortona,  and  was  received  into 
the  Academy  in  that  city  in  1668.  Some  of  hia  best 
fresco  works,  which  are  historical,  are  those  in  the 
church  of  Sant'  Agnese  and  in  the  tribune  of  Sant' 
Agata  at  Rome. 

GIUDICI,  Carlo  Mabia,  a  painter,  sculptor,  and 
architect,  was  born  at  Viggiii,  in  the  Milanese,  in 
1723.  From  his  thirtieth  year  he  studied  the 
great  masters  in  Rome,  and  afterwards  settled 
down  in  Milan,  where  he  in  1760  started  a  school, 
by  means  of  which  he  sought  to  develope  a  purer 
style,  and  inculoote  closer  study  of  the  antique 
and  of  nature.  He  died  at  Milan  in  1804.  His 
works  as  a  sculptor  were  considerable  ;  as  a  painter 
he  executed  a  few  frescoes  in  San  Francesco  di 
Paola  at  Milan,  and  some  easel  pictures  from  both 
sacred  and  profane  history,  which  in  the  heads 
recall  the  style  of  Guido  Reni. 

GIUQNI,  Francesco.     See  Zugni. 

GIULIANO  DI  ARRIGO.     See  GinocHl. 

GIUNTA  PISANO.     See  Pisano. 

GIUNTALODI,  Domenico,  {i.e.  Giunta  di 
LoDO,)  was  a  painter  and  architect,  who  was  born 
at  Prato  in  1605,  and  learned  painting  under 
Niccolo  Soggi,  and  afterwards  at  Rome.  He  died 
at  Guastalla  in  1560.  He  executed  several  im- 
portant works  as  an  architect,  and  was  made 
engineer  to  Charles  V.  As  a  painter,  in  addition 
to  the  portraits  of  some  notable  persons  of  his 
time,  he  is  known  to  have  produced  a  picture  of 
'  The  Coliseum,'  which  was  engraved  by  Giro- 
lamo  Fagivoli,  and  of  '  An  Old  Man  in  his  Drawing 
Chair,'  engraved  by  Agostino  Veneziano. 

GIUOCHI,  GiDLiANO,  called  Pesello,  the  son  of 
Arrigo  di  Giuocolo  Giuochi,  was  born  at  Florence 
in  1367.  He  was  more  of  a  sculptor  and  architect 
than  a  painter,  and  in  1390  was  commissioned  to 
design  a  monument  to  Pietro  Farnese  in  Santa 
Maria  del  Fiore.  In  1414-16  he  painted  flags 
for  the  interior  of  San  Giovanni,  and  in  1419  he 
unsuccessfully  competed  for  the  erection  of  the 
cupola  of  Santa  Maria  del  Fiore,  but  was  made 
Brunellesco's  substitute  in  the  following  year.  In 
1424  occurs  the  only  record  of  his  name  in  the 
Guild  of  St.  Luke.  He  died  in  1446  at  Florence, 
and  was  buried  in  the  church  of  the  Carmine. 
Owing  to  a  confusion  on  the  part  of  Vasari,  much 
doubt  exists  as  to  the  authorship  of  various 
works  attributed  indiscriminately  to  Giuliano  and 
his  grandson  Francesco,  who  resided  for  many 
years  in  his  grandfather's  atelier  in  the  Corso 
degli  Adimari.  In  the  UfEzi  Gallery  at  Florence 
is  an  '  Annunciation,'  painted  for  the  church  of 
San  Giorgio  sulla  Costa  by  Giuliano,  who  is  said 
to  have  excelled  in  the  representation  of  animals. 
Both  grandfather  and  grandson  were  employed 
in  painting  '  cassoni.' 

QIUSTI,  Antonio,  was  born  at  Florence  in 
1624,  and  first  studied  under  Cesare  Dandini,  but 
afterwards  under  Mario  Balassi.  He  painted 
with  equal  success  historical  subjects,  landscapes, 
animals,  and  hunting-pieces ;  and  continued  to 
exercise  his  profession  with  unabated  vigour  until 
he  reached  his  eighty-first  year.     He  died  in  1705. 

GIUSTI,  Felice,  who  was  born  at  Pistoja,  and 
died  at  Bologna,  flourished  about  the  middle  of 
the  18th  century.  He  studied  under  Crespi,  and 
painted  sea-pieces  and  landscapes  with  figures. 
He  was  surpassed  by  his  brother,  GlACOMO  GlusTl, 
who  also  was  bom  at  Pistoja,  and  died  at  Bologna. 

GIUSTI,  Gbeqorio,  who  was  born  at  Pistoja  in 
1732,  studied  at  Rome  under  Seblonca,  and  after- 

252 


wards  under  Battoni.  In  1756  he  executed  several 
pictures  for  the  church  of  San  Vitale,  but  he  was 
principally  employed  by  the  Directors  of  the 
Kircher  Museum  in  painting  art  objects. 

GIUSTO  di  ANDREA.     See  Manzini. 

GIUSTO  di  GIOVANNI  (or  Giusto  Padovano). 
See  Menabuoi. 

GIUVENONE,  Girolamo.    See  Giovenone. 

GIXON,  Juan  Carlos  Ruiz.    See  Roiz  GixoN. 

GLADIATOR.    See  De  Baen,  Jacobus. 

GLAESER,  Georg,  a  portrait  and  historical 
painter,  was  born  at  Altorf,  near  Nuremberg,  in 
1719.  After  receiving  tuition  from  his  own  friends 
he  underwent  a  ten  years'  apprenticeship,  and  was 
then  appointed  court  painter  to  the  Margrave 
Friedrich  at  Baireuth,  who  sent  him  first  to 
Vienna,  where  he  twice  obtained  the  prize,  and 
then  to  Italy,  from  whence  he  only  returned  after 
seven  years,  and  died  at  Baireuth  in  1748.  The 
following  paintings  by  him  are  in  the  gallery  of  the 
Landauer  Briiderhaus  at  Nuremberg : 

Lucretia  stabbing  herself. 

Cleopatra  applying  the  Asp  to  her  Breast. 

Alexander  on  entering  India  received  by  the  High  Priest. 

The  Baptism  of  Christ. 

Portrait  of  a  Eabbi.     1735. 

GLANTSCHNIGG,  Ulrich,  was  born  at  Hall, 
in  the  valley  of  the  Inn,  in  1661,  and  after  studying 
at  Venice,  settled  in  1686  at  Botzen,  where  he  died 
in  1722.  He  cliiefiy  painted  altar-pieces,  but  also 
genre  scenes.    The  following  are  among  his  works  : 

Botzen.  Franciscan  Ch.     St.  Francis    receiving  the  Stig- 
mata.   1712.    (Restored  by  Stes 
in  1856.) 
„  Pariih  Ch.    The  Three  Wise  Men  from  the 

East. 

Briien.  Chapter  Bouse.     The  Marriage  at  Cana. 

His  son  and  pupil,  Joseph  Anton  Glantschnigg, 
who  was  born  at  Botzen  in  1695,  and  died  there 
in  1750,  but  who  lived  chiefly  at  Wiirzburg,  was 
a  painter  of  historical,  genre,  and  landscape 
subjects. 

GLASER,  Hans,  a  wood-engraver  and  card- 
painter,  lived  at  Nuremberg  about  the  middle  of 
the  16th  century.  His  works,  which  are  very  rare 
and  have  chiefly  an  historical  interest,  are  for  the 
most  part  views  of  old  castles  and  fortresses  ;  one 
of  them  represents  '  An  Owl  surrounded  by  other 
Birds.' 

GLASER,  Johann  Heinbich,  was  a  Swiss 
wood-engraver,  who  flourished  at  Basle  about 
1630. 

GLASS,  James  \V.,  an  American  artist,  bom 
about  1825.  He  was  in  his  early  days  a  pupil  of 
Huntingdon,  but  travelled  to  London  in  1847,  and 
studied  there  for  many  years.  It  was  there  that 
he  painted  his  equestrian  portrait  of  the  Duke  of 
Wellington,  which  attracted  some  attention  and 
was  purchased  by  Lord  Ellesmere,  but  a  replica  of 
it  was  commissioned  at  once  by  Queen  Victoria, 
and  the  picture  was  engraved  by  Faed,  and  was 
deservedly  popular.  Glass  excelled  in  drawing 
and  painting  horses.  Some  of  his  best-known 
works  are  the  '  Battle  of  Naseby,'  '  Edge  Hill,' 
'  The  Royal  Standard,'  '  Puritan  and  Cavalier,'  and 
'  Free  Companions.'  It  may  be  noted  as  a  curious 
fact,  that  although  greatly  attached  to  his  native 
land,  there  are  not  any  of  the  works  of  Glass  which 
represent  scenes  in  America,  nor  are  his  historical 
pictures  derived  from  the  history  of  the  United 
States,  but  always  from  that  of  England.     He  re- 


PAINTERS  AND  ENGRAVERS. 


turned  to  America  in  1856  and  died  in  the  following 
year.  The  best  of  his  works  are  in  English 
Galleries. 

GLASS,  JoHANN  Ktlian,  (not  Klass,  as  given 
by  Nagler,)  was  born  at  Dornsied  in  the  province 
of  Hanau  in  1701,  and  afterwards  settled  down  at 
Frankfort-on-the-Main.  He  worked  variously  at 
the  painting  of  portraits,  house  facades,  ornaments, 
snuil-boxes,  &c.  He  was  much  employed  by  Oppen- 
heimer,  the  Finance  Minister  of  Wiirtemberg,  and 
at  Lausanne  (in  1742)  for  the  Margrave  of  Baden 
and  some  English  noblemen.  He  afterwards  went 
to  Paris,  where  he  was  lost  sight  of. 

GLAUBER,  Diana,  the  sister  of  Johannes  and 
Jan  Godlieb  Glauber,  was  born  at  Utrecht  in  1650, 
and  was  instructed  in  design  by  her  elder  brother. 
She  painted  historical  subjects  and  portraits,  in 
which  she  distinguished  herself  at  Hamburg, 
where  she  chiefly  resided.  In  the  latter  part  of  her 
life  she  became  blind. 

GLAUBER,  Jan  Godlieb,  called  Mtrtill,  the 
younger  brother  and  scholar  of  Johan  Glauber,  was 
bom  at  Utrecht  in  1666.  At  the  age  of  fifteen  he  ac- 
companied Johannes  Glauber  in  his  journey  through 
France  to  Italy.  Whilst  at  Paris,  he  studied  under 
Jacob  Knyf,  who  was  in  some  repute  as  a  painter 
of  architectural  views  and  seaports.  After  this  he 
rejoined  his  brother  at  Lyons,  and  went  with  him 
to  Rome,  where  he  studied  two  years.  In  1684  he 
went  to  Hamburg,  and  met  with  great  encourage- 
ment, but  was  afterwards  invited  to  the  court  of 
Vienna,  where  he  passed  a  great  part  of  his  life. 
Jan  Godlieb  Glauber  painted  landscapes  in  the  style 
of  his  brother, — hence  his  nickname, — though  with 
a  less  masterly  handHng ;  but  he  excelled  in  sea- 
ports, which  he  embellished  with  small  figures,  cor- 
rectly drawn  and  neatly  touched.  He  died  at 
Breslau  in  1703.  Some  good  landscapes  by  him 
are  in  the  Augsburg,  Munich,  Pommersfelden,  and 
Vienna  Galleries.  In  the  Glasgow  Gallery  is  a 
picture  of  '  The  Snake  in  the  Grass.' 

GLAUBER,  Johannes,  sumamed  Polydor,  was 
the  son  of  German  parents,  but  was  born  at  Utrecht 
in  1646.  He  studied  for  some  time  under  Nicolaas 
Berchem.buthavingseen  someltalian  landscapes  he 
was  seized  with  a  desire  to  go  to  Italy,  and  in  1671 
left  Holland  upon  a  journey  to  Rome,  travelling 
through  France  in  company  with  his  brother  and 
sister  and  the  brothers  Van  Dooren.  He  remained 
a  year  at  Paris  and  two  at  Lyons,  studying  under 
various  masters.  Arriving  at  length  in  Rome  he 
received  the  name  of  'Polydor,'  upon  joining  the 
Artists'  Guild.  He  passed  two  years  in  that  city, 
sketching  the  most  remarkable  scenery  in  the 
vicinity ;  and  afterwards  visited  Padua,  Venice, 
Hamburg,  and  Copenhagen.  On  his  return  to 
Holland  in  1684,  he  settled  at  Amsterdam  ;  and 
formed  an  intimacy  with  Gerard  de  Lairesse,  who 
was  then  in  the  height  of  his  reputation,  and 
joined  him  in  his  studio.  The  landscapes  of 
Glauber,  decorated  with  the  classic  figures  of  the 
'  Poussin  of  Holland,'  obtained  such  reputation, 
that  it  was  with  difficulty  they  could  execute  the 
commissions  which  they  received.  It  was  at  this 
time  that  Glauber  painted  the  fine  landscapes  in 
the  chateau  of  Soestdijk,  for  the  Prince  of  Orange, 
in  which  the  figures  are  painted  by  De  Lairesse. 
He  died  at  Schoonhoven  in  17"26.  His  works 
exhibit  nothing  of  the  taste  of  his  country,  his 
forms  and  scenery  being  entirely  Italian.  Among 
his  principal  pictures  are  the  following : 
Amsterdam.  Museum.    Diana  at  the  Bath. 


Amsterdam . 

Berlin. 

Brmiswick. 

Cassel. 

Copenhagen. 

Dresden. 

Hague. 


Museum.  MercmT  carrying  off  lo. 

Gallery.  Italian  Landscape. 

Museum.  Fire  Landscapes. 

Gallery.  Landscape. 

Gallery.  Landscapes. 

Gallery.  Idyllic  Landscape. 


Gallery.     Departure  of  Adonis  for  the 
chase. 

Madrid.  Gallery.    Four  Landscapes. 

Munich.  Gallery.    Two  Landscapes. 

Paris.  Louvre.     Landscape. 

Petersburg.        Hermitaye.    Mountain  Landscape. 

There  are  by  him  several  etchings,  executed  in  a 
slight,  spirited  style,  some  of  them  after  his  own 
designs,  and  others  after  Berchem  and  Gaspard 
Poussin.  He  also  etched  some  plates  from  the 
designs  of  Gerard  de  Lairesse.  The'^llowing  are 
his  principal  prints : 

"Various  Landscapes  and  Cattle  ;  after  Berchem. 

Two  landscapes  ;  after  Gaspard  Poussin. 

A  set  of  six  oblong  Landscapes  ;  frovi  his  own  designs. 

A  set  of  six  upright  Landscapes  ;  from  the  same. 

A  set  of  circular  plates  of  allegorical  subjects,  from  the 
histories  of  the  four  great  Monarchies  of  Assyria, 
Persia,  Greece,  and  Rome  ;  after  he  Lairesse. 

GLAUCION,  a  painter  of  Corinth,  is  only  known 
through  being  recorded  by  Pliny  as  the  instructor 
of  Athenion. 

GLEDITSCH,  Paul,  an  engraver  and  etcher, 
was  born  at  Vienna  in  1794.  He  was  instructed  by 
J.  F.  Leybold,  and  in  1819  obtained  the  first  prize, 
whilst  in  1848  the  King  of  Prussia  awarded  him 
a  gold  medal  for  his  plate  of  '  St.  Catharine,'  after 
Carlo  Dolci.  He  died  at  Vienna  in  1872.  Other 
engravings  by  him  are  : 

Mary  observing  the  sleeping  Child  ;  after  Giiido  Reni. 
Madonna  and  Child,  with  St.  Jerome  ;  after  Raphael. 
Madonna    and     Cliild,   with    the    Magdalen    and    St. 

Catharine  ;  after  Perugino. 
Madonna  Velata  ;  after  Sasso  Ferrato. 
Cupid  the  Bow-Cutter;  after  Parmiyiano. 
Portrait  of  the  Emperor  Joseph  I. ;  after  Fompeo  Battoni. 

GLEICHAUF,  Rtidolf,  German  historical 
painter ;  born  at  Hiifingen  in  Baden,  June  29, 
1826.  Completed  several  important  mural  paint- 
ings ;  and  was  prominently  associated  with  Moritz 
von  Schwind  in  decorating  the  Treppenliaus  of  the 
Art  Gallery  at  Carlsruhe.  It  was  in  this  town  that 
he  died  on  October  18,  189G. 

GLEN,  Jan  de.     See  De  Glen. 

GLEYRE,  Marc  Charles  Gabriel,  an  historical 
painter  belonging  to  the  French  School,  but  Swiss 
by  birth,  was  born  at  Chevilly,  a  small  village 
near  La  Sarraz,  in  the  Canton  of  Vaud,  in  1806.  His 
father,  who  was  a  farmer,  encouraged  his  son's 
predilection  for  art.  He  first  studied  at  Lyons,  but 
in  1824  he  migrated  to  Paris,  and  became  a  pupil 
of  Hersent.  This  master  did  not  exercise  any 
marked  influence  on  him,  and  he  owed  more  to  his 
study  uf  the  old  masters  in  Italy,  where  he  went  in 
1828.  He  stayed  chiefly  at  Padua,  Florence,  and 
Rome,  and  whilst  in  the  latter  city,  he  sent  some 
water-colour  portraits  to  the  Salon  of  1833— his  first 
appearance  at  the  annual  exhibition.  He  then  made 
a  long  tour  in  the  Levant,  visiting  Egypt,  Greece, 
and  Asia  Minor.  The  fruits  of  his  travels  were 
seen  in  two  decorative  works,  a  '  Nubian  Girl,'  and 
'Diana,'  typifying  Egypt  and  Greece,  which  he 
painted  in  1838  for  M.  Lenoir  of  Paris.  Two  years 
later  he  made  his  debut  at  the  Salon  with  an  im- 
portant picture  called  '  St.  John  inspired  by  the 
Apocalyptic  Vision.'  Soon  afterwards  he  suffered 
from  a  dangerous  attack  of  ophthalmia,  which  at 
one  time  threatened  him  with  loss  of  sight.    On  his 

253 


A  BIOGRAPHICAL  DICTIONARY  OF 


recovery,  he  painted  the  well-known  '  Evening,' 
which  established  his  position,  and  henceforth  the 
history  of  his  life  is  almost  contained  in  the  list  of 
the  works  he  executed.  It  should  be  mentioned  tliat 
from  some  cause  not  clearly  ascertained,  he  did  not 
exhibit  his  pictures  at  the  Salon  after  the  year 
1849.  Paul  Delaroche  had  a  high  appreciation  of 
Gleyre's  art,  and  on  giving  up  his  atelier,  recom- 
mended his  pupils  to  him.  Amongst  those  who 
passed  through  his  studio  were  the  English  painters, 
Poynter,  Marks,  and  Calderon.  Gleyre  died  on  the 
4th  May,  1874,  from  the  rupture  of  a  blood-vessel 
while  visiting  the  exhibition  at  Paris  on  behalf  of 
the  expatriated  inhabitants  of  Alsace.  The  chief 
characteristics  of  his  works  are  the  softness  and 
poetic  feeling  with  which  they  are  imbued,  although 
in  some  of  his  productions,  as  the  '  Pentheus  '  and 
the  'Battle  of  Leman,'  he  exhibits  considerable 
strength  and  vigour.  The  following  are  some  of 
his  principal  pictures  : 

St.  John  in  the  Island  of  Patmos.    1840. 

Evening,  or  Lost  Illusions.    1843. 

The  Departure  of  the  Apostles.     1845. 

Dance  of  Bacchantes.    1849. 

The  Pentecost.    1851.     {fSt.  ilaryuerite,  Paris.) 

Execution  of  Major  Duval.    1852.    {Lausanne  Museum.) 

Battle  of  Leman.     {Lausanne  Musawt.) 

Venus  on  a  Goat. 

Hercules  at  the  feet  of  Omphale.    1863. 

Pentheus  pursued  by  the  Maeuades.    {Bash  Museum.) 

The  Charmer.    {Basle  Museum.) 

The  Bath.     1868. 

Joan  of  Arc  in  the  Forest, 

The  Deluge. 

Kuth  and  Boaz. 

Minerva  and  the  Graces. 

Portrait  of  General  Jomini.       \  (£„„j„„„,  Museuvi.) 

„  M.  W.  Haldimand.J  ^ 

„  Thomas  Carlyle.  O.J.D- 

GLIEMANN,  Philipp  Albert,  a  German  portrait 
painter,  was  born  at  Wolfenbiittel  in  1822.  He  had 
from  his  youth  to  struggle  for  his  subsistence,  so 
that  it  was  not  until  1844  that  he  was  able  to  re- 
sort to  the  Dresden  Academy  for  instruction.  After 
this  he  entered  Julius  Hiibner's  atelier,  and  then, 
with  the  exception  of  brief  trips  to  Paris  and 
Antwerp,  he  remained  settled  in  Dresden,  where  he 
died  in  1872.  There  is  a  '  Head  of  a  bearded  Jew  ' 
by  him  in  the  Dresden  Gallery. 

GLINK,  Franz  Xavier,  a  German  historical 
painter,  was  born  at  Burgau  in  1796.  He  was  the 
son  of  a  carpenter,  and  learned  his  father's  trade  ; 
he  went  with  his  parents  in  1809  to  Munich,  where 
his  talent  for  art  induced  him  to  attend  the 
Academy.  In  1824  he  went  to  Italy,  and  upon  his 
return  painted  the  altar-piece  for  the  chapel  of  the 
Military  Hospital  at  Munich  as  a  token  of  gratitude 
for  his  travelling  allowance.  He  painted  several 
church  pictures,  amongst  them  some  for  the  Frauen- 
kirche.  He  died  at  Munich  in  1873.  His  finest 
pictures  are : 

The  Flight  into  Egypt. 
The  Virgin's  Visit  to  Elizabeth. 
The  Virgin  and  Child. 
Christ  in  Gethsemane. 
Christ  in  Glory. 

GLINZER,  Karl,  (or  Glintzer,)  an  historical 
and  landscape  painter,  was  born  at  Breitenau,  near 
Cassel,  in  1802.  He  was  first  instructed  by  J. 
Krausskopf,  a  pupil  of  David,  next  passed  two  years 
at  the  Munich  Academy,  and  in  1825  made  a  brief 
stay  with  Schadowat  Diisseldorf ;  he  then  proceeded 
by  way  of  Belgium  to  Paris,  where  he  entered  the 
atelier  of  Baron  Gros.   In  1833  he  made  a  journey  to 

254 


Rome  and  Naples,  which  had  much  influence  on  the 
character  of  his  subsequent  productions.  Later  in 
life  he  partially  abandoned  the  practice  of  art  in 
order  to  pursue  the  theoretical  department,  and  in 
1865  he  published  a  treatise  entitled  'Art  and 
School.'  On  the  reopening  of  the  Cassel  Gal- 
lery, however,  he  furnished  chalk  drawings  from 
Rembrandt,  of  the  size  of  the  originals,  for  the 
publication  of  the  Rembrandt  Album.  He  died  at 
Cassel  in  1878.  Among  his  paintings,  in  addition 
to  numerous  portraits,  are  the  following  : 

Joseph's  bloody  Coat.     1838. 

Susannah. 

The  Good  Samaritan. 

The  Slave  Dealer.     1840. 

Pan  and  Syrinx.     1852. 

GLOCKENDON,  Albert,  (or  Glockenton,)  the 
elder,  a  German  engraver  and  miniature  painter, 
was  born  at  Nuremberg  about  the  year  1432.  He 
was  educated  in  the  school  of  the  elder  Rogier  van 
der  Weyde,  and  was  working  at  Wiirzburg  in 
1481-85.  His  plates  are  wrought  entirely  with  the 
graver,  in  a  neat  but  stiff  style  ;  and  he  appears 
to  have  imitated  the  manner  of  Martin  Schon- 
gauer,  some  of  whose  plates  he  copied.  He 
usually  marked    his    prints    with   his    initials    in 

Gothic  letters,  thus  :  Jn.  f^  The  following  plates 
are  by  him  :  (i^P>VD 

Twelve  plates  of  the  Passion  of  Christ ;  after  Martin 

Schonyauer. 
Ten  plates  of  the  Wise  and  Foolish  Virgins ;  after  the 

same. 
Christ  bearing  His  Cross  ;  after  the  same. 
The  Death  of  the  Virgin ;  after  the  same. 
The  Virgin  and  Infant  seated  on  an  altar. 

GLOCKENDON,  Albert,  the  younger,  a  glass 
painter,  illuminator,  and  wood-engraver,  lived  at 
Nuremberg,  where  he  is  known  to  liave  been  work- 
ing from  1531  to  1543.  He  is  probably  identical 
with  an  Albert  Glockendon  of  whom  Neudorffer 
speaks  as  a  brotlier  of  Nikolaus,  and  as  a  diligent 
illuminator  and  "  half  a  poet."  The  Berlin  Library 
possesses  a  Calendar,  dated  1526,  under  this  latter 
name,  adorned  with  cuts  and  verses  to  each  month. 
By  the  former  (if  they  are  really  to  be  regarded  as 
two  distinct  men)  are  a  fine  engraving  of  '  Two 
Honourable  Women  '  (1631),  and  thirty-two  plates 
of  Tarious  Saints. 

GLOCKENDON,  Georg,  the  elder,  a  wood- 
engraver  and  illuminator  of  Nuremberg,  was 
working  as  early  as  1480,  and  died  in  1520.  Two 
of  his  plates  are,  '  Mary  surrounded  by  five  holy 
Women,'  and  'The  Ascension  of  Christ'  (1520). 

GLOCKENDON,  Georg,  the  younger,  who  was 
born  at  Nuremberg  in  the  year  1492,  executed 
miniatures  in  the  manner  of  Albrecht  Dtirer.  He 
was  also  an  engraver  on  wood.     He  died  in  1553. 

GLOCKENDON,  Nikolaus,  of  Nuremberg,  the 
son  of  Georg  Glockendon  the  younger,  studied 
under  his  father,  and  became  a  miniaturist  of  great 
merit.  His  works  display  much  feeling  and  senti- 
ment in  addition  to  great  technical  knowledge ; 
they  are,  however,  often  incorrect  in  drawing.  In 
the  Royal  Library  at  Aschatfenberg  there  is  a 
Missal,  painted  by  Glockendon  for  Albrecht  of 
Brandenburg,  Archbishop  of  Mayence,  for  which 
he  received  500  gulden.  It  contains  twelve  illu- 
minated borders  to  a  calendar,  with  pictures  repre- 
senting the  twelve  montlis,  and  numerous  miniatures 
after  Schongauer,  Albrecht  Diirer,  and  Cranach. 
On  the  last  page  of  the  missal  is  written  the 
following  inscription,  "Ich   Niklas   Glokendon  zu 


PAINTERS  AND  ENGRAVERS. 


Nurenberg  hab  disses  Bhuch  illuminiert  und  voUent 
ira  jabr  1524. "  The  Aschaft'enberg  Library  contains 
also  a  prayer-book  with  designs  by  Glockendon. 
This  artist  died  in  15C0  ;  the  date  of  his  birtli  has 
not  been  recorded.  He  had  twelve  sons,  all  of 
whom  he  brought  up  to  his  own  profession. 

GLOVACHEVSKY,  Kibil,  a  Russian  painter, 
born  at  Korop  in  1735,  studied  at  Kiew,  but  after- 
wards went  to  St.  Petersburg,  where  he  became  a 
Professor  of  the  Academy  of  Fine  Arte,  and  died 
in  182.3. 

GLOVER,  George,  an  engraver,  was  born  about 
the  year  1618.  He  worked  chiefly  for  the  book- 
sellers, and  engraved  several  portraits  of  persons 
distinguished  in  English  history.  They  are  exe- 
cuted in  a  bold,  open  style,  though  without  much 
taste.  He  also  engraved  some  frontispieces  and 
emblematical  subjects ;  but  his  portraits  are  his 
best  works.     The  following  are  by  him  : 

James  I. 

Charles  I. 

Hearietta  Maria,  Queen  of  Charles  I. 

Mary,  Daughter  of  Charles  I. 

Charles  XL 

Catharine,  Queen  of  Charles  II. 

James  II. 

Mary  Beatrice,  Queen  of  James  II. 

Oliver  Cromwell. 

Francis  Russell,  Earl  of  Bedford. 

■William  Russell,  Duke  of  Bedford. 

Algernon  Percy,  Earl  of  Northumberland. 

Kobert  Devereux,  Earl  of  Essex. 

Henry  Rich,  Earl  of  Holland. 

Thomas  Wentworth,  Earl  of  Strafford. 

James  TJssher,  Archbishop  of  Armagh. 

Sir  Thomas  Urquhart. 

Sir  Edward  Dering.     1640. 

Sir  James  Campbell. 

Sir  Henry  O.xendiu  of  Barham. 

Sir  Anthony  van  Dyck. 

John  Pym,  M.P.  for  Tavistock. 

John  Fox,  the  Martyrologist. 

Lewis  Roberts,  merchant.     1637. 

John  Goodwin,  presbyter.     1642. 

William  Banff.     1643. 

John  Lilburne.     1641. 

Henry  Burton,  Rector  of  St.  Matthew's,  Friday  Street. 

1648. 
Natt.  Witt,  an  idiot. 

GLOVER,  John,  a  landscape  painter  in  water- 
colours,  was  born  at  Houghton-on-the-Hill,  Leicester- 
shire, in  1767.  He  received  no  instruction  in  art, 
and  in  1786  became  writing-master  at  Appleby  Free 
School.  He,  however,  employed  all  his  spare  time 
in  drawing,  and  in  1794  removed  to  Lichfield, 
where  he  devoted  himself  to  practising  and  teach- 
ing art.  In  1805  he  came  to  London,  and  joined 
the  newly-formed  Water-Colour  Society,  of  which 
he  was  President  in  1815.  He  resigned  bis 
membership  in  1818,  and  having  been  an  unsuccess- 
ful candidate  for  Academy  honours,  he,  in  1824, 
assisted  in  founding  the  Society  of  British  Artists, 
where  he  exhibited  till  1830.  In  the  following 
year  he  emigrated  to  Australia,  occasionally  sending 
home  works  until  his  death  in  1849  at  Launceston, 
Tasmania.  Glover's  art  was  fashionable,  and  his 
works  commanded  high  prices  during  his  lifetime. 
He  occasionally  painted  in  oils,  but  his  fame  rests 
on  his  work  in  water-colours.  Amongst  his  best 
drawings  are : 

Durham  Cathedral.     (Earl  of  Durham.) 

Loch  Lomond. 

Tivoli.    (South  Kensington  Museum.) 

Windsor  Castle.    (The  same.) 

Landscape:  Windsor  Castle  in  the  distance.  (Kc  same.) 

River  Scene.   (The  tame.) 


Matlock  Bath — Mist  clearing  off 

Chepstow  Castle. 

Landscape  near  Civit4  Vecchia. 

Elter  Water. 

Wingfield  Manor,  Antrim. 

GLUME,  JoHANN  Gottlieb,  who  was  born  at 
Berlin  in  1711,  and  died  in  1798,  was  a  pupil  of 
Pesne  and  Harper.  He  painted  historical  and 
genre  subjects  and  landscapes,  and  also  etched 
several  portraits,  &c. 

GMELIN,  WiLHELM  Friedrich,  an  engraver, 
was  born  at  Badenweiler  in  1745,  and  studied  under 
Christian  von  Mechel  in  Basle.  He  went  to  Rome 
in  1788,  and  died  there  in  1821.  His  engravings 
after  Claude  Lorrain  and  Poussin  are  of  a  high 
order  of  merit.     His  best  plates  are : 

The  Temple  of  Venus  ;  after  Claude  Lorrain. 

The  Mill ;  after  the  same. 

Landscape  with  the  Flight  into  Egypt ;  after  the  same. 

Acis  and  Galatea ;  after  the  same. 

The  Waterfalls  of  Tivoli  ;  two  plates. 

The  Villa  of  M^cenas  at  Tivoli ;  two  plates. 

The  Grotto  of  Neptune  at  Tivoli ;  two  plates. 

Waterfall  of  Veliuo.     1795. 

The  Lake  of  Albano  near  Rome.'    1796. 

Kinaldo  and  Armida ;  after  G.  Foussin, 

View  of  Pozzuoh  ;  after  Hackert. 

GNOCCHI,  PiETRO,  was  a  native  of  Milan,  who 
was  born  about  1550,  and,  according  to  Morigia, 
flourished  about  the  year  1595.  He  was  a  scholar 
of  Aurelio  Luini,  and  surpassed  his  instructor  in 
the  elegance  and  taste  of  his  figures.  Lanzi  con- 
jectures that  this  artist  may  be  the  painter  called 
Pietro  Luini,  as  it  was  not  unusual  at  that  time  for 
the  disciple  to  adopt  the  name  of  his  master.  His 
best  performance  is  his  picture  of  '  Christ  giving 
the  Keys  to  St.  Peter,'  in  the  church  of  San  Vittore 
at  Milan. 

GOBAU.     See  Goubau. 

GOBBO,  Andrea.     See  Solario. 

GOBBO  DA  CORTONA,  II  (or  II  Gobbo  de' 
Carracci,  or  DALLE  Frutta).     See  Bonzi. 

GOBELL,  Gerrit  Henderik,  a  Dutch  landscape 
painter,  was  born  at  Raalte  in  1786,  and  died  at 
Deventer  in  1833.  The  Amsterdam  Museum  has 
a  '  Winter  Landscape  '  by  this  artist. 

GOBEL,  Karl  Peter,  an  Austrian  portrait  and 
historical  painter,  born  at  Wiirzburg  in  1791,  was 
educated  at  the  Academy  at  Vienna,  where  he 
died  in  1823.  The  Vienna  Gallery  has  a  picture 
by  him  of  'Jacob  blessing  the  Sons  of  Joseph.' 
Besides  this  may  be  mentioned  his  '  Moses,'  and 
'  Death  of  Dido.' 

GOBERT,  Pierre,  a  French  portrait  painter,  was 
born  at  Fontainebleau  in  1666.  He  became  an 
academician  in  1701,  and  died  in  Paris  in  1744. 
There  is  by  him  in  the  Madrid  Gallery  a  portrait 
of  Louis  XV.  when  Dauphin. 

GODBY,  James,  an  English  engraver,  lived  at  the 
beginning  of  the  19th  century.  He  prepared  the 
illustrations  for  'The  Fine  Arts  of  the  English 
School,'  1812,  and  engraved  also  Raphael's  '  Mira- 
culous Draught  of  Fishes.' 

GODDARD,  Bodverie,  an  English  animal 
painter,  was  born  in  Wiltshire  in  1834.  He  came 
to  London  in  1849,  and  studied  for  two  years  in 
the  Zoological  Gardens.  In  1851  he  settled  in 
Salisbury,  but  six  years  later  returned  to  London. 
He  was  a  constant  exhibitor  at  the  Royal  Academy. 
He  died  at  Brook  Green  in  1888.  His  '  Struggle 
for  Existence'  is  in  the  Walker  Art  Gallery, 
Liverpooh  ^55 


A    BIOGRAPHICAL  DICTIONARY   OF 


GODDARD,  John,  was  an  English  engraver,  of 
the  17th  century.  He  engraved  some  frontispieces, 
maps,  and  other  subjects,  for  tlje  booksellers. 
One  of  his  best  prints  is  the  portrait  of  Martin 
Billingsley,  a  writing-master,  dated  1651,  which 
is  prefixed  to  his  copy-book.  Strutt  mentions 
a  small  upright  print  of  a  woman  standing,  under 
which  is  inscribed  Vefura,  and  another  its  com- 
panion. 

GODDTN,  PiETER,  a  Flemish  painter,  was  born 
at  Bruges  in  1752.  He  was  educated  at  the  Bruges 
Academy,  and  afterwards  in  Rome,  and  in  1782 
won  the  first  prize  at  Parma,  for  the  best  picture 
from  a  scene  in  Virgil's  '^Eneid.'  In  1784  he  re- 
turned to  his  native  city,  where  he  died  in  1811. 

GODEFROID,  Marie  El^onore,  a  daughter  and 
pupil  of  the  painter  Ferdinand  Joseph  Godefroid, 
was  born  in  Paris  in  1778.  In  1795  she  became  a 
teacher  of  art  and  music  in  the  Institute  of  St. 
Germain ;  but  in  order  to  devote  herself  more 
entirely  to  painting  she  renounced  this  position 
and  entered  the  atelier  of  Gerard,  whom  she 
assisted  in  his  works,  while  she  also  independently 
painted  portraits  in  oil,  water-colour,  and  pastel. 
She  had  an  elder  brother  a  painter,  who  completed 
her  education  after  their  father's  death.  She  died 
in  Paris  in  1849. 

GODEFROY, ,  was  a  French  miniaturist,  who 

worked  at  Fontainebleau  early  in  the  16th  century, 
and  rivalled  Fouquet,  Beauneveu,  the  Pascals,  and 
other  celebrated  artists  of  that  time.  In  1519-20 
he  executed  for  Francis  I.  the  miniatures  in  tlie 
fine  manuscript  of  Csesar's  'Commentaries,'  of 
which  the  first  volume  is  now  in  the  British 
Museum,  the  second  in  the  National  Library  at 
Paris,  and  the  third  in  the  collection  of  the  Uuke 
d'Aumale.  He  also  painted  those  in  the  beautiful 
manuscript  of  the  French  translation  of  the 
'  Triumphs  '  of  Petrarch,  which  is  in  the  library  of 
the  Arsenal  in  Paris. 

GODEFROY,  Francois,  a  French  designer  and 
engraver,  was  born  at  Rouen  in  1748,  and  died  in 
Paris  in  1819.  He  was  the  father  of  Jean  Godefroy, 
and  one  of  the  best  scholars  of  Le  Bas,  under  whose 
tuition  he  engraved  landscapes  after  Casanova  and 
Claude  Lorrain,  genre  pieces  after  Fragonard,  and 
historical  subjects  from  the  Revolution  in  North 
America.     Among  his  best  plates  are : 

Landscape  with  a  Herd  of  Cattle  ;  after  Villemont. 

A  pair  of  Landscapes,  called  '  Le  Temple  des  Amours,' 

and  '  La  Tour  des  deux  Amans  ; '  after  Lantara. 
A  View  of  the  Village  of  Moutiers  'fravers  ;  after  Cha- 

tela. 
Amusement  of  Brabant ;  after  Teniers. 
The  Georgian  Bath  ;  after  L.  de  La  Hire. 
A  pastoral  Landscape  ;  after  Casanova. 
A  Landscape,  with  a  "Waterfall ;  after  Le  Prince. 
A  Landscape  ;  after  Claude  Lorrain. 

GODEFROY,  Jean,  a  French  engraver,  the  son 
of  Franjois  Godefroy,  was  born  in  London  in  1771, 
and  was  a  scholar  of  J.  P.  Simon.  He  engraved 
the  works  of  the  most  eminent  French  painters  of 
his  time  ;  particularly  those  of  Gerard,  Prud'hon, 
Carle  Vernet,  Isabey,  and  Chaudet.  There  are  also  by 
him  engravings  after  Raphael,  Correggio,  Poussin, 
and  the  Carracci.  He  died  in  Paris  in  1839.  He 
is  said  to  have  been  also  a  painter.  The  following 
are  among  his  best  plates : 

Cupid  and  Psyche  ;  after  Gerard. 
The  Battle  of  Austerlitz  ;  after  the  same.     1813. 
Ossian  with  his  Harp  charming  up  Pictures  of  Phan- 
tasy ;  aftsr  the  same. 
256 


The  Congress  of  Vienna  ;  after  Isabey.     1819. 
Bonaparte  at  Malmaison  ;  after   the  same. 
The  Death  of  Hippolytus  ;  after  Carle  Vernet. 

GODEFROY,  Peter  Ludwiq  de  Larive.  See 
Larive-Godefroy. 

GODELER,  Elias,  (Johann,)  an  Austrian  his- 
torical and  landscape  painter,  as  well  as  an  archi- 
tect, was  born  in  1620.  He  painted  in  oil  and  in 
fresco  principally  at  Nuremberg,  Baireuth,  and 
Hildburghausen,  and  died  in  the  last-named  town 
in  1693. 

GODEMAN,  an  English  monk  of  the  latter  half 
of  the  10th  century,  was  a  miniature  painter,  who 
executed  thirty  designs  in  gouache  and  gold  in  a 
Benedictional  of  Bishop  Athelwold  of  Winchester, 
now  in  the  possession  of  the  Duke  of  Devonshire, 
and  in  a  Benedictional  and  a  Missal  now  in  the 
Library  at  Rouen. 

GODETS,  Antoine  des.    See  Des  Godets. 

GODEWYCK,  Margarita,  born  at  Dordrecht 
in  1627,  was  a  pupil  of  Nicolaas  Maes,  and  painted 
landscapes  and  flower-pieces.  She  possessed  a 
remarkable  talent  of  executing  similar  subjects 
in  needle-work.     She  died  at  Dordrecht  in  1677. 

GODFREY,  G.,  an  English  artist,  engraved, 
among  other  things,  some  of  the  plates  for  Grose's 
'  Antiquities  '  in  1785. 

GODFREY,  Richard  B.,  an  engraver,  was  born 
in  London  in  1728.  He  engraved  several  views 
and  antiquities,  and  some  English  portraits  for 
Bell's  '  British  Theatre '  and  the  '  Antiquarian 
Repository  ; '  among  them  the  following  : 

Edward,  the  Black  Prince. 

Thomas,  Duke  of  Gloucester. 

Margaret,  Countess  of  Salisbury. 

Sir  Henry  Upton,  British  Minister  in  France. 

Simon  Forman,  astrologer. 

Sir  Anthony  Weldon,  historian. 

John  Evans,  astrologer. 

Abraham  Cowley,  poet. 

Kichard  Cromwell,  son  of  the  Protector. 

GODWIN,  James,  an  English  designer  for 
illustrated  books,  was  born  early  in  the  19th 
century.  He  studied  in  the  schools  of  the  Royal 
Academy,  and  exhibited  there  and  at  the  Society 
of  British  Artists  between  the  years  1846  and 
1851  some  works,  among  which  was  his  '  Hamlet 
and  Ophelia.'      He  died  in  London  in  1876. 

GOEBOUW,  Antoon.     See  Godbau. 

GOEDAARD,  Johannes,  born  at  the  beginning 
of  the  17th  century  in  Middelburg,  where  he  died 
in  1668,  painted  insects  and  other  objects  of 
natural  history. 

GOEDIG,  Heinrich,  (or  Goedigen.)  a  painter 
and  engraver,  was  a  native  of  Brunswick,  who  in 
1558  went  to  Dresden,  and  entered  the  service  of 
the  Elector  of  Saxony.  In  the  Ducal  Art  Cabinet  at 
Gotha  is  a  little  book  containing  thirteen  miniature 
pictures  by  him  representing  scenes  from  the  life 
of  Christ.  His  most  important  work  as  an  engraver 
is  a  series  of  subjects  taken  from  the  History  of 
Saxony  and  published  in  1597-98,  but  these  plates 
are  surpassed  by  seven  historical  landscapes  which 
he  executed  about  the  same  time.  After  1598  every 
trace  of  the  artist  disappears. 

GOEIMARE,  Jan,  a  landscape  painter,  was  a 
native  of  Flanders,  who  flourished  at  the  beginning 
of  the  17th  century. 

GOEKINDT,  Pjeter,  (or  Goetkint,)  an  amateur 
painter,  was  a  native  of  Antwerp,  who  flourished 
about  1581,  and  was  the  first  master  of  Jan 
Brueghel. 


PAINTERS  AND   ENGRAVERS. 


GOENEUTTE  (Norbert),  French  painter-en- 
graver, born  in  Paris  in  1854 ;  became  a  pupil  of 
Pils  at  the  ficole  des  Beaux  Arts,  exhibiting  his 
first  two  pictures  in  the  Salon  of  1876,  which  pro- 
voked much  comment.  One  of  these  was  the 
'  Boulevard  de  Clichy.'  Parisian  to  the  core, 
Goeneutte  at  once  devoted  himself  to  reproducing 
certain  characteristic  types  and  aspects  of  the 
French  capital  with  signal  success.  Their  qualities 
of  keen  observation  and  subtle  humour  should 
serve  to  prevent  many  of  his  pictures  from  being 
forgotten.  Of  these  we  may  mention  'L'Appel 
des  Balayeiirs,'  '  La  Soupe  du  matin  h  la  porte  de 
chez  Brabant,'  '  Les  Bonnes  de  chez  Duval,'  &c. 
Goeneutte  ranks  with  Desboutin  and  Somm  as  one 
of  the  most  remarkable  draughtsmen  and  dr)'- 
point  engravers  of  modern  times.  His  work  deeply 
iniJuenced  latter-day  engraving,  and  in  this  perhaps 
his  originality  and  talent  are  best  displayed.  He 
died  at  Anvers-sur-Oise,  October  9,  1894 

GOEREE,  J.,  was  a  Dutch  engraver,  who  resided 
at  Amsterdam  about  the  middle  of  the  17th  century. 
He  engraved  a  variety  of  frontispieces  and  other 
book  plates,  which  are  chiefly,  if  not  entirely,  from 
his  own  designs. 

GOES,  HnGO  van  der.    See  Van  der  Goes. 

GOESIN,  Pierre  Antoine  Fran(;ois  de,  a 
Flemish  historical  painter,  was  born  at  Ghent  in 
1753.  He  was  Professor  at  the  Academy,  and 
Director  of  the  Institute  at  Ghent,  but  he  aban- 
doned art  in  order  to  take  the  management  of 
the  printing  office  which  had  been  carried  on  by 
his  family  for  upwards  of  a  century.  He  died  in 
1831. 

GOESTELINE,  Willem,  a  native  of  Brussels, 
painted  in  1463  an  altar  picture  in  the  church  of 
St.  Nicholas  at  Ghent. 

GOETHE -MEYER,  Johann  Heinrich.  See 
Meyer. 

GOETZ,  Gottfried  Bernard,  a  German  painter 
and  mezzotint  engraver,  was  born  at  Kloster- 
Welchrod,  in  Moravia,  in  1708.  He  was  instructed 
in  painting  by  Eckstein,  and  afterwards  was  a 
scholar  of  Johann  Georg  Bergmiiller,  at  Augsburg, 
where  he  died  in  1768.  His  works  as  a  painter 
are  little  known  out  of  his  own  country ;  but  he 
has  scraped  some  plates  in  mezzotint,  among  which 
are  the  following : 

The  Emperor  Charles  VII. ;  after  a  picture  by  himself. 

Bust  of  Louis  SV. 

St.  Amandus  ;  after  J.  G.  Bergmiiller. 

St.  Walburg  ;  after  the  same. 

GOIEN,  Jan  van.    See  Goyen. 

GOLCHI,  Peter,  is  mentioned  by  Walpole  as 
having  painted  in  England  in  the  reign  of  Queen 
Elizabeth. 

GOLD,  Charles,  a  colonel  of  the  Royal  Artillery, 
was  an  English  amateur  draughtsman.  He  entered 
the  army  in  1790,  and  after  having  served  in  India 
and  the  Netherlands,  and  at  Waterloo,  retired  from 
the  service  in  1825,  and  died  at  Leamington  in 
1842.  He  published  in  1806  '  Oriental  Drawings,' 
representing  Indian  costumes,  &o. 

GOLDAR,  John,  an  engraver,  was  bom  at  Oxford 
in  1729,  and  died  of  apoplexy  in  Hyde  Park,  Lon- 
don, in  1795.  He  engraved  several  humorous 
subjects,  among  which  is  a  set  of  four  plates, 
after  John  Collet,  called  '  Modern  Love.'  He  also 
engraved  a  print  of  '  Ships  after  an  Engagement,' 
after  Wright. 

GOLDING,  Richard,  a  line-engraver,  was  bom 
in  London  of  humble  parentage  in  1785.     He  was 

VOL.  II.  8 


apprenticed  in  1799  to  an  engraver  named  Pass, 
for  seven  years,  but  left  him  after  five,  when  his 
indentures  were  transferred  to  James  Parker,  who, 
however,  died  shortly  after ;  Golding  completing 
some  of  the  plates  he  had  left  unfinished.  Rapidly 
improving  in  his  profession,  Golding  soon  after 
obtained  through  a  Mr.  Fuller,  an  American  artist, 
for  whom  he  had  engraved  a  plate,  an  introduction 
to  West,  for  whom  he  executed  a  plate  of  the 
'Death  of  Nelson.'  He  also  became  known  to  Smirke, 
from  whose  paintings  he  executed  mauy  beautiful 
engravings  for  book  illustration ;  among  the  best 
are  those  for  editions  of 'Don  Quixote'  and  'Gil  Bias,' 
In  1818  he  engraved  for  Sir  Thomas  Lawrence  his 
portrait  of  the  '  Princess  Charlotte  of  Wales,'  a  very 
fine  plate,  for  which  he  received  much  praise,  so 
that  he  now  became  famous,  and  obtained  many 
commissions.  Some  j'ears  after,  however,  he  seems 
to  have  become  apathetic,  and  discontinued  work 
almost  entirely.  He  died  at  Lambeth  in  1865  in 
comparative  poverty.  The  chief  of  his  larger 
works  are : 

St.  Ambrose  refusing  the  Emperor  Theodosius  admission 
to  the  Church  ;  after  Faolo  Veronfse. 

A  Peep  into  Futurity  ;  after  Maclise. 

The  Princess    Charlotte  of   "Wales;    after   Sir  Thomas 
Laurence. 

The  Princess  Victoria  (the  Queen)  in  her  ninth  year ; 
after  Westall. 

Tbe  Princess  Victoria  (the  Queen) ;  after  Folder.   1830. 

Henry  Calvert,  Esq. ;  after  T.  Phillips. 

Thomas  Hammersley,  Esq. ;  after  Hamilton. 

GOLDSCHMIDT,  Hermann,  a  painter,  but  more 
distinguished  as  an  astronomer,  was  born  at  Frank- 
fort-on-the-Main  in  1802.  A  visit  to  Holland  in 
1832  decided  him  to  devote  himself  to  art,  and  he 
then  studied  under  Schnorr  and  Cornelius  at 
Munich.  In  1834  he  took  up  his  residence  in 
Paris,  where  his  '  Romeo  and  Juliet '  was  purchased 
by  the  state.  He  became  an  astronomer  in  1847, 
and  has  left  a  name  in  that  science  by  his  discovery 
of  thirteen  of  the  asteroidal  planets.  He  died  at 
Fontainebleau  in  1866. 

GOLE,  Jacobus,  a  Dutch  engraver,  was  born  at 
Amsterdam  in  1660,  and  died  in  the  same  city  in 
1737.  There  are  by  him  several  prints,  some  of 
which  are  executed  with  the  graver,  and  others  in 
mezzotint;  the  former  are  the  better.  Among 
them  are  the  following : 

line-engravings. 

Charles  XI.,  King  of  Sweden._    1685. 
Duchess  de  La  Valliere.     1085. 
Mahomet  IV.,  Sultan  of  Turkey. 
Kara  Mustapha,  Grand  Vizier. 
Abraham  Hellenbroek,  Minister  of  the  Go.'pel. 
Nicolas  Colvius,  Pastor  of  the  "WaUoon  Church  ;  after 
B.  Vaillant. 

MEZZOTINT    PORTRAITS. 

Charles  III.,  King  of  Spain. 

Frederick,  King  of  Poland. 

George  Augustus,  Elector  of  Brunswick-Luneburg. 

Charles,  Landgrave  of  Hesse-Cassel. 

ComeUs  Tromp,  Admiral  of  Holland. 

Balthasar  Becker. 

SUBJECTS    IN   MEZZOTINT. 

Peasants  smoking ;  after  Adriaan  van  Ostade. 
Dutch  Boors  regaling  ;  after  Adriaen  Brouwer. 
The  Tooth-drawer ;  after  Temers. 
The  Schoolmaster ;  after  E.  HeemtJcerk. 
Heraclitus;  after  Cornelis  Dusart. 

GOLS,  CoNBAD  (or  Goltzius),  an  engraver,  was 
working  at  Cologne  at  the  end  of  the  16th  century. 
There  are  known  of  his  works : 

257 


A   BIOGRAPHICAL   DICTIONARY  OF 


St.  Bernard  with  the  Instruments  of  the  Passion. 
The  History  of   Susannah ;   seven  plates. 
The  Annunciation. 
The  Seven  Sacraments. 

GOLTZIDS,  Hendrik,  a  painter  and  an  engraver 
both  on  metal  and  on  wood,  was  born  at  Miilbrecht, 
in  the  duchy  of  Julich,  in  1558.    His  father,  Johann 
Goltzius,  was   an  eminent   glass-painter,  who  in- 
structed him  in  the  first  principles  of  art ;  and  he 
was  tauglit  engraving  by  Dirk  Cuerenhert.     His 
progress  was  such,  that  he  soon  surpassed  his  mas- 
ter, who  employed  him  to  engrave  some  plates, 
and  he  also  executed  several  for  Philipp  Galle.    In 
liis  twenty-first  year  he  married  a  wealthy  widow, 
the  mother  of  Jakob  Matham,  which  enabled  him 
to  establish  a  printing  office  of  his  own,  but  did 
not  advance  his  happiness,  and  in  fact  the  con- 
tinued domestic  discord  so  prejed  upon  his  health 
that  it  led  to  his  travelling  to  southern  lands.     He 
passed  through  Germany  to  Italy,  where  his  studies 
were  particularly  directed  to  the  works  of  Michel- 
angelo, Raphael,  and  Polidoro  da  Caravaggio.     A 
too  vehement  desire  to  imitate  the  style  of  Michel- 
angelo led  him  frequently  into  outrageous  and  extra- 
vagant designs,  which  are  not  always  compensated 
by    the   extraordinary   excellence   of   his   graver. 
During  his  residence  at  Rome,  he  engraved  several 
plates  after  Raphael,  Polidoro,  and  others ;  and  on 
his  return  to  Holland  he  settled  at  Haarlem,  where 
he  engraved  several  plates  from  the  Flemish  and 
Dutch    masters.     He   imitated   with   the   greatest 
success  the  styles  of  Albrecht  Diirer,  Lucas  van 
Leyden,  and  other  admired  old  masters,  and  pro- 
duced a  set  of  six  large  plates,  called  the  '  Master- 
pieces of  Goltzius,'  not  because  they  are  his  best 
productions,    but   as   showing   how   perfectly   he 
could  copy  the  particular  manner  of  those  artists 
whose  works  were  held  in  higher  estimation  than 
his  own.     He  had  reached  his  forty-second  year 
when  he  commenced  painting.      His  first  picture 
represented     the    'Crucifixion,'   with    the    Virgin 
Mary  and  St.  John,  and  it  is  commended  by  Van 
Mander  for  the  excellence  of  the  colouring,  and  the 
boldness  of  the  design.     He  died  at  Haarlem  in 
1617.     His  principal  pictures  are : 

Petersburg.    Hermitage.     Adam  and  Eve. 

„  „  The  Circumcision  of  Christ. 

„  „  The  Adoration  of  the  Magi. 

„  „  The  Baptism  of  Christ. 

Rotterdam,        Museum.     Juno    receiving    the    eyes    of 
Argus.    1615. 

Goltzius  is  more  famous  as  an  engraver  than  a 
painter,  and  his  prints  amount  to  more  than  five 
hundred  in  number ;  they  are  frequently  marked 
with  the  cipher  f/p^  The  following  are  his  prin- 
cipal plates 


m- 


PORTRAITS. 

Henndrik  Goltzius. 

Henry  IV.,  King  of  France ;  oval.    1592. 

Frederick  II.,  King  of  Denmark  ;  oval.     1583. 

■William,  Prince   of   Orange,  in  armour,  with  an   em- 
blematical border. 

Charlotte  de  Bourbon,  Princess  of  Orange. 

Dirk  Cuerenhert ;  after  his  own  desic/n. 

Gerbraud  Adriaansz  Brederods  ;  with  an  oval  border  of 
laurels. 

Hans    Bol,    painter   of    Mechlin ;    in   an   ornamental 
border. 

Jan  Stradan,  painter. 

Philipp  Galle,  engraver. 

Pieter  Forest,  or  Forestus,  physician.     1586. 

Justus  Lipsius.     1587. 

Johannes  Zurenus ;  a/ier  M.  van  Meemskerk. 
258 


M.  de  La  Faille ;  very  highly  finished. 

Madame  de  La  Faille,  with  a  Skull ;   the  companion. 

1589. 
Christopher  Plantin,  the  printer. 
Fran^oise  d'Egmont,  with  her  hand  on  a  Skull ;  ovaL 
Eobert  Dudley,  Earl  of  Leicester ;  oval.    15S6. 
S.  Sovius,  without  his  name ;  inscribed.  Bene  agere  et  nil 

timere.    1583. 


VARIOUS  SUBJECTS  FROM  HIS  OWN  DESIGNS. 

Judah  and  Tamar ;  circular ;  supposed  to  be  one  of  his 

earliest  plates. 
The  Life  aud  Passion  of  our  Saviour ;  twelve  plates, 
executed  in  the  style  of  Albrecht  Diirer  ;  R.  Goltz 
fee.     1597.    There  is  a  set  of  copies  after  these,  in  a 
stiff,  formal  style. 
Christ  and  the  Apostles ;  fourteen  plates.     1598. 
Six  large  plates,  known  by  the  name  of  the  '  Master- 
pieces of  Goltzius.'     They  are  executed  in  the  style 
of  each  of  the  masters  he  wished  to  imitate,  and  are 
as  follow : 

The  Annunciation  ;  in  the  style  of  Raphael. 
The  Visitation  ;  in  imitation  of  Parmigiam. 
The  Annuucialion  ;  in  the  manner  of  Bassano. 
The  Circumcision  ;  in  the  style  of  Albrecht  Barer. 
The  Adoration  of  the  Magi ;  in  imitation  of  Lucas 

van  Lei/lien. 
The  Holy  Family ;  in  the  manner  of  J''.  Barocci. 
The  Nativity ;  unfiuished  and  extremely  scarce.     1615. 
The  Adoration  of  the  Magi. 
The  Murder  of  the  Innocents ;  very  scarce ;  the  plate 

was  not  finished. 
The  Kepose  in  Egypt ;  K.  Goltzius  fee.    1589. 
The  Woman  of  Samaria.     15S9. 
The  Wise  Men's  Offering ;  a  curious  composition. 
The  Infant  Jesus  holding  a  globe,  with  a  glory  of 

Angels;  R.  Goltz  fee.     1597. 
The  Temptation  of  St.  Anthony. 
A  Female  Saint,  holding  a  book ;  very  scarce.     Some 

parts  of  the  plate  are  merely  traced. 
A  set  of  fifty-two  plates  for  the  '  Metamorphoses '  of 
Orid.   It  is  supposed  that  Goltzius  was  largely  assisted 
by  his  scholars  in  these  plates. 
A  set  of  ten  plates  of  Eight  of  the  Heroes  of  ancient 
Kome,  with  the  introduction  aud  conclusion.     1586. 
Engraved  in   a    free,   bold   style,   with    fine    back- 
grounds. 
Venus  reclining  against  a  Tree,  holding  a  bunch  of 
grapes,  whilst  Cupid  presents  to  her  a  handful  of 
corn ;  a  circular  plate,  of  highly  finished  and  beautiful 
execution. 
Three  plates ;  Bacchus, Venus,  and  Ceres ;  dedicated  to 

Cornells  van  Haarlem. 
Three  plates ;  Juno,  Mmerva,  and  Venus ;  ovals.    1596. 
Mars  and  Venus.     1585. 
Three  plates ;  Jupiter  and  Juno,  Neptune  and  Amphi- 

trite,  and  Pluto  and  Proserpine. 
Pygmalion  and  his  Statue.     1593. 
Mercury  and  Argus ;  a  small  plate,  very  scarce. 
Nine  plates  of  the  Muses  ;  each  with  four  verses.    1592. 
Three  plates  of  the  Graces. 
The  Three  Fates  ;  in  circular  plates. 
The  Apollo  Belvedere,  with  the  Portrait  of  the  De- 
signer, in  half-length. 
The  Hercules  Commodus. 
The  Farnese  Hercules. 

The  three  prints  last  mentioned,  after  the  famous  an- 
tique statues,  are  executed  with  surprising  beauty  and 
energy. 
Hercules  holding  liis  Club ;  in  the  back-ground  are 
represented  his  labours.  1589.  In  this  plate  Goltzius 
has  overcharged  the  outUne  of  the  figure  in  the  most 
barbarous  manner,  the  parts  are  scattered,  and  the 
whole  is  without  effect. 
The  Judgment  of  Midas.     1590. 

The  seven  Cardinal  Virtues;  Faith,  Hope,  Charity,  Jus- 
tice, Prudence,  Fortitude,  and  Temperance ;  in  seven 
plates. 
Three  fine  plates,  of  Diligence,  Patience,  and  Wisdom ; 

personitied  by  female  figiires. 
Labour  aud  Diligence ;  represented  by  a  male  and  female 

figure.     1580. 
An  emblematical  subject  of  Christian  Prudence,  in  a 


PAINTERS  AND  ENGRAVERS. 


female  figure,  richly  clothed ;  small  circular,  highly 
finished. 

The  Blind  leading  the  Blind  ;  circular. 

The  Chariot  of  War  ;  an  immense  composition ;  Renri- 
cus  Goltzins  fecit ;  very  scarce. 

The  Boy  and  Dog.  The  boy  is  supposed  to  be  the  por- 
trait of  the  son  of  Theodoor  Frisius,  a  painter  of 
Venice,  to  whom  Goltzius  dedicated  the  print.  It  is 
considered  one  of  his  finest  plates. 

Corydon  and  Sylvia  ;  a  pastoral. 

A  Mountainous  Landscape,  with  the  story  of  Daedalus 
and  Icarus  ;  an  etching. 

■WOODCUTS   AFTER   HIS   OWN    DESIGNS. 

A  Landscape,  with  a  Cottage,  and  a  Woman  drawing 

Water  from  a  Well. 
A  Landscape  on  the  sea-coast,  with  a  large  Eock,  and  a 

Hermit  kneeling. 
A  pastoral  Landscape,  with  a  Shepherd  and  Shepherdess. 
A  Warrior,  with  a  Helmet  and  a  Spear ;  half-length. 
Hercules  slaying  Cacus. 
A  set  of  seven  plates  of  the  Heathen  Divinities ;  fine. 

SUBJECTS   AFTER  VARIOUS   ITALIAN  MASTERS. 

St.  Joachim  ;  after  Eaphael. 

The  Triumph  of  Galatea ;  after  the  same. 

Eight  plates  of  the  Heathen  Divinities  ;  in  niches;  after 

the   paintings    by   Folidoro   da    Caravaggio,  in   the 

Quirinal. 
Two  Sibyls  ;  after  the  same. 
The  Last  Supper  ;  after  Paolo  Veronese.     1585. 
The   Marriage  at   Cana ;    after   G.   Salviati ;    in   two 

sheets. 
St.  Jerome  in  the  Desert,  in  meditation ;  after  Palma ; 

fine. 

SUBJECTS     AFTER    VAEIOUS     FLEMISH     AND    GERMAN 
MASTERS. 

The  Fall  of  Adam  and  Eve ;  after  B.  Spranger.     1585. 
The   dead   Christ   supported   by  an  Angel  ;  after  the 

same. 
The  Banquet  of  the  Gods  on  the  Marriage  of  Cupid  and 

Psyche  ;  in  three  sheets ;  after  the  same. 
The  Venetian  Ball;  after  Theodore  Bernard;  in  two 

sheets. 
The  Dragon  devouring  the  Companions  of  Cadmus  ; 

after  Conielis  van  Haarlem.     1538. 
The  dead  Christ,  with  the   Four   Evangelists  at  the 

Tomb  ;  after  A.  van  Blocklandt. 

GOLTZIUS,  HuBRECHT,  (or  Goltz,)  an  eminent 
artist  and  learned  antiquary,  bom  at  Venloo  in 
1526,  was  the  son  of  an  obscure  painter  of  Wurz- 
burg,  named  Rudiger,  who  taught  him  the  rudi- 
ments of  design,  and  placed  him  under  the  tuition 
of  Lambert  Lombard  of  Li^ge.  He  assumed  his 
mother's  name  of  Goltz,  which  he  Latinized  into 
Goltzius.  Lambert  Lombard  had,  during  a  long 
residence  in  Italy,  made  drawings  from  the  most 
celebrated  remains  of  antiquity  :  these  were  given 
to  Goltzius  to  copy,  and  they  inspired  him  with  a 
wish  to  visit  Italy  himself.  He  therefore  went  to 
Rome,  and  resided  there  several  years.  On  his 
return  he  settled  at  Bruges,  where  he  published 
several  antiquarian  works  embellished  with  prints, 
in  which  he  was  assisted  by  Josse  Gietleugen  of 
Courtrai,  who  executed  the  woodcuts.  Little  is 
known  of  his  works  as  a  painter,  but  Van  Mander 
commends  a  set  of  pictures  by  him,  representing 
the  history  of  the  Golden  Fleece,  painted  for  the 
House  of  Austria.  All  he  did  must  have  been 
executed  before  1557.  In  1563  he  published  at 
Bruges  his  work  entitled  '  C.  Julius  Csesar,'  with 
forty-six  copper-plates  of  ancient  coins,  &c.  In 
1566  he  issued  at  Bruges  another  work  entitled 
'  Fasti  Magistratuum  et  Triumphorum  Romanorum,' 
with  two  hundred  and  thirty-four  plates  and  wood- 
S  2 


cuts.  His  collected  works  appeared  at  Antwerp 
in  1644-45,  in  five  volumes,  as  'Romanic  et  Grsecse 
Antiquitatis  Monumenta  ex  priscis  numismatibuB 
eruta.'     Goltzius  died  at  Bruges  in  1583. 

GOLTZIUS,  Jakob,  an  engraver,  who  was  work- 
ing at  tlie  clo.se  of  the  16th  century,  was  probably 
a  relative  of  Hendrik  Goltzius.  Two  plates,  en- 
graved after  the  latter,  are  known  of  his  work : 
•  Pallas  in  the  midst  of  a  number  of  Warriors,'  and 
'  A  young  Man  endeavouring  to  bribe  an  old 
Woman  into  Love.' 

GOLTZIUS,  Julius,  a  son  of  Hendrik  Goltzius, 
flourished  about  the  year  1580.  The  following 
engravings  are  by  him  : 

The  Good  and  Bad  Shepherd;   a  set  of  middle-sized 

plates  ;  after  Marten  De  Vos. 
Christ  appearing  to  the  Magdalen  ;  after  F.  Zucchero. 
Part  of  the  plates  for  Boissard's  '  Habitus  Variorum 

Orbis  Gentium.'     1581. 
The  Virgin  suckling  her  Child  ;  after  31.  De  Vos. 
The  Good  Samaritan  ;  after  H.  Bol. 
The  Evangelist  Matthew ;  after  A.  van  Blocklandt  (one 

of  a  series  of  four). 

GOMEZ,  Francisco,  was  the  son  and  pupil  of 
Martin  Gomez.  He  executed  six  pictures  for  the 
Carmelite  Friars  in  Granada,  but  in  1750  he  went 
to  America,  and  died  in  Mexico  about  1755. 

GOMEZ,  Jacinto,  born  at  San  Ildefonso  in  1746, 
was  a  pupil  of  Francisco  Bayeu.  He  was  appointed 
chamber  painter  to  Charles  IV.,  and  died  in 
1812.  In  the  Madrid  Gallery  is  a  picture  by 
him  of  '  The  AngeUc  Hierarchy  adoring  the  Holy 
Spirit.' 

GOMEZ,  Juan,  was  a  Spanish  historical  painter 
in  the  service  of  Philip  II.  in  1593.  He  painted 
the  large  picture  of  'The  Martyrdom  of  St.  Ursula 
and  her  Companions,'  which  was  designed  and 
traced  by  Peliegrino  Tibaldi  to  supply  the  place 
of  the  same  subject  by  Luca  Cambiaso,  which  had 
been  removed  to  the  old  church  of  the  Escorial. 
He  painted  also  several  subjects  from  the  Life  of 
St.  Jerome.  He  restored  the  '  Annunciation,'  and 
the  '  St.  Jerome  penitent,'  by  Federigo  Zucchero, 
which  Philip  had  rejected,  and  ordered  to  be  re- 
touched.    He  died  in  1597. 

GOMEZ,  Juan  de  Alfaro  y.    See  Alfaro. 

GOMEZ,  Luciano  Salvador.  See  Salvador 
Gomez. 

GOMEZ,  Martin,  a  Spanish  painter,  was  a 
brother  of  Sebastian  Gomez,  and  flourished  in  the 
latter  part  of  the  16th  century.  He  lived  at 
Cuenca,  for  the  cathedral  of  which  city  he  painted 
several  pictures. 

GOMEZ,  Sebastian,  called  El  Mulato  de 
MuRlLLO,  bom  in  1646,  was  a  mulatto  servant 
of  the  celebrated  Murillo.  From  witnessing  the 
exercise  of  his  master's  talents  he  conceived  a 
liking  for  art,  and  passed  his  leisure  time  in 
efforts  to  follow  it,  which  were  successful.  After 
the  death  of  Murillo,  in  1685,  he  painted  some 
pictures  for  the  churches  and  convents  at  Seville. 
In  the  portico  of  the  convent  of  the  Mercenaries 
Uescalzos,  there  is  a  painting  hy  him  of  'The 
Virgin  and  Infant  Christ';  and  at  the  Capuchins, 
'Christ  bound  to  the  Pillar.'  There  are  several 
otlier  works  by  him  at  Seville,  where  he  died  in 
1682.  In  the  Hermitage  at  St.  Petersburg  is  a 
picture  of  '  St.  Francis.' 

GOMEZ,  Sebastian,  a  painter  of  Granada,  who 
flourished  about  the  middle  of  the  16th  century,  was 
instructed  in  the  school  of  Alonso  Cano,  but  by  no 
means  approached  him  in  his  workmanship.     A 

259 


A  BIOGRAPHICAL  DICTIONARY  OP 


picture  by  liim  of  '  The  Virgin  with  Angels  and 
St.  Dominick '  is  at  the  monastery  of  San  Pablo 
at  Seville,  and  one  of  '  St.  Rosa  of  Viterbo  preach- 
ing '  is  in  the  Franciscan  convent  at  Ecija. 

GOMEZ,  Vicente  Salvador.  See  Salvador 
Gomez. 

GONDOLACH,  MATTHins,  (or  Gundelach,)  a 
portrait  and  historical  painter  of  Hesse-Cassel,  was 
for  some  considerable  time  in  the  service  of  the 
Emperor  Rudolph  II.  at  Prague,  and  died  at 
Augsburg  in  1653.  The  Vienna  Gallery  contains 
a  'Madonna  and  Child  with  Saints,'  dated  1614. 

GONSALVEZ,  Ndno,  who  was  court  painter  to 
King  Alfonso  of  Portugal  (1438—1481),  painted  the 
altar  of  St.  Vincent  in  the  Cathedral  of  Lisbon, 
and  '  Christ  at  the  Pillar '  in  the  convent  of  the 
Trinity  in  the  same  city.  He  apparently  studied 
in  Italy,  as  he  was  a  good  imitator  of  the  great 
masters  of  that  country. 

GONZAGA, ,  (or  GoNSAGO,)  a  scene-painter, 

who  also  executed  landscapes  and  perspective 
pictures,  worked  for  theatres  in  Italy,  and  from 
1794  to  1804  in  St.  Petersburg.  He  is  known  to 
have  been  living  in  1827. 

GONZALEZ,  BARTOLOMi,  was  born  at  Valladolid 
in  1564,  but  he  visited  Madrid  when  young,  and  be- 
came a  pupil  of  Patricio  Caxes.  He  was  employed 
by  Philip  III.  to  paint  the  portraits  of  different 
branches  of  the  Austrian  royal  family,  for  the 
palace  of  Pardo,  and  on  the  death  of  Castello  he  was 
made  painter  to  the  king.  There  are  many  of  his 
•  works  in  the  Escorial,  at  Valladolid,  and  at  Burgos. 
Of  his  historical  works,  the  principal  are  the 
angels  in  the  church  of  the  Auguetines  at  Madrid  ; 
and  an  allegory  of  the  Arts,  in  the  royal  collec- 
tion. In  the  Madrid  Gallery  are  portraits  of  Queen 
Margaret  of  Austria,  wife  of  Philip  III.,  and  the 
Infanta  Clara  Isabella  Eugenia,  daughter  of  Philip 
II.     He  died  at  Madrid  in  1627. 

GONZALEZ,  Cristobal,  a  Spanish  painter,  lived 
at  Madrid  about  1590,  and  executed  several  pictures 
for  the  convent  of  the  Barefooted  Carmelites. 

GONZALEZ,  Ferran,  was  a  painter  and  sculptor 
of  Toledo,  who  died  in  1399. 

GONZALEZ,  Francisco  Miguel,  was  an  engraver, 
and  one  of  the  founders  of  the  school  of  design  at 
Seville  about  the  year  1660. 

GONZALEZ,  Juan  Giacohinetti.  See  Giacchi- 
NETTi  Gonzalez. 
GONZALEZ,  Pedro  Eniz.  See  Ruiz  Gonzalez. 
GONZALEZ  BECERRIL,  Juan,  a  Spanish 
painter,  who  lived  at  Toledo  in  the  15th  century, 
was  the  pupil  of  Pedro  Berraguette,  whose  daughter 
he  married.  He  assisted  his  father-in-law  in  decorat- 
ing the  cloisters  of  Toledo  cathedral  in  1498. 

GONZALEZ  DE  CEDILLO,  Antonio,  a  Spanish 
painter,  born  at  Toledo  about  1635,  studied  at 
Madrid  under  Rizi.  He  then  went  to  Rome,  where 
he  occupied  his  time  in  copying  the  best  masters, 
and  on  his  return  to  Spain  painted  several  pictures 
rich  in  colouring  and  pure  in  design.  He  died 
about  1680. 

GONZALEZ  DE  la  VEGA,  Diego,  web  born  at 
Madrid  in  1622,  and  was  a  scholar  of  Francisco 
Rizi,  whose  style  he  followed.  After  marrying 
early  and  soon  becoming  a  widower,  he  entered  the 
convent  of  the  Fatljers  of  the  Saviour.  There 
are  many  of  his  works  in  the  public  edifices 
at  Madrid,  and  some  of  his  easel  pictures  in  the 
private  collections.  In  the  cloister  of  the  Francis- 
cans are  several  pictures  by  him  of  the  Life  and 
Passion  of  our  Saviour ;  and  in  the  convent  of  the 
260 


Religiosas  Mercenarias,  are  some  subjects  from  the 
Life  of  the  Virgin.     He  died  at  Madrid  in  1697. 

GONZALEZ  RDIZ,  Antonio,  a  Spanish  painter, 
was  instructed  first  under  Hovasse  at  Madrid,  and 
afterwards  successively  in  Paris,  Rome,  and  other 
Italian  towns.  In  1752  he  was  made  director  of 
the  Academy  of  San  Fernando,  and  m  1757  court 
painter.  He  died  in  1785.  He  was  a  member  of 
the  Academies  of  Valencia  and  St.  Petersburg. 
His  pictures  are  to  be  seen  in  Madrid  and  Sala- 
manca. 

GONZALEZ  VELAZQUEZ,  Alexandro,  was  the 
second  of  three  brothers,  all  painters,  the  sons  of 
Pablo  Velazquez  Gonzalez,  a  native  of  Andujar, 
who  practised  carving  at  Madrid.  He  was  born  at 
Madrid  in  1719,  and  assisted  his  brother^  Luis  in 
the  coronation  decorations  in  1746,  and  in  many 
subsequent  works.  He  painted  some  frescoes  in 
the  Bemardine  and  other  nunneries  at  Madrid,  and 
in  conjunction  with  one  Guillermo  I'Anglois  (pro- 
bably a  Frenchman),  he  painted  a  ceiling  in  the 
palace  from  the  designs  of  Mengs.  He  was  also 
an  architect.  He  had  just  completed  some  scenery 
for  the  theatre  in  the  Calle  del  Principe,  when  he 
died  at  Madrid  in  1772. 

GONZALEZ  VELAZQUEZ,  Antonio,  the  young- 
est of  the  three  sons  of  Pablo  Velazquez  Gonzalez, 
and  the  most  famous,  was  horn  at  Madrid  in  1729. 
He  was  sent  with  a  pension  from  the  crown  to 
study  at  Rome,  where  he  became  the  pupil  of 
Giaquinto  Corrado,  and  acquired  some  reputation 
by  a  fresco  which  he  painted  in  the  church  of 
the  Trinitarian  friars  of  Castile,  and  a  picture  of 
the  'Anointing  of  King  David,'  which  he  sent  to 
the  new  Royal  Academy  at  Madrid.  In  1753  he 
returned  to  Spain  to  adorn  with  frescoes  the  chapel 
of  Our  Lady  of  the  Pillar  in  the  cathedral  of 
Zaragoza.  From  there  he  went  to  Madrid,  and 
assisted  his  brothers  in  painting  the  domes  of 
the  church  of  the  Incarnation  and  of  the  Royal 
Salesian  Nunnery.  He  likewise  executed  a  picture 
of  the  'Assumption'  for  the  cathedral  at  Cuenca. 
In  1754  he  was  made  deputy  -  director  in  the 
Academy,  and  in  1765  full  director,  and  in  1757  he 
was  appointed  court-painter.  In  the  New  Palace 
he  executed  an  allegorical  fresco  on  the  ceiling  of 
the  Queen's  ante-chamber,  and  in  another  saloon  a 
fresco  of  '  Ferdinand  and  Isabella  receiving  the 
New  Worid  from  the  hands  of  Columbus.'  He 
executed  many  other  paintings  in  oil  and  fresco  in 
various  churches  and  convents,  and  as  court-painter 
executed  several  portraits,  including  that  of  Charles 
III.  He  died  at  Madrid  in  1793,  leaving  three  sons, 
of  whom  the  eldest  and  youngest  were  painters, 
and  the  second  an  architect. 

GONZALEZ  VELAZQUEZ,  Luis,  the  eldest  of 
the  three  sons  of  Pablo  Velazquez  Gonzalez,  was 
bom  at  Madrid  in  1715.  He  was  one  of  the  eariiest 
students  in  the  School  of  Art,  established  in  1744, 
and  in  1746  he  furnished  the  decorations  for 
the  streets  and  the  theatre  of  Buenretiro  at  the 
coronation  of  Ferdinand  VI.,  who  appointed  him 
his  painter  in  ordinary.  He  was  a  member  and 
director  of  the  Academy  of  San  Fernando,  and  died 
at  Madrid  in  1764.  The  frescoes  on  the  dome  of 
the  church  of  San  Marcos  were  esteemed  his  best 
work,  but  are  pronounced  to  be  very  feeble. 

GONZALEZ  Y  TAVE,  Federico,  was  born  at 
Cadiz  in  1823,  and  showed  so  much  talent  when 
young  that  the  municipality  paid  his  expenses  to 
Madrid  and  Paris.  Upon  his  return  he  became  a 
successful  painter  of  portraits,  made  many  copies 


PAINTERS   AND  ENGRAVERS. 


of  the  works  of  Van  Dyck,  Velazquez,  and  Murillo, 
and  obtained  great  praise  for  his  picture  of  '  Pedro 
I.  consulting  his  Horoscope,'  now  in  the  Cadiz 
Museum.     He  died  at  Cadiz  in  1867. 

GOOCH,  T.,  was  an  English  animal  painter,  who 
exhibited  pictures  of  horses  and  dogs  at  the  Royal 
Academy  from  1777  to  1802,  when  he  retired  to 
Lyndhurst  in  Hampshire. 

GOOD,  Thomas  Sword,  an  English  genre  painter, 
born  at  Berwick  in  1789,  was  brought  up  as  a 
house-painter,  but  subsequently  devoted  himself  to 
art,  and  produced  works  in  the  style  of  Wilkie. 
He  came  to  London,  and  exhibited  at  the  Royal 
Academy  from  1820  to  1833,  when  having  inherited 
some  property  he  retired  to  Berwick,  where  he  died 
in  1872.     Amongst  his  works  are : 

A  Scotch  Shepherd.    1820. 

Practice.     1823. 

Music. 

Fishermen. 

The  Industrious  Mother. 

Idlers.     1829. 

The  Truant.     1830. 

Medicine.     1831. 

The  Newspaper.  '\ 

No  News.  K(Xational  Gallery,  London.) 

Fisherman  with  a  Gun.  (^  ^j  / 

Study  of  a  Boy.  ) 

GOOD  ALL,  Edward,  a  line-engraver,  was  born 
at  Leeds  in  1795.  Entirely  self-taught,  he  at  an 
early  age  practised  both  engraving  and  painting, 
but  having  attracted  the  attention  of  Turner,  he 
received  from  that  master  a  commission  to  engrave 
from  his  pictures  as  many  plates  as  he  would 
undertake,  and  by  these  engravings  Edward  Goodall 
is  chiefly  known.  Among  the  best  may  be  men- 
tioned those  after  the  great  landscape  painter's 
'  Tivoli,'  'Cologne,' '  Caligula's  Bridge,' '  Old  London 
Bridge,'  and  '  Richmond  Hill,'  and  others  in  the 
'  England  and  Wales  '  and  '  Southern  Coast '  series, 
besides  some  of  the  exquisite  little  vignettes 
illustrating  Rogers's  '  Italy '  and  '  Poems.'  He 
also  engraved  many  plates  for  the  '  Art  Journal,' 
and  several  after  the  works  of  his  son,  Frederick 
Goodall,  R.  A.  He  died  in  London  in  1870,  leaving 
behind  a  family  of  artists,  three  of  his  song  being 
well-known  painters,  and  one  of  his  daughters 
having  exhibited  several  pictures  at  the  Royal 
Academy.  Besides  his  plates  after  Turner,  the 
following  are  his  most  important  works : 

Raising  the  Maypole  ;   after  Frederick  Goodall. 

The  Swing  ;  after  the  same. 

The  Angel's  Whisper  ;  after  the  sama. 

The  Soldier's  Dream  ;  after  the  same. 

The  Piper  ;  after  the  same.     {Art  Union  of  London.) 

A  Summer  HoUday  ;  after  the  same. 

Cranmer  at  the  Traitor's  Gate  ;    after  the  same. 

The  Happy  Days  of  Charles  the  First ;  after  the  same. 

The  Castle  of  Ischia ;  after  Stanfeld.     {Art   Union  of 

London.) 
The  Bridge  of  Toledo  ;  after  David  Roberts. 
Amalfi  ;  after  G.  E.  Herring. 
The  Chalk  Waggoner ;  after  Rosa  Bonheur. 
Evening;  a  composition;  after  Cuyp.     {Pye^s  National 

Gallery.) 
An  Italian  Sea-Port;  after  Claude  Lorrain.    {The  same.) 
The  Marriage  Festival  of  Isaac  and  Eebecca ;  after  the 

same.     {The  same.) 
The  Market  Cart ;  after  Gainslorough.    {The  same.) 
The  Ferry  ;  after  F.  R.  Lee.    {Finden's  Royal  Gallery  of 

Bi-itish  Art.) 

GOODALL,  Frederick  Trevelyan,  the  eldest 
son  of  Frederick  Goodall,  R.A.,  born  in  1848,  was 
a  student  of  the  Royal  Academy,  where  he  gained, 
in  1870,  the  gold  medal  for  his  painting  of  '  The 


Return  of  Ulysses.'  He  soon  after  went  to  Italy, 
but  unhappily  lost  his  life  by  an  accident  at  Capri 
in  1871. 

GOODALL,  Howard,  the  second  son  of  Frederick 
Goodall,  R.A.,  was  born  in  1849.  He  exhibited  at 
the  Royal  Academy  in  1870,  '  Nydia  in  the  House 
of  Glaucus,'  and  in  1873,  '  Capri  Girls  winnowing.' 
This  promising  young  artist  died  at  Cairo  in  1874. 

GOODALL,  Walter,  youngest  son  of  Edward 
Goodall,  the  engraver,  and  brother  of  Frederick 
Goodall,  R.A.,  and  Edward  A.  Goodall,  R.S.W., 
was  born  in  1830.  He  studied  at  the  Government 
School  of  Design  and  the  Royal  Academy,  and 
restricted  himself  to  water-colour  painting.  In 
1853  he  was  elected  an  Associate  of  the  Royal 
Society  of  Painters  in  Water-Colours,  and  in  1861 
became  a  full  member  of  the  Societj-,  in  which  he 
took  an  active  interest,  and  in  whose  Gallery  he 
almost  exclusively  exhibited.  In  1875,  after  an 
attack  of  paralysis,  his  health  gave  way,  and  he 
painted  but  little  afterwards,  retiring  in  1887  from 
the  Society,  and  dying  in  1889  at  Clapham,  near 
Bedford.  His  subjects  were  chosen  for  the  most 
part  from  rural  life,  and  he  treated  them  in  a  refined 
and  somewhat  idealized  way  ;  delicacy  rather 
than  vigour  being  the  characteristic  of  his  figure- 
drawing.  He  drew  many  of  the  pictures  in  the 
Vernon  Gallery  for  engraving  for  the  ♦  Art 
Journal.' 

GOODRICKE,  Matthew,  (or  Gothericke,)  is 
mentioned  as  a  painter  in  the  reign  of  Charles  I. 
of  England. 

GOODWIN,  Edward,  a  landscape  painter  in 
water-colours,  exhibited  at  the  Royal  Academy  from 
1802  to  1808.  In  1806,  he  was  an  unsuccessful 
candidate  for  admission  to  the  Water-Colour  Society, 
but  exhibited  at  its  open  exhibitions  from  1814  to 
1816. 

GOODYEAR,  Joseph,  a  line-engraver,  was  bom 
at  Birmingham  in  1799.  He  came  to  London,  and 
studied  under  Charles  Heath,  and  was  subsequently 
employed  on  Finden's  '  Royal  Gallery  of  British 
Art,'  for  which  he  engraved  the  '  Greek  Fugitives,' 
after  Eastlake.  He  also  executed  several  plates 
for  the  '  Keepsake.'     He  died  in  London  in  1839. 

GOOL,  Jan  van,  a  Dutch  painter  and  writer  on 
art,  born  at  the  Hague  in  168.5,  studied  under 
Terwesten  and  Simon  van  der  Does.  His  cattle 
pieces  are  praiseworthy,  but  not  to  be  considered 
as  masterpieces.  He  is  better  known  by  his  '  Lives 
of  the  Artists  of  the  Netherlands,'  published  in  1718, 
in  continuation  of  the  work  of  Houbraken.  He 
died  at  the  Hague  in  1763.  In  the  Rotterdam 
Museum  is  a  picture  of  a  'Girl  milking  a  Cow.' 

GOOVAERTS,  Hendrik,  a  Flemish  painter,  was 
born  at  Mechlin  in  1669,  but  on  his  father's  death 
he  went  to  reside  in  Antwerp,  where  he  com- 
menced his  artistic  studies.  In  his  twentieth  year 
he  travelled  through  Germany,  exercising  his  art 
in  Frankfort  and  other  cities.  He  then  went  to 
Prague  and  Vienna,  at  each  of  which  cities  he 
resided  about  three  years,  and  then  travelled 
through  Hungary  and  Slavonia.  After  an  absence 
of  nearly  ten  years  he  returned  to  Antwerp  in  1699, 
when  he  was  made  free  of  the  Corporation  of  St. 
Luke.  He  died  at  Antwerp  in  1720.  In  the 
Antwerp  Gallery  is  a  picture  of  the  '  Junior  Archers' 
Guild  inaugurating  the  portrait  of  their  chief,  Jean 
Charles  de  Cordes,'  dated  1713. 

GORDON,  Sir  John  Watson,  a  Scotch  portrait 
painter,  the  eldest  son  of  Captain  James  Watson, 
R  N  ,  was  born  at  Edinburgh  in  1790.     He  was 

261 


A   BIOGRAPHICAL   DICTIONARY   OF 


.  (National  Gallery 
of  Scotland.  1 


originally  intended  for  the  army,  but  having  studied 
in  the  Trustees'  Academy,  he  preferred  an  artistic 
career,  and  at  first  turned  his  attention  to  historical 
painting.  It  was  not  long,  however,  before  the 
exigencies  of  life  compelled  him  to  devote  himself 
to  portraiture,  and  on  the  death  of  Raeburn  in 
1823,  he  became  the  chief  portrait  painter  in  Scot- 
land, when  he  assumed  the  name  of  Gordon.  He 
had  a  considerable  share  in  the  foundation  of  the 
Royal  Scottish  Academy,  of  which  he  was  one  of 
the  earliest  members,  and  he  became  its  president 
in  1850,  at  the  same  time  being  knighted  and 
appointed  Queen's  '  Limner.'  His  works  were  also 
exhibited  in  London,  where  he  was  elected  an 
Associate  of  the  Royal  Academy  in  1841,  and  an 
Academician  in  1850.  He  died  at  Edinburgh  in 
1864.     Amongst  his  portraits  are  the  following: 

Earl  of  HopetOUn.      )     ,       .        ,    rr    77     r^j-    r  7 

Earl  of  Dalhousie.     )  ^'•'•*«"  ^"1^'  Ediriburgh. 

Principal  Lee.    {Edinburgh  University.) 

Sir  James  Hall.    (Royal  Society,  Edinburgh.) 

Lord  Murray. 

Lord  Cockburn. 

Sir  "William  Gibson  Craig,  Bart. 

Sir  John  George  Shaw  Lefevre. 

Sir  William  Johnston,  Lord  Provost 
of  Edinburgh. 

Lord  Eutherfurd. 

Sir  Walter  Scott,  Bart,  (unfinished). 

A  Grandfather's  Lesson. 

Roderick  Gray,  Provost  of  Peter- 
head. 

Fancy  Portrait  of  a  Lady  in  White 
Satin. 

Professor  Ferrier.    (United  College,  St.  Andrews.) 

Sir  David  Brewster.     (National  Gallery.) 

David  Cox.     (Birmingham  and  Midland  Institute.) 

Thomas  De  Quincey.     (National  Portrait  Gallery.) 

GORDOT,  Claude  Marie,  wag  a  French  painter 
of  the  18th  century,  by  whom  there  is  in  the 
Musee  Calvet,  at  Avignon,  a  picture  of  the  Pope's 
Palace  at  Avignon,  dated  1774. 

GORE,  Charles,  an  English  marine  draughts- 
man, flourished  about  the  end  of  the  18th  century. 
There  are  several  of  his  drawings  in  the  Cracherode 
Collection  in  the  British  Museum. 

GOKGASUS,  an  ancient  Greek  modeller  and 
painter,  was  engaged  along  with  Damophilus, 
about  B.C.  490,  in  adorning  the  Temple  of  Ceres  at 
the  Circus  Maximus  in  Rome  in  both  branches  of 
his  art.  It  is  stated  that  he  worked  upon  the 
left  and  Damophilus  upon  the  right  side  of  the 
edifice. 

GORI,  Angiolo,  a  Florentine  painter  of  the  17th 
century,  painted  genre  subjects,  and  fruit  and 
flower  pictures.  He  was  a  pupil  of  Chiavistelli, 
and  in  1658  was  engaged  with  others  in  decorating 
the  corridor  of  the  Pubhc  Gallery  at  Florence. 

GORIZ,  Christian,  was  a  native  of  Vienna,  who 
flourished  in  the  17th  century,  and  painted  Italian 
views. 

GORTZIUS.     See  Geldorp. 

GOSLING,  William,  landscape  and  figure 
painter,  was  born  in  1824.  He  took  to  paintinj; 
somewhat  late  in  hfe,  but  in  1852  he  was  elected 
a  member  of  the  Society  of  British  Artists  ;  he 
exhibited  frequently  with  that  body,  and  with  the 
Royal  Academy.  He  died  at  Wargrave,  Henley- 
on-Thames,  December  6,  1883. 

GOSSART,  Jean,  son  of  Simon,  a  bookbinder, 
was  born  about  1472  at  Maubeuge,  a  small  town  in 
Hainault.  It  is  not  known  where  he  learnt  his  art, 
but  in  1503  he  was  admitted  as  free  master  into 
the  Guild  of  St.  Luke  at  Antwerp,  his  name  in  the 

262 


register  being  entered  as  Jennyn  van  Henegouwe 
(John  of  Hainault).  He  signed  his  early  pictures 
Jennyn  Gossart,  but  later  on  he  adopted  the  Latin 
form  Joannes  Malbodius  (John  of  Maubeuge).  Once 
in  the  register  of  the  Guild  of  Our  Lady  at  Middel- 
burg  he  is  entered  as  Jan  de  Waele  (John  the 
Walloon).  At  Antwerp  he  fell  under  the  influence 
of  Quentin  Metsys.  In  1608  he  went  to  Rome  with 
his  patron  Philip  of  Burgundy,Admiral  of  Flanders  ; 
starting  from  Mechlin  on  October  26,  1508,  they 
visited  Verona  and  Florence  on  their  way  to  the 
Eternal  City,  where,  after  the  return  of  Philip, 
Gossart  remained  copying  works  of  art  for  him 
until  July  1509,  when  he  set  out  for  the  Nether- 
lands, arriving  at  Middleburg  in  November.  There, 
at  Philip's  castle  of  Zuytburg,  he  and  Jacques  de 
Barbary  were  employed  painting  for  Philip.  In 
1515  he  was  at  Mechlin,  and  again  in  1516,  when  he 
painted  the  portrait  of  Leonora  of  Austria,  sister  of 
Charles  V.  When  Philip  became  Bishop  of  Utrecht, 
Gossart  was  employed  in  painting  for  him  at  his 
palace  of  Duerstede.  After  Philip's  death  on  April?, 
1 524,he  entered  the  service  of  Adolphus  of  Burgundy, 
Marquis  of  Veere,  at  Ter  Veere  ;  there  he  was  in 
close  relations  with  Christian  II.,  who  had  been 
driven  out  of  Denmark,  as  also  with  Lambert 
Lombard  of  Li^ge,  and  Luke  of  Leyden,  with  the 
latter  of  whom  he  travelled  through  the  Low 
Countries.  In  1526  lie  designed  the  tomb  of 
Isabella  of  Austria,  Christian's  Queen,  in  the  abbey 
church  of  St.  Peter  at  Ghent.  Gossart  died  in 
August  1533,  and  his  widow,  Margaret  De  Mole- 
naere,  in  1536 ;  their  son,  Peter,  was  still  a  minor 
in  1537. 

Gossart  varied  his  style  at  difl'erent  periods  of 
his  life.  The  best  specimen  of  his  earlier  purely 
Netherlandish  manner  is  the  '  Adoration  of  the 
Magi '  in  the  possession  of  Lord  Carlisle,  at  Naworth, 
a  work  remarkable  for  its  warm  and  brilliant  colour- 
ing, and  for  the  elaborate  finish  of  every  detail  of 
the  costumes,  but  lacking  depth  of  feeling.  The 
'  St.  Luke  painting  the  Blessed  Virgin  and  Child,' 
formerly  in  the  cathedral  of  Mechlin,  now  in  that  of 
Prague,  is  a  fine  specimen  of  his  composite  style  of 
Italianized  Netherlandish  art.  One  of  his  most 
celebrated  pictures  was  a  large  triptych  repre- 
senting the  '  Descent  from  the  Cross '  painted  for 
Maximilian  of  Burgundy,  Abbot  of  the  Premonstra- 
tensian  monastery  of  Our  Lady  and  St.  Nicholas 
at  Middelburg,  which  Durer  saw  and  admired  in 
December  1520,  the  composition  of  which,  he  says, 
was  not  as  good  as  the  execution  ;  it  perished  in 
the  flames  when  the  church  was  burnt  on  January 
24,1568.  Gossart's  portraits  are  remarkable.  Other 
paintings : 

Amsterdam.         Museum.    Portrait  of  a  Knight  of  the 
Order  of  the  Golden  Fleece. 
(A  replica  in  the  possession 
of  Percy  Macqnoid,  Esq.) 
Berlin.  Gallery.     Adam  and  Eve  in  Paradise. 

„  „  Neptune     and      Amphitrite. 

1516. 

„  „  The  Blessed  Virgin  and  Child 

with  cherries;  under  infu' 
ence  of  Andrea  Solaria. 
(A  replica  at  Oldenburg.) 

„  ,,  The  Blessed  Virgin   offering 

grapes  to  the  Child. 

„  ,,  A   maiden    weighing  a    gold 

piece. 
Dresden.  Gallery.     Adoration  of  the    Magi ;  SS. 

Dominic  and  Luke.  (For- 
merly in  the  church  of  St^ 
Luke  outside  Genoa). 


PAINTERS  AND  ENGRAVERS. 


Hampton  Court.  Palace. 

London.  National  Gallery. 

»i  >» 

Madrid.     Praia  Gallery, 


Munich. 


Pinakothek. 


The  three  children  of  Chris- 
tian II.,  King  of  Denmark 

(of  which  the  Duke  of  Leeds 
has  a  replica). 
Adam  and  Eve  in  Paradise. 

{A  replica  at  Berlin.) 
Portrait  of  a  man  holding  a 

rosary. 
Portrait  of  a  man  holding  his 

gloves. 
The  Blessed  Virgin  and  Child 
enthroned  ;  presented  to 
PhiHp  11.  in  1888  by  the 
municipality  of  Louvain. 
(A  replica  in  the 'possession 
of  the  Earl  of  Northhrook. ) 
Christ,   the   Blessed   Virgin, 

and  St.  John. 
A    donor    protected   hy    St. 

Michael. 
Danat-  receiving  the  shower  of 

gold.     1527. 
The  Blessed  Virgin  and  Child 

enthroned.     1527. 
The  Blessed  Virgin  and  Child. 
The      Blessed     Virgin     and 

Child,  with  cherries. 
The  Blessed  Virgin  and  Child 

enthroned,  with  Angels. 
The      Blessed      Virgin     and 
Child,    with     portrait     of 
John  Caroudelet,  Dean  of 
Besan^on.    {Diptych.) 
St.  Luke  painting  the  Blessed 

Virgin  and  Child.     1515. 

Hercules  and  Omphale.  1516. 

St.     Donatian  ;    painted     for 

Canon  John  de  Carondelet, 

Chancellor  of  Flanders. 

Hercules    throwing    Anteus ; 

after  Pollaiuolo.     1523. 
St.  Luke  painting  the  Blessed 
Virgin  and  Child. 
if  „  The  Circumcision. 

„  „  TheBlessed  Virgin  and  Child 

enthroned. 

GOSSE,  Nicolas  Louis  Francois,  a  French  his- 
torical and  portrait  painter,  was  born  in  Paris  in 
1787.  He  studied  under  Vincent  in  the  Iilcole  des 
Beaux-Arts,  and  died  at  Soncourt  in  1878.  His 
best  pictures  are : 

The  Adoration  of  the  Magi. 
The  Birth  of  Christ. 
St.  Vincent  of  Paola. 

The  Death  of  St.  Vincent  Ferrer.     (Vannes  Cathedral.) 
Napoleon  receiving  the  Queen  of  Prussia  at  Tilsit. 
The  Meeting  of  Napoleon  and  the  Emperor  Alexander 
at  Erfurt. 

GOSSELIN,  Charles,  French  landscape  painter; 
born  in  Paris,  January  26,  1834.  He  was  a  pupil 
of  Gleyre,  and  subsequently  of  Charles  Busson. 
He  exhibited  his  first  pictures  in  1863,  and  from 
that  date  onward  he  was  a  constant  contributor  to 
the  Salon.  It  was  from  the  Jura,  La  Somme,  and 
L'lle-Adam,  where  he  had  long  resided,  that  he 
■was  able  to  find  subjects  for  his  brush  ;  and  later 
on,  in  1882,  when  appointed  keeper  of  the  Ver- 
sailles Museum,  the  park  furnished  him  with  a 
variety  of  landscapes  which  he  treated  in  a  master- 
ful, if  somewhat  frigid,  fashion.  He  obtained 
medals  in  1865  and  1870 ;  a  medal  of  the  second 
class  in  1874.  He  was  appointed  Chevalier  de  la 
Legion  d'Honneur  in  1878,  receiving  awards  at 
the  Paris  Universal  Exhibition.  He  died  in  Paris, 
November  5,  1892. 

GOSSWYN,  Gerhard,  a  Flemish  flower  and 
fruit  painter,  born  at  Li^ge  in  1616,  was  a  pupil  of 
Gerhard  DoufEet.    Whilst  still  very  young  he  went 


Munster. 
Oldenburg. 

Museum 
Gallery 

Palermo. 

Museum 

Paris. 

Louvre. 

Prague. 

Cathedral. 

Richmond. 
Tournai. 

Sir  F.  Cook. 
Museum. 

Vienna.    Mr.  0.  Miethke. 

9* 

Gallery. 

to  Italy,  and  worked  for  a  lengthened  period  in 
Home  and  Paris,  and  became  the  first  art  instructor 
of  the  Dauphin,  afterwards  Louis  XV.  He  died  at 
Li^ge  in  1691. 
GOTHERICKE,  Matthew.  See  Goodricke. 
GOTTI,  Bartolommeo,  a  Florentine  painter, 
who  flourished  in  the  17th  century,  was  a  pupil  of 
Ghirlandaio.  He  went  to  France  and  worked  for 
Francis  I. 

GOTTI,  ViNCENZO,  a  native  of  Bologna,  was  bom 
about  1580,  and  became  a  scholar  of  Dionysius 
Calvaert  at  the  time  that  Guido  Eeni  studied  under 
that  master.  At  twenty  years  of  age  he  went  to 
Home,  in  company  with  Guido,  and  there  painted 
some  pictures.  He  was  then  invited  to  the  court 
of  Naples,  where  he  passed  the  remainder  of 
his  life.  This  painter  possessed  so  ready  an  in- 
vention, and  such  surprising  facility,  that  Orlandi 
states,  from  a  list  of  his  works,  found  after  his 
death,  that  he  had  painted  no  fewer  than  two 
hundred  and  eighteen  pictures  for  public  positions 
in  the  different  towns  of  the  kingdom  of  Naples. 
He  died  at  Reggio  in  1636. 

GOTTING,  A.VDRKAS,  a  painter  who  flourished 
at  the  close  of  the  16th  and  beginning  of  the  17th 
century,  is  the  author  of  a  picture  in  the  Rotterdam 
Museum,  representing  'Diana  surprised  by  Ac- 
taeon  ; '  signed  and  dated  1607. 

GOTTLANDT,  Peter,  called  also  Peter  von 
RODDELSTET,  Was  a  painter  and  engraver  from  the 
town  of  Roddelstet  (Kudestedt  ?),  who  was  work- 
ing at  Weimar  from  1548  to  1572,  where  he  was 
made  court  painter  in  1553.  He  both  painted  and 
engraved  on  metal  and  on  wood  the  portraits  of  the 
three  Electors  Johann  Friedrich.  Besides  these  and 
other  portraits,  there  are  among  his  engravings  ; 

The  Victory  over  Death  and  Hell.     1552. 

The  Fall  of  Man ;  after  L.  Cranach.     1552. 

The  Prophet  Jonah.     1552. 

Madonna  in  a  Landscape.     1555. 

The  Redemption  ;  after  L.  Cranach.     1556. 

GOTZENBERGER,  Jacob,  an  historical  painter, 
was  born  at  Heidelberg  in  1800,  and  educated  after 
1820  in  Diisseldorf  under  Cornelius,  and  after  1824 
in  Munich.     It  is  stated  that  so  early  as  1823  Cor- 
nelius could  pass  off  as  his  own  a  painting   by 
this  artist.     He  was  employed,  together  with  Her- 
mann and  E.  Forster,  to  decorate  with  frescoes  the 
hall  of  Bonn  University,  and  in  1828  he  visited 
Rome  and  Naples  to  gain  ideas  for  this  work.     He 
returned  in   1832,  and  executed  his  undertaking, 
painting    alone    the    designs    for    Jurisprudence, 
Medicine,  and  Philosophy,  and  that  for  Theology 
in  conjunction  with  his  two  collaborators.     After 
this  he  obtained  the  two  appointments  of   court 
painter  at  Baden  and  inspector  of  the  gallery  at 
Mannheim.     He  visited  Paris  and  London  in  com- 
pany with  Cornelius,  and  on  his  return  executed  a 
new  cycle  of  frescoes  in  the  chapel  at  Nierstein  in 
Rhenish    Hesse,  as  well   as  in  the  drinking  hall 
at  Baden-Baden,   the  latter  of  which,  painted  in 
1844,  represented  legends  from  the  Black  Forest. 
An  offence  led  to  his  dismissal  from  his  offices,  upon 
which  he  proceeded  to  England,  where  he  painted 
both   portraits   and    frescoes,  and   especially   dis- 
tinguished himself  by  his  performances  in  Bridge- 
water  and  Northumberland  Houses.     The   last  of 
these  works  was   accomplished  in   1863-5.      His 
death  occurred  at  Darmstadt  in  1866. 

GOTZLOFP,  Karl  Wilhelm,  a  landscape  painter, 
was  born  at  Dresden  in  1803,  and  became  a  member 

263 


A  BIOGRAPHICAL  DICTIONARY  OF 


of  the  Academy  there  in  1835.  He,  however,  went 
to  Italy  in  1823,  and  remained  there  painting  prin- 
cipally the  scenery  of  the  country.  He  died  at 
Naples  in  1866. 

GOUBAU,  Antoon,  (Gobau,  or  Goebouw,)  who 
was  born  at  Antwerp  in  1616,  is  said  to  have 
studied  under  one  Jande  Farius.  He  was  admitted 
into  the  Guild  of  St.  Luke  in  1636-37.  He  visited 
Italy  in  later  life,  and  was  there  much  impressed  by 
the  works  of  Jan  Asselyn,  whose  style  he  after- 
wards copied.  In  1668,  he  received  as  a  pupil  the 
young  Nicolas  de  Largilliere,  and  afterwards  Petrus 
Cornelis  Hessels.  Goubau  died  at  Antwerp  in  1698. 
His  works,  which  are  rather  scarce,  are  noteworthy 
for  good  drawing  and  colouring,  but  more  especi- 
ally for  excellence  of  composition.  The  Antwerp 
Gallery  possesses  two  good  examples  of  this  master, 
'Artists  studying  from  Ruins  near  Rome,'  signed 
and  dated  1650,  and  a  '  Market-scene  in  the  Piazza 
Navona  in  Rome,'  dated  1680  ;  and  in  the  church  of 
St.  Jacques  is  a  '  Last  Supper.'  In  the  Brunswick 
Museum  is  a  '  Landscape  with  old  ruins  ; '  at  the 
Hague  is  an  '  Italian  Landscape ; '  and  in  the 
Museum  at  Lille  is  an  'Italian  Market-place.' 
Specimens  of  his  early  style,  which  are  camp  scenes, 
are  in  the  galleries  at  Meiningen  and  Prague. 

GOUBAU,  Frans,  born  at  Antwerp  in  1622, 
is  supposed  to  have  studied  under  Gerard  Zegers, 
and  was  free  of  the  Corporation  in  16-19.  He 
painted  for  the  Carmelite  Church  a  picture  of  '  St. 
Agabus  building  the  first  Chapel  to  the  Virgin  ; ' 
and  for  the  church  of  St.  Willebrod,  a  portrait  of 
Pieter  Luycx,  both  of  which  pictures  have  disap- 
peared. In  the  Antwerp  Gallery  is  the  '  Adoration 
of  the  Sacrament,'  dated  1650,  and  in  the  church 
of  St.  Jacques  a  '  Dead  Saviour,'  and  a  portrait  of 
Frans  van  den  Bossche,  Dean  of  St.  Jacques. 
Goubau  died  about  1678. 

GOUDA,  Cornelis  van,  a  Dutch  painter,  was 
born  at  Gouda  in  1510,  and  was  the  best  kno^vn 
scholar  of  Marten  van  Heemskerk.  He  died  in 
1550. 

GOUDT,  Hendrik,  a  distinguished  amateur 
artist  of  a  noble  family  of  Holland,  and  a  Count 
of  the  Palatinate,  was  born  at  Utrecht  in  1585. 
A  passionate  admiration  for  art  led  him  to  an 
early  application  to  drawing,  and  when  he  was 
young  he  went  to  Rome  in  search  of  improvement. 
Arrived  in  that  capital,  he  was  one  of  the  most 
assiduous  students  of  his  time,  and  daily  frequented 
the  Academy  to  draw  from  the  model.  He  con- 
tracted an  intimacy  with  Adam  Elsheimer;  .and 
purchased  some  of  his  most  finished  works,  which 
he  has  engraved  in  a  style  pecuhar  to  himself, 
and  perhaps  better  adapted  to  express  the  polished 
finish  and  the  admirable  effect  of  chiaro-scuro  of 
the  originals,  than  any  other  that  could  have  been 
adopted.  His  plates  are  wrought  entirely  with  the 
graver,  and  their  extraordinary  effect  is  produced 
not  by  the  usual  mode  of  deepening  and  strength- 
ening the  stroke,  but  by  delicately  crossing  and  re- 
crossing  them  several  times  in  the  shadows.  The 
following  are  the  seven  prints  by  him,  after  Adam 
Elsheimer,  as  described  by  Strutt : 

Ceres  drinking  from  a  Pitcher.  An  old  woman  appears 
holding  a  candle  at  the  door  of  a  cottage,  and  a  boy- 
naked  standing  by  her,  is  laughing  and  pointing  at  the 
goddess,  for  which  contempt  he  was  metamorphosed 
into  a  frog.  This  print  was  well  copied  by  HoUar. 
It  is  distinguished  by  the  name  of  '  The  Sorcery.' 

The  Flight  into  Egypt ;  a  night  scene. 

The  Angel  with  Tobit;  who  is  drawing  a  fish  by  his 

side. 
264 


The  Angel  with  Tobit  crossing  a  stream  of  water ;  Tobit 
holds  the  fish  under  his  arm.    HoUar  has  copied  this 
print  with  much  success. 
Baucis  and  Philemon  entertaining  Jupiter  and  Mercury ; 

a  small  plate,  nearly  square. 
Aurora,  representing  the  Dawn  of  Day  ;  a  small  land- 
scape.    The  effect  is  very  beautiful. 
The  Beheading  of  St.  John  the  Baptist  in  Prison;  a 

very  small  oval  print,  very  scarce. 
GOUGE,  — .  This  little-known  portrait  painter 
was  a  pupil  of  Riley,  and  many  of  his  best  portraits 
have  been  ascribed  in  error  to  Kneller,  Lely,  Dahl, 
and  Richiirilson.  He  painted  the  portraits  of  many 
of  the  nobility  of  his  time  in  England,  notable 
among  which  are  the  full-lengths  of  Sir  Roger  and 
Lady  Hudson  at  Shottesbrook,  Berks,  and  the  full- 
length  of  Sir  Robert  Vansittart,  and  the  three- 
quarter-length  of  Sir  John  Stonehouse,  comptroller 
to  the  household  of  Queen  Anne,  which  are  at  North 
Cray  Place,  Kent.  Very  little  is  known  of  the 
history  of  this  talented  artist,  whose  works  are 
sound  in  drawing  and  opulent  in  colour,  albeit  a 
little  dull  in  conception,  and  the  dates  either  of 
his  birth  or  death  are  uncertain. 

GOULD,  Thomas  R.,  an  American  sculptor  who 
deserves  mention  in  these  pages  on  account  of  the 
beauty  of  his  drawings,  and  on  his  wonderful 
ability  to  sketcli  a  portrait  in  pencil  prior  to  the 
execution  of  the  work  in  marble.  He  was  bom 
at  Boston  in  1818,  studied  for  some  time  in  Italy, 
and  settled  down  for  some  ten  years  or  more  in 
Florence,  where  he  executed  many  of  his  most 
notable  works.  In  1878  he  returned  to  Boston, 
and  there  he  died  in  1881.  Many  of  his  busts  may 
be  seen  in  the  chief  libraries  of  the  United  States, 
in  exhibitions  and  in  town  halls  in  that  country, 
but  his  sketches  remain  mostly  in  the  possession 
of  his  descendants.  He  was  a  profound  student 
of  the  imaginative  works  of  Blake,  and  much 
influenced  by  the  mystic  ideas  of  that  great  artist 
and  poet.  His  work  was  very  original,  free  from 
anything  approaching  the  commonplace,  and  al- 
ways distinguislied  by  force,  character,  and  living 
actuality,  combined  with  aquality  of  mystic  imagin- 
ation and  poetic  feeling  very  rare  in  sculpture  or 
pencil-drawing. 
GOULDSMITH,  Harriet.  See  Arnold. 
GOUPIL,  Jules  Adolphe,  born  in  Paris  in  1839, 
was  a  pupil  of  Henri  and  Ary  SchefEer,  and  a 
popular  painter  of  portraits  and  genre.  He  first 
exhibited  at  the  Salon  in  1878.  He  died  in  Paris 
of  consumption,  April  28,  1883. 

GOUPY,  Bernhard,  a  French  miniature  painter, 
was  the  brother  of  Joseph  Goupy,  and  like  him 
he  practised  in  London  about  the  middle  of  the 
18th  century. 

GOUPY,  Joseph,  a  French  painter  and  engraver, 
was  born  at  Nevers  in  the  beginning  of  the  18th 
century.  He  came  to  England  when  he  was  young, 
and  about  1725  was  engaged  together  with  Tille- 
mans  in  painting  scenes  for  the  Italian  Opera. 
He  taught  drawing  to  Frederick,  Prince  of  Wales, 
and  to  Prince  George,  afterwards  King  George  III., 
who  on  his  accession  allowed  him  a  small  pension. 
He  resided  here  the  remainder  of  his  life,  and 
died  in  London  at  an  advanced  age  in  1763. 
He  excelled  in  painting  landscapes  in  water- 
colours,  which  he  treated  with  great  spirit  and 
intelligence.  His  pictures  in  the  style  of  Salvator 
Rosa  have  considerable  merit.  He  etched  several 
plates  in  a  very  spirited  and  masterly  style,  some 
of  which  are  from  his  own  designs.  Among  others, 
the  following  are  by  him : 


F.  JOSE  DE  GOYA  Y  LUCIENTES 


A  LADV 


PAINTERS  AND  ENGRAVERS. 


Mutius  Scjevola  burning  his  hand  before  Porsena ;  from 

his  omn  design. 
Zeuxis  painting  Helen  ;  after  Solimena. 
Diana  hunting  with  her  Nymphs  ;  after  Euhens. 
St.  Philip  baptizing  the  Eunuch  ;  after  Salvator  Rosa. 
St.  John  preaching  in  the  Wilderness ;  after  the  same. 
The  Calling  of  St.  Andrew  to  the  Apostleship,  in   a 

landscape  ;  after  Fietro  da  Cortona. 
A  grand  Landscape,  with  the  story  of  Pyramus  and 

Thisbe  ;  after  N.  Poussin, 
A  View  of  Castel  Gandolfo,  and  of  the  Campagna  near 

Rome ;  after  Bolognese. 
A  set  of  eight  Landscapes  ;  after  Salvator  Kosa. 

GODPy,  Louis,  was  a  miniature  painter  and 
copyist,  who  practised  in  London  early  in  the  18th 
century.  He  was  the  nephew,  and,  probably,  the 
pupil  of  Bernard  Lens. 
GOURAND,  Claude.  See  Gotrand. 
GOURDEL,  PiEKEE,  a  native  of  Paris,  who  lived 
in  the  16th  century,  was  painter  to  Henry  lU. 
He  drew  all  the  birds  in  a  work  by  Pierre  Belon 
entitled  '  Histoire  de  la  Nature  des  Oyseaux,' 
Paris,  1555. 

GOURMONT,  Jean  de,  a  French  painter  ana 
engraver,  was  living  in  1557,  and  is  supposed  to 
have  worked  chiefly  for  the  illustration  of  books. 
There  is  a  picture  in  the  Louvre  assigned  to  this 
artist,  entitled  '  The  Nativity,'  and  there  is  a  portrait 
engraved  by  him  of  Charles,  Duke  of  Bourbon. 

GOUSBLOOM,  C,  (Godsblom,  Goutsbloem,  or 
GouPTSBLOEM,)  was  an  obscure  Dutch  engraver, 
by  whom  there  are  portraits  of  the  naval  heroes 
Jan  van  Galen  and  M.  H.  Tromp,  after  Jan  Lievens, 
and  others. 

GOUT,  JoHANN  Franz,  a  landscape  and  archi- 
tectural painter,  and  an  etcher,  was  born  at  Berlin 
about  the  middle  of  the  1 8th  century.  He  travelled 
through  Germany  and  Switzerland,  and  became 
theatrical  painter  at  Darmstadt ;  he  also  painted 
Swiss  landscapes  in  fresco.  In  1782  he  designed 
sixty  plates  of  Ruins  near  Spires  for  Counsellor 
Merk  at  Darmstadt.  He  died  after  1812. 
GOUWEN,  WiLLEM  VAN  DER.    See  Van  der 

GOUWEN. 

GOVAERTS,  A.,  was  a  landscape  painter  of  the 
17th  century,  who  adopted  the  style  of  Savery,  on 
what  has  been  called  a  mixture  of  those  of  Jan 
Brueghel  and  Paulus  Bril.  Mention  may  be  made 
of  the  following  works  : 

Augsburg.     Gallery.    Landscape  with  Peasant's  Cottage. 
Brunswick.  Gallery.    Landscape  with  the  Four  Elements 

as  Nymphs.     1624. 
Hague.  Museum.     Oak  Forest.     1612. 

Milan.  Hrera.    A  'Wood,  with  Abraham  and  Isaac. 

GOVERT,  — ,  a  painter  of  landscapes  with 
humorous  figures,  is  stated  by  Van  Mander  to  have 
been  a  pupil  of  Gerrit  Pietersz  at  Amsterdam  at 
the  commencement  of  the  17th  century. 

GOVERTZ,  Theodorus,  was  a  portrait  painter  of 
Utrecht,  and  the  master  of  H.  Verschuuring  and 
T.  Camphuysen,  who  lived  about  the  middle  of  the 

17th  century.  .^     ,■  ,  .    ■. 

GOWER,  George,  was  an  Enghsh  portrait 
painter,  who  was  appointed  in  1584  Queen  Eliza- 
beth's sergeant-painter  in  oils  for  life. 

GOWI,  I.  P.,  appears  to  have  been  a  painter  of 
the  Antwerp  school,  who  flourished  in  the  17th 
century,  but. the  dates  of  his  birth  and  death  are 
unknown.  The  Madrid  Gallery  has  two  pictures 
by  him  of  the  story  of  '  Hippomenes  and  Atalanta, 
and  '  The  Battle  of  the  Titans.' 

GOYA  Y  LUCIENTES,  Francisco  _Josi5  de. 
This  peculiar  genius  and  imaginative  painter  was 


bom  at  Fuendetodos  in  Aragon,  March  30th, 
1746.  His  parents  were  humble,  living  on  the 
produce  of  a  small  piece  of  land  surrounding  their 
cottage.  Here  Francisco  lived  to  the  age  of  sixteen 
without  any  knowledge  of  art,  when  his  passion 
for  painting  was  awakened  by  a  monk  of  Santa 
FiS  near  Zaragoza,  after  which  he  got  admitted 
into  the  studio  of  Jose  Luxnn  Martinez,  who  had 
been  educated  in  Italy.  Here  he  distinguished 
himself  not  so  much  in  the  studio  as  in  the  streets, 
in  the  quarrels  of  painters  and  confraternities, 
sometimes  ending  in  bloodshed.  After  one  of 
these  fights  he  saw  the  emissaries  of  the  Inquisi- 
tion approaching,  and  having  some  reason  to  fear 
them,  he  there  and  then  took  to  his  heels  and 
escaped  to  Madrid.  Even  at  that  late  tinae  the 
different  provinces  of  Spain  resembled  distinct 
countries,  so  he  lived  in  safety  till  similar  exploits 
exposed  him  to  new  dangers.  He  was  struck 
down  by  the  blow  of  a  poniard  in  the  back,  and 
had  to  secrete  himself  till  he  recovered,  when  he 
made  his  way  to  Italy.  He  settled  down  in  Rome, 
where  he  met  Louis  David,  with  whom  he  frater- 
nized, exchanging  ideas  not  only  on  art,  but  also 
on  religion  and  politics.  In  1774  he  returned  to 
Spain,  married,  and  began  industriously  to  follow 
his  profession. 

This  sketch  of  Goya's  youth  indicates  the  character 
of  his  painting:  bizarre  and  wild,  with  a  gleam, 
so  to  say,  of  infernal  splendour  in  his  choice  of 
beauty.  In  his  execution,  he  is  the  only  Spaniard 
of  extraordinary  quality  during  the  latter  half  of 
the  18th  century  and  the  beginning  of  the  19th. 
His  works  are  numerous— church  pictures  in  fresco 
and  in  oil ;  incidents  in  life  of  a  highly  fantastic 
kind ;  about  200  portraits  ;  and  mauy  miscellane- 
ous works,  came  from  his  hand.  Etchings  and  en- 
,o-ravings  in  aquatint  also,  now  much  prized,  were 
executed  by  him.  Of  these  '  The  Caprices  '  are  the 
most  surprising,  showing  humanity  in  all  the  stages 
of  brutality  and  ugliness,  with  a  melange  of  beauty 
and  demonology  quite  unexampled.  All  through 
the  occupation  of  Spain  by  the  French,  and  during 
their  expulsion  by  Wellington,  he  lived  quietly 
without  taking  any  part  in  public  affairs  He  had 
been  made  'pintor  de  camera'  by  Charles  IV.  m 
1789,  and  in  1814,  on  the  return  of  Ferdinand 
VII.,  he  published  '  The  Disasters  of  War,'  m  seven- 
teen designs,  as  repulsive  and  fascinating  as  it  is 
possible  to  imagine.  He  also  engraved  thirty-three 
plates  of  scenes  in  the  Bull-ring.  Not  the  least 
valuable  productions  of  his  graver  are  his  etchings 
of  the  five  great  equestrian  portraits,  the  bor- 
rachos,'  'meninas,'  dwarfs,  and  single  figures, 
executed  by  Velazquez.  The  British  Museum  pos- 
sesses an  exceedingly  fine  collection  of  Goyas 
etchings  and  aquatints.  He  died  at  Bordeaux, 
April  16th,  1828.  His  principal  paintings  are : 
Lille  Museum.    Young  Girls. 

"  „  Old  Women. 

"  A  Criminal  garotted. 

Madrid.  Gallery.     Equestrian  Portrait  of  Charles 

Equestrian  Portrait  of  Maria 
"  "  Louisa,  Queen  of  Charles  IV. 

Charles  IV.  and  his  Family. 

Charles  IV. ;  full-length. 
"  "  Queen     Maria    Louisa;     full- 

length. 

A  Mounted  Picador. 
"  "  Episodes  of  the  French  Inva- 

"  sion.     1S03. 

Portrait  of  the  Infanta  Maria 
"  •  „  Josefa. 

265 


A  BIOGRAPHICAL  DICTIONARY  OF 


Madrid.  Gallery.     Portraits  of  the  Infants  Don 

Francisco  and  Don  Antonio. 

„  „  Portrait     of     the    Prince    of 

Parma. 

„  „  Portrait  of  the  Artist's  Wife. 

„  „  His  own  Portrait. 

„  „  Portrait  of  Ferdinand  VII. 

„  „  The  Crucifixion. 

„  „  La  Maja  nude. 

M  „  Portrait    of    Juan    de   Villa- 

Nueva. 
„  „  Portrait  of  La  Tirana. 

„  „  Equestrian  Portrait  of  Ferdi- 

nand VII. 
„  St,  Francisco.    St.  Francis  preaching. 

„  „  Equestrian    Portrait    of     the 

Prince  of  Peace. 
„  „  The  Mad-House. 

„  „  A  Bull  Fight. 

Portrait  of  Bayeu. 
The  Crucifixion. 
Portrait    of    F.   Guillcmardet, 
French  Ambassador  to  Spain 
in  1798. 
A  young  Spanish  "Woman. 
St.  Justina  and  St.  Rufina. 
The  Treason  of  Judas. 
Two  subjects  from  the  Life  of 

St.  Francis  of  Borja. 
Portrait  of  Bayeu. 
Portrait  of  Doria  Jacquina. 


„   Museo  de  Fomento 
Paris.  Zoiifre 


Seville.  Cathedral. 

Toledo.  Cathedral. 

Valencia.         Cathedral. 


Museum. 


Zaragoza. 


Madonna  dd  ) 
Filar.  J 


The  Virgin  in  Glory.   {Fresco.  ] 
W.B.S. 


GOYEN,  Jan  van,  who  was  born  at  Leyden  in 
1596.  studied  under  Jan  Nicolai,  Schilderpoort, 
Jan  be  Man,  Hendrik  Klok,  and  Willem  Gerritsz, 
all  unimportant  masters.  While  still  young,  he 
made  a  journey  through  France,  and  on  his  return 
received  some  final  instruction  from  Esaiiis  van 
de  Velde.  After  a  short  stay  at  Haarlem  he 
settled  at  Leyden,  where  in  1618  he  married 
Annetje  Willems  van  Eaelst.  About  1631  he  went 
to  the  Hague,  and  in  1640  was  elected  a  member 
of  the  Painters'  Guild.  He  died  at  the  Hague 
in  1666.  Van  Goyen  was  one  of  the  earliest  of 
the  Dutch  landscape  painters,  and_  has  etched  a 
few  landscapes.  He  was  father-in-law  to  Jan 
Steen.  The  following  are  some  of  his  principal 
works : 

A  River.     1645. 

View  on  the  Meuse. 

The  Castle  of  Valkenhof,  near 

Nymwegen. 
Landscape.     1641. 
Landscape. 
Landscapes  {seven). 
Hilly  Landscape.    1629. 
Summer. 
Winter.     1621. 
Winter  Landscape.    1650. 
View  of  the  Town  of  Arnheim. 

1646. 
View  of  Nymwegen.     1649. 
Bank  of  a  River. 
A  Village  Scene. 
View  of  Dordrecht. 


Amsterdam. 


Antwerp. 

Augsburg. 

Berlin. 


Museum. 


Callery. 
Gallery. 
Gallery. 


Brunswick. 

Brussels. 
Cambridge. 


Museum. 
Gallery. 
Fitzwilliaiii 
Museum. 


Cassei. 
Copenhagen. 
Darmstadt. 
Dresden. 

266 


Gallery. 
Gallery. 
Gallery. 
Gallery. 


1644. 

•  Two  River  Views. 

View  near  Dort. 

Landscape. 

Sea-piece. 

Winter  Scene. 

Three  Landscapes. 

Dutch  Village  in  a  Flood. 

Sea-piece. 

Landscape.    1633. 

Skating  Scene.    1647. 


Dresden. 

Gallery. 

Frankfort 

Stadel  Inst. 

Gotha. 

Gallery. 

Lille. 

Museum. 

London. 

Grosvenor 

House. 

J) 

Bute  Call. 

„  Kensi 

ngton  Palace. 

Paris. 


Louvre. 


1649. 
1653 


Petersburg.    Hermitage. 


River  Bank.    1643. 
Canal  with  boats. 
Four  Views  in  Holland, 
River  Scene  in  Holland. 

y  View  of  Nymwegen. 

Scene  at  Scheveningen. 

River  Scene. 

Banks  of  a  Dutch  River. 

River  Scene. 

Sea-piece. 

Banks  of  a  Canal. 

The  Meuse  near  Dordrecht. 

The  Meuse. 

Winter  Landscape. 

The  Dunes  near  Scheveningen. 

Three  Landscapes. 

River  Scene. 

Landscape. 


Rotterdam.         Museum. 
Vienna.  Gallery. 

GOYET,  Eugene,  a  French  historical  and  genre 
painter,  was  born  at  Chalon-sur-Saone  in  1798,  and 
died  in  Paris  in  1857.  His  best  pictures  are  'The 
Deatli  of  St.  Paul,'  '  St.  Francisca,'  and  a  portrait 
of  Pope  Pius  IX. 

GOYET,  Jean  Baptiste,  an  historical  and  genre 
painter,  the  father  of  Eugene  Goyet,  was  born  at 
Chalon-sur-Saone  in  1779,  and  died  in  Paris  in 
1854.  He  was  self-instructed.  A  '  Virgin  and  St. 
Anne '  by  him  was  exhibited  at  Paris  in  1855. 

GOYRAND,  Claude,  (or  Gourand,)  a  French 
engraver,  was  born  at  Sens  about  1620,  and  died 
in  1662.  He  resided  some  time  at  Rome,  as 
appears  from  the  inscription  on  one  of  his  plates. 
There  are  by  this  artist  a  variety  of  neat  and 
spirited  etchings  of  landscapes  and  views  after 
Callot,  Delia  Bella,  and  others,  of  which  the 
following  are  the  principal : 

A  set  of  twenty  Landscapes,  &c. ;  after  Callot. 

A  set  of  four  Views ;   the  Castle  of   Bicetre,  the  In- 

valides,  the  Ruins  of  an  old  Tower,  and  the  Fountain 

iu  the  Garden  of  Tivoli. 
Four  Landscapes  ;  after  Delia  Bella. 
Eight  Views  in  Paris  and  its  environs  ;  after  the  same. 

1645. 
The  Chapel  of  Santa  Maria  Maggiore  at  Rome  ;  after 

the  sam&, 
A  small  Head  with  an  ornamental  border ;  worked  with 

the  graver. 

GOZ,  Joseph  Franz  Friedrich,  a  painter  and 
etcher,  was  born  at  Hennannstadt  in  1754,  and 
after  studying  jurisprudence,  was  for  some  time  in 
the  state  service,  but  went  in  1779  to  Munich,  then 
to  Augsburg,  and  in  1791  to  Ratisbon,  where  he 
died  in  1815.  He  brought  out  a  series  of  character 
pictures  in  160  etchings  from  his  own  designs,  en- 
titled '  Impassioned  Outlines  for  Friends  of  Art  and 
the  Drama'  (Augsburg,  1784).  He  is  also  known 
by  his  scenes  from  '  Bavarian  Popular  Life,'  in 
gouache,  and  by  various  portraits  of  notables, 
some  etched  and  some  painted  in  oil. 

GOZZI,  Marco,  an  Italian  landscape  painter,  was 
born  about  1759,  and  died  about  1839.  There  are 
nine  landscapes  by  him  in  the  Brera  at  Milan. 

GOZZOLI,  Benozzo,  the  son  of  a  doublet  maker, 
was  born  at  Florence  in  1420.  He  followed  Fra 
Angelico  to  Rome,  and  having  acted  in  1447  as 
his  assistant  at  Orvieto,  he  in  1449  applied,  but  un- 
successfully, for  permission  to  finish  Fra  AngeUco's 
frescoes  in  the  cathedral  of  that  city.  In  the  same 
year  he  went  to  Montefalco,  and  there  painted  in 
the  church  of  San  Fortunato  a  '  Virgin  and  Child,' 
and  a  '  St.  Thomas  receiving  the  Girdle ' ;  the 
last-named  is  now  in  the  Museum  of  St.  John 
Lateran  at  Rome.     By  1452  he  had  completed  the 


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BEKOZZO  GOZZOLI 


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PARADISE 


PAINTERS  AND  ENGRAVERS. 


frescoes  in  the  hexagonal  choir  of  the  monastery 
of  San  Francesco  at  Montefalco.  These  decorations 
consist  of  a  triple  course  of  twelve  scenes  from  the 
life  of  St.  Francis,  five  medallions  of  illustrious 
Dominicans,  and  portraits  of  Petrarch,  Dante,  and 
Giotto,  besides  numerous  figures  of  saints  and 
angels.  Benozzo  also  decorated  the  chapel  of  St. 
Jerome,  in  the  same  church,  with  a  fresco  of  the 
'  Madonna  and  Child '  that  simulated  an  altar- 
piece,  the  '  Crucifixion,'  tlie  four  Evangelists, 
scenes  from  the  life  of  St.  Sebastian,  and  various 
figures  of  saints  and  angels.  In  the  year  1453,  and 
for  at  least  a  part  of  1454,  he  was  at  Viterbo,  where 
in  the  church  of  Sta.  Rosa  he  painted  a  series  of 
frescoes,  now  perished,  illustrating  the  life  of  that 
saint.  After  finishing  this  work  heprobablyreturned 
to  Umbria  ;  at  any  rate  he  executed,  in  1456,  for 
a  church  at  Perugia,  a  '  Virgin  and  Child,  between 
SS.  Peter,  John  the  Baptist,  Jerome,  and  Paul,' 
with  a  predella  representing  the  '  Resurrection,' 
with  SS.  Thomas,  Laurence,  Sebastian,  and 
Bernard,  which  is  now  in  the  Academy  at  Perugia. 
Soon  afterwards  he  returned  to  Florence,  where  he 
was  employed  to  decorate  the  walls  of  the  chapel 
in  the  palace  of  the  Medici,  now  the  Riccardi 
Palace.  He  there  painted  an  immense  fresco 
which  covers  the  walls  of  the  body  of  the  chapel  ; 
it  represents  the  Magi,  with  a  long  train  of 
attendant  knights,  pages,  servants,  hunters,  and 
followers  of  every  description,  wending  their  way 
through  a  splendid  landscape  towards  Bethlehem. 
The  sanctuary  of  the  chapel  is  decorated  with 
various  groups  of  angels,  who  are  represented  as 
being  in  a  beautiful  garden  typifying  the  heavenly 
Eden.  The  altar-piece  is  lost,  but  the  predella, 
containing  the  '  Resurrection,'  and  the  '  Marriage  of 
St.  Catharine,'  is  in  the  Ufiizi  Gallery  at  Florence. 
About  1464  Benozzo  went  to  San  Gimignano, 
where  he  executed  a  large  series  of  frescoes  in 
the  church  of  Sant'  Agostino,  under  the  patronage 
of  Fra  Domenico  Strambi,  called  Parasinus. 
His  first  production  there  was  a  painting  of  '  St. 
Sebastian,'  represented  standing  erect  on  a  pillar, 
with  a  long  mantle  held  by  angels  so  as  apparently 
to  shield  a  crowd  of  people  from  the  thunder- 
bolts cast  by  the  Eternal,  whilst  the_  Virgin 
baring  her  breast,  and  the  Saviour  showing  His 
wounds,  seem  likewise  to  implore  the  Divine  pity. 
This  subject  was  probably  intended  to  commemor- 
ate the  delivery  of  the  city  from  the  plague  in 
1464.  Beneath  the  above  design  is  a  'Crucifixion,' 
and  four  adoring  saints,  with  twelve  medallions 
and  a  miniature  likeness  of  Parnsinus,  the  donor  of 
the  frescoes.  Gozzoli  next  decorated  the  choir  of 
the  same  church  with  a  triple  course  of  seventeen 
scenes  from  the  life  of  St.  Augustine,  and  other 
designs  from  the  lives  of  Tubit,  St.  Sebastian,  and 
St.  Bartohis,  as  well  as  figures  of  various  saints 
and  martyrs.  His  assistant  in  this  innnense  work 
was  Giusto  d' Andrea.  Having  finished  his  com- 
missions for  Sant'  Agostino,  he  in  1465  decorated 
the  space  between  the  portals  of  the  Collegiata 
with  the  '  Martyrdom  of  St.  Sebastian,'  and  figures 
of  Christ  and  the  Virgin,  in  a  glory  of  Seraphim 
and  Cherubim,  with  figures  of  different  saints  and 
martyrs.  In  1466  he  painted  two  Madonnas,  one 
of  which  is  in  the  Collegiata  at  San  Gimignano,  and 
the  other  at  Sant'  Andrea  near  that  town.  In  the 
same  year  he  painted  a  '  Marriage  of  St.  Catharine  ' 
for  the  church  of  San  Francesco  at  Terni.  By  him 
too  is  a  fresco  of  the  '  Crucifixion '  in  the  cloister  of 
the  suppressed  monastery  of  Monte  Oliveto.     He 


remained  at  San  Gimignano  until  1467,  when  he 
restored  the  frescoes  of  Lippo  Memmi,  in  the 
Palazzo  del  Podesta.  Early  in  1469  Benozzo  com- 
menced his  largest  and  most  important  work,  the 
frescoes  in  the  Campo  Santo  at  Pisa.  These  con- 
sisted of  a  series  of  twenty-four  designs,  three  of 
which  are  now  obliterated,  drawn  from  Bible 
history,  commencing  with  the  curse  of  Ham,  and 
including  the  lives  of  Abraham,  Isaac,  Jacob,  Esau, 
Joseph,  Moses,  the  fall  of  Jericho,  the  story  of 
David  and  Goliath,  and  the  visit  of  the  Queen  of 
Sheba  to  King  Solomon.  This  enormous  work 
took  Benozzo  and  his  assistants,  among  whom  was 
Zanobi  Macchiavelli,  sixteen  years  to  complete, 
the  last  payment  being  made  in  May  1485. 
During  the  execution  of  this  work,  the  authorities 
of  the  Campo  Santo,  in  testimony  of  their  appreci- 
ation of  Gozzoli's  talents,  presented,  him  in  1478 
with  a  tomb  therein,  in  order  that  he  might  rest  in 
the  midst  of  the  glorious  achievements  of  his  life. 
Notwithstanding  this  immense  undertaking,  he 
yet  found  time  to  decorate  a  chapel  on  the  road  to 
Meleto,  near  Casteltiorentino,  in  1484,  with  frescoes 
of  the  '  Virgin  and  Child,  with  Saints,'  over  the 
altar,  and  also  the  '  Death,  Burial,  and  Ascension 
of  the  Virgin,'  and  the  '  Gift  of  the  Miraculous 
Girdle  to  St.  Thomas.'  In  1497  he  valued  the 
frescoes  of  Alesso  Baldovinetti  in  the  Gianfigliazzi 
Chapel  in  Santa  Trinita  at  Florence.  Benozzo 
Gozzoli  died  in  1498.  The  following  are  some  of 
his  extant  paintings : 
Berlin.  Virgin  and  Child,  Saints  and 

Angels. 
Castelfiorentino.       Taher-^  g^^^^^  f^^^  j^g  L;{g  ^f  the 
nacolo  della  \     Virgin  (frescoes). 

„     ,  ,„         ,.         ,,   .  r Madonna  and  Saints,  Death 

Castelflorentmo   Madonna)      ^f ^j^^ virgin, and Assump- 

(near).  della  Torre.  |^     tionotthe Virgin  (/re^coes); 

Florence.      Riccardi  Pal.    Procession     of     the     Magi 

(fresco).     1459. 

„  Uffizi.     A  Predella. 

London.  National  Gallery.     Virgin  and  Child  enthroned, 

with  Angels  and  Saints. 
Montefalco.  S.  Francesco.     Scenes  from  the  Life  of  St. 

Francis  (fresco).     1452. 
Paris.  Louvre.     Apotheosis    of    St.    Thomas 

Aquinas. 
Perugia  Pinacoteca.     Altar-piece    and    Predella. 

1456. 
Pisa  Campo  Santo.     Subjects  from  the  Old  Testa- 

ment (frescoes).  141)9-1485. 
Academy.     Virgin  and  Child.with  Saints. 
"  „  The  Conception. 

"  ,j  Study  for  the  fresco  in  the 

"  '  Campo  Santo  of  the  Queen 

of  Sheba. 
Kome.     Lateran  Museum.     The  Virgin  giving  her  girdle 

to  St.  Thomas. 
&3iiGim\sa&no.S. Agostino.     Life  of  St.  Augu.stine  f/rcs- 
coes).     1465  and  1467. 
„  St.  Sebastian  pre.'^erving  the 

"  town  of    San    Gi:nignano 

from  the  Plague  in  1464. 
Colleaiata.     Virgin  surrounded  by  Saints. 
'  1406. 

Martyrdom  of  St.  Sebastian. 
14C5. 
Vienna.  Gallery.     Vh-gin  and  Child,  with  Saints. 

GRAAF,  Hans,  (or  Gr-^f,)  born  at  Vienna  in 
1680,  was  a  scholar  of  Van  Alen,  and  painted  fairs 
and  market-places,  horses,  and  other  animals.  He 
was  also  a  good  landscape  painter.  He  died  at 
Vienna  in  1734.  A  'Tower  of  Babel'  by  him  iB 
in  the  Landauer  Bniderhaus  at  Nuremberg 

GRAAF,  JosUA,  (or  Grave,)  a  painter  of  land- 
scapes and  views  of  cities,  fortified  places    &c., 


A  BIOGRAPHICAL  DICTIONARY  OF 


lived  at  the  end  of  the  17th  century,  and  was  an 
otBcer  in  the  service  of  Holland.  In  the  Cassel 
Gallery  are  two  landscapes  by  this  artist. 

GRAASBEEK,  Joost  van.    See  Craesbeeck. 

GRAAT,  Barend,  (or  Graet,)  a  Dutch  painter, 
was  born  at  Amsterdam  in  1628.  Whilst  very 
young  he  was  placed  under  the  care  of  his  uncle,  a 
reputable  painter  of  landscapes  and  animals,  under 
whom  he  made  rapid  progress.  The  pictures  of 
Pieter  De  Laer,  called  Bamboccio,  were  then  in  the 
highest  estimation,  and  he  applied  himself  to  study 
and  imitate  the  style  of  that  master,  in  which  he 
was  so  successful,  that  some  of  his  pictures  were 
mistaken  for  those  of  Bamboccio.  The  success  he 
met  with  in  that  branch  of  the  art  disposed  him  to 
attempt  historical  painting,  in  which  he  was  not  un- 
successful. To  perfect  himself  in  the  design  of  the 
figure,  he  established  a  kind  of  school  or  academy 
in  his  house,  where  his  contemporary  artists  and 
himself  occupied  themselves  in  drawing  from  life. 
The  Dutch  biograpliers  speak  highly  of  his  talents 
in  historical  painting,  and  particularly  commend  a 
picture  he  painted  for  the  Council-chamber  at 
Amsterdam,  representing  'Time  discovering  Truth.' 
Another  admired  picture  by  him  was  '  David  and 
Bathsheba.'  A  '  Home  Scene,'  in  the  Queen's  col- 
lection at  Buckingham  Palace,  is  also  much  praised. 
He  also  painted  portraits  with  great  success,  and 
produced  some  admired  pen-and-ink  and  pencil 
drawings,  as  well  as  etchings  upon  copper.  He 
died  at  Amsterdam  in  1709. 

GRAAUW,  Hendrik,  a  Dutch  historical  painter, 
was  born  at  Hoorn,  in  North  Holland,  in  1627. 
He  was  successively  the  scholar  of  Pieter  De 
Grebber  and  of  Jacob  van  Kampen  the  younger, 
and  on  leaving  those  masters,  he  was  employed  by 
Prince  Maurice  of  Nassau  to  paint  four  frescoes 
in  the  cupola  of  the  Palace  in  the  Wood,  which 
established  his  reputation  as  one  of  the  most 
promising  artists  of  his  time.  Ambitious  of  im- 
provement, and  elated  with  the  description  he  had 
heard  of  the  wonders  of  Italy,  he  resolved  to  visit 
that  country,  and  in  1648  he  embarked  for  Leghorn, 
and  made  the  best  of  his  way  to  Rome.  For  three 
years  he  was  assiduously  employed  in  designing ; 
and  he  returned  to  Holland  with  an  ample  store  of 
materials  for  his  future  studies.  On  establishing 
himself  at  Amsterdam,  he  was  loaded  with  com- 
missions. He  painted  for  the  family  of  Bronck- 
horst  a  series  of  historical  and  fabulous  subjects, 
of  which  two,  the  'Triumph  of  Julius  Csesar,'  and 
the  'Education  of  Bacchus,'  were  particularly 
admired.  He  resided  clxiefly  at  Amsterdam  and 
Utrecht,  and  died  at  Alkraaar  in  1682. 

GRACE,  Mrs.,  a  portrait  painter  and  copyist, 
whose  maiden  name  was  Hodgkiss,  was  born  early 
in  the  18th  century.  She  was  self-taught,  and 
exhibited  at  the  Society  of  Artiste  from  1762  to 
1769,  but  in  the  latter  year  she  retired  with  a 
competence  to  Homerton,  where  she  died  about 
1786. 

GRACHT,  Jacob  van  der.   See  Van  der  Gbacht. 

GRADILLA,  Joan  Martinez  de.  See  Martinez 
BE  Gradilla. 

GRADO,  Francesco  de,  an  engraver,  who  resided 
chiefly  at  Naples,  flourished  about  1690.  He  en- 
graved the  plates  of  the  '  Illustrious  Personages ' 
published  at  Naples  in  1693,  and  executed  part  of 
the  portraits  for  Bellori's  '  Vite  de'  Pittori,  Scultori, 
et  Architetti  moderni,'  1672. 

GRAEF,  TiMOTHEns  de.     See  De  Graef. 

GKAET,  Babend.     See  Gbaat. 

268 


GRAF,  Hans.    See  Graaf. 

GRAF,  Hans,  (or  Grave,)  was  a  wood-engraver 
from  Amsterdam,  wlio  worked  at  Frankfort-on-the- 
Main,  where  in  1553  he  executed  a  view  of  that 
city  for  the  widow  of  the  painter  Konrad  Faber, 
and  also  engraved  on  wood  a  plan  of  the  same, 
which  Faber  himself  had  designed.  He  likewise 
worked  on  Sebastian  Munster'e  '  Cosmographia.' 

GRAF,  Urs,  who  has  also  been  known  by  the 
names  of  Urs  Gampeehn  or  Gemberlin,  and  Van 
Goar,  was  a  wood-engraver,  who  at  early  periods 
in  his  life  was  a  goldsmith,  painter,  and  engraver 
on  copper.  He  was  born  at  Solothum  between 
1485  and  1490,  and  after  working  with  a  goldsmith 
at  Zurich,  he  in  1615  took  part  in  the  Swiss  war  in 
Lombardy,  and  again  in  1522,  being  taken  prisoner 
in  the  following  year.  He  died  at  Basle  between 
1529  and  1535.  He  appears  to  have  been  a  wild 
and  reckless  character,  but  he  managed  to  execute 
327  woodcuts,  chiefly  book  illustrations,  many  of 
which  are  marked  with  one  or  other  of  the  annexed 


monograms : 


VG^W 


The   earliest   of 


these  was  a  set  of  twenty-five  woodcuts  for  the 
'  Passion  of  our  Saviour,'  printed  at  Strassburg  by 
Johann  Knoblauch  in  1506.  They  are  neatly  cut,  but 
very  incorrectly  drawn.  He  has  written  the  names 
of  the  different  figures  over  their  heads,  as  was  not 
unusual  at  the  time.  Single  plates  of  his  are,  'The 
Monk  crowned  by  two  Bishops,'  '  Death  lying  in 
wait,'  'The  Satyr  Family,'  and  'The  Raising  of 
Lazarus.'  He  also  produced  a  few  copper-plates 
and  etchings,  as  well  as  nielli.  The  Basle  Art  Col- 
lection, and  the  Albertina  at  Vienna,  possess  many 
of  his  pencil-drawings. 

GRAFF,  Anton,  a  portrait-painter,  was  bom  at 
Winterthur  in  Switzerland  in  1736,  and  died  at 
Dresden  in  1813.  He  studied  under  Johann  Ulrich 
Schellenberg  in  his  native  town,  but  soon  went  to 
Augsburg,  and  thence,  on  the  invitation  of  the 
court,  to  Dresden,  where  he  was  appointed  court- 
painter  in  1766.  He  was  often  summoned  to  Berlin, 
Leipsic,  and  other  places,  where  he  painted  many 
of  his  more  celebrated  contemporaries,  as  Lessing, 
Herder,  Moses  Mendelssohn,  Schiller,  Gluck,Weisse, 
and  Frederick  William  II.  The  following  also  are 
by  him : 
Berlin.  Gallery.     Two  Portraits  of  Johann  Joachim 

Spalding. 
Brunswick.     Museum.    Portrait   of    Friedrich   Albrecht, 

Prince  of  Anhalt-Beruburg. 
Dresden.  Gallery.     His  own  Portrait. 

,,  „  Portrait  of  Frederick  Augustus, 

King  of  Saxony. 

„  „  Portraits  of  Karl  Hommeyer  and 

fiis  wife. 

„  ,,  Portraits  of  Christian  Voight  and 

his  daughter. 

„  „  Portraitof  Johann  Jakob  Mesmer. 

Gotha.  Gallery.     Portrait  of  Eckhoff. 

Leipsic.  Museum.     Portrait  of  Fran  Gabaln. 

Munich.  Gallery.     His  own  Portrait. 

GRAFF,  Johann  Andreas,  a  painter  and  en- 
graver, born  at  Nuremberg  in  1637,  was  instructed 
in  art  under  Haberlin  and  the  flower  painter 
Marrel,  in  Frankfort,  after  which  he  studied  for 
two  years  in  Vienna  and  four  years  in  Rome.  In 
1664  he  returned  to  Nuremberg,  where  he  married 
the  artist  Maria  Sibylla  Merian.  Twenty  years 
later  he  removed  to  Frankfort,  but  returned  to 
Nuremberg,  where  he  died  in  1701.  He  designed 
and  engraved  numerous  landscapes,  plans,  and 
figure  subjects,  among  which  are : 


PAINTERS  AND   ENGRAVERS. 


Interiors  of  the  churches   of  St.  Lawrence  and    St. 

Sebald  at  Nuremberg. 
The  Komerberg  at  Frankfort. 
John  Maurice,  Prince  of  Nassau-Orange.     1658. 
The  Emperor  Leopold  and  the  Seven  Electors; 

Marrel. 


;  after 


GRAFF,  Johanna  Helena.    See  Herold. 

GRAFF,  Kael  Anton,  a  landscape  painter,  the 
Bon  of  Anton  Graff,  was  born  at  Dresden  in  1774, 
and  was  first  instructed  there  under  Professor 
Zingg,  but  he  afterwards  devoted  six  years  to 
travelling  in  Switzerland  and  Italy.  He  died  in 
1832.  His  best  works  were  mountain  landscapes 
from  Bavaria  and  Switzerland. 

GRAFF,  Maria  Dorothea  Henrica.   See  Gsell. 

GRAFF,  Maria  Sibylla.     See  Merian. 

GRAFFICO,  Camili.o,  was  a  native  of  Friuli, 
who  flourished  about  the  year  1588.  He  engraved 
several  plates  of  devotional  subjects,  among  which 
is  one  representing  the  '  Holy  Family,'  after  Ber- 
nardino Passari.  He  worked  entirely  with  the 
graver,  in  a  style  resembling  that  of  Cornells  Cort, 
but  very  inferior  to  it. 

GRAFFIONE,  Giovanni,  a  Florentine  painter; 
born  1455 ;  pupil  of  Baldovinetti.  He  painted  a 
'God  in  Glory'  over  the  door  of  the  hospital  of 
Santa  Maria  degli  Innocenti  in  Florence.   Died  1527. 

GRAHAM,  G.,  an  English  engraver,  worked  in 
the  latter  half  of  the  18th  century.  He  produced 
some  of  the  illustrations  for  Campbell's  '  Pleasures 
of  Hope '  in  1799,  and  also  some  of  Rowlandson's 
works.  He  engraved  chiefly  in  the  dotted  manner, 
but  the  following  mezzotint  plates  are  also  by  him  : 

John,  Earl  of  Bute  ;  afterr  Jtamsay. 
Mrs.  Collier;  after  Sir  Joshva  Reynolds. 
Van  Tromp  ;  after  Rembrandt. 
Poverty ;  after  Rising. 

GRAHAM,  John,  an  English  historical  painter, 
was  bom  about  1706.  He  studied  in  Paris,  London, 
and  Italy,  and  finally  settled  at  the  Hague,  where 
he  was  stiU  living  in  1776. 

GRAHAM,  John,  a  Scottish  historical  painter, 
bom  in  1754,  was  at  first  apprenticed  to  a  coach- 
painter  in  Edinburgh,  but  coming  to  London  he 
entered  the  schools  of  the  Royal  Academy,  where 
he  exhibited  from  1780  to  1797.  In  1798  he  was 
appointed  master  of  the  Trustees'  Academy  in 
Edinburgh,  where  he  had  amongst  his  pupils 
Wilkie,  AUan,  Burnett,  and  Watson  Gordon.  He 
died  at  Edinburgh  in  1817.     His  chief  works  are : 

Daniel  in  the  Lions'  Den.     1780. 

Una.     1783. 

Ceres  in  search  of  Proserpine.     1786. 

The  Escape  of  Mary,  Queen  of  Scots,  from  Lochleven. 
1788.     (Stationers'  Hall,  London.) 

Portrait  of  Alderman  Boydell.  {Stationers'  Hall, London.) 

The  Funeral  of  General  Fraser  at  Saratoga.  _ 

Queen  Mary,  the  morning  before  her  Execution.     1792. 

King  David  instructing  Solomon.     1797. 

The  Disobedient  Prophet,  {^'atiotlal  Gallery  of  Scot- 
land.) 

GRAHAM-GILBERT,  John,  a  Scottish  portrait 
painter,  the  son  of  a  West  India  merchant  named 
Graham,  was  bom  at  Glasgow  in  1794.  When 
about  twenty-four  years  of  age  he  came  to  London, 
and  having  entered  the  schools  of  the  Royal 
Academy,  he  gained  in  1821  the  gold  medal  for 
painting,  afterwards  proceeding  to  Italy  to  study 
the  old  masters,  especially  those  of  the  Venetian 
school.  The  collection  of  pictures  which  he 
formed  was  bequeathed  by  his  widow,  who  died 
in  1877,  to  the  city  of  Glasgow,  and  forms  a 
most  valuable  feature  of  the  Corporation  Galleries. 


After  having  been  in  Italy  two  years  he  relumed 
to  London,  but  in  1827  he  went  to  Edinburgh, 
and  was  elected  a  member  of  the  Royal  Scottish 
Academy  in  1830.      Soon  after  this   he   married 
and  settled  in  Glasgow,  at  the  same  time  adding 
his  wife's  name,  Gilbert,  to  his  own.     He  was  an 
occasional   contributor  to  the  Royal  Academy  in 
London  from  1844  to  1864,  having  also  exhibited 
a  few  pictures  there  after  his  return  from  Italy. 
He  died  at  Yorkhill,  near  Glasgow,  in  1866.     He 
executed    manj-   fancy   studies    of    young    girls, 
especially  Italian,  and  other  subjects,  besides  many 
portraits  ;  his  drawing  was  good  and  natural,  and 
his  colouring  rich  in  tone,  his  portraits  especially 
recalling  the  Venetian  richness  of  painting.   Among 
his  subject  pictures  may  be  mentioned  '  Females 
at  a  Fountain'  (Royal  Academy,  1846),  '  A  Roman 
Girl '  (Royal   Academy,  1864),  and  a  portrait  of 
Charles  Lawson,  Provost  of  Edinburgh,  exliibited 
at  the  Royal  Scottish  Academy  in  1866,  the  year  of 
his  death.    In  the  National  Portrait  Gallery  is  a  por- 
trait of  Sir  Walter  Scott  by  him,  and  in  the  National 
Gallery  of  Scotland  are: 

Sir  John  Watson  Gordon,  P.E.S.A. 
John  Gibson,  E.A.,  sculptor. 
An  Italian  Nobleman. 
The  Bandit's  Bride. 

GRAHL,  Konrad,  (Grahlen,  or  Grahlein,)  was 
an  engraver  on  metal  and  wood,  who  lived  at  Leipsic 
about  1620,  working  chiefly  for  booksellers. 

GRAMBS,  JoHANN  Valentin,  a  portrait  painter, 
bom  at  Frankfort-on-the-Main  in  1630,  was  a  fol- 
lower of  the  style  of  Van  Dyck.  His  works  were 
much  admired,  and  amongst  them  was  the  por- 
trait of  the  Empress  Eleonora  Magdalena,  third 
consort  of  Leopold  I.,  which  was  engraved  by 
Kilian. 

GRAMMARSEO,  Pietro,  a  native  of  Montf errat, 
in  Piedmont,  flourished  about  1623,  in  which  year 
he  painted  an  altar-piece,  which  is  in  the  conven- 
tual church  of  Casale. 

GRAMMATICA,  Antiveduto,  born  at  Siena  in 
1571,  was  a  disciple  of  Domenico  Perugino. 
Several  of  his  works  are  in  the  public  edifices 
at  Rome.  In  the  church  of  Santa  Maria  in  Traste- 
vere  there  is  a  picture  of  the  '  Virgin  and  Infant 
in  the  clouds,  with  Angels,  and  St.  Hyacinth  below  ; ' 
and  in  San  Giacomo  degl'  Incurabili  is  a  fine  picture 
of  the  '  Nativity,'  with  the  '  Adoration  of  the  Shep- 
herds.' His  talents  raised  him  to  the  presidency 
of  the  Academy  of  St.  Luke,  but  of  this  distinction 
he  was  deprived,  on  account  of  a  nefarious  attempt 
to  dispose  of  a  picture  by  Raphael  belonging  to 
the  Academy,  and  to  substitute  for  it  a  copy 
which  he  had  made.  He  did  not  long  survive  this 
disgrace,  and  died  at  Rome  in  1626. 

GRAN,  Daniel,  an  historical  painter,  born  at 
Vienna,  or  Mahren,  in  1694,  studied  under  Ferg 
and  Wernle  at  Vienna,  and  after\vards  under  Ricci 
at  Venice,  and  Solimena  at  Naples.  Upon  his 
return  from  Italy  he  executed  a  great  number  of 
large  ceiling  frescoes,  mostly  of  an  allegorical 
character,  in  the  imperial  palace,  and  in  various 
castles,  churches,  and  cloisters.  He  also  produced 
several  oU  paintings,  of  which  the  Vienna  Gallery 
possesses  a  '  Holy  Family,'  and  the  Kariskirche 
a  '  St.  Elizabeth,'  and  left  some  good  pen-and-mk 
drawings.     He  died  at  St.  Polten  in  1757. 

GRANACCI,  Francesco,  a  Florentine  painter, 
was  bom  at  Florence  in  1477.  He  was  a  feUow- 
pupil  with  Michelangelo  in  the  studio  of  Ghirlan- 
daio,  and  was  much  attached  to  the  former,  whose 

■•  269 


A  BIOGRAPHICAL  DICTIONARY  OF 


style  he  at  first  greatly  imitated.  Qranacci  was 
one  of  the  artists  who  went  to  Rome  to  assist 
Michelangelo  in  the  Sistine  Chapel,  but  when  the 
master,  finding  he  could  not  manage  to  get  on 
withliis  assistants,  shut  both  the  door  of  the  chapel 
and  that  of  his  own  house  against  them,  Granacci 
was  justly  incensed.  He  is  said  to  have  evinced  his 
acquirement  of  the  principles  of  Michelangelo  in 
his  picture  of  '  St.  Zenobius  and  St.  Francis,  with 
the  Virgin  and  Infant  in  the  Clouds  ;'  but  stiU  more 
in  his  'Assumption,'  formerly  in  San  Pier  Mag- 
giore,  and  now  in  the  Ruoellai  palace,  in  which  the 
figure  of  St.  Thomas  is  entirely  in  the  style  of  that 
master.  He  died  at  Florence  in  1543.  Not  many 
pictures  by  this  artist  remain,  but  his  principal 
works  are : 

Berlin.  Gallery.  Portrait  of  a  Girl. 

„  „  Virgin  and  Child  enthroned. 

„  „  The  Trinity. 

Florence.  Academy.  Virgin  and  Saints. 

„  „  Three  pictures,  representing 
the  Life  and  Martyrdom  of 
St.  ApoUonius. 

„  Pitti  Pal.  Holy  Family. 

Munich.  Gallery.  St.  Jerome. 

„  „  St.  ApoUonia. 

„  „  St.  John  the  Baptist. 

„  „  The  Magdalen. 

Petersburg.  HermUage.  The  Nativity. 

GRANDE,  Fbancisco  Agustin  t.     See  Agustix. 

GRANDHOMME,  Jacqdes.     See  Granthojime. 

GRANDI,  Ercole  di  Giulio,  commonly  called 
Ercole  da  Ferrara,  whose  works  have  been  con- 
fused with  those  of  Ercole  di  Roberto,  was  a  native 
of  Ferrara.  He  was  in  the  service  of  the  Duke  of 
Ferrara  from  1492  till  1499,  and  died  in  1531. 
He  was  a  disciple  of  Lorenzo  Costa,  and  was 
the  author  of  '  St.  Sebastian,  with  other  Saints 
and  Patrons,'  in  San  Paolo,  Ferrara  ;  of  an  '  Ador- 
ation of  the  Kings,'  in  the  Ferrara  Gallery ;  of 
a  '  St.  George  and  the  Dragon,'  in  the  Corsini 
Gallery,  Rome ;  and  also  of  '  The  Conversion 
of  St.  Paul,'  and  a  'Madonna  and  Child  with 
Saints,'  in  the  National  Gallery,  London.  Other 
pictures  by  him  are  in  private  collections  in  Italy. 

GRANDI,  Ercole  di  Roberti,  was  a  partner 
with  his  brother  as  a  painter  and  gold-beater  in 
Ferrara  in  1479.  He  was  in  the  paid  service  of 
the  Duke  of  Ferrara,  and  was  frequently  employed 
in  painting  chests.  He  built  a  triumphal  car ; 
decorated  the  garden  lodge  of  the  Duchess  ;  and 
in  1494  painted  the  likeness  of  Hercules  I.  for 
Isabella  of  Mantua.  He  was  a  disciple  and  imi- 
tator of  Mantegna,  and  executed,  amongst  other 
works,  the  decorations  (since  destroyed)  of  the 
Garganelli  chapel  in  San  Pietro,  Bologna,  finished 
about  1483,  and  much  admired  by  Stichelangelo. 
He  also,  it  is  said,  finished  a  view  of  Naples  in 
1490-93.  He  died  in  1495.  The  following  works 
also  are  ascribed  to  him  : 
Bergamo.        Gallery.  St.  John  the  Evangelist. 

1  Parts  of  the  predella 
of  an  altar-piece 
by  Lorenzo  Costa, 
formerly  in  San 
Giovanni  in  Jfonte, 
Hologna. 
Liverpool.  Eoyallnst.  Pieta.  (Part  of  the  predella  of  the 

same  altar-piece.) 
London.      Kat.  Gall.  The  Last  Supper. 

„  „  The  Israehtes  gathering  Manna. 

Milan,  Brera  Gall.  An  altar-piece  (ascribed  to  Stefano). 
Rome.  Vatican.  Miracles  of  St.  Hyacinth. 

A  full  account  of  the  Grandis  is  given  in  Crowe 
270 


and  Cavaloaselle's  '  History  of  Painting  in  North 
Italy,'  1871  ;  i.  530-534. 

GRANDIN,  Jacques  Louis  Michel,  a  French 
historical  painter,  bom  at  Elbeuf  in  1780,  was  a 
pupil  of  David,  but  he  adopted  a  style  differing 
considerably  from  that  of  his  master.  He  mostly 
painted  idylls  and  mythological  scenes.  The  date 
of  his  death  is  not  known. 

GRANDJEAN,  Jean,  was  born  at  Amsterdam 
in  175'2,  and  after  instruction  under  Jacobus 
Verstegen  and  Jurriaan  Andriessen,  as  well  as  at 
the  Academy  of  his  native'city,  where  he  obtained 
three  prizes,  proceeded  first  to  Diisseldorf,  and 
then  in  1779  to  Italy.  He  painted  landscapes, 
portraits,  and  historical  subjects,  and  has  also  left 
one  etching  of  a  '  Bacchanal.'  He  died  at  Rome 
in  1781. 

GRANDVILLE,  Jean  Ignace  Isidore,  whose 
real  name  was  Ger-^rd,  a  French  designer  and 
lithographer,  was  born  at  Nancy  in  1803.  He  first 
studied  miniature  painting  under  his  father,  and 
then  under  Mansion  and  Hippolyte  Lecomte,  but 
abandoning  this  branch  of  art,  he  devoted  himself 
to  the  then  newly-discovered  invention  of  litho- 
graphy. He  soon  obtained  a  large  practice,  and 
illustrated  a  great  number  of  periodicals  and  books. 
His  later  years  were  clouded  with  domestic  misfor- 
tune, and  he  died  in  a  lunatic  asylum  at  Vanves, 
near  Paris,  in  1847.  Besides  the  journals  and 
books  which  he  illustrated,  the  following  are  a  few 
of  the  works  he  published  on  his  own  account: 

Le  Dimanche  d'un  bon  Bourgeois. 

Les  Metamorphoses  du  Jour.     1S28. 

Les  Animaux  peints  par  eus-memes.     1841. 

Les  petites  Miseres  de  la  Vie  humaine.     1842. 

XJn  autre  Monde.     1843. 

Cent  Proverbes.     1844. 

Les  Fleurs  animees.     1846. 

GRANELLO,  Niccol6,  who  was  probably  the 
step-son  of  Giovanni  Battista  Castello,  called  II 
Bergamasco,  flourished  in  the  16th  century.  He 
especially  excelled  in  battle-pieces,  which  he 
executed  in  conjunction  with  other  artists,  as 
Tabaron  and  Cambiaso,  and  among  which  are 
tlie  '  Battle  of  St.  Quentin,'  in  the  Escorial,  and 
the  '  Battle  of  Higueruela,'  after  a  painting  by 
Dello,  in  the  Alcazar  at  Segovia.  He  was  the 
half-brother  and  instructor  of  Fabrizio  Castello, 
and  died  at  Madrid  in  1593. 

GRANET,  FRANgois  Marius,  a  French  archi- 
tectural and  historical  painter,  was  bom  at  Aix  in 
1775.  His  father,  who  was  a  mason,  apprenticed 
him  to  an  Italian  painter  who  chanced  to  stop  at 
Aix  while  upon  a  tour,  and  after  having  learnt  the 
rudiments  of  art  from  him,  he  entered  the  school 
of  the  landscape  painter  Constantin,  and  afterwards 
the  atelier  of  David  at  Paris.  He  there  won  a 
prize  with  the  picture  of  '  The  Court  of  a  Monas- 
tery,' and  then  proceeded  in  1802  to  Rome,  where 
he  passed  many  years  of  his  life.  On  returning  to 
Paris  for  the  first  time  in  1819,  he  brought  with 
him  a  copy  of  his  '  Choir  of  the  Capuchin  Monas- 
tery,' which  met  with  such  extraordinary  admir- 
ation that  he  was  compelled  to  execute  fifteen  or 
sixteen  variations  of  it.  Louis  XVIII.  gave  him  the 
decoration  of  the  Legion  of  Honour  in  the  same 
year,  and  afterwards  the  order  of  St.  Michael ;  while 
in  1826  he  became  conservator  of  the  paintings  in 
the  Louvre,  in  1830  a  member  of  the  Institute, 
and  in  1833  an  officer  of  the  Legion  of  Honour. 
After  the  revolution  of  1848  he  returned  to  Aix, 
where  he  died  in   1849.     He  bequeathed  to  the 


PAINTERS  AND  ENGRAVERS. 


town  his  property,  and  presented  his  pictures  as 
the  foundation  of  a  museum ;  at  the  same  time 
setting  apart  a  yearly  allowance  of  1500  francs 
for  the  education  in  art  of  a  youth  of  that  town, 
and  a  further  sum  of  money  for  establishing  in 
the  hospital  for  incurables  two  beds  for  masons 
as  a  memorial  of  his  father.  His  paintings 
consist  chiefly  of  the  interiors  of  churches  and 
other  buildings,  set  out  with  historical  scenes, 
and  in  this  hne  he  is  considered  to  have  been 
wholly  unrivalled.  The  following  are  among  his 
best  works : 
Poussin  uncovering  the  painting  of  the  'Communion 

of  St.  Jerome.' 
Jacques  Stella  painting  the  Madonna  on  the  wall  of 

his  Prison  Cell     1810.     (Leuchtenberg  Gallery.) 
The   Choir  of   the  Capuchin  Monastery  in  the  Piazza 

Barbarini  at  Rome.    (Buckingham  Palace.) 
Inner  Court  of  the  Carthusian  Monastery  at  Rome. 
Communion  of  the  first  Christians  in  the  Eoman  Cata- 
combs. 
The  Alchymist.    (Stafford  House.) 
Beatrice  Cenci  on  her  way  to  Execution. 
View  of  the  Choir  of  St.Scolastica  at  Subiaco.  (Avignon.) 
The  Painter  Sodoma  brought  into  the  Hospital.    1815. 
(Louvre.)  .  . 

Interior  of  the  Lower  Basilica  of  St.  Francis  at  Assisi. 

1823.     (The  same.) 
Ransoming  of  Chiistian  Slaves  in  Algiers.    1831.    (Trie 

same.) 
GRANGER,  David,  an  engraver,  practised  in 
London  in  the   early  part  of  the    17th   century. 
There  is  by  him  a  '  St.  George,'  after  Raphael. 

GRANGER,  Jean  Peerin,  a  French  historical 
painter,  was  born  in  Paris  in  1779,  and  died  in  the 
same  city  in  1840.  He  was  educated  under  AUais 
and  Regnault,  and  in  David's  school,  and  he  exe- 
cuted pictures  from  ancient  mythology  and  from 
Greek  and  Roman  history,  as  well  as  several  of  a 
sacred  character.  His  'Adoration  of  the  Kings,' 
in  Notre-Dame  de  Lorette  at  Paris,  partakes  of  the 
Btyle  of  Paolo  Veronese.  In  the  Bordeaux  Museum 
is  a  picture  of  '  Ganymede ' ;  in  the  Dijon  Museum 
one  of  'Homer  and  Glaucus'  ;  and  in  the  Leipsic 
Museum,  'Apollo  and  Cyparissus.' 

GRANGES,  D.  des.  Hardly  anything  is  known 
of  this  artist,  save  the  facts  that  he  was  a  Catholic 
and  fled  to  this  country,  and  was  acquainted  with 
Inigo  Jones.  He  was  probably  a  pupil  of  Peter 
Oliver,  and  copied  more  than  one  of  his  works. 
He  painted  a  great  many  miniatures,  which  are 
generally  signed  D.  D.  G.,  and  dated.  Some  of 
his  finest  works  are  at  Welbeck  and  in  Montagu 
House,  and  there  is  a  portrait  by  him  set  in  a 
famous  jewel  in  the  Waddesdon  Collection  at  the 
British  Museum.  Most  writers,  including  the 
Keeper  of  the  Waddesdon  Collection,  spell  the 
name  of  this  artist  incorrectly  as  De  Grange ;  but 
on  a  miniature  at  Ham  House  his  full  signature 
spelt  as  we  give  it  can  be  seen.  Des  Granges_  also 
painted  in  oil,  and  one  portrait  by  him  is  at 
Mottisfont  Abbey.  It  represents  a  lady,  and  is 
signed  and  dated  1661.  G.  C.  W. 

GRAND,  Giorgio  del.  See  Gandini. 
GRANT,  Sir  Francis,  a  portrait  painter,  was  born 
at  Kilgraston  in  Perthshire  in  1810.  He  was  the 
fourth  son  of  Francis  Grant  of  Kilgraston,  and 
was  educated  at  Harrow,  with  the  intention  that  he 
should  study  for  the  bar,  but  he  preferred  the  pur- 
suit of  art,  and  adopted  it  as  a  profession.  He  first 
exhibited  at  the  Royal  Academy  in  1834,  and  among 
his  early  works  were  hunting  meets,  of  winch 
his  liking  for  field  sports  rendered  him  a  faithful 
delineator.  He  subsequently  devoted  himself  to 
full-length  portraits,  and  became  the  fashionable 


portrait  painter  of  the  day,  most  of  the  celebrities 
of  his  time  sitting  to  him.  He  was  elected  an 
Associate  of  the  Royal  Academy  in  1842,  and  an 
Academician  in  1851.  On  the  death  of  Sir  Charles 
Eastlake  in  1866,  and  after  the  refusal  of  the  office 
by  Maclise  and  Sir  Edwin  Landseer  he  was  chosen 
President  of  the  Academy,  and  knighted,  honours 
which  he  owed  more  to  his  urbanity  and  social 
position  than  to  his  art.  He  died,  after  several 
years'  suffering,  in  1878,  at  Melton  Mowbray, 
where  he  was  buried,  his  faftiily  declining  the 
honour  of  a  grave  in  St.  Paul's  Cathedral.  The 
following  is  a  list  of  some  of  his  chief  works : 
The  Breakfast  at  Melton.  1834. 
Count  D'Orsay.  1836. 
The  Meeting  of  H.M.  Staghounds  at  Ascot  Heath.   1837. 

(Earl  of  Chesterfield.) 
The  Melton  Hunt.     1839.     (Duke  of  Wellington.) 
Equestrian  Portrait  of  Queen  Victoria.     1840.     (Army 

and  Navy  Club.) 
Shooting  Party  at  Eanton  Abbey.     1841.     (Earl  of 

Lichfield.) 
Marchioness  of  'Waterford.     1844. 
Queen  Victoria.     1846.     (Christ's  Hospital,  London.) 
Albert,  Prince  Consort.     1846.     {The  same.) 
Sidney  Herbert,  afterwards  Lord  Herbert  of  Lea.    1847. 
Sir  Richard  Sutton's  Hounds.     1848. 
Viscount  Hardinge.   1849.    (National  Portrait  Gallery.) 
Lord  John  Russell.     1854. 

Lord  Macaulay.     1854.     (National  Portrait  Gallery.) 
Sir  Edwin  Landseer.     1855.     (The  same.) 
Benjamin  DisraeU,  Earl  of  Beaconsfield.     1852. 
General  Sir  Hope  Grant.     1862. 
A  Jewish  Rabbi.     (National  Gallery  of  ScotlaTid.) 
Edward,  fourteenth  Earl  of  Derby. 
Viscount  Palmerston. 
John  Gibson  Lockhart. 
Lord  Chancellor  Truro. 

Lord  Chancellor  Campbell.  (National  Portrait  Gallery.) 
George  Moberley,  Bishop  of  Salisbury. , 
GRANT,  William  James,  an  historical  painter, 
was  born  at  Hackney  in  1829.  At  about  the  age 
of  sixteen  he  entered  the  schools  of  the  Royal 
Academy,  and  within  two  or  three  years  exhibited 
his  first  work,  '  Rabbits,'  and  was  from  that  time  a 
frequent  exhibitor,  sending  in  1852  '  Samson  and 
Delilah ; '  in  1858,  '  The  Last  Trial  of  Madame 
Palissy;'  in  1860,  'The  Morning  of  the  Duel;' 
and  in  1861,  'The  Last  Relics  of  Lady  Jane  Grey.' 
He  was  a  promising  artist,  but  died  in  1866,  at  the 
early  age  of  thirty-seven. 

GRANTHOMME,  Jacques,  a  German  engraver, 
bom  at  Heidelberg,  flourished  about  the  year  1600. 
Little  more  is  known  of  him  than  that  he  was  edu- 
cated in  France  in  the  school  of  Thomas  De  Leeuw 
and  Rabel,  and  that  being  expelled  as  a  Huguenot, 
he  settled  at  Frankfort,  where,  as  well  as  at  Heidel- 
berg, he  worked  as  an  engraver,  in  the  style  ot 
Sadeler  and  Cornells  Cort  Some  writers  speak  of 
three  artists  of  this  name,  and  attribute  to  them  the 
plates  of  Jean  de  Gourmont  and  Jan  Georg  van  Vhet. 
Granthomme  is  known  to  have  executed  eighty-two 
plates,  of  which  the  best  are  his  portraits.  He  worked 
entirely  with  the  graver,  and  usually  marked  his 
plates  with  one  of  these  ciphers  :  ^ 
The  following  are  his  principal 
prints : 

Portrait  of  Henry  III. 
Louis  XIII. 

Charles  IX.  .    . 

James  I.,  King  of  Great  Bntain. 
Pope  Sixtus  V. 

Frederick  IV.,  Count  Palatine  of  the  Rhine. 
Henry  of  Bourbon,  Prince  of  CondS. 
Thirteen  Portraits  of  the  Doctors  and  Reformers  of  the 
Church ;  or,  as  they  are  often  styled,  the  Heresiarchs ; 
after  a  painter  whose  initials  are  P.  M. 
The  Narrative  of  the  Good  Samaritan ;  four  plates. 

271 


(MF' 


A  BIOGRAPHICAL  DICTIONARY  OF 


The  Marriage  of  Henry  IV.  and  Catharine  de'  Medici. 

The  Infant  Dauphin  strangling  a  Serpent.     1601. 

Adam  and  Eve. 

Venus  and  Adonis ;  four  plates. 

Laocoon. 

The  Murder  of  the  Innocents. 

The  Apostles ;  twelve  small  prints ;  after  his  ovm 
designs. 

The  Eape  of  Helen ;  copied  from  the  print  by  Marc- 
Antonio,  after  Raphael. 

GRANVILLE,  — ,  was  an  English  engraver, 
who  flourished  about  the  year  1760.  He  executed 
landscapes,  among  which  are  some  plates  from  the 
pictures  of  Thomas  Smith  of  Derby. 

GRANVILLE,  Mary,  (Mrs.  Delant,)  an  Eng- 
lish portrait  painter  and  copyist,  who  was  a  great 
favourite  with  George  III.,  was  born  in  1700. 
She  was  first  married  to  a  Mr.  Pendarves,  and 
secondly  to  Dr.  Delany,  Dean  of  Down.  She  died 
in  1788.  There  is  a  very  good  portrait  of  the 
Duchess  of  Queensberry  by  her. 

GRASDORP,  WiLLEM,  a  painter  of  fruit  and 
flowers,  who  resided  at  Amsterdam,  was  a  scholar 
of  Ernst  Stuven  in  1710.  His  pictures  are  held  in 
great  estimation,  and  are  to  be  found  in  some  of 
the  finest  private  collections  in  Holland.  There  is 
a  picture  by  him  in  the  Brunswick  Gallery,  and 
another  in  the  Hermitage  at  St.  Petersburg. 

GRASHOF,  Otto,  an  historical,  genre,  portrait, 
and  animal  painter,  was  born  at  Prenzlau  in  1812. 
He  was  educated  at  Diisseldorf  under  Schadow,  and 
afterwards  resided  some  years  in  Russia,  Mexico, 
and  La  Plata,  but  finally  settled  in  1845  at  Cologne, 
where  he  died  in  1876.  He  had  been  blind  from 
1861.     Some  of  his  best  known  works  are : 

The  Battle  of  Schumla.     1848. 

Russian  Bears  in  a  Forest. 

The  Guardian  Angel.     1845. 

Russian  Pilgrims. 

Portrait  of  Tranz  Liszt. 

Christ  and  the  Samaritan  "Woman.     1846. 

Wolves  by  a  dead  Horse.     1847. 

St.  Wapitz  of  Novgorod. 

Fight  of  a  Tscherkessan  and  a  Russian. 

Till  Eulenspiege). 

Scene  from  *  Nathan  the  Wise.* 

GRASSI,  Giovanni  Battista,  lived  at  Ddine  in 
the  16th  century,  and  practised  there  both  as  an 
architect  and  painter.  His  first  known  painting 
there  was  the  altar-piece  of  the  church  of  San 
Cristoforo,  executed  in  1547.  In  1554  he  painted 
on  the  front  of  the  Casa  Sabbatini  frescoes  repre- 
senting the  Medusa,  and  Jove  and  Vulcan.  In 
1656  he  painted  the  organ  in  the  cathedral  with 
designs  representing  the  '  Annunciation,'  the  '  Na- 
tivity,' the  '  Marriage  at  Cana,'  and  '  Christ  healing 
the  Sick ; '  and  in  1569  he  executed  the  decorations  of 
the  castle  of  Udine,  which  are  now  nearly  ruined. 
He  died  after  1578.     Two  paintings  of  his  are  : 

Buia.  Church.     Martyrdom  of  St.  Lawrence.   1558. 

Gemona.       Church.     Organ  Shutters.     1577. 

GRASSI,  Joseph,  an  historical  and  portrait 
painter,  bom  at  Udine  in  1756,  was  made  professor 
at  the  Dresden  Academy  in  1800,  and  in  1817 
director  of  the  Royal  Saxon  Pensioners  at  Rome. 
He  died  at  Dresden  in  1838.  His  portraits  are  much 
esteemed,  and  he  was  particularly  successful  with 
those  of  females.  The  Dresden  Gallery  possesses 
two  of  his  paintings,  '  St.  John  the  Baptist,'  and 
'St.  Peter.' 

GRATELLA.     See  Filippi,  Sebastiano. 

GRATELOUP,  Jean  Baptiste,  a  French  en- 
graver, was  bom  at  Dax  in  Gascony  in  1735,  and  | 

272 


died  in  the  same  town  in  1817.  He  executed  por- 
traits in  the  manner  of  Savart  and  Ficquet,  among 
which  are : 

Rousseau ;  after  J.  A  ved. 

Adrienne  Lecouvreur;  after  C.  A.  Coypel. 

Montesquieu  ;  after  Dassier. 

Descartes  ;  after  F.  Hals. 

Dryden ;  after  Kneller. 

Bossuet  (two  portraits)  ;  after  Bigaud. 

F^nelon  ;  after  Vivien. 

GRATI,  Giovanni  Battista,  was  born  at  Bo- 
logna in  1681,  and  was  a  scholar  of  Giovanni 
GiosefEo  dal  Sole.  There  are  several  of  his  pictures 
in  the  churches  at  Bolonjra,  of  which  the  most 
esteemed  are  '  The  Virgin  and  Child,  with  St. 
Francis,  St.  Joseph,  and  St.  Gaetano,  with  a  glory 
of  Angels,'  in  Santa  Slaria  Incoronata  ;  and  '  St. 
Anne  teaching  the  Virgin  to  read,'  in  San  Giacomo 
Maggiore.     He  died  in  1758. 

GRATIANI,  Bartolommeo,  the  son  of  Guide 
Gratiani,  settled  in  Perugia  in  1319,  and  painted 
for  the  church  of  Montelebate. 

GRATIANI,  GuiDO,  superseded  Diotisalvi  in 
1287,  1290,  and  1298  as  painter  of  the  books  o£ 
the  Bicclierna.  He  is  mentioned  as  the  painter  of  a 
banner,  and  he  executed  in  1295  a  '  Majesty,  be- 
tween St.  Peter  and  St.  Paul,'  in  the  Public  Palace 
of  Siena,  and  gilded  three  hundred  letters  for  an 
image  of  the  Virgin.  In  1302  he  executed  the 
portraits  of  twelve  forgers  for  the  front  of  the 
Tribunal  of  Justice. 

GRATIANI,  MiNO,  a  brother  of  Bartolommeo, 
painted  in  1289  a  '  Virgin  and  Saints  '  for  the  Hall 
of  the  Great  Council  in  the  old  Public  Palace  of 
Siena,  and  in  1303  a  '  St.  Christopher.'  In  1298 
lie  produced  the  portraits  of  several  false  witnesses. 
His  name  is  not  found  in  the  public  records  after 
1329. 

GRATTON,  George,  an  Irish  genre  painter,  flour- 
ished at  the  beginning  of  the  19th  century,  and  in 
1807  was  awarded  100  guineas  by  the  Dublin 
Society  for  his  'Beggar  Woman  and  Child.'  He 
afterwards  removed  to  London,  and  exhibited  at 
the  Royal  Academy  in  1812, 'The  Guard  Room,' 
'The  Gathering,'  and  'Noon  Tide.'  No  trace  of 
him  exists  after  this  date.  There  is  a  water-colour 
view  of  '  Christ  Church,  Dublin,'  by  him,  in  the 
South  Kensington  Museum. 

GRAVE,  Alde.     See  Aldegrever. 

GRAVE,  Hans.     See  Graf. 

GRAVE,  Jan  Evert,  a  designer  and  engraver, 
was  born  at  Amsterdam  in  1759,  and  died  there  in 
1805.  He  was  a  scholar  of  Jakob  Cats  and  Jan 
Punts,  and  chiefly  executed  landscapes  and  views 
of  towns. 

GRAVE,  JosuA.     See  Graaf. 

GRAVELOT,  Henri,  whose  original  name  was 
D'Anville,  a  French  designer  and  engraver,  was 
born  in  Paris  in  1699.  He  was  the  brother  of 
the  geographer  D'Anville,  but  he  assumed  the 
name  of  Gravelot  on  coming  to  England,  whither 
he  was  invited  in  1733,  by  Claude  Du  Bosc,  to  assist 
him  in  the  plates  for  the 'Religious  Ceremonies,' 
which  he  published  in  English,  copied  from  Picart. 
Gravelot  returned  to  France  in  1745,  but  was 
soon  in  England  again,  and  after  a  highly  suc- 
cessful course  here,  he  finally  settled  in  Paris  in 
1754,  where  he  died  in  1773.  He  was  an  excel- 
lent draughtsman,  and  made  designs  for  ornaments, 
and  drawings  of  ancient  buildings,  monuments, 
&c.,  with  great  taste.  He  etched  several  plates  for 
books  J  among  which  were  those  for  Sir  Thomas 


PAINTERS  AND   ENGRAVERS. 


Hanmer's  edition  of  Shakespeare,  some  of  which 
were  from  his  own  designs,  and  others  after  Francis 
Hayman.  He  also  engraved  the  plates  for  Theo- 
bald's Shakespeare,  from  his  own  designs.  He  is 
also  well  known  as  one  of  the  earliest  caricaturists. 
His  best  plate  is  a  view  of  Kirkstall  Abbey. 

GEAVELOT,  Hubert  FBANgois  Bourgdigngn. 
See  Bourguignon-Gravelot. 

GRAVES,  Robert,  a  line-engraver,  was  bom  in 
London  in  1798.  At  an  early  age  he  manifested 
a  strong  predilection  for  art,  and  studied  in  the 
life-school  held  in  Ship  Yard,  Temple  Bar,  until 
1812,  in  which  year  he  became  a  pupil  of  John 
Romney,  the  engraver.  Afterwards  he  made  for 
collectors  many  copies  in  pen-and-ink  of  rare  por- 
traits by  Hollar,  Van  de  Passe,  and  others  ;  but  at 
length  he  devoted  himself  entirely  to  engraving. 
In  1836  he  was  by  an  rmanimous  vote  elected  an 
Associate  Engraver  of  the  Royal  Academy,  on 
which  occasion  he  presented  as  his  diploma  work 
the  portrait  of  Lord  Byron,  after  Thomas  Phillips. 
This  and  the  'Highland  Whiskey-Still,'  after  Sir 
Edwin  Landseer,  are  his  two  most  successful  en- 
gravings. Besides  a  great  number  of  portraits  and 
book-illustrations,  he  engraved  several  plates  after 
Wilkie,  Landseer,  and  Mulready,  for  the  Author's 
Edition  of  the  '  Waverley  Novels,'  and  others  for 
the  'Literary  Souvenir,'  'Iris,'  'Amulet,'  'Keep- 
sake Fran(jais,'  and  '  Forget-Me-Not.'  He  died  in 
London  in  1873.  His  plates  generally  are  charac- 
terised more  by  their  refinement  and  delicacy,  and 
in  these  qualities  they  can  scarcely  be  surpassed, 
than  by  any  remarkable  vigour  of  line.  The 
following  are  his  most  important  works : 

The  Enthusiast ;  after  T.  Lane.     1831. 

Mathematical  Abstraction  ;  after  the  same.     1833. 

The  Musical  Bore  ;  after  R.  W.  Buss.     1834. 

The  Romance  ;  after  the  same. 

The  Venetian  Girl ;  after  J.  Wood.     1836. 

Lord  Byron  ;  after  Thomas  Phillips.     1836. 

The  Abbotsford  Family  ;  after  Sir  David  Wilkte.    1837. 

The  Examination  of  Shakespeare  before  Sir   Thomas 

Lucy  on  a  charge  of  deer-stealing  ;  after  Sir  George 

Harvey.     1839. 
A  Castaway  ;  after  the  same.     1841. 
The  Highland  Whiskey-Still    after  Sir  Edwin  Landseer. 

1842. 
The  First  Reading  of  the  Bible  in  the  crypt  of  Old  St 

Paul's  ;  after  Sir  George  Harvey.     1846. 
Lord  Nelson  ;  half-length  ;  after  Abbott.     1847. 
The  Baron's  Charger  ;  after  J.  F.  Herring.     1850. 
The  Highland  Cradle  ;  after  Sir  Edwin  Landseer.    1850. 
Haidee,  a  Greek  Girl ;  after  Sir  Charles  Eastlake.    1850. 
The  Frincess  Amelia ;  after  Sir  Thomas  Lawrence.  1855. 
The   Princess   Victoria    Gouramma    of    Coorg ;     after 

Winterhalter.     1857. 
Cromwell  resolving  to  refuse  the  Crown ;  after  C.  Lucy. 

1858. 
The  Sisters  ;  after  Sir  Oiarles  Eastlake.     1859. 
The  Princesses  Mary,  Sophia,  and  Amelia,  daughters  of 

George  111. ;  after  J.  S.  Copley.     1860. 
The  Slide  ;  after  Webster.     1861. 
The  Origin  of  the  Harp  ;  after  Maclise.     1862. 
The  Good  Shepherd  ;  after  Ifurillo.     1863. 
The  Immaculate  Conception  ;  after  the  same.     1865. 
Paolo  and  Francesca  da  Rimini;  after  Sir  John  Koel 

Paton.     1866. 
Hon.   Mrs.  Graham;   full-length;   after  Gainsborough. 

1866. 
The  Blue  Boy  (Master  Burrell)  ;  after  the  same.   1868. 
Mrs.   Lloyd,    afterwards    Mrs.  Peter    Eeckford ;    fuU- 

length  ;   after  Sir  Joshua  Reynolds.     1868. 
Mrs.  Siddons  ;  half-length  ;  after  Gainsborough.     1869. 
Yia.'DoXotosB.;  after  Raphael  (f).     1869. 
Georgiana,  Duchess  of  Devonshire ;  full-length  ;  after 

Gainsborough.     1870. 
Lady    Bowater;    full-length;    after   the  same.     1872. 

[Left  unfinished :  completed  by  James  Stephenson.) 

VOL.  II.  T 


GRAY,  — ,  an  English  engraver  of  little  celebrity, 
executed  a  set  of  views  for  a  work  published  about 
1727,  entitled  '  Thirty  different  Drafts  of  Guinea,' 
by  William  Smith,  Surveyor  to  the  Royal  African 
Company  of  England.  There  is  a  frontispiece  to 
the  work,  representing  an  Elephant,  which  is  etched 
in  the  style  of  Hollar,  very  superior  to  the  plates 
by  Gray. 

GRAY,  Henry   Peters,  an  American  artist,  a 
pupil  of  the  renowned  Huntingdon,  and  born  in 
New  York  in  1819.     After  learning  the  elements 
of  his  profession  in  his  native  city  he  set  out  for 
Italy,  and  studied  in  Venice  and  Rome  for  two 
years.     He  then  returned  to  the   United   States, 
remaining  in  New  York  till  1846,  and  producing 
there  some  of  his   best-known  works,   especially 
'  Cupid  begging  his  Aitow.'     Again  he  went  to 
Europe  and  again  he  returned  to  his  native  city, 
and  there  he  became  a  member  of  the  National 
Academy,  rising  in  1869  to  the  office  of  President, 
in  which  he  succeeded  his  old  master  Huntingdon. 
He  continued  to  hold  this  position  till  1871,  when 
once   again   the  attractions   of  Europe  were   too 
strong  to  be  overcome,  and  he  left  for  Florence, 
where  he  passed  the  remainder  of  his  life,  dying 
in  1877.     Amongst  his  better-known  works  are : 
'  The  Pride  of  the  Village,"The  Apple  of  Discord,' 
'  Wages   of  War,'  which  is  in   the   Metropolitan 
Museum  in  New  York,  '  Just  Fifteen '  and  '  The 
Flower  of  Fiesole,'  which   belont;  to  Mr.   M.   0. 
Roberts,    'The   Model    from   Cadore,'    and    'The 
Pride  of  the  Rialto.'     Most  of  his  works  are  the 
result  of  his  long  sojourn  in  Italy,  but  on   one 
occasion  certainly,  in  '  The  Birth  of  our  Flag,'  he 
treats  of  events  in  the  history  of  the  United  States. 
GRAY,  Paul,  an  Irish  draughtsman  on  wood, 
was  born  at  Dublin  in  1842,  and  there  passed  his 
earlier  years  ;   but  when  about  twenty-one   years 
of  age  he  came  to  London.     He  showed  some  skill 
as  a  painter,  but  having  to  support  his  mother  he 
was  driven  to  become  awood-engraver.  He  designed 
the  illustrations  to  Charles  Kingsley's  '  Hereward,' 
and  he  also  contributed  many  of  the  cartoons  to 
'  Fun.'      He,  however,  suffered  from  bad   health, 
and  died  at  the  early  age  of  twenty-four,  in  1866. 

GRAZIA,  Leonardo,  known  as  Leonardo  da 
PiSTOJA,  was  a  native  of  Pistoja,  and  a  scholar  of 
Giovanni  Francesco  Penni,  a  distinguished  disciple 
of  Raphael.  His  family  name  appears  to  have 
been  Grazia,  from  an  inscription  on  a  picture  of  the 
'  Annunciation,'  by  him,  in  the  chapel  of  the  sacristy 
of  the  cathedral  of  Lucca.  He  painted  historical 
subjects  and  portraits,  but  particularly  excelled  in 
the  latter.  His  works  are  to  be  found  chiefly  at 
Rome,  Naples,  and  Lucca.  According  to  Zani  he 
flourished  from  1516  to  1540  ;  but  there  is  a  doubt 
whether  there  were  not  two  painters  of  the  same 
name  who  lived  about  the  same  time. 
GRAZIADEI.  See  Pescia. 
GRAZIANI,  Ercole,  a  Bolognese  painter,  was 
bom  at  Bologna  in  1688.  He  was  brought  up 
in  the  school  of  Donato  Creti,  whose  style  he 
improved  by  a  grander  character  of  design,  a 
more  harmonious  colouring,  and  a  greater  freedom 
of  hand.  His  powers  approximate  to  those  of 
Marc  Antonio  Franceschini  and  others  that  issued 
from  the  school  of  Cignani.  He  was  an  artist  of 
unusual  assiduity,  and  painted  a  prodigious  number 
of  pictures  for  the  public  edifices  at  Bologna  and 
Piacenza.  The  churches  at  Bologna  abound  with 
his  works,  of  which  the  most  esteemed  is  his  cele- 
brated picture  of  '  St.  Peter  consecrating  St.  Apol- 

273 


A  BIOGRAPHICAL  DICTIONARY  OF 


linaris  amidat  an  assemblage  of  the  primitive 
Christians.'  Cardinal  Lambertini,  Archbishop  of 
Bologna,  on  becoming  Pope,  as  Benedict  XIV., 
commissioned  Graziani  to  paint  a  replica  of  this 
picture  for  the  church  of  Sant'  Apollinare  at  Rome, 
where  is  also  his  '  Baptisn^  of  Christ.'  In  San  Bar- 
tolommeo  di  Reno,  at  Bologna,  are  two  admired 
pictures  by  him  of  the  'Marriage  of  St.  Catharine,' 
and  '  St.  Anne  teaching  the  Virgin  to  read.'  In  the 
church  of  La  Purita  is  the  '  Ascension  ; '  and  in  the 
Madonna  delle  Rondini  is  the  'Annunciation,'  one 
of  his  most  celebrated  works.     He  died  in  1765. 

GRAZIANI,  PiETRO,  was  a  painter  of  battles, 
who  flourished  at  Naples  in  the  18th  century. 

GRAZZINI,  Giovanni  Paolo,  born  at  Ferrara 
about  the  year  1570,  passed  the  first  and  greater 
part  of  his  life  as  a  goldsmith.  He  learned  the 
rudiments  of  design,  as  was  at  that  time  usual  with 
those  of  his  profession,  and  being  intimate  with 
Carlo  Bononi,  he  was  prompted  by  the  celebrity 
of  his  friend  to  make  an  essay  of  his  own  powers 
in  painting,  though  he  had  already  passed  the 
prime  of  life.  His  first  public  performance,  which 
occupied  him  eight  years,  was  a  picture  of  '  St. 
Eloy,'  which  Lanzi  says  was  painted  for  the  Scuola 
degli  Orefici.  Barotti,  in  his  description  of  the 
works  of  art  in  Ferrara,  places  it  in  the  church 
of  San  Giuliano,  and  adds,  that  Carlo  Bononi  em- 
bellished it  with  four  angels  at  the  corners,  in 
chiaroscuro,  and  that  Scarzellino  environed  it  with 
nine  small  pictures  of  the  principal  actions  of  the 
saint.  Grazzini  also  painted  several  easel  pic- 
tures, which  were  much  esteemed  by  his  fellow- 
citizens.     He  died  in  1632. 

GREBBER,     See  De  Greeber. 

GRECCHI,  Marc  Antonio,  was  a  native  of 
Siena,  whose  works  are  dated  from  1590  to  1634. 
There  is  a  picture  by  him,  mentioned  by  Lanzi, 
in  a  church  at  Poligno,  representing  the  '  Holy 
Family.'  It  is  painted  in  a  style  resembling  rather 
the  Bolognese  taste  of  Tiarini,  than  that  of  any  of 
the  Sienese  painters. 

GRECHE,  Domenico  delle.    See  Theotocophli. 

GRECHETTO,  II.  See  Castiglioke,  Giovanni 
Benedetto. 

GRECO,  II.     See  Theotocopttli. 

GREE,  Pieter  Jan  Balthasar  de,  a  Flemish 
painter,  born  at  Antwerp  in  1751,  was  a  pupil  of 
Geeraerts,  from  whom  he  acquired  the  taste  for 
painting  baa-reliefs,  and  in  this  line  he  gained  a 
reputation.  About  1786  he  went  to  Ireland,  and 
settled  in  Dublin,  where  he  died  in  1789. 

GREEN,  Amos,  a  flower  and  landscape  painter, 
who  flourished  in  the  latter  half  of  the  18th  century, 
was  the  brother  of  Benjamin  Green.  "  He  was.bom 
at  Hales  Owen,  and  died  at  York  in  1807. 

GREEN,  Benjamin,  a  mezzotint  engraver,  born 
at  Hales  Owen  about  1736,  was  probably  the  elder 
brother  of  Valentine  Green.  He  was  a  member 
of  the  Incorporated  Society  of  Artists,  with  whom 
he  exliibited  from  1765  to  1774,  and  he  taught 
drawing  at  Christ's  Hospital.  He  died  in  London 
about  1800.  He  engraved  the  plates  in  Morant's 
'  History  and  Antiquities  of  the  County  of  Essex,' 
1768,  as  well  as  the  following  prints  : 

The  Horse  before  the  Lion's  Den ;  after  Stuhhs.    176S. 
The  Lion  and  the  Stag ;  after  the  same.     1770. 
The  Horse  and  the  Lioness  ;  after  the  same,     1774. 
Portrait  of  Lord  Pigot;  after  the  same. 
Portrait  of  Miss  Baldwin ;  after  Kettle. 

GREEN,  Benjamin  Robert,  a  water-colour 
painter,  born  in  London  in  1808,  was  the  son  of 

274 


James  Green,  the  portrait  painter.  After  having 
been  educated  in  the  schools  of  the  Royal  Academy, 
he  became  a  member  of  the  Institute  of  Painters 
in  Water-Colours.  He  taught  much,  and  was  for 
many  years  Secretary  of  the  Artists'  Annuity  Fund. 
He  died  in  London  in  1876.  There  is  a  water- 
colour  drawing  by  him  of  the  '  Interior  of  Stratford- 
on-Avon  Church '  in  the  South  Kensington  Museum. 
GREEN,  Charles,  was  born  in  1840.  He 
studied  at  the  Newman  Street  studios,  and  under 
Mr.  J.  W.  Whymper.  His  earliest  work  was  in 
black  and  white,  many  of  his  illustrations  appear- 
ing in  'Once  a  Week,'  'London  Society,'  'The 
Churchman's  Family  Magazine,'  'Cassell's  Maga- 
zine '  and  other  periodicals,  including  the  '  Illus- 
trated London  News '  and  the  '  Graphic,'  to  the 
latter  of  which  he  was  among  the  first  contributors. 
In  1864  he  became  an  Associate  of  the  Royal 
Institute  of  Painters  in  Water-Colours,  and  a  full 
member  in  1868.  He  took  great  interest  in  the 
affairs  of  the  society  and  was  a  regular  contributor 
to  its  exhibitions.  His  water-colour  drawings, 
which  he  exhibited  for  the  first  time  in  1862, 
were  remarkable  for  their  finished  execution.  In 
early  life  he  illustrated  many  books,  including 
Cumming's  '  Life  of  Our  Lord,'  Watts'  '  Divine 
and  Moral  Songs,'  and  Thornbury's  '  Legendary 
Ballads.'  His  illustrations  to  Dickens  are  among 
his  best  work.  For  the  Household  edition  of  the 
'  Old  Curiosity  Shop  '  he  executed  thirty-two  draw- 
ings. His  best  known  illustrations,  however,  were 
produced  in  the  last  few  years  of  his  life  ;  they  are 
— twenty-seven  drawings  for  '  A  Christmas  Carol ' 
(1892),  twenty-nine  for  '  A  Battle  of  Life'  (1893), 
thirty  for  '  The  Chimes'  (1894),  and  thirty  for  '  The 
Haunted  Man'  (1895);  his  last  work  being  ten 
designs  for  the  Gadshill  edition  of  '  Great  Expecta- 
tions.' Scenes  from  Dickens'  novels  figured  largely 
as  subjects  for  his  water-colour  drawings  :  these 
include  'Nell  and  her  Grandfather  at  the  Races,' 
'  Captain  Cuttle  and  Florence  Dombey,'  '  Barnaby 
Rudge  and  the  Rioters,'  'Mr.  Mantalini  and  the 
Brokers,'  and  '  The  Pickwick  Club.'  He  also  painted 
in  oil-colours,  and  exhibited  several  pictures  at  the 
Royal  Academy.     He  died  at  Hampstead  in  1898. 

H.C.S. 

GREEN,  James,  a  portrait  painter,  was  bom  at 
Leytonstone  in  1771.  He  at  first  practised  in 
water-colours,  and  belonged  to  the  Associated 
Society  of  Water-Colour  Artists,  but  afterwards 
exhibited  at  the  British  Institution,  where  he 
obtained  a  prize  of  £60  in  1808.  His  later  wlorks 
appeared  at  the  Royal  Academy.  He  died  at  Bath 
in  1834.  There  are  portraits  by  Irim  in  the  National 
Portrait  Gallery  of  Thomas  Stothard,  the  painter, 
and  Sir  John  Ross,  the  Arctic  navigator. 

GREEN,  John,  an  engraver  who  worked  in  the 
18th  century,  was  a  native  of  Hales  Owen.  He  was 
brother  to  Benjamin  Green,  and  a  pupil  of  James 
Basire.  Some  of  the  plates  in  Borlase's  '  Natural 
History  of  Cornwall,'  and  on  the  Oxford  Almanacks 
are  by  him.  He  died  about  1757.  Among  other 
portraits,  the  following  are  by  him  : 

Thomas  Eowney,  M.P. 

Thomas  Shaw,  D.D.,  Master  of  St.  Edmund  Hall,  Oxford. 

■William  Derham,  D.D.,  Canon  of  'Windsor. 

GREEN,  Joshua,  was  a  water-colour  painter,  by 
whom  there  is  a  drawing  of  '  UUswater  Head  '  in 
the  South  Kensington  Museum.  The  dates  of 
his  birth  and  death  are  unknown. 

GREEN,  Mary,   a  miniature  painter,  born  in 


VALENTINE  GREEN 


After  Reynolds,  1780] 

MARY  ISABELLA,  DUCHESS  OF  RUTLAND 


VALENTINE  GREEN 


After  Reynolds,  1779] 

LADY  BETTY  DELME  AND  HER  CHILDREN 


PAINTERS  AND  ENGRAVERS. 


1776,  was  the  second  daughter  of  William  Byrne, 
the  landscape  engraver,  and  wife  of  James  Green' 
the  portrait  painter,  whom  she  married  in  1805.' 
She  studied  under  Arlaud,  and  exhihited  at  the 
Royal  Academy  from  1795  to  1834.  She  died  in 
1845.  There  are  good  portraits  by  her  of  Queen 
Adelaide  and  Lady  Alicia  Peel. 

GKEEN,  Nathaniel  Everett,  landscape  and 
subject  painter,  received  his  early  training  at  the 
Royal  Academy.  He  was  a  Fellow  of  the  Royal 
Astronomical  Society,  and  well  known  for  the 
excellence  of  his  planetary  observations  and  draw- 
ings, particularly  those  of  Mars,  made  at  Madeira 
in  1877.  He  was  the  second  president  of  the 
British  Astronomical  Association.  Since  1854  he 
was  a  frequent  exhibitor  in  Trafalgar  Square, 
Suffolk  Street,  and  with  the  New  Water-Colour 
Society.  His  death  occurred  at  St.  Albans,  No- 
vember 11,  1899. 

GREEN,  Valentine,  a  mezzotint  engraver,  was 
born  at  Hales  Owen,  near  Birmingham,  in  1739. 
He  was  intended  by  his  father  for  the  profession 
of  the  law,  for  which  purpose  he  was  placed 
under  a  respectable  practitioner  at  Evesham,  in 
Worcestershire,  with  whom  he  passed  two  years ; 
but  having  a  taste  for  drawing,  he  abandoned  his 
office,  and,  without  his  father's  concurrence,  became 
a  pupil  to  an  obscure  line-engraver  at  Worcester. 
His  progress  in  that  branch  of  engraving  not  suc- 
ceeding to  his  wishes,  he  came  to  London  in  1765, 
and  turned  his  attention  to  scraping  in  mezzotint, 
in  which,  without  the  aid  of  an  instructor,  he  arrived 
at  a  perfection  which  hag  seldom  been  equalled. 
Green  participates  with  MacArdell  and  Earlom  in  the 
merit  of  having  been  the  first  artists  who  gave  con- 
sequence and  variety  to  the  particular  mode  of  en- 
graving to  which  they  devoted  themselves  ;  and 
it  is  worthy  of  remark,  that  Green's  celebrated 
prints  of  '  Hannibal '  and  '  Regulus,'  after  the  pic- 
tures by  West  in  the  Royal  Collection,  were  the 
first  plates  of  equal  magnitude  and  importance 
that  had  appeared.  These  were  succeeded  by 
several  others  of  similar  consideration,  which  will 
«ver  rank  among  the  ablest  and  most  energetic 
efforts  of  mezzotint.  This  indefatigable  artist,  by 
his  unremitting  exertions  during  a  period  of  up- 
wards of  forty  years,  produced  nearly  four  hundred 
plates,  engraved  from  the  works  of  the  most 
celebrated  painters,  ancient  and  modern.  In  1789 
he  obtained  a  patent  from  the  Duke  of  Bavaria, 
giving  him  the  exclusive  privilege  of  engraving 
and  publishing  prints  from  the  pictures  in  the 
Diisseldorf  Gallery  ;  and  in  the  year  1795,  he 
had  published  twenty-two  prints  from  that  col- 
lection. The  enterprise  promised  to  remunerate 
him  amply  for  so  spirited  an  undertaking,  but  un- 
fortunately, during  the  siege  of  that  city  by  the 
French  in  1798,  the  castle  and  gallery  were  laid  in 
ruins,  and  a  very  valuable  property  belonging  to 
him  was  destroyed.  Other  speculations,  flattering 
in  their  outset,  were  lost  to  him  by  the  overwhelm- 
ing eruption  of  the  French  Revolution,  of  which 
Green  thus  became  one  of  the  innumerable  victims. 
In  1767  he  was  elected  a  member  of  the  Incorpor- 
ated Society  of  Artists  of  Great  Britain  ;  and  in 
1775  one  of  the  six  Associate  Engravers  of  the 
Royal  Academy.  On  the  foundation  of  the  British 
Institution  he  was  appointed  keeper ;  and  his 
zealous  exertions  to  promote  the  purposes  of  that 
institution  contributed  greatly  to  its  success. 
Valentine  Green  died  in  London  in  1813.  The 
following  are  among  his  most  important  works  : 
T  2 


POETRAITS   AFTER   SIR  JOSHUA    REYNOLDS. 

Sir  Joshua  Reynolds  ;  after  the  picture  by  himself  at  the 

Royal  Academy.     1780. 
The    Duke   of    Bedford,    Lords   Henry  and    William 

Russell,  and  Miss  Vernon.     1778. 
Lord  Dalkeith,  afterwards  Duke  of  Buccleuch.     1778 
Maria  Isabella,  Duchess  of  Rutland. 
Emily  Mary,  Countess  of  Salisbury.     1787. 
Anne,  Viscountess  Townshend.     1730. 
The  Ladies  Waldegrave.     1784. 
Lady  Louisa  Manners.     1769. 
Lady  Elizabeth  Cavendish.     1781. 
Louisa,  Countess  of  Aylesford.     1783. 
Lady  Elizabeth  Delme.     1779. 
Lady  Talbot.     1782. 
Lady  Caroline  Howard.     1782 
Georgiana,  Duchess  of  Devonshire.     1780. 
Lady  Jane  Halliday.     1779. 
Jane,  Countess  of  Harrington,  with  her  two  Sons.    1780. 

PORTRAITS   AFTER   OTHER   MASTERS. 

Charles  Theodore,  Elector  of  Bavaria  ;  after  P.  Jiatom. 

Sir  Thomas  ^V^la^ton  ;  after  Van  Dyck  ;  for  the  Hough- 
ton Gallery. 

Henry,  Earl  of  Danby  ;  after  the  same;  for  the  same. 

George,  Marquis  of  Huntly  ;  after  the  smne ;  for  the 
same, 

Richard  Cumberland  ;  after  Eomney.     mi. 

Mrs.  Yates,  as  the  Tragic  Muse  ;  after  the  same.     1772. 

William  Powell  and  Robert  Bensley  in  the  characters 
of  King  John  and  Hubert ;  after  Mortimer. 

John  Hamilton  Mortimer,  painter  ;  after  the  same. 

Garrick  and  Mrs.  Pritchard,  in  Macbeth  ;  after  Zoffany. 

HISTORICAL   SUBJECTS   AFTER  WEST. 

The  Stoning  of  Stephen.     1776. 

The  Raising  of  Lazarus. 

Christ  ealliug  to  laim  the  little  Children. 

Peter  denying  Christ. 

Jacob  blessing  the  Sons  of  Joseph.     1768. 

Daniel  interpreting  Belshazzar's  Dream.     1777. 

Nathan  and  David.     1784. 

St.  Peter  and  St.  John  going  to  the  Sepulchre. 

The  Three  Maries  at  the  Sepulchre. 

Alexander  and  his  Physician. 

Kegulus  leaving  Rome  to  return  to  Carthage. 

Hannibal  vowing  eternal  hatred  to  the  Romans. 

Mark  Antony's  Oration  on  the  Death  of  Csesar. 

A  grippina  weeping  over  the  Urn  of  Germanicus, 

The  Death  of  Epaminondas. 

The  Death  of  the  Chevalier  Bayard. 

SUBJECTS   AFTER   VARIOUS   MASTERS. 
The  Annunciation  ;  after  F.  Barocci. 
The  Nativity  ;  after  the  same. 
The  Virgin  and  Infant ;  after  Domenichino. 
St.  John  with  the  Lamb  ;  after  3Iurillo. 
The  Assumption  of  the  Virgin  ;  after  the  same. 
The  Entombment  of  Christ ;  after  L.  Carracci. 
Time  clipping  the  Wings  of  Love  ;  after  Van  Dyck. 
Venus  and  Cupid  ;  after  Agostino  Carracci. 
The  Descent  from  the  Cross  ;  after  Rubens. 
The  Visitation  ;  after  the  same. 
The  Presentation  in  the  Temple  ;  .after  the  same. 
The  Sulky  Boy ;  after  R.  Morton  Paye. 
The  Disaster  of  the  Milk-pail;  after  the  same. 
The  Child  of  Sorrow  ;  after  the  same. 

GREEN,  William,  an  engraver,  was  born  at 
Manchester  in  17C1.  He  originally  practised  as  a 
surveyor,  and  then  came  to  London  to  study  en- 
graving ;  but  he  afterwards  settled  in  the  Lake 
district,  and  drew  and  engraved  many  views  of 
its  scenery.  He  died  at  Ambleside  in  1823.  There 
is  by  him  in  the  South  Kensington  Museum  a 
water-colour  drawing  of  '  Raven  Crag,  Thirlmere.' 

GREENAWAY,  Kate,  artist,  was  born  at 
1,  Cavendish  Street,  Hoxton,  March  17,  1846. 
She  was  daughter  of  John  Greenaway,  wood- 
engraver  and  draughtsman,  whose  chief  work  is  to 
be°found  in  the  'Illustrated  London  News.'     At 

275 


A  BIOGRAPHICAL  DICTIONARY  OF 


twelve  she  was  a  prize-winner  at  the  South  Ken- 
sington Art  School  (Islington  branch),  and  later 
won  several  medals,  including  the  "  National." 
She  attended  life  classes  at  "  Heatherley's "  and 
the  newly-opened  Slade  School.  Amongst  her 
fellow-students  and  friends  were  Elizabeth  Thomp- 
son (Lady  Butler)  and  Helen  Paterson  (Mrs. 
Allingham).  Beyond  designing  Christmas  cards 
and  valentines  she  did  not  appear  before  the 
public  until  1868,  when  she  first  exhibited  at  the 
Dudley  Gallery.  Here  six  little  drawings  on  wood 
attracted  the  attention  of  Rev.  W.  J.  Loftie,  who 
had  them  written  up  to  and  published  in  the 
'  People's  Magazine.'  She  was  now  beginning  to 
recognize  the  possibilities  which  lay  in  a  revival  of 
our  grandmothers'  gowns.  These  she  made  up 
with  her  own  hands,  and  with  them  costumed  her 
little  models  and  lay  figures.  It  was  largely  due 
to  this  thoroughness  in  the  beginning  that  she 
achieved  her  ultimate  success.  In  1870  she  ex- 
hibited for  the  first  time  in  Suffolk  Street.  In  1871 
she  illustrated  Madame  d'  Aulnoy's  '  Fairy  Tales  ' 
for  Messrs.  Cronheim.  In  1872  she  designed  some 
covers  for  yellow-back  novels.  In  1873  she  began 
work  on  '  Little  Folks'  (Cassell),  and  was  employed 
by  Marcus  Ward  to  design  Christmas  cards,  wliich 
proved  an  immense  success.  The  same  year  she 
exhibited  and  sold  her  picture  '  A  Fern  Gatherer ' 
at  the  Royal  Manchester  Institution.  In  1874  she 
illustrated  'Topo,'  a  youthful  performance  of  Miss 
Blood's  (Lady  Colin  Campbell),  for  Marcus  Ward, 
and  the  same  year  published  with  that  firm  'The 
Quiver  of  Love,'  a  volume  of  Valentine's.  In  1877 
she  sold  her  first  Academy  picture,  '  Missing,'  and 
was  working  for  the  'Graphic'  and  'Illustrated 
London  News.'  Of  greatest  importance,  however, 
at  this  time  was  the  beginning  of  her  long  business 
connection  with  Mr.  Edmund  Evans,  the  well- 
known  colour-printer,  and  the  turning-point  in 
her  career  was  his  production  of  '  Under  the 
Window,'  of  wliich  both  illustrations  and  letterpress 
were  hers.  Of  this  70,000  copies  were  sold.  This 
was  followed,  amongst  others,  by  the  '  Birthday 
Book,'  '  Mother  Goose,'  '  A  Day  in  a  Child's  Life  ' 
(1881),  'Little  Ann'  (1883),  'The  Language  of 
Flowers,'  the  '  Painting  Book '  and  '  Mavor's  Spell- 
ing Book'  (1884-5),  '  Marigold  Garden'  and  'An 
Apple  Pie  '  (1886),  'The  Queen  of  the  Pirate  Isle  ' 
and  ' The  Pied  Piper  of  Hamelin'  (1887),  the' Book 
of  Games  '  (1888), '  King  Pepito '  (1889),  the  '  April 
Baby's  Book  of  Tunes '  (1901),  and  a  series  of  '  Al- 
manacks.' An  idea  of  the  success  of  the  Green- 
away-Bvans  partnership  may  be  gathered  from 
the  fact  that  in  this  space  of  ten  years  the  number 
of  copies  of  her  works  printed  reached  a  grand 
total  of  714,000.  She  early  attracted  the  attention 
of  Frederick  Locker  (afterwards  Locker-Lampson), 
Stacy  Marks  and  Ruskin.  For  the  latter's  opinion 
of  her  works  reference  should  be  made  to  '  Fors 
Clavigera'  and  '  The  Art  of  England.'  With  him 
she  carried  on  a  voluminous  correspondence  for 
over  seventeen  years.  In  1880  she  was  invited  to 
exhibit  at  the  Grosvenor  Gallery.  Up  to  this  year 
she  had  sold  her  drawings  out  and  out,  but  from 
henceforth  she  retained  the  copyrights  as  a  pro- 
tection against  imitators  and  pirates.  In  1881 
the  Crown  Princess  of  Germany  (the  Empress 
Frederick)  and  Princess  Christian  sought  her 
acquaintanceship  and  received  her  at  Buckingham 
Palace  and  Cumberland  Lodge.  In  1883  she 
had  made  enough  money  (four  of  her  books 
alone  having  brought  her  in  £8000),  to  build 
276 


herself  a  fine  house  and  studio  at  39,  Frognal, 
Hampstead.  This,  which  was  designed  by  Mr. 
Norman  Shaw  and  finished  in  1885,  she  inhabited 
till  her  death.  In  1883  she  began  the  series  of 
Almanacks  (mentioned  above),  which  were  con- 
tinued (1896  excepted)  until  1897.  Her  designs 
were  now  being  freely  copied  on  glass,  crockery, 
linen  fabrics,  wall-papers,  stationery,  tiles,  choco- 
late-boxes and  pottery,  both  at  home  and  abroad. 
In  1885  she  did  some  extra  illustrations  for  the 
old  ballad,  '  Dame  Wiggins  of  Lea,'  which  was 
published  with  extra  verses  and  an  introduction 
by  Ruskin.  In  1889  she  was  elected  a  member  of 
the  Royal  Institute  of  Painters  in  Water-Coloura, 
to  the  exhibitions  of  which  body  she  became  a 
frequent  contributor  of  genre  subjects  and  portraits. 
In  1891,  1894  and  1898  she  held  exhibitions  of  her 
pictures  at  the  Fine  Art  Society  (Bond  Street),  and 
sold  several  thousand  pounds'  worth  of  pictures. 
It  was,  too,  in  the  early  nineties  that  she  made  the 
acquaintance  of  Mr.  M.  H.  Spielmann,  her  future 
biographer.  During  her  later  years  she  designed 
several  charming  bookplates,  and  finally  in  1899, 
at  the  age  of  fifty-three,  she  set  herself  to  master 
the  technicalities  of  portrait-painting  in  oils.  But 
her  health  was  now  failing,  and,  after  two  years  of 
suffering,  she  died  on  November  7,  1901. 

Technically  Kate  Greenaway  was  not  a  great 
artist,  but  she  influenced  greatly  the  art  of  the 
nineteenth  century.  In  a  limited  sense  she  was 
the  founder  of  a  school,  but  she  will  be  chiefly 
remembered  for  the  revolution  which  she  accom- 
plished in  the  dress  of  the  children  of  two  con- 
tinents. Her  name  has  passed  not  only  into  the 
English  language  but  into  the  French,  where 
"greenawisme"  has  gone  to  stay.  G.  S.  L. 

GEEENBUEY,  — ,  a  portrait  painter,  employed 
by  Charles  I.  as  a  copyist,  is  mentioned  by  Sir 
Theodore  de  Mayeme,  and  by  Walpole.  He  died 
about  1670.  There  is  in  New  College,  Oxford,  a 
portrait  of  Arthur  Lake,  Bishop  of  Bath  and  Wells, 
by  him,  dated  1626. 

GREENHILL,  John,  a  portrait  painter,  was 
born  at  Salisbury  in  1649.  He  was  one  of  the 
ablest  scholars  of  Sir  Peter  Lely,  and  before  he  was 
twenty  copied  Van  Dyck's  picture  of  'Thomas 
Killigrew  and  his  Dog,'  now  in  the  collection  of 
the  Duke  of  Devonshire,  so  well  that  it  was  mis- 
taken for  the  original.  His  heads  in  crayons  were 
much  admired  ;  and  he  appears  to  have  been  more 
employed  in  that  way  than  in  oil.  He  would  pro- 
bably have  reached  a  high  position  in  the  art,  had 
he  not  fallen  a  victim,  in  the  prime  of  life,  to  an 
intemperate  and  dissolute  course  of  life.  He  died 
in  London  in  1676.  There  are  in  the  National  Por- 
trait Gallery  portraits  by  him  of  Charles  II.,  and  of 
Anthony,  first  Earl  of  Shaftesbury.  He  also  etched 
a  portrait  of  his  brother,  Henry  Greenhill,  the 
mathematician. 

GREENWOOD,  John,  a  painter  and  mezzotint 
engraver,  was  bom  at  Boston,  in  Massachusetts,  in 
1729.  In  1752  he  migrated  to  Surinam,  and  thence 
to  Holland,  arriving  in  England  in  1763.  Here 
he  exhibited  engravings  at  the  Incorporated  Society 
of  Artists  from  1764  to  1776,  when  he  became  an 
auctioneer.  He  died  at  Margate  in  1792.  Amongst 
the  plates  he  engraved  are  : 

The  Curious  Maid  ;  after  a  picture  ly  himself, 
Amelia  Hone  ;  after  Hone. 
John  "Wesley  ;  after  the  same. 
George  'WTiitefield  ;  after  the  same. 
An  Old  Man  ;  after  Keckhout. 


PAINTERS  AND  ENQRAVEES. 


GREENWOOD,  Thomas,  the  son  of  John  Green- 
wood, the  painter  and  engraver,  was  for  many 
years  at  the  close  of  the  18th  century,  chief  scene- 
painter  at  Drury  Lane  Theatre.     He  died  in  1797. 

GREFF,  HlERONYMUS,  a  German  engraver,  was 
a  native  of  Frankfort,  who  flourished  early  in  the 
16th  century.  He  is  supposed  to  have  been  a  pupil 
of  Albrecht  DUrer ;  but  this  conjecture  probably 
arose  from  his  having  copied  some  of  the  designs 
of  that  artist  with  great  exactness  ;  among  which 
are  the  woodcuts  of  the '  Apocalypse,'  copied  in  1502 
in  the  same  size  as  the  originals.  He  is  sometimes 
called  '  Hieronymus  of  Frankfort,'  and  he  usually 


marked  his  prints  with  the  monogram 


^ 


GREGORI,  Cahlo,  an  Italian  engraver,  was  born 
at  Florence  in  1719.  He  learned  engraving  from 
Johann  Jakob  Frey  at  Rome,  and  among  his  prin- 
cipal plates  are  those  after  the  paintings  by  Ber- 
nardino Barbatelli,  called  Poccetti,  in  the  chapel 
of  St.  Philip  Neri  at  Florence.  He  engraved  also 
several  plates  for  the  '  Museo  Fiorentino,'  as  well 
as  many  after  the  pictures  in  the  collection  of 
the  Marquis  Gerini,  and  some  portraits.  He  died 
at  Florence  in  1759.  The  following  plates  are  by 
him : 

PORTRAITS. 

Francesco  Maria,  Grand-Duke  of  Tuscany ;  after  Cam- 

piglia. 
Elyiuora  Vincentina  of  Gonzaga,  his  consort ;  after  the 

same. 
Sebastiano  Bombelli  ;  after  a  picture  by  himself. 

SUBJECTS  AFTER   VARIOUS   MASTERS. 

The  Image  of  the  Virgin  ;  after  a  design  by  Fratta. 

Saint  Catharine;  after  Bartolozzi. 

Fourteen  plates  of  the  Life  of  St.  Philip  Neri;  after 

Bernardino  Barbatelli. 
The  Three  Maries  at  the  Sepulchre ;  after  Raphael. 

GREGORI,  FERDiNANDO,the  son  of  Carlo  Gregori, 
was  bom  at  Florence  in  1743.  After  receiving 
some  instruction  in  engraving  from  his  father,  he 
went  to  Paris,  where  he  became  a  pupil  of  J.  G. 
Wille,  and  afterwards  returned  to  Florence,  where 
he  died  about  1804.  He  engraved  several  plates, 
of  which  the  following  are  the  principal : 

Portrait  of  Carlo  Gregori ;  after  his  own  design. 

La  Madonna  della  Sedia ;  after  Raphael. 

The  Holy  Family  under  a"  Palm  Tree,  surrounded  by 
Angels  ;  after  C.  Maratti. 

Venus  sleeping  ;  after  Guide. 

St.  Sebastian  bound  to  a  Tree  ;  after  the  same. 

Venus,  with  Cupid  mounted  on  a  Dolphin  ;  after  Casa- 
nova. 

Two  Groups  of  Sculpture  ;  after  Cellini. 

The  Holy  Family ;  after  Andrea  del  Sarto. 

The  Stoning  of  Stephen  ;    after  L.  Cardi. 

The  Death  of  St.  Louis  Gonzaga ;  after  Cipriani. 

GREGORIO,  Era,  a  Polish  miniature  painter  of 
the  17th  century,  worked  in  Rome  for  the  house  of 
Barberini,  and  afterwards  in  London  for  Charles  I. 
and  his  Queen  in  1640.  He  was  also  a  carver  in  ivory. 

GREGORIO,  Marco  di,  who  was  born  at  Resina 
in  1829,  studied  in  the  Art  School  at  Naples.  In 
1868  he  went  to  Egypt,  where  he  remained  for 
three  years,  made  several  studies,  and  painted  a 
drop  scene  for  the  theatre  at  Cairo.  He  died  at 
Resina  in  1876. 

GREGORIO  DI  CECCO.     See  Cecco. 

GKEGORIUS,  Albertus  Jakob  Fbans,  a  por- 
trait painter,  and  director  of  the  Academy  at  Bruges, 
was  born  in  that  city  in  1774,  and  after  1802  was  a 
scholar  of  David  at  Paris.     He  painted,  amongst 


others,  the  portraits  of  Napoleon,  Louis  XVIII, 
Charles  X.,  and  Louis  Philippe.  He  returned  to 
Bruges  in  1835,  and  died  there  in  1853. 

GREIG,  George  M.,a  water-colour  painter,  was 
an  artist  better  known  in  Scotland  than  in  England, 
who  confined  himself  almost  entirely  to  painting 
picturesque  interiors  and  old  buildings.  He  ex- 
hibited some  sketches  of  the  interior  of  Holyrood 
Palace  at  the  Royal  Academy  in  1865,  and  died  at 
Edinburgh  in  1867. 

GREIN,  Kaspar  Arnold,  was  born  at  Bruhl, 
near  Cologne,  in  1764.  He  was  instructed  under 
J.  M.  Metz,  in  Cologne,  where  from  1794  he  lived 
as  a  teacher  of  drawing,  and  died  in  1835.  He 
was  especially  successful  as  a  flower-painter,  but 
was  clever  also  in  portraits,  landscapes,  etill-hfe, 
and  historical  subjects.  The  Wallraf-Richartz 
Museum  at  Cologne  contains  one  of  his  pictures. 

GREISCHER,  ftL,  a  German  engraver  mentioned 
by  Basan,  is  said  to  have  engraved  several  plates 
after  various  masters,  which  are  signed  with  the 


annexed  monogram : 


J^ 


One  of  them  is  a 


print  of  '  The  Virgin  and  Infant  Christ,  with  St. 
John,'  after  F.  Barocci. 

GRENIER  DB  SAINT-MARTIN,  Franqois,  who 
was  born  in  Paris  in  1793,  studied  in  David's  school, 
and  devoted  himself  to  historical  subjects.  Later 
in  life  he  painted  genre  and  fancy  subjects,  many 
of  which  are  well  known  from  engravings  and 
lithographs.  He  died  in  Paris  in  1867.  Amongst 
his  pictures  may  be  mentioned  : 

The  Marriage  Project. 

The  Sailor  with  his  Boy. 

The  Strolling  Players  with  the  Stolen  Child. 

The  Recovered  Child. 

The  Old  Vagabond ;  (from  Beranger). 

The  Poacher  fallen  asleep  on  the  AVatch. 

The  Little  "Wood  Thieves. 

Prudence,    {fjompiegne.) 

GRENVILLE,  Jones,  an  Irish  engraver,  was 
born  at  DubHn  in  1723.  He  chiefly  executed 
landscapes,  among  which  are  two  after  Poussin. 

GRESLY,  Gabriel,  a  French  genre  painter,  was 
born  at  L' Isle-sur-les-Doubs  about  1710,  and  died 
at  Besanijon  in  1756.  There  are  examples  of  his 
art  in  the  Museums  of  Dijon  and  Besan9on. 

GRESSE,  John  Alexander,  born  in  London  of 
Swiss  parentage  in  1741,  was  first  instructed  by 
Gerard  Scotin,  the  engraver,  but  afterwards  studied 
for  some  years  under  Cipriani,  as  well  as  under 
Zuccarelli.  He  was  one  of  the  first  students  who 
attended  the  Duke  of  Richmond's  gallery,  and  in  a 
short  time  afterwards  he  entered  the  Academy  in  St. 
Martin's  Lane.  Though  possessed  of  considerable 
talents,  he  was  not  sufficiently  assiduous  to  distin- 
guish himself  in  the  higher  branches  of  painting  ; 
and  as  he  inherited  a  small  fortune  at  the  death  of 
his  father,  he  relinquished  the  more  arduous  exercise 
of  the  profession,  and  became  a  drawing-master, 
in  which  pursuit  he  acquired  great  reputation  and 
extensive  employment,  and  in  1777  was  appomted 
drawing-master  to  the  princesses.  In  the  eariy 
part  of  his  life  he  etched  the  figures,  &c.,  for 
Kennedy's  'Description  of  the  Antiquities  and 
Curiosities  in  Wilton  House,'  1769,  in  which  he 
had  the  advantage  of  being  assisted  by  BartolozzL 
There  are  also  four  other  etchings  by  this  artist, 
a  '  View  of  Framlingham  Castle,  Suffolk  ; '  a  '  Cot- 
tage ; '  a '  St.  Jerome ; '  and  a  '  Satyr  sleeping,'  after 
Nicolas  Poussin.     Grease  died  in  London  in  1794. 

277 


A   BIOGRAPHICAL  DICTIONARY  OF 


On  account  of  his  corpulency  he  was  known  among 
his  comrades  by  the  name  of  '  Jack  Grease.'  In 
tlie  South  Kensington  Museum  is  a  water-colour 
drawing  by  him  of  '  Llangollen  Bridge.' 

GREUT,  Joseph,  noticed  by  Strutt  as  the  en- 
graver of  a  portrait  of  Hieronymus  Bartholomeus, 
is  supposed  to  have  been  a  German,  and  to  have 
worked  chiefly  for  booksellers. 

GREUTER,  JoHANN  Fbiedeich,  the  son  of 
Matthaus  Greuter,  was  born  at  Rome  about  the 
year  1600,  and  was  instructed  by  his  father,  whom 
he  surpassed.  He  died  in  1660.  He  engraved  tlie 
plates  for  the  '  Flora '  of  P.  Ferrari,  as  well  as  the 
following  prints : 

Portrait  of  Giovanni  Battista  Marino ;  after  S.  Vouet. 
Hercules  in  the  Garden  of  the  Hesperides ;  after  Pietro 

da  Cortofia. 
Marc'  Antonio  Oolonna  carried  in  triumph  by  Sea  Gods ; 

after  the  same. 
Tlie  Forge  of  Vulcan ;  after  Lanfranco. 
The  Hesperides  arriving  in   the  Port  of  Naples,  with 

their  Fruit  borne  by  Tritons ;  after  the  same. 
Apollo  and  the  Muses;  after  A.  Camassei. 
The  Virgin  and  Infant,  with  St.  Francis  kneeling  ;  after 

his  own  design. 
The  Death  of  St.  OeciUa;  after  Domenichino. 
The  Growth  of  Christianity  ;  after  Romanelli. 
Battle-piece  ;  after  A .  Tempesta. 

GREDTER,  Matthaus,  a  German  engraver,  was 
bom  at  Strassburg  about  the  year  1564.  After 
receiving  some  instruction  in  his  native  city,  he 
travelled  to  Italy,  by  way  of  Lyons  and  Avignon, 
in  both  of  which  cities  he  was  for  some  time  em- 
ployed. He  resided  chiefly  at  Rome,  where  he 
engraved  several  plates,  executed  in  a  neat  style, 
though  his  design  is  generally  incorrect.  He  died 
in  1638.  Some  of  his  plates  are  wrought  entirely 
with  the  graver ;  others  are  etched,  and  finished 
with  the  graver,  in  a  slighter  style.  He  signed  his 
prints   sometimes  with   his  name  at  length,  and 


Tlie 


sometimes  with    the    monogram     f^\  ■ 

following  are  his  principal  works : 

Pope  Sixtus  V. 

Cardinal  Serafino  Olivaro  Razalio. 

The  Virgin  seated,  with  the  Infant  Jesus  and  St.  John  ; 
after  F.  Barocci. 

St.  Mary  Magdalen  seated,  holding  a  Book,  and  leaning 
her  hand  on  a  Skull ;  after  Luigi  Gaeiano.     1584. 

Venus  standing  on  a  Globe,  with  Figures  emblematical 
of  Virtue  and  Vice ;   after  his  oicn  design,     1587. 

The  Fall  of  Phaeton  ;  after  W.  Dietterlin.     1588. 

The  Burning  of  Troy :  after  Lanfranco. 

The  grand  Cavalcade  of  the  Emperor  Charles  V. ;  en- 
graved conjointly  with  Lucas  J'orsterman. 

A  set  of  small  plates  of  Insects  ;  etched  in  a  style  like 
that  of  Gaywood. 

View  of  Strassburg  in  1687  ;  after  D.  Speckle. 

GREDZE,  Jean  Baptiste,  a  French  genre  and 
portrait  painter,  was  born  at  Toumus,  near  Macon, 
in  Burgundy,  on  tlie  21st  August,  1725,  and  from 
his  eighth  year  amused  himself  with  drawing, 
although  his  father  at  first  opposed  his  inclinations. 
His  earliest  regular  instruction  in  art  was  due 
to  a  Lyonnese  painter,  Grandon — his  maternal 
grandfather — who  took  him  to  Lyons,  and  eventu- 
ally to  Paris,  where  he  studied  in  the  Academy. 
His  first  picture, '  A  Father  explaining  the  Bible  to 
his  Children,'  obtained  a  great  success,  and  it  was 
for  some  time  doubted  whether  he  was  really 
the  painter.  His  subsequent  productions  dis- 
pelled these  doubts,  and  in  1755,  his  picture  of 
'  L'Aveugle  tromp6' procured  his  acceptance  by  the 
Academy,  on  the  nomination  of  PigaUe,  the  sculptor. 

278 


He  then  passed  a  short  time  in  Italy,  and  his 
sojourn  there  affected  his  style  for  a  time,  but  did 
not  leave  any  permanent  traces.  On  his  return  he 
continued  to  exhibit  at  the  Academy,  without  ful- 
filling the  required  academic  conditions,  and  he  was 
at  length,  after  repeated  warning,  excluded  from 
the  Salon  of  1767.  It  was  not  till  after  he  had  pro- 
duced his  'Severus  reproaching  Caracalla'  (now  in 
the  Louvre)  in  1769,  that  he  was  admitted  into  the 
Academy,  and  then  not  in  the  highest  class  as  a 
painter  of  history,  but  in  the  ranks  of  the  genre 
painters.  At  this  rebuff  Greuze  withdrew  in 
dudgeon,  and  did  not  exhibit  again  until  after  the 
Revolution.  But  it  was  then  too  late  :  the  classic 
school  reigned  supreme,  and,  moreover,  age  had 
begun  to  tell  on  his  art.  Troubles  fell  thickly  upon 
him  in  his  latter  years :  the  competence  he  had 
saved  was  dissipated  by  failures,  and  his  nature 
was  not  such  as  to  attract  friends.  He  died  in  indi- 
gence in  Paris  on  the  21st  of  March,  1805.  Greuze 
has  with  justice  been  styled  the  painter  of  the  bour- 
geoisie :  his  happiest  efforts  are  taken  from  the 
daily  life  of  the  middle  classes,  e.  g.  '  The  Father's 
Curse,'  '  The  Broken  Pitcher,'  '  The  Village  Bride,' 
'The  Sleeping  Girl,' &c.  Charming  as  his  works 
are,  they  often  suggest  doubts  as  to  his  sincerity, 
and  give  rise  to  an  impression  that  he,  equally 
with  his  contemporaries,  was  influenced  bj'  the 
pursuit  of  mere  prettiness.  Still,  however,  to  give 
him  his  due,  Greuze  merits  some  recognition  of  his 
efforts  after  a  more  natural  style  than  the  false  and 
sickly  sentiment  of  the  sham  pastorals  with  which 
the  Bouchers  and  the  Fragonards  were  inundating 
French  art. 

An  account  of  Greuze  and  of  his  works  is  to  be 
found  in  MM.  de  Goncourt's  'Art  du  XVIIImo 
siecle.'  The  following  paintings  by  him  are  to  be 
found  in  the  chief  European  collections : 

Ail.  Museum.  Triumph  of  Galatea. 

Study  of  a  Child. 

Berlin.  Qallery.  Little  Girl  with  music-book. 

Cambridge.      FitzxMliam )  g^  g 

Museum,  f      ""  ' 

„  „  Beggar  Girl. 

Dresden.  Gallery.  A  Father  explaining  the  Bible 

to  his  Children. 

Edinburgh.        Nat.  Gall.  Interior     of    Cottage     with 
Peasant's  family. 
,,                           „  Girl  with  dead  canary. 

„  Boy  with  lesson-book. 

„  Two  studies  of  Girls. 

Glasgow.  Gallery.  A  Child's  Head. 

„  „  The  Sulky  Boy. 

Gotha.  GaXlery.  The  Emperor  Caracalla. 

London.      National  Gall.  Girl's    head    draped    with   a, 
scarf. 

„  „  Head  of  a  Girl. 

„  „  Girl  with  an  apple. 

„  „  Girl  with  a  Iamb. 

„     Wallace  Collection.  Girl  with  doves. 

„  „  The  Listening  Girl. 

„  „  Portrait  of  Sophie  Amould. 

„  „  Votive  offering  to  Cupid. 

„  „  The  Broken  Mirror. 

„  „  Innocence, 

„  „  Espioglerie. 

„  „  Girl  with  a  gauze  scarf, 

Leipsic.  Jlfuseum.  Study  of  a  Woman. 

Lille,  Museum.  Psyche  crowning  Love. 

M.idrid.  Gallery.  Old  Woman  with  crutch. 

Sloutpellier.        Museum.  The  Morning  Prayer. 

„  Twelfth  Cake.     1774 

„  „  The  young  Mathematician, 

„  „  The  Paralytic. 

„  The  Idle  Child.     1755. 

„  „  Sii  studies  of  Girls. 

Munich.  Gallery.  Portrait  of  a  young  Girl. 

Narbonne.  Museum.  Study  of  a  young  Girl's  head. 


w 
o 


w 
-a 
Q 

o 
u 
u 
< 


J.  B.  GREUZE 


Alanseli,  photo\ 


[  Wallace  Gallery 


INNOCENCE 


PAINTERS   AND  ENGRAVERS. 


Nimes.  Museum.    Study   of    an    old    Woman's 

head. 
Paris.  Louvre.    Sevenis  reproaching  Caracalla, 

1V69. 
„  „  The  Village  Marriage.    1761. 

„  „  The  Father's  Curse. 

„  „  The  Son  punished. 

„  „  The  Broken  Pitcher. 

„  „  Two  studies  of  young  Girls. 

■Ro-^-  ^^fef}  Contemplation. 

Petersburg.  Hermitac/e.     The  Paralytic. 

„  „              Study  of  a  young  Girl. 

Rotterdam.  Museum.     Young  Woman  and  Child. 

Vienna.  Academy.    Five  studies  of  heads. 

PORTRAITS. 

Angers.  Museum.  Madame  de  Porcin. 

Besan^on.  JIuseum.  Count  Alexandre  Strogonof. 

„  „  Paul  Strogonof. 

,,  „  Head  of  a  Girl. 

Cherbourg.  Museum.  Baron  Denou. 

'Hampton  Court.    Palace.  Madame  de  Pompadour. 

„  „  Louis  XVI. 

London.  South  Kensington.  The  Artist's  Mother. 

Lyons.  Museum.  His  own  Portrait. 

Marseilles.  Museum.  Unknown  Man. 

Nantes.  Museum.  M.  de  St.  Morys. 

J,  „  Count  de  St.  Morys  as  a  Child. 

Paris.  Louvre.  His  own  Portrait. 

„  His  own  Portrait.     (Sketch.) 

,,  Ktienne  Jeaurat,  the  painter. 

^^  „  Armand  Gensonn6. 

„  Fabre  d'Eglantine. 

Troyes.  Museum.  Eugene  de  Baculard  d'Amaud. 

1776. 

Versailles.  Gallery.  Napoleon  I.  as  Consul. 

„  „  Fontenelle.     1793. 

See  '  Greuze,'  Bell's  Miniature  Series,  1902. 

GR^VEDON,  Pierre  Lodis,  known  as  Henri,  a 
portrait  painter  and  lithographer,  was  born  in  Paris 
in  1782,  and  died  there  in  1860.  He  was  instructed 
under  Regnault,  and  at  first  painted  historical 
pieces  and  scenes  from  popular  life,  but  before  long 
he  devoted  himself  wholly  to  lithography,  in  which 
he  produced  portraits  and  fancy  heads. 

GREVEN,  Anton,  a  portrait  and  genre  painter, 
was  born  at  Cologne  in  1810,  and  after  studying  at 
Diisseldorf  betook  himself  to  Munich,  where  he 
was  exciting  high  hopes  of  future  distinction,  when 
he  died  at  Cologne  in  1838.  Among  his  best 
paintings  are  : 

Monks  drinking. 

The  Coffee  QuafFers. 

The  Knight  and  his  Lady  Love ;  (from  Uhland). 

GREVILLE,  Lady  LoDlSA  Augusta,  the  eldest 
daughter  of  Francis,  first  Earl  of  Wanvick,  was 
Dorn  in  1743,  and  married  in  1770  to  William 
Churchill,  Esq.  She  etched  after  Salvator  Rosa, 
Annibale  Carracci,  and  others,  and  the  Society  of 
Arts  awarded  her  gold  medals  in  1758,  1759,  and 
1760,  for  various  drawings. 

GRIBELIN,  Simon,  a  French  engraver,  was  bom 
at  Blois  in  1661.  He  was  instructed  in  engraving 
in  Paris,  and  came  to  England  in  1680  ;  but  it  was 
above  twenty  years  before  he  was  noticed.  The 
first  work  that  raised  his  reputation  was  a  plate 
he  copied  from  Gerard  Edelinck's  fine  print  of 
'  Alexander  entering  the  Tent  of  Darius,'  after  Le 
Brun.  This  was  followed  in  1707  by  a  set  of  the 
Cartoons  of  Raphael  at  Hampton  Court,  which 
had  some  success,  being  the  first  complete  set  that 
had  appeared  ;  but  the  plates  were  on  too  small 
a  scale  for  the  grandeur  of  the  subjects,  and  the 
contracted  powers  of  Gribelin,  both  in  execution 
and  drawing,  were  wholly  inadequate  to  express 


the  sublimity  of  Raphael.  He  afterwards  pub- 
lished several  plates  after  pictures  in  the  Royal 
Collection  ;  but  his  prints  give  no  idea  of  the  style 
of  the  masters  after  whom  they  are  engraved. 
He  also  produced  some  portraits,  and  a  variety  of 
other  subjects.  He  died  in  London  in  1733.  The 
following  are  his  principal  prints : 

poeteaits. 

William  III. ;  after  Fowler. 

Queen  Mary  II. ;  after  the  same. 

William,  Duke  of  Gloucester ;  after  Kneller. 

Queen  Anne. 

Frederick,  Prince  of  Wales. 

George  Granville,  Lord  Lansdowne. 

James  Butler,  Duke  of  Ormonde;  after  Dahl.     1713. 

Tliomas  Herbert,  Earl  of  Pembroke. 

The  Duke  of  Schomberg. 

The  Earl  of  Shaftesbury ;  after  Clostermann  ;  prefixed  to 

the  *  Characteristics.' 
Sir  William  Dawes,  Archbishop  of  York ;  after  the  same. 

SUBJECTS   AFTER    VARIOUS   MASTERS. 

The  Cartoons ;  seven  small  plates  ;  after  Raphael.  On 
the  title  is  the  portrait  of  Queen  Anne,  and  the  repre- 
sentation of  the  room  at  Hampton  Court  in  which 
the  p.aiutings  then  hung. 

The  Apotheosis  of  James  I. ;  after  the  ceiling  at  White- 
hall by  Rubens ;  in  three  plates. 

Hercules  between  Virtue  and  Vice  ;  after  P.  Matheis. 

The  Adoration  of  the  Shepherds  ;  after  Palma. 

Esther  before  Ahasuerus ;  after  Tintoretto. 

Apollo  and  the  Muses  ;  after  the  same. 

The  Birth  of  Jupiter ;  after  Giulio  Romano. 

GRIDEL,  Joseph  Smile,  French  painter ;  mem- 
ber of  the  Society  of  French  Artists  ;  born  Oct.  16, 
1839  ;  a  frequent  exhibitor  at  the  Salon  ;  a  pupil  of 
Feyen-Perrin.  Gridel  excelled  in  depicting  hunt- 
ing scenes  in  Lorraine,  his  canvases  showing  rare 
energy  of  treatment  and  conception.  He  first 
exhibited  at  the  Salon  in  1865,  where  his  work  was 
always  welcome.  He  was  quite  an  authority  on 
sport,  and  wrote  several  books  which  had  hunting 
as  their  theme.  His  death  occurred  in  Paris  on 
Jan.  16,  1902. 

GRIEF,  Anton,  (Grif,  Grifir,  or  Gryef,)  a 
Flemish  painter  of  wooded  landscapes  with  dead 
game,  dogs,  and  accessories  of  the  chase,  was  born 
at  Antwerp  in  1670.  His  pictures  are  small,  but 
painted  with  spirit  and  well  coloured,  though  some- 
what too  sombre.  He  lived  at  Brussels,  and  died 
there  in  1715,  but  there  are  no  particulars  of  him 
recorded,  though  from  his  style  it  is  conjectured 
that  he  was  a  pupil  of  Frans  Snyders.  There 
seem  to  have  been  two  painters  of  the  same  name, 
but  whether  father  and  son  is  unknown.  Among 
his  works  are : 
Dijon.  Museum.    Game. 

Lille.  Museum.     Vegetables  and  Fruit. 

Paris.  louvre.     Landscape,  with  dead  Game. 

Petersburg.   Hermitage.     Trophies  of  the  Chase. 
„  „  Poultry-yard. 

GRIEGO,  El.    See  Serafin  ;  and  Theotocopdli. 

GRIENINGER.     See  Reinhart,  Hans. 

GRIEVE,  John  Henderson,  a  scene-painter,  was 
born  in  1770,  and  died  in  1845. 

GRIEVE,  William,  a  scene-painter,  was  bom  in 
London  in  1800.  He  was  the  son  of  J.  H.  Grieve, 
and  as  a  boy  began  scene-painting  at  Drury  Lane 
Theatre,  where,  and  at  Covent  Garden,  he  made 
his  reputation,  notably  by  the  scenery  for  'Masa- 
niello '  and  '  Robert  le  Diable.'  He  died  in  London 
in  1844. 

GRIF,  Anton.    See  Grief. 

GRIFFIER,  Jan,  called  Old  Qbiffiee,  was  bom 


A  BIOGRAPHICAL  DICTIONARY  OF 


at  Amsterdam  in  1645,  and  first  placed  under  a 
flower-painter ;  but  his  taste  leading  him  to  land- 
scape, he  became  a  scholar  of  Roeland  Roghman, 
whose  works  were  then  highly  esteemed.  He  pre- 
ferred, however,  the  brighter  and  more  agreeable 
style  of  Ruisdael  and  Lingelbach,  and  he  studied 
their  pictures  more  than  those  of  his  master.  In 
a  short  time  he  became  a  very  pleasing  painter  of 
landscapes  and  views  of  the  Rhine,  in  which  he 
particularly  excelled. 

Jan  Griffier  came  to  England  soon  after  the  fire 
of  London,  and  his  pictures  being  much  admired, 
he  met  with  great  encouragement.  His  favourite 
subjects  were  views  of  the  Thames  ;  and  in  order 
that  he  might  study  nature  more  intimately,  he 
purchased  a  yacht,  embarked  his  family  and  his 
pencils,  and  passed  his  whole  time  on  the  river 
between  Windsor  and  Gravesend.  After  staying 
here  many  years,  he  sailed  in  his  own  yacht  for 
Rotterdam,  but  was  shipwrecked,  and  lost  the  pro- 
duce of  his  industrj'  in  England.  Nothing  daunted, 
he  built  a  new  yacht,  and  sailed  from  port  to  port, 
studying  with  earnestness.  He  returned  to  Eng- 
land in  1687,  found  a  liberal  patron  in  the  Duke  of 
Beaufort,  and  died  in  London  in  1718.  His  best 
known  works  are : 


Amsterdam.       Museum. 
Augsburg.  Galleiy. 

Bordeaux.  Museum. 

Brunswick.  Gallery. 

Cambridge.    Fitzmlliam  \ 
Museum,  j 

Dresdeo,  Gallety. 

Gotha.  Gallery. 

Hampton  Court.  Palace. 

Paris.  Louvre. 

Petersburg.     Hermitage. 


A  River  Scene. 

Kiper  and  Mountain  Views. 

Two  Rhine  Views. 

Two  "Winter  Scenes. 

Landscape. 

Dogs  and  Game. 

Fifteen  Landscapes. 

"Winter  Landscape. 

Ruins. 

View  of  "Windsor  Castle. 

Two  Views  on  tlie  Rhine. 

Landscape. 


GRIFFIER,  John,  a  landscape  painter,  the  son 
of  '  Old  GrifiBer,'  was  born  in  the  latter  part  of  the 
17th  century.  He  practised  in  London,  and  ex- 
celled in  his  copies  of  Claude's  works.  He  died 
in  London  about  1750.  The  only  two  pictures  of 
this  artist,  at  present  known  to  be  extant,  are  in 
the  Marquis  of  Bute's  Collection.  They  are  both 
imaginary  river  scenes,  and  one  is  dated  1743. 

GRIFFIER,  Robert,  the  son  of  Jan  GrifBer, 
was  born  in  London  in  1688,  and  instructed  by  his 
father.  His  pictures,  like  the  early  works  of  the 
latter,  represent  views  on  the  Rhine,  with  boats  and 
figures,  very  neatly  painted,  and  agreeably  coloured. 
He  resided  for  many  years  in  Amsterdam,  but  late 
in  life  he  returned  to  England,  and  died  here  in 
1760.  There  is  a  '  Landscape '  by  him  in  the 
Hermitage  at  St.  Petersburg. 

GRIFFITH,  Moses,  a  draughtsman,  bom  in  Car- 
marthenshire in  1749,  was  the  servant  of  Pennant, 
tlie  antiquary,  for  whom  he  drew  and  engraved 
illustrations  for  some  of  his  works.  In  1801  he 
published  on  his  own  account  some  etchings  of 
Welsh  scenery.  He  was  living  in  1809.  There  is 
a  '  Landscape '  by  him,  in  water-colours,  in  the 
South  Kensington  Museum. 

GRIFIR,  Anton.     See  Grief. 

GRIFOL,  Francisco,  was  a  Valencian  painter  of 
religious  daubs  for  the  people.  In  the  course  of 
his  practice  he  learned  to  paint  landscapes,  marine 
views,  and  fruit  pieces  of  some  merit,  but  in  spite 
of  this  success,  he  came  to  poverty,  and  died  in  the 
public  hospital  at  Valencia  in  1766. 

GRIGNION,  Charles,  an  English  portrait  and 
historical  painter,  was  born  in  London  in   1754. 

280 


He  studied  under  Cipriani,  and  in  the  schools  of 
the  Royal  Academy,  where  he  obtained  the  gold 
medal  in  1776  for  his  '  Judgment  of  Hercules.' 
In  1782  he  went  to  Rome  with  the  Academy 
studentship,  and  thenceforth  chiefly  resided  in 
Italy.  There  he  painted  'The  Death  of  Captain 
Cook,'  and  a  portrait  of  Lord  Nelson.  He  pur- 
chased several  fine  pictures  in  Italy,  notably  the 
Altieri  Claudes,  which  were  sent  to  London.  He 
exhibited  at  the  Royal  Academy  between  1770  and 
1784,  and  died  at  Leghorn  in  1804. 

GRIGNION,  Reynolds,  an  English  engraver  of 
the  18th  centurj',  executed  the  plates  for  Basker- 
ville's  edition  of  Addison,  Pennant's  '  Scotch  Tour,' 
&c.     He  died  at  Chelsea  in  1787. 

GRIGNON,  Charles,  probably  a  relative  of 
Jacques  Grignon,  was  born  in  London,  of  foreign 
parentage,  in  1716.  He  was  one  of  the  committee 
appointed  in  1755  to  arrange  for  the  establishment 
of  the  Royal  Academy.  He  engraved  several 
plates  in  a  masterly  style ;  some  of  which  were 
executed  in  conjunction  with  his  contemporaries. 
Among  his  earliest  works  were  several  of  the  plates 
for  the  celebrated  anatomical  work  of  Albinos, 
published  by  Knapton  in  1757.  He  engraved  also 
some  of  the  plates  of  the  'Antique  Statues,'  after 
the  designs  of  Dalton,  as  well  as  the  tapestries 
of  the  Vatican,  published  in  1753.  There  are  some 
good  examples  of  his  art  in  the  illustrations  to 
'  Bell's  British  Poets,'  especially  those  after  Stoth- 
ard.  He  died  at  Kentish  Town,  near  London,  in 
1810.     The  following  prints  are  also  by  him : 

A  View  taken  from  the  Star  and  Garter  at  Richmond ; 

after  Ueckel. 
Two  perspective  Views  of  the  Foundling  Hospital ;  after 

Valee. 
The    Election  ;    four  plates  ;   after  Hogarth ;   engraved 

conjointly  with  Le  Cave  and  Aveline. 
Garrick,  in  the  character  of  Richard  III.  j  engraved  in 

conjunction  with  Hogarth.     1745. 
Phryne  and  the  Philosopher  Zenocrates ;  after  Salvator 

Bosa. 

GRIGNON,  Jacques,  a  French  engraver,  flour- 
ished about  the  year  1680.  The  best  of  his  works 
are  portraits,  some  of  which  possess  great  merit. 
They  are  executed  entirely  with  the  graver,  in  a 
neat,  clear  style.  In  his  plates  of  historical  sub- 
jects he  is  less  successful,  as  his  drawing  is  very 
incorrect,  and  his  management  of  the  lights  and 
shadows  heavy  and  without  efilect,  particularly  in 
his  plates  after  Poussin  and  the  Carracci.  He 
engraved  some  of  the  plates  for  a  work  entitled  '  Les 
Tableaux  de  la  Penitence,'  after  the  designs  of 
Chauveau.    The  following  portraits  are  also  by  him : 

Francesco  Maria  Rhima  ;  an  ecclesiastic. 

Pierre  Barbereau,  Doctor  in  Theology;  after  Ph.  de 
Champaigjie. 

Jacques  Cceur,  Seigneur  de  St.  Fargeau. 

Jean  Bureau,  Mayor  of  Bordeaux. 

GRIGOLETTI,  Michelangelo,  was  born  at 
Rorai  Grande  di  Pordenone  in  1801,  and  was 
educated  at  the  Academy  at  Venice,  of  which  he, 
in  1839,  became  a  professor.  In  1824  he  first 
came  out  with  historical  paintings  of  his  own, 
and  a  church  picture  by  him  in  Sant'  Antonio  at 
Trieste  excited  much  attention.  In  1837  he  exe- 
cuted a  like  work  for  the  new  cathedral  at  Erlau, 
and  in  1846  an  altar-piece  for  that  at  Gran  in 
Hungary.  He  died  at  Vienna  in  1870.  Among 
his  works,  in  addition  to  some  portraits,  may  be 
mentioned : 
Erlau.  Cathedral.    The  Archangel  Michael. 

„  „  Holy  Family. 


PAINTERS  AND  ENGRAVERS. 


Gran.  Cathedral.    Ascension  of  the  Virgin. 

Treviso.    Sig.  Suyana.    An  Odalisque. 
Trieste.       S.Antonio.     St.   Anne   with    the  Virgin    and 
Child. 
„  Herr  Caal.     The  Prodigal  Son. 

„        Sig.  Sartorio.     Francesca  da  Kimini. 
Vienna.  Gallery.    Francesco  Foscari  committing  his 

Son  to  Prison. 

GRILLANDAIO.     See  Bigordi. 

GRIMALDI,  Alessandro,  the  son  and  scholar  of 
Giovanni  Francesco  Grimaldi,  flourished  in  the 
latter  half  of  the  17th  century,  and  painted  land- 
scapes in  the  style  of  his  father,  but  did  not  equal 
him  in  execution.  He  appears  to  have  etched  a 
good  many  of  his  father's  figures.  There  is  an 
etching  by  him  entitled  '  An  Allegory  upon  Re- 
ligion,' which  is  in  the  style  of  Pietro  Santi  Bartoli ; 
and  another  of  the  '  Brazen  Serpent,'  after  his  own 
design . 

GRIMALDI,  Giovanni  Francesco,  called  II 
BOLOGNESE,  was  born  at  Bologna  in  1606,  and 
studied  under  the  Carracci,  in  whose  academy  he 
became  a  skilful  designer  of  the  figure  ;  though  his 
inclination  led  him  later  on  to  landscape  painting, 
in  which  he  endeavoured  to  rival  Annibale  Carracci 
and  Titian.  He  nest  went  to  Rome,  where  he  soon 
rose  to  distinction,  and  was  taken  under  the  pro- 
tection of  Innocent  X.,  who  employed  him  in  the 
Vatican,  and  in  his  gallery  at  Monte  Cavallo. 
These  commissions  were  executed  so  satisfactorily, 
that  Prince  Pamlili,  nephew  to  the  Pope,  engaged 
him  to  decorate  his  villa  of  Bel  Respiro,  which  he 
embellished  with  some  admirable  landscapes  with 
figures,  in  the  style  of  the  Carracci.  His  reputa- 
tion reached  Paris,  whither  in  1648  he  was  invited 
by  Cardinal  Mazarin,  and  where  Louis  XIV.  em- 
ployed him  in  the  palace  of  the  Louvre,  and 
rewarded  him  with  his  accustomed  munificence. 
On  his  return  to  Rome,  after  the  death  of  his  pro- 
tector, Innocent  X.,  he  was  equally  patronized  by 
his  successors,  Alexander  VII.  and  Clement  IX., 
and  was  one  of  the  most  successful  artists  of  his 
time.  He  was  twice  appointed  president  of  the 
Academy  of  St.  Luke.  His  death  occurred  at  Rome 
in  1680.  Many  of  his  pictures  are  in  the  Colonna 
Palace  at  Rome  and  the  Vienna  Gallery,  and  the 
following  also  are  preserved : 

Darmstadt.  Galleri/.  Baptism  of  Christ. 

Edinburgh.  Kat.  Gall.  Landscape. 

Paris.  Bibl.  Nat.  Landscapes. 

„  Louvre.  Landscapes. 

„  „  The  Washerwomen. 

Borne.  Quirinal.  Scenes  from  the  Old  Testament. 

„  Boryhese  Pal.  Series  of  Landscapes. 

Grimaldi  also  left  a  number  of  etchings,  among 
which  the  following  may  be  named  : 

A  set  of.four  small  Landscapes. 

A  grand  Landscape,  with  Buildings,  and  in  the  fore- 
ground Figures  at  play ;  Gio.  Fran.  Grimaldi  Bolo- 
gnese  inv.  et  fee. 

A  grand  Landscape,  with  Buildings  and  Fishermen  ; 
signed  as  above. 

A  landscape,  with  the  Baptism  of  Christ. 

A  Landscape,  with  Euins  aud  Figures. 

A  mountainous  Landscape,  with  Figures. 

Two  upright  Land.scapes ;  after  A  nnibale  Carracci. 

A  set  of  four  Landscapes;  after  the  same. 

GRIMALDI,  William,  an  English  miniature 
painter,  born  in  Middlesex  in  1751,  studied  under 
Worlidge,  and  afterwards  at  Paris.  He  first  ex- 
hibited at  the  Free  Society  of  Artists,  and  then 
at  the  Royal  Academy.  He  practised  successively 
at  several  country  towns,  and  in  Paris  from  1777  to 
1785.     He  then   settled  in  London,  and   became 


miniature  painter  to  several  members  of  the  Royal 
Family.     He  died  in  London  in  1830. 

GRIMANL     See  Jacobsz,  Hubert. 

GRIMBALDSON,  Walter,  a  landscape  painter 
of  no  repute,  practised  early  in  the  18th  century. 

GRIMM,  LuDWiG  Emil,  a  painter  and  etcher, 
was  bom  at  Hanau  in  1790.  He  was  the  younger 
brother  of  Jacob  and  Wilhelm  Grimm,  and  was 
educated  under  Kari  Hess  at  Munich,  as  well  as  at 
the  Academy  in  that  city.  In  1840  he  published 
a  hundred  of  his  own  etchings,  comprising  land- 
scapes, historical  and  genre  subjects,  portraits,  and 
heads,  under  the  title  of  '  The  Story-teller'  ('Die 
Mahrchenzahlerin '),  and  in  1854  another  thirty  as 
a  supplement.  He  died  in  1863  at  CasseL  Among 
his  other  etchings  are  : 

Portraits  of  Luther  and  Melanchthon  ;  after  L.  Cranach 

The  Brothers  Grimm.     1823. 

Gipsy  Life. 

Children's  Games  in  Electoral  Hesse. 

Entertainment  of  Artists  at  Munich.     1812. 

GRIMM,  Samuel  Hieronymus,  a  water-colour 
painter  and  draughtsman,  born  at  Burgdorf,  in  the 
canton  of  Berne,  in  1734,  was  taught  by  his  father, 
a  miniature  painter.  He  settled  in  London  about 
1778,  and  was  much  employed  in  topographical 
work,  such  as  Burrell's  '  Sussex,'  the  Society  of 
Antiquaries'  '  Vetusta  Monumenta.'&c.  He  made 
a  large  number  of  pen-and-ink  sketches,  shaded 
with  indian-ink  or  bistre,  or  tinted  with  water- 
colours,  in  the  counties  of  Northumberland  and 
Durham,  Derbyshire,  Nottinghamshire,  and  the 
environs  of  London,  which  are  correct,  although 
somewhat  stifE  and  weak.  He  occasionally  ex- 
hibited at  the  Royal  Academy  some  subject  pic- 
tures, and  also  published  caricatures.  He  died  in 
London  in  1794.  There  are  at  the  South  Kensing- 
ton Museum  the  following  water-colour  drawings 
by  him : 

The  North  Foreland  Lighthouse. 

Mother  Ludlam's  Hole,  near  Famham.    1781. 

GRIMMER,  Abel,  perhaps  a  son  of  Jakob 
Grimmer,  is  known  by  two  pictures :  a  '  Christ 
at  the  house  of  Martha  and  Mary,'  dated  1614,  in 
the  Brussels  Gallery,  and  a  picture  dated  1604  in 
possession  of  Herr  Van  Lerius,  Antwerp.  Grimmer 
entered  the  Guild  of  St.  Luke  in  the  latter  city 
in  1592. 

GRIMMER,  Hans,  who  studied  under  Matthaus 
Griinewald,  flourished  at  Mayence  towards  the  close 
of  the  16th  century.  The  portraits  by  him  which 
remain  testify  to  his  excellence  as  an  artist.  The 
Vienna  Gallery  has  one  of  Adam  von  Puechhaim, 
painted  in  1570,  and  in  the  chapel  of  St.  Maurice  at 
Nuremberg  there  are  two — one  of  a  man,  and  the 
other  of  a  woman.  In  the  Stadel  Institute  at 
Frankfort  are  two  wings  of  a  picture,  of  which 
the  centre  is  missing. 

GRIMMER,  Jakob,  was  bom  at  Antwerp  in 
1510,  and  was  for  some  time  a  disciple  of  Matthys 
Cock,  but  afterwards  studied  under  Christian 
Queborn.  He  was  a  reputable  landscape  painter, 
and  was  received  into  the  Academy  at  Antwerp 
in  1546.  He  died  in  the  same  city  in  1560.  His 
pictures  are  generally  embellished  with  buildings 
and  ruins,  in  which  he  excelled.  A  '  Legend  of 
St.  Eustace,'  in  the  Brussels  Gallery,  is  attributed 
to  him,  and  in  the  Ghent  Museum  there  is  an 
'Adulteress  before  Christ.' 

GRIMOU,  Alexis,  (Grimoux,  or  Grimoud,) 
born  at  Romont,  in  the  canton  of  Fribourg, 
Switzerland,  about  1680,  was  the  son  of  one  of  the 

281 


A  BIOGRAPHICAL  DICTIONARY  OF 


Swiss  guards  at  Versailles.  He  had  no  master, 
but  acquired  his  art  by  copying  the  works  of  Van 
Dyck  and  Rembrandt  in  a  broker's  shop.  His 
portraits  and  genre  pictures  were  very  popular ; 
but  the  irregularity  of  his  life  and  his  eccentricities 
prevented  his  attaining  the  eminence  which  he 
might  otherwise  have  done.  He  painted  many 
pictures  of  women  playing  and  singing,  and  was 
admitted  to  the  Academy  at  Paris  in  1705,  but  he 
left  it  in  disgust  at  the  mediocre  pictures  of  the 
other  associates,  and  took  his  picture  to  the 
Academy  of  St.  Luke,  where  he  was  admitted  on 
payment  in  1709.  He  died  in  Paris  in  1740.  The 
Louvre  contains  a  portrait  of  himself,  a  'Toper,' 
a  'Female  Pilgrim,'  and  two  portraits  of  young 
soldiers.  In  the  Kunsthalle  in  Carlsruhe  there  are 
two  half-length  portraits  of  women  ;  in  the  Stadel 
Institute  at  Frankfort,  the  portrait  of  a  young 
man ;  in  the  Avignon  Museum,  three  portraits  of 
ladies  ;  in  the  Dulwich  Gallery,  a  portrait  of  a  lady  ; 
in  the  Dresden  GaOery,  a  '  Boy  blowing  a  whistle  ;  ' 
and  in  the  Bordeaux  Museum,  a  '  Monk,'  a  '  Young 
Pilgrim,'  and  an  'Instrument  Player.' 

GRINGONNEUR,  Jacquemin,  a  French  minia- 
ture painter,  is  known  to  have  flourished  from  1392 
to  1420,  and  to  have  executed  various  games  of 
cards  for  Charles  VL  The  National  Library  at 
Paris  possesses  seventeen  cards  belonging  to  one 
of  these  games.  The  picture  at  Versailles  of  the 
family  of  Jean  Juvenal  des  Ursins,  who  died  in 
1431,  is  attributed  to  him. 
GKISOLFI,  Giovanni.  See  Ghisolfi. 
GRISONI,  Giuseppe,  was  born  at  Florence 
about  the  year  1700,  and  was  a  scholar  of  Tom- 
maso  Redi.  The  rising  merit  of  the  disciple  is 
said  to  have  occasioned  so  much  jealousy  and 
uneasiness  in  the  master,  that  it  shortened  his  life. 
He  painted  historical  subjects  and  portraits ;  but 
particularly  excelled  in  the  latter,  of  which  his 
own  portrait,  in  the  Gallery  at  Florence,  is  a  fine 
specimen.     He  died  in  1769. 

GROBON,  Michel,  a  French  genre  and  landscape 
painter  and  engraver,  was  born  at  Lyons  in  1770, 
and  studied  painting  under  Prud'hon,  and  engrav- 
ing under  J.  J.  de  Boissieu.  His  works  are  much 
in  the  style  of  the  old  painters  of  the  Netherlands, 
and  he  also  etched,  in  the  manner  of  his  master,  a 
plate  of  '  Tlie  Interior  of  a  Forest.'  He  died  at 
Lyons  in  1853. 

GROEGER,  Friedrich  Carl,  a  portrait  painter 
and  lithographer,  was  bom  at  Ploen,  in  Holstein,  in 
1766.  He  was  a  self-taught  artist,  and  settled 
down  to  work  in  Hamburg,  where  he  died  in  1838. 
In  the  Dresden  Gallery  is  his  own  portrait. 

GROENENDAEL,  Camille,  a  Belgian  historical 
and  portrait  painter,  was  born  at  Lierre  in  1785, 
and  after  studying  at  the  Antwerp  Academy  and  in 
Paris  he  returned  to  his  own  country  in  1814  an 
accomplished  artist,  and  died  at  Antwerp  in  1834. 
His  portraits  are  considered  his  best  works.  Those 
of  M.  and  Mme.  van  Donick  are  in  the  Antwerp 
Gallery. 

GROENEWEGEN,  Gerrit,  a  painter  and  etcher, 
was  born  at  Rotterdam  in  1754,  and  studied  under 
Muys.     He  became  noted  for  his  pictures  of  ships 
and  marine  views,  and  died  at  Rotterdam  in  1 826. 
His  works  are  rare,  but  eighteen  plates  of  Dutch 
marine  views,  etched  in  Bakhuisen's  manner,  are 
known  to  be   by  him,  as   also  twelve  of   Dutch 
costumes. 
GROENSVELD,  Johan.    See  Gronsvelt. 
GROGAN,     Nathaniel,     an     Irish     landscape 
282 


painter,  born  at  Cork  about  the  middle  of  the  18th 
century,  was  originally  a  wood  turner,  and  also 
served  in  the  army  during  the  American  war.  On 
his  return  to  Cork  he  taught  drawing,  and  en- 
deavoured to  gain  a  living  by  art.  He  engraved 
a  set  of  views  in  the  south  of  Ireland,  and  died 
at  Cork  about  1807.  His  best  known  works  are, 
'An  Irish  Fair,'  and  '  An  Irish  Wake.' 

GROGNARD,  Alexis,  a  French  portrait  painter, 
was  bom  at  Lyons  in  1765,  and  died  in  the  same 
city  in  1840.  lie  was  a  pupil  of  Vien,  and  director 
of  the  school  of  Fine- Arts  at  Lyons. 

GROISEILLIEZ,  Marcelin  de,  a  French  land- 
scape  painter  and  etcher,  born  in  Paris  in  1837, 
studied  under  Boyer  and  Pasini,  and  became  skil- 
ful in  the  delineation  of  southern  landscapes. 
He  died  in  Paris  in  1880.  Among  his  paintings 
are: 

A  Morning  on  the  Banks  of  the  S^delle. 

The  Banks  of  the  Gardon. 

The  Beach  at  St.  Male. 

The  Plain  of  Samois,  near  Fontainehlean. 

He  also  etched  '  Recollections  of  Beuzeval.' 

GROLLERON,  Paul  Louis  Narcisse,  a  French 
military  painter,  born  at  Seignelay  (Yonne),  June 
11,  1848.  At  first  devoted  his  talent  to  decorative 
art,  but  subsequently  entered  the  studio  of  Bonnat 
and  exhibited  in  the  Salons  sundry  genre  pictures, 
including  '  La  Partie  de  Picquet '  (1875),  'Valet  qui 
Prend'  (1877),  and  others.  It  was  only  in  1882 
that  Grolleron  took  up  military  painting  with  such 
remarkable  success  that  he  remained  true  to  it  all 
his  life.  The  picture  by  which  he  first  attracted 
attention  was  the  '  Combat  dans  une  usine  sous  lea 
murs  de  Paris,'  1870,  and  this  gained  him  a 
Mention  Honorable.  We  may  also  note  his 
'  Episode  de  la  Bataille  de  Loigny,'  exhibited  in 
1886,  which  obtained  for  the  artist  a  medal  of  the 
third  class.  Another  of  his  pictures,  and  one  of 
the  best  of  them,  was  '  Janville,'  1870,  exhibited 
in  1888;  his  '  Sergent  Tanvireau,'  exhibited  in 
1891,  won  a  medal  of  the  second  class.  His  death 
occurred  in  Paris  on  October  28,  1901. 

GRONIGIDS,  Gerhard,  was  a  Dutch  engraver 
of  the  middle  of  the  16th  century,  whom  Strutt 
mentions  as  having  etched  ten  plates,  emblematical 
of  the  'Life  of  Man,'  from  ten  to  a  hundred  years. 
The  drawing  is  incorrect,  and  the  outhne  hard ; 
but  they  are  not  devoid  of  merit. 

GRONINGEN,  Giovanni  di.  See  Schwartz, 
Hans. 

GKONLAND,  Theude,  a  painter  of  landscapes 
and  still-life,  was  horn  at  Altona  in  1817.  He  went 
to  the  Academy  in  Copenhagen  in  1833,  and  then 
resided  three  years  in  Italy,  three  years  in  England, 
and  twenty-five  years  in  Paris.  From  1868  he 
hved  at  Berlin,  where  he  collected  many  students 
around   him,  and  died  in  1876. 

GRONSVELT,  Johan,  a  Dutch  engraver,  was 
born  at  the  Hague  about  the  year  1650.  He 
etched  several  views  and  landscapes,  after  Berchem, 
Van  Goyen,  Lingelbach,  and  others  ;  and  engraved 
some  historical  subjects  and  portraits.  The  follow- 
ing are  his  principal  prints : 

Dorothy,  Countess  of  Sunderland  ;  after  Van  Dyck. 
A  Girl  with  a  Cat ;  after  Abraham  Bloemaert. 
A  Man  sleeping  on  a  Barrel ;  after  Brouwer. 
The  Adoration  of  the  Magi ;  after  Paolo  Veronese. 
Christ  before  Pilate  ;  after  A.  Schiavone. 
A  set  of  six  Landscapes  ;  after  Berchem. 
A  set  of  four  Landscapes  ;  after  the  same. 
A  set  of  twelve  Oriental  and  Italian  Harbours ;  after  J. 
Lingelhach. 


PAINTERS  AND  ENGRAVERS. 


Six  Dutch  Landscapes  ;  after  Verhoom. 
Cows  ;  after  A .  van  de  Velde, 

GROOMBRIDGE,  William,  a  water-colour 
painter,  practised  in  the  latter  part  of  the  18th 
century.  He  painted  landscapes  and  moonlight 
scenes  with  cattle  and  figures. 

GROOS,  Geehard  and  Georq  De.  See  De 
Gkoos. 
GROOT,  Jan  De.  See  De  Gboot.' 
GROPIUS,  Karl  Wilhelm,  a  decorative  painter, 
■was  bom  at  Brunswick  in  1793,  but  went  when 
young  to  Berlin  and  painted  for  the  exhibitions 
of  his  father,  after  which  he  travelled  through 
Germany  and  Switzerland,  and  made  himself 
acquainted  in  Paris  with  the  arrangement  of 
Daguerre's  diorama.  Next  he  travelled  in  Italy 
and  Greece,  and  made  numerous  landscape  and 
architectural  sketches.  After  his  return  he  opened, 
in  1827,  a  diorama  in  Berlin  in  connection  with  a 
permanent  exUbition  of  paintings.  He  was  at  the 
same  period  appointed  court  theatrical  painter,  in 
which  office  he  produced  some  superior  decorations 
from  the  designs  of  Schinkel.  He  was  considered 
the  first  wit  in  Berlin,  where  he  died  in  1870. 

GROS,  Antoine  Jean,  Baron,  a  French  historical 
and  portrait  painter,  was  horn  in  Paris,  March  16th, 
1771.      His  early   surroundings  were  artistic,  for 
his  father,  Jean  Antoine  Gros,  was  a  miniature 
painter,  and  his  mother  drew  in  crayons.     In  such 
an   atmosphere,  it   is   not  surprising  that  his   in- 
clination to  art  was  soon  developed.    In  1786  he 
commenced  to  study  seriously  by  becoming  a  pupil 
of  David,  and  in  1792  he  competed  unsuccessfully 
for  the  'prix  de  Rome.'     His  desire  to  visit  Italy 
was  not,  however,  to  be  frustrated.     Notwithstand- 
ing the  death  of  his  father,  and  the  want  of  means, 
he  resolutely  overcame  all  obstacles,  and,  having 
obtained   a   passport  through   David,   arrived   at 
Geneva  in  1793.     He  devoted  himself  assiduously 
to  study,  and  was  fortunate  in  obtaining  good  in- 
troductions.    He  at  length,  in  1801,  attracted  the 
notice  of  Bonaparte,  then  in  command  of  the  French 
army  in  Italy,  by  his  picture  of  '  Bonaparte  at  the 
Battle  of  Areola.'    From  him  he  received  an  hono- 
rary stafE  appointment,  and  he  was  also  employed 
in  the  collection  of  works  of  art  for  the  adornment 
of  the  French  galleries.     Compelled  to  quit  Milan 
by  the  reverses  to  the  French  arms,  he  took  refuge 
in  Genoa,  and  in  the  siege  of  that  city  he  under- 
went severe  hardships.     On  his  return  to  Paris  in 
1801,  he  commenced  the  series  of  works  on  which 
his  fame  rests  : — '  Bonaparte  visiting  the  Plague- 
stricken  at  Jaffa '  (1804) ;  '  The  Battle  of  Aboukir  ' 
(1806) ;  '  Napoleon  at  Eylau  '  (1808)  ;  '  The  Battle 
of  the  Pyramids  '  (1810)  ;  '  Francis  I.  and  Charles 
V.   at   St.    Denis'    (1812).     On   the    Restoration, 
Gros— ever  faithful  to  the  traditions  of  the  Classic 
School,  and  to  his  master  David — took  over  the 
atelier  of  the   latter,  and  was  much  occupied  in 
instruction  :  more  than  four  hundred  pupils  passed 
through  his  studio.    He  also  endeavoured  to  obtain 
the  recall  of  his  master  from  banishment,  and  had 
a  medal  struck  in  his  honour,  which  he  took  to 
Brussels  and  presented  to  him.    Gros  did  not,  how- 
ever, lack  under  the  Bourbons  the  patronage  he  had 
received  under  the  Empire.     For  several  years  he 
was  much  occupied  with  the  pictures  in  the  dome 
of  the   Pantheon,  and   honours   and   offices  were 
freely    bestowed-  on    him,    culminating   in    the 
title  of  Baron.     But,  though  official  approval  of 
his  works  was  not  wanting,  his  art  was  violently 
and    incessantly   criticized    by   partisans   of    the 


Romantic  School.  These  criticisms  reached  such 
a  point  on  the  appearance  of  his  '  Hercules  and 
Diomedes'  in  1835,  and,  aggravated  by  the  state 
of  his  health,  had  such  an  effect  on  him,  that 
he  committed  suicide  on  June  2Gth  in  that  year. 
His  body  was  found  in  the  Seine,  near  Meudon, 
and  was  buried  in  Pere-la-Chaise,  Paul  Delaroche 
and  others  pronouncing  funeral  orations  over  his 
grave.  Although  Gros  was  in  one  sense  always  a 
strict  adherent  to  the  canons  of  classicism,  yet  he 
was  one  of  the  first  of  David's  pupils  to  abandon 
classic  and  mythologic  scenes.  It  has  been  aptly 
remarked  that  he  painted  classic  forms  underneath 
modern  costume.  His  style  is  bold  and  full  of 
movement,  and  his  colouring,  though  not  unfre- 
quently  exaggerated,  is  a  great  improvement  on 
the  coldness  of  the  founders  of  the  Classic  School. 
The  following  are  some  of  Gros's  principal  works  : 

Besan^on.  Museum.     Girl  bathing.    1791. 

Bordeaux.  Museum.    Embarkation  of  the  Duchess  of 

AngoulSme.     1816. 
Nantes.  Museum.     Combat  of  Nazareth.     1801. 

Paris.  Louvre.     Bonaparte  visiting  the  Plague- 

striclveQ  at  Jaffa.     1804. 
„  „  Napoleon  at  Eylau.     1808. 

„  „  Francis   I.  and  Charles  V.  at 

St.  Denis,     1812. 
Toulouse.  Museum.     Hercules  and  Diomedes.    1835. 

„  ,,  Venus  and  Cupid.    1832. 

Versailles.  Gallery.    The  Battle  of  the  Pyramids. 

1810. 
„  „  Interview   of    Napoleon    and 

Francis  II.  after  Austerlitz. 
1812. 
„  „  The   Capitulation    of    Madrid. 

1810. 
„  „  Louis    SVIII.     quitting     the 

Tuileries  in  1815.     1816. 
„  „  The  Battle  of  Aboukir.     1806. 

„  Trianon.    Apotheosis     of    St.    Germain. 

1824. 
PORTRAITS. 

Besan^on.  Museum.    Madame  Dufresne. 

Grenoble.  Mtiseum.     Dr.  Clot-Bey. 

Marseilles.  Museum.     Madame  Favrega.    1798. 

MontpelUer.       J]Iuseum.    Eleven  Miniatures. 
Nancy.  Museum.    Marshal  Duroc. 

Paris.  J'icomtede    Louis  XVIII.    (This  head  icas 

Feyronnet.        copied  for  all  the  official  por- 
traits.) 
Toulouse.  Museum.     Madame  Gros. 

„  His  own  Portrait. 

Versailles  Gallery.    Duke  de  Bellune. 

„  Eugene  Beauharnais. 

\,  Equestrian  Portrait  of  Jerome 

Bonaparte,  King   of    West- 
phaha.     1808. 
,,  Marshal  Duroc. 

"  .,  Count  Daru. 

"  „  General  Count  Foumier-Sarlo- 

"  vese.     1812. 

„  His  own  Portrait. 

"  Equestrian  Portrait  of  Cliarles 

X.    1826.  O.J.D. 

GROSE,  Francis,  a  topographical  draughtsman, 

was  born  in  1731  at  Richmond,  in  Surrey,  where 

his  father  was  a  jeweller.    He  was  of  independent 

means,   and   devoted  to  antiquarian  pursuits,  on 

which  he  published  several  learned  works.      He 

occasionally  exhibited  tinted  drawings  of  ruins, 

&c.,  at  the  Royal  Academy.     In  one  of  hia  visits 

to  Scotland,  he  became  'The  chiel  amang  ye  taking 

notes  '  of  Bums.     He  died  at  Dublin  in  1-91. 

GROSNIER,  Mile.,  a  French  lady,  is  mentioned 
by  Basan  as  the  engraver  of  several  plates  ;  but 
they  are  wholly  unknown. 
GROTEFEND,   Adolph,   a  miniature  painter, 

283 


A  BIOGRAPHICAL  DICTIONARY  OF 


was  bom  at  Klausthal  in  Hanover,  in  1812.  He 
for  a  time  studied  law  at  Gottingen  University, 
but  his  love  for  art  caused  him  in  1836  to  proceed 
to  Munich  to  fit  himself  for  a  portrait  painter.  In 
this  line  he  was  becoming  conspicuously  success- 
ful, when  ill-health  drove  him  in  1846  to  Italy,  and 
he  died  at  Florence  in  the  following  year. 

GROTH,  — ,  a  German  painter,  flourished  in 
England  in  the  reign  of  George  II.  He  painted 
in  water-colours  and  enamel,  but  was  not  very 
proficient. 

GROUX,  Charles  Corneille  AuonsTE  de,  (or 
Degrodx,)  a  Belgian  genre  and  historical  painter, 
was  born  at  Commines  in  France  in  1826,  and 
studied  at  the  Brussels  Academy  under  Navez.  He 
at  first  produced  pictures  from  popular  life,  but 
afterwards  took  to  historical  subjects,  in  which  he 
was  less  successful,  and  he  finally  returned  to  his 
former  department.  He  decorated  the  market- 
place of  Ypres.  His  death  occurred  at  Brussels 
in  1870.     Among  his  paintings  are : 

Ash  "Wednesday. 

Grace  before  Meals.     (Brussels  Gallery.) 

The  Doctor's  Visit. 

The  Death  of  Charles  V. 

The  Citizens  of  Calais  before  Edward  III. 

GROZER,  Joseph,  a  mezzotint  engraver,  was  bom 
about  1755,  and  probably  died  before  1799.  He 
practised  in  London,  and  amongst  his  works  are : 

Shepherds  with  a  Lamb  ;  after  Sir  J.  Reynolds.     1784. 

Master  Braddyll ;  after  the  same.     1788. 

Mrs.  Mackenzie  of  Seaforth  ;  after  the  same.     1787. 

Innocence  ;  after  the  same.     1788. 

■William,  Earl  FitzwiOiam  ;  after  the  same.     1786. 

Lady  St.  Asaph  and  Child  ;  after  the  same.     1792. 

Miss  Johnson,  dancing  ;  after  the  same.     1792. 

James,  Earl  of  Cardigan  ;  after  Romney.     1792. 

Lady  Charlotte  Legge ;  after  the  same.     1799. 

The  Duke  and  Duchess  of  York ;  after  fiitigleton.    1797. 

Kobert,  Lord  Hobart ;  after  Sir  Thomas  Lawrence.    1796. 

GRUND,  JoHANN  Jakob  Norbert,  a  German 
painter  and  author,  was  bom  at  Gunzenhausen,  in 
Anspach,  in  1755.  He  originally  intended  to  be- 
come a  Jesuit,  but  afterwards  devoted  himself  to 
miniature  painting.  He  subsequently  went  to  Italy, 
and  was  appointed  a  professor  in  the  Academy  at 
Florence.  He  pubhshed  in  1789,  '  An  Artistic 
Tour  to  Rome,'  and  in  1810,  '  The  Painting  of  the 
Greeks.'     He  died  about  1815. 

GRUND,  Norbert,  a  German  painter  of  land- 
scapes, cattle,  fairs,  battles,  &c.,  born  at  Prague 
in  1714,  was  the  son  of  a  painter,  and  studied  at 
the  Vienna  Academy  under  Ferg.  He  was  of  a 
vagrant  nature,  and  in  his  latter  years  his  careless- 
ness and  improvidence  reduced  him  to  want.  He 
died  at  Prague  in  1767.  In  the  Dresden  Gallery  are 
two  pictures,  '  Country  Dances,'  and  '  A  Gathering 
at  a  Table  in  a  Garden.' 

GRUNDY,  Thomas  Deeming,  a  line-engraver, 
was  born  at  Bolton  in  1808.  He  was  at  first 
apprenticed  to  a  writing  engraver,  and  then  came 
to  London,  where  he  was  employed  on  the  Annuals 
then  in  fashion.  He  afterwards  worked  for  Doo 
and  Goodall,  and  died  in  London  in  1841. 

GRUNER,  WlLHELM  Heinrich  Litdwig,  a  clever 
engraver,  born  at  Dresden  in  1801,  and  a  pupil  of 
Klinger  and  Flihrich.  He  commenced  life  as  a 
scene-painter,  but  afterwards  studied  engraving 
under  Ephraira  Gottlieb  Kriiger  in  Dresden,  and 
from  1826  to  1836  in  Milan,  under  Longhi  and 
Anderloni.  He  resided  in  Rome  from  1837  to 
1841,  when  he  came  to  England,  and  remained 
here   until   1856,   in   which   year    he   was    made 

284 


director  of  the  Cabinet  of  Engravings  at  Dresden. 
He  spent  considerable  time  in  Spain,  and  engraved 
the  works  of  Velazquez  in  the  Prado,  and  also 
those  of  Raphael  in  the  same  Gallery.  Later  on  he 
produced  a  fine  set  of  plates  from  the  celebrated 
cartoons  of  Raphael  which  belong  to  the  English 
Crown  ;but  being  troubled  for  a  while  with  a  serious 
afllection  of  the  eyes,  was  compelled  to  relinquish 
engraving,  and  devoted  himself  to  fresco  work  and 
decorative  painting.  He  was  commissioned  in 
1846  to  decorate  thegarden  pavilion  in  Buckingham 
Palace,  and  of  his  work  there  a  clever  account  was 
written  by  Mrs.  Jameson,  who  highly  praised  his 
productions.  Later  on  he  was  enabled  by  an 
operation  to  recover  the  use  of  his  eyes,  and  again 
took  up  with  engraving,  and  was  at  work  upon 
the  paintings  of  Raphael  till  his  death  at  Dresden 
in  1882.  He  engraved  many  separate  plates,  espe- 
cially after  the  works  of  Raphael  and  Overbeck,  by 
which  he  gained  much  reputation.  Among  his 
chief  works  are: 

Portrait  of  Giulio  de'  Medici  (?)  ;  after  Raphael.     1835. 

The  Vision  of  a  Knight ;  after  the  same. 

La  Fornariua ;  after  thf  same. 

Christ's  Agony  in  the  Garden  ;  after  the  same.     1S49. 

The  Ansidei  Madonna;  after  the  same.     1856. 

The  Conversion  of  Saul ;  after  the  same.    1864.    (Arundel 

Society.) 
Christ,  the  Good  Shepherd  ;  after  Overbeck. 
Hagar  in  the  "Wilderness ;  after  the  same. 
Moses  defending  the  Daughters  of  Jethro ;  after  the  same. 

GRUNEWALD,  E.,  was  an  engraver  of  Darm- 
stadt, who  studied  under  Frommel,  and  produced 
some  praiseworthy  landscape  plates  about  1825. 

GRUNEWALD,  Hans,  was  the  brother  of  Mat- 
thaus  Griinewald,  but  nothing  authentic  is  known 
of  him.  A  portrait  of  MaximiUan  I.,  in  the  Vienna 
Gallery,  is  ascribed  to  him. 

GRtJNEWALD,  Matthaus,  who  was  born  pro- 
bably in  Frankfort,  settled  in  AschafEenburg,  where 
he  was  employed  by  the  Archbishop  Albrecht  of 
Mayence.  He  seems  to  have  died  about  the  year 
1530,  and  to  have  been,  after  Diirer  and  Hol- 
bein, the  greatest  German  painter  of  the  period, 
though  but  little  of  his  life  is  known.  His  most 
important  work  is  an  altar-piece  of  six  panels, 
which  was  executed  for  the  church  of  SS.  JIaurice 
and  Mary  Magdalene  at  Halle,  but  afterwards  trans- 
ferred to  the  church  of  SS.  Peter  and  Alexander  at 
AschafEenburg.  It  is  now  in  the  Munich  Gallery. 
The  centre  picture  represents  the  '  Conversion  of 
St.  Maurice  by  St.  Erasmus,'  and  the  wings  con- 
tain the  figures  of  St.  Lazarus,  St.  Mary  Magdalene, 
St.  Martha,  St.  Chrysostora,  and  St.  Valentinian. 
There  is  another  work  in  the  church  of  Our 
Lady  at  Halle,  of  which  the  centre  picture,  repre- 
senting the  '  Virgin  in  Glory,'  the  inner  sides,  and 
perhaps  the  outer  sides,  are  assigned  to  Griinewald. 
A  '  Rosary '  in  the  chapel  of  St.  Anthony  in  the 
cathedral  of  Bamberg,  and  the  wings  of  altar-pieces 
at  Heilsbronn  in  Franoonia,  and  at  Annaberg  in 
Saxony,  are  also  assigned  to  this  master. 

GRUSS,  JoHANN,  an  historical  painter,  born  early 
in  the  19th  century,  was  a  native  of  Bohemia. 
Among  his  works  are  a  'Virgin  and  Child,'  a 
'Sleeping  Jesus,'  and  'St.  Aloysius.'  He  died  at 
Vienna  in  1872. 

GRUTZNER,  Eddard,  born  at  Great  Carlowitz 
in  Silesia  in  1846,  was  the  son  of  a  peasant.  He 
was  destined  for  the  church,  but  Hirschberg,  an 
architect  of  Munich,  induced  him  in  1864  to  repair 
to  that  citv.  where   his  first  work  was  a  ceiling 


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PAINTERS  AND  ENGRAVERS. 


in  a  private  house.  He  showed  great  humour  in 
his  pictures,  '  The  Cloister  Cellar,'  '  Wine  Tasting,' 
'  Sleepless  Nights,'  and  especially  in  his  represent- 
ation of  FalstafE  and  other  characters  in  the  '  Merry 
Wives  of  Windsor.'     He  died  in  1878. 

GRYEF,  Anton.    See  Grief. 

GRYPMOED,  Geerlig,  born  at  Zwolle  in  1760, 
learned  the  art  of  drawing  from  A.  D.  Prudhomme. 
He  afterwards  went  to  Amsterdam,  where  he 
studied  under  H.  Meyer  and  Troost  van  Groenen- 
doele,  who  employed  him  largely  in  painting  cur- 
tains.   He  also  painted  landscapes.    He  died  in  1788. 

GSELL,  Maria  Dorothea  Henrica,  the  daughter 
of  Johann  Andreas  GrafE  and  Maria  Sibylla  Merian, 
was  born  at  Nuremberg  in  1678.  She  painted 
flowers  and  insects,  and  was  acquainted  with 
Hebrew.  She  married  the  portrait  and  still-life 
painter  Gsell,  and  accompanied  him  to  St.  Peters- 
burg, where  they  both  worked  for  the  Academy  of 
Sciences,  and  where  she  died  in  1745. 

GUADALUPE,  Pedro  Fernandez  de.  See  Fer- 
nandez. 

GUALDO,  Matted  da,  a  painter  of  the  Unibrian 
school,  was  born  at  Gualdo  Tadini,  but  the  dates 
of  his  birth  and  death  are  alike  unknown.  A 
genuine  fresco  by  him  is  at  Santa  Maria  della 
Circa,  near  Sigillo  ;  it  represents  a  '  Madonna  and 
Child,'  with  a  dog  in  the  arms  of  the  latter,  also  a 
'  Lady  of  Mercy.'  In  SS.  Antonio  e  Jacopo  of  Assisi, 
are  some  frescoes  by  him,  although  now  very 
much  damaged;  they  include  a  'Madonna,'  dated 
1468.  These  works  are  executed  somewhat  in 
the  style  of  Benozzo  Gozzoli. 

GUALDORP,  GoRTZins.     See  Geldobp. 

GUARANA,  Jacopo,  (or  incorrectly  Varana,) 
was  a  painter  of  the  Venetian  school,  who  was 
born  at  Verona  in  1727,  and  became  a  pupil  of 
Sebastiano  Ricci,  G.  B.  Tiepolo,  and  especially 
of  Carlo  Cignani.  The  Academy  of  Copenhagen 
offered  him  the  position  of  first  painter,  and 
the  Empress  of  Russia  also  invited  him  to  her 
court  from  her  admiration  of  the  work  he  painted 
for  her ;  but  he  could  not  be  induced  to  leave 
his  own  country.  He  died  at  Venice  in  1808, 
having  been  a  member  of  the  Academies  of  Venice, 
Florence,  and  Bologna.  The  following  are  among 
his  paintings,  the  first  two  being  in  oil,  the  others 
in  fresco ; 

The  Sacrifice  of  Iphigenia.     {Painted  for  the  Empress  of 
Eussia.) 

The  Heart  of  Jesus.     (San  Paolo,  Venice.) 

The  Virtues.     (Patriaj-ck's  Palace,  Venice.) 

St.  Mark.     {Bogeys  Palace,  Venice.) 

Apotheosis  of  St.  Martin.     (San  Martina,  Venice.) 

The  Dome  of  San  Vitale,  Kavenna. 

He  also  etched  several  plates,  and  supplied  the 
designs  for  the  engravings  in  the  work  entitled 
'  Oracoli  della  Religione  pagana,'  published  at 
Venice  in  1792.  His  son,  Vincenzo  Guarana,  who 
was  born  at  Venice  in  1750,  and  died  there  in 
1815,  painted  in  the  style  of  his  father,  but  did 
not  equal  him. 

GUARDI,  Francesco,  a  Venetian  painter,  was 
born  at  Venice  in  1712,  and  died  there  in  1793. 
He  was  a  scholar  of  Canaletto,  and  excelled  in 
architectural  views  of  Venice,  but  his  works  are 
less  accurate  in  perspective  and  details  than  are 
those  of  his  master.  The  following  pictures  by 
him  are  in  the  chief  European  galleries : 

Bergamo.  Academy.    Three  Views  in  Venice. 

Berlin.  Gallery.    View   on    the    Grand   Canal, 

Venice. 


Berlin.  Gallery.     Two  Views    of  San   Michele, 

Venice. 
„  .,  View  on  the  Lagoons. 

Brussels.  Gallery.     Interior  of  San  Marco  at  Venice. 

Cambridge.    Fitzmlliam )  _,.         .    „     . 

„  „  The  Island  of  Anconetta. 

Dublin.         Nat.  Gallery.     The  Doge's  State  Barge. 
Glasgow.  Gallery.     Grand   Canal   and   Church   of 

San  Giorgio,  Venice. 
„  „  Piazzetta  of  Siin  Marco. 

London.        Nat.  Gallery.     View  of  the  Church,  Campa- 
nile,   and    Piazza    of     San 
Marco,  at  Venice. 
„  „  View  in  Venice. 

„  Bridgeicater  House.     View  on  the  Grand  CanaL 
,,  „  Seven  Views  of  Venice. 

„     South  Kensington  )  Church  on  the  Grand  Canal, 
Jtfuseuin. )      Venice. 
Modena.  Gallery.     The  Grand  Canal,  Venice. 

„  „         The  Fondaco  dei  Tedeschi. 

Nantes.  Museum.    Two  Views  of  Venice. 

Paris.  Louvre.    View  of  Venice. 

„  „        Church  of  La  Salute. 

The  Fdte  of  Shrove  Tuesday. 
„  „         The  Fete  of  Corpus  Domini. 

„  „        Procession  of  the  Doge  to  the 

Church  of  San  Zaccaria. 
„  „        The  Hall  of  the  Ducal  Palace. 

„  .,        View  of  Venice. 

Venice.         Correr  Mus.      The  Island  of  San  Giorgio. 
Verona.  Museum.    Two  Views  of  Venice. 

GUARDOLINO,  II.     See  Natali. 

GUARIENTI,  PiETRO,  a  painter  of  Verona,  waa 
born  before  1700.  He  was  a  pupil  of  Crespi,  but  fol- 
lowed the  study  of  the  great  masters  of  the  various 
countries  in  which  he  travelled,  seeking  to  acquire 
the  faculty  of  painting  in  every  style.  He  settled 
in  Dresden,  and  died  there  before  1769. 

GUARIENTO,  a  painter  of  Padua,  wns  living 
in  the  14th  century,  and  is  known  to  have  been 
amongst  the  first  artists  employed  to  decorate  the 
Great  Hall  of  Council  at  Venice  in  1365.  His  work 
there  was  a  '  Paradise,'  and  incidents  from  the  war 
of  Spoleto.  These  paintings  were  effaced  to  make 
room  for  the  successive  designs  of  Gentile  Bellini 
and  of  Titian.  In  the  Eremitani  at  Padua  may 
still  be  seen  many  frescoes  by  this  artist  represent- 
ing the  Life  and  Passion  of  Christ,  the  life  of  St. 
Augustine,  and  several  subjects  from  the  Old 
Testament.  According  to  Brandolese,  Guariento 
flourished  about  1360  at  Padua,  and  was  buried 
there  in  the  church  of  San  Bernardino.  He  died 
before  1378.     There  are  preserved  of  his  works  : 

Bassano.  Pinacoteca.  A  Crucifixion,  with  the  Virgin 
and  Saints. 

Padua.  Academy.    Si-t    portions    of    frescoes,   with 

subjects  from  the  Old  Testa- 
ment. 

GUARINO,  Francesco,  who  was  born  at  Solofra, 
near  Naples,  in  1612,  was  a  pupil  of  Massinio 
Stanzioni.  He  painted  in  the  church  of  his  native 
town,  and  died  at  Gravina  in  1651.  In  the  Naples 
Museum  there  is  by  him  a  picture  of  '  Susanna.' 

GUASTA,  Benvenuto  and  Girolamo  del.  See 
Del  Guasta. 

GUBBIO,  Oderiqi  da,  was  a  miniature  painter, 
who  is  said  to  have  been  bom  at  Gubbio,  near  Pe- 
rugia, in  1240.  No  undoubted  work  by  him  is  now 
in  existence,  although  some  miniatures  contained 
in  two  Missals  of  the  Virgin  and  of  St.  George,  in 
the  Archivio  de'  Canonici  di  San  Pietro,  at  Rome, 
are  strongly  supposed  to  be  by  him.  He  painted 
at  Gubbio  in  1264,  at  Bologna  in  1268,  and  in 
Rome  in  1295.  According  to  Vasari,  he  made  the 
acquaintance  of  Giotto  in  Rome,  and  died  there  in 

285 


A  BIOGRAPHICAL  DICTIONARY  OF 


1299.  He  has  been  mentioned  with  much  praise 
by  Dante,  who  calls  him  the  'Glory  of  Agobbio,' 
and  represents  him  as  expiating  in  Purgatory  the 
pride  with  which  his  skill  had  inspired  him. 

GUBITZ,  Feiedrich  Wilhelm,  a  wood  engraver, 
was  bom  at  Leipsic  in  1786,  and  was  a  member  of 
the  Academy  of  Berlin,  where  he  died  in  1870. 
The  cuts  in  his  '  Volkskalender,'  issued  from  1835 
to  1869,  are  much  admired,  as  is  also  his  portrait 
of  the  Saviour,  after  Lucas  Cranach.  He  also 
published  some  '  Plays  and  Poems,'  a  newspaper 
called  '  Der  Gesellschafter,'  and  a  volume  entitled 
'  OccurrGnCGS 

GDCCIO  DEL  SEEO.    See  Aghinetti. 

GUCHT,  Van  der.    See  Van  der  Gucht. 

GUDIN,  Jean  Antoine  Theodore,  a  French 
marine  painter,  was  born  in  Paris  in  1802.  He 
attended  for  some  time  tlie  atelier  of  Girodet- 
Trioson,  but  left  it  and  enrolled  himself  in  the 
Romantic  School,  in  company  with  Gdricault  and 
Delacroix.  He  restricted  himself  entirely  to  land- 
scapes and  marine  subjects.  His  first  success  dated 
from  about  the  year  1822,  and  in  1827  he  produced 
'  The  Burning  of  the  "  Kent,"  East  Indiaman,'  and 
'The  Return  of  the  Fishermen,'  two  of  his  best 
pictures.  Gudin's  works  are  remarkable  for  vigor- 
ous, but,  too  generally,  exaggerated,  treatment.  He 
painted  between  the  years  1838  and  1848  a  series 
of  ninety  marine  subjects  for  the  Galleries  at  Ver- 
sailles, where  many  of  them  still  are.  They  record 
the  achievements  of  the  French  navy  in  Algeria, 
whither  Gudin  was  sent  by  Louis  Philippe.  Early 
in  life  he  travelled  in  the  East,  in  Russia,  and  in 
Germany,  but  he  spent  much  of  the  latter  part  of 
his  life  in  Scotland.  He  also  practised  the  arts  of 
etching  and  lithography.  He  died  at  Boulogne 
near  Paris,  in  1880.     Among  his  best  works  are: 

The  Hurricane  of  the  7th  of  January,  1831,  in  the  Eoad- 

stead  of  Algiers.     1835. 
Coast  Sceue.     (Brussels  Gallery.) 
Breton  Coast.     1845.     (Berlin  JVational  Gallery.) 
A  Smuggler's  Felucca.    1845.     (The  same.) 
The  Ship  in  Distress. 

Shipwreck  on  the  Coast  of  Genoa.    (Leipsic  Museum.) 
View  of  Havre.    (Avignon  Museum.) 
Explosion  of  the  Emperor's  Fort  at  Algiers. 
View  of  Constantinople,  taken  from  Pera. 
The  Boarding  of  the  English  galeot  '  Hazard '  by  the 

'  Courier.' 
Devotion  of  Captain  Desse.    (Bordeaux  Museum.) 

GUDMUNDSSON,  Sigdrd,  an  Icelandic  painter, 
born  at  the  farm  of  Helluland  in  1833,  entered 
the  Copenhagen  Academy  in  1849,  and  on  his  return 
to  Iceland  in  1858,  produced  almost  a  revolution 
in  the  manners  and  costumes  of  the  island.  He 
died  at  Reykiavik  in  1874. 

GUE,  Jcjlien  Michel,  a  French  landscape  and 
historical  painter,  bom  in  St.  Domingo  in  1789, 
was  a  pupil  of  David  and  of  Lacour.  The  Bor- 
deaux Museum  possesses  the  '  Death  of  Patroclus,' 
and  there  are  other  works  by  this  artist  at  Ver- 
sailles, Compiegne,  and  Rheims.  He  died  in  Paris 
in  184.3. 

GUELARD,  B.,  a  French  painter  and  etcher,  is 
mentioned  by  Basan  as  the  engraver  of  several 
plates  after  Oudry,  J.  F.  van  Bloemen,  &c.  He 
lived  in  Paris  about  1730. 

GUERARD,  EnGi:NB  Charles  FRANgois,  a 
French  landscape  painter  and  lithographer,  was 
bom  at  Nancy  in  1821.  He  was  a  pupil  of  Paul 
Delaroche  and  of  Dieudonn^  Pierre  of  Nancy,  in 
which  _city  he  died  in  1866. 

GUERARD,  Henri  Charles,  a  French  painter 
286 


and  engraver.  In  early  life  he  made  a  great  nunj- 
ber  of  experiments  in  colour-printing  from  engrav- 
ings, with  more  or  less  success.  He  threw  in  his 
lot  with  the  Soeietd  Nationale  des  Beaux  Arts  at  its 
formation  in  1891,  and  exhibited  annually  at  the 
New  Salon.  He  became  an  officer  of  the  Academy, 
and  was  a  Chevalier  of  the  Legion  of  Honour.  He 
died  towards  the  middle  of  1897,  in  the  fifty-second 
year  of  his  age, 

GUERARDS,  Marc.    See  Geerarts. 

GUERARDS,  N.,  a  French  engraver,  who  flour- 
ished about  the  year  1700,  executed  the  plates  for 
a  work  entitled  '  Les  Edifices  antiques  de  Rome,' 
published  at  Paris  in  1682,  after  the  designs  of  A. 
Des  Godets,  who  engraved  the  frontispiece.  He 
also  engraved  the  frontispiece  to  a  book  of  oma- 
ments,  published  by  Pierre  Bourdon  in  1703 ;  and 
a  small  plate  of  '  Soldiers  marching,'  in  imitation 
of  Callot. 

GUERCINO.  See  Bareieri,  Giovanni  Fran- 
cesco. , 

GUERIN,  Christophe,  a  draughtsman  and  en- 
graver, born  at  Strassburg  in  1758,  was  a  pupil  of 
Jeulain  and  P.  Miiller.  He  became  conservator 
of  the  Museum,  and  a  Professor  of  the  School  of 
Design  at  Strassburg.  He  died  in  1831.  His  chief 
works  are : 

Cupid  disarmed  ;  after  Correggio. 
The  Dance  of  the  Muses ;  after  Giulio  Homano. 
The  Angel  leading  Tobit ;  after  Eaphael. 
Two  Landscapes  ;  after  De  Lotitherbourg. 

GUERIN,  Francois,  a  French  historical  and 
genre  painter,  was  a  native  of  Paris.  He  exhibited 
first  at  the  Academy  of  St.  Luke  in  1751,  and  be- 
came an  Academician  in  1761,  his  reception  work 
being  'A  Market.'  He  continued  to  exhibit  at  the 
Salon  until  1783,  but  in  1791  he  was  residing  in 
Strassburg,  where  he  died,  but  in  what  year  is  not 
known. 

GUERIN,  Gabriel  Christophe,  a  son  of  Chris- 
tophe Gu^rin,  was  born  at  Kehl  in  1790.  He  was 
a  pupil  of  Regnault,  and  in  1817  received  the  gold 
medal  for  his  '  Death  of  Polynices.'  He  painted  a 
'  Burial  of  Christ '  for  the  church  of  St.  Francis  of 
Assisi  in  Paris,  and  he  succeeded  his  father  as  con- 
servator of  the  Museum,  and  Professor  of  the  School 
of  Design  at  Strassburg.  He  died  at  Hombach  in 
Bavaria  in  1846. 

GUERIN,  Jean,  a  miniature  and  water-colour 
painter,  bom  at  Strassburg  in  1760,  was  a  brother 
of  Christophe  Guerin.  He  went  to  Paris,  where 
he  became  a  pupil  of  Regnault,  and  soon  gained 
a  reputation,  as  well  as  the  protection  of  Queen 
Marie  Antoinette,  whose  cause  he  espoused  so 
warmly  as  to  cause  him  to  be  banished  from  Paris. 
He  returned  to  that  city  at  the  beginning  of  tlie 
Consulate,  and  devoted  himself  to  miniature  paint- 
ing.    He  died  at  Obernay  in  1836. 

GUERIN,  Jean  Baptiste,  the  second  son  of 
Christophe  Guerin,  was  born  at  Strassburg  in 
1798.  He  was  a  pupil  of  his  father  and  of  Reg- 
nault, and  practised  in  his  native  city,  but  the  year 
of  his  death  is  not  recorded. 

GUERIN,  Paulin  Jean  Baptiste,  a  French 
portrait  and  historical  painter,  bom  at  Toulon  in 
1783,  was  the  son  of  a  blacksmith,  which  trade 
he  at  first  followed,  but  showing  a  disposition  for 
art  he  went  to  Paris,  where  he  entered  the  studio 
of  Vincent,  and  supported  himself  with  the  greatest 
difficulty,  rill  he  gained  a  reputarion  by  his  picture 
of  '  Cain  after  the  death  of  Abel.'  He  died  in  Paris 
in  1855.     Among  his  other  works  are : 


PAINTERS  AND  ENGKAVEBS. 


The  Dead  Christ  in  the  Lap  of  the  Virgin.    1817. 

Anchises  and  Venus.     1822. 

Adam  and  Eve  driven  out  of  Paradise.     1827. 

Christ  crucified.     1834. 

Ulysses  fighting  with  Neptune.     1824. 

Anne  of  Austria,  Eegent  of  France,  with  her  two  sons, 

Louis  XIV.  and  the  Duke  of  Orleans. 
Portrait  of  Louis  XVIII.,  full-length. 
Portrait  of  Charles  X.,  full-length. 

His  son  and  pupil,  F^lix  Piekre  Antoine 
GnERiN,  who  was  born  in  Paris  in  1825,  painted 
portraits,  and  died  in  Paris  in  1865. 

GDERIN,  Philibert  Jean  Pierre,  a  French 
landscape  painter,  born  at  Marseilles  in  1805,  was 
a  pupil  of  Paulin  Gudrin.  He  exhibited  at  the 
Salon  from  1824  to  1844,  and  died  in  Paris  in 
1846.  , 

GUERIN,   Pierre  Narcisse,  Baron,  a  French 
historical  painter,  was  born  in  Paris  on  the  13th 
March,  1774.   In  his  early  years  he  showed  but  little 
inclination  to  art,  and  it  was  owing  to  his  parents 
that  he  entered  the  studio  of  Brenet.    His  progress, 
however,  was  small,  until  he  became  the  pupil  of 
Regnault.     With  this  master  he  found  his  vocation, 
and  at  the  competition  of  1797  he  obtained  one  of 
the  three  prizes.    The  disturbed  state  of  Europe  did 
not  at  once  permit  of  his  pursuing  his  studies  at 
Rome,  and  while  waiting  at  Paris  he  produced  his 
'Return   of  Marcus  Sestus,'  which,  on  being  ex- 
hibited in  1799,  was  crowned  by  his  brother  artists. 
On  arriving  at  Rome,  his  weak  health  soon  com- 
pelled him  to  remove  to  Naples,  where  he  remained 
about  a  year.   On  his  return  to  Paris,  he  resumed  his 
studies  with  such  success  that  in  1803,  while  still  a 
pupil,  he  received  the  cross  of  the  Legion  of  Honour. 
He  was  received  into  the  Institute  on  the  return  of 
the  Bourbons  in  1815,  and  in  1816  was  appointed 
director  of  the  French  School  at  Rome,  but  his 
health  did  not  allow  him  to  accept  the_  appoint- 
ment.    At  the  next  vacancy  he  was  again  offered 
the  post,  which  he  accepted,  though  the  state  of 
his   health   allowed   him   only   to    attend    to   the 
duties  of  his  ofiBce,  and  prevented  his  applymg 
himself  to  any  of  his  own  works  during  his  stay  m 
Rome.     On  his  return  to  Paris  in  1829,  he  was  cre- 
ated a  Baron,  and  he  devoted  himself  for  the  next 
two  or  three  years  to  his  own  art.     Contrary  to 
the  advice  of  his  physicians  and  friends,  he  accom- 
panied Horace  Vemet  to  Rome,  where  he  died  on 
the  16th  July,  1833,  and  was  buried  in  the  church 
of  the  Trinita  del  Monti.     Guerin's  art  reached  its 
highest  point   in   the    'Marcus   Sextus.'      In   his 
later  works  he  lost  the  vigour  which  characterized 
his   earher   productions,  and   afEected  a  spurious 
energy,    which    has— not    without    reason— been 
called  theatrical.     This  may  in  some  degree  have 
arisen  from  his  custom  of  sketching  the  actors  at 
the   Theatre  Fran^ais.     The  following  is  a  list  Oi. 
'  Guerin's  chief  works : 


Angers. 

A^^gnon. 
Bordeaux. 


Museum. 

)) 
Museum. 
Museum. 


Compiegue.  Palace. 
Hamptou  Court.  Fal. 
Paris.  Louvre, 


Death  of  Priam.    (Sketch.) 
St.  Louis.     (Sketch.) 
Portrait  of  Charles  X. 
Pyrrhus    and    Andromache.      (A 
small    replica    of    the    Louvre 
picture.) 

St.  Genevieve. 

Portrait  of  Louis  XVIII. 

The    Return  of    Marcus  Sextus. 
1799. 

Offering  to  ^sculapius.     1802. 

Hippolytus  and  Phaedra.     1802. 

Pyrrhus  and  Andromache.    1810. 

jEneas  and  Dido.     1813. 

Clytemnestra.    1817. 


Rennes.        Museum.    TJlysses. 

Valenciennes.     Mus.     Death  of  Marshal  Lannes. 

Versailles.      Gallery.    The  Revolt  of  Cairo.  Q.JJ). 

GUERINl,  Giovanni  Francesco,  (orGuERRiERi,) 
a  native  of  Fossombrone,  in  the  Roman  state, 
flourished  about  the  year  1650.  It  is  not  said 
under  whom  he  studied,  but  he  painted  historical 
pictures  in  the  style  of  Caravaggio  and  Guercino. 
Lanzi  mentions  several  of  his  works  in  very 
favourable  terms,  particularly  a  picture  in  the 
Fihppini  at  Fano,  of  '  St.  Charles  contemplating 
the  Mysteries  of  the  Passion,'  with  two  laterals, 
representing  subjects  from  the  life  of  that  saint. 
There  are  many  of  his  paintings  in  his  native 
town,  and  a  'St.  Sebastian  cured  by  St.  Irene' 
particularly  is  attributed  to  him.  He  had  the 
peculiar  taste  to  introduce  into  each  of  his  pictures 
the  portrait  of  one  of  his  lady-loves. 

GUERNIER,  Do.    See  Dd  GnERNiER. 

GUERNIER,  Ren6,  was  probably  a  native  of 
France.  According  to  Florent  Le  Comte  he  ex- 
celled   in    engraving    ornaments   and    grotesque 

figures.  ..       J    V 

GUERODLT,  Guillaumh,  is  mentioned  by 
Strutt  as  the  engraver  of  a  sot  of  woodcuts  for  a 
Bible,  published  at  Paris  in  1564,  and  dedicated  to 
Catharine  de'  Medici. 
GUERRA,  Cristoforo.  See  Chrieger. 
GUERRA,  GiosEFFO,  (or  Querra,)  a  painter  of 
Venice,  was  one  of  the  best  scholars  of  Solimena. 
He  painted  numerous  large  historical  pictures  for 
churches  and  monasteries  in  the  kingdom  of  Naples, 
but  having  resorted  to  the  trick  of  copying  paint- 
ings disentombed  atHerouIaneum,  and  selling  them 
as  originals,  he  was  detected  and  compelled  to  flee 
to  Rome,  where  he  died  in  1761. 

GUERRA,  Giovanki,  a  painter,  engraver,  and 
architect,  was  bom  at  Modena  in  1544,  and  went  in 
his  eighteenth  year  to  Rome,  where  he  painted,  in 
conjunction  with  Cesare  Nebbia,  a  large  part  of 
the  pictures  commissioned  by  Pope  Sixtus  V.  He 
then  for  some  time  devoted  himself  to  trade,  and 
when  he  had  thereby  lost  all  his  means  he  returned 
to  art,  and  brought  out  a  series  of  forty-eight 
plates  entitled  '  Varie  Acconciature  di  Teste  usate 
da  nobilissime  Dame  in  diverse  Citta  di  Itaha. 
He  also  prepared  the  model  for  the  Scala  Santa  m 
Rome,  and  the  designs  for  several  churches  m 
Modena,  as  well  as  a  great  number  of  drawings 
from  subjects  in  the  Old  and  New  Testaments, 
and  from  Greek  and  Roman  history,  m  readiness  for 
engraving.  He  died  at  Rome  in  1618. 
GDERRIERI, Giovanni  Francesco.  See  Guerini. 
GUERRINI,  GiACOMO,  was  bom  at  Cremona  in 
1718,  and  while  quite  young  painted  '  The  Be- 
heading of  St.  John  the  Baptist '  for  the  Oratory 
of  St.  Jerome  in  his  native  city.  He  aften,vards 
executed  for  the  church  of  Sant'  Agostino,  The 
Meeting  of  St.  Joachim  and  St.  Anna  and  Ihe 
Presentation  in  the  Temple.'  Some  of  the  churches 
in  Milan  also  possess  paintings  by  him.     lie  died 

GUERTI^RB,  Francois  de  la.     See  De  La 

GUERTIEBE.  ^       ,.,,.•   i      •      1       „A 

GUEST,  Douglas,  an  Enghsh  historical  and 
portrait  painter,  practised  in  the  eariy  part  of  he 
iqth  century  He  studied  in  the  schools  of  the 
Royal  Academy,  and  in  1805  gained  the  gold  medal 
for  his '  Bearing  the  dead  body  ofPatroclus  to  he 
Camp,  AchiUes's  Grief.'  He  occasionally  exhibited 
atThe  Academy  from  1803  to  1817,  and  again  in 
i834  and  1838.     He  painted  the  '  Transfagurarion. 


A   BIOGRAPHICAL  DICTIONARY  OP 


an  altar-piece  for  tlie  church  of  St.  Thomas, 
Salisbury,  and  in  1829  published  a  work  on  the 
decline  of  historical  painting. 

GUEVARA,  Felipe  de,  was  an  amateur  painter, 
who  acquired  the  friendship  of  Titian  when  he  ac- 
companied the  Emperor  Charles  V.  to  Bologna  to 
receive  the  imperial  crown  from  Clement  VII.  He 
distinguished  himself  as  a  cavalry  officer  in  the 
expedition  to  Tunis  in  1535,  and  was  the  author 
of  '  Commentaries  on  Painting,'  published  in  1788 
He  died  at  Madrid  in  1563. 

GUEVARA,  Juan  Nino  de,  bom  at  Madrid  in 
1632,  was  the  son  of  a  captain  of  the  guards  of  the 
Viceroy  of  Aragon,  under  whose  patronage  he  was 
placed  as  a  disciple  of  Miguel  Manrique,  a  Fleming, 
who  had  been  educated  in  the  school  of  Rubens. 
He  afterwards  studied  at  Madrid,  under  Alonso 
Cano,  and  became  a  very  reputable  artist,  adopting 
a  style  that  partook  of  the  character  of  both  his 
matters,  uniting  with  the  grandeur  and  correctness 
of  Alonso  Cano  the  splendid  and  brilliant  colouring 
of  the  head  of  the  Flemish  School.  His  principal 
works  are  at  Malaga,  Granada,  and  Cordova.  In 
the  church  of  La  Caridad  at  Malaga,  is  a  fine  pic- 
ture of  '  The  Triumph  of  the  Cross  ' ;  and  in  the 
cathedral,  'The  Ascension  of  Christ,'  and  'The 
Assumption  of  the  Virgin.'  At  Cordova,  in  the 
cloister  of  the  Augustines,  there  are  some  pictures 
of  the  life  of  the  founder  of  the  order,  and  several 
portraits,  which  are  compared  by  Palomino  to  those 
of  Van  Dyck.     He  died  at  Malaga  in  1698. 

GUGLIELMI,  Gregoeio,  a  painter  born  at  Rome 
in  1714,  was  a  pupil  of  Conca ;  but  he  was  little 
known  in  his  native  city  on  account  of  his  having 
gone  when  young  to  Vienna,  Dresden,  and  St. 
Petersburg.  He  executed  a  few  frescoes  in  the 
hospital  of  Santo  Spirito  at  Rome,  but  others  that 
gained  more  attention  in  the  cities  named  above,  as 
well  as  at  Augsburg  and  in  the  castle  of  Schon- 
brunn.  His  works  in  oil  were  feebler.  He  died 
at  St.  Petersburg  in  1773. 

GUIBAL,  Nicolas,  a  painter  and  architect,  born 
at  Lun6ville  in  1726,  was  the  son  of  Barth^lemy 
Guihal,  a  sculptor.  He  worked  at  first  at  sculp- 
ture under  his  father,  but  afterwards  abandoned  it 
for  painting,  and  studied  under  Claude  Charles  at 
Nancy,  but  came  in  1741  to  Paris,  and  then  studied 
imder  Natoire.  In  1745  he  was  made  a  pensioner 
of  the  Academy,  and  won  the  second  prize.  In 
1749  he  proceeded  to  Stuttgart,  and  in  1752  Duke 
Charles  Eugene  sent  him  to  Rome  with  a  com- 
mission to  execute  for  him  four  paintings.  He 
there  improved  himself  under  Rafael  Mengs,  so 
that  on  his  return  in  1755  he  was  appointed  by 
the  duke  first  court  painter  and  architect,  professor 
of  painting,  and  director  of  the  picture  gallery. 
He  was  made  an  Academician  in  1784,  on  the  com- 
pletion of  his  '  Aurora '  en  the  ceiling  of  the  gallery 
of  Apollo  in  the  Louvre,  and  died  at  Stuttgart  in 
the  same  year.  His  best  work  is  the  ceiling 
above  the  marble  staircase  in  the  Palace  at  Stutt- 
gart. Other  paintings  by  him  are  in  the  bath- 
house at  Schwetzingen,  in  the  former  dining-hall 
of  the  Academy  (now  the  king's  private  library), 
in  the  halls  at  Hohenheim  and  Monrepos,  in  the 
Ordenskapelle  of  Ludwigsburg  Castle,  and  in  the 
churches  of  Gmund,  Zwiefalten,  and  Solothurn. 
Guibal  wrote  the  'Eloge  de  Mengs'  (1780),  and 
'Eloge  de  Nicolas  Poussin'  (1783). 

GUICHARD,  Joseph  Alexandre,  a  French 
marine  painter,  born  at  Marseilles  about  1830,  was 
i  pupil  of  Isabey  and  Durand-Brager     He  died 


in  his  native  city  in  1877.     Amongst  his  works 
are : 

Souvenir  of  Villafranca.     1866. 

The  Fisherman's  Return.     1869. 

Sunrise  at  the  Martigues.     1870. 

The  Marriage  of  Camacho. 

GUIDI,  Raffaello,  an  Italian  engraver,  was 
born  at  Florence  in  1540,  and  died  probably  about 
1613.  His  plates  are  executed  entirely  with  the 
graver,  which  he  handled  in  a  masterly  manner, 
and  from  his  style  it  would  appear  that  he  was 
instructed  by  Cornells  Cort  or  Agostino  Carracci. 
Ths  following  are  his  principal  prints  : 

David  playing  on  the  Harp ;  after  Giuseppe  Cesari. 

Dsedalus  and  Icarus  ;  after  the  same. 

The  Crucifixion  ;  after  Christoph  Schwartz. 

The  Entombment  of  Christ ;  after  F.  Barocei. 

..i^neas  carrying  his  father  Anchises  ;  after  the  same. 

Jupiter;  after  Folidoro  da  Caravayyio. 

Vulcan  ;  after  the  same. 

The   Madonna   seated,  distributing  Rose   Garlands  to 
various  Ecclesiastical  Orders. 

GUIDI,  ToMMASO,  commonly  called  Masaccio, 
the  son  of  the  notary  Ser  Giovanni  di  Simone 
Guidi,  was  born  at  Castel  San  Giovanni  di  Val- 
darno,  in  1401,  and  is  thought  by  some  to 
have  studied  under  Masolino.  That  he  was  pre- 
cocious in  the  display  of  his  talent,  is  shown  by 
the  fact  that  about  1417  he  went  to  Rome,  where 
he  received  a  commission  from  Cardinal  San 
Clemente  to  decorate  a  chapel  that  stiU  bears 
his  name.  Masaccio  painted  there  a  '  Crucifixion,' 
and  different  scenes  drawn  from  the  lives  of  St. 
Catharine  and  St.  Clement.  When  at  Rome  he 
painted  several  pictures,  amongst  others  one  which 
represented  '  Pope  Martin  V.  with  the  Emperor 
Sigismund  and  the  Virgin,  between  four  Saints,' 
which  was,  in  after  years,  much  admired  by 
Michelangelo.  In  1421  he  was  received  into  the 
Guild  of  the  Speziali  at  Florence,  and  twice 
painted  the  portrait  of  Giovanni  di  Bicci  de' 
Medici,  who  returned  to  power  in  Florence  in 
1420.  In  the  interval  extending  from  1423  to 
1428,  he  adorned  the  Brancacci  Chapel  in  the 
Carmine  with  frescoes,  twelve  in  number,  which 
represent  scenes  drawn  from  the  Bible,  and  from 
the  life  of  St.  Peter ;  these  prove  his  great  skill  as 
an  artist,  and  also  that  he  had  really  studied  the 
sister  arts  of  architecture  and  sculpture.  He  died 
at  Rome  about  1428,  at  the  early  age  of  twenty- 
six.  Masaccio' 8  paintings  are  all  far  in  advance 
of  his  time,  and  foreshadow  the  rules  which  after- 
wards guided  art  in  the  16th  century.  Of  his 
other  paintings  and  frescoes,  not  previously  men- 
tioned, there  remain  at  the  Carmine  a  portion  of 
a  design  in  the  cloisters,  representing  part  of  a 
procession,  that  has  recently  been  recovered  from 
beneath  the  whitewash.  The  galleries  of  Berlin, 
Munich,  and  Modena  possess  paintings  attributed 
to  him,  and  the  National  Gallery  has  a  portrait 
considered  to  be  that  of  Masaccio  himself. 

GUIDO,  AscANio,  an  Italian  engraver,  flourished 
about  the  year  1567.  There  is  a  print  by  him  of 
the  '  Last  Judgment,'  after  Michelangelo,  rather 
smaller  than  the  plate  engraved  by  Martino  Rota, 
and  not  much  inferior  to  ft  in  merit.  It  is  dated 
1567,  two  years  previous  to  that  by  Rota. 

GUIDO,  PiETRO  DEL  SiGNOR.     See  Gallinari. 

GUIDO  DA  SIENA.     See  Siena. 

GUIDO  RENL     See  Reni. 

GUIDO  RENI,  Ercoolin  di.    See  San  Giovanni. 

GUIDOBONO,  Bartolommeo,  called  'II  Prete 
di   Savona,'  was   born   at   Savona  in   1654.     His 


TOMMASO  GUIDI 

CALLED 

MASACCIO 


Alinari  photo]  \_Cannine  Church,  Florence 

ADAM   AND  EVE  DRIVEN   FROM   PARADISE 


TOMMASO    GUIDI 

CALLED 

MASACCIO 


> 


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A\\  I 


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».-_.. -y 


23^ 


Brogi  photo] 


AN  OLD  MAN 


[UJiat  Gallery,  Florence 


PAINTERS  AND   ENGRAVERS. 


father,  Giovanni  Antonio  Guidobono,  who  was 
majolica  painter  to  the  court  of  Savoy,  taught  liim 
his  own  art.  He  then  became  a  priest,  (whence 
his  sobriquet,)  but  his  love  of  iirt  caused  him  to 
relinquish  that  office.  Having  seen  some  pictures 
by  Benedetto  Castiglione,  he  copied  them  with  bo 
much  exactness,  that  it  was  difficult  to  distinguish 
the  reproductions  from  the  originals.  He  after- 
wards visited  Parma  and  Venice,  studying  the  works 
of  the  best  masters,  and  on  settling  at  Genoa,  he 
was  much  employed  in  that  city.  He  particularly 
■excelled  in  painting  animals,  flowers,  and  fruit ; 
and  he  was  no  despicable  designer  of  the  figure, 
as  he  has  shown  in  some  fabulous  subjects  in  the 
Palazzo  Centurioni.  Some  of  his  best  pictures  are 
in  the  Palazzo  Brignole  Sale  ;  among  them  that  of 
'  Lot  and  his  Daughters.'  He  died  at  Turin  in 
1709. 

GUIDOLINO.     See  Fiesole,  Giovanni  da. 

GUIDONE  DA  GHEZZO.     See  Siena,  Guido  da. 

GUIDOTTI,  Paolo,  called  '  II  Cavaliere  Bok- 
GHESE,' was  born  at  Lucca  in  1569,  and  went  when 
young,  in  the  pontificate  of  Gregory  XIII.,  to 
Rome,  where  he  improved  the  instruction  already 
received  by  studying  the  great  works  of  art  in 
that  city.  He  was  employed  by  Sixtus  V.  in 
several  fresco  works  in  the  library  of  the  Vatican, 
in  the  Soala  Santa,  and  in  the  Palace  of  San  Gio- 
vanni in  Laterano.  He  distinguished  himself  as  a 
sculptor  as  well  as  a  painter  ;  and  for  some  produc- 
tions in  that  art  was  honoured  by  Paul  V.  with  the 
permission  to  take  the  name  of  '  Borghese,'  and  was 
made  a  knight  of  the  order  of  Christ.  He  was  also 
an  architect,  and  in  fact  he  boasted  of  the  know- 
ledge of  fourteen  arts ;  but  in  spite  of  all  these 
he  was  reduced  to  great  misery,  and  died  in  1629 
from  a  fall  while  attempting  the  additional  art  of 
flying.  There  are  several  of  his  works  in  the 
public  edifices  at  Rome.  In  San  Girolamo  degli 
Schiavoni,  is  a  picture  of  '  St.  Matthew  ' ;  and  in  the 
cupola  of  Santa  Maria  de'  Monti,  the  '  Assumption 
of  the  Virgin.' 

GUIDUCCI,  Angelo,  a  landscape  painter  and 
«tcher,  lived  at  Rome  about  1750.  He  engraved 
two  portraits  of  Joseph  II.  of  Austria,  and  others 
after  Van  Dyck,  as  well  as  two  plates  representing 
peasants. 

GDIGNET,  .Iean  Adrien,  a  French  historical  and 
landscape  painter,  was  born  of  French  parentage,  at 
Annecy  in  Savoy  in  1816.  Against  his  father's 
wishes  he  went  to  Paris,  and  studied  under  his 
brother,  Jean  Baptiste  Guignet,  and  under  Blondel ; 
but  it  was  not  until  after  some  years  of  uphill  work 
that  he  succeeded  in  achieving  a  position.  In 
style  he  inclined  considerably  to  that  of  Decamps. 
He  died  in  Paris  in  1854.    Amongst  his  works  are  : 

Moses  exposed  on  the  Nile.    1840. 

St.  John  the  Baptist  preaching.     1842. 

Salvator  Rosa  among.st  the  Brigands.     1844. 

Joseph    explaining   Pharaoh's   Dream.    1845.    (R<nun 

Museum.) 
Xenes  bewailing  his  Army.     1846. 
Don  Quixote  playing  the  Fool.     1848. 
Travellers  surprised  by  a  Bear. 
Eagar  in  the  Desert. 

Episode  in  the  Retreat  of  the  Ten  Thousand. 
The  Defeat  of  Attila  by  Aetius. 
Belshazzar's  Feast. 

GUIGNET,  Jean  Baptists,  a  French  historical 
and  portrait  painter,  born  at  Autun  in  1810,  Nvas 
the  brother  of  Jean  Adrien  Guignet,  and  studied 
under  Kegnault.  He  died  at  Viriville  in  1867. 
Amongst  his  portraits  are  . 
VOL.  n.  U 


General  Pajol. 

Gilbert  Louis  Duprez,  the  tenor. 

James  Pradier,  the  sculptor. 

GDIGOU,  v.,  a  French  engraver,  flourished 
about  the  year  1676.  He  engraved  some  bird's- 
eye  views  of  chateaux  and  other  buildings  in 
France,  which  are  executed  in  a  neat  but  stiff 
style.   He  also  engraved  several  portraits  for  books. 

GUILLAIN,  Simon,  a  French  sculptor,  who  for 
amusement  practised  etching,  was  born  in  Paris  in 
1581,  and  died  in  the  same  city  in  1658.  There 
are  the  following  prints  by  him  : 

A  set  of  twenty  plates  of  the  Life  of  St.  James ;  after 

AnnibaU  Carracci. 
Eighty  plates  of  the  Cries  of  Bologna;  after  Annibale 

Carracci,  engraved  in  conjunction   with  Alessandro 

Alyardi. 

GUILLAUME,  Le  Frere,  known  as  '  Le  Prieur,' 
and  '  11  Prete  Gallo,'  was  a  French  painter,  who 
was  born  at  Marseilles  in  1475,  and  died  at  Arezzo 
in  1537.  Being  implicated  in  some  criminal  affair, 
he  entered  holy  orders,  and  accompanied  Frere 
Claude  to  Rome,  and  there  assisted  him  in  his 
works  for  Pope  Julius  II.  He  was  afterivards 
employed  and  protected  by  Cardinal  Silvio  Pas- 
serini  at  Cortona,  and  he  visited  Florence,  Casti- 
glione, Perugia,  and  Arezzo,  estabUshing  himself 
in  the  last-mentioned  town.  He  was  one  of  the 
best  glass  painters  in  his  time,  and  worked  equally 
well  in  oil  and  fresco.     Vasari  was  his  pupil. 

GUILLEBAULT,  Simon,  a  French  historical 
painter,  was  born  at  Le  Mans  in  1636.  He  chiefly 
executed  Scriptural  subjects,  among  which  was 
'The  Triumph  of  the  Church,'  painted  for  his 
reception  at  the  Academy  in  1687.  He  died  at  Le 
Mans  in  1708. 

GUILLEMARD,  Sophie,  a  pupil  of  Regnault, 
was  born  in  Paris  in  1780,  and  from  1801  to  1819 
exhibited  at  the  Salon  historical  pictures,  as  well 
as  some  portraits  and  genre  subjects ;  amongst 
them  were  '  Alcibiades  and  Glycerion,'  and  '  Joseph 
and  Potiphar's  Wife.'  The  date  of  her  death  is 
not  recorded. 

GUILLEMART,  — ,  was  an  obscure  French 
engraver,  who  was  chiefly  employed  in  engraving 
portraits  for  the  booksellers.  Among  others  is 
that  of  Setani,  Abbe  of  St.  Genevieve. 

GUILLEMIN,  Alexandre  Marie,  who  was 
born  in  Paris  in  1815,  studied  under  Gros,  and 
became  a  painter  of  genre  subjects.  He  died  at 
Bois-le-Roi,  near  Fontainebleau,  in  1880.  The 
following  are  a  few  of  his  works  : 

Huntsman  and  Milk-woman.     1844. 

The  old  Sailor.     1845. 

Sunday  Morning.     1864. 

La  Trilla  ;  souvenir  of  Upper  Aragon.     1869. 

Los  Pordioseros  ;  souvenir  of  Upper  Navarre.     1877. 

Sunday  Morning  in  Brittany. 

AVomen  of  the  Pyrenees. 

GUILLEMOT,  Alexandre  Charles,  a  French 
historical  painter,  was  born  in  Paris  in  1786.  He 
was  a  pupil  of  AUais  and  of  David,  and  in  1808 
obtained  the  'prix  de  Rome'  for  his  picture  of 
•Philip,  the  physician,  discovering  the  cause  of 
Antiochus's  illness  in  his  love  for  Stratonice.'  In 
1819,  after  hie  return  from  Rome,  a  first-class  medal 
was  awarded  to  Guillemot  for  his  picture  of  '  Christ 
raising  the  Widow's  Son  at  Nain.'  His  last  im- 
portant work  was  the  'Stoning  of  St.  Stephen.' 
In  the  Palace  at  Compiegne  is  a  picture  of  '  Mars 
surprising  Rhea  Sylvia.'   He  died  in  Paris  in  1831. 

GUILLEROT    — ,  a  French  landscape  painter, 

289 


A  BIOGRAPHICAL  DICTIONARY  OF 


who  flourished  in  the  17th  century,  was  a  pupil 
of  Fouquieres,  and  worked  with  considerable  success 
under  Sebastien  Bourdon  at  the  Tuileries. 

GUILLO,  Vicente,  a  painter  of  the  Valencian 
school,  was  born  at  Alcala  de  Gilbert,  about  1660, 
and  at  one  time  lived  at  Barcelona.  The  hospital 
of  Santa  Tecla  at  Tarragona  possessed  a  good 
'  Adoration  of  the  Kings,'  dated  1690.  He  executed 
some  frescoes  in  the  Sagrario  of  his  native  town, 
in  the  hermitage  of  San  Pablo  at  Albocacer,  and 
in  the  church  of  San  Juan  del  Mercadoat  Valencia, 
where  he  is  said  to  have  died  in  1701  of  disap- 
pointment at  having  been  superseded  by  Palomino. 
Aghstin  GniLLO,  who  does  not  appear  to  have  been 
related  to  Vicente,  contributed  about  the  same 
time  some  indifferent  frescoes  to  the  same  church, 
and  to  the  Dominican  convent  at  Valencia.  The 
latter  left  a  son,  Florenoio  Guillo,  a  painter 
even  feebler  than  himself. 

GDINACCIA,  Deodato,  born  at  Messina  about 
the  year  1510,  became  the  best  and  most  renowned 
pupil  of  Polidoro  da  Caravaggio,  when  he  visited 
that  city,  after  the  sacking  of  Rome.  After  the 
death  of  Polidoro  he  was  engaged  to  complete  the 
tine  picture  of  the  '  Nativity,'  in  the  church  of 
Alto  Basso,  which  was  left  unfinished  by  that 
master.  In  the  church  of  the  Pellegrini  is  a  picture 
of  Guinaccia's  own  composition,  representing  the 
'Trinity,'  and  another  of  the  'Transfiguration'  is 
in  San  Salvatore  de'  Greci.  He  founded  a  school 
which  flourished  for  a  long  time  in  Messina,  and 
many  of  its  scholars  attained  celebrity. 

GDIRRI,  Vicente,  a  native  of  Valencia,  became 
a  friar  in  the  Augustine  convent  of  that  city  in 
1608,  and  devoted  his  time  to  prayer  and  penitence, 
and  to  the  execution  of  devotional  pictures  within 
its  walls,  till  1640,  when  he  died. 

GUIRRO,  Francisco,  a  Spanish  historical  painter, 
was  born  at  Barcelona  in  1630,  and  died  there  in 
1700.  His  principal  work  was  a  '  St.  Monica,'  in 
the  convent  of  the  Recollets,  which  places  him  in 
the  first  rank  of  the  better  Spanish  artists. 

GUISONI,  Fermo,  a  native  of  Mantua,  who 
worked  between  the  years  1540  and  1568,  was 
educated  in  the  school  of  Giulio  Romano.  He 
became  one  of  the  favourite  disciples  of  that 
great  master,  from  whose  cartoons  he  painted  in 
the  dome  of  the  cathedral  the  '  Calling  of  St.  Peter 
and  St.  Andrew  to  the  Apostleship,'  esteemed  one 
of  the  finest  compositions  of  Giulio.  In  the  church 
of  Sant'  Andrea,  there  is  a  fine  picture  of  his  own 
composition,  representing  the  'Crucifixion.' 

GUISONI,  Rinaldo,  who  was  possibly  a  brother 
of  Fermo  Guisoni,  and  was  a  pupil  of  Giulio 
Romano,  flourished  at  Mantua  in  the  16th  century. 

GUITARD,  Pedro,  a  Spanish  painter,  was  born 
in  Catalonia  about  1540.  In  1576 — 79.  he  executed 
six  pictures  in  oil  from  the  life  of  St.  Peter,  for  the 
high  altar  of  the  church  of  San  Pedro,  at  Reus. 

GUIZZARDI,  Giuseppe,  an  Italian  painter,  born 
at  Bologna  in  1779,  made  himself  famous  by  a 
picture  of  '  .3)sculapius,'  which  is  now  in  the 
Museum  of  that  city.  He  died  at  Bologna  in 
1867. 

GULDENMUND,  Hans,  an  old  German  en- 
graver on  wood,  flourished  at  Nuremberg  from 
about  1520  to  1540.  His  works  are  extremely 
numerous,  more  than  200  being  known,  of  which 
the  best  are,  '  The  Triumphal  Procession  of  Charles 
V.  in  1537,'  and  a  bust  portrait  of  Hans  Sachs. 
The  first  work  which  brought  him  into  notice,  and 
wliich  appeared  in  1526,  was  an  emblematical  print 

290 


of  '  The  Course  of  the  World,'  in  which  Greed,  as 
the  companion  of  Tyranny,  is  flaying  an  Ass,  which 
throws  out  its  legs,  and  brings  Dissimulation  to 
the  sround. 

GiJLICH,  John  Percivax,  a  well-known  black- 
and-white  artist.  Born  at  Wimbledon  in  1865, 
he  was  educated  at  the  Charterhouse  and  then 
entered  his  father's  office  in  Mincing  Lane,  where 
he  spent  most  of  his  time  drawing  caricatures  on 
his  blotting-paper,  and  eventually  had  one  of  his 
sketches  accepted  by  a  comic  journal.  After 
four  years  he  gave  up  his  office  stool  and  came 
rapidly  to  the  front  as  an  illustrator,  though  he  had 
but  a  slight  training  at  the  evening  classes  at 
Heatherley's.  He  worked  for  the  '  Graphic  '  and 
'  Harper's  Magazine,'  whilst  his  charming  drawing 
of  'A  Violin  Obbligato,'  exhibited  at  the  Royal 
Institute,  brought  about  his  election  to  membership 
of  that  Society.  He  was  also  a  gifted  musician, 
and  his  untimely  death  from  typhoid  fever,  con- 
tracted whilst  on  a  holiday  tour  in  1899,  was  much 
deplored.  P.  P, 

GULIELMUS,  a  painter,  who  flourished  about 
1138,  worked  in  the  cathedral  of  Sarzana,  and  also, 
it  is  believed,  executed  the  figures  upon  the  fayade 
of  that  at  Modena. 

GULSTON,  Elizabeth,  was  an  English  amateur 
etcher  in  the  beginning  of  the  19th  century,  who 
copied  several  of  her  father's  collection  of  por- 
traits at  Ealing  Grove,  and  exhibited  at  the  Royal 
Academy  from  1795  to  1801.   She  died  before  1840. 

GULTLINGER,  Johannes  Gumpolt,  (GSt- 
linger,  or  Giltlikger,)  a  painter  of  the  15th 
century,  was  probably  born  at  Augsburg.  Several 
altar-pieces  by  him  are  still  in  St.  Ulrich's  Church 
in  that  city.  He  was  paid  400  florins  for  his 
work  upon  St.  Michael's  altar,  which  is  a  sufficient 
evidence  of  the  value  set  upon  his  productions. 

GUNDELACH,  Matthads.     See  Gondolach. 

GUNKEL,  Friedrich,  a  native  of  Cassel,  painted 
historical  subjects  in  the  style  of  Cornelius,  among 
which  may  be  named  the  '  Battle  of  the  Granicus.' 
He  died  by  suicide  at  Rome  in  1876. 

GUNST,  Pieter  van,  a  Dutch  line-engraver, 
was  born  at  Amsterdam  about  the  year  1667,  and 
died  in  1724.  He  worked  entirely  with  the  graver, 
and  from  the  style  of  his  prints,  it  is  probable  that 
he  formed  it  upon  tliat  of  the  Dreveta.  His  best 
plates  are  his  portraits,  and  they  form  the  larger  part 
of  his  productions.  His  greatest  work  was  a  set  of 
ten  full-length  portraits,  after  Van  Dyck,  of  Charles 
I.,  his  Queen,  and  some  of  the  English  nobility. 
Arnold  Houbraken,  the  father  of  the  celebrated 
engraver  of  that  name,  came  to  England  to  make 
the  drawings  from  the  pictures.  Van  Gunst  also 
engraved  a  set  of  portraits  for  Larrey's  '  History  of 
England.'     The  following  are  his  principal  plates  : 

portraits  after  van  dtck. 

Charles  I. 

Queen  Henrietta  Maria. 

■William  Villiers,  Viscount  Grandisoa. 

Lucy  Percy,  Countess  of  Carlisle. 

Viscount  Chaworth. 

Margaret  Smith,  Lady  Herbert. 

Ann,  Countess  of  Chesterfield. 

Lady  'WTiartoQ. 

Elizabeth,  Countess  of  Lindsey. 

Arthur  Goodwin,  of  Wincheadon,  Bucks. 

VARIOUS   PORTRAITS. 

King  TVilliam  III. ;  after  Brandon. 
Queen  Mary  H. ;  after  the  same. 


PAINTERS   AND   ENGRAVERS. 


Queen  Anne  ;  afttr  Kneller. 

George,  Prince  of  Denmark  ;  after  Wissimj. 

John  Churchill,  Duke  of   Marlborough;  afUr  A.  van 

der  JVerJf. 
George  I. ;  after  Kneller. 
Earl  of  Peterborough  ;  after  the  same. 
John  Locke  ;  after  Gremhill. 
John  Dryden  ;  after  Bilei/. 

He  also  engraved  nine  plates  of  the  'Loves  of  the 
Gods,'  after  Titian,  the  same  subjects  that  Smith 
has  scraped  in  mezzotint. 

GUNTHER,  Christian  August,  a  designer  and 
etcher  on  copper,  was  born  at  Pirna  in  1760,  and 
died  at  Dresden  in  1824.  He  first  drew  from 
nature,  but  Professor  Zingg  observed  his  talent 
and  took  him  into  his  scliool.  His  coloured  draw- 
ings won  much  admiration  at  the  Dresden  Aca- 
demical exhibitions.  He  also  painted  portraits  in 
pastel.  His  etchings  were  mostly  landscapes — 
among  them  are  'The  Baggage  Waggon,'  after 
Zingg,  and  two  after  Wouwerman  and  Dietrich 
for  the  third  volume  of  the  Dresden  Gallery. 

GUNTHER,  Matthaus,  (or  Matha  Gindter,) 
was  born  at  Bisenberg  in  Bavaria  in  1705,  and  after 
studying  under  Cosmas  Daniian  Asam  in  Munich, 
took  to  imitating  the  style  of  Joliann  Holzer,  with 
whom  also  he  passed  some  time.  He  was  director 
of  the  old  Academy  at  Augsburg,  where  he  died  in 
1791.  His  best  known  productions  were  ceiling 
pictures  in  churches  and  halls. 

GUNTHER,  Otto  Edmund,  a  German  decorative 
painter,  born  at  Halle  in  1838,  and  a  pupil  of 
Preller  and  Von  Ramberg.  He  was  educated  at 
the  Dtisseldorf  Academy,  and  at  the  Art  School 
of  Weimar,  gained  a  gold  medal  at  Berlin,  and 
eventually  became  a  Professor  at  Konigsberg. 
The  Franco-German  war  gave  him  many  oppor- 
tunities for  indulging  his  passion  for  painting  war 
and  military  scenes,  and  he  went  with  the  troops 
to  Versailles,  where  he  was  constantly  at  work 
painting  the  events  of  the  campaign.  On  his 
return  to  Berlin  he  devoted  himself  more  to  pure 
genre  p.aintings,  and  exhibited  'A  Thuringi.in 
Family  Scene,'  'A  Wedding  Procession  in  Thurin- 
gia,'  'Grandpapa,  a  Kiss,'  and  'Disputing  Theo- 
logians.' He  executed  some  fine  decorative  work 
in  Cologne  and  Leipsic,  and  died  in  1884. 

GURK,  Eduard,  an  Austrian  painter,  born  at 
Vienna  in  1802,  accompanied  the  Archduke  Fried- 
rich  on  the  expedition  to  Syria,  and  on  remaining 
there  for  the  sketching  of  memorable  spots,  he 
died  of  the  plague  in  1841.  His  chief  works  are 
architectural  views  in  water-colours,  which  are  in 
the  possession  of  the  Emperor  of  Austria. 

GURLITT,  Ludwig,  Danish  landscape  painter, 
born  at  Altona,  March  8,  1812,  had  for  masters  his 
father,  then  Gensler  of  Hamburg,  and  Bendixen. 
He  visited  Denmark,  Sweden  and  Norway,  but 
in  1837  went  to  Munich  and  then  into  Italy.  On 
his  return  to  Copenhagen  he  was  elected  member 
of  the  Danish  Academy.  After  fresh  travels  through 
Mid-Europe,  he  settled  in  Vienna,  where  the  sister 
of  the  novelist,  Fanny  Lewald,  became  his  third 
wife  in  1847.  He  again  visited  Italy  in  1855, 
Greece  in  1858,  and  then  settled  near  Gotha, 
making  sketching  tours  to  Holstein,  Portugal 
and  Spain.  In  1873  he  passed  to  Dresden,  and 
resided  near  that  town.  The  best  of  his  land 
scapes,  which  mostly  have  Italian  scenery  for 
their  subjects,  belonged  to  King  Christian  VIII., 
or  to  the  Museum  of  Copenhagen,  and  others  were 
owned    by  the  King  of   Hanover   and   Empress 

U  2 


Dowager   of   Russia.     He   died    in    1898,  in   the 
eighty-lifth  year  of  liis  age. 

GUTEKUNST,  Johann  Gottlob,  a  painter  and 
photographer,  was  born  at  Tubingen  in  1801.  He 
manifested  an  early  taste  for  art,  and  received  assist- 
ance from  King  William  of  Wiirtemberg,  which 
enabled  him  to  study  for  three  years  in  Italy, 
and  at  the  end  of  that  term  he  adorned  his  patron's 
pleasure-palace  at  Rosenstein  with  frescoes  repre- 
senting the  story  of  'Cupid  and  Psyche.'  After 
1849  he  associated  photography  with  "water-colour 
painting.     He  died  at  Stuttgart  in  1858. 

GUTERBOCK,  Leopold,  was  a  German  genre 
painter,  who  died  at  Berlin  in  1881.  His  mediaeval 
subjects  are  often  very  humorous. 

GUTIERREZ,  Estacio,  was  a  native  of  Val- 
ladolid,  who  was  appointed  painter  to  Philip  III 
in  1605.     He  died  at  Madrid  in  1609. 

GUTIERREZ,  Ge.nnaro,  engraved  some  plates 
for  the  '  Museo  Fiorentino,'  and  a  large  upright 
plate  of  the  '  Virgin  and  Infant  in  the  Clouds,' 
after  Carlo  Maratti,  executed  in  a  neat  style,  in 
the  manner  of  Johann  Jakob  Frey,  though  in- 
ferior.    He  flourished  about  the  year  1760. 

GUTIERREZ,  Juan  Simon,  was  born  in  Seville 
about  1644,  and  succeeded  in  copying  Murillo's 
style  of  colouring  so  exactly  that  it  is  sometimes 
difficult  to  distinguish  their  productions.  The 
drawing  of  his  pictures,  however,  is  very  inferior. 
In  the  Liverpool  Institution  is  a  picture  of  '  St. 
Francis  in  ecstacy,'  and  in  the  Seville  Gallery  one 
of  '  Christ  surrounded  by  the  Virgin  and  Angels.' 

GUTIERREZ,  El  Licenciado  Pedro,  was  a 
Spanish  engraver  who  lived  at  Granada  about  the 
middle  of  the  17th  century.  Engravings  by  him 
are  contained  in  the  '  Life  of  St.  Eufrasio,'  by  An- 
tonio Torrones  de  Robres,  published  in  1657. 

GUTLLNGER,  Johannes  Gumpolt.  See  Gult- 
linger. 

GUTTENBERG,  Heinrich.  a  German  engraver, 
the  brother  and  pupil  of  Karl  Gottlieb  Guttenberg, 
was  bom  at  Wohrd,  near  Nuremberg,  in  174'J. 
Through  his  pupils  Geissler  and  Reindel  he  founded 
a  new  school  of  engraving  at  Nuremberg.  He  lived 
many  years  in  Paris,  returning  home,  however,  on 
the  outbreak  of  the  Revolution,  but  again  repairing 
to  the  French  capital  after  order  was  restored.  He 
died  at  Nuremberg  in  1818.  He  engraved  several 
plates  in  the  style  of  his  brother  ;  among  them  are 
the  following: 

St.  Francis  ;   after  Remhrutvlt. 

The  Burgomaster  ;  after  the  same. 

Charles  V. ;  after  Van  Dyck. 

The  Deposition  from  the  Cross ;  after  Rubens. 

The  Women  below  the  Gatew.iy  ;  after  Beija. 

A  Dutch  Family  ;  after  the  same. 

A  Kepose  in  Egypt ;  after  Uarorci. 

A  Mountainous  Landscape ;  after  Dietrich, 

GUTTENBERG,  Karl  Gottlieb,  a  German  en- 
graver, was  born  at  Wohrd,  near  Nuremberg,  in 
1743.  He  was  the  elder  brother  of  Heinrich 
Guttenberg,  and  a  pupil  of  J.  G.  Wille,  at  Fans, 
and  has  engraved  several  plates,  in  the  neat  style 
of  that  artist.  From  1780  till  the  Revolution  he 
lived  in  Paris,  but  afterwards  returned  to  Nurem- 
berg, where  he  died  in  1790.  His  principal  works 
were  the  plates  he  executed  for  the  '  Voyage  pitto- 
resque  du  Royaurae  de  Naples,'  by  the  Abbe  de 
St.  Non.     There  are  also  by  him  : 

Portrait  of   Catharine   XL,  Empress  of   Russia  ;  after 

Rotari. 
Wilhehn  Tell ;  after  Fitssli. 

201 


PAINTERS  AND  ENGRAVERS. 


Le  petit  Boudeur ;  afttr  Greuze. 

L'lnvocation  a  rAmoiir ;  after  Theolon, 

The  Chemist ;  after  Mieris. 

The  Dance  ;  after  P.  Bol. 

The  Evening  Party  ;  after  Hemhrandt. 

The  Death  of  General  "Wolfe ;  neatly  copied  from  the 
print  by  Woollett. 

Two  Views  in  Switzerland  ;  after  Schntz. 

The  Eruption  of  Monte  Novo ;  after  Frayonard. 

The  Harbour  of  Ostend. 

GDTTENBRUNN,  L.,  was  a  native  of  Dresden, 
who  came  to  England  about  the  year  1789.  He 
painted  portraits  and  small  historical  subjects,  and 
exhibited  at  the  Royal  Academy  from  1790  to 
1795,  when  he  went  to  St.  Petersburg,  by  the  recom- 
mendation of  the  Russian  Ambassador.  He  was  a 
member  of  the  Academy  of  Florence,  whence  it 
may  be  presumed  that  he  had  studied  in  Italy. 

GUYARD,  Adelaide.     See  Vincent. 

GUYOT,  Laurent,  a  French  engraver,  bom  in 
Paris  in  1756,  was  a  pupil  of  Le  Grand  and  Tillard. 
He  died  in  1806. 

GUZMAN,  Josef  Cobo  y.     See  Cobo. 

GUZMAN,  JCAN  DE,  known  as  Fray  JnAN  del 
Santisimo  Sacramento,  was  horn  at  La  Puente  de 
Don  Gonzalo,  near  Cordova,  in  1611.  After  study- 
ing some  time  at  Cordova  he  went  to  Rome,  but 
did  not  devote  much  attention  to  the  antique,  or 
the  works  of  Raphael ;  colouring,  and  miithematics 
as  applicable  to  architecture  and  perspective,  being 
his  chief  objects.  He  returned  to  Spain  in  1634, 
and  went  to  reside  in  Seville  ;  where  he  signalized 
himself  more  by  turbulence,  and  dexterity  in  tlie 
management  of  arms,  than  in  the  skilful  use  of  the 
pencil.  The  consequence  was,  that  having  taken 
part  in  a  revolt,  and  having  been  unsuccessful,  he 
was  obliged  to  seek  refuge  in  the  convent  of  the 
Carmelitas  Calzados,  or  Shod  Carmelites,  and  assume 
the  habit  as  a  lay  brother.  His  restless  character 
caused  hira  soon  to  be  sent  from  that  establishment 
to  the  Carmelitas  Descalzos,  or  Barefooted  Carmel- 
ites, and  he  received  orders  to  reside  in  the  convent 
of  Aguilar,  where  a  severer  discipline  efiected  a 
change  in  his  behaviour,  and  he  now  appeared  in 
the  character  of  a  humble  and  pious  monk.  He 
took  the  name  of  Fray  Juan  del  Santisimo  Sacra- 
mento, and  had  permission  to  exercise  his  talent 
as  a  painter  in  decorating  the  walls  of  the  con- 
vent, and  other  establishments  appertaining  to  the 
order.  At  intervals  he  employed  himself  in  trans- 
lating Pietro  Accolti'  s  '  Practical  Perspective  '  from 
Italian  into  Spanish,  to  which  he  added  notes  cor- 
recting the  errors   of  the  author;   and  it  is  said 


that  he  even  engraved  plates  illustrative  of  the 
work,  which,  however,  was  never  published.  In 
1666  he  went  to  Cordova  to  paint  pictures  for 
the  monastery  of  his  order  in  that  city,  which 
he  accomplished  so  much  to  the  satisfaction  of  the 
bishop,  that  he  retained  him  to  decorate  his 
episcopal  palace,  and  other  places  in  his  diocese. 
He  remained  at  Cordova  till  1676,  when  he  returned 
to  his  convent  at  Aguilar,  where  he  died  in  1680. 
His  merit  as  a  painter  is  but  small. 

GUZMAN,  Pedro  de,  called  Guzman  el  Coxo 
('  the  lame  '),  was  a  Spanish  painter  of  the  begin- 
ning of  the  17th  century,  a  pupil  of  Patricio  Caxes, 
who  was  also  court-painter  to  Philip  III.,  and 
helped  to  decorate  for  him  the  Palace  of  El  Pardo. 

GWINN,  James,  born  in  the  county  of  Kildare, 
was  originally  a  coach  painter.  He  came  to 
London  in  1755,  and  gained  his  livelihood  by 
decorating  the  lids  of  snuff-boxes  in  enamel.  He 
fell  into  great  want,  and  was  found  dead  in  his 
room  in  1769. 

GYLES,  Henry,  a  glass  painter,  who  also 
painted  historical  subjects  and  landscapes,  worked 
chiefly  at  Y'ork,  where  he  resided  from  1640  to 
1700,  and  establislied  a  school  of  glass  painting. 
His  own  portrait  in  crayons,  by  himself,  is  in  the 
British  Museum. 

GYSBRECHTS,  Cornelius  N.,  was  a  painter  of 
Hamburg  at  the  beginning  of  the  17th  century. 
In  Schleissheim  Palace  is  a  painting  by  him  of 
'  Transiency,  with  her  Attributes,'  by  the  side  of 
his  own  portrait ;  whilst  in  Augsburg  there  is  a 
'  Vanitas '  by  him.  He  succeeded  well  with  sub- 
jects of  still-life,  of  which  specimens  are  to  be 
seen  in  the  Cassel  Gallery. 

GYSELS,  Peeter,  (Gysens,  Gyzels,  or  Gyzens,) 
a  Flemish  painter,  born  at  Antwerp  in  1621,  was  a 
pupil  of  J.  Boots.  He  entered  the  Guild  of  St.  Luke 
in  1642,  becoming  a  master  therein  in  1649,  and 
was  most  successful  in  painting  flowers,  fruit,  still- 
life,  and  small  landscapes.  He  died  at  Antwerp  in 
1690  or  1691.    Among  his  best  works  are: 


Amsterdam.   Museum. 

Antwerp.  Gallery. 

Berlin.  Gallery. 

Brussels.  Gallery. 

Dresden.  Gallery. 

Hague.  Museum. 

London.  Bute  Coll. 

Petersburg.  Hermitatje. 


A  Town. 

Still  Life  (known  as  '  Le  Cercueil 
de  Pierre  Gysels  '). 

View  of  a  Village  Street. 

Dead  Game  in  a  Landscape. 

Five  Rustic  Scenes,  two  Land- 
scapes, and  one  still-life  piece. 

Game,  with  Huuting  Implements. 

Dead  Game. 

A  Garden. 


END   OF   VOL.    II. 


Hichard  day  i  Stm,  limited,  London  <t-  Bungay. 


Reference!